pclucas14/nqa-RAG-64_5_24 · Datasets at Hugging Face

text listlengths 25 37	questions listlengths 25 37	answers listlengths 25 37	document_id stringlengths 40 40	split stringclasses 3 values
[ [ "The Enterprise crew returns fire. It is a blazing phaser\nbattle, Worf leading his men with Klingon courage. They\nsteadily advance in the face of the blistering disruptor\nfire --", "It stops. Only a few hundred yards from the Enterprise, its\ngreat prow almost filling the gaping hole at the front of the\nbridge.\n\nPicard thinks, his mind racing. Then it comes to him in a\nflash:", "EXT. THE RIFT - SPACE\n\nThe Enterprise powers forward in a final thrust -- !\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "The Enterprise fires her phasers simultaneously -- the energy\nbeams shoot into space --\n\nAnd the Scimitar's shape is momentarily illuminated as one of\nits shields is hit.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nThe crew gapes at the huge ship on the viewscreen.", "The Enterprise quickly turns about -- firing her aft phasers,\nas the Valdore sweeps toward Shinzon's ship, firing --\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "Every part of the Enterprise ROCKS -- a great lurch as the\nScimitar begins to tear itself free -- backing away -- a", "Although Shinzon's ship is still cloaked, the steady barrage\nof triangulated phaser and disruptor fire from the Enterprise\nand the two Romulan vessels illuminate its shields with\nimpacts.", "The Enterprise dramatically powers forward and up -- rolling\nover in a great arc going into warp while still upside down.\nIt disappears in a blaze of light. Fade to...", "This family. A family we love.\n\nEXT. ENTERPRISE - SPACE\n\nThe Enterprise streaks through space.", "EXT. ENTERPRISE - OVER KOLARUS III - SPACE\n\nThe Enterprise is in orbit around the uncharted planet. In\nthe distance we can see the distorting violence of an ion\nstorm.", "EXT. THE RIFT - SPACE\n\nIt is a chaos of starships as the Enterprise and the two\nWarbirds fire steadily -- illuminating the Scimitar's\nshields.", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nThe crew sees the Scorpion appear on the viewscreen.", "The Enterprise is in orbit around Romulus. Remus can be seen\nin the distance.", "PICARD\n Savage them!\n\nEXT. THE RIFT - SPACE\n\nAnd the Enterprise attacks!", "Disruptor beams appear from nowhere -- streaking through\nspace -- slamming into the Enterprise's warp drive. The\nEnterprise recoils, dangerously dropping out of warp in a\nfurious lurch.", "And the Enterprise jumps to high warp -- disappearing in a\nflash of dazzling light. Yes!\n\nINT. ENTERPRISE - OBSERVATION LOUNGE - DAY", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nThe Scimitar sweeps into view on the viewscreen -- filling\nthe screen -- and launches a ferocious volley of photon\ntorpedoes.", "And we cut to --\n\nEXT. ENTERPRISE - SPACEDOCK - OVER EARTH - FOLLOWING" ], [ "Shinzon's vessel combines the clean lines of the traditional\nRomulan Warbird with unique weaponry and styling. It is", "Although Shinzon's ship is still cloaked, the steady barrage\nof triangulated phaser and disruptor fire from the Enterprise\nand the two Romulan vessels illuminate its shields with\nimpacts.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "Shinzon sits quite calmly in his command chair.\n\n SHINZON\n Target the flanking Warbird. All\n forward disruptor banks on my mark.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Shinzon's magnificent Reman Warbird, the SCIMITAR, decloaks\ndirectly before the Enterprise.\n\nEXT. OVER ROMULUS - SPACE", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "SHINZON\n Tractor beam! Now!\n\nEXT. OVER ROMULUS - SPACE\n\nBut they are too late -- the Scorpion dematerializes --", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nPicard strides to his command chair as two Romulan Warbirds\nappear on the viewscreen. Deanna is now on the bridge.", "SHINZON\n Report!\n\n REMAN OFFICER\n Two ships decloaking, sir!\n Romulan!", "Shinzon stands in the ruins of his bridge. Many of his\nbridge crew are now dead.\n\n SHINZON\n Divert all power to engines. Full\n reverse!", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "Picard watches through the gaping hole in the hull as the\nScimitar backs away. Another section of the Scimitar\ndisappears. Shinzon almost has his cloak back.", "SHINZON\n Disable their weapons!\n\nBut before the Viceroy can move the Scimitar suddenly ROCKS\n-- attacked from somewhere! Shinzon is stunned.", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon stares at the Enterprise.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "The Enterprise quickly turns about -- firing her aft phasers,\nas the Valdore sweeps toward Shinzon's ship, firing --\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "Shinzon sees it coming -- utterly shocked -- bolts up --\n\n SHINZON\n HARD TO PORT !\n\nToo late." ], [ "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "PICARD\n I so wanted to believe Shinzon.\n But the Thalaron radiation can't be\n explained away. Whatever he's\n after, it's not peace.", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "SHINZON\n Disable their weapons!\n\nBut before the Viceroy can move the Scimitar suddenly ROCKS\n-- attacked from somewhere! Shinzon is stunned.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Picard instantly fires for the Cascading Pulse control -- but\nShinzon dives to cover it -- the phaser blast hits Shinzon in\nthe chest -- he recoils, slamming to the deck, stunned.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "PICARD\n Please.\n\n SHINZON\n It's too late.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "Shinzon sees it coming -- utterly shocked -- bolts up --\n\n SHINZON\n HARD TO PORT !\n\nToo late.", "The crew is utterly confused. Their confusion turns to\noutright shock when Shinzon calmly pulls out a Reman knife\nand cuts his arm, drawing a little blood. He hands the knife\nto Data.", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "Shinzon stands in the ruins of his bridge. Many of his\nbridge crew are now dead.\n\n SHINZON\n Divert all power to engines. Full\n reverse!", "And then, amazingly, Shinzon forces himself forward --\npushing Picard back against a wall -- Shinzon slowly walks\ntoward Picard, forcing himself down the length of the spear", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "A computer display illustrates Geordi's words about the power\nof Shinzon's weapon. We see a chilling graphic of the\nBiogenic Pulse beam spreading around a ship, then a whole\nplanet.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:" ], [ "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "SHINZON\n I was lonely...\n (he realizes Picard is\n staring at the veins on\n his face)\n Perhaps I'm not aging as well as\n you did.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Data scans him with a tricorder as:\n\n PICARD\n And you're not as we imagined you.\n\n SHINZON\n No?", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "The Viceroy puts his hand on Shinzon's chest. A strange\nmoment as the Viceroy shuts his eyes and feels Shinzon's\nchest. His mind... probing.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi...", "Shinzon sits in his command chair, lined with veins now.\nHis Viceroy again has his hand pressed to Shinzon's chest.\n\n SHINZON\n How long?", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "PICARD\n With a full head of hair.\n\n SHINZON\n (smiles)\n There is that.\n\nA quiet beat.", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father." ], [ "SHINZON\n Disable their weapons!\n\nBut before the Viceroy can move the Scimitar suddenly ROCKS\n-- attacked from somewhere! Shinzon is stunned.", "The head abruptly stops talking.\n\nData, hands free now, quickly incapacitates the aliens around\nhim with a dazzling demonstration of his superior strength\nand agility.", "SHINZON\n Target disruptors. Destroy them.\n\n REMAN OFFICER\n Disruptors are off-line, sir.", "Although Shinzon's ship is still cloaked, the steady barrage\nof triangulated phaser and disruptor fire from the Enterprise\nand the two Romulan vessels illuminate its shields with\nimpacts.", "COMPUTER (V.O.)\n Auto-destruct is off-line.\n\nThen the ship gives a final LURCH. The Scimitar is free.", "Worf fires the mounted phaser canon -- blasting away at the\naliens, not killing them, just stopping them -- a few\ndramatic crashes as the alien vehicles overturn --\n\nMeanwhile:", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "The invisible Scimitar sweeps past for a particularly brutal\nassault -- disruptor blasts streak along the Enterprise's\nhull -- a huge, ripping series of explosions tear away\nseveral decks of the Enterprise --", "And instantly spins to fire a blazing disruptor. A battle\nbreaks out in the corridor -- the energy beams and explosions\nilluminating the violent fire fight in strobe-like bursts.", "He turns and heads toward his Ready Room.\n\nThe others watch him go with great sadness.", "When a thundering BLAST sends up a shower of debris, stopping\nthe aliens -- Picard is standing in the rear of the jeep,\nfiring the phaser canon.", "The entire Scimitar slowly begins to unfold. Like a gigantic\nversion of the small spider-weapon we saw kill the Romulan\nSenators before, legs appear and hoist up a savage weapon.\nThe Cascading Pulse.", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nThe bridge has been damaged, sparks sputter through the\ndarkness and debris litters the deck.", "Crew members assume battle stations. Weapons locker ring\nopen and Security Officers hand out sidearms and phaser\nrifles.\n\nGeordi and his Engineers establish emergency force field\naround the warp core.", "GEORDI\n He's getting his cloak back. We\n have exhausted our compliment of\n photon torpedoes. Phaser banks are\n down to four percent.", "Picard can now see his enemy directly through the gaping hole\nin the ship's hull -- he sees the Scimitar banking for\nanother attack run as part of the ship disappears --", "The few remaining Remans on the bridge spin to Picard, firing\ndisruptors -- Picard dives for cover and battles them with\nhis phaser rifle --", "The Valdore careens out of control and then slows to a stop.\nIt floats dead in space.\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "Beyond the security force field a ghoulish medical apparatus\nis being prepared. A metal chair with laser scalpels, IV\ntubes and hyposprays connected to it. Reman doctors work\nover the mysterious chair." ], [ "PICARD (V.O.)\n Captain's Log. Stardate 47844.9.\n The Enterprise has arrived at", "Picard watches him for a moment; great emotion playing over\nhis features, and then goes.\n\nINT. ENTERPRISE - CORRIDOR - NIGHT", "But Picard is gone.\n\nEXT. OVER ROMULUS - SPACE\n\nThe Scimitar cloaks.\n\nINT. SCIMITAR - BRIG - NIGHT", "B-9\n If you resist, I will incapacitate\n you.\n\nHe leads Picard out.\n\nINT. SCIMITAR - CORRIDORS - FOLLOWING", "PICARD\n Savage them!\n\nEXT. THE RIFT - SPACE\n\nAnd the Enterprise attacks!", "It stops. Only a few hundred yards from the Enterprise, its\ngreat prow almost filling the gaping hole at the front of the\nbridge.\n\nPicard thinks, his mind racing. Then it comes to him in a\nflash:", "The B-9 leads Picard through the dark corridors, holding the\ndisruptor on him steadily. All the Remans they pass glare at\nPicard with undisguised loathing.", "PICARD\n A bit less florid, Data.\n\n DATA\n Aye, sir... This way.\n\nHe leads Picard down the corridor.", "PICARD\n Fire!\n\nAnd the Scorpion's forward disruptors fire! The doors into\nthe ship explode! Picard powers forward!", "Picard stands and walks to the viewscreen. He gazes at\nRomulus below and the black infinity of space beyond.\nThey're out there, Waiting.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "PICARD\n His hatred of the Federation is\n apparent. He would have built a\n weapon of that scope for one\n reason. He is going after Earth.", "Picard stands, they shake hands as:\n\n PICARD\n Welcome aboard, Commander. I hope,\n your transfer didn't come as too\n much of a surprise.", "PICARD\n Then he'll come for me as a donor.\n\nINT. ENTERPRISE - DATA'S CABIN - NIGHT\n\nData stands before the B-9.", "PICARD\n Well then... only one way to go.\n\nHe swings the Scorpion around again so it is facing the doors\nthey came through, the doors back into the ship.", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nPicard strides to his command chair as two Romulan Warbirds\nappear on the viewscreen. Deanna is now on the bridge.", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nPicard stands... watching the Scimitar maneuver into\nposition. Large parts of it are now cloaked.", "PICARD\n Please.\n\n SHINZON\n It's too late.", "PICARD\n All hands. Battle stations.\n\nINT. ENTERPRISE - VARIOUS ANGLES\n\nWe see a montage of the Enterprise preparing for battle.", "PICARD\n He thinks he knows exactly what I'm\n going to do...\n\n GEORDI\n Sir?\n\n PICARD\n We've got him!" ], [ "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "PICARD\n You can still make a choice! Make\n the right one now!\n\n SHINZON\n I have no choices! I can't fight\n what I am!", "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "SHINZON (V.O.)\n I hope you'll forgive the\n darkness... we're not comfortable\n in the light.\n\n PICARD\n Praetor Shinzon?", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi...", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Picard is impressed with Shinzon's quiet words.\n\n SHINZON\n You don't trust me.\n\n PICARD\n I have no reason to.", "PICARD\n With a full head of hair.\n\n SHINZON\n (smiles)\n There is that.\n\nA quiet beat.", "Data scans him with a tricorder as:\n\n PICARD\n And you're not as we imagined you.\n\n SHINZON\n No?", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "SHINZON\n I think the facts speak for\n themselves. The same noble Picard\n blood runs in our veins. Had you", "PICARD\n We are.\n\n SHINZON\n It's just the two of us now, Jean\n Luc, as it should be... Your ship\n and mine... You and me.", "PICARD\n I know you as well as I know\n myself, Shinzon. There was a time\n you looked at the stars and dreamed\n of what might be." ], [ "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "SHINZON (V.O.)\n I hope you'll forgive the\n darkness... we're not comfortable\n in the light.\n\n PICARD\n Praetor Shinzon?", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Picard is impressed with Shinzon's quiet words.\n\n SHINZON\n You don't trust me.\n\n PICARD\n I have no reason to.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "PICARD\n I so wanted to believe Shinzon.\n But the Thalaron radiation can't be\n explained away. Whatever he's\n after, it's not peace.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "PICARD\n You can still make a choice! Make\n the right one now!\n\n SHINZON\n I have no choices! I can't fight\n what I am!", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "PICARD\n You're doing this to liberate the\n Remans?\n\n SHINZON\n No race should be a slave to\n another.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi..." ], [ "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "SHINZON (V.O.)\n I hope you'll forgive the\n darkness... we're not comfortable\n in the light.\n\n PICARD\n Praetor Shinzon?", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "Shinzon's Viceroy.", "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "Shinzon enters with the B-9 following. Shinzon stands on the\nother side of the force field.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "Shinzon stands with some REMAN ENGINEERS.\n\n SHINZON\n Transport.\n\nAn Engineer activates a transporter and the B-9 materializes!", "Picard is impressed with Shinzon's quiet words.\n\n SHINZON\n You don't trust me.\n\n PICARD\n I have no reason to.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi..." ], [ "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "disturbing resemblance to the original Nosferatu. He is\nvampiric and lethal. He is a Reman.", "The B-9 leads Picard through the dark corridors, holding the\ndisruptor on him steadily. All the Remans they pass glare at\nPicard with undisguised loathing.", "REMAN OFFICER\n What about Picard?\n\n SHINZON\n Our greater goal is more important,\n brother.", "SHINZON\n I can feel your hunger to know the\n Reman ways... the old ways.\n\nThen the world changes again...", "PICARD\n You're doing this to liberate the\n Remans?\n\n SHINZON\n No race should be a slave to\n another.", "The few remaining Remans on the bridge spin to Picard, firing\ndisruptors -- Picard dives for cover and battles them with\nhis phaser rifle --", "The flickering half-light and red emergency strobes of the\ncrippled ship make this an ominous sequence. The Viceroy is\nin his element, used to the perpetual night of the Reman\nHomeworld, he can see in the dark.", "SHINZON\n I came this far alone...\n (he looks at his Reman\n warriors)\n We came this far alone. We require\n no assistance from the fleet. Now\n leave me to my thoughts.", "A beat.\n\n SHINZON\n I want to know where I come from.\n The Remans gave me a future. You\n can tell me about my past.", "The crew cannot see him clearly in the dim light but it is\nevident he is human. Assuming that he was Reman, they're\nsurprised by this realization.", "Reman warriors are closing in on them.", "PICARD\n (grim)\n Cannon fodder.\n\n GEORDI\n Then how did a Reman get to be\n Praetor? I don't get it.", "They are silent as they pass a few Reman guards. Then:\n\n DATA\n My mission was a success, sir. I\n have discovered the source of the\n Thalaron radiation.", "JANEWAY (ON VIEWSCREEN)\n There's more... as always. He's\n Reman.", "A fight -- Picard uses a dazzlinq series of Starfleet hand-\nto-hand maneuvers -- he dramatically subdues the Remans.", "A sudden disruptor blast stops them cold! The Viceroy and\nhis invasion force of a dozen Reman Warriors are down the\ncorridor!", "always faces the sun. Due to the\n extreme temperatures on that half\n of their world, the Remans live on\n the dark side of the planet.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis." ], [ "Uproarious laughter. We pull back to reveal the wedding\nreception of WILL RIKER and DEANNA TROI.", "RIKER\n (to Helm Officer)\n Mister Branson, set course for the\n Kolarin system. Warp Five --\n (Deanna shoots him a\n glance)\n -- Warp Seven.", "INT. ENTERPRISE - RIKER AND DEANNA'S CABIN - NIGHT\n\nRiker is hard at work over a series of padds. He has been\nworking for hours.", "RIKER\n Sir?\n\nPicard doesn't answer, he just stares forward. Deanna goes\nto Riker.\n\n DEANNA\n Data.", "RIKER\n I don't think we're going to see\n much combat on Betazed.\n\n DEANNA\n Don't be too sure. Mother will be\n there.", "DEANNA\n (to Worf)\n ... and after the ceremony on\n Betazed, three entire weeks for our\n honeymoon.", "RIKER\n It's working.\n\n PICARD\n (to Deanna)\n Counselor?", "The crew is shocked.\n\n HELM OFFICER\n Aye aye, sir. Course plotted and\n laid in...\n\n RIKER\n Romulus?", "PICARD\n I'm going to miss you.\n\n DEANNA\n And I you.\n\nThey are interrupted by a comm signal:", "Riker takes her hand.", "Riker looks toward the glowing debris field in the distance.\nHe puts an arm around Deanna.\n\nSilence.\n\n GEORDI\n Sir, we're being hailed.", "It is Riker. She stares at him, then clings to him\ndesperately.\n\nEXT. ROMULAN SENATE - DAY", "conjugal rites I have discovered it\n is traditional to present the\n \"happy couple\" with a gift. Given\n Commander Riker's affection for", "RIKER\n We're going sailing on the Opal\n Sea. We've booked an old-fashioned\n solar catamaran. Just us and the\n sun and the waves.", "INT. ENTERPRISE - CREW LOUNGE - NIGHT\n\nRiker and Deanna are having dinner with Worf.", "RIKER\n Imzadi, what am I going to do with\n you?\n\nThey kiss deeply. She pulls him across the room and they\nfall into the bed.", "When the Ready Room doors close behind Picard, Deanna finally\nallows herself to cry. Riker holds her closely. Slow fade\nto...\n\nINT. ENTERPRISE - CREW LOUNGE - NIGHT", "DEANNA\n You better believe you're engaged!\n\nMeanwhile, Geordi and Data remain at the Engineering Station,\nstudying the displays.", "WORF\n It seems a very... soft honeymoon.\n\n DEANNA\n (amused)\n It's meant to be relaxing.", "GEORDI\n Aye, sir.\n\n PICARD\n Deanna, on my mark.\n\n GEORDI\n Ready, sir!" ], [ "The B-9 has been deactivated, he stands lifeless and\nimmobile. Data gazes deeply into his double's identical", "GEORDI\n How many of you did Dr. Soong make?\n\n DATA\n I thought only me, myself and Lore.", "RIKER\n So they've got him up and running.\n\n WORF\n He's a very unusual android", "They watch as Data leads the B-9 to a table. Data instructs\nhim to sit. The B-9 sits and stares forward placidly. Data\nshows him how use a napkin.", "DATA\n (to head)\n Do you have a name, sir?\n\n HEAD\n I am the B-9.", "GEORDI\n An individual more like you, you\n mean.\n\n DATA\n Yes.", "Beverly gazes at the android head. It gazes back at her.\n\n BEVERLY\n I think you have nicer eyes.", "The android is in a framework rig that holds the various body\nparts in place. The parts are not yet assembled\n\n RIKER\n Geordi?", "DATA\n Since positronic signatures have\n only been known to emanate from\n androids such as myself, it is\n logical to theorize that there is\n an android such as myself on\n Kolarus III.", "GEORDI\n Don't give up hope, Data. I know,\n I know, you're not capable of hope.\n\n DATA\n (looking at B-9)\n I am not.", "features. Then he opens a panel in the B-9's neck and uses a\nsmall instrument to activate the android's head.", "There is something strangely poignant in the twin androids.\nOne a bundle of curiosity and intelligence; the other\nsomewhat like a slow, simple child.\n\nINT. ENTERPRISE - READY ROOM - NIGHT", "B-9\n You are me.\n\n DATA\n No. My name is Data... I am your\n brother.", "Worf looks up. Glances at Data.\n\n WORF\n Positronic.\n\nINT. ENTERPRISE - BRIDGE - LATER", "DATA\n The resemblance is... striking.\n\nThen the head's eyes suddenly pop open. It looks up at them\nwith a sort of blank, childlike wonder.", "DATA\n At present he serves no useful\n function. Dr. Soong created us to\n become active and useful members of", "RIKER\n Well, that sounds relaxing too.\n\n WORF\n It is... invigorating.\n\nThey see Data enter the lounge, carefully leading the B-9.", "He goes. Geordi and Data begin to reassemble the B-9 piece\nby piece like the Tin Man as:", "DATA\n No, I do not mind.\n\nData looks at the B-9 with a sort of sadness.", "Picard starts the jeep in motion.\n\nTime passes as they continue on... coming across another\narm... a leg... a torso... another leg... various\ndisassembled components of a Data-like android!" ], [ "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "PICARD\n You can still make a choice! Make\n the right one now!\n\n SHINZON\n I have no choices! I can't fight\n what I am!", "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "SHINZON (V.O.)\n I hope you'll forgive the\n darkness... we're not comfortable\n in the light.\n\n PICARD\n Praetor Shinzon?", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi...", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Picard is impressed with Shinzon's quiet words.\n\n SHINZON\n You don't trust me.\n\n PICARD\n I have no reason to.", "PICARD\n With a full head of hair.\n\n SHINZON\n (smiles)\n There is that.\n\nA quiet beat.", "Data scans him with a tricorder as:\n\n PICARD\n And you're not as we imagined you.\n\n SHINZON\n No?", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "SHINZON\n I think the facts speak for\n themselves. The same noble Picard\n blood runs in our veins. Had you", "PICARD\n We are.\n\n SHINZON\n It's just the two of us now, Jean\n Luc, as it should be... Your ship\n and mine... You and me.", "PICARD\n I know you as well as I know\n myself, Shinzon. There was a time\n you looked at the stars and dreamed\n of what might be." ], [ "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "Although Shinzon's ship is still cloaked, the steady barrage\nof triangulated phaser and disruptor fire from the Enterprise\nand the two Romulan vessels illuminate its shields with\nimpacts.", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon stares at the Enterprise.", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "Shinzon's magnificent Reman Warbird, the SCIMITAR, decloaks\ndirectly before the Enterprise.\n\nEXT. OVER ROMULUS - SPACE", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "Shinzon's vessel combines the clean lines of the traditional\nRomulan Warbird with unique weaponry and styling. It is", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "The forward part of the Enterprise's saucer is enmeshed in\nShinzon's ship; two scorpions with their claws locked.\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "Shinzon enters with the B-9 following. Shinzon stands on the\nother side of the force field.", "SHINZON\n Disable their weapons!\n\nBut before the Viceroy can move the Scimitar suddenly ROCKS\n-- attacked from somewhere! Shinzon is stunned.", "The Enterprise quickly turns about -- firing her aft phasers,\nas the Valdore sweeps toward Shinzon's ship, firing --\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "Shinzon stands in the ruins of his bridge. Many of his\nbridge crew are now dead.\n\n SHINZON\n Divert all power to engines. Full\n reverse!", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon strides quickly to his command chair, barking to his\nViceroy:", "Shinzon sees it coming -- utterly shocked -- bolts up --\n\n SHINZON\n HARD TO PORT !\n\nToo late.", "Shinzon sits quite calmly in his command chair.\n\n SHINZON\n Target the flanking Warbird. All\n forward disruptor banks on my mark.", "INT. SCIMITAR - BRIDGE - NIGHT\n\nShinzon is entering tactical commands in his chair console." ], [ "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "SHINZON\n I was lonely...\n (he realizes Picard is\n staring at the veins on\n his face)\n Perhaps I'm not aging as well as\n you did.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "Shinzon sits in his command chair, lined with veins now.\nHis Viceroy again has his hand pressed to Shinzon's chest.\n\n SHINZON\n How long?", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "PICARD\n You can still make a choice! Make\n the right one now!\n\n SHINZON\n I have no choices! I can't fight\n what I am!", "The Viceroy puts his hand on Shinzon's chest. A strange\nmoment as the Viceroy shuts his eyes and feels Shinzon's\nchest. His mind... probing.", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "PICARD\n Please.\n\n SHINZON\n It's too late.", "Shinzon stands in the ruins of his bridge. Many of his\nbridge crew are now dead.\n\n SHINZON\n Divert all power to engines. Full\n reverse!", "PICARD\n I so wanted to believe Shinzon.\n But the Thalaron radiation can't be\n explained away. Whatever he's\n after, it's not peace." ], [ "PICARD\n Please.\n\n SHINZON\n It's too late.", "Picard instantly fires for the Cascading Pulse control -- but\nShinzon dives to cover it -- the phaser blast hits Shinzon in\nthe chest -- he recoils, slamming to the deck, stunned.", "PICARD\n Deanna, stand by.\n (to Data)\n Open a channel.\n\n SHINZON (V.O.)\n I hope you're still alive, Jean\n Luc.", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "They dematerialize, the shimmering glow illuminating\nShinzon's features. Picard's eyes never leave Shinzon as\nthe transporter effect ripples around him.", "And then, amazingly, Shinzon forces himself forward --\npushing Picard back against a wall -- Shinzon slowly walks\ntoward Picard, forcing himself down the length of the spear", "PICARD\n We are.\n\n SHINZON\n It's just the two of us now, Jean\n Luc, as it should be... Your ship\n and mine... You and me.", "PICARD\n The man who is Jean Luc Picard and\n Shinzon of Remus won't exterminate\n the population of an entire planet!\n He is better than that!", "PICARD\n You know that's not possible.\n\n SHINZON\n I know... you'll all gladly die to\n save your home world.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "-- the spear point explodes through Shinzon's back -- the\nweight of Shinzon's body is pinning Picard against the wall\n-- time is running out --", "Shinzon ends the transmission and his holographic image\nflickers and fades away.\n\nPicard stands alone, drained.", "Picard watches through the gaping hole in the hull as the\nScimitar backs away. Another section of the Scimitar\ndisappears. Shinzon almost has his cloak back.", "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "SHINZON\n Tractor beam! Now!\n\nEXT. OVER ROMULUS - SPACE\n\nBut they are too late -- the Scorpion dematerializes --", "Shinzon slowly backs away as Picard continues to move toward\nhim relentlessly.", "For the first time the crew can see Shinzon clearly. Picard\nactually gasps when he sees Shinzon's face. The rest of the\ncrew doesn't understand his reaction.", "SHINZON\n (quietly)\n Long ago.\n\n PICARD\n Not so long." ], [ "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "SHINZON (V.O.)\n Consider it The great symbol of\n the Empire... But the bird-of-prey\n holds planets. Romulus, Remus.\n Their destinies conjoined...", "PICARD\n I so wanted to believe Shinzon.\n But the Thalaron radiation can't be\n explained away. Whatever he's\n after, it's not peace.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "The viceroy strides out as Shinzon spins to another officer.\n\n SHINZON\n Get the cloak back! And target\n shield coordinates beta three. All\n disruptors. Fire!", "SHINZON\n Tractor beam! Now!\n\nEXT. OVER ROMULUS - SPACE\n\nBut they are too late -- the Scorpion dematerializes --", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon stares at the Enterprise.", "PICARD\n You know that's not possible.\n\n SHINZON\n I know... you'll all gladly die to\n save your home world.", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "A computer display illustrates Geordi's words about the power\nof Shinzon's weapon. We see a chilling graphic of the\nBiogenic Pulse beam spreading around a ship, then a whole\nplanet.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "And then it is Shinzon again, kissing her:\n\n SHINZON\n I'll always be with you now. Now\n and forever..." ], [ "Picard instantly fires for the Cascading Pulse control -- but\nShinzon dives to cover it -- the phaser blast hits Shinzon in\nthe chest -- he recoils, slamming to the deck, stunned.", "Shinzon sees it coming -- utterly shocked -- bolts up --\n\n SHINZON\n HARD TO PORT !\n\nToo late.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "PICARD\n Please.\n\n SHINZON\n It's too late.", "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "SHINZON\n Disable their weapons!\n\nBut before the Viceroy can move the Scimitar suddenly ROCKS\n-- attacked from somewhere! Shinzon is stunned.", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon stares at the Enterprise.", "And then, amazingly, Shinzon forces himself forward --\npushing Picard back against a wall -- Shinzon slowly walks\ntoward Picard, forcing himself down the length of the spear", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "PICARD\n We are.\n\n SHINZON\n It's just the two of us now, Jean\n Luc, as it should be... Your ship\n and mine... You and me.", "Shinzon ends the transmission and his holographic image\nflickers and fades away.\n\nPicard stands alone, drained.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "SHINZON\n I'm glad we're together now -- our\n destiny is complete.\n\nHe finally thrusts himself down the whole spear and clasps\nhis dying hands firmly around Picard's throat --", "Shinzon enters with the B-9 following. Shinzon stands on the\nother side of the force field.", "And then it is Shinzon again, kissing her:\n\n SHINZON\n I'll always be with you now. Now\n and forever..." ], [ "Picard stops, looks at Riker deeply.\n\n PICARD\n The Titan's a fine ship, Will. And\n she's getting a captain worthy of\n her.", "DATA\n And you were particularly aware of\n this feeling because Commander\n Riker will be leaving to assume\n command of the Titan?", "Picard stands, they shake hands as:\n\n PICARD\n Welcome aboard, Commander. I hope,\n your transfer didn't come as too\n much of a surprise.", "PICARD\n I'm sorry you won't be here for the\n re-fit, but I know the Titan needs\n you immediately.\n\nRiker does not respond.", "(laughter from the crowd)\n While you're happily settling in on\n the Titan, I'll have to train a new\n first officer; no doubt a stern", "He settles into his new command chair. Looks around for a\nbeat at his new bridge crew. Fresh-faced kids. A new\ngeneration to teach and nurture. He smiles.", "PICARD\n You never know what's over the\n horizon, Data. Before too long\n you'll be offered a command of your\n own. Data looks at him; he has\n never really considered this.", "Riker knows exactly what Picard is saying: the Enterprise is\nexpendable.\n\n RIKER\n Yes, sir.\n\nPicard stands. Presses a comm button.", "GEORDI\n I'll take care of it, sir.\n\n PICARD\n Number One.\n (a beat)\n You have the bridge.", "A fresh-faced young officer, COMMANDER MARTIN MADDEN, paces\nnervously outside Picard's Ready Room. Bracing himself\nbefore entering.", "Picard continues to enter command codes -- transmits them to\nDeanna at helm -- she receives the commands, nods. All of\nthis as Picard buys some time:", "Behind him we can see technicians working everywhere around\nthe bridge, trying to rebuild it. Worf is talking to a young\nofficer at tactical and Geordi is working at the engineering\nstation. We also see new command chairs being installed.", "PICARD\n That's an order, Commander.\n\n DATA\n Sir, allow me to go. You are\n needed here.\n\n PICARD\n Negative.", "It is Riker. She stares at him, then clings to him\ndesperately.\n\nEXT. ROMULAN SENATE - DAY", "PICARD\n (to Data)\n You have the bridge, Commander.\n Use all available power to move\n away from the Scimitar.\n (to Geordi)\n Now, Mister La Forge.", "DATA\n Counsellor Troi, please assume\n command. Geordi, if you will come\n with me.\n\nHe heads toward the turbolift, Geordi following.", "PICARD\n Will Riker, you have been my\n trusted right arm for fourteen\n years; you have helped keep my", "DEANNA\n The one thing he may have forgotten\n in the course of battle: me.\n\n PICARD\n Make it so.\n\nShe quickly goes to Worf at tactical.", "Picard leans forward in his chair:\n\n PICARD\n (on comm)\n All hands, brace for impact!\n (to Deanna)\n ENGAGE.", "PICARD\n Well. I suppose it does a bit.\n I'm very happy for them, of course,\n but I'm going to miss them. The\n ship will seem... incomplete\n without them." ], [ "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "SHINZON\n I was lonely...\n (he realizes Picard is\n staring at the veins on\n his face)\n Perhaps I'm not aging as well as\n you did.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Data scans him with a tricorder as:\n\n PICARD\n And you're not as we imagined you.\n\n SHINZON\n No?", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "The Viceroy puts his hand on Shinzon's chest. A strange\nmoment as the Viceroy shuts his eyes and feels Shinzon's\nchest. His mind... probing.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi...", "Shinzon sits in his command chair, lined with veins now.\nHis Viceroy again has his hand pressed to Shinzon's chest.\n\n SHINZON\n How long?", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "PICARD\n With a full head of hair.\n\n SHINZON\n (smiles)\n There is that.\n\nA quiet beat.", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father." ], [ "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "before him bears a disturbing resemblance to Shinzon.", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi...", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "She sees Shinzon kneeling over a small flame, she realizes\nshe is looking through the Viceroy's eyes.\n\nOn the Scimitar, Shinzon looks up at the Viceroy/Deanna:", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "PICARD\n With a full head of hair.\n\n SHINZON\n (smiles)\n There is that.\n\nA quiet beat.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "Data scans him with a tricorder as:\n\n PICARD\n And you're not as we imagined you.\n\n SHINZON\n No?", "Picard is impressed with Shinzon's quiet words.\n\n SHINZON\n You don't trust me.\n\n PICARD\n I have no reason to.", "RIKER\n You seem very familiar with our\n personnel.\n\nShinzon moves even closer to Deanna, not taking his eyes from\nher.", "The Viceroy puts his hand on Shinzon's chest. A strange\nmoment as the Viceroy shuts his eyes and feels Shinzon's\nchest. His mind... probing.", "PICARD\n I know you as well as I know\n myself, Shinzon. There was a time\n you looked at the stars and dreamed\n of what might be.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "PICARD\n It's a mirror for you as well...\n\nShinzon turns back to him.\n\nA beat. Picard gazes at him evenly." ], [ "EXT. ENTERPRISE - OVER KOLARUS III - SPACE\n\nThe Enterprise is in orbit around the uncharted planet. In\nthe distance we can see the distorting violence of an ion\nstorm.", "WORF\n I'm picking up an unusual\n electromagnetic signature from the\n Kolarin system.\n\n PICARD\n What sort of signature?", "INT. ENTERPRISE - BRIDGE\n\nKolarus III is on the viewscreen, the ion storm raging beyond\nit.", "RIKER\n (looking at star chart)\n Diverting to the Kolarin system\n takes us awfully close to the\n Romulan Neutral Zone.", "Geordi is at the Engineering station with Picard, Riker and\nData.\n\n GEORDI\n It's very faint but I've isolated\n it to the third planet in the\n Kolarin system.", "RIKER\n (to Helm Officer)\n Mister Branson, set course for the\n Kolarin system. Warp Five --\n (Deanna shoots him a\n glance)\n -- Warp Seven.", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nThe crew gapes at the huge ship on the viewscreen.", "This family. A family we love.\n\nEXT. ENTERPRISE - SPACE\n\nThe Enterprise streaks through space.", "Although Shinzon's ship is still cloaked, the steady barrage\nof triangulated phaser and disruptor fire from the Enterprise\nand the two Romulan vessels illuminate its shields with\nimpacts.", "DATA\n Isolated pockets of humanoids. It\n appears to be a pre-warp\n civilization at an early stage of\n industrial development.", "PICARD\n What do we know about the planet?\n\n GEORDI\n Uncharted. We'll have to get\n closer for a more detailed scan.", "PICARD\n ... We've received our first\n assignment. We're going to be\n exploring the Denab system. It", "The crew is shocked.\n\n HELM OFFICER\n Aye aye, sir. Course plotted and\n laid in...\n\n RIKER\n Romulus?", "EXT. ENTERPRISE - SPACE\n\nThe Enterprise zooms through space.\n\nCompletely unaware of the predator directly above it.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "It stops. Only a few hundred yards from the Enterprise, its\ngreat prow almost filling the gaping hole at the front of the\nbridge.\n\nPicard thinks, his mind racing. Then it comes to him in a\nflash:", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "Disruptor beams appear from nowhere -- streaking through\nspace -- slamming into the Enterprise's warp drive. The\nEnterprise recoils, dangerously dropping out of warp in a\nfurious lurch.", "They are silent as they pass a few Reman guards. Then:\n\n DATA\n My mission was a success, sir. I\n have discovered the source of the\n Thalaron radiation.", "SHINZON\n Tractor beam! Now!\n\nEXT. OVER ROMULUS - SPACE\n\nBut they are too late -- the Scorpion dematerializes --" ], [ "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Shinzon enters with the B-9 following. Shinzon stands on the\nother side of the force field.", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon stares at the Enterprise.", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "Shinzon eyes reflect a growing sense of desperation.\n\n SHINZON\n (spinning to his Viceroy)\n Prepare a boarding party -- BRING\n ME PICARD!", "They dematerialize, the shimmering glow illuminating\nShinzon's features. Picard's eyes never leave Shinzon as\nthe transporter effect ripples around him.", "The forward part of the Enterprise's saucer is enmeshed in\nShinzon's ship; two scorpions with their claws locked.\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "PICARD\n Please.\n\n SHINZON\n It's too late.", "SHINZON\n Tractor beam! Now!\n\nEXT. OVER ROMULUS - SPACE\n\nBut they are too late -- the Scorpion dematerializes --", "PICARD\n We are.\n\n SHINZON\n It's just the two of us now, Jean\n Luc, as it should be... Your ship\n and mine... You and me.", "RIKER\n Worf! Lock on transporters!\n\nINT. SCIMITAR BRIDGE - FOLLOWING\n\nShinzon sees the Scorpion as well.", "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "Shinzon stands with some REMAN ENGINEERS.\n\n SHINZON\n Transport.\n\nAn Engineer activates a transporter and the B-9 materializes!", "REMAN OFFICER\n But, Praetor, you won't survive\n without him...\n\nShinzon gazes at the Enterprise on the viewscreen." ], [ "SHINZON\n The Scimitar will serve my needs.\n\n SURAN\n But surely --", "INT. SCIMITAR - CORRIDORS - FOLLOWING\n\nThe Scorpion banks around a corner --it zigs and zags through\nthe ship at breakneck speed --", "SHINZON\n And you're wondering why the\n Scimitar is so well armed. Is this", "INT. SCIMITAR - VICEROY'S CABIN - FOLLOWING", "He is going to miss the Scimitar -- almost past it now! He\nthrusts out a hand --", "INT. SCIMITAR CORRIDORS - FOLLOWING", "BEVERLY\n He turned out all right.\n\nHe rises, goes to a window, gazes at the Scimitar in the\ndistance. A beat.", "The entire Scimitar slowly begins to unfold. Like a gigantic\nversion of the small spider-weapon we saw kill the Romulan\nSenators before, legs appear and hoist up a savage weapon.\nThe Cascading Pulse.", "And she is momentarily in a cabin on the Scimitar. Although\nentirely a telepathic experience, it is as if she has\nactually traveled.", "SHINZON\n We'll return to the Scimitar.\n Prepare yourself for the bonding.\n\nINT. ENTERPRISE BRIDGE - NIGHT", "The Bassen Rift is a strange area of electromagnetic\ndistortion. Energy patterns crackle through space.\n\nINT. SCIMITAR BRIDGE - FOLLOWING", "The forward part of the Enterprise's saucer is enmeshed in\nShinzon's ship; two scorpions with their claws locked.\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nThe bridge has been damaged, sparks sputter through the\ndarkness and debris litters the deck.", "INT. SCIMITAR - BRIDGE - NIGHT", "INT. SCIMITAR - OBSERVATION LOUNGE - NIGHT\n\nThe away team materializes in the most striking location on\nShinzon's ship: a large observation lounge.", "The Enterprise fires her phasers simultaneously -- the energy\nbeams shoot into space --\n\nAnd the Scimitar's shape is momentarily illuminated as one of\nits shields is hit.", "INT. SCIMITAR - GENERATION CHAMBER - NIGHT\n\nData leads Picard into a massive chamber that soars up like a\ncathedral. It is the size of a small town.", "Then the Scimitar unleashes a devastating volley... all her\nforward disruptor banks fire at once --", "The invisible Scimitar sweeps past for a particularly brutal\nassault -- disruptor blasts streak along the Enterprise's\nhull -- a huge, ripping series of explosions tear away\nseveral decks of the Enterprise --", "He stands on the Scimitar's bridge. The bridge is as unique\nas the rest of Shinzon's ship. Instead of the usual" ], [ "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "PICARD\n I so wanted to believe Shinzon.\n But the Thalaron radiation can't be\n explained away. Whatever he's\n after, it's not peace.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "SHINZON\n Disable their weapons!\n\nBut before the Viceroy can move the Scimitar suddenly ROCKS\n-- attacked from somewhere! Shinzon is stunned.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Picard instantly fires for the Cascading Pulse control -- but\nShinzon dives to cover it -- the phaser blast hits Shinzon in\nthe chest -- he recoils, slamming to the deck, stunned.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "PICARD\n Please.\n\n SHINZON\n It's too late.", "Shinzon sees it coming -- utterly shocked -- bolts up --\n\n SHINZON\n HARD TO PORT !\n\nToo late.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "The crew is utterly confused. Their confusion turns to\noutright shock when Shinzon calmly pulls out a Reman knife\nand cuts his arm, drawing a little blood. He hands the knife\nto Data.", "And then, amazingly, Shinzon forces himself forward --\npushing Picard back against a wall -- Shinzon slowly walks\ntoward Picard, forcing himself down the length of the spear", "Shinzon stands in the ruins of his bridge. Many of his\nbridge crew are now dead.\n\n SHINZON\n Divert all power to engines. Full\n reverse!", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "A computer display illustrates Geordi's words about the power\nof Shinzon's weapon. We see a chilling graphic of the\nBiogenic Pulse beam spreading around a ship, then a whole\nplanet.", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:" ], [ "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "PICARD\n Please.\n\n SHINZON\n It's too late.", "Shinzon ends the transmission and his holographic image\nflickers and fades away.\n\nPicard stands alone, drained.", "Shinzon sees it coming -- utterly shocked -- bolts up --\n\n SHINZON\n HARD TO PORT !\n\nToo late.", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "Picard instantly fires for the Cascading Pulse control -- but\nShinzon dives to cover it -- the phaser blast hits Shinzon in\nthe chest -- he recoils, slamming to the deck, stunned.", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "SHINZON\n I'm glad we're together now -- our\n destiny is complete.\n\nHe finally thrusts himself down the whole spear and clasps\nhis dying hands firmly around Picard's throat --", "Shinzon enters with the B-9 following. Shinzon stands on the\nother side of the force field.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Shinzon stands in the ruins of his bridge. Many of his\nbridge crew are now dead.\n\n SHINZON\n Divert all power to engines. Full\n reverse!", "And then it is Shinzon again, kissing her:\n\n SHINZON\n I'll always be with you now. Now\n and forever...", "And then, amazingly, Shinzon forces himself forward --\npushing Picard back against a wall -- Shinzon slowly walks\ntoward Picard, forcing himself down the length of the spear", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "PICARD\n You know that's not possible.\n\n SHINZON\n I know... you'll all gladly die to\n save your home world." ], [ "EXT. ENTERPRISE - SPACEDOCK - OVER EARTH\n\nA few weeks later. The Enterprise is enclosed in the great\nwomb of a spacedock. The ship is being rebuilt.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "The Enterprise is in orbit around Romulus. Remus can be seen\nin the distance.", "It stops. Only a few hundred yards from the Enterprise, its\ngreat prow almost filling the gaping hole at the front of the\nbridge.\n\nPicard thinks, his mind racing. Then it comes to him in a\nflash:", "This family. A family we love.\n\nEXT. ENTERPRISE - SPACE\n\nThe Enterprise streaks through space.", "PICARD (V.O.)\n Captain's Log. Stardate 47844.9.\n The Enterprise has arrived at", "The Enterprise dramatically powers forward and up -- rolling\nover in a great arc going into warp while still upside down.\nIt disappears in a blaze of light. Fade to...", "SHINZON\n You don't have to understand.\n\n SURAN\n And bringing the Enterprise here?!\n What possible purpose could that\n serve?!", "EXT. THE RIFT - SPACE\n\nThe Enterprise powers forward in a final thrust -- !\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "EXT. ENTERPRISE - OVER KOLARUS III - SPACE\n\nThe Enterprise is in orbit around the uncharted planet. In\nthe distance we can see the distorting violence of an ion\nstorm.", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nThe crew gapes at the huge ship on the viewscreen.", "curiosity and conveniently make the\n Enterprise the closest ship to\n Romulus when I contacted Starfleet.", "And the Enterprise jumps to high warp -- disappearing in a\nflash of dazzling light. Yes!\n\nINT. ENTERPRISE - OBSERVATION LOUNGE - DAY", "The crew is shocked.\n\n HELM OFFICER\n Aye aye, sir. Course plotted and\n laid in...\n\n RIKER\n Romulus?", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "And we cut to --\n\nEXT. ENTERPRISE - SPACEDOCK - OVER EARTH - FOLLOWING", "Picard goes to his command chair:\n\n PICARD\n (to Helm)\n Lay in a new course... Take us to\n Romulus. Warp eight.", "EXT. ENTERPRISE - SPACE\n\nThe Enterprise zooms through space.\n\nCompletely unaware of the predator directly above it.", "PICARD (V.O.)\n Captain's Personal Log.\n Supplemental. We're heading toward\n Federation space at maximum warp.", "Riker knows exactly what Picard is saying: the Enterprise is\nexpendable.\n\n RIKER\n Yes, sir.\n\nPicard stands. Presses a comm button." ], [ "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "Shinzon looks at her. A quick beat. Shinzon decides to\nrespond with benevolence. He smiles.", "Shinzon continues to stare at Deanna. It is strangely\nseductive. Almost disquieting in its intensity. Deanna\nhandles it with grace, her level gaze never leaving his.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon stares at the Enterprise.", "The Viceroy puts his hand on Shinzon's chest. A strange\nmoment as the Viceroy shuts his eyes and feels Shinzon's\nchest. His mind... probing.", "PICARD\n Why have you asked for our presence\n here?\n\nShinzon does not answer. He is staring deeply at Deanna,\nmoans softly.", "Picard is impressed with Shinzon's quiet words.\n\n SHINZON\n You don't trust me.\n\n PICARD\n I have no reason to.", "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "They dematerialize, the shimmering glow illuminating\nShinzon's features. Picard's eyes never leave Shinzon as\nthe transporter effect ripples around him.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "Data scans him with a tricorder as:\n\n PICARD\n And you're not as we imagined you.\n\n SHINZON\n No?", "Shinzon slams his command chair in fury. The Viceroy watches\nhim carefully.\n\nA beat. Shinzon regains his composure. He sits again in his\ncommand chair." ], [ "Riker uses the cover to dive after the Viceroy, following him\ninto the dark Jefferies tube, intent on destroying the man\nwho has been tormenting his wife --", "RIKER\n I don't think we're going to see\n much combat on Betazed.\n\n DEANNA\n Don't be too sure. Mother will be\n there.", "Below decks, Riker stalks the Viceroy through a labyrinthine\nseries of access tunnels. It is like a scene from ALIEN.", "Riker takes her hand.", "INT. ENTERPRISE - CREW LOUNGE - NIGHT\n\nRiker and Deanna are having dinner with Worf.", "RIKER\n It's working.\n\n PICARD\n (to Deanna)\n Counselor?", "INT. ENTERPRISE - RIKER AND DEANNA'S CABIN - NIGHT\n\nRiker is hard at work over a series of padds. He has been\nworking for hours.", "RIKER\n Strength in numbers?\n\n PICARD\n We can only hope so.\n\nA beat as he looks at them gravely.", "RIKER\n Keep at it, Geordi. Find a way in.\n\nBeverly arrives on the bridge, urgent. She carries a medical\npadd.", "INT. ENTERPRISE - SICKBAY - DAY\n\nBeverly is scanning Deanna. Picard and Riker watch,\nconcerned.", "RIKER\n Sir?\n\nPicard doesn't answer, he just stares forward. Deanna goes\nto Riker.\n\n DEANNA\n Data.", "It is Riker. She stares at him, then clings to him\ndesperately.\n\nEXT. ROMULAN SENATE - DAY", "Riker looks toward the glowing debris field in the distance.\nHe puts an arm around Deanna.\n\nSilence.\n\n GEORDI\n Sir, we're being hailed.", "PICARD\n (thinking)\n And that's exactly what he's going\n to do.\n\n RIKER\n Sir?", "RIKER\n Believe it or not, I think the\n cavalry has arrived.\n\n WORF\n We're being hailed.", "RIKER\n Imzadi, what am I going to do with\n you?\n\nThey kiss deeply. She pulls him across the room and they\nfall into the bed.", "RIKER\n (quickly tapping his comm\n badge)\n Worf! Wonderful! I'll be right", "The crew is shocked.\n\n HELM OFFICER\n Aye aye, sir. Course plotted and\n laid in...\n\n RIKER\n Romulus?", "Riker is gone. She is now embracing Shinzon!\n\n SHINZON\n Imzadi. This is so good.\n\n DEANNA\n No!", "DATA\n Counsellor Troi, please assume\n command. Geordi, if you will come\n with me.\n\nHe heads toward the turbolift, Geordi following." ] ]	[ "What comes to Enterprise's aid?", "What does Shinzon do to the two Romulan Warbirds?", "Why does Shinzon activate the thalaron weapon?", "Why is Shinzon aging rapidly?", "Whose primary weapons were destroyed?", "Who kidnaps Picard from the Enterprise?", "Who is Shinzon a clone of?", "Why was Shinzon created?", "Who created Shinzon?", "What is the name of the Reman rebel leader?", "On what planet do Will Riker and Deanna Troi plan to marry?", "What is the name of android that resembles Data?", "Who is Shinzon a clone of?", "What is the name of Shinzon's flagship?", "What does Shinzon need in order to stop rapidly aging and save his life?", "Who rescues Picard from Shinzon?", "What planet is endangered by Shinzon's plans to use the thalaron radiation generator?", "Who kills Shinzon?", "Who will become commander of the USS Titan?", "Why is Shinzon aging rapidly?", "Which person (other than himself) does Shinzon most resemble?", "What is detected by the Enterprise when they travel through the Kolaron planetary system?", "Who does Shinzon kidnap from the Enterprise?", "What is the Scimitar?", "Why does Shinzon activate the Thalaron weapon?", "How does Shinzon die?", "Why does the Enterprise travel to Earth?", "How does Dr. Crusher treat Shinzon?", "What do Riker and Troy hope to accomplish on Betazed?" ]	[ [ "Two Romulan Warbirds.", "Two Romulan warbirds." ], [ "Destroys one and disables the other.", "he destroys and disables them " ], [ "To assure complete destruction of Enterprise and Scimitar ships.", "to invade federation" ], [ "Due to it being a clone.", "he's a clone" ], [ "Scimitar's.", "Shinzon's ship, The Scimitar's primary weapons are destroyed." ], [ "Shinzon.", "Shinzon" ], [ "Picard.", "Picard" ], [ "To plant a high ranking spy into the Federation.", "The Romulans wanted a high ranking spy in the Federation so they created Shinzon. " ], [ "The Romulans.", "The Romulans" ], [ "Shinzon.", "Shinzon" ], [ "Betazed.", "Betazed" ], [ "B-4.", "B-4" ], [ "Captain Picard.", "Picard" ], [ "The Scimitar.", "the Scimitar" ], [ "Picard's blood.", "A blood transfusion of Picard's blood." ], [ "Data.", "Commander Data " ], [ "Earth.", "Earth" ], [ "Picard.", "picard" ], [ "Riker.", "captain riker" ], [ "Because he is a clone.", "Because he is a clone." ], [ "Picard", "Picard" ], [ "Emissions of positronic energy ", "positronic energy" ], [ "Picard and B-4", "Picard" ], [ "A warship ", "flagship" ], [ "To destroy both the Scimitar and the Enterprise ", "Shinzon activates the weapon in order to ensure the mutual destruction of the Enterprise and the Scimitar." ], [ "Impaled on a piece of metal", "he is impaled by Picard" ], [ "For repairs", "For repairs." ], [ "By transfusing Picard's blood", "with Picard's blood" ], [ "They hope to be married", "They got married." ] ]	015c99b411cef291d31cd5543c7ae957edebe6b4	train
[ [ "MILTON MEAD\n Sid just called from St. Luke's, and \n he's heard that the demonstrators up \n there are planning a march to join \n the bunch down here.", "MILTON MEAD\n Yeah, see what that's about.\n (en passant to \n secretary)\n I'll be on Holly Eight. I'll be right \n back.", "During this maelstrom, the phone at Mead's elbow RINGS. Mead \n answers it, listens, nods, returns the receiver, stand and \n slips out of the room into the delicious silence of the...", "The small army of militants and activists has broken through \n the security into the lobby. Their entrance is greeted by \n one small scream from a woman in the lobby. A LEADER of the \n invading troop calls out.", "That was it, you see. That was his \n real revolution. It wasn't racism \n and the oppressed poor and the war", "The curtains on another room are drawn for privacy. On chairs \n in the corner sit a teenage boy with a badly sprained ankle \n and an elderly man bathing his hand in an enamel basin held \n in his lap.", "Beacon Hill practice and set out to \n start a mission in the Mexican \n mountains. And I turned in my S.D.S.", "Milton Mead is sitting in a back seat of the Staff Room -- a \n lounge with couches, easy chairs and magazine racks -- gives \n half an ear to the several opinions being simultaneously \n expressed by:", "As Milton Mead enters, his elder brother, WILLIAM MEAD, mid-\n forties, a smaller and manifestly nervous man, is seated", "...which is already galvanized into action. Miss Aronovici \n is at the girl's pulse even as she is being transferred to \n the bed that has just been cleared of Mr. Mitgang and his \n concussion case.", "He keels over like a felled tree, falling face-up on \n Drummond's bed, his legs dangling to the floor. William Mead \n promptly hides his head under his sheet.", "EXPANSIONIST POLICIES OF THIS IMPERIALIST HOSPITAL.\"", "LONG SHOT of the hospital, now alive and jumping. Taxis pull \n up and out of the large U-shaped drive. A noisy picket line", "His eyes are caught by a white doctor's uniform hanging in \n the armoire along with the suits and overcoats of the two \n patients in the room. He bends over to peer at the nameplate \n over the breast pocket.", "She pauses, her story over. Throughout, Bock has been trying \n to keep his glowering eye on the desktop. During her long", "Holding Room who admitted her, so \n she was here. And now I just spoke \n to Mrs. Fried on Holly Five, and she", "beside him, and silently reaches over to withdraw the I.V. \n needle from his right arm. He lets the needle dangle, dripping", "She sets her coffee down on the couch and decides to wear \n Bock's overcoat rather than use it as a cover. She searches \n for the sleeves. Bock assists her.", "and rubs down the vein. The needle slides into Mead's vein. \n OVER THIS, we begin to hear a distant sibilant HISSING,", "With a short, irritable sigh, Mrs. Reardon abandons her \n paperwork and heads down the west corridor, followed by Nurses" ], [ "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "BOCK\n I'm tired, I'm terribly tired, Miss \n Drummond. And I hurt, and I've got \n nothing going for me anymore. Can \n you understand that?", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "doctor, a man in his late forties, wearing a coat similar to \n Bock's. He is DR. LAGERMAN. He looks up from the magazine", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "DR. LAGERMAN\n Hi, Herb...\n\n Bock acknowledges him with a brusque nod, storms over to \n Miss Lebow.", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "BOCK\n This is Dr. Bock... Yes, Mrs. \n Christie, what is it? It's all right,", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "DR. LAGERMAN\n Ives is dead, Herb. That's why I'm \n here.\n\n This gives Bock pause. He blinks at Lagerman.", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "WELBECK\n Dr. Gilley tells me you're the one \n who initiated these proceedings \n against me.\n\n BOCK\n I'm busy, Welbeck.", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "BOCK\n Dr. Perry said he picked the \n tuberculosis and the liver nodes for \n today, right?\n\n BRUBAKER\n Yes, sir.", "BOCK\n (scowls, mutters)\n I had a Schaefer. He died yesterday \n of an overdose of insulin. What do \n they want Schaefer for?", "BOCK\n So she plugged an I.V. into him.\n\n MRS. CHRISTIE\n Yes.", "CLOSE-UP of Bock trying to hoist Welbeck and looking up \n slowly.\n\n DR. MORSE\n Is this his chart, Dr. Bock?", "Bock immediately emerges from the pharmacy holding a bottle \n of thorazine and a wrapped hypodermic syringe. He scowls at \n Welbeck, who scowls back." ], [ "His eyes are caught by a white doctor's uniform hanging in \n the armoire along with the suits and overcoats of the two \n patients in the room. He bends over to peer at the nameplate \n over the breast pocket.", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "There is, of course, no response. A terrible suspicion enters \n Nurse Perez's mind, and she closes her eyes and sighs a long", "died last night in Eight-O-Six, but \n that information wasn't given to the \n night nurses. These things happen.", "MILTON MEAD\n (to Hitchcock)\n Tom, you want to go down to the \n Emergency Room? One of our doctors \n just died.", "MRS. CUSHING\n (as Spezio approaches, \n with spiteful relish)\n I think one of your patients in here \n is dead, Dr. Spezio.", "CRASHES. William Mead sleeps fitfully. The other patient is \n entirely curtained off. Nurse Devine sets her tray on Mead's", "DRUMMOND\n (off-screen)\n He had at that time perhaps an hour \n to live. Prompt treatment would have \n saved his life.\n\n They go into the...", "Drummond, abashed, stands there, a scolded schoolboy, a \n rawboned figure in a hospital shift, a stethoscope dangling \n from his right hand.", "This is the Emergency Room. One of \n the doctors just died of a heart \n attack.", "taking Nurse Weitzenbaum out with her and closing the door. \n The room is dark and hushed again. Blacktree lights his \n cigarette and \"sends the smoke up,\" a ritual which consists", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "this hospital, they either died of a \n heart attack in Emergency or of \n anesthesia shock in an operating \n room.", "Two orderlies rush the old man's bed with, of course, the \n old man in it, past the Nurses' Station and into a waiting \n elevator.", "the manner of Nurse Campanella's \n death. She was to die of the great \n American plague -- vestigial identity.", "he gets up and puts on a doctor's \n uniform, and he goes out, and he \n murders doctors! He just went out", "All I need do was arrange for the \n doctors to become patients in their \n own hospital. Accordingly, the next", "EIGHTH FLOOR CORRIDOR\n\n The elevator door opens. Two orderlies wheel the sleeping \n man on his bed back around the Nurses' Station and down the \n corridor to his room.", "AMBLER\n We, the members of the Doctors \n Liberation Committee indict this \n hospital for the criminal neglect of" ], [ "The score of protesters outside the pavilion still move in \n an uneven ellipse and shout: \"Two -- Four! Help the Poor!\"", "HONKS and HOOTS. At a crosswalk, a loose procession of fifty \n or so shouting demonstrators, bearing placards, flows toward", "matter at some length: \"WE PROTEST THE EVICTION OF 386 BLACK \n FAMILIES AND THE DESTRUCTION OF THEIR HOMES TO SERVE THE", "SHOUTING CROWD\n We want Sundstrom! We want Sundstrom! \n Community control! Community control!", "The small army of militants and activists has broken through \n the security into the lobby. Their entrance is greeted by \n one small scream from a woman in the lobby. A LEADER of the \n invading troop calls out.", "MILTON MEAD\n Sid just called from St. Luke's, and \n he's heard that the demonstrators up \n there are planning a march to join \n the bunch down here.", "Most of the placards are slogan-y: \"PEOPLE YES! DOCTORS NO!\" -- \n \"CURE POVERTY! HEAL THE POOR!\" Two protesters move toward", "SKIDS!\" which is what they now chant: \"Save our kids! From \n the Skids!\" The demonstration moves through a handful of \n city cops where our original group of twenty still ramble", "CHANTING, SHOUTING. Absolutely no one pays any attention to \n the gaunt, doctor-clad sixty-year-old man standing on an \n island.", "the main gates. Their posters read: \"FIGHT DOPE -- NOT DOPES!\" \n \"DRUGS YES! TRANSPLANTS NO!\" and \"SAVE OUR KIDS FROM THE", "GRUMBLING PROTESTERS\n (chanting)\n Two-four! Help the poor!", "SHOUT\n What are you going to do about those \n fourteen ghetto people?\n\n As the shouts continue, Sundstrom raises a hand to quiet the \n crowd.", "That was it, you see. That was his \n real revolution. It wasn't racism \n and the oppressed poor and the war", "Eyes filled with tears of rage, Sundstrom lowers his head \n and moves into the mass of militants, which parts for him to \n leave.", "They pick their way around the shuffling line of protesters -- \n many with Afro haircuts and tinted glasses, including a black \n minister and four young white activists.", "LEADER\n Fourteen people just got arrested \n for doing...\n\n In the background, one of their fellow revolutionaries speaks \n up...", "Beacon Hill practice and set out to \n start a mission in the Mexican \n mountains. And I turned in my S.D.S.", "LEADER\n Would you be cool, man?\n (now yelling)\n Fourteen people got arrested for", "throng the sidestreets off First Avenue. Signs read, \"People \n Sí, Doctors No.\" A Channel 11 mobile news crew, newspaper", "the community in which it is situated! \n We demand an immediate dissolution \n of the governing and executive boards." ], [ "Barbara Drummond comes in. Bock has apparently turned the \n lights on for her, but Bock himself is not immediately", "ROOM 806. DAY\n\n Drummond on his chair. Barbara perched on one side of her \n father's bed, Bock on the other. William Mead sleeps on.", "BARBARA\n Rubbish.\n\n With a crash of his fist on the desktop, Bock stands; he is \n in a drunken rage.", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "BARBARA\n Yes. I still have to arrange an \n ambulance service. Is there a phone \n around I could use?\n\n BOCK\n Use my office.", "BOCK\n (who has been staring \n at her as if she \n were insane)\n What the hell am I supposed to say \n to that, Miss Drummond?", "BARBARA\n Thank you.\n\n Bock exits. Barbara edges past Weitzenbaum, who is still \n peeking into the room.", "Bock holds Drummond's coat and hat and crosses to take his \n arm. He finds the entranced Drummond as rigid as a statue.", "BARBARA\n I believe in everything, Doctor.\n\n BOCK\n Like a drink?\n\n BARBARA\n Yes.", "BOCK\n I'm tired, I'm terribly tired, Miss \n Drummond. And I hurt, and I've got \n nothing going for me anymore. Can \n you understand that?", "Bock cocks his head to him.\n\n DR. MORSE\n What's his name? Drummond?", "visible. She looks through the half-open door to Bock's \n private office, and there he is, staring blankly at the \n bottle. Barbara starts to say something, thinks better of", "BARBARA\n (who's been slipping \n into the nurse's \n uniform)\n Yeah?\n\n BOCK\n Yeah.", "He wrenches open the door of 806, marches in, followed by \n Bock and Barbara.\n\n EIGHTH FLOOR, ROOM", "BOCK\n You rang for your nurse?\n\n DRUMMOND\n To insure one full hour of \n uninterrupted privacy.", "BARBARA\n (in background on \n phone)\n ...Drummond, first name, Barbara. \n I'll pay cash...", "BOCK\n Well, that would be nice, too.\n\n She sips her coffee.\n\n BOCK\n What do you say, Miss Drummond?", "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "DRUMMOND\n (off-screen)\n He had at that time perhaps an hour \n to live. Prompt treatment would have \n saved his life.\n\n They go into the...", "HOLD ACROSS the patient Drummond, on Bock in the background \n at the window with his back to us. Suddenly, Drummond's eyes" ], [ "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "BOCK\n He had a heart attack in the Emergency \n Room?\n\n DR. LAGERMAN\n Yeah.", "BOCK\n (The doctor in him \n intrudes into his \n lassitude)", "BOCK\n Dr. Perry said he picked the \n tuberculosis and the liver nodes for \n today, right?\n\n BRUBAKER\n Yes, sir.", "BOCK\n Come and see me.\n (to the patient, \n helping her up)\n Would you sit up for a minute?", "DR. MORSE\n What do you have, Dr. Bock?\n\n BOCK\n Total cardiac arrest.", "BOCK\n And now you come to me with this \n gothic horror story in which the \n entire machinery of modern medicine", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "BOCK\n (looks down again)\n You're wasting your time. I've been \n impotent for years.", "BOCK\n (lurches about)\n What the hell's wrong with being", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "Bock moves quickly to the prostrate Welbeck, feels his throat \n for the carotid pulse, pulls out his stethoscope, rips", "The doctors exchange a look as Bock rises, moves toward them, \n laughing.", "DR. MORSE\n How long has he been like this?\n\n BOCK\n About a minute. No pulse, no \n heartbeat, no respiration...", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with" ], [ "Barbara Drummond comes in. Bock has apparently turned the \n lights on for her, but Bock himself is not immediately", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "ROOM 806. DAY\n\n Drummond on his chair. Barbara perched on one side of her \n father's bed, Bock on the other. William Mead sleeps on.", "As the small procession bears down, Barbara Drummond slips \n out of that room to intercept them.", "side of the dividing island. An ambulance attendant has opened \n the back doors to get Drummond in. Barbara hurries toward", "BARBARA\n (in background on \n phone)\n ...Drummond, first name, Barbara. \n I'll pay cash...", "BARBARA\n He's to be taken to American Airlines, \n Yes... No... Kennedy Airport, Flight", "comatose and rigged out with I.V.s and catheters. Barbara \n Drummond is packing her father's things into an open one-", "Barbara unsnaps her father's valise and stuffs Welbeck's \n garments in it. Bock takes Welbeck's coat and piles Drummond's \n things on top of that.", "DRUMMOND\n (off-screen)\n He had at that time perhaps an hour \n to live. Prompt treatment would have \n saved his life.\n\n They go into the...", "BARBARA\n Rubbish.\n\n With a crash of his fist on the desktop, Bock stands; he is \n in a drunken rage.", "BARBARA\n Yes. I still have to arrange an \n ambulance service. Is there a phone \n around I could use?\n\n BOCK\n Use my office.", "They reach an open elevator. Mead goes in, the doors close. \n The doors of a second elevator then open, and Barbara comes", "WELBECK\n (to Mrs. Donovan)\n I'm Dr. Welbeck. I have a patient on \n this floor named Drummond, and I'd \n like to see his chart.", "BARBARA\n Thank you.\n\n Bock exits. Barbara edges past Weitzenbaum, who is still \n peeking into the room.", "OVER DRUMMOND PERFORMING SOME PAGAN RITUAL. THE HISSING IS \n BARBARA'S CONTRIBUTION TO THE CEREMONY. (IT SOUNDS LIKE PIS-", "and back to Mexico where they live. \n The patient's name is Drummond. He's \n apparently a Methodist missionary,", "Drummond's bed. It's quite a sight for a nervous, sedated \n man to wake to. Thunder RUMBLES and the rain SLASHES and a", "BARBARA\n (to Nurse Chile as \n others begin moving \n William Mead's bed \n out of the room)\n Give him an ambu bag and an airway.", "DRUMMOND\n So last night, I coshed Miss \n Campanella with a sandbag, sedated" ], [ "DRUMMOND\n I was merely an instrument of God. I \n killed no one. They all three died", "DRUMMOND\n (off-screen)\n He had at that time perhaps an hour \n to live. Prompt treatment would have \n saved his life.\n\n They go into the...", "DRUMMOND\n (voice-off)\n ...simply... forgotten to death. \n Simply mislaid...\n\n CAMERA JUST STARES at the pageant of pain.", "DRUMMOND\n So last night, I coshed Miss \n Campanella with a sandbag, sedated", "DRUMMOND\n (voice-off)\n ...and then he was promptly...", "whose eyes now open; he has heard it all. In background, \n Drummond, suddenly released from his catatonic trance, heads", "OVER DRUMMOND PERFORMING SOME PAGAN RITUAL. THE HISSING IS \n BARBARA'S CONTRIBUTION TO THE CEREMONY. (IT SOUNDS LIKE PIS-", "WELBECK\n (to Mrs. Donovan)\n I'm Dr. Welbeck. I have a patient on \n this floor named Drummond, and I'd \n like to see his chart.", "He keels over like a felled tree, falling face-up on \n Drummond's bed, his legs dangling to the floor. William Mead \n promptly hides his head under his sheet.", "Drummond's bed. It's quite a sight for a nervous, sedated \n man to wake to. Thunder RUMBLES and the rain SLASHES and a", "DRUMMOND\n (off-screen)\n He was relentlessly subjected to the \n benefits of modern medicine. He was", "DRUMMOND\n (voice-off)\n ...which revealed occasional \n ventricular premature contractions. \n An intern took his history...", "in all the textbooks. I happen to be \n an eminent man, Miss Drummond. And \n you want to know something, Miss", "PAN SLOWLY to Drummond who stares at the Nameless Man.", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "DRUMMOND\n (off-screen)\n ...perhaps even Christ Himself.", "life and dies. CAMERA DOLLIES slowly to CLOSE-UP of Drummond \n lying motionless on his bed. His eyes are wide, glinting in", "Drummond turns to the voice. CAMERA PULLS BACK to include \n the man who had been brought into the E.R. by a uniformed \n cop.", "DRUMMOND\n (off-screen)\n Our Savior was, it seems, suffering \n from emphysema.", "Drummond, abashed, stands there, a scolded schoolboy, a \n rawboned figure in a hospital shift, a stethoscope dangling \n from his right hand." ], [ "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "BOCK\n Dr. Welbeck is dead. They thought he \n was you.", "The doctors exchange a look as Bock rises, moves toward them, \n laughing.", "Bock cocks his head to him.\n\n DR. MORSE\n What's his name? Drummond?", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "DR. LAGERMAN\n Hi, Herb...\n\n Bock acknowledges him with a brusque nod, storms over to \n Miss Lebow.", "doctor, a man in his late forties, wearing a coat similar to \n Bock's. He is DR. LAGERMAN. He looks up from the magazine", "BOCK\n This is Dr. Bock... Yes, Mrs. \n Christie, what is it? It's all right,", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "Except, of course, for Bock, who must pause to wait for a \n red light. Bock hustles through the traffic to where Drummond \n stands.", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped.", "Bock holds Drummond's coat and hat and crosses to take his \n arm. He finds the entranced Drummond as rigid as a statue.", "BOCK'S OFFICE\n\n Bock, back at his desk, looks up.\n\n BOCK\n You believe in witchcraft, Miss \n Drummond?" ], [ "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "BOCK\n Dr. Welbeck is dead. They thought he \n was you.", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "The doctors exchange a look as Bock rises, moves toward them, \n laughing.", "Bock cocks his head to him.\n\n DR. MORSE\n What's his name? Drummond?", "DR. LAGERMAN\n Hi, Herb...\n\n Bock acknowledges him with a brusque nod, storms over to \n Miss Lebow.", "BOCK\n This is Dr. Bock... Yes, Mrs. \n Christie, what is it? It's all right,", "He rumbles toward the door. The class of doctors dissolves \n into hospital murmurs and mutters and a general dispersal. \n They follow Bock out to...", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "Bock immediately emerges from the pharmacy holding a bottle \n of thorazine and a wrapped hypodermic syringe. He scowls at \n Welbeck, who scowls back.", "Except, of course, for Bock, who must pause to wait for a \n red light. Bock hustles through the traffic to where Drummond \n stands.", "BOCK\n Dr. Perry said he picked the \n tuberculosis and the liver nodes for \n today, right?\n\n BRUBAKER\n Yes, sir.", "doctor, a man in his late forties, wearing a coat similar to \n Bock's. He is DR. LAGERMAN. He looks up from the magazine" ], [ "lot of people come into this hospital \n in big trouble, Miss Drummond, and \n go out better for the experience. So", "because she couldn't tell the doctors \n from the patients on the floor? My \n God, the incompetence here is", "NARRATOR\n On Monday morning, a patient named \n Guernsey, male, middle-seventies was \n admitted to the hospital complaining \n of chest pains.", "hospital. One of them, a portly \n psychiatrist, explained I was \n generated by an unresolved lust for \n my father. I apparently cracked up.", "Out of respect for the COMATOSE PATIENT, the ensuing agitated \n scene is held in whispers.", "Representative of the Hospital, a young woman in her thirties \n named EVELYN BASSEY, who is trying to read a statement,", "This is the Emergency Room. One of \n the doctors just died of a heart \n attack.", "the I.V. on the bed had been pinched \n off, and she reported that back to \n Mrs. Reardon, who then assigned Nurse", "overheard his whole confession and \n just told the Chief Administrator of \n the hospital. They're sending for \n the cops.", "...and in the other room, a man in his thirties is being \n treated for some sort of head lacerations. In one treatment", "...where Dr. Sutfcliffe, the beautiful young woman, the \n elderly Indian and the minister are engaged in agitated \n discussion. The girl and the Indian retain their stoic", "AMBULANCE ATTENDANTS\n (shouting)\n Not breathing! Not breathing!\n\n They hurry into the Admitting Room past a nurse and into \n the...", "the hospital was the opening scene of the film) is being \n helped into the room by Nurse Felicia Chile. She solicitously \n helps the wispy old man off with his coat and jacket and hat", "FADE OUT.\n\n FADE IN:\n\n THE HOSPITAL. 6:30 A.M. NEXT MORNING, TUESDAY", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "EMERGENCY ADMITTING AND TREATMENT ROOMS\n\n Ives, seated on a table in evident distress, breathes heavily.", "the gates and spill across the drive. Some policemen and \n security guards move tentatively out of the hospital to \n intercept them.", "Two orderlies rush the old man's bed with, of course, the \n old man in it, past the Nurses' Station and into a waiting \n elevator.", "The orderly detaches himself from his cronies and exits. It \n is into this atmosphere of subdued febrility that William \n Mead is wheeled.", "The usual E.R. crush and motion goes on in the background. \n Drummond escorts an obviously ill Dr. Ives to the Admitting" ], [ "MAN\n Those buildings are imperialistic \n extensions of the medical \n establishment. This hospital ought \n to be rebuilding those tenements, \n give those people decent housing.", "MAN\n The point is that this hospital is \n the landlord for those buildings and \n they should've turned them down.", "the gates and spill across the drive. Some policemen and \n security guards move tentatively out of the hospital to \n intercept them.", "in the building came out. The police \n tried to arrest them and, apparently, \n the situation has erupted into a \n riot.", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "Avenue was condemned by the City \n before the hospital acquired \n ownership, and even then, only after \n responsible leaders in the community", "...where Dr. Sutfcliffe, the beautiful young woman, the \n elderly Indian and the minister are engaged in agitated \n discussion. The girl and the Indian retain their stoic", "next to it, eight ghetto buildings are being demolished to \n make way -- according to the construction company's sign -- \n for a new Drug Rehabilitation Center, to be completed in", "people out of those buildings before \n a wall collapses or a fire breaks \n out and we've got a riot on our \n hands!... Okay!", "All I need do was arrange for the \n doctors to become patients in their \n own hospital. Accordingly, the next", "and female. For the moment the door is ajar, we see a harried \n Milton Mead being assailed by angry blacks and Puerto Ricans \n and young white activist doctors.", "From the long tunnels of corridors, nurses, doctors, \n administrative personnel pause in their chores and errands \n and missions to watch the tide of events in the lobby.", "LONG SHOT of the hospital, now alive and jumping. Taxis pull \n up and out of the large U-shaped drive. A noisy picket line", "MRS. BASSEY\n (reading)\n ...complete sympathy with the tenants. \n So the hospital has assumed the", "FADE OUT.\n\n FADE IN:\n\n THE HOSPITAL. 6:30 A.M. NEXT MORNING, TUESDAY", "CHANTING, SHOUTING. Absolutely no one pays any attention to \n the gaunt, doctor-clad sixty-year-old man standing on an \n island.", "Out of respect for the COMATOSE PATIENT, the ensuing agitated \n scene is held in whispers.", "The small army of militants and activists has broken through \n the security into the lobby. Their entrance is greeted by \n one small scream from a woman in the lobby. A LEADER of the \n invading troop calls out.", "The gathering storm erupts. Rage suffuses Bock's face. Out \n of respect for the hospital corridor and the people working", "Two orderlies rush the old man's bed with, of course, the \n old man in it, past the Nurses' Station and into a waiting \n elevator." ], [ "Bock looks up, and they suddenly find their eyes locked. The \n dark, dense air in the room fairly steams with incipient \n sexuality.", "Bock holds Drummond's coat and hat and crosses to take his \n arm. He finds the entranced Drummond as rigid as a statue.", "of love. Then slowly over Bock's plunging shoulder to the \n woman's face. She gasps at the moment of penetration, then", "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "She senses Bock watching her, turns, smiles. She's a very \n beautiful girl. She returns to the phone.", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "BOCK\n This is Dr. Bock... Yes, Mrs. \n Christie, what is it? It's all right,", "BOCK\n (who has been staring \n at her as if she \n were insane)\n What the hell am I supposed to say \n to that, Miss Drummond?", "up almost to her waist and is saved from utter exhibitionism \n only by the darkness of the shadows. She seems unaffected by \n Bock's voyeuristic interest in her, but she is surely not", "BOCK\n I'm tired, I'm terribly tired, Miss \n Drummond. And I hurt, and I've got \n nothing going for me anymore. Can \n you understand that?", "BOCK\n You mean she was the one?\n\n LAGERMAN\n That's the one. I just identified \n her.", "visible. She looks through the half-open door to Bock's \n private office, and there he is, staring blankly at the \n bottle. Barbara starts to say something, thinks better of", "BOCK\n I think those were more expressions \n of gratitude than love.\n\n BARBARA\n Gratitude for what?", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "BOCK\n So she plugged an I.V. into him.\n\n MRS. CHRISTIE\n Yes.", "BOCK\n Come and see me.\n (to the patient, \n helping her up)\n Would you sit up for a minute?", "BOCK\n Dr. Welbeck is dead. They thought he \n was you.", "Bock immediately emerges from the pharmacy holding a bottle \n of thorazine and a wrapped hypodermic syringe. He scowls at \n Welbeck, who scowls back.", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped." ], [ "As the small procession bears down, Barbara Drummond slips \n out of that room to intercept them.", "Barbara Drummond comes in. Bock has apparently turned the \n lights on for her, but Bock himself is not immediately", "BARBARA\n (in background on \n phone)\n ...Drummond, first name, Barbara. \n I'll pay cash...", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "ROOM 806. DAY\n\n Drummond on his chair. Barbara perched on one side of her \n father's bed, Bock on the other. William Mead sleeps on.", "comatose and rigged out with I.V.s and catheters. Barbara \n Drummond is packing her father's things into an open one-", "DRUMMOND\n Her operation -- that is to say, \n Mrs. Mangafranni's operation -- was", "side of the dividing island. An ambulance attendant has opened \n the back doors to get Drummond in. Barbara hurries toward", "Barbara unsnaps her father's valise and stuffs Welbeck's \n garments in it. Bock takes Welbeck's coat and piles Drummond's \n things on top of that.", "DRUMMOND\n So last night, I coshed Miss \n Campanella with a sandbag, sedated", "BARBARA\n I believe in everything, Doctor.\n\n BOCK\n Like a drink?\n\n BARBARA\n Yes.", "WELBECK\n (to Mrs. Donovan)\n I'm Dr. Welbeck. I have a patient on \n this floor named Drummond, and I'd \n like to see his chart.", "BARBARA\n Well, let me put it this way. I love \n you. I fancied you from the first", "BARBARA\n You're a very tired and very damaged \n man. You've had a hideous marriage", "BARBARA\n Thank you.\n\n Bock exits. Barbara edges past Weitzenbaum, who is still \n peeking into the room.", "in his other hand. Barbara is perfectly framed in the doorway. \n He stares at her, slowly suffusing with the numb, blind,", "Barbara comes in, gathers her coat and purse from a chair \n and moves to the Indian, now occupied with what seems to be", "DRUMMOND\n (off-screen)\n ...perhaps even Christ Himself.", "BOCK\n (who has been staring \n at her as if she \n were insane)\n What the hell am I supposed to say \n to that, Miss Drummond?", "whose eyes now open; he has heard it all. In background, \n Drummond, suddenly released from his catatonic trance, heads" ], [ "Barbara Drummond comes in. Bock has apparently turned the \n lights on for her, but Bock himself is not immediately", "As the small procession bears down, Barbara Drummond slips \n out of that room to intercept them.", "BARBARA\n (in background on \n phone)\n ...Drummond, first name, Barbara. \n I'll pay cash...", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "ROOM 806. DAY\n\n Drummond on his chair. Barbara perched on one side of her \n father's bed, Bock on the other. William Mead sleeps on.", "comatose and rigged out with I.V.s and catheters. Barbara \n Drummond is packing her father's things into an open one-", "side of the dividing island. An ambulance attendant has opened \n the back doors to get Drummond in. Barbara hurries toward", "DRUMMOND\n Her operation -- that is to say, \n Mrs. Mangafranni's operation -- was", "DRUMMOND\n So last night, I coshed Miss \n Campanella with a sandbag, sedated", "WELBECK\n (to Mrs. Donovan)\n I'm Dr. Welbeck. I have a patient on \n this floor named Drummond, and I'd \n like to see his chart.", "Barbara unsnaps her father's valise and stuffs Welbeck's \n garments in it. Bock takes Welbeck's coat and piles Drummond's \n things on top of that.", "Barbara comes in, gathers her coat and purse from a chair \n and moves to the Indian, now occupied with what seems to be", "BARBARA\n I believe in everything, Doctor.\n\n BOCK\n Like a drink?\n\n BARBARA\n Yes.", "whose eyes now open; he has heard it all. In background, \n Drummond, suddenly released from his catatonic trance, heads", "DRUMMOND\n (off-screen)\n ...perhaps even Christ Himself.", "The ambulance pulls up and Barbara gets out of it.\n\n BARBARA\n (taking her father \n around to the back)\n We have to hurry, Dad.", "DRUMMOND\n I got up, wheeled Miss Campanella \n off to the operating rooms, replaced", "BOCK\n (who has been staring \n at her as if she \n were insane)\n What the hell am I supposed to say \n to that, Miss Drummond?", "Drummond turns to the voice. CAMERA PULLS BACK to include \n the man who had been brought into the E.R. by a uniformed \n cop.", "Drummond's eyes open and roll to the direction of the voice." ], [ "BOCK\n Dr. Welbeck is dead. They thought he \n was you.", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "Barbara helps Bock get Welbeck's dead weight onto the floor. \n On his knees, Bock straddles Welbeck's prone form, balls his", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "BARBARA\n Thank you.\n\n Bock exits. Barbara edges past Weitzenbaum, who is still \n peeking into the room.", "BARBARA\n Sounds to me like a familiar case of \n morbid menopause.\n\n BOCK\n Oh Christ.", "BOCK\n (regarding Schaefer's \n rigid death mask)\n As I understand it, one of the nurses", "BARBARA\n Yes, of course.\n\n BOCK\n Then can you understand that the \n only admissable matter left is death?", "ROOM 806\n\n Bock and Barbara slip through doctors and nurses, heading \n for the door.", "BARBARA\n Rubbish.\n\n With a crash of his fist on the desktop, Bock stands; he is \n in a drunken rage.", "BARBARA\n Yes. I still have to arrange an \n ambulance service. Is there a phone \n around I could use?\n\n BOCK\n Use my office.", "Bock, Lagerman and Hitchcock have gathered across the shrouded \n figure of Dr. Ives on a stretcher. We are in the lab section", "visible. She looks through the half-open door to Bock's \n private office, and there he is, staring blankly at the \n bottle. Barbara starts to say something, thinks better of", "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "Bock and Barbara remain at the window with heart-resuscitation \n team in background. Barbara slips into her own coat, in \n preparation for escape.", "While all this goes on, Bock and Barbara have picked up the \n remnants of Welbeck's jacket, trousers, shirt and underwear.", "Bock and Barbara hurry toward the elevators.\n\n THE HOSPITAL, HOLLY PAVILION, LOBBY", "BARBARA\n (who's been slipping \n into the nurse's \n uniform)\n Yeah?\n\n BOCK\n Yeah.", "Covered by Bock's overcoat, Barbara tosses and turns on the \n couch in a small nightmare. Through the windows comes the", "Bock looks across to Barbara, now helping out at the max \n cart. She looks back at Bock. She shrugs. He shrugs. They \n exchange a smile." ], [ "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "Bock cocks his head to him.\n\n DR. MORSE\n What's his name? Drummond?", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "doctor, a man in his late forties, wearing a coat similar to \n Bock's. He is DR. LAGERMAN. He looks up from the magazine", "BOCK\n This is Dr. Bock... Yes, Mrs. \n Christie, what is it? It's all right,", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "The doctors exchange a look as Bock rises, moves toward them, \n laughing.", "BOCK\n Dr. Welbeck is dead. They thought he \n was you.", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "DR. LAGERMAN\n Hi, Herb...\n\n Bock acknowledges him with a brusque nod, storms over to \n Miss Lebow.", "BOCK\n Yes, his name's Drummond. That's his \n chart.\n\n Straining under the effort, the three doctors get Welbeck \n off the floor.", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "BOCK'S OFFICE\n\n Bock, back at his desk, looks up.\n\n BOCK\n You believe in witchcraft, Miss \n Drummond?", "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped.", "The staff elevator doors open and Bock comes out, wearing \n his long white doctor's coat unbuttoned. Hanging about the" ], [ "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "He rumbles toward the door. The class of doctors dissolves \n into hospital murmurs and mutters and a general dispersal. \n They follow Bock out to...", "...where Dr. Joseph Lagerman, Head of Nephrology, perhaps \n remembered from an earlier scene, has been waiting for Bock. \n He joins them en route to the elevators.", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "Bock immediately emerges from the pharmacy holding a bottle \n of thorazine and a wrapped hypodermic syringe. He scowls at \n Welbeck, who scowls back.", "through the background, followed by the band of young doctors \n now dispersing. Bock crosses past the foreground group to \n the staff elevator. He pushes the button. Brubaker approaches", "A corridor of offices. This is the Department of Medicine, \n where Bock and all the senior staff members of the department", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "ROOM 819\n\n Past two beds, they group around the foot of a third bed on \n the right side of the room. Bock checks the patient lying in \n the bed.", "The elevator door opens. Out comes Bock, overcoat unbuttoned \n now. He clumps to the Nurses' Station. An unusual number of", "He heads for the Nurses' Station as Nurse Devine comes down \n the west corridor. Bock grunts at Mrs. Dunne and goes into...\n\n PHARMACY", "Bock moves past Mrs. Donovan and into the pharmacy where we \n see him scouring the shelves for thorazine and a syringe. An", "The doctors exchange a look as Bock rises, moves toward them, \n laughing.", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "Bock moves quickly to the prostrate Welbeck, feels his throat \n for the carotid pulse, pulls out his stethoscope, rips", "Except, of course, for Bock, who must pause to wait for a \n red light. Bock hustles through the traffic to where Drummond \n stands." ], [ "Avenue was condemned by the City \n before the hospital acquired \n ownership, and even then, only after \n responsible leaders in the community", "MAN\n Those buildings are imperialistic \n extensions of the medical \n establishment. This hospital ought \n to be rebuilding those tenements, \n give those people decent housing.", "MAN\n The point is that this hospital is \n the landlord for those buildings and \n they should've turned them down.", "next to it, eight ghetto buildings are being demolished to \n make way -- according to the construction company's sign -- \n for a new Drug Rehabilitation Center, to be completed in", "The Hospital was founded in the late 19th century, and there \n are still a few begrimed Victorian Bedlams and Bastilles", "responsibility of finding 400 housing \n units in good buildings. The hospital \n wishes to point out that this \n particular row of buildings on First", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "LONG SHOT of the hospital, now alive and jumping. Taxis pull \n up and out of the large U-shaped drive. A noisy picket line", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "MILTON MEAD\n There are no private rooms available. \n If they brought in Jesus Christ fresh \n off the cross, I couldn't get Him a \n private room.", "Designed to hold patients who've been examined and wait to \n be admitted to a room upstairs, it's in fact used for", "Two orderlies rush the old man's bed with, of course, the \n old man in it, past the Nurses' Station and into a waiting \n elevator.", "She turns to Mitgang. Something bothers her about the first \n patient. She finds Mitgang's chart tucked in under his pillow, \n takes out her pencil.", "All I need do was arrange for the \n doctors to become patients in their \n own hospital. Accordingly, the next", "AMBLER\n We, the members of the Doctors \n Liberation Committee indict this \n hospital for the criminal neglect of", "EIGHTH FLOOR CORRIDOR\n\n The elevator door opens. Two orderlies wheel the sleeping \n man on his bed back around the Nurses' Station and down the \n corridor to his room.", "MRS. BASSEY\n (reading)\n ...complete sympathy with the tenants. \n So the hospital has assumed the", "this hospital, they either died of a \n heart attack in Emergency or of \n anesthesia shock in an operating \n room.", "PAN SLOWLY across the Emergency Room to catch its state of \n contained febrility. Every curtained treatment room is", "Mead is wheeled down the corridor by the orderly. At the far \n end, an anesthetized patient, blue in the harsh light, fresh \n from surgery, is being wheeled into a recovery room." ], [ "As the small procession bears down, Barbara Drummond slips \n out of that room to intercept them.", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "The ambulance pulls up and Barbara gets out of it.\n\n BARBARA\n (taking her father \n around to the back)\n We have to hurry, Dad.", "Barbara Drummond comes in. Bock has apparently turned the \n lights on for her, but Bock himself is not immediately", "side of the dividing island. An ambulance attendant has opened \n the back doors to get Drummond in. Barbara hurries toward", "ROOM 806. DAY\n\n Drummond on his chair. Barbara perched on one side of her \n father's bed, Bock on the other. William Mead sleeps on.", "comatose and rigged out with I.V.s and catheters. Barbara \n Drummond is packing her father's things into an open one-", "DRUMMOND\n (off-screen)\n He had at that time perhaps an hour \n to live. Prompt treatment would have \n saved his life.\n\n They go into the...", "The usual E.R. crush and motion goes on in the background. \n Drummond escorts an obviously ill Dr. Ives to the Admitting", "Drummond, abashed, stands there, a scolded schoolboy, a \n rawboned figure in a hospital shift, a stethoscope dangling \n from his right hand.", "Barbara unsnaps her father's valise and stuffs Welbeck's \n garments in it. Bock takes Welbeck's coat and piles Drummond's \n things on top of that.", "Drummond turns to the voice. CAMERA PULLS BACK to include \n the man who had been brought into the E.R. by a uniformed \n cop.", "and back to Mexico where they live. \n The patient's name is Drummond. He's \n apparently a Methodist missionary,", "They head for the unoccupied bed. CLOSE-UP on Drummond's \n profile.\n\n ROOM 806", "Bock and Barbara hurry toward the elevators.\n\n THE HOSPITAL, HOLLY PAVILION, LOBBY", "Drummond pauses in his strangling and, releasing the poor \n man altogether, turns to his daughter in the doorway.", "DRUMMOND\n I got up, wheeled Miss Campanella \n off to the operating rooms, replaced", "Welbeck himself. Barbara and Dr. Biegelman go into the \n elevator. The doors close. Milton Mead and Hitchcock head", "raised. He shuffles to Drummond's bedside and looks down on \n him from his frail height.", "BARBARA\n (in background on \n phone)\n ...Drummond, first name, Barbara. \n I'll pay cash..." ], [ "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "BOCK\n This is Dr. Bock... Yes, Mrs. \n Christie, what is it? It's all right,", "visible. She looks through the half-open door to Bock's \n private office, and there he is, staring blankly at the \n bottle. Barbara starts to say something, thinks better of", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "Barbara Drummond comes in. Bock has apparently turned the \n lights on for her, but Bock himself is not immediately", "BOCK'S OFFICE\n\n Bock, back at his desk, looks up.\n\n BOCK\n You believe in witchcraft, Miss \n Drummond?", "Bock makes a vague noise, neither contradicting her nor \n assenting, and continues around her into...\n\n ROOM 806", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "BOCK\n Come and see me.\n (to the patient, \n helping her up)\n Would you sit up for a minute?", "She returns the receiver to its cradle. When she looks up \n again, Bock is no longer there. She returns the flight tickets", "BOCK\n Dr. Welbeck is dead. They thought he \n was you.", "up almost to her waist and is saved from utter exhibitionism \n only by the darkness of the shadows. She seems unaffected by \n Bock's voyeuristic interest in her, but she is surely not", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped.", "She slips into her coat and exits, as Bock looks after her \n thoughtfully, then turns back to his own office.\n\n BOCK'S OFFICE", "out. She and Bock stare at each other. In background, Welbeck \n is on the phone at the Nurses' Station.", "BOCK\n (who has been staring \n at her as if she \n were insane)\n What the hell am I supposed to say \n to that, Miss Drummond?", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "The doctors exchange a look as Bock rises, moves toward them, \n laughing." ], [ "He's already killed two doctors and \n one nurse.", "NURSE PEREZ\n Listen, did you know Doctor Schaefer \n was in Eight-O-Six, because he's \n dead?", "BARBARA\n What do you mean he killed two doctors \n and a nurse?", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "There is, of course, no response. A terrible suspicion enters \n Nurse Perez's mind, and she closes her eyes and sighs a long", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "taking Nurse Weitzenbaum out with her and closing the door. \n The room is dark and hushed again. Blacktree lights his \n cigarette and \"sends the smoke up,\" a ritual which consists", "This is the Emergency Room. One of \n the doctors just died of a heart \n attack.", "died last night in Eight-O-Six, but \n that information wasn't given to the \n night nurses. These things happen.", "NURSE PEREZ\n I'm just telling you, Dr. Schaefer \n is dead.", "is meaningful.\" Then I came in this \n morning and find out one of my doctors \n was killed by a couple of nurses who", "BOCK\n What do you mean, she died on the \n operating table in O.R. Three?\n\n They hurry down the corridor to the elevators.", "the I.V. on the bed had been pinched \n off, and she reported that back to \n Mrs. Reardon, who then assigned Nurse", "this hospital, they either died of a \n heart attack in Emergency or of \n anesthesia shock in an operating \n room.", "He rumbles toward the door. The class of doctors dissolves \n into hospital murmurs and mutters and a general dispersal. \n They follow Bock out to...", "AMBULANCE ATTENDANTS\n (shouting)\n Not breathing! Not breathing!\n\n They hurry into the Admitting Room past a nurse and into \n the...", "her bed with Mrs. Mangafranni's, \n exchanged charts and identity \n bracelets. She died officially of", "other words, Nurse Perez went in and \n sedated Dr. Schaefer thinking it was \n the patient Guernsey. My God! What I", "this, Herb. She died on the operating \n table in O. R. Three about an hour \n ago.", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped." ], [ "Avenue was condemned by the City \n before the hospital acquired \n ownership, and even then, only after \n responsible leaders in the community", "MAN\n Those buildings are imperialistic \n extensions of the medical \n establishment. This hospital ought \n to be rebuilding those tenements, \n give those people decent housing.", "POLICE CAPTAIN\n I repeat. I'm asking you to come out \n peacefully. These buildings are \n condemned and unfit for habitation.", "MAN\n The point is that this hospital is \n the landlord for those buildings and \n they should've turned them down.", "MRS. BASSEY\n (reading)\n ...complete sympathy with the tenants. \n So the hospital has assumed the", "AMBLER\n We, the members of the Doctors \n Liberation Committee indict this \n hospital for the criminal neglect of", "three black families, carrying children, and children carrying \n household effects, mattresses, pots, pans, bags of groceries, \n etc., are repossessing the condemned buildings.", "Out of respect for the COMATOSE PATIENT, the ensuing agitated \n scene is held in whispers.", "the gates and spill across the drive. Some policemen and \n security guards move tentatively out of the hospital to \n intercept them.", "They gather in anticipation outside O.R. Three and peer over \n each other's shoulders into the room where the operating", "Two orderlies rush the old man's bed with, of course, the \n old man in it, past the Nurses' Station and into a waiting \n elevator.", "people out of those buildings before \n a wall collapses or a fire breaks \n out and we've got a riot on our \n hands!... Okay!", "Welbeck advances on William Mead's bed, since he is the only \n patient in the room. (Hitchcock is on the phone.)", "From the long tunnels of corridors, nurses, doctors, \n administrative personnel pause in their chores and errands \n and missions to watch the tide of events in the lobby.", "...where Dr. Sutfcliffe, the beautiful young woman, the \n elderly Indian and the minister are engaged in agitated \n discussion. The girl and the Indian retain their stoic", "Bock and Barbara hurry toward the elevators.\n\n THE HOSPITAL, HOLLY PAVILION, LOBBY", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "Two or three people besides the elevator operator are there, \n as well as a patient on a stretcher and an orderly.", "EMERGENCY ADMITTING AND TREATMENT ROOMS\n\n Ives, seated on a table in evident distress, breathes heavily.", "through the background, followed by the band of young doctors \n now dispersing. Bock crosses past the foreground group to \n the staff elevator. He pushes the button. Brubaker approaches" ], [ "He's already killed two doctors and \n one nurse.", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "BARBARA\n What do you mean he killed two doctors \n and a nurse?", "taking Nurse Weitzenbaum out with her and closing the door. \n The room is dark and hushed again. Blacktree lights his \n cigarette and \"sends the smoke up,\" a ritual which consists", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "he gets up and puts on a doctor's \n uniform, and he goes out, and he \n murders doctors! He just went out", "through the background, followed by the band of young doctors \n now dispersing. Bock crosses past the foreground group to \n the staff elevator. He pushes the button. Brubaker approaches", "BOCK\n Let him go. Before we kill him.\n\n The elevator door opens. A couple of nurses come out. Bock \n strides in.", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped.", "other words, Nurse Perez went in and \n sedated Dr. Schaefer thinking it was \n the patient Guernsey. My God! What I", "There is, of course, no response. A terrible suspicion enters \n Nurse Perez's mind, and she closes her eyes and sighs a long", "Schaefer. Mrs. Christie is instructing the two nurses.", "Two orderlies rush the old man's bed with, of course, the \n old man in it, past the Nurses' Station and into a waiting \n elevator.", "NURSE PEREZ\n Listen, did you know Doctor Schaefer \n was in Eight-O-Six, because he's \n dead?", "He rumbles toward the door. The class of doctors dissolves \n into hospital murmurs and mutters and a general dispersal. \n They follow Bock out to...", "Welbeck himself. Barbara and Dr. Biegelman go into the \n elevator. The doors close. Milton Mead and Hitchcock head", "Nurse Weitzenbaum opens the door of the room and peeks in. \n At the stairway exit, Bock pauses to look back at all the \n women in front of Room 806.", "Mrs. Kimball, Mrs. Christie, Hitchcock and Sloan push through \n the glass doors to the crossroads of the operating rooms. \n Through each window, we see operating crews hacking away.", "uniform and has gone out to do God's \n work, presumably the murder of Dr. \n Welbeck. Except, that fellow on the", "...where Dr. Sutfcliffe, the beautiful young woman, the \n elderly Indian and the minister are engaged in agitated \n discussion. The girl and the Indian retain their stoic" ], [ "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "He rumbles toward the door. The class of doctors dissolves \n into hospital murmurs and mutters and a general dispersal. \n They follow Bock out to...", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "The doctors exchange a look as Bock rises, moves toward them, \n laughing.", "The elevator door opens. Out comes Bock, overcoat unbuttoned \n now. He clumps to the Nurses' Station. An unusual number of", "...where Dr. Joseph Lagerman, Head of Nephrology, perhaps \n remembered from an earlier scene, has been waiting for Bock. \n He joins them en route to the elevators.", "A corridor of offices. This is the Department of Medicine, \n where Bock and all the senior staff members of the department", "Bock immediately emerges from the pharmacy holding a bottle \n of thorazine and a wrapped hypodermic syringe. He scowls at \n Welbeck, who scowls back.", "BOCK\n Psychiatry.\n (suddenly stands)\n Never mind. I'll look in myself.\n\n He lumbers across the room and out into...", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "BOCK\n And now you come to me with this \n gothic horror story in which the \n entire machinery of modern medicine", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "The gathering storm erupts. Rage suffuses Bock's face. Out \n of respect for the hospital corridor and the people working", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped." ], [ "DRUMMOND\n (off-screen)\n He had at that time perhaps an hour \n to live. Prompt treatment would have \n saved his life.\n\n They go into the...", "DRUMMOND\n I was merely an instrument of God. I \n killed no one. They all three died", "DRUMMOND\n (voice-off)\n ...simply... forgotten to death. \n Simply mislaid...\n\n CAMERA JUST STARES at the pageant of pain.", "DRUMMOND\n (voice-off)\n ...and then he was promptly...", "DRUMMOND\n So last night, I coshed Miss \n Campanella with a sandbag, sedated", "DRUMMOND\n (off-screen)\n He was relentlessly subjected to the \n benefits of modern medicine. He was", "whose eyes now open; he has heard it all. In background, \n Drummond, suddenly released from his catatonic trance, heads", "DRUMMOND\n (off-screen)\n Our Savior was, it seems, suffering \n from emphysema.", "BOCK\n Yes, his name's Drummond. That's his \n chart.\n\n Straining under the effort, the three doctors get Welbeck \n off the floor.", "Drummond pauses in his strangling and, releasing the poor \n man altogether, turns to his daughter in the doorway.", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "He keels over like a felled tree, falling face-up on \n Drummond's bed, his legs dangling to the floor. William Mead \n promptly hides his head under his sheet.", "HITCHCOCK\n Was it Drummond?\n\n MRS. DONOVAN\n Who else would it be?\n\n Hitchcock silently thanks God.", "WELBECK\n (to Mrs. Donovan)\n I'm Dr. Welbeck. I have a patient on \n this floor named Drummond, and I'd \n like to see his chart.", "DRUMMOND\n (voice-off)\n ...which revealed occasional \n ventricular premature contractions. \n An intern took his history...", "DRUMMOND\n (off-screen)\n ...perhaps even Christ Himself.", "Drummond, abashed, stands there, a scolded schoolboy, a \n rawboned figure in a hospital shift, a stethoscope dangling \n from his right hand.", "DRUMMOND\n (voice-off)\n His vital signs were taken, an \n electrocardiogram...", "Drummond turns to the voice. CAMERA PULLS BACK to include \n the man who had been brought into the E.R. by a uniformed \n cop.", "DRUMMOND\n (voice-off)\n ...mislaid among the broken wrists," ] ]	[ "WHAT WAS THE ANNEXATION PLANS FOR AN ADJACENT APARTMENT BUILDING?", "WHAT WAS DR. BOCK'S RELATIONSHIP WITH HIS WIFE?", "WHAT WERE THE HOSPITAL DEATHS OF TWO DOCTORS AND A NURSE ATTRIBUTED TO?", "WHAT WERE THE DEMANDS OF THE ANNEXATION PROTESTORS?", "HOW DO BARBARA DRUMMOND AND DR BOCK MEET?", "WHAT MEDICAL CONDITION DID DR BOCK COMPLAIN OF?", "WHAT AIRPORT DID BARBARA DRUMMOND BRING HER FATHER TO ESCAPE BACK TO MEXICO?", "HOW COULD DRUMMOND'S VICTIMS HAVE BEEN SAVED?", "What was Dr Bock position?", "Where did Dr Bock worked?", "What was the incident the hospital was dealing with?", "What did the occupants of the building next to the hospital demanded?", "Who did Dr Bock fell in love with?", "Who was Barbara Drummond?", "Where was Barbara Drummond came from?", "How did Dr Bock and Barbara covered up the deaths in the hospital?", "What is Dr. Bock's job titile?", "Where is the hospital where Dr. Bock works located?", "Why does the hospital want to annex the condemned building next door?", "From where did Barbara Drummond and her father travel to the hospital?", "Where is Dr. Bock's wife?", "To what are the recent deaths of two doctors and a nurse at the hospital attributed?", "What do the occupants of the condemned building want from the hospital?", "Who initiates the death of two doctors and a nurse?", "What is the type of hospital where Dr. Bock works?", "How could Drummond's victims have been saved?" ]	[ [ "A DRUG REHABILITATION CENTER", "To become a drug rehab." ], [ "SHE LEFT HIM", "She left him." ], [ "FAILURE TO PROVIDE ACCURATE TREATMENT", "Coincidental or unavoidable failures to provide proper treatment." ], [ "TO FIND ADEQUATE HOUSING FOR THE CURRENT APARTMENT BUILDING'S RESIDENTS", "An adjacent and decrepit apartmant buikding." ], [ "WHEN SHE BRINGS IN HER FATHER FROM MEXICO FOR TREATMENT AT THE HOSPITAL.", "She is a patient's daughter." ], [ "IMPOTENCE", "impotence" ], [ "JFK", "JFK" ], [ "IF THEY RECEIVED PROMPT ACCURATE TREATMENT", "If they received the right treatment right away " ], [ "Chief of Medicine", "Chief Of Medicine." ], [ "Manhattan teaching hospital", "A Manhattan hospital " ], [ "The unexplain deaths of two doctors and a nurse.", "death of two doctors and a nurse" ], [ "They wanted a replacement housing", "That they get replacement housing." ], [ "Barbara Drummond", "Barbara Drummond" ], [ "Barbara Drummond was a patient's daughter", "a patients daughter, that came with her father from mexico for his treatmant." ], [ "Mexico", "Mexico" ], [ "They used an accidental death of a doctor to covered Drummond tracks.", "a final accidental death of a docter." ], [ "He is the Chief of Medicine.", "Chief of Medicine. " ], [ "In Manhattan.", "Manhattan" ], [ "To use the space for a drug rehabilitation center.", "to make it a drug rehab center" ], [ "Mexico.", "Mexico. " ], [ "She left him.", "she left him." ], [ "Failure to provide the correct treatment.", "Coincidental or unavoidable failures to provide proper treatment. " ], [ "They demand to be provided with replacement housing.", "replacement housing" ], [ "Barbara Drummond's father.", "Barnard Hughes" ], [ "It is a teaching hospital.", "teaching hospital" ], [ "If they had received the correct mediacal treatment in a timely manner.", "They would have been saved if theyd recieved prompt and appropriate treatment." ] ]	061c5dd1dc117e3161f1f0a7794b807932ef4675	train
[ [ "PASTOR: Now the ribbon, Anna.\nAnna goes toward the two children, tying a white ribbon\naround Martin's upper arm and another in Marie's hair.", "PASTOR: When you were small, your mother once in\n a while would tie a ribbon in your hair or\n around your arm. Its white color was to remind", "MARTIN (following her lead): Please forgive us.\nSILENCE. Then the pastor speaks very quietly, without\nturning to the two children:", "While the pastor goes back to the black board, putting\nhis briefcase on the desk without saying a word, the\nschoolteacher, who feels slightly responsible for the", "Immediately all the CHILDREN rushing out say:\n Good-bye, Sir! Good-bye, Pastor!\nFinally, all the children have left the classroom,", "PASTOR: Well, Martin, why are you crying? Shall\n I spare you that confession? You too have done\n what that wretched boy did, haven't you?", "The schoolteacher has little affirmative and regretful\ngesture. He feels extremely uncomfortable in this role.\nAnother PAUSE. Then, the pastor continues:", "The students sit down. Marie keeps standing facing the\nwall. The pastor stops too. After a while he begins to\ntalk.\n This is a very sad day for me.", "children even make fun of her, and she yells at the top\nof her voice:\n QUIET!!!!\nAt that moment, the door opens and the pastor comes in", "He cries in a such pitiful way that even the pastor has\ntears in his eyes. He embraces the boy. The latter\nseizes the hand of his father and kisses it intensely.", "The boy looks embarrassed. He glances at his father,\nthen comes over with the cage and puts it carefully on\nhis father's desk. As Florian approaches, the pastor", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "cry with pity and fear.\nFinally both have received their 10 strokes.\nCLOSE ANGLE: The pastor. He is breathless and beads of", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "For a moment, neither of them knows what to do. Then the\nboy leaves the room.\nThe pastor follows him with his eyes. Then, he sits", "PASTOR: This will remain on you until we're all\n sure you have learned how to fight bad thoughts\n and manners. You're well aware, this year you", "The pastor is taking the white ribbon off Marie's head\nand Martin's arm. The rest of the family witnesses this\nalmost solemn act.", "The pastor looks at him, doesn't know how to react.\nThen, with a hoarse voice and trying to look\nindifferent, he says:", "PASTOR: Do you understand now why I'm worried?\nMartin reacts with a timid nod of his head.\n PASTOR: So, according to you: what caused these", "Martin carries the cane out of the room. The pastor and\nthe other children sit around the table. Marie leaves\nthe room with her mother. After all the others have sat" ], [ "He's a sturdy man in his early fifties, of peasant\nstock. He probably came straight from a tavern, and\nappears to be slightly drunk. The schoolteacher, Eva and", "EVA: Yes.\nPAUSE.\n SCHOOLTEACHER: Is that all right with you?\nPAUSE.", "SCHOOLTEACHER (surprised and glad): Eva!\n EVA (hardly understandable): May I come in?\nThe Schoolteacher stands up, goes toward and, laughing\nwith surprise, says to her.", "EVA: I don't know your father.\n SCHOOLTEACHER: That's true.\nThey look at each other for a while and then Eva rides", "EVA: That the schoolteacher is from the village\n next to mine.\n SCHOOLTEACHER (laughs): Oh, I see! Yes. Well...", "EVA (rather suspicious because all this is too\n intimate for her): Yes.\n SCHOOLTEACHER: Well, you're probably looking", "Eva looks down and shakes her head. The schoolteacher\nstops the carriage, turns to her:\n What's going on?\n EVA: Nothing. Please.", "at the father. The schoolteacher stands up, as Eva ran\nout. He'd rather follow her, but has to remain polite\ntoward the father. The father says calmly:", "make her complain about their forced separation, and\nsays cheerfully:\n EVA: No. Really.\nThe schoolteacher exchanges a smiling glance with her,", "SCHOOLTEACHER: Are you going there?\n EVA: Yes, I am.\n SCHOOLTEACHER (doesn't know what to say): Well,", "during which the horse keeps trotting, Eva leans against\nthe schoolteacher and puts her head against his\nshoulder. But the shaking of the carriage on the rutted", "SCHOOLTEACHER (stepping back): Of course. Well,\n good-bye.\n EVA: Good-bye.\nShe's about to ride off.", "SCHOOLTEACHER: Folks around here.\n EVA: Oh. So what?\n SCHOOLTEACHER: Nothing. I don't know. Sorry. I'm", "SCHOOLTEACHER: What's going on?\n\n EVA: They fired me.\n\n SCHOOLTEACHER (startled): What do you mean?", "SCHOOLTEACHER: You see: we're getting better.\n EVA: Well.\n SCHOOLTEACHER: Stop looking at your feet.", "On the dance floor, Eva and the schoolteacher try to\ndance. Neither is very talented. Eva keeps looking at\nher feet and smiles, embarrassed.", "The schoolteacher and Eva look at each other, but Eva\nsoon averts her eyes.\n SCHOOLTEACHER: They now want to tear down the", "Now Eva laughs too.\n EVA: What?!\n SCHOOLTEACHER (smiling as if to apologize):", "SCHOOLTEACHER: Hello.\n EVA (passing by): Hello.\nThe schoolteacher stops, turns to the girl:", "61. STREET. EXT/DAY\nThe schoolteacher and Eva drive in the carriage. In the\nbackground, we catch glimpses of the town." ], [ "barn. He walks toward the Baron.\n BARON. Have you seen my son?\n STEWARD (surprised): No.", "NARRATOR: ...The search began shortly after\n midnight. Before, the Baron had ridden to the\n Rectory. But there he found out nothing new from\n the children who had been specially woken up.", "Rudolph, his four year old son, had suddenly\n disappeared. Of course, everybody was terribly\n upset in view of all the previous occurrences.", "BARON: You all know now what was done to my son\n Siegmund. Policemen from the district town were\n here this week. They questioned many of you. But", "BARON: Where did you see my son for the last\n time?\n TUTOR: Outside, in the courtyard. He said, he", "NARRATOR: The midwife never came back. I waited\n until the morning, two days later. Then, I went\n to the manor house to inform the Baron. He", "exactly what had happened, and in the end they\n didn't care. The Baron was not really popular\n among the people, but he was respected as a", "BARON: Nonsense. He can't have vanished into\n thin air. When did you see him last?\n TUTOR (as above): Around 2 o'clock.", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "At the same time a boy of ten comes over to the first\nfarmer and butts in to his story:\n BOY: Father, they cut off the Baron's cabbages.", "The Baron makes a short speech and the steward assigns\nthe areas to be searched. Most of this is drowned out by\nthe narrator's voice.", "BARON (quietly): Could you please ask your boys.\n Apparently, Sigi has disappeared with a whole\n bunch of kids.", "EVA: The son of the Baron isn't at all well. His\n parents are angry and desperate. Now they say", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more", "Once the church is full, the Baron, the Baroness and\ntheir son Sigi walk down the aisle and sit down in the\nfront row.", "NARRATOR: Shortly after Easter, in the last week\n of April, the Baroness came back with the\n children. She was accompanied by a new nurse.", "and there we see some lanterns, put there to facilitate\nthe cleaning up.\nComing from the front door, the Baron crosses the vast\ncourtyard. Half way across he screams:", "NARRATOR: The next Sunday, the Baron, at the end\n of the service, asked the pastor if he could say\n a few words:", "was going to play with the other children.\n BARON: Where?\n TUTOR: That he didn't say.", "village.\n The Baron, who had come back without his family,\n didn't attend, which was very unusual for him..." ], [ "is about to put down his briefcase.\nThe dead bird lies in the middle of the desk with its\nwings spread out. The pastor's letter-opener is stuck in", "The boy looks embarrassed. He glances at his father,\nthen comes over with the cage and puts it carefully on\nhis father's desk. As Florian approaches, the pastor", "She takes the letter-opener, goes to the birdcage, puts\nthe letter-opener down beside it and grabs the tiny\ncanary. As the bird chirps, she glances round at the", "looked on, amazed. After putting down the cage, Florian\nsteps back a little, then stops, his head slightly\nbowed.\n PASTOR (not really understanding): What is it?", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "bedroom at night). In the cage is the bird that Florian\nhad found on Thanksgiving day, and who has recovered in\nthe meantime.\n PASTOR: Yes?", "PASTOR: Come in!\nFlorian comes in, hesitantly. In his hand, he carries a\nbirdcage (we've already seen it in Scene 49 in the boy's", "40. RECTORY. STUDY. INT/NIGHT\nThe pastor cleans the cage of the small bird behind the\ndesk and feeds the animal. As he does it, he talks to", "The pastor turns shortly around to his son, looks at\nhim, then turns again to the bird.", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then", "PASTOR: Yes, but Pipsi grew up in captivity.\n (nodding at Florian's bird): This one is used to\n living in freedom.", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "FLORIAN: \"Pipsi\" also lives in a cage.\nThe pastor looks at the cage shortly, hides a smile and\nturns to Florian again:", "her feverish and debilitated state...\nShe takes the bird into her left hand so that its little\nhead is turned upwards, and picks up the letter-opener\nwith her right hand...", "The boy comes over to the desk, opens a few buttons of\nhis shirt and then seizes something inside. In the open\nshirt we see the head of a little bird.", "The pastor looks at him, doesn't know how to react.\nThen, with a hoarse voice and trying to look\nindifferent, he says:", "PASTOR: Do you understand now why I'm worried?\nMartin reacts with a timid nod of his head.\n PASTOR: So, according to you: what caused these", "At the dinner table, the pastor (in his mid-forties)\nsits with his back to the door. In front of him, at the\nother end of the table, sits his wife Anna, a woman in", "PASTOR: So what?\n FLORIAN: I have found it. It's wounded.\nShort PAUSE.\n PASTOR: What do you want?" ], [ "NARRATOR: ...The neighbor, a single woman of\n around 40, was the village midwife, who had\n filled the invaluable position of housekeeper", "NARRATOR: The midwife never came back. I waited\n until the morning, two days later. Then, I went\n to the manor house to inform the Baron. He", "to the doctor. But since the night he was\n mistreated, I hadn't seen him again.\nHe leaves the midwife's house and hurries to the", "and I already knew, that we were searching in\n vain. Anyone who knew the midwife also knew how\n devoted she was to her disabled child, and that", "Suddenly I wondered why the midwife had closed\n the shutters of the house. Nobody in the village\n ever shut their house. Why had the midwife\n locked her boy in?", "the midwife doesn't know what to do. Finally she turns\naway from the door and starts to cross the yard. There,\nshe sees the schoolteacher. She comes over to him.", "POLICEMAN: But you didn't see anything?\n MIDWIFE: No.\n POLICEMAN: Do you have any idea how long the", "As he passes the midwife's house, he sees behind the\nfence in the garden, half hidden behind the bushes,\nMarie and a few other children. The shutters of the", "moans softly.\nThe midwife stands beside him, trying to stay calm, but\nshe is paralyzed with fear, and visibly still in a state\nof shock.", "and the midwife had tried to abort the child so\n that the shame of their relationship wouldn't be\n found out, and that's how the child became", "MIDWIFE: I have to go to the police in town. I\n now know who committed all these crimes.\n SCHOOLTEACHER (flabbergasted): Who?", "The boy is nowhere to be found.\n NARRATOR: I had never come to the midwife's\n house and felt uncomfortable at the idea of", "MIDWIFE: Please! Believe me! (She hesitates and\n adds, now quietly and imploringly):", "The schoolteacher looks at her. The midwife looks\npitiful: she tries to smile at him pleadingly, tears are\nstreaming down her face.", "spend all night here.\nThe midwife remains seated, her head bowed, as if struck\nby a lightning\n MIDWIFE (quietly): What did I do to you?", "For the time being, the doctor remained in the\n hospital. In the meantime the midwife catered\n the basic needs of Xenia and Rudolph, his two", "The doctor motions to the midwife that she should stay\nwith the child, and leaves the room silently and almost\nhastily.", "the midwife, and it looks like he's throwing her out\nwith a flood of angry insults.\n NARRATOR: When I went to the estate on Friday", "Neither the midwife nor Xenia know what to answer. At\nthat moment Hans comes running in from the field,\nexcited:", "NARRATOR: ...The search began shortly after\n midnight. Before, the Baron had ridden to the\n Rectory. But there he found out nothing new from\n the children who had been specially woken up." ], [ "FARMER (after a pause): Because of your mother?\n Because you feel they're responsible for her\n death? Is that it? What do you think? That I'm", "other women follow her, embarrassed.\nOnce the door has closed behind them, the farmer just\nstands there. Only after a long while does he move\nforward and sit beside his dead wife. He remains seated,", "Franz finally sits down again. SILENCE. The farmer\nstares at his plate, tries to speak softly, which is\nobviously difficult for him, to judge by the sound of\nhis voice.", "a tenant farmer died in a work-accident.", "The farmer keeps on walking as if he hasn't heard. Franz\nlooks at him from the side. For a long moment he remains\nsilent, while all three keep walking. Then, Franz goes", "arm and slams it down. The two stare at each other. For\na moment, we don't know what will happen. Then the\nfarmer goes on:", "FARMER: Well?\n FARMER: Tell me.\nFranz keeps on glaring straight ahead. The farmer adopts\na gentler tone.", "Suddenly the farmer stops and screams, almost crying\nwith fury and despair:\n FARMER: Shut up!\nCLOSE ANGLE: Paul. He was listening carefully the whole", "children. After the burial of the farmer's wife,\n that was attended by the whole village, the two\n accidents were soon forgotten...", "and very excited. The farmer looks very concerned.\n FARMER (to Franz): Is that true?\n FRANZ (hostile, keeps on eating): I don't know\n nothing.", "The father responds to this by slapping his face hard.\nFranz jumps up.\n FARMER (orders Franz without looking at him):\n Sit down!", "FARMER: Go and cut off his head of with your\n scythe. Sure, that'll bring your mother back to\n life.", "One of them tells a story, that we only partially\nunderstand because of all the noise:\n FIRST TENANT FARMER: ...so the guy really tried", "Franz bows his head. Paul, who has followed his father,\nout of the pigsty, glances surreptitiously at his\nbrother. The farmer goes over to the fountain and washes", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "FRANZ (hesitantly): Father, I have to tell you\n something.\n FARMER: What is it?\n FRANZ: I went to the sawmill.", "Franz turns to him abruptly:\n FRANZ: And how do you know they're innocent?\nThe farmer looks at Franz with round eyes. A long PAUSE\nfollows. Then the", "FARMER says (quietly): I don't know.\n\nAnd after another PAUSE.\n\n FARMER: But I don't know the opposite either.", "right behind the coffin.\nThe procession starts to move off. As it comes around\nthe corner of the farm to go down the path leading to", "time. He looks at the father. Then, lowers his eyes.\n NARRATOR: After these two days in July, life in\n the village returned to what it had always\n been..." ], [ "Today, more than a quarter of a century later,\n toward the end of my life, and several years\n after the end of a second war that was to change", "time. He looks at the father. Then, lowers his eyes.\n NARRATOR: After these two days in July, life in\n the village returned to what it had always\n been...", "She staggers back helplessly, he shouts something to her\nagain, whereupon she runs off. We hear all this from far\naway, because during the whole scene the narrator has\ncontinued his tale:\n 2", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more", "NARRATOR: The news spread around the village\n like wildfire. What would the consequences be?\n The first person who spoke the word WAR, was", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "who had died in the meantime, and with the money\n I opened a tailor's shop in the town, where I\n still live now.\n I never saw anybody from the village again.", "NARRATOR: The year was coming to an end with\n fine weather. The sun made the snowy landscape\n sparkle so brightly that it hurt the eyes.", "goes by fast. The world won't collapse. And\n during your holidays you can come and visit her.\n Good-bye.\nHe leaves the room. The schoolteacher is thrown off", "I was drafted at the start of the third year of\n the war. After the war, I sold the house in\n Grundbach that I had inherited from my father,", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "by the steward from harvesting chores, and was\n assigned to easier work in the sawmill.\nEverything happens very silently. An elderly woman, a", "all got back to bed. I'll wait till you're back\n in bed. It's freezing cold outside.\nThe three boys go back to bed. But first Anton ties up", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then", "XENIA: Yes. She's dead too. But that was a long\n time ago.\nBoth remain SILENT. In the meantime it has grown dark in\nthe kitchen.", "Won't you tell me? No?\n Then I'll tell you what the cause was: The boy\n had learned from someone, who had harmed the", "arm and slams it down. The two stare at each other. For\na moment, we don't know what will happen. Then the\nfarmer goes on:", "NARRATOR: Winter came early that year. At the\n Reformation feast on the first Sunday of\n November, a deep blanket of snow covered the", "Then he slips out of the bed and goes to the window.\nSuddenly, he is wide-awake:\n ANTON: Something is burning! Over there at the\n estate!", "At the same time a boy of ten comes over to the first\nfarmer and butts in to his story:\n BOY: Father, they cut off the Baron's cabbages." ], [ "questions remain without answer. But I believe I\n must tell of the strange events that occurred in\n our village, because they may cast a new light", "She staggers back helplessly, he shouts something to her\nagain, whereupon she runs off. We hear all this from far\naway, because during the whole scene the narrator has\ncontinued his tale:\n 2", "was caused by a wire that had been strung in his\n garden with the explicit intent of bringing him\n down. And in that case too, nobody knows\n anything, saw anything or heard anything.", "NARRATOR (o.s. continuing):...Everything began,\n if I remember correctly, with the doctor's\n riding accident. After his dressage session in", "NARRATOR: ...Despite of the strange events, that\n had unsettled the village, we thought of\n ourselves as united in the belief that the life", "Nobody saw the thing before, nobody saw it\n afterwards. It wound itself around the two trees\n all alone, and made itself vanish after the\n doctor's fall. Right?", "NARRATOR: ...to see if any of his patients had\n arrived. As it entered the property, the horse\n had tripped over a hardly visible, taut wire", "door, as if to make sure that nobody is coming.\n NARRATOR: A few days after Marie's fainting-fit\n that frightened us all, and that was followed by", "NARRATOR: ...The search began shortly after\n midnight. Before, the Baron had ridden to the\n Rectory. But there he found out nothing new from\n the children who had been specially woken up.", "NARRATOR: Winter came early that year. At the\n Reformation feast on the first Sunday of\n November, a deep blanket of snow covered the", "Suddenly I wondered why the midwife had closed\n the shutters of the house. Nobody in the village\n ever shut their house. Why had the midwife\n locked her boy in?", "and there we see some lanterns, put there to facilitate\nthe cleaning up.\nComing from the front door, the Baron crosses the vast\ncourtyard. Half way across he screams:", "by the steward from harvesting chores, and was\n assigned to easier work in the sawmill.\nEverything happens very silently. An elderly woman, a", "the fields. As they pass by the vegetable garden, they\nnotice the sliced off cabbages and stop. Some laugh at\nit, others are unsettled. Most of the children keep run", "time. He looks at the father. Then, lowers his eyes.\n NARRATOR: After these two days in July, life in\n the village returned to what it had always\n been...", "start at the beginning of the New Year.\n Since that night, where she had come looking for\n shelter in the school and we had tried to tell\n each other the story of our short lives until", "fetters. The child slumps down, his head is unwrapped,\ncovered in blood: it's the mongoloid son of the midwife.\nAstonished, somebody reads the words written in block", "NARRATOR: The midwife never came back. I waited\n until the morning, two days later. Then, I went\n to the manor house to inform the Baron. He", "motionless. For a very long time. He only tugs once at\nthe dress draped over the half-naked body, as if he\nwanted to cover a patch of nudity. Then he just sits", "her dizzy.\n Who assigned you to this job?\n MATTI (uneasy): You know how it works. The\n sawmill needed to be cleaned up, and the foremen" ], [ "The pastor looks at him, doesn't know how to react.\nThen, with a hoarse voice and trying to look\nindifferent, he says:", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "The schoolteacher has little affirmative and regretful\ngesture. He feels extremely uncomfortable in this role.\nAnother PAUSE. Then, the pastor continues:", "LONG SILENCE. Finally, the pastor gets up, takes a few\nsteps, then, after another PAUSE, turns again to the\nschoolteacher. His face is ashen, and he can hardly", "PASTOR: Do you understand now why I'm worried?\nMartin reacts with a timid nod of his head.\n PASTOR: So, according to you: what caused these", "him and says:\n Good-bye, Pastor.\n PASTOR: Good-bye.\nThe schoolteacher leaves the room. The pastor turns to", "While the pastor goes back to the black board, putting\nhis briefcase on the desk without saying a word, the\nschoolteacher, who feels slightly responsible for the", "At the dinner table, the pastor (in his mid-forties)\nsits with his back to the door. In front of him, at the\nother end of the table, sits his wife Anna, a woman in", "NARRATOR: The next Sunday, the Baron, at the end\n of the service, asked the pastor if he could say\n a few words:", "his suspicions will seem odd, and senses that the pastor\nwon't go along with then.\n SCHOOLTEACHER: Nothing. I had forgotten it.", "PASTOR: I think you know well.\nMartin doesn't know what to say, he looks down. The\npastor watches him for a long moment, then he gets up,", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "PASTOR (looking up): Come in\nFlorian comes hesitantly through the door.\n PASTOR: What do you want?", "PASTOR (refuses): What?\n SCHOOLTEACHER (keeps on searching hesitantly for\n his words): I don't know. (finally he dares to", "Supposedly, in order to help Xenia.\n PASTOR (doesn't understand): Yes... and?\nThe schoolteacher, uneasy, breathes hard. He knows that", "PASTOR: Well, how can I help you?\nThey enter the room and the pastor offers the\nschoolteacher a chair. Then he realizes that the windows", "PASTOR (looks up to the schoolteacher,\n \"stunned\"): Why should they?\nThe schoolteacher almost dodges speaking further:", "He first hugs Marie who, her face still wet with tears,\ntries a forced smile and then Martin. Then, the pastor\nturns to his wife:", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then", "PASTOR'S WIFE: Strange... Wait a second! I think\n that's my husband.\nAnd indeed, outside one can hear the FRONT DOOR and then" ], [ "PASTOR: Now the ribbon, Anna.\nAnna goes toward the two children, tying a white ribbon\naround Martin's upper arm and another in Marie's hair.", "PASTOR: When you were small, your mother once in\n a while would tie a ribbon in your hair or\n around your arm. Its white color was to remind", "The pastor is taking the white ribbon off Marie's head\nand Martin's arm. The rest of the family witnesses this\nalmost solemn act.", "their Sunday best, among them Marie and Martin, both\nwearing their white ribbons, the pastor's other\n 26", "The schoolteacher conducts the children's choir. The\nchildren sing enthusiastically. Marie and Martin wear\nthe white ribbon on their arm.", "Martin, who, the white ribbon still tied around his\nupper arm, stands in front of the desk.\n PASTOR: Your mother and I are deeply worried", "A paper has been tied around his neck with a white\nribbon.\nThe people hurry toward the child, free the child of its", "in our community was God's will and worth\n living.\n PASTOR: ... I take of this ribbon from you, in\n the belief that from now on you'll no longer", "after the other. At the end we see Marie: she wears the\nwhite ribbon in her hair.", "my own daughter is playing the leading role in\n this pitiful display.\n Last year I bound a white ribbon in her hair.\n Well, you all know that white is the color of", "Immediately all the CHILDREN rushing out say:\n Good-bye, Sir! Good-bye, Pastor!\nFinally, all the children have left the classroom,", "The students sit down. Marie keeps standing facing the\nwall. The pastor stops too. After a while he begins to\ntalk.\n This is a very sad day for me.", "Supposedly, in order to help Xenia.\n PASTOR (doesn't understand): Yes... and?\nThe schoolteacher, uneasy, breathes hard. He knows that", "Martin carries the cane out of the room. The pastor and\nthe other children sit around the table. Marie leaves\nthe room with her mother. After all the others have sat", "MARTIN (following her lead): Please forgive us.\nSILENCE. Then the pastor speaks very quietly, without\nturning to the two children:", "children even make fun of her, and she yells at the top\nof her voice:\n QUIET!!!!\nAt that moment, the door opens and the pastor comes in", "that she wouldn't need that ribbon any more\n I believed that she felt responsible, being the\n daughter of the spiritual leader of a Christian\n communi...", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "PASTOR: Do you understand now why I'm worried?\nMartin reacts with a timid nod of his head.\n PASTOR: So, according to you: what caused these" ], [ "He cries in a such pitiful way that even the pastor has\ntears in his eyes. He embraces the boy. The latter\nseizes the hand of his father and kisses it intensely.", "The boy looks embarrassed. He glances at his father,\nthen comes over with the cage and puts it carefully on\nhis father's desk. As Florian approaches, the pastor", "The pastor looks at him, doesn't know how to react.\nThen, with a hoarse voice and trying to look\nindifferent, he says:", "PASTOR: Well, Martin, why are you crying? Shall\n I spare you that confession? You too have done\n what that wretched boy did, haven't you?", "For a moment, neither of them knows what to do. Then the\nboy leaves the room.\nThe pastor follows him with his eyes. Then, he sits", "The schoolteacher has little affirmative and regretful\ngesture. He feels extremely uncomfortable in this role.\nAnother PAUSE. Then, the pastor continues:", "PASTOR: Do you understand now why I'm worried?\nMartin reacts with a timid nod of his head.\n PASTOR: So, according to you: what caused these", "the same, the father says\n PASTOR: I refuse to be touched by you. Your\n mother and I will sleep poorly because we know I\n have to hurt you tomorrow, and because it will", "PASTOR: And? What did she say?\n FLORIAN: She said, it was for Father to decide.\n PASTOR (smiling faintly): That's what she said?", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "PASTOR (softly): And when it's healed?\nFlorian looks at him with round eyes, he doesn't know\nwhat to answer. The pastor continues:", "PASTOR: I think you know well.\nMartin doesn't know what to say, he looks down. The\npastor watches him for a long moment, then he gets up,", "finest nerves of his body, in the area where\n God's will has erected sacred barriers. The boy\n imitated this action. He couldn't stop doing it,", "Florian doesn't know what to answer. So he merely looks\nat his father with pleading eyes.\n PASTOR (repeats): Will you set him free, as soon", "him and says:\n Good-bye, Pastor.\n PASTOR: Good-bye.\nThe schoolteacher leaves the room. The pastor turns to", "LONG SILENCE. Finally, the pastor gets up, takes a few\nsteps, then, after another PAUSE, turns again to the\nschoolteacher. His face is ashen, and he can hardly", "He first hugs Marie who, her face still wet with tears,\ntries a forced smile and then Martin. Then, the pastor\nturns to his wife:", "Franz bows his head. Paul, who has followed his father,\nout of the pigsty, glances surreptitiously at his\nbrother. The farmer goes over to the fountain and washes", "Martin looks his father in the eyes.\n Be sincere, Martin. Why did you blush and become\n so nervous when I told you the story of the poor\n boy." ], [ "come out with his suspicion): When the doctor\n had his accident... last year, you remember,\n Suddenly the children were in his garden.", "The doctor turns to her. She nods toward the house. The\ndoctor follows her look. Indeed Rudolph, who from here\nlooks even smaller than he really is, has stepped", "NARRATOR: During the next few weeks, the village\n gossip-factory worked overtime.\n Some claimed, the doctor was Hansi's father. He", "practice is closed until further notice. The\n doctor and his children have disappeared.\nThe pastor has almost finished closing the windows. He\npauses and turns to the schoolteacher:", "As he passes the midwife's house, he sees behind the\nfence in the garden, half hidden behind the bushes,\nMarie and a few other children. The shutters of the", "to the doctor. But since the night he was\n mistreated, I hadn't seen him again.\nHe leaves the midwife's house and hurries to the", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "Just as we were leaving the village, we met the\n doctor.\n A few days after the Thanksgiving feast,", "DOCTOR (laughs): Quod erat demonstrandum. Thank\n you. Well, good night, children.\n CHILDREN: Good night, Doctor.", "It was suspected, that the doctor had wanted to\n spare his legitimate children and himself public\n disclosure of his guilt, and had therefore fled\n with them. Apparently he had taken the disabled", "The doctor steps out of the door, and wanders through\nthe garden. He goes over to the trees, where the wire\nhad been strung. He examines the traces of the wire on", "time. He looks at the father. Then, lowers his eyes.\n NARRATOR: After these two days in July, life in\n the village returned to what it had always\n been...", "the fields. As they pass by the vegetable garden, they\nnotice the sliced off cabbages and stop. Some laugh at\nit, others are unsettled. Most of the children keep run", "Immediately all the CHILDREN rushing out say:\n Good-bye, Sir! Good-bye, Pastor!\nFinally, all the children have left the classroom,", "NARRATOR: ...The neighbor, a single woman of\n around 40, was the village midwife, who had\n filled the invaluable position of housekeeper", "NARRATOR: ...Despite of the strange events, that\n had unsettled the village, we thought of\n ourselves as united in the belief that the life", "children. After the burial of the farmer's wife,\n that was attended by the whole village, the two\n accidents were soon forgotten...", "As the farmer Felder and his children come out, they're\nshunned.\nGauntlet down the village street. The CAMERA follows.", "The children go away. The schoolteacher also goes on his\nway. After a few steps he turns around and looks at the\nchildren, then walks on.", "It's very quiet. The doctor speaks with a soothing,\nalmost tender voice to the child, who keeps on moaning:\n DOCTOR (softly): All right... Everything's all" ], [ "The doctor lies beside his wounded horse. His arm is\nstrangely twisted, his broken collarbone has made a bump\nin the blood-drenched jacket. He yells with pain.", "NARRATOR (o.s. continuing):...Everything began,\n if I remember correctly, with the doctor's\n riding accident. After his dressage session in", "NARRATOR: ...to see if any of his patients had\n arrived. As it entered the property, the horse\n had tripped over a hardly visible, taut wire", "behind the surrounding bushes.\nAs the group was approaching, we have been hearing\n NARRATOR: The day following the doctor's riding\n accident not only brought no solution to the", "to the doctor. But since the night he was\n mistreated, I hadn't seen him again.\nHe leaves the midwife's house and hurries to the", "The doctor turns to her. She nods toward the house. The\ndoctor follows her look. Indeed Rudolph, who from here\nlooks even smaller than he really is, has stepped", "to her father and looks at him, horrified, then at the\ntwitching horse, screams with horror. Her father shouts\nsomething to her, she bends over him and tries to raise", "The doctor steps out of the door, and wanders through\nthe garden. He goes over to the trees, where the wire\nhad been strung. He examines the traces of the wire on", "that tripped up the doctor's horse. A policeman is\nlooking for clues.\nWith him are Xenia, Rudolph, the midwife and her son\nHans.", "LONG SHOT OF THE RIDING STABLES.\nThe rider is the village doctor, a gaunt, intellectual-\nlooking man of around 60, who has finished his dressage", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "I remind you something what most of you have\n already forgotten. Almost two months ago, the\n doctor had a riding accident and he has still\n not returned from the hospital. This accident", "The doctor has one arm in a sling.\nThe Doctor's carriage ends up turning into his property.\nThe driver helps the doctor get out. Xenia comes running", "It was suspected, that the doctor had wanted to\n spare his legitimate children and himself public\n disclosure of his guilt, and had therefore fled\n with them. Apparently he had taken the disabled", "come out with his suspicion): When the doctor\n had his accident... last year, you remember,\n Suddenly the children were in his garden.", "their neighbor, who in turn got the message to\n the manor house, so that the agonizing doctor\n could be transported to the hospital of the", "during which the horse keeps trotting, Eva leans against\nthe schoolteacher and puts her head against his\nshoulder. But the shaking of the carriage on the rutted", "DOCTOR: According to you: when should it have\n occurred to me?\n At the hospital, I had forgotten how tiresome\n you were. One grows sentimental when one's in", "So they just let him go, saying to themselves:\n if he falls down, he falls down, that's it. But\n he didn't get much farther than the first", "the carthorses.\n STEWARD: ...its tendons were almost severed. It\n never would have recovered.\nThe landowner bends down and examines the wounds on the" ], [ "FARMER (after a pause): Because of your mother?\n Because you feel they're responsible for her\n death? Is that it? What do you think? That I'm", "other women follow her, embarrassed.\nOnce the door has closed behind them, the farmer just\nstands there. Only after a long while does he move\nforward and sit beside his dead wife. He remains seated,", "FARMER: Well?\n FARMER: Tell me.\nFranz keeps on glaring straight ahead. The farmer adopts\na gentler tone.", "50. FARM BUILDINGS /EXT/DAY\nPaul discovers his dead father in the pigsty. The farmer\nhas hung himself up from a hook in the wall. The", "Franz finally sits down again. SILENCE. The farmer\nstares at his plate, tries to speak softly, which is\nobviously difficult for him, to judge by the sound of\nhis voice.", "Suddenly the farmer stops and screams, almost crying\nwith fury and despair:\n FARMER: Shut up!\nCLOSE ANGLE: Paul. He was listening carefully the whole", "The farmer keeps on walking as if he hasn't heard. Franz\nlooks at him from the side. For a long moment he remains\nsilent, while all three keep walking. Then, Franz goes", "arm and slams it down. The two stare at each other. For\na moment, we don't know what will happen. Then the\nfarmer goes on:", "him right, that miser!\n FARMER (trying to control himself): Did you do\n it, or did you not do it?\nFranz doesn't answer and keeps on eating.", "FARMER says (quietly): I don't know.\n\nAnd after another PAUSE.\n\n FARMER: But I don't know the opposite either.", "The father responds to this by slapping his face hard.\nFranz jumps up.\n FARMER (orders Franz without looking at him):\n Sit down!", "The steward, who sent her there, must have known\n it. And the landowner too.\nThe farmer remains silent. They keep walking.\n Father?!", "One of them tells a story, that we only partially\nunderstand because of all the noise:\n FIRST TENANT FARMER: ...so the guy really tried", "Franz turns to him abruptly:\n FRANZ: And how do you know they're innocent?\nThe farmer looks at Franz with round eyes. A long PAUSE\nfollows. Then the", "FARMER: Go and cut off his head of with your\n scythe. Sure, that'll bring your mother back to\n life.", "and very excited. The farmer looks very concerned.\n FARMER (to Franz): Is that true?\n FRANZ (hostile, keeps on eating): I don't know\n nothing.", "At this, the farmer stops and turns around. He looks\nFranz right into the eyes:\n FARMER: I can see that. So what?", "NARRATOR: ...The villagers took that as a sign\n of his anger. Indeed, no evidence had been found\n as to the possible author of the crime, although", "...because they wanted to \"get even\". Get even\n for what? Because their mother had died while\n she was working in the sawmill, and it was", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more" ], [ "barn. He walks toward the Baron.\n BARON. Have you seen my son?\n STEWARD (surprised): No.", "STEWARD: It's really urgent. Normally, I\n wouldn't have disturbed you so late.\nAnnoyed, the Baron leaves the room with him. As he goes", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more", "The steward comes over to them and, with a little grin,\ncomments on the sensitivity of his masters:\n STEWARD: It used to be an old custom (he\n quotes):", "At this, the steward pounces on the boy and smacks him\nso hard that he falls out of his chair.\n Give it to me!", "The Baron makes a short speech and the steward assigns\nthe areas to be searched. Most of this is drowned out by\nthe narrator's voice.", "He turns away and goes out into the courtyard. The tutor\nfollow him with his eyes. He feels he's being badly\ntreated and hates the Baron for his insults. Finally he", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "BARON: Where did you see my son for the last\n time?\n TUTOR: Outside, in the courtyard. He said, he", "EVA: The son of the Baron isn't at all well. His\n parents are angry and desperate. Now they say", "The father responds to this by slapping his face hard.\nFranz jumps up.\n FARMER (orders Franz without looking at him):\n Sit down!", "KNOCKS at the door. After a short gesture of irritation\n BARON (irked): Come in!\nThe steward appears.", "BARON (wryly): I can imagine.(looks up to the\n tutor): You're an idiot, Huber. Why do you think", "BARON: Bräker!!\nThe steward is overseeing a dozen farmhands, who are\nputting the tables and the benches of the feast back the", "dashes upstairs. We hear him thrashing the boy in the", "GEORG (screaming): Ouch! ...Ouch!!\n STEWARD (beat): You bastard, you wretch!", "BARON: You all know now what was done to my son\n Siegmund. Policemen from the district town were\n here this week. They questioned many of you. But", "the result of her conversation, or of the message\nbrought by the steward. The Baron paces a few steps,\npondering, then glances at his wife. Finally, she asks", "FARMER (furious, but with forced calm): Do you\n want me to sue the Baron? Or kill the steward?\n FRANZ: I...", "and there we see some lanterns, put there to facilitate\nthe cleaning up.\nComing from the front door, the Baron crosses the vast\ncourtyard. Half way across he screams:" ], [ "his suspicions will seem odd, and senses that the pastor\nwon't go along with then.\n SCHOOLTEACHER: Nothing. I had forgotten it.", "SCHOOLTEACHER: Yes, she was.\n PASTOR'S WIFE: And she didn't say anything?\nThe schoolteacher shakes his head. They both remain", "Supposedly, in order to help Xenia.\n PASTOR (doesn't understand): Yes... and?\nThe schoolteacher, uneasy, breathes hard. He knows that", "The schoolteacher realizes that he won't get any further\nthis way.\n SCHOOLTEACHER: Did you ever ask yourselves who\n could have treated Hansi that way?", "The schoolteacher thinks for a moment, then he goes over\nto her.\n Come on, tell me. You have something on your\n mind, haven't you?", "Martin turns and faces the schoolteacher, and says in\nsuch a pleading voice that it startles him:\n MARTIN: Please, don't tell him! Please, sir,", "SCHOOLTEACHER: A couple of days before Hansi was\n almost beaten to death, the steward's daughter\n had predicted precisely that to me. Supposedly,", "PASTOR (looks up to the schoolteacher,\n \"stunned\"): Why should they?\nThe schoolteacher almost dodges speaking further:", "schoolteacher's eyes, while others mutter a greeting, as\nif they wanted to say goodbye, as they went away. The\nschoolteacher looks annoyed. As Marie steps out of the", "The schoolteacher, the steward and his wife search\nthrough the house. Because of the closed shutters, its\nrooms are veiled in half-light. Several times they call", "SCHOOLTEACHER: They wanted to help him.\n PASTOR: So what", "The schoolteacher has little affirmative and regretful\ngesture. He feels extremely uncomfortable in this role.\nAnother PAUSE. Then, the pastor continues:", "While the pastor goes back to the black board, putting\nhis briefcase on the desk without saying a word, the\nschoolteacher, who feels slightly responsible for the", "The schoolteacher bends over to catch her gaze.\n\n SCHOOLTEACHER: Look at me.\n\n\nShe looks at him reluctantly, maintaining her defiant\nreserve.", "SCHOOLTEACHER: Well?\n MARIE: We discussed it with Father. He said it\n must be a sick person.", "SCHOOLTEACHER: Folks around here.\n EVA: Oh. So what?\n SCHOOLTEACHER: Nothing. I don't know. Sorry. I'm", "MARTIN (after a short silence): Yes, I did.\n SCHOOLTEACHER: Well?\nThe boy remains silent.", "Of course, the schoolteacher notices the reaction. But\nhe has already gone too far to backtrack. After a PAUSE\nhe goes on:", "with the schoolteacher.\nAlmost instantly, the room becomes QUIET. Without saying\na word, the pastor goes over to Marie, grabs her by the", "He looks at the schoolteacher for a moment with disdain:" ], [ "MIDWIFE: Will you let me have the bicycle?\n SCHOOLTEACHER: Why don't you tell me?", "SCHOOLTEACHER: I just borrowed it myself. I\n going to ride to town, to see my fiancée..\n MIDWIFE: Please! Lend it to me!", "the midwife doesn't know what to do. Finally she turns\naway from the door and starts to cross the yard. There,\nshe sees the schoolteacher. She comes over to him.", "The schoolteacher looks at her. The midwife looks\npitiful: she tries to smile at him pleadingly, tears are\nstreaming down her face.", "borrow your bicycle?\n SCHOOLTEACHER: It's not mine.\n MIDWIFE: Could I borrow it just the same?", "Finally, he gives the bicycle to her. She grabs it\nquickly, says\n Thanks!\nand rides away. The schoolteacher remains behind, alone.", "SCHOOLTEACHER: Why do you need it? Where do you\n want to go?\n MIDWIFE: I must go to town.", "The schoolteacher stops. He ponders about this. Then he\ngoes back to the midwife's house.", "MIDWIFE: Well, did you enjoy the singing?\n HANS (nods eagerly): It was great!\nThe schoolteacher comes in.", "SCHOOLTEACHER: Can't the doctor can lend you his\n horse?\n MIDWIFE: I don't know how to ride.", "In the midwife's bedroom, the schoolteacher notices a\nphoto: it shows the doctor, an unknown woman, and Xenia\nas a small girl.", "SCHOOLTEACHER: What for?\n MIDWIFE: I asked the steward for a carriage, but\n that stubborn fool won't agree to anything.", "are open and closes them, as the schoolteacher starts to\nspeak.\n SCHOOLTEACHER: I spoke to the midwife today: she", "Embarrassed pause. Then\n SCHOOLTEACHER: Is that your bicycle?\n EVA (\"What an idea!\"): No! It belongs to the\n estate.", "NARRATOR: ...The neighbor, a single woman of\n around 40, was the village midwife, who had\n filled the invaluable position of housekeeper", "Martin, a tall gangly boy of around 12, whose elegant\nclothes make him stand out among the other children\ncoming out of the school, turns to the midwife:", "MIDWIFE: I have to go to the police in town. I\n now know who committed all these crimes.\n SCHOOLTEACHER (flabbergasted): Who?", "PAUSE.\n Please! Lend me the bicycle.\n SCHOOLTEACHER: Why? What is going on?\nAfter hesitating a while", "SCHOOLTEACHER: Good afternoon, Mrs. Wagner.\n What's happening?\n MIDWIFE (very excited): Good afternoon. Can I", "the Baron's children, aren't you?\nWe hear the bicycle stopping.\n EVA (o.s.): Why?\nThe schoolteacher has turned around and now moves toward" ], [ "The doctor turns to her. She nods toward the house. The\ndoctor follows her look. Indeed Rudolph, who from here\nlooks even smaller than he really is, has stepped", "The doctor goes over and slaps her. Tears start to run\ndown her face, but after a short pause she keeps on\nspeaking, \"unmoved\":", "around him. He lets her do it, with a patronizing smile\nand pulls gently away from her.\n DOCTOR: Careful, my arm.\nShe tries to hide her frustration, sits down again with", "The doctor snorts with disdain.\n\n DOCTOR: That's it. Now leave me alone. I've got\n work to do.", "he says coldly:\n DOCTOR: Wouldn't it be better if you stopped\n doing that?\nIt's like a slap in the face. She looks dumbfounded.", "to the doctor. But since the night he was\n mistreated, I hadn't seen him again.\nHe leaves the midwife's house and hurries to the", "and am embarrassed at myself. So what's the\n point?!\n MIDWIFE: Are you through?\n DOCTOR:(contemptuously)): Yes, I have been for", "The doctor lies beside his wounded horse. His arm is\nstrangely twisted, his broken collarbone has made a bump\nin the blood-drenched jacket. He yells with pain.", "pain.\nPAUSE.\n DOCTOR (tired): Get out. Why don't you get out.\n Don't you have any pride?", "PAUSE. The doctor \"works\", as if he hadn't heard. She\nkeeps watching him for a while, and then says softly:", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "DOCTOR: According to you: when should it have\n occurred to me?\n At the hospital, I had forgotten how tiresome\n you were. One grows sentimental when one's in", "NARRATOR (o.s. continuing):...Everything began,\n if I remember correctly, with the doctor's\n riding accident. After his dressage session in", "DOCTOR (more to himself, with a faint smile):\n Yes.\nLONG PAUSE.\n MIDWIFE: You didn't miss me.", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more", "He looks up at her. After a pause, he says:\n DOCTOR: My God, why don't you just die?!", "He pulls the girl to her feet. She's thoroughly\nintimidated, and sniffles faintly. Then he leads her\ntoward the door, at the same time turning to the", "The doctor steps out of the door, and wanders through\nthe garden. He goes over to the trees, where the wire\nhad been strung. He examines the traces of the wire on", "She staggers back helplessly, he shouts something to her\nagain, whereupon she runs off. We hear all this from far\naway, because during the whole scene the narrator has\ncontinued his tale:\n 2", "DOCTOR (irritated): My God, you haven't done\n anything at all. You're ugly, you're messy,\n you're flabby and you have bad breath. Isn't" ], [ "The doctor turns to her. She nods toward the house. The\ndoctor follows her look. Indeed Rudolph, who from here\nlooks even smaller than he really is, has stepped", "to the doctor. But since the night he was\n mistreated, I hadn't seen him again.\nHe leaves the midwife's house and hurries to the", "The doctor steps out of the door, and wanders through\nthe garden. He goes over to the trees, where the wire\nhad been strung. He examines the traces of the wire on", "behind the surrounding bushes.\nAs the group was approaching, we have been hearing\n NARRATOR: The day following the doctor's riding\n accident not only brought no solution to the", "The doctor has one arm in a sling.\nThe Doctor's carriage ends up turning into his property.\nThe driver helps the doctor get out. Xenia comes running", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "NARRATOR: ...to see if any of his patients had\n arrived. As it entered the property, the horse\n had tripped over a hardly visible, taut wire", "44. THE STEWARD'S HOUSE. INT/NIGHT\nThe doctor examines the steward's baby that is crying.\nFinally, he turns to the parents.", "The doctor lies beside his wounded horse. His arm is\nstrangely twisted, his broken collarbone has made a bump\nin the blood-drenched jacket. He yells with pain.", "65. THE MIDWIFE'S HOUSE INT/NIGHT\nThe doctor carefully examines Hansi's wounds. Especially\nthe areas around eyes that are badly affected. The boy", "After a few moments Xenia, the doctor's 12-year old\ndaughter, comes running out of the house. She rushes up", "DOCTOR (laughs): Quod erat demonstrandum. Thank\n you. Well, good night, children.\n CHILDREN: Good night, Doctor.", "their neighbor, who in turn got the message to\n the manor house, so that the agonizing doctor\n could be transported to the hospital of the", "57. THE DOCTOR'S HOUSE. INT/NIGHT\nSTAIRWELL.\nThe only light comes in from the living room. Rudolph", "come out with his suspicion): When the doctor\n had his accident... last year, you remember,\n Suddenly the children were in his garden.", "NARRATOR: ...The search began shortly after\n midnight. Before, the Baron had ridden to the\n Rectory. But there he found out nothing new from\n the children who had been specially woken up.", "him at the table, on which are the leftovers of their\nmeal. With a little ironic smile, the doctor raises his\nglass to her. She takes her glass and clinks it with", "For the time being, the doctor remained in the\n hospital. In the meantime the midwife catered\n the basic needs of Xenia and Rudolph, his two", "XENIA (startled, her face tearstained): Rudi?!\nThe doctor spins around, and looks stunned to his young\nson. Both look as if they have been caught red-handed.", "and there we see some lanterns, put there to facilitate\nthe cleaning up.\nComing from the front door, the Baron crosses the vast\ncourtyard. Half way across he screams:" ], [ "At the dinner table, the pastor (in his mid-forties)\nsits with his back to the door. In front of him, at the\nother end of the table, sits his wife Anna, a woman in", "One of them tells a story, that we only partially\nunderstand because of all the noise:\n FIRST TENANT FARMER: ...so the guy really tried", "She staggers back helplessly, he shouts something to her\nagain, whereupon she runs off. We hear all this from far\naway, because during the whole scene the narrator has\ncontinued his tale:\n 2", "The steward, who sent her there, must have known\n it. And the landowner too.\nThe farmer remains silent. They keep walking.\n Father?!", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then", "arm and slams it down. The two stare at each other. For\na moment, we don't know what will happen. Then the\nfarmer goes on:", "other women follow her, embarrassed.\nOnce the door has closed behind them, the farmer just\nstands there. Only after a long while does he move\nforward and sit beside his dead wife. He remains seated,", "A dance hall has been set up. On it we see the\nlandowner, the steward and the pastor with their\nfamilies.\nA couple of younger women, a delegation of the", "by the steward from harvesting chores, and was\n assigned to easier work in the sawmill.\nEverything happens very silently. An elderly woman, a", "NARRATOR: On the Sunday between those dates, the\n whole village came to the festive service.\n An atmosphere of expectation and departure was", "sits down at his place beside his father.\nThe pastor folds his hands in prayer, the others follow\nsuit.\n PASTOR (very friendly): Marie, would you say", "At the same time a boy of ten comes over to the first\nfarmer and butts in to his story:\n BOY: Father, they cut off the Baron's cabbages.", "Finally, he was found walking down the road,\n scantily dressed for a trip, headed eagerly\n toward the town. When he was asked where he was", "front of the young girls. Older women are stand around\nin groups, gossiping. Some farmers are gathered around\nthe landowner he is friendly with them, but we don't", "In the distance we hear the MUSIC from the feast.\nFranz, in working clothes, comes over, opens a gate in\nthe fence, then goes to a large field with the cabbages", "time. He looks at the father. Then, lowers his eyes.\n NARRATOR: After these two days in July, life in\n the village returned to what it had always\n been...", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "right behind the coffin.\nThe procession starts to move off. As it comes around\nthe corner of the farm to go down the path leading to", "(7). Two other places are empty.\nThe table is set for 8 people, but the plates are empty.\nSILENCE.\n MARIE (quietly): Please forgive us.", "Under a big shadowy tree, we see the two strollers of\nthe landowner's family, a small table and a few chairs.\nEva is sitting beside the twins and watches the colorful" ], [ "PASTOR: Now the ribbon, Anna.\nAnna goes toward the two children, tying a white ribbon\naround Martin's upper arm and another in Marie's hair.", "PASTOR: When you were small, your mother once in\n a while would tie a ribbon in your hair or\n around your arm. Its white color was to remind", "The pastor is taking the white ribbon off Marie's head\nand Martin's arm. The rest of the family witnesses this\nalmost solemn act.", "their Sunday best, among them Marie and Martin, both\nwearing their white ribbons, the pastor's other\n 26", "The schoolteacher conducts the children's choir. The\nchildren sing enthusiastically. Marie and Martin wear\nthe white ribbon on their arm.", "Martin, who, the white ribbon still tied around his\nupper arm, stands in front of the desk.\n PASTOR: Your mother and I are deeply worried", "A paper has been tied around his neck with a white\nribbon.\nThe people hurry toward the child, free the child of its", "in our community was God's will and worth\n living.\n PASTOR: ... I take of this ribbon from you, in\n the belief that from now on you'll no longer", "my own daughter is playing the leading role in\n this pitiful display.\n Last year I bound a white ribbon in her hair.\n Well, you all know that white is the color of", "after the other. At the end we see Marie: she wears the\nwhite ribbon in her hair.", "Immediately all the CHILDREN rushing out say:\n Good-bye, Sir! Good-bye, Pastor!\nFinally, all the children have left the classroom,", "Supposedly, in order to help Xenia.\n PASTOR (doesn't understand): Yes... and?\nThe schoolteacher, uneasy, breathes hard. He knows that", "The students sit down. Marie keeps standing facing the\nwall. The pastor stops too. After a while he begins to\ntalk.\n This is a very sad day for me.", "Martin carries the cane out of the room. The pastor and\nthe other children sit around the table. Marie leaves\nthe room with her mother. After all the others have sat", "him and says:\n Good-bye, Pastor.\n PASTOR: Good-bye.\nThe schoolteacher leaves the room. The pastor turns to", "MARTIN (following her lead): Please forgive us.\nSILENCE. Then the pastor speaks very quietly, without\nturning to the two children:", "The schoolteacher has little affirmative and regretful\ngesture. He feels extremely uncomfortable in this role.\nAnother PAUSE. Then, the pastor continues:", "children even make fun of her, and she yells at the top\nof her voice:\n QUIET!!!!\nAt that moment, the door opens and the pastor comes in", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "While the pastor goes back to the black board, putting\nhis briefcase on the desk without saying a word, the\nschoolteacher, who feels slightly responsible for the" ], [ "NARRATOR: In mid-December, I finally got a\n letter from Eva. Her father had found her a new\n job in the district capital, which she would", "SCHOOLTEACHER: What's going on?\n\n EVA: They fired me.\n\n SCHOOLTEACHER (startled): What do you mean?", "He's a sturdy man in his early fifties, of peasant\nstock. He probably came straight from a tavern, and\nappears to be slightly drunk. The schoolteacher, Eva and", "On the dance floor, Eva and the schoolteacher try to\ndance. Neither is very talented. Eva keeps looking at\nher feet and smiles, embarrassed.", "Eva laughs, embarrassed and looks down.\n EVA: One. Two. Three. One. Two. Three. One. Two.\n Three. One. Two. Three.", "SCHOOLTEACHER: Are you going there?\n EVA: Yes, I am.\n SCHOOLTEACHER (doesn't know what to say): Well,", "Eva looks down and shakes her head. The schoolteacher\nstops the carriage, turns to her:\n What's going on?\n EVA: Nothing. Please.", "EVA: I don't know your father.\n SCHOOLTEACHER: That's true.\nThey look at each other for a while and then Eva rides", "SCHOOLTEACHER (surprised and glad): Eva!\n EVA (hardly understandable): May I come in?\nThe Schoolteacher stands up, goes toward and, laughing\nwith surprise, says to her.", "SCHOOLTEACHER: You see: we're getting better.\n EVA: Well.\n SCHOOLTEACHER: Stop looking at your feet.", "EVA: Yes.\nPAUSE.\n SCHOOLTEACHER: Is that all right with you?\nPAUSE.", "The father sits down beside Eva and looks at the\nschoolteacher. Eva appears to be awkward, and stares at\nthe table in front of her.", "Eva (18), a redhead, somewhat chubby, but pretty girl,\ncrosses him way on her bicycle. A big bag is strapped to\nthe baggage carrier.", "EVA (rather suspicious because all this is too\n intimate for her): Yes.\n SCHOOLTEACHER: Well, you're probably looking", "Eva looks up. Their eyes meet. Then she takes his hand\nin her hand. They remain seated without saying a word.", "Now Eva laughs too.\n EVA: What?!\n SCHOOLTEACHER (smiling as if to apologize):", "SCHOOLTEACHER: Hello.\n EVA (passing by): Hello.\nThe schoolteacher stops, turns to the girl:", "balance by all this. He stands up and takes a few steps.\nHe sits down again and thinks.\nFinally, the door opens and Eva enters. She doesn't", "at the father. The schoolteacher stands up, as Eva ran\nout. He'd rather follow her, but has to remain polite\ntoward the father. The father says calmly:", "EVA says: And Sigi?\n SCHOOLTEACHER: I don't know. The Baroness isn't\n back yet.\n EVA: And the Baron?" ], [ "The boy looks embarrassed. He glances at his father,\nthen comes over with the cage and puts it carefully on\nhis father's desk. As Florian approaches, the pastor", "He cries in a such pitiful way that even the pastor has\ntears in his eyes. He embraces the boy. The latter\nseizes the hand of his father and kisses it intensely.", "cry with pity and fear.\nFinally both have received their 10 strokes.\nCLOSE ANGLE: The pastor. He is breathless and beads of", "For a moment, neither of them knows what to do. Then the\nboy leaves the room.\nThe pastor follows him with his eyes. Then, he sits", "the same, the father says\n PASTOR: I refuse to be touched by you. Your\n mother and I will sleep poorly because we know I\n have to hurt you tomorrow, and because it will", "The pastor looks at him, doesn't know how to react.\nThen, with a hoarse voice and trying to look\nindifferent, he says:", "PASTOR: Well, Martin, why are you crying? Shall\n I spare you that confession? You too have done\n what that wretched boy did, haven't you?", "The schoolteacher has little affirmative and regretful\ngesture. He feels extremely uncomfortable in this role.\nAnother PAUSE. Then, the pastor continues:", "with the schoolteacher.\nAlmost instantly, the room becomes QUIET. Without saying\na word, the pastor goes over to Marie, grabs her by the", "LONG SILENCE. Finally, the pastor gets up, takes a few\nsteps, then, after another PAUSE, turns again to the\nschoolteacher. His face is ashen, and he can hardly", "finest nerves of his body, in the area where\n God's will has erected sacred barriers. The boy\n imitated this action. He couldn't stop doing it,", "PASTOR: I think you know well.\nMartin doesn't know what to say, he looks down. The\npastor watches him for a long moment, then he gets up,", "him and says:\n Good-bye, Pastor.\n PASTOR: Good-bye.\nThe schoolteacher leaves the room. The pastor turns to", "PASTOR (softly): And when it's healed?\nFlorian looks at him with round eyes, he doesn't know\nwhat to answer. The pastor continues:", "PASTOR: You probably agree with me, that I\n cannot leave your offense unpunished, if we want\n keep living in mutual respect. So, tomorrow", "The students sit down. Marie keeps standing facing the\nwall. The pastor stops too. After a while he begins to\ntalk.\n This is a very sad day for me.", "The father responds to this by slapping his face hard.\nFranz jumps up.\n FARMER (orders Franz without looking at him):\n Sit down!", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "Florian doesn't know what to answer. So he merely looks\nat his father with pleading eyes.\n PASTOR (repeats): Will you set him free, as soon", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then" ], [ "He's a sturdy man in his early fifties, of peasant\nstock. He probably came straight from a tavern, and\nappears to be slightly drunk. The schoolteacher, Eva and", "she's willing to get married. She's still a\n child. She hasn't seen anything of the world.\n To Eva: Say something. Do you want him?", "Eva looks up. Their eyes meet. Then she takes his hand\nin her hand. They remain seated without saying a word.", "On the dance floor, Eva and the schoolteacher try to\ndance. Neither is very talented. Eva keeps looking at\nher feet and smiles, embarrassed.", "He drives on. After a few meters, Eva puts her hand on\nhis hands and on the reins. He stops the carriage, she\nlooks at him.\n EVA: Thanks.", "at the father. The schoolteacher stands up, as Eva ran\nout. He'd rather follow her, but has to remain polite\ntoward the father. The father says calmly:", "He first hugs Marie who, her face still wet with tears,\ntries a forced smile and then Martin. Then, the pastor\nturns to his wife:", "Eva looks down and shakes her head. The schoolteacher\nstops the carriage, turns to her:\n What's going on?\n EVA: Nothing. Please.", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "NARRATOR: We had arranged to meet at the town\n railway station, since Eva wanted to avoid being\n seen with me. She was living with distant", "balance by all this. He stands up and takes a few steps.\nHe sits down again and thinks.\nFinally, the door opens and Eva enters. She doesn't", "EVA: I don't know your father.\n SCHOOLTEACHER: That's true.\nThey look at each other for a while and then Eva rides", "NARRATOR: In mid-December, I finally got a\n letter from Eva. Her father had found her a new\n job in the district capital, which she would", "STEWARD: I can imagine. Who wouldn't like that.\n EMMA (rebuking him gently): Georg!\n STEWARD (to Eva): What about you? Don't you get", "SCHOOLTEACHER (surprised and glad): Eva!\n EVA (hardly understandable): May I come in?\nThe Schoolteacher stands up, goes toward and, laughing\nwith surprise, says to her.", "Now Eva laughs too.\n EVA: What?!\n SCHOOLTEACHER (smiling as if to apologize):", "EVA: Yes.\nPAUSE.\n SCHOOLTEACHER: Is that all right with you?\nPAUSE.", "EVA says: And Sigi?\n SCHOOLTEACHER: I don't know. The Baroness isn't\n back yet.\n EVA: And the Baron?", "Eva laughs, embarrassed and looks down.\n EVA: One. Two. Three. One. Two. Three. One. Two.\n Three. One. Two. Three.", "Eva looks at the steward's wife, not knowing, how to\nreact to the \"mother joke\". But the slightly naive wife\nof the steward is basically fond of any jokes her" ], [ "He's a sturdy man in his early fifties, of peasant\nstock. He probably came straight from a tavern, and\nappears to be slightly drunk. The schoolteacher, Eva and", "EVA: Yes.\nPAUSE.\n SCHOOLTEACHER: Is that all right with you?\nPAUSE.", "EVA: That the schoolteacher is from the village\n next to mine.\n SCHOOLTEACHER (laughs): Oh, I see! Yes. Well...", "at the father. The schoolteacher stands up, as Eva ran\nout. He'd rather follow her, but has to remain polite\ntoward the father. The father says calmly:", "SCHOOLTEACHER (surprised and glad): Eva!\n EVA (hardly understandable): May I come in?\nThe Schoolteacher stands up, goes toward and, laughing\nwith surprise, says to her.", "during which the horse keeps trotting, Eva leans against\nthe schoolteacher and puts her head against his\nshoulder. But the shaking of the carriage on the rutted", "EVA: I don't know your father.\n SCHOOLTEACHER: That's true.\nThey look at each other for a while and then Eva rides", "Eva looks down and shakes her head. The schoolteacher\nstops the carriage, turns to her:\n What's going on?\n EVA: Nothing. Please.", "SCHOOLTEACHER (stepping back): Of course. Well,\n good-bye.\n EVA: Good-bye.\nShe's about to ride off.", "SCHOOLTEACHER: Hello.\n EVA (passing by): Hello.\nThe schoolteacher stops, turns to the girl:", "On the dance floor, Eva and the schoolteacher try to\ndance. Neither is very talented. Eva keeps looking at\nher feet and smiles, embarrassed.", "SCHOOLTEACHER: Are you going there?\n EVA: Yes, I am.\n SCHOOLTEACHER (doesn't know what to say): Well,", "make her complain about their forced separation, and\nsays cheerfully:\n EVA: No. Really.\nThe schoolteacher exchanges a smiling glance with her,", "EVA (rather suspicious because all this is too\n intimate for her): Yes.\n SCHOOLTEACHER: Well, you're probably looking", "SCHOOLTEACHER: You see: we're getting better.\n EVA: Well.\n SCHOOLTEACHER: Stop looking at your feet.", "The schoolteacher and Eva look at each other, but Eva\nsoon averts her eyes.\n SCHOOLTEACHER: They now want to tear down the", "SCHOOLTEACHER: Folks around here.\n EVA: Oh. So what?\n SCHOOLTEACHER: Nothing. I don't know. Sorry. I'm", "Now Eva laughs too.\n EVA: What?!\n SCHOOLTEACHER (smiling as if to apologize):", "SCHOOLTEACHER: What's going on?\n\n EVA: They fired me.\n\n SCHOOLTEACHER (startled): What do you mean?", "The father sits down beside Eva and looks at the\nschoolteacher. Eva appears to be awkward, and stares at\nthe table in front of her." ], [ "The doctor lies beside his wounded horse. His arm is\nstrangely twisted, his broken collarbone has made a bump\nin the blood-drenched jacket. He yells with pain.", "The doctor steps out of the door, and wanders through\nthe garden. He goes over to the trees, where the wire\nhad been strung. He examines the traces of the wire on", "The doctor turns to her. She nods toward the house. The\ndoctor follows her look. Indeed Rudolph, who from here\nlooks even smaller than he really is, has stepped", "NARRATOR (o.s. continuing):...Everything began,\n if I remember correctly, with the doctor's\n riding accident. After his dressage session in", "The doctor has one arm in a sling.\nThe Doctor's carriage ends up turning into his property.\nThe driver helps the doctor get out. Xenia comes running", "The doctor goes over and slaps her. Tears start to run\ndown her face, but after a short pause she keeps on\nspeaking, \"unmoved\":", "around him. He lets her do it, with a patronizing smile\nand pulls gently away from her.\n DOCTOR: Careful, my arm.\nShe tries to hide her frustration, sits down again with", "NARRATOR: ...to see if any of his patients had\n arrived. As it entered the property, the horse\n had tripped over a hardly visible, taut wire", "So they just let him go, saying to themselves:\n if he falls down, he falls down, that's it. But\n he didn't get much farther than the first", "behind the surrounding bushes.\nAs the group was approaching, we have been hearing\n NARRATOR: The day following the doctor's riding\n accident not only brought no solution to the", "to the doctor. But since the night he was\n mistreated, I hadn't seen him again.\nHe leaves the midwife's house and hurries to the", "Nobody saw the thing before, nobody saw it\n afterwards. It wound itself around the two trees\n all alone, and made itself vanish after the\n doctor's fall. Right?", "Then he tiptoes toward the stable door. As he touches\nthe stable door, he lacks the strength to go inside\nagain. Slowly he heads for the living room. The", "PAUSE. The doctor \"works\", as if he hadn't heard. She\nkeeps watching him for a while, and then says softly:", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "come out with his suspicion): When the doctor\n had his accident... last year, you remember,\n Suddenly the children were in his garden.", "It's very quiet. The doctor speaks with a soothing,\nalmost tender voice to the child, who keeps on moaning:\n DOCTOR (softly): All right... Everything's all", "the toilet. She tells her father with a smile. As Xenia\nhangs up the doctor's jacket, he goes to the toilet door\nand tries to open it. It's locked. The Doctor stops in", "He looks up at her. After a pause, he says:\n DOCTOR: My God, why don't you just die?!", "door, as if to make sure that nobody is coming.\n NARRATOR: A few days after Marie's fainting-fit\n that frightened us all, and that was followed by" ], [ "other women follow her, embarrassed.\nOnce the door has closed behind them, the farmer just\nstands there. Only after a long while does he move\nforward and sit beside his dead wife. He remains seated,", "FARMER (after a pause): Because of your mother?\n Because you feel they're responsible for her\n death? Is that it? What do you think? That I'm", "arm and slams it down. The two stare at each other. For\na moment, we don't know what will happen. Then the\nfarmer goes on:", "15. FARM INT/NIGHT\nThe body of the farmer's wife has been laid out. The\ncandles to its left and right are almost burnt out.", "NARRATOR: ...The neighbor, a single woman of\n around 40, was the village midwife, who had\n filled the invaluable position of housekeeper", "by the steward from harvesting chores, and was\n assigned to easier work in the sawmill.\nEverything happens very silently. An elderly woman, a", "The farmer keeps on walking as if he hasn't heard. Franz\nlooks at him from the side. For a long moment he remains\nsilent, while all three keep walking. Then, Franz goes", "FOURTH FARMHAND (sitting beside the second,\n almost in a whisper): Don't you know: it was her\n mother who had that accident?...", "FARMER: Go and cut off his head of with your\n scythe. Sure, that'll bring your mother back to\n life.", "The steward, who sent her there, must have known\n it. And the landowner too.\nThe farmer remains silent. They keep walking.\n Father?!", "The steward's wife has left the room. The schoolteacher\nsits around, bored. After a while he gets up, goes to\nthe window and looks out.", "children. After the burial of the farmer's wife,\n that was attended by the whole village, the two\n accidents were soon forgotten...", "She staggers back helplessly, he shouts something to her\nagain, whereupon she runs off. We hear all this from far\naway, because during the whole scene the narrator has\ncontinued his tale:\n 2", "Franz finally sits down again. SILENCE. The farmer\nstares at his plate, tries to speak softly, which is\nobviously difficult for him, to judge by the sound of\nhis voice.", "Reluctantly, the old midwife abandons her half completed\nwork, not without having spread the dress she had draped\nover the still half-naked body of the dead woman. The", "right behind the coffin.\nThe procession starts to move off. As it comes around\nthe corner of the farm to go down the path leading to", "FARMER: Well?\n FARMER: Tell me.\nFranz keeps on glaring straight ahead. The farmer adopts\na gentler tone.", "Suddenly the farmer stops and screams, almost crying\nwith fury and despair:\n FARMER: Shut up!\nCLOSE ANGLE: Paul. He was listening carefully the whole", "XENIA: Yes. She's dead too. But that was a long\n time ago.\nBoth remain SILENT. In the meantime it has grown dark in\nthe kitchen.", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:" ], [ "SCHOOLTEACHER: I just borrowed it myself. I\n going to ride to town, to see my fiancée..\n MIDWIFE: Please! Lend it to me!", "the midwife doesn't know what to do. Finally she turns\naway from the door and starts to cross the yard. There,\nshe sees the schoolteacher. She comes over to him.", "The schoolteacher looks at her. The midwife looks\npitiful: she tries to smile at him pleadingly, tears are\nstreaming down her face.", "The schoolteacher stops. He ponders about this. Then he\ngoes back to the midwife's house.", "SCHOOLTEACHER: Can't the doctor can lend you his\n horse?\n MIDWIFE: I don't know how to ride.", "SCHOOLTEACHER: Why do you need it? Where do you\n want to go?\n MIDWIFE: I must go to town.", "NARRATOR: ...The neighbor, a single woman of\n around 40, was the village midwife, who had\n filled the invaluable position of housekeeper", "SCHOOLTEACHER: What for?\n MIDWIFE: I asked the steward for a carriage, but\n that stubborn fool won't agree to anything.", "are open and closes them, as the schoolteacher starts to\nspeak.\n SCHOOLTEACHER: I spoke to the midwife today: she", "borrow your bicycle?\n SCHOOLTEACHER: It's not mine.\n MIDWIFE: Could I borrow it just the same?", "MIDWIFE: I have to go to the police in town. I\n now know who committed all these crimes.\n SCHOOLTEACHER (flabbergasted): Who?", "MIDWIFE: Well, did you enjoy the singing?\n HANS (nods eagerly): It was great!\nThe schoolteacher comes in.", "Martin, a tall gangly boy of around 12, whose elegant\nclothes make him stand out among the other children\ncoming out of the school, turns to the midwife:", "had gone to the school to fetch her own son,\n Hans. Since she didn't like leaving him alone,\n she asked me - in return for a small fee - to", "SCHOOLTEACHER: Good afternoon, Mrs. Wagner.\n What's happening?\n MIDWIFE (very excited): Good afternoon. Can I", "MIDWIFE: Will you let me have the bicycle?\n SCHOOLTEACHER: Why don't you tell me?", "In the midwife's bedroom, the schoolteacher notices a\nphoto: it shows the doctor, an unknown woman, and Xenia\nas a small girl.", "He holds his hand out to her. Astonished she looks at\nthe handkerchief in her hands. She had forgotten it\ncompletely, and gives it back the schoolteacher.", "NARRATOR: The midwife never came back. I waited\n until the morning, two days later. Then, I went\n to the manor house to inform the Baron. He", "As he passes the midwife's house, he sees behind the\nfence in the garden, half hidden behind the bushes,\nMarie and a few other children. The shutters of the" ], [ "NARRATOR: The news spread around the village\n like wildfire. What would the consequences be?\n The first person who spoke the word WAR, was", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more", "Today, more than a quarter of a century later,\n toward the end of my life, and several years\n after the end of a second war that was to change", "time. He looks at the father. Then, lowers his eyes.\n NARRATOR: After these two days in July, life in\n the village returned to what it had always\n been...", "Marie. They look up at the house. They're waiting for\nsomething.\nAfter a while, Georg, the boy who earlier had urged them", "She staggers back helplessly, he shouts something to her\nagain, whereupon she runs off. We hear all this from far\naway, because during the whole scene the narrator has\ncontinued his tale:\n 2", "all got back to bed. I'll wait till you're back\n in bed. It's freezing cold outside.\nThe three boys go back to bed. But first Anton ties up", "Then he slips out of the bed and goes to the window.\nSuddenly, he is wide-awake:\n ANTON: Something is burning! Over there at the\n estate!", "to God, our beloved Father, and to all human\n beings.\n MARTIN (starts to cry): Oh, my God!", "goes by fast. The world won't collapse. And\n during your holidays you can come and visit her.\n Good-bye.\nHe leaves the room. The schoolteacher is thrown off", "arm and slams it down. The two stare at each other. For\na moment, we don't know what will happen. Then the\nfarmer goes on:", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "in the air. From now on nothing would be the\n same.\n Only a few days ago everybody would have called\n the life they lived as God's will, worthy of", "shouts to them again, this time louder:\n Be quiet! For God's sake! Be quiet!!\nBut as the wild chase goes on and some over-exited", "being lived, and would have shunned any change.\n The strange joy with which the coming war was\n greeted, showed that this certainty of order and", "You all go to bed now. It's nothing. There's a\n fire on the estate. You don't need to be afraid.\n Go to bed and sleep. Come on, Marie, take your", "start at the beginning of the New Year.\n Since that night, where she had come looking for\n shelter in the school and we had tried to tell\n each other the story of our short lives until", "The doctor turns to her. She nods toward the house. The\ndoctor follows her look. Indeed Rudolph, who from here\nlooks even smaller than he really is, has stepped", "At the same time a boy of ten comes over to the first\nfarmer and butts in to his story:\n BOY: Father, they cut off the Baron's cabbages.", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then" ] ]	[ "What does the pastor make the children wear as a reminder of the innocence in which they had strayed?", "How long were the school teacher and the nanny (Eva) engaged before being married?", "What was the event on the day the baron's young son went missing?", "How was the pastor's parakeet killed?", "Who gave the midwife evidence regarding the strange events happening?", "After what tragic event did the farmer die?", "What war is mentioned at the end of the story?", "What is the first unexplained event to be mentioned in the story?", "Who confronts the pastor regarding the unusual events?", "Why did the pastor make the children wear white ribbons?", "What did the pastor do when his son confessed to \"impure touching\"?", "How did the doctor treat the village children in the beginning of the story?", "Why did the doctor fall from his horse?", "Why did the farmer hang himself?", "Why did the steward at the baron's estate thrash the his son?", "Who did the schoolteacher suspect had prior knowledge about the local troubles?", "How was the midwife able to commandeer a bicycle from the schoolteacher?", "Who did the doctor humiliate?", "Who did they find the doctor with at night?", "What is the setting of the parable?", "Why does the pastor have the children wear white ribbons?", "What is Eva's job?", "What is the punishment the pastor's son must endure for improper touching?", "Who marries Eva?", "How long was the engagement of Eva to the school teacher?", "How does the doctor fall?", "How does the famer's wife die?", "What did the midwife borrow from the school teacher to go into town?", "What war is declared at the end of the story?" ]	[ [ "White ribbon", "White ribbon" ], [ "one year", "One year" ], [ "Harvest Festival", "the harvest festival" ], [ "impaled with scissors", "By being impaled by scissors." ], [ "her son", "Her son" ], [ "his wife's death", "his wife died at the sawmill" ], [ "the war on Serbia by Austria-Hungary", "The war on Serbia by Austria-Hungary." ], [ "The doctor is thrown from horse after wires were stretched between 2 trees", "The Doctor fell off his horse." ], [ "The school teacher", "the schoolteacher " ], [ "To remind them that they had strayed from their innocence.", "They serve a reminder of the purity they have strayed from." ], [ "He tied his hands to the bed frames every night.", "tie his hands to his bed frame each night" ], [ "He treated them kindly.", "kindly" ], [ "There was a wire stretched between two trees.", "Because he ran into a wire that was placed between trees." ], [ "He was grieving his wive's death.", "he was heartbroken about his dead wife" ], [ "His was a thief.", "petty theft" ], [ "The pastor's children.", "The pastor's children." ], [ "She said she had evidence for the police given tot her by her son.", "She says she has evidence to give to the police" ], [ "His housekeeper, the local mid-wife.", "His Housekeeper" ], [ "His teenage daughter.", "His teenage daughter" ], [ "Eichwald, Germany 1913-1914", "Eichwald, Germany" ], [ "To remind them of their straying from innocence", "Reminder of innocence and purity" ], [ "She's a nanny", "Being a nanny." ], [ "He ties the boy's hands to the bedframe each night", "has his hands tied to the bed each night" ], [ "The school teacher", "The schoolteacher was expected to." ], [ "one year", "1 year" ], [ "A wire between two trees trips him from his horse", "A wire stretched between trees makes him fall off his horse" ], [ "She falls through rotten floor boards at the sawmill", "She fell through rotten floorboards in the sawmill." ], [ "a bicycle", "bicycle" ], [ "War on Serbia by Austria-Hungary", "Austria-Hungary declares war on Serbia." ] ]	0c159ba273b7078c2fcd87edb32016c97e699b55	train
[ [ "\"Bunny,\" said Raffles, \"this is fame at last! It is no longer\nnotoriety; it lifts one out of the ruck of robbers into the society of", "\"You said I spoke as if I had known Mr. Raffles. Of course I have\noften seen him playing cricket, and heard about him and you. But I only", "\"I seem to have seen you with this great man Raffles,\" began Nasmyth,\nas he overhauled me with his fighting eye. \"Do you know him well?\"\n\n\"Intimately.\"", "name and repute. Raffles, after all, had aged and altered out of\nknowledge; but he had not lost the nerve that was equal to a far more", "butt, and the slates with a bullet not a yard from the protruding head.\nAnd that, I believe, was the only shot that Raffles ever fired in his\nwhole career as a midnight marauder.", "\"Hulloa!\"\n\n\"That you, Bunny?\"\n\n\"Yes--are you Raffles?\"", "Molesey. It was for Raffles to choose between the two excitements, and\nfor once I helped him to make up his mind. I duly pointed out to him", "\"My dear fellow,\" cried Raffles, \"I hear it was you who gave that\nhundred guineas by stealth to the very movement you denounced. Don't", "of robbing his old 'ome, it's believed he hadn't the 'eart to take the\nstuff away, and Raffles had to break in a second time for it. No, sir,", "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "\"Good Lord, no! I only wanted to see if he was dead,\" I explained,\nhaving satisfied myself that it was really Raffles, and that Raffles", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "\"The two poor people whom it was your own idea to despoil,\" quoth\nRaffles, \"prematurely gloating over these two pretty things?\"", "It was Raffles at his worst, Raffles as I never knew him before or\nafter--a Raffles mad with pain and rage, and desperate as any other", "It was but a little over a hundred sovereigns that Raffles had taken,\nand, of course, he had resolutely eschewed any and every form of paper", "\"Certainly I do,\" said Raffles. \"I was never more serious in my life.\"\n\n\"You would march into Scotland Yard in broad daylight?\"", "In a flash I saw the chance of my criminal career. It was some years\nsince Raffles had served his country in these encounters; he had never", "\"Then give me another cigarette, my dear fellow, and let me push on to\nScotland Yard.\"\n\nRaffles held up both hands in admiring horror. \"Scotland Yard!\"", "\"I was staying there at the time,\" said Raffles eagerly. No snob was\never quicker to boast of basking in the smile of the great.", "\"I'm sure of it, my good fellow,\" rejoined Raffles, a discreet twinkle\nin his eye. \"Tell us about it, to save time.\"" ], [ "\"You had better ask Raffles himself,\" said I to that. \"It's a pity you\ndidn't ask him in public, at the meeting!\"", "indeed deeply interested before the event, since Raffles assured me\nthat it was \"a one-man job,\" and naturally intended to be the one man\nhimself. It was only at the eleventh hour that our positions were", "that Raffles and I had made a bet about his burglar trap, and that I\nhad come to see who had won. I might or might not confess that Raffles", "\"I've told you already,\" said Raffles. \"I mean to make him.\"\n\n\"But how?\" I asked. \"And when, and where?\"", "\"My dear fellow,\" replied Raffles, \"that was my whole feeling about\nyou. I wanted to 'see you at it'--that was absolutely all. I wanted", "\"Of putting his head out, you mean,\" returned the clerk, whose\nknowledge of Raffles and his Relics was really most comprehensive on", "danger in discussing the matter quietly on the spot. But even as he\ngave me my dismissal Raffles turned and caught the sill above him,", "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "just nodded, and told me that I knew very well what you had done. But\nI began to wonder whether Mr. Raffles himself knew, and I tried to get", "\"And how did you?\" I asked. \"And in the Lord's name, Raffles, when and\nwhy?\"", "\"You mean what I felt, Raffles?\"", "\"I seem to have seen you with this great man Raffles,\" began Nasmyth,\nas he overhauled me with his fighting eye. \"Do you know him well?\"\n\n\"Intimately.\"", "I had forgotten Raffles was a modern first-class cricketer: that\nexplains him. Rather than see my son such another, do you know what\nI'd prefer to see him?\"", "\"Did you see that light in Nab's just now?\" cried Raffles as he led.\n\n\"No; why?\" I panted, nearly spent.", "It was from Raffles. I smoothed out the twisted scrap of paper, and on\nit were just a couple of lines in pencil:", "\"You said I spoke as if I had known Mr. Raffles. Of course I have\noften seen him playing cricket, and heard about him and you. But I only", "\"Good Lord, no! I only wanted to see if he was dead,\" I explained,\nhaving satisfied myself that it was really Raffles, and that Raffles", "I whispered back that I did not believe it for a moment. Raffles had\nnot heard all Nasmyth had said of him. And neither would he listen to", "But his voice had grown fainter and wearier with every answer, and now\nthere was no answer at all. Again and again I asked Raffles if he was", "\"I tell you I got it directly I had left you. He called you away in\norder to burgle you too, of course!\"\n\nAnd Raffles stood smiling upon me in all his incomparable radiance and\naudacity." ], [ "\"Not again, Bunny, not again,\" rejoined Raffles, laughing as he shook\nhis head. \"But do you think the man has enough to make it worth our\nwhile to go so far afield?\"", "\"If you don't,\" rejoined Raffles, \"you will miss some sport after both\nour hearts. Think of it, Bunny! These fellows meet to wallow in all", "\"My dear Bunny,\" replied Raffles, \"you should remember how long I had\nbeen maturing felonious little plan, what a blow it was to me to have", "\"Bunny,\" said Raffles, \"this is fame at last! It is no longer\nnotoriety; it lifts one out of the ruck of robbers into the society of", "\"My dear Bunny, but so he was!\" cried Raffles. \"Time was when I was\nnone too pure an amateur. But after this I take leave to consider", "\"That's for the police,\" said Raffles, waiting for me. \"But the fun's\nonly beginning in the stables. Hear the uproar, and see the lights!", "\"They might be brothers,\" rejoined Raffles, who knew all the loose fish\nabout town. \"Well, I'm not sure that I shall want you after all,\nBunny.\"\n\n\"Why not?\"", "\"Good Lord, no! I only wanted to see if he was dead,\" I explained,\nhaving satisfied myself that it was really Raffles, and that Raffles", "\"Hulloa!\"\n\n\"That you, Bunny?\"\n\n\"Yes--are you Raffles?\"", "\"The two poor people whom it was your own idea to despoil,\" quoth\nRaffles, \"prematurely gloating over these two pretty things?\"", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "\"You were always a bad liar, Bunny,\" said Raffles, smiling. \"Will you\nthink me one when I tell you that I can understand what you felt, and", "of robbing his old 'ome, it's believed he hadn't the 'eart to take the\nstuff away, and Raffles had to break in a second time for it. No, sir,", "\"Did you see that light in Nab's just now?\" cried Raffles as he led.\n\n\"No; why?\" I panted, nearly spent.", "pocket, and crept out to earn his honest grip or to fall in the\nattempt. On the landing I drew Raffles's little weapon, slipped my", "\"We shall be seen,\" I whispered at his heels. \"Raffles, Raffles,\nthere's a policeman at the corner!\"", "\"We mustn't give them one, Raffles?\"\n\n\"Of course we mustn't; but that means stopping where we are.\"\n\n\"We can't do that?\"", "\"So you are out of Paradise after all!\" said Raffles. \"I was not sure,\nor I should have come round before. Well, Bunny, if they don't want", "\"If we simply cleared out,\" continued Raffles, \"you would be\nincriminated in the first place as my accomplice, and once they had you", "\"When he told us he set it every night! Oh, Raffles, what sort of a\ntrap is it? What shall I do? What shall I bring?\"" ], [ "\"Good Lord, no! I only wanted to see if he was dead,\" I explained,\nhaving satisfied myself that it was really Raffles, and that Raffles", "\"If we simply cleared out,\" continued Raffles, \"you would be\nincriminated in the first place as my accomplice, and once they had you", "\"Only promise me not to take a revolver,\" said Raffles in a whisper.\n\"Here are my keys; there's an old life-preserver somewhere in the", "\"Not again, Bunny, not again,\" rejoined Raffles, laughing as he shook\nhis head. \"But do you think the man has enough to make it worth our\nwhile to go so far afield?\"", "name and repute. Raffles, after all, had aged and altered out of\nknowledge; but he had not lost the nerve that was equal to a far more", "\"Rather!\" cried Raffles. \"I'm afraid I have let myself lose touch, but\nI mean to turn over a new leaf. I suppose that isn't necessary in your\ncase, Nasmyth?\"", "about it in the end. I put my money on the man-trap. Raffles put his\nupon the other thing. And Raffles was right--it wasn't a man-trap.", "\"Then you're luckier than we are, sir,\" answered Raffles, \"for I fear\nour man has given us the slip.\"", "\"So you are out of Paradise after all!\" said Raffles. \"I was not sure,\nor I should have come round before. Well, Bunny, if they don't want", "It was but a little over a hundred sovereigns that Raffles had taken,\nand, of course, he had resolutely eschewed any and every form of paper", "\"The two poor people whom it was your own idea to despoil,\" quoth\nRaffles, \"prematurely gloating over these two pretty things?\"", "It was Raffles at his worst, Raffles as I never knew him before or\nafter--a Raffles mad with pain and rage, and desperate as any other", "thief and thief. Now all that was at an end. Raffles had cheated me.\nRaffles had completed the ruin of my life. I was done with Raffles, as", "morbid about the past. It is not for me to condone it, and yet I know\nthat Mr. Raffles was what he was because he loved danger and adventure,", "\"I'm sure of it, my good fellow,\" rejoined Raffles, a discreet twinkle\nin his eye. \"Tell us about it, to save time.\"", "It was Raffles. Yet for a moment I looked about me quite in vain. He\nwas not at the window; he was not at the open door. And yet Raffles it", "\"I wouldn't figure on that,\" observed the secretary, with a downward\nglance as though at the prostrate Raffles. \"Have you looked to see if\nthe trophies are all safe?\"", "it, if this was his,\" he added, picking up the murderous little\nlife-preserver which poor Raffles had provided for his own destruction.", "Molesey. It was for Raffles to choose between the two excitements, and\nfor once I helped him to make up his mind. I duly pointed out to him", "\"Certainly I do,\" said Raffles. \"I was never more serious in my life.\"\n\n\"You would march into Scotland Yard in broad daylight?\"" ], [ "\"Bunny!\" he yawned, and nothing more until his position came back to\nhim. \"So you came to me,\" he went on, in a tone that thrilled me with", "\"My dear Bunny!\" he exclaimed. \"Do you know what brought me back?\"\n\nI answered savagely that I neither knew nor cared.", "\"Did you ever hear from her, Bunny?\" he asked.\n\n\"In a way,\" I answered. \"We won't talk about it, if you don't mind,\nRaffles.\"", "\"Why, Bunny, this is the very thing!\" he cried. \"You must come and\nstay with me, and we'll lie low side by side. Only remember it really", "you and the poor devil upstairs. And up to a certain point, Bunny, I\nreally thought you played the scene to perfection.\"", "\"That's different,\" said I relentlessly. \"The tower was there in my\ntime, but the man I mean to rob was not.\"\n\n\"You really do mean to do it, Bunny?\"", "\"One question at a time, Bunny,\" said he. \"In the first place, I am\ngoing to have these rooms freshened up with a potful of paint, the\nelectric light, and the telephone you've been at me about so long.\"", "attention to it until yesterday morning. And when they do, they take\nall the credit and give me no more than you did, Bunny!\"", "\"From the inside of the chest, Bunny. Don't look like that--it's\nfoolish. Try to recall a few words that went before, between the idiot", "\"You silly ass, Bunny, don't tell all Kensington that I'm in town!\"\nreplied my tatterdemalion, shooting up and smoothing out into a merely", "\"In broad lime-light,\" he answered, studying the magazine again, \"to\nset eyes on my own once more. Why here they all are, Bunny--you never", "meantime I have no idea; very likely he'd done no harm; but it seemed\nworth while finding out. He had too good a start, though, and poor\nBunny had too bad a wind.\"", "\"It has been my fortune before to-night, Bunny. It has also given me\nmore confidence than you are likely to believe at this time of day.\nYou stimulate me more than you think.\"", "\"Not to steal, Bunny! I haven't stolen a thing. But staying here I\ncertainly am, and having the most complete rest a busy man could wish.\"\n\n\"There'll be no rest for me!\"", "\"I never even thought of him, Bunny, until you came to see me the day\nbefore yesterday, and put him into my head with your first words. The", "\"They shan't hear us at all, Bunny,\" said he. \"I mean to get out as I\ndid in the good old nights. I've been spoiling for the chance ever", "\"What's left of me! Bunny, I want you--quick.\"\n\nAnd even over the wire his voice was faint with anxiety and\napprehension.\n\n\"What on earth has happened?\"", "help yourself, with that poor brute in that state. And I admired you\nimmensely, Bunny, if that's any comfort to you now.\"", "you one of mine, although I picked your pocket of it in the end. I\nwill only say that when I had no wish to see you, Bunny, I must have", "\"Then will you trust me to hit on something--if possible before\nmorning--in any case by the time it's wanted? I won't fail you, Bunny.\nYou must see how I can never, never fail you after to-night!\"" ], [ "\"Well, it's about the most palatial of the lot. The old ruffian is as\nrich as Croesus. It's a country-place in town.\"", "The venerable butler stood wheezing at his elbow. I had not hitherto\nobserved that the man was an asthmatic.", "\"You make me feel quite ill,\" complained the grand lady in the chair.\n\"I wish you'd give me a little something, and not be more vulgar than\nyou can 'elp.\"", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "\"It's impossible to say, my lord. He's not in the house now, for he\ncould only be in your lordship's bedroom or dressing-room, and we have\nsearched every inch of both.\"", "\"Of course I do,\" said I. \"They are rich people, and he's not such a\nbrute as to spend everything on his stable. Her jewels are as much the", "\"Why is it nonsense? I know every inch of the ground, and since the\nhouse has changed hands I have no compunction. Besides, 'I have been", "\"Play light, Mr. Maguire!\" cried the sallow secretary. \"The man's\ndrugged, as well as down.\"\n\n\"He'll be lucky if he ever gets up, blight and blister him!\"", "some slight improvement became apparent, and at length the sufferer was\nable to sit upright, and to drain his glass with a sigh of rare relief.\nI sighed also, for I had witnessed a struggle for dear life by a man in", "a gallant spurt into the road, and there paid the penalty of his\nrashness by a sudden incapacity to move another inch. It had\neventually taken him twenty minutes to creep back to locked doors, and", "\"Not a bit of it,\" replied young Medlicott, with a grim geniality.\n\"I've just woke up with the devil of an attack of asthma, and may have", "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "\"I suppose you know that my aunt, Lady Melrose, died some years ago?\nShe was the best friend I had in the world, and it is thanks to her", "I had a Sullivan for him, too; and in another minute he was spread out\non my sofa, stretching his cramped limbs with infinite gusto, a", "\"No, they won't, old man!\" I whispered. And he sat up and saw the\ncomatose trio for himself.", "a man of eighty, gasping for every breath, shaken by every gasp,\nswaying, tottering, and choking, as if about to die upon his feet. Yet", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "And this miserable quibble was not a lie! My lip curled, I turned my\nback without a word, and drove home to my Mount Street flat in a new", "I had called at the Albany for the fiftieth time, and returned to\nPiccadilly in my usual despair, when a street sloucher sidled up to me\nin furtive fashion and inquired if my name was what it is.", "\"This fellow isn't formidable,\" whispered Raffles, as the blinds went\nup; \"still, we can't be too careful. My little lot are round the" ], [ "\"Hulloa!\"\n\n\"That you, Bunny?\"\n\n\"Yes--are you Raffles?\"", "\"Not again, Bunny, not again,\" rejoined Raffles, laughing as he shook\nhis head. \"But do you think the man has enough to make it worth our\nwhile to go so far afield?\"", "\"Sorry, Bunny!\" said Raffles, sitting on one pedestal of a desk from\nwhich the top had been removed, and setting his makeshift lantern on", "\"My dear Bunny, but so he was!\" cried Raffles. \"Time was when I was\nnone too pure an amateur. But after this I take leave to consider", "\"Allow me, Bunny! I shall take the liberty of locking both doors\nbehind you and putting the key in my pocket,\" said Raffles, when he had", "\"One's quite enough, Bunny,\" said Raffles dryly; he leaned back in his\nchair and took out another cigarette. And I accepted of yet another", "\"My dear Bunny,\" replied Raffles, \"you should remember how long I had\nbeen maturing felonious little plan, what a blow it was to me to have", "\"They might be brothers,\" rejoined Raffles, who knew all the loose fish\nabout town. \"Well, I'm not sure that I shall want you after all,\nBunny.\"\n\n\"Why not?\"", "\"If you don't,\" rejoined Raffles, \"you will miss some sport after both\nour hearts. Think of it, Bunny! These fellows meet to wallow in all", "\"Bunny,\" said Raffles, \"this is fame at last! It is no longer\nnotoriety; it lifts one out of the ruck of robbers into the society of", "\"I should think it did, Bunny,\" murmured Raffles, in a tone that added\nsensibly to my reward. \"I couldn't have done better myself, and you", "\"My dear, good Bunny,\" said Raffles, \"I've told you already that I\ndidn't come in here on business. I came in for the Cure. Not a penny", "\"I came down early,\" said Raffles, \"and had a look at the races. I\nalways prefer to measure my man, Bunny; and you needn't sit in the", "I sat very stiff in the iron clutch of a wintry morning. Suddenly I\nslued round in my chair. And there was Raffles in a chair behind me,", "That settled it. I gripped his hand without another word, and remained\non guard over the three sleepers while Raffles stole upstairs. I have", "drawing-room after dinner, and was just putting on the lights, when in\nwalked Mr. Raffles from the balcony. I knew him at once, because I", "\"Good Lord, no! I only wanted to see if he was dead,\" I explained,\nhaving satisfied myself that it was really Raffles, and that Raffles", "\"So you are out of Paradise after all!\" said Raffles. \"I was not sure,\nor I should have come round before. Well, Bunny, if they don't want", "\"You were always a bad liar, Bunny,\" said Raffles, smiling. \"Will you\nthink me one when I tell you that I can understand what you felt, and", "\"I was staying there at the time,\" said Raffles eagerly. No snob was\never quicker to boast of basking in the smile of the great." ], [ "Was he thinking even then of volunteering for the front? Had he\nalready set his heart on the one chance of some atonement for his", "But with this war one gets all the excitement one requires--and rather\nmore than usual may happen in three or four weeks?\"", "\"I'll go,\" he said hurriedly. \"I'll go as I am, before my mother is\ndisturbed and frightened out of her life. I owe you something, too,", "are punished. The world forgives, if it does not forget. You are\nyoung enough to live everything down. Your part in the war will help", "\"You said yesterday that your going to the war and getting wounded\nwiped out nothing that had gone before. I hope you are not growing", "\"The theatre of war,\" he answered--\"and here we are at the stage door!\"", "certainly shall not. Let your man or men bring up the chest at once.\nI dare say they also have been 'at it with others all the afternoon,'\nbut I shall make this worth their while.\"", "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "consuming excitement of the war in South Africa. These were the days\nwhen Raffles really had white hair, and when he and I were nearing the", "or four weeks in which those events happened that imperilled the fabric\nof our empire, and rallied her sons from the four winds to fight\nbeneath her banner on the veldt. It all seems very ancient history", "\"All of them?\"\n\n\"I think so.\"\n\n\"There, then.\"\n\n\"Now go to the back window and up with the blind.\"\n\n\"Well?\"", "\"Walk up!\" he cried, as he beckoned to us three. \"Walk up and see one\no' their blamed British crooks laid as low as the blamed carpet, and\nnailed as tight!\"", "\"You thought that, and yet you came like a shot to do battle for my\nbody with Barney Maguire! Jack-the-Giant-killer wasn't in it with you,\nBunny!\"", "\"Then let us be friends about it, Bunny, and smoke the cigarette of\nSullivan and peace! A lot may happen in three or four weeks; and what", "war came as a boon to us both. It not only provided us with an honest\ninterest in life, but gave point and zest to innumerable spins across", "\"They shan't hear us at all, Bunny,\" said he. \"I mean to get out as I\ndid in the good old nights. I've been spoiling for the chance ever", "\"As it is, however, we will all let the other fellow do so,\" said old\nNab in a genial growl. \"And you two had better turn into my house and\nhave something to keep the morning cold out.\"", "indeed deeply interested before the event, since Raffles assured me\nthat it was \"a one-man job,\" and naturally intended to be the one man\nhimself. It was only at the eleventh hour that our positions were", "the war. The magazine was one of those that are read (and sold) by the\nmillion; the article was rudely illustrated on every other page. Its", "to answer him again. And so it was for some minutes that might furnish\nforth a thrilling page, but not a novel one to those who know their" ], [ "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "\"You thought that, and yet you came like a shot to do battle for my\nbody with Barney Maguire! Jack-the-Giant-killer wasn't in it with you,\nBunny!\"", "The Field of Phillipi", "\"I know it wasn't, Bunny,\" he said regretfully. \"But things like that,\nas the poet will tell you, are really inseparable from victories like", "\"William and Charles are both dead monarchs,\" said he. \"The reigning\nking in their department is the fellow who gutted poor Danby's place in\nBond Street.\"", "\"Chawley Peace killed two policemen,\" said he.\n\n\"No, he didn't; only one of them was a policeman; and he never killed\nanybody with a knife.\"", "\"I am glad to hear that,\" he remarked in a high bland voice. \"I\nthought that man would die game.\"\n\n\"Did you know anything about him, then?\" inquired Lord Thornaby.", "right you in my eyes at his own expense. And yesterday I could see\nthat you knew nothing whatever about it, that your friend had died\nwithout telling you of his act of real and yet vain self-sacrifice!", "else, and armed with crops carried by the wrong end. The monumental\nperson with the short moustache led the advance. The fool stood still", "\"I suppose you know that my aunt, Lady Melrose, died some years ago?\nShe was the best friend I had in the world, and it is thanks to her", "\"Is he dead?\" wheezed the asthmatic coolly.\n\n\"Not he,\" I answered, with an indignation that I dared not show.", "a quick but natural respiration; and in the sudden cessation of the\ncruel contest, an uncanny stillness fell upon the scene. Meanwhile the", "\"All of them?\"\n\n\"I think so.\"\n\n\"There, then.\"\n\n\"Now go to the back window and up with the blind.\"\n\n\"Well?\"", "great end! It is true that he had been unfortunate enough to strike a\njugular vein, but his own end should take its place among the most", "There was one bristling broadside of revolvers under the longest shelf\nof closed eyes and swollen throats. There were festoons of", "\"No, they won't, old man!\" I whispered. And he sat up and saw the\ncomatose trio for himself.", "fellow's stealthy step. Some might have stood their ground and killed\nhim; more would have bolted into a worse corner than they were in", "such persons thinking yet a little better of him (and not wasting\nanother thought on me) that I am permitted to retail the very last word\nabout their hero and mine.", "\"A false description! Bunny, you have no more to learn from me. Time\nwas when I wouldn't have let you go there without me to retrieve a lost\numbrella--let alone a lost cause!\"" ], [ "danger in discussing the matter quietly on the spot. But even as he\ngave me my dismissal Raffles turned and caught the sill above him,", "But his voice had grown fainter and wearier with every answer, and now\nthere was no answer at all. Again and again I asked Raffles if he was", "\"Then you're luckier than we are, sir,\" answered Raffles, \"for I fear\nour man has given us the slip.\"", "\"Mr. Raffles 'as gawn, sir,\" said the porter, with a note of reproach\nin his confidential undertone. The man was a favorite with Raffles,", "It was Raffles. Yet for a moment I looked about me quite in vain. He\nwas not at the window; he was not at the open door. And yet Raffles it", "attention to a certain scene of notorious slaughter. There was no\nresponse. I looked round. There was no Raffles to respond. We had all", "\"Did you see that light in Nab's just now?\" cried Raffles as he led.\n\n\"No; why?\" I panted, nearly spent.", "\"Good Lord, no! I only wanted to see if he was dead,\" I explained,\nhaving satisfied myself that it was really Raffles, and that Raffles", "That settled it. I gripped his hand without another word, and remained\non guard over the three sleepers while Raffles stole upstairs. I have", "In a flash I saw the chance of my criminal career. It was some years\nsince Raffles had served his country in these encounters; he had never", "chest had indeed been rifled, and emptied of every silver thing but\none; that one remaining piece of silver, seen of men, was quite enough\nto cast Raffles into the outer darkness of penal servitude! And", "It was Raffles at his worst, Raffles as I never knew him before or\nafter--a Raffles mad with pain and rage, and desperate as any other", "\"Not again, Bunny, not again,\" rejoined Raffles, laughing as he shook\nhis head. \"But do you think the man has enough to make it worth our\nwhile to go so far afield?\"", "I thought I had never seen a man better bound or better gagged. But\nthe humanity seemed to have run out of Raffles with his blood. He tore", "Then I remembered Raffles, and could have killed him for what he had\ndone. Doubtless by this time he was safe and snug in the Albany: what", "to the Albany and find the regalia under his bed. And I took down my\novercoat as he put on his. But Raffles would not hear of my\naccompanying him that night.", "three been examining the photographs at one of the windows; at another\nthree newcomers were similarly engrossed; and without one word, or a\nsingle sound, Raffles had decamped behind all our backs.", "Raffles went through hands first, disappeared for an instant, then\nleaned out, lowering his hands for me.", "\"If we simply cleared out,\" continued Raffles, \"you would be\nincriminated in the first place as my accomplice, and once they had you", "\"My dear Bunny, but so he was!\" cried Raffles. \"Time was when I was\nnone too pure an amateur. But after this I take leave to consider" ], [ "\"Bunny!\" he yawned, and nothing more until his position came back to\nhim. \"So you came to me,\" he went on, in a tone that thrilled me with", "\"My dear Bunny!\" he exclaimed. \"Do you know what brought me back?\"\n\nI answered savagely that I neither knew nor cared.", "\"There's only one thing for it, Bunny,\" said he. \"We must trust each\nother and divide the labor. You ring up the police, and leave the rest\nto me.\"", "\"Did you ever hear from her, Bunny?\" he asked.\n\n\"In a way,\" I answered. \"We won't talk about it, if you don't mind,\nRaffles.\"", "\"You mean Bunny?\" said the familiar fellow. \"No, sir, he'd be out of\nplace; we've only room for real criminals here. Bunny was neither one", "\"That's different,\" said I relentlessly. \"The tower was there in my\ntime, but the man I mean to rob was not.\"\n\n\"You really do mean to do it, Bunny?\"", "\"Did you think I'd done it through an agent?\" he snarled. \"Upon my\nword, Bunny, I did you the credit of supposing you saw the joke all the\ntime!\"", "\"What's left of me! Bunny, I want you--quick.\"\n\nAnd even over the wire his voice was faint with anxiety and\napprehension.\n\n\"What on earth has happened?\"", "\"My dear Bunny,\" replied Raffles, \"you should remember how long I had\nbeen maturing felonious little plan, what a blow it was to me to have", "\"Of course I didn't, Bunny,\" he replied, backing into the tower; \"but\nno one will believe I didn't mean to, and it'll stick on ten years if", "\"Come, come, Bunny, there wasn't much inveigling about it,\" said he. \"I\ndid my level best to leave you behind, but you wouldn't listen to me.\"", "\"You silly ass, Bunny, don't tell all Kensington that I'm in town!\"\nreplied my tatterdemalion, shooting up and smoothing out into a merely", "\"And then, pray, how are they going to bring it home to us? Why should\nthey even suspect us, Bunny? I left early; that's all I did. You took", "attention to it until yesterday morning. And when they do, they take\nall the credit and give me no more than you did, Bunny!\"", "\"'Because I was the other man,' he said quite quietly; 'because I led\nhim blindfold into the whole business, and would rather pay the shot\nthan see poor Bunny suffer for it.'", "\"Come, Bunny,\" he said at last, \"I have been the one to suffer most,\nwhen all's said and done, and I'll be the first to say that I deserved", "\"In broad lime-light,\" he answered, studying the magazine again, \"to\nset eyes on my own once more. Why here they all are, Bunny--you never", "\"I never even thought of him, Bunny, until you came to see me the day\nbefore yesterday, and put him into my head with your first words. The", "\"Why, Bunny, this is the very thing!\" he cried. \"You must come and\nstay with me, and we'll lie low side by side. Only remember it really", "\"It's all right, Bunny,\" he resumed, showing me a glowing face in the\ndawn. \"History's on its own tracks once more, and I'll bet you it's" ], [ "Was he thinking even then of volunteering for the front? Had he\nalready set his heart on the one chance of some atonement for his", "But with this war one gets all the excitement one requires--and rather\nmore than usual may happen in three or four weeks?\"", "are punished. The world forgives, if it does not forget. You are\nyoung enough to live everything down. Your part in the war will help", "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "\"The theatre of war,\" he answered--\"and here we are at the stage door!\"", "consuming excitement of the war in South Africa. These were the days\nwhen Raffles really had white hair, and when he and I were nearing the", "\"I'll go,\" he said hurriedly. \"I'll go as I am, before my mother is\ndisturbed and frightened out of her life. I owe you something, too,", "\"You said yesterday that your going to the war and getting wounded\nwiped out nothing that had gone before. I hope you are not growing", "or four weeks in which those events happened that imperilled the fabric\nof our empire, and rallied her sons from the four winds to fight\nbeneath her banner on the veldt. It all seems very ancient history", "war came as a boon to us both. It not only provided us with an honest\ninterest in life, but gave point and zest to innumerable spins across", "\"Walk up!\" he cried, as he beckoned to us three. \"Walk up and see one\no' their blamed British crooks laid as low as the blamed carpet, and\nnailed as tight!\"", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "indeed deeply interested before the event, since Raffles assured me\nthat it was \"a one-man job,\" and naturally intended to be the one man\nhimself. It was only at the eleventh hour that our positions were", "\"Then let us be friends about it, Bunny, and smoke the cigarette of\nSullivan and peace! A lot may happen in three or four weeks; and what", "\"You thought that, and yet you came like a shot to do battle for my\nbody with Barney Maguire! Jack-the-Giant-killer wasn't in it with you,\nBunny!\"", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "certainly shall not. Let your man or men bring up the chest at once.\nI dare say they also have been 'at it with others all the afternoon,'\nbut I shall make this worth their while.\"", "the war. The magazine was one of those that are read (and sold) by the\nmillion; the article was rudely illustrated on every other page. Its", "addressed as Ernest, but whose surname I never learned. Ernest in turn\nintroduced me, with a shy and clumsy courtesy, to the two remaining", "It was, however, no ordinary occasion. The bicentenary loomed but a\nyear ahead, and a movement was on foot to mark the epoch with an" ], [ "\"You said yesterday that your going to the war and getting wounded\nwiped out nothing that had gone before. I hope you are not growing", "\"It will maim me for a month,\" said he; \"and if the V.C. comes out\nalive, the wound he gave may be identified with the wound I've got.\"", "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "Was he thinking even then of volunteering for the front? Had he\nalready set his heart on the one chance of some atonement for his", "\"The theatre of war,\" he answered--\"and here we are at the stage door!\"", "are punished. The world forgives, if it does not forget. You are\nyoung enough to live everything down. Your part in the war will help", "He came as though nothing had happened; and, indeed, not very many days\nhad passed, though they might have been months to me. Yet I fancied", "\"My dear Bunny!\" he exclaimed. \"Do you know what brought me back?\"\n\nI answered savagely that I neither knew nor cared.", "\"I know it wasn't, Bunny,\" he said regretfully. \"But things like that,\nas the poet will tell you, are really inseparable from victories like", "But with this war one gets all the excitement one requires--and rather\nmore than usual may happen in three or four weeks?\"", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "I saw him fell one officer to the ground, and dart across the lawn with\nanother at his heels. A third came running up to the window. What", "So, indeed, did I, and with no small concern, until I read of his\nadventures (and our own) in the newspapers. It seemed that he had made", "\"Walk up!\" he cried, as he beckoned to us three. \"Walk up and see one\no' their blamed British crooks laid as low as the blamed carpet, and\nnailed as tight!\"", "\"You thought that, and yet you came like a shot to do battle for my\nbody with Barney Maguire! Jack-the-Giant-killer wasn't in it with you,\nBunny!\"", "else, and armed with crops carried by the wrong end. The monumental\nperson with the short moustache led the advance. The fool stood still", "\"I'll go,\" he said hurriedly. \"I'll go as I am, before my mother is\ndisturbed and frightened out of her life. I owe you something, too,", "the war. The magazine was one of those that are read (and sold) by the\nmillion; the article was rudely illustrated on every other page. Its", "\"I remember now. You were with him when he forced himself upon me on\nthe way down yesterday. He had to tell me who he was. Yet he talks as\nthough we were old friends.\"" ], [ "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "\"I suppose you know that my aunt, Lady Melrose, died some years ago?\nShe was the best friend I had in the world, and it is thanks to her", "right you in my eyes at his own expense. And yesterday I could see\nthat you knew nothing whatever about it, that your friend had died\nwithout telling you of his act of real and yet vain self-sacrifice!", "\"Chawley Peace killed two policemen,\" said he.\n\n\"No, he didn't; only one of them was a policeman; and he never killed\nanybody with a knife.\"", "are punished. The world forgives, if it does not forget. You are\nyoung enough to live everything down. Your part in the war will help", "\"I know it wasn't, Bunny,\" he said regretfully. \"But things like that,\nas the poet will tell you, are really inseparable from victories like", "\"I am glad to hear that,\" he remarked in a high bland voice. \"I\nthought that man would die game.\"\n\n\"Did you know anything about him, then?\" inquired Lord Thornaby.", "Was he thinking even then of volunteering for the front? Had he\nalready set his heart on the one chance of some atonement for his", "\"William and Charles are both dead monarchs,\" said he. \"The reigning\nking in their department is the fellow who gutted poor Danby's place in\nBond Street.\"", "But with this war one gets all the excitement one requires--and rather\nmore than usual may happen in three or four weeks?\"", "\"The theatre of war,\" he answered--\"and here we are at the stage door!\"", "\"You said yesterday that your going to the war and getting wounded\nwiped out nothing that had gone before. I hope you are not growing", "life--nay, on the very death he was to die? I never knew, and shall\nnever know. Yet his words were strangely prophetic, even to the three", "and that you were what you were because you loved Mr. Raffles. But,\neven admitting it was all as bad as bad could be, he is dead, and you", "\"All of them?\"\n\n\"I think so.\"\n\n\"There, then.\"\n\n\"Now go to the back window and up with the blind.\"\n\n\"Well?\"", "that was his last question. My answer was enough for him. And to this\nday I cannot say whether it was more in relief than in regret that he\nlaid a hand upon my shoulder.", "consuming excitement of the war in South Africa. These were the days\nwhen Raffles really had white hair, and when he and I were nearing the", "I looked at the curly head upon the pillow, at the smiling, handsome\nface under the curls. And at last I understood.\n\n\"So all the time you never meant it!\"", "\"It's the night of their Hunt Point-to-Point. They wind up the season\nwith it every year; and the bloated Guillemard usually sweeps the board\nwith his fancy flyers.\"", "\"'Because I was the other man,' he said quite quietly; 'because I led\nhim blindfold into the whole business, and would rather pay the shot\nthan see poor Bunny suffer for it.'" ], [ "\"But how long did the whole thing take you?\"\n\n\"From mother earth, to mother earth? About five minutes, to-night, and\none of those was spent in doing another man's work.\"", "to answer him again. And so it was for some minutes that might furnish\nforth a thrilling page, but not a novel one to those who know their", "\"All of them?\"\n\n\"I think so.\"\n\n\"There, then.\"\n\n\"Now go to the back window and up with the blind.\"\n\n\"Well?\"", "three months. I now discovered that he also kept a particularly mellow\nScotch whiskey, an excellent cigar, and a fund of anecdote of which a", "I have already given you. I may have made more of them to you than I\ndo in my own mind, but at all events they exist. And I really did want\nthe telephone and the electric light.\"", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "irascible doctors, and arbitrary minions of the law. If I told my\nstory once, I told it a dozen times, and all on an empty stomach. But", "strange to hear the milkman in the early morning, and the postman\nknocking his way along the street an hour later, and to be passed over\nby one destroying angel after another. I had come down early enough,", "The station lights were twinkling ahead of us in the fading velvet of\nthe summer's night. I let them increase and multiply before I spoke.\n\n\"And where,\" I asked, \"did you think I first went wrong?\"", "And yet--and yet--what else could have happened? I must have asked\nmyself the question between each and all of the above reflections, made", "weeks, and why he had always come between seven and eight o'clock in\nthe evening, and waited at this very window, with these very glasses at", "mine. It had taken me a couple of hours to break out of that\nstrong-room; I was devoting a third to the harmless task of simulating\nthe appearance of having broken in; and it was then I heard the", "of retirement. There was only a flicker of firelight on the blinds: I\nwas the first to return after all. It was nearly four hours since", "\"It is no use my giving them to you,\" I said. \"They are empty also.\"\n\n\"When did you look into them?\"\n\n\"In the tower.\"", "tried, with the touch of a humane dentist; the third let us into the\nporch. And as we stood together on the mat, as he was gradually", "\"There isn't reelly, sir,\" whispered the clerk. \"We sometimes go weeks\non end without having regular visitors like you two gentlemen. I think", "\"Then let us be friends about it, Bunny, and smoke the cigarette of\nSullivan and peace! A lot may happen in three or four weeks; and what", "The story was new even to me, but I had no time to appreciate its\npoints. My concern was to watch its effect upon the other members of", "Thursday, Friday, and Saturday in July; the other affair had been all\narranged for the Thursday night, the night of the wedding at East", "\"Nearer three, Bunny. It was after seven when I slung in with the\nDaily Mail. The milk had beaten me by a short can. But even so I had\ntwo very good hours before you were due.\"" ], [ "Mr. Raffles was supposed to have been drowned, and everything was known\nabout you both. But I still kept my own independent knowledge to", "So, indeed, did I, and with no small concern, until I read of his\nadventures (and our own) in the newspapers. It seemed that he had made", "it, if this was his,\" he added, picking up the murderous little\nlife-preserver which poor Raffles had provided for his own destruction.", "it was certainly a most plausible and consistent tale, even without\nthat confirmation which none of the other victims was as yet\nsufficiently recovered to supply. And in the end I was permitted to", "him the night he dined with the Earl of Thornaby, and robbed the house\nbefore dinner. That's his life-preserver; but no one can make out what", "\"No, I'm not. I live there, you see.\"\n\nAnd I think the Nipper recalled that name as he ground his heel upon an\nunresponsive flagstone.", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "I don't think I went on my knees over it. But I am afraid I did cry;\nand that was the end. He pretended not to notice anything, and then in", "there was his blood upon it still; and seeing my horror, the clerk\nplunged into a characteristically garbled version of that incident\nalso. It happened to have come to light among others at the Old", "question him on the point. Indeed, the first thing was to get out of\nthe bank; for the stars were drowning in a sky of ink and water, and it", "\"All of them?\"\n\n\"I think so.\"\n\n\"There, then.\"\n\n\"Now go to the back window and up with the blind.\"\n\n\"Well?\"", "\"That's the only time we know about,\" the clerk admitted; \"and it\ncouldn't be brought 'ome, or his precious pal would have got more than", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "dangling feet. And before many more I heard the old metallic snap,\nfollowed by the raising of a sash so slowly and gently as to be almost\ninaudible to me listening just below.", "meantime I have no idea; very likely he'd done no harm; but it seemed\nworth while finding out. He had too good a start, though, and poor\nBunny had too bad a wind.\"", "before he gives up the ghost. Perhaps you will go and think it over\nwhile I wash my bags and dry 'em at the gas stove. It will take me at", "Barney Maguire crashed to the floor, without waking either himself or\nhis companions, though not without bringing my beating heart into the\nvery roof of my mouth.", "But I stood stubbornly before her, my heart hardened by her hardness,\nand perversely indifferent to all else. And as I stood I saw the\nletter she had written, in the hand with which she pointed, crushed\ninto a ball.", "the end? The jeweller never heard of those Americans again; and these\nfew cigarettes and lumps of sugar were all he found.\"", "he had been before; the flush had faded from his face, and his\nbreathing alone would have spoiled everything. In dumb show I had to" ], [ "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "The story was new even to me, but I had no time to appreciate its\npoints. My concern was to watch its effect upon the other members of", "Out of Paradise\n The Chest of Silver\n The Rest Cure\n The Criminologists' Club\n The Field of Phillipi", "The station lights were twinkling ahead of us in the fading velvet of\nthe summer's night. I let them increase and multiply before I spoke.\n\n\"And where,\" I asked, \"did you think I first went wrong?\"", "there was his blood upon it still; and seeing my horror, the clerk\nplunged into a characteristically garbled version of that incident\nalso. It happened to have come to light among others at the Old", "it was certainly a most plausible and consistent tale, even without\nthat confirmation which none of the other victims was as yet\nsufficiently recovered to supply. And in the end I was permitted to", "And at the CafÃ© Royal I incontinently told him of the trouble I was in.\nIt was the first he had ever heard of my affair, and I told him all,", "platform for the collection of mysterious objects under a dust-sheet on\nthe lid. \"These,\" he continued, unveiling them with an air, \"are the", "There was one deed of those days which deserved a place in our original\nannals. It is the deed of which I am personally most ashamed. I have", "the party. Ernest, on my left, doubled up with laughter, and tittered\nand shook for several minutes. My other neighbor, more impressionable", "strange to hear the milkman in the early morning, and the postman\nknocking his way along the street an hour later, and to be passed over\nby one destroying angel after another. I had come down early enough,", "Not a moment had I paused for my precious fable. It had all been\nprepared for me by Raffles, in case of need. I was merely repeating a", "Long before he was ready to go, however, I was waiting in the hall,\nclothed indeed, but not in a mind which I care to recall. Once or", "He could but gloat over them behind locked doors, as I used to tell\nhim, and at last one afternoon I caught him at it. It was in the year", "The last of all these tales of Raffles is from a fresher and a sweeter\npen. I give it exactly as it came to me, in a letter which meant more", "out first a sharp cry stopped me at the sill. \"Get back! Get back!\nWe're trapped!\" he cried; and in the single second that I stood there,", "\"You dozed off in your turn, but you were naturally the first to come\nto yourself. I had flown; so had the gold brick, the jewelled belt,", "\"You may; we don't,\" growled the clerk. \"The manager says he believes\nyour chest was at the bottom of it all.\"\n\n\"How could it be?\" I asked uneasily.", "I looked at the curly head upon the pillow, at the smiling, handsome\nface under the curls. And at last I understood.\n\n\"So all the time you never meant it!\"", "Till that moment she had not recognized me. I ran to catch her as she\nall but fell. And my touch repelled her into life, so that she shook" ], [ "there was his blood upon it still; and seeing my horror, the clerk\nplunged into a characteristically garbled version of that incident\nalso. It happened to have come to light among others at the Old", "it was certainly a most plausible and consistent tale, even without\nthat confirmation which none of the other victims was as yet\nsufficiently recovered to supply. And in the end I was permitted to", "would, and for that matter he nearly did. Then, at the last moment, he\nsaw how to hedge things with his conscience. And his second hundred\nwill be a real gift.\"", "There was one deed of those days which deserved a place in our original\nannals. It is the deed of which I am personally most ashamed. I have", "Not a moment had I paused for my precious fable. It had all been\nprepared for me by Raffles, in case of need. I was merely repeating a", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "platform for the collection of mysterious objects under a dust-sheet on\nthe lid. \"These,\" he continued, unveiling them with an air, \"are the", "The station lights were twinkling ahead of us in the fading velvet of\nthe summer's night. I let them increase and multiply before I spoke.\n\n\"And where,\" I asked, \"did you think I first went wrong?\"", "And the hulking figure advanced on tiptoe, like a performing elephant,\nuntil just at the open door, when for a second we saw his left", "play me a few weeks later. The second offence, on the other hand, was\nto prove the less serious of the two against society, and might in\nitself have been published to the world years ago. There have been", "Till that moment she had not recognized me. I ran to catch her as she\nall but fell. And my touch repelled her into life, so that she shook", "Out of Paradise\n The Chest of Silver\n The Rest Cure\n The Criminologists' Club\n The Field of Phillipi", "The bag was so heavy now that the secretary used both hands to get it\non the table. In another moment he had taken out the jewelled belt", "one or two about me, redirected to that address in Switzerland, and\nwhen I showed them to him it was all right. But after that it was no\nuse listening at the letter-box for a clear coast, was it?\"", "He could but gloat over them behind locked doors, as I used to tell\nhim, and at last one afternoon I caught him at it. It was in the year", "The story was new even to me, but I had no time to appreciate its\npoints. My concern was to watch its effect upon the other members of", "the party. Ernest, on my left, doubled up with laughter, and tittered\nand shook for several minutes. My other neighbor, more impressionable", "to answer him again. And so it was for some minutes that might furnish\nforth a thrilling page, but not a novel one to those who know their", "Long before he was ready to go, however, I was waiting in the hall,\nclothed indeed, but not in a mind which I care to recall. Once or", "strange to hear the milkman in the early morning, and the postman\nknocking his way along the street an hour later, and to be passed over\nby one destroying angel after another. I had come down early enough," ], [ "addressed as Ernest, but whose surname I never learned. Ernest in turn\nintroduced me, with a shy and clumsy courtesy, to the two remaining", "\"There isn't reelly, sir,\" whispered the clerk. \"We sometimes go weeks\non end without having regular visitors like you two gentlemen. I think", "your new profession. And when the hours are small enough, Bunny, my\nboy, I don't mind admitting I shall be very glad to have you with me.\"", "\"I don't believe he's the other thing,\" said a voice as brusque as the\nfirst was bland. \"I believe it's all bunkum. I wish I didn't, but I\ndo!\"", "There was to be a certain little wedding in which Raffles and I took a\nsurreptitious interest. The bride-elect was living in some retirement,", "With that he dropped softly into the street, and I after him, turning\nto the right instead of the left, and that at a brisk trot instead of", "\"William and Charles are both dead monarchs,\" said he. \"The reigning\nking in their department is the fellow who gutted poor Danby's place in\nBond Street.\"", "the professional gladiator. And they want to know whether my\nexperience tallies with their theory.\"", "to answer him again. And so it was for some minutes that might furnish\nforth a thrilling page, but not a novel one to those who know their", "\"Really, he might be following some disgraceful calling, by the mystery\nyou make of it!\" he exclaimed. \"And for that matter I call first-class", "at fifty miles an hour. He might have been following some honorable\ncalling in town; he might have snatched this brief respite from a\ndistinguished but exacting career. I am convinced that it was I alone", "indeed deeply interested before the event, since Raffles assured me\nthat it was \"a one-man job,\" and naturally intended to be the one man\nhimself. It was only at the eleventh hour that our positions were", "unexpectedly to the house, which had been left untenanted during\n the absence of the family abroad, it was found occupied by two\n ruffians, who overcame and secured the distinguished officer by", "\"The two poor people whom it was your own idea to despoil,\" quoth\nRaffles, \"prematurely gloating over these two pretty things?\"", "\"It's the night of their Hunt Point-to-Point. They wind up the season\nwith it every year; and the bloated Guillemard usually sweeps the board\nwith his fancy flyers.\"", "\"No, I'm not. I live there, you see.\"\n\nAnd I think the Nipper recalled that name as he ground his heel upon an\nunresponsive flagstone.", "\"Why is it nonsense? I know every inch of the ground, and since the\nhouse has changed hands I have no compunction. Besides, 'I have been", "\"Not old Crawshay!\" said I. \"He's far too good a man to be taken\ntwice. I should call him the very prince of professional cracksmen.\"", "I'm doing the same with mine. Here's a brown pair apiece, and we\nmustn't let the grass grow under them if we're to get to the station in", "\"Chawley Peace killed two policemen,\" said he.\n\n\"No, he didn't; only one of them was a policeman; and he never killed\nanybody with a knife.\"" ], [ "\"You said I spoke as if I had known Mr. Raffles. Of course I have\noften seen him playing cricket, and heard about him and you. But I only", "virtue of his cricket. There happened not to be another cricketer\namong us, and it was on their own subjects that Raffles laughed with", "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "\"Bunny,\" said Raffles, \"this is fame at last! It is no longer\nnotoriety; it lifts one out of the ruck of robbers into the society of", "cricket-bag, and found it heavier than a cricket-bag has any right to\nbe. But in the bed Raffles was sleeping like an infant, his shaven", "I had forgotten Raffles was a modern first-class cricketer: that\nexplains him. Rather than see my son such another, do you know what\nI'd prefer to see him?\"", "\"Good old Raffles!\" he panted in every pause. \"After being chosen\nlast, and as a bowler-man! That's the cricketer for me, sir; by Jove,", "into the boys' part, through the green baize door. It took a deal of\nopening and shutting, but Raffles seemed to enjoy nothing better than", "\"I tell the tale as I heard it last time I played at Trent Bridge; it\nwas never in the papers, I believe,\" said Raffles gravely. \"You may", "\"If you don't,\" rejoined Raffles, \"you will miss some sport after both\nour hearts. Think of it, Bunny! These fellows meet to wallow in all", "gate. In my time there was none of that. Amateurs were amateurs and\nsport was sport; there were no Raffleses in first-class cricket then.", "\"The best exercise I ever had in my life,\" said Raffles; \"and you would\nnever live to guess what it is. It's one of the reasons why I went in", "\"Rather!\" cried Raffles. \"I'm afraid I have let myself lose touch, but\nI mean to turn over a new leaf. I suppose that isn't necessary in your\ncase, Nasmyth?\"", "And it was I who knew the combination at a glance, after years and\nyears, when the fateful whim seized Raffles to play once more in the", "In a flash I saw the chance of my criminal career. It was some years\nsince Raffles had served his country in these encounters; he had never", "butt, and the slates with a bullet not a yard from the protruding head.\nAnd that, I believe, was the only shot that Raffles ever fired in his\nwhole career as a midnight marauder.", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "\"I seem to have seen you with this great man Raffles,\" began Nasmyth,\nas he overhauled me with his fighting eye. \"Do you know him well?\"\n\n\"Intimately.\"", "\"Then give me another cigarette, my dear fellow, and let me push on to\nScotland Yard.\"\n\nRaffles held up both hands in admiring horror. \"Scotland Yard!\"", "drawing-room after dinner, and was just putting on the lights, when in\nwalked Mr. Raffles from the balcony. I knew him at once, because I" ], [ "him the night he dined with the Earl of Thornaby, and robbed the house\nbefore dinner. That's his life-preserver; but no one can make out what", "Mr. Raffles was supposed to have been drowned, and everything was known\nabout you both. But I still kept my own independent knowledge to", "it, if this was his,\" he added, picking up the murderous little\nlife-preserver which poor Raffles had provided for his own destruction.", "\"William and Charles are both dead monarchs,\" said he. \"The reigning\nking in their department is the fellow who gutted poor Danby's place in\nBond Street.\"", "shot at a gentleman on the roof down Horsham way; it was afterward\ntaken from him on the P. & O. boat before he jumped overboard.\"", "life--nay, on the very death he was to die? I never knew, and shall\nnever know. Yet his words were strangely prophetic, even to the three", "I don't think I went on my knees over it. But I am afraid I did cry;\nand that was the end. He pretended not to notice anything, and then in", "Knowing my Raffles as I did, I was not surprised when he dived under\none end of this bridge, and came up with his Inverness cape and opera", "right you in my eyes at his own expense. And yesterday I could see\nthat you knew nothing whatever about it, that your friend had died\nwithout telling you of his act of real and yet vain self-sacrifice!", "\"I suppose you know that my aunt, Lady Melrose, died some years ago?\nShe was the best friend I had in the world, and it is thanks to her", "he had been before; the flush had faded from his face, and his\nbreathing alone would have spoiled everything. In dumb show I had to", "And he would have thrust his revolver upon me as a peace-offering, but\nI would not even take his hand, as I tapped the life-preserver in my", "before he gives up the ghost. Perhaps you will go and think it over\nwhile I wash my bags and dry 'em at the gas stove. It will take me at", "So, indeed, did I, and with no small concern, until I read of his\nadventures (and our own) in the newspapers. It seemed that he had made", "and that you were what you were because you loved Mr. Raffles. But,\neven admitting it was all as bad as bad could be, he is dead, and you", "\"Look here,\" I answered, sitting back on my heels. \"He isn't dead, Mr.\nMedlicott, and I don't know how long he'll be as much as stunned. He's", "\"Only promise me not to take a revolver,\" said Raffles in a whisper.\n\"Here are my keys; there's an old life-preserver somewhere in the", "Barney Maguire crashed to the floor, without waking either himself or\nhis companions, though not without bringing my beating heart into the\nvery roof of my mouth.", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "\"It's impossible to say, my lord. He's not in the house now, for he\ncould only be in your lordship's bedroom or dressing-room, and we have\nsearched every inch of both.\"" ], [ "\"As it is, however, we will all let the other fellow do so,\" said old\nNab in a genial growl. \"And you two had better turn into my house and\nhave something to keep the morning cold out.\"", "\"Walk up!\" he cried, as he beckoned to us three. \"Walk up and see one\no' their blamed British crooks laid as low as the blamed carpet, and\nnailed as tight!\"", "\"Of course he'll come out,\" said I. \"We must make up our minds to\nthat.\"\n\n\"Did he tell you he was expecting the servants or his wife? If so, of\ncourse we must hurry up.\"", "unexpectedly to the house, which had been left untenanted during\n the absence of the family abroad, it was found occupied by two\n ruffians, who overcame and secured the distinguished officer by", "Raffles stood still at my feet, and well he might! A deafening double\nknock had resounded through the empty house; and to add to the utter", "intimate knowledge of the house. And lastly, this was a Wednesday\nnight, when the tired legislator gets early to his bed.", "frequently than I went round to him. Of course he would come at his\nown odd hours, often just as one was dressing to go out and dine, and I", "joined us at last upon the landing. His collar was the tallest I have\never seen, and his face was as pallid as his collar. He carried a", "\"It's impossible to say, my lord. He's not in the house now, for he\ncould only be in your lordship's bedroom or dressing-room, and we have\nsearched every inch of both.\"", "Raffles had soon surrounded it were bored on a level with his eyes.\nYet the clock in the hall chimed again, and two ringing strokes\nresounded through the silent house before we gained admittance to the", "\"The son of the house!\" whispered Raffles in my ear, as he dragged me\nback to the window he had left open for our escape. But as he leaped", "\"Why is it nonsense? I know every inch of the ground, and since the\nhouse has changed hands I have no compunction. Besides, 'I have been", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "one, which I secured, while the panting butler and his satellites\nbrought up a respectful rear. It was our unconventional author,\nhowever, who was the first to volunteer his assistance and advice.", "\"I've been expecting you all the afternoon,\" said he. \"You needn't\nlook so pale.\"\n\n\"Is it safe?\"", "Doors were already opening overhead, voices calling, voices answering,\nthe alarm running like wildfire from room to room. Soft feet pattered", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "\"Well, it's about the most palatial of the lot. The old ruffian is as\nrich as Croesus. It's a country-place in town.\"", "It was daybreak when I gave the alarm with bell and telephone. In a\nfew minutes we had the house congested with dishevelled domestics,", "When he opened the door and beckoned to me, I knew by his face that he\nhad succeeded to his satisfaction, and by experience better than to" ], [ "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "\"Well, it's about the most palatial of the lot. The old ruffian is as\nrich as Croesus. It's a country-place in town.\"", "\"It's impossible to say, my lord. He's not in the house now, for he\ncould only be in your lordship's bedroom or dressing-room, and we have\nsearched every inch of both.\"", "The venerable butler stood wheezing at his elbow. I had not hitherto\nobserved that the man was an asthmatic.", "had been taken, after all. And then--and then--the one member of the\nhousehold who had come nearest to a personal encounter with either of\nus was unable to furnish any description of the man--had even expressed", "I looked at the curly head upon the pillow, at the smiling, handsome\nface under the curls. And at last I understood.\n\n\"So all the time you never meant it!\"", "\"No, I'm not. I live there, you see.\"\n\nAnd I think the Nipper recalled that name as he ground his heel upon an\nunresponsive flagstone.", "\"Of course I do,\" said I. \"They are rich people, and he's not such a\nbrute as to spend everything on his stable. Her jewels are as much the", "\"No, they won't, old man!\" I whispered. And he sat up and saw the\ncomatose trio for himself.", "And this miserable quibble was not a lie! My lip curled, I turned my\nback without a word, and drove home to my Mount Street flat in a new", "would, and for that matter he nearly did. Then, at the last moment, he\nsaw how to hedge things with his conscience. And his second hundred\nwill be a real gift.\"", "right you in my eyes at his own expense. And yesterday I could see\nthat you knew nothing whatever about it, that your friend had died\nwithout telling you of his act of real and yet vain self-sacrifice!", "guests. They were the pair who had driven up in the hansom; one turned\nout to be Kingsmill, Q.C.; the other I knew at a glance from his", "I had called at the Albany for the fiftieth time, and returned to\nPiccadilly in my usual despair, when a street sloucher sidled up to me\nin furtive fashion and inquired if my name was what it is.", "a gallant spurt into the road, and there paid the penalty of his\nrashness by a sudden incapacity to move another inch. It had\neventually taken him twenty minutes to creep back to locked doors, and", "\"I remember now. You were with him when he forced himself upon me on\nthe way down yesterday. He had to tell me who he was. Yet he talks as\nthough we were old friends.\"", "at fifty miles an hour. He might have been following some honorable\ncalling in town; he might have snatched this brief respite from a\ndistinguished but exacting career. I am convinced that it was I alone", "some slight improvement became apparent, and at length the sufferer was\nable to sit upright, and to drain his glass with a sigh of rare relief.\nI sighed also, for I had witnessed a struggle for dear life by a man in", "It was Raffles. Yet for a moment I looked about me quite in vain. He\nwas not at the window; he was not at the open door. And yet Raffles it" ], [ "\"They might be brothers,\" rejoined Raffles, who knew all the loose fish\nabout town. \"Well, I'm not sure that I shall want you after all,\nBunny.\"\n\n\"Why not?\"", "\"If you don't,\" rejoined Raffles, \"you will miss some sport after both\nour hearts. Think of it, Bunny! These fellows meet to wallow in all", "\"Hulloa!\"\n\n\"That you, Bunny?\"\n\n\"Yes--are you Raffles?\"", "\"Not again, Bunny, not again,\" rejoined Raffles, laughing as he shook\nhis head. \"But do you think the man has enough to make it worth our\nwhile to go so far afield?\"", "\"My dear Bunny, but so he was!\" cried Raffles. \"Time was when I was\nnone too pure an amateur. But after this I take leave to consider", "\"One's quite enough, Bunny,\" said Raffles dryly; he leaned back in his\nchair and took out another cigarette. And I accepted of yet another", "consuming excitement of the war in South Africa. These were the days\nwhen Raffles really had white hair, and when he and I were nearing the", "\"Bunny,\" said Raffles, \"this is fame at last! It is no longer\nnotoriety; it lifts one out of the ruck of robbers into the society of", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "\"My dear, good Bunny,\" said Raffles, \"I've told you already that I\ndidn't come in here on business. I came in for the Cure. Not a penny", "\"My dear Bunny,\" replied Raffles, \"you should remember how long I had\nbeen maturing felonious little plan, what a blow it was to me to have", "\"I came down early,\" said Raffles, \"and had a look at the races. I\nalways prefer to measure my man, Bunny; and you needn't sit in the", "\"Then we're both going, Bunny! And I give you my word,\" cried Raffles,\n\"that no real harm shall come of it. But you mustn't ask to see the", "In a flash I saw the chance of my criminal career. It was some years\nsince Raffles had served his country in these encounters; he had never", "Raffles looked at me with a wry smile; he was in good enough humor now.\n\n\"It would be rather dangerous, Bunny. If they spotted you, they might\nthink of me.\"", "Raffles was smiling under the double lamps of the first-class\ncompartment that we had to ourselves.\n\n\"I wouldn't say that, Bunny. We have done worse.\"", "\"Allow me, Bunny! I shall take the liberty of locking both doors\nbehind you and putting the key in my pocket,\" said Raffles, when he had", "\"So you are out of Paradise after all!\" said Raffles. \"I was not sure,\nor I should have come round before. Well, Bunny, if they don't want", "\"You may have forgotten your Shakespeare, Bunny, but you ought to\nremember that.\"\n\nAnd I did, vaguely, but had no idea what it or Raffles meant, as I\nplainly told him.", "Raffles laid a kindly hand upon my shoulder--\"Bunny, Bunny, you can rob\nthe old place, and yet you can't hear a word against it?\"" ], [ "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "right you in my eyes at his own expense. And yesterday I could see\nthat you knew nothing whatever about it, that your friend had died\nwithout telling you of his act of real and yet vain self-sacrifice!", "\"I am glad to hear that,\" he remarked in a high bland voice. \"I\nthought that man would die game.\"\n\n\"Did you know anything about him, then?\" inquired Lord Thornaby.", "\"I suppose you know that my aunt, Lady Melrose, died some years ago?\nShe was the best friend I had in the world, and it is thanks to her", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "\"You thought that, and yet you came like a shot to do battle for my\nbody with Barney Maguire! Jack-the-Giant-killer wasn't in it with you,\nBunny!\"", "\"William and Charles are both dead monarchs,\" said he. \"The reigning\nking in their department is the fellow who gutted poor Danby's place in\nBond Street.\"", "great end! It is true that he had been unfortunate enough to strike a\njugular vein, but his own end should take its place among the most", "The Field of Phillipi", "\"It's the night of their Hunt Point-to-Point. They wind up the season\nwith it every year; and the bloated Guillemard usually sweeps the board\nwith his fancy flyers.\"", "else, and armed with crops carried by the wrong end. The monumental\nperson with the short moustache led the advance. The fool stood still", "\"I know it wasn't, Bunny,\" he said regretfully. \"But things like that,\nas the poet will tell you, are really inseparable from victories like", "\"Chawley Peace killed two policemen,\" said he.\n\n\"No, he didn't; only one of them was a policeman; and he never killed\nanybody with a knife.\"", "\"Is he dead?\" wheezed the asthmatic coolly.\n\n\"Not he,\" I answered, with an indignation that I dared not show.", "such persons thinking yet a little better of him (and not wasting\nanother thought on me) that I am permitted to retail the very last word\nabout their hero and mine.", "life--nay, on the very death he was to die? I never knew, and shall\nnever know. Yet his words were strangely prophetic, even to the three", "\"All of them?\"\n\n\"I think so.\"\n\n\"There, then.\"\n\n\"Now go to the back window and up with the blind.\"\n\n\"Well?\"", "\"A false description! Bunny, you have no more to learn from me. Time\nwas when I wouldn't have let you go there without me to retrieve a lost\numbrella--let alone a lost cause!\"", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "a quick but natural respiration; and in the sudden cessation of the\ncruel contest, an uncanny stillness fell upon the scene. Meanwhile the" ], [ "\"It will maim me for a month,\" said he; \"and if the V.C. comes out\nalive, the wound he gave may be identified with the wound I've got.\"", "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "\"You said yesterday that your going to the war and getting wounded\nwiped out nothing that had gone before. I hope you are not growing", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "\"Walk up!\" he cried, as he beckoned to us three. \"Walk up and see one\no' their blamed British crooks laid as low as the blamed carpet, and\nnailed as tight!\"", "or four weeks in which those events happened that imperilled the fabric\nof our empire, and rallied her sons from the four winds to fight\nbeneath her banner on the veldt. It all seems very ancient history", "\"I am glad to hear that,\" he remarked in a high bland voice. \"I\nthought that man would die game.\"\n\n\"Did you know anything about him, then?\" inquired Lord Thornaby.", "\"You thought that, and yet you came like a shot to do battle for my\nbody with Barney Maguire! Jack-the-Giant-killer wasn't in it with you,\nBunny!\"", "\"Chawley Peace killed two policemen,\" said he.\n\n\"No, he didn't; only one of them was a policeman; and he never killed\nanybody with a knife.\"", "But with this war one gets all the excitement one requires--and rather\nmore than usual may happen in three or four weeks?\"", "Barney Maguire crashed to the floor, without waking either himself or\nhis companions, though not without bringing my beating heart into the\nvery roof of my mouth.", "\"No, I'm not. I live there, you see.\"\n\nAnd I think the Nipper recalled that name as he ground his heel upon an\nunresponsive flagstone.", "great end! It is true that he had been unfortunate enough to strike a\njugular vein, but his own end should take its place among the most", "\"Is he dead?\" wheezed the asthmatic coolly.\n\n\"Not he,\" I answered, with an indignation that I dared not show.", "\"That's the only time we know about,\" the clerk admitted; \"and it\ncouldn't be brought 'ome, or his precious pal would have got more than", "consuming excitement of the war in South Africa. These were the days\nwhen Raffles really had white hair, and when he and I were nearing the", "\"Come, come, my lass,\" cried the old oak veteran, \"I'm not going to put\na bullet through you, you know! You tell me all about it, and it'll do", "genial clod, as he sat in his fat and listened to the young bloods\nboasting of their prowess, or elaborately explaining their mishaps.\nAnd for a minute we listened also, before I remembered my", "\"Look here,\" I answered, sitting back on my heels. \"He isn't dead, Mr.\nMedlicott, and I don't know how long he'll be as much as stunned. He's", "\"No, they won't, old man!\" I whispered. And he sat up and saw the\ncomatose trio for himself." ], [ "indeed deeply interested before the event, since Raffles assured me\nthat it was \"a one-man job,\" and naturally intended to be the one man\nhimself. It was only at the eleventh hour that our positions were", "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "might well have been left far astern of the fun. Yet it was Raffles\nwho was the life and soul of the party, and that not by meretricious", "\"I was staying there at the time,\" said Raffles eagerly. No snob was\never quicker to boast of basking in the smile of the great.", "And I saw a good deal of Raffles just then; it was, in fact, the one\nperiod at which I can remember his coming round to see me more", "drawing-room after dinner, and was just putting on the lights, when in\nwalked Mr. Raffles from the balcony. I knew him at once, because I", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "But Raffles wagged away with his most charming and disarming smile; he\nwas in old clothes, rather tattered and torn, and more than a little", "Raffles regarded me with that tantalizing smile of his which might mean\nnothing, yet which often meant so much; and in a flash I was convinced", "There was an absolute magnetism about Mr. Raffles which neither you nor\nI could resist. He had the strength of personality which is a\ndifferent thing from strength of character; but when you meet both", "\"I seem to have seen you with this great man Raffles,\" began Nasmyth,\nas he overhauled me with his fighting eye. \"Do you know him well?\"\n\n\"Intimately.\"", "Raffles stood over me with a smile made of mischief and cunning; but it\nwas the purest mischief imaginable, the most innocent and comic cunning.", "\"You said I spoke as if I had known Mr. Raffles. Of course I have\noften seen him playing cricket, and heard about him and you. But I only", "\"You'll remember Raffles,\" said I, \"if you don't remember me. You\nshowed us your trophies the other night, and asked us both to look you\nup at any hour of the day or night after the fight.\"", "none to discuss just then. Raffles, on the contrary, was showing\nhimself with some industry in the most respectable society, and by his\nadvice I used the club more than ever.", "Bailey, and perhaps had its share in promoting the quality of mercy\nwhich had undoubtedly been exercised on my behalf. But the present\nrecital was unduly trying, and Raffles created a noble diversion by", "\"I suppose you had one for the dance that was going on,\" I growled. Nor\nwould it have been a coincidence for Raffles to have had a ticket for\nthat or any other entertainment of the London season.", "encountered in the street was the constable on the beat. Raffles\nwished him good-morning, as well he might; for he had been upstairs to", "and envy every man of you--every name in those dreadful lists that fill\nthe papers every day. But I knew about Mr. Raffles, and I did not know", "\"My dear fellow,\" replied Raffles, \"that was my whole feeling about\nyou. I wanted to 'see you at it'--that was absolutely all. I wanted" ], [ "\"Hulloa!\"\n\n\"That you, Bunny?\"\n\n\"Yes--are you Raffles?\"", "\"Not again, Bunny, not again,\" rejoined Raffles, laughing as he shook\nhis head. \"But do you think the man has enough to make it worth our\nwhile to go so far afield?\"", "\"My dear Bunny,\" replied Raffles, \"you should remember how long I had\nbeen maturing felonious little plan, what a blow it was to me to have", "\"Bunny,\" said Raffles, \"this is fame at last! It is no longer\nnotoriety; it lifts one out of the ruck of robbers into the society of", "\"Allow me, Bunny! I shall take the liberty of locking both doors\nbehind you and putting the key in my pocket,\" said Raffles, when he had", "\"My dear Bunny, but so he was!\" cried Raffles. \"Time was when I was\nnone too pure an amateur. But after this I take leave to consider", "\"You were always a bad liar, Bunny,\" said Raffles, smiling. \"Will you\nthink me one when I tell you that I can understand what you felt, and", "\"That's for the police,\" said Raffles, waiting for me. \"But the fun's\nonly beginning in the stables. Hear the uproar, and see the lights!", "\"If you don't,\" rejoined Raffles, \"you will miss some sport after both\nour hearts. Think of it, Bunny! These fellows meet to wallow in all", "\"They might be brothers,\" rejoined Raffles, who knew all the loose fish\nabout town. \"Well, I'm not sure that I shall want you after all,\nBunny.\"\n\n\"Why not?\"", "\"Then we're both going, Bunny! And I give you my word,\" cried Raffles,\n\"that no real harm shall come of it. But you mustn't ask to see the", "\"You must try to forgive me, Bunny,\" continued Raffles before I could\nspeak. \"I don't say a word against what you did, or undid; in fact,", "\"Sorry, Bunny!\" said Raffles, sitting on one pedestal of a desk from\nwhich the top had been removed, and setting his makeshift lantern on", "of robbing his old 'ome, it's believed he hadn't the 'eart to take the\nstuff away, and Raffles had to break in a second time for it. No, sir,", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "\"I came down early,\" said Raffles, \"and had a look at the races. I\nalways prefer to measure my man, Bunny; and you needn't sit in the", "\"I should think it did, Bunny,\" murmured Raffles, in a tone that added\nsensibly to my reward. \"I couldn't have done better myself, and you", "\"I tell you I got it directly I had left you. He called you away in\norder to burgle you too, of course!\"\n\nAnd Raffles stood smiling upon me in all his incomparable radiance and\naudacity.", "Raffles laid a kindly hand upon my shoulder--\"Bunny, Bunny, you can rob\nthe old place, and yet you can't hear a word against it?\"", "In a flash I saw the chance of my criminal career. It was some years\nsince Raffles had served his country in these encounters; he had never" ], [ "\"A pass?\" I cried triumphantly. \"Of course we should have to get one,\nand of course that puts an end to the whole idea. Who on earth would\ngive a pass for this show, of all others, to an old prisoner like me?\"", "\"You mean Bunny?\" said the familiar fellow. \"No, sir, he'd be out of\nplace; we've only room for real criminals here. Bunny was neither one", "offences by imprisonment, whereas Raffles was merely supposed to have\nescaped punishment in death. The result was that I could rush in where", "another ten to ring up the inmates. His description of my personal\nappearance, as reported in the papers, is the only thing that\nreconciles me to the thought of his sufferings during that half-hour.", "and left myself for dead on this very spot. In fact, I imagined him\ncomfortably back in jail.\"", "criminal in the land. Yet he had struck no brutal blow, he had uttered\nno disgraceful taunt, and probably not inflicted a tithe of the pain he", "\"Mr. Raffles,\" said he, \"has been telling me about that poor fellow who\nsuffered the extreme penalty last March. A great end, gentlemen, a", "\"'Because I was the other man,' he said quite quietly; 'because I led\nhim blindfold into the whole business, and would rather pay the shot\nthan see poor Bunny suffer for it.'", "chest had indeed been rifled, and emptied of every silver thing but\none; that one remaining piece of silver, seen of men, was quite enough\nto cast Raffles into the outer darkness of penal servitude! And", "\"True; we have had Peace,\" said Parrington, and launched out into such\nglowing details of that criminal's last moments that I began to hope\nthe diversion might prove permanent. But Lord Thornaby was not to be\ndenied.", "myself that this served him right. Even had I brained him, the fault\nhad been his, not mine. And it was a characteristic, an inveterate", "Majesty's inspectors of prisons, and his study's a storehouse of\ncriminology. It has been quite amusing to lie on one's back and have a", "In a flash I saw the chance of my criminal career. It was some years\nsince Raffles had served his country in these encounters; he had never", "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "\"I was a fool ... to turn in,\" he blurted in more whispers between\nlonger pauses. \"Lying down is the devil ... when you're in for a real", "\"Locking your lordship's dressing-room door behind your lordship, my\nlord,\" stuttered the unfortunate Leggett, in the short spurts of a", "And for a minute Raffles frowned and smiled like a sensation novelist\nworking out a plot; then the light broke, and transfigured him through", "\"We were indulging in the chase ourselves,\" explained Raffles, \"and one\nof us has suffered for his zeal, as you can see. It is even possible\nthat we, too, have been chasing a perfectly innocent man.\"", "\"So he really did get out at nights?\" remarked my adversary. \"You\ncertainly give your friend away. What's he doing now?\"", "him the night he dined with the Earl of Thornaby, and robbed the house\nbefore dinner. That's his life-preserver; but no one can make out what" ] ]	[ "What was Raffles famous for?", "What does Raffles say he was asked about for?", "Where were Raffles and Bunny attemting a heist when they were caught and exposed?", "Raffles jumps overboard on the ocean voyage heist. He is presumed what?", "Where was Bunny before being summoned to the house of a rich invalid?", "Who is the rich invalid?", "Where was Bunny when he summoned Raffles?", "What war do they volunteer for?", "Who dies in battle?", "Where did Raffles disappear to?", "Who summoned Bunny after he was released from prison?", "What war do the main characters volunteer for?", "Which character is wounded in the war?", "Which character dies in the war?", "How many phases do these stories have?", "Which character is presumed drowned in the first story?", "Which collection was the first story part of?", "Which collection was the second part of the story originally collected in?", "What is the profession of the two main characters?", "What sport is Raffles famous for playing?", "Which character dives overboard while on an ocean voyage and is presumed dead?", "Who is summoned to the house of a rich invalid?", "Who does the rich invalid turn out to be?", "Which war do Raffles and Bunny volunteer for?", "Which main character dies in battle?", "Which character is wounded, but does not die, in the Boen War?", "Why was Raffle always invited to huge social events at the beginning of the story?", "What crime do Bunny and Raffles commit at the beginning of the story?", "Which character serves a prison sentence?" ]	[ [ "Cricket", "cricket" ], [ "cricket", "my cricketts" ], [ "an ocean voyage", "On an ocean voyage." ], [ "drowned", "drowned" ], [ "prison", "Prison" ], [ "Bunny", "Raffles" ], [ "England", "prison" ], [ "The Boer War", "The Boer War." ], [ "Raffles", "Raffles" ], [ "Reichenbach Falls?", "He jumps overboard into the ocean and is presumed to have drowned." ], [ "Raffles", "Raffles" ], [ "Boer War", "the Boer War" ], [ "Bunny", "Bunny." ], [ "Raffles", "Raffles." ], [ "Two", "Two." ], [ "Bunny", "Raffles" ], [ "An Amateur Cracksman", "The Amateur Cracksmen" ], [ "The Black Mask", "The Black Mask" ], [ "Thieves", "they are men-about-town who are also thieves" ], [ "Cricket", "Bowling." ], [ "Raffles", "Raffles" ], [ "Bunny", "Bunny" ], [ "Raffles", "Raffles." ], [ "Boer War", "The Boer War." ], [ "Raffles", "Raffles." ], [ "Bunny", "bunny" ], [ "He was a famous cricketer ", "because he was a famous cricket player" ], [ "Burglary ", "Theft." ], [ "Bunny?", "Bunny" ] ]	11ac9bf7f55ee9d40df3c0ba117c6914dd6ed9e6	train
[ [ "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "It's now just a blur of images of Carl at Southwest Bank,\n shaking his head `no', eating Lean Cuisine and watching\n reality television.", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "Carl's eating across from Renee. He can't stand the food.\n He grimaces with every bite, but manages to choke it down.", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "LUCY\n He can be just so closed off.\n \n Carl's phone rings.\n \n CARL", "Carl's strapped to a giant plasma donation machine. It's\n horrifying. As he donates plasma, he could not look more\n depressed.", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "Carl's taking a pottery lesson. He is sadly going through\n the motions of making a pot. He checks his watch and", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "CUT TO LATER -- Carl, Kath and Seb are now slightly drunk.\n However, it is a quiet, angry drunk, not a fun-loving drunk.", "INT. CARL'S LIVING ROOM/BEDROOM\n \n Carl lays down and closes his eyes. The alarm GOES OFF", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "INT. SOUTHWEST BANK - LOBBY\n \n Carl stands in the middle of the floor staring into the\n middle distance. A CUSTOMER approaches him.", "INT. CARL'S APARTMENT - NIGHT\n \n Carl goes into his apartment. He lies down in his bed and", "CUT TO LATER\n \n Carl has put up signs on the bank window that say \"Pet-a-", "You wanted to be more than you are.\n And yet you have suddenly woken up\n to find life is passing you by. Am\n I right, Carl?", "the fancy digs, Carl's depressed. Chris pokes his head in.\n Carl's on the phone.\n \n CARL", "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?" ], [ "She's very scared of flying.\n \n CARL\n Where's your seat?", "The YOUNG WOMAN points at her seat. It's a couple rows up in\n the middle. Her middle seat's BOOKENDED by a MOM with a", "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "switching places with me? I want\n to be across the aisle from my mom.\n \n Her MOM is indeed across from Carl.", "A cab PULLS UP. Peter realizes Carl's leaving.\n \n PETER (cont'd)\n Say hello to her when you see her.", "equipment, including a giant clear plastic harp. Renee steps\n up to the microphone.\n \n RENEE", "ground. I've tried on foot. I\n only have a two mile radius.\n \n CARL\n Done and done.", "throw your next art thing!\n \n Everyone gets into their cars. Carl and Renee walk off.\n \n RENEE", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "Carl takes the wheel. The tractor IMMEDIATELY GETS AWAY FROM\n HIM. They SWERVE STRAIGHT and CRASH THROUGH THE WALL OF AN", "Light is streaming in through the window. Carl opens his\n eyes. He's in bad shape. He looks over to see the Hot Girl\n finishing getting dressed.", "CARL\n Wait! I'll explain better.\n \n She turns back around.", "has been packed up.\n \n 41.", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "Beat.\n \n CARL\n Yes.\n \n WAITRESS", "Beat.\n \n CARL\n Yes.\n \n WAITRESS", "Carl's in a tuk tuk being driven at breakneck speed down the\n windy streets of Bangkok.", "She looks pretty in the photo.\n \n RENEE\n Alright! Enough standing around!", "Her business plan.\n \n Norman grabs the business plan and starts reading it.\n \n NORMAN" ], [ "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl's still massaging her. He stops.\n \n RENEE (cont'd)\n Can you please keep massaging?", "BACK TO CARL AND PETER. We CLOSE IN ON CARL'S MOUTH.\n \n CARL", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "Carl's massaging. His hands are really cramping up. She's\n asleep. He stops massaging.\n \n RENEE (cont'd)", "That was some good times last\n night. You back for more?\n \n CARL\n Yes.", "Don't stop.\n \n Carl continues massaging her.\n \n CHYRON: HALF HOUR LATER", "CARL\n Yes.\n \n Carl grabs Renee and starts making out with her. They fall", "CARL\n What? So? I'm like a sexual\n camel. I only need it once every\n couple years.", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Are you... ?\n \n CARL\n Yes.\n \n They kiss.", "Oooh. Yeah. Oooh, right there.\n \n Carl stops.\n \n RENEE (cont'd)", "Renee kisses Carl.\n \n RENEE (cont'd)\n Oooh, we should do some sexy", "The Hot Girl kisses Carl on the forehead.\n \n HOT GIRL (cont'd)", "Carl's eating across from Renee. He can't stand the food.\n He grimaces with every bite, but manages to choke it down.", "in to kiss Carl.\n \n CARL\n I have herpes.\n \n TONY", "INT. CARL'S APARTMENT - NIGHT\n \n Carl goes into his apartment. He lies down in his bed and", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "And that guy's crazy. Don't you\n want to go home and make out?\n \n CARL\n Yes." ], [ "Their four audience members cheer. The drummer bangs his\n sticks together and the band launches in. They are terrible.\n Like really terrible. Renee sings in a high-pitched voice", "The four people in the audience clap hard as she finishes.\n Renee takes a huge bow and motions to her fellow band mates.\n Carl, not knowing how to politely react to the horror show he", "who's name we'll learn is RENEE passing out flyers for a band\n called \"The Flying Buttresses.\"\n \n 4.", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "equipment, including a giant clear plastic harp. Renee steps\n up to the microphone.\n \n RENEE", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "People stream into the bar to celebrate. Outside, CARL\n KENDALL (30s) and his soon-to-be ex-girlfriend KATH are\n having a quiet intense discussion.", "Light is streaming in through the window. Carl opens his\n eyes. He's in bad shape. He looks over to see the Hot Girl\n finishing getting dressed.", "your name?]\n \n \n INT. THE NOTE BAR AND PERFORMANCE SPACE - NIGHT", "to White Town's \"Your Woman.\" It will bring it to life in a\n way that words on a page cannot do it justice.)\n \n CARL", "I like it. I can work with that.\n \n The drummer, a guy named LEEORE, shouts down to Renee from\n the stage.", "Carl walks out of Dunkin Donuts, carrying a giant coffee and\n several boxes of Munchkins. He walks by Renee, the cute girl\n who hands out band fliers.", "ALL)\n Of course!\n (reading from a binder)\n Pet-a-Puppy day. Free cookie day.", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "Carl gets really close to the Hot Girl's face and then COYLY\n pulls away for the bridge of the song. During the awesome", "Carl walks around a photography gallery. Renee's photos are\n up. They are terrible photos, since they were taken while\n she was jogging. Their subjects are blurry. Some of them", "He is!\n \n The woman POINTS AT Carl. The spotlight SWINGS OVER to Carl.\n He is annoyed.", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "Renee, along with several other amateur photographers in\n sweat suits, have gathered. They all have big cameras around\n their necks. Carl walks up to them. He does not look good.", "Carl lands on one knee in front of the Hot Girl. The crowd\n CHEERS FOR HIM. The Hot Girl's LARGE BOYFRIEND gets up close" ], [ "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "19.\n \n \n \n Sanji's suddenly getting to Carl. As Sanji talks to him, the", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "Carl then RUNS into his office and sits down at the desk.\n He's covered in sweat and is breathing heavily. Chris pokes\n his head in.", "Beat. Carl doesn't really know what to do so he slaps him\n across the face the way a woman would slap a man.", "67.\n \n \n \n Tony pulls Carl up. Carl starts to awkwardly shake his\n groove thing.", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "Carl takes the Maniyesto.\n \n CARL\n (reading the document)\n 1) Until New Year's Eve, I must say", "rapidly at Carl. Carl has no idea what he's saying. Seung\n Kim laughs. Carl laughs along with him. Chris hits a\n beautiful shot. His ball lands almost on the green. The", "Chris laughs. Carl laughs. Chris abruptly stops laughing.\n So does Carl. Carl's phone buzzes again. The text says", "Sanji grabs Carl hand and PULLS HIM to his feet. We PULL\n BACK and the crowd CHEERS.", "Tell everyone Happy New Year.\n \n Carl lies down and hangs up the phone.\n \n CUT TO LATER", "Carl gets dressed. He puts on his suit and tie. His\n apartment is noticeably nicer than the last time we saw it.", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "answers it.\n \n CARL (cont'd)\n Of course not.", "Instantly Carl's cubicle is surrounded by fellow workers.\n \n BANK EMPLOYEES\n Carl rules./You're the" ], [ "airport and hop on the first flight\n outta here.\n \n Carl's eyes light up.\n \n CARL", "(PROUDLY)\n We want two tickets on the next\n plane out of here.\n \n AIRLINE REP", "CARL\n That's our flight. We should\n probably get going.\n \n RENEE", "INT. PLANE\n \n Renee and Carl have the aisle and window on the plane. A", "Carl nervously hands the Airline Rep his credit card.\n \n \n INT. AIRPORT - OUTSIDE SECURITY", "She's very scared of flying.\n \n CARL\n Where's your seat?", "INT. LINCOLN AIRPORT\n \n Carl's sitting in the lounge at the Lincoln Airport. An OLD", "INT. PLANE\n \n Carl and Renee sit next to each other on the plane.", "INT. AIRPORT\n \n Carl and Renee walk off the plane, Carl carrying the package\n under his arm. Carl sees a tall blond guy holding a sign", "INT. LINCOLN AIRPORT - LATER\n \n Carl and Renee are in the airport.", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "RENEE\n We're actually flying together.\n \n YOUNG WOMAN\n It would really mean a great deal.", "Well, clearly we should go there.\n \n Carl points to an advertisement for a telephone museum:\n \"Come to the Frank H. Woods Telephone Pioneer Museum.\"", "You're going, already?\n \n 3.\n \n \n \n KATH", "INT. AIRPORT - TICKET COUNTER\n \n Renee and Carl are in line at the ticketing counter.\n \n RENEE", "It's very quiet. A couple people mill about.\n \n CARL\n We don't have to stay long.", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "CARL\n (clearly lying)\n I'm out of town.", "Carl stares as the clock clicks to 5:00. He's out the door.\n \n \n INT. CARL'S KITCHEN", "CARL\n (to the people who are\n being seated)\n You all know that we were up before" ], [ "Carl just looks at her.\n \n RENEE (cont'd)\n If you can't be honest with me,", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?", "Renee laughs. Carl fake laughs with her.\n \n 75.", "That's what I thought, Carl. And\n you think this is all bullshit,\n Carl, isn't that right, Carl?", "She rises, shaking her head, and heads for the door.\n \n CARL\n It wasn't a lie.", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "nice intimate touch. See you soon\n Carl.\n \n Carl turns away, nervous that he's accepted her invitation.", "All the VPs laugh. Carl fake laughs along with them.\n \n \n INT. CARL'S APARTMENT", "Carl's massaging. His hands are really cramping up. She's\n asleep. He stops massaging.\n \n RENEE (cont'd)", "CARL\n Yes.\n \n RENEE\n Yes?", "Chris laughs. Carl nervously laughs along with him. The\n Pretty Korean Banker walks by and waves at him. Carl waves\n back. He looks very guilty.", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "Are you... ?\n \n CARL\n Yes.\n \n They kiss.", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl gets really close to the Hot Girl's face and then COYLY\n pulls away for the bridge of the song. During the awesome", "Carl nervously sits before Norman.\n \n NORMAN\n Earlier today, you showed some\n initiative. And I loved it. What", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl." ], [ "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?", "Carl's sitting on the steps. Renee comes out of the station.\n \n RENEE\n What the hell happened?", "Carl's phone rings.\n \n CARL (cont'd)\n Sorry, Luce. Work stuff.", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "Carl's massaging. His hands are really cramping up. She's\n asleep. He stops massaging.\n \n RENEE (cont'd)", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "INT. CARL'S APARTMENT\n \n Norman's crying. Rooney's getting worked up.", "the fancy digs, Carl's depressed. Chris pokes his head in.\n Carl's on the phone.\n \n CARL", "Carl between the crying baby and the ENORMOUS MAN. Renee\n turns and waves to him from a couple rows up. Carl puts on a\n saccharin smile and waves back.", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "PETER (V.O.)\n (on the phone)\n Carl. It's Peter. Where are you?", "Renee laughs. Carl fake laughs with her.\n \n 75.", "87.\n \n \n \n CARL (cont'd)\n (covering the phone)", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "Renee starts jogging again. Carl starts after her and then\n abruptly doubles over and throws up on the ground. Renee and\n the other jogging/photographers snap photos of him.", "TONY\n Yeah, well, I've been busy too.\n \n Renee comes up and grabs Carl's arm.", "Carl's phone rings. People look angrily at him. He stands\n and PASSES OUT in the aisle.", "Carl giving blood while on the phone.\n \n CARL\n (on the phone)\n I just think if we're going to be" ], [ "Carl and Lucy are each drinking tea. The only other people\n in the tea room are groups of women.\n \n LUCY", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "INT. HOLIDAY INN CONFERENCE ROOM\n \n Carl runs to the conference room. The Just Say Yes seminar", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "Billy.\n \n She hands Carl a brochure.", "Carl gets a tap on the shoulder. REVEAL Kath standing there.\n \n KATH (O.S.)\n Thinking of learning a couple", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "CARL\n Wait! I'll explain better.\n \n She turns back around.", "Carl between the crying baby and the ENORMOUS MAN. Renee\n turns and waves to him from a couple rows up. Carl puts on a\n saccharin smile and waves back.", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "Carl walks around a photography gallery. Renee's photos are\n up. They are terrible photos, since they were taken while\n she was jogging. Their subjects are blurry. Some of them", "Carl's taking a pottery lesson. He is sadly going through\n the motions of making a pot. He checks his watch and", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "All the VPs laugh. Carl fake laughs along with them.\n \n \n INT. CARL'S APARTMENT", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM", "The Hot Girl kisses Carl on the forehead.\n \n HOT GIRL (cont'd)", "INT. STATIONERY STORE - LATER\n \n Lucy and Carl are looking over a book of stationery with the", "Carl gets up to the roof. Renee's looking out over Bangkok.\n He taps her on the shoulder. She turns.\n \n RENEE", "INT. POTTERY STUDIO\n \n Carl walks into the pottery studio, looking guilty. Renee is" ], [ "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "It's now just a blur of images of Carl at Southwest Bank,\n shaking his head `no', eating Lean Cuisine and watching\n reality television.", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "INT. CARL'S LIVING ROOM/BEDROOM\n \n Carl lays down and closes his eyes. The alarm GOES OFF", "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?", "Carl's eating across from Renee. He can't stand the food.\n He grimaces with every bite, but manages to choke it down.", "CARL\n I'm in bed. Why? What happened?\n Did someone die?\n \n 10.", "INT. CARL'S APARTMENT - NIGHT\n \n Carl goes into his apartment. He lies down in his bed and", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Carl's strapped to a giant plasma donation machine. It's\n horrifying. As he donates plasma, he could not look more\n depressed.", "CUT TO LATER -- Carl, Kath and Seb are now slightly drunk.\n However, it is a quiet, angry drunk, not a fun-loving drunk.", "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "88.\n \n \n \n CARL\n Long story.", "LUCY\n He can be just so closed off.\n \n Carl's phone rings.\n \n CARL" ], [ "Well, it was nice meeting you, Seb.\n So I'll be going.\n \n Carl starts to walk off.", "Carl then RUNS into his office and sits down at the desk.\n He's covered in sweat and is breathing heavily. Chris pokes\n his head in.", "airport and hop on the first flight\n outta here.\n \n Carl's eyes light up.\n \n CARL", "Carl gets up. He heads over to the soda machine and buys a\n Diet Coke. He then heads over to Norman's desk.", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "besides follow you around.\n \n RENEE\n Like what?\n \n CARL", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "Go to the seminar, Carl! You won't\n be sorry!\n \n \n INT. CARL'S APARTMENT", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "Chris gets out of his car and heads to the office. Carl\n hides his face from Chris so that Chris won't recognize him.\n \n ROONEY", "INT. CARL'S NEW OFFICE\n \n Carl's writing a list of names. The post card lies on the\n desk nearby. His secretary pops her head in.", "Carl leaves.\n \n \n INT. RUDY'S - NIGHT", "CARL\n (THROWN)\n Nothing. Do you want to go?", "(THEN)\n So what do you say, Carl?\n (WHISPERING)\n What do you say?", "his friends. As he shows off, Renee looks irritated.\n \n CARL\n (showing off, to Peter)", "Instantly Carl's cubicle is surrounded by fellow workers.\n \n BANK EMPLOYEES\n Carl rules./You're the", "CARL'S SECRETARY\n Will do.\n \n Carl starts to head out and then turns around.", "I'm Tony. I'm an old, close friend\n of Carl's.\n \n 103." ], [ "I almost skipped that one.\n \n CARL\n You gave me the flier, so I had to\n go.", "Go to the seminar, Carl! You won't\n be sorry!\n \n \n INT. CARL'S APARTMENT", "CARL\n (SCOFFING)\n Uh, yeah.\n (THEN)\n Have you been to this before?", "Let me guess, Carl. This was not\n your idea to come here, Carl.\n \n CARL\n I wouldn't say that.", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "I think that's really cute.\n \n Carl's starting to get really into it. He turns the page and\n sees an invitation decorated with animals labeled \"Knights in", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "Well, it was nice meeting you, Seb.\n So I'll be going.\n \n Carl starts to walk off.", "besides follow you around.\n \n RENEE\n Like what?\n \n CARL", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "That's because it's New Year's Eve.\n You have to be here. Besides, it's\n not only social stuff. You used to", "CARL\n He asked me to join them.\n \n PETER", "answers it.\n \n CARL (cont'd)\n Of course not.", "needs to get to him today.\n \n CARL\n (very nervous)\n Yeah. Sure. I'd be happy to.", "his friends. As he shows off, Renee looks irritated.\n \n CARL\n (showing off, to Peter)", "in joining?\n \n CARL\n Oh, thanks for the invite, but...", "CARL\n What're you talking about?\n \n PETER\n Our engagement party." ], [ "Carl takes the Maniyesto.\n \n CARL\n (reading the document)\n 1) Until New Year's Eve, I must say", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "INT. HOLIDAY INN CONFERENCE ROOM\n \n Carl runs to the conference room. The Just Say Yes seminar", "Believe it. Because this guy just\n got a promotion.\n \n LUCY\n Congrats, Carl!", "Carl lands on one knee in front of the Hot Girl. The crowd\n CHEERS FOR HIM. The Hot Girl's LARGE BOYFRIEND gets up close", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "Carl then RUNS into his office and sits down at the desk.\n He's covered in sweat and is breathing heavily. Chris pokes\n his head in.", "Go to the seminar, Carl! You won't\n be sorry!\n \n \n INT. CARL'S APARTMENT", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "CARL\n You have got to do that. Like it's\n not even a choice.\n \n 61.", "rapidly at Carl. Carl has no idea what he's saying. Seung\n Kim laughs. Carl laughs along with him. Chris hits a\n beautiful shot. His ball lands almost on the green. The", "CARL\n I say... yes.\n \n Carl signs the Maniyesto.\n \n SANJI", "Chris laughs. Carl nervously laughs along with him. The\n Pretty Korean Banker walks by and waves at him. Carl waves\n back. He looks very guilty.", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "Carl wakes up. He looks at the tattooed \"Yes\" on his hand.\n \n \n INT. CARL'S APARTMENT", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "Carl's strapped to a giant plasma donation machine. It's\n horrifying. As he donates plasma, he could not look more\n depressed.", "So you've just been saying yes to\n everything.\n \n CARL\n Yes.", "Carl runs out.\n \n \n INT. BLOOD BANK", "Instantly Carl's cubicle is surrounded by fellow workers.\n \n BANK EMPLOYEES\n Carl rules./You're the" ], [ "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM", "CARL\n Yes. I've got to run.\n \n LUCY\n I'm looking forward to meeting", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "Carl's walking towards security when he runs into TONY, the\n homosexual guy he hooked up with. Tony's handing out his\n books.", "awkward. Kath and Seb are clearly incredibly pissed off.\n \n CARL\n So, how did you guys meet?", "All the VPs laugh. Carl fake laughs along with them.\n \n \n INT. CARL'S APARTMENT", "Chris gets out of his car and heads to the office. Carl\n hides his face from Chris so that Chris won't recognize him.\n \n ROONEY", "TONY (cont'd)\n Carl?\n \n Carl realizes who he is. Suddenly they are in the middle of", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "Carl gets up. He heads over to the soda machine and buys a\n Diet Coke. He then heads over to Norman's desk.", "Are you... ?\n \n CARL\n Yes.\n \n They kiss.", "CARL\n Hey, Luce. What're you doing all\n the way over here?\n \n LUCY", "Carl lands on one knee in front of the Hot Girl. The crowd\n CHEERS FOR HIM. The Hot Girl's LARGE BOYFRIEND gets up close", "-- We see Carl having to write in tiny letters on his\n calendar because it's so full.\n \n -- At Southwest Bank.", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "19.\n \n \n \n Sanji's suddenly getting to Carl. As Sanji talks to him, the" ], [ "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "EXT. ANTELOPE PARK AND SUNKEN GARDENS\n \n Carl and Renee walk around a surprisingly pretty city park.", "CARL\n Yes.\n \n Carl grabs Renee and starts making out with her. They fall", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "Carl and Renee get out a dusty minivan. A dirty, rundown\n palace rises before them. Carl HEADS to the front door and", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "People stream into the bar to celebrate. Outside, CARL\n KENDALL (30s) and his soon-to-be ex-girlfriend KATH are\n having a quiet intense discussion.", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "-- Carl's walking around a florist shop with Lucy. She\n points to a small bouquet of white flowers. Carl points to a\n giant heart-shaped ice sculpture.", "Carl walks out of Dunkin Donuts, carrying a frozen coffee\n drink and several boxes of Munchkins. He walks by Renee and\n wordlessly takes a flier.", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "It's very quiet. A couple people mill about.\n \n CARL\n We don't have to stay long.", "INT. STATIONERY STORE - LATER\n \n Lucy and Carl are looking over a book of stationery with the", "Carl gets up to the roof. Renee's looking out over Bangkok.\n He taps her on the shoulder. She turns.\n \n RENEE", "INT. LINCOLN AIRPORT - LATER\n \n Carl and Renee are in the airport.", "(dripping with bitterness)\n Have fun. You abigail.\n \n Carl and Renee head off." ], [ "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "This is the problem. You don't\n even care that I'm breaking up with\n you.\n \n CARL", "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "A cab PULLS UP. Peter realizes Carl's leaving.\n \n PETER (cont'd)\n Say hello to her when you see her.", "She rises, shaking her head, and heads for the door.\n \n CARL\n It wasn't a lie.", "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?", "CARL (cont'd)\n Well I guess what they say is true,\n I could never spend my life with a\n man like you, I could never be your", "Well, it was nice meeting you, Seb.\n So I'll be going.\n \n Carl starts to walk off.", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "(dripping with bitterness)\n Have fun. You abigail.\n \n Carl and Renee head off.", "Carl leaves.\n \n \n INT. RUDY'S - NIGHT", "128.\n \n \n \n CARL\n I quit.", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "CARL\n We're at different places in our\n lives. I get it.\n \n KATH", "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "Chris Parker grabs Carl's hand and shakes it. Carl RUNS out\n of the office.", "Carl's massaging. His hands are really cramping up. She's\n asleep. He stops massaging.\n \n RENEE (cont'd)", "can live my life as I see fit. Can\n you please leave?\n \n Carl pushes Peter out the door. Carl sits down on the couch." ], [ "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "TONY (cont'd)\n Carl?\n \n Carl realizes who he is. Suddenly they are in the middle of", "Carl sits back down.\n \n BANK CUSTOMER\n (NERVOUS)\n So, what'd he say?", "19.\n \n \n \n Sanji's suddenly getting to Carl. As Sanji talks to him, the", "(THEN)\n So what do you say, Carl?\n (WHISPERING)\n What do you say?", "Carl takes a breath. He's about to pass out.\n \n RENEE\n What's with the \"They're Out There\"", "67.\n \n \n \n Tony pulls Carl up. Carl starts to awkwardly shake his\n groove thing.", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Tell everyone Happy New Year.\n \n Carl lies down and hangs up the phone.\n \n CUT TO LATER", "rapidly at Carl. Carl has no idea what he's saying. Seung\n Kim laughs. Carl laughs along with him. Chris hits a\n beautiful shot. His ball lands almost on the green. The", "Carl then RUNS into his office and sits down at the desk.\n He's covered in sweat and is breathing heavily. Chris pokes\n his head in.", "his friends. As he shows off, Renee looks irritated.\n \n CARL\n (showing off, to Peter)", "INT. TONY'S BEDROOM\n \n CARL", "He reads the postcard.\n \n JASON (V.O.)\n Dear Carl. I know this is kind of", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "Carl's walking towards security when he runs into TONY, the\n homosexual guy he hooked up with. Tony's handing out his\n books.", "Chris laughs. Carl nervously laughs along with him. The\n Pretty Korean Banker walks by and waves at him. Carl waves\n back. He looks very guilty.", "The Brutish Boyfriend PUNCHES Carl in the head.\n \n CARL (cont'd)" ], [ "PETER\n For a whole year?\n \n CARL\n Yesterday I got promoted and beat", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "Believe it. Because this guy just\n got a promotion.\n \n LUCY\n Congrats, Carl!", "BRUTISH BOYFRIEND\n Yes.\n \n CARL\n Then yes.", "I think that's really cute.\n \n Carl's starting to get really into it. He turns the page and\n sees an invitation decorated with animals labeled \"Knights in", "changed mine. If I tell you how,\n will you promise not to tell\n anyone?\n \n 78.", "She rises, shaking her head, and heads for the door.\n \n CARL\n It wasn't a lie.", "So you've just been saying yes to\n everything.\n \n CARL\n Yes.", "PETER\n Really?\n \n CARL\n Of course she is. I think you'll", "CARL\n Is this like a legal document?\n \n SANJI\n Kind of. And finally, my friend,", "yes. 2) The yes cannot distort the\n truth.\n \n SANJI\n (EXPLAINING)", "SEB\n How did you break them?\n \n RENEE\n I smashed one with a hammer,", "Carl takes the Maniyesto.\n \n CARL\n (reading the document)\n 1) Until New Year's Eve, I must say", "CARL\n Yes.\n \n The Waitress starts grinding pepper onto Carl's meal. It's", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "Sorry, Patricia, that was\n inappropriate.\n (then, back to Carl)\n Of course grand. To celebrate,", "Beat.\n \n CARL\n Yes.\n \n WAITRESS", "Beat.\n \n CARL\n Yes.\n \n WAITRESS", "CARL\n (SURPRISED)\n Yes.\n \n Carl shakes Chris's hand.", "Like a robot. Two years, and\n nothing.\n \n LUCY\n I'm so sorry." ], [ "CARL\n (SURPRISED)\n Yes.\n \n Carl shakes Chris's hand.", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl gets dressed. He puts on his suit and tie. His\n apartment is noticeably nicer than the last time we saw it.", "CARL\n Yes.\n \n Carl grabs Renee and starts making out with her. They fall", "Tell everyone Happy New Year.\n \n Carl lies down and hangs up the phone.\n \n CUT TO LATER", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "TONY (cont'd)\n Carl?\n \n Carl realizes who he is. Suddenly they are in the middle of", "Carl, Omar, Renee and the guard go into Omar's palace. The\n door CLOSES BEHIND THEM.\n \n THE END", "Are you... ?\n \n CARL\n Yes.\n \n They kiss.", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "Carl takes the Maniyesto.\n \n CARL\n (reading the document)\n 1) Until New Year's Eve, I must say", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "Omar! It's wonderful to meet you\n in person\n \n Carl and Omar hug.", "with Ralph.\n \n RENEE\n Ralph?\n \n CARL", "Chris gets out of his car and heads to the office. Carl\n hides his face from Chris so that Chris won't recognize him.\n \n ROONEY", "CARL\n We're at different places in our\n lives. I get it.\n \n KATH" ], [ "This is Carl Kendall. This is Jin\n Kim, Joo-Chan Park, Soo Lee and\n Seung Kim. Seung's the CEO of", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "Chris gets out of his car and heads to the office. Carl\n hides his face from Chris so that Chris won't recognize him.\n \n ROONEY", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM", "Carl walks into his apartment. He hits PLAY on his answering\n machine.\n \n PETER (V.O.)", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "INT. HOLIDAY INN HALLWAY\n \n Carl walks down the hallway. He knocks on Room 125. After a", "CARL\n Yes.\n \n CHRIS PARKER\n Of course you are. I better watch", "INT. CARL'S LIVING ROOM/BEDROOM\n \n Carl lays down and closes his eyes. The alarm GOES OFF", "Carl runs out.\n \n \n INT. BLOOD BANK", "All the VPs laugh. Carl fake laughs along with them.\n \n \n INT. CARL'S APARTMENT", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "INT. TONY'S BEDROOM\n \n CARL", "with Ralph.\n \n RENEE\n Ralph?\n \n CARL", "rapidly at Carl. Carl has no idea what he's saying. Seung\n Kim laughs. Carl laughs along with him. Chris hits a\n beautiful shot. His ball lands almost on the green. The", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "PETER (V.O.)\n (on the phone)\n Carl. It's Peter. Where are you?", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "INT. AIRPORT\n \n Carl and Renee walk off the plane, Carl carrying the package\n under his arm. Carl sees a tall blond guy holding a sign" ], [ "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "Carl takes the Maniyesto.\n \n CARL\n (reading the document)\n 1) Until New Year's Eve, I must say", "(THEN)\n So what do you say, Carl?\n (WHISPERING)\n What do you say?", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Carl. Tomorrow, I want you only to\n say yes. Can you do that for me?\n For one day, Carl?", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "CARL\n I say... yes.\n \n Carl signs the Maniyesto.\n \n SANJI", "Carl sits back down.\n \n BANK CUSTOMER\n (NERVOUS)\n So, what'd he say?", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "Carl just looks at her.\n \n RENEE (cont'd)\n If you can't be honest with me,", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "CARL\n (NERVOUSLY)\n Yes.", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "Tell everyone Happy New Year.\n \n Carl lies down and hangs up the phone.\n \n CUT TO LATER", "CARL\n You promise you'll pay it back?\n \n JITTERY GUY", "Carl then RUNS into his office and sits down at the desk.\n He's covered in sweat and is breathing heavily. Chris pokes\n his head in.", "So you've just been saying yes to\n everything.\n \n CARL\n Yes.", "BACK TO CARL AND PETER. We CLOSE IN ON CARL'S MOUTH.\n \n CARL" ], [ "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "CARL\n Yes. I've got to run.\n \n LUCY\n I'm looking forward to meeting", "All the VPs laugh. Carl fake laughs along with them.\n \n \n INT. CARL'S APARTMENT", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "Carl's walking towards security when he runs into TONY, the\n homosexual guy he hooked up with. Tony's handing out his\n books.", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "INT. HOLIDAY INN CONFERENCE ROOM\n \n Carl runs to the conference room. The Just Say Yes seminar", "TONY (cont'd)\n Carl?\n \n Carl realizes who he is. Suddenly they are in the middle of", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl gets up. He heads over to the soda machine and buys a\n Diet Coke. He then heads over to Norman's desk.", "Chris gets out of his car and heads to the office. Carl\n hides his face from Chris so that Chris won't recognize him.\n \n ROONEY", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "Carl runs out.\n \n \n INT. BLOOD BANK", "Carl lands on one knee in front of the Hot Girl. The crowd\n CHEERS FOR HIM. The Hot Girl's LARGE BOYFRIEND gets up close", "CARL\n Yes.\n \n Carl grabs Renee and starts making out with her. They fall", "awkward. Kath and Seb are clearly incredibly pissed off.\n \n CARL\n So, how did you guys meet?" ], [ "CARL\n That's our flight. We should\n probably get going.\n \n RENEE", "INT. PLANE\n \n Carl and Renee sit next to each other on the plane.", "airport and hop on the first flight\n outta here.\n \n Carl's eyes light up.\n \n CARL", "INT. LINCOLN AIRPORT - LATER\n \n Carl and Renee are in the airport.", "INT. PLANE\n \n Renee and Carl have the aisle and window on the plane. A", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "INT. AIRPORT - TICKET COUNTER\n \n Renee and Carl are in line at the ticketing counter.\n \n RENEE", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "CARL\n Yes.\n \n Carl grabs Renee and starts making out with her. They fall", "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "Carl nervously hands the Airline Rep his credit card.\n \n \n INT. AIRPORT - OUTSIDE SECURITY", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "INT. AIRPORT\n \n Carl and Renee walk off the plane, Carl carrying the package\n under his arm. Carl sees a tall blond guy holding a sign", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "She's very scared of flying.\n \n CARL\n Where's your seat?", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "Carl gets up to the roof. Renee's looking out over Bangkok.\n He taps her on the shoulder. She turns.\n \n RENEE", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM" ], [ "Carl nervously hands the Airline Rep his credit card.\n \n \n INT. AIRPORT - OUTSIDE SECURITY", "INT. LINCOLN AIRPORT\n \n Carl's sitting in the lounge at the Lincoln Airport. An OLD", "CARL\n That's our flight. We should\n probably get going.\n \n RENEE", "INT. AIRPORT - SECURITY\n \n Carl walks through security. He puts the package on the\n conveyor belt. They don't notice anything odd.", "INT. AIRPORT\n \n Carl and Renee walk off the plane, Carl carrying the package\n under his arm. Carl sees a tall blond guy holding a sign", "INT. LINCOLN AIRPORT - LATER\n \n Carl and Renee are in the airport.", "INT. AIRPORT - TICKET COUNTER\n \n Renee and Carl are in line at the ticketing counter.\n \n RENEE", "airport and hop on the first flight\n outta here.\n \n Carl's eyes light up.\n \n CARL", "Carl sits back down.\n \n BANK CUSTOMER\n (NERVOUS)\n So, what'd he say?", "Carl then RUNS into his office and sits down at the desk.\n He's covered in sweat and is breathing heavily. Chris pokes\n his head in.", "Carl gets dressed. He puts on his suit and tie. His\n apartment is noticeably nicer than the last time we saw it.", "Carl runs out.\n \n \n INT. BLOOD BANK", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "INT. CARL'S LIVING ROOM/BEDROOM\n \n Carl lays down and closes his eyes. The alarm GOES OFF", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl goes through a series of junk mail flyers for credit\n cards. He VERY CAREFULLY fills each one of them out.", "INT. HOLIDAY INN HALLWAY\n \n Carl walks down the hallway. He knocks on Room 125. After a", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "INT. CARL'S APARTMENT - NIGHT\n \n Carl goes into his apartment. He lies down in his bed and" ], [ "Their four audience members cheer. The drummer bangs his\n sticks together and the band launches in. They are terrible.\n Like really terrible. Renee sings in a high-pitched voice", "The four people in the audience clap hard as she finishes.\n Renee takes a huge bow and motions to her fellow band mates.\n Carl, not knowing how to politely react to the horror show he", "equipment, including a giant clear plastic harp. Renee steps\n up to the microphone.\n \n RENEE", "who's name we'll learn is RENEE passing out flyers for a band\n called \"The Flying Buttresses.\"\n \n 4.", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "mean, singer.\n \n MUSIC CUE: The opening notes of White Town's \"Your Woman\"", "Carl gets really close to the Hot Girl's face and then COYLY\n pulls away for the bridge of the song. During the awesome", "He is!\n \n The woman POINTS AT Carl. The spotlight SWINGS OVER to Carl.\n He is annoyed.", "PETER\n Really?\n \n CARL\n Of course she is. I think you'll", "Carl lands on one knee in front of the Hot Girl. The crowd\n CHEERS FOR HIM. The Hot Girl's LARGE BOYFRIEND gets up close", "People stream into the bar to celebrate. Outside, CARL\n KENDALL (30s) and his soon-to-be ex-girlfriend KATH are\n having a quiet intense discussion.", "-- Carl's at THE NOTE singing along to Renee's band's songs.\n He and the \"Jester\" audience member do shots together.", "that she probably thinks sounds like Tori Amos, but sounds\n more like a dog whistle. If you've heard the singer, Joanna\n Newsom, well that's who she's emulating.", "to White Town's \"Your Woman.\" It will bring it to life in a\n way that words on a page cannot do it justice.)\n \n CARL", "love spell.\n \n CUT TO LATER\n \n Renee's singing a power ballad.", "The Hot Girl kisses Carl on the forehead.\n \n HOT GIRL (cont'd)", "I like it. I can work with that.\n \n The drummer, a guy named LEEORE, shouts down to Renee from\n the stage.", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "Light is streaming in through the window. Carl opens his\n eyes. He's in bad shape. He looks over to see the Hot Girl\n finishing getting dressed." ], [ "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "Are you... ?\n \n CARL\n Yes.\n \n They kiss.", "Carl just looks at her.\n \n RENEE (cont'd)\n If you can't be honest with me,", "CARL\n Yes.\n \n Carl grabs Renee and starts making out with her. They fall", "CARL\n Yes.\n \n RENEE\n Yes?", "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "So you've just been saying yes to\n everything.\n \n CARL\n Yes.", "All the VPs laugh. Carl fake laughs along with them.\n \n \n INT. CARL'S APARTMENT", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "CARL\n (SURPRISED)\n Yes.\n \n Carl shakes Chris's hand.", "CARL\n (NERVOUSLY)\n Yes.", "CARL\n Definitely.\n \n RENEE\n I think I'm falling, you know...", "CARL\n (CONFUSED)\n Yes. And yes.\n \n Something registers in Renee.", "She rises, shaking her head, and heads for the door.\n \n CARL\n It wasn't a lie.", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry." ], [ "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "CARL\n (SURPRISED)\n Yes.\n \n Carl shakes Chris's hand.", "TONY (cont'd)\n Carl?\n \n Carl realizes who he is. Suddenly they are in the middle of", "Tell everyone Happy New Year.\n \n Carl lies down and hangs up the phone.\n \n CUT TO LATER", "Well, it was nice meeting you, Seb.\n So I'll be going.\n \n Carl starts to walk off.", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "As Carl is dragged out by the cops, he passes Tony, standing\n near the exit, shaking his head.\n \n 109.", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "(THEN)\n So what do you say, Carl?\n (WHISPERING)\n What do you say?", "Carl, Omar, Renee and the guard go into Omar's palace. The\n door CLOSES BEHIND THEM.\n \n THE END", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "rapidly at Carl. Carl has no idea what he's saying. Seung\n Kim laughs. Carl laughs along with him. Chris hits a\n beautiful shot. His ball lands almost on the green. The", "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "19.\n \n \n \n Sanji's suddenly getting to Carl. As Sanji talks to him, the", "Carl sits back down.\n \n BANK CUSTOMER\n (NERVOUS)\n So, what'd he say?", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off." ], [ "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Renee looks at Carl like, why won't you just refuse?\n \n 104.", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "Carl. Tomorrow, I want you only to\n say yes. Can you do that for me?\n For one day, Carl?", "So you've just been saying yes to\n everything.\n \n CARL\n Yes.", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "Carl takes the Maniyesto.\n \n CARL\n (reading the document)\n 1) Until New Year's Eve, I must say", "CARL\n No.\n \n -- ON THE STREET. Carl refuses the pamphlet.", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "answers it.\n \n CARL (cont'd)\n Of course not.", "No.\n \n TITLES UP: THE YES MAN\n \n CARL (cont'd)", "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?", "(THEN)\n So what do you say, Carl?\n (WHISPERING)\n What do you say?", "She rises, shaking her head, and heads for the door.\n \n CARL\n It wasn't a lie.", "CARL\n Yes.\n \n RENEE\n Yes?", "Carl just looks at her.\n \n RENEE (cont'd)\n If you can't be honest with me,", "Renee laughs. Carl fake laughs with her.\n \n 75.", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "CARL\n No.\n \n \n INT. SOUTHWEST BANK - LATER", "Are you... ?\n \n CARL\n Yes.\n \n They kiss." ], [ "INT. STACKERS - LATER\n \n Carl and his friends are sitting at a table. Carl's slightly\n bored as his friends discuss real estate.", "Carl's friends look at him like a freak.\n \n WAITRESS\n Is that all?\n \n CARL", "his friends. As he shows off, Renee looks irritated.\n \n CARL\n (showing off, to Peter)", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "Carl's friends don't really know what to say. The check\n comes. Carl grabs it before anyone else can. It's a $1500", "Among the patrons is our hero Carl, his best friend PETER,\n Peter's girlfriend LUCY, their party friend ROONEY and his ex-", "He is helping. Here I was thinking\n we were actual friends.\n \n Lucy leaves, upset. Carl doesn't move.", "CARL\n (to the people who are\n being seated)\n You all know that we were up before", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "rapidly at Carl. Carl has no idea what he's saying. Seung\n Kim laughs. Carl laughs along with him. Chris hits a\n beautiful shot. His ball lands almost on the green. The", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "Carl's phone rings. People look angrily at him. He stands\n and PASSES OUT in the aisle.", "Carl between the crying baby and the ENORMOUS MAN. Renee\n turns and waves to him from a couple rows up. Carl puts on a\n saccharin smile and waves back.", "Tell everyone Happy New Year.\n \n Carl lies down and hangs up the phone.\n \n CUT TO LATER", "FRIENDS)\n What would you all like to order?\n \n His friends are all looking at Carl.", "Carl ignores the girl handing out fliers.\n \n 8.", "Carl's eating across from Renee. He can't stand the food.\n He grimaces with every bite, but manages to choke it down.", "Instantly Carl's cubicle is surrounded by fellow workers.\n \n BANK EMPLOYEES\n Carl rules./You're the", "TONY (cont'd)\n Carl?\n \n Carl realizes who he is. Suddenly they are in the middle of" ] ]	[ "Why has Carl become withdrawn?", "What type of transporation does Allison have?", "Why does Carl go back to his elderly neighbor Tillie for oral sex?", "What is the name of Allison's band?", "How does Carl stop a man from killing himself?", "Where is the first plane out of town going?", "Why does Allison begin to doubt Carl's sincerity?", "Why does Stephanie call Carl crying?", "What is Allison teaching when Carl locates her? ", "What event prompts Carl to become withdrawn?", "Where does an old colleague suggest Carl go?", "Why does the colleague suggest Carl go to a certain event?", "What does the motivational guru force Carl to promise?", "Where does Carl first meet Allison?", "Where do Carl and Allison go on their excursion?", "Why does Allison leave Carl?", "What does Terrence tell Carl?", "What was the promise really about?", "Who does Carl reconcile with in the end?", "Who Plays Carl Allen?", "What does Carl have to promise to say?", "Where does Carl meet Allison?", "Where do Carl and Allison fly to?", "What happens to Carl when he checks in for a return flight?", "What Band is Allison the lead singer of?", "What does Carl admit to Allison in the end?", "What does Terrence tell Carl at the end?", "What happens when Carl says no to Tillie?", "Who are the friends Carl is ignoring in the begining?" ]	[ [ "Because of his divorce", "From his divorce." ], [ "She has a scooter", "Allison has a scooter." ], [ "Because he originally said no and more bad things happened to him", "He thinks bad things are happening because he said no." ], [ "Munchausen", "Allison's band's name is Munchausen by Proxy." ], [ "He plays the song \"Jumper\" on his guitar", "He plays \"Jump\" from Third Eye Blind. " ], [ "Lincoln, Nebraska", "Lincoln, nebraska" ], [ "Because she finds out about his motivational promise to say yes to everything", "Allison doubts Carl's sincerity because of is motivational convenant." ], [ "Because her new boyfriend has wallked out on her", "Her new boyfriend leaves her" ], [ "A sports photography class", "Sports-photography" ], [ "divorce from his ex wife", "His divorce" ], [ "a motivational seminar \"Yes!\"", "To a motivational \"Yes!\" seminar" ], [ "to seize the opportunity to say \"Yes!\"", "Because of his increasingly negative outlook. " ], [ "to answer \"yes\" to every opportunity, invitation, or request that presents itself", "To answer yes to every opportunity, request or invitation. " ], [ "gas station", "Gas station" ], [ "Lincoln, Nebraska", "Nebraska" ], [ "She doubts his sincerity.", "She finds out about his covenant and feels she's not able to trust him. " ], [ "There was never a covenant.", "There was no covenant." ], [ "Saying \"yes\" to every opportunity, but still having ability to say \"no\" if necessary, opening mind to new ideas and opportunities", "to open carl's mind" ], [ "Allison", "Allison" ], [ "Jim Carrey", " Jim Carrey plays Carl Allen." ], [ "Yes!", "yes" ], [ "A gas station", "Airport" ], [ "Lincoln, Nebraska", "They fly to Lincoln, Nebraska." ], [ "Detained by the FBI", "He is detained by the FBI" ], [ "Munchausen by Proxy", "Munchausen by Proxy" ], [ "That he is not ready to move in with her, but loves her.", "He isn't ready to move in together " ], [ "There is no convenant.", "A covenant never existed" ], [ "He falls down the stairs and gets attacked by a dog.", "he falls down steps" ], [ "Pete and Rooney", "Pete and Rooney" ] ]	16d75b7fbd36243f7315988d26324a1e6e0155ad	train
[ [ "ANTON, unaware of what he's done, disappears through the\n mirror as DOCTOR PARNASSUS crashes head first onto the stage.\n Crack!", "They turn to see PARNASSUS in the distance (where once the\n ballroom stood) stumbling towards them, drunk, desperate. As\n he moves forward a new landscape is created behind him.", "TONY re-enters the stage through the mirror, looking at DR.\n PARNASSUS who has just come out of his trance with\n astonishment", "ANTON looks across the stage to her. She mimes that a certain\n someone has gone into the mirror. ANTON considers waking", "PARNASSUS quiets down. Starts mumbling.\n\n TONY rushes to the mirror. Steps through. He finds himself\n standing amongst the stage scenery. Nothing else.", "VALENTINA, `Beauty', slips back on stage through the mirror.\n Her costume has reverted to its original state. She examines\n her knuckles on the hand with which she punched Martin.", "DR. PARNASSUS pushes aside the mirror to reveal a door in the\n back wall of the shallow stage. It is swinging open.", "Suddenly the stage begins to unfold. PARNASSUS looks up,\n unable to see what or who is doing this. He drunkenly\n stumbles around the side to see TONY pulling ropes.", "We hear a crash.\n\n THE CAMERA PANS around. PARNASSUS has fallen off his perch\n and is now lying on the floor...snoring and mumbling.", "They turn to the mirror but, an off-stage clearing of the\n throat makes them look round to see ANTON watching them. He's\n holding a torn and dirty piece of newspaper.", "Reflected in the swirling mirror fragments, they tango until\n he spins her towards the right hand mirror. She sails through\n - and, with a mad smile, throws him a kiss.", "ANTON tries to prevent MARTIN from getting on stage. But\n MARTIN thumps ANTON and pulls him into the `audience'.\n\n MARTIN'S drunken MATES laugh and applaud.", "the mirror (made of flexible reflective material slit down\n the middle). MARTIN crashes after her.", "...And then he realizes the clock is still striking the hour\n realizing that only a few moments have passed since he\n entered the mirror.\n\n TONY (CONT'D)\n ..how do you do this?", "and breasts) stands facing an elaborately framed full-length\n mirror nestled upstage amongst cut-out trees representing a\n forest... This is `Beauty'. She turns and steps forward.", "PERCY\n Take a ticket and join the queue!\n Only five quid a go! There's no\n greater bargain on planet earth!\n\n A beer bottle lands on the stage", "DOCTOR PARNASSUS is attempting to get ready for the show but\n he's so drunk he can hardly stand. He's already put some\n article of clothing on back-to-front or inside out. PERCY is\n trying to help.", "PERCY tries to head him off but MARTIN shoves PERCY off the\n stage. PERCY lands on the ground with a crash.\n\n More laughter from the MOB.", "ANTON steps out of the mirror. He produces an inflated\n balloon which he releases and which then flies, zig-zagging\n out over the audience.", "PARNASSUS slowly goes into a sobbing kind of trance state.\n\n TONY confirms he is in a trance, then rushes to the mirror." ], [ "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "PARNASSUS, holding his aching head, sits a short distance\n away sadly watching her. PERCY is with him.\n\n PERCY\n Five souls.. two days, eh!?", "DR. PARNASSUS and the MONKS, still struck dumb, look\n appalled.\n\n MR NICK (CONT'D)\n Cheer up... I've freed you from\n this ridiculous nonsense.", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "DR. PARNASSUS (V.O.)\n Whichever of us won ten converts\n first, would win the bet... My", "MR NICK\n First to five?... You might win.\n And save her. What do you have to\n lose?\n\n DR. PARNASSUS\n I'll kill you!", "DR. PARNASSUS\n (very down)\n I know... It's over....you've\n won...\n\n MR NICK\n Four rotten Russkies?", "MR NICK\n I tell you what... You're probably\n not a betting man but...\n\n MR NICK whispers into the DR. PARNASSUS's ear.", "MR NICK appears behind PARNASSUS...sits down beside him.\n\n MR NICK\n Funny how things work out, isn't\n it?\n\n He lights a cigarette.", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "DR. PARNASSUS (CONT'D)\n (alarmed)\n No!\n\n Another MONK, sitting at the table, immediately continues the\n story.", "PARNASSUS, a bottle in his hand, is lurching around.\n\n DOCTOR PARNASSUS\n You fool! You monstrous fool! You\n should be dead.", "The horse lifts its head and DR PARNASSUS recoils in shock\n and horror. Standing directly behind the horse is MR. NICK...\n a huge grin splitting his face.", "DOCTOR PARNASSUS\n You're man's lost his memory! He's\n bloody hopeless!\n\n MR NICK\n He's not my man.", "20 INT MONASTERY DINING HALL LATER 20\n\n DR. PARNASSUS and MR NICK are sitting at the fire.", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "CUT TO ANTON who's pleased.\n\n DR. PARNASSUS\n Perhaps I should offer her hand to\n whoever helps most in winning the\n next five souls.", "DR. PARNASSUS\n (smiling)\n Yes?\n\n MR NICK stubs out his cigarette.", "DR. PARNASSUS (V.O.)\n And so I made a wager with the\n devil.", "MR NICK\n Hello Parnassus... It's been a\n while hasn't it?\n\n PERCY, winding a rope onto a cleat, hears distant laughter\n and looks up." ], [ "PARNASSUS, holding his aching head, sits a short distance\n away sadly watching her. PERCY is with him.\n\n PERCY\n Five souls.. two days, eh!?", "DR. PARNASSUS (CONT'D)\n (alarmed)\n No!\n\n Another MONK, sitting at the table, immediately continues the\n story.", "They turn to see PARNASSUS in the distance (where once the\n ballroom stood) stumbling towards them, drunk, desperate. As\n he moves forward a new landscape is created behind him.", "DR. PARNASSUS and the MONKS, still struck dumb, look\n appalled.\n\n MR NICK (CONT'D)\n Cheer up... I've freed you from\n this ridiculous nonsense.", "She is weeping, completely overcome by her experience.\n PARNASSUS steps forward and helps her to her feet. She kisses\n his hands in gratitude.", "PARNASSUS, a bottle in his hand, is lurching around.\n\n DOCTOR PARNASSUS\n You fool! You monstrous fool! You\n should be dead.", "28.\n19 CONTINUED: 19\n DR. PARNASSUS (CONT'D)\n A rider who would challenge the\n very foundations of the world...", "117.\n71 CONTINUED: 71\n DR. PARNASSUS (CONT'D)", "DR. PARNASSUS\n Percy!\n\n DR. PARNASSUS, overjoyed, begins to dig PERCY out.\n\n PERCY\n About bloody time!", "DR. PARNASSUS (V.O.)\n Whichever of us won ten converts\n first, would win the bet... My", "DR. PARNASSUS (V.O.)\n The devil granted me mortality\n again...and youth and great powers.\n I won my bride. I was in love. But\n at what price...", "GEORGE\n Hold on!.. what dragon?\n\n VALENTINA\n You've met Parnassus.", "DR. PARNASSUS, holding a cold, damp towel to his throbbing\n head, appears, coughing and miserable from the wagon.\n\n PERCY\n Well, we didn't and he isn't.", "PARNASSUS smiles and bows slightly ironically.\n\n\n\n (CONTINUED)", "CUT TO ANTON who's pleased.\n\n DR. PARNASSUS\n Perhaps I should offer her hand to\n whoever helps most in winning the\n next five souls.", "Close up on Parnassus's glass plinth..now open-topped and\n sitting on the edge of the stage... full of the troupe's\n savings. A sign proclaims \"Please Take Generously\"", "DOCTOR PARNASSUS\n (distraught)\n He's come to collect.\n\n PERCY\n I thought so.", "120.\n73 CONTINUED: 73\n\n\n DR. PARNASSUS nods.", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "TONY, battered and bleeding, helps her lift PARNASSUS and\n manoeuvre him to his room.\n\n\n (CONTINUED)" ], [ "ANTON\n He was hanging under the b-bridge.\n\n DOCTOR PARNASSUS\n Hanging?\n\n\n\n (CONTINUED)", "We see what ANTON and VALENTINA see. A shadow, on the water,\n of someone `dancing', hung by his neck with a rope attached\n to the underside of the bridge.", "ANTON is `absailing' over the side of the bridge. One end of\n a rope is tied around his waist, the other is attached to the\n bridge parapet. A lantern dangles from his waist.", "With extreme difficulty and great discomfort, ANTON pulls the\n MAN close to him, takes a knife from his pocket and cuts the\n MAN'S rope.", "The little metal tube clatters over the asphalt.\n\n ANTON (CONT'D)\n He's alive!\n\n VALENTINA\n Thank God.", "VALENTINA and PERCY watch ANTON'S perilous descent.\n\n Moments later there are two bodies hanging from the bridge,\n the mysterious HANGING MAN'S and ANTON'S.", "The MAN is hanging by a noose around his neck, still jerking\n in his dance of death. His hands are tied behind his back.\n\n ANTON can't reach the MAN.", "TONY opens his mouth and is about to slip the tube down his\n throat when he spots the Hanged Man Tarot card lying at his\n feet. A hand from behind him snatches the tube away.", "ANTON\n (answering his own\n question)\n The first time they hung you from\n the b-bridge... right?... B-because\n you stole their money.", "ANTON and the MAN are now swinging back and forth together on\n ANTON'S rope which is threatening to cut ANTON in half.\n\n ANTON\n Arghhh!!!!", "The MAN appears to be dead but VALENTINA decides to try the\n kiss of life.\n\n ANTON is made uncomfortable seeing VALENTINA administer the\n kiss of life and he pulls her away.", "They start to bundle the MAN in one of the travelling trunks\n attached to the back of the wagon. With the body hanging\n half in half out, ANTON suddenly stops.", "VALENTINA\n (horrified)\n There's someone hanging there!\n\n ANTON\n (smugly to Percy)\n I t-told you!", "Over a distant rise the wagon appears, pulled by the horses.\n ANTON drags Tony, babbling and stumbling, towards it.", "Working very fast, TONY hoists him over his shoulder and\n wrestles the noose loose. He drops PARNASSUS on the ground.\n He's stunned but still alive.", "On one of the many pinnacles of garbage sits a lonely figure.\n It's ANTON, depressed, angry, forlorn.", "Although battered, TONY winks smugly at DR. PARNASSUS, but\n his mood changes when he sees DR. PARNASSUS spit out several", "ANTON\n Incredible! I saw somebody d-\n dancing in the air.. under the b-\n bridge..", "The terrified RUSSIANS let go of the lynching rope.\n\n TONY drops to the ground and, with a whistle, the brass pipe\n flies out of his mouth.", "He goes, unsteadily, back inside.\n\n VALENTINA and ANTON drag the MAN under the wagon, out of the\n rain." ], [ "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "DOCTOR PARNASSUS\n All is not lost.\n\n PERCY\n What proposal?\n\n VALENTINA\n Father?", "MR NICK\n I tell you what... You're probably\n not a betting man but...\n\n MR NICK whispers into the DR. PARNASSUS's ear.", "MR NICK\n How should I know? You're her\n father.\n (with needle)\n Her loving father.\n\n DR PARNASSUS looks askance at MR NICK.", "VALENTINA\n By playing games with the devil!?\n\n DR. PARNASSUS\n With one more show. The day isn't\n over.", "PARNASSUS sighs. Stops. He checks his watch\n\n DOCTOR PARNASSUS\n Yes.\n\n VALENTINA\n So tell me.", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "VALENTINA\n What price?\n\n DR. PARNASSUS\n (anguished)\n It's too terrible...\n\n VALENTINA\n Tell me...", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "GEORGE\n Hold on!.. what dragon?\n\n VALENTINA\n You've met Parnassus.", "MR NICK\n First to five?... You might win.\n And save her. What do you have to\n lose?\n\n DR. PARNASSUS\n I'll kill you!", "TONY\n Only Valentina's hand in marriage,\n if she'll have me...\n\n DR. PARNASSUS\n (not listening)\n Oh, my head...", "DR. PARNASSUS\n I think he might. Valentina sees\n good in him.\n\n PERCY\n She'd be better off with Anton.", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "DR. PARNASSUS\n It's true. Every word. But all is\n not lost.\n\n VALENTINA looks at him.", "MR NICK appears behind PARNASSUS...sits down beside him.\n\n MR NICK\n Funny how things work out, isn't\n it?\n\n He lights a cigarette.", "DOCTOR PARNASSUS\n (holding his head)\n Valentina...\n\n VALENTINA\n (indignant)\n He was chasing me." ], [ "TONY\n But that's amazing! Brilliant!\n (oddly concerned)\n Was there anything else?\n\n DOCTOR PARNASSUS shakes his head, no.", "TONY, battered and bleeding, helps her lift PARNASSUS and\n manoeuvre him to his room.\n\n\n (CONTINUED)", "Tony steers DOCTOR PARNASSUS towards his glass column.\n\n DOCTOR PARNASSUS\n Yes! Yes! Of course! Of course!\n Thank God! Thank God!", "She is weeping, completely overcome by her experience.\n PARNASSUS steps forward and helps her to her feet. She kisses\n his hands in gratitude.", "TONY\n (sitting PARNASSUS down)\n Concentrate. You must concentrate.\n (clearing the way to the", "TONY doesn't know what DR PARNASSUS in talking about but he\n grasps the fact that if he wants to be allowed to stay here\n he needs to play along.\n\n MAN\n Yes.", "TONY (CONT'D)\n Bugger!\n\n He steps back out of the mirror. Goes to PARNASSUS who is\n weeping.", "PARNASSUS slowly goes into a sobbing kind of trance state.\n\n TONY confirms he is in a trance, then rushes to the mirror.", "TONY, getting more and more flamboyant, forgets to lower his\n mask each time he re-enters the stage. And now a fourth woman\n descends. Four successes for DOCTOR PARNASSUS.", "VALENTINA\n Who was that?\n\n DOCTOR PARNASSUS\n Somebody asking the way. Where's\n Tony?", "TONY\n But...\n (realizing Parnassus is\n referring to his\n inability to go into a\n trance)\n Why not?! What's wrong?", "CUT TO ANTON who's pleased.\n\n DR. PARNASSUS\n Perhaps I should offer her hand to\n whoever helps most in winning the\n next five souls.", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "She bats her eyelashes at TONY and begins, knowingly, to pull\n him towards the motel.", "DR. PARNASSUS\n Choose!\n\n TONY chooses.\n\n TONY\n You've got to believe me! For all\n our sakes!", "TONY hesitates.. No time! He looks back to PARNASSUS who\n seems to still be in his trance. Hesitates. Then rushes to\n VALENTINA.", "PARNASSUS is standing on a chair with the noose around his\n neck. He smiles and opens his hand. The metal tube has\n vanished.\n\n TONY panics. The MOB is getting closer.", "TONY rushes towards PARNASSUS.\n\n TONY\n You old bastard! This is all your\n doing!", "PARNASSUS, holding his aching head, sits a short distance\n away sadly watching her. PERCY is with him.\n\n PERCY\n Five souls.. two days, eh!?", "TONY\n Only Valentina's hand in marriage,\n if she'll have me...\n\n DR. PARNASSUS\n (not listening)\n Oh, my head..." ], [ "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "MR NICK appears behind PARNASSUS...sits down beside him.\n\n MR NICK\n Funny how things work out, isn't\n it?\n\n He lights a cigarette.", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "DR. PARNASSUS (V.O.)\n The devil granted me mortality\n again...and youth and great powers.\n I won my bride. I was in love. But\n at what price...", "PERCY continues telling the story in the background.\n\n MR NICK\n What exactly do you do here?\n\n DR. PARNASSUS\n We tell the eternal story.", "The horse lifts its head and DR PARNASSUS recoils in shock\n and horror. Standing directly behind the horse is MR. NICK...\n a huge grin splitting his face.", "MR NICK\n How should I know? You're her\n father.\n (with needle)\n Her loving father.\n\n DR PARNASSUS looks askance at MR NICK.", "DOCTOR PARNASSUS\n What! Impossible!..you've seen the\n business we're doing.\n\n MR NICK\n Things are going to pick up. As\n sure as eggs is eggs.", "DR. PARNASSUS\n (smiling)\n Yes?\n\n MR NICK stubs out his cigarette.", "DOCTOR PARNASSUS\n You're man's lost his memory! He's\n bloody hopeless!\n\n MR NICK\n He's not my man.", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "MR NICK\n I tell you what... You're probably\n not a betting man but...\n\n MR NICK whispers into the DR. PARNASSUS's ear.", "DR. PARNASSUS and the MONKS, still struck dumb, look\n appalled.\n\n MR NICK (CONT'D)\n Cheer up... I've freed you from\n this ridiculous nonsense.", "DOCTOR PARNASSUS takes PERCY aside, shows him the Hanged Man\n Tarot Card and indicates the MAN with a nod.\n\n DOCTOR PARNASSUS\n He's from Mr Nick.", "A beat. Slowly, PARNASSUS looks up.\n\n MR NICK (CONT'D)\n How about it?", "DOCTOR PARNASSUS\n What I told you was... the truth.\n I really am thousands of years old.", "POLICEMAN\n (to Parnassus)\n I'll be doing worse than\n that...now, bugger off!\n\n DR. PARNASSUS\n With pleasure.", "MR NICK\n Hello Parnassus... It's been a\n while hasn't it?\n\n PERCY, winding a rope onto a cleat, hears distant laughter\n and looks up." ], [ "VALENTINA (CONT'D)\n ...a selfish bitch, everyone I love\n dies...I'm...\n\n MR NICK\n ...only fit for hell? If only.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "VALENTINA\n What price?\n\n DR. PARNASSUS\n (anguished)\n It's too terrible...\n\n VALENTINA\n Tell me...", "VALENTINA feints another direction. MR NICK blocks her.\n\n VALENTINA\n (a crazed look)\n Wrong. I'm 16...I'm a woman now..", "MR NICK\n Now, there's absolutely no need for\n that. That's just plain\n contrariness.\n\n VALENTINA tries to get around him.", "MR NICK (CONT'D)\n It's not what I had in mind\n y'know... this.. Valentina, being", "MR NICK turns, realizing he has been looking into a mirror\n fragment reflecting the two mirrors. The writing on the\n Valentina's mirror reads \"His\".", "said... If you manage to kill me,\n he'll release Valentina. Yes? Am I\n right?... I am aren't I? It's all", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "VALENTINA\n By playing games with the devil!?\n\n DR. PARNASSUS\n With one more show. The day isn't\n over.", "A figure steps out from the shadows to help her to her feet.\n It's MR. NICK in his bowler and red waistcoat.", "VALENTINA (CONT'D)\n Okay, you look after Imogen.\n\n She gives him the baby.", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "She rushes off into the dark night.\n\n DR. PARNASSUS\n Valentina! That's not true! It's\n not like that! Wait! Come back!\n Valentina!", "BOATMAN\n Give me your hand\n\n It's MR. NICK. VALENTINA recoils, drags TONY off the boat.", "MR NICK\n How should I know? You're her\n father.\n (with needle)\n Her loving father.\n\n DR PARNASSUS looks askance at MR NICK.", "MR NICK (CONT'D)\n God, I hate to see you like this.\n Look, I tell you what... If you can", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "She starts to go after him, then hesitates.\n\n VALENTINA\n (trying to get ANTON'S\n attention)\n Pssst!" ], [ "PARNASSUS, holding his aching head, sits a short distance\n away sadly watching her. PERCY is with him.\n\n PERCY\n Five souls.. two days, eh!?", "She is weeping, completely overcome by her experience.\n PARNASSUS steps forward and helps her to her feet. She kisses\n his hands in gratitude.", "PARNASSUS smiles and bows slightly ironically.\n\n\n\n (CONTINUED)", "28.\n19 CONTINUED: 19\n DR. PARNASSUS (CONT'D)\n A rider who would challenge the\n very foundations of the world...", "DR. PARNASSUS (V.O.) (CONT'D)\n Everlasting torment...\n Everlasting... Everlasting... Times\n changed. No one wanted our tales\n any longer.", "DIEGO, full of wonder and oblivious to his family, looks back\n at PARNASSUS and gives the old man the thumbs-up.\n\n PARNASSUS smiles and raises his thumb in response.", "31.\n20 CONTINUED: (3) 20\n DR. PARNASSUS (CONT'D)", "DR. PARNASSUS\n (aside to Percy)\n One more to go and we're free.", "117.\n71 CONTINUED: 71\n DR. PARNASSUS (CONT'D)", "They turn to see PARNASSUS in the distance (where once the\n ballroom stood) stumbling towards them, drunk, desperate. As\n he moves forward a new landscape is created behind him.", "DOCTOR PARNASSUS\n (descending from his glass\n plinth)\n And so... a glimmer of hope...\n Perhaps eternity has not been in\n vain!...", "DR. PARNASSUS (V.O.)\n The devil granted me mortality\n again...and youth and great powers.\n I won my bride. I was in love. But\n at what price...", "PARNASSUS, a bottle in his hand, is lurching around.\n\n DOCTOR PARNASSUS\n You fool! You monstrous fool! You\n should be dead.", "DR. PARNASSUS (V.O. (CONT'D)\n My prize...\n (a voice filled with\n horror)\n ... was ever-lasting life.", "DOCTOR PARNASSUS\n What I told you was... the truth.\n I really am thousands of years old.", "Shall I tell Parnassus I know? I\n think he knows I know. Silly man.\n Sweet sixteen.", "DR. PARNASSUS\n Percy!\n\n DR. PARNASSUS, overjoyed, begins to dig PERCY out.\n\n PERCY\n About bloody time!", "PERCY continues telling the story in the background.\n\n MR NICK\n What exactly do you do here?\n\n DR. PARNASSUS\n We tell the eternal story.", "DR. PARNASSUS\n Stop!\n\n\n (CONTINUED)", "DR. PARNASSUS rises unsteadily, coming out of his arduous\n trance.... `Beauty\" moves to support him as, exhausted, he\n loses his balance and snaps out of his trance." ], [ "VALENTINA (CONT'D)\n ...a selfish bitch, everyone I love\n dies...I'm...\n\n MR NICK\n ...only fit for hell? If only.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "MR NICK turns, realizing he has been looking into a mirror\n fragment reflecting the two mirrors. The writing on the\n Valentina's mirror reads \"His\".", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "A figure steps out from the shadows to help her to her feet.\n It's MR. NICK in his bowler and red waistcoat.", "MR NICK\n Now, there's absolutely no need for\n that. That's just plain\n contrariness.\n\n VALENTINA tries to get around him.", "MR NICK (CONT'D)\n It's not what I had in mind\n y'know... this.. Valentina, being", "VALENTINA feints another direction. MR NICK blocks her.\n\n VALENTINA\n (a crazed look)\n Wrong. I'm 16...I'm a woman now..", "MR NICK appears behind PARNASSUS...sits down beside him.\n\n MR NICK\n Funny how things work out, isn't\n it?\n\n He lights a cigarette.", "DOCTOR PARNASSUS takes PERCY aside, shows him the Hanged Man\n Tarot Card and indicates the MAN with a nod.\n\n DOCTOR PARNASSUS\n He's from Mr Nick.", "MR NICK\n How should I know? You're her\n father.\n (with needle)\n Her loving father.\n\n DR PARNASSUS looks askance at MR NICK.", "VALENTINA\n By playing games with the devil!?\n\n DR. PARNASSUS\n With one more show. The day isn't\n over.", "MR NICK (CONT'D)\n God, I hate to see you like this.\n Look, I tell you what... If you can", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "The MAN wipes his hand across his forehead. Looks at his inky\n hand.. confused.\n\n DOCTOR PARNASSUS\n (sotto voce)\n You've been sent by Mr Nick.", "VALENTINA\n What price?\n\n DR. PARNASSUS\n (anguished)\n It's too terrible...\n\n VALENTINA\n Tell me...", "BOATMAN\n Give me your hand\n\n It's MR. NICK. VALENTINA recoils, drags TONY off the boat." ], [ "TONY opens his mouth and is about to slip the tube down his\n throat when he spots the Hanged Man Tarot card lying at his\n feet. A hand from behind him snatches the tube away.", "The little metal tube clatters over the asphalt.\n\n ANTON (CONT'D)\n He's alive!\n\n VALENTINA\n Thank God.", "Working very fast, TONY hoists him over his shoulder and\n wrestles the noose loose. He drops PARNASSUS on the ground.\n He's stunned but still alive.", "With a look of realization and horror, TONY drops to his\n death as the MOB kicks the chair away from under him.\n\n The MOB cheers. Yes, he's dead.", "Tony struggles to maintain his balance - and somehow manages\n to get his feet on the two halves of a broken rung. Then, as\n if he were on giant stilts, starts to stride away.", "TONY (CONT'D)\n Oh God!... Doctor... We can save\n her.. you and me. I need this. We\n both need this. Please. The trance.", "PARNASSUS is standing on a chair with the noose around his\n neck. He smiles and opens his hand. The metal tube has\n vanished.\n\n TONY panics. The MOB is getting closer.", "TONY\n It's mine.\n\n\n\n\n (CONTINUED)", "TONY (CONT'D)\n There are hard choices to be made\n in life.\n (he indicates the", "Below, the MOB is still in hot pursuit.\n\n TONY reaches the summit. In front of him, is his salvation -\n an empty gibbet. A noose hangs from the crossbeam.", "TONY digs into one of his pockets and pulls out the brass\n tube that he has always kept close.", "TONY\n I mean, the pipe. Where did you get\n it?\n\n ANTON looks at the metal pipe.\n\n ANTON\n I found it.", "TONY looks up and freezes. At the same time the walls of the\n ballroom begin to crack and disintegrate. TONY'S world starts\n to fall apart... literally.", "is flattened. Knocked out cold. TONY is unscathed.. his fall\n broken by ANTON'S padding.", "The RUSSIANS spot Tony. He is already a hundred feet up a\n ladder and climbing.\n\n Unfortunately, their way is blocked by an over-bright, hyper-\n active, wide-eyed sales girl.", "TONY\n Call security, somebody.\n\n ANTON (V.O.)\n It's all rotten! A naked lie!\n You've got to understand!", "TONY\n Did you see me!! I almost reached\n the clouds! I could have...it was\n incredible...I was almost there...\n\n ANTON\n Shut up!", "TONY swallows the tube as the MOB surge around the gibbet,\n grabbing him, beating him, and then lifting him onto the\n chair, tightening the noose around his neck.", "TONY, battered and bleeding, helps her lift PARNASSUS and\n manoeuvre him to his room.\n\n\n (CONTINUED)", "TONY has grabbed little ANTON and starts hitting him.\n\n TONY\n And now he doesn't stutter! You\n see!? It was all an act to get\n cheap sympathy!" ], [ "VALENTINA (CONT'D)\n ...a selfish bitch, everyone I love\n dies...I'm...\n\n MR NICK\n ...only fit for hell? If only.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "said... If you manage to kill me,\n he'll release Valentina. Yes? Am I\n right?... I am aren't I? It's all", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "VALENTINA\n What price?\n\n DR. PARNASSUS\n (anguished)\n It's too terrible...\n\n VALENTINA\n Tell me...", "MR NICK turns, realizing he has been looking into a mirror\n fragment reflecting the two mirrors. The writing on the\n Valentina's mirror reads \"His\".", "VALENTINA feints another direction. MR NICK blocks her.\n\n VALENTINA\n (a crazed look)\n Wrong. I'm 16...I'm a woman now..", "A figure steps out from the shadows to help her to her feet.\n It's MR. NICK in his bowler and red waistcoat.", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "MR NICK\n Now, there's absolutely no need for\n that. That's just plain\n contrariness.\n\n VALENTINA tries to get around him.", "MR NICK (CONT'D)\n God, I hate to see you like this.\n Look, I tell you what... If you can", "MR NICK (CONT'D)\n It's not what I had in mind\n y'know... this.. Valentina, being", "BOATMAN\n Give me your hand\n\n It's MR. NICK. VALENTINA recoils, drags TONY off the boat.", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "MR NICK\n How should I know? You're her\n father.\n (with needle)\n Her loving father.\n\n DR PARNASSUS looks askance at MR NICK.", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "VALENTINA\n By playing games with the devil!?\n\n DR. PARNASSUS\n With one more show. The day isn't\n over.", "She rushes off into the dark night.\n\n DR. PARNASSUS\n Valentina! That's not true! It's\n not like that! Wait! Come back!\n Valentina!", "PARNASSUS sighs. Stops. He checks his watch\n\n DOCTOR PARNASSUS\n Yes.\n\n VALENTINA\n So tell me." ], [ "The other WOMEN gasp.\n\n LOUIS VUITTON WOMAN\n What?\n\n TONY\n Come forward and enter the\n Imaginarium.", "New signs proclaim `The Choice Is Yours' `The Imaginarium -\n More Exclusive than ever'.", "TONY\n Cost? Money is no good in the\n Imaginarium. This is a refuge for\n hearts in need of truth. A place\n for souls to be purified.", "The door to the club is opened by a mechanical fairground\n figure of a jolly smiling man (MR NICK) distinguished by a\n bowler hat and a red waistcoat.", "DR. PARNASSUS\n Please! This is The Imaginarium! It\n requires respect, concentration...\n Kindly go elsewhere and take your\n detritus with you?", "Experience the Imaginarium of the\n great Doctor Parnassus.", "The multi-reflection broken mirror corridor ends at two\n mirrors identical to the one used in the Imaginarium. The one", "ANTON\n Step up! Step up! For one night\n only! The Imaginarium of Dr.\n Parnassus! Not to be missed!", "DR. PARNASSUS pushes aside the mirror to reveal a door in the\n back wall of the shallow stage. It is swinging open.", "Doctor Parnassus be the portal to\n the infinite world of your\n imagination.", "SALLY\n I'm not going on my own.\n\n ANTON\n Your imagination is a very special\n place. Doctor Parnassus will make\n it flower.", "The MAN precedes DOCTOR PARNASSUS in the tiny room. He looks\n around in amazement.\n\n DOCTOR PARNASSUS\n We can talk here. Sit down, sit\n down.", "open your imagination. Let him\n guide and transport you to worlds\n and possibilities you never dreamt\n of... If you dare. But... Beware...", "A roll on the drums from PERCY. The curtain rises. DOCTOR\n PARNASSUS `floats' above the stage on his glass plinth.", "MARTIN, relieved and reassured by the welcome, steps inside.\n The door closes followed by the sound from within of much\n gaiety and laughter.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "travelling theatre. Electric footlights are powered by a\n clanking generator. The pediment above the stage carries the\n words: THE ASTONISHING IMAGINARIUM OF DOCTOR PARNASSUS.", "I was saved...saved by a\n miracle...The Imaginarium...and\n Doctor Parnassus. He brought me\n back from the dead. He gave me a", "DOCTOR PARNASSUS' cabin is tiny. It's packed with books and\n memorabilia; Egyptian/Assyrian/Greek/etc., magic trick\n paraphernalia, and much else.", "...and he wanders off into the darkness with SALLY.\n Somewhere, a clock strikes 11.\n\n DR. PARNASSUS, agitated, watches him go." ], [ "MR NICK\n First to five?... You might win.\n And save her. What do you have to\n lose?\n\n DR. PARNASSUS\n I'll kill you!", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "CUT TO ANTON who's pleased.\n\n DR. PARNASSUS\n Perhaps I should offer her hand to\n whoever helps most in winning the\n next five souls.", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "DOCTOR PARNASSUS takes PERCY aside, shows him the Hanged Man\n Tarot Card and indicates the MAN with a nod.\n\n DOCTOR PARNASSUS\n He's from Mr Nick.", "DOCTOR PARNASSUS\n You're man's lost his memory! He's\n bloody hopeless!\n\n MR NICK\n He's not my man.", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "DR. PARNASSUS (CONT'D)\n (feverishly)\n A new wager... The first of five.", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "MR NICK\n I tell you what... You're probably\n not a betting man but...\n\n MR NICK whispers into the DR. PARNASSUS's ear.", "DOCTOR PARNASSUS\n (distraught)\n He's come to collect.\n\n PERCY\n I thought so.", "DOCTOR PARNASSUS\n (babbling)\n This is my punishment. All is lost.\n First to Five. One down.", "DR. PARNASSUS and the MONKS, still struck dumb, look\n appalled.\n\n MR NICK (CONT'D)\n Cheer up... I've freed you from\n this ridiculous nonsense.", "The horse lifts its head and DR PARNASSUS recoils in shock\n and horror. Standing directly behind the horse is MR. NICK...\n a huge grin splitting his face.", "DR. PARNASSUS\n (smiling)\n Yes?\n\n MR NICK stubs out his cigarette.", "MAN\n Thank you.\n\n He does so. DOCTOR PARNASSUS sits opposite him.\n\n DOCTOR PARNASSUS\n (expectantly)\n So...", "PERCY continues telling the story in the background.\n\n MR NICK\n What exactly do you do here?\n\n DR. PARNASSUS\n We tell the eternal story.", "The MAN wipes his hand across his forehead. Looks at his inky\n hand.. confused.\n\n DOCTOR PARNASSUS\n (sotto voce)\n You've been sent by Mr Nick.", "DOCTOR PARNASSUS\n What! Impossible!..you've seen the\n business we're doing.\n\n MR NICK\n Things are going to pick up. As\n sure as eggs is eggs." ], [ "ANTON, unaware of what he's done, disappears through the\n mirror as DOCTOR PARNASSUS crashes head first onto the stage.\n Crack!", "ANTON (V.O.)\n All of this is false! It's nothing\n to do with you! It's all him. It's\n his imagination!", "ANTON\n Step up! Step up! For one night\n only! The Imaginarium of Dr.\n Parnassus! Not to be missed!", "ANTON looks across the stage to her. She mimes that a certain\n someone has gone into the mirror. ANTON considers waking", "ANTON moves through the cut -out trees and into a fantastic,\n brightly coloured landscape of Dr. Seuss-like hills and\n valleys. The sky if full of cloud-sized soap bubbles.", "On one of the many pinnacles of garbage sits a lonely figure.\n It's ANTON, depressed, angry, forlorn.", "ANTON is `absailing' over the side of the bridge. One end of\n a rope is tied around his waist, the other is attached to the\n bridge parapet. A lantern dangles from his waist.", "ANTON steps out of the mirror. He produces an inflated\n balloon which he releases and which then flies, zig-zagging\n out over the audience.", "ANTON\n It's alright! It's alright!\n\n Staggering under the weight of the struggling SALLY, ANTON\n barges into DOCTOR PARNASSUS' on his glass plinth.", "ANTON looks at her. She shrugs. DR. PARNASSUS is still in a\n trance, his lips moving soundlessly. ANTON watches DOCTOR", "Little ANTON has leapt on TONY's back and sunk his teeth into\n TONY'S ear. TONY throws him off and starts beating him.", "(CONTINUED)\n\n 9.\n8 CONTINUED: 8\n\n\n DOCTOR PARNASSUS turns on ANTON.", "ANTON suddenly plops down on his arse in a puddle of mud.\n Then spins, flips the flower high into the air and, rolling", "DR. PARNASSUS\n Anton! Where are you going?\n\n No answer from ANTON.\n\n VALENTINA runs after him but, he marches on silently.", "She gets up, kisses ANTON on the top of his head and climbs\n down into the hatch.\n\n Anton looks thoughtful, bruised.\n\n PERCY glances back.", "ANTON slips out of her grip, plummeting into the abyss.\n\n VALENTINA\n Noooo!", "Then PARNASSUS sees something beyond the wagon...ANTON,\n downcast, heading off through the swirling plastic bags and\n flying rubbish... a battered suitcase in his hand.", "Over a distant rise the wagon appears, pulled by the horses.\n ANTON drags Tony, babbling and stumbling, towards it.", "ANTON is working near PARNASSUS and PERCY who are unaware of\n his presence.\n\n DR. PARNASSUS\n What's eating Anton?", "ANTON\n He was hanging under the b-bridge.\n\n DOCTOR PARNASSUS\n Hanging?\n\n\n\n (CONTINUED)" ], [ "The other WOMEN gasp.\n\n LOUIS VUITTON WOMAN\n What?\n\n TONY\n Come forward and enter the\n Imaginarium.", "TONY\n Cost? Money is no good in the\n Imaginarium. This is a refuge for\n hearts in need of truth. A place\n for souls to be purified.", "TONY re-enters the stage through the mirror, looking at DR.\n PARNASSUS who has just come out of his trance with\n astonishment", "...And then he realizes the clock is still striking the hour\n realizing that only a few moments have passed since he\n entered the mirror.\n\n TONY (CONT'D)\n ..how do you do this?", "TONY doesn't know what DR PARNASSUS in talking about but he\n grasps the fact that if he wants to be allowed to stay here\n he needs to play along.\n\n MAN\n Yes.", "TONY looks up and freezes. At the same time the walls of the\n ballroom begin to crack and disintegrate. TONY'S world starts\n to fall apart... literally.", "PARNASSUS slowly goes into a sobbing kind of trance state.\n\n TONY confirms he is in a trance, then rushes to the mirror.", "TONY\n But that's amazing! Brilliant!\n (oddly concerned)\n Was there anything else?\n\n DOCTOR PARNASSUS shakes his head, no.", "ANTON\n Ah, there it is.\n\n TONY once more tries to take it. Once more ANTON makes it\n disappear.", "Looking off to their right they see Tony heading up another\n hill. But as they rush in that direction another wall rises\n up blocking them. Again it is painted with a hill and TONY", "TONY\n But...\n (realizing Parnassus is\n referring to his\n inability to go into a\n trance)\n Why not?! What's wrong?", "Tony struggles to maintain his balance - and somehow manages\n to get his feet on the two halves of a broken rung. Then, as\n if he were on giant stilts, starts to stride away.", "TONY (CONT'D)\n Bugger!\n\n He steps back out of the mirror. Goes to PARNASSUS who is\n weeping.", "TONY hesitates.. No time! He looks back to PARNASSUS who\n seems to still be in his trance. Hesitates. Then rushes to\n VALENTINA.", "...as TONY escorts a second woman through the mirror, and a\n third, they descend, ecstatic, emptying the contents of their\n handbags, their pearls, earrings and diamond rings into the\n glass box.", "PARNASSUS quiets down. Starts mumbling.\n\n TONY rushes to the mirror. Steps through. He finds himself\n standing amongst the stage scenery. Nothing else.", "TONY\n It's one of the rules... One\n imagination at a time, free from\n the influence of another.", "New signs proclaim `The Choice Is Yours' `The Imaginarium -\n More Exclusive than ever'.", "TONY opens his mouth and is about to slip the tube down his\n throat when he spots the Hanged Man Tarot card lying at his\n feet. A hand from behind him snatches the tube away.", "TONY (CONT'D)\n (grabbing VALENTINA)\n Hurry!\n\n TONY and VALENTINA disappear through the mirror." ], [ "The LITTLE BOY is tugging VALENTINA'S arm. She looks down.\n It's ANTON. A child-size ANTON.", "VALENTINA (CONT'D)\n Okay, you look after Imogen.\n\n She gives him the baby.", "VALENTINA, single-handedly, hefts the MAN into the trunk and\n carefully places a cushion under his head. An action not\n missed by ANTON.", "VALENTINA\n He takes advantage.\n\n ANTON\n I don't mind. He's extraordinary...\n Like you.", "VALENTINA\n Anton!!!", "VALENTINA\n Hi, Anton.... what?\n\n\n (CONTINUED)", "VALENTINA (CONT'D)\n (to man)\n Are you alright?\n\n MAN\n Yes... thank you.", "VALENTINA\n (teasing)\n Yes you are. I'll tell him.\n\n ANTON\n He knows I worship him....", "She starts to go after him, then hesitates.\n\n VALENTINA\n (trying to get ANTON'S\n attention)\n Pssst!", "VALENTINA\n (offended)\n That's enough!\n\n ANTON storms off. GEORGE looks at VALENTINA sympathetically.", "VALENTINA (CONT'D)\n This is all I ever wanted... I know\n it's not what you wanted for me,\n but...well... there you go... I'm\n happy.", "He puts it around Valentina's neck. VALENTINA smiles. ANTON\n glowers.\n\n ANTON\n The marks on your face...", "VALENTINA\n (startled, guiltily hiding\n `Homes and Gardens')\n Oh!\n\n She turns, holding her dress to cover her modesty. There's\n nobody there.", "VALENTINA\n (very concerned)\n Ssshhhh... Thanks, Tony. Leave us.\n\n TONY, nods, leaves slowly. Listening.", "Seeing that VALENTINA is really struggling with the little\n girl, TONY reluctantly goes to help. The little girl, on\n seeing TONY, tries to break away but, he holds on to her.", "VALENTINA\n Puhlease.\n\n ANTON\n You are.\n\n\n\n\n (CONTINUED)", "VALENTINA and GEORGE exchange a quick look. VALENTINA thinks\n she's found a kindred spirit.\n\n\n\n\n (CONTINUED)", "VALENTINA stops, turns, smiles sweetly and slams her fist\n hard into MARTIN'S gut. He doubles up. VALENTINA pauses for a", "VALENTINA appears. She is beautifully dressed, coiffed, made-\n up, she looks stunning.", "VALENTINA\n (sotto voce)\n Anton?\n\n ANTON\n What?\n\n VALENTINA\n Shut up." ], [ "They turn to see PARNASSUS in the distance (where once the\n ballroom stood) stumbling towards them, drunk, desperate. As\n he moves forward a new landscape is created behind him.", "DOCTOR PARNASSUS' cabin is tiny. It's packed with books and\n memorabilia; Egyptian/Assyrian/Greek/etc., magic trick\n paraphernalia, and much else.", "DR. PARNASSUS\n Please! This is The Imaginarium! It\n requires respect, concentration...\n Kindly go elsewhere and take your\n detritus with you?", "The MAN precedes DOCTOR PARNASSUS in the tiny room. He looks\n around in amazement.\n\n DOCTOR PARNASSUS\n We can talk here. Sit down, sit\n down.", "I was saved...saved by a\n miracle...The Imaginarium...and\n Doctor Parnassus. He brought me\n back from the dead. He gave me a", "GEORGE\n Hold on!.. what dragon?\n\n VALENTINA\n You've met Parnassus.", "SALLY\n I'm not going on my own.\n\n ANTON\n Your imagination is a very special\n place. Doctor Parnassus will make\n it flower.", "THE CAMERA pulls back to show PERCY manipulating the puppets\n and giving them voices. He and DR. PARNASSUS are running a\n stall selling toy theatres. Business is good.", "ANTON\n Step up! Step up! For one night\n only! The Imaginarium of Dr.\n Parnassus! Not to be missed!", "The horse lifts its head and DR PARNASSUS recoils in shock\n and horror. Standing directly behind the horse is MR. NICK...\n a huge grin splitting his face.", "DOCTOR PARNASSUS\n What I told you was... the truth.\n I really am thousands of years old.", "DOCTOR PARNASSUS\n You're man's lost his memory! He's\n bloody hopeless!\n\n MR NICK\n He's not my man.", "... the ground erupts and a giant London policeman's helmet\n rises up (we are talking 20 feet tall)and revolves -\n revealing DR. PARNASSUS' carved and painted face beneath.", "Experience the Imaginarium of the\n great Doctor Parnassus.", "DR. PARNASSUS (V.O.) (CONT'D)\n Many centuries ago, as a matter of\n fact...", "DOCTOR PARNASSUS\n What! Impossible!..you've seen the\n business we're doing.\n\n MR NICK\n Things are going to pick up. As\n sure as eggs is eggs.", "28.\n19 CONTINUED: 19\n DR. PARNASSUS (CONT'D)\n A rider who would challenge the\n very foundations of the world...", "New signs proclaim `The Choice Is Yours' `The Imaginarium -\n More Exclusive than ever'.", "DR. PARNASSUS, holding a cold, damp towel to his throbbing\n head, appears, coughing and miserable from the wagon.\n\n PERCY\n Well, we didn't and he isn't.", "DR. PARNASSUS (V.O.) (CONT'D)\n Everlasting torment...\n Everlasting... Everlasting... Times\n changed. No one wanted our tales\n any longer." ], [ "DOCTOR PARNASSUS' cabin is tiny. It's packed with books and\n memorabilia; Egyptian/Assyrian/Greek/etc., magic trick\n paraphernalia, and much else.", "PARNASSUS, a bottle in his hand, is lurching around.\n\n DOCTOR PARNASSUS\n You fool! You monstrous fool! You\n should be dead.", "DOCTOR PARNASSUS\n You're man's lost his memory! He's\n bloody hopeless!\n\n MR NICK\n He's not my man.", "Tony steers DOCTOR PARNASSUS towards his glass column.\n\n DOCTOR PARNASSUS\n Yes! Yes! Of course! Of course!\n Thank God! Thank God!", "The MAN precedes DOCTOR PARNASSUS in the tiny room. He looks\n around in amazement.\n\n DOCTOR PARNASSUS\n We can talk here. Sit down, sit\n down.", "DOCTOR PARNASSUS\n (distraught)\n He's come to collect.\n\n PERCY\n I thought so.", "DOCTOR PARNASSUS is attempting to get ready for the show but\n he's so drunk he can hardly stand. He's already put some\n article of clothing on back-to-front or inside out. PERCY is\n trying to help.", "TONY\n But that's amazing! Brilliant!\n (oddly concerned)\n Was there anything else?\n\n DOCTOR PARNASSUS shakes his head, no.", "A roll on the drums from PERCY. The curtain rises. DOCTOR\n PARNASSUS `floats' above the stage on his glass plinth.", "DOCTOR PARNASSUS is groaning and clutching his head. He has a\n fierce hangover. He pours some powder from a packet into a", "DOCTOR PARNASSUS bows exaggeratedly, with a hint of mockery.", "DOCTOR PARNASSUS is on stage, floating' on his glass pillar,\n apparently in a trance but,humming erratically. He is flanked", "On stage is DOCTOR PARNASSUS, `levitating' and in a trance,\n as before. Incense smoke swirls around him.", "DOCTOR PARNASSUS\n What are you doing? Please\n concentrate. We've got a tremendous\n amount of work to do tonight. A\n great deal depends on it.", "DOCTOR PARNASSUS\n No! No understudy! The audience\n won't tolerate an understudy!\n There's only one Doctor Parnassus,\n and I am he!", "DOCTOR PARNASSUS\n The hanged man!\n\n VALENTINA(O.S.)\n Is he okay?\n\n She appears from inside the wagon.", "PERCY pulls the reluctant DR. PARNASSUS up the drive of a\n suburban bungalow, past a perfect lawn and double garage, to\n the front door.\n\n PERCY rings the bell.", "DOCTOR PARNASSUS\n What I told you was... the truth.\n I really am thousands of years old.", "DOCTOR PARNASSUS\n Hold your breath.\n\n GEORGE does so.", "MAN\n Thank you.\n\n He does so. DOCTOR PARNASSUS sits opposite him.\n\n DOCTOR PARNASSUS\n (expectantly)\n So..." ], [ "We hear a crash.\n\n THE CAMERA PANS around. PARNASSUS has fallen off his perch\n and is now lying on the floor...snoring and mumbling.", "They turn to see PARNASSUS in the distance (where once the\n ballroom stood) stumbling towards them, drunk, desperate. As\n he moves forward a new landscape is created behind him.", "DR. PARNASSUS has just stepped out onto the top of the wagon.\n Soaked. He's drunk and is swaying.", "A DRUNK takes a swing at PERCY, misses, and connects with\n TONY.\n\n TONY (CONT'D)\n Ugh!", "VALENTINA and some of the WOMEN run forward.\n\n SYLVIA\n This man's drunk. Dead drunk.", "ANTON, unaware of what he's done, disappears through the\n mirror as DOCTOR PARNASSUS crashes head first onto the stage.\n Crack!", "DR. PARNASSUS (V.O.) (CONT'D)\n (enraged)\n AAAHHHH!!! DAMN AND BLAST!!!\n\n Things fly in all directions.", "A distraught, hysterical, DRUNKEN GIRL is looking for MARTIN.\n\n DRUNKEN GIRL (CONT'D)\n Martin!... Martin!...", "He picks up an open bottle of spirits and takes a swig.\n Clearly he's already had a few drinks.", "horses steaming, sections of the theatre hanging loose,\n broken..an utter mess. The siren fades into the distance.", "Tony wrenches his arm free and violently shoves the drunken\n DOCTOR right into the path of the frenzied MOB. PARNASSUS is\n trampled underfoot in their rush to catch TONY.", "DR. PARNASSUS breaks free, stumbles backwards, and pitches\n out into space. PERCY screams.", "A group of DRUNKEN YOUTHS emerge from the club, staggering,\n laughing, shouting, drinking, breaking bottles, and throwing\n up. The LADS grope the GIRLS. Everyone's having \"a great\n time\".", "PARAMEDIC\n ...d-dead drunk.\n\n A bottle falls from the DOCTOR'S hand and explodes in a\n million fragments as it hits the ground.", "...and he wanders off into the darkness with SALLY.\n Somewhere, a clock strikes 11.\n\n DR. PARNASSUS, agitated, watches him go.", "The wagon is parked on waste ground. It looms out of nowhere\n illuminated by a light leaking from within.\n\n We hear PERCY'S angry voice.", "She sees `Beauty'.\n\n DRUNKEN GIRL (CONT'D)\n He went with that cow! I'll scratch\n her eyes out!", "(under his breath,\n watching the drunk,\n MARTIN, with contempt)\n No prizes for guessing what you'll", "DRUNKEN GIRL (V.O.)\n Martin!...\n\n The POLICE are dealing with a drunken mob of nightclub\n REVELLERS, making arrests.", "The boat bumps into a submerged log. DR. PARNASSUS tries to\n push free. Several cigarette butts float past. Looking up," ], [ "PARNASSUS, holding his aching head, sits a short distance\n away sadly watching her. PERCY is with him.\n\n PERCY\n Five souls.. two days, eh!?", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "A figure steps out from the shadows to help her to her feet.\n It's MR. NICK in his bowler and red waistcoat.", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "...and he wanders off into the darkness with SALLY.\n Somewhere, a clock strikes 11.\n\n DR. PARNASSUS, agitated, watches him go.", "MAN\n (cautiously)\n The message?\n\n DOCTOR PARNASSUS\n The message! What's the message?\n From Mr Nick. What does he want?", "MR NICK (CONT'D)\n God, I hate to see you like this.\n Look, I tell you what... If you can", "61.\n43 CONTINUED: 43\n\n\n PERCY\n (ironic)\n And he's going to help us win five\n souls.", "DOCTOR PARNASSUS takes PERCY aside, shows him the Hanged Man\n Tarot Card and indicates the MAN with a nod.\n\n DOCTOR PARNASSUS\n He's from Mr Nick.", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "there are dangers. You will have to\n choose. Will your soul fly?... Or\n will it be dashed on the rocks of\n darkness? The choice is yours and", "PERCY continues telling the story in the background.\n\n MR NICK\n What exactly do you do here?\n\n DR. PARNASSUS\n We tell the eternal story.", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "MR NICK (CONT'D)\n I hope they get that bastard. Tear\n him limb from limb... But they", "The MAN wipes his hand across his forehead. Looks at his inky\n hand.. confused.\n\n DOCTOR PARNASSUS\n (sotto voce)\n You've been sent by Mr Nick.", "MR NICK\n First to five?... You might win.\n And save her. What do you have to\n lose?\n\n DR. PARNASSUS\n I'll kill you!", "A third monk continues.\n\n THIRD MONK\n ...yet the forces of evil could not\n prevail, and...\n\n MR.NICK renders him silent.", "The horse lifts its head and DR PARNASSUS recoils in shock\n and horror. Standing directly behind the horse is MR. NICK...\n a huge grin splitting his face.", "MR NICK appears behind PARNASSUS...sits down beside him.\n\n MR NICK\n Funny how things work out, isn't\n it?\n\n He lights a cigarette." ], [ "PARNASSUS, holding his aching head, sits a short distance\n away sadly watching her. PERCY is with him.\n\n PERCY\n Five souls.. two days, eh!?", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "MR NICK\n First to five?... You might win.\n And save her. What do you have to\n lose?\n\n DR. PARNASSUS\n I'll kill you!", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "DR. PARNASSUS\n (very down)\n I know... It's over....you've\n won...\n\n MR NICK\n Four rotten Russkies?", "MR NICK appears behind PARNASSUS...sits down beside him.\n\n MR NICK\n Funny how things work out, isn't\n it?\n\n He lights a cigarette.", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "PERCY continues telling the story in the background.\n\n MR NICK\n What exactly do you do here?\n\n DR. PARNASSUS\n We tell the eternal story.", "DR. PARNASSUS (V.O.)\n The devil granted me mortality\n again...and youth and great powers.\n I won my bride. I was in love. But\n at what price...", "PARNASSUS, a bottle in his hand, is lurching around.\n\n DOCTOR PARNASSUS\n You fool! You monstrous fool! You\n should be dead.", "DOCTOR PARNASSUS\n You're man's lost his memory! He's\n bloody hopeless!\n\n MR NICK\n He's not my man.", "The horse lifts its head and DR PARNASSUS recoils in shock\n and horror. Standing directly behind the horse is MR. NICK...\n a huge grin splitting his face.", "DR. PARNASSUS (V.O.) (CONT'D)\n Everlasting torment...\n Everlasting... Everlasting... Times\n changed. No one wanted our tales\n any longer.", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "DR. PARNASSUS and the MONKS, still struck dumb, look\n appalled.\n\n MR NICK (CONT'D)\n Cheer up... I've freed you from\n this ridiculous nonsense.", "28.\n19 CONTINUED: 19\n DR. PARNASSUS (CONT'D)\n A rider who would challenge the\n very foundations of the world...", "CUT TO ANTON who's pleased.\n\n DR. PARNASSUS\n Perhaps I should offer her hand to\n whoever helps most in winning the\n next five souls.", "MR NICK\n Hello Parnassus... It's been a\n while hasn't it?\n\n PERCY, winding a rope onto a cleat, hears distant laughter\n and looks up.", "DR. PARNASSUS is hanging by his coat, snagged on a branch\n angled out from the cliff face and held, like a fishing rod,\n by MR NICK who has a great grin on his face.", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!" ], [ "TONY, disorientated, takes a moment to regain his composure.\n He smiles and, with an effort, puts his arm around THE LOUIS", "TONY is now surrounded by fascinated WOMEN. They laugh at one\n of his jokes. One pretty young woman, SALLY, in particular", "TONY and VALENTINA look around. ANTON is nowhere to be seen\n but, his voice continues.", "TONY, startled, turns to find himself looking up at DR.\n PARNASSUS.", "In the distance, TONY is hiding behind some billowing fabric.\n On being spotted, he takes off up a hill.", "The dust clears and TONY and ANTON find themselves in a\n desolate, empty landscape. Nowhere. Nothing.", "TONY looks up and freezes. At the same time the walls of the\n ballroom begin to crack and disintegrate. TONY'S world starts\n to fall apart... literally.", "TONY looks uncomfortable, tries to rub his forehead clean.\n\n\n\n\n (CONTINUED)", "Tony struggles to maintain his balance - and somehow manages\n to get his feet on the two halves of a broken rung. Then, as\n if he were on giant stilts, starts to stride away.", "The floor around TONY falls away into an abyss leaving only a\n narrow escape route. He hurls ANTON aside and dashes away as", "The angry troupe huddles amongst the clutter of props and\n jumbled scenery. TONY is on trial.", "TONY\n I mean, the pipe. Where did you get\n it?\n\n ANTON looks at the metal pipe.\n\n ANTON\n I found it.", "A battered TONY, chased by the enraged crowd,just manages to\n clamber on board, with the help of VALENTINA.", "Looking off to their right they see Tony heading up another\n hill. But as they rush in that direction another wall rises\n up blocking them. Again it is painted with a hill and TONY", "99.\n62 CONTINUED: (3) 62\n\n\n TONY shakes him hard.", "TONY (CONT'D)\n There are hard choices to be made\n in life.\n (he indicates the", "TONY\n It's mine.\n\n\n\n\n (CONTINUED)", "ANTON tries to stop him, but TONY pushes him back, off the\n stage. He crashes to the ground.", "TONY is the focus of attention. A TV current-affairs/news\n JOURNALIST with CAMERA CREW is following him around.", "PARNASSUS quiets down. Starts mumbling.\n\n TONY rushes to the mirror. Steps through. He finds himself\n standing amongst the stage scenery. Nothing else." ], [ "VALENTINA\n By playing games with the devil!?\n\n DR. PARNASSUS\n With one more show. The day isn't\n over.", "VALENTINA\n What price?\n\n DR. PARNASSUS\n (anguished)\n It's too terrible...\n\n VALENTINA\n Tell me...", "said... If you manage to kill me,\n he'll release Valentina. Yes? Am I\n right?... I am aren't I? It's all", "VALENTINA\n What do you mean `at what price'?\n\n\n\n\n (CONTINUED)", "VALENTINA (CONT'D)\n ...a selfish bitch, everyone I love\n dies...I'm...\n\n MR NICK\n ...only fit for hell? If only.", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "VALENTINA\n No!\n\n DR. PARNASSUS\n Valentina.", "PARNASSUS sighs. Stops. He checks his watch\n\n DOCTOR PARNASSUS\n Yes.\n\n VALENTINA\n So tell me.", "She rushes off into the dark night.\n\n DR. PARNASSUS\n Valentina! That's not true! It's\n not like that! Wait! Come back!\n Valentina!", "VALENTINA\n Percy liked the soup.\n\n DR. PARNASSUS\n (agitated)\n Why does everybody want to live\n forever?", "ANTON\n Valentina!..help me. Please.\n\n His grip slips. VALENTINA reaches for him, grasps his hand.", "DOCTOR PARNASSUS\n All is not lost.\n\n PERCY\n What proposal?\n\n VALENTINA\n Father?", "VALENTINA (CONT'D)\n But... didn't...\n\n DR. PARNASSUS\n Your mother never knew. She died\n before I had to tell her.", "VALENTINA, single-handedly, hefts the MAN into the trunk and\n carefully places a cushion under his head. An action not\n missed by ANTON.", "Seeing that VALENTINA is really struggling with the little\n girl, TONY reluctantly goes to help. The little girl, on\n seeing TONY, tries to break away but, he holds on to her.", "VALENTINA (CONT'D)\n ... until you remember who you are,\n I dub thee Saint George. You can\n save me from the dragon. George.", "VALENTINA (CONT'D)\n Okay, you look after Imogen.\n\n She gives him the baby.", "VALENTINA\n (teasing)\n Yes you are. I'll tell him.\n\n ANTON\n He knows I worship him....", "VALENTINA\n You've done it! Brilliant!\n\n ANTON\n Argggg!!!", "VALENTINA\n That's normal isn't it?\n\n DR. PARNASSUS\n Immortality's a curse! Any fool can\n tell you that!" ], [ "TONY\n But that's amazing! Brilliant!\n (oddly concerned)\n Was there anything else?\n\n DOCTOR PARNASSUS shakes his head, no.", "PARNASSUS is standing on a chair with the noose around his\n neck. He smiles and opens his hand. The metal tube has\n vanished.\n\n TONY panics. The MOB is getting closer.", "TONY doesn't know what DR PARNASSUS in talking about but he\n grasps the fact that if he wants to be allowed to stay here\n he needs to play along.\n\n MAN\n Yes.", "TONY\n (sitting PARNASSUS down)\n Concentrate. You must concentrate.\n (clearing the way to the", "PARNASSUS quiets down. Starts mumbling.\n\n TONY rushes to the mirror. Steps through. He finds himself\n standing amongst the stage scenery. Nothing else.", "TONY (CONT'D)\n Bugger!\n\n He steps back out of the mirror. Goes to PARNASSUS who is\n weeping.", "TONY, battered and bleeding, helps her lift PARNASSUS and\n manoeuvre him to his room.\n\n\n (CONTINUED)", "Suddenly the stage begins to unfold. PARNASSUS looks up,\n unable to see what or who is doing this. He drunkenly\n stumbles around the side to see TONY pulling ropes.", "TONY rushes towards PARNASSUS.\n\n TONY\n You old bastard! This is all your\n doing!", "TONY\n (to Valentina)\n This can be my birthday gift to\n Valentina.\n\n VALENTINA smiles and nods to PARNASSUS.", "PARNASSUS slowly goes into a sobbing kind of trance state.\n\n TONY confirms he is in a trance, then rushes to the mirror.", "TONY\n But...\n (realizing Parnassus is\n referring to his\n inability to go into a\n trance)\n Why not?! What's wrong?", "TONY\n Thank you.\n\n DR. PARNASSUS, who's been watching this exchange, looks\n thoughtful.\n\n 60.", "DR. PARNASSUS, grim faced, head bandaged, steps from behind\n the wagon.\n\n TONY and VALENTINA quickly disengage.", "DR. PARNASSUS gets up, goes to the door, opens it and steps\n outside, closing the door behind him.\n\n VALENTINA, ANTON, PERCY and TONY exchange looks.", "TONY\n (to himself)\n How about thanking me?\n\n DR. PARNASSUS\n What?", "Working very fast, TONY hoists him over his shoulder and\n wrestles the noose loose. He drops PARNASSUS on the ground.\n He's stunned but still alive.", "TONY, startled, turns to find himself looking up at DR.\n PARNASSUS.", "TONY hesitates.. No time! He looks back to PARNASSUS who\n seems to still be in his trance. Hesitates. Then rushes to\n VALENTINA.", "TONY\n I expect nothing in return.\n\n DR. PARNASSUS\n (trying to go into a\n trance)\n No. You're a saint... A saint." ], [ "TONY is now surrounded by fascinated WOMEN. They laugh at one\n of his jokes. One pretty young woman, SALLY, in particular", "TONY\n (stunned)\n My God! That's it! You're right!\n Anthony Shepherd! They call me\n Tony. Tony Shepherd! That's who I\n am!", "TONY\n It's mine.\n\n\n\n\n (CONTINUED)", "TONY, disorientated, takes a moment to regain his composure.\n He smiles and, with an effort, puts his arm around THE LOUIS", "TONY has grabbed little ANTON and starts hitting him.\n\n TONY\n And now he doesn't stutter! You\n see!? It was all an act to get\n cheap sympathy!", "TONY (CONT'D)\n (in response to Anton)\n Yes, I know, and you're right, but", "TONY\n Call security, somebody.\n\n ANTON (V.O.)\n It's all rotten! A naked lie!\n You've got to understand!", "TONY (CONT'D)\n There are hard choices to be made\n in life.\n (he indicates the", "TONY doesn't know what DR PARNASSUS in talking about but he\n grasps the fact that if he wants to be allowed to stay here\n he needs to play along.\n\n MAN\n Yes.", "TONY looks uncomfortable, tries to rub his forehead clean.\n\n\n\n\n (CONTINUED)", "interested in ANTON. Instead they pay more attention to the\n masked TONY who, decked out in a stylish costume, is working\n the sparse crowd with his smooth charm.", "TONY is the focus of attention. A TV current-affairs/news\n JOURNALIST with CAMERA CREW is following him around.", "ANTON (CONT'D)\n It's g-gone.\n\n TONY\n (getting shirty)\n Don't fool around.", "TONY\n I am not a liar!\n\n ANTON\n No?", "TONY\n (angry)\n Give it to me!\n\n ANTON\n (derisively)\n Oooooh!", "TONY (CONT'D)\n This is modern. It works. Trust me,\n I understand this world.\n (with a wink)", "TONY\n (to Valentina)\n Valentina, Don't listen to that.\n I'm innocent. This is the work of", "TONY pays off the cops who move on.", "ANTON (CONT'D)\n Look at this...\n\n He produces the newspaper with TONY'S photo and news story.", "...TONY, sleekly groomed and immaculately dressed, holding\n the smiling little girl. She too has been cleaned and\n buffed. The sun shines. He stands in..." ], [ "VALENTINA (CONT'D)\n ...a selfish bitch, everyone I love\n dies...I'm...\n\n MR NICK\n ...only fit for hell? If only.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "VALENTINA feints another direction. MR NICK blocks her.\n\n VALENTINA\n (a crazed look)\n Wrong. I'm 16...I'm a woman now..", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "She rushes off into the dark night.\n\n DR. PARNASSUS\n Valentina! That's not true! It's\n not like that! Wait! Come back!\n Valentina!", "MR NICK\n Now, there's absolutely no need for\n that. That's just plain\n contrariness.\n\n VALENTINA tries to get around him.", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "VALENTINA\n What price?\n\n DR. PARNASSUS\n (anguished)\n It's too terrible...\n\n VALENTINA\n Tell me...", "VALENTINA\n By playing games with the devil!?\n\n DR. PARNASSUS\n With one more show. The day isn't\n over.", "MR NICK turns, realizing he has been looking into a mirror\n fragment reflecting the two mirrors. The writing on the\n Valentina's mirror reads \"His\".", "MR NICK (CONT'D)\n It's not what I had in mind\n y'know... this.. Valentina, being", "VALENTINA\n (teasing)\n Yes you are. I'll tell him.\n\n ANTON\n He knows I worship him....", "VALENTINA\n Percy liked the soup.\n\n DR. PARNASSUS\n (agitated)\n Why does everybody want to live\n forever?", "VALENTINA (CONT'D)\n This is all I ever wanted... I know\n it's not what you wanted for me,\n but...well... there you go... I'm\n happy.", "said... If you manage to kill me,\n he'll release Valentina. Yes? Am I\n right?... I am aren't I? It's all", "VALENTINA (CONT'D)\n Okay, you look after Imogen.\n\n She gives him the baby.", "VALENTINA (CONT'D)\n (laughing madly)\n So this is to be my choice!!", "Seeing that VALENTINA is really struggling with the little\n girl, TONY reluctantly goes to help. The little girl, on\n seeing TONY, tries to break away but, he holds on to her.", "PARNASSUS sighs. Stops. He checks his watch\n\n DOCTOR PARNASSUS\n Yes.\n\n VALENTINA\n So tell me.", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes..." ], [ "The LITTLE BOY is tugging VALENTINA'S arm. She looks down.\n It's ANTON. A child-size ANTON.", "VALENTINA (CONT'D)\n Okay, you look after Imogen.\n\n She gives him the baby.", "VALENTINA, single-handedly, hefts the MAN into the trunk and\n carefully places a cushion under his head. An action not\n missed by ANTON.", "VALENTINA\n He takes advantage.\n\n ANTON\n I don't mind. He's extraordinary...\n Like you.", "VALENTINA\n Anton!!!", "VALENTINA\n Hi, Anton.... what?\n\n\n (CONTINUED)", "VALENTINA (CONT'D)\n (to man)\n Are you alright?\n\n MAN\n Yes... thank you.", "VALENTINA\n (teasing)\n Yes you are. I'll tell him.\n\n ANTON\n He knows I worship him....", "She starts to go after him, then hesitates.\n\n VALENTINA\n (trying to get ANTON'S\n attention)\n Pssst!", "VALENTINA\n (offended)\n That's enough!\n\n ANTON storms off. GEORGE looks at VALENTINA sympathetically.", "VALENTINA (CONT'D)\n This is all I ever wanted... I know\n it's not what you wanted for me,\n but...well... there you go... I'm\n happy.", "He puts it around Valentina's neck. VALENTINA smiles. ANTON\n glowers.\n\n ANTON\n The marks on your face...", "VALENTINA\n (startled, guiltily hiding\n `Homes and Gardens')\n Oh!\n\n She turns, holding her dress to cover her modesty. There's\n nobody there.", "VALENTINA\n (very concerned)\n Ssshhhh... Thanks, Tony. Leave us.\n\n TONY, nods, leaves slowly. Listening.", "Seeing that VALENTINA is really struggling with the little\n girl, TONY reluctantly goes to help. The little girl, on\n seeing TONY, tries to break away but, he holds on to her.", "VALENTINA\n Puhlease.\n\n ANTON\n You are.\n\n\n\n\n (CONTINUED)", "VALENTINA and GEORGE exchange a quick look. VALENTINA thinks\n she's found a kindred spirit.\n\n\n\n\n (CONTINUED)", "VALENTINA stops, turns, smiles sweetly and slams her fist\n hard into MARTIN'S gut. He doubles up. VALENTINA pauses for a", "VALENTINA appears. She is beautifully dressed, coiffed, made-\n up, she looks stunning.", "VALENTINA\n (sotto voce)\n Anton?\n\n ANTON\n What?\n\n VALENTINA\n Shut up." ] ]	[ "What feature changed when the drunk crashed through a stage mirror?", "How many souls did Parnassus win when he bet Mr. Nick at the monastery?", "What did Parnassus gain after winning 12 souls at the monastery? ", "What did the man who was hanging below a bridge and was rescued by Anton spit out when brought back to life?", "What did Mr. Nick offer Parnassus as a way to allow Valentina to stay with Parnassus?", "What did Tony convince a woman to take toward a pyramid allowing a soul to be won for Parnassus?", "What kind of pact did Parnassus make with Mr. Nick to be youthful again to impress a woman?", "After Valentina offers to give her soul to Mr. Nick, who does Mr. Nick offer to trade Valentina for?", "How many souls earned Parnassus immortality?", "Why was Mr. Nick entitled to Valentina's soul?", "What object first saved Tony's life but later caused his death?", "Once Mr. Nick has Valentina's soul, what exchange does he offer to release her?", "How do people enter the Imaginarium?", "When Mr. Nick challenges Parnassus to collect five souls before him, who wins the first soul?", "Where does Anton fall in the Imaginarium?", "Why does Tony enter the Imaginarium the second time?", "Who does Valentina marry?", "What did Parnassus do before he owned the Imaginarium?", "What does Doctor Parnassus own?", "What does the drunk crash through?", "Whose soul will Nick gain in three days?", "How many souls did Parnassus win before Mr Nick to gain immortality?", "Where is Tony found?", "How many souls need to be gained in order to keep Valentina?", "What does Parnassus exchange with Tony?", "What is Tony's real occupation?", "Why does Valentina willingly give her soul to Mr. Nick?", "Who does Valentina marry?" ]	[ [ "His face", "his face " ], [ "12", "12" ], [ "Immortality", "immortality" ], [ "A golden pipe", "golden pipe" ], [ "Valentina can stay with whoever wins five souls first", "soul" ], [ "A gondola", "A gondola." ], [ "He gave any child he fathered to Mr. Nick at age 16", "Any child he had would become Mr. Nick's at the age of 16." ], [ "Tony", "youth" ], [ "Twelve.", "12" ], [ "Parnassus struck a bargain with him in exchange for youth.", "Because her father made a pact with Mr. Nick" ], [ "A golden pipe.", "pipe" ], [ "Mr. Nick will accept Tony in place of Valentina. ", "He wants to exchange her for Tony." ], [ "Through a mirror.", "They enter the mirror." ], [ "Parnassus.", "Tony" ], [ "A void. ", "Into a void." ], [ "He's chased by four Russian mobsters.", "To give his soul to Parnassus" ], [ "Anton.", "Anton." ], [ "He ran a monastery. ", "monastery" ], [ "A theatre troup", "immortality" ], [ "A mirror", "A stage mirror." ], [ "Valentina's", "Valentina" ], [ "12", "12" ], [ "Underneath a bridge", "Hanging over a bridge" ], [ "5", "five" ], [ "A trance that powers the dream world", "trance that powers the dream world" ], [ "A charity scammer", "A philanthropist." ], [ "She is angry at her father for his lies and deceit", "She is angry with her father for trading her away and not telling her about it." ], [ "Anton", "Anton" ] ]	1b3fb96b3e151a856c7846d05cfca170408dce08	train
[ [ "This incident caused a considerable change in Harry's position in\nthe family. Previously he had been accepted in consequence of the\norders of the marquis. Although compelled to treat him as an equal", "Seeing at a glance that his daughters were untouched, the marquis\nran on to Harry, who was standing panting and breathless, and threw\nhis arms round him.", "\"Shake hands with him,\" the marquis said sharply; \"it is the custom\nof his country.\"\n\nEach in turn held out his hand to Harry, who, as he shook hands\nwith them, took a mental stock of his future companions.", "\"Now, Harry,\" the marquis said when he had mastered the emotion\ncaused by the parting, which he felt might be a final one, \"since", "\"We have need of all our wits,\" Harry said quietly. \"The marquis\nwas good enough to accept my offer to do all that I could to look", "arms of the marquis emblazoned upon it came up to the door, and\nthey started. The horses were fat and lazy; and Harry, who had no\nidea how far they were going, thought that the journey was likely", "The marquis had put his hand approvingly upon Ernest's shoulder\nwhen he addressed Harry, and then turned to his daughters. The", "\"He is hardly a stranger, Ernest,\" the marquis replied. \"He has been\nwith us as one of the family for two years, and he risked his life", "The marquis now turned and led the way into a great drawing-room,\nand taking Harry's hand led him up to a lady seated on a couch.", "The young ones were all forbidden to follow, and after an hour\nspent with his parents and the girls in the dining-room, Harry\nwas pleased to see that the latter were beginning to feel at their\nease, and that the strangeness was wearing off.", "The greeting between the lovers was a silent one, few words were\nspoken, but their faces expressed their joy at meeting again after\nthe perils through which they had passed; there was a little pause,\nand then Harry, as usual, took the lead.", "For some time Harry lived a quiet life at the chateau. He found\nhis position a very pleasant one. The orders of the marquis that", "The answer of the gentleman he addressed had weighed little with\nthe marquis, but Harry thought over it seriously.", "\"Bring up the wolf,\" the marquis said, \"and Harry, do you come\nhere and stand by Ernest's side. Madam la marquise,\" he went on,", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "\"Pardon, marquis,\" Harry said quietly, \"I am firmly resolved to\nstay in Paris. I may be of assistance to your daughters, and there", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "The marquise, who had formerly protested, if playfully, against\nher husband's whim in introducing an English boy into their family", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only", "\"Since this is so, the marquis has concluded that the best thing\nwould be to have an English boy of good family as their companion." ], [ "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "\"We must be prepared, my love, to face the worst. Escape is now\nimpossible, and, indeed, so long as the king and queen are alive I\nwould not quit Paris; but we must prepare for sending the children\naway if possible.\"", "\"A great number of arrests have taken place in the night, among them\nthat of the Marquis de St. Caux and your father. Men are waiting\ninside your house to arrest you as you enter.\"", "sword and prepared to start for the palace. He embraced his wife,\nwho was calm but very pale, and his children. Ernest asked to be\nallowed to go with him, but the marquis said:", "to send the young ones away than to retain them in Paris, and the\nmarquise had been a prey to the liveliest anxiety respecting her\nchildren. It seemed impossible that there could be any animosity", "\"We must go to Paris,\" the marquis said one day towards the end of\nOctober. \"The place for a French nobleman now is beside the king.\"\n\n\"And that of his wife beside the queen,\" the marquise said quietly.", "the news has, no doubt, already been spread that the daughters of\nthe Marquis de St. Caux had left the house before those charged\nwith their father's arrest arrived, it will be better for you not", "\"But the children, Edouard!\" the marquise murmured.\n\n\"I shall stand by my father's side,\" Ernest said firmly.", "approvingly at their disguises, to which the marquise had, during\nthe long hours of the night, devoted the most zealous attention.\nMarie had been made to look much older than she was. A few dark", "The change of life was great indeed; the marquis had thrown himself\ninto the thick of all that was going on, and his salon was crowded\nevery evening with those of the nobility who still remained In", "marquis and his wife, of their daughters, and of Victor de Gisons,\nalmost excluding everything else. When he thought of the boys it\nhad been as already in England, under the charge of du Tillet.", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It", "\"The marquise was conveyed to prison with the marquis. The three\nyoung ladies are all safe with their mother's old servant, Louise", "\"I cannot think,\" the marquis said, \"that they will be included in\nthe order for our arrest. They must go, as arranged, in the morning", "\"I cannot say no,\" the marquis replied. \"I wish you could have stayed\nwith the children, but they need fear no trouble here. Ernest is", "\"The king and his family are prisoners in the Temple,\" the marquis\nsaid. \"The Commune has triumphed over the Assembly and a National", "been told off to see that none of the family attempted to fly for\nthe frontier. He therefore wrote to the marquis urging that it\nwould be better that the family should move to Paris, where they", "So it was arranged, and Adolphe and his wife went off invoking\nblessings on the heads of the fugitives. At daybreak the party took", "Had she herself been alone concerned, the old woman would have stood\nby Marie and shared her fate; but the words \"for the sake of the\nchildren\" decided her, and she had instantly slipped away among", "\"They have, I fear, been arrested by the sans culottes,\" Marie said\nmournfully as she burst into tears, feeling, now that the strain" ], [ "Lebat to come out. Rapidly thinking the matter over, he concluded\nthat the man would not present himself with the order of release until\nafter dark, in order that if Marie struggled or tried to make her", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "But Lebat could give no description whatever of her. He had noticed\nthat Marie was speaking to some one when he first caught sight of\nher face; but he had noticed nothing more, and did not know whether\nthe woman was young or old.", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "escape it would be unnoticed in the street. Lebat had calculated,\nof course, that on the presentation of the order the prison officials\nwould at once lead Marie to the gates whether she wished it or not,", "\"I am Citizen Lebat of the Committee of Public Safety, and I have\nan order here, signed by Citizen Robespierre, for the release of\nthe female prisoner known as Marie Caux.\"", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It", "\"He is not dead, Marie, but he has been very, very ill. He was with\nme at La Force on that terrible night, and saw his father brought", "When Lebat told her triumphantly that he had saved her from death,\nand that she was to have formed one of the party in the tumbril", "matters with him.\" She waited to see Marie drink the broth, and\nthen helped her to undress.", "\"I am sure we are much indebted to this Monsieur Lebat,\" Marie\nsaid. \"He was here at the hunting party and seemed a worthy young", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "their thoughts from dwelling upon Marie's capture. They had not\nbeen more than a quarter of an hour at their post when Harry gave\nan exclamation of satisfaction as he saw Louise Moulin approaching.", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "Marie will nurse him. I have great hopes that he will know her,\nand that she may be able in time to effect a complete cure. In the\nnext place I think it would be dangerous to bring her here, for we", "Marie burst into tears of happiness at hearing that her lover had\nescaped from the danger which threatened. Worn out by the fatigue\nand anxiety of the previous night, she had slept for some hours", "by her long imprisonment, and shaken by what she had gone through.\nShe had not asked a single question as to what had become of Lebat;\nbut she had no doubt that he was killed. She had grown, however,", "Mademoiselle Marie. After going first to the house and finding it in\nthe possession of a hideous mob, who were plundering and drinking,\nI went to see what had taken place at the hotel of the Duc de", "\"Poor Marie!\" Jeanne said softly. \"It is well she never knew about\nit. The thought he had got safely away kept her up. And now, tell", "\"I have news,\" Harry said, \"and good news, but you must not excite\nyourselves.\"\n\n\"Have you found a way for getting Marie out?\"\n\n\"Yes, I have found a way.\"" ], [ "While Robespierre was speaking Harry had rapidly thought over the\nrole which it would be best for him to adopt. Should he avow his\nreal character and ask for an order for the liberation of Marie as", "\"A sure, certain way, Harry?\" Virginie asked. \"Not only a chance?\"\n\n\"A sure, certain way,\" Harry replied. \"You need have no more fear;\nMarie will certainly be freed.\"", "\"I have news,\" Harry said, \"and good news, but you must not excite\nyourselves.\"\n\n\"Have you found a way for getting Marie out?\"\n\n\"Yes, I have found a way.\"", "\"With Robespierre!\" the two girls repeated in astonishment. \"You\nare not joking, Harry?\" Jeanne went on. \"But no, you cannot be\ndoing that; tell us how you came to have supper with Robespierre.\"", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "\"He seems just the man for us,\" Harry said. \"Will you tell your\nfriend, when you see her in the morning, that I will give her twenty\nlouis and her brother a hundred if he can succeed in getting Marie\nout?\"", "\"No,\" Harry replied. \"I have a recollection of your face and voice,\nbut I cannot recall where I have met you.\"\n\n\"I am Robespierre,\" he said.", "CHAPTER IX\n\nRobespierre\n\n\nAfter dark Harry presented himself at Louise Moulin's.", "creatures of Danton and Robespierre, and any attempt to bribe them\nwould have been dangerous in the extreme. Victor proposed that,\nas he as well as Harry was well provided with funds, for he had", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "But as to Marie, Harry could do nothing. Do what he would, he\ncould hit upon no plan whatever for getting her out of prison; and", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "\"It is bad news,\" Harry said quietly. \"Try and nerve yourselves,\nmy dear girls, for you will need all your courage. Marie is captured.\"", "\"I am Citizen Lebat of the Committee of Public Safety, and I have\nan order here, signed by Citizen Robespierre, for the release of\nthe female prisoner known as Marie Caux.\"", "Another month passed before the name appeared on the fatal list. In\nthe meantime Harry had corresponded regularly with Marie by means\nof the warder, and had even once seen her and exchanged a few", "Lebat to come out. Rapidly thinking the matter over, he concluded\nthat the man would not present himself with the order of release until\nafter dark, in order that if Marie struggled or tried to make her", "their thoughts from dwelling upon Marie's capture. They had not\nbeen more than a quarter of an hour at their post when Harry gave\nan exclamation of satisfaction as he saw Louise Moulin approaching.", "It was fortunate that Robespierre went out early on the following\nmorning to attend a meeting at the Jacobins, and Harry was therefore\nsaved the necessity for asking leave to absent himself again. At\neight o'clock he was at Louise Moulin's.", "Having thus paved the way for an appeal to Robespierre should he\nfind himself in difficulties on the road, Harry proceeded to Jacques'\nhouse and waited there until it was time to go up to meet Louise\nand the girls.", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It" ], [ "vessels engaged in carrying on smuggling operations with England.\nA few days after the death of Louise one of these women, whose\nchild Jeanne had helped to nurse through a fever and had brought", "of a regiment, when, soon after Jeanne's marriage, Marie came over\nto England by way of Holland to stay for a time with her sisters.\nShe was delighted at finding Jeanne so happy, and saw enough before she", "\"Here is Jeanne,\" Marie corrected; \"thank God we have all got here\nsafely. This, Louise, is a young English gentleman who is going to", "Jeanne was passionate and Virginie tearful in their sorrow and\nindignation. Over and over again Jeanne implored Harry to try to\nsave the king. There were still many Royalists, and indeed the bulk", "\"Well, then, Marthe, I and my sister and my brother Henri are anxious\nto be taken to England. We are ready to pay well for a passage,\nbut we have not known how to set about it.\"", "round you, and I could do nothing; and now, Jeanne, you have found\na way out for us where I never should have found one for myself.\"", "\"Poor Marie!\" Jeanne said softly. \"It is well she never knew about\nit. The thought he had got safely away kept her up. And now, tell", "\"In the first place, Jeanne, it would be absolutely impossible for\nthe king, watched as he is, to escape; and no pass or permit that", "\"That is good news indeed, Jeanne,\" Harry said, when the girl\ntold him of the conversation. \"That does seem a way out of our", "\"You forget, Virginie,\" Jeanne said, \"it was arranged they should\ngo to Harry's father when they got to England, and he will know\nwhere they are living; there is sure to be no mistake about that,\nis there, Harry?\"", "\"We do not mind where we hide, captain,\" Jeanne said. \"We have been\nhiding for the last six months, and we are indeed grateful to you\nfor having consented to take us with you.\"", "of a journey alone with Jeanne and Virginie had been continually\non his mind. The idea of taking the old woman with them had never\noccurred to him, but now he hailed it as a most welcome solution", "goods across to England; for it was in one of these alone that he\ncould hope to cross the Channel. This, however, he found much more\ndifficult than he had expected.", "and you were also in their hands. Besides, we can be of more use\noutside. Trust to me, Jeanne; I will do all in my power to save\nher, whatever the risk.\"", "friends who will help. These women whose hearts Jeanne has won will\naid if they can, and may get some of their husbands and brothers\nto aid. The battle is not lost yet, and Jeanne will know I shall", "\"Yes, for I have something to think of. Here have we been planning\nin vain for the last fortnight to hit upon some scheme for getting\nour friends out of prison, and Jeanne has pointed out a way which\nyou and I never thought of.\"", "The next day the farmer drove them in his gig to a town some miles\ninland. Here they procured dresses in which they could travel without\nexciting attention, and took their places in the coach which passed\nthrough the town for London next day.", "Greatly pleased with this unexpected stroke of luck, Harry went off\nat once to tell Jeanne that the outline of a plan to rescue Marie\nhad been fixed upon.\n\nThe girl's pale face brightened up at the news.", "\"No, I think we are ready,\" Jeanne said. \"Of course we have\nbeen talking it over for weeks, and agreed it was better to be in\nreadiness whenever you told us it was time to go. Louise will tell\nyou all about it.\"", "\"Oh, that is fortunate indeed!\" Jeanne exclaimed when he had\nfinished. \"Surely he cannot refuse any request you may make now.\"" ], [ "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "Finding that she could not persuade Harry to enter, Louise turned\nto perform her painful duty; while Harry, thoroughly exhausted with\nthe night of horrors, made his way home, and throwing himself on", "like Louise Moulin, and she is missing;' and then they would have\ntalked, and the end of it would have been you would have been\ndiscovered. Will you come home with us, Monsieur Sandwith?\"", "\"I feel better now,\" she said. \"Come, Virginie, and dry your eyes,\ndarling; we shall have plenty of time to cry afterwards. Are we to\ngo home, Harry? Have they taken Louise?\"", "\"So they would have done,\" the old woman said; \"but when that evil\nman looked away for a moment, mademoiselle whispered, 'Fly, Louise,", "\"No, I think we are ready,\" Jeanne said. \"Of course we have\nbeen talking it over for weeks, and agreed it was better to be in\nreadiness whenever you told us it was time to go. Louise will tell\nyou all about it.\"", "Louise Moulin had persuaded them to go out with her in the early\nmornings when she went to the markets. The fear of detection was\nsmall, for the girls had now become accustomed to their thick shoes", "\"It is true, Louise. I have seen it myself. I went with a disguise\nto try and rescue our dear lady, even if I could not save the\nmarquis; but I could not get to her--the wretches have murdered\nthem both.\"", "\"And you, Louise,\" said Harry, who had now come up, \"how did you\nget away? I have been terribly anxious, thinking that they might\nseize you too, and that would have been dreadful.\"", "The two girls ran away to Louise Moulin, and chatted to her gaily,\nwhile Harry walked up and down until, a quarter of an hour later,", "Louise, turned their faces to Paris, while Harry and Victor remained\nbehind until they had got well on their way.", "The girls, however, were in a state of terrible anxiety as to\ntheir parents, although Louise had avoided repeating to them the\nsinister rumours which came to her ears when she was abroad doing", "Louise through the fields to St. Denis. The count will be in my\nroom in a few minutes. We can keep a look-out from my window and\nfollow you at a distance until we get clear from observation beyond", "\"You must break it to them, Louise. Do they know how great the\ndanger is?\"", "long time outside, until at last he saw Louise Moulin put her head\nfrom the window. He succeeded in catching her eye, and placing his\nfinger on his lips signed to her to come down. A minute later she", "Louise Moulin of 15 Rue Michel; there were three of them, but the\neldest has disappeared. This, in itself, is mysterious; the old", "that there is no fear of its being noticed by any who may pillage\nthe house, which they will doubtless do after we are arrested. I\nhave already sent an equal sum to Louise Moulin. Here is her address;", "\"I trust so indeed, Louise. I will stay here quietly for an hour,\nand then if we hear nothing I will go home, and be back again in\nthe morning. Sleep will do more for them than anything I can say.\"", "Louise, and let me tell you all about it, for I have to be with\nRobespierre again at nine o'clock.\"", "They both took their places at the open window and leaned out\napparently chatting and carelessly watching what was passing in\nthe street.\n\nA quarter of an hour later they saw Louise Moulin and the girls\ncome out of their house." ], [ "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "CHAPTER XI\n\nMarie and Victor\n\n\n\"Are you taking me to the girls, Harry?\"", "Lebat to come out. Rapidly thinking the matter over, he concluded\nthat the man would not present himself with the order of release until\nafter dark, in order that if Marie struggled or tried to make her", "A quarter of an hour later Lebat came out of the house and walked\ndown the street. Harry followed him. After walking for some distance", "\"I have news,\" Harry said, \"and good news, but you must not excite\nyourselves.\"\n\n\"Have you found a way for getting Marie out?\"\n\n\"Yes, I have found a way.\"", "\"But we are to see her, Harry?\" Jeanne said. \"Surely we are not to\ngo away without seeing Marie!\"", "\"No,\" Harry said. \"It would not be safe to do so. There are already\nsuspicions, and they have been denounced.\"\n\nMarie gave a cry of alarm.", "Harry soon rejoined Jacques and Marie. There were but few words said\nas they made their way through the streets, for Marie was weakened", "\"How thoughtful you are, Harry!\" Jeanne murmured. \"Oh how much\nwe owe you! But oh how strange and lonely we seem--everyone gone\nexcept Marie, and we may never see her again!\"", "their thoughts from dwelling upon Marie's capture. They had not\nbeen more than a quarter of an hour at their post when Harry gave\nan exclamation of satisfaction as he saw Louise Moulin approaching.", "\"Oh, Harry,\" Jeanne exclaimed, \"what happiness! Then Marie's life\nwill be saved.\"", "\"I have just left your sisters, Marie,\" Harry said, \"and you may\nimagine their delight at the news I gave them. You are to see them\nthis evening in the gardens of the Tuileries.\"", "Finding that she could not persuade Harry to enter, Louise turned\nto perform her painful duty; while Harry, thoroughly exhausted with\nthe night of horrors, made his way home, and throwing himself on", "Greatly pleased with this unexpected stroke of luck, Harry went off\nat once to tell Jeanne that the outline of a plan to rescue Marie\nhad been fixed upon.\n\nThe girl's pale face brightened up at the news.", "Force with her, and that if inquiries were set on foot about him\nshe might be sought for. However, Marie said no more on the subject,\nquite content that Harry should make whatever arrangements he", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only" ], [ "Jeanne was passionate and Virginie tearful in their sorrow and\nindignation. Over and over again Jeanne implored Harry to try to\nsave the king. There were still many Royalists, and indeed the bulk", "Harry spoke lightly, and Jeanne with a great effort recovered her\ncomposure; and after that, although the trial and danger of the", "\"You know, Jeanne,\" Harry said, putting his hands on the girl's\nshoulders, \"that I love you; I should never have told you so until", "\"You forget, Virginie,\" Jeanne said, \"it was arranged they should\ngo to Harry's father when they got to England, and he will know\nwhere they are living; there is sure to be no mistake about that,\nis there, Harry?\"", "when they were gathered in the evening just as Harry's sisters had\ndone at home. Jeanne was, if the group broke up, generally Harry's\ncompanion. Ever since the affair of the mad dog she had treated", "Three years later, on the day after Harry passed his final examination,\nJeanne and he were married, and set up a pretty establishment", "\"That is good news indeed, Jeanne,\" Harry said, when the girl\ntold him of the conversation. \"That does seem a way out of our", "\"How thoughtful you are, Harry!\" Jeanne murmured. \"Oh how much\nwe owe you! But oh how strange and lonely we seem--everyone gone\nexcept Marie, and we may never see her again!\"", "\"Happily, Jeanne,\" Harry replied coolly, \"your dying would in no\nrespect benefit him; and as your life is in my eyes of a thousand", "\"No, no, Harry,\" Jeanne exclaimed in a tone of sharp pain, \"you\nmust not do that of all things. We have only you, and if you are", "\"We will wait patiently,\" Harry said. \"I feel better now, Jeanne,\nand you shall not see me give way again. What has been worrying me", "returned to France to feel assured that before very long Virginie\nwould follow Jeanne's example, and would also become an Englishwoman,\nfor she and Harry's next brother Tom had evidently some sort of", "\"Well, at anyrate,\" Harry said, \"Jeanne has no time for any thought\nof marrying just at present. But there is another thing I want to\ntell you about. I have first a confession to make. I have deceived\nyou.\"", "That evening, before the whole circle of his family, Harry related\nthe adventures that they had gone through, subject, however, to a\ngreat many interruptions from Jeanne.", "\"I am afraid that wouldn't do, Jeanne,\" Harry said with a slight\nsmile, shaking his head. \"It was a desperate enterprise for two of", "\"What is it, Harry?\" Jeanne exclaimed as he entered. \"I can see\nyou have news. What is it?\"", "Jeanne made no answer, but her eyes were full of tears as she put\nher hands into Harry's, and no sound came from her lips in answer\nto his good-night.", "The appeal was successful, and Jeanne burst into a passion of\ntears. Harry did not try to check them, and in a short time the\nsobs ceased and Jeanne raised her head again.", "\"It must be dreadful, Harry,\" Jeanne said soothingly. \"Will it not\nbe possible for you to give out that you are ill, and so absent", "After breakfast Jeanne strolled down with Harry to the river-side.\n\n\"I feel strange with you, Harry,\" she said. \"Before you seemed\nalmost like a brother, and now it is so different.\"" ], [ "\"You have kept your good news till the last, Marie,\" Victor said.\n\"Here have we been saying good-bye, and it seems that we are going\nto meet again very shortly.\"", "They had received occasional news from Marie. Victor had steadily\nrecovered his strength and memory, and as soon as the reign of terror\nhad come to an end, and the priests were able to show themselves", "from their hiding-places in many an out-of-the-way village in the\ncountry, Marie and Victor were quietly married. But France was at\nwar with all Europe now, and Victor, though he hated the revolution,", "\"But nothing that can happen can separate us, Marie.\"\n\n\"Nothing but death, Victor,\" she said quietly.", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It", "Marie away and all get safe together to England, which I begin to\ndespair now of our ever doing, but if we should do it what should\nwe say to Marie? She thinks Victor is safe there. Only the other", "CHAPTER XI\n\nMarie and Victor\n\n\n\"Are you taking me to the girls, Harry?\"", "related to you and have no claim upon you. And how could Victor\nrun away? But as Marie seemed pleased to think he was safe, I said", "\"Poor Marie!\" Jeanne said softly. \"It is well she never knew about\nit. The thought he had got safely away kept her up. And now, tell", "\"None at all,\" Harry said. \"You may rely upon it that directly you\nget to my father you will hear where your brothers are. And now I\nwill go and tell Marie that there is no occasion for Victor to take\na sleeping draught.\"", "Marie burst into tears of happiness at hearing that her lover had\nescaped from the danger which threatened. Worn out by the fatigue\nand anxiety of the previous night, she had slept for some hours", "the count and Marie made their appearance. The party stood talking\ntogether for a few minutes; then adieus were said with a very pale\nface, but with firmness on Marie's part, and then the girls, with", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "\"Oh, I hope so,\" Marie said, \"for I am sure Victor would soon\nbe found out, he could never make himself look like one of these\ncanaille.\"", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only", "that we have no right to take Marie away without her knowing the\ntruth about Victor. His misfortunes have come upon him because he\nwould stop in Paris to watch over her. I feel now that she has the", "\"For several reasons, Virginie. I have not told you before, but there\nis no reason why you should not know now, that Victor is still in\nParis.\"\n\nVirginie uttered an exclamation of wonder.", "place, and had held out hope to Marie that Victor's improvement\nwould be permanent, and that he would now make steady progress\ntowards recovery.", "\"I felt sure it was Victor all along,\" the girl said. \"In the first\nplace, I never believed that he had gone away. Marie told me she", "The girls were greatly rejoiced when they heard the good news that\nVictor had recognized Marie, and that Harry had now hopes that he\nwould do well." ], [ "from the stir and din of London. Dr. Sandwith had a good practice,\nbut he had also a large family. Harry was at Westminster, going\nbackwards and forwards across the fields to school. So far he had", "And so Mrs. Sandwith was informed by her husband that after talking\nit over with Harry he had concluded that the proposed arrangement\nwould really be an excellent one, and that it would be a great pity\nto let such an opportunity slip.", "\"It will indeed,\" Mrs. Sandwith said in a tone of deep happiness.\n\"You are certainly overworked and need a partner terribly, and who\ncould be like Harry?\"", "\"What do you want, fellow?\" Victor exclaimed, reining in his horse.\n\n\"You do not recognize me!\" Harry said. \"I am Harry Sandwith, count,\nand I am here to warn you of the danger of proceeding.\"", "The fact that Harry had three younger brothers and four sisters,\nand that Dr. Sandwith, who was obliged to keep up a good position,\nsometimes found it difficult to meet his various expenses, made", "Dr. Sandwith had requested the captain to allow one of his men\nto show Harry the way to the Lion door. Harry had pulled himself\ntogether a little as the vessel entered the still water in the", "kindness. Dr. Sandwith soon afterwards ran out to the excited\nchattering group in the garden, and after a few minutes' happy talk\nwith him, Harry spoke to him of the visitors who were closeted with", "\"Monsieur--Sandwith?\" he said interrogatively. \"I am glad to see\nyou.\"\n\nHarry did not understand the latter portion of the remark, but he\ncaught the sound of his name.", "Three days after the arrival of the letter of the marquis, Dr.\nSandwith and Harry started by stage for Dover, and the doctor put", "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "up in her room. By the time she came down they had recovered their\ngravity. Mrs. Sandwith and the girls had already given her the\nwarmest welcome as Harry's future wife, and the boys received her", "\"As yet I am ignorant of the name of my preserver.\"\n\n\"My name is Henry Sandwith,\" Harry replied.\n\n\"It is not a French name,\" Robespierre said in surprise.", "carry out Dr. Sandwith's request in this matter. M. du Tillet looked\ninterrogatively at Harry as he entered the shop, as if to ask if\nhe understood why he was taken there.", "\"That's right, my boy,\" Dr. Sandwith said heartily. \"I have always\nregretted you had a fancy for the army, for I used to look forward", "In the ordinary course of things he would probably in three or four\nyears' time have chosen some profession; and, indeed, his father\nhad already settled in his mind that as Harry was not likely to", "\"I hereby recommend Citizen Henri Sandwith, age 19, who has been\nacting as my confidential secretary, to all public authorities,\ntogether with Citoyenne Moulin and her two grandchildren, with whom\nhe is travelling.\"", "old age. You have made me very happy, Harry, and your mother too,\nI am sure. It will be delightful for us having you and your pretty\nFrench wife settled by us; will it not, mother?\"", "Harry was then measured. When this was done he took out his purse,\nwhich contained fifty guineas; for his father had thought it probable", "\"I know nothing about English politics,\" Harry replied with a smile;\n\"nor indeed about any politics. I am but little past eighteen, and", "French ambassador, notifying that Henry Sandwith, age sixteen,\nheight five feet eight, hair brown, eyes gray, nose short, mouth\nlarge, was about to reside in France in the family of the Marquis" ], [ "They remained three days in Paris, at the end of which time Harry's\nclothes were delivered. The following morning a carriage with the", "They met with no interruption on the road, and arrived in Paris\non the last day of April, 1792. Harry was glad at the change. The", "The next morning they started in the post-waggon for Paris, and\narrived there after thirty-six hours' travel. Harry was struck", "Harry drove on, and was soon in the Rue Montagnard. It was a dark\nnarrow street; no one seemed stirring, and Harry peered anxiously", "Louise, turned their faces to Paris, while Harry and Victor remained\nbehind until they had got well on their way.", "Three years later, on the day after Harry passed his final examination,\nJeanne and he were married, and set up a pretty establishment", "\"Pardon, marquis,\" Harry said quietly, \"I am firmly resolved to\nstay in Paris. I may be of assistance to your daughters, and there", "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "\"If you enter Paris as you are,\" Harry said, \"you are certain to\nbe arrested. Your only chance would be to do as I have done, namely\nto disguise yourself and take a small lodging, where you might live\nunsuspected.\"", "\"That slipped out, Harry, for I did not mean to say anything about\nit until you had left school; still, if you go to France I do not", "The meeting had taken place at a point where it could not be observed\nfrom the gate, and the count withdrew a few hundred yards farther\naway while Harry went back into Paris. The latter had no difficulty", "and the doctor gave but small hopes of his recovery. Harry determined\nthat he would not leave Paris until the issue was decided one way\nor the other, and when with the girls he discouraged any idea of", "During the intervening time Harry had been very busy, he had to\nsay good-bye to all his friends, who looked, some with envy, some", "Harry picked up French very rapidly. The absolute necessity there was\nto express himself in that language caused him to make a progress\nwhich surprised himself, and at the end of three months he was able", "Adolphe went in and out making his preparations. At half-past eight\nhe said, touching Harry on the shoulder: \"It is time to start,", "doings at Paris had been the subject of conversation and thought for\nnearly two years, and he had caught the excitement which pervaded\nFrance. He was tired of the somewhat monotonous life in the country,", "Harry and Victor went to their lodgings, and telling their landlords\nthat they had obtained work at the other end of town, paid their\nrent and left the city, and for the next two days slept in the", "Victor had taken a lodging a few houses from that of Harry. Every\nday the excitement in Paris increased, every day there were fresh", "Occasionally and at considerable intervals Harry received letters\nfrom his father. The latter said that there was great excitement\nin England over the events which had taken place in France, and", "A quarter of an hour later Lebat came out of the house and walked\ndown the street. Harry followed him. After walking for some distance" ], [ "This incident caused a considerable change in Harry's position in\nthe family. Previously he had been accepted in consequence of the\norders of the marquis. Although compelled to treat him as an equal", "The young ones were all forbidden to follow, and after an hour\nspent with his parents and the girls in the dining-room, Harry\nwas pleased to see that the latter were beginning to feel at their\nease, and that the strangeness was wearing off.", "\"You will see her again, never fear,\" Harry said confidently. \"And\nyou will not feel lonely long, for I can promise you that before\nyou have been long at my mother's place you will feel like one of\nthe family.\"", "her best to make the house cheerful. Harry, who had not much liked\nher at first, now found her most pleasant and agreeable, and the\nyounger girls walked in the grounds with their brothers and chatted", "everywhere, and a dull hatred of all who were above them in the\nworld. Harry had difficulty in making them talk, and at first could\nobtain only sullen monosyllables. His dress and appearance showed", "\"Oh, so much happier, Harry! But there is one thing I want to tell\nyou. It might seem strange to you that I should tell you I loved you\non my own account without your speaking to the head of the family.\"", "The last words were spoken sharply and significantly, and their\ntone was not lost upon the two boys; they had a moment before been\nstruggling to prevent themselves bursting into a laugh at Harry's", "\"Oh, Harry, is it you? Can it be true?\" And the spirit which had\nso long sustained the girl gave way, and leaning her head upon his", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only", "Seeing that it was safe now to proceed, Harry returned to his\ncompanions. He had scarcely glanced at them before, and now looked", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "in time to perform his part fairly. Two hours were spent in the\nevening in the salon. This part of the day Harry at first found the", "\"I do not blame you, Harry, my boy,\" his father said heartily. \"Of\ncourse you are very young, and under ordinary circumstances would", "These meetings were a source of great amusement to Harry, who could\nscarcely preserve his gravity at these formal and distant greetings.\nOn one occasion, however, the even course of these meetings was", "\"Oh, my boy, we had given you up,\" she sobbed as Harry rushed into\nher arms.", "\"You are a dear boy, Harry!\" Jeanne said with frank admiration,\nwhile Marie sobbed out exclamations of gratitude. \"You do seem to", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "Harry indeed had for some days been feeling that danger was\nthickening round him. He had noticed angry glances cast at him by\nthe more violent of the committee, and had caught sentences expressing", "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "\"Agreed!\" the man said, shaking Harry by the hand. \"You speak\nlike a man of heart. I will look after him. You need be under no" ], [ "Furious with rage and pain the wolf sprang upon him and seized\nhim by the shoulder. Ernest dropped his sword, and drawing his\nhunting-knife struck at it, while at the same moment Harry ran it\nthrough the body.", "\"Oh, never mind that, that's nothing,\" Ernest replied. \"Only think,\nHarry, you and I have killed the demon wolf, and no else had a hand\nin it. There is a triumph for us.\"", "When they went out with their guns Harry felt his inferiority\nkeenly. Not only was Ernest an excellent shot, but at the end of", "Upon the first of these occasions Harry and Ernest were in high\nspirits, for they were to take part in the chase. It was the first", "\"The triumph is yours, Ernest,\" Harry said. \"He would have got away\nhad you not stopped him with your bullet, and he would have made", "first blow as it was flying upon Harry, who had been thrown from\nhis horse. Then, again, Ernest would almost certainly have been\nkilled had not Harry in his turn come to his assistance and dealt", "\"Get ready to fire, Harry,\" Ernest exclaimed as the wolf sprang\nupon the man, \"it is our last chance. If he gets away now we shall\nnever catch him.\"", "\"This is awful!\" Harry said to himself as he turned away. \"The\nmarquis and his wife massacred, Ernest and Jules murdered, Marie", "\"Either he is not there at all, or he is lying very close,\" Ernest\nsaid.\n\n\"Look, look!\" Harry said suddenly, pointing through the trees to\nthe right.", "It was soon seen that nothing could be done for the woodman, who\nhad been killed almost instantly. Harry, therefore, proceeded to", "Harry and Victor went to their lodgings, and telling their landlords\nthat they had obtained work at the other end of town, paid their\nrent and left the city, and for the next two days slept in the", "\"Who is that young man who is talking to mademoiselle your sister,\nErnest?\" Harry asked, for since the adventure with the mad dog the\nceremonious title had been dropped, and the boys addressed each\nother by their Christian names.", "\"Just what we agreed upon,\" the man said. \"Here are the empty\nhouses. You stop where you are. I will get rid of this trash.\"\n\nHarry, however, got out.", "to be murdered; and how, half-mad, he was springing out to stand\nbeside him, when Harry as quick as thought knocked him down before\nhe could betray himself; and then Jacques, who was standing by saw", "\"The man is a scoundrel, and one of a band of men whom I regard as\nmurderers,\" Harry said; \"but I could not kill him in cold blood.\"", "\"And will again,\" an old forester, who was standing close to Harry,\nmuttered. \"I do not believe the bullet is cast which will bring\nthat wolf to earth.\"\n\n\"What is this demon wolf?\" Harry asked Ernest.", "\"Not a bit, sir,\" Harry said.\n\n\"And you have killed it--wonderful!\"", "\"Bring up the wolf,\" the marquis said, \"and Harry, do you come\nhere and stand by Ernest's side. Madam la marquise,\" he went on,", "The last words were spoken sharply and significantly, and their\ntone was not lost upon the two boys; they had a moment before been\nstruggling to prevent themselves bursting into a laugh at Harry's", "Ernest was confined to his bed for nearly a month, and during\nthis time Harry often went long rides and walks by himself. In the" ], [ "\"We must go to Paris,\" the marquis said one day towards the end of\nOctober. \"The place for a French nobleman now is beside the king.\"\n\n\"And that of his wife beside the queen,\" the marquise said quietly.", "been told off to see that none of the family attempted to fly for\nthe frontier. He therefore wrote to the marquis urging that it\nwould be better that the family should move to Paris, where they", "Towards the end of July the Marquis de St. Caux and the little\nbody of royalists who still remained faithful to the king became", "\"The king and his family are prisoners in the Temple,\" the marquis\nsaid. \"The Commune has triumphed over the Assembly and a National", "marquis and his wife, of their daughters, and of Victor de Gisons,\nalmost excluding everything else. When he thought of the boys it\nhad been as already in England, under the charge of du Tillet.", "The news of the failure of the king's attempt at flight on the\n20th of June was a great shock to the marquis. \"A king should never", "\"We must be prepared, my love, to face the worst. Escape is now\nimpossible, and, indeed, so long as the king and queen are alive I\nwould not quit Paris; but we must prepare for sending the children\naway if possible.\"", "\"A Marquis de St. Caux does not fly from the canaille of Paris,\"\nthe marquis said quietly. \"No, Du Tillet; the king and queen are", "\"Pardon, marquis,\" Harry said quietly, \"I am firmly resolved to\nstay in Paris. I may be of assistance to your daughters, and there", "now much attached to the marquis and his family; and the reports\nwhich came from all parts of France, as well as from Paris, together\nwith the talk among the visitors at the chateau, convinced him that", "\"The marquis and his family are all away at their chateau near\nDijon,\" his companion said, waving his hand. \"We shall stay a day\nor two to rest ourselves after our journey, and then start to join\nthem.\"", "The Marquis de St. Caux had, in some respects, the thoughts and\nopinions of the old school. He was a royalist pure and simple. As", "Thus it happened that on the same day that the marquis started for\nParis, M. du Tillet set out from the chateau taking with him some", "sword and prepared to start for the palace. He embraced his wife,\nwho was calm but very pale, and his children. Ernest asked to be\nallowed to go with him, but the marquis said:", "The change of life was great indeed; the marquis had thrown himself\ninto the thick of all that was going on, and his salon was crowded\nevery evening with those of the nobility who still remained In", "family. Whenever I see him he assures me of his devotion to the\nmarquis. To-day, Mademoiselle Marie, he prayed me to assure you", "In the next place he was greatly attached to the family of the\nmarquis; and the orgies of the mob had filled him with such horror", "Before hearing what had passed the marquise insisted upon her husband\ntaking refreshment and having his wounds bound up and attended to.\nWhen he had finished his meal the marquis began:", "the king. Marie acquiesced in the decision, and bade her lover\nadieu calmly and bravely.", "have no hope of being able to leave the king. She says my father\nis very indignant at the great emigration of the nobility that\nis going on. In the first place, he holds that they are deserting" ], [ "\"Your wife is right, Pierre; mademoiselle is my fiance. I am really\nan Englishman. She and her sister had their old nurse with them,", "\"He is not dead, Marie, but he has been very, very ill. He was with\nme at La Force on that terrible night, and saw his father brought", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It", "\"Here is Jeanne,\" Marie corrected; \"thank God we have all got here\nsafely. This, Louise, is a young English gentleman who is going to", "else, but I am engaged to Jeanne. You see,\" he went on, as his\nparents both uttered an exclamation of surprise, \"we have gone\nthrough a tremendous lot together, and when people have to look", "Marie burst into tears of happiness at hearing that her lover had\nescaped from the danger which threatened. Worn out by the fatigue\nand anxiety of the previous night, she had slept for some hours", "de Gisons. The estates of the duke, his father, adjoined those of\nthe marquis, and between him and Marie a marriage had long before\nbeen arranged by their parents. For once the inclination of the", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "Marie will nurse him. I have great hopes that he will know her,\nand that she may be able in time to effect a complete cure. In the\nnext place I think it would be dangerous to bring her here, for we", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "and insensible on that terrible night. It would seem natural that\nhis sister or his fiance--Marie could pass for whichever she\nchose--should come and help take care of him.\"", "from their hiding-places in many an out-of-the-way village in the\ncountry, Marie and Victor were quietly married. But France was at\nwar with all Europe now, and Victor, though he hated the revolution,", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "\"He seems just the man for us,\" Harry said. \"Will you tell your\nfriend, when you see her in the morning, that I will give her twenty\nlouis and her brother a hundred if he can succeed in getting Marie\nout?\"", "\"I have news,\" Harry said, \"and good news, but you must not excite\nyourselves.\"\n\n\"Have you found a way for getting Marie out?\"\n\n\"Yes, I have found a way.\"", "\"Oh, I hope so,\" Marie said, \"for I am sure Victor would soon\nbe found out, he could never make himself look like one of these\ncanaille.\"", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only", "\"Poor Marie!\" Jeanne said softly. \"It is well she never knew about\nit. The thought he had got safely away kept her up. And now, tell", "the count and Marie made their appearance. The party stood talking\ntogether for a few minutes; then adieus were said with a very pale\nface, but with firmness on Marie's part, and then the girls, with", "\"I have been bidding farewell,\" Marie said, \"not to you, but to\nour dream of happiness. We shall meet soon, but I fear that will\nnever return.\"" ], [ "their thoughts from dwelling upon Marie's capture. They had not\nbeen more than a quarter of an hour at their post when Harry gave\nan exclamation of satisfaction as he saw Louise Moulin approaching.", "The order was made out, and Marie was handed over to the armed\nguard, to be taken with the next batch of prisoners to La Force.", "\"It is bad news,\" Harry said quietly. \"Try and nerve yourselves,\nmy dear girls, for you will need all your courage. Marie is captured.\"", "CHAPTER VIII\n\nMarie Arrested", "So saying he set out, with Marie walking beside him, with a guard\non either hand. In the next street he came on a party of four of", "\"They have, I fear, been arrested by the sans culottes,\" Marie said\nmournfully as she burst into tears, feeling, now that the strain", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "One morning he was walking with the two younger girls, while Marie\nand the old nurse were together a short distance in front of them.\nThey had just reached the flower-market, which was generally the", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It", "from their hiding-places in many an out-of-the-way village in the\ncountry, Marie and Victor were quietly married. But France was at\nwar with all Europe now, and Victor, though he hated the revolution,", "Marie burst into tears of happiness at hearing that her lover had\nescaped from the danger which threatened. Worn out by the fatigue\nand anxiety of the previous night, she had slept for some hours", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "\"The king and his family are prisoners in the Temple,\" the marquis\nsaid. \"The Commune has triumphed over the Assembly and a National", "Louise Moulin had persuaded them to go out with her in the early\nmornings when she went to the markets. The fear of detection was\nsmall, for the girls had now become accustomed to their thick shoes", "Marie nodded. \"One moment,\" she said, as she brushed aside the tears\nwhich filled her eyes, drew herself up with a little gesture that", "Marie at once rose, and taking the child's hand set out. They had\nto traverse the greater part of Paris to reach their destination.", "\"In here, mesdemoiselles,\" he said to Marie, pointing to some shrubs\nclose to the gate. \"They will rush straight to the house when the\ngate gives way, and we will slip out quietly.\"", "\"A great number of arrests have taken place in the night, among them\nthat of the Marquis de St. Caux and your father. Men are waiting\ninside your house to arrest you as you enter.\"", "Lebat to come out. Rapidly thinking the matter over, he concluded\nthat the man would not present himself with the order of release until\nafter dark, in order that if Marie struggled or tried to make her", "Mademoiselle Marie. After going first to the house and finding it in\nthe possession of a hideous mob, who were plundering and drinking,\nI went to see what had taken place at the hotel of the Duc de" ], [ "Lebat to come out. Rapidly thinking the matter over, he concluded\nthat the man would not present himself with the order of release until\nafter dark, in order that if Marie struggled or tried to make her", "\"I am Citizen Lebat of the Committee of Public Safety, and I have\nan order here, signed by Citizen Robespierre, for the release of\nthe female prisoner known as Marie Caux.\"", "\"A sure, certain way, Harry?\" Virginie asked. \"Not only a chance?\"\n\n\"A sure, certain way,\" Harry replied. \"You need have no more fear;\nMarie will certainly be freed.\"", "escape it would be unnoticed in the street. Lebat had calculated,\nof course, that on the presentation of the order the prison officials\nwould at once lead Marie to the gates whether she wished it or not,", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "to give to Mademoiselle de St. Caux. It is to tell her to make\nno resistance when Lebat presents the order for her release, but", "to grant Marie's release in return for a benefit done him personally.\nHowever, do not let that discourage you in the least. As I said,\nI will have the order by fair means or foul.\"", "\"I have news,\" Harry said, \"and good news, but you must not excite\nyourselves.\"\n\n\"Have you found a way for getting Marie out?\"\n\n\"Yes, I have found a way.\"", "When Lebat told her triumphantly that he had saved her from death,\nand that she was to have formed one of the party in the tumbril", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "While Robespierre was speaking Harry had rapidly thought over the\nrole which it would be best for him to adopt. Should he avow his\nreal character and ask for an order for the liberation of Marie as", "forward, but that he preferred to wait and leave the horror of\nmonths in prison to work upon Marie's mind, and so break her down\nthat she would be willing enough to purchase her life by a marriage", "\"I have good news, monsieur,\" she said at once. \"I waited outside\nthe prison till Martha came out. Her brother has agreed to help if", "and that if I would consent to marry him he could save me. He said\nthat his influence would suffice, not only to get me free, but to", "But Lebat could give no description whatever of her. He had noticed\nthat Marie was speaking to some one when he first caught sight of\nher face; but he had noticed nothing more, and did not know whether\nthe woman was young or old.", "\"He seems just the man for us,\" Harry said. \"Will you tell your\nfriend, when you see her in the morning, that I will give her twenty\nlouis and her brother a hundred if he can succeed in getting Marie\nout?\"", "If I cannot ensure Marie's freedom now I should be a bungler\nindeed. Had I had the planning of the events of this evening they\ncould not have turned out better for us.\"", "by her long imprisonment, and shaken by what she had gone through.\nShe had not asked a single question as to what had become of Lebat;\nbut she had no doubt that he was killed. She had grown, however,", "\"He is not dead, Marie, but he has been very, very ill. He was with\nme at La Force on that terrible night, and saw his father brought", "\"I am sure we are much indebted to this Monsieur Lebat,\" Marie\nsaid. \"He was here at the hunting party and seemed a worthy young" ], [ "Harry waited until they were in a quiet street, and then quickened\nhis pace until he was close behind the man. Then he drew one of", "\"I live not far from here,\" the man said. \"I will take him to my\nroom. You need not be afraid,\" he added as Harry hesitated, \"I have\ngot my eyes open, you can trust me.\"", "and Harry, satisfied that he had stunned him, ran on and overtook\nthe others, and, turning down the first street they came to, was\nassured that they were safe from pursuit.", "Harry drove on, and was soon in the Rue Montagnard. It was a dark\nnarrow street; no one seemed stirring, and Harry peered anxiously", "\"I have been attacked in the street,\" he said, \"but I am not hurt,\nthough, had it not been for this citizen it would have gone hardly\nwith me. You have to thank him for saving your brother's life.\"", "first blow as it was flying upon Harry, who had been thrown from\nhis horse. Then, again, Ernest would almost certainly have been\nkilled had not Harry in his turn come to his assistance and dealt", "Harry gave a start of surprise. This man whom he had saved was he\nwhom he had so often execrated--one of the leaders of those who", "A quarter of an hour later Lebat came out of the house and walked\ndown the street. Harry followed him. After walking for some distance", "The words startled Harry. What was this? He had not interfered, as\nhe had supposed, to prevent the robbery of some quiet citizen by", "\"I will be at the end of the street,\" Harry said. \"It is quite\ndark by five, so do you start a quarter of an hour later; hide your", "\"Agreed!\" the man said, shaking Harry by the hand. \"You speak\nlike a man of heart. I will look after him. You need be under no", "in front of him, and in a moment would have bounded into the hall\nhad not Harry brought the heavy stick he carried with all his force\ndown upon his head. Victor fell like a log under the blow.", "Harry maintained his grasp tightly round its neck, with his head\npressed closely against one of its ears. Several times they rolled\nover and over. At last Harry made a great effort when he was", "On leaving Victor in the care of the man who had so providentially\ncame to his aid, Harry hurried down the street towards the Abbaye,", "\"They have to be saved,\" Harry interrupted him in a grave, steady\nvoice. \"The question is how?\"", "\"Well, let me get you to your feet,\" Harry said, holding out\nhis hands, but with a feeling of some disgust at the abject fear", "\"Thank you greatly,\" Harry said. \"I do not know how I should have\nmanaged without your aid. If you put him down here I will try and\nbring him round.\"", "on to his shoulder, made his way to the top of the stairs, Harry\npreceding him and opening a way through the crowd. In another minute\nthey were in the open air.", "\"You must not say so, Harry. You are too modest. Besides, was it\nnot your quickness that saved Victor? No, we owe you everything, and", "Seeing that it was safe now to proceed, Harry returned to his\ncompanions. He had scarcely glanced at them before, and now looked" ], [ "Three years later, on the day after Harry passed his final examination,\nJeanne and he were married, and set up a pretty establishment", "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "\"I know, Harry, and I love you too with all my heart; so much that\nI can feel almost happy that we are going to die together. We are\naffianced now, dear, come what will.\" And she lifted her face to\nhis.", "Another month passed before the name appeared on the fatal list. In\nthe meantime Harry had corresponded regularly with Marie by means\nof the warder, and had even once seen her and exchanged a few", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "\"Now, Harry,\" the marquis said when he had mastered the emotion\ncaused by the parting, which he felt might be a final one, \"since", "\"Never you mind, Harry,\" his father said; \"let those laugh that\nwin. But you are not thinking of getting married yet, I hope.\"\n\n\"No, no, father; you cannot think I would live on Jeanne's money.\"", "\"Oh, Harry, is it you? Can it be true?\" And the spirit which had\nso long sustained the girl gave way, and leaning her head upon his", "from the stir and din of London. Dr. Sandwith had a good practice,\nbut he had also a large family. Harry was at Westminster, going\nbackwards and forwards across the fields to school. So far he had", "The greeting between the lovers was a silent one, few words were\nspoken, but their faces expressed their joy at meeting again after\nthe perils through which they had passed; there was a little pause,\nand then Harry, as usual, took the lead.", "ceremonial observance which had, on his first arrival, surprised\nand amused Harry was now laid aside. Marie, happy in the visits\nof her lover and at the prospect of her approaching marriage, did", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only", "\"You are both very good, madame,\" Harry said, \"and my friend is\nfortunate indeed to have fallen into such good hands. I will sit\nwith him for three or four hours now, and you had better go and\nget a little fresh air.\"", "up in her room. By the time she came down they had recovered their\ngravity. Mrs. Sandwith and the girls had already given her the\nwarmest welcome as Harry's future wife, and the boys received her", "\"It will indeed,\" Mrs. Sandwith said in a tone of deep happiness.\n\"You are certainly overworked and need a partner terribly, and who\ncould be like Harry?\"", "Seeing at a glance that his daughters were untouched, the marquis\nran on to Harry, who was standing panting and breathless, and threw\nhis arms round him.", "Finding that she could not persuade Harry to enter, Louise turned\nto perform her painful duty; while Harry, thoroughly exhausted with\nthe night of horrors, made his way home, and throwing himself on", "Three days after the arrival of the letter of the marquis, Dr.\nSandwith and Harry started by stage for Dover, and the doctor put", "\"That is good news, indeed, Harry,\" Marie said. \"That relieves me\nof half my anxiety. Once on the sea-coast it will be comparatively" ], [ "\"I live not far from here,\" the man said. \"I will take him to my\nroom. You need not be afraid,\" he added as Harry hesitated, \"I have\ngot my eyes open, you can trust me.\"", "For some time Harry lived a quiet life at the chateau. He found\nhis position a very pleasant one. The orders of the marquis that", "Harry's face, and broke into a frank laugh. The Frenchman smiled,\nput his hand on Harry's shoulder, and said:", "old age. You have made me very happy, Harry, and your mother too,\nI am sure. It will be delightful for us having you and your pretty\nFrench wife settled by us; will it not, mother?\"", "CHAPTER XII\n\nNantes\n\n\nHarry was very pleased to see a look of recognition on Victor's\nface as he came up to the side of his couch.", "\"You will see her again, never fear,\" Harry said confidently. \"And\nyou will not feel lonely long, for I can promise you that before\nyou have been long at my mother's place you will feel like one of\nthe family.\"", "\"You are both very good, madame,\" Harry said, \"and my friend is\nfortunate indeed to have fallen into such good hands. I will sit\nwith him for three or four hours now, and you had better go and\nget a little fresh air.\"", "\"Jump inside,\" Jacques said to Harry. \"We may have some one out to\nsee what the noise is about. He will be no more trouble.\"", "\"If you enter Paris as you are,\" Harry said, \"you are certain to\nbe arrested. Your only chance would be to do as I have done, namely\nto disguise yourself and take a small lodging, where you might live\nunsuspected.\"", "Occasionally and at considerable intervals Harry received letters\nfrom his father. The latter said that there was great excitement\nin England over the events which had taken place in France, and", "Harry picked up French very rapidly. The absolute necessity there was\nto express himself in that language caused him to make a progress\nwhich surprised himself, and at the end of three months he was able", "Harry drove on, and was soon in the Rue Montagnard. It was a dark\nnarrow street; no one seemed stirring, and Harry peered anxiously", "\"That slipped out, Harry, for I did not mean to say anything about\nit until you had left school; still, if you go to France I do not", "Harry gave him his address.\n\n\"You have only to walk upstairs to the top story. My room is the\none directly opposite the top of the stairs.\"", "Harry accepted the sailor's invitation; and after partaking of\na meal with Adolphe and his wife, who was informed of the attempt", "\"I am of English parentage,\" Harry said quietly, \"but have been\nresident for some years in France. I was for some time in the service", "\"Now, Harry, you are turning flatterer. We are not at the chateau\nnow, sir, so your pretty speeches are quite thrown away; and now\nI shall go and take Virginie's place and send her in to you.\"", "\"France is not to be shaken,\" Harry said, smiling, \"by the efforts\nof an old woman of seventy and a young boy and girl; but I can", "\"A young gentleman desires to see M. du Tillet,\" he said, and Harry\nentered.", "\"Agreed!\" the man said, shaking Harry by the hand. \"You speak\nlike a man of heart. I will look after him. You need be under no" ], [ "de St. Caux. The officer glanced it over, and then returned it to\nHarry with a polite bow, which Harry in some confusion endeavoured\nto imitate.", "\"Certainly it will succeed if Harry undertakes it,\" Jeanne said,\nwith implicit trust in his powers.\n\nHarry laughed, and even Marie, anxious as she was, could not help\nsmiling.", "\"You will see her again, never fear,\" Harry said confidently. \"And\nyou will not feel lonely long, for I can promise you that before\nyou have been long at my mother's place you will feel like one of\nthe family.\"", "\"I live not far from here,\" the man said. \"I will take him to my\nroom. You need not be afraid,\" he added as Harry hesitated, \"I have\ngot my eyes open, you can trust me.\"", "The young ones were all forbidden to follow, and after an hour\nspent with his parents and the girls in the dining-room, Harry\nwas pleased to see that the latter were beginning to feel at their\nease, and that the strangeness was wearing off.", "Harry accepted the sailor's invitation; and after partaking of\na meal with Adolphe and his wife, who was informed of the attempt", "This incident caused a considerable change in Harry's position in\nthe family. Previously he had been accepted in consequence of the\norders of the marquis. Although compelled to treat him as an equal", "woman herself was a servant in the family of the ci-devant Marquis\nde St. Caux. She gives out that the girls are relatives of hers,\nbut it is believed in the neighbourhood that they are aristocrats", "\"You forget, Virginie,\" Jeanne said, \"it was arranged they should\ngo to Harry's father when they got to England, and he will know\nwhere they are living; there is sure to be no mistake about that,\nis there, Harry?\"", "\"That is good news indeed, Jeanne,\" Harry said, when the girl\ntold him of the conversation. \"That does seem a way out of our", "\"Oh, Harry, is it you? Can it be true?\" And the spirit which had\nso long sustained the girl gave way, and leaning her head upon his", "\"You are a dear boy, Harry!\" Jeanne said with frank admiration,\nwhile Marie sobbed out exclamations of gratitude. \"You do seem to", "\"So they told Marie and Ernest, who, if ill came to them, would be\nthe heads of the family, that I had their consent to marry you. It\nmakes me happy to know this, Harry.\"", "\"I am glad of that, papa,\" Mademoiselle de St. Caux said; \"it is\nonly right the chief honour should be with your son and not with\nthis English boy. He has had more than his share already, I think.\"", "The Marquis de St. Caux had, in some respects, the thoughts and\nopinions of the old school. He was a royalist pure and simple. As", "\"I will do my best to deserve it, sir,\" Harry said quietly; \"but I\ntrust that you and madame la marquise will soon be able to resume", "After Adolphe had started for the town, Harry was persuaded by\nPierre to lie down for a bit; but he soon gave up the idea of going", "her best to make the house cheerful. Harry, who had not much liked\nher at first, now found her most pleasant and agreeable, and the\nyounger girls walked in the grounds with their brothers and chatted", "\"Oh, so much happier, Harry! But there is one thing I want to tell\nyou. It might seem strange to you that I should tell you I loved you\non my own account without your speaking to the head of the family.\"", "Little Jules looked up to Harry as a hero, and henceforth, when\nthey were together, gave him the same sort of implicit obedience" ], [ "\"The peasants regard him not as an ordinary wolf but as a demon,\nand mothers quiet their children when they cry by saying that if", "\"do you see that great gray wolf? That is the demon wolf which has\nfor years been the terror of the district, and these are its slayers.", "CHAPTER III\n\nThe Demon Wolf", "\"Oh, never mind that, that's nothing,\" Ernest replied. \"Only think,\nHarry, you and I have killed the demon wolf, and no else had a hand\nin it. There is a triumph for us.\"", "Furious with rage and pain the wolf sprang upon him and seized\nhim by the shoulder. Ernest dropped his sword, and drawing his\nhunting-knife struck at it, while at the same moment Harry ran it\nthrough the body.", "they are not good the demon wolf will carry them off. Ah, if we\ncould kill him to-day it would be a grand occasion!\"", "\"Monsieur le marquis,\" he said, \"I have good news for you; the demon\nwolf is in the forest. I saw him making his way along a glade an", "\"And will again,\" an old forester, who was standing close to Harry,\nmuttered. \"I do not believe the bullet is cast which will bring\nthat wolf to earth.\"\n\n\"What is this demon wolf?\" Harry asked Ernest.", "\"It is a wolf of extraordinary size and fierceness. For many years\nhe has been the terror of the mothers of this part of France. He", "that the object slung between the two horses was really the demon\nwolf there was a shout of satisfaction and pleasure. Again the\nnotes of the mort rang out through the woods, and every one crowded", "descendants will point to it proudly, telling how a lad of their\nrace, with another his own age, slew the demon wolf of Burgundy.\"", "home a faggot from the forest is found torn and partly devoured,\nand the news spreads that the demon wolf has returned to the\nneighbourhood. Great hunts have over and over again been got up", "The news created great excitement.\n\n\"The demon wolf!\" the marquis repeated. \"Are you sure?\"", "\"We have got the demon wolf,\" Ernest replied; \"so you haven't had\nall the sport to yourselves.\"", "\"Is it possible, Edward,\" the marquise said, terrified at the\nthought of the danger her son must have run in an encounter with\nthe dreaded beast, \"is it possible that these two alone have slain\nthis dreadful wolf?\"", "out to see who was coming. He gave an exclamation of surprise and\nalarm as he saw the wolf, and raised his hatchet to defend himself.\nWithout a moment's hesitation the animal sprang upon him and", "On arriving there the marquis found several woodmen, who had been\nfor the last two days marking the places most frequented by the\nwolves. They had given their reports and the party were just starting\nwhen a young forester rode up.", "\"That is the chateau.\"\n\n\n\n\nCHAPTER II\n\nA Mad Dog", "carried the wolf, still slung on its pole, behind the litter. While\nthe preparations were being made Harry had given the history of the\nslaying of the wolf, saying that he owed his life to the quickness", "carried him to the ground, fixing its fangs into his throat. There\nwas a struggle for a few moments, and then the wolf left its lifeless\nfoe and was about to continue its flight." ], [ "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "\"I am just nineteen,\" Harry replied.", "Harry was then measured. When this was done he took out his purse,\nwhich contained fifty guineas; for his father had thought it probable", "\"Oh, Harry, is it you? Can it be true?\" And the spirit which had\nso long sustained the girl gave way, and leaning her head upon his", "old age. You have made me very happy, Harry, and your mother too,\nI am sure. It will be delightful for us having you and your pretty\nFrench wife settled by us; will it not, mother?\"", "In the ordinary course of things he would probably in three or four\nyears' time have chosen some profession; and, indeed, his father\nhad already settled in his mind that as Harry was not likely to", "During the intervening time Harry had been very busy, he had to\nsay good-bye to all his friends, who looked, some with envy, some", "\"We cannot tell,\" Harry said sadly. \"As for myself, I can hardly\nbelieve it, though I saw it. They say there are over four thousand", "\"I know nothing about English politics,\" Harry replied with a smile;\n\"nor indeed about any politics. I am but little past eighteen, and", "\"I live not far from here,\" the man said. \"I will take him to my\nroom. You need not be afraid,\" he added as Harry hesitated, \"I have\ngot my eyes open, you can trust me.\"", "\"I do not blame you, Harry, my boy,\" his father said heartily. \"Of\ncourse you are very young, and under ordinary circumstances would", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "\"You will see her again, never fear,\" Harry said confidently. \"And\nyou will not feel lonely long, for I can promise you that before\nyou have been long at my mother's place you will feel like one of\nthe family.\"", "Half an hour later the matter was settled, and Harry was installed\nin his apartment, which was a little room scantily furnished, at\nthe top of the house, the window looking into the street in front.", "Harry waited until they were in a quiet street, and then quickened\nhis pace until he was close behind the man. Then he drew one of", "After the young ones had all gone off to bed, Harry said to his\nfather and mother:", "\"Just what we agreed upon,\" the man said. \"Here are the empty\nhouses. You stop where you are. I will get rid of this trash.\"\n\nHarry, however, got out.", "\"Agreed!\" the man said, shaking Harry by the hand. \"You speak\nlike a man of heart. I will look after him. You need be under no", "\"I will be at the end of the street,\" Harry said. \"It is quite\ndark by five, so do you start a quarter of an hour later; hide your", "Harry gave him his address.\n\n\"You have only to walk upstairs to the top story. My room is the\none directly opposite the top of the stairs.\"" ], [ "Harry picked up French very rapidly. The absolute necessity there was\nto express himself in that language caused him to make a progress\nwhich surprised himself, and at the end of three months he was able", "\"That slipped out, Harry, for I did not mean to say anything about\nit until you had left school; still, if you go to France I do not", "During the intervening time Harry had been very busy, he had to\nsay good-bye to all his friends, who looked, some with envy, some", "Occasionally and at considerable intervals Harry received letters\nfrom his father. The latter said that there was great excitement\nin England over the events which had taken place in France, and", "\"I am of English parentage,\" Harry said quietly, \"but have been\nresident for some years in France. I was for some time in the service", "\"France is not to be shaken,\" Harry said, smiling, \"by the efforts\nof an old woman of seventy and a young boy and girl; but I can", "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "Harry hesitated, but believing it would be the polite way to do as\nhe was told, returned the bow and went out. The Frenchman put his", "They remained three days in Paris, at the end of which time Harry's\nclothes were delivered. The following morning a carriage with the", "courts of Versailles and St. James's. A knowledge of the French\nlanguage then would be likely to be of great utility to Harry if\nhe entered the army; his expenses at Westminster would be saved,", "They met with no interruption on the road, and arrived in Paris\non the last day of April, 1792. Harry was glad at the change. The", "Three years later, on the day after Harry passed his final examination,\nJeanne and he were married, and set up a pretty establishment", "\"I have just left your sisters, Marie,\" Harry said, \"and you may\nimagine their delight at the news I gave them. You are to see them\nthis evening in the gardens of the Tuileries.\"", "Harry's face, and broke into a frank laugh. The Frenchman smiled,\nput his hand on Harry's shoulder, and said:", "Harry did not think it necessary to say, that when Lebat was missed\nit would probably be ascertained that he was last seen leaving La", "Harry drove on, and was soon in the Rue Montagnard. It was a dark\nnarrow street; no one seemed stirring, and Harry peered anxiously", "In the ordinary course of things he would probably in three or four\nyears' time have chosen some profession; and, indeed, his father\nhad already settled in his mind that as Harry was not likely to", "Ernest was confined to his bed for nearly a month, and during\nthis time Harry often went long rides and walks by himself. In the", "Harry and Victor went to their lodgings, and telling their landlords\nthat they had obtained work at the other end of town, paid their\nrent and left the city, and for the next two days slept in the", "After Adolphe had started for the town, Harry was persuaded by\nPierre to lie down for a bit; but he soon gave up the idea of going" ], [ "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "CHAPTER VIII\n\nMarie Arrested", "\"This female citizen is an aristocrat in disguise,\" he went on,\npointing to Marie; \"in virtue of my office as deputy of Dijon and", "\"They have, I fear, been arrested by the sans culottes,\" Marie said\nmournfully as she burst into tears, feeling, now that the strain", "\"I see, citizen,\" he said--for such was the mode of address universal\nat that time--\"that among the list of persons to be tried is the\nname of Marie de St. Caux.\"", "One morning he was walking with the two younger girls, while Marie\nand the old nurse were together a short distance in front of them.\nThey had just reached the flower-market, which was generally the", "Marie nodded. \"One moment,\" she said, as she brushed aside the tears\nwhich filled her eyes, drew herself up with a little gesture that", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "an official of the republic, came along at a foot-pace. His eyes\nfell upon Marie's face and rested there, at first with the look of\nrecognition, followed by a start of surprise and satisfaction. He", "The order was made out, and Marie was handed over to the armed\nguard, to be taken with the next batch of prisoners to La Force.", "their thoughts from dwelling upon Marie's capture. They had not\nbeen more than a quarter of an hour at their post when Harry gave\nan exclamation of satisfaction as he saw Louise Moulin approaching.", "Marie burst into tears of happiness at hearing that her lover had\nescaped from the danger which threatened. Worn out by the fatigue\nand anxiety of the previous night, she had slept for some hours", "Louise Moulin had persuaded them to go out with her in the early\nmornings when she went to the markets. The fear of detection was\nsmall, for the girls had now become accustomed to their thick shoes", "It was a trial for Marie, who had never before been in the streets\nof Paris except with her mother and closely followed by two domestics,\nand even then only through the quiet streets of a fashionable", "approvingly at their disguises, to which the marquise had, during\nthe long hours of the night, devoted the most zealous attention.\nMarie had been made to look much older than she was. A few dark", "So saying he set out, with Marie walking beside him, with a guard\non either hand. In the next street he came on a party of four of", "\"Poor Marie!\" Jeanne said softly. \"It is well she never knew about\nit. The thought he had got safely away kept her up. And now, tell", "\"A great number of arrests have taken place in the night, among them\nthat of the Marquis de St. Caux and your father. Men are waiting\ninside your house to arrest you as you enter.\"", "\"I am Citizen Lebat of the Committee of Public Safety, and I have\nan order here, signed by Citizen Robespierre, for the release of\nthe female prisoner known as Marie Caux.\"", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It" ], [ "Harry waited until they were in a quiet street, and then quickened\nhis pace until he was close behind the man. Then he drew one of", "\"I live not far from here,\" the man said. \"I will take him to my\nroom. You need not be afraid,\" he added as Harry hesitated, \"I have\ngot my eyes open, you can trust me.\"", "and Harry, satisfied that he had stunned him, ran on and overtook\nthe others, and, turning down the first street they came to, was\nassured that they were safe from pursuit.", "Harry gave a start of surprise. This man whom he had saved was he\nwhom he had so often execrated--one of the leaders of those who", "\"They have to be saved,\" Harry interrupted him in a grave, steady\nvoice. \"The question is how?\"", "first blow as it was flying upon Harry, who had been thrown from\nhis horse. Then, again, Ernest would almost certainly have been\nkilled had not Harry in his turn come to his assistance and dealt", "A quarter of an hour later Lebat came out of the house and walked\ndown the street. Harry followed him. After walking for some distance", "\"You must not say so, Harry. You are too modest. Besides, was it\nnot your quickness that saved Victor? No, we owe you everything, and", "\"I have been attacked in the street,\" he said, \"but I am not hurt,\nthough, had it not been for this citizen it would have gone hardly\nwith me. You have to thank him for saving your brother's life.\"", "Harry drove on, and was soon in the Rue Montagnard. It was a dark\nnarrow street; no one seemed stirring, and Harry peered anxiously", "\"Agreed!\" the man said, shaking Harry by the hand. \"You speak\nlike a man of heart. I will look after him. You need be under no", "\"I will be at the end of the street,\" Harry said. \"It is quite\ndark by five, so do you start a quarter of an hour later; hide your", "The words startled Harry. What was this? He had not interfered, as\nhe had supposed, to prevent the robbery of some quiet citizen by", "\"It has nothing to do with perspicacity,\" Jeanne said. \"Harry saved\nmy life from that dreadful dog, and after that I knew if there was", "The bloody work was still going on, and Harry wandered away into\nthe quiet streets to avoid hearing the shrieks of the victims and", "\"Just what we agreed upon,\" the man said. \"Here are the empty\nhouses. You stop where you are. I will get rid of this trash.\"\n\nHarry, however, got out.", "in front of him, and in a moment would have bounded into the hall\nhad not Harry brought the heavy stick he carried with all his force\ndown upon his head. Victor fell like a log under the blow.", "Harry with difficulty repressed his desire to slay the urchin, and\nhurried away to reach the prison of Bicetre before the band from the", "On leaving Victor in the care of the man who had so providentially\ncame to his aid, Harry hurried down the street towards the Abbaye,", "Harry maintained his grasp tightly round its neck, with his head\npressed closely against one of its ears. Several times they rolled\nover and over. At last Harry made a great effort when he was" ], [ "Lebat to come out. Rapidly thinking the matter over, he concluded\nthat the man would not present himself with the order of release until\nafter dark, in order that if Marie struggled or tried to make her", "\"I am Citizen Lebat of the Committee of Public Safety, and I have\nan order here, signed by Citizen Robespierre, for the release of\nthe female prisoner known as Marie Caux.\"", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "escape it would be unnoticed in the street. Lebat had calculated,\nof course, that on the presentation of the order the prison officials\nwould at once lead Marie to the gates whether she wished it or not,", "to give to Mademoiselle de St. Caux. It is to tell her to make\nno resistance when Lebat presents the order for her release, but", "to grant Marie's release in return for a benefit done him personally.\nHowever, do not let that discourage you in the least. As I said,\nI will have the order by fair means or foul.\"", "But Lebat could give no description whatever of her. He had noticed\nthat Marie was speaking to some one when he first caught sight of\nher face; but he had noticed nothing more, and did not know whether\nthe woman was young or old.", "When Lebat told her triumphantly that he had saved her from death,\nand that she was to have formed one of the party in the tumbril", "\"A sure, certain way, Harry?\" Virginie asked. \"Not only a chance?\"\n\n\"A sure, certain way,\" Harry replied. \"You need have no more fear;\nMarie will certainly be freed.\"", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "\"I have news,\" Harry said, \"and good news, but you must not excite\nyourselves.\"\n\n\"Have you found a way for getting Marie out?\"\n\n\"Yes, I have found a way.\"", "While Robespierre was speaking Harry had rapidly thought over the\nrole which it would be best for him to adopt. Should he avow his\nreal character and ask for an order for the liberation of Marie as", "and that if I would consent to marry him he could save me. He said\nthat his influence would suffice, not only to get me free, but to", "If I cannot ensure Marie's freedom now I should be a bungler\nindeed. Had I had the planning of the events of this evening they\ncould not have turned out better for us.\"", "\"He seems just the man for us,\" Harry said. \"Will you tell your\nfriend, when you see her in the morning, that I will give her twenty\nlouis and her brother a hundred if he can succeed in getting Marie\nout?\"", "\"I am sure we are much indebted to this Monsieur Lebat,\" Marie\nsaid. \"He was here at the hunting party and seemed a worthy young", "forward, but that he preferred to wait and leave the horror of\nmonths in prison to work upon Marie's mind, and so break her down\nthat she would be willing enough to purchase her life by a marriage", "\"I have good news, monsieur,\" she said at once. \"I waited outside\nthe prison till Martha came out. Her brother has agreed to help if", "Marie will nurse him. I have great hopes that he will know her,\nand that she may be able in time to effect a complete cure. In the\nnext place I think it would be dangerous to bring her here, for we", "\"Citizen Lebat,\" he corrected. \"You forget, there are no titles\nnow--we have changed all that. It goes to my heart,\" he went on with" ], [ "\"These are my sons Ernest and Jules, who will, I am sure, do all\nin their power to make you comfortable,\" the marquis said.", "\"Take M. Sandwith to the abbe,\" the marquis said to Ernest, \"and do\nall in your power to set him at his ease. Remember what you would\nfeel if you were placed, as he is, among strange people in a strange\ncountry.\"", "After a prolonged talk with M. du Tillet the marquis sent for\nErnest. As soon as he entered the lad said:", "\"I cannot say no,\" the marquis replied. \"I wish you could have stayed\nwith the children, but they need fear no trouble here. Ernest is", "marquis and his wife, of their daughters, and of Victor de Gisons,\nalmost excluding everything else. When he thought of the boys it\nhad been as already in England, under the charge of du Tillet.", "The Marquis de St. Caux had, in some respects, the thoughts and\nopinions of the old school. He was a royalist pure and simple. As", "\"The marquis and his family are all away at their chateau near\nDijon,\" his companion said, waving his hand. \"We shall stay a day\nor two to rest ourselves after our journey, and then start to join\nthem.\"", "\"This is awful!\" Harry said to himself as he turned away. \"The\nmarquis and his wife massacred, Ernest and Jules murdered, Marie", "\"But the children, Edouard!\" the marquise murmured.\n\n\"I shall stand by my father's side,\" Ernest said firmly.", "\"A Marquis de St. Caux does not fly from the canaille of Paris,\"\nthe marquis said quietly. \"No, Du Tillet; the king and queen are", "\"And the girls?\" the marquise asked, as Ernest bent his head in\nsign of obedience to his father's orders.", "sword and prepared to start for the palace. He embraced his wife,\nwho was calm but very pale, and his children. Ernest asked to be\nallowed to go with him, but the marquis said:", "In due time a letter was received from Count Auguste de St. Caux,\nstating that the marquis had requested him to write and say that", "the news has, no doubt, already been spread that the daughters of\nthe Marquis de St. Caux had left the house before those charged\nwith their father's arrest arrived, it will be better for you not", "woman herself was a servant in the family of the ci-devant Marquis\nde St. Caux. She gives out that the girls are relatives of hers,\nbut it is believed in the neighbourhood that they are aristocrats", "to send the young ones away than to retain them in Paris, and the\nmarquise had been a prey to the liveliest anxiety respecting her\nchildren. It seemed impossible that there could be any animosity", "Towards the end of July the Marquis de St. Caux and the little\nbody of royalists who still remained faithful to the king became", "\"'Crimes!' he said. 'Do you think a Marquis de St. Caux is going\nto plead for his life to a band of murderers and assassins? Come,\nmy love.'", "\"Oh, how I long to be in England,\" Virginie exclaimed, \"and to see\ndear Ernest and Jules again! How anxious they must be about us, not", "Thus it happened that on the same day that the marquis started for\nParis, M. du Tillet set out from the chateau taking with him some" ], [ "Three years later, on the day after Harry passed his final examination,\nJeanne and he were married, and set up a pretty establishment", "\"I know, Harry, and I love you too with all my heart; so much that\nI can feel almost happy that we are going to die together. We are\naffianced now, dear, come what will.\" And she lifted her face to\nhis.", "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "\"Now, Harry,\" the marquis said when he had mastered the emotion\ncaused by the parting, which he felt might be a final one, \"since", "ceremonial observance which had, on his first arrival, surprised\nand amused Harry was now laid aside. Marie, happy in the visits\nof her lover and at the prospect of her approaching marriage, did", "\"Never you mind, Harry,\" his father said; \"let those laugh that\nwin. But you are not thinking of getting married yet, I hope.\"\n\n\"No, no, father; you cannot think I would live on Jeanne's money.\"", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "\"Oh, Harry, is it you? Can it be true?\" And the spirit which had\nso long sustained the girl gave way, and leaning her head upon his", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only", "up in her room. By the time she came down they had recovered their\ngravity. Mrs. Sandwith and the girls had already given her the\nwarmest welcome as Harry's future wife, and the boys received her", "Finding that she could not persuade Harry to enter, Louise turned\nto perform her painful duty; while Harry, thoroughly exhausted with\nthe night of horrors, made his way home, and throwing himself on", "Leaving the girls, who were worn out with weariness and anxiety,\nto sleep, she rejoined Harry.", "Another month passed before the name appeared on the fatal list. In\nthe meantime Harry had corresponded regularly with Marie by means\nof the warder, and had even once seen her and exchanged a few", "\"Well, at anyrate,\" Harry said, \"Jeanne has no time for any thought\nof marrying just at present. But there is another thing I want to\ntell you about. I have first a confession to make. I have deceived\nyou.\"", "Seeing at a glance that his daughters were untouched, the marquis\nran on to Harry, who was standing panting and breathless, and threw\nhis arms round him.", "CHAPTER XI\n\nMarie and Victor\n\n\n\"Are you taking me to the girls, Harry?\"", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "Harry maintained his grasp tightly round its neck, with his head\npressed closely against one of its ears. Several times they rolled\nover and over. At last Harry made a great effort when he was", "\"It will indeed,\" Mrs. Sandwith said in a tone of deep happiness.\n\"You are certainly overworked and need a partner terribly, and who\ncould be like Harry?\"" ] ]	[ "The Marquis was taken with Harry right away but it took the rest the family a lot longer to adjust to him, Why?", "What did the Marquis and Marquise do with their children once they realized they were to be arrested for being nobility? ", "Who is Lebot and what does he do with Marie?", "It takes Harry several tries to get Robspierre to release Marie, what finally gets Robspierre to release her? ", "How does Jeanne find passage to England?", "What happens to Louise?", "Where does Marie go after Harry saves her from Lebat? ", "What happens to Harry and Jeanne once they return to England?", "What happens to Marie and Victor?", "How old is Harry Sandwith?", "In which year does Harry set off for Paris?", "When does the attiitude of the family change towards Harry?", "Who is killed by Harry and Ernest?", "To which city does Marquis decide to move his family, to support the King?", "Who is Marie's fiance?", "Who captures Marie in the marketplace?", "On what condition does Lebat agree to freeing Marie?", "Whom does Harry rescue from being beaten in the street?", "Whom does Harry marry after passing his medical exams?", "Who invites Harry to live at his chateau in France?", "What makes the St. Caux family start trusting Harry?", "Who kills the \"Demon Wolf\" that has been terrorizing the communities around the chateau?", "How old is Harry at the beginning of the story?", "What year does Harry leave for France?", "Who recognizes Marie in the marketplace and has her arrested?", "Who does Harry save from a beating in the streets?", "Lebat says he will free Marie in exchange for what?", "Where do the Marquis and Marquise de St. Caux send Ernest and Jules?", "Who does Harry end up marrying?" ]	[ [ "Harry did not dress as elegantly as the rest of the family and his manners were rough and course. ", "Harry's maniness and independence was qualities admired by the Marquis, but was found strange and funny to rest of family" ], [ "They sent Earnest and Jules to Paris, and Marie Jeanne and Virginne they sent to stay with their nurse Louis Moulin. ", "tell their children to escape" ], [ "Lebat is the son of the mayor and captures Marie in the marketplace and arrests her. ", "He is the son of the Mayor of Dijon and he arrests her as a noble in hiding" ], [ "Harry tells Robespierre that Marie has agreed to marry him and is a friend of the revolution. ", "That they are getting marries" ], [ "She finds passage with a fisherman named Adolphe. ", "with a fisherman whose child she nursed to health" ], [ "She becomes ill and dies. ", "She became ill and died while fleeing France." ], [ " She stays in Paris with her Fiance Victor. ", "Stays in Paris with Victor" ], [ "Harry gets his medical degree and marries Jeanne.", "They are married." ], [ "Marie and Victor marry and victor buys the chateaux that Marie grew up in. ", "They purchase the chateau once belonging to the Marquis." ], [ "16", "16" ], [ "1790", "1790." ], [ "When he kills a rabid dog which was attacking Jeanne and Virginie", "After killing the rabid dog." ], [ "Demon Wolf", "The Demon Wolf." ], [ "Paris", "Paris." ], [ "Victor de Gisons", "Victor de Gisons" ], [ "Lebat, the son of the Mayor of Dijon", "Lebat." ], [ "If she agress to marry him", "If Marie marries him." ], [ "Maximilien de Robespeirre", "Robespierre" ], [ "Jeanne", "Jeanne" ], [ "The Marquis de St. Caux", "The Marquis" ], [ "He kills a rabid dog that was attacking Jeanne and Virginie", "impressed with the English school system" ], [ "Harry and Ernest", "Harry and Ernest" ], [ "16", "16" ], [ "1790", "1790" ], [ "Lebat, son of the mayor of Dijon", "Lebat" ], [ "Maximilien de Robespierre", "Maxmilien de Robespierre" ], [ "Her promise to marry him", "Her marrying him." ], [ "England", "Paris" ], [ "Jeanne de St. Caux", "Jeanne" ] ]	216a7a5535571aae2842944a3529fae1f664cb0f	train
[ [ "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "His eyes move to her face... One wisp of hair falls over her\n\tsoft lips. OUTLINED IN THE SOFT READING LIGHT, Anna Crowe truly\n\tlooks like an angel.", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "The room falls into silence. Malcolm sits still across from his\n\twife. He drinks her in with his eyes.", "Husband and wife's eyes meet. Mrs. Collins smiles softly.\n\n\tMr. Collins' eyes tremble with tears.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "She looks back at her husband. His glare is painful. Rage\n\tfilling every cell of his body. Tears falling faster down his\n\tcheeks.", "Mrs. Collins is seated at the dining room surrounded by friends\n\tand family. She fixes one of the many bouquets of flowers on the\n\ttable. It takes her a beat before she feels the stare.", "Mayor on the news. Dr. Malcolm\n\t\tCrowe, he's helped so many children...\n\t\tAnd he doesn't even remember my\n\t\tname?", "MALCOLM\n\t\tMy name is Dr. Malcolm Crowe. I\n\t\twas supposed to meet you today.\n\t\tSorry I missed our appointment.", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "MALCOLM\n\t\tWhat about Mrs. Marschal?\n\n\t\t\t COLE\n\t\t\t(whispers)\n\t\tShe died a long time ago.", "Lynn closes her eyes. Lets out a tense breath. Beat. Malcolm\n\teyes the doctor as he glances back to an academic-looking woman\n\tstanding at the reception room door.", "Mrs. Collins turns her attention back to the flowers. She\n\tconcentrates with all her strength. Beat. Her hands begin to\n\tshake.", "Malcolm moves to her side. The sight of her stops him.\n\n\tHe stares at his wife...", "Doctor Hill gestures to the woman standing near the doorway.", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep." ], [ "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "Vincent instantly moves the gun to his own head. ANOTHER\n\tHORRIFIC BLAST SPIKES THE AIR. Vincent crumples onto the\n\tbathroom floor.", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "Vincent turns to the sink. His hand goes in. He turns arund and\n\traises a gun at Malcolm. He FIRES. A VIOLENT, EAR-SHATTERING", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "Lynn and Darren's mom rush to the door and turn the knob... The\n\tdoor flies open. Lynn reaches in and pulls out Cole. He's\n\tUNCONSCIOUS.", "Mr. Cunningham's expression drains of anger as Cole Sear begins\n\tto cry.\n\n\t\t\t\t\t\t\tCUT TO:", "Beat. Cole takes another step. The next step will put him at\n\tthe chair. Malcolm lowers his fingers from his temple.", "Cole begins to back away...\n\n\tThe father gazes at Cole as he melts into the crowd. Cole\n\treaches Malcolm and the two then slip out of the house.", "The villagers rise and rush to Cole. They scoop him up and carry\n\thim around the stage in celebration. Cole chuckles and then", "It happens too quick for Cole to react. Darren and Tommy shove\n\tCole backwards. He stumbles into the darkness of the crawl space.\n\n\t\t\t COLE\n\t\tDon't!", "Cole puts down his glass on a table and walks over to the plant.\n\tCole kneels down and starts to push the potted plant aside. THE\n\tPOT SCREECHES ON THE WOODEN FLOOR.", "COLE\n\t\tSomeone got hurt.\n\n\t\t\t LYNN\n\t\tThey did?\n\n\t\t\t COLE\n\t\tA lady. She died.", "Darren and Tommy back away from the door as COLE SCREAMS IN\n\tTERROR at the top of his lungs. He CRASHES OVER AND OVER against", "Beat.\n\n\t\t\t COLE\n\t\tI know.\n\n\t\t\t\t\t\t\tCUT TO:", "Malcolm's open jaw releases a long strained breath and then\n\tbecomes silent. Anna tries to cover the wound with her hands\n\tdesperately.\n\n\t\t\t\t\t\t\tSLAM CUT:" ], [ "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "Mayor on the news. Dr. Malcolm\n\t\tCrowe, he's helped so many children...\n\t\tAnd he doesn't even remember my\n\t\tname?", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "You need to help them. Each one of\n\t\tthem.\n\t\t\t(beat)\n\t\tEveryone wants to be heard.", "reminds him of that one. Reminds\n\t\thim a lot of that one. Malcolm\n\t\tdecides to try to help this new boy.", "Malcolm can't help smiling as well. This is not the same man he\n\tsaw before. Life has returned to this house. Beat.", "He thinks maybe if he can help this\n\t\tboy, it would be like helping that\n\t\tone too.", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "MALCOLM\n\t\tMy name is Dr. Malcolm Crowe. I\n\t\twas supposed to meet you today.\n\t\tSorry I missed our appointment.", "Cole begins surveying the room again. Beat. His eyes finally\n\tcome to rest on a plant seated in the corner. He stares at it...", "Malcolm's face is filled with emotion. Cole is suddenly hit by\n\tMalcolm's passion. Beat. Cole nods slowly as he looks at\n\tMalcolm with different eyes.", "His eyes move to her face... One wisp of hair falls over her\n\tsoft lips. OUTLINED IN THE SOFT READING LIGHT, Anna Crowe truly\n\tlooks like an angel.", "Mr. Cunningham's expression drains of anger as Cole Sear begins\n\tto cry.\n\n\t\t\t\t\t\t\tCUT TO:", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "proudly bestows upon its son Dr.\n\t\tMalcolm Crowe... That's you...\n\t\tthe Mayor's Citation for", "The sight of him exhausted and still, hits Lynn hard.\n\n\tLynn's face drowns in deep concern. She lays a hand on Cole's\n\thead as she drives.", "The villagers rise and rush to Cole. They scoop him up and carry\n\thim around the stage in celebration. Cole chuckles and then" ], [ "IT'S A BOY. A FEW YEARS OLDER THAN COLE.\n\n\tTHE BOY WHISPERS IN A LOW, HOARSE VOICE.", "couple. Lynn and Cole and a man. The man looks in every way a\n\tlarger version of Cole.", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers.", "COLE SEAR steps out his front door. Cole is a munchkin of a boy\n\twith large, black eyes that seem to take in everything around\n\thim.", "Cole takes a step. Malcolm opens his eyes. He looks right at\n\tCole.", "Malcolm nods \"yes\" as they continue walking. Cole slows as they\n\tapproach the old man. As we get closer, we make out the man can\n\tbarely see.", "Cole answers by taking a small step back. Beat.", "Cole who has shut his eyes... slowly opens them.", "Cole has become very still. He looks right at Malcolm.", "Lynn takes it all in curiously.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tINT. COLE'S BEDROOM - AFTERNOON", "Cole senses someone. He looks up and sees Malcolm staring at\n\thim. The boy immediately goes white. Every cell of his body\n\tstill with fear.", "Cole is curled up asleep on the passenger seat, back in his\n\tregular clothes, a tiny party hat clutched in his hand. He looks\n\tlike a four-year-old.", "Cole is seated in the school library by himself. He sits at a\n\tlong center table near the windows. His head is laying on his\n\tfolded arms on the table.", "Malcolm breaks from his thoughts and looks at Cole who watches\n\thim with unwavering attention. Malcolm smiles.", "Beat.\n\n\t\t\t COLE\n\t\tI know.\n\n\t\t\t\t\t\t\tCUT TO:", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "INT. COLE'S HOME - AFTERNOON", "Cole is the last one to go in. He stands alone on the sidewalk.\n\tHe looks like he'd rather be anywhere but there.\n\n\tBeat.", "Malcolm becomes completely motionless. Works to hide his shock.\n\tHe and Cole stare at each other a long time.", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and" ], [ "LYNN\n\t\tYou see ghosts, Cole?\n\n\t\t\t COLE\n\t\tThey want me to do things for them.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "LYNN\n\t\tDead people?\n\n\t\t\t COLE\n\t\tGhosts.\n\n\tBeat.", "MALCOLM\n\t\tThey don't know they're dead?\n\n\tBeat.\n\n\t\t\t COLE\n\t\tI see ghosts.", "COLE\n\t\tThey scare me too sometimes.\n\n\t\t\t LYNN\n\t\tThey?\n\n\t\t\t COLE\n\t\tDead people.", "The emaciated little girl who came to his tent lays curled on the\n\tfloor. Her bulging eyes glare at Cole. She moves suddenly.", "She looks to the closet. THE HIGH-PITCHED SCREAMS CUT THROUGH\n\tTHE HALL.\n\n\t\t\t LYNN\n\t\tCole!", "COLE\n\t\tNo.\n\n\t\t\t MALCOLM\n\t\tWhat do those ghosts want when they\n\t\ttalk to you? Think real careful\n\t\tnow, Cole...", "LYNN\n\t\tYou can see her?\n\n\t\t\t COLE\n\t\tYes.", "Cole turns a corner and comes to a dead stop. He turns white as\n\the stares at an open CRAWL SPACE CLOSET a few feet away. Cole's", "Cole jerks back startled. He watches as the girl's hand slips\n\tback under the bed. Cole stays very still. Waits. Nothing\n\thappens.", "His hair is dark, with a small patch of jet white on the side.\n\tCole carefully locks the door behind him.\n\n\tHe moves to the bottom of the stairs and looks around nervously.\n\tAnxiously.", "The girl reaches out with her withered and emaciated hands --\n\ttiny tubes hang from her wrists. She scratches Cole as he\n\ttumbles back terrified out of the tent. The whole tent collapses --", "Cole senses someone. He looks up and sees Malcolm staring at\n\thim. The boy immediately goes white. Every cell of his body\n\tstill with fear.", "Curled up next to him is Sebastian. They sleep surrounded by\n\tstatues and pictures.\n\n\tCole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "Cole closes the door behind him. He turns and gazes at the\n\tgirl's bedroom. There's a hospital bed near the window. The", "COLE\n\t\tI see dead people... Some of them\n\t\tscare me.\n\n\tBeat.\n\n\t\t\t MALCOLM\n\t\tIn your dreams?", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "A LIGHT TURNS ON FROM UNDER COLE'S DOOR.\n\n\tThe door opens a crack. Cole's tiny face peeks out. Eyes scan\n\tthe darkness." ], [ "Kyra picks up the spoon and takes a sip. Her face crinkles at\n\tthe taste. She looks up at her mother.", "Kyra climbs in bed and pretends to be sleeping when the door\n\topens. It's Mrs. Collins. She carries in a tray of soup and a\n\tsandwich.\n\n\tLIVING ROOM", "KYRA\n\t\t\t(video tape)\n\t\tI'm feeling much better now.\n\n\tThe image of the mother smiles.", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "She looks back at her husband. His glare is painful. Rage\n\tfilling every cell of his body. Tears falling faster down his\n\tcheeks.", "FOUR YEAR OLD\n\t\tKyra's not coming back.\n\n\tBeat.\n\n\t\t\t COLE\n\t\tNot anymore.", "Kyra slowly brings the spoon to her mouth and swallows another\n\tspoonful.", "LYNN\n\t\tYou think I hurt my child?\n\t\t\t(emotional)\n\t\tYou think I'm a bad mother?", "MRS. COLLINS\n\t\t\t(video tape)\n\t\tKyra, time for lunch.\n\n\tKyra pretends to wake from a deep sleep.", "The image of the mother prepares the meal. She uncovers the\n\tfruit and the soup. Places a straw into the drink.\n\n\tAnd then it happens.", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "I don't think it's the mother.\n\t\tJust a gut thing. The way she\n\t\tdeals with him. It doesn't fit.", "Lynn turns -- surprised to hear her son's voice. Lynn's eyes are\n\tred from crying. She wipes them quickly with the back of her\n\thand.", "COLE\n\t\tShe watched out for you.\n\n\tThe little girl finally looks up. She has the saddest eyes.", "Her words are met with ice cold stares. The first tears stream\n\tdown her face. The pretty flowers of consolation in her hand\n\ttumble to the floor.\n\n\t\t\t\t\t\t\tCUT TO:", "Beat. Lynn looks at her son. She barely gets the words out.\n\n\t\t\t LYNN\n\t\t\t(crying)\n\t\tDo I make her proud?", "FOOTSTEPS SPIKE THE AIR AS children and mothers come running down\n\tthe hall. Lynn is one of them.\n\n\tDarren's mother turns the corner.", "LYNN\n\t\tHe's my whole life.\n\n\tDarren's mom turns back to Lynn, the forced smile on her face.", "The girl reaches out with her withered and emaciated hands --\n\ttiny tubes hang from her wrists. She scratches Cole as he\n\ttumbles back terrified out of the tent. The whole tent collapses --" ], [ "Kyra climbs in bed and pretends to be sleeping when the door\n\topens. It's Mrs. Collins. She carries in a tray of soup and a\n\tsandwich.\n\n\tLIVING ROOM", "Kyra slowly brings the spoon to her mouth and swallows another\n\tspoonful.", "FOUR YEAR OLD\n\t\tKyra's not coming back.\n\n\tBeat.\n\n\t\t\t COLE\n\t\tNot anymore.", "MRS. COLLINS\n\t\t\t(video tape)\n\t\tKyra, time for lunch.\n\n\tKyra pretends to wake from a deep sleep.", "KYRA\n\t\t\t(video tape)\n\t\tI'm feeling much better now.\n\n\tThe image of the mother smiles.", "Kyra picks up the spoon and takes a sip. Her face crinkles at\n\tthe taste. She looks up at her mother.", "The emaciated little girl who came to his tent lays curled on the\n\tfloor. Her bulging eyes glare at Cole. She moves suddenly.", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "She looks back at her husband. His glare is painful. Rage\n\tfilling every cell of his body. Tears falling faster down his\n\tcheeks.", "COLE\n\t\tShe watched out for you.\n\n\tThe little girl finally looks up. She has the saddest eyes.", "The girl reaches out with her withered and emaciated hands --\n\ttiny tubes hang from her wrists. She scratches Cole as he\n\ttumbles back terrified out of the tent. The whole tent collapses --", "EXT. HOUSE - AFTERNOON\n\n\tCole sits on the swings next to Kyra's four-year-old sister. She\n\tdoesn't look up.", "Beat. She becomes silent. Anna falls back into deep sleep, her\n\tarm slides down. SOMETHING SHINY FALLS OUT AND ROLLS ON THE\n\tGROUND.", "COLE\n\t\tSomeone got hurt.\n\n\t\t\t LYNN\n\t\tThey did?\n\n\t\t\t COLE\n\t\tA lady. She died.", "Her words are met with ice cold stares. The first tears stream\n\tdown her face. The pretty flowers of consolation in her hand\n\ttumble to the floor.\n\n\t\t\t\t\t\t\tCUT TO:", "expressions. The same thing\n\t\thanging over them.\n\t\t\t(beat)\n\t\tIt might be some kind of abuse.", "Anna laughs as she wipes her eyes.\n\n\t\t\t ANNA\n\t\tNothing. There wasn't supposed to\n\t\tbe any crying at this celebration.\n\t\tJust a lot of drinking and sex.", "Malcolm watches everything anxiously.\n\n\tCole stares at Mr. Collins.\n\n\t\t\t COLE\n\t\tAre you Kyra's daddy?", "Anna is the rare combination of beauty and innocence. She stands\n\tin the chilly basement in an elegant summer dress that outlines" ], [ "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "Cole doesn't say a word.\n\n\t\t\t LYNN\n\t\t\t(crying)\n\t\tPlease.\n\n\t\t\t\t\t\t\tCUT TO:", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "Cole's expression changes back to sadness as he looks to the\n\twindows. Malcolm leans across the table and whispers.\n\n\t\t\t MALCOLM\n\t\tCole...", "Beat. Cole's chin starts to tremble. His voice cracks.\n\n\t\t\t COLE\n\t\t\t(whispers)\n\t\tPromise?\n\n\tBeat.", "He opens his mouth -- it takes a while before the words come out.\n\n\t\t\t COLE\n\t\tDo you want to tell me something?\n\n\t\t\t\t\t\t\tCUT TO:", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "Cole closes the door behind him. He turns and gazes at the\n\tgirl's bedroom. There's a hospital bed near the window. The", "Cole doesn't respond. Beat.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tWell, you know what I did today?", "Malcolm's face is filled with emotion. Cole is suddenly hit by\n\tMalcolm's passion. Beat. Cole nods slowly as he looks at\n\tMalcolm with different eyes.", "Cole begins surveying the room again. Beat. His eyes finally\n\tcome to rest on a plant seated in the corner. He stares at it...", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "Cole shrugs.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tYou know, you can tell me things if\n\t\tyou need to.", "Lynn comes out. She reaches Cole -- kneels down in front of him.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tHow was school, baby?", "Cole shakes his head, \"No.\"\n\n\t\t\t MALCOLM\n\t\tWhen you're awake?\n\n\tCole nods, \"Yes.\"", "Cole quietly walks to Malcolm who stands motionless. He stares\n\tdown at Cole in a daze.\n\n\tCole turns his head, crying.", "The room falls into silence again. Cole speaks extra soft.\n\n\t\t\t COLE\n\t\tYou want to go home?\n\n\tMalcolm stares across at Cole." ], [ "Vincent turns to the sink. His hand goes in. He turns arund and\n\traises a gun at Malcolm. He FIRES. A VIOLENT, EAR-SHATTERING", "Vincent instantly moves the gun to his own head. ANOTHER\n\tHORRIFIC BLAST SPIKES THE AIR. Vincent crumples onto the\n\tbathroom floor.", "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "Vincent's eyes burn at Malcolm.\n\n\t\t\t VINCENT\n\t\tYou forgot cursed.\n\n\tVINCENT is fully crying now.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "in those fifteen minutes. But I\n\t\tnow believe Vincent tried to tell\n\t\tme something, show me something and\n\t\tI didn't listen.", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "VINCENT GRAY stares with surprise through his tears.\n\n\tMalcolm lets out a deep breath like he just emerged from deep\n\twaters.", "Mr. Marschal's eyes slowly fill with tears of realization. They\n\tgently spill down his weathered face.\n\n\t\t\t MR. MARSCHAL\n\t\tOh no...", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "MALCOLM\n\t\t\t(on tape)\n\t\tVincent... Why are you crying?\n\t\t\t(beat)\n\t\tVincent?", "Malcolm's face is filled with emotion. Cole is suddenly hit by\n\tMalcolm's passion. Beat. Cole nods slowly as he looks at\n\tMalcolm with different eyes.", "Mr. Cunningham's expression drains of anger as Cole Sear begins\n\tto cry.\n\n\t\t\t\t\t\t\tCUT TO:", "MALCOLM\n\t\t\t(whispers)\n\t\tVincent... I'm sorry I didn't help\n\t\tyou... I can try to help you now.", "MALCOLM\n\t\tI do remember you, Vincent. You\n\t\twere a good kid. Very smart...\n\t\tQuiet... Compassionate...\n\t\tUnusually compassionate...", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "MALCOLM\n\t\t--Vincent?\n\n\tTHE ROOM GOES SILENT AGAIN.\n\n\t\t\t MALCOLM\n\t\tVincent Gray?", "Cole holds up his plastic rifleman. Malcolm's eyes show he\n\tunderstands now.\n\n\n\t\t\t MALCOLM\n\t\tMaybe later.\n\n\tBeat." ], [ "The man's hands flip the page. At the top of this new page\n\treads, \"Cole Sear, age 8, Referred September 1998.\"", "The empty basement is no longer empty. It's piled with file\n\tcabinets and boxes of psychology and medical books. A desk sits\n\tin the corner next to the wine racks.", "MALCOLM\n\t\tMy name is Dr. Malcolm Crowe. I\n\t\twas supposed to meet you today.\n\t\tSorry I missed our appointment.", "Malcolm stares at the tired child sitting before him in the\n\thospital bed.\n\n\tMalcolm rolls his stool away from his client as he thinks.", "Mayor on the news. Dr. Malcolm\n\t\tCrowe, he's helped so many children...\n\t\tAnd he doesn't even remember my\n\t\tname?", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "LYNN\n\t\t\t(raising voice)\n\t\tWhat happened to my child today?\n\n\tDr. Hill gets up.", "Malcolm shakes off the moment. He returns his hands to his\n\tpockets as he moves through the dark streets of Philadelphia to\n\this home.\n\n\t\t\t\t\t\t\tCUT TO:", "MALCOLM (o.s.)\n\t\tLook, he's an eight-year-old child.\n\t\tHe's my only client. If he invites", "Malcolm sits stoically at his desk in his basement. His eyes\n\tgaze at the dusty FRAMED CERTIFICATE FROM THE CITY OF\n\tPHILADELPHIA shoved between two packing boxes.", "work, and his continuing efforts to\n\t\timprove the quality of life for\n\t\tcountless children and their\n\t\tfamilies, the City of Philadelphia", "Lynn takes a step forward. Lynn's face betrays the fact that she\n\tnotices something she never noticed before. She touches a photo\n\tof three-year-old Cole.", "Vincent Gray. I was treating a\n\t\tcouple, Donald and Robin Wagner,\n\t\twho had lost their child to", "A young resident DR. HILL takes a seat at the table with them.\n\tHe opens up his notes.\n\n\t\t\t LYNN\n\t\tWhat's wrong with Cole?", "Malcolm looks down at his eyes full with emotion.\n\n\t\t\t MALCOLM\n\t\tI'm going to transfer you. I know\n\t\ttwo psychologists that are\n\t\texceptional--", "Lynn is a woman in her late twenties. One hundred percent South\n\tPhilly. Hair teased. She chews on an early morning piece of", "ANNA\n\t\tIn recognition for his outstanding\n\t\tachievement in the field of child\n\t\tpsychology, his dedication to his", "The city bus slithers through the old Philadelphia streets\n\tworking its way downtown.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tEXT. HOME - AFTERNOON", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "with children. Loved it more than\n\t\tanything.\n\t\t\t(smiles)\n\t\tThen one night, he finds out he" ], [ "Malcolm slowly starts towards the door. The first thing that\n\tcomes into view are the clothes on the bathroom floor. Then the\n\tfigure of a man comes into view. A STRANGER stands bare chested\n\tin the back of the bathroom.", "Malcolm moves to the bathroom door and opens it slowly.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tINT. BATHROOM - EVENING", "Malcolm steps into the bathroom quietly. He stares at the\n\tsilhouette of Anna's body through the smoked glass of the shower.\n\tAnna stands still, her head tilted back.", "The stranger suddenly comes forward into the doorway. Malcolm\n\tstumbles back onto the edge of the bed.\n\n\tAnna sees the stranger for the first time. Her face drains of\n\tcolor.", "Cole moves briskly to a door halfway down the corridor. Opens\n\tit. Cole turns on the LIGHT IN THE BATHROOM.", "His eyes move to her face... One wisp of hair falls over her\n\tsoft lips. OUTLINED IN THE SOFT READING LIGHT, Anna Crowe truly\n\tlooks like an angel.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "pants and turns. He doesn't come out of the bathroom at first.\n\tHe just stands there and stares into the darkness of the hall.", "Malcolm and Anna stare at the bathroom doorwary. They know\n\tsomeone is inside. Beat.", "A SHADOW FROM THE BATHROOM FLATS OVER BOTH OF THEM.\n\n\tANNA SCREAMS.\n\n\tMalcolm spins around. His heart stops.", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "Cole turns a corner and comes to a dead stop. He turns white as\n\the stares at an open CRAWL SPACE CLOSET a few feet away. Cole's", "Stanley Cunningham moves between two curtains and comes to a prop\n\troom door in the back. He puts an ear to the door, listens and\n\tthen knocks. After a second, he enters.", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "His hair is dark, with a small patch of jet white on the side.\n\tCole carefully locks the door behind him.\n\n\tHe moves to the bottom of the stairs and looks around nervously.\n\tAnxiously.", "MALCOLM TURNS ON THE BATHROOM LIGHT.\n\n\tA SHAFT OF LIGHT falls on Anna as she stands in the corner of the\n\troom.", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "Cole closes the door behind him. He turns and gazes at the\n\tgirl's bedroom. There's a hospital bed near the window. The", "Cole is too terrified to move.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tINT. KITCHEN - NIGHT", "The front door opens as another group arrives. Malcolm nods to\n\tCole as the foyer fills up. The two of them quietly disappear\n\tupstairs.\n\n\t\t\t\t\t\t\tCUT TO:" ], [ "Vincent instantly moves the gun to his own head. ANOTHER\n\tHORRIFIC BLAST SPIKES THE AIR. Vincent crumples onto the\n\tbathroom floor.", "Vincent turns to the sink. His hand goes in. He turns arund and\n\traises a gun at Malcolm. He FIRES. A VIOLENT, EAR-SHATTERING", "A SHOOTING PAIN PIERCES HIS SIDE. Malcolm's hand goes to it\n\tquickly. He waits for it to pass before starting for the ornate\n\tdoors.", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "A few minutes later. Cole is now standing in his doorway. He\n\tstares at the hunched figure covered by the collapsed tent.", "He heads right for the homemade tent seated in the corner with\n\tthe \"DO NOT TOUCH\" sign on it. He scurries in. His legs\n\tdisappear as the bedsheets flap closed behind him.", "The stranger suddenly comes forward into the doorway. Malcolm\n\tstumbles back onto the edge of the bed.\n\n\tAnna sees the stranger for the first time. Her face drains of\n\tcolor.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "His eyes come to rest on the door to his basement office. He\n\tlooks in disbelief at the set of DEAD BOLT LOCKS on the door.", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "His hair is dark, with a small patch of jet white on the side.\n\tCole carefully locks the door behind him.\n\n\tHe moves to the bottom of the stairs and looks around nervously.\n\tAnxiously.", "Malcolm's face shows his losing battle against his emotions. He\n\tdoesn't turn to look back.\n\n\t\t\t\t\t\t\tCUT TO:", "Cole closes the door behind him. He turns and gazes at the\n\tgirl's bedroom. There's a hospital bed near the window. The", "The father SHUTS OFF THE TELEVISION with his trembling hands. He\n\tpresses his hands to his eyes like they're burning.\n\n\tThe ROOM IS UTTERLY SILENT.", "Malcolm slowly starts towards the door. The first thing that\n\tcomes into view are the clothes on the bathroom floor. Then the\n\tfigure of a man comes into view. A STRANGER stands bare chested\n\tin the back of the bathroom.", "Vincent's eyes burn at Malcolm.\n\n\t\t\t VINCENT\n\t\tYou forgot cursed.\n\n\tVINCENT is fully crying now.", "A door opens. Malcolm is brought out of his trance.", "Malcolm's open jaw releases a long strained breath and then\n\tbecomes silent. Anna tries to cover the wound with her hands\n\tdesperately.\n\n\t\t\t\t\t\t\tSLAM CUT:", "The villagers rise and rush to Cole. They scoop him up and carry\n\thim around the stage in celebration. Cole chuckles and then", "He looks around fearfully. His eyes move to the windshield. No\n\tbroken glass. No blood. And no woman. Cole looks out through" ], [ "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "Cole smiles at his mother as he moves to her side. Touches her\n\tface with his tiny fingers.", "Cole moves closer to Lynn. She cradles him in her arms. Mother\n\tand son hold each other tight.", "COLE\n\t\t\t(soft)\n\t\tThat's Tommy, Momma.\n\n\tCole quietly kisses his mother on the cheek and starts out.", "LYNN\n\t\t\t(yells)\n\t\tGo!\n\n\tCole gets up -- never taking his eyes off his mother -- and\n\tleaves the room.", "LYNN\n\t\tHi, this is Lynn Sear, Cole's\n\t\tmother. I wonder if we could", "Cole just closes his eyes and holds his mom tight.\n\n\t\t\t LYNN\n\t\t\t(desperate)\n\t\t...Please tell me.", "Curled up next to him is Sebastian. They sleep surrounded by\n\tstatues and pictures.\n\n\tCole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.", "Lynn fights back some tears.\n\n\t\t\t LYNN\n\t\tLook at my face, Cole.\n\n\tCole does. Lynn smiles at her son.", "COLE\n\t\t\t(whispers)\n\t\tMomma, you sleep now.\n\n\tHis touch seems to have an effect. Lynn becomes still in her\n\tsleep. Cole watches her carefully.", "Cole nods \"Yes\" again. Lynn becomes upset. She nods with grave\n\tunderstanding. Cole watches her.\n\n\t\t\t COLE\n\t\tWhat are you thinking, Momma?", "Cole closes the door to his mother's bedroom shut. He stands\n\tstill in the hallway. Lets out a heavy sigh...", "Cole shakes his head, \"No.!\n\n\tMalcolm thinks for a bit.\n\n\t\t\t MALCOLM\n\t\tYour mom set that up?", "INT. COLE'S HOME - AFTERNOON", "COLE SEAR steps out his front door. Cole is a munchkin of a boy\n\twith large, black eyes that seem to take in everything around\n\thim.", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "Lynn takes it all in curiously.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tINT. COLE'S BEDROOM - AFTERNOON", "COLE\n\t\tYeah, Private Kinney needed to get\n\t\tback safe to take care of her.\n\n\tBeat. Cole's face becomes emotional. Tears fill his eyes.", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers." ], [ "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "EVERYTHING THAT'S SAID FROM THIS POINT ON IS WHISPERED.\n\n\t\t\t COLE\n\t\tI want to tell you my secret now.", "COLE\n\t\tAll the time. They're everywhere.\n\t\t\t(beat)\n\t\tYou won't tell anyone my secret,\n\t\tright?\n\n\tBeat.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "Cole shrugs.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tYou know, you can tell me things if\n\t\tyou need to.", "Cole's expression changes back to sadness as he looks to the\n\twindows. Malcolm leans across the table and whispers.\n\n\t\t\t MALCOLM\n\t\tCole...", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers.", "Cole doesn't say a word.\n\n\t\t\t LYNN\n\t\t\t(crying)\n\t\tPlease.\n\n\t\t\t\t\t\t\tCUT TO:", "Cole just closes his eyes and holds his mom tight.\n\n\t\t\t LYNN\n\t\t\t(desperate)\n\t\t...Please tell me.", "Cole takes a step. Malcolm opens his eyes. He looks right at\n\tCole.", "Malcolm becomes completely motionless. Works to hide his shock.\n\tHe and Cole stare at each other a long time.", "Malcolm's face is filled with emotion. Cole is suddenly hit by\n\tMalcolm's passion. Beat. Cole nods slowly as he looks at\n\tMalcolm with different eyes.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "Cole doesn't respond. Beat.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tWell, you know what I did today?", "Beat.\n\n\t\t\t COLE\n\t\tI know.\n\n\t\t\t\t\t\t\tCUT TO:", "Cole doesn't answer either of them. Instead, he continues to\n\tpush the plant aside revealing AN AIR VENT. Cole gently reaches\n\tover and takes off the metal face. It slips right off.", "Cole searches for the answer in Malcolm's eyes... He finds it.\n\tIt's not the one he wanted. Malcolm looks down.", "Cole stares down at his lap and tries not to look up anymore.\n\tBeat.\n\n\t\t\t COLE\n\t\tShe came a long way to visit me,\n\t\tdidn't she?", "Beat. Cole's chin starts to tremble. His voice cracks.\n\n\t\t\t COLE\n\t\t\t(whispers)\n\t\tPromise?\n\n\tBeat." ], [ "couple. Lynn and Cole and a man. The man looks in every way a\n\tlarger version of Cole.", "Cole takes a step. Malcolm opens his eyes. He looks right at\n\tCole.", "Cole starts to smile too. He thinks.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "Malcolm breaks from his thoughts and looks at Cole who watches\n\thim with unwavering attention. Malcolm smiles.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "Malcolm's face is filled with emotion. Cole is suddenly hit by\n\tMalcolm's passion. Beat. Cole nods slowly as he looks at\n\tMalcolm with different eyes.", "Malcolm smiles. Returns his fingers to the mind-reading\n\tposition. Malcolm looks to Cole's arm. Cole is wearing A LARGE", "Malcolm becomes completely motionless. Works to hide his shock.\n\tHe and Cole stare at each other a long time.", "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "They both look like shit.\n\n\t\t\t COLE\n\t\tYou don't wanna ask me questions\n\t\ttoday?\n\n\tMalcolm nods, \"No.\" Beat.", "Cole begins to back away...\n\n\tThe father gazes at Cole as he melts into the crowd. Cole\n\treaches Malcolm and the two then slip out of the house.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "The villagers rise and rush to Cole. They scoop him up and carry\n\thim around the stage in celebration. Cole chuckles and then", "Malcolm nods, \"Yes.\" Cole pulls the covers up to his chin and\n\tturns to the window in the room. Malcolm is very still and\n\tstares at Cole.", "Malcolm's eyes are drawn to Cole's arm. Peeking out from under\n\this shirt sleeve are a set of cuts. Malcolm gazes at them.", "Cole looks up from his soldiers. Malcolm stares at the far side\n\tof the street.\n\n\tCole taps his foot twice.\n\n\t\t\t\t\t\t\tCUT TO:", "Cole has become very still. He looks right at Malcolm." ], [ "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "Lynn takes it all in curiously.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tINT. COLE'S BEDROOM - AFTERNOON", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "COLE\n\t\tShe said, you came to her where\n\t\tthey buried her. Asked her a\n\t\tquestion... She said the answer is\n\t\t\"Everyday.\"", "Lynn takes a step forward. Lynn's face betrays the fact that she\n\tnotices something she never noticed before. She touches a photo\n\tof three-year-old Cole.", "EXT. HOUSE - AFTERNOON\n\n\tCole sits on the swings next to Kyra's four-year-old sister. She\n\tdoesn't look up.", "Kyra climbs in bed and pretends to be sleeping when the door\n\topens. It's Mrs. Collins. She carries in a tray of soup and a\n\tsandwich.\n\n\tLIVING ROOM", "Darren's mom looks into the crawl space -- there's nothing inside\n\texcept a couple packing boxes in the back. She looks to Lynn.\n\tShe turns around with Cole in her arms.", "COLE\n\t\tYeah, Private Kinney needed to get\n\t\tback safe to take care of her.\n\n\tBeat. Cole's face becomes emotional. Tears fill his eyes.", "CUT TO:\n\n\tINT. COLE'S HOUSE - NIGHT", "INT. COLE'S HOME - AFTERNOON", "Cole turns a corner and comes to a dead stop. He turns white as\n\the stares at an open CRAWL SPACE CLOSET a few feet away. Cole's", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "COLE\n\t\tShe watched out for you.\n\n\tThe little girl finally looks up. She has the saddest eyes.", "Lynn slowly reaches for a picture frame that peeks out from under\n\tCole's pillow. Slides it out... It's a VACATION PHOTO of a", "Cole is too terrified to move.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tINT. KITCHEN - NIGHT", "Cole begins to back away...\n\n\tThe father gazes at Cole as he melts into the crowd. Cole\n\treaches Malcolm and the two then slip out of the house.", "Lynn and Darren's mom rush to the door and turn the knob... The\n\tdoor flies open. Lynn reaches in and pulls out Cole. He's\n\tUNCONSCIOUS.", "She looks to the closet. THE HIGH-PITCHED SCREAMS CUT THROUGH\n\tTHE HALL.\n\n\t\t\t LYNN\n\t\tCole!", "Cole doesn't answer either of them. Instead, he continues to\n\tpush the plant aside revealing AN AIR VENT. Cole gently reaches\n\tover and takes off the metal face. It slips right off." ], [ "Cole just closes his eyes and holds his mom tight.\n\n\t\t\t LYNN\n\t\t\t(desperate)\n\t\t...Please tell me.", "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers.", "COLE\n\t\tAll the time. They're everywhere.\n\t\t\t(beat)\n\t\tYou won't tell anyone my secret,\n\t\tright?\n\n\tBeat.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "The father becomes very still. His eyes fill with a storm of\n\tconfusion and pain. After the longest time, the father reaches\n\tand gently takes the box out of Cole's small hands.", "Cole smiles at his mother as he moves to her side. Touches her\n\tface with his tiny fingers.", "LYNN\n\t\t\t(yells)\n\t\tGo!\n\n\tCole gets up -- never taking his eyes off his mother -- and\n\tleaves the room.", "Malcolm's face is filled with emotion. Cole is suddenly hit by\n\tMalcolm's passion. Beat. Cole nods slowly as he looks at\n\tMalcolm with different eyes.", "Cole stares down at his lap and tries not to look up anymore.\n\tBeat.\n\n\t\t\t COLE\n\t\tShe came a long way to visit me,\n\t\tdidn't she?", "Cole closes the door to his mother's bedroom shut. He stands\n\tstill in the hallway. Lets out a heavy sigh...", "Cole doesn't say a word.\n\n\t\t\t LYNN\n\t\t\t(crying)\n\t\tPlease.\n\n\t\t\t\t\t\t\tCUT TO:", "EVERYTHING THAT'S SAID FROM THIS POINT ON IS WHISPERED.\n\n\t\t\t COLE\n\t\tI want to tell you my secret now.", "Curled up next to him is Sebastian. They sleep surrounded by\n\tstatues and pictures.\n\n\tCole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.", "COLE\n\t\t\t(whispers)\n\t\tMomma, you sleep now.\n\n\tHis touch seems to have an effect. Lynn becomes still in her\n\tsleep. Cole watches her carefully.", "He opens his mouth -- it takes a while before the words come out.\n\n\t\t\t COLE\n\t\tDo you want to tell me something?\n\n\t\t\t\t\t\t\tCUT TO:", "Malcolm becomes completely motionless. Works to hide his shock.\n\tHe and Cole stare at each other a long time.", "COLE\n\t\t\t(soft)\n\t\tThat's Tommy, Momma.\n\n\tCole quietly kisses his mother on the cheek and starts out." ], [ "MALCOLM\n\t\tThey don't know they're dead?\n\n\tBeat.\n\n\t\t\t COLE\n\t\tI see ghosts.", "He gets to the last book. His hands become still as he stares at\n\tthe final page of writing.", "Mr. Marschal's eyes slowly fill with tears of realization. They\n\tgently spill down his weathered face.\n\n\t\t\t MR. MARSCHAL\n\t\tOh no...", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "His eyes come to rest on the door to his basement office. He\n\tlooks in disbelief at the set of DEAD BOLT LOCKS on the door.", "He looks around fearfully. His eyes move to the windshield. No\n\tbroken glass. No blood. And no woman. Cole looks out through", "out. He doesn't realize one of the bedsheets comes loose. It\n\tfolds to the ground.", "Beat.\n\n\t\t\t MALCOLM\n\t\t\t(whispers)\n\t\t...The mass for the dead.\n\n\tThe words seem to hang in the air forever.", "Cole's brow furrows. He breathes again. This time\n\tintentionally. Watches as his breath materializes in the\n\tsuddenly ice cold air.", "A few minutes later. Cole is now standing in his doorway. He\n\tstares at the hunched figure covered by the collapsed tent.", "The father looks down in a daze. He goes to open the jewelry\n\tbox. His movements are slow and strained. He lifts the latch\n\tand open the box.", "Cole holds his breath. He waits. Beat. Nothing happens. He\n\ttakes his first short breaths and watches the room for any sign\n\tof movement.", "Malcolm becomes completely motionless. Works to hide his shock.\n\tHe and Cole stare at each other a long time.", "LYNN\n\t\tDead people?\n\n\t\t\t COLE\n\t\tGhosts.\n\n\tBeat.", "Malcolm can't help smiling as well. This is not the same man he\n\tsaw before. Life has returned to this house. Beat.", "Cole begins surveying the room again. Beat. His eyes finally\n\tcome to rest on a plant seated in the corner. He stares at it...", "Stanley Cunningham looks over the class of blank faces. He's\n\tjust about to answer his own question when he sees a hand go up.\n\tMr. Cunningham looks surprised to see who it is.", "COLE\n\t\tThey scare me too sometimes.\n\n\t\t\t LYNN\n\t\tThey?\n\n\t\t\t COLE\n\t\tDead people.", "Cole senses someone. He looks up and sees Malcolm staring at\n\thim. The boy immediately goes white. Every cell of his body\n\tstill with fear." ], [ "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "Cole smiles at his mother as he moves to her side. Touches her\n\tface with his tiny fingers.", "COLE\n\t\t\t(whispers)\n\t\tMomma, you sleep now.\n\n\tHis touch seems to have an effect. Lynn becomes still in her\n\tsleep. Cole watches her carefully.", "Cole nods \"Yes\" again. Lynn becomes upset. She nods with grave\n\tunderstanding. Cole watches her.\n\n\t\t\t COLE\n\t\tWhat are you thinking, Momma?", "LYNN\n\t\t\t(yells)\n\t\tGo!\n\n\tCole gets up -- never taking his eyes off his mother -- and\n\tleaves the room.", "HIS MOTHER'S VOICE turns his attention back to the bed.\n\n\t\t\t LYNN\n\t\tCole, what's happening to you?", "Cole just closes his eyes and holds his mom tight.\n\n\t\t\t LYNN\n\t\t\t(desperate)\n\t\t...Please tell me.", "His smile fades away as he notices his mother fiddling with the\n\tHEATER controls.\n\n\tCole gazes out the front windshield as the car moves towards home.", "Curled up next to him is Sebastian. They sleep surrounded by\n\tstatues and pictures.\n\n\tCole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.", "COLE\n\t\tEverybody got upset. They had a\n\t\tmeeting. Momma started crying.\n\t\t\t(beat)\n\t\tI don't draw like that anymore.", "Cole moves closer to Lynn. She cradles him in her arms. Mother\n\tand son hold each other tight.", "Cole closes the door to his mother's bedroom shut. He stands\n\tstill in the hallway. Lets out a heavy sigh...", "The sight of him exhausted and still, hits Lynn hard.\n\n\tLynn's face drowns in deep concern. She lays a hand on Cole's\n\thead as she drives.", "COLE\n\t\t\t(soft)\n\t\tThat's Tommy, Momma.\n\n\tCole quietly kisses his mother on the cheek and starts out.", "LYNN\n\t\tHi, this is Lynn Sear, Cole's\n\t\tmother. I wonder if we could", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "Lynn takes a step forward. Lynn's face betrays the fact that she\n\tnotices something she never noticed before. She touches a photo\n\tof three-year-old Cole.", "COLE SEAR steps out his front door. Cole is a munchkin of a boy\n\twith large, black eyes that seem to take in everything around\n\thim.", "Cole senses someone. He looks up and sees Malcolm staring at\n\thim. The boy immediately goes white. Every cell of his body\n\tstill with fear." ], [ "That's the only way I know how to\n\t\twork.\n\t\t\t(beat)\n\t\tVincent said I failed him.", "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "made a mistake with one of them.\n\t\tDidn't help that one at all. He\n\t\tthinks about that one a lot. Can't", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "Mr. Marschal's eyes slowly fill with tears of realization. They\n\tgently spill down his weathered face.\n\n\t\t\t MR. MARSCHAL\n\t\tOh no...", "A few minutes later. Cole is now standing in his doorway. He\n\tstares at the hunched figure covered by the collapsed tent.", "She looks back at her husband. His glare is painful. Rage\n\tfilling every cell of his body. Tears falling faster down his\n\tcheeks.", "COLE\n\t\tIt's sad they died, isn't it?\n\n\tMalcolm falls into silence and stares at his client. Beat. Cole\n\twipes his eyes quickly.", "Cole's expression changes back to sadness as he looks to the\n\twindows. Malcolm leans across the table and whispers.\n\n\t\t\t MALCOLM\n\t\tCole...", "Vincent's eyes burn at Malcolm.\n\n\t\t\t VINCENT\n\t\tYou forgot cursed.\n\n\tVINCENT is fully crying now.", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers.", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "Cole's brow furrows. He breathes again. This time\n\tintentionally. Watches as his breath materializes in the\n\tsuddenly ice cold air.", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "in those fifteen minutes. But I\n\t\tnow believe Vincent tried to tell\n\t\tme something, show me something and\n\t\tI didn't listen.", "The villagers rise and rush to Cole. They scoop him up and carry\n\thim around the stage in celebration. Cole chuckles and then", "The girl reaches out with her withered and emaciated hands --\n\ttiny tubes hang from her wrists. She scratches Cole as he\n\ttumbles back terrified out of the tent. The whole tent collapses --", "He gets to the last book. His hands become still as he stares at\n\tthe final page of writing." ], [ "Vincent turns to the sink. His hand goes in. He turns arund and\n\traises a gun at Malcolm. He FIRES. A VIOLENT, EAR-SHATTERING", "Vincent instantly moves the gun to his own head. ANOTHER\n\tHORRIFIC BLAST SPIKES THE AIR. Vincent crumples onto the\n\tbathroom floor.", "Vincent's eyes burn at Malcolm.\n\n\t\t\t VINCENT\n\t\tYou forgot cursed.\n\n\tVINCENT is fully crying now.", "VINCENT GRAY stares with surprise through his tears.\n\n\tMalcolm lets out a deep breath like he just emerged from deep\n\twaters.", "VINCENT\n\t\t\t(on tape)\n\t\tOkay.", "MALCOLM\n\t\t\t(on tape)\n\t\tVincent... Why are you crying?\n\t\t\t(beat)\n\t\tVincent?", "VINCENT\n\t\t\t(on tape)\n\t\tI don't want to talk anymore. I\n\t\twant to go home, okay? I want to\n\t\tgo home.", "MALCOLM\n\t\tI do remember you, Vincent. You\n\t\twere a good kid. Very smart...\n\t\tQuiet... Compassionate...\n\t\tUnusually compassionate...", "in those fifteen minutes. But I\n\t\tnow believe Vincent tried to tell\n\t\tme something, show me something and\n\t\tI didn't listen.", "MALCOLM\n\t\t--Vincent?\n\n\tTHE ROOM GOES SILENT AGAIN.\n\n\t\t\t MALCOLM\n\t\tVincent Gray?", "VINCENT\n\t\tYou failed me.", "VINCENT\n\t\t\t(on tape)\n\t\tYou won't believe.\n\n\t\t\t MALCOLM\n\t\t\t(on tape)\n\t\tI won't believe what?", "MALCOLM\n\t\t\t(whispers)\n\t\tVincent... I'm sorry I didn't help\n\t\tyou... I can try to help you now.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "MALCOLM\n\t\t\t(on tape)\n\t\tWhat happened?\n\t\t\t(beat)\n\t\tDid something upset you?\n\n\tBeat. VINCENT SNIFFLES.", "A MAN'S VOICE IS HEARD IN THE ROOM WITH VINCENT", "WE HEAR VINCENT CHUCKLE SOFTLY.\n\n\tTHE SOUND OF A DOOR OPENING IS HEARD.", "FLASHBACK: INT. BEDROOM - NIGHT\n\n\tVIOLENT GUN SHOTS RING THROUGH THE BEDROOM.", "A GUNSHOT ECHOES IN THE AIR. THE MAN'S CHEST EXPLODES IN RED AS\n\tHE FALLS TO HIS KNEES SCREAMING.", "That's the only way I know how to\n\t\twork.\n\t\t\t(beat)\n\t\tVincent said I failed him." ], [ "Cole takes a step. Malcolm opens his eyes. He looks right at\n\tCole.", "COLE SEAR steps out his front door. Cole is a munchkin of a boy\n\twith large, black eyes that seem to take in everything around\n\thim.", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "Cole senses someone. He looks up and sees Malcolm staring at\n\thim. The boy immediately goes white. Every cell of his body\n\tstill with fear.", "Beat.\n\n\tThey slow and come to a rest at the bumper of their car. Lynn\n\tleans over -- sees the side of Cole's face smiling.", "Cole who has shut his eyes... slowly opens them.", "A few minutes later. Cole is now standing in his doorway. He\n\tstares at the hunched figure covered by the collapsed tent.", "Cole begins surveying the room again. Beat. His eyes finally\n\tcome to rest on a plant seated in the corner. He stares at it...", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "Cole points to the corner of the street. Malcolm slowly turns.\n\tHe sits in profile to Cole. Beat.", "The sight of him exhausted and still, hits Lynn hard.\n\n\tLynn's face drowns in deep concern. She lays a hand on Cole's\n\thead as she drives.", "Cole turns a corner and comes to a dead stop. He turns white as\n\the stares at an open CRAWL SPACE CLOSET a few feet away. Cole's", "CUT TO:\n\n\tINT. TENT - NIGHT\n\n\tWhen Cole turns around, he stops breathing.", "Cole has become very still. He looks right at Malcolm.", "Cole closes the door behind him. He turns and gazes at the\n\tgirl's bedroom. There's a hospital bed near the window. The", "Cole's brow furrows. He breathes again. This time\n\tintentionally. Watches as his breath materializes in the\n\tsuddenly ice cold air.", "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "Beat. Cole takes another step. The next step will put him at\n\tthe chair. Malcolm lowers his fingers from his temple.", "Cole is curled up asleep on the passenger seat, back in his\n\tregular clothes, a tiny party hat clutched in his hand. He looks\n\tlike a four-year-old.", "Malcolm breaks from his thoughts and looks at Cole who watches\n\thim with unwavering attention. Malcolm smiles." ], [ "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "Cole smiles at his mother as he moves to her side. Touches her\n\tface with his tiny fingers.", "LYNN\n\t\tYou can see her?\n\n\t\t\t COLE\n\t\tYes.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "LYNN\n\t\t\t(yells)\n\t\tGo!\n\n\tCole gets up -- never taking his eyes off his mother -- and\n\tleaves the room.", "COLE\n\t\tI see dead people... Some of them\n\t\tscare me.\n\n\tBeat.\n\n\t\t\t MALCOLM\n\t\tIn your dreams?", "Cole just closes his eyes and holds his mom tight.\n\n\t\t\t LYNN\n\t\t\t(desperate)\n\t\t...Please tell me.", "(beat)\n\t\tCole Sear allowed me to witness\n\t\tsomething today.\n\t\t\t(beat)", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "MALCOLM\n\t\tThey don't know they're dead?\n\n\tBeat.\n\n\t\t\t COLE\n\t\tI see ghosts.", "Curled up next to him is Sebastian. They sleep surrounded by\n\tstatues and pictures.\n\n\tCole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.", "Cole senses someone. He looks up and sees Malcolm staring at\n\thim. The boy immediately goes white. Every cell of his body\n\tstill with fear.", "Mr. Cunningham's expression drains of anger as Cole Sear begins\n\tto cry.\n\n\t\t\t\t\t\t\tCUT TO:", "COLE\n\t\t\t(whispers)\n\t\tMomma, you sleep now.\n\n\tHis touch seems to have an effect. Lynn becomes still in her\n\tsleep. Cole watches her carefully.", "Cole takes a step. Malcolm opens his eyes. He looks right at\n\tCole.", "Cole turns a corner and comes to a dead stop. He turns white as\n\the stares at an open CRAWL SPACE CLOSET a few feet away. Cole's", "INT. LYNN'S BEDROOM - NIGHT\n\n\tCole stands in the doorway to his mother's bedroom. He looks\n\tover the room carefully. Everything is still.", "COLE\n\t\tThey scare me too sometimes.\n\n\t\t\t LYNN\n\t\tThey?\n\n\t\t\t COLE\n\t\tDead people.", "Cole begins surveying the room again. Beat. His eyes finally\n\tcome to rest on a plant seated in the corner. He stares at it..." ], [ "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "Cole's expression changes back to sadness as he looks to the\n\twindows. Malcolm leans across the table and whispers.\n\n\t\t\t MALCOLM\n\t\tCole...", "COLE\n\t\tAll the time. They're everywhere.\n\t\t\t(beat)\n\t\tYou won't tell anyone my secret,\n\t\tright?\n\n\tBeat.", "Cole doesn't say a word.\n\n\t\t\t LYNN\n\t\t\t(crying)\n\t\tPlease.\n\n\t\t\t\t\t\t\tCUT TO:", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "Cole looks up. An anxious expression on his face. Beat.\n\n\t\t\t LYNN\n\t\tYou got something you want to\n\t\tconfess?", "Lynn comes out. She reaches Cole -- kneels down in front of him.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tHow was school, baby?", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "Cole shrugs.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tYou know, you can tell me things if\n\t\tyou need to.", "EVERYTHING THAT'S SAID FROM THIS POINT ON IS WHISPERED.\n\n\t\t\t COLE\n\t\tI want to tell you my secret now.", "Cole doesn't respond. Beat.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tWell, you know what I did today?", "Cole begins to back away...\n\n\tThe father gazes at Cole as he melts into the crowd. Cole\n\treaches Malcolm and the two then slip out of the house.", "Lynn looks over slowly. She doesn't see anything outside his\n\twindow. She eyes Cole.\n\n\t\t\t LYNN\n\t\tCole, you're scaring me.", "Beat.\n\n\t\t\t COLE\n\t\tI know.\n\n\t\t\t\t\t\t\tCUT TO:", "Cole takes a step. Malcolm opens his eyes. He looks right at\n\tCole.", "Malcolm calls to Cole under his breath.\n\n\t\t\t MALCOLM\n\t\tCole--\n\n\t\t\t MR. MARSCHAL\n\t\tWhat's going on there?", "Cole looks up from his soldiers. Malcolm stares at the far side\n\tof the street.\n\n\tCole taps his foot twice.\n\n\t\t\t\t\t\t\tCUT TO:", "Beat.\n\n\t\t\t COLE\n\t\tShe wanted me to tell you--\n\n\t\t\t LYNN\n\t\t\t(soft)\n\t\tCole, please stop." ], [ "His eyes move to her face... One wisp of hair falls over her\n\tsoft lips. OUTLINED IN THE SOFT READING LIGHT, Anna Crowe truly\n\tlooks like an angel.", "Malcolm smiles at Anna.\n\n\t\t\t MAN'S VOICE (o.s.)\n\t\tI thought you'd want to get out.\n\t\tYou've been kind of down.", "Anna smiles as she moves to his desk. Sean begins to tear off\n\tthe wrapping paper like a kid at Christmas.", "Malcolm looks at Anna surprised at what he said. They crack up\n\tlaughing. THEIR SWEET LAUGHTER FILLS THE HOUSE.\n\n\t\t\t\t\t\t\tCUT TO:", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "Anna ignores Malcolm and clears her throat. She leans forward\n\ther seat and reads the certificate out loud as Malcolm tries to\n\ttickle her.", "Anna's expression becomes serious.\n\n\n\t\t\t MALCOLM\n\t\tWhat?\n\n\tShe just keeps staring. Beat.", "Anna laughs. Sean holds up a weathered hardback copy of \"THE\n\tGREAT GATSBY.\" Beat.\n\n\t\t\t ANNA\n\t\tIt's a first edition.", "Anna Crowe moves for the staircase in a hurry. Each step faster\n\tthan the next. She climbs out of the basement in another burst\n\tof LIGHT, QUICK FOOTSTEPS.", "Anna lets go of his hands. Anna's eyes are emotional. Malcolm\n\tsmiles softly.\n\n\t\t\t MALCOLM\n\t\tThank you.", "The stranger suddenly comes forward into the doorway. Malcolm\n\tstumbles back onto the edge of the bed.\n\n\tAnna sees the stranger for the first time. Her face drains of\n\tcolor.", "Malcolm steps into the bathroom quietly. He stares at the\n\tsilhouette of Anna's body through the smoked glass of the shower.\n\tAnna stands still, her head tilted back.", "That makes Anna turn back. She glances across the table, then\n\tlooks down.", "Malcolm looks to Anna's face and becomes very still. Beat.", "Anna lays still.\n\n\t\t\t ANNA\n\t\tGoodnight, Malcolm.\n\n\t\t\t MALCOLM\n\t\tGoodnight, sweetheart.", "Malcolm plays softly with her face. Anna takes his hands and\n\tholds them steady.", "Anna stirs sugar in her coffee as Malcolm sits in the seat across\n\tfrom her. She gently stops stirring, but doesn't look up. Beat.", "Confusion washes over his face. He looks to Anna's hand... An\n\tidentical gold wedding ring sits on her finger.", "Anna rushes across the room to a crumpled Malcolm laying on the\n\tfloor. Malcolm's hands are clutched at his side.", "Beat. The young man and the young woman gaze at Anna silently.\n\n\tThey look down at the ring. They place their hands on it\n\treverently, delicately -- like checking for a pulse." ], [ "Vincent's eyes burn at Malcolm.\n\n\t\t\t VINCENT\n\t\tYou forgot cursed.\n\n\tVINCENT is fully crying now.", "Vincent Gray. I was treating a\n\t\tcouple, Donald and Robin Wagner,\n\t\twho had lost their child to", "MALCOLM\n\t\tI do remember you, Vincent. You\n\t\twere a good kid. Very smart...\n\t\tQuiet... Compassionate...\n\t\tUnusually compassionate...", "Vincent turns to the sink. His hand goes in. He turns arund and\n\traises a gun at Malcolm. He FIRES. A VIOLENT, EAR-SHATTERING", "in those fifteen minutes. But I\n\t\tnow believe Vincent tried to tell\n\t\tme something, show me something and\n\t\tI didn't listen.", "VINCENT\n\t\t\t(on tape)\n\t\tOkay.", "MALCOLM\n\t\t\t(on tape)\n\t\tVincent... Why are you crying?\n\t\t\t(beat)\n\t\tVincent?", "MALCOLM\n\t\t--Vincent?\n\n\tTHE ROOM GOES SILENT AGAIN.\n\n\t\t\t MALCOLM\n\t\tVincent Gray?", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "VINCENT GRAY stares with surprise through his tears.\n\n\tMalcolm lets out a deep breath like he just emerged from deep\n\twaters.", "VINCENT\n\t\t\t(on tape)\n\t\tYou won't believe.\n\n\t\t\t MALCOLM\n\t\t\t(on tape)\n\t\tI won't believe what?", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "Vincent instantly moves the gun to his own head. ANOTHER\n\tHORRIFIC BLAST SPIKES THE AIR. Vincent crumples onto the\n\tbathroom floor.", "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "MALCOLM\n\t\t\t(on tape)\n\t\tWhat happened?\n\t\t\t(beat)\n\t\tDid something upset you?\n\n\tBeat. VINCENT SNIFFLES.", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "That's the only way I know how to\n\t\twork.\n\t\t\t(beat)\n\t\tVincent said I failed him.", "The villagers rise and rush to Cole. They scoop him up and carry\n\thim around the stage in celebration. Cole chuckles and then", "MALCOLM\n\t\t\t(whispers)\n\t\tVincent... I'm sorry I didn't help\n\t\tyou... I can try to help you now." ], [ "Kyra climbs in bed and pretends to be sleeping when the door\n\topens. It's Mrs. Collins. She carries in a tray of soup and a\n\tsandwich.\n\n\tLIVING ROOM", "KYRA\n\t\t\t(video tape)\n\t\tI'm feeling much better now.\n\n\tThe image of the mother smiles.", "Kyra picks up the spoon and takes a sip. Her face crinkles at\n\tthe taste. She looks up at her mother.", "Kyra slowly brings the spoon to her mouth and swallows another\n\tspoonful.", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "FOUR YEAR OLD\n\t\tKyra's not coming back.\n\n\tBeat.\n\n\t\t\t COLE\n\t\tNot anymore.", "MRS. COLLINS\n\t\t\t(video tape)\n\t\tKyra, time for lunch.\n\n\tKyra pretends to wake from a deep sleep.", "Malcolm watches everything anxiously.\n\n\tCole stares at Mr. Collins.\n\n\t\t\t COLE\n\t\tAre you Kyra's daddy?", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "The person turns. It's not Lynn. It's a strange woman. The\n\twoman's face is demented. A purple gash cuts across her", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "The image of the mother prepares the meal. She uncovers the\n\tfruit and the soup. Places a straw into the drink.\n\n\tAnd then it happens.", "FOOTSTEPS SPIKE THE AIR AS children and mothers come running down\n\tthe hall. Lynn is one of them.\n\n\tDarren's mother turns the corner.", "I don't think it's the mother.\n\t\tJust a gut thing. The way she\n\t\tdeals with him. It doesn't fit.", "The stranger suddenly comes forward into the doorway. Malcolm\n\tstumbles back onto the edge of the bed.\n\n\tAnna sees the stranger for the first time. Her face drains of\n\tcolor.", "Lynn and Darren's mom rush to the door and turn the knob... The\n\tdoor flies open. Lynn reaches in and pulls out Cole. He's\n\tUNCONSCIOUS.", "The room is thick with mourners. Most are gathered around the\n\tGIRL'S MOTHER, a young woman in her late twenties. As she moves", "Lynn turns -- surprised to hear her son's voice. Lynn's eyes are\n\tred from crying. She wipes them quickly with the back of her\n\thand.", "Curled up next to him is Sebastian. They sleep surrounded by\n\tstatues and pictures.\n\n\tCole's eyes open as he hears HIS MOTHER'S DISTANT VOICE." ] ]	[ "What is the name of Dr. Crowe's wife?", "Who shoots Dr. Crowe?", "Who is patient that Dr. Crowe feels he has to help to get his life back together? ", "Who old is Cole?", "Who is the first ghost that Cole decides to help?", "What did Kyra's mother do to her? ", "What was Kyra a victim of? ", "When does Cole recommend that Dr. Crowe try to speak to his wife? ", "What does Dr. Crowe finally realize about Vincent shooting him? ", "Who is a child psychologist in Philadelphia?", "Who appears in Crowe's bathroom?", "What does Victor do after shooting the doctor?", "Who is Cole's mother?", "What secret does Cole end up telling Crowe about?", "Why does Crowe think Cole and Vincent are similar?", "What did Kyra help Cole and Crowe to find at her home during the funeral?", "When does Cole finally tell his mother about his secret?", "Who realizes that he is actually dead?", "What causes Cole's mother concern?", "Who does Crow believe he failed?", "Who does Vincent shoot?", "Who does Cole see next to his car?", "How does Cole prove to his mother that he can see dead people?", "When does Cole tell Crowe to go talk to Anna?", "What happens when Crowe and Anna interact?", "Why did Crowe treat Vincent?", "Who is Kyra's mother's next victim expected to be?" ]	[ [ "Anna", "Anna" ], [ "Vincent Grey", "Vincent Grey" ], [ "Cole Sear", "Cole Sear. " ], [ "Nine years old", "9" ], [ "Kyra Collins", "kyra" ], [ "She put cleaning fluid in her soup", "Intentionally make her sick which ended up killing her" ], [ "Munchausen syndrome", "Munchausen syndrome by proxy." ], [ "When she is asleep", "When she is sleeping." ], [ "That Vincent actually killed him", "That he died when he was shot. " ], [ "Dr. Malcolm Crowe", "Dr. Malcolm Crowe." ], [ "Vincent Grey", "Vincent Grey." ], [ "He kills himself", "kills himself" ], [ "Lynn", "Lynn" ], [ "He sees dead people", "He sees dead people " ], [ "They may have had the same ability to see dead people", "Because their cases and hallucinations are similar. " ], [ "A videotape", "A videotape" ], [ "While stuck in a traffic jam", "When they were stuck in a traffic jam." ], [ "Crowe", "Malcolm Crowe" ], [ "She sees signs of physical abuse", "His social stamina." ], [ "Vincent", "Because his former patient Vincent kills himself" ], [ "Crowe and then himself", "Crowe and himself. " ], [ "A dead cyclist ", "The person that was killed in a car accident" ], [ "By discussing events that had occured between her and her mother", "By telling her his dead grandmother speaks to him." ], [ "In her sleep", "when she is sleeping" ], [ "There is barely any interaction", "Crowe realizes he was a ghost all along." ], [ "Childhood hallucenations", "To rectify his failure of another patient" ], [ "Her sister", "Kyra's younger sister" ] ]	27ad3a0a84489109ca5d3cc4bf3b8b74a7b8ed9a	train
[ [ "WELL-DRESSED BUREAUCRAT\n Dr. Kelvin?\n\nThe Man he is addressing, who we now understand is CHRIS\nKELVIN, stares back at him.", "SARTORIUS\n (incredulous)\n Who, here, could possibly care what\n you want? At best, you're Employee", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "SARTORIUS\n Gibarian was helpless. It's very\n simple: Man created the science\n that resulted in the discovery of\n Solaris, and the ship that brought\n us here.", "Gibarian stares at the camera for a long moment before\nswitching it off and ending the transmission.\n\nKelvin sits back.\n\nThe visitors exchange glances.", "Kelvin registers it, then moves to the corner of the room\nwhere the computer terminal rests. Within moments he has\ndiscovered Gibarian has recorded a video message for him to\nreplay.\n\nVIDEO", "Kelvin gets his bearings and looks around, but sees no sign\nof life.\n\n CUT TO:\n\nINT. CORRIDOR\n\nEmpty.", "SARTORIUS\n YOU ARE NOT HUMAN! Try to\n understand that if you can\n understand anything!\n\nKelvin is within an inch of his face.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "The intercom comes to life.\n\n SNOW\n Kelvin, you awake?\n\n KELVIN\n What is it?", "to the planet Earth. This is\n hilarious: He thinks it's God, but\n he wants it to sit still for a\n photograph so he can show the folks", "They smile at this. Rheya's smile fades before Kelvin's.\n\n RHEYA\n Sartorius wants to destroy it.", "SARTORIUS\n I suggest we pool our knowledge\n regarding the... visitors. We can\n express whatever questions or\n conclusions we might have... share\n information about our various...\n experiments. Agreed?", "CUT TO:\n\nINT. PROMETHEUS", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:", "Snow and Sartorius wait for Kelvin.\n\n SNOW\n He won't do it.\n\n SARTORIUS\n Why do you say that?", "Sartorius cracks the door open and slithers through the slit\nand into the hallway. He is of obvious intelligence and not", "He opens the door of a pod and indicates for her to enter. \nShe is unsure.\n\n KELVIN\n Go ahead. I'll close the door\n behind me.", "Close on Kelvin. We hold on him a long time, as a myriad of\nreadouts scroll and flash across his face. A slit of\nsunlight glides slowly through frame." ], [ "Sartorius cracks the door open and slithers through the slit\nand into the hallway. He is of obvious intelligence and not", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:", "If he is not entirely surprised it is because he has\nobviously dreamed of Rheya before. He looks at her, simply.\n\nRHEYA\n\nStands and makes her way to Kelvin.", "Hearing his name spoken by her (and those particular words,\nperhaps) nearly causes Kelvin to scream.\n\nHe stands and moves to the chair. Rheya watches him.", "Satisfied, he begins to walk away but is stopped by the\nsounding of a CRASHING GLASS from within. He hears footsteps\napproach the door, and then a fierce POUNDING.", "A FIGURE, seated with its back to the door, turns to see\nKelvin enter. This is SNOW. He looks Kelvin up and down,\nhis expression wary and alert.", "SARTORIUS\n Why did you agree to come here?\n\nA beat.\n\n SARTORIUS\n Too tired to answer?", "When the car is alongside him, a darkened window turns\ntransparent and we see a WELL-DRESSED BUREAUCRAT in the rear\nseat. His demeanor is pleasant and professional.", "Kelvin moves toward him. Sartorius just lets him come.\n\n RHEYA\n (to Sartorius)\n You're the coward.", "Snow and Sartorius wait for Kelvin.\n\n SNOW\n He won't do it.\n\n SARTORIUS\n Why do you say that?", "WELL-DRESSED BUREAUCRAT\n Dr. Kelvin?\n\nThe Man he is addressing, who we now understand is CHRIS\nKELVIN, stares back at him.", "Opens the door. He cannot speak.\n\nRHEYA\n\nRises and moves toward him.\n\nThey embrace.", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "Finally, he steps forward and presses the button to open the\ndoor.\n\nRHEYA", "KELVIN\n Go ahead.\n\nSartorius begins.", "He opens the door of a pod and indicates for her to enter. \nShe is unsure.\n\n KELVIN\n Go ahead. I'll close the door\n behind me.", "RHEYA\n When?\n\n KELVIN\n Last night. You were talking to\n someone in the corridor.", "He doesn't look up.\n\n KELVIN\n Yes.\n\nA beat.\n\n KELVIN\n I need to see Snow.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "KELVIN\n He spoke to me.\n\nKelvin leaves the room. After a few beats, Rheya follows.\n\nINT. LAB" ], [ "KELVIN\n Go ahead.\n\nSartorius begins.", "They smile at this. Rheya's smile fades before Kelvin's.\n\n RHEYA\n Sartorius wants to destroy it.", "SARTORIUS\n Why did you agree to come here?\n\nA beat.\n\n SARTORIUS\n Too tired to answer?", "RHEYA\n He has a point.\n\n KELVIN\n He does have a point. That's just\n not the way I'd like to see it\n proven.", "KELVIN\n He spoke to me.\n\nKelvin leaves the room. After a few beats, Rheya follows.\n\nINT. LAB", "Kelvin looks around.\n\n KELVIN\n She'll come back.\n\n SARTORIUS\n No, she won't.", "Sartorius cracks the door open and slithers through the slit\nand into the hallway. He is of obvious intelligence and not", "He nods, and they smile. They seem to be rooting for each\nother. After an extended pleasurable moment, Rheya leans\nover and whispers in his ear. He listens, then leans back\nand looks at her.", "Snow and Sartorius wait for Kelvin.\n\n SNOW\n He won't do it.\n\n SARTORIUS\n Why do you say that?", "Hearing his name spoken by her (and those particular words,\nperhaps) nearly causes Kelvin to scream.\n\nHe stands and moves to the chair. Rheya watches him.", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "KELVIN\n Meaning Man can do whatever the\n fuck it wants?\n\n SARTORIUS\n Yes.\n\n KELVIN\n That's fantastic.", "SARTORIUS\n YOU ARE NOT HUMAN! Try to\n understand that if you can\n understand anything!\n\nKelvin is within an inch of his face.", "SARTORIUS\n I suggest we pool our knowledge\n regarding the... visitors. We can\n express whatever questions or\n conclusions we might have... share\n information about our various...\n experiments. Agreed?", "lives, thinks, and acts. We are\n dealing with a living creature\n here, no question. And it's done\n something we've never been able to", "to the planet Earth. This is\n hilarious: He thinks it's God, but\n he wants it to sit still for a\n photograph so he can show the folks", "Kelvin moves toward him. Sartorius just lets him come.\n\n RHEYA\n (to Sartorius)\n You're the coward.", "KELVIN\n Get out of here.\n\nSlowly, carefully, Sartorius grasps Kelvin by the shoulders. \nThen he leans in and whispers in Kelvin's ear:", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:" ], [ "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "to the planet Earth. This is\n hilarious: He thinks it's God, but\n he wants it to sit still for a\n photograph so he can show the folks", "He doesn't know.\n\n CUT TO:\n\nEXT. SOLARIS\n\nTurning slowly.", "Sartorius is losing the battle with whomever or whatever is\non the other side of his door.\n\n KELVIN\n They shouldn't let people like you\n into space.", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of", "A beat.\n\n CUT TO:\n\nEXT. SOLARIS\n\nTurning, slowly.\n\n CUT TO:", "And we realize we are now looking at the surface of Solaris.\n\n FADE OUT.", "CUT TO:\n\nEXT. SPACE\n\nA shot hovering over the surface of Solaris.\n\nINT. KELVIN'S ROOM", "SARTORIUS\n If it continues, it will implode\n from its own weight and turn into a\n black hole in about four hours and\n pulls us in with it.\n\nINT. FLIGHT DECK", "SARTORIUS\n Gibarian was helpless. It's very\n simple: Man created the science\n that resulted in the discovery of\n Solaris, and the ship that brought\n us here.", "CUT TO:\n\nINT. SPACE CAPSULE", "No response. He exhales and types on a keyboard.\n\nEXT. SPACE\n\nThe Athena 7, sporting a DBA logo, advances toward the\nPrometheus.", "CUT TO:\n\nEXT. SOLARIS\n\nStill turning, slowly.\n\nBut something about its appearance is different.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "Gibarian stares at the camera for a long moment before\nswitching it off and ending the transmission.\n\nKelvin sits back.\n\nThe visitors exchange glances.", "EXT. SPACE\n\nSilence.\n\nThe Prometheus moves away from Solaris.\n\nCLOSER ON SOLARIS\n\nAfter the ship has gone.", "Sartorius to return to Earth, but\n as they currently view me as an\n intruder of sorts, this may take\n some time.", "EXT. SPACE\n\nSolaris. Quiet, but still active somehow." ], [ "KELVIN (V.O.)\n The Prometheus, as far as I can\n tell, is functionally intact. Crew\n status: One dead, Gibarian. Cause\n of death appears to be suicide.", "Only now the three officials are Snow, Sartorius, and\nGibarian.\n\nINT. KELVIN'S ROOM (PROMETHEUS)\n\nKelvin, transfixed.", "Kelvin stares at Gibarian's body, which is lying under a\nsheet in the ship's operating room. Also under the sheet,\nnext to Gibarian: The Young Girl.", "Kelvin and Rheya sit together in the Prometheus. Rheya\ncontinues her story without a beat.", "INT. CABIN - DAY\n\nKelvin sits in his chair, as he did at the beginning, with\nthe three officials from DBA behind him.", "SARTORIUS\n If it continues, it will implode\n from its own weight and turn into a\n black hole in about four hours and\n pulls us in with it.\n\nINT. FLIGHT DECK", "And we realize we are now looking at the surface of Solaris.\n\n FADE OUT.", "CUT TO:\n\nINT. SPACE CAPSULE", "Kelvin and Sartorius get the ship ready for take off.\n\n KELVIN\n Where's Snow? Did you call him?", "Close on Kelvin. We hold on him a long time, as a myriad of\nreadouts scroll and flash across his face. A slit of\nsunlight glides slowly through frame.", "An uncomfortably long moment as we realize she is actually\nnot going to wake up.\n\n KELVIN\n She's dead.\n\nSnow says nothing.\n\nThen:", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of", "EXT. SPACE\n\nSilence.\n\nThe Prometheus moves away from Solaris.\n\nCLOSER ON SOLARIS\n\nAfter the ship has gone.", "CUT TO:\n\nINT. CABIN - DAY", "INT. PROMETHEUS\n\nComplete chaos.\n\nKelvin is chasing Sartorius to the flight deck.", "Her face contorted in confusion, watches through the pod\nwindow as the docking bay doors close in front of her with a\nbrutal finality.\n\nKELVIN", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "KELVIN\n Interviews with the surviving\n members and a perusal of the\n deceased's personal effects", "KELVIN\n Yes.\n\n CUT TO:\n\nINT. B DECK CONFERENCE ROOM" ], [ "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "INT. APARTMENT - DAY\n\nKelvin holds the dead Rheya.\n\nKELVIN (ON PROMETHEUS)\n\nSqueezing her.", "Rheya's body is on the floor of the kitchen.\n\nRHEYA (ON PROMETHEUS)\n\nShe is looking at Kelvin. He is dreading this.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "Reveals that Rheya is not sitting on the train -- she is\nsitting in Kelvin's room on the Prometheus, right now.\n\nShe is staring at Kelvin and she is ethereal in her\nstillness.", "SARTORIUS\n Rheya is dead. She's a copy. A\n facsimile. And she's seducing you", "Rheya enters, looks around. She spots Kelvin, who has\nalready spotted her. Their expressions indicate they are\npleased to see each other again. He approaches her, and they\nstare at each other a long time, until:", "RHEYA\n Yes.\n\nHe looks at her.\n\n KELVIN\n Where did you come from?", "RHEYA (ON PROMETHEUS)\n\nExperiencing this all over again. Kelvin comes and sits in\nfront of her.\n\nINT. APARTMENT - DAY", "RHEYA\n Don't. I'm the one at risk here. \n If we're playing out what happened\n before, I won't survive.\n\nHe goes to her.", "INT. KELVIN'S ROOM\n\nA long, held shot of Rheya, crying. She is curled up,\nretreating into herself. Kelvin is trying to console her.", "Kelvin puts Rheya on the bed. Her face and throat have\nreturned to normal, but she is not breathing. Kelvin goes", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nKelvin, thinking. He gives Rheya some pills to take. She\njust looks at them.", "Opens the door. He cannot speak.\n\nRHEYA\n\nRises and moves toward him.\n\nThey embrace.", "Rheya's wounds have HEALED; in fact, they are HEALING in\nfront of us.\n\nShe looks up at him and doesn't like the look on his face.", "Rheya crying as she embraces Kelvin.\n\n RHEYA\n I'm so sorry. I'm so sorry.", "She looks away.\n\n RHEYA\n I know that you loved me, Chris. I\n know that.\n (beat)\n I love you.\n\nKelvin breaks down.", "Rheya lingers behind Kelvin, who is looking at Gibarian's\nbody.\n\nIt is there, alone on its slab; even the Young Girl is not\nwith him.", "RHEYA\n Did you hear what Gibarian said? \n I'm not a human being. I'm an" ], [ "They smile at this. Rheya's smile fades before Kelvin's.\n\n RHEYA\n Sartorius wants to destroy it.", "GIBARIAN\n You're being tricked. Sartorius\n picked a fight with you to avoid\n telling you about his idea for", "Kelvin registers it, then moves to the corner of the room\nwhere the computer terminal rests. Within moments he has\ndiscovered Gibarian has recorded a video message for him to\nreplay.\n\nVIDEO", "SARTORIUS\n Rheya is dead. She's a copy. A\n facsimile. And she's seducing you", "threatening to break apart. It sounds like a plane is\ncrashing in Kelvin's room -- no human could create this kind\nof cacophony.", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:", "Rheya lingers behind Kelvin, who is looking at Gibarian's\nbody.\n\nIt is there, alone on its slab; even the Young Girl is not\nwith him.", "Gibarian stares at the camera for a long moment before\nswitching it off and ending the transmission.\n\nKelvin sits back.\n\nThe visitors exchange glances.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "RHEYA\n He has a point.\n\n KELVIN\n He does have a point. That's just\n not the way I'd like to see it\n proven.", "Kelvin registers this.\n\n GIBARIAN\n What I'm saying is: Don't trust\n anyone. Find yourself a weapon of\n some sort.", "As we saw him before, sitting in the chair. But we didn't\nhear him say this before:\n\n GIBARIAN\n If they succeed, you'll never see\n her again.", "getting rid of the visitors. He's\n figured out they're made of\n subatomic particles called\n neutrinos, and he's going to create", "Sartorius rotates and zips back into his room. As the door\ncloses Kelvin sees a flash of ANOTHER FIGURE in Sartorius'", "SARTORIUS\n YOU ARE NOT HUMAN! Try to\n understand that if you can\n understand anything!\n\nKelvin is within an inch of his face.", "KELVIN (V.O.)\n You killed her!\n\n SARTORIUS (V.O.)\n Not her. It.\n\n CUT TO:", "lives, thinks, and acts. We are\n dealing with a living creature\n here, no question. And it's done\n something we've never been able to", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM" ], [ "Kelvin looks around.\n\n KELVIN\n She'll come back.\n\n SARTORIUS\n No, she won't.", "Snow and Sartorius wait for Kelvin.\n\n SNOW\n He won't do it.\n\n SARTORIUS\n Why do you say that?", "She finishes making her drink, drinks it, and walks out the\ndoor.\n\nKelvin stands in the doorway for a beat, then pivots and\nreturns to bed. The light goes out.", "lives, thinks, and acts. We are\n dealing with a living creature\n here, no question. And it's done\n something we've never been able to", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Finally, he steps forward and presses the button to open the\ndoor.\n\nRHEYA", "They smile at this. Rheya's smile fades before Kelvin's.\n\n RHEYA\n Sartorius wants to destroy it.", "(beat)\n Whether you've been sent here to\n make me happy or punish me, it\n doesn't matter. The decision we", "An uncomfortably long moment as we realize she is actually\nnot going to wake up.\n\n KELVIN\n She's dead.\n\nSnow says nothing.\n\nThen:", "KELVIN (V.O.)\n You killed her!\n\n SARTORIUS (V.O.)\n Not her. It.\n\n CUT TO:", "Looking from the doorway, notes this. He doesn't seem\nsurprised, though.\n\n KELVIN (V.O.)\n I don't believe it will happen.", "KELVIN (V.O.)\n Is this what it means to die?\n (beat)\n Am I in the moment of my own death?\n (beat)\n Is this the last thought I will\n ever have?", "(beat, the smile fades)\n I still have a little time, and I\n want to tell you something. To\n warn you. By now you know about", "It takes her a moment to realize she shouldn't be seeing him;\nshe shouldn't be seeing anything. She should be dead.\n\nShe begins to cry.", "KELVIN\n Meaning Man can do whatever the\n fuck it wants?\n\n SARTORIUS\n Yes.\n\n KELVIN\n That's fantastic.", "Satisfied, he begins to walk away but is stopped by the\nsounding of a CRASHING GLASS from within. He hears footsteps\napproach the door, and then a fierce POUNDING.", "This continues until she gets off the train. Kelvin watches\nher go, and she looks back at him through the window as the\ntrain pulls away.\n\nINT. PARTY - NIGHT", "Close on Kelvin. We hold on him a long time, as a myriad of\nreadouts scroll and flash across his face. A slit of\nsunlight glides slowly through frame.", "And we realize we are now looking at the surface of Solaris.\n\n FADE OUT.", "anything else, then I am insane.\n (beat, smiles)\n You ask questions at the end of\n your life, the sort of questions" ], [ "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "He's thinking: If I can figure out\n how to make it stop, than I am\n smarter than it is, and therefore\n it cannot be God.", "Sartorius cracks the door open and slithers through the slit\nand into the hallway. He is of obvious intelligence and not", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:", "40s, lies on his side in bed, staring at us.\n\nHe has not been sleeping. In fact, judging from his distant\nexpression, he has not slept in ages.", "monologue with itself. Of course\n it was beyond our understanding.\n (beat)\n I've come to hate it here. There's", "Then he gets up and puts two heavy cases on top of the chair,\nand lies back down.\n\nLaughing to himself, he drifts off to sleep.\n\nSilence.", "lives, thinks, and acts. We are\n dealing with a living creature\n here, no question. And it's done\n something we've never been able to", "to the planet Earth. This is\n hilarious: He thinks it's God, but\n he wants it to sit still for a\n photograph so he can show the folks", "Kelvin looks around.\n\n KELVIN\n She'll come back.\n\n SARTORIUS\n No, she won't.", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Breathes a sigh of relief at being home. Everything seems\nslowed down, somehow.\n\n KELVIN (V.O.)\n I though I was home.", "It takes her a moment to realize she shouldn't be seeing him;\nshe shouldn't be seeing anything. She should be dead.\n\nShe begins to cry.", "SARTORIUS\n Gibarian was helpless. It's very\n simple: Man created the science\n that resulted in the discovery of\n Solaris, and the ship that brought\n us here.", "exceed its powers, but it doesn't\n realize it.\n (beat)\n It's created a situation without a", "KELVIN (V.O.)\n I thought it was over.\n\nHe looks around the room. He is alone.\n\nA flashing light on his computer demands attention.", "Snow and Sartorius wait for Kelvin.\n\n SNOW\n He won't do it.\n\n SARTORIUS\n Why do you say that?", "INT. KELVIN'S CABIN - NIGHT\n\nKelvin, in his bed, awake.\n\n KELVIN (V.O.)\n But I will wait, anyway.", "Satisfied, he begins to walk away but is stopped by the\nsounding of a CRASHING GLASS from within. He hears footsteps\napproach the door, and then a fierce POUNDING.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard." ], [ "WELL-DRESSED BUREAUCRAT\n Dr. Kelvin?\n\nThe Man he is addressing, who we now understand is CHRIS\nKELVIN, stares back at him.", "She looks away.\n\n RHEYA\n I know that you loved me, Chris. I\n know that.\n (beat)\n I love you.\n\nKelvin breaks down.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "KELVIN (V.O.)\n Earth.\n (beat)\n What did that word mean to me?\n (beat)\n I have returned. Finally.\n\nKelvin begins to walk.", "Kelvin speaks into a video communication device. As he does,\nwe see images of the things and people he describes.", "The intercom comes to life.\n\n SNOW\n Kelvin, you awake?\n\n KELVIN\n What is it?", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "RHEYA\n Chris, I had to. I had to. I\n didn't think you'd react like this.\n\n KELVIN\n Neither did I.", "Kelvin gets his bearings and looks around, but sees no sign\nof life.\n\n CUT TO:\n\nINT. CORRIDOR\n\nEmpty.", "KELVIN (V.O.)\n You killed her!\n\n SARTORIUS (V.O.)\n Not her. It.\n\n CUT TO:", "RHEYA\n Don't do this. I am literally\n begging you not to do this. Chris.\n\n KELVIN\n You should have told me.", "RHEYA\n You never said you wanted one.\n\n KELVIN\n I never said I didn't.\n\n RHEYA\n Chris --", "We now show this scene being played out on a video monitor,\nwatched by Kelvin.", "Kelvin registers it, then moves to the corner of the room\nwhere the computer terminal rests. Within moments he has\ndiscovered Gibarian has recorded a video message for him to\nreplay.\n\nVIDEO", "CUT TO:\n\nINT. KELVIN'S CABIN (EARTH)\n\nKelvin sits in a chair, looking at:", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nLater. Kelvin is lying down. The lights are out, and he is\ntrying to sleep.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "KELVIN\n I can't stay here.\n\n RHEYA\n Chris, please. Chris, I'm serious. \n I won't make it.", "KELVIN (V.O.)\n I thought it was over.\n\nHe looks around the room. He is alone.\n\nA flashing light on his computer demands attention.", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of" ], [ "She looks out the portal at Solaris.\n\n RHEYA\n Is it a planet?", "EXT. SPACE\n\nSolaris. Quiet, but still active somehow.", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "CUT TO:\n\nEXT. SPACE\n\nA shot hovering over the surface of Solaris.\n\nINT. KELVIN'S ROOM", "A beat.\n\n CUT TO:\n\nEXT. SOLARIS\n\nTurning, slowly.\n\n CUT TO:", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of", "Sartorius to return to Earth, but\n as they currently view me as an\n intruder of sorts, this may take\n some time.", "of the Month for the highest bidder\n in the Solaris auction. They have\n no idea what's going on up here.\n They've never even been in space.", "CUT TO:\n\nINT. SPACE CAPSULE", "EXT. SPACE\n\nSilence.\n\nThe Prometheus moves away from Solaris.\n\nCLOSER ON SOLARIS\n\nAfter the ship has gone.", "to the planet Earth. This is\n hilarious: He thinks it's God, but\n he wants it to sit still for a\n photograph so he can show the folks", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "CUT TO:\n\nEXT. SOLARIS\n\nStill turning, slowly.\n\nBut something about its appearance is different.", "SARTORIUS\n If it continues, it will implode\n from its own weight and turn into a\n black hole in about four hours and\n pulls us in with it.\n\nINT. FLIGHT DECK", "CUT TO:\n\nEXT. SOLARIS\n\nTurning, slowly.\n\n CUT TO:", "He doesn't know.\n\n CUT TO:\n\nEXT. SOLARIS\n\nTurning slowly.", "EXT. SOLARIS\n\nThe fog-shrouded surface, shifting and turning like an ocean.\n\n CUT TO:", "Sartorius is losing the battle with whomever or whatever is\non the other side of his door.\n\n KELVIN\n They shouldn't let people like you\n into space.", "Kelvin's attention is diverted as an orbiting ship, the\nPROMETHEUS, edges into frame.", "SARTORIUS\n What if this thing follows us back\n to Earth? What if what's happening\n here started happening on Earth, on" ], [ "WELL-DRESSED BUREAUCRAT\n Dr. Kelvin?\n\nThe Man he is addressing, who we now understand is CHRIS\nKELVIN, stares back at him.", "KELVIN\n (via intercom)\n Snow! We need you up here.\n\nSnow doesn't reply.\n\n KELVIN\n Snow!", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "Kelvin looks around.\n\n KELVIN\n She'll come back.\n\n SARTORIUS\n No, she won't.", "KELVIN\n My wife.\n\n SNOW\n Dead?\n\nKelvin nods.", "Kelvin moves toward him. Sartorius just lets him come.\n\n RHEYA\n (to Sartorius)\n You're the coward.", "Snow and Sartorius wait for Kelvin.\n\n SNOW\n He won't do it.\n\n SARTORIUS\n Why do you say that?", "KELVIN\n Get out of here.\n\nSlowly, carefully, Sartorius grasps Kelvin by the shoulders. \nThen he leans in and whispers in Kelvin's ear:", "SNOW\n In his lab. He won't let you in.\n\n KELVIN\n (leaving)\n He'll let me in.", "KELVIN\n Listen --\n\n SARTORIUS\n We're done. Oh, I should tell you,\n I don't trust Snow. There's\n something wrong with him.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "KELVIN\n Tell me. I won't think you're\n insane.\n\n SNOW\n Oh, that's a relief.\n\nSnow lies back down.", "KELVIN\n This is my wife, Rheya.\n\nShe looks at Snow and nods. Sartorius she hates instantly,\nand the feeling seems to be mutual.", "Kelvin, staring intently. What he is staring at is Rheya,\nwho is seated across from him. She doesn't see him, yet. \nWhen she does, she locks eyes with his and doesn't look away.", "He doesn't look up.\n\n KELVIN\n Yes.\n\nA beat.\n\n KELVIN\n I need to see Snow.", "SNOW\n I can't talk just now. I'm too\n tired.\n\n KELVIN\n Where's Sartorius?", "KELVIN\n Who are you, then?\n\n RHEYA\n I... I am Rheya. But I am not the\n woman you loved ten years ago.", "KELVIN\n You're talking about a man in a\n white beard again. You're\n ascribing human characteristics to", "KELVIN (V.O.)\n Is this what it means to die?\n (beat)\n Am I in the moment of my own death?\n (beat)\n Is this the last thought I will\n ever have?", "KELVIN\n Rheya, I am not going back. I'm\n staying here with you.\n\n RHEYA\n Then you'll die." ], [ "Gibarian stares at the camera for a long moment before\nswitching it off and ending the transmission.\n\nKelvin sits back.\n\nThe visitors exchange glances.", "KELVIN\n Gibarian. He was here.\n\n RHEYA\n You said he was dead.", "GIBARIAN\n I wish you'd come a little sooner. \n I might not have had to kill\n myself.\n\nHe smiles, looking at Kelvin.", "Kelvin registers it, then moves to the corner of the room\nwhere the computer terminal rests. Within moments he has\ndiscovered Gibarian has recorded a video message for him to\nreplay.\n\nVIDEO", "KELVIN\n Gibarian.\n\n GIBARIAN\n Leave the light off.\n\nA beat. Kelvin tries to get his bearings.", "Rheya lingers behind Kelvin, who is looking at Gibarian's\nbody.\n\nIt is there, alone on its slab; even the Young Girl is not\nwith him.", "Gibarian smiles.\n\nKELVIN\n\nwakes up, gulping air. Rheya, startled:\n\n RHEYA\n What's wrong?", "KELVIN\n He is. But he was here...\n\nHe moves to the chair, looking for some residue of Gibarian,\nsome proof. Finding none:", "INT. KELVIN'S ROOM\n\nKelvin, asleep.\n\n CUT TO:\n\nGIBARIAN", "KELVIN\n Gibarian warned me. He left me a\n message.\n\n SNOW\n Who was it?", "KELVIN\n What's wrong? What happened to\n Gibarian?\n\n SNOW\n He's dead.\n\n KELVIN\n How?", "KELVIN\n What happened to Gibarian?\n\n SARTORIUS\n Didn't you talk to Snow?", "Kelvin stares at Gibarian's body, which is lying under a\nsheet in the ship's operating room. Also under the sheet,\nnext to Gibarian: The Young Girl.", "Kelvin registers this.\n\n GIBARIAN\n What I'm saying is: Don't trust\n anyone. Find yourself a weapon of\n some sort.", "CUT TO:\n\nINT. CONFERENCE ROOM\n\nBefore Kelvin's arrival.\n\nGibarian is talking to Snow and Sartorius.", "GIBARIAN\n (addressing whoever made\n the noise)\n Cut that out. Do you hear me?\n\nGibarian switches off the video.", "KELVIN\n You're not Gibarian...\n\n GIBARIAN\n No? Who am I, then?\n\n KELVIN\n A puppet.", "Kelvin, Rheya, Sartorius, and Snow. They are in the middle\nof a heated discussion.\n\n SNOW\n Gibarian was under enormous --", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "Kelvin is out of bed and speaking into a videophone to Snow. \nRheya is asleep in the background. The room is dark except\nfor the glow of the screen." ], [ "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Kelvin is asleep. Rheya is next to him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "This continues until she gets off the train. Kelvin watches\nher go, and she looks back at him through the window as the\ntrain pulls away.\n\nINT. PARTY - NIGHT", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nLater. Kelvin is lying down. The lights are out, and he is\ntrying to sleep.", "Kelvin lies in bed, his eyes open. Rheya is in his arms.\n\n CUT TO:\n\nINT. APARTMENT - DAY", "Kelvin asleep, alone. Rheya is in the corridor, talking to\nsomeone.\n\nKELVIN\n\nwakes up. Rheya is beside him, asleep.", "Kelvin is out of bed and speaking into a videophone to Snow. \nRheya is asleep in the background. The room is dark except\nfor the glow of the screen.", "INT. KELVIN'S ROOM\n\nTime has passed. Kelvin is asleep.\n\nRHEYA leans into frame and kisses him.", "If he is not entirely surprised it is because he has\nobviously dreamed of Rheya before. He looks at her, simply.\n\nRHEYA\n\nStands and makes her way to Kelvin.", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "Kelvin puts his hand on her forehead.\n\nShe gradually begins to open her eyes. She looks at Kelvin.", "They make love. It's even better than before.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "INT. KELVIN'S ROOM\n\nRheya is asleep. Kelvin is talking to Snow on the\nvideophone.", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Hearing his name spoken by her (and those particular words,\nperhaps) nearly causes Kelvin to scream.\n\nHe stands and moves to the chair. Rheya watches him.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "He passes Kelvin and leaves.\n\nKelvin watches him, then looks at Rheya. She seems dazed.\n\n CUT TO:", "INT. KELVIN'S ROOM\n\nKelvin is asleep. Rheya is next to him.\n\nOffscreen, we hear the door open.", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "CUT TO:\n\nINT. KELVIN'S ROOM" ], [ "Kelvin is yelling at Rheya. We don't hear what he's saying,\nbut judging from her reaction, it's not pleasant. She is\ncrying.", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "He passes Kelvin and leaves.\n\nKelvin watches him, then looks at Rheya. She seems dazed.\n\n CUT TO:", "KELVIN\n He spoke to me.\n\nKelvin leaves the room. After a few beats, Rheya follows.\n\nINT. LAB", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "She looks away.\n\n RHEYA\n I know that you loved me, Chris. I\n know that.\n (beat)\n I love you.\n\nKelvin breaks down.", "Kelvin, still yelling, is packing some things into a\nsuitcase. Rheya, between sobs, pleads with him.\n\nRHEYA (ON PROMETHEUS)", "KELVIN\n You were trying to break down the\n door. Do you know why?\n\n RHEYA\n When I saw you were gone I got\n scared.", "KELVIN\n What's wrong.\n\n RHEYA\n You don't love me.\n\n KELVIN\n Stop.", "RHEYA\n Yes.\n\nHe looks at her.\n\n KELVIN\n Where did you come from?", "KELVIN\n Rheya, I am not going back. I'm\n staying here with you.\n\n RHEYA\n Then you'll die.", "Rheya crying as she embraces Kelvin.\n\n RHEYA\n I'm so sorry. I'm so sorry.", "KELVIN (V.O.)\n I thought it was over.\n\nHe sees Rheya, in the hallway again, talking to someone we\ncan't see.\n\nKELVIN", "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "INT. KELVIN'S ROOM\n\nKelvin and Rheya. She is sobbing, but somewhat calmer.", "RHEYA\n Chris, I had to. I had to. I\n didn't think you'd react like this.\n\n KELVIN\n Neither did I.", "Kelvin moves toward him. Sartorius just lets him come.\n\n RHEYA\n (to Sartorius)\n You're the coward.", "KELVIN\n Let's go home.\n\n RHEYA\n You go home.", "INT. KELVIN'S ROOM\n\nA long, held shot of Rheya, crying. She is curled up,\nretreating into herself. Kelvin is trying to console her." ], [ "Rheya is shaking violently now, as if a rippling rhythmic\nforce were coursing through her. Snow, as he looks\ndispassionately on the two of them:", "Rheya continues her process of \"waking up\" -- it's violent,\neven sexual. She spasms to a peak of some sort, and then\nslowly returns to normal.", "Rheya's wounds have HEALED; in fact, they are HEALING in\nfront of us.\n\nShe looks up at him and doesn't like the look on his face.", "Kelvin, with the dead Rheya in his arms, crying. Beyond him\nis the rain-streaked window. On the floor, by her hand, is", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "Rheya's body is on the floor of the kitchen.\n\nRHEYA (ON PROMETHEUS)\n\nShe is looking at Kelvin. He is dreading this.", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "Rheya is on the ground, convulsing. Beside her is a SMALL\nSTEEL DRUM, which is spilling a strange-looking LIQUID that\nsolidifies and vaporizes with a smoky hiss.", "She looks away.\n\n RHEYA\n I know that you loved me, Chris. I\n know that.\n (beat)\n I love you.\n\nKelvin breaks down.", "Rheya, on the kitchen floor. The bottle of sleeping pills\njust beyond her hand.\n\nBACK ON THE PROMETHEUS", "RHEYA\n Don't. I'm the one at risk here. \n If we're playing out what happened\n before, I won't survive.\n\nHe goes to her.", "RHEYA\n I've decided that if it is God,\n it's a sick God. Its ambitions", "RHEYA\n What am I? Why can't I die?\n\nShe turns away.", "Kelvin puts Rheya on the bed. Her face and throat have\nreturned to normal, but she is not breathing. Kelvin goes", "RHEYA\n (whispering)\n Shhhh. Just stay with me.\n (beat)\n Stay with me. Everything is\n forgiven. Everything.", "Is revealed, covered in blood. She has completely torn the\ninside of the cabin door apart and has badly injured herself\nin the process.\n\n KELVIN\n Rheya...", "RHEYA\n Don't blame them. I begged them to\n do it. It's better this way.\n (beat)", "RHEYA (V.O.)\n \"Though lovers be lost love shall\n not. And death shall have no\n dominion.\"\n\nKelvin wipes the hair from her face.", "INT. APARTMENT - MORNING\n\nRheya, on the floor, dead. Her hand outstretched, a repeat\nof an image we saw earlier.\n\nRain streaks the kitchen window." ], [ "Rheya continues her process of \"waking up\" -- it's violent,\neven sexual. She spasms to a peak of some sort, and then\nslowly returns to normal.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "Kelvin puts Rheya on the bed. Her face and throat have\nreturned to normal, but she is not breathing. Kelvin goes", "RHEYA (V.O.)\n \"Though lovers be lost love shall\n not. And death shall have no\n dominion.\"\n\nKelvin wipes the hair from her face.", "Rheya's wounds have HEALED; in fact, they are HEALING in\nfront of us.\n\nShe looks up at him and doesn't like the look on his face.", "Rheya is shaking violently now, as if a rippling rhythmic\nforce were coursing through her. Snow, as he looks\ndispassionately on the two of them:", "Kelvin, with the dead Rheya in his arms, crying. Beyond him\nis the rain-streaked window. On the floor, by her hand, is", "Rheya's body is on the floor of the kitchen.\n\nRHEYA (ON PROMETHEUS)\n\nShe is looking at Kelvin. He is dreading this.", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "KELVIN\n What are you talking about?\n\n RHEYA\n That I am not Rheya. That Rheya\n died. Killed herself. I'm\n different.", "Rheya is on the ground, convulsing. Beside her is a SMALL\nSTEEL DRUM, which is spilling a strange-looking LIQUID that\nsolidifies and vaporizes with a smoky hiss.", "She looks away.\n\n RHEYA\n I know that you loved me, Chris. I\n know that.\n (beat)\n I love you.\n\nKelvin breaks down.", "RHEYA\n What am I? Why can't I die?\n\nShe turns away.", "Rheya, on the kitchen floor. The bottle of sleeping pills\njust beyond her hand.\n\nBACK ON THE PROMETHEUS", "INT. APARTMENT - DAY\n\nKelvin holds the dead Rheya.\n\nKELVIN (ON PROMETHEUS)\n\nSqueezing her.", "RHEYA\n (whispering)\n Shhhh. Just stay with me.\n (beat)\n Stay with me. Everything is\n forgiven. Everything.", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "SARTORIUS\n Rheya is dead. She's a copy. A\n facsimile. And she's seducing you", "INT. APARTMENT - MORNING\n\nRheya, on the floor, dead. Her hand outstretched, a repeat\nof an image we saw earlier.\n\nRain streaks the kitchen window.", "RHEYA\n Don't. I'm the one at risk here. \n If we're playing out what happened\n before, I won't survive.\n\nHe goes to her." ], [ "Sartorius to return to Earth, but\n as they currently view me as an\n intruder of sorts, this may take\n some time.", "SNOW\n She'll come back, don't worry. But\n then what? My theory is she can\n only live here, that she will die\n if she leaves this ship.", "to the planet Earth. This is\n hilarious: He thinks it's God, but\n he wants it to sit still for a\n photograph so he can show the folks", "EXT. SPACE\n\nSilence.\n\nThe Prometheus moves away from Solaris.\n\nCLOSER ON SOLARIS\n\nAfter the ship has gone.", "SARTORIUS\n Gibarian was helpless. It's very\n simple: Man created the science\n that resulted in the discovery of\n Solaris, and the ship that brought\n us here.", "KELVIN (V.O.)\n Earth.\n (beat)\n What did that word mean to me?\n (beat)\n I have returned. Finally.\n\nKelvin begins to walk.", "world where I used to live... but I\n feel completely and continually out\n of-sync. I am separate. Why did I\n return to Earth and lie about what", "A beat.\n\n CUT TO:\n\nEXT. SOLARIS\n\nTurning, slowly.\n\n CUT TO:", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "SARTORIUS\n What if this thing follows us back\n to Earth? What if what's happening\n here started happening on Earth, on", "SARTORIUS\n If it continues, it will implode\n from its own weight and turn into a\n black hole in about four hours and\n pulls us in with it.\n\nINT. FLIGHT DECK", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "Her face contorted in confusion, watches through the pod\nwindow as the docking bay doors close in front of her with a\nbrutal finality.\n\nKELVIN", "CUT TO:\n\nEXT. SOLARIS\n\nStill turning, slowly.\n\nBut something about its appearance is different.", "He doesn't know.\n\n CUT TO:\n\nEXT. SOLARIS\n\nTurning slowly.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of", "CUT TO:\n\nEXT. SPACE\n\nA shot hovering over the surface of Solaris.\n\nINT. KELVIN'S ROOM", "No response. He exhales and types on a keyboard.\n\nEXT. SPACE\n\nThe Athena 7, sporting a DBA logo, advances toward the\nPrometheus.", "Sartorius is losing the battle with whomever or whatever is\non the other side of his door.\n\n KELVIN\n They shouldn't let people like you\n into space." ], [ "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "He passes Kelvin and leaves.\n\nKelvin watches him, then looks at Rheya. She seems dazed.\n\n CUT TO:", "Kelvin gets his bearings and looks around, but sees no sign\nof life.\n\n CUT TO:\n\nINT. CORRIDOR\n\nEmpty.", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nLater. Kelvin is lying down. The lights are out, and he is\ntrying to sleep.", "Kelvin nods and obeys. He then takes one last look at the\nmonitor to see Snow lying in bed. Kelvin reaches over and\nshuts the monitor off.\n\n CUT TO:", "This continues until she gets off the train. Kelvin watches\nher go, and she looks back at him through the window as the\ntrain pulls away.\n\nINT. PARTY - NIGHT", "Kelvin, with the dead Rheya in his arms, crying. Beyond him\nis the rain-streaked window. On the floor, by her hand, is", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nKelvin, on the edge of his bed. He wants to tear himself\ninside out.", "They make love. It's even better than before.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Kelvin is lying down, looking at the door.\n\nAfter a beat, he turns out the lights and rolls over.\n\n CUT TO:", "KELVIN (V.O.)\n You killed her!\n\n SARTORIUS (V.O.)\n Not her. It.\n\n CUT TO:", "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "KELVIN\n (to Rheya)\n When you cut yourself pounding the\n door, did it hurt?\n\n RHEYA\n Yes.\n (looks around)\n Of course.", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nIn the immediate aftermath of her suicide attempt with the\nliquid oxygen:", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "Hearing his name spoken by her (and those particular words,\nperhaps) nearly causes Kelvin to scream.\n\nHe stands and moves to the chair. Rheya watches him.", "Her finger twitches.\n\nBarely noticeable at first, but growing in intensity. Kelvin\nsees it, and goes to her. She is starting to shake a little,\nas though cold.", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin." ], [ "GIBARIAN\n I wish you'd come a little sooner. \n I might not have had to kill\n myself.\n\nHe smiles, looking at Kelvin.", "KELVIN\n What's wrong? What happened to\n Gibarian?\n\n SNOW\n He's dead.\n\n KELVIN\n How?", "CUT TO:\n\nGIBARIAN\n\nOn his suicide tape:", "GIBARIAN\n You're being tricked. Sartorius\n picked a fight with you to avoid\n telling you about his idea for", "KELVIN\n Gibarian. He was here.\n\n RHEYA\n You said he was dead.", "Gibarian addressing the camera. He appears to be lucid, but\nextremely fatigued.", "Kelvin stares at Gibarian's body, which is lying under a\nsheet in the ship's operating room. Also under the sheet,\nnext to Gibarian: The Young Girl.", "GIBARIAN\n (addressing whoever made\n the noise)\n Cut that out. Do you hear me?\n\nGibarian switches off the video.", "Gibarian stares at the camera for a long moment before\nswitching it off and ending the transmission.\n\nKelvin sits back.\n\nThe visitors exchange glances.", "Gibarian considers this.\n\n SNOW\n We're not even sure it will let us\n leave.\n\n CUT TO:", "Rheya lingers behind Kelvin, who is looking at Gibarian's\nbody.\n\nIt is there, alone on its slab; even the Young Girl is not\nwith him.", "RHEYA\n Did you hear what Gibarian said? \n I'm not a human being. I'm an", "SNOW\n I'm not sure.\n (beat)\n It started with Gibarian. He", "Gibarian smiles.\n\nKELVIN\n\nwakes up, gulping air. Rheya, startled:\n\n RHEYA\n What's wrong?", "GIBARIAN\n You think you're dreaming me, like\n you dream her. Understand\n something: I am the real Gibarian. \n Just a new incarnation.", "ANOTHER VIDEO\n\nThis time, Gibarian alone. Near the end.", "KELVIN\n What happened to Gibarian?\n\n SARTORIUS\n Didn't you talk to Snow?", "INT. GIBARIAN'S ROOM\n\nRansacked.", "GIBARIAN\n Maybe it's stuck. Maybe its power\n isn't that God-like. I mean, we", "As we saw him before, sitting in the chair. But we didn't\nhear him say this before:\n\n GIBARIAN\n If they succeed, you'll never see\n her again." ], [ "KELVIN (V.O.)\n The Prometheus, as far as I can\n tell, is functionally intact. Crew\n status: One dead, Gibarian. Cause\n of death appears to be suicide.", "A beat. Then a shot of Kelvin that we've seen before: Him\nleaving their apartment, angry.\n\nON THE PROMETHEUS\n\nA beat.", "CUT TO:\n\nINT. CORRIDOR - DAY\n\nKelvin walks, exploring the ship. He sees something that\nstops him:", "Kelvin gets his bearings and looks around, but sees no sign\nof life.\n\n CUT TO:\n\nINT. CORRIDOR\n\nEmpty.", "INT. CABIN - DAY\n\nKelvin sits in his chair, as he did at the beginning, with\nthe three officials from DBA behind him.", "KELVIN (V.O.)\n Earth.\n (beat)\n What did that word mean to me?\n (beat)\n I have returned. Finally.\n\nKelvin begins to walk.", "INT. PROMETHEUS\n\nComplete chaos.\n\nKelvin is chasing Sartorius to the flight deck.", "Kelvin and Sartorius get the ship ready for take off.\n\n KELVIN\n Where's Snow? Did you call him?", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nOn the Prometheus. Kelvin is in bed, feverish.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of", "KELVIN\n Yes.\n\n CUT TO:\n\nINT. B DECK CONFERENCE ROOM", "CUT TO:\n\nINT. KELVIN'S CABIN (EARTH)\n\nKelvin sits in a chair, looking at:", "We now show this scene being played out on a video monitor,\nwatched by Kelvin.", "Close on Kelvin. We hold on him a long time, as a myriad of\nreadouts scroll and flash across his face. A slit of\nsunlight glides slowly through frame.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:", "Only now the three officials are Snow, Sartorius, and\nGibarian.\n\nINT. KELVIN'S ROOM (PROMETHEUS)\n\nKelvin, transfixed.", "This idea forces him to rise, and he does, slowly.\n\nINT. CORRIDOR\n\nBehind Kelvin as he somehow keeps moving.", "CUT TO:\n\nINT. DOCKING BAY\n\nKelvin leads Rheya to one of the exploratory pods. They are\nin space suits." ], [ "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "Kelvin is yelling at Rheya. We don't hear what he's saying,\nbut judging from her reaction, it's not pleasant. She is\ncrying.", "He passes Kelvin and leaves.\n\nKelvin watches him, then looks at Rheya. She seems dazed.\n\n CUT TO:", "KELVIN\n He spoke to me.\n\nKelvin leaves the room. After a few beats, Rheya follows.\n\nINT. LAB", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "She looks away.\n\n RHEYA\n I know that you loved me, Chris. I\n know that.\n (beat)\n I love you.\n\nKelvin breaks down.", "RHEYA\n Yes.\n\nHe looks at her.\n\n KELVIN\n Where did you come from?", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "KELVIN (V.O.)\n I thought it was over.\n\nHe sees Rheya, in the hallway again, talking to someone we\ncan't see.\n\nKELVIN", "KELVIN\n I am. Please come with me. I\n don't want to do this here.\n\n RHEYA\n You talk like an actor.", "KELVIN\n You were trying to break down the\n door. Do you know why?\n\n RHEYA\n When I saw you were gone I got\n scared.", "Kelvin moves toward him. Sartorius just lets him come.\n\n RHEYA\n (to Sartorius)\n You're the coward.", "KELVIN\n What's wrong.\n\n RHEYA\n You don't love me.\n\n KELVIN\n Stop.", "KELVIN\n Rheya, I am not going back. I'm\n staying here with you.\n\n RHEYA\n Then you'll die.", "Kelvin, still yelling, is packing some things into a\nsuitcase. Rheya, between sobs, pleads with him.\n\nRHEYA (ON PROMETHEUS)", "Rheya crying as she embraces Kelvin.\n\n RHEYA\n I'm so sorry. I'm so sorry.", "RHEYA\n Chris, I had to. I had to. I\n didn't think you'd react like this.\n\n KELVIN\n Neither did I.", "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "KELVIN\n What are you talking about?\n\n RHEYA\n That I am not Rheya. That Rheya\n died. Killed herself. I'm\n different.", "KELVIN\n You... she said I didn't love her.\n\n RHEYA\n Was she right?" ], [ "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "Kelvin is yelling at Rheya. We don't hear what he's saying,\nbut judging from her reaction, it's not pleasant. She is\ncrying.", "Rheya's body is on the floor of the kitchen.\n\nRHEYA (ON PROMETHEUS)\n\nShe is looking at Kelvin. He is dreading this.", "Kelvin puts Rheya on the bed. Her face and throat have\nreturned to normal, but she is not breathing. Kelvin goes", "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "KELVIN\n What are you talking about?\n\n RHEYA\n That I am not Rheya. That Rheya\n died. Killed herself. I'm\n different.", "RHEYA\n Yes.\n\nHe looks at her.\n\n KELVIN\n Where did you come from?", "Kelvin runs Rheya through a battery of tests and studies the\nresults.\n\n RHEYA\n Am I all right?\n\nA beat.", "Kelvin, with the dead Rheya in his arms, crying. Beyond him\nis the rain-streaked window. On the floor, by her hand, is", "He passes Kelvin and leaves.\n\nKelvin watches him, then looks at Rheya. She seems dazed.\n\n CUT TO:", "Kelvin is still looking at Rheya, who is shaking a little\nharder; it's feeling like a seizure now.", "INT. APARTMENT - DAY\n\nKelvin holds the dead Rheya.\n\nKELVIN (ON PROMETHEUS)\n\nSqueezing her.", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "Rheya is shaking much harder now, Kelvin tries to hold her\nstill, but she's too strong. He stands, reluctantly, and\nwatches her.", "Rheya on the kitchen floor, the note in her hand.\n\nKelvin is kneeling over her.\n\n CUT TO:", "INT. KELVIN'S ROOM\n\nKelvin and Rheya. She is sobbing, but somewhat calmer.", "Looks at Rheya, then back to Kelvin.", "KELVIN\n He spoke to me.\n\nKelvin leaves the room. After a few beats, Rheya follows.\n\nINT. LAB", "Rheya enters, looks around. She spots Kelvin, who has\nalready spotted her. Their expressions indicate they are\npleased to see each other again. He approaches her, and they\nstare at each other a long time, until:" ], [ "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "KELVIN (V.O.)\n The Prometheus, as far as I can\n tell, is functionally intact. Crew\n status: One dead, Gibarian. Cause\n of death appears to be suicide.", "Reveals that Rheya is not sitting on the train -- she is\nsitting in Kelvin's room on the Prometheus, right now.\n\nShe is staring at Kelvin and she is ethereal in her\nstillness.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "INT. KELVIN'S ROOM\n\nOn the Prometheus. Kelvin looks over to Rheya.\n\n KELVIN\n Where did you go before?", "KELVIN (V.O.)\n You killed her!\n\n SARTORIUS (V.O.)\n Not her. It.\n\n CUT TO:", "Close on Kelvin. We hold on him a long time, as a myriad of\nreadouts scroll and flash across his face. A slit of\nsunlight glides slowly through frame.", "KELVIN (V.O.)\n Is this what it means to die?\n (beat)\n Am I in the moment of my own death?\n (beat)\n Is this the last thought I will\n ever have?", "An uncomfortably long moment as we realize she is actually\nnot going to wake up.\n\n KELVIN\n She's dead.\n\nSnow says nothing.\n\nThen:", "He opens the door of a pod and indicates for her to enter. \nShe is unsure.\n\n KELVIN\n Go ahead. I'll close the door\n behind me.", "CUT TO:\n\nINT. DOCKING BAY\n\nKelvin leads Rheya to one of the exploratory pods. They are\nin space suits.", "And we realize we are now looking at the surface of Solaris.\n\n FADE OUT.", "INT. PROMETHEUS\n\nComplete chaos.\n\nKelvin is chasing Sartorius to the flight deck.", "Sweating. Struggling. Beyond fear.\n\n KELVIN (V.O.)\n I'm losing my mind.\n (beat)\n I'm breaking apart.", "her and caused her destruction. \n What if I was wrong about\n everything?\n (beat)\n I've come to believe that memory is", "Rheya enters, looks around. She spots Kelvin, who has\nalready spotted her. Their expressions indicate they are\npleased to see each other again. He approaches her, and they\nstare at each other a long time, until:", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "Kelvin stares at Gibarian's body, which is lying under a\nsheet in the ship's operating room. Also under the sheet,\nnext to Gibarian: The Young Girl.", "EXT. SPACE\n\nSilence.\n\nThe Prometheus moves away from Solaris.\n\nCLOSER ON SOLARIS\n\nAfter the ship has gone." ], [ "An uncomfortably long moment as we realize she is actually\nnot going to wake up.\n\n KELVIN\n She's dead.\n\nSnow says nothing.\n\nThen:", "Kelvin gives chase. He sees her turn a corner, but by the\ntime he gets there, she is gone.\n\n CUT TO:\n\nINT. SNOW'S ROOM", "and puts his head to her chest, but doesn't hear what he\nhoped to hear. He stands, still looking at her. Snow seems\nvery detached.", "A beat.\n\n SNOW\n Suicide.\n\nSnow exhales, then looks up as though he's remembered\nsomething.", "KELVIN\n My wife.\n\n SNOW\n Dead?\n\nKelvin nods.", "Kelvin nods and obeys. He then takes one last look at the\nmonitor to see Snow lying in bed. Kelvin reaches over and\nshuts the monitor off.\n\n CUT TO:", "Snow lies down on his bed. Kelvin looks at Sartorius.", "KELVIN\n What's wrong? What happened to\n Gibarian?\n\n SNOW\n He's dead.\n\n KELVIN\n How?", "SNOW\n You'll see her die, that's all. \n They're mortal, despite what she\n told you. She will die. Then what\n will you do?", "A long beat as Kelvin stares at Snow.\n\n KELVIN\n What happened here?\n\nSnow lies back in his bunk.", "Snow is lying on his bunk.\n\n KELVIN\n Is there anybody else here?\n\n SNOW\n (sits up a little)\n Why, who did you see?", "Kelvin, with the dead Rheya in his arms, crying. Beyond him\nis the rain-streaked window. On the floor, by her hand, is", "SNOW\n I got rid of him. I wanted to see\n if... I wanted to be the only one. \n I wanted to be Snow.", "SNOW\n We didn't even get to hear his new\n ideas.\n\nSnow wanders toward the door.\n\n SNOW\n I'm not feeling well.", "SNOW\n I can't talk just now. I'm too\n tired.\n\n KELVIN\n Where's Sartorius?", "SNOW\n Well, when you do go to sleep:\n barricade your door.\n\nSnow rolls over, away from Kelvin.\n\n CUT TO:", "SNOW\n Yes. We heard.\n\nKelvin takes a step forward, and Snow recoils.", "A FIGURE, seated with its back to the door, turns to see\nKelvin enter. This is SNOW. He looks Kelvin up and down,\nhis expression wary and alert.", "SNOW\n I never get used to them, these...\n \"Resurrections\".\n\nHe leaves.", "A voice calls over the intercom: Snow's.\n\n SNOW\n Was her breakfast conversation that\n bad?\n\n KELVIN\n Shut up." ], [ "It takes her a moment to realize she shouldn't be seeing him;\nshe shouldn't be seeing anything. She should be dead.\n\nShe begins to cry.", "threatening to break apart. It sounds like a plane is\ncrashing in Kelvin's room -- no human could create this kind\nof cacophony.", "Is revealed, covered in blood. She has completely torn the\ninside of the cabin door apart and has badly injured herself\nin the process.\n\n KELVIN\n Rheya...", "SARTORIUS\n She reappeared exactly as she had\n before?\n\nKelvin looks at Rheya and nods. She is struck by the word\n\"before\".", "monologue with itself. Of course\n it was beyond our understanding.\n (beat)\n I've come to hate it here. There's", "SARTORIUS\n Rheya is dead. She's a copy. A\n facsimile. And she's seducing you", "A wave of terror is barely suppressed as he puts his hand to\nhis forehead. Rheya opens her eyes.\n\n KELVIN\n Oh, God. I'm awake.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:", "her and caused her destruction. \n What if I was wrong about\n everything?\n (beat)\n I've come to believe that memory is", "Maybe now we begin to notice a strange quality to the light\n(or is it the sky?). Something vaguely unsettling.\n\n CUT TO:", "Rheya enters, looks around. She spots Kelvin, who has\nalready spotted her. Their expressions indicate they are\npleased to see each other again. He approaches her, and they\nstare at each other a long time, until:", "Worlds. We want mirrors.\n (beat)\n Maybe we don't need to know what it\n is, or why. Maybe just knowing", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "We stay in a translucent white stage for a few moments, until\ngradually the edges of a circle become apparent in the\ncorners of the frame. Still there is a light rain sound.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "RHEYA\n (thinking)\n Yes. But not until you mentioned\n them. As soon as you said those", "KELVIN\n What are you talking about?\n\n RHEYA\n That I am not Rheya. That Rheya\n died. Killed herself. I'm\n different.", "But there are strange incongruities in the image -- pieces of\nthe Prometheus breaking through; for instance, a few of the\nAUTOMATED TASKMASTERS are crawling along the ground.\n\nKELVIN", "If he is not entirely surprised it is because he has\nobviously dreamed of Rheya before. He looks at her, simply.\n\nRHEYA\n\nStands and makes her way to Kelvin." ], [ "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nKelvin, on the edge of his bed. He wants to tear himself\ninside out.", "CUT TO:\n\nINT. KELVIN'S ROOM", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "KELVIN\n (to Rheya)\n When you cut yourself pounding the\n door, did it hurt?\n\n RHEYA\n Yes.\n (looks around)\n Of course.", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nLater. Kelvin is lying down. The lights are out, and he is\ntrying to sleep.", "threatening to break apart. It sounds like a plane is\ncrashing in Kelvin's room -- no human could create this kind\nof cacophony.", "KELVIN\n Please. Don't.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "KELVIN\n I came back. You have to know\n that. I came back that night.\n\n CUT TO:\n\nINT. APARTMENT - DAY", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "This continues until she gets off the train. Kelvin watches\nher go, and she looks back at him through the window as the\ntrain pulls away.\n\nINT. PARTY - NIGHT", "Kelvin is lying down, looking at the door.\n\nAfter a beat, he turns out the lights and rolls over.\n\n CUT TO:", "KELVIN\n Stay with me.\n (beat)\n Stay with me.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Hearing his name spoken by her (and those particular words,\nperhaps) nearly causes Kelvin to scream.\n\nHe stands and moves to the chair. Rheya watches him.", "KELVIN\n I don't think it knows it's\n torturing us. It's just watching.\n\n CUT TO:", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nHe is playing back a message sent by Sartorius.", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nKelvin is eating with Rheya. Looking at her. Desiring her.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "Kelvin lies in bed, his eyes open. Rheya is in his arms.\n\n CUT TO:\n\nINT. APARTMENT - DAY" ], [ "He walks across the docking bay to the control room and\nbegins preparations for the pod to be jettisoned.\n\nKELVIN", "CUT TO:\n\nINT. SPACE CAPSULE", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of", "CUT TO:\n\nINT. DOCKING BAY\n\nKelvin leads Rheya to one of the exploratory pods. They are\nin space suits.", "SARTORIUS\n If it continues, it will implode\n from its own weight and turn into a\n black hole in about four hours and\n pulls us in with it.\n\nINT. FLIGHT DECK", "He opens the door of a pod and indicates for her to enter. \nShe is unsure.\n\n KELVIN\n Go ahead. I'll close the door\n behind me.", "Her face contorted in confusion, watches through the pod\nwindow as the docking bay doors close in front of her with a\nbrutal finality.\n\nKELVIN", "Kelvin and Sartorius get the ship ready for take off.\n\n KELVIN\n Where's Snow? Did you call him?", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "EXT. SPACE\n\nSilence.\n\nThe Prometheus moves away from Solaris.\n\nCLOSER ON SOLARIS\n\nAfter the ship has gone.", "Kelvin, now out of his space suit and holding a small\ncarrying case and a duffle bag, moves on.\n\n CUT TO:", "CUT TO:\n\nINT. PROMETHEUS", "Kelvin's attention is diverted as an orbiting ship, the\nPROMETHEUS, edges into frame.", "CUT TO:\n\nEXT. SPACE\n\nA shot hovering over the surface of Solaris.\n\nINT. KELVIN'S ROOM", "She stares up and into the pod. Kelvin watches her go with\ndifficulty and then CLOSES THE DOOR behind Rheya.", "Sartorius is losing the battle with whomever or whatever is\non the other side of his door.\n\n KELVIN\n They shouldn't let people like you\n into space.", "No response. He exhales and types on a keyboard.\n\nEXT. SPACE\n\nThe Athena 7, sporting a DBA logo, advances toward the\nPrometheus.", "EXT. SPACE\n\nSolaris. Quiet, but still active somehow.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard." ], [ "KELVIN (V.O.)\n Earth.\n (beat)\n What did that word mean to me?\n (beat)\n I have returned. Finally.\n\nKelvin begins to walk.", "We now show this scene being played out on a video monitor,\nwatched by Kelvin.", "Kelvin speaks into a video communication device. As he does,\nwe see images of the things and people he describes.", "Kelvin moves toward him. Sartorius just lets him come.\n\n RHEYA\n (to Sartorius)\n You're the coward.", "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "KELVIN\n What are you talking about?\n\n RHEYA\n That I am not Rheya. That Rheya\n died. Killed herself. I'm\n different.", "Kelvin gets his bearings and looks around, but sees no sign\nof life.\n\n CUT TO:\n\nINT. CORRIDOR\n\nEmpty.", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nLater. Kelvin is lying down. The lights are out, and he is\ntrying to sleep.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nHe is playing back a message sent by Sartorius.", "Kelvin puts his hand on her forehead.\n\nShe gradually begins to open her eyes. She looks at Kelvin.", "Kelvin asleep, alone. Rheya is in the corridor, talking to\nsomeone.\n\nKELVIN\n\nwakes up. Rheya is beside him, asleep.", "Kelvin lies in bed, his eyes open. Rheya is in his arms.\n\n CUT TO:\n\nINT. APARTMENT - DAY", "He passes Kelvin and leaves.\n\nKelvin watches him, then looks at Rheya. She seems dazed.\n\n CUT TO:", "Kelvin is out of bed and speaking into a videophone to Snow. \nRheya is asleep in the background. The room is dark except\nfor the glow of the screen.", "They make love. It's even better than before.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "This continues until she gets off the train. Kelvin watches\nher go, and she looks back at him through the window as the\ntrain pulls away.\n\nINT. PARTY - NIGHT", "Kelvin is asleep. Rheya is next to him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM" ] ]	[ "Who is the scientist approached by emmisaries of the corporation?", "Why is the scientist approached?", "What does the scientist ag ree to do?", "What does the scientilst learn when he reaches the space station?", "What are the names of the surviving crew members?", "How does the scientist try to save the replica of his wife Rheya?", "How does Gordon attempt to solve the problem of the replicas?", "In the end what does the scientist decide to do?", "What does scientist decide is his situation?", "What does Dr. Chris Kelvin do?", "What planet is the space station orbiting?", "What is the scientist's name who is friends with Dr. Kelvin?", "Why was Gibarian not answering Kelvin's calls?", "Who does Kelvin dream about?", "Why did Kelvin walk out on Rheya?", "How does Rheya die?", "What happens to Rheya after she dies?", "Why can't the ship return to earth?", "What happens after Kelvin cuts his finger off?", "How does Gibarian die?", "How many crew have survived when Kelvin arrives?", "Why did Kelvin walk out on the real Rheya?", "What did Kelvin do to the first replica Rheya? ", "Out of the two surviving crew members which one admits to being a replica?", "Where is Snow's body found?", "What happens to make the replicas appear?", "What is Kelvin chopping up when he cuts his finger?", "What is the name of the smaller space vehicle that is prepared for escape? ", "Whose son appears as a replica to help Kelvin?" ]	[ [ "Dr, Chris Kelvin is approached.", "Dr. Chris Kelvin" ], [ "He is given a message from his friend to come to the space station.", "To come to the space station and investigate something that is happening. " ], [ "He agrees to do a solo mission and bring the crew home safelly.", "go on a solo mission to Solaris" ], [ "His friend has committed suicide and most of the crew have died or disappeared.", "He learned that Gibarian committed suicide, and most other crew died or disappeared." ], [ "Snow and Gordon are the names of t he survivors.", "Snow and Dr. Gordon" ], [ "He puts her in an escape pod and jettisons it into space.", "He puts her in an escape pod and jettisons her into space." ], [ "He develops an apparatus that will destroy the replicas.", "Creates apparatus to destroy replicas." ], [ "He decides to stay on Solaris.", "stay on the space station" ], [ "That his perception of home away from home could merely be a convenience.", "He and wife have forgiven each other." ], [ "Clinical psychologist", "tries to save the replica of his wife" ], [ "Solaris", "Solaris" ], [ "Dr. Gibarian", "Dr. Gibarian" ], [ "She committed suicide", "he committed suicide" ], [ "Rheya", "His dead wife Rheya" ], [ "She terminated her pregnancy", "She terminated a pregnancy." ], [ "Suicide", "she commits suicide" ], [ "She self-resurrects", "She self-resurrects." ], [ "The ship's fuel cell reactor was drained.", "The fuel cell reactor is drained. " ], [ "It immediately heals", "The wound immediately heals." ], [ "He commits suicide.", "he commits suicide" ], [ "Two", "Two" ], [ "She secretly terminated a pregnancy that made Kelvin walk out on her.", "he discovers Rheya terminated a pregnancy " ], [ "Puts her in an escape pod and jetisons it into space.", "leads her into an escape pod and jettisons it off into space" ], [ "Snow", "Snow" ], [ "Stashed in a ceiling vent.", "In a ceiling vent" ], [ "They are dreamed about.", "People dream them into existence." ], [ "Vegetables.", "vegetables" ], [ "Athena.", "Athena" ], [ "Gibarian's.", "Gibarian's" ] ]	2e24e035fddb9b96430c9bb2cf45d44facac6fc8	train
[ [ "The trapper drew slowly aside, as if satisfied with the somewhat\nincoherent reason Ellen had given why he should retire. When completely\nout of ear shot of the earnest and hurried dialogue, that instantly", "A long and a musing, if not a melancholy, silence succeeded this\ndeparture. It was first broken by the trapper, whose regret was not the\nleast visible in his dejected and sorrowful eye--", "The trapper loitered about the place, declining to share the straw\nof the emigrant, until the whole arrangement was completed; and then,\nwithout the ceremony of an adieu, he slowly retired from the spot.", "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "renew his importunities; but the trapper, who had discovered how great\na counterfeit he was, shook him off in displeasure. An end was, however,", "The trapper paused, and followed the departing wagon with his eye,\nmarvelling greatly as to the nature of its concealed contents, until it", "The trapper made a gesture of compliance, and turning in his tracks, he\nled Asinus across the trembling earth of the swale, and quickly emerged\non the hard ground, on the side opposite to the encampment of the\nsquatter.", "rifle has taken leave, and who has become no better than a miserable\ntrapper, can offer before we part.\"", "they mutually proved, in expedients that were so entirely useless. He\nchanged his plans, accordingly, and withdrew from the bank, as has been\nalready explained through the mouth of the trapper, in order to invite", "The sudden and striking change, which instantly occurred in the\ncountenance of the Indian, caused the trapper to look aside, when\nhe perceived that the conference of the Siouxes had ended, and that", "The trapper earnestly regarded her anxious and frightened features,\nand then he dropped the butt of his rifle on the ground, like one whose\npurpose had undergone a sudden change.", "The effect of this outbreaking was inevitable. Le Balafre turned away\ndisappointed, and hid himself in the crowd, while the trapper, whose", "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "\"Old World!\" retorted the trapper, \"that is the miserable cry of all the\nhalf-starved miscreants that have come into this blessed land, since the", "He was interrupted by a long and hearty, but still a noiseless fit of\nmerriment, from the trapper, which was considered so ill-timed by the", "The trapper, who had meditated no violence, dropped his rifle again,\nand laughing at the success of his experiment, with great seeming", "\"This must end,\" said the trapper, rising with the dignity of one bent\nonly on the importance of his object. \"I know not what need ye may have,", "\"Hunter or trapper--there is little difference. I have come, old man,\ninto these districts because I found the law sitting too tight upon me,", "The trapper was the first to speak, as the man on whose intelligence and\nexperience they all depended for counsel, after running his eye over the\ndifferent individuals who gathered about him, in order to see that none\nwere missing.", "\"Now leave the Pawnee to be the pilot,\" said the trapper; \"my hand is\nnot so steady as it used to be; but he has limbs like toughened hickory." ], [ "The effect of such a spectacle was instantaneous and powerful. The man\nin front of the emigrants came to a stand, and remained gazing at", "mean time the vessel of skin had reached the land, and the fugitives\nwere once more united on the margin of the river.", "to the original direction of their flight. To most of the fugitives\ntheir situation was as entirely unknown as is that of a ship in the\nmiddle of the ocean to the uninstructed voyager: but the old man", "and as tenantless as the rest of the vehicles, the men applied their\nstrength to its wheels, and rolled it apart from the others, to a dry\nand elevated spot, near the edge of the thicket. Here they brought", "\"I call nothing a stream that a man can travel round,\" exclaimed the\nill-looking associate of the emigrant: \"a real river must be crossed;\nnot headed, like a bear in a county hunt.\"[]", "It was, therefore, no unusual thing for strangers to encounter each\nother in the endless wastes of the west. By signs, which an unpractised", "needed conveniences. The leader of the emigrants cast his eyes,\nunderstandingly, about him, and examined the place with the keenness of\none competent to judge of so nice a question, though in that dilatory", "Paul had by this time assisted Ellen to dismount, and he now stood\nlooking, with rueful eyes, at the naked banks of the river. Neither tree", "Then he directed the attention of all to the chief of the strangers. He\nwas a son of their great white father. He had not come upon the prairies", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "lay. There was but little difficulty in solving the mystery of this\nmovement. The snow had fallen in time to assure them that those\nthey sought were in their rear, and they were now employed, with the", "him to the desire of profiting by the migratory propensities of the\nsquatter. This gentleman he had cordially received into his family, or\nrather under his protection, and they had journeyed together, thus far", "were brief, and soon completed. When they were all ready, they took\na short and silent leave of the squatter and his family; and then the\nwhole of the singularly constituted party were seen slowly and silently", "It was in the midst of such a scene that the family of the squatter\nassembled to make their final decision, concerning the several", "\"You seem to have but little plunder,[] stranger, for one who is far\nabroad,\" bluntly interrupted the emigrant, as if he had a reason for", "Still, the leader of the emigrants steadily pursued his way, with no\nother guide than the sun, turning his back resolutely on the abodes", "The trapper loitered about the place, declining to share the straw\nof the emigrant, until the whole arrangement was completed; and then,\nwithout the ceremony of an adieu, he slowly retired from the spot.", "\"Ah, the lad is right. We must to our inventions, therefore, or the\nriver cannot be crossed.\" Then, cutting the discourse short, he turned", "intentions. His train followed the course of the river for a mile, and\nthen it came to a halt on the brow of the elevated land, and in a place\nwhich afforded the necessary facilities. Here he again pitched his", "The examination, which his companions so instantly and so intently\nmade, rather served to assure them of their desperate situation, than\nto appease their fears. Huge columns of smoke were rolling up from the" ], [ "The sincere manner of the trapper, as he uttered this simple\nvindication, was not entirely thrown away on the emigrant, whose dull", "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "\"Mount, mount,\" shouted the trapper, the instant he beheld them; \"mount\nand fly, if you value those who lean on you for help. Mount, and leave\nus in the hands of the Lord.\"", "The trapper made a gesture of compliance, and turning in his tracks, he\nled Asinus across the trembling earth of the swale, and quickly emerged\non the hard ground, on the side opposite to the encampment of the\nsquatter.", "The trapper drew slowly aside, as if satisfied with the somewhat\nincoherent reason Ellen had given why he should retire. When completely\nout of ear shot of the earnest and hurried dialogue, that instantly", "\"It will be well,\" whispered the trapper, who knew enough of the\nlanguage he heard to comprehend perfectly the subject of the discussion,", "\"What say you, trapper?\" returned the father, showing the slight\nimpression his powerful heel had made on the compact earth, and laughing", "The trapper was the first to speak, as the man on whose intelligence and\nexperience they all depended for counsel, after running his eye over the\ndifferent individuals who gathered about him, in order to see that none\nwere missing.", "The trapper paused, and followed the departing wagon with his eye,\nmarvelling greatly as to the nature of its concealed contents, until it", "their tongues, and turning to the squatter at the same time, in order\nthat the latter might see he dealt fairly by him; \"he asks for a\nmiserable and worn-out trapper.\"", "\"There may be reason in what he says,\" returned the trapper, so far\ncomplying as to take his piece from the place where it had lain during", "\"I can put the little strength that is left me,\" returned the trapper,\n\"to this, as well as to another of your loads.\"", "\"The lad has good in him! I see it plainly by his manner;\" said the\ntrapper, turning to Ellen with an encouraging air; \"I will take it on", "\"It is rational,\" rejoined the trapper, when the other had delivered\nhis reasons; \"it is very rational, for what man cannot move with his", "suddenness of the movement. His example was followed by the trapper, as\nwell as the rest of the party; and then, without much deference to\nthe presence of their guest, the travellers proceeded to make their", "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "[] They who have read the preceding books, in which, the trapper\n appears as a hunter and a scout, will readily understand the\n allusions.", "The trapper bestowed such articles as he conceived were necessary to the\ncomfort of the weaker and more delicate members of the party, in those", "\"Come nigher; we are friends,\" said the trapper, associating himself\nwith his companion by long use, and, probably, through the strength of\nthe secret tie that connected them together; \"we are your friends; none\nwill harm you.\"", "\"A hint from such a friend is far better than man's advice!\" muttered\nthe trapper, as he slowly moved towards the couple who were yet, too" ], [ "As the Teton spoke, he pointed towards the tents of Ishmael, which were\nin plain sight, and then he paused, to await the effect of his words on", "succeeded, Ishmael made a gesture which commanded his sons to bear the\nbody into the tent.", "and proceeded to make the enquiries which they fancied the former had\nso repeatedly demanded. Ishmael made no objections; but, though he", "\"Ishmael! Ishmael!\" she said, \"you parted from the boy in your wrath!\"", "\"Look!\" repeated Abiram, in a voice which sounded hollow and warning;\n\"if you have time for any thing but quarrels, Ishmael, look!\"", "his fears, and having arrived at the indicated point, he pushed into the\nwilderness in pursuit. It was not difficult to trace a train like that\nof Ishmael, until he was well assured its object lay far beyond the", "So saying, Ishmael deliberately led the way back towards his rifled\nencampment, and ushered the man, whose life a few minutes before had", "\"I did, I did the Lord gave me the feeling, as a punishment for my sins!\nbut his mercy was not slow in lifting the veil; I looked into the book,\nIshmael, and there I found the words of comfort.\"", "of his murderer. Ishmael seemed to press this proof with a singular\nmixture of sorrow and pride: sorrow, at the loss of a son, whom in their", "\"I will go upon the rock, boys, and look abroad for the savages,\" said\nIshmael shortly after, advancing towards them with a mien which\nhe intended should be conciliating, at the same time that it was\nauthoritative.", "\"Take the cords from the young man,\" said Ishmael. When the order was\nobeyed, he motioned for all his sons to advance, and he placed them in", "the night, that the former saw her taking a furtive look at the pan\nof his rifle. Ishmael bade his sons seek their rest, announcing his", "cause of the Loups. Then came Ishmael and his stout sons in open view,\nbearing down upon their late treacherous allies, with looks and voices\nthat proclaimed the character of the succour.", "murdered son. Ishmael signed to his wife to take a seat beside him on a\nfragment of rock, and then followed a space, during which neither seemed\ndisposed to speak.", "It was in this state of things that the sons of Ishmael, in obedience\nto an order from their father, conducted the several subjects of his", "forgotten. The summons of Ishmael to his gloomy associate had, however,\nas it would now seem, this hitherto neglected portion of his effects for\nits object.", "and blasphemously mingled. The sons of Ishmael turned away in horror\nat the disgusting spectacle, and even the stern nature of the squatter\nbegan to bend before so abject misery.", "if to assure himself he was not deceived. Then he bent his look on the\nparty of Ishmael, and counted its number.", "When Ishmael had delivered his mind thus far, he paused and looked\nabout him, as if he would trace the effects in the countenances of his\nhearers. When his eye met that of Middleton, he was answered by the\nlatter--", "Ishmael stood for many minutes, with his wife and children clustered\ntogether, in an amazement, with which awe was singularly mingled, gazing" ], [ "had been made the prison of Inez and Ellen. The bride of Middleton was\nseated on a simple couch of sweet-scented herbs covered with skins.", "Inez, and paced back and forth several times, with the air of one who\nmaintained a warm struggle on some difficult point, in the recesses of", "\"This is terrible!\" exclaimed Middleton, folding the trembling Inez to\nhis heart. \"At such a time as this, and in such a manner!\"", "Inez. Springing to their feet, like men, who were about to struggle for\ntheir lives, they found the vast plain, the rolling swells, the little", "Ellen advanced to the side of the beast, and seizing Inez by the hand,\nshe said, with heartfelt warmth, after struggling to suppress an emotion\nthat nearly choked her--", "his established opinions, endangering the dignity of a chief, for a\nwarrior thus to humble himself before a woman. But as Inez sat before\nhim, reserved and imposing in air, utterly unconscious of his object,", "Middleton wavered. At times he felt inclined to rush through the bushes,\nand, seizing Inez, attempt to fly. Then recollecting the impossibility", "While speaking to the trapper he suffered his wandering glances to stray\ntowards the intellectual and nearly infantile beauty of Inez, as one", "\"Inez!\" cried the officer, \"do I again see you! mine shall you now\nbe, though a million devils were posted on this rock. Push up, brave\nwoodsman, and give room for another!\"", "him to overcome the difficulties of the wide region which still lay\nbetween the village of the Pawnees and the nearest fortress of his\ncountrymen. A lodge was yielded to the exclusive possession of Inez and", "The eyes of Mahtoree followed the direction of the old man's extended\narm, until they rested on the drooping form of Inez. The look of the", "ingenious invention, and which the trapper as uniformly cast away the\nmoment his back was turned. Paul showed his dexterity in removing such\nlight articles as Inez and Ellen had prepared for their flight to", "Believing that he must have passed her in the darkness, Middleton\nretraced his steps to meet with another disappointment. Inez had\nnot been seen. Without communicating his intention to any one, the", "\"God in Heaven protect us!\" cried Middleton, catching Inez to his bosom,\nunder the instant impression of the imminence of their danger. \"There is\nno time to lose, old man; each instant is a day; let us fly.\"", "According to the calculations of the trapper, they had ridden twenty\nmiles since the commencement of their flight. The delicate frame of Inez", "figure of Inez, on whose anxious countenance he cast such occasional\nglances of tender interest as, in similar circumstances, a father would\nhave given to his child. Paul led Ellen, close in their rear. But while", "\"One hour,\" repeated Inez, as she kissed her hand to him; and then\nblushing, ashamed at her own boldness, she darted from the arbour, and", "that the eyes of both sunk to the earth, under a feeling of terror and\nembarrassment. Then Inez recovered herself, and addressing the trapper,", "related, led Inez forth from the tent, and gave a new direction to\nthe thoughts of the whole party. He summoned Paul from his flourish of", "As there was but little time to make the necessary arrangements, the\nwhole party set about them in good earnest. Inez and Ellen were placed" ], [ "Hard-Heart, each of whom had involuntarily extended a hand to support\nthe form of the old man, turned to him again, they found, that the\nsubject of their interest was removed for ever beyond the necessity of", "of Hard-Heart had not sufficed to extricate himself in season from the\nfallen beast. He saw that his case was desperate. Feeling for his knife,", "Hard-Heart alone, of all his band, was present to witness the novel and\nfar from unimposing spectacle. He stood leaning, gravely, on his lance,", "The fate of Hard-Heart and his companions, all of whom would have died\nrather than relinquish their object, would have been quickly sealed, but", "Hard-Heart was perfectly insensible. His eye kept the same steady,\nriveted look on the air, though the glittering axe described, in its", "Hard-Heart had already crossed half the bottom, which lay between the\nacclivity and the water. At this precise moment a band of armed and", "The experience of Hard-Heart had not deceived him. When his snorting\nsteed issued from the water, he found himself on a tremendous but damp", "The eye of Hard-Heart was fixed, composed, and a little anxious; but\nas to every other emotion, impenetrable. He neither spoke himself, nor", "Though Hard-Heart was sensible of the kindness of his warriors, and\nbelieved that a chief, furnished with such appointments, might depart", "instructions of Hard-Heart, on quitting his band, had been worthy of the\nself-devotion and daring of his character. So long as single warriors", "When he had placed his guests in front of the dying man, Hard-Heart,\nafter a pause, that proceeded as much from sorrow as decorum, leaned a\nlittle forward and demanded--", "\"Hard-Heart has looked at himself, within and without. He has thought\nof all he has done in the hunts and in the wars. Every where he is the", "Hard-Heart intended to speak, the former stopped, and manifested their\nreadiness to listen, the trapper performing the office of interpreter.\nThen the young chief addressed his people, in the usual metaphorical", "by a sudden change in the air of Hard-Heart. When the old men turned\ntowards the youth, they saw him standing in the very centre of the ring,", "Hard-Heart had no sooner received the brief congratulations of his band,\nand communicated to the chiefs such facts as were important to be known,\nthan he prepared himself to act such a part in the coming conflict,", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on", "now to have closed his accounts with the world, and to await merely for\nthe final summons to quit it. Middleton and Hard-Heart placed themselves\non the opposite sides of his seat, and watched with melancholy", "burn it with the offals of the buffaloe. No,\" he added, advancing a\nfew feet nigher to the immovable Hard-Heart, as if in the sincerity of", "The crafty Sioux had not made his calculations on the noble and honest\nnature of his more youthful rival in vain. Hard-Heart had continued", "\"It is good,\" returned the other, a gleam of satisfaction flitting\nacross his features. \"Hard-Heart will ride his horse to the blessed\nprairies, and he will come before the Master of Life like a chief!\"" ], [ "\"Asa,\" said the father, advancing with a portion of that dignity with\nwhich the hand of Nature seems to have invested the parental character,\n\"you have struck the brother of your mother!\"", "generally believed Asa had retreated, as a place of refuge. These were\ninterpreted into so many proofs of the weakness of the murderer, who", "\"Mother means that we should look for the signs, that we may know in\nwhat manner Asa has come by his end.\"", "in which there was some reason to believe the body of the murdered Asa\nstill lay. Perhaps the naturalist was urged to show his spirit, on this\noccasion, by some secret consciousness that his excessive industry in", "have the temerity to dispute his commands. Asa evidently struggled with\nhimself to compel the required obedience, but his heavy nature quietly\nsunk into its ordinary repose, and he soon appeared again the being he", "\"What has Ellen done, father,\" said Asa, with a degree of spirit, which\nwas the more striking from being unusual, \"that she should be shot at\nlike a straggling deer, or a hungry wolf?\"", "of insubordination, which emanated from the unfortunate Asa, had spread\namong his juniors; and the squatter had been made painfully to remember", "\"Now, Asa, richly do you deserve to be left with an earthen bed this\nblessed night!\" the woman began to mutter, with a revolution in her", "re-appeared, pale, and nearly insensible themselves, and laid at her\nfeet the stiff and motionless body of the lost Asa, with the marks of a", "\"Asa shall account to me for this undutiful conduct!\" he observed. \"Here\nhas the livelong night gone by, and he out-lying on the prairie, when", "\"It is unaccountable that Asa should choose to be out of the way at such\na time as this,\" Esther pettishly observed. \"When all is finished and", "\"He lies! he lies!\" shrieked Abiram. \"I did no murder; I gave but blow\nfor blow.\"\n\nThe voice of Ishmael was deep, and even awful, as he answered--", "incomprehensible. At length Asa, in right of his years, and moved by the\nrankling impulse of the recent quarrel, took on himself the office of", "\"Asa, you are right,\" said the father, turning suddenly on the trapper,\na lost idea being recalled by the hint of his son. \"How is it, stranger;\nthere were three of you, just now, or there is no virtue in moonlight?\"", "and its subsequent interment, had so far consumed the day, that by the\ntime their steps were retraced across the broad track of waste which lay\nbetween the grave of Asa and the rock, the sun had fallen far below his", "very charge of good Mrs. Bush is a sufficient proof. But to speak of the\nabsent Asa. There is doubt as to his fate, and there is a proposition", "the law of nature should be strong. You understand me, Asa; and you know\nme. As for you, Abiram, the child has done you wrong, and it is my place", "At length the eldest of the sons stepped heavily forward, and, without\nany apparent effort, he buried his axe to the eye, in the soft body of a", "\"Dr. Battius wishes to say,\" Ellen modestly interposed, \"that as some\nof us think Asa is in danger, and some think otherwise, the whole family\nmight pass an hour or two in looking for him.\"", "\"As I am a sinner,\" exclaimed Asa, usually one of the most phlegmatic of\nthe youths, \"the girl is blown away by the wind!\"" ], [ "The trapper was the first to speak, as the man on whose intelligence and\nexperience they all depended for counsel, after running his eye over the\ndifferent individuals who gathered about him, in order to see that none\nwere missing.", "The sudden and striking change, which instantly occurred in the\ncountenance of the Indian, caused the trapper to look aside, when\nhe perceived that the conference of the Siouxes had ended, and that", "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "The trapper was not sorry to find that so long a respite was granted. He\nhad before found reason to believe, that the Teton partisan was one of", "\"Mount, mount,\" shouted the trapper, the instant he beheld them; \"mount\nand fly, if you value those who lean on you for help. Mount, and leave\nus in the hands of the Lord.\"", "seized the Doctor by the arm; and, as the trapper followed with the\nsmallest possible delay, the whole party was quickly collected within\nthe cover of the thicket. After a few short explanations concerning the", "shock seeming to increase his exertions. There was now no longer time to\nhesitate. Throwing down his rifle, the trapper stretched forth his\narms, and advanced from the cover with naked hands, directly towards the", "howls. The trapper was in the act of raising himself from this\nsuccessful exploit, when he felt the hand of Weucha grasping his throat,\nas if determined to suppress his voice by the very unequivocal process", "contracted brow and threatening eye of the young man, that a discovery\nwould not bestow a bloodless victory on the savages. Finding his advice\ndisregarded, the trapper took his measures accordingly, and awaited the", "\"It will be well,\" whispered the trapper, who knew enough of the\nlanguage he heard to comprehend perfectly the subject of the discussion,", "The trapper, who had meditated no violence, dropped his rifle again,\nand laughing at the success of his experiment, with great seeming", "The trapper laid his long lean finger on the naked shoulder of the\nIndian as he ended, and seemed to demand his felicitations on his", "The trapper wasted no unnecessary words in explanation. Familiar with\nthe brevity and promptitude of the natives, he immediately communicated", "The deepest silence had prevailed for hours, when the quick ears of the\ntrapper and the Pawnee were startled by a faint cry of surprise from", "\"You are right, you are right!\" cried the trapper, laughing with inward\nself-complacency at the recollection of his former skill. \"The day has", "The trapper now hesitated, in his turn. He was perfectly aware that\ndeception, if detected, might prove dangerous; and, for one of his", "\"Speak aloud!\" said the trapper, who readily understood the metaphorical\nmanner, in which the Teton expressed a desire that he should become an", "plain. It was at this moment that the trapper determined to escape. He\nhad been left with the rest of his friends, under the surveillance of\nthose who were assigned to the duty of watching the horses, and as they", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on" ], [ "\"Look ye, here,\" returned the trapper, pointing to the mutilated carcass\nof a horse, that lay more than half consumed in a little hollow of the", "A long and a musing, if not a melancholy, silence succeeded this\ndeparture. It was first broken by the trapper, whose regret was not the\nleast visible in his dejected and sorrowful eye--", "The trapper was the first to speak, as the man on whose intelligence and\nexperience they all depended for counsel, after running his eye over the\ndifferent individuals who gathered about him, in order to see that none\nwere missing.", "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "\"There!\" said the Doctor, pointing into a dense mass of the thicket,\nto a spot within fifty feet of that where they both stood. The trapper", "When all of Middleton's party had embarked, the trapper lifted a small\nbundle, which had lain at his feet during the previous proceedings,", "He was interrupted by a long and hearty, but still a noiseless fit of\nmerriment, from the trapper, which was considered so ill-timed by the", "The trapper laid his long lean finger on the naked shoulder of the\nIndian as he ended, and seemed to demand his felicitations on his", "\"Woman,\" he answered sternly, \"when we believed that miserable old\ntrapper had done this deed, nothing was said of mercy!\"", "\"His own! ay, and that which is not his own, too! Can you tell me, old\ntrapper, who held the rifle that did the deed for the sheriff's deputy,", "\"It seems to me,\" the trapper calmly observed, \"that there is something\ndark and hidden in this matter. I am a witness that the traveller likes", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on", "\"There's no mistake,\" at length he muttered through his compressed\nteeth. \"It is from the pouch of that accursed trapper. Like many of the", "seized the Doctor by the arm; and, as the trapper followed with the\nsmallest possible delay, the whole party was quickly collected within\nthe cover of the thicket. After a few short explanations concerning the", "to a consultation, which was held mounted. This body was collected on\nthe very margin of that mass of herbage in which the trapper and his\ncompanions were hid. As the young man looked up and saw the fierce", "The trapper made a gesture of compliance, and turning in his tracks, he\nled Asinus across the trembling earth of the swale, and quickly emerged\non the hard ground, on the side opposite to the encampment of the\nsquatter.", "of the place, and passed off into the prairie, in cadences that rose\nand fell, like its own undulating surface. The trapper was impressively", "The trapper drew slowly aside, as if satisfied with the somewhat\nincoherent reason Ellen had given why he should retire. When completely\nout of ear shot of the earnest and hurried dialogue, that instantly" ], [ "commencing with those whom he accused of stealing or murdering, on the\nbanks of the distant Mississippi, and concluding, in terms of suitable\nenergy, with the Teton tribe. The latter more than once received from", "\"Too late! too late!\" exclaimed the trapper, \"for the creatur's are\nin open view; and a bloody band of accursed Siouxes they are, by their\nthieving look, and the random fashion in which they ride!\"", "The remaining horse was given to the Doctor, with instructions to pursue\nthe course just taken by Middleton and Paul. When the naturalist was\nmounted and in full retreat, the trapper and the young Pawnee stole from", "movements of their enemies. At the distance of half a mile, the Teton\nband was seen riding in a circuit, which was gradually contracting\nitself, and evidently closing upon the very spot where the fugitives", "to frighten the buffaloes from their pastures, or to seek the game of\nthe Indians. Wicked men had robbed him of one of his wives; no doubt she", "\"The Teton, and the Pawnee, and the Konza, and men of a dozen other\ntribes, claim to own these naked fields.\"", "woods under the rising sun, and that they have filled the prairies with\ntheir complaints of the robberies of the Long-knives. Where a Pale-face", "\"They are the captives of the Pawnee, according to the rules of Indian\nwarfare, and I cannot meddle with his rights.\"", "manner in which the Siouxes broke into your encampment, and drove off\nthe cattle; stripping the poor man you call Ishmael of his smallest\nhoofs, counting even the cloven feet.\"", "\"Now leave the Pawnee to be the pilot,\" said the trapper; \"my hand is\nnot so steady as it used to be; but he has limbs like toughened hickory.", "The Pawnee awaited the time of his enemy with calmness and dignity. The\nTeton made a short run or two, to curb the impatience of his steed, and", "a moral, which teaches the manner of a prairie life. A band of Pawnees\nare outlying for these very Siouxes, as you see the buzzards looking", "There was now a fearful struggle for the friendly bank. As the Dahcotahs\nadvanced with beasts, which had not, like that of the Pawnee, expended", "in, like the buzzards after a fight atween the beasts, and pick up the\ngleanings of the ground--there are Pawnees nigh us, too! It is a certain", "\"Since you own your kin, I may ask a simple question. Where are the\nSiouxes who have stolen my cattle?\"", "The deepest silence had prevailed for hours, when the quick ears of the\ntrapper and the Pawnee were startled by a faint cry of surprise from", "\"Have not the pale-faces stolen enough from the red men, that you come\nso far to carry a lie? I have said that this is a hunting-ground of my\ntribe.\"", "to his belt, he issued on the open plain, trusting entirely to the\nwell-known speed of the beast for their mutual safety. The Pawnees were\nnot long in catching a view of these new objects, and several turned", "Pawnee? A thief, who only steals from women; a Red-skin, who is not\nbrave; a hunter, that begs for his venison. In counsel he is a squirrel,", "\"The eyes of a Pawnee are good, if he can see a white-skin so far.\"\n\nThe Indian turned slowly towards the speaker, and after a pause of a\nmoment he sternly demanded--" ], [ "\"Ah!\" exclaimed the trapper, tossing a hand into the air as his whole\ncountenance lighted with the recollections the name revived. \"They", "\"Old World!\" retorted the trapper, \"that is the miserable cry of all the\nhalf-starved miscreants that have come into this blessed land, since the", "\"What say you, trapper?\" returned the father, showing the slight\nimpression his powerful heel had made on the compact earth, and laughing", "\"Mount, mount,\" shouted the trapper, the instant he beheld them; \"mount\nand fly, if you value those who lean on you for help. Mount, and leave\nus in the hands of the Lord.\"", "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "hands of the trapper, and struggling to command his voice, he succeeded\nin announcing his presence. The old man listened like one whose thoughts\nwere dwelling on a very different subject, but when the other had", "\"It is a man!\" exclaimed the trapper, rising. \"It is a man, if I am a\njudge of the creatur's ways. There is but little said atwixt the hound", "It was a spectacle so unusual to see the human form amid the solitude in\nwhich he dwelt, that the trapper bent his eyes on the dim figures of his", "A long and a musing, if not a melancholy, silence succeeded this\ndeparture. It was first broken by the trapper, whose regret was not the\nleast visible in his dejected and sorrowful eye--", "The trapper was the first to speak, as the man on whose intelligence and\nexperience they all depended for counsel, after running his eye over the\ndifferent individuals who gathered about him, in order to see that none\nwere missing.", "\"Uncas! did ye call him Uncas?\" repeated the trapper, approaching the\nyouth and parting the dark curls which clustered over his brow, without", "\"Harkee, old trapper,\" said Paul, clearing his throat with a desperate\neffort, as if determined to give his voice a clear exit; \"I have just", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "\"Excellent young woman,\" commenced the young stranger, who had so\nlately joined himself to the party on the prairie--but his mouth\nwas immediately stopped by a significant sign from the trapper, who\nwhispered in his ear--", "\"Lord! Lord!\" continued the trapper, shaking his head, and still\nlaughing, in his deep but quiet manner; \"the boy mistakes a brute for a", "\"You are right, you are right!\" cried the trapper, laughing with inward\nself-complacency at the recollection of his former skill. \"The day has", "\"Stoop your head, old trapper,\" returned the voice of Paul, \"down with\nye both into your nest. The Teton devil is in your line; down with your\nheads and make way for a Kentucky bullet.\"", "Though the trapper manifested some surprise when he perceived that\nanother human figure was approaching him, and that, too, from a\ndirection opposite to the place where the emigrant had made his", "forgotten. When this equivocal species of amity was established between\nthe warrior of the prairies and the experienced old trapper, the latter\nproceeded to give his directions to Paul, concerning the arrangements", "\"Of whom? of whom?\" repeated the trapper, who had sat regarding the\nstranger, during the whole discourse, with eyes that seemed greedily to" ], [ "\"Never! The Wahcondah has given me legs, and he has given me resolution\nto use them. For sixty summers and winters did I journey in the woods", "\"The skin of the traveller is white,\" said the young native, laying a\nfinger impressively on the hard and wrinkled hand of the trapper. \"Does\nhis heart say one thing and his tongue another?\"", "path he is about to travel with a steady eye. Has he nothing to whisper\nin the ears of his people, before he starts? These legs are old, but\nthey may yet carry me to the forks of the Loup river.\"", "\"What! think you, Captain, that a man, who has spent more than\nthreescore years in the wilderness, has not learned the virtue of", "of the natives, it served to make each of the parties acquainted with\nall the necessary information of the other. When they rejoined their\nassociates, the old man saw fit to explain a portion of what had passed", "former passage through the same regions. When within a proper distance,\nhe despatched an Indian runner, belonging to a friendly tribe, to\nannounce the approach of himself and party, continuing his route at a", "in working a great and beneficial change in his character. He soon\nbecame a land-holder, then a prosperous cultivator of the soil, and\nshortly after a town-officer. By that progressive change in fortune,", "The remaining horse was given to the Doctor, with instructions to pursue\nthe course just taken by Middleton and Paul. When the naturalist was\nmounted and in full retreat, the trapper and the young Pawnee stole from", "hand across a wide distance of plain without track or guide of any sort,\nexcept that which the trapper furnished by communicating his knowledge\nof the cardinal points of the compass. In accomplishing this object,", "him to the desire of profiting by the migratory propensities of the\nsquatter. This gentleman he had cordially received into his family, or\nrather under his protection, and they had journeyed together, thus far", "\"There is richer soil in the bottoms,\" returned the old man calmly, \"and\nyou have passed millions of acres to get to this dreary spot, where he", "was suited to his functions and rank, the journey was effected, with the\nprivations and hardships that are the accompaniments of all travelling\nin a wild, but without any of those dangers and alarms that marked his", "proprietors, entirely at his mercy. The instant he could do so with\nsafety, the indefatigable savage was again in motion. He took his way", "of dignity and composure. But when a little time had passed, even this\nsecondary object attracted the attention of the Tetons. Then it was that\nthe trapper first learned, by the shout of triumph and the long drawn", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "Following the route indicated by the old man, they turned the rock in\na body, and pursued their way as fast as possible across the prairie,\nunder the favour of the cover it afforded.", "It was, therefore, no unusual thing for strangers to encounter each\nother in the endless wastes of the west. By signs, which an unpractised", "in the wisdom of my years. And I have seen much of the folly of man; for\nhis natur' is the same, be he born in the wilderness, or be he born in", "and my eyes grow dim. Where do they stand?\" The chief remained silent a\nmoment, as if he disdained to contest any further the truth of a fact,\nconcerning which he was already satisfied. Then pointing to the traces", "towards the hunting-grounds of his tribe. It was apparent, however, by\nthe singular mixture of interest, contempt, and indignation, that were" ], [ "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "\"Mount, mount,\" shouted the trapper, the instant he beheld them; \"mount\nand fly, if you value those who lean on you for help. Mount, and leave\nus in the hands of the Lord.\"", "The trapper drew slowly aside, as if satisfied with the somewhat\nincoherent reason Ellen had given why he should retire. When completely\nout of ear shot of the earnest and hurried dialogue, that instantly", "The trapper made a gesture of compliance, and turning in his tracks, he\nled Asinus across the trembling earth of the swale, and quickly emerged\non the hard ground, on the side opposite to the encampment of the\nsquatter.", "silence and despatch, and this time not even the aged trapper was exempt\nfrom a similar fortune. The tent was struck, the females placed upon the", "\"Now mount you, with the tender ones, and ride for yonder hillock,\" said\nthe trapper; \"beyond it, you will find another stream, into which you", "seized the Doctor by the arm; and, as the trapper followed with the\nsmallest possible delay, the whole party was quickly collected within\nthe cover of the thicket. After a few short explanations concerning the", "The hint was taken; and in a few minutes, the exposed situation in which\nthe family was collected, was exchanged for the more secure elevation", "When all of Middleton's party had embarked, the trapper lifted a small\nbundle, which had lain at his feet during the previous proceedings,", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on", "The trapper looked about him to ascertain in what situations he might\nfind his friends. True to the signals, Middleton and Paul had drawn", "of Middleton had taught him enough to fill his soul with horrible\nforebodings. With an incredible effort he succeeded in gaining his feet,\nand called aloud to the retiring trapper--", "\"There!\" said the Doctor, pointing into a dense mass of the thicket,\nto a spot within fifty feet of that where they both stood. The trapper", "\"The path to the spot is crooked, and it is night. The hour is come for\nsleep,\" said the trapper, with perfect composure. \"Bid your warriors go", "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "\"Stoop your head, old trapper,\" returned the voice of Paul, \"down with\nye both into your nest. The Teton devil is in your line; down with your\nheads and make way for a Kentucky bullet.\"", "In the mean time the trapper and the Sioux chief pursued their way to\nthe lodge. The former had watched with painful interest the expression", "stimulated her sluggish sons to break into the cover. The reader will\nreadily imagine that the trapper and his companions were not indifferent\nobservers of so threatening a movement. The old man summoned all" ], [ "of his murderer. Ishmael seemed to press this proof with a singular\nmixture of sorrow and pride: sorrow, at the loss of a son, whom in their", "\"Ishmael, he murdered our first-born; but it is not meet that the son of\nmy mother should lie upon the ground, like the carrion of a dog!\"", "At length the eldest of the sons stepped heavily forward, and, without\nany apparent effort, he buried his axe to the eye, in the soft body of a", "\"He died as a son of mine should die,\" said the squatter, gleaning a\nhollow consolation from so unnatural an exultation: \"a dread to his", "murdered son. Ishmael signed to his wife to take a seat beside him on a\nfragment of rock, and then followed a space, during which neither seemed\ndisposed to speak.", "\"He lies! he lies!\" shrieked Abiram. \"I did no murder; I gave but blow\nfor blow.\"\n\nThe voice of Ishmael was deep, and even awful, as he answered--", "It is true that his slow-minded sons, even while they submitted to the\nimpressions of the recent event, had glimmerings of terrible distrusts,", "of my cabin, in order to drive it out at the other. But shall a son of\nmine be murdered, and he who did it go at large?--the boy would never\nrest!\"", "long and painfully. But it would seem, that the resolution, she had\nonce adopted, was not to be conquered by the lingering emotions of any\naffection, however natural. The boy himself was next laid at the feet", "\"May that, which you ask of Him, be granted,\" he said; \"but a father can\nnever forget a murdered child.\"", "\"My son's will shall be done. And with these old hands, which I had\nhoped had nearly done with bloodshed, whether it be of man or beast,\nwill I slay the animal on your grave!\"", "\"He did, he did,\" murmured Esther; \"the boy was the pride of the family.\nMy other children are as nothing to him!\"", "\"Brother,\" he said, in a hurried, unnatural whisper, \"did I hear you?\"\n\n\"My words are plain, Abiram White: thou hast done murder, and for the\nsame must thou die!\"", "\"And they find them many. Too many for the safety of its owner, while he\nis in their revengeful hands. My son is not a woman, and he looks on the", "\"I cannot believe that he has done this deed, unless in self-defence, or\non some justifiable provocation. That he knew of the death of your son,", "\"He has been shot in the open ground and come here for a cover,\" said\nAbiram; \"these marks would clearly prove it. The boy has been set upon", "account of her son. It might be true, as Abiram had hinted, that he had\nbecome a captive to some of the tribes who were hunting the buffaloe", "Her husband made no reply, but stood, leaning on his rifle, looking\nsadly, but with an unaltered eye, at the mangled remains of his son. Not", "\"The murderers have been here!\" moaned Esther. \"My babes! my babes!\"", "fruitless remedy against the violent blow, which had thus suddenly\ndestroyed the child in whom she had not only placed her greatest\nhopes, but so much of her maternal pride. While engaged in the" ], [ "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "\"The boy is right! can it be, that the Tetons have been caught in\ntheir own snares? Such things do happen; and here is an example to all", "The eyes of the Teton, and those of the fugitives met. The former raised\na long, loud, and piercing yell, in which the notes of exultation", "movements of their enemies. At the distance of half a mile, the Teton\nband was seen riding in a circuit, which was gradually contracting\nitself, and evidently closing upon the very spot where the fugitives", "When within twenty feet of the prisoners, the Tetons stopped, and their\nleader made a sign to the old man to draw nigh. The trapper obeyed,", "In the mean time the Tetons proceeded to the more regular business of\nthe hour. A fierce and savage joy had existed in the camp, from the", "Tetons raised a loud shout, and darted across the prairie in a line for\nthe distant rock, with the directness and nearly with the velocity of\nthe arrow, that has just been shot from its bow.", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "of your flight. What think you, old trapper? How long may it be before\nthese Tetons, as you call them, will be coming for the rest of old", "\"The Tetons are liars!\" exclaimed the other. \"They dare not shut their\neyes in the night. No; they sleep in the sun. See,\" he added, pointing", "\"Stoop your head, old trapper,\" returned the voice of Paul, \"down with\nye both into your nest. The Teton devil is in your line; down with your\nheads and make way for a Kentucky bullet.\"", "of dignity and composure. But when a little time had passed, even this\nsecondary object attracted the attention of the Tetons. Then it was that\nthe trapper first learned, by the shout of triumph and the long drawn", "In the mean time the Teton warriors had not been idle. Profiting by the\nhigh fog which grew in the bottoms, they had wormed their way through", "stimulated her sluggish sons to break into the cover. The reader will\nreadily imagine that the trapper and his companions were not indifferent\nobservers of so threatening a movement. The old man summoned all", "\"Mount, mount,\" shouted the trapper, the instant he beheld them; \"mount\nand fly, if you value those who lean on you for help. Mount, and leave\nus in the hands of the Lord.\"", "\"No doubt, no doubt; their tempers begin to mount, as they remember the\nnumber of Tetons you have struck, and better would it be for you now,", "\"Am I a fool not to know a burnt-wood Teton?\" demanded the trapper, with\na steadiness that did great credit to his nerves. \"Go; it is dark, and\nyou do not see that my head is grey!\"", "\"It will be well if the boy has escaped the Tetons!\" he muttered. \"I\nshould be sorry to have Asa, who is one of the stoutest of our party,\nboth in heart and hand, fall into the power of the red devils.\"", "\"And if we meet the Tetons?\" demanded the trapper, who wished to\nunderstand, thoroughly, the more important conditions of this new\nalliance.", "The singular coolness, with which the Teton concluded this audacious\nproposal, confounded even the practised trapper. He stared after the" ], [ "\"Hard-Heart!\" shouted the Sioux, turning in his fury, and aiming a\ndeadly blow at the head of his victim. His arm fell into the hollow of", "Hard-Heart intended to speak, the former stopped, and manifested their\nreadiness to listen, the trapper performing the office of interpreter.\nThen the young chief addressed his people, in the usual metaphorical", "and rank. The whole formed a large circle, in the centre of which, were\nperhaps a dozen of the principal chiefs. Hard-Heart waved his hand as he", "Though Hard-Heart was sensible of the kindness of his warriors, and\nbelieved that a chief, furnished with such appointments, might depart", "\"Hard-Heart has looked at himself, within and without. He has thought\nof all he has done in the hunts and in the wars. Every where he is the", "Hard-Heart had no sooner received the brief congratulations of his band,\nand communicated to the chiefs such facts as were important to be known,\nthan he prepared himself to act such a part in the coming conflict,", "When he had placed his guests in front of the dying man, Hard-Heart,\nafter a pause, that proceeded as much from sorrow as decorum, leaned a\nlittle forward and demanded--", "\"It is good,\" returned the other, a gleam of satisfaction flitting\nacross his features. \"Hard-Heart will ride his horse to the blessed\nprairies, and he will come before the Master of Life like a chief!\"", "The crafty Sioux had not made his calculations on the noble and honest\nnature of his more youthful rival in vain. Hard-Heart had continued", "See,\" he added, directing the eyes of the other to the earnest\ncountenance of the attentive trapper; \"Hard-Heart is not without a", "friend Hard-Heart; neither is an Indian to be judged of by the rules of\na white. See! we are not altogether slighted, for here comes a party at", "instructions of Hard-Heart, on quitting his band, had been worthy of the\nself-devotion and daring of his character. So long as single warriors", "\"Teton--no! Hard-Heart has never struck the stranger. They come into\nhis lodge and eat, and they go out in safety. A mighty chief is their", "lodge, and call the name of Hard-Heart aloud. No Pawnee will be deaf.\nThen let my father ask for the colt, that has never been ridden, but", "Hard-Heart had already crossed half the bottom, which lay between the\nacclivity and the water. At this precise moment a band of armed and", "from the Rocky Mountains, and move towards the land of the Pale-faces,\nthe mind of Hard-Heart will soften, and his spirit will become Sioux.", "\"Tell them that Hard-Heart has tied a knot in his wampum for every\nTeton,\" burst from the lips of the captive, with that vehemence", "\"Such a warrior should have a name?\"\n\n\"They call him Hard-Heart, from the stoutness of his resolution; and\nwell is he named, if all I have heard of his deeds be true.\"", "Hard-Heart alone, of all his band, was present to witness the novel and\nfar from unimposing spectacle. He stood leaning, gravely, on his lance,", "the well-known war-cry of Hard-Heart was heard at hand, and at the next\ninstant the chief appeared in their centre, flourishing the scalp of the" ], [ "As there was but little time to make the necessary arrangements, the\nwhole party set about them in good earnest. Inez and Ellen were placed", "Ellen advanced to the side of the beast, and seizing Inez by the hand,\nshe said, with heartfelt warmth, after struggling to suppress an emotion\nthat nearly choked her--", "\"Friends!\" interrupted Inez, glancing her eyes around the little tent\nin quest of the form of Ellen. \"I, too, have a friend who must not be", "figure of Inez, on whose anxious countenance he cast such occasional\nglances of tender interest as, in similar circumstances, a father would\nhave given to his child. Paul led Ellen, close in their rear. But while", "astonishment. Though Inez and Ellen had passed an entire day in her\nsight, it seemed as if the longings of her curiosity were increasing\nwith each new gaze. She regarded them as beings of an entirely different", "Inez. Springing to their feet, like men, who were about to struggle for\ntheir lives, they found the vast plain, the rolling swells, the little", "\"Inez!\" cried the officer, \"do I again see you! mine shall you now\nbe, though a million devils were posted on this rock. Push up, brave\nwoodsman, and give room for another!\"", "Notwithstanding the presence of Inez and Ellen, the entrance of the\nTeton warrior into the lodge of his favourite wife, was made with the", "themselves delivered from the presence of Ellen and her unknown\ncompanion, they bestowed an undivided attention on their more masculine\nand certainly more dangerous assailants, who by this time had made a", "Ellen turned her eyes in the direction in which so many arms were\nalready extended, and, to her consternation, beheld several men,", "a row before the eyes of Ellen. \"Now let there be no trifling, but open\nyour heart. Here ar' all I have to offer, besides a hearty welcome.\"", "While Inez and Ellen stood regarding these several strange movements\nwith eyes of wonder, a low soft musical voice was heard saying in a\nlanguage, that to them was unintelligible--", "\"Ellen!\" cried the young stranger, who until now had been an attentive\nlistener to the parley, \"since Ellen is the name by which you are\nknown--\"", "had been made the prison of Inez and Ellen. The bride of Middleton was\nseated on a simple couch of sweet-scented herbs covered with skins.", "Middleton wavered. At times he felt inclined to rush through the bushes,\nand, seizing Inez, attempt to fly. Then recollecting the impossibility", "efforts of Middleton and Inez, in behalf of her husband, were warmly and\nsagaciously seconded by Ellen, and they succeeded, in process of time,", "\"I have promised the lady,\" said Ellen, dropping her eyes again to the\nearth, \"not to leave her; and after she has received so much wrong from\nour hands, she may have a right to claim that I keep my word.\"", "\"Well, since it is your wish, Ellen,\" returned the youth, endeavouring\nto swallow his spleen, \"I will make the trial; though, as you ought", "of the contemplated halt. While Inez and Ellen were dismounting, and\nMiddleton and the bee-hunter were attending to their comforts, the", "Don Augustin himself was now seized with the desire of proselyting. Even\nthe soft and amiable Inez thought it would be a glorious consummation" ], [ "out the necessity of their being once more on the alert. While Middleton\nattended to the arrangements necessary to the comforts of Inez and\nEllen, in the long and painful journey which lay before them, the old", "\"See, Middleton,\" exclaimed Inez, in a sudden burst of youthful\npleasure, that caused her for a moment to forget her situation, \"how\nlovely is that sky; surely it contains a promise of happier times!\"", "\"God in Heaven protect us!\" cried Middleton, catching Inez to his bosom,\nunder the instant impression of the imminence of their danger. \"There is\nno time to lose, old man; each instant is a day; let us fly.\"", "\"And now, Ishmael,\" resumed his conquering wife, \"in order to keep a\nquiet family and to smother all heart-burnings between us, show yonder", "had been made the prison of Inez and Ellen. The bride of Middleton was\nseated on a simple couch of sweet-scented herbs covered with skins.", "Middleton wavered. At times he felt inclined to rush through the bushes,\nand, seizing Inez, attempt to fly. Then recollecting the impossibility", "\"How is this?\" cried Middleton; \"did you not say, Inez, that this\nexcellent young woman was to accompany us, and to live with us for the", "plain, in the direction of the retiring families; and when Ishmael left\nthe spot with his prisoners and his booty, the ground, which had so\nlately been alive with the bustle and life of an extensive Indian", "limits of the defences of Ishmael. Here she listened, as if she doubted\nthe propriety of venturing further. The pause was only momentary,", "But it would seem that while Ishmael made such a concession to the\nawakened feelings of Esther, he was far from abandoning his original", "itself,\" cried Middleton, hastening to the side of the weeping Inez,\nthe instant he was released; \"and, friend, I pledge you the honour of", "of view. In short, the family of Ishmael appeared now to be in the\nplenitude of an enjoyment, which depended on inactivity, but which was", "\"I have promised the lady,\" said Ellen, dropping her eyes again to the\nearth, \"not to leave her; and after she has received so much wrong from\nour hands, she may have a right to claim that I keep my word.\"", "\"Have we not done enough,\" Middleton demanded, in tenderness to the\ninability of Inez and Ellen to endure so much fatigue, at the end of", "his might, and even Obed took his leave with an effort that bore the\nappearance of desperate philosophical resolution. When he had made the\ncircuit of the whole, the old man, with his own hands, shoved the boat", "The trapper, who had found time to collect his perplexed faculties, saw\nat once that Middleton, having perceived Ishmael on the trail by which", "As the Teton spoke, he pointed towards the tents of Ishmael, which were\nin plain sight, and then he paused, to await the effect of his words on", "of her wishes, to be a humble instrument of bringing her lover into\nthe bosom of the true church. The offers of Middleton were promptly\naccepted, and, while the father looked forward impatiently to the day", "\"You have come to your recollections too late, miserable old man,\" cried\nMiddleton; \"the flames are within a quarter of a mile of us, and the\nwind is bringing them down in this quarter with dreadful rapidity.\"", "and all the solemn sounds of filling a grave. Esther lingered on her\nknees, and Ishmael stood uncovered while the woman muttered a prayer.\nAll was then finished." ], [ "A long and a musing, if not a melancholy, silence succeeded this\ndeparture. It was first broken by the trapper, whose regret was not the\nleast visible in his dejected and sorrowful eye--", "The trapper drew slowly aside, as if satisfied with the somewhat\nincoherent reason Ellen had given why he should retire. When completely\nout of ear shot of the earnest and hurried dialogue, that instantly", "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "The trapper made a gesture of compliance, and turning in his tracks, he\nled Asinus across the trembling earth of the swale, and quickly emerged\non the hard ground, on the side opposite to the encampment of the\nsquatter.", "The trapper loitered about the place, declining to share the straw\nof the emigrant, until the whole arrangement was completed; and then,\nwithout the ceremony of an adieu, he slowly retired from the spot.", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on", "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "The trapper earnestly regarded her anxious and frightened features,\nand then he dropped the butt of his rifle on the ground, like one whose\npurpose had undergone a sudden change.", "[] They who have read the preceding books, in which, the trapper\n appears as a hunter and a scout, will readily understand the\n allusions.", "\"There may be reason in what he says,\" returned the trapper, so far\ncomplying as to take his piece from the place where it had lain during", "In the mean time the trapper and the Sioux chief pursued their way to\nthe lodge. The former had watched with painful interest the expression", "\"You are right, you are right!\" cried the trapper, laughing with inward\nself-complacency at the recollection of his former skill. \"The day has", "of Middleton had taught him enough to fill his soul with horrible\nforebodings. With an incredible effort he succeeded in gaining his feet,\nand called aloud to the retiring trapper--", "The trapper was the first to speak, as the man on whose intelligence and\nexperience they all depended for counsel, after running his eye over the\ndifferent individuals who gathered about him, in order to see that none\nwere missing.", "It was a spectacle so unusual to see the human form amid the solitude in\nwhich he dwelt, that the trapper bent his eyes on the dim figures of his", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "shock seeming to increase his exertions. There was now no longer time to\nhesitate. Throwing down his rifle, the trapper stretched forth his\narms, and advanced from the cover with naked hands, directly towards the", "\"Mount, mount,\" shouted the trapper, the instant he beheld them; \"mount\nand fly, if you value those who lean on you for help. Mount, and leave\nus in the hands of the Lord.\"", "hands of the trapper, and struggling to command his voice, he succeeded\nin announcing his presence. The old man listened like one whose thoughts\nwere dwelling on a very different subject, but when the other had" ], [ "introduced into its awful precincts? Without pretending to explain what\nmust ever be a mystery to the quick, we shall simply relate facts as\nthey occurred.", "\"Not I--not I; I never visited the towns; but often have heard the place\nyou speak of named. 'Tis a wide clearing there, I reckon.\"", "\"There is richer soil in the bottoms,\" returned the old man calmly, \"and\nyou have passed millions of acres to get to this dreary spot, where he", "quarters. Throwing on his clothes he proceeded to the spot, and beheld\nthe individual, with whom he had held the preceding conference, in the\nprecise situation in which he had first been found.", "Though nakedness might, as usual, be given as the pervading character of\nthe spot, whither it is now necessary to transfer the scene of the tale,", "\"It lies ag'in the outer edge of old Kentuck, I reckon; though what the\ndistance may be I never knew.\"", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "so embarrassing to most other men, we shall again shift the scene a few\nshort miles from the place last described, preserving, however, the due\nand natural succession of time. At the very moment that the squatter and", "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "intentions. His train followed the course of the river for a mile, and\nthen it came to a halt on the brow of the elevated land, and in a place\nwhich afforded the necessary facilities. Here he again pitched his", "\"The path to the spot is crooked, and it is night. The hour is come for\nsleep,\" said the trapper, with perfect composure. \"Bid your warriors go", "\"I know the place,\" interrupted Middleton, observing that he spoke with\nincreasing difficulty; \"proceed to tell me, what you would have done.\"", "In order to preserve an even pace between the incidents of the tale, it\nbecomes necessary to revert to such events as occurred during the ward\nof Ellen Wade.", "and my eyes grow dim. Where do they stand?\" The chief remained silent a\nmoment, as if he disdained to contest any further the truth of a fact,\nconcerning which he was already satisfied. Then pointing to the traces", "When, some months later, the story appeared, its effect was immediate on\nboth sides the Atlantic. It is worth note that during his French visit", "The incidents and scenes which are connected with this legend, occurred\nin the earliest periods of the enterprises which have led to so great\nand so speedy a result.", "\"Now look off yonder to the East,\" said the old man, as he began to lead\nthe way across the murky and still smoking plain; \"little fear of cold", "the place. \"I am about to depart from the village of the Loups, and\nshortly shall be beyond the reach of your voice.\"", "At length the hour arrived when charity to man and beast required a\ntemporary suspension of labour. Ishmael chose the required spot with his", "\"The place of rendezvous is many leagues from this, on the banks of La\nPlatte.\"" ], [ "his fears, and having arrived at the indicated point, he pushed into the\nwilderness in pursuit. It was not difficult to trace a train like that\nof Ishmael, until he was well assured its object lay far beyond the", "our separation, I have journeyed far, having entered into a compactum or\nagreement with a certain man named Ishmael--\"", "As the Teton spoke, he pointed towards the tents of Ishmael, which were\nin plain sight, and then he paused, to await the effect of his words on", "of view. In short, the family of Ishmael appeared now to be in the\nplenitude of an enjoyment, which depended on inactivity, but which was", "So saying, Ishmael deliberately led the way back towards his rifled\nencampment, and ushered the man, whose life a few minutes before had", "Having made the reader acquainted with the manner in which Ishmael Bush\nhad disposed of his family, under circumstances that might have proved", "my good man, and learn to be a provider. Why, Ishmael! I believe my\nsoul,\" she continued, dropping the tow she was twisting on a distaff,", "forgotten. The summons of Ishmael to his gloomy associate had, however,\nas it would now seem, this hitherto neglected portion of his effects for\nits object.", "\"And now, Ishmael,\" resumed his conquering wife, \"in order to keep a\nquiet family and to smother all heart-burnings between us, show yonder", "of his murderer. Ishmael seemed to press this proof with a singular\nmixture of sorrow and pride: sorrow, at the loss of a son, whom in their", "succeeded, Ishmael made a gesture which commanded his sons to bear the\nbody into the tent.", "\"Ishmael! Ishmael!\" she said, \"you parted from the boy in your wrath!\"", "At length the hour arrived when charity to man and beast required a\ntemporary suspension of labour. Ishmael chose the required spot with his", "\"Ishmael, he murdered our first-born; but it is not meet that the son of\nmy mother should lie upon the ground, like the carrion of a dog!\"", "It was in this state of things that the sons of Ishmael, in obedience\nto an order from their father, conducted the several subjects of his", "among the savages, which announced the occurrence of some fresh event.\nThen Ishmael and his sluggish sons were seen in the distance, and soon", "Ishmael stood for many minutes, with his wife and children clustered\ntogether, in an amazement, with which awe was singularly mingled, gazing", "duty to be strictly neutral. A few direct and pertinent enquiries served\nto obtain the little additional information that was necessary, in\norder to make the contemplated movement, and then Ishmael, who was, on", "and you shall hear. I have already made known that, in virtue of a\ncompactum, I journey with the aforesaid Ishmael Bush; but though I am", "limits of the defences of Ishmael. Here she listened, as if she doubted\nthe propriety of venturing further. The pause was only momentary," ], [ "manner in which the Siouxes broke into your encampment, and drove off\nthe cattle; stripping the poor man you call Ishmael of his smallest\nhoofs, counting even the cloven feet.\"", "\"Yonder is one of the creatures left by the villains to mock us,\" said\nIshmael, glancing his eye towards the latter, \"and that the meanest of", "of Ishmael's beasts of burden, that the man he had selected to watch his\ncaptives chose to indulge in the malignant pleasure of tormenting", "in singular accordance with those of his companion, \"and I have often\nthought and said as much, when and where I have believed my voice could\nbe heard. But your beasts are stolen by them who claim to be masters of", "At length the hour arrived when charity to man and beast required a\ntemporary suspension of labour. Ishmael chose the required spot with his", "cause of the Loups. Then came Ishmael and his stout sons in open view,\nbearing down upon their late treacherous allies, with looks and voices\nthat proclaimed the character of the succour.", "\"Ishmael!\" interrupted the impatient Esther, \"make no words with a man\nwho can break your bones as easily as set them, and let the poisoning", "As the Teton spoke, he pointed towards the tents of Ishmael, which were\nin plain sight, and then he paused, to await the effect of his words on", "expense of toil and time, and the body was wrapped in such spare\nvestments as could be collected among the labourers. When these\narrangements were completed, Ishmael approached the seemingly", "The unfortunate bee-hunter and his companions had become the captives of\na people, who might, without exaggeration, be called the Ishmaelites of", "The trapper, who had found time to collect his perplexed faculties, saw\nat once that Middleton, having perceived Ishmael on the trail by which", "\"They have robbed the squatter of his beasts!\" said the attentive\ntrapper. \"The reptiles have left him as hoofless as a beaver!\" He was", "\"Come away, boys; come away, and leave the hounds to sing their tunes\nfor their own amusement,\" Ishmael said, in his coldest manner. \"I scorn", "\"Ishmael, my man, heard ye nothing?\"", "the red-skins show themselves, in time to give you notice. But, Ishmael,\nwhat have you been killing, my man; for it was your rifle I heard a few", "\"Harkee, friend Ishmael Bush,\" returned the bee-hunter, who found that\nhe was expected to answer to the charge of burglary, as well as to that", "\"Old man,\" said Ishmael sternly, \"to which people do you belong? You\nhave the colour and speech of a Christian, while it seems that your\nheart is with the redskins.\"", "\"I will go upon the rock, boys, and look abroad for the savages,\" said\nIshmael shortly after, advancing towards them with a mien which\nhe intended should be conciliating, at the same time that it was\nauthoritative.", "plain, in the direction of the retiring families; and when Ishmael left\nthe spot with his prisoners and his booty, the ground, which had so\nlately been alive with the bustle and life of an extensive Indian", "fellow-creatures. I pined greatly in secret to know the contents of the\ntent, which Ishmael guarded so carefully, and which he had covenanted" ], [ "\"Ishmael, he murdered our first-born; but it is not meet that the son of\nmy mother should lie upon the ground, like the carrion of a dog!\"", "of his murderer. Ishmael seemed to press this proof with a singular\nmixture of sorrow and pride: sorrow, at the loss of a son, whom in their", "and blasphemously mingled. The sons of Ishmael turned away in horror\nat the disgusting spectacle, and even the stern nature of the squatter\nbegan to bend before so abject misery.", "murdered son. Ishmael signed to his wife to take a seat beside him on a\nfragment of rock, and then followed a space, during which neither seemed\ndisposed to speak.", "\"Tell me, you Abner--Abiram--Ishmael!\" the woman cried, standing over a\nspot where the earth was trampled and beaten, and plainly sprinkled with", "As the Teton spoke, he pointed towards the tents of Ishmael, which were\nin plain sight, and then he paused, to await the effect of his words on", "Mahtoree encountered, at the door of his lodge, Ishmael, Abiram,\nand Esther. The first glance of his eye, at the countenance of the", "It was not often that the blood of Ishmael moved at the rate with which\nthe fluid circulates in the veins of ordinary men; but now he felt it", "cause of the Loups. Then came Ishmael and his stout sons in open view,\nbearing down upon their late treacherous allies, with looks and voices\nthat proclaimed the character of the succour.", "The unfortunate bee-hunter and his companions had become the captives of\na people, who might, without exaggeration, be called the Ishmaelites of", "\"He lies! he lies!\" shrieked Abiram. \"I did no murder; I gave but blow\nfor blow.\"\n\nThe voice of Ishmael was deep, and even awful, as he answered--", "\"Take the cords from the young man,\" said Ishmael. When the order was\nobeyed, he motioned for all his sons to advance, and he placed them in", "limits of the defences of Ishmael. Here she listened, as if she doubted\nthe propriety of venturing further. The pause was only momentary,", "succeeded, Ishmael made a gesture which commanded his sons to bear the\nbody into the tent.", "and all the solemn sounds of filling a grave. Esther lingered on her\nknees, and Ishmael stood uncovered while the woman muttered a prayer.\nAll was then finished.", "\"And yet, Ishmael, my blood, and the blood of my children, is in his\nveins, cannot mercy be shown?\"", "\"I did, I did the Lord gave me the feeling, as a punishment for my sins!\nbut his mercy was not slow in lifting the veil; I looked into the book,\nIshmael, and there I found the words of comfort.\"", "It was in this state of things that the sons of Ishmael, in obedience\nto an order from their father, conducted the several subjects of his", "Having made the reader acquainted with the manner in which Ishmael Bush\nhad disposed of his family, under circumstances that might have proved", "\"If one of the lazy sons of Skirting Ishmael is prowling out of his camp\nto-night,\" said the young bee-hunter, with great vivacity, and in tones" ], [ "\"The women of the Siouxes and of the white men are not of the same\nwigwam,\" he answered evasively. \"Would a Teton warrior make his wife", "\"The Teton chief has spoken very plainly,\" the old man continued; \"he\nwill not give you the lady, to whom the Lord in heaven knows you have no", "\"Therein shall the savage speak for himself. The daughters of the\nPale-faces wish to know why the Great Teton has come into his lodge?\"", "put her out of his lodge. Mahtoree loves him as a brother. He is his\nbrother. He shall have the youngest wife of the Teton. Tachechana, the", "of her supposed rival, and well might the self-abased wife of the Teton\nbelieve that the burden of her sacrifice was now full.", "the most favoured of the wives of the Teton. Her charms had not been\nwithout the most powerful attraction in the eyes of her husband, until\nthey had so unexpectedly opened on the surpassing loveliness of a woman", "\"Why do the mothers of the Tetons sing with bitter tongues? The Pawnee\nprisoners are not yet in their village; their young men have not come\nback loaded with scalps!\"", "\"A Teton is a dog. When the Pawnee war-whoop is in their ears, the whole\nnation howls.\"", "\"She shall be the wife of Mahtoree; then the Long-knife will be the\nfather of a chief.\"", "\"If the Tetons lose their great chief by the hands of the\nLong-knives[], old shall die as well as young!\"\n\n [] The whites are so called by the Indians, from their swords.", "The eyes of the Teton flashed fire as he answered--\n\n\"They are gone: but Mahtoree is a wise chief, and his eyes can see a\ngreat distance!\"", "movements of their enemies. At the distance of half a mile, the Teton\nband was seen riding in a circuit, which was gradually contracting\nitself, and evidently closing upon the very spot where the fugitives", "Notwithstanding the presence of Inez and Ellen, the entrance of the\nTeton warrior into the lodge of his favourite wife, was made with the", "of comprehension little inferior to that of the Teton himself. \"The\nBig-knives do not send their women to war. I know that the Dahcotahs\nwill smoke with the strangers.\"", "of his people. He has said to himself, Teton, count the scalps in your\nsmoke. They are all red but two! Does the wolf destroy the wolf, or the", "commencing with those whom he accused of stealing or murdering, on the\nbanks of the distant Mississippi, and concluding, in terms of suitable\nenergy, with the Teton tribe. The latter more than once received from", "\"The Teton, and the Pawnee, and the Konza, and men of a dozen other\ntribes, claim to own these naked fields.\"", "\"Enough! Mahtoree is a wise chief. Put your women on the horses of the\nDahcotahs: we shall see, for our eyes are open very wide.\"", "\"Friend squatter, you ask what few men would be willing to grant. You\nwould first cut the tongue from the mouth of the Teton, and then the heart\nfrom his bosom.\"", "\"My ears listen to many wicked lies!\" exclaimed the Teton warrior, in\na voice so stern that it startled even his red auditors. \"Am I a woman?" ], [ "generally believed Asa had retreated, as a place of refuge. These were\ninterpreted into so many proofs of the weakness of the murderer, who", "in which there was some reason to believe the body of the murdered Asa\nstill lay. Perhaps the naturalist was urged to show his spirit, on this\noccasion, by some secret consciousness that his excessive industry in", "\"Asa,\" said the father, advancing with a portion of that dignity with\nwhich the hand of Nature seems to have invested the parental character,\n\"you have struck the brother of your mother!\"", "\"He lies! he lies!\" shrieked Abiram. \"I did no murder; I gave but blow\nfor blow.\"\n\nThe voice of Ishmael was deep, and even awful, as he answered--", "\"Mother means that we should look for the signs, that we may know in\nwhat manner Asa has come by his end.\"", "\"Now, Asa, richly do you deserve to be left with an earthen bed this\nblessed night!\" the woman began to mutter, with a revolution in her", "have the temerity to dispute his commands. Asa evidently struggled with\nhimself to compel the required obedience, but his heavy nature quietly\nsunk into its ordinary repose, and he soon appeared again the being he", "\"What has Ellen done, father,\" said Asa, with a degree of spirit, which\nwas the more striking from being unusual, \"that she should be shot at\nlike a straggling deer, or a hungry wolf?\"", "\"It is unaccountable that Asa should choose to be out of the way at such\na time as this,\" Esther pettishly observed. \"When all is finished and", "of insubordination, which emanated from the unfortunate Asa, had spread\namong his juniors; and the squatter had been made painfully to remember", "\"Brother,\" he said, in a hurried, unnatural whisper, \"did I hear you?\"\n\n\"My words are plain, Abiram White: thou hast done murder, and for the\nsame must thou die!\"", "re-appeared, pale, and nearly insensible themselves, and laid at her\nfeet the stiff and motionless body of the lost Asa, with the marks of a", "\"Asa shall account to me for this undutiful conduct!\" he observed. \"Here\nhas the livelong night gone by, and he out-lying on the prairie, when", "\"Asa, you are right,\" said the father, turning suddenly on the trapper,\na lost idea being recalled by the hint of his son. \"How is it, stranger;\nthere were three of you, just now, or there is no virtue in moonlight?\"", "\"As I am a sinner,\" exclaimed Asa, usually one of the most phlegmatic of\nthe youths, \"the girl is blown away by the wind!\"", "incomprehensible. At length Asa, in right of his years, and moved by the\nrankling impulse of the recent quarrel, took on himself the office of", "very charge of good Mrs. Bush is a sufficient proof. But to speak of the\nabsent Asa. There is doubt as to his fate, and there is a proposition", "and its subsequent interment, had so far consumed the day, that by the\ntime their steps were retraced across the broad track of waste which lay\nbetween the grave of Asa and the rock, the sun had fallen far below his", "\"Murder them!\" cried Abiram; \"I'll swear to the old hound; 'tis the dog\nof the trapper, whom we now know to be our mortal enemy.\"", "\"Nell is mad!\" said Asa, half in contempt and yet not a little in\nconcern. \"The girl is dreaming with her eyes open; and thinks she sees" ], [ "the result to his companions. Paul was mounted in an instant, with Ellen\nat his back. A few more moments were necessary to assure Middleton", "\"For the sake of heaven, do not let them hear you!\" cried Ellen. \"Go,\nPaul, go; you can easily quit us now!\"", "Not so Paul; conceiving himself to have obtained the two things dearest\nto his heart, the possession of Ellen and a triumph over the sons of", "\"Ellen! Ellen Wade,\" cried Paul Hover, who had advanced to his elbow,\nwithout betraying any of that sensitiveness which had so manifestly\ndiscomposed the Doctor; \"I didn't expect to find an enemy in you!\"", "Paul had by this time assisted Ellen to dismount, and he now stood\nlooking, with rueful eyes, at the naked banks of the river. Neither tree", "Ellen; and even Paul, when he saw an armed sentinel in the uniform of\nthe States, pacing before its entrance, was content to stray among the", "\"If I do, may I b--!\" The mouth of Paul was stopped by the hand of\nEllen, and he was obliged to swallow the rest of the sentence, which", "\"Paul! rash Paul!\" shrieked Ellen; \"another step and the rocks will\ncrush you! they hang by but a thread, and these girls are ready and\nwilling to let them fall!\"", "Ellen admired Paul for anything but his learning. There was enough in\nhis frank, fearless, and manly character, backed as it was by great", "\"Harkee, old trapper,\" interrupted Paul, who, content with the knowledge\nthat his waist was grasped by one of the arms of Ellen, had hitherto", "In order to give the worthy priest something to employ his mind,\nMiddleton made him the instrument of uniting Paul and Ellen. The former", "The mouth of Paul was again stopped by the hand of Ellen, who took on\nherself to reply, in her conciliating tones: \"we should be all of a", "\"The whole truth is out, Ellen,\" Paul continued, \"and we have lined\nthe squatter into his most secret misdoings. We have come to right the", "Paul Hover, however, remained in his tracks, sullenly leaning on his\nrifle. Near a minute had elapsed before he was observed by Ellen, who", "figure of Inez, on whose anxious countenance he cast such occasional\nglances of tender interest as, in similar circumstances, a father would\nhave given to his child. Paul led Ellen, close in their rear. But while", "has related of Paul, and of his own continued happiness, he has added\na short narrative of what took place in a subsequent visit to the\nprairies, with which, as we conceive it a suitable termination to what", "Ellen seemed to hesitate, but catching a glimpse of Paul, who stood\nleaning proudly on his rifle, whistling, with an appearance of the", "and Paul summoned Ellen from her culinary labours, to become a witness\nof the lively scene.", "\"Call her Nelly Wade at once,\" muttered Paul; \"it is her rightful name,\nand I care not if she keeps it for ever!\"", "\"Hush, Paul, hush,\" said the terrified young woman, who leaned on his\narm for support; \"your voice might be heard.\"" ], [ "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "\"There!\" said the Doctor, pointing into a dense mass of the thicket,\nto a spot within fifty feet of that where they both stood. The trapper", "descent, the trapper gave him up for lost; but the next instant he was\nseen safely seated in a cavity formed by some of the projecting stones\nwhich had yielded to the shock, holding triumphantly in his hand the", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on", "\"Give it all to the trapper by rule, and by figures of speech,\" said\nPaul, very coolly taking his seat on the other side of the young", "twenty feet in diameter. Into one edge of this little area the trapper\nbrought the females, directing Middleton and Paul to cover their light", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "that the eyes of both sunk to the earth, under a feeling of terror and\nembarrassment. Then Inez recovered herself, and addressing the trapper,", "\"Speak,\" returned the trapper, in tones that issued from his chest, but\nwhich were rendered awfully distinct by the stillness that reigned in", "The trapper was placed on a rude seat, which had been made, with studied\ncare, to support his frame in an upright and easy attitude. The first", "\"It seems to me,\" the trapper calmly observed, \"that there is something\ndark and hidden in this matter. I am a witness that the traveller likes", "The sleep of the fugitives lasted for several hours. The trapper was the\nfirst to shake off its influence, as he had been the last to court its", "In the mean time the trapper and the Sioux chief pursued their way to\nthe lodge. The former had watched with painful interest the expression", "on three sides of the position. Within these narrow limits (with the\nexception of what the tent contained), both man and beast were now\ncollected; the latter being far too happy in resting their weary", "\"I fear your friends in the other bottom will not escape the eyes of\nthe imps!\" continued the trapper, as coolly as though he had not heard a", "hands of the trapper, and struggling to command his voice, he succeeded\nin announcing his presence. The old man listened like one whose thoughts\nwere dwelling on a very different subject, but when the other had", "seized the Doctor by the arm; and, as the trapper followed with the\nsmallest possible delay, the whole party was quickly collected within\nthe cover of the thicket. After a few short explanations concerning the", "of the place, and passed off into the prairie, in cadences that rose\nand fell, like its own undulating surface. The trapper was impressively", "The trapper drew slowly aside, as if satisfied with the somewhat\nincoherent reason Ellen had given why he should retire. When completely\nout of ear shot of the earnest and hurried dialogue, that instantly" ], [ "\"It is good,\" returned the other, a gleam of satisfaction flitting\nacross his features. \"Hard-Heart will ride his horse to the blessed\nprairies, and he will come before the Master of Life like a chief!\"", "The crafty Sioux had not made his calculations on the noble and honest\nnature of his more youthful rival in vain. Hard-Heart had continued", "\"Hard-Heart!\" shouted the Sioux, turning in his fury, and aiming a\ndeadly blow at the head of his victim. His arm fell into the hollow of", "of Hard-Heart had not sufficed to extricate himself in season from the\nfallen beast. He saw that his case was desperate. Feeling for his knife,", "prairie. And now, stranger,\" he added, dropping the butt of his rifle on\nthe hard earth, with a violence and clatter that would have intimidated", "Following the route indicated by the old man, they turned the rock in\na body, and pursued their way as fast as possible across the prairie,\nunder the favour of the cover it afforded.", "Hard-Heart, each of whom had involuntarily extended a hand to support\nthe form of the old man, turned to him again, they found, that the\nsubject of their interest was removed for ever beyond the necessity of", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on", "prairie, while he was speaking. It was fortunate that the senses of\nthe aged hunter remained so acute, and that he had lost none of his", "Hard-Heart had already crossed half the bottom, which lay between the\nacclivity and the water. At this precise moment a band of armed and", "Hard-Heart intended to speak, the former stopped, and manifested their\nreadiness to listen, the trapper performing the office of interpreter.\nThen the young chief addressed his people, in the usual metaphorical", "Hard-Heart had no sooner received the brief congratulations of his band,\nand communicated to the chiefs such facts as were important to be known,\nthan he prepared himself to act such a part in the coming conflict,", "Though Hard-Heart was sensible of the kindness of his warriors, and\nbelieved that a chief, furnished with such appointments, might depart", "Hard-Heart was perfectly insensible. His eye kept the same steady,\nriveted look on the air, though the glittering axe described, in its", "instructions of Hard-Heart, on quitting his band, had been worthy of the\nself-devotion and daring of his character. So long as single warriors", "Hard-Heart alone, of all his band, was present to witness the novel and\nfar from unimposing spectacle. He stood leaning, gravely, on his lance,", "The experience of Hard-Heart had not deceived him. When his snorting\nsteed issued from the water, he found himself on a tremendous but damp", "The fate of Hard-Heart and his companions, all of whom would have died\nrather than relinquish their object, would have been quickly sealed, but", "experienced trapper. He had been, in common with the rest, astonished\nat the sudden act of Hard-Heart; and there was a single moment when a", "burn it with the offals of the buffaloe. No,\" he added, advancing a\nfew feet nigher to the immovable Hard-Heart, as if in the sincerity of" ], [ "former passage through the same regions. When within a proper distance,\nhe despatched an Indian runner, belonging to a friendly tribe, to\nannounce the approach of himself and party, continuing his route at a", "At length an athletic and dark looking Indian, who, by his air of\nauthority, would seem to be the leader, summoned his chiefs about him,", "Indians, who had joined their chief so soon as he was at such a distance\nfrom the encampment as to excite no jealousy by their numbers, had gone", "The sudden and striking change, which instantly occurred in the\ncountenance of the Indian, caused the trapper to look aside, when\nhe perceived that the conference of the Siouxes had ended, and that", "Indian chief, before their eyes. The old man had glided past him, and\nalready taken a position suited to the office he had been commanded to\nfill.", "\"True, true,\" whispered Ellen; \"and we have other things to attend to\nnow! Here comes the Indian to put his questions.\"", "to practise than an Indian warrior, he made no direct mention of the\nrapacious temper, that so many of them had betrayed, in their dealings\nwith the Red-men. Feeling that the sentiment of distrust was strongly", "\"Enough,\" said the old man, rising with dignity; \"I have cast away the\npriming; for certain death would follow your rashness. Now let us meet\nour fates like men. Cringing and complaining find no favour in Indian\neyes.\"", "retiring form of the Indian, with an astonishment he did not care to\nconceal, nor did he renew his attempt at interpretation until the\nperson of Mahtoree was blended with the cluster of warriors, who had so", "which had so lately been seen on every countenance, was now changed to\none better suited to the feeling of the moment. It was understood by\nall, that the Pale-faces, who had befriended their chief were about", "\"Come nigher; we are friends,\" said the trapper, associating himself\nwith his companion by long use, and, probably, through the strength of\nthe secret tie that connected them together; \"we are your friends; none\nwill harm you.\"", "into its leading column, apparently hesitating on the risk of storming a\nbank so formidably defended. The well-known precaution of Indian warfare", "\"I call myself a fair trader, and one who gives to his chaps as good as\nhe receives. You saw the Indians?\"\n\n\"I did--they held me a prisoner, while they stole into your camp.\"", "Then he directed the attention of all to the chief of the strangers. He\nwas a son of their great white father. He had not come upon the prairies", "Thoroughly understanding the character of this Indian, the old man lost\nno time in getting rid of him also. Riding to his side he said, in an\naffected whisper--", "In the mean time, the Siouxes (for the sagacity of the old man was not\ndeceived in the character of his dangerous neighbours) had terminated", "inferior to his own. Before he had time to reproach his comrade for\nthis apparent treachery, a dozen Siouxes were around them, and the whole\nparty were compelled to yield themselves as prisoners.", "\"My son has forgotten his cunning. This is a low-minded Indian, and\none easily hurried into folly. I cannot do the thing myself, for my", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "In the mean time the Teton warriors had not been idle. Profiting by the\nhigh fog which grew in the bottoms, they had wormed their way through" ] ]	[ "Why did the Trapper leave New York?", "How did the immigrants become stranded?", "Why did the Trapper help the family move the wagons?", "Who helped look for Ishmail's son?", "Who was held Inez captive?", "How did Hard-heart survive the fire?", "Who killed Asa?", "How did the Trapper save everyone from the Indians?", "Who buried the trapper?", "What is the name of the Indian tribe who is stealing animals from the pioneers?", "What was the name of the trapper from New York, the family encounterd?", "What did Natty accomplish in his travels?", "Where does the trapper and the family relocate to safety?", "What was the name of the son that was murdered? ", "What do the Tetons use in an attempt to trap the family? ", "What tribe did Hard-Heart belong too?", "Who wants to take Inez and Ellen as wives? ", "Where does Ishmeals family, Ellen, Inez and Middleton eventually return to?", "Where does the trapper eventually do?", "Where does this story take place?", "What was the purpose of Ishmael and his family's journey?", "Who steals Ishmaels's animals?", "Which child of ishmael is discovered murdered?", "Who is intended to become wives of the Teton warriors?", "Who was Asa's murderer?", "Where do Paul and Ellen end up?", "Where does the trapped settle?", "How did Hard-Heart survive the prairie fire?", "Who forms alliance with the Indians?" ]	[ [ "To find a place where there were more trees.", "find a place where he cannot hear people" ], [ "A group of Teton warriors came and stole all of the animals.", "Teton warriors steal his animals." ], [ "To protect the from the Teton warriors.", "they were attacked by the Tetons" ], [ "Ishmael and his family.", "his family" ], [ "Abiram and Ishmael.", "Abiram and Ishmael" ], [ "He wrapped himself in buffalo skin.", "He wrapped himself in a buffalo skin." ], [ "Abiram.", "Abiram." ], [ "By backfiring the prairie fire.", "He lit a backfire." ], [ "Middleton and Paul.", "Middleton and Paul" ], [ "The Tetons", "the Tetons" ], [ "Natty Bumpo", "Natty Bumppo" ], [ "He walked to the Pacific ocean", "walked all the way to the Pacific" ], [ "a butte", "to a butte nearby" ], [ "Asa", "Asa" ], [ "a prairie fire", "A ring of fire." ], [ "The Pawnee Tribe", "Pawnee" ], [ "Mahatoree", "Mahtoree" ], [ "Back east", "back east, to Louisiana and Kentucky" ], [ "He joins the Pawnee village", "joins a Pawnee village" ], [ "In the virgin prairies of the Midwest.", "on the prairies of the Midwest" ], [ "They were seeking a new homestead", "Looking for a homestead." ], [ "The Teton warriors", "the Teton warriors" ], [ "As a, his eldest son", "Asa" ], [ "Ellen and Inez", "Inez and Ellen" ], [ "Abiram", "Ishmael and his family" ], [ "Louisiana and Kentucky", "Kentucky" ], [ "In a Pawnee village, in a tributary of the Missouri River", "A pawnee village on the Missouri river." ], [ "He wraps himself in buffalo skin.", "he wrapped himself in a buffalo skin" ], [ "Ishmael", "Ishmael" ] ]	33beeecef8e727e7cf85f29acb4db7e3cc683c95	train
[ [ "CRAIS\n\tThese \"Newcomers,\" we soon learned,\n\twere a genetically-engineered race,", "alien). He moves into:", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "They have reached a table holding a covered body. Winter\nunceremoniously throws back the cover. There lies the\npale naked body of the Raincoat alien.\n\n\t\t\tJETSON\n\tHave you identified this one?", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "head... and alien hand. Sykes jumps. It's a NEWCOMER\nDERELICT standing there, weaving, mumbling in his own\nlanguage. In one filthy hand holds a quart carton of", "He indicates the drug. The first alien Dealer sways\ngently, enjoying the sensation. The second alien Dealer\ntakes his hit... shudders as the first rush washes over", "alien is knocked backwards to the wet asphalt by the\nblasts. Sykes approaches the body slowly. With an\ninhuman ROAR, the alien snaps forward, lunging at Sykes", "And instantly Sykes whips out this flashlight, snaps on\nthe beam, and arcs it into the faces of the aliens around\nhim. Jetson gets a blast of it, too. The aliens are\nmomentarily blinded.", "Sykes catches sight of the two aliens just as they round\nthe corner at the far end of the alley. He takes off,\nquickly cranking up to full speed.", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "Tuggle fires at the two aliens. They return fire and he\nslides down to safety behind the car. Or so he thinks.", "Harcourt sees the hungering expressions on the alien\nDealers' faces... smiles knowingly. He slides one of the\ndispensers from the suitcase.", "O'NEAL\n\tYes it is.\n\t\t (some alien workers\n\t\t come through the\n\t\t door)", "The large suitcase rests on the expansive conference\ntable. A manicured alien hand reaches in and slowly opens\nit. Inside are fifty one-kilo glass tubes full of the", "An explosion of color and movement as OPENING TITLES PLAY\nvery quickly. We're TRAVELING the streets in a n.d.\nsedan, getting MOVING GLIMPSES of the aliens living among\nus now:", "counter. His eyes go wide as Kipling whips back his coat\nand yanks out a short combat pump-shotgun and aims it\nright at him. The Raincoat alien pulls an identical gun", "Sykes stops struggling, and his eyes focus. He looks at\nthe alien he just decked, sprawled on his ass ten feet\naway. The alien is a uniformed cop... his name is JETSON.", "Several ALIEN MEN, brute laborer-types, lounge around out\nfront. They glare with antagonism as Sykes and Jetson\nclimb out of their car.", "adapted for hard labor in almost any\n\tenvironmental condition. In effect,\n\ttheir ship was a slave ship...\n\twashed ashore on Earth with no way" ], [ "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "Warner is surprised. He never expected Sykes.\n\n\t\t\tWARNER\n\t... All right. Detective Sergeant\n\tSykes, this is Detective... Jetson.", "He glances over at the two cops... his expression shifting\nto recognition as he spots Jetson.\n\nBACK TO SCENE\n\nSykes speaks to the Big Newcomer's back.", "SYKES\n\tI'm Sergeant Sykes, and this is\n\tDetective Jetson, Los Angeles Police\n\tDepartment.", "O'Neal is experiencing real fear now. Sykes has decided\nto back Jetson up, for better or worse. He takes the\n\"good cop\" role.", "Jetson is starting to take on Sykes' looks, his clothing\nrumpled and a day old. Sykes has showered and changed so\nhe's not suffering as much by comparison. They approach\nSykes' desk.", "The CRIME SCENE TEAM is checking for prints, digging slugs\nout of the wall, photographing everything. Several\nUNIFORMED COPS mill around. Sykes moves aimlessly around\nthe room like a stranger at a party.", "He turns and heads back to his office in the wake of\ncontinued grumbling from the detectives. Sykes, standing\nto one side, absently watches Warner return to his glass-", "INT. CORRIDOR - BUREAU OF NEWCOMER AFFAIRS - NIGHT\n\nSykes and Jetson move down this government-building\ncorridor.", "Sykes lumbers past the burning police unit. Kipling is\nstill behind the wheel, his head slumped forward. Sykes\nis just past the cars when they explode -- sending hoods", "his shift starts ambling past. Sykes runs in front of it,\nwaving his badge. The pickup skids to a stop.", "Sykes sees that his partner is covered with a sudden sheen\nof sweat, his hands shaking. Sykes softens.", "The Big Newcomer continues to sip his mug of sour milk.\nDoesn't turn. Sykes grabs him by the shoulder and turns", "Sykes stops struggling, and his eyes focus. He looks at\nthe alien he just decked, sprawled on his ass ten feet\naway. The alien is a uniformed cop... his name is JETSON.", "Sykes rounds the corner. Doesn't see them anymore. He\nslows... moves along this street with some caution. Lots", "Jetson, looking bizarre in his ear-protectors, is taking\ncareful aim with his .38 as Sykes walks up. Jetson slips\nthe protectors down.", "INT. \"X\" BAR - NIGHT\n\nSykes and Jetson walk into the almost total blackness of\nthis all-Newcomer place.", "SYKES\n\t\t (wearily)\n\tWatson... this is my partner here's\n\tfirst coupla days, and he wants to", "Sykes has Porter pinned to the bar, the flashlight in his\nface, as he starts to handcuff him. But Porter gets a", "A second arriving police unit pulls into the alley,\nheading straight for the slug-mobile. Sykes has to grate\nbetween the alley wall and the arriving police unit to get\npast." ], [ "PORTER\n\tYeah... I seen him around. High-\n\troller dude named Strader. Joshua\n\tStrader. Runs a club on the west\n\tside. Encounters.", "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "The Operator punches up STRADER, JOSHUA. The screen fills\nwith information.", "The Big Newcomer continues to sip his mug of sour milk.\nDoesn't turn. Sykes grabs him by the shoulder and turns", "More laughter. Sykes gives the darkness where the\noffender sits a hard stare, then turns and shoulders his\nway to the end of the bar. Jetson follows. Sykes stops\nbehind a big Newcomer in greasy work clothes.", "CASSANDRA\n\tYou... you killed Strader?\n\nCassandra runs to Harcourt grabbing his jacket.", "A moment, then he turns and starts back toward the limo.\nHe motions to Strader's body and the surf. The Thugs grab\nthe body and heave it into the waves.", "FEDORCHUK\n\tFound his wallet in his jacket\n\tpocket. Joshua Strader, big as\n\tlife.", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "Newcomers with nothing in common,\n\tright? What if it's just one other\n\tguy who killed these three?\n\t\t (Jetson looks at him", "punk Newcomer (PORTER) has started to slip away unnoticed.\nJetson spots him, reaches out with one arm, and grabs him\nby the jacket.", "Quint and the Thugs free Watson from the bumper. He bucks\nand lunges as they drag him toward the surf. Quint\naddresses one of the Thugs, a new guy.", "Newcomer workers move in and out through the door during:\n\n\t\t\tO'NEAL\n\t\t (looking at photo)\n\tYou think this is the guy who did\n\tit?", "A new voice enters the conversation.\n\n\t\t\tJETSON (O.S.)\n\tAn identical round was used in the\n\tshooting of a Newcomer named\n\tHubley, two days ago.", "with outstretched arms. Sykes jumps back, startled, and\nFIRES twice more at the pale figure. Raincoat goes down\nand stays down.", "Newcomer ship upon its dramatic\n\tarrival. As with the assassination\n\tof John Kennedy, who among us does\n\tnot remember exactly where he was", "O'Neal recognizes Sykes and doesn't wait around for the\nbig Newcomer bearing down on him. He dodges quickly\nthrough the refrigeration door and swings it closed.", "the nightclub as Strader's successor.\n\tIf you do, you will know a wealth\n\tand comfort our people never dared\n\timagine...", "WATSON\n\tLook -- Mr. Strader hasn't been\n\taround for a coupla days. He didn't\n\ttell me where he was going or when\n\the'd be back. I swear it.", "Kipling recovers enough to come at Sykes again with the\nsuitcase again. Jetson, shaking but determined, fires\nagain, and again, and again." ], [ "Two detectives on their way out, stop, and head back into\nthe room. Everybody gathers around, curious, as Warner\nstands holding a sheet of paper.", "The off-duty uniformed and plainclothes cops are mostly\nignoring the TV, except for two detectives, FEDORCHUK and\nALTEREZ, who are waiting for the ball scores.", "More laughter. Sykes gives the darkness where the\noffender sits a hard stare, then turns and shoulders his\nway to the end of the bar. Jetson follows. Sykes stops\nbehind a big Newcomer in greasy work clothes.", "PORTER\n\tYeah... I seen him around. High-\n\troller dude named Strader. Joshua\n\tStrader. Runs a club on the west\n\tside. Encounters.", "the nightclub as Strader's successor.\n\tIf you do, you will know a wealth\n\tand comfort our people never dared\n\timagine...", "The club is deserted tonight as Harcourt and entourage\nmove toward the back.\n\n\nEXT. SECOND FLOOR CORRIDOR - NIGHT", "-- a large black suitcase. He slides it out. Harcourt\nnods. He and Kipling start into the club, followed by\nQuint.\n\n\nINT. ENCOUNTERS - NIGHT", "somehow come up with the formula for\n\tthe drug. Hubley manufactured it --\n\tat the refinery. Strader, through\n\tthe nightclub, established a", "CASSANDRA\n\tYou... you killed Strader?\n\nCassandra runs to Harcourt grabbing his jacket.", "Cassandra walks a trio of well-dressed DRUG DEALERS (two\nalien, one human) through the deserted club.\n\n\nINT. SECOND FLOOR CORRIDOR - NIGHT", "The police mop-up is winding down. Cop cars, coroner's\nwagons, fire trucks. We MOVE through it all to find Sykes\nand Jetson seated on the curb, away from the railing.", "The first two arriving black-and-whites skid to stops at\nthe coroner's wagon. The Officers leap out, flagging\nother arriving units to continue on toward the warehouses.", "We can dimly make out booths along one wall, some tables,\nand the bar. There are maybe twenty figures seated or\nstanding in the darkness. The room falls silent in a wave\nas Sykes' presence becomes noticed.", "The CRIME SCENE TEAM is checking for prints, digging slugs\nout of the wall, photographing everything. Several\nUNIFORMED COPS mill around. Sykes moves aimlessly around\nthe room like a stranger at a party.", "Came immediately to L.A. Ten weeks\n\tafter arriving he took over the\n\tabandoned club which is now\n\tEncounters.", "A moment, then he turns and starts back toward the limo.\nHe motions to Strader's body and the surf. The Thugs grab\nthe body and heave it into the waves.", "EXT. ALLEY - BEHIND ENCOUNTER - NIGHT\n\nTwo UNIFORMED OFFICERS bound from their unit and run into\nthe back entrance of the club, leaving the unit running.", "Kipling shoves Jetson aside, draws his gun and fires at\nSykes.\n\nSykes dodges into the private office for cover.\n\nThe three Dealers dive behind any available furniture.", "And he moves off with his partner. Sykes calls after him,\nbut Jetson is already approaching the woman and doesn't\nturn.", "Todd, it's me. The police were just\n\there... looking for Strader. And\n\tasking about you." ], [ "JETSON\n\t\t (finally)\n\t... It is called ss'jabroka'. To us\n\tit is a potent narcotic.", "It is Jetson. He had been hiding behind some crates\nstacked here in the corridor. He pins Cassandra\npowerfully to the wall, keeping one hand over her mouth.\nShe struggles until she sees who it is.", "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "Meanwhile, Jetson struggles to regain his feet. Kipling\nrears back and delivers a crushing blow under Jetson's arm", "Jetson moves forward slowly, holding the bomb in front of\nhim. He is sweating rivers. The others quickly join him.\nHe nudges Cassandra ahead of himself, keeping her where he\ncan see her.", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "Jetson has waited politely half-in half-out of the room.\nSykes rapidly motions to him to \"go look around\". Jetson\nmimes back, \"Huh?\"", "He shambles to the door and gets it open, admitting\nJetson. Jetson holds the C-4 charge in a handkerchief\nwith one hand and gives it to Sykes.", "It's a length of black tarp, torn and flapping from the\nceiling. Jetson lets out a deep breath.\n\n\nINT. STORAGE ROOM - NIGHT", "The shattered windows have been covered with plywood.\nThrough the open doorway we see Jetson talking to the\nProprietor's Wife. She studies a photo Jetson shows her,\nnods her head, speaking rapidly in the alien language.", "Jetson sees this and is shitting bricks. Suddenly the\nstark BEAM of a police helicopter sun-gun stabs down from", "JETSON\n\tSs'loka'. It means literally \"small\n\tbut intelligent creature\".\n\t\t (Sykes looks over,", "Harcourt and Kipling bang down the metal stairs. Jetson\nis ten feet above them. Sykes flies out onto the fire", "The fingertips of the two hands waver mere inches from\neach other... Jetson stretches farther, farther... and the\ntwo hands meet! Jetson winces from the pain of the", "going into the wall behind Harcourt. Striking like a\nmongoose, Kipling leaps forward, grabbing the two lead\nwires on the bomb in Jetson's hand and jerking them apart.", "Jetson looks up, sees movement in the distance. It is\nSykes, quite far away, in another section of the\nwarehouse. Sykes leaves Jetson's field of view.", "Kipling recovers enough to come at Sykes again with the\nsuitcase again. Jetson, shaking but determined, fires\nagain, and again, and again.", "INT. HELICOPTER - NIGHT\n\nJetson watches this happen.\n\n\nEXT. DINGHY - NIGHT", "A beat, than Jetson explodes -- he sweeps a rack of\nequipment off the worktable, savagely wipes the drug from", "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with" ], [ "Sykes stumbles back, but Harcourt is on him in a flash.\nHarcourt grabs Sykes' arm holding the gun, yanks hard. We", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the", "touches. Sykes is taking one hell of a beating. Harcourt\nsweeps Sykes up in a bear hug, is about to crush his rib", "cage, when Sykes shifts his body weight, knocking Harcourt\noff balance. Harcourt wobbles, fear on his face for the\nfirst time -- then he finally loses it, and the two of", "Sykes cat-steps forward slowly. Harcourt stares at Sykes'\neyes, and the desire there that Harcourt will give him an\nexcuse. Harcourt simply... smiles.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The", "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "Harcourt is thrown into the dinghy with Sykes. As\nHarcourt recovers, Sykes spots the release for the tie", "Sykes breaks the surface, Harcourt's misshapen lump of a\nbody unmoving but still on top of him. Sykes shoves it", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "his leg. Sykes jerks his leg away, and Harcourt's claws\ndig deep through Sykes' pants into his legs as he pulls\naway. Sykes BELLOWS in pain.", "ON SYKES\n\nHe eases cautiously toward the shadows where he knows\nHarcourt is. There's some movement among the shadows, and\nSykes straight-arms the Casull, his finger white against\nthe trigger.", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "Suddenly, Sykes senses something is there. He turns,\nslowly, and--\n\nSHOCK CUT - HARCOURT", "EXT. DOCKS - NIGHT\n\nSykes is on his feet, but his knees buckle, and he almost\ncollapses again. Harcourt comes at him. Then Sykes sees\nit--", "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "seawater on two side of him. Harcourt pivots frantically,\nsees Sykes coming this way. Harcourt is a trapped animal.", "as he steps from the shadows -- just like he did the last\ntime Sykes saw him on the abandoned drawbridge. Only this\ntime it is a horribly transformed Harcourt. His eyes are", "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with" ], [ "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "He's still dragging Jetson away when he spots Harcourt\npulling himself through the smashed police unit window.\nBruised and bleeding, Harcourt reaches in for the\nsuitcase, then starts to run with it.", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "Harcourt recovers from the jolt of the bullet impact. The\ncloth of his disheveled shirt is shredded and powder-", "and door panels and glass flying in all directions.\nHarcourt, on the other side of the fence, grabs the\nsuitcase and limps off into the shadowy world of the", "With nowhere else to go, Harcourt yells something at\nKipling and Kipling floors it back the way they came.\n\n\nEXT. HENRY FORD BOULEVARD - NIGHT", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the", "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with", "Harcourt snatches up the suitcase and rushes to the door\nleading into the adjoining outer office.", "The Captain reacts to the helicopter overhead, looks back\nat what the sun-gun spotlights. He sees Harcourt standing\nat the bow of the dinghy, starting to clamber in.", "Harcourt remains behind the desk. Cassandra stays where\nshe is, near Jetson. The others move to the wall.\nKipling in particular is going nuts, letting this happen.", "Harcourt turns in his seat just in time to see the slug-\nmobile airborne as it flies from the on-ramp, landing a\nfew feet behind the black-and-white's bumper.", "touches. Sykes is taking one hell of a beating. Harcourt\nsweeps Sykes up in a bear hug, is about to crush his rib", "of the stairs waiting for them. She's very uncomfortable\ndealing with Harcourt. Kipling and Quint continue on\ntoward the office door. Harcourt pauses with Cassandra.", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "Harcourt reaches the chain link fence leading to the\nclosed drawbridge. He heaves the suitcase over, then\nstarts to climb.", "With Jetson a safe distance away from the cars, Sykes\nclambers to his feet, draws the Casull, and starts off\nafter Harcourt.", "Harcourt and Kipling in the first police unit come\nthundering down the street zig-zagging through traffic.\nThe slug-mobile is three-quarters of a block behind them." ], [ "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with", "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "Harcourt recovers from the jolt of the bullet impact. The\ncloth of his disheveled shirt is shredded and powder-", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "of the dinghy as Harcourt's savage visage appears at the\nbow. Harcourt grins -- the predator with his prey\ntrapped.", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "The Captain reacts to the helicopter overhead, looks back\nat what the sun-gun spotlights. He sees Harcourt standing\nat the bow of the dinghy, starting to clamber in.", "Harcourt is thrown into the dinghy with Sykes. As\nHarcourt recovers, Sykes spots the release for the tie", "and door panels and glass flying in all directions.\nHarcourt, on the other side of the fence, grabs the\nsuitcase and limps off into the shadowy world of the", "HARCOURT\n\tIt is such a pity to die for an\n\toutmoded value.\n\t\t (rising)\n\tMr. Quint, I believe it's time for\n\tour friend's swimming lesson.", "Sykes stumbles back, but Harcourt is on him in a flash.\nHarcourt grabs Sykes' arm holding the gun, yanks hard. We", "Harcourt, who is getting more and more wet, HOWLS in\nagony, thick blood beginning to bead wherever the water", "He's still dragging Jetson away when he spots Harcourt\npulling himself through the smashed police unit window.\nBruised and bleeding, Harcourt reaches in for the\nsuitcase, then starts to run with it.", "Harcourt and the others react. Quint leaps to his feet,\ncaught off guard. Kipling reaches for his shoulder", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The", "Harcourt and Kipling bang down the metal stairs. Jetson\nis ten feet above them. Sykes flies out onto the fire", "touches. Sykes is taking one hell of a beating. Harcourt\nsweeps Sykes up in a bear hug, is about to crush his rib" ], [ "own arm below the surface! He feels around, gets hold of\nsomething, and pulls. It is Sykes' wrist. He pulls hard,\nbringing the sputtering Sykes up out of the water.", "Sykes manages to pull himself up into the dinghy hanging\nover the stern of the fishing boat. He pushes to the back", "Sykes breaks the surface, gasping for air, frantically\nclawing with his one good arm at the wedge of dinghy still", "The Pilot does. Sykes comes up out of the water. His\nfeet are just clear of the surface when -- Harcourt's hand", "he does the bravest thing he has ever done. He moves out\nonto the narrow helicopter skid. Hanging on, three feet\nabove the water, he reaches down for Sykes' up reaching", "Harcourt is thrown into the dinghy with Sykes. As\nHarcourt recovers, Sykes spots the release for the tie", "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "and arm rocket out of the water, grabbing Sykes' ankle.\nSykes looks down in horror. The helicopter keeps moving\nup, and before Harcourt's body breaks the surface, the arm", "Sykes' outreached hand stretches up from the water, but\nthe skid is just too high. Jetson has no alternative, and", "EXT. FISHING BOAT - NIGHT\n\nSykes lies there, holding his arm, breathing hard,\nrelieved that he has escaped.\n\n\nEXT. JETTY - NIGHT", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "behind Sykes as he reaches the end of the jetty and vaults\noff toward the stern of the boat -- landing on the fishing\nnet piled on the rear deck. He yells in pain as his ankle", "seawater on Sykes' hand. He starts pulling Sykes up.\nWhen--", "-- a fishing boat chugging along past the end of one of\nthe jetties. Sykes makes a break for it.\n\n\nEXT. WAREHOUSE - AT STAIRS - NIGHT", "Sykes lumbers along the narrow jetty. The fishing boat is\nalready passing the end of the jetty. Harcourt is fast", "Sykes reaches the fence. Instead of climbing, he simply\nblows the lock to hell with the Casull, and kicks open the\ngate.\n\n\nEXT. ABANDONED DRAWBRIDGE - NIGHT", "sinking. Harcourt grabs Sykes' leg and pulls him toward\nhim. Sykes holds on to the stern cleats with all his", "seawater on two side of him. Harcourt pivots frantically,\nsees Sykes coming this way. Harcourt is a trapped animal.", "Sykes plops on the floor, soaked, battered, holding his\nlimp arm. Jetson is quickly whipping off his jacket,", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the" ], [ "FRESNO HOUSEWIFE\n\tWhen the Newcomers were first let\n\tout of the ship, they were", "Newcomer ship upon its dramatic\n\tarrival. As with the assassination\n\tof John Kennedy, who among us does\n\tnot remember exactly where he was", "adapted for hard labor in almost any\n\tenvironmental condition. In effect,\n\ttheir ship was a slave ship...\n\twashed ashore on Earth with no way", "head... and alien hand. Sykes jumps. It's a NEWCOMER\nDERELICT standing there, weaving, mumbling in his own\nlanguage. In one filthy hand holds a quart carton of", "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "The Captain reacts to the helicopter overhead, looks back\nat what the sun-gun spotlights. He sees Harcourt standing\nat the bow of the dinghy, starting to clamber in.", "Harcourt exits the limo, walks onto the sand to the back\nof the van. Here he finds Kipling and Quint and the three\nhuman Thugs.", "Harcourt's private limo glides down the narrow access\nroad, passing a lookout car attended by two alien Thugs.\nThe limo moves down to the beach, parking near an n.d.\nvan.", "Quint and the Thugs free Watson from the bumper. He bucks\nand lunges as they drag him toward the surf. Quint\naddresses one of the Thugs, a new guy.", "The Big Newcomer continues to sip his mug of sour milk.\nDoesn't turn. Sykes grabs him by the shoulder and turns", "CRAIS\n\tThese \"Newcomers,\" we soon learned,\n\twere a genetically-engineered race,", "punk Newcomer (PORTER) has started to slip away unnoticed.\nJetson spots him, reaches out with one arm, and grabs him\nby the jacket.", "The men are in tuxedos, the women in evening gowns. Only\ntwo of three Newcomers faces present. Kipling threads his\nway among the tables as the MAYOR, at the speaker's\nplatform, addresses the assembly.", "INT. HELICOPTER - NIGHT\n\nJetson watches this happen.\n\n\nEXT. DINGHY - NIGHT", "that October nineteenth morning,\n\twhen news first broke: that people\n\thave landed... from another star.", "The first two arriving black-and-whites skid to stops at\nthe coroner's wagon. The Officers leap out, flagging\nother arriving units to continue on toward the warehouses.", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "More laughter. Sykes gives the darkness where the\noffender sits a hard stare, then turns and shoulders his\nway to the end of the bar. Jetson follows. Sykes stops\nbehind a big Newcomer in greasy work clothes.", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "The slug-mobile skids to a stop at the loading dock\nentrance. Sykes and Jetson climb out. They hop up onto\nthe loading platform and move purposefully into the well-\nlit interior through the open door." ], [ "Sykes sees that his partner is covered with a sudden sheen\nof sweat, his hands shaking. Sykes softens.", "He and Sykes take off running. Wiltey skids to the left,\nrockets in through the open warehouse door, out of sight.", "Sykes rounds the corner. Doesn't see them anymore. He\nslows... moves along this street with some caution. Lots", "Sykes lumbers along the narrow jetty. The fishing boat is\nalready passing the end of the jetty. Harcourt is fast", "Sykes locks up the brakes. Kipling veers around a couple\nof cars and speeds away.\n\nBecause of the other traffic, Sykes has only one course of\naction. He skids a left onto a side street.", "Jetson is frantic. He keeps waiting -- but this time\nSykes doesn't come up. Jetson doesn't know what to do.", "And he moves off with his partner. Sykes calls after him,\nbut Jetson is already approaching the woman and doesn't\nturn.", "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "O'Neal is experiencing real fear now. Sykes has decided\nto back Jetson up, for better or worse. He takes the\n\"good cop\" role.", "Sykes lumbers past the burning police unit. Kipling is\nstill behind the wheel, his head slumped forward. Sykes\nis just past the cars when they explode -- sending hoods", "SYKES\n\tMy partner is dead! Because one of\n\tyou bastards killed him -- then\n\tdisappeared into a rathole down in", "Sykes sits stunned behind the wheel. Disoriented but\nconscious, he raises his head, looks over... sees Jetson\nout cold, his forehead gashed and bleeding. Then he looks", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "-- a BLAST comes through the car and catches him squarely\nin the chest throwing him back onto the street.\n\nSykes' head jerks around -- in time to see his partner of\nnine years blown away.", "Sykes moves to join his daughter. As he does:\n\n\t\t\tJETSON\n\tThat is all right, Matthew. After\n\tall, you are only human.", "And he moves toward the back exit. Sykes watches him go.\n\n\t\t\t\t CUT TO:\n\nEXT. \"X\" BAR - NIGHT", "The poor guy bails out and Sykes jumps in, jamming it into\ngear. The truck has seen better days... it doesn't have\nmuch power to give as Sykes floors it toward the exit.", "EXT. FISHING BOAT - NIGHT\n\nSykes lies there, holding his arm, breathing hard,\nrelieved that he has escaped.\n\n\nEXT. JETTY - NIGHT", "with outstretched arms. Sykes jumps back, startled, and\nFIRES twice more at the pale figure. Raincoat goes down\nand stays down.", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The" ], [ "The Driver is out of the car now, brings up the machine\npistol to fire at Tuggle. Sykes sees this and opens fire", "Sykes is already pulling his gun. Tuggle quickly reaches\nfor the radio in the glovebox.", "EXT. STREET - NIGHT\n\nSykes runs to Tuggle's spread-eagled body. One glance is\nenough. Nobody ever looked deader.", "Sykes rises and runs across the street toward the getaway\ncar, firing toward the store as he goes.\n\nKipling and Raincoat dodge behind cover.", "Tuggle is pinned down behind the thin lamp post by the\nshotgun fire from Kipling and Raincoat alien.\n\n\t\t\tSYKES\n\tGet outta there!", "TUGGLE\n\tI can't! Do you mind!\n\n\t\t\tSYKES\n\tI'll cover you! Get outta there!!", "Jetson, looking bizarre in his ear-protectors, is taking\ncareful aim with his .38 as Sykes walks up. Jetson slips\nthe protectors down.", "SYKES\n\t\t (under his breath)\n\tAw, shit.\n\nTuggle is almost across the street when he hears the\nshots.", "Sykes and Tuggle crouch at the car directly across the\nstreet from the store entrance.\n\n\t\t\tTUGGLE\n\tWatch the driver. I'm going for a\n\tbetter angle on the door.", "Sykes keeps one hand on the wheel and draws the Casull\nwith the other. He brings it up and around right in front\nof Jetson's nose, pointing it through the passenger window\nat Kipling.", "TUGGLE\n\tOf course. Right in the trunk of\n\tthe car.\n\n\t\t\tSYKES\n\tYeah, that's comforting. Mine, too.", "TUGGLE\n\tIt is.\n\t\t (and Sykes gives him\n\t\t a look)\n\n-- A Newcomer lowrider pulls up beside the slug-mobile.", "Kipling recovers enough to come at Sykes again with the\nsuitcase again. Jetson, shaking but determined, fires\nagain, and again, and again.", "Tuggle drops the radio mike and follows Sykes as the Radio\nDispatcher confirms the call.\n\n\nEXT. STREET - NIGHT", "Danny last week.\n\t\t (Sykes stiffens)\n\tDanny thought Tug was the greatest\n\t-- but, then, who doesn't? Anyway,", "Sykes reaches the fence. Instead of climbing, he simply\nblows the lock to hell with the Casull, and kicks open the\ngate.\n\n\nEXT. ABANDONED DRAWBRIDGE - NIGHT", "The poor guy bails out and Sykes jumps in, jamming it into\ngear. The truck has seen better days... it doesn't have\nmuch power to give as Sykes floors it toward the exit.", "O'Neal is experiencing real fear now. Sykes has decided\nto back Jetson up, for better or worse. He takes the\n\"good cop\" role.", "Sykes stumbles back, but Harcourt is on him in a flash.\nHarcourt grabs Sykes' arm holding the gun, yanks hard. We", "Jetson and Sykes hit the ground just as the unit peels\nout. Sykes raises the Casull and fires at the fleeing" ], [ "Sykes sees that his partner is covered with a sudden sheen\nof sweat, his hands shaking. Sykes softens.", "O'Neal is experiencing real fear now. Sykes has decided\nto back Jetson up, for better or worse. He takes the\n\"good cop\" role.", "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "Sykes cat-steps forward slowly. Harcourt stares at Sykes'\neyes, and the desire there that Harcourt will give him an\nexcuse. Harcourt simply... smiles.", "Sykes has Porter pinned to the bar, the flashlight in his\nface, as he starts to handcuff him. But Porter gets a", "Sykes manages to pull himself up into the dinghy hanging\nover the stern of the fishing boat. He pushes to the back", "Finally Jetson gets what Sykes is trying to tell him. He\nsays in the uncertain, stagy voice of a bad liar:", "Sykes reaches the fence. Instead of climbing, he simply\nblows the lock to hell with the Casull, and kicks open the\ngate.\n\n\nEXT. ABANDONED DRAWBRIDGE - NIGHT", "Sykes rises, makes his way to Jetson's side. Jetson has\nlet the weight of the gun carry his hand to the ground.", "Sykes stares at him for about five seconds and then\nexplodes with laughter.\n\n\t\t\tSYKES\n\tYou son-of-a-bitch. You're okay.", "Jetson is starting to take on Sykes' looks, his clothing\nrumpled and a day old. Sykes has showered and changed so\nhe's not suffering as much by comparison. They approach\nSykes' desk.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Sykes stumbles back, but Harcourt is on him in a flash.\nHarcourt grabs Sykes' arm holding the gun, yanks hard. We", "The poor guy bails out and Sykes jumps in, jamming it into\ngear. The truck has seen better days... it doesn't have\nmuch power to give as Sykes floors it toward the exit.", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The", "Sykes sees it. Thinking fast, he eases off, using another\ncar as a blind. He waits until the police unit is\nparallel to an off-ramp, then guns ahead and swings right,\ndirectly for the police unit.", "Jetson is frantic. He keeps waiting -- but this time\nSykes doesn't come up. Jetson doesn't know what to do.", "Watson rears back to swing at Sykes, when Sykes swings his\narms around in two wide arcs, his fists landing two direct", "ON SYKES\n\nHe eases cautiously toward the shadows where he knows\nHarcourt is. There's some movement among the shadows, and\nSykes straight-arms the Casull, his finger white against\nthe trigger." ], [ "O'Neal is experiencing real fear now. Sykes has decided\nto back Jetson up, for better or worse. He takes the\n\"good cop\" role.", "Jetson is starting to take on Sykes' looks, his clothing\nrumpled and a day old. Sykes has showered and changed so\nhe's not suffering as much by comparison. They approach\nSykes' desk.", "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "Sykes has Porter pinned to the bar, the flashlight in his\nface, as he starts to handcuff him. But Porter gets a", "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "Jetson, looking bizarre in his ear-protectors, is taking\ncareful aim with his .38 as Sykes walks up. Jetson slips\nthe protectors down.", "Finally Jetson gets what Sykes is trying to tell him. He\nsays in the uncertain, stagy voice of a bad liar:", "Sykes rounds the corner. Doesn't see them anymore. He\nslows... moves along this street with some caution. Lots", "Sykes rises, makes his way to Jetson's side. Jetson has\nlet the weight of the gun carry his hand to the ground.", "Jetson is frantic. He keeps waiting -- but this time\nSykes doesn't come up. Jetson doesn't know what to do.", "Sykes reaches the fence. Instead of climbing, he simply\nblows the lock to hell with the Casull, and kicks open the\ngate.\n\n\nEXT. ABANDONED DRAWBRIDGE - NIGHT", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Sykes stares at him, exasperated. Without warning, he\nslams the car to a stop right in the middle of heavy", "Sykes sits stunned behind the wheel. Disoriented but\nconscious, he raises his head, looks over... sees Jetson\nout cold, his forehead gashed and bleeding. Then he looks", "ON SYKES\n\nHe eases cautiously toward the shadows where he knows\nHarcourt is. There's some movement among the shadows, and\nSykes straight-arms the Casull, his finger white against\nthe trigger.", "EXT. STREET - NIGHT\n\nSykes runs to Tuggle's spread-eagled body. One glance is\nenough. Nobody ever looked deader.", "Sykes lumbers past the burning police unit. Kipling is\nstill behind the wheel, his head slumped forward. Sykes\nis just past the cars when they explode -- sending hoods", "Sykes stares at him for about five seconds and then\nexplodes with laughter.\n\n\t\t\tSYKES\n\tYou son-of-a-bitch. You're okay.", "Sykes rounds this second corner, races down the street.\nThe only route they could've taken is through a tunnel up\nahead. Sykes approaches the tunnel, all senses wide open.\n\n\nINT. TUNNEL - NIGHT", "He and Sykes take off running. Wiltey skids to the left,\nrockets in through the open warehouse door, out of sight." ], [ "as he steps from the shadows -- just like he did the last\ntime Sykes saw him on the abandoned drawbridge. Only this\ntime it is a horribly transformed Harcourt. His eyes are", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "burned, but the bullet couldn't pierce his plated skin.\nHarcourt smiles with grotesquely altered teeth, starts\ntoward Sykes.", "Jetson is starting to take on Sykes' looks, his clothing\nrumpled and a day old. Sykes has showered and changed so\nhe's not suffering as much by comparison. They approach\nSykes' desk.", "red-rimmed and piggish. His head is lumpen, his skin\nthick and hard. His neck muscles are corded -- giving him", "They have reached a table holding a covered body. Winter\nunceremoniously throws back the cover. There lies the\npale naked body of the Raincoat alien.\n\n\t\t\tJETSON\n\tHave you identified this one?", "Cassandra is practically melting herself into Sykes now.\nShe takes his hand and guides his fingertips over her\nfacial ridges. She shudders with pleasure. Sykes begins\nto perspire.", "The fingertips of the two hands waver mere inches from\neach other... Jetson stretches farther, farther... and the\ntwo hands meet! Jetson winces from the pain of the", "directly behind Sykes. Close enough to reach out and\ntouch him. It is an alien silhouette, but larger, more\npowerful.", "his leg. Sykes jerks his leg away, and Harcourt's claws\ndig deep through Sykes' pants into his legs as he pulls\naway. Sykes BELLOWS in pain.", "SYKES\n\tLooked like every other damn slag to\n\tme. Just plain ugly.\n\nDespite the pain, Jetson smiles.", "behind Sykes as he reaches the end of the jetty and vaults\noff toward the stern of the boat -- landing on the fishing\nnet piled on the rear deck. He yells in pain as his ankle", "tears away from the torso at the shoulder. Sykes wildly\nshakes the clinging severed arm from his ankle, and it\nfalls back into the water below.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "with outstretched arms. Sykes jumps back, startled, and\nFIRES twice more at the pale figure. Raincoat goes down\nand stays down.", "Though his vision is BLURRED, Sykes still gets a good look\nat an exotic silver bracelet on the alien's wrist. The\nstrands of this bracelet are what make the CLINKING NOISE.\n\nANGLE", "He moves off. Jetson moves toward Sykes and the Raincoat\nalien's body. Sykes tenses, thinking Jetson might", "Sykes is watching Jetson, mesmerized. The guy's never\nsaid this much at one time before.\n\nIf he wasn't drunk, Jetson would never let himself open up\nto a human like this.", "It is Jetson. He had been hiding behind some crates\nstacked here in the corridor. He pins Cassandra\npowerfully to the wall, keeping one hand over her mouth.\nShe struggles until she sees who it is." ], [ "CASSANDRA\n\tYou... you killed Strader?\n\nCassandra runs to Harcourt grabbing his jacket.", "A moment, then he turns and starts back toward the limo.\nHe motions to Strader's body and the surf. The Thugs grab\nthe body and heave it into the waves.", "The Operator punches up STRADER, JOSHUA. The screen fills\nwith information.", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "PORTER\n\tYeah... I seen him around. High-\n\troller dude named Strader. Joshua\n\tStrader. Runs a club on the west\n\tside. Encounters.", "JETSON\n\tThe charge is murder... and\n\tconspiracy to commit murder.\n\tHubley, Porter, Strader... probably\n\tothers.", "Kipling tackles Jetson and they both go crashing to the\nfloor. Quint grabs the gun from Cassandra and hammers her\nwith it, hard. She drops to her knees and Quint viciously\nhits her again.", "with outstretched arms. Sykes jumps back, startled, and\nFIRES twice more at the pale figure. Raincoat goes down\nand stays down.", "KIPLING\n\tThat cop, the human, he was the one\n\twho killed Anderson and the driver.\n\n\t\t\tHARCOURT\n\tThis is becoming a serious breach of\n\tsecurity.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Newcomers with nothing in common,\n\tright? What if it's just one other\n\tguy who killed these three?\n\t\t (Jetson looks at him", "Kipling recovers enough to come at Sykes again with the\nsuitcase again. Jetson, shaking but determined, fires\nagain, and again, and again.", "determination, but it looks to me\n\tlike he was shot before being tossed\n\tin the drink. At least twice--\n\t\t (indicates where", "FEDORCHUK\n\tFound his wallet in his jacket\n\tpocket. Joshua Strader, big as\n\tlife.", "More laughter. Sykes gives the darkness where the\noffender sits a hard stare, then turns and shoulders his\nway to the end of the bar. Jetson follows. Sykes stops\nbehind a big Newcomer in greasy work clothes.", "It is Jetson. He had been hiding behind some crates\nstacked here in the corridor. He pins Cassandra\npowerfully to the wall, keeping one hand over her mouth.\nShe struggles until she sees who it is.", "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "abandoned. One door has been wrenched off its hinges and\nlays in the street, and the front windshield is smashed.\nOur three cops approach the car, then Wiltey spots", "and -- a shotgun butt is slammed into his forehead. He\ngoes down. Kipling stands over him, flanked by FOUR HUMAN", "slides to the floor. Kipling leans over the counter and\nFIRES another round into the Proprietor." ], [ "Sykes stumbles back, but Harcourt is on him in a flash.\nHarcourt grabs Sykes' arm holding the gun, yanks hard. We", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Harcourt is thrown into the dinghy with Sykes. As\nHarcourt recovers, Sykes spots the release for the tie", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The", "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "Sykes cat-steps forward slowly. Harcourt stares at Sykes'\neyes, and the desire there that Harcourt will give him an\nexcuse. Harcourt simply... smiles.", "cage, when Sykes shifts his body weight, knocking Harcourt\noff balance. Harcourt wobbles, fear on his face for the\nfirst time -- then he finally loses it, and the two of", "touches. Sykes is taking one hell of a beating. Harcourt\nsweeps Sykes up in a bear hug, is about to crush his rib", "ON SYKES\n\nHe eases cautiously toward the shadows where he knows\nHarcourt is. There's some movement among the shadows, and\nSykes straight-arms the Casull, his finger white against\nthe trigger.", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "might. Harcourt yanks him free. Sykes kicks wildly at\nthe ratchet release, trying to free the remainder of the\nline. Harcourt is coming in for the kill when--", "Suddenly, Sykes senses something is there. He turns,\nslowly, and--\n\nSHOCK CUT - HARCOURT", "Sykes stares at him, exasperated. Without warning, he\nslams the car to a stop right in the middle of heavy", "Sykes breaks the surface, Harcourt's misshapen lump of a\nbody unmoving but still on top of him. Sykes shoves it", "With Jetson a safe distance away from the cars, Sykes\nclambers to his feet, draws the Casull, and starts off\nafter Harcourt.", "burned, but the bullet couldn't pierce his plated skin.\nHarcourt smiles with grotesquely altered teeth, starts\ntoward Sykes.", "The Pilot does. Sykes comes up out of the water. His\nfeet are just clear of the surface when -- Harcourt's hand", "his leg. Sykes jerks his leg away, and Harcourt's claws\ndig deep through Sykes' pants into his legs as he pulls\naway. Sykes BELLOWS in pain." ], [ "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with", "Harcourt reaches the chain link fence leading to the\nclosed drawbridge. He heaves the suitcase over, then\nstarts to climb.", "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "as he steps from the shadows -- just like he did the last\ntime Sykes saw him on the abandoned drawbridge. Only this\ntime it is a horribly transformed Harcourt. His eyes are", "Harcourt recovers from the jolt of the bullet impact. The\ncloth of his disheveled shirt is shredded and powder-", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the", "The Captain reacts to the helicopter overhead, looks back\nat what the sun-gun spotlights. He sees Harcourt standing\nat the bow of the dinghy, starting to clamber in.", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "Harcourt and Kipling bang down the metal stairs. Jetson\nis ten feet above them. Sykes flies out onto the fire", "and door panels and glass flying in all directions.\nHarcourt, on the other side of the fence, grabs the\nsuitcase and limps off into the shadowy world of the", "Harcourt is thrown into the dinghy with Sykes. As\nHarcourt recovers, Sykes spots the release for the tie", "He's still dragging Jetson away when he spots Harcourt\npulling himself through the smashed police unit window.\nBruised and bleeding, Harcourt reaches in for the\nsuitcase, then starts to run with it.", "With nowhere else to go, Harcourt yells something at\nKipling and Kipling floors it back the way they came.\n\n\nEXT. HENRY FORD BOULEVARD - NIGHT", "Harcourt can't reach the boat from the same jetty Sykes\ndid, so he jumps on a platform beside this jetty, then\nonto a second jetty. And from here, he vaults across the\nseawater onto the boat.", "Harcourt and the others react. Quint leaps to his feet,\ncaught off guard. Kipling reaches for his shoulder", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "Sykes lumbers along the narrow jetty. The fishing boat is\nalready passing the end of the jetty. Harcourt is fast", "Harcourt, who is getting more and more wet, HOWLS in\nagony, thick blood beginning to bead wherever the water" ], [ "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with", "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "Harcourt recovers from the jolt of the bullet impact. The\ncloth of his disheveled shirt is shredded and powder-", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "of the dinghy as Harcourt's savage visage appears at the\nbow. Harcourt grins -- the predator with his prey\ntrapped.", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "The Captain reacts to the helicopter overhead, looks back\nat what the sun-gun spotlights. He sees Harcourt standing\nat the bow of the dinghy, starting to clamber in.", "Harcourt is thrown into the dinghy with Sykes. As\nHarcourt recovers, Sykes spots the release for the tie", "and door panels and glass flying in all directions.\nHarcourt, on the other side of the fence, grabs the\nsuitcase and limps off into the shadowy world of the", "HARCOURT\n\tIt is such a pity to die for an\n\toutmoded value.\n\t\t (rising)\n\tMr. Quint, I believe it's time for\n\tour friend's swimming lesson.", "Sykes stumbles back, but Harcourt is on him in a flash.\nHarcourt grabs Sykes' arm holding the gun, yanks hard. We", "Harcourt, who is getting more and more wet, HOWLS in\nagony, thick blood beginning to bead wherever the water", "He's still dragging Jetson away when he spots Harcourt\npulling himself through the smashed police unit window.\nBruised and bleeding, Harcourt reaches in for the\nsuitcase, then starts to run with it.", "Harcourt and the others react. Quint leaps to his feet,\ncaught off guard. Kipling reaches for his shoulder", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The", "Harcourt and Kipling bang down the metal stairs. Jetson\nis ten feet above them. Sykes flies out onto the fire", "touches. Sykes is taking one hell of a beating. Harcourt\nsweeps Sykes up in a bear hug, is about to crush his rib" ], [ "that October nineteenth morning,\n\twhen news first broke: that people\n\thave landed... from another star.", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "alien). He moves into:", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "Tuggle fires at the two aliens. They return fire and he\nslides down to safety behind the car. Or so he thinks.", "alien is knocked backwards to the wet asphalt by the\nblasts. Sykes approaches the body slowly. With an\ninhuman ROAR, the alien snaps forward, lunging at Sykes", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "And instantly Sykes whips out this flashlight, snaps on\nthe beam, and arcs it into the faces of the aliens around\nhim. Jetson gets a blast of it, too. The aliens are\nmomentarily blinded.", "CAL-TECH PROFESSOR\n\tFrom the time mankind first gazed up\n\tat the stars there had been\n\tspeculation about a visit by people", "adapted for hard labor in almost any\n\tenvironmental condition. In effect,\n\ttheir ship was a slave ship...\n\twashed ashore on Earth with no way", "An explosion of color and movement as OPENING TITLES PLAY\nvery quickly. We're TRAVELING the streets in a n.d.\nsedan, getting MOVING GLIMPSES of the aliens living among\nus now:", "The two cops, guns in hand, move along the row of parked\ncars across the street from the mini-mart. Through the\nstore window they see the old alien PROPRIETOR behind the", "The large suitcase rests on the expansive conference\ntable. A manicured alien hand reaches in and slowly opens\nit. Inside are fifty one-kilo glass tubes full of the", "They have reached a table holding a covered body. Winter\nunceremoniously throws back the cover. There lies the\npale naked body of the Raincoat alien.\n\n\t\t\tJETSON\n\tHave you identified this one?", "Newcomer ship upon its dramatic\n\tarrival. As with the assassination\n\tof John Kennedy, who among us does\n\tnot remember exactly where he was", "Sykes slides out of the driver's door, stumbles to\nJetson's door, wrenches it open, and drags the huge\nunconscious alien away from the cars.", "The VIDEO CAMERA image climbs up onto the roof of a parked\nlocal TV van, finds the object again in the distance,\nzooms in, and waits, like everyone else.", "Harcourt turns in his seat just in time to see the slug-\nmobile airborne as it flies from the on-ramp, landing a\nfew feet behind the black-and-white's bumper.", "surface of the water. He howls and yanks out his hand.\nWe see the alien hand dripping seawater... then a thousand\ndroplets of purple alien blood begin to bead all over the", "The shattered windows have been covered with plywood.\nThrough the open doorway we see Jetson talking to the\nProprietor's Wife. She studies a photo Jetson shows her,\nnods her head, speaking rapidly in the alien language." ], [ "Tuggle fires at the two aliens. They return fire and he\nslides down to safety behind the car. Or so he thinks.", "alien is knocked backwards to the wet asphalt by the\nblasts. Sykes approaches the body slowly. With an\ninhuman ROAR, the alien snaps forward, lunging at Sykes", "alien). He moves into:", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "And instantly Sykes whips out this flashlight, snaps on\nthe beam, and arcs it into the faces of the aliens around\nhim. Jetson gets a blast of it, too. The aliens are\nmomentarily blinded.", "directly behind Sykes. Close enough to reach out and\ntouch him. It is an alien silhouette, but larger, more\npowerful.", "The VIDEO CAMERA image climbs up onto the roof of a parked\nlocal TV van, finds the object again in the distance,\nzooms in, and waits, like everyone else.", "Harcourt's private limo glides down the narrow access\nroad, passing a lookout car attended by two alien Thugs.\nThe limo moves down to the beach, parking near an n.d.\nvan.", "Harcourt turns in his seat just in time to see the slug-\nmobile airborne as it flies from the on-ramp, landing a\nfew feet behind the black-and-white's bumper.", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "The two cops, guns in hand, move along the row of parked\ncars across the street from the mini-mart. Through the\nstore window they see the old alien PROPRIETOR behind the", "Sykes catches sight of the two aliens just as they round\nthe corner at the far end of the alley. He takes off,\nquickly cranking up to full speed.", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "Sykes kneels beside him, gently taking the gun from the\nalien's hand. The two partners remain like this, bathed\nin the orange flickering glow of the fire.", "Just then, Wiltey spots a flit of movement cutting across\nhis headlight beams fifty yards ahead. Whatever it was,\nwas large and fast. It darted into an open warehouse\ndoor.", "surface of the water. He howls and yanks out his hand.\nWe see the alien hand dripping seawater... then a thousand\ndroplets of purple alien blood begin to bead all over the", "The shattered windows have been covered with plywood.\nThrough the open doorway we see Jetson talking to the\nProprietor's Wife. She studies a photo Jetson shows her,\nnods her head, speaking rapidly in the alien language.", "The slug-mobile skids to a stop at the loading dock\nentrance. Sykes and Jetson climb out. They hop up onto\nthe loading platform and move purposefully into the well-\nlit interior through the open door.", "that October nineteenth morning,\n\twhen news first broke: that people\n\thave landed... from another star.", "The alien rears back, and as he does, the approaching\nSIREN suddenly WAILS louder as a backup patrol car swings\nonto the street heading this way. Kipling sees this and\nleaves Sykes, running off down the dark tunnel." ], [ "Tuggle fires at the two aliens. They return fire and he\nslides down to safety behind the car. Or so he thinks.", "The large suitcase rests on the expansive conference\ntable. A manicured alien hand reaches in and slowly opens\nit. Inside are fifty one-kilo glass tubes full of the", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "And instantly Sykes whips out this flashlight, snaps on\nthe beam, and arcs it into the faces of the aliens around\nhim. Jetson gets a blast of it, too. The aliens are\nmomentarily blinded.", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "directly behind Sykes. Close enough to reach out and\ntouch him. It is an alien silhouette, but larger, more\npowerful.", "alien). He moves into:", "Harcourt sees the hungering expressions on the alien\nDealers' faces... smiles knowingly. He slides one of the\ndispensers from the suitcase.", "The VIDEO CAMERA image climbs up onto the roof of a parked\nlocal TV van, finds the object again in the distance,\nzooms in, and waits, like everyone else.", "The two cops, guns in hand, move along the row of parked\ncars across the street from the mini-mart. Through the\nstore window they see the old alien PROPRIETOR behind the", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "Just then, Wiltey spots a flit of movement cutting across\nhis headlight beams fifty yards ahead. Whatever it was,\nwas large and fast. It darted into an open warehouse\ndoor.", "The slug-mobile skids to a stop at the loading dock\nentrance. Sykes and Jetson climb out. They hop up onto\nthe loading platform and move purposefully into the well-\nlit interior through the open door.", "A LONG LENS SHOT of a far distant metallic object hovering\njust above the ground -- maybe two or three miles away.\nThe heat waves and the light refraction off the desert-", "alien is knocked backwards to the wet asphalt by the\nblasts. Sykes approaches the body slowly. With an\ninhuman ROAR, the alien snaps forward, lunging at Sykes", "Two large plastic packets are dumped of their contents\nonto a formica counter. Sykes looks through the dead\nalien's effects while Jetson goes through the human's.", "Sykes catches sight of the two aliens just as they round\nthe corner at the far end of the alley. He takes off,\nquickly cranking up to full speed.", "The alien rears back, and as he does, the approaching\nSIREN suddenly WAILS louder as a backup patrol car swings\nonto the street heading this way. Kipling sees this and\nleaves Sykes, running off down the dark tunnel.", "The shattered windows have been covered with plywood.\nThrough the open doorway we see Jetson talking to the\nProprietor's Wife. She studies a photo Jetson shows her,\nnods her head, speaking rapidly in the alien language.", "He moves off. Jetson moves toward Sykes and the Raincoat\nalien's body. Sykes tenses, thinking Jetson might" ], [ "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "Tuggle fires at the two aliens. They return fire and he\nslides down to safety behind the car. Or so he thinks.", "And instantly Sykes whips out this flashlight, snaps on\nthe beam, and arcs it into the faces of the aliens around\nhim. Jetson gets a blast of it, too. The aliens are\nmomentarily blinded.", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "The large suitcase rests on the expansive conference\ntable. A manicured alien hand reaches in and slowly opens\nit. Inside are fifty one-kilo glass tubes full of the", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "adapted for hard labor in almost any\n\tenvironmental condition. In effect,\n\ttheir ship was a slave ship...\n\twashed ashore on Earth with no way", "alien). He moves into:", "Sykes slides out of the driver's door, stumbles to\nJetson's door, wrenches it open, and drags the huge\nunconscious alien away from the cars.", "Sykes catches sight of the two aliens just as they round\nthe corner at the far end of the alley. He takes off,\nquickly cranking up to full speed.", "Harcourt sees the hungering expressions on the alien\nDealers' faces... smiles knowingly. He slides one of the\ndispensers from the suitcase.", "They have reached a table holding a covered body. Winter\nunceremoniously throws back the cover. There lies the\npale naked body of the Raincoat alien.\n\n\t\t\tJETSON\n\tHave you identified this one?", "alien is knocked backwards to the wet asphalt by the\nblasts. Sykes approaches the body slowly. With an\ninhuman ROAR, the alien snaps forward, lunging at Sykes", "The two cops, guns in hand, move along the row of parked\ncars across the street from the mini-mart. Through the\nstore window they see the old alien PROPRIETOR behind the", "directly behind Sykes. Close enough to reach out and\ntouch him. It is an alien silhouette, but larger, more\npowerful.", "Two large plastic packets are dumped of their contents\nonto a formica counter. Sykes looks through the dead\nalien's effects while Jetson goes through the human's.", "surface of the water. He howls and yanks out his hand.\nWe see the alien hand dripping seawater... then a thousand\ndroplets of purple alien blood begin to bead all over the", "O'NEAL\n\tYes it is.\n\t\t (some alien workers\n\t\t come through the\n\t\t door)", "An explosion of color and movement as OPENING TITLES PLAY\nvery quickly. We're TRAVELING the streets in a n.d.\nsedan, getting MOVING GLIMPSES of the aliens living among\nus now:", "him around. The alien grabs Sykes' hand off, rising to\nhis full height. He and Sykes lock eyes. Meanwhile. the" ], [ "adapted for hard labor in almost any\n\tenvironmental condition. In effect,\n\ttheir ship was a slave ship...\n\twashed ashore on Earth with no way", "alien). He moves into:", "Sykes catches sight of the two aliens just as they round\nthe corner at the far end of the alley. He takes off,\nquickly cranking up to full speed.", "Tuggle fires at the two aliens. They return fire and he\nslides down to safety behind the car. Or so he thinks.", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "-- A city park where a number of alien families have\ngathered to play some arcane alien game.\n\n\t\t\tSYKES\n\tJeez... they call that gang-bang a\n\tgame...?", "alien is knocked backwards to the wet asphalt by the\nblasts. Sykes approaches the body slowly. With an\ninhuman ROAR, the alien snaps forward, lunging at Sykes", "And instantly Sykes whips out this flashlight, snaps on\nthe beam, and arcs it into the faces of the aliens around\nhim. Jetson gets a blast of it, too. The aliens are\nmomentarily blinded.", "Sykes slides out of the driver's door, stumbles to\nJetson's door, wrenches it open, and drags the huge\nunconscious alien away from the cars.", "-- Aliens hanging around outside their homes.\n\n-- Alien hookers plying their trade.\n\n\t\t\tSYKES\n\tHope their plumbing's the same.", "Several ALIEN MEN, brute laborer-types, lounge around out\nfront. They glare with antagonism as Sykes and Jetson\nclimb out of their car.", "maintained home on the outskirts of Slagtown. Jetson's\nWIFE, an attractive alien woman, stands watering the lawn", "An explosion of color and movement as OPENING TITLES PLAY\nvery quickly. We're TRAVELING the streets in a n.d.\nsedan, getting MOVING GLIMPSES of the aliens living among\nus now:", "Harcourt sees the hungering expressions on the alien\nDealers' faces... smiles knowingly. He slides one of the\ndispensers from the suitcase.", "They have reached a table holding a covered body. Winter\nunceremoniously throws back the cover. There lies the\npale naked body of the Raincoat alien.\n\n\t\t\tJETSON\n\tHave you identified this one?", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "The large suitcase rests on the expansive conference\ntable. A manicured alien hand reaches in and slowly opens\nit. Inside are fifty one-kilo glass tubes full of the", "The two cops, guns in hand, move along the row of parked\ncars across the street from the mini-mart. Through the\nstore window they see the old alien PROPRIETOR behind the", "Sykes kneels beside him, gently taking the gun from the\nalien's hand. The two partners remain like this, bathed\nin the orange flickering glow of the fire." ], [ "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "Sykes moves to join his daughter. As he does:\n\n\t\t\tJETSON\n\tThat is all right, Matthew. After\n\tall, you are only human.", "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "Sykes watches all this... and as he does, slowly his\nderisive expression softens. As corny as this tableau may\nbe, there's something very appealing about the innocence", "Sykes stares at him, exasperated. Without warning, he\nslams the car to a stop right in the middle of heavy", "Sykes lumbers along the narrow jetty. The fishing boat is\nalready passing the end of the jetty. Harcourt is fast", "And he moves toward the back exit. Sykes watches him go.\n\n\t\t\t\t CUT TO:\n\nEXT. \"X\" BAR - NIGHT", "Sykes rounds the corner. Doesn't see them anymore. He\nslows... moves along this street with some caution. Lots", "O'Neal is experiencing real fear now. Sykes has decided\nto back Jetson up, for better or worse. He takes the\n\"good cop\" role.", "He shoves a business card at her, then retreats through\nthe door.\n\n\nINT. CORRIDOR - NIGHT\n\nSykes closes the door and lets out his breath.", "CUT TO:\n\nINT. SYKES' APARTMENT - DAY", "Sykes cat-steps forward slowly. Harcourt stares at Sykes'\neyes, and the desire there that Harcourt will give him an\nexcuse. Harcourt simply... smiles.", "Sykes rises, makes his way to Jetson's side. Jetson has\nlet the weight of the gun carry his hand to the ground.", "Sykes stares at him for about five seconds and then\nexplodes with laughter.\n\n\t\t\tSYKES\n\tYou son-of-a-bitch. You're okay.", "Sykes locks up the brakes. Kipling veers around a couple\nof cars and speeds away.\n\nBecause of the other traffic, Sykes has only one course of\naction. He skids a left onto a side street.", "Sykes gets in, slams the door. His hand hurts as he grabs\nthe wheel. He holds the wheel gingerly as he slams the", "Sykes reaches the fence. Instead of climbing, he simply\nblows the lock to hell with the Casull, and kicks open the\ngate.\n\n\nEXT. ABANDONED DRAWBRIDGE - NIGHT", "Finally Jetson gets what Sykes is trying to tell him. He\nsays in the uncertain, stagy voice of a bad liar:", "Jetson is starting to take on Sykes' looks, his clothing\nrumpled and a day old. Sykes has showered and changed so\nhe's not suffering as much by comparison. They approach\nSykes' desk.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward" ], [ "Sykes sees that his partner is covered with a sudden sheen\nof sweat, his hands shaking. Sykes softens.", "-- a BLAST comes through the car and catches him squarely\nin the chest throwing him back onto the street.\n\nSykes' head jerks around -- in time to see his partner of\nnine years blown away.", "And he moves off with his partner. Sykes calls after him,\nbut Jetson is already approaching the woman and doesn't\nturn.", "He and Sykes take off running. Wiltey skids to the left,\nrockets in through the open warehouse door, out of sight.", "We're just partners. And don't call\n\tme Sergeant. Call me Sykes... or\n\tMatt if you have to.", "The police mop-up is winding down. Cop cars, coroner's\nwagons, fire trucks. We MOVE through it all to find Sykes\nand Jetson seated on the curb, away from the railing.", "He's still dragging Jetson away when he spots Harcourt\npulling himself through the smashed police unit window.\nBruised and bleeding, Harcourt reaches in for the\nsuitcase, then starts to run with it.", "SYKES\n\tMy partner is dead! Because one of\n\tyou bastards killed him -- then\n\tdisappeared into a rathole down in", "(Jetson nods)\n\tOkay. Well, my friend and partner\n\twas shot last night and I'm after\n\tthe shitbag that did it. As my", "Sykes lumbers past the burning police unit. Kipling is\nstill behind the wheel, his head slumped forward. Sykes\nis just past the cars when they explode -- sending hoods", "Sykes locks up the brakes. Kipling veers around a couple\nof cars and speeds away.\n\nBecause of the other traffic, Sykes has only one course of\naction. He skids a left onto a side street.", "Sykes sits stunned behind the wheel. Disoriented but\nconscious, he raises his head, looks over... sees Jetson\nout cold, his forehead gashed and bleeding. Then he looks", "More laughter. Sykes gives the darkness where the\noffender sits a hard stare, then turns and shoulders his\nway to the end of the bar. Jetson follows. Sykes stops\nbehind a big Newcomer in greasy work clothes.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Sykes kneels beside him, gently taking the gun from the\nalien's hand. The two partners remain like this, bathed\nin the orange flickering glow of the fire.", "with outstretched arms. Sykes jumps back, startled, and\nFIRES twice more at the pale figure. Raincoat goes down\nand stays down.", "and door panels and glass flying in all directions.\nHarcourt, on the other side of the fence, grabs the\nsuitcase and limps off into the shadowy world of the", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The", "Porter throws him a look over his shoulder, then\ndisappears through the door. Sykes and Jetson start down\nthe alley.", "They worked very well together.\n\tUnfortunately, they are no longer\n\twith us... but I was fortunate\n\tenough to reap the benefit of their" ], [ "-- a BLAST comes through the car and catches him squarely\nin the chest throwing him back onto the street.\n\nSykes' head jerks around -- in time to see his partner of\nnine years blown away.", "Sykes sees that his partner is covered with a sudden sheen\nof sweat, his hands shaking. Sykes softens.", "SYKES\n\tMy partner is dead! Because one of\n\tyou bastards killed him -- then\n\tdisappeared into a rathole down in", "with outstretched arms. Sykes jumps back, startled, and\nFIRES twice more at the pale figure. Raincoat goes down\nand stays down.", "We're just partners. And don't call\n\tme Sergeant. Call me Sykes... or\n\tMatt if you have to.", "And he moves off with his partner. Sykes calls after him,\nbut Jetson is already approaching the woman and doesn't\nturn.", "wallop of the overdose hits him... his face contorts in\nagony as he begins to convulse. Sykes, wide-eyed, lowers\nthe Casull and watches as Harcourt drops to the ground and", "Sykes lumbers past the burning police unit. Kipling is\nstill behind the wheel, his head slumped forward. Sykes\nis just past the cars when they explode -- sending hoods", "He and Sykes take off running. Wiltey skids to the left,\nrockets in through the open warehouse door, out of sight.", "Kipling brings the suitcase above his head. He is a half-\nsecond from hurling it down on Sykes' skull when -- a GUN\nROARS. Kipling is thrown back by the chest wound. Sykes\nlooks.", "They worked very well together.\n\tUnfortunately, they are no longer\n\twith us... but I was fortunate\n\tenough to reap the benefit of their", "slides to the floor. Kipling leans over the counter and\nFIRES another round into the Proprietor.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "and door panels and glass flying in all directions.\nHarcourt, on the other side of the fence, grabs the\nsuitcase and limps off into the shadowy world of the", "(Jetson nods)\n\tOkay. Well, my friend and partner\n\twas shot last night and I'm after\n\tthe shitbag that did it. As my", "determination, but it looks to me\n\tlike he was shot before being tossed\n\tin the drink. At least twice--\n\t\t (indicates where", "Sykes kneels beside him, gently taking the gun from the\nalien's hand. The two partners remain like this, bathed\nin the orange flickering glow of the fire.", "He's still dragging Jetson away when he spots Harcourt\npulling himself through the smashed police unit window.\nBruised and bleeding, Harcourt reaches in for the\nsuitcase, then starts to run with it.", "JETSON\n\tGreen light, Matthew.\n\t\t (Sykes doesn't\n\t\t respond)\n\tGreen light!", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the" ], [ "Warner is surprised. He never expected Sykes.\n\n\t\t\tWARNER\n\t... All right. Detective Sergeant\n\tSykes, this is Detective... Jetson.", "He turns and heads back to his office in the wake of\ncontinued grumbling from the detectives. Sykes, standing\nto one side, absently watches Warner return to his glass-", "Two detectives on their way out, stop, and head back into\nthe room. Everybody gathers around, curious, as Warner\nstands holding a sheet of paper.", "Warner is starting to suspect what Sykes is up to.", "WARNER\n\tI'll make this short. This is a\n\tdirective from Chief Evaner, who is", "WARNER\n\tAnd we've got him, gentleman.\n\t\t (more groans)\n\tVolunteers for duty with the new", "Across the room, the Captain's door BANGS open and CAPTAIN\nWARNER pounds out, his deep voice booming through the\nsquad room.", "Others grumble. \"Yeah!\". Meanwhile, Sykes has decided\nsomething. He heads toward Warner's office. Fedorchuk\nsees this.", "Harcourt and Kipling in the first police unit come\nthundering down the street zig-zagging through traffic.\nThe slug-mobile is three-quarters of a block behind them.", "Long-suffering Warner looks up at Goldrup, then finally\nsighs with resignation. Sykes grins.\n\n\t\t\t\t CUT TO:", "WARNER\n\tYeah, Sykes?\n\n\t\t\tSYKES\n\tCaptain. I'd like to volunteer for\n\tduty with the new detective.", "WARNER\n\t\t (to Sykes)\n\tYou are to have nothing to do with\n\tthe investigation into Bill Tuggle's\n\tdeath. You know that. Leave that\n\tfor Fedorchuk.", "WARNER\n\tNobody wanders off! I got an\n\tannouncement. Get your asses back\n\tin here.", "Jetson smiles. He glances up as they are bathed in red\nand blue light. A patrol car has pulled up next to them.\nInside is Wiltey, a uniformed cop.", "escape, a few steps behind Jetson. A POLICE CAR SIREN is\nHEARD arriving O.S.", "SYKES\n\t\t (nodding)\n\tDepartmental policy.\n\n\t\t\tWARNER\n\t\t (to Jetson)\n\tYou?", "JETSON\n\tWe have met.\n\nWarner looks up, clocking this. He looks at Sykes,\nstarting to smell something fishy.", "FEDORCHUK\n\tWhere the hell is he going?\n\n\nINT. WARNER'S OFFICE - DAY\n\nSykes KNOCKS and enters.", "Sykes lumbers past the burning police unit. Kipling is\nstill behind the wheel, his head slumped forward. Sykes\nis just past the cars when they explode -- sending hoods", "The traffic ahead of the police car peels off in response\nto the approaching lights and SIREN. Kipling dodges\naround the stopped traffic easily." ], [ "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "Harcourt recovers from the jolt of the bullet impact. The\ncloth of his disheveled shirt is shredded and powder-", "viscous blue drug. Also several of the small, individual\ndispensers. It is Harcourt, standing behind the table in\na pool of light, who has opened the suitcase. He is", "HARCOURT\n\t\t (continuing)\n\tI will not make this offer again. I\n\twant you to work for me, to manage", "Harcourt sees the hungering expressions on the alien\nDealers' faces... smiles knowingly. He slides one of the\ndispensers from the suitcase.", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with", "empty and Harcourt keeps coming.", "And now Sykes sees it -- Harcourt has been holding one of\nthe one-kilo glass cylinders of the drug concealed behind", "HARCOURT\n\t\t (continuing; to\n\t\t alien dealers)\n\tPlease feel free to sample the\n\tquality. The experience will be\n\teverything you remember it to be...", "HARCOURT\n\t\t (a chilling smile)\n\tI will have to remember that...\n\nHe continues down toward the office door. Cassandra\nwatches him go.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "He says it with such straightforward eye contact, that\nHarcourt (and we) know he isn't bluffing.", "Harcourt studies Watson a moment, perhaps even admiring\nhis resolve. Then--", "JETSON\n\tI am here to take Harcourt. Where\n\tis he?\n\nShe hesitates, then decides to cooperate, indicates with a\nnod toward the office door.", "Harcourt, who is getting more and more wet, HOWLS in\nagony, thick blood beginning to bead wherever the water", "of the dinghy as Harcourt's savage visage appears at the\nbow. Harcourt grins -- the predator with his prey\ntrapped.", "HARCOURT\n\t\t (to alien dealers)\n\tIt's been a long time, hasn't it,\n\tgentlemen?" ] ]	[ "What was the name given to these new alien arrivals?", "What is the name of the newcomer detective Sykes has to work with? ", "What happened to the newcomer Joshua Strader? ", "Instead of interviewing Strader, who do the detectives interview at the club?", "What is Jabroka?", "What happens when Harcourt is cornered by Sykes? ", "What happens when Harcourt is taken away in the ambulance?", "How does Harcourt die? ", "What is used to rescue Sykes from the water? ", "Where does the Newcomers ship land?", "What happened to Matthew Sykes partner?", "Why were Sykes and Tugger involved in the shootout?", "Why does Sykes partner with Francisco?", "Why are Sykes and Francisco investigating Joshua Strader?", "What is the connection between the skin anomaly and Jabroka?", "Who murdered Joshua Straber?", "What was Harcourt planning when Sykes and Francisco stop him?", "What happens to Harcourt at the bridge?", "How does Harcourt die?", "In what year did the UFO land?", "Where did the UFO land?", "What was the UFO carrying?", "How many enslaved aliens was the UFO carrying?", "What city becomes the enslaved aliens home?", "What does Matthew Sykes do?", "What happened to Matthew's partner?", "How did Matthew's partner die?", "What is Warner's police title?", "What is Harcourt attempting to produce and sell?" ]	[ [ "The newcomers", "Newcomers." ], [ "Sam Francisco", "Sam Francisco" ], [ "He was murdered", "He is murdered by a new criminal ring." ], [ "Strader's girlfriend", "his girlfriend" ], [ "A street drug for the newcomers", "a drug" ], [ "He overdoses on Jabroka", "he purposely overdoses on a sample of the stimulant" ], [ "He transforms into a more muscular newcomer", "he mutates into a larger, more muscular, violent Newcomer" ], [ "He dies when his body lands in salt water", "disintegrates in the salt water of the sea" ], [ "A police helicopter", "A helicopter." ], [ "In the Mojave Desert.", "in the Mojave Desert" ], [ "Bill Tuggles was killed in a shootout.", "he was killed in a shoot-out with a pair of Newcomer criminals" ], [ "They were trying to save a Newcomer Patrick from two Newcomer criminals from murdering him.", "trying to stop two newcomer criminals at a robbery" ], [ "To ivestigate the homicide of William Huberly, but also to search for his partner's killer.", "because his superior, Captain Warner, has ordered him to" ], [ "An anomaly found on the body of one of the criminals.", "they believe he is linked to the homocide of Newcomer Warren Hubley" ], [ "The anomaly is a side-effect of the drug's influence.", "a side effect" ], [ "A criminal ring led by William Harcourt and Rudyard Kipling.", "Harcourt" ], [ "To release Jabroka more widely.", "To mass produce the drug Jabroka." ], [ "He intentionally overdoses on Jabroka.", "He is cornered by Sykes and overdoses" ], [ "He dies to exposure of salt water, which is toxic to Newcomers.", "salt water causes his body to disintegrate" ], [ "1990", "1990" ], [ "Mojave Deser", "The Mojave Desert." ], [ "enslaved aliens", "the Newcomers" ], [ "300,000", "300,000" ], [ "Los Angeles", "Los Angeles" ], [ "police detective", "he is a police detective" ], [ "died", "He died in a shootout." ], [ "In a shootout", "In a shootout." ], [ "captain", "Captain." ], [ "a drug called Jabroka", "a drug called Jabroka which pacifies the Newcomers" ] ]	38f9d45e053517a0312cad18b6c322b3b50a3427	train
[ [ "THOR\n You're work with the Tesseract is what\n drew Loki to it, and his allies. It is\n the signal to all the realms that the\n earth is ready for a higher form of\n war.", "Also, it means the portal can open as\n wide, and stay open as long, as Loki\n wants.", "EXT. SKY DAY\n\n Loki watches below, motionless.\n\n LOKI\n Send the rest.", "LOKI\n I don't have it. You need the cube to\n bring me home, but I've sent it off I\n know not where.\n Mjölnir flies back to his grasp.", "As the crowd runs away, Loki slowly walks out and materializes\n in his gold armor and helmet. The POLICE arrive and with no\n hesitation, he BLASTS the cars, FLIPPING them over and over.", "THOR\n When I first came to earth, Loki's rage\n followed me here and your people paid\n the price. And now again. In my youth I\n courted war.", "make you long for something as sweet as\n pain.\n THE OTHER places his hand on Loki's head and transports him back\n to Earth. Loki looks around, menacing.", "Loki opens the HATCH. Thor still hopes. LOKI HITS THE BUTTON AND", "TONY\n Okay.\n From the mountain side, Loki watches in amusement. Thor raises", "Loki's fired shot.\n ALL HELL BREAKS. Machine gun fire is shot at Loki, but the\n bullets bounce off him like a boss. Loki jumps high from the", "Loki walks onto the balcony as the SOUNDS of the CHITAURI rings\n out. He admires his soon to be kingdom. THOR LANDS ON THE TOWER.\n Loki turns to his ENEMY.", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "THE OTHER\n Battle? Against the meager might of\n Earth?\n\n LOKI\n Glorious, not lengthy. If your force is\n as formidable as you claim.", "his cane the other end. The guard there notices him, pulls out\n his gun, but Loki CLUBS his head in. CHAOS ERUPTS.", "LOKI\n Of course it does. I've come too far\n for anything else. I am Loki of Asgard,\n and I am burdened with glorious\n purpose.", "Thor and Loki battle savagely. Loki fires ENERGY from the\n scepter, sending Thor sliding across the floor.\n\n INT. QUINJET DAY", "THOR\n So you take the world I love as\n recompense for your imagined slights.\n No, the Earth is under my protection,\n Loki.\n\n LOKI", "TONY lands his SUIT and goes through the gauntlet and unsuits\n him. LOKI looks up at him, smiling. They proceed to walk into\n the penthouse.", "LOKI\n Freedom. Freedom is life's great lie.\n Once you accept that, in your heart...", "LOKI\n I said. KNEEL!!!\n Everyone becomes quiet and kneels in front him. Loki embracing\n his arms out, smiling." ], [ "As Loki is busy using his abilities to control the minds of\n several S.H.I.E.L.D. personnel, Fury takes the Tesseract,", "NICK FURY\n Because of him.\n (pointing at Thor)\n\n THOR\n\n (STUNNED)\n Me?", "SELVIG\n Director.\n\n NICK FURY\n Is there anything we know for certain?\n\n SELVIG\n Tesseract is misbehaving.", "NICK FURY\n Trying to save it.\n Fury hands Steve a file on the Tesseract, along with other files\n on HYDRA'S projects.", "NICK FURY\n Well, it's an old fashioned notion.\n\n EXT. MEADOW DAY", "NICK FURY\n How bad is it?\n\n AGENT PHIL COULSON\n That's the problem, sir. We don't know.", "NICK FURY\n They'll come back.\n\n AGENT MARIA HILL\n You really sure about that?\n\n NICK FURY\n I am.", "NICK FURY\n I am.\n\n STEVE\n Trying to get me back in the world?", "NICK FURY\n The Tesseract is with the hostile\n force. I have men down. Hill?\n\n INT. P.E.G.A.S.U.S TUNNEL NIGHT", "NICK FURY\n (through the walkie talkie)\n Hill, do you copy?!\n Loki and Barton SHARPLY look at Agent Hill.", "NICK FURY (V.O.)\n Agent Coulson is down.\n Agent Hill is being treated for a gash on her head, listens on\n her headset, standing up.", "NICK FURY\n They found it. Get our communications\n back up, whatever you have to do. I\n want eyes on everything.\n\n AGENT MARIA HILL\n Yes, sir.", "NICK FURY\n He's got the Tesseract! Track it down!\n The energy is really brewing a fucking shit storm from the\n vacuum chamber ceiling.", "NICK FURY\n I send that bird out, we already have.\n Fury shuts off his viewscreen.\n\n EXT. MANHATTAN DAY", "NICK FURY\n (trying to explain)\n Rogers, we gathered everything related\n to the Tesseract. This does not mean\n that we're...", "INT. HELICARRIER PORT SIDE DAY\n\n Steve and Tony listen in as well.\n\n NICK FURY (V.O.)\n They called it.", "STEVE\n A higher form?\n\n NICK FURY\n You forced our hand. We had to come up\n with something.", "NICK FURY (V.O.)\n Just get him here. We're low on time.\n With Loki tied up and cuffed to his seat, Tony and Steve watch\n from a distance, whispering.", "NICK FURY\n Stark, you hearing me? We have a\n missile headed straight for the city.\n\n IRON MAN (V.O.)\n How long?", "Back in the bridge, Fury sees on his VIEWSCREEN that the hatch\n has been open. Knowing Agent Coulson was sent there, he goes to." ], [ "NATASHA\n This is the Tesseract. It has the\n potential energy to wipe out the\n planet.\n She shows him a photo of the Tesseract on her cell phone. Banner\n takes a closer look.", "(TO LOKI)\n Thank you for your cooperation.\n Natasha quickly walks out, leaving Loki frozen.\n\n INT. BANNER'S LAB MORNING", "Banner looks at Natasha, charming a smile at her.\n\n BANNER\n Just you and me?\n Natasha fidgets now that she exposed her guard down.", "NATASHA\n No. No. Of course not. I'm here on\n behalf of SHIELD.\n\n BANNER\n SHIELD. How did they find me?", "NICK FURY\n Agent Romanoff, would you show\n Dr.Banner to his laboratory, please.\n Natasha nods and walks off, leading Banner down the hall.", "NATASHA\n Talk to Fury, he needs you on this.\n\n BANNER\n He needs me in a cage?", "At that moment, Thor and Natasha walk into the lab. Natasha\n keeps her eyes right on Banner. Banner looks at her, PISSED.", "Natasha looks over to Banner, who is breathing heavy, having\n landed hard. He is gripping the grated floor to maintain\n control, but his eyes are green, his face intense.", "INT. HELICARRIER MEDICAL ROOM DAY\n\n Barton is strapped down. Natasha watches over him as Barton\n tries to shake off Loki's mind control.", "NATASHA\n Nick Fury seems to trust you. But now I\n need you to come in.\n\n BANNER\n What if I said no?", "BANNER\n Yes, and I'm not leaving because\n suddenly you get a little twitchy. I'd\n like to know why SHIELD is using the\n Tesseract to build weapons of mass\n destruction.", "NATASHA\n I did.\n\n BANNER\n Who are you?\n\n NATASHA\n Natasha Romanoff.", "SELVIG\n Director.\n\n NICK FURY\n Is there anything we know for certain?\n\n SELVIG\n Tesseract is misbehaving.", "Selvig a hug. Tony opens the Tesseract's case.\n Banner takes it out and places inside a glass tube, held by", "Natasha one last knowing look. Natasha STRUGGLES FREE of the\n rubble. She stops.\n The HULK, sensing her, turns his head and puts on a face of a", "NATASHA\n We never lost you, doctor. We've kept\n our distance, even helped keep some\n other interested parties off your\n scent.\n\n BANNER\n Why?", "BANNER\n Should have got paid up front, Banner.\n Natasha then appears from behind the curtains. Banner turns\n around, quietly.", "Still shaken by the HULK ordeal, Natasha sits there, rocking\n back and forth, after crying for a while. Summoning back all her\n coolness, she touches her EARPIECE.", "STOP LYING TO ME!\n The THUNDEROUS TONE in is voice makes Natasha QUICKLY grab her\n gun and point it at him, but something is now OFF in the\n atmosphere. Banner stands straight up, smiling.", "STEVE\n Put on the suit.\n At that moment Banner who's looking at the monitor notices\n something about the Tesseract.\n\n BANNER\n Oh, my God!" ], [ "Loki is now free from his cuffs and is contained in a LARGE\n GLASS CELL held by HYDRAULIC RIGS. Fury walks up the control\n panel of the cell.", "As Loki is busy using his abilities to control the minds of\n several S.H.I.E.L.D. personnel, Fury takes the Tesseract,", "S.H.I.E.L.D personnel Loki is controlling.", "INT. HELICARRIER DETENTION SECTION DAY\n\n Thor runs into the detention section where he finds Loki,\n escaping.\n\n THOR", "INT. HELICARRIER DETENTION SECTION DAY\n\n Loki looks up, smiling mischievously.", "INT. HELICARRIER DETENTION SECTION NIGHT\n\n Loki walks back and forth inside his glass cell. Suddenly, he\n stops.", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "(TO LOKI)\n Thank you for your cooperation.\n Natasha quickly walks out, leaving Loki frozen.\n\n INT. BANNER'S LAB MORNING", "INT. HELICARRIER DETENTION SECTION DAY\n\n Loki has no remorse as he looks down. He closes the hatch and\n proceeds to leave. A WEAK VOICE.", "HYDRA WEAPONS.\n\n INT. HELICARRIER DETENTION SECTION NIGHT\n\n Loki SLAMS his cell, making Natasha FLINCH.", "DOZENS of SHIELD POLICE escort Loki, who is in handcuffs,\n smiling. As they pass the HELICARRIER LAB, Banner stops working", "Loki's fired shot.\n ALL HELL BREAKS. Machine gun fire is shot at Loki, but the\n bullets bounce off him like a boss. Loki jumps high from the", "NICK FURY (V.O.)\n Just get him here. We're low on time.\n With Loki tied up and cuffed to his seat, Tony and Steve watch\n from a distance, whispering.", "TONY lands his SUIT and goes through the gauntlet and unsuits\n him. LOKI looks up at him, smiling. They proceed to walk into\n the penthouse.", "LOKI\n And what will you do if I vow to spare\n him?\n\n NATASHA\n Not let you out.\n\n LOKI", "LOKI\n After. After whatever tortures Fury can\n concoct, you would appear as a friend,\n as a balm. And I would cooperate.", "SELVIG WAKES UP FROM LOKI MIND CONTROL. He looks around,\n confused where he is. He looks up at the sky, amazed.", "SHIELD GUARDS slowly approach, weapons in hands. A figure is\n kneeling on the platform, smoke coming off it. It's LOKI.", "IRON MAN\n Doesn't matter. If he frees Loki or\n kills him, the Tesseract's lost.\n Tony turns and gets ready to jump off the jet to chase after\n Thor.", "LOKI\n I come with glad tidings, of a world\n made free.\n\n NICK FURY\n Free from what?" ], [ "SELVIG WAKES UP FROM LOKI MIND CONTROL. He looks around,\n confused where he is. He looks up at the sky, amazed.", "eyes suddenly glow BLACK. The ability to control Barton's mind\n is now in Loki's hand. Barton puts his piece away and stands\n straight.", "Barton tries to stand up. Loki quickly walks towards him. Barton\n raises his gun, but Loki grabs Barton's hand.", "Several soldiers under Loki's mind control run around, preparing\n to infiltrate whatever Loki has planned. Loki sits down,\n watching Selvig work with a CMS device. Loki meditates, until...", "BARTON'S MAN opens fire once more. CAPTAIN AMERICA pulls himself\n up and finally PULLS the lever.", "As Loki is busy using his abilities to control the minds of\n several S.H.I.E.L.D. personnel, Fury takes the Tesseract,", "LOKI\n You have heart.\n Loki points the head of his spear at Barton's head. Barton's", "her, but she grabs his arm, TWISTING it. BARTON WRITHES IN PAIN.\n Using his other arm, he tosses the knife over and begins to", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "(TO LOKI)\n Thank you for your cooperation.\n Natasha quickly walks out, leaving Loki frozen.\n\n INT. BANNER'S LAB MORNING", "Barton walks alone down the catwalk. In a lightning fast move,\n Barton nocks an arrow, and points it at NATASHA. A hand-to-hand", "SLAMS him down, hard. Loki, bleeding, rolls over the edge. Thor\n looks down. LOKI IS RIDING ON A FLYING CHARIOT. DOZENS of", "LOKI\n Freedom. Freedom is life's great lie.\n Once you accept that, in your heart...", "NATASHA\n I wanna know what you've done to Agent\n Barton.\n\n LOKI\n I'd say I've expanded his mind.", "LOKI\n I won't touch Barton. Not until I make\n him kill you! Slowly. Intimately. In", "SLASH at Natasha. She dodges every move, but finds herself in a\n LOCK HOLD with him. As he forces the knife down, she BITES his\n wrist. Barton lets go of the knife.", "LOKI\n Well, then...\n Loki, looking at Barton, who doesn't even hesitate, SHOOTS FURY", "down, breathing fast. Loki makes his way to the control switch.\n He gives his brother one last look. Thor looks at him, hopeful.", "Barton's men. He begins to TAKE THEM DOWN, even goes as far as\n throwing one off. A few more enter, FIRING.", "his cane the other end. The guard there notices him, pulls out\n his gun, but Loki CLUBS his head in. CHAOS ERUPTS." ], [ "IRON MAN catches up, now comes at the missile from behind. The\n missile speeds on. IRON MAN grabs it from behind, gripping it\n tightly.", "NICK FURY\n Stark, you hearing me? We have a\n missile headed straight for the city.\n\n IRON MAN (V.O.)\n How long?", "AMERICA arrives! He dives in just in time and BLOCKS the blast\n with his SHIELD, knocking down Loki on his ass.", "Cap gets off the car, looks around the city. Destroyed. The\n police and firemen arrive, pulling out those civilians he saved.\n A WAITRESS looks back, thankful.", "TONY\n I got a nuke coming in, it's gonna blow\n in less than a minute. And I know just\n where to put it.\n\n EXT. SKY DAY", "NICK FURY\n Three minutes, at best. Stay low and\n wipe out the missile.\n\n EXT. MANHATTAN DAY", "NICK FURY\n That is the island of Manhattan,\n Councilman. Until I'm certain my team\n can't hold it, I will not order a\n nuclear strike against a civilian\n population.", "hang still in the air. Some move swimmingly about.\n IRON MAN lets go of the missile. It whistles off into the", "her knives into his nervous system. She gets him to BANK over a\n building.\n - IRON MAN arrives and SHOOTS any other CHITAURI RIDERS", "7 ALPHA 11 arrives outside the city. He flips the switch to\n press the button. He presses it. THE MISSILE IS FLYING OUT TO\n\n MANHATTAN.", "his fuckin' head and actually sends IRON MAN across the forest.\n IRON MAN boosters up and flies back at Thor, grabbing him by the", "but misses. Land draws closer.\n In a final attempt before crashing, Thor positions himself onto\n the glass door and LEAPFROGS just as the cage is about to hit", "Back in the bridge, Fury sees on his VIEWSCREEN the destruction\n going on in NEW YORK. Agent Hill walks up to him.", "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "BARTON'S MAN opens fire once more. CAPTAIN AMERICA pulls himself\n up and finally PULLS the lever.", "TONY\n Nuclear deterrent. `Cause that always\n calms everything right down.\n\n NICK FURY\n Remind me again how you made your\n fortune, Stark?", "blackness as IRON MAN IDLY falls back down the portal's opening.\n The missile reaches the MAIN SHIP. The MAIN SHIP IMPLODES,", "toward mid-air. His eyes tight in concentration. The HULK runs\n right at him. At the last second, MJÖLNIR flies into his hand", "EXT. MANHATTAN DAY\n\n The COPS continuously fire at the flying chariots. It's pretty\n pointless. A YOUNG COP runs over to his POLICE SERGEANT.", "- From above them, HAWKEYE sends down remaining arrows. He sends\n one across the street, taking down a CHITAURI RIDER following" ], [ "The BLASTWAVE of the Tesseract causes the tunnel to cave it.\n Like an ocean wave, blinding crumbles of falling rock, fall onto", "THE OTHER (V.O.)\n The Tesseract has awakened. It is on a\n little world. A human world. They would\n wield its power,...", "Without hesitating, BLACK WIDOW pulls the scepter out, the\n TESSERACT turns off its energy beam. The PORTAL QUICKLY CLOSES.", "NATASHA\n This is the Tesseract. It has the\n potential energy to wipe out the\n planet.\n She shows him a photo of the Tesseract on her cell phone. Banner\n takes a closer look.", "appears and a GUST of BLUE ENERGY CLOUDS fill the room, blinding\n everyone.\n The Tesseract's energy forms into a cloud that reaches to the", "BANNER\n Sorry, kids. You don't get to see my\n little party trick after all.\n\n THOR\n Located the Tesseract?", "INT. RADIATION FACILITY, VACUUM CHAMBER NIGHT\n\n The Tesseract's energy cloud now SHRINKS into a SMALL BALL OF\n WHITE LIGHT. Then...", "at the end of a platform that is wired to the CMS device. The\n great maelstrom beam FIRES the TESSERACT energy. The beam then", "Everyone is thrown in every direction. Steve, Fury, Thor and\n Tony are thrown across while Natasha and Banner is down in the\n lower equipment room. Steve looks up at Tony.", "Selvig a hug. Tony opens the Tesseract's case.\n Banner takes it out and places inside a glass tube, held by", "Cap gets off the car, looks around the city. Destroyed. The\n police and firemen arrive, pulling out those civilians he saved.\n A WAITRESS looks back, thankful.", "The Tesseract is glowing unusually brighter and flare rings\n shoot out at random.", "PEPPER\n Work hard.\n As Pepper leaves with Agent Coulson, Tony grabs the Tesseract in\n holograph form, worried.\n\n INT. QUINJET DAY", "(A BEAT)\n Yes, we were going to build an arsenal\n with the Tesseract. I never put all my", "but misses. Land draws closer.\n In a final attempt before crashing, Thor positions himself onto\n the glass door and LEAPFROGS just as the cage is about to hit", "THE OTHER\n You will have your war, Asgardian. If\n you fail, if the Tesseract is kept from", "Steve watches until the monitor goes black. Thor, who didn't\n even look, just listened, stands there, torn apart. They all\n just stand there in stunned SILENCE. Finally --", "OUTSIDE THE HELICARRIER\n The carrier that brought Barton and his team now leaves, taking\n Loki and his scepter. The carrier flies into the distance.", "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "DR. SELVIG clacks away at the keyboard and sees on the\n monitoring his worst nightmares. Suddenly- the Tesseract\n THUNDERS and SHAKES the entire facility. Big enough where both" ], [ "Several soldiers under Loki's mind control run around, preparing\n to infiltrate whatever Loki has planned. Loki sits down,\n watching Selvig work with a CMS device. Loki meditates, until...", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "Selvig works around the CMS device that has already been set-\n upon the rooftop of Tony's tower.\n\n INT. HELICARRIER MEDICAL ROOM DAY", "EXT. STARK TOWER DAY\n\n Selvig looks up at the sky. The Tesseract's energy BEAMS into\n the sky. The beam then forms a VORTEX, which then opens up", "BANNER\n So he's building another portal. That's\n what he needs Erik Selvig for.\n\n THOR\n Selvig?", "IRON MAN arrives at STARK TOWER where Selvig, ACTIVATES the CMS\n device, holding the Tesseract.", "SOLDIERS AND COPS have taken positions covering the streets.\n They see from the sky, IRON MAN leading a trail of CHITAURI\n towards his tower.\n\n EXT. SKY DAY", "Selvig a hug. Tony opens the Tesseract's case.\n Banner takes it out and places inside a glass tube, held by", "Like a gunslinger, Loki turns to face Selvig who's\n standingbehind him and places his spear against Selvig's heart.\n Selvig's eyes glow BLACK.", "As the crowd runs away, Loki slowly walks out and materializes\n in his gold armor and helmet. The POLICE arrive and with no\n hesitation, he BLASTS the cars, FLIPPING them over and over.", "Loki walks onto the balcony as the SOUNDS of the CHITAURI rings\n out. He admires his soon to be kingdom. THOR LANDS ON THE TOWER.\n Loki turns to his ENEMY.", "INT. STARK PENTHOUSE DAY\n\n Loki walks in, holding the scepter. Tony casually walks down the\n steps, towards the bar.", "Inside this particular van, Selvig and a few other SOLDIERS are\n driving inside a long tunnel. With the CMS device inside, Selvig", "SELVIG\n Loki? Brother of Thor?\n\n NICK FURY\n We have no quarrel with your people.", "SELVIG WAKES UP FROM LOKI MIND CONTROL. He looks around,\n confused where he is. He looks up at the sky, amazed.", "SELVIG\n Well, actually I think I did. I built\n in a safety to cut the power source.\n\n BLACK WIDOW\n Loki's scepter.", "ACCEPTS IT. Selvig looks at it, devilishly smiling.", "IT GOES OFF IN ONE FINAL CONFLAGRATION.\n TERRIFIED PEOPLE running from Loki, looking over their\n shoulders, coming straight at us. CAPTAIN AMERICA looks down the\n bridge.", "EXT. STARK TOWER DAY\n\n Thor holds down Loki's face straight ahead, forcing him to watch\n the city falling to ash.", "HE ATTACKS THE ARMY AT CULVER UNIVERSITY, THOR FIGHTING THE\n DESTROYER and another is of Loki and the Tesseract, to which\n Stark and Pepper look on in awe." ], [ "SELVIG\n He's right. The portal is collapsing in\n on itself. You got maybe two minutes\n before this goes critical.", "DROPS THOR OUT OF THE SHIP.\n\n INT. LOWER EQUIPMENT ROOM, CARRIER DAY", "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "at the end of a platform that is wired to the CMS device. The\n great maelstrom beam FIRES the TESSERACT energy. The beam then", "Without hesitating, BLACK WIDOW pulls the scepter out, the\n TESSERACT turns off its energy beam. The PORTAL QUICKLY CLOSES.", "(points at the MINI-ARC\n REACTOR in his chest)\n This stops it. This little circle of\n light. It's part of me now, not just", "TONY\n See that red lever? It'll slow the\n rotors down long enough for me to get", "STEVE\n Just find the cube.\n Steve walks out of the lab. Still torn apart by the possibility,\n he walks away, towards the HULL of the ship.\n\n BACK IN THE LAB", "JARVIS\n Sir, I took off the arc reactor. The\n device is already self-sustained.\n\n TONY\n Shut it down, Dr. Selvig.", "SELVIG\n Well, actually I think I did. I built\n in a safety to cut the power source.\n\n BLACK WIDOW\n Loki's scepter.", "TONY\n Lever. Now!\n Tony lets go of the rotors. They spin by themselves. Tony is", "The BLASTWAVE of the Tesseract causes the tunnel to cave it.\n Like an ocean wave, blinding crumbles of falling rock, fall onto", "TONY\n Then stay in the control unit and\n reverse polarity long enough to\n disengage mag...\n\n CAPTAIN AMERICA\n Speak English!", "Steve watches until the monitor goes black. Thor, who didn't\n even look, just listened, stands there, torn apart. They all\n just stand there in stunned SILENCE. Finally --", "SHARPLY heads for the engine. The arrow is punctured onto the\n engine. It has a visible timer which is COUNTING DOWN.", "INT. RADIATION FACILITY, VACUUM CHAMBER NIGHT\n\n The Tesseract's energy cloud now SHRINKS into a SMALL BALL OF\n WHITE LIGHT. Then...", "INT. FACILITY FLOOR NIGHT\n\n Fury races out of the hallway, avoiding falling pipes. The\n entire facility is now in a full earthquake.", "IRON MAN laser cuts a big piece of broken metal. He then JUMPS\n on it, relieving the rotors.", "Selvig and several scientists work around the CMS device.\n Bartonwalks in, holding a tablet.\n\n SELVIG\n Put it over there!", "hand. He then places a STARK ENERGY REACTOR. It lights up. IRON\n MAN rockets out of the water and flies towards STARK TOWER." ], [ "THE OTHER\n The Chitauri grow restless.\n\n LOKI\n Let them go at themselves. I will lead\n them into glorious battle.", "THE OTHER (V.O.)\n But our ally knows its workings as they\n never will. He is ready to lead. And\n our force, our Chitauri, will follow.", "CHITAURI follow his lead.", "known. He means to lead them against\n your people. They will win him the\n earth. In return, I suspect, for the\n Tesseract.", "(COMING TOO)\n He has an army called the Chitauri.\n They're not of Asgard or any world", "and FIRES. The CHITAURI LEVIATHAN ROARS in annoyance. The\n CHITAURI LEVIATHAN turns to him.", "CHITAURI.\n\n INSIDE THE SUIT\n\n JARVIS\n Sir, we have more incoming.", "SOLDIERS AND COPS have taken positions covering the streets.\n They see from the sky, IRON MAN leading a trail of CHITAURI\n towards his tower.\n\n EXT. SKY DAY", "TONY\n Then tell him to suit up. I'm bringing\n the party to you.\n IRON MAN comes out from behind a building. The CHITAURI\n LEVIATHAN follows, impatiently.", "Loki walks onto the balcony as the SOUNDS of the CHITAURI rings\n out. He admires his soon to be kingdom. THOR LANDS ON THE TOWER.\n Loki turns to his ENEMY.", "her knives into his nervous system. She gets him to BANK over a\n building.\n - IRON MAN arrives and SHOOTS any other CHITAURI RIDERS", "A CHITAURI SOLDIER attacks him from behind and RIPS OFF HIS\n HELMET. The bomb is beeping faster.", "at the CHITAURI BOMBER. The TWO CHITAURI SOLDIERS aim their\n rifles, but Cap heads for cover under a desk, which he KICKS at\n them.", "CHITAURI SOLDIERS fire at him. THE HULK BACKHANDS THEM, SEIZES", "CHITAURI LEVIATHAN collapse. IRON MAN rolls down the street. The\n wind is knocked out of him. He looks up with an overwhelming", "A hole in space rips open, and from it, the CHITAURI ARMY SPILLS\n out in FLYING CHARIOTS, carrying ENERGY RIFLES with a bayonet on\n the end.", "IN A MASSIVE SHOCKWAVE. THE CHITAURI SOLDIERS CONVULSE, DROP\n\n DEAD TO THE GROUND. HE EVEN RIPS THE SHIT OUT OF A CHITAURI", "LOKI\n The CHITAURI are coming, nothing will\n change that. What have I to fear?\n\n TONY", "following her. He makes his way down to CAPTAIN AMERICA, who\n fights off more CHITAURI SOLDIERS. IRON MAN points his HAND", "The HULK holds CHITAURI SOLDIERS by the face and SLAMS them\n down. More keep coming. HULK looks up. HUNDREDS OF RIDERS HOVER" ], [ "THE OTHER\n The Chitauri grow restless.\n\n LOKI\n Let them go at themselves. I will lead\n them into glorious battle.", "THE OTHER\n Battle? Against the meager might of\n Earth?\n\n LOKI\n Glorious, not lengthy. If your force is\n as formidable as you claim.", "EXT. THRONE ROOM NIGHT\n\n ...the scepter materializes him back into the throne room of THE\n OTHER, fully armed in his horned helmet and armor. THE OTHER\n appears from the steps.", "THE OTHER\n You question us? You question HIM? He,\n who put the scepter in your hand, who\n gave you ancient knowledge and new\n purpose when you were cast out,\n defeated?", "LOKI\n I have an army.\n\n TONY\n We have a HULK.\n\n LOKI\n I thought the beast had wandered off.", "LOKI\n After. After whatever tortures Fury can\n concoct, you would appear as a friend,\n as a balm. And I would cooperate.", "make you long for something as sweet as\n pain.\n THE OTHER places his hand on Loki's head and transports him back\n to Earth. Loki looks around, menacing.", "CUT TO:\n THE OTHER faces a HORNED SHAPED SHADOW. LOKI. Loki is handed the", "LOKI\n Freedom. Freedom is life's great lie.\n Once you accept that, in your heart...", "LOKI\n Of course it does. I've come too far\n for anything else. I am Loki of Asgard,\n and I am burdened with glorious\n purpose.", "THE OTHER\n You will have your war, Asgardian. If\n you fail, if the Tesseract is kept from", "THOR\n So you take the world I love as\n recompense for your imagined slights.\n No, the Earth is under my protection,\n Loki.\n\n LOKI", "LOKI\n You don't have the Tesseract yet.\n THE OTHER runs over to attack him, but stops as Loki points his\n scepter.", "LOKI\n I said. KNEEL!!!\n Everyone becomes quiet and kneels in front him. Loki embracing\n his arms out, smiling.", "LOKI\n The mindless beast, makes play he's\n still a man. How desperate are you,\n that you call upon such lost creatures\n to defend you?", "THE OTHER (V.O.)\n The world will be his. The universe\n yours. And the humans, what can they do\n but burn?\n\n CUT TO:", "Like a gunslinger, Loki turns to face Selvig who's\n standingbehind him and places his spear against Selvig's heart.\n Selvig's eyes glow BLACK.", "known. He means to lead them against\n your people. They will win him the\n earth. In return, I suspect, for the\n Tesseract.", "THOR\n Then you miss the truth of ruling,\n brother. Throne would suit you ill.\n Angrily, Loki shoves his brother to the side. He walks back up\n to the ledge. Turns around.", "NATASHA\n Love is for children. I owe him a debt.\n\n LOKI\n\n (SITTING DOWN)\n Tell me." ], [ "STEVE\n I think Loki's trying to wind us up.\n This is a man who means to start a war,", "LOKI\n I have an army.\n\n TONY\n We have a HULK.\n\n LOKI\n I thought the beast had wandered off.", "STEVE\n I wanna know why Loki let us take him.\n He's not leading an army from here.", "As the crowd runs away, Loki slowly walks out and materializes\n in his gold armor and helmet. The POLICE arrive and with no\n hesitation, he BLASTS the cars, FLIPPING them over and over.", "Several soldiers under Loki's mind control run around, preparing\n to infiltrate whatever Loki has planned. Loki sits down,\n watching Selvig work with a CMS device. Loki meditates, until...", "LOKI\n I said. KNEEL!!!\n Everyone becomes quiet and kneels in front him. Loki embracing\n his arms out, smiling.", "his cane the other end. The guard there notices him, pulls out\n his gun, but Loki CLUBS his head in. CHAOS ERUPTS.", "known. He means to lead them against\n your people. They will win him the\n earth. In return, I suspect, for the\n Tesseract.", "EXT. SKY DAY\n\n Loki watches below, motionless.\n\n LOKI\n Send the rest.", "LOKI\n The mindless beast, makes play he's\n still a man. How desperate are you,\n that you call upon such lost creatures\n to defend you?", "THE OTHER\n Battle? Against the meager might of\n Earth?\n\n LOKI\n Glorious, not lengthy. If your force is\n as formidable as you claim.", "LOKI\n That was the plan.", "THOR\n Who showed you this power? Who controls\n the would-be-king?\n\n LOKI\n I am a king!", "As Loki is busy using his abilities to control the minds of\n several S.H.I.E.L.D. personnel, Fury takes the Tesseract,", "TONY\n Okay.\n From the mountain side, Loki watches in amusement. Thor raises", "trucks pull up to them. A drive-by shooting ensues.\n Loki, who stands on top of the bed of the truck, uses his", "THE OTHER\n The Chitauri grow restless.\n\n LOKI\n Let them go at themselves. I will lead\n them into glorious battle.", "Loki after Loki appears, they all grin as they raise their\n spears, encircling the crowd.", "SOLDIER.\n\n LOKI\n (smiles; walks over to the", "Loki's fired shot.\n ALL HELL BREAKS. Machine gun fire is shot at Loki, but the\n bullets bounce off him like a boss. Loki jumps high from the" ], [ "THE OTHER (V.O.)\n The Tesseract has awakened. It is on a\n little world. A human world. They would\n wield its power,...", "The Tesseract is glowing unusually brighter and flare rings\n shoot out at random.", "at the end of a platform that is wired to the CMS device. The\n great maelstrom beam FIRES the TESSERACT energy. The beam then", "The BLASTWAVE of the Tesseract causes the tunnel to cave it.\n Like an ocean wave, blinding crumbles of falling rock, fall onto", "NATASHA\n This is the Tesseract. It has the\n potential energy to wipe out the\n planet.\n She shows him a photo of the Tesseract on her cell phone. Banner\n takes a closer look.", "appears and a GUST of BLUE ENERGY CLOUDS fill the room, blinding\n everyone.\n The Tesseract's energy forms into a cloud that reaches to the", "BURNING BLUE FLAMES. A smoky cube shape emerges - THE TESSERACT.\n Filling the screen with BLACKNESS.\n\n CUT TO:", "THE OTHER\n Your ambition is little, born of\n childish need. We look beyond the Earth\n to greater worlds the Tesseract will\n unveil.", "thought what we think, the Tesseract\n could be the key to unlimited\n sustainable energy. That's something\n the world sorely needs.", "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "SELVIG\n Well, I didn't know!\n (sees Loki coming)\n Hey! The Tesseract is showing me so\n much. It's more than just knowledge,\n it's... truth.", "Selvig a hug. Tony opens the Tesseract's case.\n Banner takes it out and places inside a glass tube, held by", "Without hesitating, BLACK WIDOW pulls the scepter out, the\n TESSERACT turns off its energy beam. The PORTAL QUICKLY CLOSES.", "SELVIG\n No, it's not funny at all. The\n Tesseract is not only active,\n she's...misbehaving.", "IRON MAN arrives at STARK TOWER where Selvig, ACTIVATES the CMS\n device, holding the Tesseract.", "INT. RADIATION FACILITY, VACUUM CHAMBER NIGHT\n\n The Tesseract's energy cloud now SHRINKS into a SMALL BALL OF\n WHITE LIGHT. Then...", "CLINT BARTON\n Yeah, the cube is a doorway to the\n other end of space, right? The doors\n open from both sides.", "Agents Hill and Coulson can feel and they're at different ends\n of the facility.\n The flaring rings and glow of the cube spout out brighter and", "louder, like a boiling pot of water. The Tesseract's energy\n builds up into a BEAM much like the Bifrost Bridge, which HITS", "forms a VORTEX, which then opens up a PORTAL.\n A BLACK HOLE IS CREATED. From the portal, the blackness of\n SPACE, beautiful and mysterious, strewn with a billion stars" ], [ "S.H.I.E.L.D personnel Loki is controlling.", "NATASHA\n No. No. Of course not. I'm here on\n behalf of SHIELD.\n\n BANNER\n SHIELD. How did they find me?", "SHIELD AGENT (V.O.)\n Paramedics are on their way.\n\n NICK FURY (V.O.)\n They're here.", "Amazingly, DOZENS OF SHIELD AGENTS are surrounding the shack\n outside.\n\n INT. LITTLE GIRL'S SHACK NIGHT", "scepter and EMITS energy blasts, flipping over SHIELD trucks.\n They get in, the cars roar out after them. Agent Hill puts\n herself at a distance.", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "Standing a few yards from the landing pad, A Fed in a suit with\n badass shades, peers at the helicopter as it lands. This is\n\n SHIELD AGENT PHIL COULSON.", "Walking out of the helicopter is SHIELD AGENT MARIA HILL, SEXY,", "FIERCE AND DETERMINED. Following her, SHIELD DIRECTOR NICK FURY\n climbs out. Hill and Fury approach Agent Coulson.", "NICK FURY\n Well, it's an old fashioned notion.\n\n EXT. MEADOW DAY", "INT. HELICARRIER BRIDGE DAY\n\n Back in the bridge, Agent Hill sees on her SCREEN 7 ALPHA 11\n preparing to leave.", "NICK FURY (V.O.)\n Agent Coulson is down.\n Agent Hill is being treated for a gash on her head, listens on\n her headset, standing up.", "AGENT MARIA HILL\n Why?\n\n NICK FURY\n Because we'll need them to.\n\n Agent Hill turns around. Fury looks out, smiling.", "The HELICARRIER rises high into the heavens. Suddenly, the\n entire ship is covered in reflecting mirrors, which then\n camouflages in the sky.", "INT. HELICARRIER BRIDGE DAY\n\n A gunfight opens up. AGENTS exchange fire with brutally\n efficient tactical soldiers.", "NATASHA BANNER\n Are you all really that Captain America is on\n naive? S.H.I.E.L.D monitors potential threat potential\n threats? watch list?", "JARVIS\n Sir, Agent Coulson of SHIELD is on the\n line.\n\n TONY\n I'm not in. I'm actually out.", "have a very specific skillset. I didn't\n care who I used it for, or on. I got on\n SHIELD's radar in a bad way. Agent", "STEVE\n A higher form?\n\n NICK FURY\n You forced our hand. We had to come up\n with something.", "SHIELD SCIENTIST (V.O.)\n Oh my god!" ], [ "THOR\n Then you miss the truth of ruling,\n brother. Throne would suit you ill.\n Angrily, Loki shoves his brother to the side. He walks back up\n to the ledge. Turns around.", "LOKI\n Your father. He did tell you my true\n parentage, did he not?\n Thor lets go Loki, who walks away from Thor, causing an even\n bigger wedge between them.", "THOR\n Who showed you this power? Who controls\n the would-be-king?\n\n LOKI\n I am a king!", "THOR\n We were raised together, we played\n together, we fought together. Do you\n remember none of that?\n\n LOKI", "THOR\n Have care how you speak. Loki is beyond\n reason, but he is of Asgard, and he's\n my brother.", "THOR\n So you take the world I love as\n recompense for your imagined slights.\n No, the Earth is under my protection,\n Loki.\n\n LOKI", "THOR\n You think yourself above them.\n\n LOKI\n Well, yes.", "THOR\n So be it.\n Loki and Thor rush at each other. They and their weapons", "Somewhere out in the European mountains, Thor throws Loki into\n the side of the mountain. He raises the mighty hammer, MJÖLNIR.", "Although Thor is pissed for what he has done, a family is\n everything to a man or god.", "Thor and Loki battle savagely. Loki fires ENERGY from the\n scepter, sending Thor sliding across the floor.\n\n INT. QUINJET DAY", "TONY\n Okay.\n From the mountain side, Loki watches in amusement. Thor raises", "INT. HELICARRIER DETENTION SECTION DAY\n\n Thor runs into the detention section where he finds Loki,\n escaping.\n\n THOR", "THOR\n When I first came to earth, Loki's rage\n followed me here and your people paid\n the price. And now again. In my youth I\n courted war.", "down, breathing fast. Loki makes his way to the control switch.\n He gives his brother one last look. Thor looks at him, hopeful.", "THOR\n I thought you dead.\n\n LOKI\n Did you mourn?\n\n THOR\n We all did. Our father...", "THOR\n No. We can. Together.\n Loki looks at his brother, showing a sign of hope. Then... Loki\n stabs Thor with a small knife. Thor keels over.", "SLAMS him down, hard. Loki, bleeding, rolls over the edge. Thor\n looks down. LOKI IS RIDING ON A FLYING CHARIOT. DOZENS of", "THOR\n They are repulsive, and they trample\n everything in their path.\n Thor walks over to the side of the ship and looks out the\n window, lamenting about what has happened and what may come.", "the cell door, which closes on THOR, locking him up. Loki\n smiles." ], [ "Loki's fired shot.\n ALL HELL BREAKS. Machine gun fire is shot at Loki, but the\n bullets bounce off him like a boss. Loki jumps high from the", "THOR\n Who showed you this power? Who controls\n the would-be-king?\n\n LOKI\n I am a king!", "As Loki is busy using his abilities to control the minds of\n several S.H.I.E.L.D. personnel, Fury takes the Tesseract,", "LOKI\n Of course it does. I've come too far\n for anything else. I am Loki of Asgard,\n and I am burdened with glorious\n purpose.", "As the crowd runs away, Loki slowly walks out and materializes\n in his gold armor and helmet. The POLICE arrive and with no\n hesitation, he BLASTS the cars, FLIPPING them over and over.", "LOKI\n You have heart.\n Loki points the head of his spear at Barton's head. Barton's", "Loki FLINGS Cap to the ground. Cap then throws his shield, but\n Loki SWATS it way. Cap, using all the moves of a boxer, is", "LOKI\n I said. KNEEL!!!\n Everyone becomes quiet and kneels in front him. Loki embracing\n his arms out, smiling.", "LOKI\n Freedom. Freedom is life's great lie.\n Once you accept that, in your heart...", "Thor and Loki battle savagely. Loki fires ENERGY from the\n scepter, sending Thor sliding across the floor.\n\n INT. QUINJET DAY", "BILCHSTEIM. Loki pulls out an OPTICAL TORTURE DEVICE. He PLUNGES\n down the doctor's eye. The doctor TWISTS in pain.", "LOKI\n Your father. He did tell you my true\n parentage, did he not?\n Thor lets go Loki, who walks away from Thor, causing an even\n bigger wedge between them.", "trucks pull up to them. A drive-by shooting ensues.\n Loki, who stands on top of the bed of the truck, uses his", "LOKI\n The mindless beast, makes play he's\n still a man. How desperate are you,\n that you call upon such lost creatures\n to defend you?", "ELDER GERMAN MAN\n Not to men like you.\n\n LOKI\n There are no men like me.", "eyes suddenly glow BLACK. The ability to control Barton's mind\n is now in Loki's hand. Barton puts his piece away and stands\n straight.", "THOR\n I do not know. Loki's mind is far\n afield, it's not just power he craves,", "LOKI\n It should work.\n\n TONY\n Well, performance issues. You know?\n In anger, Loki GRABS Tony by the throat and FLINGS him across\n the room.", "THOR\n You think yourself above them.\n\n LOKI\n Well, yes.", "TONY\n Okay.\n From the mountain side, Loki watches in amusement. Thor raises" ], [ "BANNER\n So he's building another portal. That's\n what he needs Erik Selvig for.\n\n THOR\n Selvig?", "NICK FURY\n Talk to me, doctor.\n DR. ERIK SELVIG emerges from behind the CMS machine, concerned.", "ACCEPTS IT. Selvig looks at it, devilishly smiling.", "THOR\n Thank you. It's no accident Loki taking\n Erik Selvig. I dread what he plans for\n him once he's done. Erik is a good man.", "SELVIG\n Director.\n\n NICK FURY\n Is there anything we know for certain?\n\n SELVIG\n Tesseract is misbehaving.", "SELVIG\n Well, I didn't know!\n (sees Loki coming)\n Hey! The Tesseract is showing me so\n much. It's more than just knowledge,\n it's... truth.", "Several soldiers under Loki's mind control run around, preparing\n to infiltrate whatever Loki has planned. Loki sits down,\n watching Selvig work with a CMS device. Loki meditates, until...", "SELVIG\n Loki? Brother of Thor?\n\n NICK FURY\n We have no quarrel with your people.", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "Selvig works around the CMS device that has already been set-\n upon the rooftop of Tony's tower.\n\n INT. HELICARRIER MEDICAL ROOM DAY", "Selvig a hug. Tony opens the Tesseract's case.\n Banner takes it out and places inside a glass tube, held by", "Selvig and several scientists work around the CMS device.\n Bartonwalks in, holding a tablet.\n\n SELVIG\n Put it over there!", "BANNER\n He's an astrophysicist.\n\n THOR\n He's a friend.", "EXT. STARK TOWER DAY\n\n Selvig looks up at the sky. The Tesseract's energy BEAMS into\n the sky. The beam then forms a VORTEX, which then opens up", "Like a gunslinger, Loki turns to face Selvig who's\n standingbehind him and places his spear against Selvig's heart.\n Selvig's eyes glow BLACK.", "SELVIG\n The Hawk? Up in his nest, as usual.\n We see CLINT BARTON, dressed in black tactical gear, is up on", "SELVIG WAKES UP FROM LOKI MIND CONTROL. He looks around,\n confused where he is. He looks up at the sky, amazed.", "Inside this particular van, Selvig and a few other SOLDIERS are\n driving inside a long tunnel. With the CMS device inside, Selvig", "BLACK WIDOW walks up the CMS machine. Selvig, slumped down,\n weakened, looks at her desperately. The Tesseract's energy is", "SELVIG\n Well, actually I think I did. I built\n in a safety to cut the power source.\n\n BLACK WIDOW\n Loki's scepter." ], [ "The TRIO arrives in the middle of a four-way street. Suddenly,\n the city LURCHES to a stop. A DEEP, PRIMAL RAGE BELLOWS OUT.", "EXT. MANHATTAN DAY\n\n The COPS continuously fire at the flying chariots. It's pretty\n pointless. A YOUNG COP runs over to his POLICE SERGEANT.", "EXT. EMPIRE STATE BUILDING DAY", "NATASHA\n Then, what is it? Yoga?\n\n BANNER\n You brought me to the edge of the city,\n smart. I uh... assume the whole place\n is surrounded?", "BANNER\n Thanks, but the last time I was in New\n York I kind of broke...Harlem.", "EXT. MANHATTAN DAY", "EXT. MANHATTAN DAY", "EXT. MANHATTAN DAY", "EXT. MANHATTAN DAY", "EXT. MANHATTAN DAY", "Cap gets off the car, looks around the city. Destroyed. The\n police and firemen arrive, pulling out those civilians he saved.\n A WAITRESS looks back, thankful.", "PEPPER, along with her crew, watches on T.V., in horror, the\n destruction in NEW YORK. On the table, her cell is VIBRATING,\n with Tony's picture on it.", "7 ALPHA 11\n Destination is in 2 minutes, 30 seconds\n mark.\n\n EXT. MANHATTAN DAY", "Back in the bridge, Fury sees on his VIEWSCREEN the destruction\n going on in NEW YORK. Agent Hill walks up to him.", "OLD MAN (STAN LEE)\n Superheroes? In New York? Give me a\n break!", "The CHITAURI UNLEASH. New Yorkers fill the streets, staring at\n the fire fight in the distance. BOOM!!! The CHITAURI unleashes", "STEVE\n The Stark Tower? That big ugly\n (Tony gives him a look)\n ...building in New York?", "EXT. MANHATTAN DAY\n\n\n CAPTAIN AMERICA", "PEPPER\n Not gonna be that subtle.\n\n TONY\n I'll tell you what. Next building's\n gonna say 'Potts' on the tower.", "INT. BROOKLYN GYM NIGHT\n\n Steve opens his eyes and fuckin' tears the bag as the last\n memory kicks in. I don't think he can physically stop..." ], [ "A SMALL FIGURE is hurled backwards into the open now closed\n portal. IRON MAN. Plummeting to the earth.", "PLUMMETS TO EARTH, ROARING HIS SWAN SONG.\n\n EXT. HELICARRIER PORT SIDE DAY", "(SMILING)\n Son of a gun!\n TIGHT ON IRON MAN: He keeps falling. And falling. And falling.\n\n EXT. MANHATTAN DAY", "increases in intensity. IRON MAN falls back.", "the ground and trip Thor over. Standing up, Thor looks for him,\n but from behind him, IRON MAN CRASHES into his back. Thor stands", "(PAUSE)\n Sonofabitch!\n\n EXT. STARK TOWER DAY", "hang still in the air. Some move swimmingly about.\n IRON MAN lets go of the missile. It whistles off into the", "A VENT opens up from Engine 3. IRON MAN falls out, but the suit\n heavily damaged, hardly keeping him up. IRON MAN heads for Cap.", "but misses. Land draws closer.\n In a final attempt before crashing, Thor positions himself onto\n the glass door and LEAPFROGS just as the cage is about to hit", "toward mid-air. His eyes tight in concentration. The HULK runs\n right at him. At the last second, MJÖLNIR flies into his hand", "PULLS OUT, showing the letters for \"STARK TOWER\" have been blown\n away, and all that remains is a giant A.", "hand. He then places a STARK ENERGY REACTOR. It lights up. IRON\n MAN rockets out of the water and flies towards STARK TOWER.", "EXT. STARK TOWER DAY\n\n Thor holds down Loki's face straight ahead, forcing him to watch\n the city falling to ash.", "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "IRON MAN climbs higher and higher over the city, gaining speed,\n suddenly flings himself through the portal. Communications die.\n The suit begins to freeze. Tony looks in horror.", "TONY\n Lever. Now!\n Tony lets go of the rotors. They spin by themselves. Tony is", "the ground. The cell CRASHES into the shore as Thor crashes out\n into the meadow.", "begins to TRANSFORM into the MARK VII suit.\n It LATCHES onto Tony. IRON MAN. The suit FLIES up before he hits", "drops him down the open floor, dangling. She picks up the phone\n and her heels, like a boss.", "blackness as IRON MAN IDLY falls back down the portal's opening.\n The missile reaches the MAIN SHIP. The MAIN SHIP IMPLODES," ], [ "THE OTHER\n You question us? You question HIM? He,\n who put the scepter in your hand, who\n gave you ancient knowledge and new\n purpose when you were cast out,\n defeated?", "THE OTHER (V.O.)\n The world will be his. The universe\n yours. And the humans, what can they do\n but burn?\n\n CUT TO:", "THE OTHER\n The Chitauri grow restless.\n\n LOKI\n Let them go at themselves. I will lead\n them into glorious battle.", "THE OTHER (V.O.)\n The Tesseract has awakened. It is on a\n little world. A human world. They would\n wield its power,...", "EXT. THRONE ROOM NIGHT\n\n ...the scepter materializes him back into the throne room of THE\n OTHER, fully armed in his horned helmet and armor. THE OTHER\n appears from the steps.", "THE OTHER\n Your ambition is little, born of\n childish need. We look beyond the Earth\n to greater worlds the Tesseract will\n unveil.", "CUT TO:\n THE OTHER faces a HORNED SHAPED SHADOW. LOKI. Loki is handed the", "THE OTHER (V.O.)\n But our ally knows its workings as they\n never will. He is ready to lead. And\n our force, our Chitauri, will follow.", "THE OTHER\n You will have your war, Asgardian. If\n you fail, if the Tesseract is kept from", "THE OTHER\n Battle? Against the meager might of\n Earth?\n\n LOKI\n Glorious, not lengthy. If your force is\n as formidable as you claim.", "LOKI\n You don't have the Tesseract yet.\n THE OTHER runs over to attack him, but stops as Loki points his\n scepter.", "(A BEAT)\n I got low. I didn't see an end, so I\n put a bullet in my mouth and the other", "guy spit it out! So I moved on. I\n focused on helping other people. I was\n good, until you dragged me back into\n this freak show and put everyone here", "were made to be ruled. In the end, you\n will always kneel.\n As the words resonate to the kneeling crowd, an ELDER GERMAN MAN", "He looks down at his brother, who he thought to be dead and is\n angry to see him alive in this fashion.", "The TRIO arrives in the middle of a four-way street. Suddenly,\n the city LURCHES to a stop. A DEEP, PRIMAL RAGE BELLOWS OUT.", "(LAUGHS)\n And you're doing a marvelous job with\n that. The humans slaughter each other\n in droves, while you idly threat. I\n mean to rule them. And why should I\n not?", "THE END", "LOKI\n The mindless beast, makes play he's\n still a man. How desperate are you,\n that you call upon such lost creatures\n to defend you?", "trucks pull up to them. A drive-by shooting ensues.\n Loki, who stands on top of the bed of the truck, uses his" ], [ "TONY\n The Avengers Initiative was scrapped, I\n thought. And I didn't even qualify.\n\n PEPPER\n I didn't know that either.", "chips on that number though, because I\n was playing something even riskier.\n There was an idea, Stark knows this,\n called THE AVENGERS INITIATIVE. The", "WORLD SECURITY COUNCIL #1\n The Avengers Initiative was shut down.\n\n NICK FURY\n This isn't about The Avengers.", "AGENT MARIA HILL\n Why?\n\n NICK FURY\n Because we'll need them to.\n\n Agent Hill turns around. Fury looks out, smiling.", "NICK FURY\n Because of him.\n (pointing at Thor)\n\n THOR\n\n (STUNNED)\n Me?", "NICK FURY\n I am.\n\n STEVE\n Trying to get me back in the world?", "Still shaken by the HULK ordeal, Natasha sits there, rocking\n back and forth, after crying for a while. Summoning back all her\n coolness, she touches her EARPIECE.", "has never been denied! Heed the call, then--for now, the Avengers\n Assemble!\"", "Fury gathers Tony and Steve back into the briefing room everyone\n there has a look as if in a daze. A look of numb shock is shown\n on their devastated faces.", "STEVE\n A higher form?\n\n NICK FURY\n You forced our hand. We had to come up\n with something.", "NICK FURY\n They'll come back.\n\n AGENT MARIA HILL\n You really sure about that?\n\n NICK FURY\n I am.", "NICK FURY (V.O.)\n Agent Coulson is down.\n Agent Hill is being treated for a gash on her head, listens on\n her headset, standing up.", "THE AVENGERS look up. Way out of their fucking element.\n\n BLACK WIDOW\n Guys.\n\n IRON MAN\n Call it, Cap.", "THE AVENGERS.\n (Loki looks at him, confused)\n It's what we call ourselves, sort of\n like a team. `EARTH'S MIGHTIEST HEROES'\n type of thing.", "NICK FURY\n They found it. Get our communications\n back up, whatever you have to do. I\n want eyes on everything.\n\n AGENT MARIA HILL\n Yes, sir.", "SELVIG\n Director.\n\n NICK FURY\n Is there anything we know for certain?\n\n SELVIG\n Tesseract is misbehaving.", "common threat. On that day, the Avengers were born--to fight the\n foes no single superhero could withstand! Through the years,\n their roster has prospered, changing many times, but their glory", "TONY\n That is the point. That's Loki's point.\n He hit us all right where we live. Why?\n\n STEVE\n To tear us apart.", "NICK FURY\n We've made some mistakes along the way.\n Some very recently.\n\n STEVE\n You here with a mission, sir?", "NICK FURY\n Well, it's an old fashioned notion.\n\n EXT. MEADOW DAY" ], [ "known. He means to lead them against\n your people. They will win him the\n earth. In return, I suspect, for the\n Tesseract.", "Selvig a hug. Tony opens the Tesseract's case.\n Banner takes it out and places inside a glass tube, held by", "SELVIG\n Director.\n\n NICK FURY\n Is there anything we know for certain?\n\n SELVIG\n Tesseract is misbehaving.", "Without hesitating, BLACK WIDOW pulls the scepter out, the\n TESSERACT turns off its energy beam. The PORTAL QUICKLY CLOSES.", "NATASHA\n This is the Tesseract. It has the\n potential energy to wipe out the\n planet.\n She shows him a photo of the Tesseract on her cell phone. Banner\n takes a closer look.", "(A BEAT)\n Yes, we were going to build an arsenal\n with the Tesseract. I never put all my", "PEPPER\n Work hard.\n As Pepper leaves with Agent Coulson, Tony grabs the Tesseract in\n holograph form, worried.\n\n INT. QUINJET DAY", "IRON MAN\n Doesn't matter. If he frees Loki or\n kills him, the Tesseract's lost.\n Tony turns and gets ready to jump off the jet to chase after\n Thor.", "IRON MAN arrives at STARK TOWER where Selvig, ACTIVATES the CMS\n device, holding the Tesseract.", "THOR\n The Tesseract belongs on Asgard, no\n human is a match for it.\n Tony turns to leave, but Steve stops him.\n\n STEVE\n You're not going alone!", "WHO FALLS TO THE GROUND. Barton grabs the case containing the\n Tesseract and leaves the lab with Loki, Selvig and the other", "STEVE\n Put on the suit.\n At that moment Banner who's looking at the monitor notices\n something about the Tesseract.\n\n BANNER\n Oh, my God!", "NICK FURY\n The Tesseract is with the hostile\n force. I have men down. Hill?\n\n INT. P.E.G.A.S.U.S TUNNEL NIGHT", "NICK FURY\n Is there anything you can tell us about\n the Tesseract that we ought to know\n now?\n\n STEVE\n You should have left it in the ocean.", "THOR\n You're work with the Tesseract is what\n drew Loki to it, and his allies. It is\n the signal to all the realms that the\n earth is ready for a higher form of\n war.", "TONY\n That is the point. That's Loki's point.\n He hit us all right where we live. Why?\n\n STEVE\n To tear us apart.", "DR. SELVIG clacks away at the keyboard and sees on the\n monitoring his worst nightmares. Suddenly- the Tesseract\n THUNDERS and SHAKES the entire facility. Big enough where both", "THE OTHER (V.O.)\n The Tesseract has awakened. It is on a\n little world. A human world. They would\n wield its power,...", "THE OTHER\n You will have your war, Asgardian. If\n you fail, if the Tesseract is kept from", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki." ], [ "THOR\n You're work with the Tesseract is what\n drew Loki to it, and his allies. It is\n the signal to all the realms that the\n earth is ready for a higher form of\n war.", "THOR\n When I first came to earth, Loki's rage\n followed me here and your people paid\n the price. And now again. In my youth I\n courted war.", "Also, it means the portal can open as\n wide, and stay open as long, as Loki\n wants.", "EXT. SKY DAY\n\n Loki watches below, motionless.\n\n LOKI\n Send the rest.", "LOKI\n Of course it does. I've come too far\n for anything else. I am Loki of Asgard,\n and I am burdened with glorious\n purpose.", "As the crowd runs away, Loki slowly walks out and materializes\n in his gold armor and helmet. The POLICE arrive and with no\n hesitation, he BLASTS the cars, FLIPPING them over and over.", "Loki opens the HATCH. Thor still hopes. LOKI HITS THE BUTTON AND", "TONY\n Okay.\n From the mountain side, Loki watches in amusement. Thor raises", "Loki walks onto the balcony as the SOUNDS of the CHITAURI rings\n out. He admires his soon to be kingdom. THOR LANDS ON THE TOWER.\n Loki turns to his ENEMY.", "Loki's fired shot.\n ALL HELL BREAKS. Machine gun fire is shot at Loki, but the\n bullets bounce off him like a boss. Loki jumps high from the", "THE OTHER\n Battle? Against the meager might of\n Earth?\n\n LOKI\n Glorious, not lengthy. If your force is\n as formidable as you claim.", "make you long for something as sweet as\n pain.\n THE OTHER places his hand on Loki's head and transports him back\n to Earth. Loki looks around, menacing.", "THOR\n So you take the world I love as\n recompense for your imagined slights.\n No, the Earth is under my protection,\n Loki.\n\n LOKI", "Several soldiers under Loki's mind control run around, preparing\n to infiltrate whatever Loki has planned. Loki sits down,\n watching Selvig work with a CMS device. Loki meditates, until...", "LOKI\n I don't have it. You need the cube to\n bring me home, but I've sent it off I\n know not where.\n Mjölnir flies back to his grasp.", "STEVE\n I think Loki's trying to wind us up.\n This is a man who means to start a war,", "Thor and Loki battle savagely. Loki fires ENERGY from the\n scepter, sending Thor sliding across the floor.\n\n INT. QUINJET DAY", "LOKI\n I said. KNEEL!!!\n Everyone becomes quiet and kneels in front him. Loki embracing\n his arms out, smiling.", "down, breathing fast. Loki makes his way to the control switch.\n He gives his brother one last look. Thor looks at him, hopeful.", "you here? Your precious Earth.\n Thor drops MJÖLNIR, causing the mountain to quake. He picks up\n Loki. His brother." ], [ "We then see Tony's horror. AN ARMADA. The black sky is filled\n with what must be ninety ships in a vague cluster. Most of them", "Out in the NEW MEXICO desert, a remote research facility is in a\n state of panic. It's an evacuation. A SWOOPING helicopter flies\n in.", "The doors part and we enter THE BRIDGE OF THE SHIP a flurry of\n activity dozens of agents sit in front of their VIEWSCREENS.", "NICK FURY\n Are you seeing anything that might set\n this thing off?\n\n NASA SCIENTIST", "BARTON\n Arms to ammunition, over.\n Inside, BARTON and his crew suit up and arm themselves. Barton\n pulls out his hi-tech bow and arrows.", "INT. HELICARRIER BRIDGE DAY\n\n A gunfight opens up. AGENTS exchange fire with brutally\n efficient tactical soldiers.", "Dozens of civilians are gathered in bank. Tension and\n uncertainty surround them. THREE CHITAURI SOLDIERS oversee them,\n pointing their weapons at them. One of them charges a BOMB. It", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "INT. NASA SPACE RADIATION FACILITY, VACUUM CHAMBER CONTINUOUS", "A hole in space rips open, and from it, the CHITAURI ARMY SPILLS\n out in FLYING CHARIOTS, carrying ENERGY RIFLES with a bayonet on\n the end.", "NICK FURY\n How bad is it?\n\n AGENT PHIL COULSON\n That's the problem, sir. We don't know.", "HYDRA WEAPONS.\n\n INT. HELICARRIER DETENTION SECTION NIGHT\n\n Loki SLAMS his cell, making Natasha FLINCH.", "scepter and EMITS energy blasts, flipping over SHIELD trucks.\n They get in, the cars roar out after them. Agent Hill puts\n herself at a distance.", "scramble for their positions and armaments. Agent Hill keeps the\n bridge as calm as possible.", "NICK FURY\n They surely are. And the whole world\n knows it. Every world knows it.", "NICK FURY\n Last year earth had a visitor from\n another planet who had a grudge match\n that leveled a small town. We learned", "STEVE\n\n (SERIOUSLY)\n An army? From outer space?", "STEVE\n PHASE 2 is SHIELD uses the cube to make\n weapons.\n\n (TO TONY)\n Sorry, the computer was moving a little\n slow.", "INT. HELICARRIER ARMORY SECTION DAY", "KNIVES and ENERGY BLASTS from the scepter. He stops and waits to\n see who will attack him next. Honestly, the whole lab has almost\n gone to shit." ], [ "ANOTHER PORTAL.\n\n EXT. VASTNESS OF SPACE", "EXT. VASTNESS OF SPACE\n\n From the portal, THOUSANDS MORE OF CHITAURI SOLDIERS AND EVEN", "forms a VORTEX, which then opens up a PORTAL.\n A BLACK HOLE IS CREATED. From the portal, the blackness of\n SPACE, beautiful and mysterious, strewn with a billion stars", "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "SELVIG\n He's right. The portal is collapsing in\n on itself. You got maybe two minutes\n before this goes critical.", "The BLASTWAVE of the Tesseract causes the tunnel to cave it.\n Like an ocean wave, blinding crumbles of falling rock, fall onto", "Agents Hill and Coulson can feel and they're at different ends\n of the facility.\n The flaring rings and glow of the cube spout out brighter and", "at the end of a platform that is wired to the CMS device. The\n great maelstrom beam FIRES the TESSERACT energy. The beam then", "SWALLOWS INTO ITSELF-- A TERRIFYING, UNIMAGINABLE IMPLOSION.\n\n INT. P.E.G.A.S.U.S TUNNEL NIGHT", "STEVE\n Just find the cube.\n Steve walks out of the lab. Still torn apart by the possibility,\n he walks away, towards the HULL of the ship.\n\n BACK IN THE LAB", "Barton leads his men into the air ducts of the ship. They rappel\n down into a corridor.", "THE OTHER (V.O.)\n The Tesseract has awakened. It is on a\n little world. A human world. They would\n wield its power,...", "INT. P.E.G.A.S.U.S BUNKER, ENTRANCE OF EXITING TUNNEL NIGHT", "INT. NASA SPACE RADIATION FACILITY, VACUUM CHAMBER CONTINUOUS", "DROPS THOR OUT OF THE SHIP.\n\n INT. LOWER EQUIPMENT ROOM, CARRIER DAY", "The doors part and we enter THE BRIDGE OF THE SHIP a flurry of\n activity dozens of agents sit in front of their VIEWSCREENS.", "INT. FACILITY FLOOR NIGHT\n\n Fury races out of the hallway, avoiding falling pipes. The\n entire facility is now in a full earthquake.", "FLYING CHARIOT.\n [Note: The following sequence will take us through the action in\n one extended shot.]", "Inside this particular van, Selvig and a few other SOLDIERS are\n driving inside a long tunnel. With the CMS device inside, Selvig", "INT. PROJECT P.E.G.A.S.U.S, ANTARCTICA DAY (FLASHBACK)" ], [ "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "A VENT opens up from Engine 3. IRON MAN falls out, but the suit\n heavily damaged, hardly keeping him up. IRON MAN heads for Cap.", "but misses. Land draws closer.\n In a final attempt before crashing, Thor positions himself onto\n the glass door and LEAPFROGS just as the cage is about to hit", "A SMALL FIGURE is hurled backwards into the open now closed\n portal. IRON MAN. Plummeting to the earth.", "hand. He then places a STARK ENERGY REACTOR. It lights up. IRON\n MAN rockets out of the water and flies towards STARK TOWER.", "(PAUSE)\n Sonofabitch!\n\n EXT. STARK TOWER DAY", "begins to TRANSFORM into the MARK VII suit.\n It LATCHES onto Tony. IRON MAN. The suit FLIES up before he hits", "IRON MAN laser cuts a big piece of broken metal. He then JUMPS\n on it, relieving the rotors.", "(SMILING)\n Son of a gun!\n TIGHT ON IRON MAN: He keeps falling. And falling. And falling.\n\n EXT. MANHATTAN DAY", "the ground and trip Thor over. Standing up, Thor looks for him,\n but from behind him, IRON MAN CRASHES into his back. Thor stands", "blackness as IRON MAN IDLY falls back down the portal's opening.\n The missile reaches the MAIN SHIP. The MAIN SHIP IMPLODES,", "Fury BOLTS out of the facility and jumps into a helicopter. The\n surface of the pad gives way, PLUNGING the helicopter through\n the surface. But Fury's chopper BARELY makes it out.", "Everyone is thrown in every direction. Steve, Fury, Thor and\n Tony are thrown across while Natasha and Banner is down in the\n lower equipment room. Steve looks up at Tony.", "hang still in the air. Some move swimmingly about.\n IRON MAN lets go of the missile. It whistles off into the", "TONY\n Good. See what we got.\n Tony flies in his IRON MAN suit and gets close to the damaged\n engine.", "THOR and IRON MAN crash right back down, smashing down every\n tree possible. IRON MAN YANKS Thor right up. Thor grabs both", "TONY\n Fine. Let's keep them occupied.\n IRON MAN heads back to the portal.\n\n EXT. STARK TOWER DAY", "THOR and IRON MAN CRASH into the forest. Thor rolls himself up.\n IRON MAN is still standing, but keeps his distance. The helmet\n opens up.", "increases in intensity. IRON MAN falls back.", "CHITAURI LEVIATHAN collapse. IRON MAN rolls down the street. The\n wind is knocked out of him. He looks up with an overwhelming" ], [ "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "blackness as IRON MAN IDLY falls back down the portal's opening.\n The missile reaches the MAIN SHIP. The MAIN SHIP IMPLODES,", "NICK FURY\n Stark, you hearing me? We have a\n missile headed straight for the city.\n\n IRON MAN (V.O.)\n How long?", "hand. He then places a STARK ENERGY REACTOR. It lights up. IRON\n MAN rockets out of the water and flies towards STARK TOWER.", "We then see Tony's horror. AN ARMADA. The black sky is filled\n with what must be ninety ships in a vague cluster. Most of them", "EXT. VASTNESS OF SPACE\n\n From the portal, THOUSANDS MORE OF CHITAURI SOLDIERS AND EVEN", "IRON MAN catches up, now comes at the missile from behind. The\n missile speeds on. IRON MAN grabs it from behind, gripping it\n tightly.", "ANOTHER PORTAL.\n\n EXT. VASTNESS OF SPACE", "(PAUSE)\n Sonofabitch!\n\n EXT. STARK TOWER DAY", "hang still in the air. Some move swimmingly about.\n IRON MAN lets go of the missile. It whistles off into the", "7 ALPHA 11 arrives outside the city. He flips the switch to\n press the button. He presses it. THE MISSILE IS FLYING OUT TO\n\n MANHATTAN.", "Barton leads his men into the air ducts of the ship. They rappel\n down into a corridor.", "TONY\n Fine. Let's keep them occupied.\n IRON MAN heads back to the portal.\n\n EXT. STARK TOWER DAY", "but misses. Land draws closer.\n In a final attempt before crashing, Thor positions himself onto\n the glass door and LEAPFROGS just as the cage is about to hit", "forms a VORTEX, which then opens up a PORTAL.\n A BLACK HOLE IS CREATED. From the portal, the blackness of\n SPACE, beautiful and mysterious, strewn with a billion stars", "TONY\n Right. Army.\n IRON MAN flies up towards the portal. From his shoulders, a", "PULLS OUT, showing the letters for \"STARK TOWER\" have been blown\n away, and all that remains is a giant A.", "IRON MAN climbs higher and higher over the city, gaining speed,\n suddenly flings himself through the portal. Communications die.\n The suit begins to freeze. Tony looks in horror.", "INT. STARK PENTHOUSE DAY", "INT. STARK PENTHOUSE DAY" ], [ "LOKI\n I don't have it. You need the cube to\n bring me home, but I've sent it off I\n know not where.\n Mjölnir flies back to his grasp.", "Loki walks onto the balcony as the SOUNDS of the CHITAURI rings\n out. He admires his soon to be kingdom. THOR LANDS ON THE TOWER.\n Loki turns to his ENEMY.", "TONY\n Okay.\n From the mountain side, Loki watches in amusement. Thor raises", "make you long for something as sweet as\n pain.\n THE OTHER places his hand on Loki's head and transports him back\n to Earth. Loki looks around, menacing.", "Guests begin to leave the museum. Loki grabs the doctor and\n flips him over onto a marble table of the mythological creatures", "Somewhere out in the European mountains, Thor throws Loki into\n the side of the mountain. He raises the mighty hammer, MJÖLNIR.", "LOKI\n Of course it does. I've come too far\n for anything else. I am Loki of Asgard,\n and I am burdened with glorious\n purpose.", "As the crowd runs away, Loki slowly walks out and materializes\n in his gold armor and helmet. The POLICE arrive and with no\n hesitation, he BLASTS the cars, FLIPPING them over and over.", "SELVIG WAKES UP FROM LOKI MIND CONTROL. He looks around,\n confused where he is. He looks up at the sky, amazed.", "SLAMS him down, hard. Loki, bleeding, rolls over the edge. Thor\n looks down. LOKI IS RIDING ON A FLYING CHARIOT. DOZENS of", "Thor. Thor gives Loki the other end, who reluctantly takes it.\n The Asgardians leap into the energy beam. GONE.", "LOKI\n Your father. He did tell you my true\n parentage, did he not?\n Thor lets go Loki, who walks away from Thor, causing an even\n bigger wedge between them.", "Loki crawls onto the stair, looking like a piece of shit rag\n doll. He takes a few breathers, senses someone is behind him. He\n turns TO FIND THE AVENGERS STARING AT HIM, PISSED.", "THOR\n Then you miss the truth of ruling,\n brother. Throne would suit you ill.\n Angrily, Loki shoves his brother to the side. He walks back up\n to the ledge. Turns around.", "his cane the other end. The guard there notices him, pulls out\n his gun, but Loki CLUBS his head in. CHAOS ERUPTS.", "EXT. SKY DAY\n\n Loki watches below, motionless.\n\n LOKI\n Send the rest.", "EXT. THRONE ROOM NIGHT\n\n ...the scepter materializes him back into the throne room of THE\n OTHER, fully armed in his horned helmet and armor. THE OTHER\n appears from the steps.", "LOKI\n I said. KNEEL!!!\n Everyone becomes quiet and kneels in front him. Loki embracing\n his arms out, smiling.", "TONY lands his SUIT and goes through the gauntlet and unsuits\n him. LOKI looks up at him, smiling. They proceed to walk into\n the penthouse.", "down, breathing fast. Loki makes his way to the control switch.\n He gives his brother one last look. Thor looks at him, hopeful." ], [ "KNOCKS HIM OUT WITH HER HEAD.\n Yeah, during all this Coulson is still waiting on the line. She", "Agent Coulson looks away. Sighs his last breath. Nick Fury looks\n on grimly at Coulson. The medical team arrives.", "Back in the bridge, Fury sees on his VIEWSCREEN that the hatch\n has been open. Knowing Agent Coulson was sent there, he goes to.", "INT. HELICARRIER BRIDGE DAY\n\n Agent Coulson runs out of the bridge.", "A LOUD GASP. AGENT COULSON IS IMPALED THROUGH THE HEART. THE\n\n REAL LOKI STANDS BEHIND COULSON.", "TONY\n Then leave it urgently.\n At that moment the elevator door opens and Coulson appears.\n\n TONY\n Security breach.", "Suddenly, GUARDING SOLDIER falls down like a tree. AGENT COULSON\n stands there, holding PHASE 2 WEAPON PROTOTYPE.", "INT. HELICARRIER DETENTION SECTION DAY\n\n Fury runs in finding Agent Coulson still alive, barely.", "AGENT PHIL COULSON\n No! Leave it!\n They run out of there like a bat from hell.\n\n INT. P.E.G.A.S.U.S TUNNEL NIGHT", "AGENT PHIL COULSON\n I sort of met you, I mean, I watched\n you while you were sleeping.\n Steve looks down. He stands up, closes his laptop and walks to\n the side with Coulson following.", "CAUSING LOKI TO BE BLOWN THROUGH THE WALL BEHIND HIM.\n\n AGENT PHIL COULSON\n So that's what it does.", "EXT. VAN NIGHT\n\n Agent Coulson jumps into a SHIELD VAN. On his walkie:", "AGENT PHIL COULSON\n Natasha. Barton's been compromised.\n A beat.", "NICK FURY (V.O.)\n Agent Coulson is down.\n Agent Hill is being treated for a gash on her head, listens on\n her headset, standing up.", "THOR\n Nooo!\n Loki sends Agent Coulson against the wall. Agent Coulson slumps", "AGENT COULSON SHOOTS LOKI WITH HIS PHASE 2 WEAPON PROTOTYPE,", "AGENT PHIL COULSON\n See you there.\n Agent Coulson walks away leaving Steve with Natasha, walking\n towards the railing of the ship.", "AGENT PHIL COULSON\n He's like a smart person. I gotta say,\n it's an honor to meet you, officially.\n Steve smiles at Coulson.", "AGENT PHIL COULSON\n He talks about you a lot. You changed\n his life. You changed everything around\n here.", "AGENT PHIL COULSON\n Stark, we need to talk. Tony picks up\n his phone and looks into it at Coulson." ] ]	[ "What allows Loki to get to Earth?", "What does Nick Fury reactivate in response to Loki's attack on the research facility and theft of the Tesseract?", "What property of the Tesseract does Natasha Romanoff want Dr. Banner to investigate?", "Who frees Loki from S.H.E.I.L.D. in an attempt to reason with him and return with him to Asgard?", "How is Barton freed from Loki's mind control?", "Who intercepts the nuclear missile that is sent in to destroy Manhattan?", "What happens to the Tesseract after the battle is over?", "Over what building do Loki and Selvig open the wormhole for the army to come through?", "Which object is used to shut down the generator to the wormhole?", "What is the Chitauri leader known as?", "In exchange for what does the Other promise Loki an army?", "How would Loki use this army?", "What does the Tesseract activate and open up?", "What is S.H.I.E.L.D.?", "How is Thor related to Loki?", "What special ability does Loki possess?", "What is Erik Selvig's profession?", "What is significant about New York City?", "Why does Stark fall toward the ground?", "What race does the Other belong to?", "Why was the \"Avengers Initiative\" reactivated?", "What is stolen to stabalize the Tesseract?", "What is activated that allows Loki to come to Earth?", "What is the name of the agency that is attempting to create weapons to protect against hostile extraterrestian attacks?", "Where is the wormhole located?", "Who saves Stark from crashing into the ground after he falls out of the wormhole?", "Where does Stark take the missle through the wormhole?", "In the end, where does Loki return?", "Who kills Coulson?" ]	[ [ "The Tesseract opens a wormhole.", "The tesseract opens a wormhole" ], [ "The Avengers Initiative.", "The Avengers Initiative" ], [ "Gamma radiation emissions.", "gamma radiation emissions" ], [ "Thor.", "Thor" ], [ "Romanoff knocks Barton unconscious.", "He is knocked unconscious" ], [ "Tony Stark.", "Tony Stark." ], [ "Thor takes it back to Asgard.", "it is returned to Asgard" ], [ "Stark Tower.", "Stark Tower." ], [ "Loki's scepter.", "Loki's scepter" ], [ "The Other.", "The Other." ], [ "The Tesseract.", "The Tesseract" ], [ "To subjugate the Earth.", "So he can take" ], [ "A wormhole to Earth.", "A wormhole." ], [ "An espionage agency.", "an espionage agency" ], [ "Thor is Loki's adoptive brother.", "They are adopted brothers." ], [ "Mind control.", "Mind control" ], [ "He is a physicist.", "physicist" ], [ "It is where the wormhole is located.", "It hosts the wormhole's location" ], [ "His suit loses power.", "His suit runs out of power." ], [ "The Chitauri", "Chitauri" ], [ "It was a response to the attack", "In response to the attack on a couple of agents." ], [ "Iridium", "iridium" ], [ "A wormhole", "The Tesseract" ], [ "S.H.I.E.L.D", "S.H.E.I.L.D." ], [ "New York City", "New York City" ], [ "The Hulk", "The Hulk" ], [ "To the Chitauri fleet", "He's taking it toward the Chitauri fleet" ], [ "Asgard", "To Asgard" ], [ "Loki", "Loki." ] ]	3eb3061b6357ba45ae3dc9d670e41b43f0299f01	train
[ [ "JESSE\n (a beat, softly)\n I did.\n\n Murmurs bubble through the entire group now. They stare\n at Jesse, dismayed.", "He runs his hand up and down her body. Jesse starts to\n shake. She breaks out in a cold sweat. The others grin.\n He picks her up by the throat. Her legs flail in the\n air...", "Jesse takes a breath, crosses to him, stands very close,\n stares up into his eyes. He stares down at her, amazed,\n his heart pounding. He breathes in her hair, the scent\n of her skin.", "198 CONTINUED: (2) 198\n\n Talbot closes his eyes to shut out a tear, and Jesse is\n at his side and leans down to whisper in his ear...", "JESSE\n I know a lot of things.\n\n He gazes at her. Moves closer, breathing her in, making\n her flustered. He smiles.", "Jesse is excited, a bit nervous, hoping to impress. She\n holds a remote which controls images appearing on the\n large video screen. Clips from Lestat's press conference\n continue. Jesse gazes out at the Talamascans.", "Jesse stops at a contemporary self-portrait.\n\n TALBOT\n It's Marius, Jesse.", "Jesse walks away from the house. Coming to a highway,\n she reads a sign -- \"DEATH VALLEY 120 miles.\" Just then,", "Jesse moves steadily along the street past darkened\n warehouses. Several bonfires line the lane, illuminating\n rows of prone bodies, cardboard shelters, empty bottles.\n The drunks look up at her with dead eyes.", "90.\n\n134 CONTINUED: 134\n\n JESSE\n Is she alright?", "JESSE\n It's not. I... I came on my own.\n\n He stares at her, taking her in.", "He goes to the paintings hanging on a wall in the back of\n his office, covered with black velvet. Jesse follows.\n He unveils them.", "He turns, walks out. All the Talamascans look at Jesse.\n It doesn't look good. Her face burning red, Jesse turns,\n leaves.\n\n CUT TO:", "JESSE\n (surprised)\n You do?\n\n He steers her over to a locked cabinet.", "Jesse hears strange whispering. She sees now figures\n moving through the fog. One pushes a buzzer. Jesse stares,\n barely breathing, her heart pounding.", "JESSE\n (touched)\n Thanks. What is it?\n\n As he unlocks the cabinet...", "Jesse closes her eyes in terror, knowing her life is\n about to be over.", "Jesse starts out. Looking down at papers on his desk,\n Talbot calls out, almost casually...", "He gazes into her eyes, finding himself desperately\n wanting her to say yes. The horror, the revulsion in\n Jesse's face says it all.", "Jesse runs her finger across the faces, then stops on the\n face of a gentleman with long white hair watching the\n bloodshed of gory battles and the sacrifices of saints\n burned at the stake." ], [ "She crosses to him, stands close.", "As they gaze at her, astonished, she gathers her\n materials, starts out. Several start shouting back at\n her. Amidst the uproar, a voice booms across the room.", "She turns in paroxysm of excitement to the girl next to\n her. Lestat stares, taken aback. It is Jesse. Dressed", "He takes her by the arm, smiles down at her.", "She retrieves her rucksack. Starts away. As she\n reaches the end of the alley, she pauses, takes a breath,\n turns back, daring everything.", "touches it. He looks into her terrified eyes...", "her. Heart racing, she shakes with fear. They close in,\n smiling.", "happy to be chosen, moves onto the dance floor. She\n dances a little farther away. A game. He laughs.\n Moves closer.", "With her eyes moored to his, she draws a line with the\n point across her breast. She inhales through clenched\n teeth... then settles as we see:", "stares in wonder and terror at the burning \"kites.\" Then\n seizes her chance. She pushes toward the stage against\n the tide of bodies fleeing.", "He pushes her away. She gasps, humbled by his physical\n power.", "He turns, gazes at her. She steps forward.\n\n (CONTINUED)\n\n 85.", "But she's disappeared. He turns. Akasha's behind him\n now. He stares at her. Her hips are gyrating, her", "But Jesse steps forward. Lestat turns, stares at her.", "Jesse takes a breath, crosses to him, stands very close,\n stares up into his eyes. He stares down at her, amazed,\n his heart pounding. He breathes in her hair, the scent\n of her skin.", "MAHARET\n How? With your own throat!\n You've all been asleep too long!\n You're still dreaming.\n\n Marius steps up beside Maharet.", "with the moment, the girl's vitality. He notices that\n sitting on the ground by the girl are several\n instruments. Impulsively, he reaches over, picks up a", "... falls into step behind them. One knocks on the door.\n A face peers out at the group. Steps back. The door\n opens. Jesse follows the couples in. The door shuts\n behind her.", "disappears. She stares into the night. There's a SWISH\n and the sound of RUSHING AIR. Jesse turns, screams,", "scared than she is, who scuttles off quickly into the\n night. Jesse presses her back against the wall.\n Breathes. She inches around the corner..." ], [ "Jesse closes the journal, her eyes wide with the new\n knowledge of Lestat's past. She sits there a moment,\n speechless, then stares out at the vast, black night.", "Then her blood speaks to him as Lestat's eyes fall on her\n rucksack. He sees the journal. It all falls into place.", "The journalists laugh. The French Journalist looks a\n little frightened/fascinated by Lestat's leer.", "Reading the journal, listening to LESTAT'S MUSIC. She\n hears the lyrics... \"Mine eyes dazzle, she died so", "Jesse puts on headphones, listens to LESTAT'S MUSIC. As\n she opens the journal, LESTAT'S MUSIC DISSOLVES INTO\n VIOLIN...", "The girls glance at each other, then, giggling, crawl\n over toward Lestat. Groupie #1 slides her hand slowly\n up his leg.", "Jesse notices her rucksack cast aside by the Punk\n Vampires -- Lestat's journal sticks out. She glances at\n Lestat. He mustn't see it. She steps away, tries to\n distract him.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "Lestat moves closer and closer to her, gazes into her\n eyes, hesitates for a moment, then continues on...", "itself. Lestat closes her eyes... He comes up to her\n face, brushing his lips against her cheek. She\n shivers...", "Lestat looks up to face her, revealing his blood-stained\n lips. Jesse reflexively looks away.\n\n LESTAT\n Come closer, Jesse. You want to\n see? You want to know?", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "It is Lestat. He stares at Jesse, amazed. Jesse glances\n desperately at the door. It's just a few feet away now.\n\n (CONTINUED)", "She crosses to him, her eyes locked on his. She lifts\n her wrist, drips her blood into Lestat's mouth. Lestat's", "Lestat's face appears on a video screen in front of a room\n lined from floor to ceiling with leather-bound books, ancient\n scrolls. Subjects are marked, Werewolves, Poltergeists,\n Possession...", "MUSIC JOURNALIST\n Of the closet.\n\n LESTAT\n (smiles)\n The casket...", "Lestat laughs, impressed by her bravado. Her trust. For\n a moment she laughs like a child. Then they look at each\n other deeply, feeling something. He wants to kiss her.\n She knows it. He turns away.", "She turns in paroxysm of excitement to the girl next to\n her. Lestat stares, taken aback. It is Jesse. Dressed", "The girl still faces into the shadows towards him, and\n plays fast and wild, her fingers flying. Lestat stands\n there frozen to the spot. The music pulses through", "He turns slowly to the corner where she sits. They lock\n eyes. Lestat's face stares cold and hard.\n\n JESSE\n What has she done to you?" ], [ "CUT TO:\n\n\n152 EXT. CONCERT ENTRANCE - NIGHT 152", "The pulsing strain moves into a faster beat as the whole\n place resonates with the most incredible harmonics, the\n energy throbbing, the crowd almost genuflecting in front", "place goes berserk. We see the dim figures of the band\n take their places. Jesse desperately tries to push\n toward the front.", "A high-tech conference room. The band, sitting up front,\n is faced by an audience of over fifty journalists and\n then another fifty photographers and TV cameras. The\n room crackles with anticipation. Roger steps to the\n podium.", "A wave of hysteria hits the fans. Roger hustles the\n band through the crowd and up the stairs into the church,\n past the giant billboard with their own images written", "Lestat emerges from his honey-wagon, splendid in his\n concert costume. He looks ready for business, whatever", "Backstage is all abuzz with pre-show energy; press\n everywhere. Roger still worrying and sweating. James,\n Alex and Maudy sit in their own circle, jamming with", "He swoops down through the air over the stage and into\n their very midst. Jesse, in the crowd, screams up to\n him... But her voice is lost in the thousands of screams", "The girl still faces into the shadows towards him, and\n plays fast and wild, her fingers flying. Lestat stands\n there frozen to the spot. The music pulses through", "BOOM, the torches relight and an enormous CHORD surges\n through the crowd louder than a jet on takeoff. The mass", "Lestat standing alone in the bedroom, in a deep reverie,\n playing the girl's violin with incredible passion. His\n playing picks up speed as he works himself into a Pagnani\n furor...", "behind her, a flyer for Lestat's concert. She takes off\n the headphones. Walking over to the mantel above her\n fireplace, she picks up a solitary, framed photo -- holds", "The song of the VIOLIN ECHOES around the walls...\n\n Lestat plays, with increasing abandon...\n\n Akasha and Enkil sit frozen...", "101.\n\n164 CONTINUED: 164\n\n The place erupts into one solid scream as the band kicks\n it in.", "Jesse makes her way through the throng, trying to get\n closer to the stage. Suddenly the torches go out sending\n the place into utter darkness. A stunned moment. The", "MAEL\n No. Armand is right. We will go\n to the concert and first see what\n she does. There may be no need\n for action.", "upon him. OVER this scene the BAND'S SONG RUSHES IN LOUD again,\n reaching an incredible CRESCENDO as the violent", "JESSE\n David, listen...\n (struggles a moment)\n I'm going to Los Angeles for the\n concert.", "The assassins approach closer -- Lestat assaults with\n relentless lyrics... Reaching the stage, they are\n suddenly on it -- roadies run in and are immediately", "brat. We must go to the concert\n and pay our respects to our great\n Queen." ], [ "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "Jesse, now almost to the stage, screams to him.\n\n JESSE\n Lestat! Lestat!", "It is Lestat. He stares at Jesse, amazed. Jesse glances\n desperately at the door. It's just a few feet away now.\n\n (CONTINUED)", "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "Jesse joins the screaming crowds.\n\n JESSE\n Lestat! Lestat!\n\n (CONTINUED)", "Lestat's lip curls in anger. He shoves Jesse away.\n Wipes his mouth. The mood suddenly changes.", "As they start off, Lestat puts up his hand, points to\n Jesse.\n\n LESTAT\n Roger. Not that one. Leave her\n to me...", "Lestat looks up to face her, revealing his blood-stained\n lips. Jesse reflexively looks away.\n\n LESTAT\n Come closer, Jesse. You want to\n see? You want to know?", "But Jesse steps forward. Lestat turns, stares at her.", "JESSE\n (smiles)\n David, this is Lestat.\n\n He looks at Lestat, fear in his eyes.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "Lestat and Jesse quietly move among the trees. Lestat\n stops on a dime -- senses tuned. He looks into the dark.", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "JESSE\n Lestat!\n\n He turns back, stares at her, astonished.", "Lestat again becomes aware of Jesse's pulsing jugular,\n the white flesh of her neck. He reaches out, touches her", "He stares at her. Her eyes gazing directly into\n his... Suddenly...\n\n LESTAT\n Alright!\n\n Jesse breaks into a smile.", "JESSE\n Lestat, no!", "JESSE\n Right. That's the best part.\n Lestat's not afraid to piss them", "But suddenly her words catch him... His head flails as he\n tries to stop his natural impulse. Lestat lets out a\n desperate cry and throws her aside. Jesse gazes at him,\n surprised. He looms over her, angry." ], [ "Jesse lies on the floor, eyes closed and pale. Dead.\n\n AKASHA\n Good-bye, great family.", "at the lifeless body of the girl. Marius turns to\n Lestat, furious.", "The fisherman is moaning. Looking down at the suffering\n victim, Marius swiftly snaps his neck and dumps him into", "servant girls' bodies, now grey with death, lying around\n the edge of the bath. The roses are now black and the\n water is colored a rich deep red...", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "was pale, it's now a chalkish powder. And next to him...\n Akasha's throne sits empty. A god again walks the earth.", "The Ancients are still flung around by Akasha's great\n strength, but they all hold on, as the thrashing finally\n begins to subside. The mass of bodies sinks to the\n ground. The Ancients pull back to reveal that...", "Marius kneels over the body of the Father on the island's\n deserted shoreline. Tosses him in a boat. Lestat gazes", "Lestat steps into the hallway, stares at dead bodies\n sprinkling the ground -- both servants formally dressed,\n and guests in white tropical evening dress...", "His strength leaving him, Lestat slumps flat on the\n floor.\n\n MARIUS\n You're weak... near passing. I\n can barely hear your heartbeat.", "Lestat turns again toward the bodies of the dead girl and\n her Father, his face filled with pain, enormous sadness.", "floor. He kneels and gently wipes his brow. Lestat's\n body thrashes as he grabs at his own limbs...", "she sleeps to Lestat's voice, still as death. Flickering\n candles all over the room reveal her lithe, strong body,\n pale as the moon. She is surrounded by her work, ancient", "Lestat lays in bed, feverish, his skin paler than ever.\n At the foot of the bed stands Marius.\n\n MARIUS\n (quietly)\n Lestat?", "floor and slices his wrist. He brings the open vein to\n Jesse's mouth, but she's not moving. Lestat bends down\n to her ear and whispers.", "She tosses his body, her long tongue slowly licks her\n bloody, thirsty lips. She strides out through the flames.\n In a whispery, sing-song voice.", "his face frozen in a grotesque mask. She laughs, drops\n him unceremoniously to the floor...", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "beneath his shirt, pulling his clothes from his body. He\n swoons, closes his eyes, smiles.", "... out the French windows onto the beach, bodies of\n servants and villagers are scattered. Lestat's feet step\n down the wooden stairs, onto the sand, through the\n bodies..." ], [ "He takes out an old leather-bound journal. Turns to\n Jesse.\n\n (CONTINUED)\n\n 32.", "Jesse closes the journal, her eyes wide with the new\n knowledge of Lestat's past. She sits there a moment,\n speechless, then stares out at the vast, black night.", "JESSE\n You're right, David. The journal\n has everything in it.\n\n TALBOT (V.O.)\n I knew you'd appreciate its\n scientific significance.", "Then her blood speaks to him as Lestat's eyes fall on her\n rucksack. He sees the journal. It all falls into place.", "Reading the journal, listening to LESTAT'S MUSIC. She\n hears the lyrics... \"Mine eyes dazzle, she died so", "The journalists laugh. The French Journalist looks a\n little frightened/fascinated by Lestat's leer.", "As Jesse goes out, holding the journal, Talbot smiles\n after her.", "Quick flashes of gruesome period newspaper drawings,\n blood pouring from the neck of a screaming woman. A\n white-faced ghoul with fangs.\n\n Jesse is smiling wider, excited by her discovery.", "JOURNALIST\n Excellent makeup job. Marilyn\n Manson, look out...\n\n A thousand questions suddenly burst out of the\n journalists.", "Jesse puts on headphones, listens to LESTAT'S MUSIC. As\n she opens the journal, LESTAT'S MUSIC DISSOLVES INTO\n VIOLIN...", "LESTAT\n (shaking his head)\n How sad, you people always trying\n to know the unknowable... So, was\n it a good read? My diary.", "Jesse notices her rucksack cast aside by the Punk\n Vampires -- Lestat's journal sticks out. She glances at\n Lestat. He mustn't see it. She steps away, tries to\n distract him.", "MUSIC JOURNALIST\n Of the closet.\n\n LESTAT\n (smiles)\n The casket...", "She stares at him, found out. He turns from her,\n laughing, but not the kind of laugh to make Jesse\n think all's well.\n\n (CONTINUED)", "As they gaze at her, astonished, she gathers her\n materials, starts out. Several start shouting back at\n her. Amidst the uproar, a voice booms across the room.", "Jesse runs her finger across the faces, then stops on the\n face of a gentleman with long white hair watching the\n bloodshed of gory battles and the sacrifices of saints\n burned at the stake.", "Behind them, Roger sits pensively watching.\n Surreptitiously, he glances down at a book on his lap --\n its title Vampires -- The Occult Truth. He talks on a\n phone.", "Jesse hears strange whispering. She sees now figures\n moving through the fog. One pushes a buzzer. Jesse stares,\n barely breathing, her heart pounding.", "Jesse moves past rough-hewn columns, watching something\n with great curiosity. Behind her, we glimpse a giant\n mural of names cut into the stone walls. A family tree,\n extending up onto the ceiling and down to the floor.", "... falls into step behind them. One knocks on the door.\n A face peers out at the group. Steps back. The door\n opens. Jesse follows the couples in. The door shuts\n behind her." ], [ "Lestat stretches out with his eyes closed as the sounds\n of the DRUMMING crowd begin to make the whole van\n shudder. Roger pops his head in.", "quickly sticks his hand in his mouth. With a horrified\n expression, he realizes he's sucking his blood. He\n quickly heads out. But Lestat is faster and reaches", "Suddenly, the bow flies out of his hand and slides across\n the floor, jamming itself under an old bookcase. Lestat\n comes out of his spell, walks across the room to the", "LESTAT\n Your music woke me from the\n longest sleep. It's sublime. In\n two hundred years I've never heard\n anything quite like it.", "Lestat suddenly glides through an open door and calmly\n touches ground. He empties his pockets out on a coffee\n table. We see a --", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "The girls glance at each other, then, giggling, crawl\n over toward Lestat. Groupie #1 slides her hand slowly\n up his leg.", "finally truly drink and revive as Lestat cradles her.\n She pulls away, gasping. Lestat looks into her eyes.", "The sleeping man leaps up, grabs Lestat unmercifully and\n again plunges his teeth into the young man's neck.", "Then, Lestat's face still buried in his arms, he begins\n to laugh almost drunkenly. Raising his head, his", "Lestat stands by his bed, playing the ancient violin... a\n long mournful note. He stops a moment, lost in his\n thoughts. A flash of the first morning light reflects", "Slowly, Lestat starts to feel something. Pain begins\n travelling through his body, consuming him until he\n screams. Marius crosses to Lestat convulsing on the", "itself. Lestat closes her eyes... He comes up to her\n face, brushing his lips against her cheek. She\n shivers...", "floor and slices his wrist. He brings the open vein to\n Jesse's mouth, but she's not moving. Lestat bends down\n to her ear and whispers.", "Impulsively, Lestat goes back to them, hovers, his face\n still somewhat obscured by the darkness. Lestat starts\n clapping along to the music, exuberantly.", "Lestat rises out of the bed and grabs his clothes from a\n nearby Louis IV chair. He makes for a door when...", "floor. He kneels and gently wipes his brow. Lestat's\n body thrashes as he grabs at his own limbs...", "Lestat is suddenly in front of her with his hand over her\n mouth, covering her muffled scream. Her struggle is no\n use against his strength. Reaching up to her neck, he", "Rising from his victim we see for the first time the\n revitalized face of this creature, a mane of blond hair\n frames the beautiful features of the VAMPIRE LESTAT --\n his bulbous lips glistening red.", "Lestat is awestruck. There is such an unearthly power in\n Akasha's voice. Everything seems to hum and vibrate with\n her breath." ], [ "MARIUS\n Stop her, Lestat!\n\n Lestat turns to Marius, shaking his head no in horror.\n\n MARIUS\n You must!", "Marius stops talking, turns. Lestat is no longer beside\n him. Marius turns back and sees Lestat standing in the", "MARIUS\n Lestat.\n\n (CONTINUED)\n\n 70.", "Marius is enraged, tries to control himself. Lestat\n gazes at him, speaks steadily.", "MARIUS\n (quietly)\n I see you still have a few\n lingering mortal emotions. They\n will serve you no good, Lestat.", "Lestat roars and struggles against his manacles.\n\n LESTAT\n You'll not stop me...\n\n Marius stares at him, shocked.", "Maharet and Marius realize what he's doing, see the\n chance Lestat has gained for them. A silent signal\n passes between them as...", "MARIUS\n What have you done, Lestat?\n Lestat!\n\n\n91 INT. MARIUS'S VILLA - NIGHT 91", "MARIUS\n Lestat... step aside.\n\n LESTAT\n Never. She is my Queen.", "MARIUS\n It is good to see you, Lestat.\n\n LESTAT\n And you. Still wearing the old\n fashions, I see.", "MARIUS\n Lestat. Welcome.\n\n Weakened and helpless, Lestat drags himself back across\n the floor in terror.", "Marius feels Lestat's gaze, turns to him.\n\n MARIUS\n I'm talking about humanity.", "Lestat lays in bed, feverish, his skin paler than ever.\n At the foot of the bed stands Marius.\n\n MARIUS\n (quietly)\n Lestat?", "Marius's face fills with the bond. He slowly sinks\n down to his knees as Lestat feeds and feeds. As\n Lestat drinks, a barrage of IMAGES flood into him...", "MARIUS\n If someone doesn't get to you\n first.\n\n Lestat grins, feeling Marius's disapproval.", "Lestat turns to Marius, shaking his head, speaks in a\n horrified whisper...\n\n LESTAT\n My God, what have you done to me?", "Lestat gazes up at him, taking it in. Marius moves\n slowly away.\n\n (CONTINUED)\n\n 64.", "But Lestat keeps on feeding hungrily.\n\n MARIUS\n No... no more. Lestat, no more!", "LESTAT\n Who are you? Do I know you?\n\n MARIUS\n I'm unknowable by nature.\n\n Marius advances again on the young man...", "Marius, with a tortured expression, gazes at Mael.\n Maharet steps up.\n\n MAHARET\n Wait. Never mind Lestat! We\n have greater problems..." ], [ "JESSE\n (whirling around)\n Marius?! From Lestat's lyrics.\n I knew I was right.", "JESSE\n You have to listen to Lestat's\n lyrics. They're amazing.\n (MORE)\n\n (CONTINUED)", "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "Lestat and Jesse quietly move among the trees. Lestat\n stops on a dime -- senses tuned. He looks into the dark.", "It is Lestat. He stares at Jesse, amazed. Jesse glances\n desperately at the door. It's just a few feet away now.\n\n (CONTINUED)", "JESSE\n (leans forward,\n eagerly)\n It would appear that way. But\n have you listened to his songs?\n Read his lyrics?", "Jesse puts on headphones, listens to LESTAT'S MUSIC. As\n she opens the journal, LESTAT'S MUSIC DISSOLVES INTO\n VIOLIN...", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "But suddenly her words catch him... His head flails as he\n tries to stop his natural impulse. Lestat lets out a\n desperate cry and throws her aside. Jesse gazes at him,\n surprised. He looms over her, angry.", "Lestat, content for the first time since we've known him,\n looks lovingly to Jesse. A flicker of curiosity crosses\n David's face.", "giggles drunkenly. Jesse watches and gasps as she\n realizes the male lover is a vampire. Lestat moves\n forward. Jesse gingerly follows.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "Lestat's lip curls in anger. He shoves Jesse away.\n Wipes his mouth. The mood suddenly changes.", "Lestat looks up to face her, revealing his blood-stained\n lips. Jesse reflexively looks away.\n\n LESTAT\n Come closer, Jesse. You want to\n see? You want to know?", "Lestat again becomes aware of Jesse's pulsing jugular,\n the white flesh of her neck. He reaches out, touches her", "Jesse joins the screaming crowds.\n\n JESSE\n Lestat! Lestat!\n\n (CONTINUED)", "Her lips move to his wrist. Lestat strokes her hair,\n soothes her. Jesse gasps as pain courses through her.\n Lestat holds her close. She looks up at him, their eyes\n are locked together.", "Taking his lover in his arms the vampire begins to bite\n her neck... Lestat looks over at Jesse who watches,\n fascinated and disturbed. The vampire senses another's", "Lestat...\n\n Jesse's eyes open wide, entirely stunned." ], [ "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "The violin dissolves into Lestat's ROCK MUSIC.\n\n\n58 BACK TO JESSE (PRESENT) 58", "Jesse joins the screaming crowds.\n\n JESSE\n Lestat! Lestat!\n\n (CONTINUED)", "Lestat again becomes aware of Jesse's pulsing jugular,\n the white flesh of her neck. He reaches out, touches her", "Impulsively, Lestat goes back to them, hovers, his face\n still somewhat obscured by the darkness. Lestat starts\n clapping along to the music, exuberantly.", "Jesse, now almost to the stage, screams to him.\n\n JESSE\n Lestat! Lestat!", "He stares at her. Her eyes gazing directly into\n his... Suddenly...\n\n LESTAT\n Alright!\n\n Jesse breaks into a smile.", "But Jesse steps forward. Lestat turns, stares at her.", "Lestat's lip curls in anger. He shoves Jesse away.\n Wipes his mouth. The mood suddenly changes.", "Lestat, content for the first time since we've known him,\n looks lovingly to Jesse. A flicker of curiosity crosses\n David's face.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "giggles drunkenly. Jesse watches and gasps as she\n realizes the male lover is a vampire. Lestat moves\n forward. Jesse gingerly follows.", "Lestat and Jesse quietly move among the trees. Lestat\n stops on a dime -- senses tuned. He looks into the dark.", "JESSE\n Lestat!\n\n He turns back, stares at her, astonished.", "Her lips move to his wrist. Lestat strokes her hair,\n soothes her. Jesse gasps as pain courses through her.\n Lestat holds her close. She looks up at him, their eyes\n are locked together.", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "His eyes still as death, he starts moving away.\n\n JESSE\n Lestat! Wait!", "in Goth gear. Jesse stares back at Lestat brazenly. A\n long moment." ], [ "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "Lestat looks up to face her, revealing his blood-stained\n lips. Jesse reflexively looks away.\n\n LESTAT\n Come closer, Jesse. You want to\n see? You want to know?", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "But suddenly her words catch him... His head flails as he\n tries to stop his natural impulse. Lestat lets out a\n desperate cry and throws her aside. Jesse gazes at him,\n surprised. He looms over her, angry.", "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "Her lips move to his wrist. Lestat strokes her hair,\n soothes her. Jesse gasps as pain courses through her.\n Lestat holds her close. She looks up at him, their eyes\n are locked together.", "Lestat again becomes aware of Jesse's pulsing jugular,\n the white flesh of her neck. He reaches out, touches her", "Lestat drinks and drinks and Jesse sighs with intimacy,\n clutching his neck and back, and drawing his bite deeper\n into her flesh. She slowly crumples to the floor, being\n drawn down until finally...", "JESSE\n Lestat!\n\n He turns back, stares at her, astonished.", "floor and slices his wrist. He brings the open vein to\n Jesse's mouth, but she's not moving. Lestat bends down\n to her ear and whispers.", "As they start off, Lestat puts up his hand, points to\n Jesse.\n\n LESTAT\n Roger. Not that one. Leave her\n to me...", "Taking his lover in his arms the vampire begins to bite\n her neck... Lestat looks over at Jesse who watches,\n fascinated and disturbed. The vampire senses another's", "He turns, walks away. Jesse lets out a sigh of relief,\n then stares after him. She hesitates, then suddenly\n calls out:\n\n JESSE\n Does anything, Lestat?", "But Jesse steps forward. Lestat turns, stares at her.", "Jesse gasps, backs away. Lestat finishes and, wiping his\n mouth, approaches Jesse.", "LESTAT\n Yes...\n\n He draws closer. Jesse stares, mortified. Akasha and\n Lestat's mouths almost meet when Akasha pulls away.\n Akasha slowly turns to Jesse.", "neck, strokes it. Jesse shivers under his touch,\n terrified, but wanting more. Lestat brushes his lips\n against her hair, her neck. Runs his hands down her", "Lestat gazes at her, begins to advance. Jesse keeps her\n gaze steady into Lestat's, risking everything.\n\n AKASHA\n (smirking)\n How sweet..." ], [ "shadows, listening to the music. The young woman, sensing\n something, turns towards Lestat in the shadows as she\n plays. Marius goes to Lestat, pulls him farther into the", "The girl still faces into the shadows towards him, and\n plays fast and wild, her fingers flying. Lestat stands\n there frozen to the spot. The music pulses through", "Lestat plays and plays, lost in the music. He throws a\n glance up at the throne and stops...\n\n Akasha is moving...", "Impulsively, Lestat goes back to them, hovers, his face\n still somewhat obscured by the darkness. Lestat starts\n clapping along to the music, exuberantly.", "Lestat stretches out with his eyes closed as the sounds\n of the DRUMMING crowd begin to make the whole van\n shudder. Roger pops his head in.", "LESTAT\n Your music woke me from the\n longest sleep. It's sublime. In\n two hundred years I've never heard\n anything quite like it.", "Lestat stands by his bed, playing the ancient violin... a\n long mournful note. He stops a moment, lost in his\n thoughts. A flash of the first morning light reflects", "MARIUS\n Your music's woken a very old\n friend...\n\n Lestat looks at Marius, trying to understand.", "Lestat is drawn to the woman -- her form and beauty is\n exquisite even in its absolute stillness. As if this\n statue had just asked him to play, Lestat holds out his\n violin.", "LOUD, intense MUSIC as the band rehearses. Lestat\n creates a fantastic melody around the beat. He lets\n the note trail off, eyes closed, smiling, the", "certain, as they gaze at Lestat's strange, pale, glowing\n skin, the luminous shine of eyes. But Lestat is\n completely taken by the music, the moment. The Father", "Unconsciously, Lestat steps closer to the music, into\n firelight. The Father and his daughter become less", "Lestat nods, taking it in. They pass another bonfire.\n MUSIC floats through the night. An OLDER MAN, 50, plays", "Lestat stares out at the ominous night. As Maudy and the\n band continue to play, the wolflike HOWLS in the night", "The song of the VIOLIN ECHOES around the walls...\n\n Lestat plays, with increasing abandon...\n\n Akasha and Enkil sit frozen...", "Relenting, Lestat starts to follow. But the music\n quickens. Lestat pauses, turns back. As if the music is\n calling to him.", "Lestat is awestruck. There is such an unearthly power in\n Akasha's voice. Everything seems to hum and vibrate with\n her breath.", "86 CONTINUED: 86\n\n Her eyes still bore into him. Lestat smiles. He raises\n his violin and begins to play.", "The girls glance at each other, then, giggling, crawl\n over toward Lestat. Groupie #1 slides her hand slowly\n up his leg.", "Lestat standing alone in the bedroom, in a deep reverie,\n playing the girl's violin with incredible passion. His\n playing picks up speed as he works himself into a Pagnani\n furor..." ], [ "The audience doesn't see Lestat anywhere and cheers over\n the sound, and it seems as if the whole of Death Valley\n is shaking, when... Lestat appears above the stage,\n inhumanly levitating and...", "180 EXT. DEATH VALLEY PEAK - NIGHT 180\n\n Lestat opens his eyes and finds himself high above the\n desert, the tiny lights of the concert far below.", "place goes berserk. We see the dim figures of the band\n take their places. Jesse desperately tries to push\n toward the front.", "JESSE\n (smiles)\n Yeah.\n\n\n151 EXT. DEATH VALLEY - FROM HIGH ABOVE - DUSK 151", "JESSE\n David, listen...\n (struggles a moment)\n I'm going to Los Angeles for the\n concert.", "Jesse walks away from the house. Coming to a highway,\n she reads a sign -- \"DEATH VALLEY 120 miles.\" Just then,", "MUSIC JOURNALIST\n Your first and only concert's in\n Death Valley, just days away. Why\n just the one?", "MAUDY\n I'm ready for Death Valley.\n (jazzed)\n Two days till we go...", "Down in the throng, vampires also begin to combust -- hot\n flashes of white exploding through the crowd, turning\n into black paper dolls -- wafting up over the valley --", "He swoops down through the air over the stage and into\n their very midst. Jesse, in the crowd, screams up to\n him... But her voice is lost in the thousands of screams", "101.\n\n164 CONTINUED: 164\n\n The place erupts into one solid scream as the band kicks\n it in.", "CUT TO:\n\n\n152 EXT. CONCERT ENTRANCE - NIGHT 152", "The girl still faces into the shadows towards him, and\n plays fast and wild, her fingers flying. Lestat stands\n there frozen to the spot. The music pulses through", "The pulsing strain moves into a faster beat as the whole\n place resonates with the most incredible harmonics, the\n energy throbbing, the crowd almost genuflecting in front", "A high-tech conference room. The band, sitting up front,\n is faced by an audience of over fifty journalists and\n then another fifty photographers and TV cameras. The\n room crackles with anticipation. Roger steps to the\n podium.", "Jesse makes her way through the throng, trying to get\n closer to the stage. Suddenly the torches go out sending\n the place into utter darkness. A stunned moment. The", "A wave of hysteria hits the fans. Roger hustles the\n band through the crowd and up the stairs into the church,\n past the giant billboard with their own images written", "161 INT. BACKSTAGE - NIGHT 161\n\n Lestat readies himself as he scans the valley from behind\n a speaker, and sees...", "the knives. He rips the microphone from the stand and\n holds it up just in time... as an assassin is impaled.\n The assassin squirms and convulses. The crowd goes", "Lestat stretches out with his eyes closed as the sounds\n of the DRUMMING crowd begin to make the whole van\n shudder. Roger pops his head in." ], [ "Fiercely determined, Lestat bites into Akasha's throat,\n this time for the kill. Akasha sinks her nails into his throat.", "Lestat looks at her and then smiles. Akasha's mouth\n spreads into a smile. Flashes of brilliant light strobe", "Lestat smiles with a blood-stained mouth. Akasha\n approaches Lestat and offers him her vein. She looks\n scornfully at the others as he cradles her wrist...", "Lestat looks once at Marius, then sinks his teeth into\n its original font. He drinks as Akasha gasps with\n pleasure at giving so much pleasure to him. She keeps", "smiling to the others. But Lestat doesn't stop drinking.\n Akasha looks back to him, her face changing.", "LESTAT\n Had a King?\n\n AKASHA\n He's no more. You are my consort.\n I've kept you safe -- alive.", "Akasha hovers higher, drawing him into the sky until\n their mouths finally meet and her blood flows freely into\n him. Lestat pulls away as a great surge of power gathers\n in him and floods his body with an electric rush.", "Lestat sinks his teeth into Akasha's vein, drawing in the\n unimaginable font. A burst of image and color floods\n into him, as...", "AKASHA\n Be my King. Forget about\n everything else.\n\n Lestat looks straight at Akasha, his face flushed. His\n eyes are empty of everything except her blood.", "Lestat plays and plays, lost in the music. He throws a\n glance up at the throne and stops...\n\n Akasha is moving...", "LESTAT\n Yes...\n\n He draws closer. Jesse stares, mortified. Akasha and\n Lestat's mouths almost meet when Akasha pulls away.\n Akasha slowly turns to Jesse.", "Akasha bites her own lip. Blood trickles slightly across\n her chin. Lestat stares at the blood, yearns towards it,", "LESTAT\n So warm...\n (sniffs their skin)\n ... their blood...\n\n AKASHA\n ... yes...", "neck, his chest, bites... Lestat arches in ecstasy...\n Akasha rises up from his breast, blood on her lips,\n smiles, goes back down and drinks.", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "bed... Akasha rolls him over -- smiles down at him -- a\n fang exposed... She draws her wrist across her mouth... a\n globule of blood smacks Lestat's open lips... Flash --", "Akasha watches and waits. Finally Lestat grins boyishly\n through bloody teeth and wipes his lips with the back of\n his hand.", "remain closed but his mouth opens... Now it's Akasha\n kissing him. Lestat responds, but his eyes sneak a peek.\n Akasha smiles -- takes his head in her hands -- she", "But Lestat clamps down even harder. Akasha thrashes,\n trying to release herself.", "itself. Lestat closes her eyes... He comes up to her\n face, brushing his lips against her cheek. She\n shivers..." ], [ "Lestat gazes at her, begins to advance. Jesse keeps her\n gaze steady into Lestat's, risking everything.\n\n AKASHA\n (smirking)\n How sweet...", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "MAHARET\n Lestat has joined with Akasha. He\n is lost to us now. He is never\n coming back.\n\n JESSE\n I don't believe that.", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "LESTAT\n Yes...\n\n He draws closer. Jesse stares, mortified. Akasha and\n Lestat's mouths almost meet when Akasha pulls away.\n Akasha slowly turns to Jesse.", "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "Akasha watches and waits. Finally Lestat grins boyishly\n through bloody teeth and wipes his lips with the back of\n his hand.", "Jesse watches him with absolute love. He reaches her.\n Maharet flies across the room, but Akasha meets her\n halfway. Grabs her by the hair. Maharet struggles but", "Maharet struggles but Akasha is too strong. Jesse gazes\n at Lestat. Then steps forward.\n\n JESSE\n It's all right, Maharet.", "Suddenly, Akasha takes her chance, rises, her eyes flare\n green, marshalling the last of her wrath. Lestat cries\n out in agony as smoke rises from his limbs.", "Her lips move to his wrist. Lestat strokes her hair,\n soothes her. Jesse gasps as pain courses through her.\n Lestat holds her close. She looks up at him, their eyes\n are locked together.", "Akasha is much more powerful. Jesse offers up her neck\n to his bite. Maharet looks away and Akasha looks pleased\n as...", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "But suddenly her words catch him... His head flails as he\n tries to stop his natural impulse. Lestat lets out a\n desperate cry and throws her aside. Jesse gazes at him,\n surprised. He looms over her, angry.", "floor and slices his wrist. He brings the open vein to\n Jesse's mouth, but she's not moving. Lestat bends down\n to her ear and whispers.", "Lestat looks up to face her, revealing his blood-stained\n lips. Jesse reflexively looks away.\n\n LESTAT\n Come closer, Jesse. You want to\n see? You want to know?", "MAHARET\n Wait, Lestat! You must stop!\n\n Lestat pulls away, leaving Akasha hanging in a twisted,\n unnatural angle.", "She crosses to the family tree, traces the names down to\n one. Jessica Reeves. Akasha is beyond fury, yet she\n keeps her temper under control and turns to Lestat.", "Akasha smiles at him, then laughs a strange laugh, a\n kind of purr/growl. Lestat gazes at her as the sensual" ], [ "Jesse watches him with absolute love. He reaches her.\n Maharet flies across the room, but Akasha meets her\n halfway. Grabs her by the hair. Maharet struggles but", "Akasha is much more powerful. Jesse offers up her neck\n to his bite. Maharet looks away and Akasha looks pleased\n as...", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "Ones stare up into the sky as... Akasha and Lestat\n vanish. Jesse stares in horror after them.", "The Vampire Girl who Jesse saw vanish with the Yuppie,\n flies towards Akasha, knife raised, but Akasha just", "Jesse lies on the floor, eyes closed and pale. Dead.\n\n AKASHA\n Good-bye, great family.", "Maharet struggles but Akasha is too strong. Jesse gazes\n at Lestat. Then steps forward.\n\n JESSE\n It's all right, Maharet.", "Fragments of sharp wood fly into the audience. Jesse\n raises her hands to protect herself. She looks up.\n Freezes. Akasha rises up through the stage. Beautiful", "TALBOT\n Yes. Take care of her, Lestat.\n\n LESTAT\n Always.\n\n Talbot looks at Jesse, once his spiritual daughter.", "111 JESSE 111\n\n wakes with a start.\n\n JESSE\n Akasha!", "She crosses to the family tree, traces the names down to\n one. Jessica Reeves. Akasha is beyond fury, yet she\n keeps her temper under control and turns to Lestat.", "LESTAT\n Yes...\n\n He draws closer. Jesse stares, mortified. Akasha and\n Lestat's mouths almost meet when Akasha pulls away.\n Akasha slowly turns to Jesse.", "Lestat drinks and drinks and Jesse sighs with intimacy,\n clutching his neck and back, and drawing his bite deeper\n into her flesh. She slowly crumples to the floor, being\n drawn down until finally...", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "Lestat gazes at her, begins to advance. Jesse keeps her\n gaze steady into Lestat's, risking everything.\n\n AKASHA\n (smirking)\n How sweet...", "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "Jesse and Lestat hold onto each other, gazing at\n Maharet's face. On Maharet's lips is the most content of\n smiles. Jesse wipes away a tear.", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "MAHARET\n Lestat has joined with Akasha. He\n is lost to us now. He is never\n coming back.\n\n JESSE\n I don't believe that.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass." ], [ "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "Lestat and Jesse quietly move among the trees. Lestat\n stops on a dime -- senses tuned. He looks into the dark.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "It is Lestat. He stares at Jesse, amazed. Jesse glances\n desperately at the door. It's just a few feet away now.\n\n (CONTINUED)", "Jesse joins the screaming crowds.\n\n JESSE\n Lestat! Lestat!\n\n (CONTINUED)", "Jesse closes the journal, her eyes wide with the new\n knowledge of Lestat's past. She sits there a moment,\n speechless, then stares out at the vast, black night.", "JESSE\n Lestat!\n\n He turns back, stares at her, astonished.", "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "JESSE\n (smiles)\n David, this is Lestat.\n\n He looks at Lestat, fear in his eyes.", "Jesse notices her rucksack cast aside by the Punk\n Vampires -- Lestat's journal sticks out. She glances at\n Lestat. He mustn't see it. She steps away, tries to\n distract him.", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "The violin dissolves into Lestat's ROCK MUSIC.\n\n\n58 BACK TO JESSE (PRESENT) 58", "He turns, walks away. Jesse lets out a sigh of relief,\n then stares after him. She hesitates, then suddenly\n calls out:\n\n JESSE\n Does anything, Lestat?", "giggles drunkenly. Jesse watches and gasps as she\n realizes the male lover is a vampire. Lestat moves\n forward. Jesse gingerly follows.", "But suddenly her words catch him... His head flails as he\n tries to stop his natural impulse. Lestat lets out a\n desperate cry and throws her aside. Jesse gazes at him,\n surprised. He looms over her, angry.", "Lestat, content for the first time since we've known him,\n looks lovingly to Jesse. A flicker of curiosity crosses\n David's face.", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "filling the alley. Lestat lunges, fangs bared. Jesse\n screams. Turns. Runs. Finds herself --", "JESSE\n Jesus Christ.\n\n She stands there a moment, happy, amazed to be alive.\n Then it sinks in. She realizes -- Lestat let her go." ], [ "Taking his arm, Akasha draws Lestat to her. The Ancient\n Vampires subtly position themselves under the medieval\n weapons hanging on the walls, as Marius moves toward his\n son.", "The Ancients make an instantaneous decision. Akasha\n looks up, gasping, in time to see Maharet, Marius,\n Khayman, Armand, Mael, Pandora flying towards her.\n Akasha lets out a hiss...", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "The Ancient Ones look to each other, uncertain a moment.\n\n Akasha gazes at them, then turns slowly, fixes her gaze\n on Lestat. He gazes back at her.", "Fiercely determined, Lestat bites into Akasha's throat,\n this time for the kill. Akasha sinks her nails into his throat.", "Marius looks up to see all the Ancients now stepping\n from the shadows. KHAYMAN, the desert vampire, in", "Akasha scans the faces of the other Ancient Ones, staring\n deep into their souls. Akasha sees Khayman glance at the\n family tree. Akasha's eyes blaze with anger.", "... Maharet moves quickly. She strides over to Akasha\n and sinks her fangs into Akasha's neck. Akasha struggles", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "AKASHA\n Be my King. Forget about\n everything else.\n\n Lestat looks straight at Akasha, his face flushed. His\n eyes are empty of everything except her blood.", "LESTAT\n I will never leave you again.\n\n He holds her tight in his arms.\n\n All the Ancients gaze at Lestat, now understanding what\n he did.", "MARIUS\n She... she is your mother, my\n mother... Akasha, the Queen of all\n who are damned. And he is her\n King.", "smiling to the others. But Lestat doesn't stop drinking.\n Akasha looks back to him, her face changing.", "Jesse watches him with absolute love. He reaches her.\n Maharet flies across the room, but Akasha meets her\n halfway. Grabs her by the hair. Maharet struggles but", "Lestat smiles with a blood-stained mouth. Akasha\n approaches Lestat and offers him her vein. She looks\n scornfully at the others as he cradles her wrist...", "She crosses to the family tree, traces the names down to\n one. Jessica Reeves. Akasha is beyond fury, yet she\n keeps her temper under control and turns to Lestat.", "Marius looks for some recognition in Lestat's eyes.\n There is none. Maharet turns to Akasha.\n\n MAHARET\n Akasha. The world has changed\n since you reigned.", "Akasha is much more powerful. Jesse offers up her neck\n to his bite. Maharet looks away and Akasha looks pleased\n as...", "MAHARET\n Wait, Lestat! You must stop!\n\n Lestat pulls away, leaving Akasha hanging in a twisted,\n unnatural angle.", "Standing on the strange rocks are the Ancient vampires,\n except for Maharet. Some of whom can't help but smile\n at the scene below. Marius is now with them." ], [ "But Lestat, strong with Akasha's blood, keeps his hold\n and Khayman, Armand, Marius, Maharet fly at her again.", "Lestat smiles with a blood-stained mouth. Akasha\n approaches Lestat and offers him her vein. She looks\n scornfully at the others as he cradles her wrist...", "smiling to the others. But Lestat doesn't stop drinking.\n Akasha looks back to him, her face changing.", "Taking his arm, Akasha draws Lestat to her. The Ancient\n Vampires subtly position themselves under the medieval\n weapons hanging on the walls, as Marius moves toward his\n son.", "Lestat looks once at Marius, then sinks his teeth into\n its original font. He drinks as Akasha gasps with\n pleasure at giving so much pleasure to him. She keeps", "Akasha watches and waits. Finally Lestat grins boyishly\n through bloody teeth and wipes his lips with the back of\n his hand.", "Fiercely determined, Lestat bites into Akasha's throat,\n this time for the kill. Akasha sinks her nails into his throat.", "Akasha smiles, raises her hand, suddenly slices her wrist\n with a knife. Lestat stares at her dripping blood.", "... Maharet moves quickly. She strides over to Akasha\n and sinks her fangs into Akasha's neck. Akasha struggles", "Guiding Lestat's hand with the knife, Marius smiles and\n cuts his own arm, opening his veins. Lestat stares in", "Akasha hovers higher, drawing him into the sky until\n their mouths finally meet and her blood flows freely into\n him. Lestat pulls away as a great surge of power gathers\n in him and floods his body with an electric rush.", "Akasha bites her own lip. Blood trickles slightly across\n her chin. Lestat stares at the blood, yearns towards it,", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "AKASHA\n Be my King. Forget about\n everything else.\n\n Lestat looks straight at Akasha, his face flushed. His\n eyes are empty of everything except her blood.", "Lestat sinks his teeth into Akasha's vein, drawing in the\n unimaginable font. A burst of image and color floods\n into him, as...", "Jesse watches him with absolute love. He reaches her.\n Maharet flies across the room, but Akasha meets her\n halfway. Grabs her by the hair. Maharet struggles but", "Lestat, lost, looks at Marius, his eyes intoxicated with\n Akasha's blood. Marius steps back. Looks at his\n fledgling with great sadness, anger, disappointment.", "But Lestat clamps down even harder. Akasha thrashes,\n trying to release herself.", "LESTAT\n So warm...\n (sniffs their skin)\n ... their blood...\n\n AKASHA\n ... yes...", "LESTAT\n Yes...\n\n He draws closer. Jesse stares, mortified. Akasha and\n Lestat's mouths almost meet when Akasha pulls away.\n Akasha slowly turns to Jesse." ], [ "Jesse watches him with absolute love. He reaches her.\n Maharet flies across the room, but Akasha meets her\n halfway. Grabs her by the hair. Maharet struggles but", "... Maharet moves quickly. She strides over to Akasha\n and sinks her fangs into Akasha's neck. Akasha struggles", "Akasha smiles, raises her hand, suddenly slices her wrist\n with a knife. Lestat stares at her dripping blood.", "Fiercely determined, Lestat bites into Akasha's throat,\n this time for the kill. Akasha sinks her nails into his throat.", "Akasha turns on [Khayman to incinerate him. Flash. He\n screams as his blood boils, exploding out of his", "Akasha is much more powerful. Jesse offers up her neck\n to his bite. Maharet looks away and Akasha looks pleased\n as...", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "But she's disappeared. He turns. Akasha's behind him\n now. He stares at her. Her hips are gyrating, her", "Akasha sinks her fangs into his neck and at the same\n time, plunges her hand down. We can't see where... We", "He hangs on, his teeth deep. They are locked in mortal combat.\n Akasha slowly sinks to the ground, real\n fear in her eyes as her strength finally vanishes.", "Akasha turns to the terrified barman again, pulls him\n over the bar and attacks him as if she were just reaching\n for a snack. He flails but is overwhelmed by her\n strength...", "Akasha bites her own lip. Blood trickles slightly across\n her chin. Lestat stares at the blood, yearns towards it,", "But Lestat clamps down even harder. Akasha thrashes,\n trying to release herself.", "Akasha watches and waits. Finally Lestat grins boyishly\n through bloody teeth and wipes his lips with the back of\n his hand.", "Akasha flicks her wrist. Maharet is hurled against a\n pillar, pinned by Akasha's hand.\n\n AKASHA\n You still think to challenge me,\n Maharet?", "smiling to the others. But Lestat doesn't stop drinking.\n Akasha looks back to him, her face changing.", "Suddenly, Akasha takes her chance, rises, her eyes flare\n green, marshalling the last of her wrath. Lestat cries\n out in agony as smoke rises from his limbs.", "MARIUS\n Akasha has risen. She has taken\n her King's blood. Absorbed his\n power. You've done it this time.", "She crosses to the family tree, traces the names down to\n one. Jessica Reeves. Akasha is beyond fury, yet she\n keeps her temper under control and turns to Lestat.", "Akasha hovers higher, drawing him into the sky until\n their mouths finally meet and her blood flows freely into\n him. Lestat pulls away as a great surge of power gathers\n in him and floods his body with an electric rush." ], [ "smiling to the others. But Lestat doesn't stop drinking.\n Akasha looks back to him, her face changing.", "Lestat looks once at Marius, then sinks his teeth into\n its original font. He drinks as Akasha gasps with\n pleasure at giving so much pleasure to him. She keeps", "... Maharet moves quickly. She strides over to Akasha\n and sinks her fangs into Akasha's neck. Akasha struggles", "Akasha bites her own lip. Blood trickles slightly across\n her chin. Lestat stares at the blood, yearns towards it,", "Fiercely determined, Lestat bites into Akasha's throat,\n this time for the kill. Akasha sinks her nails into his throat.", "ARMAND\n (a reverent whisper)\n She took Akasha's last drop, took\n Akasha's death into herself.\n Behold, our Queen... our new\n mother...", "Akasha sinks her fangs into his neck and at the same\n time, plunges her hand down. We can't see where... We", "Jesse watches him with absolute love. He reaches her.\n Maharet flies across the room, but Akasha meets her\n halfway. Grabs her by the hair. Maharet struggles but", "Lestat smiles with a blood-stained mouth. Akasha\n approaches Lestat and offers him her vein. She looks\n scornfully at the others as he cradles her wrist...", "Akasha smiles, raises her hand, suddenly slices her wrist\n with a knife. Lestat stares at her dripping blood.", "AKASHA\n Has your tongue lost its taste for\n blood?\n\n LESTAT\n (melting)\n Never.", "Akasha hovers higher, drawing him into the sky until\n their mouths finally meet and her blood flows freely into\n him. Lestat pulls away as a great surge of power gathers\n in him and floods his body with an electric rush.", "Lestat drinks and drinks and Jesse sighs with intimacy,\n clutching his neck and back, and drawing his bite deeper\n into her flesh. She slowly crumples to the floor, being\n drawn down until finally...", "Akasha is much more powerful. Jesse offers up her neck\n to his bite. Maharet looks away and Akasha looks pleased\n as...", "Akasha watches and waits. Finally Lestat grins boyishly\n through bloody teeth and wipes his lips with the back of\n his hand.", "Lestat sinks his teeth into Akasha's vein, drawing in the\n unimaginable font. A burst of image and color floods\n into him, as...", "finally truly drink and revive as Lestat cradles her.\n She pulls away, gasping. Lestat looks into her eyes.", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "Lestat, lost, looks at Marius, his eyes intoxicated with\n Akasha's blood. Marius steps back. Looks at his\n fledgling with great sadness, anger, disappointment.", "opens his eyes. He sits up alone in the canopied bed,\n disoriented. Akasha is nowhere to be seen. He looks\n toward the window. The sun is just about to disappear" ], [ "LESTAT\n Your music woke me from the\n longest sleep. It's sublime. In\n two hundred years I've never heard\n anything quite like it.", "Lestat stretches out with his eyes closed as the sounds\n of the DRUMMING crowd begin to make the whole van\n shudder. Roger pops his head in.", "quickly sticks his hand in his mouth. With a horrified\n expression, he realizes he's sucking his blood. He\n quickly heads out. But Lestat is faster and reaches", "Suddenly, the bow flies out of his hand and slides across\n the floor, jamming itself under an old bookcase. Lestat\n comes out of his spell, walks across the room to the", "Slowly, Lestat starts to feel something. Pain begins\n travelling through his body, consuming him until he\n screams. Marius crosses to Lestat convulsing on the", "The girls glance at each other, then, giggling, crawl\n over toward Lestat. Groupie #1 slides her hand slowly\n up his leg.", "finally truly drink and revive as Lestat cradles her.\n She pulls away, gasping. Lestat looks into her eyes.", "Then, Lestat's face still buried in his arms, he begins\n to laugh almost drunkenly. Raising his head, his", "Lestat suddenly glides through an open door and calmly\n touches ground. He empties his pockets out on a coffee\n table. We see a --", "itself. Lestat closes her eyes... He comes up to her\n face, brushing his lips against her cheek. She\n shivers...", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "Impulsively, Lestat goes back to them, hovers, his face\n still somewhat obscured by the darkness. Lestat starts\n clapping along to the music, exuberantly.", "Then her blood speaks to him as Lestat's eyes fall on her\n rucksack. He sees the journal. It all falls into place.", "Lestat stands by his bed, playing the ancient violin... a\n long mournful note. He stops a moment, lost in his\n thoughts. A flash of the first morning light reflects", "Akasha watches and waits. Finally Lestat grins boyishly\n through bloody teeth and wipes his lips with the back of\n his hand.", "Lestat is awestruck. There is such an unearthly power in\n Akasha's voice. Everything seems to hum and vibrate with\n her breath.", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "Lestat bursts out the doors of his bedroom and looks down\n into the living room. Marius sits on a couch, still\n dressed in red velvet, studying the Rolling Stone with\n Lestat on the cover.", "Lestat is drawn to the woman -- her form and beauty is\n exquisite even in its absolute stillness. As if this\n statue had just asked him to play, Lestat holds out his\n violin.", "MARIUS\n I slept.\n\n LESTAT\n Don't think you missed much.\n\n MARIUS\n Elvis." ], [ "at Lestat. Lestat is struck down, his singing stopped.\n The assassins move in.", "Marius's face fills with the bond. He slowly sinks\n down to his knees as Lestat feeds and feeds. As\n Lestat drinks, a barrage of IMAGES flood into him...", "Marius stops talking, turns. Lestat is no longer beside\n him. Marius turns back and sees Lestat standing in the", "MARIUS\n I slept.\n\n LESTAT\n Don't think you missed much.\n\n MARIUS\n Elvis.", "Lestat, lost, looks at Marius, his eyes intoxicated with\n Akasha's blood. Marius steps back. Looks at his\n fledgling with great sadness, anger, disappointment.", "MARIUS\n Stop her, Lestat!\n\n Lestat turns to Marius, shaking his head no in horror.\n\n MARIUS\n You must!", "Slowly, Lestat starts to feel something. Pain begins\n travelling through his body, consuming him until he\n screams. Marius crosses to Lestat convulsing on the", "Lestat turns to Marius, shaking his head, speaks in a\n horrified whisper...\n\n LESTAT\n My God, what have you done to me?", "shadows, listening to the music. The young woman, sensing\n something, turns towards Lestat in the shadows as she\n plays. Marius goes to Lestat, pulls him farther into the", "LESTAT\n Who are you? Do I know you?\n\n MARIUS\n I'm unknowable by nature.\n\n Marius advances again on the young man...", "MARIUS\n Lestat.\n\n (CONTINUED)\n\n 70.", "Lestat bursts out the doors of his bedroom and looks down\n into the living room. Marius sits on a couch, still\n dressed in red velvet, studying the Rolling Stone with\n Lestat on the cover.", "Marius is enraged, tries to control himself. Lestat\n gazes at him, speaks steadily.", "Lestat roars and struggles against his manacles.\n\n LESTAT\n You'll not stop me...\n\n Marius stares at him, shocked.", "But Lestat keeps on feeding hungrily.\n\n MARIUS\n No... no more. Lestat, no more!", "LESTAT\n More!\n\n Lestat smiles with red glistening lips. A beat on Marius\n as he slowly smiles, too.", "MARIUS\n (quietly)\n I see you still have a few\n lingering mortal emotions. They\n will serve you no good, Lestat.", "The strange man lifts himself up from Lestat's neck to\n reveal the face of the vampire MARIUS, the mysterious\n figure. Wiping his blooded mouth on his painter's\n cloth --", "Maharet and Marius realize what he's doing, see the\n chance Lestat has gained for them. A silent signal\n passes between them as...", "Lestat lays in bed, feverish, his skin paler than ever.\n At the foot of the bed stands Marius.\n\n MARIUS\n (quietly)\n Lestat?" ], [ "coven. Many of the faces are unnaturally pale, gaunt.\n Their eyes shine with a strange, reflective light. Jesse\n moves through the tables, passing a mortal YUPPIE-TYPE", "JESSE\n And it had a reputation for\n dealing with black magic.\n Witches' covens, seances, that\n sort of thing.", "He runs his hand up and down her body. Jesse starts to\n shake. She breaks out in a cold sweat. The others grin.\n He picks her up by the throat. Her legs flail in the\n air...", "Jesse moves past rough-hewn columns, watching something\n with great curiosity. Behind her, we glimpse a giant\n mural of names cut into the stone walls. A family tree,\n extending up onto the ceiling and down to the floor.", "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "JESSE\n (a beat, softly)\n I did.\n\n Murmurs bubble through the entire group now. They stare\n at Jesse, dismayed.", "JESSE\n It's a vampire coven. And\n Lestat's leading us to it.", "Jesse hears strange whispering. She sees now figures\n moving through the fog. One pushes a buzzer. Jesse stares,\n barely breathing, her heart pounding.", "... falls into step behind them. One knocks on the door.\n A face peers out at the group. Steps back. The door\n opens. Jesse follows the couples in. The door shuts\n behind her.", "He gazes into her eyes, finding himself desperately\n wanting her to say yes. The horror, the revulsion in\n Jesse's face says it all.", "Jesse is excited, a bit nervous, hoping to impress. She\n holds a remote which controls images appearing on the\n large video screen. Clips from Lestat's press conference\n continue. Jesse gazes out at the Talamascans.", "He goes to the paintings hanging on a wall in the back of\n his office, covered with black velvet. Jesse follows.\n He unveils them.", "Murmurs. Many of definite interest. Some of definite\n skepticism. Jesse's face shines bright with her\n enthusiasm.", "Behind them, Roger sits pensively watching.\n Surreptitiously, he glances down at a book on his lap --\n its title Vampires -- The Occult Truth. He talks on a\n phone.", "198 CONTINUED: (2) 198\n\n Talbot closes his eyes to shut out a tear, and Jesse is\n at his side and leans down to whisper in his ear...", "JESSE\n I've been tracking your manager\n for days...\n (gesturing to her\n Goth outfit)\n Then I figured out you simply\n have to look the part.", "90.\n\n134 CONTINUED: 134\n\n JESSE\n Is she alright?", "Jesse, making a presentation, stands before an impressive\n and imposing group of 10 TALAMASCANS, wearing demure\n suits.", "JESSE\n (gesturing to photo,\n defending herself)\n Hey, does it look like I got\n involved? That is not called\n involvement. That is called\n running.", "Quick flashes of gruesome period newspaper drawings,\n blood pouring from the neck of a screaming woman. A\n white-faced ghoul with fangs.\n\n Jesse is smiling wider, excited by her discovery." ], [ "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "It is Lestat. He stares at Jesse, amazed. Jesse glances\n desperately at the door. It's just a few feet away now.\n\n (CONTINUED)", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "Lestat and Jesse quietly move among the trees. Lestat\n stops on a dime -- senses tuned. He looks into the dark.", "Lestat looks up to face her, revealing his blood-stained\n lips. Jesse reflexively looks away.\n\n LESTAT\n Come closer, Jesse. You want to\n see? You want to know?", "JESSE\n (smiles)\n David, this is Lestat.\n\n He looks at Lestat, fear in his eyes.", "giggles drunkenly. Jesse watches and gasps as she\n realizes the male lover is a vampire. Lestat moves\n forward. Jesse gingerly follows.", "But suddenly her words catch him... His head flails as he\n tries to stop his natural impulse. Lestat lets out a\n desperate cry and throws her aside. Jesse gazes at him,\n surprised. He looms over her, angry.", "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "Lestat, content for the first time since we've known him,\n looks lovingly to Jesse. A flicker of curiosity crosses\n David's face.", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "JESSE\n I have reason to believe Lestat's\n the real thing. A vampire. And\n an ancient one.", "Jesse joins the screaming crowds.\n\n JESSE\n Lestat! Lestat!\n\n (CONTINUED)", "Her lips move to his wrist. Lestat strokes her hair,\n soothes her. Jesse gasps as pain courses through her.\n Lestat holds her close. She looks up at him, their eyes\n are locked together.", "He bares his fangs. Jesse bolts out the door... PAN\n ACROSS vampire faces staring after Jesse TO Lestat\n who gazes at her, absolutely entranced. He watches the\n Punk Vampires head after Jesse.", "Lestat drinks and drinks and Jesse sighs with intimacy,\n clutching his neck and back, and drawing his bite deeper\n into her flesh. She slowly crumples to the floor, being\n drawn down until finally...", "He turns, walks away. Jesse lets out a sigh of relief,\n then stares after him. She hesitates, then suddenly\n calls out:\n\n JESSE\n Does anything, Lestat?", "JESSE\n Lestat!\n\n He turns back, stares at her, astonished." ], [ "TALBOT\n Yes. Take care of her, Lestat.\n\n LESTAT\n Always.\n\n Talbot looks at Jesse, once his spiritual daughter.", "Jesse stares up at him in absolute awe, taking it in.\n Talbot gestures in the direction of the Talamascans in\n the library.", "TALBOT\n Jesse, you listen to me very, very\n carefully now. You are no longer\n seeing things clearly. Your\n emotions are clouding things.", "MAHARET\n Jesse, you must stay away from\n Lestat. You must forget all about\n him.\n\n Jesse looks at her, surprised. Maharet smiles.", "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "198 CONTINUED: (2) 198\n\n Talbot closes his eyes to shut out a tear, and Jesse is\n at his side and leans down to whisper in his ear...", "Talbot looks up to see Jesse and Lestat looking over his\n shoulder. He leaps out of his seat. Sees the change in\n her instantly.\n\n TALBOT\n Jesse. My God...", "Lestat and Jesse quietly move among the trees. Lestat\n stops on a dime -- senses tuned. He looks into the dark.", "Jesse is excited, a bit nervous, hoping to impress. She\n holds a remote which controls images appearing on the\n large video screen. Clips from Lestat's press conference\n continue. Jesse gazes out at the Talamascans.", "He turns, walks out. All the Talamascans look at Jesse.\n It doesn't look good. Her face burning red, Jesse turns,\n leaves.\n\n CUT TO:", "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "The Talamascans burst out laughing, even Talamascan #2.\n Jesse gazes at them, her face burning red. She's lost\n them, blown it. Made a fool of herself.", "As they start off, Lestat puts up his hand, points to\n Jesse.\n\n LESTAT\n Roger. Not that one. Leave her\n to me...", "JESSE\n (smiles)\n David, this is Lestat.\n\n He looks at Lestat, fear in his eyes.", "It is Lestat. He stares at Jesse, amazed. Jesse glances\n desperately at the door. It's just a few feet away now.\n\n (CONTINUED)", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "Jesse's heart pounds with terror.\n\n LESTAT\n The Talamascans have become quite\n stealthy. I didn't know\n infiltration was quite their style.", "A wood-lined room -- walls covered with books, artifacts,\n paintings. Jesse stands before Talbot. He fixes his\n eyes on her, pours her some coffee.", "Jesse stops at a contemporary self-portrait.\n\n TALBOT\n It's Marius, Jesse.", "Jesse runs her finger across the faces, then stops on the\n face of a gentleman with long white hair watching the\n bloodshed of gory battles and the sacrifices of saints\n burned at the stake." ] ]	[ "Who is Jesse Reeves?", "Who take her a side?", "Who show her Lestat's jounnal?", "Where was the concert?", "Who demandsLestat to kill Jesse?", "Who was lying lifeless?", "Who read the journal?", "How is Lestat awakened from his slumber?", "What is Marius' warning to Lestat?", "What does Jesse suspect on listening to the lyrics of Lestat's songs?", "What does Jesse return to Lestat at the concert in Los Angeles?", "What does Jesse ask Lestat to do to her that he won't?", "Who is awakened by Lestat's music?", "What happens at the concert in Death Valley?", "What do Lestat and Akasha do following the consumation of their relationship?", "What does Akasha order Lestat to do to Jessie to get back at Maharet?", "What happens to Jessie after Akasha is killed?", "What was the name of the city where Jesse returned Lestat's journal to him?", "Why were the Ancient vampires planning to kill Akasha? ", "Who helps Lestat drain the blood of Akasha?", "Who is killed by Akasha's power?", "Who is the last to drink of Akasha's blood?", "What awakens Lestat from his decades of slumber?", "What was Lestat warned about by Marius when he became a singer?", "What is the name of the paranormal study group that Jesse Reeves worked for? ", "How did Jesse originally come up with the theory that Lestat was a vampire?", "What is the name of Jesse's mentor at Talamasca?" ]	[ [ "A researcher.", "A researcher. " ], [ "David Talbot.", "David Talbot" ], [ "David Talbot.", "Marius." ], [ "In death valley.", "Death Valley" ], [ "Akasha.", "Akasha" ], [ "Jesse.", "jesse" ], [ "Davis.", "Jesse Reeves. " ], [ "By a heavy metal band, which he takes over as lead singer.", "by hearing a heavy metal band" ], [ "That the vampires of the world are not going to like his flamboyancy.", "that the vampires will not tolerate his flamboyant public profile" ], [ "That Lestat is most likely a vampire.", "That he's a vampire." ], [ "Lestat's journal.", "his journal" ], [ "Turn her into a vampire.", "She asks him to make her a vampire" ], [ "The vampire Akasha.", "Akasha" ], [ "Vampires attack, and Akasha bursts through the stage, taking Lestat as her new king.", "Vampires attack and Akasha kidnaps Lestat." ], [ "They confront the ancient vampires at the home of Maharet.", "take with her as new king" ], [ "She orders Lestat to kill Jessie, Maharet's niece.", "kill Jesse" ], [ "Lestat turns her into a vampire.", "is now a vampire" ], [ "Los Angeles.", "Los Angeles." ], [ "To save the human world from demise.", "To save the human world from demise. " ], [ "The Ancient Vampires.", "The Ancients" ], [ "Mael and Pandora", "Mael and Pandora. " ], [ "Maharet.", "Marharet." ], [ "A heavy metal band.", "a heavy metal band" ], [ "That the vampires wouldn't tolerate his flamboyant public profile.", "that the vampires will not tolerate his flamboyant public profile" ], [ "Talamasca", "Talamsca" ], [ "From listening to his lyrics", "by listening to Lestat's lyrics" ], [ "David Talbot", "David Talbot. " ] ]	43fce60036da73632775421436a2c2a1f970c755	train
[ [ "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "that everyone is talking about. And\n here he is, Mr. Felix Bush, the\n mysterious hermit of Caleb County!\n How are you today, sir?", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "BUS H\n Pretty good prayer. Mighta been\n wrong about that preacher.\n\n CHARLIE\n Why don't you lay down, Felix?", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "MATTIE\n I'm not stupid, Felix. No, I take\n that back. How long was it going", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him.", "BUSH\n Yeah, well..\n Bush returns to chopping wood.\n Feeling awkward, Horton hesitates, starts for his car, stops.", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "RAY\n What money is that?\n\n MATTIE\n Felix has money?\n Everyone is looking at Frank but he shuffles the cards.", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters." ], [ "the steps and it had blood and hair\n on it.\n The crowd gasps. Mattie is trembling.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "lighter to a tombstone and brushes away the debris. It reads:\n MARY LEE STROUP B. 1874 D. 1894. THUNDER rolls.", "(BEAT)\n He had blood on him.\n For Mattie all of this is like window into the past being\n suddenly thrown open and she is haunted and mesmerized.", "touches her in way that she is not prepared for. They sit\n there in silence. She suddenly wipes her face and scowls.", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "75.\n Suddenly she hurls the trowel as far as she can, then a\n handful of bulbs.. then her hat.\n\n MATTIE\n .too goddamn late..", ".Bush enters the field with his shotgun pointed at Carl and\n Gary's backs. They are drenched with gas and it is burning\n them through their clothes.", "Mattie pulls the door open. Bush is standing there soaking\n wet, breathing hard, holding his shotgun. She draws back\n reflexively. He looks into her.\n\n BUSH\n Please, Ma'am.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie.", "11.\n But the rock misses Bush and hits Mule, startling him. Old\n instincts kick in and he has a VIOLENT FIT.", "them. Burning and spitting they empty the cans. Suddenly\n Theman bolts, moaning and running blind with gas in his eyes.", "MATTIE\n Little Bit?! Oh my God, nobody's\n called me that in..\n But suddenly she is lifted from the chair as if by strong", "Mule stands with his ears back, upset. Bush, back in his old\n clothes, is angrily planing a board. The box of his casket\n minus the lid is on sawhorses behind him.", "Mattie sits down beside him. Tears are streaming down her\n face. She lays her head gently on his shoulder.", "BUSH (CONT'D)\n And as I was slamming his head into\n the wall, trying to get shed of", "Mattie sits just behind the girl with tears in her eyes, not\n really listening. On the table beside the piano is a stack of\n picture albums and old yellowed newspaper articles.", "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "ropes. She stares at the wall as she walks toward Bush's bed.\n Bush is stricken and white. He would stop her if he could but\n it is too late." ], [ "BUSH\n I fell in love with a married lady.\n And somehow she fell in love with\n me. It was the only time that I\n have been in love.", "The look takes Bush's breath away. But he suddenly seems to\n accept it as his due and when he talks, it is only to her.", "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "BUSH\n Can you help who you love?\n Mattie's face tells us that she has asked herself that\n question many times.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "BUSH\n You have a tender heart, always\n did.\n She gives him a curious look.", "Bush's shoulder hunch then fall as he turns. He looks into\n her, taking everything in. When he speaks his eyes and voice\n are soft.", "BUSH\n Is that all?\n Bush leans back stone-faced.\n In the silence, Buddy looks over again at the wondrous", "BUSH\n She's a peach.\n Frank and Buddy cut Bush a look. He looks ahead.\n\n BUSH\n We had a go.\n Frank nearly drives off the road.", "BUSH\n Hey Mattie.\n Buddy comes out, surprised to see Mattie and Bush together.\n Frank walks up behind him and scowls. Kathryn steers them\n back inside to give Mattie privacy.", "BUSH\n I want to tell you how it was. If\n you don't want me to, I'll go.\n Mattie sighs from down deep in her shoes then comes around\n and sits down.", "Buddy arrives at Bush first and sees the blood weeping onto\n his shirt.", "BUSH\n I am.\n Bush is surprised by the sound of his own voice.", "some lint from Buddy's jacket. He catches her fingers and\n kisses them.\n Bush is transfixed by the loving moment.", "Dim lamp light glows. We see Bush sitting on the edge of the\n bed wiping the sweat from his face with a sheet. He looks up\n at the picture of the beautiful woman.", "BUSH\n She turned around..\n (as Mattie turns back)\n .and.. I promise you that I did\n not know that I had a heart till\n right then.", "Somehow he has made it. Sopping wet and shivering, Bush is in\n bad shape and knows it.\n Mule sees Bush and grunts anxiously as he rises.", "As Bush starts out the open door, he nearly bumps into\n Buddy's wife, Kathryn, and MATTIE DARROW. Mattie is carrying", "BUSH\n I can wait.\n Buddy and Kathryn see Horton and double-take Bush. Buddy nods", "BUSH\n Yeah, well..\n Bush returns to chopping wood.\n Feeling awkward, Horton hesitates, starts for his car, stops." ], [ "world to think. I could see that\n her husband had set the downstairs\n on fire before he came up.", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "Out of nowhere a man bursts through a second story window,\n lands hard and rolls to smother his burning clothes.\n He crawls away and staggers up and for a moment looks as if", "He did what?! Good God. No, Ma'am,\n I didn't know that about your\n husband. Well, yeah now I\n understand why you want him under", "From a distance and through the trees we see a raging hell\n fire engulfing a small two story house. It burns and burns.", ".Bush enters the field with his shotgun pointed at Carl and\n Gary's backs. They are drenched with gas and it is burning\n them through their clothes.", "(BEAT)\n But before I could get to her and\n help her up.. a kerosene lamp hit\n the wall. And then her husband", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "With his clothes still smoking, he unbelievably tries to run\n back into the hell. But the fire is too hot and he cannot. He\n screams like a mad man and runs into the trees..", "BUSH\n Just fair, son.\n\n HORTON\n Carl said Ray paid them to set the\n fire. Paid them to break into the\n funeral home too.", "(BEAT)\n He had blood on him.\n For Mattie all of this is like window into the past being\n suddenly thrown open and she is haunted and mesmerized.", "BUSH\n Thank you.\n\n MATTIE\n What are you doing here?\n Burned through, a log falls in the fire. Bush jerks oddly and\n moves away.", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "Still shivering, Bush steps uneasily in front of the fire.\n Mattie hands him the hot mug. He looks uneasily at the yellow\n flowers on the table nearby.", "A man on fire bursts through the second story window of a\n burning house. He lands hard and rolls across the yard to\n smother the flames.", "them. Burning and spitting they empty the cans. Suddenly\n Theman bolts, moaning and running blind with gas in his eyes.", "FRANK\n So? We got to know.\n Kathryn shakes her head and goes back outside. FRANK has\n another look at Mattie then lets the curtain fall back.", "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "hell with it. And to hell with me.\n Bush grabs his shotgun and goes. Frank sits, stunned." ], [ "Hunkered down nearby, Bush is as still as a gravestone,\n staring at the last resting place of his old friend.\n As Bush gets up to leave he stops abruptly and stands frozen,", "Bush stands staring out the checkerboard window. He sees\n Charlie approaching and opens the door for him. Charlie\n climbs the steps, appraises the shack, and stares at Bush.", "6.\n But as he turns he sees Bush silently looking around.\n\n HORTON\n Oh! Hello..\n Horton comes to Bush but Bush ignores him and keeps\n critically looking around.", "Under the trees crooked rows of cold ghostly headstones\n glisten in the darkness. An old pocket lighter flares to\n reveal Bush staring at a pot of yellow flowers. He holds the", "BUSH\n I am.\n Bush is surprised by the sound of his own voice.", "Buddy arrives at Bush first and sees the blood weeping onto\n his shirt.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "Mr. Tollerude, nervous as hell, brings Bush up from his\n reclining position and turns the chair to the mirror.", "Bush studies his well trimmed hair and beard for a moment.\n It's impossible to tell what his thoughts are as he looks\n into his own eyes.", "that is as still as it can be. The sawdust makes him look\n almost wooden. A shadow crosses then comes closer.\n Buddy is sure he is dead but Bush's eyes open.", "Bush sits on the edge his bed. His face is drawn and haunted.\n The door open and closes. He doesn't look up.", "BUSH\n Is that all?\n Bush leans back stone-faced.\n In the silence, Buddy looks over again at the wondrous", "Somehow he has made it. Sopping wet and shivering, Bush is in\n bad shape and knows it.\n Mule sees Bush and grunts anxiously as he rises.", "BUSH\n\n (TO HIMSELF)\n Look at that. My funeral and\n everybody's in there but me.\n The hearse pulls onto the road and drives away.", "BUSH\n Thank you.\n\n MATTIE\n What are you doing here?\n Burned through, a log falls in the fire. Bush jerks oddly and\n moves away.", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie.", "Bush starts out of the barn, draws back, and peeks through\n the wall boards: A FIGURE approaches. He jerks..\n REVEAL Mattie walking\n\n BUSH\n Mattie?", "BUSH\n Me.\n Buddy peers around from the vestibule, listening, curious as\n hell, until Kathryn pulls him back.", "Dim lamp light glows. We see Bush sitting on the edge of the\n bed wiping the sweat from his face with a sheet. He looks up\n at the picture of the beautiful woman.", "Buddy, Kathryn, and Horton see Bush.\n Quinn and Charlie follow the crowd's eyes to Bush." ], [ "Frank Quinn at Quinn Funeral Home.\n As the Announcer begins a song, Bush moves his head in time\n with the music. Frank and Buddy rush into the control booth.", "FRANK\n Good afternoon ladies and\n gentlemen. I'm Frank Quinn of Quinn\n Funeral Home. Welcome to the live", "FRANK\n Reverend Jackson?\n (Charlie looks at hearse)\n Frank Quinn, Quinn funeral home.", "(QUIETLY)\n I might know someone who is looking\n for a funeral.\n Frank's eyes crawl over to him.\n\n 25 OMITTED 25", "BUSH\n Send it to the Quinn Funeral Home.\n Frank's eyes light up like fiery pinwheels and he almost\n yelps! Buddy looks oddly perplexed and sad.", "heart of Quinn Funeral Home and I'm\n proud to know him.\n Buddy is embarrassed and moved. Kathryn's eyes soften.", "BUSH\n Funeral party.\n Stumped for once in his life, Frank looks at Buddy. Then\n years of honed instincts surge back to life.\n\n FRANK\n We can do that.", "FRANK\n A funeral party.\n\n \n\n \n\n \n\n \n\n 35.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "FRANK\n So you'd like to have a funeral\n party while you're alive so you can\n go?\n\n BUSH\n Yes or no?", ".Quinn Funeral Home. I thought I\n could help you.\n Bush glances at his blown out window: 'Damn'. He lowers his", "FRANK\n Hey, the man wants to be at his own\n funeral. What can I say? I'd like\n to be at my funeral so I could tell\n my ex-wife to kiss my..", "BUSH\n I'm after a funeral.\n\n FRANK\n Boy, are you in luck.\n\n (GETTING UP)\n Follow me.", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "ANNOUNCER\n So tell us, sir, exactly how did\n you come up with the idea of having\n a funeral party before you die?\n\n BUSH\n I dreamed it.", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "A well crafted live-in home doubling as a funeral parlor. A\n sign, 'QUINN FUNERAL HOME', hangs from the porch.", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "Frank is lying in the back of the hearse, his head propped up\n on an old suitcase. He sips from his flask and stares out the\n window, thinking.", "FRANK\n I wonder what the odds are of a\n funeral home going broke? I mean\n you have a business everybody on" ], [ "BUSH\n I fell in love with a married lady.\n And somehow she fell in love with\n me. It was the only time that I\n have been in love.", "As Bush starts out the open door, he nearly bumps into\n Buddy's wife, Kathryn, and MATTIE DARROW. Mattie is carrying", "The look takes Bush's breath away. But he suddenly seems to\n accept it as his due and when he talks, it is only to her.", "on? She was already married when I\n met you. Were you just making up to\n me to get to her?\n Bush is so still he looks like a gargoyle.", "ropes. She stares at the wall as she walks toward Bush's bed.\n Bush is stricken and white. He would stop her if he could but\n it is too late.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "BUSH\n She's a peach.\n Frank and Buddy cut Bush a look. He looks ahead.\n\n BUSH\n We had a go.\n Frank nearly drives off the road.", "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "BUSH\n Hey Mattie.\n Buddy comes out, surprised to see Mattie and Bush together.\n Frank walks up behind him and scowls. Kathryn steers them\n back inside to give Mattie privacy.", "BUSH\n Is that all?\n Bush leans back stone-faced.\n In the silence, Buddy looks over again at the wondrous", "BUSH\n I am.\n Bush is surprised by the sound of his own voice.", "BUSH\n Me.\n Buddy peers around from the vestibule, listening, curious as\n hell, until Kathryn pulls him back.", "Dim lamp light glows. We see Bush sitting on the edge of the\n bed wiping the sweat from his face with a sheet. He looks up\n at the picture of the beautiful woman.", "BUSH\n I can wait.\n Buddy and Kathryn see Horton and double-take Bush. Buddy nods", "BUSH\n Her husband answered the door.", "BUSH\n I want to tell you how it was. If\n you don't want me to, I'll go.\n Mattie sighs from down deep in her shoes then comes around\n and sits down.", "BUSH\n He can hear what's said.\n Buddy is surprised again. So is Charlie.\n\n CHARLIE\n All right. After you left here..\n did you do the right thing?", "BUSH\n He's paying.\n As Bush blows out the door, Mr. Tollerude leans against the\n chair with relief.", "BUSH\n What stories?\n Bush leans in and stares into Horton. It feels like\n everything in the world stops dead.\n Buddy peeks in again, this time Kathryn peeks too.", "Buddy, Kathryn, and Horton see Bush.\n Quinn and Charlie follow the crowd's eyes to Bush." ], [ "BUSH\n Hey Mattie.\n Buddy comes out, surprised to see Mattie and Bush together.\n Frank walks up behind him and scowls. Kathryn steers them\n back inside to give Mattie privacy.", "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "BUSH\n Heard you moved off.\n\n MATTIE\n I've been back a while.\n\n BUSH", "Mattie and Bush walks side by side through the last of the\n glimmering light and shadows beneath the trees. It is a", "BUSH\n I want to tell you how it was. If\n you don't want me to, I'll go.\n Mattie sighs from down deep in her shoes then comes around\n and sits down.", "As Bush starts out the open door, he nearly bumps into\n Buddy's wife, Kathryn, and MATTIE DARROW. Mattie is carrying", "The look takes Bush's breath away. But he suddenly seems to\n accept it as his due and when he talks, it is only to her.", "Bush and Mattie are looking into each other, one anguished\n soul to another.", "BUSH\n Well.. what do you want to do?\n Buddy looks back at Bush.", "TOM\n Daddy!\n Wild with fear, Bonnie and Tom run toward Bush.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "BUSH\n I can wait.\n Buddy and Kathryn see Horton and double-take Bush. Buddy nods", "BUSH\n How you sleeping these days, girl?\n\n MATTIE\n How am I what?", "KEEPER, CHARLIE, MAUDE.\n Bush is squatting down staring at the markers. Mattie stands\n close beside him. Since his attention is elsewhere she looks", "BUSH\n Is that all?\n Bush leans back stone-faced.\n In the silence, Buddy looks over again at the wondrous", "BUSH\n It's still going on, Little Bit.\n Mattie tries to absorb that. The truth and tragedy of it", "BUSH\n What stories?\n Bush leans in and stares into Horton. It feels like\n everything in the world stops dead.\n Buddy peeks in again, this time Kathryn peeks too.", ".Bush enters the field with his shotgun pointed at Carl and\n Gary's backs. They are drenched with gas and it is burning\n them through their clothes.", ".Bush gives Mattie a glance and tries to be invisible." ], [ "BUSH\n He's paying.\n As Bush blows out the door, Mr. Tollerude leans against the\n chair with relief.", "HORTON\n Well.. you can't buy forgiveness,\n Mr. Bush. It's free. But you do\n have to ask for it.", "BUSH\n I did.. what I thought was right.\n\n CHARLIE\n You confessed? Asked forgiveness?\n Bush looks off and the muscles jump in his jaw.", "BUSH\n Is that all?\n Bush leans back stone-faced.\n In the silence, Buddy looks over again at the wondrous", "BUSH\n They keep talking about\n forgiveness.. ask Jesus for\n forgiveness.. I never did nothing\n to Him..", "BUSH\n Why did you change your mind?\n Charlie just looks at him, the unspoken words louder than any\n reason he could give.\n\n BUSH\n Thank you.", "BUSH\n I am.\n Bush is surprised by the sound of his own voice.", "BUSH\n You have no goddamn idea how right\n you are, son.\n Buddy moves to help him up but Bush waves him off.", "BUSH\n He can hear what's said.\n Buddy is surprised again. So is Charlie.\n\n CHARLIE\n All right. After you left here..\n did you do the right thing?", "eating and realizes that Bush has taken another turn and that\n he's been dismissed.", "BUSH\n She's a peach.\n Frank and Buddy cut Bush a look. He looks ahead.\n\n BUSH\n We had a go.\n Frank nearly drives off the road.", "BUSH\n Yeah, well..\n Bush returns to chopping wood.\n Feeling awkward, Horton hesitates, starts for his car, stops.", "Finally Bush drops his gaze and lets Tom off the hook.\n Relieved, Tom heaves the can up into the truck. Bonnie\n hesitates then goes back into the diner just as...", "BUDDY\n (out of nowhere)\n We say that funerals are \"For the\n Living\" but we forget what that\n means sometimes, I guess.\n (to Bush but almost to", "BUSH\n Still standing.\n\n CHARLIE\n Yes.\n Charlie give Bush a look then holds out his hand to Buddy\n again.", "93.\n Bush thinks about it, sees a way out. For a second he looks\n like he might take it. Then he shakes his head, puts a rag\n over the poultice and pulls his shirt up.", "Buddy arrives at Bush first and sees the blood weeping onto\n his shirt.", "BUSH\n I can wait.\n Buddy and Kathryn see Horton and double-take Bush. Buddy nods", "Somehow he has made it. Sopping wet and shivering, Bush is in\n bad shape and knows it.\n Mule sees Bush and grunts anxiously as he rises.", "18.\n Buddy is caught off guard by Bush's lucid candor and finds\n himself automatically responding differently to him." ], [ "world to think. I could see that\n her husband had set the downstairs\n on fire before he came up.", "Out of nowhere a man bursts through a second story window,\n lands hard and rolls to smother his burning clothes.\n He crawls away and staggers up and for a moment looks as if", "From a distance and through the trees we see a raging hell\n fire engulfing a small two story house. It burns and burns.", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "A man on fire bursts through the second story window of a\n burning house. He lands hard and rolls across the yard to\n smother the flames.", "With his clothes still smoking, he unbelievably tries to run\n back into the hell. But the fire is too hot and he cannot. He\n screams like a mad man and runs into the trees..", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "163 EXT. BURNING HOUSE - NIGHT 163", "Still shivering, Bush steps uneasily in front of the fire.\n Mattie hands him the hot mug. He looks uneasily at the yellow\n flowers on the table nearby.", "Buddy's son is crying his heart out. Kathryn comes in\n unbuttoning her blouse, picks him up, sits down, slips her", "(BEAT)\n But before I could get to her and\n help her up.. a kerosene lamp hit\n the wall. And then her husband", "BUSH\n Thank you.\n\n MATTIE\n What are you doing here?\n Burned through, a log falls in the fire. Bush jerks oddly and\n moves away.", "touches her in way that she is not prepared for. They sit\n there in silence. She suddenly wipes her face and scowls.", "Mattie sits down beside him. Tears are streaming down her\n face. She lays her head gently on his shoulder.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "he might run back into the flames. But the heat is\n unbearable. He runs toward us then past us through black\n shadows. We cannot see his face,", "ropes. She stares at the wall as she walks toward Bush's bed.\n Bush is stricken and white. He would stop her if he could but\n it is too late.", "KATHRYN\n I hope not.\n\n MATTIE\n Oh no, listen, he was beautiful.\n\n KATHRYN\n Are you serious?", "them. Burning and spitting they empty the cans. Suddenly\n Theman bolts, moaning and running blind with gas in his eyes." ], [ "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "Mattie sits just behind the girl with tears in her eyes, not\n really listening. On the table beside the piano is a stack of\n picture albums and old yellowed newspaper articles.", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "MATTIE\n She was married! And she wasn't\n just my sister, she was my best\n friend. We told each other", "BUSH\n Hey Mattie.\n Buddy comes out, surprised to see Mattie and Bush together.\n Frank walks up behind him and scowls. Kathryn steers them\n back inside to give Mattie privacy.", "FRANK\n So? We got to know.\n Kathryn shakes her head and goes back outside. FRANK has\n another look at Mattie then lets the curtain fall back.", "Mattie sits down beside him. Tears are streaming down her\n face. She lays her head gently on his shoulder.", "FRANK\n Are you alright, Mattie?\n She looks up at Frank for a long moment, her face softening.", "(BEAT)\n He had blood on him.\n For Mattie all of this is like window into the past being\n suddenly thrown open and she is haunted and mesmerized.", "Mattie pulls the door open. Bush is standing there soaking\n wet, breathing hard, holding his shotgun. She draws back\n reflexively. He looks into her.\n\n BUSH\n Please, Ma'am.", "Bush starts out of the barn, draws back, and peeks through\n the wall boards: A FIGURE approaches. He jerks..\n REVEAL Mattie walking\n\n BUSH\n Mattie?", "Mattie is standing on the sidewalk at Feldman's store with\n her coat collar pulled up against the cold, giving someone we\n can't see a bemused affectionate scolding..", "MATTIE\n And there's no getting over some\n things either, is there?\n\n BUSH\n Reckon not, Little Bit.", "82 INT. MATTIE'S HOUSE - NIGHT 82", "the steps and it had blood and hair\n on it.\n The crowd gasps. Mattie is trembling.", "KEEPER, CHARLIE, MAUDE.\n Bush is squatting down staring at the markers. Mattie stands\n close beside him. Since his attention is elsewhere she looks", "Kathryn and Buddy's baby boy.\n Frank sees Mattie and flicks his hair back nervously and\n quickly brushes his teeth with his finger as..", "MATTIE\n Little Bit?! Oh my God, nobody's\n called me that in..\n But suddenly she is lifted from the chair as if by strong", "CARL\n I'll tell you one damn thing, ain't\n nobody gonna go to a funeral for\n that son of a bitch.\n Mattie gives Carl a look" ], [ "that everyone is talking about. And\n here he is, Mr. Felix Bush, the\n mysterious hermit of Caleb County!\n How are you today, sir?", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "funeral party of Mr. Felix Bush!\n People don't know whether to clap or not. Some do and the\n rest of them pick it up.", "BUS H\n Pretty good prayer. Mighta been\n wrong about that preacher.\n\n CHARLIE\n Why don't you lay down, Felix?", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "Mule stands with his ears back, upset. Bush, back in his old\n clothes, is angrily planing a board. The box of his casket\n minus the lid is on sawhorses behind him.", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "CHARLIE\n My hearing is not what it was. It\n sounded like you said you want me\n to preach at your funeral party\n with you sitting there?\n\n BUSH\n Yes, sir.", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "BUSH\n Yeah, well..\n Bush returns to chopping wood.\n Feeling awkward, Horton hesitates, starts for his car, stops.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "the most beautiful sanctuary that\n I've ever seen. A lot of wonderful\n things happened in that church.\n Suddenly Bush breaks away, moves up beside Charlie, and puts", "BUSH\n Need a funeral.\n Horton looks up from the money.", "BUS H\n You was at the church with your\n wife and baby.\n Buddy opens his eyes and can't believe he is still alive.\n\n BUDDY\n Yes, sir.", "Bush is on the porch, straining boiled herbs, grass, and bark\n into a jar. There is something not right with him and he\n knows it. While the medicine cools he looks out across the\n mountain and draws a deep breath.", "RAY\n\n (SERIOUSLY)\n How much has he got? Maybe he can.\n Hearing that Bush wants or needs a real funeral Mattie is\n suddenly truly concerned." ], [ "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "that everyone is talking about. And\n here he is, Mr. Felix Bush, the\n mysterious hermit of Caleb County!\n How are you today, sir?", "funeral party of Mr. Felix Bush!\n People don't know whether to clap or not. Some do and the\n rest of them pick it up.", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "BUSH\n Funeral party.\n Stumped for once in his life, Frank looks at Buddy. Then\n years of honed instincts surge back to life.\n\n FRANK\n We can do that.", "Bush is on the porch, straining boiled herbs, grass, and bark\n into a jar. There is something not right with him and he\n knows it. While the medicine cools he looks out across the\n mountain and draws a deep breath.", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "CHARLIE\n My hearing is not what it was. It\n sounded like you said you want me\n to preach at your funeral party\n with you sitting there?\n\n BUSH\n Yes, sir.", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "FRANK\n A what?\n\n BUSH\n A party.\n\n BUDDY\n What kind of party?", "ANNOUNCER\n So tell us, sir, exactly how did\n you come up with the idea of having\n a funeral party before you die?\n\n BUSH\n I dreamed it.", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him.", "23.\n\n FRANK\n A service?\n\n BUSH\n Party.", "BUSH\n Yeah, well..\n Bush returns to chopping wood.\n Feeling awkward, Horton hesitates, starts for his car, stops.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "Bush stands staring out the checkerboard window. He sees\n Charlie approaching and opens the door for him. Charlie\n climbs the steps, appraises the shack, and stares at Bush." ], [ "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "toward him. He squints, recognizes her, and his face fills\n with a timeless love.", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "BUDDY\n No catch, sir.\n\n CHARLIE\n Still don't get it, do you? With\n Felix, there's always a catch.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "MATTIE\n Oh, Felix..\n He sniffs her hair and tenderly touches it.\n\n BUSH\n Wonder if her hair would be white?", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "MATTIE\n I'm not stupid, Felix. No, I take\n that back. How long was it going", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "FRANK\n Yeah, sorry.\n He stands, loving the view, forgetting why he is here.\n She waits it out as long as she can, not sure how she feels\n about this adoring look.", "RAY\n What money is that?\n\n MATTIE\n Felix has money?\n Everyone is looking at Frank but he shuffles the cards.", "CHARLIE\n Well, Felix, this one's for real, I\n guess. I didn't actually see them", "26.\n\n MATTIE\n How are you?\n\n BUSH\n You look like you always did.\n He abruptly rips himself away and is gone.", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him." ], [ "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "BUS H\n Pretty good prayer. Mighta been\n wrong about that preacher.\n\n CHARLIE\n Why don't you lay down, Felix?", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "RAY\n What money is that?\n\n MATTIE\n Felix has money?\n Everyone is looking at Frank but he shuffles the cards.", "MATTIE\n I'm not stupid, Felix. No, I take\n that back. How long was it going", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him.", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "BUDDY\n No catch, sir.\n\n CHARLIE\n Still don't get it, do you? With\n Felix, there's always a catch.", "HORTON\n Well.. you can't buy forgiveness,\n Mr. Bush. It's free. But you do\n have to ask for it.", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "MATTIE\n Oh, Felix..\n He sniffs her hair and tenderly touches it.\n\n BUSH\n Wonder if her hair would be white?" ], [ "that everyone is talking about. And\n here he is, Mr. Felix Bush, the\n mysterious hermit of Caleb County!\n How are you today, sir?", "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "RAY\n What money is that?\n\n MATTIE\n Felix has money?\n Everyone is looking at Frank but he shuffles the cards.", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "CHARLIE\n Well, Felix, this one's for real, I\n guess. I didn't actually see them", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "Frank and Buddy enter the store and find MR. FELDMAN and a\n PHOTOGRAPHER setting up a large camera and backdrop. As they\n turn to show Bush what is happening they see him go by the\n window outside.", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him.", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "BUS H\n Pretty good prayer. Mighta been\n wrong about that preacher.\n\n CHARLIE\n Why don't you lay down, Felix?" ], [ "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "that everyone is talking about. And\n here he is, Mr. Felix Bush, the\n mysterious hermit of Caleb County!\n How are you today, sir?", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "Frank and Buddy enter the store and find MR. FELDMAN and a\n PHOTOGRAPHER setting up a large camera and backdrop. As they\n turn to show Bush what is happening they see him go by the\n window outside.", "HORTON\n Took out ads in a bunch of papers\n too, something about a party?\n\n FRANK\n God, I love small towns.", "making sure they know that he has his eyes on them.\n A BAND arrives on the back of pick-up truck.\n The Generator kicks on belching smoke everywhere. Frank is", "on it, a truck loaded with equipment and workers for the big\n event rumbles down a dirt road. The Quinn Funeral home hearse\n completes the unlikely parade.", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "FRANK\n What do you mean, what? Goddamn\n ball of money! He wants a party\n with pink balloons on his ears,\n we're gonna give it to him.", "funeral party of Mr. Felix Bush!\n People don't know whether to clap or not. Some do and the\n rest of them pick it up.", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "RAY\n What money is that?\n\n MATTIE\n Felix has money?\n Everyone is looking at Frank but he shuffles the cards.", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "CHARLIE\n Well, Felix, this one's for real, I\n guess. I didn't actually see them", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters." ], [ "FRANK\n They might. He's inviting everyone\n who has a story about him to come.\n You could tell about him kicking\n your ass, Carl.\n Carl looks at Frank as if he wants to cold cock him.", "on and have a party with the devil\n for his money but I'll dance on his\n grave someday.\n Carl snatches his few dollars up and heads out.", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "FRANK \n He came to see me after he'd been \n here, wants to call the party off.\n\n CHARLIE\n I don't care.", "BUDDY\n The day of the party he told me\n about the will he had in the secret\n drawer of his table. He left the\n raffle money to all of us.\n Everyone is shocked, touched.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "ANNOUNCER\n So tell us, sir, exactly how did\n you come up with the idea of having\n a funeral party before you die?\n\n BUSH\n I dreamed it.", "done, would you do it? I want it\n said. Please, sir.\n Charlie sighs from down in his shoes and starts for the door.", "KATHRYN\n What's wrong? My husband has his\n head bashed in and all you care\n about is this party!", "CHARLIE\n My hearing is not what it was. It\n sounded like you said you want me\n to preach at your funeral party\n with you sitting there?\n\n BUSH\n Yes, sir.", "part?\n (off Charlie's sigh)\n At first he said he wanted\n everybody to come who had a story", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie.", "HIMSELF)\n I was thinking about your funeral\n party before I went to sleep last\n night and I think I understand it a", "Frank and Charlie walk toward the stage. Buddy peels away.\n Frank calls after him to come with them to the stage but\n Buddy waves them away. He wants no part of that. He sees", "FRANK\n What do you mean, what? Goddamn\n ball of money! He wants a party\n with pink balloons on his ears,\n we're gonna give it to him.", "BUSH\n Funeral party.\n Stumped for once in his life, Frank looks at Buddy. Then\n years of honed instincts surge back to life.\n\n FRANK\n We can do that.", "They enter the dark room together. Bush lights a lantern,\n gets a chair from a corner and holds it out for her. She sits", "His voice booms out over the crowd, startling him. He looks\n down, sees Buddy, Kathryn, Frank and Horton.\n He looks closer for someone most important but she is not", "Horton steps up to the microphone. The shocked crowd turns to\n him. He closes his eyes and bows his head.", "23.\n\n FRANK\n A service?\n\n BUSH\n Party." ], [ "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "CHARLIE\n Well, Felix, this one's for real, I\n guess. I didn't actually see them", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "Under the trees crooked rows of cold ghostly headstones\n glisten in the darkness. An old pocket lighter flares to\n reveal Bush staring at a pot of yellow flowers. He holds the", "Frank enters with a flashlight. He sees that his desk and\n files have been ransacked. He rushes into the casket room.", "Charlie sits at his desk, staring blankly at his crooked\n stamp. Suddenly Fate in the form of Frank Quinn looms at the\n window. Charlie knows he is there but he won't look at him.", "BUS H\n Pretty good prayer. Mighta been\n wrong about that preacher.\n\n CHARLIE\n Why don't you lay down, Felix?", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "MATTIE\n Oh, Felix..\n He sniffs her hair and tenderly touches it.\n\n BUSH\n Wonder if her hair would be white?", "Several caskets have been thrown to the floor. He goes to the\n one where the money is, finds that it is sealed tight, and\n sighs with relief. Hearing something he whips the light", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie." ], [ "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "funeral party of Mr. Felix Bush!\n People don't know whether to clap or not. Some do and the\n rest of them pick it up.", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "FRANK\n A funeral party.\n\n \n\n \n\n \n\n \n\n 35.", "CHARLIE\n My hearing is not what it was. It\n sounded like you said you want me\n to preach at your funeral party\n with you sitting there?\n\n BUSH\n Yes, sir.", "BUSH\n Funeral party.\n Stumped for once in his life, Frank looks at Buddy. Then\n years of honed instincts surge back to life.\n\n FRANK\n We can do that.", "ANNOUNCER\n So tell us, sir, exactly how did\n you come up with the idea of having\n a funeral party before you die?\n\n BUSH\n I dreamed it.", "62.\n\n BUDDY\n Almost nothing, sir. I just work at\n the funeral home.\n\n CHARLIE\n Do you know he built this church?", "CHARLIE\n Are you sure you're in the right\n place? Not expecting a funeral.\n Suddenly Bush steps into the church. Charlie squints over\n then stares at Bush with utter disbelief.", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "the most beautiful sanctuary that\n I've ever seen. A lot of wonderful\n things happened in that church.\n Suddenly Bush breaks away, moves up beside Charlie, and puts", "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "Buddy quietly creeps in through the front door, looks back\n over his shoulder, scowls, and enters the church.", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "FRANK\n So you'd like to have a funeral\n party while you're alive so you can\n go?\n\n BUSH\n Yes or no?", "FRANK\n Hey, the man wants to be at his own\n funeral. What can I say? I'd like\n to be at my funeral so I could tell\n my ex-wife to kiss my..", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "HORTON\n All right, I see. Well the church\n can help you get your affairs in\n order, arrange a service..\n Horton glances at the strange wad of money again." ], [ "ANNOUNCER\n You heard him! If you want a chance\n to win 300 acres of virgin timber\n worth thousands and thousands of", "are selling the raffle tickets, making them turn their\n pockets inside out. The generator makes a strange noise,\n Frank eyeballs it, and it labors on.", "A MAN chooses a winning raffle ticket from a wire cage.\n A poor YOUNG COUPLE with SEVERAL CHILDREN win the raffle! The", "space with a prized addition. A LOUD KNOCKING startles him\n and the stamp is placed slightly crooked..\n Reveal Charlie Jackson scowling at the crooked stamp. He gets", "BUSH\n You buy a ticket for $5.00 The day\n of the funeral we draw names. Then\n when I die, the winner gets my", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "BUDDY\n The day of the party he told me\n about the will he had in the secret\n drawer of his table. He left the\n raffle money to all of us.\n Everyone is shocked, touched.", "Buddy is surrounded by bags. He is copying down names onto\n raffle tickets and putting them in bin for the drawing. There\n is a MAN standing guard by the front door with a rifle.", "RAY\n Please. I've won that 4 times\n already.\n\n FRANK\n It's who has it last that counts.", "Frank has cleaned the wound. Buddy has made a poultice that\n Bush is pressing onto the wound as he hears the last of\n Horton's prayer over the loudspeakers.", "Several caskets have been thrown to the floor. He goes to the\n one where the money is, finds that it is sealed tight, and\n sighs with relief. Hearing something he whips the light", "promise of a new and better life begins for them.\n The big funeral party breaks up people wind their way home.\n The big old honking generator coughs off.", "Frank rips open two more envelopes and dollar bills rain down\n to the floor. He's beside himself. Buddy eyes him warily.", "93.\n Bush thinks about it, sees a way out. For a second he looks\n like he might take it. Then he shakes his head, puts a rag\n over the poultice and pulls his shirt up.", "MATTIE\n Oh please.. you think the Lord's\n taking sides in a poker game in a\n funeral home?\n Horton shrugs and points to the divine evidence.", "Ray shrugs, sweetly blase. Frank tries to rein in his temper\n for her. The loss of the hand is especially hard on Carl who\n has only a couple of dollars left.", "9.\n Bush abruptly grabs his money and starts out. His hand bangs\n into the pew and the money FALLS.", "Horton steps up to the microphone. The shocked crowd turns to\n him. He closes his eyes and bows his head.", "slides to the floor, crawls on his knees, and looks out.\n Frank is standing there, scratching on the screen. Behind him\n is Charlie, looking very unhappy about standing in the near", "Buddy stares wild-eyed at the big wad of money then drops\n back into the vestibule.\n Bush storms past Buddy, Kathryn and the baby like a hot wind." ], [ "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "MATTIE\n Oh, Felix..\n He sniffs her hair and tenderly touches it.\n\n BUSH\n Wonder if her hair would be white?", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him.", "MATTIE\n I'm not stupid, Felix. No, I take\n that back. How long was it going", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "RAY\n What money is that?\n\n MATTIE\n Felix has money?\n Everyone is looking at Frank but he shuffles the cards.", "CHARLIE\n Well, Felix, this one's for real, I\n guess. I didn't actually see them", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "BUSH\n I fell in love with a married lady.\n And somehow she fell in love with\n me. It was the only time that I\n have been in love.", "He did what?! Good God. No, Ma'am,\n I didn't know that about your\n husband. Well, yeah now I\n understand why you want him under" ], [ "lighter to a tombstone and brushes away the debris. It reads:\n MARY LEE STROUP B. 1874 D. 1894. THUNDER rolls.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "Everyone piles into the hearse. There is no back seat so they\n all have to crawl in the back door and sit along the sides.\n It makes everyone smile. Mattie gives Bush one last fleeting", "the steps and it had blood and hair\n on it.\n The crowd gasps. Mattie is trembling.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "Mattie sits down beside him. Tears are streaming down her\n face. She lays her head gently on his shoulder.", "BUSH\n\n (SOFTLY)\n What got him?\n\n HORTON\n Just got old, sir.", "BUSH\n It's still going on, Little Bit.\n Mattie tries to absorb that. The truth and tragedy of it", "MATTIE\n She was married! And she wasn't\n just my sister, she was my best\n friend. We told each other", "(BEAT)\n He had blood on him.\n For Mattie all of this is like window into the past being\n suddenly thrown open and she is haunted and mesmerized.", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "CARL\n I'll tell you one damn thing, ain't\n nobody gonna go to a funeral for\n that son of a bitch.\n Mattie gives Carl a look", "FRANK\n So? We got to know.\n Kathryn shakes her head and goes back outside. FRANK has\n another look at Mattie then lets the curtain fall back.", "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "KATHRYN\n I hope not.\n\n MATTIE\n Oh no, listen, he was beautiful.\n\n KATHRYN\n Are you serious?", "MATTIE\n He was a Doctor; a real good man.\n We lived in St. Louis for awhile.\n He died unexpectedly about a year", "3.\n\n HORTON\n Uh, well, Mr. Wiley Starke has\n passed on, sir. His funeral is\n tomorrow and I thought you might\n want to know since..", "89A.\n Buddy starts toward Bush. Kathryn tries to stop him but he\n pulls free and walks slowly toward Bush.\n A shot rings out!" ], [ "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "An EMPTY CASKET, awaits its passenger in a small but\n serviceable funeral hall. Through the office door, FRANK", "Everyone piles into the hearse. There is no back seat so they\n all have to crawl in the back door and sit along the sides.\n It makes everyone smile. Mattie gives Bush one last fleeting", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "funeral party of Mr. Felix Bush!\n People don't know whether to clap or not. Some do and the\n rest of them pick it up.", "41 INT. FUNERAL HOME - DAY 41", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "on it, a truck loaded with equipment and workers for the big\n event rumbles down a dirt road. The Quinn Funeral home hearse\n completes the unlikely parade.", "100 OMITTED 100\n\n 101 INT. FUNERAL HOME - NIGHT 101", "23 INT. FUNERAL HOME - DAY 23", "Bush enters the Funeral Home. As Buddy starts to close the\n door, Bush catches it.", "24 INT. FUNERAL HOME/OFFICE - SAME 24", "Frank Quinn at Quinn Funeral Home.\n As the Announcer begins a song, Bush moves his head in time\n with the music. Frank and Buddy rush into the control booth.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "BUSH\n Send it to the Quinn Funeral Home.\n Frank's eyes light up like fiery pinwheels and he almost\n yelps! Buddy looks oddly perplexed and sad.", "BUSH\n I'm after a funeral.\n\n FRANK\n Boy, are you in luck.\n\n (GETTING UP)\n Follow me.", "FRANK\n A funeral party.\n\n \n\n \n\n \n\n \n\n 35.", "brought the wagon with the coffin into the field. Everyone\n quiets, remembering why they are here. They park the wagon\n behind the hearse." ], [ "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "CHARLIE\n Well, Felix, this one's for real, I\n guess. I didn't actually see them", "Frank enters with a flashlight. He sees that his desk and\n files have been ransacked. He rushes into the casket room.", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "Under the trees crooked rows of cold ghostly headstones\n glisten in the darkness. An old pocket lighter flares to\n reveal Bush staring at a pot of yellow flowers. He holds the", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "MATTIE\n Oh, Felix..\n He sniffs her hair and tenderly touches it.\n\n BUSH\n Wonder if her hair would be white?", "Charlie sits at his desk, staring blankly at his crooked\n stamp. Suddenly Fate in the form of Frank Quinn looms at the\n window. Charlie knows he is there but he won't look at him.", "Several caskets have been thrown to the floor. He goes to the\n one where the money is, finds that it is sealed tight, and\n sighs with relief. Hearing something he whips the light", "BUS H\n Pretty good prayer. Mighta been\n wrong about that preacher.\n\n CHARLIE\n Why don't you lay down, Felix?", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him." ], [ "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "funeral party of Mr. Felix Bush!\n People don't know whether to clap or not. Some do and the\n rest of them pick it up.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "Everyone piles into the hearse. There is no back seat so they\n all have to crawl in the back door and sit along the sides.\n It makes everyone smile. Mattie gives Bush one last fleeting", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "on it, a truck loaded with equipment and workers for the big\n event rumbles down a dirt road. The Quinn Funeral home hearse\n completes the unlikely parade.", "An EMPTY CASKET, awaits its passenger in a small but\n serviceable funeral hall. Through the office door, FRANK", "embrace then climbs in. Bush looks in on them all for a long\n moment all then closes the door.\n As the hearse moves out, he waves to Buddy who is looking out", "FRANK\n But what happened?\n\n BUDDY\n He asked the preacher to come to\n the funeral. He said no.", "41 INT. FUNERAL HOME - DAY 41", "24 INT. FUNERAL HOME/OFFICE - SAME 24", "Frank Quinn at Quinn Funeral Home.\n As the Announcer begins a song, Bush moves his head in time\n with the music. Frank and Buddy rush into the control booth.", "brought the wagon with the coffin into the field. Everyone\n quiets, remembering why they are here. They park the wagon\n behind the hearse.", "Bush enters the Funeral Home. As Buddy starts to close the\n door, Bush catches it.", "FRANK\n A funeral party.\n\n \n\n \n\n \n\n \n\n 35.", "114 INT. FUNERAL HOME/OFFICE - NIGHT/LATER 114\n\n Frank sits with his feet on the desk. Bush sits across from\n him. They each have a cup of whiskey.", "BUSH\n I'm after a funeral.\n\n FRANK\n Boy, are you in luck.\n\n (GETTING UP)\n Follow me." ], [ "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "Everyone piles into the hearse. There is no back seat so they\n all have to crawl in the back door and sit along the sides.\n It makes everyone smile. Mattie gives Bush one last fleeting", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "MATTIE\n Oh, Felix..\n He sniffs her hair and tenderly touches it.\n\n BUSH\n Wonder if her hair would be white?", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "I wish it for us all.\n Mattie moves toward the edge of the grave. Frank puts a hand\n out to catch her should she should stumble. She stares down", "Mattie sits down beside him. Tears are streaming down her\n face. She lays her head gently on his shoulder.", "MATTIE\n When someone you love is gone, you\n can pour everything, even a\n lifetime of things into the place\n where they were but it's still\n always empty.", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "MATTIE\n I'm not stupid, Felix. No, I take\n that back. How long was it going", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "MATTIE\n Oh please.. you think the Lord's\n taking sides in a poker game in a\n funeral home?\n Horton shrugs and points to the divine evidence.", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him.", "CARL\n I'll tell you one damn thing, ain't\n nobody gonna go to a funeral for\n that son of a bitch.\n Mattie gives Carl a look", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "Buddy is putting the money into the foot of a casket. A lit\n candelabra sits nearby. There is NOISE, like the muted sound\n of something breaking. Buddy jerks and listens.", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie." ], [ "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "He did what?! Good God. No, Ma'am,\n I didn't know that about your\n husband. Well, yeah now I\n understand why you want him under", "(BEAT)\n He had blood on him.\n For Mattie all of this is like window into the past being\n suddenly thrown open and she is haunted and mesmerized.", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie.", "world to think. I could see that\n her husband had set the downstairs\n on fire before he came up.", "(BEAT)\n But before I could get to her and\n help her up.. a kerosene lamp hit\n the wall. And then her husband", "Mattie pulls the door open. Bush is standing there soaking\n wet, breathing hard, holding his shotgun. She draws back\n reflexively. He looks into her.\n\n BUSH\n Please, Ma'am.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "the steps and it had blood and hair\n on it.\n The crowd gasps. Mattie is trembling.", "KATHRYN\n What's wrong? My husband has his\n head bashed in and all you care\n about is this party!", "Mule stands with his ears back, upset. Bush, back in his old\n clothes, is angrily planing a board. The box of his casket\n minus the lid is on sawhorses behind him.", "BUSH (CONT'D)\n And as I was slamming his head into\n the wall, trying to get shed of", "BUSH\n I hit him pretty hard, knocked him\n down. Can't remember going upstairs\n but I remember I saw a hammer on", "lighter to a tombstone and brushes away the debris. It reads:\n MARY LEE STROUP B. 1874 D. 1894. THUNDER rolls.", ".Bush enters the field with his shotgun pointed at Carl and\n Gary's backs. They are drenched with gas and it is burning\n them through their clothes.", "BUSH\n That crazy old son of a bitch tried\n to beat a man to death for no\n reason? That it?", "ropes. She stares at the wall as she walks toward Bush's bed.\n Bush is stricken and white. He would stop her if he could but\n it is too late.", "barn and levels a glinting shotgun at him!\n Tom freezes, bends over, and throws up!\n When Tom looks up, a ray of light reveals the half face of a", "touches her in way that she is not prepared for. They sit\n there in silence. She suddenly wipes her face and scowls." ] ]	[ "What does Felix request when he returns to town?", "What was Mary Lee attacked with?", "Who was Bush's true love?", "How did Mary Lee's husband set the house on fire?", "Whose ghost does Bush think he sees?", "Why does Frank Quinn agree to advtertise a funeral party for Felix?", "Who did Bush have an affair with?", "What plans did Bush and Mary Lee have together?", "Who forgives Bush?", "What woman dies in a terrible fire?", "What is Mary Lee's relationship to Mattie?", "What does Felix Bush want to plan with the help of the town's minister?", "Who is Felix Bush's party for?", "Who does Felix confess he always loved?", "Who has to forgive Felix?", "Who do the town folf believe Felix is in league with?", "What does Felix bring to town with him to plan a party with?", "Who agrees to help him throw a party?", "Whose ghost does Felix appear to see before he dies?", "Whose church does Felix want to have a funeral party at?", "What is the lottery prize?", "Who did Felix have an affair with?", "How did Mary Lee die?", "Where is Felix's funeral service held?", "Whose ghost does Felix see before dying?", "Who officiates Felix's funeral?", "What does Mattie place on Felix's casket?", "What weapon did Mary Lee's husband use to attack her?" ]	[ [ "A funeral party for himself.", "A funeral party " ], [ "A hammer.", "a hammer" ], [ "Mary Lee.", "Mary Lee Stroup" ], [ "By throwing a kerosene lamp against a wall.", "He threw a kerosine lamp against the wall" ], [ "The ghost of Mary Lee.", "Mary Lee." ], [ "Because he was having financial troubles.", "he wants Filix's money" ], [ "Mary Lee.", "Mary ." ], [ "To run away.", "to run off and be together" ], [ "Mattie.", "Mattie Darrow" ], [ "Mary Lee", "Mary Lee" ], [ "She is her sister", "they are sisters" ], [ "A funeral party", "A funeral party" ], [ "Himself", "Himself" ], [ "Mary Lee", "Mary Lee" ], [ "Mattie", "Mattie Darrow" ], [ "The devil", "The Devil." ], [ "A wad of cash", "A wad of cash " ], [ "The town's funeral director", "Frank Quinn" ], [ "Mary Lee's", "Mary Lee" ], [ "Reverend Gus Horton's", "Rev Gus Horton's" ], [ "Felix's property", "Bush's property" ], [ "Mary Lee", "Mary Lee, Mattie's sister" ], [ "Her husband attacked her and set the house on fire", "She died in a fire." ], [ "On his property", "A burial plot on Felix's property" ], [ "Mary Lee's", "Mary Lee" ], [ "Charlie", "Charlie." ], [ "A picture of Mary Lee", "A picture of Mary Lee" ], [ "A hammer", "Hammer." ] ]	48e4a4f877a7b8844de565b4dc1269db01803435	train
[ [ "She turns to her husband. He is not what Racine expected.\nHe may, in fact, be mean, as Matty described him, but he", "She looks at him, and there is something startling about\nthe directness of her gaze. When she speaks, she is cool\nwithout being hostile.\n\n MATTY\n I'm a married woman.", "Matty turns toward him.\n\n MATTY\n No, darling. Don't talk that way.\n It's not true.\n\nRacine studies her face.", "MATTY\n Mary Ann's an old friend. She's\n like a sister to me. She wants me\n to be happy.", "Matty's face, her head on a pillow, turned away from her\nhusband, away from the bedroom door. Her look is just as\nintense as Racine's. Her eyes are focused on -", "Matty, flat on her back, smiles weakly and looks at the\nceiling. Again, the mattress moves. She looks at Edmund.\nHe has pulled on his shorts and is walking toward the\nbathroom.", "Matty is leaning against one of the posts that flank the\nporch stairs. Headlights pass across the front of the\nhouse and Matty's body. She smiles a welcoming smile to\nthe unseen Edmund.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "Matty's face looks different than we've seen it. There's\na fire burning behind there and the heat it's throwing is\nbringing her equal portions of dread and relief. She\nstares at him,", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "MATTY\n (hugs him closer)\n Oh, I know you will, darling. I didn't", "MATTY\n He left this morning. I had to see\n you.\n\n RACINE\n (kissing her)\n I know.", "Matty is silent for a long beat.\n\n MATTY\n No. I signed a pre-nuptial agreement.\n\n RACINE\n What?", "He disappears into the bathroom. Matty slips out of bed.\nShe is wearing a silky nightgown. She hurries to the\nbedroom door.", "Matty watches Heather give Edmund a big goodbye kiss and\nrun off to talk to Betty, the Walker's Housekeeper, who", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water.", "MATTY\n You're right, darling. I'm sorry.\n I know you're right.\n\nEXT. \"THE BREAKERS\" - NIGHT", "Racine and Matty are in bed. Matty is sound asleep, her\nback close to Racine. But he is not asleep. He is propped", "MATTY (CONT'D)\n as I can. I should be there by seven-\n thirty. I can't wait to see you,\n darling. We've made it.", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT" ], [ "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "MATTY\n Ned, I don't know what you think,\n but you're wrong. I haven't done\n anything to hurt you. I love you.\n You've got to believe me.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "MATTY\n Don't say it, if you don't mean it.\n Please, Ned, don't.\n\n RACINE\n I do. I want you with me.", "MATTY\n I did arrange to meet you. But, Ned,\n it all changed. You changed it. I\n fell in love with you. I didn't plan\n that...", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "MATTY\n Bad. I get some money for a year.\n Not much. That's it. But I don't\n care, Ned. Not if I can be with you.", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "MATTY\n Don't talk about it, Ned. Please\n don't. Talk is dangerous. Sometimes\n it makes things happen, it makes it\n real.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know.", "MATTY\n It didn't lock. Oh. Ned, hold me.\n Please just hold me, God, I love\n you.\n\nRacine reaches over and locks the door to his office.", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "MATTY\n It's all ours now, Ned. We could\n leave tonight if we wanted. It's\n over.\n\n RACINE\n Yes, it is.", "MATTY\n I'm careful. I hated it, Ned. I\n hated sitting there with the two of\n you. I thought I was going to scream.", "Matty watches with panicky eyes as Edmund moves toward\ndoor. When she speaks, her voice is different, husky.\n\n MATTY\n Edmund.", "MATTY\n We'll know if she does tell. Roz\n will report to Edmund quick enough.\n It's exactly what she's always wanted.\n\nMatty disappears for a moment into the shadows.", "She turns to her husband. He is not what Racine expected.\nHe may, in fact, be mean, as Matty described him, but he", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse." ], [ "Racine walks over to the incendiary device. He pulls out\nthe lever and straightens up. As he does he looks down a", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "But they've always been small-time.\n This might not be. She's trouble,\n Ned. The real thing. Big-time, major\n league trouble. Watch yourself.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "The smile fades from Racine's face.\n\n RACINE\n Ned Racine.\n\nIt comes back to Glenn in a flash. He wishes he hadn't\ncome up.", "LOWENSTEIN\n -- I think I've underestimated you,\n Ned. I don't know why it took me so\n long. You've started using your\n incompetence as a weapon.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "LOWENSTEIN\n Ned, that lady may have just killed\n her husband.\n\nRacine smiles cheerfully and puts a reassuring arm around\nLowenstein's shoulder, leading him to the door.", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "MATTY\n It's all ours now, Ned. We could\n leave tonight if we wanted. It's\n over.\n\n RACINE\n Yes, it is.", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "He pulls down the wooden case and opens it. Inside is\nEdmund's .38 revolver.\n\nEXT. DRAWBRIDGE ACROSS THE CANAL - NIGHT", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "LOWENSTEIN\n Oh, yeah! Right, right. You'll\n love this, Ned, this latest", "He knows where everything Is. Teddy is watching Racine,\nwho is kneeling on the floor before a compact incendiary", "got to hold together, Ned. It won't\n be long, then we'll get away from\n here. Out from under all this.\n (a beat)", "MATTY\n I did arrange to meet you. But, Ned,\n it all changed. You changed it. I\n fell in love with you. I didn't plan\n that...", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you." ], [ "Edmund looks at her and laughs.\n\n WALKER\n You trying to kill me?\n\n Converted to PDF by www.screentalk.org 61.", "WALKER\n (at the bedroom\n door)\n I've got a surprise for this fucker.\n\n MATTY\n Edmund, be careful!", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "Edmund is getting out the driver's side.\n\n WALKER\n Hello, sweetheart. Have I got a\n nice present for you.", "MATTY\n He has a gun!\n\nEdmund thinks she is warning him. He spins to look.\n\n WALKER\n Where?", "Suddenly, Racine bursts from the hall closet, the wooden\nplank raised above his head. He brings it down fast toward\nEdmund's head.", "Edmund comes slowly down the steps, his gun pointing here,\nthen there in his perfectly steady grip. The thrill of\nthe hunt is in Edmund's eyes. The downstairs is thick", "Edmund frowns, goes back up the stairs.\n\n WALKER\n (grumbling)\n Damn. She's not going to wake up at\n 2 o'clock in the morning...", "GRACE\n Racine, you got to face something.\n You killed Edmund Walker, man. And\n you're going down for it. Two people", "Edmund reacts instinctively, raising his arm, the arm\nthat holds the gun, to protect himself. The wooden plank\nsmashes down -- half its force taken by Edmund's forearm,\nhalf by his head. The gun BLASTS once.", "LOWENSTEIN\n You know, that Edmund Walker was a\n bad guy. The more I find out about", "Matty watches Heather give Edmund a big goodbye kiss and\nrun off to talk to Betty, the Walker's Housekeeper, who", "Through an open door, Edmund can be seen kissing Heather\ngoodnight in the guest room. He gets up, comes to the\ndoor and switches off her light. He starts to close her", "WALKER\n Edmund Walker. Nice to meet you.", "HARDIN\n (almost wistful)\n No, there doesn't seem to be any\n problem here. This is Edmund Walker's\n last will and testament. I'm afraid\n the problem is elsewhere.", "Racine puts his left hand into Edmund's face, his thumb\nflat against the lens of Edmund's glasses and pushes his\nhead back. The glasses fly away and Racine loses his\nhold. Edmund comes on.", "HARDIN\n As you can imagine, Mrs. Walkers\n given the circumstances of Edmund's\n death, none of this is going to\n happen... how should I say it...\n simply.", "MATTY\n Edmund's company owns The Breakers.\n\n RACINE\n Is that right?\n\nFor a second, Walker's eyes flick over Matty like a whip.", "He pulls down the wooden case and opens it. Inside is\nEdmund's .38 revolver.\n\nEXT. DRAWBRIDGE ACROSS THE CANAL - NIGHT", "Converted to PDF by www.screentalk.org 58.\n\n\nINT. WALKER HOUSE - DAY" ], [ "The trunk is open like a giant maw. A sheet of plastic\nhas been spread across the inside. Edmund's body flops\ndown inside. He has been dressed, his shoes and watch", "Edmund reacts instinctively, raising his arm, the arm\nthat holds the gun, to protect himself. The wooden plank\nsmashes down -- half its force taken by Edmund's forearm,\nhalf by his head. The gun BLASTS once.", "He pulls down the wooden case and opens it. Inside is\nEdmund's .38 revolver.\n\nEXT. DRAWBRIDGE ACROSS THE CANAL - NIGHT", "Edmund is on the floor, blood pouring from his scalp.\nBut he is coming on like a crazed beast. His glasses", "Edmund comes slowly down the steps, his gun pointing here,\nthen there in his perfectly steady grip. The thrill of\nthe hunt is in Edmund's eyes. The downstairs is thick", "IN THE SUPPLY AREA, Racine has dropped Edmund's body over\nsome tipped shelves. Now he lifts the heavy ceiling beam", "Racine puts his left hand into Edmund's face, his thumb\nflat against the lens of Edmund's glasses and pushes his\nhead back. The glasses fly away and Racine loses his\nhold. Edmund comes on.", "Everything is as Racine left it. Edmund's body lies\nbeneath the beam. It is barely discernible in the gloom.", "Suddenly, Racine bursts from the hall closet, the wooden\nplank raised above his head. He brings it down fast toward\nEdmund's head.", "Matty reaches the bottom of the stairs and peers around.\nShe starts back along the dark hall of the house just as\nEdmund comes out of the bedroom upstairs; he is still in", "one here. Racine peers inside one final time. He is looking\nthrough the new glass in the same little window shot out\nby Edmund's gun. The wind chimes TINKLE loudly.", "Racine sits down hard. He is streaming with sweat under\nthe enormous dead weight. He adjusts the plastic sheet\nso that Edmund's bloody skull won't contact the wall.", "Edmund is pulling Racine toward him with all his might,\ncrawling up Racine's body as they both slide on the wood\nfloor. Edmund reaches out one huge hand, and pulls Racine\neven closer.", "INT. MATTY'S BEDROOM - NIGHT\n\nEdmund's alarm clock - 2:05. Edmund rolls into view, his\nbreath ragged. Matty's hand is on his chest.", "Matty watches with panicky eyes as Edmund moves toward\ndoor. When she speaks, her voice is different, husky.\n\n MATTY\n Edmund.", "Racine grunts under the weight of Edmund's corpse, flung\nover his back. He stumbles back toward the hulking hotel.\nThe trunk of the Cadillac is closed.", "Edmund is sitting up in bed, putting on his glasses.\n\n MATTY\n What's wrong?\n\nEdmund motions for her to be silent.", "RACINE\n It's Edmund's gun. You remember it,\n don't you?\n\nHe has it in his hand now. He looks it over casually, but\nthe barrel is toward her.", "Matty, flat on her back, smiles weakly and looks at the\nceiling. Again, the mattress moves. She looks at Edmund.\nHe has pulled on his shorts and is walking toward the\nbathroom.", "Edmund points his gun at that approaching space and stops.\nHe listens. The TINKLING of the wind chimes rises weirdly,\nmaking it hard for him to hear." ], [ "with no one looking for her. At the\n boathouse. You find two bodies, me\n and this girl. Two killers dead.\n Case closed.", "Approaching the boathouse carefully, Tracy takes out his\npistol. The front door is ajar. Tracy pushes it, and it\ncreaks open. He enters cautiously.\n\nINT. BOATHOUSE", "Traced against a window at the far end of the boathouse,\nTracy sees the silhouette of a man. Gripping his pistol,\nhe moves silently toward that silhouette, closing in on\nit while keeping alert for movement.", "Racine comes down the lawn. He walks slowly toward the\nboathouse. His walk is unsteady. Racine moves around to\nthe front of the boathouse and steps onto its wooden porch.", "The boathouse is dark, lit only by moonlight and park\nlights that shine through the windows. Tensely, Tracy\nlistens for sounds, then moves very carefully past stacked\nup rowboats and canoes.", "RACINE\n No, out there.\n\n MATTY\n Boat house.\n\n RACINE\n What is in there?", "Everything is as Racine left it. Edmund's body lies\nbeneath the beam. It is barely discernible in the gloom.", "liquor. All the lights on the lawn, gazebo and boathouse\nare off. Racine hears something and peers toward the\ndriveway. Headlights move very slowly up the drive toward", "Siren off, Tracy cuts the motor and silently glides into\nCullen Park, stopping just under a low-hanging weeping\nwillow.\n\nEXT. BOATHOUSE", "MATTY\n No. She wouldn't do that. She's\n putting them in the boathouse. In", "completely in the gloom. Racine lowers the revolver wearily\nand stares out toward the boathouse. Grace lowers his\ngun and looks out there too. He moves slowly forward.", "the top drawer of the dresser in the\n boathouse. They should be there\n now, if she's kept up her end.", "He looks out at the boat house.\n\n RACINE\n What's that?\n\n MATTY\n A gazebo", "\"You are entering\n PINEHAVEN\n Please drive safely\"\n\nThe town looks well tended.\n\nEXT. BOAT HOUSE - WALKER HOUSE - DAY", "Matty walks twenty feet past the gazebo and stops when\nshe can make out the boathouse in the gloom. She stares\nat it a moment then turns back toward the house.", "Racine has rocked back on his heels away from the window.\nHe stands up and steps away from the boathouse. You might\ncall it a stagger.", "There is a sound like the ROAR of a dragon, and the roof\nof the boathouse lifts and then disappears in a huge BALL", "been carefully drawn across it; it is impossible to see\nbeyond them into the boathouse. Except... except for one\nlittle slice at the bottom of the window where the curtains", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water.", "window and runs tautly back into the gloom of the\nboathouse. Racine shifts his head an inch and he can see\nanother wire. It originates from that same spot back in" ], [ "with no one looking for her. At the\n boathouse. You find two bodies, me\n and this girl. Two killers dead.\n Case closed.", "Approaching the boathouse carefully, Tracy takes out his\npistol. The front door is ajar. Tracy pushes it, and it\ncreaks open. He enters cautiously.\n\nINT. BOATHOUSE", "Everything is as Racine left it. Edmund's body lies\nbeneath the beam. It is barely discernible in the gloom.", "Traced against a window at the far end of the boathouse,\nTracy sees the silhouette of a man. Gripping his pistol,\nhe moves silently toward that silhouette, closing in on\nit while keeping alert for movement.", "Racine comes down the lawn. He walks slowly toward the\nboathouse. His walk is unsteady. Racine moves around to\nthe front of the boathouse and steps onto its wooden porch.", "The boathouse is dark, lit only by moonlight and park\nlights that shine through the windows. Tensely, Tracy\nlistens for sounds, then moves very carefully past stacked\nup rowboats and canoes.", "the top drawer of the dresser in the\n boathouse. They should be there\n now, if she's kept up her end.", "RACINE\n No, out there.\n\n MATTY\n Boat house.\n\n RACINE\n What is in there?", "Siren off, Tracy cuts the motor and silently glides into\nCullen Park, stopping just under a low-hanging weeping\nwillow.\n\nEXT. BOATHOUSE", "completely in the gloom. Racine lowers the revolver wearily\nand stares out toward the boathouse. Grace lowers his\ngun and looks out there too. He moves slowly forward.", "been carefully drawn across it; it is impossible to see\nbeyond them into the boathouse. Except... except for one\nlittle slice at the bottom of the window where the curtains", "liquor. All the lights on the lawn, gazebo and boathouse\nare off. Racine hears something and peers toward the\ndriveway. Headlights move very slowly up the drive toward", "\"You are entering\n PINEHAVEN\n Please drive safely\"\n\nThe town looks well tended.\n\nEXT. BOAT HOUSE - WALKER HOUSE - DAY", "RACINE\n In the boathouse.", "GRACE\n Her teeth were left, man. We sent\n them back to Illinois. The\n identification was positive. That\n was her, that was Matty Tyler Walker.\n That was her and she's dead.", "MATTY\n No. She wouldn't do that. She's\n putting them in the boathouse. In", "put on. Racine drops the blooded wooden plank beside the\nbody, then throws a blanket over the corpse and slams the\ntrunk. Racine turns to Matty who stands, fully dressed,", "GRACE\n So it's looking more and more like\n he was killed somewhere else and\n brought there in his own car. Your", "The trunk is open like a giant maw. A sheet of plastic\nhas been spread across the inside. Edmund's body flops\ndown inside. He has been dressed, his shoes and watch", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water." ], [ "Matty is leaning against one of the posts that flank the\nporch stairs. Headlights pass across the front of the\nhouse and Matty's body. She smiles a welcoming smile to\nthe unseen Edmund.", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT", "MATTY\n How'd you know?\n\n RACINE\n You look like Pinehaven.\n\n MATTY\n How does Pinehaven look?", "Matty sits on the porch drinking a highball. She stubs\nout another cigarette in the overflowing ashtray and looks\nat her watch. Her foot swings nervously.", "MATTY\n ... Mary Ann and I left Wheaton\n together and went to Chicago. We\n didn't know what we were doing. I", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "Matty closes the front door behind Racine and wraps her\narms around him. She kisses him hard and long on the mouth,\nthen starts on his neck. He begins to push her away but\nshe clings to him, eating him up.", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water.", "Racine has just parked his car and is walking back across\nthe lawn. Matty is standing in the gazebo, her back\nturned, looking out at the Waterway.", "MATTY\n Is this town that small?\n\nRacine hands her a snow cone. They walk over to the rail.\nRacine watches her eat the snow cone with enormous\ninterest.", "She's smiling as she leaves the gazebo and walks across\nthe lawn. Matty takes Racine's arm as they watch Mary\nAnn get into her little sports car, which has been pulled\nup close to the house. She pulls out waving.", "Racine and Matty are in bed. Matty is sound asleep, her\nback close to Racine. But he is not asleep. He is propped", "MATTY\n He left this morning. I had to see\n you.\n\n RACINE\n (kissing her)\n I know.", "Racine turns and stares out at the ocean. Matty rises up\nbehind and hugs him from the back. She kisses his shoulder\nblades and presses her cheek against his spine.", "Behind them the group breaks up, Hardin goes back into\nthe building and Lowenstein walks Roz the short distance\nto her car. Matty reaches the door of her car and turns\nto Racine.", "MATTY\n What are you doing in Pinehaven?\n\n RACINE\n I'm no yokel. Why, I was all the\n way to Miami once.", "A. Matty sits on the dock dangling her feet in the water\nas Heather plays in an inner tube.\nB. Racine stands at his office window, staring down at", "The Cadillac stops in front of the house and for several\nmoments nothing happens. Then Matty gets out of the car\nWaterway.", "Matty has been pushed roughly across the entry hall. Her\nback hits hard against the wall at the front of the central\nhall. She rubs her wrist where the skin is red and looks\nwith frightened eyes at Racine.", "RACINE'S POV. Matty is standing at the bottom of the\nstairs in the hall. She is looking directly at the front\ndoor. Frozen in the spot." ], [ "The picture is not great. The pretty face is a little\ncheap-looking. It is not the Matty he knew. It is her\nfriend from the back verandah, Mary Ann.", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT", "The lady in question turns around, surprised. It is not\nMatty at all. It is MARY ANN. She's attractive, but a\nlittle cheap-looking. She looks him over.", "Matty's face looks different than we've seen it. There's\na fire burning behind there and the heat it's throwing is\nbringing her equal portions of dread and relief. She\nstares at him,", "Matty comes in. She peers into the darkness until she\nsees him. She locks the door and turns to face him. She\nis dressed in a pale silk suit and blouse, very carefully", "Back to her picture. We're moving in on it. Closer. Closer.\nAnd then through it --\n\nTo her real face, this Matty, this Mary Ann, alive and\nfine in the sun of --", "Matty kisses him on the mouth, then shakes her head \"no.\"\n\n MATTY\n I waited till I saw her leave. Please\n don't be angry with me.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "He disappears into the bathroom. Matty slips out of bed.\nShe is wearing a silky nightgown. She hurries to the\nbedroom door.", "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "MATTY\n We'll know if she does tell. Roz\n will report to Edmund quick enough.\n It's exactly what she's always wanted.\n\nMatty disappears for a moment into the shadows.", "MATTY\n How'd you know?\n\n RACINE\n You look like Pinehaven.\n\n MATTY\n How does Pinehaven look?", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "MATTY\n Remember your promise.\n\nRacine agrees. Matty looks him over a moment, then turns\nto unlock the door.", "Matty gave him. Now he sails it across the office at the\nhook of a coatstand. It hits and bounces off onto the\nfloor. Racine gets up, walks over and picks it up. He", "Matty's face, her head on a pillow, turned away from her\nhusband, away from the bedroom door. Her look is just as\nintense as Racine's. Her eyes are focused on -", "his undershorts. He reaches the top of the stairs as Matty\nmoves back along the hall. The alcove under the stairs is\nin black shadow. Matty is focused on it.", "MATTY\n Look in my eyes. Can you see yourself?\n\nRacine tries for a moment, then gives up with a laugh.\n\n MATTY\n Here!", "She turns to her husband. He is not what Racine expected.\nHe may, in fact, be mean, as Matty described him, but he", "MATTY\n No... I'm weak.\n\nShe kisses him on the lips and steps quickly inside the\nfront door. She closes it, looks through the window at\nhim, then moves away." ], [ "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "RACINE\n I'm Ned Racine, Heather. I've heard\n a lot about you. It's nice to meet\n you.\n\nHeather nods uncertainly.", "The smile fades from Racine's face.\n\n RACINE\n Ned Racine.\n\nIt comes back to Glenn in a flash. He wishes he hadn't\ncome up.", "Racine puts his hand up under her hair, on her nape. She\ncloses her eyes at his touch, then moves away, as though\nby an act, of will, to the door, half opening it.", "Then she is just nodding. Racine puts his face deep into\nher hair, closing his eyes as the smell of her washes\nover him.", "Racine and Matty are in bed. Matty is sound asleep, her\nback close to Racine. But he is not asleep. He is propped", "MATTY\n It didn't lock. Oh. Ned, hold me.\n Please just hold me, God, I love\n you.\n\nRacine reaches over and locks the door to his office.", "There is a pregnant pause as Racine takes off his shirt\nand leans against the refrigerator.\n\n GRACE\n Ned, how did you get involved with\n this Matty Walker?", "Glenda the Meter Maid passes their table on her way out.\nShe has eyes only for Racine.\n\n GLENDA\n Hello, Ned.", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "Matty closes the front door behind Racine and wraps her\narms around him. She kisses him hard and long on the mouth,\nthen starts on his neck. He begins to push her away but\nshe clings to him, eating him up.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "LOWENSTEIN\n Ned, that lady may have just killed\n her husband.\n\nRacine smiles cheerfully and puts a reassuring arm around\nLowenstein's shoulder, leading him to the door.", "Now, for the first time, Racine turns to look at her.\nShe is sitting on the edge of the bed, half into her", "MATTY\n Don't say it, if you don't mean it.\n Please, Ned, don't.\n\n RACINE\n I do. I want you with me.", "RACINE\n That wouldn't be quite so meaningful,\n except that today she started coming\n on to me. And maybe you haven't\n heard but the lady is about to come\n into a great deal of money.", "Racine is behind the desk. Occupying the two seats in\nfront are a married couple rapidly approaching divorce.\nThey are arguing now, each trying to convince Racine of", "Racine watches, mesmerized, as she walks directly toward\nhim. She passes within a few inches of him, her eyes", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "Racine tries to see his reflection in the car's side view\nmirror but he has trouble. Matty, very animated in her\ndelight, steps up and kisses him quickly." ], [ "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "MATTY\n I'll divorce him. And we won't have\n his money. Part of me wants it so", "Matty turns toward him.\n\n MATTY\n No, darling. Don't talk that way.\n It's not true.\n\nRacine studies her face.", "Matty is silent for a long beat.\n\n MATTY\n No. I signed a pre-nuptial agreement.\n\n RACINE\n What?", "She turns to her husband. He is not what Racine expected.\nHe may, in fact, be mean, as Matty described him, but he", "MATTY\n I'm going to tell Edmund I want a\n divorce. I won't stay any longer. I", "She looks at him, and there is something startling about\nthe directness of her gaze. When she speaks, she is cool\nwithout being hostile.\n\n MATTY\n I'm a married woman.", "Matty's face, her head on a pillow, turned away from her\nhusband, away from the bedroom door. Her look is just as\nintense as Racine's. Her eyes are focused on -", "the enclosed side verandah in the Walker house. Matty is\nin a big chair. She watches Heather, not the television.\nShe puts a cigarette in her mouth then reaches out to", "RACINE\n Anyway, you'll come out all right.\n\n MATTY\n Of the divorce?\n\n RACINE\n Yeah. He's ripe.", "MATTY\n He has a gun!\n\nEdmund thinks she is warning him. He spins to look.\n\n WALKER\n Where?", "Matty kisses him on the mouth, then shakes her head \"no.\"\n\n MATTY\n I waited till I saw her leave. Please\n don't be angry with me.", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "RACINE\n Then you should have said -- 'I'm a\n happily married woman.'\n\n MATTY\n That's my business.", "ROZ\n Thank you.\n\nRacine comes up to Matty and takes her hand.\n\n RACINE\n Mrs. Walker, I'm very sorry about\n your husband.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "MATTY\n I miss you so badly. But it's too\n dangerous.\n\n RACINE\n She won't wake up now.", "WALKER\n Yes, she is. I'm crazy about her.\n If I ever thought she was seeing" ], [ "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "MATTY\n He has a gun!\n\nEdmund thinks she is warning him. He spins to look.\n\n WALKER\n Where?", "WALKER\n (at the bedroom\n door)\n I've got a surprise for this fucker.\n\n MATTY\n Edmund, be careful!", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "MATTY\n I did arrange to meet you. But, Ned,\n it all changed. You changed it. I\n fell in love with you. I didn't plan\n that...", "MATTY\n It's all ours now, Ned. We could\n leave tonight if we wanted. It's\n over.\n\n RACINE\n Yes, it is.", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "Matty watches Heather give Edmund a big goodbye kiss and\nrun off to talk to Betty, the Walker's Housekeeper, who", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "MATTY\n I'm careful. I hated it, Ned. I\n hated sitting there with the two of\n you. I thought I was going to scream.", "the enclosed side verandah in the Walker house. Matty is\nin a big chair. She watches Heather, not the television.\nShe puts a cigarette in her mouth then reaches out to", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "MATTY\n Ned, I don't know what you think,\n but you're wrong. I haven't done\n anything to hurt you. I love you.\n You've got to believe me.", "MATTY\n We'll know if she does tell. Roz\n will report to Edmund quick enough.\n It's exactly what she's always wanted.\n\nMatty disappears for a moment into the shadows.", "MATTY\n Bad. I get some money for a year.\n Not much. That's it. But I don't\n care, Ned. Not if I can be with you.", "MATTY\n Are you sure, Ned? I've been thinking\n about it. Maybe there is. The will\n is with his lawyer in Miami I know", "Matty reaches the bottom of the stairs and peers around.\nShe starts back along the dark hall of the house just as\nEdmund comes out of the bedroom upstairs; he is still in" ], [ "batty lately. She's convinced she\n ain't gonna be out into the will.\n It seems that a couple weeks before\n the murder, Walker's niece stayed up", "Converted to PDF by www.screentalk.org 58.\n\n\nINT. WALKER HOUSE - DAY", "Walker looks at Racine and laughs. As he begins to speak,\nhe focuses intently on Racine. He seems to be trying to\ncommunicate something other than what he's saying.", "WALKER\n (whispering)\n I think there's someone downstairs I\n heard something.\n\nHe swings out of bed; he is in his undershorts.", "WALKER\n Right.\n\n RACINE\n That hasn't changed, has it?\n\n WALKER\n No, we're very happy with it.", "LOWENSTEIN\n Someone's putting you in deep trouble,\n my friend. From about three thirty\n to five AM on the night Walker was", "Again Walker takes off his glasses. He holds them up to\nthe light and then rubs them again with his handkerchief.", "years ago, since she first spotted\n him and decided to take him... one\n way or another. Maybe Walker -- or\n any of us -- never knew her real", "GRACE\n So it's looking more and more like\n he was killed somewhere else and\n brought there in his own car. Your", "GRACE\n Racine, you got to face something.\n You killed Edmund Walker, man. And\n you're going down for it. Two people", "Grace, exasperated, indicates that he didn't.\n\n LOWENSTEIN\n Seems Walker always ware glasses --\n steel-rimmed glasses. He was a real\n fanatic about them.", "RACINE'S POV. The Walker House. In front sits a huge\nwhite Cadillac. All the lights in the house are out.\nThe wind chimes TINKLE softly.\n\nRacine lights a cigarette.", "He rises slowly and watches the patrol car disappear.\n\nEXT. STREET IN FRONT OF WALKER HOUSE - NIGHT\n\nThe Ford stops at front of the drive.", "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "WALKER\n (low, from the\n closet)\n Will you be quiet? I'm going to\n nail the bastard.", "F. At \"The Breakers.\" Racine follows the same path as\nthe police car he'd watched.", "with no one looking for her. At the\n boathouse. You find two bodies, me\n and this girl. Two killers dead.\n Case closed.", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "Then maybe we can talk about pantyhose or something\ninteresting.\n\nShe walks away. Walker watches her go with a satisfied,\npossessive grin. They sit.", "WALKER\n I was a lawyer. Still am, I guess.\n But I don't practice. Went to\n Columbia. You?\n\n RACINE\n F. S. U." ], [ "batty lately. She's convinced she\n ain't gonna be out into the will.\n It seems that a couple weeks before\n the murder, Walker's niece stayed up", "LOWENSTEIN\n Ned, that lady may have just killed\n her husband.\n\nRacine smiles cheerfully and puts a reassuring arm around\nLowenstein's shoulder, leading him to the door.", "who I've know for years, wants to\n know of my whereabouts on the night\n of our recent local murder?", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "But they've always been small-time.\n This might not be. She's trouble,\n Ned. The real thing. Big-time, major\n league trouble. Watch yourself.", "MATTY\n I'm careful. I hated it, Ned. I\n hated sitting there with the two of\n you. I thought I was going to scream.", "MATTY\n Ned, I don't know what you think,\n but you're wrong. I haven't done\n anything to hurt you. I love you.\n You've got to believe me.", "LOWENSTEIN\n -- I think I've underestimated you,\n Ned. I don't know why it took me so\n long. You've started using your\n incompetence as a weapon.", "Middle of the night. No one in sight. Now comes the only\nmovement -- a Miranda Beach Police Patrol Car drives slowly\nup the street next to the old hotel and turns south on\nOcean Avenue. When it is gone, all is dead again.", "LOWENSTEIN\n Someone's putting you in deep trouble,\n my friend. From about three thirty\n to five AM on the night Walker was", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "Matty, flat on her back, smiles weakly and looks at the\nceiling. Again, the mattress moves. She looks at Edmund.\nHe has pulled on his shorts and is walking toward the\nbathroom.", "RACINE\n They had to be here when you cleaned\n up that night. Think about it, think\n hard. They've probably got my prints\n on them.", "honey, his wife, says he left the\n house in the middle of the night\n driving himself to some mysterious\n meeting. Is that vague enough for\n you?", "GRACE\n (nods, looking at\n his notes)\n I've got it all here. And, Ned, I'm\n sorry I had to ask.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know.", "One small window in the front door shatters and the bullet\ncontinues into the night.\n\nEdmund's revolver slides across the hall floor into a\ncorner.", "MATTY\n It didn't lock. Oh. Ned, hold me.\n Please just hold me, God, I love\n you.\n\nRacine reaches over and locks the door to his office." ], [ "Approaching the boathouse carefully, Tracy takes out his\npistol. The front door is ajar. Tracy pushes it, and it\ncreaks open. He enters cautiously.\n\nINT. BOATHOUSE", "The boathouse is dark, lit only by moonlight and park\nlights that shine through the windows. Tensely, Tracy\nlistens for sounds, then moves very carefully past stacked\nup rowboats and canoes.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "Traced against a window at the far end of the boathouse,\nTracy sees the silhouette of a man. Gripping his pistol,\nhe moves silently toward that silhouette, closing in on\nit while keeping alert for movement.", "Racine comes down the lawn. He walks slowly toward the\nboathouse. His walk is unsteady. Racine moves around to\nthe front of the boathouse and steps onto its wooden porch.", "Suddenly, Racine bursts from the hall closet, the wooden\nplank raised above his head. He brings it down fast toward\nEdmund's head.", "been carefully drawn across it; it is impossible to see\nbeyond them into the boathouse. Except... except for one\nlittle slice at the bottom of the window where the curtains", "window and runs tautly back into the gloom of the\nboathouse. Racine shifts his head an inch and he can see\nanother wire. It originates from that same spot back in", "RACINE\n No, out there.\n\n MATTY\n Boat house.\n\n RACINE\n What is in there?", "MATTY\n No. She wouldn't do that. She's\n putting them in the boathouse. In", "There is a sound like the ROAR of a dragon, and the roof\nof the boathouse lifts and then disappears in a huge BALL", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "Edmund comes slowly down the steps, his gun pointing here,\nthen there in his perfectly steady grip. The thrill of\nthe hunt is in Edmund's eyes. The downstairs is thick", "\"You are entering\n PINEHAVEN\n Please drive safely\"\n\nThe town looks well tended.\n\nEXT. BOAT HOUSE - WALKER HOUSE - DAY", "The trunk is open like a giant maw. A sheet of plastic\nhas been spread across the inside. Edmund's body flops\ndown inside. He has been dressed, his shoes and watch", "liquor. All the lights on the lawn, gazebo and boathouse\nare off. Racine hears something and peers toward the\ndriveway. Headlights move very slowly up the drive toward", "He knows where everything Is. Teddy is watching Racine,\nwho is kneeling on the floor before a compact incendiary", "MATTY\n I went to phone booths. I'm afraid\n of him, Ned. I'm always afraid.", "Matty reaches the bottom of the stairs and peers around.\nShe starts back along the dark hall of the house just as\nEdmund comes out of the bedroom upstairs; he is still in", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?" ], [ "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "MATTY\n I did arrange to meet you. But, Ned,\n it all changed. You changed it. I\n fell in love with you. I didn't plan\n that...", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "He looks out at the boat house.\n\n RACINE\n What's that?\n\n MATTY\n A gazebo", "Matty walks twenty feet past the gazebo and stops when\nshe can make out the boathouse in the gloom. She stares\nat it a moment then turns back toward the house.", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water.", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "MATTY\n I went to phone booths. I'm afraid\n of him, Ned. I'm always afraid.", "MATTY\n I'll go, Ned. I'll go and look for\n them.", "Matty reaches the bottom of the stairs and peers around.\nShe starts back along the dark hall of the house just as\nEdmund comes out of the bedroom upstairs; he is still in", "RACINE\n No, out there.\n\n MATTY\n Boat house.\n\n RACINE\n What is in there?", "MATTY\n No. She wouldn't do that. She's\n putting them in the boathouse. In", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "MATTY\n Bad. I get some money for a year.\n Not much. That's it. But I don't\n care, Ned. Not if I can be with you.", "MATTY\n Don't say it, if you don't mean it.\n Please, Ned, don't.\n\n RACINE\n I do. I want you with me.", "MATTY\n It didn't lock. Oh. Ned, hold me.\n Please just hold me, God, I love\n you.\n\nRacine reaches over and locks the door to his office.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know." ], [ "Matty walks twenty feet past the gazebo and stops when\nshe can make out the boathouse in the gloom. She stares\nat it a moment then turns back toward the house.", "He looks out at the boat house.\n\n RACINE\n What's that?\n\n MATTY\n A gazebo", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water.", "RACINE\n No, out there.\n\n MATTY\n Boat house.\n\n RACINE\n What is in there?", "MATTY\n No. She wouldn't do that. She's\n putting them in the boathouse. In", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT", "Matty looks across the hall toward the open door to the\nguest room; it is dark. She hurries to the stairs, peering\ndown into the darkness. She starts down the steps.", "Matty slips under his arms and quickly steps out the front\ndoor. She stands just outside watching him. Racine shakes\nhis head, goes out there.\n\nEXT. FRONT TERRACE - NIGHT", "down the wall there. He moves to them. They go into the\nliving room but their shutters are closed. He looks\nthrough a broken slat at Matty, who watches him from the", "The boathouse is dark, lit only by moonlight and park\nlights that shine through the windows. Tensely, Tracy\nlistens for sounds, then moves very carefully past stacked\nup rowboats and canoes.", "Matty gave him. Now he sails it across the office at the\nhook of a coatstand. It hits and bounces off onto the\nfloor. Racine gets up, walks over and picks it up. He", "He disappears into the bathroom. Matty slips out of bed.\nShe is wearing a silky nightgown. She hurries to the\nbedroom door.", "his undershorts. He reaches the top of the stairs as Matty\nmoves back along the hall. The alcove under the stairs is\nin black shadow. Matty is focused on it.", "For a second, we are blinded by the glare. In the next\nInstant, as we see that the space below the stairs is\nempty, Matty screams from the top of the stairs --", "Matty reaches the bottom of the stairs and peers around.\nShe starts back along the dark hall of the house just as\nEdmund comes out of the bedroom upstairs; he is still in", "Racine comes out of the structure. And stops. Matty is\ngone. Racine looks around without much hope. Finally,", "EXT. FRONT TERRACE - WALKER HOUSE - NIGHT\n\nMatty comes to the end of the porch, a big, welcoming\nsmile on her face.", "Matty comes out. She's wearing a light, simple shift.\nShe walks over to a small table and begins putting some\ndirty dishes and glasses on a small tray. Suddenly, Racine", "Racine comes down the lawn. He walks slowly toward the\nboathouse. His walk is unsteady. Racine moves around to\nthe front of the boathouse and steps onto its wooden porch.", "She's smiling as she leaves the gazebo and walks across\nthe lawn. Matty takes Racine's arm as they watch Mary\nAnn get into her little sports car, which has been pulled\nup close to the house. She pulls out waving." ], [ "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "The picture is not great. The pretty face is a little\ncheap-looking. It is not the Matty he knew. It is her\nfriend from the back verandah, Mary Ann.", "RACINE\n Matty Walker?", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "the enclosed side verandah in the Walker house. Matty is\nin a big chair. She watches Heather, not the television.\nShe puts a cigarette in her mouth then reaches out to", "Racine looks at him blankly.\n\n GLENN\n Did you ever meet a lady named Matty\n Walker? You'd remember her. A very\n hot number.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "Back to her picture. We're moving in on it. Closer. Closer.\nAnd then through it --\n\nTo her real face, this Matty, this Mary Ann, alive and\nfine in the sun of --", "MATTY\n He has a gun!\n\nEdmund thinks she is warning him. He spins to look.\n\n WALKER\n Where?", "Matty watches Heather give Edmund a big goodbye kiss and\nrun off to talk to Betty, the Walker's Housekeeper, who", "RACINE\n You're not listening to me. What if\n she's been using this other girl's\n name? Since she met Walker three", "Matty comes out. She's wearing a light, simple shift.\nShe walks over to a small table and begins putting some\ndirty dishes and glasses on a small tray. Suddenly, Racine", "MATTY\n Edmund's company owns The Breakers.\n\n RACINE\n Is that right?\n\nFor a second, Walker's eyes flick over Matty like a whip.", "GRACE\n Her teeth were left, man. We sent\n them back to Illinois. The\n identification was positive. That\n was her, that was Matty Tyler Walker.\n That was her and she's dead.", "The lady in question turns around, surprised. It is not\nMatty at all. It is MARY ANN. She's attractive, but a\nlittle cheap-looking. She looks him over.", "MATTY\n Mary Ann's an old friend. She's\n like a sister to me. She wants me\n to be happy.", "years ago, since she first spotted\n him and decided to take him... one\n way or another. Maybe Walker -- or\n any of us -- never knew her real", "Morning. Matty sits with coffee and toast at the table.\nThe Walker's Housekeeper moves about in the kitchen.\nHeather comes in and takes her place opposite Matty. She", "WALKER\n You don't really mind, do you?\n (Matty shakes her\n head)\n Roz will pick her up on Friday. And\n don't worry, Roz won't stay overnight." ], [ "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "Matty watches Heather give Edmund a big goodbye kiss and\nrun off to talk to Betty, the Walker's Housekeeper, who", "MATTY\n I did arrange to meet you. But, Ned,\n it all changed. You changed it. I\n fell in love with you. I didn't plan\n that...", "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "MATTY\n He has a gun!\n\nEdmund thinks she is warning him. He spins to look.\n\n WALKER\n Where?", "MATTY\n Ned, I don't know what you think,\n but you're wrong. I haven't done\n anything to hurt you. I love you.\n You've got to believe me.", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "RACINE\n I don't talk that way.\n\n MATTY\n How'd you find me, Ned?\n\nRacine gives her a look.", "MATTY\n We'll know if she does tell. Roz\n will report to Edmund quick enough.\n It's exactly what she's always wanted.\n\nMatty disappears for a moment into the shadows.", "the enclosed side verandah in the Walker house. Matty is\nin a big chair. She watches Heather, not the television.\nShe puts a cigarette in her mouth then reaches out to", "The picture is not great. The pretty face is a little\ncheap-looking. It is not the Matty he knew. It is her\nfriend from the back verandah, Mary Ann.", "MATTY\n Bad. I get some money for a year.\n Not much. That's it. But I don't\n care, Ned. Not if I can be with you." ], [ "The picture is not great. The pretty face is a little\ncheap-looking. It is not the Matty he knew. It is her\nfriend from the back verandah, Mary Ann.", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT", "The lady in question turns around, surprised. It is not\nMatty at all. It is MARY ANN. She's attractive, but a\nlittle cheap-looking. She looks him over.", "Matty's face looks different than we've seen it. There's\na fire burning behind there and the heat it's throwing is\nbringing her equal portions of dread and relief. She\nstares at him,", "Matty comes in. She peers into the darkness until she\nsees him. She locks the door and turns to face him. She\nis dressed in a pale silk suit and blouse, very carefully", "Back to her picture. We're moving in on it. Closer. Closer.\nAnd then through it --\n\nTo her real face, this Matty, this Mary Ann, alive and\nfine in the sun of --", "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "Matty kisses him on the mouth, then shakes her head \"no.\"\n\n MATTY\n I waited till I saw her leave. Please\n don't be angry with me.", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "He disappears into the bathroom. Matty slips out of bed.\nShe is wearing a silky nightgown. She hurries to the\nbedroom door.", "INT. MATTY'S BEDROOM - NIGHT\n\nMatty, wrapped in a thin white terrycloth robe, is\nstripping the bed of its sheets. Racine watches from\nacross the room.", "MATTY\n We'll know if she does tell. Roz\n will report to Edmund quick enough.\n It's exactly what she's always wanted.\n\nMatty disappears for a moment into the shadows.", "MATTY\n No... I'm weak.\n\nShe kisses him on the lips and steps quickly inside the\nfront door. She closes it, looks through the window at\nhim, then moves away.", "MATTY\n Remember your promise.\n\nRacine agrees. Matty looks him over a moment, then turns\nto unlock the door.", "his undershorts. He reaches the top of the stairs as Matty\nmoves back along the hall. The alcove under the stairs is\nin black shadow. Matty is focused on it.", "GRACE\n Her teeth were left, man. We sent\n them back to Illinois. The\n identification was positive. That\n was her, that was Matty Tyler Walker.\n That was her and she's dead.", "Matty gave him. Now he sails it across the office at the\nhook of a coatstand. It hits and bounces off onto the\nfloor. Racine gets up, walks over and picks it up. He", "MATTY\n How'd you know?\n\n RACINE\n You look like Pinehaven.\n\n MATTY\n How does Pinehaven look?", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse." ], [ "Racine stares out at the ocean. He lights another cigarette\nand lifts a glass of bourbon to his lips. Suddenly, he\nlaughs, short and harsh. But the smile fades quickly.", "Racine, dressed in undershorts, is standing on the small\nporch off his apartment on the upper floor of an old house.\nRacine lights a cigarette and continues to stare off at", "He looks at the Bum settling again into a deep sleep. He\nlooks for one final second at himself in the mirror.", "Racine watches, mesmerized, as she walks directly toward\nhim. She passes within a few inches of him, her eyes", "Then she is just nodding. Racine puts his face deep into\nher hair, closing his eyes as the smell of her washes\nover him.", "up, looking down at her. We've never seen his face like\nthis before. Never this open, never so much in repose.\nShe stirs, and then is still again. He touches her hair", "Matty, flat on her back, smiles weakly and looks at the\nceiling. Again, the mattress moves. She looks at Edmund.\nHe has pulled on his shorts and is walking toward the\nbathroom.", "She stands up, takes her purse and her cigarettes, and\nwalks to the other end of the bar, where she sits down.\nRacine watches her with amazed eyes. He stands up and\nthrows some money on the bar.", "He gives her a once-over, proprietary look and drives\naway, honking once to Heather, who waves.\n\nHEATHER'S STAY/RACINE'S WEEK - SERIES OF SHOTS", "A. The first stretch of his trip, Racine travels on a\ndeserted back road with overhanging trees. A Teenage", "Racine has been running. Walking now, breathing hard, he\ntakes his cigarettes from his shorts. At the end of the", "She is wearing the same white dress she was wearing when\nRacine first saw her and she is luminous in the moonlight.\n\nRacine watches from the blackness of the gazebo. Silently.", "Her face goes through several transformations: confusion\nto disbelief to despair, then on in the direction of\noutrage.\n\nLowenstein's eyes are flashing around at the faces. He\nseems genuinely amused.", "The trunk is open like a giant maw. A sheet of plastic\nhas been spread across the inside. Edmund's body flops\ndown inside. He has been dressed, his shoes and watch", "She turns to her husband. He is not what Racine expected.\nHe may, in fact, be mean, as Matty described him, but he", "Racine gathers his strength and half-lifts, half-drags\nthe body down the corridor, his silhouette that of a\ntwisted, double-headed monster. His flashlight glows", "pen. Then, as he looks, the paper stops flapping and the\nchimes gradually STOP TINKLING. Racine looks toward the\nwindow. It is still open, but the air had died.", "Just as she reaches it, the lights in the hall snap on.\nRacine is standing under the stairs, poised to strike the\nfigure in the hall with a heavy wooden plank about two", "woman herself was gone... looked\n like she left in a hurry.\n (a beat)\n Oscar thought any story she could\n tell might help you. He thinks you", "Racine's eyes are darting over the pages. Suddenly they\nstop. He has found her entry. We see it too --" ], [ "Just as she reaches it, the lights in the hall snap on.\nRacine is standing under the stairs, poised to strike the\nfigure in the hall with a heavy wooden plank about two", "Racine gathers his strength and half-lifts, half-drags\nthe body down the corridor, his silhouette that of a\ntwisted, double-headed monster. His flashlight glows", "She turns to her husband. He is not what Racine expected.\nHe may, in fact, be mean, as Matty described him, but he", "Suddenly, Racine bursts from the hall closet, the wooden\nplank raised above his head. He brings it down fast toward\nEdmund's head.", "Edmund is pulling Racine toward him with all his might,\ncrawling up Racine's body as they both slide on the wood\nfloor. Edmund reaches out one huge hand, and pulls Racine\neven closer.", "Racine stares out at the ocean. He lights another cigarette\nand lifts a glass of bourbon to his lips. Suddenly, he\nlaughs, short and harsh. But the smile fades quickly.", "He starts to move away. Racine grabs him by his tie and\npulls him back hard. The people nearby turn in alarm.\nRacine speaks very quietly to the startled Glenn.", "Racine puts his left hand into Edmund's face, his thumb\nflat against the lens of Edmund's glasses and pushes his\nhead back. The glasses fly away and Racine loses his\nhold. Edmund comes on.", "Her face goes through several transformations: confusion\nto disbelief to despair, then on in the direction of\noutrage.\n\nLowenstein's eyes are flashing around at the faces. He\nseems genuinely amused.", "He looks at the Bum settling again into a deep sleep. He\nlooks for one final second at himself in the mirror.", "Racine is behind the desk. Occupying the two seats in\nfront are a married couple rapidly approaching divorce.\nThey are arguing now, each trying to convince Racine of", "Racine knows horror. He struggles to his feet and stumbles\ntoward the fire. His body is silhouetted against the\nleaping, ROARING flames in the night sky.", "But they've always been small-time.\n This might not be. She's trouble,\n Ned. The real thing. Big-time, major\n league trouble. Watch yourself.", "Racine's eyes dart. He thinks. Then, he flips back a few\npages. He finds what he wants --", "Again, Matty lies on her side, turned away from Edmund,\neyes wide, watching the clock. Again, the bed moves\nsuddenly! Matty rolls over to look.", "Traced against a window at the far end of the boathouse,\nTracy sees the silhouette of a man. Gripping his pistol,\nhe moves silently toward that silhouette, closing in on\nit while keeping alert for movement.", "Suddenly she backs away from him, down the steps, her\nwhite dress moving back into the bright moonlight from\nthe shadow of the gazebo. She looks up at Racine.", "MATTY\n I can't stand the thought of him...\n He's small and mean... and weak.", "the line, when she's finally going\n to collect, that one person shows\n up. That girl. Finds her. And\n threatens to expose her. So Matty", "Racine watches, mesmerized, as she walks directly toward\nhim. She passes within a few inches of him, her eyes" ], [ "MATTY\n Are you sure, Ned? I've been thinking\n about it. Maybe there is. The will\n is with his lawyer in Miami I know", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "LOWENSTEIN\n Ned, that lady may have just killed\n her husband.\n\nRacine smiles cheerfully and puts a reassuring arm around\nLowenstein's shoulder, leading him to the door.", "The smile fades from Racine's face.\n\n RACINE\n Ned Racine.\n\nIt comes back to Glenn in a flash. He wishes he hadn't\ncome up.", "LOWENSTEIN\n -- I think I've underestimated you,\n Ned. I don't know why it took me so\n long. You've started using your\n incompetence as a weapon.", "The lawyers pile out of the elevator. A few carry\nbriefcases. Racine finally appears. He too carries a\nbriefcase. He looks across the huge lobby at the entrance\nto a restaurant/bar.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "The elevator is packed with lawyers. They're heading out\nto lunch. They wear expensive suits. Racine is backed\ninto a corner. He watches them, as though from a distance.\nHe looks different from them.", "BEVERLY\n Ned. Miles Hardin. Do you want\n him?\n\n RACINE\n Who is he?", "But they've always been small-time.\n This might not be. She's trouble,\n Ned. The real thing. Big-time, major\n league trouble. Watch yourself.", "LOWENSTEIN\n Oh, yeah! Right, right. You'll\n love this, Ned, this latest", "RACINE\n Hello, Peter.\n\n LOWENSTEIN\n Hi, Ned.", "BEVERLY\n She says he's a lawyer from Miami.\n\nRacine picks up his phone.\n\n RACINE\n Hello.", "GRACE\n (nods, looking at\n his notes)\n I've got it all here. And, Ned, I'm\n sorry I had to ask.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know.", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "MATTY\n Bad. I get some money for a year.\n Not much. That's it. But I don't\n care, Ned. Not if I can be with you.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "MATTY\n Don't say it, if you don't mean it.\n Please, Ned, don't.\n\n RACINE\n I do. I want you with me.", "Lowenstein steps away, toward the street. He looks sad.\n\n LOWENSTEIN\n I wish I knew what to tell you, Ned.\n But I don't have any good ideas." ], [ "GRACE\n Her teeth were left, man. We sent\n them back to Illinois. The\n identification was positive. That\n was her, that was Matty Tyler Walker.\n That was her and she's dead.", "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "the enclosed side verandah in the Walker house. Matty is\nin a big chair. She watches Heather, not the television.\nShe puts a cigarette in her mouth then reaches out to", "Matty's face looks different than we've seen it. There's\na fire burning behind there and the heat it's throwing is\nbringing her equal portions of dread and relief. She\nstares at him,", "MATTY\n He has a gun!\n\nEdmund thinks she is warning him. He spins to look.\n\n WALKER\n Where?", "RACINE\n Matty Walker?", "The picture is not great. The pretty face is a little\ncheap-looking. It is not the Matty he knew. It is her\nfriend from the back verandah, Mary Ann.", "She pulls him tightly to her, clinging like a drowning\nwoman.\n\n DISSOLVE TO:\n\nINT. MATTY'S BEDROOM - NIGHT", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT", "An ashtray, full to overflowing, on the rug next to Matty's\nbed. And, above it, Matty's hand, clutching the sheets\non the side of the bed.", "MATTY\n Heather. What a surprise.\n\nINT. DINING ROOM - WALKER HOUSE - NIGHT", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "Back to her picture. We're moving in on it. Closer. Closer.\nAnd then through it --\n\nTo her real face, this Matty, this Mary Ann, alive and\nfine in the sun of --", "EXT. FRONT TERRACE - WALKER HOUSE - NIGHT\n\nMatty comes to the end of the porch, a big, welcoming\nsmile on her face.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "MATTY\n I miss you so badly. But it's too\n dangerous.\n\n RACINE\n She won't wake up now.", "Matty's face, her head on a pillow, turned away from her\nhusband, away from the bedroom door. Her look is just as\nintense as Racine's. Her eyes are focused on -", "Racine looks at him blankly.\n\n GLENN\n Did you ever meet a lady named Matty\n Walker? You'd remember her. A very\n hot number." ], [ "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "The smile fades from Racine's face.\n\n RACINE\n Ned Racine.\n\nIt comes back to Glenn in a flash. He wishes he hadn't\ncome up.", "MATTY\n I'm careful. I hated it, Ned. I\n hated sitting there with the two of\n you. I thought I was going to scream.", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "MARY ANN\n (smiling)\n We were just meeting. Ned made me\n feel very welcome.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "LOWENSTEIN\n Ned, that lady may have just killed\n her husband.\n\nRacine smiles cheerfully and puts a reassuring arm around\nLowenstein's shoulder, leading him to the door.", "RACINE\n Hello, Peter.\n\n LOWENSTEIN\n Hi, Ned.", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "MATTY\n I'll go, Ned. I'll go and look for\n them.", "But they've always been small-time.\n This might not be. She's trouble,\n Ned. The real thing. Big-time, major\n league trouble. Watch yourself.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "RACINE\n I'm Ned Racine, Heather. I've heard\n a lot about you. It's nice to meet\n you.\n\nHeather nods uncertainly.", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "GRACE\n (nods, looking at\n his notes)\n I've got it all here. And, Ned, I'm\n sorry I had to ask.", "LOWENSTEIN\n Oh, yeah! Right, right. You'll\n love this, Ned, this latest", "got to hold together, Ned. It won't\n be long, then we'll get away from\n here. Out from under all this.\n (a beat)" ], [ "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "MATTY\n Ned, I don't know what you think,\n but you're wrong. I haven't done\n anything to hurt you. I love you.\n You've got to believe me.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know.", "MATTY\n Don't say it, if you don't mean it.\n Please, Ned, don't.\n\n RACINE\n I do. I want you with me.", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "MATTY\n I did arrange to meet you. But, Ned,\n it all changed. You changed it. I\n fell in love with you. I didn't plan\n that...", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "MATTY\n Don't talk about it, Ned. Please\n don't. Talk is dangerous. Sometimes\n it makes things happen, it makes it\n real.", "MATTY\n It didn't lock. Oh. Ned, hold me.\n Please just hold me, God, I love\n you.\n\nRacine reaches over and locks the door to his office.", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "MATTY\n I'm careful. I hated it, Ned. I\n hated sitting there with the two of\n you. I thought I was going to scream.", "MATTY\n Are you sure, Ned? I've been thinking\n about it. Maybe there is. The will\n is with his lawyer in Miami I know", "MATTY\n Bad. I get some money for a year.\n Not much. That's it. But I don't\n care, Ned. Not if I can be with you.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "MATTY\n I'll go, Ned. I'll go and look for\n them.", "MATTY\n It's all ours now, Ned. We could\n leave tonight if we wanted. It's\n over.\n\n RACINE\n Yes, it is.", "MATTY\n (filtered throughout)\n Hello, Ned. Can we talk?" ], [ "MARY ANN\n (negative)\n Got to go, got to go.\n\nShe pecks Matty on the cheek, then steps close to Racine\nto shake his hand.", "There is a pregnant pause as Mary Ann looks him over,\nfighting some private amusement.\n\n MATTY\n (to Mary Ann)\n Do you want to stay for dinner?", "Racine comes up on the porch.\n\n RACINE\n I feel like a jerk.\n\nMary Ann gives him a salacious smile.", "The lady in question turns around, surprised. It is not\nMatty at all. It is MARY ANN. She's attractive, but a\nlittle cheap-looking. She looks him over.", "That's why he's been busting his\n butt trying to locate this Mary Ann\n Simpson. They finally found her\n place in Miami yesterday, but the", "She stands up, takes her purse and her cigarettes, and\nwalks to the other end of the bar, where she sits down.\nRacine watches her with amazed eyes. He stands up and\nthrows some money on the bar.", "He looks at the Bum settling again into a deep sleep. He\nlooks for one final second at himself in the mirror.", "She's smiling as she leaves the gazebo and walks across\nthe lawn. Matty takes Racine's arm as they watch Mary\nAnn get into her little sports car, which has been pulled\nup close to the house. She pulls out waving.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "door, but she speaks to him. He nods and leaves the door\nhalf open.", "turns to an unseen male COMPANION, who has spoken to her\nin Spanish. She wipes her eyes and looks off at him.", "She looks at him a long time. There is real joy in her\nface. And tears in her eyes. We're very close to those", "Then she is just nodding. Racine puts his face deep into\nher hair, closing his eyes as the smell of her washes\nover him.", "back. \"Like a Cuban,\" she says. I\n loved that!\n (he laughs again)\n Can you imagine poor Heather? She", "Again he silences her. He walks silently over to his.\ncloset and disappears inside.\n\n MATTY\n (whispering)\n Should I call the police?", "Matty turns toward him.\n\n MATTY\n No, darling. Don't talk that way.\n It's not true.\n\nRacine studies her face.", "up, looking down at her. We've never seen his face like\nthis before. Never this open, never so much in repose.\nShe stirs, and then is still again. He touches her hair", "He starts to move away. Racine grabs him by his tie and\npulls him back hard. The people nearby turn in alarm.\nRacine speaks very quietly to the startled Glenn.", "Racine stares out at the ocean. He lights another cigarette\nand lifts a glass of bourbon to his lips. Suddenly, he\nlaughs, short and harsh. But the smile fades quickly.", "MARY ANN\n Maybe you were supposed to deliver\n it next door?\n (a beat)\n You must be looking for the lady of\n the house." ], [ "The trunk is open like a giant maw. A sheet of plastic\nhas been spread across the inside. Edmund's body flops\ndown inside. He has been dressed, his shoes and watch", "Everything is as Racine left it. Edmund's body lies\nbeneath the beam. It is barely discernible in the gloom.", "Edmund is on the floor, blood pouring from his scalp.\nBut he is coming on like a crazed beast. His glasses", "Racine puts his left hand into Edmund's face, his thumb\nflat against the lens of Edmund's glasses and pushes his\nhead back. The glasses fly away and Racine loses his\nhold. Edmund comes on.", "Edmund reacts instinctively, raising his arm, the arm\nthat holds the gun, to protect himself. The wooden plank\nsmashes down -- half its force taken by Edmund's forearm,\nhalf by his head. The gun BLASTS once.", "Edmund is pulling Racine toward him with all his might,\ncrawling up Racine's body as they both slide on the wood\nfloor. Edmund reaches out one huge hand, and pulls Racine\neven closer.", "Edmund comes slowly down the steps, his gun pointing here,\nthen there in his perfectly steady grip. The thrill of\nthe hunt is in Edmund's eyes. The downstairs is thick", "Matty reaches the bottom of the stairs and peers around.\nShe starts back along the dark hall of the house just as\nEdmund comes out of the bedroom upstairs; he is still in", "Suddenly, Racine bursts from the hall closet, the wooden\nplank raised above his head. He brings it down fast toward\nEdmund's head.", "Matty watches with panicky eyes as Edmund moves toward\ndoor. When she speaks, her voice is different, husky.\n\n MATTY\n Edmund.", "He pulls down the wooden case and opens it. Inside is\nEdmund's .38 revolver.\n\nEXT. DRAWBRIDGE ACROSS THE CANAL - NIGHT", "Edmund is sitting up in bed, putting on his glasses.\n\n MATTY\n What's wrong?\n\nEdmund motions for her to be silent.", "butt)\n Now someone's trying to give us\n Edmund's glasses. We don't know who.\n We don't know what the glasses will", "Through an open door, Edmund can be seen kissing Heather\ngoodnight in the guest room. He gets up, comes to the\ndoor and switches off her light. He starts to close her", "Again, Matty lies on her side, turned away from Edmund,\neyes wide, watching the clock. Again, the bed moves\nsuddenly! Matty rolls over to look.", "Matty, flat on her back, smiles weakly and looks at the\nceiling. Again, the mattress moves. She looks at Edmund.\nHe has pulled on his shorts and is walking toward the\nbathroom.", "IN THE SUPPLY AREA, Racine has dropped Edmund's body over\nsome tipped shelves. Now he lifts the heavy ceiling beam", "Racine doesn't breathe. Matty is frozen in the spot,\ndirectly in front of Racine and five feet below Edmund,\nwho now starts down the steps.\n\n MATTY\n Edmund... wait!", "INT. MATTY'S BEDROOM - NIGHT\n\nEdmund's alarm clock - 2:05. Edmund rolls into view, his\nbreath ragged. Matty's hand is on his chest.", "Racine sits down hard. He is streaming with sweat under\nthe enormous dead weight. He adjusts the plastic sheet\nso that Edmund's bloody skull won't contact the wall." ], [ "Matty is leaning against one of the posts that flank the\nporch stairs. Headlights pass across the front of the\nhouse and Matty's body. She smiles a welcoming smile to\nthe unseen Edmund.", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT", "Matty sits on the porch drinking a highball. She stubs\nout another cigarette in the overflowing ashtray and looks\nat her watch. Her foot swings nervously.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "Matty has been pushed roughly across the entry hall. Her\nback hits hard against the wall at the front of the central\nhall. She rubs her wrist where the skin is red and looks\nwith frightened eyes at Racine.", "Matty closes the front door behind Racine and wraps her\narms around him. She kisses him hard and long on the mouth,\nthen starts on his neck. He begins to push her away but\nshe clings to him, eating him up.", "She's smiling as she leaves the gazebo and walks across\nthe lawn. Matty takes Racine's arm as they watch Mary\nAnn get into her little sports car, which has been pulled\nup close to the house. She pulls out waving.", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water.", "MATTY\n ... Mary Ann and I left Wheaton\n together and went to Chicago. We\n didn't know what we were doing. I", "Racine and Matty are in bed. Matty is sound asleep, her\nback close to Racine. But he is not asleep. He is propped", "MATTY\n How'd you know?\n\n RACINE\n You look like Pinehaven.\n\n MATTY\n How does Pinehaven look?", "MATTY\n Mary Ann's an old friend. She's\n like a sister to me. She wants me\n to be happy.", "MATTY\n (very serious)\n I mean it. I like you. But my life\n is complicated enough.\n\nRacine again accepts.", "MATTY\n Is this town that small?\n\nRacine hands her a snow cone. They walk over to the rail.\nRacine watches her eat the snow cone with enormous\ninterest.", "RACINE'S POV. Matty is standing at the bottom of the\nstairs in the hall. She is looking directly at the front\ndoor. Frozen in the spot.", "Racine has just parked his car and is walking back across\nthe lawn. Matty is standing in the gazebo, her back\nturned, looking out at the Waterway.", "Matty watches Heather give Edmund a big goodbye kiss and\nrun off to talk to Betty, the Walker's Housekeeper, who", "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "there for a while with your friend\n Matty. One night she waxes up, goes\n to see her aunt and catches the lady\n with some guy." ] ]	[ "Who is Matty married to?", "What does Ned tell Matty to do about her husband?", "Who gives Ned a bomb?", "Who kills Edmund Walker?", "What was missing from Edmund when the police found him?", "Whose body is thought to be found at the boathouse?", "How is the body found at the boathouse identified?", "What state did Matty attend high school?", "Who stole Matty's identitiy?", "Who does Ned Racine begin having an affair with?", "Why does Matty Walker not want to divorce her husband?", "How do Matty and Ned plan on murdering Mr. Walker?", "Why do police believe that Mr. Walker was murdered?", "Why do police considered Ned's alibi for the night of the murder to be weak?", "How does Ned know that there is a booby trap on the boathouse?", "Why does Ned go to the boathouse to meet Matty?", "What happens to the boathouse when Matty goes to retrieve the glasses?", "What is Matty Walker's real name?", "How does Ned discover the real identity of Matty Walker?", "Who stole Matty Tyler's identity? ", "Who is the protagonist in this story? ", "Who is the antagonist in this story? ", "What kind of lawyer is Ned? ", "How is Matty Walker's body identified after the explosion? ", "Who are Ned's two friends? ", "Who does Ned try to convince that Matty is alive? ", "At the end of this story, what language does the man speak to Mary Ann? ", "What important item is missing from Edmund's body? ", "Where did Matty attend high school? " ]	[ [ "Edmund Walker", "Edmund Walker" ], [ "Kill him", "To kill him" ], [ "Teddy Lewis", "Teddy Lewis" ], [ "Ned Racine", "Ned Racine" ], [ "His glasses", "His steel-rimmed glasses" ], [ "Matty Walker", "Matty Walker" ], [ "Dental records", "Dental records " ], [ "Illinois", "Illinois " ], [ "Mary Ann Simpson", "Mary Ann Simpson" ], [ "Matty Walker.", "Matty" ], [ "A prenup prevents her from getting any of his money.", "Due to the prenup she won't get very much money" ], [ "An explosion.", "A bomb" ], [ "Mr. Walker was not wearing his glasses when they discovered the body.", "Because Ned wasn't wearing his glasses" ], [ "Ned failed to answer several phone calls in his hotel room.", "He never answered the phone in his hotel room" ], [ "He sees a wire attached to the door.", "He saw the wire attached to the door" ], [ "To retrieve a pair of glasses that police are looking for.", "She said that is where Edmund Walker's glasses are " ], [ "It explodes.", "The boathouse explodes" ], [ "Mary Ann Simpson.", "Mary Ann Simpson" ], [ "Through a high school yearbook.", "From school yearbook" ], [ "Mary Ann Simpson", "Mary Ann Simpson" ], [ "Ned", "Mary Ann" ], [ "Matty Walker", "Mary Ann Simpson" ], [ "An inept one.", "An inept one" ], [ "Through dental records", "Dental records" ], [ "Peter Lowenstein and Oscar Grace", "Mary Ann Simpson and Ted Lewis" ], [ "Grace", "Grace" ], [ "Spanish", "Spanish" ], [ "His glasses", "His steel-rimmed glasses" ], [ "Indiana", "Illinois" ] ]	50331d1bab6df4533409553db7cf32554a5cc80e	train
[ [ "TREVES\n My name is...\n\n MERRICK\n My... name is...\n\n TREVES\n John Merrick.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "MERRICK\n John... Merrick\n\n TREVES\n Say \"Merrick\".\n\n MERRICK\n Merrick...", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "enquiries proved it to be none other \n than Mr. John Merrick, The Elephant \n Man, with whom our readers are", "TREVES\n He is English, he is twenty-one years \n of age and his name is John Merrick.", "MERRICK\n Hello... my name is John Merrick. I \n am very pleased to meet you.\n\n Carr Gomm, still shaken, instinctively offers his hand.", "MERRICK\n John... Merrick!", "MERRICK\n Hello, my name is John Merrick. I am \n very, VERY pleased to meet you!", "MERRICK\n (haltingly)\n Hello... my name is... John Merrick.\n\n DISSOLVE TO HALLWAY", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Merrick, the Elephant Man...", "meets him. Somehow, between now and \n then I've got to make John Merrick \n at least seem like an intelligent", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "TREVES\n Gentlemen, John Merrick is not an \n animal, he is a man, fully aware of", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "TREVES\n You look splendid, John.\n\n MERRICK\n Thank you very much.", "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "John Merrick, so dreadful a sight \n that he is unable even to come out \n by daylight to the garden. He has", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne." ], [ "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Bytes considers and then snaps his fingers at the Boy who \n runs out. He then breaks into an ingratiating grin and leans \n down over Treves who busily examines the wheezing E.M.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "Treves pulls the blanket away from the E.M. exposing several \n bruises and bloody cuts. Treves freezes at the sight and \n slowly turns to look at Bytes.", "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "Merrick looks at Treves for guidance, but Treves cannot look \n him in the eye.\n\n MERRICK\n ...everyone has been very kind.", "TREVES\n My name is Frederick Treves... I am \n a surgeon here at the London Hospital,", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "Throughout their dialogue, Merrick is still very garbled, \n but he no longer babbles. He makes a great effort to speak \n slowly, to form words the way Treves forms them, to be \n understood.", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "TREVES\n Yes, John?\n\n MERRICK\n ...Can you cure me?\n\n Treves is taken aback. He considers, then says tentatively." ], [ "MERRICK\n No, but I certainly shall.\n\n Merrick finds a place and begins to read.", "Merrick looks up at her very apprehensively. She walks over \n to the bed, picks up the Bible from the table, opens it and \n hands it to Merrick.", "MOTHERSHEAD\n Read it.\n\n Merrick looks down at the Bible.", "He and Mothershead exit. Merrick watches the door close. He \n sighs quietly, looks about, and sees the Bible on the bedside \n table. He picks it up and, gently runs his fingers over the \n cover.", "She produces a beautiful leather-bound volume of Shakespeare's \n works. Merrick takes it with reverence and begins to leaf \n through it.\n\n KENDAL\n Have you read it?", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "Treves' words have disturbed Merrick. He sinks into the \n pillows, the book before him. We see the picture of the Mock", "MERRICK\n Yes.\n\n TREVES\n Excellent! Now, say... \"Hello\"\n\n MERRICK\n Hello...", "Merrick is still hesitant, from years of fear, but his eyes \n betray a growing excitement. Slowly, he tries to talk, his \n voice a tremulous whisper.", "Throughout their dialogue, Merrick is still very garbled, \n but he no longer babbles. He makes a great effort to speak \n slowly, to form words the way Treves forms them, to be \n understood.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Merrick is silent. He goes over to his cloak, reaches into \n it and pulls out a folded up advertisement. He hands it to", "Merrick sitting on his bed, hunched over in concentration \n reading an Illustrated London News. He is staring at a picture \n of the Eddystone Lighthouse.", "takes up his walking stick, breathes deeply, then walks around \n the room in a slow circle. Merrick is transforming himself. \n Merrick comes back to the table and examines his reflection", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "MERRICK\n ...Yyes\n\n TREVES\n Yyyess.\n\n MERRICK\n Yyess." ], [ "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "The others cough their agreement and hurriedly leave the \n room. Treves walks over to the committee table and takes the \n paper off the photograph. He stares sadly at Merrick's \n picture.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "Merrick is overcome by the applause. Tears run down his \n cheeks. Treves, Nora, Mothershead and the Princess, filled \n with pride, beam at John.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "TREVES\n No John, I can't. I can care for \n you, but I can't cure you.\n\n MERRICK\n I thought as much.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "with tears. Merrick, too, is weeping. Treves embraces him.", "TREVES\n (after a pause)\n And what was that, John?\n\n MERRICK\n Potatoes...", "MERRICK\n Yyyy... Yyye... yyyess.\n\n TREVES\n (grabbing Merrick's \n arm)\n Yes John!", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "TREVES\n Goodnight John. Sleep well.\n\n MERRICK\n You too, my friend. Goodnight.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "TREVES\n That's a canopy, John.\n\n MERRICK\n Ohhh...", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "TREVES\n My name is...\n\n MERRICK\n My... name is...\n\n TREVES\n John Merrick.", "TREVES\n You look splendid, John.\n\n MERRICK\n Thank you very much.", "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne." ], [ "Merrick looks incapable of even this simple movement, but he \n slowly manages to turn. The crowd reacts to the horrible \n condition of Merrick's back and head.", "John Merrick, so dreadful a sight \n that he is unable even to come out \n by daylight to the garden. He has", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "He puts his left hand up and feels the back of his head. \n Merrick turns out the lamp and goes to his bed. He looks at", "The figure leans back fearfully. From behind him we see just \n the top of his wide hooded head.\n\n Treves, standing before him, lifts the hood up and back.", "Merrick is on the bed, propped up by pillows. The door opens. \n Treves comes in, shuts the door and leans against it. They \n look at each other for a moment.", "Treves notices to his dismay that the growths on Merrick's \n head are larger.\n\n He finds it very difficult to disguise his concern.", "Treves' words have disturbed Merrick. He sinks into the \n pillows, the book before him. We see the picture of the Mock", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "The poster is rolled up, Merrick on the floor of the wagon \n wheezing horribly.\n\n Beside him on the floor is a bowl of what looks to be slop \n and potatoes.", "skull... and upper limb, which is \n totally useless. The alarming \n curvature of the spine... Turn him,", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Merrick sitting on his bed, hunched over in concentration \n reading an Illustrated London News. He is staring at a picture \n of the Eddystone Lighthouse.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "takes up his walking stick, breathes deeply, then walks around \n the room in a slow circle. Merrick is transforming himself. \n Merrick comes back to the table and examines his reflection", "TREVES\n ....Good morning... John. I've brought \n your breakfast.\n\n Treves is unsettled by the sight of Merrick cowering down on \n the floor.", "meets him. Somehow, between now and \n then I've got to make John Merrick \n at least seem like an intelligent", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "Merrick closes his eyes and his head tilts forward slightly. \n It seems unbearably large: too large for him to support.", "Through the high barred window, we see the dark sky. The \n E.M. is on his bed in his sleeping posture. A dim gaslight \n burns in the room." ], [ "Amidst great applause the curtain rings down. Through the \n curtain comes Mrs. Kendal to renewed applause. She motions \n the audience to quiet down.", "Merrick has never been properly \n presented to London society. But \n knowing that wherever Mrs. Kendal \n goes, others inevitably follow, the", "undoubtedly familiar. After a chat \n of three-quarters of an hour, Mrs. \n Kendal was kind enough to leave Mr.", "KENDAL\n Oh no, Mr. Merrick. I just work there.\n\n MERRICK\n Well, even to work there would be \n wonderful. Is it beautiful?", "GIRL\n But it's about Mrs. Kendal, mummy! \n The actress you go on so much about!\n\n She has got the women's attention.", "Merrick is a trifle nervous but Mrs. Kendal smiles at him \n and he relaxes a little.", "Above Merrick's bookshelf we see a row of framed pictures of \n prettily smiling society women. Mrs. Kendal has started a", "fad. We pan slowly by them and down to Merrick's table where \n his Mother and Mrs. Kendal have their place of honor. The", "Mrs. Kendal knows Juliet's lines by heart. She looks at \n Merrick for a moment, then replies tenderly.", "KENDAL\n Good day, Mr. Merrick.\n\n MERRICK\n Good day...!", "MERRICK\n Wasn't Mrs. Kendal wonderful? I can't \n blame the King for wanting to marry \n her.", "CUT TO:\n\n Mrs. Kendal and an actor dressed as royalty doing the last \n scene of Henry the Fifth.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "He places it, with great care, next to his mother's portrait.\n\n KENDAL\n She's very pretty, your mother.", "(Merrick as before) he reaches over to the picture of Mrs. \n Kendal and picks it up. We see his face reflected in the", "GIRL\n \"Mrs. Kendal, always at the forefront \n of fashion and form, was seen leaving", "She produces a beautiful leather-bound volume of Shakespeare's \n works. Merrick takes it with reverence and begins to leaf \n through it.\n\n KENDAL\n Have you read it?", "MRS. KENDAL\n Thank you for your warm greeting.\n Ladies and gentlemen, tonight's", "KENDAL\n Oh no... no... you're a Romeo.\n\n DISSOLVE TO:\n\n THE PEACOCK - WHITECHAPEL", "KENDAL\n Well, it's all quite... I've never \n heard... It's quite...\n\n TREVES\n (understandingly)\n Yes." ], [ "We also hear the boy, almost pleading with Merrick to stop \n coughing and to try to eat. As Bytes listens he gets angrier", "BYTES\n Turn around!\n\n Merrick slowly turns around, the audience gasping at the \n sight of the horrible tumors. Bytes raps the walking stick \n twice.", "Bytes is humiliated at first, and then is quickly angry. He \n turns to Merrick.\n\n BYTES\n Get up you miserable bastard!", "Bytes considers and then snaps his fingers at the Boy who \n runs out. He then breaks into an ingratiating grin and leans \n down over Treves who busily examines the wheezing E.M.", "BYTES\n Another bleedin' heart!\n\n The boy is crouched over Merrick, who looks little better \n than a corpse.", "Suddenly Merrick falters and comes to a stop, breathing \n irregularly. Seeing this, Bytes goes to him and bringing the", "Bytes, striving to save the moment and please the angry crowd, \n goes to Merrick and roughly helps him up. Merrick teeters \n precariously on the stool. Bytes raps the stick.", "Treves pulls the blanket away from the E.M. exposing several \n bruises and bloody cuts. Treves freezes at the sight and \n slowly turns to look at Bytes.", "The others cough their agreement and hurriedly leave the \n room. Treves walks over to the committee table and takes the \n paper off the photograph. He stares sadly at Merrick's \n picture.", "Merrick closes his eyes. This really enrages Bytes.\n\n BYTES\n Eat, damn you. EAT! EAT!", "The monkeys strive to pull him down. Merrick looks through \n the bars at the wagon and screams frantically.\n\n MERRICK\n Bytes! Bytes, please!!", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters.", "The monkeys keep on biting and screeching, pulling at him. \n Suddenly a formidable cry rings out of Merrick's mouth, with", "BYTES (V.O.)\n My treasure...\n\n Merrick's eyes flash open. We see Bytes coming toward him.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "But Bytes won't come. Something is happening inside Merrick. \n A wave of feeling is growing, coming from a place in him \n very deep down and far away.", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Unseen by anyone, Bytes slips into Merrick's room. Merrick \n is now standing.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker." ], [ "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "CARR\n Well then, I move that Mr. John \n Merrick be admitted to the London", "CARR\n You are quite right, Treves, this is \n an exceptional case. And I quite \n agree that the committee should see \n Mr. Merrick.", "The others cough their agreement and hurriedly leave the \n room. Treves walks over to the committee table and takes the \n paper off the photograph. He stares sadly at Merrick's \n picture.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Mr. Treves is finished, that we put \n it to a vote. All those in favor of \n keeping Mr. Merrick here?", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "COMMITTEE ROOM - THE LONDON HOSPITAL\n\n We see a pair of hands. One of the photographs of Merrick is \n passed to them.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "TREVES\n Gentlemen, John Merrick is not an \n animal, he is a man, fully aware of", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "Merrick is overcome by the applause. Tears run down his \n cheeks. Treves, Nora, Mothershead and the Princess, filled \n with pride, beam at John.", "CARR\n Indeed!\n\n He gestures toward his office door. As he and Treves enter \n the office, Nora looks apprehensively up the isolation ward \n stairs." ], [ "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "MOTHERSHEAD\n Welcome home, John.\n\n Merrick finds it very difficult to speak.\n\n MERRICK\n ...my... home?", "TREVES\n (startled)\n Your mother?\n\n MERRICK\n Here.", "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "MERRICK\n Yyyy... Yyye... yyyess.\n\n TREVES\n (grabbing Merrick's \n arm)\n Yes John!", "MERRICK\n Please... please...\n\n But Anne goes on, as Treves, in wonder, watches her and \n Merrick locked together in the communication of intense \n sympathy.", "TREVES\n You look splendid, John.\n\n MERRICK\n Thank you very much.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "Merrick is overcome by the applause. Tears run down his \n cheeks. Treves, Nora, Mothershead and the Princess, filled \n with pride, beam at John.", "into the tub and begins to weep. Treves and Mothershead are \n astounded by the tears rolling down Merrick's cheeks. They", "Finally we hear the patter of Bytes, telling of the horrible \n fate of John Merrick's Mother on that African Isle so many", "TREVES\n Goodnight John. Sleep well.\n\n MERRICK\n You too, my friend. Goodnight.", "TREVES\n My name is...\n\n MERRICK\n My... name is...\n\n TREVES\n John Merrick.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "MERRICK\n Yes.\n\n TREVES\n Excellent! Now, say... \"Hello\"\n\n MERRICK\n Hello...", "MERRICK\n Oh yes! It was wonderful!\n\n TREVES\n I'm glad, John. Goodnight.\n\n He turns and starts out the door.", "He and Mothershead exit. Merrick watches the door close. He \n sighs quietly, looks about, and sees the Bible on the bedside \n table. He picks it up and, gently runs his fingers over the \n cover." ], [ "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "MERRICK\n No, but I certainly shall.\n\n Merrick finds a place and begins to read.", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "He drags Merrick across the way to a small monkey wagon. The \n boy follows, his face filled with sympathy for Merrick. Bytes", "Merrick enters and looks around, confused. Treves stands in \n the doorway.\n\n Merrick turns to him.", "The door opens. Merrick, disguised, enters, followed by Treves \n who closes it and hangs up Merrick's mask on the coat rack.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Merrick rises. Treves ponders over what Merrick has just \n said. He looks at Merrick and something very odd happens. \n Merrick is looking levelly at him.", "Merrick is lowered down into the crowd. it parts and the \n Night Porter emerges walking Merrick toward us to his room.", "by the crowd. On the dock amidst the umbrellas, we see \n Merrick. He looks around, then moves off into the crowd. The" ], [ "COMMITTEE ROOM - THE LONDON HOSPITAL\n\n We see a pair of hands. One of the photographs of Merrick is \n passed to them.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "CARR\n Well then, I move that Mr. John \n Merrick be admitted to the London", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick looks at Treves for guidance, but Treves cannot look \n him in the eye.\n\n MERRICK\n ...everyone has been very kind.", "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "Mr. Treves is finished, that we put \n it to a vote. All those in favor of \n keeping Mr. Merrick here?", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters." ], [ "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "Merrick looks incapable of even this simple movement, but he \n slowly manages to turn. The crowd reacts to the horrible \n condition of Merrick's back and head.", "Treves, his eyes wide with horror and wonder, his mouth frozen \n open, steps backward in an instinctive movement of self \n preservation.\n\n The Owner laughs.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "Treves steps closer. The Owner, watching his every move, \n turns-and smiles at him. He bangs his riding crop on the \n wall and yells to the crouched figure, as if speaking to a \n dog.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "OWNER\n Turn around!\n\n The Elephant Man begins to turn. The boy filled with malicious \n glee at seeing the monster obey, screams.", "Merrick looks at Treves for guidance, but Treves cannot look \n him in the eye.\n\n MERRICK\n ...everyone has been very kind.", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "TREVES\n ....Good morning... John. I've brought \n your breakfast.\n\n Treves is unsettled by the sight of Merrick cowering down on \n the floor.", "Throughout their dialogue, Merrick is still very garbled, \n but he no longer babbles. He makes a great effort to speak \n slowly, to form words the way Treves forms them, to be \n understood.", "He drags Merrick across the way to a small monkey wagon. The \n boy follows, his face filled with sympathy for Merrick. Bytes", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock." ], [ "Merrick looks incapable of even this simple movement, but he \n slowly manages to turn. The crowd reacts to the horrible \n condition of Merrick's back and head.", "Merrick is crouched in a dark corner underneath a stairway, \n his head resting on the points of both knees, his arms clasped", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "He has turned back to the bed, but Merrick has slipped to \n the floor again, still trying to hide himself in the corner.", "He puts his left hand up and feels the back of his head. \n Merrick turns out the lamp and goes to his bed. He looks at", "He pushes the screaming Whore down onto Merrick. Her screaming \n face goes right into his. Merrick tries to move away and as \n he does his head goes too far back and his cried turn to \n horrible wheezing.", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "Because of the horror of touching him, the crowd outside \n lets Merrick fall to the ground.", "Treves' words have disturbed Merrick. He sinks into the \n pillows, the book before him. We see the picture of the Mock", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "We now see Merrick crouched in a corner of the cage in his \n sleeping position.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "The poster is rolled up, Merrick on the floor of the wagon \n wheezing horribly.\n\n Beside him on the floor is a bowl of what looks to be slop \n and potatoes.", "NIGHT PORTER\n Head's too heavy, eh?\n\n He pulls Merrick all the way down onto the bed, so that he \n is prone, struggling for breath.", "His head bent forward toward his knees. Bytes is going to \n the door as it opens and the Boy leads Treves in.", "Merrick is on the bed, propped up by pillows. The door opens. \n Treves comes in, shuts the door and leans against it. They \n look at each other for a moment.", "TREVES\n ....Good morning... John. I've brought \n your breakfast.\n\n Treves is unsettled by the sight of Merrick cowering down on \n the floor.", "Merrick sitting on his bed, hunched over in concentration \n reading an Illustrated London News. He is staring at a picture \n of the Eddystone Lighthouse." ], [ "The monkeys keep on biting and screeching, pulling at him. \n Suddenly a formidable cry rings out of Merrick's mouth, with", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "He jabs Merrick a few times with the silver-tipped walking-\n stick. The crowd jeers even louder still. There is a clap of \n thunder.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "He grabs Merrick fiercely by the hair and jerks his head \n back. Merrick immediately starts to wheeze and gasp.", "toward Merrick, screeching threateningly. Another leaps out \n and clings to Merrick's shoulder, biting and scratching \n furiously then he too jumps away.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick is overcome by the applause. Tears run down his \n cheeks. Treves, Nora, Mothershead and the Princess, filled \n with pride, beam at John.", "Satisfied, the Night Porter rights Merrick who is just able \n to catch his breath. The Night Porter smiles and pats Merrick \n on the shoulder.", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "He pushes the screaming Whore down onto Merrick. Her screaming \n face goes right into his. Merrick tries to move away and as \n he does his head goes too far back and his cried turn to \n horrible wheezing.", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "Merrick looks incapable of even this simple movement, but he \n slowly manages to turn. The crowd reacts to the horrible \n condition of Merrick's back and head.", "Merrick rises. Treves ponders over what Merrick has just \n said. He looks at Merrick and something very odd happens. \n Merrick is looking levelly at him.", "One of them darts toward him and grabs a hold of Merrick's \n hood. Merrick turns frantically away and as he does, the", "Suddenly one of the braver ones leaps at Merrick with a \n scream, biting him on the arm, and moving quickly away.", "CARR\n (after a pause)\n I understand that you were beaten?\n\n Merrick is at a loss. This is not part of the expected \n scenario.", "with tears. Merrick, too, is weeping. Treves embraces him.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "Throughout their dialogue, Merrick is still very garbled, \n but he no longer babbles. He makes a great effort to speak \n slowly, to form words the way Treves forms them, to be \n understood." ], [ "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Merrick is lowered down into the crowd. it parts and the \n Night Porter emerges walking Merrick toward us to his room.", "He drags Merrick across the way to a small monkey wagon. The \n boy follows, his face filled with sympathy for Merrick. Bytes", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "The door opens. Merrick, disguised, enters, followed by Treves \n who closes it and hangs up Merrick's mask on the coat rack.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "MERRICK\n ...I'll walk you to the door.\n\n Merrick rises and goes with Treves to the door.", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters.", "COMMITTEE ROOM - THE LONDON HOSPITAL\n\n We see a pair of hands. One of the photographs of Merrick is \n passed to them.", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "CARR\n Well then, I move that Mr. John \n Merrick be admitted to the London" ], [ "trouble in raising the funds for his \n maintenance. Indeed, this hospital's \n rules do preclude the admission of", "Both the Royal Hospital and the \n British Home have turned him down \n even if sufficient funds for his \n care were provided. The workhouse is", "CARR\n What are your plans then, Treves... \n You are aware that the London does \n not accept incurables. The rules are \n quite clear on that point.", "Treves. But you must remember that \n this is a hospital, and there are \n many patients here. Patients who can", "Again, the hospital is closing down for the night. Lights go \n off in each hallway. The staff is vacating the hospital. As \n the last light goes off, we hear the great iron door slam \n shut.", "MERRICK\n (incredulous)\n The hospital?\n\n TREVES\n Of course! What did you think?", "CARR\n Mr. Treves, it's out of the question. \n I want to hear as soon as possible \n what the other hospitals can do. I'm \n sorry.", "Hospital on a permanent basis, on \n condition that the Hospital shall \n receive a yearly payment equal to \n the cost of occupying one bed, and", "which would be far better served in \n accommodating treatable patients, \n patients to whom this hospital was \n originally dedicated? I believe we", "The receiving room is a bare hall, painted stone color. It \n has rows of benches and a long desk where entries are made, \n and certificates and other papers are issued. It is a cold, \n harsh place.", "TREVES\n Well sir, he's quite seriously \n deformed, and I fear the other \n patients would find him... rather \n shocking.", "that the funds for his care shall be \n clearly separate from hospital funds. \n All those in favor.", "CARR\n A hospital is no place for secrecy, \n Mr. Treves. Doctors spiriting hooded", "matter. Had we not ascertained that \n an Elephant Man is not acceptable as \n a patient? Have we not, very", "guvnor of the hospital.\n (starts to read)\n There is now in a little room off \n one of our attic wards a man named", "good impression on the hospital \n committee they'd see that he's the \n exception to their rule. Now I'm not", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "as far as I'm concerned this creature \n has no business being in our hospital. \n I think Mr. Carr Gomm's letter would", "LONDON HOSPITAL GATE\n\n A carriage draws up in the street outside the hospital. A \n nicely dressed woman sticks her head out the window, looks \n around and scowls disappointedly.", "Merrick quietly enters the room, dressed in a billowy white \n shirt and baggy black pants. The two nurses try to smile, \n but he cannot look at them." ], [ "Merrick looks about him at his rooms. It's beginning to dawn \n on him that this is indeed his, that at last he has a real \n home, a place of his own.", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "MERRICK'S ROOM\n\n Merrick is at his table working on his cathedral. There is a \n knock at the door.\n\n MERRICK\n Come in.", "Merrick is enchanted by the house. Treves takes him by the \n arm and leads him into the sitting room. Anne appears at the \n top of the stairs.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "MERRICK\n No, but I certainly shall.\n\n Merrick finds a place and begins to read.", "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters.", "CARR\n Well then, I move that Mr. John \n Merrick be admitted to the London", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Merrick looks at Treves for guidance, but Treves cannot look \n him in the eye.\n\n MERRICK\n ...everyone has been very kind.", "Square that are no longer in use and \n would be admirably suited to Mr. \n Merrick's needs. I also propose to", "Merrick is lowered down into the crowd. it parts and the \n Night Porter emerges walking Merrick toward us to his room.", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "CARR\n You are quite right, Treves, this is \n an exceptional case. And I quite \n agree that the committee should see \n Mr. Merrick." ], [ "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Merrick recognizes his voice and looks frantically around \n for his former owner. The Night Porter pulls Merrick up by \n the window again. He then begins pushing the crowd out the \n door.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "The Night Porter whirls around and sees that Merrick is gone. \n He pushes the rest of the people outside and quickly goes to \n Merrick, lifting him to his feet.", "with tears. Merrick, too, is weeping. Treves embraces him.", "He drags Merrick across the way to a small monkey wagon. The \n boy follows, his face filled with sympathy for Merrick. Bytes", "MERRICK\n ...I'll walk you to the door.\n\n Merrick rises and goes with Treves to the door.", "The monkeys keep on biting and screeching, pulling at him. \n Suddenly a formidable cry rings out of Merrick's mouth, with", "The Plumed Dwarf, his arm around Merrick, is helping him \n down the platform, as fast as possible, his ark trailing", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters.", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "At this, Anne is so extremely touched that she begins to \n cry. She tries to hold it in, but to no avail. She reaches a \n hand out to Merrick and he takes it. He tries to comfort \n her.", "Merrick is overcome by the applause. Tears run down his \n cheeks. Treves, Nora, Mothershead and the Princess, filled \n with pride, beam at John.", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "Merrick rises with the help of his stick, and slowly descends \n from the carriage watched very carefully by the others. He", "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "Merrick is lowered down into the crowd. it parts and the \n Night Porter emerges walking Merrick toward us to his room.", "The others cough their agreement and hurriedly leave the \n room. Treves walks over to the committee table and takes the \n paper off the photograph. He stares sadly at Merrick's \n picture." ], [ "TREVES\n Say \"Mmmerrick.\"\n\n MERRICK\n Mmmerrick.", "TREVES\n Say \"Mmmerrick.\"\n\n MERRICK\n Mmmerrick.", "Merrick is still hesitant, from years of fear, but his eyes \n betray a growing excitement. Slowly, he tries to talk, his \n voice a tremulous whisper.", "Merrick starts to wail. The crowd joins in and they hoist \n him above their heads, screaming with laughter, around and \n around, joining him all the while.", "Merrick is very flattered that you're \n taking the time and trouble to meet \n him, and he's most anxious to make a", "Merrick is concentrated on his work. Nora, curious now, walks \n to the table.\n\n Merrick, conscious of her presence, leans back in his chair \n and looks up at her.", "He jabs Merrick a few times with the silver-tipped walking-\n stick. The crowd jeers even louder still. There is a clap of \n thunder.", "Merrick is silent. He goes over to his cloak, reaches into \n it and pulls out a folded up advertisement. He hands it to", "MERRICK\n (the word gives him \n pleasure)\n Friends. Ah yes, friends! How nice.\n\n ANNE\n And here is one of Frederick's mother.", "Merrick is examining everything in the room. Nothing in this \n almost magical world escapes his attention. The furniture, \n the personal mementoes, particularly the pictures on the", "by the crowd. On the dock amidst the umbrellas, we see \n Merrick. He looks around, then moves off into the crowd. The", "(Merrick as before) he reaches over to the picture of Mrs. \n Kendal and picks it up. We see his face reflected in the", "Merrick recognizes his voice and looks frantically around \n for his former owner. The Night Porter pulls Merrick up by \n the window again. He then begins pushing the crowd out the \n door.", "TREVES\n My name is...\n\n MERRICK\n My... name is...\n\n TREVES\n John Merrick.", "Merrick looks about him at his rooms. It's beginning to dawn \n on him that this is indeed his, that at last he has a real \n home, a place of his own.", "At this word, Merrick begins to babble wildly. Obviously \n alarmed, he thrashes about in the tub, spilling water onto", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "MERRICK\n Hello... my name is John Merrick. I \n am very pleased to meet you.\n\n Carr Gomm, still shaken, instinctively offers his hand." ], [ "TREVES\n My name is Frederick Treves... I am \n a surgeon here at the London Hospital,", "BOBBY\n Are you Frederick Treves, sir?\n\n TREVES\n Yes...\n\n The card changes hands.", "The man is Treves. He is holding the stiff black surgeon's \n coat of which he was once so proud. He looks at it for a", "#2 DOCTOR\n Good publicity for the Hospital, at \n any rate.\n\n #3 DOCTOR\n Treves comes off well too, eh Freddie?", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "back we see the black awning entrance to the freak tent, \n where FREDERICK TREVES, Resident Surgeon and Lecturer on", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "It is a small, elegantly furnished room with a large window. \n The two men sit, Carr Gomm behind his desk and Treves in a \n leather chair.", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters.", "FOX\n (coldly)\n Well, no one did ask you Atkins.\n Frederick Treves is not only the", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "TREVES\n ...Yes, Sir.\n\n They part company. We follow Treves down the stairs.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "the E.M.'s head. Treves sits at his desk and makes some final \n notes. He becomes more absorbed in his notes than in the", "Merrick is on the bed, propped up by pillows. The door opens. \n Treves comes in, shuts the door and leans against it. They \n look at each other for a moment.", "TREVES\n Is it the one you wanted?\n\n MERRICK\n Oh, Mr. Treves. Mr. Treves.", "There is a hissing sound and steam from the cauterizing of \n the wound comes up obscuring part of Treves' face. The patient \n is being held down firmly by the other men." ], [ "Treves watches them go for a moment, then turns and we go \n with him into the dark freak tent. He pauses to pay admission \n at a small booth, then disappears within.", "Filled with curiosity, Treves moves toward the curtain.\n\n ALDERMAN\n This exhibit degrades all who see \n it, as well as the poor creature \n himself.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "The figure leans back fearfully. From behind him we see just \n the top of his wide hooded head.\n\n Treves, standing before him, lifts the hood up and back.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "TREVES\n My name is Frederick Treves... I am \n a surgeon here at the London Hospital,", "Treves turns and looks down to a chocolate-covered face. He \n smiles at the children and Anne.\n\n Anne sees the dirty faces and begins cleaning one of them. \n The other daughter looks into the freak tent.", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "The man is Treves. He is holding the stiff black surgeon's \n coat of which he was once so proud. He looks at it for a", "back we see the black awning entrance to the freak tent, \n where FREDERICK TREVES, Resident Surgeon and Lecturer on", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "We see a CLOSE-UP of the Elephant Man looking at Treves. His \n face is utterly devoid, and incapable, of expression.\n\n We see the Elephant Man's eyes. He closes them.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "The figure in the chair is still. Treves is at a loss. His \n sense of discomfort is growing. He looks at the floor for a \n moment, then locks his eyes on the figure's left arm.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "TREVES\n Well sir, he's quite seriously \n deformed, and I fear the other \n patients would find him... rather \n shocking.", "wagon. He is quite sick. The audience gasps and shudders. A \n few shrieks are heard. The Elephant Man is always the Elephant \n Man." ], [ "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "TREVES\n My name is...\n\n MERRICK\n My... name is...\n\n TREVES\n John Merrick.", "TREVES\n He is English, he is twenty-one years \n of age and his name is John Merrick.", "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "TREVES\n Gentlemen, John Merrick is not an \n animal, he is a man, fully aware of", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "MERRICK\n John... Merrick\n\n TREVES\n Say \"Merrick\".\n\n MERRICK\n Merrick...", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Treves steps closer. The Owner, watching his every move, \n turns-and smiles at him. He bangs his riding crop on the \n wall and yells to the crouched figure, as if speaking to a \n dog.", "OWNER\n Turn around!\n\n The Elephant Man begins to turn. The boy filled with malicious \n glee at seeing the monster obey, screams.", "TREVES\n This is your new home, John.\n\n Merrick pulls off his hood. His eyes are bewildered.", "TREVES\n ....Good morning... John. I've brought \n your breakfast.\n\n Treves is unsettled by the sight of Merrick cowering down on \n the floor.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "TREVES\n You look splendid, John.\n\n MERRICK\n Thank you very much.", "MERRICK\n Hello... my name is John Merrick. I \n am very pleased to meet you.\n\n Carr Gomm, still shaken, instinctively offers his hand." ], [ "Merrick looks incapable of even this simple movement, but he \n slowly manages to turn. The crowd reacts to the horrible \n condition of Merrick's back and head.", "Because of the horror of touching him, the crowd outside \n lets Merrick fall to the ground.", "John Merrick, so dreadful a sight \n that he is unable even to come out \n by daylight to the garden. He has", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "TREVES\n ....Good morning... John. I've brought \n your breakfast.\n\n Treves is unsettled by the sight of Merrick cowering down on \n the floor.", "He has turned back to the bed, but Merrick has slipped to \n the floor again, still trying to hide himself in the corner.", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "The poster is rolled up, Merrick on the floor of the wagon \n wheezing horribly.\n\n Beside him on the floor is a bowl of what looks to be slop \n and potatoes.", "the floor. Treves, alarmed now himself, attempts to calm \n Merrick, who, still babbling, tries to rise from the tub.", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Treves' words have disturbed Merrick. He sinks into the \n pillows, the book before him. We see the picture of the Mock", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "meets him. Somehow, between now and \n then I've got to make John Merrick \n at least seem like an intelligent", "He puts his left hand up and feels the back of his head. \n Merrick turns out the lamp and goes to his bed. He looks at", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "Merrick is on the bed, propped up by pillows. The door opens. \n Treves comes in, shuts the door and leans against it. They \n look at each other for a moment.", "He pushes the screaming Whore down onto Merrick. Her screaming \n face goes right into his. Merrick tries to move away and as \n he does his head goes too far back and his cried turn to \n horrible wheezing.", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "TREVES\n (after a pause)\n And what was that, John?\n\n MERRICK\n Potatoes..." ], [ "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "He grabs Merrick fiercely by the hair and jerks his head \n back. Merrick immediately starts to wheeze and gasp.", "The monkeys keep on biting and screeching, pulling at him. \n Suddenly a formidable cry rings out of Merrick's mouth, with", "CARR\n (after a pause)\n I understand that you were beaten?\n\n Merrick is at a loss. This is not part of the expected \n scenario.", "He jabs Merrick a few times with the silver-tipped walking-\n stick. The crowd jeers even louder still. There is a clap of \n thunder.", "He pushes the screaming Whore down onto Merrick. Her screaming \n face goes right into his. Merrick tries to move away and as \n he does his head goes too far back and his cried turn to \n horrible wheezing.", "BYTES\n Another bleedin' heart!\n\n The boy is crouched over Merrick, who looks little better \n than a corpse.", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Merrick looks incapable of even this simple movement, but he \n slowly manages to turn. The crowd reacts to the horrible \n condition of Merrick's back and head.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "They help Merrick settle back on the pillow. Merrick is still \n making desperate, unintelligible sounds.", "At this word, Merrick begins to babble wildly. Obviously \n alarmed, he thrashes about in the tub, spilling water onto", "Because of the horror of touching him, the crowd outside \n lets Merrick fall to the ground.", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "One of them darts toward him and grabs a hold of Merrick's \n hood. Merrick turns frantically away and as he does, the", "The poster is rolled up, Merrick on the floor of the wagon \n wheezing horribly.\n\n Beside him on the floor is a bowl of what looks to be slop \n and potatoes.", "toward Merrick, screeching threateningly. Another leaps out \n and clings to Merrick's shoulder, biting and scratching \n furiously then he too jumps away.", "Merrick is still hesitant, from years of fear, but his eyes \n betray a growing excitement. Slowly, he tries to talk, his \n voice a tremulous whisper.", "At this last word he throws the contents of the bowl \n splattering in Merrick's face. He stands for a moment looking \n down at Merrick who has lapsed into a coughing fit." ], [ "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "Carr Gomm calls a Nurse from a nearby ward over. It is Nora. \n He takes the bowl from Treves and hands it to her.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "COMMITTEE ROOM - THE LONDON HOSPITAL\n\n We see a pair of hands. One of the photographs of Merrick is \n passed to them.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "MERRICK\n Please... please...\n\n But Anne goes on, as Treves, in wonder, watches her and \n Merrick locked together in the communication of intense \n sympathy.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "Mothershead continues on. Nora guiltily watches her go.\n\n ISOLATION WARD\n\n Treves and Merrick are absorbed in their work. A knock comes \n at the door.", "NURSE\n Breakfasting with the patients this \n morning, Mr. Treves?\n\n TREVES\n It's for a patient.", "YOUNG PORTER\n Mr. Treves?\n\n Now we see Mrs. Mothershead entering Merrick's room surveying \n the same scene.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Merrick is overcome by the applause. Tears run down his \n cheeks. Treves, Nora, Mothershead and the Princess, filled \n with pride, beam at John.", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital." ], [ "Merrick looks up at her very apprehensively. She walks over \n to the bed, picks up the Bible from the table, opens it and \n hands it to Merrick.", "MOTHERSHEAD\n Read it.\n\n Merrick looks down at the Bible.", "He and Mothershead exit. Merrick watches the door close. He \n sighs quietly, looks about, and sees the Bible on the bedside \n table. He picks it up and, gently runs his fingers over the \n cover.", "MERRICK\n (hesitantly)\n I... I used to read the Bible every", "MERRICK\n No, but I certainly shall.\n\n Merrick finds a place and begins to read.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "She quickly turns and exits. Merrick looks down at the Bible. \n It is open to \"Lamentations\".\n\n HALLWAY - THE LONDON (NIGHT)", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Merrick is standing beside his disguise on its hook. He \n nervously smooths the cloak down, repositions the Bible on", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "MERRICK\n (his voice is gaining \n strength)\n The Lord is my shepherd, I shall not", "TREVES\n Say \"Mmmerrick.\"\n\n MERRICK\n Mmmerrick.", "TREVES\n Say \"Mmmerrick.\"\n\n MERRICK\n Mmmerrick.", "Merrick is still hesitant, from years of fear, but his eyes \n betray a growing excitement. Slowly, he tries to talk, his \n voice a tremulous whisper.", "MERRICK\n Yes.\n\n TREVES\n Excellent! Now, say... \"Hello\"\n\n MERRICK\n Hello...", "MERRICK\n Yyyy... Yyye... yyyess.\n\n TREVES\n (grabbing Merrick's \n arm)\n Yes John!", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "Treves' words have disturbed Merrick. He sinks into the \n pillows, the book before him. We see the picture of the Mock" ], [ "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "The others cough their agreement and hurriedly leave the \n room. Treves walks over to the committee table and takes the \n paper off the photograph. He stares sadly at Merrick's \n picture.", "COMMITTEE ROOM - THE LONDON HOSPITAL\n\n We see a pair of hands. One of the photographs of Merrick is \n passed to them.", "guvnor of the hospital.\n (starts to read)\n There is now in a little room off \n one of our attic wards a man named", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Mr. Treves is finished, that we put \n it to a vote. All those in favor of \n keeping Mr. Merrick here?", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "MERRICK\n (incredulous)\n The hospital?\n\n TREVES\n Of course! What did you think?", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "CARR\n You are quite right, Treves, this is \n an exceptional case. And I quite \n agree that the committee should see \n Mr. Merrick.", "Carr Gomm goes back into his office and Treves walks off.\n\n MERRICK'S ROOM (A WHILE LATER)", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick looks at Treves for guidance, but Treves cannot look \n him in the eye.\n\n MERRICK\n ...everyone has been very kind.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "TREVES\n ....Good morning... John. I've brought \n your breakfast.\n\n Treves is unsettled by the sight of Merrick cowering down on \n the floor." ], [ "She produces a beautiful leather-bound volume of Shakespeare's \n works. Merrick takes it with reverence and begins to leaf \n through it.\n\n KENDAL\n Have you read it?", "MERRICK\n No, but I certainly shall.\n\n Merrick finds a place and begins to read.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "CARR\n Treves. Well done.\n\n TREVES\n Not me, sir. Mr. Merrick. He succeeded \n in spite of my shortsightedness.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Merrick is on the bed, propped up by pillows. The door opens. \n Treves comes in, shuts the door and leans against it. They \n look at each other for a moment.", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "CARR\n Well then, I move that Mr. John \n Merrick be admitted to the London" ], [ "TREVES\n My name is...\n\n MERRICK\n My... name is...\n\n TREVES\n John Merrick.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "MERRICK\n John... Merrick\n\n TREVES\n Say \"Merrick\".\n\n MERRICK\n Merrick...", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "enquiries proved it to be none other \n than Mr. John Merrick, The Elephant \n Man, with whom our readers are", "MERRICK\n Hello... my name is John Merrick. I \n am very pleased to meet you.\n\n Carr Gomm, still shaken, instinctively offers his hand.", "TREVES\n He is English, he is twenty-one years \n of age and his name is John Merrick.", "MERRICK\n John... Merrick!", "MERRICK\n Hello, my name is John Merrick. I am \n very, VERY pleased to meet you!", "MERRICK\n (haltingly)\n Hello... my name is... John Merrick.\n\n DISSOLVE TO HALLWAY", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Merrick, the Elephant Man...", "meets him. Somehow, between now and \n then I've got to make John Merrick \n at least seem like an intelligent", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "KENDAL\n Why, Mr. Merrick, you're not an \n Elephant Man at all...\n\n MERRICK\n Oh no?", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "wagon. He is quite sick. The audience gasps and shudders. A \n few shrieks are heard. The Elephant Man is always the Elephant \n Man.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "TREVES\n You look splendid, John.\n\n MERRICK\n Thank you very much." ] ]	[ "What is John Merrick nickname?", "How does Treves get Mr Bytes to bring Merrick to the hospital for medical exams?", "What does Merrick quote proofing he can read?", "What does John Merrick die from?", "How does John Merrick have to sleep because of his giant skull?", "What is Madge Kendals profession?", "What happens to Merrick that causes him to flee Bytes and return to hospital?", "Who ensures that John Merrick will be able to reside at hospital even againt hospital council concerns.?", "When dying what is the quote John Merrick hears his mother say?", "Who finds Merrick?", "Who keeps Merrick in London?", "How does Merrick's owner view him?", "What forces Merrick to sleep with his head on his knees?", "Who beats Merrick? ", "Who brings Merrick to the hospital?", "What does the hospital not accept?", "Who grants merrick's residence?", "Who helps merrick escape?", "What is merricks nickname?", "What is Frederick Treves occupation?", "Who is the person in a freak show that Treves examines?", "Who is John Merrick's \"owner\"?", "What would happen to John Merrick if he slept lying down?", "Who beat Merrick so badly he needed medical help?", "Which nurse tends to John Merrick at the hospital?", "What Bible verse can Merrick recite?", "What hospital governor was against Merrick staying at the hospital?", "Who introduced Merrick to Shakespeare?", "What is the nickname given to John Merrick?" ]	[ [ "The elephant man.", "Elephant man is his nickname." ], [ "By paying him.", "Mr. Treves is paid to take John." ], [ "23rd psalms", "23rd Psalm" ], [ "Chronic obstructive pulmonary disease.", "Chronic Obstructive Pulmonary Disease." ], [ "With his head on his knees.", "With his head on his knees." ], [ "She is an actress.", "Actress." ], [ "He is beaten badly by Bytes upon his return from the medical exams.", "Bytes beats him badly." ], [ "Queen Victoria", "Queen Victoria" ], [ "Nothing dies.", "Nothing will Die" ], [ "Treves", "Frederick Treves." ], [ "Bytes", "Mr. Bytes" ], [ "Retarded", "an elephant man" ], [ "His large skull", "He would asphyxiate if laying flat because of the size of his head" ], [ "His owner", "Bytes" ], [ "Treves", "Frederick Treves" ], [ "Curables?", "Incurables." ], [ "Queen Victoria", "Queen Victoria." ], [ "His fellow freakshow attractions ", "fellow freakshow attractions" ], [ "The elephant man", "elephant Man" ], [ "London Hospital surgeon", "He is a surgeon." ], [ "John Merrick", "John Merrick is a man with a huge head and presumed to be retarded." ], [ "Mr. Bytes", "Mr. Bytes" ], [ "He would die from asphyxiation", "He would die of asphyxiation. " ], [ "Mr. Bytes", "Bytes" ], [ "Mrs. Mothershead", "Mrs. Mothershead" ], [ "Psalm 23", "23rd Psalm." ], [ "Mr. Carr-Gomm", "Mr. Carr-Gomm." ], [ "Madge Kendal", "Madge Kendal" ], [ "The Elephant Man", "Elephant Man." ] ]	567c1a39aff9590875a843a9df35f8c5b880ae27	train
[ [ "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "about Strickland. He had known him well.", "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "an individual, but a thing, an instrument to some purpose\nforeign to his ego. Love is never quite devoid of\nsentimentality, and Strickland was the least inclined to that", "white man, but it's not decent for a white man. Now, listen\nto me, Strickland.'\"", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "exist for him, but only as a model; and then there were long\nhours in which they lived side by side in silence. It must\nhave frightened her. When Strickland suggested that in her", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "Charles Strickland lived obscurely. He made enemies rather\nthan friends. It is not strange, then, that those who wrote of\nhim should have eked out their scanty recollections with a", "Strickland's attention. Here, too, was a man with a vision of\nthe world peculiar to himself. I made somewhat copious notes\nat the time, intending to write something about him, but I", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "caught sight of Strickland. He rolled up to him. He did not speak.\nHe gathered the spittle in his mouth and spat full in", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding", "Stroeve made a great effort to collect himself.\n\n\"You must be a little reasonable. You can't live on air,\nyou know. Strickland hasn't got a penny.\"", "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "for Strickland was not a fluent talker. He seemed to\nexpress himself with difficulty, as though words were not the\nmedium with which his mind worked; and you had to guess the", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the" ], [ "little old red-brick house, neat and clean, by the side of a\nsluggish canal. The streets were wide and empty; for two\nhundred years the place had been dying, but the houses had the", "He was twenty-three. They played together, walked on the front\ntogether, listened together to the nigger minstrels; and she\nhad made up her mind to accept him a week before he proposed", "Sometimes a man survives a considerable time from an era in\nwhich he had his place into one which is strange to him, and\nthen the curious are offered one of the most singular", "\"Is she dead?\"\n\n\"No; they've taken her to the hospital.\"\n\n\"Then what are you talking about?\" I cried impatiently. \"Why\ndid you say she'd killed herself?\"", "by the heavy boots of the men, and gray with smoke. It was\nvery hot. Behind the bar was seated a woman nursing her baby.\nThe waiter, an undersized youth with a flat, spotty face,", "away from the door in tears. He thought nothing of it, but\nwhen he went out to get into his trap and drive home, he saw\nher again, standing a little way off; she looked at him with a", "Then two years more went by, or perhaps three, for time passes\nimperceptibly in Tahiti, and it is hard to keep count of it;", "of a fishing smack), unwilling to lose a moment, bent over\ntheir sewing. Nothing ever happened in that little town, left\nbehind by the advance of civilisation, and one year followed", "Then he told me, in a trembling voice, with the tears pouring\ndown his cheeks, how he had gone up to her, trying to take her", "out where he was. He seemed on a sudden to have entered a\nmagic world. He had a vague impression of a great primeval\nforest and of naked people walking beneath the trees. Then he", "\"Well, you've come here to talk to me about it. You'd better\ntell me the whole story.\"", "eventually to Stroeve's studio. He was so exhausted by the\ntime we arrived that he allowed us to put him to bed without a word.\nHe was ill for six weeks. At one time it looked as", "I confess that time has now accustomed me to incidents of this\ncharacter among my acquaintance. But I was a little shocked.\nStrickland was certainly forty, and I thought it disgusting", "to the sky. These gallant words which seem so novel to those\nthat speak them were said in accents scarcely changed a hundred\ntimes before. The pendulum swings backwards and forwards.", "succeeded to vast chin. I do not know how many of them there were.\nThey fell away voluminously into the capaciousness of her bosom.\nShe was dressed usually in a pink Mother Hubbard,", "during this period was romantic, but he certainly saw no\nromance in it. It may be that in order to realise the romance\nof life you must have something of the actor in you; and,", "Chapter III\n\n\nBut all this is by the way.", "It was a fine day, early in spring, and we were in a good humour.\nWe talked about a hundred things. Miss Waterford,\ntorn between the aestheticism of her early youth, when she", "Now and then they made a bit of money. Sometimes a mail\nsteamer would come in, and Captain Nichols, having scraped\nacquaintance with the timekeeper, would succeed in getting the", "The explanation came a week later. It was about ten o' clock\nat night; I had been dining by myself at a restaurant, and" ], [ "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "\"Where are you going?\" he said hastily. \"You don't know what\nStrickland's place is like. You can't live there. It would\nbe awful.\"", "here, either. Strickland was indifferent to his surroundings,\nand he had lived in the other's studio without thinking of\naltering a thing. It was deliberately artistic. It represented", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "\"'I'm going with Strickland, Dirk,' she said. 'I can't live\nwith you any more.'", "Here Strickland lived, coming seldom to Papeete, on the\nproduce of the land. There was a little stream that ran not", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "Stroeve liked his ease, and in his studio were a couple of\nheavily upholstered arm-chairs and a large divan.\nStrickland would not go near them, not from any affectation", "With Strickland the sexual appetite took a very small place.\nIt was unimportant. It was irksome. His soul aimed elsewhither.", "Strickland had only herself to provide for. She let her flat\nand sold her furniture. She settled in two tiny rooms in\nWestminster, and faced the world anew. She was so efficient", "Strickland was impossible, and he swore never to speak to him again.\nBut the season touched him with gentle feeling, and he hated\nthe thought of Strickland spending Christmas Day by himself;", "thousands of miles from civilisation. I asked Strickland if\nit did not irk him to live in that promiscuity. No, he said;", "\"This afternoon I couldn't stand it any more. I went to\nStrickland and told him I thought he was quite well enough to\ngo back to his own place. I wanted the studio myself.\"", "I suppose the next three years were the happiest of\nStrickland's life. Ata's house stood about eight kilometres", "Next day we moved Strickland. It needed a good deal of\nfirmness and still more patience to induce him to come, but he", "I can never walk its streets without feeling myself\non the verge of adventure. Strickland remained placid.\nLooking back, I think now that he was blind to everything but", "exist for him, but only as a model; and then there were long\nhours in which they lived side by side in silence. It must\nhave frightened her. When Strickland suggested that in her", "so bedraggled an air that the houses on each side of it looked\nneat and clean. The dirty windows were all shut. It was not\nhere that Charles Strickland lived in guilty splendour with" ], [ "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "about Strickland. He had known him well.", "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "\"You don't understand. She's in love with Strickland.\"", "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "white man, but it's not decent for a white man. Now, listen\nto me, Strickland.'\"", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding", "appreciation of another, which added to Strickland's\nnotoriety, and fed without satisfying the curiosity of\nthe public. The subject was grateful, and the industrious", "Strickland was thinking of it, so I said to him: 'I've given\nher good wages and she's saved them, and the captains and the", "Charles Strickland lived obscurely. He made enemies rather\nthan friends. It is not strange, then, that those who wrote of\nhim should have eked out their scanty recollections with a", "Stroeve made a great effort to collect himself.\n\n\"You must be a little reasonable. You can't live on air,\nyou know. Strickland hasn't got a penny.\"", "Strickland, for reasons of her own, had concealed from him\nsome part of the facts. It was clear that a man after\nseventeen years of wedlock did not leave his wife without", "Mrs. Strickland's sister and her husband, Colonel MacAndrew,\nand the wife of a Member of Parliament. It was because the Member\nof Parliament found that he could not leave the House that I had", "Strickland had only herself to provide for. She let her flat\nand sold her furniture. She settled in two tiny rooms in\nWestminster, and faced the world anew. She was so efficient", "I do not know why Strickland put up with me. Our relations\nwere peculiar. One day he asked me to lend him fifty francs.\n\n\"I wouldn't dream of it,\" I replied.", "their box. He cursed Strickland freely, then, calling for the\nwaiter, paid for the drinks, and left. Stroeve drew his chair\ncloser to the table.", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from" ], [ "Blanche Stroeve was in the cruel grip of appetite.\nPerhaps she hated Strickland still, but she hungered for him,\nand everything that had made up her life till then became of", "so long as Blanche's strength endured, I suppose that\nStrickland painted, and it must have irritated her when she\nsaw him absorbed in his work. As a mistress she did not then", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "emotion which is defenceless against passion. I suspected\nthat Blanche Stroeve's violent dislike of Strickland had in it\nfrom the beginning a vague element of sexual attraction.", "I could not believe that Strickland had fallen in love with\nBlanche Stroeve. I did not believe him capable of love.\nThat is an emotion in which tenderness is an essential part,", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "Strickland's attention. Here, too, was a man with a vision of\nthe world peculiar to himself. I made somewhat copious notes\nat the time, intending to write something about him, but I", "men whose desire for truth is so great that to attain it they\nwill shatter the very foundation of their world. Of such was\nStrickland, only beauty with him took the place of truth.", "But perhaps this is very fanciful; and it may be that she was\nmerely bored with her husband and went to Strickland out of a", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "with which she had accepted the burden he laid on her.\nBut he was a little puzzled by the behaviour of Blanche and\nStrickland towards one another.", "from it only decorous sentiments and normal emotions.\nWhen Blanche saw that, notwithstanding his moments of passion,\nStrickland remained aloof, she must have been filled with", "over to it and leaned it towards him so that he could see the\npainting. It was a nude. His heart began to beat quickly,\nfor he guessed at once that it was one of Strickland's", "\"And the passion that held Strickland was a passion to\ncreate beauty. It gave him no peace. It urged him hither", "Strickland. Did she want to see me or did she not? It was\nlikely enough that in the agitation of the moment my note had", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from", "had her to live with me. Strickland used to come here now and\nthen to have a square meal or to play chess with one of the boys.\nI noticed that she looked at him when he came, and I" ], [ "things which must lead to disaster, and yet by some chance\nmanage to evade the result of their folly. When Blanche\nquarrelled with Strickland she had only to leave him, and her", "from one day to the next. Stroeve knew from the enquiries\nmade by the police that Strickland had walked out of the house\nimmediately after dinner, and the fact that Blanche had washed", "\"But that doesn't prevent the fact that Charles Strickland is\na heartless beast.\" She looked at me severely. \"I can tell\nyou why he left his wife -- from pure selfishness and nothing\nelse whatever.\"", "Strickland set off at once, and that was the last Captain\nNichols saw of him. The ship was only in port for six hours,", "so long as Blanche's strength endured, I suppose that\nStrickland painted, and it must have irritated her when she\nsaw him absorbed in his work. As a mistress she did not then", "A week later I heard by chance that Strickland had gone to\nMarseilles. I never saw him again.\n\n\n\n\nChapter XLIII", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "from it only decorous sentiments and normal emotions.\nWhen Blanche saw that, notwithstanding his moments of passion,\nStrickland remained aloof, she must have been filled with", "their box. He cursed Strickland freely, then, calling for the\nwaiter, paid for the drinks, and left. Stroeve drew his chair\ncloser to the table.", "the wretched morning on which they had taken Blanche to the hospital.\nI was glad he did not want me to accompany him, and when\nI left him at the door I walked away with relief. I took", "Mrs. Strickland, without saying a word that was untrue, insinuated\nthat her relations with her husband had always been perfect.\nAt last Mr. Van Busche Taylor rose to go. Holding his", "When I left him, after we had buried poor Blanche, Stroeve\nwalked into the house with a heavy heart. Something impelled", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from", "At last she rose and shepherded the ladies out of one room.\nStrickland shut the door behind her, and, moving to the other", "\"'I'm going with Strickland, Dirk,' she said. 'I can't live\nwith you any more.'", "He walked out and closed the door behind him. With my mind's\neye I saw Strickland throw his hat on a table, and, sitting down,\nbegin to smoke a cigarette.", "he'd go at once. He began to put his things together.\nYou remember I fetched from his room what I thought he needed,\nand he asked Blanche for a piece of paper and some string to", "I could not believe that Strickland had fallen in love with\nBlanche Stroeve. I did not believe him capable of love.\nThat is an emotion in which tenderness is an essential part,", "Strickland's injurious calm robbed Stroeve of the rest of his\nself-control. Blind rage seized him, and without knowing what", "woman's to a man who loves her and whom she does not love;\nshe has no kindness then, no tolerance even, she has only an\ninsane irritation. Blanche Stroeve stopped suddenly, and as" ], [ "He answered from Paris. He said he'd made up his mind not to\nlive with her any more.\"", "over to Paris on a fool's errand to an ill-famed house in a\nmean street. Still, I thought I had better go and see.", "It was about five years after this that I decided to live in\nParis for a while. I was growing stale in London. I was", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "\"We don't know who the woman is, you know,\" he said. \"All we\nknow is that the blackguard's gone to Paris.\"\n\n\"I thought they got on so well.\"", "\"What is Mrs. Strickland going to do?\"\n\n\"Well, the first thing is to get our proofs. I'm going over\nto Paris myself.\"\n\n\"And what about his business?\"", "who were spending a little while in Paris, and Stroeve\nbecause, having quarreled with him more violently than usual,\nhe had made up his mind to have nothing more to do with him.", "I agreed to go over on the next day but one, and to\nstay in Paris till I had achieved something. Then, as it was\ngrowing late and we were both exhausted by so much emotion,", "\"You said that if I wanted you to do anything you wouldn't\nmind doing it,\" she remarked.\n\n\"It was quite true.\"\n\n\"Will you go over to Paris and see Charlie?\"", "\"Don't you think you'd better go away for a bit?\" I said.\n\"There can be no object in your staying in Paris now.\"\n\nHe did not answer, but I went on ruthlessly:", "blue leaves; but they are mad in Paris, and it may be that\nyour brother will be able to sell it for the two hundred\nfrancs you lent Strickland.' Well, we packed it up and we sent", "lives, but I can take you to see him. He goes to a cafe in\nthe Avenue de Clichy at seven o'clock every evening. If you\nlike we'll go there to-morrow.\"", "I settled down in Paris and began to write a play. I led a\nvery regular life, working in the morning, and in the", "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "\"No; I haven't heard a word. He may be dead for all I know.\"\n\n\"I may run across him in Paris. Would you like me to let you\nknow about him?\"", "But after all when I look back upon that winter in Paris,\nmy pleasantest recollection is of Dirk Stroeve. There was\nsomething very charming in his little household. He and his", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "\"He's bolted. He's gone off to Paris with a woman. He's left\nAmy without a penny.\"\n\n\"I'm awfully sorry,\" I said, not knowing what else to say.", "spent in Paris; but I do not suppose I should ever have set\ndown my recollections if the hazards of the war had not taken", "When I told him that I meant to live in Paris for a while, and\nhad taken an apartment, he reproached me bitterly for not" ], [ "which had been Strickland. He was dead. Dr. Coutras made an\neffort of will and bent over that battered horror. Then he", "Strickland's injurious calm robbed Stroeve of the rest of his\nself-control. Blind rage seized him, and without knowing what", "At last I turned away. I felt that Strickland had kept his\nsecret to the grave.", "touched him on the arm. We walked along in silence. I tried\nto imagine what had happened to drive the poor creature to\nthat dreadful step. I presumed that Strickland knew what had", "he was doing he flung himself on Strickland. Strickland was\ntaken by surprise and he staggered, but he was very strong,\neven after his illness, and in a moment, he did not exactly", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "but at last a message was brought to Dr. Coutras that\nStrickland was dying. Ata had waylaid the cart that took the", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "caught sight of Strickland. He rolled up to him. He did not speak.\nHe gathered the spittle in his mouth and spat full in", "Charles Strickland lived obscurely. He made enemies rather\nthan friends. It is not strange, then, that those who wrote of\nhim should have eked out their scanty recollections with a", "about Strickland. He had known him well.", "\"I think Strickland knew it was a masterpiece. He had\nachieved what he wanted. His life was complete. He had made\na world and saw that it was good. Then, in pride and\ncontempt, he destroyed it.\"", "I had been thinking of it, too. It seemed to me that here\nStrickland had finally put the whole expression of himself.\nWorking silently, knowing that it was his last chance, I", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from", "In a few days Strickland began to get up. He was nothing but\nskin and bone. His clothes hung upon him like rags on a", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "Strickland stepped to the door and looked out. There must\nhave been something terrible in his face, for suddenly they\nall burst out into loud cries and lamentation. They lifted up", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once" ], [ "I had been thinking of it, too. It seemed to me that here\nStrickland had finally put the whole expression of himself.\nWorking silently, knowing that it was his last chance, I", "\"I think Strickland knew it was a masterpiece. He had\nachieved what he wanted. His life was complete. He had made\na world and saw that it was good. Then, in pride and\ncontempt, he destroyed it.\"", "It is here that I purposed to end my book. My first idea was\nto begin it with the account of Strickland's last years in", "\"And the passion that held Strickland was a passion to\ncreate beauty. It gave him no peace. It urged him hither", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "genius of his youth, and who, seeing in Strickland the\npossibilities which himself had wasted, influenced him to\nforsake all and follow the divine tyranny of art. I think", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "thither that after many wanderings Charles Strickland came,\nand it is there that he painted the pictures on which his fame\nmost securely rests. I suppose no artist achieves completely", "of Strickland's opinions of the great artists of the past.\nI am afraid I have very little worth noting. Strickland was not\na conversationalist, and he had no gift for putting what he", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "Then he told me again of his asking Strickland to go.\nHe chose his moment carefully, and tried to make his request\nsound casual; but he could not master the trembling of his voice;", "men whose desire for truth is so great that to attain it they\nwill shatter the very foundation of their world. Of such was\nStrickland, only beauty with him took the place of truth.", "over to it and leaned it towards him so that he could see the\npainting. It was a nude. His heart began to beat quickly,\nfor he guessed at once that it was one of Strickland's", "\"What on earth can it be that two people so dissimilar as you\nand Strickland could aim at?\" I asked, smiling.\n\n\"Beauty.\"\n\n\"A large order,\" I murmured.", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "and the reputation of Charles Strickland is now firmly\nestablished on the lines which he laid down. The rise of this\nreputation is one of the most romantic incidents in the", "to rival him in song. Strickland seemed to bear in his heart\nstrange harmonies and unadventured patterns, and I foresaw for\nhim an end of torture and despair. I had again the feeling" ], [ "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "about Strickland. He had known him well.", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "Strickland's attention. Here, too, was a man with a vision of\nthe world peculiar to himself. I made somewhat copious notes\nat the time, intending to write something about him, but I", "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "an individual, but a thing, an instrument to some purpose\nforeign to his ego. Love is never quite devoid of\nsentimentality, and Strickland was the least inclined to that", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the", "and the reputation of Charles Strickland is now firmly\nestablished on the lines which he laid down. The rise of this\nreputation is one of the most romantic incidents in the", "white man, but it's not decent for a white man. Now, listen\nto me, Strickland.'\"", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "\"A big fellow with a red beard. Charles Strickland.\nAn Englishman.\"", "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "I confess that when first I made acquaintance with Charles\nStrickland I never for a moment discerned that there was in", "Mrs. Strickland's sister and her husband, Colonel MacAndrew,\nand the wife of a Member of Parliament. It was because the Member\nof Parliament found that he could not leave the House that I had", "caught sight of Strickland. He rolled up to him. He did not speak.\nHe gathered the spittle in his mouth and spat full in" ], [ "In a few days Strickland began to get up. He was nothing but\nskin and bone. His clothes hung upon him like rags on a", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "caught sight of Strickland. He rolled up to him. He did not speak.\nHe gathered the spittle in his mouth and spat full in", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "placed far apart, so that only the starving should be tempted\nto make use of them. So they had breakfast, and so began the\nqueer companionship of Charles Strickland and Captain Nichols.", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "he was doing he flung himself on Strickland. Strickland was\ntaken by surprise and he staggered, but he was very strong,\neven after his illness, and in a moment, he did not exactly", "the door numbered thirty-two. There was a sound within, and\nthe door was partly opened. Charles Strickland stood before me.\nHe uttered not a word. He evidently did not know me.", "about Strickland. He had known him well.", "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "I can never walk its streets without feeling myself\non the verge of adventure. Strickland remained placid.\nLooking back, I think now that he was blind to everything but", "Strickland stepped to the door and looked out. There must\nhave been something terrible in his face, for suddenly they\nall burst out into loud cries and lamentation. They lifted up", "I have narrated all this as best I could, because I like the\ncontrast of these episodes with the life that I had seen\nStrickland live in Ashley Gardens when he was occupied with", "Strickland at this time must have been nearly forty-seven.\n\n\n\n\nChapter XLV", "which had been Strickland. He was dead. Dr. Coutras made an\neffort of will and bent over that battered horror. Then he", "I confess that when first I made acquaintance with Charles\nStrickland I never for a moment discerned that there was in" ], [ "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "blue leaves; but they are mad in Paris, and it may be that\nyour brother will be able to sell it for the two hundred\nfrancs you lent Strickland.' Well, we packed it up and we sent", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "\"What is Mrs. Strickland going to do?\"\n\n\"Well, the first thing is to get our proofs. I'm going over\nto Paris myself.\"\n\n\"And what about his business?\"", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the", "The concierge shrugged his shoulders. There was no other\nhotel of that name in Paris. It occurred to me that\nStrickland had concealed his address, after all. In giving", "down in the best order I can. They made one another's\nacquaintance during the latter part of the winter following my\nlast meeting with Strickland in Paris. How he had passed the", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "When she saw me she called out to Strickland, and he\ncame to the door. He, too, wore nothing but a <i pareo>.\nHe was an extraordinary figure, with his red beard and matted", "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "and the reputation of Charles Strickland is now firmly\nestablished on the lines which he laid down. The rise of this\nreputation is one of the most romantic incidents in the", "I confess that when first I made acquaintance with Charles\nStrickland I never for a moment discerned that there was in", "I was interested to learn that it was the same as that\nat which Strickland and I had drunk absinthe when I had gone\nover to Paris to see him. The fact that he had never changed" ], [ "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "\"What is Mrs. Strickland going to do?\"\n\n\"Well, the first thing is to get our proofs. I'm going over\nto Paris myself.\"\n\n\"And what about his business?\"", "blue leaves; but they are mad in Paris, and it may be that\nyour brother will be able to sell it for the two hundred\nfrancs you lent Strickland.' Well, we packed it up and we sent", "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "who were spending a little while in Paris, and Stroeve\nbecause, having quarreled with him more violently than usual,\nhe had made up his mind to have nothing more to do with him.", "mother, to state that Charles Strickland in a letter written\nfrom Paris had described her as \"an excellent woman,\" since\nDr. Weitbrecht-Rotholz was able to print the letter in", "When she saw me she called out to Strickland, and he\ncame to the door. He, too, wore nothing but a <i pareo>.\nHe was an extraordinary figure, with his red beard and matted", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "Dr. Weitbrecht-Rotholz was an enthusiastic admirer of Charles\nStrickland, and there was no danger that he would whitewash him.", "Mrs. Strickland's sister and her husband, Colonel MacAndrew,\nand the wife of a Member of Parliament. It was because the Member\nof Parliament found that he could not leave the House that I had", "I was interested to learn that it was the same as that\nat which Strickland and I had drunk absinthe when I had gone\nover to Paris to see him. The fact that he had never changed", "The concierge shrugged his shoulders. There was no other\nhotel of that name in Paris. It occurred to me that\nStrickland had concealed his address, after all. In giving", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "But after all when I look back upon that winter in Paris,\nmy pleasantest recollection is of Dirk Stroeve. There was\nsomething very charming in his little household. He and his" ], [ "things which must lead to disaster, and yet by some chance\nmanage to evade the result of their folly. When Blanche\nquarrelled with Strickland she had only to leave him, and her", "woman's to a man who loves her and whom she does not love;\nshe has no kindness then, no tolerance even, she has only an\ninsane irritation. Blanche Stroeve stopped suddenly, and as", "The door wasn't locked, and she went in. Blanche was lying on\nthe bed. She'd been frightfully sick. There was a bottle of\noxalic acid on the table.\"", "penny the worse for all that wretchedness. I had an idea that\nDirk, a man of greater emotional reactions than depth of\nfeeling, would soon forget; and Blanche's life, begun with who", "Stroeve had always been excitable, but now he was beside\nhimself; there was no reasoning with him. I thought it\nprobable enough that Blanche Stroeve would not continue to", "there or not, but Blanche. She shuddered when I went to kiss her.\nWhen at last I was certain I didn't know what to do;", "Blanche Stroeve was in the cruel grip of appetite.\nPerhaps she hated Strickland still, but she hungered for him,\nand everything that had made up her life till then became of", "for years seemed now to weigh him down, and the final blow of\nBlanche's treachery had robbed him of the resiliency which had\nmade him take it so gaily. He could no longer laugh with", "\"But that doesn't prevent the fact that Charles Strickland is\na heartless beast.\" She looked at me severely. \"I can tell\nyou why he left his wife -- from pure selfishness and nothing\nelse whatever.\"", "so long as Blanche's strength endured, I suppose that\nStrickland painted, and it must have irritated her when she\nsaw him absorbed in his work. As a mistress she did not then", "There was in his tone a frigid contempt. It was obvious that\nto him Blanche Stroeve was only a unit to be added to the", "I saw Blanche little by little trying all her tricks.\nWith infinite patience she prepared to snare me and bind me.\nShe wanted to bring me down to her level; she cared nothing", "But he found his traps waiting for him in the porter's\nlodge, and the concierge told him that Blanche had gone out.\nI do not think he resisted the temptation of giving her an", "\"We both loved Blanche. There would have been room for him in\nmy mother's house. I think the company of poor, simple people", "merely the result of a physical appeal. I do not suppose she\nhad ever really cared for her husband, and what I had taken\nfor love was no more than the feminine response to caresses", "astonished at the effect they had on Blanche Stroeve.\nShe started a little, and gave her husband a long look.\nHis eyes were fixed on the ground. I did not know why he", "When we went again to the hospital we saw a nursing sister.\nShe told us that Blanche seemed a little better, and she went\nin to ask if she would see her husband. We heard voices in", "I could not believe that Strickland had fallen in love with\nBlanche Stroeve. I did not believe him capable of love.\nThat is an emotion in which tenderness is an essential part,", "Dirk, the man who had loved her so devotedly, betrayed a\nsudden temper and a horrid cruelty. She had abandoned the\nsafe shelter of her husband's protection and the comfortable", "two on the landing to get his breath after the ascent, and how\nabsurdly his impatience to see Blanche had taken it away again.\nTo see her was a delight that never staled, and even" ], [ "Blanche Stroeve was in the cruel grip of appetite.\nPerhaps she hated Strickland still, but she hungered for him,\nand everything that had made up her life till then became of", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "I could not believe that Strickland had fallen in love with\nBlanche Stroeve. I did not believe him capable of love.\nThat is an emotion in which tenderness is an essential part,", "so long as Blanche's strength endured, I suppose that\nStrickland painted, and it must have irritated her when she\nsaw him absorbed in his work. As a mistress she did not then", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from", "emotion which is defenceless against passion. I suspected\nthat Blanche Stroeve's violent dislike of Strickland had in it\nfrom the beginning a vague element of sexual attraction.", "exist for him, but only as a model; and then there were long\nhours in which they lived side by side in silence. It must\nhave frightened her. When Strickland suggested that in her", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "men whose desire for truth is so great that to attain it they\nwill shatter the very foundation of their world. Of such was\nStrickland, only beauty with him took the place of truth.", "Strickland. She made no secret of her desires, and I was\nbidden to translate.", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "Strickland's injurious calm robbed Stroeve of the rest of his\nself-control. Blind rage seized him, and without knowing what", "But perhaps this is very fanciful; and it may be that she was\nmerely bored with her husband and went to Strickland out of a", "\"I think Strickland knew it was a masterpiece. He had\nachieved what he wanted. His life was complete. He had made\na world and saw that it was good. Then, in pride and\ncontempt, he destroyed it.\"", "\"You don't understand. She's in love with Strickland.\"", "There was in my soul a perfectly genuine horror of Strickland,\nand side by side with it a cold curiosity to discover his motives.", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "Strickland. Did she want to see me or did she not? It was\nlikely enough that in the agitation of the moment my note had", "With Strickland the sexual appetite took a very small place.\nIt was unimportant. It was irksome. His soul aimed elsewhither.", "\"What on earth can it be that two people so dissimilar as you\nand Strickland could aim at?\" I asked, smiling.\n\n\"Beauty.\"\n\n\"A large order,\" I murmured." ], [ "Charles Strickland lived obscurely. He made enemies rather\nthan friends. It is not strange, then, that those who wrote of\nhim should have eked out their scanty recollections with a", "It is here that I purposed to end my book. My first idea was\nto begin it with the account of Strickland's last years in", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "At last I turned away. I felt that Strickland had kept his\nsecret to the grave.", "I suppose the next three years were the happiest of\nStrickland's life. Ata's house stood about eight kilometres", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "Here Strickland lived, coming seldom to Papeete, on the\nproduce of the land. There was a little stream that ran not", "I have narrated all this as best I could, because I like the\ncontrast of these episodes with the life that I had seen\nStrickland live in Ashley Gardens when he was occupied with", "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "Strickland had only herself to provide for. She let her flat\nand sold her furniture. She settled in two tiny rooms in\nWestminster, and faced the world anew. She was so efficient", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "about Strickland. He had known him well.", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "thither that after many wanderings Charles Strickland came,\nand it is there that he painted the pictures on which his fame\nmost securely rests. I suppose no artist achieves completely", "I had been thinking of it, too. It seemed to me that here\nStrickland had finally put the whole expression of himself.\nWorking silently, knowing that it was his last chance, I", "Strickland's attention. Here, too, was a man with a vision of\nthe world peculiar to himself. I made somewhat copious notes\nat the time, intending to write something about him, but I", "their lives; and it seemed to me that my surmises had not\nbeen incorrect. Mrs. Strickland was the daughter of an\nIndian civilian, who on his retirement had settled in the depths", "of the country, but it was his habit every August to take his\nfamily to Eastbourne for change of air; and it was here,\nwhen she was twenty, that she met Charles Strickland." ], [ "Here Strickland lived, coming seldom to Papeete, on the\nproduce of the land. There was a little stream that ran not", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "Strickland reached Tahiti about six months after he left\nMarseilles. He worked his passage on a sailing vessel that\nwas making the trip from Auckland to San Francisco, and he", "Strickland made no particular impression on the people who\ncame in contact with him in Tahiti. To them he was no more\nthan a beach-comber in constant need of money, remarkable only", "Tahiti as in an English village, and one or two enquiries I\nhad made for pictures by Strickland had been quickly spread.\nI asked the stranger if he had breakfasted.", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "Then I told them what I had learned about Charles Strickland\nin Tahiti. I thought it unnecessary to say anything of Ata", "had heard anything of Strickland. By now it was known\neverywhere that he had leprosy. First Tane, the boy, had left\nthe house, and then, a little time afterwards, the old woman", "of the country, but it was his habit every August to take his\nfamily to Eastbourne for change of air; and it was here,\nwhen she was twenty, that she met Charles Strickland.", "for a long time. I had no news of Strickland. Once or twice\nI heard that Ata had been to Papeete to buy painting", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "me to Tahiti. There, as is notorious, he spent the last years\nof his life; and there I came across persons who were familiar\nwith him. I find myself in a position to throw light on just", "their lives; and it seemed to me that my surmises had not\nbeen incorrect. Mrs. Strickland was the daughter of an\nIndian civilian, who on his retirement had settled in the depths", "I suppose the next three years were the happiest of\nStrickland's life. Ata's house stood about eight kilometres", "and sky and the varied colour of the lagoon and the grace of\nthe cocoa-nut trees; but the place where Strickland lived had", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the", "penury where they had enjoyed consideration. During his sea\nfaring days he had cruised the South Seas, and he determined\nnow to seek his fortune there. He spent some months in Papeete", "\"<i Tenez, voila le Capitaine Brunot>,\" said Tiare, one day\nwhen I was fitting together what she could tell me of Strickland.\n\"He knew Strickland well; he visited him at his house.\"", "It would seem that my visit to this remote island should\nimmediately revive my interest in Strickland, but the work I\nwas engaged in occupied my attention to the exclusion of" ], [ "I had been thinking of it, too. It seemed to me that here\nStrickland had finally put the whole expression of himself.\nWorking silently, knowing that it was his last chance, I", "\"I think Strickland knew it was a masterpiece. He had\nachieved what he wanted. His life was complete. He had made\na world and saw that it was good. Then, in pride and\ncontempt, he destroyed it.\"", "Strickland's attention. Here, too, was a man with a vision of\nthe world peculiar to himself. I made somewhat copious notes\nat the time, intending to write something about him, but I", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "\"How should I know? It is true I had never heard of this work;\nbut I thought perhaps it had fallen into the hands of a\nprivate owner. Even now there is no certain list of\nStrickland's paintings.\"", "It is here that I purposed to end my book. My first idea was\nto begin it with the account of Strickland's last years in", "singularly devoid of charm. But I have nothing to go on.\nI never once saw Strickland at work, nor do I know that anyone\nelse did. He kept the secret of his struggles to himself.", "Looking back, I realise that what I have written about Charles\nStrickland must seem very unsatisfactory. I have given", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the", "and the reputation of Charles Strickland is now firmly\nestablished on the lines which he laid down. The rise of this\nreputation is one of the most romantic incidents in the", "of Strickland's opinions of the great artists of the past.\nI am afraid I have very little worth noting. Strickland was not\na conversationalist, and he had no gift for putting what he", "Charles Strickland lived obscurely. He made enemies rather\nthan friends. It is not strange, then, that those who wrote of\nhim should have eked out their scanty recollections with a", "It would seem that my visit to this remote island should\nimmediately revive my interest in Strickland, but the work I\nwas engaged in occupied my attention to the exclusion of", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from", "With Strickland the sexual appetite took a very small place.\nIt was unimportant. It was irksome. His soul aimed elsewhither.", "Strickland's injurious calm robbed Stroeve of the rest of his\nself-control. Blind rage seized him, and without knowing what", "which had been Strickland. He was dead. Dr. Coutras made an\neffort of will and bent over that battered horror. Then he", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and" ], [ "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "mother, to state that Charles Strickland in a letter written\nfrom Paris had described her as \"an excellent woman,\" since\nDr. Weitbrecht-Rotholz was able to print the letter in", "Here Strickland lived, coming seldom to Papeete, on the\nproduce of the land. There was a little stream that ran not", "But after all when I look back upon that winter in Paris,\nmy pleasantest recollection is of Dirk Stroeve. There was\nsomething very charming in his little household. He and his", "blue leaves; but they are mad in Paris, and it may be that\nyour brother will be able to sell it for the two hundred\nfrancs you lent Strickland.' Well, we packed it up and we sent", "I do not know why Strickland put up with me. Our relations\nwere peculiar. One day he asked me to lend him fifty francs.\n\n\"I wouldn't dream of it,\" I replied.", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "Strickland had only herself to provide for. She let her flat\nand sold her furniture. She settled in two tiny rooms in\nWestminster, and faced the world anew. She was so efficient", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "\"What is Mrs. Strickland going to do?\"\n\n\"Well, the first thing is to get our proofs. I'm going over\nto Paris myself.\"\n\n\"And what about his business?\"", "I have narrated all this as best I could, because I like the\ncontrast of these episodes with the life that I had seen\nStrickland live in Ashley Gardens when he was occupied with", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "who were spending a little while in Paris, and Stroeve\nbecause, having quarreled with him more violently than usual,\nhe had made up his mind to have nothing more to do with him.", "here, either. Strickland was indifferent to his surroundings,\nand he had lived in the other's studio without thinking of\naltering a thing. It was deliberately artistic. It represented" ], [ "I can never walk its streets without feeling myself\non the verge of adventure. Strickland remained placid.\nLooking back, I think now that he was blind to everything but", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "so bedraggled an air that the houses on each side of it looked\nneat and clean. The dirty windows were all shut. It was not\nhere that Charles Strickland lived in guilty splendour with", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "In a few days Strickland began to get up. He was nothing but\nskin and bone. His clothes hung upon him like rags on a", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "I suppose the next three years were the happiest of\nStrickland's life. Ata's house stood about eight kilometres", "I have narrated all this as best I could, because I like the\ncontrast of these episodes with the life that I had seen\nStrickland live in Ashley Gardens when he was occupied with", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "of the country, but it was his habit every August to take his\nfamily to Eastbourne for change of air; and it was here,\nwhen she was twenty, that she met Charles Strickland.", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "thousands of miles from civilisation. I asked Strickland if\nit did not irk him to live in that promiscuity. No, he said;", "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "here, either. Strickland was indifferent to his surroundings,\nand he had lived in the other's studio without thinking of\naltering a thing. It was deliberately artistic. It represented", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "Here Strickland lived, coming seldom to Papeete, on the\nproduce of the land. There was a little stream that ran not", "\"Is there a Mr. Strickland?\" I asked\n\n\"Oh yes; he's something in the city. I believe he's a\nstockbroker. He's very dull.\"", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding" ], [ "little old red-brick house, neat and clean, by the side of a\nsluggish canal. The streets were wide and empty; for two\nhundred years the place had been dying, but the houses had the", "He was twenty-three. They played together, walked on the front\ntogether, listened together to the nigger minstrels; and she\nhad made up her mind to accept him a week before he proposed", "\"Is she dead?\"\n\n\"No; they've taken her to the hospital.\"\n\n\"Then what are you talking about?\" I cried impatiently. \"Why\ndid you say she'd killed herself?\"", "by the heavy boots of the men, and gray with smoke. It was\nvery hot. Behind the bar was seated a woman nursing her baby.\nThe waiter, an undersized youth with a flat, spotty face,", "away from the door in tears. He thought nothing of it, but\nwhen he went out to get into his trap and drive home, he saw\nher again, standing a little way off; she looked at him with a", "Then two years more went by, or perhaps three, for time passes\nimperceptibly in Tahiti, and it is hard to keep count of it;", "Strickland at this time must have been nearly forty-seven.\n\n\n\n\nChapter XLV", "out where he was. He seemed on a sudden to have entered a\nmagic world. He had a vague impression of a great primeval\nforest and of naked people walking beneath the trees. Then he", "Sometimes a man survives a considerable time from an era in\nwhich he had his place into one which is strange to him, and\nthen the curious are offered one of the most singular", "The explanation came a week later. It was about ten o' clock\nat night; I had been dining by myself at a restaurant, and", "a very modest position that he occupied, and there was about\nhim an air of straitened circumstance. Then he told me his story.\nWhen he set out on his holiday in the Mediterranean he", "It was a fine day, early in spring, and we were in a good humour.\nWe talked about a hundred things. Miss Waterford,\ntorn between the aestheticism of her early youth, when she", "eventually to Stroeve's studio. He was so exhausted by the\ntime we arrived that he allowed us to put him to bed without a word.\nHe was ill for six weeks. At one time it looked as", "\"But he had one already.\"\n\n\"That is what he said, but I told him she was in England,\nand England is at the other end of the world.\"\n\n\"True,\" I replied.", "about like a lost dog. I was sorry for him. I had a girl\nhere then called Ata to do the rooms; she was some sort of a\nrelation of mine, and her father and mother were dead, so I", "of a fishing smack), unwilling to lose a moment, bent over\ntheir sewing. Nothing ever happened in that little town, left\nbehind by the advance of civilisation, and one year followed", "her eyes intent, as though she watched for the coming of death.\nIt could now be only the question of a day or two;\nand when, late one evening, Stroeve came to see me I knew it was", "Then he told me, in a trembling voice, with the tears pouring\ndown his cheeks, how he had gone up to her, trying to take her", "\"Well, you've come here to talk to me about it. You'd better\ntell me the whole story.\"", "to the sky. These gallant words which seem so novel to those\nthat speak them were said in accents scarcely changed a hundred\ntimes before. The pendulum swings backwards and forwards." ], [ "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "of the country, but it was his habit every August to take his\nfamily to Eastbourne for change of air; and it was here,\nwhen she was twenty, that she met Charles Strickland.", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "I can never walk its streets without feeling myself\non the verge of adventure. Strickland remained placid.\nLooking back, I think now that he was blind to everything but", "a very modest position that he occupied, and there was about\nhim an air of straitened circumstance. Then he told me his story.\nWhen he set out on his holiday in the Mediterranean he", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "The only address I knew was the Hotel des Belges, but\nStrickland had long left that, and they would have no\nrecollection of him. With that queer idea of his to keep his", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "an individual, but a thing, an instrument to some purpose\nforeign to his ego. Love is never quite devoid of\nsentimentality, and Strickland was the least inclined to that", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "which she stood in need. She knew that the natives looked\nupon her with the same horrified aversion as they looked upon\nStrickland, and she kept out of their way. Once some women,", "I confess that when first I made acquaintance with Charles\nStrickland I never for a moment discerned that there was in" ], [ "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "A week later I heard by chance that Strickland had gone to\nMarseilles. I never saw him again.\n\n\n\n\nChapter XLIII", "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "One night Captain Nichols and Strickland were sitting in one\nof the bars of the Rue Bouterie. The Rue Bouterie is a narrow", "\"What is Mrs. Strickland going to do?\"\n\n\"Well, the first thing is to get our proofs. I'm going over\nto Paris myself.\"\n\n\"And what about his business?\"", "blue leaves; but they are mad in Paris, and it may be that\nyour brother will be able to sell it for the two hundred\nfrancs you lent Strickland.' Well, we packed it up and we sent", "I can never walk its streets without feeling myself\non the verge of adventure. Strickland remained placid.\nLooking back, I think now that he was blind to everything but", "But one evening when I was passing along the Avenue de Clichy\nin front of the cafe which Strickland frequented and which I", "After a moment's hesitation, Strickland scrambled to his feet,\nand together they went to the Bouchee de Pain, where the", "The concierge shrugged his shoulders. There was no other\nhotel of that name in Paris. It occurred to me that\nStrickland had concealed his address, after all. In giving", "The only address I knew was the Hotel des Belges, but\nStrickland had long left that, and they would have no\nrecollection of him. With that queer idea of his to keep his", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "of the Avenue de Clichy and ask at every house if Strickland\nlived there. My commonplace scheme was, after all, effective,\nfor in the second shop we asked at the woman behind the", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding" ], [ "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "thither that after many wanderings Charles Strickland came,\nand it is there that he painted the pictures on which his fame\nmost securely rests. I suppose no artist achieves completely", "genius of his youth, and who, seeing in Strickland the\npossibilities which himself had wasted, influenced him to\nforsake all and follow the divine tyranny of art. I think", "here, either. Strickland was indifferent to his surroundings,\nand he had lived in the other's studio without thinking of\naltering a thing. It was deliberately artistic. It represented", "of Strickland's opinions of the great artists of the past.\nI am afraid I have very little worth noting. Strickland was not\na conversationalist, and he had no gift for putting what he", "When so much has been written about Charles Strickland, it may\nseem unnecessary that I should write more. A painter's", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "\"And the passion that held Strickland was a passion to\ncreate beauty. It gave him no peace. It urged him hither", "over to it and leaned it towards him so that he could see the\npainting. It was a nude. His heart began to beat quickly,\nfor he guessed at once that it was one of Strickland's", "and the reputation of Charles Strickland is now firmly\nestablished on the lines which he laid down. The rise of this\nreputation is one of the most romantic incidents in the", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the", "\"He's all right,\" said Strickland. \"I bet he found it hell to paint.\"", "so long as Blanche's strength endured, I suppose that\nStrickland painted, and it must have irritated her when she\nsaw him absorbed in his work. As a mistress she did not then", "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "I had been thinking of it, too. It seemed to me that here\nStrickland had finally put the whole expression of himself.\nWorking silently, knowing that it was his last chance, I", "\"But if he wanted to be an artist, why didn't he say so?\"\nasked Mrs. Strickland at last. \"I should have thought I was\nthe last person to be unsympathetic to -- to aspirations of\nthat kind.\"", "incidents that came to my knowledge, but they remain obscure\nbecause I do not know the reasons that led to them.\nThe strangest, Strickland's determination to become a painter,", "Strickland went to his easel and looked reflectively at the\npicture that stood on it.", "entered, and there found Strickland cleaning his palette.\nThere was a picture on the easel. Strickland, clad only in a", "Mr. Strickland has drawn the portrait of an excellent husband\nand father, a man of kindly temper, industrious habits, and\nmoral disposition. The modern clergyman has acquired in his" ], [ "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "When the fat man had left I said:\n\n\"Dirk Stroeve thinks you're a great artist.\"\n\n\"What the hell do you suppose I care?\"", "Madame Dirk Stroeve.\"", "\"Dirk, you make me impatient,\" said Mrs. Stroeve. \"How can\nyou talk like that about his pictures when he treated you as", "He was constantly offending Dirk Stroeve so bitterly\nthat he flung away, vowing he would never speak to him again;\nbut there was a solid force in Strickland that attracted the", "Dirk Stroeve, telling the story, had such a look of blank\nastonishment on his round, foolish face that it was almost\nimpossible not to laugh.", "Dirk, the man who had loved her so devotedly, betrayed a\nsudden temper and a horrid cruelty. She had abandoned the\nsafe shelter of her husband's protection and the comfortable", "I was furious with Strickland, and was indignant with myself,\nbecause Dirk Stroeve cut such an absurd figure that I felt\ninclined to laugh.\n\n\"But what did your wife say?\"", "\"Please let me go quietly, Dirk,\" she said at last. \"Don't\nyou understand that I love Strickland? Where he goes I shall go.\"", "\"'I'm going with Strickland, Dirk,' she said. 'I can't live\nwith you any more.'", "Dirk Stroeve was one of those persons whom, according to your\ncharacter, you cannot think of without derisive laughter or an", "Chapter XXXIII\n\n\nTwo or three days later Dirk Stroeve called on me.\n\n\"I hear you've seen Blanche,\" he said.", "Stroeve had always been excitable, but now he was beside\nhimself; there was no reasoning with him. I thought it\nprobable enough that Blanche Stroeve would not continue to", "\"But that doesn't prevent the fact that Charles Strickland is\na heartless beast.\" She looked at me severely. \"I can tell\nyou why he left his wife -- from pure selfishness and nothing\nelse whatever.\"", "\"You see, you don't love her,\" said Stroeve.\n\n\"After all, there's nothing to prove that she is unhappy.\nFor all we know they may have settled down into a most\ndomestic couple.\"", "I was silent for a while.\n\n\"What did you expect her to do when you left her?\"\n\n\"She could have gone back to Stroeve,\" he said irritably.\n\"He was ready to take her.\"", "I supposed that for some reason or other -- and Heaven knows\nwhat ingenuity men exercise to torment themselves -- Dirk had\ngot it into his head that his wife cared for Strickland, and", "But after all when I look back upon that winter in Paris,\nmy pleasantest recollection is of Dirk Stroeve. There was\nsomething very charming in his little household. He and his", "Strickland was in a good humour, and when Dirk Stroeve came\nup and sat down with us he attacked him with ferocious banter.", "\"Let me put the facts before you. You were dying, and Dirk\nStroeve took you into his own house. He nursed you like a mother." ], [ "The door wasn't locked, and she went in. Blanche was lying on\nthe bed. She'd been frightfully sick. There was a bottle of\noxalic acid on the table.\"", "there or not, but Blanche. She shuddered when I went to kiss her.\nWhen at last I was certain I didn't know what to do;", "\"Blanche. Blanche.\"", "I saw Blanche little by little trying all her tricks.\nWith infinite patience she prepared to snare me and bind me.\nShe wanted to bring me down to her level; she cared nothing", "woman's to a man who loves her and whom she does not love;\nshe has no kindness then, no tolerance even, she has only an\ninsane irritation. Blanche Stroeve stopped suddenly, and as", "The circumstances of Blanche Stroeve's death necessitated all\nmanner of dreadful formalities, but at last we were allowed to", "But it was Blanche who most surprised me. She proved herself\nnot only a capable, but a devoted nurse. There was nothing in", "one knee was raised, and the other leg was stretched out.\nThe pose was classic. Stroeve's head swam. It was Blanche.\nGrief and jealousy and rage seized him, and he cried", "Stroeve had always been excitable, but now he was beside\nhimself; there was no reasoning with him. I thought it\nprobable enough that Blanche Stroeve would not continue to", "\"We both loved Blanche. There would have been room for him in\nmy mother's house. I think the company of poor, simple people", "her eyes intent, as though she watched for the coming of death.\nIt could now be only the question of a day or two;\nand when, late one evening, Stroeve came to see me I knew it was", "things which must lead to disaster, and yet by some chance\nmanage to evade the result of their folly. When Blanche\nquarrelled with Strickland she had only to leave him, and her", "for years seemed now to weigh him down, and the final blow of\nBlanche's treachery had robbed him of the resiliency which had\nmade him take it so gaily. He could no longer laugh with", "Blanche Stroeve was in the cruel grip of appetite.\nPerhaps she hated Strickland still, but she hungered for him,\nand everything that had made up her life till then became of", "\"You have not the courage of your convictions. Life has no\nvalue. Blanche Stroeve didn't commit suicide because I left", "When we went again to the hospital we saw a nursing sister.\nShe told us that Blanche seemed a little better, and she went\nin to ask if she would see her husband. We heard voices in", "unconscious they said I might go in. Her mouth and chin were\nall burnt by the acid. It was awful to see her lovely skin\nall wounded. She died very peacefully, so that I didn't know", "When I left him, after we had buried poor Blanche, Stroeve\nwalked into the house with a heavy heart. Something impelled", "to tell me she was dead. He was absolutely exhausted.\nHis volubility had left him at last, and he sank down wearily\non my sofa. I felt that no words of condolence availed, and I", "the wretched morning on which they had taken Blanche to the hospital.\nI was glad he did not want me to accompany him, and when\nI left him at the door I walked away with relief. I took" ], [ "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "A week later I heard by chance that Strickland had gone to\nMarseilles. I never saw him again.\n\n\n\n\nChapter XLIII", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "Strickland reached Tahiti about six months after he left\nMarseilles. He worked his passage on a sailing vessel that\nwas making the trip from Auckland to San Francisco, and he", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "blue leaves; but they are mad in Paris, and it may be that\nyour brother will be able to sell it for the two hundred\nfrancs you lent Strickland.' Well, we packed it up and we sent", "\"What is Mrs. Strickland going to do?\"\n\n\"Well, the first thing is to get our proofs. I'm going over\nto Paris myself.\"\n\n\"And what about his business?\"", "The only address I knew was the Hotel des Belges, but\nStrickland had long left that, and they would have no\nrecollection of him. With that queer idea of his to keep his", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "During the journey back to England I thought much of\nStrickland. I tried to set in order what I had to tell his wife.", "of the country, but it was his habit every August to take his\nfamily to Eastbourne for change of air; and it was here,\nwhen she was twenty, that she met Charles Strickland.", "Strickland set off at once, and that was the last Captain\nNichols saw of him. The ship was only in port for six hours,", "I can never walk its streets without feeling myself\non the verge of adventure. Strickland remained placid.\nLooking back, I think now that he was blind to everything but", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once" ], [ "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "he was doing he flung himself on Strickland. Strickland was\ntaken by surprise and he staggered, but he was very strong,\neven after his illness, and in a moment, he did not exactly", "which had been Strickland. He was dead. Dr. Coutras made an\neffort of will and bent over that battered horror. Then he", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "had heard anything of Strickland. By now it was known\neverywhere that he had leprosy. First Tane, the boy, had left\nthe house, and then, a little time afterwards, the old woman", "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "In a few days Strickland began to get up. He was nothing but\nskin and bone. His clothes hung upon him like rags on a", "but at last a message was brought to Dr. Coutras that\nStrickland was dying. Ata had waylaid the cart that took the", "Strickland's injurious calm robbed Stroeve of the rest of his\nself-control. Blind rage seized him, and without knowing what", "her eyes intent, as though she watched for the coming of death.\nIt could now be only the question of a day or two;\nand when, late one evening, Stroeve came to see me I knew it was", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "the long darkness as she sat by the bedside. Strickland was a\nweird figure as he lay there, thinner than ever, with his\nragged red beard and his eyes staring feverishly into vacancy;", "Strickland stepped to the door and looked out. There must\nhave been something terrible in his face, for suddenly they\nall burst out into loud cries and lamentation. They lifted up", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from", "condemned when he compared himself with the doctor, sane and\nhealthy, who had the inestimable privilege of life.\nStrickland looked at him in silence. Nothing of emotion could", "\"Since <i ce monsieur> is interested in Strickland, why do you\nnot take him to see Dr. Coutras? He can tell him something\nabout his illness and death.\"", "At last I turned away. I felt that Strickland had kept his\nsecret to the grave.", "I had been thinking of it, too. It seemed to me that here\nStrickland had finally put the whole expression of himself.\nWorking silently, knowing that it was his last chance, I", "\"But that doesn't prevent the fact that Charles Strickland is\na heartless beast.\" She looked at me severely. \"I can tell\nyou why he left his wife -- from pure selfishness and nothing\nelse whatever.\"" ] ]	[ "What does Strickland do for a living?", "What time period doe this story take place?", "Where does Strickland choose to live instead of home?", "Who supports Strickland financially?", "Why did Strickland seek out Blanche's attention?", "What happens when Strickland leaves Blanche?", "After Paris, where does the story begin to take place?", "How did Strickland die?", "What ere Strickland's wishes concerning his final masterpiece?", "What is Strickland's occupation?", "Where does Strickland do at the beginning of the Story?", "What is Strickland's occupation in Paris?", "Who supports Strickland in Paris?", "Whom did Blanche dump her husband for?", "What did Strickland really want Blanch for?", "Where did Strickland live at the end of his life?", "Where did Strickland live before moving to Tahiti?", "What happened to Strickland's magnum opus?", "Who supports Strickland while he lives in Paris?", "In what city does Strickland live at the beginning of the story?", "At about what time period does the story take place?", "In the beginning of the story Strickland travels to what foreign country?", "What city in France does Strickland go to?", "What sort of artist does Strickland become?", "Dirk Stroeve's wife leaves him for whom?", "How does Blanche die?", "Where does Strickland travel to after France?", "What illness causes the the death of Strickland?" ]	[ [ "He is a stockbroker.", "He is a stockbroker." ], [ "During the late 19th and early 20th century.", "19th or 20th century " ], [ "Inside run down hotels.", "paris" ], [ "Dirk Stroeve, a successful dutch painter he lives with.", "Dirk Stroeve" ], [ "He wanted to paint her as a model", "Because he wanted her to be a model for him to paint." ], [ "She commits suicide.", "She commits suicide" ], [ "Tahiti.", "Tahiti" ], [ "Of leprosy.", "From Leprosy" ], [ "His wife was to burn it.", "To be burnt after his death" ], [ "A stockbroker", "Stockbroker" ], [ "Paris", "Leaves his wife and children and goes to Paris" ], [ "An artist", "A painter" ], [ "Dirk Stroave", "Dirk Stroeve" ], [ "Strickland", "Strickland" ], [ "A modal", "model to paint" ], [ "Tahiti", "French port of Marseilles" ], [ "Mersailles", "Marseille" ], [ "It was burnt after he died", "It was burnt after his death." ], [ "Dirk Stroeve", "Dirk Stroeve" ], [ "London", "London" ], [ "Late 19th or early 20th century.", "Late 19th early 20th century" ], [ "France ", "Paris " ], [ "Paris", "Paris" ], [ "Painter", "A painter" ], [ "Strickland", "For Strickland" ], [ "Suicide", "suicide" ], [ "Tahiti", "Tahiti" ], [ "Leprosy", "leprosy " ] ]	5ac3d5e216b574eccf17acf5dad1524b8f84dddf	train
[ [ "SID 6.7 (CONT'D)\n\t\tBut rest assured...\n\t\t\t(a beat)\n\t\tA star is born.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "Hidden from Reilly's view, Lindenmeyer, the software expert\n\twho created Sid 6.7, stares jealously through a narrow gap in\n\ta partition. Trying to contain his anger. And failing.\n\tEspecially as...", "The graphics show you that Sid 1.2 was a combination of\n\tCharles Manson and Billy the Kid. You see what look like two\n\tviruses, which represent each criminal's psychological", "In various ways throughout his \"life\" be it a wandering\n\teye, or a momentary limp - you will be reminded that Sid 6.7\n\tis a synthetic nanoorganism unlike anyone has ever seen.", "Sid 6.7 takes a bow, as if on stage.\n\n\t\t\t\tSID 6.7\n\t\tThank you, ladies and gentlemen,\n\t\tyou've been a real pleasure...", "Sid 6.7's resulting head is slightly off center. His skin\n\ttone isn't perfect, nor is his color, but at least its\n\tfunctional. Sid 6.7 admires himself in a broken mirror.", "He rushes out. Sid 6.7 appears on the various monitors next\n\tto Sheila 3.2. He kisses her cheek. Caresses her body. Sheila\n\t3.2 enjoys the attention.", "Berkowitz was added to create Sid 1.3. A three-way\n\tpsychological battle, more hostile than the first, occurs.", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "SID 6.7\n\t\t\t(yelling)\n\t\tWhat's wrong, convict, your arms", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "SID 6.7 (CONT'D)\n\t\tI think I'm going to like it here.", "SID 6.7 (CONT'D)\n\t\tWho else do you know who's been\n\t\tlocked out of the real world for", "SID 6.7 (CONT'D)\n\t\tYou know so much about me, I was\n\t\thoping to learn a little bit about\n\t\tyou. You see, I'm doing research,\n\t\ttoo...", "Sid 6.7 thinks about it. Long and hard.", "Sid 6.7 checks inside closets. Cabinets. Anywhere large\n\tenough for a human being to fit. He is practically standing\n\tover her. Looking. Listening.", "SID 6.7 (CONT'D)\n\t\tToo bad you can't regenerate...", "SID 6.7\n\t\tGod, I hate interruptions.\n\t\t\t(to the patrons)" ], [ "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "Officer Barnes. Or should I say,\n\t\tinmate 673429...", "a lunatic like Barnes loose in the\n\t\treal world did pose an unacceptably\n\t\tdangerous risk to the public.\n\t\t\t(glancing at Cox)", "WALLACE\n\t\tBarnes used to work for him when he\n\t\twas still a cop in the field,\n\t\tremember?", "Grimes was an expert at media manipulation. He delighted in\n\tpublicly humiliating anyone who stood in his way. The Mayor\n\tof Los Angeles, Bob Bennett, who offered increasingly higher", "Red charges Parker wildly. Parker dodges him like a matador\n\tdoes a bull. Then brings his fists down savagely on the back\n\tof Red's head. His skull CRACKS. Red drops to the floor.", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "Parker jumps on top of him, arms around his neck. Choking\n\thim. Red staggers to his feet. His eyes wide. His face now\n\teven redder.", "You HEAR the sound of metal crushing bone. Red is thrown\n\tbackwards into the stall. Blood splatters from his mouth,\n\tadding another shade of redness to his face.", "The media has caught wind of his\n\t\tpardon. Unless Mr. Barnes starts\n\t\tgiving me some tangible results,\n\t\tI'm going to put him back in his", "He should concentrate more on fighting, and less on asking\n\tquestions, because he's losing. Parker takes a wicked shot to\n\tthe face, and but then blocks the anticipated shot to his\n\tgun.", "He reaches out to give Lindenmeyer a hand, then grabs him by\n\tthe throat. Choking him. Lindenmeyer can't believe what is\n\thappening.", "After giving Wallace a cold, hard stare -- namely at his hand\n\tstitched lapel, his gold watch, and his diamond-studded", "L.A.P.D. Special Investigations Division Officer Parker\n\tBarnes managed to stop Grimes from killing Mayor Bennett.\n\tGrimes retaliated by repeatedly humiliating Parker with false\n\tleads and lawsuits.", "He should concentrate more on fighting, and less on asking\n\tquestions, because he's losing. Parker takes a wicked shot to", "Parker goes absolutely berserk. Viciously punching the steel\n\tmesh which separates them until the synthetic skin on his\n\tknuckles is shredded.", "Parker is knocked on his ass. Daze4. Blood streams down his\n\tcheek. He staggers to his feet, blocking another blow with\n\this arm. Which SNAPS the wood in two.", "He empties his clip into Sid 6.7, then discards the gun. As\n\tSid 6.7's wounds heal themselves, Parker pounds him\n\tmercilessly.", "LINDENMEYER\n\t\t\t(annoyed)\n\t\tHow much do you think I care?\n\n\tParker, still not fully conscious, hurls himself at\n\tLindenmeyer.", "Parker charges him wildly, but Sid 6.7 brutally kicks him in\n\tthe stomach. In perfect rhythm with the symphony playing in" ], [ "a rocket scientist to come to the\n\t\tconclusion that Sid 6.7 might go\n\t\tafter him, too.\n\t\t\t(a beat)", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "DEANE\n\t\tI watched your simulation, Mr.\n\t\tBarnes. Very impressive. You know,\n\t\tyou're the only one to ever go up\n\t\tagainst Sid 6.7 who is still alive.", "If Madison is discovered, she doesn't have a prayer. Her\n\theart pounds. Her forehead perspires. Sid 6.7 is getting\n\tcloser.", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt.", "As Sid 6.7 realizes he's being videotaped, his entire face\n\tseems to light up. Playing directly to the camera, he clearly", "He moves to the next TV over and changes the channel to the\n\tbaseball game. Sid 6.7 moves over with him, standing directly\n\tbehind the Skinhead as if also interested in the Dodgers.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "He changes the channel back to the first news broadcast. A\n\treporter stands amid the chaos outside the bar where Sid 6.7\n\thad terrified the patrons.", "The steel jaws immediately close in on Sid 6.7, who\n\tfrantically tries to climb out. He gets his hands out. Then\n\this head. But that's about it.", "The graphics show you that Sid 1.2 was a combination of\n\tCharles Manson and Billy the Kid. You see what look like two\n\tviruses, which represent each criminal's psychological", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "Hidden from Reilly's view, Lindenmeyer, the software expert\n\twho created Sid 6.7, stares jealously through a narrow gap in\n\ta partition. Trying to contain his anger. And failing.\n\tEspecially as...", "MADISON\n\t\tI'm not sure. My guess is that's\n\t\twhat Sid wants us to think.", "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "SID 6.7\n\t\t\t(to himself)\n\t\tThe Dahmer part of me wants to boil", "He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is\n\tstanding directly behind him. Sid 6.7 grabs Parker by the\n\tthroat.", "As he walks toward the exit, he admires himself in the mirror\n\tbehind the bar. Sid 6.7 has never seen his own image in the\n\treal world before. He likes what he sees." ], [ "Dozens of TVs on display. There is a different channel on\n\teach. The audio/visual bombardment is overwhelming. Sid 6.7\n\tenters, making his way to a big screen TV with the local news\n\tin progress.", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "He moves to the next TV over and changes the channel to the\n\tbaseball game. Sid 6.7 moves over with him, standing directly\n\tbehind the Skinhead as if also interested in the Dodgers.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "Sid 6.7 turns to the other CUSTOMERS in the store. Most of\n\tthem are watching other channels. He goes over to a control\n\tpad on a counter and presses several buttons.", "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "He changes the channel back to the first news broadcast. A\n\treporter stands amid the chaos outside the bar where Sid 6.7\n\thad terrified the patrons.", "Sid 6.7 changes the channel to a different news broadcast.\n\tParker's Folsom County Prison I. D. photograph is shown\n\talongside a photograph of Madison from one of her book\n\tcovers.", "As Sid 6.7 realizes he's being videotaped, his entire face\n\tseems to light up. Playing directly to the camera, he clearly", "Wallace ignores him as he walks toward the door. On the\n\tmonitors, Sid 6.7 starts walking toward you. Into a CLOSEUP.", "He rushes out. Sid 6.7 appears on the various monitors next\n\tto Sheila 3.2. He kisses her cheek. Caresses her body. Sheila\n\t3.2 enjoys the attention.", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "The news broadcast zooms in on Parker's picture. Sid 6.7\n\twiggles his synthetic fingers in front of his face.", "Sid 6.7 walks over to the Skinhead and changes the channel\n\tback to the news.\n\n\t\t\t\tSKINHEAD\n\t\tYou don't wanna fuck with me, man.", "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "Sid 6.7 watches the TV intently, completely ignoring the\n\thorrified customers circling around him because of the dead", "Her attention turns to the upper right corner of the screen,\n\twhere onlookers are visible watching Sid 6.7. Their faces\n\tblurry. But even out of focus, it isn't hard to recognize\n\tLindenmeyer.", "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "She moves closer to the screen as the tape is played back.\n\tMadison studies Sid 6.7 intently.", "Sid 6.7 picks him up out of his seat and throws him three\n\trows ahead. Sid 6.7 then puts hands around the Woman's\n\tthroat.\n\n\tON THE MASSIVE SCREEN" ], [ "Sid 6.7 picks him up out of his seat and throws him three\n\trows ahead. Sid 6.7 then puts hands around the Woman's\n\tthroat.\n\n\tON THE MASSIVE SCREEN", "He moves to the next TV over and changes the channel to the\n\tbaseball game. Sid 6.7 moves over with him, standing directly\n\tbehind the Skinhead as if also interested in the Dodgers.", "Dozens of TVs on display. There is a different channel on\n\teach. The audio/visual bombardment is overwhelming. Sid 6.7\n\tenters, making his way to a big screen TV with the local news\n\tin progress.", "Sid 6.7 gently caresses the hair of a terrified young WOMAN\n\tsitting among several others. You hear the sound of tires\n\tSCREECHING to a halt outside.", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt.", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "He changes the channel back to the first news broadcast. A\n\treporter stands amid the chaos outside the bar where Sid 6.7\n\thad terrified the patrons.", "Two bullet holes are visible in the windshield. The two\n\tPrison Guards lie dead in their seats. Sid 6.7's eyes appear,\n\tlooking directly at you. He's smiling.", "Sid 6.7 slowly reaches inside his jacket and fires his weapon\n\tthrough it. He only gets a hole in his jacket. The Traffic\n\tCop gets a hole through his chest.", "Bullets riddle Sid 6.7's table as he dives from his chair. He\n\tlands next to a bowling ball bag, which sits beneath his\n\ttable.", "Sid 6.7 points his gun at one group, then another, waving his\n\tarm as if he were a conductor, and as if his gun were a", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "She points to Lindenmeyer, then makes her way over to Parker,\n\twho's standing exactly where Sid 6.7 was when he killed the", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "After giving one last look around, Sid 6.7 reluctantly gives\n\tup the hunt, and exits. Madison does not move until she is\n\tcertain Sid 6.7 has left the building.", "Sid 6.7 checks inside closets. Cabinets. Anywhere large\n\tenough for a human being to fit. He is practically standing\n\tover her. Looking. Listening.", "He shoots the Foreman in the chest. Sid 6.7 relieves him of\n\this keys and heads to an explosives storage shed.\n\n\t\t\t\t\tCUT TO:", "Parker spots Sid 6.7 across the room. Without hesitation the\n\thunter chases his prey. Gun out and firing. NOT what you\n\twould call Standard Police Procedure." ], [ "AIDE\n\t\tParker Barnes just escaped from the\n\t\tprison transport. Both of the\n\t\tguards are dead.\n\n\tThe Aide exits.", "Officer Barnes. Or should I say,\n\t\tinmate 673429...", "A prison transport and another police vehicle pull up to them\n\tfast. Two of the Prison Guards met earlier jump out of the\n\ttransport, advancing on Parker. Their weapons aimed at his\n\thead.", "Behind him, John's body is loaded into an ambulance. The\n\tGuards SLAM the prison transport doors shut.\n\n\tINSIDE THE PRISON TRANSPORT -- REAR", "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "Cox leads Parker by the arm to a waiting prison transport.\n\tThe two guards walk behind at a distance. Two more by the\n\ttransport. The chain between Parker's legs keeps his steps\n\tshort.", "He turns back toward the transport. Cox follows. Two armed\n\tGUARDS open the back doors for Parker, then stand poised with\n\tweapons out and ready.", "Parker shuts her up with a look. There is nothing that can be\n\tsaid. The prison transport doors are SLAMMED shut. The\n\tvehicle takes off.\n\n\t\t\t\t\tCUT TO:", "Madison rushes in front of the television to see a report of\n\tParker's escape from the prison transport.\n\n\t\t\t\tMADISON\n\t\tOh, shit!", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "CUT TO:\n\n\tTHE PRISON TRANSPORT\n\n\tcomes to a stop at a traffic light.", "The media has caught wind of his\n\t\tpardon. Unless Mr. Barnes starts\n\t\tgiving me some tangible results,\n\t\tI'm going to put him back in his", "INSIDE THE PRISON TRANSPORT -- REAR\n\n\tCold metal benches. No windows. Parker climbs in, the only\n\tpassenger. He looks out the open doors to Cox.", "The Guard removes Parker's cuffs, then exits, taking up his\n\tpost outside the door. The skin around Parker's wrists is\n\tblue where the cuffs dug into his skin.", "MADISON\n\t\t\t(forcefully)\n\t\tLetting a lunatic like Parker\n\t\tBarnes loose in the free world is", "a lunatic like Barnes loose in the\n\t\treal world did pose an unacceptably\n\t\tdangerous risk to the public.\n\t\t\t(glancing at Cox)", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "DEANE\n\t\t\t(revealing a document)\n\t\tThis is a full pardon. It\n\t\tauthorizes your immediate release.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "passing through the Security Checkpoints outside the Prison.\n\tParker at the wheel. Madison beside him. It's afternoon.\n\n\tINSIDE THE SQUAD CAR" ], [ "Sid 6.7 gently caresses the hair of a terrified young WOMAN\n\tsitting among several others. You hear the sound of tires\n\tSCREECHING to a halt outside.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "Sid 6.7 picks him up out of his seat and throws him three\n\trows ahead. Sid 6.7 then puts hands around the Woman's\n\tthroat.\n\n\tON THE MASSIVE SCREEN", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "Madison pulls Lindenmeyer roughly out of the car. She drags\n\thim to Parker, who is still on his knees, clutching the Sid\n\t6.7 character module. SIRENS approach in the distance.", "Before she can do so, Sid 6.7 stands behind the Woman,\n\tgrabbing her and throwing her across the table into Parker.\n\tCRASH! They tumble to the floor.", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is\n\tstanding directly behind him. Sid 6.7 grabs Parker by the\n\tthroat.", "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "Sid 6.7 SLAMS on the brakes and abandons the car, leaving it\n\tright in the middle of the street. A TRAFFIC COP with his\n\tweapon trained on Sid 6.7 from a distance.", "Sid 6.7 has separated the patrons into four separate groups:\n\tolder men and woman, and younger men and woman. All are\n\tfrozen in their seats with fear.", "Sid 6.7 remains unconcerned. He toys with the Woman, pointing\n\tthe gun in her face, then pulling it back. Her expression\n\tchanges instantly. Dramatically.", "He fires his gun just above her head. She SCREAMS in terror. \n\n\t\t\t\tSID 6.7 (CONT'D)\n\t\tThat's better...", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "Madison crawls out of Lindenmeyer's station. Sid 6.7 just\n\tcatches sight of her, and goes after her.\n\n\tINSIDE LETAC", "Sid 6.7 points his gun at one group, then another, waving his\n\tarm as if he were a conductor, and as if his gun were a", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt." ], [ "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "Madison drops to the floor, unconscious. The needle she had\n\tbeen holding falls from her grasp, breaking the circuit. She\n\tstops being electrocuted. Which saves her life.", "Officer Barnes. Or should I say,\n\t\tinmate 673429...", "least some military or survival\n\t\ttraining - only Mr. Barnes is\n\t\tstill breathing.", "She pulls Parker back just before the train reaches him. Had\n\this arm still been raised, Parker would have lost his arm a\n\tsecond time.\n\n\tThey tumble to the floor. A PASSENGER rushes to Madison.", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "Red charges Parker wildly. Parker dodges him like a matador\n\tdoes a bull. Then brings his fists down savagely on the back\n\tof Red's head. His skull CRACKS. Red drops to the floor.", "He rushes to Cox. Parker drops to his knees, cradling Cox's\n\thead. Cox isn't long for this earth. Looking up to Parker, he\n\ttries to talk. But nothing comes out.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "Except Parker now does something different. Just before Sid\n\t6.7 is decapitated, Parker jams a metal rod between the\n\tcompactor's steel teeth. Then grabs Sid 6.7 by the throat.", "He reaches out to give Lindenmeyer a hand, then grabs him by\n\tthe throat. Choking him. Lindenmeyer can't believe what is\n\thappening.", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "Parker maintains his mechanical grip. Red finally succumbs to\n\tthe lack of oxygen. He drops to his knees. Parker does not\n\trelent until he feels the barrel of a gun at the back of his\n\thead.", "He and the chair fall to the roof, which will keep him from\n\tfalling to his death for another minute, if he's lucky.\n\n\t\t\t\tPARKER\n\t\tMADISON!!!", "COX\n\t\t\t(to Deane)\n\t\tBarnes wouldn't kill two innocent\n\t\tguards.", "a lunatic like Barnes loose in the\n\t\treal world did pose an unacceptably\n\t\tdangerous risk to the public.\n\t\t\t(glancing at Cox)", "Parker dives to the ground, just avoiding the bullet. He\n\tscrambles behind a pillar for protection. Only to see the guy\n\tstanding behind him wasn't as lucky.", "line-of-fire and takes the bullet meant for Parker through\n\tthe chest. Cox drops to the bridge.", "Madison pulls Lindenmeyer roughly out of the car. She drags\n\thim to Parker, who is still on his knees, clutching the Sid\n\t6.7 character module. SIRENS approach in the distance.", "L.A.P.D. Special Investigations Division Officer Parker\n\tBarnes managed to stop Grimes from killing Mayor Bennett.\n\tGrimes retaliated by repeatedly humiliating Parker with false\n\tleads and lawsuits." ], [ "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "Sid 6.7 takes a bow, as if on stage.\n\n\t\t\t\tSID 6.7\n\t\tThank you, ladies and gentlemen,\n\t\tyou've been a real pleasure...", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "He empties his clip into Sid 6.7, then discards the gun. As\n\tSid 6.7's wounds heal themselves, Parker pounds him\n\tmercilessly.", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "SID 6.7 (CONT'D)\n\t\tBut rest assured...\n\t\t\t(a beat)\n\t\tA star is born.", "His head tumbles to the street. The force of the impact\n\tcauses the Sid 6.7 character module to separate from the\n\tneural net.", "Sid 6.7 frantically tries to climb out of the compactor as\n\tthe steel jaws close in on him. He gets his hands out. Then\n\this head...", "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "Except Parker now does something different. Just before Sid\n\t6.7 is decapitated, Parker jams a metal rod between the\n\tcompactor's steel teeth. Then grabs Sid 6.7 by the throat.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "Sid 6.7 SLAMS on the brakes and abandons the car, leaving it\n\tright in the middle of the street. A TRAFFIC COP with his\n\tweapon trained on Sid 6.7 from a distance.", "SID 6.7 (CONT'D)\n\t\t\t(as if to God)\n\t\tNOOOH! You can't take him, yet. I'm\n\t\tnot finished!", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt.", "Sid 6.7 slowly reaches inside his jacket and fires his weapon\n\tthrough it. He only gets a hole in his jacket. The Traffic\n\tCop gets a hole through his chest.", "Two bullet holes are visible in the windshield. The two\n\tPrison Guards lie dead in their seats. Sid 6.7's eyes appear,\n\tlooking directly at you. He's smiling.", "Which now leaves Parker a clean shot at Sid 6.7's head. BOOM!\n\tBOOM! Two hits. Two head wounds. Sid 6.7 falls behind a\n\ttruck, losing his weapon.", "Sid 6.7 thinks about it. Long and hard." ], [ "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is\n\tstanding directly behind him. Sid 6.7 grabs Parker by the\n\tthroat.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "Parker immediately returns back to normal. His pace picks up.\n\tHe starts closing the gap between him and Sid 6.7 as he races\n\tinto a shopping mall.\n\n\t\t\t\t\tCUT TO:", "Parker and Madison just catch a glimpse of Sid 6.7 as he\n\trushes up the entrance ramp to the Hollywood Freeway. Parker\n\tand Madison bolt after him.\n\n\tON THE HOLLYWOOD FREEWAY", "Parker's vehicle speeds through city streets. Gaining ground\n\ton Sid 6.7.", "To be perfectly clear, the events you just witnessed\n\tinvolving Parker, John, and Sid 6.7 took place within virtual\n\treality, not the real world.", "Parker struggles to his feet. Aims his weapon. Sid 6.7 does\n\tthe same, but without looking. BOOM! Parker gets a bullet", "Parker turns a corner, stopping fast. At the other end of the\n\taisle stands Sid 6.7, who presses his gun against the head of", "Sid 6.7 stares at Parker in disbelief. Blood is now visible\n\tflowing from a bullet hole in Sid 6.7's shoulder, which was", "Parker gives up the chase of Sid 6.7's vehicle and runs in\n\tthe other direction. Toward Madison as she rounds the corner\n\tin their squad car.", "SID 6.7 (CONT'D)\n\t\t\t(to the monitor)\n\t\tHang in there, Parker.", "Sid 6.7 pauses, then goes over to Parker and checks his\n\twatch. It is also moving backwards. A smile of realization", "He carries John and the bowling ball bag into the kitchen.\n\tParker scrambles to his gun, and races after Sid 6.7.\n\n\tINSIDE THE RESTAURANT KITCHEN", "which is also the highest, Sid 6.7 veers out of view. Parker\n\traces up the final steps to the seventh floor. Sid 6.7 is\n\tnowhere to be seen.", "Parker spots Sid 6.7 across the room. Without hesitation the\n\thunter chases his prey. Gun out and firing. NOT what you\n\twould call Standard Police Procedure.", "Parker crawls desperately toward his weapon. But not fast\n\tenough. Sid 6.7 arrives at the weapon first.\n\n\t\t\t\tSID 6.7\n\t\tSo close, and yet, so far...", "SID 6.7\n\t\t\t(to Parker)\n\t\tI wouldn't pull the trigger if I\n\t\twere you\n\n\t\t\t\tPARKER\n\t\tWhy's that?", "He sits back down at the simulator's main console, and starts\n\tto type commands. On the monitor, Parker is visible exiting\n\tthe shopping mall.\n\n\t\t\t\t\tCUT TO:", "Sid 6.7 drives dangerously fast, causing an accident, around\n\twhich Parker must circumnavigate. Tires SCREECH. Glass\n\tSHATTERS. Sid 6.7 hangs his head out the window." ], [ "an L. A. P. D. uniform. His name is WILLIAM COX, 40S. His\n\tnameplate reads CHIEF OF POLICE.", "He gives her a brief smile. Which Madison does not return.\n\tOne of the other policemen tentatively approaches Parker.", "Their uniforms are freshly pressed. Their shoes just recently\n\tshined. Hair tightly cropped. Faces perfectly shaved. Clearly\n\tmen proud to wear the badge of the Los Angeles Police\n\tDepartment. The guy in the lead is", "People bolt through the turnstiles, running away from the\n\tstadium as L. A. P. D. squad cars approach in the distance.\n\tThe car in the lead is Parker's.", "He turns up the police radio.\n\n\t\t\t\t\tCUT TO:\n\n\tINSIDE THE UPSCALE NIGHTCLUB", "He turns to Parker, who is looking right at him. Not with\n\tanger. Not with any emotion, really. But it's enough to scare\n\tthe shit out of Cop #3, who walks away.", "sometime, and we've got to be ready\n\t\twhen he does.\n\t\t\t(a beat)\n\t\tWelcome to police work. You better", "in the L. A. P. D. Downtown Headquarters the next morning.\n\tChief Cox stares angrily at Parker. Madison sits next to him.\n\tBehind them is a mirrored wall.", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "Wondering who this strange man is, and why he's sitting in a\n\tpolice car outside her house. But not saying a word.", "L.A.P.D. Special Investigations Division Officer Parker\n\tBarnes managed to stop Grimes from killing Mayor Bennett.\n\tGrimes retaliated by repeatedly humiliating Parker with false\n\tleads and lawsuits.", "MADISON\n\t\tThank-you.\n\t\t\t(a beat)\n\t\tHer name is Karin.\n\n\tShe turns on the police radio.", "6:00 AM. Parker, clearly just awakened, is led into the room\n\tby a guard, who then exits. Waiting for Parker are Chief of\n\tPolice Cox and Elizabeth Deane.", "He is scanned with a metal detector. So is his clothing,\n\twhich is then returned to him.\n\n\t\t\t\tGUARD #1\n\t\tWelcome home, cop.", "INSIDE COX'S POLICE VEHICLE\n\n\tCox and Madison head back toward L. A. P. D. Headquarters.\n\tThey are in midconversation:", "Madison stops herself from speaking. It isn't easy for her.\n\tParker cracks a faint smile. YOU HEAR the police radio.", "Parker quickly explains the situation to the sanitation\n\tworker while Madison motions Lindenmeyer into the cab with\n\ther gun. As Parker climbs up to her, Madison shuts the door\n\tto give them a moment of privacy.", "of them. In which two UNDERCOVER COPS sit waiting to see if\n\tLindenmeyer returns. Parker waves apologetically.", "Cheers are heard around the area from the other cops who'd\n\tbeen listening in.\n\n\t\t\t\tDEANE\n\t\tThank God.", "weapon and stops behind Lindenmeyer. Even in disguise, he\n\tlooks familiar. Madison puts her gun against his back." ], [ "Red charges Parker wildly. Parker dodges him like a matador\n\tdoes a bull. Then brings his fists down savagely on the back\n\tof Red's head. His skull CRACKS. Red drops to the floor.", "In the entire crowd, there is only one person not watching\n\tthe TV screen. He is watching Parker. Through his gun sight.\n\tSid 6.7 pulls the trigger. BOOM!", "Parker maintains his mechanical grip. Red finally succumbs to\n\tthe lack of oxygen. He drops to his knees. Parker does not\n\trelent until he feels the barrel of a gun at the back of his\n\thead.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "You see footage of a woman lying dead in an alley. A note is\n\tpinned to her clothing. The note reads: \"HEY, PARKER, THIS\n\tONE'S FOR YOU.\"", "COX\n\t\tDonley started experiencing the\n\t\tattack for real. If I hadn't gotten\n\t\tyou out, the same thing would have", "He shoots the Foreman in the chest. Sid 6.7 relieves him of\n\this keys and heads to an explosives storage shed.\n\n\t\t\t\t\tCUT TO:", "He rushes to Cox. Parker drops to his knees, cradling Cox's\n\thead. Cox isn't long for this earth. Looking up to Parker, he\n\ttries to talk. But nothing comes out.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "Which now leaves Parker a clean shot at Sid 6.7's head. BOOM!\n\tBOOM! Two hits. Two head wounds. Sid 6.7 falls behind a\n\ttruck, losing his weapon.", "Glancing at Reilly's prone body, he then SLAMS the office\n\tdoor in our face.\n\n\t\t\t\t\tCUT TO:", "Two bullet holes are visible in the windshield. The two\n\tPrison Guards lie dead in their seats. Sid 6.7's eyes appear,\n\tlooking directly at you. He's smiling.", "He knocks Parker back with a good shot to the face, then\n\tdisappears around a van.\n\n\tParker continues the hunt. Quietly. Carefully. Tension grows\n\tin the silence that follows.", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "He watches Reilly's face with curiosity as the life drains\n\tfrom it. A puddle forms beneath him. He drops Reilly's body\n\tto the floor.", "Grimes then kidnapped Parker's wife and daughter. Parker\n\tlocated the group in a club, but only in time to witness\n\ttheir deaths. Parker then killed everybody in the club,", "She means it. Parker turns away, looking at his wife's\n\theadstone.\n\n\t\t\t\tCOX\n\t\tThe sonofa-bitch is still out\n\t\tthere, Parker.", "DEANE\n\t\tIt's already been called off.\n\t\tWitnesses confirmed you weren't the\n\t\tshooter.\n\t\t\t(a beat)\n\t\tDid you find out where the bomb is?", "His partner is JOHN DONLEY, late 20s, eager to prove himself.\n\tHe struggles to keep up with Parker. John accidently knocks", "Behind him, John's body is loaded into an ambulance. The\n\tGuards SLAM the prison transport doors shut.\n\n\tINSIDE THE PRISON TRANSPORT -- REAR" ], [ "Madison enters, carrying a folder labelled:\tINMATE #673429\n\tA/K/A PARKER BARNES. She withdraws several PHOTOGRAPHS from", "One of the women sits by herself in front of a monitor.\n\tIntently following the action on screen. Studying it\n\tclinically. Her name is DR. MADISON CARTER, late 30s.", "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "Parker quickly explains the situation to the sanitation\n\tworker while Madison motions Lindenmeyer into the cab with\n\ther gun. As Parker climbs up to her, Madison shuts the door\n\tto give them a moment of privacy.", "MADISON\n\t\tThis is Parker Barnes six years\n\t\tago.\n\t\tThe most decorated cop in the\n\t\thistory of L. A. P. D. Special\n\t\tInvestigations Division...", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "MADISON\n\t\t\t(forcefully)\n\t\tLetting a lunatic like Parker\n\t\tBarnes loose in the free world is", "cufflinks, she exits. Wallace follows after her quickly. You\n\tnow notice that the chair Dr. Madison Carter had occupied is\n\tnow empty. She left a while ago.", "whose wrists and ankles are cuffed, being led into a Prison\n\tInterrogation Room. Dr. Madison Carter sits at a table, a", "MADISON\n\t\tLindenmeyer put increasingly\n\t\tcomplex combinations of criminal\n\t\tpsychological profiles together to\n\t\tdevelop the ultimate villain.", "Madison rushes in front of the television to see a report of\n\tParker's escape from the prison transport.\n\n\t\t\t\tMADISON\n\t\tOh, shit!", "OUTSIDE THE PRISON GATES\n\n\tParker gets out of the car. Madison follows suit.\n\n\t\t\t\tMADISON\n\t\tWhat are you doing?!", "Madison SCREECHES the vehicle to a halt. She comes within\n\tinches of mowing down several people. Madison and Parker bolt\n\tto the entrance, flashing their badges to the guards.", "DEANE\n\t\t\t(to Madison)\n\t\tYou were right, Dr. Carter. Letting", "Parker relents, and holds up his wrist. Madison places the\n\tcuff around it, then gets out of the car.\n\n\tOUTSIDE MADISON'S HOUSE", "a lunatic like Barnes loose in the\n\t\treal world did pose an unacceptably\n\t\tdangerous risk to the public.\n\t\t\t(glancing at Cox)", "MADISON\n\t\tThe government must have figured\n\t\tthere was no better person to\n\t\tcreate a psycho than a psycho.", "Madison goes to Parker, who sits quietly by himself. Elbows\n\ton his knees. Head between his hands. Staring at the cement\n\tbetween his feet.", "in the L. A. P. D. Downtown Headquarters the next morning.\n\tChief Cox stares angrily at Parker. Madison sits next to him.\n\tBehind them is a mirrored wall.", "COX\n\t\tParker Barnes, I'd like you to meet\n\t\tCrime Czar Elizabeth Deane." ], [ "an L. A. P. D. uniform. His name is WILLIAM COX, 40S. His\n\tnameplate reads CHIEF OF POLICE.", "in the L. A. P. D. Downtown Headquarters the next morning.\n\tChief Cox stares angrily at Parker. Madison sits next to him.\n\tBehind them is a mirrored wall.", "Their uniforms are freshly pressed. Their shoes just recently\n\tshined. Hair tightly cropped. Faces perfectly shaved. Clearly\n\tmen proud to wear the badge of the Los Angeles Police\n\tDepartment. The guy in the lead is", "on which a RED DOT moves west along a street in Los Feliz.\n\tThe map occupies a wall inside Chief Cox's Office in the", "PARKER\n\t\tShit!\n\n\t\t\t\t\tCUT TO:\n\n\tINSIDE A CONFERENCE ROOM IN L. A. P. D. HEADQUARTERS", "People bolt through the turnstiles, running away from the\n\tstadium as L. A. P. D. squad cars approach in the distance.\n\tThe car in the lead is Parker's.", "INSIDE L. A. P. D. HEADQUARTERS\n\n\tMadison races through the bustling facility. Looking for\n\tsomebody. She finally finds Cox coming out of his office.", "COX\n\t\tBe careful with it.\n\n\t\t\t\t\tCUT TO:\n\n\tAN L. A. P. D. SQUAD CAR", "Madison speeds recklessly through traffic toward the\n\tHollywood Bowl. Parker doesn't notice. He's totally focused\n\ton screaming into the police radio.", "She slides an unsigned pardon across the table to Parker,\n\tmaking sure to stay beyond his arm's reach. Cox reveals a\n\tworn, L. A. P. D. badge. It was Parker's.", "INSIDE COX'S POLICE VEHICLE\n\n\tCox and Madison head back toward L. A. P. D. Headquarters.\n\tThey are in midconversation:", "L.A.P.D. Special Investigations Division Officer Parker\n\tBarnes managed to stop Grimes from killing Mayor Bennett.\n\tGrimes retaliated by repeatedly humiliating Parker with false\n\tleads and lawsuits.", "Chief Cox will give you a ride back\n\t\tto the station. You will provide\n\t\thim with any and all information\n\t\tyou have developed thus far.", "PARKER\n\t\t(urgently into radio) This is\n\t\tOfficer Parker Barnes. Get every\n\t\table body you can to Dodger Stadium\n\t\t-- J Section.", "REPORTER\n\t\t\t(to her camera) )\n\t\tAs L. A. P. D.\n\t\tOfficers continue gathering", "sight of Mayor Bennett's upcoming Re-Election Rally, Cox\n\tsupervises an army of L. A. P. D. officers who are securing", "MADISON\n\t\tThis is Parker Barnes six years\n\t\tago.\n\t\tThe most decorated cop in the\n\t\thistory of L. A. P. D. Special\n\t\tInvestigations Division...", "L.A.P. D. Downtown Headquarters. Cox, Wallace and Deane look\n\ton.", "Grimes was an expert at media manipulation. He delighted in\n\tpublicly humiliating anyone who stood in his way. The Mayor\n\tof Los Angeles, Bob Bennett, who offered increasingly higher", "He lifts the businessman off his bar stool and carries him to\n\tthe table.\n\n\t\t\t\t\tCUT TO:\n\n\tAN ELECTRONIC MAP OF LOS ANGELES" ], [ "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "Grimes then kidnapped Parker's wife and daughter. Parker\n\tlocated the group in a club, but only in time to witness\n\ttheir deaths. Parker then killed everybody in the club,", "PARKER (CONT'D)\n\t\t(voice slowly rising) The man who\n\t\tkilled my wife...who killed my\n\t\tdaughter...who ruined my life used\n\t\tto taunt me with that line...", "Officer Barnes. Or should I say,\n\t\tinmate 673429...", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "Red charges Parker wildly. Parker dodges him like a matador\n\tdoes a bull. Then brings his fists down savagely on the back\n\tof Red's head. His skull CRACKS. Red drops to the floor.", "He jumps behind the wheel, flooring the accelerator. Speeding\n\tthrough the already frightened motorists. Madison is pinned\n\tto the back of her seat. Looking out the window, she looks at\n\tthe motorists.", "COX\n\t\tDo I need to remind you what\n\t\thappened to his wife? To his\n\t\tdaughter?", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "She rifles through data concerning MATHEW GRIMES, who was the\n\tleader of a cult of cyber anarchists. He was known as the\n\tCharles Manson of technological terrorism.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "She means it. Parker turns away, looking at his wife's\n\theadstone.\n\n\t\t\t\tCOX\n\t\tThe sonofa-bitch is still out\n\t\tthere, Parker.", "MADISON (V. 0. CONT'D)\n\t\tThis is what Parker's wife and\n\t\tdaughter looked like after they\n\t\twere kidnapped and executed.", "You see footage of a woman lying dead in an alley. A note is\n\tpinned to her clothing. The note reads: \"HEY, PARKER, THIS\n\tONE'S FOR YOU.\"", "He changes the channel back to the first news broadcast. A\n\treporter stands amid the chaos outside the bar where Sid 6.7\n\thad terrified the patrons.", "She points to Lindenmeyer, then makes her way over to Parker,\n\twho's standing exactly where Sid 6.7 was when he killed the", "L.A.P.D. Special Investigations Division Officer Parker\n\tBarnes managed to stop Grimes from killing Mayor Bennett.\n\tGrimes retaliated by repeatedly humiliating Parker with false\n\tleads and lawsuits.", "Parker maintains his mechanical grip. Red finally succumbs to\n\tthe lack of oxygen. He drops to his knees. Parker does not\n\trelent until he feels the barrel of a gun at the back of his\n\thead.", "The closedcircuit camera remains focused on the Woman. The\n\tcamera is locked off. It's operator lies dead beside it.\n\n\tTHROUGH ITS VIEWFINDER", "He rushes to Cox. Parker drops to his knees, cradling Cox's\n\thead. Cox isn't long for this earth. Looking up to Parker, he\n\ttries to talk. But nothing comes out." ], [ "He rushes to Cox. Parker drops to his knees, cradling Cox's\n\thead. Cox isn't long for this earth. Looking up to Parker, he\n\ttries to talk. But nothing comes out.", "line-of-fire and takes the bullet meant for Parker through\n\tthe chest. Cox drops to the bridge.", "Red charges Parker wildly. Parker dodges him like a matador\n\tdoes a bull. Then brings his fists down savagely on the back\n\tof Red's head. His skull CRACKS. Red drops to the floor.", "Parker maintains his mechanical grip. Red finally succumbs to\n\tthe lack of oxygen. He drops to his knees. Parker does not\n\trelent until he feels the barrel of a gun at the back of his\n\thead.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "WALLACE\n\t\tJust an unrepentant criminal who is\n\t\tapparently going to die from a\n\t\tpreviously undiagnosed brain tumor.\n\n\tCox enters, concerning Wallace.", "Wallace exits the room. Cox has no idea what is going on. And\n\tDeane is not about to tell him.\n\n\t\t\t\t\tCUT TO:", "COX\n\t\tI think we both know who did.\n\t\t\t(a beat)\n\t\tWhat's so urgent?\n\n\t\t\t\tMADISON\n\t\tI need your help--", "In the entire crowd, there is only one person not watching\n\tthe TV screen. He is watching Parker. Through his gun sight.\n\tSid 6.7 pulls the trigger. BOOM!", "WALLACE (CONT'D)\n\t\tWhat are you doing here, sir?\n\n\t\t\t\tCOX\n\t\tJust paying my last respects.", "She means it. Parker turns away, looking at his wife's\n\theadstone.\n\n\t\t\t\tCOX\n\t\tThe sonofa-bitch is still out\n\t\tthere, Parker.", "He shoots the Foreman in the chest. Sid 6.7 relieves him of\n\this keys and heads to an explosives storage shed.\n\n\t\t\t\t\tCUT TO:", "Cox's eyes roll back in his head. Parker then closes them and\n\tgently lays his head on the sidewalk.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "The look on Cox's face tells you Madison has explained the\n\tsituation to him. He is furious.\n\n\t\t\t\tCOX\n\t\tWhy didn't anybody tell me?!", "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "She points to Lindenmeyer, then makes her way over to Parker,\n\twho's standing exactly where Sid 6.7 was when he killed the", "Which now leaves Parker a clean shot at Sid 6.7's head. BOOM!\n\tBOOM! Two hits. Two head wounds. Sid 6.7 falls behind a\n\ttruck, losing his weapon.", "Madison, and Cox wind their way to him through obstacle\n\tcourse of tombstones. Parker stands as they arrive. He is\n\twiped out. There is no emotion left in him.", "He watches Reilly's face with curiosity as the life drains\n\tfrom it. A puddle forms beneath him. He drops Reilly's body\n\tto the floor." ], [ "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "He empties his clip into Sid 6.7, then discards the gun. As\n\tSid 6.7's wounds heal themselves, Parker pounds him\n\tmercilessly.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "A threeman demolition team slowly, carefully disarms the\n\tbomb Sid 6.7 had secured to the automated sewer cleaning\n\tvehicle. Snip. One wire at a time. Snip.", "WALLACE\n\t\t\t(relishing his authority)\n\t\tYou are to turn over the Sid 6.7\n\t\tprogram, and all its documentation,\n\t\tfor immediate destruction. Is that\n\t\tunderstood?", "Peeling the label off the Sid 6.7 character module,\n\tLindenmeyer removes the module from its slot. Sid 6.7\n\tdisappears from the screen.\n\n\t\t\t\t\tCUT TO:", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "His head tumbles to the street. The force of the impact\n\tcauses the Sid 6.7 character module to separate from the\n\tneural net.", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "He removes the Sid 6.7 character module from its slot and\n\texits the station.\n\n\tON THE ROOF OF THE HOLLYWOOD TOWER", "Except Parker now does something different. Just before Sid\n\t6.7 is decapitated, Parker jams a metal rod between the\n\tcompactor's steel teeth. Then grabs Sid 6.7 by the throat.", "SID 6.7\n\t\t\t(losing it)\n\t\tYou...ruined...I'M GOING TO KILL\n\t\tYOU!!!", "He rushes out. Sid 6.7 appears on the various monitors next\n\tto Sheila 3.2. He kisses her cheek. Caresses her body. Sheila\n\t3.2 enjoys the attention.", "Wallace ignores him as he walks toward the door. On the\n\tmonitors, Sid 6.7 starts walking toward you. Into a CLOSEUP.", "A SECURITY GUARD\n\n\tclimbs up the stairs to the mouth of the tunnel. Weapon in\n\thand. He draws a bead on Sid 6.7's back. BOOM!", "Mustering her strength, she manages to crawl behind several\n\tof the computers which make up the simulator. Sid 6.7\n\tadvances calmly toward her.", "SID 6.7 (CONT'D)\n\t\tBut rest assured...\n\t\t\t(a beat)\n\t\tA star is born.", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short" ], [ "A threeman demolition team slowly, carefully disarms the\n\tbomb Sid 6.7 had secured to the automated sewer cleaning\n\tvehicle. Snip. One wire at a time. Snip.", "Madison pulls Lindenmeyer roughly out of the car. She drags\n\thim to Parker, who is still on his knees, clutching the Sid\n\t6.7 character module. SIRENS approach in the distance.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "Except Parker now does something different. Just before Sid\n\t6.7 is decapitated, Parker jams a metal rod between the\n\tcompactor's steel teeth. Then grabs Sid 6.7 by the throat.", "Before she can do so, Sid 6.7 stands behind the Woman,\n\tgrabbing her and throwing her across the table into Parker.\n\tCRASH! They tumble to the floor.", "A SECURITY GUARD\n\n\tclimbs up the stairs to the mouth of the tunnel. Weapon in\n\thand. He draws a bead on Sid 6.7's back. BOOM!", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "Which now leaves Parker a clean shot at Sid 6.7's head. BOOM!\n\tBOOM! Two hits. Two head wounds. Sid 6.7 falls behind a\n\ttruck, losing his weapon.", "Parker's landing isn't pretty. Finally getting to his feet,\n\the sees the Sid 6.7 character module is about to be run over.\n\n\tParker dives for it, nearly getting run over himself.", "Madison drops to the floor, unconscious. The needle she had\n\tbeen holding falls from her grasp, breaking the circuit. She\n\tstops being electrocuted. Which saves her life.", "After giving one last look around, Sid 6.7 reluctantly gives\n\tup the hunt, and exits. Madison does not move until she is\n\tcertain Sid 6.7 has left the building.", "Bullets riddle Sid 6.7's table as he dives from his chair. He\n\tlands next to a bowling ball bag, which sits beneath his\n\ttable.", "Parker struggles to his feet. Aims his weapon. Sid 6.7 does\n\tthe same, but without looking. BOOM! Parker gets a bullet", "Absorbing the blows, Sid 6.7 backs up against the atrium\n\trailing. Taking one final shot, he falls backward. Over the\n\trailing.\n\n\tPARKER'S POV", "He empties his clip into Sid 6.7, then discards the gun. As\n\tSid 6.7's wounds heal themselves, Parker pounds him\n\tmercilessly.", "The rest of the passengers hit the deck, except for a COLLEGE\n\tSTUDENT listening to music on headphones. He is riding the\n\tescalator up. Sid 6.7 stands behind him, using the student as\n\ta shield.", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt.", "If Madison is discovered, she doesn't have a prayer. Her\n\theart pounds. Her forehead perspires. Sid 6.7 is getting\n\tcloser." ], [ "shot at him. Hell, nobody else had\n\t\teven been able to start tracking\n\t\thim before he got to them first.\n\t\t\t(eyeing Parker's scar)", "Madison walks calmly behind them. Scanning the crowd. Looking\n\tfor Lindenmeyer. Her every instinct telling her he's here. He\n\tmust be.", "If Madison is discovered, she doesn't have a prayer. Her\n\theart pounds. Her forehead perspires. Sid 6.7 is getting\n\tcloser.", "He knocks Parker back with a good shot to the face, then\n\tdisappears around a van.\n\n\tParker continues the hunt. Quietly. Carefully. Tension grows\n\tin the silence that follows.", "Parker bolts recklessly through the downtown street. A hunter\n\thot on the trail of his prey in an urban jungle.\n\n\t\t\t\t\tCUT TO:", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "Parker comes within inches of mowing down several people, who\n\tkeep right on running. Parker jumps out of the vehicle,", "But you are making progress.\n\t\tInstead of killing seven people to\n\t\tget the one you're after, this time\n\t\tthere was only one other person", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt.", "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "She does the best she can to follow after him. People knock\n\tinto Parker as hard as he does them. A human version of\n\tbumper cars.", "He jumps behind the wheel, flooring the accelerator. Speeding\n\tthrough the already frightened motorists. Madison is pinned\n\tto the back of her seat. Looking out the window, she looks at\n\tthe motorists.", "You see footage of a woman lying dead in an alley. A note is\n\tpinned to her clothing. The note reads: \"HEY, PARKER, THIS\n\tONE'S FOR YOU.\"", "As Parker continues dreaming, the locater implant in his head\n\tis tested. Parker's location is pinpointed on an electronic\n\tmap to within one inch of his present location. The hole in\n\this skull is then stitched shut.", "moves toward the edge of the platform, aiming his gun across\n\tthe tracks. Those around him quickly back away.\n\n\t\t\t\tPARKER\n\t\t\t(yelling)\n\t\tEverybody get down!", "The room is still under construction. Wallace stands behind a\n\tTECHNICIAN sitting at a console in front of a massive\n\telectronic map tracking several convicts, including Parker.\n\tThe technician is typing in an elaborate termination code.", "People bolt through the turnstiles, running away from the\n\tstadium as L. A. P. D. squad cars approach in the distance.\n\tThe car in the lead is Parker's.", "HIS POV -- IN THE REARVIEW MIRROR\n\n\tParker becomes visible racing around the corner. Running like\n\ta dog who's got the scent.", "Madison's reaction is one of panic. She bolts toward their\n\tsquad car with all the speed she has. Parker chases after\n\ther.", "She spots him. Veering from the direction the cops headed in,\n\tMadison casually wades into the crowd. She takes out her" ], [ "He rushes to Cox. Parker drops to his knees, cradling Cox's\n\thead. Cox isn't long for this earth. Looking up to Parker, he\n\ttries to talk. But nothing comes out.", "COX\n\t\tDonley started experiencing the\n\t\tattack for real. If I hadn't gotten\n\t\tyou out, the same thing would have", "Moving toward her slowly is the wounded college student, who\n\tclutches his bleeding shoulder. He is shivering. Going into\n\tshock. Madison goes to him, taking off his headphones.", "TWO PARAMEDICS burst through the doors and rush to John. The\n\tparamedics inject him. Fibrillate him. Repeatedly.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "Tears. Hopelessness. Detonation. And finally blackness.\n\tComplete and utter blackness.\n\n\t\t\t\t\tCUT TO:\n\n\tELIZABETH DEANE", "He watches Reilly's face with curiosity as the life drains\n\tfrom it. A puddle forms beneath him. He drops Reilly's body\n\tto the floor.", "Glancing at Reilly's prone body, he then SLAMS the office\n\tdoor in our face.\n\n\t\t\t\t\tCUT TO:", "Madison's reaction is one of panic. She bolts toward their\n\tsquad car with all the speed she has. Parker chases after\n\ther.", "John's body goes limp. His vital signs flat. The Paramedics\n\trecord the time of death and cover the body with a sheet.\n\tThey begin to assemble a gurney to wheel him out.", "He turns to Parker, who is looking right at him. Not with\n\tanger. Not with any emotion, really. But it's enough to scare\n\tthe shit out of Cop #3, who walks away.", "Parker goes absolutely berserk. Viciously punching the steel\n\tmesh which separates them until the synthetic skin on his\n\tknuckles is shredded.", "caused by the same bullet. Sid 6.7's arm dangles uselessly.\n\tHis gun lies on the floor.", "He jumps behind the wheel, flooring the accelerator. Speeding\n\tthrough the already frightened motorists. Madison is pinned\n\tto the back of her seat. Looking out the window, she looks at\n\tthe motorists.", "His flailing appendages repeatedly hit the apparatus around\n\thim. Like an epileptic having a grand mal seizure. It's ugly.\n\tFrightening.", "Sid 6.7 stares at Parker in disbelief. Blood is now visible\n\tflowing from a bullet hole in Sid 6.7's shoulder, which was", "Madison drops to the floor, unconscious. The needle she had\n\tbeen holding falls from her grasp, breaking the circuit. She\n\tstops being electrocuted. Which saves her life.", "Parker maintains his mechanical grip. Red finally succumbs to\n\tthe lack of oxygen. He drops to his knees. Parker does not\n\trelent until he feels the barrel of a gun at the back of his\n\thead.", "Cox's eyes roll back in his head. Parker then closes them and\n\tgently lays his head on the sidewalk.", "The bullet must have hit bone, because it deflected upon\n\timpact, missing Sid 6.7 entirely.\n\n\tThe student drops to the escalator, screaming in pain. Sid\n\t6.7 crouches beside him." ], [ "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "One of the women sits by herself in front of a monitor.\n\tIntently following the action on screen. Studying it\n\tclinically. Her name is DR. MADISON CARTER, late 30s.", "The room is still under construction. Wallace stands behind a\n\tTECHNICIAN sitting at a console in front of a massive\n\telectronic map tracking several convicts, including Parker.\n\tThe technician is typing in an elaborate termination code.", "Her attention turns to the upper right corner of the screen,\n\twhere onlookers are visible watching Sid 6.7. Their faces\n\tblurry. But even out of focus, it isn't hard to recognize\n\tLindenmeyer.", "The building is partitioned into dozens of stations. At each\n\tstation, a leading engineer in his field is frantically\n\treadying a prototype for demonstration. Each new technology\n\tdesigned to help fight the new Cold War... the War on Crime.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "The scene immediately starts over, with the man once again\n\twalking peacefully through the park. This was Lindenmeyer's\n\tSCREEN SAVER.\n\n\tINSIDE LINDENMEYER'S OFFICE", "opening his office door for Lindenmeyer fifteen minutes\n\tlater. Reilly immediately double bolts the door behind him\n\tand leads Lindenmeyer through piles of electronic circuitry.", "He moves to the next TV over and changes the channel to the\n\tbaseball game. Sid 6.7 moves over with him, standing directly\n\tbehind the Skinhead as if also interested in the Dodgers.", "Elizabeth Deane is solely responsible for the funds allocated\n\tto LETAC. As well as which prototypes will move on to\n\tproduction.", "The Guest Conductor's movements grow even more intense. More\n\tdemanding. As he looks to the violin section, we now see the\n\tconductor's face. It is Sid 6.7.", "The Woman's face appears on various monitors. The phone\n\tRINGS. No one answers it. The room appears to be empty. \n\n\tThe stadium's closed-circuit TV director is not in his chair.", "WALLACE\n\t\t\t(relishing his authority)\n\t\tYou are to turn over the Sid 6.7\n\t\tprogram, and all its documentation,\n\t\tfor immediate destruction. Is that\n\t\tunderstood?", "CUT TO:\n\n\tINSIDE REILLY'S OFFICE\n\n\tReilly paces anxiously by the incubator eight hours later.", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "LAB ASSISTANTS remove the polyurethane skull caps from the\n\ttwo unconscious bodies. The acupuncture needles remain in the\n\tcaps. You can now see the faces of the participants:", "LINDENMEYER\n\t\t\t(to the monitor)\n\t\tShe's taking a nap at the moment.\n\n\tHe types a set of instructions into the console and hits\n\tENTER.", "Parker's screams for help ECHO throughout the facility. But\n\tthere is no one there to hear him.\n\n\t\t\t\t\tCUT TO:\n\n\tOUTSIDE LETAC", "In complete disarray to the uninitiated. But to those in the\n\tknow, this is the most advanced facility of its kind in the\n\tworld.", "CUT TO:\n\n\tINSIDE LETAC" ], [ "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "Officer Barnes. Or should I say,\n\t\tinmate 673429...", "(to Parker)\n\t\tEnjoy the rest of your sentence,\n\t\tMr. Barnes.", "The media has caught wind of his\n\t\tpardon. Unless Mr. Barnes starts\n\t\tgiving me some tangible results,\n\t\tI'm going to put him back in his", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "MARY BARNES (1987-1992). Parker kneels in front of it. Magic\n\thour.", "a lunatic like Barnes loose in the\n\t\treal world did pose an unacceptably\n\t\tdangerous risk to the public.\n\t\t\t(glancing at Cox)", "WALLACE\n\t\tBarnes used to work for him when he\n\t\twas still a cop in the field,\n\t\tremember?", "Cox leads Parker by the arm to a waiting prison transport.\n\tThe two guards walk behind at a distance. Two more by the\n\ttransport. The chain between Parker's legs keeps his steps\n\tshort.", "PARKER\n\t\t\t(struggling to sit up)\n\t\tHe...only had a year left on his\n\t\tsentence.", "least some military or survival\n\t\ttraining - only Mr. Barnes is\n\t\tstill breathing.", "He stands completely naked, arms held out to the sides, as he\n\tis strip searched. Every portion of the body in which someone\n\tcould hide something is closely inspected.", "Behind him, John's body is loaded into an ambulance. The\n\tGuards SLAM the prison transport doors shut.\n\n\tINSIDE THE PRISON TRANSPORT -- REAR", "(with conviction)\n\t\tI will stake my reputation that\n\t\tBarnes didn't kill those guards.", "The other inmates then turn their attentions to a man of\n\tincredible size following Parker. 6' 6\", 255 lbs. His face", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "Red kicks in the door to the stall. Revealing a pair of shoes\n\tand socks stuffed with a prison shirt. Red hears something\n\tbehind him. And turns around slowly.", "Parker eats at a table with a dozen other inmates. The food\n\tis unrecognizable. The air thick with humidity and cigarette\n\tsmoke. Nobody is talking. Just staring. At Parker.", "MADISON\n\t\tThis is Parker Barnes six years\n\t\tago.\n\t\tThe most decorated cop in the\n\t\thistory of L. A. P. D. Special\n\t\tInvestigations Division...", "AIDE\n\t\tParker Barnes just escaped from the\n\t\tprison transport. Both of the\n\t\tguards are dead.\n\n\tThe Aide exits." ], [ "PARKER\n\t\tBecause this painintheass\n\t\tcriminal psychology expert has\n\t\thelped me understand what I'm", "DEANE\n\t\tWe have an emergency situation\n\t\twhich requires somebody with\n\t\texpertise in criminal psychology.", "She is beautiful, and charming, but those qualities take a\n\tback seat to her intelligence. She is one of the country's\n\tforemost authorities on criminal psychology. Her concerns are", "MADISON\n\t\tLindenmeyer put increasingly\n\t\tcomplex combinations of criminal\n\t\tpsychological profiles together to\n\t\tdevelop the ultimate villain.", "He runs his finger along a book shelf, pausing at two books\n\tin particular. Their titles are: UNDERSTANDING THE CRIMINAL", "MADISON\n\t\tThe government must have figured\n\t\tthere was no better person to\n\t\tcreate a psycho than a psycho.", "MIND, and CRIMINAL PURSUIT -- A PSYCHOLOGICAL GUIDE FOR LAW\n\tENFORCEMENT. They were written by Dr. Madison Carter.", "The room is still under construction. Wallace stands behind a\n\tTECHNICIAN sitting at a console in front of a massive\n\telectronic map tracking several convicts, including Parker.\n\tThe technician is typing in an elaborate termination code.", "6:00 AM. Parker, clearly just awakened, is led into the room\n\tby a guard, who then exits. Waiting for Parker are Chief of\n\tPolice Cox and Elizabeth Deane.", "INSIDE THE SUBURBAN HOME\n\n\tInvestigators analyze the crime scene extensively with every\n\tdevice imaginable. Parker and Madison survey the scene with\n\tnothing but their eyes.", "The graphics show you that Sid 1.2 was a combination of\n\tCharles Manson and Billy the Kid. You see what look like two\n\tviruses, which represent each criminal's psychological", "WALLACE\n\t\tJust an unrepentant criminal who is\n\t\tapparently going to die from a\n\t\tpreviously undiagnosed brain tumor.\n\n\tCox enters, concerning Wallace.", "DEANE\n\t\t\t(sharply)\n\t\tDon't forget, convict, if this\n\t\tpsycho isn't stopped, you go right\n\t\tback to rotting in a prison cell.", "MADISON\n\t\tAs a matter of fact, it is.\n\n\tParker points to a name on the screen:\tJEFFREY DAHMER.", "One of the women sits by herself in front of a monitor.\n\tIntently following the action on screen. Studying it\n\tclinically. Her name is DR. MADISON CARTER, late 30s.", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "She points to Lindenmeyer, then makes her way over to Parker,\n\twho's standing exactly where Sid 6.7 was when he killed the", "Parker's screams for help ECHO throughout the facility. But\n\tthere is no one there to hear him.\n\n\t\t\t\t\tCUT TO:\n\n\tOUTSIDE LETAC", "What you notice, however, is that ALL THE DATA relates to\n\tDIFFERENT KINDS of CRIMINALS: serial killers, mass murderers," ], [ "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "Wallace ignores him as he walks toward the door. On the\n\tmonitors, Sid 6.7 starts walking toward you. Into a CLOSEUP.", "He removes the Sid 6.7 character module from its slot and\n\texits the station.\n\n\tON THE ROOF OF THE HOLLYWOOD TOWER", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "WALLACE\n\t\t\t(relishing his authority)\n\t\tYou are to turn over the Sid 6.7\n\t\tprogram, and all its documentation,\n\t\tfor immediate destruction. Is that\n\t\tunderstood?", "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "a rocket scientist to come to the\n\t\tconclusion that Sid 6.7 might go\n\t\tafter him, too.\n\t\t\t(a beat)", "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "Peeling the label off the Sid 6.7 character module,\n\tLindenmeyer removes the module from its slot. Sid 6.7\n\tdisappears from the screen.\n\n\t\t\t\t\tCUT TO:", "Sid 6.7 takes a bow, as if on stage.\n\n\t\t\t\tSID 6.7\n\t\tThank you, ladies and gentlemen,\n\t\tyou've been a real pleasure...", "He rushes out. Sid 6.7 appears on the various monitors next\n\tto Sheila 3.2. He kisses her cheek. Caresses her body. Sheila\n\t3.2 enjoys the attention.", "Mustering her strength, she manages to crawl behind several\n\tof the computers which make up the simulator. Sid 6.7\n\tadvances calmly toward her.", "His head tumbles to the street. The force of the impact\n\tcauses the Sid 6.7 character module to separate from the\n\tneural net.", "SID 6.7 (CONT'D)\n\t\t\t(to the monitor)\n\t\tHang in there, Parker.", "SID 6.7\n\t\tMan, what a rush.\n\t\t\t(yelling up to Parker)\n\t\tAdios, amigo!", "As Sid 6.7 realizes he's being videotaped, his entire face\n\tseems to light up. Playing directly to the camera, he clearly", "His expression is exaggerated. Artificial. Only for a moment,\n\tbut it's enough to remind you Sid 6.7 is not human.", "SID 6.7\n\t\t\t(to Parker)\n\t\tI wouldn't pull the trigger if I\n\t\twere you\n\n\t\t\t\tPARKER\n\t\tWhy's that?" ], [ "DEANE\n\t\tI watched your simulation, Mr.\n\t\tBarnes. Very impressive. You know,\n\t\tyou're the only one to ever go up\n\t\tagainst Sid 6.7 who is still alive.", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "He moves to the next TV over and changes the channel to the\n\tbaseball game. Sid 6.7 moves over with him, standing directly\n\tbehind the Skinhead as if also interested in the Dodgers.", "Parker turns a corner, stopping fast. At the other end of the\n\taisle stands Sid 6.7, who presses his gun against the head of", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "As Sid 6.7 realizes he's being videotaped, his entire face\n\tseems to light up. Playing directly to the camera, he clearly", "Bullets riddle Sid 6.7's table as he dives from his chair. He\n\tlands next to a bowling ball bag, which sits beneath his\n\ttable.", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt.", "a rocket scientist to come to the\n\t\tconclusion that Sid 6.7 might go\n\t\tafter him, too.\n\t\t\t(a beat)", "He hands a photograph of Sid 6.7 exiting LETAC to Parker.", "He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is\n\tstanding directly behind him. Sid 6.7 grabs Parker by the\n\tthroat.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "PARKER\n\t\tSid 6.7 told me after he killed the\n\t\ttwo guards. He suggested I kill you\n\t\trather than him.", "The media has caught wind of his\n\t\tpardon. Unless Mr. Barnes starts\n\t\tgiving me some tangible results,\n\t\tI'm going to put him back in his", "Wallace ignores him as he walks toward the door. On the\n\tmonitors, Sid 6.7 starts walking toward you. Into a CLOSEUP.", "A threeman demolition team slowly, carefully disarms the\n\tbomb Sid 6.7 had secured to the automated sewer cleaning\n\tvehicle. Snip. One wire at a time. Snip.", "Except Parker now does something different. Just before Sid\n\t6.7 is decapitated, Parker jams a metal rod between the\n\tcompactor's steel teeth. Then grabs Sid 6.7 by the throat." ], [ "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "(with conviction)\n\t\tI will stake my reputation that\n\t\tBarnes didn't kill those guards.", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "Officer Barnes. Or should I say,\n\t\tinmate 673429...", "The media has caught wind of his\n\t\tpardon. Unless Mr. Barnes starts\n\t\tgiving me some tangible results,\n\t\tI'm going to put him back in his", "COX\n\t\t\t(to Deane)\n\t\tBarnes wouldn't kill two innocent\n\t\tguards.", "L.A.P.D. Special Investigations Division Officer Parker\n\tBarnes managed to stop Grimes from killing Mayor Bennett.\n\tGrimes retaliated by repeatedly humiliating Parker with false\n\tleads and lawsuits.", "Mayor Bennett and I have been\n\t\tfriends a long time. Since Grimes\n\t\ttried to kill him, it doesn't take", "WALLACE\n\t\tBarnes used to work for him when he\n\t\twas still a cop in the field,\n\t\tremember?", "a lunatic like Barnes loose in the\n\t\treal world did pose an unacceptably\n\t\tdangerous risk to the public.\n\t\t\t(glancing at Cox)", "Madison enters, carrying a folder labelled:\tINMATE #673429\n\tA/K/A PARKER BARNES. She withdraws several PHOTOGRAPHS from", "She points to Lindenmeyer, then makes her way over to Parker,\n\twho's standing exactly where Sid 6.7 was when he killed the", "He reaches out to give Lindenmeyer a hand, then grabs him by\n\tthe throat. Choking him. Lindenmeyer can't believe what is\n\thappening.", "He changes the channel back to the first news broadcast. A\n\treporter stands amid the chaos outside the bar where Sid 6.7\n\thad terrified the patrons.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "He rushes to Cox. Parker drops to his knees, cradling Cox's\n\thead. Cox isn't long for this earth. Looking up to Parker, he\n\ttries to talk. But nothing comes out.", "Madison walks calmly behind them. Scanning the crowd. Looking\n\tfor Lindenmeyer. Her every instinct telling her he's here. He\n\tmust be.", "Madison's reaction is one of panic. She bolts toward their\n\tsquad car with all the speed she has. Parker chases after\n\ther.", "6:00 AM. Parker, clearly just awakened, is led into the room\n\tby a guard, who then exits. Waiting for Parker are Chief of\n\tPolice Cox and Elizabeth Deane.", "Red charges Parker wildly. Parker dodges him like a matador\n\tdoes a bull. Then brings his fists down savagely on the back\n\tof Red's head. His skull CRACKS. Red drops to the floor." ], [ "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "He empties his clip into Sid 6.7, then discards the gun. As\n\tSid 6.7's wounds heal themselves, Parker pounds him\n\tmercilessly.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "WALLACE\n\t\t\t(relishing his authority)\n\t\tYou are to turn over the Sid 6.7\n\t\tprogram, and all its documentation,\n\t\tfor immediate destruction. Is that\n\t\tunderstood?", "A threeman demolition team slowly, carefully disarms the\n\tbomb Sid 6.7 had secured to the automated sewer cleaning\n\tvehicle. Snip. One wire at a time. Snip.", "Peeling the label off the Sid 6.7 character module,\n\tLindenmeyer removes the module from its slot. Sid 6.7\n\tdisappears from the screen.\n\n\t\t\t\t\tCUT TO:", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "His head tumbles to the street. The force of the impact\n\tcauses the Sid 6.7 character module to separate from the\n\tneural net.", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "He removes the Sid 6.7 character module from its slot and\n\texits the station.\n\n\tON THE ROOF OF THE HOLLYWOOD TOWER", "He rushes out. Sid 6.7 appears on the various monitors next\n\tto Sheila 3.2. He kisses her cheek. Caresses her body. Sheila\n\t3.2 enjoys the attention.", "SID 6.7\n\t\t\t(losing it)\n\t\tYou...ruined...I'M GOING TO KILL\n\t\tYOU!!!", "Wallace ignores him as he walks toward the door. On the\n\tmonitors, Sid 6.7 starts walking toward you. Into a CLOSEUP.", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "Except Parker now does something different. Just before Sid\n\t6.7 is decapitated, Parker jams a metal rod between the\n\tcompactor's steel teeth. Then grabs Sid 6.7 by the throat.", "SID 6.7 (CONT'D)\n\t\tBut rest assured...\n\t\t\t(a beat)\n\t\tA star is born.", "A SECURITY GUARD\n\n\tclimbs up the stairs to the mouth of the tunnel. Weapon in\n\thand. He draws a bead on Sid 6.7's back. BOOM!", "Mustering her strength, she manages to crawl behind several\n\tof the computers which make up the simulator. Sid 6.7\n\tadvances calmly toward her." ] ]	[ "Who created SID?", "Who did Barnes get into a fight with ?", "Why did Barnes want to catch SID?", "What does SID do at the Media Zone?", "Where does SID begin his killing spree?", "Who frees Barnes from his prisoner transport?", "Who does SID kidnap?", "Who saves Barnes?", "What ultimately happens to SID 6.7?", "Where did Lt. Parker Barnes and John Donovan begin tracking SID 6.7?", "Who is the police lieutenant?", "Who killed Donovan?", "Barnes meet with criminal phsychologist Dr. Madison Carter, why?", "Who is the Los Angeles Police Department Chief?", "Who is the terrorist that killed Barnes wife and daughter?", "Who killed Cochrane?", "Who destroys SID?", "Who saves Karin from a booby trap set by SID?", "Who is being tracked down ?", "What causes Donovan to go into shock?", "Who is the director overseeing the program?", "How long does Barnes serve?", "Who is the criminal psychologist? ", "Who tells SID he is about to be shut down?", "Who offers Barnes a Deal for catching SID?", "Who tries to prove Barnes' innocence?", "Who destroys SID ?" ]	[ [ "Dr. Darrel Lindenmeyer", "Dr Lindenmeyer" ], [ "Big Red", "Big Red" ], [ "so he would be released from prison", "So he can be released from prison" ], [ "Takes hostages", "He takes hostages" ], [ "Los Angeles Olympic Auditorium", "In Los Angeles at the Olympic Auditorium " ], [ "SID", "SID" ], [ "Carter's daughter Karin", "Karin" ], [ "Carter", "Carter" ], [ "Barnes destroys him", "he is destroyed" ], [ "At a restaurant in Los Angeles.", "Los Angeles" ], [ "Parker Barnes.", "Parker Barnes" ], [ "SID", "SID" ], [ "Because of a fight with another prisoner - Big Red.", "Because he got into a fight with Big Red." ], [ "William Cochrane.", "William Cochran" ], [ "Matthew Grimes", "Matthew Grimes" ], [ "Dr. Darrel Lindenmeyer", "Lindenmeyer" ], [ "Barnes", "Barnes" ], [ "Barnes and Carter", "Barnes and Carter" ], [ "SID", "Serial killer SID 6.7" ], [ "The VR Amalgam", "SID " ], [ "William Wallace", "William Wallace" ], [ "17 years to life", "17 years to life" ], [ "Dr. Madison Carter", "Madison Carter" ], [ "Lindenmeyer", "Lindenmeyer" ], [ "Department Chief WiIlliam Cochran", "Elizabeth Deane and William Cochran" ], [ "Carter", "Carter" ], [ "Barnes", "Barnes" ] ]	60267d554b5505cec3ad671d0ee48f51545dd9b7	train
[ [ "Although the light of almost four centuries has been focused on \"The\nPrince,\" its problems are still debatable and interesting, because they\nare the eternal problems between the ruled and their rulers. Such as", "THE PRINCE", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "principalities. In doing so I will keep to the order indicated above,\nand discuss how such principalities are to be ruled and preserved.", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "as he found them, and he writes with such skill and insight that his\nwork is of abiding value. But what invests \"The Prince\" with more than\na merely artistic or historical interest is the incontrovertible truth", "It is necessary to consider another point in examining the character of\nthese principalities: that is, whether a prince has such power that, in", "CHAPTER XIV -- THAT WHICH CONCERNS A PRINCE ON THE SUBJECT OF THE ART OF\nWAR", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "THE PRINCE\n\nby Nicolo Machiavelli\n\nTranslated by W. K. Marriott", "Such dominions thus acquired are either accustomed to live under a\nprince, or to live in freedom; and are acquired either by the arms of\nthe prince himself, or of others, or else by fortune or by ability.", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "Having discoursed particularly on the characteristics of such\nprincipalities as in the beginning I proposed to discuss, and having\nconsidered in some degree the causes of there being good or bad, and", "End of the Project Gutenberg EBook of The Prince, by Nicolo Machiavelli", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "Prince\" is bestrewn with truths that can be proved at every turn. Men\nare still the dupes of their simplicity and greed, as they were in the", "It remains now to see what ought to be the rules of conduct for a prince\ntowards subject and friends. And as I know that many have written on", "His first mission was in 1499 to Catherina Sforza, \"my lady of Forli\" of\n\"The Prince,\" from whose conduct and fate he drew the moral that it" ], [ "hereditary or a newly formed principality; because the sons of the old\nprince are not the heirs, but he who is elected to that position by", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "I say at once there are fewer difficulties in holding hereditary states,\nand those long accustomed to the family of their prince, than new", "A principality is created either by the people or by the nobles,\naccordingly as one or other of them has the opportunity; for the nobles,", "those who have authority, and the sons remain only noblemen. And this\nbeing an ancient custom, it cannot be called a new principality, because\nthere are none of those difficulties in it that are met with in new", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "Such dominions thus acquired are either accustomed to live under a\nprince, or to live in freedom; and are acquired either by the arms of\nthe prince himself, or of others, or else by fortune or by ability.", "in '10, unless he had been long established in his dominions. For the\nhereditary prince has less cause and less necessity to offend; hence it", "a new prince are more narrowly observed than those of an hereditary\none, and when they are seen to be able they gain more men and bind\nfar tighter than ancient blood; because men are attracted more by the", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "the title of prince, whilst others might have the principality.", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "ones; for although the prince is new, the constitution of the state is\nold, and it is framed so as to receive him as if he were its hereditary\nlord.", "It is necessary to consider another point in examining the character of\nthese principalities: that is, whether a prince has such power that, in", "Those who by valorous ways become princes, like these men, acquire\na principality with difficulty, but they keep it with ease. The", "CHAPTER II -- CONCERNING HEREDITARY PRINCIPALITIES", "There is first to note that, whereas in other principalities the\nambition of the nobles and the insolence of the people only have to be", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED" ], [ "a new prince are more narrowly observed than those of an hereditary\none, and when they are seen to be able they gain more men and bind\nfar tighter than ancient blood; because men are attracted more by the", "those who have authority, and the sons remain only noblemen. And this\nbeing an ancient custom, it cannot be called a new principality, because\nthere are none of those difficulties in it that are met with in new", "hereditary or a newly formed principality; because the sons of the old\nprince are not the heirs, but he who is elected to that position by", "Those who by valorous ways become princes, like these men, acquire\na principality with difficulty, but they keep it with ease. The", "4. Without doubt princes become great when they overcome the\ndifficulties and obstacles by which they are confronted, and therefore\nfortune, especially when she desires to make a new prince great, who", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "Although a prince may rise from a private station in two ways, neither\nof which can be entirely attributed to fortune or genius, yet it is", "Those who solely by good fortune become princes from being private\ncitizens have little trouble in rising, but much in keeping atop; they", "I say at once there are fewer difficulties in holding hereditary states,\nand those long accustomed to the family of their prince, than new", "I say, therefore, that in entirely new principalities, where there is\na new prince, more or less difficulty is found in keeping them,", "in '10, unless he had been long established in his dominions. For the\nhereditary prince has less cause and less necessity to offend; hence it", "And you have to understand this, that a prince, especially a new one,\ncannot observe all those things for which men are esteemed, being often", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "And of all princes, it is impossible for the new prince to avoid the\nimputation of cruelty, owing to new states being full of dangers. Hence", "in his footsteps. Therefore a prince, new to the principality, cannot\nimitate the actions of Marcus, nor, again, is it necessary to follow", "to rise from a private station to that rank. And, on the contrary, it is\nseen that when princes have thought more of ease than of arms they have" ], [ "Machiavelli was undoubtedly a man of great observation, acuteness, and\nindustry; noting with appreciative eye whatever passed before him, and", "Nicolo Machiavelli was born at Florence on 3rd May 1469. He was the\nsecond son of Bernardo di Nicolo Machiavelli, a lawyer of some repute,", "The following is a list of the works of Machiavelli:", "Nicolo Machiavelli, born at Florence on 3rd May 1469. From 1494 to 1512", "with results that have lasted to our day; we are concerned with those\nevents, and with the three great actors in them, so far only as they\nimpinge on the personality of Machiavelli. He had several meetings with", "Although there is little recorded of the youth of Machiavelli, the\nFlorence of those days is so well known that the early environment of\nthis representative citizen may be easily imagined. Florence has been", "Machiavelli concludes his letter to Vettori thus: \"And as to this little\nthing [his book], when it has been read it will be seen that during the", "fortunes of Florence, he only furnished Machiavelli with a subject of\na gibe in \"The Prince,\" where he is cited as an example of an unarmed", "Machiavelli, in his \"History of Florence,\" gives us a picture of the\nyoung men among whom his youth was passed. He writes: \"They were freer", "were once more driven out. This was the period of Machiavelli's literary\nactivity and increasing influence; but he died, within a few weeks of", "Lorenzo. Savonarola's influence upon the young Machiavelli must have\nbeen slight, for although at one time he wielded immense power over the", "rely on material rather than on moral forces. Its historical incidents\nand personages become interesting by reason of the uses which\nMachiavelli makes of them to illustrate his theories of government and\nconduct.", "The second period of Machiavelli's life was spent in the service of the\nfree Republic of Florence, which flourished, as stated above, from", "Machiavelli was absent from Florence at this time, but hastened his\nreturn, hoping to secure his former office of secretary to the \"Ten of", "Machiavelli's public life was largely occupied with events arising out\nof the ambitions of Pope Alexander VI and his son, Cesare Borgia, the", "Before Machiavelli had got \"The Prince\" off his hands he commenced his\n\"Discourse on the First Decade of Titus Livius,\" which should be read", "supplies the sources from which he drew the experiences and characters\nwhich illustrate \"The Prince.\"", "When the \"History of Florence\" was finished, Machiavelli took it to\nRome for presentation to his patron, Giuliano de' Medici, who had in", "Machiavelli's life, for during this time he took a leading part in\nthe affairs of the Republic, and we have its decrees, records,", "the meanwhile become pope under the title of Clement VII. It is somewhat\nremarkable that, as, in 1513, Machiavelli had written \"The Prince\" for" ], [ "he ought to be admired, if only for that favour which made him worthy to\nspeak with God. But in considering Cyrus and others who have acquired or", "King of Rome and founder of the fatherland. It was necessary that Cyrus\nshould find the Persians discontented with the government of the Medes,\nand the Medes soft and effeminate through their long peace. Theseus", "in his mind, as it is said Alexander the Great imitated Achilles, Caesar\nAlexander, Scipio Cyrus. And whoever reads the life of Cyrus, written", "should be oppressed by the Medes so as to discover the greatness of the\nsoul of Cyrus; and that the Athenians should be dispersed to illustrate", "liberality Scipio conformed to those things which have been written of\nCyrus by Xenophon. A wise prince ought to observe some such rules, and\nnever in peaceful times stand idle, but increase his resources with", "man. This has been figuratively taught to princes by ancient writers,\nwho describe how Achilles and many other princes of old were given to\nthe Centaur Chiron to nurse, who brought them up in his discipline;", "But to come to those who, by their own ability and not through fortune,\nhave risen to be princes, I say that Moses, Cyrus, Romulus, Theseus,", "authority over them, and that they loved and obeyed him, Messer\nFrancesco became greatly desirous of learning who he was. Being informed\nof the circumstances of the bringing up of Castruccio he felt a greater", "of so great ability, even as a private citizen, that one who writes\nof him says he wanted nothing but a kingdom to be a king. This man\nabolished the old soldiery, organized the new, gave up old alliances,", "founded kingdoms, all will be found admirable; and if their particular\ndeeds and conduct shall be considered, they will not be found inferior\nto those of Moses, although he had so great a preceptor. And in", "which he lived and the city in which he was born; but, like many others,\nhe was neither fortunate nor distinguished in his birth, as the course\nof this history will show. It appeared to be desirable to recall his", "Now if you will consider what was the nature of the government of\nDarius, you will find it similar to the kingdom of the Turk, and", "of the people to sustain his armies, and by that long war to lay the\nfoundation for the military skill which has since distinguished him.\nFurther, always using religion as a plea, so as to undertake greater", "it is Hiero the Syracusan.() This man rose from a private station to\nbe Prince of Syracuse, nor did he, either, owe anything to fortune but", "Great became the master of Asia in a few years, and died whilst it\nwas scarcely settled (whence it might appear reasonable that the whole\nempire would have rebelled), nevertheless his successors maintained", "took from him his government and life. He who will, therefore, carefully\nexamine the actions of this man will find him a most valiant lion and", "the years passed Castruccio grew very handsome, and gave evidence of\nwit and discretion, and learnt with a quickness beyond his years those\nlessons which Messer Antonio imparted to him. Messer Antonio intended", "caused him to be beloved by the armies. Nevertheless, his ferocity and\ncruelties were so great and so unheard of that, after endless single", "delighting in nothing so much as in learning their uses, and in running,\nleaping, and wrestling with other boys. In all exercises he far excelled", "But let us come to Alexander, who was a man of such great goodness,\nthat among the other praises which are accorded him is this, that in the" ], [ "in his mind, as it is said Alexander the Great imitated Achilles, Caesar\nAlexander, Scipio Cyrus. And whoever reads the life of Cyrus, written", "liberality Scipio conformed to those things which have been written of\nCyrus by Xenophon. A wise prince ought to observe some such rules, and\nnever in peaceful times stand idle, but increase his resources with", "he ought to be admired, if only for that favour which made him worthy to\nspeak with God. But in considering Cyrus and others who have acquired or", "by Xenophon, will recognize afterwards in the life of Scipio how that\nimitation was his glory, and how in chastity, affability, humanity, and", "King of Rome and founder of the fatherland. It was necessary that Cyrus\nshould find the Persians discontented with the government of the Medes,\nand the Medes soft and effeminate through their long peace. Theseus", "of so great ability, even as a private citizen, that one who writes\nof him says he wanted nothing but a kingdom to be a king. This man\nabolished the old soldiery, organized the new, gave up old alliances,", "should be oppressed by the Medes so as to discover the greatness of the\nsoul of Cyrus; and that the Athenians should be dispersed to illustrate", "But let us come to Alexander, who was a man of such great goodness,\nthat among the other praises which are accorded him is this, that in the", "caused him to be beloved by the armies. Nevertheless, his ferocity and\ncruelties were so great and so unheard of that, after endless single", "But to come to those who, by their own ability and not through fortune,\nhave risen to be princes, I say that Moses, Cyrus, Romulus, Theseus,", "nor your subjects' you can be a ready giver, as were Cyrus, Caesar, and\nAlexander; because it does not take away your reputation if you squander", "took from him his government and life. He who will, therefore, carefully\nexamine the actions of this man will find him a most valiant lion and", "of the people to sustain his armies, and by that long war to lay the\nfoundation for the military skill which has since distinguished him.\nFurther, always using religion as a plea, so as to undertake greater", "founded kingdoms, all will be found admirable; and if their particular\ndeeds and conduct shall be considered, they will not be found inferior\nto those of Moses, although he had so great a preceptor. And in", "the soldiers and people that the latter were kept in a way astonished\nand awed and the former respectful and satisfied. And because the\nactions of this man, as a new prince, were great, I wish to show", "others, for he was deferential to the great men, modest with his equals,\nand courteous to his inferiors. These gifts made him beloved, not only", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "offer him for imitation to all those who, by the fortune or the arms of\nothers, are raised to government. Because he, having a lofty spirit and", "placed by him to testify forever to his days of adversity. As in\nhis life he was inferior neither to Philip of Macedon, the father of", "that brought the glory, not the methods of achieving it. No one was\nbolder in facing danger, none more prudent in extricating himself. He\nwas accustomed to say that men ought to attempt everything and fear" ], [ "Machiavelli concludes his letter to Vettori thus: \"And as to this little\nthing [his book], when it has been read it will be seen that during the", "The following is a list of the works of Machiavelli:", "THE PRINCE\n\nby Nicolo Machiavelli\n\nTranslated by W. K. Marriott", "Machiavelli was absent from Florence at this time, but hastened his\nreturn, hoping to secure his former office of secretary to the \"Ten of", "Nicolo Machiavelli was born at Florence on 3rd May 1469. He was the\nsecond son of Bernardo di Nicolo Machiavelli, a lawyer of some repute,", "Nicolo Machiavelli, born at Florence on 3rd May 1469. From 1494 to 1512", "In 1520 the Florentine merchants again had recourse to Machiavelli\nto settle their difficulties with Lucca, but this year was chiefly", "was thought the wisest.\" In a letter to his son Guido, Machiavelli shows\nwhy youth should avail itself of its opportunities for study, and leads", "Machiavelli was undoubtedly a man of great observation, acuteness, and\nindustry; noting with appreciative eye whatever passed before him, and", "Machiavelli moralizes on the resemblance between Fortune and women, and\nconcludes that it is the bold rather than the cautious man that will win\nand hold them both.", "On the return of the Medici, Machiavelli, who for a few weeks had\nvainly hoped to retain his office under the new masters of Florence, was", "the meanwhile become pope under the title of Clement VII. It is somewhat\nremarkable that, as, in 1513, Machiavelli had written \"The Prince\" for", "dismissal of Machiavelli and his friends, and thus put an end to his\npublic career, for, as we have seen, he died without regaining office.", "Machiavelli, who was an envoy at his court in 1507-8, reveals the secret\nof his many failures when he describes him as a secretive man, without", "The second period of Machiavelli's life was spent in the service of the\nfree Republic of Florence, which flourished, as stated above, from", "fortunes of Florence, he only furnished Machiavelli with a subject of\na gibe in \"The Prince,\" where he is cited as an example of an unarmed", "Machiavelli, in his \"History of Florence,\" gives us a picture of the\nyoung men among whom his youth was passed. He writes: \"They were freer", "It was to Julius II that Machiavelli was sent in 1506, when that pontiff\nwas commencing his enterprise against Bologna; which he brought to a", "End of the Project Gutenberg EBook of The Prince, by Nicolo Machiavelli", "Before Machiavelli had got \"The Prince\" off his hands he commenced his\n\"Discourse on the First Decade of Titus Livius,\" which should be read" ], [ "state, still less in the doubtful times of war. I believe that this\nfollows from severities() being badly or properly used. Those may be\ncalled properly used, if of evil it is possible to speak well, that are", "state, so that the acquisition turns into a loss, and many more are\nexasperated, because the whole state is injured; through the shifting\nof the garrison up and down all become acquainted with hardship, and", "lost their states. And the first cause of your losing it is to neglect\nthis art; and what enables you to acquire a state is to be master of", "would lose him his state; and also to keep himself, if it be possible,\nfrom those which would not lose him it; but this not being possible, he", "state; because men, walking almost always in paths beaten by others, and\nfollowing by imitation their deeds, are yet unable to keep entirely to", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "forced, in order to maintain the state, to act contrary to fidelity,()\nfriendship, humanity, and religion. Therefore it is necessary for him to\nhave a mind ready to turn itself accordingly as the winds and variations", "where the state is not well armed, it follows that where they are well\narmed they have good laws. I shall leave the laws out of the discussion\nand shall speak of the arms.", "state composed of divers elements.", "detect, but in the course of time, not having been either detected or\ntreated in the beginning, it becomes easy to detect but difficult to\ncure. Thus it happens in affairs of state, for when the evils that arise", "which they feel against the ruling power. So that in respect to those\nsubject states he has not to take any trouble to gain them over to\nhimself, for the whole of them quickly rally to the state which he has", "the state to defend him; so that, adding to all these things the\npopular goodwill, it is impossible that any one should be so rash as to", "party at once took courage and seized the state. Such methods argue,\ntherefore, weakness in the prince, because these factions will never be\npermitted in a vigorous principality; such methods for enabling one the", "their word. You must know there are two ways of contesting,() the one\nby the law, the other by force; the first method is proper to men, the", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "other state, is compelled to reside there in person.", "the state, they always have the means of giving work to the community\nin those labours that are the life and strength of the city, and on\nthe pursuit of which the people are supported; they also hold military", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "Hence it is to be remarked that, in seizing a state, the usurper ought\nto examine closely into all those injuries which it is necessary for him", "ones; for although the prince is new, the constitution of the state is\nold, and it is framed so as to receive him as if he were its hereditary\nlord." ], [ "state, still less in the doubtful times of war. I believe that this\nfollows from severities() being badly or properly used. Those may be\ncalled properly used, if of evil it is possible to speak well, that are", "Machiavelli to indicate the policy adopted by the Roman Senate towards\nthe weaker states of Greece, would by an Elizabethan be correctly\nrendered \"entertain,\" and every contemporary reader would understand", "lost their states. And the first cause of your losing it is to neglect\nthis art; and what enables you to acquire a state is to be master of", "detect, but in the course of time, not having been either detected or\ntreated in the beginning, it becomes easy to detect but difficult to\ncure. Thus it happens in affairs of state, for when the evils that arise", "state, so that the acquisition turns into a loss, and many more are\nexasperated, because the whole state is injured; through the shifting\nof the garrison up and down all become acquainted with hardship, and", "for the position of every word. To an Englishman of Shakespeare's time\nthe translation of such a treatise was in some ways a comparatively easy\ntask, for in those times the genius of the English more nearly resembled", "party at once took courage and seized the state. Such methods argue,\ntherefore, weakness in the prince, because these factions will never be\npermitted in a vigorous principality; such methods for enabling one the", "accordingly as there is more or less ability in him who has acquired\nthe state. Now, as the fact of becoming a prince from a private station\npresupposes either ability or fortune, it is clear that one or other", "listened to a word you said.\" He used to say of one who had been a\nbeautiful child and who afterwards became a fine man, that he was", "his affairs. And since the matter demands it, I must not fail to warn a\nprince, who by means of secret favours has acquired a new state, that he\nmust well consider the reasons which induced those to favour him who", "adapted to the modern notions of style and expression. Machiavelli was\nno facile phrasemonger; the conditions under which he wrote obliged him", "edition, which was published with the sanction of the papal\n authorities. It may be that the meaning attached to the word", "time, but also by those of an earlier date. In stature he was above\nthe ordinary height, and perfectly proportioned. He was of a gracious\npresence, and he welcomed men with such urbanity that those who spoke", "word \"religione\" was suffered to stand in the text of the\n Testina, being used to signify indifferently every shade of\n belief, as witness \"the religion,\" a phrase inevitably", "forced, in order to maintain the state, to act contrary to fidelity,()\nfriendship, humanity, and religion. Therefore it is necessary for him to\nhave a mind ready to turn itself accordingly as the winds and variations", "concurrently with \"The Prince.\" These and several minor works occupied\nhim until the year 1518, when he accepted a small commission to look", "() Mr Burd suggests that this word probably comes near the\n modern equivalent of Machiavelli's thought when he speaks of\n \"crudelta\" than the more obvious \"cruelties.\"", "state; because men, walking almost always in paths beaten by others, and\nfollowing by imitation their deeds, are yet unable to keep entirely to", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "that of the Italian language; to the Englishman of to-day it is not so\nsimple. To take a single example: the word \"intrattenere,\" employed by" ], [ "principalities. In doing so I will keep to the order indicated above,\nand discuss how such principalities are to be ruled and preserved.", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "Having discoursed particularly on the characteristics of such\nprincipalities as in the beginning I proposed to discuss, and having\nconsidered in some degree the causes of there being good or bad, and", "It is necessary to consider another point in examining the character of\nthese principalities: that is, whether a prince has such power that, in", "Now, concerning the characteristics of which mention is made above, I\nhave spoken of the more important ones, the others I wish to discuss\nbriefly under this generality, that the prince must consider, as has", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "Such dominions thus acquired are either accustomed to live under a\nprince, or to live in freedom; and are acquired either by the arms of\nthe prince himself, or of others, or else by fortune or by ability.", "I have noted down what I have gained from their conversation, and have\ncomposed a small work on 'Principalities,' where I pour myself out", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "It remains now to see what ought to be the rules of conduct for a prince\ntowards subject and friends. And as I know that many have written on", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "CHAPTER XIV -- THAT WHICH CONCERNS A PRINCE ON THE SUBJECT OF THE ART OF\nWAR", "CHAPTER XV -- CONCERNING THINGS FOR WHICH MEN, AND ESPECIALLY PRINCES,\nARE PRAISED OR BLAMED", "Machiavelli concludes his letter to Vettori thus: \"And as to this little\nthing [his book], when it has been read it will be seen that during the", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "be useful to him who apprehends it, it appears to me more appropriate to\nfollow up the real truth of the matter than the imagination of it; for\nmany have pictured republics and principalities which in fact have never", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince" ], [ "manifest to me that I must not be silent on them, although one could be\nmore copiously treated when I discuss republics. These methods are\nwhen, either by some wicked or nefarious ways, one ascends to the", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "be useful to him who apprehends it, it appears to me more appropriate to\nfollow up the real truth of the matter than the imagination of it; for\nmany have pictured republics and principalities which in fact have never", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "Having discoursed particularly on the characteristics of such\nprincipalities as in the beginning I proposed to discuss, and having\nconsidered in some degree the causes of there being good or bad, and", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "republic, armed with its own arms, under the sway of one of its citizens\nthan it is to bring one armed with foreign arms. Rome and Sparta stood\nfor many ages armed and free. The Switzers are completely armed and", "I will leave out all discussion on republics, inasmuch as in another\nplace I have written of them at length, and will address myself only to", "in republics there is more vitality, greater hatred, and more desire\nfor vengeance, which will never permit them to allow the memory of their\nformer liberty to rest; so that the safest way is to destroy them or to", "principalities. In doing so I will keep to the order indicated above,\nand discuss how such principalities are to be ruled and preserved.", "republics, and, the Church consisting of priests and the republic of\ncitizens unaccustomed to arms, both commenced to enlist foreigners.", "The second period of Machiavelli's life was spent in the service of the\nfree Republic of Florence, which flourished, as stated above, from", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "Machiavelli concludes his letter to Vettori thus: \"And as to this little\nthing [his book], when it has been read it will be seen that during the", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "Republic, and at a given signal the soldiers killed all the senators and\nthe richest of the people; these dead, he seized and held the princedom", "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord," ], [ "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "Those who by valorous ways become princes, like these men, acquire\na principality with difficulty, but they keep it with ease. The", "Such dominions thus acquired are either accustomed to live under a\nprince, or to live in freedom; and are acquired either by the arms of\nthe prince himself, or of others, or else by fortune or by ability.", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "A principality is created either by the people or by the nobles,\naccordingly as one or other of them has the opportunity; for the nobles,", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "them. And weighing well the reasons for this in those examples which\ncan be taken from ancient and modern affairs, we shall find that it is\neasier for the prince to make friends of those men who were contented", "Therefore, one who becomes a prince through the favour of the people\nought to keep them friendly, and this he can easily do seeing they", "It is necessary to consider another point in examining the character of\nthese principalities: that is, whether a prince has such power that, in", "themselves. For this reason they are very slow to take up arms, and a\nprince can gain them to himself and secure them much more easily. But", "I say at once there are fewer difficulties in holding hereditary states,\nand those long accustomed to the family of their prince, than new", "in '10, unless he had been long established in his dominions. For the\nhereditary prince has less cause and less necessity to offend; hence it", "For that reason, let a prince have the credit of conquering and holding\nhis state, the means will always be considered honest, and he will be", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "I say, therefore, that in entirely new principalities, where there is\na new prince, more or less difficulty is found in keeping them,", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "Again, the prince who holds a country differing in the above respects\nought to make himself the head and defender of his less powerful", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "Having discoursed particularly on the characteristics of such\nprincipalities as in the beginning I proposed to discuss, and having\nconsidered in some degree the causes of there being good or bad, and" ], [ "happens that he will be more loved; and unless extraordinary vices cause\nhim to be hated, it is reasonable to expect that his subjects will be\nnaturally well disposed towards him; and in the antiquity and duration", "of disposition or character. This, I believe, arises firstly from causes\nthat have already been discussed at length, namely, that the prince who\nrelies entirely on fortune is lost when it changes. I believe also that", "them. And weighing well the reasons for this in those examples which\ncan be taken from ancient and modern affairs, we shall find that it is\neasier for the prince to make friends of those men who were contented", "Nevertheless a prince ought to inspire fear in such a way that, if he\ndoes not win love, he avoids hatred; because he can endure very well", "them, and win them to himself by benefits. He who does otherwise, either\nfrom timidity or evil advice, is always compelled to keep the knife\nin his hand; neither can he rely on his subjects, nor can they attach", "Therefore, a prince, not being able to exercise this virtue of\nliberality in such a way that it is recognized, except to his cost, if", "2. There never was a new prince who has disarmed his subjects; rather\nwhen he has found them disarmed he has always armed them, because, by", "We have seen above how necessary it is for a prince to have his\nfoundations well laid, otherwise it follows of necessity he will go", "It remains now to see what ought to be the rules of conduct for a prince\ntowards subject and friends. And as I know that many have written on", "And above all things, a prince ought to live amongst his people in such\na way that no unexpected circumstances, whether of good or evil, shall", "shown; even if they should be good they would not be sufficient to\ndefend you against powerful enemies and distrusted subjects. Therefore,\nas I have said, a new prince in a new principality has always", "more righteous than that of the nobles, the latter wishing to oppress,\nwhile the former only desire not to be oppressed. It is to be added also\nthat a prince can never secure himself against a hostile people, because", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "For this reason I consider that a prince ought to reckon conspiracies\nof little account when his people hold him in esteem; but when it", "Therefore, a prince who has a strong city, and had not made himself\nodious, will not be attacked, or if any one should attack he will only", "conquered in so many enterprises if he had been reputed liberal. A\nprince, therefore, provided that he has not to rob his subjects, that he", "The previous suggestions, carefully observed, will enable a new prince\nto appear well established, and render him at once more secure and fixed\nin the state than if he had been long seated there. For the actions of", "are useful or not according to circumstances; if they do you good in one\nway they injure you in another. And this question can be reasoned thus:\nthe prince who has more to fear from the people than from foreigners", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "present than by the past, and when they find the present good they enjoy\nit and seek no further; they will also make the utmost defence of a\nprince if he fails them not in other things. Thus it will be a double" ], [ "There are, for example, the Spartans and the Romans. The Spartans held\nAthens and Thebes, establishing there an oligarchy; nevertheless they", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord,", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "under their own laws, drawing a tribute, and establishing within it an\noligarchy which will keep it friendly to you. Because such a government,\nbeing created by the prince, knows that it cannot stand without", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "and from this it arises that the people do not wish to be ruled nor\noppressed by the nobles, and the nobles wish to rule and oppress the\npeople; and from these two opposite desires there arises in cities one", "I will leave out all discussion on republics, inasmuch as in another\nplace I have written of them at length, and will address myself only to", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "party at once took courage and seized the state. Such methods argue,\ntherefore, weakness in the prince, because these factions will never be\npermitted in a vigorous principality; such methods for enabling one the", "consider themselves his equals, and because of this he can neither rule\nnor manage them to his liking. But he who reaches sovereignty by popular", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "in troubled times, can destroy the government with great ease, either\nby intrigue or open defiance; and the prince has not the chance amid\ntumults to exercise absolute authority, because the citizens and", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "of there being too many, whilst from the nobles he can secure himself,\nas they are few in number. The worst that a prince may expect from a\nhostile people is to be abandoned by them; but from hostile nobles he", "only ask not to be oppressed by him. But one who, in opposition to\nthe people, becomes a prince by the favour of the nobles, ought, above", "their own greed and cruelty. Hence it arose that those emperors were\nalways overthrown who, either by birth or training, had no great\nauthority, and most of them, especially those who came new to the", "In our times, during the rule of Alexander the Sixth, Oliverotto da\nFermo, having been left an orphan many years before, was brought up" ], [ "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord,", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "I will leave out all discussion on republics, inasmuch as in another\nplace I have written of them at length, and will address myself only to", "consider themselves his equals, and because of this he can neither rule\nnor manage them to his liking. But he who reaches sovereignty by popular", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "and from this it arises that the people do not wish to be ruled nor\noppressed by the nobles, and the nobles wish to rule and oppress the\npeople; and from these two opposite desires there arises in cities one", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "republic, armed with its own arms, under the sway of one of its citizens\nthan it is to bring one armed with foreign arms. Rome and Sparta stood\nfor many ages armed and free. The Switzers are completely armed and", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "There are, for example, the Spartans and the Romans. The Spartans held\nAthens and Thebes, establishing there an oligarchy; nevertheless they", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "in troubled times, can destroy the government with great ease, either\nby intrigue or open defiance; and the prince has not the chance amid\ntumults to exercise absolute authority, because the citizens and", "attributed to them. From this a general rule is drawn which never or\nrarely fails: that he who is the cause of another becoming powerful\nis ruined; because that predominancy has been brought about either by", "their word. You must know there are two ways of contesting,() the one\nby the law, the other by force; the first method is proper to men, the", "and language, or they are not. When they are, it is easier to hold them,\nespecially when they have not been accustomed to self-government; and", "his friendship and interest, and does it utmost to support him; and\ntherefore he who would keep a city accustomed to freedom will hold it\nmore easily by the means of its own citizens than in any other way." ], [ "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord,", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "only ask not to be oppressed by him. But one who, in opposition to\nthe people, becomes a prince by the favour of the nobles, ought, above", "and from this it arises that the people do not wish to be ruled nor\noppressed by the nobles, and the nobles wish to rule and oppress the\npeople; and from these two opposite desires there arises in cities one", "Bentivogli, the tyrant of Bologna: for he intended to bring that city\nunder his domination, and to make it the head of his Romagnian duchy.", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "attributed to them. From this a general rule is drawn which never or\nrarely fails: that he who is the cause of another becoming powerful\nis ruined; because that predominancy has been brought about either by", "There is first to note that, whereas in other principalities the\nambition of the nobles and the insolence of the people only have to be", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "It makes him hated above all things, as I have said, to be rapacious,\nand to be a violator of the property and women of his subjects, from", "took from him his government and life. He who will, therefore, carefully\nexamine the actions of this man will find him a most valiant lion and", "their own greed and cruelty. Hence it arose that those emperors were\nalways overthrown who, either by birth or training, had no great\nauthority, and most of them, especially those who came new to the", "is hostile to him, and bears hatred towards him, he ought to fear\neverything and everybody. And well-ordered states and wise princes have\ntaken every care not to drive the nobles to desperation, and to keep the", "being feared whilst he is not hated, which will always be as long as he\nabstains from the property of his citizens and subjects and from their\nwomen. But when it is necessary for him to proceed against the life of", "more powerful than himself for the purposes of attacking others, unless\nnecessity compels him, as is said above; because if he conquers you are\nat his discretion, and princes ought to avoid as much as possible being", "and language, or they are not. When they are, it is easier to hold them,\nespecially when they have not been accustomed to self-government; and", "state, still less in the doubtful times of war. I believe that this\nfollows from severities() being badly or properly used. Those may be\ncalled properly used, if of evil it is possible to speak well, that are", "more righteous than that of the nobles, the latter wishing to oppress,\nwhile the former only desire not to be oppressed. It is to be added also\nthat a prince can never secure himself against a hostile people, because" ], [ "CHAPTER III -- CONCERNING MIXED PRINCIPALITIES", "Endless examples could be given on this subject, but I will be content\nwith one, brought to pass within the memory of our fathers. Messer", "CHAPTER XIII -- CONCERNING AUXILIARIES, MIXED SOLDIERY, AND ONE'S OWN", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "To these great examples I wish to add a lesser one; still it bears some\nresemblance to them, and I wish it to suffice me for all of a like kind:", "first case he ought to be sparing, in the second he ought not to neglect\nany opportunity for liberality. And to the prince who goes forth with", "The \"little book\" suffered many vicissitudes before attaining the form\nin which it has reached us. Various mental influences were at work", "another cunning; one hard, another easy; one grave, another frivolous;\none religious, another unbelieving, and the like. And I know that every", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "In the second case, when those who fight are of such a character that\nyou have no anxiety as to who may conquer, so much the more is it", "show themselves against the enemy in the field, but are forced to\ndefend themselves by sheltering behind walls. The first case has been\ndiscussed, but we will speak of it again should it recur. In the second", "I was not intending to go beyond Italian and recent examples, but I am\nunwilling to leave out Hiero, the Syracusan, he being one of those I", "their word. You must know there are two ways of contesting,() the one\nby the law, the other by force; the first method is proper to men, the", "pray God that you will let him feed you also.\" Seeing that someone had\nwritten upon his house in Latin the words: \"May God preserve this house", "be able to tell you what is in it, and of the discourses I have had with\nhim; nevertheless, I am still enriching and polishing it.\"", "having shown the methods by which many have sought to acquire them and\nto hold them, it now remains for me to discuss generally the means of\noffence and defence which belong to each of them.", "when thou comest out, but when thou goest into such places.\" A friend\ngave him a very curiously tied knot to undo and was told: \"Fool, do", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "when he is hungry; if he be poor, then when he can.\" Seeing one of his\ngentlemen make a member of his family lace him up, he said to him: \"I", "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord," ], [ "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "state, still less in the doubtful times of war. I believe that this\nfollows from severities() being badly or properly used. Those may be\ncalled properly used, if of evil it is possible to speak well, that are", "lost their states. And the first cause of your losing it is to neglect\nthis art; and what enables you to acquire a state is to be master of", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "state, so that the acquisition turns into a loss, and many more are\nexasperated, because the whole state is injured; through the shifting\nof the garrison up and down all become acquainted with hardship, and", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "where the state is not well armed, it follows that where they are well\narmed they have good laws. I shall leave the laws out of the discussion\nand shall speak of the arms.", "party at once took courage and seized the state. Such methods argue,\ntherefore, weakness in the prince, because these factions will never be\npermitted in a vigorous principality; such methods for enabling one the", "which they feel against the ruling power. So that in respect to those\nsubject states he has not to take any trouble to gain them over to\nhimself, for the whole of them quickly rally to the state which he has", "would lose him his state; and also to keep himself, if it be possible,\nfrom those which would not lose him it; but this not being possible, he", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "inasmuch as it can only be tried once. Therefore a wise prince ought to\nadopt such a course that his citizens will always in every sort and\nkind of circumstance have need of the state and of him, and then he will", "Hence it is to be remarked that, in seizing a state, the usurper ought\nto examine closely into all those injuries which it is necessary for him", "Whenever those states which have been acquired as stated have been\naccustomed to live under their own laws and in freedom, there are three", "detect, but in the course of time, not having been either detected or\ntreated in the beginning, it becomes easy to detect but difficult to\ncure. Thus it happens in affairs of state, for when the evils that arise", "I say, therefore, that the arms with which a prince defends his state\nare either his own, or they are mercenaries, auxiliaries, or mixed.", "to ruin. The chief foundations of all states, new as well as old or\ncomposite, are good laws and good arms; and as there cannot be good laws", "state; because men, walking almost always in paths beaten by others, and\nfollowing by imitation their deeds, are yet unable to keep entirely to" ], [ "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord,", "him, and to form a government, of which he made himself the prince. He\nkilled all the malcontents who were able to injure him, and strengthened", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "took from him his government and life. He who will, therefore, carefully\nexamine the actions of this man will find him a most valiant lion and", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "Now if you will consider what was the nature of the government of\nDarius, you will find it similar to the kingdom of the Turk, and", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "under the former government, and are therefore his enemies, than of\nthose who, being discontented with it, were favourable to him and\nencouraged him to seize it.", "and his government; and for the overcoming of this peril it was only\nnecessary for him to make himself secure against a few, but this would\nnot have been sufficient had the people been hostile. And do not let any", "It is the cry of a far later day than Machiavelli's that government\nshould be elevated into a living moral force, capable of inspiring the", "difficulties they have in acquiring it rise in part from the new rules\nand methods which they are forced to introduce to establish their\ngovernment and its security. And it ought to be remembered that there", "and security of the king; of these the first is the parliament and its\nauthority, because he who founded the kingdom, knowing the ambition of\nthe nobility and their boldness, considered that a bit to their mouths", "in troubled times, can destroy the government with great ease, either\nby intrigue or open defiance; and the prince has not the chance amid\ntumults to exercise absolute authority, because the citizens and", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "If Moses, Cyrus, Theseus, and Romulus had been unarmed they could not\nhave enforced their constitutions for long--as happened in our time to", "I will leave out all discussion on republics, inasmuch as in another\nplace I have written of them at length, and will address myself only to" ], [ "Those who by valorous ways become princes, like these men, acquire\na principality with difficulty, but they keep it with ease. The", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "Therefore, one who becomes a prince through the favour of the people\nought to keep them friendly, and this he can easily do seeing they", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "them. And weighing well the reasons for this in those examples which\ncan be taken from ancient and modern affairs, we shall find that it is\neasier for the prince to make friends of those men who were contented", "Such dominions thus acquired are either accustomed to live under a\nprince, or to live in freedom; and are acquired either by the arms of\nthe prince himself, or of others, or else by fortune or by ability.", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "themselves. For this reason they are very slow to take up arms, and a\nprince can gain them to himself and secure them much more easily. But", "For that reason, let a prince have the credit of conquering and holding\nhis state, the means will always be considered honest, and he will be", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "That prince is highly esteemed who conveys this impression of himself,\nand he who is highly esteemed is not easily conspired against; for,", "principalities. In doing so I will keep to the order indicated above,\nand discuss how such principalities are to be ruled and preserved.", "A principality is created either by the people or by the nobles,\naccordingly as one or other of them has the opportunity; for the nobles,", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "Prince\" is bestrewn with truths that can be proved at every turn. Men\nare still the dupes of their simplicity and greed, as they were in the", "It is necessary to consider another point in examining the character of\nthese principalities: that is, whether a prince has such power that, in", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "principality, recognizing the difficulty of these two opposing humours,\nwere inclined to give satisfaction to the soldiers, caring little about\ninjuring the people. Which course was necessary, because, as princes", "The previous suggestions, carefully observed, will enable a new prince\nto appear well established, and render him at once more secure and fixed\nin the state than if he had been long seated there. For the actions of" ], [ "Nevertheless a prince ought to inspire fear in such a way that, if he\ndoes not win love, he avoids hatred; because he can endure very well", "or despised, or else, in avoiding poverty, rapacious and hated. And a\nprince should guard himself, above all things, against being despised", "in '10, unless he had been long established in his dominions. For the\nhereditary prince has less cause and less necessity to offend; hence it", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "It makes him hated above all things, as I have said, to be rapacious,\nand to be a violator of the property and women of his subjects, from", "happens that he will be more loved; and unless extraordinary vices cause\nhim to be hated, it is reasonable to expect that his subjects will be\nnaturally well disposed towards him; and in the antiquity and duration", "benefit, would not endure the ill-treatment of the new prince. It is\nvery true that, after acquiring rebellious provinces a second time,", "is hostile to him, and bears hatred towards him, he ought to fear\neverything and everybody. And well-ordered states and wise princes have\ntaken every care not to drive the nobles to desperation, and to keep the", "would be necessary to hold them in; and, on the other side, knowing the\nhatred of the people, founded in fear, against the nobles, he wished to", "In this way you have enemies in all those whom you have injured in\nseizing that principality, and you are not able to keep those friends", "others. But on this question one cannot speak generally, for it varies\nso much with the individual; I will only say this, that those men who\nat the commencement of a princedom have been hostile, if they are of", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "receive good from him of whom they were expecting evil, are bound more\nclosely to their benefactor; thus the people quickly become more devoted\nto him than if he had been raised to the principality by their favours;", "There is first to note that, whereas in other principalities the\nambition of the nobles and the insolence of the people only have to be", "him, and to form a government, of which he made himself the prince. He\nkilled all the malcontents who were able to injure him, and strengthened", "Therefore, one who becomes a prince through the favour of the people\nought to keep them friendly, and this he can easily do seeing they", "whilst the soldiers loved the warlike prince who was bold, cruel, and\nrapacious, which qualities they were quite willing he should exercise\nupon the people, so that they could get double pay and give vent to", "But when cities or countries are accustomed to live under a prince, and\nhis family is exterminated, they, being on the one hand accustomed to", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "to fight in foreign lands, no dissensions arose either among them or\nagainst the prince, whether in his bad or in his good fortune. This\narose from nothing else than his inhuman cruelty, which, with his" ], [ "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "temporal power, and that Italy has been divided up into more states,\nfor the reason that many of the great cities took up arms against their\nnobles, who, formerly favoured by the emperor, were oppressing them,", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "Whenever those states which have been acquired as stated have been\naccustomed to live under their own laws and in freedom, there are three", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "which they feel against the ruling power. So that in respect to those\nsubject states he has not to take any trouble to gain them over to\nhimself, for the whole of them quickly rally to the state which he has", "1. Some princes, so as to hold securely the state, have disarmed their\nsubjects; others have kept their subject towns distracted by factions;", "difficulties they have in acquiring it rise in part from the new rules\nand methods which they are forced to introduce to establish their\ngovernment and its security. And it ought to be remembered that there", "His life falls naturally into three periods, each of which singularly\nenough constitutes a distinct and important era in the history of", "distributed arms. Histories are full of examples. But when a prince\nacquires a new state, which he adds as a province to his old one, then", "collectively, may be called composite, the changes arise chiefly from\nan inherent difficulty which there is in all new principalities; for\nmen change their rulers willingly, hoping to better themselves, and this", "States that rise unexpectedly, then, like all other things in nature\nwhich are born and grow rapidly, cannot leave their foundations and\ncorrespondencies() fixed in such a way that the first storm will", "And of all princes, it is impossible for the new prince to avoid the\nimputation of cruelty, owing to new states being full of dangers. Hence", "country districts. As Lucca had five gates, he divided his own country\ndistricts into five parts, which he supplied with arms, and enrolled the", "his affairs. And since the matter demands it, I must not fail to warn a\nprince, who by means of secret favours has acquired a new state, that he\nmust well consider the reasons which induced those to favour him who", "to ruin. The chief foundations of all states, new as well as old or\ncomposite, are good laws and good arms; and as there cannot be good laws", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body" ], [ "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord,", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "him, and to form a government, of which he made himself the prince. He\nkilled all the malcontents who were able to injure him, and strengthened", "There are, for example, the Spartans and the Romans. The Spartans held\nAthens and Thebes, establishing there an oligarchy; nevertheless they", "I will leave out all discussion on republics, inasmuch as in another\nplace I have written of them at length, and will address myself only to", "There is first to note that, whereas in other principalities the\nambition of the nobles and the insolence of the people only have to be", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "the others are his servants; and, dividing his kingdom into sanjaks, he\nsends there different administrators, and shifts and changes them as\nhe chooses. But the King of France is placed in the midst of an ancient", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "took from him his government and life. He who will, therefore, carefully\nexamine the actions of this man will find him a most valiant lion and", "and security of the king; of these the first is the parliament and its\nauthority, because he who founded the kingdom, knowing the ambition of\nthe nobility and their boldness, considered that a bit to their mouths", "Now if you will consider what was the nature of the government of\nDarius, you will find it similar to the kingdom of the Turk, and", "to bring back peace and obedience to authority, he considered it\nnecessary to give it a good governor. Thereupon he promoted Messer", "If Moses, Cyrus, Theseus, and Romulus had been unarmed they could not\nhave enforced their constitutions for long--as happened in our time to", "this case indeed he may be well governed, but it would not be for long,\nbecause such a governor would in a short time take away his state from\nhim.", "and language, or they are not. When they are, it is easier to hold them,\nespecially when they have not been accustomed to self-government; and", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "in troubled times, can destroy the government with great ease, either\nby intrigue or open defiance; and the prince has not the chance amid\ntumults to exercise absolute authority, because the citizens and" ], [ "I say, therefore, that in entirely new principalities, where there is\na new prince, more or less difficulty is found in keeping them,", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "And of all princes, it is impossible for the new prince to avoid the\nimputation of cruelty, owing to new states being full of dangers. Hence", "Those who by valorous ways become princes, like these men, acquire\na principality with difficulty, but they keep it with ease. The", "And you have to understand this, that a prince, especially a new one,\ncannot observe all those things for which men are esteemed, being often", "collectively, may be called composite, the changes arise chiefly from\nan inherent difficulty which there is in all new principalities; for\nmen change their rulers willingly, hoping to better themselves, and this", "necessity, which always causes a new prince to burden those who have\nsubmitted to him with his soldiery and with infinite other hardships\nwhich he must put upon his new acquisition.", "The previous suggestions, carefully observed, will enable a new prince\nto appear well established, and render him at once more secure and fixed\nin the state than if he had been long seated there. For the actions of", "Such dominions thus acquired are either accustomed to live under a\nprince, or to live in freedom; and are acquired either by the arms of\nthe prince himself, or of others, or else by fortune or by ability.", "4. Without doubt princes become great when they overcome the\ndifficulties and obstacles by which they are confronted, and therefore\nfortune, especially when she desires to make a new prince great, who", "a new prince are more narrowly observed than those of an hereditary\none, and when they are seen to be able they gain more men and bind\nfar tighter than ancient blood; because men are attracted more by the", "in '10, unless he had been long established in his dominions. For the\nhereditary prince has less cause and less necessity to offend; hence it", "his affairs. And since the matter demands it, I must not fail to warn a\nprince, who by means of secret favours has acquired a new state, that he\nmust well consider the reasons which induced those to favour him who", "difficulties they have in acquiring it rise in part from the new rules\nand methods which they are forced to introduce to establish their\ngovernment and its security. And it ought to be remembered that there", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "2. There never was a new prince who has disarmed his subjects; rather\nwhen he has found them disarmed he has always armed them, because, by", "In this way you have enemies in all those whom you have injured in\nseizing that principality, and you are not able to keep those friends", "CHAPTER VII -- CONCERNING NEW PRINCIPALITIES WHICH ARE ACQUIRED EITHER\nBY THE ARMS OF OTHERS OR BY GOOD FORTUNE", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "distributed arms. Histories are full of examples. But when a prince\nacquires a new state, which he adds as a province to his old one, then" ], [ "and his servants hold their prince in more consideration, because in all\nthe country there is no one who is recognized as superior to him, and\nif they yield obedience to another they do it as to a minister and", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "a new prince are more narrowly observed than those of an hereditary\none, and when they are seen to be able they gain more men and bind\nfar tighter than ancient blood; because men are attracted more by the", "A prince is also respected when he is either a true friend or a\ndownright enemy, that is to say, when, without any reservation, he", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "ones; for although the prince is new, the constitution of the state is\nold, and it is framed so as to receive him as if he were its hereditary\nlord.", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "benefit, would not endure the ill-treatment of the new prince. It is\nvery true that, after acquiring rebellious provinces a second time,", "in '10, unless he had been long established in his dominions. For the\nhereditary prince has less cause and less necessity to offend; hence it", "That prince is highly esteemed who conveys this impression of himself,\nand he who is highly esteemed is not easily conspired against; for,", "hereditary or a newly formed principality; because the sons of the old\nprince are not the heirs, but he who is elected to that position by", "Therefore, one who becomes a prince through the favour of the people\nought to keep them friendly, and this he can easily do seeing they", "the soldiers and people that the latter were kept in a way astonished\nand awed and the former respectful and satisfied. And because the\nactions of this man, as a new prince, were great, I wish to show", "and by being considered so, I answer: Either you are a prince in\nfact, or in a way to become one. In the first case this liberality is", "they cannot resist the nobles, also cry up the reputation of one of\nthemselves, and make him a prince so as to be defended by his authority.", "Prince\" is bestrewn with truths that can be proved at every turn. Men\nare still the dupes of their simplicity and greed, as they were in the", "happens that he will be more loved; and unless extraordinary vices cause\nhim to be hated, it is reasonable to expect that his subjects will be\nnaturally well disposed towards him; and in the antiquity and duration", "Although a prince may rise from a private station in two ways, neither\nof which can be entirely attributed to fortune or genius, yet it is", "I say at once there are fewer difficulties in holding hereditary states,\nand those long accustomed to the family of their prince, than new" ], [ "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "be useful to him who apprehends it, it appears to me more appropriate to\nfollow up the real truth of the matter than the imagination of it; for\nmany have pictured republics and principalities which in fact have never", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "republic, armed with its own arms, under the sway of one of its citizens\nthan it is to bring one armed with foreign arms. Rome and Sparta stood\nfor many ages armed and free. The Switzers are completely armed and", "manifest to me that I must not be silent on them, although one could be\nmore copiously treated when I discuss republics. These methods are\nwhen, either by some wicked or nefarious ways, one ascends to the", "in republics there is more vitality, greater hatred, and more desire\nfor vengeance, which will never permit them to allow the memory of their\nformer liberty to rest; so that the safest way is to destroy them or to", "country, under a most excellent president, wherein all cities had their\nadvocates. And because he knew that the past severity had caused some\nhatred against himself, so, to clear himself in the minds of the people,", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "Republic, and at a given signal the soldiers killed all the senators and\nthe richest of the people; these dead, he seized and held the princedom", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "republics, and, the Church consisting of priests and the republic of\ncitizens unaccustomed to arms, both commenced to enlist foreigners.", "The second period of Machiavelli's life was spent in the service of the\nfree Republic of Florence, which flourished, as stated above, from", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "happens that he will be more loved; and unless extraordinary vices cause\nhim to be hated, it is reasonable to expect that his subjects will be\nnaturally well disposed towards him; and in the antiquity and duration", "could beat down the great and favour the lesser without reproach to the\nking. Neither could you have a better or a more prudent arrangement, or\na greater source of security to the king and kingdom. From this one can", "If Moses, Cyrus, Theseus, and Romulus had been unarmed they could not\nhave enforced their constitutions for long--as happened in our time to", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "I will leave out all discussion on republics, inasmuch as in another\nplace I have written of them at length, and will address myself only to" ], [ "Therefore, one who becomes a prince through the favour of the people\nought to keep them friendly, and this he can easily do seeing they", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "That prince is highly esteemed who conveys this impression of himself,\nand he who is highly esteemed is not easily conspired against; for,", "themselves. For this reason they are very slow to take up arms, and a\nprince can gain them to himself and secure them much more easily. But", "For that reason, let a prince have the credit of conquering and holding\nhis state, the means will always be considered honest, and he will be", "them. And weighing well the reasons for this in those examples which\ncan be taken from ancient and modern affairs, we shall find that it is\neasier for the prince to make friends of those men who were contented", "The previous suggestions, carefully observed, will enable a new prince\nto appear well established, and render him at once more secure and fixed\nin the state than if he had been long seated there. For the actions of", "a new prince are more narrowly observed than those of an hereditary\none, and when they are seen to be able they gain more men and bind\nfar tighter than ancient blood; because men are attracted more by the", "receive good from him of whom they were expecting evil, are bound more\nclosely to their benefactor; thus the people quickly become more devoted\nto him than if he had been raised to the principality by their favours;", "And above all things, a prince ought to live amongst his people in such\na way that no unexpected circumstances, whether of good or evil, shall", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "Those who by valorous ways become princes, like these men, acquire\na principality with difficulty, but they keep it with ease. The", "collectively, may be called composite, the changes arise chiefly from\nan inherent difficulty which there is in all new principalities; for\nmen change their rulers willingly, hoping to better themselves, and this", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "present than by the past, and when they find the present good they enjoy\nit and seek no further; they will also make the utmost defence of a\nprince if he fails them not in other things. Thus it will be a double", "Nevertheless a prince ought to inspire fear in such a way that, if he\ndoes not win love, he avoids hatred; because he can endure very well", "only ask not to be oppressed by him. But one who, in opposition to\nthe people, becomes a prince by the favour of the nobles, ought, above", "Therefore it is unnecessary for a prince to have all the good qualities\nI have enumerated, but it is very necessary to appear to have them. And", "of there being too many, whilst from the nobles he can secure himself,\nas they are few in number. The worst that a prince may expect from a\nhostile people is to be abandoned by them; but from hostile nobles he", "more righteous than that of the nobles, the latter wishing to oppress,\nwhile the former only desire not to be oppressed. It is to be added also\nthat a prince can never secure himself against a hostile people, because" ] ]	[ "Is \"The Prince\" about Princedoms?", "What is a unique trait about hereditary Princedoms?", "Why do non-hereditary Princes have unique challenges?", "What influences inspired Machiavelli?", "Who educated Cyrus the Great?", "According to Xenophon, how was Cyrus the Great unique?", "Who is Machiavelli advising?", "What does the word state denote?", "At what time did the word state come to acquire a modern meaning?", "What else in included in this treatise that is supposed to be about princedoms?", "How are republics treated in this work?", "What type of princedoms are earier to rule?", "When would a prince's subject not be well disposed toward him?", "What is an oligarchy?", "What is a democracy?", "What is tyranny?", "What are mixed cases?", "What is a state?", "What type of government does the story talk about?", "Which princedom is easiest to rule?", "What would cause a population to hate a prince who inherited his princedom?", "What groups does the story divide new states into?", "What other form of governement is mentioned throughout the story?", "Why is it harder to rule a new princedom?", "How do subjects treat an hereditary prince?", "Why are republics favored in the story?", "What type of prince will a population most easily accept?" ]	[ [ "It is about Princedoms.", "Yes, though it it mixed with republics discussion. " ], [ "It is unlikely that subjects will disdain the Prince except in extreme circumstances.", "They are easier to rule. " ], [ "They have to establish themselves.", "A new Prince has to establish himself as a new leader in defiance of custom" ], [ "His own experiences.", "Tacitus" ], [ "Xenophon educated Cyrus the Great.", "Xenophon" ], [ "He was different from both hereditary kings and kings who earned their own rule.", "he was different than all other kings" ], [ "Princes and rulers.", "non-hereditary leaders" ], [ "All organized forms of political power.", "status" ], [ "During the Renaissance.", "During the Renaissance " ], [ "Republics.", "republics" ], [ "Reublics are effectively treated as a type of princedom.", "as a type of princedom" ], [ "Hereditary princedoms.", "hereditary princedoms " ], [ "In a situation where immoral or wicked behavior causes the prince to be hated.", "if he has extraordinary vices " ], [ "A government ruled by a single person.", "ruled by a single monarch" ], [ "A government ruled by the people.", "Government ruled by the people" ], [ "A corrupt form of government.", "cruel or oppressive government rule" ], [ "One of two types of new states.", "Cases of hereditary Princes and those who gained the crown by their own efforts. " ], [ "A form of gorvernment either repulican or princely.", "all forms of organization of supreme political power" ], [ "Princedoms", "Princedom " ], [ "An hereditary princedom", "Heredity princedoms " ], [ "Extrodinary vices", "Extraordinary vices" ], [ "Mixed cases and purely new states", "princedoms and republics" ], [ "Republics", "monarchy" ], [ "The new ruler isn't established and doesn't know the customs..", "His subjects are not naturally well disposed towards him." ], [ "They naturally like him.", "He will be well received. " ], [ "They have many strengths.", "it is a type of princedom with many strenghs" ], [ "One who inherits his princedom.", "Xenophon" ] ]	65ba9ee675bf87cff5d76e2a27c0652adb69381b	train
[ [ "It was a great tunnel. Its walls were hard and smooth to the\ntouch; it felt like stone, but it was not stone. On the ground\nthere were long thin tracks of iron, but it was not iron; it felt", "speedily. We [-lunged\nagainst the door and it gave way. We-] stole through the dark passages, and through the\ndark streets, and down into our tunnel.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We have built strange things with this discovery of ours. We used\nfor it the copper wires which we found here under the ground. We\nhave walked the length of our tunnel, with a candle lighting the", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "dark and empty. If we went back to hide in our tunnel, we would\nbe found and our light\n[-found-] with us. So we walked to the Home of the", "Then we thought of the meaning of that which lay before us. We\ncan light our tunnel, and the City, and all the Cities of the", "We must wait. We must guard our tunnel as we had never guarded it\nbefore. For should any men save the Scholars learn of our secret,", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "And now, sitting here in our tunnel, we wonder about these words.\nIt is forbidden, not to be happy. For, as it has been explained", "We have not written for thirty days. For thirty days we have not\nbeen here, in our tunnel. We had been caught.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We feel it also, when we are in the Home of the Street Sweepers.\nBut here, in our tunnel, we feel it no longer. The air is pure", "Tomorrow, in the full light of day, we shall take our box, and\nleave our tunnel open, and walk through the streets to the Home", "We placed our glass box [-upon-] {+on+} the table before them. We spoke of it,\nand of our long quest, and of our tunnel, and of our escape from", "to this place. We have stolen glass vials and powders and acids\nfrom the Home of the Scholars. Now we sit in the tunnel for three", "heard it, we ran away from the Home of the Peasants. We found the\nmarks of your feet across the plain where no men walk. So we\nfollowed them, and we went into the forest, and we followed", "International 4-8818 stepped back. But we pulled at the grill and\nit gave way. And then we saw iron rings as steps leading down a\nshaft into a darkness without bottom.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue." ], [ "There is no reason to have guards, for men have never defied the\nCouncils so far as to escape from whatever place they were\nordered to be. Our body is healthy and strength returns to it", "It was easy to escape from the Palace of Corrective Detention.\nThe locks are old on the doors and there are no guards about.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We fell, but we never let the box fall from our hands. Then we\nran. We ran blindly, and men and houses streaked past us in a", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We counted each day and each night as it passed. Then, tonight,\nwe knew that we must escape. For tomorrow the World Council of\nScholars is to meet in our City.", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "the Palace of Corrective Detention. Not a hand moved in that\nhall, as we spoke, nor an eye. Then we put the wires to the box,", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "Scholars. No men stopped us, for there were none about [-from-] the Palace\nof Corrective Detention, and the others knew nothing. No men", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "that once or twice in a hundred years, one among the men of the\nCity escape alone and run to the Uncharted Forest, without call\nor reason. These men do not return. They perish from hunger and", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "the earth to rise and strike us in the face. But we ran. We knew\nnot where we were going. We knew only that we must run, run to\nthe end of the world, to the end of our days.", "and try to believe the sight of our eyes. We pulled the heavy\ncurtains from the windows and we saw that the rooms were small,\nand we thought that not more than twelve men could have lived" ], [ "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "It was when I read the first of the books I found in my house\nthat I saw the word \"I.\" And when I understood this word, the", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "of the quest. I wished to know the meaning of things. I am the meaning.\nI wished to find a warrant for being. I need no warrant for\nbeing, and no word of sanction upon my being. I am the warrant", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "And now I see the face of god, and I raise this god over the\nearth, this god whom men have sought since men came into being,\nthis god who will grant them joy and peace and pride.\n\nThis god, this one word:", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "I read {+many+} books for many days. Then I called the Golden One,\nand I told her what I had read and what I had learned. She looked\nat me and the first words she spoke were:\n\n\"I love you.\"", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "the history of men, which I have learned from the books, and I\nwonder. It was a long story, and the spirit which moved it was\nthe spirit of man's freedom. But what is freedom? Freedom from", "against them, which they did not know, but we knew. So we were\nhappy, and proud of ourselves and of our victory over ourselves.\nWe raised our right arm and we spoke, and our voice was the", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the" ], [ "Thus have we lived each day of four years, until two springs ago\nwhen our crime happened. Thus must all men live until they are", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "But this is not the only sin upon us. We have committed a greater\ncrime, and for this crime there is no name. What punishment", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "drove us to our crime. We had been a good Street Sweeper and like\nall our brother Street Sweepers, save for our cursed wish to", "this is the great transgression and the root of all evil. But we\nhave broken many laws. And now there is nothing here save our one\nbody, and it is strange to see only two legs stretched on the", "Then we saw a fist before us. It knocked our chin up, and we saw\nthe red froth of our mouth on the withered fingers, and the Judge\nasked:\n\n\"Where have you been?\"", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the" ], [ "heard it, we ran away from the Home of the Peasants. We found the\nmarks of your feet across the plain where no men walk. So we\nfollowed them, and we went into the forest, and we followed", "Then we walked on into the forest, their hand in ours.", "has not been killed within them and who suffer under the yoke of\ntheir brothers. They will follow me and I shall lead them to my\nfortress. And here, in this uncharted wilderness, I and they, my", "Then we took our glass box, and we went [-on-] into the forest. We went\non, cutting through the branches, and it was as if we were", "We have walked for many days. The forest has no end, and we seek\nno end. But each day added to the chain of days between us and\nthe City is like an added blessing.", "Then the Golden One rose and walked to the hedge, as if they had\nheard a command in our eyes. The two other Street Sweepers of our", "that once or twice in a hundred years, one among the men of the\nCity escape alone and run to the Uncharted Forest, without call\nor reason. These men do not return. They perish from hunger and", "It was on our second day in the forest that we heard steps behind\nus. We hid in the bushes, and we waited. The steps came closer.\nAnd then we saw the fold of a white tunic among the trees, and a\ngleam of gold.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "for trees and weeds. Beyond the ravine there is a plain, and\nbeyond the plain there lies the Uncharted Forest, about which men\nmust not think.", "\"Our dearest one. Fear nothing of the forest. There is no danger\nin solitude. We have no need of our brothers. Let us forget their", "over us in {+a+} great silence. Then we knew. We were in the\nUncharted Forest. We had not thought of coming here, but our legs\nhad carried our wisdom, and our legs had brought us to the", "They raised their head, and there was a great pride in their\nvoice; they answered:\n\n\"We have followed you.\"\n\nThen we could not speak, and they said:", "Then three of the sisters in the field appeared, coming toward\nthe road, so the Golden One walked away from us. They took the\nbag of seeds, and they threw the seeds into the furrows of earth", "It mattered not where we went. We knew that men would not follow\nus, for they never [-enter-] {+entered+} the Uncharted Forest. We had nothing", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "upon the sky. Men never enter the Uncharted Forest, for there is\nno power to explore it and no path to lead among its ancient\ntrees which stand as guards of fearful secrets. It is whispered", "And the Golden One stepped back, and stood looking upon their\nhands in wonder. Then the Golden One moved away, even though no\nothers were coming, and they", "We walked on till the sun had set. When the shadows gathered\namong the trees, we stopped in a hollow between the roots, where\nwe shall sleep tonight. And suddenly, for the first time this", "It is dark here in the forest. The leaves rustle over our head,\nblack against the last gold of the sky. The moss is soft and" ], [ "punished when the Council of Vocations came to give us our life\nMandates which tell those who reach their fifteenth year what\ntheir work is to be for the rest of their days.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "Collective Spirit. The sky is a soggy purple when we return to\nthe Home. Then the bell rings and we walk in a straight column to\nthe City Theatre for three hours of Social Recreation. There a", "\"We are nothing. Mankind is all. By the grace of our brothers are\nwe allowed our lives. We exist through, by and for our brothers\nwho are the State. Amen.\"", "spring when all the men older than twenty and all the women older\nthan eighteen are sent for one night to the City Palace of\nMating. And each of the men have one of the women assigned to\nthem", "our dinner, which lasts one hour. Then the bell rings and we walk\nin a straight column to one of the City Halls, for the Social\nMeeting. Other columns of men arrive from the Homes of the", "Council of [-Vocations-] {+Vocation+} shall prescribe for you. For the Council of\nVocations knows in its great wisdom where you are needed by your", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"" ], [ "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "We strive to be like all our brother men, for all men must be\nalike. Over the portals of the Palace of the World Council, there", "Great Truth which is this: that all men are one and that there is\nno will save the will of all men together.", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "what? There is nothing to take a man's freedom away from him,\nsave other men. To be free, a man must be free of his brothers.\nThat is freedom. That and nothing else." ], [ "We counted each day and each night as it passed. Then, tonight,\nwe knew that we must escape. For tomorrow the World Council of\nScholars is to meet in our City.", "Unmentionable Times, and of the wagons which moved without\nhorses, and of the lights which burned without flame. But those\ntimes were evil. And those times passed away, when men saw the", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "world with nothing save metal and wires. We can give our brothers\na new light, cleaner and brighter than any they have ever known.\nThe power of the sky can be made to do men's bidding. There are", "moved. Some power unknown to men was making it move. We could not\nunderstand it. Then, after many tests, we found the answer. The\nfrog had been hanging on a wire of copper; and it had been the", "for us to judge. Nor for any small Council. We shall deliver this\ncreature to the World Council itself and let their will be done.\"", "which produced this light. I shall learn how to repair it and how\nto make it work again. I shall learn how to use the wires which\ncarry this power. Then I shall build a barrier of wires around my", "We looked upon them and we laughed and said:\n\n\"Fear nothing, our brothers. There is a great power in these\nwires, but this power is tamed. It is yours. We give it to you.\"", "But terror struck the men of the Council. They leapt to their\nfeet, they ran from the table, and they stood pressed against the\nwall, huddled together, seeking the warmth of one another's\nbodies to give them courage.", "\"A Street Sweeper! A Street Sweeper walking in upon the World\nCouncil of Scholars! It is not to be believed! It is against all\nthe rules and all the laws!\"", "\"This would wreck the [-Plans-] {+plans+} of the World Council,\" said\nUnanimity 2-9913, \"and without the Plans of the World Council the", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "I have learned that [-my-] {+the+} power of the sky was known to men long\nago; they called it Electricity. It was the power that moved", "of those Times. Hundreds upon hundreds of years ago men knew\nsecrets which we have lost. And we thought: \"This is a foul\nplace. They are damned who touch the things of the Unmentionable", "We looked upon them and we pleaded:\n\n\"Our brothers! You are right. Let the will of the Council be\ndone upon our body. We do not care. But the light? What will you\ndo with the light?\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We have built strange things with this discovery of ours. We used\nfor it the copper wires which we found here under the ground. We\nhave walked the length of our tunnel, with a candle lighting the", "It was that the learning was too easy. This is a great sin, to be\nborn with a head which is too quick. It is not good to be\ndifferent from our brothers, but it is evil to be superior to", "elected, and it meets once a year in the different Cities of the\nearth. We shall go to this Council and we shall lay before them,", "power of the sky, and these things had some relation to it. We do\nnot know, but we shall learn. We cannot stop now, even though it\nfrightens us that we are alone in our knowledge." ], [ "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "Then we heard a voice from the others call their name: \"Liberty\n5-3000,\" and they turned and walked back. Thus we learned their", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "women, and women are forbidden to take notice of men. But we\nthink of one among women, they whose name is Liberty 5-3000, and\nwe think of no others.", "We do not think of them as Liberty 5-3000 any longer. We have\ngiven them a name in our thoughts. We call them the Golden One.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "as we had. Thus, each day, we greet Liberty 5-3000, and they\nanswer, and no men can suspect.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "And the following day, as we came to the northern road, we kept\nour eyes upon Liberty 5-3000 in the field. And each day", "\"You are beautiful, Liberty 5-3000.\"", "And there [-is-] {+it+} was that we saw Liberty 5-3000 walking along the\nfurrows. Their body was straight and thin as a blade of iron." ], [ "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "punished when the Council of Vocations came to give us our life\nMandates which tell those who reach their fifteenth year what\ntheir work is to be for the rest of their days.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "Council of [-Vocations-] {+Vocation+} shall prescribe for you. For the Council of\nVocations knows in its great wisdom where you are needed by your", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "Teachers came into the great hall. And the Council of [-vocations-] {+Vocations+}\nsat on a high dais, and they had but two words to speak to each", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "duties and of our brother men. Then visiting Leaders mount the\npulpit and they read to us the speeches which were made in the\nCity Council that day, for the City Council represents all men", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "of the Leaders, which is the greatest house in the City, for it\nhas three stories. And there they study for many years, {+so that\nthey may become candidates+} and be elected to the City Council and", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "The Council of Vocations came {+in+} on the first day of spring, and\nthey sat in the great hall. And we who were fifteen and all the", "The Teachers were just, for they had been appointed by the\nCouncils, and the Councils are the [-voice-] {+voices+} of all justice, for", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names" ], [ "We both knew it without words: this house was left from\nthe Unmentionable Times. The trees had protected it from time\nand weather, and from men who have less pity than time and weather.\nWe turned to the Golden One and we asked:", "When we had seen all the rooms of the house, we looked at the\nGolden One and we both knew the thought in our minds.", "Then the Golden One rose and walked to the hedge, as if they had\nheard a command in our eyes. The two other Street Sweepers of our", "And the Golden One stepped back, and stood looking upon their\nhands in wonder. Then the Golden One moved away, even though no\nothers were coming, and they", "Many days passed before we could speak to the Golden One again.\nBut then came the day when the sky turned white, as if the sun\nhad burst and spread its flame in the air, and the fields lay", "\"We shall never leave this house,\" we said, \"nor let it be taken\nfrom us. This is our home and the end of our journey. This is your house,", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "their work, and they were far from the road when we came. But the\nGolden [-One-] {+one+} stood alone at the hedge, waiting. We stopped and we", "at the moat which runs through the field. And the drops of water\nfalling from their hands, as they raised the water to their lips,\nwere like sparks of fire in the sun. Then the Golden One saw us,", "Then three of the sisters in the field appeared, coming toward\nthe road, so the Golden One walked away from us. They took the\nbag of seeds, and they threw the seeds into the furrows of earth", "Golden One, and ours, and it belongs to no other men whatever\nas far as the earth may stretch. We shall not share it with others,\nas we share not our joy with them, nor our love, nor our hunger.", "We are sitting at a table and we are writing this upon paper\nmade thousands of years ago. The light is dim, and we cannot see\nthe Golden One, only one lock of gold on the pillow of an ancient\nbed. This is our home.", "Then a blow of pain struck us, our first and our only. We thought\nof the Golden One. We thought of the Golden One whom we shall", "When the sun sank beyond the mountains, the Golden One fell\nasleep on the floor, amidst jewels, and bottles of crystal, and", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "So we went into the Home of the Street Sweepers. It is a grey\nhouse on a narrow street. There is a sundial in its courtyard, by", "Look ahead. It is our own world, Golden One, a strange, unknown\nworld, but our own.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We had never thought of that which we did. We bent to raise the\nGolden One to their feet, but when we touched them, it was as if", "Then we walked away together and back to the Home of the Street\nSweepers. And we walked in silence." ], [ "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "And the Golden One stepped back, and stood looking upon their\nhands in wonder. Then the Golden One moved away, even though no\nothers were coming, and they", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "heard it, we ran away from the Home of the Peasants. We found the\nmarks of your feet across the plain where no men walk. So we\nfollowed them, and we went into the forest, and we followed", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "secret to ourselves, nor buried under the ground. We must bring\nit into the sight of all men. We need all our time, we need the\nwork rooms of the Home of the Scholars, we want the help of our", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "has not been killed within them and who suffer under the yoke of\ntheir brothers. They will follow me and I shall lead them to my\nfortress. And here, in this uncharted wilderness, I and they, my" ], [ "for us to judge. Nor for any small Council. We shall deliver this\ncreature to the World Council itself and let their will be done.\"", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We strive to be like all our brother men, for all men must be\nalike. Over the portals of the Palace of the World Council, there", "the State Council and the World Council--by a free and general\nvote of all men. But we wished not to be a Leader, even though it\nis a great honor. We wished to be a Scholar.", "We counted each day and each night as it passed. Then, tonight,\nwe knew that we must escape. For tomorrow the World Council of\nScholars is to meet in our City.", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "\"This would wreck the [-Plans-] {+plans+} of the World Council,\" said\nUnanimity 2-9913, \"and without the Plans of the World Council the", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We looked upon them and we pleaded:\n\n\"Our brothers! You are right. Let the will of the Council be\ndone upon our body. We do not care. But the light? What will you\ndo with the light?\"", "\"Our greeting to you, our honored brothers of the World Council\nof Scholars!\"\n\nThen Collective 0-0009, the oldest and wisest of the Council,\nspoke and asked:", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"We shall not report our find to the City Council. We shall not\nreport it to any men.\"\n\nThey raised their hands to their ears, for never had they heard\nsuch words as these.", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "elected, and it meets once a year in the different Cities of the\nearth. We shall go to this Council and we shall lay before them,", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "But terror struck the men of the Council. They leapt to their\nfeet, they ran from the table, and they stood pressed against the\nwall, huddled together, seeking the warmth of one another's\nbodies to give them courage.", "\"A Street Sweeper! A Street Sweeper walking in upon the World\nCouncil of Scholars! It is not to be believed! It is against all\nthe rules and all the laws!\"" ], [ "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We were born with a curse. It has always driven us to thoughts\nwhich are forbidden. It has always given us wishes which men may", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "And questions give us no rest. We know not why our curse makes us\nseek we know not what, ever and ever. But we cannot resist it. It", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "I understood the blessed thing which I had called my curse. I\nunderstood why the best in me had been my sins and my", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "It was that the learning was too easy. This is a great sin, to be\nborn with a head which is too quick. It is not good to be\ndifferent from our brothers, but it is evil to be superior to" ], [ "And now, sitting here in our tunnel, we wonder about these words.\nIt is forbidden, not to be happy. For, as it has been explained", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "It was a great tunnel. Its walls were hard and smooth to the\ntouch; it felt like stone, but it was not stone. On the ground\nthere were long thin tracks of iron, but it was not iron; it felt", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We must wait. We must guard our tunnel as we had never guarded it\nbefore. For should any men save the Scholars learn of our secret,", "We feel it also, when we are in the Home of the Street Sweepers.\nBut here, in our tunnel, we feel it no longer. The air is pure", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "And they answered: \"Since the Council does not know of this\nhole, there can be no law permitting to enter it. And everything\nwhich is not permitted by law is forbidden.\"", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "Then we thought of the meaning of that which lay before us. We\ncan light our tunnel, and the City, and all the Cities of the", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "What agony must have been theirs before that which they saw\ncoming and could not stop! Perhaps they cried out in protest and\nin warning. But men paid no heed to their warning. And they, [-these-]", "Unmentionable Times, and of the wagons which moved without\nhorses, and of the lights which burned without flame. But those\ntimes were evil. And those times passed away, when men saw the", "We have not written for thirty days. For thirty days we have not\nbeen here, in our tunnel. We had been caught." ], [ "spring when all the men older than twenty and all the women older\nthan eighteen are sent for one night to the City Palace of\nMating. And each of the men have one of the women assigned to\nthem", "punished when the Council of Vocations came to give us our life\nMandates which tell those who reach their fifteenth year what\ntheir work is to be for the rest of their days.", "forty. At forty, they are worn out. At forty, they are sent to\nthe Home of the Useless, where the Old Ones live. The Old Ones do", "And we take no heed of the law which says that men may not think\nof women, save at the Time of Mating. This is the time each", "learning. Men must learn till they reach their fifteenth year.\nThen they go to work. In the Home of the Students we arose when\nthe big bell rang in the tower and we went to our beds when it", "our dinner, which lasts one hour. Then the bell rings and we walk\nin a straight column to one of the City Halls, for the Social\nMeeting. Other columns of men arrive from the Homes of the", "Thus have we lived each day of four years, until two springs ago\nwhen our crime happened. Thus must all men live until they are", "parents. Twice have we been sent to the Palace of Mating, but it\nis an ugly and shameful matter, of which we do not like to think.", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "\"We are nothing. Mankind is all. By the grace of our brothers are\nwe allowed our lives. We exist through, by and for our brothers\nwho are the State. Amen.\"", "of the Leaders, which is the greatest house in the City, for it\nhas three stories. And there they study for many years, {+so that\nthey may become candidates+} and be elected to the City Council and", "We counted each day and each night as it passed. Then, tonight,\nwe knew that we must escape. For tomorrow the World Council of\nScholars is to meet in our City.", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "\"Which words?\" we asked. But they did not answer, and we knew it.\n\n\"Our dearest one,\" we whispered.\n\nNever have men said this to women.", "that once or twice in a hundred years, one among the men of the\nCity escape alone and run to the Uncharted Forest, without call\nor reason. These men do not return. They perish from hunger and", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "Collective Spirit. The sky is a soggy purple when we return to\nthe Home. Then the bell rings and we walk in a straight column to\nthe City Theatre for three hours of Social Recreation. There a", "often, for they are weary. The Old Ones know that they are soon\nto die. When a miracle happens and some live to be forty-five,\nthey are the", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "alone here under the earth. It is a fearful word, alone. The laws\nsay that none among men may be alone, ever and at any time, for" ], [ "women, and women are forbidden to take notice of men. But we\nthink of one among women, they whose name is Liberty 5-3000, and\nwe think of no others.", "We do not think of them as Liberty 5-3000 any longer. We have\ngiven them a name in our thoughts. We call them the Golden One.", "Then we heard a voice from the others call their name: \"Liberty\n5-3000,\" and they turned and walked back. Thus we learned their", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "distinguish him from all other men. So let us choose our names. I\nhave read of a man who lived many thousands of years ago, and of", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "as we had. Thus, each day, we greet Liberty 5-3000, and they\nanswer, and no men can suspect.", "And we said:\n\n\"We have [-give-] {+given+} you a name in our thoughts, Liberty 5-3000.\"\n\n\"What is our name?\" they asked.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "the history of men, which I have learned from the books, and I\nwonder. It was a long story, and the spirit which moved it was\nthe spirit of man's freedom. But what is freedom? Freedom from", "never see again. Then the pain passed. It is best. We are one of\nthe Damned. It is best if the Golden [-One-] {+one+} forget our name and the\nbody which bore that name.", "And there [-is-] {+it+} was that we saw Liberty 5-3000 walking along the\nfurrows. Their body was straight and thin as a blade of iron.", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "It was when I read the first of the books I found in my house\nthat I saw the word \"I.\" And when I understood this word, the", "And the following day, as we came to the northern road, we kept\nour eyes upon Liberty 5-3000 in the field. And each day", "\"If you see us among scores of women, will you look upon us?\"\n\n\"We shall look upon you, Liberty 5-3000, if we see you among all\nthe women of the earth.\"", "were shading our eyes from the sun. But Liberty 5-3000 saw it and\nunderstood. They raised their hand to their forehead and moved it", "it slowly, palm down, toward Liberty 5-3000. Had the others seen\nit, they could have guessed nothing, for it looked only as if we", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"" ], [ "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "which no men may speak nor hear. But sometimes, and it is rare,\nsometimes, somewhere, one among men find that word. They find it\nupon scraps of old manuscripts or cut into the fragments of", "\"Which words?\" we asked. But they did not answer, and we knew it.\n\n\"Our dearest one,\" we whispered.\n\nNever have men said this to women.", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "And now I see the face of god, and I raise this god over the\nearth, this god whom men have sought since men came into being,\nthis god who will grant them joy and peace and pride.\n\nThis god, this one word:", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the" ], [ "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "the history of men, which I have learned from the books, and I\nwonder. It was a long story, and the spirit which moved it was\nthe spirit of man's freedom. But what is freedom? Freedom from", "We strive to be like all our brother men, for all men must be\nalike. Over the portals of the Palace of the World Council, there", "We stood together for a long time. And we were frightened that we\nhad lived for twenty-one years and had never known what joy is\npossible to men.\n\nThen we said:" ], [ "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "duties and of our brother men. Then visiting Leaders mount the\npulpit and they read to us the speeches which were made in the\nCity Council that day, for the City Council represents all men", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "learning. Men must learn till they reach their fifteenth year.\nThen they go to work. In the Home of the Students we arose when\nthe big bell rang in the tower and we went to our beds when it" ], [ "It was a great tunnel. Its walls were hard and smooth to the\ntouch; it felt like stone, but it was not stone. On the ground\nthere were long thin tracks of iron, but it was not iron; it felt", "And now, sitting here in our tunnel, we wonder about these words.\nIt is forbidden, not to be happy. For, as it has been explained", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We have not written for thirty days. For thirty days we have not\nbeen here, in our tunnel. We had been caught.", "We must wait. We must guard our tunnel as we had never guarded it\nbefore. For should any men save the Scholars learn of our secret,", "dark and empty. If we went back to hide in our tunnel, we would\nbe found and our light\n[-found-] with us. So we walked to the Home of the", "speedily. We [-lunged\nagainst the door and it gave way. We-] stole through the dark passages, and through the\ndark streets, and down into our tunnel.", "And they answered: \"Since the Council does not know of this\nhole, there can be no law permitting to enter it. And everything\nwhich is not permitted by law is forbidden.\"", "Then we thought of the meaning of that which lay before us. We\ncan light our tunnel, and the City, and all the Cities of the", "We have built strange things with this discovery of ours. We used\nfor it the copper wires which we found here under the ground. We\nhave walked the length of our tunnel, with a candle lighting the", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "for trees and weeds. Beyond the ravine there is a plain, and\nbeyond the plain there lies the Uncharted Forest, about which men\nmust not think.", "International 4-8818 stepped back. But we pulled at the grill and\nit gave way. And then we saw iron rings as steps leading down a\nshaft into a darkness without bottom." ], [ "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "upon it. We are twenty-one years old. We are six feet tall, and\nthis is a burden, for there are not many men who are six feet", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "learning. Men must learn till they reach their fifteenth year.\nThen they go to work. In the Home of the Students we arose when\nthe big bell rang in the tower and we went to our beds when it", "Thus have we lived each day of four years, until two springs ago\nwhen our crime happened. Thus must all men live until they are", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "forty. At forty, they are worn out. At forty, they are sent to\nthe Home of the Useless, where the Old Ones live. The Old Ones do", "scripts. Two years have passed since we found this place. And in\nthese two years we have learned more than we had learned in the\nten years of the Home of the Students.", "the history of men, which I have learned from the books, and I\nwonder. It was a long story, and the spirit which moved it was\nthe spirit of man's freedom. But what is freedom? Freedom from", "We stood together for a long time. And we were frightened that we\nhad lived for twenty-one years and had never known what joy is\npossible to men.\n\nThen we said:", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has" ], [ "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "women, and women are forbidden to take notice of men. But we\nthink of one among women, they whose name is Liberty 5-3000, and\nwe think of no others.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "And we take no heed of the law which says that men may not think\nof women, save at the Time of Mating. This is the time each", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "Then a blow of pain struck us, our first and our only. We thought\nof the Golden One. We thought of the Golden One whom we shall", "I read {+many+} books for many days. Then I called the Golden One,\nand I told her what I had read and what I had learned. She looked\nat me and the first words she spoke were:\n\n\"I love you.\"", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521," ], [ "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "that once or twice in a hundred years, one among the men of the\nCity escape alone and run to the Uncharted Forest, without call\nor reason. These men do not return. They perish from hunger and", "We counted each day and each night as it passed. Then, tonight,\nwe knew that we must escape. For tomorrow the World Council of\nScholars is to meet in our City.", "But terror struck the men of the Council. They leapt to their\nfeet, they ran from the table, and they stood pressed against the\nwall, huddled together, seeking the warmth of one another's\nbodies to give them courage.", "has not been killed within them and who suffer under the yoke of\ntheir brothers. They will follow me and I shall lead them to my\nfortress. And here, in this uncharted wilderness, I and they, my", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "heard it, we ran away from the Home of the Peasants. We found the\nmarks of your feet across the plain where no men walk. So we\nfollowed them, and we went into the forest, and we followed", "We are doomed. Whatever days are left to us, we shall spend them\nalone. And we have heard of the corruption to be found in\nsolitude. We have torn ourselves from the truth which is our", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "And the Golden One stepped back, and stood looking upon their\nhands in wonder. Then the Golden One moved away, even though no\nothers were coming, and they", "the earth to rise and strike us in the face. But we ran. We knew\nnot where we were going. We knew only that we must run, run to\nthe end of the world, to the end of our days.", "We fell, but we never let the box fall from our hands. Then we\nran. We ran blindly, and men and houses streaked past us in a" ], [ "for trees and weeds. Beyond the ravine there is a plain, and\nbeyond the plain there lies the Uncharted Forest, about which men\nmust not think.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"We heard that you had gone to the Uncharted Forest, for the\nwhole City is speaking of it. So on the night of the day when we", "upon the sky. Men never enter the Uncharted Forest, for there is\nno power to explore it and no path to lead among its ancient\ntrees which stand as guards of fearful secrets. It is whispered", "over us in {+a+} great silence. Then we knew. We were in the\nUncharted Forest. We had not thought of coming here, but our legs\nhad carried our wisdom, and our legs had brought us to the", "that once or twice in a hundred years, one among the men of the\nCity escape alone and run to the Uncharted Forest, without call\nor reason. These men do not return. They perish from hunger and", "sky, and there is peace in the sky, and cleanliness, and dignity.\nAnd beyond the City there lies the plain, and beyond the plain,\nblack upon the black sky, there lies the Uncharted Forest.", "And as we look upon the Uncharted Forest far in the night, we\nthink of the secrets of the Unmentionable Times. And we wonder", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "It mattered not where we went. We knew that men would not follow\nus, for they never [-enter-] {+entered+} the Uncharted Forest. We had nothing", "has not been killed within them and who suffer under the yoke of\ntheir brothers. They will follow me and I shall lead them to my\nfortress. And here, in this uncharted wilderness, I and they, my", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "heard it, we ran away from the Home of the Peasants. We found the\nmarks of your feet across the plain where no men walk. So we\nfollowed them, and we went into the forest, and we followed", "blue mists as veils over their heads. We had never heard of these\nmountains, nor seen them marked on any map. The Uncharted Forest\nhas protected them from the Cities and from the men of the", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"Our dearest one. Fear nothing of the forest. There is no danger\nin solitude. We have no need of our brothers. Let us forget their", "It was on our second day in the forest that we heard steps behind\nus. We hid in the bushes, and we waited. The steps came closer.\nAnd then we saw the fold of a white tunic among the trees, and a\ngleam of gold." ], [ "Then we heard a voice from the others call their name: \"Liberty\n5-3000,\" and they turned and walked back. Thus we learned their", "women, and women are forbidden to take notice of men. But we\nthink of one among women, they whose name is Liberty 5-3000, and\nwe think of no others.", "as we had. Thus, each day, we greet Liberty 5-3000, and they\nanswer, and no men can suspect.", "And there [-is-] {+it+} was that we saw Liberty 5-3000 walking along the\nfurrows. Their body was straight and thin as a blade of iron.", "And the following day, as we came to the northern road, we kept\nour eyes upon Liberty 5-3000 in the field. And each day", "it slowly, palm down, toward Liberty 5-3000. Had the others seen\nit, they could have guessed nothing, for it looked only as if we", "were shading our eyes from the sun. But Liberty 5-3000 saw it and\nunderstood. They raised their hand to their forehead and moved it", "We do not think of them as Liberty 5-3000 any longer. We have\ngiven them a name in our thoughts. We call them the Golden One.", "\"You are beautiful, Liberty 5-3000.\"", "\"If you see us among scores of women, will you look upon us?\"\n\n\"We shall look upon you, Liberty 5-3000, if we see you among all\nthe women of the earth.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "Then three of the sisters in the field appeared, coming toward\nthe road, so the Golden One walked away from us. They took the\nbag of seeds, and they threw the seeds into the furrows of earth", "Then the Golden One rose and walked to the hedge, as if they had\nheard a command in our eyes. The two other Street Sweepers of our", "It was on a day of the spring before last. We Street Sweepers\nwork in brigades of three, and we were with Union 5-3992, they of", "We looked upon them and we pleaded:\n\n\"Our brothers! You are right. Let the will of the Council be\ndone upon our body. We do not care. But the light? What will you\ndo with the light?\"", "And we sighed, as if a burden had been taken from us, for we had\nbeen thinking without reason of the Palace of Mating. And we", "We looked upon them and we laughed and said:\n\n\"Fear nothing, our brothers. There is a great power in these\nwires, but this power is tamed. It is yours. We give it to you.\"", "We counted each day and each night as it passed. Then, tonight,\nwe knew that we must escape. For tomorrow the World Council of\nScholars is to meet in our City.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"" ], [ "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "Then we heard a voice from the others call their name: \"Liberty\n5-3000,\" and they turned and walked back. Thus we learned their", "women, and women are forbidden to take notice of men. But we\nthink of one among women, they whose name is Liberty 5-3000, and\nwe think of no others.", "We do not think of them as Liberty 5-3000 any longer. We have\ngiven them a name in our thoughts. We call them the Golden One.", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "as we had. Thus, each day, we greet Liberty 5-3000, and they\nanswer, and no men can suspect.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "And the following day, as we came to the northern road, we kept\nour eyes upon Liberty 5-3000 in the field. And each day", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "And there [-is-] {+it+} was that we saw Liberty 5-3000 walking along the\nfurrows. Their body was straight and thin as a blade of iron.", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "were shading our eyes from the sun. But Liberty 5-3000 saw it and\nunderstood. They raised their hand to their forehead and moved it" ], [ "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We are sitting at a table and we are writing this upon paper\nmade thousands of years ago. The light is dim, and we cannot see\nthe Golden One, only one lock of gold on the pillow of an ancient\nbed. This is our home.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "scripts. Two years have passed since we found this place. And in\nthese two years we have learned more than we had learned in the\nten years of the Home of the Students.", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take" ], [ "We are sitting at a table and we are writing this upon paper\nmade thousands of years ago. The light is dim, and we cannot see\nthe Golden One, only one lock of gold on the pillow of an ancient\nbed. This is our home.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "and try to believe the sight of our eyes. We pulled the heavy\ncurtains from the windows and we saw that the rooms were small,\nand we thought that not more than twelve men could have lived", "were shading our eyes from the sun. But Liberty 5-3000 saw it and\nunderstood. They raised their hand to their forehead and moved it", "We did this work alone, for no words of ours could take the\nGolden One away from the big glass which is not glass. They stood\nbefore it and they looked and looked upon their own body.", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "And now I see the face of god, and I raise this god over the\nearth, this god whom men have sought since men came into being,\nthis god who will grant them joy and peace and pride.\n\nThis god, this one word:", "It is my eyes which see, and the sight of my eyes grants beauty\nto the earth. It is my ears which hear, and the hearing of my", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "We saw nothing as we entered, save the sky in the great windows,\nblue and glowing. Then we saw the Scholars who sat around a long table;", "As the flames rose, a thing happened which no eyes saw but ours,\nelse we would not be living today. Perhaps it had only seemed to", "It is dark here. The flame of the candle stands still in the air.\nNothing moves in this tunnel save our [-hand-] {+hands+} on the paper. We are", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "light is precious and we should not waste it to write when we\nneed it for that work which is our crime. Nothing matters save\nthe work, our secret, our evil, our precious work. Still, we must" ], [ "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "We remember the Home of the Infants where we lived till we were\nfive years old, together with all the children of the City who\nhad been born in the same year. The sleeping halls there were", "We had never thought of that which we did. We bent to raise the\nGolden One to their feet, but when we touched them, it was as if", "learning. Men must learn till they reach their fifteenth year.\nThen they go to work. In the Home of the Students we arose when\nthe big bell rang in the tower and we went to our beds when it", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the" ], [ "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "the history of men, which I have learned from the books, and I\nwonder. It was a long story, and the spirit which moved it was\nthe spirit of man's freedom. But what is freedom? Freedom from", "to us, men are free and the earth belongs to them; and all things\non earth belong to all men; and the will of all men together is\ngood for all; and so all men must be happy.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "I shall choose friends among men, but neither slaves nor masters.\nAnd I shall choose only such as please me, and them I shall love\nand respect, but neither command nor obey. And we shall join our", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "and with them all the words of the Evil Ones. Great mountains of\nflame stood in the squares of the Cities for three months. Then\ncame the Great Rebirth.", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "There is some error, one frightful error, in the thinking of men.\nWhat is that error? We do not know, but the knowledge struggles\nwithin us, struggles to be born.\n\nToday, the Golden One stopped suddenly and said:" ], [ "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We were born with a curse. It has always driven us to thoughts\nwhich are forbidden. It has always given us wishes which men may", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "And questions give us no rest. We know not why our curse makes us\nseek we know not what, ever and ever. But we cannot resist it. It", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "that which is black are lost equally in the grey of it. It is the\nword by which the depraved steal the virtue of the good, by which\nthe weak steal the might of the strong, by which the fools steal", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "I understood the blessed thing which I had called my curse. I\nunderstood why the best in me had been my sins and my", "Their eyes were dark and hard and glowing, with no fear in them,\nno kindness and no guilt. Their hair was golden as the sun; their" ], [ "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "We strive to be like all our brother men, for all men must be\nalike. Over the portals of the Palace of the World Council, there", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "the history of men, which I have learned from the books, and I\nwonder. It was a long story, and the spirit which moved it was\nthe spirit of man's freedom. But what is freedom? Freedom from" ], [ "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "We strive to be like all our brother men, for all men must be\nalike. Over the portals of the Palace of the World Council, there" ], [ "Council of [-Vocations-] {+Vocation+} shall prescribe for you. For the Council of\nVocations knows in its great wisdom where you are needed by your", "punished when the Council of Vocations came to give us our life\nMandates which tell those who reach their fifteenth year what\ntheir work is to be for the rest of their days.", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "Teachers came into the great hall. And the Council of [-vocations-] {+Vocations+}\nsat on a high dais, and they had but two words to speak to each", "forgive. For our gift is greater than our transgression. They\nwill explain it to the Council of Vocations, and we shall be\nassigned to the Home of the Scholars. This has never been done", "The Council of Vocations came {+in+} on the first day of spring, and\nthey sat in the great hall. And we who were fifteen and all the", "laws say that men may not write unless the Council of Vocations\nbid them so. May we be forgiven!", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "elected, and it meets once a year in the different Cities of the\nearth. We shall go to this Council and we shall lay before them,", "\"The will of the Council is above all things, for it is the will\nof our brothers, which is holy. But if you wish it so, we shall", "duties and of our brother men. Then visiting Leaders mount the\npulpit and they read to us the speeches which were made in the\nCity Council that day, for the City Council represents all men", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "The Teachers were just, for they had been appointed by the\nCouncils, and the Councils are the [-voice-] {+voices+} of all justice, for", "Now if the Council [-has-] said \"Carpenter\" or \"Cook,\" the Students so", "We looked upon them and we pleaded:\n\n\"Our brothers! You are right. Let the will of the Council be\ndone upon our body. We do not care. But the light? What will you\ndo with the light?\"", "different Trades. The candles are lit, and the Councils of the\ndifferent Homes stand in a pulpit, and they speak to us of our", "Council. They sat before us and they did not move. And we saw no\nbreath to stir the folds of their white togas. But we knew that", "There are the Saints of Labor, and the Saints of the Councils,\nand the Saints of the Great Rebirth. But we had never seen a", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "guilty of the great Transgression of Preference. We preferred\nsome work and some lessons to the others. We did not listen well\nto the history of all the Councils elected since the Great" ], [ "punished when the Council of Vocations came to give us our life\nMandates which tell those who reach their fifteenth year what\ntheir work is to be for the rest of their days.", "we had been guilty, but now we had a way to atone for it. We\nwould accept our Life Mandate, and we would work for our\nbrothers, gladly and willingly, and we would erase our sin", "\"We are nothing. Mankind is all. By the grace of our brothers are\nwe allowed our lives. We exist through, by and for our brothers\nwho are the State. Amen.\"", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "spring when all the men older than twenty and all the women older\nthan eighteen are sent for one night to the City Palace of\nMating. And each of the men have one of the women assigned to\nthem", "And now I see the face of god, and I raise this god over the\nearth, this god whom men have sought since men came into being,\nthis god who will grant them joy and peace and pride.\n\nThis god, this one word:", "Great Truth which is this: that all men are one and that there is\nno will save the will of all men together.", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "of the quest. I wished to know the meaning of things. I am the meaning.\nI wished to find a warrant for being. I need no warrant for\nbeing, and no word of sanction upon my being. I am the warrant", "\"The will of the Council is above all things, for it is the will\nof our brothers, which is holy. But if you wish it so, we shall", "the first time in our life, what we look like. Men never see\ntheir own faces and never ask their brothers about it, for it is\nevil to have concern for their own faces or bodies. But tonight,", "It is said. Now let us be lashed for it, if we must. The Council\nof Scholars has said that we all know the things which exist and", "brothers. And as we look back upon our life, we see that it has\never been thus and that it has brought us step by step to our", "elected, and it meets once a year in the different Cities of the\nearth. We shall go to this Council and we shall lay before them,", "We looked upon them and we pleaded:\n\n\"Our brothers! You are right. Let the will of the Council be\ndone upon our body. We do not care. But the light? What will you\ndo with the light?\"", "that waits. It seems to us it asks a sign from us, a spark, a\nfirst commandment. We cannot know what word we are to give, nor", "Thus have we lived each day of four years, until two springs ago\nwhen our crime happened. Thus must all men live until they are", "forty. At forty, they are worn out. At forty, they are sent to\nthe Home of the Useless, where the Old Ones live. The Old Ones do", "Look ahead. It is our own world, Golden One, a strange, unknown\nworld, but our own.\"", "of the Leaders, which is the greatest house in the City, for it\nhas three stories. And there they study for many years, {+so that\nthey may become candidates+} and be elected to the City Council and" ], [ "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "we had been guilty, but now we had a way to atone for it. We\nwould accept our Life Mandate, and we would work for our\nbrothers, gladly and willingly, and we would erase our sin", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "punished when the Council of Vocations came to give us our life\nMandates which tell those who reach their fifteenth year what\ntheir work is to be for the rest of their days.", "\"We are nothing. Mankind is all. By the grace of our brothers are\nwe allowed our lives. We exist through, by and for our brothers\nwho are the State. Amen.\"", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "Great Truth which is this: that all men are one and that there is\nno will save the will of all men together.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"" ] ]	[ "How did Equality use the tunnel he found?", "Why didn't Equality face guards when he attempted to escape?", "In discovering the pronoun \"I,\" what did Equality also discover?", "What crime did Equality commit?", "Who follows Equality into the forest?", "What group assigns jobs and vocations in Equality's world?", "What is Equality's ultimate plan?", "Why was discovering electricity bad, according to the World Council?", "What does Liberty name Equality?", "What job is Equality given by a Council of Vocations?", "Where do Equality and the Golden One find a house together?", "Where does Equality take his discovery?", "What does the World Council wish to do with Equality's discovery?", "What is Equality's \"Curse\"?", "Who protests about Equality entering the tunnels?", "When are people assigned a mate?", "After discovering individuality, what name does Liberty change to?", "What word does Equality discover?", "What job did Equality want to have?", "What job was Equality assigned?", "What did Equality find in the forbidden tunnel? ", "How old was Equality when he began writing his journal?", "What is the name of the girl Equality is constantly thinking about?", "Where does Equality escape to when he is told his discovery will be destroyed?", "What was Equality's new name in the Uncharted Forest?", "What was Liberty's assigned job?", "What was Equality's nickname for Liberty?", "Where does Equality write?", "What does Equality use to see while writing?", "Where was equality raised?", "What was equality born with?", "What attributes does the curse cause for Equality?", "What does Equality dream of becoming?", "What does Equality excel at?", "What does the Council of Vocations assign to people?", "Who assigns people their Life Mandate?", "What Life Mandate is assigned to Equality?" ]	[ [ "He used it as a secret laboratory. ", "For scientific work" ], [ "There were no guards as no one had tried to escape before. ", "There are no guards" ], [ "Individuality of the self. ", "individuality " ], [ "He was absent from the Home of the Street Sweepers. ", "Deviation from his assigned norm." ], [ "The Golden One. ", "The Golden One" ], [ "The Council of Vocations. ", "council of vocations " ], [ "To create a future where men have individuality.", "To give men their individuality back" ], [ "It would disrupt their plans. ", "It was unauthorized" ], [ "The Unconquered", "The Unconquered." ], [ "Street Sweeper", "Street Sweeper" ], [ "In the mountains", "The mountains" ], [ "The World Council of Scholars", "in abandoned tunnels" ], [ "Destroy it", "Destroy it" ], [ "He learns quickly", "He learns quickly and asks many questions." ], [ "International", "International" ], [ "The Annual time of Mating", "the Time of Mating" ], [ "Gaea", "Gaea" ], [ "I", "\"I\"" ], [ "Scholar", "Scholar" ], [ "A Street Sweeper", "Street sweeping." ], [ "Metal Tracks", "Metal tracks" ], [ "21 years", "21" ], [ "Liberty 5-3000", "Liberty/Gaea/Golden One" ], [ "The Uncharted Forest", "Uncharted Forest" ], [ "Prometheus", "Prometheus" ], [ "A worker in the fields", "Working in the fields." ], [ "The Golden One", "Golden One" ], [ "in a tunnel", "In a tunnel" ], [ "candlelight", "Candlelight" ], [ "in collective homes", "in a collective home" ], [ "a curse", "Curse" ], [ "learns quickly and asks many question", "he learns quickly and asks questions" ], [ "a scholar", "a Scholar" ], [ "The Science of Things", "the Science of Things" ], [ "their Life Mandate", "Their Life Mandate" ], [ "Council of Vocations", "The Council of Vocations" ], [ "street sweeper", "His Life Mandate is Street Sweeper." ] ]	6b94891a91a8eeb5618a0575d341338cf0d9a82f	train
[ [ "WILLIAM\n (caught out)\n Oh hi. It's William Thacker. We,\n ahm I work in a bookshop.", "We arrive outside his blue-doored house just off Portobello.\n\n WILLIAM (V.O.)\n ... and where I now lead a strange\n half-life with a lodger called...", "KAREN\n Mr. Thacker?\n\n WILLIAM\n (so weary)\n Yes?\n\n KAREN\n Have you got a moment?", "He approaches the lifts. At the lift, he pushes the button and\n the doors open. As he is getting in, William is joined by a young\n man. His name is Tarquin.", "It is a small shop, slightly chaotic, bookshelves everywhere,\n with little secret bits round corners with even more books.\n Martin, William's sole employee, is waiting enthusiastically.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "The lift lands. William gets out. So does Tarquin. Rooms\n 30-35 are to the left. 35-39 to the right. William heads right.\n So does Tarquin.", "WILLIAM (V.O.)\n ... which, well, sells travel books\n -- and, to be frank with you, doesn't\n always sell many of those.\n\n William enters.", "William swings out of the little shop -- he turns the corner of\n Portobello Road and bumps straight into Anna. The orange\n juice, in its foam cup, flies. It soaks Anna.", "And after a couple of seconds -- wow -- she smiles.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "INT. WILLIAM'S LIVING ROOM - NIGHT", "INT. WILLIAM'S LIVING ROOM - NIGHT", "WILLIAM\n (seeing it on a coffee\n table)\n 'Horse and Hound.' The name's\n William Whacker. I think she might\n be expecting me.", "WILLIAM\n Gardens. All these streets round\n here have these mysterious communal\n gardens in the middle of them.\n They're like little villages.\n\n ANNA\n Let's go in.", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch.", "WILLIAM\n Thanks. I just wondered if Mr. Thacker\n realized he'd been a daft prick and got", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "Mix through to William, 35, relaxed, pleasant, informal. We\n follow him as he walks down Portobello Road, carrying a load of\n bread. It is spring.", "WILLIAM\n If you could just give me a second.\n\n Her eyes follow him as he moves toward the back of the shop and\n approaches a man in slightly ill-fitting clothes.", "William is puzzled. He slows down as he approaches room 38. So\n does Tarquin. William spots, so does Tarquin. William points\n at the number." ], [ "William coming along the hotel corridor. He knocks on the\n door.\n\n ANNA\n Hiya.\n\n There's something slightly awry. He doesn't notice.", "William jumps off a bus and walks toward the Ritz. He carries a\n small bunch of roses.\n\n INT. RITZ HOTEL - DAY", "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "He watches her go -- and stands in the street. Music plays.\n\n INT. RITZ CORRIDOR/ANNA'S SUITE - NIGHT", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "The car turns illegally right across Piccadilly the wrong way\n down a one-way street and ends up outside the Ritz. William\n sprints into the hotel. Bernie follows.", "WILLIAM\n Right. Great.\n (he hangs up)\n Classic. Classic.\n\n EXT. RITZ - DAY", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "William looks up. At that moment the entire window is suddenly\n taken up by the huge side of a bus, obscuring the light -- and\n entirely covered with a portrait of Anna -- from her new film,\n 'Helix.'", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "INT. RITZ CORRIDOR - NIGHT\n\n William walks away.\n\n EXT. RITZ - NIGHT", "A Japanese guest assumes this is the way to behave and the Ritz\n Man gets kissed a third time.\n\n EXT. LONDON STREET - DAY", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "He rises from his stove position.\n\n WILLIAM\n Max. This is Anna.", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in." ], [ "Jeff drifts into view behind. He is a very famous film star and\n looks the part -- well built, very handsome. Unshaven, he has", "ANNA\n It's really not my business any more.\n Though I will say, from my experience,\n that rumours about Jeff... do tend to\n be true.", "WILLIAM\n Ah -- no. It's fine.\n\n JEFF\n What's your name?\n\n WILLIAM\n Ahm... Bernie.", "He is duly shocked. She's trying to be calm.\n\n ANNA\n Yes...\n\n JEFF (V.O.)\n Who is it?", "Jeff slips him a fiver.\n\n JEFF\n Thank you, Bernie.\n (to Anna)\n Hey -- nice surprise, or nasty\n surprise?", "Only two tables are being used. William and his friends are\n on their first course. Bernie reads an \"Evening Standard,\"\n with a picture of Anna and Jeff at Heathrow Airport.", "JEFF\n Oh great. Could you do me a favour\n and try to get us some really cold\n water up here?\n\n WILLIAM\n I'll see what I can do.", "It is the same man.\n\n RITZ MAN\n No, sir.\n\n WILLIAM\n How about Miss Flintstone?", "He approaches the lifts. At the lift, he pushes the button and\n the doors open. As he is getting in, William is joined by a young\n man. His name is Tarquin.", "Spike appears. An unusual looking fellow. He has unusual\n hair, unusual facial hair and an unusual Welsh accent: very\n white, as though his flesh has never seen the sun. He wears\n only shorts.", "QUESTIONER 2\n Is your decision to take a year off\n anything to do with the rumours about\n Jeff and his present leading lady?\n\n ANNA\n Absolutely not.", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "They look at each other. Jeremy enters, with another journalists\n in tow. Anna and William stand and shake hands formally.\n\n ANNA\n Well, it was nice to meet you.\n Surreal but nice.", "It is a small shop, slightly chaotic, bookshelves everywhere,\n with little secret bits round corners with even more books.\n Martin, William's sole employee, is waiting enthusiastically.", "He is very keen, an uncrushable optimist. Perhaps without\n cause. A few seconds later, William stands gloomily behind the\n desk.", "JEFF\n Still, not sparkling.\n\n WILLIAM\n Absolutely. Ice cold still water.", "miracle it is just to be able to touch this girl's skin. Then\n he looks at her face. That face. He is suddenly struck by who\n it is.", "They leave him behind. Honey leans out the window and shouts...\n\n HONEY\n You're my hero.", "Spike happens to be in the foreground of this shot. He's read-\n ing a newspaper.\n\n RITZ MAN\n Yes, sir. I have him in my mind.", "He comes down wearing it. Lots of hearts, saying, 'You're the\n most beautiful woman in the world.'\n\n WILLIAM\n Well, yes, that's perfect. Well\n done." ], [ "ANNA\n Okay.\n\n WILLIAM\n Okay.\n\n INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM/CORRIDOR - NIGHT\n\n Anna and William are leaving.", "INT. MAX AND BELLA'S CONSERVATORY - NIGHT\n\n A little later. They are sat at dinner. Bella next to Anna.", "WILLIAM\n Bella -- this is Anna.\n\n BELLA\n Right.\n (pause)\n\n MAX\n Okay. Crisis over.", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT\n\n They enter the room.\n\n MAX\n Bernie -- this is Anna.", "Max, dressed in the most devastating Bond-like white tuxedo is\n dancing with Anna -- thrilled. He does a rather flashy little\n move. Cut to Bella who is watching and laughing.", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT\n\n The kitchen. William is looking uneasy. A doorbell rings.", "ANNA\n I'll think about it.\n\n The front door bell goes.\n\n MAX\n That'll be Bernie.", "INT. MAX AND BELLA'S CORRIDOR - NIGHT\n\n Max heads for the door impatiently. He opens it and turns back\n without looking at William and Anna standing there.", "TESSA\n Oh hello, you're in a wheelchair.\n\n BELLA\n That's right.\n\n MAX\n And this is William.", "He rises from his stove position.\n\n WILLIAM\n Max. This is Anna.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "MAX\n You see -- incredibly sad.\n\n BELLA\n On the other hand, her best friend is\n Anna Scott.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "We cut to Max, Bella, Bernie and Honey, all watching. Then back\n to Anna.\n\n ANNA\n Yes, I'm pretty sure I would.", "A minute or two later -- they are standing, drinking wine before\n dinner. Bernie with Anna on their own -- William helping Max in\n the kitchen.\n\n MAX\n You haven't slept with her, have you?", "INT. MAX AND BELLA'S KITCHEN/CONSERVATORY - NIGHT\n\n Max walks over to the table. Honey, Bella, William and another\n girl.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "At one table Bella and Honey sit -- beer and wine on the table.\n\n BELLA\n I'm really horribly drunk.\n\n Elsewhere, Max an William are relaxed together.", "MAX\n Now you're lying.\n\n ANNA\n You're right. I told you I was bad\n at acting.\n\n Max loves this." ], [ "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "ANNA\n There are lots of reasons. Do you\n want to come up?\n\n His look says yes.\n\n ANNA\n Give me five minutes.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "The darkness of the living room. We see Anna in the shadow.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in.", "WILLIAM\n Jesus Christ.\n\n He comes back inside, snapping the door behind him. Anna is in\n the kitchen.\n\n ANNA\n What?", "William and Anna step outside. From inside they hear a massive\n and hysterical scream of the friends letting out their true\n feelings. William is a little embarrassed.", "ANNA\n Both.\n\n INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT\n\n They are walking up the stairs -- and stop at the top.", "ANNA\n I do. Your furry friend thought he'd\n make a buck or two telling the papers\n where I was.\n\n She's packing.", "WILLIAM\n Don't ask.\n\n She heads back the corridor, with no suspicion.\n\n ANNA\n You're up to something...", "ANNA\n Okay. So what does 'just over the\n street' mean -- give it to me in yards.\n\n WILLIAM\n Eighteen yards. That's my house\n there.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?" ], [ "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "ANNA\n I'm sorry... I don't know what to\n say.\n\n WILLIAM\n I think goodbye is traditional.", "They are walking.\n\n ANNA\n I shouldn't have done that. I\n shouldn't have done that.\n\n WILLIAM\n No, you were brilliant", "WILLIAM\n She left me.\n\n ANNA\n Why?\n\n WILLIAM\n She saw through me.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "WILLIAM\n Nothing, nothing... Look, I live just\n over the street -- you could get\n cleaned up.\n\n ANNA\n No thank you. I need to get my car\n back.", "ANNA\n No, thanks. I'll just look around.\n\n WILLIAM\n Fine.", "WILLIAM\n I'm sorry.\n\n ANNA\n No, that's fine. I love that you\n tried... time was I'd have done the\n same.", "WILLIAM\n Oh please sod off.\n\n ANNA\n Okay.", "He wanders off taking off his t-shirt.\n\n WILLIAM\n I better leave.\n\n Anna just nods.", "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "She's awaiting an answer.\n\n WILLIAM\n Anna. Look -- I'm a fairly level-\n headed bloke. Not often in and out of\n love. But...", "ANNA\n No.\n\n WILLIAM\n Do you always say 'no' to everything?\n\n Pause. She looks at him deep.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no." ], [ "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "ANNA\n Ahm... I think that sounds -- you know\n -- lucky me. Happy Birthday.\n\n She hands her a present.", "Pause. She kisses him on the cheek.\n\n ANNA\n Bye.\n\n Then turns and leaves. Leaving him.", "He wanders off taking off his t-shirt.\n\n WILLIAM\n I better leave.\n\n Anna just nods.", "WILLIAM\n She left me.\n\n ANNA\n Why?\n\n WILLIAM\n She saw through me.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "WILLIAM\n That's fine.\n\n ANNA\n Busy tomorrow?\n\n WILLIAM\n I thought you were leaving.", "She heads across. She smiles and sits on the bed.\n\n ANNA\n Can I stay a bit longer?\n\n WILLIAM\n Stay forever.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "It's quite a big wrapped parcel, flat -- 3 foot by 4 foot,\n leaning against a bookshelf.\n\n ANNA\n I thought I'd give it to you.", "ANNA\n I'm sorry... I don't know what to\n say.\n\n WILLIAM\n I think goodbye is traditional.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM/CORRIDOR - NIGHT\n\n Anna and William are leaving.", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch.", "WILLIAM\n Don't think about it. We'll sort it\n out. Now what would you like -- tea\n ... bath...?\n\n ANNA\n A bath would be great.", "WILLIAM\n And I think the book is the poorer for\n it.\n\n Anna smiles her biggest smile of the day. He is helping." ], [ "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "A few moments later. William and Anna stand in the middle of\n the room. He kisses her neck. Then her shoulder. What a", "William swings out of the little shop -- he turns the corner of\n Portobello Road and bumps straight into Anna. The orange\n juice, in its foam cup, flies. It soaks Anna.", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "Jeremy goes out -- it's their last seconds.\n\n WILLIAM\n Are you busy tonight?\n\n ANNA\n Yes.", "ANNA\n Both.\n\n INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT\n\n They are walking up the stairs -- and stop at the top.", "WILLIAM\n (pause)\n You're lovelier this morning than you\n have ever been.\n\n ANNA\n (very touched)\n Oh.", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM/CORRIDOR - NIGHT\n\n Anna and William are leaving.", "They are walking.\n\n ANNA\n I shouldn't have done that. I\n shouldn't have done that.\n\n WILLIAM\n No, you were brilliant", "She's awaiting an answer.\n\n WILLIAM\n Anna. Look -- I'm a fairly level-\n headed bloke. Not often in and out of\n love. But...", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "But she's already almost over.\n\n WILLIAM\n Oh no it's not -- it's easy.\n\n A few seconds later. Anna jumps down into the garden.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna." ], [ "He nods. They are standing on either side of the bench,\n looking at each other. The camera glides away from them, up\n into the night sky, leaving them alone in the garden. Music\n plays.", "She kisses him gently on the cheek. He opens the door -- she\n walks out. He shuts the door quietly and heads back into the\n living room...", "paraphernalia of the upcoming scene passes between them. The\n movie divides them. But then she begins to walk through it, and\n followed by her cluster, she makes her way towards him. When", "arguing with her boyfriend, walking away tearful. Then turns\n past 'the pregnant woman' -- now holding her three-month baby.\n The camera holds on her.", "Two hours later. They've had a very good time. There's been a\n chocolate cake. Lots of alcohol. Tony is playing 'Blue Moon'\n on the piano, and Bernie joins him, singing.", "Cut to William's face -- flash after flash -- still looking at\n Anna. They are both smiling.\n\n INT./EXT. THE HEMPEL ZEN GARDEN WITH MARQUEEN - DAY", "Moving on through the evening -- they are very relaxed, as they\n eat dinner. A few seconds watching the evening going well -- Anna", "In a slightly awkward moment, he shows her out the door. He\n closes the door and shakes his head in wonder. Then...", "They walk around the garden. It's a moonlit dream. We see\n the lights of the houses that surround the garden. They come\n across a single, simple wooden bench.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "And she rushes out. William looks at the piece of paper, folds\n it and then places it gently in the garbage bin.\n\n INT. TONY'S RESTAURANT - NIGHT", "She moves inside. Her hair is a mess -- her eyes are tired.\n Nothing idealized.\n\n INT. LIVING ROOM - DAY\n\n The two of them.", "forward and she kisses him. Total silence. A real sense of the\n strangeness of those lips, those famous lips on his. They part.", "They leave him behind. Honey leans out the window and shouts...\n\n HONEY\n You're my hero.", "They stand in that corridor -- in that small space. Second time\n saying goodbye. A strange feeling of intimacy. She leans", "William is very grateful. He kisses the Ritz Man. Bernie's also\n gratuful. He kisses him too.\n\n BERNIE\n We have lift off!!", "Jeremy goes out -- it's their last seconds.\n\n WILLIAM\n Are you busy tonight?\n\n ANNA\n Yes.", "And she walks away. Gerald turns to Lawrence.\n\n GERALD\n You prick.\n\n EXT. RITZ ARCADE - NIGHT", "She looks at him. The doorbell goes again. She opens the door.\n Massive noise and photos. Outside are her people, including", "He returns to his desk. In the monitor we just glimpse, as does\n William, the book coming out of the trousers and put back on the" ], [ "It is a small shop, slightly chaotic, bookshelves everywhere,\n with little secret bits round corners with even more books.\n Martin, William's sole employee, is waiting enthusiastically.", "WILLIAM\n If you could just give me a second.\n\n Her eyes follow him as he moves toward the back of the shop and\n approaches a man in slightly ill-fitting clothes.", "WILLIAM (V.O.)\n ... which, well, sells travel books\n -- and, to be frank with you, doesn't\n always sell many of those.\n\n William enters.", "INT. BOOKSHOP - DAY\n\n The next day. William and Martin quietly co-existing. An annoy-\n ing customer enters. Mr. Smith.", "INT. BOOKSHOP - DAY\n\n A grey day in the bookshop. Martin and William. As ever. A\n feeling that things in there ever change.", "WILLIAM\n Yes. This one though is... very\n good.\n\n He picks up a book on the counter.", "own...William. Just watching. We see a momentous flash of\n light from the screen explode, reflected in his eye.", "The two of them on the rooftop terrace, passing the day.\n William is reading 'The bookseller.' The terrace is small and", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "They head out, Martin behind him, incomprehensively rubbing\n his hands -- he's in a very good mood.\n\n INT. BOOKSHOP - DAY", "William swings out of the little shop -- he turns the corner of\n Portobello Road and bumps straight into Anna. The orange\n juice, in its foam cup, flies. It soaks Anna.", "William sets off.\n\n INT. COFFEE SHOP - DAY\n\n William collects his juice in a coffee shop on Westbourne Park\n Road.", "WILLIAM\n (caught out)\n Oh hi. It's William Thacker. We,\n ahm I work in a bookshop.", "The next day. William is hard at work, doing the accounts in a\n dark small room with files in it. Martin pops his head in.", "He returns to his desk. In the monitor we just glimpse, as does\n William, the book coming out of the trousers and put back on the", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "William is puzzled. He slows down as he approaches room 38. So\n does Tarquin. William spots, so does Tarquin. William points\n at the number.", "A small unpretentious store... named 'The Travel Book Co.'", "He is very keen, an uncrushable optimist. Perhaps without\n cause. A few seconds later, William stands gloomily behind the\n desk." ], [ "INT. WILLIAM'S LIVING ROOM - NIGHT", "INT. WILLIAM'S LIVING ROOM - NIGHT", "We arrive outside his blue-doored house just off Portobello.\n\n WILLIAM (V.O.)\n ... and where I now lead a strange\n half-life with a lodger called...", "And after a couple of seconds -- wow -- she smiles.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT\n\n The kitchen. William is looking uneasy. A doorbell rings.", "William walks away. The moment of hope is gone. He couldn't\n have had a clear reminder.\n\n INT. WILLIAM'S LIVING ROOM - EVENING", "And kisses her.\n\n INT. WILLIAM'S BEDROOM - NIGHT", "William enters. A certain nervousness. They are alone again.", "SPIKE\n And she's in your house.\n\n WILLIAM\n Yes.\n\n SPIKE\n And you get on very well.", "INT. WILLIAM'S LIVING ROOM - EVENING\n\n William is looking out the window, lost in thought. Spike\n enters.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "WILLIAM\n Gardens. All these streets round\n here have these mysterious communal\n gardens in the middle of them.\n They're like little villages.\n\n ANNA\n Let's go in.", "He approaches the lifts. At the lift, he pushes the button and\n the doors open. As he is getting in, William is joined by a young\n man. His name is Tarquin.", "The darkness of the living room. We see Anna in the shadow.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "INT. WILLIAM'S LIVING ROOM - EVENING\n\n William in a towel rushes downstairs, having just had a shower.\n He shoots past Spike.", "Pause. She leans forward, kisses him gently, then steps into\n the bedroom and closes the door.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "The lift lands. William gets out. So does Tarquin. Rooms\n 30-35 are to the left. 35-39 to the right. William heads right.\n So does Tarquin.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "INT. WILLIAM'S BATHROOM - DAY\n\n William is shaving. The bell goes. He heads out to answer it.", "INT. WILLIAM'S HOUSE - CONDOR/LIVING ROOM - DAY\n\n William heads upstairs and pauses. Spike coming down, wearing\n full body scuba diving gear." ], [ "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "ANNA\n There are lots of reasons. Do you\n want to come up?\n\n His look says yes.\n\n ANNA\n Give me five minutes.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA (V.O.)\n Oh -- Okay.\n\n WILLIAM\n Perhaps I could drop round for tea or\n something?", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "WILLIAM\n Jesus Christ.\n\n He comes back inside, snapping the door behind him. Anna is in\n the kitchen.\n\n ANNA\n What?", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "ANNA\n Okay. So what does 'just over the\n street' mean -- give it to me in yards.\n\n WILLIAM\n Eighteen yards. That's my house\n there.", "INT. WILLIAM'S DINING ROOM\n\n Anna and William. Sat down at table. There's a picture\n hanging on the wall behind.", "WILLIAM\n Don't think about it. We'll sort it\n out. Now what would you like -- tea\n ... bath...?\n\n ANNA\n A bath would be great.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "WILLIAM\n Gardens. All these streets round\n here have these mysterious communal\n gardens in the middle of them.\n They're like little villages.\n\n ANNA\n Let's go in.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay." ], [ "ANNA\n (on the phone)\n It's Anna. The press are here. No,\n there are hundreds of them. My", "ANNA\n I do. Your furry friend thought he'd\n make a buck or two telling the papers\n where I was.\n\n She's packing.", "INT. ANNA'S SUITE SITTING ROOM - DAY\n\n They knock on her door.\n\n ANNA (V.O.)\n Come in.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA\n No time at all. I fly out tonight.\n\n She's in a slightly melancholic and therefore honest mood.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "It is Anna Scott, the biggest movie star in the world -- here --\n in his shop. The most divine, subtle, beautiful woman on earth.\n When she speaks she is very self-assured and self-contained.", "ANNA\n I'm an actress.", "William looks up. At that moment the entire window is suddenly\n taken up by the huge side of a bus, obscuring the light -- and\n entirely covered with a portrait of Anna -- from her new film,\n 'Helix.'", "Pause. She kisses him on the cheek.\n\n ANNA\n Bye.\n\n Then turns and leaves. Leaving him.", "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "ANNA\n Ahm... I think that sounds -- you know\n -- lucky me. Happy Birthday.\n\n She hands her a present.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in." ], [ "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "They look at each other. Jeremy enters, with another journalists\n in tow. Anna and William stand and shake hands formally.\n\n ANNA\n Well, it was nice to meet you.\n Surreal but nice.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM/CORRIDOR - NIGHT\n\n Anna and William are leaving.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "He wanders off taking off his t-shirt.\n\n WILLIAM\n I better leave.\n\n Anna just nods.", "ANNA\n Both.\n\n INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT\n\n They are walking up the stairs -- and stop at the top.", "William and Anna step outside. From inside they hear a massive\n and hysterical scream of the friends letting out their true\n feelings. William is a little embarrassed.", "ANNA\n Yes, thanks.\n\n JEREMY\n And you are from 'Horse and Hound'\n magazine?\n\n William nods.", "They are walking.\n\n ANNA\n I shouldn't have done that. I\n shouldn't have done that.\n\n WILLIAM\n No, you were brilliant", "William coming along the hotel corridor. He knocks on the\n door.\n\n ANNA\n Hiya.\n\n There's something slightly awry. He doesn't notice.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "William swings out of the little shop -- he turns the corner of\n Portobello Road and bumps straight into Anna. The orange\n juice, in its foam cup, flies. It soaks Anna.", "A few moments later. William and Anna stand in the middle of\n the room. He kisses her neck. Then her shoulder. What a", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "INT. WILLIAM'S DINING ROOM\n\n Anna and William. Sat down at table. There's a picture\n hanging on the wall behind.", "Jeremy goes out -- it's their last seconds.\n\n WILLIAM\n Are you busy tonight?\n\n ANNA\n Yes.", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no." ], [ "William coming along the hotel corridor. He knocks on the\n door.\n\n ANNA\n Hiya.\n\n There's something slightly awry. He doesn't notice.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch.", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "A few moments later. William and Anna stand in the middle of\n the room. He kisses her neck. Then her shoulder. What a", "ANNA\n Oh my God. And they got a photo of you\n dressed like that?\n\n WILLIAM\n Undressed like this, yes.\n\n ANNA\n Jesus.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "WILLIAM\n Don't ask.\n\n She heads back the corridor, with no suspicion.\n\n ANNA\n You're up to something...", "WILLIAM\n Don't think about it. We'll sort it\n out. Now what would you like -- tea\n ... bath...?\n\n ANNA\n A bath would be great.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in.", "ANNA\n There are lots of reasons. Do you\n want to come up?\n\n His look says yes.\n\n ANNA\n Give me five minutes.", "INT. WILLIAM'S DINING ROOM\n\n Anna and William. Sat down at table. There's a picture\n hanging on the wall behind." ], [ "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "WILLIAM\n She left me.\n\n ANNA\n Why?\n\n WILLIAM\n She saw through me.", "ANNA\n I'm sorry... I don't know what to\n say.\n\n WILLIAM\n I think goodbye is traditional.", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "They are walking.\n\n ANNA\n I shouldn't have done that. I\n shouldn't have done that.\n\n WILLIAM\n No, you were brilliant", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "ANNA\n You've got big feet.\n\n WILLIAM\n Yes. Always have had.\n\n ANNA\n You know what they say about men with\n big feet?", "ANNA\n You disappeared.\n\n WILLIAM\n Yes -- I'm sorry -- I had to leave... I\n didn't want to disturb you.", "WILLIAM\n Oh please sod off.\n\n ANNA\n Okay.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "Pause. Anna looks up at William. He nods.\n\n ANNA\n Indefinitely.", "A few moments later. William and Anna stand in the middle of\n the room. He kisses her neck. Then her shoulder. What a", "Jeremy goes out -- it's their last seconds.\n\n WILLIAM\n Are you busy tonight?\n\n ANNA\n Yes.", "ANNA\n There are lots of reasons. Do you\n want to come up?\n\n His look says yes.\n\n ANNA\n Give me five minutes." ], [ "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "WILLIAM\n Hello. Hi. Hi.\n\n ANNA (V.O.)\n Hi.\n\n We hear her voice -- don't see her.", "WILLIAM\n I appreciate that absolutely.\n (changing subject\n tactfully)\n Is that the film you're doing?\n\n ANNA\n Yes -- start in L.A. on Tuesday.", "They look at each other. Jeremy enters, with another journalists\n in tow. Anna and William stand and shake hands formally.\n\n ANNA\n Well, it was nice to meet you.\n Surreal but nice.", "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "WILLIAM\n Jesus Christ.\n\n He comes back inside, snapping the door behind him. Anna is in\n the kitchen.\n\n ANNA\n What?", "William enters -- and there stands Anna -- in a simple blue\n skirt and top.\n\n ANNA\n Hi.\n\n WILLIAM\n Hello.", "ANNA\n Oh my God. And they got a photo of you\n dressed like that?\n\n WILLIAM\n Undressed like this, yes.\n\n ANNA\n Jesus.", "William looks up. At that moment the entire window is suddenly\n taken up by the huge side of a bus, obscuring the light -- and\n entirely covered with a portrait of Anna -- from her new film,\n 'Helix.'", "INT. WILLIAM'S KITCHEN - DAY\n\n Anna is on the phone. Spike is blithely heading downstairs to\n the kitchen in just his underpants.", "He is duly shocked. She's trying to be calm.\n\n ANNA\n Yes...\n\n JEFF (V.O.)\n Who is it?" ], [ "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "WILLIAM\n Would you like me to take you through\n your lines?\n\n ANNA\n Would you? It's all talk, talk, talk.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "WILLIAM\n She left me.\n\n ANNA\n Why?\n\n WILLIAM\n She saw through me.", "ANNA\n No.\n\n WILLIAM\n Do you always say 'no' to everything?\n\n Pause. She looks at him deep.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "WILLIAM\n Nothing, nothing... Look, I live just\n over the street -- you could get\n cleaned up.\n\n ANNA\n No thank you. I need to get my car\n back.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "WILLIAM\n Right. No one. I mean, I'll tell\n myself sometimes but... don't worry\n -- I won't believe it.\n\n ANNA\n Bye.", "ANNA\n No, thanks. I'll just look around.\n\n WILLIAM\n Fine.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "WILLIAM\n Wow.\n\n ANNA\n What?\n\n And then gets over it straight away.\n\n WILLIAM\n Nothing.", "ANNA\n Oh... no one... no one. Just some...\n guy from the past. I don't know what\n he's doing here. Bit of an awkward\n situation.", "ANNA\n You've got big feet.\n\n WILLIAM\n Yes. Always have had.\n\n ANNA\n You know what they say about men with\n big feet?", "William looks up. At that moment the entire window is suddenly\n taken up by the huge side of a bus, obscuring the light -- and\n entirely covered with a portrait of Anna -- from her new film,\n 'Helix.'", "It is Anna Scott, the biggest movie star in the world -- here --\n in his shop. The most divine, subtle, beautiful woman on earth.\n When she speaks she is very self-assured and self-contained." ], [ "HONEY\n William has just turned down Anna Scott.\n\n SPIKE\n You daft prick!", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA\n No, let him... ask away. You were\n saying?\n\n WILLIAM\n Yes, I just wondered whether if it\n turned out that this... person...", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "ANNA\n I'm rash and I'm stupid and what\n am I doing with you?\n\n WILLIAM\n I don't know, I'm afraid.", "ANNA\n You've got big feet.\n\n WILLIAM\n Yes. Always have had.\n\n ANNA\n You know what they say about men with\n big feet?", "WILLIAM\n And I think the book is the poorer for\n it.\n\n Anna smiles her biggest smile of the day. He is helping.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "She's awaiting an answer.\n\n WILLIAM\n Anna. Look -- I'm a fairly level-\n headed bloke. Not often in and out of\n love. But...", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "WILLIAM\n (pause)\n You're lovelier this morning than you\n have ever been.\n\n ANNA\n (very touched)\n Oh.", "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "WILLIAM\n Jesus Christ.\n\n He comes back inside, snapping the door behind him. Anna is in\n the kitchen.\n\n ANNA\n What?" ], [ "Bella is casually looking at the painting that sits beside\n William. It is the original of the Chagall, the poster of which\n was on his wall.", "ANNA\n I can't believe you have that picture\n on your wall.\n\n It is a poster of a Chagall painting of a floating wedding couple,\n with a goat as company.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "WILLIAM\n You like Chagall?\n\n ANNA\n I do. It feels like how being in love\n should be. Floating through a dark\n blue sky.", "William looks up. At that moment the entire window is suddenly\n taken up by the huge side of a bus, obscuring the light -- and\n entirely covered with a portrait of Anna -- from her new film,\n 'Helix.'", "INT. WILLIAM'S DINING ROOM\n\n Anna and William. Sat down at table. There's a picture\n hanging on the wall behind.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "Pause. She kisses him on the cheek.\n\n ANNA\n Bye.\n\n Then turns and leaves. Leaving him.", "shelves. The thief drifts out towards the door. Anna, who has\n observed all this, is looking at a blue book on the counter.", "Mid-film. We move across the audience. And there is in the\n middle of it, we see Anna, watching the screen, and next to", "He watches her go -- and stands in the street. Music plays.\n\n INT. RITZ CORRIDOR/ANNA'S SUITE - NIGHT", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "Anna's character -- Woody Anna -- is walking around the gallery\n with her famous co-star, Michael. They should be the perfect\n couple, but there is tension. Anna is not happy.", "A few moments later. William and Anna stand in the middle of\n the room. He kisses her neck. Then her shoulder. What a", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "BELLA\n This painting isn't the original, is\n it?\n\n WILLIAM\n Yes, I think that one may be.", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands." ], [ "ANNA\n (on the phone)\n It's Anna. The press are here. No,\n there are hundreds of them. My", "They look at each other. Jeremy enters, with another journalists\n in tow. Anna and William stand and shake hands formally.\n\n ANNA\n Well, it was nice to meet you.\n Surreal but nice.", "Huge room -- full of press. Row after row of journalists,\n cameras at the front, TV cameras at the back. Anna clearly", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "WILLIAM\n That's very good news. The readers of\n 'Horse and Hound' will be absolutely\n delighted.\n\n Anna whispers something to Jeremy.", "ANNA\n Yes, thanks.\n\n JEREMY\n And you are from 'Horse and Hound'\n magazine?\n\n William nods.", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "INT. ANNA'S SUITE SITTING ROOM - DAY\n\n They knock on her door.\n\n ANNA (V.O.)\n Come in.", "A huge premier -- screaming crowds -- Anna and William get out\n of the car, she holding his hand -- looking ultimately gorgeous\n -- he in a black tie that doesn't quite fit. He's startled.", "ANNA\n As far as they're concerned I do. And\n now tomorrow there'll be pictures of\n you in every newspapers from here to\n Timbuktu.", "Only two tables are being used. William and his friends are\n on their first course. Bernie reads an \"Evening Standard,\"\n with a picture of Anna and Jeff at Heathrow Airport.", "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "Back by the desk, William is listening and laughs. That's his\n girl. Anna prepares.", "ANNA\n I do. Your furry friend thought he'd\n make a buck or two telling the papers\n where I was.\n\n She's packing.", "INT. WILLIAM'S CORRIDOR - DAY\n\n Spike enters through the front door. William doesn't hear him.\n Spike is reading newspapers with the Anna pictures in it.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "William heads down the corridor and opens the door. Outside\n are hundreds of paparazzi -- an explosion of cameras and\n questions, of noise and light. The press seem to fill the\n entire street.", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch." ], [ "William coming along the hotel corridor. He knocks on the\n door.\n\n ANNA\n Hiya.\n\n There's something slightly awry. He doesn't notice.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "He is duly shocked. She's trying to be calm.\n\n ANNA\n Yes...\n\n JEFF (V.O.)\n Who is it?", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "A few moments later. William and Anna stand in the middle of\n the room. He kisses her neck. Then her shoulder. What a", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "They look at each other. Jeremy enters, with another journalists\n in tow. Anna and William stand and shake hands formally.\n\n ANNA\n Well, it was nice to meet you.\n Surreal but nice.", "ANNA\n Both.\n\n INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT\n\n They are walking up the stairs -- and stop at the top.", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in.", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "He rises from his stove position.\n\n WILLIAM\n Max. This is Anna." ], [ "ANNA\n Ahm... I think that sounds -- you know\n -- lucky me. Happy Birthday.\n\n She hands her a present.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "WILLIAM\n You'll be my date at my little sister's\n birthday party?\n\n ANNA\n If that's all right.", "INT. WILLIAM'S DINING ROOM\n\n Anna and William. Sat down at table. There's a picture\n hanging on the wall behind.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n Okay.\n\n WILLIAM\n Okay.\n\n INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in.", "ANNA\n Both.\n\n INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT\n\n They are walking up the stairs -- and stop at the top.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "William enters -- and there stands Anna -- in a simple blue\n skirt and top.\n\n ANNA\n Hi.\n\n WILLIAM\n Hello.", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "Back by the desk, William is listening and laughs. That's his\n girl. Anna prepares.", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM/CORRIDOR - NIGHT\n\n Anna and William are leaving.", "They all laugh. Anna smiles across at William.\n\n WILLIAM\n So I get the brownie?\n\n MAX\n I think you do, yes." ], [ "WILLIAM\n That's right... I work for their in-\n house magazine.\n (mimes quotation marks)\n 'Movies are our business.'", "ANNA\n Yes, thanks.\n\n JEREMY\n And you are from 'Horse and Hound'\n magazine?\n\n William nods.", "William walks past the newsagent, heading for home. We see,\n though he doesn't, a rack of tabloid papers, all of which seem", "He returns to his desk. In the monitor we just glimpse, as does\n William, the book coming out of the trousers and put back on the", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "WILLIAM (V.O.)\n ... which, well, sells travel books\n -- and, to be frank with you, doesn't\n always sell many of those.\n\n William enters.", "William goes for the cover-up.\n\n WILLIAM\n No -- they're... for my grandmother.\n She's in a hospital nearby. Thought\n I'd kill two birds with one stone.", "They look at each other. Jeremy enters, with another journalists\n in tow. Anna and William stand and shake hands formally.\n\n ANNA\n Well, it was nice to meet you.\n Surreal but nice.", "INT. WILLIAM'S CORRIDOR - DAY\n\n Spike enters through the front door. William doesn't hear him.\n Spike is reading newspapers with the Anna pictures in it.", "WILLIAM\n If you could just give me a second.\n\n Her eyes follow him as he moves toward the back of the shop and\n approaches a man in slightly ill-fitting clothes.", "William heads down the corridor and opens the door. Outside\n are hundreds of paparazzi -- an explosion of cameras and\n questions, of noise and light. The press seem to fill the\n entire street.", "It is a small shop, slightly chaotic, bookshelves everywhere,\n with little secret bits round corners with even more books.\n Martin, William's sole employee, is waiting enthusiastically.", "WILLIAM\n (seeing it on a coffee\n table)\n 'Horse and Hound.' The name's\n William Whacker. I think she might\n be expecting me.", "WILLIAM\n So, I saw you put that book down your\n trousers.\n\n THIEF\n What book?", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "WILLIAM\n Excuse me.\n\n THIEF\n Yes.\n\n WILLIAM\n Bad news.\n\n THIEF\n What?", "WILLIAM\n (caught out)\n Oh hi. It's William Thacker. We,\n ahm I work in a bookshop.", "WILLIAM\n (pause)\n Actually, I can't think really -- let\n me just have a quick look...\n\n He looks under the sheet at her breasts.", "The next day. William is hard at work, doing the accounts in a\n dark small room with files in it. Martin pops his head in.", "WILLIAM\n Yes. This one though is... very\n good.\n\n He picks up a book on the counter." ], [ "WILLIAM\n If you could just give me a second.\n\n Her eyes follow him as he moves toward the back of the shop and\n approaches a man in slightly ill-fitting clothes.", "WILLIAM (V.O.)\n ... which, well, sells travel books\n -- and, to be frank with you, doesn't\n always sell many of those.\n\n William enters.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "It is a small shop, slightly chaotic, bookshelves everywhere,\n with little secret bits round corners with even more books.\n Martin, William's sole employee, is waiting enthusiastically.", "William enters. A certain nervousness. They are alone again.", "William shrugs his shoulders. Jeremy settles at a little desk\n in the corner and makes notes. A pause. William feels he has to\n act the part. They sit in chairs opposite each other.", "WILLIAM\n Fine. Everything much the same. When\n they change the law Spike and I will\n marry immediately. Whereas you...\n I've watched in wonder. Awards, glory\n ...", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "He approaches the lifts. At the lift, he pushes the button and\n the doors open. As he is getting in, William is joined by a young\n man. His name is Tarquin.", "He is very keen, an uncrushable optimist. Perhaps without\n cause. A few seconds later, William stands gloomily behind the\n desk.", "WILLIAM\n Excuse me.\n\n THIEF\n Yes.\n\n WILLIAM\n Bad news.\n\n THIEF\n What?", "The two of them on the rooftop terrace, passing the day.\n William is reading 'The bookseller.' The terrace is small and", "Cut to the wide sweep of Hampstead Heath. William entirely\n alone. He marches up a hill... goes over the crest of it -- and", "The next day. William is hard at work, doing the accounts in a\n dark small room with files in it. Martin pops his head in.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "He returns to his desk. In the monitor we just glimpse, as does\n William, the book coming out of the trousers and put back on the", "WILLIAM\n Are you sure you...?\n\n TARQUIN\n Yes.\n\n WILLIAM\n Oh. Right.", "WILLIAM\n (caught out)\n Oh hi. It's William Thacker. We,\n ahm I work in a bookshop.", "WILLIAM\n (pause)\n Actually, I can't think really -- let\n me just have a quick look...\n\n He looks under the sheet at her breasts.", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch." ], [ "MAX\n Now you're lying.\n\n ANNA\n You're right. I told you I was bad\n at acting.\n\n Max loves this.", "WILLIAM\n She left me.\n\n ANNA\n Why?\n\n WILLIAM\n She saw through me.", "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "WILLIAM\n Would you like me to take you through\n your lines?\n\n ANNA\n Would you? It's all talk, talk, talk.", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "ANNA\n No.\n\n WILLIAM\n Do you always say 'no' to everything?\n\n Pause. She looks at him deep.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "ANNA\n You've got big feet.\n\n WILLIAM\n Yes. Always have had.\n\n ANNA\n You know what they say about men with\n big feet?", "They are walking.\n\n ANNA\n I shouldn't have done that. I\n shouldn't have done that.\n\n WILLIAM\n No, you were brilliant", "ANNA\n Oh my God. And they got a photo of you\n dressed like that?\n\n WILLIAM\n Undressed like this, yes.\n\n ANNA\n Jesus.", "WILLIAM\n Right. No one. I mean, I'll tell\n myself sometimes but... don't worry\n -- I won't believe it.\n\n ANNA\n Bye.", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "WILLIAM\n I appreciate that absolutely.\n (changing subject\n tactfully)\n Is that the film you're doing?\n\n ANNA\n Yes -- start in L.A. on Tuesday.", "WILLIAM\n (pause)\n You're lovelier this morning than you\n have ever been.\n\n ANNA\n (very touched)\n Oh.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA\n I'm rash and I'm stupid and what\n am I doing with you?\n\n WILLIAM\n I don't know, I'm afraid." ], [ "William and Anna step outside. From inside they hear a massive\n and hysterical scream of the friends letting out their true\n feelings. William is a little embarrassed.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "WILLIAM\n She left me.\n\n ANNA\n Why?\n\n WILLIAM\n She saw through me.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "WILLIAM\n And I think the book is the poorer for\n it.\n\n Anna smiles her biggest smile of the day. He is helping.", "He wanders off taking off his t-shirt.\n\n WILLIAM\n I better leave.\n\n Anna just nods.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n You disappeared.\n\n WILLIAM\n Yes -- I'm sorry -- I had to leave... I\n didn't want to disturb you.", "WILLIAM\n Okay -- perfect timing as ever -- hold\n the fort for a second will you, Martin?\n\n Martin is left with Anna.", "WILLIAM\n Oh please sod off.\n\n ANNA\n Okay.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "They are walking.\n\n ANNA\n I shouldn't have done that. I\n shouldn't have done that.\n\n WILLIAM\n No, you were brilliant", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "HONEY\n William has just turned down Anna Scott.\n\n SPIKE\n You daft prick!", "INT. RESTAURANT - NIGHT\n\n A very smart Japanese restaurant. We see Anna and William\n sitting, near the end of their meal.\n\n ANNA\n So who left who?", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?" ], [ "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "He is pointing straight at William, who has his hand up.\n\n WILLIAM\n Yes -- Miss Scott -- are there any\n circumstances in which you two might be\n more than just friends?", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "He approaches the lifts. At the lift, he pushes the button and\n the doors open. As he is getting in, William is joined by a young\n man. His name is Tarquin.", "Cut to the wide sweep of Hampstead Heath. William entirely\n alone. He marches up a hill... goes over the crest of it -- and", "And after a couple of seconds -- wow -- she smiles.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "William can't think his way out of this.\n\n WILLIAM\n Yes. That's right. Bitch.\n\n He turns to go, but is accosted by Karen.", "He comes down wearing it. Lots of hearts, saying, 'You're the\n most beautiful woman in the world.'\n\n WILLIAM\n Well, yes, that's perfect. Well\n done.", "WILLIAM\n What?\n\n BERNIE\n Well, you know, anybody saying they\n want to go out with you is... pretty\n great... isn't it...", "HONEY\n William has just turned down Anna Scott.\n\n SPIKE\n You daft prick!", "WILLIAM\n Gardens. All these streets round\n here have these mysterious communal\n gardens in the middle of them.\n They're like little villages.\n\n ANNA\n Let's go in.", "WILLIAM\n (pause)\n Actually, I can't think really -- let\n me just have a quick look...\n\n He looks under the sheet at her breasts.", "William goes for the cover-up.\n\n WILLIAM\n No -- they're... for my grandmother.\n She's in a hospital nearby. Thought\n I'd kill two birds with one stone.", "Only two tables are being used. William and his friends are\n on their first course. Bernie reads an \"Evening Standard,\"\n with a picture of Anna and Jeff at Heathrow Airport.", "It is a small shop, slightly chaotic, bookshelves everywhere,\n with little secret bits round corners with even more books.\n Martin, William's sole employee, is waiting enthusiastically.", "The lift lands. William gets out. So does Tarquin. Rooms\n 30-35 are to the left. 35-39 to the right. William heads right.\n So does Tarquin.", "William swings out of the little shop -- he turns the corner of\n Portobello Road and bumps straight into Anna. The orange\n juice, in its foam cup, flies. It soaks Anna.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "TESSA\n Oh hello, you're in a wheelchair.\n\n BELLA\n That's right.\n\n MAX\n And this is William." ], [ "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "The darkness of the living room. We see Anna in the shadow.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "INT. WILLIAM'S KITCHEN - DAY\n\n Anna is on the phone. Spike is blithely heading downstairs to\n the kitchen in just his underpants.", "William and Anna step outside. From inside they hear a massive\n and hysterical scream of the friends letting out their true\n feelings. William is a little embarrassed.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n Both.\n\n INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT\n\n They are walking up the stairs -- and stop at the top.", "WILLIAM\n Jesus Christ.\n\n He comes back inside, snapping the door behind him. Anna is in\n the kitchen.\n\n ANNA\n What?", "ANNA\n This is certainly... ah...\n\n WILLIAM\n I only found out you were here\n yesterday.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in.", "William enters -- and there stands Anna -- in a simple blue\n skirt and top.\n\n ANNA\n Hi.\n\n WILLIAM\n Hello.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "INT. WILLIAM'S DINING ROOM\n\n Anna and William. Sat down at table. There's a picture\n hanging on the wall behind." ] ]	[ "Who lives with William Thacker?", "What is Will mistaken for when he goes to visit Anna at the Ritz Hotel?", "Who is Jeff King?", "What do Max and Bella do to help Will move on from Anna?", "Why does Anna come to Will's house to hide out?", "Why does Will refuse to get back together with Anna after apologizes?", "What is the present that Anna leaves for Will?", "Where does Will race off to catch Anna to proclaim his love?", "What does the montage show in their future at the end of the story?", "What kind of store does Will own?", "Who does Will live with?", "Why does Will ask Anna to come to his house the first time?", "What is Anna's profession?", "Where do Will and Anna go after him being mistaken for a journalist?", "Why does Will pretend to be a waiter in Anna's hotel room?", "Why do Anna and Will break up the second time?", "What does Anna tell her costar about Will when he shows up to her set?", "Why does Anna tell her costar that Will is no one important?", "Who tells Will he is daft for turning Anna down?", "What painting does Anna fall in love with?", "How are the reporters notified of Anna's prince at Will's house?", "Who does Will pretend to be when he gets to Anna's hotel and finds her boyfriend there?", "Who's birthday party does Anna attend with Will?", "What publication does Will pretend to work for?", "What is Will's profession?", "Why does Anna say she lied about Will when talking to her costar?", "Which of Will's friends lambast him for leaving Anna?", "Who sets Will up on a series of blind dates?", "Why is Anna upset when she shows up unexpectedly at Will's house?" ]	[ [ "A Welshman by the name of Spike.", "Spike" ], [ "He is mistaken for a journalist.", "A journalist." ], [ "He is Anna's American boyfriend who showed up unannounced.", "An American film star." ], [ "They set Will up on a series of blind dates.", "Set him up on dates" ], [ "She needs to hide because some nude photos of her were released and reporters are trying to find her.", "Nude photos of her were released" ], [ "He is convinced that they will just break up again and he could not stand to see her famous face everywhere.", "Will says he can't handle another breakup" ], [ "The present is the original Marc Chagall painting that she saw a poster of at his home (La Mariee).", "the original La Mariee" ], [ "He races to Anna's press conference at the Savoy Hotel.", "The Savoy Hotel " ], [ "The story ends showing them married with a baby on the way.", "Them getting married and Anna being pregnant." ], [ "A book store", "An independent book store." ], [ "An eccentric and care free man named Spike", "Spike" ], [ "He spilled his drink on her clothes and she needs to change", "So she can change" ], [ "She's an actress", "Acting " ], [ "His sister's birthday party", "His sisters birthday party" ], [ "Her boyfriend shows up unannounced ", "To avoid rousing the suspicion of Anna's boyfriend." ], [ "Reporters find her at Will's house, and Spike answers the door in his underwear, and Anna is upset by the scandal that it will cause", "Anna thinks Will desires publicity" ], [ "That he is no one important ", "That he is a nobody." ], [ "Because the costar is a gossip and she was being discreet", "The costar is a gossiper" ], [ "Spike", "Spike." ], [ "La MariĂŠe", "La Mariee" ], [ "Spike was overheard at a pub", "Spike blabbed about it." ], [ "A room service waiter", "A room service waiter" ], [ "His sister Honey", "His sisters " ], [ "Horse & Hound", "Horse & Hound" ], [ "Bookstore owner", "An independent bookstore owner" ], [ "The costar is a gossip", "To be discreet " ], [ "Spike", "Spike." ], [ "Max and Bella", "Max and Bella" ], [ "Nude photos of her had been leaked", "Nude photos of her have been published." ] ]	70b3f55e376d461b1cb7dc5005c02091478e2e44	train
[ [ "and take out each of the Generals, knocking them back into\n the PORTAL! They're plucked out of mid-air by cloudy tendrils\n and pulled back!", "ON PORTAL - It begins to close. The Generals struggle to get\n out, only now, we see they are HUMAN... their curse broken...\n and an eternity of pain and suffering ahead of them.", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "90 90\n Winters stands with Four Generals in his office, overseeing\n the portal. Ready.", "GENERAL AGUILA\n Challenge accepted.\n 97 The Portal worsens behind them. Sound and sight. The Eight 97", "like a sliding puzzle. Then they start to randomly SINK\n further into the ground. Light pours out of them, until all\n of them give way to create THE PORTAL.", "ORNAMENTAL STAND - a \"stargate\" of sorts. Yaotl and his men\n are unmoving... as they begin a ceremony. Yaotl looks to the", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "BEGUN to feel our wrath!\n The brothers are screwed. They can't stop the Generals. Until-", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "CLOSE ON LEO - A SHADOW suddenly falls over him. He looks up\n to see the FOUR GENERALS surrounding him. He tries to fight", "precipice of the Portal, being pulled back. They struggle to\n stand.\n The brothers look at each other. The place is violent with a\n whirlwind and screaming Monsters." ], [ "DONATELLO\n I know. Isn't it great?\n A beat. Mikey sighs, then walks back downstairs to the LIVING", "DONATELLO\n New York City.\n\n APRIL\n Winters Tower.", "DONATELLO\n Better hit the tunnels, guys.\n Donnie uses a small prod to prop open a MANHOLE COVER. Don,", "LEONARDO\n Just enjoying being home.\n hey walk past Donnie's Chop Shop room as - BOOM! - something\n explodes and smoke pours out under his door.", "RAPHAEL\n Leo's home.\n Donatello wakes up, looks around. LIGHTS UP when he sees Leo.", "DONATELLO\n Moneymoneymoneymoney.\n As Donnie walks away, Mikey LOUDLY CLEARS HIS THROAT. Don", "MICHAELANGELO\n Yes... sir.\n\n DONATELLO (O.S.)\n That's a good boy.", "DONATELLO (O.S.)\n Um... make that another hour.\n Leo sighs. Splinter walks by, not stopping.", "DONATELLO\n His vital signs seem to be okay.\n (opens his eye)\n Pupil dilation is normal.\n Raph weakly pushes Donnie's head away.", "N DON - He's hunched over a work table, back to Mikey.\n Tinkering as always. Wild inventions line the walls, some", "DONATELLO\n Temper is normal too.\n (to others)\n He's going to be fine. Health-wise,", "DONATELLO\n Leo!!\n ON MIKEY - He wakes up. A Cheese Doodle stuck to his upper\n snout. Really groggy.", "DONATELLO (O.S.)\n All part of the cover, my friend.\n\n CUT TO:", "ICHAELANGELO\n Whoa... I am in the wrong line of\n work. Nice pad, kids.\n Don immediately starts checking Raph out.", "DONATELLO\n Look!\n OFF DON'S LOOK - the mayhem builds at the other end of the\n vast lobby. The cells are glowing. The portal worsens.", "Splinter surrenders the cake. As Don walks away,\n Michaelangelo reaches into his bag and secretly passes\n Splinter a smaller wrapped piece.", "MICHAELANGELO\n I guess that would be a \"no\".\n ON RAPH - He finds Leo!\n\n DONATELLO\n Out of the way, please.", "Casey wheels the crate inside. The gate closes only KARAI HAS\n NOW DISAPPEARED! Casey opens the front hatch, revealing Don,", "a mesh of wires and circuitry powering the entire lair.\n Donatello runs up to Mikey. Mikey robotically hands him the\n wad of money from the party.", "MICHAELANGELO\n We don't see much of `em anymore.\n April seems to be working a lot -" ], [ "MICHAELANGELO\n (ventriloquist style)\n Just get me outta here, dude.\n ON DON - He hits some switches. Monitors change.", "MICHAELANGELO\n (from inside mascot head)", "MICHAELANGELO\n (put-on voice)\n Hyuk! Cowabunga dudes! Bye!\n\n KIDS", "MICHAELANGELO\n Aw nuts.\n Mikey suddenly grips his face back into a tight SMILE,\n frozen. He looks over and waves at the man who confusingly\n waves back.", "MICHAELANGELO (O.S.)\n Heheh... score.\n\n CUT TO:", "MICHAELANGELO\n All's I'm saying Donnie is that no\n one would notice if YOU did one of\n these gigs every now and again.", "MICHAELANGELO\n Honeeeeey! I'm hooome!\n As Mikey slides down the banister, the cam dollies around", "MICHAELANGELO\n (sighs - to himself)\n Every day it's the same thing. Wake", "MICHAELANGELO\n Okay... just a little bit creepy.\n\n (SNEEZES)\n Oh gawd. I think he's in my n-n-", "MICHAELANGELO\n\n YEEEEEHAAAAAAWWWW!!\n\n \n\n 13.", "MICHAELANGELO\n Domo arigato, dude.\n Mikey walks into the room and plops down on a sofa. Hits a", "MICHAELANGELO\n What?! Why does everyone always\n call ME out?\n A long beat. Then...", "MICHAELANGELO\n Yes... sir.\n\n DONATELLO (O.S.)\n That's a good boy.", "MICHAELANGELO\n Well, if panache is French for\n \"punching bag\", I'd have to agree\n with ya.", "ICHAELANGELO\n (ventriloquist style)\n Righteous.", "MICHAELANGELO\n Teamwork. The more you know...\n Don clocks Mikey behind the head.\n\n LEONARDO", "MICHAELANGELO\n You kiddin' me?! I mean, no offense\n Donnie, but you ain't exactly the\n biggest hitter on the bench.", "MICHAELANGELO\n Well?! WHAT NEXT?!!!\n\n APRIL\n No one knows. The legend stops\n there.", "MICHAELANGELO", "MICHAELANGELO" ], [ "WINTERS\n\n AAAAAAAAAAAAGGGH!!!\n\n \n\n \n\n INT. WINTERS BEDROOM - DAWN", "WINTERS\n We were so close... so close.\n Winters collapses on the floor. Head in hands.", "WINTERS\n Fascinating...\n\n SPLINTER\n Mister Winters. We mean you no\n harm.", "WINTERS", "WINTERS", "WINTERS", "INT. WINTERS OFFICE", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "AGUILA speaks in a gravelly, hardened voice. He towers over\n Winters by a foot. Clearly the leader of the four.", "INT. WINTERS OFFICE - LATER", "WINTERS\n Chris! How's it going?\n Winters nearly crushes Casey's hand in his grip.", "WINTERS ASSISTANT\n The board is waiting.\n\n WINTERS\n Excellent.\n He walks to the large bay windows that overlooks the city.", "WINTERS\n Well, I guess I'm just special that\n way.\n Winters walks over to his desk. The Statue looms behind them.", "WIPE TO:\n\n \n\n \n\n INT. WINTERS LOBBY - DAY", "CUT TO:\n\n \n\n \n\n INT. WINTERS LOBBY - SUNSET", "WINTERS\n Oh no, Miss O'Neil.\n looks back to statue)\n Like you said... just a story.\n inters doesn't break his stare.", "They flank Winters, who is just loving the theatricality of\n it all.\n The Foot Ninja leap back. Winters remains confident and", "After they leave, we pause for A BEAT on Winters. Quiet.\n Tired. Contemplative.", "WINTERS ASSISTANT\n It's time for your morning workout.\n\n \n\n \n\n INT. WINTERS WORKOUT ROOM", "72 72\n\n INT. WINTERS STUDY - CONTINUOUS" ], [ "Raph takes a ready stance. Leo does too. And they fight.\n Brother vs. brother. Katana vs. Sai. Technique vs. Heart.", "The Turtles collapse onto the floor, back to the portal.\n Silent. Splinter runs over to them.", "LOOK OUT!\n Winters dives in and pushes the Turtles out of way as the\n Creature flies in and knocks the Generals back into the", "Splinter looks at the Turtles. Busted, as we-\n\n X-DISSOLVE TO:", "RAPHAEL\n Nah. We kick butt.\n Raph jumps forward! Leo rolls his eyes, as all the Turtles", "are ready to fight.\n ...and the fight BEGINS! The Turtles leap, pounce and strike\n with all the exuberance and intensity they've ever had.", "DISSOLVE TO:\n\n \n\n \n\n INT. TURTLES LAIR - LATER", "52 52\n\n INT. SPLINTER'S ROOM - LATER\n\n The Turtles are kneeling before their sensei.", "HOLY CRAP!!!\n\n RAPHAEL\n\n WE DID IT!\n\n TURTLES", "About five more to go. Splinter also flips around and takes\n out another demon trying to escape. Splinter actually seems\n to be having FUN.", "RAPHAEL\n Nice of ya's ta join me.\n But the Turtles eventually get cornered. And just as the\n Creature closes in-\n\n MICHAELANGELO", "Raph gets separated at one point, jumping off the side of the\n building to catch up, and swings himself back onto the bottom\n floor to await the others.", "We finally get to see how much of an ass-kicker Master\n Splinter is. Same with April, who squares off against Karai.", "Leo accidentally slips, PLOWING Raph face-first into a brick\n wall. Raph, convinced Leo did it on purpose, uses his next\n opportunity to hurl Leo dangerously high and far over a", "SPLINTER\n What kind of business?\n\n KARAI\n The kind that involves familiar\n faces from your past...\n ON TURTLES - They all look at each other.", "YEAH! WHOOHOO! WE DID IT!\n The brothers high five one another. Splinter smiles proud.", "BACK IN LOBBY - The Turtles and Generals are at a standstill.\n Turtles all get thrown into a pile between the Generals.", "Splinter surrenders the cake. As Don walks away,\n Michaelangelo reaches into his bag and secretly passes\n Splinter a smaller wrapped piece.", "attacks. Stalemate. She gestures to the Foot as they use this\n opportunity for their escape. As they leap away, Karai looks\n back at the Turtles...", "It ends with Raph pinning Leo to the ground... holding a sai" ], [ "PLINTER\n Ah, Raphael. Your brothers and I\n were just discussing the vigilante\n Nightwatcher once again.", "RAPHAEL\n Wow, sounds... exciting.\n\n LEONARDO\n Save the brute vigilante junk for\n that Nightwing guy.", "RAPHAEL (O.S.)\n Sounds like four turtles I used ta\n know.\n ON DOOR - Raphael walks in, his Nightwatcher costume no where\n in sight.", "RAPHAEL\n If you mess with one of us-\n (looks around)\n -you mess with all of us.\n Aguila smiles at their chutzpa.", "RAPHAEL\n This should explain most of it. The\n legacy of the city's newest hero.\n Compliments of the fanboy over\n there. M", "RAPHAEL\n Sometimes there are lines that even\n the police can't cross. Someone has\n to be willing to do what needs to\n be done. And to do that, fear\n becomes a weapon.", "MIKEY/RAPH\n \"Nightwatcher\".", "Night's CHAIN, and pulled down. Raph's visor flips up.", "Raphael's on edge from the mention of Nightwatcher already.\n His attention doesn't break from Donatello.", "RAPHAEL\n\n AAAAAAAAGHH!!\n He mule kicks Leo back. Leo tumbles back, still in shock.\n They yell at each other through the pouring rain.", "RAPHAEL\n We rescue our brother... and save\n New York City.\n Splinter stands to his side.\n\n SPLINTER\n Together.", "He pulls it out, placing it in his NIGHTWATCHER SCRAPBOOK,\n overflowing with paper clippings and articles on the\n vigilante.", "Raph's loving this. Walks to the Burglar and picks him up.", "Raph passes out as we-\n\n WIPE TO:", "A WHOLE lot worse... I know you\n must be ashamed of me, father.\n Raphael is lost in his guilt. Splinter kneels in front of", "SPLINTER\n Raphael. You always bear the\n world's problems on your shoulders.\n It is an admirable quality when you", "SPLINTER\n Raphael! Kneel.\n Raph stops. Breathing heavy. Falls in line - walking to\n Splinter and dropping to his knees in front of his father.", "RAPHAEL\n Yeah... whatever.\n - and bolts out the door.\n\n CUT TO:\n\n \n\n A", "(GROANS)\n Raph can't take it any more. He draws his sais and thrusts\n them at Winters. THAT gets his attention. Winters looks up in", "ASEY\n \"And a legend was born\". So what\n was your handle before that?\n\n RAPHAEL\n I kinda liked \"The Midnight\n Marauder\"..." ], [ "the TMNT. He is well-kempt, still walks with a cane, and has\n the same sparkle in his eye. He approaches Mikey. Silent.", "Raph gets separated at one point, jumping off the side of the\n building to catch up, and swings himself back onto the bottom\n floor to await the others.", "RAPHAEL\n Nice of ya's ta join me.\n But the Turtles eventually get cornered. And just as the\n Creature closes in-\n\n MICHAELANGELO", "Raph takes a ready stance. Leo does too. And they fight.\n Brother vs. brother. Katana vs. Sai. Technique vs. Heart.", "Leo accidentally slips, PLOWING Raph face-first into a brick\n wall. Raph, convinced Leo did it on purpose, uses his next\n opportunity to hurl Leo dangerously high and far over a", "RAPHAEL\n Nah. We kick butt.\n Raph jumps forward! Leo rolls his eyes, as all the Turtles", "45 45\n\n INT. TURTLES LAIR - TRAINING DOJO\n\n Leo feverishly works out. He stops, looking up, panting.", "ON TURTLES - Raph and Leo GLARE at one another while they\n eat. Don is pouring over a THICK BOOK while Mikey sits with\n his forehead on the table.", "Raph, Mikey, April and Splinter.", "DISSOLVE TO:\n\n \n\n \n\n INT. TURTLES LAIR - LATER", "Raph RUNS AWAY, across a few rooftops. Away from his brother.\n He suddenly STOPS and looks back at Leo, small in the\n distance.", "M\n ikey and Don high five. Leo and Raph aren't amused. They\n stare down. Raph does his BULLY FLINCH fake-lunge... only Leo\n doesn't twitch. Suddenly-", "Aguila moves forward to Leo. Raph steps in beside him,\n defiant. Then Mikey. Then Don.", "Splinter surrenders the cake. As Don walks away,\n Michaelangelo reaches into his bag and secretly passes\n Splinter a smaller wrapped piece.", "RAPHAEL\n We rescue our brother... and save\n New York City.\n Splinter stands to his side.\n\n SPLINTER\n Together.", "RAPHAEL\n I did something... I did something\n really stupid, Master Splinter.\n\n SPLINTER\n Go on...", "We finally get to see how much of an ass-kicker Master\n Splinter is. Same with April, who squares off against Karai.", "- RAPHAEL, THE RED-MASKED NINJA TURTLE!\n He reaches back and pulls out the KNIFE from his SHELL. Looks", "Mike and Leo jump in. Leo looks back, Raph is still stewing.", "TURTLES\n Morning, sensei.\n Splinter makes himself a TEA. Room is SILENT." ], [ "Raph takes a ready stance. Leo does too. And they fight.\n Brother vs. brother. Katana vs. Sai. Technique vs. Heart.", "are ready to fight.\n ...and the fight BEGINS! The Turtles leap, pounce and strike\n with all the exuberance and intensity they've ever had.", "Leo accidentally slips, PLOWING Raph face-first into a brick\n wall. Raph, convinced Leo did it on purpose, uses his next\n opportunity to hurl Leo dangerously high and far over a", "RAPHAEL\n Nah. We kick butt.\n Raph jumps forward! Leo rolls his eyes, as all the Turtles", "Aguila moves forward to Leo. Raph steps in beside him,\n defiant. Then Mikey. Then Don.", "Raph and Aguila duke it out in and around the MONSTER CELLS.\n It's a Jackie Chan-inspired sequence, where they have to be\n aware of their environment to avoid defeat.", "RAPHAEL\n Nice of ya's ta join me.\n But the Turtles eventually get cornered. And just as the\n Creature closes in-\n\n MICHAELANGELO", "About five more to go. Splinter also flips around and takes\n out another demon trying to escape. Splinter actually seems\n to be having FUN.", "Raph gets separated at one point, jumping off the side of the\n building to catch up, and swings himself back onto the bottom\n floor to await the others.", "LOOK OUT!\n Winters dives in and pushes the Turtles out of way as the\n Creature flies in and knocks the Generals back into the", "ON TURTLES - Raph and Leo GLARE at one another while they\n eat. Don is pouring over a THICK BOOK while Mikey sits with\n his forehead on the table.", "YEEEAAAAARGGHHH!!!!!\n The creature stops. Confused. So are the other three turtles.", "6\n\n \n\n 9 69\n\n INT. TURTLES LAIR - EVENING", "Suddenly - BOOM! - Gato finds them. He tries to smash through\n the steel door with his bare hands!\n Raph leans his body into the door as a last ditch effort.", "- The Generals capture a Sloth-like creature, jumping in\n throughout rafters above. The Foot try to help by blocking\n exits.", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "DISSOLVE TO:\n\n \n\n \n\n INT. TURTLES LAIR - LATER", "Mike and Leo jump in. Leo looks back, Raph is still stewing.", "104 104\n All four turtles are horsing around. They get geared up...", "UT TO:\n\n \n\n \n\n INT. TURTLES LAIR - EVENING" ], [ "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "BEGUN to feel our wrath!\n The brothers are screwed. They can't stop the Generals. Until-", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "GENERAL AGUILA\n Silly children. We are immortals\n made of stone! The Earth has only", "SPLINTER\n Yes. Yes, my sons.\n The Generals can't keep up. It's enough to distract them to", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "Their bodies \"glow\" with a red inner life, seeping through\n their stone cracks and piercing eyes.\n The Generals are all ANIMAL-THEMED - Mute and powerful Ape-", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "quickly look at one another. Know what they have to do.\n They all leap in the way, standing between Winters and his\n backstabbing Generals.", "distinct armor as the Four Stone Generals - in human form.", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "CLOSE ON LEO - A SHADOW suddenly falls over him. He looks up\n to see the FOUR GENERALS surrounding him. He tries to fight", "QUICK SHOTS OF EACH GENERAL. The walk along side Yoatl.\n Possibly slo-mo. We will come to recognize them through their", "The Generals turn and walk-push the Foot out of the door.\n They move to fight back, but Karai waves her hand." ], [ "Splinter walks through the lair. It's empty. He walks past\n their \"trophy room\". He places the ornate head of WINTERS'\n CANE on the shelf.", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "Splinter surrenders the cake. As Don walks away,\n Michaelangelo reaches into his bag and secretly passes\n Splinter a smaller wrapped piece.", "Splinter smiles. Reaches into a box and takes out a similar\n MEDALLION to the one given to Leonardo.", "About five more to go. Splinter also flips around and takes\n out another demon trying to escape. Splinter actually seems\n to be having FUN.", "SPLINTER\n Enter.\n Leo walks in and kneels in front of Splinter.", "SPLINTER\n He-heh. You have done well, my son.\n Donatello walks to the fridge and opens it - FILLED with", "figure. YAOTL. His helmet is impenetrable, with eye slits.\n Note - the flashback is dark, shadowed and monochromed.", "ABOVE FIREPLACE - is a suit of armor... THE suit of armor of\n none other than Yaotl the Conqueror. He looks at it with\n heavy thought. Then-", "SPLINTER\n My sons, what-\n Splinter's eyes go wide. He looks at his boys listening to\n the TV intently. Mikey nurses his sore head.", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "his helmet. Red cloth spills out. He turns around as we see-", "SPLINTER\n But I-\n (changes attitude)\n -Donatello! I am your Master!", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "his helmeted head repeatedly to the floor! It lunges forward,\n mouth open as Night backhands it with a PLATE. The Demon", "Splinter watches the growing tension with concern.", "Splinter walks over to them. CAM ADJUSTS to show Karai and\n the Foot Ninja standing there. Silence. Finally, Karai steps\n forward -", "SPLINTER\n Raphael! Kneel.\n Raph stops. Breathing heavy. Falls in line - walking to\n Splinter and dropping to his knees in front of his father.", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "SPLINTER\n Leonardo? R\n\n APHAEL\n (beat, ashamed)\n Yes.\n Splinter is grim. Nods. But he moves on." ], [ "RAPHAEL\n\n AAAAAAAAGHH!!\n He mule kicks Leo back. Leo tumbles back, still in shock.\n They yell at each other through the pouring rain.", "RAPHAEL\n Yeah... whatever.\n - and bolts out the door.\n\n CUT TO:\n\n \n\n A", "RAPHAEL\n You know I ain't much on speeches.", "RAPHAEL\n Thank you... father.\n Mikey bursts in the door, frantic.", "RAPHAEL\n Listen, I - I'm sorry.\n\n \n\n 9", "RAPHAEL\n If you mess with one of us-\n (looks around)\n -you mess with all of us.\n Aguila smiles at their chutzpa.", "RAPHAEL\n (awkward beat/fake yawn)\n Well, I'm goin' to bed.\n He leaves.", "RAPHAEL\n I can only hope, Mikey. I can only\n hope...\n Leo disapprovingly flips through the book.", "RAPHAEL\n So... congratulations.\n\n LEONARDO\n Thanks.", "RAPHAEL\n I thought he'd never shut up.\n WIDER - The portal EXPLODES in a upwards funnel. Silence.\n\n MICHAELANGELO", "LEONARDO\n R-raph?\n\n (THINKS)\n What?\n But Raph doesn't feel like explaining. Refuses defeat.", "RAPHAEL\n Yer tellin' me...\n Casey looks at his old bud.\n\n CASEY\n Raph?", "RAPHAEL\n And we did... but turns out I was\n the only one who was willing to do", "Raph passes out as we-\n\n WIPE TO:", "RAPHAEL\n Later!\n Raph RUNS OFF toward the action.\n\n LEONARDO", "RAPHAEL\n Hop on.\n Raph leaves Gato in a cloud of dust... but not for long. Gato", "RAPHAEL\n\n (GRINNING)\n You keep on playing with fire,\n little man, you might just get\n burnt.", "RAPHAEL\n Sometimes there are lines that even\n the police can't cross. Someone has\n to be willing to do what needs to\n be done. And to do that, fear\n becomes a weapon.", "RAPHAEL\n\n L\n eo!!! Hang on!!\n But the Caravan is too fast, and eventually loses Raph.\n\n APHAEL", "stops. He collapses back. Almost ashamed of what he's done.\n Leo just can't believe that Raph bested him. They pant\n heavily. The rain dies down." ], [ "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "Cool shots of Yaotl. His armor, his stance, etc.", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "And then he stops. Dust slowly settles and smoke dissipates.", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "BEAT)\n It was like blood in the water for\n a predator like Yaotl.", "ABOVE FIREPLACE - is a suit of armor... THE suit of armor of\n none other than Yaotl the Conqueror. He looks at it with\n heavy thought. Then-", "figure. YAOTL. His helmet is impenetrable, with eye slits.\n Note - the flashback is dark, shadowed and monochromed.", "PANTERA\n Let's see if a ghost can die, then.\n Pantera SCREAMS and runs to Leo and starts swinging! At the\n CLASH of sword and machete, we-", "GENERAL AGUILA\n Two creatures remain, my lord.\n A long beat. Winters closes his eyes.", "loving his entire life. Of FEELING.\n (gestures to portal)\n So he prefers to end it all. End", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action." ], [ "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "Cool shots of Yaotl. His armor, his stance, etc.", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "BEAT)\n It was like blood in the water for\n a predator like Yaotl.", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "ABOVE FIREPLACE - is a suit of armor... THE suit of armor of\n none other than Yaotl the Conqueror. He looks at it with\n heavy thought. Then-", "figure. YAOTL. His helmet is impenetrable, with eye slits.\n Note - the flashback is dark, shadowed and monochromed.", "ORNAMENTAL STAND - a \"stargate\" of sorts. Yaotl and his men\n are unmoving... as they begin a ceremony. Yaotl looks to the", "fascination with these particular\n works of art? I'd never even heard\n of the Legend of Yaotl until we\n met.", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "ON YAOTL - He takes off his helmet... IT'S WINTERS HIMSELF.", "(\n shaking/nervous)\n The jungle god that punishes those\n who prey upon the weak.\n (looks scared to Pantera)\n He's coming... for us." ], [ "DONATELLO\n What can't be, April?\n April sits down on the floor with the disk. Trying to figure\n things out. Casey leans down to her.", "APRIL\n Yeah.\n They sit on that for a moment. Casey leans in for a kiss.\n April doesn't notice. Awkward. Casey changes his mind.", "LEONARDO\n Oof! You're a heavy boy, aren't\n you?\n They both land on a fire escape, as Night clamors to the top.\n Leo wastes no time in catching up.", "APRIL\n I cleaned out my archives on\n ancient South America. Might have\n found something useful.\n She takes out a hand-drawn map.", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "LEONARDO\n My training is now complete.\n The camera lifts away from Leo... and then PLUNGES into the", "LEONARDO\n Say, what's up with April and\n Casey? I expected them to drop by\n after I got back.", "LEONARDO\n Nice try, amateur.\n Leo crosses the busy street while still maintaining his", "MICHAELANGELO\n We don't see much of `em anymore.\n April seems to be working a lot -", "LEONARDO\n (thinks, then realizes)\n Oh, you didn't.\n Raph sheepishly shrugs as we-\n\n SMASH CUT TO:", "WINTERS (V.O.)\n It was a time long before the\n Mayans, April. Long before the", "ON APRIL - She's listening to Casey... maybe her man-boy is\n growing up. Raph knows he can't win.", "APRIL\n Yes. It was today that I returned\n to you after being in a deadly\n jungle for almost a month.", "APRIL\n Casey, I think we need to talk.\n (turns around)\n I don't want- whoa.", "SPLINTER\n Leonardo? R\n\n APHAEL\n (beat, ashamed)\n Yes.\n Splinter is grim. Nods. But he moves on.", "APRIL\n ...yes.\n She wraps her arms around his waist and holds tight for the\n adventures that await...\n CAM FOLLOWS for a beat, then rises up the buildings to-", "Casey is enjoying the hell out of it. High flying, adrenaline\n rush. He even catches April checking him out, and vice versa.\n April suddenly spots an opening to the front doors!", "MICHAELANGELO\n Well?! WHAT NEXT?!!!\n\n APRIL\n No one knows. The legend stops\n there.", "LEONARDO\n You're playing video games on the\n possible eve of Armageddon, Mikey.\n\n MICHAELANGELO", "SPLINTER\n I've missed you, Leonardo.\n\n L\n eo hugs Splinter." ], [ "of New York. But hey, that's just\n me.\n Don elbows Mikey back in line.", "CUT TO:\n\n \n\n \n\n EXT. NEW YORK CITY STREETS", "ostentatious bedroom of MAXIMILIAN WINTERS, a young mid-40's.\n Famous NYC entrepreneur.\n inters is large, handsome, built and powerful in every", "EXT. NEW YORK CITY STREET", "EONARDO\n So what do we have? We have someone\n with a lot of money.", "18.\n NYC DIRT REPORTER(cont'd)\n Although the victims have been", "ventually the NYPD peter out. The mugger looks back. Smiles.", "EXT. NEW YORK CITY STREETS - MOMENTS LATER", "CUT TO:\n\n \n\n \n\n EXT. NYC ROOFTOPS - NIGHT", "78 78\n\n EXT. NEW YORK CITY STREETS - CONTINUOUS", "DONATELLO\n New York City.\n\n APRIL\n Winters Tower.", "EXT. NEW YORK CITY STREETS - CONTINUOUS\n\n\n 18 18", "EXT. NEW YORK CITY STREET\n\n\n 102 102", "CUT TO:\n\n \n\n \n\n EXT. NYC SHORELINE - NIGHT", "drive away. NYC civilians point to the sky, worried. PUSH IN\n on a TV/STEREO STORE WINDOW - Simon's Electronics.", "11 11\n\n EXT. NEW YORK CITY STREET - CONTINUOUS", "16 16\n\n EXT. NEW YORK CITY STREETS - LATER", "59 59\n\n EXT. NYC ROOFTOPS - CONTINUOUS", "EXT. NEW YORK CITY BACK ALLEYS/STREETS - NIGHT", "OFFICERS clamor after him. The Mugger is a jackrabbit -\n hopping newspaper machines, rolling under passing trucks and\n doing anything he can to avoid arrest." ], [ "APRIL\n Yeah.\n They sit on that for a moment. Casey leans in for a kiss.\n April doesn't notice. Awkward. Casey changes his mind.", "INT. APRIL AND CASEY'S LOFT APARTMENT - CONTINUOUS", "INT. APRIL AND CASEY'S LOFT APARTMENT - CONTINUOUS", "APRIL\n Casey, I think we need to talk.\n (turns around)\n I don't want- whoa.", "INT. APRIL AND CASEY'S LOFT APARTMENT - LATER", "INT. APRIL AND CASEY'S LOFT APARTMENT - LATER", "APRIL\n Suit yourself.\n (she stops - a beat)\n Case?\n\n CASEY\n Yeah?\n\n APRIL", "Casey is enjoying the hell out of it. High flying, adrenaline\n rush. He even catches April checking him out, and vice versa.\n April suddenly spots an opening to the front doors!", "OFF HIS LOOK - We see APRIL, dressed stunning in a dark\n business suit at the other side of the street. She's dangling", "33.\n APRIL(cont'd)\n\n (BEAT)", "APRIL\n Guys! Front door is open. Now!\n They all charge the front door!\n\n \n\n \n\n INT. WINTERS TOWER", "Winters BEAMS, way too excited as well. April holds out her\n hand to Casey, who doesn't know what she wants. He awkwardly\n HIGH FIVES her.", "APRIL\n Hello Max.\n\n (BEAT)\n This is my... friend, Casey Jones.\n\n \n\n (", "APRIL\n ...yes.\n She wraps her arms around his waist and holds tight for the\n adventures that await...\n CAM FOLLOWS for a beat, then rises up the buildings to-", "crate. PUSH IN on it as April steps in front. Admires it with\n pride. Turns, takes out a cell phone, and hits speed dial.", "CASEY\n I missed you?\n April doesn't answer. She closes the phone. Casey slumps in\n his chair, shaking his head.", "SMASH CUT TO:\n\n \n\n \n\n INT. APRIL AND CASEY'S LOFT APARTMENT", "hand. A line of DROOL hangs from his mouth. April is\n fascinated by the story. She nudges Casey who does the\n slurp/half-snore wake up.", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "ASEY\n Aw, c'mon April! We just started!\n April just gives him \"the look\" with an eyebrow cock. Casey\n knows he can't win." ], [ "ON PORTAL - It begins to close. The Generals struggle to get\n out, only now, we see they are HUMAN... their curse broken...\n and an eternity of pain and suffering ahead of them.", "loving his entire life. Of FEELING.\n (gestures to portal)\n So he prefers to end it all. End", "like a sliding puzzle. Then they start to randomly SINK\n further into the ground. Light pours out of them, until all\n of them give way to create THE PORTAL.", "Portal! The Cloud Tendrils grab a hold of it and pull it back\n into the Portal!\n ON STARS - The Stars move out of alignment, ending the cycle.", "93.\n\n \n\n \n\n \n Aguila tries to fight his way out of the portal.", "precipice of the Portal, being pulled back. They struggle to\n stand.\n The brothers look at each other. The place is violent with a\n whirlwind and screaming Monsters.", "They trust one another, and their efficiency shows.\n ON PORTAL - More tentacles begin to come out. More claws\n surround the surface edges.", "ON PORTAL - A small DEMON makes its way out of the portal!\n Winters runs and flips through the air and then CLOBBERS IT\n with his bare hands, sending it back down!", "and take out each of the Generals, knocking them back into\n the PORTAL! They're plucked out of mid-air by cloudy tendrils\n and pulled back!", "ON CHARGING ARMY - they stop dead in their tracks. Front-lit\n by the OS portal. Don't know what to expect -\n ON PORTAL - A crackling electric circle opens to another", "HIS \"misery\" at the expense of\n ours.\n Aguila walks to the cells. The portal writhes in the bg,\n sinking into the floor.", "RAPHAEL\n I thought he'd never shut up.\n WIDER - The portal EXPLODES in a upwards funnel. Silence.\n\n MICHAELANGELO", "GENERAL AGUILA\n Challenge accepted.\n 97 The Portal worsens behind them. Sound and sight. The Eight 97", "W\n inters SMASHES the portal, stopping the slew of monsters\n from pouring out. End on a scream. Dissolve to LATER in the\n battle...", "He's taking a pounding as the door is denting with each slam\n by Gato. Casey tries to help as well.\n Gato comes close to breaking in. Very tense. Then-", "another portal could take place.\n (to herself)\n Max, what are you up to?", "BACK IN LOBBY - The light burst flies into the lobby and hits\n the circle in the middle of all the monsters' cells.\n ON CIRCLE - The pieces suddenly start to move around. Almost", "SPLINTER\n They must face them alone. As\n brothers.\n Winters debates it in his head for a beat - WHAM! - a\n tentacle from the portal slams down next to him!", "90 90\n Winters stands with Four Generals in his office, overseeing\n the portal. Ready.", "The Turtles collapse onto the floor, back to the portal.\n Silent. Splinter runs over to them." ], [ "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "together with his Four Warrior-\n Priest Generals, they pillaged\n every culture in their path.", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "CLOSE ON LEO - A SHADOW suddenly falls over him. He looks up\n to see the FOUR GENERALS surrounding him. He tries to fight", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "BEGUN to feel our wrath!\n The brothers are screwed. They can't stop the Generals. Until-", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "GENERAL AGUILA (O.S.)\n Our master fails to include crucial\n points in his tale.\n ON SHADOWS - The Four Generals thump forward.", "distinct armor as the Four Stone Generals - in human form.", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "SPLINTER\n Yes. Yes, my sons.\n The Generals can't keep up. It's enough to distract them to", "QUICK SHOTS OF EACH GENERAL. The walk along side Yoatl.\n Possibly slo-mo. We will come to recognize them through their" ], [ "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "BEAT)\n It was like blood in the water for\n a predator like Yaotl.", "together with his Four Warrior-\n Priest Generals, they pillaged\n every culture in their path.", "Aztecs and even the Olmecs. It was\n a time of legends. A time of\n greatness. The true mother culture\n of Central America.", "So, if we can cross-reference our\n current star field, positioning of\n the Stars of Kikin and backtrack\n positioning based off of the Aztec", "foot towering wall of granite and obsidian. Eagle warrior\n armor reflecting a South American design... though not from a\n specific time period. Winters rubs his hand over the stone.", "DONATELLO\n For use in an Aztec calendar.\n (picks up map)", "ABOVE FIREPLACE - is a suit of armor... THE suit of armor of\n none other than Yaotl the Conqueror. He looks at it with\n heavy thought. Then-", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "APRIL\n Azteks and Mayans.\n\n CASEY\n That's what i said.", "AGUILA speaks in a gravelly, hardened voice. He towers over\n Winters by a foot. Clearly the leader of the four." ], [ "Raph, Mikey, April and Splinter.", "ON APRIL - She's listening to Casey... maybe her man-boy is\n growing up. Raph knows he can't win.", "CASEY\n (caught - looks at both)\n Oh. I, uh -\n HUHN! - Casey tosses Karai off of him. April's eye cocks.", "APRIL\n Hello Max.\n\n (BEAT)\n This is my... friend, Casey Jones.\n\n \n\n (", "the front, we see April and Casey.\n nd on Raph in passenger seat and Mikey driving.", "Oh! Here ya go, Master Splinter.\n Mikey reaches into his bag and removes a foil-wrapped piece\n of BIRTHDAY CAKE. Splinter lights up.", "MICHAELANGELO\n Yes... sir.\n\n DONATELLO (O.S.)\n That's a good boy.", "Mikey stares at Splinter, dead pan. A beat. Then returns to\n flipping channels. He stops on a NEWS program - \"NYC DIRT\".", "DONATELLO\n What can't be, April?\n April sits down on the floor with the disk. Trying to figure\n things out. Casey leans down to her.", "the TMNT. He is well-kempt, still walks with a cane, and has\n the same sparkle in his eye. He approaches Mikey. Silent.", "LEONARDO\n Heh. Yeah... I mean, yes sensei.\n\n SPLINTER\n (to doorway)\n Raphael, your brother is home.", "RAPHAEL\n Yeah?\n\n CASEY\n Nice to see ya, man.\n Raph acknowledges. The moment is broken by a HORRIBLE SHRIEK!", "Leo paces back and forth in the main area. Splinter walks in.\n Mikey plays video games on the main TV.", "We finally get to see how much of an ass-kicker Master\n Splinter is. Same with April, who squares off against Karai.", "CAM LOWERS - as APRIL O'NEIL leaps down into frame. Dressed\n in jungle expedition gear with her head wrapped in a bandana.", "Splinter surrenders the cake. As Don walks away,\n Michaelangelo reaches into his bag and secretly passes\n Splinter a smaller wrapped piece.", "SPLINTER\n I've missed you, Leonardo.\n\n L\n eo hugs Splinter.", "SPLINTER\n My sons, what-\n Splinter's eyes go wide. He looks at his boys listening to\n the TV intently. Mikey nurses his sore head.", "MICHAELANGELO\n Yes, sensei.\n ANGLE ON - SPLINTER the Japanese rodent master and father of", "don't have much time.\n Karai runs off. April looks over at Winters. He nods, still\n hurting. April takes off after Karai, leaving Casey behind" ], [ "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "WINTERS\n\n AAAAAAAAAAAAGGGH!!!\n\n \n\n \n\n INT. WINTERS BEDROOM - DAWN", "WINTERS\n Fascinating...\n\n SPLINTER\n Mister Winters. We mean you no\n harm.", "WINTERS\n We were so close... so close.\n Winters collapses on the floor. Head in hands.", "WINTERS\n What is it?\n Winters doesn't turn around. Stays in E-FG. Cam adjusts to\n show the shape of GENERAL AGUILA in the doorway.", "They flank Winters, who is just loving the theatricality of\n it all.\n The Foot Ninja leap back. Winters remains confident and", "WINTERS", "WINTERS", "WINTERS", "WINTERS\n Oh no, Miss O'Neil.\n looks back to statue)\n Like you said... just a story.\n inters doesn't break his stare.", "ON WINTERS - He just SMILES. Content. Finally at peace. As he\n ages thousands of years in front of us... eventually turning\n to DUST and blowing away.", "WINTERS\n Well, I guess I'm just special that\n way.\n Winters walks over to his desk. The Statue looms behind them.", "INT. WINTERS OFFICE - LATER", "WINTERS\n What?\n His mind reels. Looks down at the cells. Nothing. Then it\n hits him like a ton of bricks. He turns to the Generals...", "WINTERS\n Chris! How's it going?\n Winters nearly crushes Casey's hand in his grip.", "WINTERS (V.O.)\n It was I who stood on that\n battlefield all those years ago.", "INT. WINTERS OFFICE", "AGUILA speaks in a gravelly, hardened voice. He towers over\n Winters by a foot. Clearly the leader of the four.", "WINTERS ASSISTANT\n The board is waiting.\n\n WINTERS\n Excellent.\n He walks to the large bay windows that overlooks the city.", "WINTERS\n Well, by all means then. Let's\n finish it.\n ON AGUILA - He squints. Deep in thought and not sharing." ], [ "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "Cool shots of Yaotl. His armor, his stance, etc.", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "BEAT)\n It was like blood in the water for\n a predator like Yaotl.", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "ABOVE FIREPLACE - is a suit of armor... THE suit of armor of\n none other than Yaotl the Conqueror. He looks at it with\n heavy thought. Then-", "fascination with these particular\n works of art? I'd never even heard\n of the Legend of Yaotl until we\n met.", "ORNAMENTAL STAND - a \"stargate\" of sorts. Yaotl and his men\n are unmoving... as they begin a ceremony. Yaotl looks to the", "figure. YAOTL. His helmet is impenetrable, with eye slits.\n Note - the flashback is dark, shadowed and monochromed.", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "ON YAOTL - He takes off his helmet... IT'S WINTERS HIMSELF.", "(\n shaking/nervous)\n The jungle god that punishes those\n who prey upon the weak.\n (looks scared to Pantera)\n He's coming... for us." ], [ "T\n he creature lunges down again, but this time, Night is\n ready. He fights back. Like fighting with a Chihuahua hopped", "There's a break. They circle like tigers. Renewing attacks.\n Night knows every one of Leo's moves, and counters in turn.", "DISSOLVE TO:\n\n \n\n \n\n INT. TURTLES LAIR - LATER", "zipper on his chest and then pulls off his fake turtle head.\n His trademark orange bandana spills out.\n He turns, breathing in the fresh surface air. A quiet beat", "YEEEAAAAARGGHHH!!!!!\n The creature stops. Confused. So are the other three turtles.", "BEHIND TURTLES - Glowing headlights grow larger. Closer. As -\n KERSMASH!!! The Van flies through the lobby, musical chime", "Mikey immediately \"unfreezes\" and sticks his tongue out and\n antics at the Man! Before the man can react, Mikey TEARS OUT", "Nightwatcher drops TWIN BOLOS. He twirls them with\n expertise... then motions for Leo to fight. Charge at each\n other, running through the rain, weapons drawn.", "They flank Winters, who is just loving the theatricality of\n it all.\n The Foot Ninja leap back. Winters remains confident and", "The chase continues. Night giving it his all, and Leo keeping\n up pretty easily. He throws Leo a pretty strong curveball,\n and Leo barely recovers.", "He walks directly to the Mugger with purpose. Mugger starts\n to really freak out. Driver picks him up by the collar and\n SLAMS him to the back WOODEN FENCE WALL.", "And then he stops. Dust slowly settles and smoke dissipates.", "Utter commotion. Mikey is paired with Serpiente.\n Donnie is paired with the General Mono. He uses his quick\n speed and expert staff against the hammer-weilding Statue.", "BACK IN LOBBY - The Turtles and Generals are at a standstill.\n Turtles all get thrown into a pile between the Generals.", "It SCREAMS. Fights it's restraints. Tires. Breathing heavily.\n Winters approaches, safely inches away from his fanged maw.", "He's taking a pounding as the door is denting with each slam\n by Gato. Casey tries to help as well.\n Gato comes close to breaking in. Very tense. Then-", "of a flurry of fist and foot attacks. His attacker is moving\n way too fast for the camera to keep up.\n Pantera falls back, panting heavily. Panicked. He tears off", "UT TO:\n\n \n\n \n\n INT. TURTLES LAIR - EVENING", "Turtles are buried under the rubble.\n RUH? - The Creature is confused... until it's hit with a", "ON TURTLES - As they've all now crept up to the dark corner\n of the floor. A FOOT NINJA gets clobbered and sails past" ], [ "and take out each of the Generals, knocking them back into\n the PORTAL! They're plucked out of mid-air by cloudy tendrils\n and pulled back!", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "precipice of the Portal, being pulled back. They struggle to\n stand.\n The brothers look at each other. The place is violent with a\n whirlwind and screaming Monsters.", "One of the generals effortlessly picks up a TRASH DUMPSTER\n and wallops the Creature with one blow.", "ON PORTAL - It begins to close. The Generals struggle to get\n out, only now, we see they are HUMAN... their curse broken...\n and an eternity of pain and suffering ahead of them.", "- The Generals capture a Sloth-like creature, jumping in\n throughout rafters above. The Foot try to help by blocking\n exits.", "Their bodies \"glow\" with a red inner life, seeping through\n their stone cracks and piercing eyes.\n The Generals are all ANIMAL-THEMED - Mute and powerful Ape-", "GENERAL AGUILA\n Challenge accepted.\n 97 The Portal worsens behind them. Sound and sight. The Eight 97", "They trust one another, and their efficiency shows.\n ON PORTAL - More tentacles begin to come out. More claws\n surround the surface edges.", "like a sliding puzzle. Then they start to randomly SINK\n further into the ground. Light pours out of them, until all\n of them give way to create THE PORTAL.", "- The Generals capture a werewolf-like creature in the high-\n speed subway tunnels. The Foot maneuver the subway car.", "LOOK OUT!\n Winters dives in and pushes the Turtles out of way as the\n Creature flies in and knocks the Generals back into the", "drilled with TRANQUILIZER DARTS from below! CHOOOM! - A\n grappling hook winds around its feet. The Creature struggles\n but is pulled down hard!", "CLOSE ON LEO - A SHADOW suddenly falls over him. He looks up\n to see the FOUR GENERALS surrounding him. He tries to fight", "90 90\n Winters stands with Four Generals in his office, overseeing\n the portal. Ready.", "The Generals turn and walk-push the Foot out of the door.\n They move to fight back, but Karai waves her hand.", "BEGUN to feel our wrath!\n The brothers are screwed. They can't stop the Generals. Until-", "ON GENERALS - they turn around. Look up.\n GENERAL GATO POV - He scans the two. Organic Earth-based.", "SPLINTER\n Yes. Yes, my sons.\n The Generals can't keep up. It's enough to distract them to", "HIS \"misery\" at the expense of\n ours.\n Aguila walks to the cells. The portal writhes in the bg,\n sinking into the floor." ], [ "precipice of the Portal, being pulled back. They struggle to\n stand.\n The brothers look at each other. The place is violent with a\n whirlwind and screaming Monsters.", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "W\n inters SMASHES the portal, stopping the slew of monsters\n from pouring out. End on a scream. Dissolve to LATER in the\n battle...", "ON PORTAL - It begins to close. The Generals struggle to get\n out, only now, we see they are HUMAN... their curse broken...\n and an eternity of pain and suffering ahead of them.", "dimension. Suddenly - DOZENS OF MONSTERS EXPLODE OUT!\n Creatures of all varieties. Gnashing Fangs. Swiping claws.", "They trust one another, and their efficiency shows.\n ON PORTAL - More tentacles begin to come out. More claws\n surround the surface edges.", "ON PORTAL - A small DEMON makes its way out of the portal!\n Winters runs and flips through the air and then CLOBBERS IT\n with his bare hands, sending it back down!", "like a sliding puzzle. Then they start to randomly SINK\n further into the ground. Light pours out of them, until all\n of them give way to create THE PORTAL.", "and take out each of the Generals, knocking them back into\n the PORTAL! They're plucked out of mid-air by cloudy tendrils\n and pulled back!", "WINTERS (V.O.)\n They unleashed an army of monsters.\n N BATTLEFIELD - men getting slaughtered (in a nice PG sort\n of way). Quick shots. Intense.", "BACK IN LOBBY - The light burst flies into the lobby and hits\n the circle in the middle of all the monsters' cells.\n ON CIRCLE - The pieces suddenly start to move around. Almost", "About five more to go. Splinter also flips around and takes\n out another demon trying to escape. Splinter actually seems\n to be having FUN.", "SPLINTER\n They must face them alone. As\n brothers.\n Winters debates it in his head for a beat - WHAM! - a\n tentacle from the portal slams down next to him!", "Portal! The Cloud Tendrils grab a hold of it and pull it back\n into the Portal!\n ON STARS - The Stars move out of alignment, ending the cycle.", "WINTERS\n Help me push the cells into the\n portal!\n Splinter does as the two masters also manage to lay some\n smackdown on any emerging creature out of the portal.", "93.\n\n \n\n \n\n \n Aguila tries to fight his way out of the portal.", "GENERAL AGUILA\n Challenge accepted.\n 97 The Portal worsens behind them. Sound and sight. The Eight 97", "KARAI\n My soldiers will find the\n thirteenth monster. And you will\n bring it back here. Hurry - we", "GENERAL GATO\n Even with one monster still free,\n the curse can never be broken!", "happiness throughout the city... oh\n wait... HE WAS A FREAKING MONSTER\n TRYIN' TA KILL US!!! Good call," ], [ "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "together with his Four Warrior-\n Priest Generals, they pillaged\n every culture in their path.", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "CLOSE ON LEO - A SHADOW suddenly falls over him. He looks up\n to see the FOUR GENERALS surrounding him. He tries to fight", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "GENERAL AGUILA (O.S.)\n Our master fails to include crucial\n points in his tale.\n ON SHADOWS - The Four Generals thump forward.", "distinct armor as the Four Stone Generals - in human form.", "QUICK SHOTS OF EACH GENERAL. The walk along side Yoatl.\n Possibly slo-mo. We will come to recognize them through their", "BEAT)\n It was like blood in the water for\n a predator like Yaotl.", "BEGUN to feel our wrath!\n The brothers are screwed. They can't stop the Generals. Until-" ], [ "GENERAL AGUILA\n Then he shall perfectly serve our\n purposes... let us inform our\n commander that the final creature", "GENERAL AGUILA\n Silly children. We are immortals\n made of stone! The Earth has only", "GENERAL AGUILA\n But thanks to his cunning, his\n technology, we are now capable of\n LIVING... we have now become-\n (close, creepy)\n - gods.", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "GENERAL GATO\n It is neither monster nor human.\n CLOSE ON AGUILA - He manages a small smile.", "GENERAL AGUILA\n Two creatures remain, my lord.\n A long beat. Winters closes his eyes.", "KARAI\n My soldiers will find the\n thirteenth monster. And you will\n bring it back here. Hurry - we", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "AGUILA speaks in a gravelly, hardened voice. He towers over\n Winters by a foot. Clearly the leader of the four.", "- the 13th monster! Looks like a land-locked GIANT CROCODILE.\n It appears unconscious - a hundred or so TRANQ DARTS sticking", "GENERAL AGUILA\n So, while our great leader basked\n in the warmth of the sun and the", "(SOFT)\n ...the gods be praised.\n ON BOX - We finally see the statue - GENERAL AGUILA - a seven-", "GENERAL AGUILA\n (to Gato)\n Fetch.\n Gato SMILES as the other three board a Transport Vehicle.", "GENERAL AGUILA\n None, my lord.", "MOTIONLESS.\n ON GROUP - They just stare at him. Back up to the office,\n nearly 150 feet above them.\n ON BALCONY ABOVE - Aguila looks down. Snarls.", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "Their bodies \"glow\" with a red inner life, seeping through\n their stone cracks and piercing eyes.\n The Generals are all ANIMAL-THEMED - Mute and powerful Ape-", "GENERAL AGUILA\n Challenge accepted.\n 97 The Portal worsens behind them. Sound and sight. The Eight 97", "GENERAL AGUILA\n WE ARE NO BROTHERS TO YOU! Our\n brotherhood was broken the day that\n you condemned us to this eternity.", "GENERAL AGUILA\n He fails to discuss the petrified\n agony of three thousand years." ], [ "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "90 90\n Winters stands with Four Generals in his office, overseeing\n the portal. Ready.", "ON PORTAL - It begins to close. The Generals struggle to get\n out, only now, we see they are HUMAN... their curse broken...\n and an eternity of pain and suffering ahead of them.", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "and take out each of the Generals, knocking them back into\n the PORTAL! They're plucked out of mid-air by cloudy tendrils\n and pulled back!", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "QUICK SHOTS OF EACH GENERAL. The walk along side Yoatl.\n Possibly slo-mo. We will come to recognize them through their", "GENERAL AGUILA\n Challenge accepted.\n 97 The Portal worsens behind them. Sound and sight. The Eight 97", "CLOSE ON LEO - A SHADOW suddenly falls over him. He looks up\n to see the FOUR GENERALS surrounding him. He tries to fight", "make mistakes the TMNT take advantage of.\n ON WINTERS - Sees the portal light beginning to SHRINK!\n Because of the TMNT's moves, the Generals are now on the" ], [ "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "Cool shots of Yaotl. His armor, his stance, etc.", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "BEAT)\n It was like blood in the water for\n a predator like Yaotl.", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "fascination with these particular\n works of art? I'd never even heard\n of the Legend of Yaotl until we\n met.", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "figure. YAOTL. His helmet is impenetrable, with eye slits.\n Note - the flashback is dark, shadowed and monochromed.", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "ABOVE FIREPLACE - is a suit of armor... THE suit of armor of\n none other than Yaotl the Conqueror. He looks at it with\n heavy thought. Then-", "ORNAMENTAL STAND - a \"stargate\" of sorts. Yaotl and his men\n are unmoving... as they begin a ceremony. Yaotl looks to the", "(\n shaking/nervous)\n The jungle god that punishes those\n who prey upon the weak.\n (looks scared to Pantera)\n He's coming... for us.", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "Utter commotion. Mikey is paired with Serpiente.\n Donnie is paired with the General Mono. He uses his quick\n speed and expert staff against the hammer-weilding Statue." ] ]	[ "What happens to Yaotl's generals when he opens the portal?", "Where does Donatello work now?", "What is Michelangelo's performer name?", "Who is Max Winters?", "Who did the Turtles defeat before the split?", "What is Raphael's vigilante name?", "Which of the Turtles became a vigilante?", "Which of the 13 beasts do the Turtles fight first?", "Why do the Stone Generals betray Yaotl?", "What does Splinter do with Yaotl's helmet?", "What does Raphael say at the end?", "What did Yaotl do with his dying breath?", "What does Yaotl want?", "What did April tell Leonardo in Central America?", "Who is the richest man in New York City?", "Who is April's boyfriend?", "What does the portal release?", "What happened to Yaotl's four generals?", "Who was the Aztec warload?", "Who is April O'Neil's boy freind? ", "What is Max Winters actual identity? ", "Who is Yaotl? ", "Who does the Turtle engage? ", "How did the Sea Monster drag the Generals into the open portal? ", "How many immortal monsters diid the parallel universe portal release? ", "What did Yaotl and his four generals discover?", "After capturing all the 13 monsters, what does General Aguila do? ", "When did Yaotl and his four generals discover the parallel universe portal openning?", "How did Yaotl gain his awesome power?" ]	[ [ "The generals turn to stone.", "They are turned to stone." ], [ "Donatello is an IT specialist", "as an IT specialist " ], [ "Cowabunga Carl", "Cowabunga Carl" ], [ "Warlord Yaotl", "Richest man in the city." ], [ "The Shredder", "The Shredder." ], [ "Nightwatcher", "Nightwatcher." ], [ "Nightwatcher", "Raphael" ], [ "Bigfoot", "Bigfoot." ], [ "The Stone Generals want to stay Immortal.", "To stay immortal." ], [ "He places it among his trophy collection.", "He puts it in his trophy collection." ], [ "That the turtles will always be brothers.", "That the turtles will always be brothers " ], [ "Thanked the turtles for making him mortal and fulfilling his lifelong wish.", "Thanked the Turtles and Splinter " ], [ "To be free of the curse of immortality.", "To be free of his curse of immortality." ], [ "That the turtles have drifted apart.", "That the turtles had drifted apart" ], [ "Max Winters.", "Max Winters." ], [ "Casey Jones.", "Casey Jones." ], [ "It releases 13 immortal monsters.", "13 immortal monsters. " ], [ "They were turned to stone.", "They were turned to stone." ], [ "Yaotl", "Yaotl" ], [ "Casey Jones. ", "Casey Jones " ], [ "The still-immortal Yaotl. ", "Yaotl." ], [ "An ancient Aztec warlord. ", "An Aztec warlord." ], [ "BigFoot. ", "Bigfoor" ], [ "The Sea Monster crashed into the Generals.", "He crashes into them " ], [ "13. ", "13." ], [ "A parallel universe portal openning.", "A portal opening." ], [ "He questions Yaotl's actions. ", "Questions Yaotl's actions." ], [ "Three thousand years ago. ", "3 thousand years ago" ], [ "From the parallel universe portal openning. ", "From a portal into a parallel universe " ] ]	76971e76743f5a4defedb9ef516560a323fc2eac	train
[ [ "for ten days. When we anchored here they thought, I suppose, it was\nall right. The nearest land (and that's five miles) is the ship's", "and farther away, till I lost it at last behind the miter-shaped hill\nof the great pagoda. And then I was left alone with my ship, anchored at\nthe head of the Gulf of Siam.", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "\"Your ladder--\" he murmured, after a silence. \"Who'd have thought of\nfinding a ladder hanging over at night in a ship anchored out here! I", "\"Are you aware that there is a ship anchored inside the islands? I saw\nher mastheads above the ridge as the sun went down.\"", "main-deck. The sails, in that light breeze, made but a faint fluttering\nnoise. It ceased. The ship was coming round slowly: I held my breath", "\"That's so,\" confirmed the second mate, suddenly, in his slightly hoarse\nvoice. \"She draws over twenty feet. She's the Liverpool ship Sephora\nwith a cargo of coal. Hundred and twenty-three days from Cardiff.\"", "He mumbled something which I really did not catch, and I turned my ear\nto him in a puzzled manner. He fairly bawled:\n\n\"The land--I say, the mainland is at least seven miles off my\nanchorage.\"", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "However that might have been, the silence was not very prolonged. He\ntook another oblique step.\n\n\"I reckon I had no more than a two-mile pull to your ship. Not a bit\nmore.\"", "after a bit they gave up. Everything quieted down and the anchorage\nbecame still as death. I sat down on a stone and began to think. I felt", "I walked to the break of the poop. On the over-shadowed deck all hands\nstood by the forebraces waiting for my order. The stars ahead seemed to", "\"Yes,\" I said, replacing the lamp in the binnacle. The warm, heavy\ntropical night closed upon his head again.\n\n\"There's a ship over there,\" he murmured.", "She floated at the starting point of a long journey, very still in an\nimmense stillness, the shadows of her spars flung far to the eastward by", "The mate with the terrific whiskers was now putting the ship on the\nother tack. In the moment of profound silence which follows upon the", "of his writing desk--had exercised him infinitely. The ship within the\nislands was much more easily accounted for; and just as we were about", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "ship was put in stays. Must! There could be no going back for him. After\na moment I walked over to leeward and my heart flew into my mouth at the", "\"Well, then, be good enough to hold yourself as if you were. And keep\na lookout. If there's any current we'll be closing with some islands\nbefore daylight.\"", "the sun. And now--behold--it was saving the ship, by serving me for a\nmark to help out the ignorance of my strangeness. Ha! It was drifting" ], [ "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "The man's eyes glistened wildly in the binnacle light as he jumped round\nto the other side and spun round the wheel.", "\"Yes,\" I said, replacing the lamp in the binnacle. The warm, heavy\ntropical night closed upon his head again.\n\n\"There's a ship over there,\" he murmured.", "caprice to take a five hours' anchor watch on myself. I heard the other\nraise his voice incredulously--\"What? The Captain himself?\" Then a few", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "\"Well, then, be good enough to hold yourself as if you were. And keep\na lookout. If there's any current we'll be closing with some islands\nbefore daylight.\"", "the officer of the watch moved here and there. Then I heard him move\nquickly. I knew what that meant. He was making for the companion; and\npresently his voice was outside my door.", "stillness of all things under heaven. At that I suppose he raised up his\nface, a dimly pale oval in the shadow of the ship's side. But even then", "the gate of the everlasting night towering over her taffrail. What would\nshe do now? Had she way on her yet? I stepped to the side swiftly, and", "I paced a turn or two on the poop and saw him take up his position face\nforward with his elbow in the ratlines of the mizzen rigging before I", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "Walking to the taffrail, I was in time to make out, on the very edge\nof a darkness thrown by a towering black mass like the very gateway of", "\"What is it?\" I asked in a deadened voice, taking the lighted lamp out\nof the binnacle, and raising it to his face.\n\n\"An ugly business.\"", "the night. Passing on my way aft along the other side of the ship, I\nobserved that the rope side ladder, put over, no doubt, for the master", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "At midnight I went on deck, and to my mate's great surprise put the\nship round on the other tack. His terrible whiskers flitted round me", "I walked to the break of the poop. On the over-shadowed deck all hands\nstood by the forebraces waiting for my order. The stars ahead seemed to", "coming back on deck, saw the naked man from the sea sitting on the main\nhatch, glimmering white in the darkness, his elbows on his knees and", "The side of the ship made an opaque belt of shadow on the darkling\nglassy shimmer of the sea. But I saw at once something elongated and", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"" ], [ "As he hung by the ladder, like a resting swimmer, the sea lightning\nplayed about his limbs at every stir; and he appeared in it ghastly,", "of my thoughts, as though he were my second self, had lowered himself\ninto the water to take his punishment: a free man, a proud swimmer\nstriking out for a new destiny.", "pale floating very close to the ladder. Before I could form a guess a\nfaint flash of phosphorescent light, which seemed to issue suddenly\nfrom the naked body of a man, flickered in the sleeping water with the", "coming back on deck, saw the naked man from the sea sitting on the main\nhatch, glimmering white in the darkness, his elbows on his knees and", "boats! He's committed suicide! No, he's swimming.' Certainly I was\nswimming. It's not so easy for a swimmer like me to commit suicide by", "I had somehow the impression that he was on the point of letting go the\nladder to swim away beyond my ken--mysterious as he came. But, for the", "\"Yes. I've been in the water practically since nine o'clock. The\nquestion for me now is whether I am to let go this ladder and go on\nswimming till I sink from exhaustion, or--to come on board here.\"", "us two--in the face of that silent, darkened tropical sea. I was\nyoung, too; young enough to make no comment. The man in the water began", "to myself, 'What's the good?' When I saw a man's head looking over I\nthought I would swim away presently and leave him shouting--in whatever", "\"Can't?... Not naked like a soul on the Day of Judgment. I shall\nfreeze on to this sleeping suit. The Last Day is not yet--and... you\nhave understood thoroughly. Didn't you?\"", "land, either. The water was like glass. One might have been swimming in\na confounded thousand-feet deep cistern with no place for scrambling out", "I heard a \"By Jove!\" whispered at the level of the water. The\nphosphorescence flashed in the swirl of the water all about his limbs,\nhis other hand seized the ladder.", "\"Yes--straight for it. It was something to swim for. I couldn't see any\nstars low down because the coast was in the way, and I couldn't see the", "I felt suddenly ashamed of myself. I may say truly that I\nunderstood--and my hesitation in letting that man swim away from my\nship's side had been a mere sham sentiment, a sort of cowardice.", "on a little longer. It had been a confounded lonely time--I don't mean\nwhile swimming. I was glad to talk a little to somebody that didn't", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "and was in the water before I had made up my mind fairly. Somebody heard\nthe splash and they raised an awful hullabaloo. 'He's gone! Lower the", "elusive, silent play of summer lightning in a night sky. With a gasp I\nsaw revealed to my stare a pair of feet, the long legs, a broad livid", "It was a rather high bed place with a set of drawers underneath. This\namazing swimmer really needed the lift I gave him by seizing his leg. He" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "strangling people. Am I a murdering brute? Do I look it? By Jove! If I\nhad been he wouldn't have trusted himself like that into my room. You'll", "to me. 'This thing must take its course. I represent the law here.' He\nwas shaking like a leaf. 'So you won't?' 'No!' 'Then I hope you will", "He was. To the law. His obscure tenacity on that point had in it\nsomething incomprehensible and a little awful; something, as it were,", "\"I suppose I must report a suicide.\"\n\n\"Beg pardon?\"\n\n\"Suicide! That's what I'll have to write to my owners directly I get\nin.\"", "\"Don't you think,\" I said, \"that the heavy sea which, you told me, came\naboard just then might have killed the man? I have seen the sheer weight\nof a sea kill a man very neatly, by simply breaking his neck.\"", "\"Yes. Very wrong indeed. I've killed a man.\"\n\n\"What do you mean? Just now?\"", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "It was like being haunted. Motionless, with a grave face, he raised his\nhands slightly at me in a gesture which meant clearly, \"Heavens! what", "had not the strength to get on my legs. Everything remained still. Had\nmy second self taken the poor wretch by the throat? I don't know what I", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "look for him in our coal-hole?' Quite a tiff. But they made it up in the\nend. I suppose he did drown himself. Don't you, sir?\"", "of his thoughts by saying: \"My father's a parson in Norfolk. Do you see\nme before a judge and jury on that charge? For myself I can't see the", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "\"Such a young man, too!\" he nodded, keeping his smeary blue,\nunintelligent eyes fastened upon me. \"What was the cause of it--some", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "\"What was that for--fun?\" I asked, with an appearance of polite\ninterest.\n\n\"No!\" He sighed. \"Painful duty.\"", "character where there are no means of legal repression. And I knew well\nenough also that my double there was no homicidal ruffian. I did not", "\"He looked extremely haggard all of a sudden. His head rolled on his\nshoulders.\n\n\"H'm. We shall see then. Meantime get into that bed,\" I whispered. \"Want\nhelp? There.\"" ], [ "and the steward entered with a tray, bringing in my morning coffee. I\nhad slept, after all, and I was so frightened that I shouted, \"This way!", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "\"He looked extremely haggard all of a sudden. His head rolled on his\nshoulders.\n\n\"H'm. We shall see then. Meantime get into that bed,\" I whispered. \"Want\nhelp? There.\"", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "I caught his arm as he was raising it to batter his poor devoted head,\nand shook it violently.\n\n\"She's ashore already,\" he wailed, trying to tear himself away.", "to go to the after braces. At breakfast time, eating nothing myself, I\npresided with such frigid dignity that the two mates were only too glad", "\"Aren't you properly awake yet?\"\n\n\"Yes, sir! I am awake.\"", "and the other people pretty certain to be round here in the morning. I\ndon't know--I wanted to be seen, to talk with somebody, before I went", "I lived. The weather was too bad to give the corpse a proper sea burial.\nSo next day at dawn they took it up on the poop, covering its face with", "And, besides, there were the scares. On the second day out, for\ninstance, coming off the deck in the afternoon (I had straw slippers", "his tale. It is not worth while to record his version. It was just over\ntwo months since all this had happened, and he had thought so much\nabout it that he seemed completely muddled as to its bearings, but still", "dreaded, after putting down the dishes ran up on deck busily. This could\nnot be dangerous. Presently he came down again; and then it appeared", "the effort of whispering and the general secrecy of this excitement. It\nwas three o'clock by now and I had been on my feet since nine, but I", "I had to shake him for a solid minute, but when at last he opened his\neyes it was in the full possession of his senses, with an inquiring\nlook.", "to shout after him. Suddenly I became aware (it could be heard plainly\nenough) that the fellow for some reason or other was opening the door of\nthe bathroom. It was the end. The place was literally not big enough to", "\"I heard somebody moving about, and went in there at once,\" he\nwhispered.\n\nI, too, spoke under my breath.", "He nodded. His face was thin and the sunburn faded, as though he had\nbeen ill. And no wonder. He had been, I heard presently, kept under", "\"You see I wasn't.\"\n\n\"No, sir. I could have sworn I had heard you moving in there not a\nmoment ago. It's most extraordinary... very sorry, sir.\"", "He did not wait for my question. \"I heard him fumbling here and just\nmanaged to squat myself down in the bath,\" he whispered to me. \"The", "Arrived at that comforting conclusion, I bethought myself of a cigar and\nwent below to get it. All was still down there. Everybody at the" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "\"And now we'll have a look at my stateroom,\" I declared, in a voice as\nloud as I dared to make it, crossing the cabin to the starboard side\nwith purposely heavy steps.", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"", "my bed place, and we would whisper together, with the regular footfalls\nof the officer of the watch passing and repassing over our heads. It\nwas an infinitely miserable time. It was lucky that some tins of fine", "After thus overwhelming us with the extent of his information he slipped\nout of the cabin. The mate observed regretfully that he \"could not\naccount for that young fellow's whims.\" What prevented him telling us\nall about it at once, he wanted to know.", "He touched my shoulder lightly. Lazy footsteps came right over our heads\nand stopped. The second mate had crossed from the other side of the poop\nand might have been hanging over the rail for all we knew.", "\"Preposterous--isn't it?\"\n\nWe were walking to and fro athwart the quarter-deck. No one of the crew\nforward could be seen (the day was Sunday), and the mate pursued:", "the officer of the watch moved here and there. Then I heard him move\nquickly. I knew what that meant. He was making for the companion; and\npresently his voice was outside my door.", "He did so, as noiseless as a ghost, and then I rang for the steward,\nand facing him boldly, directed him to tidy up my stateroom while I", "When I left him there to go back to my room the steward was finishing\ndusting. I sent for the mate and engaged him in some insignificant", "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "We listened to the steward going into the bathroom out of the saloon,\nfilling the water bottles there, scrubbing the bath, setting things", "\"What on earth's the matter with you?\" I asked, astonished.\n\nHe was extremely confused. \"Beg your pardon, sir. I made sure you were\nin your cabin.\"", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I" ], [ "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"I heard somebody moving about, and went in there at once,\" he\nwhispered.\n\nI, too, spoke under my breath.", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "\"I shall stand in as close as I dare and then put her round. I will\npresently find means to smuggle you out of here into the sail locker,", "to rights, whisk, bang, clatter--out again into the saloon--turn the\nkey--click. Such was my scheme for keeping my second self invisible.\nNothing better could be contrived under the circumstances. And there", "\"He looked extremely haggard all of a sudden. His head rolled on his\nshoulders.\n\n\"H'm. We shall see then. Meantime get into that bed,\" I whispered. \"Want\nhelp? There.\"", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "You seem to have been there on purpose.\" And in the same whisper, as if\nwe two whenever we talked had to say things to each other which were not", "to shout after him. Suddenly I became aware (it could be heard plainly\nenough) that the fellow for some reason or other was opening the door of\nthe bathroom. It was the end. The place was literally not big enough to", "I waited till he was gone out of the cuddy, then rose. My double moved\ntoo. The time had come to exchange our last whispers, for neither of us\nwas ever to hear each other's natural voice.", "to escape from the cabin as soon as decency permitted; and all the\ntime the dual working of my mind distracted me almost to the point of\ninsanity. I was constantly watching myself, my secret self, as dependent", "He did not wait for my question. \"I heard him fumbling here and just\nmanaged to squat myself down in the bath,\" he whispered to me. \"The", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "other. It occurred to me that if old \"Bless my soul--you don't say so\"\nwere to put his head up the companion and catch sight of us, he would", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "Another pause full of mistrust followed. Necessity, they say, is mother\nof invention, but fear, too, is not barren of ingenious suggestions. And\nI was afraid he would ask me point-blank for news of my other self.", "\"Now,\" I whispered, loudly, into the saloon--too loudly, perhaps, but I\nwas afraid I couldn't make a sound. He was by my side in an instant--the", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and" ], [ "was my being a stranger to the ship; and if all the truth must be\ntold, I was somewhat of a stranger to myself. The youngest man on board", "forward. All these people had been together for eighteen months or so,\nand my position was that of the only stranger on board. I mention this\nbecause it has some bearing on what is to follow. But what I felt most", "crew, all they knew was that I was appointed to take the ship home.\nFor the rest, I was almost as much of a stranger on board as himself,", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I", "He had turned about meantime; and we, the two strangers in the ship,\nfaced each other in identical attitudes.", "\"Who's that?\" he whispered then.\n\n\"My second mate. But I don't know much more of the fellow than you do.\"", "fortnight ago. I didn't know either the ship or the people. Hadn't had\nthe time in port to look about me or size anybody up. And as to the", "ready to depart, and remembered only that I was a total stranger to the\nship. I did not know her. Would she do it? How was she to be handled?", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "word. In my case they were not unalloyed. I was not wholly alone with my\ncommand; for there was that stranger in my cabin. Or rather, I was", "sharer of my cabin as though he were my second self. There he was on the\nother side of the bulkhead, four or five feet from us, no more, as we", "the whole ship whom I dared take into my confidence. Since the hands had\ngot to know his story, it would have been impossible to pass him off for", "\"Seems a very nice man. His boat's crew told our chaps a very\nextraordinary story, if what I am told by the steward is true. I suppose\nyou had it from the captain, sir?\"", "I had become so connected in thoughts and impressions with the secret\nsharer of my cabin that I felt as if I, personally, were being given to", "\"Preposterous--isn't it?\"\n\nWe were walking to and fro athwart the quarter-deck. No one of the crew\nforward could be seen (the day was Sunday), and the mate pursued:", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "THE SECRET SHARER\n\nBy Joseph Conrad\n\n\n\n\nI", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"Good God!\" he uttered, impressively, fixing his smeary blue eyes on\nme. \"The sea! No man killed by the sea ever looked like that.\" He seemed", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"" ], [ "It was a very tiny place. Sometimes he reclined on the floor, his legs\nbent, his head sustained on one elbow. At others I would find him on the", "his tale. It is not worth while to record his version. It was just over\ntwo months since all this had happened, and he had thought so much\nabout it that he seemed completely muddled as to its bearings, but still", "\"In the bathroom, sir.\" The usual anxious tone. \"It's not quite dry yet,\nsir.\"", "\"No, on the passage. Weeks ago. Thirty-nine south. When I say a man--\"\n\n\"Fit of temper,\" I suggested, confidently.", "to shout after him. Suddenly I became aware (it could be heard plainly\nenough) that the fellow for some reason or other was opening the door of\nthe bathroom. It was the end. The place was literally not big enough to", "\"My father's a parson in Norfolk,\" it said. Evidently he had forgotten\nhe had told me this important fact before. Truly a nice little tale.", "and farther away, till I lost it at last behind the miter-shaped hill\nof the great pagoda. And then I was left alone with my ship, anchored at\nthe head of the Gulf of Siam.", "\"There was some little dispute about it. Our chaps took offense. 'As\nif we would harbor a thing like that,' they said. 'Wouldn't you like to", "She floated at the starting point of a long journey, very still in an\nimmense stillness, the shadows of her spars flung far to the eastward by", "\"I shall stand in as close as I dare and then put her round. I will\npresently find means to smuggle you out of here into the sail locker,", "\"Be quiet,\" I said, sternly.\n\nHe lowered his tone, but I saw the shadowy gesture of his despair. \"What\nare we doing here?\"\n\n\"Looking for the land wind.\"", "I saw him far back there, sitting rigidly on the low stool, his\nbare feet close together, his arms folded, his head hanging on his\nbreast--and perfectly still. Anybody would have taken him for me.", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "I am here, steward,\" as though he had been miles away. He put down the\ntray on the table next the couch and only then said, very quietly, \"I", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "And, besides, there were the scares. On the second day out, for\ninstance, coming off the deck in the afternoon (I had straw slippers", "land, either. The water was like glass. One might have been swimming in\na confounded thousand-feet deep cistern with no place for scrambling out", "You seem to have been there on purpose.\" And in the same whisper, as if\nwe two whenever we talked had to say things to each other which were not", "think of asking him for details, and he told me the story roughly in\nbrusque, disconnected sentences. I needed no more. I saw it all going on\nas though I were myself inside that other sleeping suit.", "for ten days. When we anchored here they thought, I suppose, it was\nall right. The nearest land (and that's five miles) is the ship's" ], [ "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "\"Yes,\" I said, replacing the lamp in the binnacle. The warm, heavy\ntropical night closed upon his head again.\n\n\"There's a ship over there,\" he murmured.", "compass with such a stealthy gait that the helmsman noticed it--and\nI could not help noticing the unusual roundness of his eyes. These", "stillness of all things under heaven. At that I suppose he raised up his\nface, a dimly pale oval in the shadow of the ship's side. But even then", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "The man's eyes glistened wildly in the binnacle light as he jumped round\nto the other side and spun round the wheel.", "caprice to take a five hours' anchor watch on myself. I heard the other\nraise his voice incredulously--\"What? The Captain himself?\" Then a few", "the officer of the watch moved here and there. Then I heard him move\nquickly. I knew what that meant. He was making for the companion; and\npresently his voice was outside my door.", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "\"Well, then, be good enough to hold yourself as if you were. And keep\na lookout. If there's any current we'll be closing with some islands\nbefore daylight.\"", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "The mate with the terrific whiskers was now putting the ship on the\nother tack. In the moment of profound silence which follows upon the", "main-deck. The sails, in that light breeze, made but a faint fluttering\nnoise. It ceased. The ship was coming round slowly: I held my breath", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I", "moment, this being appearing as if he had risen from the bottom of the\nsea (it was certainly the nearest land to the ship) wanted only to know\nthe time. I told him. And he, down there, tentatively:", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "I paced a turn or two on the poop and saw him take up his position face\nforward with his elbow in the ratlines of the mizzen rigging before I", "The side of the ship made an opaque belt of shadow on the darkling\nglassy shimmer of the sea. But I saw at once something elongated and", "I walked to the break of the poop. On the over-shadowed deck all hands\nstood by the forebraces waiting for my order. The stars ahead seemed to", "sleep. I felt painfully that I--a stranger--was doing something unusual\nwhen I directed him to let all hands turn in without setting an\nanchor watch. I proposed to keep on deck myself till one o'clock or" ], [ "coming back on deck, saw the naked man from the sea sitting on the main\nhatch, glimmering white in the darkness, his elbows on his knees and", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "As he hung by the ladder, like a resting swimmer, the sea lightning\nplayed about his limbs at every stir; and he appeared in it ghastly,", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "I paced a turn or two on the poop and saw him take up his position face\nforward with his elbow in the ratlines of the mizzen rigging before I", "\"Yes. I've been in the water practically since nine o'clock. The\nquestion for me now is whether I am to let go this ladder and go on\nswimming till I sink from exhaustion, or--to come on board here.\"", "pale floating very close to the ladder. Before I could form a guess a\nfaint flash of phosphorescent light, which seemed to issue suddenly\nfrom the naked body of a man, flickered in the sleeping water with the", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "eagerly. He happened to catch sight of me and dived, the second ran down\non the main-deck shouting some order or other, and the chief mate came\nto meet me, touching his cap.", "The man's eyes glistened wildly in the binnacle light as he jumped round\nto the other side and spun round the wheel.", "dreaded, after putting down the dishes ran up on deck busily. This could\nnot be dangerous. Presently he came down again; and then it appeared", "\"Good God!\" he uttered, impressively, fixing his smeary blue eyes on\nme. \"The sea! No man killed by the sea ever looked like that.\" He seemed", "not attempt to come on board, and strangely troubling to suspect that\nperhaps he did not want to. And my first words were prompted by just\nthat troubled incertitude.", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I", "I heard a \"By Jove!\" whispered at the level of the water. The\nphosphorescence flashed in the swirl of the water all about his limbs,\nhis other hand seized the ladder.", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "\"No, on the passage. Weeks ago. Thirty-nine south. When I say a man--\"\n\n\"Fit of temper,\" I suggested, confidently." ], [ "not attempt to come on board, and strangely troubling to suspect that\nperhaps he did not want to. And my first words were prompted by just\nthat troubled incertitude.", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "After thus overwhelming us with the extent of his information he slipped\nout of the cabin. The mate observed regretfully that he \"could not\naccount for that young fellow's whims.\" What prevented him telling us\nall about it at once, he wanted to know.", "I hesitated. Should I whisper something to him? But what? His immobility\nseemed to have been never disturbed. What could I tell him he did not\nknow already?... Finally I went on deck.", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "ship was put in stays. Must! There could be no going back for him. After\na moment I walked over to leeward and my heart flew into my mouth at the", "dreaded, after putting down the dishes ran up on deck busily. This could\nnot be dangerous. Presently he came down again; and then it appeared", "spiritless sigh, and mumbled dismally that he must really be going back\nto his ship now. I desired my mate, who had joined us, to see to the\ncaptain's boat.", "I felt suddenly ashamed of myself. I may say truly that I\nunderstood--and my hesitation in letting that man swim away from my\nship's side had been a mere sham sentiment, a sort of cowardice.", "His anxiety was in answer, a sufficient answer, to the question I had\nput to him. An answer containing all the difficulty of that situation. I\nclosed the porthole quietly, to make sure. A louder word might have been\noverheard.", "the officer of the watch moved here and there. Then I heard him move\nquickly. I knew what that meant. He was making for the companion; and\npresently his voice was outside my door.", "He had. And the proof of it was his earnest whisper, \"The man told you\nhe hardly dared to give the order.\"\n\nI understood the reference to be to that saving foresail.", "\"Don't you think,\" I said, \"that the heavy sea which, you told me, came\naboard just then might have killed the man? I have seen the sheer weight\nof a sea kill a man very neatly, by simply breaking his neck.\"", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "But I had no leisure to weigh the merits of the matter--footsteps in\nthe saloon, a heavy knock. \"There's enough wind to get under way with,", "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to" ], [ "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"Seems a very nice man. His boat's crew told our chaps a very\nextraordinary story, if what I am told by the steward is true. I suppose\nyou had it from the captain, sir?\"", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"", "Meantime the chief mate, with an almost visible effect of collaboration\non the part of his round eyes and frightful whiskers, was trying to", "\"As long as I know that you understand,\" he whispered. \"But of course\nyou do. It's a great satisfaction to have got somebody to understand.", "arrest in his cabin for nearly seven weeks. But there was nothing sickly\nin his eyes or in his expression. He was not a bit like me, really; yet,", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I", "eagerly. He happened to catch sight of me and dived, the second ran down\non the main-deck shouting some order or other, and the chief mate came\nto meet me, touching his cap.", "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "I found my two officers waiting for me near the supper table, in the\nlighted cuddy. We sat down at once, and as I helped the chief mate, I\nsaid:", "forward. All these people had been together for eighteen months or so,\nand my position was that of the only stranger on board. I mention this\nbecause it has some bearing on what is to follow. But what I felt most", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "belong to the Sephora. As to asking for the captain, that was a mere\nimpulse. It could have been no use, with all the ship knowing about me", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "character where there are no means of legal repression. And I knew well\nenough also that my double there was no homicidal ruffian. I did not", "leg slightly more bandy than the other. He shook hands, looking vaguely\naround. A spiritless tenacity was his main characteristic, I judged. I" ], [ "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"", "\"I assure you he never gave the order. He may think he did, but he never\ngave it. He stood there with me on the break of the poop after the", "\"I suppose your captain's turned in?\"\n\n\"I am sure he isn't,\" I said.", "After thus overwhelming us with the extent of his information he slipped\nout of the cabin. The mate observed regretfully that he \"could not\naccount for that young fellow's whims.\" What prevented him telling us\nall about it at once, he wanted to know.", "belong to the Sephora. As to asking for the captain, that was a mere\nimpulse. It could have been no use, with all the ship knowing about me", "\"Seems a very nice man. His boat's crew told our chaps a very\nextraordinary story, if what I am told by the steward is true. I suppose\nyou had it from the captain, sir?\"", "He concealed his astonishment. \"Very well, sir.\" Outside the cuddy he\nput his head in the second mate's door to inform him of my unheard-of", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "spiritless sigh, and mumbled dismally that he must really be going back\nto his ship now. I desired my mate, who had joined us, to see to the\ncaptain's boat.", "\"Is she?... Keep good full there!\"\n\n\"Good full, sir,\" cried the helmsman in a frightened, thin, childlike\nvoice.", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "It was something that a ghost might have said. But what he was alluding\nto was his old captain's reluctant admission of the theory of suicide.", "\"Preposterous--isn't it?\"\n\nWe were walking to and fro athwart the quarter-deck. No one of the crew\nforward could be seen (the day was Sunday), and the mate pursued:", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "However that might have been, the silence was not very prolonged. He\ntook another oblique step.\n\n\"I reckon I had no more than a two-mile pull to your ship. Not a bit\nmore.\"", "not, I think, have met him by a direct lie, also for psychological (not\nmoral) reasons. If he had only known how afraid I was of his putting", "His anxiety was in answer, a sufficient answer, to the question I had\nput to him. An answer containing all the difficulty of that situation. I\nclosed the porthole quietly, to make sure. A louder word might have been\noverheard." ], [ "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"", "It was something that a ghost might have said. But what he was alluding\nto was his old captain's reluctant admission of the theory of suicide.", "It was like being haunted. Motionless, with a grave face, he raised his\nhands slightly at me in a gesture which meant clearly, \"Heavens! what", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "the skipper, too, started raving like the rest of them. The man had been\ndeprived of sleep for more than a week, and to have this sprung on him", "looking more sick than ever. He was afraid of the men, and also of\nthat old second mate of his who had been sailing with him for years--a", "After thus overwhelming us with the extent of his information he slipped\nout of the cabin. The mate observed regretfully that he \"could not\naccount for that young fellow's whims.\" What prevented him telling us\nall about it at once, he wanted to know.", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "one's skipper go on like that in such weather was enough to drive any\nfellow out of his mind. It worked me up into a sort of desperation. I", "years at sea, of which over twenty of immaculate command, and the last\nfifteen in the Sephora, seemed to have laid him under some pitiless\nobligation.", "Meantime the chief mate, with an almost visible effect of collaboration\non the part of his round eyes and frightful whiskers, was trying to", "spiritless sigh, and mumbled dismally that he must really be going back\nto his ship now. I desired my mate, who had joined us, to see to the\ncaptain's boat.", "And all the time I dared not look towards the land lest my heart should\nfail me. I released my grip at last and he ran forward as if fleeing for\ndear life.", "to keep the ship running; so you may guess what it had been like for\ndays. Anxious sort of job, that. He gave me some of his cursed insolence", "arbitrarily chased out of my cabin, suddenly called into it, sent flying\nout of his pantry on incomprehensible errands, that accounted for the\ngrowing wretchedness of his expression.", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "He was densely distressed--and perhaps I should have sympathized with\nhim if I had been able to detach my mental vision from the unsuspected" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"", "\"Seems a very nice man. His boat's crew told our chaps a very\nextraordinary story, if what I am told by the steward is true. I suppose\nyou had it from the captain, sir?\"", "He concealed his astonishment. \"Very well, sir.\" Outside the cuddy he\nput his head in the second mate's door to inform him of my unheard-of", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "Meantime the chief mate, with an almost visible effect of collaboration\non the part of his round eyes and frightful whiskers, was trying to", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "Arrived at that comforting conclusion, I bethought myself of a cigar and\nwent below to get it. All was still down there. Everybody at the", "The mate with the terrific whiskers was now putting the ship on the\nother tack. In the moment of profound silence which follows upon the", "After thus overwhelming us with the extent of his information he slipped\nout of the cabin. The mate observed regretfully that he \"could not\naccount for that young fellow's whims.\" What prevented him telling us\nall about it at once, he wanted to know.", "I found my two officers waiting for me near the supper table, in the\nlighted cuddy. We sat down at once, and as I helped the chief mate, I\nsaid:", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "eagerly. He happened to catch sight of me and dived, the second ran down\non the main-deck shouting some order or other, and the chief mate came\nto meet me, touching his cap.", "belong to the Sephora. As to asking for the captain, that was a mere\nimpulse. It could have been no use, with all the ship knowing about me", "His anxiety was in answer, a sufficient answer, to the question I had\nput to him. An answer containing all the difficulty of that situation. I\nclosed the porthole quietly, to make sure. A louder word might have been\noverheard.", "He had. And the proof of it was his earnest whisper, \"The man told you\nhe hardly dared to give the order.\"\n\nI understood the reference to be to that saving foresail.", "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "spiritless sigh, and mumbled dismally that he must really be going back\nto his ship now. I desired my mate, who had joined us, to see to the\ncaptain's boat." ], [ "was my being a stranger to the ship; and if all the truth must be\ntold, I was somewhat of a stranger to myself. The youngest man on board", "forward. All these people had been together for eighteen months or so,\nand my position was that of the only stranger on board. I mention this\nbecause it has some bearing on what is to follow. But what I felt most", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I", "He had turned about meantime; and we, the two strangers in the ship,\nfaced each other in identical attitudes.", "not attempt to come on board, and strangely troubling to suspect that\nperhaps he did not want to. And my first words were prompted by just\nthat troubled incertitude.", "\"Who's that?\" he whispered then.\n\n\"My second mate. But I don't know much more of the fellow than you do.\"", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "crew, all they knew was that I was appointed to take the ship home.\nFor the rest, I was almost as much of a stranger on board as himself,", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "\"No, on the passage. Weeks ago. Thirty-nine south. When I say a man--\"\n\n\"Fit of temper,\" I suggested, confidently.", "sharer of my cabin as though he were my second self. There he was on the\nother side of the bulkhead, four or five feet from us, no more, as we", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "fortnight ago. I didn't know either the ship or the people. Hadn't had\nthe time in port to look about me or size anybody up. And as to the", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "word. In my case they were not unalloyed. I was not wholly alone with my\ncommand; for there was that stranger in my cabin. Or rather, I was", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "\"Cramp,\" it answered, no louder. Then slightly anxious, \"I say, no need\nto call anyone.\"\n\n\"I was not going to,\" I said.\n\n\"Are you alone on deck?\"", "ready to depart, and remembered only that I was a total stranger to the\nship. I did not know her. Would she do it? How was she to be handled?", "moment, this being appearing as if he had risen from the bottom of the\nsea (it was certainly the nearest land to the ship) wanted only to know\nthe time. I told him. And he, down there, tentatively:" ], [ "coming back on deck, saw the naked man from the sea sitting on the main\nhatch, glimmering white in the darkness, his elbows on his knees and", "\"Yes. I've been in the water practically since nine o'clock. The\nquestion for me now is whether I am to let go this ladder and go on\nswimming till I sink from exhaustion, or--to come on board here.\"", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "have been the good? But now I was clear of that ship, I was not going\nback. So after a while I took off all my clothes, tied them up in a", "of my thoughts, as though he were my second self, had lowered himself\ninto the water to take his punishment: a free man, a proud swimmer\nstriking out for a new destiny.", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "Already the ship was drawing ahead. And I was alone with her. Nothing!\nno one in the world should stand now between us, throwing a shadow on\nthe way of silent knowledge and mute affection, the perfect communion of", "I felt suddenly ashamed of myself. I may say truly that I\nunderstood--and my hesitation in letting that man swim away from my\nship's side had been a mere sham sentiment, a sort of cowardice.", "I caught his arm as he was raising it to batter his poor devoted head,\nand shook it violently.\n\n\"She's ashore already,\" he wailed, trying to tear himself away.", "boats! He's committed suicide! No, he's swimming.' Certainly I was\nswimming. It's not so easy for a swimmer like me to commit suicide by", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "And all the time I dared not look towards the land lest my heart should\nfail me. I released my grip at last and he ran forward as if fleeing for\ndear life.", "to feel the ship coming-to. No! I could not feel her. And my second self\nwas making now ready to ship out and lower himself overboard. Perhaps he\nwas gone already...?", "land, either. The water was like glass. One might have been swimming in\na confounded thousand-feet deep cistern with no place for scrambling out", "\"Is she?... Keep good full there!\"\n\n\"Good full, sir,\" cried the helmsman in a frightened, thin, childlike\nvoice.", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I", "pale floating very close to the ladder. Before I could form a guess a\nfaint flash of phosphorescent light, which seemed to issue suddenly\nfrom the naked body of a man, flickered in the sleeping water with the", "As he hung by the ladder, like a resting swimmer, the sea lightning\nplayed about his limbs at every stir; and he appeared in it ghastly,", "and was in the water before I had made up my mind fairly. Somebody heard\nthe splash and they raised an awful hullabaloo. 'He's gone! Lower the" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "arrest in his cabin for nearly seven weeks. But there was nothing sickly\nin his eyes or in his expression. He was not a bit like me, really; yet,", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "his name (it was something like Archbold--but at this distance of years\nI hardly am sure), his ship's name, and a few other particulars of\nthat sort, in the manner of a criminal making a reluctant and", "I caught his arm as he was raising it to batter his poor devoted head,\nand shook it violently.\n\n\"She's ashore already,\" he wailed, trying to tear himself away.", "\"No, on the passage. Weeks ago. Thirty-nine south. When I say a man--\"\n\n\"Fit of temper,\" I suggested, confidently.", "However that might have been, the silence was not very prolonged. He\ntook another oblique step.\n\n\"I reckon I had no more than a two-mile pull to your ship. Not a bit\nmore.\"", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "I detained him as he was making a move. For the last two days the crew\nhad had plenty of hard work, and the night before they had very little", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "\"Your ladder--\" he murmured, after a silence. \"Who'd have thought of\nfinding a ladder hanging over at night in a ship anchored out here! I", "to keep the ship running; so you may guess what it had been like for\ndays. Anxious sort of job, that. He gave me some of his cursed insolence", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "for ten days. When we anchored here they thought, I suppose, it was\nall right. The nearest land (and that's five miles) is the ship's", "\"I assure you he never gave the order. He may think he did, but he never\ngave it. He stood there with me on the break of the poop after the" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "strangling people. Am I a murdering brute? Do I look it? By Jove! If I\nhad been he wouldn't have trusted himself like that into my room. You'll", "\"Don't you think,\" I said, \"that the heavy sea which, you told me, came\naboard just then might have killed the man? I have seen the sheer weight\nof a sea kill a man very neatly, by simply breaking his neck.\"", "\"Such a young man, too!\" he nodded, keeping his smeary blue,\nunintelligent eyes fastened upon me. \"What was the cause of it--some", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "\"Yes. Very wrong indeed. I've killed a man.\"\n\n\"What do you mean? Just now?\"", "\"Good God!\" he uttered, impressively, fixing his smeary blue eyes on\nme. \"The sea! No man killed by the sea ever looked like that.\" He seemed", "He was. To the law. His obscure tenacity on that point had in it\nsomething incomprehensible and a little awful; something, as it were,", "had not the strength to get on my legs. Everything remained still. Had\nmy second self taken the poor wretch by the throat? I don't know what I", "\"Give the mate a call,\" I said to the young man who stood at my elbow as\nstill as death. \"And turn all hands up.\"", "character where there are no means of legal repression. And I knew well\nenough also that my double there was no homicidal ruffian. I did not", "\"No, on the passage. Weeks ago. Thirty-nine south. When I say a man--\"\n\n\"Fit of temper,\" I suggested, confidently.", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "It was like being haunted. Motionless, with a grave face, he raised his\nhands slightly at me in a gesture which meant clearly, \"Heavens! what", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "look for him in our coal-hole?' Quite a tiff. But they made it up in the\nend. I suppose he did drown himself. Don't you, sir?\"", "\"Look here, my man. Could you call him out quietly?\"\n\nI thought the time had come to declare myself.\n\n\"I am the captain.\"", "\"I suppose I must report a suicide.\"\n\n\"Beg pardon?\"\n\n\"Suicide! That's what I'll have to write to my owners directly I get\nin.\"", "to shout after him. Suddenly I became aware (it could be heard plainly\nenough) that the fellow for some reason or other was opening the door of\nthe bathroom. It was the end. The place was literally not big enough to" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "\"I shall stand in as close as I dare and then put her round. I will\npresently find means to smuggle you out of here into the sail locker,", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "double captain slipped past the stairs--through a tiny dark passage\n... a sliding door. We were in the sail locker, scrambling on our knees\nover the sails. A sudden thought struck me. I saw myself wandering", "After thus overwhelming us with the extent of his information he slipped\nout of the cabin. The mate observed regretfully that he \"could not\naccount for that young fellow's whims.\" What prevented him telling us\nall about it at once, he wanted to know.", "\"I heard somebody moving about, and went in there at once,\" he\nwhispered.\n\nI, too, spoke under my breath.", "other. It occurred to me that if old \"Bless my soul--you don't say so\"\nwere to put his head up the companion and catch sight of us, he would", "arrest in his cabin for nearly seven weeks. But there was nothing sickly\nin his eyes or in his expression. He was not a bit like me, really; yet,", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "He concealed his astonishment. \"Very well, sir.\" Outside the cuddy he\nput his head in the second mate's door to inform him of my unheard-of", "I waited till he was gone out of the cuddy, then rose. My double moved\ntoo. The time had come to exchange our last whispers, for neither of us\nwas ever to hear each other's natural voice.", "He did so, as noiseless as a ghost, and then I rang for the steward,\nand facing him boldly, directed him to tidy up my stateroom while I", "to rights, whisk, bang, clatter--out again into the saloon--turn the\nkey--click. Such was my scheme for keeping my second self invisible.\nNothing better could be contrived under the circumstances. And there", "\"You see I wasn't.\"\n\n\"No, sir. I could have sworn I had heard you moving in there not a\nmoment ago. It's most extraordinary... very sorry, sir.\"", "round. When at last I did I saw him standing bolt-upright in the\nnarrow recessed part. It would not be true to say I had a shock, but an", "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "and was in the water before I had made up my mind fairly. Somebody heard\nthe splash and they raised an awful hullabaloo. 'He's gone! Lower the", "land, either. The water was like glass. One might have been swimming in\na confounded thousand-feet deep cistern with no place for scrambling out", "boats! He's committed suicide! No, he's swimming.' Certainly I was\nswimming. It's not so easy for a swimmer like me to commit suicide by", "\"Good God!\" he uttered, impressively, fixing his smeary blue eyes on\nme. \"The sea! No man killed by the sea ever looked like that.\" He seemed", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "I heard a \"By Jove!\" whispered at the level of the water. The\nphosphorescence flashed in the swirl of the water all about his limbs,\nhis other hand seized the ladder.", "And all the time I dared not look towards the land lest my heart should\nfail me. I released my grip at last and he ran forward as if fleeing for\ndear life.", "bundle with a stone inside, and dropped them in the deep water on the\nouter side of that islet. That was suicide enough for me. Let them think", "\"She will never get out. You have done it, sir. I knew it'd end in\nsomething like this. She will never weather, and you are too close now\nto stay. She'll drift ashore before she's round. Oh my God!\"", "I caught his arm as he was raising it to batter his poor devoted head,\nand shook it violently.\n\n\"She's ashore already,\" he wailed, trying to tear himself away.", "As he hung by the ladder, like a resting swimmer, the sea lightning\nplayed about his limbs at every stir; and he appeared in it ghastly,", "of my thoughts, as though he were my second self, had lowered himself\ninto the water to take his punishment: a free man, a proud swimmer\nstriking out for a new destiny.", "look for him in our coal-hole?' Quite a tiff. But they made it up in the\nend. I suppose he did drown himself. Don't you, sir?\"", "\"Don't you think,\" I said, \"that the heavy sea which, you told me, came\naboard just then might have killed the man? I have seen the sheer weight\nof a sea kill a man very neatly, by simply breaking his neck.\"", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "I had somehow the impression that he was on the point of letting go the\nladder to swim away beyond my ken--mysterious as he came. But, for the", "\"Yes. I've been in the water practically since nine o'clock. The\nquestion for me now is whether I am to let go this ladder and go on\nswimming till I sink from exhaustion, or--to come on board here.\"", "was still over his eyes; but his chest heaved; his hair was wet; his\nchin glistened with perspiration. I reached over him and opened the\nport." ], [ "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "and the steward entered with a tray, bringing in my morning coffee. I\nhad slept, after all, and I was so frightened that I shouted, \"This way!", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "\"I heard somebody moving about, and went in there at once,\" he\nwhispered.\n\nI, too, spoke under my breath.", "\"You see I wasn't.\"\n\n\"No, sir. I could have sworn I had heard you moving in there not a\nmoment ago. It's most extraordinary... very sorry, sir.\"", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "\"Do you think they will be round here presently?\" I asked with some\nincredulity.\n\n\"Quite likely,\" he said, faintly.", "\"No, on the passage. Weeks ago. Thirty-nine south. When I say a man--\"\n\n\"Fit of temper,\" I suggested, confidently.", "I was fascinated by it myself. Every moment I had to glance over my\nshoulder. I was looking at him when a voice outside the door said:\n\n\"Beg pardon, sir.\"", "and the other people pretty certain to be round here in the morning. I\ndon't know--I wanted to be seen, to talk with somebody, before I went", "the officer of the watch moved here and there. Then I heard him move\nquickly. I knew what that meant. He was making for the companion; and\npresently his voice was outside my door.", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "It was like being haunted. Motionless, with a grave face, he raised his\nhands slightly at me in a gesture which meant clearly, \"Heavens! what", "moment, this being appearing as if he had risen from the bottom of the\nsea (it was certainly the nearest land to the ship) wanted only to know\nthe time. I told him. And he, down there, tentatively:", "You seem to have been there on purpose.\" And in the same whisper, as if\nwe two whenever we talked had to say things to each other which were not", "round. When at last I did I saw him standing bolt-upright in the\nnarrow recessed part. It would not be true to say I had a shock, but an", "\"Such a young man, too!\" he nodded, keeping his smeary blue,\nunintelligent eyes fastened upon me. \"What was the cause of it--some", "I am here, steward,\" as though he had been miles away. He put down the\ntray on the table next the couch and only then said, very quietly, \"I", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "I paced a turn or two on the poop and saw him take up his position face\nforward with his elbow in the ratlines of the mizzen rigging before I", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "the officer of the watch moved here and there. Then I heard him move\nquickly. I knew what that meant. He was making for the companion; and\npresently his voice was outside my door.", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "He touched my shoulder lightly. Lazy footsteps came right over our heads\nand stopped. The second mate had crossed from the other side of the poop\nand might have been hanging over the rail for all we knew.", "ship was put in stays. Must! There could be no going back for him. After\na moment I walked over to leeward and my heart flew into my mouth at the", "\"I assure you he never gave the order. He may think he did, but he never\ngave it. He stood there with me on the break of the poop after the", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "sharer of my cabin as though he were my second self. There he was on the\nother side of the bulkhead, four or five feet from us, no more, as we", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "However that might have been, the silence was not very prolonged. He\ntook another oblique step.\n\n\"I reckon I had no more than a two-mile pull to your ship. Not a bit\nmore.\"", "eagerly. He happened to catch sight of me and dived, the second ran down\non the main-deck shouting some order or other, and the chief mate came\nto meet me, touching his cap.", "\"Preposterous--isn't it?\"\n\nWe were walking to and fro athwart the quarter-deck. No one of the crew\nforward could be seen (the day was Sunday), and the mate pursued:", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "I took no notice of him and raised my tone just enough to be heard by\nthe helmsman.\n\n\"Keep her good full.\"\n\n\"Good full, sir.\"" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "I caught his arm as he was raising it to batter his poor devoted head,\nand shook it violently.\n\n\"She's ashore already,\" he wailed, trying to tear himself away.", "And all the time I dared not look towards the land lest my heart should\nfail me. I released my grip at last and he ran forward as if fleeing for\ndear life.", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "dreaded, after putting down the dishes ran up on deck busily. This could\nnot be dangerous. Presently he came down again; and then it appeared", "It was like being haunted. Motionless, with a grave face, he raised his\nhands slightly at me in a gesture which meant clearly, \"Heavens! what", "I paced a turn or two on the poop and saw him take up his position face\nforward with his elbow in the ratlines of the mizzen rigging before I", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "\"Be quiet,\" I said, sternly.\n\nHe lowered his tone, but I saw the shadowy gesture of his despair. \"What\nare we doing here?\"\n\n\"Looking for the land wind.\"", "ship was put in stays. Must! There could be no going back for him. After\na moment I walked over to leeward and my heart flew into my mouth at the", "\"We are drawing in pretty fast, sir. Land looks rather close.\"\n\n\"Very well,\" I answered. \"I am coming on deck directly.\"", "I hesitated. Should I whisper something to him? But what? His immobility\nseemed to have been never disturbed. What could I tell him he did not\nknow already?... Finally I went on deck.", "land, either. The water was like glass. One might have been swimming in\na confounded thousand-feet deep cistern with no place for scrambling out", "eagerly. He happened to catch sight of me and dived, the second ran down\non the main-deck shouting some order or other, and the chief mate came\nto meet me, touching his cap.", "\"I am going to stand right in. Quite in--as far as I can take her.\"\n\nThe stare of extreme surprise imparted an air of ferocity also to his\neyes, and he looked truly terrific for a moment.", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "\"Good God!\" he uttered, impressively, fixing his smeary blue eyes on\nme. \"The sea! No man killed by the sea ever looked like that.\" He seemed" ], [ "\"That's so,\" confirmed the second mate, suddenly, in his slightly hoarse\nvoice. \"She draws over twenty feet. She's the Liverpool ship Sephora\nwith a cargo of coal. Hundred and twenty-three days from Cardiff.\"", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "belong to the Sephora. As to asking for the captain, that was a mere\nimpulse. It could have been no use, with all the ship knowing about me", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"", "for ten days. When we anchored here they thought, I suppose, it was\nall right. The nearest land (and that's five miles) is the ship's", "spiritless sigh, and mumbled dismally that he must really be going back\nto his ship now. I desired my mate, who had joined us, to see to the\ncaptain's boat.", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "\"Is she?... Keep good full there!\"\n\n\"Good full, sir,\" cried the helmsman in a frightened, thin, childlike\nvoice.", "However that might have been, the silence was not very prolonged. He\ntook another oblique step.\n\n\"I reckon I had no more than a two-mile pull to your ship. Not a bit\nmore.\"", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "to keep the ship running; so you may guess what it had been like for\ndays. Anxious sort of job, that. He gave me some of his cursed insolence", "But I had no leisure to weigh the merits of the matter--footsteps in\nthe saloon, a heavy knock. \"There's enough wind to get under way with,", "\"What would you think of such a thing happening on board your own\nship? I've had the Sephora for these fifteen years. I am a well-known\nshipmaster.\"", "his name (it was something like Archbold--but at this distance of years\nI hardly am sure), his ship's name, and a few other particulars of\nthat sort, in the manner of a criminal making a reluctant and", "The mate with the terrific whiskers was now putting the ship on the\nother tack. In the moment of profound silence which follows upon the", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "eagerly. He happened to catch sight of me and dived, the second ran down\non the main-deck shouting some order or other, and the chief mate came\nto meet me, touching his cap.", "\"Yes,\" I said, replacing the lamp in the binnacle. The warm, heavy\ntropical night closed upon his head again.\n\n\"There's a ship over there,\" he murmured." ] ]	[ "Where does the ship anchor and by what?", "What does the captain see the night he takes the watch?", "Who is the naked swimmer and why is he swimming at night?", "Why does Leggatt think he'll be hanged for murder?", "What happenes the morning after?", "Who must the narrator and Leggatt avoid on their routine trips to the captain's cabin?", "What plan does the narrator and Leggatt make and does it work?", "Who is considered the \"stranger\" of the crew?", "Where does the story take place?", "What odd thing does the ship's captain notice while he's on watch?", "Who is the naked man that climbs aboard?", "Why is Leggatt hesitant to come aboard?", "Why do the Captain and Leggatt get along so well?", "Who does the Captain lie to?", "What plagues the Captain?", "How does the Captain satisfy Leggatt and his own crew?", "Who calls himself the stranger on board?", "Who swims naked to the ship?", "Why was Leggatt under arrest on the other ship?", "What did Leggatt call the man he murdered?", "Where does the Captain hide Leggatt?", "What body of water does Leggatt jump into?", "Who arrives in the morning asking about Leggatt?", "What was Leggatt's position on his ship?", "What was Leggatt going to face upon landing?", "What country was the cargo for that the Captain was transporting?" ]	[ [ "Near barren islands a few miles from shore, another ship a few miles away.", "It anchored down near a small group of islands a few miles off shore by a tug boat" ], [ "A naked swimmer named Leggatt.", "a man swimming up to the ship" ], [ "The first mate of the other ship and he was arrested.", "Leggatt and to escape. " ], [ "He is a stranger to his crew.", "because he murdered a crew member" ], [ "The other captain comes looking for him and the narrator is able to lie.", "the Captain of Leggatt's ship arrived to question them" ], [ "The Steward.", "The steward " ], [ "Leggatt will drop into the sea and swim to land near the Gulf of Siam. Yes but the narrator almost crashes into rocks. ", "Leggatt will swim alongside the boat " ], [ "The ship's young captain", "The narrator " ], [ "In the Gulf of Siam/Gulf of Thailand", "Gulf of Siam" ], [ "A naked man", "A naked man swimming up to the ship" ], [ "Leggatt, a former First Mate of a different ship", "Leggatt" ], [ "He killed a man on accident and doesn't want to be caught", "he is suspected for murder" ], [ "They were both \"strangers\" on their ships", "They both feel like the strangers aboard their ships and see each as their other self." ], [ "The captain of another ship searching for Leggatt", "The captain of Leggatt's ship" ], [ "The thought of Leggatt being found out", "His crew finding out about Leggatt's" ], [ "By showing good seamanship and allowing Leggatt to escape.", "he helps him secretly" ], [ "The Captain", "The Captain" ], [ "Leggatt", "Leggatt" ], [ "He murdered a crew member", "For murder." ], [ "A disobedient bully", "A disobedient bully." ], [ "In his cabin", "in his cabin" ], [ "The Gulf of Siam", "the gulf of Siam" ], [ "The other ship's captain", "The captain " ], [ "First mate", "First Mate" ], [ "The gallows", "arrest" ], [ "Britain", "Britain " ] ]	7d47230b4497695daed8e532fdf42dff38131e91	train
[ [ "And now from her--\n\n CUT TO:\n\n WOODWARD and BERNSTEIN in a corner of the room, talking low \n and fast.", "WOODWARD\n (looks at BERNSTEIN)\n --she was panicked, Carl--every time \n I mentioned Watergate, you could \n tell.", "As WOODWARD and BERNSTEIN leave the office--\n\n BRADLEE\n Leave plenty of room for his denial.\n\n CUT TO:", "BERNSTEIN\n You heard?\n (WOODWARD glances up)\n They put us both on the break-in", "BERNSTEIN\n Who?\n\n WOODWARD\n Haldeman.\n\n CUT TO:", "WOODWARD AND BERNSTEIN, nervously watching BRADLEE come. As \n soon as BRADLEE is within earshot, ROSENFELD starts his sell.", "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "of his on the byline. ROSENFELD watches. As WOODWARD finishes, \n he takes the story again, hurries off. Now--", "CUT TO:\n\n WOODWARD and BERNSTEIN as the news commentator come on, begins \n introducing another story.", "CUT TO:\n\n WOODWARD and BERNSTEIN huddling outside BRADLEE's office.", "WOODWARD and BERNSTEIN heading toward the office. As they \n enter--\n\n BRADLEE\n I got Clawsen on hold--", "BERNSTEIN\n What's that?\n\n WOODWARD\n The fucking New York Times.\n\n CUT TO:", "CUT TO:\n\n WOODWARD AND BERNSTEIN\n\n They are driving through McLean, Virginia, a development of \n identical imitation Tudor houses.", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "WOODWARD\n --no way--\n\n BERNSTEIN\n (handing them over)\n --read 'em both and you'll see--", "CUT TO:\n\n WOODWARD AND BERNSTEIN getting back into a cab.", "WOODWARD AND BERNSTEIN walking toward BERSTEIN'S desk.\n\n WOODWARD\n Hey?", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "BERNSTEIN\n (as WOODWARD reaches \n him)\n See her?\n (WOODWARD nods)\n Get anything?", "A tremendous pall has settled on the city room. People walk \n by, glancing at WOODWARD and BERNSTEIN, who sit almost \n immobilized at their desks, wet, whipped; no energy left." ], [ "CUT TO:\n\n DEEP THROAT. He blinks for a moment. Then he begins to \n whisper.", "He stops as suddenly DEEP THROAT dives down behind the nearest \n car.\n\n WOODWARD dropping beside him.\n\n WOODWARD\n What?", "CUT TO:\n\n DEEP THROAT moving out of the shadows, smoking, as always.", "DEEP THROAT\n Someone with authority I'd imagine, \n wouldn't you?\n (coughs)\n Don't you know what you're onto? \n Come on.", "DEEP THROAT\n Did you change cabs?\n (as WOODWARD nods)\n It didn't work, something moved there--\n\n And as he points", "DEEP THROAT\n (nods)\n Yes, the little ratfuckers are now \n running our government.", "WOODWARD takes a breath, nods.\n\n DEEP THROAT\n --wait--\n (almost a smile)\n --there's more...", "WOODWARD\n Who?--be specific. How high up?\n\n DEEP THROAT\n You'll have to find that out, won't \n you.", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "DEEP THROAT\n My turn to keep you waiting.\n (approaches)\n What's the topic for tonight?\n\n WOODWARD\n Ratfucking.", "WOODWARD\n We can't trust the phones, not \n anymore. Deep Throat says so.\n\n As WOODWARD beckons for him to move out into the lawn--", "DEEP THROAT pacing and smoking. He is visibly upset; scared \n maybe. He glances over as WOODWARD comes back down the ramp \n alone.", "DEEP THROAT\n Follow the money. Always follow the \n money.\n\n WOODWARD\n To where?", "DEEP THROAT shakes his head, walks off. WOODWARD stands alone \n now, watching. Now the shadows have the other man. Just his \n footsteps are audible. WOODWARD stands there... HOLD.", "DEEP THROAT\n In my day, it was simply called the \n double cross. I believe the CIA refers", "DEEP THROAT\n (shakes his head \"no\")\n Go on.", "DEEP THROAT\n You'll have to find that out, won't \n you?--\n\n CUT TO:", "DEEP THROAT and WOODWARD in the underground garage.", "DEEP THROAT\n Because the press stinks too--history \n on the run, that's all you're \n interested in.\n (inhales)\n You come up with anything?", "WOODWARD\n There were more then.\n\n DEEP THROAT\n Follow every lead--every lead goes \n somewhere--" ], [ "BERNSTEIN\n --we've got to find out who the five \n guys are--the five with access to \n the slush fund--they were aware of \n the break-in.", "BERNSTEIN\n You heard?\n (WOODWARD glances up)\n They put us both on the break-in", "WOODWARD\n Probably you're right, but a little \n while ago, I was talking to a couple \n of lawyers who'd been assigned to \n represent the burglars.", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "WOODWARD\n --we're working on the last guy now \n and we're going all the way--that \n fifth man was Haldeman.", "BERNSTEIN\n Who?\n\n WOODWARD\n Haldeman.\n\n CUT TO:", "WOODWARD\n (stunned)\n Fifty ratfuckers directed by the \n White House to destroy the Democrats?\n\n CUT TO:", "And now from her--\n\n CUT TO:\n\n WOODWARD and BERNSTEIN in a corner of the room, talking low \n and fast.", "CUT TO:\n\n WOODWARD and BERNSTEIN as the news commentator come on, begins \n introducing another story.", "WOODWARD\n I was just kind of wondering why \n your name and phone number were in \n the address books of two of the men \n arrested at Watergate?", "CUT TO:\n\n WOODWARD AND BERNSTEIN\n\n They are driving through McLean, Virginia, a development of \n identical imitation Tudor houses.", "WOODWARD\n (moving in behind him)\n Mr. Rafferty was very helpful. Four \n Cuban-Americans and this other man, \n James McCord.", "BERNSTEIN\n What's that?\n\n WOODWARD\n The fucking New York Times.\n\n CUT TO:", "CUT TO:\n\n WOODWARD and BERNSTEIN huddling outside BRADLEE's office.", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "(silence)\n In Bernard Barker's Florida account.\n (still nothing)\n Bernard Barker, the Watergate burglar--", "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti", "have seen their uniforms and radioed Hunt and Liddy in time \n for them to have gotten to the five burglars and then safely \n away.)", "BERNSTEIN\n Look--five men controlled that slush \n fund as CREEP--three of them we've" ], [ "WOODWARD\n The slush fund at CREEP financed the \n ratfucking, we've almost got that \n nailed down, so--", "SLOAN\n Well, when Liddy came and asked for \n money for what turned out to be the", "BERNSTEIN\n Look--five men controlled that slush \n fund as CREEP--three of them we've", "BERNSTEIN\n --we've got to find out who the five \n guys are--the five with access to \n the slush fund--they were aware of \n the break-in.", "WOODWARD\n --you never knew Haldeman had control \n of the slush fund--\n\n FBI GUY\n --it's all in our files--", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "SLOAN\n Of course--everything they asked--\n\n BERNSTEIN\n --if we wrote a story that said \n Haldeman controlled the fund?--", "BOOKKEEPER\n A lot of it was. I just thought it \n was sort of an all-purpose political \n fund--you know, for taking fat cats \n to dinner, things like that.", "BERNSTEIN\n (ticking them off)\n Mitchell, Stans, Magruder, they're \n obvious--\n\n SLOAN stirs his coffee.", "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "SLOAN\n No. It was closer to seven hundred \n thousand.\n\n WOODWARD\n And as treasurer, you could release \n those funds?", "SLOAN\n Routine--I'd just call John Mitchell \n over at the Justice Department and \n he'd say \"go ahead, give out the \n money.\"", "there was a 350 thousand cash slush \n fund in Stans' safe. Did you know \n about that from the beginning?", "SLOAN\n I won't talk about the other two.\n\n BERNSTEIN\n But they both worked at the White \n House?", "BERNSTEIN\n (out of the blue)\n Kalmbach--Nixon's personal lawyer.\n\n SLOAN is shocked at the mention of Kalmbach.", "SLOAN\n Well, they sure didn't ask us to \n come forward and tell the truth.\n\n WOODWARD\n Does \"they\" mean the White House?", "Now we have a series of shots of the two of them going through \n the slips; it took them hours and hours, and the afternoon \n darkened as they worked. And they're tired. Now--", "SLOAN\n We were never told flat out \"Don't \n talk.\" But the message was clear.\n\n BERNSTEIN\n To cover up?", "BERNSTEIN\n You were Hugh Sloan's bookkeeper \n when he worked for Maurice Stans at", "MITCHELL (V.O.)\n --jeeeeeeesus--\n\n BERNSTEIN\n --fund that was used to gather \n information against the Democrats--" ], [ "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "CREEP secretary being scared, that's \n one thing. But what does the wife of \n one of the most powerful men in", "studying the front page, on which one headline indicates \n that they're named the guys at CREEP who got the reports.", "And from these, they begin to get the home addresses of the \n various small-fry people who work for CREEP.", "White House and CREEP to ratfuck--\n some of what they did is beyond \n belief.", "ROSENFELD\n CREEP financed the Watergate break-\n in, Jesus Christ.\n\n He starts off.", "WOODWARD\n The slush fund at CREEP financed the \n ratfucking, we've almost got that \n nailed down, so--", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "CUT TO:\n\n GETTING THE CREEP LIST SEQUENCE.", "THE WOODWARD/BERNSTEIN STORY that said the GAO found that \n CREEP has mishandled over $500,000 in campaign funds.", "CREEP\n --the fact remains that except for \n Watergate, we ran one hell of a great \n campaign...\n\n The CAMERA is almost at the pillar now.", "BERNSTEIN\n Look--five men controlled that slush \n fund as CREEP--three of them we've", "CREEP P.R. MAN\n (in mid-sentence)\n --hearsay, innuendo, and character", "got destroyed--they wanted to run \n against McGovern, and look who they're \n running against. They bugged, they", "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "WOODWARD\n (headshake)\n --just that a lot of reports were \n sent to CREEP, but he doesn't name \n who, not here anyway--", "WOODWARD\n (stunned)\n Fifty ratfuckers directed by the \n White House to destroy the Democrats?\n\n CUT TO:", "You don't realize how close all this \n came to staying undiscovered--I gave \n Liddy the Dahlberg check and he gave", "SEGRETTI\n I didn't.\n\n BERNSTEIN\n But you know who did.", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was" ], [ "CUT TO:\n\n DEEP THROAT. He blinks for a moment. Then he begins to \n whisper.", "WOODWARD takes a breath, nods.\n\n DEEP THROAT\n --wait--\n (almost a smile)\n --there's more...", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "DEEP THROAT\n Did you change cabs?\n (as WOODWARD nods)\n It didn't work, something moved there--\n\n And as he points", "He stops as suddenly DEEP THROAT dives down behind the nearest \n car.\n\n WOODWARD dropping beside him.\n\n WOODWARD\n What?", "DEEP THROAT\n (nods)\n Yes, the little ratfuckers are now \n running our government.", "CUT TO:\n\n DEEP THROAT moving out of the shadows, smoking, as always.", "DEEP THROAT\n My turn to keep you waiting.\n (approaches)\n What's the topic for tonight?\n\n WOODWARD\n Ratfucking.", "WOODWARD\n Who?--be specific. How high up?\n\n DEEP THROAT\n You'll have to find that out, won't \n you.", "DEEP THROAT\n Someone with authority I'd imagine, \n wouldn't you?\n (coughs)\n Don't you know what you're onto? \n Come on.", "DEEP THROAT\n Of course--my God, you think something \n this big just happens? The break-in", "DEEP THROAT\n Follow the money. Always follow the \n money.\n\n WOODWARD\n To where?", "WOODWARD\n We can't trust the phones, not \n anymore. Deep Throat says so.\n\n As WOODWARD beckons for him to move out into the lawn--", "WOODWARD\n There were more then.\n\n DEEP THROAT\n Follow every lead--every lead goes \n somewhere--", "DEEP THROAT shakes his head, walks off. WOODWARD stands alone \n now, watching. Now the shadows have the other man. Just his \n footsteps are audible. WOODWARD stands there... HOLD.", "DEEP THROAT\n Because the press stinks too--history \n on the run, that's all you're \n interested in.\n (inhales)\n You come up with anything?", "DEEP THROAT\n Yes, yes, everything. There were \n over fifty people employed by the", "DEEP THROAT\n You'll have to find that out, won't \n you?--\n\n CUT TO:", "DEEP THROAT\n In my day, it was simply called the \n double cross. I believe the CIA refers", "DEEP THROAT pacing and smoking. He is visibly upset; scared \n maybe. He glances over as WOODWARD comes back down the ramp \n alone." ], [ "CUT TO:\n\n WOODWARD AT HIS DESK.", "CUT TO:\n\n WOODWARD", "WOODWARD and BERNSTEIN tearing into BRADLEE's office--he \n stands scowling at the TV set in a corner of the room--\n outside, it is raining like hell.", "CUT TO:\n\n WOODWARD turning a corner, running on and--\n\n CUT TO:", "BERNSTEIN and WOODWARD in a crummy cafeteria, watching the \n evening news on the TV set high on the wall. WOODWARD eats a", "the TV set, answering questions. WOODWARD and BERNSTEIN sip \n coffee. We don't know yet--or better, they don't know it", "WOODWARD\n (stunned)\n Holy shit.\n\n Now from the courtroom--\n\n CUT TO:", "ROSENFELD hurrying (he always hurries) toward his office. \n WOODWARD, looking for something in his desk throughout this \n scene, speaks to him.", "CUT TO:\n\n WOODWARD in the shadows, coming closer.\n\n CUT TO:", "The room is reasonably quiet. ROSENFELD is visible in his \n office. As WOODWARD picks up the phone, gets Minneapolis \n information--\n\n CUT TO:", "room. WOODWARD is working at his desk until he glances up at \n a wall clock. It's almost one on the button and as he rises--", "CUT TO:\n\n WOODWARD and BERNSTEIN as the news commentator come on, begins \n introducing another story.", "WOODWARD appears in the side exit, walks off. When he gets \n out of sight of the paper, he starts to run. Now--\n\n CUT TO:", "The maids nod, move out of sight. WOODWARD stands tense and \n still, watching the closed door numbered 710... Now--\n\n CUT TO:", "The elevator opens. WOODWARD shakes his head \"no\" and steps \n inside as we\n\n CUT TO:", "CUT TO:\n\n WOODWARD'S APARTMENT in the dark as he manages to knock the \n phone off its cradle.", "CUT TO:\n\n WOODWARD on the phone.", "THE TV SET. SLOAN is walking along toward a large office \n building, he is flanked by a lawyer. A TV Reporter (it was \n DANIEL SCHORR) is walking alongside, mike in hand.", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "MRS. GRAHAM in her office as a SECRETARY lets WOODWARD in. \n He's nervous. She's standing by the window, he crosses to \n her." ], [ "'70, and this is on deep background, \n the FBI thinks he's involved with \n the break-in.", "BERNSTEIN\n (to WOODWARD)\n When did Hunt start at the White \n House?\n\n WOODWARD\n July of '71.", "The JUDGE indicates the bald burglar.\n\n JUDGE\n Your name, please.\n\n MCCORD\n James McCord.", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "with a sign reading: Office of the Dade County Clerk. \n BERNSTEIN goes into a phone booth in the corridor from which", "WOODWARD\n You call me in on my day off because \n some idiots have broken into local \n Democratic Headquarters--tell me, \n Harry, why should I be smiling?", "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "(silence)\n In Bernard Barker's Florida account.\n (still nothing)\n Bernard Barker, the Watergate burglar--", "Democratic Headquarters--\n (WOODWARD is surprised--\n he hadn't known)\n --and (b) these weren't just any", "BERNSTEIN\n You heard?\n (WOODWARD glances up)\n They put us both on the break-in", "BERNSTEIN\n ---fifteen or more phone calls from \n the burglars in Miami to Gordon Liddy \n at CREEP--", "And from nowhere, suddenly she bursts into tears.\n\n CUT TO:\n\n WOODWARD and BERNSTEIN as her door slams in their faces.", "The maids nod, move out of sight. WOODWARD stands tense and \n still, watching the closed door numbered 710... Now--\n\n CUT TO:", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "DAHLBERG (V.O.)\n That twenty-five thousand dollars is \n money I collected for Nixon in this \n year's campaign.", "DEEP THROAT\n Of course--my God, you think something \n this big just happens? The break-in" ], [ "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "\"Oh my Lord, what am I doing to this \n newspaper?\"\n (She looks at WOODWARD)\n I woke up again last night with that", "And now suddenly--\n\n THE PRESSES OF THE POST\n\n rolling the story. They're modern and gigantic and\n\n CUT TO:", "BERNSTEIN\n What's that?\n\n WOODWARD\n The fucking New York Times.\n\n CUT TO:", "The Times spread somewhat tentatively over a mailbox. A small \n headline is visible, with the words \"Barker,\" \"Liddy,\" and", "Papers the next day. The Times had \n already been stopped from publishing \n anymore of them and all my legal", "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "And he stalks out. WOODWARD and BERNSTEIN stand staring at \n the teletype which keeps on clacking and clacking as the \n L.A. Times story keeps getting longer.", "We're back with the UNION GUY from before. He pulls out a \n paper again, looks at a story on the front page--\n\n CUT TO:", "You're those two from the Post, aren't \n you.\n (they nod)\n I'll tell him.", "The editors have a long story and they all read and pace, \n read and pace; the reporters look traumatized with fatigue. \n All this goes fast.", "It looks, early of a Saturday morning, pretty deserted. Those \n reporters that are around are young, bright, and presently \n involved in nothing more taxing than drinking coffee and \n thumbing through the papers.", "WOODWARD appears in the side exit, walks off. When he gets \n out of sight of the paper, he starts to run. Now--\n\n CUT TO:", "DAHLBERG (V.O.)\n (struggling)\n ...you're definitely doing a story...?\n\n WOODWARD\n Yes, sir.", "And as they get back into the car--\n\n CUT TO:\n\n THE NEWSROOM--EARLY MORNING", "First Amendment of the Constitution \n plus the freedom of the press plus \n the reputation of a hundred-year-old \n paper plus the jobs of the two", "We are at the end of the press run, the papers are all \n assembled and being cabled and sent off by machine to various \n places. As the papers continue to roll past--", "CUT TO:\n\n THE PRESSES continuing to roll. The SOUND is incredible. Now--\n\n CUT TO:", "They start for the sports section, only this time, they stop, \n go back, stare at the headline again. From them watching--\n\n CUT TO:", "A tremendous pall has settled on the city room. People walk \n by, glancing at WOODWARD and BERNSTEIN, who sit almost \n immobilized at their desks, wet, whipped; no energy left." ], [ "The JUDGE indicates the bald burglar.\n\n JUDGE\n Your name, please.\n\n MCCORD\n James McCord.", "Near the end alphabetically, there is a common female name, \n Jane Smith or something like that. As BERNSTEIN runs his \n finger down the addresses, something strikes him as familiar, \n and as he reaches for the phone--", "JUDGE\n And what is your occupation, Mr. \n McCord?\n\n MCCORD\n (softly)\n Security consultant.", "talks quietly on)\n Why would the burglars have put the \n tape around the door instead of up \n and down unless they wanted to get", "alone in the underground garage. Tense, jumpy. He looks at \n his watch, paces around. It's all eerie as hell. Then, from \n the ramps, footsteps.", "The break-in ends when Leeper arrests the five men. He thought \n he only had one guy, so when ten hands were raised he was", "on the door nearest him. Now 710 is wide open and several \n maids leave, watched by a large black man.", "walking up to his apartment house later that night. He sees, \n and then we see, BERNSTEIN, asleep at the front door. He \n comes awake as WOODWARD approaches.", "five burglars--we know he knows a \n lot, we just don't know what.", "THE COURTROOM and business is booming. Muggers, pimp, hookers, \n their families and friends. In the scene that follows, a", "DARDIS' OFFICE. He is fiddling with a combination lock at a \n filing cabinet. BERNSTEIN is seated across DARDIS' desk.", "He leaves. BRADLEE and SIMONS stay where they are, both of \n them flattened by what the guy's said. Because they're not \n sure he's wrong... HOLD. Now--", "AN ELEVATOR, the numbers of the floors being lit as it rises. \n 4--5--6-- WOODWARD stands alone in the elevator. As it reaches \n seven and the doors slide open, he steps out and", "You don't realize how close all this \n came to staying undiscovered--I gave \n Liddy the Dahlberg check and he gave", "PUDGY FBI MAN\n --fuck you fuck you fuck you--\n\n And he tears into an office, slams the door and as we hear \n it lock--", "The maids nod, move out of sight. WOODWARD stands tense and \n still, watching the closed door numbered 710... Now--\n\n CUT TO:", "moves out of his office into a corridor. They go with him. \n No one else is around. The LIBRARIAN looks at them, quickly--", "Wills wouldn't have spotted it and alerted the police; \"if \n only\" the first police car called had gone to investigate, \n Baldwin, watching from the Howard Johnson Motor Inn, would", "WOODWARD continues to rub his neck as ROSENFELD hurries off, \n all the editors still moving toward the place where the moon-\n faced man intermittently rings the triangle.", "name. They showed him a list and he \n picked me but it wasn't me, it was \n Gordon Liddy.\n (looks at the reporters)" ], [ "ROSENFELD\n The most powerful man in America is \n President Nixon, probably you've \n heard his name.", "they were looking for a successor to \n J. Edgar Hoover. I wrote it and the \n day it appeared Johnson called a", "name. They showed him a list and he \n picked me but it wasn't me, it was \n Gordon Liddy.\n (looks at the reporters)", "WOODWARD\n Right. Nixon didn't get where he got \n by being dumb--\n (stops abruptly)\n --listen, that was a Watergate \n question--", "Nixon. I worked in the White House \n four years--so did my wife. What \n happened on June 17 I don't think", "Nixon. Fortunately, the American \n public is too smart to be fooled \n by...", "A CHRISTMAS CARD from the Nixons, they are standing in front \n of the White House Christmas tree. It is signed \"To Hugh and", "BERNSTEIN\n What, though?\n (points to Nixon)\n It can't be the Republicans--he'd", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "\"ALL THE PRESIDENT'S MEN\"\n\n by\n\n William Goldman\n\n Based on the novel", "And as he rolls forward again, out of sight--\n\n CUT TO:\n\n RICHARD NIXON ON THE TUBE.", "Debbie Sloan, with thanks, Richard M. Nixon, Patricia Nixon.\"", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "You don't realize how close all this \n came to staying undiscovered--I gave \n Liddy the Dahlberg check and he gave", "CUT TO:\n\n NIXON--on the tube.", "NIXON\n ...No one in this administration, \n presently employed, was involved in \n this very bizarre incident...\n\n PULL BACK TO REVEAL", "has dropped, what, 50 percent?\n (WOODWARD pushes for \n the elevator)\n And the word is some Nixon people", "work for Nixon--I had him over for a \n drink a few weeks ago and he told me \n he wrote the Canuck letter.\n (she looks from one", "guy and the President said, \"Call \n Ben Bradlee and tell him fuck you.\"\n (shakes his head)\n I took a lot of static for that--" ], [ "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti", "name. They showed him a list and he \n picked me but it wasn't me, it was \n Gordon Liddy.\n (looks at the reporters)", "DEEP THROAT\n In my day, it was simply called the \n double cross. I believe the CIA refers", "The JUDGE indicates the bald burglar.\n\n JUDGE\n Your name, please.\n\n MCCORD\n James McCord.", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "WOODWARD\n (moving in behind him)\n Mr. Rafferty was very helpful. Four \n Cuban-Americans and this other man, \n James McCord.", "SEGRETTI\n I didn't.\n\n BERNSTEIN\n But you know who did.", "WOODWARD\n Did you know to come because one of \n the other men involved in the break-\n in called you?", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "that. The FBI knows about Segretti--\n Howard Hunt made a bunch of phone \n calls to him--they interrogated him,", "BERNSTEIN\n Baldwin told the FBI it was you.", "SEDAM\n Baldwin told the FBI it was someone \n whose first name sounded like a last", "WOODWARD\n Who?--be specific. How high up?\n\n DEEP THROAT\n You'll have to find that out, won't \n you.", "BERNSTEIN\n Chapin did contact you then?\n\n SEGRETTI\n Sure--off the record.", "RINGLE\n (writes down phone \n number)\n Call her. She worked for Colson, if \n that's any help.", "'70, and this is on deep background, \n the FBI thinks he's involved with \n the break-in.", "BERNSTEIN\n (as WOODWARD reaches \n him)\n See her?\n (WOODWARD nods)\n Get anything?", "Either they get it as it is now, or as they really did, from \n a Post researcher who knew someone. In ant case, we see the \n list, with the columns of names and numbers meaning offices \n and phone extensions.", "Near the end alphabetically, there is a common female name, \n Jane Smith or something like that. As BERNSTEIN runs his \n finger down the addresses, something strikes him as familiar, \n and as he reaches for the phone--", "they were looking for a successor to \n J. Edgar Hoover. I wrote it and the \n day it appeared Johnson called a" ], [ "DAHLBERG (V.O.)\n That twenty-five thousand dollars is \n money I collected for Nixon in this \n year's campaign.", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "has dropped, what, 50 percent?\n (WOODWARD pushes for \n the elevator)\n And the word is some Nixon people", "work for Nixon--I had him over for a \n drink a few weeks ago and he told me \n he wrote the Canuck letter.\n (she looks from one", "WOODWARD\n (stunned)\n Fifty ratfuckers directed by the \n White House to destroy the Democrats?\n\n CUT TO:", "NIXON\n The White House has had no involvement \n whatever in this particular incident.\n\n CUT TO:", "BERNSTEIN\n Look--five men controlled that slush \n fund as CREEP--three of them we've", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "CUT TO:\n\n NIXON--on the tube.", "BERNSTEIN\n --we've got to find out who the five \n guys are--the five with access to \n the slush fund--they were aware of \n the break-in.", "NIXON\n ...No one in this administration, \n presently employed, was involved in \n this very bizarre incident...\n\n PULL BACK TO REVEAL", "A CHRISTMAS CARD from the Nixons, they are standing in front \n of the White House Christmas tree. It is signed \"To Hugh and", "WOODWARD\n The slush fund at CREEP financed the \n ratfucking, we've almost got that \n nailed down, so--", "WOODWARD\n --we're working on the last guy now \n and we're going all the way--that \n fifth man was Haldeman.", "BERNSTEIN\n What, though?\n (points to Nixon)\n It can't be the Republicans--he'd", "DEEP THROAT\n (nods)\n Yes, the little ratfuckers are now \n running our government.", "name. They showed him a list and he \n picked me but it wasn't me, it was \n Gordon Liddy.\n (looks at the reporters)", "BERNSTEIN\n Dwight Chapin, Nixon's appointments \n chief--he knew Segretti in school.", "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP." ], [ "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "BERNSTEIN\n What's that?\n\n WOODWARD\n The fucking New York Times.\n\n CUT TO:", "You're those two from the Post, aren't \n you.\n (they nod)\n I'll tell him.", "BERNSTEIN talking softly from a relatively private phone in \n the newsroom. The voice of the lawyer is also whispered and \n scared to death.", "Either they get it as it is now, or as they really did, from \n a Post researcher who knew someone. In ant case, we see the \n list, with the columns of names and numbers meaning offices \n and phone extensions.", "name. They showed him a list and he \n picked me but it wasn't me, it was \n Gordon Liddy.\n (looks at the reporters)", "The Times spread somewhat tentatively over a mailbox. A small \n headline is visible, with the words \"Barker,\" \"Liddy,\" and", "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "The editors have a long story and they all read and pace, \n read and pace; the reporters look traumatized with fatigue. \n All this goes fast.", "It looks, early of a Saturday morning, pretty deserted. Those \n reporters that are around are young, bright, and presently \n involved in nothing more taxing than drinking coffee and \n thumbing through the papers.", "WOODWARD\n (edgy)\n You asking me to disclose my source?\n\n Other reporters are watching now. BRADLEE is impatient, as \n always.", "reporters or hear their questions but the answers they receive \n make it self-evident. We start with the middle-aged man seen \n above.", "\"Oh my Lord, what am I doing to this \n newspaper?\"\n (She looks at WOODWARD)\n I woke up again last night with that", "And now suddenly--\n\n THE PRESSES OF THE POST\n\n rolling the story. They're modern and gigantic and\n\n CUT TO:", "Papers the next day. The Times had \n already been stopped from publishing \n anymore of them and all my legal", "We are at the end of the press run, the papers are all \n assembled and being cabled and sent off by machine to various \n places. As the papers continue to roll past--", "BERNSTEIN\n (as WOODWARD reaches \n him)\n See her?\n (WOODWARD nods)\n Get anything?", "And he stalks out. WOODWARD and BERNSTEIN stand staring at \n the teletype which keeps on clacking and clacking as the \n L.A. Times story keeps getting longer.", "ROSENFELD\n Then how come the Associated Press \n were the ones found out that Mr.", "Finally BERNSTEIN inserts the paper, starts to type as\n\n WOODWARD (V.O.)\n (from behind the pillar)\n Carl?" ], [ "WOODWARD\n (stunned)\n Fifty ratfuckers directed by the \n White House to destroy the Democrats?\n\n CUT TO:", "WOODWARD\n The slush fund at CREEP financed the \n ratfucking, we've almost got that \n nailed down, so--", "White House and CREEP to ratfuck--\n some of what they did is beyond \n belief.", "DEEP THROAT\n (nods)\n Yes, the little ratfuckers are now \n running our government.", "did it at college and called it \n ratfucking.\n (SEGRETTI half-smiles, \n nods)", "DEEP THROAT\n My turn to keep you waiting.\n (approaches)\n What's the topic for tonight?\n\n WOODWARD\n Ratfucking.", "got destroyed--they wanted to run \n against McGovern, and look who they're \n running against. They bugged, they", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti", "to it as Mindfuck. In our context, \n it simply means infiltration of the \n Democrats.", "contacted a bunch of lawyers and \n asked them if they'd like to go to \n work with him screwing up the \n Democrats, dirty tricks, shit like", "followed people, false press leaks, \n fake letters, they canceled Democratic \n campaign rallies, they investigated \n Democratic private lives, they planted", "BERNSTEIN\n Well, we are trying to ruin his life.\n\n WOODWARD\n It's nothing personal, though.\n (looks troubled)", "Ever wonder if Nixon might turn out \n to be the biggest ratfucker of them \n all?", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "BERNSTEIN\n Dwight Chapin, Nixon's appointments \n chief--he knew Segretti in school.", "that. The FBI knows about Segretti--\n Howard Hunt made a bunch of phone \n calls to him--they interrogated him,", "DEEP THROAT\n Total manipulation. I suppose you \n could say they wanted to subvert the \n Constitution, but they don't think \n along philosophical lines.", "deliberately tries to infuse the \n Watergate caper with a seriousness \n far beyond those shenanigans that \n have been the stock trade of political" ], [ "five burglars--we know he knows a \n lot, we just don't know what.", "The JUDGE indicates the bald burglar.\n\n JUDGE\n Your name, please.\n\n MCCORD\n James McCord.", "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "(silence)\n In Bernard Barker's Florida account.\n (still nothing)\n Bernard Barker, the Watergate burglar--", "You don't realize how close all this \n came to staying undiscovered--I gave \n Liddy the Dahlberg check and he gave", "BERNSTEIN\n --we've got to find out who the five \n guys are--the five with access to \n the slush fund--they were aware of \n the break-in.", "THE COURTROOM and business is booming. Muggers, pimp, hookers, \n their families and friends. In the scene that follows, a", "have seen their uniforms and radioed Hunt and Liddy in time \n for them to have gotten to the five burglars and then safely \n away.)", "WOODWARD\n Probably you're right, but a little \n while ago, I was talking to a couple \n of lawyers who'd been assigned to \n represent the burglars.", "Near the end alphabetically, there is a common female name, \n Jane Smith or something like that. As BERNSTEIN runs his \n finger down the addresses, something strikes him as familiar, \n and as he reaches for the phone--", "WOODWARD\n (moving in behind him)\n Mr. Rafferty was very helpful. Four \n Cuban-Americans and this other man, \n James McCord.", "BERNSTEIN\n Look--five men controlled that slush \n fund as CREEP--three of them we've", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "burglars had arranged for their own \n counsel. And that could only mean \n the burglars didn't arrange for their", "back to the D.A. to tell the things \n the FBI didn't ask her. That night, \n her boss, he knew what she'd done.", "BERNSTEIN\n (nods)\n I wish we were investigating Attila \n the Hun.\n\n WOODWARD\n Maybe we are...", "talks quietly on)\n Why would the burglars have put the \n tape around the door instead of up \n and down unless they wanted to get", "WOODWARD\n The burglary was done by Cubans or \n Democrats or Republicans.", "this Watergate compulsion with you \n guys and I said, well, we think it's \n important and he said, if it's so", "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--" ], [ "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "You're those two from the Post, aren't \n you.\n (they nod)\n I'll tell him.", "BERNSTEIN\n Hi. Carl Bernstein of the Washington \n Post. I was just wondering if you", "Inside the Executive Editor's office, BEN BRADLEE sits. As \n SIMONS knocks, he turns, nods. He appears, for the moment, \n deep in thought.", "BERNSTEIN\n Hi, I'm Carl Bernstein of the \n Washington Post and--", "FOREIGN EDITOR\n Ben, Jesus, there are over two \n thousand reporters in this town, are \n there five on Watergate? Where did \n we suddenly get all this wisdom?", "He's got the Colson file spread out now, and we see pictures \n of the man and articles the Post had done on him. But", "Either they get it as it is now, or as they really did, from \n a Post researcher who knew someone. In ant case, we see the \n list, with the columns of names and numbers meaning offices \n and phone extensions.", "WOODWARD\n Hello, I'm Bob Woodward of the Washing \n Post and...\n (beat)", "BERNSTEIN\n Sir, this is Carl Bernstein of the \n Washington Post, and I'm sorry to", "WOODWARD\n Mr. Caddy? My name's Bob Woodward, \n I'm from the Post and I wanted to \n ask about how you happened to come \n on this case--", "WOODWARD\n (edgy)\n You asking me to disclose my source?\n\n Other reporters are watching now. BRADLEE is impatient, as \n always.", "MISS ABBOTT\n Yes?\n\n WOODWARD\n We're from the Washington Post and \n we wanted to ask you some questions \n about the Committee.", "And now suddenly--\n\n THE PRESSES OF THE POST\n\n rolling the story. They're modern and gigantic and\n\n CUT TO:", "guy and the President said, \"Call \n Ben Bradlee and tell him fuck you.\"\n (shakes his head)\n I took a lot of static for that--", "WOODWARD and BERNSTEIN heading toward the office. As they \n enter--\n\n BRADLEE\n I got Clawsen on hold--", "THE ENORMOUS FIFTH FLOOR OF THE WASHINGTON POST.", "WOODWARD\n I've met Mrs. Mitchell in Washington, \n I'm Bob Woodward of the Post and \n tell her--\n\n And the phone clicks dead--", "they were looking for a successor to \n J. Edgar Hoover. I wrote it and the \n day it appeared Johnson called a" ], [ "The break-in ends when Leeper arrests the five men. He thought \n he only had one guy, so when ten hands were raised he was", "burglars had arranged for their own \n counsel. And that could only mean \n the burglars didn't arrange for their", "five burglars--we know he knows a \n lot, we just don't know what.", "WOODWARD\n Probably you're right, but a little \n while ago, I was talking to a couple \n of lawyers who'd been assigned to \n represent the burglars.", "The JUDGE indicates the bald burglar.\n\n JUDGE\n Your name, please.\n\n MCCORD\n James McCord.", "--only now it turns out the burglars \n got their own counsel.\n (he starts to laugh)", "talks quietly on)\n Why would the burglars have put the \n tape around the door instead of up \n and down unless they wanted to get", "have seen their uniforms and radioed Hunt and Liddy in time \n for them to have gotten to the five burglars and then safely \n away.)", "idiots, these were special idiots, \n seeing as when they were arrested at \n 2:30 this morning, they were all", "burglars--those indictments are gonna \n be bullshit when they come down. \n What else do we know?", "Now we have a series of shots of the two of them going through \n the slips; it took them hours and hours, and the afternoon \n darkened as they worked. And they're tired. Now--", "THE COURTROOM and business is booming. Muggers, pimp, hookers, \n their families and friends. In the scene that follows, a", "that burglar, your guess is as good \n as mine.", "CUT TO:\n\n THE TWO MEN getting into a cab also, roaring off in the same \n direction and\n\n CUT TO:", "enough places to put it. I thought \n it was all legal, I guess I did, til \n after the break-in, when I remembered", "WOODWARD\n Your clients were arrested with a \n walkie-talkie; they didn't need that \n to talk among themselves.", "shots of the men taken when they went to jail and they flash \n on, the mug shots and the name and across each the word", "JUDGE\n Will you please state your \n professions.\n\n The five men do not move or reply. Then, after a long pause, \n Barker says--", "(they nod)\n You had a good source?\n (nod)\n Did he have an ax?\n (pause. Then another", "(silence)\n In Bernard Barker's Florida account.\n (still nothing)\n Bernard Barker, the Watergate burglar--" ], [ "The editors have a long story and they all read and pace, \n read and pace; the reporters look traumatized with fatigue. \n All this goes fast.", "And now suddenly--\n\n THE PRESSES OF THE POST\n\n rolling the story. They're modern and gigantic and\n\n CUT TO:", "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "We're back with the UNION GUY from before. He pulls out a \n paper again, looks at a story on the front page--\n\n CUT TO:", "DAHLBERG (V.O.)\n (struggling)\n ...you're definitely doing a story...?\n\n WOODWARD\n Yes, sir.", "It looks, early of a Saturday morning, pretty deserted. Those \n reporters that are around are young, bright, and presently \n involved in nothing more taxing than drinking coffee and \n thumbing through the papers.", "(SIMONS gestures for \n ROSENFELD to continue)\n I want to send a reporter to Miami.", "A tremendous pall has settled on the city room. People walk \n by, glancing at WOODWARD and BERNSTEIN, who sit almost \n immobilized at their desks, wet, whipped; no energy left.", "WOODWARD\n (to the clerk)\n You do a lot of things when you're \n on a story.", "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "And as she goes on, quickly--\n\n CUT TO:\n\n THE NEWSROOM.", "They start for the sports section, only this time, they stop, \n go back, stare at the headline again. From them watching--\n\n CUT TO:", "You're those two from the Post, aren't \n you.\n (they nod)\n I'll tell him.", "THE CAMERA STARTS TO MOVE toward the pillar, the one that \n separates the two reporters, and the denunciations are still \n going on, but not so loud now, not so fierce.", "door. The other, BACHINSKI, is taking hurried notes in a \n reporter's type notebook as he examines the evidence.", "And he stalks out. WOODWARD and BERNSTEIN stand staring at \n the teletype which keeps on clacking and clacking as the \n L.A. Times story keeps getting longer.", "And as they get back into the car--\n\n CUT TO:\n\n THE NEWSROOM--EARLY MORNING", "reporters or hear their questions but the answers they receive \n make it self-evident. We start with the middle-aged man seen \n above.", "This is a compressed montage sequence in which we CUT from \n one reporter to the other, both of them desperately trying \n to locate a man names DAHLBERG.", "of his on the byline. ROSENFELD watches. As WOODWARD finishes, \n he takes the story again, hurries off. Now--" ], [ "BENNETT (V.O.)\n Well, if you've been doing some \n investigating then obviously it's no \n secret to you that Howard was with \n the C.I.A.", "As WOODWARD and BERNSTEIN leave the office--\n\n BRADLEE\n Leave plenty of room for his denial.\n\n CUT TO:", "they were looking for a successor to \n J. Edgar Hoover. I wrote it and the \n day it appeared Johnson called a", "against it)\n --they both went to Brown University--\n (consulting his notes)\n --Hunt worked for the C.I.A. till", "WOODWARD\n (tired, voice deeper)\n Hello, C.I.A. This is R.W. Woodward, \n of the Washington Post--get me \n Personnel--", "WOODWARD\n (cutting him off)\n --I'm not interested in theory. What \n do we know? For example, Hunt's \n disappeared.", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "JUDGE\n (he can't either)\n Where?\n\n MCCORD\n (clearing his throat)\n The C.I.A.", "HUNT (V.O.)\n Howard Hunt here.\n\n WOODWARD\n Hi, I'm Bob Woodward of the Post and--", "BERNSTEIN\n Baldwin told the FBI it was you.", "SEGRETTI\n I didn't.\n\n BERNSTEIN\n But you know who did.", "SIMONS\n --well and good, but when will he \n say it on the record.\n\n WOODWARD\n He just did.", "You don't realize how close all this \n came to staying undiscovered--I gave \n Liddy the Dahlberg check and he gave", "name. They showed him a list and he \n picked me but it wasn't me, it was \n Gordon Liddy.\n (looks at the reporters)", "CLAWSEN (V.O.)\n For Chissakes, don't tell them I \n came to your place.\n\n BERGER\n I already told them.", "WOODWARD\n --he said John Haldeman, not Bob \n Haldeman--\n\n And as they take off after the agent--", "WOODWARD\n (moving in behind him)\n Mr. Rafferty was very helpful. Four \n Cuban-Americans and this other man, \n James McCord.", "CUT TO:\n\n WOODWARD and BERNSTEIN, staring at the man.\n\n WOODWARD\n Democrats?", "JUDGE\n Where?\n\n MCCORD\n (softer)\n Government. Recently retired.\n\n JUDGE\n Where in government?", "He's got the Colson file spread out now, and we see pictures \n of the man and articles the Post had done on him. But" ], [ "Mr. Colson is the President's special \n counsel.", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "--that's Charles Colson, Nixon's \n special counsel--\n (SIMONS almost says \n something, decides", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "ROSENFELD\n The most powerful man in America is \n President Nixon, probably you've \n heard his name.", "BERNSTEIN\n Dwight Chapin, Nixon's appointments \n chief--he knew Segretti in school.", "\"ALL THE PRESIDENT'S MEN\"\n\n by\n\n William Goldman\n\n Based on the novel", "NIXON\n The White House has had no involvement \n whatever in this particular incident.\n\n CUT TO:", "WOODWARD\n --there had to be a White House \n overseer--\n\n BERNSTEIN\n --Colson.", "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti", "Nixon. I worked in the White House \n four years--so did my wife. What \n happened on June 17 I don't think", "BERNSTEIN\n Who?\n\n WOODWARD\n Haldeman.\n\n CUT TO:", "WOODWARD\n Right. Nixon didn't get where he got \n by being dumb--\n (stops abruptly)\n --listen, that was a Watergate \n question--", "BERNSTEIN\n (to WOODWARD)\n When did Hunt start at the White \n House?\n\n WOODWARD\n July of '71.", "NIXON\n ...No one in this administration, \n presently employed, was involved in \n this very bizarre incident...\n\n PULL BACK TO REVEAL", "WHITE HOUSE OPERATOR (V.O.)\n White House.\n\n WOODWARD\n (casually)\n Howard Hunt, please.", "WOODWARD\n (to BERNSTEIN)\n Haldeman.\n (to SLOAN)\n Right?", "WOODWARD\n --and it wasn't Ehrlichman or Colson \n or the President.\n\n SLOAN\n No, none of those.", "BERNSTEIN\n It gets interesting if it was \n Haldeman, because our word is that" ], [ "Inside the Executive Editor's office, BEN BRADLEE sits. As \n SIMONS knocks, he turns, nods. He appears, for the moment, \n deep in thought.", "CUT TO:\n\n THE POST.", "You're those two from the Post, aren't \n you.\n (they nod)\n I'll tell him.", "THE ENORMOUS FIFTH FLOOR OF THE WASHINGTON POST.", "Either they get it as it is now, or as they really did, from \n a Post researcher who knew someone. In ant case, we see the \n list, with the columns of names and numbers meaning offices \n and phone extensions.", "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "they were looking for a successor to \n J. Edgar Hoover. I wrote it and the \n day it appeared Johnson called a", "THOUSANDS AND THOUSANDS OF WASHINGTON POSTS.", "And now suddenly--\n\n THE PRESSES OF THE POST\n\n rolling the story. They're modern and gigantic and\n\n CUT TO:", "He's got the Colson file spread out now, and we see pictures \n of the man and articles the Post had done on him. But", "The editors have a long story and they all read and pace, \n read and pace; the reporters look traumatized with fatigue. \n All this goes fast.", "The foreign editor, an enormously thoughtful-looking and \n respected man, indicates \"no.\"\n\n SIMONS\n (to another editor)\n National?", "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "guy and the President said, \"Call \n Ben Bradlee and tell him fuck you.\"\n (shakes his head)\n I took a lot of static for that--", "spirit that I feel only sadness that \n a once fine journal of record like \n the Post would have become merely \n the hysterical spokesman for the", "and my God, all the executives were \n running around like crazy--you had \n to practically wait in line to use", "FOREIGN EDITOR\n Ben, Jesus, there are over two \n thousand reporters in this town, are \n there five on Watergate? Where did \n we suddenly get all this wisdom?", "As the men rise and head for the door, the FOREIGN EDITOR \n moves toward BRADLEE and SIMONS who remain seated as before.", "WESTERN SENATOR\n (coming in, overlapping)\n It is only our pathetic Post that", "WOODWARD and BERNSTEIN. They're in the lobby of the Post at \n night and through a thick-pane of glass they're watching" ], [ "DEEP THROAT\n Follow the money. Always follow the \n money.\n\n WOODWARD\n To where?", "WOODWARD\n There were more then.\n\n DEEP THROAT\n Follow every lead--every lead goes \n somewhere--", "BERNSTEIN\n (as WOODWARD reaches \n him)\n See her?\n (WOODWARD nods)\n Get anything?", "WOODWARD takes a breath, nods.\n\n DEEP THROAT\n --wait--\n (almost a smile)\n --there's more...", "BERNSTEIN\n What's that?\n\n WOODWARD\n The fucking New York Times.\n\n CUT TO:", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "WOODWARD\n I was told by this guy at the White \n House that Hunt was investigating \n Teddy Kennedy.\n\n BRADLEE\n How senior?", "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti", "WOODWARD\n Who?--be specific. How high up?\n\n DEEP THROAT\n You'll have to find that out, won't \n you.", "HUNT (V.O.)\n Howard Hunt here.\n\n WOODWARD\n Hi, I'm Bob Woodward of the Post and--", "BERNSTEIN\n Who?\n\n WOODWARD\n Haldeman.\n\n CUT TO:", "CUT TO:\n\n WOODWARD in the shadows, coming closer.\n\n CUT TO:", "WOODWARD\n Hello?\n\n BERNSTEIN'S VOICE (O.S.)\n What'd you find?", "WOODWARD\n All right, what do we know?\n\n BERNSTEIN\n Let me lay a little theory on you--", "CUT TO:\n\n WOODWARD and BERNSTEIN, staring at the man.\n\n WOODWARD\n Democrats?", "WOODWARD\n We can't trust the phones, not \n anymore. Deep Throat says so.\n\n As WOODWARD beckons for him to move out into the lawn--", "WOODWARD\n (moving in behind him)\n Mr. Rafferty was very helpful. Four \n Cuban-Americans and this other man, \n James McCord.", "WOODWARD nods, heads back toward the files as we\n\n CUT TO:\n\n WOODWARD AT HIS DESK dialing the phone.", "WOODWARD\n (edgy)\n You asking me to disclose my source?\n\n Other reporters are watching now. BRADLEE is impatient, as \n always.", "And now from her--\n\n CUT TO:\n\n WOODWARD and BERNSTEIN in a corner of the room, talking low \n and fast." ], [ "the polls, Muskie was running ahead \n of Nixon then. Before he self-\n destructed.", "got destroyed--they wanted to run \n against McGovern, and look who they're \n running against. They bugged, they", "BERNSTEIN\n What, though?\n (points to Nixon)\n It can't be the Republicans--he'd", "work for Nixon--I had him over for a \n drink a few weeks ago and he told me \n he wrote the Canuck letter.\n (she looks from one", "DAHLBERG (V.O.)\n That twenty-five thousand dollars is \n money I collected for Nixon in this \n year's campaign.", "they were looking for a successor to \n J. Edgar Hoover. I wrote it and the \n day it appeared Johnson called a", "destructing before our eyes--just \n like Muskie did, Humphrey, the bunch \n of 'em.\n (sits on the table,", "ROSENFELD\n The most powerful man in America is \n President Nixon, probably you've \n heard his name.", "DEEP THROAT\n Nationwide--my God, they were \n frightened of Muskie and look who", "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "never allow something as stupid as \n this, not when he's gonna slaughter \n McGovern anyway.", "CUT TO:\n\n NIXON--on the tube.", "WOODWARD\n Right. Nixon didn't get where he got \n by being dumb--\n (stops abruptly)\n --listen, that was a Watergate \n question--", "has dropped, what, 50 percent?\n (WOODWARD pushes for \n the elevator)\n And the word is some Nixon people", "WOODWARD\n Did he just say what I think he said?\n\n BERNSTEIN\n You voted for him.", "The photo.\n\n It is a picture of Hubert Humphrey standing next to another \n man. The caption identifies that other man as KENNETH \n DAHLBERG. Now--", "either--you're just a couple Democrats \n out to stop Nixon getting re-elected.", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:" ], [ "this Watergate compulsion with you \n guys and I said, well, we think it's \n important and he said, if it's so", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti", "ROSENFELD\n CREEP financed the Watergate break-\n in, Jesus Christ.\n\n He starts off.", "(silence)\n In Bernard Barker's Florida account.\n (still nothing)\n Bernard Barker, the Watergate burglar--", "SLOAN\n Well, when Liddy came and asked for \n money for what turned out to be the", "You don't realize how close all this \n came to staying undiscovered--I gave \n Liddy the Dahlberg check and he gave", "WOODWARD\n --and it wasn't Ehrlichman or Colson \n or the President.\n\n SLOAN\n No, none of those.", "\"ALL THE PRESIDENT'S MEN\"\n\n by\n\n William Goldman\n\n Based on the novel", "any reason, they were so far ahead. \n But Segretti was talking to these \n other lawyers a year before the break-\n in.", "BERNSTEIN\n (to WOODWARD)\n When did Hunt start at the White \n House?\n\n WOODWARD\n July of '71.", "BERNSTEIN\n You heard?\n (WOODWARD glances up)\n They put us both on the break-in", "WOODWARD\n (moving in behind him)\n Mr. Rafferty was very helpful. Four \n Cuban-Americans and this other man, \n James McCord.", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "HUNT (V.O.)\n Howard Hunt here.\n\n WOODWARD\n Hi, I'm Bob Woodward of the Post and--", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "DEEP THROAT\n Of course--my God, you think something \n this big just happens? The break-in", "WOODWARD\n I was just kind of wondering why \n your name and phone number were in \n the address books of two of the men \n arrested at Watergate?", "WOODWARD\n (stunned)\n Fifty ratfuckers directed by the \n White House to destroy the Democrats?\n\n CUT TO:" ], [ "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "McCord is security coordinator for \n the Committee to Re-elect the \n President, otherwise known as CREEP?", "CREEP secretary being scared, that's \n one thing. But what does the wife of \n one of the most powerful men in", "And from these, they begin to get the home addresses of the \n various small-fry people who work for CREEP.", "ROSENFELD\n CREEP financed the Watergate break-\n in, Jesus Christ.\n\n He starts off.", "studying the front page, on which one headline indicates \n that they're named the guys at CREEP who got the reports.", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "WOODWARD\n The slush fund at CREEP financed the \n ratfucking, we've almost got that \n nailed down, so--", "BERNSTEIN\n Look--five men controlled that slush \n fund as CREEP--three of them we've", "WOODWARD\n (headshake)\n --just that a lot of reports were \n sent to CREEP, but he doesn't name \n who, not here anyway--", "CREEP\n --the fact remains that except for \n Watergate, we ran one hell of a great \n campaign...\n\n The CAMERA is almost at the pillar now.", "CUT TO:\n\n GETTING THE CREEP LIST SEQUENCE.", "White House and CREEP to ratfuck--\n some of what they did is beyond \n belief.", "WOODWARD\n (stunned)\n Fifty ratfuckers directed by the \n White House to destroy the Democrats?\n\n CUT TO:", "BERNSTEIN\n Nothing--I just found out that Jeb \n Magruder from CREEP is a bigger bike", "CREEP P.R. MAN\n For twenty years, the Eastern liberal \n press has been trying to smear Dick", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "office building, talking to reporters, the CREEP P.R. \n SOUTHERNER will be talking to reporters in front of the CREEP", "CREEP P.R. MAN\n (in mid-sentence)\n --hearsay, innuendo, and character", "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti" ], [ "CUT TO:\n\n WOODWARD and BERNSTEIN huddling outside BRADLEE's office.", "CUT TO:\n\n WOODWARD", "And now from her--\n\n CUT TO:\n\n WOODWARD and BERNSTEIN in a corner of the room, talking low \n and fast.", "CUT TO:\n\n WOODWARD AND BERNSTEIN getting back into a cab.", "CUT TO:\n\n WOODWARD AT HIS DESK.", "CUT TO:\n\n WOODWARD and BERNSTEIN as the news commentator come on, begins \n introducing another story.", "ROSENFELD AND SIMONS approaching WOODWARD who is working at \n his desk. He has put in a lot of hours on this and looks it.", "CUT TO:\n\n ROSENFELD as WOODWARD hands him another sheet of paper.", "He moves on. ROSENFELD turns quickly to WOODWARD.", "WOODWARD\n --you do?--with access to records?\n\n As BERNSTEIN nods--\n\n CUT TO:", "of his on the byline. ROSENFELD watches. As WOODWARD finishes, \n he takes the story again, hurries off. Now--", "CUT TO:\n\n WOODWARD AND BERNSTEIN walking along through the Library of \n Congress.", "WOODWARD AND BERNSTEIN walking toward BERSTEIN'S desk.\n\n WOODWARD\n Hey?", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "WOODWARD and BERNSTEIN work on. And now, as the voices \n continue condemning, we see them--all the President's men--", "WOODWARD\n Hello?\n\n BERNSTEIN'S VOICE (O.S.)\n What'd you find?", "WOODWARD makes a nod. HOLD. Then--\n\n CUT TO:\n\n BRADLEE", "CUT TO:\n\n WOODWARD in the shadows, coming closer.\n\n CUT TO:", "BERNSTEIN\n Who?\n\n WOODWARD\n Haldeman.\n\n CUT TO:", "WOODWARD\n We have to talk.\n\n BERNSTEIN nods, grabs the papers both that he's been typing \n and that he's been copying from." ] ]	[ "Who is assigned to cover the Watergate story with Woodward?", "Who is Deep Throat?", "What do Woodward and Bernstein connect the five burglars too?", "Who do they connect a slush fund to?", "What do they learn CREEP did?", "What does Deep Throat reveal?", "What is shown on the TV in Woodward's office?", "What year does the burglary at the DNC headquarters take place?", "What is the name of the newspaper that is key to the story?", "What is the name of the security guard that discovers the burglars at the DNC?", "What is the name of the president that succeeded Nixon?", "What was the code name given to the key informant?", "What is the five letter acronym given to Nixons campaign?", "What was the name of the newspaper that the reporters used to communicate with their source?", "What was the purpose of the \"ratfucking\" campaign?", "Four of the five burglars at the DNC had a common immigrant background, what was it?", "What was the name of the editor of the Washington Post handling the story?", "How many burglars were arrested?", "Who is assigned to cover this story?", "Who admitted that he had recently left the CIA?", "Who was President Nixon's special counsel?", "Who was the Executive editor of the Post?", "Who tells Woodward to follow the money?", "Who was the democratic nominee Nixon was going up against?", "Who came up with the plan for Watergate?", "Who is the head of CREEP?", "Who is assigned to work with Woodward?" ]	[ [ "Carl Bernstein. ", "Carl Bernstein" ], [ "An anonymous source Woodward has used I'm the past. ", "a senior government official" ], [ "Thousands of dollars to Nixon's Committee. ", "The CIA" ], [ "H. R. Halderman and John. N Mitchell. ", "White House Chief of Staff H.R. Haldeman " ], [ "Used a fund to sabotage Democratic presidential campaigns. ", "They diverted money to ruin the Democratic campaign." ], [ "Haldman masterminded the Watergate break in, after all. ", "watergate was masterminded by haldeman" ], [ "Nixon taking the Oath of Office. ", "Nixon taking the Oath of Office. " ], [ "The year was 1972", "1972" ], [ "The Washington Post", "Washington Post" ], [ "Frank Wills", "Frank Willis " ], [ "Gerald Ford", "Gerald Ford. " ], [ "Deep Throat", "Deep Throat" ], [ "CREEP", "CREEP" ], [ "The New York Times", "The New York Times" ], [ "To sabotage Democratic presidential candidates", "To sabotage the Democratic presidential canidates" ], [ "They were cuban-Americans", "Cuban" ], [ "Benjamin Bradlee", "Ben Bradlee" ], [ "five", "Five. " ], [ "Bob Woodward", "Woodward" ], [ "James Mccord Jr. ", "James McCord" ], [ "Charles Colson", "Charles Colson" ], [ "Benjamin Bradlee", "Benjamin Bradlee. " ], [ "Deep Throat", "Deep Throat" ], [ "George Mcgovern", "Edmund Muskie" ], [ "Halderman", "haldeman" ], [ "John Mitchell", "General John Mitchell" ], [ "Carl Bernstein", "Bernstein" ] ]	83a1fd492021ceb110451d65888072daf64a5d4f	train
[ [ "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "in Paris, where young men were easily debauched. Lescaut assured him\nthat I was naturally of so grave a character that I thought of nothing\nbut becoming a clergyman, and that, even as a child, my favourite", "nearly a year at Paris without hearing of Manon. It cost me no slight\neffort to abstain from enquiry; but the unintermitting advice of", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "seeing Manon in male attire, for it was the custom in Paris and the\nenvirons to adopt all disguises. I took care to have her served with", "difficulty in procuring us the same enjoyment again. He at length\ninduced us to follow his advice. Manon especially could not reconcile", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "a quarter of an hour of Christian meditation, to every sensual\ngratification, not excepting any that I might have derived even from\nManon's society. Nevertheless, one unlucky moment plunged me again", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "\"I gave him, as briefly as I could, a history of my long-standing and\ninsurmountable passion for Manon, of the flourishing condition of our", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "Magdalen, good sir! Oh heavens! my adorable mistress, my beloved Manon,\na degraded inmate of the Hospital! How shall I command strength of\nmind enough to survive this grief and shame!'", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"G---- M----, although a good deal embarrassed by the whole scene, soon\nrecognised me; and Manon still more easily. 'Is this a dream?' said", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "in order to facilitate my speedy return to Paris, that I might restore\nlife and happiness to my dear Manon.", "endeavour to prove himself worthy of it, by the sincerity of his\nservices. He could not absolutely promise to restore Manon to my arms,\nbecause, as he said, he himself had very little influence; but he" ], [ "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "affairs; and Manon's relations have no doubt remitted her money through\nhis house. She has probably already received some from him, and he is", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "of your generous gift, amounted to the small sum of forty pistoles; I\nexpended eight in the purchase of some necessary articles for Manon;\nand I put the remainder by, as the capital upon which we were to rest", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "\"He approached to take me by the hand, while Manon was securing the\nmoney and jewels, and leading me towards M. G---- M----, he desired me", "Just about six months before my departure for Spain, I first met the\nChevalier des Grieux. Though I rarely quitted my retreat, still the", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "taken as cash. I have already said that he was not rich. His living\nwas worth about six thousand francs a year, but as this was the first", "\"He told me that, as G---- M---- had gone to his father's house for the\nmoney which he wanted, he had taken advantage of his absence to", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "arranged a plan for interesting him in favour of Manon. If he is a man\nof feeling and of right mind, he will give us his assistance from", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "\"The main object now was to replenish my purse. M. de T---- had once\noffered me his, but I had an extreme repugnance to mention the subject", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "her equipage, had begged of him to make her acquainted with M. G----\nM----, who had a character for liberality. He carefully avoided", "Manon. I asked him for only fifty pistoles. 'You can remit it to me,'\nsaid I to him, 'through the hands of the postmaster. You must perceive", "both his mistress and his money. You may thus, at one blow, be amply\nrevenged upon father and son.'" ], [ "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "servant called. I could not help feeling a pang as she took leave of\nme. 'Manon,' said I, 'do not deceive me; will you be faithful to me?'", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "Lescaut fell, without the least sign of life. I pressed Manon to fly,\nfor we could be of no use to a dead man, and I feared being arrested by", "do; I am but too happy, too contented, if my dear Manon will only leave\nme master of her affections! But,' continued I, remembering that it", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "\"I was then on the point of going away, determined never to bestow\nanother thought on Manon: the mortal jealousy that was racking my heart", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "Manon, and of the expense he had gone to on her account; the manner in\nwhich he had passed the afternoon with her until about nine o'clock,\nthe circumstance of his leaving her, and the outrage he encountered on", "the consolation of embracing Manon, or of bidding her farewell. I\nremained for a long time ignorant of her fate. It was perhaps", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "ruined me,' said I to Lescaut; 'I shall be no longer safe at your\nhouse; we must go hence at once.' I gave Manon my arm, and as quickly", "\"Manon received the proposition with considerable coldness. However,\nthe difficulties she made, being apparently the suggestions of\ntenderness alone, or as arising from the natural fear of losing me, if", "\"My spirit was not destined to accompany Manon's. Doubtless, Heaven\ndid not as yet consider me sufficiently punished, and therefore" ], [ "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"Manon replied: 'Alas! does a life so thoroughly miserable deserve the\ncare we bestow on ours? Let us die at Havre, dearest chevalier! Let", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "the consolation of embracing Manon, or of bidding her farewell. I\nremained for a long time ignorant of her fate. It was perhaps", "my entreaties in her favour would have been useless. The cruel\nsentence upon Manon had arrived at the same time as the warrant for my\ndischarge. The unfortunate girl was conducted in an hour after to the", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "Lescaut fell, without the least sign of life. I pressed Manon to fly,\nfor we could be of no use to a dead man, and I feared being arrested by", "\"I was myself in a most deplorable state of mind; I could not discern\nthe slightest prospect of safety for either of us. 'Manon,' said I to", "Magdalen, good sir! Oh heavens! my adorable mistress, my beloved Manon,\na degraded inmate of the Hospital! How shall I command strength of\nmind enough to survive this grief and shame!'", "\"G---- M----, although a good deal embarrassed by the whole scene, soon\nrecognised me; and Manon still more easily. 'Is this a dream?' said", "\"He replied, that I must be, of course, aware that the governor was\nabsolute master here; that Manon, having been transported from France", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "ruined me,' said I to Lescaut; 'I shall be no longer safe at your\nhouse; we must go hence at once.' I gave Manon my arm, and as quickly", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of" ], [ "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "\"I waited upon the governor, as I had settled with Manon, to procure\nhis consent to the ceremony of our marriage. I should have avoided", "\"He replied, that I must be, of course, aware that the governor was\nabsolute master here; that Manon, having been transported from France", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "M----, and perhaps equally so to prevent him from making his\ndeclaration to Manon, I resolved to tell her beforehand of the designs\nof my new rival. I fancied that when she knew I was aware of the", "'where is Manon? what have you done with her?' My agitation startled\nhim. He replied, that if this was the reception he was to meet, when", "\"He took my hand, and exhorted me to have courage and be comforted;\nbut, as he seemed to consider it settled that Manon and I were to", "endeavour to prove himself worthy of it, by the sincerity of his\nservices. He could not absolutely promise to restore Manon to my arms,\nbecause, as he said, he himself had very little influence; but he", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "\"He approached to take me by the hand, while Manon was securing the\nmoney and jewels, and leading me towards M. G---- M----, he desired me", "\"G---- M----, although a good deal embarrassed by the whole scene, soon\nrecognised me; and Manon still more easily. 'Is this a dream?' said", "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should", "Manon was. He said that was easily done, by merely ascending the great\nstaircase. 'Come then at once,' said I to him, 'and endeavour to", "\"I gave him, as briefly as I could, a history of my long-standing and\ninsurmountable passion for Manon, of the flourishing condition of our", "after a cold salutation, he announced to me in two words, that the\ngovernor desired I would relinquish all thoughts of such a thing, for\nthat he had other views for Manon.", "arranged a plan for interesting him in favour of Manon. If he is a man\nof feeling and of right mind, he will give us his assistance from", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a" ], [ "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "M----, and perhaps equally so to prevent him from making his\ndeclaration to Manon, I resolved to tell her beforehand of the designs\nof my new rival. I fancied that when she knew I was aware of the", "\"The governor had a nephew named Synnelet, of whom he was particularly\nfond. He was about thirty; brave, but of a headstrong and violent", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "\"About two hours previously, a guardsman of Lescaut's acquaintance had\ncome to see him, and proposed play. Lescaut had such a rapid and", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "Lescaut had refused to give him the required satisfaction, and the\nother swore, on quitting him, that he would take his life; a threat", "Chaillot, of our projected adventure, and of the part he was to\nperform. He therefore told him that the object was to make a dupe of", "place to the ecclesiastical habit, and the designation of the AbbÃ© de\nGrieux was substituted for that of chevalier. I applied so diligently", "\"He replied, that I must be, of course, aware that the governor was\nabsolute master here; that Manon, having been transported from France", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "Aware, as I was, of the affection of the governor for his nephew, I\nfelt perfectly sure that my death would not be delayed a single hour", "\"On quitting me, my father went to pay a visit to M. G---- M----. He\nfound him with his son, whom the guardsman had safely restored to", "'where is Manon? what have you done with her?' My agitation startled\nhim. He replied, that if this was the reception he was to meet, when", "Just about six months before my departure for Spain, I first met the\nChevalier des Grieux. Though I rarely quitted my retreat, still the", "and he had given a promise to his nephew.' I was resolved to command\nmy feelings to the last: I merely replied, that I had imagined he was", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of" ], [ "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "ruined me,' said I to Lescaut; 'I shall be no longer safe at your\nhouse; we must go hence at once.' I gave Manon my arm, and as quickly", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "from the Hospital adventure. He told me that, from the fear of their\nsuspecting that he had a hand in Manon's escape, he had gone that", "Lescaut fell, without the least sign of life. I pressed Manon to fly,\nfor we could be of no use to a dead man, and I feared being arrested by", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "another reason which made me fear even to approach him; I had quitted\nhis lodgings contrary to his express orders, and was resolved, since I\nhad learned the sad fate of my poor Manon, never again to return", "\"I was myself in a most deplorable state of mind; I could not discern\nthe slightest prospect of safety for either of us. 'Manon,' said I to", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "Manon, and of the expense he had gone to on her account; the manner in\nwhich he had passed the afternoon with her until about nine o'clock,\nthe circumstance of his leaving her, and the outrage he encountered on", "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'" ], [ "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "\"We journeyed on as long as Manon's strength would permit, that is to\nsay, about six miles; for this incomparable creature, with her usual", "\"I was myself in a most deplorable state of mind; I could not discern\nthe slightest prospect of safety for either of us. 'Manon,' said I to", "my entreaties in her favour would have been useless. The cruel\nsentence upon Manon had arrived at the same time as the warrant for my\ndischarge. The unfortunate girl was conducted in an hour after to the", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "the consolation of embracing Manon, or of bidding her farewell. I\nremained for a long time ignorant of her fate. It was perhaps", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "Manon and myself. He was so good as to distinguish us from the herd of\nour miserable associates. I took an opportunity, on the second day, of", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "Lescaut fell, without the least sign of life. I pressed Manon to fly,\nfor we could be of no use to a dead man, and I feared being arrested by", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "of a coach, in which they took an airing occasionally in the Bois de\nBoulogne; and each night when I returned, I was sure of finding Manon", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "ruined me,' said I to Lescaut; 'I shall be no longer safe at your\nhouse; we must go hence at once.' I gave Manon my arm, and as quickly", "\"I held Manon in such close embrace in my arms, that we occupied but\none place in the coach. She cried for joy, and I could feel her tears\ntrickling down my cheeks." ], [ "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "Just about six months before my departure for Spain, I first met the\nChevalier des Grieux. Though I rarely quitted my retreat, still the", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "\"He accordingly came to St. Lazare. I met him with an air more grave\nand certainly less silly than I had exhibited at his house with Manon.", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "place to the ecclesiastical habit, and the designation of the AbbÃ© de\nGrieux was substituted for that of chevalier. I applied so diligently", "the consolation of embracing Manon, or of bidding her farewell. I\nremained for a long time ignorant of her fate. It was perhaps", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "already decorated with the Cross, and called the Chevalier des Grieux.\nThe vacation having arrived, I was preparing to return to my father,\nwho had promised to send me soon to the Academy.", "\"Manon replied: 'Alas! does a life so thoroughly miserable deserve the\ncare we bestow on ours? Let us die at Havre, dearest chevalier! Let", "Magdalen, good sir! Oh heavens! my adorable mistress, my beloved Manon,\na degraded inmate of the Hospital! How shall I command strength of\nmind enough to survive this grief and shame!'", "\"My spirit was not destined to accompany Manon's. Doubtless, Heaven\ndid not as yet consider me sufficiently punished, and therefore", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should" ], [ "the young man conveyed in the most graceful language. Here, then, is\nhis story, which in its progress I shall not encumber with a single\nobservation that was not his own.", "Although he seemed to recite this story tranquilly enough, I observed\nthe tears start to his eyes as he concluded. This adventure struck me", "yourself,\" said the woman, \"and see if it is not a sight to rend your\nheart!\" Curiosity made me dismount; and leaving my horse to the care", "who appeared to have charge of her, was busy in getting her luggage\nfrom the vehicle. She struck me as being so extremely beautiful, that\nI, who had never before thought of the difference between the sexes, or", "I should here inform the reader that I wrote down the story almost\nimmediately after hearing it; and he may, therefore, be assured of the", "afterwards told him the name of the street to which I wished him to\ndrive, he answered that he feared I was about to implicate him in some\nbad business; that he saw plainly enough that the good-looking young", "than myself. She acknowledged that she was greatly pleased with me,\nand that she should be enchanted to owe to me her freedom and future\nhappiness. She would insist on hearing who I was, and the knowledge", "\"Manon Lescaut (this she told me was her name) seemed gratified by the\nvisible effect of her own charms. She appeared to me not less excited", "the door. He had, however, the precaution to ask first who it was, and\nwhat was wanted? I was obliged to mention my name, but I assumed a", "\"Manon was reading. I had there an opportunity of admiring the\nsingular character of this girl. Instead of being nervous or alarmed", "\"He began by asking me whether I was really simple enough to believe\nthat I had been really loved by the girl. I told him confidently that", "---- was below, and wished to see her. The name alone almost threw me\ninto a rage.", "\"The main object now was to replenish my purse. M. de T---- had once\noffered me his, but I had an extreme repugnance to mention the subject", "himself. He turned to my brother, to ask if he had not told me the\nwhole story. My brother answered, that I appeared to him so tranquil", "any distinction between her and the others, I cannot help treating her\ndifferently, for she seems to me somewhat superior to her companions.\nYonder is a young man,\" continued the archer, \"who can tell you, better", "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "\"At first she laughed at me for my simplicity; but when she found that\nI continued to look at her with an unchanging expression of melancholy,", "\"'We have gone far enough, then,' said I, catching hold of his arm;\n'take from me, in common mercy, my life! weary and odious and" ], [ "separated from all one loves. I must have taken leave of my senses, to\nhave voluntarily brought all this misery upon myself.'", "his esteem and friendship for my family; that it was in this sense he\nhad explained the matter to him; that what I had now told him should\nassuredly produce a change in my treatment, and that he had no doubt", "his return. This was enough to convince him that his son's affair was a\nlove quarrel. Although it was then at least half-past ten at night, he", "\"'Adieu!' exclaimed I to him, in a burst of grief, 'adieu, cruel and\nunnatural father!'", "attached. We had been brought up together; but from the straitened\ncircumstances of his family, he was intended to take orders, and was to", "\"He then enquired why I had never thought of informing my family of\nwhat had taken place, since they had not been instrumental to my", "disappointment, that I could make him no reply. He appeared for some\nminutes revolving different thoughts in his mind; and as if they had\nsuddenly excited his anger, he exclaimed, addressing himself to me:", "another reason which made me fear even to approach him; I had quitted\nhis lodgings contrary to his express orders, and was resolved, since I\nhad learned the sad fate of my poor Manon, never again to return", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "They begged pardon for the necessity they were under of treating me\nwith apparent disrespect; telling me frankly that they were acting by\nthe orders of my father, and that my eldest brother was in a carriage", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "\"He told me that, as G---- M---- had gone to his father's house for the\nmoney which he wanted, he had taken advantage of his absence to", "for this port, and am now going to the house of one of my relations who\nlives a few miles off, where my brother said that he should anxiously\nawait my arrival.\"", "\"He went out, and left me in a condition that you may picture to\nyourself. 'O Heavens!' cried I to myself, 'I receive with humble", "reproached me warmly with the habit I was contracting of staying out so\nlate. My silence gave her an opportunity of continuing; and she then\nsaid that for the last three weeks I had never spent one entire day in", "\"As I was about to turn away from him: 'You refuse then to follow me,'\ncried he, in a tone of excessive anger. 'Go! go on to your ruin.\nAdieu! ungrateful and disobedient boy.'", "seeing her during the last nine or ten months, had so inflamed his\npassion, that he was absolutely pining for her in secret. However, as\nhe was convinced in common with his uncle and the whole colony that I", "Lescaut had refused to give him the required satisfaction, and the\nother swore, on quitting him, that he would take his life; a threat", "He answered me candidly, that he could not communicate her history\nwithout making himself known, and that he had urgent reasons for", "sorrow, that I have not since known a moment's happiness. You may judge\nof this by the steps it induced me to take.' He then told me how," ], [ "\"We passed two months together at New Orleans whilst waiting the\ndeparture of a vessel direct to France; and having at length sailed, we", "speculation had directed to New Orleans. I stood by whilst the\npassengers landed. Judge my surprise on recognising Tiberge amongst\nthose who proceeded towards the town. This ever-faithful friend knew", "ourselves in New Orleans, as in the midst of the ocean, separated from\nthe rest of the world by an immense interval of space. In a country", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "However, the captain having discharged some pieces of artillery, we\npresently observed a group of the inhabitants of New Orleans, who\napproached us with evident signs of joy. We had not perceived the", "view the true land of milk and honey, the abode of contentment and\ndelight. 'People should come to New Orleans,' I often said to Manon,", "immediately apprised Lescaut of her return, and he having informed me,\nwe went together to her new abode. The old lover had already gone out.", "to their destination; and believing that it was at Rochelle this\nunhappy group was to embark, all my trouble would have been thrown away\nin waiting for them on the Orleans road. However, I learned, by the", "\"She raised herself in spite of her weakness, and taking hold of my\nhand to lead me towards the door: 'Let us,' said she, 'fly together,", "she proposed. She got into her carriage to go and wait for me at the\ncorner of the street. I escaped the next moment, without attracting", "made me think of amusing myself with these creatures: but when they\ndiscovered that I was in love, they increased their demands in such a\nway, that my purse was completely empty on leaving Mantes, where we had", "perpetual imprisonment, or to transport her for life to America. They\nhappened, at that very period, to be sending out a number of convicts\nto the Mississippi. The lieutenant-general promised to have her", "between us, and he generously did justice to my conduct on the\noccasion. I was sent for; and as neither of us could be found, our\nflight was immediately suspected. It was then too late to attempt to", "away a small portion of her apparel, of which I took charge. The\nchaise was in readiness, and we were soon at a distance from the town.", "soldier's report, that they would go out towards Rouen, and that it was\nfrom Havre-de-Grace they were to sail for America.", "\"After many reflections we could discover no other resource than in\nflight. To effect this it would be requisite to cheat the vigilance of", "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'" ], [ "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "Manon and myself. He was so good as to distinguish us from the herd of\nour miserable associates. I took an opportunity, on the second day, of", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "Lescaut fell, without the least sign of life. I pressed Manon to fly,\nfor we could be of no use to a dead man, and I feared being arrested by", "Manon's guardian, who required management, although he was but a\nservant. We determined, therefore, that, during the night, I should", "\"M. de T---- spoke to some of the porters of the establishment, who\nappeared all anxious to please him. The quarter in which Manon's room", "\"G---- M----, although a good deal embarrassed by the whole scene, soon\nrecognised me; and Manon still more easily. 'Is this a dream?' said", "the last occasion, as men whose courage had been proved. M. de T----\nhad told me the exact number of archers that would escort Manon; they\nwere but six. Five strong and determined men could not fail to strike", "Manon was. He said that was easily done, by merely ascending the great\nstaircase. 'Come then at once,' said I to him, 'and endeavour to", "Manon's house. I saw de T----'s messenger arrive, and G---- M---- come\nout the next moment, followed by a servant. Allowing him barely time to", "room where he expected to pass the night; and Manon, instead of\nfollowing him, promised to come out, and join us. Lescaut undertook to\nhave a coach waiting at the door.", "\"He took my hand, and exhorted me to have courage and be comforted;\nbut, as he seemed to consider it settled that Manon and I were to", "'where is Manon? what have you done with her?' My agitation startled\nhim. He replied, that if this was the reception he was to meet, when", "from the Hospital adventure. He told me that, from the fear of their\nsuspecting that he had a hand in Manon's escape, he had gone that", "\"He approached to take me by the hand, while Manon was securing the\nmoney and jewels, and leading me towards M. G---- M----, he desired me", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "M----, and perhaps equally so to prevent him from making his\ndeclaration to Manon, I resolved to tell her beforehand of the designs\nof my new rival. I fancied that when she knew I was aware of the", "Hospital. We were not long waiting, when we saw Manon make her\nappearance with her guide. The door of the coach being opened, they", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was" ], [ "I should here inform the reader that I wrote down the story almost\nimmediately after hearing it; and he may, therefore, be assured of the", "Although he seemed to recite this story tranquilly enough, I observed\nthe tears start to his eyes as he concluded. This adventure struck me", "the young man conveyed in the most graceful language. Here, then, is\nhis story, which in its progress I shall not encumber with a single\nobservation that was not his own.", "\"The remainder of the day appeared to me of endless length. When at\nlast night came, we went in a coach to within a few yards of the", "together in less than a quarter of an hour. I waited at his lodgings\ntill he returned with them, and then conducted him to the corner of a", "perhaps love you in return.' The poor child, who was only sixteen or\nseventeen years of age, and who appeared more modest than girls of her\nclass generally are, was thunderstruck at this unusual scene. She", "\"I was seventeen years old, and was finishing my studies at Amiens,\nwhither my parents, who belonged to one of the first families in", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "Returned to my retreat, I remained in ignorance of the result of this\nadventure; and ere two years had passed, it was completely blotted from\nmy recollection, when chance brought me an opportunity of learning all\nthe circumstances from beginning to end.", "yourself,\" said the woman, \"and see if it is not a sight to rend your\nheart!\" Curiosity made me dismount; and leaving my horse to the care", "who appeared to have charge of her, was busy in getting her luggage\nfrom the vehicle. She struck me as being so extremely beautiful, that\nI, who had never before thought of the difference between the sexes, or", "upon some adventure of gallantry. He had not been able to learn\nanything further, he added, trembling as he spoke, because the prince,", "immediately retired into the inn. One remained behind: she was very\nyoung, and stood by herself in the court, while a man of advanced age,", "that in the space of ten years some change must occur in my family: my\nfather is even now of an advanced age; he may die; in which event I\nmust inherit a fortune, and we shall then be above all other fears.'", "himself. He turned to my brother, to ask if he had not told me the\nwhole story. My brother answered, that I appeared to him so tranquil", "\"You will find it difficult to believe that, during the whole time of\nthis protracted and distressing ceremony, not a tear or a sigh escaped", "the police, who would certainly be soon upon the spot. I turned down\nthe first narrow street with her and the servant: she was so\noverpowered by the scene she had just witnessed, that I could hardly", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "\"About two hours previously, a guardsman of Lescaut's acquaintance had\ncome to see him, and proposed play. Lescaut had such a rapid and", "\"He told me that, as G---- M---- had gone to his father's house for the\nmoney which he wanted, he had taken advantage of his absence to" ], [ "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "Manon and myself. He was so good as to distinguish us from the herd of\nour miserable associates. I took an opportunity, on the second day, of", "Manon, he had heard of her; at least, if the person I was talking of\nwas the same who had been the mistress of old G---- M----. I", "Hospital. We were not long waiting, when we saw Manon make her\nappearance with her guide. The door of the coach being opened, they", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "\"Manon was reading. I had there an opportunity of admiring the\nsingular character of this girl. Instead of being nervous or alarmed", "Manon, and of the expense he had gone to on her account; the manner in\nwhich he had passed the afternoon with her until about nine o'clock,\nthe circumstance of his leaving her, and the outrage he encountered on", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "\"Manon received the proposition with considerable coldness. However,\nthe difficulties she made, being apparently the suggestions of\ntenderness alone, or as arising from the natural fear of losing me, if", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"Manon's caresses soon dissipated the annoyance this scene had caused\nme. We continued to lead a life entirely devoted to pleasure and love.", "\"It was Manon. It was she indeed, but more bewitching and brilliant\nthan I had ever beheld her. She was now in her eighteenth year. Her", "with singular affection. The sight of so lovely a girl as Manon, my\nill-disguised impatience to conduct her to the inn, and the anxiety I", "principal of these, and the remainder were disposed of by lot. He had\nnot yet addressed Manon; but having ordered the others to depart, he", "of a coach, in which they took an airing occasionally in the Bois de\nBoulogne; and each night when I returned, I was sure of finding Manon", "\"I gave him, as briefly as I could, a history of my long-standing and\ninsurmountable passion for Manon, of the flourishing condition of our" ], [ "informed me that having seen her at her window, he became passionately\nin love with her; that he made his advances in the true style of a", "\"I gave him, as briefly as I could, a history of my long-standing and\ninsurmountable passion for Manon, of the flourishing condition of our", "\"He began by asking me whether I was really simple enough to believe\nthat I had been really loved by the girl. I told him confidently that", "\"In order to enhance the sacrifice she had made for me of her late\nlover, she determined to treat him without the least ceremony. 'I", "girl he appeared so much in love with! How pretty she was! The poor\nyoung things, how they caressed each other! Pity if they have been", "her to quit me for some happier and more wealthy lover. This idea\nbrought in its train a thousand reflections, which had no other effect\nthan to torment me, and throw me again into the state of despair in", "man beloved. He has furnished houses and equipages to bestow, while I,\nwho have nothing but constancy of love to offer, am despised for my\npoverty, and laughed at for my simplicity.'", "She addressed me by all the endearing appellations with which love\nsupplies his votaries, to enable them to express the most passionate\nfondness. I still answered with affected coldness; but the sudden", "tender messages, and to assure you that she loves you more dearly than\never.'\"", "He said that he came to bring her consolation; that he was a friend of\nmine, and felt deeply interested for the happiness of us both. She\nasked with the tenderest anxiety, whether he could tell her what had", "love, exchanged in languishing rapture, astonished M. de T----, and\naffected him even to tears.", "love prompted. But her incessant sighs, her silence, and inattention\nto my enquiries, the convulsed grasp of her hands, in which she", "conversation had not lasted half an hour, when I perceived that Manon's\ncharms had made a visible impression upon him. His looks and his\nmanner became by degrees more tender. He, however, allowed no", "\"He, indeed, exceeded me in the proofs of his esteem; for, inferring\nfrom my adventures, and especially my late escape from St. Lazare, that", "over her temper or inclinations. Although she loved me tenderly, and I\nwas the only person, as she often declared, in whose society she could\never find the pure enjoyments of love, yet I felt thoroughly convinced", "than I can, the cause of her misfortunes. He has followed her from\nParis, and has scarcely dried his tears for a single moment. He must\nbe either her brother or her lover.\"", "with singular affection. The sight of so lovely a girl as Manon, my\nill-disguised impatience to conduct her to the inn, and the anxiety I", "to render more endurable the hard and rugged ground on which she lay.\nI protected her delicate hands from the cold by my burning kisses and\nthe warmth of my sighs. I passed the livelong night in watching over", "was married, he put such a restraint upon his feelings, that they\nremained generally unnoticed; and he lost no opportunity of showing the\nmost disinterested friendship for me.", "started. 'Show me the lover who does not blindly humour every whim of\nan adored mistress, and I will then allow that I was wrong in yielding" ], [ "\"The governor had a nephew named Synnelet, of whom he was particularly\nfond. He was about thirty; brave, but of a headstrong and violent", "Aware, as I was, of the affection of the governor for his nephew, I\nfelt perfectly sure that my death would not be delayed a single hour", "and he had given a promise to his nephew.' I was resolved to command\nmy feelings to the last: I merely replied, that I had imagined he was", "having been carried into the town and skilfully examined, it was found\nthat, so far from being dead, he was not even dangerously wounded. He\ninformed his uncle of the manner in which the affray had occurred", "upon some adventure of gallantry. He had not been able to learn\nanything further, he added, trembling as he spoke, because the prince,", "hundred times over to please his nephew. However, I persevered in\nrestraining my temper to the end; deeply resolved, if they persisted in", "to follow him, or if he gave the slightest alarm, he would blow his\nbrains out. G---- M----, seeing that his assailant was supported by", "\"The governor appeared. He had been informed of my apprehension. He\nsaluted me with great mildness. 'Do not, my good sir,' said I to him,", "him, most imprudently, to come to his assistance. He was a powerful\nruffian, and threw himself upon me without an instant's hesitation.", "\"On quitting me, my father went to pay a visit to M. G---- M----. He\nfound him with his son, whom the guardsman had safely restored to", "all asleep. I at length proceeded with my pistol and a lighted candle.\nI first gave a gentle tap at the governor's door to awaken without", "seeing her during the last nine or ten months, had so inflamed his\npassion, that he was absolutely pining for her in secret. However, as\nhe was convinced in common with his uncle and the whole colony that I", "They begged pardon for the necessity they were under of treating me\nwith apparent disrespect; telling me frankly that they were acting by\nthe orders of my father, and that my eldest brother was in a carriage", "remember that there shall be now no quarter.' He attacked me with\nredoubled fury. I must confess that I was not an accomplished", "I cannot but think you must have given provocation for such excessive\nviolence.' This reply disconcerted G---- M---- beyond measure and he", "liberty. I never learned the particulars of their conversation; but I\ncould easily infer them from the disastrous results. They went\ntogether (the two old gentlemen) to the lieutenant-general of police,", "\"I had gone out the moment before, which was doubtless fortunate for\neither him or me, for I was little disposed to brook an insult. I only", "\"He happened to be with his uncle when I arrived at the government\nhouse. I had no reason for keeping my intention a secret from him, so", "\"G---- M---- was followed by a servant, when he was stopped by my\nfriend the guardsman. Alarmed by what he saw, this fellow retraced his", "the Hospital, sword in hand, assisted by all whom I could enlist in my\ncause. Even my father's life was hardly respected, so just appeared my" ], [ "her to quit me for some happier and more wealthy lover. This idea\nbrought in its train a thousand reflections, which had no other effect\nthan to torment me, and throw me again into the state of despair in", "than I can, the cause of her misfortunes. He has followed her from\nParis, and has scarcely dried his tears for a single moment. He must\nbe either her brother or her lover.\"", "at least in mercy rid me of life, and then you can seek another lot in\nthe arms of some happier lover.'", "\"In order to enhance the sacrifice she had made for me of her late\nlover, she determined to treat him without the least ceremony. 'I", "Tiberge, and my own reflections, secured this victory over my wishes.\nThe last months glided away so tranquilly, that I considered the memory\nof this charming but treacherous creature about to be consigned to", "\"He began by asking me whether I was really simple enough to believe\nthat I had been really loved by the girl. I told him confidently that", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "brutally violated her. Manon loves me. Do I not know that well? He\nmust have terrified her with a poniard, to induce her to abandon me.'", "play, where she was so gorgeously dressed, that he of course set it\ndown to the account of some new lover; that he had followed her\nequipage to her house, and had there learned from a servant that she", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "arrives, you will find me disposed to love and to serve you; this day\nends our intercourse, and I once for all avow my horror of the life you\nare leading.'", "\"I gave him, as briefly as I could, a history of my long-standing and\ninsurmountable passion for Manon, of the flourishing condition of our", "alternation between hate and love; between hope and despair; according\nas, the tendency of each passing thought brought Manon back to my\nrecollection. At one time, I could see in her the most delightful of", "separated from all one loves. I must have taken leave of my senses, to\nhave voluntarily brought all this misery upon myself.'", "girl he appeared so much in love with! How pretty she was! The poor\nyoung things, how they caressed each other! Pity if they have been", "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the", "informed me that having seen her at her window, he became passionately\nin love with her; that he made his advances in the true style of a", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "deceived you too,' said I, 'my poor girl--they have deceived you; you\nare a woman, and probably wish for a lover; but you must find one who", "\"I cherished this idea so willingly, that it considerably lightened my\ngrief. I immediately returned to my lodgings, and embraced Manon as" ], [ "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the", "\"The very evening before my expected departure, as I was walking with\nmy friend, whose name was Tiberge, we saw the Arras diligence arrive,", "He said that he came to bring her consolation; that he was a friend of\nmine, and felt deeply interested for the happiness of us both. She\nasked with the tenderest anxiety, whether he could tell her what had", "remain after me at Amiens to complete the requisite studies for his\nsacred calling. He had a thousand good qualities. You will recognise", "treated me as a friend, and that appellation implies a certain degree\nof confidence and candour.' He pressed me so much and so earnestly to\ndiscover my secret, that, having never up to that moment felt the", "Manon and myself. He was so good as to distinguish us from the herd of\nour miserable associates. I took an opportunity, on the second day, of", "\"In a little time he became so familiar, that hearing us speak of our\nreturn to Chaillot, he insisted on accompanying us. We were obliged to", "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should", "impossible for me to remain longer at St. Lazare; that the night was\nthe most favourable time for going out unobserved, and that I\nconfidently expected, from his tried friendship, that he would consent", "voyage had been to see me once more, and to induce me to return with\nhim to France; that on receipt of the last letter which I had written", "did not dare refuse to open it. I made my exit in perfect safety, and,\na few paces off, found Lescaut with two friends waiting for me,\naccording to his promise.", "Tiberge complained, which had escaped my poor friend's penetration; and\nhe took such pains to find me out, that in two days after his arrival\nhe learned that I was in Le Chatelet.", "accorded me by fate. Your compassion at the sight of my sufferings was\nmy only recommendation to your generous nature. The assistance which\nyou so liberally extended, enabled me to reach Havre, and the guards", "to him from Havre, he started for that place, and was himself the\nbearer of the succour which I solicited; that he had been sensibly\naffected on learning my departure, and that he would have instantly", "\"I told M. Lescaut of my difficulties, and did not conceal from him\nthat I had received a thousand francs from a friend. He repeated, that", "had influence enough to ensure an effectual pursuit, and we were\nsufficiently imprudent to rely upon the extent of Paris and the\ndistance between our residence and his. Not only did he discover our", "\"On quitting me, my father went to pay a visit to M. G---- M----. He\nfound him with his son, whom the guardsman had safely restored to", "\"This was of course my friend Tiberge; not that I could hope from him\nthe assistance necessary for effecting my liberty; but I wished to make", "\"He took my hand, and exhorted me to have courage and be comforted;\nbut, as he seemed to consider it settled that Manon and I were to", "drove her and her companions; that he had promised her, on the other\nside of the Alps, a brilliant fortune and eternal adoration; that she\nreturned to Chaillot, with the intention of relating to me the whole" ], [ "man beloved. He has furnished houses and equipages to bestow, while I,\nwho have nothing but constancy of love to offer, am despised for my\npoverty, and laughed at for my simplicity.'", "that her ruling passion is for affluence and pleasure; and, as he is\nalready in possession of a considerable fortune, he declared his\nintention of tempting her at once with a present of great value, and", "place reliance on my honour, and on the tender interest with which she\nhad already inspired me, I would sacrifice my life to deliver her from\nthe tyranny of her parents, and to render her happy. I have since been", "\"Our project of marriage was forgotten at St. Denis; we defrauded the\nChurch of her rights; and found ourselves united as man and wife", "valet in love with her. They knew they had to deal with a young and\ninexperienced couple, whom they fancied they could impose upon without", "portion of them, were it only to inspire a more thorough contempt for\nthe remainder. Love is more powerful than wealth--more attractive than\ngrandeur or fame; but, alas! it cannot exist without certain artificial", "\"'In that case,' she answered, 'you shall be the richest man in the\nuniverse; for, as there never was love surpassing yours, so it is", "starvation for her sake, by renouncing fortune and the comforts of my\nfather's house! I, who denied myself actual necessaries, in order to", "her to quit me for some happier and more wealthy lover. This idea\nbrought in its train a thousand reflections, which had no other effect\nthan to torment me, and throw me again into the state of despair in", "plenty she loved too well to sacrifice them for my sake. 'I shall lose\nher!' I cried; 'miserable chevalier! you are about then to lose all", "very different indeed from the one you now betray.' With the greatest\neffrontery he acknowledged that he had been always of the same mind,\nand that his sister having once sacrificed her virtue, though it might", "than I can, the cause of her misfortunes. He has followed her from\nParis, and has scarcely dried his tears for a single moment. He must\nbe either her brother or her lover.\"", "for the future, many demands for money; that she had the charge of a\nyoung brother, who had been thrown upon her hands since the death of\nour parents; and that, if he wished to prove himself worthy of her", "separated from all one loves. I must have taken leave of my senses, to\nhave voluntarily brought all this misery upon myself.'", "perhaps love you in return.' The poor child, who was only sixteen or\nseventeen years of age, and who appeared more modest than girls of her\nclass generally are, was thunderstruck at this unusual scene. She", "its attendant denials. Say that the enjoyments of love are fleeting,\nif you will, that they are rigidly forbidden, that they lead with", "\"In order to enhance the sacrifice she had made for me of her late\nlover, she determined to treat him without the least ceremony. 'I", "death. She should be sole mistress of his heart and fortune; and as an\nimmediate token of his liberality, he was ready at once to supply her", "thus inspected them, he sent for several young men of the colony who\nwere desirous to marry. He assigned the handsomest women to the", "love and duty, the weightier one of necessity should also have some\ninfluence; for our finances were sadly reduced, and I began to see the\nfolly of thinking them, as I once did, inexhaustible." ], [ "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'", "speculation had directed to New Orleans. I stood by whilst the\npassengers landed. Judge my surprise on recognising Tiberge amongst\nthose who proceeded towards the town. This ever-faithful friend knew", "Lescaut fell, without the least sign of life. I pressed Manon to fly,\nfor we could be of no use to a dead man, and I feared being arrested by", "become the prey of wild beasts. I then determined to bury her, and\nwait my own doom upon her grave. I was already, indeed, so near my end", "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "executed. 'It IS Lescaut!' said he, snapping a pistol at his head; 'he\nshall sup tonight with the angels!' He then instantly disappeared.", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "\"The remainder of the day appeared to me of endless length. When at\nlast night came, we went in a coach to within a few yards of the", "\"'We have gone far enough, then,' said I, catching hold of his arm;\n'take from me, in common mercy, my life! weary and odious and", "perpetual imprisonment, or to transport her for life to America. They\nhappened, at that very period, to be sending out a number of convicts\nto the Mississippi. The lieutenant-general promised to have her", "extremities in order to aid her; and when these prove of no avail, fly\nto death as a last resource!'", "no doubt, have to encounter the most horrible pains, since it has been\ntheir object to punish me by exile? Let us die,' she repeated, 'or do", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "Manon and myself. He was so good as to distinguish us from the herd of\nour miserable associates. I took an opportunity, on the second day, of", "However, the captain having discharged some pieces of artillery, we\npresently observed a group of the inhabitants of New Orleans, who\napproached us with evident signs of joy. We had not perceived the", "\"We journeyed on as long as Manon's strength would permit, that is to\nsay, about six miles; for this incomparable creature, with her usual", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "much longer at St. Lazare. We went to pass the night at a tavern,\nwhere I made up, in some degree, for the miserable fare which had been", "breathe lest I should disturb her. As day broke, I observed that her\nhands were cold and trembling; I pressed them to my bosom in the hope" ], [ "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should", "\"I told M. Lescaut of my difficulties, and did not conceal from him\nthat I had received a thousand francs from a friend. He repeated, that", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "her equipage, had begged of him to make her acquainted with M. G----\nM----, who had a character for liberality. He carefully avoided", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "confidence and friendship. G---- M---- easily found an opportunity of\ndeclaring his sentiments to Manon. I did not wish to annoy him by", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "affairs; and Manon's relations have no doubt remitted her money through\nhis house. She has probably already received some from him, and he is", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "\"He approached to take me by the hand, while Manon was securing the\nmoney and jewels, and leading me towards M. G---- M----, he desired me", "He, however, promised to use his influence with them; and, what was\nmore than I expected at his hands, he said that he would supply me with\na little money whenever I had pressing occasion for any. The only", "arranged a plan for interesting him in favour of Manon. If he is a man\nof feeling and of right mind, he will give us his assistance from", "so virtuous a friend. He then took me to a banker of his acquaintance,\nwho gave one hundred and seventy crowns for his note of hand, which was", "established on the firmest basis. In the friendship of M. de T----,\nand the tender affections of Manon, I imagined myself so thoroughly", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "\"M. de T---- spoke to some of the porters of the establishment, who\nappeared all anxious to please him. The quarter in which Manon's room", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "Just about six months before my departure for Spain, I first met the\nChevalier des Grieux. Though I rarely quitted my retreat, still the", "of your generous gift, amounted to the small sum of forty pistoles; I\nexpended eight in the purchase of some necessary articles for Manon;\nand I put the remainder by, as the capital upon which we were to rest" ], [ "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "already decorated with the Cross, and called the Chevalier des Grieux.\nThe vacation having arrived, I was preparing to return to my father,\nwho had promised to send me soon to the Academy.", "\"I cherished this idea so willingly, that it considerably lightened my\ngrief. I immediately returned to my lodgings, and embraced Manon as", "Just about six months before my departure for Spain, I first met the\nChevalier des Grieux. Though I rarely quitted my retreat, still the", "\"I returned towards the town; on my arrival at home, I found Manon half\ndead with fright and anxiety: my presence restored her. I could not", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "drove her and her companions; that he had promised her, on the other\nside of the Alps, a brilliant fortune and eternal adoration; that she\nreturned to Chaillot, with the intention of relating to me the whole", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "endeavour to prove himself worthy of it, by the sincerity of his\nservices. He could not absolutely promise to restore Manon to my arms,\nbecause, as he said, he himself had very little influence; but he", "\"He took my hand, and exhorted me to have courage and be comforted;\nbut, as he seemed to consider it settled that Manon and I were to", "\"He approached to take me by the hand, while Manon was securing the\nmoney and jewels, and leading me towards M. G---- M----, he desired me", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the" ], [ "extremity of the world. I shall embark with her and cross to America.", "perpetual imprisonment, or to transport her for life to America. They\nhappened, at that very period, to be sending out a number of convicts\nto the Mississippi. The lieutenant-general promised to have her", "America. There are one or two of them pretty enough; and it is that,\napparently, which attracts the curiosity of these good people.\"", "Europe or in America, of what moment to me was the place of my abode,\nprovided I might live happy in the society of my mistress? Is not the", "our hopes and raise our fortunes in America. I had no difficulty in\ngetting admitted on board the vessel. They were at the time looking\nfor young men as voluntary emigrants to the colony. The passage and", "\"After many reflections we could discover no other resource than in\nflight. To effect this it would be requisite to cheat the vigilance of", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'", "him whence he came. He replied, that he had just arrived, by sea, from\nHavre, where he had lately landed from America. \"You do not seem to be", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "that it is the last time I can by possibility trespass on your friendly\nkindness; and my poor unhappy mistress being about to be exiled from\nher country for ever, I cannot let her depart without supplying her", "between us, and he generously did justice to my conduct on the\noccasion. I was sent for; and as neither of us could be found, our\nflight was immediately suspected. It was then too late to attempt to", "between us a continual emulation of attentions and of love. I felt no\nregret at quitting Europe; on the contrary, the nearer we approached", "their islands, he had contrived to escape; and that, in short, after\nmany adventures, he had got on board the vessel which had just arrived,\nand at length happily attained his object.", "long and last farewell. But when I assured her that no power on earth\ncould ever separate me from her, and that I was resolved to follow her", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "\"'To ask my life at your hands,' said I, 'which I never can retain if\nManon once embark for America.'", "reconcile myself to my destiny in all its rigour. I shall go to\nAmerica: there, at least, I may be free to live with her I love. I", "\"She raised herself in spite of her weakness, and taking hold of my\nhand to lead me towards the door: 'Let us,' said she, 'fly together,", "the New World. But the distance was terrific. In order to reach them,\nwe should have to traverse deserts of many days' journey, and more than" ], [ "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "my entreaties in her favour would have been useless. The cruel\nsentence upon Manon had arrived at the same time as the warrant for my\ndischarge. The unfortunate girl was conducted in an hour after to the", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "the consolation of embracing Manon, or of bidding her farewell. I\nremained for a long time ignorant of her fate. It was perhaps", "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'", "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should", "\"I cherished this idea so willingly, that it considerably lightened my\ngrief. I immediately returned to my lodgings, and embraced Manon as", "\"I returned towards the town; on my arrival at home, I found Manon half\ndead with fright and anxiety: my presence restored her. I could not", "them if they were assured, as we are, of the continuance of those of\nlove.' I left Manon enchanted by this resolution.", "\"I held Manon in such close embrace in my arms, that we occupied but\none place in the coach. She cried for joy, and I could feel her tears\ntrickling down my cheeks.", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "\"He took my hand, and exhorted me to have courage and be comforted;\nbut, as he seemed to consider it settled that Manon and I were to", "\"Manon's caresses soon dissipated the annoyance this scene had caused\nme. We continued to lead a life entirely devoted to pleasure and love.", "Magdalen, good sir! Oh heavens! my adorable mistress, my beloved Manon,\na degraded inmate of the Hospital! How shall I command strength of\nmind enough to survive this grief and shame!'", "\"He replied, that I must be, of course, aware that the governor was\nabsolute master here; that Manon, having been transported from France", "\"M. de T---- spoke to some of the porters of the establishment, who\nappeared all anxious to please him. The quarter in which Manon's room" ], [ "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "M----, and perhaps equally so to prevent him from making his\ndeclaration to Manon, I resolved to tell her beforehand of the designs\nof my new rival. I fancied that when she knew I was aware of the", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "he, in the most serious tone--'do I not see before me the Chevalier des\nGrieux and Manon Lescaut?' I was so overcome with shame and", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "\"He accordingly came to St. Lazare. I met him with an air more grave\nand certainly less silly than I had exhibited at his house with Manon.", "\"G---- M----, although a good deal embarrassed by the whole scene, soon\nrecognised me; and Manon still more easily. 'Is this a dream?' said", "passion and of Manon's merit, as of two things that were unequalled,\nexcept by each other. He told me, that although he had never seen", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "\"M. de T---- spoke to some of the porters of the establishment, who\nappeared all anxious to please him. The quarter in which Manon's room", "use fair and ordinary means for gaining Manon's affections; but he is\naware of her capricious disposition; he has learned, God knows how,", "\"I gave him, as briefly as I could, a history of my long-standing and\ninsurmountable passion for Manon, of the flourishing condition of our", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "Manon. I asked him for only fifty pistoles. 'You can remit it to me,'\nsaid I to him, 'through the hands of the postmaster. You must perceive" ], [ "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "Just about six months before my departure for Spain, I first met the\nChevalier des Grieux. Though I rarely quitted my retreat, still the", "place to the ecclesiastical habit, and the designation of the AbbÃ© de\nGrieux was substituted for that of chevalier. I applied so diligently", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "Lescaut had refused to give him the required satisfaction, and the\nother swore, on quitting him, that he would take his life; a threat", "already decorated with the Cross, and called the Chevalier des Grieux.\nThe vacation having arrived, I was preparing to return to my father,\nwho had promised to send me soon to the Academy.", "executed. 'It IS Lescaut!' said he, snapping a pistol at his head; 'he\nshall sup tonight with the angels!' He then instantly disappeared.", "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the", "M----, and perhaps equally so to prevent him from making his\ndeclaration to Manon, I resolved to tell her beforehand of the designs\nof my new rival. I fancied that when she knew I was aware of the", "\"He accordingly came to St. Lazare. I met him with an air more grave\nand certainly less silly than I had exhibited at his house with Manon.", "he, in the most serious tone--'do I not see before me the Chevalier des\nGrieux and Manon Lescaut?' I was so overcome with shame and", "\"G---- M----, although a good deal embarrassed by the whole scene, soon\nrecognised me; and Manon still more easily. 'Is this a dream?' said", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "\"He took my hand, and exhorted me to have courage and be comforted;\nbut, as he seemed to consider it settled that Manon and I were to", "\"About two hours previously, a guardsman of Lescaut's acquaintance had\ncome to see him, and proposed play. Lescaut had such a rapid and", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "the last occasion, as men whose courage had been proved. M. de T----\nhad told me the exact number of archers that would escort Manon; they\nwere but six. Five strong and determined men could not fail to strike" ], [ "speculation had directed to New Orleans. I stood by whilst the\npassengers landed. Judge my surprise on recognising Tiberge amongst\nthose who proceeded towards the town. This ever-faithful friend knew", "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "between us, and he generously did justice to my conduct on the\noccasion. I was sent for; and as neither of us could be found, our\nflight was immediately suspected. It was then too late to attempt to", "to their destination; and believing that it was at Rochelle this\nunhappy group was to embark, all my trouble would have been thrown away\nin waiting for them on the Orleans road. However, I learned, by the", "made me think of amusing myself with these creatures: but when they\ndiscovered that I was in love, they increased their demands in such a\nway, that my purse was completely empty on leaving Mantes, where we had", "perpetual imprisonment, or to transport her for life to America. They\nhappened, at that very period, to be sending out a number of convicts\nto the Mississippi. The lieutenant-general promised to have her", "our hopes and raise our fortunes in America. I had no difficulty in\ngetting admitted on board the vessel. They were at the time looking\nfor young men as voluntary emigrants to the colony. The passage and", "view the true land of milk and honey, the abode of contentment and\ndelight. 'People should come to New Orleans,' I often said to Manon,", "ourselves in New Orleans, as in the midst of the ocean, separated from\nthe rest of the world by an immense interval of space. In a country", "seeing her during the last nine or ten months, had so inflamed his\npassion, that he was absolutely pining for her in secret. However, as\nhe was convinced in common with his uncle and the whole colony that I", "However, the captain having discharged some pieces of artillery, we\npresently observed a group of the inhabitants of New Orleans, who\napproached us with evident signs of joy. We had not perceived the", "\"We passed two months together at New Orleans whilst waiting the\ndeparture of a vessel direct to France; and having at length sailed, we", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"After many reflections we could discover no other resource than in\nflight. To effect this it would be requisite to cheat the vigilance of", "companions. They stopped simultaneously, and having muttered to each\nother some words which I could not hear, they turned their horses'\nheads, threw the bridles on their necks, and galloped back towards", "had influence enough to ensure an effectual pursuit, and we were\nsufficiently imprudent to rely upon the extent of Paris and the\ndistance between our residence and his. Not only did he discover our", "Manon and myself. He was so good as to distinguish us from the herd of\nour miserable associates. I took an opportunity, on the second day, of", "girl he appeared so much in love with! How pretty she was! The poor\nyoung things, how they caressed each other! Pity if they have been", "not harass and persecute two lovers, when they see us adopt their own\nsimple habits.' I was therefore at ease upon that point." ], [ "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "Paris. She signed herself, 'Your loving and constant, MANON LESCAUT.'", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "in Paris, where young men were easily debauched. Lescaut assured him\nthat I was naturally of so grave a character that I thought of nothing\nbut becoming a clergyman, and that, even as a child, my favourite", "seeing Manon in male attire, for it was the custom in Paris and the\nenvirons to adopt all disguises. I took care to have her served with", "nearly a year at Paris without hearing of Manon. It cost me no slight\neffort to abstain from enquiry; but the unintermitting advice of", "\"'But it is not in reality a question of my existence! Manon's life\nand maintenance, her love and her fidelity, are at stake! What", "do; I am but too happy, too contented, if my dear Manon will only leave\nme master of her affections! But,' continued I, remembering that it", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "affection. I had in truth lost all that other men value; but I was the\nmaster of Manon's heart, the only possession that I prized. Whether in", "servant called. I could not help feeling a pang as she took leave of\nme. 'Manon,' said I, 'do not deceive me; will you be faithful to me?'", "Manon! perfidious, perfidious creature!' She had no wish, she repeated\nwith a flood of tears, to attempt to justify her infidelity. 'What is" ] ]	[ "What does Des Grieux struggle with while in Paris with Manon?", "How does Des Grieux come up with money?", "Why does Manon Leave Des Grieux?", "What happens when Manon and Des Grieux end up in New Orleans?", "What happens when Des Grieux tells the Governor he wants to marry Manon?", "Why does Des Grieux challenge the governors nephew in a duel?", "Why did Manon and Des Grieux flee New Orleans?", "What happens to Manon in the wilderness?", "Where does Des Grieux end up at the end?", "What is the name of the main character in the story?", "Why did the main character become estranged from his family?", "Where do the two lovers go after leaving New Orleans?", "Who were the two men pursuing Manon?", "In what century did the story take place?", "What was Manon's occupation?", "What things did the main character do to show his feelings and love for his lover?", "Who does the Governor's nephew get into a fight with?", "What happens to the main character's lover?", "Who is the good friend of the main character who takes him back to France?", "Who forfeits their inheritance to marry the one they love?", "Who dies of exposure in the Louisiana wilderness?", "What loyal friend lends Des Grieux money?", "Who takes Des Grieux back to France at the endnof the story?", "Why do the lovers end up in North America?", "Where do the lovers end up after Manon's deportation?", "Who duels Des Grieux for Manon's favor?", "What is the outcome of Des Grieux's duel?", "What were the lovers hoping to find in the Louisiana wilderness?", "Why does Manon leave Des Grieux for other men in Paris?" ]	[ [ "He struggles with satisfying Manon and their taste for luxury. ", "his father" ], [ "Des Grieux borrows money from his friend Tiberge and steals from gamblers. ", "Borrowing" ], [ "Because Des Grieux becomes poor after unfortunate events that cost his money. ", "the fear of living in penury" ], [ "Manon is deported as a prostitute and they pretend that they are married. ", "She dies" ], [ "The governor's nephew tries to win Manon's and in marriage. ", "The governors nephew wanted to marry her" ], [ "Because he wants to be the one to marry Manon. ", "THe nephew wanted to marry Manon" ], [ "Des Grieux thought he killed the governors nephew during the duel. ", "Des Griex thought he killed the Governor's nephew. " ], [ "She dies from exposure and exhaustion trying to find an English settlement. ", "Manon died of exposure and exhaustion. " ], [ "He ends up back in France. ", "France" ], [ "Chevalier des Grieux", "Des Grieux" ], [ "Because he ran off with a woman that his father disapproved of.", "He ran away with Manon. " ], [ "Into the wilderness of Louisiana.", "the wilderness" ], [ "des Grieux and the Governor's newphew", "Chevalier des Grieux and the Governor's nephew" ], [ "19th century", "18th century" ], [ "Prostitute", "prostitute" ], [ "Runs away with her, borrows money and cheats gamblers.", "Borrowing" ], [ "des Grieux", "Des Grieux" ], [ "She dies of exposure in the wilderness.", "She died. " ], [ "Tiberge", "Tiberge" ], [ "Chevalier Des Grieux", "Des Grieux" ], [ "Manon Lescaut", "Manon" ], [ "Tiberge", "Tiberge" ], [ "Tiberge", "Tiberge" ], [ "Manon was deported as a prostitute", "Manon was deported as a prostitute. " ], [ "New Orleans", "New Orleans" ], [ "Governor's nephew", "The Governor's nephew. " ], [ "Des Grieux knocks out his opponent", "Des Grieux knocked the nephew unconscious." ], [ "An English settlement", "an English settlement" ], [ "Because he lost his wealth", "He was richer" ] ]	8ac0b889ea488a2592e625b5a6f82e02c7bfec04	train
[ [ "Two days later, the _America_, cutting her way across the Atlantic,\ncarried one more passenger than she registered. In the big life-boat\nswung above the hurricane-deck lay Sandy Kilday, snugly concealed by\nthe heavy canvas covering.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "Sandy ate the orange and took courage. Life had acquired a new\ninterest.\n\n\n\n\nCHAPTER II\n\nON SHIPBOARD", "\"But,\" cried Sandy, bewildered but hopeful, \"I have to go back!\"\n\nThe doctor shook his head. \"No, you don't. I've paid your passage.\"", "Sandy thought so, too, but he tried to be modest. \"If it'll be in me,\nit will come out,\" he said with suppressed triumph as he swung his\nbooks across his shoulder and started home.", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "him this year and next, and then he can come home and be a comfort to\nme all the rest of my days.' That's what I was sitting up to tell you,\nSandy; but now--\"", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "But Sandy did \"pay 'em mind.\" He followed Aunt Melvy's advice about\nasking questions, and wrestled with each new proposition until he", "He saw her send a quick, puzzled glance from the letter to Sandy; he\nsaw her turn away from the door and tear open the envelop; then, to\nhis everlasting credit, he saw no more.", "\"That's right. I'd go, too, if I were not needed here. Wait a minute,\nSandy.\" His face looked old and worn. \"Have you happened to see my\nNettie since noon?\"", "\"Would you, now?\" cried Sandy, fervently pressing her hand. Then he\nstopped short. \"Annette,\" he said wistfully, \"do you think she'll be\ncaring to dance with a boy like me?\"", "\"And would I?\" asked Sandy, his eyes flying open. \"It's me word of\nhonor I'd give you that I'd come back.\"", "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "The change from the road to the school-room was not without many a\nstruggle on Sandy's part. The new life, the new customs, and the\nstrange language, were baffling.", "Sandy gave a short laugh. \"Home? Why, I ain't got any home. I've just\nlived around since I was a young one. It's a chance to get on that I'm\nafter.\"", "\"But ye will,\" cried Sandy, hot with sympathy. \"I'll be making money\nsome day, and I'll send ye to the finest master in the country; and\nyou will be getting well and strong, and we'll go--\"" ], [ "Two days later, the _America_, cutting her way across the Atlantic,\ncarried one more passenger than she registered. In the big life-boat\nswung above the hurricane-deck lay Sandy Kilday, snugly concealed by\nthe heavy canvas covering.", "His chosen companion at these times was a boy in the steerage,\nselected not for congeniality, but for his unlimited knowledge of all", "his life. It was what he had been born for, what he had crossed the\nocean for, and what he would gladly have died for.", "\"He had!\" cried Sandy, raising his head and leaning toward her. \"He\nstole on board with only a few shillings and a bundle of clothes. He", "He tossed a coin to the sailor, and thrusting his hands in his\npockets, executed a brief but brilliant _pas seul_, and then went", "The Exposition was his salvation. No sacrifice seemed too great to\nenable him to get beyond that magic gate. For the \"Knights of the", "When they were gone he crawled out to stretch his weary body. On the\ndeck he found a book which they had left; it was a green book, and on", "CHAPTER I\n\nTHE STOWAWAY", "For three weeks he had been hanging about the docks, picking up jobs\nhere and there, accommodating any one who wanted to be accommodated,", "The sailor looked after him fondly. \"He's a bloomin' good little\nchap,\" he said to a man near by. \"Carries a civil tongue in his head\nfor everybody.\"", "making many friends and little money. He had had no thought of\nembarking until the big English liner _Great Britain_ arrived in port\nafter breaking all records on her homeward passage. She was to start", "\"Just keep company with the cows?\" cried Sandy. \"Sure and I can!\"\n\nSo the bargain was struck, and that night found him in the great city\nwith a dollar in his pocket and a promise of work in the morning.", "From that time on the doctor took an interest in him. He even took up\na collection of clothes for him among the officers. His professional\nservices were no longer necessary, for Sandy enjoyed a speedy recovery\nfrom his maritime troubles.", "[Illustration: \"He sent up yell after yell of victory for the land of\nhis adoption\"]\n\nThen he was seized by the ankle and jerked roughly down upon the deck.\nOver him stood the deck steward.", "As it was, he led him ruthlessly down the narrow steps, past the long\nline of curious passengers, then down again to the steerage deck,", "The line of passengers moved slowly forward, and his heart sank.\nSuddenly his eyes fell upon the little hand-bag which she carried. On", "\"You are luckier than the rest,\" he said, one day, stopping on his\nrounds. \"I never had so many steerage patients before.\"", "corner of the deck, and stretching himself on the boards with the\ngreen book in his hand, would float in a sea of sentiment. The fact\nthat he had decided to study medicine and become a ship's surgeon in", "board the steamship _America_. But since then his funds had run rather\nlow. What he did not lend he contributed, and the result was a chronic\nstate of bankruptcy.", "Mrs. Nelson rustled back into the phaÃ«ton, and taking a piece of money\nfrom her purse, held it out to him.\n\n\"That will amply repay you,\" she said." ], [ "was Ricks Wilson's old pal, you know.\"", "\"It's Ricks Wilson,\" he whispered to the judge--\"the boy I used to\npeddle with. Don't be sending him to jail, sir. I'll--I'll go his bail\nif you'll be letting him go.\"", "\"It was Ricks Wilson, or I am a blind man!\" cried Sandy, standing up\nin the buggy and straining his eyes in the darkness.\n\n\"Why, he's in jail!\"", "before he could dismount. Kilday jumped out in the crowd and began to\ntalk like a crazy man. He said we mustn't harm Ricks Wilson; that", "\"There are several things I want to talk over,\" continued the judge.\n\"One is about Ricks Wilson. He has behaved very badly ever since that", "In a small front cell, beside a narrow grated window, Ricks Wilson had\nsat and successfully planned his way to freedom.", "\"Who was your stylish friend?\" she asked Sandy.\n\n\"Ricks Wilson,\" said Sandy, shortly.\n\nCarter smiled condescendingly. \"Your old business partner, I believe?\"", "At each end of the stand a flaring torch lighted up the scene. The\nlight fell on the careless, laughing faces in front, on Ricks Wilson,", "\"I say, Ricks,\" he called to his companion, who was inspecting the\nhorse, \"can't we do somethin' for him?\"\n\nRicks reluctantly produced the short bottle.", "At the first words Sandy had sprung to his feet. \"The judge shot!\nRicks Wilson! I'll kill him for that. Get out, Annette. I must go to", "\"You better come down to Kentucky with me,\" urged Ricks Wilson,\nresuming an old argument. \"I'm goin' to peddle my way back home, then\ngit a payin' job at the racetrack.\"", "Ricks took a long drink from a short bottle, then holding it before\nhim, he said impressively: \"A feller could do me ninety-nine good", "\"Ricks,\" said Sandy, lowering his voice unsteadily, \"is this\nKentucky?\"\n\n\"Yep; we crossed the line to-day.\"", "there, the greater crowd was not around the sorrel's driver, who lay\nin a heap against the railing with a broken leg and a bruised head; it\nwas around Ricks Wilson in angry protest and indignation.", "\"Me and him are a winnin' couple,\" said Ricks. \"We plays the races\nstraight along. He puts up the dough, and I puts up the tips. Say,", "To them all Sandy gave patient, silent audience, wincing under the\nblame, but making no effort to defend himself. All he would say was\nthat Ricks Wilson had not done the shooting, and that he could say no\nmore.", "left. He knew, without glancing up, just how Ricks looked when he said\nthe words; he knew how his teeth pushed his lips back, and how his\nrestless little eyes watched everything at once. A sudden fierce", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "Ricks surveyed him contemptuously. \"Look-a here, are you comin' along\nof me or not?\"\n\n\"I can't,\" said Sandy, weakly.", "\"Say, Ricks,\" he said abruptly; \"I'm after quittin' peddlin'.\"\n\n\"What you goin' to do?\"\n\n\"I'm goin' to school.\"" ], [ "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "Sandy stood before him in an agony of indecision. He had fought it out\nwith himself there in his bedroom, and all personal considerations", "\"But,\" cried Sandy, bewildered but hopeful, \"I have to go back!\"\n\nThe doctor shook his head. \"No, you don't. I've paid your passage.\"", "\"And ye sha'n't be disappointed!\" cried Sandy. \"I'll go anywhere you\nsay, do anything you wish. Only you wouldn't be asking me to stay\nhere?\"", "\"I guess so,\" said Sandy, indifferently.\n\n\"You ain't goin' to school yet?\"\n\n\"That I am,\" said Sandy; \"and next year, too, if the money holds out.\"", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "Sandy, miserable in body and spirit, mechanically obeyed instructions.\nHis head was getting queerer all the time, and he could not remember\nwhether it was day or night. About a mile from Clayton he sank down by\nthe road.", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward.", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "\"Ricks,\" said Sandy, lowering his voice unsteadily, \"is this\nKentucky?\"\n\n\"Yep; we crossed the line to-day.\"", "\"That's right. I'd go, too, if I were not needed here. Wait a minute,\nSandy.\" His face looked old and worn. \"Have you happened to see my\nNettie since noon?\"", "Suddenly Sandy rose and stood by the table.\n\n\"Don't be making any more plans for me,\" he said desperately; \"I've\nmade up me mind to enlist.\"", "Sandy declined with violence. He explained his feelings with all the\nauthority of a first experience, adding in conclusion: \"It was Jonah I\nused to be after feelin' sorry for; it ain't now. It's the whale.\"", "Sandy shook his head ruefully. \"I got to go back,\" he said.\n\nRicks glanced around cautiously, then moved closer.", "The judge laughed contemptuously, but Sandy watched Ricks depart with\ntroubled eyes. He knew that he meant what he said.\n\n\n\n\nCHAPTER XIV", "Sandy gave a short laugh. \"Home? Why, I ain't got any home. I've just\nlived around since I was a young one. It's a chance to get on that I'm\nafter.\"", "On and on and on she went, and Sandy ceased to struggle. He sank in\nhis chair in dogged dejection. He felt that she had been talking ever", "Then he wandered on into sixthlies and seventhlies of increasing\nlength. Before the final amen had died upon the air, Annette and Sandy\nhad escaped to their reward." ], [ "Sandy started up to follow him; he tried to call, but he had no\nstrength. He lay with his face on the road and talked. He knew there", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "Sandy, miserable in body and spirit, mechanically obeyed instructions.\nHis head was getting queerer all the time, and he could not remember\nwhether it was day or night. About a mile from Clayton he sank down by\nthe road.", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "Sandy had found a friendly sympathizer at a neighboring farm-house,\nhad been given a good breakfast, had made his toilet, and was ready\nfor the next round in the fight of life.", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "Carter had discreetly departed. It was Sandy whom he spied, and\ninstantly called: \"Kilday, you'll see me through this mess? You know\nit wasn't none of my fault.\"", "\"That's right. I'd go, too, if I were not needed here. Wait a minute,\nSandy.\" His face looked old and worn. \"Have you happened to see my\nNettie since noon?\"", "Before Hicks could finish he found himself inextricably tangled in\nSandy's arms and legs, while that irate youth sat upon him and\npommeled him soundly.", "\"Who?\" cried Jimmy, with palpitating ears.\n\n\"Sandy Kilday. You never saw anybody look so g-grand. He's gotten to\nbe a regular swell, and he walks like this.\"", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward.", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "Sandy thought so, too, but he tried to be modest. \"If it'll be in me,\nit will come out,\" he said with suppressed triumph as he swung his\nbooks across his shoulder and started home.", "his life. It was exceedingly inconvenient to have to lie down or\ncrawl; but Sandy had been used to inconveniences all his life, and", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "Sandy thought so too. He cheerfully stood treat for the rest of the\nday, and felt that it was small return for Ricks's condescension.", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon" ], [ "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "From that time on the doctor took an interest in him. He even took up\na collection of clothes for him among the officers. His professional\nservices were no longer necessary, for Sandy enjoyed a speedy recovery\nfrom his maritime troubles.", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward.", "plainly Providence that guided that thin and ill-treated kitten to\nSandy's window. The welcome it received must have completely restored\nits shaken faith in human nature. Tired as he was, Sandy went out and", "Sandy had had ample time to watch the Meeches during his long\nconvalescence. He had been moved from the spare room to a snug little", "Sandy looked and was lost. He ate with a coming appetite.\n\nThe farmer's wife served them with delighted zeal; she made trip after\ntrip from the stove to the table, pausing frequently to admire her\nguests.", "Sandy thought so too. He cheerfully stood treat for the rest of the\nday, and felt that it was small return for Ricks's condescension.", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "\"Just keep company with the cows?\" cried Sandy. \"Sure and I can!\"\n\nSo the bargain was struck, and that night found him in the great city\nwith a dollar in his pocket and a promise of work in the morning.", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "It was Sandy's privilege to pass the lines unchallenged. In fact, the\ndoctor's strict surveillance diminished, and he was occasionally\nguilty of napping at the post when Sandy was with Annette.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "\"But,\" cried Sandy, bewildered but hopeful, \"I have to go back!\"\n\nThe doctor shook his head. \"No, you don't. I've paid your passage.\"", "The judge put down his fork and laid his hand on Sandy's arm. \"You\nmustn't neglect the learning, Sandy. You've made fine progress, and", "\"They've found out about me!\" wailed Annette, breaking her long\nsilence. \"Oh, Sandy, what m-must I do?\"", "Sandy had found a friendly sympathizer at a neighboring farm-house,\nhad been given a good breakfast, had made his toilet, and was ready\nfor the next round in the fight of life." ], [ "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "During the long, hot days that followed Sandy worked faithfully at the\ndepot. The regular hours and confinement seemed doubly irksome after\nthe bohemian life on the road.", "\"I guess so,\" said Sandy, indifferently.\n\n\"You ain't goin' to school yet?\"\n\n\"That I am,\" said Sandy; \"and next year, too, if the money holds out.\"", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "During the summer Sandy worked faithfully to make amends for his\nfailure to win the scholarship. He had meekly accepted the torrent of", "Sandy thought so, too, but he tried to be modest. \"If it'll be in me,\nit will come out,\" he said with suppressed triumph as he swung his\nbooks across his shoulder and started home.", "One afternoon Sandy sat at his table, deep in his work. He heard the\nkey turn in its lock and the door open, but he did not look up.", "But Sandy did \"pay 'em mind.\" He followed Aunt Melvy's advice about\nasking questions, and wrestled with each new proposition until he", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "On and on and on she went, and Sandy ceased to struggle. He sank in\nhis chair in dogged dejection. He felt that she had been talking ever", "all her life. It would kill her when she knew. And he, Sandy Kilday,\nwas the only one who suspected the truth. A momentary temptation", "Sandy stood before him in an agony of indecision. He had fought it out\nwith himself there in his bedroom, and all personal considerations", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "\"It's been love, Sandy,\" she whispered, \"ever since the first.\"\n\n[Illustration: \"'It's been love, Sandy, ... ever since the first'\"]", "The change from the road to the school-room was not without many a\nstruggle on Sandy's part. The new life, the new customs, and the\nstrange language, were baffling." ], [ "\"It was found outside Judge Hollis's window after he had been shot.\"\n\n\"Judge Hollis shot! Who did it?\"\n\nSandy again looked at the pistol.", "\"Dat jail-bird Wilson done shot Jedge Hollis. 'Mos' ebery man in town\nwent out to ketch him. Dey been gone all night.\"", "Judge Hollis. He was the only man we met after we left town. Just\nreturn to him, with my compliments, and tell him I say he is a meddler\nand a fool!\"", "\"That you, Sandy? Ricks Wilson's broke jail and shot Judge Hollis. It\nwas at half-past five. Dr. Fenton's been out there ever since. They", "At the first words Sandy had sprung to his feet. \"The judge shot!\nRicks Wilson! I'll kill him for that. Get out, Annette. I must go to", "\"What made him shoot him? How could he be so cruel, when the dear old\njudge is so good and kind to everybody?\"", "But to-night the darkness obscured even that image. The judge's life\nstill hung in the balance, and the man who had shot him lay in a", "Ricks hadn't shot the judge, for he was sure he had seen him out the\nJunction road about half-past five. We all saw it was a put-up job; he", "The most vehement of them all was Judge Hollis,--the big, easy-going\njudge,--whose passion, once roused, was a thing to be reckoned with.", "\"To Judge Hollis's. Get down this minute!\"\n\n\"What for?\"\n\n\"Somebody's sick. Get down, I say!\"", "At Hollis Farm the judge met them at the gate. He was large and\nloose-jointed, with the frame of a Titan and the smile of a child. He", "\"You see, a rumor got out that the judge had died. We didn't say\nanything before the sheriff, but it was understood that Ricks wouldn't", "The judge must be his first consideration. He had been shot down\nwithout cause, and might pay his life for it. There was but one thing\nto do: to find the real culprit, give him up, and take the\nconsequences.", "Late that afternoon Judge Hollis left his office and walked around to\nthe academy. He had sympathized fully with Sandy, and wanted, if", "Mrs. Hollis shook her head. \"He hasn't moved an inch or spoken since\nwe put him on the bed. Are you going with the men?\"\n\n\"I'm going to town now,\" said Sandy, evasively.", "The words scarcely carried a meaning to him. It was her brother that\nhad shot the judge--the brother whom she had defended and protected", "His soul was in a wild riot of grief and revenge. Two thoughts tore at\nhis brain: one was to see the judge before he died, and the other was\nto capture Ricks Wilson.", "\"Your protÃ©gÃ©, Judge Hollis, is an ambiguous proposition. He possesses\ninvention and originality, but he is sadly lacking in sustained\nconcentration.\"", "Sandy hesitated, and a dozen invitations were shouted in one breath.\nHe stood irresolute, with his foot on the step of the buggy; then he\npulled himself up.\n\n\"To Judge Hollis,\" he said.", "\"Strange boy sick at Judge Hollis's. How's trade?\"\n\n\"Fair to middlin',\" answered the miller. \"Do you reckon that there boy\nhas got anything ketchin'?\"" ], [ "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "When it was over, Sandy and Ruth drove away in the old town surrey,\nfollowed by such a shower of rice and flowers and blessings as had", "\"It's been love, Sandy,\" she whispered, \"ever since the first.\"\n\n[Illustration: \"'It's been love, Sandy, ... ever since the first'\"]", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "Sandy made up in gratitude what she declined in cash, and started on\nhis way. At the corner of Main street and the bridge he found Ricks,", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "She said yes. During the silence that followed, Sandy, unable to\nrestrain his joy, threw his arms about a life-preserver and embraced\nit fervently.", "Sandy stood before him in an agony of indecision. He had fought it out\nwith himself there in his bedroom, and all personal considerations", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "Sandy thought so too. He cheerfully stood treat for the rest of the\nday, and felt that it was small return for Ricks's condescension.", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward.", "\"I thought Annette told me you were just learning to dance!\"\n\n\"So I am,\" said Sandy; \"but me heart never kept time for me before!\"", "\"They've found out about me!\" wailed Annette, breaking her long\nsilence. \"Oh, Sandy, what m-must I do?\"", "\"But,\" cried Sandy, bewildered but hopeful, \"I have to go back!\"\n\nThe doctor shook his head. \"No, you don't. I've paid your passage.\"", "Then he wandered on into sixthlies and seventhlies of increasing\nlength. Before the final amen had died upon the air, Annette and Sandy\nhad escaped to their reward.", "Sandy declined with violence. He explained his feelings with all the\nauthority of a first experience, adding in conclusion: \"It was Jonah I\nused to be after feelin' sorry for; it ain't now. It's the whale.\"", "\"Would you, now?\" cried Sandy, fervently pressing her hand. Then he\nstopped short. \"Annette,\" he said wistfully, \"do you think she'll be\ncaring to dance with a boy like me?\"" ], [ "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "The change from the road to the school-room was not without many a\nstruggle on Sandy's part. The new life, the new customs, and the\nstrange language, were baffling.", "Sandy had made it a rule in life to be on hand when anything was\nhappening. He had viewed cricket-matches from tree-tops, had answered", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "all her life. It would kill her when she knew. And he, Sandy Kilday,\nwas the only one who suspected the truth. A momentary temptation", "\"I guess so,\" said Sandy, indifferently.\n\n\"You ain't goin' to school yet?\"\n\n\"That I am,\" said Sandy; \"and next year, too, if the money holds out.\"", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "Sandy stood before him in an agony of indecision. He had fought it out\nwith himself there in his bedroom, and all personal considerations", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "his life. It was exceedingly inconvenient to have to lie down or\ncrawl; but Sandy had been used to inconveniences all his life, and", "But Sandy did \"pay 'em mind.\" He followed Aunt Melvy's advice about\nasking questions, and wrestled with each new proposition until he", "Sandy gave a short laugh. \"Home? Why, I ain't got any home. I've just\nlived around since I was a young one. It's a chance to get on that I'm\nafter.\"", "in the past. It was full of homely advice, the result of forty years'\nexperience, and Sandy found comfort in following it to the letter.", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "There was but one other person in the world to whom she had spoken,\nand that was Sandy Kilday. As she looked back it seemed to her there", "After they started, Sandy leaned back in the buggy, lost in the fog\nof his unhappiness. Off in the distance he could see the twinkling\nlights of Clayton. One was apart from the rest; that was Willowvale.", "Sandy thought so, too, but he tried to be modest. \"If it'll be in me,\nit will come out,\" he said with suppressed triumph as he swung his\nbooks across his shoulder and started home.", "Sandy had had ample time to watch the Meeches during his long\nconvalescence. He had been moved from the spare room to a snug little", "Sandy flushed to the roots of his close-cropped hair. A tip,\nheretofore a gift of the gods, had suddenly become an insult. Angry," ], [ "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "Two days later, the _America_, cutting her way across the Atlantic,\ncarried one more passenger than she registered. In the big life-boat\nswung above the hurricane-deck lay Sandy Kilday, snugly concealed by\nthe heavy canvas covering.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "Sandy thought so too. He cheerfully stood treat for the rest of the\nday, and felt that it was small return for Ricks's condescension.", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "\"It was the fool I was,\" cried Sandy, in deep contrition, \"but if\nye'll trust me the one time more, may I die in me traces if I ever\nstir out of them!\"", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "\"You old f-fraud,\" she whispered to Sandy in passing, \"I thought you\ndidn't like to sit out d-dances.\"\n\nHe smiled feebly.", "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "But Sandy did \"pay 'em mind.\" He followed Aunt Melvy's advice about\nasking questions, and wrestled with each new proposition until he", "Carter had discreetly departed. It was Sandy whom he spied, and\ninstantly called: \"Kilday, you'll see me through this mess? You know\nit wasn't none of my fault.\"", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "He saw her send a quick, puzzled glance from the letter to Sandy; he\nsaw her turn away from the door and tear open the envelop; then, to\nhis everlasting credit, he saw no more.", "Sandy thought so, too, but he tried to be modest. \"If it'll be in me,\nit will come out,\" he said with suppressed triumph as he swung his\nbooks across his shoulder and started home.", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "Sandy made up in gratitude what she declined in cash, and started on\nhis way. At the corner of Main street and the bridge he found Ricks,", "\"Would you, now?\" cried Sandy, fervently pressing her hand. Then he\nstopped short. \"Annette,\" he said wistfully, \"do you think she'll be\ncaring to dance with a boy like me?\"", "\"It's been love, Sandy,\" she whispered, \"ever since the first.\"\n\n[Illustration: \"'It's been love, Sandy, ... ever since the first'\"]", "As the song trembled to a close, a slight burst of applause came from\nthe cabin deck. Sandy looked up, frowned, and bit his lip. He did not\nknow why, but he was sorry he had sung." ], [ "\"It's Ricks Wilson,\" he whispered to the judge--\"the boy I used to\npeddle with. Don't be sending him to jail, sir. I'll--I'll go his bail\nif you'll be letting him go.\"", "\"It was Ricks Wilson, or I am a blind man!\" cried Sandy, standing up\nin the buggy and straining his eyes in the darkness.\n\n\"Why, he's in jail!\"", "was Ricks Wilson's old pal, you know.\"", "before he could dismount. Kilday jumped out in the crowd and began to\ntalk like a crazy man. He said we mustn't harm Ricks Wilson; that", "\"There are several things I want to talk over,\" continued the judge.\n\"One is about Ricks Wilson. He has behaved very badly ever since that", "In a small front cell, beside a narrow grated window, Ricks Wilson had\nsat and successfully planned his way to freedom.", "\"Who was your stylish friend?\" she asked Sandy.\n\n\"Ricks Wilson,\" said Sandy, shortly.\n\nCarter smiled condescendingly. \"Your old business partner, I believe?\"", "At each end of the stand a flaring torch lighted up the scene. The\nlight fell on the careless, laughing faces in front, on Ricks Wilson,", "\"I say, Ricks,\" he called to his companion, who was inspecting the\nhorse, \"can't we do somethin' for him?\"\n\nRicks reluctantly produced the short bottle.", "\"You better come down to Kentucky with me,\" urged Ricks Wilson,\nresuming an old argument. \"I'm goin' to peddle my way back home, then\ngit a payin' job at the racetrack.\"", "At the first words Sandy had sprung to his feet. \"The judge shot!\nRicks Wilson! I'll kill him for that. Get out, Annette. I must go to", "Ricks took a long drink from a short bottle, then holding it before\nhim, he said impressively: \"A feller could do me ninety-nine good", "\"Me and him are a winnin' couple,\" said Ricks. \"We plays the races\nstraight along. He puts up the dough, and I puts up the tips. Say,", "\"Ricks,\" said Sandy, lowering his voice unsteadily, \"is this\nKentucky?\"\n\n\"Yep; we crossed the line to-day.\"", "To them all Sandy gave patient, silent audience, wincing under the\nblame, but making no effort to defend himself. All he would say was\nthat Ricks Wilson had not done the shooting, and that he could say no\nmore.", "there, the greater crowd was not around the sorrel's driver, who lay\nin a heap against the railing with a broken leg and a bruised head; it\nwas around Ricks Wilson in angry protest and indignation.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "\"Say, Ricks,\" he said abruptly; \"I'm after quittin' peddlin'.\"\n\n\"What you goin' to do?\"\n\n\"I'm goin' to school.\"", "left. He knew, without glancing up, just how Ricks looked when he said\nthe words; he knew how his teeth pushed his lips back, and how his\nrestless little eyes watched everything at once. A sudden fierce", "Ricks surveyed him contemptuously. \"Look-a here, are you comin' along\nof me or not?\"\n\n\"I can't,\" said Sandy, weakly." ], [ "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "\"It's been love, Sandy,\" she whispered, \"ever since the first.\"\n\n[Illustration: \"'It's been love, Sandy, ... ever since the first'\"]", "Suddenly Sandy caught his breath. There, just above him, stood \"the\ndamsel passing fair.\" Instead of the tam-o'-shanter she wore a big", "\"Would you, now?\" cried Sandy, fervently pressing her hand. Then he\nstopped short. \"Annette,\" he said wistfully, \"do you think she'll be\ncaring to dance with a boy like me?\"", "\"I thought Annette told me you were just learning to dance!\"\n\n\"So I am,\" said Sandy; \"but me heart never kept time for me before!\"", "Sandy surveyed her with tolerant sadness. Little her childish heart\nknew of the depths through which he was passing.\n\n\"Do you love him very much?\" he asked.", "He saw her send a quick, puzzled glance from the letter to Sandy; he\nsaw her turn away from the door and tear open the envelop; then, to\nhis everlasting credit, he saw no more.", "\"They've found out about me!\" wailed Annette, breaking her long\nsilence. \"Oh, Sandy, what m-must I do?\"", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "days, and lingered over the forgotten lines with a half-quizzical,\nhalf-sad smile on his lips. For he had been a lover once, and Sandy's", "Sandy's eyes answered for him. They were held by a vision in the\ncenter of the room, and he was blinded to everything else.", "all her life. It would kill her when she knew. And he, Sandy Kilday,\nwas the only one who suspected the truth. A momentary temptation", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "\"Hello!\" he exclaimed briskly; \"what's your name?\"\n\n\"Sandy Kilday.\"\n\n\"Scotch, eh?\"", "afraid of discovery to listen to what they were saying, but later his\ninterest outweighed his fear. For they were evidently lovers, and\nSandy was at that inflammable age when to hear mention of love is", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS" ], [ "Sandy started up to follow him; he tried to call, but he had no\nstrength. He lay with his face on the road and talked. He knew there", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "Sandy, miserable in body and spirit, mechanically obeyed instructions.\nHis head was getting queerer all the time, and he could not remember\nwhether it was day or night. About a mile from Clayton he sank down by\nthe road.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "his life. It was exceedingly inconvenient to have to lie down or\ncrawl; but Sandy had been used to inconveniences all his life, and", "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "\"But,\" cried Sandy, bewildered but hopeful, \"I have to go back!\"\n\nThe doctor shook his head. \"No, you don't. I've paid your passage.\"", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "Sandy had found a friendly sympathizer at a neighboring farm-house,\nhad been given a good breakfast, had made his toilet, and was ready\nfor the next round in the fight of life.", "Sandy stretched him out on the snow, where he lay for a while with\nclosed eyes. He was very white, and his lips twitched convulsively.", "\"That's right. I'd go, too, if I were not needed here. Wait a minute,\nSandy.\" His face looked old and worn. \"Have you happened to see my\nNettie since noon?\"", "Sandy had had ample time to watch the Meeches during his long\nconvalescence. He had been moved from the spare room to a snug little", "Sandy thought so, too, but he tried to be modest. \"If it'll be in me,\nit will come out,\" he said with suppressed triumph as he swung his\nbooks across his shoulder and started home.", "Sandy thought so too. He cheerfully stood treat for the rest of the\nday, and felt that it was small return for Ricks's condescension.", "him this year and next, and then he can come home and be a comfort to\nme all the rest of my days.' That's what I was sitting up to tell you,\nSandy; but now--\"", "\"Who?\" cried Jimmy, with palpitating ears.\n\n\"Sandy Kilday. You never saw anybody look so g-grand. He's gotten to\nbe a regular swell, and he walks like this.\"", "The change from the road to the school-room was not without many a\nstruggle on Sandy's part. The new life, the new customs, and the\nstrange language, were baffling.", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However," ], [ "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "From that time on the doctor took an interest in him. He even took up\na collection of clothes for him among the officers. His professional\nservices were no longer necessary, for Sandy enjoyed a speedy recovery\nfrom his maritime troubles.", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward.", "plainly Providence that guided that thin and ill-treated kitten to\nSandy's window. The welcome it received must have completely restored\nits shaken faith in human nature. Tired as he was, Sandy went out and", "Sandy had had ample time to watch the Meeches during his long\nconvalescence. He had been moved from the spare room to a snug little", "Sandy looked and was lost. He ate with a coming appetite.\n\nThe farmer's wife served them with delighted zeal; she made trip after\ntrip from the stove to the table, pausing frequently to admire her\nguests.", "Sandy thought so too. He cheerfully stood treat for the rest of the\nday, and felt that it was small return for Ricks's condescension.", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "\"Just keep company with the cows?\" cried Sandy. \"Sure and I can!\"\n\nSo the bargain was struck, and that night found him in the great city\nwith a dollar in his pocket and a promise of work in the morning.", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "It was Sandy's privilege to pass the lines unchallenged. In fact, the\ndoctor's strict surveillance diminished, and he was occasionally\nguilty of napping at the post when Sandy was with Annette.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "\"But,\" cried Sandy, bewildered but hopeful, \"I have to go back!\"\n\nThe doctor shook his head. \"No, you don't. I've paid your passage.\"", "The judge put down his fork and laid his hand on Sandy's arm. \"You\nmustn't neglect the learning, Sandy. You've made fine progress, and", "\"They've found out about me!\" wailed Annette, breaking her long\nsilence. \"Oh, Sandy, what m-must I do?\"", "Sandy had found a friendly sympathizer at a neighboring farm-house,\nhad been given a good breakfast, had made his toilet, and was ready\nfor the next round in the fight of life." ], [ "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "During the long, hot days that followed Sandy worked faithfully at the\ndepot. The regular hours and confinement seemed doubly irksome after\nthe bohemian life on the road.", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "\"It's been love, Sandy,\" she whispered, \"ever since the first.\"\n\n[Illustration: \"'It's been love, Sandy, ... ever since the first'\"]", "\"I guess so,\" said Sandy, indifferently.\n\n\"You ain't goin' to school yet?\"\n\n\"That I am,\" said Sandy; \"and next year, too, if the money holds out.\"", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "One afternoon Sandy sat at his table, deep in his work. He heard the\nkey turn in its lock and the door open, but he did not look up.", "all her life. It would kill her when she knew. And he, Sandy Kilday,\nwas the only one who suspected the truth. A momentary temptation", "But Sandy did \"pay 'em mind.\" He followed Aunt Melvy's advice about\nasking questions, and wrestled with each new proposition until he", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "Sandy and Annette stood, holding out their hands to the friendly\nwarmth. She was watching with interest the preparations for supper,\nbut he had grown silent and preoccupied.", "Sandy stood before him in an agony of indecision. He had fought it out\nwith himself there in his bedroom, and all personal considerations", "Sandy declined with violence. He explained his feelings with all the\nauthority of a first experience, adding in conclusion: \"It was Jonah I\nused to be after feelin' sorry for; it ain't now. It's the whale.\"", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "his life. It was exceedingly inconvenient to have to lie down or\ncrawl; but Sandy had been used to inconveniences all his life, and", "\"You do the jawin', Sandy. I ain't much on givin' 'em the talk,\" said\nRicks. \"Chuck a jolly at 'em and keep 'em hangin' round.\"", "Sandy had made it a rule in life to be on hand when anything was\nhappening. He had viewed cricket-matches from tree-tops, had answered" ], [ "\"Carter?\" he cried--\"is he--\"\n\nRuth nodded; her face was white and drawn, and purple shadows lay\nabout her eyes.", "Carter looked up as Ruth came breezily into the room. She wore her\nriding-habit, and her hair was tossed by her brisk morning canter.", "\"Carter!\" begged Ruth, appealingly.\n\nHe laughed. \"You ought to be glad to get rid of me, Ruth. You've\nbothered your head about me ever since you were born.\"", "\"Ruth's all right,\" said Carter, seeing her discomfort. \"She will have\nmore sense when she is older. She's just got her little head turned by", "Carter laughed. \"One would think that Ruth's sole aim in life was to\ncultivate Clayton--the distinguished, exclusive, aristocratic society\nof Clayton.\"", "On the table was a photograph of Carter. Ruth sighed as she passed it.\nIt was a composite of all the grace, beauty, and weakness of the\nsurrounding portraits.", "\"It's Carter,\" she whispered. \"D-dad doesn't allow him to come here.\"\n\n\"Little's the wonder,\" grumbled Sandy.", "\"Sandy,\" cried Annette, \"what do you think? Ruth is coming home!\nCarter is on his way to the d-depot to meet her now. She's been gone", "\"Carter,\" she called again and again--\"Carter, is it you?\"", "At the opening Carter's face appeared. It was a pale, delicate face,\nover-sensitive, over-refined, with the stamp of weakness on every", "Mrs. Nelson withdrew her hand and directed her injured reply to\nCarter. \"I have done my duty by your sister. She has been given every", "Above him, Annette Fenton was fathoms deep in a flirtation with Carter\nNelson; while below him, Ruth, in the daintiest of gowns and the", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "Ruth? He is a grandson of Commodore Warrenton.\"", "Carter had discreetly departed. It was Sandy whom he spied, and\ninstantly called: \"Kilday, you'll see me through this mess? You know\nit wasn't none of my fault.\"", "Suddenly he was aware of the soft rustle of skirts, and, lifting his\neyes, he saw Ruth. For a moment he did not move, thinking she must be", "\"But I hate to stay in bed,\" said Ruth; \"and, besides, I hate to miss\na half-day.\"\n\n\"Is there anything on for this afternoon?\" asked Carter.", "In a moment Ruth was at her side, all contrition: \"I'm sorry, Aunt\nClara; I know I'm a disappointment to you. I'll try--\"", "\"Now, Carter, it's too warm to be proposing anything more. You aren't\nwell, and Ruth ought to stay at home and put cold cream on her face.", "The men rode on, and she stood holding to the gate and looking after\nthem.\n\n\"Here comes Mr. Sid Gray,\" said Rachel. The approaching rider drew\nrein when he saw Ruth and dismounted." ], [ "The old judge watched him from the pavement. \"That's right,\" he said,\nrubbing his hands together with childish satisfaction; \"that's just\nabout the best-looking sign I ever saw!\"", "But to-night the darkness obscured even that image. The judge's life\nstill hung in the balance, and the man who had shot him lay in a", "Down in the sitting-room the judge was lost in the pages of a worn old\ncopy of Tom Moore. He fingered the pages with a tenderness of other", "His soul was in a wild riot of grief and revenge. Two thoughts tore at\nhis brain: one was to see the judge before he died, and the other was\nto capture Ricks Wilson.", "Meanwhile the judge's condition was slowly improving.", "The judge must be his first consideration. He had been shot down\nwithout cause, and might pay his life for it. There was but one thing\nto do: to find the real culprit, give him up, and take the\nconsequences.", "When it was over the judge had hold of his hand and was bestowing\nlarge, indiscriminate pats upon his head and shoulders.", "upon him with a whole battery of reproaches. In stentorian tones he\nrehearsed the judge's kindness in befriending him, he pointed out his", "Something in his eyes, in his voice, in his intensity, brought the\njudge to his side.\n\n\"How long has this thing been going on?\" he asked seriously.\n\n\"Four years!\"", "Behind the door of his room hung the pride of his soul, a new suit of\nclothes, whole, patchless, clean, which the judge had bought him two", "\"What made him shoot him? How could he be so cruel, when the dear old\njudge is so good and kind to everybody?\"", "At Hollis Farm the judge met them at the gate. He was large and\nloose-jointed, with the frame of a Titan and the smile of a child. He", "\"Sandy went with them,\" thought Ruth, in sudden relief; then she\nthought of the judge.\n\n\"Oh, Rachel, is he dangerously hurt? Will he die?\"", "The judge was obliging and easy-going, and he frequently gratified\nJimmy's curiosity.\n\n\"No; he's studying pretty hard these days. He says he is through with\nathletics.\"", "sudden light. The judge noticed that he was pale and dejected, and he\nsuppressed a smile over the imaginary troubles of youth.", "spirit that she placed him there, but the judge had taken one of those\ninfrequent stands which she knew it was useless to resist. She put the", "absorption in the subject, that carried him straight to the heart of\nthe matter. Meanwhile he was unconsciously receiving a life-imprint of\nthe old judge's native nobility.", "At the first words Sandy had sprung to his feet. \"The judge shot!\nRicks Wilson! I'll kill him for that. Get out, Annette. I must go to", "Ricks hadn't shot the judge, for he was sure he had seen him out the\nJunction road about half-past five. We all saw it was a put-up job; he", "\"It was found outside Judge Hollis's window after he had been shot.\"\n\n\"Judge Hollis shot! Who did it?\"\n\nSandy again looked at the pistol." ], [ "When it was over, Sandy and Ruth drove away in the old town surrey,\nfollowed by such a shower of rice and flowers and blessings as had", "\"Miss Fenton and I expect to be married this evening,\" said Carter,\nstriving for dignity, though his breath came short with excitement.", "She said yes. During the silence that followed, Sandy, unable to\nrestrain his joy, threw his arms about a life-preserver and embraced\nit fervently.", "Amid suppressed merriment, the marriage service was concluded, Mr.\nMeech heroically foregoing his meteoric finale.", "The bridal march had sounded many times, and the impatient guests were\nbecoming seriously concerned, when a handkerchief fluttered from the\nlanding and Sandy and Ruth came down the wide white steps together.", "Up-stairs, at a hall window, the groom was living through rapturous\nthroes of anticipation. For the hundredth time he made sure the ring\nwas in the left pocket of his waistcoat.", "\"It's the last dance,\" said she. \"Aren't you sorry? We've had a\nperfectly divine time--\" She got no further, for her partner, faithful\nthrough many numbers, had deserted his post at last.", "Aunt Melvy bent over the cup, and her sides shook. \"You gwine be a\nfarmer's wife,\" she said, chuckling at the girl's grimace. \"You gwine\nraise chickens an' chillun.\"", "By this time Martha was at the door, urging the others to hurry. Her\nface was pale and her eyes were troubled. Ruth saw her nervousness and\nslipped her arm about her. \"It's all in fun,\" she whispered.", "\"Take it off him,\" whispered Sandy, recklessly, to Jimmy Reed; and\nviolence was prevented only by the timely arrival of Aunt Melvy with\nthe original wedding tie.", "Mr. Meech sought a secluded spot under the stairway and nervously\npractised the wedding service, while Mrs. Meech, tucked up for once in", "The whole town was early astir and wore a holiday air. By noon\nbusiness was virtually abandoned, for Clayton was getting ready to go\nto the wedding.", "Then he wandered on into sixthlies and seventhlies of increasing\nlength. Before the final amen had died upon the air, Annette and Sandy\nhad escaped to their reward.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "\"I saw Martha Meech yesterday. She was talking about you. She was very\nweak, and could speak only in a whisper, but she seemed happy.\"\n\n\"It's like her soul was in Heaven already,\" said Sandy.", "the time to keep him from being lonely. He was awfully fond of me, but\nhe had to go out West to make his fortune, and he married before he\ngot back.\"", "\"It's all the same wherever we are,\" said Ruth, in joyful freedom.\n\nThey turned into the road, and before them, through the trees, lay the\nlong stretch of smiling valley.", "Next door, in an upper bedroom, a tired soul paused in its final\nflight. Martha Meech, stretching forth her thin arms in the twilight,\nlistened as one might listen to the strains of an angel choir.", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy." ], [ "Then Sandy, having confided so far, made a clean breast of it,\nbreaking down at the end when he tried to describe Ruth's goodness\nand the sorrow his misery had caused her.", "Sandy started from his chair. How finite intelligence could have\ndiscovered the innermost secret of his soul seemed little short of\nmiraculous. But the relief of being able to pour out his feelings\nmastered all other considerations.", "Once, long ago, she had confided her secret to one of her uncles, and\nhe had laughed and told her that boys would be boys. After that she\nhad kept things to herself.", "\"He's dead,\" she whispered, with a catch in her voice; then she went\non in breathless explanation: \"but he told me first. He said, 'Hurry", "A long silence followed--of the kind that ripens confidence. Presently\nSandy lifted his haggard eyes: \"It's nothing I'm ashamed of, judge; ye", "'em off some ways, and de very nex' day what you think he done? He put\ndat gal in a Cafolic nunnery convent! Dey say she cut up scan'lous at", "Everything he did, in fact, seemed to be wrong; and everything he\nsaid, to bring a smile. He confided many a woe to Aunt Melvy as he\nsat on the kitchen steps in the evenings.", "head. All through his illness he had been tortured by the thought that\nhe had talked of Ruth, though now wild horses could not have dragged\nforth a question concerning her.", "To part of the company at least the situation was clear. Aunt Melvy,\nafter seeking religion for nearly sixty years, had chosen this\ninopportune time to \"come th'u'.\"", "Then he wandered on into sixthlies and seventhlies of increasing\nlength. Before the final amen had died upon the air, Annette and Sandy\nhad escaped to their reward.", "The doctor heaved a prodigious sigh. As a colonel of the Confederacy\nhe had exacted strict discipline and unquestioning obedience, but he\nnow found himself ignominiously reduced to the ranks, and another\nFenton in command.", "With a groan, he knotted his fingers together and prayed the first\nreal prayer his heart had ever uttered. It was wordless and formless,\njust an inarticulate cry for help in the hour of need.", "Here he ostensibly held office hours, but in reality he was doing\nsentry duty. His real business in life was keeping up with Annette,\nand his diversion was in the constant perusal of a slim sheet known as\n\"The Confederate Veteran.\"", "Ruth sat very still and looked straight before her. She had never seen\na soul laid bare before, and the sight thrilled and troubled her. All\nthe petty artifices which the world had taught her seemed useless\nbefore this shining candor.", "The judge must be his first consideration. He had been shot down\nwithout cause, and might pay his life for it. There was but one thing\nto do: to find the real culprit, give him up, and take the\nconsequences.", "A strained silence, then he said:\n\n\"Nettie, could you be forgiving me if I told you the Lord's truth?\"", "This thought brought remarkable consolation. He pictured to himself\nher remorse when she heard the tragic news. He attended in spirit his\nown funeral, and even saw her tears fall upon his still face.\nMeanwhile he listened impatiently for the train.", "In the little Hard-Shell Baptist Church the congregation had assembled\nand services had begun before Mr. Meech arrived. He appeared\nsingularly flushed and breathless, and caused some confusion by", "Sandy declined with violence. He explained his feelings with all the\nauthority of a first experience, adding in conclusion: \"It was Jonah I\nused to be after feelin' sorry for; it ain't now. It's the whale.\"", "His one desire in life now was to quit it. He felt as if he had read\nhis death-warrant, and it was useless ever again to open his eyes on\nthis gray, impossible world." ], [ "She glanced up in disapproval as Ruth's laugh sounded in the hall.\n\n\"Rachel, tell her that lunch is waiting,\" she said to the colored\ngirl at her side.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "\"Miss Rufe, was you ever in love?\" It was black Rachel who broke in\nupon her thoughts. She was standing at the foot of the table, her\nround, good-humored face comically serious.", "\"Who is it?\" asked her aunt, hastily arranging her disturbed locks.\n\nRuth paused at the door. There was a slight tremor about her lips,\nbut her eyes flashed their first open declaration of independence.", "feelin's. Pore Miss Sue!\" She threw her apron over her head and swayed\nand sobbed.", "Aunt Melvy pondered over the leaves. \"Well, now, 'pears to me he's\nsorter dark-complected an' fat, like Mr. Sid Gray,\" she said.", "\"I got one from my beau,\" went on Rachel, in great embarrassment; \"but\ndat nigger knows I can't read.\"\n\n\"Where does he live?\" asked Ruth.", "By this time Martha was at the door, urging the others to hurry. Her\nface was pale and her eyes were troubled. Ruth saw her nervousness and\nslipped her arm about her. \"It's all in fun,\" she whispered.", "But what was the real color of her eyes? Sandy brought all his\nintellect to bear upon the momentous question. Sometimes, he thought,", "Joe, or Nick--any of the darkies you can find!\"", "\"'Fore de Lawd, he's done been cunjered!\" cried the old woman, aghast.", "\"Nettie.\" He watched her as she pranced around the ring under Ricks's\nskilful handling; she had nothing to fear from the bays, but the\nsorrel was a close competitor.", "\"Oh, this is your race, isn't it?\" cried Annette as the band struck up\n\"Dixie.\" \"Where's my namesake? The pretty one just c-coming, with the", "\"'T ain't no time to joke, chile,\" whispered Aunt Melvy, all the\nsuperstition of her race embodied in her trembling figure. \"What I", "whatever touched his heart. It surely was no harm just to stand aside\nand look. He liked the way she carried her head; he liked the way her", "\"Hit's de green rubbin' off,\" she assured him sympathetically. \"De\nsame ones dat laugh at you now will be takin' off dey hats to you some\nday.\"", "Suddenly he was aware of the soft rustle of skirts, and, lifting his\neyes, he saw Ruth. For a moment he did not move, thinking she must be", "Twice she touched the knob before she turned it again; then she\nresolutely gathered her long white dress in her hand, and passed down\nthe broad stone steps. The wind blew sharply against her, and the\npavement was cold to her slippered feet.", "Aunt Melvy bent over the cup, and her sides shook. \"You gwine be a\nfarmer's wife,\" she said, chuckling at the girl's grimace. \"You gwine\nraise chickens an' chillun.\"", "The men rode on, and she stood holding to the gate and looking after\nthem.\n\n\"Here comes Mr. Sid Gray,\" said Rachel. The approaching rider drew\nrein when he saw Ruth and dismounted." ], [ "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "He guided Sandy's dying footsteps to the deck and propped him against\nthe railing. That was when he laughed.", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "Thus encouraged and supported, Sandy stumbled on through the dark, up\na hillside that seemed never to end, across a bridge, then into a tiny\nlog cabin, where he dropped exhausted.", "As Sandy tried to pass, she stopped him again, and after looking\nfurtively around she fumbled in her pocket for something which she\nthrust into his hand.", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "He discovered Sandy lying on his face in the passageway, his right\nhand still dutifully wielding the scrub-brush, but his spirit broken\nand his courage low.", "Sandy, miserable in body and spirit, mechanically obeyed instructions.\nHis head was getting queerer all the time, and he could not remember\nwhether it was day or night. About a mile from Clayton he sank down by\nthe road.", "Sandy started up to follow him; he tried to call, but he had no\nstrength. He lay with his face on the road and talked. He knew there", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "Sandy hurried away to his duties, but not without an anxious glance at\nthe upper deck. He had never lost an opportunity, since that first", "Sandy pushed eagerly through the crowd and presented himself at Ruth's\nside. She was sitting with several boys on the stage steps, her cheeks", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "Sandy flushed to the roots of his close-cropped hair. A tip,\nheretofore a gift of the gods, had suddenly become an insult. Angry,", "Sandy stretched him out on the snow, where he lay for a while with\nclosed eyes. He was very white, and his lips twitched convulsively.", "Suddenly Sandy caught his breath. There, just above him, stood \"the\ndamsel passing fair.\" Instead of the tam-o'-shanter she wore a big", "his life. It was exceedingly inconvenient to have to lie down or\ncrawl; but Sandy had been used to inconveniences all his life, and", "It was after eleven when Sandy's step sounded on the porch. At the\njudge's call he opened the sitting-room door and stood dazed by the", "repeated on every side. Sandy, laughing and protesting, was pushed to\nthe front. Being thus suddenly forced into prominence, he suffered an\nacute attack of stage fright." ], [ "The judge put down his fork and laid his hand on Sandy's arm. \"You\nmustn't neglect the learning, Sandy. You've made fine progress, and", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "\"Sandy went with them,\" thought Ruth, in sudden relief; then she\nthought of the judge.\n\n\"Oh, Rachel, is he dangerously hurt? Will he die?\"", "The judge laughed contemptuously, but Sandy watched Ricks depart with\ntroubled eyes. He knew that he meant what he said.\n\n\n\n\nCHAPTER XIV", "Sandy hesitated, and a dozen invitations were shouted in one breath.\nHe stood irresolute, with his foot on the step of the buggy; then he\npulled himself up.\n\n\"To Judge Hollis,\" he said.", "Late that afternoon Judge Hollis left his office and walked around to\nthe academy. He had sympathized fully with Sandy, and wanted, if", "It was after eleven when Sandy's step sounded on the porch. At the\njudge's call he opened the sitting-room door and stood dazed by the", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "Sandy pushed his way to the judge's side. He had never hated the sight\nof Ricks so much as at that moment.", "following them half-way with his body to pick up the verbal crumbs of\ninterest the judge might let fall while perusing them. The supremacy\nwhich Sandy had established in the base-ball days had lent him a", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "with apprehension. Without stopping to speak to them, Sandy hurried to\nthe door of the judge's room. Before he could turn the knob, Dr.", "That evening the judge glanced across the table with great\nsatisfaction at Sandy, who was apparently buried in his Vergil. The", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward.", "\"I hope Sandy isn't interested there,\" went on the judge,\nthoughtfully. \"It would not do him any good, and would spoil his taste\nfor what he could get. How long has it been going on, Sue?\"", "Meanwhile his cheeks became hollow and he lost his appetite. The judge\nattributed it to Martha Meech's death; for Sandy's genuine grief and", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "During the two years Sandy remained at the university, Jimmy handed\nhis letters out of the post-office window to the judge once a week,", "Sandy, miserable in body and spirit, mechanically obeyed instructions.\nHis head was getting queerer all the time, and he could not remember\nwhether it was day or night. About a mile from Clayton he sank down by\nthe road.", "\"We must think of the judge first, Sandy,\" she said. \"While he lives\nwe must stay here; there'll be time enough for the big world after a\nwhile.\"" ], [ "Sandy declined with violence. He explained his feelings with all the\nauthority of a first experience, adding in conclusion: \"It was Jonah I\nused to be after feelin' sorry for; it ain't now. It's the whale.\"", "Sandy, miserable in body and spirit, mechanically obeyed instructions.\nHis head was getting queerer all the time, and he could not remember\nwhether it was day or night. About a mile from Clayton he sank down by\nthe road.", "During the long, hot days that followed Sandy worked faithfully at the\ndepot. The regular hours and confinement seemed doubly irksome after\nthe bohemian life on the road.", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "his life. It was exceedingly inconvenient to have to lie down or\ncrawl; but Sandy had been used to inconveniences all his life, and", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "Sandy sighed, ostensibly in sympathy, but in reality at his own sad\nfate. At that moment Prometheus himself would not have envied him his", "It was Sandy Kilday, his clothes disheveled, his brows lowered, and\nhis lips compressed info a straight, determined line.", "Sandy stood before him in an agony of indecision. He had fought it out\nwith himself there in his bedroom, and all personal considerations", "Sandy started from his chair. How finite intelligence could have\ndiscovered the innermost secret of his soul seemed little short of\nmiraculous. But the relief of being able to pour out his feelings\nmastered all other considerations.", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "After they started, Sandy leaned back in the buggy, lost in the fog\nof his unhappiness. Off in the distance he could see the twinkling\nlights of Clayton. One was apart from the rest; that was Willowvale.", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "all her life. It would kill her when she knew. And he, Sandy Kilday,\nwas the only one who suspected the truth. A momentary temptation", "Then Sandy, having confided so far, made a clean breast of it,\nbreaking down at the end when he tried to describe Ruth's goodness\nand the sorrow his misery had caused her.", "On and on and on she went, and Sandy ceased to struggle. He sank in\nhis chair in dogged dejection. He felt that she had been talking ever", "Sandy went wearily back to the house. He had made his first trial in\nbehalf of his lady fair, but his soul knew no elation. His beautiful\nnew armor had sustained irreparable injury, and his vanity had\nreceived a mortal wound.", "corner. Ricks went on into town to arrange matters, while Sandy\nstopped in a grocery to buy their supper. His interest in the show had\nbeen of short duration. He felt listless and tired, something seemed", "Sandy started up to follow him; he tried to call, but he had no\nstrength. He lay with his face on the road and talked. He knew there", "Sandy turned and looked up at the doctor impatiently. The presence of\nother people in the world seemed an intrusion." ], [ "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "\"Aren't all days cleaning-days to you, Sue?\" asked the judge,\nplayfully.\n\n\"When you are in the house,\" she answered sharply. Then she turned to\nthe doctor, who was starting up the stairs:", "Down in the sitting-room the judge was lost in the pages of a worn old\ncopy of Tom Moore. He fingered the pages with a tenderness of other", "\"Sandy went with them,\" thought Ruth, in sudden relief; then she\nthought of the judge.\n\n\"Oh, Rachel, is he dangerously hurt? Will he die?\"", "The judge stirred uncomfortably. \"Now, Sue,\" he remonstrated, \"you\nneedn't take a bit of bother. Melvy will see to him by day, and I will\nlook after him at night.\"", "\"To Judge Hollis's. Get down this minute!\"\n\n\"What for?\"\n\n\"Somebody's sick. Get down, I say!\"", "The old judge watched him from the pavement. \"That's right,\" he said,\nrubbing his hands together with childish satisfaction; \"that's just\nabout the best-looking sign I ever saw!\"", "\"Does he like it up there?\"\n\n\"Oh, yes, yes; I guess he likes it well enough,\" the judge would\nanswer tentatively; \"but I am afraid he's working too hard.\"", "Meanwhile his cheeks became hollow and he lost his appetite. The judge\nattributed it to Martha Meech's death; for Sandy's genuine grief and", "Judge Hollis. He was the only man we met after we left town. Just\nreturn to him, with my compliments, and tell him I say he is a meddler\nand a fool!\"", "At Hollis Farm the judge met them at the gate. He was large and\nloose-jointed, with the frame of a Titan and the smile of a child. He", "It was after eleven when Sandy's step sounded on the porch. At the\njudge's call he opened the sitting-room door and stood dazed by the", "Behind the door of his room hung the pride of his soul, a new suit of\nclothes, whole, patchless, clean, which the judge had bought him two", "spirit that she placed him there, but the judge had taken one of those\ninfrequent stands which she knew it was useless to resist. She put the", "In the library Judge and Mrs. Hollis did the honors, and presented the\nguests to little Miss Merritt, whose cordial, homely greetings\ncounteracted the haughty disapproval of the portraits overhead.", "\"We must think of the judge first, Sandy,\" she said. \"While he lives\nwe must stay here; there'll be time enough for the big world after a\nwhile.\"", "The judge paused, with his eyes on the fire; then he said: \"I think\nI'll wait up for the boy to-night, Sue. I want to tell him the good\nnews myself. You haven't spoken of it?\"", "The house seemed suddenly quiet and lonesome. He went from the\nsitting-room to the kitchen, but neither Mrs. Hollis nor Aunt Melvy\nwas to be found. Returning through the front hall, he opened the door\nto the parlor.", "The judge was obliging and easy-going, and he frequently gratified\nJimmy's curiosity.\n\n\"No; he's studying pretty hard these days. He says he is through with\nathletics.\"", "This being a familiar opening to a disagreeable subject, the two young\npeople lapsed into silence, and Mrs. Nelson was constrained to address\nher communications to the tea-pot. She glanced about the big,\nold-fashioned room and sighed." ], [ "Sandy's eyes answered for him. They were held by a vision in the\ncenter of the room, and he was blinded to everything else.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "Suddenly Sandy caught his breath. There, just above him, stood \"the\ndamsel passing fair.\" Instead of the tam-o'-shanter she wore a big", "Eagerly, wistfully watching it all, stood Sandy, as alert and\ndistressed as a young hound restrained from the hunt. It is something", "Sandy eyed him curiously, taking in all the details of his\nriding-costume down to the short whip with the silver mounting.", "Sandy rushed to do her bidding. He was rather hazy as to the object of\nhis search; but when his fingers touched a round, soft ball he drew it\nforth and hastily presented it to the lady's Roman nose.", "He saw her send a quick, puzzled glance from the letter to Sandy; he\nsaw her turn away from the door and tear open the envelop; then, to\nhis everlasting credit, he saw no more.", "\"Would you, now?\" cried Sandy, fervently pressing her hand. Then he\nstopped short. \"Annette,\" he said wistfully, \"do you think she'll be\ncaring to dance with a boy like me?\"", "Sandy looked and was lost. He ate with a coming appetite.\n\nThe farmer's wife served them with delighted zeal; she made trip after\ntrip from the stove to the table, pausing frequently to admire her\nguests.", "The will-o'-the-wisp, which had been hiding his light, suddenly swung\nit full in the eyes of Sandy. Once more he saw the little maid of his", "\"It's been love, Sandy,\" she whispered, \"ever since the first.\"\n\n[Illustration: \"'It's been love, Sandy, ... ever since the first'\"]", "Sandy made a wry face and winked at Mrs. Hollis, but she betrayed him.\n\n\"He has been primping since sun-up,\" she said. \"Anybody would think he\nwas going to get married.\"", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "Sandy surveyed her with tolerant sadness. Little her childish heart\nknew of the depths through which he was passing.\n\n\"Do you love him very much?\" he asked.", "Sandy and Annette stood, holding out their hands to the friendly\nwarmth. She was watching with interest the preparations for supper,\nbut he had grown silent and preoccupied.", "Sandy, bareheaded and in motley garb, laughing and shoving with the\nbest of them, hanging over the railing, and keeping up a fire of", "Sandy gripped him by the hand, then turned the corner into the\ncourting-box. Instantly his eager eyes sought Ruth, but she did not\nlook up as he passed.", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward." ], [ "Sandy enjoyed the peddling. It was astonishing what friendly\nsociability and confidential intimacy were established by the sale of\nblue suspenders and pink soap. He left a line of smiling testimonials\nin his wake.", "\"But you don't know him,\" protested Ruth. \"And, besides, he was--he\nwas a peddler.\"", "know--an Irish peddler; came here three or four years ago with a pack\non his back.\"", "\"But, my dear child, you forget who Mr. Warrenton is. And you actually\ndanced with a peddler!\" Her voice grew faint. \"My dear, this must", "The judge peered over his glasses quizzically. \"Thinking about the\nboys, as usual! Now I want to know what business you have noticing the\ncolor of a peddler's eyes?\"", "Annette blushed, but she stood her ground. \"All the g-girls noticed\nhim. He wasn't an ordinary peddler. He was just as smart and f-funny\nas could be.\"", "\"Say, Ricks,\" he said abruptly; \"I'm after quittin' peddlin'.\"\n\n\"What you goin' to do?\"\n\n\"I'm goin' to school.\"", "was no mistaking that short, slouching body with the peddler's pack\nstrapped on its back. With a cry of joy, Sandy bounded after Ricks", "\"I've blacked boots, and sold papers; I've fought dogs, and peddled,\nand worked on the railroad. Many's the time I've been glad to eat the", "\"It's Ricks Wilson,\" he whispered to the judge--\"the boy I used to\npeddle with. Don't be sending him to jail, sir. I'll--I'll go his bail\nif you'll be letting him go.\"", "things terrestrial, from the easiest way of making a fortune to the\nbest way of spending it. He was a short, heavy-set fellow of some\neighteen years. His hair grew straight up from an overhanging", "\"It's the microscopes that'll be sellin',\" said Sandy, hopefully, as\nhe pulled his coat collar about his ears and shivered. \"The man as", "\"That old feather-bed? O Lord! He's so good he gives me a pain. Goes\nround with his mouth hiked up in a smile, and I bet he's as mean as\nthe--\"", "As dark came on, trade began. The three bars of soap were sold, and a\npurple necktie. Sandy saw that public taste must be guided in the", "\"Where'd he come from?\" asked the doctor.\n\n\"Mrs. Hollis says he was peddling goods up at Main street and the\nbridge last night.\"", "For three weeks he had been hanging about the docks, picking up jobs\nhere and there, accommodating any one who wanted to be accommodated,", "\"It presses in, too,\" he thought. \"It's all crowdin' over me. I'm just\nme by myself, all alone.\" A tear made a white course down his grimy", "When they were gone he crawled out to stretch his weary body. On the\ndeck he found a book which they had left; it was a green book, and on", "The old judge watched him from the pavement. \"That's right,\" he said,\nrubbing his hands together with childish satisfaction; \"that's just\nabout the best-looking sign I ever saw!\"", "Tired and sore from the experiences of the night before, he sought a\ncheap lodging-house near by. A hook-nosed woman, carrying a smoking" ], [ "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "Sandy pushed eagerly through the crowd and presented himself at Ruth's\nside. She was sitting with several boys on the stage steps, her cheeks", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "Thus encouraged and supported, Sandy stumbled on through the dark, up\na hillside that seemed never to end, across a bridge, then into a tiny\nlog cabin, where he dropped exhausted.", "Sandy, bareheaded and in motley garb, laughing and shoving with the\nbest of them, hanging over the railing, and keeping up a fire of", "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "\"He had!\" cried Sandy, raising his head and leaning toward her. \"He\nstole on board with only a few shillings and a bundle of clothes. He", "Sandy's eyes answered for him. They were held by a vision in the\ncenter of the room, and he was blinded to everything else.", "He guided Sandy's dying footsteps to the deck and propped him against\nthe railing. That was when he laughed.", "A few moments later there was a moving of chairs, and Annette's voice\nwas counting, \"One, two, three; one, two, three,\" while Sandy went", "Sandy hurried away to his duties, but not without an anxious glance at\nthe upper deck. He had never lost an opportunity, since that first", "As Sandy tried to pass, she stopped him again, and after looking\nfurtively around she fumbled in her pocket for something which she\nthrust into his hand.", "There was a crash of wheels and a great commotion. Several women\nscreamed, and a number of men rushed into the ring. When Sandy got", "Two days later, the _America_, cutting her way across the Atlantic,\ncarried one more passenger than she registered. In the big life-boat\nswung above the hurricane-deck lay Sandy Kilday, snugly concealed by\nthe heavy canvas covering.", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "Sandy bit his lip and shot a swift glance at Ruth. She was still\nsmiling. With savage determination he fell upon the wheel as if it had", "Sandy looked and was lost. He ate with a coming appetite.\n\nThe farmer's wife served them with delighted zeal; she made trip after\ntrip from the stove to the table, pausing frequently to admire her\nguests." ], [ "When inaction became intolerable, he plunged into his law books, at\nfirst not comprehending a line, but gradually becoming more and more", "So sincere was his desire to make amends that he asked to read law\nwith the judge in the evenings after his work was done. Nothing could", "The judge was obliging and easy-going, and he frequently gratified\nJimmy's curiosity.\n\n\"No; he's studying pretty hard these days. He says he is through with\nathletics.\"", "about her. For his whole purpose in life these days, aside from\nassisting the government in the distribution of mail and reading a\nmusty old volume of Blackstone, was learning to dance.", "The next time Aunt Melvy came he asked for some of his law-books, and\nfrom that on there was no more idling or dreaming.", "Mr. Meech, shuffling up the walk toward them, interrupted. \"Studying\nfor the examination, eh? That's right, my boy. The judge tells me\nthat you have a good chance to win the scholarship.\"", "The judge must be his first consideration. He had been shot down\nwithout cause, and might pay his life for it. There was but one thing\nto do: to find the real culprit, give him up, and take the\nconsequences.", "The old judge watched him from the pavement. \"That's right,\" he said,\nrubbing his hands together with childish satisfaction; \"that's just\nabout the best-looking sign I ever saw!\"", "Behind the door of his room hung the pride of his soul, a new suit of\nclothes, whole, patchless, clean, which the judge had bought him two", "\"You see, my boy,\" the judge said one day when they were alone, \"I had\nset my heart on taking you into the office after next year. I had\ncounted on the scholarship to put you through your last year at the\nacademy.\"", "The judge looked at him long and earnestly over his glasses, then he\nasked in calm, judicial tones: \"Is her answer final?\"", "\"Wasn't it g-grand in Judge Hollis to send him to school?\" said\nAnnette. \"Of course he's going to work for him b-between times. They\nsay even Mrs. Hollis is glad he is going to stay.\"", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "Once, long ago, she had confided her secret to one of her uncles, and\nhe had laughed and told her that boys would be boys. After that she\nhad kept things to herself.", "\"Well, he showed what he was, all right. He took sides with that\ngood-for-nothing scoundrel who had shot a man that was almost his\nfather. Why, I never saw such a case of ingratitude in my life!\"", "scholarship, it'll be because you want me to, Martha; if I come to be\na lawyer, it's because it's the wish of the judge's heart; and if I", "Early in the morning he went to town, where, after much consultation\nand many changes of mind, he purchased a suit of clothes. Then he", "Judge Hollis. He was the only man we met after we left town. Just\nreturn to him, with my compliments, and tell him I say he is a meddler\nand a fool!\"", "A long silence followed--of the kind that ripens confidence. Presently\nSandy lifted his haggard eyes: \"It's nothing I'm ashamed of, judge; ye", "\"Your protÃ©gÃ©, Judge Hollis, is an ambiguous proposition. He possesses\ninvention and originality, but he is sadly lacking in sustained\nconcentration.\"" ] ]	[ "How does Sandy plan to get to the new world? ", "Who pays for his passage across the ocean? ", "How does Ricks Wilson make his living? ", "What state does Sandy decide to go to?", "Who picks up Sandy by the roadside when he is ill?", "Who adopts Sandy? ", "What occupation does Sandy eventually take up after college? ", "Who shot Judge Hollis?", "Who does Sandy end up marrying? ", "In what country did Sandy grow up?", "Who ends up paying for Sandy's passage on the ocean liner?", "How does Ricks Wilson earn a living?", "What is the name of the woman Sandy falls in love with?", "Who picks up Sandy when he is ill by the roadside?", "Who adopts Sandy?", "What job does Sandy hold as an adult?", "How is Carter related to Ruth?", "How is the judge injured?", "Who gets married at the end of the story?", "What was confess?", "What was the colored woman name?", "What did Sandy slip upon abroadly?", "Where did the Judge take Sandy?", "When did Sandy become disgusted with his life?", "Where were the Judge's wife kids?", "Who is the lady Sandy has eyes for?", "Who makes a living as a peddler?", "How does Sandy climb the ladder?", "Who becomes a lawyer?" ]	[ [ "As a stowaway", "as a stowaway on an ocean liner" ], [ "The ship's doctor", "the ship's doctor" ], [ "By peddling", "peddling" ], [ "Kentucky", "Kentucky" ], [ "Aunt Melvy", "Auny Melvy" ], [ "Judge Hollis", "Judge Hollis" ], [ "He becomes a lawyer", "Lawyer" ], [ "Carter", "Carter" ], [ "Ruth", "Ruth" ], [ "Ireland", "Ireland" ], [ "The doctor.", "the ship's doctor" ], [ "Peddling", "peddling" ], [ "Ruth Nelson", "Ruth" ], [ "Aunt Melvy", "Aunt Melvy" ], [ "Judge Hollis and his wife", "Judge Hollis" ], [ "lawyer", "lawyer" ], [ "He's her brother.", "He is Ruth's brother" ], [ "He gets shot.", "He is shot by Carter" ], [ "Ruth and Sandy", "Sandy and Ruth" ], [ "Carter shot the Judge", "Carter" ], [ "Aunt Melvy", "Aunt Melvy" ], [ "A big ocean liner", "An ocean liner" ], [ "To his home", "into his home" ], [ "After watching ruth at the circus", "after seeing Ruth at a circus" ], [ "She was childless", "they didn't have any" ], [ "Miss Ruth Nelson", "Ruth Nelson" ], [ "Ricks Wilson", "Sandy and Ricks" ], [ "The Judge educates and send Sandy to college ", "A judge sends him to college" ], [ "Sandy ", "Sandy" ] ]	9001b135170722af260d09feca9be9d5e293aeef	train
[ [ "CHARLIE\n (to Tony; re: Harriet)\n This is Harriet.", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet.", "HARRIET\n (smiling)\n Oh, he did...?\n\n CHARLIE\n Thank you, Tony. This is my best \n friend.", "TONY\n Where's Harriet?\n\n CHARLIE\n I don't know. Oh, there she is.", "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "Charlie and Harriet kiss. We can see (though Charlie can't) \n Harriet has a strange unsure expression on her face. Tony \n notices it though and can't figure it out.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "TONY\n Oh. Sorry. Of course.\n (whispering to Harriet)\n I apologize. Charlie described you \n as much older. And heavier.", "HARRIET\n Tony, Rose is trying to kill Charlie. \n They're out on the ledge.", "Harriet and Charlie kiss one last time and she goes to the \n piano.\n\n Charlie stays in the corner, and Tony comes over.", "Harriet starts to speak; but right before the words come \n out, she stares into Charlie's eyes and STOPS. Charlie looks \n nervous. So does the Scottish Minister. So does Tony. So \n does everyone.", "Tony and Charlie are at the back of the tour group.\n\n TONY\n So did you and Harriet?... you know...", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "HARRIET\n Sure, anything. You've got to save \n Charlie.\n\n Tony slaps cuffs on her and takes her to the window.", "TONY\n Fine. Okay.\n\n CHARLIE\n I broke up with Harriet.\n\n TONY\n You're an asshole.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "She moves around to Charlie. She lifts his chin so that he \n is looking directly into her eyes.\n\n HARRIET\n Why not? And tell me the truth.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "TONY (O.S.)\n Hey Charlie!\n\n Tony is getting out of a cab accompanied by Susan, the girl \n from Spiletti's Coffee House. He approaches Charlie.", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind." ], [ "TONY\n (to Kathy)\n Keep trying the hotel. Tell the chief \n I just chartered a plane up to Oregon.\n\n The Police Captain enters.", "EXT./INT. CHARTERED CESSNA - NIGHT\n\n A small plane flies through the clouds. It's just Tony and \n DENNIS the pilot.", "Charlie, then with all his strength -- his \"where has this \n strength been my whole life\" strength -- pulls her up to the \n roof next to him.", "Then Rose strikes a match. She lights a candle and comes \n toward him. He looks around. The window is open. And Charlie \n is gone.\n\n INT. COMMANDEERED CAR - NIGHT", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "Tony and Charlie are waiting in line.\n\n AERIAL VIEW OF BOAT\n\n as they travel to the island.", "INT. JEWELRY STORE - DAY\n\n Charlie and Harriet pick out a diamond ring.\n\n INT. TRAVEL AGENCY", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "HARRIET\n Smile, Charlie. Act like you're having \n a good time.\n\n INT. OREGON AIRPORT - SAME/NIGHT", "The CONCIERGE at this point interrupts to bring Charlie a \n TELEPHONE. Everyone stops and watches and waits.", "CHARLIE\n (through door)\n Jesus...\n\n Charlie then looks down at another article in the Enquirer \n and reads:", "Harriet watches Charlie very closely, as Charlie looks scared. \n Then, the people start to carry them out of the room and \n down the hallway.", "TONY (V.O.)\n Just land. Don't worry about Lake \n Shanony. I don't give a shit about \n Lake Shanony.\n\n The plane touches down.", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "The four of them walk along the wharf. Charlie is at one of \n those arcade games where you throw bean bags at the puppets \n and try and knock them down. Charlie knocks two down.", "CHARLIE\n (curious)\n Hello?\n\n INT. AIRPORT IN OREGON - EARLY EVENING", "Charlie and her are squared off. Neither speak. Suddenly \n both of them are lifted into the air. They look down and see", "As Harriet seems to get closer Charlie continues to back up, \n picking up cat toys. Charlie realizes he has no where else \n to turn. so he side steps down the platform, never stopping \n his conversation with the lady.", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet.", "Harriet is moving in on him. Charlie steadily makes his way \n down the platform, feigning accidentally kicking cat food \n down the platform. The old lady is unsure what is going on, \n she tries to keep up with him." ], [ "Harriet...", "HARRIET\n He did?\n (a beat)\n Yeah.", "HARRIET\n I pretty much raised her. You know \n the scene. Depressed mother... \n withdrawn father.\n (she remembers)\n My dad was a photographer too.", "HARRIET\n (screams)\n AAAhhhhhhh!", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "HARRIET\n The eyes are good.\n\n ROSE\n Charlie really liked it.", "Harriet laughs.\n\n HARRIET\n (to the next customer)\n Can I help you?\n (to Charlie)\n Sorry, I'm really busy.", "HARRIET\n You haven't. At least you left early \n on.\n (she's crying)", "HARRIET\n Income of course, and then...\n (thinks)\n ...savings.\n\n He smiles at her.", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "HARRIET\n (after a long pause; \n finally:)\n I do.", "HARRIET\n So I heard.\n\n Harriet hugs Rose and then stands right next to her.", "HARRIET\n It's not that, Charlie.\n\n CHARLIE\n What then?", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "Harriet is talking to a CUSTOMER.\n\n HARRIET\n Hi.", "Harriet is doing a load of laundry consisting of bloodied \n work clothes. Suddenly she can hear the sound of MUSIC, very \n loudly.", "Charlie and Harriet stand at the desk. Harriet is not quite \n paying attention. Her attention span has slipped to none. \n She's fidgety. She looks around suspiciously at everything \n and everyone.", "CHARLIE\n About Harriet?\n\n ROSE\n About her past.", "HARRIET\n \"Brutal\" is such a subjective word. \n I mean, what's brutal to one person \n might be totally reasonable to \n another.", "HARRIET\n I've been there for almost a year. I \n only planned on stay with her for a \n few weeks, but she gets upset every \n time I say I'm moving." ], [ "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X.", "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "MAY\n Oh, here it is. Mrs. X. The Honeymoon \n Murderer. She marries men under fake", "the relatives or friends of Mrs. X's \n victims to identify her.", "It is the article about Mrs. X -- the axe-murderer who kills \n her husbands on their honeymoons and then marries again under \n a different identity.", "\"WHO'S NEXT FOR MRS. X - THE HONEYMOON KILLER?\"", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "He opens the curtain. It's not Harriet. The woman, ROSE, \n calmly looks at him and closes the curtain.\n\n ROSE\n Go away.", "Charlie pulls out the National Enquirer (the one on MRS. X, \n the Honeymoon Killer).", "ROSE\n Yet you still don't know her.\n (contemplates this)\n See, that's the problem with sex. \n It's not very revealing.", "WALTER\n That's Ralph Elliot's wife, alright. \n She had shorter hair in those days.\n\n INT. MARTIAL ARTS STUDIO - NIGHT", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "She meets Charlie and Tony at the door and kisses him good-\n bye. She turns to kiss Tony, and holds on the kiss far too \n long.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "CHARLIE\n (shocked)\n Ralph?\n\n A plain looking lady in her thirties, RALPH, is sitting by \n the window.", "LADY\n Oh, yes.\n\n Charlie glances over at Harriet, who slowly makes her way \n down the platform towards him.", "HARRIET\n (sleepily)\n That's odd. Just today I was thinking \n about, her. She's a friend.", "CHARLIE\n Is there any mention of the wife? At \n all?", "identities, and then murders them. \n She killed some German martial arts \n expert, and some plumber named Ralph" ], [ "Tony dashes out of the police station and into his car.\n\n INT. CHARLIE'S HOTEL ROOM - NIGHT", "Several policemen make their way onto the roof and come over \n to where Charlie is detaining Rose. The police take her, \n handcuff her and cart her away. From the corner of the roof \n appears Tony.", "Tony and the commandeered man drive through the swampy, \n winding road on the way up to the hotel. Tony is drumming on \n the dash.", "TONY\n (to Kathy)\n Keep trying the hotel. Tell the chief \n I just chartered a plane up to Oregon.\n\n The Police Captain enters.", "EXT. POLICE STATION - DAY\n\n Tony hurries to his car.\n\n EXT. GAS STATION ALONG THE COAST - DAY", "TONY\n (through phone)\n Not that it matters anymore, but I \n thought you should know -- someone \n just turned themselves in for the \n murder of Ralph Elliot.", "Tony is doing three-sixties, scoping out beauties, when \n suddenly his roving eyes lock on a police car directly behind \n them. He slouches down into his seat.", "TONY\n (not believing)\n Get on the floor and put your hands \n behind your back.\n\n Harriet willingly goes on the floor.", "TONY\n Christ. It's the cops.\n\n CHARLIE\n Tony, you are a cop.", "He keeps driving.\n\n INT. POLICE STATION - DAY\n\n Charlie walks through the precinct towards Tony's office, \n holding the National Enquirer in his hand.", "TONY\n (exasperated)\n Captain! When I joined the police \n force, I thought I was going to be", "INT. HALLWAY - HARRIET'S APARTMENT - DAY\n\n Tony knocks. No answer. He picks the lock and enters.\n\n INT. LIVING ROOM - DAY", "HARRIET\n Tony, Rose is trying to kill Charlie. \n They're out on the ledge.", "TONY\n Circuits are out from the storm.\n\n Tony gets to the police station door and opens it. Kathy \n follows him.", "Tony looks behind him out the window. Nobody is there.\n\n TONY\n Nice try.", "TONY\n I called the police. All the roads \n are closed, but they're on their \n way. In the mean time just...\n\n The line goes DEAD.", "INT. TONY'S CUBICLE - NIGHT\n\n Tony is on the phone. Kathy, seen before at the police \n station, stands with him.", "TONY\n Police work should be all about \n running around, following up crazy \n hunches that turn out to be right, \n going out on a limb.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "INT. BEDROOM\n\n Tony breaks into the room with his gun drawn.\n\n TONY\n (shouting)\n Charlie!" ], [ "ROSE\n Harriet never knew. She thought they \n all just left her. I protected her. \n She's my sister.\n\n Charlie turns and runs. Rose chases him.", "ROSE\n I'm Harriet's sister, Rose. And this \n is Harriet's note.\n\n He reaches for it, but she reads it aloud to him.", "HARRIET\n So I heard.\n\n Harriet hugs Rose and then stands right next to her.", "Charlie looks at it again, then at Rose, then at Harriet. \n It's all a little bizarre, but in a funny way he feels for \n Rose. A hidden talented overshadowed by her sister's beauty.", "HARRIET\n Rose, I don't really --\n\n ROSE\n He disturbed me while I was naked in \n the shower this morning.", "He opens the curtain. It's not Harriet. The woman, ROSE, \n calmly looks at him and closes the curtain.\n\n ROSE\n Go away.", "ROSE\n (after a pause)\n To warn you, Charlie.\n (after a pause)\n There are just some things you should \n know, about Harriet.", "ROSE\n (affectionately)\n Well, you know Harriet.\n\n CHARLIE\n Actually, I really don't.", "ROSE\n I doubt I'd have any. Harriet hates \n being photographed.\n\n The sound of a key in the door as Harriet enters the \n apartment.", "ROSE (O.S.)\n Harriet, its for you.\n\n INT. HARRIET'S LIVING ROOM", "ROSE\n I did a sketch of him.\n\n Rose shows the sketch to Harriet.", "TONY\n No you don't.\n\n HARRIET\n I beg you... Look! It is Rose.", "ROSE\n If you've done something to my sister, \n Harriet, I swear to God I'll kill \n you.", "HARRIET\n The eyes are good.\n\n ROSE\n Charlie really liked it.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "CHARLIE\n About Harriet?\n\n ROSE\n About her past.", "From Harriet's POV we see Charlie on the ledge edging along. \n He stops in horror when he sees Harriet, glances back to the \n pursuing Rose, and rushes off.", "HARRIET\n She's just being kind. Show Charlie \n one of your photographs, Rose. Rose \n is a great artist.", "ROSE\n Here's the thing. I may have to tell \n Harriet.\n\n CHARLIE\n Tell her what?", "ROSE\n I know, and it's a damn shame.\n\n Harriet walks in the room, fully dressed, and fully dazzling." ], [ "INT. CHARLIE'S APARTMENT", "INT. CHARLIE'S BEDROOM - EARLY EVENING", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "Charlie is sleeping alone in the bed, and the sound of RUNNING \n WATER is heard off in the distance. His eyes slowly open, he", "PULL BACK TO REVEAL WE ARE IN:\n\n INT. CHARLIE'S PARENTS' APARTMENT - NIGHT", "Charlie, then with all his strength -- his \"where has this \n strength been my whole life\" strength -- pulls her up to the \n roof next to him.", "CHARLIE\n (startled)\n Aaaahhh!\n\n Charlie turns on his heel. Rose has appeared out of nowhere.", "RUMBLINGS make him cross the street to avoid the danger. \n Headlights of a slow moving car approach from the distance. \n Charlie, frightened, turns another corner onto:", "INT. CHARLIE'S PARENT'S APARTMENT - NIGHT", "Charlie goes.\n\n INT. SPILETTI'S COFFEE HOUSE - NIGHT\n\n Charlie lies on the bar head down. Tony rushes in, looks \n around and sees Charlie.", "CHARLIE\n\n carefully opening the front door and then gingerly closing \n it. He reaches for a baseball bat in a nearby umbrella stand. \n Sound of BREAKING GLASS from his apartment upstairs.", "Charlie races along towards Harriet's house.\n\n EXT. HARRIET'S APARTMENT DOOR - DAY", "A beautiful dining room with a small dance floor. Charlie \n sits at an intimate table for two with Harriet. A small band", "CHARLIE\n Sandy was an alcoholic.", "Charlie puts the \"CLOSED\" sign on the door and proceeds to \n walk home.\n\n EXT. SAN FRANCISCO STREETS", "INT. CHARLIE'S CAR - EARLY EVENING", "Charlie slows down to look at her. She looks great in her \n little Dutch costume.\n\n INT. CITY LIGHTS BOOKSTORE - DAY", "is safe. People are all staring at Charlie curiously, \n including Harriet and the old lady. Charlie is embarrassed.", "CHARLIE\n (through door)\n Jesus...\n\n Charlie then looks down at another article in the Enquirer \n and reads:" ], [ "TONY (O.S.)\n Hey Charlie!\n\n Tony is getting out of a cab accompanied by Susan, the girl \n from Spiletti's Coffee House. He approaches Charlie.", "EXT. POLICE STATION - DAY\n\n Tony hurries to his car.\n\n EXT. GAS STATION ALONG THE COAST - DAY", "Tony is doing three-sixties, scoping out beauties, when \n suddenly his roving eyes lock on a police car directly behind \n them. He slouches down into his seat.", "TONY\n No shit.", "Tony is at his desk. The captain kicks open the door, knocking \n Tony's feet off the desk. The captain is now dressed in \n suspenders, a loosened tie, and a shirt with pit stains.", "Tony is second generation Italian-American with very \n Mediterranean features. They're listening to Teenage Fan \n Club. They pass Ghierardeli Square.", "TONY\n (flashing his badge)\n Excuse me, Sir, I'm with the San", "TONY\n Christ. It's the cops.\n\n CHARLIE\n Tony, you are a cop.", "INT. TONY'S CUBICLE - NIGHT\n\n Tony is on the phone. Kathy, seen before at the police \n station, stands with him.", "Tony speaks into the phone frantically.\n\n TONY\n Charlie, you okay?\n\n INTERCUT PHONE CALL", "Tony looks behind him out the window. Nobody is there.\n\n TONY\n Nice try.", "TONY\n Besides, everyone has something going \n on with them. I mean, you can't find", "TONY\n He says my Dad's back in jail again.\n\n CHARLIE\n Ah, I'm sorry, man.", "TONY\n My name's Tony. This is my friend \n Charlie.", "INT. HALLWAY - HARRIET'S APARTMENT - DAY\n\n Tony knocks. No answer. He picks the lock and enters.\n\n INT. LIVING ROOM - DAY", "Tony and the commandeered man drive through the swampy, \n winding road on the way up to the hotel. Tony is drumming on \n the dash.", "Tony is talking to an attractive young girl behind the airport \n Rent-A-Car booth.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "STUART\n Oh, that's for Tony. So, Charlie \n tells me you're a butcher. Let's \n talk meat.", "TONY\n Not now, Captain.\n\n CAPTAIN\n (nice again)\n Sorry." ], [ "ROSE\n I'm Harriet's sister, Rose. And this \n is Harriet's note.\n\n He reaches for it, but she reads it aloud to him.", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "CHARLIE\n (through door)\n Jesus...\n\n Charlie then looks down at another article in the Enquirer \n and reads:", "thought it was pretty accurate. I \n did all the husbands' notes. I can \n forge anyone's handwriting, I can", "With Harriet speaking in the b.g., Charlie continues reading, \n now absorbed in the article about the 3 victims:", "LADY\n Oh, yes.\n\n Charlie glances over at Harriet, who slowly makes her way \n down the platform towards him.", "People clap and smile. Harriet looks at Charlie. He has tears \n in his eyes.\n\n HARRIET\n Yes.", "at each other. Harriet blocks the door. Charlie looks around \n the room. The Axe. The Corkscrew. The letter opener. The", "He listens for a dial tone. Beside the phone he sees a note. \n He starts to read is:", "Charlie again points to the Kerouac section without looking \n up.\n\n MAN\n Thanks.\n\n ON THE PAD\n\n Charlie writes...", "ROSE\n (reading)\n 'Dear Charlie, I didn't want to wake \n you, make yourself at home, thanks \n for making me smile.' Harriet.", "Charlie looks at it again, then at Rose, then at Harriet. \n It's all a little bizarre, but in a funny way he feels for \n Rose. A hidden talented overshadowed by her sister's beauty.", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "CUT TO:\n\n HANDS\n\n taking papers out of a desk drawer.\n\n CUT TO:", "The band starts to play \"Only You\".\n\n People APPLAUD. Harriet and Charlie just stare at each other. \n He knows.", "Then Rose strikes a match. She lights a candle and comes \n toward him. He looks around. The window is open. And Charlie \n is gone.\n\n INT. COMMANDEERED CAR - NIGHT", "With her in the shower, he sneaks back into the bedroom and \n checks the trash can. Nothing. Then he runs around the bed \n to the other trash can. Nothing.", "He opens the curtain. It's not Harriet. The woman, ROSE, \n calmly looks at him and closes the curtain.\n\n ROSE\n Go away.", "Charlie slows down to look at her. She looks great in her \n little Dutch costume.\n\n INT. CITY LIGHTS BOOKSTORE - DAY" ], [ "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "MAY\n Oh, here it is. Mrs. X. The Honeymoon \n Murderer. She marries men under fake", "It is the article about Mrs. X -- the axe-murderer who kills \n her husbands on their honeymoons and then marries again under \n a different identity.", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "the relatives or friends of Mrs. X's \n victims to identify her.", "\"WHO'S NEXT FOR MRS. X - THE HONEYMOON KILLER?\"", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "CHARLIE\n (re: the article)\n Yeah well murder is. And this article \n says that these men were murdered by \n the same woman.", "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X.", "identities, and then murders them. \n She killed some German martial arts \n expert, and some plumber named Ralph", "TONY\n Rose had a picture. It checked out. \n It's her, Charlie. She is the \n murderer.", "HARRIET\n I swear to you... It was Charlie... \n Look! Now there's Rose!\n\n Rose looks into the room, with the axe in her hand.", "TONY\n (through phone)\n Not that it matters anymore, but I \n thought you should know -- someone \n just turned themselves in for the \n murder of Ralph Elliot.", "CHARLIE\n Really? Did she confess to the other \n murders?", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "CHARLIE\n Thank God. I'm sorry I doubted you, \n but I thought you were the killer, \n but you were acting pretty strange?", "Rose is tied up and lying in a pool of blood. Tony stops for \n a beat, draws his gun and slowly walks over to her. Just as \n he gets there, a SHUTTER CLICKS.", "just a maybe, she kills her husbands. \n Marriage is give and take, Man. You \n take the good with the bad." ], [ "HARRIET\n So I heard.\n\n Harriet hugs Rose and then stands right next to her.", "ROSE\n (affectionately)\n Well, you know Harriet.\n\n CHARLIE\n Actually, I really don't.", "ROSE\n I'm Harriet's sister, Rose. And this \n is Harriet's note.\n\n He reaches for it, but she reads it aloud to him.", "ROSE\n I did a sketch of him.\n\n Rose shows the sketch to Harriet.", "CHARLIE\n About Harriet?\n\n ROSE\n About her past.", "ROSE\n Harriet never knew. She thought they \n all just left her. I protected her. \n She's my sister.\n\n Charlie turns and runs. Rose chases him.", "TONY\n No you don't.\n\n HARRIET\n I beg you... Look! It is Rose.", "ROSE\n (after a pause)\n To warn you, Charlie.\n (after a pause)\n There are just some things you should \n know, about Harriet.", "He opens the curtain. It's not Harriet. The woman, ROSE, \n calmly looks at him and closes the curtain.\n\n ROSE\n Go away.", "ROSE\n (as she now proceeds \n to be let in by \n Harriet)", "ROSE\n Here's the thing. I may have to tell \n Harriet.\n\n CHARLIE\n Tell her what?", "HARRIET\n She's just being kind. Show Charlie \n one of your photographs, Rose. Rose \n is a great artist.", "Then she realizes it's Rose. She calms down and smiles. \n Charlie looks at her, a little peculiarly, but Harriet regains \n her composure.", "Charlie looks at it again, then at Rose, then at Harriet. \n It's all a little bizarre, but in a funny way he feels for \n Rose. A hidden talented overshadowed by her sister's beauty.", "ROSE\n Charlie. Why did you marry Harriet? \n I warned you not to marry her, didn't", "HARRIET\n The eyes are good.\n\n ROSE\n Charlie really liked it.", "ROSE (O.S.)\n Harriet, its for you.\n\n INT. HARRIET'S LIVING ROOM", "ROSE\n I know, and it's a damn shame.\n\n Harriet walks in the room, fully dressed, and fully dazzling.", "ROSE\n Yes, Harriet, give it to me. She's a \n butcher.\n (Tony reacts)\n ...She owns a butcher shop.", "ROSE\n I doubt I'd have any. Harriet hates \n being photographed.\n\n The sound of a key in the door as Harriet enters the \n apartment." ], [ "It is the article about Mrs. X -- the axe-murderer who kills \n her husbands on their honeymoons and then marries again under \n a different identity.", "MAY\n Oh, here it is. Mrs. X. The Honeymoon \n Murderer. She marries men under fake", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "woman in her late twenties, wearing a blood-stained smock \n enters. It is HARRIET MICHAELS. She has a cleaver in one", "the relatives or friends of Mrs. X's \n victims to identify her.", "fountain pen. At this point, everything in the room looks \n like a potential weapon. Harriet takes the axe.", "at each other. Harriet blocks the door. Charlie looks around \n the room. The Axe. The Corkscrew. The letter opener. The", "\"WHO'S NEXT FOR MRS. X - THE HONEYMOON KILLER?\"", "HARRIET\n I swear to you... It was Charlie... \n Look! Now there's Rose!\n\n Rose looks into the room, with the axe in her hand.", "Rose is tied up and lying in a pool of blood. Tony stops for \n a beat, draws his gun and slowly walks over to her. Just as \n he gets there, a SHUTTER CLICKS.", "CHARLIE\n (re: the article)\n Yeah well murder is. And this article \n says that these men were murdered by \n the same woman.", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "pushing open his apartment door in a mock SWAT maneuver, \n then stealthily stalking toward the sound of the intruder in", "identities, and then murders them. \n She killed some German martial arts \n expert, and some plumber named Ralph", "Charlie pulls out the National Enquirer (the one on MRS. X, \n the Honeymoon Killer).", "Rose pulls the Axe back and swings, and the momentum of the \n swing pulls her feet out from under her, and on the slippery \n icy roof she falls and starts to slide.", "The other hotel guests threw them inside. The room is all \n made up, the sheets are pulled down, the firewood is cut, \n the AXE is in the wood.", "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X." ], [ "Harriet...", "HARRIET\n (screams)\n AAAhhhhhhh!", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "HARRIET\n I pretty much raised her. You know \n the scene. Depressed mother... \n withdrawn father.\n (she remembers)\n My dad was a photographer too.", "Harriet rushes out and smiles as she sees the source of the \n noise. Charlie serenades Harriet in the street below,", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "HARRIET\n Income of course, and then...\n (thinks)\n ...savings.\n\n He smiles at her.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "HARRIET\n It's not that, Charlie.\n\n CHARLIE\n What then?", "HARRIET\n (after a long pause; \n finally:)\n I do.", "Harriet is moving in on him. Charlie steadily makes his way \n down the platform, feigning accidentally kicking cat food \n down the platform. The old lady is unsure what is going on, \n she tries to keep up with him.", "Harriet laughs.\n\n HARRIET\n (to the next customer)\n Can I help you?\n (to Charlie)\n Sorry, I'm really busy.", "Harriet is talking to a CUSTOMER.\n\n HARRIET\n Hi.", "HARRIET\n So I heard.\n\n Harriet hugs Rose and then stands right next to her.", "HARRIET\n The eyes are good.\n\n ROSE\n Charlie really liked it.", "HARRIET\n You haven't. At least you left early \n on.\n (she's crying)", "HARRIET\n Actually, he just proposed to her. \n Those are tears of joy.\n\n She lifts her soda to toast them.", "HARRIET\n He did?\n (a beat)\n Yeah.", "And then Harriet begins singing at the piano." ], [ "TONY (O.S.)\n Hey Charlie!\n\n Tony is getting out of a cab accompanied by Susan, the girl \n from Spiletti's Coffee House. He approaches Charlie.", "Charlie goes.\n\n INT. SPILETTI'S COFFEE HOUSE - NIGHT\n\n Charlie lies on the bar head down. Tony rushes in, looks \n around and sees Charlie.", "Charlie and his best friend, TONY SPILETTI, are out for a \n night on the town.", "TONY\n Christ. It's the cops.\n\n CHARLIE\n Tony, you are a cop.", "INT. BEDROOM\n\n Tony breaks into the room with his gun drawn.\n\n TONY\n (shouting)\n Charlie!", "Tony speaks into the phone frantically.\n\n TONY\n Charlie, you okay?\n\n INTERCUT PHONE CALL", "Harriet and Charlie kiss one last time and she goes to the \n piano.\n\n Charlie stays in the corner, and Tony comes over.", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet.", "Tony dashes out of the police station and into his car.\n\n INT. CHARLIE'S HOTEL ROOM - NIGHT", "TONY\n My name's Tony. This is my friend \n Charlie.", "CHARLIE\n Look, Tony, I'm going home. See you \n later, girls.\n\n Tony grabs him and pulls him aside.", "TONY\n (whispers to Charlie)\n I give Susan one night.\n\n INT. POETRY FESTIVAL - NIGHT", "Tony and Charlie look at each other. They're a little queasy.", "CHARLIE\n Hey, Tony, I gotta talk to you.", "TONY\n And this is Susan. Charlie, you \n remember her from Uncle Giuseppi's.\n\n CHARLIE\n Yes, I do.", "He keeps driving.\n\n INT. POLICE STATION - DAY\n\n Charlie walks through the precinct towards Tony's office, \n holding the National Enquirer in his hand.", "Two girls at a nearby table, laugh. Charlie and Tony exchange, \n \"This could be promising.\" looks.", "TONY\n But Charlie, you're a normal suburban \n guy at heart, from a normal suburban", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "Tony and Charlie are waiting in line.\n\n AERIAL VIEW OF BOAT\n\n as they travel to the island." ], [ "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "CHARLIE\n Sandy was an alcoholic.", "CHARLIE\n (to Ralph)\n Call me.\n\n He leaves.", "Charlie slows down to look at her. She looks great in her \n little Dutch costume.\n\n INT. CITY LIGHTS BOOKSTORE - DAY", "Charlie takes his place behind the cash register and resumes \n writing in his handsome leather-bound poetry journal.", "CHARLIE\n (shocked)\n Ralph?\n\n A plain looking lady in her thirties, RALPH, is sitting by \n the window.", "PULL BACK TO REVEAL WE ARE IN:\n\n INT. CHARLIE'S PARENTS' APARTMENT - NIGHT", "INT. CHARLIE'S CAR - EARLY EVENING", "CHARLIE\n (delighted)\n Oh, like Ralph, the lady carpenter \n in Green Acres!\n\n HARRIET\n This is Charlie.", "CHARLIE", "is safe. People are all staring at Charlie curiously, \n including Harriet and the old lady. Charlie is embarrassed.", "Harriet laughs.\n\n HARRIET\n (to the next customer)\n Can I help you?\n (to Charlie)\n Sorry, I'm really busy.", "INT. MEATS OF THE WORLD\n\n The store is very busy. There is a line at the meat counter \n seven people deep. Charlie takes his place at the end of the \n line.", "CHARLIE\n Bold, and here, I've written it out.\n\n Charlie looks over to the deaths counter. He overhears two \n obituary assistants having a conversation.", "A beautiful dining room with a small dance floor. Charlie \n sits at an intimate table for two with Harriet. A small band", "Charlie goes.\n\n INT. SPILETTI'S COFFEE HOUSE - NIGHT\n\n Charlie lies on the bar head down. Tony rushes in, looks \n around and sees Charlie.", "CHARLIE\n (startled)\n Aaaahhh!\n\n Charlie turns on his heel. Rose has appeared out of nowhere.", "Charlie comes out of the bathroom in a robe.\n\n HARRIET\n Charlie, I want you to meet a friend \n of mine. Say hi to Ralph." ], [ "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X.", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "CHARLIE\n No, no. That's a natural fear. I've \n thought about that fear.\n\n HARRIET\n It really worries me, Charlie.", "Harriet watches Charlie very closely, as Charlie looks scared. \n Then, the people start to carry them out of the room and \n down the hallway.", "EXT. CHRONICLE ANNOUNCEMENT OFFICE - DAY\n\n Charlie stands outside the announcement office, terrified.\n\n INT. MEATS OF THE WORLD", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "From Harriet's POV we see Charlie on the ledge edging along. \n He stops in horror when he sees Harriet, glances back to the \n pursuing Rose, and rushes off.", "Harriet pulls Charlie back into the room, frightened that \n he's leaving.\n\n HARRIET\n Don't go, Charlie.", "CHARLIE\n Thank God. I'm sorry I doubted you, \n but I thought you were the killer, \n but you were acting pretty strange?", "CHARLIE\n Really? Did she confess to the other \n murders?", "CHARLIE\n The truth is... I'm afraid that you \n are...\n (he can't)\n You're going to laugh.", "CHARLIE\n (re: the article)\n Yeah well murder is. And this article \n says that these men were murdered by \n the same woman.", "Charlie's smile fades. He sits up and looks at her. She is \n lying completely still on the bed, her eyes closed, and still \n sleep-talking.", "CHARLIE\n Tony, she's a killer. The... \n everything.", "Charlie pulls out the National Enquirer (the one on MRS. X, \n the Honeymoon Killer).", "Charlie finds himself in the middle of the dance floor dancing \n slowly with Harriet. He's scared out of his mind. The music" ], [ "Tony dashes out of the police station and into his car.\n\n INT. CHARLIE'S HOTEL ROOM - NIGHT", "Tony and the commandeered man drive through the swampy, \n winding road on the way up to the hotel. Tony is drumming on \n the dash.", "Charlie goes.\n\n INT. SPILETTI'S COFFEE HOUSE - NIGHT\n\n Charlie lies on the bar head down. Tony rushes in, looks \n around and sees Charlie.", "Tony speaks into the phone frantically.\n\n TONY\n Charlie, you okay?\n\n INTERCUT PHONE CALL", "TONY (O.S.)\n Hey Charlie!\n\n Tony is getting out of a cab accompanied by Susan, the girl \n from Spiletti's Coffee House. He approaches Charlie.", "INT. BEDROOM\n\n Tony breaks into the room with his gun drawn.\n\n TONY\n (shouting)\n Charlie!", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet.", "Several policemen make their way onto the roof and come over \n to where Charlie is detaining Rose. The police take her, \n handcuff her and cart her away. From the corner of the roof \n appears Tony.", "CHARLIE\n Look, Tony, I'm going home. See you \n later, girls.\n\n Tony grabs him and pulls him aside.", "He keeps driving.\n\n INT. POLICE STATION - DAY\n\n Charlie walks through the precinct towards Tony's office, \n holding the National Enquirer in his hand.", "EXT. POLICE STATION - DAY\n\n Tony hurries to his car.\n\n EXT. GAS STATION ALONG THE COAST - DAY", "Harriet and Charlie kiss one last time and she goes to the \n piano.\n\n Charlie stays in the corner, and Tony comes over.", "TONY\n (to Kathy)\n Keep trying the hotel. Tell the chief \n I just chartered a plane up to Oregon.\n\n The Police Captain enters.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "TONY\n (whispers to Charlie)\n I give Susan one night.\n\n INT. POETRY FESTIVAL - NIGHT", "EXT. CHARLIE'S APARTMENT BUILDING - DAY\n\n Tony stands at the door, buzzing the buzzer to no response.", "EXT. AIRPORT - NIGHT\n\n Tony runs out of the airport terminal where he sees a man in \n his forties who's just entered his four wheel drive jeep.", "CHARLIE\n Hey, Tony, I gotta talk to you.", "HARRIET\n Sure, anything. You've got to save \n Charlie.\n\n Tony slaps cuffs on her and takes her to the window.", "HARRIET\n Tony, Rose is trying to kill Charlie. \n They're out on the ledge." ], [ "CHARLIE\n (waking her)\n Harriet...? Harriet...?\n (as her eyes open)\n You were having a dream, or...? You \n kept saying the name Ralph.", "HARRIET\n (sleeptalking)\n Ralph! No, Ralph!\n\n Charlie sighs, then just shrugs and tries to fall asleep. \n What can he do.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "PULL BACK to see Charlie in bed. He lies awake on his side, \n his back up to Harriet's. She is sound asleep. Suddenly:", "Charlie's smile fades. He sits up and looks at her. She is \n lying completely still on the bed, her eyes closed, and still \n sleep-talking.", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "HARRIET\n Ralph?\n\n CHARLIE\n Ralph. I heard you say it.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "Harriet pulls Charlie back into the room, frightened that \n he's leaving.\n\n HARRIET\n Don't go, Charlie.", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "Harriet starts laughing. Then so does Charlie. They lean \n into each other. Pretty close. Too close even, and when it \n seems like they're going to kiss, Charlie suddenly gets \n uncomfortable and looks at his watch.", "HARRIET\n (angry)\n Goddamn shoplifter.\n (conscious of Charlie's", "HARRIET\n (screams)\n AAAhhhhhhh!", "CHARLIE\n Hi. I'm really sorry. I must have \n scared the... I'm Harriet's friend,", "CHARLIE\n No, no. That's a natural fear. I've \n thought about that fear.\n\n HARRIET\n It really worries me, Charlie.", "CHARLIE\n (frightened)\n Harriet, I...\n\n HARRIET\n I've been married before.", "He races up to the door and starts to bang and knock and \n ring...\n\n CHARLIE\n (through door)\n Harriet, it's me, Charlie.", "Harriet starts to speak; but right before the words come \n out, she stares into Charlie's eyes and STOPS. Charlie looks \n nervous. So does the Scottish Minister. So does Tony. So \n does everyone.", "Harriet watches Charlie very closely, as Charlie looks scared. \n Then, the people start to carry them out of the room and \n down the hallway." ], [ "It is the article about Mrs. X -- the axe-murderer who kills \n her husbands on their honeymoons and then marries again under \n a different identity.", "MAY\n Oh, here it is. Mrs. X. The Honeymoon \n Murderer. She marries men under fake", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "\"WHO'S NEXT FOR MRS. X - THE HONEYMOON KILLER?\"", "the relatives or friends of Mrs. X's \n victims to identify her.", "identities, and then murders them. \n She killed some German martial arts \n expert, and some plumber named Ralph", "Charlie pulls out the National Enquirer (the one on MRS. X, \n the Honeymoon Killer).", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "CHARLIE\n (re: the article)\n Yeah well murder is. And this article \n says that these men were murdered by \n the same woman.", "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X.", "He looks very uneasy. She kisses him and shuts off the light. \n The moon gives the room an eerie glow.\n\n HARRIET\n Well, good night.", "The bellboy is frightened and runs away.\n\n CHARLIE\n (shouting down the \n hall after him)\n STAY FOR A NIGHTCAP!", "Then Rose strikes a match. She lights a candle and comes \n toward him. He looks around. The window is open. And Charlie \n is gone.\n\n INT. COMMANDEERED CAR - NIGHT", "RUMBLINGS make him cross the street to avoid the danger. \n Headlights of a slow moving car approach from the distance. \n Charlie, frightened, turns another corner onto:", "woman in her late twenties, wearing a blood-stained smock \n enters. It is HARRIET MICHAELS. She has a cleaver in one", "just a maybe, she kills her husbands. \n Marriage is give and take, Man. You \n take the good with the bad.", "HARRIET\n I swear to you... It was Charlie... \n Look! Now there's Rose!\n\n Rose looks into the room, with the axe in her hand.", "Rose is tied up and lying in a pool of blood. Tony stops for \n a beat, draws his gun and slowly walks over to her. Just as \n he gets there, a SHUTTER CLICKS." ], [ "CHARLIE MACKENZIE, in his late twenties, wearing a flannel \n shirt and torn jeans, walks INTO THE FRAME, right in front", "SHERRI\n I'm okay. This is Michael. Michael, \n this is Charlie MacKenzie.", "EXT. SAN FRANCISCO STREET\n\n Charlie is driving in his car. He drives slowly looking for \n an address. Finds it, slips in to a parking spot in front.", "Charlie slows down to look at her. She looks great in her \n little Dutch costume.\n\n INT. CITY LIGHTS BOOKSTORE - DAY", "EXT. SAN FRANCISCO STREET\n\n Charlie is driving along listening to Kerouac. We absorb the \n flavor of San Francisco as he drives down Lombard Street.", "A beautiful old Colonial Mansion, nestled in the mountains \n and forests of the North-West. Romantic and from another \n day. Charlie and Harriet pull up in front of it.", "INT. CHARLIE'S APARTMENT", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "Charlie puts the \"CLOSED\" sign on the door and proceeds to \n walk home.\n\n EXT. SAN FRANCISCO STREETS", "Charlie and Harriet point to brochures of the different cities \n they could go to on their honeymoon. They decide on a picture \n of the \"DRY CREEK LODGE\" in Oregon.", "CHARLIE\n Oh, the martial arts expert. The \n north-south guy. Here in San \n Francisco?\n\n HARRIET\n Actually, Miami.", "Charlie takes his place behind the cash register and resumes \n writing in his handsome leather-bound poetry journal.", "An old crappie apartment building in San Francisco. Charlie's \n car pulls up. We hear \"SATURDAY NIGHT\" by the Bay City \n Rollers.", "RUMBLINGS make him cross the street to avoid the danger. \n Headlights of a slow moving car approach from the distance. \n Charlie, frightened, turns another corner onto:", "him. He rounds the bend. Charlie looks into one room and \n sees MR. & MRS. LEVENSTEIN there. There's loud OPERA MUSIC \n playing in the room", "Charlie again points to the Kerouac section without looking \n up.\n\n MAN\n Thanks.\n\n ON THE PAD\n\n Charlie writes...", "HARRIET\n I can't believe the resemblance \n between you and Charlie, Mrs. \n MacKenzie.\n\n INT. CHARLIE IN THE BATHROOM", "Harriet walks off to the lobby store, backwards, looking at \n Charlie. Charlie watches her walk off. The Desk Clerk sits \n staring at Charlie.", "Charlie is sleeping alone in the bed, and the sound of RUNNING \n WATER is heard off in the distance. His eyes slowly open, he", "INT. MEATS OF THE WORLD\n\n The store is very busy. There is a line at the meat counter \n seven people deep. Charlie takes his place at the end of the \n line." ], [ "Charlie. Take a look at your other \n girlfriends. Every time you get close \n to a commitment there's something \n wrong with them.", "CHARLIE\n No, no. That's a natural fear. I've \n thought about that fear.\n\n HARRIET\n It really worries me, Charlie.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "Harriet pulls Charlie back into the room, frightened that \n he's leaving.\n\n HARRIET\n Don't go, Charlie.", "EXT. CHRONICLE ANNOUNCEMENT OFFICE - DAY\n\n Charlie stands outside the announcement office, terrified.\n\n INT. MEATS OF THE WORLD", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "CHARLIE\n The truth is... I'm afraid that you \n are...\n (he can't)\n You're going to laugh.", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "Harriet starts laughing. Then so does Charlie. They lean \n into each other. Pretty close. Too close even, and when it \n seems like they're going to kiss, Charlie suddenly gets \n uncomfortable and looks at his watch.", "CHARLIE\n (frightened)\n Harriet, I...\n\n HARRIET\n I've been married before.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "CHARLIE\n 'Dear, Harriet. I just can't handle \n the commitment. I'm leaving you.' \n Signed, 'Charlie.'", "CHARLIE\n (backing out the door; \n terrified)\n I've come at a bad time.\n\n HARRIET\n No stay!", "Charlie and Harriet kiss. We can see (though Charlie can't) \n Harriet has a strange unsure expression on her face. Tony \n notices it though and can't figure it out.", "Charlie finds himself in the middle of the dance floor dancing \n slowly with Harriet. He's scared out of his mind. The music", "Charlie's smile fades. He sits up and looks at her. She is \n lying completely still on the bed, her eyes closed, and still \n sleep-talking.", "CHARLIE\n Good night.\n\n She doesn't close her eyes. He's scared to close his. Pause.", "CHARLIE\n And secondly... That woman over \n there...\n (Re: Harriet)\n That's Harriet, and we're getting \n married.", "She moves around to Charlie. She lifts his chin so that he \n is looking directly into her eyes.\n\n HARRIET\n Why not? And tell me the truth.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie..." ], [ "Harriet...", "HARRIET\n (screams)\n AAAhhhhhhh!", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "HARRIET\n I pretty much raised her. You know \n the scene. Depressed mother... \n withdrawn father.\n (she remembers)\n My dad was a photographer too.", "Harriet rushes out and smiles as she sees the source of the \n noise. Charlie serenades Harriet in the street below,", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "HARRIET\n Income of course, and then...\n (thinks)\n ...savings.\n\n He smiles at her.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "HARRIET\n It's not that, Charlie.\n\n CHARLIE\n What then?", "HARRIET\n (after a long pause; \n finally:)\n I do.", "Harriet is moving in on him. Charlie steadily makes his way \n down the platform, feigning accidentally kicking cat food \n down the platform. The old lady is unsure what is going on, \n she tries to keep up with him.", "Harriet laughs.\n\n HARRIET\n (to the next customer)\n Can I help you?\n (to Charlie)\n Sorry, I'm really busy.", "Harriet is talking to a CUSTOMER.\n\n HARRIET\n Hi.", "HARRIET\n So I heard.\n\n Harriet hugs Rose and then stands right next to her.", "HARRIET\n The eyes are good.\n\n ROSE\n Charlie really liked it.", "HARRIET\n You haven't. At least you left early \n on.\n (she's crying)", "HARRIET\n Actually, he just proposed to her. \n Those are tears of joy.\n\n She lifts her soda to toast them.", "HARRIET\n He did?\n (a beat)\n Yeah.", "And then Harriet begins singing at the piano." ], [ "HARRIET\n (screams)\n AAAhhhhhhh!", "INT. BEDROOM\n\n Tony is standing with his back to the window, between it and \n Harriet. She looks out of the window and screams.", "HARRIET\n (sleeptalking)\n Ralph! No, Ralph!\n\n Charlie sighs, then just shrugs and tries to fall asleep. \n What can he do.", "CHARLIE\n (waking her)\n Harriet...? Harriet...?\n (as her eyes open)\n You were having a dream, or...? You \n kept saying the name Ralph.", "PULL BACK to see Charlie in bed. He lies awake on his side, \n his back up to Harriet's. She is sound asleep. Suddenly:", "TONY\n You're just getting scared. Like the \n dream, you feel Harriet could be the", "walk-in closet and locks it. From behind the door, we hear \n Harriet WAILING. Which continues.", "HARRIET\n Look at you, you're sleeping. Look \n how vulnerable you are. I mean, I \n could do anything at that point.", "Harriet...", "HARRIET\n I thought it was coming from here.\n\n STEWARDESS\n But someone keeps shouting your name \n over and over.", "HARRIET\n You haven't. At least you left early \n on.\n (she's crying)", "HARRIET\n (sleepily)\n That's odd. Just today I was thinking \n about, her. She's a friend.", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "Harriet watches Charlie very closely, as Charlie looks scared. \n Then, the people start to carry them out of the room and \n down the hallway.", "HARRIET\n Ralph?\n\n CHARLIE\n Ralph. I heard you say it.", "Charlie's smile fades. He sits up and looks at her. She is \n lying completely still on the bed, her eyes closed, and still \n sleep-talking.", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "Harriet is doing a load of laundry consisting of bloodied \n work clothes. Suddenly she can hear the sound of MUSIC, very \n loudly.", "HARRIET\n Rose, I don't really --\n\n ROSE\n He disturbed me while I was naked in \n the shower this morning.", "HARRIET\n (sweet and innocent)\n Anything. You're lying on your side, \n asleep, I could... stick a needle in \n your ear." ], [ "ROSE\n I'm Harriet's sister, Rose. And this \n is Harriet's note.\n\n He reaches for it, but she reads it aloud to him.", "Harriet...", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "HARRIET\n (screams)\n AAAhhhhhhh!", "ROSE\n Harriet never knew. She thought they \n all just left her. I protected her. \n She's my sister.\n\n Charlie turns and runs. Rose chases him.", "HARRIET\n So I heard.\n\n Harriet hugs Rose and then stands right next to her.", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "Harriet starts laughing. Then so does Charlie. They lean \n into each other. Pretty close. Too close even, and when it \n seems like they're going to kiss, Charlie suddenly gets \n uncomfortable and looks at his watch.", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "Charlie looks at it again, then at Rose, then at Harriet. \n It's all a little bizarre, but in a funny way he feels for \n Rose. A hidden talented overshadowed by her sister's beauty.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "HARRIET\n It's not that, Charlie.\n\n CHARLIE\n What then?", "HARRIET\n (sleepily)\n That's odd. Just today I was thinking \n about, her. She's a friend.", "LADY\n Oh, yes.\n\n Charlie glances over at Harriet, who slowly makes her way \n down the platform towards him.", "HARRIET\n You haven't. At least you left early \n on.\n (she's crying)", "HARRIET\n I pretty much raised her. You know \n the scene. Depressed mother... \n withdrawn father.\n (she remembers)\n My dad was a photographer too.", "pretty one. Where's Harriet? What \n have you done with my sister, Harriet?", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet.", "Harriet is moving in on him. Charlie steadily makes his way \n down the platform, feigning accidentally kicking cat food \n down the platform. The old lady is unsure what is going on, \n she tries to keep up with him.", "HARRIET\n I've been there for almost a year. I \n only planned on stay with her for a \n few weeks, but she gets upset every \n time I say I'm moving." ], [ "STUART\n Heed. Move that melon of yours into \n the bathroom and get the paper for \n your mother.\n\n William gets the National Enquirer and brings it back.", "STUART\n May, shut it.", "MAY\n Stuart, put your pants on.\n\n STUART\n Hold your horses.\n (calling to William)\n Heed! Pants!", "THE GROUP\n Happy Anniversary to you...\n (Etc.)\n\n The song ends. May and Stuart blow out the candles.", "looks at another young couple who are touched by this sincere \n display of love. He looks over at Harriet. Stuart and May \n feed each other cake. Charlie approaches Harriet.", "STUART\n What are you talking about? It's the \n fifth highest circulating paper in \n the United States, I'll have you \n know.", "STUART\n And light a match.\n\n MAY\n (to Harriet)\n He always leaves the seat up. He's \n gotta learn.", "MAY\n She's so sweet. I hope you keep her.\n (calling)\n Stuart, come out here. You tube.", "STUART\n Make sure there's paper, Charlie.\n\n Charlie picks up the pace, scared of what he might hear next.", "Charlie and Harriet are watching the news show. DOCTOR SHOW \n is patched in via the Anchorman's close circuit TV.", "Harriet is in the audience, also looking very beatnik with \n their three year old son, STUART, a miniature beatnik version \n of Charlie.", "We pass the buffet which we see is catered by \"Meats Of The \n World.\" Then we pass a very drunken Stuart in a heated \n discussion with four other people.", "STUART\n That's the latest report from Lyndon \n H. LaRouche, outlining how the Queen", "They kiss and everyone APPLAUDS. Uncle Angus breaks into, \n \"Stand By Your Man.\" May and Stuart start to dance. Charlie", "We see the re-play of the goal on TV. Tony sits down and May \n brings over a plate of stew and three types of potatoes, \n piled very high.", "STUART\n Listen, Sonny Jim, it's a known fact \n there's a society of the five", "MAY\n Maybe it's just as well not to get \n married, look at the news. Where did \n I put it?", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "INT. THE LIVING ROOM - NIGHT\n\n May excitedly shows Harriet family photo albums.", "STUART\n (inappropriately angry \n & loud)\n That's right. They fuckin' own the" ], [ "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "HARRIET\n Why of me, Charlie?", "She moves around to Charlie. She lifts his chin so that he \n is looking directly into her eyes.\n\n HARRIET\n Why not? And tell me the truth.", "CHARLIE\n About Harriet?\n\n ROSE\n About her past.", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "HARRIET\n It's not that, Charlie.\n\n CHARLIE\n What then?", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet.", "Harriet is moving in on him. Charlie steadily makes his way \n down the platform, feigning accidentally kicking cat food \n down the platform. The old lady is unsure what is going on, \n she tries to keep up with him.", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "CHARLIE\n And secondly... That woman over \n there...\n (Re: Harriet)\n That's Harriet, and we're getting \n married.", "CHARLIE\n (to Tony; re: Harriet)\n This is Harriet.", "LADY\n Oh, yes.\n\n Charlie glances over at Harriet, who slowly makes her way \n down the platform towards him.", "CHARLIE\n (waking her)\n Harriet...? Harriet...?\n (as her eyes open)\n You were having a dream, or...? You \n kept saying the name Ralph.", "CHARLIE\n I already know.\n\n HARRIET\n About my husbands?" ], [ "TONY\n (through phone)\n Not that it matters anymore, but I \n thought you should know -- someone \n just turned themselves in for the \n murder of Ralph Elliot.", "CHARLIE\n Thank God. I'm sorry I doubted you, \n but I thought you were the killer, \n but you were acting pretty strange?", "CAPTAIN\n I can't believe I'm doing this, but \n that girl who confused to Ralph \n Elliot's murder also confessed to \n other murders.", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "CHARLIE\n Really? Did she confess to the other \n murders?", "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "CHARLIE\n (re: the article)\n Yeah well murder is. And this article \n says that these men were murdered by \n the same woman.", "TONY\n Rose had a picture. It checked out. \n It's her, Charlie. She is the \n murderer.", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "HARRIET\n I swear to you... It was Charlie... \n Look! Now there's Rose!\n\n Rose looks into the room, with the axe in her hand.", "identities, and then murders them. \n She killed some German martial arts \n expert, and some plumber named Ralph", "CAPTAIN\n Yeah, apparently she also confessed \n to killing Abe Lincoln, Julius Caesar, \n and Warren G. Harding. She's a nut, \n Spiletti!", "She's a great girl. And the last \n thing in the world she'd be is a \n murderer.", "MAY\n Oh, here it is. Mrs. X. The Honeymoon \n Murderer. She marries men under fake", "Rose is tied up and lying in a pool of blood. Tony stops for \n a beat, draws his gun and slowly walks over to her. Just as \n he gets there, a SHUTTER CLICKS.", "CHARLIE\n Tony, she's a killer. The... \n everything.", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "Suddenly the power goes off again. They're both in the dark. \n A scuffle. Charlie has restrained Harriet, throws her in a", "got to dismember the rest of his \n bloody torso. Dig a makeshift shallow \n grave. Cover the body with quick" ], [ "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "MAY\n Oh, here it is. Mrs. X. The Honeymoon \n Murderer. She marries men under fake", "It is the article about Mrs. X -- the axe-murderer who kills \n her husbands on their honeymoons and then marries again under \n a different identity.", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "the relatives or friends of Mrs. X's \n victims to identify her.", "\"WHO'S NEXT FOR MRS. X - THE HONEYMOON KILLER?\"", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "CHARLIE\n (re: the article)\n Yeah well murder is. And this article \n says that these men were murdered by \n the same woman.", "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X.", "identities, and then murders them. \n She killed some German martial arts \n expert, and some plumber named Ralph", "TONY\n Rose had a picture. It checked out. \n It's her, Charlie. She is the \n murderer.", "HARRIET\n I swear to you... It was Charlie... \n Look! Now there's Rose!\n\n Rose looks into the room, with the axe in her hand.", "TONY\n (through phone)\n Not that it matters anymore, but I \n thought you should know -- someone \n just turned themselves in for the \n murder of Ralph Elliot.", "CHARLIE\n Really? Did she confess to the other \n murders?", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "CHARLIE\n Thank God. I'm sorry I doubted you, \n but I thought you were the killer, \n but you were acting pretty strange?", "Rose is tied up and lying in a pool of blood. Tony stops for \n a beat, draws his gun and slowly walks over to her. Just as \n he gets there, a SHUTTER CLICKS.", "just a maybe, she kills her husbands. \n Marriage is give and take, Man. You \n take the good with the bad." ], [ "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "Several policemen make their way onto the roof and come over \n to where Charlie is detaining Rose. The police take her, \n handcuff her and cart her away. From the corner of the roof \n appears Tony.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "Tony and the commandeered man drive through the swampy, \n winding road on the way up to the hotel. Tony is drumming on \n the dash.", "Tony dashes out of the police station and into his car.\n\n INT. CHARLIE'S HOTEL ROOM - NIGHT", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "INT. HALLWAY - HARRIET'S APARTMENT - DAY\n\n Tony knocks. No answer. He picks the lock and enters.\n\n INT. LIVING ROOM - DAY", "TONY\n (through phone)\n Not that it matters anymore, but I \n thought you should know -- someone \n just turned themselves in for the \n murder of Ralph Elliot.", "Tony is at his desk. The captain kicks open the door, knocking \n Tony's feet off the desk. The captain is now dressed in \n suspenders, a loosened tie, and a shirt with pit stains.", "She meets Charlie and Tony at the door and kisses him good-\n bye. She turns to kiss Tony, and holds on the kiss far too \n long.", "INT. TONY'S CUBICLE - NIGHT\n\n Tony is on the phone. Kathy, seen before at the police \n station, stands with him.", "TONY\n (to Kathy)\n Keep trying the hotel. Tell the chief \n I just chartered a plane up to Oregon.\n\n The Police Captain enters.", "Rose is tied up and lying in a pool of blood. Tony stops for \n a beat, draws his gun and slowly walks over to her. Just as \n he gets there, a SHUTTER CLICKS.", "EXT. POLICE STATION - DAY\n\n Tony hurries to his car.\n\n EXT. GAS STATION ALONG THE COAST - DAY", "HARRIET\n (from closet)\n Tony, is that you? It's me, Harriet. \n I'm in here.\n\n Carefully, Tony opens the closet door.", "TONY\n (not believing)\n Get on the floor and put your hands \n behind your back.\n\n Harriet willingly goes on the floor.", "INT. BEDROOM\n\n Tony is standing with his back to the window, between it and \n Harriet. She looks out of the window and screams.", "TONY (O.S.)\n Hey Charlie!\n\n Tony is getting out of a cab accompanied by Susan, the girl \n from Spiletti's Coffee House. He approaches Charlie.", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet." ] ]	[ "Why did charlie ask tony to investigate harriet?", "Who charters a plane?", "What kind of job did harriet do?", "WHO IS MRS X?", "Why did Tony lead the police to the hotel?", "Who do rose feels is taking her sister harriet away from her?", "Where did charlie live?", "What kind of job do tony do?", "Who found the dear jane letter?", "Who is the real Mrs. X killer?", "How is Rose related to Harriet?", "What weapon does the Mrs. X killer use?", "What is Harriet's profession?", "What city do Charlie and Tony live in?", "What is Charlie's profession?", "Who is Charlie afraid might be the Mrs. X killer?", "How does Tony get to the hotel to rescue Charlie?", "What name does Harriet say in her sleep which alarms Charlie?", "What special night does the Mrs. X killer always strike?", "Where does Charlie MacKenzie live?", "Who points out Charlie's phobia towards commitment to him?", "What is Harriet's profession?", "What name does Harriet scream in her sleep?", "Who is Harriet's sister?", "From where do Stuart and May get their news from?", "Who does Charlie ask to investigate the connection between Mrs. X and Harriet?", "What does the confessed killer turn out to be?", "Who is the real Mrs. X killer?", "Who does Tony initially arrest as Mrs. X killer when he arrives at the hotel?" ]	[ [ "he thought she killed he rhusband", "He thinks she is Mrs. X" ], [ "tony", "Tony" ], [ "BUTCHER", "Buthcher" ], [ "Harriet", "Rose" ], [ "he thought she was a murder", "Phone lines to hotel down, needed to tell Charlie" ], [ "her husband", "Her husbands" ], [ "in san fransico", "San Fransico" ], [ "policeman", "He is a policeman" ], [ "charlie", "Charlie" ], [ "Rose", "Rose" ], [ "She is her sister.", "They are sisters." ], [ "An axe.", "An Axe" ], [ "A butcher.", "Butcher" ], [ "San Francisco", "San Francisco" ], [ "A beat poet.", "Poet" ], [ "Harriet.", "Harriet" ], [ "He charters a plane.", "He had chartered a plane . But it does not state how he got directly to the hotel." ], [ "Ralph.", "Ralph" ], [ "On the honeymoon.", "The honeymoon" ], [ "Charlie lives in San Francisco", "San Francisco" ], [ "Tony", "Tony " ], [ "Butcher", "Butcher" ], [ "Ralph", "Ralph" ], [ "Rose", "Rose" ], [ "From the tabloid Weekly World News", "Weekly World News" ], [ "Tony", "Tony" ], [ "Compulsive liar", "A compulsive liar." ], [ "Rose", "Rose" ], [ "Harriet", "Harriet" ] ]	953a454c146650e09d27fdb4dbe3cfdc6a9ca697	train
[ [ "Gibbons walks into the INFORMATION ROOM of the NATIONAL \n SECURITY AGENCY (NSA). There are WORLD MAPS, SATELLITE IMAGES", "Agent Polk looks around, spots Gibbons. He rushes to him, \n waving a COMMUNIQUÉ.\n\n Gibbons grabs the communiqué, reads it. He looks up, stunned.", "Xander sits with Gibbons in big leather chairs. They are \n surrounded by NSA AGENTS in suits.\n\n A NERDY AGENT snaps an ANKLET around Xander's ankle.", "GIBBONS\n That information is classified. You're \n there to gather information on their \n operations, period.", "I'm with the National Security Agency. \n And unlikely as it may sound, I need \n your help.", "Through the crowd, Xander sees Gibbons break through with \n his squad of Agents. Gibbons and Xander make eye contact.", "INT. SAM TANNICK'S OFFICE - DAY\n\n Gibbons stands before Sam's desk. Sam scans over the \n communiqué.", "Xander, Gibbons and his Men are all silhouetted against the \n smoked glass windows.\n\n The Nerdy Agent hands Xander a Palm Pilot sized ELECTRONIC \n DEVICE.", "As the door closes, he looks back at Gibbons and his phalanx \n of Agents.", "GIBBONS\n Do you know the reason why I try to \n recruit guys like you? There's no \n risk.", "GIBBONS\n We're gonna have to step in, Sam. \n Those CIA boys couldn't find a clown", "XANDER\n Who the hell are you?\n\n GIBBONS\n The name's Gibbons. You were saying?", "GIBBONS\n You've kept up your end of the \n bargain, I'll do the same. But you \n really should consider staying on, \n you make a decent agent.", "GIBBONS\n He's gotten closer in 24 hours than \n all of the other operatives combined.", "GIBBONS\n This is good work, X, damn fine work. \n You need to press on at all costs, \n find out what they have planned with \n this \"Ahab\".", "SAM TANNICK\n Get these \"scum\", Mr. Gibbons, bring \n them in. Test them. Train them. Find \n your man.", "GIBBONS\n I think we should send him whatever \n he wants.\n\n SAM TANNICK\n You what? A wire transfer of this \n size?", "GIBBONS\n Most guys we ran through this either \n took off or helped them rob the place. \n I expected you to do the same.", "GIBBONS\n Good thing you were there to save \n the day. Come walk with me.\n\n Xander gets up and Gibbons leads him on a stroll around the", "If a nuclear war broke out, you could run the country from \n down here.\n\n Gibbons takes an elevator up.\n\n INT. SAM TANNICK'S OFFICE - NIGHT" ], [ "GIBBONS\n You've really got me confused, Cage. \n On the one hand you showed leadership,", "Agent Polk looks around, spots Gibbons. He rushes to him, \n waving a COMMUNIQUÉ.\n\n Gibbons grabs the communiqué, reads it. He looks up, stunned.", "Through the crowd, Xander sees Gibbons break through with \n his squad of Agents. Gibbons and Xander make eye contact.", "GIBBONS\n (smiles)\n You know what I hate? It's always \n the assholes that pass the tests.", "GIBBONS\n Alright, Cage, you've got me. This \n is one of those moments. \"Many are", "GIBBONS\n That information is classified. You're \n there to gather information on their \n operations, period.", "Xander sits with Gibbons in big leather chairs. They are \n surrounded by NSA AGENTS in suits.\n\n A NERDY AGENT snaps an ANKLET around Xander's ankle.", "GIBBONS\n Sure as gravity. I've had a feeling \n about you from the start, Cage. It's \n nausea.", "As the door closes, he looks back at Gibbons and his phalanx \n of Agents.", "GIBBONS\n Oh I don't know, I think the tests \n work pretty well. Sometimes they \n give me answers you wouldn't admit \n to in a million years.", "Xander, Gibbons and his Men are all silhouetted against the \n smoked glass windows.\n\n The Nerdy Agent hands Xander a Palm Pilot sized ELECTRONIC \n DEVICE.", "Xander tosses the gun on the counter. Gibbons gives a sly \n smile.\n\n GIBBONS\n Not bad. Not bad at all. Have a seat.", "SAM TANNICK\n Why not? You were going to throw him \n in a tub full of acid, weren't you?\n\n Gibbons smiles.", "Gibbons walks into the INFORMATION ROOM of the NATIONAL \n SECURITY AGENCY (NSA). There are WORLD MAPS, SATELLITE IMAGES", "INT. SAM TANNICK'S OFFICE - DAY\n\n Gibbons stands before Sam's desk. Sam scans over the \n communiqué.", "INT. AIRPORT TERMINAL - SUNSET\n\n The phalanx of Agents surrounds Xander and Gibbons as they \n walk to the gate. The Nerdy Agent hurries to catch up.", "Gibbons kicks the back of Xander's leg and dumps him on his \n ass. Gibbons was so quick, Xander never saw it coming.", "GIBBONS\n You've kept up your end of the \n bargain, I'll do the same. But you \n really should consider staying on, \n you make a decent agent.", "GIBBONS\n Do you know the reason why I try to \n recruit guys like you? There's no \n risk.", "GIBBONS\n We're gonna have to step in, Sam. \n Those CIA boys couldn't find a clown" ], [ "think Cage may be an American agent, \n do you understand what I'm telling \n you?", "PETRA\n Yes, I do. You're right. I can't \n just let him go free. Besides, I can \n help you from the inside.", "they'd kill me unless I help them. \n Plus they offer me a lot of money. \n No big deal. These things happen.", "GIBBONS\n Alright, Cage, you've got me. This \n is one of those moments. \"Many are", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "GIBBONS\n You've really got me confused, Cage. \n On the one hand you showed leadership,", "KID\n What do you get if you finish?\n\n XANDER\n Nothing, really. My guy is just doing \n it to stay alive.", "I put him out there, Sam. If he \n doesn't come up with the money, \n they'll kill him. I can't let that", "He looks the other direction, to the mass of PEOPLE on the \n bridge above him. Total strangers...\n\n The fate of the whole world is in the hands of a former \n nihilist.", "I'm with the National Security Agency. \n And unlikely as it may sound, I need \n your help.", "He gets it immediately. In a panic he fumbles for the \n cigarette...\n\n Too late. The missile zeroes in on his head.", "they went through the same training \n program. Ergo they ain't strangers \n and this isn't what it seems. That's", "He got us an account number to boot. \n Now even if he's just dumb and lucky, \n I say we back his play.\n (beat)", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "He's gotten through to her. She nods in agreement.\n\n PETRA\n They left. To a fortress in the \n mountains.", "GIBBONS\n That information is classified. You're \n there to gather information on their \n operations, period.", "YORGI\n This is insane, man. Xander Cage in \n Prague. Come on, sit. Sit with us.\n\n Yorgi signals for more drinks.", "twist you and use you how I see fit. \n And to be honest, you went much \n farther than I ever expected you \n would for your country.", "GIBBONS\n Sure as gravity. I've had a feeling \n about you from the start, Cage. It's \n nausea.", "Xander glides down and makes his landing. Accomplices #4 and \n #5 rush out to help him gather up his chute and jump in the \n van. SIRENS APPROACH as the van makes it's escape." ], [ "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS.", "YORGI\n That's what I'm talking about, man! \n That's why Anarchy 99 was born.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "it \"blood week\". He combined all of \n their global enterprises into one \n huge crime syndicate: Anarchy 99.", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "It's a crowded basement rave club. Hot and sweaty RAVERS \n dance in provocative outfits. The Anarchy 99 group is standing \n on the best booth, right on the packed dance floor.", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "Xander hops out, rifles through Slovo's pockets. The other \n Anarchy 99 cars pull up, the whole group looking on.", "XANDER\n Slick graphics, huh? See these dudes? \n They're called \"Anarchy 99\", they're \n the bad guy bosses.", "Then they hear talking outside and the door is UNLOCKED.\n\n A very nasty looking Marco comes in. By his look he's the \n LEADER.", "XANDER\n The people I know want facts, the \n kinds of things an insider would \n know. They're interested in putting \n Anarchy 99 out of business.", "SLOVO\n Oh no!\n\n He sees Xander walk right up to the Anarchy 99 booth and \n start talking to them.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!" ], [ "The big spotlight plays over the area, then moves on.\n\n Xander gives a sigh of relief. He crawls out of the drainpipe.", "By now Slovo is down the fire escape. He hits the ground and \n goes running down the street.", "He gets it immediately. In a panic he fumbles for the \n cigarette...\n\n Too late. The missile zeroes in on his head.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "As he strolls back out the alley, he HEARS something and \n flattens against the wall.\n\n A BLACKED OUT SUV screeches to a stop, blocking his exit.", "He looks the other direction, to the mass of PEOPLE on the \n bridge above him. Total strangers...\n\n The fate of the whole world is in the hands of a former \n nihilist.", "wanna be here either, so just step \n off. Three, if you had the authority \n to shoot me you would've done it by", "He climbs up to a second story window of a wooden building \n on a WHARF. From here he can shoot and NOT BE SEEN. He takes \n his LIT CIGARETTE and tucks it behind his ear.", "He can see Narcos shooting into the trees at the UNSEEN ENEMY.\n\n Looking the other way, he spots Virg running back his way.", "The Bodyguards pull out guns and Slovo rushes for the \n emergency exit in a panic. In seconds he's out and gone.", "Cornered, Sterling heads deeper into the alley, staying in \n the shadows. He gets to that DOOR the Hacker was heading \n towards.", "Police open fire, but the truck tears out the gate and starts \n heading down the mountain.\n\n INT. CASTLE - MAIN BUILDING - DAY", "He nods for Kirill to stand down.\n\n OUTSIDE - the two transport trucks are driven off by the \n Ivans. As they pull out they reveal ANOTHER CAR under a COVER.", "think Cage may be an American agent, \n do you understand what I'm telling \n you?", "He looks out the window, sees a GRAND HOTEL. They drive right \n on by.\n\n EXT. DIRTY APARTMENT BUILDING - DAY", "Sterling looks around desperately. Somehow he's got to get \n this data out of here.\n\n Straight ahead is the RIVER. Chugging up the river: a PARTY \n BARGE.", "JEEPS race by on the road right above him as MILITARY MEN \n flood the compound. There's no going back.\n\n Xander turns and makes his way along the tree line.", "I put him out there, Sam. If he \n doesn't come up with the money, \n they'll kill him. I can't let that", "Then they turn on Xander.\n\n XANDER\n I get the picture.\n\n Xander jumps out on his own." ], [ "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "came in as Yorgi's girlfriend and \n you stayed because it was fun. Now \n you don't like it so much, but you're", "She heads out. Yorgi goes to the bathroom, splashes water on \n his face.\n\n Kirill enters, still half asleep.", "Ivan 1 is talking on the radio when Yorgi appears behind him \n and shoots him in the back.\n\n They step over him and enter a GARAGE.", "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "YORGI\n (laughing)\n Don't look at me, X, she handles all \n the details.", "YORGI\n (smiles)\n Viktor! Stay the course.\n\n Yorgi kisses her again and heads to the cabin below.", "YORGI\n Petra, my sweet dove, do you notice \n anything strange about X? He looks \n slightly less than dead.\n\n Kirill aims his gun at Petra.", "XANDER\n She had nothing to do with the tower \n jump. She's nobody. I just met her \n last night. Tell them.\n (with meaning)\n I hardly know you.", "Up inside the castle he can see Yorgi at a window. Yorgi \n appears mildly shocked as they make EYE CONTACT.\n\n Xander takes aim.", "Xander and Petra are pinned down, but Yorgi and Kirill manage \n to make a fast exit out another door.\n\n XANDER\n Hey! We're on your side!", "YORGI\n I could have killed you, but I thought \n this would be so much more fun. To", "Across the room, Xander sees a small window leading to the \n courtyard. He has to run across open ground to reach it. He \n calls out to Yorgi.", "YORGI\n Not bad, man, not bad. You put things \n together quick. Prague it is.\n\n PETRA\n The Peace conference...", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "Slovo crumples, never knowing what hit him.\n\n The door creaks open. It's Petra, her gun still smoking.\n\n She's with the Ivans.", "think Cage may be an American agent, \n do you understand what I'm telling \n you?", "YORGI\n This is insane, man. Xander Cage in \n Prague. Come on, sit. Sit with us.\n\n Yorgi signals for more drinks.", "They make EYE CONTACT and Sterling gives a little nod.\n\n Yorgi calmly issues orders into his phone.", "YORGI\n Look who we found playing outside.\n\n Petra looks up. She can barely hide her shock." ], [ "Yorgi creeps down the hall, Kirill in tow. They both screw \n SILENCERS onto their PISTOLS.", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "YORGI\n I've got it, go! Cover me!\n\n Kirill grabs his sniper rifle and heads off.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "Up inside the castle he can see Yorgi at a window. Yorgi \n appears mildly shocked as they make EYE CONTACT.\n\n Xander takes aim.", "Ivan 1 is talking on the radio when Yorgi appears behind him \n and shoots him in the back.\n\n They step over him and enter a GARAGE.", "KIRILL\n Yorgi!\n\n They all look to the abandoned building.\n\n Through the second floor window they can see Slovo's leg \n poking through the ceiling.", "Yorgi hits an ALARM switch, alerting the guards.\n\n The Anarchy boys grab weapons and start racing through the \n house.", "They make EYE CONTACT and Sterling gives a little nod.\n\n Yorgi calmly issues orders into his phone.", "Yorgi goes to shoot but his hand won't work. There's a HUGE \n SHARD OF GLASS sticking through his forearm.", "YORGI\n Petra, my sweet dove, do you notice \n anything strange about X? He looks \n slightly less than dead.\n\n Kirill aims his gun at Petra.", "He hands the canisters to Viktor one by one.\n\n ANDERS\n (singing)\n \"Silent Night... Holy Night\"", "YORGI\n (smiles)\n Viktor! Stay the course.\n\n Yorgi kisses her again and heads to the cabin below.", "YORGI\n I could have killed you, but I thought \n this would be so much more fun. To", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "In the main room upstairs, Kirill is blasting away. Yorgi \n starts rounding up the computer gear.\n\n YORGI\n Hurry up, kill him!", "Yorgi walks up and SMASHES Xander in the face.\n\n YORGI\n That was for Anders.", "YORGI\n Easier than that, buddy. I'll get \n them to destroy each other. You kill", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "Yorgi nods and the Bodyguards step in front of Xander.\n\n XANDER\n I guess I heard wrong.\n\n Xander turns to leave." ], [ "The big spotlight plays over the area, then moves on.\n\n Xander gives a sigh of relief. He crawls out of the drainpipe.", "else. He slides to a stop on the near vertical face, clinging \n to rocks for balance.", "The fingers are so powerful that Xander is paralysed. He \n looks over, sees the bone saw start revving.\n\n XANDER\n (choking)\n No.", "Xander takes a deep breath and dives down. He grabs the hatch \n door, braces his feet and PULLS.\n\n His muscles strain as the heavy metal door slowly swings \n SHUT.", "He takes a METAL BALL from his pocket. There's a sink in the \n corner and he drops the metal ball down the drain.\n\n INT. DRAIN PIPE", "He gets it immediately. In a panic he fumbles for the \n cigarette...\n\n Too late. The missile zeroes in on his head.", "They land on Ahab and both grab on. They punch and pummel \n each other while desperately hanging on to the speeding \n torpedo. It surfaces as it approaches the magnificent St. \n Charles bridge.", "He pans over, clicks into \"penetrator\" mode, and sees the \n Crew pounding on the walls below decks. They're trapped,", "Yorgi hits another switch, opening the BALLAST DOORS on the \n port side of the ship. Air flows out, causing the ship to \n list to one side.", "Suddenly the massive SPOTLIGHT picks him out.\n\n XANDER\n Shit!\n\n The CHOPPER swoops down after him.", "Then we hear the BUZZING of a TATTOO NEEDLE.\n\n CUT TO:", "Sterling comes through the door and his face falls. He's \n stepped into a loud METAL CONCERT.", "But there's nothing there. He continues on.\n\n Then the Intruder comes sliding down the ZIP-LINE from above.", "Petra finds the CONTROLLER in the cab of the truck. She \n presses buttons desperately.\n\n PETRA\n He's shut out the communication \n circuit!", "They hit the last roof in a crunch of gravel. Anders clamps \n on the brakes and comes skidding to a stop, Xander right \n behind him.", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "He pulls off the claws and heads into the Guard Tower.\n\n INT. CASTLE - COURTYARD - DAY\n\n Xander exits the Guard Tower at the ground level.", "Anders starts pounding on a drumset. Petra kicks a soccer \n ball at him.\n\n PETRA\n Yeb vas, z'opa. Shut up!", "The smoking shell clatters to the ground.\n\n Slovo blinks up at Xander, gasping for words, then lays still." ], [ "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "it \"blood week\". He combined all of \n their global enterprises into one \n huge crime syndicate: Anarchy 99.", "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "It's a crowded basement rave club. Hot and sweaty RAVERS \n dance in provocative outfits. The Anarchy 99 group is standing \n on the best booth, right on the packed dance floor.", "YORGI\n That's what I'm talking about, man! \n That's why Anarchy 99 was born.", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS.", "of Anarchy 99.", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "YORGI\n Total chaos, man! Welcome to Anarchy \n 99!\n\n XANDER\n What's \"Anarchy 99\"?", "XANDER\n The people I know want facts, the \n kinds of things an insider would \n know. They're interested in putting \n Anarchy 99 out of business.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "canister is shot into the air and \n detonated. The black and white \n chemicals mix, forming a toxic cloud.", "XANDER\n I found something big enough for us \n to take these guys down with. They've \n got a of nerve agent they're gonna \n unleash.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "Laid out below he can see the AHAB DEVICE, hanging from \n chains. TECHIES are working with the Anarchy 99 crew to \n RETROFIT the thing." ], [ "think Cage may be an American agent, \n do you understand what I'm telling \n you?", "GIBBONS\n Alright, Cage, you've got me. This \n is one of those moments. \"Many are", "to a suicide mission. I think no \n matter which way I go I'm likely to \n wind up face down on a sheet of", "PETRA\n Yes, I do. You're right. I can't \n just let him go free. Besides, I can \n help you from the inside.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "He gets it immediately. In a panic he fumbles for the \n cigarette...\n\n Too late. The missile zeroes in on his head.", "I put him out there, Sam. If he \n doesn't come up with the money, \n they'll kill him. I can't let that", "KID\n What do you get if you finish?\n\n XANDER\n Nothing, really. My guy is just doing \n it to stay alive.", "He looks the other direction, to the mass of PEOPLE on the \n bridge above him. Total strangers...\n\n The fate of the whole world is in the hands of a former \n nihilist.", "GIBBONS\n You've really got me confused, Cage. \n On the one hand you showed leadership,", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "He pans over, clicks into \"penetrator\" mode, and sees the \n Crew pounding on the walls below decks. They're trapped,", "they'd kill me unless I help them. \n Plus they offer me a lot of money. \n No big deal. These things happen.", "He's gotten through to her. She nods in agreement.\n\n PETRA\n They left. To a fortress in the \n mountains.", "Then they turn on Xander.\n\n XANDER\n I get the picture.\n\n Xander jumps out on his own.", "GIBBONS\n That information is classified. You're \n there to gather information on their \n operations, period.", "All around him the Guards are driving into position. They \n form a gauntlet of AK-47's. There must be a DOZEN of them.", "And that's it. He's gone. One mile, straight down.\n\n Suddenly we're falling with him.", "Before he can shout, he's SHOT IN THE LEG and goes down.\n\n Seconds later, they're on the deck, tearing off their rigs.", "The Guards charge at him and he HOPS up onto the top of the \n CUBICLE WALL. This thing is maybe FOUR INCHES WIDE and FIVE \n FEET TALL." ], [ "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "YORGI\n That's what I'm talking about, man! \n That's why Anarchy 99 was born.", "it \"blood week\". He combined all of \n their global enterprises into one \n huge crime syndicate: Anarchy 99.", "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "of Anarchy 99.", "It's a crowded basement rave club. Hot and sweaty RAVERS \n dance in provocative outfits. The Anarchy 99 group is standing \n on the best booth, right on the packed dance floor.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS.", "YORGI\n Total chaos, man! Welcome to Anarchy \n 99!\n\n XANDER\n What's \"Anarchy 99\"?", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "XANDER\n Slick graphics, huh? See these dudes? \n They're called \"Anarchy 99\", they're \n the bad guy bosses.", "Xander hops out, rifles through Slovo's pockets. The other \n Anarchy 99 cars pull up, the whole group looking on.", "XANDER\n The people I know want facts, the \n kinds of things an insider would \n know. They're interested in putting \n Anarchy 99 out of business.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "SLOVO\n Oh no!\n\n He sees Xander walk right up to the Anarchy 99 booth and \n start talking to them." ], [ "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "XANDER\n The people I know want facts, the \n kinds of things an insider would \n know. They're interested in putting \n Anarchy 99 out of business.", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "YORGI\n That's what I'm talking about, man! \n That's why Anarchy 99 was born.", "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "Xander hops out, rifles through Slovo's pockets. The other \n Anarchy 99 cars pull up, the whole group looking on.", "SLOVO\n Oh no!\n\n He sees Xander walk right up to the Anarchy 99 booth and \n start talking to them.", "Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS.\n\n For all their screwing around, it's clear Anarchy 99 runs a \n large operation.", "of Anarchy 99.", "it \"blood week\". He combined all of \n their global enterprises into one \n huge crime syndicate: Anarchy 99.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "YORGI\n Total chaos, man! Welcome to Anarchy \n 99!\n\n XANDER\n What's \"Anarchy 99\"?" ], [ "Xander can see Ahab just a few inches under as Yorgi grabs \n him from behind in a chokehold.", "ANGLE ON - Ahab as Yorgi flips a switch and let's it go. The \n electric motor purrs to life and Ahab zips out into the river.", "Yorgi is motoring away, smiling, when he glances back and \n sees Xander and Petra take off after Ahab. He pounds on his", "Then Yorgi lunges onto his back, trying to pull him into the \n water. Xander HITS BUTTONS on the control panel and Ahab \n starts to DIVE.", "They remove it from it's box and carry it waist deep into \n the water. Yorgi opens a panel and works feverishly on Ahab's \n insides.", "PETRA\n Fantastic options.\n\n At the riverbank Yorgi and Kirill pull Ahab off the truck \n and prepare for launching.", "INT. CASTLE - GARAGE - DAY\n\n The Ahab device is in the back of a flatbed TRUCK. Yorgi and \n Kirill start up the truck and jam it into gear.", "They're heading into downtown Prague now, the riverbank \n getting more and more populated. Yorgi is closing fast.\n\n Down below them Petra can see the white streak of Ahab beneath \n the water.", "YORGI\n I've got it, go! Cover me!\n\n Kirill grabs his sniper rifle and heads off.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "YORGI\n (smiles)\n Viktor! Stay the course.\n\n Yorgi kisses her again and heads to the cabin below.", "This is the AHAB DEVICE. It sits in the WET WELL at the back \n of the ship, ready to be launched out the back sea doors.\n\n YORGI\n Ready the boat.", "Xander glances down, sees Ahab nearing the surface. Yorgi \n clobbers him and Xander falls to the edge of the boat. Petra \n tries to help, but Yorgi slugs her in her wounded arm.", "YORGI\n I could have killed you, but I thought \n this would be so much more fun. To", "Yorgi goes to shoot but his hand won't work. There's a HUGE \n SHARD OF GLASS sticking through his forearm.", "YORGI\n You think I'm after money? I told \n you, my friend. Anarchy. Time for a", "Up inside the castle he can see Yorgi at a window. Yorgi \n appears mildly shocked as they make EYE CONTACT.\n\n Xander takes aim.", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "He looks around a bit, doesn't find what he's looking for.\n\n He sits up, getting pissed.\n\n YORGI\n Get Kirill. Now!", "YORGI\n Petra, my sweet dove, do you notice \n anything strange about X? He looks \n slightly less than dead.\n\n Kirill aims his gun at Petra." ], [ "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "Police open fire, but the truck tears out the gate and starts \n heading down the mountain.\n\n INT. CASTLE - MAIN BUILDING - DAY", "Yorgi hits an ALARM switch, alerting the guards.\n\n The Anarchy boys grab weapons and start racing through the \n house.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "He pulls off the claws and heads into the Guard Tower.\n\n INT. CASTLE - COURTYARD - DAY\n\n Xander exits the Guard Tower at the ground level.", "INT. CASTLE - MAIN BUILDING - DAY\n\n The Police whip through the building like lightening, mowing \n down everyone in their path.", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS.", "It's a crowded basement rave club. Hot and sweaty RAVERS \n dance in provocative outfits. The Anarchy 99 group is standing \n on the best booth, right on the packed dance floor.", "He raises his gun and suddenly BOOOOOM! A massive explosion \n rocks the whole castle. Shrapnel shatters the windows, \n spraying glass, and Yorgi's shot goes wide.", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "EXT. CASTLE - COURTYARD - DAY\n\n The truck smashes through the garage doors and rumbles across \n the courtyard.", "Xander hops out, rifles through Slovo's pockets. The other \n Anarchy 99 cars pull up, the whole group looking on.", "He runs in a low crouch to the smooth castle wall. There's \n no hand-holds, it's, a perfectly flat climb. A canyon of \n ROCKS is below.", "Laid out below he can see the AHAB DEVICE, hanging from \n chains. TECHIES are working with the Anarchy 99 crew to \n RETROFIT the thing." ], [ "INT. CASTLE - MAIN BUILDING - DAY\n\n Kirill looks down at the carnage below. Xander takes advantage \n of the distraction and charges at Yorgi.", "Xander and Petra are pinned down, but Yorgi and Kirill manage \n to make a fast exit out another door.\n\n XANDER\n Hey! We're on your side!", "In the main room upstairs, Kirill is blasting away. Yorgi \n starts rounding up the computer gear.\n\n YORGI\n Hurry up, kill him!", "Ivan 1 is talking on the radio when Yorgi appears behind him \n and shoots him in the back.\n\n They step over him and enter a GARAGE.", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Police open fire, but the truck tears out the gate and starts \n heading down the mountain.\n\n INT. CASTLE - MAIN BUILDING - DAY", "The Bodyguards pull out guns and Slovo rushes for the \n emergency exit in a panic. In seconds he's out and gone.", "Yorgi hits an ALARM switch, alerting the guards.\n\n The Anarchy boys grab weapons and start racing through the \n house.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "Xander grabs Petra and jumps. Together they land in Yorgi's \n boat. The grenade explodes and their boat slams into a bridge \n support and shatters.", "YORGI\n I've got it, go! Cover me!\n\n Kirill grabs his sniper rifle and heads off.", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "By the time he pulls it out, Xander is on top of him. He \n body checks Yorgi, sending him flying over a desk. Kirill \n spins and starts FIRING. Xander ducks for cover.", "INT. CASTLE - MAIN BUILDING - DAY\n\n The Police whip through the building like lightening, mowing \n down everyone in their path.", "Kirill is almost on top of him.\n\n Xander sights up and FIRES.\n\n The fire extinguisher EXPLODES, blinding Kirill.", "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "Before he can shout, he's SHOT IN THE LEG and goes down.\n\n Seconds later, they're on the deck, tearing off their rigs.", "Up inside the castle he can see Yorgi at a window. Yorgi \n appears mildly shocked as they make EYE CONTACT.\n\n Xander takes aim.", "KIRILL\n Yorgi!\n\n They all look to the abandoned building.\n\n Through the second floor window they can see Slovo's leg \n poking through the ceiling.", "Xander elbow's Yorgi's gut and breaks the chokehold. He flips \n him and they both topple overboard." ], [ "GIBBONS\n Good thing you were there to save \n the day. Come walk with me.\n\n Xander gets up and Gibbons leads him on a stroll around the", "Agent Polk looks around, spots Gibbons. He rushes to him, \n waving a COMMUNIQUÉ.\n\n Gibbons grabs the communiqué, reads it. He looks up, stunned.", "GIBBONS\n Alright, Cage, you've got me. This \n is one of those moments. \"Many are", "GIBBONS\n You've really got me confused, Cage. \n On the one hand you showed leadership,", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "Gibbons releases his grip.\n\n GIBBONS\n I thought you might see it my way.\n\n Then Xander starts walking away.", "Gibbons and his men push through the cordon of POLICE, \n scanning the water. Nothing.\n\n Tears well in Petra's eyes. Even Gibbons looks dejected.", "SAM TANNICK\n Why not? You were going to throw him \n in a tub full of acid, weren't you?\n\n Gibbons smiles.", "GIBBONS\n Sure as gravity. I've had a feeling \n about you from the start, Cage. It's \n nausea.", "GIBBONS\n You've kept up your end of the \n bargain, I'll do the same. But you \n really should consider staying on, \n you make a decent agent.", "Petra runs down to him and throws her arms around him. Xander \n shakes Ivan 2's hand and then turns to Gibbons.", "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "Through the crowd, Xander sees Gibbons break through with \n his squad of Agents. Gibbons and Xander make eye contact.", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "GIBBONS\n So the odds are up to fifty-fifty? I \n can deal with that.\n\n CUT TO:", "YORGI\n (smiles)\n Viktor! Stay the course.\n\n Yorgi kisses her again and heads to the cabin below.", "GIBBONS\n We'll be talking soon, you'll see. \n You'll be back.\n\n Xander and Petra move off through the crowd arm in arm.", "As the door closes, he looks back at Gibbons and his phalanx \n of Agents.", "YORGI\n Petra, my sweet dove, do you notice \n anything strange about X? He looks \n slightly less than dead.\n\n Kirill aims his gun at Petra.", "Xander elbow's Yorgi's gut and breaks the chokehold. He flips \n him and they both topple overboard." ], [ "Xander is talking to Gibbons on his communicator.", "Agent Polk looks around, spots Gibbons. He rushes to him, \n waving a COMMUNIQUÉ.\n\n Gibbons grabs the communiqué, reads it. He looks up, stunned.", "Through the crowd, Xander sees Gibbons break through with \n his squad of Agents. Gibbons and Xander make eye contact.", "They make EYE CONTACT and Sterling gives a little nod.\n\n Yorgi calmly issues orders into his phone.", "INT. SAM TANNICK'S OFFICE - DAY\n\n Gibbons stands before Sam's desk. Sam scans over the \n communiqué.", "Ivan 1 is talking on the radio when Yorgi appears behind him \n and shoots him in the back.\n\n They step over him and enter a GARAGE.", "INT. AIRPORT TERMINAL - SUNSET\n\n The phalanx of Agents surrounds Xander and Gibbons as they \n walk to the gate. The Nerdy Agent hurries to catch up.", "Xander sits with Gibbons in big leather chairs. They are \n surrounded by NSA AGENTS in suits.\n\n A NERDY AGENT snaps an ANKLET around Xander's ankle.", "Yorgi checks his watch. His delivery is late. Then his CELL \n PHONE rings. He's getting the news from outside.", "If a nuclear war broke out, you could run the country from \n down here.\n\n Gibbons takes an elevator up.\n\n INT. SAM TANNICK'S OFFICE - NIGHT", "As the door closes, he looks back at Gibbons and his phalanx \n of Agents.", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "KIRILL\n Yorgi!\n\n They all look to the abandoned building.\n\n Through the second floor window they can see Slovo's leg \n poking through the ceiling.", "Xander, Gibbons and his Men are all silhouetted against the \n smoked glass windows.\n\n The Nerdy Agent hands Xander a Palm Pilot sized ELECTRONIC \n DEVICE.", "Gibbons and his men push through the cordon of POLICE, \n scanning the water. Nothing.\n\n Tears well in Petra's eyes. Even Gibbons looks dejected.", "On the other side, Xander sees a FLIGHT CREW readying a \n GULFSTREAM for travel. Gibbons steps up from behind him.", "INT. CASTLE - MAIN BUILDING - DAY\n\n Kirill looks down at the carnage below. Xander takes advantage \n of the distraction and charges at Yorgi.", "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "In the main room upstairs, Kirill is blasting away. Yorgi \n starts rounding up the computer gear.\n\n YORGI\n Hurry up, kill him!", "Across the room, Xander sees a small window leading to the \n courtyard. He has to run across open ground to reach it. He \n calls out to Yorgi." ], [ "He is XANDER CAGE. He's got a shaved head, bizarre TATTOOS \n all over his body and multiple PIERCINGS. He's lean and \n heavily cut, even dangerous looking.", "That's when Anders notices the \"X\" tattoo on the back of \n Xander's head. He gets excited and alerts Yorgi.\n\n YORGI\n Xander Cage!", "YORGI\n This is insane, man. Xander Cage in \n Prague. Come on, sit. Sit with us.\n\n Yorgi signals for more drinks.", "He's hacked in to the CZECH POLICE network.\n\n YORGI\n Something bothers me about you, Mr. \n Xander Cage...", "Xander, now on a MOTORCYCLE, zips through traffic. He's \n smiling, leaning it way over on the turns. He's got another \n BACKPACK on his back.", "Xander is in the last row against the bulkhead. He's got a \n personal DVD player and headphones and he's reviewing his \n mission. The high-tech screen shows photos, maps, cool \n graphics.", "Xander pulls himself back onto the bike and lands. He stops, \n sees Anders' BLOODY HELMET come bouncing into the alley. He \n tucks his pistol away and roars off.", "XANDER\n Who the hell are you?\n\n GIBBONS\n The name's Gibbons. You were saying?", "Xander and Slovo walk up to the place. Xander's wearing a \n Tshirt that says \"RON JEREMY: AMERICAN LEGEND\" complete with \n a photo of the Hedgehog.", "At the other end Xander catches air and lands on a CONFERENCE \n TABLE. He does a WHEELIE across it's length with Guards \n closing in.", "Xander's on the floor of a military aircraft. TWO OTHER TOUGH \n GUYS are waking up next to him. One's a greaser named VIRG,", "Xander blazes down the street, Anders racing right behind \n him. A wrong turn sends him into a dead end.\n\n At the end is a panel truck parked next to a stone wall.", "XANDER\n Next we got a Siberian redneck, \n Viktor. Into snowmobiles and \n snowboarding. So naturally, he covers \n prostitution and the drug trade.", "The two tough guys flash their COP ID's. Xander studies them. \n \"IVAN PEDGRAG\" and \"IVAN PODROV\".", "\"xXx\"\n\n by\n\n Rich Wilkes\n\n August 26, 2001", "Xander books, running for all he's worth. His cuffed hands \n and the dangling chain make it difficult.\n\n He's heading straight into the FIELD OF POT PLANTS.", "A squad of Narcos runs by and Xander makes his move.\n\n He rounds another pile of equipment and comes right into the \n HEADLIGHTS of a truck.", "Xander sits in a chair with the BLACK HOOD still over his \n head. He blinks when the hood is torn off. A Black Ops Soldier \n smirks as he walks away.", "XANDER\n Yeah, give it here.\n\n Slovo raises his pistol.\n\n SLOVO\n Sorry, \"dude\".", "Slovo is huffing and puffing as fast as he can when Xander \n comes skidding around the corner. He looks back and sees the \n speeding GTO." ], [ "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "YORGI\n That's what I'm talking about, man! \n That's why Anarchy 99 was born.", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS.", "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "It's a crowded basement rave club. Hot and sweaty RAVERS \n dance in provocative outfits. The Anarchy 99 group is standing \n on the best booth, right on the packed dance floor.", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "of Anarchy 99.", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "it \"blood week\". He combined all of \n their global enterprises into one \n huge crime syndicate: Anarchy 99.", "YORGI\n Total chaos, man! Welcome to Anarchy \n 99!\n\n XANDER\n What's \"Anarchy 99\"?", "Xander hops out, rifles through Slovo's pockets. The other \n Anarchy 99 cars pull up, the whole group looking on.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "Sitting silently on benches facing them are SOLDIERS DRESSED \n IN BLACK. They wear BLACK MASKS over their faces. They are a \n nasty looking BLACK OPS TEAM.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "KID\n (skeptically)\n \"Anarchy\" 99\"?\n\n XANDER\n What are you gonna do? They're Euro-\n trash.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "XANDER\n The people I know want facts, the \n kinds of things an insider would \n know. They're interested in putting \n Anarchy 99 out of business." ], [ "Xander lays down on the bed. Slovo stares, burning with \n hatred. He heads to the door.\n\n SLOVO\n Be ready in three hours.", "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "Xander stays strangely calm, his senses now fully focused.\n\n XANDER\n (shrugs)\n Alright, \"Buck\", whatever you say.", "Then they turn on Xander.\n\n XANDER\n I get the picture.\n\n Xander jumps out on his own.", "Xander turns. Suddenly their whole demeanor changes. All \n five guys get up, awed, and push the Bodyguards out of the \n way.", "As he makes his way down, Anders stirs. The guy is a bloody, \n broken mess but he gets to his feet. He sees where Xander is \n headed and he scurries off to intercept him.", "Viktor rides up twenty yards and waits, his engine idling.\n\n VIKTOR\n Hold positions!\n\n He squints up at the speck that is Xander.", "Xander is in the last row against the bulkhead. He's got a \n personal DVD player and headphones and he's reviewing his \n mission. The high-tech screen shows photos, maps, cool \n graphics.", "XANDER\n I know, poison needles in my shins. \n You've got 36 hours. Peace, out.\n\n Xander hangs up.", "XANDER\n Yeah, give it here.\n\n Slovo raises his pistol.\n\n SLOVO\n Sorry, \"dude\".", "Xander is the last one to board the plane.\n\n XANDER\n Is that all?\n\n GIBBONS\n Just remember, I'll be watching.", "Outside the Ivans nod approval and Xander heads to the office. \n Yorgi looks to kirill, who puts his hand on his PISTOL.\n\n Xander opens the door.", "XANDER\n It's about your next mission. You \n need to be debriefed.", "Xander moves to the edge and peers down. At the bottom of \n the mountain he can see the CASTLE, an imposing medieval", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "Kirill gives a thumbs up and puts on a pair of NIGHT VISION \n GOGGLES. He scans the big room but sees nothing.\n\n Xander, hidden at the opposite end, waits breathlessly.", "Kirill chambers another bullet and waits for them to make \n their second approach. The GTO comes roaring out, spinning \n in circles wildly. Xander's is just doing donuts as fast as \n he can.", "Xander steels himself, takes a few deep breaths.\n\n Then he sprints to the edge and JUMPS off the cliff...", "Slovo can't hear a thing, but they're obviously interested \n in what he has to say. Next thing he knows Xander is pointing \n at him and waving him over.", "PETRA\n You'll have forty-eight hours to \n complete the transfer. Don't waste \n our time.\n\n Xander snatches the napkin." ], [ "think Cage may be an American agent, \n do you understand what I'm telling \n you?", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "GIBBONS\n Alright, Cage, you've got me. This \n is one of those moments. \"Many are", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "He's hacked in to the CZECH POLICE network.\n\n YORGI\n Something bothers me about you, Mr. \n Xander Cage...", "Police open fire, but the truck tears out the gate and starts \n heading down the mountain.\n\n INT. CASTLE - MAIN BUILDING - DAY", "I'm with the National Security Agency. \n And unlikely as it may sound, I need \n your help.", "The Guards charge at him and he HOPS up onto the top of the \n CUBICLE WALL. This thing is maybe FOUR INCHES WIDE and FIVE \n FEET TALL.", "He drops down, six feet of chain still hanging from his cuffed \n wrists, and Jefe comes charging at him.\n\n Xander dodges a few wild swings.", "VIKTOR\n You almost died on that one.\n\n XANDER\n Cops arrested me while I was still \n in surgery. Did two months.", "SLOVO\n (panicked whisper)\n What the hell are you doing?\n\n He slams Slovo up against the wall and pulls out Slovo's \n police badge.", "GIBBONS\n You've really got me confused, Cage. \n On the one hand you showed leadership,", "Xander comes out of the torture building holding T.J. in a \n fireman's carry. His hands are still CUFFED, the length of \n chain dragging.", "Xander glides down and makes his landing. Accomplices #4 and \n #5 rush out to help him gather up his chute and jump in the \n van. SIRENS APPROACH as the van makes it's escape.", "Agent Polk looks around, spots Gibbons. He rushes to him, \n waving a COMMUNIQUÉ.\n\n Gibbons grabs the communiqué, reads it. He looks up, stunned.", "GIBBONS\n Sure as gravity. I've had a feeling \n about you from the start, Cage. It's \n nausea.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "Before he can shout, he's SHOT IN THE LEG and goes down.\n\n Seconds later, they're on the deck, tearing off their rigs.", "Xander books, running for all he's worth. His cuffed hands \n and the dangling chain make it difficult.\n\n He's heading straight into the FIELD OF POT PLANTS.", "Sitting silently on benches facing them are SOLDIERS DRESSED \n IN BLACK. They wear BLACK MASKS over their faces. They are a \n nasty looking BLACK OPS TEAM." ], [ "As he makes his way down, Anders stirs. The guy is a bloody, \n broken mess but he gets to his feet. He sees where Xander is \n headed and he scurries off to intercept him.", "Xander and Slovo walk up to the place. Xander's wearing a \n Tshirt that says \"RON JEREMY: AMERICAN LEGEND\" complete with \n a photo of the Hedgehog.", "Xander's on the floor of a military aircraft. TWO OTHER TOUGH \n GUYS are waking up next to him. One's a greaser named VIRG,", "More WORKERS appear at the bottom of the stairs so Xander \n goes up. He cranks up three flights of stairs and bashes \n onto the roof.", "Xander blazes down the street, Anders racing right behind \n him. A wrong turn sends him into a dead end.\n\n At the end is a panel truck parked next to a stone wall.", "Xander, now on a MOTORCYCLE, zips through traffic. He's \n smiling, leaning it way over on the turns. He's got another \n BACKPACK on his back.", "Xander moves to the edge and peers down. At the bottom of \n the mountain he can see the CASTLE, an imposing medieval", "XANDER\n I've been here before, when I was a \n kid. My old man was in the service, \n we used to live on the Army base in \n Hamburg.", "XANDER\n I thought that was in detail.\n\n As Shavers drones on, Xander hangs his head.\n\n EXT. WAREHOUSE DISTRICT - DAY", "He pulls off the claws and heads into the Guard Tower.\n\n INT. CASTLE - COURTYARD - DAY\n\n Xander exits the Guard Tower at the ground level.", "Shavers looks on in shock. He's got a crew of MECHANICS with \n him. Xander hands him the blowtorch and walks away.\n\n EXT. PRAGUE OPEN AIR MARKET - DAY", "EXT. MEDIEVAL MANOR - COURTYARD - NIGHT\n\n Xander places an EXPLOSIVE on a CONTROL BOX.", "Xander hangs up and heads down the hill.\n\n EXT. CASTLE - DAY", "EXT. LOFT DISTRICT - DOWNTOWN - NIGHT\n\n Xander drives his motorcycle into the garage of his building.", "EXT. ROMANTIC RESTAURANT - DAY\n\n Xander's timed it perfectly so that just as they get to the \n door, a BUS passes by.", "Xander is in the last row against the bulkhead. He's got a \n personal DVD player and headphones and he's reviewing his \n mission. The high-tech screen shows photos, maps, cool \n graphics.", "XANDER\n You ain't seen nothing yet.\n\n CUT TO:\n\n EXT. CZECH POLICE BUILDING - DAY", "Ivan 1 pulls Xander's gear bag from the trunk and throws it \n on the sidewalk.\n\n Xander picks it up and carries it into the building.", "He looks around but Xander is gone. He heads for the exit, \n pushing his way through the crowd. But then he spots him, \n not by the door but deeper in the club.", "XANDER\n I'm an information gatherer. You \n wanna go somewhere and talk about \n it?\n\n INT. MEDIEVAL MANOR - HALLWAY - DAY" ], [ "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Xander hops out, rifles through Slovo's pockets. The other \n Anarchy 99 cars pull up, the whole group looking on.", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "SLOVO\n Oh no!\n\n He sees Xander walk right up to the Anarchy 99 booth and \n start talking to them.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "Xander sprints down the hallway. With the Anarchy 99 boys \n and Guards roaming the house, he's having a hard time finding \n his way out.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS.\n\n For all their screwing around, it's clear Anarchy 99 runs a \n large operation.", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "XANDER\n The people I know want facts, the \n kinds of things an insider would \n know. They're interested in putting \n Anarchy 99 out of business.", "It's a crowded basement rave club. Hot and sweaty RAVERS \n dance in provocative outfits. The Anarchy 99 group is standing \n on the best booth, right on the packed dance floor.", "XANDER\n Slick graphics, huh? See these dudes? \n They're called \"Anarchy 99\", they're \n the bad guy bosses.", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "YORGI\n Total chaos, man! Welcome to Anarchy \n 99!\n\n XANDER\n What's \"Anarchy 99\"?", "Xander sits with Gibbons in big leather chairs. They are \n surrounded by NSA AGENTS in suits.\n\n A NERDY AGENT snaps an ANKLET around Xander's ankle.", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS." ], [ "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "YORGI\n (smiles)\n Viktor! Stay the course.\n\n Yorgi kisses her again and heads to the cabin below.", "They make EYE CONTACT and Sterling gives a little nod.\n\n Yorgi calmly issues orders into his phone.", "YORGI\n This is insane, man. Xander Cage in \n Prague. Come on, sit. Sit with us.\n\n Yorgi signals for more drinks.", "YORGI\n Not bad, man, not bad. You put things \n together quick. Prague it is.\n\n PETRA\n The Peace conference...", "YORGI\n I've got it, go! Cover me!\n\n Kirill grabs his sniper rifle and heads off.", "YORGI\n I could have killed you, but I thought \n this would be so much more fun. To", "Ivan 1 is talking on the radio when Yorgi appears behind him \n and shoots him in the back.\n\n They step over him and enter a GARAGE.", "YORGI\n You think I'm after money? I told \n you, my friend. Anarchy. Time for a", "Finally we see YORGI, the unlikely looking Mafiya Don. We \n see CRIME SCENE PHOTOS that illustrate his exploits.", "YORGI\n You say you get a million, you get \n the million. Some cop gives us shit, \n he's dead. Jesus Christ, man, you're \n hard-core!", "Up inside the castle he can see Yorgi at a window. Yorgi \n appears mildly shocked as they make EYE CONTACT.\n\n Xander takes aim.", "Yorgi goes to shoot but his hand won't work. There's a HUGE \n SHARD OF GLASS sticking through his forearm.", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "YORGI\n You hang with us, buddy, taste some \n freedom! Petra! Dance with this guy!", "YORGI\n Cops. Like a plague. No matter how \n many you pay there's always another \n with his hand out. How did you pick \n him out?", "YORGI\n Let's get some air, man.\n\n Yorgi and Xander head outside. A moment later, Kirill hurries \n out another door.", "Yorgi paws at a Stripper.\n\n YORGI\n I've got meetings this afternoon, \n I've got to get some sleep. Just \n pick a girl.", "YORGI\n Look who we found playing outside.\n\n Petra looks up. She can barely hide her shock." ], [ "He hands the canisters to Viktor one by one.\n\n ANDERS\n (singing)\n \"Silent Night... Holy Night\"", "me this it that \"classified\" stuff \n you didn't want me to know about. \n Does the song \"Silent Night\" mean", "Ahab starts making noise and it's payload doors swing open.\n\n Inside Xander can see the row of glass cannister containing \n Silent Night. The first one rises up into FIRING POSITION.", "time before they figure out how to \n deploy Silent Night. Then we're gonna \n have a catastrophe on our hands.", "GIBBONS\n If it means getting Silent Night \n back, absolutely.", "GIBBONS\n Silent Night is the name of a top \n secret binary nerve agent. The glass", "SAM TANNICK\n Silent Night in the hands of a bunch \n of impertinent cowboys", "XANDER\n I wanted to get the hell out of Prague \n before Silent Night falls.", "The big spotlight plays over the area, then moves on.\n\n Xander gives a sigh of relief. He crawls out of the drainpipe.", "Just like that it's quiet again. Sky hyperventilates, a gun \n in her face.", "Xander grabs onto the chimney as the avalanche washes over \n the Outpost. He holds on until the ocean of snow comes to a \n stop.\n\n Then it's all quiet.", "Sitting silently on benches facing them are SOLDIERS DRESSED \n IN BLACK. They wear BLACK MASKS over their faces. They are a \n nasty looking BLACK OPS TEAM.", "By now Xander is out of sight. Kirill pounds his rifle in \n frustration.", "Then she turns and looks off after Xander. She sees his GTO \n speeding away.\n\n FADE TO:", "And that's it. He's gone. One mile, straight down.\n\n Suddenly we're falling with him.", "It's all in silhouette now as WHAM! The rocket EXPLODES, \n setting off a CHAIN REACTION. WHAM! WHAM! WHAM! Ahab and", "But there's nothing there. He continues on.\n\n Then the Intruder comes sliding down the ZIP-LINE from above.", "PETRA\n I don't know. Eight months ago I \n stop hearing from my people. No", "XANDER\n A long time ago I learned how to put \n fear away in a little place in my", "XANDER\n I'm gonna need to hit the trees after \n a night like this.\n\n He tucks it-into his shirt and takes off through the POT \n FOREST." ], [ "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "Kirill gives a thumbs up and puts on a pair of NIGHT VISION \n GOGGLES. He scans the big room but sees nothing.\n\n Xander, hidden at the opposite end, waits breathlessly.", "Before Kirill can do so, Cops burst into the room, spraying \n bullets everywhere.", "He looks down into the room, sees Kirill bending down to \n examine the roach. Time to go.\n\n INT. MANOR BASEMENT - MAIN HALL - NIGHT", "Kirill is almost on top of him.\n\n Xander sights up and FIRES.\n\n The fire extinguisher EXPLODES, blinding Kirill.", "He looks around a bit, doesn't find what he's looking for.\n\n He sits up, getting pissed.\n\n YORGI\n Get Kirill. Now!", "Petra gets to the top of the stairs. She gives Kirill a \"Where \n did he go?\" look. Her nose is bloody, helping to sell her \n performance.", "In the main room upstairs, Kirill is blasting away. Yorgi \n starts rounding up the computer gear.\n\n YORGI\n Hurry up, kill him!", "Kirill chambers another bullet and waits for them to make \n their second approach. The GTO comes roaring out, spinning \n in circles wildly. Xander's is just doing donuts as fast as \n he can.", "POV ON XANDER THRU SNIPER SCOPE\n\n From up above, Kirill has Xander in his sights.", "Kirill's finger tightens on the trigger...\n\n As soon as the bus passes he FIRES!\n\n But Xander's not there, he's ducked down to tie his shoe.", "But then KIRILL steps around the corner. He's academic \n looking, a CHAIN SMOKING intellectual with COKE-BOTTLE", "He pulls out his gun as Kirill creeps ever closer.\n\n Against the far wall Xander spots a FIRE EXTINGUISHER.", "KIRILL\n Yorgi!\n\n They all look to the abandoned building.\n\n Through the second floor window they can see Slovo's leg \n poking through the ceiling.", "He nods for Kirill to stand down.\n\n OUTSIDE - the two transport trucks are driven off by the \n Ivans. As they pull out they reveal ANOTHER CAR under a COVER.", "He runs bent low, the parked cars protecting him from the \n sniper. Kirill fires anyway, taking out car windows.", "Kirill advances slowly, his buddies covering him from the \n door.", "Kirill aims, but with all the dust being kicked up he doesn't \n have much of a target.\n\n KIRILL\n What are you doing!", "KIRILL (O.S.)\n (on phone)\n Listen very carefully, Petra. We", "INT. CASTLE - MAIN BUILDING - DAY\n\n Kirill looks down at the carnage below. Xander takes advantage \n of the distraction and charges at Yorgi." ], [ "YORGI\n Do you think I didn't know about you \n all along? My contacts in the KGB", "PETRA\n I'm a agent as well. KGB. I've been \n undercover for over a year.", "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "YORGI\n Petra, my sweet dove, do you notice \n anything strange about X? He looks \n slightly less than dead.\n\n Kirill aims his gun at Petra.", "She heads out. Yorgi goes to the bathroom, splashes water on \n his face.\n\n Kirill enters, still half asleep.", "KIRILL\n Yorgi!\n\n They all look to the abandoned building.\n\n Through the second floor window they can see Slovo's leg \n poking through the ceiling.", "YORGI\n (laughing)\n Don't look at me, X, she handles all \n the details.", "Slovo crumples, never knowing what hit him.\n\n The door creaks open. It's Petra, her gun still smoking.\n\n She's with the Ivans.", "YORGI\n I've got it, go! Cover me!\n\n Kirill grabs his sniper rifle and heads off.", "PETRA\n Whoever sent you knew what they were \n doing. You and Yorgi are practically", "Ivan 1 is talking on the radio when Yorgi appears behind him \n and shoots him in the back.\n\n They step over him and enter a GARAGE.", "I'm with the National Security Agency. \n And unlikely as it may sound, I need \n your help.", "YORGI\n Not bad, man, not bad. You put things \n together quick. Prague it is.\n\n PETRA\n The Peace conference...", "By the time he pulls it out, Xander is on top of him. He \n body checks Yorgi, sending him flying over a desk. Kirill \n spins and starts FIRING. Xander ducks for cover.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "computers. Joined the gang after \n spending some time as the girlfriend \n of this dude, Yorgi Azar Zimin. Capo", "came in as Yorgi's girlfriend and \n you stayed because it was fun. Now \n you don't like it so much, but you're", "YORGI\n I could have killed you, but I thought \n this would be so much more fun. To", "Up inside the castle he can see Yorgi at a window. Yorgi \n appears mildly shocked as they make EYE CONTACT.\n\n Xander takes aim.", "Xander and Petra are pinned down, but Yorgi and Kirill manage \n to make a fast exit out another door.\n\n XANDER\n Hey! We're on your side!" ] ]	[ "Who did NSA Agent Gibbons select to help him?", "What were the two tests that Agent Gibbons made Cage complete?", "Why did Cage agree to help with the mission?", "How did Cage gain the trust of the Anarchy 99 leader when he first arived?", "Why does Cage refuse to go back home after his cover is blown?", "What does Yelena tell Cage about herself at the safehouse?", "What was Yorgi's plan involving Silent Night?", "How does Cage stop the drone?", "What is the name of the biochemical weapon that Anarchy 99 has?", "Why does Cage agree to go on the mission?", "What is the name of Anarchy 99's leader?", "Who does Cage gain critical information from on the military background of Anarchy 99?", "What did Yorgi plan to equip Ahab with?", "How does Cage destroy the monitoring station that Anarchy 99 used to secure the castle?", "When Cage and Yelena escape during the special forces attack, who do they kill?", "What does Gibbons promise to Yelena after Cage is rescued?", "Where are Cage and Yelena when Gibbons calls with another mission?", "What alias is Xander Cage known by?", "Where are Anarchy 99 soldiers from, according to the story?", "When does X agree to accept the mission?", "What agency arrested Cage?", "Where does Xander meet Milan?", "Which Anarchy 99 member watches X's television program?", "How did Cage initially gain Yorgi's trust?", "When did \"Silent Night\" first disappear?", "Who was with Cage when Kirill tried to kill him?", "Which agency did Yelena work for, according to the story?" ]	[ [ "Xander Cage", "Xander Cage" ], [ "Stopping a robbery and escaping from a drug plantation", "Stopping a staged robbery and escaping from a drug cartel. " ], [ "Agent Gibbons offered to wipe (remove) his criminal record", "His criminal record would be wiped" ], [ "He blew the cover of another agent, named Sova", "He shoots sova with a fake blood splatter round to make it look like hes dead." ], [ "He is afraid for Yelena's safety", "He fears for Yelena's safety." ], [ "That she is an FSB agent, working undercover", "She is an FSB agent" ], [ "To put Silent Night on a waterborne drone and release the biochemical in every major city", "To destroy every major city with it." ], [ "He harpoons it and it sinks underwater", "He harpoons Ahab and sinks the drone." ], [ "Silent Night", "Silent Night." ], [ "Gibbons will wipe his criminal record", "Because Gibbons can wipe his criminal record." ], [ "Yorgi", "Yorgi." ], [ "Kolya", "Kolya" ], [ "Silent Night", "A biochemical weapon." ], [ "By starting an avalanche ", "With an avalanche" ], [ "Kirill and Yorgi", "Kirill and Yorgi." ], [ "American citizenship", "Gibbons promises Yelena American citizenship." ], [ "Bora Bora", "In Bora Bora." ], [ "X", "X. " ], [ "Russia", "Russia" ], [ "after Augustus offers to erase his criminal record", "When Gibbons offers to wipe his criminal record" ], [ "FBI", "FBI" ], [ "in Prague", "Prague. " ], [ "Kolya", "To recruit X for the mission." ], [ "he revealed that Milan was an agent", "He reveals Sova's location to Yorgi." ], [ "after the Soviet Union's fall", "The fall of the Soviet Union." ], [ "Yelena", "Yelena" ], [ "FSB", "FBI. " ] ]	9b99f455760055f2c719e61f29fa4a09479d8524	train
[ [ "either a painful or a disgusting subject to the whole party, two or\nthree curious and hard minds excepted, to whom opposition to Catholicism\nwas meat and drink. Besides, in such chance collections of men, no one", "manner, denounced parties and party-spirit, and thought to avoid the one\nand the other by eschewing all persons, and holding all opinions. He had", "and parties in Oxford, which had so many bad effects, making so many\ntalk, so many criticise, and not a few perhaps doubt about truth\naltogether. Then he said that, evil as it was in a place of education,", "relish it; and, moreover, he felt some little repugnance to such\nopinions and such people, under the notion that the authorities of the\nUniversity were opposed to the whole movement. He could not help looking", "No one thinks or feels like me. I hear sermons, I talk on religious\nsubjects with friends, and every one seems to bear witness against me.\nAnd now the College bears its witness, and sends me down.\"", "professors, he knew, were active and influential, and in past times had\nbeen much persecuted. Freeborn had surprised and offended him at", "at its leaders as demagogues; and towards demagogues he felt an\nunmeasured aversion and contempt. He did not see why clergymen, however", "After this introduction, he proceeded to attribute to this defect the\nnumber of religious differences in the world. He said that the most\ncelebrated questions in religion were but verbal ones; that the", "place, he would in the main have agreed with them, had he let himself\nalone; but he was determined to have an intellect of his own, and this\nput him to great shifts when he would distinguish himself from them. Had", "think of our Church.\" There was a pause. \"I thought this was at the\nbottom,\" she said; \"I never could believe that a parcel of people, some", "conversation proceeded. Two persons did not like it; Freeborn, who was\nsimply disgusted at the doctrine, and Reding, who thought it a bore; yet", "Especially was he desirous of dissipating the fog of pomposity and\nsolemn pretence, which its writer had thrown around the personages", "said, \"of the opinions of the Truth Society to admire their ingenuity\nand originality, but, excuse me, not their good sense. It is impossible", "They had fallen on a difficult subject; all were somewhat puzzled except\nWhite, who had not been attending, and was simply wearied; he now", "respectable, should be collecting undergraduates about them; and he\nheard stories of their way of going on which did not please him.\nMoreover, he did not like the specimens of their followers whom he fell", "than to obtrude their fanaticism on persons who did but despise it. \"I\nknow more about the Universities,\" he continued, \"than to suppose that", "Think of the good old man's horror, Majesty in the distance, and his own\npeople swaying to and fro under his very nose, and promising to leave\nhim for the gutter before the march was ended.\"", "distinguished in the pursuit of Truth, though they have arrived at\ncontradictory opinions.\"", "the dispute. Freeborn, in fact, thought theology itself a mistake, as\nsubstituting, as he considered, worthless intellectual notions for the", "despises the Fathers, is jealous of priestcraft, is a Protestant\nreality, is a Catholic sham. This existing reality, which is alive and" ], [ "because, too, the more he had an opportunity of hearing and seeing, the\ngreater cause he had to admire and revere the Roman Catholic system, and\nto be dissatisfied with his own. Carlton, after carefully considering", "view, he carefully got up some of the most popular works against the\nChurch of Rome. After much thought he determined to direct his attack on", "despises the Fathers, is jealous of priestcraft, is a Protestant\nreality, is a Catholic sham. This existing reality, which is alive and", "Rome; he could not tell distinctly why he so anticipated, except that\nthere were so many things which he thought right in the Church of Rome,\nand so many which he thought wrong in the Church of England; and,", "Charles was not pleased with the subject, on various accounts. He did\nnot like what seemed to him an attack of Sheffield's upon the Church of", "and aspirations, then and there prevailing, than was to be found in the\nanti-Catholic pamphlets, charges, sermons, reviews, and story-books of\nthe day.", "either a painful or a disgusting subject to the whole party, two or\nthree curious and hard minds excepted, to whom opposition to Catholicism\nwas meat and drink. Besides, in such chance collections of men, no one", "Charles thought awhile; then he said, \"Certainly, I don't like many\nthings which are done and said by Roman Catholics just now; but I don't", "It was with some malicious feeling, in consequence of his attack on\nclergymen of the past age, that Charles pressed his visitor to give an\naccount of his own reforms.", "at its leaders as demagogues; and towards demagogues he felt an\nunmeasured aversion and contempt. He did not see why clergymen, however", "involved of disposing young men towards Catholicism, by attaching to\nthem the bad report of it, and of forcing them farther by inflicting on", "\"But what do you mean by the Catholic Church?\" asked Freeborn.\n\n\"The Anglican,\" answered Bateman.\n\n\"The Roman,\" answered White; both in the same breath.", "\"Why, then, go to Rome for Gregorians?\" said Campbell; \"I suspect they\nare called after Gregory I. Bishop of Rome, whom Protestants consider\nthe first specimen of Antichrist.\"", "Protestant; the living body abjures Catholicism, flings off the name and\nthe thing, hates the Church of Rome, laughs at sacramental power,", "feeling. For myself, I cannot deny, I never have concealed from you my\nconvictions, that the Romish Church is antichristian. She has ten", "despised money; he cared nothing for public opinion; yet he was a\nSabellian. Would he have eaten the bread of the Church, as it is called,", "\"Well, if there is anything that recommends Romanism to me,\" said\nCharles, \"it is what you so much dislike: I'd give twopence, if some", "\"You know well enough,\" answered Willis, \"though you wish to annoy me.\"\n\n\"I don't indeed.\"\n\n\"It's the Catholic church,\" said Willis.", "Catholic. He said no one should go over merely because he thought he\nshould like it better; that he had found out by experience that no one\ncould live on sentiment; that the whole system of worship in the Romish", "\"Well,\" said Campbell, \"you but read a bit of the history of the\nReformation, and you will find that the doctrine that the Pope is\nAntichrist was the life of the movement.\"" ], [ "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "before he had read the Articles, to take them on trust; but a young man\nwho had had the advantages of Mr. Reding, who had been three years at", "\"Well, Charles Reding,\" he said, \"I think we know each other well enough\nfor you to have given me a hint of what was going on as regards you.\"\n\nCharles said he had written to him only the evening before.", "\"You, dear Reding,\" said Father Aloysius, \"have keen fresh feelings;\nmine are blunted by familiarity.\"", "\"Mr. Reding,\" said he, \"I did not like to question you before the\nothers, but I conceive you had no particular _meaning_ in your praise of", "At length he felt a light hand on his shoulder, and a voice said,\n\"Reding, I am going; let me just say farewell to you before I go.\" He", "Reding began to rouse himself; he felt he ought to say something; he\nfelt that silence would tell against him. \"Dear sir,\" he answered,", "Mr. Reding had left his family well provided for; and this, though a\nreal alleviation of their loss in the event, perhaps augmented the pain", "appearance: I speak for myself; I will say no more; I can be of use to\nyou. Mr. Reding,\" he continued, pulling his chair towards him, and", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "\"If you have made up your mind, Reding,\" said Carlton, \"it's no good\ntalking. May you be happy wherever you are! You must always be yourself;\nas a Romanist, you will still be Charles Reding.\"", "Charles Reding was the only son of a clergyman, who was in possession of\na valuable benefice in a midland county. His father intended him for", "\"Excuse me, Mr. Reding,\" he said, \"if before you go, I say one word. I\nfeel very much for the struggle which is going on in your mind; and I am", "\"Reding, my good fellow,\" said he, \"what is the meaning of this report\nconcerning you, which is everywhere about?\"\n\n\"I have not heard it,\" said Charles abruptly.", "absence perhaps from dangerous companions, will have brought you to a\nsoberer state of mind, Mr. Reding.\"", "\"Certainly,\" answered Reding, \"things have been said to me by your\nteachers which I must suppose were only private opinions, though they\nseemed to be more.\"", "\"You need not go far for an answer,\" said his neighbour, and, turning to\ntheir host, added, \"Carlton, who is Mr. Reding?\"", "The time at length was come; Reding could not bear more; and, as it\nhappened, his visitor's offence gave him the means, as well as a cause,", "\"Understand me,\" answered Reding; \"I have come to my resolution with\ngreat deliberation. It has remained on my mind as a mere intellectual", "Charles at once changed his tone in speaking to him. He came to Mr.\nReding, he said, from a sense of duty; and there was nothing in his" ], [ "But to return to our story. Such was Reding. But Sheffield, on the other\nhand, without possessing any real view of things more than Charles, was,", "\"Reding,\" answered Sheffield, \"I speak what I think, and ever will do\nso; I will be no party man. I don't attempt, like Vincent, to unite", "before his examination; and, as Mrs. Reding had not as yet fully\narranged her plans, but was still, with her daughters, passing from\nfriend to friend, he had listened to Sheffield's proposal to take a", "\"My dear Sheffield, how you run on!\" said Reding. \"Well, do you know, I\ncan tell you a piece of real news bearing on these reports, and not of\nthe pleasantest. Did you know Willis of St. George's?\"", "\"But, my dear Sheffield,\" answered Reding, \"consider how many things\nthere are which, in the course of time, have altered their original", "\"That's not a fair answer, Reding,\" said Sheffield; \"what Mr. Freeborn\nobserved was, that there's no creed in the Bible; and you answer that\nthere is a creed in the Prayer Book.\"", "CHAPTER IV.\n\n\nA few days later, Carlton, Sheffield, and Reding were talking together\nafter dinner out of doors about White.", "\"I know better what's at the bottom of it,\" said Sheffield; \"but I can't\nstay; I must go in and read; Reding is too fond of a gossip.\"", "Sheffield laughed out, nor could Reding stand it. \"What is it?\" cried\nSheffield; \"don't be hard on me? What have I done? Where did the\nsacredness begin? I eat my words.\"", "\"You wish me to say good-night,\" said Sheffield. Charles did not deny\nthe charge; and the friends parted.\n\n\n\n\nCHAPTER XV.", "pursued into its consequences, and to affect his existing opinions. In\nthe instance before us, he saw Sheffield's principle was more or less\nantagonistic to his own favourite maxim, that it was a duty to be", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "\"It's quite true,\" returned Fusby; \"I had it from the Under-Marshal, who\nwas passing at the moment. My eye has been on Mr. Reding for some\nyears.\"", "\"Mr. Reding,\" said he, \"I did not like to question you before the\nothers, but I conceive you had no particular _meaning_ in your praise of", "\"You mean,\" said Sheffield, \"if I understand you, that it is a piece of\nmawkish hypocrisy to shake the head and throw up the eyes at Mr. this or", "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "\"I declare,\" said Reding to himself, \"it really has power over him;\" and\nhe still confronted Dr. Kitchens with it, while he kept it out of Dr.\nKitchens' reach.", "\"You are wrong,\" said Sheffield, \"if you think I don't value him\nextremely, and love him too; it's impossible not to love him. But he's\nnot the person quite to get influence over me.\"", "\"I don't think you like Carlton as well as I do,\" said Reding to\nSheffield, as they lay on the green sward with some lighter classic in", "There was a silence; the answer conveyed a good deal: it was a relief,\nbut it was an intimation. \"Sit down, my dear Reding; will you have" ], [ "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "Reding had for near two years put aside his doubts about the Articles;\nbut it was like putting off the payment of a bill--a respite, not a", "before he had read the Articles, to take them on trust; but a young man\nwho had had the advantages of Mr. Reding, who had been three years at", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "\"I did not say a creed was everything,\" answered Reding, \"or that a\nreligion could not be false which had a creed; but a religion can't be\ntrue which has none.\"", "Reding sighed; he saw clearly that his change of religion, when\ncompleted, would not fail to have an effect on Carlton's thoughts about", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "Reding was silent a moment; then he said, \"Well, I don't think you have\nmended the matter; it _is_ a dissenting meeting, call it what you will,\nthough not the kind of one I meant.\"", "He returned to his former subject. \"In what sense do you understand the\nArticles, Mr. Reding?\" he asked. That was more than Charles could tell;", "\"I declare,\" said Reding to himself, \"it really has power over him;\" and\nhe still confronted Dr. Kitchens with it, while he kept it out of Dr.\nKitchens' reach.", "The thought came across Reding whether perhaps, after all, what is\ncalled Evangelical Religion was not the true Christianity: its", "Reding took some time to think over this. \"All this,\" he said, \"proceeds\non the fundamental principle that the Church of England is an integral", "\"That's not a fair answer, Reding,\" said Sheffield; \"what Mr. Freeborn\nobserved was, that there's no creed in the Bible; and you answer that\nthere is a creed in the Prayer Book.\"", "Reding thought; then he said: \"Tell me, Bateman, would not this view of\nsubscription to the Articles let the Unitarians into the Church?\"", "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into", "ideas, but he brings in the dicta of that system to confirm and to\njustify certain private judgments and personal feelings and habits\nalready existing. Reding, for instance, felt a difficulty in determining", "Some dear sisters of hers were engaged in organizing a new religious\nbody, and Mr. Reding's accession, counsel, assistance, would be\nparticularly valuable; the more so, because as yet they had not any", "Now Charles Reding, a youth of twenty, could not be supposed to have\nmuch of a view in religion or politics; but no clever man allows himself", "from the West End for the honour of an interview with Mr. Reding.\nCharles groaned, but only one reply was possible; the day was already\nwasted, and with a sort of dull resignation he gave permission for the" ], [ "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "\"Mr. Reding,\" said he, \"I did not like to question you before the\nothers, but I conceive you had no particular _meaning_ in your praise of", "There was a silence; the answer conveyed a good deal: it was a relief,\nbut it was an intimation. \"Sit down, my dear Reding; will you have", "Reding was silent a moment; then he said, \"Well, I don't think you have\nmended the matter; it _is_ a dissenting meeting, call it what you will,\nthough not the kind of one I meant.\"", "\"Excuse me, Mr. Reding,\" he said, \"if before you go, I say one word. I\nfeel very much for the struggle which is going on in your mind; and I am", "Reding had for near two years put aside his doubts about the Articles;\nbut it was like putting off the payment of a bill--a respite, not a", "before he had read the Articles, to take them on trust; but a young man\nwho had had the advantages of Mr. Reding, who had been three years at", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "\"I declare,\" said Reding to himself, \"it really has power over him;\" and\nhe still confronted Dr. Kitchens with it, while he kept it out of Dr.\nKitchens' reach.", "\"It's quite true,\" returned Fusby; \"I had it from the Under-Marshal, who\nwas passing at the moment. My eye has been on Mr. Reding for some\nyears.\"", "appearance: I speak for myself; I will say no more; I can be of use to\nyou. Mr. Reding,\" he continued, pulling his chair towards him, and", "At length he felt a light hand on his shoulder, and a voice said,\n\"Reding, I am going; let me just say farewell to you before I go.\" He", "\"Well, if I am, you have put me on it,\" said Reding, wishing to get away\nfrom the subject as quick as he could; \"for you are ever talking", "\"Reding, my good fellow,\" said he, \"what is the meaning of this report\nconcerning you, which is everywhere about?\"\n\n\"I have not heard it,\" said Charles abruptly.", "Reding was surprised, and shocked, and puzzled too; he did not know what\nto say; when the conversation was, perhaps fortunately, interrupted.\n\n\n\n\nCHAPTER V.", "the New Jerusalem!\" \"In charity,\" said Reding, without changing his\nattitude, \"in charity, leave me alone. You mean it well, but I don't", "The time at length was come; Reding could not bear more; and, as it\nhappened, his visitor's offence gave him the means, as well as a cause,", "But to return to our story. Such was Reding. But Sheffield, on the other\nhand, without possessing any real view of things more than Charles, was,", "\"I hold, d'ye see,\" answered Vincent, \"that all errors are counterfeits\nof truth. Clever men say true things, Mr. Reding, true in their", "\"Take it away, Mr. Reding, I beseech you,\" cried Kitchens, still\nretreating, while Charles still pressed on him; \"take it away, it's too" ], [ "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "\"That's about the truth,\" said another; \"I met Mr. Malcolm yesterday at\ndinner, and it seems he knows the family. He said that his religious\nnotions carried Reding away, and spoiled his reading.\"", "\"Reding, my good fellow,\" said he, \"what is the meaning of this report\nconcerning you, which is everywhere about?\"\n\n\"I have not heard it,\" said Charles abruptly.", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "Reding sighed; he saw clearly that his change of religion, when\ncompleted, would not fail to have an effect on Carlton's thoughts about", "\"Well, Charles Reding,\" he said, \"I think we know each other well enough\nfor you to have given me a hint of what was going on as regards you.\"\n\nCharles said he had written to him only the evening before.", "\"True, my love,\" answered Mrs. Reding; \"Charles is a dear good fellow, I\nknow. How glad we all shall be to have him ordained, and settled in a\ncuracy!\"", "There was a silence; the answer conveyed a good deal: it was a relief,\nbut it was an intimation. \"Sit down, my dear Reding; will you have", "\"Mr. Reding,\" said he, \"I did not like to question you before the\nothers, but I conceive you had no particular _meaning_ in your praise of", "two friends of Mr. Reding's below, who wished very much to have a few\nminutes' conversation with him. Charles could make no intelligible\nobjection to the request; and in the course of a few minutes their knock", "\"If you have made up your mind, Reding,\" said Carlton, \"it's no good\ntalking. May you be happy wherever you are! You must always be yourself;\nas a Romanist, you will still be Charles Reding.\"", "followed. Reding thought he never had been present at worship before, so\nabsorbed was the attention, so intense was the devotion of the\ncongregation. What particularly struck him was, that whereas in the", "At length he felt a light hand on his shoulder, and a voice said,\n\"Reding, I am going; let me just say farewell to you before I go.\" He", "from the West End for the honour of an interview with Mr. Reding.\nCharles groaned, but only one reply was possible; the day was already\nwasted, and with a sort of dull resignation he gave permission for the", "Charles at once changed his tone in speaking to him. He came to Mr.\nReding, he said, from a sense of duty; and there was nothing in his", "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into", "before his examination; and, as Mrs. Reding had not as yet fully\narranged her plans, but was still, with her daughters, passing from\nfriend to friend, he had listened to Sheffield's proposal to take a", "The time at length was come; Reding could not bear more; and, as it\nhappened, his visitor's offence gave him the means, as well as a cause," ], [ "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "Some dear sisters of hers were engaged in organizing a new religious\nbody, and Mr. Reding's accession, counsel, assistance, would be\nparticularly valuable; the more so, because as yet they had not any", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into", "\"Hear me out, Mr. Reding, sir,\" answered Jack, waving his hand; \"hear\nme, but strike; I repeat, I am a member of the Holy Catholic Church,\nassembling in Huggermugger Lane.\"", "Willis carried him from the church into the sacristy. \"What a joy,\nReding!\" he whispered, when the door closed upon them; \"what a day of", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "followed. Reding thought he never had been present at worship before, so\nabsorbed was the attention, so intense was the devotion of the\ncongregation. What particularly struck him was, that whereas in the", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "Reding sighed; he saw clearly that his change of religion, when\ncompleted, would not fail to have an effect on Carlton's thoughts about", "Reding took some time to think over this. \"All this,\" he said, \"proceeds\non the fundamental principle that the Church of England is an integral", "\"True, my love,\" answered Mrs. Reding; \"Charles is a dear good fellow, I\nknow. How glad we all shall be to have him ordained, and settled in a\ncuracy!\"", "\"If you have made up your mind, Reding,\" said Carlton, \"it's no good\ntalking. May you be happy wherever you are! You must always be yourself;\nas a Romanist, you will still be Charles Reding.\"", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "Reding was silent a moment; then he said, \"Well, I don't think you have\nmended the matter; it _is_ a dissenting meeting, call it what you will,\nthough not the kind of one I meant.\"", "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "\"Because,\" answered Reding, \"you are more of a Dissenter than a\nCatholic. I beg your pardon,\" he added, seeing Willis look up sharply,", "\"You did more,\" said Reding. \"I was told most carefully. You solemnly\nengaged to keep the statutes; and one statute is, not to go into any\ndissenting chapel or meeting whatever.\"", "Charles Reding was the only son of a clergyman, who was in possession of\na valuable benefice in a midland county. His father intended him for", "\"He's too much of an Anglican for you,\" said Reding." ], [ "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "Some dear sisters of hers were engaged in organizing a new religious\nbody, and Mr. Reding's accession, counsel, assistance, would be\nparticularly valuable; the more so, because as yet they had not any", "Reding took some time to think over this. \"All this,\" he said, \"proceeds\non the fundamental principle that the Church of England is an integral", "Charles Reding was the only son of a clergyman, who was in possession of\na valuable benefice in a midland county. His father intended him for", "followed. Reding thought he never had been present at worship before, so\nabsorbed was the attention, so intense was the devotion of the\ncongregation. What particularly struck him was, that whereas in the", "\"Hear me out, Mr. Reding, sir,\" answered Jack, waving his hand; \"hear\nme, but strike; I repeat, I am a member of the Holy Catholic Church,\nassembling in Huggermugger Lane.\"", "been suspended since the time of the Apostles. And now you see the\nreason of my calling on you, Mr. Reding. It is reported that you lean", "\"Yes, Mrs. Reding,\" said Bateman; \"but by ancestors I meant the holy\nBishops and other members of our Catholic Church previously to the", "\"He's too much of an Anglican for you,\" said Reding.", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "other place in the world; which makes it, as no other place can be,\nholy. The Breviary offices were by this time not unknown to Reding; and", "\"Now this is just one of the points on which I can't get at the bottom\nof the Church of England's doctrine,\" Reding replied. \"But it's so on so", "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into", "\"Because,\" answered Reding, \"you are more of a Dissenter than a\nCatholic. I beg your pardon,\" he added, seeing Willis look up sharply,", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "Reding was silent a moment; then he said, \"Well, I don't think you have\nmended the matter; it _is_ a dissenting meeting, call it what you will,\nthough not the kind of one I meant.\"", "\"But _this_ is a different matter,\" said Reding, changing his ground;\n\"this is a matter of religion. It can't be right to go to strange places\nof worship or meetings.\"", "\"Well, Reding,\" answered Carlton, \"you make Christianity a very\ndifferent religion from what our Church considers it, I really think;\"\nand he paused awhile.", "the Church of England? \"Mr. Reding could not give her any satisfaction\non the subject of her inquiry;\"--he answered shortly, and had some", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"" ], [ "BY\nJOHN HENRY NEWMAN,\nOF THE ORATORY.", "the Church of England; for a while I was a member of the New Connexion;\nand after that,\" she added, still with drooping head and languid", "\"No, sir,\" he said, \"not Irvingites; we do not follow man; we follow\nwherever the Spirit leads us; we have given up Tongue. But I ought to", "I am, my dear Dr. Russell,\n\n Your affectionate friend,\n\n JOHN H. NEWMAN.", "\"I did not know that Carlton was so much of a party man,\" said\nSheffield; \"did not his reading the Athanasian Creed strike you?\"\n\n\"That's no mark of party, surely,\" answered Charles.", "\"I don't like Lord Newlights,\" said Charles, \"he seems to me to have no\nprinciple; that is, no fixed, definite religious principle. You don't", "A tale, directed against the Oxford converts to the Catholic Faith, was\nsent from England to the author of this Volume in the summer of 1847,", "\"Now you are a Puseyite,\" said Sheffield in surprise.", "viewed in all its parts, constituted a new religion. He did not speak of\nhimself definitely, but he said generally that all this might be a great", "\"O my dear Sheffield,\" cried Charles, in distress, \"think what you are\nsaying; you don't mean what you say. You are speaking as if you thought\nthat belief in the Athanasian Creed was a mere party opinion.\"", "\"Take again Shipton, who died lately,\" continued Sheffield; \"what a high\nposition he held in the Church; yet it is perfectly well known that he", "Some dear sisters of hers were engaged in organizing a new religious\nbody, and Mr. Reding's accession, counsel, assistance, would be\nparticularly valuable; the more so, because as yet they had not any", "One day the King passed through Oxford; Sturdy, a tall, upright,\niron-faced man, had to meet him in procession at Magdalen Bridge, and", "Charles started; \"I knew him a little ... I have seen him several\ntimes.\"\n\n\"You know he left us,\" continued Vincent, \"and joined the Church of\nRome. Well, it is credibly reported that he is returning.\"", "to _seek_ it for ourselves from Scripture. Several Articles led to this\nquestion; and Mr. Upton, who was a High Churchman, answered him that the", "nor of Oxford itself. He was introduced, and found the awkwardness of a\nnew acquaintance little relieved by the conversation which went on. It\nwas a dropping fire of serious remarks; with pauses, relieved only by", "\"It is quite plain whom I mean--The Catholics,\" answered Charles. \"The\nPopedom is the true Apostolate, the Pope is the successor of the\nApostles, particularly of St. Peter.\"", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "and parties in Oxford, which had so many bad effects, making so many\ntalk, so many criticise, and not a few perhaps doubt about truth\naltogether. Then he said that, evil as it was in a place of education,", "At Oxford, it is needless to say, he had found a great number of his\nschoolfellows, but, it so happened, had found very few friends among" ], [ "about Oxford and Oxford men. He really liked him, and wished to please\nhim; but, as to consulting him in any serious matter, or going to him", "who still resided in Oxford, and to ask his advice what was to be done\nunder his circumstances. It seemed, too, to be interposing what they", "and parties in Oxford, which had so many bad effects, making so many\ntalk, so many criticise, and not a few perhaps doubt about truth\naltogether. Then he said that, evil as it was in a place of education,", "A tale, directed against the Oxford converts to the Catholic Faith, was\nsent from England to the author of this Volume in the summer of 1847,", "becoming a Catholic, this he had lost; whatever he was to gain higher\nand better, at least this and such as this he never could have again. He\ncould not have another Oxford, he could not have the friends of his", "maintain, and quarrel, as the orders do in the Church of Rome. No,\nthat's too grand a comparison; rather, Oxford is like an almshouse for", "\"But is that really all?\" she said; \"who wants you to lead an Oxford\nlife? not we.\"\n\n\"No, but Oxford implies taking a degree--taking orders.\"", "least some personal knowledge of Oxford, and some perception of the\nvarious aspects of the religious phenomenon, which the work in question\nhandled so rudely and so unskilfully.", "there's much,\" he continued, rousing; \"certainly there is more division\njust at this minute in Oxford, but there always is division, always\nrivalry. The separate societies have their own interests and honour to", "Church, and then in all matters of faith the Church superseded it; but\nfrom this Oxford divine he could not get a distinct answer. First he was", "It must also be added, to prevent a farther misconception, that no\nproper representative is intended in this tale, of the religious\nopinions which had lately so much influence in the University of Oxford.", "\"Well, I will speak more precisely,\" said Sheffield: \"an Oxford man,\nsome ten years since, was going to publish a history of the Nicene", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "At Oxford, it is needless to say, he had found a great number of his\nschoolfellows, but, it so happened, had found very few friends among", "who had known _what_ the Church of England was; not a Dissenter, not an\nunlettered layman; but one who had been at Oxford, who had come across", "Mr. de Mowbray or Father Agostino gives his next retreat? Reding, it is\njust what you want, just what all Oxford men want; I think you will not\nrefuse me.\"", "to hold that faith, to hold what she holds, without professing to be a\ndivine. This is the doctrine which I have been taught at Oxford. I am", "company, whether at the school itself, or afterwards at Oxford. To that\ncelebrated seat of learning he was in due time transferred, being", "and had turned out some one else. It was like a great breach of trust.\nShe had seen there was a good deal in the newspapers about the \"Oxford", "One day the King passed through Oxford; Sturdy, a tall, upright,\niron-faced man, had to meet him in procession at Magdalen Bridge, and" ], [ "because, too, the more he had an opportunity of hearing and seeing, the\ngreater cause he had to admire and revere the Roman Catholic system, and\nto be dissatisfied with his own. Carlton, after carefully considering", "view, he carefully got up some of the most popular works against the\nChurch of Rome. After much thought he determined to direct his attack on", "despises the Fathers, is jealous of priestcraft, is a Protestant\nreality, is a Catholic sham. This existing reality, which is alive and", "Rome; he could not tell distinctly why he so anticipated, except that\nthere were so many things which he thought right in the Church of Rome,\nand so many which he thought wrong in the Church of England; and,", "Charles was not pleased with the subject, on various accounts. He did\nnot like what seemed to him an attack of Sheffield's upon the Church of", "and aspirations, then and there prevailing, than was to be found in the\nanti-Catholic pamphlets, charges, sermons, reviews, and story-books of\nthe day.", "either a painful or a disgusting subject to the whole party, two or\nthree curious and hard minds excepted, to whom opposition to Catholicism\nwas meat and drink. Besides, in such chance collections of men, no one", "Charles thought awhile; then he said, \"Certainly, I don't like many\nthings which are done and said by Roman Catholics just now; but I don't", "It was with some malicious feeling, in consequence of his attack on\nclergymen of the past age, that Charles pressed his visitor to give an\naccount of his own reforms.", "at its leaders as demagogues; and towards demagogues he felt an\nunmeasured aversion and contempt. He did not see why clergymen, however", "involved of disposing young men towards Catholicism, by attaching to\nthem the bad report of it, and of forcing them farther by inflicting on", "\"But what do you mean by the Catholic Church?\" asked Freeborn.\n\n\"The Anglican,\" answered Bateman.\n\n\"The Roman,\" answered White; both in the same breath.", "\"Why, then, go to Rome for Gregorians?\" said Campbell; \"I suspect they\nare called after Gregory I. Bishop of Rome, whom Protestants consider\nthe first specimen of Antichrist.\"", "Protestant; the living body abjures Catholicism, flings off the name and\nthe thing, hates the Church of Rome, laughs at sacramental power,", "feeling. For myself, I cannot deny, I never have concealed from you my\nconvictions, that the Romish Church is antichristian. She has ten", "despised money; he cared nothing for public opinion; yet he was a\nSabellian. Would he have eaten the bread of the Church, as it is called,", "\"Well, if there is anything that recommends Romanism to me,\" said\nCharles, \"it is what you so much dislike: I'd give twopence, if some", "\"You know well enough,\" answered Willis, \"though you wish to annoy me.\"\n\n\"I don't indeed.\"\n\n\"It's the Catholic church,\" said Willis.", "Catholic. He said no one should go over merely because he thought he\nshould like it better; that he had found out by experience that no one\ncould live on sentiment; that the whole system of worship in the Romish", "\"Well,\" said Campbell, \"you but read a bit of the history of the\nReformation, and you will find that the doctrine that the Pope is\nAntichrist was the life of the movement.\"" ], [ "BY\nJOHN HENRY NEWMAN,\nOF THE ORATORY.", "becoming a Catholic, this he had lost; whatever he was to gain higher\nand better, at least this and such as this he never could have again. He\ncould not have another Oxford, he could not have the friends of his", "There was no help for it. Charles walked slowly home, saying to himself:\n\"What if, after all, the Roman Catholic Church is the true Church? I", "Charles started; \"I knew him a little ... I have seen him several\ntimes.\"\n\n\"You know he left us,\" continued Vincent, \"and joined the Church of\nRome. Well, it is credibly reported that he is returning.\"", "A tale, directed against the Oxford converts to the Catholic Faith, was\nsent from England to the author of this Volume in the summer of 1847,", "\"Well, what's the upshot?\" asked Sheffield.\n\n\"He has turned Catholic,\" said Charles.\n\n\"What a fool!\" cried Sheffield.", "because, too, the more he had an opportunity of hearing and seeing, the\ngreater cause he had to admire and revere the Roman Catholic system, and\nto be dissatisfied with his own. Carlton, after carefully considering", "\"Talking of transitions,\" said Campbell abruptly, \"do you know that your\nman Willis--I don't know his college, he turned Romanist--is living in\nmy parish, and I have hopes he is making a transition back again.\"", "His companion looked round curiously at him, and then said, quietly,\n\"Depend upon it, there is quite evidence enough for a _moral conviction_\nthat the Catholic or Roman Church, and none other, is the voice of God.\"", "conviction which is upon me. This last week it has possessed me in a\ndifferent way than ever before. It is now so strong, that to wait longer\nis to resist God. Whether I join the Catholic Church is now simply a", "\"Four years!\" cried White; \"we shall be all real Catholics by then;\nEngland will be converted.\"\n\n\"It will be done just in time for the Bishop,\" said Charlotte.", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "his sympathies, and the like; and thereupon becomes a Catholic. Such a\nperson is often said to go by private judgment, to be choosing his", "\"You are come, then, to inquire whether I am likely to become a Jew.\"\n\n\"Stranger things have happened,\" answered his visitor; \"for instance, I\nmyself was once a deacon in the Church of England.\"", "\"What true? that I am a Roman Catholic? Oh, certainly; don't you\nunderstand, that's why I am reading so hard for the schools?\" said\nCharles.", "it suited him. He was to prepare for confession at once; and it was\nhoped that on the following Sunday he might be received into Catholic\ncommunion. After that, he was, at a convenient interval, to present", "Catholic. He said no one should go over merely because he thought he\nshould like it better; that he had found out by experience that no one\ncould live on sentiment; that the whole system of worship in the Romish", "There was a dreadful pause; Mary turned very pale; then, darting at a\nconclusion with precipitancy, she said quickly, \"You mean to say, you\nare going to join the Church of Rome, Charles.\"", "I am, my dear Dr. Russell,\n\n Your affectionate friend,\n\n JOHN H. NEWMAN.", "\"It has frequently been observed,\" said No. 4, \"nay it has struck me\nmyself, that the way to convert Romanists is first to convert the Pope.\"" ], [ "\"Four years!\" cried White; \"we shall be all real Catholics by then;\nEngland will be converted.\"\n\n\"It will be done just in time for the Bishop,\" said Charlotte.", "himself to the Bishop, from whom he would seek the sacrament of\nconfirmation. Not much time was necessary for removing his luggage from\nhis lodgings; and in the course of an hour from the time of his", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "\"You are come, then, to inquire whether I am likely to become a Jew.\"\n\n\"Stranger things have happened,\" answered his visitor; \"for instance, I\nmyself was once a deacon in the Church of England.\"", "Charles started; \"I knew him a little ... I have seen him several\ntimes.\"\n\n\"You know he left us,\" continued Vincent, \"and joined the Church of\nRome. Well, it is credibly reported that he is returning.\"", "becoming a Catholic, this he had lost; whatever he was to gain higher\nand better, at least this and such as this he never could have again. He\ncould not have another Oxford, he could not have the friends of his", "\"Well, what's the upshot?\" asked Sheffield.\n\n\"He has turned Catholic,\" said Charles.\n\n\"What a fool!\" cried Sheffield.", "it suited him. He was to prepare for confession at once; and it was\nhoped that on the following Sunday he might be received into Catholic\ncommunion. After that, he was, at a convenient interval, to present", "A tale, directed against the Oxford converts to the Catholic Faith, was\nsent from England to the author of this Volume in the summer of 1847,", "a free intellectual assent. He went on to ask him by what texts he\nproved the Protestant doctrine of justification. Charles gave two or\nthree of the usual passages with such success, that the Vice-Principal", "it effected a saving change in six hours; seventy-nine in which its\noperations took place in as few as three; and twenty-seven where\nconversion followed instantaneously after the perusal. At once, poor", "fellow. There was young Dalton of St. Cross; he goes abroad, and falls\nin with a smooth priest, who persuades the silly fellow that the\nCatholic Church is the ancient and true Church of England, the only", "His new friend looked surprised and not over-pleased; \"Surely,\" he said,\n\"in matter of fact, a man may have more _evidence_ for believing the", "sympathy and authority, and felt he was restored to himself. The\nconversation stopped. After a while he disclosed to his new friend the\nplace for which he was bound, which, after what Charles had already been", "BY\nJOHN HENRY NEWMAN,\nOF THE ORATORY.", "\"You take matters too seriously, Reding,\" answered Carlton; \"who does\nnot change his opinions between twenty and thirty? A young man enters", "of Bateman, now a clergyman, and lately appointed curate of a\nneighbouring parish. Charles had not seen him for a year and a half, and", "I am, my dear Dr. Russell,\n\n Your affectionate friend,\n\n JOHN H. NEWMAN.", "entered at St. Saviour's College; and he is in his sixth term from\nmatriculation, and his fourth of residence, at the time our story opens.", "be what he had been. People come to man's estate at very different\nages. Youngest sons in a family, like monks in a convent, may remain\nchildren till they have reached middle age; but the elder, should their" ], [ "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "\"Well, Charles Reding,\" he said, \"I think we know each other well enough\nfor you to have given me a hint of what was going on as regards you.\"\n\nCharles said he had written to him only the evening before.", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "\"That's about the truth,\" said another; \"I met Mr. Malcolm yesterday at\ndinner, and it seems he knows the family. He said that his religious\nnotions carried Reding away, and spoiled his reading.\"", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "At length he felt a light hand on his shoulder, and a voice said,\n\"Reding, I am going; let me just say farewell to you before I go.\" He", "them; but he hesitated about Reding. He had found him far less\ndefinitely Roman than he expected, and he conjectured that, by making\nhim his confidant and employing him against Willis, he really might", "\"Excuse me, Mr. Reding,\" he said, \"if before you go, I say one word. I\nfeel very much for the struggle which is going on in your mind; and I am", "Jennings sat upright in his easy-chair, with indignation mounting into\nhis forehead. At length his face became like night. \"_That_ is your\nopinion, Mr. Reding.\"\n\nCharles began to be frightened.", "Bateman seemed unwilling to talk on the subject; at last he said, \"Oh,\nmy dear Reding, you really are in an excited state of mind; I don't like", "\"You give me the name of a very good man, whom I hardly know by sight,\"\nsaid Reding; \"but I mean, that nobody knows what to believe, no one has", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "Reding was silent a moment; then he said, \"Well, I don't think you have\nmended the matter; it _is_ a dissenting meeting, call it what you will,\nthough not the kind of one I meant.\"", "\"I declare,\" said Reding to himself, \"it really has power over him;\" and\nhe still confronted Dr. Kitchens with it, while he kept it out of Dr.\nKitchens' reach.", "Reding was surprised, and shocked, and puzzled too; he did not know what\nto say; when the conversation was, perhaps fortunately, interrupted.\n\n\n\n\nCHAPTER V.", "length she asked, without raising her eyes, whether it was true--and she\nspoke slowly and in what is called a spiritual tone--whether it was\ntrue, the information had been given her, that Mr. Reding, the", "There was a silence; the answer conveyed a good deal: it was a relief,\nbut it was an intimation. \"Sit down, my dear Reding; will you have", "\"Mr. Reding,\" said he, \"I did not like to question you before the\nothers, but I conceive you had no particular _meaning_ in your praise of", "two friends of Mr. Reding's below, who wished very much to have a few\nminutes' conversation with him. Charles could make no intelligible\nobjection to the request; and in the course of a few minutes their knock", "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into" ], [ "There was a dreadful pause; Mary turned very pale; then, darting at a\nconclusion with precipitancy, she said quickly, \"You mean to say, you\nare going to join the Church of Rome, Charles.\"", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "\"True, my love,\" answered Mrs. Reding; \"Charles is a dear good fellow, I\nknow. How glad we all shall be to have him ordained, and settled in a\ncuracy!\"", "\"Excuse me, Mr. Reding,\" he said, \"if before you go, I say one word. I\nfeel very much for the struggle which is going on in your mind; and I am", "speaking to you about, Morley. A happy meeting; sit down, dear Reding; I\nhave much to tell you.\"", "There was a silence; the answer conveyed a good deal: it was a relief,\nbut it was an intimation. \"Sit down, my dear Reding; will you have", "Mary was frightened, and her heart beat. \"Charles,\" she said,\nwithdrawing her hand, \"any pain is less than to see you thus. I see too\nclearly that something is on your mind.\"", "\"My dearest Charles,\" said Mary tenderly, \"come, I will bear anything,\nand not be annoyed. Anything better than to see you go on in this way.\nBut really you frighten me.\"", "\"Ah, dear Mary, don't say so; it frightens me.\"\n\nShe looked round at him surprised, and almost frightened herself.", "Reding sighed; he saw clearly that his change of religion, when\ncompleted, would not fail to have an effect on Carlton's thoughts about", "\"Oh, Charles,\" said Mary, \"how changed you are!\" and tears came into her\neyes; \"you used to be so cheerful, so happy. You took such pleasure in", "\"My sweet Mary,\" he said, affectionately taking her hand, \"my only real\nconfidant and comfort, I would tell you something more, if you could\nbear it.\"", "At length he felt a light hand on his shoulder, and a voice said,\n\"Reding, I am going; let me just say farewell to you before I go.\" He", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "\"If you have made up your mind, Reding,\" said Carlton, \"it's no good\ntalking. May you be happy wherever you are! You must always be yourself;\nas a Romanist, you will still be Charles Reding.\"", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "\"There's more than that,\" said Mrs. Reding, \"if I knew what it was.\"\n\n\"He thinks the scent more intellectual than the other senses,\" said\nMary, smiling.", "\"Yet persons have before now been converted by the sight of Catholic\nworship,\" said Reding." ], [ "When Reding presented himself to the Vice-Principal, the Rev. Joshua\nJennings, to ask for leave to reside in lodgings for the two terms", "Jennings, at last to be sent down, as a rowing-man might be rusticated\nfor tandem-driving. You have no notion how strong the old Principal was,\nand Jennings too.\"", "Jennings sat upright in his easy-chair, with indignation mounting into\nhis forehead. At length his face became like night. \"_That_ is your\nopinion, Mr. Reding.\"\n\nCharles began to be frightened.", "This put all wrong again. Jennings would not allow this; it was a blind,\nPopish reliance; it was very well, when he first came to the University,", "\"Reding ought to live here all through the Long,\" said Tenby: \"does any\none live through the Vacation, sir, in Oxford?\"", "Mr. de Mowbray or Father Agostino gives his next retreat? Reding, it is\njust what you want, just what all Oxford men want; I think you will not\nrefuse me.\"", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "This was a home-thrust; the controversies of Oxford passed before\nReding's mind; but he instantly recovered himself. \"You cannot expect,\"", "\"How have your peaches been this year, Malcolm?\" said Mr. Reding one day\nafter dinner to his guest.\n\n\"You ought to know that we have no peaches in Oxford,\" answered Mr.\nMalcolm.", "forwarded from home; it was from Willis, dated from London, and\nannounced that he had come to a very important decision, and should not\nreturn to Oxford. Charles was fairly in the world again, plunged into", "coming. It's odd a man of such self-command as he should not better hide\nhis feelings; but I have always been able to see what Jennings was\nthinking about.\"", "\"Say in summer,\" said Reding; \"if you choose place, I will choose time.\nI think the University goes down just when Oxford begins to be most", "Jennings gave a little start in his arm-chair, and slightly coloured.\n\"Eh?\" he said; \"give me the book.\" He slowly read the Article, and then", "\"I don't see that at all, my dear Reding,\" said Carlton. \"It's not as if\nhe could not afford it; he has a good living waiting for him; and,", "subjects. Jennings fell on me the moment I entered his room. I can call\nit nothing else; very civil at first in his manner, but there was\nsomething in his eye before he spoke which told me at once what was", "Charles Reding was the only son of a clergyman, who was in possession of\na valuable benefice in a midland county. His father intended him for", "\"Because,\" answered Reding, \"you are more of a Dissenter than a\nCatholic. I beg your pardon,\" he added, seeing Willis look up sharply,", "he had kept his feelings to himself. When they were about to part,\nWillis said to him, in a subdued tone, \"You are soon going to Oxford,", "cut him on coming into residence, or, being entered at other colleges,\nhad lost sight of him. Almost everything depends at Oxford, in the\nmatter of acquaintance, on proximity of rooms. You choose your friend,", "from home whom he is seeking; not to say that freshmen, who naturally\nhave common feelings and interests, as naturally are allotted a\nstaircase in common. And thus it was that Charles Reding was brought" ], [ "the Church of England? \"Mr. Reding could not give her any satisfaction\non the subject of her inquiry;\"--he answered shortly, and had some", "\"Now this is just one of the points on which I can't get at the bottom\nof the Church of England's doctrine,\" Reding replied. \"But it's so on so", "Reding was silent a moment; then he said, \"Well, I don't think you have\nmended the matter; it _is_ a dissenting meeting, call it what you will,\nthough not the kind of one I meant.\"", "Jennings sat upright in his easy-chair, with indignation mounting into\nhis forehead. At length his face became like night. \"_That_ is your\nopinion, Mr. Reding.\"\n\nCharles began to be frightened.", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "\"He's too much of an Anglican for you,\" said Reding.", "It did not produce this effect on Reding. Whether he had expected too\nmuch, or whatever was the cause, so it was that he did but feel more", "Reding took some time to think over this. \"All this,\" he said, \"proceeds\non the fundamental principle that the Church of England is an integral", "\"Because,\" answered Reding, \"you are more of a Dissenter than a\nCatholic. I beg your pardon,\" he added, seeing Willis look up sharply,", "\"Well, they seem to me,\" said Reding, \"sometimes inconsistent with\nthemselves, sometimes with the Prayer Book; so that I am suspicious of", "\"Well, Reding,\" answered Carlton, \"you make Christianity a very\ndifferent religion from what our Church considers it, I really think;\"\nand he paused awhile.", "from the West End for the honour of an interview with Mr. Reding.\nCharles groaned, but only one reply was possible; the day was already\nwasted, and with a sort of dull resignation he gave permission for the", "been suspended since the time of the Apostles. And now you see the\nreason of my calling on you, Mr. Reding. It is reported that you lean", "Vexed as Reding was, he felt that he had no right to visit the\ntediousness of his former visitor upon his present; so he forced himself", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "Reding sighed; he saw clearly that his change of religion, when\ncompleted, would not fail to have an effect on Carlton's thoughts about", "Church, and then in all matters of faith the Church superseded it; but\nfrom this Oxford divine he could not get a distinct answer. First he was", "\"But _this_ is a different matter,\" said Reding, changing his ground;\n\"this is a matter of religion. It can't be right to go to strange places\nof worship or meetings.\"", "had seen the Church Service _carried out_, and could desiderate\nnothing;--tell me, my dear good Reding,\" taking hold of his button-hole," ], [ "\"Willis!\" he cried, as he stopped.\n\nWillis coloured, and tried to look easy.", "He found Willis in company with a person apparently two or three years\nolder. Willis started on seeing him.", "Mr. Morley began: \"If you knew the circumstances better,\" he said, \"you\nwould doubtless judge differently. I consider Mr. Willis to be just the", "\"I have not introduced you,\" said Willis. \"Reding, let me introduce Mr.\nMorley; Morley, Mr. Reding. Yes, Reding, I owe it to him that I am a", "Charles sat down opposite Willis, and for a while could not keep his\neyes from him. At first he had some difficulty in believing he had", "Willis did not know whether he was in jest or earnest. \"Reding,\" he\nsaid, \"don't go on; you offend me.\"\n\n\"Well, what is it?\" said Charles.", "Now, at least, there was no mistaking Willis. Bateman stared, and was\nalmost frightened at a burst of enthusiasm which he had been far from", "\"That is too much,\" said Willis, gently; then, disengaging his arm from\nReding's, he suddenly darted away from him, saying, \"Good-bye, good-bye;", "paused before he answered; then he said briefly, that he was aware that\nhe did not know the Roman Catholic religion, but he knew Mr. Willis. He", "Willis laughed; \"Well, not a bad reason, as times go, _I_ think,\" said\nhe: \"poor souls, what better means of judging have they? how can you", "prodigious. Well, Willis saw all this; and I have it on good authority,\"\nhe said mysteriously, \"that he is thoroughly disgusted with the whole\naffair, and is coming back to us.\"", "himself, \"but very unfairly, most unfairly; one ought to be up to their\ndodges. I dare say, if the truth were known, Willis has had lessons; he", "\"I see it,\" continued Willis; and, starting up, he seized his arm;\n\"come, my dear fellow, come with me directly; let us go to the good", "\"You know well enough,\" answered Willis, \"though you wish to annoy me.\"\n\n\"I don't indeed.\"\n\n\"It's the Catholic church,\" said Willis.", "so much when he heard him talk; still he could not help being interested\nin him, and not the least for this reason, that Willis seemed to have\ntaken a great fancy to himself. He certainly did court Charles, and", "too, for what he knew, Willis might by this time be better read than\nhimself. He considered, too, that, if Willis had been at all shaken in", "as it is independent or not.\" Then he said to himself, \"White, too, has\nmore in him than I thought; he really has spoken about Willis very\nsensibly: what has come to him?\"", "control. It was Willis; and apparently submitted to the process of\nreconversion. Charles was evidently _de trop_, but there was no help for\nit; so he shook hands with Willis, and accepted the pressing call of", "\"Come, my dear Willis,\" he said, \"I can't let you off so; I am sure what\nyou saw abroad scandalized you.\"", "\"Not so,\" said Willis; \"you must follow me, and we shall be one still.\"\n\nCharles was half offended; \"Really I must go,\" he said, and he rose;\n\"you must not talk in that manner.\"" ], [ "Charles started; \"I knew him a little ... I have seen him several\ntimes.\"\n\n\"You know he left us,\" continued Vincent, \"and joined the Church of\nRome. Well, it is credibly reported that he is returning.\"", "\"A person must go somewhere,\" answered Campbell; \"I suppose he went to\nchurch up to the week he joined the Romanists.\"", "Catholic. I have been on a tour with him abroad. We met with a good\npriest in France, who consented to receive my abjuration.\"", "There was no help for it. Charles walked slowly home, saying to himself:\n\"What if, after all, the Roman Catholic Church is the true Church? I", "it suited him. He was to prepare for confession at once; and it was\nhoped that on the following Sunday he might be received into Catholic\ncommunion. After that, he was, at a convenient interval, to present", "\"But what do you mean by the Catholic Church?\" asked Freeborn.\n\n\"The Anglican,\" answered Bateman.\n\n\"The Roman,\" answered White; both in the same breath.", "\"Well, what's the upshot?\" asked Sheffield.\n\n\"He has turned Catholic,\" said Charles.\n\n\"What a fool!\" cried Sheffield.", "His companion interposed: \"I am taking a liberty perhaps,\" he said; \"but\nMr. Willis has been regularly received into the Catholic Church.\"", "because, too, the more he had an opportunity of hearing and seeing, the\ngreater cause he had to admire and revere the Roman Catholic system, and\nto be dissatisfied with his own. Carlton, after carefully considering", "There was a dreadful pause; Mary turned very pale; then, darting at a\nconclusion with precipitancy, she said quickly, \"You mean to say, you\nare going to join the Church of Rome, Charles.\"", "\"What true? that I am a Roman Catholic? Oh, certainly; don't you\nunderstand, that's why I am reading so hard for the schools?\" said\nCharles.", "His companion looked round curiously at him, and then said, quietly,\n\"Depend upon it, there is quite evidence enough for a _moral conviction_\nthat the Catholic or Roman Church, and none other, is the voice of God.\"", "\"Don't you think, then, it would be well,\" continued Charles, \"that,\nbefore coming to convert me, you should first join the Catholic Church?", "becoming a Catholic, this he had lost; whatever he was to gain higher\nand better, at least this and such as this he never could have again. He\ncould not have another Oxford, he could not have the friends of his", "\"I am,\" answered Jack, as if he were confessing at the tribunal of a\nProprÃ¦tor, \"I am a member of the Holy Catholic Church.\"", "\"Well, then,\" said Bateman, \"I will appeal to the Church of Rome too.\nRome is part of the Catholic Church as well as we: since, then, the", "Catholic. He said no one should go over merely because he thought he\nshould like it better; that he had found out by experience that no one\ncould live on sentiment; that the whole system of worship in the Romish", "\"We are very well inclined to the Roman Catholics,\" answered Mr.\nHighfly, with some hesitation; \"we have adopted a great part of their", "very person on whom it was incumbent to join the Church, and who will\nmake an excellent Catholic. You must blame, not the venerable priest who", "reply that he was on the point of _becoming_ a Catholic, so he shortly\nanswered in the negative. Mr. Mumford then informed him that there were" ], [ "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "\"Yet persons have before now been converted by the sight of Catholic\nworship,\" said Reding.", "Some dear sisters of hers were engaged in organizing a new religious\nbody, and Mr. Reding's accession, counsel, assistance, would be\nparticularly valuable; the more so, because as yet they had not any", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "followed. Reding thought he never had been present at worship before, so\nabsorbed was the attention, so intense was the devotion of the\ncongregation. What particularly struck him was, that whereas in the", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "\"Hear me out, Mr. Reding, sir,\" answered Jack, waving his hand; \"hear\nme, but strike; I repeat, I am a member of the Holy Catholic Church,\nassembling in Huggermugger Lane.\"", "\"Yes, Mrs. Reding,\" said Bateman; \"but by ancestors I meant the holy\nBishops and other members of our Catholic Church previously to the", "impertinent, proceeded to inquire if Mr. Reding was a Catholic. \"The\nquestion had been put to him, and he thought he might venture to solicit\nan answer from the person who could give the most authentic", "Reding sighed; he saw clearly that his change of religion, when\ncompleted, would not fail to have an effect on Carlton's thoughts about", "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into", "\"If you have made up your mind, Reding,\" said Carlton, \"it's no good\ntalking. May you be happy wherever you are! You must always be yourself;\nas a Romanist, you will still be Charles Reding.\"", "She continued: \"Perhaps it is right, Mr. Reding, that I should tell you\nsomething more about myself personally. I was born in the communion of", "Charles Reding, Esq., member of Oxford University, had unanimously\nelected him into their number, and had assigned him the dignified and\nresponsible office of associate and corresponding member.", "\"Well, I think he might profitably have examined into your state of mind\na little before he did so,\" said Reding; \"_you_ are not the person to\nbecome a Catholic, Willis.\"\n\n\"What do you mean?\"", "dearest Reding; oh, that you were one with us! You have it in you. I\nhave thought of you at Mass many times. Our priest has said Mass for", "\"Because,\" answered Reding, \"you are more of a Dissenter than a\nCatholic. I beg your pardon,\" he added, seeing Willis look up sharply,", "Presently he said, dryly and abruptly, \"Reding, do you know any Roman\nCatholics?\"" ], [ "It was a pale-faced man of about thirty-five, who, when he spoke, arched\nhis eyebrows, and had a peculiar smile. He began by expressing his", "who were very little younger than himself. Besides, Vincent looked much\nolder than he really was; he was of a full habit, with a florid", "there was a thin line down his face on each side of his mouth; his\ncheeks were wanting in fulness, and he had the air of a man of thirty.\nWhen he entered into conversation, and became animated, his former self", "the deputy, and in the presence of him whom now he succeeded. His\nfather, being not much more than a middle-aged man, had been accustomed", "room, where, being left to himself, he had time to collect his thoughts.\nAt length the Superior appeared; he was a man past the middle age, and", "\"You take matters too seriously, Reding,\" answered Carlton; \"who does\nnot change his opinions between twenty and thirty? A young man enters", "be what he had been. People come to man's estate at very different\nages. Youngest sons in a family, like monks in a convent, may remain\nchildren till they have reached middle age; but the elder, should their", "Most of the party were undergraduates; he (Freeborn) was a Master; it\nwas too bad of Bateman. He finished in silence his sausage, which had", "\"My young friend,\" said Vincent, finishing his mutton, and pushing his\nplate from him, \"my two young friends--for Carlton is not much older", "He found Willis in company with a person apparently two or three years\nolder. Willis started on seeing him.", "\"Well,\" said White, who did not seem in great awe of the young M.A.,\nthough some years, of course, his senior, \"I will take a better", "he been older than they, he would have talked of \"young heads,\" \"hot\nheads,\" and the like; but since they were grave and cool men, and outran", "before he had read the Articles, to take them on trust; but a young man\nwho had had the advantages of Mr. Reding, who had been three years at", "His new friend looked surprised and not over-pleased; \"Surely,\" he said,\n\"in matter of fact, a man may have more _evidence_ for believing the", "of Bateman, now a clergyman, and lately appointed curate of a\nneighbouring parish. Charles had not seen him for a year and a half, and", "rather, there was no one to know him; he had been virtually three years\naway; three years is a generation; Oxford had been his place once, but", "of things passed away for centuries, while the real work might be done\nin a quarter of an hour. I fall in with this Bateman, and he talks to me", "\"He has other friends in the room,\" said another: \"I think,\" turning to\na young Fellow of Leicester, \"_you_, Sheffield, were at one time\nintimate with Reding?\"", "\"So it seems,\" said Sheffield, \"for that must have been at least, let me\nsee, four or five years ago.\"", "deportment, he hated the show of religion, and was impatient at those\nwho affected it. He had known the University for thirty years, and\nformed a right estimate of most things in it. He had come out to Oxley" ], [ "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into", "The time at length was come; Reding could not bear more; and, as it\nhappened, his visitor's offence gave him the means, as well as a cause,", "two friends of Mr. Reding's below, who wished very much to have a few\nminutes' conversation with him. Charles could make no intelligible\nobjection to the request; and in the course of a few minutes their knock", "from the West End for the honour of an interview with Mr. Reding.\nCharles groaned, but only one reply was possible; the day was already\nwasted, and with a sort of dull resignation he gave permission for the", "Now they got into a fresh discussion among themselves; and, as it seemed\nas interminable as it was uninteresting, Reding took an opportunity to", "had not been for a quarter of an hour past, did not find himself in\nspirits to try much to detain either them or Reding; so he was speedily", "Reding moved towards him, and, spreading his arms as one drives sheep\nand poultry in one direction, he repeated, looking towards the door,", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "Reding was surprised, and shocked, and puzzled too; he did not know what\nto say; when the conversation was, perhaps fortunately, interrupted.\n\n\n\n\nCHAPTER V.", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "them; but he hesitated about Reding. He had found him far less\ndefinitely Roman than he expected, and he conjectured that, by making\nhim his confidant and employing him against Willis, he really might", "\"It's quite true,\" returned Fusby; \"I had it from the Under-Marshal, who\nwas passing at the moment. My eye has been on Mr. Reding for some\nyears.\"", "There was a silence; the answer conveyed a good deal: it was a relief,\nbut it was an intimation. \"Sit down, my dear Reding; will you have", "At length he felt a light hand on his shoulder, and a voice said,\n\"Reding, I am going; let me just say farewell to you before I go.\" He", "\"My dear Reding,\" said Carlton, with some emotion, \"where did you get\nthese notions?\"", "\"Well, Charles Reding,\" he said, \"I think we know each other well enough\nfor you to have given me a hint of what was going on as regards you.\"\n\nCharles said he had written to him only the evening before.", "again appeared at the door. He assured Mr. Reding that it was no fault\nof his that the last two persons had called on him; that the lady had", "before he had read the Articles, to take them on trust; but a young man\nwho had had the advantages of Mr. Reding, who had been three years at", "\"Reding, my good fellow,\" said he, \"what is the meaning of this report\nconcerning you, which is everywhere about?\"\n\n\"I have not heard it,\" said Charles abruptly.", "which were duly responded to by Reding, the two visitors took their\ndeparture." ], [ "\"But is that really all?\" she said; \"who wants you to lead an Oxford\nlife? not we.\"\n\n\"No, but Oxford implies taking a degree--taking orders.\"", "One day the King passed through Oxford; Sturdy, a tall, upright,\niron-faced man, had to meet him in procession at Magdalen Bridge, and", "Charles Reding, Esq., member of Oxford University, had unanimously\nelected him into their number, and had assigned him the dignified and\nresponsible office of associate and corresponding member.", "about Oxford and Oxford men. He really liked him, and wished to please\nhim; but, as to consulting him in any serious matter, or going to him", "who had known _what_ the Church of England was; not a Dissenter, not an\nunlettered layman; but one who had been at Oxford, who had come across", "least some personal knowledge of Oxford, and some perception of the\nvarious aspects of the religious phenomenon, which the work in question\nhandled so rudely and so unskilfully.", "\"Now you are a Puseyite,\" said Sheffield in surprise.", "At Oxford, it is needless to say, he had found a great number of his\nschoolfellows, but, it so happened, had found very few friends among", "becoming a Catholic, this he had lost; whatever he was to gain higher\nand better, at least this and such as this he never could have again. He\ncould not have another Oxford, he could not have the friends of his", "Church, and then in all matters of faith the Church superseded it; but\nfrom this Oxford divine he could not get a distinct answer. First he was", "Mr. de Mowbray or Father Agostino gives his next retreat? Reding, it is\njust what you want, just what all Oxford men want; I think you will not\nrefuse me.\"", "BY\nJOHN HENRY NEWMAN,\nOF THE ORATORY.", "maintain, and quarrel, as the orders do in the Church of Rome. No,\nthat's too grand a comparison; rather, Oxford is like an almshouse for", "nor of Oxford itself. He was introduced, and found the awkwardness of a\nnew acquaintance little relieved by the conversation which went on. It\nwas a dropping fire of serious remarks; with pauses, relieved only by", "abruptly stopped the conversation; and, after apparently beating about\nfor an introductory topic, he said, \"Perhaps I can read you, sir, better\nthan you can me. You are an Oxford man by your appearance.\"", "A tale, directed against the Oxford converts to the Catholic Faith, was\nsent from England to the author of this Volume in the summer of 1847,", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "some of the men have turned Romans; and they say that there are\nstrangers going about Oxford whom no one knows anything of. Jack, who is\na bit of a divine himself, says he heard the Principal say that, for", "distinguished person, whom that solemnity brought up to Oxford; no less\na man than the Very Rev. Dr. Brownside, the new Dean of Nottingham, some", "\"Well, I will speak more precisely,\" said Sheffield: \"an Oxford man,\nsome ten years since, was going to publish a history of the Nicene" ], [ "He had gone to lecture, and he had been lectured; and he had let out his\nsecret state of mind: no, not let out, he had nothing to let out. He had", "The speaker was a layman; he spoke with earnestness the more intense,\nbecause quiet. Charles felt himself reproved by his manner; his good", "of Bateman, now a clergyman, and lately appointed curate of a\nneighbouring parish. Charles had not seen him for a year and a half, and", "of things passed away for centuries, while the real work might be done\nin a quarter of an hour. I fall in with this Bateman, and he talks to me", "His new friend looked surprised and not over-pleased; \"Surely,\" he said,\n\"in matter of fact, a man may have more _evidence_ for believing the", "wanted. Before entering, Charles hung back, and whispered to his friend\nthat he did not know Bateman. An introduction, in consequence, took", "sympathy and authority, and felt he was restored to himself. The\nconversation stopped. After a while he disclosed to his new friend the\nplace for which he was bound, which, after what Charles had already been", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "the New Jerusalem!\" \"In charity,\" said Reding, without changing his\nattitude, \"in charity, leave me alone. You mean it well, but I don't", "But to return to the subject of our narrative. What a mystery is the\nsoul of man! Here was Charles, busy with Aristotle and Euripides,", "end the conversation than the visit. He threw himself back in his chair\nin despair, and half closed his eyes. \"Oh, those good Irvingites,\" he", "The stranger assented; \"A man's moral self,\" he said, \"is concentrated\nin each moment of his life; it lives in the tips of his fingers, and the\nspring of his insteps. A very little thing tries what a man is made of.\"", "whom Charles knew. He was a man of family, and had some little property\nof his own, had been a contemporary of his father's at the University,", "what it was, but what he had ever wanted,--a soul sympathetic with his\nown. He felt he was no longer alone in the world, though he was losing", "He was one day sitting thoughtfully over the fire with a book in his\nhand, when Mary entered. \"I wish you would teach _me_ the art of reading\nGreek in live coals,\" she said.", "\"That's about the truth,\" said another; \"I met Mr. Malcolm yesterday at\ndinner, and it seems he knows the family. He said that his religious\nnotions carried Reding away, and spoiled his reading.\"", "\"I believe not, indeed,\" answered Sheffield; \"he lived out of\ncontroversy, was a literary, accomplished person, and a man of piety to", "nor of Oxford itself. He was introduced, and found the awkwardness of a\nnew acquaintance little relieved by the conversation which went on. It\nwas a dropping fire of serious remarks; with pauses, relieved only by", "priest who lives two streets off. You shall be received this very day.\nOn with your hat.\" And, before Charles could show any resistance, he was\nhalf out of the room.", "viewed in all its parts, constituted a new religion. He did not speak of\nhimself definitely, but he said generally that all this might be a great" ], [ "It must also be added, to prevent a farther misconception, that no\nproper representative is intended in this tale, of the religious\nopinions which had lately so much influence in the University of Oxford.", "least some personal knowledge of Oxford, and some perception of the\nvarious aspects of the religious phenomenon, which the work in question\nhandled so rudely and so unskilfully.", "any congeniality can exist between their members and the mass of\nreligious sectarians. You have had very distinguished men among you,\nsir, at Oxford, of very various schools, yet all able men, and", "there's much,\" he continued, rousing; \"certainly there is more division\njust at this minute in Oxford, but there always is division, always\nrivalry. The separate societies have their own interests and honour to", "and parties in Oxford, which had so many bad effects, making so many\ntalk, so many criticise, and not a few perhaps doubt about truth\naltogether. Then he said that, evil as it was in a place of education,", "October came at length, and with it Charles's thoughts were turned again\nto Oxford. One or two weeks passed by; then a few days; and it was time", "maintain, and quarrel, as the orders do in the Church of Rome. No,\nthat's too grand a comparison; rather, Oxford is like an almshouse for", "becoming a Catholic, this he had lost; whatever he was to gain higher\nand better, at least this and such as this he never could have again. He\ncould not have another Oxford, he could not have the friends of his", "\"My dear Bateman,\" said Willis, \"you seem to live in an atmosphere of\ncontroversy; so it was at Oxford; there was always argument going on in", "nor of Oxford itself. He was introduced, and found the awkwardness of a\nnew acquaintance little relieved by the conversation which went on. It\nwas a dropping fire of serious remarks; with pauses, relieved only by", "This put all wrong again. Jennings would not allow this; it was a blind,\nPopish reliance; it was very well, when he first came to the University,", "A tale, directed against the Oxford converts to the Catholic Faith, was\nsent from England to the author of this Volume in the summer of 1847,", "One day the King passed through Oxford; Sturdy, a tall, upright,\niron-faced man, had to meet him in procession at Magdalen Bridge, and", "The time came at length for Charles to return to Oxford; but during the\nlast month scruples had arisen in his mind, whether, with his present", "deportment, he hated the show of religion, and was impatient at those\nwho affected it. He had known the University for thirty years, and\nformed a right estimate of most things in it. He had come out to Oxley", "Church, and then in all matters of faith the Church superseded it; but\nfrom this Oxford divine he could not get a distinct answer. First he was", "company, whether at the school itself, or afterwards at Oxford. To that\ncelebrated seat of learning he was in due time transferred, being", "some of the men have turned Romans; and they say that there are\nstrangers going about Oxford whom no one knows anything of. Jack, who is\na bit of a divine himself, says he heard the Principal say that, for", "suspected men in the University, Mede on the Apostasy, the Catholic\nRelief Bill, Dr. Pusey's Tract on Baptism, Justification, and the\nappointment of the Taylor Professors.", "\"Well, I will speak more precisely,\" said Sheffield: \"an Oxford man,\nsome ten years since, was going to publish a history of the Nicene" ], [ "Charles Reding was the only son of a clergyman, who was in possession of\na valuable benefice in a midland county. His father intended him for", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "\"True, my love,\" answered Mrs. Reding; \"Charles is a dear good fellow, I\nknow. How glad we all shall be to have him ordained, and settled in a\ncuracy!\"", "\"If you have made up your mind, Reding,\" said Carlton, \"it's no good\ntalking. May you be happy wherever you are! You must always be yourself;\nas a Romanist, you will still be Charles Reding.\"", "\"Reding, my good fellow,\" said he, \"what is the meaning of this report\nconcerning you, which is everywhere about?\"\n\n\"I have not heard it,\" said Charles abruptly.", "the New Jerusalem!\" \"In charity,\" said Reding, without changing his\nattitude, \"in charity, leave me alone. You mean it well, but I don't", "from the West End for the honour of an interview with Mr. Reding.\nCharles groaned, but only one reply was possible; the day was already\nwasted, and with a sort of dull resignation he gave permission for the", "\"Well, Charles Reding,\" he said, \"I think we know each other well enough\nfor you to have given me a hint of what was going on as regards you.\"\n\nCharles said he had written to him only the evening before.", "Charles at once changed his tone in speaking to him. He came to Mr.\nReding, he said, from a sense of duty; and there was nothing in his", "Charles Reding, Esq., member of Oxford University, had unanimously\nelected him into their number, and had assigned him the dignified and\nresponsible office of associate and corresponding member.", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "Charles started; \"I knew him a little ... I have seen him several\ntimes.\"\n\n\"You know he left us,\" continued Vincent, \"and joined the Church of\nRome. Well, it is credibly reported that he is returning.\"", "\"Charles, you must know,\" said Mr. Reding to his guest, \"is romantic in\nhis notions just now. I believe it is that he thinks no one good enough", "Now Charles Reding, a youth of twenty, could not be supposed to have\nmuch of a view in religion or politics; but no clever man allows himself", "\"Take it away, Mr. Reding, I beseech you,\" cried Kitchens, still\nretreating, while Charles still pressed on him; \"take it away, it's too", "followed. Reding thought he never had been present at worship before, so\nabsorbed was the attention, so intense was the devotion of the\ncongregation. What particularly struck him was, that whereas in the", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "He returned to his former subject. \"In what sense do you understand the\nArticles, Mr. Reding?\" he asked. That was more than Charles could tell;", "from home whom he is seeking; not to say that freshmen, who naturally\nhave common feelings and interests, as naturally are allotted a\nstaircase in common. And thus it was that Charles Reding was brought", "\"Not yet, Miss Reding, not yet,\" answered he; \"of course they are\ndestroying the pews.\"\n\n\"They are to put in seats,\" said Charles, \"and of a very good pattern.\"" ], [ "private judgment, as a duty, but they have never sought, they have never\njudged; they are where they are, not because it is true, but because\nthey find themselves there, because it is their 'providential position,'", "approves of private judgment; and that private judgment, so far forth as\nit is admitted, necessarily involves parties; the slender private\njudgment allowed in the Church of Rome admitting occasional or local", "difficulties than we have. You _must_ sacrifice your private judgment.\"", "might open them and see. There is no absurdity, then, or inconsistency\nin a person first using his private judgment and then denouncing its\nuse. Circumstances change duties.", "the question in another form, and asked if the Christian Religion\nallowed of private judgment? This was no abstruse question, and a very\npractical one. Had he asked a Wesleyan or Independent, he would have had", "his sympathies, and the like; and thereupon becomes a Catholic. Such a\nperson is often said to go by private judgment, to be choosing his", "religion by his own standard of what a religion ought to be. Now it need\nnot be denied that those who are external to the Church must begin with\nprivate judgment; they use it in order ultimately to supersede it; as a", "parties in a church, a church may thank itself for them. They are the\ncertain effect of private judgment; and the more private judgment you\nhave, the more parties you will have. You are reduced, then, to this", "course he was seeking the truth; it was his duty to do so; he\nrecollected distinctly his tutor laying down, on one occasion, the duty\nof private judgment. This was the very difference between Protestants", "But still, after all, the person in question does not, strictly\nspeaking, judge of the external system presented to him by his private", "private judgment, if I _must_ act on faith, there _is_ a Church which\nhas a greater claim on us all than the Church of England.\"", "parties, and the ample private judgment allowed in our Church\nrecognizing parties as an element of the Church.\"", "Church-of-England people say. They tell us to seek, they give us rules\nfor seeking, they make us exert our private judgment; but directly we", "\"This is just an instance in point,\" said Willis; \"you see you are\njudging _Ã priori_; you know nothing of the state of the case from", "ideas, but he brings in the dicta of that system to confirm and to\njustify certain private judgments and personal feelings and habits\nalready existing. Reding, for instance, felt a difficulty in determining", "acts, conclusions, and judgments, must accompany that worship and\nobedience. He might not realize his own belief till questions had been\nput to him; but then a single discussion with a friend, such as the", "attempting to form a judgment on the subject; but, my dear Carlton, I\nprotest to you, and you may think with what distress I say it, that if", "told that doubtless we _must_ use our judgment in the determination of\nreligious doctrine; but next he was told that it was sin (as it", "an unconditional answer in the affirmative; had he asked a Catholic, he\nwould have been told that we used our private judgment to find the", "Charles paused to think; at last he said: \"Persons who band together on\ntheir own authority for the maintenance of views of their own.\"" ], [ "Charles Reding, Esq., member of Oxford University, had unanimously\nelected him into their number, and had assigned him the dignified and\nresponsible office of associate and corresponding member.", "Charles Reding was the only son of a clergyman, who was in possession of\na valuable benefice in a midland county. His father intended him for", "forwarded from home; it was from Willis, dated from London, and\nannounced that he had come to a very important decision, and should not\nreturn to Oxford. Charles was fairly in the world again, plunged into", "Charles looked up in his face, and smiled. \"It is not my line,\" he said\nat length. \"I am on my way to Oxford. I must go. I came here to be of", "from the West End for the honour of an interview with Mr. Reding.\nCharles groaned, but only one reply was possible; the day was already\nwasted, and with a sort of dull resignation he gave permission for the", "This was a home-thrust; the controversies of Oxford passed before\nReding's mind; but he instantly recovered himself. \"You cannot expect,\"", "October came at length, and with it Charles's thoughts were turned again\nto Oxford. One or two weeks passed by; then a few days; and it was time", "The funeral is over by some days; Charles is to remain at home the\nremainder of the term, and does not return to Oxford till towards the", "Charles's perplexities rapidly took a definite form on his coming into\nDevonshire. The very fact of his being at home, and not at Oxford where", "\"Reding, my good fellow,\" said he, \"what is the meaning of this report\nconcerning you, which is everywhere about?\"\n\n\"I have not heard it,\" said Charles abruptly.", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "\"Take it away, Mr. Reding, I beseech you,\" cried Kitchens, still\nretreating, while Charles still pressed on him; \"take it away, it's too", "The time came at length for Charles to return to Oxford; but during the\nlast month scruples had arisen in his mind, whether, with his present", "\"Well, Charles Reding,\" he said, \"I think we know each other well enough\nfor you to have given me a hint of what was going on as regards you.\"\n\nCharles said he had written to him only the evening before.", "Mrs. Reding was by this time settled in the neighbourhood of old friends\nin Devonshire; and there Charles spent the winter and early spring with\nher and his three sisters, the eldest of whom was two years older than\nhimself.", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "indeed, that Willis had been detained in Oxford, as he had been himself;\nbut what had compelled him to a visit so extraordinary as that which he\nhad just made, Charles had no means of determining.", "from home whom he is seeking; not to say that freshmen, who naturally\nhave common feelings and interests, as naturally are allotted a\nstaircase in common. And thus it was that Charles Reding was brought", "Charles went up this term for his first examination, and this caused him\nto remain in Oxford some days after the undergraduate part of his", "Charles at once changed his tone in speaking to him. He came to Mr.\nReding, he said, from a sense of duty; and there was nothing in his" ] ]	[ "Which group was despised out of all of the thinkers?", "Why was the Roman Catholic Church despised?", "What was the advice that Reding's father provided him?", "What do conversation with Sheffield convince Reding of?", "What is Reding forced to subscribe to, yet has doubts about?", "What temporarily erases Reding's doubts of the Thirty-nine Articles?", "How was Reding received when telling his family about his plan to convert?", "What church does Reding ultimately join?", "What church is Reding originally a part of?", "What movement was Newman the leading member of?", "What did the Oxford movement advocate?", "Why was the Roman Catholic Church despised?", "When did Newman convert to Roman Catholicism?", "How old was Newman at the time of his conversion?", "Who does Redding confess his doubts to?", "When Redding converts what emotions does Mary express to him?", "Why does Jennings force Redding to live away from Oxford during his studies?", "Why is Redding disappointed when he seeks out Church authority?", "Who is Willis?", "Who joined the Roman Catholic church?", "Where did Reding join the Catholic Church?", "How old was Newman?", "Where was Reding confronted by emissaries?", "Who was the leading member of the Oxford Movement?", "What did Newman do for a living?", "When were the religious tensions occurring at Oxford University?", "What church did Charles Reding depart?", "What is Private Judgment?", "Who forced Charles Reding to live away from Oxford?" ]	[ [ "Roman Catholic Church.", "Roman Catholic Church" ], [ "Introduction of superstition into its practice.", "Because they had introduced superstition into their practice of religion." ], [ "To submit to the teachings of the English Church, but not follow any factious parties.", "Become involved in the teachings of the Church of England but not the parties within. " ], [ "There are right and wrong answers in doctrinal matters.", "doctrinal matters must have a right and wrong answers" ], [ "Thirty-nine Articles.", "The Church of England " ], [ "Reding's father's death.", "the death of his father" ], [ "Reding was received with resentment and anger.", "His family are resentful and hurt" ], [ "Roman Catholic Church.", "the Roman Catholic Church" ], [ "Anglican Church.", "Church of England" ], [ "Oxford Movement", "The Oxford Movement" ], [ "The catholic interpretation of the church of England.", "Catholic interpretation of the Church of England" ], [ "They brought in the belief of superstitions.", "Because of the superstition involved in its practice." ], [ "1845", "1845" ], [ "in his 40's", "40s" ], [ "his sister Mary", "Mary" ], [ "Anger and resetnment", "Anger" ], [ "to not corrupt the other students", "so he is not a bad influence on the other students" ], [ "he finds disention", "There was no consensus, only contradictory ideas." ], [ "a former Oxford peer who converted to Roman Catholicism", "A former Oxford peer" ], [ "Charles Reding. ", "Reding" ], [ "The Passionists Convent. ", "Passionists Convent" ], [ "In his 40s. ", "In his 40's" ], [ "London. ", "at Oxford" ], [ "Newman. ", "Newman " ], [ "He was a theologian. ", "Leading Member of the Oxford Movement" ], [ "The 1840s. ", "The 1840's." ], [ "The Anglican church. ", "The Church of Englad" ], [ "A Protestant doctrine. ", "It locates authority in an individual" ], [ "Jennings ", "To prevent him from corrupting students" ] ]	9ff140c1a8d2d147eaa956d8783481e401ab3beb	train
[ [ "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "LT is very high now. A meditative, hallucinatory state.\n\n ARIANE takes a DIET COKE and lies down on the BED.", "LT, out of breath from his tirade, lets the Downtown half of \n his dose kick in but good.", "LT breaks out more COKE and some GRASS.\n\n LT\n All right, Bowtay. Show us your stuff.", "LITE\n Don't bullshit me.\n\n LT keeps doing COKE off hs wrist, even as ne speaks to LITE. \n LT can't seem to wipe the smile off his face.", "Apparently BOWTAY overheard that drugs are on the way. BOWTAY \n appears out of the KITCHEN.\n\n BOWTAY sits down near by, awaiting her DOSE.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "He puts them down, takes a BEER for himself. ARIANE doesn't \n turn around. She's busy preparing drugs.", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "LT arrives, leading a BUST. Lots of COPS. LT chases a handsome \n young COKE DEALER, JC, cornering him a couple flights up a", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "LT is some 40 years old. His natural swagger makes up for \n his lack of conventional good looks. He is obviously hung-\n over.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT\n Fuck you.\n (takes a deep hit)\n Just give me back a little something \n for the road.", "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars.", "Finally, LT approaches a hustling STREET DEALER. He cops. \n The STREET DEALER is wearing a WALKMAN, so the deal goes \n down in mime.", "They mime the deal. LT buys some COKE for immediate use.\n\n LT does the COKE off his wrist as he moves through the CROWD.", "LT\n It's not the drugs, Ariane, it's -- \n it's someone who wants to kill me.\n (beat)\n You gotta believe me!" ], [ "LT\n That's my problem. Just put in my \n bet.\n\n LITE gestures assent, but is not happy. He waits a moment, \n looks around.", "A change comes over LT. He leans in, gets seriously excited. \n LT is possessed by his memory of this afternoon's game.", "Now LT has to take their BETS for tomorrow afternoon's GAME, \n the FOURTH GAME of the World Series. LT urges the COPS to \n bet against the Mets.", "LT absorbs this, then bursts out.\n\n LT\n Fuck the nuns, man! I'm talking about \n Strawberry! Is the bet down?", "The COP BETS total $800 -- on OAKLAND. LT has obviously been \n the bookie for this precinct for a long time. He takes care \n of a lot of action and has these guy's faith.", "LITE stands up. He writes the BOOKIE'S NUMBER on a MATCHBOOK \n and gives it to LT.\n\n LITE leans over and gives LT a final warning.", "LT comes down off the CAR HOOD. Now he has to feign pride in \n his supposed big bet on OAKLAND.", "LT, his betting friend who is not a cop comes up beside him.\n\n LITE\n OK asshole. You owe thirty grand. \n Now what are you gonna do?", "LT. He watches STRAWBERRY as --\n\n With winning runs on, STRAWBERRY takes strike three, to lose \n the game.", "LITE\n (OC)\n All right. What are you gonna do?\n\n LT\n I want 15 on the Mets.", "COP ONE SHRUGS his assent, gives CASH to LT. The OTHER COPS \n follow his example, place their BETS on OAKLAND.", "LT pulls up alone beside a PHONE BOOTH and phones in the \n COPS' bets and his own to LITE. More than an anonymous", "GAME FIVE is close, and features STRAWBERRY. As LT listens, \n he reacts physically to the changing status of the game.\n\n He drives crazy through the streets, pounds the ceiling.", "LT has to convince the COPS to keep betting -- he can't afford \n to pay them all off. Unfortunately, the COPS all think LT \n just scored big, himself.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "Worst of all, the Mets are seriously behind. They are \n definitely LOSING.\n\n LT drags himself onward.\n\n CUT TO:", "CUT TO:\n\n DAY FIVE:\n\n GAME SEVEN: LT GETS DOUBLE OR NOTHING: $120,000", "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "LT\n There's nothing to think about. Either \n you put in my bet or you ain't getting \n nothing.\n\n BIG SILENCE on the PHONE.", "All three, despite the situation, are heavily into the Game.\n\n LT\n Strawberry...\n\n PAOLO\n Yeah..." ], [ "The NUN'S description of the RAPE is both a turn on for LT \n and a matter of profound curiosity. Something divine. His", "The NUN turns to run.\n\n NUN\n I have already forgiven them.\n\n LT is desperate. He lunges forward. Pleads with her.", "The NUN knows he is there. After a time, she gets up, goes \n to the altar, kneels. As if waiting for him.", "and got no surprise at all. No, they \n did not rape a nun. But a nun has \n been raped. And the nun must now", "LT has observed their interaction. Though he would have loved \n to have heard some information from the YOUNG NUN, her \n defiance gives him even more pleasure.", "The NUN LAUGHS. At first, it sounds like crying. But it is a \n strange, low laughter.", "NUN\n As I have prayed day and night since \n the desecration of this church \n yesterday morning -- and my sin. You \n see, Father --", "This blows him away. He has nothing to say to that.\n\n The NUN has finished her morning prayers.\n\n For a moment, she looks deep into LT's eyes.", "Finally, as if she knew he was there all along, the NUN looks \n up at where LT is hiding and boldly meets his eyes.\n\n CUT TO:", "They are all alone. At the ALTAR, before the CRUCIFIX, LT \n confronts the NUN face to face. The NUN holds her ROSARY \n BEADS.", "The NUN turns to him, simple and pure, pure and simple.", "The ELDERLY NUN lowers her head. Shamed.\n\n ELDERLY NUN\n I would tell you more if I could. I \n am so sorry, Officers.", "ARIANE suddenly starts up.\n\n ARIANE\n And the nun's not a virgin anymore, \n either. Will they make her leave the \n convent?", "path. The path of the material world. \n The path no nun has the right to \n take. And so, I sinned.\n (beat)", "NUN\n Those boys, those sad, raging boys... \n They came to me as the needy do. And", "INT: EVENING - ARIANE'S APARTMENT\n\n CU - LT fucking a NUN.\n\n Its ARIANE.", "He wants to get into the inner sanctum. Beyond where even \n COPS were allowed to go. He wants to get to the NUN.\n\n A sexy NURSE stops him.", "BLOOD! TWO KIDS are raping a NUN, attacking the SECOND NUN, \n and shitting on the ALTAR. Going berserk. They steal PURPLE \n ROBES and the CHALICE.", "And the NUN is spectacularly beautiful. She doesn't speak. \n Looks like a Pieta.", "The ELDERLY NUN was attacked but not raped. They carved \n crosses on her." ], [ "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "LT, his betting friend who is not a cop comes up beside him.\n\n LITE\n OK asshole. You owe thirty grand. \n Now what are you gonna do?", "LT\n That's my problem. Just put in my \n bet.\n\n LITE gestures assent, but is not happy. He waits a moment, \n looks around.", "LT has to convince the COPS to keep betting -- he can't afford \n to pay them all off. Unfortunately, the COPS all think LT \n just scored big, himself.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "One COP doesn't go along with the deal. LT painfully pays \n him off.", "LT absorbs this, then bursts out.\n\n LT\n Fuck the nuns, man! I'm talking about \n Strawberry! Is the bet down?", "Silence. The COPS think about it for a moment.\n\n BET COP speaks up first; hands LT some CASH. When he talks \n to LT, his fawning posture is obvious.", "LITE\n You couldn't pay 60. You lose, you'll \n be in for 180. To a guy who kills \n people for nothing.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT\n There's nothing to think about. Either \n you put in my bet or you ain't getting \n nothing.\n\n BIG SILENCE on the PHONE.", "LT turns to the OWNER.\n\n LT\n How much did they take?\n\n KOREAN OWNER\n Five hundred dollars cash.", "CUT TO:\n\n DAY FIVE:\n\n GAME SEVEN: LT GETS DOUBLE OR NOTHING: $120,000", "The COP BETS total $800 -- on OAKLAND. LT has obviously been \n the bookie for this precinct for a long time. He takes care \n of a lot of action and has these guy's faith.", "Never any other way. So you had better \n just put in my fucking bet. $120,000 \n on the last game. The Big One. Come", "LT nods \"yes.\" An outright lie.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT\n More than you did.\n\n GAMBLER COP TWO\n Well, let's see some green!", "LT is entirely alone. He is stock-still, victim of his own \n terror.", "In the background, the questioning has already begun. The \n interrogators become increasingly frustrated. It can be heard \n in their voices. They want the reward, and -- despite a" ], [ "Worst of all, the Mets are seriously behind. They are \n definitely LOSING.\n\n LT drags himself onward.\n\n CUT TO:", "GAME FIVE is close, and features STRAWBERRY. As LT listens, \n he reacts physically to the changing status of the game.\n\n He drives crazy through the streets, pounds the ceiling.", "A change comes over LT. He leans in, gets seriously excited. \n LT is possessed by his memory of this afternoon's game.", "Now LT has to take their BETS for tomorrow afternoon's GAME, \n the FOURTH GAME of the World Series. LT urges the COPS to \n bet against the Mets.", "The Mets are coming up from behind -- but it is a long shot. \n LT doesn't seem to care. He stares into space.\n\n CUT TO:", "Now LT is alone with the TWO YOUNG BLACK KIDS.\n\n LT takes the KIDS inside at gunpoint.\n\n INT: The store appears to be deserted.", "Tired of the SPORTS STATIONS, LT turns on 911. There is a \n call for an uptown MURDER SCENE.\n\n HARD CUT TO:", "LT bounds off the COUCH, Still half-asleep, he crawls to the \n TV, turns on GAME FOUR. The LITTLE GIRL starts CRYING.", "LT. He watches STRAWBERRY as --\n\n With winning runs on, STRAWBERRY takes strike three, to lose \n the game.", "LT absorbs this, then bursts out.\n\n LT\n Fuck the nuns, man! I'm talking about \n Strawberry! Is the bet down?", "There is even a TV in the CRACKHOUSE -- playing the GAME! \n The SOUND is Off. The Mets keep losing. If anything will", "All three, despite the situation, are heavily into the Game.\n\n LT\n Strawberry...\n\n PAOLO\n Yeah...", "He blackmails them into humiliating sex scenes. On a side \n street off Eleventh Avenue, LT plays it out until dawn.\n\n CUT TO:", "The FINAL GAME (SEVEN) is on the RADIO. LT is listening, but \n also not listening.", "CUT TO:\n\n DAY FIVE:\n\n GAME SEVEN: LT GETS DOUBLE OR NOTHING: $120,000", "TWINS\n (shrug - in unison)\n It's 7-0: Oakland.\n (single Twin)\n That nigger could have let it drop \n and gone home.", "LT\n No fucking way they're gonna do it \n in four games straight.\n\n COP ONE\n You serious, man? I wanna go Mets \n all the way!", "The BET COP and a couple of OTHER, FAMILIAR GAMBLER COPS \n move in. They've got nothing on their minds but the World \n Series.", "LT sits down next to the KIDS. SMOKES with them, watches the \n Game. LT must hold the PIPE for them, as they are HANDCUFFED.", "LITE\n The fucking rapists, man. The punks \n who raped that nun. The $50,000 reward \n from the Church! Remember?" ], [ "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT whips out his GUN and shoots a deafening BLAST between \n the TWO KIDS' heads.It almost takes off the left ear of one \n and the right ear of the other.", "LT uncuffs them and the KIDS get on the BUS, dumbstruck.\n\n LT hands JULIO the CIGAR BOX. His \"salvation.\"", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "Now LT is alone with the TWO YOUNG BLACK KIDS.\n\n LT takes the KIDS inside at gunpoint.\n\n INT: The store appears to be deserted.", "JESUS kneels down, knee to knee, face to face with LT.\n\n JESUS\n I forgive you.", "LT\n Those fucking Mob assholes.\n\n LT makes the strangulation gesture again. ARIANE laughs at \n him.", "The NUN turns to run.\n\n NUN\n I have already forgiven them.\n\n LT is desperate. He lunges forward. Pleads with her.", "The GIRLS don't miss a sexual beat. They continue what is \n now a menage a deux. They won't miss LT while he's gone.\n\n LT splits. No good-byes.", "When LT and the ELDERLY BLACK WOMAN reach the door to outside, \n they both pause to GENUFLECT.\n\n Then LT grabs her again and they rush out.", "LT finishes looking at the various artifacts of his life. He \n sighs, leans back, appears to be -- dare we say it -- at \n peace.\n\n FADE TO BLACK;", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT\n Get out.\n\n The KIDS do. LT follows fast.\n\n AT THE BUS: He makes them board at GUN POINT.", "LITE lowers his head and exits.\n\n LT gets up a moment later, brushes himself off, and swaggers \n out of the V.I.P. ROOM.", "The UNIFORMED COP looks at LT for a moment, then goes.\n\n LT is now alone with the KOREAN OWNER and the TWO YOUNG BLACK \n KIDS.", "Then she gets up and leaves LT alone in the CHURCH.\n\n LT comes face to face with the mammoth CRUCIFIX. He is \n transfixed.", "fun, and then, he puts up 100 G to \n bring in some guys who raped a nun. \n What a sick fuck. Man...", "LT\n (to himself)\n Lite, man... Where the fuck are you?\n\n ARIANE can't get the image of the rape out of her mind.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN." ], [ "LT\n And he got electrocuted.", "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "The BOOKIE pulls up and -- without getting out of his CAR -- \n He SHOOTS LT in the head.", "LT whips out his GUN and shoots a deafening BLAST between \n the TWO KIDS' heads.It almost takes off the left ear of one \n and the right ear of the other.", "LT saunters up to the MURDER CAR, DEAD WILLIE still in the \n front seat. LT is obviously berserk to get the KI, but he", "LT finishes looking at the various artifacts of his life. He \n sighs, leans back, appears to be -- dare we say it -- at \n peace.\n\n FADE TO BLACK;", "LT uses his Lieutenants' privilege to enter the MURDER CAR \n and begin his own investigation.\n\n TIRE TRACKS are discovered nearby. The OTHER COPS are \n distracted.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "Suddenly. LT can move. He takes out his GUN, presses himself \n against the nearest WALL. From that position, he hears --", "LT is entirely alone. He is stock-still, victim of his own \n terror.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT is still pressed against the wall, GUN at the ready. He \n cannot be relieved. The terror is with him.\n\n CUT TO:", "LT is further away now from the scene of WILLIE'S murder and \n his own debacle. LT overhears something. Cuts off his \n muttering.", "The BOOKIE speeds off. (We never saw him behind the dark \n windows,} LT is dead in his CAR.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "LT\n Those fucking Mob assholes.\n\n LT makes the strangulation gesture again. ARIANE laughs at \n him.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling." ], [ "They pass the PAROCHIAL SCHOOL BUS. It has stopped for a \n moment taking on KIDS. LT cuts off the TWINS' tirade.", "CUT TO:\n\n INT: MORNING - LT'S CAR - EN ROUTE TO/AT PAROCHIAL SCHOOL", "LT\n Get out.\n\n The KIDS do. LT follows fast.\n\n AT THE BUS: He makes them board at GUN POINT.", "LT\n What the fuck are ya standing there \n for? Be gone!\n\n The KIDS, stunned, split.", "(beat)\n Father. I knew them; They learn in \n our school. And play in our \n schoolyard. And they are good boys.", "LT has the KIDS handcuffed in the back seat. (The Scene \n mirrors Scene 2. in which LT drove his own TWINS to school.)", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "POV LT - THE NUNS\n\n LT\n Get going.\n\n The TWINS get out. Join the line of students entering the \n SCHOOL.", "CU. LT - It hits him. The CRACKHOUSE where the kids hang out \n has always been right next to the CHURCH/CONVENT where it an \n began! It suddenly makes sense to him.", "LT nods \"yes.\" An outright lie.", "LT busts in. Fires shots, collars the KIDS. The KIDS are \n wearing the PURPLE ROBES from the CHURCH/CONVENT. They also", "As LT drives the TWINS to SCHOOL, the three play wild rough-\n house.\n\n The CAR swerves crazily.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT has observed their interaction. Though he would have loved \n to have heard some information from the YOUNG NUN, her \n defiance gives him even more pleasure.", "After a moment, LT gets up. The KIDS understand that they \n must do the same.\n\n LT\n Give me the robes.", "LT is carrying on about the NUN. As he speaks about various \n subjects, his tone changes radically. From contempt and", "ANGLE - Through the WINDSHIELD, the PAROCHIAL SCHOOL comes \n into view. A CROWD of UNIFORMED KIDS is gathered outside.", "LT whips out his GUN and shoots a deafening BLAST between \n the TWO KIDS' heads.It almost takes off the left ear of one \n and the right ear of the other.", "LT comes on to them. He's way out there. The GIRLS are \n smashed.\n\n LT notes their \"Heavy Metal\" CROSSES, and questions them.", "The KIDS don't even know what is inside. They take it.\n\n LT gets back into his CAR, takes off.\n\n CUT TO:" ], [ "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "LT is some 40 years old. His natural swagger makes up for \n his lack of conventional good looks. He is obviously hung-\n over.", "LITE\n Don't bullshit me.\n\n LT keeps doing COKE off hs wrist, even as ne speaks to LITE. \n LT can't seem to wipe the smile off his face.", "LT is very high now. A meditative, hallucinatory state.\n\n ARIANE takes a DIET COKE and lies down on the BED.", "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "LT\n Fuck you.\n (takes a deep hit)\n Just give me back a little something \n for the road.", "LT, out of breath from his tirade, lets the Downtown half of \n his dose kick in but good.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT is entirely alone. He is stock-still, victim of his own \n terror.", "LT\n (to himself)\n Why me, man?\n\n LT leans into the TV, transfixed, as --", "LT stumbles into the CHURCH. Alone now, he notes various \n aspects of the DESECRATION, but can't see much because he's \n blind drunk.", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "LT sits back on top of his CAR, DRINKING heavily. He toasts \n STRAWBERRY. The others are uneasy. Why toast STRAWBERRY?", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "LT rises, moves around the interior of the CHURCH. He \n stumbles, struggles, pleads. Falls, rises, falls and rises \n again -- as if wrestling with an invisible assailant.", "LT talks wildly about Jesus Christ. And about the misery \n they pass in the street. He waves his GUN wildly, punctuating", "LT trembles, frantic and manic-high, as he goes to his meeting \n with LITE. LT plows his way through the CROWD, heading toward" ], [ "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "LITE\n Don't bullshit me.\n\n LT keeps doing COKE off hs wrist, even as ne speaks to LITE. \n LT can't seem to wipe the smile off his face.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT is some 40 years old. His natural swagger makes up for \n his lack of conventional good looks. He is obviously hung-\n over.", "LT breaks out more COKE and some GRASS.\n\n LT\n All right, Bowtay. Show us your stuff.", "LT\n (soft, sardonic)\n I guess he was a bigtime dealer...\n (beat)\n What d'ya know... A kilo of 'caine...", "LT is very high now. A meditative, hallucinatory state.\n\n ARIANE takes a DIET COKE and lies down on the BED.", "LT ignores his colleagues, the COPS ON THE SCENE. He knows \n some of the DEALERS and STREET CHARACTERS on the sidelines.\n\n He heads straight for them.", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "Finally, LT approaches a hustling STREET DEALER. He cops. \n The STREET DEALER is wearing a WALKMAN, so the deal goes \n down in mime.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "LT\n Fuck you.\n (takes a deep hit)\n Just give me back a little something \n for the road.", "The STREET DEALER tries to consider what this crazy guy has \n just told him, but before the STREET DEALER can even react. \n LT leans in on him, shows his GUN and then his BADGE.", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "LT arrives, leading a BUST. Lots of COPS. LT chases a handsome \n young COKE DEALER, JC, cornering him a couple flights up a", "Apparently BOWTAY overheard that drugs are on the way. BOWTAY \n appears out of the KITCHEN.\n\n BOWTAY sits down near by, awaiting her DOSE.", "LT, out of breath from his tirade, lets the Downtown half of \n his dose kick in but good.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars." ], [ "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "LT nods, puts MAMACITA'S CRACK VIALS in his pocket. He notices \n that --", "LT takes a handful of the COKE and puts it in a DOLLAR BILL; \n pockets it.", "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars.", "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "Outside the MURDER CAR, LT makes to stand up. In the act, he -- \n DROPS the BAG of COKE!", "He puts them down, takes a BEER for himself. ARIANE doesn't \n turn around. She's busy preparing drugs.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "LT, out of breath from his tirade, lets the Downtown half of \n his dose kick in but good.", "LT gets into the CAR, looks around. He finds a BAG OF POT.\n\n LT waves the POT in front of the GIRLS.", "Apparently BOWTAY overheard that drugs are on the way. BOWTAY \n appears out of the KITCHEN.\n\n BOWTAY sits down near by, awaiting her DOSE.", "The instant the KIDS have left the CAR -- LT takes out some \n COKE. Snorts it. He takes his GUN out of hiding.\n\n LT steers with his knees as he drives off toward the City.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "Finally, LT approaches a hustling STREET DEALER. He cops. \n The STREET DEALER is wearing a WALKMAN, so the deal goes \n down in mime.", "LITE\n Don't bullshit me.\n\n LT keeps doing COKE off hs wrist, even as ne speaks to LITE. \n LT can't seem to wipe the smile off his face.", "The KIDS don't even know what is inside. They take it.\n\n LT gets back into his CAR, takes off.\n\n CUT TO:", "They mime the deal. LT buys some COKE for immediate use.\n\n LT does the COKE off his wrist as he moves through the CROWD." ], [ "They pass the PAROCHIAL SCHOOL BUS. It has stopped for a \n moment taking on KIDS. LT cuts off the TWINS' tirade.", "LT\n Get out.\n\n The KIDS do. LT follows fast.\n\n AT THE BUS: He makes them board at GUN POINT.", "CUT TO:\n\n INT: MORNING - LT'S CAR - EN ROUTE TO/AT PAROCHIAL SCHOOL", "LT\n What the fuck are ya standing there \n for? Be gone!\n\n The KIDS, stunned, split.", "LT has the KIDS handcuffed in the back seat. (The Scene \n mirrors Scene 2. in which LT drove his own TWINS to school.)", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "The KIDS don't even know what is inside. They take it.\n\n LT gets back into his CAR, takes off.\n\n CUT TO:", "Now LT is alone with the TWO YOUNG BLACK KIDS.\n\n LT takes the KIDS inside at gunpoint.\n\n INT: The store appears to be deserted.", "(beat)\n Father. I knew them; They learn in \n our school. And play in our \n schoolyard. And they are good boys.", "LT\n No.\n\n LT exits. Taking the KIDS along. He carries the CHALICE and \n the CIGAR BOX.", "POV LT - THE NUNS\n\n LT\n Get going.\n\n The TWINS get out. Join the line of students entering the \n SCHOOL.", "CU. LT - It hits him. The CRACKHOUSE where the kids hang out \n has always been right next to the CHURCH/CONVENT where it an \n began! It suddenly makes sense to him.", "As LT drives the TWINS to SCHOOL, the three play wild rough-\n house.\n\n The CAR swerves crazily.", "LT busts in. Fires shots, collars the KIDS. The KIDS are \n wearing the PURPLE ROBES from the CHURCH/CONVENT. They also", "LT whips out his GUN and shoots a deafening BLAST between \n the TWO KIDS' heads.It almost takes off the left ear of one \n and the right ear of the other.", "After a moment, LT gets up. The KIDS understand that they \n must do the same.\n\n LT\n Give me the robes.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT's WIFE, BABE in arms, comes out to watch LT's lovely SEVEN \n YEAR-OLD DAUGHTER head off toward her school on foot. Many", "LT uncuffs them and the KIDS get on the BUS, dumbstruck.\n\n LT hands JULIO the CIGAR BOX. His \"salvation.\"", "LT sits down next to the KIDS. SMOKES with them, watches the \n Game. LT must hold the PIPE for them, as they are HANDCUFFED." ], [ "LT averts his eyes. When he looks up again --\n\n JESUS is back on the CROSS. Inert, and yet --", "Then she gets up and leaves LT alone in the CHURCH.\n\n LT comes face to face with the mammoth CRUCIFIX. He is \n transfixed.", "The enormous, graphically bloody CRUCIFIX confronts him.\n\n He collapses immediately into a PEW. Sleeps.\n\n TIME PASSES", "LT talks wildly about Jesus Christ. And about the misery \n they pass in the street. He waves his GUN wildly, punctuating", "LT is not shocked or even surprised. He speaks to JESUS as \n to someone he's known all his life.\n\n JESUS\n (OC)\n I forgive you.", "They are all alone. At the ALTAR, before the CRUCIFIX, LT \n confronts the NUN face to face. The NUN holds her ROSARY \n BEADS.", "This turns on ARIANE. She stops talking. Writhes and grapples \n him.\n\n LT is reaching climax. When describing Jesus rising again --\n\n LT has an orgasm.", "LT rises, moves around the interior of the CHURCH. He \n stumbles, struggles, pleads. Falls, rises, falls and rises \n again -- as if wrestling with an invisible assailant.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "JESUS kneels down, knee to knee, face to face with LT.\n\n JESUS\n I forgive you.", "Taking that aura with him, JESUS comes down off the CROSS, \n and moves toward LT, who is still kneeling at the ALTAR.\n\n JESUS\n I forgive you.", "From just outside the door, LT peep-toms on the NUN while \n she is being examined. He sees her stark naked, laid out on \n a table, her legs spread wide apart.", "LT senses the confession is over. As the PRIEST begins to \n speak again, LT snaps to and returns to his original hiding \n place, near the CANDLES.", "This blows him away. He has nothing to say to that.\n\n The NUN has finished her morning prayers.\n\n For a moment, she looks deep into LT's eyes.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "POV - LT - JESUS on the CROSS.\n\n Soon, LT hears a VOICE.", "LT stumbles into the CHURCH. Alone now, he notes various \n aspects of the DESECRATION, but can't see much because he's \n blind drunk.", "Finally, as if she knew he was there all along, the NUN looks \n up at where LT is hiding and boldly meets his eyes.\n\n CUT TO:", "LT\n What's to believe?\n\n ARIANE\n That Jesus Christ was the Son of God \n and he came to die for your sins.", "LT can't help but start up. As if, telepathically, the NUN \n knew he was there and cried out to him. Asked him to complete \n her mission." ], [ "NUN\n I have prayed for days, Lieutenant. \n I have prayed for the souls of the", "The NUN turns to run.\n\n NUN\n I have already forgiven them.\n\n LT is desperate. He lunges forward. Pleads with her.", "This blows him away. He has nothing to say to that.\n\n The NUN has finished her morning prayers.\n\n For a moment, she looks deep into LT's eyes.", "LT has observed their interaction. Though he would have loved \n to have heard some information from the YOUNG NUN, her \n defiance gives him even more pleasure.", "Finally, as if she knew he was there all along, the NUN looks \n up at where LT is hiding and boldly meets his eyes.\n\n CUT TO:", "POV LT - The YOUNG NUN smiles a quiet, intractable smile.\n\n COP 2 is screaming mad, but tries to hide it.", "They are all alone. At the ALTAR, before the CRUCIFIX, LT \n confronts the NUN face to face. The NUN holds her ROSARY \n BEADS.", "The NUN knows he is there. After a time, she gets up, goes \n to the altar, kneels. As if waiting for him.", "The NUN'S description of the RAPE is both a turn on for LT \n and a matter of profound curiosity. Something divine. His", "INT: EVENING - ARIANE'S APARTMENT\n\n CU - LT fucking a NUN.\n\n Its ARIANE.", "LT is carrying on about the NUN. As he speaks about various \n subjects, his tone changes radically. From contempt and", "LT\n Nah...\n\n ARIANE\n Sure it is. You're a virgin. Just \n like that nun. And I'm gonna rape \n you.", "LT\n (to the Cops)\n What's this shit about a nun getting \n raped?", "LT can't help but start up. As if, telepathically, the NUN \n knew he was there and cried out to him. Asked him to complete \n her mission.", "NUN\n The good reasons are not always the \n real reasons. Talk to Jesus, \n Lieutenant. Pray.", "and got no surprise at all. No, they \n did not rape a nun. But a nun has \n been raped. And the nun must now", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "The NUN turns to him, simple and pure, pure and simple.", "The ELDERLY NUN lowers her head. Shamed.\n\n ELDERLY NUN\n I would tell you more if I could. I \n am so sorry, Officers.", "this nun, let me tell you. What a \n beautiful lady...\n (snaps out of his awe)" ], [ "LT\n That's my problem. Just put in my \n bet.\n\n LITE gestures assent, but is not happy. He waits a moment, \n looks around.", "LT, his betting friend who is not a cop comes up beside him.\n\n LITE\n OK asshole. You owe thirty grand. \n Now what are you gonna do?", "The COP BETS total $800 -- on OAKLAND. LT has obviously been \n the bookie for this precinct for a long time. He takes care \n of a lot of action and has these guy's faith.", "LT\n There's nothing to think about. Either \n you put in my bet or you ain't getting \n nothing.\n\n BIG SILENCE on the PHONE.", "LT has to convince the COPS to keep betting -- he can't afford \n to pay them all off. Unfortunately, the COPS all think LT \n just scored big, himself.", "Now LT has to take their BETS for tomorrow afternoon's GAME, \n the FOURTH GAME of the World Series. LT urges the COPS to \n bet against the Mets.", "LT\n I wanna go double or nothing on the \n next game.\n\n LITE\n Double or nothing? Are you fucking \n out of your mind?", "Never any other way. So you had better \n just put in my fucking bet. $120,000 \n on the last game. The Big One. Come", "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "LT absorbs this, then bursts out.\n\n LT\n Fuck the nuns, man! I'm talking about \n Strawberry! Is the bet down?", "LITE looks his friend up and down as if he's lost his mind.", "LT\n Oooo... Big fucking scary guy. Just \n put $120,000 on tomorrow's game.", "COP ONE SHRUGS his assent, gives CASH to LT. The OTHER COPS \n follow his example, place their BETS on OAKLAND.", "LITE stands up. He writes the BOOKIE'S NUMBER on a MATCHBOOK \n and gives it to LT.\n\n LITE leans over and gives LT a final warning.", "connection to the BOOKIE, LITE is obviously LT's old friend -- \n and a hustler just like himself.", "LT comes down off the CAR HOOD. Now he has to feign pride in \n his supposed big bet on OAKLAND.", "A change comes over LT. He leans in, gets seriously excited. \n LT is possessed by his memory of this afternoon's game.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT\n Uh-uh. I'm gonna win. Just make sure \n the bet gets in.", "LITE\n (OC)\n All right. What are you gonna do?\n\n LT\n I want 15 on the Mets." ], [ "LT. He watches STRAWBERRY as --\n\n With winning runs on, STRAWBERRY takes strike three, to lose \n the game.", "Worst of all, the Mets are seriously behind. They are \n definitely LOSING.\n\n LT drags himself onward.\n\n CUT TO:", "Strawberry. If Oakland wins, it's \n thanks to Strawberry. Nothing can \n happen out there on the field that", "The Mets are coming up from behind -- but it is a long shot. \n LT doesn't seem to care. He stares into space.\n\n CUT TO:", "GAME FIVE is close, and features STRAWBERRY. As LT listens, \n he reacts physically to the changing status of the game.\n\n He drives crazy through the streets, pounds the ceiling.", "This story takes place during a World Series between the \n Mets and the A's. Canseco plays for Oakland, and Strawberry \n is still with New York.\n\n DAY ONE:", "LT\n We are, man! That's the point! If \n the Mets win, it's thanks to", "TWINS\n (shrug - in unison)\n It's 7-0: Oakland.\n (single Twin)\n That nigger could have let it drop \n and gone home.", "TWIN\n They're gonna win the Series in four!\n\n LT\n All the way with Strawberry!", "LT\n No fucking way they're gonna do it \n in four games straight.\n\n COP ONE\n You serious, man? I wanna go Mets \n all the way!", "STRAWBERRY overthrows a sacrifice fly from Canseco and the \n A's WIN.", "All three, despite the situation, are heavily into the Game.\n\n LT\n Strawberry...\n\n PAOLO\n Yeah...", "On the RADIO, the GAME is ending. STRAWBERRY hits a HOME RUN \n and the -- Mets win, the CROWD ROARS.\n\n END CREDITS.", "Now LT has to take their BETS for tomorrow afternoon's GAME, \n the FOURTH GAME of the World Series. LT urges the COPS to \n bet against the Mets.", "TWINS\n (in unison)\n Strawberry!\n\n The TWINS whoop and shout, celebrating LT's -- and their own -- \n favorite player.", "EXT: LATE AFTERNOON - SHEA STADIUM - THE SIX GAME OF THE \n WORLD SERIES\n\n The MASSIVE CROWD ROARS.", "LT bounds off the COUCH, Still half-asleep, he crawls to the \n TV, turns on GAME FOUR. The LITTLE GIRL starts CRYING.", "ON TV: STRAWBERRY makes a fantastic catch of a Canseco drive \n with runners on base. LT CHEERS.\n\n DOORS SLAM (OFF). The TWINS have come home from school.", "A change comes over LT. He leans in, gets seriously excited. \n LT is possessed by his memory of this afternoon's game.", "that Strawberry? He does what ever \n you want him to, huh Lieutenant? \n Even strike out!\n (beat)" ], [ "Silence. The COPS think about it for a moment.\n\n BET COP speaks up first; hands LT some CASH. When he talks \n to LT, his fawning posture is obvious.", "LT\n Give me the fucking money, assholes!\n\n They give LT the CASH. The KIDS stand there.", "LT turns to the OWNER.\n\n LT\n How much did they take?\n\n KOREAN OWNER\n Five hundred dollars cash.", "LT\n A wiseguy. Paying 100 Grand for the \n rapists if I turn then over direct \n to him.\n\n ARIANE'S eyes light up.", "LT, his betting friend who is not a cop comes up beside him.\n\n LITE\n OK asshole. You owe thirty grand. \n Now what are you gonna do?", "One COP doesn't go along with the deal. LT painfully pays \n him off.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars.", "LT\n Gimme the money! Now!\n\n The TWO YOUNG BLACK KIDS have regained some of their cool.\n\n They are still belligerent.", "LITE\n The fucking rapists, man. The punks \n who raped that nun. The $50,000 reward \n from the Church! Remember?", "He blackmails them into humiliating sex scenes. On a side \n street off Eleventh Avenue, LT plays it out until dawn.\n\n CUT TO:", "COP\n Uh, Lieutenant, Sir -- The owner \n says they stole cash from the \n register. He was chasing them down \n the block when I caught up with them.", "fun, and then, he puts up 100 G to \n bring in some guys who raped a nun. \n What a sick fuck. Man...", "LT whips out his GUN and shoots a deafening BLAST between \n the TWO KIDS' heads.It almost takes off the left ear of one \n and the right ear of the other.", "Now LT is alone with the TWO YOUNG BLACK KIDS.\n\n LT takes the KIDS inside at gunpoint.\n\n INT: The store appears to be deserted.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT\n Nah...\n\n ARIANE\n Sure it is. You're a virgin. Just \n like that nun. And I'm gonna rape \n you." ], [ "LT finishes looking at the various artifacts of his life. He \n sighs, leans back, appears to be -- dare we say it -- at \n peace.\n\n FADE TO BLACK;", "LT\n And he got electrocuted.", "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT is entirely alone. He is stock-still, victim of his own \n terror.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "LT is still pressed against the wall, GUN at the ready. He \n cannot be relieved. The terror is with him.\n\n CUT TO:", "The BOOKIE speeds off. (We never saw him behind the dark \n windows,} LT is dead in his CAR.", "LT is further away now from the scene of WILLIE'S murder and \n his own debacle. LT overhears something. Cuts off his \n muttering.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "LT saunters up to the MURDER CAR, DEAD WILLIE still in the \n front seat. LT is obviously berserk to get the KI, but he", "LITE lowers his head and exits.\n\n LT gets up a moment later, brushes himself off, and swaggers \n out of the V.I.P. ROOM.", "LT is still laughing as LITE leaves the V.I.P ROOM.\n\n Before going out the door, LITE turns to look one more time \n at his friend.", "She speaks at last.\n\n ELDERLY BLACK WOMAN\n I can't tell you.\n\n Gun in hand, LT gets down on his knees.", "The BOOKIE pulls up and -- without getting out of his CAR -- \n He SHOOTS LT in the head.", "LT uses his Lieutenants' privilege to enter the MURDER CAR \n and begin his own investigation.\n\n TIRE TRACKS are discovered nearby. The OTHER COPS are \n distracted." ], [ "LT finishes looking at the various artifacts of his life. He \n sighs, leans back, appears to be -- dare we say it -- at \n peace.\n\n FADE TO BLACK;", "She speaks at last.\n\n ELDERLY BLACK WOMAN\n I can't tell you.\n\n Gun in hand, LT gets down on his knees.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "LT hears ARIANE calling to him from the LIVING ROOM.\n\n ARIANE\n (OC - calling to LT)\n There's nothing!", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT is further away now from the scene of WILLIE'S murder and \n his own debacle. LT overhears something. Cuts off his \n muttering.", "This blows him away. He has nothing to say to that.\n\n The NUN has finished her morning prayers.\n\n For a moment, she looks deep into LT's eyes.", "BOWTAY begins to recite the monologue from the very end of \n the play. \"When will the world be ready to receive thy \n saints?\", etc.", "LT starts MOUTHING WORDS silently at the STREET DEALER. No \n response. Then, he -- silently -- begins to shout.", "LT is entirely alone. He is stock-still, victim of his own \n terror.", "Finally, as if she knew he was there all along, the NUN looks \n up at where LT is hiding and boldly meets his eyes.\n\n CUT TO:", "The NUN turns to run.\n\n NUN\n I have already forgiven them.\n\n LT is desperate. He lunges forward. Pleads with her.", "NUN\n I have prayed for days, Lieutenant. \n I have prayed for the souls of the", "LT is still pressed against the wall, GUN at the ready. He \n cannot be relieved. The terror is with him.\n\n CUT TO:", "Suddenly. LT can move. He takes out his GUN, presses himself \n against the nearest WALL. From that position, he hears --", "LITE\n He's gonna kill you, man. Do you \n hear me, motherfucker? You. Dead. \n Get it?", "LT can hardly speak. He is NUDE, and communicating from \n another world syllable by syllable.\n\n LT\n (into the phone)\n Large?", "ARIANE\n Your sins, Lieutenant!\n (beat)\n And look around you! Where do you \n think all this shit came from?", "LT senses the confession is over. As the PRIEST begins to \n speak again, LT snaps to and returns to his original hiding \n place, near the CANDLES.", "The FINAL GAME (SEVEN) is on the RADIO. LT is listening, but \n also not listening." ], [ "LT\n Get out.\n\n The KIDS do. LT follows fast.\n\n AT THE BUS: He makes them board at GUN POINT.", "CUT TO:\n\n INT: MORNING - LT'S CAR - EN ROUTE TO/AT PAROCHIAL SCHOOL", "The KIDS don't even know what is inside. They take it.\n\n LT gets back into his CAR, takes off.\n\n CUT TO:", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "The instant the KIDS have left the CAR -- LT takes out some \n COKE. Snorts it. He takes his GUN out of hiding.\n\n LT steers with his knees as he drives off toward the City.", "LT\n What the fuck are ya standing there \n for? Be gone!\n\n The KIDS, stunned, split.", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "LT\n No.\n\n LT exits. Taking the KIDS along. He carries the CHALICE and \n the CIGAR BOX.", "LT uncuffs them and the KIDS get on the BUS, dumbstruck.\n\n LT hands JULIO the CIGAR BOX. His \"salvation.\"", "LT has the KIDS handcuffed in the back seat. (The Scene \n mirrors Scene 2. in which LT drove his own TWINS to school.)", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "Now LT is alone with the TWO YOUNG BLACK KIDS.\n\n LT takes the KIDS inside at gunpoint.\n\n INT: The store appears to be deserted.", "LITE\n Are you sure?\n\n LT\n Yeah. I'm sure.\n\n LT hangs up the PHONE, heads back toward his parked CAR.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "They pass the PAROCHIAL SCHOOL BUS. It has stopped for a \n moment taking on KIDS. LT cuts off the TWINS' tirade.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "LT starts CRYING too, at the same time CURSING at the TRAFFIC.\n\n He drives wildly toward the Port Authority Terminal.", "LITE lowers his head and exits.\n\n LT gets up a moment later, brushes himself off, and swaggers \n out of the V.I.P. ROOM.", "LT jams his GUN down the PANTS of one of the KIDS. At the \n same time, he whips out his BADGE and thrusts it into the \n other KID'S FACE.", "After a moment, LT gets up. The KIDS understand that they \n must do the same.\n\n LT\n Give me the robes." ], [ "LT ignores his colleagues, the COPS ON THE SCENE. He knows \n some of the DEALERS and STREET CHARACTERS on the sidelines.\n\n He heads straight for them.", "Finally, LT approaches a hustling STREET DEALER. He cops. \n The STREET DEALER is wearing a WALKMAN, so the deal goes \n down in mime.", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars.", "The STREET DEALER tries to consider what this crazy guy has \n just told him, but before the STREET DEALER can even react. \n LT leans in on him, shows his GUN and then his BADGE.", "LT gives a cursory glance to the crime scene. A couple of \n COPS greet him; LT keeps walking.\n\n The BET COP digs his attitude.", "LT arrives, leading a BUST. Lots of COPS. LT chases a handsome \n young COKE DEALER, JC, cornering him a couple flights up a", "The COPS turn away, continue to talk among themselves. LT \n walks away.\n\n CUT TO:", "LT is further away now from the scene of WILLIE'S murder and \n his own debacle. LT overhears something. Cuts off his \n muttering.", "LT\n (soft, sardonic)\n I guess he was a bigtime dealer...\n (beat)\n What d'ya know... A kilo of 'caine...", "POV LT - A RESIDENT COKE DEALER. His FACE is visible, floating \n above the writhing crowd.\n\n LT pursues him. Finally catches him.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "LT points to a PUDDLE in which the STREET DEALER is now \n Standing.\n\n STREET DEALER\n And what?", "The UNIFORMED COP looks at LT for a moment, then goes.\n\n LT is now alone with the KOREAN OWNER and the TWO YOUNG BLACK \n KIDS.", "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT uses his Lieutenants' privilege to enter the MURDER CAR \n and begin his own investigation.\n\n TIRE TRACKS are discovered nearby. The OTHER COPS are \n distracted.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "Outside the MURDER CAR, LT makes to stand up. In the act, he -- \n DROPS the BAG of COKE!", "LT gets out of his CAR and makes his way through the COPS \n and GAWKERS.\n\n The BET COP comes up to LT." ], [ "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars.", "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "The STREET DEALER tries to consider what this crazy guy has \n just told him, but before the STREET DEALER can even react. \n LT leans in on him, shows his GUN and then his BADGE.", "Finally, LT approaches a hustling STREET DEALER. He cops. \n The STREET DEALER is wearing a WALKMAN, so the deal goes \n down in mime.", "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "LT ignores his colleagues, the COPS ON THE SCENE. He knows \n some of the DEALERS and STREET CHARACTERS on the sidelines.\n\n He heads straight for them.", "LT arrives, leading a BUST. Lots of COPS. LT chases a handsome \n young COKE DEALER, JC, cornering him a couple flights up a", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "They mime the deal. LT buys some COKE for immediate use.\n\n LT does the COKE off his wrist as he moves through the CROWD.", "LT\n (soft, sardonic)\n I guess he was a bigtime dealer...\n (beat)\n What d'ya know... A kilo of 'caine...", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "LT, out of breath from his tirade, lets the Downtown half of \n his dose kick in but good.", "Apparently BOWTAY overheard that drugs are on the way. BOWTAY \n appears out of the KITCHEN.\n\n BOWTAY sits down near by, awaiting her DOSE.", "POV LT - A RESIDENT COKE DEALER. His FACE is visible, floating \n above the writhing crowd.\n\n LT pursues him. Finally catches him.", "The instant the KIDS have left the CAR -- LT takes out some \n COKE. Snorts it. He takes his GUN out of hiding.\n\n LT steers with his knees as he drives off toward the City.", "The UNIFORMED COP looks at LT for a moment, then goes.\n\n LT is now alone with the KOREAN OWNER and the TWO YOUNG BLACK \n KIDS.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "LT\n Fuck you.\n (takes a deep hit)\n Just give me back a little something \n for the road." ], [ "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "The GIRLS don't miss a sexual beat. They continue what is \n now a menage a deux. They won't miss LT while he's gone.\n\n LT splits. No good-byes.", "LT ignores his colleagues, the COPS ON THE SCENE. He knows \n some of the DEALERS and STREET CHARACTERS on the sidelines.\n\n He heads straight for them.", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT uses his Lieutenants' privilege to enter the MURDER CAR \n and begin his own investigation.\n\n TIRE TRACKS are discovered nearby. The OTHER COPS are \n distracted.", "LT is further away now from the scene of WILLIE'S murder and \n his own debacle. LT overhears something. Cuts off his \n muttering.", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "LT wakes up. Ruckus all around him. The COPS are there in \n force -- including some of the guys from the BAR, the UPTOWN", "The COPS turn away, continue to talk among themselves. LT \n walks away.\n\n CUT TO:", "From just outside the door, LT peep-toms on the NUN while \n she is being examined. He sees her stark naked, laid out on \n a table, her legs spread wide apart.", "LT stumbles into the CHURCH. Alone now, he notes various \n aspects of the DESECRATION, but can't see much because he's \n blind drunk.", "He blackmails them into humiliating sex scenes. On a side \n street off Eleventh Avenue, LT plays it out until dawn.\n\n CUT TO:", "COPS avoid each others' eyes. Competition has begun. No one \n shares information, each after the reward for himself.\n\n LT bursts out, swings into high gear.", "Then she gets up and leaves LT alone in the CHURCH.\n\n LT comes face to face with the mammoth CRUCIFIX. He is \n transfixed.", "LT is still pressed against the wall, GUN at the ready. He \n cannot be relieved. The terror is with him.\n\n CUT TO:", "As LT speaks to LITE, ARIANE continues to give him head." ], [ "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "Outside the MURDER CAR, LT makes to stand up. In the act, he -- \n DROPS the BAG of COKE!", "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars.", "LT arrives, leading a BUST. Lots of COPS. LT chases a handsome \n young COKE DEALER, JC, cornering him a couple flights up a", "COP\n Uh, Lieutenant, Sir -- The owner \n says they stole cash from the \n register. He was chasing them down \n the block when I caught up with them.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "The instant the KIDS have left the CAR -- LT takes out some \n COKE. Snorts it. He takes his GUN out of hiding.\n\n LT steers with his knees as he drives off toward the City.", "The COPS (OFF) rush out of the building.\n\n JC watches LT smoking like a fiend.\n\n JC\n That stuff'll kill you quick, man.", "LT ignores his colleagues, the COPS ON THE SCENE. He knows \n some of the DEALERS and STREET CHARACTERS on the sidelines.\n\n He heads straight for them.", "The KIDS don't even know what is inside. They take it.\n\n LT gets back into his CAR, takes off.\n\n CUT TO:", "LT uses his Lieutenants' privilege to enter the MURDER CAR \n and begin his own investigation.\n\n TIRE TRACKS are discovered nearby. The OTHER COPS are \n distracted.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT gives a cursory glance to the crime scene. A couple of \n COPS greet him; LT keeps walking.\n\n The BET COP digs his attitude.", "The STREET DEALER tries to consider what this crazy guy has \n just told him, but before the STREET DEALER can even react. \n LT leans in on him, shows his GUN and then his BADGE.", "LT nods, puts MAMACITA'S CRACK VIALS in his pocket. He notices \n that --", "The COPS spot the KILO of COKE. Even those COPS that were \n far away, somehow know what has happened. They quickly gather \n round the MURDER CAR, LT, and the KI.", "LT breaks out more COKE and some GRASS.\n\n LT\n All right, Bowtay. Show us your stuff.", "LT turns to the OWNER.\n\n LT\n How much did they take?\n\n KOREAN OWNER\n Five hundred dollars cash.", "The COPS turn away, continue to talk among themselves. LT \n walks away.\n\n CUT TO:", "LT\n (orders the Cop)\n Take this guy down to the Precinct. \n I need to talk to him." ], [ "The NUN'S description of the RAPE is both a turn on for LT \n and a matter of profound curiosity. Something divine. His", "and got no surprise at all. No, they \n did not rape a nun. But a nun has \n been raped. And the nun must now", "LT has observed their interaction. Though he would have loved \n to have heard some information from the YOUNG NUN, her \n defiance gives him even more pleasure.", "From just outside the door, LT peep-toms on the NUN while \n she is being examined. He sees her stark naked, laid out on \n a table, her legs spread wide apart.", "Finally, as if she knew he was there all along, the NUN looks \n up at where LT is hiding and boldly meets his eyes.\n\n CUT TO:", "This blows him away. He has nothing to say to that.\n\n The NUN has finished her morning prayers.\n\n For a moment, she looks deep into LT's eyes.", "INT: EVENING - ARIANE'S APARTMENT\n\n CU - LT fucking a NUN.\n\n Its ARIANE.", "LT\n (to the Cops)\n What's this shit about a nun getting \n raped?", "INT: LATE NIGHT - THE NUN'S HOSPITAL EXAMINING ROOM", "The NUN knows he is there. After a time, she gets up, goes \n to the altar, kneels. As if waiting for him.", "The ELDERLY NUN lowers her head. Shamed.\n\n ELDERLY NUN\n I would tell you more if I could. I \n am so sorry, Officers.", "The NUN turns to run.\n\n NUN\n I have already forgiven them.\n\n LT is desperate. He lunges forward. Pleads with her.", "NUN\n I have prayed for days, Lieutenant. \n I have prayed for the souls of the", "LT\n Nah...\n\n ARIANE\n Sure it is. You're a virgin. Just \n like that nun. And I'm gonna rape \n you.", "He comes upon a DOOR that is plastered with \"QUARANTINE\" \n SIGNS. One too many, perhaps. LT senses the NUN is inside.", "They are all alone. At the ALTAR, before the CRUCIFIX, LT \n confronts the NUN face to face. The NUN holds her ROSARY \n BEADS.", "He wants to get into the inner sanctum. Beyond where even \n COPS were allowed to go. He wants to get to the NUN.\n\n A sexy NURSE stops him.", "them. The Sister who suffered a rape \n is just 17. She arrived from Ireland \n only a couple of months ago. This --", "ARIANE suddenly starts up.\n\n ARIANE\n And the nun's not a virgin anymore, \n either. Will they make her leave the \n convent?", "Then she gets up and leaves LT alone in the CHURCH.\n\n LT comes face to face with the mammoth CRUCIFIX. He is \n transfixed." ], [ "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "The GIRLS don't miss a sexual beat. They continue what is \n now a menage a deux. They won't miss LT while he's gone.\n\n LT splits. No good-byes.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "LT gets into the CAR, looks around. He finds a BAG OF POT.\n\n LT waves the POT in front of the GIRLS.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT comes on to them. He's way out there. The GIRLS are \n smashed.\n\n LT notes their \"Heavy Metal\" CROSSES, and questions them.", "CUT TO:\n\n EXT INT: EVENING - LT'S CAR AND STREETS EN ROUTE TO RENDEZ-\n VOUS", "are the two inebriated, leather-clad GIRLS inside. LT pulls \n them over.", "LT saunters up to the MURDER CAR, DEAD WILLIE still in the \n front seat. LT is obviously berserk to get the KI, but he", "The KIDS don't even know what is inside. They take it.\n\n LT gets back into his CAR, takes off.\n\n CUT TO:", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "The instant the KIDS have left the CAR -- LT takes out some \n COKE. Snorts it. He takes his GUN out of hiding.\n\n LT steers with his knees as he drives off toward the City.", "CUT TO:\n\n INT: MORNING - LT'S CAR - EN ROUTE TO/AT PAROCHIAL SCHOOL", "LT starts CRYING too, at the same time CURSING at the TRAFFIC.\n\n He drives wildly toward the Port Authority Terminal.", "INT: EVENING - LT'S CAR\n\n LT is furious. He COKES UP. DRINKS heavily.", "LT is still laughing as LITE leaves the V.I.P ROOM.\n\n Before going out the door, LITE turns to look one more time \n at his friend.", "LITE\n Are you sure?\n\n LT\n Yeah. I'm sure.\n\n LT hangs up the PHONE, heads back toward his parked CAR.", "LT drives up, sizes up the scene. It's fresh territory. He'll \n milk it for what it's worth.", "Then she gets up and leaves LT alone in the CHURCH.\n\n LT comes face to face with the mammoth CRUCIFIX. He is \n transfixed.", "LT notices a SQUAD CAR, parked in front of the MARKET. LT \n picks up his pace." ], [ "LT is driving through HEAVY TRAFFIC while listening to GAME \n FIVE on the RADIO. He COKES UP. He mumbles to himself.", "GAME FIVE is close, and features STRAWBERRY. As LT listens, \n he reacts physically to the changing status of the game.\n\n He drives crazy through the streets, pounds the ceiling.", "A change comes over LT. He leans in, gets seriously excited. \n LT is possessed by his memory of this afternoon's game.", "LT. He watches STRAWBERRY as --\n\n With winning runs on, STRAWBERRY takes strike three, to lose \n the game.", "LT\n That's my problem. Just put in my \n bet.\n\n LITE gestures assent, but is not happy. He waits a moment, \n looks around.", "INT: EVENING - LT'S CAR\n\n LT is furious. He COKES UP. DRINKS heavily.", "The FINAL GAME (SEVEN) is on the RADIO. LT is listening, but \n also not listening.", "A CARTOON EXPLOSION wakes LT. He jumps up in a panic.\n\n LT\n Did I win? Shit! The game!", "LT shoots out the CAR RADIO. LT LOSES! He's $30,000 down.", "LT absorbs this, then bursts out.\n\n LT\n Fuck the nuns, man! I'm talking about \n Strawberry! Is the bet down?", "LT\n (to himself)\n Why me, man?\n\n LT leans into the TV, transfixed, as --", "LT comes down off the CAR HOOD. Now he has to feign pride in \n his supposed big bet on OAKLAND.", "Worst of all, the Mets are seriously behind. They are \n definitely LOSING.\n\n LT drags himself onward.\n\n CUT TO:", "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "LT starts CRYING too, at the same time CURSING at the TRAFFIC.\n\n He drives wildly toward the Port Authority Terminal.", "LT saunters up to the MURDER CAR, DEAD WILLIE still in the \n front seat. LT is obviously berserk to get the KI, but he", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "Now LT has to take their BETS for tomorrow afternoon's GAME, \n the FOURTH GAME of the World Series. LT urges the COPS to \n bet against the Mets.", "Tired of the SPORTS STATIONS, LT turns on 911. There is a \n call for an uptown MURDER SCENE.\n\n HARD CUT TO:", "LT\n I wanna go double or nothing on the \n next game.\n\n LITE\n Double or nothing? Are you fucking \n out of your mind?" ], [ "This blows him away. He has nothing to say to that.\n\n The NUN has finished her morning prayers.\n\n For a moment, she looks deep into LT's eyes.", "The NUN turns to run.\n\n NUN\n I have already forgiven them.\n\n LT is desperate. He lunges forward. Pleads with her.", "The NUN'S description of the RAPE is both a turn on for LT \n and a matter of profound curiosity. Something divine. His", "NUN\n I have prayed for days, Lieutenant. \n I have prayed for the souls of the", "LT has observed their interaction. Though he would have loved \n to have heard some information from the YOUNG NUN, her \n defiance gives him even more pleasure.", "LT\n Nah...\n\n ARIANE\n Sure it is. You're a virgin. Just \n like that nun. And I'm gonna rape \n you.", "Finally, as if she knew he was there all along, the NUN looks \n up at where LT is hiding and boldly meets his eyes.\n\n CUT TO:", "and got no surprise at all. No, they \n did not rape a nun. But a nun has \n been raped. And the nun must now", "POV LT - The YOUNG NUN smiles a quiet, intractable smile.\n\n COP 2 is screaming mad, but tries to hide it.", "INT: EVENING - ARIANE'S APARTMENT\n\n CU - LT fucking a NUN.\n\n Its ARIANE.", "LT\n (to the Cops)\n What's this shit about a nun getting \n raped?", "They are all alone. At the ALTAR, before the CRUCIFIX, LT \n confronts the NUN face to face. The NUN holds her ROSARY \n BEADS.", "The NUN knows he is there. After a time, she gets up, goes \n to the altar, kneels. As if waiting for him.", "ARIANE suddenly starts up.\n\n ARIANE\n And the nun's not a virgin anymore, \n either. Will they make her leave the \n convent?", "LT is carrying on about the NUN. As he speaks about various \n subjects, his tone changes radically. From contempt and", "The ELDERLY NUN lowers her head. Shamed.\n\n ELDERLY NUN\n I would tell you more if I could. I \n am so sorry, Officers.", "LT can't help but start up. As if, telepathically, the NUN \n knew he was there and cried out to him. Asked him to complete \n her mission.", "The YOUNG NUN shoots the MONSIGNOR an offended look.\n\n It appears for a moment as if the YOUNG NUN makes eye contact \n with LT. But he can't be sure.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "LT hangs back in the crowd, staring at the YOUNG NUN as the \n COPS interrogate both NUNS." ], [ "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT whips out his GUN and shoots a deafening BLAST between \n the TWO KIDS' heads.It almost takes off the left ear of one \n and the right ear of the other.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "Now LT is alone with the TWO YOUNG BLACK KIDS.\n\n LT takes the KIDS inside at gunpoint.\n\n INT: The store appears to be deserted.", "LT turns around and looks at JULIO and PAOLO, both of them \n HANDCUFFED in the back seat.", "He blackmails them into humiliating sex scenes. On a side \n street off Eleventh Avenue, LT plays it out until dawn.\n\n CUT TO:", "LT jams his GUN down the PANTS of one of the KIDS. At the \n same time, he whips out his BADGE and thrusts it into the \n other KID'S FACE.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT uncuffs them and the KIDS get on the BUS, dumbstruck.\n\n LT hands JULIO the CIGAR BOX. His \"salvation.\"", "LT\n Get out.\n\n The KIDS do. LT follows fast.\n\n AT THE BUS: He makes them board at GUN POINT.", "LT has the KIDS handcuffed in the back seat. (The Scene \n mirrors Scene 2. in which LT drove his own TWINS to school.)", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT arrives, leading a BUST. Lots of COPS. LT chases a handsome \n young COKE DEALER, JC, cornering him a couple flights up a", "LT\n Shut the fuck up!\n\n LT turns to the UNIFORMED COP.", "LT\n Those fucking Mob assholes.\n\n LT makes the strangulation gesture again. ARIANE laughs at \n him.", "You don't want to hurt those boys, \n do you? I mean, they sure as Hell \n have got something coming, but it", "LT uses his Lieutenants' privilege to enter the MURDER CAR \n and begin his own investigation.\n\n TIRE TRACKS are discovered nearby. The OTHER COPS are \n distracted.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "LT\n Nah...\n\n ARIANE\n Sure it is. You're a virgin. Just \n like that nun. And I'm gonna rape \n you.", "The GIRLS don't miss a sexual beat. They continue what is \n now a menage a deux. They won't miss LT while he's gone.\n\n LT splits. No good-byes." ] ]	[ "What drugs does the Lieutenant use?", "What sporting team does the Lieutenant bet for?", "What crime is committed against the Nun?", "How much is the wager the Lieutenant unable to pay?", "Which sports team wins the pennant while the Lieutenant hold the two rapist hostage?", "What does the Lieutenant doe with the two rapist after freeing them?", "By what method is the Lieutenant killed?", "What sort of school does the Lieutenants children attend?", "The Lieutenant suffers from what two addictions?", "Is the Lieutenant a drug user?", "What happens to the drugs that the Lieutenant puts in his pocket?", "Where do the Lieutenant's children go to school?", "What did the Lieutenant do when he saw the crucified Christ?", "What did the nun say when the Lieutenant vowed to kill her attackers?", "Why wouldn't the Lieutenant's friend place a bet on the game?", "Who wins the pennant?", "How much money does the Lieutenant give the two rapists?", "How does the Lieutenant die?", "What are the last two words the Lieutenant hears?", "What does the Lieutenant do after he drops his kids at school?", "After wandering away from crime scene what is the interaction that the Lieutenant has with a local drug dealer?", "What does the Lieutenant do after he give the drugs to the dealer?", "What happens in the community while the Lieutenant is engaged in his illicit activities?", "After stealing drugs from a crime scene, and having them fall from his pocket, what does the Lieutenant instruct his team to do?", "While visiting the hospital what does the Lieutenant learn about the rape of the nun?", "After leaving the hospital the Lieutenant runs into two girls driving illegally, how does he respond to this event?", "The Lieutenant bet on a ball game and his team lost, how did he treat his car radio when the news came through?", "When the Lieutenant encounters the nun who was raped and vows to kill her attackers what is her response?", "What does the Lieutenant do to the two rapists once he tracks them down and cuffs them?" ]	[ [ "Cocaine, Crack, Alcohol, Heroin", "Crack and heroin." ], [ "Dodgers", "dodgers" ], [ "Rape", "She is raped." ], [ "$30,000", "30,000" ], [ "Mets", "mets" ], [ "Puts them on a bus with a cigar box holding $30,000", "Puts them on a bus with 30,000 dollars in a cigar box. " ], [ "Gunshot ", "He is shot." ], [ "Catholic", "Catholic school." ], [ "Drugs and Gambling ", "drugs and gambling" ], [ "He uses drugs multiple times.", "Yes." ], [ "They fall out of his pocket in front of his colleagues.", "They fall out in front of coworkers." ], [ "They go to a Catholic school.", "A Catholic school." ], [ "He begged for forgiveness of his crimes.", "curses and the begs forgiveness" ], [ "That she had forgiven them.", "She had forgiven them." ], [ "His friend thought he would be killed by the bookie.", "His friend fears that the bookie will kill him." ], [ "The Mets.", "Mets." ], [ "He gives them $30,000.", "$30,000" ], [ "He is shot twice.", "he got shot" ], [ "Hey, cop!", "Hey Cop!" ], [ "He takes a couple of bumps of cocaine and drives to a double murder scene.", "Does drugs and heads to a crime scene." ], [ "The lieutenant gives the dealer a back of drugs and is told that the he will get the money from the sale of those drugs in a few days. ", "gives him drugs and smokes with him" ], [ "He goes to an apartment and gets drunk engaging in a threesome with a couple of women.", "He gets drunk and has a threesome. " ], [ "A num in the community gets raped by two men. ", "the nun is raped in a church by two young hoodlums" ], [ "He tells them to enter them into evidence as part of a crime scene. ", "Enter them into evidence." ], [ "He learns that she was violated with a crucifix. ", "she offered grace to them" ], [ "He uses the girls for sexual pleasure. ", "He instructs them to simulate felatio with each other." ], [ "He shot out his car radio. ", "He shot the radio." ], [ "the nun insists that she has forgiven her attackers and just wants to move forward. ", "she says that she has forgiven them and leaves" ], [ "He give them his drug money and put them on a bus out of town. ", "Sends them away by bus." ] ]	a4a5274e6563d93830ce2749567ff04f907ea5ff	train
[ [ "All this will serve to explain the terms on which Mrs. Dale was\nliving at the Small House,--a matter needful of explanation sooner or", "It was Mrs. Dale's eldest daughter who spoke to her, and they were\nalone together in the parlour at the Small House. Mrs. Dale took the", "occurred to him that evil could come upon any of the Dale ladies from\nthe words which had then been spoken. He regarded the Small House as\ntheir abode and home as surely as the Great House was his own. In", "themselves agreeable to him. Mrs. Dale, since she had come to the\nSmall House, had never been a source of satisfaction to him, but he\ndid not on that account regret that he had brought her there. He", "\"Have you heard the news, my dear, from the Small House?\" said Mrs.\nBoyce to her husband, some two or three days after Mrs. Dale's visit", "\"Come up to the house,\" said Mrs. Dale, \"and I'll tell you all.\"\n\n\n\n\nCHAPTER LVIII.\n\nTHE FATE OF THE SMALL HOUSE.", "As Mrs. Dale, of the Small House, was not a Dale by birth, there\ncan be no necessity for insisting on the fact that none of the", "Small House, was in the hands of Hopkins, the head gardener to the\nGreat House; and it was so simply for this reason, that Mrs. Dale", "from Mrs. Dale, asking them to drink tea at the Small House on that\nday week. At the bottom of the note which Lily had written for Mr.", "Then came in old Mrs. Hearn, whose cottage was not distant two\nminutes' walk from the Small House. She always called Mrs. Dale \"my", "such modest way as her very limited means allowed. Old Mrs. Dale,\nthe squire's mother, then occupied the Small House. But when old\nMrs. Dale died, the squire offered the place rent-free to his", "\"What news?\" said Mr. Boyce, for he had heard none.\n\n\"Mrs. Dale and the girls are going to leave the Small House; they're\ngoing into Guestwick to live.\"", "Mrs. Dale was poor, her whole income not exceeding three hundred a\nyear, and therefore her own style of living was of necessity very\nunassuming; but she saw her girls becoming popular in the county,", "He did not visit the Small House on that, his first day. It had been\nthought better that he should first meet the squire and Bell at\nGuestwick Manor, so he postponed his visit to Mrs. Dale till the next\nmorning.", "Alexandrina was spoken of much more frequently at the Small House.\nIt was not a subject which Mrs. Dale or Bell would have chosen for\nconversation; but Lily would refer to it. She would begin by doing so", "It had been decided between the squire and Mrs. Dale that the removal\nfrom the Small House to Guestwick was not to take place till the", "summoned at the Great House did not usually exceed twenty minutes,\nand the upshot would be communicated to the girls in a turn or two\nround the garden; but in the present instance Mrs. Dale positively", "intimate with Mrs. Dale's daughters, and especially so with the\neldest. Young unmarried doctors ought perhaps to be excluded from\nhouses in which there are young ladies. I know, at any rate, that", "and, nevertheless, makes some pretence of going into society, it has\nto be very mindful of small details, even though that family may\nconsist only of ladies. Of this Mrs. Dale was well aware, and as", "much liked by the families around them, and enjoying nearly all\nthe advantages which would have accrued to them had they been the\ndaughters of Squire Dale of Allington. Under such circumstances it" ], [ "The idea of jilting Alexandrina instead of Lily had never as yet\npresented itself to Crosbie, and now, as he thought of it, he could\nnot perceive that it was feasible.", "And Lily Dale was engaged to be married to Adolphus Crosbie,--to\nApollo Crosbie, as she still called him, confiding her little joke", "\"L. D. is engaged to be married to a man named Adolphus Crosbie,\"\nsaid poor Johnny, slowly. \"If you please, we will not say any more\nabout her.\"", "In this way the matter had been talked over between the mother and\nher elder daughter. Then Mr. Crosbie had come; and before the end\nof the first month his declared admiration for Lily had proved", "\"It will come all right.\" But Bell, though she made this very\nsatisfactory promise, was as well aware as either of the others that\nthe family would be divided when Crosbie should have married Lily and\ntaken her off to London.", "given in marriage,--was carried on after a somewhat humdrum fashion,\nand in a manner that must be called commonplace. How different had\nit been when Crosbie had made his offer! Lily for the time had been", "Crosbie was at Allington this was natural enough. He and Lily were of\ncourse together, while Bell remained with her mother. But the same\nstate of things continued even after Crosbie was gone. It was not", "And then Crosbie told Lily of his intention. \"On Wednesday!\" she\nsaid, turning almost pale with emotion as she heard this news. He had\ntold her abruptly, not thinking, probably, that such tidings would\naffect her so strongly.", "reminding her mother that that promise had been made, and must be\nkept. Lily was to be told the day on which Crosbie was to be married.\nIt had come to the knowledge of them all that the marriage was to", "way. She could therefore be doing no harm to Lilian Dale. If she\nentertained any inner feeling that Crosbie's fault in jilting Lilian", "earl in establishing that new household. To Crosbie he had refused to\ngive anything, and there was upon his conscience a shade of remorse\nin that he had so refused. But if Lily could be brought to love this", "and made some sweet little loving speech to her. Adolphus Crosbie\nwas a clever man; and he meant also to be a true man,--if only the", "that she had ever desired. It would give her a prospect of seeing\nvery much of Lily; for if Bell were settled at the old family house,\nCrosbie would naturally be much with his friend. She liked Bernard", "and she felt as anxious as he did to provide Lily with another\nhusband in place of that horrible man Crosbie. \"She has been very\nfortunate in her escape,\" she said to her brother; \"very fortunate.\"", "But Bell was not seated next to her lover. Lily, when she had once\naccepted Crosbie, seemed to think that she could never be too near", "them through her own fault. She well knew how great a load of sorrow\nwas lying on Lily's heart, hidden beneath those little attempts at\npleasantry which she made. When she spoke of being disappointed in", "two in favour of Mr. Crosbie, she felt herself to be rebuked by her\nsister for this unwonted enthusiasm. Lily was at work on a drawing,", "away from her? She had already realized the fact that Crosbie's\nhouse could never be a home to her,--never even a temporary home.\nHer visits there must be of that full-dressed nature to which Lily", "actually promised to another man, and as good as married, he was not\nthe less broken-hearted because his former hopes had not been high.\nHe had never dared to speak to Lily of his love, but he was conscious", "\"I'm sure Lily won't object to my telling such a dear friend as you\nwhat has happened,\" said Mrs. Dale. \"She is engaged to be married to\nMr. Crosbie.\"" ], [ "CHAPTER XLVI.\n\nJOHN EAMES AT HIS OFFICE.\n\n\n[ILLUSTRATION: (untitled)]", "I may as well announce at once that John Eames, when he went up to\nLondon, was absolutely and irretrievably in love with Lily Dale. He", "In the meantime John Eames had continued his career in London without\nmuch immediate satisfaction to himself, or to the lady who boasted to", "CHAPTER LIX.\n\nJOHN EAMES BECOMES A MAN.", "and to whom Mrs. Eames had been strongly recommended when she was\ndesirous of finding a specially safe domicile for her son. For the\nfirst year of his life in London John Eames had lived alone in", "to his children. He had, moreover, obtained for John Eames that\nsituation under the Crown which he now held.", "And thus John Eames was thoughtful. They who knew him best accounted\nhim to be a gay, good-hearted, somewhat reckless young man, open to", "world would, if known to John Eames, have made him appear fabulously\nrich in the eyes of that brother clerk. His lodgings in Mount Street\nwere elegant in their belongings. During three months of the season", "\"I think I told you,\" continued the earl, \"that young John Eames is\ndown here; but he goes back to-morrow, as they can't spare him at his", "Johnny Eames was a mere clerk; whereas Crosbie, if he was to be\ncalled a clerk at all, was a clerk of some very special denomination.", "CHAPTER XXI.\n\nJOHN EAMES ENCOUNTERS TWO ADVENTURES, AND DISPLAYS GREAT COURAGE IN\nBOTH.", "\"It was about John Eames, and not about Mr. Crosbie, that I wished to\nspeak to you.\"\n\n\"Oh, mamma!\"", "There had been some fun in this at first; but of late John Eames had\nbecome tired of it. He disliked Mr. Kissing, and the big book out", "busy themselves in books and be at their ease among the creations\nof other minds. These are they who afterwards become well-informed\nmen. It was not so with John Eames. He had never been studious. The", "the qualifications of Mr. Crosbie. Now John Eames was a young\nman from Guestwick, who had been appointed to a clerkship in the", "CHAPTER XXIX.\n\nJOHN EAMES RETURNS TO BURTON CRESCENT.", "And then had come that visit from Johnny Eames. As the poor fellow\nmarched out of the room, giving them no time to say farewell, Mrs.", "John Eames watched the party of cavaliers as they rode away from\nhis mother's door, and then started upon a solitary walk, as soon", "When Crosbie was making his ineffectual inquiry after Lady De\nCourcy's bracelet at Lambert's, John Eames was in the act of entering\nMrs. Roper's front door in Burton Crescent.", "Poor John Eames had been so placed that he had been driven to do his\nflirting in very bad company, and he was now fully aware that it had" ], [ "\"Shall I never say so, Bell? What if so poor a man as I ask for the\nhand that you will not give to so rich a man as your cousin Bernard?\"", "before the commencement of this narrative. He made no declaration to\nBell; but Bell, young as she was, understood well that he would fain\nhave done so, had not his courage failed him, or rather had not his", "\"Not if it be a refusal, Bell. Think well of it before you do that.\nI should have told you that our uncle wishes this match, and that he\nwill remove any difficulty there might be about money.\"", "proposed marriage, but as to that nothing further could be said in\nBell's presence. Bell understood it all, and sat quite silent, with\ndemure countenance;--perhaps even with something of sternness in her", "\"No, John; no,\" she answered.\n\n\"Must it be always no?\"\n\n\"Always no to that. How can it be otherwise? You would not have me\nmarry you while I love another!\"", "\"I think a great deal about her,\" said the squire. \"But that does not\nmuch matter now. The fact is, that she has declined Bernard's offer.\"\n\n\"Has Bernard offered to her?\"", "refuse him now?\" asked Lily. \"I don't know,\" said Bell. \"It seems as\nthough I should want years to make up my mind; and he won't ask me\nagain.\"", "her, and Bell, as I have said before, made up her mind with great\nfirmness that she was not in love with him. I may certainly say that", "wishes and sufficiently liberal in his offers; and that, therefore,\nhe would marry. It had hardly occurred to him as probable that his\ncousin would reject so eligible an offer, and had certainly never", "\"I do not wish to press you unfairly, Bell; but may I ask if any\nother preference--\"\n\n\"There is no other preference,\" she answered. And then again they\nwere silent for a minute or two.", "Bell, as she had been desired to listen, did listen very patiently.\nBut when her cousin had finished, her answer was very short. \"Nothing\nthat my uncle can say, or think, or do, can make any difference in\nthis,\" said she.", "\"If that be all,\" said Bell, \"I do not think that we need either of\nus trouble ourselves. He can have no right to dispose of our hearts.\"\n\n\"I understand the taunt, Bell.\"", "from her manner that this marriage of hers was about to take place at\nonce, and that she was preparing to leave her home. \"Bell,\" she said,", "\"If you mean that she cannot be made to marry her cousin, of course\nwe all know she can't.\"\n\n\"I mean rather more than that.\"\n\n\"What do you mean, then?\"", "alternative. She could not now teach her daughters to obey their\nuncle's wishes in all things. She could not make Bell understand that\nit would be well that she should marry Bernard because the squire had", "\"And because she has been deceived by the man she did love, I am to\nmake matters square by marrying a man I--\" and then she paused. \"Dear", "\"Bell,\" she said, \"I wish you were going to be married too.\"\n\n\"Thank'ye, dear,\" said Bell. \"Perhaps I shall some day.\"", "that he would marry her himself. No one seeing her that evening, and\nknowing nothing of her immediate history, would have imagined that\nshe herself had been cruelly jilted some six or eight months ago. And", "\"Dr. Crofts is going to marry Bell Dale,\" said Mary; and then the\nconversation was turned from the subject of Lady Julia's perfections,\nand the awe inspired by the earl.", "in due course of time become his wife,--let Miss Dale and all her\nfriends say what they might to the contrary. As to that head she had\nno fear. But nevertheless she did not accept him at once. Though she" ], [ "that Crosbie had been a villain, and as such should be discarded from\nher heart? As it was, Lily had spoken the simple truth when she told\nJohn Eames that she was dealing more openly with him on that affair", "Crosbie was at Allington this was natural enough. He and Lily were of\ncourse together, while Bell remained with her mother. But the same\nstate of things continued even after Crosbie was gone. It was not", "continued purpose of seeing Eames on his promised visit. Crosbie\nwould have had her acknowledge herself wrong, and would have\ndelighted in the privilege of forgiving her. But Lily Dale was one", "\"All right,\" said Bernard. So they separated; and Crosbie went away\nwith Lily into the field where they had first learned to know each\nother in those haymaking days.", "On the next morning the postman brought a letter, or rather a note,\nand Lily at once saw that it was from Crosbie. She had contrived to", "And then Crosbie told Lily of his intention. \"On Wednesday!\" she\nsaid, turning almost pale with emotion as she heard this news. He had\ntold her abruptly, not thinking, probably, that such tidings would\naffect her so strongly.", "In this way the matter had been talked over between the mother and\nher elder daughter. Then Mr. Crosbie had come; and before the end\nof the first month his declared admiration for Lily had proved", "Lily. \"Give her the enclosed,\" Crosbie had said in his letter, \"if\nyou do not now think it wrong to do so. I have left it open, that you", "sister. She had been present when Crosbie had bid them good-by, and\nhad listened to his eagerness as he declared to Lily that he should", "\"It will come all right.\" But Bell, though she made this very\nsatisfactory promise, was as well aware as either of the others that\nthe family would be divided when Crosbie should have married Lily and\ntaken her off to London.", "reminding her mother that that promise had been made, and must be\nkept. Lily was to be told the day on which Crosbie was to be married.\nIt had come to the knowledge of them all that the marriage was to", "\"Then Johnny Eames is a mere clerk,\" said Lily; \"and Mr. Crosbie\nis-- After all, Bell, what is Mr. Crosbie, if he is not a mere clerk?", "Lily had received another letter, and had answered it before Eames\nmade his promised visit to Allington. He, as will be remembered, had", "earl in establishing that new household. To Crosbie he had refused to\ngive anything, and there was upon his conscience a shade of remorse\nin that he had so refused. But if Lily could be brought to love this", "given in marriage,--was carried on after a somewhat humdrum fashion,\nand in a manner that must be called commonplace. How different had\nit been when Crosbie had made his offer! Lily for the time had been", "declared that Crosbie was perfect, knowing that by such assurances\nonly could they now administer to Lily's happiness; and Lily, between\nthem, was made perfect in her happiness, receiving all manner of", "Crosbie hastened at once to exculpate Lily; and then, with more\nawkward blunders than a man should have made who was so well", "The path proposed lay right across the field into which Lily had\ntaken Crosbie when she made her offer to let him off from his\nengagement. Could it be possible that she should ever walk there", "And Lily, though she said nothing on the subject to Mrs. Dale, felt\nthat her mother was in some degree estranged from her. Crosbie's name", "nose at Lily before Crosbie's face, and saying little things against\nhimself behind his back. Her wrath would not carry her much beyond\nthat." ], [ "The idea of jilting Alexandrina instead of Lily had never as yet\npresented itself to Crosbie, and now, as he thought of it, he could\nnot perceive that it was feasible.", "\"The house will do very well,\" said Crosbie. And Alexandrina could\nperceive that there was something of the master in his tone as he\nspoke.\n\n\"I am only telling you what Amelia said,\" she replied.", "got home. When they reached their house Alexandrina had a headache,\nand went up to her room immediately. Crosbie threw himself into a\nchair before the remains of a fire in the dining-room, and resolved", "altogether agreed with her that it was out of the question that\nMr. Crosbie should marry Lily Dale. From Alexandrina he encountered\nduring the week none of that raillery which he had expected. He", "Lady Alexandrina fell to Crosbie's lot, and he felt gratified that\nit was so. It might be necessary for him, as a married man, to give", "Crosbie remained silent for a minute before he answered, and then he\nspoke in a serious voice. \"Lady Alexandrina,\" said he, \"I would beg\nfrom you a great favour.\"", "\"Was that all an invention of yours, sir?\" said Alexandrina to\nCrosbie.", "the festivity. So Crosbie and Lady Alexandrina Crosbie heard Mr.\nGresham's speech, in which he prophesied for the young couple an\namount of happiness and prosperity almost greater than is compatible", "brought Mr. Crosbie up to you. I did not know that you were here,\nAlexandrina, or I should have warned him.\"", "than others around him. But such success alone would hardly suffice\nfor him. Then he considered whether he might not even yet be happy in\nhis own home,--whether Alexandrina, when separated from her mother,", "Crosbie and his wife went home together in a cab,--speechless both\nof them. Alexandrina hated cabs,--but she had been plainly told that", "with her. She had endured for years, and now Alexandrina was unable\nto endure for six months. Her chief grievance, moreover, was", "Alexandrina might have done better. But I don't believe that\nhe'll raise any strong objection. There will be something about\nsettlements, and that sort of thing, of course.\" Then the countess", "\"You don't know exactly how far it went, do you?\"\n\n\"No; yes;--not exactly, that is,\" said Alexandrina.\n\n\"I suppose he did say something about marriage to the girl?\"", "But for a week Alexandrina sojourned under Mr. Gazebee's roof,\nduring which time Crosbie was made happy with all the delights of an", "close to him. After that he reflected whether it would not be well\nthat he too should die, so that Alexandrina might be comfortable. She\nand her mother might be very comfortable together, with plenty of", "were other considerations. Mr. Crosbie had not much certainly in\nhis own possession, but he was a man out of whom something might be\nmade by family influence and his own standing. He was not a hopeless,", "as belonging to Crosbie, in the interest of Lady Alexandrina.\nHe had gone to work for her, scraping here and arranging there,\nstrapping the new husband down upon the grindstone of his matrimonial", "of her husband. \"I wish he could keep a carriage for you, but perhaps\nthat will come some day.\" Upon the whole Alexandrina did not repent,", "expressing such a wish on his own part. But if Alexandrina was simply\nmaking a fool of herself, then it would be well for her to stay.\n\"I suppose she would rather I should go,\" said the elder sister" ], [ "\"Bell,\" she said, \"I wish you were going to be married too.\"\n\n\"Thank'ye, dear,\" said Bell. \"Perhaps I shall some day.\"", "proposed marriage, but as to that nothing further could be said in\nBell's presence. Bell understood it all, and sat quite silent, with\ndemure countenance;--perhaps even with something of sternness in her", "\"Bell,\" he said, \"you and I have always been dear friends.\"\n\n\"Yes; always.\"\n\n\"Why should we not be something more than friends?\"", "\"Dr. Crofts is going to marry Bell Dale,\" said Mary; and then the\nconversation was turned from the subject of Lady Julia's perfections,\nand the awe inspired by the earl.", "\"Bell,\" she said, \"he has gone.\"\n\n\"Lily! Lily! Lily!\" said Bell, weeping.", "from her manner that this marriage of hers was about to take place at\nonce, and that she was preparing to leave her home. \"Bell,\" she said,", "\"Crofts going to marry Bell!\" exclaimed Eames, thinking almost with\ndismay of the doctor's luck in thus getting himself accepted all at\nonce, while he had been suing with the constancy almost of a Jacob.", "\"Yes, about Bell. Here's Lily going to be married, and it will be\nwell that Bell should be married too.\"", "really wanted us. He liked to have Bell there when he thought that\nBell would marry his pet.\"", "believe a word about the squire having been cross to them. Indeed I\nknow he has been the reverse of cross. So Bell is going to marry Dr.\nCrofts!\"", "Bell and Lily went together also to Mrs. Boyce's. \"If she makes\nherself very disagreeable, I shall insist upon talking of your\nmarriage,\" said Lily.", "\"I've not the slightest objection,\" said Bell; \"only I don't know\nwhat there can be to say about it. Marrying the doctor is such a very\ncommonplace sort of thing.\"", "\"Bernard and Bell!\" exclaimed Mrs. Dale. No idea of such a union\nhad ever yet come upon her, and now in her surprise she sat silent.", "people to do, like you and Bell. All the same, Bell, I do wish you\ncould have been married from this house.\"", "before the commencement of this narrative. He made no declaration to\nBell; but Bell, young as she was, understood well that he would fain\nhave done so, had not his courage failed him, or rather had not his", "\"Bell told me that it was to be so,\" said Mrs. Dale. \"But I could\nhardly bring myself at first to think that he was good enough for my\ndarling.\"", "The squire had been told that his niece Bell had accepted Dr. Crofts,\nand he had signified a sort of acquiescence in the arrangement,", "her, and Bell, as I have said before, made up her mind with great\nfirmness that she was not in love with him. I may certainly say that", "Bell. But you may be sure of this; that he had made up his mind as to\nwhat he would do. Nothing that you or I could have said would have\nchanged him.\"", "or two they were to live in lodgings, and their goods were to be\nstored in some friendly warehouse. Under such circumstances would\nit not be well that Bell's marriage should be so arranged that the" ], [ "front door of the house which stands there. I will only say here, at\nthis fag end of a chapter, that it is the Small House at Allington.\nAllington Street, as I have said, turns short round towards the", "Of course there was a Great House at Allington. How otherwise should\nthere have been a Small House? Our story will, as its name imports,", "_The Small House at Allington_ was first published serially\n in the _Cornhill Magazine_ from September, 1862, to April,", "Then they heard at the Small House that the squire had gone away from\nAllington. During the last few days Bernard had not been much with", "All this will serve to explain the terms on which Mrs. Dale was\nliving at the Small House,--a matter needful of explanation sooner or", "steeple. The glory of the Small House at Allington certainly consists\nin its lawn, which is as smooth, as level, and as much like velvet as", "So it was settled among them that notice should be given to their\nuncle of their intention to quit the Small House of Allington.", "So much it was needful that I should say of Allington Great House,\nof the Squire, and of the village. Of the Small House, I will speak\nseparately in a further chapter.", "GUTENBERG EBOOK THE SMALL HOUSE AT ALLINGTON*\n\n\nE-text prepared by Andrew Turek\nand revised by Joseph E. Loewenstein, M.D., and an anonymous\nProject Gutenberg volunteer", "And now I will speak of the Great House of Allington. After all, it\nwas not very great; nor was it surrounded by much of that exquisite", "Small House, was in the hands of Hopkins, the head gardener to the\nGreat House; and it was so simply for this reason, that Mrs. Dale", "Such in character was the squire of Allington, the only regular\ninhabitant of the Great House. In person, he was a plain, dry man,", "should be left for ever. It would be a great fall in a worldly\npoint of view,--from the Allington Small House to an abode in some\nlittle street of Guestwick. At Allington they had been county", "He did not visit the Small House on that, his first day. It had been\nthought better that he should first meet the squire and Bell at\nGuestwick Manor, so he postponed his visit to Mrs. Dale till the next\nmorning.", "such modest way as her very limited means allowed. Old Mrs. Dale,\nthe squire's mother, then occupied the Small House. But when old\nMrs. Dale died, the squire offered the place rent-free to his", "\"Come up to the house,\" said Mrs. Dale, \"and I'll tell you all.\"\n\n\n\n\nCHAPTER LVIII.\n\nTHE FATE OF THE SMALL HOUSE.", "\"Leave the Small House!\" he said, repeating her words; \"and where on\nearth do you mean to go?\"\n\n\"We think we shall go into Guestwick.\"\n\n\"And why?\"", "The gardens of the Great House of Allington and those of the Small\nHouse open on to each other. A proper boundary of thick laurel hedge,", "On the morning following the squire's return to his own house, Mrs.\nCrump, the post-mistress at Allington, received a parcel by post", "themselves agreeable to him. Mrs. Dale, since she had come to the\nSmall House, had never been a source of satisfaction to him, but he\ndid not on that account regret that he had brought her there. He" ], [ "CHAPTER I.\n\nTHE SQUIRE OF ALLINGTON.\n\n\n[ILLUSTRATION: (untitled)]", "Such in character was the squire of Allington, the only regular\ninhabitant of the Great House. In person, he was a plain, dry man,", "interests at Allington; and, moreover, those interests were now\nbacked by an ally who in this matter must be regarded as much more\npowerful than the earl. The squire had given in his consent to the", "the existing squire. Some futile attempts had been made to increase\nthe territory, as indeed had been done by Kit Dale, the father of\nChristopher Dale, who will appear as our squire of Allington when the", "The squires of Allington had been squires of Allington since squires,\nsuch as squires are now, were first known in England. From father", "\"You'll be squire of Allington for the next twenty years,\" said Mrs.\nDale. \"And as long as you are the squire, you'll be master of this", "and he bore few signs of age. Such in person was Christopher Dale,\nEsq., the squire of Allington, and owner of some three thousand a\nyear, all of which proceeded from the lands of that parish.", "On the morning following the squire's return to his own house, Mrs.\nCrump, the post-mistress at Allington, received a parcel by post", "left the Squire of Allington in conference with Fowler Pratt. He had\nseen Fowler Pratt again that same night, and the course of the story\nwill have shown what took place at that interview.", "Then there was no more said between them till they sat down to their\nmeal.\n\nHad the squire at Allington known all, he might, I think, have been\nsatisfied with the punishment which Crosbie had encountered.", "boldly to the Squire of Allington, and tell him what were his views\nwith reference to Lily? And how far would he be justified in taking\nthe earl at his word? Some incredible amount of wealth would be", "Allington had been coterminous with the parish of Allington for some\nhundreds of years; and though, as I have said, the race of squires\nhad possessed nothing of superhuman discretion, and had perhaps been", "moved in a position which belongs, as a rule, to the daughters of\nrich men only. This they did as nieces of the childless squire of\nAllington, and as his nieces she felt that they were entitled to", "however, with her neighbour the squire which I regret to say are not\nas friendly as they should be. Beyond this lady's modest residence,\nAllington Street, for so the road is called, turns suddenly round", "Late on that evening the squire returned to Allington, Bernard having\ndriven over to meet him at the station. He had telegraphed to his", "I. THE SQUIRE OF ALLINGTON.\n II. THE TWO PEARLS OF ALLINGTON.\n III. THE WIDOW DALE OF ALLINGTON.", "other always. Many years had now gone by since these things had\noccurred, but still the same feelings remained. When she had first\ncome down to Allington she had resolved to win the squire's regard,", "\"I don't know what it was about, or why he should have made such a\nbrute of himself. You have heard about those people at Allington?\"\n\n\"Oh, yes; I have heard about them.\"", "that other one. He had said that he would call at Allington before he\nreturned to town, and he was now redeeming his promise. But he did", "So much it was needful that I should say of Allington Great House,\nof the Squire, and of the village. Of the Small House, I will speak\nseparately in a further chapter." ], [ "CHAPTER XLVI.\n\nJOHN EAMES AT HIS OFFICE.\n\n\n[ILLUSTRATION: (untitled)]", "I may as well announce at once that John Eames, when he went up to\nLondon, was absolutely and irretrievably in love with Lily Dale. He", "And thus John Eames was thoughtful. They who knew him best accounted\nhim to be a gay, good-hearted, somewhat reckless young man, open to", "CHAPTER LIX.\n\nJOHN EAMES BECOMES A MAN.", "himself a despairing lover. And then such a young man as John Eames\nis very apt to talk of his fancies.\"", "\"It was about John Eames, and not about Mr. Crosbie, that I wished to\nspeak to you.\"\n\n\"Oh, mamma!\"", "busy themselves in books and be at their ease among the creations\nof other minds. These are they who afterwards become well-informed\nmen. It was not so with John Eames. He had never been studious. The", "to his children. He had, moreover, obtained for John Eames that\nsituation under the Crown which he now held.", "\"I think I told you,\" continued the earl, \"that young John Eames is\ndown here; but he goes back to-morrow, as they can't spare him at his", "Johnny Eames was a mere clerk; whereas Crosbie, if he was to be\ncalled a clerk at all, was a clerk of some very special denomination.", "In the meantime John Eames had continued his career in London without\nmuch immediate satisfaction to himself, or to the lady who boasted to", "the qualifications of Mr. Crosbie. Now John Eames was a young\nman from Guestwick, who had been appointed to a clerkship in the", "world would, if known to John Eames, have made him appear fabulously\nrich in the eyes of that brother clerk. His lodgings in Mount Street\nwere elegant in their belongings. During three months of the season", "CHAPTER XXI.\n\nJOHN EAMES ENCOUNTERS TWO ADVENTURES, AND DISPLAYS GREAT COURAGE IN\nBOTH.", "When Crosbie was making his ineffectual inquiry after Lady De\nCourcy's bracelet at Lambert's, John Eames was in the act of entering\nMrs. Roper's front door in Burton Crescent.", "\"What;--John Eames!\"\n\n\"Yes, John Eames. And I wish heartily for his sake that he had won\nher regard before she had met that rascal whom you had to stay down\nat your house.\"", "and to whom Mrs. Eames had been strongly recommended when she was\ndesirous of finding a specially safe domicile for her son. For the\nfirst year of his life in London John Eames had lived alone in", "There had been some fun in this at first; but of late John Eames had\nbecome tired of it. He disliked Mr. Kissing, and the big book out", "among all the guests. \"How is it that he does it?\" said John Eames to\nhimself, envying the perfect happiness of the London man of fashion.", "De Guest were the one for whom he had the strongest and the oldest\nlove. And yet he must have known that John Eames knew as much about\nit as he did himself. But there are men who have the most lively" ], [ "All this will serve to explain the terms on which Mrs. Dale was\nliving at the Small House,--a matter needful of explanation sooner or", "Small House. So Hopkins stood on the terrace, raising his hat and\nscratching his head. \"There's something wrong amongst them,\" said he\nto himself, sorrowfully.", "Small House, was in the hands of Hopkins, the head gardener to the\nGreat House; and it was so simply for this reason, that Mrs. Dale", "The morning of the fourteenth came upon them at the Small House,\nas comes the morning of those special days which have been long", "Of course there was a Great House at Allington. How otherwise should\nthere have been a Small House? Our story will, as its name imports,", "\"Resolved on what?\" said the squire, turning his eyes full upon her.\n\n\"We have resolved to leave the Small House.\"", "let the Small House to strangers. T' squire ain't one of that sort\nany ways.\"", "front door of the house which stands there. I will only say here, at\nthis fag end of a chapter, that it is the Small House at Allington.\nAllington Street, as I have said, turns short round towards the", "On that day they dined early at the Small House, as they had been in\nthe habit of doing since the packing had commenced. And after dinner", "\"Have you heard the news, my dear, from the Small House?\" said Mrs.\nBoyce to her husband, some two or three days after Mrs. Dale's visit", "\"Leave the Small House!\" he said, repeating her words; \"and where on\nearth do you mean to go?\"\n\n\"We think we shall go into Guestwick.\"\n\n\"And why?\"", "CHAPTER XIX.\n\nTHE SQUIRE MAKES A VISIT TO THE SMALL HOUSE.\n\n\n[ILLUSTRATION: (untitled)]", "to live with him on terms of affection, made during the first year or\ntwo of her residence at the Small House. But, nevertheless, in spite\nof all, her heart bled for him now. She had gained her victory over", "\"Come up to the house,\" said Mrs. Dale, \"and I'll tell you all.\"\n\n\n\n\nCHAPTER LVIII.\n\nTHE FATE OF THE SMALL HOUSE.", "During the whole of that day Crosbie's name was not mentioned at\nthe Small House. Neither of the girls stirred out, and Bell spent", "It was Mrs. Dale's eldest daughter who spoke to her, and they were\nalone together in the parlour at the Small House. Mrs. Dale took the", "such modest way as her very limited means allowed. Old Mrs. Dale,\nthe squire's mother, then occupied the Small House. But when old\nMrs. Dale died, the squire offered the place rent-free to his", "as they were in the habit of saying. The older and more solid\nthings,--articles of household stuff that stand the wear of half a\ncentury,--had been in the Small House when they came to it. There", "\"What news?\" said Mr. Boyce, for he had heard none.\n\n\"Mrs. Dale and the girls are going to leave the Small House; they're\ngoing into Guestwick to live.\"", "themselves agreeable to him. Mrs. Dale, since she had come to the\nSmall House, had never been a source of satisfaction to him, but he\ndid not on that account regret that he had brought her there. He" ], [ "Dr. Crofts didn't exactly see the matter in this light, but he was\nnot anxious to argue it very closely with the earl. \"The younger\none,\" he said, \"has provided for herself.\"", "CHAPTER XXXVIII.\n\nDOCTOR CROFTS IS CALLED IN.", "Crofts got himself quickly up to the fireplace, making civil little\nspeeches to Mrs. Dale, Mrs. Boyce, and Mrs. Hearn. And then at last\nhe made his way round to Bell.", "\"Crofts going to marry Bell!\" exclaimed Eames, thinking almost with\ndismay of the doctor's luck in thus getting himself accepted all at\nonce, while he had been suing with the constancy almost of a Jacob.", "Dr. Crofts was a slight, spare man, about five feet nine in height,\nwith very bright dark eyes, a broad forehead, with dark hair that", "It was thus that Crofts first heard of their intention. Now, in\nthese days of Lily's worst illness, he came daily over to Allington,", "favour. It is hard upon old friends that this difficulty should\nusually fall the heaviest upon them. Crofts had been so intimate with\nthe Dale family that very many persons had thought it probable that", "when his lordship asked him. And so Dr. Crofts is there. It couldn't\nhave been anything in the doctoring way, I suppose.\"", "\"They're very old friends of mine,\" said Crofts.\n\n\"Yes, I daresay. There are two girls, are there not?\"\n\n\"Yes, two.\"", "Dr. Crofts as he rode home enjoyed but little of the triumph of a\nsuccessful lover. \"It may be that she's right,\" he said to himself;", "on, and he knew it. Dr. Crofts was already in treaty on their behalf\nfor a small furnished house at Guestwick. The squire was very sad", "Crofts, with all the danger to her children, to Dr. Gruffen, with\nall the danger to herself. But the result was that the young doctor", "by Dr. Crofts himself. Let it then be considered that Dr. Crofts\nhad given her some such authority. This may be done in more ways\nthan one; and Miss Dale could not have found herself asking herself", "Dr. Crofts had now been practising in Guestwick nearly seven years,\nhaving settled himself in that town when he was twenty-three years", "\"Dr. Crofts is going to marry Bell Dale,\" said Mary; and then the\nconversation was turned from the subject of Lady Julia's perfections,\nand the awe inspired by the earl.", "Crofts.\" And then the earl took himself off to bed.", "\"You're sure he wants to see me?\" said Crofts.\n\n\"Oh, yes; I'm sure enough of that, sir.\"\n\n\"It wasn't Dr. Gruffen?\"", "But Dr. Crofts had so winked his eye, that he was not in the least\naware whether he had winged his bird or no. Indeed, having no one at", "for Dr. Gruffen. On the occasion of Mrs. Dale's party, Crofts was\nthere, having been specially invited; but Mrs. Dale's special", "between them. They shall each have a hundred a year,--that is, when\nthey marry. You had better tell Crofts to speak to me.\"" ], [ "Crosbie and Lily Dale. When Crosbie came to Lily and made his offer,\nhe did it with perfect ease and thorough self-possession, for he", "\"I'm sure Lily won't object to my telling such a dear friend as you\nwhat has happened,\" said Mrs. Dale. \"She is engaged to be married to\nMr. Crosbie.\"", "an exactly opposite impulse to his heart. He had hesitated as to\nmarrying Lily Dale at once, because of the smallness of his income.\nNow he had a prospect of considerable increase to that income.", "As Crosbie walked back to the Great House that night, he made a firm\nresolution that no consideration of worldly welfare should ever\ninduce him to break his engagement with Lily Dale. He went somewhat", "And Lily Dale was engaged to be married to Adolphus Crosbie,--to\nApollo Crosbie, as she still called him, confiding her little joke", "Oh, if Lily could have heard him as he then spoke! \"It would be\nimpossible for me to speak in terms too high of Miss Dale; but I am\nquite sure that I could not make her happy as her husband.\"", "in such a state of circumstances as was now existing. But at last\nhis thoughts brought themselves to the real question at issue. Would\nLily Dale accept him? After all, the realization of his good fortune", "He had sat there for an hour, and Mrs. Dale still remained with her\ndaughter. Should he get up boldly and ask Lily to put on her bonnet", "\"Lily, I wonder whether you would come as far as that with me.\"\nAs the request was made Mrs. Dale looked at her daughter almost\nbeseechingly. \"Do, pray do,\" said he; \"it is a beautiful day for\nwalking.\"", "he would marry one of the girls. Mrs. Dale herself had thought so,\nand had almost hoped it. Lily had certainly done both. These thoughts\nand hopes had somewhat faded away, but yet their former existence", "had no doubt that he had promised to make Lily Dale his wife, but\nso had he previously promised her, or nearly so. It was a fair game,", "Whereupon Dr. Crofts explained that Mr. Crosbie was engaged to Lilian\nDale.", "But she and Bell would pass hours together talking of Lily's\nprospects. \"It seems so strange to me,\" said Mrs. Dale, \"that she", "has proposed to two ladies. I dare say it was wrong, but I can't help\nit. As to Mr. Dale coming here with a tale of his niece's wrongs, I", "On the following morning Crosbie returned to town, but just before he\nleft the castle he received a third letter from Lily Dale. \"I have", "Hotel. Was it then possible that Lily Dale might even yet become his\nwife? Could it be true that he, even now, was in a position to go", "\"Lily, my love,\" said Mrs. Dale, when they were all together in her\nbedroom, \"it seems to me that you are very hard upon Mr. Crosbie.\"", "\"And now you mean that you are altogether engaged to her?\"\n\n\"Exactly so.\"\n\n\"And that Miss Dale must be told that, on second thoughts, you have\nchanged your mind?\"", "that the difficulties were vanishing from out of his path. \"Could\nit be possible,\" he asked himself, as he went to bed, \"that in a\nfortnight's time Lily Dale should have accepted him as her future", "\"Lily,\" said he; and then he stopped. Mrs. Dale walked away to the\nwindow, turning her back upon her daughter and visitor. \"Lily, I have" ], [ "And then she remembered that that other lady might at this very\nmoment possess the name which she had once been so proud to think\nthat she would bear herself. \"Bell,\" she said, stopping her other", "This sarcastic condemnation was spoken by Miss Lilian Dale to her\nsister Isabella, and referred to a gentleman with whom we shall have", "\"Bell,\" she said, \"he has gone.\"\n\n\"Lily! Lily! Lily!\" said Bell, weeping.", "Bell the chin was something more slender and delicate. But Bell's\nchin was unmarked, whereas on her sister's there was a dimple which", "\"Griselda,\" he said,--and it must be admitted that his tone was not\nbad. The word sank softly into her ear, like small rain upon moss,\nand it sank into no other ear. \"Griselda!\"", "If there was anything in the world as to which Isabella Dale was\nquite certain, it was this--that she was not in love with Dr. Crofts.", "\"Mamma is in the garden,\" said Bell, with that hypocritical pretence\nso common with young ladies when young gentlemen call; as though they\nwere aware that mamma was the object specially sought.", "\"Isn't mamma down yet?\" said Bell.\n\n\"Bell,\" said Lily, \"something has happened. Mamma has got a letter.\"", "\"She has been going on like that all the evening,\" said Bell.\n\n\"I'm sure we are very good friends,\" said Lily.\n\n\"Oh, very!\" said Bell.", "\"What, Bell?\"\n\n\"Yes, with Bell, if her name is Bell. She's a very pretty girl, too.\nI don't know whether she's not the prettiest of the two, after all.\"", "brightness of its own. But with Bell it was more plentiful than\nwith Lily, and therefore Lily would always talk of her own scanty\nlocks, and tell how beautiful were those belonging to her sister.", "well behaved to take the liberty of calling an earl's daughter by her\nplain Christian name, even though that earl's daughter was his own\nwife. \"She fears that you have been a good deal hurt.\"", "\"Who is going to say a word against her? You can little understand me\nif you don't know that the protection of her name against evil words\nis already more my care than it is yours. I regard Lily as my own.\"", "Alexandrina was spoken of much more frequently at the Small House.\nIt was not a subject which Mrs. Dale or Bell would have chosen for\nconversation; but Lily would refer to it. She would begin by doing so", "from her manner that this marriage of hers was about to take place at\nonce, and that she was preparing to leave her home. \"Bell,\" she said,", "\"If you please, ma'am, Mr. Bernard is below, and wants to speak to\nyou.\"\n\n\"Mr. Bernard! ask Miss Bell to see him.\"", "\"So you have Lady Dumbello here?\" said Crosbie.\n\n\"Oh, yes; the dear creature!\" said Lady Margaretta. \"It was so good\nof her to come, you know.\"", "\"I hope Mrs. Dale is quite well,\" said he;--\"and Lily.\" The word had\nbeen pronounced, but it had been done with so manifest an effort that\nall in the room were conscious of it, and paused as Bell prepared her\nlittle answer.", "\"D---- Lady Dumbello!\" and then there was a pause. The countess had\nno objection whatsoever to the above proposition, and was rejoiced\nthat that question of the servants was allowed to slip aside, through\nthe aid of her ladyship.", "\"Dear Lily,\" she had said, \"I am so glad.\" And then Lily remembered\nhow she had, as it were, stolen her lover from her sister, and she\nput her arms round Bell's neck and kissed her." ], [ "\"Bell,\" she said, \"he has gone.\"\n\n\"Lily! Lily! Lily!\" said Bell, weeping.", "\"Lily,\" said he; and then he stopped. Mrs. Dale walked away to the\nwindow, turning her back upon her daughter and visitor. \"Lily, I have", "\"Who is going to say a word against her? You can little understand me\nif you don't know that the protection of her name against evil words\nis already more my care than it is yours. I regard Lily as my own.\"", "\"Lily, my darling; my poor, ill-used darling.\"", "Lilian Dale, dear Lily Dale--for my reader must know that she is to\nbe very dear, and that my story will be nothing to him if he do not", "she is one with whom I may mate myself without an inward conviction\nthat I shall destroy all her happiness by doing so. Lilian,\" he said,\n\"shall always have my prayers; and I trust that she may soon forget,", "\"About Miss Lilian Dale!\" he said, repeating her words.\n\n\"Is she very pretty?\"\n\n\"Yes; she certainly is pretty.\"", "\"Oh, Lily.\"", "was still the word LILY. When he cut those letters she had been\nalmost a child. \"I wonder whether she will come here with me and let", "\"Lily, my love,\" said Mrs. Dale, when they were all together in her\nbedroom, \"it seems to me that you are very hard upon Mr. Crosbie.\"", "And Lily Dale was engaged to be married to Adolphus Crosbie,--to\nApollo Crosbie, as she still called him, confiding her little joke", "heart was true to Lilian Dale. In truth, however, many more of the\npassing words had been spoken by the fair Amelia than by him.", "and a strong shield against great troubles. \"Lily,\" he said, \"my own\nLily!\"", "\"She has been going on like that all the evening,\" said Bell.\n\n\"I'm sure we are very good friends,\" said Lily.\n\n\"Oh, very!\" said Bell.", "\"My dear Lily,\" she said, \"you will think me cold if I do not say one\nword to you.\" \"No, I shall not,\" said Lily, almost sharply, shrinking", "\"Lily, dear,\" said Mrs. Dale, as soon as the front door had been\nclosed, \"this is meant for kindness to you,--for most affectionate\nkindness.\"", "This mention of Lily's name in such a place was sacrilege in the ears\nof poor Eames. \"I cannot tell,\" said he, \"what may be the intention", "Lily's promise made in the fields, that she would do everything for\nhim. He remembered her kisses; the touch of her fingers; the low\nsilvery laughing voice; the feel of her dress as she would press", "and spoke to her. \"Lily, my child!\" Then she burst into sobs, and was\nunable to tell her tale.", "Alexandrina was spoken of much more frequently at the Small House.\nIt was not a subject which Mrs. Dale or Bell would have chosen for\nconversation; but Lily would refer to it. She would begin by doing so" ], [ "proposed marriage, but as to that nothing further could be said in\nBell's presence. Bell understood it all, and sat quite silent, with\ndemure countenance;--perhaps even with something of sternness in her", "her, and Bell, as I have said before, made up her mind with great\nfirmness that she was not in love with him. I may certainly say that", "before the commencement of this narrative. He made no declaration to\nBell; but Bell, young as she was, understood well that he would fain\nhave done so, had not his courage failed him, or rather had not his", "refuse him now?\" asked Lily. \"I don't know,\" said Bell. \"It seems as\nthough I should want years to make up my mind; and he won't ask me\nagain.\"", "\"I do not wish to press you unfairly, Bell; but may I ask if any\nother preference--\"\n\n\"There is no other preference,\" she answered. And then again they\nwere silent for a minute or two.", "\"That is nothing. Such an offer to me now is simply laughing at me.\nBell, I tell you what,--I will not give you up. The fact is, you do", "\"Shall I never say so, Bell? What if so poor a man as I ask for the\nhand that you will not give to so rich a man as your cousin Bernard?\"", "\"I think a great deal about her,\" said the squire. \"But that does not\nmuch matter now. The fact is, that she has declined Bernard's offer.\"\n\n\"Has Bernard offered to her?\"", "\"Bell,\" he said, \"you and I have always been dear friends.\"\n\n\"Yes; always.\"\n\n\"Why should we not be something more than friends?\"", "Bell, as she had been desired to listen, did listen very patiently.\nBut when her cousin had finished, her answer was very short. \"Nothing\nthat my uncle can say, or think, or do, can make any difference in\nthis,\" said she.", "\"I've not the slightest objection,\" said Bell; \"only I don't know\nwhat there can be to say about it. Marrying the doctor is such a very\ncommonplace sort of thing.\"", "\"Not if it be a refusal, Bell. Think well of it before you do that.\nI should have told you that our uncle wishes this match, and that he\nwill remove any difficulty there might be about money.\"", "\"Bell,\" she said, \"I wish you were going to be married too.\"\n\n\"Thank'ye, dear,\" said Bell. \"Perhaps I shall some day.\"", "\"Bell, before you give me a final answer, sleep upon this and talk it\nover with your mother. Of course you were unprepared, and I cannot\nexpect that you should promise me so much without a moment's\nconsideration.\"", "of Mr. Dale. \"Mary,\" he said, as soon as Mrs. Dale was seated, \"I\nshall do for Bell exactly what I have proposed to do for Lily. I had", "\"Not as I do! To say that is nonsense, Bell; of course she does not\nlove him as I do. But the truth is she does not love him at all. Do\nyou think I cannot see it?\"", "\"If that be all,\" said Bell, \"I do not think that we need either of\nus trouble ourselves. He can have no right to dispose of our hearts.\"\n\n\"I understand the taunt, Bell.\"", "from her manner that this marriage of hers was about to take place at\nonce, and that she was preparing to leave her home. \"Bell,\" she said,", "wishes and sufficiently liberal in his offers; and that, therefore,\nhe would marry. It had hardly occurred to him as probable that his\ncousin would reject so eligible an offer, and had certainly never", "the interview was over. She would have known whether or no she loved\nthe man, or could love him, and would have given him some true and\nintelligible answer. Bell had not done so, but had given him an" ], [ "The idea of jilting Alexandrina instead of Lily had never as yet\npresented itself to Crosbie, and now, as he thought of it, he could\nnot perceive that it was feasible.", "And Lily Dale was engaged to be married to Adolphus Crosbie,--to\nApollo Crosbie, as she still called him, confiding her little joke", "\"L. D. is engaged to be married to a man named Adolphus Crosbie,\"\nsaid poor Johnny, slowly. \"If you please, we will not say any more\nabout her.\"", "and made some sweet little loving speech to her. Adolphus Crosbie\nwas a clever man; and he meant also to be a true man,--if only the", "earl in establishing that new household. To Crosbie he had refused to\ngive anything, and there was upon his conscience a shade of remorse\nin that he had so refused. But if Lily could be brought to love this", "In this way the matter had been talked over between the mother and\nher elder daughter. Then Mr. Crosbie had come; and before the end\nof the first month his declared admiration for Lily had proved", "This was the family for whose sake Crosbie had jilted Lily Dale!\nHis single and simple ambition had been that of being an earl's", "Crosbie was at Allington this was natural enough. He and Lily were of\ncourse together, while Bell remained with her mother. But the same\nstate of things continued even after Crosbie was gone. It was not", "And then Crosbie told Lily of his intention. \"On Wednesday!\" she\nsaid, turning almost pale with emotion as she heard this news. He had\ntold her abruptly, not thinking, probably, that such tidings would\naffect her so strongly.", "given in marriage,--was carried on after a somewhat humdrum fashion,\nand in a manner that must be called commonplace. How different had\nit been when Crosbie had made his offer! Lily for the time had been", "that Crosbie had been a villain, and as such should be discarded from\nher heart? As it was, Lily had spoken the simple truth when she told\nJohn Eames that she was dealing more openly with him on that affair", "of his meeting with Lily all the night and throughout the morning,\nand now he heard that she was walking alone about the gardens with\na strange gentleman. That Mr. Crosbie was very grand and very", "away from her? She had already realized the fact that Crosbie's\nhouse could never be a home to her,--never even a temporary home.\nHer visits there must be of that full-dressed nature to which Lily", "Lily. \"Give her the enclosed,\" Crosbie had said in his letter, \"if\nyou do not now think it wrong to do so. I have left it open, that you", "As Crosbie walked back to the Great House that night, he made a firm\nresolution that no consideration of worldly welfare should ever\ninduce him to break his engagement with Lily Dale. He went somewhat", "way. She could therefore be doing no harm to Lilian Dale. If she\nentertained any inner feeling that Crosbie's fault in jilting Lilian", "who says nothing. On this occasion Crosbie ignored the necessity\naltogether, and gave up his mind to the consideration of what it\nmight be expedient that he should say to Lily before he went. He", "that she had ever desired. It would give her a prospect of seeing\nvery much of Lily; for if Bell were settled at the old family house,\nCrosbie would naturally be much with his friend. She liked Bernard", "\"I'm sure Lily won't object to my telling such a dear friend as you\nwhat has happened,\" said Mrs. Dale. \"She is engaged to be married to\nMr. Crosbie.\"", "They found Lady Julia sitting in her drawing-room alone, and\nintroduced to her Mr. Crosbie in due form. The fact of Lily's" ], [ "The idea of jilting Alexandrina instead of Lily had never as yet\npresented itself to Crosbie, and now, as he thought of it, he could\nnot perceive that it was feasible.", "\"L. D. is engaged to be married to a man named Adolphus Crosbie,\"\nsaid poor Johnny, slowly. \"If you please, we will not say any more\nabout her.\"", "And Lily Dale was engaged to be married to Adolphus Crosbie,--to\nApollo Crosbie, as she still called him, confiding her little joke", "and made some sweet little loving speech to her. Adolphus Crosbie\nwas a clever man; and he meant also to be a true man,--if only the", "that Crosbie had been a villain, and as such should be discarded from\nher heart? As it was, Lily had spoken the simple truth when she told\nJohn Eames that she was dealing more openly with him on that affair", "earl in establishing that new household. To Crosbie he had refused to\ngive anything, and there was upon his conscience a shade of remorse\nin that he had so refused. But if Lily could be brought to love this", "And then Crosbie told Lily of his intention. \"On Wednesday!\" she\nsaid, turning almost pale with emotion as she heard this news. He had\ntold her abruptly, not thinking, probably, that such tidings would\naffect her so strongly.", "Crosbie was at Allington this was natural enough. He and Lily were of\ncourse together, while Bell remained with her mother. But the same\nstate of things continued even after Crosbie was gone. It was not", "who says nothing. On this occasion Crosbie ignored the necessity\naltogether, and gave up his mind to the consideration of what it\nmight be expedient that he should say to Lily before he went. He", "\"Very dangerous,\" said Crosbie. Then Lily laughed again, and Lady\nJulia became more angry than ever. What odious man was this whom her", "This was the family for whose sake Crosbie had jilted Lily Dale!\nHis single and simple ambition had been that of being an earl's", "away from her? She had already realized the fact that Crosbie's\nhouse could never be a home to her,--never even a temporary home.\nHer visits there must be of that full-dressed nature to which Lily", "way. She could therefore be doing no harm to Lilian Dale. If she\nentertained any inner feeling that Crosbie's fault in jilting Lilian", "of his meeting with Lily all the night and throughout the morning,\nand now he heard that she was walking alone about the gardens with\na strange gentleman. That Mr. Crosbie was very grand and very", "Lily. \"Give her the enclosed,\" Crosbie had said in his letter, \"if\nyou do not now think it wrong to do so. I have left it open, that you", "As Crosbie walked back to the Great House that night, he made a firm\nresolution that no consideration of worldly welfare should ever\ninduce him to break his engagement with Lily Dale. He went somewhat", "that backwardness on his part in assuming manhood which had rendered\nhim incapable of making himself acceptable to Lily before she had\nfallen into the clutches of Crosbie. As he thought of this he", "In this way the matter had been talked over between the mother and\nher elder daughter. Then Mr. Crosbie had come; and before the end\nof the first month his declared admiration for Lily had proved", "\"Whether or no my uncle is a man of the world, I will not say; but\nyou are, Crosbie, whether he is or not. Lily, as you have always\nknown, has nothing of her own.\"", "Crosbie hastened at once to exculpate Lily; and then, with more\nawkward blunders than a man should have made who was so well" ], [ "front door of the house which stands there. I will only say here, at\nthis fag end of a chapter, that it is the Small House at Allington.\nAllington Street, as I have said, turns short round towards the", "Of course there was a Great House at Allington. How otherwise should\nthere have been a Small House? Our story will, as its name imports,", "_The Small House at Allington_ was first published serially\n in the _Cornhill Magazine_ from September, 1862, to April,", "Then they heard at the Small House that the squire had gone away from\nAllington. During the last few days Bernard had not been much with", "All this will serve to explain the terms on which Mrs. Dale was\nliving at the Small House,--a matter needful of explanation sooner or", "So it was settled among them that notice should be given to their\nuncle of their intention to quit the Small House of Allington.", "And now I will speak of the Great House of Allington. After all, it\nwas not very great; nor was it surrounded by much of that exquisite", "should be left for ever. It would be a great fall in a worldly\npoint of view,--from the Allington Small House to an abode in some\nlittle street of Guestwick. At Allington they had been county", "steeple. The glory of the Small House at Allington certainly consists\nin its lawn, which is as smooth, as level, and as much like velvet as", "So much it was needful that I should say of Allington Great House,\nof the Squire, and of the village. Of the Small House, I will speak\nseparately in a further chapter.", "GUTENBERG EBOOK THE SMALL HOUSE AT ALLINGTON*\n\n\nE-text prepared by Andrew Turek\nand revised by Joseph E. Loewenstein, M.D., and an anonymous\nProject Gutenberg volunteer", "\"Leave the Small House!\" he said, repeating her words; \"and where on\nearth do you mean to go?\"\n\n\"We think we shall go into Guestwick.\"\n\n\"And why?\"", "Such in character was the squire of Allington, the only regular\ninhabitant of the Great House. In person, he was a plain, dry man,", "He did not visit the Small House on that, his first day. It had been\nthought better that he should first meet the squire and Bell at\nGuestwick Manor, so he postponed his visit to Mrs. Dale till the next\nmorning.", "And now, in these days, Dr. Crofts did not come over to Allington\nvery often. Had any of the family in the Small House been ill, he", "The gardens of the Great House of Allington and those of the Small\nHouse open on to each other. A proper boundary of thick laurel hedge,", "As soon as it had been resolved by Mrs. Dale and Lily that\nthe flitting from the Small House at Allington was not to be\naccomplished, Lily communicated the fact to Hopkins.", "such modest way as her very limited means allowed. Old Mrs. Dale,\nthe squire's mother, then occupied the Small House. But when old\nMrs. Dale died, the squire offered the place rent-free to his", "at Allington. Crosbie was a pleasant man for ladies in a large house.\nThough a sportsman, he was not so keen a sportsman as to be always", "\"Come up to the house,\" said Mrs. Dale, \"and I'll tell you all.\"\n\n\n\n\nCHAPTER LVIII.\n\nTHE FATE OF THE SMALL HOUSE." ], [ "All this will serve to explain the terms on which Mrs. Dale was\nliving at the Small House,--a matter needful of explanation sooner or", "Small House, was in the hands of Hopkins, the head gardener to the\nGreat House; and it was so simply for this reason, that Mrs. Dale", "occurred to him that evil could come upon any of the Dale ladies from\nthe words which had then been spoken. He regarded the Small House as\ntheir abode and home as surely as the Great House was his own. In", "as bound in duty to leave the Small House. To this he had returned\nno answer, and she had communicated her intention to Mrs. Hearn,\nthinking it better that there should be no secret in the matter.", "to live with him on terms of affection, made during the first year or\ntwo of her residence at the Small House. But, nevertheless, in spite\nof all, her heart bled for him now. She had gained her victory over", "let the Small House to strangers. T' squire ain't one of that sort\nany ways.\"", "Indeed, in those days Lily reigned as a queen at the Small House.\nIll-usage and illness together falling into her hands had given her", "position, it may be forgiven in that which he then filled. So Crosbie\nwent down to the Small House alone.", "\"I'm just going to call at the Small House, and I thought I'd come\nthis way.\"", "The morning of the fourteenth came upon them at the Small House,\nas comes the morning of those special days which have been long", "I must not allow my readers to suppose that these considerations were\na matter of indifference to any of the ladies at the Small House. To", "greeted! How it had been felt by all concerned that the fortunes\nof the Small House were in the ascendant,--felt, indeed, with some", "\"Resolved on what?\" said the squire, turning his eyes full upon her.\n\n\"We have resolved to leave the Small House.\"", "Of course there was a Great House at Allington. How otherwise should\nthere have been a Small House? Our story will, as its name imports,", "other man, he would be more open-handed. She should have her share\nas though she was in fact his daughter. But then, if he intended\nto do so much for them at the Small House, should not they in", "\"Leave the Small House!\" he said, repeating her words; \"and where on\nearth do you mean to go?\"\n\n\"We think we shall go into Guestwick.\"\n\n\"And why?\"", "Small House. So Hopkins stood on the terrace, raising his hat and\nscratching his head. \"There's something wrong amongst them,\" said he\nto himself, sorrowfully.", "themselves agreeable to him. Mrs. Dale, since she had come to the\nSmall House, had never been a source of satisfaction to him, but he\ndid not on that account regret that he had brought her there. He", "On that day they dined early at the Small House, as they had been in\nthe habit of doing since the packing had commenced. And after dinner", "It had been agreed between them that Crosbie should come down to\nthe Small House on the next day after breakfast, and remain there\ntill the time came for riding. But Lily determined to alter this" ], [ "CHAPTER I.\n\nTHE SQUIRE OF ALLINGTON.\n\n\n[ILLUSTRATION: (untitled)]", "Such in character was the squire of Allington, the only regular\ninhabitant of the Great House. In person, he was a plain, dry man,", "interests at Allington; and, moreover, those interests were now\nbacked by an ally who in this matter must be regarded as much more\npowerful than the earl. The squire had given in his consent to the", "the existing squire. Some futile attempts had been made to increase\nthe territory, as indeed had been done by Kit Dale, the father of\nChristopher Dale, who will appear as our squire of Allington when the", "The squires of Allington had been squires of Allington since squires,\nsuch as squires are now, were first known in England. From father", "\"You'll be squire of Allington for the next twenty years,\" said Mrs.\nDale. \"And as long as you are the squire, you'll be master of this", "On the morning following the squire's return to his own house, Mrs.\nCrump, the post-mistress at Allington, received a parcel by post", "and he bore few signs of age. Such in person was Christopher Dale,\nEsq., the squire of Allington, and owner of some three thousand a\nyear, all of which proceeded from the lands of that parish.", "Then there was no more said between them till they sat down to their\nmeal.\n\nHad the squire at Allington known all, he might, I think, have been\nsatisfied with the punishment which Crosbie had encountered.", "Late on that evening the squire returned to Allington, Bernard having\ndriven over to meet him at the station. He had telegraphed to his", "boldly to the Squire of Allington, and tell him what were his views\nwith reference to Lily? And how far would he be justified in taking\nthe earl at his word? Some incredible amount of wealth would be", "moved in a position which belongs, as a rule, to the daughters of\nrich men only. This they did as nieces of the childless squire of\nAllington, and as his nieces she felt that they were entitled to", "left the Squire of Allington in conference with Fowler Pratt. He had\nseen Fowler Pratt again that same night, and the course of the story\nwill have shown what took place at that interview.", "other always. Many years had now gone by since these things had\noccurred, but still the same feelings remained. When she had first\ncome down to Allington she had resolved to win the squire's regard,", "Allington had been coterminous with the parish of Allington for some\nhundreds of years; and though, as I have said, the race of squires\nhad possessed nothing of superhuman discretion, and had perhaps been", "however, with her neighbour the squire which I regret to say are not\nas friendly as they should be. Beyond this lady's modest residence,\nAllington Street, for so the road is called, turns suddenly round", "when he got to Allington he found that the squire had accepted the\nearl's invitation. Then he declared to himself that there was no\nlonger any possibility of retractation for him. Of course he did not", "that other one. He had said that he would call at Allington before he\nreturned to town, and he was now redeeming his promise. But he did", "\"Squire,\" he began. They all called him squire when they were on good\nterms together, and Crosbie thought it well to begin as though there", "\"I don't know what it was about, or why he should have made such a\nbrute of himself. You have heard about those people at Allington?\"\n\n\"Oh, yes; I have heard about them.\"" ], [ "All this will serve to explain the terms on which Mrs. Dale was\nliving at the Small House,--a matter needful of explanation sooner or", "such modest way as her very limited means allowed. Old Mrs. Dale,\nthe squire's mother, then occupied the Small House. But when old\nMrs. Dale died, the squire offered the place rent-free to his", "Small House, was in the hands of Hopkins, the head gardener to the\nGreat House; and it was so simply for this reason, that Mrs. Dale", "occurred to him that evil could come upon any of the Dale ladies from\nthe words which had then been spoken. He regarded the Small House as\ntheir abode and home as surely as the Great House was his own. In", "It was Mrs. Dale's eldest daughter who spoke to her, and they were\nalone together in the parlour at the Small House. Mrs. Dale took the", "\"Come up to the house,\" said Mrs. Dale, \"and I'll tell you all.\"\n\n\n\n\nCHAPTER LVIII.\n\nTHE FATE OF THE SMALL HOUSE.", "themselves agreeable to him. Mrs. Dale, since she had come to the\nSmall House, had never been a source of satisfaction to him, but he\ndid not on that account regret that he had brought her there. He", "He did not visit the Small House on that, his first day. It had been\nthought better that he should first meet the squire and Bell at\nGuestwick Manor, so he postponed his visit to Mrs. Dale till the next\nmorning.", "Bernard Dale was still at Allington, and had remained there through\nthe period of Crosbie's absence. Whatever words Mrs. Dale might", "It had been decided between the squire and Mrs. Dale that the removal\nfrom the Small House to Guestwick was not to take place till the", "As soon as it had been resolved by Mrs. Dale and Lily that\nthe flitting from the Small House at Allington was not to be\naccomplished, Lily communicated the fact to Hopkins.", "from Mrs. Dale, asking them to drink tea at the Small House on that\nday week. At the bottom of the note which Lily had written for Mr.", "As Mrs. Dale, of the Small House, was not a Dale by birth, there\ncan be no necessity for insisting on the fact that none of the", "After that Mrs. Dale walked home through the garden by herself. He\nhad studiously told her that that house in which they lived should be", "\"Very nice indeed,\" said Crosbie, who began to make a comparison\nwith Mrs. Dale's turf at the Small House, and to determine that the\nAllington turf was better than that of the hospital.", "\"Have you heard the news, my dear, from the Small House?\" said Mrs.\nBoyce to her husband, some two or three days after Mrs. Dale's visit", "Then came in old Mrs. Hearn, whose cottage was not distant two\nminutes' walk from the Small House. She always called Mrs. Dale \"my", "\"What news?\" said Mr. Boyce, for he had heard none.\n\n\"Mrs. Dale and the girls are going to leave the Small House; they're\ngoing into Guestwick to live.\"", "had any claim on that score. It was a well-understood thing in the\nfamily that the senior male Dale should have all the Dale property\nand all the Dale money. She fully recognized even the propriety of", "Then they heard at the Small House that the squire had gone away from\nAllington. During the last few days Bernard had not been much with" ], [ "\"I do love her, Lily; that at any rate is true.\"", "actually promised to another man, and as good as married, he was not\nthe less broken-hearted because his former hopes had not been high.\nHe had never dared to speak to Lily of his love, but he was conscious", "\"No, Lily; you don't understand all that I would say. You have never\nknown how often and how much I have thought of you; how dearly I have\nloved you.\"", "\"Dear Lily,\" she had said, \"I am so glad.\" And then Lily remembered\nhow she had, as it were, stolen her lover from her sister, and she\nput her arms round Bell's neck and kissed her.", "\"Did you ever see anything so sweet and affectionate and romantic?\"\nsaid Lily, standing over them and looking at them. \"And all the", "\"Not as you do, Lily; but she does love him.\"", "Poor Lily! How little she understood as yet what was passing through\nhis mind. Had she known his wish she would have wrapped up her love", "had declared his passion in the most moving language a hundred times;\nbut he had declared it only to himself. He had written much poetry\nabout Lily, but he kept his lines safe under double lock and key.", "\"And so will I love you,\" said Lily, giving him her hand again. He\nlooked longingly into her face as though he had thought it possible", "Lily's promise made in the fields, that she would do everything for\nhim. He remembered her kisses; the touch of her fingers; the low\nsilvery laughing voice; the feel of her dress as she would press", "\"Lily, my darling; my poor, ill-used darling.\"", "loved with all his heart,--with all the heart that he had for such\npurposes. In those doubts as to his marriage which had troubled him\nhe had never expressed to himself any disapproval of Lily. He had not", "he told how he had fallen suddenly in love with Lily, how he had been\nrash and imprudent, how nice she was--\"infinitely too good for such a", "\"Who is going to say a word against her? You can little understand me\nif you don't know that the protection of her name against evil words\nis already more my care than it is yours. I regard Lily as my own.\"", "Lily, \"and I defy her to deny it. I would forgive him for keeping me\nin bed if he would only make her fall in love with him.\"", "Lily Dale he had loved; and he now declared to himself that he could\nhave continued to love her through his whole life. But what was there\nfor any man to love in Alexandrina De Courcy?", "had determined to caress. And yet, what would it all be if Lily would\nnot share his happiness? When he had carved that name on the rail,\nhis love for Lily had been an idea. It had now become a reality which", "I may as well announce at once that John Eames, when he went up to\nLondon, was absolutely and irretrievably in love with Lily Dale. He", "them through her own fault. She well knew how great a load of sorrow\nwas lying on Lily's heart, hidden beneath those little attempts at\npleasantry which she made. When she spoke of being disappointed in", "\"But is he fond of you?--that's the question,\" said Lily. \"We could\nhave forgiven him anything done to us, and have put up with any words" ], [ "CHAPTER XLVI.\n\nJOHN EAMES AT HIS OFFICE.\n\n\n[ILLUSTRATION: (untitled)]", "I may as well announce at once that John Eames, when he went up to\nLondon, was absolutely and irretrievably in love with Lily Dale. He", "CHAPTER LIX.\n\nJOHN EAMES BECOMES A MAN.", "And thus John Eames was thoughtful. They who knew him best accounted\nhim to be a gay, good-hearted, somewhat reckless young man, open to", "Johnny Eames was a mere clerk; whereas Crosbie, if he was to be\ncalled a clerk at all, was a clerk of some very special denomination.", "to his children. He had, moreover, obtained for John Eames that\nsituation under the Crown which he now held.", "\"I think I told you,\" continued the earl, \"that young John Eames is\ndown here; but he goes back to-morrow, as they can't spare him at his", "In the meantime John Eames had continued his career in London without\nmuch immediate satisfaction to himself, or to the lady who boasted to", "the qualifications of Mr. Crosbie. Now John Eames was a young\nman from Guestwick, who had been appointed to a clerkship in the", "\"It was about John Eames, and not about Mr. Crosbie, that I wished to\nspeak to you.\"\n\n\"Oh, mamma!\"", "himself a despairing lover. And then such a young man as John Eames\nis very apt to talk of his fancies.\"", "world would, if known to John Eames, have made him appear fabulously\nrich in the eyes of that brother clerk. His lodgings in Mount Street\nwere elegant in their belongings. During three months of the season", "busy themselves in books and be at their ease among the creations\nof other minds. These are they who afterwards become well-informed\nmen. It was not so with John Eames. He had never been studious. The", "CHAPTER XXI.\n\nJOHN EAMES ENCOUNTERS TWO ADVENTURES, AND DISPLAYS GREAT COURAGE IN\nBOTH.", "There had been some fun in this at first; but of late John Eames had\nbecome tired of it. He disliked Mr. Kissing, and the big book out", "and to whom Mrs. Eames had been strongly recommended when she was\ndesirous of finding a specially safe domicile for her son. For the\nfirst year of his life in London John Eames had lived alone in", "When Crosbie was making his ineffectual inquiry after Lady De\nCourcy's bracelet at Lambert's, John Eames was in the act of entering\nMrs. Roper's front door in Burton Crescent.", "JOHN EAMES.", "\"What;--John Eames!\"\n\n\"Yes, John Eames. And I wish heartily for his sake that he had won\nher regard before she had met that rascal whom you had to stay down\nat your house.\"", "\"She was always very fond of John Eames;--and he is doing so well.\"" ], [ "\"Ah, Bell,\" he said, coming close up to her, \"I wish you could\nunderstand how I love you.\" And, as he spoke, his cousin", "\"Bell,\" he said, \"you and I have always been dear friends.\"\n\n\"Yes; always.\"\n\n\"Why should we not be something more than friends?\"", "her, and Bell, as I have said before, made up her mind with great\nfirmness that she was not in love with him. I may certainly say that", "should have been in the doctor's favour. But now, when he had in some\nway spoken out, Bell started back from him and would not believe that\nhe was in earnest. She probably loved him better than any man in the", "before the commencement of this narrative. He made no declaration to\nBell; but Bell, young as she was, understood well that he would fain\nhave done so, had not his courage failed him, or rather had not his", "\"Bell,\" she said, \"he has gone.\"\n\n\"Lily! Lily! Lily!\" said Bell, weeping.", "he loved Bell dearly. So he did, though he seldom spoke to her with\nmuch show of special regard, and never was soft and tender with her.", "But they were Dales, and he loved them; and with Christopher Dale to\nlove once was to love always. Bell was his chief favourite, sharing\nwith his nephew Bernard the best warmth of his heart. About these", "\"Not as I do! To say that is nonsense, Bell; of course she does not\nlove him as I do. But the truth is she does not love him at all. Do\nyou think I cannot see it?\"", "wish it to be Bell's, because I knew well that there was somebody she\nwould like a great deal better than ever she could like Bernard.\"", "\"Something very like it. But, however, I have no doubt you were true\nenough. But, Bell, why should it be so? If you were in love with any\none else I could understand it.\"", "desirous of some palpable assurance of his presence. It was not so at\nall with Bell. She was happy in loving and in being loved, but she", "the interview was over. She would have known whether or no she loved\nthe man, or could love him, and would have given him some true and\nintelligible answer. Bell had not done so, but had given him an", "Bell. But you may be sure of this; that he had made up his mind as to\nwhat he would do. Nothing that you or I could have said would have\nchanged him.\"", "house, and behaved very prettily to Bell for four or five days\nrunning. That he did not make love to her, in the ordinary sense of\nthe word, must, I suppose, be taken for granted, seeing that Bell", "\"I do not wish to press you unfairly, Bell; but may I ask if any\nother preference--\"\n\n\"There is no other preference,\" she answered. And then again they\nwere silent for a minute or two.", "\"Dear Lily,\" she had said, \"I am so glad.\" And then Lily remembered\nhow she had, as it were, stolen her lover from her sister, and she\nput her arms round Bell's neck and kissed her.", "early visit, it had seemed as though Bell had been chiefly noticed\nby him. And Bell in her own quiet way had accepted his admiration,\nsaying nothing of it and thinking but very little. Lily was", "\"I suppose it would,\" said Bell, answering him without a sign of\nfeeling in her face or voice. But she took in every word that he", "really wanted us. He liked to have Bell there when he thought that\nBell would marry his pet.\"" ], [ "favourably on his proposition. It would be good for them all, he\nsaid, especially for Lily, as to whom, at the present moment, their", "\"It was such fun,\" said Lily. \"James, who took, at any rate, a year\nor two to make his proposal, wanted to be married the next day\nafterwards.\"\n\n\"No, Lily; not quite that.\"", "\"I don't want to go in unless you wish it,\" he said. \"Indeed, I'd\nrather stay here. So, Lily, you're going to be married?\" And thus he\nrushed at once into the middle of his discourse.", "engaged to Lily with the knowledge of us all. Then, when my belief on\nthe subject could make no possible difference in your conduct, I told\nyou that I thought my uncle would do something for her. I told you so", "\"As to Lily's fortune! The question is whether Lily has got a\nfortune.\"\n\n\"He can hardly expect that I am to take her without something. Your\nuncle is a man of the world and he knows--\"", "embarrassment, and was inclined to wish that Lily would abstain from\nthat manner which seemed to declare to all the world that she was\nabout to be married immediately. \"I must speak to her to-morrow,\" he", "\"I'm sure Lily won't object to my telling such a dear friend as you\nwhat has happened,\" said Mrs. Dale. \"She is engaged to be married to\nMr. Crosbie.\"", "the slightest idea of breaking from that engagement. But then the\nmarriage might possibly be delayed. He had not discussed that matter\nyet with Lily, having, indeed, at the first moment of his gratified", "And in that quadrille Crofts and Bell had been dancing together, and\nthey also had been talking of Lily's marriage. \"A man may undergo", "refuse him now?\" asked Lily. \"I don't know,\" said Bell. \"It seems as\nthough I should want years to make up my mind; and he won't ask me\nagain.\"", "actually promised to another man, and as good as married, he was not\nthe less broken-hearted because his former hopes had not been high.\nHe had never dared to speak to Lily of his love, but he was conscious", "remembered well those few words which he had spoken in the first\nardour of his love, pleading that an early day might be fixed for\ntheir marriage. And he remembered, also, how prettily Lily had", "given in marriage,--was carried on after a somewhat humdrum fashion,\nand in a manner that must be called commonplace. How different had\nit been when Crosbie had made his offer! Lily for the time had been", "Crosbie and Lily Dale. When Crosbie came to Lily and made his offer,\nhe did it with perfect ease and thorough self-possession, for he", "\"I don't at all know yet when we are to be married,\" said Lily, as\nsoon as they were again standing together.\n\n\"No; I dare say not,\" said Eames.", "\"Yes, about Bell. Here's Lily going to be married, and it will be\nwell that Bell should be married too.\"", "\"Lily will never become really fond of any man till he shall have\ngiven her proper reason. And if he admires her, why should they not\ncome together?\"\n\n\"But she is so young, Bell.\"", "Lily's promise made in the fields, that she would do everything for\nhim. He remembered her kisses; the touch of her fingers; the low\nsilvery laughing voice; the feel of her dress as she would press", "\"Yes, Lily;--to be rid of you in that way. If I could see you put\nyour hand in his as his promised wife, I think that I should be the\nhappiest woman in the world.\"", "\"Lily, what did you promise just now?\"\n\n\"Well; after to-night. And I don't know why you should turn against\nhim.\"\n\n\"I have never turned against him or for him.\"" ], [ "\"Bell,\" he said, \"you and I have always been dear friends.\"\n\n\"Yes; always.\"\n\n\"Why should we not be something more than friends?\"", "\"Bell,\" she said, \"I wish you were going to be married too.\"\n\n\"Thank'ye, dear,\" said Bell. \"Perhaps I shall some day.\"", "believe a word about the squire having been cross to them. Indeed I\nknow he has been the reverse of cross. So Bell is going to marry Dr.\nCrofts!\"", "\"Dr. Crofts is going to marry Bell Dale,\" said Mary; and then the\nconversation was turned from the subject of Lady Julia's perfections,\nand the awe inspired by the earl.", "proposed marriage, but as to that nothing further could be said in\nBell's presence. Bell understood it all, and sat quite silent, with\ndemure countenance;--perhaps even with something of sternness in her", "\"Crofts going to marry Bell!\" exclaimed Eames, thinking almost with\ndismay of the doctor's luck in thus getting himself accepted all at\nonce, while he had been suing with the constancy almost of a Jacob.", "\"I've not the slightest objection,\" said Bell; \"only I don't know\nwhat there can be to say about it. Marrying the doctor is such a very\ncommonplace sort of thing.\"", "\"Yes, about Bell. Here's Lily going to be married, and it will be\nwell that Bell should be married too.\"", "\"Bell,\" she said, \"he has gone.\"\n\n\"Lily! Lily! Lily!\" said Bell, weeping.", "from her manner that this marriage of hers was about to take place at\nonce, and that she was preparing to leave her home. \"Bell,\" she said,", "before the commencement of this narrative. He made no declaration to\nBell; but Bell, young as she was, understood well that he would fain\nhave done so, had not his courage failed him, or rather had not his", "\"Bernard and Bell!\" exclaimed Mrs. Dale. No idea of such a union\nhad ever yet come upon her, and now in her surprise she sat silent.", "people to do, like you and Bell. All the same, Bell, I do wish you\ncould have been married from this house.\"", "Bell and Lily went together also to Mrs. Boyce's. \"If she makes\nherself very disagreeable, I shall insist upon talking of your\nmarriage,\" said Lily.", "success in life.\" Then Butterwell shook him very cordially by the\nhand,--having offered him no such special testimony of approval when\nunder the belief that he was going to marry a Bell, a Tait, or a", "her, and Bell, as I have said before, made up her mind with great\nfirmness that she was not in love with him. I may certainly say that", "The squire had been told that his niece Bell had accepted Dr. Crofts,\nand he had signified a sort of acquiescence in the arrangement,", "Bell. But you may be sure of this; that he had made up his mind as to\nwhat he would do. Nothing that you or I could have said would have\nchanged him.\"", "\"Bell told me that it was to be so,\" said Mrs. Dale. \"But I could\nhardly bring myself at first to think that he was good enough for my\ndarling.\"", "of Mr. Dale. \"Mary,\" he said, as soon as Mrs. Dale was seated, \"I\nshall do for Bell exactly what I have proposed to do for Lily. I had" ] ]	[ "How many daughters did Dale's sister-in-law have living in Small House?", "Who felt jilted from the marriage of Adolphus Crosbie and Lily?", "Where did John Eames work?", "Who did Belle refuse to marry?", "What did Lily do to Eames after divorcing Crosbie?", "What could Alexandrina's family do for Crosbie?", "Who did Bell marry?", "Who is the owner of the Small House at Allington?", "Who is the Squire of Allington?", "What is John Eames' profession?", "What is the name of the family living in the Small House?", "What is James Crofts' profession?", "Who proposes to Lily Dale?", "What is the diminutive used for Isabella's name?", "What is the diminutive used for Liliam's name?", "For whom does Bell refuse an offer of marriage?", "For whom does Adolphus Crosbie jilt Lily?", "Why does Adolphus Crosbie jilt Lily?", "Who lives in the Small House at Allington?", "Who was the Small House intended for?", "Who is the squire of Allington?", "Who did Dale Allocate the Small house to after his mother died?", "Who loves Lily in secret?", "What is John Eames job?", "Who is Bell in love with?", "Who proposes marriage to Lily?", "Who does Bell marry?" ]	[ [ "two", "2" ], [ "John Eames", "John Eames." ], [ "Income Tax Office", "income tax office" ], [ "cousin Bernard", "her cousin Bernard" ], [ "kept rejecting him ", "Rejects his marriage purposals" ], [ "further his career", "Further his career" ], [ "Dr. Crofts", "dr crofts" ], [ "Christopher Dale", "Christopher Dale, Squire of Allington" ], [ "Christopher Dale.", "christopher dale" ], [ "John Eames is a junior clerk who works at the Income Tax Department.", "junior clerk at the Income Tax Office" ], [ "The Dale family.", "dale" ], [ "James Crofts is the local doctor.", "doctor" ], [ "Adolphus Crosbie.", "adolphus" ], [ "Bell.", "Bell" ], [ "Lily.", "Lily" ], [ "Dr. James Crofts.", "Bernard." ], [ "Lady Alexandria de Courcy.", "Lady Alexandrina de Courcy." ], [ "Her family is able to further his career.", "He favored Lady Alexandrina de Courcy. " ], [ "The Dale family", "the dale family and his sister in law and her two daughters." ], [ "the widowed mother (Dowager) of the estate owner", "widowed mother dowager." ], [ "Christopher Dale", "Chistopher Dale" ], [ "his widowed sister-in-law and her daughters", "His sister in law" ], [ "John Eames", "John Eames" ], [ "junior clerk at the income Tax Office", "Clerk at the tax office" ], [ "Dr. James Crofts", "james crofts" ], [ "Adolphus Crosbie", "Adolphus. " ], [ "Dr. James Crofts", "Dr. James Crofts" ] ]	a92d15a67e802a1ab4fbaeecb6b58914690059f8	train
[ [ "behind his chair, and he saw Jules give a slow, significant, ominous\nwink to Mr Dimmock--Christian name, Reginald.", "'Do you mean, Miss Racksole, that there was an understanding between\npoor Dimmock and this fellow Jules?'\n\n'There was an understanding.'\n\n'Impossible!'", "Racksole that he was somehow implicated in Jules' schemes--and probably\nin the death of Reginald Dimmock and the disappearance of Prince Eugen\nof Posen.", "It was Jules.\n\nThe two exchanged glances in the half light for a second.\n\n'Good evening, Mr Racksole,' said Jules calmly. 'I must apologize for\nbeing here.'", "Jules himself served the liquids, and at ten o'clock he brought another\nnote. Entreating a thousand pardons, Reginald Dimmock, after he had", "'A visitor, who insists on seeing you, sir,' said Jules, and fled.\n\nMr Reginald Dimmock, still in evening dress, and smoking a cigarette,\nrose hurriedly from a table.", "the handle of the door of one of the bedrooms. Then a man came round the\ncorner of the transverse corridor, and Racksole drew back. It was Jules-", "take charge of Jules' dead body. And Racksole was by no means inclined\nto tell them everything. Beyond question he had transgressed the laws of", "While waiting for Jules, Racksole considered the question of Miss\nSpencer's disappearance.\n\n'Good morning, Jules,' was his cheerful greeting, when the imperturbable\nwaiter arrived.", "'Good,' said Racksole, as he unlocked the door and entered the room. All\nwas exactly as he had left it, except that Jules who had been lying on", "'Ah!' said Racksole, 'I was informed that everyone knew Jules, but it\nappears not. Well, be that as it may, previously to the night of your", "was a window; the window was open; and Jules was innocently gazing out\nof the window. Ten silent strides, and Theodore Racksole was upon him.", "Before Racksole parted company with the Customs man that night Jules had\nbeen safely transported into the Grand Babylon HÃ´tel and the two\nwatermen had received their Â£10 apiece.", "Racksole considered in detail the particular affair of Reginald Dimmock,\ndeceased, he was struck by one point especially, to wit: Why had Dimmock", "Jules approached with the steak. Racksole tried to catch the waiter's\neye, but could not. The dinner proceeded.\n\n'Oh, Father!' cried Nella, 'what a lot of mustard you have taken!'", "'It's Jules, I'll swear,' cried Racksole. 'After him, men. Ten pounds\napiece if we overtake him!'", "NEVERTHELESS, sundry small things weighed on Racksole's mind. First\nthere was Jules' wink. Then there was the ribbon on the door-handle and", "'I have heard that Herr Racksole has returned to the hÃ´tel,' he\nwhispered, 'and that he has captured that man Jules, who they say is\nsuch a villain.'", "But the dazzling flare which had disclosed the features of the dead man\nto the insensible lens of the camera had disclosed them also to Theodore\nRacksole. The dead man was Reginald Dimmock!", "had appeared silently behind Jules, and two small arms with a vicious\nshove precipitated him into the water. He fell with a fine gurgling\nsplash. It was at once obvious that swimming was not among Jules'" ], [ "'Do you mean, Miss Racksole, that there was an understanding between\npoor Dimmock and this fellow Jules?'\n\n'There was an understanding.'\n\n'Impossible!'", "'It's Jules, I'll swear,' cried Racksole. 'After him, men. Ten pounds\napiece if we overtake him!'", "take charge of Jules' dead body. And Racksole was by no means inclined\nto tell them everything. Beyond question he had transgressed the laws of", "'Ah!' said Racksole, 'I was informed that everyone knew Jules, but it\nappears not. Well, be that as it may, previously to the night of your", "'Good,' said Racksole, as he unlocked the door and entered the room. All\nwas exactly as he had left it, except that Jules who had been lying on", "'Neither,' said Racksole. 'Jules is going to have another try--that's\nall.'\n\n'Another try at what?'", "NEVERTHELESS, sundry small things weighed on Racksole's mind. First\nthere was Jules' wink. Then there was the ribbon on the door-handle and", "It was Jules.\n\nThe two exchanged glances in the half light for a second.\n\n'Good evening, Mr Racksole,' said Jules calmly. 'I must apologize for\nbeing here.'", "the handle of the door of one of the bedrooms. Then a man came round the\ncorner of the transverse corridor, and Racksole drew back. It was Jules-", "'I fancy so, Miss Racksole. I'm telling you all I know, that I swear.'\n\n'Did your husband and Mr Dimmock have a quarrel that night in Room 111?'", "AS regards Theodore Racksole, who was to have caught his man from the\noutside of the cellar, he made his way as rapidly as possible from the", "'You'd better see that Miss Racksole changes her room to-night,' Jules\nsaid after another pause. 'Leave it to me: I'll fix it. Au revoir! It's", "'Mr Sleszak and I will meet,' said Racksole.\n\n'Not in this world,' said Jules quickly. 'He is dead. I heard only last\nnight--just before our little tussle.'", "'Mr Dimmock?' questioned Racksole.\n\n'Yes, Dimmock. I do not remember that he ever missed an appointment\nbefore.\n\nYou know him? He has been here?'", "'Don't question me, Mr Rucker,' said Theodore Racksole. 'I feel very\nmuch inclined to break your back across my knee. Therefore I advise you\nnot to irritate me. What have you been doing to Dimmock's body?'", "While waiting for Jules, Racksole considered the question of Miss\nSpencer's disappearance.\n\n'Good morning, Jules,' was his cheerful greeting, when the imperturbable\nwaiter arrived.", "'I venture to remark that this is Miss Racksole's room.'\n\n'My good sir,' answered Dimmock, 'you must be mad to dream of such a\nthing.", "the barge than Jules himself--Racksole had won his game. For the first\ntime for several weeks the millionaire experienced a sensation of\nequanimity and satisfaction. He leaned over the prostrate form of Jules,", "'I see,' said Racksole. 'I think you must be rather a clever person,\nJules.'\n\n'That is not for me to say, sir.'", "'Mr Racksole is here, but he can see no one, Miss.' The words came from\nbehind the door, and the voice was the commissionaire's. Racksole\nstarted up, and went towards the door." ], [ "Miss Spencer, the unscrupulous and brilliant Jules, the dark, damp\ncellar, the horrible little bedroom--these things were over. Thanks to", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "'It was a perfectly simple proceeding, I assure you. Before I had done\nwith him, I rather liked the fellow.'\n\n'Miss Spencer and Jules--both gone in one day!' mused Felix Babylon.", "that it was not Jules. I certainly was not aware that Miss Spencer was\nhis wife, but I had long suspected that their relations were somewhat\nmore intimate than the nature of their respective duties in the hÃ´tel", "Just as there was only one Racksole, so there was only one Jules, and\nMiss Spencer instinctively shared the latter's indignation at the", "Miss Spencer, and Rocco. Jules had invented it. No one but he would have\nhad either the wit or the audacity to do so.", "While waiting for Jules, Racksole considered the question of Miss\nSpencer's disappearance.\n\n'Good morning, Jules,' was his cheerful greeting, when the imperturbable\nwaiter arrived.", "To do the lady justice, Miss Spencer bore the surprising ordeal very\nwell.\n\nShe did not flinch; she betrayed no emotion. The sole sign of\nperturbation was in her hurried breathing.", "hÃ´tel was performed there. The place served chiefly as the lair of Miss\nSpencer, who was as well known and as important as Jules himself. Most", "Miss Spencer nodded, and, looking up, Nella could see the traces of\ntears in her face.\n\n'Then Prince Eugen was a prisoner? Some one had captured him at the\ninstigation of Jules?'", "'Anybody with Mr Theodore Racksole?' asked Jules, continuing his\nconversation with Miss Spencer. He put a scornful stress on every\nsyllable of the guest's name.", "'Now see here, Miss Spencer,' Racksole said calmly, 'I guess we've had\nenough of this fandango. You'd better get up and clear out, or we'll\njust have to drag you off.'", "A few minutes later, while the alert, middle-aged man was tasting the\nAngel Kiss, Jules sat in conclave with Miss Spencer, who had charge of", "'I want to see Miss Spencer,' said Nella impulsively. She couldn't think\nof anything else to say.\n\n'Miss Spencer?'\n\n'Yes; she's just arrived.'", "Bang, bang! He had fired twice, purposely missing her. Miss Spencer\nnever blenched. Racksole was tremendously surprised--and he would have", "newspapers. In short, everything was smothered over. Only--only Jules,\nRocco, and Miss Spencer were still at large; and the body of Reginald", "Miss Spencer's eyes gleamed, and she stood up and moved swiftly to the\nmantelpiece.\n\n'You may be a Yankee, but you're a fool,' she said.", "Miss Spencer was just going into a room off the narrow hall. Nella\nfollowed her into the apartment, which was shabbily furnished in the\nBelgian lodging-house style.", "to the point, and I'm glad they were right. Now as to that feller Jules,\nI shall make my own inquiries as to him. Might I ask you why you\ndismissed him?'", "'I saw Jules by the side of my bed,' she murmured; 'I'm sure I saw him;\nhe laughed at me. I had not undressed. I sprang up, frightened, but he\nhad gone, and then I ran downstairs--to you.'" ], [ "At that moment, Eugen, Hereditary Prince of Posen, entered the audience\nchamber. He was pale and languid, and his uniform seemed to be a trouble", "'That is my nephew, Prince Eugen,' said Aribert.\n\n'Hurt?' she inquired coldly. 'I hope not.'", "Prince Eugen was convalescent.", "That various matters lay heavy on the mind of Prince Eugen was beyond\nquestion. He seemed to have withdrawn within himself. Despite the\nextraordinary experiences through which he had recently passed, events", "'Eugen,' cried Prince Aribert once more, but this time his forlorn\nnephew made no response whatever, and then Aribert added in a low voice\nto Racksole: 'Perhaps he cannot see us clearly.'", "There was a slight noise, and Aribert looked aside. He saw that Eugen's\nbody had slipped forward limply over the left arm of his chair; the\nPrince's arms hung straight and lifeless; his eyes were closed; he was\nunconscious.", "incorrect. I would wager a hundred thousand dollars that Prince Eugen\nhas been kidnapped.'", "only like a secret shame in the hearts of those who had witnessed it.\nPrince Eugen had recovered; at any rate, he was convalescent, and he had", "Eugen took up the glass and held it to the light.\n\n'Don't drink it,' said Aribert very quietly. 'It is poisoned.'\n\n'Poisoned!' exclaimed Prince Eugen.", "On the afternoon of the third day Prince Eugen was distinctly and\nseriously worse. Nella had sat up with him the previous night and\nthroughout the day.", "'I'll take you to her, my dear Eugen.' Prince Aribert put his hands on\nthe other's shoulder, but Eugen shook him off violently, stood up, and\nthen sat down again.", "are somewhat handicapped by our anxiety to keep Prince Eugen's\npredicament quite quiet, and he is taking advantage, of that fact. As he", "Aribert looked at Racksole, and they both looked at Prince Eugen. The\nlatter's face was flushed, and Racksole observed that the left pupil was", "The Prince threw up his hands and went back in to the bedroom. The\ndoctor was at a table writing out a prescription. Aribert approached the\nbedside, his heart beating furiously. Eugen greeted him with a faint,\nfatigued smile.", "'Aribert,' said Prince Eugen, a little later, 'you were right. It is all\nover. I have only one refuge--'\n\n'You don't mean--' Aribert stopped, dumbfounded.", "According to official intelligence, a Prince is never seriously ill\nuntil he is dead. Such is statecraft.\n\nThe worst feature of Prince Eugen's case was that emetics proved futile.", "and that is--how your charming husband kidnapped Prince Eugen, and why\nhe kidnapped him. Let us begin with the second question. You have evaded\nit once.'", "Princess Anna, and that is the man who means to marry her himself.'\nEugen went very pale.", "'My dear Eugen,' said Prince Aribert, startled in spite of himself.\n'Don't be absurd.'", "It was a queer shabby little bedroom to shelter the august body of a\nEuropean personage like Prince Eugen of Posen. Curiously enough, both" ], [ "Dimmock goes and dies, and there is to be an inquest; then Prince Eugen\nand his suite, who were expected here for dinner, fail to turn up at\nall--'", "affairs in London. He wished me to come with him. I sent Dimmock on in\nfront, and waited for Eugen. He did not arrive. I telegraphed back to", "'Who knows?' she said. 'By the way, is not Prince Eugen coming here to-\nday? Mr Dimmock told us so.'", "visits, and of the non-arrival of Prince Eugen of Posen. Theodore\nRacksole had worried his brain without result. He had conducted an\nelaborate private investigation without result, and he had spent a", "that Dimmock's death has something to do with the disappearance of\nPrince Eugen.", "'Had something gone wrong in the hÃ´tel, or over here?'\n\n'Both.'\n\n'Was it about Prince Eugen of Posen?'", "'My poor Dimmock!' exclaimed the Prince, his voice broken. 'And I was\nangry because the lad did not meet me at Charing Cross!'\n\n'Are you sure he is dead, Father?' Nella said.", "due on the very afternoon that young Dimmock died. But he never came,\nand I have not heard why he has failed to arrive; nor have I seen his", "'You have bought the hÃ´tel!' exclaimed the Prince.\n\n'That's so,' said Racksole.\n\n'And Felix Babylon has gone?'", "went. In the ante-room, where the body of Reginald Dimmock had\noriginally been placed, were the inspector and Prince Aribert, and two\npolicemen.", "'Dimmock dead!' Prince Aribert whispered under his breath, and he\nkneeled down by the side of the stretcher. 'What does this mean?'", "'Oh! Dad,' she exclaimed, 'I've only just heard you were in the hÃ´tel.\nWe looked for you everywhere. Come at once, Prince Eugen is dying--'\nThen she saw the man sitting on the bed, and stopped.", "'Aribert,' said Prince Eugen, a little later, 'you were right. It is all\nover. I have only one refuge--'\n\n'You don't mean--' Aribert stopped, dumbfounded.", "There was a silence.\n\n'It is well,' said Racksole at length. 'Prince Eugen lives, despite all\nplots. After all, justice is done.'", "Prince Eugen of Posen to attend him here, and that summons hasn't\narrived. It appears that Prince Eugen hasn't come to London at all. Now,", "'Eugen,' cried Prince Aribert once more, but this time his forlorn\nnephew made no response whatever, and then Aribert added in a low voice\nto Racksole: 'Perhaps he cannot see us clearly.'", "Racksole that he was somehow implicated in Jules' schemes--and probably\nin the death of Reginald Dimmock and the disappearance of Prince Eugen\nof Posen.", "It was a queer shabby little bedroom to shelter the august body of a\nEuropean personage like Prince Eugen of Posen. Curiously enough, both", "'Prince Eugen has not come?'\n\n'He has not; and Uncle Aribert is in a deuce of a stew about him, and\ntelegraphing all over Europe. Altogether, things are working up pretty\nlively.'", "'But what can he do? Surely you don't suggest that he will attempt the\nlife of Prince Eugen in this hÃ´tel?'" ], [ "room herself. Seated in a corner, half-hidden by a pillar, she could\nsurvey all the guests, and watch each group as it entered or left.", "survey the place anew from the vantage ground. To his surprise he found\na man in the dark little room, watching the scene of the ball as\nintently as he himself had been doing a few minutes before. Hearing", "end wall from which the hÃ´tel authorities might keep a watchful eye, not\nonly on the dancers, but on the occupants of the balcony itself.", "the ample brick walls of the Grand Babylon. The eye-hole, through which\nhe now had a view of the bedroom, was a very minute one, and probably", "upon the small room which had a surreptitious view of Mr and Mrs Sampson\nLevi's ball. Except for the light of the chandelier of the ball-room the", "of the Grand Babylon should need the observation of a watchful eye. Yet\nso it was. Strange matters and unexpected faces had been descried from\nthe little window, and more than one European detective had kept vigil", "once. All you have to do is to take note of what the fellow does. If he\nhas any accomplices within the hÃ´tel we shall probably be able by that\nmeans to discover who the accomplice is.'", "'Perhaps I can throw some light on this mystery,' said Racksole. 'I may\ntell you that I was already aware that man had attended your ball\nuninvited.'\n\n'How did you get to know?'", "hÃ´tel management as regards that ball: it was very decently done, very\ndecently, but what I want to know is this--Why did you have a private\ndetective among my guests?'", "ball in his hÃ´tel that evening, and just before dinner he had almost a\nmind to issue a decree that the Gold Room was to be closed and the ball", "It may seem incredible to the uninitiated that the guests at any social\ngathering held in so gorgeous and renowned an apartment as the Gold Room", "AT the Grand Babylon a great ball was given that night in the Gold Room,\na huge saloon attached to the hÃ´tel, though scarcely part of it, and", "But when the millionaire arrived on the balcony floor he could see\nnothing of Jules, neither there nor in the ball-room itself. Saying no", "from this vantage men and maidens and chaperons who could not or would\nnot dance might survey the scene. Everyone knew this, and most people", "found that he had a fine view of the State bathroom, and through the\ndoor of the State bathroom into the State bedroom. At the massive\nmarble-topped washstand in the State bedroom a man was visible, bending", "No. 111 and the State bathroom on the floor below must have been\nspecially designed by some person or persons for the purpose of keeping\na nefarious watch upon the occupants of the State suite of apartments.", "much secrecy as possible, to this empty bedroom. There proved to be no\ndifficulty in doing so; Jules showed himself perfectly amenable to a\nshow of superior force.", "The Gold Room of the Grand Babylon was built for a ballroom. A balcony,\nsupported by arches faced with gilt and lapis-lazulo, ran around it, and", "'Come this way,' said Racksole, and led Aribert to another room. A sofa\nin this room was covered with a linen cloth. Racksole lifted the cloth--", "'I suppose you know everything that goes on in the hÃ´tel, Jules?'\n\n'As the head waiter, sir, it is my business to keep a general eye on\nthings.'" ], [ "AS regards Theodore Racksole, who was to have caught his man from the\noutside of the cellar, he made his way as rapidly as possible from the", "They entered the stone apartment, rendered almost sacred by the\npreciousness of its contents, and Racksole looked round with a strangely\nintent and curious air. At the far side was a grating, through which\ncame a feeble light.", "was a window; the window was open; and Jules was innocently gazing out\nof the window. Ten silent strides, and Theodore Racksole was upon him.", "'Well, there is the house which Miss Racksole so intrepidly entered last\nevening'--he gave her the homage of an admiring glance; 'you and I, Mr\nRacksole, might examine that abode in detail.'", "'Mr Racksole is here, but he can see no one, Miss.' The words came from\nbehind the door, and the voice was the commissionaire's. Racksole\nstarted up, and went towards the door.", "At eleven o'clock Theodore Racksole, afflicted by vexation of spirit,\nfound himself gazing idly through the little barred window. Nella was\nwith him.", "Theodore Racksole looked at the young man for a few seconds in silence.\n\nThere was a faint knock at the door.\n\n'Come in,' said Racksole loudly.", "That night, or rather about half-past one the next morning, when the\nlast noises of the hÃ´tel's life had died down, Racksole made his way to", "into the dark room where they had heard the conversation of Miss Spencer\nand the lady in the red hat. For a moment Racksole did not stir from the\nthreshold of the window. 'Come,' Prince Aribert repeated, and there was", "'I will,' said Racksole. At that moment there was a quick, curt rap on\nthe french window, and both Racksole and the Prince glanced round", "'Looks broken, doesn't it?' Racksole suggested and then, putting a\nfinger quickly on Babylon's shoulder, 'there's someone in the cellar.\nCan't you hear breathing, down there, behind that bin?'", "the handle of the door of one of the bedrooms. Then a man came round the\ncorner of the transverse corridor, and Racksole drew back. It was Jules-", "'This is quaint,' said Racksole; 'quaint to a degree!'\n\nIt occurred to him to look at the number of the room, and he stole\ntowards it.", "Racksole boldly pushed the french window a little wider open, and put\nhis ear to the aperture, through which came a beam of yellow light.", "It was Jules.\n\nThe two exchanged glances in the half light for a second.\n\n'Good evening, Mr Racksole,' said Jules calmly. 'I must apologize for\nbeing here.'", "'Good,' said Racksole, as he unlocked the door and entered the room. All\nwas exactly as he had left it, except that Jules who had been lying on", "Racksole's manner, quietly followed him down the lane. The sight of the\nmillionaire climbing the railings had put him on his mettle, and the", "could not see it from the window. As Racksole examined the window and\nthe outlook, he said to himself that Jules could not escape by that", "Lighting a match and shading it with his hands, Racksole showed them\nboth out of the little cellar. 'Now if you lock this glass door on the", "Jules' visit to No. 111, and the broken window--broken from the outside.\nRacksole did not forget that the time was 3 a.m. He slept but little" ], [ "'I want to see Miss Spencer,' said Nella impulsively. She couldn't think\nof anything else to say.\n\n'Miss Spencer?'\n\n'Yes; she's just arrived.'", "Miss Spencer was just going into a room off the narrow hall. Nella\nfollowed her into the apartment, which was shabbily furnished in the\nBelgian lodging-house style.", "Dumbfounded, and overcome with a miserable sense of the truth of Miss\nSpencer's words, Nella stood still. The idea of her colossal foolishness", "in the passage; the door opened, but Nella did not turn round. She could\nnot move her eyes from Miss Spencer's. There was a noise of rushing", "triumphantly at the tall dark house just at the moment when Miss Spencer\ndisappeared into it. The other carriage drove away. Nella, uncertain\nwhat to do, stepped down from her carriage and gave the driver some", "sympathetic, the old Nella. She felt immensely relieved that this had\nhappened. But at the same instant Miss Spencer sprang up from the chair", "tall dark house, and Miss Spencer emerged. Nella called to her driver to\nstop, but he, determined to be in at the death, was engaged in whipping\nhis horse, and he completely ignored her commands. He drew up", "Miss Spencer looked into Nella's face, and then her eyes dropped, and\nher fingers worked nervously with the tablecloth.", "'You had better sit down now,' said Nella, 'and I will ask you a few\nquestions.'\n\nAnd Miss Spencer obediently sat down, rather white, and trying to screw\nher lips into a formal smile.", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "'Rocco! What about Rocco?' Nella could scarcely hear herself. Her grip\nof the revolver tightened.\n\nMiss Spencer's eyes opened wider; she gazed at Nella with a glassy\nstare.", "not the Baroness Zerlinski, but Miss Spencer herself! Nella turned aside\ninstantly, hiding her face, and Miss Spencer, carrying a small bag,", "'It's death,' repeated Miss Spencer, and gradually her head and\nshoulders sank back, and hung loosely over the chair. Nella was", "'Am I?' Nella replied, as firmly as she could, though her hand shook\nviolently with excitement, could Miss Spencer but have observed it. 'Am", "unintentional sort of action, and certainly she had no intention of\nusing the weapon, but, strange to say, Miss Spencer again cowered before\nit. Even at that moment Nella wondered that a woman like Miss Spencer", "Most of this was simple bluff on Nella's part, and she trembled lest\nMiss Spencer should perceive that it was simple bluff. Happily for her,", "'What sum do you suggest?' asked Miss Spencer carelessly.\n\n'Twenty thousand pounds,' said Nella promptly. She had begun to regard\nthe affair as a business operation.", "She took hold of the bell-rope.\n\n'Don't ring that bell if you value your life,' said Nella.\n\n'If what?' Miss Spencer remarked.", "'And what were you to do in Ostend? What were your instructions from\nthis husband of yours?'\n\nMiss Spencer's head dropped on her arms on the table which separated her\nfrom Nella, and she appeared to sob violently.", "danger, and she would succumb. Nella at once divined this useful fact,\nand proceeded accordingly, hiding the strangeness of her own sensations\nas well as she could." ], [ "'I want to see Miss Spencer,' said Nella impulsively. She couldn't think\nof anything else to say.\n\n'Miss Spencer?'\n\n'Yes; she's just arrived.'", "Miss Spencer was just going into a room off the narrow hall. Nella\nfollowed her into the apartment, which was shabbily furnished in the\nBelgian lodging-house style.", "'And what were you to do in Ostend? What were your instructions from\nthis husband of yours?'\n\nMiss Spencer's head dropped on her arms on the table which separated her\nfrom Nella, and she appeared to sob violently.", "triumphantly at the tall dark house just at the moment when Miss Spencer\ndisappeared into it. The other carriage drove away. Nella, uncertain\nwhat to do, stepped down from her carriage and gave the driver some", "Dumbfounded, and overcome with a miserable sense of the truth of Miss\nSpencer's words, Nella stood still. The idea of her colossal foolishness", "tall dark house, and Miss Spencer emerged. Nella called to her driver to\nstop, but he, determined to be in at the death, was engaged in whipping\nhis horse, and he completely ignored her commands. He drew up", "in the passage; the door opened, but Nella did not turn round. She could\nnot move her eyes from Miss Spencer's. There was a noise of rushing", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "'It's death,' repeated Miss Spencer, and gradually her head and\nshoulders sank back, and hung loosely over the chair. Nella was", "sympathetic, the old Nella. She felt immensely relieved that this had\nhappened. But at the same instant Miss Spencer sprang up from the chair", "'You had better sit down now,' said Nella, 'and I will ask you a few\nquestions.'\n\nAnd Miss Spencer obediently sat down, rather white, and trying to screw\nher lips into a formal smile.", "'Rocco! What about Rocco?' Nella could scarcely hear herself. Her grip\nof the revolver tightened.\n\nMiss Spencer's eyes opened wider; she gazed at Nella with a glassy\nstare.", "Miss Spencer looked into Nella's face, and then her eyes dropped, and\nher fingers worked nervously with the tablecloth.", "Prince Aribert's guess was correct. The lady's carriage stopped in front\nof the house where Nella Racksole and Miss Spencer had had their", "not the Baroness Zerlinski, but Miss Spencer herself! Nella turned aside\ninstantly, hiding her face, and Miss Spencer, carrying a small bag,", "'Am I?' Nella replied, as firmly as she could, though her hand shook\nviolently with excitement, could Miss Spencer but have observed it. 'Am", "'What sum do you suggest?' asked Miss Spencer carelessly.\n\n'Twenty thousand pounds,' said Nella promptly. She had begun to regard\nthe affair as a business operation.", "Nella had the front bedroom on the first floor; Miss Spencer was immured\nin the attic; the last-named lady had been singularly quiet and", "Miss Spencer, the unscrupulous and brilliant Jules, the dark, damp\ncellar, the horrible little bedroom--these things were over. Thanks to", "hurried with assured footsteps to the Custom House. It seemed as if she\nknew the port of Ostend fairly well. The moon shone like day, and Nella" ], [ "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon.", "'Ah, my friend, you little know what you have bought.'\n\n'Oh! yes I do,' returned Racksole; 'I have bought just the first hÃ´tel\nin the world.'", "That night, or rather about half-past one the next morning, when the\nlast noises of the hÃ´tel's life had died down, Racksole made his way to", "'There is no next move,' answered Racksole candidly, 'and I will tell\nyou why I bought the hÃ´tel; there need be no secret about it. I bought", "Before Racksole parted company with the Customs man that night Jules had\nbeen safely transported into the Grand Babylon HÃ´tel and the two\nwatermen had received their Â£10 apiece.", "'You have bought the hÃ´tel!' exclaimed the Prince.\n\n'That's so,' said Racksole.\n\n'And Felix Babylon has gone?'", "That afternoon Racksole went with Felix Babylon first to a firm of\nsolicitors in the City, and then to a stockbroker, in order to carry out\nthe practical details of the purchase of the hÃ´tel.", "them goes, the hÃ´tel is likely to suffer. I will go, Mr Racksole. In\nfact, I had already thought of giving notice.'", "impressed Theodore Racksole. How many hÃ´tel proprietors in the world,\nRacksole asked himself, would have let that beef-steak and Bass go by\nwithout a word of comment.", "'Rather expensive, is it not?' said Babylon.\n\n'To you, sir,' answered Racksole, 'the inclusive terms will be exactly\nhalf a crown a week. Do you accept?'", "'So you're another Englishman masquerading as a foreigner in my hÃ´tel,'\n\nRacksole remarked, by way of commencing the interrogation.", "'This is quaint,' said Racksole; 'quaint to a degree!'\n\nIt occurred to him to look at the number of the room, and he stole\ntowards it.", "'Exactly,' Racksole put in, and continued quickly: 'Mr Rocco, I wish to\nacquaint you before any other person with the fact that I have purchased", "management. And as for Racksole he soon realized that Felix Babylon must\nbe a prince of hÃ´tel managers. It had never occurred to Racksole before", "'Very tolerable,' said Racksole, assuming as much of the air of the\nprofessional hÃ´tel proprietor as he could. 'I think I may say in the", "Racksole did not like the idea of his impeccable hÃ´tel being the subject\nof sinister rumours. He wondered, grimly, what the public and the Sunday", "doing so. He brought the keys to Mr Racksole in person, and after he had\nhad a little chat with his former master, the proprietor and the ex-", "certainly less exclusive than the hÃ´tel itself. Theodore Racksole knew\nnothing of the affair, except that it was an entertainment offered by a", "mysterious occurrences in this hÃ´tel. That is all.' Feeling a draught of\nair on his shoulder, Racksole turned to the window. 'For instance,' he", "'Good-day, then. You have my good wishes and my admiration, so long as\nyou keep out of my hÃ´tel.'\n\nRacksole got up. 'Good-day, sir. And thank you.'" ], [ "'Recollect, Miss Racksole, that this afternoon, here, I am not the\nPrince.'\n\n'You are Count Steenbock, is that it?'", "'Certainly, Prince,' Nella replied sweetly. 'You were plain Count\nSteenbock last spring in Paris--doubtless travelling incognito--'", "'Ah!' he said. 'That is over. That belongs to the past. It was an\naccident in my dull career. I shall never be Count Steenbock again.'", "'For a foreigner, sir! I am an Englishman, a Hertfordshire man born and\nbred. Perhaps my name has misled you, sir. I am only called Jules", "'Certainly. You interested me extremely. I have never met another man\nwho could talk so well about sculpture as the Count Steenbock.'\n\n'Do you really always get what you want, Miss Racksole?'", "possible for the Baroness to have caught the eight o'clock steamer, and\nit was also possible for the Baroness not to have gone to Ostend at all,\nbut to some other place in an entirely different direction.", "stole a steam yacht at Ostend. What you have done with it I don't know,\nnor do I care. But I strongly suspect that my daughter had a narrow", "And so was brought to a close the complex chain of events which had\nbegun when Theodore Racksole ordered a steak and a bottle of Bass at the\ntable d'hÃ´te of the Grand Babylon HÃ´tel.", "'You know my name, FrÃ¤ulein?' the new-comer murmured in German.", "'Nothing whatever,' said Babylon. 'Until you told me, I don't think I\nwas aware that his true name was Thomas Jackson, though of course I knew", "to her fellow-creatures, in the pension of some cheap foreign boarding-\nhouse. As for Rocco, he certainly was heard of again. Several years\nafter the events set down, it came to the knowledge of Felix Babylon", "It was Jules.\n\nThe two exchanged glances in the half light for a second.\n\n'Good evening, Mr Racksole,' said Jules calmly. 'I must apologize for\nbeing here.'", "'I did. That is to say, I invented them and I saw that they were carried\nout. You see, the suspicions of your police obliged me to be\nparticularly spry.'\n\n'And who carried them out?'", "'So you're another Englishman masquerading as a foreigner in my hÃ´tel,'\n\nRacksole remarked, by way of commencing the interrogation.", "imagine that that wasn't his real name. I don't know his real name. An\nold man, he often used to be found at the HÃ´tel Ritz, Paris.'", "'Yes. He's been arrested in Ostend,' the millionaire continued, lying\ncleverly at a venture. 'They say that he and several others are\nimplicated in a murder case--the murder of Reginald Dimmock.'", "visits, and of the non-arrival of Prince Eugen of Posen. Theodore\nRacksole had worried his brain without result. He had conducted an\nelaborate private investigation without result, and he had spent a", "for him in the London Times. Such a disappearance must be kept secret.\nThe people at Posen and at Berlin believe that Eugen is in London, here,", "WE must now return to Nella Racksole and Prince Aribert of Posen on\nboard the yacht without a name. The Prince's first business was to make", "Nevertheless, Nella had a faint hope that the lady who called herself\nZerlinski might be in that curtained stateroom, and throughout the\nsmooth moonlit voyage she never once relaxed her observation of its" ], [ "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon.", "'There is no next move,' answered Racksole candidly, 'and I will tell\nyou why I bought the hÃ´tel; there need be no secret about it. I bought", "That night, or rather about half-past one the next morning, when the\nlast noises of the hÃ´tel's life had died down, Racksole made his way to", "'Ah, my friend, you little know what you have bought.'\n\n'Oh! yes I do,' returned Racksole; 'I have bought just the first hÃ´tel\nin the world.'", "mysterious occurrences in this hÃ´tel. That is all.' Feeling a draught of\nair on his shoulder, Racksole turned to the window. 'For instance,' he", "Racksole did not like the idea of his impeccable hÃ´tel being the subject\nof sinister rumours. He wondered, grimly, what the public and the Sunday", "them goes, the hÃ´tel is likely to suffer. I will go, Mr Racksole. In\nfact, I had already thought of giving notice.'", "'You have bought the hÃ´tel!' exclaimed the Prince.\n\n'That's so,' said Racksole.\n\n'And Felix Babylon has gone?'", "fact was, and it is necessary to insist on it, that Mr Racksole, owner\nof the Grand Babylon HÃ´tel, was by no means in a state of self-", "'So you're another Englishman masquerading as a foreigner in my hÃ´tel,'\n\nRacksole remarked, by way of commencing the interrogation.", "That afternoon Racksole went with Felix Babylon first to a firm of\nsolicitors in the City, and then to a stockbroker, in order to carry out\nthe practical details of the purchase of the hÃ´tel.", "'Exactly,' Racksole put in, and continued quickly: 'Mr Rocco, I wish to\nacquaint you before any other person with the fact that I have purchased", "'Is the purchase of hÃ´tels your notion of relaxation, then?'\n\nRacksole shrugged his shoulders. 'It is a change from railroads,' he\nlaughed.", "impressed Theodore Racksole. How many hÃ´tel proprietors in the world,\nRacksole asked himself, would have let that beef-steak and Bass go by\nwithout a word of comment.", "it because of a whim.' And then Theodore Racksole gave this little Jew,\nwhom he had begun to respect, a faithful account of the transaction with", "management. And as for Racksole he soon realized that Felix Babylon must\nbe a prince of hÃ´tel managers. It had never occurred to Racksole before", "was not a mere accident, Racksole felt perfectly sure. He had felt\nperfectly sure all along; but the significance of the facts had not\nstruck him. It was plain to him now that there must be something of", "doing so. He brought the keys to Mr Racksole in person, and after he had\nhad a little chat with his former master, the proprietor and the ex-", "That night, after dinner, Racksole and his friend Felix Babylon were\nwalking together on the terrace of the Grand Babylon HÃ´tel.\n\nFelix had begun the conversation.", "'Good-day, then. You have my good wishes and my admiration, so long as\nyou keep out of my hÃ´tel.'\n\nRacksole got up. 'Good-day, sir. And thank you.'" ], [ "'Tom Jackson--Jules, you know, head waiter at the Grand Babylon.'\n\n'So Jules's real name is Tom Jackson? Why did he want you to leave\nwithout giving notice?'", "Jules, the celebrated head waiter of the Grand Babylon, was bending\nformally towards the alert, middle-aged man who had just entered the", "'By pure chance, Mr Levi, and not by inquiry. That man was a former\nwaiter at this hÃ´tel--the head waiter, in fact--Jules. No doubt you have\nheard of him.'", "unique Jules--could scarcely have been noticed in the enormous staff of\na place like the Grand Babylon. The functions of a head-waiter are\ngenerally more ornamental, spectacular, and morally impressive than", "afterwards what he was doing there. I was told by someone that he was\none of your waiters, but I didn't believe that. I know nothing of the", "because the head waiter of any really high-class hÃ´tel must have either\na French or an Italian name.'", "'I suppose you know everything that goes on in the hÃ´tel, Jules?'\n\n'As the head waiter, sir, it is my business to keep a general eye on\nthings.'", "dismissal by Theodore Racksole. No other head-waiter had been formally\nappointed in his place; and, indeed, the absence of one man--even the", "acquired a prominent position in the hÃ´tel. Decidedly he was the\ncleverest and most intellectual waiter I have ever known, and he was\nspecially skilled in the difficult task of retaining his own dignity", "Jules, and that the policeman had thrown him just too late. He ran, and\nJules, hearing the noise of pursuit, ran also. The ex-waiter was fleet;", "waiters were still in attendance. One of these latter was despatched in\nsearch of the singular Mr Hubbard, and it fortunately turned out that\nthis gentleman had not actually retired, though he was on the point of", "The millionaire smiled appreciatively. 'What wages do you require in\nlieu of notice? It is my intention that you leave the hÃ´tel within an\nhour.'", "IT happened that the small bedroom occupied by Jules during the years he\nwas head-waiter at the Grand Babylon had remained empty since his sudden", "imagine that that wasn't his real name. I don't know his real name. An\nold man, he often used to be found at the HÃ´tel Ritz, Paris.'", "she spoke, and the contempt in them added mightily to her beauty. Mr\nThomas Jackson, otherwise Jules, erstwhile head waiter at the Grand", "surprised. It sometimes happens that there is incompatibility of temper\nbetween a hÃ´tel proprietor and his head waiter, and then, unless one of", "'Nothing whatever,' said Babylon. 'Until you told me, I don't think I\nwas aware that his true name was Thomas Jackson, though of course I knew", "receiving and executing orders with that air of profound importance of\nwhich only really first-class waiters have the secret. The atmosphere\nwas an atmosphere of serenity and repose, characteristic of the Grand", "course, you sent him as a waiter; and this chap didn't do any waiting,\nthough he did his share of drinking.'", "It was Jules.\n\nThe two exchanged glances in the half light for a second.\n\n'Good evening, Mr Racksole,' said Jules calmly. 'I must apologize for\nbeing here.'" ], [ "'Aribert, I withdraw my promise. Observe that, I withdraw it.' Aribert\nshook his head emphatically, without removing his gaze from Hans. The", "ruin of his own hopes. For Aribert would have to occupy his nephew's\nthrone, and he felt instinctively that nature had not cut him out for a", "Aribert looked up. Nella was standing silent at the foot of the bed, her\neyes moist. She came round to the bedside, and put her hand on the", "'Aribert,' said Prince Eugen, a little later, 'you were right. It is all\nover. I have only one refuge--'\n\n'You don't mean--' Aribert stopped, dumbfounded.", "Prince Aribert with a kindly interest. She perceived, what her father\nhad failed to perceive, that His Highness had assumed an attitude of\nreserve merely to hide the secret distraction and dismay which consumed", "'Ah, Hans, my old friend!' said Aribert, approaching the old man. 'I\nmust have a little talk with you about one or two matters. How do you\nfind His Royal Highness?'", "'But my wife will have a fortune. Knowing the sacrifices which I shall\nhave made in order to marry her, she will not hesitate to place that\nfortune in my hands for our mutual use,' said Aribert stiffly.", "'Eugen,' said Aribert, 'I wish you to be as serious as I am. Why cannot\nwe have faith in each other? I want to help you. I have helped you. You", "proceeding, even after his definite promise. Aribert remembered now with\npainful vividness his nephew's words: 'I withdraw my promise. Observe", "'Not at all,' said Aribert. 'They wanted no money from you. They knew\nwell enough that you had no money. They knew you were the naughty", "'Prince Aribert,' Nella said, 'shall I tell you what I think?' She\nleaned back in her chair, and looked at him out of half-closed eyes. His", "'Aribert,' she said quickly, 'remember you are not in Posen holding a\nCourt reception. You are in England and you are talking to an American\ngirl who has always been in the habit of having her own way.'", "'You think so?' murmured the other. 'I want you to forgive me for all\nthis, Aribert. I must have caused you an intolerable trouble. I did it", "Aribert, I wouldn't lose Anna for the Imperial throne. She is a good and\npure woman, and I love her as a man might love an angel.'", "'Of course you aren't,' Aribert replied. 'But you mustn't sit up. You\nmust take care of yourself.'\n\n'Who will lend the money?' Eugen asked in a feeble, happy whisper.", "Aribert had compelled him to give his word of honour not to do so.", "'You are a good friend to me, Aribert. You mean well. But you are\nmistaken.\n\nYou have been worrying about nothing.'\n\n'Have you forgotten about Reginald Dimmock?'", "He rose, staggered towards Aribert, and fell headlong on the floor. He\nhad swooned. The two men raised him, carried him up the stone steps, and", "Aribert hesitated.\n\n'Money,' he said at length. 'As a family we are very poor--poorer than\nanyone in Berlin suspects.'", "'Aribert!' The faint call came from the bed. Aribert went to the\nbedside, while Nella remained near the window.\n\n'What is it, Eugen?' he said. 'You are better now.'" ], [ "Together they had been wandering about the corridors of the hÃ´tel, still\nstrange to them both, and it was quite by accident that they had lighted", "'Yes.'\n\n'In this hÃ´tel?'\n\n'Yes.'\n\n'Oh! How lovely!'", "everything, and my hÃ´tel--your hÃ´tel--is the centre of London. Once I\nhad a King and a Dowager Empress staying here at the same time. Imagine\nthat!'", "hÃ´tel was performed there. The place served chiefly as the lair of Miss\nSpencer, who was as well known and as important as Jules himself. Most", "That night, after dinner, Racksole and his friend Felix Babylon were\nwalking together on the terrace of the Grand Babylon HÃ´tel.\n\nFelix had begun the conversation.", "THE Royal apartments at the Grand Babylon are famous in the world of\nhÃ´tels, and indeed elsewhere, as being, in their own way, unsurpassed.", "HÃ´tel. She was a plump, little old lady, with white hair and an old-\nfashioned bonnet, and she had a quaint, simple smile of surprise at\neverything in general.", "so late, the hÃ´tel was not, of course, closed for the night. A few\nguests still remained about in the public rooms, and a few fatigued", "Before Racksole parted company with the Customs man that night Jules had\nbeen safely transported into the Grand Babylon HÃ´tel and the two\nwatermen had received their Â£10 apiece.", "They were all three seated--Racksole, his daughter, and Prince Aribert--\nround a dinner table in a private room at the HÃ´tel Wellington. Racksole", "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon.", "since the Grand Babylon had first raised its massive chimneys to heaven,\nand she remained in her place despite the vagaries of other hÃ´tels.\nAlways admirably dressed in plain black silk, with a small diamond", "lift, the thing struck her as somewhat strange. Perhaps the Baroness\nZerlinski had stayed at the hÃ´tel before. For the sake of convenience an", "ON the following morning, just before lunch, a lady, accompanied by a\nmaid and a considerable quantity of luggage, came to the Grand Babylon", "cream, within the precincts of the Grand Babylon. In the world of hÃ´tels\nit was currently stated that, next to the proprietor, there were three", "hÃ´tel, ascertain where she is and follow her. Understand, it is of the\nfirst importance.'", "'I read in the New York papers some months ago,' Theodore started,\nwithout even a clearing of the throat, 'that this hÃ´tel of yours, Mr", "AT the Grand Babylon a great ball was given that night in the Gold Room,\na huge saloon attached to the hÃ´tel, though scarcely part of it, and", "them goes, the hÃ´tel is likely to suffer. I will go, Mr Racksole. In\nfact, I had already thought of giving notice.'", "the Grand Babylon HÃ´tel. If you think well to afford me the privilege of\nretaining your services I shall be happy to offer you a remuneration of\nthree thousand a year.'" ], [ "'I want to see Miss Spencer,' said Nella impulsively. She couldn't think\nof anything else to say.\n\n'Miss Spencer?'\n\n'Yes; she's just arrived.'", "Miss Spencer was just going into a room off the narrow hall. Nella\nfollowed her into the apartment, which was shabbily furnished in the\nBelgian lodging-house style.", "in the passage; the door opened, but Nella did not turn round. She could\nnot move her eyes from Miss Spencer's. There was a noise of rushing", "triumphantly at the tall dark house just at the moment when Miss Spencer\ndisappeared into it. The other carriage drove away. Nella, uncertain\nwhat to do, stepped down from her carriage and gave the driver some", "Dumbfounded, and overcome with a miserable sense of the truth of Miss\nSpencer's words, Nella stood still. The idea of her colossal foolishness", "Miss Spencer looked into Nella's face, and then her eyes dropped, and\nher fingers worked nervously with the tablecloth.", "tall dark house, and Miss Spencer emerged. Nella called to her driver to\nstop, but he, determined to be in at the death, was engaged in whipping\nhis horse, and he completely ignored her commands. He drew up", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "not the Baroness Zerlinski, but Miss Spencer herself! Nella turned aside\ninstantly, hiding her face, and Miss Spencer, carrying a small bag,", "'You had better sit down now,' said Nella, 'and I will ask you a few\nquestions.'\n\nAnd Miss Spencer obediently sat down, rather white, and trying to screw\nher lips into a formal smile.", "sympathetic, the old Nella. She felt immensely relieved that this had\nhappened. But at the same instant Miss Spencer sprang up from the chair", "Nella had the front bedroom on the first floor; Miss Spencer was immured\nin the attic; the last-named lady had been singularly quiet and", "'Rocco! What about Rocco?' Nella could scarcely hear herself. Her grip\nof the revolver tightened.\n\nMiss Spencer's eyes opened wider; she gazed at Nella with a glassy\nstare.", "'Am I?' Nella replied, as firmly as she could, though her hand shook\nviolently with excitement, could Miss Spencer but have observed it. 'Am", "'It's death,' repeated Miss Spencer, and gradually her head and\nshoulders sank back, and hung loosely over the chair. Nella was", "unintentional sort of action, and certainly she had no intention of\nusing the weapon, but, strange to say, Miss Spencer again cowered before\nit. Even at that moment Nella wondered that a woman like Miss Spencer", "Prince Aribert's guess was correct. The lady's carriage stopped in front\nof the house where Nella Racksole and Miss Spencer had had their", "Most of this was simple bluff on Nella's part, and she trembled lest\nMiss Spencer should perceive that it was simple bluff. Happily for her,", "She took hold of the bell-rope.\n\n'Don't ring that bell if you value your life,' said Nella.\n\n'If what?' Miss Spencer remarked.", "'What sum do you suggest?' asked Miss Spencer carelessly.\n\n'Twenty thousand pounds,' said Nella promptly. She had begun to regard\nthe affair as a business operation." ], [ "'I want to see Miss Spencer,' said Nella impulsively. She couldn't think\nof anything else to say.\n\n'Miss Spencer?'\n\n'Yes; she's just arrived.'", "Miss Spencer was just going into a room off the narrow hall. Nella\nfollowed her into the apartment, which was shabbily furnished in the\nBelgian lodging-house style.", "tall dark house, and Miss Spencer emerged. Nella called to her driver to\nstop, but he, determined to be in at the death, was engaged in whipping\nhis horse, and he completely ignored her commands. He drew up", "Nella had the front bedroom on the first floor; Miss Spencer was immured\nin the attic; the last-named lady had been singularly quiet and", "Miss Spencer nodded, and, looking up, Nella could see the traces of\ntears in her face.\n\n'Then Prince Eugen was a prisoner? Some one had captured him at the\ninstigation of Jules?'", "triumphantly at the tall dark house just at the moment when Miss Spencer\ndisappeared into it. The other carriage drove away. Nella, uncertain\nwhat to do, stepped down from her carriage and gave the driver some", "Dumbfounded, and overcome with a miserable sense of the truth of Miss\nSpencer's words, Nella stood still. The idea of her colossal foolishness", "Prince Aribert's guess was correct. The lady's carriage stopped in front\nof the house where Nella Racksole and Miss Spencer had had their", "in the passage; the door opened, but Nella did not turn round. She could\nnot move her eyes from Miss Spencer's. There was a noise of rushing", "They were compelled to return to the bedroom where Miss Spencer was\nincarcerated, in order to demand the key of the cellar from her. She\nstill lay without movement on the bed.", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "'You had better sit down now,' said Nella, 'and I will ask you a few\nquestions.'\n\nAnd Miss Spencer obediently sat down, rather white, and trying to screw\nher lips into a formal smile.", "sympathetic, the old Nella. She felt immensely relieved that this had\nhappened. But at the same instant Miss Spencer sprang up from the chair", "Miss Spencer, the unscrupulous and brilliant Jules, the dark, damp\ncellar, the horrible little bedroom--these things were over. Thanks to", "'Rocco! What about Rocco?' Nella could scarcely hear herself. Her grip\nof the revolver tightened.\n\nMiss Spencer's eyes opened wider; she gazed at Nella with a glassy\nstare.", "'It's death,' repeated Miss Spencer, and gradually her head and\nshoulders sank back, and hung loosely over the chair. Nella was", "Miss Spencer looked into Nella's face, and then her eyes dropped, and\nher fingers worked nervously with the tablecloth.", "'Am I?' Nella replied, as firmly as she could, though her hand shook\nviolently with excitement, could Miss Spencer but have observed it. 'Am", "not the Baroness Zerlinski, but Miss Spencer herself! Nella turned aside\ninstantly, hiding her face, and Miss Spencer, carrying a small bag,", "money. At the same moment a man reopened the door of the house, which\nhad closed on Miss Spencer." ], [ "peculiar telegram, asking when Eugen might be expected to return to\nPosen, and requesting that he should go first to Berlin. That telegram\nwas addressed to myself. Now, if the Emperor thought that Eugen was", "'Prince Eugen has not come?'\n\n'He has not; and Uncle Aribert is in a deuce of a stew about him, and\ntelegraphing all over Europe. Altogether, things are working up pretty\nlively.'", "'Go out, and send for a doctor, Hans. Say that Prince Eugen has been\nsuddenly taken ill, but that it isn't serious. The truth must never be\nknown.'", "here, why should he have caused the telegram to be addressed to me? I\nhave hesitated for three days, but I can hesitate no longer. I must\nmyself go to the Emperor and acquaint him with the facts.'", "Prince Eugen of Posen to attend him here, and that summons hasn't\narrived. It appears that Prince Eugen hasn't come to London at all. Now,", "Eugen took up the glass and held it to the light.\n\n'Don't drink it,' said Aribert very quietly. 'It is poisoned.'\n\n'Poisoned!' exclaimed Prince Eugen.", "'Had something gone wrong in the hÃ´tel, or over here?'\n\n'Both.'\n\n'Was it about Prince Eugen of Posen?'", "'That is my nephew, Prince Eugen,' said Aribert.\n\n'Hurt?' she inquired coldly. 'I hope not.'", "'Aribert,' said Prince Eugen, a little later, 'you were right. It is all\nover. I have only one refuge--'\n\n'You don't mean--' Aribert stopped, dumbfounded.", "'You ask me where I think Prince Eugen has disappeared to?'\n\n'I do.'\n\n'Then you think it's a disappearance?'", "With a gesture she beckoned him towards the ante-room.\n\n'If you choose,' she said, when they were alone, 'Prince Eugen can be\nsaved.\n\nI have arranged it.'", "and that is--how your charming husband kidnapped Prince Eugen, and why\nhe kidnapped him. Let us begin with the second question. You have evaded\nit once.'", "corpse, and the disappearance of Prince Eugen of Posen. I thought you\nmight be able to help me in some investigations which I am making.'", "at this hÃ´tel; or, rather, they did so believe. But this morning I\nreceived a cypher telegram from--from His Majesty the Emperor, a very", "'To return to Prince Eugen,' Racksole resumed. 'I was expecting His\nHighness here. The State apartments had been prepared for him. He was", "information. 'Where is Prince Eugen now?' she asked at length.", "'Who knows?' she said. 'By the way, is not Prince Eugen coming here to-\nday? Mr Dimmock told us so.'", "The Prince threw up his hands and went back in to the bedroom. The\ndoctor was at a table writing out a prescription. Aribert approached the\nbedside, his heart beating furiously. Eugen greeted him with a faint,\nfatigued smile.", "incorrect. I would wager a hundred thousand dollars that Prince Eugen\nhas been kidnapped.'", "There was a silence.\n\n'It is well,' said Racksole at length. 'Prince Eugen lives, despite all\nplots. After all, justice is done.'" ], [ "'But Mr Dimmock was murdered. He was poisoned. If he had not been\npoisoned why was his body stolen? It must have been stolen to prevent\ninquiry, to hide traces. Tell me about that.'", "'Poisoned, sire!' exclaimed old Hans, with an air of profound amazement\nand concern, and he seized the glass. 'Impossible, sire. I myself opened\nthe bottle. No one else has touched it, and the cork was perfect.'", "over there that I poisoned myself. Swear Hans to secrecy; swear the\ndoctors to secrecy; and breathe no word yourself. I have been a fool,", "poisoned wine. But a moment's reflection showed that this was not\npossible. If the Hereditary Prince of Posen was dying or dead, his", "'Dimmock was poisoned.'", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "Eugen took up the glass and held it to the light.\n\n'Don't drink it,' said Aribert very quietly. 'It is poisoned.'\n\n'Poisoned!' exclaimed Prince Eugen.", "momentarily diverted; and yielding to a sudden impulse of despair, had\ndecided to poison himself, and had carried out his intention on the\nspot.", "suddenly disappeared. He pushed the window wide open. The room was in\ndarkness, and apparently empty.", "'Why was poor little Dimmock poisoned?' The millionaire's voice softened\nas he looked for an instant at the corpse of the unfortunate young man.", "'You ask me where I think Prince Eugen has disappeared to?'\n\n'I do.'\n\n'Then you think it's a disappearance?'", "think he repented, and I think that it was because he repented that he--\ner--died so suddenly, and that his body was spirited away.'", "corpse, and the disappearance of Prince Eugen of Posen. I thought you\nmight be able to help me in some investigations which I am making.'", "'Just so,' said the inspector. 'The body of the deceased has\ndisappeared.", "station at Ostend Quay that he disappeared. He was travelling with a\nsingle equerry, and the equerry, too, has vanished. I need not explain", "'Partly Dimmock and partly other things. First of all, that Miss\nSpencer, or whatever her wretched name is, mysteriously disappears. Then", "His eyes closed. There was a sudden noise. Old Hans had slipped from his\nchair to the floor. He picked himself up, dazed, and crept shamefacedly\nout of the room.", "'It was a perfectly simple proceeding, I assure you. Before I had done\nwith him, I rather liked the fellow.'\n\n'Miss Spencer and Jules--both gone in one day!' mused Felix Babylon.", "and look after my hÃ´tel' And soon afterwards he disappeared.", "The Prince agreed, and they searched the house from top to bottom, but\nfound no one. Then, having locked the front door and the french window\nof the sitting-room, they proceeded again to the cellar." ], [ "certainly less exclusive than the hÃ´tel itself. Theodore Racksole knew\nnothing of the affair, except that it was an entertainment offered by a", "'I read in the New York papers some months ago,' Theodore started,\nwithout even a clearing of the throat, 'that this hÃ´tel of yours, Mr", "They were all three seated--Racksole, his daughter, and Prince Aribert--\nround a dinner table in a private room at the HÃ´tel Wellington. Racksole", "'Her father is,' said the girl. 'Oh, Dad! can't you guess? He--he loves\nme.' Her head fell on Theodore's shoulder and she began to cry.", "NEVERTHELESS, there are men with a confirmed habit of getting their own\nway, even as guests in an exclusive hÃ´tel: and Theodore Racksole had", "But when Theodore and his daughter happened to be going one and the same\nroad, which was pretty often, then Heaven alone might help any obstacle", "Theodore Racksole went direct to the entrance-hall of the hÃ´tel, and\nentered Miss Spencer's sanctum.\n\n'I want to see Mr Babylon,' he said, 'without the delay of an instant.'", "everything, and my hÃ´tel--your hÃ´tel--is the centre of London. Once I\nhad a King and a Dowager Empress staying here at the same time. Imagine\nthat!'", "Her father had spent the morning at the hÃ´tel, and Prince Aribert had\nkept watch. The two men were never absent from the house at the same", "THE Royal apartments at the Grand Babylon are famous in the world of\nhÃ´tels, and indeed elsewhere, as being, in their own way, unsurpassed.", "part, seemed not to take much interest in him; and there were certainly\nvarious persons in London who were capable of snapping their fingers at\nhim--at Theodore Racksole. Neither he nor his daughter could get used to", "Theodore Racksole laughingly lighted the Rothschild Havana which Babylon\ngave him, and they entered the hÃ´tel arm in arm. But no sooner had they", "bedroom. The doctor had just left. Theodore Racksole was downstairs\nreading the New York Herald. The Prince and Nella were near the window,\nwhich looked on to the back-garden.", "impressed Theodore Racksole. How many hÃ´tel proprietors in the world,\nRacksole asked himself, would have let that beef-steak and Bass go by\nwithout a word of comment.", "That night, after dinner, Racksole and his friend Felix Babylon were\nwalking together on the terrace of the Grand Babylon HÃ´tel.\n\nFelix had begun the conversation.", "was a stout lady with an aquiline nose and many diamonds, and that they\nwere very rich and very hospitable. Theodore Racksole did not want a", "'Oh! Dad,' she exclaimed, 'I've only just heard you were in the hÃ´tel.\nWe looked for you everywhere. Come at once, Prince Eugen is dying--'\nThen she saw the man sitting on the bed, and stopped.", "Together they had been wandering about the corridors of the hÃ´tel, still\nstrange to them both, and it was quite by accident that they had lighted", "'Yes.'\n\n'In this hÃ´tel?'\n\n'Yes.'\n\n'Oh! How lovely!'", "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon." ], [ "'I buy,' said Theodore Racksole, smiling contentedly; 'and we will, if\nyou please, exchange contract-letters on the spot.'", "it because of a whim.' And then Theodore Racksole gave this little Jew,\nwhom he had begun to respect, a faithful account of the transaction with", "that night, but he was glad that he had bought the Grand Babylon HÃ´tel.\nIt was an acquisition which seemed to promise fun and diversion.", "'I read in the New York papers some months ago,' Theodore started,\nwithout even a clearing of the throat, 'that this hÃ´tel of yours, Mr", "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon.", "impressed Theodore Racksole. How many hÃ´tel proprietors in the world,\nRacksole asked himself, would have let that beef-steak and Bass go by\nwithout a word of comment.", "The landlord and his guest sat down opposite each other. Theodore\nRacksole had met with the usual millionaire's luck in this adventure,", "'Eh!' Felix exclaimed. 'I sell you my hÃ´tel with Jules, with Rocco, with\nMiss Spencer. You go and lose all those three inestimable servants, and", "Five minutes later the buyer and seller of the Grand Babylon HÃ´tel had\neach signed a curt document, scribbled out on the hÃ´tel note-paper.", "Theodore Racksole, however, was ignorant that a mere accident had served\nhim. He took all the credit to himself.", "'Give me a penny one,' was Theodore Racksole's laconic request, and he\nwalked out of the shop smoking the penny cigar. It was a new sensation\nfor him.", "'What are the best you've got?' asked Theodore Racksole.\n\n'Five shillings each, sir,' said the man promptly.", "'I am,' said Babylon, 'on terms. The price was four hundred thousand\npounds, including the leasehold and goodwill. But I sell only on the\ncondition that the buyer does not transfer the property to a limited\ncompany at a higher figure.'", "certainly less exclusive than the hÃ´tel itself. Theodore Racksole knew\nnothing of the affair, except that it was an entertainment offered by a", "AS regards Theodore Racksole, who was to have caught his man from the\noutside of the cellar, he made his way as rapidly as possible from the", "it from him. With a man of Theodore Racksole's temperament there is no\ntime like the present, and at six o'clock, as the bright morning sun", "The millionaire smiled appreciatively. 'What wages do you require in\nlieu of notice? It is my intention that you leave the hÃ´tel within an\nhour.'", "'Now for that lantern of yours,' he said eagerly to Theodore Racksole,\nafter he had translated to him the conversation of the two women,", "These words, spoken by a servant to Theodore Racksole, aroused the\nmillionaire from a reverie which had been the reverse of pleasant. The", "Theodore Racksole went direct to the entrance-hall of the hÃ´tel, and\nentered Miss Spencer's sanctum.\n\n'I want to see Mr Babylon,' he said, 'without the delay of an instant.'" ], [ "that night, but he was glad that he had bought the Grand Babylon HÃ´tel.\nIt was an acquisition which seemed to promise fun and diversion.", "'I read in the New York papers some months ago,' Theodore started,\nwithout even a clearing of the throat, 'that this hÃ´tel of yours, Mr", "'There is no next move,' answered Racksole candidly, 'and I will tell\nyou why I bought the hÃ´tel; there need be no secret about it. I bought", "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon.", "'I buy,' said Theodore Racksole, smiling contentedly; 'and we will, if\nyou please, exchange contract-letters on the spot.'", "certainly less exclusive than the hÃ´tel itself. Theodore Racksole knew\nnothing of the affair, except that it was an entertainment offered by a", "it because of a whim.' And then Theodore Racksole gave this little Jew,\nwhom he had begun to respect, a faithful account of the transaction with", "Theodore Racksole went direct to the entrance-hall of the hÃ´tel, and\nentered Miss Spencer's sanctum.\n\n'I want to see Mr Babylon,' he said, 'without the delay of an instant.'", "NEVERTHELESS, there are men with a confirmed habit of getting their own\nway, even as guests in an exclusive hÃ´tel: and Theodore Racksole had", "impressed Theodore Racksole. How many hÃ´tel proprietors in the world,\nRacksole asked himself, would have let that beef-steak and Bass go by\nwithout a word of comment.", "'Is the purchase of hÃ´tels your notion of relaxation, then?'\n\nRacksole shrugged his shoulders. 'It is a change from railroads,' he\nlaughed.", "'You have bought the hÃ´tel!' exclaimed the Prince.\n\n'That's so,' said Racksole.\n\n'And Felix Babylon has gone?'", "'It's a mighty queer arrangement,' Theodore remarked. 'But of course if\nyou think it'll be of any use, you had better go down and tell your", "them goes, the hÃ´tel is likely to suffer. I will go, Mr Racksole. In\nfact, I had already thought of giving notice.'", "'I?' exclaimed Theodore.\n\n'Yes,' she repeated positively. 'I will tell you what I want you to do,\nand you must do it.'", "it from him. With a man of Theodore Racksole's temperament there is no\ntime like the present, and at six o'clock, as the bright morning sun", "'I suppose it was for the sake of quiet and rest that you bought the\nhÃ´tel, Papa?'\n\n'You would insist on the steak,' he retorted. 'Get out of this, on the\ninstant.'", "'Only that I've bought the entire hÃ´tel. But don't split.'\n\n'Father, you always were a delicious parent. Shall you give me the hÃ´tel\nfor a birthday present?'", "And so was brought to a close the complex chain of events which had\nbegun when Theodore Racksole ordered a steak and a bottle of Bass at the\ntable d'hÃ´te of the Grand Babylon HÃ´tel.", "'Ah, my friend, you little know what you have bought.'\n\n'Oh! yes I do,' returned Racksole; 'I have bought just the first hÃ´tel\nin the world.'" ], [ "'Dimmock was poisoned.'", "'But Mr Dimmock was murdered. He was poisoned. If he had not been\npoisoned why was his body stolen? It must have been stolen to prevent\ninquiry, to hide traces. Tell me about that.'", "'Dimmock dead!' Prince Aribert whispered under his breath, and he\nkneeled down by the side of the stretcher. 'What does this mean?'", "'You mean to say you don't know why Dimmock was done to death?'", "'Why was poor little Dimmock poisoned?' The millionaire's voice softened\nas he looked for an instant at the corpse of the unfortunate young man.", "due on the very afternoon that young Dimmock died. But he never came,\nand I have not heard why he has failed to arrive; nor have I seen his", "'My poor Dimmock!' exclaimed the Prince, his voice broken. 'And I was\nangry because the lad did not meet me at Charing Cross!'\n\n'Are you sure he is dead, Father?' Nella said.", "death of Reginald Dimmock was only a minor event, which had occurred, as\nit were, on the fringe of some far more profound mystery. And,", "'You mean about poor Mr Dimmock?'", "but the theory that Reginald Dimmock had probably been a traitor to his\nfamily--a traitor whose repentance had caused his death--had not been", "therefore, he decided to wait, with his eyes very wide open, until\nsomething else happened that would throw light on the business. At the\nmoment he took only one measure--he arranged that the theft of Dimmock's", "As for Racksole, he sent a message for the detective in charge of the\nDimmock affair, and bravely told him the happenings of the previous\nnight.", "'But how does this theory square with the murder of Reginald Dimmock?'", "Racksole considered in detail the particular affair of Reginald Dimmock,\ndeceased, he was struck by one point especially, to wit: Why had Dimmock", "'Well, my young madame, they've got me in for one, and you for another;\nand they're manufacturing mysteries like fun. It's young Dimmock's death\nthat has started 'em.'", "story of the adventures by sea and land of Nella and the Prince. As to\nhis own adventure of the previous night he said very little, merely\nexplaining, with as little detail as possible, that Dimmock's body had", "that fool Dimmock, who had been in the swim with us, chose to prove\nrefractory. The slightest hitch would have upset everything, and I was", "'There are several reasons, and they are connected with Mr Dimmock. Did\nyou ever suspect, your Highness, that that poor young man was not\nentirely loyal to you?'", "'Mr Dimmock?' questioned Racksole.\n\n'Yes, Dimmock. I do not remember that he ever missed an appointment\nbefore.\n\nYou know him? He has been here?'", "went. In the ante-room, where the body of Reginald Dimmock had\noriginally been placed, were the inspector and Prince Aribert, and two\npolicemen." ], [ "AT the Grand Babylon a great ball was given that night in the Gold Room,\na huge saloon attached to the hÃ´tel, though scarcely part of it, and", "ball in his hÃ´tel that evening, and just before dinner he had almost a\nmind to issue a decree that the Gold Room was to be closed and the ball", "It may seem incredible to the uninitiated that the guests at any social\ngathering held in so gorgeous and renowned an apartment as the Gold Room", "But on that evening I encountered him here--not in the Gold Room, but in\nthe hÃ´tel itself. I asked him to explain his presence, and he stated he", "went forward, and neither Mr nor Mrs Sampson Levi had ever the least\nsuspicion what a narrow escape they had had of looking very foolish in\nthe eyes of the thousand or so guests invited by them to the Gold Room", "The Gold Room of the Grand Babylon was built for a ballroom. A balcony,\nsupported by arches faced with gilt and lapis-lazulo, ran around it, and", "'My dear Mr Levi,' said Racksole, 'I assure you that, having let the\nGold Room to a private individual for a private entertainment, I should\nnever dream of doing what you suggest.'", "other night I had a ball in this hÃ´tel. It cost me a couple of thousand\nand odd pounds, and, by the way, I wrote out a cheque for your bill this", "certainly less exclusive than the hÃ´tel itself. Theodore Racksole knew\nnothing of the affair, except that it was an entertainment offered by a", "hÃ´tel management as regards that ball: it was very decently done, very\ndecently, but what I want to know is this--Why did you have a private\ndetective among my guests?'", "They were all three seated--Racksole, his daughter, and Prince Aribert--\nround a dinner table in a private room at the HÃ´tel Wellington. Racksole", "Chapter Six. Â Â IN THE GOLD ROOM\n\nChapter Seven. Â Â NELLA AND THE PRINCE", "the decorum of hÃ´tel life. Racksole entered. The room was brilliantly\nlighted.", "everything, and my hÃ´tel--your hÃ´tel--is the centre of London. Once I\nhad a King and a Dowager Empress staying here at the same time. Imagine\nthat!'", "ON the following morning, just before lunch, a lady, accompanied by a\nmaid and a considerable quantity of luggage, came to the Grand Babylon", "so late, the hÃ´tel was not, of course, closed for the night. A few\nguests still remained about in the public rooms, and a few fatigued", "hÃ´tel was performed there. The place served chiefly as the lair of Miss\nSpencer, who was as well known and as important as Jules himself. Most", "The next morning the high-born guests of the Grand Babylon were aroused\nby a rumour that by some accident the millionaire proprietor of the", "'Yes.'\n\n'In this hÃ´tel?'\n\n'Yes.'\n\n'Oh! How lovely!'", "That night, after dinner, Racksole and his friend Felix Babylon were\nwalking together on the terrace of the Grand Babylon HÃ´tel.\n\nFelix had begun the conversation." ], [ "'Perhaps I can throw some light on this mystery,' said Racksole. 'I may\ntell you that I was already aware that man had attended your ball\nuninvited.'\n\n'How did you get to know?'", "'Mr Racksole is here, but he can see no one, Miss.' The words came from\nbehind the door, and the voice was the commissionaire's. Racksole\nstarted up, and went towards the door.", "AS regards Theodore Racksole, who was to have caught his man from the\noutside of the cellar, he made his way as rapidly as possible from the", "That night, or rather about half-past one the next morning, when the\nlast noises of the hÃ´tel's life had died down, Racksole made his way to", "'Well, there is the house which Miss Racksole so intrepidly entered last\nevening'--he gave her the homage of an admiring glance; 'you and I, Mr\nRacksole, might examine that abode in detail.'", "'I have,' said Racksole simply, 'though I believe you are laughing at\nme.'\n\n'By no means,' Babylon replied. 'Now what, if I may ask the question, is\ngoing to be your next step?'", "'This is quaint,' said Racksole; 'quaint to a degree!'\n\nIt occurred to him to look at the number of the room, and he stole\ntowards it.", "Babylon, considered himself a connoisseur in feminine loveliness, and\nthe vision of Nella Racksole smote him like an exquisite blow.", "Racksole's manner, quietly followed him down the lane. The sight of the\nmillionaire climbing the railings had put him on his mettle, and the", "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon.", "'I am,' the Prince smiled. 'But Miss Racksole is a young lady of quite\nremarkable nerve.'\n\n'She is,' said Racksole drily. 'I wish sometimes she had less.'", "But when Racksole reached the Grand Babylon he found that Miss Spencer's\nchair in the bureau was occupied by a stately and imperious girl,\ndressed becomingly in black.", "'I venture to remark that this is Miss Racksole's room.'\n\n'My good sir,' answered Dimmock, 'you must be mad to dream of such a\nthing.", "'What did I tell you?' said Racksole, leading the way to another table\nfurther up the room. A hundred curious glances went after him. One old", "They entered the stone apartment, rendered almost sacred by the\npreciousness of its contents, and Racksole looked round with a strangely\nintent and curious air. At the far side was a grating, through which\ncame a feeble light.", "genuinely concerned about the fate of his dead attendant, yet it seemed\nto Racksole that he was keeping something back, that he hesitated to say\nall he knew. Racksole, with characteristic insight, decided that the", "The man bowed.\n\n'At this moment I wish to see you more than anyone else in the world,'\nsaid Racksole. 'I am consumed and burnt up with a desire to see you, Mr\nBabylon.", "Racksole looked at the gilt clock on the high mantelpiece.\n\n'Great Scott!' he said. 'It's three o'clock. Mr Babylon, accept my\napologies for having kept you up to such an absurd hour.'", "With unerring insight, Jules had perceived exactly the difficulty of\nRacksole's position, and it was certainly a difficulty which Racksole", "moved--and that is all. Miss Racksole is at this moment, I trust, asleep\nin No. 124.'" ], [ "'Aribert,' said Prince Eugen, a little later, 'you were right. It is all\nover. I have only one refuge--'\n\n'You don't mean--' Aribert stopped, dumbfounded.", "'Eugen,' cried Prince Aribert once more, but this time his forlorn\nnephew made no response whatever, and then Aribert added in a low voice\nto Racksole: 'Perhaps he cannot see us clearly.'", "There was a slight noise, and Aribert looked aside. He saw that Eugen's\nbody had slipped forward limply over the left arm of his chair; the\nPrince's arms hung straight and lifeless; his eyes were closed; he was\nunconscious.", "Whereupon Aribert discreetly departed, and Prince Eugen sat down in the\ngreat velvet chair, and began to look at the papers which Hans had\npreviously placed upon the table.", "only like a secret shame in the hearts of those who had witnessed it.\nPrince Eugen had recovered; at any rate, he was convalescent, and he had", "In due course the doctor left, saying that Prince Eugen was 'on the high\nroad to recovery,' and promising to come again within a few hours.\nMorning had dawned. Nella drew the great curtains, and let in a flood of\nsunlight.", "'You ask me where I think Prince Eugen has disappeared to?'\n\n'I do.'\n\n'Then you think it's a disappearance?'", "Prince Eugen of Posen to attend him here, and that summons hasn't\narrived. It appears that Prince Eugen hasn't come to London at all. Now,", "There was a silence.\n\n'It is well,' said Racksole at length. 'Prince Eugen lives, despite all\nplots. After all, justice is done.'", "Aribert looked at Racksole, and they both looked at Prince Eugen. The\nlatter's face was flushed, and Racksole observed that the left pupil was", "'At Prince Eugen. Either at his life or his liberty. Most probably the\nformer this time; almost certainly the former. He has guessed that we", "Prince Eugen was convalescent.", "'I'll take you to her, my dear Eugen.' Prince Aribert put his hands on\nthe other's shoulder, but Eugen shook him off violently, stood up, and\nthen sat down again.", "'I shall die for this anyhow,' whined Miss Spencer, and then, with a\nsort of fierce despair, 'I had to keep watch on Prince Eugen.'\n\n'Where? In this house?'", "Eugen took up the glass and held it to the light.\n\n'Don't drink it,' said Aribert very quietly. 'It is poisoned.'\n\n'Poisoned!' exclaimed Prince Eugen.", "That various matters lay heavy on the mind of Prince Eugen was beyond\nquestion. He seemed to have withdrawn within himself. Despite the\nextraordinary experiences through which he had recently passed, events", "The Prince threw up his hands and went back in to the bedroom. The\ndoctor was at a table writing out a prescription. Aribert approached the\nbedside, his heart beating furiously. Eugen greeted him with a faint,\nfatigued smile.", "'To return to Prince Eugen,' Racksole resumed. 'I was expecting His\nHighness here. The State apartments had been prepared for him. He was", "On the afternoon of the third day Prince Eugen was distinctly and\nseriously worse. Nella had sat up with him the previous night and\nthroughout the day.", "It was a queer shabby little bedroom to shelter the august body of a\nEuropean personage like Prince Eugen of Posen. Curiously enough, both" ], [ "Zerlinski. Then it was that Nella began to imagine, what had swiftly\ncrossed her mind when first the Baroness presented herself at the", "'You have ceased to be the Baroness Zerlinski,' Nella continued. 'May I\nsit down?'", "not the Baroness Zerlinski, but Miss Spencer herself! Nella turned aside\ninstantly, hiding her face, and Miss Spencer, carrying a small bag,", "thus: 'Baroness Zerlinski'. She desired rooms on the third floor. It\nhappened that Nella was in the bureau.", "Nevertheless, Nella had a faint hope that the lady who called herself\nZerlinski might be in that curtained stateroom, and throughout the\nsmooth moonlit voyage she never once relaxed her observation of its", "that it would pass unheeded. But, unfortunately for the Baroness, it was\nthe thousandth chance that happened. Nella jumped up, and walking over\nto the Baroness, said to her:", "had full opportunity to observe her quarry. She could see now quite\nplainly that the Baroness Zerlinski had been only Miss Spencer in", "At the moment Nella regarded the Baroness's correction of her figures as\na curious chance, but afterwards, when the Baroness had ascended in the", "'Well, Miss Spencer,' she greeted the former Baroness Zerlinski, 'I\nguess you didn't expect to see me. You left our hÃ´tel very suddenly this", "'The Baroness Zerlinski has left, about a quarter of an hour ago,' said\nthe attendant.\n\n'But she only arrived this morning.'", "'I want to see Miss Spencer,' said Nella impulsively. She couldn't think\nof anything else to say.\n\n'Miss Spencer?'\n\n'Yes; she's just arrived.'", "lift, the thing struck her as somewhat strange. Perhaps the Baroness\nZerlinski had stayed at the hÃ´tel before. For the sake of convenience an", "'Look here, Father,' Nella whispered suddenly, and pointed to the\nbalcony immediately below them. 'Who's that?' She indicated a man with a", "Prince Aribert's guess was correct. The lady's carriage stopped in front\nof the house where Nella Racksole and Miss Spencer had had their", "remarkable thing happened. A cream puff was served to the Baroness by\nway of sweets, and Nella was astonished to see the little lady remove\nthe top, and with a spoon quietly take something from the interior which", "Nella looked the Baroness full in the face. The piece of folded paper,\nto which a little cream had attached itself, lay under the edge of a\nplate.\n\n'No, thanks.' The Baroness smiled her simple smile.", "'Rocco! What about Rocco?' Nella could scarcely hear herself. Her grip\nof the revolver tightened.\n\nMiss Spencer's eyes opened wider; she gazed at Nella with a glassy\nstare.", "danger, and she would succumb. Nella at once divined this useful fact,\nand proceeded accordingly, hiding the strangeness of her own sensations\nas well as she could.", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "'Prince Aribert,' Nella said, 'shall I tell you what I think?' She\nleaned back in her chair, and looked at him out of half-closed eyes. His" ], [ "It was Jules.\n\nThe two exchanged glances in the half light for a second.\n\n'Good evening, Mr Racksole,' said Jules calmly. 'I must apologize for\nbeing here.'", "'Tom Jackson--Jules, you know, head waiter at the Grand Babylon.'\n\n'So Jules's real name is Tom Jackson? Why did he want you to leave\nwithout giving notice?'", "absolutely demanded. All that I do know of Jules--he will always be\ncalled Jules--is that he gradually, by some mysterious personal force,", "Jules yawned elaborately. 'What do you want to know?' he inquired, with\npoliteness.\n\n'First and foremost, I want to know the names of your accomplices inside\nthis hÃ´tel.'", "Jules, and that the policeman had thrown him just too late. He ran, and\nJules, hearing the noise of pursuit, ran also. The ex-waiter was fleet;", "'I hadn't previously thought of him as being Jules, but immediately you\nmentioned the name I somehow knew that he was. Yes, I am sure it was\nJules.'", "'It's Jules, I'll swear,' cried Racksole. 'After him, men. Ten pounds\napiece if we overtake him!'", "Jules and other rascals unknown. Nevertheless, from habit, he obeyed his\ndaughter, giving her credit for a certain amount of perspicuity and\ncleverness.", "had appeared silently behind Jules, and two small arms with a vicious\nshove precipitated him into the water. He fell with a fine gurgling\nsplash. It was at once obvious that swimming was not among Jules'", "'By pure chance, Mr Levi, and not by inquiry. That man was a former\nwaiter at this hÃ´tel--the head waiter, in fact--Jules. No doubt you have\nheard of him.'", "'Ah!' said Racksole, 'I was informed that everyone knew Jules, but it\nappears not. Well, be that as it may, previously to the night of your", "'Well, who is it?'\n\n'Isn't it Jules?'\n\n'Gemini! By the beard of the prophet, it is!'", "In the meantime, our friend Jules, sublimely unconscious of the\naltercation going on outside, and of the special risk which he ran, was", "'Have I?' he said, and then he happened to glance into a mirror on his\nleft hand between two windows. He saw the reflection of Jules, who stood", "'Well,' said Babylon, after a pause, 'let us begin. In the first place,\nit is possible you may be interested to hear that I happened to see\nJules to-day.'", "Jules, otherwise Mr Tom Jackson, perfectly secure by means of several\npieces of rope. Although Mr Jackson had been stunned into a complete\nunconsciousness, and there was a contused wound under his ear, no one", "'So Jules is your friend and colleague, is he?'", "Jules started slightly.", "'That's a sight better,' said the fat man. At the same moment a head\nappeared over the edge of the barge. It was Jules' face--dark, sinister\nand leering.", "Then he called in the commissionaire, and together they bound Jules\nfirmly to the bedstead, allowing him, however, to lie down. All the" ], [ "With a gesture she beckoned him towards the ante-room.\n\n'If you choose,' she said, when they were alone, 'Prince Eugen can be\nsaved.\n\nI have arranged it.'", "There was a silence.\n\n'It is well,' said Racksole at length. 'Prince Eugen lives, despite all\nplots. After all, justice is done.'", "'Then had he some reason for wishing to prevent Prince Eugen from coming\nto London?'", "interest in stopping this loan of yours to Prince Eugen? Wouldn't he\nhave an interest in causing Prince Eugen to disappear--at any rate, for\na time?'", "'Did Mr Tom Jackson want to get some money out of Prince Eugen?'\n\n'Money! Not he! Tom's never short of money.'", "are somewhat handicapped by our anxiety to keep Prince Eugen's\npredicament quite quiet, and he is taking advantage, of that fact. As he", "'At Prince Eugen. Either at his life or his liberty. Most probably the\nformer this time; almost certainly the former. He has guessed that we", "'I was unfortunately detained at Ostend,' said Prince Eugen, with as\nmuch haughtiness as he could assume, 'by--by important business. I have", "'Aribert,' said Prince Eugen, a little later, 'you were right. It is all\nover. I have only one refuge--'\n\n'You don't mean--' Aribert stopped, dumbfounded.", "safer to shift the scene of our operations to Ostend. I had meant to\ndeal with Prince Eugen in this hÃ´tel, but I decided, then, to intercept", "Prince Eugen of Posen to attend him here, and that summons hasn't\narrived. It appears that Prince Eugen hasn't come to London at all. Now,", "see that Prince Eugen did not have an interview with a certain Mr\nSampson Levi in London before a certain date, that was all. It seemed\nsimple enough. I had been engaged in far more complicated transactions", "nevertheless he, Theodore Racksole, wanted to continue it for them. To a\ncertain extent, of course, the battle had been won, for Prince Eugen had", "'But what can he do? Surely you don't suggest that he will attempt the\nlife of Prince Eugen in this hÃ´tel?'", "'What sort of reasons?'\n\n'Do not ask me. In the history of every family there are passages--' He\nstopped.\n\n'And what was Prince Eugen's object in coming to London?'", "'Had something gone wrong in the hÃ´tel, or over here?'\n\n'Both.'\n\n'Was it about Prince Eugen of Posen?'", "'To return to Prince Eugen,' Racksole resumed. 'I was expecting His\nHighness here. The State apartments had been prepared for him. He was", "Levi might work harm to them. So they applied to me again. This time\nthey wanted Prince Eugen to be--em--finished off entirely. They offered\nhigh terms.'", "Sampson Levi. Unfortunately for me, they ultimately wanted to make too\nsure of Prince Eugen. They were afraid he might after all arrange his", "'I shall die for this anyhow,' whined Miss Spencer, and then, with a\nsort of fierce despair, 'I had to keep watch on Prince Eugen.'\n\n'Where? In this house?'" ] ]	[ "What does Racksole witness the head waiter, Jules, doing to Reginald Dimmick?", "What does Racksole do to Jules for as soon as he sees what happen between Jules and Dimmick?", "What happens to Miss Spencer right after Jules is dismissed?", "What is wrong with Prince Eugen?", "What happens to Dimmick, after it is established that Prince Eugen never arrived to the Great Babylon Hotel?", "What secret object can be used to monitor the guests in the ballroom?", "Who does Racksole catch looking through the window?", "What happens to make Nella follow Miss Spencer?", "What happens to Nella as a result of following Miss Spencer to the house in Ostend?", "How much does Racksole spend to buy the hotel? ", "Who travelled under the fake name of Count Steenbock?", "What incident causes Racksole to buy the hotel?", "What was the false name of the headwaiter who was fired? ", "Who promises to support Aribert?", "What is the name of the hotel the characters stay at?", "Where does Nella go while following Miss Spencer?", "Who was a captive in the house where Miss Spencer leads Nella?", "To whom does the Emporer send a telegram asking about Prince Eugen? ", "Who was poisoned and then disappeared?", "At what exclusive hotel are Theodore and his daughter staying?", "What does Theodore throw on top of his purchase price to make the hotel seller feel good?", "What prompts Theodore to purchase the hotel?", "How is Dimmok killed?", "Who hosts the ball in the Gold Room at the hotel?", "Who does Racksole observe at the ball?", "Where was Prince Eugen last seen?", "Who does Nella suspect Baroness Zerlinski to really be?", "What is Jules' real name?", "In what city would Prince Eugen have prevented Jackson's scheme?" ]	[ [ "Racksole witnesses the head waiter, Jules, winking at Reginald Dimmick.", "He winks at her. " ], [ "Racksole Dismisses Jules.", "He orders Jules out of the hotel. " ], [ "Miss Spencer Disappears.", "She took her things and left." ], [ "Prince Eugen is missing.", "he has been abducted" ], [ "Dimmick's Body turns up and he appears to have been poisened.", "his body is found" ], [ "A secret window.", "The secret window. " ], [ "Jules the waiter.", "Jules" ], [ "Miss Spencer tries to check into the hotel under a false name, while Nella has been told the hold story by Prince Aribert.", "Miss Spencer checked into the hotel in disguise then suddenly checked out." ], [ "Nella learns the truth about Jules, and Miss Spencer, she is also overpowered by Miss Spencer.", "She is overpowered and loses consciousness." ], [ "400,000 pounds and a guinea", "E400,000" ], [ "Prince Aribert", "Prince Aribert" ], [ "His daughter was unable to get her order at the restaurant.", "his daughter's order is refused" ], [ "Jules", "Jules" ], [ "Nella", "Nella" ], [ "Grand Babylon Hotel", "Grand Babylon Hotel." ], [ "Ostend.", "Into a house in Ostend. " ], [ "The Prince Eugen", "Prince Eugen" ], [ "Aribert", "Aribert. " ], [ "Reginald Dimmock", "Dimmock. " ], [ "The Grand Babylon Hotel.", "The Grand Babylon Hotel" ], [ "A guinea.", "a guinea" ], [ "His dughter is refused dinner.", "his daughter's request is refused" ], [ "Poison.", "Poison." ], [ "Mr. and Mrs. Sampson Levi.", "Mr. and Mrs. Sampson Levi" ], [ "Jules.", "Jules" ], [ "Ostend.", "Ostend" ], [ "Miss Spencer.", "Miss Spencer, the hotel clerk" ], [ "Tom Jackson.", "Tom Jackson" ], [ "London.", "Ostend" ] ]	aeb4b0c7cd1faaae70c732656dddcbb56bf19b99	train
[ [ "the grove, as it was not lawful to do, and ate the fruit.\"", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "Then Almighty God asked Eve about this:", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:", "set forth and depart from paradise into a harder life.\nBehind them, by God's command, a holy angel with a 945\nfiery sword shut the gate of their blissful home of peace", "The Ruler of Heaven did not think it fitting that 170\nAdam, the keeper of Paradise and shepherd of the new", "\"The woman, my Lord, the fair woman gave into\nmy hand this fruit, which I accepted in sin against thee. 885\nNow I bear this manifest sign in myself: I know so much\nthe more of sorrow!\"", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "two fair first-born sons, Cain and Abel. The books\ntell us how these first toilers, loving brothers, gained 970\ntheir subsistence, riches and food: the one who was", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "Yet the Almighty, our First Father, would not take\naway all comforts from Adam and Eve, though they had\nfallen away from him: but he still let the lofty roof 955", "XI.\n\n\nThen God wrathfully spoke to Eve:", "at line 852, with the conversation between Adam and Eve and Jehovah\n(Gen. 3.8 ff.).]", "clothing and concealing his nakedness, as was ordained\nfor men and women, ever since the minister of Glory 1575\nlocked the native abode of life behind our [first father]", "hands, but on the contrary delight in all things! How\ncome you to know evil and hide shame and behold sor-\nrow and cover your body with leaves and, saddened and", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he" ], [ "\"I am resolved to destroy humanity by means of a\ndeluge, and also every kind of living thing that the air\nand waters produce and support, both beast and bird:", "of the broad earth. For forty days will I set my ven-\ngeance against mankind, and with a deluge blot out all\nthe possessions and possessors that are beyond the sides", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "our Saviour and merciful Father wished to find out\nwhat his children were doing: he knew that they were\nsinful to whom he had given perfection. Bereft of", "Lord, when the Wielder of Victory himself saw what 1270\nwas man's wickedness on earth, and how they all were\nbold in crime and utterly vicious. He thought to", "sons of men, the Lord determined to annihilate.", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "They had committed a dire sin against God: on that\naccount dire punishment befell them. They asserted,\nin fierce mood, that they wished to seize the kingdom", "and wide, that men had owned in the cities of Sodoma\nand Gomorra: all this, together with the people, God 2560\nthe Lord destroyed.", "XI.\n\n\nThen God wrathfully spoke to Eve:", "formerly spoken with his Lord in words. He saw the\nreek of death and destruction ascending widely from\nthe earth. Riches and feasting preoccupied [the people]", "wrath against mankind and spoke these words:", "Cain, destroyed with my hands the father of Enos, the\nslayer of Abel, and poured on the ground the life-blood\nof a man. Well knew I that for this shall come at last", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:", "wished to inflict punishment upon the covenant-breakers,\nand to smite with death the doers of evil, the giant folk\nunloved by God, the great and sinful foes hateful to the", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "the inundation killed all creatures upon earth other than\nthose whom the Lord of Heaven saved on board the Ark,\nwhen the Holy God everlasting, the steadfast King, let 1405", "Then Almighty God asked Eve about this:", "north. Thereupon God became angered and hostile 35\ntowards the beings whom he had formerly exalted in\nbeauty and glory: he created for the traitors a marvelous", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000" ], [ "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "Noe did as the Lord commanded him, obeyed the 1315\nholy King of Heaven, began at once to build that Ark,", "Then our Preserver spoke to Noe: \"I give thee my\npledge for this, O dearest of mankind, that thou mayst", "evening to seek the Ark over the dusky flood, and sank\nweary and famished in the hands of the pious hero.\nThen after a week the wild-dove was again sent out 1465", "Depart in peace out of the Ark, and lead forth upon the\nbosom of the earth out of this lofty structure your com-\npanions and all the creatures which I mercifully preserved 1490", "let a black raven fly out of the Ark over the high flood.\nNoe believed that if it found no land in its flight, it 1445\nwould zealously seek him again on the ship over the wide", "XVIII.\n\n\nThen to Noe spoke our Preserver, Ruler of Heaven,\nwith holy voice:", "of the broad earth. For forty days will I set my ven-\ngeance against mankind, and with a deluge blot out all\nthe possessions and possessors that are beyond the sides", "the Ark aloft from the ground, and its noble crew with it,\n[the Ark] which the Lord Himself, our Creator, blessed, 1390\nwhen he locked the ship. Thereafter this best of ships", "Then Noe began to institute a sacrifice to our Preserver,\nand immediately took a part of all his possessions which", "vast sea-house, Noe's vessel, towered up in readiness,\nstrengthened within and without with the best earth-\nlime, against the waves; it is unique in its kind: the", "over the hills. That is a memorable occurrence: there 1400\nwas nothing at hand for [the Ark] but destruction,\nexcept that it was raised aloft into the upper air when", "our Saviour blessed [all] within the Ark with his own\ngrace. Noe, the son of Lamech, had 600 winters when", "upon the flood until this number of days of dire time 1420\nhad passed. Then the Ark of Noe, greatest of ocean-\nhomes, settled on high with its burden on the hills which", "may see this witness frequently upon the clouds, when 1540\nI show my rainbow, [as proof] that I will certainly keep\nthis bond with men, while the world lasts.\"", "with sin, polluted with foulness. Then spoke the Al- 1295\nmighty, our Saviour, and said to Noe:", "would have seized them with violence in the sea-traver-\nsing vessel, but the Holy God led and preserved them.\nFifteen ells deep, by man's measure, stood the deluge", "Section XVII (Gen. 8.1-4, 6-12) 20 (160)", "Noe and his sons too, that [the patriarch] had given Him\nthis offering acceptably and in his youth had merited\nby his good deeds that Almighty God, Glorious in", "Noe, the son of Lamech, just and honorable, was dear 1285\nto God, the Preserver. The Lord knew that the virtue" ], [ "parted in bands separated by their speech: one had\nbecome to another a strange race, after the Lord by the 1695\nfullness of his might had confused the speech of men.", "began to rear up to the skies; and the steadfast King\nachieved the prevention of this evil design, when in\nwrath he distributed different languages among the 1685", "place. Then speedily the broad ocean stood all together\nunder heaven, as the Holy One commanded, for the\nflood was sundered from the dry land. Thereupon", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "Ruler of everyone born of the race of man, blessed these\nfirst two creatures, father and mother, woman and\nman. Thereafter he spoke these words: 195", "Then swiftly came advancing over the world the third 155\ngreat morn. Nor were the spreading lands and ways\nyet deemed needful by our Lord, but the earth stood", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "fourth, fifth, and perhaps first part of the sixth, days, including the\ncreation of man, (i.e., apparently the contents of Gen. 1.11-2.17,", "* * * * \n\n(_Genesis B intervenes here_.)\n\n * * * ", "The people multiplied widely under the skies: the\nrace of men increased in number over the earth, by 1245\n[the birth of] sons and daughters. Now the descendants", "Then Almighty God asked Eve about this:", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "XI.\n\n\nThen God wrathfully spoke to Eve:", "of Seth, fruitful in the Lord. He was dear to God, and\nlived here 90 winters before he begot children here by\nhis wife through intercourse: to him then was Cainan", "Lines 169-234 (Gen. 1.28, 31; 2.10-14, 18, 21, 22) 5 (145)", "inhabitants of earth, so that they no longer had control\nof their speech. They found then multitudes at the\ntower with victorious strength, leaders of work in vast", "[Footnote 2: Aside from necessary omissions made for _Genesis B_, the\nSections are numbered consecutively in this translation (regardless of", "of the broad earth. For forty days will I set my ven-\ngeance against mankind, and with a deluge blot out all\nthe possessions and possessors that are beyond the sides", "As yet there was nothing at all created here, except\nshadows, but this broad earth stood deep and dim, idle 105\nand useless, alien even to God himself; on it the King" ], [ "Then the good man built an altar and offered sacrifice\nto the Ruler of Life and Source of Light, the Protector\nof souls. Thereupon Abraham traveled still further from", "and settle their homes, and renew their prosperity.\nThe men built an altar in the meadows near the one that\nAbraham had formerly reared to his Lord, when he", "About thirteen years after that, the Lord and Ever-\nlasting King spoke with Abraham:", "he wisely wished to seek the land of Canan, with his\nhousehold. The cousins chosen by the Lord, Abraham\nand Loth, went with him out of their heritage. Then 1735", "Then Abraham gave pledges to Abimeleh that he would\n[do] thus.\n\n\n\n\nXXXV.", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "with child by the chieftain. Abraham with his own hand\nset the sign upon him, as the Lord glorious in splendor\nbade him, about a week from the time when his mother 2770", "There Abraham for the second time built an altar:\nthere he called upon God with noble words, and offered", "Then Abraham, preÃ«minently upright, rich, and blessed\nwith gold and silver, set out to take his flocks and", "Then the holy Guardian of the heavenly kingdom, the 1745\nEternal Lord, spoke to Abraham:", "Then Abraham in haste laid his cheek on the earth,\nand with scorn turned over these words in his mind, the", "Lord first through His own word foretold this day of\nhappiness. Now the matter so happened that his wife\nonce saw Ismael playing before Abraham where they", "Then again to Abraham the High-King of Heaven 2165\nshowed himself, with holy speech comforted the wise-\nhearted man, and spoke to him thus:", "Section XXVI (Gen. 15.2-5, 7, 18; 16.1-6) 39 (179)", "Then Abraham went forth alone, at dawn, so that he 2575\nagain stood in the place where the pious leader had", "Then the king sent his ministers and bade them bring\nto him [the wife of Abraham].[36] Thus for the second\ntime in a foreign land, the wife of Abraham was taken 2630", "alone amid strangers. The Lord of the Angels showed\nhim a dwelling-place which the men dwelling in the city\ncalled the land of Bersaba. There the pious man built", "had to fare forth, to give up Carran and his kinsfolk.\nSo Abraham set out, mindful of the instructions of the 1780\nFather Almighty, to look for the broad land beyond", "At that moment a minister of God, one of the angels,\ncalled Abraham from above, with a loud voice. Motion-", "accordance with these words here pronounced. I will now\nbless with my grace Ismael, as thou art petitioner, for\nthy first born, so that he may dwell many days in the" ], [ "Lord first through His own word foretold this day of\nhappiness. Now the matter so happened that his wife\nonce saw Ismael playing before Abraham where they", "Then the king sent his ministers and bade them bring\nto him [the wife of Abraham].[36] Thus for the second\ntime in a foreign land, the wife of Abraham was taken 2630", "bade her, in sapient speech. Thus was Ismael born to\nAbraham, even when he had [lived] 86 winters in the", "\"Thou hast taken Abraham's wife, his bride from the\nhero; for that deed death shall tear thy soul from thy\nbreast!\"", "many years. But it was not vouchsafed to Abraham\nas yet that his bright-faced bride should bring into the\nworld a guardian for his heritage, that Sarra [should", "with child by the chieftain. Abraham with his own hand\nset the sign upon him, as the Lord glorious in splendor\nbade him, about a week from the time when his mother 2770", "We should no longer be together, for my pleasure, if I\nmight have my way. Never shall Ismael share the\nheritage with Isaac, my own son, after thee, when thou", "Then AbimÃ¦leh began to enrich Abraham with worldly\ntreasures and returned his wife to him: he gave him\nto boot, when he received his wife, live stock and bright", "Her spirit exalted itself, when she had become pregnant\nwith a man-child by Abraham; stiff-necked in scorn she\nbegan to despise her mistress, showed insolence, was", "accordance with these words here pronounced. I will now\nbless with my grace Ismael, as thou art petitioner, for\nthy first born, so that he may dwell many days in the", "Now the period of time had come when Abraham 1720\nbrought a wife, a fair and free-born bride to his house,", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "\"Let the sorrow and heart-felt grief slip from thy\nbreast, and obey the woman, thy wife. Bid both Agar", "wife of Abraham had given way to hopeless laughter,\nin her bower, then the Holy God said:", "to Abraham: with my word I tell thee now that this 2285\nman-child shall be called Ismahel, among men. He\nshall be rough, warlike, hostile to the races of men and", "promise to the dear man and woman. A son was be-\ngotten of Abraham upon his wife, whom the Prince of\nthe Angels named Isaac even before the mother was great 2765", "maiden afflict me every day by deed and word, ever\nsince Agar entered thy bed in place of thy wife, as was", "Then Abraham in haste laid his cheek on the earth,\nand with scorn turned over these words in his mind, the", "ye bear that sign with true faith. Thou shalt possess 2325\na son, a child by thy wife, whom men shall all call Isaac.", "him. So Abraham spoke to his servants:" ], [ "name was Loth. Thereafter the righteous heroes,\nAbraham and Loth, throve nobly in the Lord's sight, as 1715\nthe inheritance in the kingdom came to them from their", "and wealth in their cities; therefore the King of the\nAngels sent his fervid fire to punish them. Our faithful 2585\nLord then remembered Abraham mercifully, the dear", "So Abraham set out with the three chieftains who had\njust pledged their troth to him, and the band of their\nfollowers. He wished to rescue his kinsman at least,", "and wide, that men had owned in the cities of Sodoma\nand Gomorra: all this, together with the people, God 2560\nthe Lord destroyed.", "Sodoma came, young and old, hateful to God, to demand\nthe strangers, with a great throng so that they surrounded 2455\nLoth and his guests by the multitude of their force;", "sins gave Sodoma and Gomorra to destruction, to the\ndark flames. So the son of Aron chose his dwelling-\nplace there, a settlement in the city of Sodoma, and", "Sodoma and Gomorra, southward from there. Then was\nthe country of the men by Iordan widely besieged by\nwarriors, the land [was surrounded] by foes. Many", "upon Sodom, the lofty city: they saw palaces tower up\nabove treasures, halls above red gold. Then the right-", "Section XXX (Gen. 19.1-13, 18-26) 45 (185)", "of the man was in dire straits. The King of the Angels, 2795\nthe Eternal Lord, spoke to Abraham:", "the war-track to see the retreat of the wicked men. Lot\nwas freed, the chieftain with his possessions, [while] the\nwomen [and] wives were restored to joy. Far and wide", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "Then the good man built an altar and offered sacrifice\nto the Ruler of Life and Source of Light, the Protector\nof souls. Thereupon Abraham traveled still further from", "he reported to the Ebrew chieftain the outcome of the\nfray,--the people of Sodoma sorely stricken, the nation's\nwealth, and Loth's situation. Thereupon Abraham re-", "Then the people of Sodoma was southward from\nthere, to bear the news as to what rout of their fierce", "us, because of the people's sins, to give over Sodoma and 2505\nGomorra to black flame and fire, and to slay these people,", "for his deeds, did not dare to tarry longer in the strong- 2590\nhold for fear of the Lord, but Loth departed from the\ncity with his children to seek a dwelling-place far from", "Mamre, and Escol. I am unwilling to deprive these\nwarriors of their rights: for they stood by me in the\ncombat, and fought in your behalf. Go now and take", "Section XXXII (Gen. 20.1-10) 50 (190)" ], [ "Then AbimÃ¦leh began to enrich Abraham with worldly\ntreasures and returned his wife to him: he gave him\nto boot, when he received his wife, live stock and bright", "Then the king sent his ministers and bade them bring\nto him [the wife of Abraham].[36] Thus for the second\ntime in a foreign land, the wife of Abraham was taken 2630", "was still angry at Abimeleh for the sin which he had\ncommitted against Sarra and Abraham, when he sepa-\nrated these two loving ones, the wife and the husband. 2745", "\"Thou hast taken Abraham's wife, his bride from the\nhero; for that deed death shall tear thy soul from thy\nbreast!\"", "many years. But it was not vouchsafed to Abraham\nas yet that his bright-faced bride should bring into the\nworld a guardian for his heritage, that Sarra [should", "Now the period of time had come when Abraham 1720\nbrought a wife, a fair and free-born bride to his house,", "fear, the king of Egipt called Abraham to him and gave\nhim his bride, [returned] his wife into his keeping, bade\nhim seek friends elsewhere, noblemen of another race.", "\"Give back this woman to Abraham, his wife, into 2655\nhis possession, if thou wishest for life any longer in this", "So Abraham set out with the three chieftains who had\njust pledged their troth to him, and the band of their\nfollowers. He wished to rescue his kinsman at least,", "Lord first through His own word foretold this day of\nhappiness. Now the matter so happened that his wife\nonce saw Ismael playing before Abraham where they", "Then the brother of Aron set out with his wife to take 2620\nhis possessions and his household to Abimelech. Abra-", "came here; therefore I concealed from thy ministers and\nfrom thyself as well as possible the true statement that\nSarra was wont to enter my bed with me as my wife.\" 2715", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "\"Let the sorrow and heart-felt grief slip from thy\nbreast, and obey the woman, thy wife. Bid both Agar", "Her spirit exalted itself, when she had become pregnant\nwith a man-child by Abraham; stiff-necked in scorn she\nbegan to despise her mistress, showed insolence, was", "Then Sarra was grieved at heart that no son had come 2215\nto Abraham through their wedlock, a free-born heir for\ntheir solace; so the sorrowful one began to speak to her\nhusband in these words:", "had to fare forth, to give up Carran and his kinsfolk.\nSo Abraham set out, mindful of the instructions of the 1780\nFather Almighty, to look for the broad land beyond", "Then Abraham in haste laid his cheek on the earth,\nand with scorn turned over these words in his mind, the", "Loth, when he gave him back his son, Isaac, alive. Then 2925\nthe holy hero looked about over his shoulder, and there\nnot far from him the brother of Aron beheld a ram", "Then Abraham took [all his] possessions out of the\ncountry of Egypt: these worthy heroes took their wives, 1875\nboth brides and rings, while they brought their flocks" ], [ "About thirteen years after that, the Lord and Ever-\nlasting King spoke with Abraham:", "Then Abraham, preÃ«minently upright, rich, and blessed\nwith gold and silver, set out to take his flocks and", "Thereupon Abraham, the vigorous leader, proceeded 1845\nwith his possessions into Egypt, where the people were\nstrange to him, and friends unknown. Many haughty", "Then Abraham gave pledges to Abimeleh that he would\n[do] thus.\n\n\n\n\nXXXV.", "Then AbimÃ¦leh began to enrich Abraham with worldly\ntreasures and returned his wife to him: he gave him\nto boot, when he received his wife, live stock and bright", "Then the king sent his ministers and bade them bring\nto him [the wife of Abraham].[36] Thus for the second\ntime in a foreign land, the wife of Abraham was taken 2630", "Abraham and Loth lived in these dwellings and had 1890\nabundance of prosperity, ruled over their heritage, until", "Then the brother of Aron set out with his wife to take 2620\nhis possessions and his household to Abimelech. Abra-", "foes had occurred. Forthwith the king of the people,\nbereft of his nobles and stripped of friends, went out to\nmeet Abraham; he brought with him the master of the 2100", "Now the period of time had come when Abraham 1720\nbrought a wife, a fair and free-born bride to his house,", "So Abraham set out with the three chieftains who had\njust pledged their troth to him, and the band of their\nfollowers. He wished to rescue his kinsman at least,", "and settle their homes, and renew their prosperity.\nThe men built an altar in the meadows near the one that\nAbraham had formerly reared to his Lord, when he", "the nobly-born sons of the patriarchs took up their\ndwelling in Carran, the men with their wives. In his\nhome here Abraham's father departed this life, the 1740", "name was Loth. Thereafter the righteous heroes,\nAbraham and Loth, throve nobly in the Lord's sight, as 1715\nthe inheritance in the kingdom came to them from their", "had to fare forth, to give up Carran and his kinsfolk.\nSo Abraham set out, mindful of the instructions of the 1780\nFather Almighty, to look for the broad land beyond", "Then the good man built an altar and offered sacrifice\nto the Ruler of Life and Source of Light, the Protector\nof souls. Thereupon Abraham traveled still further from", "many years. But it was not vouchsafed to Abraham\nas yet that his bright-faced bride should bring into the\nworld a guardian for his heritage, that Sarra [should", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "he wisely wished to seek the land of Canan, with his\nhousehold. The cousins chosen by the Lord, Abraham\nand Loth, went with him out of their heritage. Then 1735", "with child by the chieftain. Abraham with his own hand\nset the sign upon him, as the Lord glorious in splendor\nbade him, about a week from the time when his mother 2770" ], [ "Likewise, at this same time, there was in this family\na man called Tubal Cain, a son of Lamech, who through", "two fair first-born sons, Cain and Abel. The books\ntell us how these first toilers, loving brothers, gained 970\ntheir subsistence, riches and food: the one who was", "XI.\n\n\nThen God wrathfully spoke to Eve:", "Cain, destroyed with my hands the father of Enos, the\nslayer of Abel, and poured on the ground the life-blood\nof a man. Well knew I that for this shall come at last", "the sons of men (and so they still do), from which the\nbroad leaves of all suffering began to spring. We may 995\ntearfully lament this account, this death-bringing fatal-", "But when the sons of God began to seek brides among\nthe race of Cain, the accursed folk, and chose wives 1250", "foes far or near might dare to approach him with warlike\nintent; then he bade the wicked one leave forever his\nmother and sons, all his family. Thereupon Cain set", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "Now, there came to Adam in Abel's place another 1105\nheir born in legal wedlock, an upright son, whose name", "The eldest was called Enos, first-born of Cain; he 1055\nbegan at once to build a city, with his kinsfolk: that", "was Seth: he was happy and contributed greatly to the\ncomfort of his parents, Adam and Eve, his father and\nmother, and took Abel's place in worldly affairs. 1110", "Once on a time Lamech himself made in words a wicked 1090\nconfession to his two wives, his dear bed-fellows, Ada\nand Sella:", "After that his sons dispensed the treasures: they\nbegot children: great was their wealth. Thus to Iafeth", "Then Almighty God asked Eve about this:", "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "was born to him: when an heir was born for the patri-\nmony, this son of Cainan was called Malalehel. There- 1160", "\"The Eternal Lord of Victory and Ruler of Life has\ngiven me a son in place of the dear one whom Cain", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:" ], [ "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "two fair first-born sons, Cain and Abel. The books\ntell us how these first toilers, loving brothers, gained 970\ntheir subsistence, riches and food: the one who was", "After that his sons dispensed the treasures: they\nbegot children: great was their wealth. Thus to Iafeth", "Noe enjoyed his broad heritage with his sons, free men,\nfor 350 winters of this life after the flood: then he passed 1600\naway.", "of Seth, fruitful in the Lord. He was dear to God, and\nlived here 90 winters before he begot children here by\nhis wife through intercourse: to him then was Cainan", "The people multiplied widely under the skies: the\nrace of men increased in number over the earth, by 1245\n[the birth of] sons and daughters. Now the descendants", "increase the numbers of his family by sons and daughters.\nThe eldest son of Seth was called Enos: he first of all 1135\nthe children of man called upon God,[14] since Adam", "the sons of men (and so they still do), from which the\nbroad leaves of all suffering began to spring. We may 995\ntearfully lament this account, this death-bringing fatal-", "after for 840 [years] he increased the number of his\nfamily by [begetting] children. In all, the son of Enos", "Likewise, at this same time, there was in this family\na man called Tubal Cain, a son of Lamech, who through", "stepped upon the green grass, endowed with the spirit\nof life. Seth was happy, and afterwards begot sons", "number of its sons, prosperous in blessings, as I promised\nthee by my word.\"", "when he began to beget children by his wife. His wife\nbrought a son to him, the woman to the man: this son\nin his childhood, as I have heard, the man-child in his", "bring a son into the world to him; he knew well that his\nwife had already numbered at least one hundred winters,\nby actual reckoning. So then, wise in years, he spoke 2345", "was Seth: he was happy and contributed greatly to the\ncomfort of his parents, Adam and Eve, his father and\nmother, and took Abel's place in worldly affairs. 1110", "XI.\n\n\nThen God wrathfully spoke to Eve:", "Then Almighty God asked Eve about this:", "Now, there came to Adam in Abel's place another 1105\nheir born in legal wedlock, an upright son, whose name", "The eldest son of Noe was called Sem, the next Cham, 1240\nthe third Jafeth.", "Sons of Cham were born, likewise, heirs for the pa- 1615\ntrimony: the eldest were called Chus and Cham, very" ], [ "of the broad earth. For forty days will I set my ven-\ngeance against mankind, and with a deluge blot out all\nthe possessions and possessors that are beyond the sides", "\"I am resolved to destroy humanity by means of a\ndeluge, and also every kind of living thing that the air\nand waters produce and support, both beast and bird:", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "our Saviour and merciful Father wished to find out\nwhat his children were doing: he knew that they were\nsinful to whom he had given perfection. Bereft of", "Lord, when the Wielder of Victory himself saw what 1270\nwas man's wickedness on earth, and how they all were\nbold in crime and utterly vicious. He thought to", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "XI.\n\n\nThen God wrathfully spoke to Eve:", "They had committed a dire sin against God: on that\naccount dire punishment befell them. They asserted,\nin fierce mood, that they wished to seize the kingdom", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "with sin, polluted with foulness. Then spoke the Al- 1295\nmighty, our Saviour, and said to Noe:", "and wide, that men had owned in the cities of Sodoma\nand Gomorra: all this, together with the people, God 2560\nthe Lord destroyed.", "wished to inflict punishment upon the covenant-breakers,\nand to smite with death the doers of evil, the giant folk\nunloved by God, the great and sinful foes hateful to the", "world, as protector of the nobles. He is good and wise,\nand may himself speak with [God] and see the King of\nGlory. Thou shalt die, with thy flocks and thy sub-", "the inundation killed all creatures upon earth other than\nthose whom the Lord of Heaven saved on board the Ark,\nwhen the Holy God everlasting, the steadfast King, let 1405", "Then Abraham in haste laid his cheek on the earth,\nand with scorn turned over these words in his mind, the", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005", "formerly spoken with his Lord in words. He saw the\nreek of death and destruction ascending widely from\nthe earth. Riches and feasting preoccupied [the people]", " * * * \n\n(_Genesis B intervenes here_.)\n\n * * * ", "Then Almighty God asked Eve about this:", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000" ], [ "parted in bands separated by their speech: one had\nbecome to another a strange race, after the Lord by the 1695\nfullness of his might had confused the speech of men.", "The disunited sons of the patriarchs then parted in\nfour directions to seek land: behind them, both the 1700\nmighty tower of stone and the lofty city stood on Sennar", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "inhabitants of earth, so that they no longer had control\nof their speech. They found then multitudes at the\ntower with victorious strength, leaders of work in vast", "began to rear up to the skies; and the steadfast King\nachieved the prevention of this evil design, when in\nwrath he distributed different languages among the 1685", "place. Then speedily the broad ocean stood all together\nunder heaven, as the Holy One commanded, for the\nflood was sundered from the dry land. Thereupon", "There were often dissensions among the followers of the\nsteadfast heroes, quarrels among the herdsmen. Then\nthe blessed Abraham, mindful of their honor, began to", "The people multiplied widely under the skies: the\nrace of men increased in number over the earth, by 1245\n[the birth of] sons and daughters. Now the descendants", "ations of the firmament: this the Mighty One, omnipotent\nKing, reared aloft from the earth through his own word. 150\nThe flood was divided under the high heavens by holy", "the earth, numbers of the nation in search of land, they\nshould build a city and raise up a tower to the stars of\nheaven as a sign that they had sought Sennar fields because", "alone amid strangers. The Lord of the Angels showed\nhim a dwelling-place which the men dwelling in the city\ncalled the land of Bersaba. There the pious man built", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "from among them against the will of God, the children\nof men from among the sinful maidens, beautiful and\nbright, then the Ruler of the heavens pronounced his", "Then the first of men spoke these words:", "Iafeth: from these warriors the nations sprang and all\nthis earth was filled with the children of men.", " * * * \n\n(_Genesis B intervenes here_.)\n\n * * * *", "After that his sons dispensed the treasures: they\nbegot children: great was their wealth. Thus to Iafeth", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "Then the good man built an altar and offered sacrifice\nto the Ruler of Life and Source of Light, the Protector\nof souls. Thereupon Abraham traveled still further from", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005" ], [ "\"Let the sorrow and heart-felt grief slip from thy\nbreast, and obey the woman, thy wife. Bid both Agar", "\"Thou hast taken Abraham's wife, his bride from the\nhero; for that deed death shall tear thy soul from thy\nbreast!\"", "ward [to see] this devastation. The Scriptures tell us\nthat she immediately turned into the likeness of a pillar\nof salt: ever since then this statue has stood there 2565", "When Loth's wife, his bride in the city, heard the din\nof fire, the death of the people, then she looked back-", "Then I heard how the wife spoke to her husband in the\nsorrow of her heart, with these words; sad in mind she\nspoke, and said bitterly:", "Then Abraham's queen became unkind, wrathful in 2260\nheart towards her serving-maid, hard and cruel, spoke", "Then the holy man yielded to the advice of his wife,\nand bade the handmaiden go to his couch as a bride.[29] 2235", "Then the king sent his ministers and bade them bring\nto him [the wife of Abraham].[36] Thus for the second\ntime in a foreign land, the wife of Abraham was taken 2630", "Her spirit exalted itself, when she had become pregnant\nwith a man-child by Abraham; stiff-necked in scorn she\nbegan to despise her mistress, showed insolence, was", "Then the man obeyed his Master and drove from his\nhome the sad-minded pair, [drove] from his patrimony 2805\nthe woman and his own son....[39]", "motion less (this is a strange story), where she incurred\nthis severe penalty because she would not obey the\nministers of glory in their commands: now, stiff and", "They had committed a dire sin against God: on that\naccount dire punishment befell them. They asserted,\nin fierce mood, that they wished to seize the kingdom", "Once on a time Lamech himself made in words a wicked 1090\nconfession to his two wives, his dear bed-fellows, Ada\nand Sella:", "Lord first through His own word foretold this day of\nhappiness. Now the matter so happened that his wife\nonce saw Ismael playing before Abraham where they", "to instruct his wife, in these words:", "was still angry at Abimeleh for the sin which he had\ncommitted against Sarra and Abraham, when he sepa-\nrated these two loving ones, the wife and the husband. 2745", "maiden afflict me every day by deed and word, ever\nsince Agar entered thy bed in place of thy wife, as was", "Then the brother of Aron set out with his wife to take 2620\nhis possessions and his household to Abimelech. Abra-", "XI.\n\n\nThen God wrathfully spoke to Eve:", "Then Abraham in haste laid his cheek on the earth,\nand with scorn turned over these words in his mind, the" ], [ "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "Then the good man built an altar and offered sacrifice\nto the Ruler of Life and Source of Light, the Protector\nof souls. Thereupon Abraham traveled still further from", "Lord first through His own word foretold this day of\nhappiness. Now the matter so happened that his wife\nonce saw Ismael playing before Abraham where they", "Loth, when he gave him back his son, Isaac, alive. Then 2925\nthe holy hero looked about over his shoulder, and there\nnot far from him the brother of Aron beheld a ram", "gold began to harness his asses, and bade two young men\ngo with him: his own son was the third and he himself\nthe fourth. Without delay he then set out to lead Isaac 2870", "offer up Isaac to me, thy son as a sacrifice. After thou\nascendest on foot the steep dune, the bordering circle of\nthat high land which I shall show thee from here, there 2855", "fire and sword. Then the man young in years began\nto ask Abraham about the affair, in these words:", "\"Beloved Abraham! Do not slay thine own son, but\ntake the boy alive from the pile, thy child. The God 2915", "words. Forthwith he began to build the funeral-pyre\nand kindle the fire, and he bound his son hand and foot,\nand then laid young Isaac on the pile, and then straight-", "of Angels was sacred to him, and his Master was beloved.\nThen the pious Abraham forsook his nightly repose,\nwith no resistance at all to the command of the Saviour,", "\"Go forth now speedily, Abraham, hasten thy steps, 2850\nand take with thee thine own child. Thou shalt thyself", "with child by the chieftain. Abraham with his own hand\nset the sign upon him, as the Lord glorious in splendor\nbade him, about a week from the time when his mother 2770", "Abraham did as the Eternal bade him, set the sign\nof peace on his son, by the Lord's command, and bade 2370", "ye bear that sign with true faith. Thou shalt possess 2325\na son, a child by thy wife, whom men shall all call Isaac.", "sacrifice to the Lord of his life. Not at all sparingly\ndid God, through His own hand, give him reward for", "in place of his own son, brandished the sword, and dec-\norated the burnt-offering, the smoking altar, with the\nblood of the ram, offered that oblation to God, [and fin-", "Then again to Abraham the High-King of Heaven 2165\nshowed himself, with holy speech comforted the wise-\nhearted man, and spoke to him thus:", "Then Abraham, preÃ«minently upright, rich, and blessed\nwith gold and silver, set out to take his flocks and", "accordance with these words here pronounced. I will now\nbless with my grace Ismael, as thou art petitioner, for\nthy first born, so that he may dwell many days in the", "There Abraham for the second time built an altar:\nthere he called upon God with noble words, and offered" ], [ "show to his own father nor at least conceal the dis-\ngrace from his kinsmen; but laughing aloud he told\nhis brothers how the patriarch rested in the house.", "\"Why didst thou cast that virtuous man, thy brother, 1010\non his death-bed with thy violent hands, and his blood", "We should no longer be together, for my pleasure, if I\nmight have my way. Never shall Ismael share the\nheritage with Isaac, my own son, after thee, when thou", "gold began to harness his asses, and bade two young men\ngo with him: his own son was the third and he himself\nthe fourth. Without delay he then set out to lead Isaac 2870", "Then Abraham in haste laid his cheek on the earth,\nand with scorn turned over these words in his mind, the", "After that his sons dispensed the treasures: they\nbegot children: great was their wealth. Thus to Iafeth", "Loth, when he gave him back his son, Isaac, alive. Then 2925\nthe holy hero looked about over his shoulder, and there\nnot far from him the brother of Aron beheld a ram", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "\"Never shall thy steward possess the heritage of thy\nsons: but thine own children shall hold the treasure,\nwhen thy flesh lies [in the grave]. Behold the sky. Count", "race, cruel hunger, deadly to home-staying men. Then 1815\nthe wise Abraham, chosen by the Lord, went into Egypt\nto seek sustenance; the sage fled before evil: the plague", "\"To far distant times shalt thou, an outcast, crawl\nover the broad earth on thy breast, thy belly; without\nfeet shalt thou move about, so long as life and breath", "\"Thou hast taken Abraham's wife, his bride from the\nhero; for that deed death shall tear thy soul from thy\nbreast!\"", "Then the brother of Aron set out with his wife to take 2620\nhis possessions and his household to Abimelech. Abra-", "Then Abraham's queen became unkind, wrathful in 2260\nheart towards her serving-maid, hard and cruel, spoke", "After this fatal blow woe was aroused, the long train\nof afflictions: since then from this twig have hatefully", "The disunited sons of the patriarchs then parted in\nfour directions to seek land: behind them, both the 1700\nmighty tower of stone and the lofty city stood on Sennar", "born, any affection and duty, when honor was due him.\nThat was bitter to the heart of the holy man, and he\nbegan to curse his son with [harsh] words: he said that", "riches to his brothers, the private property of his father,\nafter Cham fared forth from the body when death fell\nto his lot. This leader of the people delivered judgments 1625", "of its race. Next to Jared, Malalehel was the keeper\nof the heritage after his father, until he passed away.\nAfterwards Mathusal shared the royal treasures with", "fire and sword. Then the man young in years began\nto ask Abraham about the affair, in these words:" ], [ "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "He did so, and obeyed the Lord, stood forth upon the\nstrand, as the Voice bade him, and with great joy led 1495\nout of the ship the survivors of these perils.", "family, whom the Source of Light and Life had locked\nup against the water in the bosom of the ship. The\nLord of mankind led the heroes by his Word over far", "Noe enjoyed his broad heritage with his sons, free men,\nfor 350 winters of this life after the flood: then he passed 1600\naway.", "would have seized them with violence in the sea-traver-\nsing vessel, but the Holy God led and preserved them.\nFifteen ells deep, by man's measure, stood the deluge", "the inundation killed all creatures upon earth other than\nthose whom the Lord of Heaven saved on board the Ark,\nwhen the Holy God everlasting, the steadfast King, let 1405", "Depart in peace out of the Ark, and lead forth upon the\nbosom of the earth out of this lofty structure your com-\npanions and all the creatures which I mercifully preserved 1490", "man, as he often had done, and saved his kinsman, Loth,\nwhen the multitude perished. The [latter] hero, famed", "Noe and his sons too, that [the patriarch] had given Him\nthis offering acceptably and in his youth had merited\nby his good deeds that Almighty God, Glorious in", "Then Noe began to institute a sacrifice to our Preserver,\nand immediately took a part of all his possessions which", "Keeper of Life, the Almighty King, gave him relief from\nthe perilous chances which he had long undergone,\nwhen the dark waves bore him abroad on the deep over 1430", "the Ark aloft from the ground, and its noble crew with it,\n[the Ark] which the Lord Himself, our Creator, blessed, 1390\nwhen he locked the ship. Thereafter this best of ships", "Then God, Wielder of Victory, was mindful of those\nfloating on the deep, the son of Lamech and all his 1410", "our Saviour blessed [all] within the Ark with his own\ngrace. Noe, the son of Lamech, had 600 winters when", "Then our Preserver spoke to Noe: \"I give thee my\npledge for this, O dearest of mankind, that thou mayst", "Thus was the prudent son of Lamech, the keeper of\nthe heritage, disembarked from his ship after the flood 1545", "\"My men! Remain ye here in this place. We shall 2880\nreturn, after we have offered to the King of Spirits what\nwas entrusted to us both.\"", "upon the flood until this number of days of dire time 1420\nhad passed. Then the Ark of Noe, greatest of ocean-\nhomes, settled on high with its burden on the hills which", "vast sea-house, Noe's vessel, towered up in readiness,\nstrengthened within and without with the best earth-\nlime, against the waves; it is unique in its kind: the", "The flood was sinking; the sea-farers, the heroes and\ntheir wives, longed [for the time] when they might\nventure to step out of their straitened quarters over the" ], [ "\"The serpent tempted me and urgently prompted me\nto sin; through fair words the worm goaded me into", "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "Then Almighty God asked Eve about this:", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "\"The woman, my Lord, the fair woman gave into\nmy hand this fruit, which I accepted in sin against thee. 885\nNow I bear this manifest sign in myself: I know so much\nthe more of sorrow!\"", "Then our Saviour, the Lord Almighty, ordained wide\nwanderings for the serpent, the venomous worm, and 905\nspoke further in these words:", "spacious and heaven-bright. Then there fell upon\nthem, grievously, the envy, presumption, and pride\nof the Angel who first began to carry out the evil plot, 30", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "XI.\n\n\nThen God wrathfully spoke to Eve:", "set forth and depart from paradise into a harder life.\nBehind them, by God's command, a holy angel with a 945\nfiery sword shut the gate of their blissful home of peace", "Lines 852-871 (Gen. 3.8-10) 7 (147)", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "at line 852, with the conversation between Adam and Eve and Jehovah\n(Gen. 3.8 ff.).]", "creation, should be alone any longer: so the supreme\nKing, Ruler Almighty, made a companion for him--\ncreated Woman, and gave this helpmate to his cherished 175", "the grove, as it was not lawful to do, and ate the fruit.\"", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "hands, but on the contrary delight in all things! How\ncome you to know evil and hide shame and behold sor-\nrow and cover your body with leaves and, saddened and", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "but went forth on a journey to go into the wilderness.\nThere a servant of glory, an angel of the Lord, found her\nsorrowing; he eagerly asked her:", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005" ], [ "fourth, fifth, and perhaps first part of the sixth, days, including the\ncreation of man, (i.e., apparently the contents of Gen. 1.11-2.17,", "he formed the two names of the dispensers of life: light\nwas first called \"Day\" by the word of the Lord, a 130\nbeauteous creation. This period of creation greatly", "Then our Maker beheld the beauty of his works and\nthe fullness of his abundance, his new creations. Pa-", "place. Then speedily the broad ocean stood all together\nunder heaven, as the Holy One commanded, for the\nflood was sundered from the dry land. Thereupon", "pleased God, in the beginning: the first day saw the\ndark shadows duskily flee away over the wide earth.", "creation, should be alone any longer: so the supreme\nKing, Ruler Almighty, made a companion for him--\ncreated Woman, and gave this helpmate to his cherished 175", "these two: ever since then they have ceaselessly wrought\nand fulfilled the will of the Lord over the earth.\nThen the second day advanced, light after darkness;", "Ruler of everyone born of the race of man, blessed these\nfirst two creatures, father and mother, woman and\nman. Thereafter he spoke these words: 195", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "over the waste spaces, as the Creator had ordained it.\nThe Wielder of Victory next sundered light from darkness,\nshadow from radiance, over the surge of the sea. Then", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "Lord first through His own word foretold this day of\nhappiness. Now the matter so happened that his wife\nonce saw Ismael playing before Abraham where they", "of the broad earth. For forty days will I set my ven-\ngeance against mankind, and with a deluge blot out all\nthe possessions and possessors that are beyond the sides", "dear to God: therefore he enjoyed tranquility happily\nand proceeded under the shadow of his Creator, covered 2740\nby His protecting wings, while he lived. But God", "accordance with these words here pronounced. I will now\nbless with my grace Ismael, as thou art petitioner, for\nthy first born, so that he may dwell many days in the", "waste, until this world-creation came to pass through\nthe word of the King of Glory. First the everlasting\nLord, protector of all things, created heaven and earth;", "and every living thing that walks the earth; all breath-\ning creatures, whatsoever the sea brings forth over the 205\nwhale-paths, all things belong to you two.\"", "Life's Ruler looked upon the dry land, the Preserver of\nmankind [found it] widely visible, and the King of 165\nGlory called it \"Earth.\" He established a proper", "XXVI.\n\n\nThen Abraham, famed for his deeds, answered his\nLord and asked Him, in the fullness of his days:", "fashioned the first evening, but on its track rushed a\nthronging welter of darkness which the Lord himself\ncalled by the name of \"Night.\" Our Saviour sundered 140" ], [ "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "creation, should be alone any longer: so the supreme\nKing, Ruler Almighty, made a companion for him--\ncreated Woman, and gave this helpmate to his cherished 175", "Ruler of everyone born of the race of man, blessed these\nfirst two creatures, father and mother, woman and\nman. Thereafter he spoke these words: 195", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "he formed the two names of the dispensers of life: light\nwas first called \"Day\" by the word of the Lord, a 130\nbeauteous creation. This period of creation greatly", "As yet there was nothing at all created here, except\nshadows, but this broad earth stood deep and dim, idle 105\nand useless, alien even to God himself; on it the King", "bone while the man was unwounded. From this God\nfashioned a noble woman, and put into her the breath\nof life and an immortal soul: these two were like the 185", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "Then Almighty God asked Eve about this:", "Life's Ruler looked upon the dry land, the Preserver of\nmankind [found it] widely visible, and the King of 165\nGlory called it \"Earth.\" He established a proper", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "fourth, fifth, and perhaps first part of the sixth, days, including the\ncreation of man, (i.e., apparently the contents of Gen. 1.11-2.17,", "place. Then speedily the broad ocean stood all together\nunder heaven, as the Holy One commanded, for the\nflood was sundered from the dry land. Thereupon", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005", "Then our Maker beheld the beauty of his works and\nthe fullness of his abundance, his new creations. Pa-", "the holy word of the Lord and feared him. Straight-\nway the King of Heaven began to call for the keeper\nof the [newly] created world; the mighty Lord bade", "fashioned the first evening, but on its track rushed a\nthronging welter of darkness which the Lord himself\ncalled by the name of \"Night.\" Our Saviour sundered 140", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "increase the numbers of his family by sons and daughters.\nThe eldest son of Seth was called Enos: he first of all 1135\nthe children of man called upon God,[14] since Adam" ], [ "creation, should be alone any longer: so the supreme\nKing, Ruler Almighty, made a companion for him--\ncreated Woman, and gave this helpmate to his cherished 175", "bone while the man was unwounded. From this God\nfashioned a noble woman, and put into her the breath\nof life and an immortal soul: these two were like the 185", "Then Almighty God asked Eve about this:", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "XI.\n\n\nThen God wrathfully spoke to Eve:", "Ruler of everyone born of the race of man, blessed these\nfirst two creatures, father and mother, woman and\nman. Thereafter he spoke these words: 195", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "without emendation, I have not followed the various scholars who would\ninsert after \"Adam's bride\" some such clause as, \"Whom God named Eve.\"]", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "As yet there was nothing at all created here, except\nshadows, but this broad earth stood deep and dim, idle 105\nand useless, alien even to God himself; on it the King", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "he formed the two names of the dispensers of life: light\nwas first called \"Day\" by the word of the Lord, a 130\nbeauteous creation. This period of creation greatly", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "Once on a time Lamech himself made in words a wicked 1090\nconfession to his two wives, his dear bed-fellows, Ada\nand Sella:", "place. Then speedily the broad ocean stood all together\nunder heaven, as the Holy One commanded, for the\nflood was sundered from the dry land. Thereupon", "Then our Maker beheld the beauty of his works and\nthe fullness of his abundance, his new creations. Pa-", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "of Seth, fruitful in the Lord. He was dear to God, and\nlived here 90 winters before he begot children here by\nhis wife through intercourse: to him then was Cainan", "when he began to beget children by his wife. His wife\nbrought a son to him, the woman to the man: this son\nin his childhood, as I have heard, the man-child in his" ], [ "bone while the man was unwounded. From this God\nfashioned a noble woman, and put into her the breath\nof life and an immortal soul: these two were like the 185", "creation, should be alone any longer: so the supreme\nKing, Ruler Almighty, made a companion for him--\ncreated Woman, and gave this helpmate to his cherished 175", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "Then Almighty God asked Eve about this:", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "XI.\n\n\nThen God wrathfully spoke to Eve:", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "Ruler of everyone born of the race of man, blessed these\nfirst two creatures, father and mother, woman and\nman. Thereafter he spoke these words: 195", "fourth, fifth, and perhaps first part of the sixth, days, including the\ncreation of man, (i.e., apparently the contents of Gen. 1.11-2.17,", "Then our Maker beheld the beauty of his works and\nthe fullness of his abundance, his new creations. Pa-", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "As yet there was nothing at all created here, except\nshadows, but this broad earth stood deep and dim, idle 105\nand useless, alien even to God himself; on it the King", "in the majesty of God. They had no knowledge of\nworking evil or wickedness, but dwelt in innocence 20\nforever with their Lord: from the beginning they wrought", "was filled with the breath of life by the mouth of God!", "without emendation, I have not followed the various scholars who would\ninsert after \"Adam's bride\" some such clause as, \"Whom God named Eve.\"]", "hands, but on the contrary delight in all things! How\ncome you to know evil and hide shame and behold sor-\nrow and cover your body with leaves and, saddened and", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "place. Then speedily the broad ocean stood all together\nunder heaven, as the Holy One commanded, for the\nflood was sundered from the dry land. Thereupon" ], [ "Then Almighty God asked Eve about this:", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "XI.\n\n\nThen God wrathfully spoke to Eve:", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "the grove, as it was not lawful to do, and ate the fruit.\"", "Lines 169-234 (Gen. 1.28, 31; 2.10-14, 18, 21, 22) 5 (145)", "set forth and depart from paradise into a harder life.\nBehind them, by God's command, a holy angel with a 945\nfiery sword shut the gate of their blissful home of peace", "at line 852, with the conversation between Adam and Eve and Jehovah\n(Gen. 3.8 ff.).]", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:", "Ruler of everyone born of the race of man, blessed these\nfirst two creatures, father and mother, woman and\nman. Thereafter he spoke these words: 195", "The Ruler of Heaven did not think it fitting that 170\nAdam, the keeper of Paradise and shepherd of the new", "Lines 852-871 (Gen. 3.8-10) 7 (147)", "Yet the Almighty, our First Father, would not take\naway all comforts from Adam and Eve, though they had\nfallen away from him: but he still let the lofty roof 955", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "two fair first-born sons, Cain and Abel. The books\ntell us how these first toilers, loving brothers, gained 970\ntheir subsistence, riches and food: the one who was", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he" ], [ "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "\"The serpent tempted me and urgently prompted me\nto sin; through fair words the worm goaded me into", "spacious and heaven-bright. Then there fell upon\nthem, grievously, the envy, presumption, and pride\nof the Angel who first began to carry out the evil plot, 30", "\"The woman, my Lord, the fair woman gave into\nmy hand this fruit, which I accepted in sin against thee. 885\nNow I bear this manifest sign in myself: I know so much\nthe more of sorrow!\"", "Then our Saviour, the Lord Almighty, ordained wide\nwanderings for the serpent, the venomous worm, and 905\nspoke further in these words:", "Then Almighty God asked Eve about this:", "set forth and depart from paradise into a harder life.\nBehind them, by God's command, a holy angel with a 945\nfiery sword shut the gate of their blissful home of peace", "XI.\n\n\nThen God wrathfully spoke to Eve:", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "but went forth on a journey to go into the wilderness.\nThere a servant of glory, an angel of the Lord, found her\nsorrowing; he eagerly asked her:", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "hands, but on the contrary delight in all things! How\ncome you to know evil and hide shame and behold sor-\nrow and cover your body with leaves and, saddened and", "affiliations. _Genesis B_ describes the Fall of Man and also gives a new\nversion of the revolt and overthrow of Satan. _Genesis A_ begins again,", "Lines 852-871 (Gen. 3.8-10) 7 (147)", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005", "fashioned the first evening, but on its track rushed a\nthronging welter of darkness which the Lord himself\ncalled by the name of \"Night.\" Our Saviour sundered 140", "at line 852, with the conversation between Adam and Eve and Jehovah\n(Gen. 3.8 ff.).]", "Once on a time Lamech himself made in words a wicked 1090\nconfession to his two wives, his dear bed-fellows, Ada\nand Sella:" ], [ "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "Then Almighty God asked Eve about this:", "\"The woman, my Lord, the fair woman gave into\nmy hand this fruit, which I accepted in sin against thee. 885\nNow I bear this manifest sign in myself: I know so much\nthe more of sorrow!\"", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "XI.\n\n\nThen God wrathfully spoke to Eve:", "set forth and depart from paradise into a harder life.\nBehind them, by God's command, a holy angel with a 945\nfiery sword shut the gate of their blissful home of peace", "\"The serpent tempted me and urgently prompted me\nto sin; through fair words the worm goaded me into", "spacious and heaven-bright. Then there fell upon\nthem, grievously, the envy, presumption, and pride\nof the Angel who first began to carry out the evil plot, 30", "the grove, as it was not lawful to do, and ate the fruit.\"", "Lines 852-871 (Gen. 3.8-10) 7 (147)", "didst recently take to thyself with the apple, strikes\nthee cruelly to the heart: then shalt thou die.\"", "remain in thee. Dust shalt thou eat all the days of thy 910\nlife, since thou hast accomplished so evil a deed here.\nThee the woman shall war against, and hate thee", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "at line 852, with the conversation between Adam and Eve and Jehovah\n(Gen. 3.8 ff.).]", "hands, but on the contrary delight in all things! How\ncome you to know evil and hide shame and behold sor-\nrow and cover your body with leaves and, saddened and", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:", "of their versions is satisfactory or convincing, I venture upon an\nindependent reading. _Hebeleac_, of course, is the Scriptural Havilah", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world" ], [ "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "Then Almighty God asked Eve about this:", "\"The woman, my Lord, the fair woman gave into\nmy hand this fruit, which I accepted in sin against thee. 885\nNow I bear this manifest sign in myself: I know so much\nthe more of sorrow!\"", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "XI.\n\n\nThen God wrathfully spoke to Eve:", "the grove, as it was not lawful to do, and ate the fruit.\"", "didst recently take to thyself with the apple, strikes\nthee cruelly to the heart: then shalt thou die.\"", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "Once on a time Lamech himself made in words a wicked 1090\nconfession to his two wives, his dear bed-fellows, Ada\nand Sella:", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "remain in thee. Dust shalt thou eat all the days of thy 910\nlife, since thou hast accomplished so evil a deed here.\nThee the woman shall war against, and hate thee", "To him thus the sinner, gorged with feasting, replied 2640\nin his sleep:", "at line 852, with the conversation between Adam and Eve and Jehovah\n(Gen. 3.8 ff.).]", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "Then the holy man yielded to the advice of his wife,\nand bade the handmaiden go to his couch as a bride.[29] 2235", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005", "evening to seek the Ark over the dusky flood, and sank\nweary and famished in the hands of the pious hero.\nThen after a week the wild-dove was again sent out 1465", "two fair first-born sons, Cain and Abel. The books\ntell us how these first toilers, loving brothers, gained 970\ntheir subsistence, riches and food: the one who was", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:", "Lines 852-871 (Gen. 3.8-10) 7 (147)" ], [ "set forth and depart from paradise into a harder life.\nBehind them, by God's command, a holy angel with a 945\nfiery sword shut the gate of their blissful home of peace", "away from the blessings of paradise; the separation of\nsoul and body is now ordained for thee. Lo, thou hast\nwickedly originated sin: therefore thou shalt toil, and", "Then Almighty God asked Eve about this:", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "XI.\n\n\nThen God wrathfully spoke to Eve:", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "two fair first-born sons, Cain and Abel. The books\ntell us how these first toilers, loving brothers, gained 970\ntheir subsistence, riches and food: the one who was", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "Yet the Almighty, our First Father, would not take\naway all comforts from Adam and Eve, though they had\nfallen away from him: but he still let the lofty roof 955", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "remain in thee. Dust shalt thou eat all the days of thy 910\nlife, since thou hast accomplished so evil a deed here.\nThee the woman shall war against, and hate thee", "win thy sustenance on earth by thyself, acquire it by\nthe sweat of thy face, and thus eat thy bread so long 935\nas thou livest here,--until ungentle disease, which thou", "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "out and departed sorrowing from before the face of God, 1050\na joyless exile, and built himself a dwelling to the east,", "\"To far distant times shalt thou, an outcast, crawl\nover the broad earth on thy breast, thy belly; without\nfeet shalt thou move about, so long as life and breath", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005" ] ]	[ "What were Adam and Eve not allowed to eat?", "Why did God plan to destroy mankind?", "What was the symbol of God' promise after Noah was instructed to build the ark?", "When did God create different languages?", "Where did God make a covenant with Abram?", "Which of Abraham's wives is Ishmael's mother?", "How many righteous men were needed to save Sodom and Gomorrah?", "Which husband had to return Sarah?", "When did Abraham purchase Machpelah?", "Which of Eve's sons becomes cursed?", "How many sons did Eve bear?", "Why does God want to wipe out the world?", "How does God split up the men building the Tower of Babel? ", "Whose wife is turned into salt for disobeying a command?", "Which man is tested by God when he is told to sacrifice his son?", "What cruel thing happens to Jacob because of his brothers?", "Which man's family was spared by being allowed on the great boat?", "What creature tempts Eve?", "What does God declare the seventh day of creation to be?", "What is the name of the man God creates?", "What is the name of the woman God creates?", "What does God create Eve with?", "What does God instruct Adam and Eve not to do?", "What form does Satan take to seduce Eve?", "What does Satan convince Eve to take a bite of?", "To whom does Eve feed the apple?", "From where does God subsequently ban Adam and Eve from to a life of toil and hard labor?" ]	[ [ "fruit from the tree of knowledge", "the fruit from the tree of the knowledge of good and evil" ], [ "man's sin had corrupted the world", "Corruption" ], [ "a rainbow", "The rainbow." ], [ "After people starting working together to build the Tower of Babel", "when he saw that mankind was working together to build the Tower of Babel" ], [ "the land of Canaan", "Canaan." ], [ "Hagar", "Hagar" ], [ "10", "ten" ], [ "The King of Gerar", "the King of Gerar" ], [ "When Sarah died", "The death of sarah" ], [ "Cain", "Cain" ], [ "Three - Abel, Cain and Seth", "Two" ], [ "It's been tainted by the sins of Man and Nephilim.", "The world became corrupted." ], [ "By having them all be given different languages they can speak ", "he confuses their language, causing them to speak in many different languages" ], [ "Lot's", "Abraham's" ], [ "Abraham", "Abraham" ], [ "Jacob being sold into slavery.", "It was not Jacob, but his son Joseph, who was sold into slavery by his brothers." ], [ "Noah's", "Noah's" ], [ "A serpent", "Serpent " ], [ "A day of rest.", "a day of rest" ], [ "Adam", "Adam" ], [ "Eve.", "Eve" ], [ "The rib of the man.", "The rib of Adam" ], [ "Eat from the tree of knowledge.", "Not to eat fruit from the tree of knowledge." ], [ "A serpent.", "A snake" ], [ "An apple.", "apple" ], [ "Adam", "Adam" ], [ "The Garden of Paradise.", "the Garden of Eden" ] ]	b57cfffa1b8af82d2f3890200178338cec29a23f	train
[ [ "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "RONSON\n Who?\n\n KIRSTY\n The Cenobites.\n\nShe stares directly at RONSON, daring him to disbelieve.", "It seems for a moment she has succeeded. She swings around the\nside of the CENOBITES and begins to run across the chamber.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "Finally, just as PINHEAD breaks from his determined but medium-\npaced stride and speeds up eagerly for the last two or three", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "KIRSTY can't quite believe this but she has no intention of\nquestioning it. She runs into the corridor and away, with\nPINHEAD's last words echoing after her.", "Immediately behind her, and probing with professional skill and\ncoolness into her exposed brain, is DOCTOR MALAHIDE. He is in", "He is staring at the photograph, that great immobile brow finally\npuckering, as if something is stirring.\n\n PINHEAD\n I...remember.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "To some extent, KIRSTY's ploy is working. The CENOBITES are\nmoving closer together as they advance to the corner in which she\nstands.", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him.", "The thing inside completes its escape and stands clear of the\nshredded caul. Like a new-born child, it is stained and soiled\nwith amiotic fluids and blood. But it is not a new born child.", "At this stage, the camera CUTS TO the watching PINHEAD. He lets\nthe photograph of his past life flutter to the floor.", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?" ], [ "KIRSTY has been dozing fitfully, but is awakened by strange\nnoises. At first terrified, she slowly realises it is simply\nsomeone being put in the room next door.", "KIRSTY moans and opens her eyes gingerly. She puts a hand to her\nface, rubbing at the place where JULIA hit her.", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "There is no response. KIRSTY arrives at the mattress and pulls\nthe blanket back. She leaps backwards, her hand at her mouth\nstifling a scream.", "KYLE enters, having heard KIRSTY crying. She is sitting with her\nlegs over the side of the bed with her face in her hands.", "Her eyes are open and red-rimmed from weeping now. There is also\ncomplete silence.\n\nAll the more jarring, then, the sudden sound of someone fumbling\nat the handle of KIRSTY'S door.", "The scream continues, but the blackness is replaced by KIRSTY's\nanguished face; it is she who is screaming. The scream subsides,\nreplaced by breathless panting accompanied by rapid eye movement.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "A low moan comes from the far end of the room. KIRSTY assumes it\nissues from the figure hidden beneath the blanket and walks\nnearer, lifting her arm in readiness to remove the blanket.", "Before KIRSTY can react to this, a voice issues from beyond the\ndoor.\n\n VOICE\n Kirsty!", "KIRSTY is instantly tense again. She swings her head to the side\nand tenses in horror, stifling a scream.", "KIRSTY suppresses a shudder. She bites her lip, takes two or\nthree deep breaths, crosses to the door firmly, and flings it\nopen, moving into the room even as she does so.", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY\n Oh, Jesus. What is it?\n\nKYLE opens his mouth a few times, as if unsure what to say.", "KIRSTY throws her hands to her ears.\n\n KIRSTY\n Nooooo!\n\nShe rushes at one of the walls and begins beating it with her\nfists.", "KIRSTY jumps back in alarm, fear on her face. But it is only\nKYLE.\n\nKYLE raises his hand in apology.", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher.", "Carefully and slowly, KIRSTY moves across to the entrance and\nlooks down it. She is rewarded with the sight of TIFFANY just", "We pull out to see that KIRSTY is sitting up, fully dressed, on a\nhospital bed. RONSON, a police detective, sits on a plain wooden", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position." ], [ "KIRSTY emits a pained moan of pure anguish as she realises what\nshe is looking at.\n\n KIRSTY\n (under her breath)\n Daddy...", "KIRSTY\n (shouting)\n Because I'm going to get my father!", "KIRSTY\n Daddy. It's Kirsty...", "KIRSTY\n (Very Tentatively)\n Daddy...?\n\n Only a low moan comes from behind the door.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "Tears start to her eyes and she stares at KYLE defiantly. Then\nshe repeats, more softly;\n\n KIRSTY\n I'm going to get my father.", "She looks at her father. A sea of sweat has broken out on his\nbrow and face as he stares intensely at the flowers. KIRSTY's\nvoice slows, begins to trail off.", "We pull out to see that KIRSTY is sitting up, fully dressed, on a\nhospital bed. RONSON, a police detective, sits on a plain wooden", "KIRSTY gulps back a sob and her eyes fill with tears.\n\n KIRSTY\n Daddy... ?\n\nThe figure leans slowly into the light, speaking as he does\nso.", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "FRANK\n Oh, right. Daddy's died and gone\n to heaven, eh?\n\n KIRSTY\n Yes!", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "KYLE enters, having heard KIRSTY crying. She is sitting with her\nlegs over the side of the bed with her face in her hands.", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY'S face fills the screen. Her voice is slightly dreamy, as\nif she is still trying to understand herself the story she is\nabout to tell.", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher.", "KIRSTY'S eyes prick with tears. She looks away from RONSON.\n\n KIRSTY (to herself)\n Daddy...", "is revealed. It is his brother, LARRY. KIRSTY's father.", "TIFFANY has hardly had time to turn from the bowl of flowers\nbefore KIRSTY is kneeling by her father.\n\n KIRSTY\n Daddy!", "FRANK\n That's it, baby. Come to\n Daddy.\n\nKIRSTY stands still. There is a second where her face registers\nnothing. Then she screams." ], [ "JULIA looks at him and walks toward him slowly. She smiles. She\nstrokes his cheek. She moves closer, gently slipping her arms around", "JULIA walks towards him, slowly raising her hands. When she is\nclose enough her hands cup his cheeks. She pulls him towards her,\nand, tipping her head to one side, kisses him. Her body moulds\nitself to his.", "JULIA is right next to MALAHIDE now. Smoothly, she releases her\ngrip on TIFFANY and embraces MALAHIDE sensuously. He returns the\nembrace. They kiss.", "JULIA still enveloping him. With the desperate strength with which\nshe clings to him and the way her legs are wrapped around his\nhips, it is like an obscenely perverse parody of sexual passion.", "JULIA enters the room and closes the door behind her. She is\ndressed in one of MALAHIDE'S suits. It is a light weight suit of\nwhite linen, a suit for expensive holidays in hot countries.", "JULIA shifts position so she is standing behind him. She wraps\nher arms around him, one stroking his belly, the other across his\nshoulders. FRANK leans his head back and twists it slightly.\nThey kiss.", "JULIA plays it exactly as a sensual, passionate kiss, her mouth\nwide open, her head moving rhythmically and sinuously.", "JULIA\n ... and more.\n\nFor a moment, MALAHIDE's face is stone. Then, slowly, he returns\nher smile and, drawing his lighter, lights her cigarette.", "He pauses. Perhaps he is being ungallant. He turns slightly\ntowards JULIA and takes her hand.", "JULIA begins to laugh, small, sensual giggles at first building\nfinally as the blackness comes into an almost hysterical\ncrescendo of raucous joy.", "JULIA removes her arm from his stomach and slips it behind him.\nNothing happens for a second and then, suddenly, FRANK's whole", "JULIA\n I'm JULIA.\n\nShe raised one hand from his back to the back of his head and\npresses his face to hers.", "JULIA crosses the room rapidly towards him. Her face is a\npicture of concern.\n\n JULIA\n Oh. You look awful. You poor\n boy. Come here...", "JULIA treats him to the approximation of a smile. She is far from\nnervous.", "JULIA still has not moved.\n\n FRANK\n Of course I am. She BELONGS\n to me.\n\nJULIA begins to cross the room to him.", "JULIA begins to pull up and for a moment it seems the crisis is\nover. Then a terrible and familiar ripping noise is heard: The", "His arms fly from her and he throws his head back. But JULIA is\nvery strong now and her grip does not relax.", "JULIA\n Do you really need to ask?\n\nFRANK laughs.\n\n FRANK\n Show them.", "JULIA seems quietly amused - both by what is going on in the room\nand by MALAHIDE's heated response to it. She glances from one to\nthe other, her eyes twinkling.", "As she speaks, JULIA's arms are opening out to him. KYLE sees the\ncomfort offered and advances towards her, too." ], [ "On a long, low table there are three glass cases. In each of\nthese cases is a Lament Configuration. On each case is a small", "Two of the walls simply part physically, revealing entrances into\nthe corridors of Hell. These corridors are lined with gray walls\nand seem to run for a great distance.", "Specifically, we recognize a print that resembles very closely\nthe jigsaw he has had TIFFANY recently solve. Also, there are\nframed diagrams (which look very old) of the Lament Configuration\n-Both open and closed.", "The room is entirely devoted to MALAHIDE'S secret obsession -\nwith the Paranormal in general and the Lament Configuration in\nparticular.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "It has the same architecture as the corridor that appeared in the\nhospital room in HELLRAISER; walls of stained gray stone broken\nup by vaguely medieval-looking arches.", "It is like the TORTURE ROOM in HELLRAISER. The walls are black,\nthe floor slimy, and the room filled with chains, hooks, and", "TIFFANY sits cross-legged in the middle of the floor. She appears\nto be alone in the room. Cradled in her lap is a Lament\nConfiguration, taken from one of the glass cases on the low\ntable.", "We see the door-frame of the elevator and the floor buttons\nbeside it and, looking down the corridor through the open\nelevator doors, PINHEAD and the FEMALE CENOBITE marching towards\nus.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "If the last room was a beauty salon, this is the orgy room. But\nthe orgy is very strange. It is a very dark room, filled with a", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "Suddenly, the air is full of flying chains. MALAHIDE is hooked\neverywhere. It is like a high-speed version of FRANK's final re-\ncapture in HELLRAISER. The chains start tugging almost instantly.", "Keeping his eyes firmly on the OFFICER, he reaches beneath him\nand brings something up from under the counter and places it In\nthe OFFICER'S outstretched hand. He is holding a LAMENT\nCONFIGURATION.", "The object at first resembles a large and bloody plastic bag, but\nthen internal movement begins to rip at this covering. Hands\nappear out of the rips and complete the removal. We realise that", "There is also one last portal he looks into. He is gazing into\na room where the floor is a vast, seething pool of maggots.", "Hell's equivalent of a beauty salon. He is being re-made. This\ninvolves the scar tissue being manually peeled from the upper\npart of his face to reveal beneath small, vicious, human eyes.", "As LEVIATHAN makes its final closing, the mild tremors of before\nbecome larger. Hell shakes violently and this time TIFFANY does", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position." ], [ "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "To some extent, KIRSTY's ploy is working. The CENOBITES are\nmoving closer together as they advance to the corner in which she\nstands.", "FRANK\n That's it, baby. Come to\n Daddy.\n\nKIRSTY stands still. There is a second where her face registers\nnothing. Then she screams.", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him.", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY gulps back a sob and her eyes fill with tears.\n\n KIRSTY\n Daddy... ?\n\nThe figure leans slowly into the light, speaking as he does\nso.", "KIRSTY'S face fills the screen. Her voice is slightly dreamy, as\nif she is still trying to understand herself the story she is\nabout to tell.", "KIRSTY\n You're full of shit, Frank Cotton.\n My Dad wasn't like that at all.\n He could feel. He could love. He\n loved ME.", "Before KIRSTY can react to this, a voice issues from beyond the\ndoor.\n\n VOICE\n Kirsty!", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher.", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "A low moan comes from the far end of the room. KIRSTY assumes it\nissues from the figure hidden beneath the blanket and walks\nnearer, lifting her arm in readiness to remove the blanket.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "chest, the hands clutching his shoulders. He opens his eyes and\nlooks at KIRSTY for a second, his expression one of surprise.\nThen his eyes roll up into the sockets and he collapses to the", "KIRSTY emits a pained moan of pure anguish as she realises what\nshe is looking at.\n\n KIRSTY\n (under her breath)\n Daddy...", "He stares at KIRSTY and makes a small gesture with his brow. It\nis ALMOST cute. If anything, it resembles the cocky, aren't-I-", "KYLE enters, having heard KIRSTY crying. She is sitting with her\nlegs over the side of the bed with her face in her hands.", "We pull out to see that KIRSTY is sitting up, fully dressed, on a\nhospital bed. RONSON, a police detective, sits on a plain wooden", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down." ], [ "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "RONSON\n Who?\n\n KIRSTY\n The Cenobites.\n\nShe stares directly at RONSON, daring him to disbelieve.", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "Surrounding her, in various parts of the room, are the four\nCENOBITES from HELLRAISER.\n\nThe FEMALE CENOBITE smiles and advances towards TIFFANY.", "To some extent, KIRSTY's ploy is working. The CENOBITES are\nmoving closer together as they advance to the corner in which she\nstands.", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "It seems for a moment she has succeeded. She swings around the\nside of the CENOBITES and begins to run across the chamber.", "It is a NEW CENOBITE. And it used to be MALAHIDE. The\ntransformation we caught glimpses of is now complete. Its skin", "The other three CENOBITES stop moving and stare at KIRSTY. Any\nadvances they were making on KIRSTY or TIFFANY stop as the same\ndim, distant, recollection begins to stir within them.", "torture-pillars. And, in the room and staring at the GIRLS, are\nthe four CENOBITES.", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "The leader of the CENOBITES, PINHEAD raises a hand.\n\n PINHEAD\n Wait.\n\nThe FEMALE stops and looks questioningly at PINHEAD.", "MALAHIDE looks up at the tiny noise this makes and his eyes meet\nPINHEAD'S. He turns more fully to face PINHEAD and the other\nCENOBITES who are now standing with their leader, and a strange\nsmile crosses his face", "We see the door-frame of the elevator and the floor buttons\nbeside it and, looking down the corridor through the open\nelevator doors, PINHEAD and the FEMALE CENOBITE marching towards\nus.", "FEMALE CENOBITE\n We've always been here.\n\n PINHEAD\n We have no more surprises.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "The three limbs detatch themselves from MALAHIDE. The three\nCENOBITES are all well above the floor, pinned and twitching like\nthe rats in FRANK's attic.", "The CENOBITES do not move but suddenly, from nowhere a hook flies\nacross the room, attached to a metal chain. The hook buries", "Before they can discuss it, a new rushing sound is heard. They\nlook back.\n\nHurtling towards them is the ENGINEER from HELLRAISER.\n\nTIFFANY screams.", "PINHEAD\n ... we have Eternity to\n know your flesh!\n\nDelighted CENOBITE laughter follows her back into the labyrinth." ], [ "He is clearly very, excited. He walks around the mattress two or\nthree times, never taking his eyes off it.\n\nHe walks back to the writing table, throws his drink back, puts\nthe glass down and leaves the room.", "He stares at the mattress with incredulity, as if he still can't\nbelieve his superior has had it brought here. Then he begins to\nlook around the room in more detail. He approaches the glass\ncases and bends slightly to look at their contents.", "CORTEZ leaves the room to fetch a colleague to help him\nmove the mattress. We move in to see the drop of blood disappear\nvery quickly into the mattress, as if it is being sucked in.", "Over by the far wall (the wall opposite to that containing the\ndoor) there is a mattress on the floor. A body like shape on this\nmattress is obscured by a heavy blanket that covers it.", "Finally, with titanic effort, he gathers enough momentum to roll\ncompletely free of the mattress and falls to the floor beside it.", "The thing on his back now is pulling free from the bed of\nbubbling, frothing slime that the mattress now is with a sliding,\nslurping sound.", "Fascinated and sympathetic as he is however he cannot yet quite\nbrine himself to touch this creature. Instead he moves the\nmattress nearer to her, allowing her to crawl back onto it and\nlie down again.", "There is no response. KIRSTY arrives at the mattress and pulls\nthe blanket back. She leaps backwards, her hand at her mouth\nstifling a scream.", "Suddenly, without any preliminaries, two painfully thin, flayed,\nmucus-covered arms shoot out of the mattress, one on either side\nof the still-busy BROWNING.", "It takes several seconds and much pain for him to succeed, but\nsucceed he does. He flops backwards into the room.", "123 INT. OBSESSION ROOM DAY\n \nand we see the 2nd. WORKMAN. He is crouching over the mattress\nwhich is still in the middle of the floor of the otherwise empty\nroom.", "MALAHIDE gestures to the mattress. Now that his arms are free,\nBROWNING is scratching furiously.\n\n MALAHIDE\n Mr. Browning. Please, lie down.", "They wrap themselves tightly across his chest and crush him\ntightly to the mattress, as a head, similarly wasted, oozes out\nof the mattress to the side of BROWNING's head.", "As the WORKMAN stands open-mouthed, her feet clear the mattress.\nBut they don't stop there. She slows to a graceful halt about six", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "from doing this, a single drop of blood from his thumb lands on\nthe mattress. (It is important that we see it is only a single\ndrop - and nothing like the amount LARRY spilled on the", "Two legs now rise from the oozing slime that the bloodstains on\nthe mattress have become. They too wrap themselves around\nBROWNING so that he is held tight.", "2nd. WORKMAN\n ... Gimme a hand with this.\n\nAlmost faster than the eye can register it, a hand shoots out\nfrom the mattress and grabs his wrist.", "The camera TRACKS slowly up MALAHIDE's hallway. The hallway is\nlined with packing cases filled with items from the house. A\nWORKMAN is shoving something into one of the cases. As the camera\nmoves past him, he speaks.", "In the second, a very thin man of about thirty is pressed as\ntight as he can be into one corner of the room. His hair is long" ], [ "The curtains balloon inwards, part, and KYLE steps into the room.\n\nHe stands still for a moment, as if making sure he is alone, and\nthen begins to take in his surroundings.", "It takes several seconds and much pain for him to succeed, but\nsucceed he does. He flops backwards into the room.", "He stares at the mattress with incredulity, as if he still can't\nbelieve his superior has had it brought here. Then he begins to\nlook around the room in more detail. He approaches the glass\ncases and bends slightly to look at their contents.", "We approach it until finally we are above it, looking down into\nthe opening it has made in itself. There is undefined movement\ninside.", "A second later, and it is explained. He leads TIFFANY into the\nroom.\n\n TIME CUT\n\n\n70 INT. OBSESSION ROOM DAY", "In the second, a very thin man of about thirty is pressed as\ntight as he can be into one corner of the room. His hair is long", "The first WORKMAN appears hurriedly in the doorway and then\nfreezes, an awestruck expression on his face.", "As MALAHIDE enters, the first thing he sees is a bloody palm-\nprint on one of his white walls. He blinks at it and looks down\ninto the room. We CUT TO;", "When he reaches it, he pauses. We see his face working as he\nponders his choices -should he push it open inch by slow inch, or\nslam it inwards quickly?", "He is clearly very, excited. He walks around the mattress two or\nthree times, never taking his eyes off it.\n\nHe walks back to the writing table, throws his drink back, puts\nthe glass down and leaves the room.", "A second or so after this, as the GIRLS edge down the middle of\nthe room, they hear a rushing sound behind the double doors they\nare heading towards.", "Very slowly he moves his hand towards the door. The camera\nmatches his movement, moving in on his hand, the door, and the\nspace between.", "He enters an elevator and the doors close in front of him.\n\n\n32 INT. BASEMENT CORRIDOR DAY", "Carefully and slowly, KIRSTY moves across to the entrance and\nlooks down it. She is rewarded with the sight of TIFFANY just", "123 INT. OBSESSION ROOM DAY\n \nand we see the 2nd. WORKMAN. He is crouching over the mattress\nwhich is still in the middle of the floor of the otherwise empty\nroom.", "We see KYLE standing very still in the limited space behind the\ncurtains. It is clearly seen that, given the thoroughness with", "The door flies open. CHATTERER II lunges in at them.", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "38 INT. OBSESSION ROOM NIGHT\n\nThe TRACK continues.\n\nThe room is dim, lit only by stray shafts of moonlight.", "There is also one last portal he looks into. He is gazing into\na room where the floor is a vast, seething pool of maggots." ], [ "For the last months, TIFFANY has been finding ways out of the\ninstitute and making her way here, where she has one special\nobsession, which we will soon see.", "TIFFANY looks around the room again. She stares from one entrance\nto the other. Her manner is reminiscent of when she is making\ndecisions during her solving of puzzles.", "TIFFANY, who is nearest to her, helps her to her feet and, as she\ndoes so, catches sight of the BOX (or white diamond, as it is", "TIFFANY looks up at one point and eye-contact is made. KIRSTY\ngives a tentative smile and a small wave. TIFFANY stares at her.", "TIFFANY sits cross-legged in the middle of the floor. She appears\nto be alone in the room. Cradled in her lap is a Lament\nConfiguration, taken from one of the glass cases on the low\ntable.", "Into shot, and running down the midway, comes a girl, TIFFANY.\n\nTIFFANY is a girl in her early teens but looks younger\nthen her years due to her boyish figure and her slightly over-\ndelicate features.", "The puzzle, which we can now see more clearly, is an intricate\nabstract design in black and white. There are several pieces\nstill un-fitted but TIFFANY is working steadily, efficiently, and\nwith complete concentration.", "To TIFFANY this is a marvelous reward - something the jigsaw\nnever offered - and she lets out a little sound in response,", "TIFFANY's eyes widen. She rushes to the door and disappears into\nthe corridor. Within two seconds we hear an emergency alarm go\noff and TIFFANY re-enters the room.", "TIFFANY does so and KIRSTY places it under the head of LARRY,\nwhose lips are now blue and who is breathing very shallowly.\nKIRSTY looks up at TIFFANY, despair in her eyes.", "All the TIFFANYS move quietly toward him until they all disappear\nfrom view. Then the real TIFFANY comes into shot, her back to us,", "TIFFANY is completely engrossed in the box. She seems blissfully\nunaware of the changes taking place in the room.", "TIFFANY nods slowly, her eyes flicking back and forth across the\nward.", "TIFFANY stops, startled, and looks at the doorway and KIRSTY.\n\nKIRSTY raises her hands in a placatory gesture and speaks more\nsoftly.", "In short, TIFFANY's instincts were absolutely right; this too is\nanother puzzle. The girls are lost in a concrete maze, full of\ntwists and turns and labyrinthine windings.", "They are six feet from the lip of the catwalk. TIFFANY kneels\nand, holding the white diamond BOX in front of her, begins to\nmove her fingers over it. The music box tune begins to play as\nthe BOX begins to move.", "TIFFANY still sits cross-legged in the middle of the floor,\nstaring about her in astonishment.", "comes off. TIFFANY's weight pulls it clear like a very long and\nvery tasteless evening glove and it seems she will finally make\nthe long drop. At the final second, as the arm-skin comes off,", "But suddenly the two arms that have Just lost their skin fly out\nagain and catch her fingers. TIFFANY is hauled over the edge and", "Still clutched in the skin's hollow fingers is the white diamond BOX.\n\nAs they turn another corner, they see, very far in the distance,\na glimmer of light. TIFFANY points excitedly." ], [ "MALAHIDE exits the elevator into a lower corridor, one not so\ncarefully decorated.\n\nWe are in the area in which the more deeply disturbed of the\nInstitute's patients live.", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "In the fourth, a man in his early twenties restrained in a\nstrait-jacket. He shuffles around on the call-floor, his eyes\ntwitching and flitting from one part of his body to another.", "If the last room was a beauty salon, this is the orgy room. But\nthe orgy is very strange. It is a very dark room, filled with a", "KYLE returns into the room and closes the door. His expression is\npuzzled, troubled. Then he remembers there is a patient here and\nhe smiles.", "MALAHIDE has done his mistress proud. It had been an empty\nupstairs room (no furniture, bare floorboards) but now it\nresembles a nightmarish cross between a butcher's shop and a\nbordello.", "an unmistakably insane fashion, and gives them a conspiratorial\nwink. Then he simply proceeds to the other side of the ward.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "Generally the contents are unremarkable - handwritten notes, a\nfew patients case-files etc. - but in one of the drawers he\nfinds a black ring-binder which he takes out and lays on the\ntable.", "They are good at their job - within seconds LARRY is secured on\nthe gurney and they head for the door, KIRSTY and TIFFANY behind\nthem. The following exchanges are spoken on the move.", "face, filling his eyes with more subliminal images of horror as they\npass; a child, a knife, and a dead animal; a naked woman whose\nprivate parts are made of sharp, oily, metal; perfect hands", "The GIRLS run wildly along the corridor, not knowing MALAHIDE is\nworking his way through his former patients. They come to another", "KIRSTY, LARRY and TIFFANY are now gathered together to one side\nof the room near the door that leads to the corridor. They should\nleave, but a kind of sick fascination keeps them watching FRANK.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "Immediately behind her, and probing with professional skill and\ncoolness into her exposed brain, is DOCTOR MALAHIDE. He is in", "In the corner of the room, against the wall lying in a pool of\nblood, is her skinned father LARRY.", "of the very disturbed. He stops by the cell of the man in the\nstrait-jacket. We hear from the outside the familiar muttering of\nBROWNING. MALAHIDE enters the call.", "torture-pillars. And, in the room and staring at the GIRLS, are\nthe four CENOBITES.", "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?" ], [ "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "To some extent, KIRSTY's ploy is working. The CENOBITES are\nmoving closer together as they advance to the corner in which she\nstands.", "KIRSTY can't quite believe this but she has no intention of\nquestioning it. She runs into the corridor and away, with\nPINHEAD's last words echoing after her.", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "PINHEAD\n But he's in his own Hell, child\n And quite unreachable.\n\nSuddenly KIRSTY makes her break shouting out as she does so.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "Before KIRSTY can react to this, a voice issues from beyond the\ndoor.\n\n VOICE\n Kirsty!", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him.", "FRANK\n That's it, baby. Come to\n Daddy.\n\nKIRSTY stands still. There is a second where her face registers\nnothing. Then she screams.", "Suddenly, rising up from behind KIRSTY, comes PINHEAD.\n\n PINHEAD\n Ah, Kirsty. And we thought\n we'd lost you.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "She raises her hand towards KIRSTY. PINHEAD's arm flies out and\nstops her.\n\n PINHEAD\n Wait!", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy", "The scream continues, but the blackness is replaced by KIRSTY's\nanguished face; it is she who is screaming. The scream subsides,\nreplaced by breathless panting accompanied by rapid eye movement.", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher.", "We pull out to see that KIRSTY is sitting up, fully dressed, on a\nhospital bed. RONSON, a police detective, sits on a plain wooden", "RONSON\n Who?\n\n KIRSTY\n The Cenobites.\n\nShe stares directly at RONSON, daring him to disbelieve." ], [ "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "Finally, just as PINHEAD breaks from his determined but medium-\npaced stride and speeds up eagerly for the last two or three", "It seems for a moment she has succeeded. She swings around the\nside of the CENOBITES and begins to run across the chamber.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "RONSON\n Who?\n\n KIRSTY\n The Cenobites.\n\nShe stares directly at RONSON, daring him to disbelieve.", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy", "He is staring at the photograph, that great immobile brow finally\npuckering, as if something is stirring.\n\n PINHEAD\n I...remember.", "While this process has been going on, KYLE has been dying slowly\nand horribly in her arms, his lifeforce being sucked into her", "KIRSTY can't quite believe this but she has no intention of\nquestioning it. She runs into the corridor and away, with\nPINHEAD's last words echoing after her.", "The thing inside completes its escape and stands clear of the\nshredded caul. Like a new-born child, it is stained and soiled\nwith amiotic fluids and blood. But it is not a new born child.", "On a long, low table there are three glass cases. In each of\nthese cases is a Lament Configuration. On each case is a small", "The object at first resembles a large and bloody plastic bag, but\nthen internal movement begins to rip at this covering. Hands\nappear out of the rips and complete the removal. We realise that", "PINHEAD almost smiles at the naivete of the question.\n\n PINHEAD\n It's different for us.", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him." ], [ "KIRSTY\n You're full of shit, Frank Cotton.\n My Dad wasn't like that at all.\n He could feel. He could love. He\n loved ME.", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "CORTEZ prods at the corpse with his night-stick, attempting\nto turn it over. A stream of maggots pours from the mouth and\nthe cavity that used to be its throat.", "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?", "His face is frozen into a permanent expression of terror and he\nseems incapable of any independent movement, simply being pulled\nalong by FRANK.", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "FRANK howls, loud and long.\n\nWithout pausing, LARRY pulls a knife free from the wall and, with\none vicious slice, separates himself from his brother.", "Hell's equivalent of a beauty salon. He is being re-made. This\ninvolves the scar tissue being manually peeled from the upper\npart of his face to reveal beneath small, vicious, human eyes.", "There is a cry of horror off-camera. We pull out. TIFFANY has\nfollowed her friend. She stares in shock at LARRY's wounded arm\nand at the impaled FRANK.", "FRANK is still impaled on the knives, but his anguished howl has\nBecome small whimpers of complaint (with, given his history with", "neatly and calmly slices PINHEAD's throat open. The thin red line\nbecomes a torrent of blood and the former lord of Hell falls dead\nat the feet of his successor.", "As he makes this speech, the mask of his colleague stains rapidly\nwith blood, as if it is literally pouring from its mouth.\nSimultaneously, his own mask is slowly pierced by a score of nails\nbursting through from beneath.", "The three limbs detatch themselves from MALAHIDE. The three\nCENOBITES are all well above the floor, pinned and twitching like\nthe rats in FRANK's attic.", "In the corner of the room, against the wall lying in a pool of\nblood, is her skinned father LARRY.", "Suddenly, the air is full of flying chains. MALAHIDE is hooked\neverywhere. It is like a high-speed version of FRANK's final re-\ncapture in HELLRAISER. The chains start tugging almost instantly.", "Finally, just as PINHEAD breaks from his determined but medium-\npaced stride and speeds up eagerly for the last two or three", "Finally, a disembodied hand gripping a hammer drives nails into\neach corner formed by these wounds and, as the face comes into\nfull view for the first time, we realize who this is. It is\nPINHEAD from HELLRAISER.", "At this stage, the camera CUTS TO the watching PINHEAD. He lets\nthe photograph of his past life flutter to the floor.", "is entirely blue, its head entirely bald. The decorative wounds\nand tortures we saw being applied are all present; its flesh is\npeeled back in various places, its features are threaded and", "There is a ripping, bursting sound and JULIA's hand emerges from\nhis chest, covered in his blood. Clutched in her hand is his\nruptured, still pumping heart." ], [ "JULIA begins to pull up and for a moment it seems the crisis is\nover. Then a terrible and familiar ripping noise is heard: The", "JULIA licks her lips and looks down, not without affection, at\nthe dead KYLE. She smiles.\n\n JULIA\n Thank you, Kyle.", "There is a ripping, bursting sound and JULIA's hand emerges from\nhis chest, covered in his blood. Clutched in her hand is his\nruptured, still pumping heart.", "KIRSTY\n For God's sake! He KILLED you!\n\nJULIA doesn't pause. FRANK grins.", "JULIA still enveloping him. With the desperate strength with which\nshe clings to him and the way her legs are wrapped around his\nhips, it is like an obscenely perverse parody of sexual passion.", "JULIA, having presumably just replaced her skin, is not quite as\nperfect as before; there are bloody lines like scars beneath her\nears and chin as if the skin required some adjustment before\nbeing put on.", "JULIA\n I'm JULIA.\n\nShe raised one hand from his back to the back of his head and\npresses his face to hers.", "JULIA enters the room and closes the door behind her. She is\ndressed in one of MALAHIDE'S suits. It is a light weight suit of\nwhite linen, a suit for expensive holidays in hot countries.", "JULIA crosses the room rapidly towards him. Her face is a\npicture of concern.\n\n JULIA\n Oh. You look awful. You poor\n boy. Come here...", "JULIA\n Kirsty! How nice of\n you to drop in.\n\nJULIA glances meaningfully at the dead thing that lies beside her\nfeet and then back at KIRSTY.", "JULIA stares down at the unconscious body. When it was awake, it\nwas KIRSTY and her attitude to it was based on personal enmity.", "MALAHIDE crosses the room to her quickly, drawing a wicked-\nlooking kitchen knife from his pocket as he does so. He reaches\nJULIA and raises the knife to her face.", "JULIA takes her arms from around the corpse of KYLE and steps\nback, allowing the husk to fall to the floor.", "JULIA removes her arm from his stomach and slips it behind him.\nNothing happens for a second and then, suddenly, FRANK's whole", "JULIA\n Yes. I had to stop you going in\n there because I knew you'd cry\n out. Any normal person would.\n It ...It's just TERRIBLE.", "JULIA\n What's your name?\n\nKYLE can hardly speak for fear.\n\n KYLE\n Kyle...", "JULIA is fully fleshed, fully skinned, and fully dressed. She is\nin a replica of the dress MALAHIDE bought for her, but this one\nis jet black. She looks fabulous.", "His fingertips are less than an inch from touching the door when\nanother hand shoots into view and grabs his wrist.\n\nJULIA has crept up beside him on the landing while all his\nattention was on the door.", "JULIA looks at him and walks toward him slowly. She smiles. She\nstrokes his cheek. She moves closer, gently slipping her arms around", "There is of course, nothing for him to recognize from the\nmonstrous vision of the previous night. JULIA's arms, chest, and\nface are completely re-skinned now. All KYLE sees is a beautiful\nstranger in a white dress." ], [ "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "To some extent, KIRSTY's ploy is working. The CENOBITES are\nmoving closer together as they advance to the corner in which she\nstands.", "We see the door-frame of the elevator and the floor buttons\nbeside it and, looking down the corridor through the open\nelevator doors, PINHEAD and the FEMALE CENOBITE marching towards\nus.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "RONSON\n Who?\n\n KIRSTY\n The Cenobites.\n\nShe stares directly at RONSON, daring him to disbelieve.", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "The other three CENOBITES stop moving and stare at KIRSTY. Any\nadvances they were making on KIRSTY or TIFFANY stop as the same\ndim, distant, recollection begins to stir within them.", "torture-pillars. And, in the room and staring at the GIRLS, are\nthe four CENOBITES.", "It seems for a moment she has succeeded. She swings around the\nside of the CENOBITES and begins to run across the chamber.", "Surrounding her, in various parts of the room, are the four\nCENOBITES from HELLRAISER.\n\nThe FEMALE CENOBITE smiles and advances towards TIFFANY.", "We also see KIRSTY'S finger jabbing frantically at the floor\nbuttons. The doors are not closing. The CENOBITES are getting\nvery close.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "KIRSTY can't quite believe this but she has no intention of\nquestioning it. She runs into the corridor and away, with\nPINHEAD's last words echoing after her.", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "MALAHIDE looks up at the tiny noise this makes and his eyes meet\nPINHEAD'S. He turns more fully to face PINHEAD and the other\nCENOBITES who are now standing with their leader, and a strange\nsmile crosses his face", "It has the same architecture as the corridor that appeared in the\nhospital room in HELLRAISER; walls of stained gray stone broken\nup by vaguely medieval-looking arches.", "PINHEAD\n ... we have Eternity to\n know your flesh!\n\nDelighted CENOBITE laughter follows her back into the labyrinth.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy" ], [ "KIRSTY's fear and disgust are momentarily displaced by a furious\nrage as she realises what JULIA has done. Her face erupts into\nanger and she screams out.", "KIRSTY\n Kyle! No! I'll kill you,\n you...\n\nShe flings herself across the room at JULIA even as she speaks.", "JULIA completes her turn and looks at KIRSTY completely\nimpassively for a moment. Then her mouth opens up into a smile of\nwelcome - but there is nothing but hate in her eyes.", "JULIA is completely unphased by this attack and simply raises one\narm. She siezes the wrist of the arm that KIRSTY has raised into", "KIRSTY smashes into the door and falls to a sitting position\nagainst it. She is shaken and slightly hurt enough not to get to\nher feet immediately but she stares at JULIA with undimmed\nhatred.", "JULIA stares down at the unconscious body. When it was awake, it\nwas KIRSTY and her attitude to it was based on personal enmity.", "JULIA steps forward to meet her advance and delivers a single\nback-handed swipe across KIRSTY's face with such force that not\nonly is the girl knocked off her feet but is actually knocked\nunconscious.", "KIRSTY scrambles to her feet and again charges at JULIA.", "JULIA\n Kirsty! How nice of\n you to drop in.\n\nJULIA glances meaningfully at the dead thing that lies beside her\nfeet and then back at KIRSTY.", "a clenched fist and effortlessly throws KIRSTY bodily back across\nthe room. We realise for the first time the immense physical\nstrength that JULIA now possesses.", "KIRSTY\n For God's sake! He KILLED you!\n\nJULIA doesn't pause. FRANK grins.", "staggers to her feet, staring into the-bloodied face of KIRSTY,\nwho had donned JULIA's skin to help her friend.", "JULIA\n Oh, Kirsty. They didn't tell\n you, did they? I'm afraid", "Suddenly KIRSTY flies across the room at FRANK and beats at his\nback with her fists.", "KIRSTY throws her hands to her ears.\n\n KIRSTY\n Nooooo!\n\nShe rushes at one of the walls and begins beating it with her\nfists.", "52 INT. HOSPITAL ROOM NIGHT\n\nKIRSTY is again lying on her back on top of the bed. She is a\nstark contrast to JULIA. No display. No laughter.", "MALAHIDE breaks away from his kiss, his face a mixture of\nconfusion and rage. JULIA plants both hands in the middle of his", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "JULIA still enveloping him. With the desperate strength with which\nshe clings to him and the way her legs are wrapped around his\nhips, it is like an obscenely perverse parody of sexual passion." ], [ "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "PINHEAD, at a more leisurely pace, crosses towards TIFFANY and\nlooks down at her. She stares back at him, the remnants of her\ninsanity a temporary defense against fear, her face registering\nnothing.", "PINHEAD\n Go on. But trick us again,\n child, and your suffering will\n be legendary even in Hell.", "PINHEAD shakes his head.\n\n PINHEAD\n No.\n\nHe glances down at TIFFANY again.", "MALAHIDE looks up at the tiny noise this makes and his eyes meet\nPINHEAD'S. He turns more fully to face PINHEAD and the other\nCENOBITES who are now standing with their leader, and a strange\nsmile crosses his face", "The leader of the CENOBITES, PINHEAD raises a hand.\n\n PINHEAD\n Wait.\n\nThe FEMALE stops and looks questioningly at PINHEAD.", "PINHEAD\n It is not HANDS that call us...\n\nHe looks up and stares directly at the shattered two-way mirror.", "PINHEAD is backing across the room, weaving pillars in front of\nhim as he moves. MALAHIDE moves forward, knocking them out of the", "Finally, just as PINHEAD breaks from his determined but medium-\npaced stride and speeds up eagerly for the last two or three", "Suddenly, rising up from behind KIRSTY, comes PINHEAD.\n\n PINHEAD\n Ah, Kirsty. And we thought\n we'd lost you.", "PINHEAD\n Oh, Kirsty; so eager to play, so\n reluctant to admit it.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "MALAHIDE smiles. Be looks at PINHEAD again and advances. Suddenly\na heavy torture pillar smashes into him, knocking him slightly\noff-balance.", "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?", "Finally, a disembodied hand gripping a hammer drives nails into\neach corner formed by these wounds and, as the face comes into\nfull view for the first time, we realize who this is. It is\nPINHEAD from HELLRAISER.", "PINHEAD almost smiles at the naivete of the question.\n\n PINHEAD\n It's different for us.", "PINHEAD\n ... we have Eternity to\n know your flesh!\n\nDelighted CENOBITE laughter follows her back into the labyrinth.", "PINHEAD raises a hand and the box simply flies out of KIRSTY's\nhands and hovers in the air between them. KIRSTY stares, open-\nmouthed.", "Suddenly PINHEAD works at the box himself - by remote control and\nwith dazzling skill." ], [ "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "To some extent, KIRSTY's ploy is working. The CENOBITES are\nmoving closer together as they advance to the corner in which she\nstands.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "RONSON\n Who?\n\n KIRSTY\n The Cenobites.\n\nShe stares directly at RONSON, daring him to disbelieve.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "KIRSTY can't quite believe this but she has no intention of\nquestioning it. She runs into the corridor and away, with\nPINHEAD's last words echoing after her.", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY begins to work furiously at the BOX she has brought from\nMALAHIDE's house. It sent them away at the end of HELLRAISER.\nShe obviously hopes it will work again.", "PINHEAD\n But he's in his own Hell, child\n And quite unreachable.\n\nSuddenly KIRSTY makes her break shouting out as she does so.", "We also see KIRSTY'S finger jabbing frantically at the floor\nbuttons. The doors are not closing. The CENOBITES are getting\nvery close.", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him.", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "The other three CENOBITES stop moving and stare at KIRSTY. Any\nadvances they were making on KIRSTY or TIFFANY stop as the same\ndim, distant, recollection begins to stir within them.", "Suddenly, rising up from behind KIRSTY, comes PINHEAD.\n\n PINHEAD\n Ah, Kirsty. And we thought\n we'd lost you.", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "PINHEAD\n Oh, Kirsty; so eager to play, so\n reluctant to admit it.", "KIRSTY suppresses a shudder. She bites her lip, takes two or\nthree deep breaths, crosses to the door firmly, and flings it\nopen, moving into the room even as she does so.", "KIRSTY enters the room. It is as we last saw it except that\nthe walls have re-parted to give onto the corridors of Hell." ], [ "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "KIRSTY'S face fills the screen. Her voice is slightly dreamy, as\nif she is still trying to understand herself the story she is\nabout to tell.", "KIRSTY\n Wait! The mattress. You've got\n to destroy it. She DIED on it,", "KIRSTY emits a pained moan of pure anguish as she realises what\nshe is looking at.\n\n KIRSTY\n (under her breath)\n Daddy...", "For a moment, they laugh together but then stop. KIRSTY stares\ndownward and then suddenly bursts into tears.\n\n KIRSTY\n What can I do? How can I\n save him?", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "Her eyes are open and red-rimmed from weeping now. There is also\ncomplete silence.\n\nAll the more jarring, then, the sudden sound of someone fumbling\nat the handle of KIRSTY'S door.", "KIRSTY suppresses a shudder. She bites her lip, takes two or\nthree deep breaths, crosses to the door firmly, and flings it\nopen, moving into the room even as she does so.", "With a cry of horror, KIRSTY drops the frame. It lands on the\nfloor and the glass shatters. The blood continues to flow. In", "KYLE\n Nearly a doctor. I'm Kyle\n Macrae. Call me Kyle.\n\nKIRSTY draws a deep breath, temporarily calmed. She even manages\na smile.", "KIRSTY moans and opens her eyes gingerly. She puts a hand to her\nface, rubbing at the place where JULIA hit her.", "We pull out to see that KIRSTY is sitting up, fully dressed, on a\nhospital bed. RONSON, a police detective, sits on a plain wooden", "chest, the hands clutching his shoulders. He opens his eyes and\nlooks at KIRSTY for a second, his expression one of surprise.\nThen his eyes roll up into the sockets and he collapses to the", "He exits hurriedly, closing the door behind him. KIRSTY grins\ndespite herself. She looks at the pill for a second or two and", "KYLE enters, having heard KIRSTY crying. She is sitting with her\nlegs over the side of the bed with her face in her hands.", "KIRSTY throws her hands to her ears.\n\n KIRSTY\n Nooooo!\n\nShe rushes at one of the walls and begins beating it with her\nfists.", "KIRSTY looks back at the photograph and snatches it up, with a\nlook of concern.\n\nThe photograph has changed. It is now a wedding photo. The\nwedding of LARRY and JULIA.", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY nods and pulls at the door handle.\n\n KIRSTY\n Get out of the way.\n\n KYLE\n Are you crazy?", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher." ], [ "On a long, low table there are three glass cases. In each of\nthese cases is a Lament Configuration. On each case is a small", "The room is entirely devoted to MALAHIDE'S secret obsession -\nwith the Paranormal in general and the Lament Configuration in\nparticular.", "Specifically, we recognize a print that resembles very closely\nthe jigsaw he has had TIFFANY recently solve. Also, there are\nframed diagrams (which look very old) of the Lament Configuration\n-Both open and closed.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "We see the door-frame of the elevator and the floor buttons\nbeside it and, looking down the corridor through the open\nelevator doors, PINHEAD and the FEMALE CENOBITE marching towards\nus.", "It has the same architecture as the corridor that appeared in the\nhospital room in HELLRAISER; walls of stained gray stone broken\nup by vaguely medieval-looking arches.", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "TIFFANY sits cross-legged in the middle of the floor. She appears\nto be alone in the room. Cradled in her lap is a Lament\nConfiguration, taken from one of the glass cases on the low\ntable.", "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?", "torture-pillars. And, in the room and staring at the GIRLS, are\nthe four CENOBITES.", "MALAHIDE looks up at the tiny noise this makes and his eyes meet\nPINHEAD'S. He turns more fully to face PINHEAD and the other\nCENOBITES who are now standing with their leader, and a strange\nsmile crosses his face", "PINHEAD glances theatrically around the room, as if checking\nsomething.\n\n PINHEAD\n Oh. No Boxes. Such a shame.", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "It is like the TORTURE ROOM in HELLRAISER. The walls are black,\nthe floor slimy, and the room filled with chains, hooks, and", "Two of the walls simply part physically, revealing entrances into\nthe corridors of Hell. These corridors are lined with gray walls\nand seem to run for a great distance.", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "There is also one last portal he looks into. He is gazing into\na room where the floor is a vast, seething pool of maggots.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "Finally, just as PINHEAD breaks from his determined but medium-\npaced stride and speeds up eagerly for the last two or three", "the final piece clicks into positions we see it is THE LAMENT\nCONFIGURATION from HELLRAISER." ], [ "As they come together, the camera moves around them and we see,\nfor the first time, that JULIA is still incomplete; Her entire\nback is still glistening raw flesh, the naked bones of the spine\nstill clearly visible.", "There is a ripping, bursting sound and JULIA's hand emerges from\nhis chest, covered in his blood. Clutched in her hand is his\nruptured, still pumping heart.", "JULIA, having presumably just replaced her skin, is not quite as\nperfect as before; there are bloody lines like scars beneath her\nears and chin as if the skin required some adjustment before\nbeing put on.", "There is a terrible ripping sound. JULIA's new skin, so recently\ngained, is giving up its hold and has ripped right up the spine.\nJULIA is drawn from it.", "There is of course, nothing for him to recognize from the\nmonstrous vision of the previous night. JULIA's arms, chest, and\nface are completely re-skinned now. All KYLE sees is a beautiful\nstranger in a white dress.", "With one swift, precise movement, he slices the bandages across\nthe side of her face. JULIA raises her hand and pulls the mask\naway.", "JULIA'S arms, torso, and head are now completely enclosed in\nneatly and professionally applied bandages. There are three slits", "base of her spine and gradually flowing up her back until finally\nit meets and blends perfectly with ragged and raw edges of the\nskin at her neck and shoulders. JULIA is complete again.", "JULIA\n NOOOOOOOOOO!\n\nWith a final, slurping sound, the skinned woman slips from the\nskin and disappears down the new corridor.", "94 INT. THE CENTRE OF HELL\n\nJULIA is being given more glimpses of the transforming MALAHIDE.", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "His eyes widen in both agony and horror.\n\nJULIA smiles.\n\n JULIA\n Goodbye, Doctor. It's been real.", "It seems for a moment she has succeeded. She swings around the\nside of the CENOBITES and begins to run across the chamber.", "The thing inside completes its escape and stands clear of the\nshredded caul. Like a new-born child, it is stained and soiled\nwith amiotic fluids and blood. But it is not a new born child.", "JULIA still enveloping him. With the desperate strength with which\nshe clings to him and the way her legs are wrapped around his\nhips, it is like an obscenely perverse parody of sexual passion.", "Surrounding her, in various parts of the room, are the four\nCENOBITES from HELLRAISER.\n\nThe FEMALE CENOBITE smiles and advances towards TIFFANY.", "JULIA begins to pull up and for a moment it seems the crisis is\nover. Then a terrible and familiar ripping noise is heard: The", "Suddenly, her head tips back and, accompanied by JULIA's\ndelighted laughter, a wide beam of Hell's black light flies at", "JULIA is fully fleshed, fully skinned, and fully dressed. She is\nin a replica of the dress MALAHIDE bought for her, but this one\nis jet black. She looks fabulous.", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the" ], [ "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "The scream continues, but the blackness is replaced by KIRSTY's\nanguished face; it is she who is screaming. The scream subsides,\nreplaced by breathless panting accompanied by rapid eye movement.", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "KYLE enters, having heard KIRSTY crying. She is sitting with her\nlegs over the side of the bed with her face in her hands.", "KIRSTY screams and stares pleadingly, at the still frozen LARRY.\n\n KIRSTY\n Daddy! Daddy! I love you! Help me!", "KIRSTY has been dozing fitfully, but is awakened by strange\nnoises. At first terrified, she slowly realises it is simply\nsomeone being put in the room next door.", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher.", "KIRSTY emits a pained moan of pure anguish as she realises what\nshe is looking at.\n\n KIRSTY\n (under her breath)\n Daddy...", "KIRSTY moans and opens her eyes gingerly. She puts a hand to her\nface, rubbing at the place where JULIA hit her.", "KIRSTY\n Oh, Jesus. What is it?\n\nKYLE opens his mouth a few times, as if unsure what to say.", "KIRSTY covers her eyes with her hands and begins to sob.\n\nKIRSTY takes her hands from her eyes.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "KIRSTY'S face fills the screen. Her voice is slightly dreamy, as\nif she is still trying to understand herself the story she is\nabout to tell.", "A low moan comes from the far end of the room. KIRSTY assumes it\nissues from the figure hidden beneath the blanket and walks\nnearer, lifting her arm in readiness to remove the blanket.", "KYLE\n I think I need to talk. About\n what I saw.\n\nKIRSTY emerges, fully dressed, her hair still damp.", "KIRSTY gulps back a sob and her eyes fill with tears.\n\n KIRSTY\n Daddy... ?\n\nThe figure leans slowly into the light, speaking as he does\nso.", "For a moment, they laugh together but then stop. KIRSTY stares\ndownward and then suddenly bursts into tears.\n\n KIRSTY\n What can I do? How can I\n save him?", "LARRY is unconscious. TIFFANY gasps. KIRSTY looks up at her.\n\n KIRSTY\n Get help." ], [ "KIRSTY has been dozing fitfully, but is awakened by strange\nnoises. At first terrified, she slowly realises it is simply\nsomeone being put in the room next door.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "A low moan comes from the far end of the room. KIRSTY assumes it\nissues from the figure hidden beneath the blanket and walks\nnearer, lifting her arm in readiness to remove the blanket.", "KYLE\n Almost complete withdrawal. She\n hasn't said a word for nearly\n two years.\n\n KIRSTY\n God, that's terrible.", "KYLE\n Sad, huh? She's been here\n six months. Her name's TIFFANY.\n\n KIRSTY\n What's the matter with her?", "TIFFANY looks up at one point and eye-contact is made. KIRSTY\ngives a tentative smile and a small wave. TIFFANY stares at her.", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him.", "Her eyes are open and red-rimmed from weeping now. There is also\ncomplete silence.\n\nAll the more jarring, then, the sudden sound of someone fumbling\nat the handle of KIRSTY'S door.", "There is no response. KIRSTY arrives at the mattress and pulls\nthe blanket back. She leaps backwards, her hand at her mouth\nstifling a scream.", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher.", "We pull out to see that KIRSTY is sitting up, fully dressed, on a\nhospital bed. RONSON, a police detective, sits on a plain wooden", "52 INT. HOSPITAL ROOM NIGHT\n\nKIRSTY is again lying on her back on top of the bed. She is a\nstark contrast to JULIA. No display. No laughter.", "TIFFANY stops, startled, and looks at the doorway and KIRSTY.\n\nKIRSTY raises her hands in a placatory gesture and speaks more\nsoftly.", "KYLE ushers KIRSTY back into her own room.\n\n\n27 INT. HOSPITAL ROOM DAY", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY\n (slightly louder)\n Kyle?\n\nShe can't hear anything, but she regards that as a bad sign, not\na good one. She leaves the room.", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "KIRSTY throws her hands to her ears.\n\n KIRSTY\n Nooooo!\n\nShe rushes at one of the walls and begins beating it with her\nfists.", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "KIRSTY walks carefully around the screen, giving it a wide berth\nin case of a trick.\n\nThere is a figure standing against the wall behind the screen. It\nis deeply shadowed by the screen itself but is clearly male." ], [ "TIFFANY looks around the room again. She stares from one entrance\nto the other. Her manner is reminiscent of when she is making\ndecisions during her solving of puzzles.", "For the last months, TIFFANY has been finding ways out of the\ninstitute and making her way here, where she has one special\nobsession, which we will soon see.", "The puzzle, which we can now see more clearly, is an intricate\nabstract design in black and white. There are several pieces\nstill un-fitted but TIFFANY is working steadily, efficiently, and\nwith complete concentration.", "To TIFFANY this is a marvelous reward - something the jigsaw\nnever offered - and she lets out a little sound in response,", "TIFFANY, who is nearest to her, helps her to her feet and, as she\ndoes so, catches sight of the BOX (or white diamond, as it is", "Into shot, and running down the midway, comes a girl, TIFFANY.\n\nTIFFANY is a girl in her early teens but looks younger\nthen her years due to her boyish figure and her slightly over-\ndelicate features.", "TIFFANY looks up at one point and eye-contact is made. KIRSTY\ngives a tentative smile and a small wave. TIFFANY stares at her.", "TIFFANY is completely engrossed in the box. She seems blissfully\nunaware of the changes taking place in the room.", "TIFFANY sits cross-legged in the middle of the floor. She appears\nto be alone in the room. Cradled in her lap is a Lament\nConfiguration, taken from one of the glass cases on the low\ntable.", "TIFFANY does so and KIRSTY places it under the head of LARRY,\nwhose lips are now blue and who is breathing very shallowly.\nKIRSTY looks up at TIFFANY, despair in her eyes.", "persuasions have succeeded, but MALAHIDE's training has been too\nthorough; TIFFANY knows a puzzle when she sees one. She smiles", "TIFFANY nods again, more emphatically.\n\n KIRSTY\n Yeah!\n\nKIRSTY throws her arms around TIFFANY and hugs her.", "TIFFANY's eyes widen. She rushes to the door and disappears into\nthe corridor. Within two seconds we hear an emergency alarm go\noff and TIFFANY re-enters the room.", "TIFFANY nods slowly, her eyes flicking back and forth across the\nward.", "Suddenly TIFFANY makes a sharp turn and enters an intersecting\ncorridor. KIRSTY is forced to increase her speed even more.", "In short, TIFFANY's instincts were absolutely right; this too is\nanother puzzle. The girls are lost in a concrete maze, full of\ntwists and turns and labyrinthine windings.", "1st INTERN\n Oh, Jesus -she's gonna make it.\n\nEven as the first INTERN says this, we see TIFFANY make a sharp\nleft turn into a stall entrance.", "comes off. TIFFANY's weight pulls it clear like a very long and\nvery tasteless evening glove and it seems she will finally make\nthe long drop. At the final second, as the arm-skin comes off,", "They are six feet from the lip of the catwalk. TIFFANY kneels\nand, holding the white diamond BOX in front of her, begins to\nmove her fingers over it. The music box tune begins to play as\nthe BOX begins to move.", "But suddenly the two arms that have Just lost their skin fly out\nagain and catch her fingers. TIFFANY is hauled over the edge and" ], [ "There is a ripping, bursting sound and JULIA's hand emerges from\nhis chest, covered in his blood. Clutched in her hand is his\nruptured, still pumping heart.", "Kyle's expression is a mixture of terror and confusion as he\nstares into the beautiful face of the monster.\n\nJULIA smiles at him, a hungry, aroused smile.", "As they come together, the camera moves around them and we see,\nfor the first time, that JULIA is still incomplete; Her entire\nback is still glistening raw flesh, the naked bones of the spine\nstill clearly visible.", "Now, it is simply another body and she judges it differently; it\nis firm, full, healthy, and young. We see the expression on her\nface change from hatred and triumph to pure appetite. She licks", "JULIA moves in towards the girl, her eyes glittering with an alien\nhunger beneath their gauze mask. As she nears the girl, the TRACK\npasses them and moves through the room.", "His eyes widen in both agony and horror.\n\nJULIA smiles.\n\n JULIA\n Goodbye, Doctor. It's been real.", "JULIA\n NOOOOOOOOOO!\n\nWith a final, slurping sound, the skinned woman slips from the\nskin and disappears down the new corridor.", "JULIA licks her lips and looks down, not without affection, at\nthe dead KYLE. She smiles.\n\n JULIA\n Thank you, Kyle.", "Suddenly, her head tips back and, accompanied by JULIA's\ndelighted laughter, a wide beam of Hell's black light flies at", "JULIA, having presumably just replaced her skin, is not quite as\nperfect as before; there are bloody lines like scars beneath her\nears and chin as if the skin required some adjustment before\nbeing put on.", "TIFFANY, finally, realising what has happened, screams in terror\nand disgust, especially when she looks at what she has brought round\nthe corner in her hand. She drops JULIA's skin to the floor as", "There is of course, nothing for him to recognize from the\nmonstrous vision of the previous night. JULIA's arms, chest, and\nface are completely re-skinned now. All KYLE sees is a beautiful\nstranger in a white dress.", "JULIA still enveloping him. With the desperate strength with which\nshe clings to him and the way her legs are wrapped around his\nhips, it is like an obscenely perverse parody of sexual passion.", "JULIA crosses the room rapidly towards him. Her face is a\npicture of concern.\n\n JULIA\n Oh. You look awful. You poor\n boy. Come here...", "JULIA looks at him and walks toward him slowly. She smiles. She\nstrokes his cheek. She moves closer, gently slipping her arms around", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "While this process has been going on, KYLE has been dying slowly\nand horribly in her arms, his lifeforce being sucked into her", "It seems for a moment she has succeeded. She swings around the\nside of the CENOBITES and begins to run across the chamber.", "The TRACKING is now completing its circle around the room. After\nthe corpses, we return to JULIA and the GIRL - but the GIRL too\nis now a hollow, dried-out shell.", "With one swift, precise movement, he slices the bandages across\nthe side of her face. JULIA raises her hand and pulls the mask\naway." ], [ "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "PINHEAD almost smiles at the naivete of the question.\n\n PINHEAD\n It's different for us.", "PINHEAD raises a hand and the box simply flies out of KIRSTY's\nhands and hovers in the air between them. KIRSTY stares, open-\nmouthed.", "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?", "MALAHIDE looks up at the tiny noise this makes and his eyes meet\nPINHEAD'S. He turns more fully to face PINHEAD and the other\nCENOBITES who are now standing with their leader, and a strange\nsmile crosses his face", "PINHEAD glances theatrically around the room, as if checking\nsomething.\n\n PINHEAD\n Oh. No Boxes. Such a shame.", "The leader of the CENOBITES, PINHEAD raises a hand.\n\n PINHEAD\n Wait.\n\nThe FEMALE stops and looks questioningly at PINHEAD.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "PINHEAD\n Go on. But trick us again,\n child, and your suffering will\n be legendary even in Hell.", "We see the door-frame of the elevator and the floor buttons\nbeside it and, looking down the corridor through the open\nelevator doors, PINHEAD and the FEMALE CENOBITE marching towards\nus.", "PINHEAD shakes his head.\n\n PINHEAD\n No.\n\nHe glances down at TIFFANY again.", "PINHEAD\n ... we have Eternity to\n know your flesh!\n\nDelighted CENOBITE laughter follows her back into the labyrinth.", "PINHEAD\n How can it send us back, child?\n We're already here. And so are you.", "PINHEAD\n It is not HANDS that call us...\n\nHe looks up and stares directly at the shattered two-way mirror.", "PINHEAD\n No more deals, Kirsty. It's\n your flesh we want to experience,\n not your skill at bargaining.", "PINHEAD\n Oh, Kirsty; so eager to play, so\n reluctant to admit it.", "PINHEAD\n ... It is DESIRE.\n\n\n77 INT. OBSESSION ROOM ALCOVE DAY" ], [ "KIRSTY gulps back a sob and her eyes fill with tears.\n\n KIRSTY\n Daddy... ?\n\nThe figure leans slowly into the light, speaking as he does\nso.", "KIRSTY\n No, No, this one didn't escape.\n You told me you'd always been\n in Hell. You were wrong. Look\n at it. LOOK. IT'S YOU.", "is revealed. It is his brother, LARRY. KIRSTY's father.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY emits a pained moan of pure anguish as she realises what\nshe is looking at.\n\n KIRSTY\n (under her breath)\n Daddy...", "PINHEAD\n But he's in his own Hell, child\n And quite unreachable.\n\nSuddenly KIRSTY makes her break shouting out as she does so.", "LARRY\n No. I've had enough of this shit.\n Who the hell are you?\n\n KIRSTY\n It's ...", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "KIRSTY\n (shouting)\n Because I'm going to get my father!", "FRANK\n I'm your Daddy now, Kirsty.\n\nFRANK leans in to kiss the terrified KIRSTY.", "KIRSTY\n Yeah? He got a ticket to Hell?\n\n\n34 INT. HOSPITAL CORRIDOR DAY", "FRANK\n That's it, baby. Come to\n Daddy.\n\nKIRSTY stands still. There is a second where her face registers\nnothing. Then she screams.", "KIRSTY\n (Very Tentatively)\n Daddy...?\n\n Only a low moan comes from behind the door.", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him.", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy", "KIRSTY\n You're full of shit, Frank Cotton.\n My Dad wasn't like that at all.\n He could feel. He could love. He\n loved ME.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips" ], [ "neatly and calmly slices PINHEAD's throat open. The thin red line\nbecomes a torrent of blood and the former lord of Hell falls dead\nat the feet of his successor.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "Finally, just as PINHEAD breaks from his determined but medium-\npaced stride and speeds up eagerly for the last two or three", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "MALAHIDE looks up at the tiny noise this makes and his eyes meet\nPINHEAD'S. He turns more fully to face PINHEAD and the other\nCENOBITES who are now standing with their leader, and a strange\nsmile crosses his face", "Suddenly, rising up from behind KIRSTY, comes PINHEAD.\n\n PINHEAD\n Ah, Kirsty. And we thought\n we'd lost you.", "PINHEAD, at a more leisurely pace, crosses towards TIFFANY and\nlooks down at her. She stares back at him, the remnants of her\ninsanity a temporary defense against fear, her face registering\nnothing.", "door. Simultaneously to this, MALAHIDE and PINHEAD find each\nother's eyes a final time. For a second, everything is still then\na single bladed limb flies across the space between them and", "PINHEAD shakes his head.\n\n PINHEAD\n No.\n\nHe glances down at TIFFANY again.", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "MALAHIDE smiles. Be looks at PINHEAD again and advances. Suddenly\na heavy torture pillar smashes into him, knocking him slightly\noff-balance.", "PINHEAD raises a hand and the box simply flies out of KIRSTY's\nhands and hovers in the air between them. KIRSTY stares, open-\nmouthed.", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy", "We see the door-frame of the elevator and the floor buttons\nbeside it and, looking down the corridor through the open\nelevator doors, PINHEAD and the FEMALE CENOBITE marching towards\nus.", "PINHEAD is backing across the room, weaving pillars in front of\nhim as he moves. MALAHIDE moves forward, knocking them out of the", "KIRSTY can't quite believe this but she has no intention of\nquestioning it. She runs into the corridor and away, with\nPINHEAD's last words echoing after her.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "Suddenly, as quickly as it came, the hook withdraws from the wall\nand flies back into nothingness.\n\nPINHEAD puts out his hand in an expansive gesture.", "PINHEAD\n But he's in his own Hell, child\n And quite unreachable.\n\nSuddenly KIRSTY makes her break shouting out as she does so." ] ]	[ "What has Dr. Channard been searching for ?", "What awakens Kirsty?", "Where does Kirsty believe her father is?", "Who does Julia manage to seduce?", "What world is entered by unlocking the Lament Configuration?", "How does Cotton lure Kirsty?", "Who becomes a Cenobite?", "What happens to the mover as he is removing the matress?", "What does the second Mover observe as he enters?", "What is Tiffany's special talent?", "Wht does Dr. Channard bring mentally ill patients into his home?", "How does Kirsty trick Dr. Channard?", "What has Dr. Channard been searching for for years?", "What is Frank Cotton's punishment?", "Who killed Julia before the beginning of this story?", "Who do the Cenobites eventually target as the result of the opening of the portal into their dimension?", "What makes Kirsty attack Julia?", "Who is Pinhead?", "Why does Kirsty enter the Cenobite's domain?", "What does Kirsty beg her doctor to destroy at the beginning of the story?", "The lament configuration, which Dr Channard is searching for, is the doorway to where?", "When Dr. Channard frees Julia from the Cenobite dimension, she is whole except what?", "Who awakens Kristy to plead for help in the form of an otherworldly vision?", "What is the name of the young mute patient Kirsty befriends?", "What activity is Tiffany especially good at?", "Who does Julie feed on thanks to Dr. Channard's help?", "According to Pinhead, it's not the physical act of opening the box, but what that makes the Cenobites attack someone?", "Who turns out to be impersonating Kirsty's father in order to lure her to hell?", "Who ultimately kills Pinhead and his minions? " ]	[ [ "The Lament Configuration", "A doorway." ], [ "Visions of her father", "A vision of her father. " ], [ "In Hell", "In hell." ], [ "Channard", "Dr. Channard" ], [ "the world of Pinhead and the Cenobites.", "The world of the Cenobites" ], [ "By pretending to be her father", "by pretending to be her father" ], [ "Dr. Channard", "Dr. Channard" ], [ "He is killed", "He is killed" ], [ "A Pillar of Cenobites ", "A large spinning pillar with Cenobite faces" ], [ "Solving puzzles.", "she does not desire anything" ], [ "So that Julia can feed on them to regain her physical form.", "So that Julia can feed on them. " ], [ "By putting on Julia's skin.", "She puts on Julia's skin" ], [ "The Lament Configuration, the portal into another dimension.", "The Lament Configuration" ], [ "To be seduced by the images of sexually available women that he can never have.", "To be seduced and teased by women in Hell. " ], [ "Frank Cotton.", "Frank" ], [ "Dr. Channard.", "the movers" ], [ "Kirsty has found out that Julia killed MacRae.", "Julia kills MacRae" ], [ "A leader among the Cenobites.", "A Cenobite" ], [ "To try to rescue her father, who she believes is trapped in hell.", "to save who she believes to be her father" ], [ "The bloody mattress her step mother died on.", "The mattress from the first film." ], [ "The world of the cenobites. ", "The world of the Cenobites" ], [ "She doesn't have skin.", "skin" ], [ "Her father.", "Her father. " ], [ "Tiffany.", "Tiffany." ], [ "Solving puzzles. ", "solving puzzles" ], [ "Dr. Channard's mentally ill patients. ", "mentally ill patients" ], [ "Desire.", "The desire" ], [ "Frank Cotton. ", "Frank Cotton" ], [ "Doctor Channard. ", "Dr Channard" ] ]	b8b22116b9e2dba278243ab9a20b92cdd925f791	train
[ [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "Clothes are woven on iron looms, sewed with iron needles, and fastened\ntogether with buttons containing iron. Books are printed and bound by\niron machines, and sometimes written with iron pens or on iron", "are living now, but they are dwarfs, while their ancestors were\ngiants. There is a little \"horse-tail\" growing in our meadows, and", "There was only one place in what is now the United States where they\ncould do this, and that was in northern Michigan. A long point of land", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "II\n\nDOWN IN THE QUARRIES", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "earth was not nearly so thick as it is now, and much heat came from\nthe earth itself. Many plants and trees grow best in warm, moist air;\nand such plants flourished in those days. Some of their descendants", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled", "the mountains, and water was brought by means of ditches or pipes to a\nconvenient place. Then it was allowed to rush furiously through a\nhose and nozzle, and the great stream coming with tremendous force was", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "matter. Cattle that have been shut away from it for a while are almost\nwild to get it. Farmers living among the mountains sometimes drive\ntheir cattle to a mountain pasture to remain there through the summer," ], [ "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * * ", "soak through it. Then he divides it into large square basins, making\neach a little lower than the one before it. Close beside the highest\nbasin he makes a reservoir which at high tide receives water from the", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "salt,\" between the great ornamental salt cellar and the master of the\nhouse, was a mark of honor. Less distinguished guests were seated", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "churches with pillars, shrines, and statues; there are stairs,\nmonuments, and restaurants; there is a ballroom three hundred feet\nlong and one hundred and ninety feet high, with beautiful chandeliers,", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "will see white ledges cropping out here and there. The little villages\nare white because many of the houses are built of marble. Then, too,\nthere are great marble quarries flashing in the sunshine. Sometimes a", "or four ordinary church steeples. You get into the \"cage,\" a great\nsteel box, and are lowered down, down, down. At last the cage stops", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "A famous Latin poet named Horace, who lived two thousand years ago,\nwrote of his poems, \"I have reared a monument more lasting than", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "the mountains, and water was brought by means of ditches or pipes to a\nconvenient place. Then it was allowed to rush furiously through a\nhose and nozzle, and the great stream coming with tremendous force was", "at it was concerned. At the age of twenty-one, the young man\ngraduated, but even his new diploma could not keep his mind away from" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "way. It is still used by the natives of the interior of Africa. But if\nall the iron was made by this method, it would be far more costly than", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "brought misfortune to whoever owned them. The man who possessed them\ntried his best to get rid of the troublesome articles, but they always", "II\n\nDOWN IN THE QUARRIES", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "better in Nevada. They wanted to go somewhere else, but they had not\nmoney enough for the journey; so they kept on with their work at the\nfoot of Mount Davidson, washing the gravel and saving the little gold", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "III\n\nHOUSES OF SAND", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled" ], [ "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "1. Their socialized point of view--all problems and topics taken from\nthe everyday life of children, home interests, community interests,\ncommon business and industries. 2. Their attractiveness to", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "Everybody would be out of work. If you wish to see how it would seem,\ntry for an hour to use nothing that is of iron or has been made by\nusing iron.", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work" ], [ "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "II\n\nDOWN IN THE QUARRIES", "or four ordinary church steeples. You get into the \"cage,\" a great\nsteel box, and are lowered down, down, down. At last the cage stops", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "enough, people never doubted that it would cure all their diseases,\nand they gladly bought the oil of the Indians." ], [ "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "better in Nevada. They wanted to go somewhere else, but they had not\nmoney enough for the journey; so they kept on with their work at the\nfoot of Mount Davidson, washing the gravel and saving the little gold", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "their feet, they would have taken their picks and shovels and begun to\ndig, instead of trying to get out of the region as soon as might be.\nTen years later, the California placers were becoming exhausted, and", "There was only one place in what is now the United States where they\ncould do this, and that was in northern Michigan. A long point of land", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Every newcomer hoped to discover a vein; and within a year or two the\ndistrict around the Comstock lode was full of deep shafts, many of", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "Among those who were working in what is now the State of Nevada were\ntwo Irishmen who had been unlucky in California and had fared no", "This was about ten years after the rush to California for gold, and\nnow that this cheaper and quicker method of making a well had been", "When gold was first discovered in California, in 1848, people from all\nover the world made a frantic rush to get there, every one of them", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "some land in Pennsylvania that seemed promising and set to work to\ndig a well. But the more they dug, the more the loose dirt fell in\nupon them. Fortunately for the company, the superintendent had brains,", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "Before many years had passed, the gold that was near the surface had\nbeen gathered. The miners then followed the streams up into the", "them abandoned and half-hidden by low brush, but some of them yielding\nquantities of gold and silver. Before this, there had been only about\na thousand people in what is now Nevada, but in two years after the", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "Clothes are woven on iron looms, sewed with iron needles, and fastened\ntogether with buttons containing iron. Books are printed and bound by\niron machines, and sometimes written with iron pens or on iron", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "this has been arranged, he builds his derrick. This consists of four\nstrong upright beams firmly held together by crossbeams. It stands\ndirectly over the place where the well is to be dug. It is from thirty", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "move freely among them. The sides of the structure are covered with\nburnt brick and mud, but the top is left open to allow the steam from\nthe hot bricks to escape. The fires are in flues that are left at the", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * ", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "The work is based upon the familiar experiences and activities of\nchildren, and follows as closely as possible the child's own method of\nacquiring new knowledge and skill.", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "grandfathers would have opened their eyes wide at the suggestion of a\nhouse built of sand, and would have felt anxious at every rainfall\nlest their homes should suddenly melt away. Even after thousands of", "People often say that the latter half of the nineteenth century was\nthe Age of Steel, because so many new uses for steel were found at\nthat time. The twentieth century promises to be the Age of", "put them together as if they were the sides and ends of square boxes,\nand piled them one above another, making hollow pillars. He fastened\nthese firmly together and filled the space inside with waste rock,", "III\n\nHOUSES OF SAND", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "A famous Latin poet named Horace, who lived two thousand years ago,\nwrote of his poems, \"I have reared a monument more lasting than", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part" ], [ "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "upon a car, and it is carried to the shed to be cut into shape,\nsmoothed, and perhaps polished.", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "this has been arranged, he builds his derrick. This consists of four\nstrong upright beams firmly held together by crossbeams. It stands\ndirectly over the place where the well is to be dug. It is from thirty", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "All that shows on the surface is the machinery shed where the various\nengines work to keep the air fresh, and bring up the miners and the\ncoal.]", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "hammers go down the line and strike each wedge almost as gently as if\nit was a nut whose kernel they were afraid of crushing. They go down\nthe line again, striking as softly as before. Then, if you look", "better in Nevada. They wanted to go somewhere else, but they had not\nmoney enough for the journey; so they kept on with their work at the\nfoot of Mount Davidson, washing the gravel and saving the little gold" ], [ "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "the engines, makes the bottom of the quarry a gloomy place. Everywhere\nthere are slender ladders with men running up and down them. There", "III\n\nHOUSES OF SAND", "of the fire-breathing dragons of the old story-books; and if it should\nget loose, it would devour whomever it touched far quicker than any", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "and you are at the bottom of the mine. The miners' faces, hands,\noveralls, are all black with coal dust. They wear tiny lamps on their", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "II\n\nDOWN IN THE QUARRIES", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "grandfathers would have opened their eyes wide at the suggestion of a\nhouse built of sand, and would have felt anxious at every rainfall\nlest their homes should suddenly melt away. Even after thousands of", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "The college boy thought by day and dreamed by night of the metal that\nwas everywhere, but that might as well be nowhere, so far as getting" ], [ "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "their feet, they would have taken their picks and shovels and begun to\ndig, instead of trying to get out of the region as soon as might be.\nTen years later, the California placers were becoming exhausted, and", "better in Nevada. They wanted to go somewhere else, but they had not\nmoney enough for the journey; so they kept on with their work at the\nfoot of Mount Davidson, washing the gravel and saving the little gold", "There was only one place in what is now the United States where they\ncould do this, and that was in northern Michigan. A long point of land", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "Among those who were working in what is now the State of Nevada were\ntwo Irishmen who had been unlucky in California and had fared no", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Before many years had passed, the gold that was near the surface had\nbeen gathered. The miners then followed the streams up into the", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "them abandoned and half-hidden by low brush, but some of them yielding\nquantities of gold and silver. Before this, there had been only about\na thousand people in what is now Nevada, but in two years after the", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "This was about ten years after the rush to California for gold, and\nnow that this cheaper and quicker method of making a well had been", "through the heart of the mountain, letting out the hot water and the\nfoul air. The owners of some of the mines joined him in raising the\nmoney, and the tunnel was dug. Through this the water ran out. The", "Every newcomer hoped to discover a vein; and within a year or two the\ndistrict around the Comstock lode was full of deep shafts, many of", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "the top of the coal, pushed in a cartridge, thrust in a slender squib,\nlighted it, and ran for his life. The cartridge exploded, and perhaps", "The ancient rivers had also carried gold to the valleys, and to\ncollect this a dredge, which the miners called a \"gold ship,\" came", "the mountains, and water was brought by means of ditches or pipes to a\nconvenient place. Then it was allowed to rush furiously through a\nhose and nozzle, and the great stream coming with tremendous force was", "himself, \"Why cannot we simply run a pipe directly from the well to\nthe railroad?\" This was done. Pumping engines were put in a few miles" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "Clothes are woven on iron looms, sewed with iron needles, and fastened\ntogether with buttons containing iron. Books are printed and bound by\niron machines, and sometimes written with iron pens or on iron", "In almost every kind of work new methods are invented after a while.\nIn quarrying, however, the same old methods are in use. The only", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "People often say that the latter half of the nineteenth century was\nthe Age of Steel, because so many new uses for steel were found at\nthat time. The twentieth century promises to be the Age of", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * ", "seen, then widen and grow rich in gold, then suddenly come to an end.\nThis is why a new mine is so uncertain an enterprise. The gold may", "Once these holes were bored by hand, but now they are made with\npowerful drills that work by compressed air. A little later other men\ncome and set off cartridges. In the morning when the dust has settled", "scattered planks floating on the surface of the water. Clocks and\nwatches would become empty cases. There would be no machines for\nmanufacturing or for agriculture, not even a spade to dig a garden.", "When the bricks come out of the kiln, some of them are good and some\nare not. Those that were on the outside are not burned enough; those", "Every newcomer hoped to discover a vein; and within a year or two the\ndistrict around the Comstock lode was full of deep shafts, many of", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the" ], [ "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "II\n\nDOWN IN THE QUARRIES", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "A famous Latin poet named Horace, who lived two thousand years ago,\nwrote of his poems, \"I have reared a monument more lasting than", "high and coming down to the water's edge. The marks of tools could be\nseen on them, showing where blocks of stone had evidently been split\noff. I picked up a piece of the rock and examined it closely. It", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "Once these holes were bored by hand, but now they are made with\npowerful drills that work by compressed air. A little later other men\ncome and set off cartridges. In the morning when the dust has settled", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "remains with you. Unlike them, however, it brings good fortune,\nbecause it saves time and trouble and patience and money.", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "The four books of this series have been written not merely to provide\nagreeable reading matter for children, but to give them information.", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "Clothes are woven on iron looms, sewed with iron needles, and fastened\ntogether with buttons containing iron. Books are printed and bound by\niron machines, and sometimes written with iron pens or on iron", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "grandfathers would have opened their eyes wide at the suggestion of a\nhouse built of sand, and would have felt anxious at every rainfall\nlest their homes should suddenly melt away. Even after thousands of", "There is nothing certain about the search for oil. In some places it\nis near the surface, in others it is perhaps three or four thousand", "salt\" means not to accept it entirely, but only to believe it\npartially. When Christ told his disciples that they were \"the salt of\nthe earth,\" he meant that their lives and teaching would influence", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "II\n\nDOWN IN THE QUARRIES", "carbon and destroy it. There is a roar, a clatter, and a clang.\nTerrible flames of glowing red shoot up. Suddenly they change from red", "When the bricks come out of the kiln, some of them are good and some\nare not. Those that were on the outside are not burned enough; those", "itself. Now the chief splitter takes it, and with a broad thin chisel\nhe splits it into plates becoming thinner at each split. The second\nassistant trims these into the proper shape and size with either a", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "The ancient rivers had also carried gold to the valleys, and to\ncollect this a dredge, which the miners called a \"gold ship,\" came", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "our forests to-day. Every year the soft, black, decaying mass grew\ndeeper. As the crust of the earth was so thin, it bent and wrinkled", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "easily. It often sank in one place and rose in another. When these\nlow, swampy places sank, water rushed over them, pressing down upon", "them abandoned and half-hidden by low brush, but some of them yielding\nquantities of gold and silver. Before this, there had been only about\na thousand people in what is now Nevada, but in two years after the", "Before many years had passed, the gold that was near the surface had\nbeen gathered. The miners then followed the streams up into the", "mountains, and found that much of the gold had come from beds where in\nancient times rivers had flowed. There was gold still remaining in\nthese beds, but it was poorly distributed, the miners thought.", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "high and coming down to the water's edge. The marks of tools could be\nseen on them, showing where blocks of stone had evidently been split\noff. I picked up a piece of the rock and examined it closely. It", "There was only one place in what is now the United States where they\ncould do this, and that was in northern Michigan. A long point of land", "their feet, they would have taken their picks and shovels and begun to\ndig, instead of trying to get out of the region as soon as might be.\nTen years later, the California placers were becoming exhausted, and", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "seen, then widen and grow rich in gold, then suddenly come to an end.\nThis is why a new mine is so uncertain an enterprise. The gold may", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work" ], [ "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "\"settler,\" and here the heavy amalgam sank to the bottom and was then\nstrained. The extra mercury was collected, and the amalgam was put", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "some land in Pennsylvania that seemed promising and set to work to\ndig a well. But the more they dug, the more the loose dirt fell in\nupon them. Fortunately for the company, the superintendent had brains,", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "this has been arranged, he builds his derrick. This consists of four\nstrong upright beams firmly held together by crossbeams. It stands\ndirectly over the place where the well is to be dug. It is from thirty", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "II\n\nDOWN IN THE QUARRIES", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "better in Nevada. They wanted to go somewhere else, but they had not\nmoney enough for the journey; so they kept on with their work at the\nfoot of Mount Davidson, washing the gravel and saving the little gold", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "A man who goes out in search of a mine is called a \"prospector.\" The\nbest prospector is a man who has learned to keep his eyes open and to" ], [ "THE INDUSTRIAL READERS\n\nBOOK II\n\nDIGGERS IN THE EARTH\n\n\n\n\nI", "GUTENBERG EBOOK DIGGERS IN THE EARTH *", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "this has been arranged, he builds his derrick. This consists of four\nstrong upright beams firmly held together by crossbeams. It stands\ndirectly over the place where the well is to be dug. It is from thirty", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "Once these holes were bored by hand, but now they are made with\npowerful drills that work by compressed air. A little later other men\ncome and set off cartridges. In the morning when the dust has settled", "AT THE GOLD DIGGINGS", "End of Project Gutenberg's Diggers in the Earth, by Eva March Tappan", "down the trench into the ditches, then into the pigs, till their whole\npattern is marked out in glowing iron. Now the blast begins to drive\ngreat beautiful sparks through the tapping hole. This means that the", "ladder. This is the support of an endless chain of buckets, each of\nwhich can bite into the gravel and take a mouthful of five or six\nhundred pounds. They drop this gravel into a big drum which is", "THE INDUSTRIAL READERS\n\n_Book II_\n\nDIGGERS IN THE\nEARTH", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "the engines, makes the bottom of the quarry a gloomy place. Everywhere\nthere are slender ladders with men running up and down them. There", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "some land in Pennsylvania that seemed promising and set to work to\ndig a well. But the more they dug, the more the loose dirt fell in\nupon them. Fortunately for the company, the superintendent had brains,", "\"placers\"; that is, masses of gravel and sand along the beds of\nmountain streams. Each miner had a pan of tin or iron, which he filled", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "ground, but were covered up with soil and trees. Evidently the slow\nwork with pans and cradles would not pay here; but it occurred to some\none that if a powerful stream of water could be directed against the" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "The college boy thought by day and dreamed by night of the metal that\nwas everywhere, but that might as well be nowhere, so far as getting", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "of the fire-breathing dragons of the old story-books; and if it should\nget loose, it would devour whomever it touched far quicker than any", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "long passageway stretches off into a blacker darkness than you ever\ndreamed of. Suddenly there is a blaze of red light far down the", "grandfathers would have opened their eyes wide at the suggestion of a\nhouse built of sand, and would have felt anxious at every rainfall\nlest their homes should suddenly melt away. Even after thousands of", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "the engines, makes the bottom of the quarry a gloomy place. Everywhere\nthere are slender ladders with men running up and down them. There", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "passage, a roar, a medley of all sorts of noises,--the rattling of\nchains, the clattering of couplings, the shouts of men, the crash of", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled" ], [ "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "fall--pours out. It looks like red, red gold, rich and wonderful, with\nlittle flames of red and blue dancing over it. It might almost be one", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "When gold was first discovered in California, in 1848, people from all\nover the world made a frantic rush to get there, every one of them", "examines the bank of the stream or the nearest hillside. If he\ncontinues to find bits of metal, they will lead him to a vein of ore,", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * ", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "inconvenient, and yet in another way this dissolving is a great\nbenefit. Through the millions of years that are past, the oxygen of\nthe rain has dissolved the iron in the hills and has worked it down,", "II\n\nDOWN IN THE QUARRIES", "\"A primrose by a river's brim\n A yellow primrose was to him,\n And it was nothing more.\"", "When wood decays, its carbon unites with the oxygen of the air; and so\ndecay is really a sort of burning. In the forests of to-day the" ], [ "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "II\n\nDOWN IN THE QUARRIES", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "The four books of this series have been written not merely to provide\nagreeable reading matter for children, but to give them information.", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "Once these holes were bored by hand, but now they are made with\npowerful drills that work by compressed air. A little later other men\ncome and set off cartridges. In the morning when the dust has settled", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "III\n\nHOUSES OF SAND", "and you are at the bottom of the mine. The miners' faces, hands,\noveralls, are all black with coal dust. They wear tiny lamps on their", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * ", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "A famous Latin poet named Horace, who lived two thousand years ago,\nwrote of his poems, \"I have reared a monument more lasting than", "III. MAKERS OF MANY THINGS. 50 cents.\n\n IV. TRAVELERS AND TRAVELING. 50 cents.\n\nThe foregoing are list prices, postpaid", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the" ], [ "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "trees, through briers, and down slippery rocks, bellowing as they\ncame, and plunging head first in a wild frenzy to get to the pieces of\nrock salt that were waiting for them.", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "move freely among them. The sides of the structure are covered with\nburnt brick and mud, but the top is left open to allow the steam from\nthe hot bricks to escape. The fires are in flues that are left at the", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "through the heart of the mountain, letting out the hot water and the\nfoul air. The owners of some of the mines joined him in raising the\nmoney, and the tunnel was dug. Through this the water ran out. The", "III\n\nHOUSES OF SAND", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "II\n\nDOWN IN THE QUARRIES", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "Before many years had passed, the gold that was near the surface had\nbeen gathered. The miners then followed the streams up into the", "trees, through briers, and down slippery rocks, bellowing as they\ncame, and plunging head first in a wild frenzy to get to the pieces of\nrock salt that were waiting for them.", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "examines the bank of the stream or the nearest hillside. If he\ncontinues to find bits of metal, they will lead him to a vein of ore,", "Once these holes were bored by hand, but now they are made with\npowerful drills that work by compressed air. A little later other men\ncome and set off cartridges. In the morning when the dust has settled", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of" ], [ "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "Before many years had passed, the gold that was near the surface had\nbeen gathered. The miners then followed the streams up into the", "their feet, they would have taken their picks and shovels and begun to\ndig, instead of trying to get out of the region as soon as might be.\nTen years later, the California placers were becoming exhausted, and", "better in Nevada. They wanted to go somewhere else, but they had not\nmoney enough for the journey; so they kept on with their work at the\nfoot of Mount Davidson, washing the gravel and saving the little gold", "There was only one place in what is now the United States where they\ncould do this, and that was in northern Michigan. A long point of land", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "stretches out into Lake Superior as if it was trying to see what could\nbe found there. Just beyond its reach is Isle Royal; and in these two\nplaces there was plenty of copper, enough for the Indians, enough for", "Every newcomer hoped to discover a vein; and within a year or two the\ndistrict around the Comstock lode was full of deep shafts, many of", "them abandoned and half-hidden by low brush, but some of them yielding\nquantities of gold and silver. Before this, there had been only about\na thousand people in what is now Nevada, but in two years after the", "The ancient rivers had also carried gold to the valleys, and to\ncollect this a dredge, which the miners called a \"gold ship,\" came", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "This was about ten years after the rush to California for gold, and\nnow that this cheaper and quicker method of making a well had been", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "\"settler,\" and here the heavy amalgam sank to the bottom and was then\nstrained. The extra mercury was collected, and the amalgam was put", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "Among those who were working in what is now the State of Nevada were\ntwo Irishmen who had been unlucky in California and had fared no", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "lightning centuries ago. There is a vast supply of oil in this place;\nand indeed there is hardly a country that has not more or less of it.", "The ancient rivers had also carried gold to the valleys, and to\ncollect this a dredge, which the miners called a \"gold ship,\" came", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "our forests to-day. Every year the soft, black, decaying mass grew\ndeeper. As the crust of the earth was so thin, it bent and wrinkled", "ground, but were covered up with soil and trees. Evidently the slow\nwork with pans and cradles would not pay here; but it occurred to some\none that if a powerful stream of water could be directed against the", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "land at first; but its digging soon made a lake, and then it floated.\nIt must be more fascinating to hold a pan in your own hands and pick", "grandfathers would have opened their eyes wide at the suggestion of a\nhouse built of sand, and would have felt anxious at every rainfall\nlest their homes should suddenly melt away. Even after thousands of", "There was only one place in what is now the United States where they\ncould do this, and that was in northern Michigan. A long point of land", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled", "A famous Latin poet named Horace, who lived two thousand years ago,\nwrote of his poems, \"I have reared a monument more lasting than", "mountains, and found that much of the gold had come from beds where in\nancient times rivers had flowed. There was gold still remaining in\nthese beds, but it was poorly distributed, the miners thought.", "easily. It often sank in one place and rose in another. When these\nlow, swampy places sank, water rushed over them, pressing down upon", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The" ], [ "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "examines the bank of the stream or the nearest hillside. If he\ncontinues to find bits of metal, they will lead him to a vein of ore,", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "fall--pours out. It looks like red, red gold, rich and wonderful, with\nlittle flames of red and blue dancing over it. It might almost be one", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "When gold was first discovered in California, in 1848, people from all\nover the world made a frantic rush to get there, every one of them", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * ", "II\n\nDOWN IN THE QUARRIES", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "When a child can look at a steel pen not simply as an article\nfurnished by the city for his use, but rather as the result of many\ninteresting processes, he has made a distinct growth in intelligence.", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled", "inconvenient, and yet in another way this dissolving is a great\nbenefit. Through the millions of years that are past, the oxygen of\nthe rain has dissolved the iron in the hills and has worked it down,", "\"A primrose by a river's brim\n A yellow primrose was to him,\n And it was nothing more.\"" ], [ "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * ", "1. Their socialized point of view--all problems and topics taken from\nthe everyday life of children, home interests, community interests,\ncommon business and industries. 2. Their attractiveness to", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "The work is based upon the familiar experiences and activities of\nchildren, and follows as closely as possible the child's own method of\nacquiring new knowledge and skill.", "grouping of problems about a given life situation. 5. The development\nof accuracy and skill in essential processes. 6. The vocational", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "The four books of this series have been written not merely to provide\nagreeable reading matter for children, but to give them information.", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "When a child can look at a steel pen not simply as an article\nfurnished by the city for his use, but rather as the result of many\ninteresting processes, he has made a distinct growth in intelligence.", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "hammers go down the line and strike each wedge almost as gently as if\nit was a nut whose kernel they were afraid of crushing. They go down\nthe line again, striking as softly as before. Then, if you look", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently", "accomplished and what wide room for invention still remains; to teach\nthem that reward comes to the man who improves his output beyond the\ntask of the moment; and that success is waiting not for him who works", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--" ], [ "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "The four books of this series have been written not merely to provide\nagreeable reading matter for children, but to give them information.", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * ", "The work is based upon the familiar experiences and activities of\nchildren, and follows as closely as possible the child's own method of\nacquiring new knowledge and skill.", "You will not have any idea how many they are till you begin to count.", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "1. Their socialized point of view--all problems and topics taken from\nthe everyday life of children, home interests, community interests,\ncommon business and industries. 2. Their attractiveness to", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "When the bricks come out of the kiln, some of them are good and some\nare not. Those that were on the outside are not burned enough; those", "there ready to be brought up, no one knows. Some people think they\nwere dissolved in water and then deposited; others think that\nelectricity had something to do with their formation. However that may", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "The paper used in the books, the type for each\ngrade, and the dimensions and arrangement of the type page were all\ndetermined by careful experimenting, in order to safeguard the\neyesight of children.", "Clothes are woven on iron looms, sewed with iron needles, and fastened\ntogether with buttons containing iron. Books are printed and bound by\niron machines, and sometimes written with iron pens or on iron", "earth was not nearly so thick as it is now, and much heat came from\nthe earth itself. Many plants and trees grow best in warm, moist air;\nand such plants flourished in those days. Some of their descendants", "When a child can look at a steel pen not simply as an article\nfurnished by the city for his use, but rather as the result of many\ninteresting processes, he has made a distinct growth in intelligence." ], [ "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "seen, then widen and grow rich in gold, then suddenly come to an end.\nThis is why a new mine is so uncertain an enterprise. The gold may", "Clothes are woven on iron looms, sewed with iron needles, and fastened\ntogether with buttons containing iron. Books are printed and bound by\niron machines, and sometimes written with iron pens or on iron", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * *", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "The paper used in the books, the type for each\ngrade, and the dimensions and arrangement of the type page were all\ndetermined by careful experimenting, in order to safeguard the\neyesight of children.", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "People often say that the latter half of the nineteenth century was\nthe Age of Steel, because so many new uses for steel were found at\nthat time. The twentieth century promises to be the Age of", "When the bricks come out of the kiln, some of them are good and some\nare not. Those that were on the outside are not burned enough; those", "Every newcomer hoped to discover a vein; and within a year or two the\ndistrict around the Comstock lode was full of deep shafts, many of", "THE INDUSTRIAL READERS\n\nBOOK II\n\nDIGGERS IN THE EARTH\n\n\n\n\nI", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight" ], [ "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "The college boy thought by day and dreamed by night of the metal that\nwas everywhere, but that might as well be nowhere, so far as getting", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "A famous Latin poet named Horace, who lived two thousand years ago,\nwrote of his poems, \"I have reared a monument more lasting than", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently", "soak through it. Then he divides it into large square basins, making\neach a little lower than the one before it. Close beside the highest\nbasin he makes a reservoir which at high tide receives water from the", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "Such a heap is a good thing to keep away from, for the fumes of\nsulphur are very disagreeable. Indeed, they will kill trees and other", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "II\n\nDOWN IN THE QUARRIES", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The" ] ]	[ "In their previous society which sex was dominant?", "What was the expectation regarding marriage in the social order at Basilica?", "Who are Nafai and Elemak?", "What do the people that follow Elemak want to do about social order?", "Who leads the group of people who have faith in the Oversoul?", "Where does this group of settlers eventually hope to arrive?", "Which ancient social structures are the new order based on?", "What role does Shedemei have as the settlers move forward?", "What figures are in the prophetic dreams the characters in the story have?", "Where did the pioneers flee from?", "What is one difference between the new society and the old society?", "Who are the two sons of Volemak?", "Nafai's faction has faith in what?", "Elemak leads the faction that wants what?", "After years of traveling the settlers come to a land lost in ancient times that holds what secret?", "Who is the leader of the settlers?", "What are diggers and angels?", "What kind of dreams abound?", "What does the Oversoul discover?", "What is the name of sons of volemak?", "Who does nafai lead?", "Who does elemak lead?", "Where did the settlers reach?", "What secret does the land of ancient times hold?", "What does the oversoul discovers?", "Why is the focus on group dynamics? ", "Why are many children born?", "How is new society opposite to previous society?", "Who thinks about the problem of hierarchy?" ]	[ [ "Females were dominant in Basilica.", "female" ], [ "People honored yearly contracts. ", "Lifelong marriages" ], [ "They are sons of the leader Volemak.", "The sons of Volemak" ], [ "They want to go back to the civilization they had on Basilica even though it is doomed.", "Start a new social order unlike that of previous societies" ], [ "That group is led by Nafai.", "Nafai" ], [ "They want to live on Earth. ", "Earth." ], [ "They are patterned after ancient Hebrew Tribes described in Genesis. ", "powerful female characters succumb to new hierachy of men and wives" ], [ "Shedemei is a geneticist who ponders what the settlers are trying to do. ", "Geneticist - has to think about the social structure." ], [ "The figures are rats and bats which are called diggers and angels. ", "diggers and angels" ], [ "Basilica.", "Basillica" ], [ "It is male dominated.", "Life long monogamous marriages instead of yearly contracts." ], [ "Elemak, and Nafai.", "Nafai and Elemak" ], [ "The Oversoul. ", "the Oversoul" ], [ "To return to Basilica.", "To return to Basilica." ], [ "The secret of the Oversoul.", "secret of the Oversoul" ], [ "Volemak.", "Nafai" ], [ "Giant rats, and bats.", "Giant rats and bats" ], [ "Prophetic dreams.", "Giant rats and bats." ], [ "Itself.", "itself" ], [ "nafai and elemak are two sons of volemak.", "Nafai and Elemak" ], [ "nafai leads the faction who have faith in the oversoul.", "the faction who have faith in the Oversoul" ], [ "elemak leads to the faction who desperately wants to return to the civilisation of doomed basilica.", "The faction that want to return to Basilica." ], [ "they arrive in a land lost of ancient times.", "Oversoul." ], [ "the land of ancient times hold the secret of oversoul.", "the Oversoul" ], [ "porphetic dreams abound and the mostly involving giant rats and bats.", "Itself." ], [ "the focus is on group dynamics of the new tribe as it is the journey where the oversoul guides them.", "The Oversoul guides them" ], [ "they are born for their journey to earth.", "In preparation for going to Earth." ], [ "the new society is male dominated instead of female dominated and life long marriages instead of yearly contract marriages", "It is male dominated." ], [ "shedemei thinks about this problem she is a brilliant genecist.", "Shedemei" ] ]	c06e4f8169ac1b40871e2794133c8f506aec38ad	train
[ [ "Eric quickly removes the gun from the customers temple and \n fires two shots into the bank manager's face.\n\n The bank manager falls against the vault door and onto the \n floor.", "He looks at it's source, TWO POLICEMEN, decked out in black \n flak jackets and gas masks are starting to come out of a \n sewer manhole.", "Then, all of the French policemen, decked out in their \n assault gear and wearing gas masks, storm down the stairs. \n At the sight of Eric about to execute Zed they raise their \n guns.", "Then everybody notices he isn't wearing a mask.\n\n JEAN\n (quietly)\n [Eric, your mask.]\n\n ERIC\n Oh shit.", "INT. BANK - VAULT ANTECHAMBER - DAY\n\n They take cover.\n\n Another shot is fired into the vault.", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "The assistant manager is putting up a bit of a struggle but \n Eric simply forces him along.\n\n Everyone waits until suddenly they hear a burst of gunfire \n from outside. They all scream.", "Dust has blown out of the vault and is settling on Oliver, \n Zed, and Eric, who is laughing like a madman.\n\n Zed is looking at him like he's crazy.", "He drops the gun into the hole and then shoves the other \n policeman into it. He then pushes a large utility wagon over \n the manhole cover to stop anyone else from coming in.", "He covers the mouth piece.\n\n ERIC\n (to Claude)\n [I fucking hate cops.]\n\n CUT TO:", "Oliver takes the customer upstairs to the rest of the people.\n\n Eric rips off his mask.", "They maneuver out of the Calibre vault.\n\n INT. BANK - STORAGE/ELEVATOR AREA - DAY", "ERIC\n (to the bank manager)\n [You think we're fucking amateurs? You \n think we're stupid? I've got news for \n you...we planned ahead my friend!]", "Then, a tear gas cannister break through the top windows and \n start clouding the place up.\n\n Eric whips out his switch blade and hops on his bloody red \n foot.", "They come out of the Calibre vault with the huge platen.\n\n OLIVER\n Do you think we should get some cash \n also?\n\n ZED\n What for?", "The one who came out of the manhole turns just in time to see \n Eric fire into his chest. Then, Eric aims the gun into the", "ZED\n Well, did you tell them to stay quiet?\n\n ERIC\n Yes. They're assholes. Just having fun.\n\n Zed looks into the hole.", "Zed is waiting for the elevator to arrive.\n\n ZED\n Do we have a covering of some kind?\n\n OLIVER\n A what?", "Zed takes a power drill out from the briefcase and attaches a \n special diamond tipped bit. He measures the depth he wants \n to drill to and then marks the bit with a yellow pencil.", "Zed smiles.\n\n ERIC\n We will go in and shut the bank down. \n Now, look at this.\n\n Eric pulls out a complex electronic schematic." ], [ "ZED\n Oh.\n\n ZOEY\n I have a day job too. Three times a \n week.", "DISSOLVE TO:\n\n INT. ZOEY'S CAR - MOVING - DAY", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "He grabs Zoey and lifts her to her feet.\n\n ZOEY\n (screeching)\n No!\n\n Then, the assistant manager stops him.", "Zed closes the door and pushes the button to go up to the \n ground floor.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "Zed opens up the door and lets her in. She checks out the \n room and places her bag on the bed. Then she makes her way \n to the window for a view of the city.", "Zoey quietly opens the door opposite the vault that leads to \n the rear stairs to the lobby level.\n\n INT. BANK - REAR STAIRS TO LOBBY - DAY", "ZED\n Yes.\n\n ZOEY\n What kind of business?\n\n ZED\n Why?", "In the meantime Zoey is on the floor, unsure of what is going \n on.\n\n CUT TO:", "INT. BANK - RESERVE VAULT AREA - DAY\n\n Zoey and Zed rush into the reserve vault area. Zoey notices \n that the downstairs reserve vault is closed.", "ZED\n Here, help me with this.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "Zoey runs up to him and holds him.\n\n The police all charge into the secondary vault area and \n secure the downstairs.\n\n Zoey is crying as she holds Zed.", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "ZED\n I never really thought of it like that.\n\n ZOEY\n Well, it's true.\n\n Zed nods at this.", "Zed gets up and puts on his pants. Zoey gets up and looks \n around.\n\n ZOEY\n (groggily)\n What time is it?", "Zoe is near tears. She drops the empty machine gun to the \n floor and starts walking toward the sub lobby.\n\n CUT TO:", "ZOE\n (holding him)\n My Zed. They've hurt you.\n\n She dabs a cloth to his cut face. He holds it on.", "Zed can do nothing but smile at the thought of it.\n\n DISSOLVE TO:\n\n INT. HOTEL - HALL - DAY", "Suddenly, from the back office, Zed sees Zoey blasting away \n an Uzi and running toward the rear stairwell. Eric is in the", "In the hall is ZOEY, a cute French girl of not more than \n twenty. She's chewing on gum the way a schoolgirl might, but \n she looks like no girl Zed ever went to school with." ], [ "ZED\n I have no idea. Night time.\n\n There is more pounding on the door.\n\n ZOEY\n I'm going to take a shower.", "ZED\n Oh.\n\n ZOEY\n I have a day job too. Three times a \n week.", "INT. HOTEL - HALL - NIGHT\n\n Naked, Zoey falls into the hall.\n\n Eric slams the door shut.", "ZOEY\n The difference is a prostitute would have \n lied to you about her orgasm.\n\n He gives her a kiss.", "She takes a seat on the bed.\n\n ZOEY\n It will be one thousand francs for all \n night. In advance.", "Then, with Zed laying on the bed and watching her, she \n slowly, seductively strips in front of him, never taking her \n eyes from his eyes, until she is totally naked.", "In the meantime Zoey is on the floor, unsure of what is going \n on.\n\n CUT TO:", "ZOEY\n What? So you could see the work of a \n whore?\n\n He decides to put a stop to this once and for all.", "ZOEY\n I'm a student. And to pay for the \n classes I became an escort. It's my \n choice to sleep with you.\n\n ZED\n I see.", "They rest there for a while...holding each other.\n\n ZOEY\n I'm cold.\n\n She takes the covers and crawls under them, so does Zed.", "ZOEY\n Slow enough for you?\n\n Then, like a cat prowling for it's prey, she crawls over the \n bed to him and begins to unbuckle his pants.", "In the hall is ZOEY, a cute French girl of not more than \n twenty. She's chewing on gum the way a schoolgirl might, but \n she looks like no girl Zed ever went to school with.", "She shrieks.\n\n ZOEY\n [Let go of me you shit!!]\n\n He drags her out into the room, she is dripping wet.", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "Zed opens up the door and lets her in. She checks out the \n room and places her bag on the bed. Then she makes her way \n to the window for a view of the city.", "He grabs Zoey and lifts her to her feet.\n\n ZOEY\n (screeching)\n No!\n\n Then, the assistant manager stops him.", "Zed sits down on the bed.\n\n ZOEY(O.S.)\n Allez vous faire enculer tous le deux!\n\n ZED\n Eric, I liked that girl.", "She begins to kiss him multiple times over the face.\n\n ZOEY\n C'etait formidable.\n\n She rolls over, still hugging him, purring like a kitten.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude." ], [ "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "Zed rushes Eric and Zoey starts scratching. Eric drops the \n gun but quickly whips out his knife.\n\n She tries to get away from Eric but he has a hold on her \n shirt.", "Eric reaches for the knife.\n\n Zed, his hand bloody, dives onto Eric.", "He slashes Zed across the face with the switchblade. Zed \n falls backwards and tumbles down the stairs like a rag doll.\n\n ERIC\n Never let a girl come between two men.", "He swipes and Zed grabs a hold of the knife by the blade.\n\n Eric pulls it free and the knife falls to the floor.\n\n Zed takes this opportunity and kicks Eric in the face.", "ERIC\n Come Zed...I'm going to cut you like a \n sausage.\n\n Zed is standing between Zoey and Eric.", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "The sight of the gun gives Eric the strength only a madman \n could posses. He rolls over and throws Zoey off him.\n\n Then, he smashes his forehead into Zed's nose, bursting it.", "ERIC\n Oh. Well, then why didn't you stop me.\n\n ZED\n Because you were on a rampage.", "ERIC\n I will kill you. And once I kill you \n Zed, I'll get out of here. I'll fuck", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "Zed tries to stop Eric but Eric aims the gun at him.\n\n ERIC\n Zed no. I'll kill you. It means nothing \n to me, our friendship.", "He slams the door shut.\n\n Then he turns to Zed.\n\n ERIC\n So tell me, what have you been up to?", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed is rabbit punching Eric from underneath.\n\n Then, Eric grabs a hold of Zed's balls and squeezes.\n\n Zed lets out a shrill scream.", "Eric starts elbowing Zoey in the face.\n\n The three of them lay there on the floor wriggling like \n worms, unable to move because each is putting the other \n through such agony.", "ZED\n (thinking Eric is a madman)\n What kind of men are we?\n\n Eric looks at him and gives him a soft kiss on the cheek.", "ERIC\n (looking at his hand wound)\n God damn it. Look at my hand.\n\n ZED\n (shocked at the whole incident)\n Jesus Eric.", "Then he looks at Zoey.\n\n ERIC\n [What are you looking at you fucking \n whore?]" ], [ "ZED\n Here, help me with this.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "Zed closes the door and pushes the button to go up to the \n ground floor.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "Zoey and Zed, bandaged up, are being aided by all of the \n French policemen as they walk through the bank.", "Zed jumps back down the hall toward the reserve vault area.\n\n INT. BANK - RESERVE VAULT AREA- DAY\n\n They rush out toward the stairs.", "ZED\n Or Portugal.\n\n They get into the banks private freight elevator.\n\n INT. BANK - FREIGHT ELEVATOR - DAY", "The elevator doors open onto the ground floor to the sound of \n automatic gunfire. Zed walks out into the back office.\n\n INT. BANK - BACK OFFICE - DAY", "INT. BANK - RESERVE VAULT AREA - DAY\n\n Zoey and Zed rush into the reserve vault area. Zoey notices \n that the downstairs reserve vault is closed.", "Zed smiles.\n\n ERIC\n We will go in and shut the bank down. \n Now, look at this.\n\n Eric pulls out a complex electronic schematic.", "Zed smiles.\n\n ERIC\n We will go in and shut the bank down. \n Now, look at this.\n\n Eric pulls out a complex electronic schematic.", "INT. BANK - VAULT ANTECHAMBER - DAY\n\n Zed looks up hearing the commotion.", "INT. BANK - POSEIDON VAULT - DAY\n\n Eric laughs.\n\n ERIC\n Zed look!", "ERIC\n (nodding)\n Got it.\n\n Zed goes back to the vaults.\n\n INT. BANK - VAULT ANTECHAMBER - DAY", "INT. BANK - STORAGE/ELEVATOR AREA - DAY\n\n Instead of walking upstairs, Zed finds the fuse box right in \n the next room.", "The bank manager, shocked as he is, looks at Zed. He knows \n he's an American.\n\n The sub lobby teller's body slumps to the ground.", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "Zed goes to the gated passage which isn't much more than a \n window in one upper side of the vault, but it's enough to get \n him into the main vault.\n\n Eric is right behind him.", "INT. BANK - VAULT ANTECHAMBER - DAY\n\n Zed opens up his steel briefcase. Inside of it are all sorts \n of electronic gear and tools.", "Eric quickly removes the gun from the customers temple and \n fires two shots into the bank manager's face.\n\n The bank manager falls against the vault door and onto the \n floor.", "INT. BANK - LOBBY - DAY\n\n Eric leans down to talk to Zed. Oliver and Jean are \n watching. Francois and Claude are more worried about the \n tear gas.", "ZED\n I haven't even seen the bank.\n\n ERIC\n Fuck the bank. Before we do a job we \n live life. It's better that way. Okay?" ], [ "Zed goes to the gated passage which isn't much more than a \n window in one upper side of the vault, but it's enough to get \n him into the main vault.\n\n Eric is right behind him.", "Zed and Eric look into the vault.\n\n ZED\n Another security guard?\n\n ERIC\n Must be.", "Eric gets up and walks into the Poseidon vault.\n\n Before Zed follows him he looks at Oliver who doesn't know \n what to think.", "Then, Zed and Zoey appear from the hall to the reserve vault \n area.\n\n Eric turns to them with his gun raised, when he sees them he \n lowers it.", "ERIC\n (nodding)\n Got it.\n\n Zed goes back to the vaults.\n\n INT. BANK - VAULT ANTECHAMBER - DAY", "INT. BANK - POSEIDON VAULT - DAY\n\n Eric laughs.\n\n ERIC\n Zed look!", "ZED\n Fuck!\n\n ERIC\n Merde!\n\n Then there's another gunshot.\n\n The bullet ricochets through the vault.", "Dust has blown out of the vault and is settling on Oliver, \n Zed, and Eric, who is laughing like a madman.\n\n Zed is looking at him like he's crazy.", "ERIC\n Then do it. We don't have all day.\n\n Zed enters the Poseidon vault.\n\n INT. BANK - POSEIDON VAULT - DAY", "Eric looks down at the blueprint. There is a small passage \n connecting the main vault to an adjacent vault.\n\n ERIC\n Another vault.\n\n ZED\n No this.", "Eric looks down at the blueprint. There is a small passage \n connecting the main vault to an adjacent vault.\n\n ERIC\n Another vault.\n\n ZED\n No this.", "ERIC\n [Zed is opening the vault now. This is a \n taste.]\n\n Eric holds the bar of gold up for all the people to see.", "Zed is watching the whole affair nervously.\n\n ERIC\n [Do you understand that I'll kill her if \n you don't open this fucking vault?]", "INT. BANK - RESERVE VAULT AREA - DAY\n\n Zoey and Zed rush into the reserve vault area. Zoey notices \n that the downstairs reserve vault is closed.", "Zed smiles and swings the door open revealing the interior of \n the Poseidon vault.\n\n Eric comes running in like a kid on Christmas morning.\n\n ERIC\n It worked!", "The smoke clears and we see that on the far side of the vault \n there is a huge platen on wheels with bricks of gold stacked \n onto it.\n\n Eric starts laughing.", "ZED\n Why would those two vaults be connected?\n\n ERIC\n I don't know.", "ZED\n Why would those two vaults be connected?\n\n ERIC\n I don't know.", "He looks toward the door leading to the reserve vault area.\n\n ZED\n (calling to Eric)\n Ready?!", "ZED\n What kind of vault is that?\n\n He checks the blueprint.\n\n ERIC\n Ah...Swiss made. A Caliber." ], [ "He puts Zed's bag onto one of those luggage holders and \n proceeds to show him the room.\n\n Sitting on the bed is a large air freight package.", "Zed grabs a towel and climbs out of the shower. He makes his \n way toward the knocking.\n\n INT. HOTEL ROOM - DAY", "Zed can do nothing but smile at the thought of it.\n\n DISSOLVE TO:\n\n INT. HOTEL - HALL - DAY", "The door to the room opens and the bellboy, followed by Zed, \n walks into the room.", "The bellboy clicks his heels and walks out the door.\n\n Zed looks around the room, still wondering what time it is, \n and takes a seat on the bed.", "INT. HOTEL ROOM - NIGHT\n\n Zed can't believe this.\n\n ZED\n Eric.", "Zed opens up the door and lets her in. She checks out the \n room and places her bag on the bed. Then she makes her way \n to the window for a view of the city.", "INT. HOTEL ROOM - BATHROOM - SHOWER - DAY\n\n Zed is in the shower letting the water run directly into his \n face and cascade down his body.", "Zed's bed, while still made, looks like it's been slept in. \n Sitting on it is the ripped open air freight package. Inside \n of it is a black steel briefcase.", "A long, empty hallway of a moderately priced hotel. From \n around a corner comes a BELLBOY carrying Zed's one bag.\n\n Zed is right behind him.", "Obviously tired from the flight Zed unbuttons his shirt a bit \n and lays back on the bed next to the package. Before he \n dozes off to sleep he takes his watch off and places it on \n the bedside table.", "CAB DRIVER\n It's a nice hotel. Your hotel. Very big \n rooms.\n\n He looks at Zed in the rear view mirror.", "He is asleep.\n\n FADE TO BLACK:\n\n INT. HOTEL ROOM - LATER - DAY", "ERIC\n (smiling)\n Oh I see. You have been busy.\n\n ZED\n Sorry, I asked the hotel to give me a \n wake up call.", "They come up to room 6A and the bellboy unlocks the door.\n\n INT. HOTEL ROOM - DAY", "DISSOLVE TO:\n\n INT. ZED'S ROOM - NIGHT\n\n Zed is asleep. Zoey is asleep in his arms.", "Then he hears it again, the knocking on the door.\n\n INT. HOTEL ROOM - BATHROOM - DAY", "There is a knocking at the door.\n\n Zed opens his eyes.\n\n The knock becomes a pound.", "Zed walks to the door to his room with the towel wrapped \n around his waist. He opens it.", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes" ], [ "Eric fires into him. He is dead instantly.\n\n Everybody screams.\n\n Eric fires into his dead corpse until his gun runs out of \n bullets.", "ERIC\n Kill her! Kill her!", "Eric is tired of this outburst, he shoots him.\n\n Everyone screams.", "The one who came out of the manhole turns just in time to see \n Eric fire into his chest. Then, Eric aims the gun into the", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "ERIC\n (into phone)\n [What do you want?]\n\n Eric looks around at the dead bodies.", "ERIC\n [The fucking police won't budge. I kill \n a man and they don't care. They say they", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "The police open fire with their French made assault machine \n guns and fill Eric with bullets. Instead of falling he does \n a scarecrow dance as his body is painted red.", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "ERIC\n I will kill you. And once I kill you \n Zed, I'll get out of here. I'll fuck", "OLIVER\n (pointing at the dead man)\n [This crazy fuck shot Ricardo!]\n\n Eric looks over at Ricardo and then at the carnage.", "Eric's eyes widen. He takes his silencer out of his coat and \n fixes it to his handgun. Then, like a man with intent to \n kill, he rapidly approaches them.", "ERIC\n I guess it is dead.\n\n They walk into the flat.\n\n INT. ERIC'S FLAT - LIVING ROOM - NIGHT", "ERIC\n I guess it is dead.\n\n They walk into the flat.\n\n INT. ERIC'S FLAT - LIVING ROOM - NIGHT", "Eric reaches for the knife.\n\n Zed, his hand bloody, dives onto Eric.", "ERIC\n [If the police decide to come in...kill \n them. And if you don't mind, stack those \n bodies somewhere else. This place is a \n fucking mess and it's bad for morale.]", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "He grabs the gun from the dead security guards limp grip.\n\n Eric storms in. He isn't wearing his mask.", "Zed tries to stop Eric but Eric aims the gun at him.\n\n ERIC\n Zed no. I'll kill you. It means nothing \n to me, our friendship." ], [ "ERIC\n I'm glad you came. How long has it been?\n\n ZED\n Years.", "ERIC\n I'm glad you came. How long has it been?\n\n ZED\n Years.", "ZED'S TABLE\n\n Everyone enters and takes seats at various parts of the club. \n Oliver sits next to Zed.\n\n OLIVER\n So, how long have you known Eric?", "ZED'S TABLE\n\n Everyone enters and takes seats at various parts of the club. \n Oliver sits next to Zed.\n\n OLIVER\n So, how long have you known Eric?", "ZED\n What about our friendship?\n\n ERIC\n Shit Zed. I haven't seen you in years. \n You hardly know me.", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed's happy to see him.\n\n ZED\n Eric. Come in.\n\n They hug.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "Eric waves them off with a brush of his hand. He's \n concentrating on Zed.", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "ERIC\n (matter-of-factly)\n What's your girlfriends name?\n\n ZED\n Zoe.", "Zed tries to stop Eric but Eric aims the gun at him.\n\n ERIC\n Zed no. I'll kill you. It means nothing \n to me, our friendship.", "ERIC\n Zed.\n\n They all stand there for a moment, the gunfire cracking away \n upstairs. Eric is more casual than he should be.", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "He slams the door shut.\n\n Then he turns to Zed.\n\n ERIC\n So tell me, what have you been up to?", "He and Zed hug.\n\n ERIC\n Oh my God it worked!", "ERIC\n That's good, but now I am here. So let's \n go. We have a lot to talk about.\n\n ZED\n What about the girl?", "Zed is rabbit punching Eric from underneath.\n\n Then, Eric grabs a hold of Zed's balls and squeezes.\n\n Zed lets out a shrill scream." ], [ "ZED\n I never really thought of it like that.\n\n ZOEY\n Well, it's true.\n\n Zed nods at this.", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "ZED\n Yes.\n\n ZOEY\n What kind of business?\n\n ZED\n Why?", "Zed blinks but it's true.\n\n Oliver and Claude start laughing.\n\n OLIVER\n Look at him. He's crazy.", "Zed blinks but it's true.\n\n Oliver and Claude start laughing.\n\n OLIVER\n Look at him. He's crazy.", "He and Zed hug.\n\n ERIC\n Oh my God it worked!", "Then, her clip runs out.\n\n She sees Zed, their eyes lock. An IMAGE overcomes Zed. She \n runs down the stairs to the back.", "ZOE\n (holding him)\n My Zed. They've hurt you.\n\n She dabs a cloth to his cut face. He holds it on.", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "Zed hovers over the body, afraid to touch it. He gives it a \n nudge with his foot.\n\n The body groans and then exhales the longest exhale ever.", "Zed takes a seat at the vault door. The backside of a vault \n door looks like an incredibly intricate clock. Zed removes \n the Plexiglass shielding.", "ZED\n It's impossible.\n\n ERIC\n It's not impossible. Everyone knows what \n to do.", "ZED\n It's impossible.\n\n ERIC\n It's not impossible. Everyone knows what \n to do.", "He slams the door shut.\n\n Then he turns to Zed.\n\n ERIC\n So tell me, what have you been up to?", "ZED\n (turning to Eric)\n What's going on?\n\n ERIC\n Nothing. They were just scaring them.", "ZED\n Hold on. Here she is.\n\n Eric is a bit relieved.\n\n Zed opens it up.", "Zed is unable to speak. They look into each others eyes for \n a long moment, hearing the sounds of the city drift in \n through the window. Then she leans forward and gives him a \n soft understanding kiss.", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "OLIVER\n You don't know? We've been discovered. \n But Eric has them under control.\n\n Zed is frantic." ], [ "ZED\n Eric. It's just that we've gone from \n being thieves to murderers.", "Zed sits there for a moment looking at the corpse, then, like \n he wants to get out of there as soon as possible, he", "ERIC\n Oh. Well, then why didn't you stop me.\n\n ZED\n Because you were on a rampage.", "Zed tries to stop Eric but Eric aims the gun at him.\n\n ERIC\n Zed no. I'll kill you. It means nothing \n to me, our friendship.", "ZED\n You didn't have to shoot any of them!", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes", "ERIC\n I will kill you. And once I kill you \n Zed, I'll get out of here. I'll fuck", "ZED\n I never really thought of it like that.\n\n ZOEY\n Well, it's true.\n\n Zed nods at this.", "Zed puts his hand to the neck of the vault guard #1 and \n checks for a pulse.\n\n Nothing.", "ZED\n Why?\n\n ZOEY\n Because you're...a good person. I run \n into some real creeps. You know.", "He slashes Zed across the face with the switchblade. Zed \n falls backwards and tumbles down the stairs like a rag doll.\n\n ERIC\n Never let a girl come between two men.", "The sight of the gun gives Eric the strength only a madman \n could posses. He rolls over and throws Zoey off him.\n\n Then, he smashes his forehead into Zed's nose, bursting it.", "Zed kneels down next to the body.\n\n ZED\n Are you still there?\n\n Nothing.", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "Zed blinks but it's true.\n\n Oliver and Claude start laughing.\n\n OLIVER\n Look at him. He's crazy.", "Zed blinks but it's true.\n\n Oliver and Claude start laughing.\n\n OLIVER\n Look at him. He's crazy.", "ZED\n Yes.\n\n ZOEY\n What kind of business?\n\n ZED\n Why?", "Eric reaches for the knife.\n\n Zed, his hand bloody, dives onto Eric.", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "Zed sits down on the bed.\n\n ZOEY(O.S.)\n Allez vous faire enculer tous le deux!\n\n ZED\n Eric, I liked that girl." ], [ "little room where a bedraggled looking \n whore lay spreadeagled on a filthy bed. \n \"She's yours for fifty francs,\" said the", "She takes a seat on the bed.\n\n ZOEY\n It will be one thousand francs for all \n night. In advance.", "ZED\n Well, I like your honesty. You're open. \n Unlike most prostitutes I've been with.\n\n She doesn't like the sound of this. She slaps him.", "ZOEY\n The difference is a prostitute would have \n lied to you about her orgasm.\n\n He gives her a kiss.", "ZOEY\n What? So you could see the work of a \n whore?\n\n He decides to put a stop to this once and for all.", "Eric lets out a shrill scream and whacks the butt of the Uzi \n into her face.\n\n But she won't let go. Her years as a prostitute have taught \n her to ignore pain.", "She doesn't want to say a thing that'll upset him.\n\n ERIC\n [Are you afraid I'll tell these people \n that this is only a day job for you?]", "ZED\n Oh.\n\n ZOEY\n I have a day job too. Three times a \n week.", "ZOEY\n I am not a prostitute!\n\n Zed is a little surprised at this.\n\n ZED\n Really? Can I have my francs back then?", "ZOEY\n I'm a student. And to pay for the \n classes I became an escort. It's my \n choice to sleep with you.\n\n ZED\n I see.", "Zed opens up the door and lets her in. She checks out the \n room and places her bag on the bed. Then she makes her way \n to the window for a view of the city.", "suit and fifty francs the officials had \n given him, and made a bee-line for the \n whorehouse in the nearest town. Slamming", "Then, with Zed laying on the bed and watching her, she \n slowly, seductively strips in front of him, never taking her \n eyes from his eyes, until she is totally naked.", "Une escorte. Pour vous faire visiter.\n (then back to his broken \n English)\n For business. I give you my number.", "ZED\n Zoey. I'm sorry for calling you a \n prostitute. I didn't understand the \n difference.", "ERIC\n Look, your whole life you've done nothing \n but fuck whores. A girl like that will \n give you AIDS. Why don't you find a nice \n girl in the suburbs?", "She steps down into the sub lobby, machine guns crackle in \n the background. She runs up to him just as he slumps to the \n ground.", "She removes the pants and climbs on top of him. They begin \n to make love.\n\n On the television, \"Nosferatu\" silently plays.", "She turns to him, but in the process takes the time to \n examine every detail of the room.", "She puts the money in her bag and then turns on the \n television from the remote console. A French talk show comes" ], [ "Eric fires into him. He is dead instantly.\n\n Everybody screams.\n\n Eric fires into his dead corpse until his gun runs out of \n bullets.", "Zed tries to stop Eric but Eric aims the gun at him.\n\n ERIC\n Zed no. I'll kill you. It means nothing \n to me, our friendship.", "ERIC\n Oh. Well, then why didn't you stop me.\n\n ZED\n Because you were on a rampage.", "Eric reaches for the knife.\n\n Zed, his hand bloody, dives onto Eric.", "The sight of the gun gives Eric the strength only a madman \n could posses. He rolls over and throws Zoey off him.\n\n Then, he smashes his forehead into Zed's nose, bursting it.", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "Eric is tired of this outburst, he shoots him.\n\n Everyone screams.", "The one who came out of the manhole turns just in time to see \n Eric fire into his chest. Then, Eric aims the gun into the", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "ERIC\n Kill her! Kill her!", "ERIC\n Do you really love your bitch whore \n girlfriend that much? She's really \n fucked with your mind.\n\n ZED\n Eric...what are you talking about?", "Zed rushes Eric and Zoey starts scratching. Eric drops the \n gun but quickly whips out his knife.\n\n She tries to get away from Eric but he has a hold on her \n shirt.", "Zed is rabbit punching Eric from underneath.\n\n Then, Eric grabs a hold of Zed's balls and squeezes.\n\n Zed lets out a shrill scream.", "ERIC\n I will kill you. And once I kill you \n Zed, I'll get out of here. I'll fuck", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "Zoey also jumps onto them and starts yanking on Eric's hair. \n She plunges her nails into his face.\n\n ERIC\n Fucking bitch!", "ZED\n What about our friendship?\n\n ERIC\n Shit Zed. I haven't seen you in years. \n You hardly know me.", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "ERIC\n [That's what you get!]\n\n Claude puts his hand on Eric's shoulder.\n\n CLAUDE\n Eric.", "Eric lifts him to his feet and holds him up against the \n knife. He turns him toward the smoke and whispers into his \n ear." ], [ "They come out of the Calibre vault with the huge platen.\n\n OLIVER\n Do you think we should get some cash \n also?\n\n ZED\n What for?", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "Eric quickly removes the gun from the customers temple and \n fires two shots into the bank manager's face.\n\n The bank manager falls against the vault door and onto the \n floor.", "ERIC\n Yes, tomorrow we pull the biggest job in \n French history. And spend the rest of \n our lives in Monte Carlo.\n\n The drunken Englishman, Oliver, belches and then cheers.", "ERIC\n Yes, tomorrow we pull the biggest job in \n French history. And spend the rest of \n our lives in Monte Carlo.\n\n The drunken Englishman, Oliver, belches and then cheers.", "ERIC\n Tomorrow.\n\n ZED\n Tomorrow!? We're doing this tomorrow?\n\n ERIC\n But of course.", "ERIC\n Tomorrow.\n\n ZED\n Tomorrow!? We're doing this tomorrow?\n\n ERIC\n But of course.", "JEAN\n [No. They're just blasting the vault \n open.]\n\n CLAUDE\n [What does it matter now? We're fucking \n surrounded by police.]", "He points to the main floor vault.\n\n ERIC\n Here. This is where they keep the days \n reserve cash. Okay fuck that.", "He points to the main floor vault.\n\n ERIC\n Here. This is where they keep the days \n reserve cash. Okay fuck that.", "The main vault looks like what a vault would look like if it \n were blown up from the inside. On the floor is the still \n smoldering body of the security guard. The room is \n incredibly smokey.", "ERIC\n (to the bank manager)\n [You think we're fucking amateurs? You \n think we're stupid? I've got news for \n you...we planned ahead my friend!]", "He takes out a tape measure and some callipers and measures \n out a point on the vault door. He marks the point with a \n piece of chalk.\n\n CUT TO:", "ERIC\n (to the manager)\n [This man has a family he would like to \n have Bastille day dinner with tonight. \n So save us some time and open the vault.]", "INT. BANK - VAULT ANTECHAMBER - DAY\n\n They take cover.\n\n Another shot is fired into the vault.", "He charges into the reserve vault area.\n\n INT. BANK - RESERVE VAULT AREA - DAY\n\n They enter and Eric walks up to a bathroom door.", "He places his ear to the vault and taps the spot.\n\n CUT TO:\n\n INT. BANK - MEN'S BATHROOM - DAY", "They maneuver out of the Calibre vault.\n\n INT. BANK - STORAGE/ELEVATOR AREA - DAY", "He flips the page to the lower level blueprint.\n\n ERIC\n There are many vaults downstairs, but \n this is the vault we must get into. This \n is where the real prize is.", "He flips the page to the lower level blueprint.\n\n ERIC\n There are many vaults downstairs, but \n this is the vault we must get into. This \n is where the real prize is." ], [ "Oliver takes the customer upstairs to the rest of the people.\n\n Eric rips off his mask.", "Eric fires into him. He is dead instantly.\n\n Everybody screams.\n\n Eric fires into his dead corpse until his gun runs out of \n bullets.", "Then everybody notices he isn't wearing a mask.\n\n JEAN\n (quietly)\n [Eric, your mask.]\n\n ERIC\n Oh shit.", "ERIC\n (laughing)\n [Claude, look around you. We're not", "ERIC\n Look at it. It's all for us. The smoke. \n The attention. They have no idea of who", "He covers the mouth piece.\n\n ERIC\n (to Claude)\n [I fucking hate cops.]\n\n CUT TO:", "Everyone takes their masks off.\n\n ERIC\n [Is this what happens? Is this what \n happens when I walk away for five \n minutes?]", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Then, all of the French policemen, decked out in their \n assault gear and wearing gas masks, storm down the stairs. \n At the sight of Eric about to execute Zed they raise their \n guns.", "The assistant manager is putting up a bit of a struggle but \n Eric simply forces him along.\n\n Everyone waits until suddenly they hear a burst of gunfire \n from outside. They all scream.", "ZED\n (turning to Eric)\n What's going on?\n\n ERIC\n Nothing. They were just scaring them.", "Eric is all smile as he plays with them. Sweat is running \n down his face but he's caught up in the moment.", "Eric is all smile as he plays with them. Sweat is running \n down his face but he's caught up in the moment.", "Eric, Ricardo, and Oliver take a seat on the couch opposite \n Zed. Francois sits on the floor.\n\n Eric rolls up his sleeve.", "Eric, Ricardo, and Oliver take a seat on the couch opposite \n Zed. Francois sits on the floor.\n\n Eric rolls up his sleeve.", "OLIVER\n You don't know? We've been discovered. \n But Eric has them under control.\n\n Zed is frantic.", "Dust has blown out of the vault and is settling on Oliver, \n Zed, and Eric, who is laughing like a madman.\n\n Zed is looking at him like he's crazy.", "Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver walk \n in and immediately start blabbing away in French to Mirelle \n and Josephine.\n\n Eric hands them some money.", "Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver walk \n in and immediately start blabbing away in French to Mirelle \n and Josephine.\n\n Eric hands them some money." ], [ "ERIC\n [What the fuck is going on!?]\n\n Zoey notices Eric, she remembers him.", "Then Eric catches sight of Zoey, their eyes lock. Eric \n smiles and winks. Then he turns to Jean with a whisper.", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "ERIC\n Zoe.\n (to Zoey in French)\n [Zoe, come here to me.]\n\n Zoey spits at him.", "ZED\n Hold on. Here she is.\n\n Eric is a bit relieved.\n\n Zed opens it up.", "ZED'S TABLE\n\n Everyone enters and takes seats at various parts of the club. \n Oliver sits next to Zed.\n\n OLIVER\n So, how long have you known Eric?", "ZED'S TABLE\n\n Everyone enters and takes seats at various parts of the club. \n Oliver sits next to Zed.\n\n OLIVER\n So, how long have you known Eric?", "ERIC\n (matter-of-factly)\n What's your girlfriends name?\n\n ZED\n Zoe.", "Zed's happy to see him.\n\n ZED\n Eric. Come in.\n\n They hug.", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "ERIC\n But in Paris your old friend Eric has a \n job for you, so you came. That's good.\n\n ZED\n How could I resist your invitation?", "ERIC\n But in Paris your old friend Eric has a \n job for you, so you came. That's good.\n\n ZED\n How could I resist your invitation?", "ERIC\n I'm glad you came. How long has it been?\n\n ZED\n Years.", "ERIC\n I'm glad you came. How long has it been?\n\n ZED\n Years.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "Eric walks up to the shower and knocks on the door. Zoey is \n obviously surprised to see him.", "Zed sits down on the bed.\n\n ZOEY(O.S.)\n Allez vous faire enculer tous le deux!\n\n ZED\n Eric, I liked that girl.", "Then, Zed and Zoey appear from the hall to the reserve vault \n area.\n\n Eric turns to them with his gun raised, when he sees them he \n lowers it." ], [ "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "Zed goes to the gated passage which isn't much more than a \n window in one upper side of the vault, but it's enough to get \n him into the main vault.\n\n Eric is right behind him.", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "Zed sits there for a moment looking at the corpse, then, like \n he wants to get out of there as soon as possible, he", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes", "He swipes and Zed grabs a hold of the knife by the blade.\n\n Eric pulls it free and the knife falls to the floor.\n\n Zed takes this opportunity and kicks Eric in the face.", "He starts laughing and then crawls through the connecting \n passage into the Caliber vault.\n\n Zed, with his briefcase, follows.", "Zed closes the door and pushes the button to go up to the \n ground floor.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "Zed jumps back down the hall toward the reserve vault area.\n\n INT. BANK - RESERVE VAULT AREA- DAY\n\n They rush out toward the stairs.", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "Zed crawls through the opening.\n\n OLIVER\n I'll be at the other vault waiting for \n you to call to me.", "ZED\n No I didn't know! How many police?\n\n OLIVER\n The building is surrounded.", "Zed shakes his head and goes to work setting dials and using \n his voltmeter to test electrical points.\n\n CUT TO:", "Then, all of the French policemen, decked out in their \n assault gear and wearing gas masks, storm down the stairs. \n At the sight of Eric about to execute Zed they raise their \n guns.", "Zed, terrified, spins around.\n\n Another groaning sound. The vault security guard isn't dead. \n His body is charred and he's not moving but he's very much \n alive.", "Zed squeezes through the opening.\n\n Then, Eric, grinning like a schoolboy, emerges from the smoke \n with a brick sized bar of pure gold.", "Zed takes a seat at the vault door. The backside of a vault \n door looks like an incredibly intricate clock. Zed removes \n the Plexiglass shielding.", "ZOE\n Merde! The vault has been closed.\n\n ZED\n What about the others?", "Oliver turns the large wheel and opens the Caliber vault \n door.\n\n With some amount of energy the door opens. Standing inside \n is Zed.", "ZED\n We're not out of here yet.\n\n ERIC\n Yes but we're rich!" ], [ "ERIC\n You know I have AIDS. From the needle.\n\n Zed can't believe this. He's not sure if what he heard was \n what he thought he heard.", "ERIC\n You know I have AIDS. From the needle.\n\n Zed can't believe this. He's not sure if what he heard was \n what he thought he heard.", "Eric takes a big hit.\n\n ERIC\n Over here is where the male prostitutes \n sell themselves. Do you see?\n\n No, Zed doesn't see.", "Eric takes a big hit.\n\n ERIC\n Over here is where the male prostitutes \n sell themselves. Do you see?\n\n No, Zed doesn't see.", "Ricardo takes hold of his arm and squeezes. Eric inserts the \n needle into his vein and draws out a little blood. It mixes", "Ricardo takes hold of his arm and squeezes. Eric inserts the \n needle into his vein and draws out a little blood. It mixes", "ERIC\n Look, your whole life you've done nothing \n but fuck whores. A girl like that will \n give you AIDS. Why don't you find a nice \n girl in the suburbs?", "Eric fires into him. He is dead instantly.\n\n Everybody screams.\n\n Eric fires into his dead corpse until his gun runs out of \n bullets.", "In one of the stalls Eric is preparing a syringe. He has \n just cooked the heroin and is now tapping on it to get the \n bubbles out.\n\n CUT TO:", "ERIC\n What happened to you? I thought you were \n going to call.\n\n Eric walks in and starts to notice the traces of wild love \n making around the room.", "Then Eric interrupts.\n\n ERIC\n (jokingly)\n Don't sit next to that junkie.\n\n CLAUDE\n Ahhhhhh!", "Then Eric interrupts.\n\n ERIC\n (jokingly)\n Don't sit next to that junkie.\n\n CLAUDE\n Ahhhhhh!", "Eric readies the needle and slaps his vein. He is shaking \n but trying to remain as still as possible.\n\n He places the needle at the end of a track on his arm and \n inserts it.", "ERIC\n Don't be silly. It's dangerous.\n\n Eric walks into the bathroom.\n\n INT. HOTEL ROOM - BATHROOM - NIGHT", "The heroin powder is put into a spoon with some lemon \n squeezed into it, then a little bit of tap water. Huddled \n around Eric are Francois, Ricardo, and Oliver.", "The heroin powder is put into a spoon with some lemon \n squeezed into it, then a little bit of tap water. Huddled \n around Eric are Francois, Ricardo, and Oliver.", "A few bursts of the Uzi go off and one shell stitches Eric's \n foot red.\n\n Eric lets go and falls to the ground.", "The one who came out of the manhole turns just in time to see \n Eric fire into his chest. Then, Eric aims the gun into the", "ERIC\n [That's what you get!]\n\n Claude puts his hand on Eric's shoulder.\n\n CLAUDE\n Eric.", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires." ], [ "He puts Zed's bag onto one of those luggage holders and \n proceeds to show him the room.\n\n Sitting on the bed is a large air freight package.", "The bellboy clicks his heels and walks out the door.\n\n Zed looks around the room, still wondering what time it is, \n and takes a seat on the bed.", "Zed grabs a towel and climbs out of the shower. He makes his \n way toward the knocking.\n\n INT. HOTEL ROOM - DAY", "INT. HOTEL ROOM - BATHROOM - SHOWER - DAY\n\n Zed is in the shower letting the water run directly into his \n face and cascade down his body.", "Zed can do nothing but smile at the thought of it.\n\n DISSOLVE TO:\n\n INT. HOTEL - HALL - DAY", "Zed opens up the door and lets her in. She checks out the \n room and places her bag on the bed. Then she makes her way \n to the window for a view of the city.", "Obviously tired from the flight Zed unbuttons his shirt a bit \n and lays back on the bed next to the package. Before he \n dozes off to sleep he takes his watch off and places it on \n the bedside table.", "The door to the room opens and the bellboy, followed by Zed, \n walks into the room.", "INT. HOTEL ROOM - NIGHT\n\n Zed can't believe this.\n\n ZED\n Eric.", "CAB DRIVER\n It's a nice hotel. Your hotel. Very big \n rooms.\n\n He looks at Zed in the rear view mirror.", "Zed walks to the door to his room with the towel wrapped \n around his waist. He opens it.", "A long, empty hallway of a moderately priced hotel. From \n around a corner comes a BELLBOY carrying Zed's one bag.\n\n Zed is right behind him.", "DISSOLVE TO:\n\n INT. ZED'S ROOM - NIGHT\n\n Zed is asleep. Zoey is asleep in his arms.", "Then he hears it again, the knocking on the door.\n\n INT. HOTEL ROOM - BATHROOM - DAY", "ERIC\n (smiling)\n Oh I see. You have been busy.\n\n ZED\n Sorry, I asked the hotel to give me a \n wake up call.", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes", "ZED\n Well, let me just dry up.\n\n ZOEY\n Okay, but it's not necessary.\n\n He goes into the bathroom and starts drying himself.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "He is asleep.\n\n FADE TO BLACK:\n\n INT. HOTEL ROOM - LATER - DAY" ], [ "ZOE\n (holding him)\n My Zed. They've hurt you.\n\n She dabs a cloth to his cut face. He holds it on.", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "ZED\n I never really thought of it like that.\n\n ZOEY\n Well, it's true.\n\n Zed nods at this.", "ZOEY\n Alright Mister America. Zed.", "ERIC\n Zoe.\n (to Zoey in French)\n [Zoe, come here to me.]\n\n Zoey spits at him.", "In the meantime Zoey is on the floor, unsure of what is going \n on.\n\n CUT TO:", "ZOEY\n I have a shower. You can clean up there.\n\n ZED\n Thank you Zoe.\n\n He looks at her.", "ZOE\n (trying to comfort him)\n You're going to be okay. In many", "ERIC\n (matter-of-factly)\n What's your girlfriends name?\n\n ZED\n Zoe.", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "ZOEY\n Come on. I have a car.\n\n Zoey puts her arm around Zed and helps him out of the \n bank...never to return.", "He grabs Zoey and lifts her to her feet.\n\n ZOEY\n (screeching)\n No!\n\n Then, the assistant manager stops him.", "Zed is like a zombie. Then he notices Zoe in the stairwell. \n They lock eyes.\n\n ZED\n (almost delerious)\n Zoe...", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "ZOEY\n The difference is a prostitute would have \n lied to you about her orgasm.\n\n He gives her a kiss.", "Then Eric catches sight of Zoey, their eyes lock. Eric \n smiles and winks. Then he turns to Jean with a whisper.", "ZOEY\n What? You don't understand.\n\n ZED\n No, I do.\n\n ZOEY\n Hey, it's not easy.", "ZED\n Hold on. Here she is.\n\n Eric is a bit relieved.\n\n Zed opens it up.", "In the hall is ZOEY, a cute French girl of not more than \n twenty. She's chewing on gum the way a schoolgirl might, but \n she looks like no girl Zed ever went to school with.", "ZOEY\n Turn off the television.\n\n Zed reaches over and turns it off from the console." ], [ "ERIC\n Tomorrow.\n\n ZED\n Tomorrow!? We're doing this tomorrow?\n\n ERIC\n But of course.", "ERIC\n Tomorrow.\n\n ZED\n Tomorrow!? We're doing this tomorrow?\n\n ERIC\n But of course.", "He points to the main floor vault.\n\n ERIC\n Here. This is where they keep the days \n reserve cash. Okay fuck that.", "He points to the main floor vault.\n\n ERIC\n Here. This is where they keep the days \n reserve cash. Okay fuck that.", "INT. BANK - VAULT ANTECHAMBER - DAY\n\n They take cover.\n\n Another shot is fired into the vault.", "They start walking toward the reserve vault area.\n\n CUT TO:\n\n INT. BANK - FREIGHT ELEVATOR - DAY", "He charges into the reserve vault area.\n\n INT. BANK - RESERVE VAULT AREA - DAY\n\n They enter and Eric walks up to a bathroom door.", "ERIC\n Yes, tomorrow we pull the biggest job in \n French history. And spend the rest of \n our lives in Monte Carlo.\n\n The drunken Englishman, Oliver, belches and then cheers.", "ERIC\n Yes, tomorrow we pull the biggest job in \n French history. And spend the rest of \n our lives in Monte Carlo.\n\n The drunken Englishman, Oliver, belches and then cheers.", "Zed jumps back down the hall toward the reserve vault area.\n\n INT. BANK - RESERVE VAULT AREA- DAY\n\n They rush out toward the stairs.", "They come out of the Calibre vault with the huge platen.\n\n OLIVER\n Do you think we should get some cash \n also?\n\n ZED\n What for?", "Zed closes the door and pushes the button to go up to the \n ground floor.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "He takes out a tape measure and some callipers and measures \n out a point on the vault door. He marks the point with a \n piece of chalk.\n\n CUT TO:", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "They descend down the stairs into the sub lobby.\n\n Oliver takes his gun.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "Eric quickly removes the gun from the customers temple and \n fires two shots into the bank manager's face.\n\n The bank manager falls against the vault door and onto the \n floor.", "CUT TO:\n\n INT. BANK - VAULT ANTECHAMBER - DAY", "CUT TO:\n\n INT. BANK - VAULT ANTECHAMBER - DAY", "CUT TO:\n\n INT. BANK - VAULT ANTECHAMBER - DAY", "He places his ear to the vault and taps the spot.\n\n CUT TO:\n\n INT. BANK - MEN'S BATHROOM - DAY" ], [ "Eric fires into him. He is dead instantly.\n\n Everybody screams.\n\n Eric fires into his dead corpse until his gun runs out of \n bullets.", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "Eric is tired of this outburst, he shoots him.\n\n Everyone screams.", "The one who came out of the manhole turns just in time to see \n Eric fire into his chest. Then, Eric aims the gun into the", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "ERIC\n Kill her! Kill her!", "The police open fire with their French made assault machine \n guns and fill Eric with bullets. Instead of falling he does \n a scarecrow dance as his body is painted red.", "ERIC\n (into phone)\n [What do you want?]\n\n Eric looks around at the dead bodies.", "ERIC\n I guess it is dead.\n\n They walk into the flat.\n\n INT. ERIC'S FLAT - LIVING ROOM - NIGHT", "ERIC\n I guess it is dead.\n\n They walk into the flat.\n\n INT. ERIC'S FLAT - LIVING ROOM - NIGHT", "Eric reaches for the knife.\n\n Zed, his hand bloody, dives onto Eric.", "A few bursts of the Uzi go off and one shell stitches Eric's \n foot red.\n\n Eric lets go and falls to the ground.", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "ERIC\n I like danger.\n (then to the guard)\n [Changed your mind yet?]\n\n Eric creeps into the room and activates the detonator.", "He grabs the gun from the dead security guards limp grip.\n\n Eric storms in. He isn't wearing his mask.", "ERIC\n I will kill you. And once I kill you \n Zed, I'll get out of here. I'll fuck", "Eric lifts him to his feet and holds him up against the \n knife. He turns him toward the smoke and whispers into his \n ear.", "ERIC\n (to the people)\n [I have had enough of this nonsense! The \n next person that speaks will die!]\n\n Everyone is quiet.", "Eric starts elbowing Zoey in the face.\n\n The three of them lay there on the floor wriggling like \n worms, unable to move because each is putting the other \n through such agony." ], [ "Zed rushes Eric and Zoey starts scratching. Eric drops the \n gun but quickly whips out his knife.\n\n She tries to get away from Eric but he has a hold on her \n shirt.", "ZOE\n (holding him)\n My Zed. They've hurt you.\n\n She dabs a cloth to his cut face. He holds it on.", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "ZOEY\n Come on. I have a car.\n\n Zoey puts her arm around Zed and helps him out of the \n bank...never to return.", "The sight of the gun gives Eric the strength only a madman \n could posses. He rolls over and throws Zoey off him.\n\n Then, he smashes his forehead into Zed's nose, bursting it.", "He grabs Zoey and lifts her to her feet.\n\n ZOEY\n (screeching)\n No!\n\n Then, the assistant manager stops him.", "He swipes and Zed grabs a hold of the knife by the blade.\n\n Eric pulls it free and the knife falls to the floor.\n\n Zed takes this opportunity and kicks Eric in the face.", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "Zoe stands Zed up.\n\n ZOE\n Listen to me. We're going to lock \n ourselves into one of the air tight \n vaults...if any of them are still open.", "Then, her clip runs out.\n\n She sees Zed, their eyes lock. An IMAGE overcomes Zed. She \n runs down the stairs to the back.", "ZED\n I never really thought of it like that.\n\n ZOEY\n Well, it's true.\n\n Zed nods at this.", "ZED\n Hold on. Here she is.\n\n Eric is a bit relieved.\n\n Zed opens it up.", "Zed is like a zombie. Then he notices Zoe in the stairwell. \n They lock eyes.\n\n ZED\n (almost delerious)\n Zoe...", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes", "ZOEY\n Turn off the television.\n\n Zed reaches over and turns it off from the console.", "ZOEY\n I have a shower. You can clean up there.\n\n ZED\n Thank you Zoe.\n\n He looks at her.", "Suddenly, from the back office, Zed sees Zoey blasting away \n an Uzi and running toward the rear stairwell. Eric is in the", "He and Zed hug.\n\n ERIC\n Oh my God it worked!" ], [ "ZED\n I never really thought of it like that.\n\n ZOEY\n Well, it's true.\n\n Zed nods at this.", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes", "ZED(O.S.)\n My name's Zed.\n\n ZOEY\n (smiling at this)\n That's funny. We both have Z names.", "ZOE\n (holding him)\n My Zed. They've hurt you.\n\n She dabs a cloth to his cut face. He holds it on.", "ZED\n Hold on. Here she is.\n\n Eric is a bit relieved.\n\n Zed opens it up.", "Zed blinks but it's true.\n\n Oliver and Claude start laughing.\n\n OLIVER\n Look at him. He's crazy.", "Zed blinks but it's true.\n\n Oliver and Claude start laughing.\n\n OLIVER\n Look at him. He's crazy.", "ZOEY\n Alright Mister America. Zed.", "There is a knocking at the door.\n\n Zed opens his eyes.\n\n The knock becomes a pound.", "ZED\n (answering Enrique's question)\n Yes.", "ZED\n (answering Enrique's question)\n Yes.", "ZED\n Yes.\n\n ZOEY\n What kind of business?\n\n ZED\n Why?", "ZED\n No I don't.\n\n ZOEY\n Usually never. They're almost always fat \n like pigs.\n\n Zed laughs at this.", "He puts Zed's bag onto one of those luggage holders and \n proceeds to show him the room.\n\n Sitting on the bed is a large air freight package.", "ZED\n Why?\n\n ZOEY\n Because you're...a good person. I run \n into some real creeps. You know.", "Zed sits down on the bed.\n\n ZOEY(O.S.)\n Allez vous faire enculer tous le deux!\n\n ZED\n Eric, I liked that girl.", "Zed hovers over the body, afraid to touch it. He gives it a \n nudge with his foot.\n\n The body groans and then exhales the longest exhale ever.", "Zed shakes his head and goes to work setting dials and using \n his voltmeter to test electrical points.\n\n CUT TO:", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude." ], [ "Oliver takes the customer upstairs to the rest of the people.\n\n Eric rips off his mask.", "Everyone takes their masks off.\n\n ERIC\n [Is this what happens? Is this what \n happens when I walk away for five \n minutes?]", "Then everybody notices he isn't wearing a mask.\n\n JEAN\n (quietly)\n [Eric, your mask.]\n\n ERIC\n Oh shit.", "ZED\n Well, did you tell them to stay quiet?\n\n ERIC\n Yes. They're assholes. Just having fun.\n\n Zed looks into the hole.", "Eric starts elbowing Zoey in the face.\n\n The three of them lay there on the floor wriggling like \n worms, unable to move because each is putting the other \n through such agony.", "He looks at it's source, TWO POLICEMEN, decked out in black \n flak jackets and gas masks are starting to come out of a \n sewer manhole.", "The assistant manager is putting up a bit of a struggle but \n Eric simply forces him along.\n\n Everyone waits until suddenly they hear a burst of gunfire \n from outside. They all scream.", "They take a sharp turn.\n\n CUT TO:\n\n INT. CELLAR - NIGHT", "They take a sharp turn.\n\n CUT TO:\n\n INT. CELLAR - NIGHT", "Then, all of the French policemen, decked out in their \n assault gear and wearing gas masks, storm down the stairs. \n At the sight of Eric about to execute Zed they raise their \n guns.", "He covers the mouth piece.\n\n ERIC\n (to Claude)\n [I fucking hate cops.]\n\n CUT TO:", "Then, a tear gas cannister break through the top windows and \n start clouding the place up.\n\n Eric whips out his switch blade and hops on his bloody red \n foot.", "INT. BANK - VAULT ANTECHAMBER - DAY\n\n They take cover.\n\n Another shot is fired into the vault.", "Dust has blown out of the vault and is settling on Oliver, \n Zed, and Eric, who is laughing like a madman.\n\n Zed is looking at him like he's crazy.", "Zed and Oliver run for cover.", "Then Oliver yanks his off.\n\n OLIVER\n Who gives a damn if they see us or not \n anyway! I can't see a fucking think in \n this!", "Suddenly all of them start firing like blindly into the \n smoke.\n\n Francois runs back to Eric who has walked up to the elevator \n via the back office.", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "Eric fires into him. He is dead instantly.\n\n Everybody screams.\n\n Eric fires into his dead corpse until his gun runs out of \n bullets.", "Eric is all smile as he plays with them. Sweat is running \n down his face but he's caught up in the moment." ], [ "Zed sits there for a moment looking at the corpse, then, like \n he wants to get out of there as soon as possible, he", "Obviously tired from the flight Zed unbuttons his shirt a bit \n and lays back on the bed next to the package. Before he \n dozes off to sleep he takes his watch off and places it on \n the bedside table.", "DISSOLVE TO:\n\n INT. ZED'S ROOM - NIGHT\n\n Zed is asleep. Zoey is asleep in his arms.", "The bellboy clicks his heels and walks out the door.\n\n Zed looks around the room, still wondering what time it is, \n and takes a seat on the bed.", "Zed shakes his head and goes to work setting dials and using \n his voltmeter to test electrical points.\n\n CUT TO:", "There is a knocking at the door.\n\n Zed opens his eyes.\n\n The knock becomes a pound.", "ZED\n Well, let me just dry up.\n\n ZOEY\n Okay, but it's not necessary.\n\n He goes into the bathroom and starts drying himself.", "He puts Zed's bag onto one of those luggage holders and \n proceeds to show him the room.\n\n Sitting on the bed is a large air freight package.", "No longer interested in Zoey or Zed, he goes to check out the \n body.\n\n ZOEY\n The hospital?\n\n ZED\n No.", "Zed gets up to go upstairs. \n\n ZED \n I don't know.\n\n ERIC\n No! You stay here.", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "Zed goes to the gated passage which isn't much more than a \n window in one upper side of the vault, but it's enough to get \n him into the main vault.\n\n Eric is right behind him.", "Zed kneels down next to the body.\n\n ZED\n Are you still there?\n\n Nothing.", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "Zed opens up the door and lets her in. She checks out the \n room and places her bag on the bed. Then she makes her way \n to the window for a view of the city.", "Zed looks at the bathroom door close. After a fuming pause \n he turns and walks back toward the Poseidon vault door.\n\n CUT TO:", "Zed grabs a towel and climbs out of the shower. He makes his \n way toward the knocking.\n\n INT. HOTEL ROOM - DAY", "Zed hovers over the body, afraid to touch it. He gives it a \n nudge with his foot.\n\n The body groans and then exhales the longest exhale ever." ], [ "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "The sight of the gun gives Eric the strength only a madman \n could posses. He rolls over and throws Zoey off him.\n\n Then, he smashes his forehead into Zed's nose, bursting it.", "Eric reaches for the knife.\n\n Zed, his hand bloody, dives onto Eric.", "Zed tries to stop Eric but Eric aims the gun at him.\n\n ERIC\n Zed no. I'll kill you. It means nothing \n to me, our friendship.", "Zed rushes Eric and Zoey starts scratching. Eric drops the \n gun but quickly whips out his knife.\n\n She tries to get away from Eric but he has a hold on her \n shirt.", "ERIC\n Oh. Well, then why didn't you stop me.\n\n ZED\n Because you were on a rampage.", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "Zed is rabbit punching Eric from underneath.\n\n Then, Eric grabs a hold of Zed's balls and squeezes.\n\n Zed lets out a shrill scream.", "He swipes and Zed grabs a hold of the knife by the blade.\n\n Eric pulls it free and the knife falls to the floor.\n\n Zed takes this opportunity and kicks Eric in the face.", "ERIC\n I will kill you. And once I kill you \n Zed, I'll get out of here. I'll fuck", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "Eric waves them off with a brush of his hand. He's \n concentrating on Zed.", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "ERIC\n Come Zed...I'm going to cut you like a \n sausage.\n\n Zed is standing between Zoey and Eric.", "He slashes Zed across the face with the switchblade. Zed \n falls backwards and tumbles down the stairs like a rag doll.\n\n ERIC\n Never let a girl come between two men.", "Eric takes a big hit.\n\n ERIC\n Over here is where the male prostitutes \n sell themselves. Do you see?\n\n No, Zed doesn't see.", "Eric takes a big hit.\n\n ERIC\n Over here is where the male prostitutes \n sell themselves. Do you see?\n\n No, Zed doesn't see.", "He slams the door shut.\n\n Then he turns to Zed.\n\n ERIC\n So tell me, what have you been up to?", "ZED\n (turning to Eric)\n What's going on?\n\n ERIC\n Nothing. They were just scaring them." ] ]	[ "What did the team of robers wear to hide their faces during the heist?", "Where does Zoe works during the day?", "What is Zoe's profession during the night?", "Why did Eric slash Zed cheek with a knife?", "Who helped Zed to escape the bank?", "What did Eric and Zed found in the vault?", "What did Zed found in the hotel room when he arrived?", "Who killed Eric?", "How long had Eric and Zed been friends?", "What secret did Zed learn?", "Why did Zed kill someone?", "What is the prostitute's day job?", "Why did Eric attack his friend?", "When was the heist supposed to happen?", "What did Eric's friends use as disguises?", "How did Zoe meet Eric's friend?", "How did Zed escape custody?", "How did Eric contract AIDS?", "What does Zed do when he gets to his hotel room?", "Who is Zoe?", "On what day will the heist take place?", "How does Eric die?", "How does Zoe save Zed?", "Who is Zed?", "How does the team hide their faces?", "Where does Zed go instead of sleeping?", "Why does Eric attack Zed?" ]	[ [ "They wore carnival masks", "carnival masks." ], [ "At the bank", "The bank." ], [ "She is a prostitute", "Prostitute " ], [ "Because he tried to protect Zoe during the heist", "For protecting Zoe" ], [ "Zoe did.", "Zoe " ], [ "Many gold bars", "Gold bars" ], [ "A prostitute", "The prostitute, Zoey " ], [ "The police did.", "The police." ], [ "since childhood", "Since childhood." ], [ "Eric had AIDS", "That Eric has AIDS " ], [ "As an act of mercy on the mortally wounded guard", "An act of mercy" ], [ "working in a bank", "Working at the bank" ], [ "because Zed tried to protect Zoe", "He protected Zoe" ], [ "On Bastille Day", "On Bastille Day " ], [ "carnival masks", "Carnival masks." ], [ "Zoe was the prostitute sent to Zed's room", "She's a prostitute." ], [ "Zoe pretended he was a bank customer", "Zoe lies to protect him." ], [ "IV drug use", "Through intravenous drug use." ], [ "Has sex with Zoe", "greets the prostitute, has sex with her, talks with her, and goes to sleep" ], [ "A prostitute hired for Zed by the cab driver.", "Eric's love interest." ], [ "Bastille Day", "Bastille Day" ], [ "Shot by police", "Police shooting." ], [ "By telling the police that he is a customer who was not involved with the heist.", "Claiming he's a bank customer." ], [ "A professional safe cracker", "The protagonist." ], [ "By wearing carnival masks", "Carnival masks." ], [ "A jazz club", "Jazz club" ], [ "For protecting Zoe", "Zed tried to protect Zoe" ] ]	c50eca23eddd3e2b5d8873950ad92bf03f86c7d3	train
[ [ "\"Lil,\" I said again, and pulled away.\n\n\"What?\" she said, her eyes shining. She was stoned, I saw that now.\n\n\"Your parents are back. They came to the Mansion.\"", "The doors swung open, revealing Lil in a rotting maid's uniform, her\neyes lined with black, her skin powdered to a deathly pallor. She gave", "\"What the hell are you doing?\" Lil said, finally. She didn't address her\nmother, which surprised me. It didn't surprise Tom, though.", "Lil and I met three years before, at a barbecue that some friends of her\nparents threw, a kind of castmember mixer. She'd been just 19 --", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "Lil was waiting on the sofa, a folded blanket and an extra pillow on the\nside table, a pot of coffee and some Disneyland Beijing mugs beside\nthem. She stood and extended her hand. \"I'm Lil,\" she said.", "It was her house.\n\n\"Lil, Julius --\" Dan began.\n\n\"This is between me and him,\" Lil said. \"Stay out of it.\"", "Lil gave us adults a very youthful glare and flounced off. Rita shook\nher head at Lil's departing backside. \"There's not much fire in that", "When Lil had arrived, she'd sized up the situation with a sour\nexpression: sit in the front, near Dan, or in the back, near me. She'd", "Lil waited until it died down, then said, \"All right, then, we've got\nwork to do, too. I'd like to ask you all a favor, first. I'd like us to", "\"This is fucking fantastic, Lil,\" I said. Her look didn't soften.\n\"Really choice stuff. I had a great idea --\" I ran it down for her, the", "\"You were my next stop,\" Lil said.\n\n\"Then I've saved you some time.\" I pulled up a chair. \"Tell me all about\nit.\"", "Lil was working with Suneep, AKA the Merch Miracle. He could design,\nprototype and produce a souvenir faster than anyone -- shirts,", "Dan turned to greet someone, and I looked to see who it was. Lil. Of\ncourse. She was raccoon-eyed with fatigue, and she reached out for Dan's\nhand, saw me, and changed her mind.", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "He dipped forward, the shuffle of his feet loud in the quiet night.\n\"We're working,\" he said.\n\n\"No, you're not,\" Lil said. \"You're destroying. Stop it.\"", "\"Everybody knows why we're here, right?\" Lil said, with a self-\ndeprecating smile. She'd been lobbying hard for weeks, after all. \"Does", "Lil dropped her eyes and it was her turn to flush. She paced the floor,\nhands swinging at her sides. I could tell that she was still angry with\nme, but excited and scared and yes, passionate.", "I was hyperventilating, light-headed. Deliberately, I slowed my breath,\nput my head between my knees until the dizziness passed.\n\n\"Take me to Lil,\" I said.", "Lil's eyes blazed. \"Let me handle this,\" she said. \"All right?\"\n\nRita stood up abruptly. \"You do whatever you want,\" she said, and\nstormed out of the room." ], [ "\"What's on your mind?\" Dan asked from behind me, startling me. He was in\nhis boxers, thin and rangy and hairy.\n\n\"Thinking about moving on,\" I said.", "Dan moved to block the bedroom door. \"Wait a second,\" he said. \"You need\nrest.\"\n\nI fixed him with a doleful glare. \"I'll decide that,\" I said. He stepped\naside.", "Mansion, trying to gather some intelligence for us to use. They knew\nwhat he was up to, of course, but Dan was a fairly charming guy and he", "I grew too obsessed to fight, and Dan moved back, and then it was my\nturn to take hotel rooms so that the rattle of my keyboard wouldn't keep", "On campus, they called him Keep-A-Movin' Dan, because of his cowboy vibe\nand because of his lifestyle, and he somehow grew to take over every", "\"Sure,\" Dan said, \"sure.\" Then he launched an answering salvo, and while\nI was thinking up my answer, he helped me to my feet and walked me out", "When Lil had arrived, she'd sized up the situation with a sour\nexpression: sit in the front, near Dan, or in the back, near me. She'd", "Quickly, Dan released the doc and apologized. He assessed my physical\nstate and wordlessly wedged his shoulder in my armpit, supporting me. I\ndidn't have the strength to stop him. I needed sleep.", "\"Well,\" Dan said.\n\n\"Yup,\" I said, aping his laconic drawl. He smiled.\n\n\"It's that time,\" he said.", "Dan turned to greet someone, and I looked to see who it was. Lil. Of\ncourse. She was raccoon-eyed with fatigue, and she reached out for Dan's\nhand, saw me, and changed her mind.", "Dan gave me one of his long, considering looks, then nodded a minute\napproval. \"Yeah,\" he drawled. \"That'll help all right. Just tell 'em", "She brushed past me and went to Dan, who squirmed out of her embrace.\n\n\"No,\" he said, and stood up and sat on the windowsill, staring down at\nthe Seven Seas Lagoon.", "He shooed Dan away and took his seat. Once Dan had left the room, he\nshone lights in my eyes and peeked in my ears, then sat back and", "\"That would be fine,\" Lil said, taking my elbow. \"I think we should be\nheading home, now, though.\" She began to tug me away. Dan took my other", "back, as far as possible from Dan. He was working his magic on my\nbehalf, and I was content to let him do his thing.", "I choked on a knob of misery, and I realized that it was Dan, not Lil,\nwhose loss upset me the most.\n\nLil took Dan's hand and led him out of the room.", "\"It's not up to me, you know,\" she said at length, still pacing. Dan and\nI exchanged wicked grins. She was in.", "Dan met my eye and shook his head apologetically. I squirmed out from\nunder Suneep's arm and thanked him quietly, then slunk off to the\nContemporary for a hot tub and a couple hours of sleep.\n\n#", "and Dan at the valet parking out front. Dan had a runabout he'd picked\nup with my Whuffie, and I piled in with Jeanine in the middle. We played", "Tom shook his head. _Some friends you've got yourself_, I could see him\nthinking it.\n\n\"That soon?\" Lil asked, a throb in her voice.\n\nDan nodded." ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "Julius. You need to get away from here: Disney World isn't good for you\nand you're sure as hell not any good for Disney World.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"" ], [ "\"This place is not a historical preserve, Julius, it's a ride. If you\ndon't understand that, you're in the wrong place. It's not my goddamn", "Kim gave a little bounce. \"Oh, Julius, it's the best time of my life,\nreally! A dream come true. I'm meeting so many interesting people, and", "Julius. You need to get away from here: Disney World isn't good for you\nand you're sure as hell not any good for Disney World.\"", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "Julius, the corny, mechanical ghosts of the Haunted Mansion have come to\nseem like a precious link to a past when we could tell the real from the\nsimulated, the true from the false.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "\"Hey!\" I said. \"That was great! I'm Julius! How're you doing?\"", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"Welcome back, Julius. I'm Doctor Pete,\" the doctor said, in a kindly\nvoice that matched the face. Despite my recent disillusion with\ncastmember bullshit, I found his schtick comforting.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"Jules, this isn't one of your better ideas.\" My chest tightened, and he\npatted my shoulder. He had the knack of putting me at my ease, even when" ], [ "\"We both know what's wrong, Julius,\" the doc said, impatiently. \"You\nneed to be refreshed from your backup, get set up with a fresh clone and\nretire this one. We've had this talk.\"", "the brain-machine interface they installed at that time had a material\ndefect. It's been deteriorating ever since, misfiring and rebooting. The", "\"Well, now,\" he said, stroking his chin. \"Julius, you've got a problem.\nYour friend here tells me your systems have been offline for more than a", "The doc put a finger to my lips. \"Don't try. The interface has locked\nup, and it's taken some of your voluntary nervous processes with it. In", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "I had two more seizures before the interface finally gave up and shut\nitself down. I remember the first, a confusion of vision-occluding", "In the meantime, I think heavy sedation is in order. Once the restore's\nbeen completed, we'll retire this body for you and we'll be all finished\nup.\"", "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"Well, that's fine for minor problems, but in cases like this, it's bad\nnews. The interface has been deteriorating steadily, and it's only a\nmatter of time before it does some serious damage.\"", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "The doc smiled kindly. \"I think it's for the best, for now. Don't worry,\nJulius, we'll have you up and about soon enough.\"", "Julius. You need to get away from here: Disney World isn't good for you\nand you're sure as hell not any good for Disney World.\"", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan." ], [ "At least there was no mandatory Whuffie check on the monorail platform,\nbut the other people on the car were none too friendly to me, and no one\noffered me an inch more personal space than was necessary. I had hit\nbottom.", "The doctor rose to go. \"Look, Julius, you haven't got the Whuffie to\nmake it worth anyone's time to research a solution to this problem,", "\"If it's any consolation, I expect to be dead pretty soon,\" he said. He\ngave me a wry grin. \"My Whuffie's doing good. This rehab should take it", "\"What?\" I said, what happened, what happened to me?\n\n\"You're out of the ad-hoc,\" he said. \"You're out of Whuffie. You're\nbottomed-out,\" he said.", "They throbbed with Whuffie, Whuffie beyond measure, beyond use. In a\nworld where even a zeroed-out Whuffie loser could eat, sleep, travel and", "She looked at me like I was being deliberately stupid. \"He's got to get\nback on top. Cleaned up, dried out, into some productive work. Get that\nWhuffie up, too. _Then_ he can kill himself with dignity.\"", "I took her home to Toronto and we took up residence ten stories\nunderground in overflow residence for the University. Our Whuffie wasn't\nso hot earthside, and the endless institutional corridors made her feel\nat home while affording her opportunities for mischief.", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "\"Now, what do you know about that?\" I said, staring at my dismal\nWhuffie.\n\n\"What?\" he said.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "button for the elevator and it gives you an angry buzz in return. You\ntake the stairs to the lobby and no one looks at you as they jostle past\nyou.", "approached, I pinged his Whuffie and was startled to see that it had\ndropped to nearly zero.", "I'd pretty much pissed away most of my Whuffie -- all the savings from\nthe symphonies and the first three theses -- drinking myself stupid at", "revealed the worst: my Whuffie was low enough that someone had just\ngotten inside and driven away, realizing that they could make more\npopular use of it than I could.", "I stood in the line for the Hall of Presidents. Other guests checked my\nWhuffie, then averted their eyes. Even the children. A year before,\nthey'd have been striking up conversations, asking me about my job here\nat the Magic Kingdom.", "I pinged my Whuffie. I was up a couple percentiles -- sympathy Whuffie\n-- but it was falling: Dan and Lil were radiating disapproval. Screw 'em.", "\"Well, now,\" he said, stroking his chin. \"Julius, you've got a problem.\nYour friend here tells me your systems have been offline for more than a", "I took a moment to conjure a HUD with his Whuffie score on it. I had to\nresize the window -- he had too many zeroes to fit on my standard", "But that would never do. Doing it here was better for the old Whuffie --\nthey'd make over Disney World and hold it, a single ad-hoc where three\nhundred had flourished before, smoothly operating a park twice the size\nof Manhattan.", "\"Have you taken a look at Debra's Whuffie lately?\" he asked, finally, as\nwe stood by the pet cemetery, considering the empty scaffolding." ], [ "That stopped me. I'd somehow managed to forget that Dan, my good friend\nDan, was going to kill himself.", "\"Dan's just been explaining to me that he plans on being dead in a\ncouple months,\" I said. \"Puts a damper on the long-term plans, doesn't\nit, Lil?\"", "Dan was going to kill himself in two days' time. My friend and my\nmurderer. \"Dan,\" I croaked. I couldn't make any sense of my mind. Dan,", "The talk turned to Dan's impending death.\n\n\"So, tell me what you think of this,\" he said, hauling away on a glowing\ncigarette.\n\n\"Shoot,\" I said.", "\"I'm going to be taking a lethal injection at the end of the week,\" Dan\nsaid. \"Three days. That's personal, but you asked.\"", "Dan closed his eyes again, then ground his fists into them, sipped his\ncoffee. It was clear he was trying to figure out where to start.", "\"Really? Deadheading.\" I remember that I thought of Dan then, about his\nviews on the cowardice of deadheading, on the bravery of ending it when", "actually helped calm me down some. Dan was that kind of friend, a person\nwho knew you better than you knew yourself. \"So you're saying that if", "\"You could be his friend,\" Dan said. The light-headedness was back, and\nI slumped in my chair, tried to control my breathing, the panicked\nthumping of my heart.", "\"Well,\" Dan said.\n\n\"Yup,\" I said, aping his laconic drawl. He smiled.\n\n\"It's that time,\" he said.", "Dan gave me one of his long, considering looks, then nodded a minute\napproval. \"Yeah,\" he drawled. \"That'll help all right. Just tell 'em", "\"Sure,\" Dan said, \"sure.\" Then he launched an answering salvo, and while\nI was thinking up my answer, he helped me to my feet and walked me out", "\"I haven't told him yet,\" Dan said, with forced lightness. \"Why don't\nyou run it down?\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "I opened my mouth to object, but Dan put a hand on my forearm. \"Really?\"\nhe asked innocently. \"How do you plan on doing that?\"", "She looked at me like I was being deliberately stupid. \"He's got to get\nback on top. Cleaned up, dried out, into some productive work. Get that\nWhuffie up, too. _Then_ he can kill himself with dignity.\"", "Dan -- Dan was going to kill himself soon, and if I restored myself from\nmy old backup, I'd lose my last year with him. I'd lose _his_ last year.", "\"What's on your mind?\" Dan asked from behind me, startling me. He was in\nhis boxers, thin and rangy and hairy.\n\n\"Thinking about moving on,\" I said.", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans" ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "\"Yes,\" I said. That would work. Plan a murder, kill yourself, have\nyourself refreshed from a backup made before the plan. How many times\nhad Debra done terrible things and erased their memories that way?", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "Dan crouched down beside me. I looked over at him. He was grinning\nwryly. \"Posit,\" he said, \"for the moment, that Debra really did do this\nthing, set you up so that she could take over.\"", "She was confused, shrinking, and I pressed on.\n\n\"They were with Debra.\"\n\nShe reeled back as if I'd slapped her.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "\"Debra had herself refreshed from backup after we planned it,\" Dan went\non, as though no one was talking. \"I was supposed to do the same, but I", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"We planned it, then Debra had herself refreshed from a backup -- no\nmemory of the event, just the Whuffie for me.\"", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"We got updates,\" Rita said. \"That's why we're back -- we couldn't let\nit go on the way it was. We owed it to Debra.\"\n\n\"And Lillian,\" Tom said.", "_Did you have me killed_? I wondered, staring at Debra. After all, she'd\nbeen killed dozens, if not hundreds of times. It might not be such a big\ndeal for her.", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "down here, kept leaving me messages. I told Debra, and that's when she\ngot the idea." ], [ "\"Really? Deadheading.\" I remember that I thought of Dan then, about his\nviews on the cowardice of deadheading, on the bravery of ending it when", "of the unimaginable frontiers open to each of us. He'd tell me that\ndeadheading was a strong indicator that one's personal reservoir of\nintrospection and creativity was dry; and that without struggle, there", "\"So deadhead for a few centuries,\" I said. \"Put the decision off.\"\n\n\"No!\" he shouted, startling both of us. \"I'm _done_. It's _over_.\"", "Tom and I stood awkwardly to the side while Lil and her mother held an\nachingly chipper and polite farewell.\n\n\"So,\" I said to Tom. \"Deadheading.\"", "We were talking --\" he drew a breath and looked askance at his wife, who\nnodded -- \"about deadheading. For a while, anyway. See if things changed\nmuch in fifty or a hundred years.\"", "\"So,\" he said, thoughtfully. \"The question I'm asking is, how long can I\ndeadhead for? There are folks who go down for a thousand years, ten\nthousand, right?\"", "chance!\" Truth be told, almost everyone I'd known in my eighty-some\nyears were deadheading or jaunting or just _gone_. Lonely days, then.", "love. . . And what about the deadheads? Two people I know, they just\nwent deadhead for ten thousand years! Tell me that's not taking a", "been jaunting?\" I asked -- his eyes were too sharp for him to have\nmissed an instant's experience to deadheading.", "to other pursuits -- some of them had gone to school, some of them had\nmade movies, written books, or gone off to Disneyland Beijing to help\nstart things up. A few had deadheaded for a couple decades.", "his head. \"It's not good stewardship. If the guests wanted to walk\nthrough a funhouse with guys jumping out of the shadows saying 'booga-", "\"Dan's just been explaining to me that he plans on being dead in a\ncouple months,\" I said. \"Puts a damper on the long-term plans, doesn't\nit, Lil?\"", "Lil didn't deal well with her parents' decision to deadhead. For her, it\nwas a slap in the face, a reproach to her and her generation of\ntwittering Polyannic castmembers.", "Still smiling, they got into their runabout and drove away to get the\nlethal injections, to become disembodied consciousnesses, to lose their\nlast moments with their darling daughter.\n\n#", "The talk turned to Dan's impending death.\n\n\"So, tell me what you think of this,\" he said, hauling away on a glowing\ncigarette.\n\n\"Shoot,\" I said.", "The ad-hoc shortcutted through the west parking lot and moved through\nthe quiet streets of Frontierland apprehensively, a funeral procession\nthat stopped the nighttime custodial staff in their tracks.", "I never thought I'd live to see the day when Keep A-Movin' Dan would\ndecide to deadhead until the heat death of the Universe.", "taken deadheading, but only for the critically ill, not for people who\ndidn't want to be bored on long bus-rides? Or no hyperlinks, no", "over terminals. They all had the raccoon-eyed, sleep-deprived look of\nfanatics, even Debra, who managed to look lazy and excited\nsimultaneously.", "and get them to play at construction activity in thumpy, undead\npantomime. In time, Suneep and his gang would have a batch of" ], [ "He spun a fascinating yarn then, how he slowly gained the acceptance of\nthe mountain-dwellers, and then their trust, and then betrayed it in", "The way I tell it to Lil, I noticed her and then I noticed the Mansion,\nbut to tell the truth it was the other way around.", "against the inside of my skull and rebounded. The first pass through,\nthere had been a sense of order, of narrative, but this, this was", "--\n\n======== PROLOGUE ========", "new stories. The way that the Hall's drawing 'em, we're bound to be a\nhit.\" He put his hands behind his back and rocked on his heels, clearly\nproud of himself.", "\"Why didn't you tell me?\" she said, after a hard moment's staring into\nthe moonlight reflecting off the river.\n\n\"Tell you?\" I said, dumbly.", "I heard Kim and her young friends chatting excitedly, proudly. The anger\nand fear suffused me from tip to toe, and I felt suddenly light and cool\nand ready to do something terrible.", "Cory Doctorow's \"Down and Out in the Magic Kingdom\" tells a gripping,\nfast-paced story that hinges on thought-provoking extrapolation from", "\"So you made her,\" I said.\n\nHe shook his head, then nodded, took a drink. \"I did. It's been a long\ntime since I. . .\"", "While I tell Lil that I noticed her first and the Mansion second, the\nreverse is indeed true. But it's also true -- and I never told her this\n-- that the thing I love best about the Mansion is:", "I told Dan the story during our first friendship, and he immediately\npounced on the fact that I'd gone to Disney World to spend a week", "================= About the author: =================", "I took a deep breath. \"I did it, all right?\" I said. My voice cracked.\n\"I did it, and I don't have any excuse for having done it. It may not", "others, in three hour shifts. That was when I met this asshole\" -- she\nchucked her husband on the shoulder -- \"he'd gotten the wrong sleeping", "He nodded. \"Appearances can be deceptive,\" he said. \"But in this case,\nthey're bang-on.\"\n\n\"You want to talk about it?\" I asked.", "Debra's mask of impartiality slipped. \"You stupid, deluded asshole,\" she\nsaid, softly. \"You totter around, pissing and moaning about your little", "Even at a distance of ten yards, I heard Lil's choked sob, saw her\ncollapse in on herself. Her mother took her in her arms, rocked her. I\nfelt like a voyeur, but couldn't bring myself to turn away.", "\"You were my next stop,\" Lil said.\n\n\"Then I've saved you some time.\" I pulled up a chair. \"Tell me all about\nit.\"", "years. I woke in my own bed, instantly aware of the events that led up\nto my third death as seen from various third-party POVs: security\nfootage from the Adventureland cameras, synthesized memories extracted", "\"Why wouldn't I be?\" I said. \"I'm as good as new.\"\n\n\"Funny choice of words,\" he said. \"Some would say that you _were_ new.\"" ], [ "It was her house.\n\n\"Lil, Julius --\" Dan began.\n\n\"This is between me and him,\" Lil said. \"Stay out of it.\"", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "Lil shook her head and glared at me. \"Just go, Julius. I'll send your\nstuff to the hotel.\"\n\n\"You want me to go, huh? So you can bang him till he limps?\"", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "Lil shot me a look. \"That's fine, Julius. Any member of the ad-hoc can\nspeak.\"", "\"Lil,\" I said again, and pulled away.\n\n\"What?\" she said, her eyes shining. She was stoned, I saw that now.\n\n\"Your parents are back. They came to the Mansion.\"", "The doors swung open, revealing Lil in a rotting maid's uniform, her\neyes lined with black, her skin powdered to a deathly pallor. She gave", "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"This is my house, Julius. I'm asking you to get out of it. I'll see you\nat work tomorrow -- we're having a general ad-hoc meeting to vote on the\nrehab.\"", "\"All right,\" I said. I was too drained for emotion.\n\n\"I've taken a room here, moved my things.\"\n\n\"How's Lil taking it?\"", "Lil had the good grace to look slightly shamed. \"I'll get him a room,\"\nshe said. \"For a month. In Kissimmee. A motel. I'll pick up his network\naccess. Is that fair?\"", "Lil called over from a nearby conversation: \"Are they telling you what a\npack of milksops we are, Julius? When you get tired of that, why don't", "Lil was waiting on the sofa, a folded blanket and an extra pillow on the\nside table, a pot of coffee and some Disneyland Beijing mugs beside\nthem. She stood and extended her hand. \"I'm Lil,\" she said.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "Lil and I met three years before, at a barbecue that some friends of her\nparents threw, a kind of castmember mixer. She'd been just 19 --", "Kim gave a little bounce. \"Oh, Julius, it's the best time of my life,\nreally! A dream come true. I'm meeting so many interesting people, and", "When Lil had arrived, she'd sized up the situation with a sour\nexpression: sit in the front, near Dan, or in the back, near me. She'd" ], [ "\"Hi, Julius. It's Dan. You got a minute?\"", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "It was her house.\n\n\"Lil, Julius --\" Dan began.\n\n\"This is between me and him,\" Lil said. \"Stay out of it.\"", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "\"Hello, Julius. What can I do for you?\" Under the veneer of professional\nmedical and castmember friendliness, I sensed irritation.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "\"Hey!\" I said. \"That was great! I'm Julius! How're you doing?\"", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "\"Well, now,\" he said, stroking his chin. \"Julius, you've got a problem.\nYour friend here tells me your systems have been offline for more than a", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "\"Jules?\" came Dan's voice in my cochlea. \"You all right?\"", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"" ], [ "On campus, they called him Keep-A-Movin' Dan, because of his cowboy vibe\nand because of his lifestyle, and he somehow grew to take over every", "Mansion, trying to gather some intelligence for us to use. They knew\nwhat he was up to, of course, but Dan was a fairly charming guy and he", "\"Well,\" Dan said.\n\n\"Yup,\" I said, aping his laconic drawl. He smiled.\n\n\"It's that time,\" he said.", "actually helped calm me down some. Dan was that kind of friend, a person\nwho knew you better than you knew yourself. \"So you're saying that if", "Dan gave me one of his long, considering looks, then nodded a minute\napproval. \"Yeah,\" he drawled. \"That'll help all right. Just tell 'em", "Whuffie tally. Being with Dan was a process of constantly reevaluating\nmy beliefs in the Bitchun Society, and I'd never had a more vibrant,\nthought-provoking time in all my life.", "Dan was in his second or third blush of youth when I first met him,\nsometime late-XXI. He was a rangy cowpoke, apparent 25 or so, all", "I worked alongside Dan, using him as a personal secretary, handling my\ncalls, looking up plans, monitoring the Net for the first grumblings as", "\"Sure,\" Dan said, \"sure.\" Then he launched an answering salvo, and while\nI was thinking up my answer, he helped me to my feet and walked me out", "It had been two weeks since Dan's arrival, and though I'd barely seen\nhim in that time, his presence was vivid in our lives. Our little ranch-", "back, as far as possible from Dan. He was working his magic on my\nbehalf, and I was content to let him do his thing.", "I got to feeling like I was someone special -- not everyone had a chum\nas exotic as Keep-A-Movin' Dan, the legendary missionary who visited the", "Sometimes, as I ran my fingers through Lil's sweet red curls, I thought\nof that remark and sighed great gusts of contentment and marveled that\nmy friend Dan had been so prescient.", "Of course, that wasn't the life for me. I had Dan to pal around with, a\nrare high-net-Whuffie individual who was willing to fraternize with a", "\"Dan,\" he said. \"It's a pleasure.\"", "\"It's Dan.\" I heard the sound of the Park in full swing behind him --\nchildren's laughter; bright, recorded animatronic spiels; the tromp of", "The talk turned to Dan's impending death.\n\n\"So, tell me what you think of this,\" he said, hauling away on a glowing\ncigarette.\n\n\"Shoot,\" I said.", "the smooth knuckles. Dan smiled beneficently at me and I was seized with\na warm, comforting feeling of being surrounded by people who really", "It was the stupidest thing I'd ever heard. Dan, though, was cocking an\neyebrow at her and thinking hard. \"How old did you say you were?\" he\nasked.", "nearly started crying right then. Dan -- oh, Dan. My pal, my confidant,\nmy patsy, my rival, my nemesis. Dan, Dan, Dan. I wanted to beat him to" ], [ "Now, though, it seems the \"ad hocs\" are under attack. A new group has\ntaken over the Hall of the Presidents and is replacing its venerable", "killed would cause enough confusion that she could take over the Hall of\nPresidents. It was.\"", "member of this ad-hoc vandalized the Hall of Presidents, rendering it\nuseless. It's estimated that it will take at least a week to get it back\nup and running.", "========= CHAPTER 4 =========\n\nOne night in the Hall of Presidents convinced me of three things:\n\n1. That Debra's people had had me killed, and screw their alibis,", "Slipping along to the Liberty Square gateway, I flattened myself in\ndoorways whenever I heard maintenance crews passing in the distance,\nuntil I reached the Hall of Presidents, and in a twinkling I was inside\nthe theater itself.", "\"To find Jeanine, the one who pulled the trigger. I'll meet you at the\nHall of Presidents at nine a.m..\"\n\n#", "The Liberty Square ad-hocs marched shoulder to shoulder through the\nutilidors and, as a mass, took back the Haunted Mansion. Dan, Lil and I", "Ad-hocracy works well, for the most part. Lil's folks had taken over the\nrunning of Liberty Square with a group of other interested, compatible", "The Liberty Square ad-hocs who were working on the Mansion had been\nrailroaded into approving a rehab, press-ganged into working on it, and", "Locating their backup units was a little trickier, but years of hanging\nout at the Hall of Presidents while Lil tinkered with the animatronics", "He was nearby when my break came up. I changed into civvies and we\nwalked over the cobbled streets, past the Hall of the Presidents, noting", "\"I'd like to propose that no further work be done on the Mansion until\nthe Hall of Presidents is fully operational. I will be volunteering my\nservices on the repairs.\"", "So it fell to Lil to make sure that there were no bugs in the meager\nattractions of Liberty Square: the Hall of the Presidents, the Liberty", "As I watched, gaps appeared in the bucket-brigade as castmembers slipped\naway, faces burning scarlet with shame. At the Hall of Presidents, Debra", "As we drew up on Liberty Square, I saw that the work-lights were blazing\nand a tremendous work-gang of Debra's ad-hocs were moving from the Hall\nto the Mansion, undoing our teardown of their work.", "Debra's people were sitting around in the armchairs onstage, the\nanimatronic presidents stacked in neat piles in the wings. Debra was", "relationship, taking away my beloved (in hindsight, anyway) Hall of\nPresidents and threatening the Mansion. Even in my addled state, I knew", "support while they finished up; a failed demo could doom them. There\nwere plenty of people in the Park who had a sentimental attachment to\nthe Hall of Presidents, and whatever Debra's people came up with would", "Her parents -- Tom and Rita -- on the other hand, were fascinating\npeople, members of the original ad-hoc that had seized power in Walt", "I clambered inside without waiting for a reply, and started inching my\nway under the Hall of Presidents.\n\n#" ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "\"Hi, Julius. It's Dan. You got a minute?\"", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "He sighed in undoctorly, uncastmemberly fashion. \"Julius, I've got\nimportant things to do here. Are you sure this can't wait?\"" ], [ "\"This place is not a historical preserve, Julius, it's a ride. If you\ndon't understand that, you're in the wrong place. It's not my goddamn", "Julius. You need to get away from here: Disney World isn't good for you\nand you're sure as hell not any good for Disney World.\"", "Kim gave a little bounce. \"Oh, Julius, it's the best time of my life,\nreally! A dream come true. I'm meeting so many interesting people, and", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "Julius, the corny, mechanical ghosts of the Haunted Mansion have come to\nseem like a precious link to a past when we could tell the real from the\nsimulated, the true from the false.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "\"Hey!\" I said. \"That was great! I'm Julius! How're you doing?\"", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"Welcome back, Julius. I'm Doctor Pete,\" the doctor said, in a kindly\nvoice that matched the face. Despite my recent disillusion with\ncastmember bullshit, I found his schtick comforting.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"Jules, this isn't one of your better ideas.\" My chest tightened, and he\npatted my shoulder. He had the knack of putting me at my ease, even when" ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "They did it while you were distracted, they used _me_ to engineer the\ndistraction, they _murdered_ me!\" I heard the shriek creeping into my" ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"Hi, Julius. It's Dan. You got a minute?\"", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "It was her house.\n\n\"Lil, Julius --\" Dan began.\n\n\"This is between me and him,\" Lil said. \"Stay out of it.\"", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "\"Well, now,\" he said, stroking his chin. \"Julius, you've got a problem.\nYour friend here tells me your systems have been offline for more than a", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"" ], [ "That stopped me. I'd somehow managed to forget that Dan, my good friend\nDan, was going to kill himself.", "Dan was going to kill himself in two days' time. My friend and my\nmurderer. \"Dan,\" I croaked. I couldn't make any sense of my mind. Dan,", "\"Dan's just been explaining to me that he plans on being dead in a\ncouple months,\" I said. \"Puts a damper on the long-term plans, doesn't\nit, Lil?\"", "actually helped calm me down some. Dan was that kind of friend, a person\nwho knew you better than you knew yourself. \"So you're saying that if", "The talk turned to Dan's impending death.\n\n\"So, tell me what you think of this,\" he said, hauling away on a glowing\ncigarette.\n\n\"Shoot,\" I said.", "Dan closed his eyes again, then ground his fists into them, sipped his\ncoffee. It was clear he was trying to figure out where to start.", "\"I haven't told him yet,\" Dan said, with forced lightness. \"Why don't\nyou run it down?\"", "She looked at me like I was being deliberately stupid. \"He's got to get\nback on top. Cleaned up, dried out, into some productive work. Get that\nWhuffie up, too. _Then_ he can kill himself with dignity.\"", "\"Really? Deadheading.\" I remember that I thought of Dan then, about his\nviews on the cowardice of deadheading, on the bravery of ending it when", "Dan gave me one of his long, considering looks, then nodded a minute\napproval. \"Yeah,\" he drawled. \"That'll help all right. Just tell 'em", "\"Sure,\" Dan said, \"sure.\" Then he launched an answering salvo, and while\nI was thinking up my answer, he helped me to my feet and walked me out", "\"You could be his friend,\" Dan said. The light-headedness was back, and\nI slumped in my chair, tried to control my breathing, the panicked\nthumping of my heart.", "\"Jesus,\" he said, into his palms. \"Jesus.\"\n\n\"Dan?\" I said, quietly.", "nearly started crying right then. Dan -- oh, Dan. My pal, my confidant,\nmy patsy, my rival, my nemesis. Dan, Dan, Dan. I wanted to beat him to", "Dan -- Dan was going to kill himself soon, and if I restored myself from\nmy old backup, I'd lose my last year with him. I'd lose _his_ last year.", "\"I didn't want to die,\" I said.\n\n\"Oh no?\" he said. \"I think the evidence suggests the contrary.\"", "\"I'm going to be taking a lethal injection at the end of the week,\" Dan\nsaid. \"Three days. That's personal, but you asked.\"", "Dan moved to block the bedroom door. \"Wait a second,\" he said. \"You need\nrest.\"\n\nI fixed him with a doleful glare. \"I'll decide that,\" I said. He stepped\naside.", "He chuckled. \"I've been thinking about doing the same,\" he said.\n\nI smiled. \"Not that way,\" I said. \"Just going somewhere else, starting\nover. Getting away from this.\"", "I could have left the Park, deadheaded to anywhere in the world, started\nover. I could have turned my back on Dan, on Debra, on Lil and the whole\nmess.\n\nI didn't." ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "\"This is my house, Julius. I'm asking you to get out of it. I'll see you\nat work tomorrow -- we're having a general ad-hoc meeting to vote on the\nrehab.\"", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "\"No, Julius. No. Let's go home and get some sleep. I want to do some\nwork on new merch for the Mansion -- some collectible stuff, maybe.\"", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "He sighed in undoctorly, uncastmemberly fashion. \"Julius, I've got\nimportant things to do here. Are you sure this can't wait?\"", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants." ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "\"Hi, Julius. It's Dan. You got a minute?\"", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"Well, now,\" he said, stroking his chin. \"Julius, you've got a problem.\nYour friend here tells me your systems have been offline for more than a", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "They did it while you were distracted, they used _me_ to engineer the\ndistraction, they _murdered_ me!\" I heard the shriek creeping into my" ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"Hi, Julius. It's Dan. You got a minute?\"", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "It was her house.\n\n\"Lil, Julius --\" Dan began.\n\n\"This is between me and him,\" Lil said. \"Stay out of it.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "Dan was going to kill himself in two days' time. My friend and my\nmurderer. \"Dan,\" I croaked. I couldn't make any sense of my mind. Dan,", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"" ], [ "\"Really? Deadheading.\" I remember that I thought of Dan then, about his\nviews on the cowardice of deadheading, on the bravery of ending it when", "of the unimaginable frontiers open to each of us. He'd tell me that\ndeadheading was a strong indicator that one's personal reservoir of\nintrospection and creativity was dry; and that without struggle, there", "\"So deadhead for a few centuries,\" I said. \"Put the decision off.\"\n\n\"No!\" he shouted, startling both of us. \"I'm _done_. It's _over_.\"", "Tom and I stood awkwardly to the side while Lil and her mother held an\nachingly chipper and polite farewell.\n\n\"So,\" I said to Tom. \"Deadheading.\"", "We were talking --\" he drew a breath and looked askance at his wife, who\nnodded -- \"about deadheading. For a while, anyway. See if things changed\nmuch in fifty or a hundred years.\"", "\"So,\" he said, thoughtfully. \"The question I'm asking is, how long can I\ndeadhead for? There are folks who go down for a thousand years, ten\nthousand, right?\"", "chance!\" Truth be told, almost everyone I'd known in my eighty-some\nyears were deadheading or jaunting or just _gone_. Lonely days, then.", "love. . . And what about the deadheads? Two people I know, they just\nwent deadhead for ten thousand years! Tell me that's not taking a", "been jaunting?\" I asked -- his eyes were too sharp for him to have\nmissed an instant's experience to deadheading.", "to other pursuits -- some of them had gone to school, some of them had\nmade movies, written books, or gone off to Disneyland Beijing to help\nstart things up. A few had deadheaded for a couple decades.", "his head. \"It's not good stewardship. If the guests wanted to walk\nthrough a funhouse with guys jumping out of the shadows saying 'booga-", "\"Dan's just been explaining to me that he plans on being dead in a\ncouple months,\" I said. \"Puts a damper on the long-term plans, doesn't\nit, Lil?\"", "Lil didn't deal well with her parents' decision to deadhead. For her, it\nwas a slap in the face, a reproach to her and her generation of\ntwittering Polyannic castmembers.", "Still smiling, they got into their runabout and drove away to get the\nlethal injections, to become disembodied consciousnesses, to lose their\nlast moments with their darling daughter.\n\n#", "The talk turned to Dan's impending death.\n\n\"So, tell me what you think of this,\" he said, hauling away on a glowing\ncigarette.\n\n\"Shoot,\" I said.", "The ad-hoc shortcutted through the west parking lot and moved through\nthe quiet streets of Frontierland apprehensively, a funeral procession\nthat stopped the nighttime custodial staff in their tracks.", "I never thought I'd live to see the day when Keep A-Movin' Dan would\ndecide to deadhead until the heat death of the Universe.", "taken deadheading, but only for the critically ill, not for people who\ndidn't want to be bored on long bus-rides? Or no hyperlinks, no", "over terminals. They all had the raccoon-eyed, sleep-deprived look of\nfanatics, even Debra, who managed to look lazy and excited\nsimultaneously.", "and get them to play at construction activity in thumpy, undead\npantomime. In time, Suneep and his gang would have a batch of" ], [ "\"Dan's just been explaining to me that he plans on being dead in a\ncouple months,\" I said. \"Puts a damper on the long-term plans, doesn't\nit, Lil?\"", "\"Really? Deadheading.\" I remember that I thought of Dan then, about his\nviews on the cowardice of deadheading, on the bravery of ending it when", "\"So deadhead for a few centuries,\" I said. \"Put the decision off.\"\n\n\"No!\" he shouted, startling both of us. \"I'm _done_. It's _over_.\"", "The talk turned to Dan's impending death.\n\n\"So, tell me what you think of this,\" he said, hauling away on a glowing\ncigarette.\n\n\"Shoot,\" I said.", "\"So,\" he said, thoughtfully. \"The question I'm asking is, how long can I\ndeadhead for? There are folks who go down for a thousand years, ten\nthousand, right?\"", "Tom shook his head. _Some friends you've got yourself_, I could see him\nthinking it.\n\n\"That soon?\" Lil asked, a throb in her voice.\n\nDan nodded.", "Dan gave me one of his long, considering looks, then nodded a minute\napproval. \"Yeah,\" he drawled. \"That'll help all right. Just tell 'em", "When I came to again in the infirmary, Dan was still there. He had a\nday's growth of beard and new worrylines at the corners of his newly\nrejuvenated eyes. The doctor came in, shaking his head.", "here. Once Dan was dead -- God, it was sinking in finally -- I could\ncatch a ride down to the Cape for a launch.", "We were talking --\" he drew a breath and looked askance at his wife, who\nnodded -- \"about deadheading. For a while, anyway. See if things changed\nmuch in fifty or a hundred years.\"", "\"Well,\" Dan said.\n\n\"Yup,\" I said, aping his laconic drawl. He smiled.\n\n\"It's that time,\" he said.", "The irony! Once the doc knew I was serious, he sent Dan out of the room\nand rolled his eyes up while he placed a call. I saw his gorge work as\nhe subvocalized. He left me bound to the table, to wait.", "But she was right. Dan nodded heavily, and I saw that he knew it, too.\n\n\"A day late and a dollar short,\" he sighed.", "\"You could be his friend,\" Dan said. The light-headedness was back, and\nI slumped in my chair, tried to control my breathing, the panicked\nthumping of my heart.", "That stopped me. I'd somehow managed to forget that Dan, my good friend\nDan, was going to kill himself.", "Dan was going to kill himself in two days' time. My friend and my\nmurderer. \"Dan,\" I croaked. I couldn't make any sense of my mind. Dan,", "Dan closed his eyes again, then ground his fists into them, sipped his\ncoffee. It was clear he was trying to figure out where to start.", "Tom and I stood awkwardly to the side while Lil and her mother held an\nachingly chipper and polite farewell.\n\n\"So,\" I said to Tom. \"Deadheading.\"", "Sorrow knifed through me as I realized that Dan was probably dead by\nnow, my memories of him gone forever.", "actually helped calm me down some. Dan was that kind of friend, a person\nwho knew you better than you knew yourself. \"So you're saying that if" ], [ "killed would cause enough confusion that she could take over the Hall of\nPresidents. It was.\"", "Now, though, it seems the \"ad hocs\" are under attack. A new group has\ntaken over the Hall of the Presidents and is replacing its venerable", "Slipping along to the Liberty Square gateway, I flattened myself in\ndoorways whenever I heard maintenance crews passing in the distance,\nuntil I reached the Hall of Presidents, and in a twinkling I was inside\nthe theater itself.", "========= CHAPTER 4 =========\n\nOne night in the Hall of Presidents convinced me of three things:\n\n1. That Debra's people had had me killed, and screw their alibis,", "member of this ad-hoc vandalized the Hall of Presidents, rendering it\nuseless. It's estimated that it will take at least a week to get it back\nup and running.", "As I watched, gaps appeared in the bucket-brigade as castmembers slipped\naway, faces burning scarlet with shame. At the Hall of Presidents, Debra", "So it fell to Lil to make sure that there were no bugs in the meager\nattractions of Liberty Square: the Hall of the Presidents, the Liberty", "\"I'd like to propose that no further work be done on the Mansion until\nthe Hall of Presidents is fully operational. I will be volunteering my\nservices on the repairs.\"", "relationship, taking away my beloved (in hindsight, anyway) Hall of\nPresidents and threatening the Mansion. Even in my addled state, I knew", "He was nearby when my break came up. I changed into civvies and we\nwalked over the cobbled streets, past the Hall of the Presidents, noting", "Locating their backup units was a little trickier, but years of hanging\nout at the Hall of Presidents while Lil tinkered with the animatronics", "knows, the Hall of Presidents_. But he didn't know. That episode was\nlocked in my mind, invulnerable to backup.", "She gave me a relieved look. \"Is _that_ all? Don't worry about it. I've\nbeen talking to Debra, over at the Hall of Presidents, and she says she", "support while they finished up; a failed demo could doom them. There\nwere plenty of people in the Park who had a sentimental attachment to\nthe Hall of Presidents, and whatever Debra's people came up with would", "\"Why would she: one, take out you instead of Lil or one of the real old-\ntimers; two, go after the Hall of Presidents instead of Tom Sawyer", "\"To find Jeanine, the one who pulled the trigger. I'll meet you at the\nHall of Presidents at nine a.m..\"\n\n#", "\"Of course you didn't. She's cagey. Did you hear her talk about the Hall\nof Presidents?\"\n\nDan fumbled. \"Not really. . . I mean, not in so many words, but --\"", "I sat in my seat at the Hall of Presidents, watching the short film with\nthe rest, sitting patiently while they rocked in their seats under the", "Presidents, and so she took over. I never heard her talk about the\nMansion.\"", "I stood in the line for the Hall of Presidents. Other guests checked my\nWhuffie, then averted their eyes. Even the children. A year before,\nthey'd have been striking up conversations, asking me about my job here\nat the Magic Kingdom." ], [ "She was confused, shrinking, and I pressed on.\n\n\"They were with Debra.\"\n\nShe reeled back as if I'd slapped her.", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "\"We got updates,\" Rita said. \"That's why we're back -- we couldn't let\nit go on the way it was. We owed it to Debra.\"\n\n\"And Lillian,\" Tom said.", "There was a roar of conversation. I looked at Debra, saw that she was\nsitting calmly, as though Dan had just accused her of sneaking an extra", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "Debra shook her head. \"You can't keep me out, you know. And you\nshouldn't want to. We're on the same side.\"", "\"Debra had herself refreshed from backup after we planned it,\" Dan went\non, as though no one was talking. \"I was supposed to do the same, but I", "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "Dan crouched down beside me. I looked over at him. He was grinning\nwryly. \"Posit,\" he said, \"for the moment, that Debra really did do this\nthing, set you up so that she could take over.\"", "_Did you have me killed_? I wondered, staring at Debra. After all, she'd\nbeen killed dozens, if not hundreds of times. It might not be such a big\ndeal for her.", "Debra smiled condescendingly. \"Are you finished, then?\" she asked,\nsweetly. \"Fine. I know I'm not a member of this group, but since it was", "Debra's mask of impartiality slipped. \"You stupid, deluded asshole,\" she\nsaid, softly. \"You totter around, pissing and moaning about your little", "Debra followed us in when we mounted the steps to the meeting room. Lil\nturned. \"I don't think you should be here, Debra,\" she said in measured\ntones.", "\"Yes,\" I said. That would work. Plan a murder, kill yourself, have\nyourself refreshed from a backup made before the plan. How many times\nhad Debra done terrible things and erased their memories that way?", "\"I know that,\" I said. The flush burned hotter. \"But that's the point --\nwhat Debra does isn't easy either. It's risky, dangerous. It made her", "I started to pull out the handheld but he put a hand on my arm. \"Don't\nbother,\" he said, morosely. \"Suffice it to say, Debra's gang is number", "Dan's poker face didn't twitch a muscle. \"Hello, Debra,\" he said. He'd\nbeen hanging out with them since Lil had briefed him on the peril to the", "down here, kept leaving me messages. I told Debra, and that's when she\ngot the idea.", "\"He's been hanging out with Debra -- he wanted to make sure I knew what\nshe's up to.\"" ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "exist without all of our contributions. What happened to Julius was\nterrible, and I sincerely hope that the person responsible is caught and\nbrought to justice. But that person wasn't me or any of the people in my", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "\"Well, now,\" he said, stroking his chin. \"Julius, you've got a problem.\nYour friend here tells me your systems have been offline for more than a", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much" ], [ "\"This place is not a historical preserve, Julius, it's a ride. If you\ndon't understand that, you're in the wrong place. It's not my goddamn", "Julius. You need to get away from here: Disney World isn't good for you\nand you're sure as hell not any good for Disney World.\"", "Kim gave a little bounce. \"Oh, Julius, it's the best time of my life,\nreally! A dream come true. I'm meeting so many interesting people, and", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "Julius, the corny, mechanical ghosts of the Haunted Mansion have come to\nseem like a precious link to a past when we could tell the real from the\nsimulated, the true from the false.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "\"Hey!\" I said. \"That was great! I'm Julius! How're you doing?\"", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"Welcome back, Julius. I'm Doctor Pete,\" the doctor said, in a kindly\nvoice that matched the face. Despite my recent disillusion with\ncastmember bullshit, I found his schtick comforting.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"Jules, this isn't one of your better ideas.\" My chest tightened, and he\npatted my shoulder. He had the knack of putting me at my ease, even when" ], [ "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "It was her house.\n\n\"Lil, Julius --\" Dan began.\n\n\"This is between me and him,\" Lil said. \"Stay out of it.\"", "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "Kim gave a little bounce. \"Oh, Julius, it's the best time of my life,\nreally! A dream come true. I'm meeting so many interesting people, and", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "\"Is there a problem, Julius? If there is, I'd rather we just talked\nabout it, instead of making chitchat.\"\n\nI smiled and took her hand off my shoulder. \"How old are you, Kim?\"", "Lil shook her head and glared at me. \"Just go, Julius. I'll send your\nstuff to the hotel.\"\n\n\"You want me to go, huh? So you can bang him till he limps?\"", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "She held up a single finger, then, a moment later, gave me a bright\nsmile.\n\n\"Hi, Julius!\" she said. \"Sure!\"", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "\"Hello, Julius. What can I do for you?\" Under the veneer of professional\nmedical and castmember friendliness, I sensed irritation.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said." ] ]	[ "Who is Lil?", "Who does Dan move in with?", "What happens to Julius after he is murdered at the park?", "What is Julius' favorite ride?", "What happens to Julius because his cranial interface is damaged?", "What do elevators do after Julius' Whuffie hits rock bottom?", "How does Dan plan to commit suicide?", "What did Debra do so she would believe she was not involved in the plan to kill Julius?", "What does it mean to deadhead?", "Who is telling the story?", "Who moves in with Julius and his girlfriend, Lil?", "How do Julius and Dan know each other?", "What measured Dan's reputation, determining him to be on of the most popular people in the country at one point?", "Whose ad hoc group takes control of the Hall of Presidents?", "What happens to Julius after he is murdered?", "What is Julius's favorite ride?", "At the end of the story, who do we learn arranged to have Julius killed?", "What was Dan's payment for having Julius killed?", "Instead of killing himself, Dan decides to do what?", "Where is Julius murdered?", "Who arranged to kill Julius?", "Why did Dan arrange to kill Julius?", "What does it mean to deadhead?", "How long will Dan be deadheaded?", "Who takes over the hall of presidents?", "Why does Debra believe she wasn't involved?", "Who does Julius believe had him killed?", "What is Julius's favorite ride?", "Who is Julius's girlfriend?" ]	[ [ "Julius' girlfriend.", "Lil is Julius' girlfriend. " ], [ "He moved in with Julius and Lil.", "Julius and Lil." ], [ "He is refreshed/rejuvenated.", "He is soon refreshed." ], [ "The Haunted Mansion is his favorite ride.", "The Haunted Mansion" ], [ "He can no longer back himself up.", "He can't back himself up" ], [ "Elevators don't stop for Julius.", "refuse to stop for him" ], [ "By lethal injection.", "Leathal injection " ], [ "She had herself restored from a backup that was created before the plan.", "Restored from a backup made before the plan" ], [ "To put oneself into a voluntary coma.", "voluntary coma" ], [ "Julius", "Julius. " ], [ "Dan", "Dan" ], [ "They went to college together", "They are friends. " ], [ "The Whuffie", "Whuffie" ], [ "Debra's", "Debra's" ], [ "He is refreshed", "He is refreshed. " ], [ "The Haunted Mansion", "The Haunted Mansion" ], [ "Dan", "Dan" ], [ "Whuffie", "Whuffie from Debra's team" ], [ "He deadheads himself", "deadhead" ], [ "At the park", "At the park " ], [ "Dan", "Dan." ], [ "For the Whuffie from her team", "for Whuffie" ], [ "To voluntarily go into a coma", "To put oneself into a voluntary coma." ], [ "Until the heat death of the universe", "Until the heat death of the Universe" ], [ "Debra's ad hoc group", "Debra's ad hoc" ], [ "Because she was restored from an old backup", "She had herself restored from a backup made before the plan to murder Julius." ], [ "Another ad hoc team", "Debra's ad hoc" ], [ "The Haunted Mansion", "The Haunted Mansion" ], [ "Lil", "Lil" ] ]	ca62fc427e58bfba7739e0d514ffe433695ff602	train
[ [ "</p><p><p ID=\"act\">J.Q. glances at the admitting desk and sees the chair move. He lifts his weapon and moves towards it. He jumps around the corner of the desk to find Debby Utley underneath, scared to death.", "</p><p><p ID=\"act\">The beautiful woman's body is loaded onto the medivac. The helicopter lifts off and disappears into the darkening sky.", "</p><p><p ID=\"act\">As J.Q. hangs up the receiver, the sniper pulls the trigger.", "We never see her face. Hanging from the mirror is", "rigs. She cuts the wheel hard, but too late. The", "</p><p><p ID=\"act\">Sheer pandemonium. Hostages run for cover. The phone receiver swings back and forth, and a bloody J.Q. is slumped against the wall.", "</p><p><p ID=\"act\">Julie rears back, and with her go-go boot, she kicks Mitch square in the groin.", "</p><p><p ID=\"act\">The sound of a screaming baby is cutting through the room like nails on a blackboard. J.Q. approaches Rosa, who clutches her child defensively.", "</p><p><p ID=\"act\">J.Q. peels back a corner of the blanket, looks for weapons, recoils at the sight of the man's blood. Maguire moves in, squeezes the man's wrist, takes his pulse.", "</p><p><p ID=\"act\">She takes off a big diamond from her finger and drops it on the floor. It bounces and disappears under a table.", "crying. And a sheet is pulled over her face of", "</p><p><p ID=\"act\">J.Q. sits, his shirt soaked in blood. Among all the madness, something funny happens.", "</p><p><p ID=\"act\">Lester removes the blood soaked towel. The tips of three fingers have been severed from his right hand.", "violently smashes headfirst into the embankment, the beautiful woman is", "</p><p><p ID=\"act\">Payne arrives, and the two stand there a moment. Watching the scene, Grimes is visibly moved. Even Payne and her super bitch attitude are a little humbled.", "</p><p><p ID=\"act\">He lifts Mike's head, holds it in his hands. Denise arrives, hysterical.", "</p><p><p ID=\"act\">With J.Q.'s finger pointed at her, Debby falls apart, bursting into tears.", "</p><p><p ID=\"act\">In one of the treatment rooms, Dr. Marjorie Klein and Leo Maguire attend to a man in motorcycle leathers with a bloodied head wound. They watch J.Q. lock the ambulance entrance.", "</p><p><p ID=\"act\">John rests his head and closes his eyes as he listens to his wife falling apart.", "</p><p><p ID=\"act\">BLAM! The sound is revealed. Not a bullet. It's Denise slapping the list up against the glass windows of the ER." ], [ "</p><p><p ID=\"act\">Mike wobbles, doubles over and falls face first into the dirt. The Dodger shortstop stands over Mike. He can't decide if he should tag him. Players, spectators look on dazed, shocked.", "</p><p><p ID=\"act\">CLOSE ON MIKE, slowing, suddenly clutching his chest, gulping for air, ten feet from the base. SMACK. The ball lands in the shortstop's glove.", "</p><p><P ID=\"speaker\">MAGUIRE\n<P ID=\"dia\">Pulse is 150. B.P. 68 over 34. Collapsed playing baseball.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">I don't know. He had a baseball game. All of a sudden he...", "</p><p><p ID=\"act\">PUSH IN ON J.Q.'s FACE, panicked. TRACK HIM leaping down the bleachers, knocking over spectators, racing onto the playing field.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">He was running. Next thing we know he keels over.", "</p><p><p ID=\"act\">As the Dodger pitcher argues with the umpire, the Oriole player on third base darts towards home. The Dodger pitcher wheels around and fires. Too late, the runner scores.", "</p><p><p ID=\"slug\">EXT. BASEBALL FIELD - DAY", "</p><p><p ID=\"act\">Seeing an opening, Mike races from first to second, arms pumping, breathing hard. The Dodger shortstop sees Mike, races to the base and calls for the throw.", "J.Q.'s windbreaker, collar up, baseball cap pulled way down", "</p><p><p ID=\"act\">The catcher flashes fingers. The pitcher nods and fires. Mike hits a sharp ground ball between first and second. The second baseman moves over but doesn't have the angle.", "</p><p><p ID=\"act\">J.Q. looks at Mike as the medical team assess his condition, just watching helplessly as the life drains out of his body.", "</p><p><P ID=\"speaker\">UMPIRE\n<P ID=\"dia\">Ball four!\n\n</p><p><p ID=\"act\">Tommy trots down to first base.", "</p><p><p ID=\"act\">The first baseman charges the ball, scoops it on the run, then underhands it to the Dodger pitcher, who gallops off the mound towards first.", "</p><p><p ID=\"act\">J.Q. sits, his shirt soaked in blood. Among all the madness, something funny happens.", "</p><p><p ID=\"act\">Mike's foot hits the bag at exactly the same time the ball plops in the pitcher's outstretched glove.", "</p><p><p ID=\"act\">J.Q., in baseball hat and windbreaker, emerges from the hospital.", "</p><p><p ID=\"act\">J.Q. is devastated. It takes a few moments to sink in.", "</p><p><P ID=\"speaker\">DODGER SHORTSTOP\n<P ID=\"dia\">Second base!\n\n</p><p><p ID=\"act\">The Dodger catcher throws off his mask and fires the ball.", "</p><p><p ID=\"act\">The crowd again roars its approval. Steve and Miriam watch from the gallery, holding a baby girl. Even Rebecca Payne cracks a smile." ], [ "into Mike's chest. But then, something suddenly is wrong.", "</p><p><p ID=\"act\">Mike is propped up in bed, now breathing with some difficulty. He's so weak, Denise has to hold the phone.", "Mike's vital signs start giving out. The gauges dropping at", "</p><p><p ID=\"act\">J.Q. looks at Mike as the medical team assess his condition, just watching helplessly as the life drains out of his body.", "</p><p><p ID=\"act\">Mike stops to catch his breath. He's really on his last legs. He just lays there a second before asking the big one.", "</p><p><p ID=\"act\">He lifts Mike's head, holds it in his hands. Denise arrives, hysterical.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">He was running. Next thing we know he keels over.", "</p><p><p ID=\"act\">Mike looks up to see Dr. Turner walking alongside. He looks up at him and smiles. Mike is wheeled into a Trauma room where the monitors quickly come to life.", "</p><p><p ID=\"act\">The mob swarms around the speeding bed, trying to get a look at Mike, who considers the circus atmosphere surrounding him. As the bed hits the police barricade, the cops take over.", "</p><p><p ID=\"act\">J.Q. lifts Mike into his arms and races with Denise through the crowd towards the parking lot. Denise gets in the pick up and John lays Mike down in her lap before gunning the engine and taking off.", "</p><p><p ID=\"act\">CLOSE ON MIKE, slowing, suddenly clutching his chest, gulping for air, ten feet from the base. SMACK. The ball lands in the shortstop's glove.", "</p><p><p ID=\"act\">A male nurse, LEO MAGUIRE, leaves what he's doing and moves towards them. He clutches Mike's wrist, taking his pulse.", "</p><p><p ID=\"act\">Mike is semi-conscious, eyes dilated, barely breathing.", "</p><p><p ID=\"act\">The front doors burst open and Mike's bed is rolled onto the sidewalk. COPS run alongside like secret service agents, protecting Mike, pushing a path through the crowd.", "</p><p><P ID=\"speaker\">DENISE\n<P ID=\"dia\">Mike?! Mikey, can you hear me?", "</p><p><p ID=\"act\">Mike groans. He feels queasy and his mouth is bone dry.", "clattering to the floor. The element of surprise gone, Mitch", "</p><p><p ID=\"act\">Mike wobbles, doubles over and falls face first into the dirt. The Dodger shortstop stands over Mike. He can't decide if he should tag him. Players, spectators look on dazed, shocked.", "Mike's eyes close and John smiles as he falls asleep.", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84." ], [ "<P ID=\"dia\">I'm afraid we're considerably beyond the point of corrective surgery, Mr. and Mrs. Archibald. Your son's heart is useless. He is going to need a transplant.", "The replacement heart is taken out of its container and placed", "</p><p><P ID=\"speaker\">LAMPLEY\n<P ID=\"dia\">The heart is here. Repeat. The heart for little Mike Archibald has arrived. What an unbelievable ending to this incredible, tumultuous day.", "<P ID=\"dia\">Transplant surgery, doctor fees, post operative treatment and immunosuppressant drugs, you're looking at two-hundred and fifty-thousand dollars minimum.", "<P ID=\"dia\">This is still a hospital. There's a sick kid in there and I'm his doctor. And if there's a heart available, I'll be damned if I'm going to let it go to waste.", "</p><p><p ID=\"act\">INSERT FAX\n\n</p><p><p ID=\"act\">It's official. The heart is on the way.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">I'm not asking anymore, Doctor. I'm telling. Now I want a new heart for my kid. You understand?", "Will the man known as John Q. get a heart", "plus surgeries at a quarter million a pop. That's seventy", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Why not? I kill myself. You cut me open and take my heart. It's perfect.", "</p><p><P ID=\"speaker\">MITCH\n<P ID=\"dia\">Think, Einstein. Use your head. Correct me if I'm wrong, Doctor, but hearts don't come just like that. It takes months, years sometimes.", "</p><p><P ID=\"speaker\">DR. TURNER\n<P ID=\"dia\">Not buts, John. Without a new heart, he's not going to make it.", "<P ID=\"dia\">Mr. Archibald, your hospital bill is in excess of thirty thousand dollars. So far, we haven't received any kind of payment. We have bent over backward to help you.", "a procedure this costly. If you opt for replacement surgery,", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">There's an operation that could save his life. I'm going to need some equipment but I've got two surgeons inside that are ready to go.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">No. The hospital says I have to pay cash. Otherwise the only thing I can do is bring Mike home and watch him die.", "<P ID=\"dia\">That's exactly how it works. Maybe not up there on the fifth floor, but down here, if you ain't got no money, you get a band-aid, a foot in the ass, and you're out the door.", "</p><p><P ID=\"speaker\">J.Q. (CONT'D)\n<P ID=\"dia\">This is my will. I'm leaving my heart to my son.", "</p><p><P ID=\"speaker\">DENISE\n<P ID=\"dia\">John! It's a miracle! They found a heart! It's a miracle!!!", "<P ID=\"dia\">So, what, you're going to shoot me? Because that's what you're telling the cops. If poor little Mikey doesn't get the very first heart available, all of us die." ], [ "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Did you hear what I said? I'm telling you, I'm insured.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Yeah, but you've got insurance.", "</p><p><P ID=\"speaker\">J.Q. (CONT'D)\n<P ID=\"dia\">What's the matter, Doc? You want to see his insurance card first?", "</p><p><p ID=\"act\">John sits in a cubicle across from his employer's insurance representative.", "</p><p><P ID=\"speaker\">LAMPLEY (CONT'D)\n<P ID=\"dia\">More, now. And there he is. John Q. is coming out.", "</p><p><P ID=\"speaker\">INSURANCE REP.\n<P ID=\"dia\">And that's why we're going to cover you for the full twenty.", "</p><p><P ID=\"speaker\">INSURANCE REP.\n<P ID=\"dia\">You coverage has changed, Mr. Archibald.", "he says, and the three of them are laughing. John", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">There must be some kind of mistake. My son is covered. I've got full medical. He's covered.", "</p><p><p ID=\"act\">J.Q. shakes it off: \"Not to worry.\" John notices Julie, her arm now in a sling, not broken.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">I've got major medical. Don't worry, I'm covered.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Yeah?\n\n</p><p><p ID=\"act\">The insurance rep pushes a stack of papers towards J.Q.", "</p><p><p ID=\"slug\">INT. POLICE CAR - CONTINUOUS\n\n</p><p><p ID=\"act\">John smiles, and the car picks up speed.", "</p><p><P ID=\"speaker\">MITCH\n<P ID=\"dia\">John, buddy, you're talking a little nutsy cukoo, here.", "</p><p><p ID=\"act\">John Q. gets the message. He pushes his chair back and starts to get up.", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><p ID=\"act\">J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "</p><p><p ID=\"act\">This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "</p><p><P ID=\"speaker\">LAMPLEY\n<P ID=\"dia\">All we know at this point is that an attempt has been made on the gunman's life. Repeat. John Q. has been shot." ], [ "</p><p><P ID=\"speaker\">INSURANCE REP.\n<P ID=\"dia\">You coverage has changed, Mr. Archibald.", "</p><p><p ID=\"act\">John sits in a cubicle across from his employer's insurance representative.", "</p><p><P ID=\"speaker\">J.Q. (CONT'D)\n<P ID=\"dia\">What's the matter, Doc? You want to see his insurance card first?", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">There must be some kind of mistake. My son is covered. I've got full medical. He's covered.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">No, sir. It doesn't. My son is very sick. If I'm not covered, I've got a serious problem.", "</p><p><P ID=\"speaker\">INSURANCE REP.\n<P ID=\"dia\">This is how it works. Non-management, part-time employees such as yourself only qualify for second tier catastrophic coverage.", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "</p><p><P ID=\"speaker\">INSURANCE REP.\n<P ID=\"dia\">We've recently switched carriers from a PPO to an HMO. It's a less expensive policy, but unfortunately it has some restrictions.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">No. The hospital says I have to pay cash. Otherwise the only thing I can do is bring Mike home and watch him die.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Wait a minute. I've been paying for my coverage for years. You take it out of my paycheck every week.", "</p><p><P ID=\"speaker\">LAMPLEY\n<P ID=\"dia\">All we know at this point is that an attempt has been made on the gunman's life. Repeat. John Q. has been shot.", "</p><p><P ID=\"speaker\">LAMPLEY (CONT'D)\n<P ID=\"dia\">More, now. And there he is. John Q. is coming out.", "</p><p><p ID=\"act\">John Q. gets the message. He pushes his chair back and starts to get up.", "</p><p><P ID=\"speaker\">J.Q. (CONT'D)\n<P ID=\"dia\">This hospital is under new management, ladies and gentlemen. From now on, free care for everyone.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Yeah, but you've got insurance.", "</p><p><p ID=\"act\">The waiting room is packed. A lot of people needing work. John fills out the application.", "<P ID=\"dia\">Let me get this straight. You drop me from full-time to part-time, switch carriers, and now you're telling me I'm not fully covered even though I have a policy that says I am.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">I've got major medical. Don't worry, I'm covered.", "insurance says they won't cover them. The doctor keeps his", "<P ID=\"dia\">My son, Mike, went into heart failure playing in his little league game. I have full insurance through my work, but now they're saying they don't have to pay." ], [ "</p><p><p ID=\"act\">J.Q. lifts the gun to his head.\n\n</p><p><p ID=\"slug\">EXT. HOPE MEMORIAL HOSPITAL - NIGHT", "</p><p><p ID=\"act\">J.Q. steps off a city bus carrying a gym bag. Windbreaker buttoned, baseball cap pulled down tight, he moves with purpose toward the hospital.", "<P ID=\"dia\">This guy's in for the long haul, Lieutenant. He locked down the ER, barricaded himself inside, killed the power on the elevators. We could bust down the door, but the sonofabitch might start killing everybody.", "</p><p><p ID=\"act\">Something in J.Q. snaps. Heart pounding, he pushes Turner through a pair of heavy metal doors and into the Emergency Room.", "</p><p><p ID=\"act\">The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "</p><p><p ID=\"act\">Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "</p><p><p ID=\"act\">The hostages attention has been so focused on the screen, none of them have realized that for John to be on TV, there has to be a camera inside the ER. Suddenly, it hits Lester.", "</p><p><p ID=\"act\">J.Q. glances at the admitting desk and sees the chair move. He lifts his weapon and moves towards it. He jumps around the corner of the desk to find Debby Utley underneath, scared to death.", "</p><p><p ID=\"act\">John turns as the bullet explodes from the chamber, muzzle flashing. A bullet blows through J.Q.'s shoulder, knocking him backwards against the wall.", "</p><p><p ID=\"act\">BLAM! The sound is revealed. Not a bullet. It's Denise slapping the list up against the glass windows of the ER.", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><p ID=\"act\">J.Q. studies Maguire's eyes, measures his honesty, and then unchains the door and opens it, pointing the weapon. The paramedics see J.Q.'s gun and their hands go up.", "the gun. You're the one that took the hospital. What", "</p><p><p ID=\"slug\">INT. J.Q.'S TRAUMA ROOM - NIGHT\n\n</p><p><p ID=\"act\">CLOSE ON J.Q.'s GUN", "</p><p><p ID=\"act\">A monolithic maze of glass and stone. John's truck screeches to a stop at the E.R. entrance.", "</p><p><p ID=\"slug\">INT. HOPE MEMORIAL HOSPITAL - ELEVATOR - DAY\n\n</p><p><p ID=\"act\">John Q. takes the trip down with Rebecca Payne.", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "</p><p><p ID=\"slug\">INT. EMERGENCY ROOM - DAY\n\n</p><p><p ID=\"act\">J.Q. puts down the walkie-talkie and points at Miriam and Rosa.", "<P ID=\"dia\">I understand. It's hard to be a man these days. Hard to know what the right thing is. Put the gun down, John. It's all over. You got everything you asked for. Mike is on the list. Status one.", "</p><p><p ID=\"act\">J.Q. cracks a smile. Just then, a loud rattle echoes through the ER, pipes clanging." ], [ "</p><p><p ID=\"act\">This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "</p><p><P ID=\"speaker\">MIKE\n<P ID=\"dia\">Dad!\n\n</p><p><p ID=\"act\">John moves over to Denise and the Pastor.", "</p><p><P ID=\"speaker\">LAMPLEY (CONT'D)\n<P ID=\"dia\">More, now. And there he is. John Q. is coming out.", "</p><p><p ID=\"act\">John Q. gets the message. He pushes his chair back and starts to get up.", "John Q. walks in, catches the anxiety on her face,", "</p><p><p ID=\"act\">John tries to get his bearings but Mitch", "</p><p><p ID=\"act\">J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "</p><p><p ID=\"act\">John rests his head and closes his eyes as he listens to his wife falling apart.", "he says, and the three of them are laughing. John", "As John closes the book, something catches his eye. At", "</p><p><p ID=\"act\">J.Q. hears the words and they sink in. He knows they're right.", "</p><p><p ID=\"act\">The Pastor waves as John grabs Denise", "</p><p><p ID=\"act\">Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "</p><p><p ID=\"act\">The crowd goes crazy, cheering and shouting out their encouragement. The faces are those of outrage and passion. Some even with tears streaming down their faces. J.Q. looks out the overwhelming display of support.", "</p><p><p ID=\"act\">A few rows back, John sees Jimmy Palumbo tapping his watch. Denise gives her husband a disapproving look. John sticks his head back in the hymn book and continues singing.", "John puts them on and the three watch the surgery.", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">I think what John's trying to do is right.", "</p><p><p ID=\"act\">John and Denise sit, and the lights are dimmed. Dr. Turner approaches an illuminated display of X-rays. He uses a pointer to clarify.", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84." ], [ "</p><p><p ID=\"act\">A police bus drives slowly into the parking lot. A SWAT team, dressed in flak jackets and riot gear, pours out.", "</p><p><p ID=\"act\">Monroe moves outside and joins the other SWAT team personnel at the video tap. Grimes follows to plead his case.", "</p><p><p ID=\"act\">A black SWAT phone starts ringing and the policemen freeze. Where's Grimes? A COMPUTER COP runs over and calls out to the lieutenant.", "</p><p><p ID=\"act\">But Tuck Lampley's attention is on the police command post where dozens of blue uniforms crowd around a small bank of monitors. Suddenly, it hits him.", "and a SWAT Team are in strategy session. They surround", "</p><p><p ID=\"act\">The police are all around him now. Pointing their weapons and shouting commands. J.Q. puts his hands behind his head, turns around, kneels and then lays face down on the pavement.", "</p><p><p ID=\"act\">The hostages are hustled through the police barricade by a team of kevlar riot police. The media rush the hostages, shouting out questions and frantically trying to stick their microphones close enough.", "</p><p><p ID=\"act\">Police Chief Gus Monroe, Wally Pitoniak,", "</p><p><p ID=\"act\">The police have cordoned off a section of the parking lot and transformed it into a command post. Police personnel invade the area. Tables, phones, and monitors are being set up.", "he comes forward, police and SWAT teams train their rifles", "<P ID=\"dia\">Wake up, fat boy. The cops are coming in shooting. They don't give a shit about his kid. And as soon as he realizes that, we're history.", "</p><p><p ID=\"act\">The mob swarms around the speeding bed, trying to get a look at Mike, who considers the circus atmosphere surrounding him. As the bed hits the police barricade, the cops take over.", "</p><p><p ID=\"act\">A UNIFORMED POLICEMAN runs up with a cell phone and hands it to Monroe.", "</p><p><P ID=\"speaker\">LAMPLEY (CONT'D)\n<P ID=\"dia\">The suspect's hands are up. He appears to be surrendering.", "SCREEN, J.Q. sees the massive police build-up, swallows. He", "</p><p><P ID=\"speaker\">POLICEMAN\n<P ID=\"dia\">It's the Mayor, sir. And you better kill that video feed. The media's pirated the signal and the whole thing just went out live over national TV.", "<P ID=\"dia\">This guy's in for the long haul, Lieutenant. He locked down the ER, barricaded himself inside, killed the power on the elevators. We could bust down the door, but the sonofabitch might start killing everybody.", "</p><p><p ID=\"act\">A restless crowd encircles the hospital, cordoned off by police blockades, uniformed cops forming a human wall around people. EMS rescue vehicles rumble onto the scene, sirens blaring.", "</p><p><p ID=\"act\">The crowd erupts. They're getting rowdy now. The cops are getting jumpy, their rifles trained, their trigger fingers ready.", "</p><p><P ID=\"speaker\">GRIMES\n<P ID=\"dia\">This is Lieutenant Frank Grimes of the Chicago Police Department. Are you the man in charge?" ], [ "</p><p><p ID=\"act\">The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "</p><p><p ID=\"act\">CLOSER ON TRIGGER as John's finger pulls it tighter.\n\n</p><p><p ID=\"act\">BLAM!", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "</p><p><p ID=\"act\">John turns as the bullet explodes from the chamber, muzzle flashing. A bullet blows through J.Q.'s shoulder, knocking him backwards against the wall.", "</p><p><p ID=\"act\">J.Q. lifts the gun to his head.\n\n</p><p><p ID=\"slug\">EXT. HOPE MEMORIAL HOSPITAL - NIGHT", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Why not? I kill myself. You cut me open and take my heart. It's perfect.", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "<P ID=\"dia\">I don't think you understand. I'm not letting him die. Haven't you figured that out by now? I don't care what I have to do.", "</p><p><P ID=\"speaker\">LAMPLEY\n<P ID=\"dia\">All we know at this point is that an attempt has been made on the gunman's life. Repeat. John Q. has been shot.", "</p><p><p ID=\"act\">J.Q. sits, his shirt soaked in blood. Among all the madness, something funny happens.", "</p><p><p ID=\"act\">J.Q. puts the gun to his temple.", "<P ID=\"dia\">I understand. It's hard to be a man these days. Hard to know what the right thing is. Put the gun down, John. It's all over. You got everything you asked for. Mike is on the list. Status one.", "</p><p><p ID=\"act\">As J.Q. hangs up the receiver, the sniper pulls the trigger.", "</p><p><p ID=\"act\">J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "</p><p><p ID=\"act\">J.Q. shakes it off: \"Not to worry.\" John notices Julie, her arm now in a sling, not broken.", "</p><p><p ID=\"act\">J.Q. indicates his bleeding shoulder.\n\n</p><p><P ID=\"speaker\">J.Q. (CONT'D)\n<P ID=\"dia\">Almost.", "</p><p><P ID=\"speaker\">STEVE\n<P ID=\"dia\">If he didn't, the man would have died.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">I'll take that chance. It's better than letting him die.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Aw, I'm all talk. I would never hurt any of you. Only person I ever considered killing was me.", "<P ID=\"dia\">No, listen to me, you stupid rent-a-cop. I'm not a slob. I've got a life, and it means something to me. I'm not dying in this shithole." ], [ "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">No, sir. It doesn't. My son is very sick. If I'm not covered, I've got a serious problem.", "</p><p><p ID=\"act\">John sits in a cubicle across from his employer's insurance representative.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">There must be some kind of mistake. My son is covered. I've got full medical. He's covered.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Don't qualify? I've got a kid who's dying and I'm broke. If I don't qualify, who does?", "</p><p><P ID=\"speaker\">INSURANCE REP.\n<P ID=\"dia\">This is how it works. Non-management, part-time employees such as yourself only qualify for second tier catastrophic coverage.", "</p><p><p ID=\"act\">The waiting room is packed. A lot of people needing work. John fills out the application.", "</p><p><P ID=\"speaker\">J.Q. (CONT'D)\n<P ID=\"dia\">What's the matter, Doc? You want to see his insurance card first?", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">No. The hospital says I have to pay cash. Otherwise the only thing I can do is bring Mike home and watch him die.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Wait a minute. I've been paying for my coverage for years. You take it out of my paycheck every week.", "insurance says they won't cover them. The doctor keeps his", "in this country without medical insurance, sir. And there's one", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><p ID=\"act\">John Q. laughs nervously as the P.M. reviews his application.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Yeah, but you've got insurance.", "<P ID=\"dia\">My son, Mike, went into heart failure playing in his little league game. I have full insurance through my work, but now they're saying they don't have to pay.", "Will the man known as John Q. get a heart", "John? This country, man. I swear to God. You can't", "</p><p><P ID=\"speaker\">STATE REP\n<P ID=\"dia\">I understand that. But then you don't qualify. We only give assistance to patients without coverage. Are you on Welfare?", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">I've got major medical. Don't worry, I'm covered.", "</p><p><P ID=\"speaker\">LAMPLEY (CONT'D)\n<P ID=\"dia\">More, now. And there he is. John Q. is coming out." ], [ "<P ID=\"dia\">It's not that simple. There are other considerations before a prospective recipient is placed on the donor list, Mr. Archibald. The cost of transplant surgery is expensive. In most cases, prohibitively so.", "</p><p><P ID=\"speaker\">PAYNE\n<P ID=\"dia\">I've decided to put Mike's name on the organ recipient list, Mrs. Archibald. The hospital will pay for everything.", "<P ID=\"dia\">Transplant surgery, doctor fees, post operative treatment and immunosuppressant drugs, you're looking at two-hundred and fifty-thousand dollars minimum.", "</p><p><p ID=\"act\">The line goes dead.\n\n</p><p><P ID=\"speaker\">GRIMES\n<P ID=\"dia\">Alright, what the hell is a donor list?", "</p><p><P ID=\"speaker\">MEDICAL TRANSPLANT PERSON #1\n<P ID=\"dia\">Female. Donor. Thirty-three years old. Five foot seven. Liver, kidneys, usable.", "on an organ recipient list. Once he does, his chances", "<P ID=\"dia\">This is still a hospital. There's a sick kid in there and I'm his doctor. And if there's a heart available, I'll be damned if I'm going to let it go to waste.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Find Rebecca Payne, Hope Memorial's Administrative Supervisor. Tell her I want my kid's name on the donor list.", "</p><p><P ID=\"speaker\">DR. TURNER\n<P ID=\"dia\">There's too many unknowns. Matching a donor and receiver is extremely complicated. There's several critical tests that have to be taken.", "remember two things. My kid and the donor list. You", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">I'm not asking anymore, Doctor. I'm telling. Now I want a new heart for my kid. You understand?", "</p><p><P ID=\"speaker\">DENISE\n<P ID=\"dia\">How much does a transplant cost?", "</p><p><p ID=\"act\">J.Q. Seventy-five thousand dollars to put my kid's name on a list?", "</p><p><P ID=\"speaker\">PAYNE\n<P ID=\"dia\">And transplantation is a high risk operation. You could lose your son on the table. You may not want to take that chance.", "</p><p><p ID=\"act\">We see more of the list this time. Boldfaced columns appear: HOSPITAL/CENTER, CROSS MATCH, WEIGHT RANGE, BLOOD TYPE.", "</p><p><p ID=\"act\">The stretcher is rushed into the O.R. and the body is placed on the surgical table. A MEDICAL TRANSPLANT TEAM is waiting, ready. They take the body, prep for organ harvesting.", "</p><p><P ID=\"speaker\">LAMPLEY\n<P ID=\"dia\">The heart is here. Repeat. The heart for little Mike Archibald has arrived. What an unbelievable ending to this incredible, tumultuous day.", "<P ID=\"dia\">I'm afraid we're considerably beyond the point of corrective surgery, Mr. and Mrs. Archibald. Your son's heart is useless. He is going to need a transplant.", "<P ID=\"dia\">You're telling me that if I'm laying dead on the floor, you wouldn't take my heart and put it in my kid to save his life? You'd let two people die instead of one because of a technicality?", "</p><p><p ID=\"act\">The UNOS Official moves into the OR. Everything the transplant people tell him, he repeats into the phone." ], [ "<P ID=\"dia\">Excuse me, but why don't we just tell him his son's on the list? Doesn't that make sense? I mean, how's he going to know.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">And, frankly, I'm tired of getting the runaround. I need my son's name on that list.", "</p><p><P ID=\"speaker\">J.Q. (O.S.)\n<P ID=\"dia\">I mean it, Frank. If my boy's not on the list in an hour, I promise you someone's going to die.", "</p><p><P ID=\"speaker\">PAYNE\n<P ID=\"dia\">That's him. His name is John Archibald. His son's on the fifth floor, Pediatric ICU.", "<P ID=\"dia\">I understand. It's hard to be a man these days. Hard to know what the right thing is. Put the gun down, John. It's all over. You got everything you asked for. Mike is on the list. Status one.", "<P ID=\"dia\">You want me to put his name on the list, fine, but it's a mistake. You give in to this man, there's going to be guns in every hospital in America.", "</p><p><P ID=\"speaker\">DENISE (O.S.)\n<P ID=\"dia\">Payne was just here. Mike's name is on the list. You did it.", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "</p><p><p ID=\"act\">The waiting room is packed. A lot of people needing work. John fills out the application.", "</p><p><p ID=\"act\">John rubs his son's head. He's a good boy.", "your son's name on the list.", "</p><p><P ID=\"speaker\">GRIMES\n<P ID=\"dia\">You mean all of this could have been avoided if you had just put the kid's name on a list?", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Okay. Great. We're on the list. Wow. How's Mikey doing?", "</p><p><p ID=\"act\">J.Q. Seventy-five thousand dollars to put my kid's name on a list?", "</p><p><p ID=\"slug\">EXT. THOMAS EDISON ELEMENTARY SCHOOL - DAY\n\n</p><p><p ID=\"act\">John walks Mike to the gate. Mike turns, serious.", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><P ID=\"speaker\">LAMPLEY (CONT'D)\n<P ID=\"dia\">More, now. And there he is. John Q. is coming out.", "</p><p><p ID=\"act\">John Q. gets the message. He pushes his chair back and starts to get up.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">What list? They're shooting at me. They're not going to help my kid. It's time to change plans.", "</p><p><p ID=\"act\">John keeps filling out his paperwork." ], [ "<P ID=\"dia\">On the final count, False Imprisonment, we find the defendant, guilty. The crowd erupts in protest. The media rush out to file their stories.", "As John closes the book, something catches his eye. At", "<P ID=\"dia\">He's going to do some time. But there's not a judge in the country that will give him more than a year. And with time served, John will be home very soon.", "</p><p><P ID=\"speaker\">JURY FORMAN\n<P ID=\"dia\">As to count one, Assault with a deadly weapon, we find the defendant, John Quincy Archibald, not guilty.", "</p><p><p ID=\"act\">Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "</p><p><p ID=\"act\">The Pastor waves as John grabs Denise", "</p><p><p ID=\"act\">J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "John? This country, man. I swear to God. You can't", "</p><p><p ID=\"act\">This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "</p><p><p ID=\"act\">John rests his head and closes his eyes as he listens to his wife falling apart.", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><p ID=\"act\">John tries to get his bearings but Mitch", "</p><p><p ID=\"act\">A few rows back, John sees Jimmy Palumbo tapping his watch. Denise gives her husband a disapproving look. John sticks his head back in the hymn book and continues singing.", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "he says, and the three of them are laughing. John", "</p><p><p ID=\"act\">J.Q. hears the words and they sink in. He knows they're right.", "</p><p><P ID=\"speaker\">LAMPLEY (CONT'D)\n<P ID=\"dia\">More, now. And there he is. John Q. is coming out.", "</p><p><P ID=\"speaker\">JURY FORMAN (CONT'D)\n<P ID=\"dia\">On count two, Armed Criminal Action. Not guilty.", "</p><p><p ID=\"act\">The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "</p><p><p ID=\"act\">John moves over to Dr. Turner to plea his case." ], [ "</p><p><p ID=\"act\">John turns as the bullet explodes from the chamber, muzzle flashing. A bullet blows through J.Q.'s shoulder, knocking him backwards against the wall.", "</p><p><P ID=\"speaker\">LAMPLEY\n<P ID=\"dia\">All we know at this point is that an attempt has been made on the gunman's life. Repeat. John Q. has been shot.", "</p><p><p ID=\"act\">Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "</p><p><p ID=\"act\">As J.Q. hangs up the receiver, the sniper pulls the trigger.", "</p><p><p ID=\"act\">The police are all around him now. Pointing their weapons and shouting commands. J.Q. puts his hands behind his head, turns around, kneels and then lays face down on the pavement.", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><p ID=\"act\">J.Q. lifts Mike into his arms and races with Denise through the crowd towards the parking lot. Denise gets in the pick up and John lays Mike down in her lap before gunning the engine and taking off.", "</p><p><p ID=\"act\">The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "</p><p><p ID=\"act\">The sniper now sits restrained to a", "</p><p><p ID=\"act\">J.Q. lifts the gun to his head.\n\n</p><p><p ID=\"slug\">EXT. HOPE MEMORIAL HOSPITAL - NIGHT", "</p><p><p ID=\"act\">J.Q. glances at the admitting desk and sees the chair move. He lifts his weapon and moves towards it. He jumps around the corner of the desk to find Debby Utley underneath, scared to death.", "</p><p><p ID=\"act\">Stunned, Monroe, Moody, Grimes and Payne grimly watch J.Q. subduing the sniper on the video tape monitors. Their faces are in stark contrast with the chaos that surrounds them.", "</p><p><p ID=\"act\">Mike's bed is rolled slowly to a stop outside the ER doors. The sniper is released and J.Q. stands guard as Mike is rolled in by Turner and Maguire, before locking the door behind them.", "</p><p><p ID=\"act\">Sheer pandemonium. Hostages run for cover. The phone receiver swings back and forth, and a bloody J.Q. is slumped against the wall.", "</p><p><p ID=\"act\">Something in J.Q. snaps. Heart pounding, he pushes Turner through a pair of heavy metal doors and into the Emergency Room.", "</p><p><p ID=\"act\">The hostages attention has been so focused on the screen, none of them have realized that for John to be on TV, there has to be a camera inside the ER. Suddenly, it hits Lester.", "</p><p><p ID=\"act\">J.Q. puts the gun to his temple.", "</p><p><p ID=\"act\">J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "<P ID=\"dia\">Wake up, fat boy. The cops are coming in shooting. They don't give a shit about his kid. And as soon as he realizes that, we're history.", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84." ], [ "</p><p><p ID=\"act\">Something in J.Q. snaps. Heart pounding, he pushes Turner through a pair of heavy metal doors and into the Emergency Room.", "</p><p><p ID=\"act\">J.Q. lifts Mike into his arms and races with Denise through the crowd towards the parking lot. Denise gets in the pick up and John lays Mike down in her lap before gunning the engine and taking off.", "</p><p><p ID=\"act\">Mike looks up to see Dr. Turner walking alongside. He looks up at him and smiles. Mike is wheeled into a Trauma room where the monitors quickly come to life.", "</p><p><p ID=\"act\">Mike's bed is rolled slowly to a stop outside the ER doors. The sniper is released and J.Q. stands guard as Mike is rolled in by Turner and Maguire, before locking the door behind them.", "</p><p><p ID=\"act\">But she is held back as Mike is ushered through.\n\n</p><p><p ID=\"slug\">INT. EMERGENCY ROOM - MAGIC HOUR", "</p><p><p ID=\"act\">Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "</p><p><p ID=\"act\">Paper in hand, he sprints out of the ward and down the corridor.\n\n</p><p><p ID=\"slug\">INT. MIKE'S TRAUMA ROOM - NIGHT", "</p><p><p ID=\"act\">The front doors burst open and Mike's bed is rolled onto the sidewalk. COPS run alongside like secret service agents, protecting Mike, pushing a path through the crowd.", "</p><p><p ID=\"act\">John and Denise watch helplessly as Maguire stabs an I.V. needle into Mike's vein.", "</p><p><p ID=\"act\">John enters to find Dr. Klein checking Mike's vitals. The heart monitor reads 30.", "</p><p><p ID=\"act\">A monolithic maze of glass and stone. John's truck screeches to a stop at the E.R. entrance.", "</p><p><p ID=\"act\">A red & white ambulance is parked outside. THREE PARAMEDICS are pushing against the locked doors, pounding on the glass. J.Q. runs from the treatment area, sees a body laying on a stretcher.", "</p><p><p ID=\"act\">He lifts Mike's head, holds it in his hands. Denise arrives, hysterical.", "</p><p><p ID=\"act\">The mob swarms around the speeding bed, trying to get a look at Mike, who considers the circus atmosphere surrounding him. As the bed hits the police barricade, the cops take over.", "</p><p><p ID=\"act\">The hostages attention has been so focused on the screen, none of them have realized that for John to be on TV, there has to be a camera inside the ER. Suddenly, it hits Lester.", "</p><p><p ID=\"act\">J.Q. steps off a city bus carrying a gym bag. Windbreaker buttoned, baseball cap pulled down tight, he moves with purpose toward the hospital.", "into Mike's chest. But then, something suddenly is wrong.", "</p><p><p ID=\"act\">A roar from the crowd is heard as the entrance to the ER is unlocked and the front door opens. Mitch and Debby are the first to emerge.", "</p><p><p ID=\"act\">The electric doors slide open and J.Q. enters and looks around before moving quickly through and disappearing into the main hospital entrance.", "</p><p><p ID=\"act\">A male nurse, LEO MAGUIRE, leaves what he's doing and moves towards them. He clutches Mike's wrist, taking his pulse." ], [ "</p><p><p ID=\"act\">Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "</p><p><p ID=\"act\">The hostages attention has been so focused on the screen, none of them have realized that for John to be on TV, there has to be a camera inside the ER. Suddenly, it hits Lester.", "</p><p><p ID=\"act\">The hostages are glued to the TV set. Maguire, Julie, Debby, Marjorie Klein hang on J.Q.'s every word.", "</p><p><P ID=\"speaker\">J.Q. (CONT'D)\n<P ID=\"dia\">I need two witnesses. Don't everybody jump at once.", "</p><p><p ID=\"act\">J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "</p><p><P ID=\"speaker\">LESTER\n<P ID=\"dia\">yeah. Finders keepers, man.\n\n</p><p><p ID=\"act\">The hostages laugh and Mitch goes crazy.", "Hostages tired, hot, emotionally spent. Suddenly, a phone clangs.", "</p><p><P ID=\"speaker\">J.Q. (CONT'D)\n<P ID=\"dia\">This is my will. I'm leaving my heart to my son.", "</p><p><p ID=\"act\">The Pastor waves as John grabs Denise", "</p><p><p ID=\"act\">The echoing gunshot rumbles through the air like a thunderclap. Monroe, Moody, Grimes and Payne react as the hostages scatter.", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "</p><p><P ID=\"speaker\">GRIMES (O.S.)\n<P ID=\"dia\">Where are those hostages, John?", "</p><p><p ID=\"act\">Sheer pandemonium. Hostages run for cover. The phone receiver swings back and forth, and a bloody J.Q. is slumped against the wall.", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><P ID=\"speaker\">LAMPLEY (CONT'D)\n<P ID=\"dia\">More, now. And there he is. John Q. is coming out.", "</p><p><p ID=\"act\">The hostages are hustled through the police barricade by a team of kevlar riot police. The media rush the hostages, shouting out questions and frantically trying to stick their microphones close enough.", "</p><p><p ID=\"act\">For a moment the mood is light. J.Q. looks around the room at Maguire, Debby, Mitch, Julie, Lester, and the security guard. Debby can't stop crying again.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">You were going to call me back. I gave you your hostages and you were supposed to call me back. But no, you want me dead.", "<P ID=\"dia\">The gunman has just freed several hostages who", "</p><p><p ID=\"act\">The other hostages study J.Q. Where is he going with this?" ], [ "</p><p><P ID=\"speaker\">LAMPLEY\n<P ID=\"dia\">The heart is here. Repeat. The heart for little Mike Archibald has arrived. What an unbelievable ending to this incredible, tumultuous day.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">You heard me. Take my heart and put it in Mike.", "<P ID=\"dia\">So, what, you're going to shoot me? Because that's what you're telling the cops. If poor little Mikey doesn't get the very first heart available, all of us die.", "<P ID=\"dia\">This is still a hospital. There's a sick kid in there and I'm his doctor. And if there's a heart available, I'll be damned if I'm going to let it go to waste.", "The replacement heart is taken out of its container and placed", "<P ID=\"dia\">I'm afraid we're considerably beyond the point of corrective surgery, Mr. and Mrs. Archibald. Your son's heart is useless. He is going to need a transplant.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Why not? I kill myself. You cut me open and take my heart. It's perfect.", "into Mike's chest. But then, something suddenly is wrong.", "<P ID=\"dia\">You're telling me that if I'm laying dead on the floor, you wouldn't take my heart and put it in my kid to save his life? You'd let two people die instead of one because of a technicality?", "</p><p><P ID=\"speaker\">DR. KLEIN\n<P ID=\"dia\">We just can't remove your heart and put it into Mike's body.", "both B-Positive. Our tissues are a match. And his heart", "</p><p><p ID=\"act\">Mike looks up to see Dr. Turner walking alongside. He looks up at him and smiles. Mike is wheeled into a Trauma room where the monitors quickly come to life.", "</p><p><P ID=\"speaker\">J.Q. (CONT'D)\n<P ID=\"dia\">This is my will. I'm leaving my heart to my son.", "</p><p><p ID=\"act\">The stretcher is rushed into the O.R. and the body is placed on the surgical table. A MEDICAL TRANSPLANT TEAM is waiting, ready. They take the body, prep for organ harvesting.", "</p><p><P ID=\"speaker\">REGGIE\n<P ID=\"dia\">B-positive. Michael William Archibald. The only status one in the whole country. The heart is ours.", "</p><p><P ID=\"speaker\">MITCH\n<P ID=\"dia\">Think, Einstein. Use your head. Correct me if I'm wrong, Doctor, but hearts don't come just like that. It takes months, years sometimes.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">I'm not asking anymore, Doctor. I'm telling. Now I want a new heart for my kid. You understand?", "</p><p><p ID=\"act\">He lifts Mike's head, holds it in his hands. Denise arrives, hysterical.", "</p><p><p ID=\"act\">John enters to find Dr. Klein checking Mike's vitals. The heart monitor reads 30.", "</p><p><P ID=\"speaker\">DENISE\n<P ID=\"dia\">John! It's a miracle! They found a heart! It's a miracle!!!" ], [ "</p><p><p ID=\"act\">Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "</p><p><p ID=\"act\">The hostages are glued to the TV set. Maguire, Julie, Debby, Marjorie Klein hang on J.Q.'s every word.", "</p><p><p ID=\"act\">The echoing gunshot rumbles through the air like a thunderclap. Monroe, Moody, Grimes and Payne react as the hostages scatter.", "</p><p><p ID=\"act\">The hostages are hustled through the police barricade by a team of kevlar riot police. The media rush the hostages, shouting out questions and frantically trying to stick their microphones close enough.", "</p><p><p ID=\"act\">The hostages attention has been so focused on the screen, none of them have realized that for John to be on TV, there has to be a camera inside the ER. Suddenly, it hits Lester.", "</p><p><p ID=\"act\">Sheer pandemonium. Hostages run for cover. The phone receiver swings back and forth, and a bloody J.Q. is slumped against the wall.", "</p><p><P ID=\"speaker\">MOODY\n<P ID=\"dia\">He's got a gun and he's got hostages. That's a profile.", "</p><p><p ID=\"act\">The hostages look at Julie with newfound respect. J.Q. takes the security guard's handcuffs, drags Mitch across the floor, and manacles him to the radiator.", "grainy. Giving him his first look at the hostages. ON", "Hostages tired, hot, emotionally spent. Suddenly, a phone clangs.", "</p><p><P ID=\"speaker\">LESTER\n<P ID=\"dia\">yeah. Finders keepers, man.\n\n</p><p><p ID=\"act\">The hostages laugh and Mitch goes crazy.", "</p><p><p ID=\"act\">The other hostages study J.Q. Where is he going with this?", "</p><p><P ID=\"speaker\">GRIMES (O.S.)\n<P ID=\"dia\">Where are those hostages, John?", "</p><p><p ID=\"act\">The truckers quickly circle to the front and hop in. John Q. just watches as the truck speeds away, dragging the car along the cement.", "</p><p><p ID=\"act\">The hostages are glued to the TV, watching covering from the outside about what's happening on the inside.", "</p><p><p ID=\"act\">J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "</p><p><p ID=\"act\">The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "</p><p><P ID=\"speaker\">MOODY\n<P ID=\"dia\">Sir, the object is to get hostages out, not to let more in.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">You were going to call me back. I gave you your hostages and you were supposed to call me back. But no, you want me dead.", "<P ID=\"dia\">The gunman has just freed several hostages who" ], [ "oncoming truck clips her, sending her car end over end.", "rigs. She cuts the wheel hard, but too late. The", "</p><p><p ID=\"act\">The screen door bangs open. John Q. bursts onto the porch to find a tow truck parked in front of his house. TWO TRUCKERS are winching a hook and cable to a ten year old Chevy.", "</p><p><p ID=\"act\">The truckers quickly circle to the front and hop in. John Q. just watches as the truck speeds away, dragging the car along the cement.", "</p><p><p ID=\"act\">The white BMW speeds along the highway, tries to pass the semi in front of her, and smashes into the embankment. It's the same accident as before, only this time, it's regular speed.", "</p><p><p ID=\"act\">The beautiful woman's body is loaded onto the medivac. The helicopter lifts off and disappears into the darkening sky.", "</p><p><p ID=\"act\">J.Q. lifts Mike into his arms and races with Denise through the crowd towards the parking lot. Denise gets in the pick up and John lays Mike down in her lap before gunning the engine and taking off.", "by the hand and they run to the truck and hop", "Victoria plows slowly through a growing crowd. LIEUTENANT FRANK", "</p><p><p ID=\"act\">The mob swarms around the speeding bed, trying to get a look at Mike, who considers the circus atmosphere surrounding him. As the bed hits the police barricade, the cops take over.", "</p><p><p ID=\"act\">J.Q. glances at the admitting desk and sees the chair move. He lifts his weapon and moves towards it. He jumps around the corner of the desk to find Debby Utley underneath, scared to death.", "</p><p><p ID=\"act\">Grimes slams the door. The \"cherry\" light spins, the siren wops and the cop car rolls through the crowd of people.", "</p><p><p ID=\"act\">As J.Q. hangs up the receiver, the sniper pulls the trigger.", "</p><p><p ID=\"act\">The accident is violent and horrible. The BMW", "</p><p><p ID=\"act\">A monolithic maze of glass and stone. John's truck screeches to a stop at the E.R. entrance.", "on the gas. She's in the wrong lane and can't", "</p><p><p ID=\"act\">J.Q.'s pick up speeds along a super highway, blurring past rural pastures, farmland and cornfields. Up ahead, the oppressive skyscrapers of the city.", "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">A drunk ran a red light and slammed into us. It was an accident.", "</p><p><p ID=\"act\">Lampley stands by the news van watching the drama unfold on the monitor before him. He's a little choked up.", "</p><p><p ID=\"act\">Cement and huge. Smoke billows from the stacks. John Q. and Jimmy make their way to their trucks." ], [ "<P ID=\"dia\">He's going to do some time. But there's not a judge in the country that will give him more than a year. And with time served, John will be home very soon.", "</p><p><p ID=\"act\">J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "</p><p><P ID=\"speaker\">JUDGE\n<P ID=\"dia\">Quiet! Sentencing will be one week from today.", "As John closes the book, something catches his eye. At", "</p><p><P ID=\"speaker\">NEWS REPORTER #7\n<P ID=\"dia\">The long awaited verdict is expected today in the trial of John Quincy Archibald, where the jury has been deliberating...", "<P ID=\"dia\">On the final count, False Imprisonment, we find the defendant, guilty. The crowd erupts in protest. The media rush out to file their stories.", "</p><p><p ID=\"act\">Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "John? This country, man. I swear to God. You can't", "</p><p><P ID=\"speaker\">LAMPLEY (CONT'D)\n<P ID=\"dia\">More, now. And there he is. John Q. is coming out.", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><p ID=\"act\">This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "</p><p><p ID=\"act\">The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "</p><p><p ID=\"act\">The Pastor waves as John grabs Denise", "John Q. walks in, catches the anxiety on her face,", "he says, and the three of them are laughing. John", "</p><p><p ID=\"act\">J.Q. Archibald gets up and faces the judge. His attorney, a P.D., by his side.", "</p><p><p ID=\"act\">John Q. gets the message. He pushes his chair back and starts to get up.", "</p><p><p ID=\"act\">John rests his head and closes his eyes as he listens to his wife falling apart.", "</p><p><p ID=\"act\">A few rows back, John sees Jimmy Palumbo tapping his watch. Denise gives her husband a disapproving look. John sticks his head back in the hymn book and continues singing.", "</p><p><P ID=\"speaker\">JUDGE (CONT'D)\n<P ID=\"dia\">The jury foreman will now read the verdict." ], [ "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">That's for beating the shit out of me.\n\n</p><p><p ID=\"act\">She kicks him again.", "</p><p><p ID=\"act\">Julie rears back, and with her go-go boot, she kicks Mitch square in the groin.", "</p><p><p ID=\"act\">J.Q. moves over to Julie, regards her black eye, her swollen face.", "</p><p><P ID=\"speaker\">JULIE (CONT'D)\n<P ID=\"dia\">That's for being an asshole.\n\n</p><p><p ID=\"act\">Once more for good measure.", "JULIE, a platinum bombshell. She's hurting. Her face is", "</p><p><p ID=\"act\">The hostages look at Julie with newfound respect. J.Q. takes the security guard's handcuffs, drags Mitch across the floor, and manacles him to the radiator.", "next to Julie.", "</p><p><p ID=\"act\">Tears stream down Julie's proud face, for the first time, Mitch is speechless. He looks like a car that won't start. Finally, he gets up and walks away.", "</p><p><P ID=\"speaker\">JULIE (CONT'D)\n<P ID=\"dia\">And that's for calling me a bitch.", "</p><p><p ID=\"act\">J.Q. shakes it off: \"Not to worry.\" John notices Julie, her arm now in a sling, not broken.", "</p><p><P ID=\"speaker\">JULIE", "recovers his weapon, sticking it in his waistband. Julie stands", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"spkdir\">(to Julie)\n<P ID=\"dia\">What's your story?", "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">Mitch...", "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">But the list.", "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">Leave me alone.", "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">I'll sign.", "</p><p><p ID=\"act\">Turner gets up and walks into the treatment room.\n\n</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">Wow.", "</p><p><P ID=\"speaker\">MITCH (CONT'D)\n<P ID=\"dia\">Julie, baby, get the gun.\n\n</p><p><p ID=\"act\">Julie gets up.", "</p><p><P ID=\"speaker\">MITCH\n<P ID=\"spkdir\">(under breath; to Julie) \n<P ID=\"dia\">We were here before that guy." ], [ "</p><p><p ID=\"act\">J.Q. shakes it off: \"Not to worry.\" John notices Julie, her arm now in a sling, not broken.", "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">That's for beating the shit out of me.\n\n</p><p><p ID=\"act\">She kicks him again.", "JULIE, a platinum bombshell. She's hurting. Her face is", "</p><p><p ID=\"act\">J.Q. moves over to Julie, regards her black eye, her swollen face.", "</p><p><p ID=\"act\">Tears stream down Julie's proud face, for the first time, Mitch is speechless. He looks like a car that won't start. Finally, he gets up and walks away.", "</p><p><p ID=\"act\">Julie rears back, and with her go-go boot, she kicks Mitch square in the groin.", "</p><p><P ID=\"speaker\">JULIE (CONT'D)\n<P ID=\"dia\">And that's for calling me a bitch.", "</p><p><p ID=\"act\">The hostages look at Julie with newfound respect. J.Q. takes the security guard's handcuffs, drags Mitch across the floor, and manacles him to the radiator.", "</p><p><P ID=\"speaker\">JULIE (CONT'D)\n<P ID=\"dia\">That's for being an asshole.\n\n</p><p><p ID=\"act\">Once more for good measure.", "</p><p><P ID=\"speaker\">MITCH (CONT'D)\n<P ID=\"dia\">Julie, baby, get the gun.\n\n</p><p><p ID=\"act\">Julie gets up.", "</p><p><P ID=\"speaker\">JULIE", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"spkdir\">(to Julie)\n<P ID=\"dia\">What's your story?", "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">Mitch...", "</p><p><p ID=\"act\">Mitch is now contrite and trying to reconcile with his battered girlfriend.\n\n</p><p><P ID=\"speaker\">MITCH\n<P ID=\"dia\">Julie...", "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">But the list.", "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">Leave me alone.", "next to Julie.", "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">I'll sign.", "</p><p><P ID=\"speaker\">MITCH\n<P ID=\"dia\">Excuse me, but I think my fiancee broke her arm. Could somebody take a look at her, please?", "</p><p><p ID=\"act\">Turner gets up and walks into the treatment room.\n\n</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">Wow." ], [ "</p><p><P ID=\"speaker\">LAMPLEY (CONT'D)\n<P ID=\"dia\">More, now. And there he is. John Q. is coming out.", "</p><p><p ID=\"act\">J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "As John closes the book, something catches his eye. At", "</p><p><p ID=\"act\">This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "</p><p><p ID=\"act\">John rests his head and closes his eyes as he listens to his wife falling apart.", "John? This country, man. I swear to God. You can't", "</p><p><p ID=\"act\">The Pastor waves as John grabs Denise", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><p ID=\"act\">Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "</p><p><p ID=\"act\">John Q. gets the message. He pushes his chair back and starts to get up.", "</p><p><p ID=\"act\">Dr. Turner appears at the doorway and sees John on his knees.\n\n</p><p><P ID=\"speaker\">DR. TURNER\n<P ID=\"dia\">John?", "</p><p><p ID=\"act\">John tries to get his bearings but Mitch", "</p><p><P ID=\"speaker\">MIKE\n<P ID=\"dia\">Dad!\n\n</p><p><p ID=\"act\">John moves over to Denise and the Pastor.", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "he says, and the three of them are laughing. John", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">I want my son.\n\n</p><p><P ID=\"speaker\">MOODY\n<P ID=\"dia\">What?", "<P ID=\"dia\">I understand. It's hard to be a man these days. Hard to know what the right thing is. Put the gun down, John. It's all over. You got everything you asked for. Mike is on the list. Status one.", "John. You think these people give a shit about you?", "</p><p><p ID=\"act\">John moves over to Dr. Turner to plea his case.", "</p><p><p ID=\"act\">A few rows back, John sees Jimmy Palumbo tapping his watch. Denise gives her husband a disapproving look. John sticks his head back in the hymn book and continues singing." ], [ "into Mike's chest. But then, something suddenly is wrong.", "<P ID=\"dia\">I'm afraid we're considerably beyond the point of corrective surgery, Mr. and Mrs. Archibald. Your son's heart is useless. He is going to need a transplant.", "</p><p><P ID=\"speaker\">LAMPLEY\n<P ID=\"dia\">The heart is here. Repeat. The heart for little Mike Archibald has arrived. What an unbelievable ending to this incredible, tumultuous day.", "<P ID=\"dia\">So, what, you're going to shoot me? Because that's what you're telling the cops. If poor little Mikey doesn't get the very first heart available, all of us die.", "<P ID=\"dia\">He's going to seem fine. But as his heart gets worse, he will become increasingly fatigued, need more and more sleep, until one day, he'll go to sleep and he won't wake up.", "Mike's vital signs start giving out. The gauges dropping at", "</p><p><P ID=\"speaker\">DR. TURNER\n<P ID=\"dia\">This X-ray is that of a normal, nine year old heart. This one is your son's.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">You heard me. Take my heart and put it in Mike.", "</p><p><p ID=\"act\">Mike is propped up in bed, now breathing with some difficulty. He's so weak, Denise has to hold the phone.", "<P ID=\"dia\">This is still a hospital. There's a sick kid in there and I'm his doctor. And if there's a heart available, I'll be damned if I'm going to let it go to waste.", "</p><p><P ID=\"speaker\">DR. TURNER\n<P ID=\"dia\">No, we don't. You're an adult. Mike is strong, but the amount of blood your heart pumps may be too much for Mike.", "</p><p><p ID=\"act\">A male nurse, LEO MAGUIRE, leaves what he's doing and moves towards them. He clutches Mike's wrist, taking his pulse.", "</p><p><P ID=\"speaker\">REGGIE\n<P ID=\"dia\">B-positive. Michael William Archibald. The only status one in the whole country. The heart is ours.", "</p><p><p ID=\"act\">CLOSE ON MIKE, slowing, suddenly clutching his chest, gulping for air, ten feet from the base. SMACK. The ball lands in the shortstop's glove.", "</p><p><p ID=\"act\">John enters to find Dr. Klein checking Mike's vitals. The heart monitor reads 30.", "</p><p><p ID=\"act\">The daisy wheel buzzes, pounding letters onto the print page. Mike Archibald, Hope Memorial Hospital, age 9, 85 pounds. Blood type: B-positive. MATCH.", "</p><p><P ID=\"speaker\">DR. TURNER\n<P ID=\"dia\">That Mike's going to die.", "</p><p><P ID=\"speaker\">DR. TURNER\n<P ID=\"dia\">Not buts, John. Without a new heart, he's not going to make it.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Why not? I kill myself. You cut me open and take my heart. It's perfect.", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84." ], [ "</p><p><p ID=\"act\">Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "</p><p><p ID=\"act\">The hostages attention has been so focused on the screen, none of them have realized that for John to be on TV, there has to be a camera inside the ER. Suddenly, it hits Lester.", "</p><p><p ID=\"act\">The echoing gunshot rumbles through the air like a thunderclap. Monroe, Moody, Grimes and Payne react as the hostages scatter.", "</p><p><p ID=\"act\">Sheer pandemonium. Hostages run for cover. The phone receiver swings back and forth, and a bloody J.Q. is slumped against the wall.", "</p><p><P ID=\"speaker\">MOODY\n<P ID=\"dia\">He's got a gun and he's got hostages. That's a profile.", "</p><p><p ID=\"act\">The hostages are hustled through the police barricade by a team of kevlar riot police. The media rush the hostages, shouting out questions and frantically trying to stick their microphones close enough.", "</p><p><p ID=\"act\">The hostages look at Julie with newfound respect. J.Q. takes the security guard's handcuffs, drags Mitch across the floor, and manacles him to the radiator.", "</p><p><p ID=\"act\">The hostages are glued to the TV set. Maguire, Julie, Debby, Marjorie Klein hang on J.Q.'s every word.", "Hostages tired, hot, emotionally spent. Suddenly, a phone clangs.", "</p><p><P ID=\"speaker\">LESTER\n<P ID=\"dia\">yeah. Finders keepers, man.\n\n</p><p><p ID=\"act\">The hostages laugh and Mitch goes crazy.", "</p><p><p ID=\"act\">The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><p ID=\"act\">The other hostages study J.Q. Where is he going with this?", "</p><p><P ID=\"speaker\">GRIMES (O.S.)\n<P ID=\"dia\">Where are those hostages, John?", "<P ID=\"dia\">This guy's in for the long haul, Lieutenant. He locked down the ER, barricaded himself inside, killed the power on the elevators. We could bust down the door, but the sonofabitch might start killing everybody.", "</p><p><p ID=\"act\">The hostages are glued to the TV, watching covering from the outside about what's happening on the inside.", "</p><p><p ID=\"act\">The truckers quickly circle to the front and hop in. John Q. just watches as the truck speeds away, dragging the car along the cement.", "<P ID=\"dia\">The gunman has just freed several hostages who", "</p><p><P ID=\"speaker\">FREDDY B.\n<P ID=\"dia\">This just came in over the police radio. Someone is holding Hope Memorial hostage.", "</p><p><p ID=\"act\">J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John." ], [ "</p><p><p ID=\"act\">The stretcher is rushed into the O.R. and the body is placed on the surgical table. A MEDICAL TRANSPLANT TEAM is waiting, ready. They take the body, prep for organ harvesting.", "<P ID=\"dia\">This is still a hospital. There's a sick kid in there and I'm his doctor. And if there's a heart available, I'll be damned if I'm going to let it go to waste.", "</p><p><P ID=\"speaker\">PAYNE\n<P ID=\"dia\">I've decided to put Mike's name on the organ recipient list, Mrs. Archibald. The hospital will pay for everything.", "</p><p><P ID=\"speaker\">LAMPLEY\n<P ID=\"dia\">The heart is here. Repeat. The heart for little Mike Archibald has arrived. What an unbelievable ending to this incredible, tumultuous day.", "<P ID=\"dia\">So, what, you're going to shoot me? Because that's what you're telling the cops. If poor little Mikey doesn't get the very first heart available, all of us die.", "</p><p><P ID=\"speaker\">MEDICAL TRANSPLANT PERSON #1\n<P ID=\"dia\">Female. Donor. Thirty-three years old. Five foot seven. Liver, kidneys, usable.", "<P ID=\"dia\">I'm afraid we're considerably beyond the point of corrective surgery, Mr. and Mrs. Archibald. Your son's heart is useless. He is going to need a transplant.", "both B-Positive. Our tissues are a match. And his heart", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">You heard me. Take my heart and put it in Mike.", "<P ID=\"dia\">You're telling me that if I'm laying dead on the floor, you wouldn't take my heart and put it in my kid to save his life? You'd let two people die instead of one because of a technicality?", "</p><p><p ID=\"act\">Mitch reaches, pulls a cas cart closer. He carefully slides open a drawer, steals a sharp-edged scalpel, slips it into his pocket. Next he spots a spray top cannister marked Ethychloride.", "</p><p><p ID=\"act\">Mike looks up to see Dr. Turner walking alongside. He looks up at him and smiles. Mike is wheeled into a Trauma room where the monitors quickly come to life.", "</p><p><p ID=\"act\">The daisy wheel buzzes, pounding letters onto the print page. Mike Archibald, Hope Memorial Hospital, age 9, 85 pounds. Blood type: B-positive. MATCH.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">We all know how this works, people. In order for Mike to live, someone has to die. I'm the father. It might as well be me.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Why not? I kill myself. You cut me open and take my heart. It's perfect.", "</p><p><p ID=\"act\">He lifts Mike's head, holds it in his hands. Denise arrives, hysterical.", "</p><p><P ID=\"speaker\">DR. KLEIN\n<P ID=\"dia\">We just can't remove your heart and put it into Mike's body.", "</p><p><p ID=\"act\">Maguire leads Lester back to the treatment area. Lester hands him a baggie filled with three-severed fingertips.", "</p><p><p ID=\"act\">J.Q. looks at Mike as the medical team assess his condition, just watching helplessly as the life drains out of his body.", "</p><p><P ID=\"speaker\">REGGIE\n<P ID=\"dia\">B-positive. Michael William Archibald. The only status one in the whole country. The heart is ours." ], [ "As John closes the book, something catches his eye. At", "</p><p><p ID=\"act\">Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "</p><p><p ID=\"act\">J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "</p><p><p ID=\"act\">John Q. gets the message. He pushes his chair back and starts to get up.", "</p><p><P ID=\"speaker\">LAMPLEY (CONT'D)\n<P ID=\"dia\">More, now. And there he is. John Q. is coming out.", "</p><p><p ID=\"act\">John tries to get his bearings but Mitch", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><p ID=\"act\">John rests his head and closes his eyes as he listens to his wife falling apart.", "</p><p><p ID=\"act\">This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "John? This country, man. I swear to God. You can't", "he says, and the three of them are laughing. John", "</p><p><p ID=\"act\">The Pastor waves as John grabs Denise", "</p><p><p ID=\"act\">John moves over to Dr. Turner to plea his case.", "</p><p><P ID=\"speaker\">JULIE\n<P ID=\"dia\">I think what John's trying to do is right.", "John. You think these people give a shit about you?", "</p><p><p ID=\"act\">The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "John Q. walks in, catches the anxiety on her face,", "John puts them on and the three watch the surgery.", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "</p><p><p ID=\"act\">The waiting room is packed. A lot of people needing work. John fills out the application." ], [ "</p><p><p ID=\"act\">This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "As John closes the book, something catches his eye. At", "</p><p><p ID=\"act\">John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "</p><p><p ID=\"act\">J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "</p><p><p ID=\"act\">J.Q. lifts the gun to his head.\n\n</p><p><p ID=\"slug\">EXT. HOPE MEMORIAL HOSPITAL - NIGHT", "</p><p><p ID=\"act\">The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "</p><p><p ID=\"act\">Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "</p><p><p ID=\"act\">John Q. gets the message. He pushes his chair back and starts to get up.", "</p><p><p ID=\"act\">John rests his head and closes his eyes as he listens to his wife falling apart.", "</p><p><p ID=\"act\">JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "</p><p><p ID=\"act\">Dr. Turner appears at the doorway and sees John on his knees.\n\n</p><p><P ID=\"speaker\">DR. TURNER\n<P ID=\"dia\">John?", "</p><p><P ID=\"speaker\">GRIMES\n<P ID=\"dia\">It's time, John.\n\n</p><p><p ID=\"act\">J.Q. turns, knows it's over.", "John Q. walks in, catches the anxiety on her face,", "</p><p><p ID=\"act\">John turns as the bullet explodes from the chamber, muzzle flashing. A bullet blows through J.Q.'s shoulder, knocking him backwards against the wall.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">Why not? I kill myself. You cut me open and take my heart. It's perfect.", "</p><p><P ID=\"speaker\">LAMPLEY (CONT'D)\n<P ID=\"dia\">More, now. And there he is. John Q. is coming out.", "</p><p><p ID=\"act\">The Pastor waves as John grabs Denise", "<P ID=\"dia\">I understand. It's hard to be a man these days. Hard to know what the right thing is. Put the gun down, John. It's all over. You got everything you asked for. Mike is on the list. Status one.", "</p><p><P ID=\"speaker\">J.Q.\n<P ID=\"dia\">I'll take that chance. It's better than letting him die.", "<P ID=\"dia\">No, listen to me, you stupid rent-a-cop. I'm not a slob. I've got a life, and it means something to me. I'm not dying in this shithole." ] ]	[ "How was the woman killed?", "Who collapse at a baseball game?", "Who was Michael with when he collapsed?", "What is the cost of the heart procedure?", "What was said after John stated that he is insured?", "What was told to John after his health insurance has change?", "Why did John walked into the hospital E R with a hand gun?", "Who begin to understand John situation and support him?", "What did Chief of police gave SWAT permission to do?", "Why didn't John die when he pulled the trigger on himself?", "Why didn't John qualify for health insurance?", "How much is the down payment to get on the donor list?", "How does John get his son's name on the list?", "What was John found guilty of?", "What was the outcome of John being shot by the SWAT sniper?", "How did John get Michael into the emergency room?", "How many hostages were a witness to John's will?", "Who did Michael get the heart from?", "How many hostages did John initially gather?", "What kind of truck kills the woman?", "What is John's expected sentence?", "Who beat up Julie?", "What is the real reason for Julie's broken arm?", "What is John's demand?", "What is wrong with Michael's heart?", "How many hostages does John take? ", "Who is used as an organ donor for Michael?", "What does John plan to do?", "Who stops John from killing himself?" ]	[ [ "Her car was clipped a truck.", "Hit by two trucks" ], [ "The son of John Quincy Archibald and wife Denise.", "Michael collapses." ], [ "He was by himself at a baseball game.", "John and Denise" ], [ "250,000 dollars. ", "$250,000" ], [ "After dropping from full time to part time his health insurance has changed.", "Due to changes in his employment status, the procedure is not covered." ], [ "The new policy does not cover surgery.", "That his insurance no longer covers his son's operation" ], [ "He gather eleven hostages and set demands.", "Because he didn't want Michael to die." ], [ "The eleven hostages.", "the hostages" ], [ "Insert a sniper into the building air shaft.", "to insert a sniper into the building via an airshaft to take John down" ], [ "The safety was on", "The safety is on" ], [ "He was dropped from full-time to part-time", "His job went from full-time to part-time." ], [ "$75,000", "$75,000" ], [ "He releases four hostages", "By taking hostages" ], [ "Kidnapping", "kidnapping" ], [ "Minor wound", "he beats the sniper up" ], [ "He gave the SWAT sniper to the police in exchange for that demand", "by using a swat team member as a human shield" ], [ "Two", "two" ], [ "A woman who was killed in a car accident", "A woman killed in a traffic accident." ], [ "Eleven", "11" ], [ "A Mack truck", "Mack" ], [ "3-5 years", "Three to five years" ], [ "Mitch", "mitch" ], [ "Mitch beat her up", "Her boyfriend, Mitch, abused her." ], [ "That his son be put on the donor list", "that his son's name be put on the heart recipient list as soon as possible" ], [ "It is enlarged", "it is enlarged" ], [ "11", "Eleven" ], [ "The woman killed by the Mack truck", "female driver" ], [ "Kill himself and have his heart used for his son", "He plans to commit suicide so Michael can have his heart." ], [ "His wife", "his wife" ] ]	ce595386dbe3945cafbea2a44a805db1d3c0cbb6	train
[ [ "world, the freedom of our own country and\n of the whole British Commonwealth of\n Nations would be in danger.\n (MORE)", "WINSTON CHURCHILL\n Oh, there'll be war, alright.\n (takes out another piece\n of paper)", "BERTIE\n \"For the second time... in the lives of\n most of us... we are at war.\" One-two-", "BERTIE\n It's not too late, Winston, you could form\n a government on his behalf.\n\n WINSTON CHURCHILL\n I must decline. Reluctantly.", "WINSTON CHURCHILL\n \"If I don't get my way, when the war comes,\n Hitler will crush everyone, including the", "BERTIE\n My Lords, members of the Accession Council,\n I meet you today in circumstances which are\n without parallel in the history of our\n Country...", "continues to falter. Though Bertie\n miraculously survived the Coronation he\n continues to stumble very badly indeed.\n Soon he must broadcast to the world. Hitler", "BERTIE\n Certainly not.\n\n LIONEL\n To prove you know how.\n\n BERTIE\n Bugger!", "LIONEL (CONT'D)\n Not in Western Australia, not at that time.\n I simply knew what to do. When the war was", "through London. Hitler terrorizing half of\n Europe, Stalin the other half. Who'll stand\n between us, the jackboots, and the\n proletarian abyss? You?", "The glowing light of an illuminated dial of a radio, listened to\n by Churchill and Baldwin. They wear black armbands.\n\n WINSTON CHURCHILL\n Turn that devil off!", "WINSTON CHURCHILL\n He won't budge.\n\n BALDWIN\n Nor will we.", "Scotland Yard intercept: \"Who is King here?\n Baldwin or I? I myself wish to talk with\n Hitler, and will do so here or in Germany.\"", "WINSTON CHURCHILL\n Ah, the Kiwis!\n\n BALDWIN\n Being rather remote, they've not even heard\n of Mrs Simpson. Hardly a winning hand.", "BERTIE\n They didn't come to see us, Father.\n\n KING GEORGE V\n Pretend.", "months. Who'll pick up the pieces? David's\n friend, Oswald Mosley? His black-shirt\n British Union of Fascists are marching", "It is December 11th, 1936. If practical use the actual recorded\n broadcast (truncated). In London, Birmingham, Edinburgh,", "BERTIE\n \"In this grave hour...perhaps-the-most-\n fateful...in our history...\"\n\n LIONEL\n Beaut.", "LIONEL\n A public school prig could do better.\n\n BERTIE\n Well bloody bugger to you, you beastly\n bastard!", "He waves them out of the room, but beckons Wigram to come close,\n and whispers something in his ear.\n\n WIGRAM\n At the appropriate moment, Your Majesty." ], [ "LIONEL\n When that poor chap first walked into my\n office, he was a slim, quiet man with tired\n eyes and all the outward symptoms of the", "LIONEL\n The plaque says, `L. Logue. Speech\n Specialist'. No mention of a medical", "LIONEL\n Well, have your `hubby' pop by and give his\n personal history. I'll make a frank\n appraisal.\n\n ELIZABETH\n Doctor...", "LIONEL (CONT'D)\n Not in Western Australia, not at that time.\n I simply knew what to do. When the war was", "LIONEL\n Bertie, you'll make a bloody good king. And\n you know it.\n\nBertie stares at him.\n\nA familiar voice is heard from the shadows.", "Realizing something is amiss, she turns, and knows instantly\n what Lionel's going to tell her. Her hand goes to her mouth to\n stifle her emotions.", "LIONEL (CONT'D)\n Breathe deeply...expand your chest... now\n your stomach...deep into the diaphragm.\n Splendid. How do you feel?", "Lionel lumbers out of the closet, a pillow stuffed into his\n jacket to create a monstrous hunchback. His acting, performed\n just for his children, is quite magical.", "LIONEL\n I'm finished with your husband.\n\n BERTIE\n I'm finished with Doctor Logue!\n\n LIONEL\n Lionel.", "LIONEL\n That's quite different. Let's get down to\n work then, shall we?\n\nBertie glares at him.", "LIONEL\n Tell me...\n\n BERTIE\n I sense one of your dreadful questions on\n the horizon.", "LIONEL\n A bit premature.\n\n ELIZABETH\n Because he hasn't seen you?\n\nLionel doesn't disgree.", "LIONEL\n I see. For reasons you cannot disclose,\n fearing ramifications you will not explain,\n you feel sufficiently anxious to embark", "LIONEL\n You can with me.\n\n BERTIE\n That's because you're peculiar.", "LIONEL\n Call me Lionel.\n\n BERTIE\n I prefer Doctor.", "Lionel sits down on the chair of Edward the Confessor. Leaning\nagainst it is the great two-handed sword of St. George.", "LIONEL (CONT'D)\n She was...too high and mighty. Know what I\n mean.\n\n She does. There's an unspoken code between them.", "LIONEL\n You don't have any money. I'll fix it. So,\n Bertie, what brings you here? Your father's\n death?\n\nBertie is silent.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "LIONEL\n So did I.\n\n BERTIE\n A man of stature?\n\n LIONEL\n A clerk." ], [ "Logue tries to protest, Bertie over-rides.", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "hubby treating a personage that high and\n mighty, you won't be needing employment\n with us, will you, Mrs Logue?'", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "DIRECTOR\n (interrupts)\n Thank you! Don't abandon your day job.\n Next!\n\n Logue bows his head.", "Finished reading the passage he takes off the earphones and the\nmusic ceases. He reaches for the coin, but Logue snatches it.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "Logue tries to object but she over-rides.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "Bertie doesn't answer. Exits. Logue is left holding the plane.\n He goes to the waiting room door.\n\n LIONEL (CONT'D)\n How're you doing, Willie?", "Logue smiles, perfectly calm, totally confident in the man he's\nworked with. His confidence is contagious.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "Logue goes to the door and starts to open it. He shuts it\nquickly.\n\n LIONEL (CONT'D)\n I wasn't expecting Myrtle for several\n hours!", "Dancing at arm's length with Logue, Bertie repeats:", "LIONEL\n We haven't much more time together. Give it\n a go.\n\n The doorbell RINGS. Logue is annoyed.", "Not wanting to draw attention to his destination, Bertie has\n disembarked several buildings away from Logue's address. He\n makes his way hurriedly." ], [ "LIONEL\n Bertie, you'll make a bloody good king. And\n you know it.\n\nBertie stares at him.\n\nA familiar voice is heard from the shadows.", "LIONEL\n Your next public appearance should be very\n well rehearsed.\n\nWithout thinking, Lionel instinctively reaches out to pat Bertie\nsupportively on the shoulder.", "Bertie sees Lionel glance at his watch.\n\n BERTIE\n You've someone waiting?\n\n LIONEL\n I do now.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "BERTIE\n And don't ever call me Bertie in public.\n\nA moment of confrontation. Lionel knows he's overstepped.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "LIONEL\n Your wife was the one who sought me out.\n\n BERTIE\n Because, dear sweet deluded woman, she\n believes in me!", "BERTIE\n Well enough to deceive me.\n\n LIONEL\n Lock me in the Tower.\n\n BERTIE\n I would if I could!", "do? He must believe he is King. How can I\n possibly do that? For pity sake, Lionel, I\n beg you: get me through! I'll pay you", "ELIZABETH (CONT'D)\n Well done, Bertie. Well done...\n (for the first time)\n ...Lionel. Well done.\n\nShe leaves the two men together.", "LIONEL\n Oh please.\n\n BERTIE\n Your Royal Highness then.\n\n LIONEL\n Much more informal.", "As Bertie is about to leave, Lionel requests casually:\n\n LIONEL\n And if you decide to come, bring the\n Duchess. She might be helpful.", "BERTIE\n Lying bastard!\n\n LIONEL\n I knew I could help you. You refuse to\n believe?", "BERTIE\n Then I'm the solemnest king who ever lived.\n Lionel, I can't do this!", "Bertie's silence is confirmation.\n\n LIONEL (CONT'D)\n I ask too many questions?\n\n BERTIE\n Perhaps the wrong sort.", "LIONEL\n I advise you never to beg. Especially if\n you might be King.\n\n BERTIE\n Don't say that!", "Willie nods again. Then, haltingly:\n\n WILLIE\n I heard the King.\n\n LIONEL\n Did you?", "LIONEL\n I'm finished with your husband.\n\n BERTIE\n I'm finished with Doctor Logue!\n\n LIONEL\n Lionel.", "LIONEL\n (quietly)\n Well then...you're cured.\n\n BERTIE\n Stop trying to squirm off the hook." ], [ "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "BERTIE\n Dr. Logue is to be present at the\n Coronation.\n\n COSMO LANG\n Impossibly to find room. Even for a Doctor.", "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "On the screen: archive footage of the Coronation, capturing the\n pomp and ceremony. Cigar smoke rises up. The voices of\n Churchill and Lang can be heard.", "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "KING GEORGE V (CONT'D)\n That's the chap who taught me how to use\n this contraption. You touch your chin with", "\"George, your undoubted King!\" echoes through the Abby.\n\n DISSOLVE TO:", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "Logue smiles, perfectly calm, totally confident in the man he's\nworked with. His confidence is contagious.", "Bertie follows Logue deep into the bowels of the `Abbey'.", "Lang's eyes roll heavenward.\n\nChurchill studies the situation, ready to leap into the breach.\n\nBertie and Logue stare at each other.", "Bertie has entered with Logue. Lang spins around.\n\n COSMO LANG\n Your Majesty.", "Logue tries to protest, Bertie over-rides.", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "Finished reading the passage he takes off the earphones and the\nmusic ceases. He reaches for the coin, but Logue snatches it." ], [ "BERTIE\n This one's divorced. Twice. Mrs Wallis\n Simpson of Baltimore. I want David to be\n happy, but the family, the Church, the\n nation, won't have it.", "DAVID\n This will end splendidly. With Wallis as my\n wife.\n\n BERTIE\n Whatever will she call herself?", "LIONEL\n \"Queen Wallis of Baltimore\"?\n\n BERTIE\n Please.\n\n LIONEL\n Does sound a bit iffy.", "BERTIE\n Where did you get that American accent?\n David...Father's not dead six months, yet\n you've put Mrs. Simpson in the suite used\n by our mother?", "rather small, angular, dark haired woman, with a high brow and\n square jaw - MRS WALLIS SIMPSON. Her most attractive physical", "BERTIE\n He can bugger things up! And I am not the\n King. Mrs. Simpson is seeking a divorce.", "WINSTON CHURCHILL\n Ah, the Kiwis!\n\n BALDWIN\n Being rather remote, they've not even heard\n of Mrs Simpson. Hardly a winning hand.", "BERTIE\n To fight a general election in which your\n marriage is the only topic?\n\n DAVID\n I'd risk anything and everything for\n Wallis. Don't I have rights?", "DAVID\n He's much maligned. By the Jews, according\n to Wallis. And she's very clever about\n politics.", "David turns and bows formally. Elizabeth cursties in return.\n Wallis quickly returns to David, taking him forcefully onto the\n dance floor. The Yorks go in the other direction.", "LIONEL\n What's wrong with her?\n\n BERTIE\n She's American.", "The archive footage continues, but it is not of the Coronation.\n David and Wallis visiting the Fuhrer in Germany: Hitler", "does not possess exclusive rights to Mrs.\n Simpson's sexual favours. Hitler's\n Ambassador, Count von Ribbentrop, has been", "BERTIE\n A married American? Twice divorced? He\n can't be.\n\n ELIZABETH\n She can.", "KING GEORGE V\n Bedding his American whore. Come, join the\n fun!\n (aside to Elizabeth)", "WINSTON CHURCHILL\n Wallis wrote it for him. I'll burn it. I\n fear your brother is like the child in a", "DAVID\n I'm on with Wallis!\n (as though Bertie didn't\n exist)", "gallantly kissing Mrs Simpson's hand while Goring and the Duke\n of Windsor beam; David giving the Nazi salute. FREEZE FRAME.", "The break almost careens off the lane.\n\n BERTIE\n You believe that?\n\n DAVID\n Wallis explained it. She's terribly clever.", "Wallis sweeps forward to greet them, but Elizabeth sails past,\n announcing to no one in particular:\n\n ELIZABETH\n I came at the invitation of the King." ], [ "Churchill is silent. Balwin waits, then:\n\n BALDWIN (CONT'D)\n ...I intend to resign. The Royal scandal\n has weakened my position considerably.", "BERTIE\n What has my brother given up on his\n abdication, other than the throne?\n\nThey look at each other, unsure.", "Bertie stands frozen, his mouth agape, jaw muscles locked. He\n knows he's considered by all, especially himself, unfit for\n public life.\n\n Elizabeth is devastated.", "BERTIE\n He can bugger things up! And I am not the\n King. Mrs. Simpson is seeking a divorce.", "WINSTON CHURCHILL\n I was.\n (takes a piece of paper\n from his pocket and\n reads)\n \"I am now free to tell you how I was\n jockeyed out of the Throne.\"", "BERTIE\n What do you suggest?\n\n COSMO LANG\n Mr. Edward Windsor? All he deserves.", "BERTIE\n It's the Chair of Edward The Confessor! The\n throne upon which every King for six and a\n half centuries has been crowned.", "BERTIE\n ...it was a relief. Knowing I wouldn't be\n King.\n\n LIONEL\n Why's that?", "He offers his hand. But instead of taking it, Bertie takes him\nby the shoulders and gives him a hug. This is a long way from\nthe five pace rule. The last barrier has fallen.\n\nScroll:", "David is seen - very serious.\n\n DIGNITARY (CONT'D)\n ...that the High and Mighty Prince Edward\n Albert Christian George Andrew Patrick\n David is now become our only lawful King.", "BERTIE\n Don't say such a thing!\n\n DAVID\n Is my young brother trying to push me off\n the throne? Sounds positively medieval.", "LIONEL\n Me too.\n\n MYRTLE\n Is that why, every day, you've spent hours\n with a man who's about to be King?", "BERTIE\n Want me to beg?\n\n LIONEL\n I told you, Kings don't beg.", "LIONEL\n Do you really want to be King?\n\n BERTIE\n Knew it! I haven't any choice.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "constitutionally possible for me to speak.\n A few hours ago I discharged my last duty\n as King and Emperor.", "BERTIE\n Because we took an English name! Windsor.\n Because we are England. We are the heart\n and soul of this nation. That must never\n change.", "Lionel sits down on the chair of Edward the Confessor. Leaning\nagainst it is the great two-handed sword of St. George.", "BERTIE\n You've saddled this nation in its moment of\n peril with a voiceless King. Destroyed the", "Elizabeth is playing quietly with her daughters when the door\n opens and Bertie appears, still in full regalia, straight from\n the Accession Council. He holds his arm out, expecting them to" ], [ "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "Bertie has entered with Logue. Lang spins around.\n\n COSMO LANG\n Your Majesty.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "For ease of reading, Bertie's stutter is not indicated from this\n point on in the script.\n\n BERTIE\n No doubt you wish the Prince Of Wales was\n standing before you today.", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "LIONEL\n Oh please.\n\n BERTIE\n Your Royal Highness then.\n\n LIONEL\n Much more informal.", "Logue tries to protest, Bertie over-rides.", "BERTIE\n Doctor Lionel Logue, my speech therapist.", "86 INT. LOGUE'S CONSULTATION ROOM - NEW DAY 86\n\n Bertie and Logue are rehearsing.", "LIONEL\n I'm finished with your husband.\n\n BERTIE\n I'm finished with Doctor Logue!\n\n LIONEL\n Lionel.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "BERTIE\n Apologies, Mrs. Logue.\n\n LIONEL\n First time I've heard you laugh.", "BERTIE'S VOICE\n Logue...?\n\n Logue, expressionless, doesn't respond.", "Dancing at arm's length with Logue, Bertie repeats:", "Bertie follows Logue deep into the bowels of the `Abbey'.", "Bertie doesn't answer. Exits. Logue is left holding the plane.\n He goes to the waiting room door.\n\n LIONEL (CONT'D)\n How're you doing, Willie?", "BERTIE'S VOICE\n Doctor Logue?\n\n\n41 INT. LOGUE'S CONSULTATION ROOM - CONTINUOUS 41" ], [ "Lionel sits down on the chair of Edward the Confessor. Leaning\nagainst it is the great two-handed sword of St. George.", "David is seen - very serious.\n\n DIGNITARY (CONT'D)\n ...that the High and Mighty Prince Edward\n Albert Christian George Andrew Patrick\n David is now become our only lawful King.", "BERTIE\n It's the Chair of Edward The Confessor! The\n throne upon which every King for six and a\n half centuries has been crowned.", "LIONEL\n Just Lionel.\n\n BERTIE\n Behind the chair of Edward the Confessor.", "KING GEORGE V\n When I'm dead that boy will ruin himself,\n this family, and this nation, within twelve", "A massive cavern of stone statuary and stained glass. The\n center piece of this particular section is the throne of Edward", "Elizabeth is playing quietly with her daughters when the door\n opens and Bertie appears, still in full regalia, straight from\n the Accession Council. He holds his arm out, expecting them to", "BERTIE\n What do you suggest?\n\n COSMO LANG\n Mr. Edward Windsor? All he deserves.", "BERTIE\n That would be a tragedy. I pray to The\n Almighty they succeed. I'll do anything\n within my power to keep my brother on the\n throne.", "Everyone watches silently as the King's breathing slows, the\n twitching jugular subsides, then all movement ceases.\n\n Dawson takes the pulse, and consults his watch.", "Wigram presents a tray with papers and pen.\n\n WIGRAM\n The Instruments Of Succession, Your\n Majesty.", "Willie nods again. Then, haltingly:\n\n WILLIE\n I heard the King.\n\n LIONEL\n Did you?", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "Bertie stands frozen, his mouth agape, jaw muscles locked. He\n knows he's considered by all, especially himself, unfit for\n public life.\n\n Elizabeth is devastated.", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "BERTIE\n My Lords, members of the Accession Council,\n I meet you today in circumstances which are\n without parallel in the history of our\n Country...", "David turns and bows formally. Elizabeth cursties in return.\n Wallis quickly returns to David, taking him forcefully onto the\n dance floor. The Yorks go in the other direction.", "LIONEL (CONT'D)\n ... and hold. Now, Princess Elizabeth, be\n so kind as to sit on your husband's\n stomach.\n\n ELIZABETH\n Good grief.", "BERTIE\n Eighteen months.\n\n LIONEL\n But for eighteen months you would've been\n King?!", "BERTIE\n Don't say such a thing!\n\n DAVID\n Is my young brother trying to push me off\n the throne? Sounds positively medieval." ], [ "LIONEL\n I want to demonstrate that when you can't\n hear your voice, you don't stutter, thus\n proving your impediment is not innate.", "BERTIE\n My physicians say it's good for stuttering,\n relaxes the throat.\n\n LIONEL\n They're idiots.", "BERTIE\n (exploding)\n Because I bloody well stutter! And you\n bloody well can't fix it!!!\n\n LIONEL\n Temper.", "LIONEL\n Only if you're interested in being cured.\n\nMore silence.\n\n LIONEL (CONT'D)\n Cuppa tea?", "LIONEL (CONT'D)\n Would you like to sing, dance, and shout\n rude words?\n\n WILLIE (NO STUTTER)\n I would!", "ELIZABETH\n Of course my husband wants to be cured! His\n position requires public speaking upon\n occasion. A torment. I fear the requirement\n may grow more frequent.", "It is a shock to realize this is a man with a profound stutter.\n A man who cannot speak in public.\n\n Lang whispers to Churchill. When Lang whispers, everyone can\n hear.", "over I kept being a therapist to earn a\n living. When the lads were old enough, I\n thought, \"Alright Lionel, you've always", "BERTIE\n (stutter growing in\n intensity)\n I'm not here to discuss personal matters.\n\n LIONEL\n Why're you here then?", "BERTIE\n I certainly can't read The Bard.\n\n LIONEL\n `Easy money'.\n\nBertie reads, stuttering badly and getting worse.", "As they enter Bertie notices:\n\n BERTIE\n What happened to your shoulder?\n\n Lionel hastily removes the pillow, tosses it away.", "BERTIE\n When I give a speech...I bloody stutter!!!\n\n LIONEL\n Bet you a bob you can read flawlessly,\n right here, right now.", "ELIZABETH (CONT'D)\n You're very sure of yourself.\n\n LIONEL\n I'm sure of anyone who wants to be cured.", "LIONEL\n I see. For reasons you cannot disclose,\n fearing ramifications you will not explain,\n you feel sufficiently anxious to embark", "Bertie's silence is confirmation.\n\n LIONEL (CONT'D)\n I ask too many questions?\n\n BERTIE\n Perhaps the wrong sort.", "LIONEL\n You seldom stutter with me anymore.\n (referring to the mess)\n The boys are a bit untidy.", "WILLIE'S MUM\n (speaking for her son)\n Still can't say a sentence.\n\n LIONEL\n Willie?", "LIONEL\n The plaque says, `L. Logue. Speech\n Specialist'. No mention of a medical", "Lionel lumbers out of the closet, a pillow stuffed into his\n jacket to create a monstrous hunchback. His acting, performed\n just for his children, is quite magical.", "In the presence of his father, Bertie's stuttering returns in\nfull form, his breathing short and shallow, the muscles in\nspasms." ], [ "In the presence of his father, Bertie's stuttering returns in\nfull form, his breathing short and shallow, the muscles in\nspasms.", "PAN DOWN to the handsome features of Albert, Duke of York, known\n to his family as BERTIE. He's in his late thirties, the second", "BERTIE\n Ah well.\n\nCalled upon to perform, the stutter returns slightly. But the\ntwo girls listen raptly, ignoring their father's minor\nimpediment, and it fades.", "BERTIE\n Father, we're not a family, we're a firm.\n\nHis father shoots Bertie a surprised look. Does the lad have a\nbrain after all?", "BERTIE (CONT'D)\n Not like my father...he and his brother,\n when they were young, kept a girl in St\n John's Wood and shared her on alternate\n nights.", "LIONEL\n Father wanted me to be a doctor, but I\n couldn't cut flesh. So I worked in the\n mines, recited in pubs...\n\n BERTIE\n An actor?!", "BERTIE\n George.\n\n LIONEL\n Like your father?\n\n BERTIE\n Like my father.", "Bertie stands frozen, his mouth agape, jaw muscles locked. He\n knows he's considered by all, especially himself, unfit for\n public life.\n\n Elizabeth is devastated.", "BERTIE (CONT'D)\n I was informed, after the fact, my father's\n last words were: \"Bertie has more guts than", "BBC NEWS READER\n (placating)\n If you'll be so kind, to let me show you...\n\n BERTIE\n I already know. My father taught me.", "MARGARET ROSE\n (whispers)\n Daddy, who broke our rocking horse?\n\n BERTIE\n (whispers)\n A giant.", "LIONEL\n So did I.\n\n BERTIE\n A man of stature?\n\n LIONEL\n A clerk.", "Seeing his brother crying, Bertie is deeply moved, puts a\n comforting hand on his shoulder. David pulls away as though\n touched by a leper and covers the receiver in his hand.", "LIONEL\n You may leave.\n\n VALENTINE\n Haven't finished yet, Dad.\n (realizes)\n Oh! Right!", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "LIONEL\n Not Albert?\n\n BERTIE\n Given the current situation...too Germanic.", "Lionel lumbers out of the closet, a pillow stuffed into his\n jacket to create a monstrous hunchback. His acting, performed\n just for his children, is quite magical.", "BERTIE\n They all did. \"Buh-buh-buh-Bertie\". Father\n encouraged it. \"Spit it out, boy!\" Thought\n it would make me stop. Is this necessary?!", "BERTIE\n Somebody has to live in them.\n\n LIONEL\n Somebody does.\n\n Ushers Bertie into his study.", "DAVID\n She'll recover.\n\n Bertie shoots him a look.\n\n BERTIE\n Father won't." ], [ "LIONEL\n I prefer Lionel. My family calls me far\n worse. What shall I call you?\n\n BERTIE\n The Duke of York is appropriate.", "LIONEL\n Oh please.\n\n BERTIE\n Your Royal Highness then.\n\n LIONEL\n Much more informal.", "as he was born the son of a Duke. Which\n makes him a Lord at the very least.", "BERTIE\n (flushes)\n Only my family uses that.\n\n LIONEL\n That's what I'll call you then. We must be\n true equals.", "She's sleeping in your mother's bedroom.\n And I know perfectly well she calls me `the\n Dowdy Duchess\", and \"Cookie\".", "PAN DOWN to the handsome features of Albert, Duke of York, known\n to his family as BERTIE. He's in his late thirties, the second", "LIONEL\n Call me Lionel.\n\n BERTIE\n I prefer Doctor.", "BERTIE\n I know how I sound!\n\n LIONEL\n Would I lie to a prince of the realm to win\n twelve-pence?", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "BERTIE\n (barely controlled)\n \"Just call me Lionel\"! Never did you call", "BERTIE\n George.\n\n LIONEL\n Like your father?\n\n BERTIE\n Like my father.", "MYRTLE\n Lionel...without warning, I arrive home to\n find the Queen in my parlour.\n\n LIONEL\n A Duchess, she hasn't been crowned yet.", "LIONEL\n Me? You.\n\n BERTIE\n Why me?!\n\n LIONEL\n You're the Royal.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "COSMO LANG\n (realizing)\n Oh I say...\n\n BERTIE\n The Duke of Windsor it is. Gentlemen.\n\nHe exits abruptly.", "LIONEL\n Oh! Hello, Lady Elizabeth! Oh! Hello,\n Myrtle darling! What a pleasant surprise.\n\nMyrtle stares at him and takes her revenge.", "Your brother held conversations with the\n Duke of Saxe-Coburg, your cousin, a ranking\n member of the Nazi party. I have the", "BERTIE\n Well enough to deceive me.\n\n LIONEL\n Lock me in the Tower.\n\n BERTIE\n I would if I could!", "ham. I'm informed your husband calls my\n husband Bertie and my husband calls your\n husband Lionel. I trust, however, you won't\n attempt to call me Liz.", "LIONEL\n Shan't call you anything else.\n\n BERTIE\n Then we shan't speak!" ], [ "LIONEL (CONT'D)\n \"How poor are they that have not patience!\n What wound did ever heal but by degrees?\"\n\n ELIZABETH\n Pardon?", "ELIZABETH (CONT'D)\n You're very sure of yourself.\n\n LIONEL\n I'm sure of anyone who wants to be cured.", "LIONEL\n Only if you're interested in being cured.\n\nMore silence.\n\n LIONEL (CONT'D)\n Cuppa tea?", "LIONEL\n I'm finished with your husband.\n\n BERTIE\n I'm finished with Doctor Logue!\n\n LIONEL\n Lionel.", "LIONEL\n (quietly)\n Well then...you're cured.\n\n BERTIE\n Stop trying to squirm off the hook.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "LIONEL (FROM INSIDE THE CLOSET)\n \"Art thou afeard?\"\n\n THE BOYS\n Caliban!", "LIONEL (CONT'D)\n \"Now is the winter of our discontent\n Made glorious summer by this sun of\n York...\"", "Clearly this is a much loved ritual. Lionel disappears into a\n closet.\n\n IAN\n Bet its the Scottish Play.\n\n VALENTINE\n Othello!", "ANNA\n (whispers, terrified)\n I know.\n (then to Elizabeth)\n Dr Logue says...\n\n LIONEL (O.S.)\n Lionel!", "Willie nods again. Then, haltingly:\n\n WILLIE\n I heard the King.\n\n LIONEL\n Did you?", "LIONEL\n \"Be not afeard; the isle is full of noises,\n Sounds and sweet airs, that give delight,", "LIONEL\n I remember going to the theatre with her.\n Not real theatre...traveling players.\n\n BERTIE\n I've been to Australia.", "LIONEL (CONT'D)\n \"Sometimes a thousand twanging instruments\n Will hum about mine ears; and sometimes\n voices...\"", "LIONEL\n Well, have your `hubby' pop by and give his\n personal history. I'll make a frank\n appraisal.\n\n ELIZABETH\n Doctor...", "LIONEL (CONT'D)\n (to Elizabeth)\n Good of you to come.\n\n ELIZABETH\n Harley Street is far too public. What is my\n function here?", "LIONEL\n That's not a promising start.\n\n ELIZABETH\n My husband's seen everyone. They were all\n useless. He's given up hope.", "LIONEL\n Hardly robust.\n\n BERTIE\n Shit then. Shit, shit, shit!", "LIONEL\n Father wanted me to be a doctor, but I\n couldn't cut flesh. So I worked in the\n mines, recited in pubs...\n\n BERTIE\n An actor?!", "do? He must believe he is King. How can I\n possibly do that? For pity sake, Lionel, I\n beg you: get me through! I'll pay you" ], [ "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "In the presence of his father, Bertie's stuttering returns in\nfull form, his breathing short and shallow, the muscles in\nspasms.", "BBC NEWS READER\n His father taught him. I taught his father.\n\n BERTIE\n (testing the microphone)\n Bugger bugger bugger...bloody bloody\n bloody...", "Bertie and Elizabeth listening to the radio with the two\n princesses royal sitting at their parents' feet. Bertie battles\n his emotions.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "This is being listened to by Myrtle and the boys. The boys look\n at their mum. Suddenly they explode with cheers as the radio\n address continues:", "BERTIE\n Ah well.\n\nCalled upon to perform, the stutter returns slightly. But the\ntwo girls listen raptly, ignoring their father's minor\nimpediment, and it fades.", "Bertie replaces the earphones. Again, the LOUD MUSIC. His lips\nmove as he reads, but all that can be heard is the music.", "Bertie takes the record from the trash and walks to a Victrola\n stand, lifts the arm, places the steel needle, expecting to hear\n his stuttering voice. Instead, what he hears is flawless and\n flowing:", "90 INT. THE PRINCESSES PLAYROOM - NIGHT 90\n\n The two girls listen to their father on the radio.", "continues to falter. Though Bertie\n miraculously survived the Coronation he\n continues to stumble very badly indeed.\n Soon he must broadcast to the world. Hitler", "Bertie takes a deep breath and lets it out slowly. His hands\ngrow steady, his throat muscles relax...all the things he's\npracticed.", "turntable and positions a microphone, then hands Bertie an open\nbook. Bertie glares at it defiantly.", "Lionel lumbers out of the closet, a pillow stuffed into his\n jacket to create a monstrous hunchback. His acting, performed\n just for his children, is quite magical.", "BBC NEWS READER\n (placating)\n If you'll be so kind, to let me show you...\n\n BERTIE\n I already know. My father taught me.", "He exits quickly. Cosmo continues nervously as they walk\nthrough the Abbey, the Archbishop pointing out the preparations\nin progress, particularly a booth for broadcasters.", "The King's study resembles a naval captain's cabin. Both men\n are uniformed for a state occasion. Bertie regards the BBC\n microphone as though it were an alien.", "You'll have to do a lot more of this. I'm\n sending him to the Midlands. With all the\n factory noise they won't hear a word he", "exist)\n His brother, and father, have been\n broadcasting since last year." ], [ "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "BERTIE\n They didn't come to see us, Father.\n\n KING GEORGE V\n Pretend.", "David is seen - very serious.\n\n DIGNITARY (CONT'D)\n ...that the High and Mighty Prince Edward\n Albert Christian George Andrew Patrick\n David is now become our only lawful King.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "KING GEORGE V (CONT'D)\n That's the chap who taught me how to use\n this contraption. You touch your chin with", "PAN DOWN to the handsome features of Albert, Duke of York, known\n to his family as BERTIE. He's in his late thirties, the second", "Elizabeth is playing quietly with her daughters when the door\n opens and Bertie appears, still in full regalia, straight from\n the Accession Council. He holds his arm out, expecting them to", "LIONEL\n Do you really want to be King?\n\n BERTIE\n Knew it! I haven't any choice.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "BERTIE\n Eighteen months.\n\n LIONEL\n But for eighteen months you would've been\n King?!", "BERTIE\n George.\n\n LIONEL\n Like your father?\n\n BERTIE\n Like my father.", "LIONEL\n Bertie, you'll make a bloody good king. And\n you know it.\n\nBertie stares at him.\n\nA familiar voice is heard from the shadows.", "son of King George V, the reigning King of England. He conveys a\n sensitivity which appears in conflict with the manner in which\n he's been bedecked.", "\"George, your undoubted King!\" echoes through the Abby.\n\n DISSOLVE TO:", "BERTIE\n How dare you! I'm the brother of a\n King...the son of a King...back through", "BERTIE\n ...it was a relief. Knowing I wouldn't be\n King.\n\n LIONEL\n Why's that?", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "KING GEORGE V\n When I'm dead that boy will ruin himself,\n this family, and this nation, within twelve", "deafening. The King beckons impatiently for someone still\n inside to join them. It's Bertie, with Elizabeth.", "BERTIE\n My Lords, members of the Accession Council,\n I meet you today in circumstances which are\n without parallel in the history of our\n Country..." ], [ "BERTIE\n Doctor Lionel Logue, my speech therapist.", "LIONEL\n The plaque says, `L. Logue. Speech\n Specialist'. No mention of a medical", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "BERTIE'S VOICE\n Doctor Logue?\n\n\n41 INT. LOGUE'S CONSULTATION ROOM - CONTINUOUS 41", "86 INT. LOGUE'S CONSULTATION ROOM - NEW DAY 86\n\n Bertie and Logue are rehearsing.", "It is a shock to realize this is a man with a profound stutter.\n A man who cannot speak in public.\n\n Lang whispers to Churchill. When Lang whispers, everyone can\n hear.", "73 INT. LOGUE'S CONSULTATION ROOM & WAITING ROOM - NEW DAY 73\n\n Logue is working with Anna. She's reading smoothly and with\n great intensity.", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "and startled by the entrance of - LIONEL LOGUE. He's in his\n forties, tall, with piercing eyes and charismatic features. His", "BERTIE'S VOICE\n Logue...?\n\n Logue, expressionless, doesn't respond.", "Logue tries to protest, Bertie over-rides.", "Logue smiles, perfectly calm, totally confident in the man he's\nworked with. His confidence is contagious.", "DIRECTOR\n (interrupts)\n Thank you! Don't abandon your day job.\n Next!\n\n Logue bows his head.", "ANNA\n (whispers, terrified)\n I know.\n (then to Elizabeth)\n Dr Logue says...\n\n LIONEL (O.S.)\n Lionel!", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table." ], [ "continues to falter. Though Bertie\n miraculously survived the Coronation he\n continues to stumble very badly indeed.\n Soon he must broadcast to the world. Hitler", "KING GEORGE V\n The usual guff. The Archbishop writes it.\n My people love to hear me say it. Spoken\n fluently, of course.", "KING GEORGE V (CONT'D)\n That's the chap who taught me how to use\n this contraption. You touch your chin with", "BERTIE (ON RADIO)\n (stuttering profoundly)\n Be that as it may...my brother David is\n attending to other duties in the furthest\n parts of this vast Empire...", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "It is a shock to realize this is a man with a profound stutter.\n A man who cannot speak in public.\n\n Lang whispers to Churchill. When Lang whispers, everyone can\n hear.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "THE KING'S SPEECH\n\n\n Written by\n\n David Seidler\n\n\n\n OPEN ON:", "BBC NEWS READER\n Good evening, ladies and gentlemen, this is\n the BBC, broadcasting direct from\n Buckingham Palace upon the occasion of the\n Royal Silver Jubilee. His Majesty: King\n George the Fifth.", "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "KING GEORGE V\n (to the mike)\n \"I can only say to you, my very very dear", "On the screen: archive footage of the Coronation, capturing the\n pomp and ceremony. Cigar smoke rises up. The voices of\n Churchill and Lang can be heard.", "The glowing light of an illuminated dial of a radio, listened to\n by Churchill and Baldwin. They wear black armbands.\n\n WINSTON CHURCHILL\n Turn that devil off!", "WINSTON CHURCHILL\n Wallis wrote it for him. I'll burn it. I\n fear your brother is like the child in a", "BBC NEWS READER\n This concludes the BBC broadcast of the\n King's Speech.", "WINSTON CHURCHILL\n Ah, the Kiwis!\n\n BALDWIN\n Being rather remote, they've not even heard\n of Mrs Simpson. Hardly a winning hand.", "WINSTON CHURCHILL (CONT'D)\n To our new King.\n\n COSMO LANG\n Let's sincerely hope.", "BERTIE (V.O. RADIO FILTER)\n In this grave hour, perhaps the most\n fateful in our history, I send to every", "BERTIE\n They didn't come to see us, Father.\n\n KING GEORGE V\n Pretend.", "KING GEORGE V (O.S.)\n Stride boldly up to the bloody thing, stare\n it square in the eye, and talk to it as you\n would to any decent Englishman." ], [ "As they enter Bertie notices:\n\n BERTIE\n What happened to your shoulder?\n\n Lionel hastily removes the pillow, tosses it away.", "BERTIE\n My physicians say it's good for stuttering,\n relaxes the throat.\n\n LIONEL\n They're idiots.", "LIONEL\n (quietly)\n Well then...you're cured.\n\n BERTIE\n Stop trying to squirm off the hook.", "BERTIE\n What?\n\n LIONEL\n Helps relax the body.\n (goes to record player)\n Waltz?", "Silence. They stare at each other.\n\n BERTIE (CONT'D)\n You call this making me comfortable?\n\n LIONEL\n You call this being forthcoming?", "LIONEL\n (pause, then)\n Understood.\n\nBertie takes something from his pocket.", "over I kept being a therapist to earn a\n living. When the lads were old enough, I\n thought, \"Alright Lionel, you've always", "Bertie holds out his hand, demandingly. Somewhat hurt, Lionel\n hands it over.\n\n BERTIE\n I'll return it.", "LIONEL\n I'm finished with your husband.\n\n BERTIE\n I'm finished with Doctor Logue!\n\n LIONEL\n Lionel.", "Lionel lumbers out of the closet, a pillow stuffed into his\n jacket to create a monstrous hunchback. His acting, performed\n just for his children, is quite magical.", "Bertie's silence is confirmation.\n\n LIONEL (CONT'D)\n I ask too many questions?\n\n BERTIE\n Perhaps the wrong sort.", "ANNA\n (whispers, terrified)\n I know.\n (then to Elizabeth)\n Dr Logue says...\n\n LIONEL (O.S.)\n Lionel!", "LIONEL\n I'm tired.\n\n BERTIE\n You can't sit there!\n\n LIONEL\n Why not? It's a chair.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "BERTIE\n You're playing music.\n\n LIONEL\n I'm aware.\n\n BERTIE\n How can I hear what I'm saying?!", "Reaches for the coin.\n\n LIONEL\n Not so fast.\n\n BERTIE\n I proved I can't read.", "LIONEL\n Otherwise the paint will eat through the\n tissue.\n\n BERTIE\n I mean the damn questions!", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "BERTIE\n Well enough to deceive me.\n\n LIONEL\n Lock me in the Tower.\n\n BERTIE\n I would if I could!", "Bertie sees Lionel glance at his watch.\n\n BERTIE\n You've someone waiting?\n\n LIONEL\n I do now." ], [ "KING GEORGE V (CONT'D)\n That's the chap who taught me how to use\n this contraption. You touch your chin with", "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "BERTIE\n The letter`P' is always difficult.\n\n LIONEL\n Get a running start, put the words all\n together. `Perhaps-the-most-fateful...'", "THE KING'S SPEECH\n\n\n Written by\n\n David Seidler\n\n\n\n OPEN ON:", "KING GEORGE V (O.S.)\n Stride boldly up to the bloody thing, stare\n it square in the eye, and talk to it as you\n would to any decent Englishman.", "KING GEORGE V\n (to the mike)\n \"I can only say to you, my very very dear", "BERTIE (V.O.)\n (stuttering very badly)\n \"In this grave hour... \"", "BERTIE (ON RADIO)\n (stuttering profoundly)\n Be that as it may...my brother David is\n attending to other duties in the furthest\n parts of this vast Empire...", "It is a shock to realize this is a man with a profound stutter.\n A man who cannot speak in public.\n\n Lang whispers to Churchill. When Lang whispers, everyone can\n hear.", "KING GEORGE V\n The usual guff. The Archbishop writes it.\n My people love to hear me say it. Spoken\n fluently, of course.", "KING GEORGE V\n When I'm dead that boy will ruin himself,\n this family, and this nation, within twelve", "continues to falter. Though Bertie\n miraculously survived the Coronation he\n continues to stumble very badly indeed.\n Soon he must broadcast to the world. Hitler", "BBC NEWS READER\n This concludes the BBC broadcast of the\n King's Speech.", "For ease of reading, Bertie's stutter is not indicated from this\n point on in the script.\n\n BERTIE\n No doubt you wish the Prince Of Wales was\n standing before you today.", "\"George, your undoubted King!\" echoes through the Abby.\n\n DISSOLVE TO:", "KING GEORGE V\n Just needs more practice.\n\n\n9 EXT. HARLEY STREET - NEW DAY 9", "BBC NEWS READER\n Good evening, ladies and gentlemen, this is\n the BBC, broadcasting direct from\n Buckingham Palace upon the occasion of the\n Royal Silver Jubilee. His Majesty: King\n George the Fifth.", "He waves them out of the room, but beckons Wigram to come close,\n and whispers something in his ear.\n\n WIGRAM\n At the appropriate moment, Your Majesty.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "to their new Monarch they will note an\n occasional momentary hesitation in his\n speech. But to those who hear it, it need\n cause no sort of embarrassment, for it" ], [ "BERTIE\n Doctor Lionel Logue, my speech therapist.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "BERTIE\n Growing confidence? Growing dread!!! You're\n a wicked man, Lionel Logue, trying to get", "LIONEL\n I'm finished with your husband.\n\n BERTIE\n I'm finished with Doctor Logue!\n\n LIONEL\n Lionel.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "LIONEL\n The plaque says, `L. Logue. Speech\n Specialist'. No mention of a medical", "and startled by the entrance of - LIONEL LOGUE. He's in his\n forties, tall, with piercing eyes and charismatic features. His", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "LIONEL\n No smoking. What's the age difference?\n\nWhile Logue isn't looking, Bertie surreptitiously wipes the rim\nof the mug with his handkerchief.", "LIONEL\n Bertie, you'll make a bloody good king. And\n you know it.\n\nBertie stares at him.\n\nA familiar voice is heard from the shadows.", "LIONEL\n What're friends for?\n\n Logue steps aside, letting Bertie in.\n\n BERTIE\n I wouldn't know.", "BERTIE\n Apologies, Mrs. Logue.\n\n LIONEL\n First time I've heard you laugh.", "LIONEL (CONT'D)\n Any idea what you're letting yourself in\n for?\n\n BERTIE\n Apparently a great deal of rudeness, Doctor\n Logue.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table.", "BERTIE\n I'm beginning to ask myself that very same\n question. Your sailing close to the edge,\n don't push me, Doctor Logue.\n\n LIONEL\n Lionel.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "BERTIE\n Don't take liberties! You're a dangerous\n man, Logue. Who sent you?\n\n LIONEL\n Anyone in mind?", "ANNA\n (whispers, terrified)\n I know.\n (then to Elizabeth)\n Dr Logue says...\n\n LIONEL (O.S.)\n Lionel!" ], [ "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table.", "Logue tries to protest, Bertie over-rides.", "Bertie has entered with Logue. Lang spins around.\n\n COSMO LANG\n Your Majesty.", "BERTIE\n The look in mother's eyes, it\n was...ghastly.\n\n He notices something on his desk, the record Logue made.", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "Dancing at arm's length with Logue, Bertie repeats:", "Bertie doesn't answer. Exits. Logue is left holding the plane.\n He goes to the waiting room door.\n\n LIONEL (CONT'D)\n How're you doing, Willie?", "86 INT. LOGUE'S CONSULTATION ROOM - NEW DAY 86\n\n Bertie and Logue are rehearsing.", "BERTIE\n I've no idea what an Australian might do\n for that sort of money.\n\n Logue puts the record in a brown paper dust jacket and hands it\n to Bertie.", "LIONEL\n We haven't much more time together. Give it\n a go.\n\n The doorbell RINGS. Logue is annoyed.", "Finished reading the passage he takes off the earphones and the\nmusic ceases. He reaches for the coin, but Logue snatches it.", "For ease of reading, Bertie's stutter is not indicated from this\n point on in the script.\n\n BERTIE\n No doubt you wish the Prince Of Wales was\n standing before you today.", "BERTIE'S VOICE\n Logue...?\n\n Logue, expressionless, doesn't respond." ], [ "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "86 INT. LOGUE'S CONSULTATION ROOM - NEW DAY 86\n\n Bertie and Logue are rehearsing.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "Logue tries to protest, Bertie over-rides.", "Bertie doesn't answer. Exits. Logue is left holding the plane.\n He goes to the waiting room door.\n\n LIONEL (CONT'D)\n How're you doing, Willie?", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "BERTIE\n Doctor Lionel Logue, my speech therapist.", "LIONEL\n We haven't much more time together. Give it\n a go.\n\n The doorbell RINGS. Logue is annoyed.", "THE KING'S SPEECH\n\n\n Written by\n\n David Seidler\n\n\n\n OPEN ON:", "Bertie has entered with Logue. Lang spins around.\n\n COSMO LANG\n Your Majesty.", "She goes to Bertie and kisses him tenderly on the cheek, takes\nhis hand, then Logue's.\n TKS/Seidler/09/17/08 115.", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "Lang's eyes roll heavenward.\n\nChurchill studies the situation, ready to leap into the breach.\n\nBertie and Logue stare at each other." ], [ "BERTIE\n David, your role is to consult and to be\n advised.\n\n DAVID\n Sounds like you've studied our wretched\n constitution.", "David is seen - very serious.\n\n DIGNITARY (CONT'D)\n ...that the High and Mighty Prince Edward\n Albert Christian George Andrew Patrick\n David is now become our only lawful King.", "The King is so feeble he can barely make his mark. Glares at\n David.", "DAVID\n Are you already in charge?\n\n BERTIE\n I'm trying to warn you.\n\n DAVID\n Am I being threatened?", "DAVID\n He's doing this on purpose.\n\n BERTIE\n Dying?!", "DAVID (CONT'D)\n My brother will read the Coronation Plans.\n\n BERTIE\n (whispers urgently)\n I'm not prepared!", "DAVID\n Replace me? Well...today's your chance.\n\n He thrusts a document into Bertie's hands, then pokes his head\n into the conference room.", "DAVID\n Who the hell invited him?!\n\n QUEEN MARY\n Nobody. Don't swear.", "BERTIE\n David! The upper classes are terrified\n anything which clouds the monarchy makes\n their situation more dangerous. Hunger", "DAVID\n Somebody should bloody well dis-invite him.\n Father swears.\n\n WIGRAM\n That would be rash.", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "A moment of silent confrontation. David backs down. Sort of.\n\n DAVID\n Didn't realize you cared.\n\n BERTIE\n This could end in disaster.", "BERTIE\n We're not ordinary men, David! We were bred\n to be profiles on a coin. If you were\n ordinary, on what basis could you possibly\n claim to be King?!", "Nobody wants to take responsibility. The Queen looks to David.\n He nods. They're interrupted by a BUTLER.\n\n BULTER\n The Archbishop of Canterbury.", "BERTIE\n Don't say such a thing!\n\n DAVID\n Is my young brother trying to push me off\n the throne? Sounds positively medieval.", "DAVID\n I'll form another. There's Winston. He'd\n love to be P.M. We'll create a King's\n Party.", "DAVID\n She'll recover.\n\n Bertie shoots him a look.\n\n BERTIE\n Father won't.", "David turns and bows formally. Elizabeth cursties in return.\n Wallis quickly returns to David, taking him forcefully onto the\n dance floor. The Yorks go in the other direction.", "DAVID (OVER-RIDES)\n I'm the brother who speaks. Or do you wish\n to have a go?\n\n BERTIE\n Good lord no! I hope to...", "DAVID\n What's the point then? Just to look posh?\n You know...your speech is much improved\n tonight. Hardly a hesitation. Yearning for\n a larger audience, are we?" ], [ "BERTIE\n This one's divorced. Twice. Mrs Wallis\n Simpson of Baltimore. I want David to be\n happy, but the family, the Church, the\n nation, won't have it.", "BERTIE\n To fight a general election in which your\n marriage is the only topic?\n\n DAVID\n I'd risk anything and everything for\n Wallis. Don't I have rights?", "LIONEL\n Can't they fornicate privately like adults?\n\n BERTIE\n If only! David used to prefer married women\n because there was no possible attachment.\n But now...", "David turns and bows formally. Elizabeth cursties in return.\n Wallis quickly returns to David, taking him forcefully onto the\n dance floor. The Yorks go in the other direction.", "DAVID\n This will end splendidly. With Wallis as my\n wife.\n\n BERTIE\n Whatever will she call herself?", "BERTIE\n David! The upper classes are terrified\n anything which clouds the monarchy makes\n their situation more dangerous. Hunger", "DAVID\n I'm on with Wallis!\n (as though Bertie didn't\n exist)", "Bertie stands frozen, his mouth agape, jaw muscles locked. He\n knows he's considered by all, especially himself, unfit for\n public life.\n\n Elizabeth is devastated.", "LIONEL\n \"Queen Wallis of Baltimore\"?\n\n BERTIE\n Please.\n\n LIONEL\n Does sound a bit iffy.", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "The archive footage continues, but it is not of the Coronation.\n David and Wallis visiting the Fuhrer in Germany: Hitler", "DAVID\n Wally wants more champagne. I have to fetch\n it. She prefers that.\n\n BERTIE\n Been trying to see you...", "DAVID\n He's much maligned. By the Jews, according\n to Wallis. And she's very clever about\n politics.", "DAVID\n Some sod tipped him off Wallis is getting a\n quickie divorce and we're going to make our", "The King is so feeble he can barely make his mark. Glares at\n David.", "ELIZABETH\n I think I meant... is David serious?\n\n BERTIE\n About our coming?\n\n ELIZABETH\n About her!", "BERTIE\n Privileges.\n\n DAVID\n Not the same thing.\n\n BERTIE\n No.", "BERTIE\n He can bugger things up! And I am not the\n King. Mrs. Simpson is seeking a divorce.", "DAVID\n Are you already in charge?\n\n BERTIE\n I'm trying to warn you.\n\n DAVID\n Am I being threatened?", "He offers his hand. But instead of taking it, Bertie takes him\nby the shoulders and gives him a hug. This is a long way from\nthe five pace rule. The last barrier has fallen.\n\nScroll:" ], [ "David is seen - very serious.\n\n DIGNITARY (CONT'D)\n ...that the High and Mighty Prince Edward\n Albert Christian George Andrew Patrick\n David is now become our only lawful King.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "BERTIE\n Eighteen months.\n\n LIONEL\n But for eighteen months you would've been\n King?!", "LIONEL\n Do you really want to be King?\n\n BERTIE\n Knew it! I haven't any choice.", "Elizabeth is playing quietly with her daughters when the door\n opens and Bertie appears, still in full regalia, straight from\n the Accession Council. He holds his arm out, expecting them to", "PAN DOWN to the handsome features of Albert, Duke of York, known\n to his family as BERTIE. He's in his late thirties, the second", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "LIONEL\n I always called you Bertie. Today, I call\n you King.", "BERTIE\n Then I'm the solemnest king who ever lived.\n Lionel, I can't do this!", "LIONEL\n Bertie, you'll make a bloody good king. And\n you know it.\n\nBertie stares at him.\n\nA familiar voice is heard from the shadows.", "Everyone watches silently as the King's breathing slows, the\n twitching jugular subsides, then all movement ceases.\n\n Dawson takes the pulse, and consults his watch.", "do? He must believe he is King. How can I\n possibly do that? For pity sake, Lionel, I\n beg you: get me through! I'll pay you", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "\"George, your undoubted King!\" echoes through the Abby.\n\n DISSOLVE TO:", "LIONEL\n Me too.\n\n MYRTLE\n Is that why, every day, you've spent hours\n with a man who's about to be King?", "BERTIE\n Divine right, if you must! I'm your King!!!", "The King goes back to waving. Elizabeth is stunned at the\n prospect.\n\n The ROAR of the crowd segues into the ROAR of machinery.", "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "Bertie waits at a table with a group of immaculately attired\n courtiers and dignitaries. This is the Coronation Committee.\n The chair at the head of the table is empty, everyone waiting\n for its occupant.", "BERTIE\n How dare you! I'm the brother of a\n King...the son of a King...back through" ], [ "BERTIE\n Doctor Lionel Logue, my speech therapist.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "86 INT. LOGUE'S CONSULTATION ROOM - NEW DAY 86\n\n Bertie and Logue are rehearsing.", "LIONEL\n The plaque says, `L. Logue. Speech\n Specialist'. No mention of a medical", "BERTIE'S VOICE\n Doctor Logue?\n\n\n41 INT. LOGUE'S CONSULTATION ROOM - CONTINUOUS 41", "73 INT. LOGUE'S CONSULTATION ROOM & WAITING ROOM - NEW DAY 73\n\n Logue is working with Anna. She's reading smoothly and with\n great intensity.", "Logue tries to protest, Bertie over-rides.", "Logue smiles, perfectly calm, totally confident in the man he's\nworked with. His confidence is contagious.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "BERTIE'S VOICE\n Logue...?\n\n Logue, expressionless, doesn't respond.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "and startled by the entrance of - LIONEL LOGUE. He's in his\n forties, tall, with piercing eyes and charismatic features. His", "It is a shock to realize this is a man with a profound stutter.\n A man who cannot speak in public.\n\n Lang whispers to Churchill. When Lang whispers, everyone can\n hear.", "BERTIE\n Apologies, Mrs. Logue.\n\n LIONEL\n First time I've heard you laugh.", "Logue comes to the door of the Waiting Room, in effect blocking\nBertie's way in.\n\n LIONEL\n Johnson, isn't it? Have you an appointment?" ], [ "Lionel sits down on the chair of Edward the Confessor. Leaning\nagainst it is the great two-handed sword of St. George.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table.", "DIRECTOR\n (interrupts)\n Thank you! Don't abandon your day job.\n Next!\n\n Logue bows his head.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "LIONEL\n You believe such ballocks I don't care how\n many royal backsides have sat on it, it's a", "Bertie doesn't answer. Exits. Logue is left holding the plane.\n He goes to the waiting room door.\n\n LIONEL (CONT'D)\n How're you doing, Willie?", "BERTIE\n It's the Chair of Edward The Confessor! The\n throne upon which every King for six and a\n half centuries has been crowned.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "Finished reading the passage he takes off the earphones and the\nmusic ceases. He reaches for the coin, but Logue snatches it.", "Logue tries to protest, Bertie over-rides.", "86 INT. LOGUE'S CONSULTATION ROOM - NEW DAY 86\n\n Bertie and Logue are rehearsing.", "Lang's eyes roll heavenward.\n\nChurchill studies the situation, ready to leap into the breach.\n\nBertie and Logue stare at each other.", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "Logue ushers Elizabeth into the study, giving Myrtle a nervous\nlittle wave. She glares and exits.\n\nIN THE STUDY:" ], [ "Willie nods again. Then, haltingly:\n\n WILLIE\n I heard the King.\n\n LIONEL\n Did you?", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "WILLIE'S MUM\n (speaking for her son)\n Still can't say a sentence.\n\n LIONEL\n Willie?", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "It is a shock to realize this is a man with a profound stutter.\n A man who cannot speak in public.\n\n Lang whispers to Churchill. When Lang whispers, everyone can\n hear.", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "Bertie doesn't answer. Exits. Logue is left holding the plane.\n He goes to the waiting room door.\n\n LIONEL (CONT'D)\n How're you doing, Willie?", "LIONEL\n We haven't much more time together. Give it\n a go.\n\n The doorbell RINGS. Logue is annoyed.", "DIRECTOR\n (interrupts)\n Thank you! Don't abandon your day job.\n Next!\n\n Logue bows his head.", "BERTIE\n The letter`P' is always difficult.\n\n LIONEL\n Get a running start, put the words all\n together. `Perhaps-the-most-fateful...'", "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "BERTIE\n Those are my hardest sounds.\n\n Lionel gives him a look.\n\n BERTIE (CONT'D)\n Oh.", "KING GEORGE V (CONT'D)\n That's the chap who taught me how to use\n this contraption. You touch your chin with", "Logue goes to the door and starts to open it. He shuts it\nquickly.\n\n LIONEL (CONT'D)\n I wasn't expecting Myrtle for several\n hours!", "Logue comes to the door of the Waiting Room, in effect blocking\nBertie's way in.\n\n LIONEL\n Johnson, isn't it? Have you an appointment?" ], [ "PAN DOWN to the handsome features of Albert, Duke of York, known\n to his family as BERTIE. He's in his late thirties, the second", "Elizabeth is playing quietly with her daughters when the door\n opens and Bertie appears, still in full regalia, straight from\n the Accession Council. He holds his arm out, expecting them to", "BERTIE\n \"Mausoleum Day\". Prince Albert departed on\n that date. I was named Bertie to placate", "For ease of reading, Bertie's stutter is not indicated from this\n point on in the script.\n\n BERTIE\n No doubt you wish the Prince Of Wales was\n standing before you today.", "David is seen - very serious.\n\n DIGNITARY (CONT'D)\n ...that the High and Mighty Prince Edward\n Albert Christian George Andrew Patrick\n David is now become our only lawful King.", "LIONEL\n Oh please.\n\n BERTIE\n Your Royal Highness then.\n\n LIONEL\n Much more informal.", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "Bertie stands frozen, his mouth agape, jaw muscles locked. He\n knows he's considered by all, especially himself, unfit for\n public life.\n\n Elizabeth is devastated.", "BERTIE\n Prince Albert? Or Frederick? Arthur?\n George? I've lots of names to choose from.", "BERTIE\n My Lords, members of the Accession Council,\n I meet you today in circumstances which are\n without parallel in the history of our\n Country...", "Bertie waits at a table with a group of immaculately attired\n courtiers and dignitaries. This is the Coronation Committee.\n The chair at the head of the table is empty, everyone waiting\n for its occupant.", "LIONEL\n So did I.\n\n BERTIE\n A man of stature?\n\n LIONEL\n A clerk.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "LIONEL\n Not Albert?\n\n BERTIE\n Given the current situation...too Germanic.", "LIONEL\n I prefer Lionel. My family calls me far\n worse. What shall I call you?\n\n BERTIE\n The Duke of York is appropriate.", "BERTIE\n Upon occasion.\n\n LIONEL\n Princess Elizabeth?", "BERTIE\n That would be a tragedy. I pray to The\n Almighty they succeed. I'll do anything\n within my power to keep my brother on the\n throne.", "LIONEL\n Now exhale slowly...down goes Princess\n Elizabeth...inhale slowly...nothing rushed,\n expanding your chest fully, extending the", "ELIZABETH (CONT'D)\n Well done, Bertie. Well done...\n (for the first time)\n ...Lionel. Well done.\n\nShe leaves the two men together.", "Bertie and Elizabeth listening to the radio with the two\n princesses royal sitting at their parents' feet. Bertie battles\n his emotions." ] ]	[ "When did Britain declare war on Germany?", "What is Lionel an expert in?", "Why is Logue dismissed?", "Who convinces Prince Albert to see Lionel?", "What does George learn about Logue during the coronation?", "What nationality is Wallis Simpson?", "Why does Edward abdicate the throne?", "How does Logue address Prince Albert?", "Who succeeds Edward?", "Besides physical therapy for the stuttering, what else is Lionel interested in discovering?", "Who is Albert's father?", "What is the Duke's familiar nickname?", "What Shakespeare play does Lionel reference during treatment?", "What does Albert's father insist he use to practice broadcasting?", "How does Albert come to be King George VI?", "What was Logue's training in speech therapy?", "Who helped King George VI prepare for his radio broadcast after declaring war on Nazi Germany?", "What does Lionel use to distract Albert while he attempts a soliloquy in therapy? ", "What letter does King George VI still jokingly struggle with during a speech at the end of the story?", "Who is Lionel Logue?", "How does Logue distract Prince Albert while he's reciting Hamlet's piece?", "What do the King and Queen insist Logue focuses on while coaching Albert?", "Why does David cause constitutional crisis?", "Why is Edward unable to marry David and Wallis?", "How does Albert become King?", "How did Logue get experience in speech therapy before training Albert (now George)?", "What does Logue dismiss while sitting in King Edward's chair?", "After Logue reminds the King that he still struggles with the letter \"w,\" what does the King say?", "What was Prince Albert's title at the beginning of the story?" ]	[ [ "1939.", "1939." ], [ "Speech therapy.", "Speech therapy" ], [ "He suggested Albert to be a good king.", "He suggest Albert would make a good king." ], [ "Elizabeth.", "his wife" ], [ "Logue has no qualifications.", "George learns that Logue has no formal qualifications" ], [ "American.", "American" ], [ "To marry Wallis.", "to marry Simpson" ], [ "By the name Bertie.", "As Bertie." ], [ "Albert.", "Albert as King George VI." ], [ "The psychological cause of the stuttering", "Why Albert stutters." ], [ "King George V", "King George V." ], [ "Bertie", "Bertie" ], [ "Hamlet", "Hamlet" ], [ "One of his father's old speeches", "His father's speech." ], [ "His older brother David abdicates the throne.", "King Edward abdicates." ], [ "Helping Australian soldiers in distress after World War I.", "He has no formal training." ], [ "Lionel Logue", "Logue" ], [ "Music", "distracts him by playing music through headphones" ], [ "The letter W", "W" ], [ "An Australian Speech therapist", "He is an Australian speech therapist." ], [ "by playing music through headphones", "With music through headphones." ], [ "Physical exercises", "physical exercises" ], [ "Because he wants to marry Wallis, an American socialite, divorced but still married to her second husband", "He wants to marry a divorcee." ], [ "Because both of Wallis's second husbands are alive.", "She is divorced and both husbands are still alive" ], [ "David abdicates in order to marry Wallis", "His brother Edward abdicates the throne." ], [ "My teaching shell-shocked Australian soldiers returning from The Great War", "helping shell-shocked soldiers" ], [ "The Stone of Scone", "Logue says Albert could be a good king which labels that as treason" ], [ "\"I had to throw a few in there so they'd know it was me.\"", "He had to throw in a few so they would know who he was." ], [ "\"Duke of York\"", "Duke of York." ] ]	d1960641caba4c85c372a2177e6727ad948c7005	train
[ [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "ZOE (CONT'D)\n I guess I'd given up on meeting\n someone like you, and I did what I\n thought was best.\n\nStan still doesn't say anything.", "ZOE\n (blurting out)\n There's this guy. His name is\n Stan. And he's fantastic.\n\n CAROL\n I knew it!", "STAN (CONT'D)\n Are you coming on to me? It's kind\n of hard to tell right now.\n\n ZOE\n Yeah. I'm coming on to you.", "Zoe smiles at the memory. Stan continues.", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "ZOE\n How do you know?\n\n STAN\n Well, for starters, you wax.", "ZOE\n Late. Yes. We are. We really\n are.\n (pushing Stan along)\n I'll see you at the meeting. Bye.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "STAN\n Hi.\n\n ZOE\n Aahhh!", "STAN\n That was amazing. I mean, like,\n totally and exceptionally, over-the-\n top, amazing.\n\nZoe turns to him. Takes a deep breath.", "ZOE (CONT'D)\n That was way better.\n\n STAN\n When can I see you again?\n\nZoe feels her heart jump. She kisses him again.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n How'd you know I worked here?\n\n STAN\n I followed you after the subway.\n (thinks, then)\n That sounds a little stalkery, huh?", "STAN\n You're kind of hard to read right\n now. You're either seriously\n flattered or totally repulsed.\n\nZoe smiles.", "Olivia approaches.\n 31.\n\n\n OLIVIA\n Hey, stranger.\n\n STAN\n Oh, hey, Olivia. You remember Zoe." ], [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "ZOE\n There's something I need to tell\n you.\n\n STAN\n Okay.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "INT. STAN'S BEDROM - MOMENTS LATER\n\nZoe lies in the small bed with the covers pulled up to her\nchin. Stan stands above her with an odd look on his face.", "Stan finishes. He looks at her and smiles. Zoe just stares\nat him.\n\n STAN (CONT'D)\n In my mind, you were supposed to\n say, I love you, too.", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "EXT. DAIRY - MOMENTS LATER\n\nThe door to the dairy kicks open and Stan carries Zoe out.\nHer legs are around his waist and they are making out like\ncrazy.", "Zoe takes off again. Olivia watches her go.\n\n\nEXT. FARMER'S MARKET - LATER\n\nZoe runs through the market looking for Stan.", "Stan just looks at her. Speechless.\n\n ZOE (CONT'D)\n I didn't know you. I would have\n never done it if--", "ZOE\n I drive them all away, I guess.\n\n STAN\n Yeah, right.\n\nStan takes her in his arms.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "They look at each other. Zoe smiles. Stan shrugs. Zoe\nnods. Stan does, too.\n\n ZOE\n Yes. Tell us.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "ZOE\n Get away from me.\n\nStan runs in front of her, forcing her to stop.\n\n STAN\n Nothing happened!", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "ZOE (CONT'D)\n I guess I'd given up on meeting\n someone like you, and I did what I\n thought was best.\n\nStan still doesn't say anything." ], [ "EXT. LITTLE GOAT FARM - DAY\n\nStan leans against the fence looking at the goats. He has\nthe beginnings of a beard growing. The scruff makes him look\nolder. Thinner.", "STAN\n I'm so sorry.\n\nThere is a long silence. They both stare at the hot dogs.", "INT. LORI'S FOYER - SAME\n\nOut in the foyer, Stan is paralyzed. Next to him is Dakota,\nwho is crying.", "She gives him a sympathetic hug and walks away.\n\n\nINT. STAN'S BEDROM - NIGHT", "Stan looks at her. Is she joking? Her look says no. He\ntakes a beat. And then, even though it's not a joke, he\nstarts to laugh. A little laugh at first and then a big one.", "Zoe walks off leaving him to ponder.\n 33.\n\n\n STAN\n What's a corn pad?\n\n\nINT. BATHROOM - NIGHT", "Stan lies in bed looking up at the \"stars.\" There's even\nless glow now than last time. He sighs and then turns over\nto try and sleep.", "Stan, walks backwards with his head down, holding a mirror.\n\n STAN\n Excuse me. Hello. I'm Stan.\n Excuse me. Hi. I'm Stan.", "STAN\n Two girls!\n\nA WOMAN with a BABY in a Baby Bjorn passes by. Stan smiles.\nNow he's part of this exclusive club.", "STAN\n Sorry? What's sorry going to do?\n\nStan walks out. Zoe stands there. And stands there. And\nthen she starts to cry.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "STAN\n And the part where you dumped me.\n (to the babies)\n Girls...Mommy and Daddy were\n stupid.\n\nThe babies smile and coo.", "Stan lifts his hand to wave but doesn't even turn around.\nClearly, he feels like an idiot. Zoe watches him go.\n\n\nEXT. WEST VILLAGE BROWNSTONE - MORNING", "Stan smiles meekly and then turns to go.\n\n ZOE\n Bye.", "STAN (CONT'D)\n Look, I know this is all going\n fast...the time we're spending\n together, meeting my parents and", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "Her P.O.V. Stan appears next to her in the reflection. For\na brief second, they look like a family.\n\nZoe turns. They both stop. Unsure of whether to hug or\nwhat. They just stand there.", "STAN\n You do the same.\n\nThey nod and separate.\n\n\nINT. HUDSON PETS - DAY", "STAN\n There's something I have to tell\n you, too.\n\nNow Stan turns to her. They are face-to-face.", "STAN (CONT'D)\n I don't understand.\n\n ZOE\n I know. It's hard to explain." ], [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "Stan just looks at her. Speechless.\n\n ZOE (CONT'D)\n I didn't know you. I would have\n never done it if--", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "Stan finishes. He looks at her and smiles. Zoe just stares\nat him.\n\n STAN (CONT'D)\n In my mind, you were supposed to\n say, I love you, too.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "STAN\n Sorry? What's sorry going to do?\n\nStan walks out. Zoe stands there. And stands there. And\nthen she starts to cry.", "ZOE (CONT'D)\n I guess I'd given up on meeting\n someone like you, and I did what I\n thought was best.\n\nStan still doesn't say anything.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "ZOE\n Get away from me.\n\nStan runs in front of her, forcing her to stop.\n\n STAN\n Nothing happened!", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "STAN\n It was nothing.\n\n ZOE\n What was nothing?\n\nOlivia turns back to Stan, flabbergasted.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "INT. STAN'S BEDROM - MOMENTS LATER\n\nZoe lies in the small bed with the covers pulled up to her\nchin. Stan stands above her with an odd look on his face.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "Zoe doesn't say anything.\n\n STAN (CONT'D)\n I'm sorry. If you don't want to\n talk about it..." ], [ "Zoe takes off again. Olivia watches her go.\n\n\nEXT. FARMER'S MARKET - LATER\n\nZoe runs through the market looking for Stan.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "EXT. DAIRY - MOMENTS LATER\n\nThe door to the dairy kicks open and Stan carries Zoe out.\nHer legs are around his waist and they are making out like\ncrazy.", "Zoe walks on. She sees her reflection in a store window and\nsmiles. She looks like an actual pregnant person now. As\nshe is walking and smiling to herself, we hear a familiar\nvoice.\n\n STAN\n Hi.", "A group of SCHOOL KIDS, lost in their own conversations, push\nup the block, separating Zoe and Stan for a moment. This\nseparation makes the moment all the more tense.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "They walk on. Stan looks at Zoe.\n\n STAN\n An old...boyfriend?", "Zoe smiles at the memory. Stan continues.", "We TILT up and see Zoe and Stan strolling arm in arm, each\nwith a Baby Bjorn with a rosy-cheeked baby girl in it. Both\ngirls have flaming red hair.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "The fruits and vegetables and flowers become a blur as Zoe\nruns out of the Farmer's Market. Stan chases after her.\n\n STAN\n Nothing happened.", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "ZOE\n Get away from me.\n\nStan runs in front of her, forcing her to stop.\n\n STAN\n Nothing happened!", "But Zoe and Stan just walk slowly hand-in-hand. Every so\noften looking at each other and just smiling or laughing.\nThen, suddenly, Stan picks her up in the middle of the\nstreet.", "Zoe watches Stan. She mindlessly starts eating some\nblueberries out of the display pint. Olivia sees that Zoe is\nlooking at Stan.\n\n OLIVIA\n Tasty, huh?", "Stan smiles meekly and then turns to go.\n\n ZOE\n Bye.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "ZOE\n (blurting out)\n There's this guy. His name is\n Stan. And he's fantastic.\n\n CAROL\n I knew it!", "Stan lifts his hand to wave but doesn't even turn around.\nClearly, he feels like an idiot. Zoe watches him go.\n\n\nEXT. WEST VILLAGE BROWNSTONE - MORNING" ], [ "CAROL\n Oh, it's a water birth. Didn't Zoe\n tell you?\n\nCarol starts banging the drum again and moves off.", "A few other old people look down and check themselves. At\nwhich point, Zoe looks down and realizes.\n\n ZOE\n I think my water just broke.", "INT. LABOR AND DELIVERY ROOM - DAY\n\nZoe is now alone in a room wearing a hospital gown.", "Zoe and Stan turn just in time to see the baby emerge and\nplop into the water.\n\nCU of the baby in the dirty water still attached to the\numbilical cord.", "Zoe enters the apartment and slams the door behind her. She\nruns to the couch and collapses in tears. Nuts wheels over\nand stands beside her.\n\n\nINT. LE PAIN QUOTIDIEN - DAY", "And suddenly, she has to slow down and then stop completely\nfor a contraction. She leans against a parked van to steady\nherself.\n\n ZOE\n Ow. Son of a bitch, that hurts.", "Nuts licks her face. She gets out of bed and goes to check\nher belly in the mirror. It's actually getting kind of huge.\n\n\nEXT. ZOE'S BROWNSTONE - DAY", "Zoe sees a gas station and jams on the breaks.\n\n\nINT. GAS STATION MINI MART - DAY", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "Zoe goes to the mirror and does her usual. The bump is\ngrowing. For the first time, we see a smile.\n\n\nINT. CAROL'S APARTMENT - DAY", "She runs to a nearby cab and slams the door.\n\n\nINT. ZOE'S APARTMENT - DAY", "ZOE\n Oh. Okay.\n\nZoe separates her legs an inch. And then closes them.", "Zoe runs down the street with a blanket over her hospital\ngown.\n\n ZOE\n Taxi!\n\n\nINT. TAXI - MOMENTS LATER", "Zoe looks around.\n\n ZOE\n I have no idea.\n\n\nEXT. LITTLE GOAT FARM - DAY", "CAROL\n (whispering)\n She's having a contraction.\n\nZoe nods. This is weird. Lori breathes through it.", "Zoe walks through the waiting room with her legs still\npressed together. She sees two PREGNANT WOMAN, touches her\nown stomach and smiles. She finally feels part of this\nexclusive baby club.", "ZOE (CONT'D)\n Do you know anything about being\n pregnant?\n 42.\n\n\nEXT. CAR - LATER", "Zoe exits the bathroom with a wide-eyed, terrified look on\nher face. By the bar, she sees a PREGNANT WOMAN sipping a\nglass of wine. She rushes over.", "ZOE\n What???\n\n BOBBY\n Everything's under control. Good\n thing we're at the hospital, right?\n\nZoe jumps out of bed.", "INT. BATHROOM - NIGHT\n\nZoe's head is in the toilet. Just when we think she's done,\nshe pukes again. Finally, she lifts her head." ], [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "STAN\n That was amazing. I mean, like,\n totally and exceptionally, over-the-\n top, amazing.\n\nZoe turns to him. Takes a deep breath.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "INT. STAN'S BEDROM - MOMENTS LATER\n\nZoe lies in the small bed with the covers pulled up to her\nchin. Stan stands above her with an odd look on his face.", "STAN (CONT'D)\n Are you coming on to me? It's kind\n of hard to tell right now.\n\n ZOE\n Yeah. I'm coming on to you.", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "Stan just looks at her. Speechless.\n\n ZOE (CONT'D)\n I didn't know you. I would have\n never done it if--", "Stan, dressed in a tux, sits on Zoe's bed. He turns to the\ncloset.\n\n STAN\n Everything okay in there?", "Stan finishes. He looks at her and smiles. Zoe just stares\nat him.\n\n STAN (CONT'D)\n In my mind, you were supposed to\n say, I love you, too.", "STAN\n Well, let me go, because this is\n really embarrassing, and I just\n have to say it.\n\n ZOE\n Okay.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "Stan goes to the closet. Zoe is pulling on a long black\ndress. She tries to smush her boobs down into the top.\n\n STAN (CONT'D)\n That's perfect. You look hot.", "EXT. DAIRY - MOMENTS LATER\n\nThe door to the dairy kicks open and Stan carries Zoe out.\nHer legs are around his waist and they are making out like\ncrazy.", "STAN\n You're kind of hard to read right\n now. You're either seriously\n flattered or totally repulsed.\n\nZoe smiles.", "They look at each other for a long time. Finally, Zoe closes\nher eyes and settles in for sleep, with Stan watching her as\nshe dozes off.\n\n\nINT. EXAM - ROOM", "She pulls her hand away. This has all gotten suddenly real.\nShe looks at Stan, almost afraid to ask the next question.\n\n ZOE (CONT'D)\n Do you?", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "STAN (CONT'D)\n And some of the guys from the band\n will be there. So, we might get a\n little jam going. Sounds fun,\n right?\n (then)\n Zoe?" ], [ "ZOE\n (freaking out)\n It has two hearts?\n\n DR. HARRIS\n No...but you have two babies.", "ZOE\n And how old is she now?\n\nDakota looks up from the breast.\n\n DAKOTA\n I'm three.", "ZOE\n It's not just one baby....I'm\n having twins.", "ZOE\n What about them?\n\n STAN\n Well, do you want them?\n\n ZOE\n Yeah. I want kids.", "ZOE\n What? Wait a minute, what?\n 60.\n\n\n DR. HARRIS\n Well...I see another heartbeat.", "ZOE\n I'm pregnant.\n\n NANA\n (can't hear her)\n What?\n\n ZOE\n I'm pregnant.", "ZOE\n Because I wanted to have a family.\n Because Nana is the only one I've", "INT. ZOE'S BEDROOM - NIGHT\n\nZoe and Stan lie in bed, each reading a copy of \"What to\nExpect when You're Expecting.\"", "ZOE\n Yes. I'm pregnant. I'm pregnant!\n 56.", "ZOE (CONT'D)\n Do you know anything about being\n pregnant?\n 42.\n\n\nEXT. CAR - LATER", "STAN\n Well, they're not mine...but, yeah,\n we're having a baby. Two actually.\n\nOn Zoe's look of shock we...", "ZOE\n Hi.\n\n WOMAN\n Hi.\n\n TWIN TODDLERS\n Hi./Hi.", "Zoe walks through the waiting room with her legs still\npressed together. She sees two PREGNANT WOMAN, touches her\nown stomach and smiles. She finally feels part of this\nexclusive baby club.", "ZOE\n I just found out.\n\n STAN\n Pregnant? As in you're going to\n have a baby?\n\nZoe nods.", "ZOE\n I'm pregnant.\n\n BOBBY (O.S.)\n What?! Where are you? I'm on my\n way.", "ZOE (CONT'D)\n I want to have a baby. And time is\n running out. I hear a clock\n ticking every time I close my eyes.\n I need it to stop.", "ZOE\n Well, are they going to come out\n and tell me? And that's not even\n the point. He said, the babies", "ZOE (CONT'D)\n Hi, Baby.\n (then)\n Is it okay? Is it healthy?", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "ZOE (CONT'D)\n Oh, my God." ], [ "Stan leans against the bar with a beer in hand. He is\nwatching all of the Farmer's Market girls and his co-worker,\nFred, on the dance floor. Everyone looks drunk and happy.", "Stan, JERRY and SCOOTER are just starting to play. A small\ncrowd gathers round. Stan starts to sing an old tune called\n\"Sweet Little Miss Blue Eyes.\"", "INT. LORI'S FOYER - SAME\n\nOut in the foyer, Stan is paralyzed. Next to him is Dakota,\nwho is crying.", "Stan lifts his hand to wave but doesn't even turn around.\nClearly, he feels like an idiot. Zoe watches him go.\n\n\nEXT. WEST VILLAGE BROWNSTONE - MORNING", "STAN\n Hi.\n\n\nINT. GRAY'S PAPAYA HOT DOGS - DAY\n\nThey are now at the counter with hot dogs in front of them.", "EXT. LITTLE GOAT FARM - DAY\n\nStan leans against the fence looking at the goats. He has\nthe beginnings of a beard growing. The scruff makes him look\nolder. Thinner.", "Stan looks at her. Is she joking? Her look says no. He\ntakes a beat. And then, even though it's not a joke, he\nstarts to laugh. A little laugh at first and then a big one.", "Stan, walks backwards with his head down, holding a mirror.\n\n STAN\n Excuse me. Hello. I'm Stan.\n Excuse me. Hi. I'm Stan.", "STAN\n It's...very stubborn, overly\n suspicious and distrustful of men.\n\nThe customer looks up at Stan.\n\n CUSTOMER\n Huh?", "BOBBY/JALISA\n I saw the sign and it opened up my\n eyes, I saw the sign...\n\nZoe turns to lock up. While her back is turned, Stan appears\nfrom the shadows.", "Stan puts his arm around her and gives her a squeeze.\n\n STAN (CONT'D)\n I love that.", "STAN\n No. I'll get out.\n\nThey each get out.\n\n\nEXT. TAXI - CONTINUOUS", "STAN (CONT'D)\n Hi.\n\n WOMAN\n Hi.\n\n\nINT. UNION SQUARE CAFE - NIGHT", "their briefcases and their five-\nyear plans and their secretaries\nthey were fucking. Stan doesn't\nhave a five-year plan. I don't", "STAN\n Oh. This is Nuts.\n\nJoan and Edward take in the raggedy/wheelchair-bound dog and\nthen look at Stan. Stan shoots his mom a look.", "STAN\n I have a girlfriend, Olivia.\n\n OLIVIA\n Never stopped you before.\n\nShe tries to kiss him. Stan steps away.", "Zoe takes off again. Olivia watches her go.\n\n\nEXT. FARMER'S MARKET - LATER\n\nZoe runs through the market looking for Stan.", "A cab pulls up in front of Zoe's brownstone. Stan opens the\ndoor for Zoe who is now wearing a long silver dress. While\nit's certainly hugging every curve and bump, it looks great.", "She gives him a sympathetic hug and walks away.\n\n\nINT. STAN'S BEDROM - NIGHT", "A group of SCHOOL KIDS, lost in their own conversations, push\nup the block, separating Zoe and Stan for a moment. This\nseparation makes the moment all the more tense." ], [ "ZOE\n Oh, I guess I'm trying. I was just\n inseminated a few days ago.\n (then)\n Inseminated...makes me feel like a\n cow or something.", "ZOE\n Because I wanted a baby. And I'm\n almost forty, and I never met the\n right guy. I was afraid if I", "Zoe's face changes. She looks incredibly hurt.\n\n ZOE\n I used a donor because I wanted a\n baby.", "ZOE\n Because I wanted to have a family.\n Because Nana is the only one I've", "STAN\n But...why?\n\n ZOE\n Because supposedly with frozen\n sperm it takes a few tries and...", "ZOE (CONT'D)\n I want to have a baby. And time is\n running out. I hear a clock\n ticking every time I close my eyes.\n I need it to stop.", "ZOE\n I don't think I'm pregnant. The\n doctor says it will probably take\n several tries. Something about\n frozen sperm being lazy.", "ZOE\nI want to be pregnant. Of course I\nwant to be pregnant. I mean, I put\na lot of thought into this, right?\n (then)\nSo what did Stan say?", "ZOE\n What about them?\n\n STAN\n Well, do you want them?\n\n ZOE\n Yeah. I want kids.", "ZOE\n I don't want to see your vagina. I\n want a baby. My own baby.", "ZOE\n I always imagined I'd be married\n with kids by now, but it doesn't\n look like it's going to happen that\n way. So, time for Plan B.", "ZOE\n I'm pregnant.\n\n NANA\n (can't hear her)\n What?\n\n ZOE\n I'm pregnant.", "ZOE\n Yes. I'm pregnant. I'm pregnant!\n 56.", "ZOE\n The day we met. That same day.\n And I didn't tell you because I\n didn't think there was any way I\n could be pregnant.", "Zoe walks through the waiting room with her legs still\npressed together. She sees two PREGNANT WOMAN, touches her\nown stomach and smiles. She finally feels part of this\nexclusive baby club.", "Zoe shakes her head again.\n\n MONA (CONT'D)\n I would do that for you. To prove\n to you that you don't want to have\n kids, I will show you my vagina.", "ZOE\n Just a few sperm. Big deal. You\n waste billions of them every night.", "ZOE\n I just found out.\n\n STAN\n Pregnant? As in you're going to\n have a baby?\n\nZoe nods.", "ZOE (CONT'D)\n Should we hug? We might have just\n made a baby together.\n\n\nINT. WAITING ROOM - MOMENTS LATER", "STAN\n Seriously, what the fuck are you\n talking about? Sperm bank? What?\n 55.\n\n\n ZOE\n I know, this is so fucked up." ], [ "INT. LORI'S FOYER - SAME\n\nOut in the foyer, Stan is paralyzed. Next to him is Dakota,\nwho is crying.", "EXT. LITTLE GOAT FARM - DAY\n\nStan leans against the fence looking at the goats. He has\nthe beginnings of a beard growing. The scruff makes him look\nolder. Thinner.", "STAN\n Come on. There's something I want\n to show you.\n\n\nINT. CHEESE CAVE - NIGHT", "STAN (CONT'D)\n Hi.\n\n WOMAN\n Hi.\n\n\nINT. UNION SQUARE CAFE - NIGHT", "Stan, walks backwards with his head down, holding a mirror.\n\n STAN\n Excuse me. Hello. I'm Stan.\n Excuse me. Hi. I'm Stan.", "She gives him a sympathetic hug and walks away.\n\n\nINT. STAN'S BEDROM - NIGHT", "STAN\n No. I'll get out.\n\nThey each get out.\n\n\nEXT. TAXI - CONTINUOUS", "A group of SCHOOL KIDS, lost in their own conversations, push\nup the block, separating Zoe and Stan for a moment. This\nseparation makes the moment all the more tense.", "STAN\n You do the same.\n\nThey nod and separate.\n\n\nINT. HUDSON PETS - DAY", "As she gets closer, she notices that Stan is in the band.\nHe's playing banjo.", "Stan lifts his hand to wave but doesn't even turn around.\nClearly, he feels like an idiot. Zoe watches him go.\n\n\nEXT. WEST VILLAGE BROWNSTONE - MORNING", "Stan looks at her. Is she joking? Her look says no. He\ntakes a beat. And then, even though it's not a joke, he\nstarts to laugh. A little laugh at first and then a big one.", "Stan puts his arm around her and gives her a squeeze.\n\n STAN (CONT'D)\n I love that.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "Stan, JERRY and SCOOTER are just starting to play. A small\ncrowd gathers round. Stan starts to sing an old tune called\n\"Sweet Little Miss Blue Eyes.\"", "Stan smiles meekly and then turns to go.\n\n ZOE\n Bye.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "Stan leans against the bar with a beer in hand. He is\nwatching all of the Farmer's Market girls and his co-worker,\nFred, on the dance floor. Everyone looks drunk and happy.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "STAN\n I have a girlfriend, Olivia.\n\n OLIVIA\n Never stopped you before.\n\nShe tries to kiss him. Stan steps away." ], [ "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "ZOE\n (blurting out)\n There's this guy. His name is\n Stan. And he's fantastic.\n\n CAROL\n I knew it!", "STAN (CONT'D)\n Are you coming on to me? It's kind\n of hard to tell right now.\n\n ZOE\n Yeah. I'm coming on to you.", "ZOE\n How do you know?\n\n STAN\n Well, for starters, you wax.", "Zoe smiles at the memory. Stan continues.", "ZOE (CONT'D)\n I guess I'd given up on meeting\n someone like you, and I did what I\n thought was best.\n\nStan still doesn't say anything.", "But Zoe and Stan just walk slowly hand-in-hand. Every so\noften looking at each other and just smiling or laughing.\nThen, suddenly, Stan picks her up in the middle of the\nstreet.", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "ZOE\n How'd you know I worked here?\n\n STAN\n I followed you after the subway.\n (thinks, then)\n That sounds a little stalkery, huh?", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n Late. Yes. We are. We really\n are.\n (pushing Stan along)\n I'll see you at the meeting. Bye.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "STAN\n That was amazing. I mean, like,\n totally and exceptionally, over-the-\n top, amazing.\n\nZoe turns to him. Takes a deep breath.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "STAN\n Hi.\n\n ZOE\n Aahhh!", "They look at each other for a long time. Finally, Zoe closes\nher eyes and settles in for sleep, with Stan watching her as\nshe dozes off.\n\n\nINT. EXAM - ROOM", "STAN\n You're kind of hard to read right\n now. You're either seriously\n flattered or totally repulsed.\n\nZoe smiles.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you." ], [ "Zoe smiles at the memory. Stan continues.", "Stan puts his arm around her and gives her a squeeze.\n\n STAN (CONT'D)\n I love that.", "Stan takes her hand, and they stay like that for a while.\nJust holding hands on the floor of her moonlit room.\nFinally, the silence is broken by the telephone RINGING.", "Stan takes the picture and studies it.\n\n STAN\n You look just like her.", "She gives him a sympathetic hug and walks away.\n\n\nINT. STAN'S BEDROM - NIGHT", "INT. LORI'S FOYER - SAME\n\nOut in the foyer, Stan is paralyzed. Next to him is Dakota,\nwho is crying.", "STAN\n I'm so sorry.\n\nThere is a long silence. They both stare at the hot dogs.", "Stan looks at her. Is she joking? Her look says no. He\ntakes a beat. And then, even though it's not a joke, he\nstarts to laugh. A little laugh at first and then a big one.", "STAN\n I love blueberry pie.\n\nStan takes two pints of blueberries and hands them to Zoe.", "STAN\n Things can last forever, you know.\n\n ZOE\n Not for me they can't.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "STAN\n Come on. There's something I want\n to show you.\n\n\nINT. CHEESE CAVE - NIGHT", "STAN\n I'm sorry. Oh, I'm sorry. I just\n love you. I love you so much.\n (then)\n Let's get the hell out of here.", "STAN\n I have a girlfriend, Olivia.\n\n OLIVIA\n Never stopped you before.\n\nShe tries to kiss him. Stan steps away.", "Stan takes her hands.\n 69.", "INT. STAN'S BEDROM - MOMENTS LATER\n\nZoe lies in the small bed with the covers pulled up to her\nchin. Stan stands above her with an odd look on his face.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "STAN (CONT'D)\n I miss you." ], [ "And now, for the first time, we see ZOE. Despite the paper\ngown and worried look on her face, she's a late-30-something,\ngirl-next-door type. She could be your best friend.", "ZOE (CONT'D)\n Taxi!\n\nShe runs (little steps) across the street.\n\n\nINT. TAXI - MOMENTS LATER", "ZOE (CONT'D)\n Oh, who am I kidding?", "ZOE (CONT'D)\n Oh, my God.", "ZOE\n (cutting her off)\n Right. I know. I've been so busy.", "ZOE\n Brooklyn.\n\n BOBBY (O.S.)\n Where's that?\n\nZoe hangs up the phone.", "ZOE\n And how old is she now?\n\nDakota looks up from the breast.\n\n DAKOTA\n I'm three.", "ZOE (CONT'D)\n You know...\n\nMore hand gestures.", "ZOE (CONT'D)\n That's weird.\n\n\nINT. LORI'S APARTMENT BUILDING LOBBY - NIGHT", "ZOE\n Oh. Okay.\n\nZoe separates her legs an inch. And then closes them.", "Zoe walks by the front desk. ANNIE, an employee, looks up.\n\n ANNIE\n Hi, Zoe. You look fantastic.", "ZOE\n Because I wanted to have a family.\n Because Nana is the only one I've", "ZOE (CONT'D)\n Uh...excuse me. This is my cab.\n\n STAN\n You own it?", "ZOE (CONT'D)\n These are my best friends, Bobby\n and Mona. Mona and I met in high", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "ZOE (CONT'D)\n Hi, Baby.\n (then)\n Is it okay? Is it healthy?", "Zoe doesn't wait for her to finish. She rushes the bar,\npours a glass of wine and downs it like a frat boy funneling\na beer.\n 34.", "ZOE\n Forget it. Forget the whole thing.\n\nZoe sighs and puts her head in her hands.", "Zoe looks around.\n\n ZOE\n I have no idea.\n\n\nEXT. LITTLE GOAT FARM - DAY", "ZOE\n I can't help it!\n\nShe keeps running towards him. He now runs towards her.\nThey finally meet. Zoe is out of breath and can barely talk." ], [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "Stan finishes. He looks at her and smiles. Zoe just stares\nat him.\n\n STAN (CONT'D)\n In my mind, you were supposed to\n say, I love you, too.", "She pulls her hand away. This has all gotten suddenly real.\nShe looks at Stan, almost afraid to ask the next question.\n\n ZOE (CONT'D)\n Do you?", "STAN (CONT'D)\n Are you coming on to me? It's kind\n of hard to tell right now.\n\n ZOE\n Yeah. I'm coming on to you.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "STAN\n That was amazing. I mean, like,\n totally and exceptionally, over-the-\n top, amazing.\n\nZoe turns to him. Takes a deep breath.", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "Stan goes to the closet. Zoe is pulling on a long black\ndress. She tries to smush her boobs down into the top.\n\n STAN (CONT'D)\n That's perfect. You look hot.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "But Zoe and Stan just walk slowly hand-in-hand. Every so\noften looking at each other and just smiling or laughing.\nThen, suddenly, Stan picks her up in the middle of the\nstreet.", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "STAN\n Don't lie.\n (then)\n Did I tell you how pretty you look?\n\nZoe nods. Another silence.", "They look at each other for a long time. Finally, Zoe closes\nher eyes and settles in for sleep, with Stan watching her as\nshe dozes off.\n\n\nINT. EXAM - ROOM", "STAN\n You're kind of hard to read right\n now. You're either seriously\n flattered or totally repulsed.\n\nZoe smiles." ], [ "STAN\n Sorry? What's sorry going to do?\n\nStan walks out. Zoe stands there. And stands there. And\nthen she starts to cry.", "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "ZOE\n I drive them all away, I guess.\n\n STAN\n Yeah, right.\n\nStan takes her in his arms.", "STAN (CONT'D)\n Why are you crying? Everything's\n perfect.\n\n ZOE\n It's not.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "Stan finishes. He looks at her and smiles. Zoe just stares\nat him.\n\n STAN (CONT'D)\n In my mind, you were supposed to\n say, I love you, too.", "They walk on. Stan looks at Zoe.\n\n STAN\n An old...boyfriend?", "ZOE\n Get away from me.\n\nStan runs in front of her, forcing her to stop.\n\n STAN\n Nothing happened!", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "ZOE (CONT'D)\n I guess I'd given up on meeting\n someone like you, and I did what I\n thought was best.\n\nStan still doesn't say anything.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "STAN (CONT'D)\n I don't understand.\n\n ZOE\n I know. It's hard to explain.", "STAN\n Well, let me go, because this is\n really embarrassing, and I just\n have to say it.\n\n ZOE\n Okay.", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "ZOE\n My mother was in a coma for two\n years before the end. That's when\n my dad left her.\n\n STAN\n Oh.", "ZOE\n How do you know?\n\n STAN\n Well, for starters, you wax.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big." ], [ "MONA\n Well, you're knocked up with some\n stranger's twins. So, already\n you're not exactly...\n\n ZOE\n Not helping.", "ZOE\n Hi.\n\n WOMAN\n Hi.\n\n TWIN TODDLERS\n Hi./Hi.", "We TILT up and see Zoe and Stan strolling arm in arm, each\nwith a Baby Bjorn with a rosy-cheeked baby girl in it. Both\ngirls have flaming red hair.", "ZOE\n (freaking out)\n It has two hearts?\n\n DR. HARRIS\n No...but you have two babies.", "To the side of the bed are two bassinets. Each baby sleeping\nsoundly in a little pink hat.\n\nAnd in the next bed is Nana, asleep with a bandage on her\nforehead.", "STAN\n Well, they're not mine...but, yeah,\n we're having a baby. Two actually.\n\nOn Zoe's look of shock we...", "We're back at Single Women By Choice. The women are sitting\non the floor. Sara is still nursing Dakota. Zoe has her\nhead in her hands.\n\n CAROL\n Twins! That's fantastic!", "not the father. And you've only\n been together a little while. And\n now you're having twins. And--", "Zoe is asleep with the morning sun on her face. Nuts is\nbeside her, his two little, lame legs hanging off the pillow.\nZoe opens her eyes.", "Zoe and Nana are walking the loop around the courtyard. Zoe\nlooks terrible. Like she hasn't slept in days. They\ncomplete a lap. Arthur gives them the double thumbs up sign.", "Olivia winks and moves off. Zoe turns back and is now face-\nto-face with Stan, who's smiling from ear-to-ear, his banjo\nslung over his shoulder.", "Then a tear forms in the corner of her eye. She wipes it\naway. She wipes a tear from the other eye. Happy tears.\nThen she looks at her legs high above her on the table.", "NANA\n He's been like that all morning. I\n wore him out last night.\n\n ZOE\n Wow. I did not need to know that.", "Zoe and Stan look at the little girls and then at each other.\nThey are both in tears. Even Dr. Harris can't help but cry.\n\n\nINT. HOSPITAL ROOM - NIGHT", "STAN\n They're so...perfect. They look\n like real babies.\n\n DR. HARRIS\n Would you like to know the sexes?", "And we PULL BACK and above the operating table and see Dr.\nHarris performing the C-section. He pulls out the babies one\nby one.", "Zoe nods her head. Joan gives her one. Zoe holds it over\nher mouth as she tries in vain to swallow this inhuman bite.\n\n JOAN (CONT'D)\n I'm Joan.", "BOBBY\n Sounds like Ricardo.\n\n JALISA\n Tell me about it, Papi.\n\nBobby and Jalisa high five. Bobby then turns to Zoe.", "ZOE\n What? Wait a minute, what?\n 60.\n\n\n DR. HARRIS\n Well...I see another heartbeat.", "Olivia approaches.\n 31.\n\n\n OLIVIA\n Hey, stranger.\n\n STAN\n Oh, hey, Olivia. You remember Zoe." ], [ "INT. DINING ROOM - LATER", "The dining room is warm and lovely. There's faded wallpaper\nand an old stagecoach lamp serving as a chandelier. Despite\nthe inviting room, Zoe looks very uncomfortable.", "They complete another lap around the courtyard. Arthur\nsmiles at them and then \"raises the roof.\"", "Nuts starts to whine and beg. Zoe uses her bread-ladle to\ntoss some stew on the floor for him. It lands with plop.", "She pulls up her nightgown and sticks out her stomach. For\nthe first time, we actually see a little bump.\n\n\nINT. EXAM ROOM - DAY", "STAN\n Thanks, Sam. It looks incredible.\n\nSam tops off their champagne and exits. Stan picks up his\nfork and starts eating. Zoe does not.", "They are having coffee and dessert in the living room.\nThings seem more comfortable now. Zoe actually looks like\nshe might be enjoying herself. Nuts sits beside her.", "Zoe stands there unsure of what to do next. Then we hear her\nstomach GROWL again. Her eyes turn to the stove. Something", "She hangs up again.\n\n\nINT. UNDERGROUND RESTAURANT/SMALL APARTMENT - NIGHT", "Stan walks down a long table filled with appetizers. He is\nmaking a plate for each of them. Zoe trails behind, beads of\nsweat on her forehead.", "He sets a kitchen timer and then pushes a button to raise her\nlegs. We hear the loud TICK TOCK of the timer.", "They look at each other. Zoe smiles. Stan shrugs. Zoe\nnods. Stan does, too.\n\n ZOE\n Yes. Tell us.", "Outside, we hear a banjo and guitar tuning up.\n\n\nEXT. BACK PATIO - SAME", "The music takes us into the church and there we find Nana,\nlovely in her wedding gown, and Arthur, dashing in his\nmorning suit, standing at the alter holding hands. Both have", "Stan takes her hand, and they stay like that for a while.\nJust holding hands on the floor of her moonlit room.\nFinally, the silence is broken by the telephone RINGING.", "She makes sure the coast is clear and then looks for a spoon.\nShe can't find one. She spies a loaf of white bread. Grabs", "They reach the top of the stairs. The rain has stopped, and\nthe sun is just starting to peek through. Everything is wet\nand has a magical quality.", "ZOE\n Oh. Where are they now?\n\n STAN\n In the kitchen.\n\nZoe stops short.", "EDWARD\n (to Zoe)\n Have you ever in your life had stew\n like this? Come on, be honest.\n\nZoe looks at Joan. Joan smiles. It will be their secret.", "Stew dribbles down her chin. She takes a third piece of\nbread to wipe her face and then takes a bite of that one.\n 46." ], [ "ZOE\n Oh, I guess I'm trying. I was just\n inseminated a few days ago.\n (then)\n Inseminated...makes me feel like a\n cow or something.", "ZOE (CONT'D)\n I want to have a baby. And time is\n running out. I hear a clock\n ticking every time I close my eyes.\n I need it to stop.", "ZOE\nI want to be pregnant. Of course I\nwant to be pregnant. I mean, I put\na lot of thought into this, right?\n (then)\nSo what did Stan say?", "ZOE\n I'm pregnant.\n\n NANA\n (can't hear her)\n What?\n\n ZOE\n I'm pregnant.", "Zoe's face changes. She looks incredibly hurt.\n\n ZOE\n I used a donor because I wanted a\n baby.", "Zoe walks through the waiting room with her legs still\npressed together. She sees two PREGNANT WOMAN, touches her\nown stomach and smiles. She finally feels part of this\nexclusive baby club.", "ZOE\n Because I wanted a baby. And I'm\n almost forty, and I never met the\n right guy. I was afraid if I", "Zoe exits the bathroom with a wide-eyed, terrified look on\nher face. By the bar, she sees a PREGNANT WOMAN sipping a\nglass of wine. She rushes over.", "ZOE\n Yes. I'm pregnant. I'm pregnant!\n 56.", "ZOE\n I don't think I'm pregnant. The\n doctor says it will probably take\n several tries. Something about\n frozen sperm being lazy.", "ZOE\n Because I wanted to have a family.\n Because Nana is the only one I've", "ZOE\n The day we met. That same day.\n And I didn't tell you because I\n didn't think there was any way I\n could be pregnant.", "ZOE\n I'm pregnant.\n\n STAN\n Uh, I'm pretty sure it doesn't\n happen that fast.\n\nZoe shakes her head.", "ZOE (CONT'D)\n Do you know anything about being\n pregnant?\n 42.\n\n\nEXT. CAR - LATER", "ZOE\n I'm pregnant.\n\n BOBBY (O.S.)\n What?! Where are you? I'm on my\n way.", "ZOE\n I just found out.\n\n STAN\n Pregnant? As in you're going to\n have a baby?\n\nZoe nods.", "ZOE\n I don't want to see your vagina. I\n want a baby. My own baby.", "ZOE\n (freaking out)\n It has two hearts?\n\n DR. HARRIS\n No...but you have two babies.", "NANA\n What?\n\n ZOE\n I'm pregnant.\n\n NANA\n I can't hear you, darling.", "ZOE (CONT'D)\n Please, God...\n\nBut she can't pee. She tries and tries.\n 35." ], [ "Zoe takes off again. Olivia watches her go.\n\n\nEXT. FARMER'S MARKET - LATER\n\nZoe runs through the market looking for Stan.", "ZOE\n (ignoring her)\n He works at the Farmer's market.\n And it's right around the corner.\n Are you thinking what I'm thinking?", "ZOE\nWhat are you talking about?\n\n JALISA\nStan from the Farmer's Market?\nHe's called twice already.\n\n ZOE\nReally?", "ZOE\n I feel the need to say it again.\n\nThey turn into the Farmer's Market.", "14th street is just coming to life as the FARMERS start to\nunload their wares.\n\nZoe and Stan head up the street slowly, wearily, like\nsoldiers back from battle.", "Olivia approaches.\n 31.\n\n\n OLIVIA\n Hey, stranger.\n\n STAN\n Oh, hey, Olivia. You remember Zoe.", "ZOE\n I can't help it!\n\nShe keeps running towards him. He now runs towards her.\nThey finally meet. Zoe is out of breath and can barely talk.", "ZOE (CONT'D)\n He actually lives on a farm! Plays\n the banjo! Maybe I could learn to\n sew and take care of the animals.\n Like Laura Ingalls.", "Zoe allows a small smile.\n\n STAN (CONT'D)\n Can I just give you my card? Here.\n Take my card. I'm not a freak.\n Really. I sell cheese.", "The fruits and vegetables and flowers become a blur as Zoe\nruns out of the Farmer's Market. Stan chases after her.\n\n STAN\n Nothing happened.", "CUT TO:\n\n\nEXT. FARMER'S MARKET - MOMENTS LATER", "Zoe watches Stan. She mindlessly starts eating some\nblueberries out of the display pint. Olivia sees that Zoe is\nlooking at Stan.\n\n OLIVIA\n Tasty, huh?", "Zoe walks on. She sees her reflection in a store window and\nsmiles. She looks like an actual pregnant person now. As\nshe is walking and smiling to herself, we hear a familiar\nvoice.\n\n STAN\n Hi.", "ZOE\n (blurting out)\n There's this guy. His name is\n Stan. And he's fantastic.\n\n CAROL\n I knew it!", "ZOE\n That sounds nice, but, I should\n probably go.\n\n STAN\n Well, can I call you?\n\nZoe smiles.", "Zoe bumps along the winding driveway of this idyllic Hudson\nRiver farm. There are red barns in the distance and green", "ZOE\n Late. Yes. We are. We really\n are.\n (pushing Stan along)\n I'll see you at the meeting. Bye.", "A group of SCHOOL KIDS, lost in their own conversations, push\nup the block, separating Zoe and Stan for a moment. This\nseparation makes the moment all the more tense.", "Zoe smiles at the memory. Stan continues.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets." ], [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "INT. STAN'S BEDROM - MOMENTS LATER\n\nZoe lies in the small bed with the covers pulled up to her\nchin. Stan stands above her with an odd look on his face.", "ZOE\n There's something I need to tell\n you.\n\n STAN\n Okay.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "Zoe doesn't say anything.\n\n STAN (CONT'D)\n I'm sorry. If you don't want to\n talk about it...", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n Get away from me.\n\nStan runs in front of her, forcing her to stop.\n\n STAN\n Nothing happened!", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "Stan just looks at her. Speechless.\n\n ZOE (CONT'D)\n I didn't know you. I would have\n never done it if--", "She pulls her hand away. This has all gotten suddenly real.\nShe looks at Stan, almost afraid to ask the next question.\n\n ZOE (CONT'D)\n Do you?", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "ZOE (CONT'D)\n I guess I'd given up on meeting\n someone like you, and I did what I\n thought was best.\n\nStan still doesn't say anything.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "STAN\n You're kind of hard to read right\n now. You're either seriously\n flattered or totally repulsed.\n\nZoe smiles." ], [ "ZOE\n And how old is she now?\n\nDakota looks up from the breast.\n\n DAKOTA\n I'm three.", "ZOE\n It's not just one baby....I'm\n having twins.", "ZOE\n (freaking out)\n It has two hearts?\n\n DR. HARRIS\n No...but you have two babies.", "ZOE\n What about them?\n\n STAN\n Well, do you want them?\n\n ZOE\n Yeah. I want kids.", "ZOE (CONT'D)\n I want to have a baby. And time is\n running out. I hear a clock\n ticking every time I close my eyes.\n I need it to stop.", "ZOE\n Because I wanted to have a family.\n Because Nana is the only one I've", "ZOE\n What? Wait a minute, what?\n 60.\n\n\n DR. HARRIS\n Well...I see another heartbeat.", "Zoe walks through the waiting room with her legs still\npressed together. She sees two PREGNANT WOMAN, touches her\nown stomach and smiles. She finally feels part of this\nexclusive baby club.", "ZOE\n I'm pregnant.\n\n NANA\n (can't hear her)\n What?\n\n ZOE\n I'm pregnant.", "ZOE\n Hi.\n\n WOMAN\n Hi.\n\n TWIN TODDLERS\n Hi./Hi.", "STAN\n Well, they're not mine...but, yeah,\n we're having a baby. Two actually.\n\nOn Zoe's look of shock we...", "ZOE (CONT'D)\n Do you know anything about being\n pregnant?\n 42.\n\n\nEXT. CAR - LATER", "ZOE\n Yes. I'm pregnant. I'm pregnant!\n 56.", "ZOE\n I just found out.\n\n STAN\n Pregnant? As in you're going to\n have a baby?\n\nZoe nods.", "ZOE (CONT'D)\n Hi, Baby.\n (then)\n Is it okay? Is it healthy?", "Zoe shakes her head again.\n\n MONA (CONT'D)\n I would do that for you. To prove\n to you that you don't want to have\n kids, I will show you my vagina.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "INT. ZOE'S BEDROOM - NIGHT\n\nZoe and Stan lie in bed, each reading a copy of \"What to\nExpect when You're Expecting.\"", "ZOE\n Well, are they going to come out\n and tell me? And that's not even\n the point. He said, the babies", "ZOE\n I'm pregnant.\n\n BOBBY (O.S.)\n What?! Where are you? I'm on my\n way." ], [ "STAN\n Two girls!\n\nA WOMAN with a BABY in a Baby Bjorn passes by. Stan smiles.\nNow he's part of this exclusive club.", "STAN\n Come on. There's something I want\n to show you.\n\n\nINT. CHEESE CAVE - NIGHT", "Stan looks at her. Is she joking? Her look says no. He\ntakes a beat. And then, even though it's not a joke, he\nstarts to laugh. A little laugh at first and then a big one.", "Stan puts his arm around her and gives her a squeeze.\n\n STAN (CONT'D)\n I love that.", "STAN\n I love blueberry pie.\n\nStan takes two pints of blueberries and hands them to Zoe.", "STAN\n And the part where you dumped me.\n (to the babies)\n Girls...Mommy and Daddy were\n stupid.\n\nThe babies smile and coo.", "STAN (CONT'D)\n I love you. I've been waiting my\n whole life for you. And I can't\n let one little baby get in the way\n of that. I just...can't.", "STAN\n I just told you I loved you.\n\n ZOE\n Well....do you not now?\n\n STAN\n You're pregnant.", "INT. LORI'S FOYER - SAME\n\nOut in the foyer, Stan is paralyzed. Next to him is Dakota,\nwho is crying.", "INT. ZOE'S BEDROOM - NIGHT\n\nZoe and Stan lie in bed, each reading a copy of \"What to\nExpect when You're Expecting.\"", "STAN\n I'm so sorry.\n\nThere is a long silence. They both stare at the hot dogs.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "Stan takes the picture and studies it.\n\n STAN\n You look just like her.", "She gives him a sympathetic hug and walks away.\n\n\nINT. STAN'S BEDROM - NIGHT", "STAN\n It's...very stubborn, overly\n suspicious and distrustful of men.\n\nThe customer looks up at Stan.\n\n CUSTOMER\n Huh?", "STAN (CONT'D)\n Hi.\n\n WOMAN\n Hi.\n\n\nINT. UNION SQUARE CAFE - NIGHT", "EXT. LITTLE GOAT FARM - DAY\n\nStan leans against the fence looking at the goats. He has\nthe beginnings of a beard growing. The scruff makes him look\nolder. Thinner.", "STAN\n They're so...perfect. They look\n like real babies.\n\n DR. HARRIS\n Would you like to know the sexes?", "We TILT up and see Zoe and Stan strolling arm in arm, each\nwith a Baby Bjorn with a rosy-cheeked baby girl in it. Both\ngirls have flaming red hair." ], [ "Zoe starts to cry.\n\n BOBBY (CONT'D)\n I know. They're shitty choices.\n Do you want me to call your scary\n lesbian friends from your group?", "The women file out. No one dares look at Zoe. It's very\nawkward, although Zoe seems unaware. She turns to Carol.", "MONA\n Why did you join a support group of\n unattractive, militant lesbians\n when you have me?\n\n ZOE\n Because you're really not that\n supportive.", "Zoe nods again. She tries to shake Joan's hand. It's the\nbest she can do. Unfortunately, her fingers are fluorescent\norange from the Cheetos powder. Joan pulls her hand back.", "ZOE\n Forget it. Forget the whole thing.\n\nZoe sighs and puts her head in her hands.", "And now, for the first time, we see ZOE. Despite the paper\ngown and worried look on her face, she's a late-30-something,\ngirl-next-door type. She could be your best friend.", "ZOE\n Yup. That's me. Lucky, lucky, me.\n\nThe women are sensing the sarcasm, but not getting it.", "(then, to the group)\n Let's give Zoe some space. When\n she's ready to talk, we're ready to", "Zoe and Nana are walking the loop around the courtyard. Zoe\nlooks terrible. Like she hasn't slept in days. They\ncomplete a lap. Arthur gives them the double thumbs up sign.", "The women stare blankly at Zoe.\n 62.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "Zoe enters. All eyes turn. She waves sheepishly.\n\n ZOE\n Hi, guys.\n\nNo one knows what to say.", "Zoe and Stan look at the little girls and then at each other.\nThey are both in tears. Even Dr. Harris can't help but cry.\n\n\nINT. HOSPITAL ROOM - NIGHT", "Zoe looks around at her new \"partners.\" There's SARA, the\none nursing the toddler. And TABITHA, a tall women with an", "ZOE (CONT'D)\n These are my best friends, Bobby\n and Mona. Mona and I met in high", "Zoe puts the picture down and picks up another. It's a woman\nin a hospital bed. She's giving the thumbs up sign.\n\n ZOE (CONT'D)\n This is my mom.", "Zoe gives him a matter-of-fact shrug and walks off.\n\n\nINT. DR. HARRIS' OFFICE - DAY", "ZOE (CONT'D)\n That's weird.\n\n\nINT. LORI'S APARTMENT BUILDING LOBBY - NIGHT", "MONA\n I'm not joking.\n\nAll of the women are now staring at Zoe.", "The women smile and nod. They are a proud, no-nonsense,\nsomewhat masculine bunch. LORI, pregnant with a buzz cut,\nturns to Zoe." ], [ "Zoe takes off again. Olivia watches her go.\n\n\nEXT. FARMER'S MARKET - LATER\n\nZoe runs through the market looking for Stan.", "A group of SCHOOL KIDS, lost in their own conversations, push\nup the block, separating Zoe and Stan for a moment. This\nseparation makes the moment all the more tense.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "The fruits and vegetables and flowers become a blur as Zoe\nruns out of the Farmer's Market. Stan chases after her.\n\n STAN\n Nothing happened.", "They walk on. Stan looks at Zoe.\n\n STAN\n An old...boyfriend?", "Zoe smiles at the memory. Stan continues.", "EXT. DAIRY - MOMENTS LATER\n\nThe door to the dairy kicks open and Stan carries Zoe out.\nHer legs are around his waist and they are making out like\ncrazy.", "We TILT up and see Zoe and Stan strolling arm in arm, each\nwith a Baby Bjorn with a rosy-cheeked baby girl in it. Both\ngirls have flaming red hair.", "ANGLE ON Olivia crossing from her berry stand to the cheese\nstand with a blueberry pie. She is about to place the pie on\nStan's table when she looks up and sees Stan and Zoe.", "Zoe walks on. She sees her reflection in a store window and\nsmiles. She looks like an actual pregnant person now. As\nshe is walking and smiling to herself, we hear a familiar\nvoice.\n\n STAN\n Hi.", "But Zoe and Stan just walk slowly hand-in-hand. Every so\noften looking at each other and just smiling or laughing.\nThen, suddenly, Stan picks her up in the middle of the\nstreet.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "Stan lifts his hand to wave but doesn't even turn around.\nClearly, he feels like an idiot. Zoe watches him go.\n\n\nEXT. WEST VILLAGE BROWNSTONE - MORNING", "Zoe watches Stan. She mindlessly starts eating some\nblueberries out of the display pint. Olivia sees that Zoe is\nlooking at Stan.\n\n OLIVIA\n Tasty, huh?", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "INT. GRAY'S PAPAYA HOT DOGS - NIGHT\n\nZoe and Stan stand at the counter with an array of hot dogs\nin front of them. Stan looks at the hot dogs skeptically.", "Stan and Zoe walk down Madison Avenue. All of the other NEW\nYORKERS are on some kind of mission -- shopping, rushing to\nmeetings, or fighting for cabs.", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "ZOE\n Late. Yes. We are. We really\n are.\n (pushing Stan along)\n I'll see you at the meeting. Bye." ], [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "ZOE\n I just found out.\n\n STAN\n Pregnant? As in you're going to\n have a baby?\n\nZoe nods.", "STAN\n I just told you I loved you.\n\n ZOE\n Well....do you not now?\n\n STAN\n You're pregnant.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "They walk on. Stan looks at Zoe.\n\n STAN\n An old...boyfriend?", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "OLIVIA (CONT'D)\n (re. Zoe's pregnant belly)\n I had no idea it was that serious.\n\n STAN\n I told you it was serious.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "INT. STAN'S BEDROM - MOMENTS LATER\n\nZoe lies in the small bed with the covers pulled up to her\nchin. Stan stands above her with an odd look on his face.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "STAN\n Don't lie.\n (then)\n Did I tell you how pretty you look?\n\nZoe nods. Another silence.", "ZOE\n I'm pregnant.\n\n STAN\n Uh, I'm pretty sure it doesn't\n happen that fast.\n\nZoe shakes her head.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "ZOE\n Don't say it like that.\n\n STAN\n You're pregnant.", "Zoe walks on. She sees her reflection in a store window and\nsmiles. She looks like an actual pregnant person now. As\nshe is walking and smiling to herself, we hear a familiar\nvoice.\n\n STAN\n Hi.", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "Stan just looks at her. Speechless.\n\n ZOE (CONT'D)\n I didn't know you. I would have\n never done it if--" ], [ "CAROL\n Oh, it's a water birth. Didn't Zoe\n tell you?\n\nCarol starts banging the drum again and moves off.", "INT. LABOR AND DELIVERY ROOM - DAY\n\nZoe is now alone in a room wearing a hospital gown.", "Zoe runs down the street with a blanket over her hospital\ngown.\n\n ZOE\n Taxi!\n\n\nINT. TAXI - MOMENTS LATER", "She runs to a nearby cab and slams the door.\n\n\nINT. ZOE'S APARTMENT - DAY", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "Nuts licks her face. She gets out of bed and goes to check\nher belly in the mirror. It's actually getting kind of huge.\n\n\nEXT. ZOE'S BROWNSTONE - DAY", "Zoe enters the apartment and slams the door behind her. She\nruns to the couch and collapses in tears. Nuts wheels over\nand stands beside her.\n\n\nINT. LE PAIN QUOTIDIEN - DAY", "ZOE\n Yeah. I think I really need to go\n to the hospital now.\n\nThey kiss again. And then pull apart and look at each other.\nStan has tears in his eyes.", "Zoe looks around.\n\n ZOE\n I have no idea.\n\n\nEXT. LITTLE GOAT FARM - DAY", "Zoe sees a gas station and jams on the breaks.\n\n\nINT. GAS STATION MINI MART - DAY", "ZOE\n What???\n\n BOBBY\n Everything's under control. Good\n thing we're at the hospital, right?\n\nZoe jumps out of bed.", "A few other old people look down and check themselves. At\nwhich point, Zoe looks down and realizes.\n\n ZOE\n I think my water just broke.", "Zoe goes to the mirror and does her usual. The bump is\ngrowing. For the first time, we see a smile.\n\n\nINT. CAROL'S APARTMENT - DAY", "ZOE (CONT'D)\n Taxi!\n\nShe runs (little steps) across the street.\n\n\nINT. TAXI - MOMENTS LATER", "And suddenly, she has to slow down and then stop completely\nfor a contraction. She leans against a parked van to steady\nherself.\n\n ZOE\n Ow. Son of a bitch, that hurts.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "Zoe smiles and heads for the back.\n\n\nEXT. HUDSON PETS - NIGHT", "Zoe is being wheeled into Labor and Delivery with the gang in\ntow. Bobby still has a glass of champagne in his hand. Nana\ngrabs the glass and swigs it.", "ZOE\n Oh. Where are they now?\n\n STAN\n In the kitchen.\n\nZoe stops short.", "ZOE (CONT'D)\n Do you know anything about being\n pregnant?\n 42.\n\n\nEXT. CAR - LATER" ], [ "We TILT up and see Zoe and Stan strolling arm in arm, each\nwith a Baby Bjorn with a rosy-cheeked baby girl in it. Both\ngirls have flaming red hair.", "STAN\n Well, they're not mine...but, yeah,\n we're having a baby. Two actually.\n\nOn Zoe's look of shock we...", "STAN\n Because it's going to be fantastic.\n Sweet and sassy and very complex.\n Why do you think I'm calling it\n Zoe?", "INT. ZOE'S BEDROOM - NIGHT\n\nZoe and Stan lie in bed, each reading a copy of \"What to\nExpect when You're Expecting.\"", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n (blurting out)\n There's this guy. His name is\n Stan. And he's fantastic.\n\n CAROL\n I knew it!", "ZOE\n Her name is Carol. We're on\n a...committee together.\n\nThey reach Zoe's front stoop. Zoe peers over Stan's shoulder\nto make sure Carol's gone.", "STAN\n That was amazing. I mean, like,\n totally and exceptionally, over-the-\n top, amazing.\n\nZoe turns to him. Takes a deep breath.", "Zoe and Stan look at the little girls and then at each other.\nThey are both in tears. Even Dr. Harris can't help but cry.\n\n\nINT. HOSPITAL ROOM - NIGHT", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "STAN\n Hi.\n\n ZOE\n Aahhh!", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "STAN (CONT'D)\n Why are you crying? Everything's\n perfect.\n\n ZOE\n It's not.", "Zoe smiles at the memory. Stan continues.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "ZOE\n Okay.\n\n STAN\n Zoe.\n\n ZOE\n You named a piece of cheese after\n me?", "Olivia approaches.\n 31.\n\n\n OLIVIA\n Hey, stranger.\n\n STAN\n Oh, hey, Olivia. You remember Zoe.", "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan." ] ]	[ "When did Zoe meet Stan?", "What did Zoe want to tell Stan at the farm?", "Where does Stan go to figure out what it means to be a father?", "How did Zoe find out that Stan wasn't planning to leave?", "Who did Stan and Zoe run into at the supermarket?", "Where does Zoe's water break?", "What did Stan ask Zoe to do after his grand opening speech?", "How many children was Zoe expecting?", "Where does Stan open his store?", "Why does Zoe decide to use artificial insemination?", "Why does Stan go to the children's play area?", "How do Zoe and Stan meet?", "What does Stan keep as a memento?", "What is Zoe's employment?", "When does Stan ask Zoe to marry him?", "Why does Zoe break off the relationship with Stan?", "What is the name of the other twin?", "What happens during their dinner in the garden?", "What does Zoe undergo in order to get pregnant?", "Who does Zoe meet at the farmer's market?", "What is Zoe afraid to tell Stan?", "How many children is Zoe having?", "What does Stan buy to show he wants to be a father?", "What support group no longer likes Zoe?", "Who do Stan and Zoe run into at the market?", "What does Stan tell the ex-girlfriend about Zoe's pregnancy?", "Where does Zoe go when Zoe's water breaks?", "What do Stan and Zoe name one of the twins?" ]	[ [ "When they both tried to get the same taxi.", "The same day she gets artificially inseminated." ], [ "That she is pregnant.", "She was pregnant" ], [ "The playground.", "A playground" ], [ "The stroller arrived.", "The stroller for twins arrives" ], [ "Stan's ex-girlfriend.", "Stan's ex wife" ], [ "At her grandmother's wedding?", "At the stores grand opening" ], [ "He asked Zoe to marry him.", "Marry him" ], [ "Two.", "Two." ], [ "Next to Zoe's pet shop.", "Next to Zoe's pet shop" ], [ "She decides to become a single mother when she cannot find the man of her dreams.", "Because she thinks that she will never find the man of her dreams." ], [ "To try to learn what it means to be a father.", "to find out what it means to be a father" ], [ "They are trying to hail the same taxi.", "Trying to get the same taxi" ], [ "He keeps a penny.", "A penny." ], [ "She owns a pet shop.", "She works in a pet store" ], [ "At the grand opening of his store/restaurant.", "after the grand opening restaurant speech" ], [ "Because she thinks that he is not ready to be a father.", "She doesn't think he wants to be a father" ], [ "The name is not revealed in this summary.", "Penny" ], [ "Stan spills wine and there is a fire.", "he spills the wine and sets a fire" ], [ "Artificial Insemination", "Artificial insemination" ], [ "Stan", "Stan" ], [ "That she is pregnant.", "that she's pregnant" ], [ "Two", "2" ], [ "A stroller.", "A stroller." ], [ "Single Mothers and Proud Group.", "Single Mothers and Proud." ], [ "Stan's ex girlfriend.", "His ex-girlfriend" ], [ "That the children are not his.", "that the twins are not his" ], [ "The market.", "the Market" ], [ "Penny.", "Penny." ] ]	d984035756201895c1acd9233775031cc9c0a30c	train
[ [ "But John is moving, running after her.\n\n JOHN\n Mommm!! Wait!!", "John kneels in front of his mother. She raises her head to look at\n him. He sees the tears spilling down her cheeks,\n\n JOHN\n Mom? You okay?", "JOHN\n (crying, shouting)\n Come on, you gotta try... please, Mom. Get up!\n\n John looks back to see --", "JOHN\n Mom!! Wait!\n\n Sarah doesn't hear. She has clicked fully into her own nightmare.\n They take off running after Sarah.", "JOHN\n Look, I'm gonna go get my mom. You wanna come\n along, that's fine with me.\n\n CUT TO:", "SARAH\n I love you, John. I always have.\n\n JOHN\n I know, Mom. I know.", "JOHN\n Mom! MOMMM!!\n\n206 INT. AISLE BETWEEN FURNACES", "He nods. She reaches for John and we think she's going to hug him.\n She starts to rub her hands over him and we realize she's checking for\n injuries, very clinically the way a vet checks a dog for broken bones.", "JOHN\n (whispering)\n Something's wrong. She's never this nice.", "JOHN\n Come on, Mom, you can do it! Come on!!", "JOHN\n Okay, Mom, we gotta get out now, come on.\n That's it.", "Sarah blinks, staring up at the figure looming over her.\n John kneels next to her.\n\n JOHN\n Mom, are you okay?", "JOHN\n She's not my mother, Todd!\n\n He revs the engine and peels out of the garage, with Tim almost\n falling off the back. They take off down the street.", "TIM\n Major moves, homes! So... where is your\n real mom, anyway?\n (John doesn't answer)\n She dead or something?", "JOHN\n From my mom. My real mom, I mean. Come on\n baby...\n (he grabs the last bills)\n Let's go!", "She spends only a second or two dealing with the unbelievable.\n Then she turns to John in the back seat.", "It's hard to read John's expression.\n\n JOHN\n She might as well be.\n\n John twists the throttle angrily and the bike lunges forward.", "161 IN THE HALL, John hears the firing and spins to run back.\n\n JOHN\n Mommm!!!", "She runs like the wind, like in her nightmare. If she looked back she\n would have seen John step warily out of the corridor behind", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her." ], [ "SARAH\n It, John. Not him. It.\n\n JOHN\n Alright, it! We need it!", "212 JOHN runs to Sarah. She stands staring into the pit. The empty\n shotgun slips from her fingers. Clatters to the floor. He sees that", "Sarah looks at him, exasperated and stern.\n\n SARAH\n It was stupid of you to go there.\n\n John stares at her, surprised.", "SARAH\n Out of the way, John!\n\n JOHN\n No! Don't kill him!", "JOHN\n I... had to get you out of the place... I'm\n sorry, I...\n\n His face crumples. He starts to cry. Sarah gives him a cold stare.", "SARAH\n John, get out of the way!!\n\n JOHN\n (screaming)\n SHOOT!!!!", "SARAH\n (yelling as she runs)\n John! Fire-in-the-hole!", "73F Sarah is agape. Not reacting. It's been a heavy day for her.\n Terminator grabs John by the seat of his pants and hooks him up onto", "JOHN\n (to Sarah)\n Don't forget. It's always darkness right\n before... you're totally fucked.", "dog and loving it. Sarah watches Yolanda walking her toddler by her\n hands. Backlit, stylized. She looks over at John. Loading guns and\n supplies.", "207 SARAH has lost sight of John. It is much of a goodbye as they will\n have.", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her.", "and slides behind the wheel. Sarah gets John into the back seat and\n dives into the front passenger seat as --", "90 JOHN SLEEPING, lying on a pile of rags next to a stack of tires.\n The lights are off. Sarah sits nearby, cross-legged, he back against", "SARAH\n John? John? Can you hear me? Where are you?", "SARAH\n John, get under these. Hurry!", "SARAH\n I love you, John. I always have.\n\n JOHN\n I know, Mom. I know.", "John reluctantly shows his friend the Polaroid. It is a shot of\n Sarah. Pregnant, in a jeep near the Mexican border. John doesn't", "John precedes Terminator into Sarah's weapons cache. Rifles, pistols,\n rocket launchers, mortars, RPGs, radio gear. At the far end, boxes", "SARAH\n Goddamnit, John, you have to be smarter than\n that. You're too important! You can't risk" ], [ "was no Judgment Day. People went to work as\n they always do, laughed, complained, watched\n TV, made love.", "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "Judgment Day. They lived only to face a new\n nightmare, the war against the Machines...", "screwed it up, of course. Sooner or later she'd\n always tell them about Judgment Day and me being\n this world leader and that's be all she wrote.", "July 11, 2029", "MILES DYSON is not dead. He will be very soon, but at this moment he\n is conscious. He has propped himself up against the desk, and holds a\n BOOK in one hand. A heavy technical manual.", "SARAH (V.O.)\n August 29th 1997 came and went. Nothing much\n happened. Michael Jackson turned forty. There", "SARAH (V.O.)\n That was thirty years ago. But the dark future\n which never came still exists for me, and it", "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "in the post-nuclear desolation of 2029. But here the grass is vibrant\n green and the sun is shining.", "\"TERMINATOR 2: JUDGEMENT DAY\"\n\n a Screenplay\n\n by\n\n James Cameron", "things to come. It's not every day you find\n out you're responsible for 3 billion deaths.\n He took it pretty well, considering...", "73F Sarah is agape. Not reacting. It's been a heavy day for her.\n Terminator grabs John by the seat of his pants and hooks him up onto", "VOICE\n 3 billion human lives ended on August 29th, 1997.\n The survivors of the nuclear fire called the war", "VIDEO SARAH\n It's not just a dream. It's real, you moron!\n I know the date is happens!!", "Salceda is nearby, packing food and other survival equipment with\n Yolanda. He looks up as Sarah approaches, and slaps the side of a\n BIG FOUR-BY BRONCO next to him,", "coming. It visits her every time she closes her eyes. Lost and\n alone, Sarah feels all hope recede for herself and for humanity.", "DYSON\n I think so, yeah. When?\n\n Dyson looks at her, Terminator, then John. Sees his answer.", "John takes it out of his pocket. Looks at it. Tosses it into the\n smelter.\n\n SARAH\n It's finally over.", "The second was set to strike at John himself,\n when he was still a child. As before, the\n Resistance was able to send a lone warrior. A" ], [ "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "SARAH\n And Skynet fights back.\n\n They accelerate back onto the highway.", "army. Skynet's weapons consist of Ground HKs (tank-like robot\n gun-platforms), flying Aerial HKs, four-legged gun-pods called", "CUT TO:\n\n32 EXT. CYBERDYNE SYSTEMS - DAY", "stealth bombers are upgraded with Cyberdyne\n computers, becoming fully unmanned, Afterward,\n the fly with a perfect operational record.", "TERMINATOR\n Yes. Cyberdyne Systems, Model 101.\n\n JOHN\n No way!", "JOHN\n Got ol' Skynet by the ball now, Miles. Come\n on, let's book!", "of his skull. His voice calmly directs Sarah as she spreads the bloody\n incision and locates the maintenance port for the CPU in the chrome\n skull beneath.", "one in the vault at Cyberdyne Systems. Now we know it is that that\n Miles Dyson values so highly. The brain of a terminator.", "VOICE (SARAH CONNOR)\n Skynet, the computer which controlled the machines,\n sent two terminators back through time. Their", "TERMINATOR\n In three years Cyberdyne will become the largest\n supplier of military computer systems. All", "open, like the launch controls in a nuclear silo. The guard and\n Dyson insert their keys and turn them simultaneously. Dyson then", "TERMINATOR\n My CPU is a neural-net processor... a learning\n computer. But Skynet presets the switch to\n \"read-only\" when we are sent out alone.", "those offices. Especially my office...\n everything in my office!\n (to Terminator)\n These, too! This is important.", "CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile\n Division file. Subject: John Connor. Below his ARREST RECORD are", "DYSON\n Silent alarm's been tripped. It neutralizes\n the codes throughout the building. Nothing'll\n open now.\n\n We see his nerve snapping.", "TERMINATOR\n The man most directly responsible is Miles Bennet\n Dyson, Director of Special Projects at\n Cyberdyne Systems Corporation.", "The third blow slams into his back, smashing his spine and pelvis. We\n hear servos ratcheting and failing. He drops to his knees, crucified\n on a wall of machinery.", "John precedes Terminator into Sarah's weapons cache. Rifles, pistols,\n rocket launchers, mortars, RPGs, radio gear. At the far end, boxes", "It is a perfect chameleon. A liquid metal robot. A killing machine\n with the ultimate skills of mimicry for infiltration of human society." ], [ "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "TERMINATOR\n Yes. Cyberdyne Systems, Model 101.\n\n JOHN\n No way!", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "TERMINATOR\n My mission is to protect you.\n\n JOHN\n Yeah? Who sent you?", "TERMINATOR\n No. Only an object of equal size.\n\n John's still reeling from meeting one terminator, which now seems\n downright conventional next to the exotic new model.", "JOHN\n Jesus... you were gonna kill that guy!\n\n TERMINATOR\n Of course. I'm a terminator.", "TERMINATOR\n You are targeted for termination. The T-1000\n will not stop until it complete its mission.\n Ever.\n\n John mulls that over.", "JOHN\n (to Terminator)\n Is it dead?\n\n TERMINATOR\n Terminated.", "JOHN\n Oh, great. And what happens to her?\n\n Terminator's reply is matter-of-fact.", "Terminator. John, however, catches a glimpse of the fleeing Sarah and\n figures out instantly what happened.", "Terminator sees the SILHOUETTE closing on them through the smoky\n gleam. The T-1000 breaks into loping run when it sees them,\n Terminator turns to Sarah over John.", "JOHN\n So this other guy? He's a terminator too,\n right, like you?", "JOHN\n Listen to me, very carefully, okay? You're not\n a terminator any more. Alright? You got that?\n You can't just go around killing people!", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "Terminator, with John in front of him on the Harley, roars down the\n empty street. John cranes his neck around to get a look at the", "John stares at him. Having your own terminator just became a little\n bit less fun to him.", "JOHN\n Now don't take this the wrong way, but you are\n a terminator, right?", "The guy seems to know better than to try and stop him as Terminator\n slides Sarah into the front seat and climbs in behind the wheel. John\n runs to the passenger side.", "Terminator strains against the machine pinning him. We hear his\n servos whining with overload. The T-1000 turns and lopes toward Sarah\n and John.", "John motions to Terminator and breaks into a run.\n\n JOHN\n Come on. Let's go. LET'S GO!!" ], [ "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "Terminator pushes John behind him. They start backing up.", "TERMINATOR\n Yes. Cyberdyne Systems, Model 101.\n\n JOHN\n No way!", "TERMINATOR\n My mission is to protect you.\n\n JOHN\n Yeah? Who sent you?", "TERMINATOR\n No. Only an object of equal size.\n\n John's still reeling from meeting one terminator, which now seems\n downright conventional next to the exotic new model.", "TERMINATOR\n You did. Thirty years from now you reprogrammed\n me to be your protector here, in this time.\n\n John gives him an amazed look.", "The car backs along the service driveway toward the security gate.\n John hands the shot gun back to Terminator.\n He leans out the window and takes aim at the pursuer.", "The guy seems to know better than to try and stop him as Terminator\n slides Sarah into the front seat and climbs in behind the wheel. John\n runs to the passenger side.", "JOHN\n Oh, great. And what happens to her?\n\n Terminator's reply is matter-of-fact.", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "John stares at him. Having your own terminator just became a little\n bit less fun to him.", "John looks back... the T-1000 is behind him, running. He twists the\n throttle and guns the little bike forward. Incredibly, the T-1000", "The doors start to close. T-1000 clears the corner.\n Terminator slams John and Sarah back against the side walls as the", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility", "JOHN\n No, no no!! It'll be okay. Stay with us!\n\n TERMINATOR\n I have to go away, John.", "Terminator. John, however, catches a glimpse of the fleeing Sarah and\n figures out instantly what happened.", "JOHN\n You have to do what I say?!\n\n TERMINATOR\n That is one of my mission parameters.", "TERMINATOR\n You are targeted for termination. The T-1000\n will not stop until it complete its mission.\n Ever.\n\n John mulls that over.", "JOHN\n Jesus... you were gonna kill that guy!\n\n TERMINATOR\n Of course. I'm a terminator." ], [ "He sees the T-1000 roll to his feet and continue running.\n But he's dropping way behind now. Sarah has the car floored and the", "176B Sarah and John stumble along the corridor, coughing.\n They leap into the back of the van and Terminator hits the throttle.\n The van roars across the lobby and exits through blown-out windows.", "She turns as the T-1000 closes on her. She is half-slumped against\n the sooty machines, looking barely conscious. She struggles to load", "Sarah doesn't need to be told twice.\n T-1000 walks toward them, opening fire with the Browning Hi-Power.", "Feet dragging on the pavement, it slams its other hand down,\n punching another metal hook into the trunk lid, pulling itself up.\n Terminator turns to Sarah.", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "John turns away, ashamed. Sarah lets her breath out, realizing how\n keyed up she is. She turns to Terminator, giving him a wary once-\n over.", "Sarah, is a daze, takes the huge hand in her shaking fingers.\n Terminator lifts her to her feet.", "Terminator gets one of Sarah's arms over his shoulder and they go.\n BEHIND THEM, something is moving.", "TERMINATOR steps out... his head swivels to face her.\n Sarah reacts, stricken by the image from her worst nightmares.", "When she turns back to the window, T-1000's no longer there. She\n goes to the counter and leans out to see if he's at the drinking", "The two bored attendants barely notice the T-1000/Guard as it\n approaches. Looks briefly at a chart next to the door, seeing\n SARAH CONNOR is in #19.", "AT THE GARAGE DOOR. Terminator breaks the lock on the roll-up door\n and raises it. Sarah pulls the security car in out of sight.\n Terminator rolls the door down behind them.", "Terminator sees the SILHOUETTE closing on them through the smoky\n gleam. The T-1000 breaks into loping run when it sees them,\n Terminator turns to Sarah over John.", "Sarah looks at Terminator, still not quite believing this is\n happening. But this is a different Sarah than the waitress of 1984.", "181B T-1000 FIRES the machine pistol.\n181C Sarah has popped out to fire. She takes a HIT in the thigh, and", "The doors start to close. T-1000 clears the corner.\n Terminator slams John and Sarah back against the side walls as the", "SARAH\n And Skynet fights back.\n\n They accelerate back onto the highway.", "trank. Sarah cranes her neck and sees the dark silhouette of\n Terminator coming up behind them. It is exactly her nightmare.\n She screams in utter hopelessness.", "Terminator strains against the machine pinning him. We hear his\n servos whining with overload. The T-1000 turns and lopes toward Sarah\n and John." ], [ "JOHN\n Mom!! Wait!\n\n Sarah doesn't hear. She has clicked fully into her own nightmare.\n They take off running after Sarah.", "John ducks just as the cop glances over. He slinks out the other side\n of the ride and heads for the back of the store, instinctively\n retreating. Sarah has taught him that cops are bad news.", "A120B MOVING WITH SARAH as she leaves the compound. We see John running\n after her... yelling. Can't hear his words. She looks in the rear-\n view mirror but doesn't slow down.", "212 JOHN runs to Sarah. She stands staring into the pit. The empty\n shotgun slips from her fingers. Clatters to the floor. He sees that", "SARAH\n Out of the way, John!\n\n JOHN\n No! Don't kill him!", "207 SARAH has lost sight of John. It is much of a goodbye as they will\n have.", "John runs, dragging, half-carrying Sarah as best he can.\n She can barely stay conscious. Half-running, delirious, she stumbles\n and drops to her knees. John pulls but she can't rise.", "JOHN\n I... had to get you out of the place... I'm\n sorry, I...\n\n His face crumples. He starts to cry. Sarah gives him a cold stare.", "SARAH\n Yeah. I'm gonna wait till dark to cross the\n border.\n (she pulls him away from", "He and John head back the way they came, through security.\n Sarah sees that in her work, she has set the detonator down twenty\n feet away, near where Dyson is standing.", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her.", "SARAH\n John, get out of the way!!\n\n JOHN\n (screaming)\n SHOOT!!!!", "SARAH\n (yelling as she runs)\n John! Fire-in-the-hole!", "SARAH\n John? John? Can you hear me? Where are you?", "and slides behind the wheel. Sarah gets John into the back seat and\n dives into the front passenger seat as --", "SARAH\n John, get under these. Hurry!", "Sarah takes off running, looking back at the frustrated orderlies.\n They're shouting at each other, unable to fit their keys into the\n lock --", "176B Sarah and John stumble along the corridor, coughing.\n They leap into the back of the van and Terminator hits the throttle.\n The van roars across the lobby and exits through blown-out windows.", "John keeps his hand right where it is.\n\n SARAH\n We're better off by ourselves.", "Sarah looks at him, exasperated and stern.\n\n SARAH\n It was stupid of you to go there.\n\n John stares at her, surprised." ], [ "TERMINATOR\n The man most directly responsible is Miles Bennet\n Dyson, Director of Special Projects at\n Cyberdyne Systems Corporation.", "SARAH\n I need to know how Skynet get built. Who's\n responsible?", "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "TERMINATOR\n Dyson.\n\n JOHN\n Yeah, gotta be! Miles Dyson! She's gonna blow\n him away!", "SARAH\n Why him?\n\n TERMINATOR\n In a few months he creates a revolutionary\n type of mircoprocessor.", "TERMINATOR\n Yes. Cyberdyne Systems, Model 101.\n\n JOHN\n No way!", "one in the vault at Cyberdyne Systems. Now we know it is that that\n Miles Dyson values so highly. The brain of a terminator.", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility", "JOHN\n We're not gonna make it, are we? People, I\n mean.\n\n TERMINATOR\n It is in your nature to destroy yourselves.", "JOHN\n Got ol' Skynet by the ball now, Miles. Come\n on, let's book!", "DYSON\n They have it in a vault at Cyberdyne...\n (to Terminator)\n It's gotta be from the other one like you.", "army. Skynet's weapons consist of Ground HKs (tank-like robot\n gun-platforms), flying Aerial HKs, four-legged gun-pods called", "SARAH (V.O.)\n Dyson listened while the Terminator laid it all\n down. Skynet. Judgment Day... the history of", "DYSON\n My God.\n\n TERMINATOR\n Now listen to me very carefully.", "SARAH\n And Skynet fights back.\n\n They accelerate back onto the highway.", "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "TERMINATOR\n In three years Cyberdyne will become the largest\n supplier of military computer systems. All", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "John touches Terminator's skin. Then the blood on his jacket.\n His mind overloads as the reality of it hits him.", "MILES DYSON is not dead. He will be very soon, but at this moment he\n is conscious. He has propped himself up against the desk, and holds a\n BOOK in one hand. A heavy technical manual." ], [ "John is still in shock from the experience of what just happened and\n he's just a ten-year kid, but he's also John Connor who will someday\n rise to greatness, and we see a bit of that in him even know.", "protector for John. It was just a question of\n which one of them would reach him first...", "The second was set to strike at John himself,\n when he was still a child. As before, the\n Resistance was able to send a lone warrior. A", "JOHN\n Look, Mom, if I'm supposed to ever be this great\n leader, you should start listening to my", "JOHN\n See, I grew up in places like this, so I just\n thought it was how people lived... riding\n around in helicopters. Learning how to blow\n shit up.", "He makes a plunger-pushing motion with his thumb and an accompanying\n \"click\" sound. Dyson nods.\n Just then John comes running in, holding up the key.", "JOHN, totally stunned by all this, remembers to move. He staggers to\n his feet. Stumble-runs toward the parking garage.", "He nods. She reaches for John and we think she's going to hug him.\n She starts to rub her hands over him and we realize she's checking for\n injuries, very clinically the way a vet checks a dog for broken bones.", "There is a man in is forties playing with two small children\n nearby. He turns. It is John Connor. Through he has the same stern", "John drags it far enough to reveal... a rectangular hole in the\n ground. Like the mouth of a tomb. The kid drops down from the\n tractor and walks to the hole.", "SARAH\n It, John. Not him. It.\n\n JOHN\n Alright, it! We need it!", "JOHN\n \"No fate.\" No fate but what we make. My father\n told her this... I mean I made him memorize it,", "47C ABOVE THEM, on the service road running parallel, Terminator is\n fighting to overtake them. He looks down and sees John with the tow-", "John looks behind him for a place to run. Sees the cop coming toward\n him, pulling his Beretta pistol. Incredibly, John realizes the cop", "John stares at him. Having your own terminator just became a little\n bit less fun to him.", "John holds his hand up, like he's being sworn in. Terminator stares\n at John a beat. Then mimics the gesture.", "JOHN\n (crying, shouting)\n Come on, you gotta try... please, Mom. Get up!\n\n John looks back to see --", "John's weight is just enough to deflect the gun a few inches. The\n guy flinches, stunned by the K-BOOM next to his ear. He stares,", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her.", "missing John by inches as he ducks.\n It draws back for another swing, lunging forward as --" ], [ "JOHN, totally stunned by all this, remembers to move. He staggers to\n his feet. Stumble-runs toward the parking garage.", "is gaining. This nightmare isn't happening. John races out the exit\n ramp, and charges right into the street.", "JOHN\n I... had to get you out of the place... I'm\n sorry, I...\n\n His face crumples. He starts to cry. Sarah gives him a cold stare.", "John looks behind him for a place to run. Sees the cop coming toward\n him, pulling his Beretta pistol. Incredibly, John realizes the cop", "John ducks just as the cop glances over. He slinks out the other side\n of the ride and heads for the back of the store, instinctively\n retreating. Sarah has taught him that cops are bad news.", "He pulls away from her. He hates her always checking him, treating\n him like he might break, like some piece of rare china.\n\n JOHN\n I said I was okay.", "JOHN\n Help! HELP!! I'm being kidnapped! Get this\n psycho off of me!", "John has tried to sound casual, but we see in his eyes that is really\n hurts. He slaps Tim on the shoulder and they jump onto his Honda.\n John fires up and they whine off down the alley.", "He nods. She reaches for John and we think she's going to hug him.\n She starts to rub her hands over him and we realize she's checking for\n injuries, very clinically the way a vet checks a dog for broken bones.", "John jumps up on the desk next to the wall-mounted locker. Dyson\n stares in amazement as John starts pulling his counter-electronics", "JOHN\n Mom!! Wait!\n\n Sarah doesn't hear. She has clicked fully into her own nightmare.\n They take off running after Sarah.", "John takes it out of his pocket. Looks at it. Tosses it into the\n smelter.\n\n SARAH\n It's finally over.", "shocked. Pissing himself. John is freaking out, too.\n He screams at Terminator.", "He makes a plunger-pushing motion with his thumb and an accompanying\n \"click\" sound. Dyson nods.\n Just then John comes running in, holding up the key.", "SARAH\n John, get out of the way!!\n\n JOHN\n (screaming)\n SHOOT!!!!", "JOHN\n (crying, shouting)\n Come on, you gotta try... please, Mom. Get up!\n\n John looks back to see --", "JOHN\n Don't do it. Please... don't go --\n\n Tears are streaming down his face.", "But John is moving, running after her.\n\n JOHN\n Mommm!! Wait!!", "She reaches back through the bars, turns the key, and purposefully\n snaps it off in the lock. An instant later the big orderly slams", "head, bouncing him off the linoleum. Lights out, Douglas.\n She drags him into her cell and locks him in with his own keys. Then" ], [ "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "TERMINATOR\n Yes. It launches its ICBMs against their\n targets in Russia.\n\n SARAH\n Why attack Russia?", "SARAH (V.O.)\n Dyson listened while the Terminator laid it all\n down. Skynet. Judgment Day... the history of", "Judgment Day. They lived only to face a new\n nightmare, the war against the Machines...", "JOHN\n We're not gonna make it, are we? People, I\n mean.\n\n TERMINATOR\n It is in your nature to destroy yourselves.", "JOHN\n Oh, great. And what happens to her?\n\n Terminator's reply is matter-of-fact.", "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile\n Division file. Subject: John Connor. Below his ARREST RECORD are", "SARAH\n Why him?\n\n TERMINATOR\n In a few months he creates a revolutionary\n type of mircoprocessor.", "ICBMs deploy their MIRVs... the warheads stream down... it's more than\n he can deal with. The world gets nuked. Game over. He slouches", "JOHN\n Got ol' Skynet by the ball now, Miles. Come\n on, let's book!", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility", "JOHN\n (to Terminator)\n Is it dead?\n\n TERMINATOR\n Terminated.", "Through the clearing vapor we see the figure clearly... a naked man.\n TERMINATOR has come through. Physique: massive, perfect. Face:\n devoid of emotion. Terminator stands and impassively surveys its\n surroundings.", "John touches Terminator's skin. Then the blood on his jacket.\n His mind overloads as the reality of it hits him.", "JOHN\n Jesus... you were gonna kill that guy!\n\n TERMINATOR\n Of course. I'm a terminator.", "Feet dragging on the pavement, it slams its other hand down,\n punching another metal hook into the trunk lid, pulling itself up.\n Terminator turns to Sarah.", "SARAH (V.O.)\n Watching John with the machine, it was suddenly\n so clear. The Terminator would never stop, it" ], [ "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "army. Skynet's weapons consist of Ground HKs (tank-like robot\n gun-platforms), flying Aerial HKs, four-legged gun-pods called", "SARAH\n And Skynet fights back.\n\n They accelerate back onto the highway.", "SARAH (V.O.)\n Dyson listened while the Terminator laid it all\n down. Skynet. Judgment Day... the history of", "TERMINATOR\n Yes. Cyberdyne Systems, Model 101.\n\n JOHN\n No way!", "TERMINATOR\n My CPU is a neural-net processor... a learning\n computer. But Skynet presets the switch to\n \"read-only\" when we are sent out alone.", "JOHN\n Got ol' Skynet by the ball now, Miles. Come\n on, let's book!", "VOICE (SARAH CONNOR)\n Skynet, the computer which controlled the machines,\n sent two terminators back through time. Their", "one in the vault at Cyberdyne Systems. Now we know it is that that\n Miles Dyson values so highly. The brain of a terminator.", "Terminator cruises slowly on the bike. Scanning. He crosses an\n overpass above a drainage canal and whips his head around at the\n sound of a dirt-bike engine.", "It is a perfect chameleon. A liquid metal robot. A killing machine\n with the ultimate skills of mimicry for infiltration of human society.", "TERMINATOR\n The man most directly responsible is Miles Bennet\n Dyson, Director of Special Projects at\n Cyberdyne Systems Corporation.", "SARAH\n I need to know how Skynet get built. Who's\n responsible?", "CUT TO:\n\n32 EXT. CYBERDYNE SYSTEMS - DAY", "DYSON\n They have it in a vault at Cyberdyne...\n (to Terminator)\n It's gotta be from the other one like you.", "DYSON\n My God.\n\n TERMINATOR\n Now listen to me very carefully.", "Feet dragging on the pavement, it slams its other hand down,\n punching another metal hook into the trunk lid, pulling itself up.\n Terminator turns to Sarah.", "TERMINATOR\n Because Skynet knows the Russian counter-strike\n will remove its enemies here.", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "Through the clearing vapor we see the figure clearly... a naked man.\n TERMINATOR has come through. Physique: massive, perfect. Face:\n devoid of emotion. Terminator stands and impassively surveys its\n surroundings." ], [ "The second was set to strike at John himself,\n when he was still a child. As before, the\n Resistance was able to send a lone warrior. A", "protector for John. It was just a question of\n which one of them would reach him first...", "SARAH\n Out of the way, John!\n\n JOHN\n No! Don't kill him!", "John looks behind him for a place to run. Sees the cop coming toward\n him, pulling his Beretta pistol. Incredibly, John realizes the cop", "REESE\n It's John who's the target now. You have to\n protect him. He's wide open.\n\n SARAH\n I know!", "JOHN\n This in intense. Get a grip, John. Okay, uh...\n you're not here to kill me... I figured that part\n out for myself. So what's the deal?", "John stares at him. Having your own terminator just became a little\n bit less fun to him.", "The car backs along the service driveway toward the security gate.\n John hands the shot gun back to Terminator.\n He leans out the window and takes aim at the pursuer.", "JOHN, totally stunned by all this, remembers to move. He staggers to\n his feet. Stumble-runs toward the parking garage.", "John's weight is just enough to deflect the gun a few inches. The\n guy flinches, stunned by the K-BOOM next to his ear. He stares,", "shocked. Pissing himself. John is freaking out, too.\n He screams at Terminator.", "which looks human of course, was sent back\n though time to kill her. And also that the\n father of her child was a soldier, sent to", "John has tried to sound casual, but we see in his eyes that is really\n hurts. He slaps Tim on the shoulder and they jump onto his Honda.\n John fires up and they whine off down the alley.", ".45-caliber hole clean through his left shoulder. He smears the wall\n with blood as he staggers up. Looking back, he sees the implacable\n figure behind him, coming on.", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her.", "missing John by inches as he ducks.\n It draws back for another swing, lunging forward as --", "47C ABOVE THEM, on the service road running parallel, Terminator is\n fighting to overtake them. He looks down and sees John with the tow-", "JOHN\n Now remember, you're not gonna kill anyone,\n right?\n\n TERMINATOR\n Right.", "John realizes what she is about to do. Dives at her as the sledge is\n whistling down.", "JOHN, transfixed by terror, is trapped in the narrow featureless\n shooting gallery of the corridor. THE SHOTGUN COMES UP. Terminator" ], [ "T-1000 climbs out of the canal behind them. More cops arrive. T-1000\n blends in perfectly. There are always cops at diasters and scenes of", "T-1000\n You have a Sarah Connor here?\n\n She assumes he's with the other cops. Smiles.", "We realize now that the cop is a terminator too. We don't know the\n details yet, but let's call him the T-1000 (since that's what he is).", "The T-1000 rises to man-height. It is still in mercury form, but its\n features are forming rapidly. It takes its first step after them.", "The T-1000 steps INTO FRAME. Fully formed. The hell-fire light\n glints on its impassive cop face. It walks forward. At first it", "takes his place. The truck is still rolling along about 25 mph.\n T-1000 accelerates after John without missing a beat. It can see him,", "82A T-1000 walks unperturbed among the milling cops. No one notices him.\n It slips into its cruiser and drives off into the night.\n\n83 INT. CAR", "He sees the T-1000 roll to his feet and continue running.\n But he's dropping way behind now. Sarah has the car floored and the", "He grabs T-1000 in his massive hands but the T-1000 snaps back with a\n counter-grip. After about two seconds of intense slamming, the walls", "John looks back... the T-1000 is behind him, running. He twists the\n throttle and guns the little bike forward. Incredibly, the T-1000", "80H The car speeds off into the night.\n REVERSE on the T-1000, walking now, coming right up into closeup,\n watching the tail lights recede. It looks down.", "53B JANELLE CHANGES rapidly into the COP we now know as the T-1000. The\n change has liquid quality. T-1000 opens the back door.", "Sarah doesn't need to be told twice.\n T-1000 walks toward them, opening fire with the Browning Hi-Power.", "barking in fear. T-1000 walk right into CLOSE UP. Reaches down, OUT\n OF FRAME. We hear that sickening THUNK followed by a shrill YELP.", "79 The T-1000 is running at them out of the inferno below.\n This guy won't quit. Shifting from chrome mode to cop-form as it", "The two bored attendants barely notice the T-1000/Guard as it\n approaches. Looks briefly at a chart next to the door, seeing\n SARAH CONNOR is in #19.", "The T-1000 thunders along on the Kawasaki 1100, doing about a hundred\n and twenty. PAN WITH IT until it recedes toward the horizon.", "69 IN THE CORRIDOR outside cell #19 the T-1000 stops and looks in the\n window. Douglas, his face a bloody mess, yells to be heard.", "The doors start to close. T-1000 clears the corner.\n Terminator slams John and Sarah back against the side walls as the", "He cuts the wheel hard. The car slews into a reverse 180, swapping\n ends with a screech.\n T-1000 is almost on them." ], [ "TERMINATOR\n My mission is to protect you.\n\n JOHN\n Yeah? Who sent you?", "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "T-1000 finds an envelope... a letter from Sarah to John sent since\n she's been at Pescadero State Hospital. It reads the return address", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "JOHN\n Oh, great. And what happens to her?\n\n Terminator's reply is matter-of-fact.", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "TERMINATOR\n She intends to change the future somehow.\n\n JOHN\n I guess, yeah --\n (snaps his fingers as it hit him)\n Oh shit!!", "JOHN\n No, no no!! It'll be okay. Stay with us!\n\n TERMINATOR\n I have to go away, John.", "87 TIGHT ON TERMINATOR'S BACK. The leather jacket is riddled with bullet\n holes. Sarah and John help pull it off, revealing Terminator's\n broad, muscular back beneath.", "John looks back... the T-1000 is behind him, running. He twists the\n throttle and guns the little bike forward. Incredibly, the T-1000", "TERMINATOR\n You did. Thirty years from now you reprogrammed\n me to be your protector here, in this time.\n\n John gives him an amazed look.", "The car backs along the service driveway toward the security gate.\n John hands the shot gun back to Terminator.\n He leans out the window and takes aim at the pursuer.", "The doors start to close. T-1000 clears the corner.\n Terminator slams John and Sarah back against the side walls as the", "which looks human of course, was sent back\n though time to kill her. And also that the\n father of her child was a soldier, sent to", "80F T-1000 tumbles backward off the accelerating car.\n John looks out the back window, his eyes wide.", "know it now, but he will carry the photo with him for over 30 years,\n and give it to a young man named Kyle Reese, who will travel back in", "TERMINATOR\n I know now why you cry. But it is something I\n can never do.\n (to both of them)\n Goodbye.", "VOICE (SARAH CONNOR)\n Skynet, the computer which controlled the machines,\n sent two terminators back through time. Their", "80H The car speeds off into the night.\n REVERSE on the T-1000, walking now, coming right up into closeup,\n watching the tail lights recede. It looks down.", "TERMINATOR\n It must end here... or I am the future.\n\n JOHN\n I order you not to!" ], [ "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "TERMINATOR\n Why?\n\n JOHN\n Whattaya mean, why? 'Cause you can't!", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility", "TERMINATOR\n My mission is to protect you.\n\n JOHN\n Yeah? Who sent you?", "TERMINATOR\n Why?\n\n JOHN\n You just can't, okay? Trust me on this.", "mission: to destroy the leader of the human\n Resistance... John Connor. My son.", "JOHN\n Oh, great. And what happens to her?\n\n Terminator's reply is matter-of-fact.", "JOHN\n You have to do what I say?!\n\n TERMINATOR\n That is one of my mission parameters.", "JOHN\n No, no no!! It'll be okay. Stay with us!\n\n TERMINATOR\n I have to go away, John.", "JOHN\n No!\n\n TERMINATOR\n I'm sorry, John.", "JOHN\n Listen to me, very carefully, okay? You're not\n a terminator any more. Alright? You got that?\n You can't just go around killing people!", "TERMINATOR\n She intends to change the future somehow.\n\n JOHN\n I guess, yeah --\n (snaps his fingers as it hit him)\n Oh shit!!", "SARAH (V.O.)\n Watching John with the machine, it was suddenly\n so clear. The Terminator would never stop, it", "The guy seems to know better than to try and stop him as Terminator\n slides Sarah into the front seat and climbs in behind the wheel. John\n runs to the passenger side.", "John touches Terminator's skin. Then the blood on his jacket.\n His mind overloads as the reality of it hits him.", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "There is a man in is forties playing with two small children\n nearby. He turns. It is John Connor. Through he has the same stern", "John motions to Terminator and breaks into a run.\n\n JOHN\n Come on. Let's go. LET'S GO!!", "JOHN\n Remember what I said, you can't...\n\n TERMINATOR\n Trust me." ], [ "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "TERMINATOR\n Yes. Throw it in.\n \n He does. It sinks into the lava. Vanishes.\n\n TERMINATOR\n And the chip.", "TERMINATOR\n I know now why you cry. But it is something I\n can never do.\n (to both of them)\n Goodbye.", "JOHN\n Oh, great. And what happens to her?\n\n Terminator's reply is matter-of-fact.", "JOHN\n (to Terminator)\n Is it dead?\n\n TERMINATOR\n Terminated.", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "Terminator puts his hand on John's shoulder. He moves slightly and\n the human side of his face comes into the light.\n He reaches toward John's face. His metal finger touches the tear\n trickling down his cheek.", "SARAH\n Can it be destroyed?\n\n TERMINATOR\n Unknown.", "The craters in the T-1000's body \"heal\" slowly. Its power is waning.\n She FIRES again. And again. Her eyes blazing with feral intensity.", "TERMINATOR\n I must be destroyed.\n\n SARAH\n (to Dyson)\n Can you get us in there, past security?", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility", "JOHN\n We're not gonna make it, are we? People, I\n mean.\n\n TERMINATOR\n It is in your nature to destroy yourselves.", "SARAH (V.O.)\n Watching John with the machine, it was suddenly\n so clear. The Terminator would never stop, it", "They OPEN FIRE. The corridor is filled with CRACKING THUNDER. The\n rounds tear into Terminator's chest. Stomach. Face. Thighs. His", "TERMINATOR\n Dyson.\n\n JOHN\n Yeah, gotta be! Miles Dyson! She's gonna blow\n him away!", "SARAH\n (cynical)\n Doesn't want you thinking too much, huh?\n\n TERMINATOR\n No.", "We realize now that the cop is a terminator too. We don't know the\n details yet, but let's call him the T-1000 (since that's what he is).", "Terminator strains against the machine pinning him. We hear his\n servos whining with overload. The T-1000 turns and lopes toward Sarah\n and John.", "He grinds the cigar out on Terminator's chest. Which produces not\n the slight reaction of pain. Terminator calmly, and without", "John touches Terminator's skin. Then the blood on his jacket.\n His mind overloads as the reality of it hits him." ], [ "There is a man in is forties playing with two small children\n nearby. He turns. It is John Connor. Through he has the same stern", "John is still in shock from the experience of what just happened and\n he's just a ten-year kid, but he's also John Connor who will someday\n rise to greatness, and we see a bit of that in him even know.", "TIGHT ON YOUNG JOHN CONNOR, who at his moment is ten years old and\n busy reassembling the carburetor on his Honda 125 dirtbike. He has", "CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile\n Division file. Subject: John Connor. Below his ARREST RECORD are", "John and Terminator watch them rolling on the ground in a fight to the\n death. Sarah rounds the front of the truck, and sees the kids. John\n sighs, solemn. He looks up at the cyborg.", "John is now sitting on the curb, lost in stunned thought. Terminator\n stands above him, watching the street like a Doberman. He glances\n down at John.", "John and Terminator walks to an old Chevy pickup parked behind the\n garage. The day is clear but windy. Dust devils chase themselves", "Terminator, with John in front of him on the Harley, roars down the\n empty street. John cranes his neck around to get a look at the", "John and Dyson are isolated from the world in this silent steel womb.\n Dyson opens the cabinet containing the terminator relics. It's John", "John precedes Terminator into Sarah's weapons cache. Rifles, pistols,\n rocket launchers, mortars, RPGs, radio gear. At the far end, boxes", "Terminator pushes John behind him. They start backing up.", "Terminator looks down at John, next to him. He says quietly...", "John and Terminator on the bike again, weaving through the side\n streets. They blend into the evening traffic. In the darkness,\n Terminator's wounds are not readily visible. John cranes his head up\n and back.", "OFFICER X\n Are you the legal guardian of John Connor?\n\n TODD\n That's right, officer. What's he done now?", "136A The front door is kicked in.\n Terminator steps inside. John grabs his sleeve and pushes past him.", "Terminator and John rolls into the alley and come to a stop. John\n slides off the gas tank. Terminator impassively stares at him. John\n checks him out. Tentatively speaks.", "Terminator and John leap from the jeep, sprinting toward the house.\n The shots sound muffles from outside.\n\n JOHN\n Shit, we're too late!", "John turns away, ashamed. Sarah lets her breath out, realizing how\n keyed up she is. She turns to Terminator, giving him a wary once-\n over.", "his vital stats. Mother: Sarah Connor. Legal Guardians: Todd and\n Janelle Voight. And below their names, an address: 523 S. Almond.", "47C ABOVE THEM, on the service road running parallel, Terminator is\n fighting to overtake them. He looks down and sees John with the tow-" ], [ "There is a man in is forties playing with two small children\n nearby. He turns. It is John Connor. Through he has the same stern", "CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile\n Division file. Subject: John Connor. Below his ARREST RECORD are", "John is still in shock from the experience of what just happened and\n he's just a ten-year kid, but he's also John Connor who will someday\n rise to greatness, and we see a bit of that in him even know.", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "Terminator, with John in front of him on the Harley, roars down the\n empty street. John cranes his neck around to get a look at the", "TIGHT ON YOUNG JOHN CONNOR, who at his moment is ten years old and\n busy reassembling the carburetor on his Honda 125 dirtbike. He has", "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "John is now sitting on the curb, lost in stunned thought. Terminator\n stands above him, watching the street like a Doberman. He glances\n down at John.", "John and Terminator walks to an old Chevy pickup parked behind the\n garage. The day is clear but windy. Dust devils chase themselves", "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "136A The front door is kicked in.\n Terminator steps inside. John grabs his sleeve and pushes past him.", "The guy seems to know better than to try and stop him as Terminator\n slides Sarah into the front seat and climbs in behind the wheel. John\n runs to the passenger side.", "John precedes Terminator into Sarah's weapons cache. Rifles, pistols,\n rocket launchers, mortars, RPGs, radio gear. At the far end, boxes", "John and Terminator watch them rolling on the ground in a fight to the\n death. Sarah rounds the front of the truck, and sees the kids. John\n sighs, solemn. He looks up at the cyborg.", "JOHN\n Where we going?\n\n TERMINATOR\n We have to leave the city, immediately. And\n avoid the authorities.", "John and Terminator on the bike again, weaving through the side\n streets. They blend into the evening traffic. In the darkness,\n Terminator's wounds are not readily visible. John cranes his head up\n and back.", "John touches Terminator's skin. Then the blood on his jacket.\n His mind overloads as the reality of it hits him.", "OFFICER X\n Are you the legal guardian of John Connor?\n\n TODD\n That's right, officer. What's he done now?", "DYSON\n I think so, yeah. When?\n\n Dyson looks at her, Terminator, then John. Sees his answer.", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility" ], [ "John runs, dragging, half-carrying Sarah as best he can.\n She can barely stay conscious. Half-running, delirious, she stumbles\n and drops to her knees. John pulls but she can't rise.", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her.", "SARAH\n Out of the way, John!\n\n JOHN\n No! Don't kill him!", "JOHN\n I... had to get you out of the place... I'm\n sorry, I...\n\n His face crumples. He starts to cry. Sarah gives him a cold stare.", "JOHN\n Mom!! Wait!\n\n Sarah doesn't hear. She has clicked fully into her own nightmare.\n They take off running after Sarah.", "SARAH\n John, get out of the way!!\n\n JOHN\n (screaming)\n SHOOT!!!!", "212 JOHN runs to Sarah. She stands staring into the pit. The empty\n shotgun slips from her fingers. Clatters to the floor. He sees that", "JOHN\n No!!!!\n\n He slaps his hand down over the chip.\n Sarah barely stops the sledge before smashing his fingers.", "He and John head back the way they came, through security.\n Sarah sees that in her work, she has set the detonator down twenty\n feet away, near where Dyson is standing.", "SARAH\n It, John. Not him. It.\n\n JOHN\n Alright, it! We need it!", "195 JOHN AND SARAH have seen it from the pickup. She is in bad shape.\n Conscious but very weak. He tries the door. It's jammed. He kicks\n it open.", "SARAH\n (yelling as she runs)\n John! Fire-in-the-hole!", "SARAH\n I don't trust it! These things are hard to\n kill, John, believe me, I know. We may never\n have this opportunity again.", "Sarah looks at him, exasperated and stern.\n\n SARAH\n It was stupid of you to go there.\n\n John stares at her, surprised.", "Sarah screams and hurls John into a gap between the machines. He\n falls into a maze of pipes and girders.\n\n205 INT. MAZE OF MACHINES", "WIDER. John and Sarah stare in amazement. There are at least twenty\n bullet holes in him. Back. Arms. Legs. Fortunately they're all", "and slides behind the wheel. Sarah gets John into the back seat and\n dives into the front passenger seat as --", "SARAH\n John, get under these. Hurry!", "John ducks just as the cop glances over. He slinks out the other side\n of the ride and heads for the back of the store, instinctively\n retreating. Sarah has taught him that cops are bad news.", "Sarah blinks, staring up at the figure looming over her.\n John kneels next to her.\n\n JOHN\n Mom, are you okay?" ], [ "His fierce face breaks into a broad grin. The shotgun drops to his\n side as he walks toward her. When he reaches her he hugs her, then\n steps back.", ".45-caliber hole clean through his left shoulder. He smears the wall\n with blood as he staggers up. Looking back, he sees the implacable\n figure behind him, coming on.", "THE COP catches the SHOTGUN'S BLAST square in the chest just as he\n fires the pistol. The pistol's shot goes wild.", "the window behind him. This saves him as K-THUMP! -- the second shot\n blows the top of his high-backed chain into an explosion of stuffing\n an inch from his head.", "SARAH\n John, get out of the way!!\n\n JOHN\n (screaming)\n SHOOT!!!!", "The car backs along the service driveway toward the security gate.\n John hands the shot gun back to Terminator.\n He leans out the window and takes aim at the pursuer.", "The cops have shown up, as they always do. There are black-and-whites\n everywhere, and ambulances are arriving. Two cops and an orderly are", "It's quite pathetic.\n A nurse shoots him up with a sedative. They lead him away.", "The spike is withdrawn -- SWIISHHTT! -- so rapidly, Todd is actually\n standing there a second before he slumps out of sight. THUMP.", "Sarah raises the pistol, eyes riveted ahead, controlling her\n breathing. Dyson springs up in a full-tilt sprint. She tracks him.", "John looks behind him for a place to run. Sees the cop coming toward\n him, pulling his Beretta pistol. Incredibly, John realizes the cop", "Dyson looks up, through his pain and incomprehension. Why is this\n nightmare happening? The black gun muzzle is a foot from his face.", "down four feet into the elevator car.\n It is inches from Sarah's face.\n She opens fire, BAM-BAM-BAM -- right through the roof.", "Her eyes go wide as momentum carries her forward.\n Her bare feet slip on the slick tile. She slams to the floor,\n staring up at the leather-clad figure with the shotgun.", "He helps her slide down from the seat of the truck. Her knees give\n way. John has to take a lot of her weight. He reaches in and picks\n up the riot gun off the seat. They hobble toward --", "JOHN, transfixed by terror, is trapped in the narrow featureless\n shooting gallery of the corridor. THE SHOTGUN COMES UP. Terminator", "Silberman has recovered enough to be sitting up and watching this.\n That faint snapping sound is his mind.\n There is a CLANK and we see that the guard's gun has caught against", "riddled by return fire. A few rounds hit his back, but he doesn't\n notice. He reloads as he walks.", "WIDER. John and Sarah stare in amazement. There are at least twenty\n bullet holes in him. Back. Arms. Legs. Fortunately they're all", "BOOM! Her second shot spins him. He hits the floor in the hallway.\n Tarissa is screaming. Dyson struggles forward, stunned. There is a" ], [ "was no Judgment Day. People went to work as\n they always do, laughed, complained, watched\n TV, made love.", "Judgment Day. They lived only to face a new\n nightmare, the war against the Machines...", "screwed it up, of course. Sooner or later she'd\n always tell them about Judgment Day and me being\n this world leader and that's be all she wrote.", "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "things to come. It's not every day you find\n out you're responsible for 3 billion deaths.\n He took it pretty well, considering...", "73F Sarah is agape. Not reacting. It's been a heavy day for her.\n Terminator grabs John by the seat of his pants and hooks him up onto", "MILES DYSON is not dead. He will be very soon, but at this moment he\n is conscious. He has propped himself up against the desk, and holds a\n BOOK in one hand. A heavy technical manual.", "SARAH (V.O.)\n August 29th 1997 came and went. Nothing much\n happened. Michael Jackson turned forty. There", "of death itself. It reaches down and...\n Takes her hand. Lifts her up. Leads her to a door. They go through\n together. Emerging into...", "He puts a finger to her lips. Then silently unfastens her restraints.\n They gaze into each other's eyes. And in the look that his death", "SARAH (V.O.)\n Dyson listened while the Terminator laid it all\n down. Skynet. Judgment Day... the history of", "JOHN\n We're not gonna make it, are we? People, I\n mean.\n\n TERMINATOR\n It is in your nature to destroy yourselves.", "up in the future, as a message to her --\n Never mind. Okay, the whole thing goes \"The\n future is not set. There is no fate but what", "John takes it out of his pocket. Looks at it. Tosses it into the\n smelter.\n\n SARAH\n It's finally over.", "coming. It visits her every time she closes her eyes. Lost and\n alone, Sarah feels all hope recede for herself and for humanity.", "SARAH (V.O.)\n That was thirty years ago. But the dark future\n which never came still exists for me, and it", "DYSON\n I think so, yeah. When?\n\n Dyson looks at her, Terminator, then John. Sees his answer.", "91 SAME IMAGE. Now DAYLIGHT streams in the dusty windows.\n Terminator has not moved. Faithful machine sentinel. He turns at a", "LEADER\n (through megaphone)\n Stop where you are. Lie down on the floor,\n face down. Down on floor, now!", "She concentrates on removing the slugs. CLINK. CLINK.\n\n JOHN\n How long do you live? I mean, last?" ], [ "was no Judgment Day. People went to work as\n they always do, laughed, complained, watched\n TV, made love.", "Judgment Day. They lived only to face a new\n nightmare, the war against the Machines...", "screwed it up, of course. Sooner or later she'd\n always tell them about Judgment Day and me being\n this world leader and that's be all she wrote.", "SARAH (V.O.)\n August 29th 1997 came and went. Nothing much\n happened. Michael Jackson turned forty. There", "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "things to come. It's not every day you find\n out you're responsible for 3 billion deaths.\n He took it pretty well, considering...", "MILES DYSON is not dead. He will be very soon, but at this moment he\n is conscious. He has propped himself up against the desk, and holds a\n BOOK in one hand. A heavy technical manual.", "73F Sarah is agape. Not reacting. It's been a heavy day for her.\n Terminator grabs John by the seat of his pants and hooks him up onto", "He puts a finger to her lips. Then silently unfastens her restraints.\n They gaze into each other's eyes. And in the look that his death", "The fourth blow is centered between his shoulder blades. Sound of\n crushing metal. His skull is partially caved in.\n He slides to the floor.", "She concentrates on removing the slugs. CLINK. CLINK.\n\n JOHN\n How long do you live? I mean, last?", "SARAH (V.O.)\n That was thirty years ago. But the dark future\n which never came still exists for me, and it", "July 11, 2029", "119 Wakes up.\n All is quiet and normal. The children are still playing nearby. Less\n than fifteen minutes have gone by.", "coming. It visits her every time she closes her eyes. Lost and\n alone, Sarah feels all hope recede for herself and for humanity.", "of death itself. It reaches down and...\n Takes her hand. Lifts her up. Leads her to a door. They go through\n together. Emerging into...", "From inside the \"tomb\". Sunlight slashes down into a cinder-block\n room, less than six feet wide but over twenty long. Sand spills down\n the steps. The walls are lined with guns.", "VIDEO SARAH\n It's not just a dream. It's real, you moron!\n I know the date is happens!!", "Salceda is nearby, packing food and other survival equipment with\n Yolanda. He looks up as Sarah approaches, and slaps the side of a\n BIG FOUR-BY BRONCO next to him,", ".45-caliber hole clean through his left shoulder. He smears the wall\n with blood as he staggers up. Looking back, he sees the implacable\n figure behind him, coming on." ], [ "There is a man in is forties playing with two small children\n nearby. He turns. It is John Connor. Through he has the same stern", "John is still in shock from the experience of what just happened and\n he's just a ten-year kid, but he's also John Connor who will someday\n rise to greatness, and we see a bit of that in him even know.", "John and Terminator watch them rolling on the ground in a fight to the\n death. Sarah rounds the front of the truck, and sees the kids. John\n sighs, solemn. He looks up at the cyborg.", "TIGHT ON YOUNG JOHN CONNOR, who at his moment is ten years old and\n busy reassembling the carburetor on his Honda 125 dirtbike. He has", "Terminator pushes John behind him. They start backing up.", "his vital stats. Mother: Sarah Connor. Legal Guardians: Todd and\n Janelle Voight. And below their names, an address: 523 S. Almond.", "CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile\n Division file. Subject: John Connor. Below his ARREST RECORD are", "OFFICER X\n Are you the legal guardian of John Connor?\n\n TODD\n That's right, officer. What's he done now?", "Terminator looks down at John, next to him. He says quietly...", "John and Dyson are isolated from the world in this silent steel womb.\n Dyson opens the cabinet containing the terminator relics. It's John", "John precedes Terminator into Sarah's weapons cache. Rifles, pistols,\n rocket launchers, mortars, RPGs, radio gear. At the far end, boxes", "He scopes out the situation in two seconds... Sarah, the gun, the\n sobbing family. John moves to Sarah while Terminator checks Dyson.", "John turns away, ashamed. Sarah lets her breath out, realizing how\n keyed up she is. She turns to Terminator, giving him a wary once-\n over.", "Terminator, with John in front of him on the Harley, roars down the\n empty street. John cranes his neck around to get a look at the", "TERMINATOR\n Your foster parents are dead. Let's go.\n\n Terminator heads for the bike. John, shocked, stares after him.", "John and Terminator walks to an old Chevy pickup parked behind the\n garage. The day is clear but windy. Dust devils chase themselves", "John is now sitting on the curb, lost in stunned thought. Terminator\n stands above him, watching the street like a Doberman. He glances\n down at John.", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility", "DYSON\n I think so, yeah. When?\n\n Dyson looks at her, Terminator, then John. Sees his answer.", "136A The front door is kicked in.\n Terminator steps inside. John grabs his sleeve and pushes past him." ], [ "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "Terminator pushes John behind him. They start backing up.", "John motions to Terminator and breaks into a run.\n\n JOHN\n Come on. Let's go. LET'S GO!!", "176B Sarah and John stumble along the corridor, coughing.\n They leap into the back of the van and Terminator hits the throttle.\n The van roars across the lobby and exits through blown-out windows.", "The car backs along the service driveway toward the security gate.\n John hands the shot gun back to Terminator.\n He leans out the window and takes aim at the pursuer.", "behind the place. The pickup is locked but Terminator breaks the side\n window with his fist and opens the door. He and John climb in.", "Terminator and John leap from the jeep, sprinting toward the house.\n The shots sound muffles from outside.\n\n JOHN\n Shit, we're too late!", "The doors start to close. T-1000 clears the corner.\n Terminator slams John and Sarah back against the side walls as the", "Terminator, with John in front of him on the Harley, roars down the\n empty street. John cranes his neck around to get a look at the", "They do. Fast. John grabs Terminator by the arm and tugs him toward\n the bike. John still holds the gun, reluctant to give it back.", "John looks back... the T-1000 is behind him, running. He twists the\n throttle and guns the little bike forward. Incredibly, the T-1000", "Terminator grabs him as bullets slam into his broad back. He makes\n it around the corner with John, out of the line of fire.", "shocked. Pissing himself. John is freaking out, too.\n He screams at Terminator.", "The guy seems to know better than to try and stop him as Terminator\n slides Sarah into the front seat and climbs in behind the wheel. John\n runs to the passenger side.", "John and Terminator watch them rolling on the ground in a fight to the\n death. Sarah rounds the front of the truck, and sees the kids. John\n sighs, solemn. He looks up at the cyborg.", "JOHN\n Whoa... time out. Stop the bike!\n\n Terminator immediately complies. He leans the bike into a turn.\n They head into a nearby alley.", "Terminator takes off his jacket to reveal bare arms.\n John takes Blythe by the hands and leads her down the hall, away\n from what is about to happen.", "Terminator kicks the guard's gun away, then smashes the phone in the\n shack with his fist. He pushes the button to raise the gate and walks\n back to the bike.", "John strides away. Terminator goes after him and grabs him arm.\n John struggles against the grip. Which doesn't do him much good.", "his back. John grabs him around the neck. Terminator raises the\n shotgun and starts backing up." ], [ "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "army. Skynet's weapons consist of Ground HKs (tank-like robot\n gun-platforms), flying Aerial HKs, four-legged gun-pods called", "SARAH\n And Skynet fights back.\n\n They accelerate back onto the highway.", "SARAH (V.O.)\n Dyson listened while the Terminator laid it all\n down. Skynet. Judgment Day... the history of", "TERMINATOR\n Yes. Cyberdyne Systems, Model 101.\n\n JOHN\n No way!", "TERMINATOR\n My CPU is a neural-net processor... a learning\n computer. But Skynet presets the switch to\n \"read-only\" when we are sent out alone.", "JOHN\n Got ol' Skynet by the ball now, Miles. Come\n on, let's book!", "VOICE (SARAH CONNOR)\n Skynet, the computer which controlled the machines,\n sent two terminators back through time. Their", "one in the vault at Cyberdyne Systems. Now we know it is that that\n Miles Dyson values so highly. The brain of a terminator.", "Terminator cruises slowly on the bike. Scanning. He crosses an\n overpass above a drainage canal and whips his head around at the\n sound of a dirt-bike engine.", "It is a perfect chameleon. A liquid metal robot. A killing machine\n with the ultimate skills of mimicry for infiltration of human society.", "TERMINATOR\n The man most directly responsible is Miles Bennet\n Dyson, Director of Special Projects at\n Cyberdyne Systems Corporation.", "SARAH\n I need to know how Skynet get built. Who's\n responsible?", "CUT TO:\n\n32 EXT. CYBERDYNE SYSTEMS - DAY", "DYSON\n They have it in a vault at Cyberdyne...\n (to Terminator)\n It's gotta be from the other one like you.", "DYSON\n My God.\n\n TERMINATOR\n Now listen to me very carefully.", "Feet dragging on the pavement, it slams its other hand down,\n punching another metal hook into the trunk lid, pulling itself up.\n Terminator turns to Sarah.", "TERMINATOR\n Because Skynet knows the Russian counter-strike\n will remove its enemies here.", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "Through the clearing vapor we see the figure clearly... a naked man.\n TERMINATOR has come through. Physique: massive, perfect. Face:\n devoid of emotion. Terminator stands and impassively surveys its\n surroundings." ], [ "John ducks just as the cop glances over. He slinks out the other side\n of the ride and heads for the back of the store, instinctively\n retreating. Sarah has taught him that cops are bad news.", "JOHN\n Mom!! Wait!\n\n Sarah doesn't hear. She has clicked fully into her own nightmare.\n They take off running after Sarah.", "SARAH\n Out of the way, John!\n\n JOHN\n No! Don't kill him!", "212 JOHN runs to Sarah. She stands staring into the pit. The empty\n shotgun slips from her fingers. Clatters to the floor. He sees that", "207 SARAH has lost sight of John. It is much of a goodbye as they will\n have.", "JOHN\n I... had to get you out of the place... I'm\n sorry, I...\n\n His face crumples. He starts to cry. Sarah gives him a cold stare.", "SARAH\n John, get out of the way!!\n\n JOHN\n (screaming)\n SHOOT!!!!", "He and John head back the way they came, through security.\n Sarah sees that in her work, she has set the detonator down twenty\n feet away, near where Dyson is standing.", "John runs, dragging, half-carrying Sarah as best he can.\n She can barely stay conscious. Half-running, delirious, she stumbles\n and drops to her knees. John pulls but she can't rise.", "A120B MOVING WITH SARAH as she leaves the compound. We see John running\n after her... yelling. Can't hear his words. She looks in the rear-\n view mirror but doesn't slow down.", "SARAH\n John, get under these. Hurry!", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her.", "204B JOHN AND SARAH have reached the back of the aisle. It is a cul-de-", "and slides behind the wheel. Sarah gets John into the back seat and\n dives into the front passenger seat as --", "176B Sarah and John stumble along the corridor, coughing.\n They leap into the back of the van and Terminator hits the throttle.\n The van roars across the lobby and exits through blown-out windows.", "John keeps his hand right where it is.\n\n SARAH\n We're better off by ourselves.", "SARAH\n Yeah. I'm gonna wait till dark to cross the\n border.\n (she pulls him away from", "SARAH\n John? John? Can you hear me? Where are you?", "SARAH\n (yelling as she runs)\n John! Fire-in-the-hole!", "SARAH\n It, John. Not him. It.\n\n JOHN\n Alright, it! We need it!" ] ]	[ "What is John's mother's name?", "What has Sarah been preparing John for?", "In what year is Judgement Day?", "What system does SkyNet take control of?", "What model terminator is sent back to kill John?", "What model terminator does John send back to protect his younger self?", "Where does Sarah escape from when she first encounter the T-800?", "Where does Sarah plan to flee with John?", "Who is most responsible for the creation of SkyNet?", "What role is John raised to become?", "What does John do that gets him arrested and locked away in a mental hospital?", "Who is destined to launch a nuclear holocaust called Judgement Day?", "What is Skynet?", "Who is sent to kill John?", "Who does the T-1000 assume the identity of shortly after arriving?", "Who send's back a T-800 from the Future?", "Why does John Connor send a T-800 into the past?", "Whose idea is it for the Terminator to be destroyed at the end of the story?", "Where is John Connor living?", "When is John Connor living in Los Angeles?", "What nearly killed John and Sarah?", "Who is shot?", "What is Judgment Day?", "What day is Judgement Day?", "Who does John Connor live with?", "How do John and the Terminator escape the mall?", "What is Skynet?", "Where do Sarah and John plan to flee?" ]	[ [ "Sarah", "Sarah Connor" ], [ "to lead the resistence against SkyNet", "Leader aganist Skynet" ], [ "1997", "1997" ], [ "nuclear system", "United States nuclear missiles" ], [ "T-1000", "T-1000" ], [ "T-800", "T-800" ], [ "a hospital", "She escapes from the hospital." ], [ "Mexico", "Mexico" ], [ "Miles Bennett Dyson", "Miles Bennett Dyson" ], [ "Leader of the Human Resistance against Skynet. ", "The Human Resistance leader against skynet" ], [ "John attempts to blow up a computer factory.", "trying to bomb a computor factory." ], [ "Skynet.", "Artificial intelligence called Skynet." ], [ "An artificial intelligence program to be given control over the United States Nuclear system.", "someonr who was going to control Us" ], [ "A new terminator, T-1000.", "T-1000" ], [ "A police officer that it kills.", "A policeman." ], [ "An older John Connor.", "John Conner" ], [ "To protect his younger self.", "To protect his couunterpart" ], [ "The Terminator suggests that it be destroyed so as not to be reprogrammed in the future and cause harm. ", "The Terminator himself" ], [ "Los Angeles.", "Los Angeles" ], [ "1995.", "1995" ], [ "The T-1000. ", "T-1000" ], [ "Dyson.", "Dyson " ], [ "A nuclear holocaust. ", "a nuclear holocaust" ], [ "August 29, 1997.", "August 29 1997" ], [ "Foster parents. ", "His foster parents." ], [ "A motorcycle. ", "On a motorcycle " ], [ "Artificial intelligence. ", "An Artificial Intelligence program that will take over the worlds Nuclear Weapons." ], [ "Mexico.", "They plan to flee with John to Mexico." ] ]	de473a0652a9752467748e558602267725ec4422	train
[ [ "The way to the Secret lay through the mystery, hitherto impenetrable to\nall of us, of the woman in white. The approach to that in its turn", "of her face, the living image, at that distance and under those\ncircumstances, of the woman in white! The doubt which had troubled my\nmind for hours and hours past flashed into conviction in an instant.", "her head. A few inches of her gown were visible below the cloak. My\nheart beat fast as I noted the colour--it was white.", "\"Yes, Miss Halcombe, as young as that.\"\n\n\"And she was strangely dressed, from head to foot, all in white?\"\n\n\"All in white.\"", "\"The schoolmaster unconsciously told you. When he spoke of the figure\nthat the boy saw in the churchyard he called it 'a woman in white.'\"\n\n\"Not Anne Catherick?\"", "the woman in white is a living influence in our three lives. The End\nis appointed--the End is drawing us on--and Anne Catherick, dead in her\ngrave, points the way to it still!\"", "in white, and urged me to discover the connection which the stranger's\nown reference to Mrs. Fairlie informed me must once have existed\nbetween the nameless fugitive from the Asylum, and the former mistress", "last I was to see in this weary world of the woman in white.", "the figure of a solitary Woman, dressed from head to foot in white\ngarments, her face bent in grave inquiry on mine, her hand pointing to\nthe dark cloud over London, as I faced her.", "in white. And yet, I did connect him with them. Was it because he had\nnow become associated in my mind with Miss Fairlie, Miss Fairlie being,", "had made some advance, at least, towards connecting the probably\ndefective condition of the poor creature's intellect with the\npeculiarity of her being dressed all in white, and with the", "\"No, no,\" interposed the second man. \"The clothes we gave her were\nfound on her bed. She must have gone away in the clothes she wore when\nshe came to us. In white, policeman. A woman in white.\"", "There stood Miss Fairlie, a white figure, alone in the moonlight; in\nher attitude, in the turn of her head, in her complexion, in the shape", "The Woman in White\n\n\nby\n\nWilkie Collins\n\n\n\n\nCONTENTS\n\nFirst Epoch", "She may never have grown out of them, and the old grateful fancy about\ndressing in white, which was a serious feeling to the girl, may be a\nserious feeling to the woman still.\"", "Again the chance reference to the woman in white! Was there no\npossibility of speaking of Miss Fairlie and of me without raising the\nmemory of Anne Catherick, and setting her between us like a fatality\nthat it was hopeless to avoid?", "white than in anything else. She hesitated and seemed puzzled for a\nminute, then flushed up, and appeared to understand. Her little hand", "am making it whiter for her sake. She often wore white herself, and\nshe always dressed her little daughter in white. Is Miss Fairlie well", "poorly dressed in plain white muslin. It was spotlessly pure: it was\nbeautifully put on; but still it was the sort of dress which the wife", "I at once related the circumstances under which I had met the woman in\nwhite, exactly as they had occurred; and I repeated what she had said\nto me about Mrs. Fairlie and Limmeridge House, word for word." ], [ "on her mind. She is altogether what you would call a walking mystery.\nHer errand at Limmeridge House, however, was simple enough. When she", "Frederick Fairlie, Esquire) at Limmeridge House, Cumberland. But\nbefore they went there, it was his opinion, confirmed by Count Fosco", "In the second place, \"the late Mr. Philip Fairlie, of Limmeridge\nHouse,\" had been, in his younger days, the intimate friend and constant", "courtship at Limmeridge House. This was a bad sign to begin with, and\nI thought it more ominous still that he should pretend after dinner to", "I write these lines at the request of my friend, Mr. Walter Hartright.\nThey are intended to convey a description of certain events which", "hastening my departure from Limmeridge House. Why should I prolong the\nhard trial of saying farewell by one unnecessary minute? What further\nservice was required of me by any one? There was no useful purpose to", "On the day of the funeral, and for one day after it, Count Fosco had\nbeen received as a guest at Limmeridge House, but no interview had", "\"So glad to possess you at Limmeridge, Mr. Hartright,\" he said in a\nquerulous, croaking voice, which combined, in anything but an agreeable", "\"At Limmeridge House!\" Her pale face brightened as she repeated the\nwords, her wandering eyes fixed on me with a sudden interest. \"Ah, how", "Limmeridge House.", "real or fancied, was standing by the marble cross, which he and every\none else in Limmeridge knows to be the monument over Mrs. Fairlie's\ngrave. These two circumstances are surely sufficient to have suggested", "It first informed Mr. Fairlie that Anne Catherick (of whom he might\nhear full particulars from Miss Halcombe when she reached Limmeridge)", "Limmeridge,' he said, 'I have wanted to find out the man, and I found\nhim in your face to-night. Your drawing-master was the man, and his", "\"Mr. Hartright was employed at Limmeridge as a drawing-master, I\nbelieve? Is he a member of one of the Water-Colour Societies?\"\n\n\"I believe he is,\" answered Miss Halcombe.", "Fairlie, Esq., of Limmeridge House, in this parish. Born March 27th,", "\"Ask her if she happened to mention, last night, that visitors were\nexpected at Limmeridge House.\"", "between Anne Catherick and herself. In my narrative of events at the\ntime of my residence in Limmeridge House, I have recorded, from my own", "by proposing to stop at Limmeridge House on his way back to town. He\nwill arrive to-morrow, and will stay with us a few days, so as to allow", "Poor Mrs. Vesey travelled with me as far as London. It was impossible\nto abandon her to solitude at Limmeridge after Laura and I had both", "\"Don't you remember my telling you, when we last met, that I was going\nto Cumberland? I have been in Cumberland ever since--I have been\nstaying all the time at Limmeridge House.\"" ], [ "\"Walter!\" she said, \"I once parted you both, for your good and for\nhers. Wait here, my brother!--wait, my dearest, best friend, till\nLaura comes, and tells you what I have done now!\"", "\"Don't speak of Walter any more,\" I said, as soon as I could control\nmyself. \"Oh, Laura, spare us both the wretchedness of talking of him\nnow!\"", "\"It is hard to acknowledge it, Walter, and yet I must. I was the only\nconsideration. No words can say how degraded I feel in my own", "\"My darling Walter,\" she said, \"must we really account for our boldness\nin coming here? I am afraid, love, I can only explain it by breaking\nthrough our rule, and referring to the past.\"", "\"Oh yes--how can it be otherwise? I know the thing could not be,\" she\nwent on, speaking more to herself than to me; \"but I almost wish Walter", "There can be no doubt--though some strange perversity prevents me from\nseeing it myself--there can be no doubt that Laura's future husband is", "discovered that Laura secretly dislikes him (she confessed as much to\nme when I pressed her on the subject)--but he has also found out that", "This, to my mind, looks ill for the Count. Laura has preserved, far\nmore perfectly than most people do in later life, the child's subtle", "\"You have a reason, Walter, for wishing her to know of her husband's\ndeath besides the reason you have just mentioned?\"\n\n\"I have.\"", "\"Walter!\" she whispered, \"my own darling! my heart is heavy for you.\nOh, my son! my son! try to remember that I am still left!\"", "wife), Laura is provokingly circumspect and silent. She only says that\nhe puzzles her, and that she will not tell me what her impression of", "strength of Laura's unhappy attachment. I ought to have known that the\ndelicacy and forbearance and sense of honour which drew me to poor", "to make me forget everything, Walter; but I remember Marian, and I\nremember YOU\"--in that moment, I, who had long since given her my love,", "Laura's affairs. Knowing, and desiring to know nothing of those\naffairs, and doubting whether he would approve, as a man of business,", "My pen traces the old letters as my heart goes back to the old love. I\nwrite of her as Laura Fairlie still. It is hard to think of her, it is\nhard to speak of her, by her husband's name.", "about her, when he might have passed the time so much more agreeably in\nLaura's society? Considering that he can only have acted from motives\nof pure charity, his conduct, under the circumstances, shows unusual", "himself, in spite of everything that I can say or do. His wishes are\nnow, what they were, of course, when he first came here; and Laura\nhaving resigned herself to the one inevitable sacrifice of the", "\"It is unjust and cruel to accuse me of distrusting you,\" said Laura.\n\"Ask Marian if I am not justified in wanting to know what this writing\nrequires of me before I sign it.\"", "\"Suppose I do mean to write to him again,\" I said at last. \"What then,\nLaura?\"\n\nHer cheek grew burning hot against my neck, and her arms trembled and\ntightened round me.", "\"Not because you are a teacher of drawing,\" she repeated, \"but because\nLaura Fairlie is engaged to be married.\"" ], [ "There can be no doubt--though some strange perversity prevents me from\nseeing it myself--there can be no doubt that Laura's future husband is", "29th.--The preparations for the marriage have begun. The dressmaker\nhas come to receive her orders. Laura is perfectly impassive,", "It is strange to look back at this latest entry in my journal, and to\nfind that I am writing of the marriage and the parting with Laura, as", "announced the proposed marriage--in three more, she told me that Sir\nPercival had left Cumberland to return to his house in Hampshire, and\nin two concluding sentences she informed me, first, that Laura was", "it found me, perfectly indifferent to all his plans and projects, is\nthe part which refers to the wedding tour. He proposes, as Laura is\ndelicate, and as the winter threatens to be unusually severe, to take", "Surely Mr. Gilmore, ignorant as he is of Laura's secret, was not to\nblame for feeling surprised that she should repent of her marriage\nengagement? Any one else in his place would have shared our good old", "insensibly wrought in a young, fresh, sensitive woman by her marriage,\nseems never to have taken place in Laura. She writes of her own", "As events turned out, Mr. Philip Fairlie died leaving an only daughter,\nthe Laura of this story, and the estate, in consequence, went, in", "himself, in spite of everything that I can say or do. His wishes are\nnow, what they were, of course, when he first came here; and Laura\nhaving resigned herself to the one inevitable sacrifice of the", "in kindness and good feeling. Last night the cards for the married\ncouple were sent home. Laura opened the packet and saw her future name\nin print for the first time. Sir Percival looked over her shoulder", "\"Where is he going to, Marian?\" Laura whispered. \"Every fresh thing he\ndoes seems to terrify me about the future. Have you any suspicions?\"", "Marian had informed me of Sir Percival's age at the time when we had\nspoken together of his marriage engagement with Laura. She had then", "Laura's affairs. Knowing, and desiring to know nothing of those\naffairs, and doubting whether he would approve, as a man of business,", "towards Laura, and invariable suppression (at any cost) of Sir\nPercival's clumsy violence, have been the means he has resolutely and", "\"Quite right, Marian,\" said Laura. \"Well thought of, and well\nexpressed.\"", "\"I accuse nobody, and I suspect nothing,\" she broke out abruptly. \"But\nI cannot and will not accept the responsibility of persuading Laura to\nthis marriage.\"", "Before another month is over our heads she will be HIS Laura instead of\nmine! HIS Laura! I am as little able to realise the idea which those", "Laura's marriage, for the first time, in a distinctly favourable light.\nIt is likely to be the means of healing a family feud. Hitherto Madame", "wife), Laura is provokingly circumspect and silent. She only says that\nhe puzzles her, and that she will not tell me what her impression of", "Laura's, at the most important moment of her life, would make me very\ngloomy and very distrustful of the future. But I have done with gloom" ], [ "fire had been caused, or what the purpose was for which the deceased\nhad entered the vestry. This act closed the proceedings. The legal\nrepresentative of the dead man was left to provide for the necessities", "to tell of the fire and the death. A rough hoarding of boards had been\nknocked up before the vestry doorway. Rude caricatures were scrawled", "smoke, touched them, and stretched them out dead, one by one, in the\nplaces where they lay. An agony of pity and fear for Walter loosened", "was still alive. I heard nothing but the quickening crackle of the\nflames, and the sharp snap of the glass in the skylight above.", "The people about me all turned from the fire, and ran eagerly to the\nbrow of the hill. The old clerk tried to go with the rest, but his", "It is burnt. The ashes of his farewell letter--the last he may ever\nwrite to me--lie in a few black fragments on the hearth. Is this the", "The only man who never moved was the servant. There he stood, his eyes\nstill fastened on the flames in a changeless, vacant stare. I spoke to", "The dog was dead. It had given a faint, sobbing cry, it had suffered\nan instant's convulsion of the limbs, just as those last words, \"comely", "\"Yes,\" says the doctor, very quiet and grave. \"Dead. I was afraid it\nwould happen suddenly when I examined her heart yesterday.\" My mistress", "As events turned out, Mr. Philip Fairlie died leaving an only daughter,\nthe Laura of this story, and the estate, in consequence, went, in", "I saw the fire slowly conquered. The brightness of the glare\nfaded--the steam rose in white clouds, and the smouldering heaps of", "the red of the dreadful glare, in the black of the choking smoke. And\nthe man beneath my feet!--the man, suffocating, burning, dying so near\nus all, so utterly beyond our reach!", "\"Have you felt any apprehension that the misfortune of her loss might\nbe followed by the misfortune of her death?\"\n\n\"Yes. Have you come here to tell me she is dead?\"", "And yet alive! Alive in poverty and in hiding. Alive, with the poor\ndrawing-master to fight her battle, and to win the way back for her to\nher place in the world of living beings.", "I could die, and be hidden and at rest with YOU!\" Little more than a\nyear had passed since she breathed that wish; and how inscrutably, how", "stepped back from the bedside while he was speaking, and trembled and\ntrembled again. \"Dead!\" she whispers to herself; \"dead so suddenly!", "on it already, and the village children were fighting and shouting for\nthe possession of the best peep-hole to see through. On the spot where\nI had heard the cry for help from the burning room, on the spot where", "way, that he had been ordered, on the night of the fire, to wait in the\nlane, and that he knew nothing else, except that the deceased was\ncertainly his master.", "The rest of the day is indescribable. I believe no one in the house\nreally knew how it passed. The confusion of small events, all huddled", "\"He's dust and ashes,\" said the clerk. \"And the books are dust and\nashes--and oh, sirs! the church will be dust and ashes soon.\"" ], [ "have been sent to search, and have returned unsuccessful. And now\nLaura herself has gone to look for it. Whether she finds it or not the", "performed the latter part of my journey back at night, and when I\nreached home in the morning, to my utter astonishment there was no one\nto receive me. Laura and Marian and the child had left the house on", "He disappeared in the opposite direction to our house, and I ran back\nto Laura. Before I was indoors again, I had made up my mind that we", "I called, \"Laura!\"--at first softly, then louder and louder. No one\nanswered and no one appeared. For all that I could see and hear, the", "\"Oh, Laura, Laura, another chance lost! If I had only been near you she\nshould not have escaped us. On which side did you lose sight of her?\"", "Leaving Laura to go upstairs alone, I went out to look about me in the\nwalks near the house. The circumstances under which Anne Catherick had", "I left the room again on the pretext of wishing to see whether Laura\nwas asleep. Marian's quick eyes were beginning to look inquiringly at", "any signs which might show me whether Laura had really reached the\nplace or not. No mark of her presence appeared inside the building,\nbut I found traces of her outside it, in footsteps on the sand.", "I sent Laura upstairs immediately, waited a minute to take off my hat\nand put my hair smooth, and then went at once to make my first\ninvestigations in the library, on pretence of searching for a book.", "said; and disappeared by a door at the lower end of the room. As soon\nas she had left me, I turned my steps towards the hall, and followed", "to the house. Add to all this, the one perpetual thought in Laura's\nmind and mine, that we were to part the next day, and the haunting", "words, \"Laura, Lady Glyde,\" had vanished from sight. Then there was a\ngreat heave of relief among the crowd, as if they felt that the last", "floor one after another. They were all empty. I came out again into\nthe hall, and went upstairs to return to Laura. Madame Fosco opened", "I found no appearance of any one having entered the room while I had\nbeen talking with Laura. My writing materials (which I had given the", "I told him of the loss of the brooch, and said that Laura had gone into\nthe plantation to look for it.", "once to the house. To tell you the truth, I am uneasy about Laura.\nShe has sent to say she wants to see me directly, and the maid reports", "\"He did. To the house--but not upstairs. Laura never saw him--Laura\nsuspects nothing. I will tell you how it happened: the danger, I", "\"It is very desolate and gloomy,\" said Laura. \"But we can be more\nalone here than anywhere else.\"", "Laura was sitting alone at the far end of the room, her arms resting\nwearily on a table, and her face hidden in her hands. She started up\nwith a cry of delight when she saw me.", "I am writing these lines in the solitude of my own room, long after\nmidnight, having just come back from a stolen look at Laura in her\npretty little white bed--the bed she has occupied since the days of her\ngirlhood." ], [ "her, she would naturally refer to persons and events in the past with a\ncertainty and a familiarity which no impostor could simulate, and so\nthe fact of her identity, which her own appearance had failed to", "A very little reflection, when the capacity to reflect returned,\nconvinced her that any attempt to identify Lady Glyde and to rescue her", "And yet alive! Alive in poverty and in hiding. Alive, with the poor\ndrawing-master to fight her battle, and to win the way back for her to\nher place in the world of living beings.", "recognition and the handwriting prove her identity to Mr. Fairlie and\ntake her back to Limmeridge House, against the evidence of her aunt,\nagainst the evidence of the medical certificate, against the fact of", "Her features relaxed, and she drew a heavy breath of relief. I saw the\nnew life of recognition stirring slowly under the death-like stillness\nwhich fear had set on her face.", "As she said those melancholy words, all the lost tenderness returned to\nher voice, and all the lost beauty trembled back into her face. Her", "could remember, addressing her by name, and going out again, after a\nlittle while, like the first man. By this time she was so frightened\nabout herself, and so uneasy about her sister, that she had thoughts of", "In all else she was now so far on the way to recovery that, on her best\nand brightest days, she sometimes looked and spoke like the Laura of", "Her own impression was that she recovered her senses later in the\nevening, that she then left the house, that she went (as she had", "Halcombe's recognition of the woman, which recognition after-events\ninvalidate or contradict. Does Miss Halcombe assert her supposed\nsister's identity to the owner of the Asylum, and take legal means for", "My pen traces the old letters as my heart goes back to the old love. I\nwrite of her as Laura Fairlie still. It is hard to think of her, it is\nhard to speak of her, by her husband's name.", "No. Is she kept in the neighbourhood to assert her own identity, and\nto stand the test of further proceedings? No, she is privately taken to", "she had been under restraint, her identity with Anne Catherick\nsystematically asserted, and her sanity, from first to last,\npractically denied. Faculties less delicately balanced, constitutions", "With those words she turned about, and retracing her steps, advanced\nwith her face towards me. It was the face of an elderly woman, brown,", "Her voice was steadier as she made that reply. Painful as many of her\nrecollections might be, I observed that it was unconsciously a relief", "besides she was dead. Dead to her uncle, who had renounced her; dead\nto the servants of the house, who had failed to recognise her; dead to", "to answer any question and to clear up any uncertainty. He had done\nhis duty to the unhappy young woman, by instructing his solicitor to\nspare no expense in tracing her, and in restoring her once more to", "\"How do you know?\" she said faintly. \"Who showed it to you?\" The blood\nrushed back into her face--rushed overwhelmingly, as the sense rushed", "herself. It was to the last degree improbable that she would succeed a\nsecond time in escaping from the Asylum, but it was just possible she", "After waiting some time Mrs. Clements became alarmed, and ordered the\ncabman to drive back to her lodgings. When she got there, after an\nabsence of rather more than half an hour, Anne was gone." ], [ "in white. And yet, I did connect him with them. Was it because he had\nnow become associated in my mind with Miss Fairlie, Miss Fairlie being,", "personal resemblance between the woman in white and Lady Glyde had been\nturned to account was clear beyond a doubt. It was plain that Anne\nCatherick had been introduced into Count Fosco's house as Lady", "\"Yes, Miss Halcombe, as young as that.\"\n\n\"And she was strangely dressed, from head to foot, all in white?\"\n\n\"All in white.\"", "of her face, the living image, at that distance and under those\ncircumstances, of the woman in white! The doubt which had troubled my\nmind for hours and hours past flashed into conviction in an instant.", "succeeded in obtaining with Lady Glyde, and at which she had observed\nthe extraordinary accidental likeness between the deceased lady and", "resemblance to Lady Glyde, escaped from the Asylum; it is known that\nthe person received there last July was received as Anne Catherick\nbrought back; it is known that the gentleman who brought her back", "The way to the Secret lay through the mystery, hitherto impenetrable to\nall of us, of the woman in white. The approach to that in its turn", "There stood Miss Fairlie, a white figure, alone in the moonlight; in\nher attitude, in the turn of her head, in her complexion, in the shape", "resemblance to Laura; and, thirdly, that Laura herself was strikingly\nlike her father. Mr. Philip Fairlie had been one of the notoriously", "\"The schoolmaster unconsciously told you. When he spoke of the figure\nthat the boy saw in the churchyard he called it 'a woman in white.'\"\n\n\"Not Anne Catherick?\"", "in white, and urged me to discover the connection which the stranger's\nown reference to Mrs. Fairlie informed me must once have existed\nbetween the nameless fugitive from the Asylum, and the former mistress", "had made some advance, at least, towards connecting the probably\ndefective condition of the poor creature's intellect with the\npeculiarity of her being dressed all in white, and with the", "At the end of that time a lady (the same elderly lady whom they had\nseen at the station) called in a cab, and said that she came from Lady", "delay--but the necessity of discovering the woman admitted of none. I\nonly knew her by description, as presenting an extraordinary personal\nresemblance to Lady Glyde. The statement of this curious", "her head. A few inches of her gown were visible below the cloak. My\nheart beat fast as I noted the colour--it was white.", "of her face; and the fatal resemblance which I had once seen and\nshuddered at seeing, in idea only, was now a real and living\nresemblance which asserted itself before my own eyes. Strangers,", "Again the chance reference to the woman in white! Was there no\npossibility of speaking of Miss Fairlie and of me without raising the\nmemory of Anne Catherick, and setting her between us like a fatality\nthat it was hopeless to avoid?", "am making it whiter for her sake. She often wore white herself, and\nshe always dressed her little daughter in white. Is Miss Fairlie well", "She may never have grown out of them, and the old grateful fancy about\ndressing in white, which was a serious feeling to the girl, may be a\nserious feeling to the woman still.\"", "\"They will tease me about dressing all in white--they say it looks so\nparticular. How do they know? Mrs. Fairlie knew best. Mrs. Fairlie" ], [ "\"Not because you are a teacher of drawing,\" she repeated, \"but because\nLaura Fairlie is engaged to be married.\"", "Asylum, might have doubted if she were the Laura Fairlie they had once\nseen, and doubted without blame.", "At the little summer-house, in which Laura Fairlie and I had first seen\neach other, she stopped, and broke the silence which she had steadily\nmaintained while we were walking together.", "announced the proposed marriage--in three more, she told me that Sir\nPercival had left Cumberland to return to his house in Hampshire, and\nin two concluding sentences she informed me, first, that Laura was", "Fairlie, or Walter Hartright, or any other absent person of whom I\nthink, with the one exception of Laura herself! I can hear his voice,", "As events turned out, Mr. Philip Fairlie died leaving an only daughter,\nthe Laura of this story, and the estate, in consequence, went, in", "To this letter Mr. Fairlie had replied by requesting Sir Percival\nhimself to suggest a day for the marriage, subject to Miss Fairlie's", "My pen traces the old letters as my heart goes back to the old love. I\nwrite of her as Laura Fairlie still. It is hard to think of her, it is\nhard to speak of her, by her husband's name.", "\"To Mr. Fairlie,\" I said. \"Your uncle is your nearest male relative,\nand the head of the family. He must and shall interfere.\"\n\nLaura shook her head sorrowfully.", "company, but he could have known little of him at that or at any other\ntime. Sir Percival's only intimate friend in the Fairlie family had\nbeen Laura's father.", "She was engaged to be married, and her future husband was Sir Percival\nGlyde. A man of the rank of Baronet, and the owner of property in\nHampshire.", "The water-colour drawing that I made of Laura Fairlie, at an after\nperiod, in the place and attitude in which I first saw her, lies on my", "I said, and dried the tears that were gathering in her eyes with my own\nhand, as if she had been the little Laura Fairlie of ten long years ago.", "dropped that subject, and Sir Percival spoke next, in the most\nunselfish terms, of his engagement with Laura. He said he had observed", "Frederick Fairlie, Esquire) at Limmeridge House, Cumberland. But\nbefore they went there, it was his opinion, confirmed by Count Fosco", "has only mentioned his views to Mr. Fairlie, who has told me himself\nthat he is ready and anxious, as Laura's guardian, to forward them. He", "The answer I wrote to this audacious proposal was as short and sharp as\nI could make it. \"My dear sir. Miss Fairlie's settlement. I maintain", "at Limmeridge House:--No daughter of mine should have been married to\nany man alive under such a settlement as I was compelled to make for\nLaura Fairlie.", "I was determined not to let him provoke me, for Laura Fairlie's sake.", "On going to Laura's room I found that she had asked for me, and that\nMrs. Vesey had informed her that I was with Mr. Fairlie. She inquired" ], [ "The interests--interests, breathless and immense!--with which I am here\nconcerned, begin with the deplorable calamity of Marian's illness.", "entreated her to take some rest. \"My place is by Marian's bedside,\" was\nher only answer. \"Whether I am ill, or well, nothing will induce me to\nlose sight of her.\"", "Marian, equally devoted to the patient and to myself, was a necessity\nof my position. One of the most eminently confidential and capable\nwomen in existence was by good fortune at my disposal. I refer to that", "\"Marian!\" she said, trembling violently. \"Do you see nothing? Look!\"\n\n\"Where?\"\n\n\"Down there, below us.\"", "that Marian had gone on to Cumberland first, there was no chance of\nremoving her, of her own free will, from the house. To produce this\nnecessary operation in her mind, we concealed our interesting invalid", "uncharacteristic of such a robust person as dear Marian to be ill, that\nI could only suppose she had met with an accident. A horse, or a false\nstep on the stairs, or something of that sort.", "The story of Marian begins where the narrative of the housekeeper at\nBlackwater Park left off.", "Marian suspended the question on my lips by telling me that Mr. Fairlie\nwas dead. He had been struck by paralysis, and had never rallied after", "At Grimsby the first serious symptoms of illness had shown themselves\nin Anne. They appeared soon after the news of Lady Glyde's marriage\nhad been made public in the newspapers, and had reached her through\nthat medium.", "\"It is the last time, Marian,\" she pleaded. \"I am bidding it good-bye\nfor ever.\"", "So she spoke. In writing those last words, I have written all. The pen\nfalters in my hand. The long, happy labour of many months is over.\nMarian was the good angel of our lives--let Marian end our Story.", "Marian!\" she said, suddenly seating herself on a footstool at my knees,\nand looking up earnestly in my face, \"promise you will never marry, and", "\"To Marian's room,\" she answered.\n\n\"It may spare you a disappointment,\" remarked Sir Percival, \"if I tell\nyou at once that you will not find her there.\"", "Marian's taking a journey--he purposely insulted the doctor to get him\nout of the house.\"", "failed her. Insensible to all Marian's attempts to soothe and amuse\nher, she sat, with her neglected drawing pushed away on the table, her", "housemaid (I forget her name) was shut up there at night in attendance\non her mistress. Marian, though fast recovering, still kept her bed,", "my bed to talk to me there. \"I shall lose you so soon, Marian,\" she\nsaid; \"I must make the most of you while I can.\"", "Fresh troubles, apparently. Not exactly his own, as I had supposed,\nbut dear Marian's. Troubles, anyway. Oh dear!\n\n\"Show him in,\" I said resignedly.", "her husband can provide, the poor drawing-master may harmlessly open\nhis heart at last. In the days of her prosperity, Marian, I was only", "Marian was sitting now, with the child industriously sucking his coral\nupon her lap--while Laura was standing by the well-remembered" ], [ "29th.--The preparations for the marriage have begun. The dressmaker\nhas come to receive her orders. Laura is perfectly impassive,", "announced the proposed marriage--in three more, she told me that Sir\nPercival had left Cumberland to return to his house in Hampshire, and\nin two concluding sentences she informed me, first, that Laura was", "As events turned out, Mr. Philip Fairlie died leaving an only daughter,\nthe Laura of this story, and the estate, in consequence, went, in", "The answer I wrote to this audacious proposal was as short and sharp as\nI could make it. \"My dear sir. Miss Fairlie's settlement. I maintain", "it found me, perfectly indifferent to all his plans and projects, is\nthe part which refers to the wedding tour. He proposes, as Laura is\ndelicate, and as the winter threatens to be unusually severe, to take", "little visit that evening, and to be kind enough not to make a scene.\n\"Dear Laura\" was to pay him another little visit in her wedding-dress", "It is strange to look back at this latest entry in my journal, and to\nfind that I am writing of the marriage and the parting with Laura, as", "the sum of twenty thousand pounds. Besides this, she had a\nlife-interest in ten thousand pounds more, which latter amount was to", "in kindness and good feeling. Last night the cards for the married\ncouple were sent home. Laura opened the packet and saw her future name\nin print for the first time. Sir Percival looked over her shoulder", "himself, in spite of everything that I can say or do. His wishes are\nnow, what they were, of course, when he first came here; and Laura\nhaving resigned herself to the one inevitable sacrifice of the", "spirits. He brought with him some really beautiful presents in\njewellery, which Laura received with her best grace, and, outwardly at", "There can be no doubt--though some strange perversity prevents me from\nseeing it myself--there can be no doubt that Laura's future husband is", "of time to recover from the agitation produced by the gift before she\nappeared in Mr. Fairlie's presence. \"Dear Laura\" was to pay him a", "Marian had informed me of Sir Percival's age at the time when we had\nspoken together of his marriage engagement with Laura. She had then", "\"Not a shred.\"\n\n\"What have you actually got with your wife at the present moment?\"\n\n\"Nothing but the interest of her twenty thousand pounds--barely enough\nto pay our daily expenses.\"", "insensibly wrought in a young, fresh, sensitive woman by her marriage,\nseems never to have taken place in Laura. She writes of her own", "of the propriety of adopting the first of these proposals. In either\ncase a separation between Laura and me is inevitable. It will be a\nlonger separation, in the event of their going abroad, than it would be", "about her, when he might have passed the time so much more agreeably in\nLaura's society? Considering that he can only have acted from motives\nof pure charity, his conduct, under the circumstances, shows unusual", "\"Consult your own knowledge of Laura, Mr. Gilmore. If I tell her to\nreflect on the circumstances of her engagement, I at once appeal to two", "This part of her inheritance was, in itself, a comfortable little\nfortune. It was derived under her father's will, and it amounted to" ], [ "naturally infer that if Marian wanted advice and assistance, after\nLaura's escape from the Asylum, she would apply once more to the", "vivid in my memory. The necessity of sparing Laura any sudden\nknowledge of the truth was the first consideration which the letter\nsuggested to me. I wrote at once to Marian to tell her what I have", "\"Where is he going to, Marian?\" Laura whispered. \"Every fresh thing he\ndoes seems to terrify me about the future. Have you any suspicions?\"", "I left the room again on the pretext of wishing to see whether Laura\nwas asleep. Marian's quick eyes were beginning to look inquiringly at", "Both Laura and Marian came to the door to let me in. I think we had\nhardly known how close the tie was which bound us three together, until", "\"Quite right, Marian,\" said Laura. \"Well thought of, and well\nexpressed.\"", "I found Marian waiting for me alone in the little sitting-room. She had\npersuaded Laura to go to rest, after first promising to show me her", "This idea had more than once occurred to my own mind. I had already\ntold Marian that I doubted whether Laura was really on the point of", "that Marian had gone on to Cumberland first, there was no chance of\nremoving her, of her own free will, from the house. To produce this\nnecessary operation in her mind, we concealed our interesting invalid", "Laura and Marian to hear.", "Marian was sitting now, with the child industriously sucking his coral\nupon her lap--while Laura was standing by the well-remembered", "The story of Marian begins where the narrative of the housekeeper at\nBlackwater Park left off.", "request, and writing the letter at once. There was not the least\ndanger of the invitation being accepted, for there was not the least\nchance that Laura would consent to leave Blackwater Park while Marian", "But few words sufficed to tell Laura and Marian how my desperate\nventure had ended, and what the next event in our lives was likely to", "performed the latter part of my journey back at night, and when I\nreached home in the morning, to my utter astonishment there was no one\nto receive me. Laura and Marian and the child had left the house on", "was my firm determination that Laura should not enter her uncle's house\ntill she appeared there publicly recognised as his niece. I left\nMarian to settle the question of accommodation with Mrs. Todd, as soon", "\"It is late,\" I heard her whisper. \"It will be dark in the\nplantation.\" She shook my arm and repeated, \"Marian! it will be dark in\nthe plantation.\"", "\"To Marian's room,\" she answered.\n\n\"It may spare you a disappointment,\" remarked Sir Percival, \"if I tell\nyou at once that you will not find her there.\"", "Marian, equally devoted to the patient and to myself, was a necessity\nof my position. One of the most eminently confidential and capable\nwomen in existence was by good fortune at my disposal. I refer to that", "\"What can we do, Marian? Oh, if we could only leave this house, never\nto see it again!\"" ], [ "Sir Percival Glyde in Cumberland, and was personally concerned in one\nimportant result of his short residence under Mr. Fairlie's roof. It", "The idea that he was not Sir Percival Glyde at all, that he had no more\nclaim to the baronetcy and to Blackwater Park than the poorest labourer", "suspected. The recognition of me when I left Mr. Kyrle's office had\nbeen evidently communicated to Sir Percival Glyde, and the man in black", "\"Sir Percival Glyde,\" she repeated, imagining that I had not heard her\nformer reply.\n\n\"Knight, or Baronet?\" I asked, with an agitation that I could hide no\nlonger.", "\"Sir Percival Glyde?\"\n\n\"Yes, Sir Percival Glyde.\"", "In the first place, \"the late Sir Percival Glyde, of Blackwater Park,\"\nhad never set foot in Varneck Hall. The deceased gentleman was a total\nstranger to Major Donthorne, and to all his family.", "\"Not a stranger, Walter. As soon as I could draw my breath again, I\nrecognised him. He was the owner of the Lunatic Asylum.\"\n\n\"Was the Count pointing out the house to him?\"", "Percival Glyde, having all been fully noticed, as I understand, in the\nnarrative which precedes this.", "certain facts, being subsequently strengthened by an examination of the\ndead man's watch. The crest and the name of Sir Percival Glyde were\nengraved inside it.", "It announced that Sir Percival Glyde had been definitely accepted, and\nthat the marriage was to take place, as he had originally desired,", "way honestly up to the present time. The final inquiries related to\nSir Percival Glyde. He was settled in Paris, and living there quietly\nin a small circle of English and French friends.", "knows that the person you write of is Sir Percival Glyde----\"", "His lordship looked next at me.\n\n\"When did the change happen?\" he asked.\n\nI told him the time.\n\n\"Has Lady Glyde been in the room since?\"", "Sir Percival was an only child. His father, Sir Felix Glyde, had\nsuffered from his birth under a painful and incurable deformity, and", "\"Walter!\" he said. \"You don't know what you ask.\"", "For Sir Percival Glyde.", "\"You have a reason, Walter, for wishing her to know of her husband's\ndeath besides the reason you have just mentioned?\"\n\n\"I have.\"", "Results followed as I had anticipated. Lady Glyde became frightened,\nand turned faint. For the second time, and the last, I called Science", "concerned, to my certain knowledge, in doing that wrong. One of them\nis Sir Percival Glyde.\"", "prospect of uncertainty. The letter, as I knew from positive\ntestimony, pointed at Sir Percival Glyde, though it did not name him." ], [ "Mrs. Catherick, he informed us, had in past years laid him under some\nobligations for faithful services rendered to his family connections", "hidden flaw with which Mrs. Catherick and Sir Percival were both\nprivately acquainted? I could only put the first explanation to the\ntest by looking at the register of her marriage, and so ascertaining", "The vestry of Old Welmingham church was the starting-point from which\nmy mind slowly worked its way back through all that I had heard Mrs.\nCatherick say, and through all I had seen Mrs. Catherick do.", "\"Were you and Mrs. Catherick neighbours?\" I inquired, leading her\nmemory on as encouragingly as I could.\n\n\"Yes, sir--neighbours at Old Welmingham.\"", "\"And Mrs. Catherick? Surely she never remained in the village among the\npeople who knew of her disgrace?\"", "to Mrs. Catherick had been reported to him the evening before, and\nthose two men had been placed on the look-out near the church in", "Mrs. Catherick--to ask for her testimony in support of the explanation\nwhich I have just offered to you.\"", "kept her word ever since. When my poor dear husband died, and left all\nto me, Catherick's letter was put in my possession with the other", "\"Mrs. Catherick's. You seem to know Mrs. Catherick, Miss Halcombe?\"", "Welmingham--I see, on looking back through these private pages of mine,\nthat Welmingham is the name of the place where Mrs. Catherick lives.", "Mrs. Catherick had heard his footsteps approaching, in the silence of\nthat lonely place, and she was on her feet at the window again, waiting", "didn't bargain for that when you came here. Go to the church and\ninquire about me--you will find Mrs. Catherick has her sitting like the", "\"And did Mrs. Catherick consent to your proposal?\"", "Percival and Mrs. Catherick, which had been kept hidden from that time\nto this?", "next result of my interview with Mrs. Catherick--otherwise he would\nnever have placed his spies there to wait for me. Smoothly and fairly\nas appearances looked in the vestry, there was something wrong beneath", "there. She had then written to Mrs. Catherick at Welmingham to know if\nshe had seen or heard anything of her daughter, and had received an", "\"I suppose you have known Mrs. Catherick for some years?\"", "Percival's kindness in putting her daughter under medical care. Mrs.\nCatherick is rather a strange person in her manners, but extremely\nrespectable-looking. She seemed sorely put out when she found that", "anticipation of my inquiries leading me, sooner or later, to\ncommunicate with Mrs. Catherick. He had doubtless seen me go in and", "The Wednesday's post brought with it an event--the reply from Mrs.\nCatherick. I took a copy of the document, which I have preserved, and\nwhich I may as well present in this place. It ran as follows--" ], [ "\"I only know what Anne herself told me, sir. The poor thing used to\nramble and wander about it sadly. She said her mother had got some", "\"Did you ever observe that Anne was like him?\"\n\n\"She was not at all like him, sir.\"\n\n\"Was she like her mother, then?\"", "ever said Mother she said it to me--and now I am left and Anne is\ntaken! Did you say, sir,\" said the poor woman, removing the", "\"How dare you talk to me about Anne's father! How dare you say who was\nher father, or who wasn't!\" she broke out, her face quivering, her\nvoice trembling with passion.", "Anne's account. They had then gone on to London, and had lived in the\nlodging occupied by Mrs. Clements at that time for a month or more,", "\"Did you know Mrs. Catherick before Anne was born?\" I asked.\n\n\"Not very long, sir--not above four months. We saw a great deal of\neach other in that time, but we were never very friendly together.\"", "My request so startled Mrs. Clements, that, for the moment, even the\ntidings of Anne's death seemed to be driven from her mind. Her tears\nsuddenly ceased to flow, and she sat looking at me in blank amazement.", "Clements to be more explicit. She only shook her head, and said that,\nfor Anne's sake, she must beg and pray that no one would question her.", "\"I came,\" I said, \"because I thought Anne Catherick's mother might have\nsome natural interest in knowing whether she was alive or dead.\"", "\"Yes, sir. Anne was born in the June month of eighteen hundred and\ntwenty-seven--and I think he came at the end of April or the beginning\nof May.\"", "been living there in service at the same time, we knew also--first,\nthat Anne had been born in June, eighteen hundred and twenty-seven;\nsecondly, that she had always presented an extraordinary personal", "To this Mrs. Clements replied, in the greatest alarm and distress, that\nshe asked nothing better than to take Anne safely to London, but that\nthere was no present hope of removing her from the dangerous", "case, infallibly inspire him with the false idea that Anne knew all\nfrom her mother, just as it had afterwards fixed in his mind the\nequally false suspicion that his wife knew all from Anne.", "As soon as she could collect her thoughts, the first idea that\nnaturally occurred to Mrs. Clements was to go and make inquiries at the\nAsylum, to which she dreaded that Anne had been taken back.", "describing Anne's resemblance to Laura, and acknowledging her\naffectionate interest in the little stranger--had been written, beyond\nall question, in perfect innocence of heart. It even seemed doubtful,", "All she could repeat, with every appearance of being seriously agitated\nherself, was that Anne must go, that she must go with her, and that the\ndestination to which they might both betake themselves must be kept a", "Mrs. Clements expressed her willingness (Anne being present at the\ntime, and entreating her to do so) to forward the object in view,", "parentage of Anne Catherick on the father's side. There were one or\ntwo sentences dropped in her mother's narrative, which it might be\nuseful to refer to again, when matters of more immediate importance", "Anne was asleep when they got there. The Count started at the sight of\nher (evidently from astonishment at her resemblance to Lady Glyde).", "Having suggested to Mrs. Clement (or Clements, I am not sure which)\nthat the best method of keeping Anne out of Percival's reach was to" ], [ "while she lived, and in his own right, on her death, if he survived\nher); and, secondly, the inheritance of Limmeridge for his son, if he\nhad one.", "Limmeridge House.", "Frederick Fairlie, Esquire) at Limmeridge House, Cumberland. But\nbefore they went there, it was his opinion, confirmed by Count Fosco", "Let us take the land first.\n\nIn the time of Miss Fairlie's paternal grandfather (whom we will call\nMr. Fairlie, the elder) the entailed succession to the Limmeridge\nestate stood thus--", "On the day of the funeral, and for one day after it, Count Fosco had\nbeen received as a guest at Limmeridge House, but no interview had", "the shock. Mr. Kyrle had informed them of his death, and had advised\nthem to proceed immediately to Limmeridge House.", "say who lives at Limmeridge now. If any more are left there of that\nname, I only know I love them for Mrs. Fairlie's sake.\"", "Fairlie, Esq., of Limmeridge House, in this parish. Born March 27th,", "\"And you told them the news at Limmeridge House?\"", "\"At Limmeridge House!\" Her pale face brightened as she repeated the\nwords, her wandering eyes fixed on me with a sudden interest. \"Ah, how", "certificate to prove the death, and to show that it took place under\nnatural circumstances. There is the fact of the funeral at Limmeridge,", "of Limmeridge House.", "\"Don't you remember my telling you, when we last met, that I was going\nto Cumberland? I have been in Cumberland ever since--I have been\nstaying all the time at Limmeridge House.\"", "observed in communicating with Limmeridge House are already known, so\nis the magnificent success of my enterprise, so are the solid pecuniary\nresults which followed it. I have to assert, with the whole force of", "forbidden to feel the slightest anxiety in the meantime. There the\nnote ended. It was still early enough to catch the morning train. I\nreached Limmeridge House the same afternoon.", "In the second place, \"the late Mr. Philip Fairlie, of Limmeridge\nHouse,\" had been, in his younger days, the intimate friend and constant", "by proposing to stop at Limmeridge House on his way back to town. He\nwill arrive to-morrow, and will stay with us a few days, so as to allow", "Limmeridge for a few months only, and had then left it to go back to\nher home in Hampshire; but she could not say whether the mother and\ndaughter had ever returned, or had ever been heard of afterwards. No", "Poor Mrs. Vesey travelled with me as far as London. It was impossible\nto abandon her to solitude at Limmeridge after Laura and I had both", "\"To London!\"\n\n\"Yes--on her way to Limmeridge.\"\n\nLady Glyde turned and appealed to me." ], [ "Walter Hartright is uppermost in my memory, and he passes first in the\nshadowy procession of my absent friends. I received a few lines from", "I write these lines at the request of my friend, Mr. Walter Hartright.\nThey are intended to convey a description of certain events which", "Let Walter Hartright, teacher of drawing, aged twenty-eight years, be\nheard first.\n\n\n\nII", "THE STORY BEGUN BY WALTER HARTRIGHT\n\n(of Clement's Inn, Teacher of Drawing)", "Fairlie, or Walter Hartright, or any other absent person of whom I\nthink, with the one exception of Laura herself! I can hear his voice,", "of the gentlemen to whom I wrote on Walter Hartright's behalf,\ninforming me that he has been fortunate enough to find an opportunity\nof complying with my request. The third, from Walter himself, thanking", "THE STORY CONTINUED BY WALTER HARTRIGHT.\n THE STORY CONTINUED BY MRS. CATHERICK", "THE STORY CONTINUED BY WALTER HARTRIGHT.\n\n\nI\n\n\nI open a new page. I advance my narrative by one week.", "9th.--The first event of the morning was not of a kind to raise my\nspirits--a letter arrived for me from poor Walter Hartright. It is the", "Mr. Hartright, that you have not the shadow of a case.\"", "\"Mr. Hartright was employed at Limmeridge as a drawing-master, I\nbelieve? Is he a member of one of the Water-Colour Societies?\"\n\n\"I believe he is,\" answered Miss Halcombe.", "beginning to the end of the disclosure, shall be related on hearsay\nevidence. When the writer of these introductory lines (Walter\nHartright by name) happens to be more closely connected than others", "house, and give it to one of the servants. And now, Mr. Hartright, if\nyou have no objection, let us walk this way.\"", "\"Yes, yes, I see. Where is Mr. Hartright?\"\n\n\"Out of the country. If he means to keep a whole skin on his bones, I\nrecommend him not to come back in a hurry.\"", "\"Mr. Fairlie's compliments to Mr. Hartright. Mr. Fairlie is more\nsurprised and disappointed than he can say (in the present state of his", "\"Consider the subject, Mr. Hartright, from your own point of view,\" he\nsaid. \"If you are right about Sir Percival Glyde and Count Fosco", "\"You and I, Mr. Hartright, are excellently well acquainted with one\nanother by reputation,\" he said. \"Did it, by any chance, occur to you", "a dream. Was I Walter Hartright? Was this the well-known, uneventful\nroad, where holiday people strolled on Sundays? Had I really left,", "shall see me, but I will keep within hearing of your voice, if anything\nhappens. Anne Catherick has escaped Walter Hartright, and has escaped\nyou. Whatever happens, she shall not escape ME.\"", "\"She saw nobody from the house then, except a certain Mr. Hartright,\nwho accidentally met with her in the churchyard here?\"\n\n\"Nobody else.\"" ], [ "\"No, no,\" interposed the second man. \"The clothes we gave her were\nfound on her bed. She must have gone away in the clothes she wore when\nshe came to us. In white, policeman. A woman in white.\"", "The horse was instantly pulled up, a few yards beyond the dark place\nwhere I stood.\n\n\"Policeman!\" cried the first speaker. \"Have you seen a woman pass this\nway?\"", "\"The two men spoke to the policeman,\" I said, \"and asked him if he had\nseen you. He had not seen you; and then one of the men spoke again,\nand said you had escaped from his Asylum.\"", "\"I think I understand,\" she said. \"I think I owe it to her and to you,\nWalter, to tell her of her husband's death.\"", "\"You have a reason, Walter, for wishing her to know of her husband's\ndeath besides the reason you have just mentioned?\"\n\n\"I have.\"", "\"The schoolmaster unconsciously told you. When he spoke of the figure\nthat the boy saw in the churchyard he called it 'a woman in white.'\"\n\n\"Not Anne Catherick?\"", "The way to the Secret lay through the mystery, hitherto impenetrable to\nall of us, of the woman in white. The approach to that in its turn", "\"Nothing!\" she answered firmly. \"You shall not regret, Walter, that\nyou have only a woman to help you.\" She paused, and detained me for a", "I at once related the circumstances under which I had met the woman in\nwhite, exactly as they had occurred; and I repeated what she had said\nto me about Mrs. Fairlie and Limmeridge House, word for word.", "bless you, Walter!\" she said. \"Wait here alone and compose yourself--I\nhad better not stay for both our sakes--I had better see you go from\nthe balcony upstairs.\"", "\"Surely, Walter,\" she said, \"you hardly know enough yet to give you any\nhope of claiming Mrs. Catherick's confidence? Is it wise to proceed to", "\"Bad news, Walter,\" she said, \"the worst news you could bring. Have you\nnothing more to tell me?\"", "of her face, the living image, at that distance and under those\ncircumstances, of the woman in white! The doubt which had troubled my\nmind for hours and hours past flashed into conviction in an instant.", "\"What can happen?\" she interposed quickly. \"Tell me plainly, Walter,\nif there is any danger, and I shall know how to meet it.\"", "\"Yes, Miss Halcombe, as young as that.\"\n\n\"And she was strangely dressed, from head to foot, all in white?\"\n\n\"All in white.\"", "in white, and urged me to discover the connection which the stranger's\nown reference to Mrs. Fairlie informed me must once have existed\nbetween the nameless fugitive from the Asylum, and the former mistress", "\"Walter!\" she said, \"I once parted you both, for your good and for\nhers. Wait here, my brother!--wait, my dearest, best friend, till\nLaura comes, and tells you what I have done now!\"", "\"Walter!\" she said, \"if ever those two men are at your mercy, and if\nyou are obliged to spare one of them, don't let it be the Count.\"", "the woman in white is a living influence in our three lives. The End\nis appointed--the End is drawing us on--and Anne Catherick, dead in her\ngrave, points the way to it still!\"", "\"Done! She has escaped from my Asylum. Don't forget; a woman in white.\nDrive on.\"\n\n\n\nV" ], [ "It may be necessary to explain here that Pesca prided himself on being\na perfect Englishman in his language, as well as in his dress, manners,", "Pesca was one of her especial favourites and his wildest eccentricities\nwere always pardonable in her eyes. Poor dear soul! from the first\nmoment when she found out that the little Professor was deeply and", "Pesca's voice saying eagerly, in low tones, and in his own language--\"I\nremember the name, but I don't know the man. You saw at the Opera he", "\"Good-night, Pesca.\"\n\n\"Good-night, my friend.\"\n\n\n\nVI", "course of all my inquiries alone. It will now be sufficiently\nunderstood that Pesca was not separated from all connection with me and\nmy interests, although he has hitherto been separated from all", "impatiently at his watch. Not another word, addressed to myself,\npassed his lips. The near approach of the hour for his departure, and\nthe proof he had seen of the communication established between Pesca", "\"Now, my good dears,\" began Pesca (who always said \"good dears\" when he\nmeant \"worthy friends\"), \"listen to me. The time has come--I recite my\ngood news--I speak at last.\"", "course, have looked after Pesca carefully; but as foreigners are\ngenerally quite as well able to take care of themselves in the water as\nEnglishmen, it never occurred to me that the art of swimming might", "He had seen Pesca first, and from that moment till he left the theatre\nhe had evidently seen nothing else. My name would necessarily suggest\nto him that I had not come into his house with other than a hostile", "the sight of Pesca as I had drawn mine. He was a mild, gentlemanlike\nman, looking like a foreigner, and his interest in our proceedings was\nnot expressed in anything approaching to an offensive manner.", "lower position in which he now stood. I was curious to see what would\nhappen if Pesca's attention under these circumstances was withdrawn\nfrom him, and I accordingly asked the Professor if he recognised any of", "\"Are you ready?\" I asked.\n\n\"Right-all-right,\" said Pesca.\n\nWe started for the theatre.\n\n\n\nV", "\"No friend,\" said Pesca eagerly. \"I see him to-day for the first time\nand the last.\"\n\n\"I am afraid he has brought you bad news?\"", "To my unutterable surprise, these words, harmless as they appeared to\nME, produced the same astounding effect on Pesca which the sight of", "The first man whom I thought of under these circumstances was also the\nonly Italian with whom I was intimately acquainted--my quaint little\nfriend, Professor Pesca.", "Pesca's time--his dark brown hair might be a wig--his name was\nevidently a false one. The accident of time might have helped him as", "The instant before I had been perfectly satisfied, from his own\nreiterated assertion, that Pesca did not know the Count. The instant\nafterwards I was equally certain that the Count knew Pesca!", "\"I go back into my life, and I address myself to the noblest of created\nbeings,\" continued Pesca, vehemently apostrophising my unworthy self", "motionless stillness of him from head to foot told their own tale. A\nmortal dread had mastered him body and soul--and his own recognition of\nPesca was the cause of it!", "Meanwhile, Pesca fixed his eyes earnestly on the broad, full, smiling\nface turned a little upward, exactly opposite to him." ], [ "\"The letter is an anonymous letter--a vile attempt to injure Sir\nPercival Glyde in my sister's estimation. It has so agitated and", "and had conceived the most intense hatred and distrust of him in\nconsequence. To that hatred and distrust--which had expressed itself\nin various ways in the Asylum--the anonymous letter, written after her", "detected, in the alteration of her manner, an uneasy consciousness of\nthe risk she had run in sending the anonymous letter, and I instantly\ndetermined so to frame my answer as to surprise her into owning it.", "Mrs. Vesey's answer to my inquiries only confirmed the apprehensions\nwhich I had previously felt. Laura had certainly written to say she", "once to the house. To tell you the truth, I am uneasy about Laura.\nShe has sent to say she wants to see me directly, and the maid reports", "\"A strange handwriting,\" she said to herself. \"Who can Laura's\ncorrespondent be? Where did you get this?\" she continued, addressing\nthe gardener.", "vivid in my memory. The necessity of sparing Laura any sudden\nknowledge of the truth was the first consideration which the letter\nsuggested to me. I wrote at once to Marian to tell her what I have", "describing Anne's resemblance to Laura, and acknowledging her\naffectionate interest in the little stranger--had been written, beyond\nall question, in perfect innocence of heart. It even seemed doubtful,", "question of the signature. They were speaking of Laura and of me\nbeyond a doubt. I felt heart-sick and faint with anxiety. It might be", "\"I thought, Laura, that you and I were never to refer to him again,\" I\nsaid gently.\n\n\"You had a letter from him?\" she persisted.", "woman to whom it refers. I have read the communication which Mr.\nGilmore kindly addressed to my solicitor, describing the circumstances\nunder which the writer of the anonymous letter was identified. But", "\"It is unjust and cruel to accuse me of distrusting you,\" said Laura.\n\"Ask Marian if I am not justified in wanting to know what this writing\nrequires of me before I sign it.\"", "not only refers to Laura in terms which ought to remain a secret for\never between the writer and me, but it reiterates his suspicion--so", "first week at least. She had also tried hard to induce Anne to be\ncontent with writing to Lady Glyde, in the first instance; but the\nfailure of the warning contained in the anonymous letter sent to", "Mr. Dawson of the delicate and dangerous nature of my inquiries. I had\nnot revealed to him the truth about Laura, having merely described my\nerrand as being of the utmost importance to private family interests", "request, and writing the letter at once. There was not the least\ndanger of the invitation being accepted, for there was not the least\nchance that Laura would consent to leave Blackwater Park while Marian", "that her mistress is apparently very much agitated by a letter that she\nhas received this morning--the same letter, no doubt, which I sent on\nto the house before we came here.\"", "On this account no names are mentioned here, nor is any signature\nattached to these lines: the handwriting is disguised throughout, and I\nmean to deliver the letter myself, under circumstances which will", "to me. This information had so shocked and distressed her, on my\naccount and on Laura's, that she had made up her mind, if anything of", "We went downstairs. Laura entered the drawing-room, while I proceeded\nacross the hall, with my letter in my hand, to put it into the\npost-bag, which hung against the wall opposite to me." ], [ "and had conceived the most intense hatred and distrust of him in\nconsequence. To that hatred and distrust--which had expressed itself\nin various ways in the Asylum--the anonymous letter, written after her", "As soon as she could collect her thoughts, the first idea that\nnaturally occurred to Mrs. Clements was to go and make inquiries at the\nAsylum, to which she dreaded that Anne had been taken back.", "Asylum, and there sees a certain female patient. It is known that a\nwoman named Anne Catherick, and bearing an extraordinary personal", "\"Not a stranger, Walter. As soon as I could draw my breath again, I\nrecognised him. He was the owner of the Lunatic Asylum.\"\n\n\"Was the Count pointing out the house to him?\"", "story of the conspiracy, her own eyes informed her that she had Anne\nCatherick's clothes on. The nurse, on the first night in the Asylum,", "hear of returning to her mother at Welmingham, because she had been\nremoved to the Asylum from that place, and because Sir Percival would\nbe certain to go back there and find her again. There was serious", "don't feel half so sure, as the housekeeper seems to do, that her\ndaughter Anne is not in the neighbourhood after all. What would Walter", "got him close under our eye here in London, and we strongly suspect he\nhad something to do with helping her in the first instance to escape\nfrom the Asylum. Sir Percival wanted to question him at once, but I", "resemblance to Lady Glyde, escaped from the Asylum; it is known that\nthe person received there last July was received as Anne Catherick\nbrought back; it is known that the gentleman who brought her back", "were really responsible for Anne's disappearance. I even added, so as\nto exonerate myself from any after-reproach of my own conscience, that", "This was the Asylum. Here she first heard herself called by Anne\nCatherick's name, and here, as a last remarkable circumstance in the", "anxious about any one than I am now about Walter. All that has happened\nsince he left us has only increased my strong regard and sympathy for\nhim. I hope I am doing right in trying to help him to employment", "\"You have a reason, Walter, for wishing her to know of her husband's\ndeath besides the reason you have just mentioned?\"\n\n\"I have.\"", "understand the object to be gained by my interview with Anne Catherick.\nIs there no doubt in your mind that the person who confined her in the\nAsylum was Sir Percival Glyde?\"", "violence--at the madness of guilty distrust which had made him imprison\nAnne Catherick in the Asylum, and had given him over to the vile", "\"Walter!\" she said, \"I once parted you both, for your good and for\nhers. Wait here, my brother!--wait, my dearest, best friend, till\nLaura comes, and tells you what I have done now!\"", "\"I only know what Anne herself told me, sir. The poor thing used to\nramble and wander about it sadly. She said her mother had got some", "he believed his wife knew enough to ruin him? You heard him say that he\nwas a lost man if the secret of Anne Catherick was known?\"", "\"In a private Asylum, I think you said?\"\n\n\"Yes, in a private Asylum, where a sum of money, which no poor person\ncould afford to give, must have been paid for her maintenance as a\npatient.\"", "trustworthy private Asylum. To her mother's regret, and to his own\nregret, the unfortunate creature had discovered the share which\ncircumstances had induced him to take in placing her under restraint," ], [ "\"Sir Percival Glyde?\"\n\n\"Yes, Sir Percival Glyde.\"", "Sir Percival Glyde in Cumberland, and was personally concerned in one\nimportant result of his short residence under Mr. Fairlie's roof. It", "\"Sir Percival Glyde,\" she repeated, imagining that I had not heard her\nformer reply.\n\n\"Knight, or Baronet?\" I asked, with an agitation that I could hide no\nlonger.", "Glyde--it was plain that Lady Glyde had taken the dead woman's place in\nthe Asylum--the substitution having been so managed as to make", "Results followed as I had anticipated. Lady Glyde became frightened,\nand turned faint. For the second time, and the last, I called Science", "The idea that he was not Sir Percival Glyde at all, that he had no more\nclaim to the baronetcy and to Blackwater Park than the poorest labourer", "declare herself in the Asylum (where no one believed her) to be Lady\nGlyde. These are all facts. What have you to set against them? Miss", "For Sir Percival Glyde.", "The circumstances were now exactly what they were required to be. Lady\nGlyde was confined to her room by nervous illness, and the lumpish", "It announced that Sir Percival Glyde had been definitely accepted, and\nthat the marriage was to take place, as he had originally desired,", "offered by Anne, except that she believed the day of her death was not\nfar off, and that she had something on her mind which must be\ncommunicated to Lady Glyde, at any risk, in secret. Her resolution to", "\"You remember her name?\"\n\n\"Yes, sir. Her name was Lady Glyde.\"\n\n\"How do you come to remember that, when you have forgotten what she\nlooked like?\"", "He said those last words holding his glass up to the light, and looking\nat the wine in it instead of at Lady Glyde. Indeed he never once", "By Mr. Dawson's own directions Lady Glyde was kept in ignorance of this\nchange for the worse. He himself absolutely forbade her, on account of", "His lordship looked next at me.\n\n\"When did the change happen?\" he asked.\n\nI told him the time.\n\n\"Has Lady Glyde been in the room since?\"", "In the first place, \"the late Sir Percival Glyde, of Blackwater Park,\"\nhad never set foot in Varneck Hall. The deceased gentleman was a total\nstranger to Major Donthorne, and to all his family.", "from you or from any one.\" After speaking those strange words loudly\nand sternly, he filled himself another glass of wine and asked Lady\nGlyde what she wanted of him.", "Lady Glyde, alike forbade me to remain in the employment of a man who\nhad shamefully deceived us both by a series of atrocious falsehoods.", "\"One moment, Percival. If Lady Glyde does know the Secret, she must\nknow also that it is a compromising secret for you. As your wife,\nsurely it is her interest to keep it?\"", "Glyde--and that she was therefore naturally interested, for family\nreasons, in observing for herself the extent of Anne Catherick's\ndelusion in relation to her late sister--the tone and manner of the" ], [ "while she lived, and in his own right, on her death, if he survived\nher); and, secondly, the inheritance of Limmeridge for his son, if he\nhad one.", "Limmeridge House.", "Frederick Fairlie, Esquire) at Limmeridge House, Cumberland. But\nbefore they went there, it was his opinion, confirmed by Count Fosco", "Let us take the land first.\n\nIn the time of Miss Fairlie's paternal grandfather (whom we will call\nMr. Fairlie, the elder) the entailed succession to the Limmeridge\nestate stood thus--", "On the day of the funeral, and for one day after it, Count Fosco had\nbeen received as a guest at Limmeridge House, but no interview had", "the shock. Mr. Kyrle had informed them of his death, and had advised\nthem to proceed immediately to Limmeridge House.", "say who lives at Limmeridge now. If any more are left there of that\nname, I only know I love them for Mrs. Fairlie's sake.\"", "Fairlie, Esq., of Limmeridge House, in this parish. Born March 27th,", "\"And you told them the news at Limmeridge House?\"", "\"At Limmeridge House!\" Her pale face brightened as she repeated the\nwords, her wandering eyes fixed on me with a sudden interest. \"Ah, how", "certificate to prove the death, and to show that it took place under\nnatural circumstances. There is the fact of the funeral at Limmeridge,", "of Limmeridge House.", "\"Don't you remember my telling you, when we last met, that I was going\nto Cumberland? I have been in Cumberland ever since--I have been\nstaying all the time at Limmeridge House.\"", "observed in communicating with Limmeridge House are already known, so\nis the magnificent success of my enterprise, so are the solid pecuniary\nresults which followed it. I have to assert, with the whole force of", "forbidden to feel the slightest anxiety in the meantime. There the\nnote ended. It was still early enough to catch the morning train. I\nreached Limmeridge House the same afternoon.", "In the second place, \"the late Mr. Philip Fairlie, of Limmeridge\nHouse,\" had been, in his younger days, the intimate friend and constant", "by proposing to stop at Limmeridge House on his way back to town. He\nwill arrive to-morrow, and will stay with us a few days, so as to allow", "Limmeridge for a few months only, and had then left it to go back to\nher home in Hampshire; but she could not say whether the mother and\ndaughter had ever returned, or had ever been heard of afterwards. No", "Poor Mrs. Vesey travelled with me as far as London. It was impossible\nto abandon her to solitude at Limmeridge after Laura and I had both", "\"To London!\"\n\n\"Yes--on her way to Limmeridge.\"\n\nLady Glyde turned and appealed to me." ], [ "By Mr. Dawson's own directions Lady Glyde was kept in ignorance of this\nchange for the worse. He himself absolutely forbade her, on account of", "Sir Percival was an only child. His father, Sir Felix Glyde, had\nsuffered from his birth under a painful and incurable deformity, and", "He said those last words holding his glass up to the light, and looking\nat the wine in it instead of at Lady Glyde. Indeed he never once", "\"Of course not. If he was married, and had a son, Lady Glyde would not\nbe next heir to the property. I'll tell you what he is. He's a", "She was engaged to be married, and her future husband was Sir Percival\nGlyde. A man of the rank of Baronet, and the owner of property in\nHampshire.", "On Lady Glyde's departure from her husband's house, the fact of that\ndeparture, and the necessary statement of the circumstances under which", "It announced that Sir Percival Glyde had been definitely accepted, and\nthat the marriage was to take place, as he had originally desired,", "Poor Lady Glyde's eyes filled with tears.\n\n\"Marian never left me before,\" she said, \"without bidding me good-bye.\"", "included)--her suspicion of the circumstances under which Lady Glyde\nwas said to have met her death. Mr. Kyrle, who had previously given", "The circumstances were now exactly what they were required to be. Lady\nGlyde was confined to her room by nervous illness, and the lumpish", "(2) That he was never, to my knowledge and belief, left alone in the\nroom with Lady Glyde.", "Lady Glyde, alike forbade me to remain in the employment of a man who\nhad shamefully deceived us both by a series of atrocious falsehoods.", "\"Sir Percival Glyde,\" she repeated, imagining that I had not heard her\nformer reply.\n\n\"Knight, or Baronet?\" I asked, with an agitation that I could hide no\nlonger.", "engagement at the beginning of her father's fatal illness, and that he\nspoke hopefully and happily of her marriage to Sir Percival Glyde on\nhis deathbed.\"", "as the reason why he had not married. You may wonder why the son,\nknowing that his parents had met each other at Knowlesbury, did not\nplay his first tricks with the register of that church, where it might", "register of the marriage of Sir Felix Glyde was in no respect\nremarkable except for the narrowness of the space into which it was\ncompressed at the bottom of the page. The information about his wife", "Glyde, most unwisely, insisted on sitting up with us. She was much too\nnervous and too delicate in health to bear the anxiety of Miss", "here before you pledged yourself to inviting Lady Glyde. You are most\nright, sir, in hesitating to receive the wife until you are quite", "\"Under these serious circumstances, I would recommend Lady Glyde to\nassign as a reason for withholding her signature, that she wishes the", "have been fairly presumed his father and mother were married. The\nreason was that the clergyman who did duty at Knowlesbury church, in\nthe year eighteen hundred and three (when, according to his birth" ], [ "\"In the event of Lady Glyde's signing such a document, as I am\ncompelled to suppose the deed in question to be, her trustees would be", "been drawn up for the purpose of borrowing money, and that Laura's\nsignature was absolutely necessary to fit it for the attainment of Sir\nPercival's object.", "\"You quite understand, Sir Percival,\" the lawyer went on. \"Lady Glyde\nis to sign her name in the presence of a witness--or of two witnesses,", "his creditors. The heir to the estate (Sir Percival having left no\nissue) was a son of Sir Felix Glyde's first cousin, an officer in", "twenty thousand pounds of Lady Glyde's fortune) is in contemplation,\nand that she is made a party to the deed, in order to secure her", "to the society. \"What this document which Lady Glyde is about to sign\nmay be,\" he continued, \"I neither know nor desire to know. I only say", "Lady Glyde looked at the letter for a moment and then placed it in my\nhands.", "Glyde and herself. After first distinctly ascertaining from Sir\nPercival that Mrs. Rubelle was certain to leave at once if I took her", "from you or from any one.\" After speaking those strange words loudly\nand sternly, he filled himself another glass of wine and asked Lady\nGlyde what she wanted of him.", "circumstances, to Sir Percival Glyde's solicitor in London, with whom I\nhave some acquaintance. The letter itself I shall keep here to show to", "and to secure a note of invitation which could be shown to Lady Glyde,\nwere the objects of my visit to Mr. Fairlie. When I have mentioned", "\"Under these serious circumstances, I would recommend Lady Glyde to\nassign as a reason for withholding her signature, that she wishes the", "\"That for the virtue of Lady Glyde! I believe in nothing about her but\nher money. Don't you see how the case stands? She might be harmless\nenough by herself; but if she and that vagabond Hartright----\"", "The circumstances were now exactly what they were required to be. Lady\nGlyde was confined to her room by nervous illness, and the lumpish", "Glyde, who was then at an hotel in London, and who wished to see Mrs.\nClements, for the purpose of arranging a future interview with Anne.", "By Mr. Dawson's own directions Lady Glyde was kept in ignorance of this\nchange for the worse. He himself absolutely forbade her, on account of", "little hope, even if you ultimately established the fact of Lady\nGlyde's being alive, of recovering her fortune. The foreigner would\nprobably leave the country before proceedings were commenced, and Sir", "Sir Percival Glyde in Cumberland, and was personally concerned in one\nimportant result of his short residence under Mr. Fairlie's roof. It", "message to her. The Count most readily and kindly complied with her\nrequest. The message, he said, was a very important one. Lady Glyde", "has written to London, to the family solicitor, Mr. Gilmore. Mr.\nGilmore happens to be away in Glasgow on business, and he has replied" ] ]	[ "Who is the woman in white?", "What is the purpose of Walter at Limmeridge?", "Why is it a problem for Laura to love Walter?", "Who does Laura marry?", "Who dies in a fire?", "Where does Laura disappear to?", "How does she get her identity back?", "Which character resembles the lady in white?", "Who was Laura Fairlie first betrothed to?", "What illness does Marian contract?", "How much is Laura's wedding settlement?", "What type of institution does Marian help Laura escape?", "What did Walter discover about Glyde?", "What was Mrs. Catherick paid for her assistance with the church registry?", "Who was Anne's mother?", "Who inherits Limmeridge?", "Who is Walter Hartright?", "What do the policemen tell Walter about the woman in white?", "What language has Pesca mastered?", "What does the anonymous letter warn Laura of?", "Who does Walter believe placed Anne in the Asylum?", "What was Glyde's secret?", "Who inherits Limmeridge?", "What was the reason Glyde's parents never got married?", "What document does Glyde need to borrow money?" ]	[ [ "An escapee from the asylum / Anne", "Anne." ], [ "He is a teacher", "Drawing master." ], [ "She is engaged", "She's betrothed to Sir Percival Glyde." ], [ "The baronet", "walter" ], [ "The baronet", "Glyde." ], [ "The asylum", "an asylum in London" ], [ "Walter blackmails Fosco.", "Written confession from Fosco." ], [ "Laura Fairlie", "Laura" ], [ "Sir Percival Glyde", "Sir Percival Glyde" ], [ "Typhus ", "typhus" ], [ "Twenty thousand pounds", "20,000 pounds" ], [ "An asylum", "An asylum." ], [ "That he was illegitimate ", "he's an illegitimate child" ], [ "A gold watch and chain with an annual payment", "A gold watch with chain and an annual payment." ], [ "Jane Catherick", "Jane Catherick." ], [ "Walter and Laura's son", "walter and laura's son" ], [ "A young art teacher.", "An art teacher." ], [ "That she escaped from an asylum.", "She escaped from an asylum." ], [ "Italian. ", "Italian" ], [ "Marrying Glyde.", "not to marry Glyde" ], [ "Glyde.", "Glyde" ], [ "He was illegitimate. ", "He was illegitimate." ], [ "The son of Walter and Laura.", "walter and laura's son" ], [ "His mother was already married.", "His mom was already married to someone else." ], [ "A marriage certificate.", "Marriage certificate." ] ]	e3aea7e1997b6057899be86ce2acd04a2df6bf57	train
[ [ "during the last two days. Clearly--too clearly--he remembered where he\nhad seen Celia Harland, and when. A picture rose before his eyes, and", "distinction as Celia Harland came to be living with a woman of so\ncommon a type as Mme. Dauvray.", "\"It is not the truth and I will tell you why. Celia Harland was to have\nmarried me this week.\"", "an education. Then, however, Celia's mother broke down under the strain\nand died. Captain Harland, a couple of years later, went out of the\nservice with discredit, passed through the bankruptcy court, and turned", "the room took them away. They went out again into the garden. Celia\nHarland threw back her head to the stars and drew in a deep breath of\nthe cool night air.", "Then Ricardo's thoughts turned as he tossed upon his bed to Celia\nHarland, a tragic and a lonely figure. He recalled the look of", "Celia's father was a Captain Harland, of a marching regiment, who had\nlittle beyond good looks and excellent manners wherewith to support his", "(1) Celia Harland made her entrance into Mme. Dauvray's household under\nvery doubtful circumstances.", "\"Yes. You saw Celia Harland on the evening before the murder.\"", "(3) If proof were needed how complete that ascendency was, a glance at\nCelia Harland's wardrobe would suffice; for she wore the most expensive\nclothes.", "Celia's side and awkwardly dabbing her forehead with a wet\nhandkerchief. He raised a warning hand. Celia Harland moved and opened", "troubles me. We have lost the evidence which she was going to bring to\nus. She had something to tell us about Celie Harland which now we shall", "(6) The footsteps outside the salon show that Celia Harland ran from\nthe salon to the motor-car.", "\"She is a Jewess, this Celia Harland?\" he cried.", "It was a spiritualistic performance at which Julius Ricardo had been\npresent two years ago. The young, fair-haired girl in black velvet, the\nmedium, was Celia Harland.", "\"No, M. Fleuriot, she is not,\" replied Wethermill. \"I do not speak in\ndisparagement of that race, for I count many friends amongst its\nmembers. But Celia Harland is not one of them.\"", "disappeared from Celia Harland's bedroom; but he remembered that Hanaud\nhad set no store upon that incident, and he refrained. Moreover, he had", "\"No doubt, monsieur,\" said Wethermill, with perfect quietude. \"But\nCelia Harland is not one of those women.\"", "Ricardo looked at Wethermill, doubtful whether he should tell what he\nknew of Celia Harland or not. But before he had decided a knock came\nupon the door.", "(4) It was Celia Harland who arranged that Servettaz, the chauffeur,\nshould be absent at Chambery on the Tuesday night--the night of the\nmurder." ], [ "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at", "seances. But it must succeed! So much of Mme. Dauvray's happiness, so\nmuch of her own, hung upon its success. Let her fail to-night, she", "fitted well with Mme. Dauvray's inclinations. She was in a feverish\nmood of excitement.", "Mme. Dauvray was silent for a moment or two. Then she turned\nimpulsively and spoke in a voice of appeal.", "steeled herself against the thought. To-night she must not fail. For\napart altogether from Mme. Dauvray's happiness, her own, it seemed, was\nat stake too.", "desperately she feared the effect of the exposure upon Mme. Dauvray.\nShe had been treated as a daughter; now she was in return to rob Mme.", "(2) By methods still more doubtful she acquired an extraordinary\nascendency over Mme. Dauvray's mind.", "she was never too tired for that. Besides, here\"--and putting his hand\ninto the safe he drew out a paper--\"here is the list of Mme. Dauvray's\njewellery.\"", "sunk so deeply into her flesh that at first I did not see it. For Mme.\nDauvray was stout.\"", "\"She seems quite happy,\" he said; and, indeed, Mme. Dauvray was talking\nvolubly and with the utmost interest, the jewels sparkling about her", "\"Very well! take Mme. Dauvray as we find her--rich, ostentatious,\neasily taken by a new face, generous, and foolishly superstitious--and", "playing with a dangerous thing. It was a revelation to me. I did not\nknow what to do. Mme. Dauvray would promise me everything, give me", "aroused a passion which I could not control. I was afraid that Mme.\nDauvray's whole life--it seems absurd to those who did not know her,", "with Mme. Dauvray and the woman opposite, who was now her jailer. Mme.\nDauvray lay dead in the little salon, and she herself--she dared not", "The argument silenced Celia. If she refused this condition now she\nwould excite Mme. Dauvray to a terrible suspicion. She drew on her", "wanted--with other things. It was money--always money. Wethermill was\nnot the first to seek the good graces of Mme. Dauvray through her", "But Mlle. Celie was of an address.' And again, speaking of Mme.\nDauvray's queer craze that the spirit of Mme. de Montespan should be", "Celia was silent, and Mme. Dauvray went on in a voice of awe:", "Excitement was gaining upon her, as upon Mme. Dauvray. Her face was\nflushed and shiny, her manner peremptory and quick. Celia's uneasiness", "Dauvray of the belief which had become the passion of her life." ], [ "understand.\" The touch of Adele Tace's hands communicated something to\nher--something which filled her with a vague alarm. She could not have", "neck. She raised her head, saw Celia, nodded to her affectionately, and\nthen pointed her out to her companion. Adele Tace looked the girl over", "On the morning of Tuesday, however, there came a letter from Adele\nTace, of which no trace was afterwards discovered. The letter invited", "her real name, Adele Tace, the wife of Hippolyte--had conceived a\nveritable passion for Harry Wethermill. He was of a not uncommon type,", "Mme. Dauvray and Celia found Adele Rossignol, to give Adele Tace the\nname which she assumed, waiting for them impatiently in the garden of", "The Tace family, which consisted of Adele and her husband and Jeanne,\nher mother, were practised criminals. They had taken the house in", "and the dining-room, Adele Tace kept up the same note of ridicule and\ndisbelief. She had been carefully tutored for her work. She was able to", "cold and callous in himself, yet with the power to provoke passion in\nwomen. And Adele Tace, as the story was told of how Harry Wethermill", "Adele Tace should walk ahead, though a passer-by would not have thought\nshe was of their company. At the corner of the Rue du Casino Adele\nwaited for them and said quickly:", "\"Yes, Adele shall see to-night. I myself will decide what you shall\nwear, Celie.\"\n\nAdele Tace casually suggested the kind of dress which she would prefer.", "voices. A man was speaking to Wethermill. She started and saw Adele\nTace's arm flash upwards. She sank back in terror; and the car rolled", "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "Wethermill stayed by the girl's side throughout the evening. Once again\nhe saw Mme. Dauvray and Adele Tace. But now they were together; now", "Adele Tace leaned back. She drew a breath. It was a breath of relief.\n\n\"Then we will buy the cord in Aix,\" she said.", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "perplexed frown and some return of her suspicion showing in her eyes.\nAdele Tace was not content to leave the subject there.", "they were talking. The first step had been taken. Adele Tace had\nscraped acquaintance with Mme. Dauvray. Celia saw them almost at the\nsame moment.", "\"Adele, I think, was the name used,\" replied Helene, the doubt in her\nvoice diminishing as she searched her memory. \"I am almost sure.\"", "\"I do hope, Adele, that we shall make you believe. But we shall. Oh, I\nam confident we shall.\" And her voice was feverish.\n\nAdele dropped for the moment her tone of raillery.", "\"I will speak to Helene,\" said Mme. Dauvray, and Adele Tace was content." ], [ "\"Mme. Dauvray was, as she always was before a seance, in a feverish\nflutter. 'You will help Mlle. Celie to dress, Helene, and be very", "seances. But it must succeed! So much of Mme. Dauvray's happiness, so\nmuch of her own, hung upon its success. Let her fail to-night, she", "\"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\"\n\n\"Yes, madame,\" answered the maid.", "to tell her--Mme. Dauvray--about their lives. She would have had\nseances all day, but Mlle. Celie pleaded that she was left exhausted at", "seance to-night, then, and the seance had begun. In a dreadful suspense\nshe heard Mme. Dauvray speak.", "no longer young, who had been for years the confidential servant of\nMme. Dauvray, and no doubt had taken her levy from the impostors who", "\"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\"\n\nThe maid instantly slid back into the room.\n\n\"Mademoiselle has not moved,\" she said.", "distract Mme. Dauvray. Celia kept her thoughts away from seances. There\nwas no seance as yet held in the Villa Rose. And there would have been\nnone but for Helene Vauquier.", "attitude as she had been when the lights were turned out. Imagine,\nmessieurs, the effect of such seances upon a woman like Mme. Dauvray.", "evening. On this occasion, however, Mme. Dauvray informed Helene that\nthey should be back early and bring with them a friend who was\ninterested in, but entirely sceptical of, spiritualistic", "\"Helene is expecting us,\" said Mme. Dauvray, for as they approached she\nsaw the front door open to admit them, and Helene Vauquier in the", "\"I will speak to it,\" said Mme. Dauvray, and raising her voice a\nlittle, she asked: \"Who are you that come to us from the spirit-world?\"", "corners of the room, and dim apparitions would appear--the spirits of\ngreat ladies of the past, who would talk with Mme. Dauvray. Such ladies", "steeled herself against the thought. To-night she must not fail. For\napart altogether from Mme. Dauvray's happiness, her own, it seemed, was\nat stake too.", "to Mme. Dauvray. She did nothing but felicitate herself upon the happy\nchance which had sent her Mlle. Celie. And now she lies in her room\nmurdered!\"", "England. Helene Vauquier has served Mme. Dauvray for seven years. She\nhas been the confidential friend rather than the maid. And mark this,", "wanted--with other things. It was money--always money. Wethermill was\nnot the first to seek the good graces of Mme. Dauvray through her", "Celia, however, was not unused to this tone. Mme. Dauvray was proud of\nher companion, and had a habit of showing her off, to the girl's", "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "position, with three chairs about it. Mme. Dauvray waited impatiently.\nCelia stood apparently unconcerned, apparently lost to all that was" ], [ "They are clever people who devised this crime--clever, and of an\naudacity which is surprising.\"", "\"All through this crime there are two things visible--brains and\ndaring; clever brains and extraordinary daring. Would he have dared? He", "\"Patience, my friend. Her story was not all untrue. I say there were\nbrains behind this crime; yes, but brains, even the cleverest, would", "There was one point, and only one, of which he had made every one in\nthat room sure. He had started confident. Here was a sordid crime,", "\"Yes,\" said Ricardo, \"it's the daring of which you spoke which made the\ncrime possible--the same daring which made him seek your help. That was\nunexampled.\"", "brains, those were the property of Harry Wethermill--yes. But it is not\nhe who is the chief actor in the crime. Of that I am sure. He was no\nmore than one of the instruments.\"", "of the gang. We might have suspected Wethermill; we should hardly have\nsecured him, and we should very likely never have known of the Tace\nfamily. That mistake was, as you no doubt are fully aware--\"", "\"Still,\" continued Hanaud, \"here are undoubtedly some questions. Let us\nconsider them! Who was the man who took a part in the crime? Ah, if we", "The Tace family, which consisted of Adele and her husband and Jeanne,\nher mother, were practised criminals. They had taken the house in", "arranged beforehand, if all went as it had been arranged. And as he\nthought upon the careful planning of that crime, and remembered\nWethermill's easy chatter as they had strolled from table to table in", "the men who have committed thefts, had left him no illusions upon that\nfigure in the history of crime. Adele Rossignol ran forward to confess,\nso that Harry Wethermill might suffer to the last possible point of", "Thus the crime was planned; and there WAS no scream, there WAS no\nstruggle. Not a chair was broken, and only a chair upset. Yes, there", "of the gang. It did not help us very much to lay our hands upon them.\nNo; the little accident which happened was the entrance of our friend\nPerrichet into the garden while the murderers were still in the room.", "qualities he had stipulated in the criminal. Ricardo now for the first\ntime understood the trend of all Hanaud's talk at that luncheon. He was", "were brains behind that murder. We know that. But what do we know of\nthe plan? How far can we build it up? Let us see. First, there was an\naccomplice in the house--perhaps two.\"", "had paid his court to Celia Harland, was seized with a vindictive\njealousy. Hanaud was not surprised. He knew the woman-criminal of his", "\"I will tell you,\" said Hanaud, drawing his chair still closer to the\nyoung man. \"Understand this in the first place. There was an accomplice", "upon. Let us formulate what we know. We start with this. The murder was\nnot the work of a moment. It was planned with great care and cunning,", "\"There were difficulties, of course,\" he said; \"the crime was so\ncarefully planned. The little details, such as the footprints, the", "with his finger to his lips. Something gleamed darkly in his hand. It\nwas the barrel of his revolver. Cautiously the men disembarked and" ], [ "neck. She raised her head, saw Celia, nodded to her affectionately, and\nthen pointed her out to her companion. Adele Tace looked the girl over", "\"Clever?\" answered Celia, looking straight at Adele, as though through\nher she saw mysteries beyond. She took up her part at once. Since for", "Mme. Dauvray and Celia found Adele Rossignol, to give Adele Tace the\nname which she assumed, waiting for them impatiently in the garden of", "At first Celia shrank away, fearing some new cruelty. But Adele's voice\ncame to her ears, speaking--and speaking with remorse.", "going on. Her eyes saw no one. Adele looked up at Celia, and laughed\nmaliciously.", "\"Yes, Adele shall see to-night. I myself will decide what you shall\nwear, Celie.\"\n\nAdele Tace casually suggested the kind of dress which she would prefer.", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "She was placed in a chair. Adele passed a cord round her ankles, and\nthe mere touch of it quickened Celia to a spasm of revolt. Her last", "Adele stooped and obeyed. Wethermill opened the door of the car and\nflung Celia into a seat. Adele followed and took her seat opposite the", "The two women stood and looked at her; and then Adele Rossignol burst\nout laughing. Vauquier approached the girl, and Celia had a moment's", "they were talking. The first step had been taken. Adele Tace had\nscraped acquaintance with Mme. Dauvray. Celia saw them almost at the\nsame moment.", "\"Are you ready? Be quick!\"\n\nAdele turned to Celia.\n\n\"Not a word, remember!\"", "\"Keep still!\" said Adele hurriedly, and she placed herself in front of\nCelia.\n\nWethermill opened the wooden door, while Celia's heart raced in her\nbosom.", "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "understand.\" The touch of Adele Tace's hands communicated something to\nher--something which filled her with a vague alarm. She could not have", "This is the story as Mr. Ricardo wrote it out from the statement of\nCelia herself and the confession of Adele Rossignol. Obscurities which", "placed them palm to palm. And at once Celia became uneasy. It was not\nmerely the action, significant though it was of Adele's alertness to", "Celia's mouth was proof of that. As if to add proof to proof, she heard\nAdele Rossignol speak in answer to the signal.", "which she wishes to hide in Mlle. Celie's room. For she admitted that\nit was her suggestion that she should look through mademoiselle's", "\"Yes, something,\" said Adele. \"A necklace--a good one--some good rings,\nand bracelets. And we shall find out where the rest is hid--from her.\"\nAnd she nodded at Celia." ], [ "neck. She raised her head, saw Celia, nodded to her affectionately, and\nthen pointed her out to her companion. Adele Tace looked the girl over", "Mme. Dauvray and Celia found Adele Rossignol, to give Adele Tace the\nname which she assumed, waiting for them impatiently in the garden of", "\"Clever?\" answered Celia, looking straight at Adele, as though through\nher she saw mysteries beyond. She took up her part at once. Since for", "At first Celia shrank away, fearing some new cruelty. But Adele's voice\ncame to her ears, speaking--and speaking with remorse.", "going on. Her eyes saw no one. Adele looked up at Celia, and laughed\nmaliciously.", "\"Yes, Adele shall see to-night. I myself will decide what you shall\nwear, Celie.\"\n\nAdele Tace casually suggested the kind of dress which she would prefer.", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "She was placed in a chair. Adele passed a cord round her ankles, and\nthe mere touch of it quickened Celia to a spasm of revolt. Her last", "Adele stooped and obeyed. Wethermill opened the door of the car and\nflung Celia into a seat. Adele followed and took her seat opposite the", "understand.\" The touch of Adele Tace's hands communicated something to\nher--something which filled her with a vague alarm. She could not have", "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "This is the story as Mr. Ricardo wrote it out from the statement of\nCelia herself and the confession of Adele Rossignol. Obscurities which", "The two women stood and looked at her; and then Adele Rossignol burst\nout laughing. Vauquier approached the girl, and Celia had a moment's", "they were talking. The first step had been taken. Adele Tace had\nscraped acquaintance with Mme. Dauvray. Celia saw them almost at the\nsame moment.", "which she wishes to hide in Mlle. Celie's room. For she admitted that\nit was her suggestion that she should look through mademoiselle's", "On the morning of Tuesday, however, there came a letter from Adele\nTace, of which no trace was afterwards discovered. The letter invited", "\"Keep still!\" said Adele hurriedly, and she placed herself in front of\nCelia.\n\nWethermill opened the wooden door, while Celia's heart raced in her\nbosom.", "placed them palm to palm. And at once Celia became uneasy. It was not\nmerely the action, significant though it was of Adele's alertness to", "\"Yes, something,\" said Adele. \"A necklace--a good one--some good rings,\nand bracelets. And we shall find out where the rest is hid--from her.\"\nAnd she nodded at Celia.", "and the dining-room, Adele Tace kept up the same note of ridicule and\ndisbelief. She had been carefully tutored for her work. She was able to" ], [ "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "Mme. Dauvray and Celia found Adele Rossignol, to give Adele Tace the\nname which she assumed, waiting for them impatiently in the garden of", "But even while he spoke he soon caught sight of Mme. Dauvray standing\nby one of the tables; and near to her was Adele Tace. Adele had not yet", "And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then,\nwhat Adele said?\"\n\nAnd Celia started violently. Mme. Dauvray doubted.", "\"I will speak to Helene,\" said Mme. Dauvray, and Adele Tace was content.", "Wethermill stayed by the girl's side throughout the evening. Once again\nhe saw Mme. Dauvray and Adele Tace. But now they were together; now", "they were talking. The first step had been taken. Adele Tace had\nscraped acquaintance with Mme. Dauvray. Celia saw them almost at the\nsame moment.", "understand.\" The touch of Adele Tace's hands communicated something to\nher--something which filled her with a vague alarm. She could not have", "their coffee on the terrace of the hotel. Mme. Dauvray had been really\npained by the conversation of Adele Tace. She had all the missionary\nzeal of a fanatic.", "was changing her dress Mme. Dauvray and the stranger, Adele, went into\nthe dining-room. I know that Mlle. Celie, as soon as she was dressed,", "of her audience was inclined to laugh. To Mme. Dauvray the whole\nbusiness was as serious as the most solemn ceremonial. Adele was intent", "The argument silenced Celia. If she refused this condition now she\nwould excite Mme. Dauvray to a terrible suspicion. She drew on her", "with Mme. Dauvray and the woman opposite, who was now her jailer. Mme.\nDauvray lay dead in the little salon, and she herself--she dared not", "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at", "wanted--with other things. It was money--always money. Wethermill was\nnot the first to seek the good graces of Mme. Dauvray through her", "steeled herself against the thought. To-night she must not fail. For\napart altogether from Mme. Dauvray's happiness, her own, it seemed, was\nat stake too.", "Celia was silent, and Mme. Dauvray went on in a voice of awe:", "\"Let me hear,\" he said gravely.\n\n\"It is the murder of Mme. Dauvray,\" said Wethermill.\n\nHanaud started.", "and the dining-room, Adele Tace kept up the same note of ridicule and\ndisbelief. She had been carefully tutored for her work. She was able to", "\"Then it was certainly for her famous collection of jewellery that\nMadame Dauvray was murdered?\"\n\n\"Certainly, monsieur.\"\n\n\"Now, where did she keep her jewellery?\"" ], [ "Hanaud leant back with an extraordinary look of perplexity upon his\nface. But to Ricardo the whole story was now clear. Here was an", "\"Every one in Geneva or near Geneva will know of this message by now.\"\n\n\"Who could have told?\" asked Ricardo blankly, and Hanaud laughed in his\nface, but laughed without any merriment.", "might merely have been assumed to deceive. His questions betrayed in no\nparticular the colour of his mind. Now, however, he made himself clear.", "\"It was Mlle. Celie,\" he said, \"who told me.\"\n\n\"Oh!\" said Hanaud, slowly. \"It was Mlle. Celie. When did she tell you?\"", "\"As for the rest, Helene Vauquier lied,\" he cried violently, and he\ntossed the paper to Hanaud. \"What do you make of it?\"\n\nHanaud smiled and shook his head.", "succeeded, we should have known nothing of their movements--oh, but\nnothing--nothing. Ah! I tell you this is no ordinary blundering affair.", "\"Patience, my friend. Her story was not all untrue. I say there were\nbrains behind this crime; yes, but brains, even the cleverest, would", "He had given a signal to Adele Rossignol. All that woman's scepticism\nand precaution against trickery had been a mere blind, under cover of", "\"Well, what have I done?\" he asked. \"Come! tell me!\"\n\n\"You have destroyed a clue,\" replied Ricardo impressively.", "had been taken to prevent trickery and where those precautions had\nfailed. Her whole conversation was carefully planned to one end, and to\none end alone. She wished to produce in the minds of her companions so", "\"I will tell you,\" he said, in his most confidential tones. \"Only it\nmust remain a secret between you and me. I did it--because I have a\nsense of humour.\"", "man and the woman, her accomplices. It was something, then, which she\nwas concerned in hiding from them. It is not rash to guess, then, that", "\"I will tell you,\" said Hanaud, drawing his chair still closer to the\nyoung man. \"Understand this in the first place. There was an accomplice", "Vauquier was in the plot. The bolts and the hinges would not have\nworked so smoothly but for her. Darkness again filled the recess", "the preparations. It ran like this\"--and Hanaud took a scrap of paper\nfrom his pocket and read out from it a copy of the telegram: \"'Agent", "\"She speaks, then! After all she speaks!\" Hanaud whispered in a voice\nof awe. He ran to the door of the room, opened it suddenly, and,", "quietly and respectfully she faced the magistrate week after week. She\nwas the perfect picture of a servant who knew her place. And nothing\nwas wrung from her. But without her help the story became complete. And", "into the recess and see him. And then the real truth flashed in upon\nher blindingly. He had jerked the cord, but he had jerked it", "She told her share of the story--she told what happened. There was\napparently one terrible scene when she was confronted with Harry", "the men who have committed thefts, had left him no illusions upon that\nfigure in the history of crime. Adele Rossignol ran forward to confess,\nso that Harry Wethermill might suffer to the last possible point of" ], [ "They took her upstairs into the big bedroom overlooking the lake. Adele\nopened the door of the closet, where a truckle-bed stood, and thrust\nthe girl in.", "She told her share of the story--she told what happened. There was\napparently one terrible scene when she was confronted with Harry", "\"Oh yes, monsieur. They generally had their meals here. See, at that\nlittle table over there! I kept it for them. But monsieur knows", "Ricardo could hardly believe that he stood actually upon the spot\nwhere, within twelve hours, a cruel and sinister tragedy had taken\nplace. There was so little disorder. The three windows on his right", "sinister a tragedy had taken place within its walls during the last\ntwelve hours. It glistened so gaudily in the blaze of sunlight. Here\nand there the green outer shutters were closed; here and there the", "Suddenly a scream rang out in the garden--a shrill, loud scream, close\nbeneath the windows. The old woman sprang to her feet. The girl on the", "The lights of the city fell away behind them. Now only a glow in the\nsky spoke of Geneva; now even that was gone and with a smooth", "She heard the door open again and shut again. Then steps approached the\nrecess. The curtains were flung back, and the two women stood in front", "towards the house. Then he cried, \"Ah!\" and drew himself into an\nattitude of attention. A tall, thin man of about forty-five years,", "All three stood holding their breath, straining their ears in the dark\nroom. On the hard gravel of the drive outside footsteps became faintly\naudible, and grew louder and came near. Adele whispered to Vauquier:", "Then they took her clothes away and left her in the darkness. She heard\nthe key turn in the lock, and a moment after the sound of the bedstead\nbeing drawn across the doorway. But she heard no more, for almost\nimmediately she fell asleep.", "towards the town past the garden at the back of the hotel. Down this\nroad the two men walked, while the supporting wall of the garden upon\ntheir right hand grew higher and higher above their heads. They came to", "is the likely place. It is a good city to hide in. Moreover the car\nappears at the corner at daylight. How does it appear there? What road", "They see her leave the house, an unusual proceeding for her with her\nhusband ill, as her own letter tells us. Hippolyte follows her to the", "kind, and took me home with her, and I cried all the way in the\ncarriage. She kept me a few days, and then she told me that I was to", "They waited outside the exit while the passengers gave up their\ntickets. Amongst them a middle-aged, short woman, of a plethoric\ntendency, attracted their notice. She was neatly but shabbily dressed", "\"It is here,\" said Besnard, as the party descended from the cab, \"in\nthe coach-house of this empty villa.\"\n\n\"Here?\" cried Ricardo in amazement.", "of hunger and distress. Madame believed it, and brought her home.\nMadame was so kind, so careless in her kindness. And now she lies", "They got into a cab outside the door. Perrichet mounted the box, and\nthe cab was driven along the upward-winding road past the Hotel", "The two men had reached the square in front of the Etablissement des\nBains. Ricardo dropped on to a bench and wiped his forehead." ], [ "\"No, M. Fleuriot, she is not,\" replied Wethermill. \"I do not speak in\ndisparagement of that race, for I count many friends amongst its\nmembers. But Celia Harland is not one of them.\"", "Celia's father was a Captain Harland, of a marching regiment, who had\nlittle beyond good looks and excellent manners wherewith to support his", "\"It is not the truth and I will tell you why. Celia Harland was to have\nmarried me this week.\"", "during the last two days. Clearly--too clearly--he remembered where he\nhad seen Celia Harland, and when. A picture rose before his eyes, and", "\"She is a Jewess, this Celia Harland?\" he cried.", "distinction as Celia Harland came to be living with a woman of so\ncommon a type as Mme. Dauvray.", "(1) Celia Harland made her entrance into Mme. Dauvray's household under\nvery doubtful circumstances.", "\"No doubt, monsieur,\" said Wethermill, with perfect quietude. \"But\nCelia Harland is not one of those women.\"", "an education. Then, however, Celia's mother broke down under the strain\nand died. Captain Harland, a couple of years later, went out of the\nservice with discredit, passed through the bankruptcy court, and turned", "(3) If proof were needed how complete that ascendency was, a glance at\nCelia Harland's wardrobe would suffice; for she wore the most expensive\nclothes.", "Celia's side and awkwardly dabbing her forehead with a wet\nhandkerchief. He raised a warning hand. Celia Harland moved and opened", "\"Yes. You saw Celia Harland on the evening before the murder.\"", "It was a spiritualistic performance at which Julius Ricardo had been\npresent two years ago. The young, fair-haired girl in black velvet, the\nmedium, was Celia Harland.", "The car sped through the streets of Geneva. Celia Harland, with a\nlittle sigh of relief, nestled down between the two men.", "Then Ricardo's thoughts turned as he tossed upon his bed to Celia\nHarland, a tragic and a lonely figure. He recalled the look of", "Ricardo looked at Wethermill, doubtful whether he should tell what he\nknew of Celia Harland or not. But before he had decided a knock came\nupon the door.", "the room took them away. They went out again into the garden. Celia\nHarland threw back her head to the stars and drew in a deep breath of\nthe cool night air.", "had paid his court to Celia Harland, was seized with a vindictive\njealousy. Hanaud was not surprised. He knew the woman-criminal of his", "(6) The footsteps outside the salon show that Celia Harland ran from\nthe salon to the motor-car.", "\"They are both friends of mine,\" replied Hanaud. \"If you do not object\nI think their assistance may be useful. Mr. Wethermill, for instance,\nwas acquainted with Celia Harland.\"" ], [ "\"Mme. Dauvray was, as she always was before a seance, in a feverish\nflutter. 'You will help Mlle. Celie to dress, Helene, and be very", "seances on Mme. Dauvray. Celia had never been brought quite close to\nthe credulous before.", "distract Mme. Dauvray. Celia kept her thoughts away from seances. There\nwas no seance as yet held in the Villa Rose. And there would have been\nnone but for Helene Vauquier.", "And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then,\nwhat Adele said?\"\n\nAnd Celia started violently. Mme. Dauvray doubted.", "upon Mme. Dauvray. Celia had no suspicions of Helene Vauquier. She\nwould have laughed if any one had told her that this respectable and", "to Mme. Dauvray. She did nothing but felicitate herself upon the happy\nchance which had sent her Mlle. Celie. And now she lies in her room\nmurdered!\"", "Within a fortnight Mme. Dauvray confided to Celia that there was a new\nfortune-teller come to Paris, who, by looking into a crystal, could", "made Mme. Dauvray's acquaintance; that was evident. She was apparently\nunaware of her; but she was gradually edging towards her. Wethermill\nsmiled, and Celia caught the smile.", "seances. It would never do for a spirit to admit that it did not know.\nAt once its authority would be gone, and with it Mlle. Celie's as well.", "to tell her--Mme. Dauvray--about their lives. She would have had\nseances all day, but Mlle. Celie pleaded that she was left exhausted at", "Helene Vauquier despised her. Celia had taken her place in Mme.\nDauvray's confidence, had deposed her unwittingly, had turned the", "Dauvray's cheeks and the agitation of her manner warned Celia how much\nhung upon the success of this last seance. How much for both of them!", "Celia was silent, and Mme. Dauvray went on in a voice of awe:", "\"Some one--who means harm!\" she whispered, trembling with excitement.\n\n\"Ah, mademoiselle is already under control,\" said Helene, using the\njargon which she had learnt from Celia's lips.", "\"Madame shall see to-night,\" Celia stammered, and Camille Dauvray rather\nsternly repeated her words.", "properly. Then the voices would cease and the lights be turned up, and\nMlle. Celie would be found in a trance just in the same place and", "\"Celie,\" said Mme. Dauvray, \"it isn't true! Surely it isn't true?\"\n\nCelia drew her hands away from her face.", "Celia, in her mind, could see them sitting about the round table in the\ndarkness, Mme. Dauvray between the two women, securely held by them.", "It was a spiritualistic performance at which Julius Ricardo had been\npresent two years ago. The young, fair-haired girl in black velvet, the\nmedium, was Celia Harland.", "seances. But it must succeed! So much of Mme. Dauvray's happiness, so\nmuch of her own, hung upon its success. Let her fail to-night, she" ], [ "to Mme. Dauvray. She did nothing but felicitate herself upon the happy\nchance which had sent her Mlle. Celie. And now she lies in her room\nmurdered!\"", "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "Celia was silent, and Mme. Dauvray went on in a voice of awe:", "Mme. Dauvray and Celia to come out to Annecy and dine with her at an\nhotel there. They could then return together to Aix. The proposal", "Helene Vauquier despised her. Celia had taken her place in Mme.\nDauvray's confidence, had deposed her unwittingly, had turned the", "with Mme. Dauvray and the woman opposite, who was now her jailer. Mme.\nDauvray lay dead in the little salon, and she herself--she dared not", "Mme. Dauvray was indignant. Celia, for her part, felt humiliated and\nsmall. They sat down to their dinner in the garden, but the rain began", "Celia, in her mind, could see them sitting about the round table in the\ndarkness, Mme. Dauvray between the two women, securely held by them.", "\"Madame shall see to-night,\" Celia stammered, and Camille Dauvray rather\nsternly repeated her words.", "upon Mme. Dauvray. Celia had no suspicions of Helene Vauquier. She\nwould have laughed if any one had told her that this respectable and", "discomfort. The three women spoke a few words, and then Mme. Dauvray\nand Celia left the rooms and walked to the entrance-doors. But as they\nwalked Celia became alarmed.", "\"Certainly, if madame wishes,\" said Helene submissively. She looked\nround the room. \"Mlle. Celie can be placed on a chair in that recess", "position, with three chairs about it. Mme. Dauvray waited impatiently.\nCelia stood apparently unconcerned, apparently lost to all that was", "And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with\nher maid what frock she should wear. She was hot, and she took a", "The story begins with the explanation of that circumstance which had\ngreatly puzzled Mr. Ricardo--Celia's entry into the household of Mme.\nDauvray.", "Celia, however, was not unused to this tone. Mme. Dauvray was proud of\nher companion, and had a habit of showing her off, to the girl's", "hides himself in the salon until Mme. Dauvray returns from the\ndining-room. You see, that leaves Mlle. Celie innocent.\"", "The argument silenced Celia. If she refused this condition now she\nwould excite Mme. Dauvray to a terrible suspicion. She drew on her", "\"Mme. Dauvray was, as she always was before a seance, in a feverish\nflutter. 'You will help Mlle. Celie to dress, Helene, and be very", "For this conversation took place on the Monday, and in the evening Mme.\nDauvray and Celia went as usual to the Villa des Fleurs and dined there." ], [ "with Mme. Dauvray and the woman opposite, who was now her jailer. Mme.\nDauvray lay dead in the little salon, and she herself--she dared not", "\"Then it was certainly for her famous collection of jewellery that\nMadame Dauvray was murdered?\"\n\n\"Certainly, monsieur.\"\n\n\"Now, where did she keep her jewellery?\"", "desperately she feared the effect of the exposure upon Mme. Dauvray.\nShe had been treated as a daughter; now she was in return to rob Mme.", "upon Mme. Dauvray. Celia had no suspicions of Helene Vauquier. She\nwould have laughed if any one had told her that this respectable and", "\"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\"\n\nThe maid instantly slid back into the room.\n\n\"Mademoiselle has not moved,\" she said.", "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at", "\"Let me hear,\" he said gravely.\n\n\"It is the murder of Mme. Dauvray,\" said Wethermill.\n\nHanaud started.", "\"I'll follow,\" he said, and as he turned he stumbled over the body of\nMme. Dauvray. With a shrill cry he kicked it out of his way and crept", "\"And in what way, monsieur,\" he asked, \"are you interested in the\nmurder of Mme. Dauvray?\"", "to Mme. Dauvray. She did nothing but felicitate herself upon the happy\nchance which had sent her Mlle. Celie. And now she lies in her room\nmurdered!\"", "\"Well, then, let us see who there are in Mme. Dauvray's household. The\nlist is not a long one. It was Mme. Dauvray's habit to take her", "between Mme. Dauvray and myself. But in that case the lights would be\nturned out first, and it would be really my hand which held Mme.", "\"Not Mme. Dauvray! Who was it, then?\" Hanaud asked sharply.\n\nServettaz glanced from one to another of the grave faces which\nconfronted him.", "\"Just imagine if you can what his feelings must have been, when in Mme.\nDauvray's bedroom, with the woman he had uselessly murdered lying rigid", "dangerous criminal. Even now he could not understand how she could be\ninnocent of a share in Mme. Dauvray's murder. But Hanaud evidently", "\"If that is so,\" he said slowly, \"Mme. Dauvray kept her jewels in this\nsafe, why has every drawer been ransacked, why was the bed moved?", "\"I shall tell you something now of Mme. Dauvray,\" he said. \"We will not\ntake up her early history. It might not be edifying and, poor woman,", "hides himself in the salon until Mme. Dauvray returns from the\ndining-room. You see, that leaves Mlle. Celie innocent.\"", "\"We then went to Mme. Dauvray's room and discovered her brilliants and\nher ornaments. At once the meaning of that agitated piece of", "\"As for the rest, Helene Vauquier lied,\" he cried violently, and he\ntossed the paper to Hanaud. \"What do you make of it?\"\n\nHanaud smiled and shook his head." ], [ "\"Let me hear,\" he said gravely.\n\n\"It is the murder of Mme. Dauvray,\" said Wethermill.\n\nHanaud started.", "\"Then it was certainly for her famous collection of jewellery that\nMadame Dauvray was murdered?\"\n\n\"Certainly, monsieur.\"\n\n\"Now, where did she keep her jewellery?\"", "\"And in what way, monsieur,\" he asked, \"are you interested in the\nmurder of Mme. Dauvray?\"", "\"You will remember I made you all promise silence as to the finding of\nMme. Dauvray's jewellery. For I thought, if they have taken the girl", "of finding out from her Mme. Dauvray's hiding-place. It was a small\nchance but our only one. The moment the discovery of the jewellery was", "\"We then went to Mme. Dauvray's room and discovered her brilliants and\nher ornaments. At once the meaning of that agitated piece of", "\"Well, then, let us see who there are in Mme. Dauvray's household. The\nlist is not a long one. It was Mme. Dauvray's habit to take her", "with Mme. Dauvray and the woman opposite, who was now her jailer. Mme.\nDauvray lay dead in the little salon, and she herself--she dared not", "\"I shall tell you something now of Mme. Dauvray,\" he said. \"We will not\ntake up her early history. It might not be edifying and, poor woman,", "a book. And there is no way round. You would find sure and certain\nproof whether or no Madame Dauvray's car travelled last night to", "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "\"Now tell me what you make of the case. What M. Wethermill thinks--that\nis clear, is it not? Helene Vauquier is the guilty one. But you, M.\nRicardo? What is your opinion?\"", "\"If that is so,\" he said slowly, \"Mme. Dauvray kept her jewels in this\nsafe, why has every drawer been ransacked, why was the bed moved?", "\"Not Mme. Dauvray! Who was it, then?\" Hanaud asked sharply.\n\nServettaz glanced from one to another of the grave faces which\nconfronted him.", "Celia covered her face with her hands. It would be true. She had\nno doubt of it. Mme. Dauvray would never forgive herself--would never", "\"I'll follow,\" he said, and as he turned he stumbled over the body of\nMme. Dauvray. With a shrill cry he kicked it out of his way and crept", "And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then,\nwhat Adele said?\"\n\nAnd Celia started violently. Mme. Dauvray doubted.", "\"What does monsieur want of Mme. Dauvray?\" she asked. And the question\nwas her answer.\n\nWethermill stood silent. Then he said abruptly:", "\"It was Mlle. Celie,\" he said, \"who told me.\"\n\n\"Oh!\" said Hanaud, slowly. \"It was Mlle. Celie. When did she tell you?\"", "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at" ], [ "Celia nodded her head gratefully. After all, then, she was not to die.\nIt seemed to her hardly possible. But before she could rise a subdued", "her hands might be freed. She had but a few seconds. She had one\nthought--to hide herself in the darkness of the garden. Celia fled", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "\"There we are,\" he said, with his shrill, wavering laugh. \"I opened the\ngate before.\" And suddenly Celia hung inert in his arms.", "With Helene Vauquier to support her if she fell, Celia took a tiny\nshuffling step forward, feeling supremely ridiculous. No one, however,", "At first Celia shrank away, fearing some new cruelty. But Adele's voice\ncame to her ears, speaking--and speaking with remorse.", "\"Yes, yes!\" Celia cried eagerly. She rose to her feet, and tottered.\nHanaud put his arm about her. \"You are very kind,\" she said in a low", "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "Celia shuddered from head to foot, and, burying her face in the\ncushion, lay trembling. She would have begged for death upon her knees", "its place in the hall. She put Celia's shoes upon her feet, loosening\nthe cord from her ankles. Then she looked about the floor and picked up", "And upon the old woman's face there came a look, not of alarm, but of\nextraordinary relief. The genuine, heartfelt cry restored her\nconfidence in Celia.", "She caught her by the neck and lifted her up. She pushed the lace scarf\nup at the side of Celia's head. Celia began to struggle furiously,", "Celia heard some one drop heavily into a chair. It was Wethermill, and\nhe buried his face in his hands. Helene went over to him and laid her\nhand upon his shoulder and shook him.", "\"No, my friend,\" answered Hanaud. \"That made them keep Mlle. Celie\nalive. It enabled us to save her when we had discovered the whereabouts", "The raillery in her voice had a note of savagery in it now. Celia's\nvague terror grew. She had a feeling that a beast was waking in the", "All Celia's heart and youth rose in revolt against her extremity. If\nshe could only free her lips! The footsteps came round the corner of", "CHAPTER XV\n\nCELIA'S STORY", "And so silence came again, and suddenly there was quite a rush of light\ninto the recess. Celia was startled. She turned her head back again", "thwart her, which troubled Celia. But she was extraordinarily receptive\nof impressions, extraordinarily quick to feel, from a touch, some dim", "Celia leaned back, her heart fainting within her. Arrange! It was her\nturn now. She was to be \"arranged.\" She had no doubt what sinister" ], [ "\"No, my friend,\" answered Hanaud. \"That made them keep Mlle. Celie\nalive. It enabled us to save her when we had discovered the whereabouts", "\"No!\" cried Celia decisively, and she again laid hold of his coat, with\na pretty imperiousness, as though he belonged to her.\n\n\"But I must,\" said Hanaud with a laugh.", "\"Yes, yes!\" Celia cried eagerly. She rose to her feet, and tottered.\nHanaud put his arm about her. \"You are very kind,\" she said in a low", "\"Quick!\" said Hanaud, pointing to the girl, who was now struggling\nhelplessly upon the sofa. \"Mlle. Celie!\"", "Celia and took his leave. Hanaud led Celia up on to the balcony of the\nrestaurant and ordered supper. There were people still dining at the\ntables.", "Hanaud leaned across the table to Celia and said in a low voice:\n\n\"Mademoiselle, if I may suggest it, it would be as well if you put on\nyour gloves; otherwise they may notice your wrists.\"", "\"It was Mlle. Celie,\" he said, \"who told me.\"\n\n\"Oh!\" said Hanaud, slowly. \"It was Mlle. Celie. When did she tell you?\"", "\"We must go,\" Hanaud whispered hoarsely. \"Here are life and death in\nthe balance, as I believe, and there\"--he pointed down to the little", "her while Hanaud ran back into the restaurant. It mattered very little,\nhowever, what he said, for Celia's eyes were fixed upon the doorway", "The room was opposite to Celia's. Besnard produced the key and unlocked\nthe door. Hanaud took off his hat upon the threshold and then passed", "\"You can trust Marie,\" said Hanaud. And Celia turned as she stood upon\nthe ground and gave her hands to the two men.", "\"Mlle. Celie,\" said Hanaud, and his voice told her that he was moved,\n\"that is a very pretty thing which you have said to me.\"", "towards Celia too. She wrenched herself from Hanaud's arms, she shrank\nviolently away. Her white face flushed scarlet and grew white again.", "had paid his court to Celia Harland, was seized with a vindictive\njealousy. Hanaud was not surprised. He knew the woman-criminal of his", "\"Mme. Dauvray's motor-car has been found,\" he cried. \"Let us go!\"\n\nHanaud called for the bill and paid it. The three men left the Villa\ndes Fleurs together.", "\"Listen, mademoiselle, to what she says,\" said the judge, and he read\nout to Celia an extract or two from Hanaud's report of his first\ninterview with Helene Vauquier in her bedroom at the Villa Rose.", "\"No,\" said Hanaud; \"let it wait in the little street at the back of my\nhotel. It will not be so noticeable there. You have petrol for a long\njourney?\"", "\"She speaks, then! After all she speaks!\" Hanaud whispered in a voice\nof awe. He ran to the door of the room, opened it suddenly, and,", "disappeared from Celia Harland's bedroom; but he remembered that Hanaud\nhad set no store upon that incident, and he refrained. Moreover, he had", "\"In writing?\" exclaimed Hanaud quickly.\n\n\"Yes; answers to questions. Mlle. Celie had them ready. Oh, but she was\nof an address altogether surprising." ], [ "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "Celia shuddered from head to foot, and, burying her face in the\ncushion, lay trembling. She would have begged for death upon her knees", "And the next moment Celia winced and had to bite her lip to prevent a\ncry. The thin cord was wound twice about her wrists, drawn cruelly", "Celia made no movement. She lay trying to believe that no crime had\nbeen committed, that that lifeless body did not lie against the wall.\nAnd then she heard in the room above a bed wheeled roughly from its\nplace.", "stupidity, they sat down to decide upon Celia's fate. That, however,\nwas soon arranged. They would dress her in everything which she wore", "The raillery in her voice had a note of savagery in it now. Celia's\nvague terror grew. She had a feeling that a beast was waking in the", "have liked Celia--Celia, smiling at herself in the glass--to know\nsuddenly what was in store for her! She saw in imagination the colour\ndie from the cheeks, the eyes stare wide with terror.", "Celia nodded her head gratefully. After all, then, she was not to die.\nIt seemed to her hardly possible. But before she could rise a subdued", "her hands might be freed. She had but a few seconds. She had one\nthought--to hide herself in the darkness of the garden. Celia fled", "She was placed in a chair. Adele passed a cord round her ankles, and\nthe mere touch of it quickened Celia to a spasm of revolt. Her last", "Celia listened and shuddered. He would have no more compunction over\ndrowning her than he would have had over drowning a blind kitten.", "She caught her by the neck and lifted her up. She pushed the lace scarf\nup at the side of Celia's head. Celia began to struggle furiously,", "But even in the midst of her eagerness--so thoroughly had she been\nprepared--there lingered a flavour of doubt, of suspicion. In Celia's\nmind there was still the one desperate resolve.", "\"There we are,\" he said, with his shrill, wavering laugh. \"I opened the\ngate before.\" And suddenly Celia hung inert in his arms.", "that Mlle. Celie helped to murder and rob her benefactress. They are\ncertain to suspect some one, so why not you, pretty one?\"", "maid was carrying Celia's white coat. They did not mean to murder her,\nthen. They meant to take her away, and even then a spark of hope lit up", "Wethermill shut his eyes in a spasm of pain and the pallor of his face\nincreased.\n\n\"Suppose that Celia were one of the victims?\" he cried in a stifled\nvoice.", "The old woman who acted as servant, Jeanne Tace, received her. Celia\noffered no resistance. The fear of vitriol had made her supple as a", "She is killed. Mlle. Celie is a danger. So Mile. Celie must be\nsuppressed. And off goes a telegram to the Geneva paper, handed in by a", "The three people ate their supper, and, while they ate it, discussed\nCelia's fate. She was lying with her head bowed upon her arms at the" ], [ "\"Madame had been very good to me. She was kind and simple,\" said Celia,\nwith a very genuine affection in her voice. \"The people whom we knew", "day, and the girl quickly understood the ruling passion of the woman\nwho had befriended her. It took very little time then for Celia to", "\"The young Englishwoman is, I suppose, your friend Miss Celia?\" said\nRicardo slowly.\n\nWethermill started forward.\n\n\"You know her, then?\" he cried in amazement.", "neck. She raised her head, saw Celia, nodded to her affectionately, and\nthen pointed her out to her companion. Adele Tace looked the girl over", "With Helene Vauquier to support her if she fell, Celia took a tiny\nshuffling step forward, feeling supremely ridiculous. No one, however,", "At first Celia shrank away, fearing some new cruelty. But Adele's voice\ncame to her ears, speaking--and speaking with remorse.", "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "thwart her, which troubled Celia. But she was extraordinarily receptive\nof impressions, extraordinarily quick to feel, from a touch, some dim", "\"You are amongst good friends, Mlle. Celie,\" said Hanaud with great\ngentleness.\n\n\"Oh, I wonder! I wonder!\" she cried piteously.", "made Mme. Dauvray's acquaintance; that was evident. She was apparently\nunaware of her; but she was gradually edging towards her. Wethermill\nsmiled, and Celia caught the smile.", "\"Yes, yes!\" Celia cried eagerly. She rose to her feet, and tottered.\nHanaud put his arm about her. \"You are very kind,\" she said in a low", "\"Clever?\" answered Celia, looking straight at Adele, as though through\nher she saw mysteries beyond. She took up her part at once. Since for", "The two women stood and looked at her; and then Adele Rossignol burst\nout laughing. Vauquier approached the girl, and Celia had a moment's", "its place in the hall. She put Celia's shoes upon her feet, loosening\nthe cord from her ankles. Then she looked about the floor and picked up", "\"They are both friends of mine,\" replied Hanaud. \"If you do not object\nI think their assistance may be useful. Mr. Wethermill, for instance,\nwas acquainted with Celia Harland.\"", "Celia nodded her head gratefully. After all, then, she was not to die.\nIt seemed to her hardly possible. But before she could rise a subdued", "Then Ricardo's thoughts turned as he tossed upon his bed to Celia\nHarland, a tragic and a lonely figure. He recalled the look of", "Celia leaned back, her heart fainting within her. Arrange! It was her\nturn now. She was to be \"arranged.\" She had no doubt what sinister", "Celia, however, was not unused to this tone. Mme. Dauvray was proud of\nher companion, and had a habit of showing her off, to the girl's", "Hanaud nodded his head.\n\n\"I think so,\" he answered, with a very gentle look at Celia. \"Yes, I\nthink so.\"" ], [ "it. Now, however, when I saw Mme. Dauvray so feverish, so excited, so\nfirmly convinced that great ladies from the spirit world came and spoke", "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at", "seances. But it must succeed! So much of Mme. Dauvray's happiness, so\nmuch of her own, hung upon its success. Let her fail to-night, she", "seance to-night, then, and the seance had begun. In a dreadful suspense\nshe heard Mme. Dauvray speak.", "heard that note and was quelled by it. This folly of belief, these\nseances, were the one touch of colour in Mme. Dauvray's life. And it", "\"Mme. Dauvray was, as she always was before a seance, in a feverish\nflutter. 'You will help Mlle. Celie to dress, Helene, and be very", "attitude as she had been when the lights were turned out. Imagine,\nmessieurs, the effect of such seances upon a woman like Mme. Dauvray.", "said modestly, \"which is most interesting here. Consider the people.\nMme. Dauvray, the old, rich, ignorant woman, with her superstitions and", "corners of the room, and dim apparitions would appear--the spirits of\ngreat ladies of the past, who would talk with Mme. Dauvray. Such ladies", "Mme. Dauvray spoke in a hushed, awestruck voice.\n\n\"There is a presence in the room.\"", "made Mme. Dauvray's acquaintance; that was evident. She was apparently\nunaware of her; but she was gradually edging towards her. Wethermill\nsmiled, and Celia caught the smile.", "\"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\"\n\nThe maid instantly slid back into the room.\n\n\"Mademoiselle has not moved,\" she said.", "But the smile remained on Helene Vauquier's face. What did they all\nwant of Mme. Dauvray? She knew very well. It was what she herself", "to tell her--Mme. Dauvray--about their lives. She would have had\nseances all day, but Mlle. Celie pleaded that she was left exhausted at", "\"She seems quite happy,\" he said; and, indeed, Mme. Dauvray was talking\nvolubly and with the utmost interest, the jewels sparkling about her", "\"You hear what she says. 'Mme. Dauvray would have had seances all day,\nbut Mlle. Celie pleaded that she was left exhausted at the end of them.", "Celia covered her face with her hands. It would be true. She had\nno doubt of it. Mme. Dauvray would never forgive herself--would never", "\"I will speak to it,\" said Mme. Dauvray, and raising her voice a\nlittle, she asked: \"Who are you that come to us from the spirit-world?\"", "to Mme. Dauvray. She did nothing but felicitate herself upon the happy\nchance which had sent her Mlle. Celie. And now she lies in her room\nmurdered!\"", "And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then,\nwhat Adele said?\"\n\nAnd Celia started violently. Mme. Dauvray doubted." ], [ "\"I suppose Mme. Dauvray is very rich?\"\n\n\"She has a great fortune in jewels,\" said Helene Vauquier.", "CHAPTER XIV\n\nMR. RICARDO IS BEWILDERED", "\"But why should we trouble our heads to puzzle out this mystery, since\nM. Ricardo knows?\"\n\n\"I?\" cried Ricardo in amazement.", "\"For a cumbersome man he is extraordinarily active,\" said Mr. Ricardo\nto Harry Wethermill, trying to laugh, without much success. \"A heavy,", "Ricardo, indeed, knew them to be true. Had he not himself seen the girl\nin her black velvet dress shut up in a cabinet, and a great lady of the", "Ricardo. It is deplorable how few. But Wethermill! See in what a fine\nposition he would have been if only I had refused. He himself had been", "years ago M. Dauvray died, leaving his widow a very rich woman. She had\na passion for jewellery, which she was now able to gratify. She", "\"Well, what have I done?\" he asked. \"Come! tell me!\"\n\n\"You have destroyed a clue,\" replied Ricardo impressively.", "\"It looks as if they had been careful and he careless,\" said Mr.\nRicardo, with the air of a man solving a very difficult problem.", "Suddenly Mr. Ricardo started in his chair. Superstitious! The word was\na sudden light upon his darkness. Now he knew what had perplexed him", "hurry. His horse is moving at a walk. Wethermill puts his head in at\nthe window and asks if she has come to see M. Ricardo. Anxious for her", "said modestly, \"which is most interesting here. Consider the people.\nMme. Dauvray, the old, rich, ignorant woman, with her superstitions and", "towards the house. Then he cried, \"Ah!\" and drew himself into an\nattitude of attention. A tall, thin man of about forty-five years,", "Mr. Ricardo sat up in his bed with a sense of outrage.\n\n\"You have done this?\" he asked.\n\n\"Yes.\"", "Ricardo took from his pocket-book a sheet of paper and from his pocket\na pencil. He was intensely flattered by the request of Hanaud, and he", "And thereupon she blurted out her story and explained to Mr. Ricardo\nthe question which had so perplexed him: how a girl of so much", "A startled exclamation burst from Ricardo. Harry Wethermill sat slowly\ndown. For the first time that day there had come some colour into his\ncheeks, a sparkle into his eye.", "Ricardo did not move. He arranged in his mind the interrogatory which\nwas to take place. He was to conduct it. He was the master of the", "\"Monsieur, I know something of you. Our friend, Mr. Ricardo, told me\nyour history; I asked him for it when I saw you at his dinner. You are", "\"But that is astounding,\" said Besnard, in an awe-struck voice.\n\n\"Then she was never robbed after all?\" cried Ricardo.\n\nHanaud rose to his feet." ], [ "\"Then it was certainly for her famous collection of jewellery that\nMadame Dauvray was murdered?\"\n\n\"Certainly, monsieur.\"\n\n\"Now, where did she keep her jewellery?\"", "\"We then went to Mme. Dauvray's room and discovered her brilliants and\nher ornaments. At once the meaning of that agitated piece of", "of finding out from her Mme. Dauvray's hiding-place. It was a small\nchance but our only one. The moment the discovery of the jewellery was", "\"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\"\n\nThe maid instantly slid back into the room.\n\n\"Mademoiselle has not moved,\" she said.", "steeled herself against the thought. To-night she must not fail. For\napart altogether from Mme. Dauvray's happiness, her own, it seemed, was\nat stake too.", "wanted--with other things. It was money--always money. Wethermill was\nnot the first to seek the good graces of Mme. Dauvray through her", "desperately she feared the effect of the exposure upon Mme. Dauvray.\nShe had been treated as a daughter; now she was in return to rob Mme.", "\"What does monsieur want of Mme. Dauvray?\" she asked. And the question\nwas her answer.\n\nWethermill stood silent. Then he said abruptly:", "\"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\"\n\n\"Yes, madame,\" answered the maid.", "He turned and saw Mme. Dauvray's maid. He stopped under a street lamp,\nand said:\n\n\"Well, what can I do for you?\"\n\nThe woman hesitated.", "\"Oh yes! Mademoiselle indeed was often in Madame Dauvray's room when\nshe was dressing or undressing. She must often have seen madame take", "And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with\nher maid what frock she should wear. She was hot, and she took a", "\"I suppose Mme. Dauvray is very rich?\"\n\n\"She has a great fortune in jewels,\" said Helene Vauquier.", "\"You will remember I made you all promise silence as to the finding of\nMme. Dauvray's jewellery. For I thought, if they have taken the girl", "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at", "\"If that is so,\" he said slowly, \"Mme. Dauvray kept her jewels in this\nsafe, why has every drawer been ransacked, why was the bed moved?", "England. Helene Vauquier has served Mme. Dauvray for seven years. She\nhas been the confidential friend rather than the maid. And mark this,", "\"I will speak to it,\" said Mme. Dauvray, and raising her voice a\nlittle, she asked: \"Who are you that come to us from the spirit-world?\"", "\"Mme. Dauvray was, as she always was before a seance, in a feverish\nflutter. 'You will help Mlle. Celie to dress, Helene, and be very", "seances. But it must succeed! So much of Mme. Dauvray's happiness, so\nmuch of her own, hung upon its success. Let her fail to-night, she" ], [ "her hands might be freed. She had but a few seconds. She had one\nthought--to hide herself in the darkness of the garden. Celia fled", "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "Adele stooped and obeyed. Wethermill opened the door of the car and\nflung Celia into a seat. Adele followed and took her seat opposite the", "Celia listened and shuddered. He would have no more compunction over\ndrowning her than he would have had over drowning a blind kitten.", "\"There we are,\" he said, with his shrill, wavering laugh. \"I opened the\ngate before.\" And suddenly Celia hung inert in his arms.", "Celia shuddered from head to foot, and, burying her face in the\ncushion, lay trembling. She would have begged for death upon her knees", "Celia heard some one drop heavily into a chair. It was Wethermill, and\nhe buried his face in his hands. Helene went over to him and laid her\nhand upon his shoulder and shook him.", "With Helene Vauquier to support her if she fell, Celia took a tiny\nshuffling step forward, feeling supremely ridiculous. No one, however,", "Celia made no movement. She lay trying to believe that no crime had\nbeen committed, that that lifeless body did not lie against the wall.\nAnd then she heard in the room above a bed wheeled roughly from its\nplace.", "The raillery in her voice had a note of savagery in it now. Celia's\nvague terror grew. She had a feeling that a beast was waking in the", "The old woman who acted as servant, Jeanne Tace, received her. Celia\noffered no resistance. The fear of vitriol had made her supple as a", "Celia leaned back, her heart fainting within her. Arrange! It was her\nturn now. She was to be \"arranged.\" She had no doubt what sinister", "stupidity, they sat down to decide upon Celia's fate. That, however,\nwas soon arranged. They would dress her in everything which she wore", "She caught her by the neck and lifted her up. She pushed the lace scarf\nup at the side of Celia's head. Celia began to struggle furiously,", "But even in the midst of her eagerness--so thoroughly had she been\nprepared--there lingered a flavour of doubt, of suspicion. In Celia's\nmind there was still the one desperate resolve.", "She was placed in a chair. Adele passed a cord round her ankles, and\nthe mere touch of it quickened Celia to a spasm of revolt. Her last", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "Wethermill caught her in his arms and carried her to the landau. Celia\ndared not cry out. Her hands were helpless, her face at the mercy of", "\"Now stay quiet until we are ready for you,\" she said. And Celia,\nlifting her head, said in a whisper:\n\n\"Water!\"", "And so silence came again, and suddenly there was quite a rush of light\ninto the recess. Celia was startled. She turned her head back again" ], [ "\"I have a sister in London, a widow,\" he said. \"She is kind. I, too,\nhave been thinking of what will become of Mlle. Celie. I wrote to my", "in condition he was a widower--a state greatly to his liking, for he\navoided at once the irksomeness of marriage and the reproaches justly", "years ago M. Dauvray died, leaving his widow a very rich woman. She had\na passion for jewellery, which she was now able to gratify. She", "Near to him a woman sneered, and a man said, pityingly: \"She was\npretty, that little one. It is regrettable that she has lost.\"", "They see her leave the house, an unusual proceeding for her with her\nhusband ill, as her own letter tells us. Hippolyte follows her to the", "\"She was sallow, with black hair and bright eyes like beads. She was\nshort and about forty-five years old, though it is difficult to judge", "live with her, for often she was lonely too, and that if I would she\nwould some day find me a nice, comfortable husband and give me a\nmarriage portion. So all my troubles seemed to be at an end,\" said", "\"A month ago the house almost directly opposite to us was taken\nfurnished for the summer by a Mme. Rossignol. She is a widow, but", "They waited outside the exit while the passengers gave up their\ntickets. Amongst them a middle-aged, short woman, of a plethoric\ntendency, attracted their notice. She was neatly but shabbily dressed", "The scorn of her voice rang through the room. She was the rigid,\nrespectable peasant woman, speaking out her contempt. And Wethermill\nmust needs listen to it. Ricardo dared not glance at him.", "of hunger and distress. Madame believed it, and brought her home.\nMadame was so kind, so careless in her kindness. And now she lies", "\"She was quite dead. Her face was terribly swollen and black, and a\npiece of thin strong cord was knotted so tightly about her neck and had", "She heard the door open again and shut again. Then steps approached the\nrecess. The curtains were flung back, and the two women stood in front", "There she lived honestly but miserably. The slimness of her figure and\na grace of movement which was particularly hers obtained her at last a", "Nothing could have been more respectful than the manner in which these\nwords were uttered. Wethermill was taken in by it. He protested\nearnestly, fearing lest the maid should become an enemy.", "said modestly, \"which is most interesting here. Consider the people.\nMme. Dauvray, the old, rich, ignorant woman, with her superstitions and", "\"She will not, I think, be for very long a burden. She is young. She\nwill recover from this shock. She is very pretty, very gentle. If--if", "hurry. His horse is moving at a walk. Wethermill puts his head in at\nthe window and asks if she has come to see M. Ricardo. Anxious for her", "\"If I am wrong, monsieur, I am sorry, but you can help me too,\" she\nsaid, in her submissive voice. And she passed on, leaving Wethermill\nrooted to the ground.", "maid. Then they passed out of his hearing. But he turned and saw that\nWethermill was talking volubly. What Harry Wethermill was saying he was\nsaying in a foolish burst of confidence." ], [ "Celia nodded her head gratefully. After all, then, she was not to die.\nIt seemed to her hardly possible. But before she could rise a subdued", "her hands might be freed. She had but a few seconds. She had one\nthought--to hide herself in the darkness of the garden. Celia fled", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "\"There we are,\" he said, with his shrill, wavering laugh. \"I opened the\ngate before.\" And suddenly Celia hung inert in his arms.", "With Helene Vauquier to support her if she fell, Celia took a tiny\nshuffling step forward, feeling supremely ridiculous. No one, however,", "At first Celia shrank away, fearing some new cruelty. But Adele's voice\ncame to her ears, speaking--and speaking with remorse.", "\"Yes, yes!\" Celia cried eagerly. She rose to her feet, and tottered.\nHanaud put his arm about her. \"You are very kind,\" she said in a low", "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "Celia shuddered from head to foot, and, burying her face in the\ncushion, lay trembling. She would have begged for death upon her knees", "its place in the hall. She put Celia's shoes upon her feet, loosening\nthe cord from her ankles. Then she looked about the floor and picked up", "And upon the old woman's face there came a look, not of alarm, but of\nextraordinary relief. The genuine, heartfelt cry restored her\nconfidence in Celia.", "She caught her by the neck and lifted her up. She pushed the lace scarf\nup at the side of Celia's head. Celia began to struggle furiously,", "Celia heard some one drop heavily into a chair. It was Wethermill, and\nhe buried his face in his hands. Helene went over to him and laid her\nhand upon his shoulder and shook him.", "\"No, my friend,\" answered Hanaud. \"That made them keep Mlle. Celie\nalive. It enabled us to save her when we had discovered the whereabouts", "The raillery in her voice had a note of savagery in it now. Celia's\nvague terror grew. She had a feeling that a beast was waking in the", "All Celia's heart and youth rose in revolt against her extremity. If\nshe could only free her lips! The footsteps came round the corner of", "CHAPTER XV\n\nCELIA'S STORY", "And so silence came again, and suddenly there was quite a rush of light\ninto the recess. Celia was startled. She turned her head back again", "thwart her, which troubled Celia. But she was extraordinarily receptive\nof impressions, extraordinarily quick to feel, from a touch, some dim", "Celia leaned back, her heart fainting within her. Arrange! It was her\nturn now. She was to be \"arranged.\" She had no doubt what sinister" ], [ "her hands might be freed. She had but a few seconds. She had one\nthought--to hide herself in the darkness of the garden. Celia fled", "And the next moment Celia winced and had to bite her lip to prevent a\ncry. The thin cord was wound twice about her wrists, drawn cruelly", "She was placed in a chair. Adele passed a cord round her ankles, and\nthe mere touch of it quickened Celia to a spasm of revolt. Her last", "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "its place in the hall. She put Celia's shoes upon her feet, loosening\nthe cord from her ankles. Then she looked about the floor and picked up", "Celia made no movement. She lay trying to believe that no crime had\nbeen committed, that that lifeless body did not lie against the wall.\nAnd then she heard in the room above a bed wheeled roughly from its\nplace.", "The two women ran out of the room and up the stairs. Celia, lying on\nthe settee, heard all the quiet of the house change to noise and", "Vauquier carried the girl into the recess and placed her upon the\nstool. With a long cord Adele bound her by the arms and the waist to", "All Celia's heart and youth rose in revolt against her extremity. If\nshe could only free her lips! The footsteps came round the corner of", "stupidity, they sat down to decide upon Celia's fate. That, however,\nwas soon arranged. They would dress her in everything which she wore", "which she wishes to hide in Mlle. Celie's room. For she admitted that\nit was her suggestion that she should look through mademoiselle's", "The old woman who acted as servant, Jeanne Tace, received her. Celia\noffered no resistance. The fear of vitriol had made her supple as a", "Celia clenched her hands to make the muscles of her wrists rigid to\nresist the pressure of the cord. Adele quietly unclasped them and", "Celia nodded her head gratefully. After all, then, she was not to die.\nIt seemed to her hardly possible. But before she could rise a subdued", "Celia leaned back, her heart fainting within her. Arrange! It was her\nturn now. She was to be \"arranged.\" She had no doubt what sinister", "She caught her by the neck and lifted her up. She pushed the lace scarf\nup at the side of Celia's head. Celia began to struggle furiously,", "\"Mlle. Celie is under control,\" she said. \"We shall have to teach her\nthat it is not polite in young ladies to kick.\" She pressed Celia down", "Celia was not greatly disconcerted by Mme. Rossignol's precautions. She\nwould have to be a little more careful, and Mme. de Montespan would be", "With Helene Vauquier to support her if she fell, Celia took a tiny\nshuffling step forward, feeling supremely ridiculous. No one, however,", "Celie had herself hidden them there for safety. Again it is conjecture,\nand I wish to make sure. So I tell Vauquier she can go away, and I" ], [ "her hands might be freed. She had but a few seconds. She had one\nthought--to hide herself in the darkness of the garden. Celia fled", "Wethermill caught her in his arms and carried her to the landau. Celia\ndared not cry out. Her hands were helpless, her face at the mercy of", "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "And the next moment Celia winced and had to bite her lip to prevent a\ncry. The thin cord was wound twice about her wrists, drawn cruelly", "She was placed in a chair. Adele passed a cord round her ankles, and\nthe mere touch of it quickened Celia to a spasm of revolt. Her last", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "She caught her by the neck and lifted her up. She pushed the lace scarf\nup at the side of Celia's head. Celia began to struggle furiously,", "\"There we are,\" he said, with his shrill, wavering laugh. \"I opened the\ngate before.\" And suddenly Celia hung inert in his arms.", "Adele stooped and obeyed. Wethermill opened the door of the car and\nflung Celia into a seat. Adele followed and took her seat opposite the", "Celia shuddered from head to foot, and, burying her face in the\ncushion, lay trembling. She would have begged for death upon her knees", "Helene Vauquier laughed softly to herself, took out Celia's white frock\nfrom the wardrobe, turned off the lights, and followed her down to the", "The three women went out of the recess. And the next moment the heavy\nsilk curtains swung across the opening, leaving Celia in darkness.", "its place in the hall. She put Celia's shoes upon her feet, loosening\nthe cord from her ankles. Then she looked about the floor and picked up", "the room took them away. They went out again into the garden. Celia\nHarland threw back her head to the stars and drew in a deep breath of\nthe cool night air.", "The two women ran out of the room and up the stairs. Celia, lying on\nthe settee, heard all the quiet of the house change to noise and", "The raillery in her voice had a note of savagery in it now. Celia's\nvague terror grew. She had a feeling that a beast was waking in the", "The old woman who acted as servant, Jeanne Tace, received her. Celia\noffered no resistance. The fear of vitriol had made her supple as a", "Vauquier carried the girl into the recess and placed her upon the\nstool. With a long cord Adele bound her by the arms and the waist to", "tremor to her ordeal. Wethermill took the length of rope which had\nfixed Celia to the pillar.", "\"Some one--who means harm!\" she whispered, trembling with excitement.\n\n\"Ah, mademoiselle is already under control,\" said Helene, using the\njargon which she had learnt from Celia's lips." ], [ "seances. But it must succeed! So much of Mme. Dauvray's happiness, so\nmuch of her own, hung upon its success. Let her fail to-night, she", "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at", "\"Very well! take Mme. Dauvray as we find her--rich, ostentatious,\neasily taken by a new face, generous, and foolishly superstitious--and", "fitted well with Mme. Dauvray's inclinations. She was in a feverish\nmood of excitement.", "steeled herself against the thought. To-night she must not fail. For\napart altogether from Mme. Dauvray's happiness, her own, it seemed, was\nat stake too.", "\"She seems quite happy,\" he said; and, indeed, Mme. Dauvray was talking\nvolubly and with the utmost interest, the jewels sparkling about her", "Mme. Dauvray was silent for a moment or two. Then she turned\nimpulsively and spoke in a voice of appeal.", "with Mme. Dauvray and the woman opposite, who was now her jailer. Mme.\nDauvray lay dead in the little salon, and she herself--she dared not", "desperately she feared the effect of the exposure upon Mme. Dauvray.\nShe had been treated as a daughter; now she was in return to rob Mme.", "she was never too tired for that. Besides, here\"--and putting his hand\ninto the safe he drew out a paper--\"here is the list of Mme. Dauvray's\njewellery.\"", "said modestly, \"which is most interesting here. Consider the people.\nMme. Dauvray, the old, rich, ignorant woman, with her superstitions and", "playing with a dangerous thing. It was a revelation to me. I did not\nknow what to do. Mme. Dauvray would promise me everything, give me", "sunk so deeply into her flesh that at first I did not see it. For Mme.\nDauvray was stout.\"", "(2) By methods still more doubtful she acquired an extraordinary\nascendency over Mme. Dauvray's mind.", "\"I shall tell you something now of Mme. Dauvray,\" he said. \"We will not\ntake up her early history. It might not be edifying and, poor woman,", "aroused a passion which I could not control. I was afraid that Mme.\nDauvray's whole life--it seems absurd to those who did not know her,", "\"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\"\n\nThe maid instantly slid back into the room.\n\n\"Mademoiselle has not moved,\" she said.", "\"Mme. Dauvray was, as she always was before a seance, in a feverish\nflutter. 'You will help Mlle. Celie to dress, Helene, and be very", "to Mme. Dauvray. She did nothing but felicitate herself upon the happy\nchance which had sent her Mlle. Celie. And now she lies in her room\nmurdered!\"", "\"I suppose Mme. Dauvray is very rich?\"\n\n\"She has a great fortune in jewels,\" said Helene Vauquier." ] ]	[ "Where Celia Harland used to live?", "What Madame Dauvray was addicted to?", "Who was Adele Tace?", "Who was helping Madame Dauvray in staging for the seances of her benefactrix?", "Who master-minded the criminal gang?", "Why Adele Tace included Celia in her plan?", "Why Adele Tace involved Celia in her scheme?", "Why Adele Tace wanted to kill Madame Dauvray?", "Who unrevealed the conspiracy?", "Where does the story take place?", "Where is Celia Harland from?", "When participating in the seance that leads to Madame Dauvary's death, who is Celia tricked by?", "Where is Celia taken hostage to after the murder of Madame Dauvary?", "Who is, in turn, framed from Madame Dauvary's murder?", "Who is responsible for finding out the truth about the murder of Madame Dauvary?", "Who rescues Celia?", "Where does Inspector Hanaud find Celia in just enough time to rescue her?", "How was Celia going to be killed?", "Who befriends Celia?", "What is Madame Dauvray fully aware of regarding the events of the spirit world?", "Who is rich?", "What does Madame Dauvray's maid want to steal from Madame?", "Where was Celia going to be dumped into?", "Who is a widow?", "Who rescues Celia?", "What was Celia confined to in order to avoid her escape?", "Where is Celia abducted to?", "What is Madame Dauvray addicted to?" ]	[ [ "Aix les Bains", "Aix les Bains" ], [ "Spiritualism", "spiritualism" ], [ "Adele Tace was maid of Madame Dauvray.", "Madame Dauvray's maid" ], [ "Madame Dauvray's maid Adele Tace.", "Celia Harland." ], [ "Adele Tace", "Adele Tace" ], [ "She wanted to make Celia a medium for staging of seances.", "Adele wanted to plant suspicion on Celia." ], [ "Because she wanted Celia to be blamed for the murder of Madame Dauvray. ", "To be framed for the crime" ], [ "She and her gang wanted to rob Madame Dauvray's jewelry and valuables.", "To steal her jewelery colelction" ], [ "Inspector Hanaud of the Paris Surete", "Inspector Hanaud" ], [ "In Aix les Bains and Geneva.", "In Aix les Bains" ], [ "England.", "Aix les Bains." ], [ "Adele Tace.", "Adele Tace " ], [ "Geneva.", "At Geneva" ], [ "Celia Harland.", "Nobody" ], [ "Inspector Hanaud of the Paris Surete.", "Inspector Hanaud" ], [ "Inspector Hanaud.", "Inspector Hanaud" ], [ "Geneva.", "Just before being dumped in Lake Geneva" ], [ "She was going to be drugged and dumped into Lake Geneva.", "Drugged and dumped into Lake Geneva" ], [ "Madame Dauvray.", "Madame Dauvray" ], [ "They are bogus.", "they are bogus" ], [ "Madame Dauvray.", "Madame Dauvray" ], [ "Madame's jewellery collection.", "The jewelry collection." ], [ "Lake Geneva.", "Lake Geneva" ], [ "Madame Dauvray.", "Madame Dauvray" ], [ "Inspector Hanaud.", "Inspector Hanaud" ], [ "A pillar.", "Tied hands and foot and tied to a pillar" ], [ "Geneva.", "Geneva" ], [ "Spiritualism.", "spiritualism" ] ]	e93ace5fb122b6962098ca5c0bf2a9e4e8b86893	train
[ [ "Swell raging seas, frowne wayward destinies,\nBlow windes, threaten ye Rockes and sandie shelfes,\nThis is the harbour that _Ãneas_ seekes,", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "Made me suppose he would haue heard me speake:\nThen gan they driue into the Ocean,\nWhich when I viewd, I cride, _Ãneas_ stay,", "_Anna._ Before I came, _Ãneas_ was abourd,\nAnd spying me, hoyst vp the sailes amaine:", "_The storme. Enter Ãneas and Dido in the Caue at seuerall times._\n\n_Dido._ _Ãneas._\n\n_Ãn._ _Dido._", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "_Dido._ O false _Ãneas_, now the sea is rough,\nBut when you were abourd twas calme enough,\nThou and _Achates_ ment to saile away.", "_Ãn._ Where am I now? these should be Carthage walles.\n\n_Acha._ Why stands my sweete _Ãneas_ thus amazde?", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "Then got we to our ships, and being abourd,\n_Polixena_ cryed out, _Ãneas_ stay,\nThe Greekes pursue me, stay and take me in.", "_Enter a Lord._\n\nYour Nurse is gone with yong _Ascanius_,\nAnd heres _Ãneas_ tackling, oares and sailes.", "Not one of them hath perisht in the storme,\nBut are ariued safe not farre from hence:\nAnd so I leaue thee to thy fortunes lot,", "_Iar._ But tell me Troians, Troians if you be,\nVnto what fruitfull quarters were ye bound,\nBefore that _Boreas_ buckled with your sailes?", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "Put sailes to sea to seeke out _Italy_;\nAnd my diuine descent from sceptred _Iove_,\nWith twise twelue Phrigian ships I plowed the deepe," ], [ "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Ãn._ Well may I view her, but she sees not me.\n\n_Enter Dido and her traine._\n\n_Dido._ What stranger art thou that doest eye me thus?", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "_Ãn._ I vnderstand your highnesse sent for me.\n\n_Dido._ No, but now thou art here, tell me in sooth,\nIn what might _Dido_ highly pleasure thee.", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Dido._ What telst thou me of rich _Getulia_?\nAm not I Queene of _Libia_? then depart.", "_Ãn._ What meanes faire _Dido_ by this doubtfull speech?\n\n_Dido._ Nay, nothing, but _Ãneas_ loues me not.", "And Tygers of _Hircania_ gaue thee sucke:\nAh foolish _Dido_ to forbeare this long!\nWast thou not wrackt vpon this _Libian_ shoare,", "_Dido._ _Iarbus_, talk not of _Ãneas_, let him goe,\nLay to thy hands and helpe me make a fire,", "_Dido._ Speake of no other land, this land is thine,\n_Dido_ is thine, henceforth Ile call thee Lord:", "_Ãn._ O _Dido_, patronesse of all our liues,\nWhen I leaue thee, death be my punishment,", "_Dido._ Yet must I heare that lothsome name againe?\nRunne for _Ãneas_, or Ile flye to him. _Exit Anna._", "_Dido._ I dye with melting ruth, _Ãneas_ leaue.\n\n_Anna._ O what became of aged _Hecuba_?", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "And wofull _Dido_ by these blubbred cheekes,\nBy this right hand, and by our spousall rites,\nDesires _Ãneas_ to remaine with her:", "Hast had the greatest fauours I could giue:\nI feare me _Dido_ hath been counted light,\nIn being too familiar with _Iarbus_:", "_Illio._ Louely _Ãneas_, these are Carthage walles,\nAnd here Queene _Dido_ weares th'imperiall Crowne,", "_Dido._ How now Getulian, are ye growne so braue,\nTo challenge vs with your comparisons?\nPesant, goe seeke companions like thy selfe," ], [ "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Ãn._ I am commaunded by immortal _Ioue_,\nTo leaue this towne and passe to _Italy_,\nAnd therefore must of force.", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "Swell raging seas, frowne wayward destinies,\nBlow windes, threaten ye Rockes and sandie shelfes,\nThis is the harbour that _Ãneas_ seekes,", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "_Ãn._ Triumph my mates, our trauels are at end,\nHere will _Ãneas_ build a statelier _Troy_,", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "_Ãn._ Where am I now? these should be Carthage walles.\n\n_Acha._ Why stands my sweete _Ãneas_ thus amazde?", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Ãn._ _Carthage_, my friendly host adue,\nSince destinie doth call me from the shoare:", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "_Ãn._ Then here in me shall flourish _Priams_ race,\nAnd thou and I _Achates_, for reuenge,", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?", "Thongs at his heeles, by which _Achilles_ horse\nDrew him in triumph through the Greekish Campe,\nBurst from the earth, crying, _Ãneas_ flye," ], [ "_Iuno._ Fie _Venus_, that such causeles words of wrath,\nShould ere defile so faire a mouth as thine:", "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "And fetter them in _Vulcans_ sturdie brasse,\nThat durst thus proudly wrong our kinsmans peace.\n_Venus_ farewell, thy sonne shall be our care:", "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "_Venus._ Sister of _Ioue_, if that thy loue be such,\nAs these thy protestations doe paint forth,\nWe two as friends one fortune will deuide:", "_Venus._ Out hatefull hag, thou wouldst haue slaine my sonne,\nHad not my Doues discou'rd thy entent:", "When for the hate of Troian _Ganimed_,\nThat was aduanced by my _Hebes_ shame,\nAnd _Paris_ iudgement of the heauenly ball,", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "What shall I doe thus wronged with disdaine?\nReuenge me on _Ãneas_, or on her:\nOn her? fond man, that were to warre gainst heauen,", "_Iuno._ Faire Queene of loue, I will deuorce these doubts,\nAnd finde the way to wearie such fond thoughts:\nThis day they both a hunting forth will ride", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "_Venus._ Disquiet Seas lay downe your swelling lookes,\nAnd court _Ãneas_ with your calmie cheere,", "_Iup._ And shall haue _Ganimed_, if thou wilt be my loue.\n\n_Enter Venus._", "_Venus._ Well could I like this reconcilements meanes,\nBut much I feare my sonne will nere consent,\nWhose armed soule alreadie on the sea,", "To harme my sweete _Ascanius_ louely life.\n_Iuno_, my mortall foe, what make you here?\nAuaunt old witch and trouble not my wits.", "When first you set your foote vpon the shoare,\nAnd here we met fair _Venus_ virgine like,\nBearing her bowe and quiuer at her backe.", "Say _Paris_, now shall _Venus_ haue the ball?\nSay vengeance, now shall her _Ascanius_ dye.\nO no God wot, I cannot watch my time,", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "_Iup._ Come gentle _Ganimed_ and play with me,\nI loue thee well, say _Iuno_ what she will.", "_Dido._ _Ãneas_ no, although his eyes doe pearce.\n\n_Ãn._ What, hath _Iarbus_ angred her in ought?\nAnd will she be auenged on his life?" ], [ "_Cupid._ What will you giue me? now Ile haue this Fanne.\n\n_Dido._ Take it _Ascanius_, for thy fathers sake.", "_Cupid._ And if my mother goe, Ile follow her.\n\n_Dido._ Why staiest thou here? thou art no loue of mine?", "Will quickly flye to _Citheidas_ fist.\nNow _Cupid_ turne thee to _Ascanius_ shape,\nAnd goe to _Dido_ who in stead of him", "_Cupid._ Will _Dido_ let me hang about her necke?\n\n_Dido._ I wagge, and giue thee leaue to kisse her to.", "_Cupid._ Now _Cupid_ cause the Carthaginian Queene,\nTo be inamourd of thy brothers lookes,", "_Cupid._ I will faire mother, and so play my part,\nAs euery touch shall wound Queene _Didos_ heart.", "_Cupid._ My cosin _Helen_ taught it me in _Troy_.\n\n_Dido._ How louely is _Ascanius_ when he smiles?", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "_Iar._ Am I not King of rich _Getulia_?\n\n_Dido._ _Iarbus_ pardon me, and stay a while.\n\n_Cupid._ Mother, looke here.", "And Tygers of _Hircania_ gaue thee sucke:\nAh foolish _Dido_ to forbeare this long!\nWast thou not wrackt vpon this _Libian_ shoare,", "And make loue drunken with thy sweete desire:\nBut _Dido_ that now holdeth him so deare,\nWill dye with very tidings of his death:", "Will set thee on her lap and play with thee:\nThen touch her white breast with this arrow head,\nThat she may dote vpon _Ãneas_ loue:", "In whose faire bosome I will locke more wealth,\nThen twentie thousand Indiaes can affoord:\nO here he comes, loue, loue, giue _Dido_ leaue", "_Asca._ Are you Queene _Didos_ sonne?\n\n_Cupid._ I, and my mother gaue me this fine bow.", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Ãn._ Well may I view her, but she sees not me.\n\n_Enter Dido and her traine._\n\n_Dido._ What stranger art thou that doest eye me thus?", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Dido._ These words are poyson to poore _Didos_ soule,\nO speake like my _Ãneas_, like my loue:", "Thy sonne thou knowest with _Dido_ now remaines,\nAnd feedes his eyes with fauours of her Court,\nShe likewise in admyring spends her time,", "_Iar._ Vngentle Queene, is this thy loue to me?\n\n_Dido._ O stay _Iarbus_, and Ile goe with thee." ], [ "Whereas the Wind-god warring now with Fate,\nBesiege the ofspring of our kingly loynes,\nCharge him from me to turne his stormie powers,", "And charg'd him drowne my sonne with all his traine.\nThen gan the windes breake ope their brazen doores,\nAnd all _Ãolia_ to be vp in armes:", "Not one of them hath perisht in the storme,\nBut are ariued safe not farre from hence:\nAnd so I leaue thee to thy fortunes lot,", "The crye of beasts, the ratling of the windes,\nOr whisking of these leaues, all shall be still,\nAnd nothing interrupt thy quiet sleepe,", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost,", "Where finding _Ãolus_ intrencht with stormes,\nAnd guarded with a thousand grislie ghosts,\nShe humbly did beseech him for our bane,", "And as he spoke to further his entent,\nThe windes did driue huge billowes to the shoare,\nAnd heauen was darkned with tempestuous clowdes:", "_Venus._ Disquiet Seas lay downe your swelling lookes,\nAnd court _Ãneas_ with your calmie cheere,", "What would the Gods haue me _Deucalion_ like,\nFlote vp and downe where ere the billowes driue?\nThough she repairde my fleete and gaue me ships,", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "On which by tempests furie we are cast,\nTell vs, O tell vs that are ignorant,\nAnd this right hand shall make thy Altars crack", "Made me suppose he would haue heard me speake:\nThen gan they driue into the Ocean,\nWhich when I viewd, I cride, _Ãneas_ stay,", "Swell raging seas, frowne wayward destinies,\nBlow windes, threaten ye Rockes and sandie shelfes,\nThis is the harbour that _Ãneas_ seekes,", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "That with thy gloomie hand corrects the heauen,\nWhen ayrie creatures warre amongst themselues:\nHeare, heare, O heare _Iarbus_ plaining prayers,", "Witnes the Gods, and witnes heauen and earth,\nHow loth I am to leaue these _Libian_ bounds,\nBut that eternall _Iupiter_ commands.", "_Dido._ O false _Ãneas_, now the sea is rough,\nBut when you were abourd twas calme enough,\nThou and _Achates_ ment to saile away.", "And now downe falles the keeles into the deepe:\nO sister, sister, take away the Rockes,\nTheile breake his ships, O _Proteus_, _Neptune_, _Ioue_,", "_Acha._ Braue Prince of _Troy_, thou onely art our God,\nThat by thy vertues freest vs from annoy,", "Shall vulgar pesants storme at what I doe?\nThe ground is mine that giues them sustenance,\nThe ayre wherein they breathe, the water, fire," ], [ "And let _Achates_ saile to _Italy_:\nIle giue thee tackling made of riueld gold,\nWound on the barkes of odoriferous trees,", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "Made me suppose he would haue heard me speake:\nThen gan they driue into the Ocean,\nWhich when I viewd, I cride, _Ãneas_ stay,", "_Enter a Lord._\n\nYour Nurse is gone with yong _Ascanius_,\nAnd heres _Ãneas_ tackling, oares and sailes.", "_Anna._ Before I came, _Ãneas_ was abourd,\nAnd spying me, hoyst vp the sailes amaine:", "Put sailes to sea to seeke out _Italy_;\nAnd my diuine descent from sceptred _Iove_,\nWith twise twelue Phrigian ships I plowed the deepe,", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?", "_Ãn._ With speede he bids me sail to _Italy_.\nWhen as I want both rigging for my fleete,\nAnd also furniture for these my men.", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost,", "_Ãn._ _Sergestus_, beare him hence vnto our ships,\nLest _Dido_ spying him keepe him for a pledge.", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "And by that meanes repaire his broken ships,\nVictuall his Souldiers, giue him wealthie gifts,\nAnd he at last depart to _Italy_,", "Then got we to our ships, and being abourd,\n_Polixena_ cryed out, _Ãneas_ stay,\nThe Greekes pursue me, stay and take me in.", "For ballace, emptie _Didos_ treasurie,\nTake what ye will, but leaue _Ãneas_ here.\n_Achates_, thou shalt be so meanly clad,", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "Ye shall no more offend the Carthage Queene,\nNow let him hang my fauours on his masts,\nAnd see if those will serue in steed of sailes:", "Then _Thetis_ hangs about _Apolloes_ necke,\nSo that _Ãneas_ may but stay with me.", "Yet left he should, for I am full of feare,\nBring me his oares, his tackling, and his sailes;\nWhat if I sinke his ships? O heele frowne." ], [ "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "A little while prolong'd her husbands life:\nAt last the souldiers puld her by the heeles,\nAnd swong her howling in the emptie ayre,", "But _Anna_ now shall honor thee in death,\nAnd mixe her bloud with thine, this shall I doe,\nThat Gods and men may pitie this my death,", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "That resteth in the riuall of thy paine,\nWho nere will cease to soare till he be slaine. _Exit._", "Not one of them hath perisht in the storme,\nBut are ariued safe not farre from hence:\nAnd so I leaue thee to thy fortunes lot,", "But not so much for thee, thou art but one,\nAs for _Achates_, and his followers. _Exeunt._", "Whom I will beare to _Ida_ in mine armes,\nAnd couch him in _Adonis_ purple downe, _Exeunt._", "And with maine force flung on a ring of pikes,\nOld men with swords thrust through their aged sides,\nKneeling for mercie to a Greekish lad,", "O sweet _Iarbus_, _Annas_ sole delight,\nWhat fatall destinie enuies me thus,\nTo see my sweet _Iarbus_ slay himselfe?", "_Anna._ What can my teares or cryes preuaile me now?\n_Dido_ is dead, _Iarbus_ slaine, _Iarbus_ my deare loue,", "Who groueling in the mire of _Zanthus_ bankes,\nHis hands bound at his back, and both his eyes\nTurnd vp to heauen as one resolu'd to dye,", "And then in triumph ran into the streetes,\nThrough which he could not passe for slaughtred men:\nSo leaning on his sword he stood stone still,", "But dye in furie of this ouersight?\nI, I must be the murderer of my selfe:\nNo but I am not, yet I will be straight.", "And weepe vpon your liueles carcases,\nThough thou nor he will pitie me a whit.\nWhy star'st thou in my face? if thou wilt stay,", "_Dido._ I dye with melting ruth, _Ãneas_ leaue.\n\n_Anna._ O what became of aged _Hecuba_?", "_Enter Anna._\n\n_Anna._ O helpe _Iarbus_, _Dido_ in these flames\nHath burnt her selfe, aye me, vnhappie me!", "Yong infants swimming in their parents bloud,\nHeadles carkasses piled vp in heapes,\nVirgins halfe dead dragged by their golden haire,", "_Exeunt omnes._\n\n_Enter Venus at another doore, and takes Ascanius by the sleeve._", "_Ãn._ At which the franticke Queene leapt on his face,\nAnd in his eyelids hanging by the nayles," ], [ "As _Iupiter_ to sillie _Vausis_ house:\nCome in with me, Ile bring you to my Queene,\nWho shall confirme my words with further deedes.", "_Iuno._ Faire Queene of loue, I will deuorce these doubts,\nAnd finde the way to wearie such fond thoughts:\nThis day they both a hunting forth will ride", "Great _Iupiter_, still honourd maist thou be,\nFor this so friendly ayde in time of neede.\nHere in this bush disguised will I stand,", "_Iup._ Come gentle _Ganimed_ and play with me,\nI loue thee well, say _Iuno_ what she will.", "_Here the Curtaines draw, there is discovered_ Iupiter _dandling_\nGanimed _upon his knee, and_ Mercury _lying asleepe_.", "Witnes the Gods, and witnes heauen and earth,\nHow loth I am to leaue these _Libian_ bounds,\nBut that eternall _Iupiter_ commands.", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "But lustfull _Ioue_ and his adulterous child,\nShall finde it written on confusions front,\nThat onely _Iuno_ rules in _Rhamnuse_ towne.", "_Iuno._ Is this then all the thankes that I shall haue,\nFor sauing him from Snakes and Serpents stings,", "Doe thou but say their colour pleaseth me:\nHold here my little loue these linked gems,\nMy _Iuno_ ware vpon her marriage day,", "_Iuno._ Fie _Venus_, that such causeles words of wrath,\nShould ere defile so faire a mouth as thine:", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "And charg'd him drowne my sonne with all his traine.\nThen gan the windes breake ope their brazen doores,\nAnd all _Ãolia_ to be vp in armes:", "_Iup._ Content thee _Cytherea_ in thy care,\nSince thy _Ãneas_ wandring fate is firme,", "_Vulcan_ shall daunce to make thee laughing sport,\nAnd my nine Daughters sing when thou art sad,\nFrom _Iunos_ bird Ile pluck her spotted pride,", "Hast had the greatest fauours I could giue:\nI feare me _Dido_ hath been counted light,\nIn being too familiar with _Iarbus_:", "_Hermes_ this night descending in a dreame,\nHath summond me to fruitfull _Italy_:\n_Ioue_ wils it so, my mother wils it so:", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost,", "_Triton_ I know hath fild his trumpe with _Troy_,\nAnd therefore will take pitie on his toyle,\nAnd call both _Thetis_ and _CimodoÃ¦_," ], [ "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "Commaunds me leaue these vnrenowmed beames,\nWhereas Nobilitie abhors to stay,\nAnd none but base _Ãneas_ will abide:", "_Dido._ I dye with melting ruth, _Ãneas_ leaue.\n\n_Anna._ O what became of aged _Hecuba_?", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "The Grecian souldiers tired with ten yeares warre;\nBegan to crye, let vs vnto our ships,\n_Troy_ is inuincible, why stay we here?", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Ãn._ Triumph my mates, our trauels are at end,\nHere will _Ãneas_ build a statelier _Troy_,", "_Ãn._ Ah _Troy_ is sackt, and _Priamus_ is dead,\nAnd why should poore _Ãneas_ be aliue?", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "_Dido._ What faints _Ãneas_ to remember _Troy_?\nIn whose defence he fought so valiantly:\nLooke vp and speake.", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "And after him his band of Mirmidons,\nWith balles of wilde fire in their murdering pawes,\nWhich made the funerall flame that burnt faire _Troy_:", "_Acha._ _Ãneas_ see _Sergestus_ or his ghost.\n\n_Illio._ He meanes _Ãneas_, let vs kisse his feete.", "_Illio._ Louely _Ãneas_, these are Carthage walles,\nAnd here Queene _Dido_ weares th'imperiall Crowne,", "Thongs at his heeles, by which _Achilles_ horse\nDrew him in triumph through the Greekish Campe,\nBurst from the earth, crying, _Ãneas_ flye,", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "For ballace, emptie _Didos_ treasurie,\nTake what ye will, but leaue _Ãneas_ here.\n_Achates_, thou shalt be so meanly clad," ], [ "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "When first you set your foote vpon the shoare,\nAnd here we met fair _Venus_ virgine like,\nBearing her bowe and quiuer at her backe.", "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "_Venus._ Disquiet Seas lay downe your swelling lookes,\nAnd court _Ãneas_ with your calmie cheere,", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "_Ãn._ Well may I view her, but she sees not me.\n\n_Enter Dido and her traine._\n\n_Dido._ What stranger art thou that doest eye me thus?", "_Venus._ See what strange arts necessitie findes out,\nHow neere my sweet _Ãneas_ art thou driuen?", "Will quickly flye to _Citheidas_ fist.\nNow _Cupid_ turne thee to _Ascanius_ shape,\nAnd goe to _Dido_ who in stead of him", "Will set thee on her lap and play with thee:\nThen touch her white breast with this arrow head,\nThat she may dote vpon _Ãneas_ loue:", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "_Serg._ See where her seruitors passe through the hall\nBearing a banket, _Dido_ is not farre.\n\n_Illio._ Looke where she comes: _Ãneas_ viewd her well.", "And Tygers of _Hircania_ gaue thee sucke:\nAh foolish _Dido_ to forbeare this long!\nWast thou not wrackt vpon this _Libian_ shoare,", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Dido._ What, darest thou looke a Lyon in the face?\n\n_Asca._ I, and outface him to, doe what he can.", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost,", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "_Illio._ Louely _Ãneas_, these are Carthage walles,\nAnd here Queene _Dido_ weares th'imperiall Crowne,", "_Dido._ _Achates_ and _Ascanius_, well met.\n\n_Ãn._ Faire _Anna_, how escapt you from the shower?", "_Ãn._ This was my mother that beguild the Queene,\nAnd made me take my brother for my sonne:\nNo maruell _Dido_ though thou be in loue," ], [ "_Dido._ _Ãneas_, Ile repaire thy Troian ships,\nConditionally that thou wilt stay with me,", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "And wofull _Dido_ by these blubbred cheekes,\nBy this right hand, and by our spousall rites,\nDesires _Ãneas_ to remaine with her:", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Ãn._ I vnderstand your highnesse sent for me.\n\n_Dido._ No, but now thou art here, tell me in sooth,\nIn what might _Dido_ highly pleasure thee.", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost,", "The Rockes and Sea-gulfes will performe at large,\nAnd thou shalt perish in the billowes waies,\nTo whom poore _Dido_ doth bequeath reuenge,", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "O then _Ãneas_, tis for griefe of thee:\nSay thou wilt stay in _Carthage_ with my Queene,\nAnd _Didos_ beautie will returne againe:", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Ãn._ Well may I view her, but she sees not me.\n\n_Enter Dido and her traine._\n\n_Dido._ What stranger art thou that doest eye me thus?", "_Ãn._ And who so miserable as _Ãneas_ is?\n\n_Dido._ Lyes it in _Didos_ hands to make thee blest,\nThen be assured thou art not miserable.", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "In whose faire bosome I will locke more wealth,\nThen twentie thousand Indiaes can affoord:\nO here he comes, loue, loue, giue _Dido_ leaue", "_Ãn._ This kisse shall be faire _Didos_ punishment.\n\n_Dido._ O how a Crowne becomes _Ãneas_ head!\nStay here _Ãneas_, and commaund as King.", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Ãn._ What meanes faire _Dido_ by this doubtfull speech?\n\n_Dido._ Nay, nothing, but _Ãneas_ loues me not.", "_Ãneas_, say, how canst thou take thy leaue?\nWilt thou kisse _Dido_? O thy lips haue sworne", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "To stay with _Dido_: canst thou take her hand?\nThy Hand and mine haue plighted mutuall faith,\nTherefore vnkinde _Ãneas_, must thou say," ], [ "_Dido._ May I entreate thee to discourse at large,\nAnd truely to how _Troy_ was ouercome:\nFor many tales goe of that Cities fall,", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Dido._ What faints _Ãneas_ to remember _Troy_?\nIn whose defence he fought so valiantly:\nLooke vp and speake.", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "And wofull _Dido_ by these blubbred cheekes,\nBy this right hand, and by our spousall rites,\nDesires _Ãneas_ to remaine with her:", "_The storme. Enter Ãneas and Dido in the Caue at seuerall times._\n\n_Dido._ _Ãneas._\n\n_Ãn._ _Dido._", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "And Tygers of _Hircania_ gaue thee sucke:\nAh foolish _Dido_ to forbeare this long!\nWast thou not wrackt vpon this _Libian_ shoare,", "_Dido._ _Ãneas_, Ile repaire thy Troian ships,\nConditionally that thou wilt stay with me,", "_Dido._ O _Anna_, runne vnto the water side,\nThey say _Ãneas_ men are going abourd,", "_Dido._ _Iarbus_, talk not of _Ãneas_, let him goe,\nLay to thy hands and helpe me make a fire,", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Ãn._ Well may I view her, but she sees not me.\n\n_Enter Dido and her traine._\n\n_Dido._ What stranger art thou that doest eye me thus?", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost,", "_Ãn._ What meanes faire _Dido_ by this doubtfull speech?\n\n_Dido._ Nay, nothing, but _Ãneas_ loues me not.", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?" ], [ "Will set thee on her lap and play with thee:\nThen touch her white breast with this arrow head,\nThat she may dote vpon _Ãneas_ loue:", "Conuey this golden arrowe in thy sleeue,\nLest she imagine thou art _Venus_ sonne:\nAnd when she strokes thee softly on the head,", "_Asca._ Are you Queene _Didos_ sonne?\n\n_Cupid._ I, and my mother gaue me this fine bow.", "Will quickly flye to _Citheidas_ fist.\nNow _Cupid_ turne thee to _Ascanius_ shape,\nAnd goe to _Dido_ who in stead of him", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "_Ãn._ This was my mother that beguild the Queene,\nAnd made me take my brother for my sonne:\nNo maruell _Dido_ though thou be in loue,", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "Thy sonne thou knowest with _Dido_ now remaines,\nAnd feedes his eyes with fauours of her Court,\nShe likewise in admyring spends her time,", "_Cupid._ What will you giue me? now Ile haue this Fanne.\n\n_Dido._ Take it _Ascanius_, for thy fathers sake.", "Now is he fast asleepe, and in this groue\nAmongst greene brakes Ile lay _Ascanius_,\nAnd strewe him with sweete smelling Violets,", "_Iar._ Am I not King of rich _Getulia_?\n\n_Dido._ _Iarbus_ pardon me, and stay a while.\n\n_Cupid._ Mother, looke here.", "_Acha._ That will _Ãneas_ shewe your maiestie.\n\n_Dido._ _Ãneas_ art thou there?", "_Cupid._ I will faire mother, and so play my part,\nAs euery touch shall wound Queene _Didos_ heart.", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "Thongs at his heeles, by which _Achilles_ horse\nDrew him in triumph through the Greekish Campe,\nBurst from the earth, crying, _Ãneas_ flye,", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "_Acha._ _Ãneas_ see _Sergestus_ or his ghost.\n\n_Illio._ He meanes _Ãneas_, let vs kisse his feete." ], [ "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_The storme. Enter Ãneas and Dido in the Caue at seuerall times._\n\n_Dido._ _Ãneas._\n\n_Ãn._ _Dido._", "_Ãn._ Well may I view her, but she sees not me.\n\n_Enter Dido and her traine._\n\n_Dido._ What stranger art thou that doest eye me thus?", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "In whose faire bosome I will locke more wealth,\nThen twentie thousand Indiaes can affoord:\nO here he comes, loue, loue, giue _Dido_ leaue", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "_Illio._ Louely _Ãneas_, these are Carthage walles,\nAnd here Queene _Dido_ weares th'imperiall Crowne,", "_Serg._ See where her seruitors passe through the hall\nBearing a banket, _Dido_ is not farre.\n\n_Illio._ Looke where she comes: _Ãneas_ viewd her well.", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "Thy sonne thou knowest with _Dido_ now remaines,\nAnd feedes his eyes with fauours of her Court,\nShe likewise in admyring spends her time,", "O then _Ãneas_, tis for griefe of thee:\nSay thou wilt stay in _Carthage_ with my Queene,\nAnd _Didos_ beautie will returne againe:", "And wofull _Dido_ by these blubbred cheekes,\nBy this right hand, and by our spousall rites,\nDesires _Ãneas_ to remaine with her:", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Ãn._ This kisse shall be faire _Didos_ punishment.\n\n_Dido._ O how a Crowne becomes _Ãneas_ head!\nStay here _Ãneas_, and commaund as King.", "_Dido._ _Ãneas_, Ile repaire thy Troian ships,\nConditionally that thou wilt stay with me,", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Dido._ These words are poyson to poore _Didos_ soule,\nO speake like my _Ãneas_, like my loue:", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Ãn._ I vnderstand your highnesse sent for me.\n\n_Dido._ No, but now thou art here, tell me in sooth,\nIn what might _Dido_ highly pleasure thee.", "_Iar._ Vngentle Queene, is this thy loue to me?\n\n_Dido._ O stay _Iarbus_, and Ile goe with thee." ], [ "And follow them as footemen through the deepe:\nYet _Dido_ casts her eyes like anchors out,\nTo stay my Fleete from loosing forth the Bay:", "_Ãn._ _Sergestus_, beare him hence vnto our ships,\nLest _Dido_ spying him keepe him for a pledge.", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "_Dido._ _Iarbus_, talk not of _Ãneas_, let him goe,\nLay to thy hands and helpe me make a fire,", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Dido._ _Ãneas_, Ile repaire thy Troian ships,\nConditionally that thou wilt stay with me,", "Neuer to leaue these newe vpreared walles,\nWhiles _Dido_ liues and rules in _Iunos_ towne,\nNeuer to like or loue any but her.", "And hisse at _Dido_ for preseruing thee?\nGoe goe and spare not, seeke out _Italy_,\nI hope that that which loue forbids me doe,", "_Dido._ But yet _Ãneas_ will not leaue his loue.", "And wofull _Dido_ by these blubbred cheekes,\nBy this right hand, and by our spousall rites,\nDesires _Ãneas_ to remaine with her:", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Dido._ O _Anna_, _Anna_, I will follow him.\n\n_Anna._ How can ye goe when he hath all your fleete?", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost," ], [ "_Ãn._ Triumph my mates, our trauels are at end,\nHere will _Ãneas_ build a statelier _Troy_,", "_Ãn._ This kisse shall be faire _Didos_ punishment.\n\n_Dido._ O how a Crowne becomes _Ãneas_ head!\nStay here _Ãneas_, and commaund as King.", "Then that which grim _Atrides_ ouerthrew:\n_Carthage_ shall vaunt her pettie walles no more,\nFor I will grace them with a fairer frame,", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "_Ãn._ Then here in me shall flourish _Priams_ race,\nAnd thou and I _Achates_, for reuenge,", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Illio._ Louely _Ãneas_, these are Carthage walles,\nAnd here Queene _Dido_ weares th'imperiall Crowne,", "Now will I haste vnto _Lauinian_ shoare,\nAnd raise a new foundation to old _Troy_,", "Braue Prince, welcome to Carthage and to me,\nBoth happie that _Ãneas_ is our guest:\nSit in this chaire and banquet with a Queene,", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "And let rich Carthage fleete vpon the seas,\nSo I may haue _Ãneas_ in mine armes.\nIs this the wood that grew in Carthage plaines,", "_Acha._ _Ãneas_ see _Sergestus_ or his ghost.\n\n_Illio._ He meanes _Ãneas_, let vs kisse his feete.", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "So I escapt the furious _Pirrhus_ wrath:\nWho then ran to the pallace of the King,\nAnd at _Ioues_ Altar finding _Priamus_,", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "_Dido._ _Iarbus_, talk not of _Ãneas_, let him goe,\nLay to thy hands and helpe me make a fire,", "_Acha._ _Ãneas_ for his parentage deserues\nAs large a kingdome as is _Libia_.", "_Ãn._ Where am I now? these should be Carthage walles.\n\n_Acha._ Why stands my sweete _Ãneas_ thus amazde?" ], [ "_Ãn._ I am commaunded by immortal _Ioue_,\nTo leaue this towne and passe to _Italy_,\nAnd therefore must of force.", "_Hermes._ Spendst thou thy time about this little boy,\nAnd giuest not care vnto the charge I bring?\nI tell thee thou must straight to _Italy_,", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "Made me suppose he would haue heard me speake:\nThen gan they driue into the Ocean,\nWhich when I viewd, I cride, _Ãneas_ stay,", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "Witnes the Gods, and witnes heauen and earth,\nHow loth I am to leaue these _Libian_ bounds,\nBut that eternall _Iupiter_ commands.", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "_Hermes_ this night descending in a dreame,\nHath summond me to fruitfull _Italy_:\n_Ioue_ wils it so, my mother wils it so:", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "_Ãn._ Where am I now? these should be Carthage walles.\n\n_Acha._ Why stands my sweete _Ãneas_ thus amazde?", "Swell raging seas, frowne wayward destinies,\nBlow windes, threaten ye Rockes and sandie shelfes,\nThis is the harbour that _Ãneas_ seekes,", "I must from hence: this day swift _Mercury_\nWhen I was laying a platforme for these walles,\nSent from his father _Ioue_, appeard to me,", "Thongs at his heeles, by which _Achilles_ horse\nDrew him in triumph through the Greekish Campe,\nBurst from the earth, crying, _Ãneas_ flye,", "_Ãn._ _Carthage_, my friendly host adue,\nSince destinie doth call me from the shoare:" ], [ "_Ãn._ I am commaunded by immortal _Ioue_,\nTo leaue this towne and passe to _Italy_,\nAnd therefore must of force.", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "Witnes the Gods, and witnes heauen and earth,\nHow loth I am to leaue these _Libian_ bounds,\nBut that eternall _Iupiter_ commands.", "Put sailes to sea to seeke out _Italy_;\nAnd my diuine descent from sceptred _Iove_,\nWith twise twelue Phrigian ships I plowed the deepe,", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Hermes_ this night descending in a dreame,\nHath summond me to fruitfull _Italy_:\n_Ioue_ wils it so, my mother wils it so:", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "_Ãn._ With speede he bids me sail to _Italy_.\nWhen as I want both rigging for my fleete,\nAnd also furniture for these my men.", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "_Hermes._ Spendst thou thy time about this little boy,\nAnd giuest not care vnto the charge I bring?\nI tell thee thou must straight to _Italy_,", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?", "Commaunds me leaue these vnrenowmed beames,\nWhereas Nobilitie abhors to stay,\nAnd none but base _Ãneas_ will abide:", "And hisse at _Dido_ for preseruing thee?\nGoe goe and spare not, seeke out _Italy_,\nI hope that that which loue forbids me doe,", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:" ], [ "_Nurse._ I know not what you meane by treason, I,\nI am as true as any one of yours. _Exeunt the Nurse._", "_Anna._ I goe faire sister, heauens graunt good successe.\n\n_Exit Anna._\n\n_Enter the Nurse._", "A little while prolong'd her husbands life:\nAt last the souldiers puld her by the heeles,\nAnd swong her howling in the emptie ayre,", "_Cupid._ Nurse I am wearie, will you carrie me?\n\n_Nurse._ I, so youle dwell with me and call me mother.", "_Nurse._ That I might liue to see this boy a man,\nHow pretilie he laughs, goe ye wagge,", "That resteth in the riuall of thy paine,\nWho nere will cease to soare till he be slaine. _Exit._", "_Nurse._ No, thou shalt goe with me vnto my house,\nI haue an Orchard that hath store of plums,", "_Nurse._ O what meane I to haue such foolish thoughts!\nFoolish is loue, a toy, O sacred loue,", "_Nurse._ O _Dido_, your little sonne _Ascanius_\nIs gone! he lay with me last night,\nAnd in the morning he was stolne from me,\nI thinke some Fairies haue beguiled me.", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "Whom I will beare to _Ida_ in mine armes,\nAnd couch him in _Adonis_ purple downe, _Exeunt._", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "_Cupid._ Come Nurse.\n\n_Nurse._ Well, if he come a wooing he shall speede,\nO how vnwise was I to say him nay! _Exeunt._", "That I may learne to beare it patiently,\nIf he depart thus suddenly, I dye:\nRun _Anna_, run, stay not to answere me.", "_Enter the Nurse with Cupid for Ascanius._\n\n_Nurse._ My Lord _Ascanius_, ye must goe with me.", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "_Cupid._ Come come Ile goe, how farre hence is your house?\n\n_Nurse._ But hereby child, we shall get thither straight.", "But _Anna_ now shall honor thee in death,\nAnd mixe her bloud with thine, this shall I doe,\nThat Gods and men may pitie this my death,", "_Exeunt omnes._\n\n_Enter Venus at another doore, and takes Ascanius by the sleeve._", "But not so much for thee, thou art but one,\nAs for _Achates_, and his followers. _Exeunt._" ], [ "But _Anna_ now shall honor thee in death,\nAnd mixe her bloud with thine, this shall I doe,\nThat Gods and men may pitie this my death,", "O sweet _Iarbus_, _Annas_ sole delight,\nWhat fatall destinie enuies me thus,\nTo see my sweet _Iarbus_ slay himselfe?", "_Dido._ Yet must I heare that lothsome name againe?\nRunne for _Ãneas_, or Ile flye to him. _Exit Anna._", "_Enter Anna._\n\n_Anna._ O helpe _Iarbus_, _Dido_ in these flames\nHath burnt her selfe, aye me, vnhappie me!", "_Anna._ What can my teares or cryes preuaile me now?\n_Dido_ is dead, _Iarbus_ slaine, _Iarbus_ my deare loue,", "That I may learne to beare it patiently,\nIf he depart thus suddenly, I dye:\nRun _Anna_, run, stay not to answere me.", "_Iar._ Then pull out both mine eyes, or let me dye. _Exit Iarb._\n\n_Anna._ Wherefore doth _Dido_ bid _Iarbus_ goe?", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "_Anna._ As others did, by running to the wood.\n\n_Dido._ But where were you _Iarbus_ all this while?", "A little while prolong'd her husbands life:\nAt last the souldiers puld her by the heeles,\nAnd swong her howling in the emptie ayre,", "_Anna._ I will not leaue _Iarbus_ whom I loue,\nIn this delight of dying pensiuenes:", "_Dido._ O _Anna_, _Anna_, I will follow him.\n\n_Anna._ How can ye goe when he hath all your fleete?", "_Dido._ I dye with melting ruth, _Ãneas_ leaue.\n\n_Anna._ O what became of aged _Hecuba_?", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "And then in triumph ran into the streetes,\nThrough which he could not passe for slaughtred men:\nSo leaning on his sword he stood stone still,", "_Dido._ Away with her, suffer her not to speake.\nMy sister comes, I like not her sad lookes.\n\n_Enter Anna._", "_Anna._ I goe faire sister, heauens graunt good successe.\n\n_Exit Anna._\n\n_Enter the Nurse._", "_Enter Anna._\n\n_Anna._ How now _Iarbus_, at your prayers so hard?\n\n_Iar._ I _Anna_, is there ought you would with me?", "_Ãn._ At which the franticke Queene leapt on his face,\nAnd in his eyelids hanging by the nayles," ], [ "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "_Venus._ See what strange arts necessitie findes out,\nHow neere my sweet _Ãneas_ art thou driuen?", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "And fetter them in _Vulcans_ sturdie brasse,\nThat durst thus proudly wrong our kinsmans peace.\n_Venus_ farewell, thy sonne shall be our care:", "_Venus._ Disquiet Seas lay downe your swelling lookes,\nAnd court _Ãneas_ with your calmie cheere,", "_Ãn._ What meanes faire _Dido_ by this doubtfull speech?\n\n_Dido._ Nay, nothing, but _Ãneas_ loues me not.", "_Exeunt omnes._\n\n_Enter Venus at another doore, and takes Ascanius by the sleeve._", "_Venus._ Well could I like this reconcilements meanes,\nBut much I feare my sonne will nere consent,\nWhose armed soule alreadie on the sea,", "What shall I doe thus wronged with disdaine?\nReuenge me on _Ãneas_, or on her:\nOn her? fond man, that were to warre gainst heauen,", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "_Dido._ _Ãneas_ no, although his eyes doe pearce.\n\n_Ãn._ What, hath _Iarbus_ angred her in ought?\nAnd will she be auenged on his life?", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "And wofull _Dido_ by these blubbred cheekes,\nBy this right hand, and by our spousall rites,\nDesires _Ãneas_ to remaine with her:", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "When first you set your foote vpon the shoare,\nAnd here we met fair _Venus_ virgine like,\nBearing her bowe and quiuer at her backe.", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "Say _Paris_, now shall _Venus_ haue the ball?\nSay vengeance, now shall her _Ascanius_ dye.\nO no God wot, I cannot watch my time," ], [ "Where meeting with the rest, kill kill they cryed.\nFrighted with this confused noyse, I rose,\nAnd looking from a turret, might behold", "_Ãn._ At which the franticke Queene leapt on his face,\nAnd in his eyelids hanging by the nayles,", "And then in triumph ran into the streetes,\nThrough which he could not passe for slaughtred men:\nSo leaning on his sword he stood stone still,", "He with his faulchions poynt raisde vp at once,\nAnd with _Megeras_ eyes stared in their face,\nThreatning a thousand deaths at euery glaunce.", "With ashie visage, blewish, sulphure eyes,\nHis armes torne from his shoulders, and his breast\nFurrowd with wounds, and that which made me weepe,", "A little while prolong'd her husbands life:\nAt last the souldiers puld her by the heeles,\nAnd swong her howling in the emptie ayre,", "Where finding _Ãolus_ intrencht with stormes,\nAnd guarded with a thousand grislie ghosts,\nShe humbly did beseech him for our bane,", "Lookes so remorcefull, vowes so forcible,\nAs therewithall the old man ouercome,\nKist him, imbrast him, and vnloosde his bands,", "With whose outcryes _Atrides_ being apal'd,\nSummoned the Captaines to his princely tent,\nWho looking on the scarres we Troians gaue,", "Yet left he should, for I am full of feare,\nBring me his oares, his tackling, and his sailes;\nWhat if I sinke his ships? O heele frowne.", "Or impious traitors vowde to haue my life,\nAffright me not, onely _Ãneas_ frowne\nIs that which terrifies poore _Didos_ heart:", "_Dido._ Yet must I heare that lothsome name againe?\nRunne for _Ãneas_, or Ile flye to him. _Exit Anna._", "This butcher whil'st his hands were yet held vp,\nTreading vpon his breast, strooke off his hands.", "So I escapt the furious _Pirrhus_ wrath:\nWho then ran to the pallace of the King,\nAnd at _Ioues_ Altar finding _Priamus_,", "Then from the nauell to the throat at once,\nHe ript old _Priam_: at whose latter gaspe\n_Ioues_ marble statue gan to bend the brow,", "_Anna._ As others did, by running to the wood.\n\n_Dido._ But where were you _Iarbus_ all this while?", "Seeing the number of their men decreast,\nAnd the remainder weake and out of heart,\nGaue vp their voyces to dislodge the Campe,", "Thongs at his heeles, by which _Achilles_ horse\nDrew him in triumph through the Greekish Campe,\nBurst from the earth, crying, _Ãneas_ flye,", "Yong infants swimming in their parents bloud,\nHeadles carkasses piled vp in heapes,\nVirgins halfe dead dragged by their golden haire,", "But I cride out, _Ãneas_, false _Ãneas_ stay.\nThen gan he wagge his hand, which yet held vp," ], [ "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "Will quickly flye to _Citheidas_ fist.\nNow _Cupid_ turne thee to _Ascanius_ shape,\nAnd goe to _Dido_ who in stead of him", "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "_Cupid._ What will you giue me? now Ile haue this Fanne.\n\n_Dido._ Take it _Ascanius_, for thy fathers sake.", "_Cupid._ My cosin _Helen_ taught it me in _Troy_.\n\n_Dido._ How louely is _Ascanius_ when he smiles?", "_Asca._ Are you Queene _Didos_ sonne?\n\n_Cupid._ I, and my mother gaue me this fine bow.", "Conuey this golden arrowe in thy sleeue,\nLest she imagine thou art _Venus_ sonne:\nAnd when she strokes thee softly on the head,", "_Exeunt omnes._\n\n_Enter Venus at another doore, and takes Ascanius by the sleeve._", "_Ãn._ This was my mother that beguild the Queene,\nAnd made me take my brother for my sonne:\nNo maruell _Dido_ though thou be in loue,", "Will set thee on her lap and play with thee:\nThen touch her white breast with this arrow head,\nThat she may dote vpon _Ãneas_ loue:", "_Enter the Nurse with Cupid for Ascanius._\n\n_Nurse._ My Lord _Ascanius_, ye must goe with me.", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "And fetter them in _Vulcans_ sturdie brasse,\nThat durst thus proudly wrong our kinsmans peace.\n_Venus_ farewell, thy sonne shall be our care:", "_Cupid._ I will faire mother, and so play my part,\nAs euery touch shall wound Queene _Didos_ heart.", "_Venus._ Such bow, such quiuer, and such golden shafts,\nWill _Dido_ giue to sweete _Ascanius_:", "_Venus._ Out hatefull hag, thou wouldst haue slaine my sonne,\nHad not my Doues discou'rd thy entent:", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "When as he buts his beames on _Floras_ bed,\n_Prometheus_ hath put on _Cupids_ shape,\nAnd I must perish in his burning armes:", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "Say _Paris_, now shall _Venus_ haue the ball?\nSay vengeance, now shall her _Ascanius_ dye.\nO no God wot, I cannot watch my time," ], [ "_Iuno._ Faire Queene of loue, I will deuorce these doubts,\nAnd finde the way to wearie such fond thoughts:\nThis day they both a hunting forth will ride", "As _Iupiter_ to sillie _Vausis_ house:\nCome in with me, Ile bring you to my Queene,\nWho shall confirme my words with further deedes.", "_Iuno._ Is this then all the thankes that I shall haue,\nFor sauing him from Snakes and Serpents stings,", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "_Iup._ Come gentle _Ganimed_ and play with me,\nI loue thee well, say _Iuno_ what she will.", "Great _Iupiter_, still honourd maist thou be,\nFor this so friendly ayde in time of neede.\nHere in this bush disguised will I stand,", "_Iuno._ Fie _Venus_, that such causeles words of wrath,\nShould ere defile so faire a mouth as thine:", "_Iuno._ More then melodious are these words to me,\nThat ouercioy my soule with their content:", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "But lustfull _Ioue_ and his adulterous child,\nShall finde it written on confusions front,\nThat onely _Iuno_ rules in _Rhamnuse_ towne.", "_Vulcan_ shall daunce to make thee laughing sport,\nAnd my nine Daughters sing when thou art sad,\nFrom _Iunos_ bird Ile pluck her spotted pride,", "To harme my sweete _Ascanius_ louely life.\n_Iuno_, my mortall foe, what make you here?\nAuaunt old witch and trouble not my wits.", "_Here the Curtaines draw, there is discovered_ Iupiter _dandling_\nGanimed _upon his knee, and_ Mercury _lying asleepe_.", "Witnes the Gods, and witnes heauen and earth,\nHow loth I am to leaue these _Libian_ bounds,\nBut that eternall _Iupiter_ commands.", "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "_Dido._ The Gods, what Gods be those that seeke my death?\nWherein haue I offended _Iupiter_,", "_Cupid._ _Achates._\n_Iuno._ _Ilioneus._\n_Mercurie._ _Iarbas._", "Doe thou but say their colour pleaseth me:\nHold here my little loue these linked gems,\nMy _Iuno_ ware vpon her marriage day,", "And rests a pray to euery billowes pride.\n_Iuno_, false _Iuno_ in her Chariots pompe,", "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas," ], [ "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "_Acha._ _Ãneas_ see _Sergestus_ or his ghost.\n\n_Illio._ He meanes _Ãneas_, let vs kisse his feete.", "_Venus._ See what strange arts necessitie findes out,\nHow neere my sweet _Ãneas_ art thou driuen?", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "And fetter them in _Vulcans_ sturdie brasse,\nThat durst thus proudly wrong our kinsmans peace.\n_Venus_ farewell, thy sonne shall be our care:", "_Venus._ Disquiet Seas lay downe your swelling lookes,\nAnd court _Ãneas_ with your calmie cheere,", "_Exeunt omnes._\n\n_Enter Venus at another doore, and takes Ascanius by the sleeve._", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "_Acha._ That will _Ãneas_ shewe your maiestie.\n\n_Dido._ _Ãneas_ art thou there?", "_Ãn._ Of _Troy_ am I, _Ãneas_ is my name,\nWho driuen by warre from forth my natiue world,", "_Ãn._ This was my mother that beguild the Queene,\nAnd made me take my brother for my sonne:\nNo maruell _Dido_ though thou be in loue,", "Will set thee on her lap and play with thee:\nThen touch her white breast with this arrow head,\nThat she may dote vpon _Ãneas_ loue:", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Ãn._ Then here in me shall flourish _Priams_ race,\nAnd thou and I _Achates_, for reuenge,", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare." ], [ "_Here the Curtaines draw, there is discovered_ Iupiter _dandling_\nGanimed _upon his knee, and_ Mercury _lying asleepe_.", "_Iup._ And shall haue _Ganimed_, if thou wilt be my loue.\n\n_Enter Venus._", "_Iup._ Come gentle _Ganimed_ and play with me,\nI loue thee well, say _Iuno_ what she will.", "Then from the nauell to the throat at once,\nHe ript old _Priam_: at whose latter gaspe\n_Ioues_ marble statue gan to bend the brow,", "When as he buts his beames on _Floras_ bed,\n_Prometheus_ hath put on _Cupids_ shape,\nAnd I must perish in his burning armes:", "As _Iupiter_ to sillie _Vausis_ house:\nCome in with me, Ile bring you to my Queene,\nWho shall confirme my words with further deedes.", "_Exeunt Iupiter cum Ganimed._", "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "Great _Iupiter_, still honourd maist thou be,\nFor this so friendly ayde in time of neede.\nHere in this bush disguised will I stand,", "And fetter them in _Vulcans_ sturdie brasse,\nThat durst thus proudly wrong our kinsmans peace.\n_Venus_ farewell, thy sonne shall be our care:", "Will set thee on her lap and play with thee:\nThen touch her white breast with this arrow head,\nThat she may dote vpon _Ãneas_ loue:", "When for the hate of Troian _Ganimed_,\nThat was aduanced by my _Hebes_ shame,\nAnd _Paris_ iudgement of the heauenly ball,", "Conuey this golden arrowe in thy sleeue,\nLest she imagine thou art _Venus_ sonne:\nAnd when she strokes thee softly on the head,", "Who groueling in the mire of _Zanthus_ bankes,\nHis hands bound at his back, and both his eyes\nTurnd vp to heauen as one resolu'd to dye,", "And charg'd him drowne my sonne with all his traine.\nThen gan the windes breake ope their brazen doores,\nAnd all _Ãolia_ to be vp in armes:", "Lookes so remorcefull, vowes so forcible,\nAs therewithall the old man ouercome,\nKist him, imbrast him, and vnloosde his bands,", "Entends ere long to sport him in the skie.\nFalse _Iupiter_, rewardst thou vertue so?\nWhat? is not pietie exempt from woe?", "That with thy gloomie hand corrects the heauen,\nWhen ayrie creatures warre amongst themselues:\nHeare, heare, O heare _Iarbus_ plaining prayers,", "_Gan._ Might I but see that pretie sport a foote,\nO how would I with _Helens_ brother laugh,\nAnd bring the Gods to wonder at the game:", "_Ãn._ At which the franticke Queene leapt on his face,\nAnd in his eyelids hanging by the nayles," ], [ "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "Commaunds me leaue these vnrenowmed beames,\nWhereas Nobilitie abhors to stay,\nAnd none but base _Ãneas_ will abide:", "Made me suppose he would haue heard me speake:\nThen gan they driue into the Ocean,\nWhich when I viewd, I cride, _Ãneas_ stay,", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "Then got we to our ships, and being abourd,\n_Polixena_ cryed out, _Ãneas_ stay,\nThe Greekes pursue me, stay and take me in.", "But not so much for thee, thou art but one,\nAs for _Achates_, and his followers. _Exeunt._", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Acha._ _Ãneas_ see here come the Citizens,\nLeaue to lament lest they laugh at our feares.\n\n_Enter Cloanthus, Sergestus, Illioneus._", "_Enter Dido, Ãneas, Anna, Iarbus, Achates, and followers._", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "_Enter Illioneus, and Cloanthes._\n\n_Illio._ Follow ye Troians, follow this braue Lord,\nAnd plaine to him the summe of your distresse.", "_Dido._ O _Anna_, _Anna_, I will follow him.\n\n_Anna._ How can ye goe when he hath all your fleete?", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "Or impious traitors vowde to haue my life,\nAffright me not, onely _Ãneas_ frowne\nIs that which terrifies poore _Didos_ heart:", "And follow them as footemen through the deepe:\nYet _Dido_ casts her eyes like anchors out,\nTo stay my Fleete from loosing forth the Bay:", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "_Cloan._ It is our Captaine, see _Ascanius_.\n\n_Serg._ Liue long _Ãneas_ and _Ascanius_." ] ]	[ "Where was Aeneas heading before the storm?", "Who is Dido?", "Where must Aeneas go to fulfill his destiny?", "Why does Venus argue with Juno?", "What did Cupid do to Dido?", "Which God can quiet storms?", "Who supplies Aeneas with the tackle he needs to set sail?", "Which of the main characters take their own lives at the end of this story?", "Who is Jupiter's wife?", "What defeated city does Aeneas leave with the other survivors?", "What does Venus disguise herself as when meeting Aeneas in Libya?", "What does Dido promise to do for Aeneas when the meet on the coast?", "What major story does Dido recall recall for Aeneas when meeting on the coast?", "Who is disguised as Aeneas' son in order to get close to her with his arrow?", "What physical setting do Dido and Aeneas meet together in when Dido professes his love?", "What does Dido do to Aeneas ships as precaution against him and his followers leaving to Italy?", "What does Aeneas plan to build after he becomes king?", "Where does Mercury tell Aeneas he is destined to go?", "On who's orders must Aeneas answer to go to Italy. ", "As the stroy draws to the end, what does the Nurse say? ", "Seeing Larbas end his own life, what does Anna do? ", "What is Venus complaining about relative to Aeneas? ", "Horrified, what does Larbas do? ", "Why does Venus disguise Cupid as Aeneas's son Ascanius? ", "Who is Juno to Jupiter? ", "Who is Aeneas to Venus?", "As the story begins, what is Jupiter doing to Ganymede? ", "What do Aeneas's followers say? " ]	[ [ "Italy", "Italy" ], [ "The Queen of Carthage", "The queen of carthage" ], [ "Italy", "Italy" ], [ "She thinks Juno wants to harm her son", "She believes Juno wants to harm her son." ], [ "He touched her with his arrow so she would fall in love with Aeneas", "Touch her with his arrow" ], [ "Jupiter", "Jupiter." ], [ "Larbas", "Iarbas." ], [ "Dido, Larbas and Anna", "Dido, Larbas and Anna" ], [ "Juno", "Juno" ], [ "Troy", "Troy" ], [ "A mortal", "Mortal" ], [ "To supply their ships.", "supply his ships" ], [ "The fall of Troy", "Fall of Troy" ], [ "Cupid", "Cupid" ], [ "A cave", "Cave" ], [ "Removes the sails and tackle", "takes the sails and tackle" ], [ "A new city.", "A city rivaling Troy." ], [ "Italy", "Italy." ], [ "Jupiter's orders.", "Venus" ], [ "That Ascanius has desappeared. ", "She intends to create a pyre that will burn all that reminds her of Aeneas." ], [ "Anna kills self also. ", "Kill herself" ], [ "That Jupiter is mistreating Aeneas.", "Jupiter is neglecting him" ], [ " Larbas kills himself as well. ", "kills himself" ], [ "So that he can close to Dido. ", "So that he can touch Dido with his arrow." ], [ "Juno is Jupiter's wife. ", "Jupiter's wife" ], [ "Aeneas is Venus' son.", "Aeneas is Venus's son" ], [ "Jupiter is fondling Ganymede. ", "He is fondling her." ], [ "That they must leave Lybia. ", "They must leave Libya to fulfill their destiny in Italy." ] ]	f01426d161b74fa8cc69b259b8460271b8c70121	train
[ [ "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "\"And that makes it bad for me!\" declared the Daemon of Hatred. \"For\nif no children pass through the Caves of Selfishness and Envy, none\ncan get to MY cavern.\"", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "of Selfishness, and Envy, and Hatred, and Malice! We have done a\nmighty clever thing, we Daemons of the Caves!\"", "\"For my part,\" said the Daemon of Repentance, \"it is easily seen that\nif children do not visit your caves they have no need to visit mine;\nso that I am quite as neglected as you are.\"", "\"I'm having the same trouble,\" rejoined the Daemon of Envy. \"The\nlittle ones seem quite content with Santa Claus, and there are few,\nindeed, that I can coax to become envious.\"", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "\"I'm really getting lonesome,\" said the Daemon of Selfishness. \"For\nSanta Claus distributes so many pretty Christmas gifts to all the\nchildren that they become happy and generous, through his example, and\nkeep away from my cave.\"", "The following day the Daemon of Envy visited Santa Claus. Said he:\n\"The toy shops are full of playthings quite as pretty as those you are", "\"My brother Daemons do not trust me overmuch,\" said he, as he entered\nthe cavern; \"but it is morning, now, and the mischief is done. You\ncannot visit the children again for another year.\"", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "and stamp their feet in anger! Our caves will be full today, old\nSanta! Our caves are sure to be full!\"", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead" ], [ "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "The following day the Daemon of Envy visited Santa Claus. Said he:\n\"The toy shops are full of playthings quite as pretty as those you are", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best" ], [ "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "But to this, as to other like taunts, Santa Claus answered nothing.\nHe was much grieved by his capture, it is true; but his courage did", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "\"The children are waking up, Santa!\" he cried. \"They are waking up to\nfind their stockings empty! Ho, ho! How they will quarrel, and wail,", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"" ], [ "So Wisk the Fairy transported himself to the bower of the Fairy Queen,\nwhich was located deep in the heart of the Forest of Burzee; and once", "So the fairies, and knooks, and pixies, and ryls all escorted the good\nman to his castle, and there left him to talk over the events of the\nnight with his little assistants.", "from the fields, each one bearing the emblem of the flower or plant it\nguarded. Behind these were many ranks of pixies, gnomes and nymphs, and", "of Malice--situated in a dark and fearful cave in the very heart of\nthe mountain. I do not know what lies beyond this. Some say there", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "On one side is the mighty Forest of Burzee. At the other side stands\nthe huge mountain that contains the Caves of the Daemons. And between\nthem the Valley lies smiling and peaceful.", "selected from the ryls, knooks, pixies and fairies, live with him, and\nevery one is as busy as can be from one year's end to another.", "in the rear a thousand beautiful fairies floated along in gorgeous array.", "\"We really did very well,\" cried the fairy, in a pleased voice; \"for I\nfound little unhappiness among the children this morning. Still, you", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead", "inhabited by the Daemon of Envy. The cave of the Daemon of Hatred is\nnext in order, and through this one passes to the home of the Daemon", "the faithful animals again sprang forward and dashed over hill and\nvalley, through forest and plain, until they came to the houses\nwherein children lay sleeping and dreaming of the pretty gifts they", "the mountain, the entrance being beautifully carved and decorated. In\nit resides the Daemon of Selfishness. Back of this is another cavern", "Having put the deer in the stable, the little folk began to wonder how\nthey might rescue their master; and they realized they must discover,\nfirst of all, what had happened to him and where he was.", "from the forest, as rough and crooked in appearance as the gnarled\nbranches of the trees they ministered to. And there were dainty ryls", "the Pixie, and a small fairy named Wisk--his four favorite assistants.\nThese little people he had often found very useful in helping him to\ndistribute his gifts to the children, and when their master was so", "look smilingly up from their green nests. To laugh one needs to be\nhappy; to be happy one needs to be content. And throughout the\nLaughing Valley of Santa Claus contentment reigns supreme.", "The Caves of the Daemons are five in number. A broad pathway leads\nup to the first cave, which is a finely arched cavern at the foot of" ], [ "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "\"I'm really getting lonesome,\" said the Daemon of Selfishness. \"For\nSanta Claus distributes so many pretty Christmas gifts to all the\nchildren that they become happy and generous, through his example, and\nkeep away from my cave.\"", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "\"Oh, yes, indeed,\" answered the Daemon. \"I am even now repenting that\nI assisted in your capture. Of course it is too late to remedy the", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy." ], [ "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "\"I'm really getting lonesome,\" said the Daemon of Selfishness. \"For\nSanta Claus distributes so many pretty Christmas gifts to all the\nchildren that they become happy and generous, through his example, and\nkeep away from my cave.\"", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "\"Nonsense!\" cried the old graybeard, his bright eyes twinkling merrily\nas he turned toward the tempting Daemon. \"The boys and girls are", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "\"I'm having the same trouble,\" rejoined the Daemon of Envy. \"The\nlittle ones seem quite content with Santa Claus, and there are few,\nindeed, that I can coax to become envious.\"", "The following day the Daemon of Envy visited Santa Claus. Said he:\n\"The toy shops are full of playthings quite as pretty as those you are", "the children's saint had so many powerful friends it was folly to\noppose him, the Daemons never again attempted to interfere with his\njourneys on Christmas Eve.", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he" ], [ "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "But to this, as to other like taunts, Santa Claus answered nothing.\nHe was much grieved by his capture, it is true; but his courage did", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "The moon shone big and white in the sky, and the snow lay crisp and\nsparkling on the ground as Santa Claus cracked his whip and sped away", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "Little Wisk stuck out his head from underneath the seat and found\nSanta Claus gone and no one to direct the flight of the reindeer.", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "out of the Valley into the great world beyond. The roomy sleigh was\npacked full with huge sacks of toys, and as the reindeer dashed onward", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "foremost into a snowbank, while the reindeer rushed onward with the\nload of toys and carried it quickly out of sight and sound.", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:" ], [ "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "So the fairies, and knooks, and pixies, and ryls all escorted the good\nman to his castle, and there left him to talk over the events of the\nnight with his little assistants.", "and cities and farmhouses where he was expected, and figured that he\nhad just enough presents to go around and make every child happy. The\nreindeer knew exactly what was expected of them, and dashed along so", "out of the Valley into the great world beyond. The roomy sleigh was\npacked full with huge sacks of toys, and as the reindeer dashed onward", "the Pixie, and a small fairy named Wisk--his four favorite assistants.\nThese little people he had often found very useful in helping him to\ndistribute his gifts to the children, and when their master was so", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "selected from the ryls, knooks, pixies and fairies, live with him, and\nevery one is as busy as can be from one year's end to another.", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "Little Wisk stuck out his head from underneath the seat and found\nSanta Claus gone and no one to direct the flight of the reindeer.", "look smilingly up from their green nests. To laugh one needs to be\nhappy; to be happy one needs to be content. And throughout the\nLaughing Valley of Santa Claus contentment reigns supreme.", "Peter and Nuter and Kilter all jumped upon the seat and looked back\nover the track made by the sleigh. But Santa Claus had been left\nmiles and miles behind.", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "foremost into a snowbank, while the reindeer rushed onward with the\nload of toys and carried it quickly out of sight and sound.", "Wisk had already rendered himself invisible and flown through the big\nworld to see how the children were getting along on this bright\nChristmas morning; and by the time he returned, Peter had finished\ntelling Santa Claus of how they had distributed the toys.", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"" ], [ "The Caves of the Daemons are five in number. A broad pathway leads\nup to the first cave, which is a finely arched cavern at the foot of", "\"I hope you will forgive me,\" said the Daemon pleadingly. \"I am not\nreally a bad person, you know; and I believe I accomplish a great deal\nof good in the world.\"", "Had there been many such mistakes the Daemons would have accomplished\ntheir evil purpose and made the children unhappy. But the little", "of Selfishness, and Envy, and Hatred, and Malice! We have done a\nmighty clever thing, we Daemons of the Caves!\"", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "children. And the Daemons, who guarded him by turns, one after\nanother, did not neglect to taunt him with contemptuous words in his\nhelpless condition.", "\"Oh, yes, indeed,\" answered the Daemon. \"I am even now repenting that\nI assisted in your capture. Of course it is too late to remedy the", "\"As a rule, that is true,\" replied the Daemon; \"yet you, who have done\nno evil, are about to visit my cave at once; for to prove that I sincerely", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "inhabited by the Daemon of Envy. The cave of the Daemon of Hatred is\nnext in order, and through this one passes to the home of the Daemon", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "not forsake him. And, finding that the prisoner would not reply to\nhis jeers, the Daemon of Malice presently went away, and sent the\nDaemon of Repentance to take his place.", "\"My brother Daemons do not trust me overmuch,\" said he, as he entered\nthe cavern; \"but it is morning, now, and the mischief is done. You\ncannot visit the children again for another year.\"", "the mountain, the entrance being beautifully carved and decorated. In\nit resides the Daemon of Selfishness. Back of this is another cavern", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"" ], [ "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "look smilingly up from their green nests. To laugh one needs to be\nhappy; to be happy one needs to be content. And throughout the\nLaughing Valley of Santa Claus contentment reigns supreme.", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "Wisk had already rendered himself invisible and flown through the big\nworld to see how the children were getting along on this bright\nChristmas morning; and by the time he returned, Peter had finished\ntelling Santa Claus of how they had distributed the toys.", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "So the fairies, and knooks, and pixies, and ryls all escorted the good\nman to his castle, and there left him to talk over the events of the\nnight with his little assistants.", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "Peter and Nuter and Kilter all jumped upon the seat and looked back\nover the track made by the sleigh. But Santa Claus had been left\nmiles and miles behind.", "out of the Valley into the great world beyond. The roomy sleigh was\npacked full with huge sacks of toys, and as the reindeer dashed onward" ], [ "\"I hope you will forgive me,\" said the Daemon pleadingly. \"I am not\nreally a bad person, you know; and I believe I accomplish a great deal\nof good in the world.\"", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "\"Oh, yes, indeed,\" answered the Daemon. \"I am even now repenting that\nI assisted in your capture. Of course it is too late to remedy the", "\"As a rule, that is true,\" replied the Daemon; \"yet you, who have done\nno evil, are about to visit my cave at once; for to prove that I sincerely", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "Had there been many such mistakes the Daemons would have accomplished\ntheir evil purpose and made the children unhappy. But the little", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "\"My brother Daemons do not trust me overmuch,\" said he, as he entered\nthe cavern; \"but it is morning, now, and the mischief is done. You\ncannot visit the children again for another year.\"", "children. And the Daemons, who guarded him by turns, one after\nanother, did not neglect to taunt him with contemptuous words in his\nhelpless condition.", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "\"Nonsense!\" cried the old graybeard, his bright eyes twinkling merrily\nas he turned toward the tempting Daemon. \"The boys and girls are", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "This speech greatly surprised the prisoner, until he reflected that it\nwas just what might be expected of the Daemon of Repentance. The", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "of Selfishness, and Envy, and Hatred, and Malice! We have done a\nmighty clever thing, we Daemons of the Caves!\"", "When Christmas Day dawned the Daemon of Malice was guarding the\nprisoner, and his tongue was sharper than that of any of the others.", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "not forsake him. And, finding that the prisoner would not reply to\nhis jeers, the Daemon of Malice presently went away, and sent the\nDaemon of Repentance to take his place." ], [ "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "the children's saint had so many powerful friends it was folly to\noppose him, the Daemons never again attempted to interfere with his\njourneys on Christmas Eve.", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"" ], [ "out of the Valley into the great world beyond. The roomy sleigh was\npacked full with huge sacks of toys, and as the reindeer dashed onward", "and cities and farmhouses where he was expected, and figured that he\nhad just enough presents to go around and make every child happy. The\nreindeer knew exactly what was expected of them, and dashed along so", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "Peter and Nuter and Kilter all jumped upon the seat and looked back\nover the track made by the sleigh. But Santa Claus had been left\nmiles and miles behind.", "The moon shone big and white in the sky, and the snow lay crisp and\nsparkling on the ground as Santa Claus cracked his whip and sped away", "Wisk had already rendered himself invisible and flown through the big\nworld to see how the children were getting along on this bright\nChristmas morning; and by the time he returned, Peter had finished\ntelling Santa Claus of how they had distributed the toys.", "foremost into a snowbank, while the reindeer rushed onward with the\nload of toys and carried it quickly out of sight and sound.", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "look smilingly up from their green nests. To laugh one needs to be\nhappy; to be happy one needs to be content. And throughout the\nLaughing Valley of Santa Claus contentment reigns supreme.", "Little Wisk stuck out his head from underneath the seat and found\nSanta Claus gone and no one to direct the flight of the reindeer.", "suddenly dragged from the sleigh they were all snugly tucked\nunderneath the seat, where the sharp wind could not reach them.", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead" ], [ "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "wished them to do. But now they had to distribute the toys according\nto their own judgment, and they did not understand children as well as\ndid old Santa. So it is no wonder they made some laughable errors.", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "GUTENBERG EBOOK A KIDNAPPED SANTA CLAUS ***\n\n\n\n\nProduced by Dennis Amundson", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "and cities and farmhouses where he was expected, and figured that he\nhad just enough presents to go around and make every child happy. The\nreindeer knew exactly what was expected of them, and dashed along so", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "Little Wisk stuck out his head from underneath the seat and found\nSanta Claus gone and no one to direct the flight of the reindeer.", "A Kidnapped Santa Claus\n\n\nby\n\nL. Frank Baum", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "Wisk had already rendered himself invisible and flown through the big\nworld to see how the children were getting along on this bright\nChristmas morning; and by the time he returned, Peter had finished\ntelling Santa Claus of how they had distributed the toys." ], [ "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "Had there been many such mistakes the Daemons would have accomplished\ntheir evil purpose and made the children unhappy. But the little", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "children. And the Daemons, who guarded him by turns, one after\nanother, did not neglect to taunt him with contemptuous words in his\nhelpless condition.", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "\"I'm having the same trouble,\" rejoined the Daemon of Envy. \"The\nlittle ones seem quite content with Santa Claus, and there are few,\nindeed, that I can coax to become envious.\"", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong." ], [ "So Wisk the Fairy transported himself to the bower of the Fairy Queen,\nwhich was located deep in the heart of the Forest of Burzee; and once", "So the fairies, and knooks, and pixies, and ryls all escorted the good\nman to his castle, and there left him to talk over the events of the\nnight with his little assistants.", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "of Malice--situated in a dark and fearful cave in the very heart of\nthe mountain. I do not know what lies beyond this. Some say there", "from the fields, each one bearing the emblem of the flower or plant it\nguarded. Behind these were many ranks of pixies, gnomes and nymphs, and", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "selected from the ryls, knooks, pixies and fairies, live with him, and\nevery one is as busy as can be from one year's end to another.", "On one side is the mighty Forest of Burzee. At the other side stands\nthe huge mountain that contains the Caves of the Daemons. And between\nthem the Valley lies smiling and peaceful.", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "\"We really did very well,\" cried the fairy, in a pleased voice; \"for I\nfound little unhappiness among the children this morning. Still, you", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead", "the faithful animals again sprang forward and dashed over hill and\nvalley, through forest and plain, until they came to the houses\nwherein children lay sleeping and dreaming of the pretty gifts they", "in the rear a thousand beautiful fairies floated along in gorgeous array.", "inhabited by the Daemon of Envy. The cave of the Daemon of Hatred is\nnext in order, and through this one passes to the home of the Daemon", "Having put the deer in the stable, the little folk began to wonder how\nthey might rescue their master; and they realized they must discover,\nfirst of all, what had happened to him and where he was.", "the Pixie, and a small fairy named Wisk--his four favorite assistants.\nThese little people he had often found very useful in helping him to\ndistribute his gifts to the children, and when their master was so", "from the forest, as rough and crooked in appearance as the gnarled\nbranches of the trees they ministered to. And there were dainty ryls", "the mountain, the entrance being beautifully carved and decorated. In\nit resides the Daemon of Selfishness. Back of this is another cavern", "look smilingly up from their green nests. To laugh one needs to be\nhappy; to be happy one needs to be content. And throughout the\nLaughing Valley of Santa Claus contentment reigns supreme.", "Marching over the snow toward the mountain was a vast army, made up of\nthe most curious creatures imaginable. There were numberless knooks" ], [ "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "Marching over the snow toward the mountain was a vast army, made up of\nthe most curious creatures imaginable. There were numberless knooks", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "He then related the mistakes that had been made, and which he had not\ndiscovered until his tour of inspection. And Santa Claus at once sent", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "and cities and farmhouses where he was expected, and figured that he\nhad just enough presents to go around and make every child happy. The\nreindeer knew exactly what was expected of them, and dashed along so" ], [ "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "But to this, as to other like taunts, Santa Claus answered nothing.\nHe was much grieved by his capture, it is true; but his courage did", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best" ], [ "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "Marching over the snow toward the mountain was a vast army, made up of\nthe most curious creatures imaginable. There were numberless knooks", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "and cities and farmhouses where he was expected, and figured that he\nhad just enough presents to go around and make every child happy. The\nreindeer knew exactly what was expected of them, and dashed along so", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "Wisk had already rendered himself invisible and flown through the big\nworld to see how the children were getting along on this bright\nChristmas morning; and by the time he returned, Peter had finished\ntelling Santa Claus of how they had distributed the toys.", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve." ], [ "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "look smilingly up from their green nests. To laugh one needs to be\nhappy; to be happy one needs to be content. And throughout the\nLaughing Valley of Santa Claus contentment reigns supreme.", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "out of the Valley into the great world beyond. The roomy sleigh was\npacked full with huge sacks of toys, and as the reindeer dashed onward", "So the fairies, and knooks, and pixies, and ryls all escorted the good\nman to his castle, and there left him to talk over the events of the\nnight with his little assistants.", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "Wisk had already rendered himself invisible and flown through the big\nworld to see how the children were getting along on this bright\nChristmas morning; and by the time he returned, Peter had finished\ntelling Santa Claus of how they had distributed the toys.", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:" ], [ "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "\"I'm really getting lonesome,\" said the Daemon of Selfishness. \"For\nSanta Claus distributes so many pretty Christmas gifts to all the\nchildren that they become happy and generous, through his example, and\nkeep away from my cave.\"", "\"I'm having the same trouble,\" rejoined the Daemon of Envy. \"The\nlittle ones seem quite content with Santa Claus, and there are few,\nindeed, that I can coax to become envious.\"", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "The following day the Daemon of Envy visited Santa Claus. Said he:\n\"The toy shops are full of playthings quite as pretty as those you are", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "\"The children are waking up, Santa!\" he cried. \"They are waking up to\nfind their stockings empty! Ho, ho! How they will quarrel, and wail," ], [ "Suddenly a strange thing happened: a rope shot through the moonlight\nand a big noose that was in the end of it settled over the arms and", "\"The children are waking up, Santa!\" he cried. \"They are waking up to\nfind their stockings empty! Ho, ho! How they will quarrel, and wail,", "are terrible pitfalls leading to death and destruction, and this may\nvery well be true. However, from each one of the four caves mentioned\nthere is a small, narrow tunnel leading to the fifth cave--a cozy", "\"No, no!\" exclaimed Peter the Knook, who, cross and crabbed though he\nwas, might always be depended upon in an emergency. \"If we delay, or", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "\"Nonsense!\" cried the old graybeard, his bright eyes twinkling merrily\nas he turned toward the tempting Daemon. \"The boys and girls are", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "of Malice--situated in a dark and fearful cave in the very heart of\nthe mountain. I do not know what lies beyond this. Some say there", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "But to this, as to other like taunts, Santa Claus answered nothing.\nHe was much grieved by his capture, it is true; but his courage did" ], [ "children. And the Daemons, who guarded him by turns, one after\nanother, did not neglect to taunt him with contemptuous words in his\nhelpless condition.", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "\"My brother Daemons do not trust me overmuch,\" said he, as he entered\nthe cavern; \"but it is morning, now, and the mischief is done. You\ncannot visit the children again for another year.\"", "\"And that makes it bad for me!\" declared the Daemon of Hatred. \"For\nif no children pass through the Caves of Selfishness and Envy, none\ncan get to MY cavern.\"", "of Selfishness, and Envy, and Hatred, and Malice! We have done a\nmighty clever thing, we Daemons of the Caves!\"", "\"For my part,\" said the Daemon of Repentance, \"it is easily seen that\nif children do not visit your caves they have no need to visit mine;\nso that I am quite as neglected as you are.\"", "Had there been many such mistakes the Daemons would have accomplished\ntheir evil purpose and made the children unhappy. But the little", "The Caves of the Daemons are five in number. A broad pathway leads\nup to the first cave, which is a finely arched cavern at the foot of", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "grief is likely to make the children selfish and envious and hateful,\nand if they come to the Caves of the Daemons today I shall get a", "the mountain, the entrance being beautifully carved and decorated. In\nit resides the Daemon of Selfishness. Back of this is another cavern", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "\"Nonsense!\" cried the old graybeard, his bright eyes twinkling merrily\nas he turned toward the tempting Daemon. \"The boys and girls are", "\"It is certain that some wicked creatures have captured him,\" added\nKilter thoughtfully, \"and their object must be to make the children", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "\"As a rule, that is true,\" replied the Daemon; \"yet you, who have done\nno evil, are about to visit my cave at once; for to prove that I sincerely", "judge that many wanderers in the Caves of the Daemons have escaped\nthrough the tunnels to the abode of the Daemon of Repentance, who is", "inhabited by the Daemon of Envy. The cave of the Daemon of Hatred is\nnext in order, and through this one passes to the home of the Daemon" ], [ "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "and cities and farmhouses where he was expected, and figured that he\nhad just enough presents to go around and make every child happy. The\nreindeer knew exactly what was expected of them, and dashed along so", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "out of the Valley into the great world beyond. The roomy sleigh was\npacked full with huge sacks of toys, and as the reindeer dashed onward", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "the Pixie, and a small fairy named Wisk--his four favorite assistants.\nThese little people he had often found very useful in helping him to\ndistribute his gifts to the children, and when their master was so", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "Little Wisk stuck out his head from underneath the seat and found\nSanta Claus gone and no one to direct the flight of the reindeer.", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "friends of the absent Santa Claus labored faithfully and intelligently\nto carry out their master's ideas, and they made fewer errors than\nmight be expected under such unusual circumstances.", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "The moon shone big and white in the sky, and the snow lay crisp and\nsparkling on the ground as Santa Claus cracked his whip and sped away", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:" ], [ "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the" ], [ "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "But to this, as to other like taunts, Santa Claus answered nothing.\nHe was much grieved by his capture, it is true; but his courage did", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "He then related the mistakes that had been made, and which he had not\ndiscovered until his tour of inspection. And Santa Claus at once sent", "\"The children are waking up, Santa!\" he cried. \"They are waking up to\nfind their stockings empty! Ho, ho! How they will quarrel, and wail,", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright" ], [ "The Caves of the Daemons are five in number. A broad pathway leads\nup to the first cave, which is a finely arched cavern at the foot of", "of Selfishness, and Envy, and Hatred, and Malice! We have done a\nmighty clever thing, we Daemons of the Caves!\"", "inhabited by the Daemon of Envy. The cave of the Daemon of Hatred is\nnext in order, and through this one passes to the home of the Daemon", "the mountain, the entrance being beautifully carved and decorated. In\nit resides the Daemon of Selfishness. Back of this is another cavern", "\"Oh, yes, indeed,\" answered the Daemon. \"I am even now repenting that\nI assisted in your capture. Of course it is too late to remedy the", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "\"I hope you will forgive me,\" said the Daemon pleadingly. \"I am not\nreally a bad person, you know; and I believe I accomplish a great deal\nof good in the world.\"", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "children. And the Daemons, who guarded him by turns, one after\nanother, did not neglect to taunt him with contemptuous words in his\nhelpless condition.", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "\"My brother Daemons do not trust me overmuch,\" said he, as he entered\nthe cavern; \"but it is morning, now, and the mischief is done. You\ncannot visit the children again for another year.\"", "Had there been many such mistakes the Daemons would have accomplished\ntheir evil purpose and made the children unhappy. But the little", "\"Nonsense!\" cried the old graybeard, his bright eyes twinkling merrily\nas he turned toward the tempting Daemon. \"The boys and girls are", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "\"For my part,\" said the Daemon of Repentance, \"it is easily seen that\nif children do not visit your caves they have no need to visit mine;\nso that I am quite as neglected as you are.\"" ], [ "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "children. And the Daemons, who guarded him by turns, one after\nanother, did not neglect to taunt him with contemptuous words in his\nhelpless condition.", "of Selfishness, and Envy, and Hatred, and Malice! We have done a\nmighty clever thing, we Daemons of the Caves!\"", "The Caves of the Daemons are five in number. A broad pathway leads\nup to the first cave, which is a finely arched cavern at the foot of", "Had there been many such mistakes the Daemons would have accomplished\ntheir evil purpose and made the children unhappy. But the little", "\"I hope you will forgive me,\" said the Daemon pleadingly. \"I am not\nreally a bad person, you know; and I believe I accomplish a great deal\nof good in the world.\"", "\"Nonsense!\" cried the old graybeard, his bright eyes twinkling merrily\nas he turned toward the tempting Daemon. \"The boys and girls are", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "inhabited by the Daemon of Envy. The cave of the Daemon of Hatred is\nnext in order, and through this one passes to the home of the Daemon", "\"My brother Daemons do not trust me overmuch,\" said he, as he entered\nthe cavern; \"but it is morning, now, and the mischief is done. You\ncannot visit the children again for another year.\"", "the mountain, the entrance being beautifully carved and decorated. In\nit resides the Daemon of Selfishness. Back of this is another cavern", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "\"Oh, yes, indeed,\" answered the Daemon. \"I am even now repenting that\nI assisted in your capture. Of course it is too late to remedy the", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:" ] ]	[ "Why do the Daemon of the Caves resent Santa Claus?", "On what day do the Daemons kidnap Santa Clause? ", "What device do they use to capture Santa?", "Where does the queen of the fairies reside?", "Which Daemon releases Santa from captivity?", "What does Santa Claus do when the Daemons try to tempt him? ", "When Santa Claus is captured, what is he riding? ", "Where does the pixie, ryl, fairy and nook ride when there with Santa? ", "Which one of the five Daemons is not necessarily evil? ", "Where was Santa's castle located?", "What Daemon was more ambiguous rather than evil?", "What was Santa doing when the Daemons kidnapped him?", "Where do the four travel in the sleigh when they accompany Santa on his rounds?", "What gift mistakingly gets delivered to a little girl on Christmas Eve after Santa was kidnapped?", "What did the Daemons fail at before kidnapping Santa?", "Where does the queen of the fairies live?", "What was the army, that was sent to rescue Santa, made up of?", "Who releases Santa from captivity?", "What was the army on its way to do when Santa meets them?", "Where is Santa's Castle located? ", "Why do The Daemons resent Santa Clause? ", "What is the climax of the story? ", "What did the Daemons do to get more children in their caves? ", "Which four characters accompany Santa on his deliveries? ", "How did The Daemons kidnap Santa Clause? ", "Who eventually releases Santa? ", "What are the five vices of the Daemons? ", "What religion do The Daemons stem from? " ]	[ [ "Because the children, influenced by Santa's presents, rarely visit their caves", "Children of his gifts rarely visit their caves. " ], [ "On Christmas Eve", "Christmas Eve" ], [ "A lasso ", "A lasso . " ], [ "In the forest of Burzee", "Forest of Burzee." ], [ "The Daemon of Repentance", "Repentance" ], [ "He laughs at them", "He laughs at their efforts . " ], [ "His sleigh", "His sleigh." ], [ "Under the seat of his sleigh", "Travel under the sleet of his sleigh." ], [ "The Daemon of Repentance", "Repentance" ], [ "In the Laughing Valley", "The Laughing Valley" ], [ "The Daemon of Repentance", "The Daemon of Repentance " ], [ "Riding in his sleigh on Christmas Eve", "Riding in sleigh" ], [ "Under Santa's seat in the sleigh", "Under the seat of his sleigh . " ], [ "A toy drum", "Toy drum." ], [ "Temptation", "Tempting with vices" ], [ "In the Forest of Burzee", "Forest of Burzee." ], [ "Magical creatures", "An army of magical creatures." ], [ "The Daemon of Repentance", "The Daemon of Repentance" ], [ "Attack the Daemons", "Rescue him." ], [ "Laughing Valley", "Laughing Valley" ], [ "Children don't visit The Daemons", "Children under his influence don't visit them" ], [ "When Santa is kidnapped. ", "When the army of magical creatures is mustered together. " ], [ "Kidnap Santa", "Decided to frustrate his efforts and counter his influence." ], [ "A pixie, a ryl, a fairy and knook. ", "fairy, pixie, knook, and ryl. " ], [ "They lasso him off the sleigh.", "They lasso him from his sleigh" ], [ "Repentance.", "Daemon of Repentance. " ], [ "Selfishness, envy, hatred, malice, and repentance", "Selfishness, Hatred, Envy, Malice, Repentance" ], [ "Pagan. ", "Paganism" ] ]	f5d38eb6fbd9feb4f8e0bc35f83c8b2a7ed1bc1f	train
[ [ "...living room.\n\tNICK:\n\tIt's beautiful.\n705.04", "FADE IN ON:\n\tINT. APARTMENT - DAY\n\tSLOW PAN R ACROSS APARTMENT FINDING\n\tNICK PASSED OUT ON SOFA.", "AROUND.\n\tANNIE:\n\tThis is Nick Marshall's office. Want a peek? Don't\n\tworry, he never gets in before ten.", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "...I couldn't go on living that way...\n\tNICK:\n\tWhat the hell's wrong with me?\n\tPHONE RINGS.", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "922.13\n\tSCENE 84 - INT. WANAMAKER'S OFFICE - DAY\n\tFS ON NICK IN SPACIOUS OFFICE WAITING.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "336.13\n\tSCENE 66 - BACK ON COUPLE.\n\tNICK:", "HE MOVES AROUND IN FRONT OF NICK\n\tTO FACE HIM.\n212.13", "PAST HIM AND OUT DOOR INTO BG.\n\tNICK:\n\tWhere...where are...\n\tHE CLOSES DOOR BEHIND HIM.", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "So. If you had a bed, we'd be dancing on\n\tit.\n\tDARCY:\n\tI like it here.\n\tNICK:", "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "FOR NICK.\n\tLOLA:\n\tHere he comes.\n1475.12", "NICK:\n\tFingers and toes...\n\tFADE TO BLACK.\n\t(MUSIC OUT)\n\tFADE IN ON:", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "AND SITS DOWN AT DESK BEHIND HIM\n\tTO REST.\n\tNICK:\n\tThank you.\n1658.08", "168.08\n\tSCENE 21 - (PREVIOUS SCENE CONTINUED)\n\tNICK:", "NICK:\n\tAlex, it's me.\n\tALEX O.S.:\n\tWhat are you doing here?\n\tNICK:" ], [ "You hired Darcy McGuire to do what?\n1137.08\n\tSCENE 122 - MCU ON DAN.\n\tDAN:", "DAN:\n\tWhat do you know about Darcy McGuire?\n\tNICK O.S.:\n\tOh, hey, I heard on the whisper, she just", "we have the Nike account and we have a job\n\topening in our team. And Darcy McGuire\n\tand I, we were just discussing, you know,", "excited for you all to meet Darcy McGuire.\n105.05\n\tSCENE 19 - MS ON NICK.\n\tDAN O.S.:", "SCENE 116 - OTS MCU ON NICK.\n\tNICK:\n\tAnd if you don't get Darcy McGuire back", "472.03\n\tSCENE 91 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK.\n\tNICK (INTO PHONE):", "SCENE 5 - MS ON NICK PLAYING WITH PEN. .\n\tDAN O.S.:\n\t...everyone meet Darcy McGuire.\n42.11", "This is insensitive of me, I know you...\n\tNICK:\n\tOh, no.\n\tDARCY:\n\t...were up for my job.", "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "NICK:\n\tNo, I said, I hate what I'm doing to Darcy.\n\tOh, boy, men are stupider, it's true.\n\n\tMORGAN:\n\tWould you stop it!", "AT PASSING TAXI AS HIS PHONE RINGS.\n\tNICK (INTO PHONE):\n\tHey. Did you get hold of Darcy?...", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "DARCY:\n\tSo, for the then, let's just briefly run\n\tthrough them.\n\tSHE NOTICES NICK OS.", "DARCY:\n\tOkay.\n\tNICK:\n\tPersonally, I think they do the trick.\n263.15", "SCENE 195 - CONTINUED\n NICK (INTO PHONE):\n\tDarcy?", "DARCY:\n\tOh, God. I guilted you into this last\n\tnight, didn't I?\n\tNICK:", "SCENE 1 - INT. DARCY'S OFFICE - DAY\n\tFS ON NICK ENTERING OFFICE AND\n\tMOVING TO FS.", "DARCY:\n\tThe fireplace works.\n\tNICK:\n\tWow.\n\tSHE TAKES HIS HAND.\n\tDARCY:\n\tCome here.", "SCENE 10 - MS BACK ON NICK TRYING TO SEE\n\tHER.\n\tDARCY O.S.:\n\tHi, God, what a small world.", "NICK:\n\tI hate what I'm doing to Darcy. I hate it.\n\tI'm gonna write her a long letter and\n\tconfess everything." ], [ "SCENE 47 - MASTER TWO SHOT.\n\tNICK:\n\tMy daughter and her boyfriend walked in\n\tand I got them on with...", "Dad, c'mon.\n\tNICK O.S.:\n\tI'm sorry...I'm sorry. Go on.\n\tALEX:", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "FS DOLLYING ALONG WITH GIRL JOGGING\n\tAS NICK RUNS BESIDE HER.\n\tJOGGER (HER THOUGHTS):", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "NICK:\n\tAh, her father.", "Your daughter?\n667.15\n\tSCENE 130 - MFS ON NICK HOLDING DOOR", "1476.01\n\tSCENE 233 - BACK ON NICK.\n\tLOLA O.S. (HER THOUGHTS):", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "IGNORING HER AS NICK ARRIVES.", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "SHE LOOKS RIGHT AT NICK OS.", "591.11\n\tSCENE 115 - MS ON NICK.\n\tFRIEND 2 O.S. (HER THOUGHTS):", "FOR NICK.\n\tLOLA:\n\tHere he comes.\n1475.12", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "61.10\n\tSCENE 4 - FS ON LADIES ROOM ENTRANCE AS\n\tNICK RUSHES UP TO IT PASSING EXITING\n\tGIRLS.\n\tNICK:\n\tAlex?", "1088.03\n\tSCENE 141 - MS BACK ON NICK.\n\tNICK:" ], [ "SCENE 47 - MASTER TWO SHOT.\n\tNICK:\n\tMy daughter and her boyfriend walked in\n\tand I got them on with...", "SCENE 122 - MS ON NICK.\n\tNICK:\n\tHow old are you?\n636.15", "Your daughter?\n667.15\n\tSCENE 130 - MFS ON NICK HOLDING DOOR", "FS DOLLYING ALONG WITH GIRL JOGGING\n\tAS NICK RUNS BESIDE HER.\n\tJOGGER (HER THOUGHTS):", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "SCENE 86 - MS ON NICK TURNING TO HER \nOSR.\n\tNICK:\n\tShe's fifteen. She's staying with me", "Oh, I know. She's been here two years...\n334.09\n\tSCENE 36 - MS ON NICK PUTTING ON JACKET", "1476.01\n\tSCENE 233 - BACK ON NICK.\n\tLOLA O.S. (HER THOUGHTS):", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "NICK:\n\tAh, her father.", "SHE THINKS OF NUMBER.\n1239.15\n\tSCENE 202 - MS ON NICK.\n\tNICK:", "Dad, c'mon.\n\tNICK O.S.:\n\tI'm sorry...I'm sorry. Go on.\n\tALEX:", "He has a daughter? Didn't picture that. \nHow\n\told?\n446.05", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "591.11\n\tSCENE 115 - MS ON NICK.\n\tFRIEND 2 O.S. (HER THOUGHTS):", "356.10\n\tSCENE 42 - BACK ON NICK.\n\tNICK:\n\tWell...I wanna meet with her now. The kid's\n\tgot something. It's kinda funny.", "DARCY O.S.:\n\tDid you say fifteen?\n\tNICK:\n\tYeah, yeah. Got a boyfriend that's\n\teighteen." ], [ "NICK:\n\tYes! Yes! Okay, anyway, I was drying my\n\thair and I fell over and tripped and fell\n\tinto the bathtub and electrocuted myself", "UP TO MIRROR WHERE HE EXAMINES HIS FACE.\n\tNICK:\n\tHmm, cleaner pores, thicker hair. Very", "DR. PERKINS:\n\tBut this is phenomenal! That you can hear\n\tinside my head!\n\tNICK:\n\tYeah.", "HE HIKES HIS HAIRY LEG UP ONTO\n\tVANITY.\n\tNICK:\n\tOkay, now, for the piece de resistance...", "(NEW MUSIC IN)\n\tHE SUDDENLY BOLTS UP AWAKE.\n\tNICK:\n\tOh... good. I'm not dead. Oh, please,", "DR. PERKINS O.S.:\n\tListen to me, Nick. Something extraordinary\n\tand miraculous has happened to you.\n1377.14", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "INTO RAIN WITH ONE HAND ON HAIR-DRIER.\n\tTHUNDER AND LIGHTENING FLASH AS\n\tHE READIES HIMSELF.", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "SCENE 65 - BACK ON NICK LOOKING AROUND \n\tAS HE IS BOMBARDED BY THE WOMEN'S\n\tTRUE THOUGHTS.", "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "PAST HIM AND OUT DOOR INTO BG.\n\tNICK:\n\tWhere...where are...\n\tHE CLOSES DOOR BEHIND HIM.", "874.09\n\tSCENE 152 - INT. BATHROOM - NIGHT\n\tMS ON NICK LOOKING IN MIRROR AS PASSING", "NICK:\n\tFingers and toes...\n\tFADE TO BLACK.\n\t(MUSIC OUT)\n\tFADE IN ON:", "NICK:\n\tIt's gone. I'm back. I'm back.\n\tHE STARTS LAUGHING.\n\tERIN:", "DARCY:\n\tThe fireplace works.\n\tNICK:\n\tWow.\n\tSHE TAKES HIS HAND.\n\tDARCY:\n\tCome here.", "ON TV MONITOR AS NICK NARRATES.\n\tNICK O.S.:\n\tYou don't stand in front of a mirror before a run", "...I couldn't go on living that way...\n\tNICK:\n\tWhat the hell's wrong with me?\n\tPHONE RINGS.", "1116.09\n\tSCENE 147 - ON HIM.\n\tNICK:\n\tYeah.\n\tALEX O.S.:" ], [ "NICK:\n\tAll right. All right.\n\tHE TURNS TO HER IN OSFG.\n\tNICK:\n\tI hear what women think.", "SCENE 65 - BACK ON NICK LOOKING AROUND \n\tAS HE IS BOMBARDED BY THE WOMEN'S\n\tTRUE THOUGHTS.", "SCENE 215 - MS ON HIM.\n\tNICK:\n\tWell, for starters, almost every woman I\n\tknow thinks I'm an asshole.", "Nick, my ex-husband, is the ultimate man's\n\tman. I probably never should have married\n\thim. I don't think he understood a thing\n\tabout me.", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "I don't know. I just know everyone over\n\tthere is thrilled to get rid of her.\n\tNICK:\n\tWell, so much for edgy female vision.", "BOX TO NICK WHO ROLLS HIS EYES.\n\tDARCY O.S.:\n\tI'm pretty sure all the women here are", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "1187.01\n\tSCENE 161 - OTS ON HIM.\n\tNICK:\n\tListen to me, I think you're one of the\n\tgreat women. I really do.", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "NICK:\n\tNo, they don't envy. Half of them don't\n\teven like it. You know who has penis envy?", "SCENE 99 - BACK ON NICK LOOKING AT WOMEN\n\tAT COUNTER.\n\tWOMAN 2 O.S. (HER THOUGHTS):", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 23 - THEIR POV ON WOMAN \n\tAPPROACHING.\n\tNICK O.S.:\n\tSee this attorney coming toward us?", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "WOMEN ALL CRACK UP AND SLOWLY\n\tDRIFT OFF LEAVING NICK AND DEE.\n\tNICK:", "NICK:\n\tOh, I wish. A woman wouldn't have screwed\n\tover the woman she loved. No, they don't\n\tthink that way.", "NICK:\n\tNo, I said, I hate what I'm doing to Darcy.\n\tOh, boy, men are stupider, it's true.\n\n\tMORGAN:\n\tWould you stop it!" ], [ "FOR NICK.\n\tLOLA:\n\tHere he comes.\n1475.12", "He's coming, he's coming, he's coming.\n\tNICK ENTERS AS EVE POPS CHAMPAGNE\n\tSPRAYING IT ONTO NICK WHO CATCHES", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "AND SITS DOWN AT DESK BEHIND HIM\n\tTO REST.\n\tNICK:\n\tThank you.\n1658.08", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "922.13\n\tSCENE 84 - INT. WANAMAKER'S OFFICE - DAY\n\tFS ON NICK IN SPACIOUS OFFICE WAITING.", "NICK:\n\tWow.\n\tDARCY:\n\tI know. Come here.", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "CU ON FLO'S GLOVED HAND OPENING DOOR\n\tAS NICK EMERGES.\n\tFLO O.S.:\n\tMr. Marshall.", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "DARCY:\n\tSo, for the then, let's just briefly run\n\tthrough them.\n\tSHE NOTICES NICK OS.", "UP TO MIRROR WHERE HE EXAMINES HIS FACE.\n\tNICK:\n\tHmm, cleaner pores, thicker hair. Very", "108.06\n\tSCENE 8 - MS ON NICK OPENING DOOR MAKING\n\tHIS PRESENCE KNOWN AS HE CHUCKLES.", "CLOSE IN ON NICK GRINNING.\n\tNICK:\n\tOh, yeah.\n\t(NEW MUSIC IN)\n\tDISSOLVE TO:", "DR. PERKINS:\n\tBut this is phenomenal! That you can hear\n\tinside my head!\n\tNICK:\n\tYeah.", "...living room.\n\tNICK:\n\tIt's beautiful.\n705.04", "SCENE 65 - BACK ON NICK LOOKING AROUND \n\tAS HE IS BOMBARDED BY THE WOMEN'S\n\tTRUE THOUGHTS.", "NICK:\n\tIt's gone. I'm back. I'm back.\n\tHE STARTS LAUGHING.\n\tERIN:" ], [ "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "Dad, c'mon.\n\tNICK O.S.:\n\tI'm sorry...I'm sorry. Go on.\n\tALEX:", "NICK:\n\tAlex, it's me.\n\tALEX O.S.:\n\tWhat are you doing here?\n\tNICK:", "TURNS TO NICK.\n\tALEX:\n\tNick...\n1363.08", "61.10\n\tSCENE 4 - FS ON LADIES ROOM ENTRANCE AS\n\tNICK RUSHES UP TO IT PASSING EXITING\n\tGIRLS.\n\tNICK:\n\tAlex?", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "1116.09\n\tSCENE 147 - ON HIM.\n\tNICK:\n\tYeah.\n\tALEX O.S.:", "KISSING. NICK SEES THIS.\n\tCAMERON O.S.:\n\tBye.\n\tALEX O.S.:\n\tBye.", "PAST HIM.\n\tALEX:\n\tLater.\n\tNICK:\n\tYeah, seven thirty's fine. Thanks for", "NICK (INTO PHONE):\n\tAlex, hi!\n459.08\n\tSCENE 90 - EXT. SCHOOLYARD - DAY", "SCENE 15 - BACK ON NICK.\n\tALEX O.S.:\n\t...old girlfriend and starts making out with\n\ther. I mean...", "673.13\n\tSCENE 88 - MCU ON NICK LISTENING.\n\tALEX O.S. (HER THOUGHTS):", "578.04\n\tSCENE 112 - MS ON NICK.\n\tNICK:\n\tAh...hi. I'm Alex's dad, Nick.", "253.08\n\tSCENE 17 - MS ON NICK.\n\tALEX O.S.:\n\tAnd then they were laughing and...", "FS ON NICK SEATED WAITING.\n\tALEX O.S.:\n\tI'm not coming out.\n\tNICK:", "1364.13\n\tSCENE 167 - MS ON COUPLE AND ALEX. SHE\n\tNODS TO NICK BEFORE MOVING OS INTO FG", "1060.06\n\tSCENE 133 - FS ON NICK CLEANING UP.\n\tALEX O.S.:", "ALEX:\n\tOh, God!\n619.03\n\tSCENE 118 - MS BACK ON NICK PICKING UP", "SCENE 28 - BACK ON HIM.\n\tNICK:\n\tIt's true. He's not.\n\tALEX O.S.:", "ALEX O.S. (HER THOUGHTS):\n\tWhere is it?\n\tNICK:\n\tOh, God.\n615.00" ], [ "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "1476.01\n\tSCENE 233 - BACK ON NICK.\n\tLOLA O.S. (HER THOUGHTS):", "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "STELLA (HER THOUGHTS):\n\tOh, what the hell has he done now? I hope\n\the's not dead.\n\tNICK:", "673.13\n\tSCENE 88 - MCU ON NICK LISTENING.\n\tALEX O.S. (HER THOUGHTS):", "DR. PERKINS:\n\tBut this is phenomenal! That you can hear\n\tinside my head!\n\tNICK:\n\tYeah.", "SCENE 65 - BACK ON NICK LOOKING AROUND \n\tAS HE IS BOMBARDED BY THE WOMEN'S\n\tTRUE THOUGHTS.", "DARCY O.S. (HER THOUGHTS):\n\tStop it!\n\tNICK:\n\tAre you all right?", "No.\n483.15\n\tSCENE 86 - BACK ON NICK.\n\tNICK:", "was beyond...beyond...oh, my heart! My heart\n\tis beating so hard!\n\tLOLA (HER THOUGHTS):\n\tWho would have thought? Slow starter,", "and blacked out. And when I woke up, I\n\tcould hear what every woman around me was\n\tthinking.\n\tMORGAN GIVES HIM LOOK.", "SCENE 69 - MCU ON NICK RUBBING HIS FACE \n\tAS HE HEARS SUE'S THOUGHTS.\n\tDINA O.S.:", "HE HANGS UP PHONE.\n\tNICK:\n\tWhy?\n\tDAN:\n\tBecause I talked to the board and I told", "PAST HIM AND OUT DOOR INTO BG.\n\tNICK:\n\tWhere...where are...\n\tHE CLOSES DOOR BEHIND HIM.", "NICK:\n\tAh...sorry.\n\tWOMAN O.S. (HER THOUGHTS):\n\tTwo slices of toast..." ], [ "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "AROUND.\n\tANNIE:\n\tThis is Nick Marshall's office. Want a peek? Don't\n\tworry, he never gets in before ten.", "NICK:\n\tHi, I'm Nick Marshall.\n\t \n77.13\n\tSCENE 14 - OTS MS ON HER.", "DR. PERKINS:\n\tMr. Marshall, please slow down.\n\tNICK:\n\tYes.\n\tDR. PERKINS:", "CU ON FLO'S GLOVED HAND OPENING DOOR\n\tAS NICK EMERGES.\n\tFLO O.S.:\n\tMr. Marshall.", "Marshall.\n\tMORGAN POINTS TO HIS WATCH.\n\tANNIE (HER THOUGHTS):\n\tAnd it's okay you pay me minimum wage,", "Mr. Marshall! Mr. Marshall?\n1532.03\n\tSCENE 156 - ANGLE ON NICK CLIMBING UP OFF\n\tBED.", "SCENE 73 - CONTINUED\n\tANNIE:\n\tOh, Mr. Marshall. Hi.\n\tNICK:", "NICK:\n\tExcuse me, do you know where Alex Marshall\n\tis? Little tenth grader? Brown hair? About\n\tthis high?", "Hi, Mr. Marshall.\n\tNICK:\n\tAh! What! No, don't say it!\n\tANNIE:", "Mr. Marshall?\n1666.12\n\tSCENE 173 - MS ON NICK TURNING TO CAMERA.\n\tNICK:", "DR. PERKINS:\n\tMr. Marshall, you might find this a little\n\tunorthodox, but would you mind if I smoked?\n\tNICK:", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "SCENE 153 - EXT. STREET - DAY\n\tTRACK BEHIND NICK AS HE BURSTS OUT\n\tOF FRONT DOORS OF HIS BUILDING", "then\n\tturns out to be a genius in bed. Ladies \nand\n\tgentleman, Nick Marshall is a sex god!", "NICK:\n\tPlease be a woman. Please.\n\tOPERATOR (OVER PHONE):\n\tFor what city please?\n\tNICK (INTO PHONE):", "FADE IN ON:\n\tINT. APARTMENT - DAY\n\tSLOW PAN R ACROSS APARTMENT FINDING\n\tNICK PASSED OUT ON SOFA.", "SCENE 118 - INT. S/C OFFICES - DAY\n\tDOLLY BACK ON NICK MOVING DOWN STAIRS", "AT PASSING TAXI AS HIS PHONE RINGS.\n\tNICK (INTO PHONE):\n\tHey. Did you get hold of Darcy?..." ], [ "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "NICK:\n\tHi, I'm Nick Marshall.\n\t \n77.13\n\tSCENE 14 - OTS MS ON HER.", "DR. PERKINS:\n\tMr. Marshall, please slow down.\n\tNICK:\n\tYes.\n\tDR. PERKINS:", "Marshall.\n\tMORGAN POINTS TO HIS WATCH.\n\tANNIE (HER THOUGHTS):\n\tAnd it's okay you pay me minimum wage,", "AROUND.\n\tANNIE:\n\tThis is Nick Marshall's office. Want a peek? Don't\n\tworry, he never gets in before ten.", "DR. PERKINS:\n\tMr. Marshall, you might find this a little\n\tunorthodox, but would you mind if I smoked?\n\tNICK:", "Mr. Marshall! Mr. Marshall?\n1532.03\n\tSCENE 156 - ANGLE ON NICK CLIMBING UP OFF\n\tBED.", "CU ON FLO'S GLOVED HAND OPENING DOOR\n\tAS NICK EMERGES.\n\tFLO O.S.:\n\tMr. Marshall.", "NICK:\n\tExcuse me, do you know where Alex Marshall\n\tis? Little tenth grader? Brown hair? About\n\tthis high?", "Hi, Mr. Marshall.\n\tNICK:\n\tAh! What! No, don't say it!\n\tANNIE:", "SCENE 73 - CONTINUED\n\tANNIE:\n\tOh, Mr. Marshall. Hi.\n\tNICK:", "then\n\tturns out to be a genius in bed. Ladies \nand\n\tgentleman, Nick Marshall is a sex god!", "Mr. Marshall?\n1666.12\n\tSCENE 173 - MS ON NICK TURNING TO CAMERA.\n\tNICK:", "As a matter of fact, I was just thinking\n\tthat. I was thinking, why is Mr. Marshall\n\there...\n1577.03", "Nick, my ex-husband, is the ultimate man's\n\tman. I probably never should have married\n\thim. I don't think he understood a thing\n\tabout me.", "DARCY:\n\tSo, for the then, let's just briefly run\n\tthrough them.\n\tSHE NOTICES NICK OS.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "NICK:\n\tWell, they are.\n\n\tMORGAN:\n\tWhat do you mean \"They\" are? Are you\n\tofficially a woman now?", "HE MOVES AROUND IN FRONT OF NICK\n\tTO FACE HIM.\n212.13", "SCENE 153 - EXT. STREET - DAY\n\tTRACK BEHIND NICK AS HE BURSTS OUT\n\tOF FRONT DOORS OF HIS BUILDING" ], [ "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "NICK:\n\tHi, I'm Nick Marshall.\n\t \n77.13\n\tSCENE 14 - OTS MS ON HER.", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "Marshall.\n\tMORGAN POINTS TO HIS WATCH.\n\tANNIE (HER THOUGHTS):\n\tAnd it's okay you pay me minimum wage,", "DR. PERKINS:\n\tMr. Marshall, please slow down.\n\tNICK:\n\tYes.\n\tDR. PERKINS:", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "AROUND.\n\tANNIE:\n\tThis is Nick Marshall's office. Want a peek? Don't\n\tworry, he never gets in before ten.", "HERSELF.\n\tGIGI V.O.:\n\tNick was actually born and raised in Las\n\tVegas. Nick's mother was a real honest to", "CU ON FLO'S GLOVED HAND OPENING DOOR\n\tAS NICK EMERGES.\n\tFLO O.S.:\n\tMr. Marshall.", "Hi, Mr. Marshall.\n\tNICK:\n\tAh! What! No, don't say it!\n\tANNIE:", "DR. PERKINS:\n\tMr. Marshall, you might find this a little\n\tunorthodox, but would you mind if I smoked?\n\tNICK:", "GIGI:\n\tBecause once you understand Nick's mother, you\n\tunderstand Nick.\nSCENE 11 - CONTINUED", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "SCENE 73 - CONTINUED\n\tANNIE:\n\tOh, Mr. Marshall. Hi.\n\tNICK:", "Mr. Marshall! Mr. Marshall?\n1532.03\n\tSCENE 156 - ANGLE ON NICK CLIMBING UP OFF\n\tBED.", "NICK:\n\tExcuse me, do you know where Alex Marshall\n\tis? Little tenth grader? Brown hair? About\n\tthis high?", "Nick, my ex-husband, is the ultimate man's\n\tman. I probably never should have married\n\thim. I don't think he understood a thing\n\tabout me.", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "As a matter of fact, I was just thinking\n\tthat. I was thinking, why is Mr. Marshall\n\there...\n1577.03" ], [ "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "1295.13\n\tSCENE 147 - MCU ON NICK.\n\tNICK:\n\tSo, two whole weeks together, huh?", "LOLA:\n\tJust a few um...hours. Nick, you said you\n\twouldn't hurt me. And then you slept with", "FS ON NICK SEATED WAITING.\n\tALEX O.S.:\n\tI'm not coming out.\n\tNICK:", "Oh, I know. She's been here two years...\n334.09\n\tSCENE 36 - MS ON NICK PUTTING ON JACKET", "PAST HIM.\n\tALEX:\n\tLater.\n\tNICK:\n\tYeah, seven thirty's fine. Thanks for", "AROUND.\n\tANNIE:\n\tThis is Nick Marshall's office. Want a peek? Don't\n\tworry, he never gets in before ten.", "DR. PERKINS:\n\tMr. Marshall, please slow down.\n\tNICK:\n\tYes.\n\tDR. PERKINS:", "NICK:\n\tExcuse me, do you know where Alex Marshall\n\tis? Little tenth grader? Brown hair? About\n\tthis high?", "NICK:\n\tAlex, it's me.\n\tALEX O.S.:\n\tWhat are you doing here?\n\tNICK:", "Marshall.\n\tMORGAN POINTS TO HIS WATCH.\n\tANNIE (HER THOUGHTS):\n\tAnd it's okay you pay me minimum wage,", "NICK:\n\tHi, I'm Nick Marshall.\n\t \n77.13\n\tSCENE 14 - OTS MS ON HER.", "NICK:\n\t...well, here's the thing, Erin. The real\n\treason I'm here is because, as you know,", "Well, actually, the cruise is just the last week.\n\tAlexandra has an itinerary and I faxed one to your\n\toffice yesterday. To your apartment last week,", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "KISSING. NICK SEES THIS.\n\tCAMERON O.S.:\n\tBye.\n\tALEX O.S.:\n\tBye.", "DR. PERKINS:\n\tMr. Marshall, you might find this a little\n\tunorthodox, but would you mind if I smoked?\n\tNICK:", "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 142 - MCU ON WEDDING COUPLE.\n\tNICK O.S.:\n\tTwo weeks, huh?\n\tGIGI:" ], [ "You hired Darcy McGuire to do what?\n1137.08\n\tSCENE 122 - MCU ON DAN.\n\tDAN:", "we have the Nike account and we have a job\n\topening in our team. And Darcy McGuire\n\tand I, we were just discussing, you know,", "DAN:\n\tWhat do you know about Darcy McGuire?\n\tNICK O.S.:\n\tOh, hey, I heard on the whisper, she just", "BEEP...Hi, this is Darcy McGuire. I'm not in\n\tright now so please leave a message. I'll\n\tget back to you as soon as I can. BEEP.", "OFFICES PASSING CAMERA INTO BG.\n\tMORGAN:\n\tI also heard Darcy McGuire left B.B.D.&O.", "excited for you all to meet Darcy McGuire.\n105.05\n\tSCENE 19 - MS ON NICK.\n\tDAN O.S.:", "DARCY:\n\tWhen Sears decided to go after women in\n\ttheir advertising and said, \"Come see the\n\tsofter side of Sears\", their revenues went", "SCENE 5 - MS ON NICK PLAYING WITH PEN. .\n\tDAN O.S.:\n\t...everyone meet Darcy McGuire.\n42.11", "SCENE 116 - OTS MCU ON NICK.\n\tNICK:\n\tAnd if you don't get Darcy McGuire back", "480.15\n\tSCENE 93 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK STILL PRETENDING", "1510.07\n\tSCENE 203 - MCU ON DARCY.\n\tDARCY (HER THOUGHTS):", "Female driven advertising...\n275.06\n\tSCENE 45 - BACK ON DARCY.\n\tDARCY:", "1489.07\n\tSCENE 196 - MCU BACK ON HER THINKING.\n\tDARCY (HER THOUGHTS):", "when you hired her. I mean, she is the\n\tbest creative director I have ever seen.\n\tBar none.", "SCENE 198 - MCU BACK ON DARCY.\n\tDARCY (HER THOUGHTS):\n\tThis is the one place she can be", "SCENE 43 - MCU BACK ON DARCY.\n\tSHE LOOKS AT CAMERA.\n\tDARCY (HER THOUGHTS):", "1500.05\n\tSCENE 200 - MCU BACK ON DARCY.\n\tDARCY (HER THOUGHTS):", "AT PASSING TAXI AS HIS PHONE RINGS.\n\tNICK (INTO PHONE):\n\tHey. Did you get hold of Darcy?...", "SCENE 141 - OTS MCU ON HIM.\n\tDARCY:\n\tWell, that's why I needed to get out there", "472.03\n\tSCENE 91 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK.\n\tNICK (INTO PHONE):" ], [ "480.15\n\tSCENE 93 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK STILL PRETENDING", "PINK BOXES IS WHEELED IN ON CART.\n\tDARCY:\n\t...for everybody. Nobody panic, this is\n\tsupposed to be fun.", "ARE PASSED ALONG TABLE TO BG.\n\tDARCY O.S.:\n\tEvery product in this box is looking for\n\trepresentation...", "SCENE 106 - BACK ON HER AT DESK.\n\tDARCY:\n\tYou got it.\n545.04", "323.01\n\tSCENE 50 - BACK ON DARCY HANDING OUT\n\tBOXES.\n\tDARCY:", "SHE TOUCHES DAN IN PASSING.\n\tDARCY:\n\t...but this is the last place you're gonna", "PAN L ACROSS OFFICE AS MOVERS UNPACK\n\tOVER TO DARCY AT DESK IN BG TALKING ON \n\tPHONE.", "Darcy? Please, I was there yesterday. The\n\tgirl didn't open her mouth.\n\tHE STANDS.\n\tDAN:", "DARCY:\n\tWell, they said two weeks, so...\n\tSHE MOVES INTO BG TO\n\tDOORWAY.\n\tDARCY:\n\tOkay, this is the dining room.", "SCENE 180 - INT. DARCY'S OFFICE - DAY\n\tANGLE ON STORYBOARD AS CAMERA", "SHE TURNS TO HELP.\n\tDARCY:\n\tHere you go.\n440.15", "SHIFTS TO DARCY LEANING INTO R FG\n\tAS SHE TURNS TO SEE THEM ENTER.\n\tDARCY (HER THOUGHTS):", "DARCY O.S.:\n\tHi, Oh, Hi. Good to see everybody showed up.\n\tBOB O.S.:\n\tHi, Darcy. How are you?", "DARCY (HER THOUGHTS):\n\tLiving life. Keep on living. Oh, that's\n\tgood.\n\tSHE EXITS ELEVATOR.", "Wow, it's a beautiful collection.\n\tDARCY:\n\tThanks.\n\tDARCY:\n\tSo, how's it going?", "Excuse me. You got another one.\n\tDARCY O.S. (HER THOUGHTS):\n\tThanks.\n\tSHE PLACES THEM ON TABLE BEFORE", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "SHE DROPS HER PAPERS AND COVERS\n\tHER EYES.\n\tDARCY (HER THOUGHTS):", "SCENE 37 - MASTER ON BOTH AT TABLE.\n\tSHE BEGINS COLLECTING KLEENEXES.\n\tDARCY:", "SCENE 1 - INT. DARCY'S OFFICE - DAY\n\tFS ON NICK ENTERING OFFICE AND\n\tMOVING TO FS." ], [ "874.09\n\tSCENE 152 - INT. BATHROOM - NIGHT\n\tMS ON NICK LOOKING IN MIRROR AS PASSING", "NICK:\n\tYes! Yes! Okay, anyway, I was drying my\n\thair and I fell over and tripped and fell\n\tinto the bathtub and electrocuted myself", "HE TOSSES IT ASIDE AND GRABS UP\n\tWINE BOTTLE DOWNING LARGE GULP.\n\tNICK:", "LOWERING HIMSELF ONTO EDGE OF TUB\n\tWHERE HE TURNS AND NOTICES FULL\n\tTUB AND THE FACT HE'S HOLDING HAIR", "SCENE 156 - MFS ON NICK SLIPPING ACROSS\n\tFLOOR TRYING TO REGAIN HIS BALANCE.\n1218.05", "OVER TO NICK'S BALCONY AS HE SLIDES\n\tOPEN DOOR AND STEPS OUT INTO RAIN.", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "PAST HIM AND OUT DOOR INTO BG.\n\tNICK:\n\tWhere...where are...\n\tHE CLOSES DOOR BEHIND HIM.", "1232.00\n\tSCENE 159 - FS ON NICK ON EDGE OF TUB.\n\tNICK:", "HOLDS IT UP IN RAIN.\n814.14\n\tSCENE 147 - FRONT SHOT ON SAME.\n\tNICK:", "SCENE 35 - INT. APARTMENT - NIGHT\n\tDOLLY ACROSS FG FOLLOWING NICK\n\tSTROLLING THROUGH APARTMENT IN BG", "SCENE 7 - MS BACK ON NICK AS PEN FLIES\n\tOUT OF HIS HAND ONTO FLOOR. HE BENDS\n\tOVER TO GET IT.", "FADE IN ON:\n\tINT. APARTMENT - DAY\n\tSLOW PAN R ACROSS APARTMENT FINDING\n\tNICK PASSED OUT ON SOFA.", "290.11\n\tSCENE 26 - BACK ON HIM.\n\tNICK:", "NICK:\n\tNo, no, no. I'm mortified. Really, here, I\n\tcan see your hands are full...\n\tGIRL:", "He's coming, he's coming, he's coming.\n\tNICK ENTERS AS EVE POPS CHAMPAGNE\n\tSPRAYING IT ONTO NICK WHO CATCHES", "...TO STREET LEVEL AS NICK EMERGES\n\tFROM BAR PAUSING TO LIGHT A SMOKE.\n\tHIS PHONE RINGS. HE QUICKLY ANSWERS.", "168.08\n\tSCENE 21 - (PREVIOUS SCENE CONTINUED)\n\tNICK:", "NICK:\n\tFingers and toes...\n\tFADE TO BLACK.\n\t(MUSIC OUT)\n\tFADE IN ON:" ], [ "NICK:\n\tAlex, it's me.\n\tALEX O.S.:\n\tWhat are you doing here?\n\tNICK:", "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "KISSING. NICK SEES THIS.\n\tCAMERON O.S.:\n\tBye.\n\tALEX O.S.:\n\tBye.", "1116.09\n\tSCENE 147 - ON HIM.\n\tNICK:\n\tYeah.\n\tALEX O.S.:", "TURNS TO NICK.\n\tALEX:\n\tNick...\n1363.08", "61.10\n\tSCENE 4 - FS ON LADIES ROOM ENTRANCE AS\n\tNICK RUSHES UP TO IT PASSING EXITING\n\tGIRLS.\n\tNICK:\n\tAlex?", "Dad, c'mon.\n\tNICK O.S.:\n\tI'm sorry...I'm sorry. Go on.\n\tALEX:", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "PAST HIM.\n\tALEX:\n\tLater.\n\tNICK:\n\tYeah, seven thirty's fine. Thanks for", "NICK (INTO PHONE):\n\tAlex, hi!\n459.08\n\tSCENE 90 - EXT. SCHOOLYARD - DAY", "673.13\n\tSCENE 88 - MCU ON NICK LISTENING.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 15 - BACK ON NICK.\n\tALEX O.S.:\n\t...old girlfriend and starts making out with\n\ther. I mean...", "1364.13\n\tSCENE 167 - MS ON COUPLE AND ALEX. SHE\n\tNODS TO NICK BEFORE MOVING OS INTO FG", "578.04\n\tSCENE 112 - MS ON NICK.\n\tNICK:\n\tAh...hi. I'm Alex's dad, Nick.", "FS ON NICK SEATED WAITING.\n\tALEX O.S.:\n\tI'm not coming out.\n\tNICK:", "253.08\n\tSCENE 17 - MS ON NICK.\n\tALEX O.S.:\n\tAnd then they were laughing and...", "MS ON ALEX ON PAYPHONE.\n\tNICK (OVER PHONE):\n\t...Uh-huh. Oh sure, honey, no, that's", "ALEX O.S. (HER THOUGHTS):\n\tWhere is it?\n\tNICK:\n\tOh, God.\n615.00", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "SCENE 137 - OTS MS ON KIDS AS ALEX GRABS\n\tJACKET AWAY FROM NICK.\n\tALEX:\n\tThat's mine." ], [ "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "DARCY:\n\tOkay.\n\tNICK:\n\tPersonally, I think they do the trick.\n263.15", "NICK:\n\tI do.\n\tDARCY HOLDS UP KEY.\n\tDARCY:\n\tAll mine.", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "306.10\n\tSCENE 47 - MS ON NICK CURIOUS.\n\tDARCY O.S.:", "BEGINS PULLING ITEMS OUT TO EXAMINE\n\tTHEM.\n\tNICK (MOCKING DARCY):", "DARCY:\n\tWhen Sears decided to go after women in\n\ttheir advertising and said, \"Come see the\n\tsofter side of Sears\", their revenues went", "NICK:\n\tI hate what I'm doing to Darcy. I hate it.\n\tI'm gonna write her a long letter and\n\tconfess everything.", "DARCY:\n\tThe fireplace works.\n\tNICK:\n\tWow.\n\tSHE TAKES HIS HAND.\n\tDARCY:\n\tCome here.", "Female driven advertising...\n275.06\n\tSCENE 45 - BACK ON DARCY.\n\tDARCY:", "472.03\n\tSCENE 91 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK.\n\tNICK (INTO PHONE):", "DARCY:\n\tSo, for the then, let's just briefly run\n\tthrough them.\n\tSHE NOTICES NICK OS.", "This is insensitive of me, I know you...\n\tNICK:\n\tOh, no.\n\tDARCY:\n\t...were up for my job.", "NICK:\n\tWhat, did you say something?\n\tDARCY:\n\tNo. I just swear I was thinking the \nexact", "DARCY:\n\tSo, this is my...\n\tNICK GRABS HER.\n678.04", "NICK:\n\tWow.\n\tDARCY:\n\tI know. Come here.", "433.02\n\tSCENE 76 - MS ON DARCY LISTENING.\n\tNICK O.S.:", "NICK O.S.:\n\t...two...\n\tDARCY:\n\tOh, you were listening?\n201.00", "AT PASSING TAXI AS HIS PHONE RINGS.\n\tNICK (INTO PHONE):\n\tHey. Did you get hold of Darcy?..." ], [ "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "NICK:\n\tI hate what I'm doing to Darcy. I hate it.\n\tI'm gonna write her a long letter and\n\tconfess everything.", "NICK:\n\tI do.\n\tDARCY HOLDS UP KEY.\n\tDARCY:\n\tAll mine.", "NICK:\n\tNo, I said, I hate what I'm doing to Darcy.\n\tOh, boy, men are stupider, it's true.\n\n\tMORGAN:\n\tWould you stop it!", "NICK:\n\tWow.\n\tDARCY:\n\tI know. Come here.", "This is insensitive of me, I know you...\n\tNICK:\n\tOh, no.\n\tDARCY:\n\t...were up for my job.", "339.02\n\tSCENE 54 - BACK ON HER.\n\tDARCY:\n\tHere you go, Nick.", "DARCY:\n\tThe fireplace works.\n\tNICK:\n\tWow.\n\tSHE TAKES HIS HAND.\n\tDARCY:\n\tCome here.", "DARCY:\n\tSo, for the then, let's just briefly run\n\tthrough them.\n\tSHE NOTICES NICK OS.", "SCENE 70 - HER POV ON NICK MOVING DOWN\n\tSTAIRS.\n\tDARCY O.S.:\n\tThat's it?", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "SCENE 80 - BACK ON COUPLE WITH NICK\n\tSTARING AT HER.\n\tDARCY:\n\tNo.", "SCENE 195 - CONTINUED\n NICK (INTO PHONE):\n\tDarcy?", "472.03\n\tSCENE 91 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK.\n\tNICK (INTO PHONE):", "SCENE 1 - INT. DARCY'S OFFICE - DAY\n\tFS ON NICK ENTERING OFFICE AND\n\tMOVING TO FS.", "REACHES FOR IT. TILT UP TO OTS MFS ON\n\tDARCY OFFERING HER HAND TO NICK.\n\t(MUSIC OUT)", "DARCY:\n\tSo, this is my...\n\tNICK GRABS HER.\n678.04", "\"...under my skin.\"\n\tSHE KNEELS BESIDE NICK.\n\tDARCY:\n\tWhy are you not the happiest guy in", "SCENE 10 - MS BACK ON NICK TRYING TO SEE\n\tHER.\n\tDARCY O.S.:\n\tHi, God, what a small world." ], [ "Darcy? Please, I was there yesterday. The\n\tgirl didn't open her mouth.\n\tHE STANDS.\n\tDAN:", "Darcy!\n241.13\n\tSCENE 27 - HIS POV ON DARCY ACROSS WAY", "little do with saving anybody's ass. Now,\n\tit's Darcy you should be thanking and \n\twhat I want to talk to you about. Darcy.", "1510.07\n\tSCENE 203 - MCU ON DARCY.\n\tDARCY (HER THOUGHTS):", "SHIFTS TO DARCY LEANING INTO R FG\n\tAS SHE TURNS TO SEE THEM ENTER.\n\tDARCY (HER THOUGHTS):", "1500.05\n\tSCENE 200 - MCU BACK ON DARCY.\n\tDARCY (HER THOUGHTS):", "DARCY O.S.:\n\tHi, Oh, Hi. Good to see everybody showed up.\n\tBOB O.S.:\n\tHi, Darcy. How are you?", "Really? All right. Well, nice to meet \nyou.\n\tDARCY (HER THOUGHTS):\n\tBut that's not who I am at all.", "40.09\n\tSCENE 10 - CLOSER ON HER.\n\tDARCY (HER THOUGHTS):", "480.15\n\tSCENE 93 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK STILL PRETENDING", "DARCY:\n\tReally?\n196.02\n\tSCENE 28 - MS FOLLOWING HIM MOVING L", "1489.07\n\tSCENE 196 - MCU BACK ON HER THINKING.\n\tDARCY (HER THOUGHTS):", "489.12\n\tSCENE 94 - MS ON DARCY.\n\tDARCY (HER THOUGHTS):", "SCENE 66 - CLOSE IN ON DARCY LOOKING\n\tWORRIED.\n\tDARCY (HER THOUGHTS):", "DARCY:\n\tWell, they said two weeks, so...\n\tSHE MOVES INTO BG TO\n\tDOORWAY.\n\tDARCY:\n\tOkay, this is the dining room.", "DARCY AT OTHER END IN BG.\n\tDARCY:\n\tThank you, Dan. And thank you all for that\n\twarm welcome.", "DARCY:\n\tI said, I didn't realize how late it was.\n\tDARCY (HER THOUGHTS):\n\tAnd I'm glad you're here.", "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "DARCY:\n\tSo, for the then, let's just briefly run\n\tthrough them.\n\tSHE NOTICES NICK OS.", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):" ], [ "NICK:\n\tNo, no. Erin, ah, actually I came here to\n\tsee if there was something I could do for\n\tyou.", "SCENE 29 - NICK'S POV ON ERIN MOVING OS\n\tINTO FG CARRYING TRAY OF FRUIT.", "NICK:\n\t...well, here's the thing, Erin. The real\n\treason I'm here is because, as you know,", "NICK:\n\tIt's gone. I'm back. I'm back.\n\tHE STARTS LAUGHING.\n\tERIN:", "SCENE 33 - MS ON NICK NOTICING HER.\n\tERIN O.S. (HER THOUGHTS):\n\t...until the files start to build.", "SCENE 139 - MS ON HIM KNOCKING.\n\tNICK:\n\tCome on, Erin. Be there.\n1426.14", "Erin.\n1632.09\n\tSCENE 258 - OTS BACK ON HIM.\n\tNICK:", "SCENE 203 - MS ON HER.\n\tERIN (HER THOUGHTS):\n\tOh, god! He nearly killed me. Too bad he\n\tmissed.", "NICK'S MEMORY OF ERIN MOVING THROUGH\n\tOFFICE WITH ARM FULL OF FILES.\n\tERIN V.O.:", "SCENE 138 - PAN R FOLLOWING NICK ALONG\tEXT HALL UP TO ERIN'S \nFRONT DOOR.\n1420.07", "SCENE 30 - MCU ON NICK TURNING TO WATCH\n\tHER PASS INTO BG.\n\tERIN (HER THOUGHTS):", "1608.10\n\tSCENE 253 - MCU ON ERIN.\n\tERIN (HER THOUGHTS):", "SCENE 254 - OTS MCU ON NICK.\n\tERIN:\n\tOh.\n\tNICK :\n\tHow you doing?", "Erin, the truth is, I'm glad I got here\n\tbefore you did anything to hurt yourself.\n1722.04", "ERIN:\n\tReally? You could sense that? That's\n\tnot...that's not good.\n\t(MUSIC IN)", "SCENE 161 - MFS ON HER MOVING OSL \n\tLEAVING MS ON NICK.\n\tERIN:", "SCENE 142 - INT. ERIN'S APARTMENT - DAY\n\tHIS POV ENTERING AS WE SEE", "Erin? I don't think she's in today.\n1183.10\n\tSCENE 119 - MCU ON NICK TURNING BACK TO", "1630.07\n\tSCENE 257 - OTS ON HER.\n\tERIN:\n\tErin.\n\tNICK:", "CAT SCURRY OFF INTO BG DOWN HALL.\n\tNICK O.S.:\n\tErin?\n1438.05" ], [ "Dad, c'mon.\n\tNICK O.S.:\n\tI'm sorry...I'm sorry. Go on.\n\tALEX:", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "SCENE 68 - HER POV ON NICK LOOKING\n\tUNINTERESTED.\n\tDARCY O.S.:", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "NICK:\n\tNo, I said, I hate what I'm doing to Darcy.\n\tOh, boy, men are stupider, it's true.\n\n\tMORGAN:\n\tWould you stop it!", "Your daughter?\n667.15\n\tSCENE 130 - MFS ON NICK HOLDING DOOR", "IGNORING HER AS NICK ARRIVES.", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "SCENE 129 - INT. C/S OFFICES - DAY\n\tMS HOLDING ON NICK AS HE MOVES UP\n\tHALL TO FG SEETHING.", "1547.06\n\tSCENE 198 - MS ON NICK REALLY FREAKING\n\tOUT.\n\tNICK:", "NICK:\n\tAh, her father.", "1476.01\n\tSCENE 233 - BACK ON NICK.\n\tLOLA O.S. (HER THOUGHTS):", "506.00\n\tSCENE 99 - BACK ON HIM.\n\tNICK:\n\toh, hate it. Yeah, but she digs him and", "HE HANGS UP PHONE.\n\tNICK:\n\tWhy?\n\tDAN:\n\tBecause I talked to the board and I told", "SCENE 47 - MASTER TWO SHOT.\n\tNICK:\n\tMy daughter and her boyfriend walked in\n\tand I got them on with...", "NICK:\n\tI hate what I'm doing to Darcy. I hate it.\n\tI'm gonna write her a long letter and\n\tconfess everything.", "NICK:\n\tNo, no, no. I'm mortified. Really, here, I\n\tcan see your hands are full...\n\tGIRL:" ], [ "DR. PERKINS:\n\tBut this is phenomenal! That you can hear\n\tinside my head!\n\tNICK:\n\tYeah.", "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "DR. PERKINS O.S.:\n\tListen to me, Nick. Something extraordinary\n\tand miraculous has happened to you.\n1377.14", "SCENE 69 - MCU ON NICK RUBBING HIS FACE \n\tAS HE HEARS SUE'S THOUGHTS.\n\tDINA O.S.:", "UP TO MIRROR WHERE HE EXAMINES HIS FACE.\n\tNICK:\n\tHmm, cleaner pores, thicker hair. Very", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "HE HANGS UP PHONE.\n\tNICK:\n\tWhy?\n\tDAN:\n\tBecause I talked to the board and I told", "673.13\n\tSCENE 88 - MCU ON NICK LISTENING.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "NICK:\n\tI just sensed it.\n1741.05\n\tSCENE 180 - BACK ON HER.", "ON TV MONITOR AS NICK NARRATES.\n\tNICK O.S.:\n\tYou don't stand in front of a mirror before a run", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "NICK:\n\tFingers and toes...\n\tFADE TO BLACK.\n\t(MUSIC OUT)\n\tFADE IN ON:", "PAST HIM AND OUT DOOR INTO BG.\n\tNICK:\n\tWhere...where are...\n\tHE CLOSES DOOR BEHIND HIM.", "and blacked out. And when I woke up, I\n\tcould hear what every woman around me was\n\tthinking.\n\tMORGAN GIVES HIM LOOK.", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "Yes. That's exactly what I wanted to say.\n\tSometimes I think you're a bit of a mind\n\treader.\n\tNICK:", "SCENE 65 - BACK ON NICK LOOKING AROUND \n\tAS HE IS BOMBARDED BY THE WOMEN'S\n\tTRUE THOUGHTS.", "HE LOOKS CONFUSED AT NICK.\n\tMORGAN:\n\tHello? Nick? Ah...Nick? We got to go. What", "NICK:\n\tAll right. All right.\n\tHE TURNS TO HER IN OSFG.\n\tNICK:\n\tI hear what women think." ], [ "NICK:\n\tAll right. All right.\n\tHE TURNS TO HER IN OSFG.\n\tNICK:\n\tI hear what women think.", "SCENE 65 - BACK ON NICK LOOKING AROUND \n\tAS HE IS BOMBARDED BY THE WOMEN'S\n\tTRUE THOUGHTS.", "I don't know. I just know everyone over\n\tthere is thrilled to get rid of her.\n\tNICK:\n\tWell, so much for edgy female vision.", "NICK'S MEMORY OF ERIN MOVING THROUGH\n\tOFFICE WITH ARM FULL OF FILES.\n\tERIN V.O.:", "SCENE 9 - INT. NICK'S OFFICE - DAY\n\tMFS TRACKING BEHIND GIRLS INTO\n\tOFFICE AS ANNIE SHOWS NEW GIRL", "SCENE 99 - BACK ON NICK LOOKING AT WOMEN\n\tAT COUNTER.\n\tWOMAN 2 O.S. (HER THOUGHTS):", "BOX TO NICK WHO ROLLS HIS EYES.\n\tDARCY O.S.:\n\tI'm pretty sure all the women here are", "AROUND.\n\tANNIE:\n\tThis is Nick Marshall's office. Want a peek? Don't\n\tworry, he never gets in before ten.", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "NICK:\n\tShe thinks you're overpaid and gay.\n\tMORGAN:\n\tWhat?\n\t(MUSIC IN)", "SCENE 215 - MS ON HIM.\n\tNICK:\n\tWell, for starters, almost every woman I\n\tknow thinks I'm an asshole.", "This is insensitive of me, I know you...\n\tNICK:\n\tOh, no.\n\tDARCY:\n\t...were up for my job.", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "SCENE 108 - EXT. OFFICE - DAY\n\tFS ON NICK EMERGING FROM HER OFFICE\n\tBESIDE HIMSELF.", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "SCENE 23 - THEIR POV ON WOMAN \n\tAPPROACHING.\n\tNICK O.S.:\n\tSee this attorney coming toward us?", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "1187.01\n\tSCENE 161 - OTS ON HIM.\n\tNICK:\n\tListen to me, I think you're one of the\n\tgreat women. I really do.", "And she's smart, Nick.\n1145.12\n\tSCENE 124 - BACK ON DAN.\n\tDAN:", "WOMEN ALL CRACK UP AND SLOWLY\n\tDRIFT OFF LEAVING NICK AND DEE.\n\tNICK:" ], [ "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "HERSELF.\n\tGIGI V.O.:\n\tNick was actually born and raised in Las\n\tVegas. Nick's mother was a real honest to", "GIGI:\n\tBecause once you understand Nick's mother, you\n\tunderstand Nick.\nSCENE 11 - CONTINUED", "332.05\n\tSCENE 19 - MS ON NICK AS MOTHER KISSES\n\tHIS CHEEK.\n\tGIGI V.O.:", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "654.09\n\tSCENE 128 - MS BACK ON NICK.\n\tNICK:\n\tLook, I don't know. Mom told me, all right?", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "IGNORING HER AS NICK ARRIVES.", "NICK:\n\tShe thinks you're overpaid and gay.\n\tMORGAN:\n\tWhat?\n\t(MUSIC IN)", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "FLO:\n\tMe? Nothing.\n\tNICK:\n\tYou sure?\n\tFLO:", "NICK:\n\tAh, her father.", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "STELLA (HER THOUGHTS):\n\tOh, what the hell has he done now? I hope\n\the's not dead.\n\tNICK:", "What kind of woman wears underwear like\n\tthis?\n\tNICK:\n\tHey...hey...my mother wore underwear like", "AS SHOWGIRLS GET READY TO GO ON.\n\tPAN FINDS LITTLE NICK SEATED AT MAKE-UP\n\tTABLE BESIDE MOTHER AS SHE READIES", "Nick, my ex-husband, is the ultimate man's\n\tman. I probably never should have married\n\thim. I don't think he understood a thing\n\tabout me.", "NICK:\n\tAh...sorry.\n\tWOMAN O.S. (HER THOUGHTS):\n\tTwo slices of toast..." ], [ "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "NICK:\n\tYeah, good. And?\n\tANNIE:\n\tI said what you said. He can be a writer", "Nick, my ex-husband, is the ultimate man's\n\tman. I probably never should have married\n\thim. I don't think he understood a thing\n\tabout me.", "GIGI:\n\tAlthough, Nick was a charmer. Completely\n\tirresistible at first...which feeds into", "NICK:\n\tIt just come out like...\n\tDARCY:\n\tDon't say that. You're so great at it.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "FOR NICK.\n\tLOLA:\n\tHere he comes.\n1475.12", "UP TO MIRROR WHERE HE EXAMINES HIS FACE.\n\tNICK:\n\tHmm, cleaner pores, thicker hair. Very", "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "290.11\n\tSCENE 26 - BACK ON HIM.\n\tNICK:", "AND SITS DOWN AT DESK BEHIND HIM\n\tTO REST.\n\tNICK:\n\tThank you.\n1658.08", "NICK:\n\tHey, Norm! Ya winning?\n\tNORM:\n\tOf course.\n\tNICK:", "She's very smart.\n\t\n1148.06\n\tSCENE 125 - BACK ON NICK.\n\tNICK:", "HE MOVES AROUND IN FRONT OF NICK\n\tTO FACE HIM.\n212.13", "FLO:\n\tMe? Nothing.\n\tNICK:\n\tYou sure?\n\tFLO:", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "168.08\n\tSCENE 21 - (PREVIOUS SCENE CONTINUED)\n\tNICK:", "922.13\n\tSCENE 84 - INT. WANAMAKER'S OFFICE - DAY\n\tFS ON NICK IN SPACIOUS OFFICE WAITING." ], [ "Nick, my ex-husband, is the ultimate man's\n\tman. I probably never should have married\n\thim. I don't think he understood a thing\n\tabout me.", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "MASTER ON ROOM AS NICK PACES IN FG\n\tAND DR. LISTENS SEATED IN BG.\n\tNICK:", "150.11\n\tSCENE 7 - BACK ON NICK LISTENING THROUGH\n\tDIVIDER.\n\tALEX O.S.:\n\t...they rented this hotel room and...", "SCENE 15 - BACK ON NICK.\n\tALEX O.S.:\n\t...old girlfriend and starts making out with\n\ther. I mean...", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "I don't know. I just know everyone over\n\tthere is thrilled to get rid of her.\n\tNICK:\n\tWell, so much for edgy female vision.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "...I couldn't go on living that way...\n\tNICK:\n\tWhat the hell's wrong with me?\n\tPHONE RINGS.", "NICK:\n\tIt's gone. I'm back. I'm back.\n\tHE STARTS LAUGHING.\n\tERIN:", "1476.01\n\tSCENE 233 - BACK ON NICK.\n\tLOLA O.S. (HER THOUGHTS):", "591.11\n\tSCENE 115 - MS ON NICK.\n\tFRIEND 2 O.S. (HER THOUGHTS):", "SCENE 114 - BACK ON NICK GETTING TEARY\n\tEYED.\n\tWOMAN O.S. (ON TV):", "STELLA (HER THOUGHTS):\n\tOh, what the hell has he done now? I hope\n\the's not dead.\n\tNICK:", "336.13\n\tSCENE 66 - BACK ON COUPLE.\n\tNICK:" ], [ "ALEX:\n\tOh, God!\n619.03\n\tSCENE 118 - MS BACK ON NICK PICKING UP", "Dad, c'mon.\n\tNICK O.S.:\n\tI'm sorry...I'm sorry. Go on.\n\tALEX:", "PAST HIM.\n\tALEX:\n\tLater.\n\tNICK:\n\tYeah, seven thirty's fine. Thanks for", "NICK:\n\tAlex, thank you.\n723.06\n\tSCENE 96 - MS ON HIM PULLING OUT AND", "NICK:\n\tAlex, it's me.\n\tALEX O.S.:\n\tWhat are you doing here?\n\tNICK:", "TURNS TO NICK.\n\tALEX:\n\tNick...\n1363.08", "SECOND IS SHORT BLACK DRESS WITH\n\tJACKET. NICK TAKES JACKET OFF HER\n\tTO GET BETTER IDEA.", "SCENE 137 - OTS MS ON KIDS AS ALEX GRABS\n\tJACKET AWAY FROM NICK.\n\tALEX:\n\tThat's mine.", "1116.09\n\tSCENE 147 - ON HIM.\n\tNICK:\n\tYeah.\n\tALEX O.S.:", "NICK (INTO PHONE):\n\tAlex, hi!\n459.08\n\tSCENE 90 - EXT. SCHOOLYARD - DAY", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "BEGINS PULLING ITEMS OUT TO EXAMINE\n\tTHEM.\n\tNICK (MOCKING DARCY):", "KISSING. NICK SEES THIS.\n\tCAMERON O.S.:\n\tBye.\n\tALEX O.S.:\n\tBye.", "1060.06\n\tSCENE 133 - FS ON NICK CLEANING UP.\n\tALEX O.S.:", "VARIOUS DIFFERENT DRESSES AND\n\tGOWNS ON AS NICK REACTS TO EACH.\n\tFIRST IS WHITE GOWN WITH ARMY BOOTS.", "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "673.13\n\tSCENE 88 - MCU ON NICK LISTENING.\n\tALEX O.S. (HER THOUGHTS):", "61.10\n\tSCENE 4 - FS ON LADIES ROOM ENTRANCE AS\n\tNICK RUSHES UP TO IT PASSING EXITING\n\tGIRLS.\n\tNICK:\n\tAlex?", "MILL ABOUT IN GOWNS AND TUXEDOS.\n\t(MUSIC IN)\n\tWE SEE NICK ANXIOUSLY MOVING TO FG", "NICK HANDS HER ITEM FROM OSR.\n\tNICK O.S.:\n\tHere you go.\n1619.11" ] ]	[ "Where does Nick live?", "Why does Nick's boss hire Darcy McGuire?", "What is Nick's daughter's name?", "How old is Nick's daughter?", "What new power does Nick have after electrocuting himself with a hairdryer?", "What do most women think of Nick?", "Who discovers Nick's new gift?", "How does Nick try to bond with Alexis?", "How does Nick loose his thought reading power?", "In what city does Nick Marshall live?", "What is Nick Marshall's profession?", "What was the profession of Nick Marshall's mother? ", "Why is Alixis staying with Nick Marshall for two weeks?", "Why is Darcy McGuire hired by the advertising firm?", "What does Darcy pass-out to each emplooyee at the staff meeting on her first day at her new job?", "What is Nick holding when he slips and falls into his bathtub?", "How is Nick able to initially bond with Alexis?", "What advertising idea does Nick steal from Darcy?", "What happens to Darcy when Nick steals her ad campaign?", "Who is Darcy? ", "What does Nick save Erin from? ", "Why is Nick's daughter mad at him? ", "How does Nick gain telepathic abilities? ", "What do the women at the office really think of Nick? ", "What did Nick's mother do for a living? ", "What is Nick skilled at in the beginning of this story? ", "What is the name of Nick's old divorce therapist? ", "What item of clothing does Nick help Alex pick out? " ]	[ [ "Chicago", "Chicago" ], [ "To expand the firm's appeal to women", "to broaden the firm's appeal to women" ], [ "Alexis", "Alexis" ], [ "Fifteen ", "15" ], [ "He can hear the thoughts of women", "Nick has the ability to hear the thoughts of women." ], [ "They don't like him and think he's sleazy ", "He is sleazy" ], [ "Dr. Perkins", "Erin" ], [ "By taking her dress shopping ", "Buying a prom dress" ], [ "By being struck by lightening ", "During a storm " ], [ "Chicago.", "Nick Marshall lives in Chicago." ], [ "He is an advertising executive.", "advertising executive" ], [ "She was a Las Vegas showgirl.", "Showgirl" ], [ "She is staying with Nick while her mother goes on her honeymoon with her new husband.", "because her mother is on her honeymoon" ], [ "To broaden the firm's appeal to women.", "Darcy McGuire is hired by the advertising firm to appeal more to women." ], [ "A collection of feminine products.", "feminine products" ], [ "An electric hair dryer.", "Electric hairdryer" ], [ "By helping her to shop for a prom dress.", "Helping her shop for a prom dress" ], [ "Her Nike campaign that is aimed specifically at women.", "Nike ad campaign" ], [ "Darcy is fired.", "Darcy is fired when Nick steals her ad campaign." ], [ "Nick's coworker and love interest. ", "The woman that was hired instead of Nick getting the promotion " ], [ "Killing herself", "Nick saves Erin from committing suicide." ], [ "For neglecting her for years", "She is embarrassed by him." ], [ "Slips in the bathtub holding a hair dryer", "He was shocked in a bath" ], [ "That he is sleazy", "That he is sleazy " ], [ "Was a Las Vegas Showgirl", "Showgirl" ], [ "Seducing women and selling to men. ", "Selling to men and seducing women" ], [ "Dr. Perkins", "Dr. Perkins" ], [ "A prom dress", "A dress" ] ]	fba51a67cf7aa08f14b84721571e67cc840d8203	train
[ [ "In this year of 1492, it was, perhaps, a little less easy to make that\nmistake. Lorenzo the magnificent and subtle was dead, and an arrogant,", "\"Ah!\" replied Bardo, with corresponding sadness, \"and a new epoch has\ncome for Florence--a dark one, I fear. Lorenzo has left behind him an", "Yet at that time, as we have seen, there was a man in Florence who for\ntwo years and more had been preaching that a scourge was at hand; that", "At the close of 1492, the year in which Lorenzo de' Medici died and Tito\nMelema came as a wanderer to Florence, Italy was enjoying a peace and", "\"Fools! It will be for the good and glory of Florence,\" Ser Cioni\nbegan. But he was interrupted by the exclamation, \"Look there!\" which", "Florence was in the direst need, first of food, and secondly of fighting\nmen. Pale Famine was in her streets, and her territory was threatened\non all its borders.", "Every vulgar self-ignorant person in Florence was glibly pronouncing on\nthis man's demerits, while _he_ was knowing a depth of sorrow which can", "And this was the temper of Florence on the morning of the 17th of\nNovember 1494.\n\n\n\nCHAPTER TWENTY TWO.", "\"All ye in Florence are my witnesses, for I spoke not in a corner. Ye\nare my witnesses, that four years ago, when there were yet no signs of", "projects against the Pope, requires the lever of a foreign power, and\nrequires Florence as a fulcrum. I used to think him a narrow-minded", "It was inevitably a life and death struggle between the Frate and the\nPope; but it was less inevitable that Florence should make itself the\nPope's executioner.", "It was the thirtieth of October 1496. The sky that morning was clear\nenough, and there was a pleasant autumnal breeze. But the Florentines", "That man was Fra Girolamo Savonarola, Prior of the Dominican convent of\nSan Marco in Florence. On a September morning, when men's ears were", "Florence should possess the benefits of learned research and taste more\nthan any other city? I understand your feeling about the wishes of the\ndead; but wisdom puts a limit to these sentiments, else lives might be", "The \"towers\" of which Tito spoke were a part of the procession esteemed\nvery glorious by the Florentine populace; and being perhaps chiefly a", "Tito gave a shrug. \"Florence will have no peace but what it pays well\nfor; that is clear.\"", "In this very November, little more than a week ago, the spirit of the\nold centuries seemed to have re-entered the breasts of Florentines. The", "It would be difficult for Baldassarre to discover the answer to that\nquestion. Meanwhile, he wanted to learn all he could about Florence.", "Florence, and the punishment will take him among the only people in\nItaly who have known how to manage their own affairs.\"", "one has grave matter on his mind. Florence orphaned--the very pivot of\nItaly snatched away--heaven itself at a loss what to do next. _Oime_!" ], [ "on the evening of this very day. The ceremony had been resolved upon\nrather suddenly; for although preparations towards the marriage had been\ngoing forward for some time--chiefly in the application of Tito's", "nearer to him, and at last shyly asked him to kiss her, putting up her\nround olive cheek very innocently. Tito was used to love that came in", "\"Should you like to be married to me, Tessa?\" said Tito, softly, half\nenjoying the comedy, as he saw the pretty childish seriousness on her", "\"Tito!\" She uttered the word in a tone of pretty, loving reproach, and\nthen he kissed her fondly, stroked her hair, as his manner was, and", "background the suggestion, raised by Bernardo del Nero's warning, of a\npossible marriage between Tito and Romola. But Tito could not allow the\nmoment to pass unused.", "She sat down in Tito's chair, and put out her arms towards the lad,\nwhose eyes had followed her. He hesitated: and, pointing his small", "\"And now you will give me a kiss,\" said Tito, economising time by\nspeaking while he swept in the contents of the wallet and hung it at his\nwaist again, \"and look happy, like a good girl, and then--\"", "Tito, laughing with the rest as Nello looked at himself tragically in\nthe hand-mirror, made a sign of farewell to the company generally, and\ntook his departure.", "Ariadne, and you are crowning me! Yes, it is true, Tito; you have\ncrowned my poor life.\"", "Tito had thoroughly frightened Tessa into silence about the\ncircumstances of their marriage, by telling her that if she broke that\nsilence she would never see him again; and Monna Lisa's deafness, which", "\"Oh, you pretty pigeon!\" cried Tito, laughing, pressing her round cheeks\nwith his hands and crushing her features together so as to give them a\ngeneral impartial kiss.", "This, in brief, had been the history of Tito's relation to Tessa up to a\nvery recent date. It is true that once or twice before Bardo's death,", "Tessa did not like those words, even though Tito was smiling. She had\nsome pouting distress in her face, as she said, bending anxiously over\nthe baby--", "the presence of the blind father. But when the ceremony was over, and\nTito and Romola came out on to the broad steps of the church, with the", "A month after that Carnival, one morning near the end of March, Tito\ndescended the marble steps of the Old Palace, bound on a pregnant errand", "which Tessa clung to Tito's arm, as he drew it from her waist, and\nplaced her hand within it. She only cared about the laugh as she might", "Tito did not blench. Romola's little illusions about himself had long\nceased to cause him anything but satisfaction. He only smiled and\nsaid--", "A slight shock passed through Tito's frame as he felt himself face to\nface with his wife. She was haggard with her anxious watching, but\nthere was a flash of something else than anxiety in her eyes as she\nsaid--", "\"No, Tito; no. But poor Dino, _he_ believed it was a divine message.\nIt is strange,\" she went on meditatively, \"this life of men possessed", "But Tito himself was very far from that understanding, and did not, in\nfact, know whether, the next moment, he should tell Tessa of the joke" ], [ "the very Tito Melema whose description he had carried round his neck as\nan index. No! nothing but Fra Luca's death could remove all danger; but", "\"I do not deny it,\" said Tito, blandly. \"But if it turns out that Fra\nFrancesco is mistaken, he will have been burned for the wrong side, and", "It was Tito Melema who felt that clutch. He turned his head, and saw\nthe face of his adoptive father, Baldassarre Calvo, close to his own.", "When Fra Luca had ceased to speak, Tito still stood by him in\nirresolution, and it was not till, the pressure of the passengers being", "mention of the future husband's name. Fra Luca would tell all he knew\nand conjectured, and Tito saw no possible falsity by which he could now", "element in Tito's nature--the fear of what he believed or saw was likely\nto rob him of pleasure: and he had a definite fear that Fra Luca might\nbe the means of driving him from Florence.", "As Tito entered the outer cloister of San Marco, and inquired for Fra\nLuca, there was no shadowy presentiment in his mind: he felt himself too", "\"Yes, Tito mio,\" she said, looking directly at him with sad eyes. \"For\nthe first time I am doing something unknown to my father. It comforts", "to his father had been hidden by successful lying: his present act did\nnot admit of total concealment--in its very nature it was a revelation.\nAnd Tito winced under his new liability to disesteem.", "\"I am at San Marco; my name is Fra Luca.\"\n\n\n\nCHAPTER ELEVEN.\n\nTITO'S DILEMMA.", "Tito felt a disagreeable chill at this answer, for Bernardo del Nero's\neyes had retained their keen suspicion whenever they looked at him, and\nthe uneasy remembrance of Fra Luca converted all uncertainty into fear.", "perhaps have escaped that identification by Fra Luca. It was true that\nit had been taken from Baldassarre's finger and put on his own as soon", "after our godfather, but now he calls himself Fra Luca--had been taken\nto the monastery at Fiesole, because he was ill. But this morning a", "The last words had been uttered with almost convulsed agitation, and\nBaldassarre paused, trembling. All glances were turned on Tito, who was", "like that could happen to me here in Florence in our old library. And\nthen _you_ came, Tito, and were so much to my father, and I began to\nbelieve that life could be happy for me too.\"", "The day he was discerned by Tito in the Piazza del Duomo, he had the\nfresh anguish of this consciousness in his mind, and Tito's ready speech", "\"It is true,\" said Tito, with bland gravity; \"and I should not have\ntroubled you with my trivial remark on the Frate's ability, but that you", "said. Tito heard so far, but he was deaf to everything else till he was\nspecially addressed. It was Tornabuoni who spoke.", "Baldassarre had done his work, had had his draught of life: Tito said it\nwas _his_ turn now.", "Savonarola rose and turned to his desk as he spoke. He took from it a\nletter on which Tito could see, but not read, an address in the Frate's" ], [ "The next moment her eyes met Fra Luca's as they looked up at her from\nthe crucifix, and she was absorbed in that pang of recognition which\nidentified this monkish emaciated form with the image of her fair young\nbrother.", "distance between her brother and herself widening. But while Fra Luca\nwas speaking, the figure of another monk had entered, and again stood on\nthe other side of the bed, with the cowl drawn over his head.", "after our godfather, but now he calls himself Fra Luca--had been taken\nto the monastery at Fiesole, because he was ill. But this morning a", "being disgraced before her. There was a spring of bitterness mingling\nwith that fountain of sweets. Would the death of Fra Luca arrest it?\nHe hoped it would.", "\"Fra Luca? ah, he is gone to Fiesole--to the Dominican monastery there.\nHe was taken on a litter in the cool of the morning. The poor Brother\nis very ill. Could you leave a message for him?\"", "\"Frate,\" said the dying voice.\n\nFra Girolamo leaned down. But no other word came for some moments.\n\n\"Romola,\" it said next.", "She started up with anger in her eyes, and faced the speaker. It was\nFra Girolamo: she knew that well enough before. She was nearly as tall", "her into antagonism with the Frate, she saw all the repulsive and\ninconsistent details in his teaching with a painful lucidity which\nexaggerated their proportions. In the bitterness of her disappointment", "positive evidence of Baldassarre's death; and the only persons who could\never have had positive knowledge to contradict him, were Fra Luca, who", "the very Tito Melema whose description he had carried round his neck as\nan index. No! nothing but Fra Luca's death could remove all danger; but", "\"Ah, the old Bardi blood!\" said Cennini, with a shrug. \"I shall not be\nsurprised if this business shakes _her_ loose from the Frate, as well as\nsome others I could name.\"", "perhaps have escaped that identification by Fra Luca. It was true that\nit had been taken from Baldassarre's finger and put on his own as soon", "ceased to have Savonarola before her, and saw in his stead Fra Salvestro\nMaruffi. It was not that there was anything manifestly repulsive in Fra", "\"Romola,\" Fra Luca began, \"I have had a vision concerning thee. Thrice\nI have had it in the last two months: each time it has been clearer.", "\"Take the crucifix, my daughter,\" said Fra Girolamo, after a few\nminutes. \"His eyes behold it no more.\"", "thee by a yoke of iron,\" said a strong rich voice, startlingly in\ncontrast with Fra Luca's.", "element in Tito's nature--the fear of what he believed or saw was likely\nto rob him of pleasure: and he had a definite fear that Fra Luca might\nbe the means of driving him from Florence.", "Francesco Valori, named Andrea Cambini, who was narrating or expounding\nwith emphatic gesticulation, while Fra Salvestro was listening with that\nair of trivial curiosity which tells that the listener cares very much", "\"No,\" said Cronaca; \"I was in San Marco at the time, and saw her come\nout from the chapter-house with Fra Girolamo, who told us that the dying", "\"Ah,\" he said, inwardly, \"that doubtless is the reason she has taken to\nlistening to Fra Girolamo, and going amongst the Piagnoni, which I never" ], [ "The next moment her eyes met Fra Luca's as they looked up at her from\nthe crucifix, and she was absorbed in that pang of recognition which\nidentified this monkish emaciated form with the image of her fair young\nbrother.", "\"Romola,\" Fra Luca began, \"I have had a vision concerning thee. Thrice\nI have had it in the last two months: each time it has been clearer.", "the very Tito Melema whose description he had carried round his neck as\nan index. No! nothing but Fra Luca's death could remove all danger; but", "after our godfather, but now he calls himself Fra Luca--had been taken\nto the monastery at Fiesole, because he was ill. But this morning a", "ago, and now Fra Girolamo has got the message afresh. He has seen it in\na vision, even as the prophets of old: he has seen the sword hanging\nfrom the sky.\"", "It is Fra Girolamo who offers himself after all. We shall see him move\npresently, and if he comes out of the flames we shall have a fine view\nof him!\"", "\"Frate,\" said the dying voice.\n\nFra Girolamo leaned down. But no other word came for some moments.\n\n\"Romola,\" it said next.", "\"Fra Luca? ah, he is gone to Fiesole--to the Dominican monastery there.\nHe was taken on a litter in the cool of the morning. The poor Brother\nis very ill. Could you leave a message for him?\"", "positive evidence of Baldassarre's death; and the only persons who could\never have had positive knowledge to contradict him, were Fra Luca, who", "Luca, with the tonsured crown of golden hair above it, and with\ndeep-sunken hazel eyes fixed on a small crucifix which he held before", "When Fra Luca had ceased to speak, Tito still stood by him in\nirresolution, and it was not till, the pressure of the passengers being", "Salvestro had a peculiar liability to visions, dependent apparently on a\nconstitution given to somnambulism. Savonarola believed in the\nsupernatural character of these visions, while Fra Salvestro himself had", "\"I hope he has had a new vision, however,\" said Francesco Cei,\nsneeringly. \"The old ones are somewhat stale. Can't your Frate get a\npoet to help out his imagination for him?\"", "from the window of the Palazzo Vecchio. Fra Girolamo himself knew of\nit, and had not dared this time to say that the vision was not of Divine\nauthority.", "the last well-authenticated vision announced by the Frate was Mars\nstanding on the Palazzo Vecchio with his arm on the shoulder of San\nGiovanni Battista, who was offering him a piece of honeycomb.\"", "being disgraced before her. There was a spring of bitterness mingling\nwith that fountain of sweets. Would the death of Fra Luca arrest it?\nHe hoped it would.", "distance between her brother and herself widening. But while Fra Luca\nwas speaking, the figure of another monk had entered, and again stood on\nthe other side of the bed, with the cowl drawn over his head.", "purpose was fully shaped. He was going to ascertain from Fra Luca\nprecisely how much he conjectured of the truth, and on what grounds he", "\"Cover your eyes, Madonna,\" said Jacopo Nardi; \"Fra Girolamo will be the\nlast.\"", "element in Tito's nature--the fear of what he believed or saw was likely\nto rob him of pleasure: and he had a definite fear that Fra Luca might\nbe the means of driving him from Florence." ], [ "There was but one chance for him now; the chance of Baldassarre's\nfailure in finding his revenge. And--Tito grasped at a thought more", "The last words had been uttered with almost convulsed agitation, and\nBaldassarre paused, trembling. All glances were turned on Tito, who was", "Baldassarre had done his work, had had his draught of life: Tito said it\nwas _his_ turn now.", "What else had Tito's crime towards Baldassarre been but that abandonment\nworking itself out to the most hideous extreme of falsity and\ningratitude?", "him. Tito felt he had no choice now: he must defy Baldassarre as a mad,\nimbecile old man; and the chances were so strongly on his side that", "\"Talk no more about that,\" said Baldassarre, fiercely. \"I will have\nnothing else. Help me to wring one drop of vengeance on this side of", "against Baldassarre's having met again with any one of that crew, and\nTito thought with bitterness that a timely, well-devised falsehood might", "and cruelty only that had made their viper sting--it was Baldassarre's\ninstantaneous bitter consciousness that he might be unable to prove the\nwords false. Along with the passionate desire for vengeance which", "\"Yes,\" said Tito, rising. The horrible sense that he must live in\ncontinual dread of what Baldassarre had said or done pressed upon him\nlike a cold weight.", "\"What sort of face has he?\" said Tito, his heart beginning to beat\nstrangely. He was so haunted by the thought of Baldassarre, that it was", "And Baldassarre left Bratti's shop, not only with the dagger at his\nside, but also with a general knowledge of Tito's conduct and position--", "assassin. Baldassarre was evidently helpless: the thing to be feared\nwas, not that he should injure Tito, but that Tito, coming upon his", "Tito had his hand on the door and was pulling it: it dragged against the\nground as such old doors often do, and Baldassarre, startled out of his", "off her tongue in talking with Baldassarre. For a long while Tito's\nvisits were so rare, that it seemed likely enough he took journeys", "It was a strange moment. Baldassarre had moved round the table till he\nwas opposite Tito, and as the hum ceased there might be seen for an", "Those ready and firm answers argued a great change in Baldassarre since\nthe last meeting face to face with Tito, when the dagger broke in two.\n\nThe change had declared itself in a startling way.", "It was Tito Melema who felt that clutch. He turned his head, and saw\nthe face of his adoptive father, Baldassarre Calvo, close to his own.", "words to Tito that would apprise him of her late interview with\nBaldassarre, and the revelation he had made to her. What would such", "At the moment when the shadow of Tito passed in front of the hovel as he\ndeparted homeward, Baldassarre was sitting in that state of after-tremor", "And now again Baldassarre said, \"I am not alone in the world; I shall\nnever be alone, for my revenge is with me.\"" ], [ "Romola started as the glance was turned on her, but her immediate\nthought was that he had seen Tito. And as she felt the look of hatred", "and Romola, instead of making any effort to be recognised by him, threw\nher black drapery over her head again, and remained perfectly quiet.\nYet she felt almost sure that Tito had seen her; he had the power of", "Romola felt hurt. She had never seen Tito so indifferent in his manner;\nhe was usually full of lively solicitous attention. And she had thought", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "\"Tell me the truth, Tito--this time tell me the truth,\" said Romola, in\na low quivering voice. \"It will be safer for you.\"", "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "seen her. On that day, any on-looker would have said that Romola's\nnature was made to command, and Tito's to bend; yet now Romola's mouth", "Tito did not blench. Romola's little illusions about himself had long\nceased to cause him anything but satisfaction. He only smiled and\nsaid--", "Romola had been driven to utter the words as men are driven to use the\nlash of the horsewhip. At first, Tito felt horribly cowed; it seemed to", "A slight quiver passed across Romola's face as Tito took hold of the\ncrucifix. But she had no wish to prevent his purpose; on the contrary,", "Romola's touch and glance no longer stirred any fibre of tenderness in\nher husband. The good-humoured, tolerant Tito, incapable of hatred,", "\"It is one of their masqued processions, I suppose,\" said Tito, who was\nnow alone with Romola, while Bernardo took charge of Bardo.", "\"And now, my Romola,\" said Tito, entreatingly, \"you will banish these\nghastly thoughts. The vision was an ordinary monkish vision, bred of", "\"Because it was a trust,\" said Romola, in a low but distinct voice. \"He\ntrusted me, he trusted you, Tito. I did not expect you to feel anything", "\"Tito, it was you, I know,\" said Romola, smiling brightly, and kissing\nhim. \"How is it you never care about claiming anything? And after\nthat?\"", "\"Tito, it is not so,\" Romola burst forth in a pleading tone, rising and\ngoing nearer to him, with a desperate resolution to speak out. \"It is", "Romola shrank with dread from the renewal of her proximity to Tito, and\nyet she was uneasy that she had put herself out of reach of knowing what", "Tito looked startled; he had immediately thought of Baldassarre's\nentrance into the Duomo; but Romola gave his look another meaning.", "\"Now, godfather,\" said Romola, shaking her head playfully, \"as if it\nwere only bright eyes and soft words that made me love Tito! You know", "\"Do you know what this is for, my Romola?\" added Tito, taking her by the\nhand, and leading her towards the cabinet. \"It is a little shrine," ], [ "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "The experience was like a new baptism to Romola. In Florence the\nsimpler relations of the human being to his fellow-men had been", "Romola gave a slight start, but her impulse now was to do just what\nSavonarola told her. Her self-doubt was grappled by a stronger will and", "Romola shuddered at the possibility. All the instruction, all the main\ninfluences of her life had gone to fortify her scorn of that sickly", "means fresh strength might come. The pressing problem for Romola just\nthen was not to settle questions of controversy, but to keep alive that\nflame of unselfish emotion by which a life of sadness might still be a", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "Romola arose from her knees. That silent attitude had been a sort of\nsacrament to her, confirming the state of yearning passivity on which", "A slight quiver passed across Romola's face as Tito took hold of the\ncrucifix. But she had no wish to prevent his purpose; on the contrary,", "The last words had burst from Romola involuntarily: a long-stifled\nfeeling had found spasmodic utterance. But she herself was startled and\narrested.", "It was the first time she had encountered a gaze in which simple human\nfellowship expressed itself as a strongly-felt bond. Such a glance is\nhalf the vocation of the priest or spiritual guide of men, and Romola", "her the new life of duty, and who seemed now to be worsted in the fight\nfor principle against profligacy. For Romola could not carry from day", "As the anger melted from Romola's mind, it had given place to a new\npresentiment of the strength there might be in submission, if this man,", "Romola was deceived in him; nay, he could only rejoice in her delusion;\nfor, after all, concealment had been wisdom. The only thing he could", "The old man rose, and Romola, soothed by these beams of tenderness,\nlooked happy again as she drew his arm within hers, and placed in his", "And now Romola's best support under that supreme woman's sorrow had\nslipped away from her. The vision of any great purpose, any end of", "him. But the next moment he looked towards Romola, as if her eyes must\nbe her father's interpreters. She, intensely preoccupied with what", "of her own and his identity, had a power unexplained to herself, of\nshaking Romola. It is the way with half the truth amidst which we live,", "own horizon. And Romola was urged to doubt herself the more by the\nnecessity of interpreting her disappointment in her life with Tito so as", "cared for. And he cared supremely for Romola; he wished to have her for\nhis beautiful and loving wife. There might be a wealthier alliance\nwithin the ultimate reach of successful accomplishments like his, but", "There were Florentine assessors at this new trial, and those words of\ntwofold retraction had soon spread. They filled Romola with dismayed\nuncertainty." ], [ "Bardo had stretched out his aged white hand, and Tito immediately placed\nhis dark but delicate and supple fingers within it. Bardo's cramped\nfingers closed over them, and he held them for a few minutes in silence.\nThen he said--", "This, in brief, had been the history of Tito's relation to Tessa up to a\nvery recent date. It is true that once or twice before Bardo's death,", "While Tito was speaking, some emotion passed, like a breath on the\nwaters, across Bardo's delicate features; he leaned forward, put out his", "When Bardo made this reference to his daughter, Tito ventured to turn\nhis eyes towards her, and at the accusation against her memory his face", "Meanwhile, Tito's quick mind had been combining ideas with\nlightning-like rapidity. Bardo's son was not really dead, then, as he", "Tito moved from the reading-desk, and seated himself on the other side\nof Bardo, close to his left elbow.", "Tito gave a slight, almost imperceptible start, and opened his long dark\neyes with questioning surprise at Bardo's blind face, as if his words--a", "dwelt on beforehand, because of Bardo's dislike to be left without her,\nthat Tito felt sure there must have been some sudden and urgent ground", "Tito had even been the means of strengthening the hope in Bardo's mind\nthat he might before his death receive the longed-for security", "\"Talk not of monks and their legends, young man!\" said Bardo,\ninterrupting Tito impetuously. \"It is enough to overlay human hope and", "\"That is well said, my son.\" Bardo had already addressed Tito in this\nway once or twice of late. \"And I perceive with gladness that you do", "But Tito was obliged to turn away, and answer Bardo's question.", "matter Bardo was entirely under the ascendancy of his sagacious and\npractical friend. Nevertheless, Bernardo himself, though he was as far\nas ever from any susceptibility to the personal fascination in Tito", "\"Doubtless Messer Tito knows that Bardo's son is dead,\" said Cronaca,\nwho had just come up.\n\nTito's heart gave a leap--had the death happened before Romola saw him?", "Tito had his hand on the door and was pulling it: it dragged against the\nground as such old doors often do, and Baldassarre, startled out of his", "Bardi, had compelled the foot-passengers to recede hurriedly. Tito had\nbeen walking, as his manner was, with the thumb of his right-hand", "Bardo was startled: the association of Tito with the image of his lost\nson had excluded instead of suggesting the thought of Romola. But\nalmost immediately there seemed to be a reaction which made him grasp\nthe warning as if it had been a hope.", "Tito, just descended into Nello's shop, had found the barber stretched\non the bench with his cap over his eyes; one leg was drawn up, and the", "\"It is thou, Bernardo,\" said Bardo. \"Thou art come at a fortunate\nmoment. This, young man,\" he continued, while Tito rose and bowed, \"is", "Tito, we know, was not with Bardo; his destiny was being shaped by a\nguilty consciousness, urging on him the despairing belief that by this\ntime Romola possessed the knowledge which would lead to their final\nseparation." ], [ "words to Tito that would apprise him of her late interview with\nBaldassarre, and the revelation he had made to her. What would such", "The last words had been uttered with almost convulsed agitation, and\nBaldassarre paused, trembling. All glances were turned on Tito, who was", "Baldassarre had done his work, had had his draught of life: Tito said it\nwas _his_ turn now.", "\"Yes,\" said Tito, rising. The horrible sense that he must live in\ncontinual dread of what Baldassarre had said or done pressed upon him\nlike a cold weight.", "Tito had his hand on the door and was pulling it: it dragged against the\nground as such old doors often do, and Baldassarre, startled out of his", "off her tongue in talking with Baldassarre. For a long while Tito's\nvisits were so rare, that it seemed likely enough he took journeys", "\"What sort of face has he?\" said Tito, his heart beginning to beat\nstrangely. He was so haunted by the thought of Baldassarre, that it was", "At the moment when the shadow of Tito passed in front of the hovel as he\ndeparted homeward, Baldassarre was sitting in that state of after-tremor", "There was but one chance for him now; the chance of Baldassarre's\nfailure in finding his revenge. And--Tito grasped at a thought more", "And Baldassarre left Bratti's shop, not only with the dagger at his\nside, but also with a general knowledge of Tito's conduct and position--", "him. Tito felt he had no choice now: he must defy Baldassarre as a mad,\nimbecile old man; and the chances were so strongly on his side that", "It was Tito Melema who felt that clutch. He turned his head, and saw\nthe face of his adoptive father, Baldassarre Calvo, close to his own.", "The party separated, and Tito took his way to the Palazzo Vecchio, where\nhe was to find Bartolommeo Scala. It was not a long walk, but, for", "\"Then you mean to leave this place?\" said Tito, more anxious about this\ncertainty than the ground of it.\n\n\"I have spoken,\" said Baldassarre.", "Baldassarre did not reply immediately; he glanced suspiciously at the\nofficious stranger. At last he said, \"If you will.\"\n\n\"Better come outside,\" said Piero.", "Baldassarre was still sitting on the straw when the shadow of Tito\npassed by. Before him lay the fragments of the broken dagger; beside", "caresses, all had on Baldassarre's knee; and from that time till the\nhour they had parted, Tito had been the one centre of Baldassarre's\nfatherly cares.", "Baldassarre began to speak as if he were thoroughly assured of what he\nhad to say; but, in spite of his long preparation for this moment, there", "It was a strange moment. Baldassarre had moved round the table till he\nwas opposite Tito, and as the hum ceased there might be seen for an", "against Baldassarre's having met again with any one of that crew, and\nTito thought with bitterness that a timely, well-devised falsehood might" ], [ "\"Tell me the truth, Tito--this time tell me the truth,\" said Romola, in\na low quivering voice. \"It will be safer for you.\"", "There were passers-by approaching. Tito had heard them, and that was\nwhy he spoke in a whisper. Romola was too conscious of being mastered", "\"Yes, father,\" said Romola, firmly. \"I love Tito--I wish to marry him,\nthat we may both be your children and never part.\"", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "and Romola, instead of making any effort to be recognised by him, threw\nher black drapery over her head again, and remained perfectly quiet.\nYet she felt almost sure that Tito had seen her; he had the power of", "Romola's heart swelled again, so that she was forced to break off. But\nthe need she felt to disburden her mind to Tito urged her to repress the", "\"Assuredly I will not mention it,\" said Romola, blushing, \"if you wish\nit to be a secret. But, dearest Tito,\" she added, after a moment's", "\"Tito, it was you, I know,\" said Romola, smiling brightly, and kissing\nhim. \"How is it you never care about claiming anything? And after\nthat?\"", "\"It is one of their masqued processions, I suppose,\" said Tito, who was\nnow alone with Romola, while Bernardo took charge of Bardo.", "\"What was it, my Romola? Sit down and tell me,\" said Tito, leading her\nto the bench that stood near. A fear had come across him lest the", "It was late before Tito came. Romola had been pacing up and down the\nlong room which had once been the library, with the windows open, and a", "\"Because it was a trust,\" said Romola, in a low but distinct voice. \"He\ntrusted me, he trusted you, Tito. I did not expect you to feel anything", "\"Do you know what this is for, my Romola?\" added Tito, taking her by the\nhand, and leading her towards the cabinet. \"It is a little shrine,", "\"My Romola,\" said Tito, the second morning after he had made his speech\nin the Piazza del Duomo, \"I am to receive grand visitors to-day; the", "\"I have had special threats,\" said Tito, \"but I must beg you to be\nsilent on the subject, my Romola. I shall consider that you have broken\nmy confidence, if you mention it to your godfather.\"", "For several days Tito saw little of Romola. He told her gently, the\nnext morning, that it would be better for her to remove any small", "Maso's message was from Romola. She wished Tito to go to the Via de'\nBardi as soon as possible. She would see him under the loggia, at the", "\"I have no rancour against Messer Bernardo for thinking you too precious\nfor me, my Romola,\" said Tito: and that was true. \"But your father,\nthen, knows of his son's death?\"", "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "\"Tito, it is not so,\" Romola burst forth in a pleading tone, rising and\ngoing nearer to him, with a desperate resolution to speak out. \"It is" ], [ "\"Not so, I hope,\" said Romola. \"I am come to take care of you. I am\nused to the pestilence; I am not afraid. But there must be some left", "Romola to a less counteracted sense of her personal lot. The Plague had\nalmost disappeared, and the position of Savonarola was made more hopeful", "That evening, when it was dark and threatening rain, Romola, returning\nwith Maso and the lantern by her side, from the hospital of San Matteo,", "Romola shuddered at the possibility. All the instruction, all the main\ninfluences of her life had gone to fortify her scorn of that sickly", "On the eighth day from that memorable night Romola was standing on the\nbrink of the Mediterranean, watching the gentle summer pulse of the sea\njust above what was then the little fishing village of Viareggio.", "themselves; but for everything else, the exiles have the best of it.\nFor my own part, I have been thinking seriously that we should be wise\nto quit Florence, my Romola.\"", "Romola, suspecting that if she followed the direction of the youth's\nflight, she should find some men and women who were still healthy and", "\"Frate,\" said the dying voice.\n\nFra Girolamo leaned down. But no other word came for some moments.\n\n\"Romola,\" it said next.", "The circle had narrowed till the coarse men--most of them gaunt from\nprivation--had left hardly any margin round Romola. She had been taking", "forth the piercing cry. Romola's experience in the haunts of death and\ndisease made thought and action prompt: she lifted the little living", "that would help to carry her away if she waited for its ebb; but Romola\nthought the breeze from the land was rising a little. She got into the", "And so Romola, seeing no ray across the darkness, and heavy with\nconflict that changed nothing, sank at last to sleep.\n\n\n\nCHAPTER THIRTY SEVEN.", "\"Ah, you have had so much to tire you to-day,\" said Romola, kneeling\ndown close to him, and laying her arm on his chest while she put his\nhair back caressingly.", "to isolate her from him. Romola was labouring, as a loving woman must,\nto subdue her nature to her husband's. The great need of her heart", "something fearful in it to Romola; she hurried along towards the\nthickest cluster of houses, where there would be the most life to appeal\nto on behalf of the helpless life she carried in her arms. But she had", "Romola, kneeling with buried face on the altar-step, was enduring one of\nthose sickening moments, when the enthusiasm which had come to her as", "Romola in her boat passed from dreaming into long deep sleep, and then\nagain from deep sleep into busy dreaming, till at last she felt herself", "Romola felt horror taking possession of her. Was she in a village of\nthe unburied dead? She wanted to listen if there were any faint sound,", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "pestilence was Tito's device for getting rid of Spini without telling\nhim to go. The moment he had moved away, Tito turned to Romola, and\nsaid, quietly--" ], [ "Tito, that he had not dared to pursue him, except under cover of a crowd\nor of the darkness; he felt, with instinctive horror, that if Tito's", "awful burthen into the Piazza, and he could tell her what was generally\nknown in Florence--that Tito had escaped from an assaulting mob by", "In an instant Tito started up, went to the door, locked it, and took out\nthe key. It was time for all the masculine predominance that was latent", "Tito made a hasty sign of assent and adieu, and moving away from the\npillar, again found himself pushed towards the middle of the piazza and", "him as Tito ended, and saw that the eyes which had had such fierce\nintensity only a few minutes before had now a vague fear in them. He\nclutched the back of a seat, and was silent.", "Tito had felt one great heart-leap of terror as he had staggered under\nthe weight of the thrust: he felt now the triumph of deliverance and", "The words had no sooner left Tito's lips than they seemed to vibrate up\nthe streets. A great shout rang through the air, and rushed along the", "In an instant Tito had pushed his way through the barrier of bystanders,\nwhose curiosity made them ready to turn aside at the sudden interference", "Tito was one of those who remained behind. He had a native repugnance\nto sights of death and pain, and five days ago whenever he had thought", "Bardi, had compelled the foot-passengers to recede hurriedly. Tito had\nbeen walking, as his manner was, with the thumb of his right-hand", "Tito pushed his way vigorously towards the corner of a side-street, a\nlittle vexed at this delay in his progress to the Via de' Bardi, and", "Tito, obliged to make his way through chance openings in the crowd,\nfound himself at one moment close to the trotting procession of", "gradually narrowing circuits. He paused among the trees, and looked in\nat the windows, which made brilliant pictures against the gloom. He\ncould hear the laughter; he could see Tito gesticulating with careless", "Tito, laughing with the rest as Nello looked at himself tragically in\nthe hand-mirror, made a sign of farewell to the company generally, and\ntook his departure.", "the determination to escape without any visible notice of her, a not\naltogether agreeable resource. Yet Tito persevered and carried his\ncompanion to the door, cleverly managing his \"addio\" without turning his", "himself and clutched it still, going close up to Tito till their faces\nwere not a foot off each other. Then he began to speak, in a deep\ntrembling voice--", "his well-studied periods, and reduced the representatives of the\nscholarly city to offer a makeshift welcome in impromptu French. But\nthat sudden confusion had created a great opportunity for Tito. As one", "Tito, just descended into Nello's shop, had found the barber stretched\non the bench with his cap over his eyes; one leg was drawn up, and the", "The faces just met, and the dark curls mingled for an instant with the\nrippling gold. Quick as lightning after that, Tito set his foot on a", "Tito was annoyed. If he had had to smile it would have been an unusual\neffort to him. He was determined not to encounter Romola again, and he\ndid not go home that night." ], [ "\"He is dead, then?\" said Tito, with a bounding of the heart.", "Tito was one of those who remained behind. He had a native repugnance\nto sights of death and pain, and five days ago whenever he had thought", "\"That is Tito!\"\n\nPiero looked round, and gave a silent shrug. He was vexed at his own\nforgetfulness.", "\"It is too late, Tito. There is no killing the suspicion that deceit\nhas once begotten. And now I know everything. I know who that old man", "Yes--they _were_ at the arches. In that moment Tito, with bloodless\nface and eyes dilated, had one of the self-preserving inspirations that", "himself and clutched it still, going close up to Tito till their faces\nwere not a foot off each other. Then he began to speak, in a deep\ntrembling voice--", "\"No, they may not,\" said Tito, with cool decision.\n\n\"Why?\"\n\n\"Because I do not choose that they should.\"", "\"Doubtless Messer Tito knows that Bardo's son is dead,\" said Cronaca,\nwho had just come up.\n\nTito's heart gave a leap--had the death happened before Romola saw him?", "This, in brief, had been the history of Tito's relation to Tessa up to a\nvery recent date. It is true that once or twice before Bardo's death,", "The party separated, and Tito took his way to the Palazzo Vecchio, where\nhe was to find Bartolommeo Scala. It was not a long walk, but, for", "\"I do not deny it,\" said Tito, blandly. \"But if it turns out that Fra\nFrancesco is mistaken, he will have been burned for the wrong side, and", "him as Tito ended, and saw that the eyes which had had such fierce\nintensity only a few minutes before had now a vague fear in them. He\nclutched the back of a seat, and was silent.", "It was Tito Melema who felt that clutch. He turned his head, and saw\nthe face of his adoptive father, Baldassarre Calvo, close to his own.", "It was a fearful crisis for Tito. If he said \"Yes,\" his quick mind told\nhim that he would shake the credibility of his story: if he said \"No,\"", "The two men had not taken their eyes off each other, and it seemed to\nTito, when he had spoken, that some magical poison had darted from", "\"Tito!\" She uttered the word in a tone of pretty, loving reproach, and\nthen he kissed her fondly, stroked her hair, as his manner was, and", "Tito, just descended into Nello's shop, had found the barber stretched\non the bench with his cap over his eyes; one leg was drawn up, and the", "Tito had felt one great heart-leap of terror as he had staggered under\nthe weight of the thrust: he felt now the triumph of deliverance and", "Tito, laughing with the rest as Nello looked at himself tragically in\nthe hand-mirror, made a sign of farewell to the company generally, and\ntook his departure.", "bitterest being directed against Bernardo del Nero. To him, in a brief\nprivate interview, after obtaining a pledge of secrecy, Tito avowed his" ], [ "The moment was past. Her face was covered again, and she only knew that\nSavonarola's voice had passed into eternal silence.\n\n\n\nEPILOGUE.", "completion of Savonarola's trial. They entered amid the acclamations of\nthe people, calling for the death of the Frate. For now the popular cry", "catastrophe as no one else did. Of Savonarola the monk told her, in\nthat tone of unfavourable prejudice which was usual in the Black", "Savonarola was preaching--preaching the last course of Lenten sermons he\nwas ever allowed to finish in the Duomo: he knew that excommunication", "It was not long before she had to uncover them again. Savonarola was\nthere. He was not far off her now. He had mounted the steps; she could\nsee him look round on the multitude.", "The warm radiance thrilled through Savonarola's frame, and so did the\nshout. It was his last moment of untroubled triumph, and in its", "That man was Fra Girolamo Savonarola, Prior of the Dominican convent of\nSan Marco in Florence. On a September morning, when men's ears were", "opposition, not only to the character of Savonarola, but also to the\ngeneral tone of the confessions, strengthened the impression that the\nrest of the text represented in the main what had really fallen from his", "than any pretext, for declaring that both parties might go home. It was\nthe issue which Savonarola had expected and desired; yet it would be an", "During the last appeal, Savonarola had stretched out his arms and lifted\nup his eyes to heaven; his strong voice had alternately trembled with", "\"And that is true!\" said Savonarola, with flashing eyes. Romola's voice\nhad seemed to him in that moment the voice of his enemies. \"The cause\nof my party _is_ the cause of God's kingdom.\"", "touched, and she heard the words, \"He comes.\" She looked towards the\nPalace, and could see Savonarola led out in his Dominican garb; could", "Not long after those two bodies were lying in the grass, Savonarola was\nbeing tortured, and crying out in his agony, \"I will confess!\"", "rang through the Duomo. It was the habit of Savonarola's mind to\nconceive great things, and to feel that he was the man to do them.", "Florentine territory within twelve hours. Had Savonarola quitted the\nconvent then, he could hardly have escaped being torn to pieces; he was", "prosecution of the trial in Fra Domenico's case. Not that Savonarola\nhad uttered and written a falsity when he declared his belief in a", "depose him, would have been adding ineptitude to iniquity. There was no\ndenying that towards Alexander the Sixth Savonarola was a rebel, and,", "And in that rumour Savonarola had heard the assurance that his prophecy\nwas being verified. What was it that filled the ears of the prophets of", "himself in Savonarola's handwriting, which now lay ready in the desk at\nhis side. It was a letter calling on the king to assist in summoning a", "New horror in the Franciscans; new firmness in Savonarola. \"It was\nimpious presumption to carry the Sacrament into the fire: if it were" ], [ "The moment was past. Her face was covered again, and she only knew that\nSavonarola's voice had passed into eternal silence.\n\n\n\nEPILOGUE.", "The warm radiance thrilled through Savonarola's frame, and so did the\nshout. It was his last moment of untroubled triumph, and in its", "Florentine territory within twelve hours. Had Savonarola quitted the\nconvent then, he could hardly have escaped being torn to pieces; he was", "completion of Savonarola's trial. They entered amid the acclamations of\nthe people, calling for the death of the Frate. For now the popular cry", "During the last appeal, Savonarola had stretched out his arms and lifted\nup his eyes to heaven; his strong voice had alternately trembled with", "But no! when Savonarola brought his mind close to the threatened scene\nin the Piazza, and imagined a human body entering the fire, his belief", "Not long after those two bodies were lying in the grass, Savonarola was\nbeing tortured, and crying out in his agony, \"I will confess!\"", "Savonarola's arrest, and of her husband's death. This Augustinian monk\nhad been in the stream of people who had followed the waggon with its", "\"I do not desire the death of Bernardo,\" said Savonarola, colouring\ndeeply. \"It would be enough if he were sent out of the city.\"", "It was not long before she had to uncover them again. Savonarola was\nthere. He was not far off her now. He had mounted the steps; she could\nsee him look round on the multitude.", "Savonarola was preaching--preaching the last course of Lenten sermons he\nwas ever allowed to finish in the Duomo: he knew that excommunication", "touched, and she heard the words, \"He comes.\" She looked towards the\nPalace, and could see Savonarola led out in his Dominican garb; could", "Giovan Battista Ridolfi, a disciple of Savonarola, who was going in\nbitterness to behold the death of his elder brother Niccolo, had", "rang through the Duomo. It was the habit of Savonarola's mind to\nconceive great things, and to feel that he was the man to do them.", "After the utterance of that blessing, Savonarola himself fell on his\nknees and hid his face in temporary exhaustion. Those great jets of", "That man was Fra Girolamo Savonarola, Prior of the Dominican convent of\nSan Marco in Florence. On a September morning, when men's ears were", "There was nothing transcendent in Savonarola's face. It was not\nbeautiful. It was strong-featured, and owed all its refinement to", "himself in Savonarola's handwriting, which now lay ready in the desk at\nhis side. It was a letter calling on the king to assist in summoning a", "New horror in the Franciscans; new firmness in Savonarola. \"It was\nimpious presumption to carry the Sacrament into the fire: if it were", "It is Fra Girolamo who offers himself after all. We shall see him move\npresently, and if he comes out of the flames we shall have a fine view\nof him!\"" ], [ "projects against the Pope, requires the lever of a foreign power, and\nrequires Florence as a fulcrum. I used to think him a narrow-minded", "And this was the temper of Florence on the morning of the 17th of\nNovember 1494.\n\n\n\nCHAPTER TWENTY TWO.", "It was the thirtieth of October 1496. The sky that morning was clear\nenough, and there was a pleasant autumnal breeze. But the Florentines", "In this year of 1492, it was, perhaps, a little less easy to make that\nmistake. Lorenzo the magnificent and subtle was dead, and an arrogant,", "It was inevitably a life and death struggle between the Frate and the\nPope; but it was less inevitable that Florence should make itself the\nPope's executioner.", "Most Christian King is signing a treaty that is honourable to Florence.\nBut you owe it to one of your citizens, who spoke a word worthy of the\nancient Romans--you owe it to Piero Capponi!\"", "and seconded the invitation with hot rhetoric; and the young king seemed\nto lend a willing ear. So that in 1493 the rumour spread and became", "beckoning at the French king who never comes? You may call him able,\nbut I call him a hypocrite, who wants to be master of everybody, and get\nhimself made Pope.\"", "been the only offence of Florence against the majesty of France. And\nFlorence was determined not to submit. The determination was being\nexpressed very strongly in consultations of citizens inside the Old", "\"We shall see. Arms are good, and Florence is likely to want them. The\nFrate tells us we shall get Pisa again, and I hold with the Frate; but I", "\"All ye in Florence are my witnesses, for I spoke not in a corner. Ye\nare my witnesses, that four years ago, when there were yet no signs of", "forces in Romagna, and the enemies of Florence, who sit in the highest\nplaces of Italy, are ready to hurl any stone that will crush her.\"", "were lined with Frenchmen who were gazing at Florence, and with\nFlorentines who were gazing at the French, and the gaze was not on\neither side entirely friendly and admiring. The first nation in Europe,", "\"Then, Florentines, the high majesty of France felt, perhaps for the\nfirst time, all the majesty of a free city. And the Most Christian King", "safety, of Florence. The banner of France will float over every\nFlorentine galley in sign of amity and common privilege, but above that\nbanner will be written the word `Liberty!'", "ringing with the news that the French army had entered Italy, he had\npreached in the Cathedral of Florence from the text, \"Behold I, even I,", "himself in Savonarola's handwriting, which now lay ready in the desk at\nhis side. It was a letter calling on the king to assist in summoning a", "\"It's Lorenzo Tornabuoni, and one of the French noblemen who are in his\nhouse,\" said Ser Cioni, in some contempt at this interruption. \"He", "CHAPTER SIXTEEN.\n\nA FLORENTINE JOKE.", "Florence was in the direst need, first of food, and secondly of fighting\nmen. Pale Famine was in her streets, and her territory was threatened\non all its borders." ], [ "\"Yes, father,\" said Romola, firmly. \"I love Tito--I wish to marry him,\nthat we may both be your children and never part.\"", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "Romola's heart swelled again, so that she was forced to break off. But\nthe need she felt to disburden her mind to Tito urged her to repress the", "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "\"And _you_--you are safe?\"\n\n\"You are certainly an amiable wife, my Romola,\" said Tito, with the\ncoldest irony. \"Yes; I am safe.\"", "So it was settled in that way between Messer Bernardo del Nero, Romola,\nand Tito. Bardo assented with a wave of the hand when Bernardo told him", "Maso's message was from Romola. She wished Tito to go to the Via de'\nBardi as soon as possible. She would see him under the loggia, at the", "\"Tell me the truth, Tito--this time tell me the truth,\" said Romola, in\na low quivering voice. \"It will be safer for you.\"", "\"Because it was a trust,\" said Romola, in a low but distinct voice. \"He\ntrusted me, he trusted you, Tito. I did not expect you to feel anything", "\"You must not think despairingly of the consequences,\" said Tito, in a\ntone of soothing encouragement, at which Romola stood wondering, until", "\"Why should it not be?\" said Bardo, as if arguing against any opposition\nto his assent, rather than assenting. \"It would be a happiness to me;\nand thou, too, Romola, wouldst be the happier for it.\"", "Tito, paying his homage to Romola as he advanced, went, as his custom\nwas, straight to Bardo's chair, and put his hand in the palm that was", "\"Tito, it is not so,\" Romola burst forth in a pleading tone, rising and\ngoing nearer to him, with a desperate resolution to speak out. \"It is", "Romola's face saddened, but she checked herself, and said, cheerfully,\n\"You would not guess where I went to-day, Tito. I went to the Duomo, to\nhear Fra Girolamo.\"", "\"It is one of their masqued processions, I suppose,\" said Tito, who was\nnow alone with Romola, while Bernardo took charge of Bardo.", "\"I have no rancour against Messer Bernardo for thinking you too precious\nfor me, my Romola,\" said Tito: and that was true. \"But your father,\nthen, knows of his son's death?\"", "\"And now, my Romola,\" said Tito, entreatingly, \"you will banish these\nghastly thoughts. The vision was an ordinary monkish vision, bred of", "\"Doubtless the most noble lady brought him back.\" Then, advancing a\nlittle nearer to Romola, she added, \"It's my shame for him to have been", "\"Tito, it was you, I know,\" said Romola, smiling brightly, and kissing\nhim. \"How is it you never care about claiming anything? And after\nthat?\"", "Romola had been driven to utter the words as men are driven to use the\nlash of the horsewhip. At first, Tito felt horribly cowed; it seemed to" ], [ "Tito Melema started and looked round with a pale astonishment in his\nface as if at a sudden accusation; but Nello left him no time to feel at", "It was Tito Melema who felt that clutch. He turned his head, and saw\nthe face of his adoptive father, Baldassarre Calvo, close to his own.", "under the transient need to which he has been reduced by shipwreck. His\nname is Tito Melema, at your service.\"", "One of these spectators was Tito Melema. Bright, in the midst of\nbrightness, he sat at the window of the room above Nello's shop, his", "Along those illuminated streets Tito Melema was walking at about eight\no'clock in the evening, on his way homeward. He had been exerting", "\"_Tito Melema, aged twenty-three, with a dark, beautiful face, long dark\ncurls, the brightest smile, and a large onyx ring on his right\nforefinger_.\"", "introduce the young Greek, Tito Melema.", "of generous. He was a traitor without charm. It followed that he was\nnot fond of Tito Melema.", "trifle duller, now,\" he went on, smiling as the circle opened to admit\nTito, \"I should pretend to be fond of this Melema, who has got a", "apparently snatched up in the street, sat Tito Melema, in smiling\namusement at the compulsion he was under. His cap had slipped off his", "the very Tito Melema whose description he had carried round his neck as\nan index. No! nothing but Fra Luca's death could remove all danger; but", "\"Tito Melema,\" said the stranger, slipping the ring from his finger, and\npresenting it to Cennini, whom Nello, not less rapid with his razor than\nwith his tongue, had now released from the shaving-cloth.", "\"Well, and Tito Melema may have a peculiar sensibility to being laid\nhold of unexpectedly by prisoners who have run away from French", "Tito Melema was walking at a brisk pace on the way to the Via de' Bardi.\nYoung Bernardo Dovizi, who now looks at us out of Raphael's portrait as", "rage, but giving a new justification to extreme measures. There was no\nmalignity in Tito Melema's satisfaction: it was the mild", "Bartolommeo Scala, secretary of the Florentine Republic, on whom Tito\nMelema had been thus led to anchor his hopes, lived in a handsome palace", "Tito, laughing with the rest as Nello looked at himself tragically in\nthe hand-mirror, made a sign of farewell to the company generally, and\ntook his departure.", "\"I belong to Tito Melema, who has just gone in. I am to wait in the\ngardens.\"", "Ceccone, or was it Melema himself?\" he added, looking at the notary with\na face ironically innocent.", "said. Tito heard so far, but he was deaf to everything else till he was\nspecially addressed. It was Tornabuoni who spoke." ], [ "the very Tito Melema whose description he had carried round his neck as\nan index. No! nothing but Fra Luca's death could remove all danger; but", "When Fra Luca had ceased to speak, Tito still stood by him in\nirresolution, and it was not till, the pressure of the passengers being", "\"I do not deny it,\" said Tito, blandly. \"But if it turns out that Fra\nFrancesco is mistaken, he will have been burned for the wrong side, and", "element in Tito's nature--the fear of what he believed or saw was likely\nto rob him of pleasure: and he had a definite fear that Fra Luca might\nbe the means of driving him from Florence.", "As Tito entered the outer cloister of San Marco, and inquired for Fra\nLuca, there was no shadowy presentiment in his mind: he felt himself too", "mention of the future husband's name. Fra Luca would tell all he knew\nand conjectured, and Tito saw no possible falsity by which he could now", "\"I am at San Marco; my name is Fra Luca.\"\n\n\n\nCHAPTER ELEVEN.\n\nTITO'S DILEMMA.", "\"Assuredly,\" said Tito. \"It does but express the conclusions or\ndoctrines which the Frate specially teaches, and which the trial by fire", "\"No, he went out with our good old Piero di Cosimo. I saw Piero come in\nand cut off his rope, and take him out of the church. But you want\nrest, Tito? You feel ill?\"", "The party separated, and Tito took his way to the Palazzo Vecchio, where\nhe was to find Bartolommeo Scala. It was not a long walk, but, for", "Tito felt a disagreeable chill at this answer, for Bernardo del Nero's\neyes had retained their keen suspicion whenever they looked at him, and\nthe uneasy remembrance of Fra Luca converted all uncertainty into fear.", "Tito's visit to San Marco had been announced beforehand, and he was at\nonce conducted by Fra Niccolo, Savonarola's secretary, up the spiral", "purpose was fully shaped. He was going to ascertain from Fra Luca\nprecisely how much he conjectured of the truth, and on what grounds he", "\"It is true,\" said Tito, with bland gravity; \"and I should not have\ntroubled you with my trivial remark on the Frate's ability, but that you", "The day he was discerned by Tito in the Piazza del Duomo, he had the\nfresh anguish of this consciousness in his mind, and Tito's ready speech", "said. Tito heard so far, but he was deaf to everything else till he was\nspecially addressed. It was Tornabuoni who spoke.", "Tito indicated the required dimensions, and Piero marked them on a piece\nof paper.\n\n\"And now for the book,\" said Piero, reaching down a manuscript volume.", "after our godfather, but now he calls himself Fra Luca--had been taken\nto the monastery at Fiesole, because he was ill. But this morning a", "The first sound Tito heard was the short laugh of Piero di Cosimo, who\nstood close by him and was the only person that could see his face.\n\n\"Ha, ha! I know what a ghost should be now.\"", "perhaps have escaped that identification by Fra Luca. It was true that\nit had been taken from Baldassarre's finger and put on his own as soon" ], [ "\"Romola,\" Fra Luca began, \"I have had a vision concerning thee. Thrice\nI have had it in the last two months: each time it has been clearer.", "Romola was dimly conscious of footsteps and rustling forms moving aside:\nshe heard the voice of Fra Girolamo saying, in a low tone, \"Our brother", "And the lips that could have conveyed that knowledge were for ever\nclosed. The prevision that Fra Luca's words had imparted to Romola had", "\"Frate,\" said the dying voice.\n\nFra Girolamo leaned down. But no other word came for some moments.\n\n\"Romola,\" it said next.", "\"I have had special threats,\" said Tito, \"but I must beg you to be\nsilent on the subject, my Romola. I shall consider that you have broken\nmy confidence, if you mention it to your godfather.\"", "There were Florentine assessors at this new trial, and those words of\ntwofold retraction had soon spread. They filled Romola with dismayed\nuncertainty.", "Fra Girolamo moved towards the door, and called in a lay Brother who was\nwaiting outside. Then he went up to Romola and said in a tone of gentle", "\"Tell me the truth, Tito--this time tell me the truth,\" said Romola, in\na low quivering voice. \"It will be safer for you.\"", "Romola shuddered at the possibility. All the instruction, all the main\ninfluences of her life had gone to fortify her scorn of that sickly", "\"And now, my Romola,\" said Tito, entreatingly, \"you will banish these\nghastly thoughts. The vision was an ordinary monkish vision, bred of", "When Romola paused, with cheeks glowing, and with quivering lips, there\nwas dead silence. As she saw Fra Girolamo standing motionless before", "Romola shrank with dread from the renewal of her proximity to Tito, and\nyet she was uneasy that she had put herself out of reach of knowing what", "the very Tito Melema whose description he had carried round his neck as\nan index. No! nothing but Fra Luca's death could remove all danger; but", "with soldiery any longer, and the Frate has barked this time to some\npurpose. Ah, what is this?\" he added, as Romola, clasping him by the", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "reinforcement of protection to Savonarola; but Romola was now alive to\nevery suggestion likely to deepen her foreboding, that whatever the\npresent might be, it was only an unconscious brooding over the mixed", "\"What was it, my Romola? Sit down and tell me,\" said Tito, leading her\nto the bench that stood near. A fear had come across him lest the", "\"Take care, Romola,\" said Tito, playfully, feeling relieved that she had\nsaid nothing about Baldassarre; \"you have a touch of fanaticism in you.\nI shall have you seeing visions, like your brother.\"", "element in Tito's nature--the fear of what he believed or saw was likely\nto rob him of pleasure: and he had a definite fear that Fra Luca might\nbe the means of driving him from Florence.", "\"You will fear no longer, father,\" said Romola, in a tone of encouraging\nauthority; \"you will come down with me, and we will see who is living," ], [ "Baldassarre did not reply immediately; he glanced suspiciously at the\nofficious stranger. At last he said, \"If you will.\"\n\n\"Better come outside,\" said Piero.", "Baldassarre began to speak as if he were thoroughly assured of what he\nhad to say; but, in spite of his long preparation for this moment, there", "\"No,\" said Baldassarre, also thinking aloud, rather than consciously\nanswering, \"I only know one man.\"\n\n\"His name is not Nofri, is it?\" said Tessa, anxiously.", "Baldassarre; for the first time his words had wrought their right\neffect. He went on with gathering eagerness and firmness, laying his\nhand on her arm.", "Baldassarre was not asleep. There was a square opening high in the wall\nof the hovel, through which the moonbeams sent in a stream of pale", "Baldassarre. She dreaded to know more about him, yet she felt as if, in\nforsaking him, she would be forsaking some near claim upon her.", "The two men looked at each other, silent as death: Baldassarre, with\ndark fierceness and a tightening grip of the soiled worn hands on the", "Baldassarre's eyes, and that he felt it rushing through his veins. But\nthe next instant the grasp on his arm had relaxed, and Baldassarre had\ndisappeared within the church.", "\"Do you mean to stay here?\" he said.\n\n\"No,\" said Baldassarre, bitterly, \"you mean to turn me out.\"\n\n\"Not so,\" said Tito; \"I only ask.\"", "\"Your name?\" said the servant.\n\n\"Baldassarre Calvo,\" was the immediate answer.\n\n\"You are not a guest; the guests have all passed.\"", "Baldassarre was folding his arms in enjoyment of the long-absent\nmuscular sensation. He answered Piero with a less suspicious look and a\ntone which had some quiet decision in it.", "\"Ah, you are young, and the tears come easily,\" said Baldassarre, with\nsome impatience. \"But tears are no good; they only put out the fire", "Baldassarre had done his work, had had his draught of life: Tito said it\nwas _his_ turn now.", "preferred that Baldassarre should be prosperous and happy. But he had\nleft himself no second path now: there could be no conflict any longer:\nthe only thing he had to do was to take care of himself.", "now looking straight at Baldassarre. It was a moment of desperation\nthat annihilated all feeling in him, except the determination to risk\nanything for the chance of escape. And he gathered confidence from the", "that he should know what others knew about Baldassarre, and the first\npalsy of terror was being succeeded by the rapid devices to which mortal\ndanger will stimulate the timid.", "\"Talk no more about that,\" said Baldassarre, fiercely. \"I will have\nnothing else. Help me to wring one drop of vengeance on this side of", "\"Ah, you believe me--you know what he is!\" said Baldassarre, exultingly,\ntightening the pressure on her arm, as if the contact gave him power.\n\"You will help me?\"", "had a full view of the main entrance. She had looked long and\nattentively at Baldassarre, for grey hairs made a peculiar appeal to", "\"Yes,\" said Baldassarre, \"I shall be glad to get my strength. I want to\nget my strength,\" he repeated, as if he were muttering to himself,\nrather than speaking to her." ], [ "This, in brief, had been the history of Tito's relation to Tessa up to a\nvery recent date. It is true that once or twice before Bardo's death,", "\"Perhaps. What do you think about it, Tessa?\" said Tito, slipping his\nright arm round her, and looking down at her fondly.", "perfectly well aware that that face was Tessa's; but he had not chosen\nto say so. What had Nello to do with the matter? Tito had an innate", "Tessa did not like those words, even though Tito was smiling. She had\nsome pouting distress in her face, as she said, bending anxiously over\nthe baby--", "\"Yes, you must go back to your kid, my Tessa,\" said Tito, rising, \"and I\nmust go the other way.\"", "\"Tessa, Tessa, you little siren, you would ruin me,\" said Tito,\nlaughing, and kissing both her cheeks. \"I ought to have been in the Via", "\"Tessa!\" said Tito, with more sharpness in his voice than she had ever\nheard in it before. \"Why are you here? You must not follow me--you\nmust not stand about door-places waiting for me.\"", "\"Tito!\" She uttered the word in a tone of pretty, loving reproach, and\nthen he kissed her fondly, stroked her hair, as his manner was, and", "There were passers-by approaching. Tito had heard them, and that was\nwhy he spoke in a whisper. Romola was too conscious of being mastered", "which Tessa clung to Tito's arm, as he drew it from her waist, and\nplaced her hand within it. She only cared about the laugh as she might", "Tito had thoroughly frightened Tessa into silence about the\ncircumstances of their marriage, by telling her that if she broke that\nsilence she would never see him again; and Monna Lisa's deafness, which", "Tito turned and re-entered the house. Monna Lisa was nodding; he went\nup to Tessa, and found her crying by the side of her baby.", "which he had provided for his comfort when he came to see Tessa and the\nchildren. Tito himself was surprised at the growing sense of relief\nwhich he felt in these moments. No guile was needed towards Tessa: she", "Tessa obeyed with a tranquillising sense that life was going to be\nsomething quite new, and that Tito would be with her often. All who", "When Tito had first found this home for Tessa, on his return from Rome,\nmore than a year and a half ago, he had acted, he persuaded himself,", "\"Pretty little Tessa!\" said Tito, smiling at her. \"What makes you feel\nso safe with me?\"\n\n\"Because you are so beautiful--like the people going into Paradise: they\nare all good.\"", "The party separated, and Tito took his way to the Palazzo Vecchio, where\nhe was to find Bartolommeo Scala. It was not a long walk, but, for", "She had set down Lillo hurriedly, and held out her hand to Tessa, who\nkissed it with a mixture of awe and sorrow at this parting. Romola's", "nearer to him, and at last shyly asked him to kiss her, putting up her\nround olive cheek very innocently. Tito was used to love that came in", "\"I thought,\" said Tessa, speaking in a whisper, and struggling against a\nsob that _would_ rise immediately at this new voice of Tito's--\"I" ], [ "There were Florentine assessors at this new trial, and those words of\ntwofold retraction had soon spread. They filled Romola with dismayed\nuncertainty.", "And now, while the judicial Eight were gone to the Bargello to prepare\nfor the execution, the five condemned men were being led barefoot and in", "\"And that is true!\" said Savonarola, with flashing eyes. Romola's voice\nhad seemed to him in that moment the voice of his enemies. \"The cause\nof my party _is_ the cause of God's kingdom.\"", "And now Romola could see that the horseman was her husband, who had been\nsent to Pisa a few days before on a private embassy. The recognition", "\"Frate,\" said the dying voice.\n\nFra Girolamo leaned down. But no other word came for some moments.\n\n\"Romola,\" it said next.", "\"I know nothing about his accusation,\" said Romola. \"But I know he is\nthe man whom I saw with the rope round his neck in the Duomo--the man", "Romola had seemed to hear, as if they had been a cry, the words repeated\nto her by many lips--the words uttered by Savonarola when he took leave", "of the fatal affirmative black, deciding the death of the five prisoners\nwithout delay--deciding also, only tacitly and with much more delay, the\ndeath of Francesco Valori.", "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "Romola had been driven to utter the words as men are driven to use the\nlash of the horsewhip. At first, Tito felt horribly cowed; it seemed to", "irons through the midst of the council. It was their friends who had\ncontrived this: would not Florentines be moved by the visible\nassociation of such cruel ignominy with two venerable men like Bernardo", "Romola shuddered at the possibility. All the instruction, all the main\ninfluences of her life had gone to fortify her scorn of that sickly", "the Signoria would not defend the liberties of the Florentine people by\nexecuting those five perfidious citizens, there would not be wanting\nothers who would take that cause in hand to the peril of all who opposed", "\"I know, Romola--I know he is dead,\" said Tito; and the long lustrous\neyes told nothing of the many wishes that would have brought about that", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "\"This meeting corresponds with our parting, Romola. But I understand\nthat it is a moment of terrible suspense. I am come, however, if you\nwill listen to me, to bring you the relief of hope.\"", "\"It is one of their masqued processions, I suppose,\" said Tito, who was\nnow alone with Romola, while Bernardo took charge of Bardo.", "\"I would speak with you,\" said Baldassarre, as Romola looked at him in\nsilent expectation. It was plain that he had followed her, and had been\nwaiting for her. She was going at last to know the secret about him.", "Romola gave a slight start, but her impulse now was to do just what\nSavonarola told her. Her self-doubt was grappled by a stronger will and", "\"Then,\" said Romola, her indignation rising again, \"you can be\nindifferent that Florentines should inflict death which you do not" ], [ "Romola gave a slight start, but her impulse now was to do just what\nSavonarola told her. Her self-doubt was grappled by a stronger will and", "What was the cause he was struggling for? Romola had lost her trust in\nSavonarola, had lost that fervour of admiration which had made her", "Romola shuddered at the possibility. All the instruction, all the main\ninfluences of her life had gone to fortify her scorn of that sickly", "Romola's mind was still torn by conflict. She foresaw that she should\nobey Savonarola and go back: his words had come to her as if they were", "There were Florentine assessors at this new trial, and those words of\ntwofold retraction had soon spread. They filled Romola with dismayed\nuncertainty.", "\"And that is true!\" said Savonarola, with flashing eyes. Romola's voice\nhad seemed to him in that moment the voice of his enemies. \"The cause\nof my party _is_ the cause of God's kingdom.\"", "Romola was inwardly struggling with strong forces: that immense personal\ninfluence of Savonarola, which came from the energy of his emotions and", "Romola had seemed to hear, as if they had been a cry, the words repeated\nto her by many lips--the words uttered by Savonarola when he took leave", "Romola paused no longer. That evening she was in Florence, sitting in\nagitated silence under the exclamations of joy and wailing, mingled with", "reinforcement of protection to Savonarola; but Romola was now alive to\nevery suggestion likely to deepen her foreboding, that whatever the\npresent might be, it was only an unconscious brooding over the mixed", "Romola turned towards him with a slight start. Again the possibility of\nhis madness had darted through her mind, and checked the rush of belief.", "A slight quiver passed across Romola's face as Tito took hold of the\ncrucifix. But she had no wish to prevent his purpose; on the contrary,", "Romola's face saddened, but she checked herself, and said, cheerfully,\n\"You would not guess where I went to-day, Tito. I went to the Duomo, to\nhear Fra Girolamo.\"", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "\"I should never have quitted Florence,\" said Romola, tremulously, \"as\nlong as there was any hope of my fulfilling a duty to my father there.\"", "Under any other circumstances, Romola would have been sensitive to the\nappeal at the beginning of Savonarola's speech; but at this moment she", "of her own and his identity, had a power unexplained to herself, of\nshaking Romola. It is the way with half the truth amidst which we live,", "Romola, kneeling with buried face on the altar-step, was enduring one of\nthose sickening moments, when the enthusiasm which had come to her as", "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "And so Romola, seeing no ray across the darkness, and heavy with\nconflict that changed nothing, sank at last to sleep.\n\n\n\nCHAPTER THIRTY SEVEN." ], [ "the determination to escape without any visible notice of her, a not\naltogether agreeable resource. Yet Tito persevered and carried his\ncompanion to the door, cleverly managing his \"addio\" without turning his", "Tito, that he had not dared to pursue him, except under cover of a crowd\nor of the darkness; he felt, with instinctive horror, that if Tito's", "Tito, obliged to make his way through chance openings in the crowd,\nfound himself at one moment close to the trotting procession of", "him as Tito ended, and saw that the eyes which had had such fierce\nintensity only a few minutes before had now a vague fear in them. He\nclutched the back of a seat, and was silent.", "Bardi, had compelled the foot-passengers to recede hurriedly. Tito had\nbeen walking, as his manner was, with the thumb of his right-hand", "Tito had felt one great heart-leap of terror as he had staggered under\nthe weight of the thrust: he felt now the triumph of deliverance and", "Tito made a hasty sign of assent and adieu, and moving away from the\npillar, again found himself pushed towards the middle of the piazza and", "In an instant Tito had pushed his way through the barrier of bystanders,\nwhose curiosity made them ready to turn aside at the sudden interference", "Yes--they _were_ at the arches. In that moment Tito, with bloodless\nface and eyes dilated, had one of the self-preserving inspirations that", "The words had no sooner left Tito's lips than they seemed to vibrate up\nthe streets. A great shout rang through the air, and rushed along the", "awful burthen into the Piazza, and he could tell her what was generally\nknown in Florence--that Tito had escaped from an assaulting mob by", "They advanced toward the crowd with their swords drawn, all the quiet\nspectators making an escort for them. Tito went too: it was necessary", "In an instant Tito started up, went to the door, locked it, and took out\nthe key. It was time for all the masculine predominance that was latent", "Tito was one of those who remained behind. He had a native repugnance\nto sights of death and pain, and five days ago whenever he had thought", "\"Wait, at least, until these torches have passed,\" said Tito, with\nperfect self-command, but with a new rising of dislike to a wife who", "his well-studied periods, and reduced the representatives of the\nscholarly city to offer a makeshift welcome in impromptu French. But\nthat sudden confusion had created a great opportunity for Tito. As one", "himself and clutched it still, going close up to Tito till their faces\nwere not a foot off each other. Then he began to speak, in a deep\ntrembling voice--", "The party separated, and Tito took his way to the Palazzo Vecchio, where\nhe was to find Bartolommeo Scala. It was not a long walk, but, for", "relaxed his hold, and had disappeared. Tito knew well how to interpret\nthat: it meant that the vengeance was to be studied that it might be", "Tito pushed his way vigorously towards the corner of a side-street, a\nlittle vexed at this delay in his progress to the Via de' Bardi, and" ], [ "Tito had felt one great heart-leap of terror as he had staggered under\nthe weight of the thrust: he felt now the triumph of deliverance and", "him as Tito ended, and saw that the eyes which had had such fierce\nintensity only a few minutes before had now a vague fear in them. He\nclutched the back of a seat, and was silent.", "Tito was one of those who remained behind. He had a native repugnance\nto sights of death and pain, and five days ago whenever he had thought", "Yes--they _were_ at the arches. In that moment Tito, with bloodless\nface and eyes dilated, had one of the self-preserving inspirations that", "the ground. Tito put out his hand to help him, and so strangely quick\nare men's souls that in this moment, when he began to feel his atonement", "Tito felt that his fate was decided. Again his mind rushed over all the\ncircumstances of his departure from Florence, and he conceived a plan of", "relaxed his hold, and had disappeared. Tito knew well how to interpret\nthat: it meant that the vengeance was to be studied that it might be", "When Tito left the Via de' Bardi that day in exultant satisfaction at\nfinding himself thoroughly free from the threatened peril, his thoughts,", "A slight electric shock passed through Tito as he rose from the chair,\nbut it was not outwardly perceptible, for he immediately stooped to pick\nup the fallen book, and busied his fingers with flattening the leaves,\nwhile he said--", "\"Not at all!\" said Tito, with playful decision, opening his scarsella\nand dropping in the little key. \"I shall drown it in the Arno.\"", "Tito turned away with a sense of relief. \"This friar is not likely to\nlive,\" he said to himself. \"I saw he was worn to a shadow. And at", "the determination to escape without any visible notice of her, a not\naltogether agreeable resource. Yet Tito persevered and carried his\ncompanion to the door, cleverly managing his \"addio\" without turning his", "Tito, laughing with the rest as Nello looked at himself tragically in\nthe hand-mirror, made a sign of farewell to the company generally, and\ntook his departure.", "shot through his mind. \"Was he so changed that Tito really did not know\nhim?\" The thought was such a sudden arrest of impetuous currents, that", "Meanwhile, Tito's quick mind had been combining ideas with\nlightning-like rapidity. Bardo's son was not really dead, then, as he", "\"Certainly you have,\" said Tito, readily, in a low tone. \"He is the\nescaped prisoner who clutched me on the steps of the Duomo. I did not", "Tito made a hasty sign of assent and adieu, and moving away from the\npillar, again found himself pushed towards the middle of the piazza and", "themselves; the little rills of selfishness had united and made a\nchannel, so that they could never again meet with the same resistance.\nHitherto Tito had left in vague indecision the question whether, with", "Tito walked along with a light step, for the immediate fear had\nvanished; the usual joyousness of his disposition reassumed its", "himself and clutched it still, going close up to Tito till their faces\nwere not a foot off each other. Then he began to speak, in a deep\ntrembling voice--" ], [ "themselves; but for everything else, the exiles have the best of it.\nFor my own part, I have been thinking seriously that we should be wise\nto quit Florence, my Romola.\"", "Romola paused no longer. That evening she was in Florence, sitting in\nagitated silence under the exclamations of joy and wailing, mingled with", "And so Romola, seeing no ray across the darkness, and heavy with\nconflict that changed nothing, sank at last to sleep.\n\n\n\nCHAPTER THIRTY SEVEN.", "\"That is enough,\" said Romola, and she turned up the steps, to take\nrefuge in the Duomo, till she could recover from her agitation.", "The parting must come at last, but as Romola turned continually before\nshe passed out of sight, she saw the little flock lingering to catch the\nlast waving of her hand.", "\"Poor child!\" said Bernardo, looking at her with quiet penetration for a\nmoment or two. Then he said: \"Go, Romola--go home and rest. These", "Romola had watched Baldassarre until he had disappeared round the\nturning into the Piazza de' Mozzi, half feeling that his departure was a", "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "\"Come, then,\" said Romola, taking her by the hand and leading her to the\ncorner of a street nearly opposite. \"If you go down there,\" she said,", "After all, she was only a young girl--this poor Romola, who had found\nherself at the end of her joys.", "\"I should never have quitted Florence,\" said Romola, tremulously, \"as\nlong as there was any hope of my fulfilling a duty to my father there.\"", "Romola's face saddened, but she checked herself, and said, cheerfully,\n\"You would not guess where I went to-day, Tito. I went to the Duomo, to\nhear Fra Girolamo.\"", "On the fourteenth of April Romola was once more within the walls of\nFlorence. Unable to rest at Pistoja, where contradictory reports", "\"Do not be sorry,\" said Romola, \"you are well now, and I shall remember\nyou. I must go and see if my own people want me.\"\n\n\"Ah, yes, if they have the pestilence!\"", "In the first ardour of her self-conquest, after she had renounced her\nresolution of flight, Romola had made many timid efforts towards the", "It was late before Tito came. Romola had been pacing up and down the\nlong room which had once been the library, with the windows open, and a", "That evening, when it was dark and threatening rain, Romola, returning\nwith Maso and the lantern by her side, from the hospital of San Matteo,", "German Emperor was gone again; and, in other ways besides, the position\nof Florence was alleviated; but so much distress remained that Romola's", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "That day they all went home to Monna Brigida's, in the Borgo degli\nAlbizzi. Romola had made known, to Tessa by gentle degrees, that Naldo" ] ]	[ "For what leader is Florence mourning in 1492?", "Who marries Tito in a mock ceremony?", "What does Fra Luca reveal to Tito about his adoptive father?", "Who is Fra Luca's estranged sister? ", "What is Fra Luca's vision before his death?", "Why does Baldassarre vow revenge on Tito?", "What causes Romola to see Tito's true character?", "What gave Romola a new meaning in life?", "What does Tito sell that betrays Bardo?", "Who informs Tito that Baldassarre has been taken as a slave?", "Who tells Romola of Tito's secret family of Tessa and their children?", "When Romola takes to a boat to die, she ends up at an island that is fighting what disease?", "What does Tito jump into to avoid the rioting mob?", "Who kills Tito?", "What is Savonarola accused of at the end of the story?", "How does Savonarola die?", "In 1496, who declares war on the French king and Florence, his ally?", "Who convinces Romola to return to her husband and support Florentines after Tito's betrayal of Bardo?", "Who is Tito Melema?", "What does Tito learn from Fra Luca?", "What does Fra Luca warn Romola about?", "Who is Baldassarre?", "How are Tessa and Tito connected?", "What does Romola learn about the five Medici family supporters that are sentenced to death?", "Why is Romola's faith in Florence and, specifically, Savonarola, shaken?", "How does Tito escape the rioters?", "What happens to Tito after he escapes the river he jumped into?", "Where does Romola end up after leaving Florence?" ]	[ [ "Lorenzo de' Medici", "legendary leader Lorenzo de Medici" ], [ "Tessa.", "Tessa " ], [ "He has been forced into slavery and is seeking assistance.", "his father seeks help from the slavery" ], [ "Romola.", "Romola" ], [ "Marriage between her and a stranger will bring pain to her and her father.", "marriage" ], [ "Tito denied knowing him and called him a madman.", "he won't help him get out of prison" ], [ "He sells Bardo's library.", "Political turmoil in France." ], [ "Helping people in a village affected by the Plague.", "helping the sick survivors" ], [ "His library.", "The late farmers stock" ], [ "Fra Luca", "Fra Luca" ], [ "Baldassarre", "Baldassarre" ], [ "Plague", "Plague" ], [ "Arno River", "Arno river" ], [ "Baldassarre", "Baldassarre" ], [ "Heresy", "Heresy" ], [ "Burned at the stake.", "He's burned at the stake " ], [ "The League of Venice", "League of venice" ], [ "Savonarola", "Savonarola" ], [ "A shipwrecked stranger and a young Italianate-Greek scholar.", "An Italianate-Greek scholar " ], [ "He finds out that his adoptive father is asking for assistance after being forced into slavery.", "His father has fallen into slavery is asking for assistance" ], [ "He warns Romola of a vision about a marriage between her and a mysterious stranger and that the stranger will bring pain to her father and herself.", "the stranger she marries will cause her and her father pain" ], [ "Tito's adoptive father.", "Tito's adopted father" ], [ "They are secretly married and have two children.", "they are married" ], [ "She learns that Tito was involved with their arrest.", "Tito played a role in the arrest" ], [ "She pleads Savonarola to intervene with the death sentences against the supporters who include her godfather.", "He won't intervene in the deaths of the Medici family supporters " ], [ "He jumps into the Arno River.", "diving into Arno River" ], [ "Baldassarre kills him after he leaves the river.", "his adopted father kills him" ], [ "She drifts out to sea in a boat and ends up in a village affected by the plague.", "To the east coast" ] ]	0ac0e7c55534399855675cf41872ae6c5a8a32dd	validation
[ [ "Poor Mrs. Graham looked dismayed, and attempted to make excuses, but\nRose, either compassionating her lonely life, or anxious to cultivate her", "âBy no means, Mrs. Graham; pray let him stay. I am as much amused as he\nis,â pleaded I. But still, with hand and eye, she silently called him to\nher side.", "Mrs. Graham, and he had prepared the rooms as well as he could upon so\nshort a notice; but he would do himself the pleasure of calling upon her\nto-morrow, to receive her further commands.â", "âWell, Mrs. Graham?â said I, calmly and coldly; for, though I saw she was\nmiserable, and pitied her, I felt glad to have it in my power to torment\nher.", "Mrs. Graham seated herself at a distance from me. Eliza was my nearest\nneighbour. She exerted herself to be agreeable, in her gentle,", "It was true, then, that he had some designs upon Mrs. Graham; and, were\nthey honourable, he would not be so anxious to conceal them. She was\nblameless, of course, but he was detestable beyond all count.", "âCan it be that Mrs. Graham that distresses you so?â\n\nâNo, no, I tell youâitâs nothing.â", "You must suppose about three weeks passed over. Mrs. Graham and I were\nnow established friendsâor brother and sister, as we rather chose to", "Bay you are thinking about, I suppose, Mrs. Graham? It is a very long\nwalk, too far for you, and out of the question for Arthur. But we were", "neighbourhood, would be on pins and needles till she had seen her and got\nall she could out of her. She is called Mrs. Graham, and she is in", "âWas that Mrs. Graham you were speaking to just now?â said he, after the\nfirst few words of greeting had passed between us.\n\nâYes.â", "âI think it a very excellent plan,â interrupted Mrs. Graham, with\nimperturbable gravity. âBy that means I hope to save him from one", "part of the receiver, than the worth of the gift or the selfish motive of\nthe giver deserved, I ventured to ask Mrs. Graham for one more look at\nthe picture, if it was still there.", "to tell. Itâs about that sad Mrs. Grahamââ", "âYou were wishing to see âMarmion,â Mrs. Graham; and here it is, if you\nwill be so kind as to take it.â", "such a person as Mrs. Graham to her house; but, perhaps, she is not aware\nthat the ladyâs character is considered scarcely respectable.â", "moved towards the door. But, having bid adieu to Rose, Mrs. Graham\npresented her hand to me, saying, with a soft voice, and by no means a", "ââMrs. Graham,â said I,â he continued, shaking his head as he spoke,", "Mrs. Graham among the number. She could not now absent herself under the\nplea of dark evenings or inclement weather, and, greatly to my relief,", "I do not think Mrs. Graham was particularly delighted to see us: there\nwas something indescribably chilly in her quiet, calm civility; but I did" ], [ "It was true, then, that he had some designs upon Mrs. Graham; and, were\nthey honourable, he would not be so anxious to conceal them. She was\nblameless, of course, but he was detestable beyond all count.", "âBut Mrs. Graham doesnât think so. You shall just hear now what she told\nus the other dayâI told her Iâd tell you.â", "âCan it be that Mrs. Graham that distresses you so?â\n\nâNo, no, I tell youâitâs nothing.â", "Poor Mrs. Graham looked dismayed, and attempted to make excuses, but\nRose, either compassionating her lonely life, or anxious to cultivate her", "âWell, Mrs. Graham?â said I, calmly and coldly; for, though I saw she was\nmiserable, and pitied her, I felt glad to have it in my power to torment\nher.", "such a person as Mrs. Graham to her house; but, perhaps, she is not aware\nthat the ladyâs character is considered scarcely respectable.â", "âWas that Mrs. Graham you were speaking to just now?â said he, after the\nfirst few words of greeting had passed between us.\n\nâYes.â", "ââMrs. Graham,â said I,â he continued, shaking his head as he spoke,", "It was evident, then, that for Mrs. Grahamâs sake it was not his\nintention to criminate me.\n\n\n\n\nCHAPTER XV", "âWell,â answered she, âperhaps you know already that Mrs. Grahamâs\nhusband is not really dead, and that she had run away from him?â I", "âAre you angry because Mrs. Graham would not let you go home with her?â\nhe asked, with a faint smile that nearly exasperated me beyond control.", "âBy no means, Mrs. Graham; pray let him stay. I am as much amused as he\nis,â pleaded I. But still, with hand and eye, she silently called him to\nher side.", "to tell. Itâs about that sad Mrs. Grahamââ", "Mrs. Graham among the number. She could not now absent herself under the\nplea of dark evenings or inclement weather, and, greatly to my relief,", "her, certainly; but I am the last person you should apply to for\ninformation respecting Mrs. Graham.â", "mother gravely accosted me withââOh, Gilbert!âSuch an accident! Rose has\nbeen shopping in the village, and sheâs heard that Mr. Lawrence has been", "day,âbut if all the parish dinned it in my ears, I shouldnât believe a\nword of itâI know Mrs. Graham too well!â", "Bay you are thinking about, I suppose, Mrs. Graham? It is a very long\nwalk, too far for you, and out of the question for Arthur. But we were", "careless of everything but her own immediate pleasure and advantage, or\nsome misguided, obstinate woman, like Mrs. Graham, ignorant of her\nprincipal duties, and clever only in what concerns her least to knowâthen", "You must suppose about three weeks passed over. Mrs. Graham and I were\nnow established friendsâor brother and sister, as we rather chose to" ], [ "consider ourselves. She called me Gilbert, by my express desire, and I\ncalled her Helen, for I had seen that name written in her books. I", "âWell, but, Gilbert, there must be something in her manner to countenance\nsuch reports.â\n\nâDid you see anything in her manner?â", "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âOh, Gilbert!â\n\nâWell, do you think I could believe anything of the kind,âwhatever the\nWilsons and Millwards dared to whisper?â", "Gilbert, she can do anything. And we should call some time, mamma; itâs\nonly proper, you know.â", "âHelen,â said she, after a thoughtful silence, âdo you ever think about\nmarriage?â\n\nâYes, aunt, often.â", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "âMy dear Gilbert,â said she, âI wish you wouldnât do so! You know how\ndeeply I have your advantage at heart, how I love you and prize you above", "are. And if you marry her, Gilbert, youâll break my heartâso thereâs an\nend of it.â", "At this he only laughed and kissed my hand, calling me a sweet\nenthusiast. Then taking off his hat, he added: âBut look here,\nHelenâwhat can a man do with such a head as this?â", "âThat was the crisis, Helen!â said he, delightedly. âI had an infernal\npain hereâit is quite gone now. I never was so easy since the fallâquite", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "âHelen!â cried he, the moment I had left the room. I turned back, and\nstood awaiting his commands.\n\nâWhat do you want, Arthur?â I said at length.", "the needful himself, or should have when his old governor chose to quit\nthe stage. So you see, Helen, I have managed pretty well, both for your\nfriend and mine.â", "âNo, Helen,â said she, with reproachful gravity, âbut I know many that\nhave; and some, through carelessness, have been the wretched victims of", "âThen you are going to see her this evening?â\n\nâTo be sure I am!â\n\nâBut what would mamma say, Gilbert!â", "âHelen, thenâdear Helen!â I murmured. I was in an agony of mingled love,\nhope, delight, uncertainty, and suspense.", "âThat sounds presumptuous, Helen. Do you think you have enough for both;\nand do you imagine your merry, thoughtless profligate would allow himself\nto be guided by a young girl like you?â" ], [ "âWhen will she return to Grassdale?â was my next question.\n\nâI donât know.â", "likewise, for Helen is attached to the place and to meâas I am to her.\nThere are painful associations connected with Grassdale, which she cannot", "My companion gravely took my arm, and leading me away to the garden, thus\nanswered my question,ââShe is at Grassdale Manor, in âshire.â", "brightest expectations, and is at present residing in Grassdale Manor\nwith his young wifeâthe merry little Helen Hattersley of yore.", "was with her aunt in âshire, but was expected to return before Christmas.\nShe usually spent most of her time at Staningley, only coming to\nGrassdale occasionally, when the management of affairs, or the interest", "âPositively, I do; and I will take you down myself to Grassdale, and then\nreturn. I shall not be absent above a week or fortnight at most.â", "âWhere are you going?â\n\nâTo Grassdale first,â said he, with a half-smile he would willingly have\nsuppressed if he could.", "them over to Grassdale in the phaeton, with little Helen and Ralph, and\nwe were all enjoying ourselves in the gardenâI had a few minutesâ", "wanted to get me home, he said, to have me all to himself, and to see me\nsafely installed as the mistress of Grassdale Manor, just as", "Nevertheless, it was with no small degree of impatience that I looked\nforward to Mr. Lawrenceâs return from Grassdale: impatience that", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "discovered that the London air did not agree with me, and I was\nlanguishing for my country home, and must immediately return to\nGrassdale.", "friends till Christmas; and then, next spring, he will be off again. If\nhe continue this plan, I shall be able to stay at Grassdale well", "âTo Grassdale! Is she there, then?â", "âHelen, what do you mean to do when I get well?â he asked this morning.\nâWill you run away again?â\n\nâIt entirely depends upon your own conduct.â", "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "âDegrade myself, Helen?â\n\nâYes, degrade! What have you been doing all this time?â", "At length, however, I entered the neighbourhood of Grassdale. I\napproached the little rural churchâbut lo! there stood a train of", "âWhere?â cried I, with a convulsive start.\n\nâAt Grassdale Manor.â", "âWhy are you in such a hurry to leave me, Helen?â he said, with a smile\nof the most provoking self-sufficiency. âYou donât hate me, you know.â" ], [ "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "âHelen, you witch, do you know that youâve entailed upon me the curses of\nall my friends? I wrote to them the other day, to tell them of my happy", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âNo, Helen,â said she, with reproachful gravity, âbut I know many that\nhave; and some, through carelessness, have been the wretched victims of", "âAll a prejudice, Helen, a mere womanâs antipathy.â\n\nâNo; I have solid grounds for my dislike. And is that all?â", "âI heard some detestable falsehoods; but none but fools would credit them\nfor a moment, Helen, so donât let them trouble you.â", "âHelen, I want you a moment,â said the distinct, low voice of my aunt,\nclose beside us. And I left him, muttering maledictions against his evil\nangel.", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âHelen,â said she, âyou often see Esther, donât you?â\n\nâNot very often.â", "âWhy, Helen, you are as jealous as he is!â cried he, laughing still more;\nand I found it impossible to convince him of his mistake. So, from that", "âNow, Helen,â said he emphatically, half rising from his recumbent\nposture, âif you bother me with another word, Iâll ring the bell and", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "âHelen,â said he, with unusual gravity, âI am not quite satisfied with\nyou.â\n\nI desired to know what was wrong.", "âWell, Helen, I wonât repeat the offence. But I meant nothing by it, I\nassure you. I had taken too much wine, and I was scarcely myself at the\ntime.â", "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âYou, Helen? Impossible?â", "âHelen,â said she, after a thoughtful silence, âdo you ever think about\nmarriage?â\n\nâYes, aunt, often.â", "Helen, I donât care for her now; and I never loved any of them half as\nmuch as I do you, so you neednât fear to be forsaken like them.â", "âI tell you, Helen, it would break his heartâit would be the death of\nhimâbesides being a scandalous trick to poor Annabella. There is no help", "âHelen,â said he (he frequently called me Helen, and I never resented the\nfreedom), âI want you to look at this picture. Mr. Wilmot will excuse" ], [ "consider ourselves. She called me Gilbert, by my express desire, and I\ncalled her Helen, for I had seen that name written in her books. I", "âIt is something of the kind,â she answered. âSome day I may tell you,\nbut at present you had better leave me; and never, Gilbert, put me to the", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "She concludes with âGood-by, dear Helen. I am waiting anxiously for your\nadviceâbut mind you let it be all on the right side.â", "At this he only laughed and kissed my hand, calling me a sweet\nenthusiast. Then taking off his hat, he added: âBut look here,\nHelenâwhat can a man do with such a head as this?â", "our duty, to forget each other, though we might not see it ourselves.\nBut donât be afraid, Gilbert,â she added, smiling sadly at my manifest", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "and wringing of her hands, that meantime a violent conflict between\nreason and passion was silently passing within. At length she paused\nbefore the empty fire-place, and turning to me, said calmlyâif that might", "âBy all means, dearest Helen!âdo what you will with your own. I should\nnot dream of wishing your aunt to leave the place under any", "It was her writing! By an irresistible impulse I held out my hand, and\nthe words, âLet me see it,â involuntarily passed my lips. He was", "âGilbert, do leave me!â she cried, in a tone of such thrilling anguish\nthat I felt it would be cruel to disobey.", "children with me, and I gave them my whole attention, and determined to\nkeep them till the gentlemen came, or till Milicent arrived with her\nmother. Little Helen, however, was soon tired of playing, and insisted", "You must suppose about three weeks passed over. Mrs. Graham and I were\nnow established friendsâor brother and sister, as we rather chose to", "âHelen,â said she, after a thoughtful silence, âdo you ever think about\nmarriage?â\n\nâYes, aunt, often.â", "the needful himself, or should have when his old governor chose to quit\nthe stage. So you see, Helen, I have managed pretty well, both for your\nfriend and mine.â", "âOh, Gilbert!â\n\nâWell, do you think I could believe anything of the kind,âwhatever the\nWilsons and Millwards dared to whisper?â", "âThat was the crisis, Helen!â said he, delightedly. âI had an infernal\npain hereâit is quite gone now. I never was so easy since the fallâquite", "eyes upon me, she continued earnestly: âBut, Helenâor Mrs. Huntingdon, or\nwhatever you would have me call youâwill you tell him? If you are", "âDear Helen!â he saidââwhy do you cry? you know that I love youâ (and he\npressed my hand to his feverish lips), âand what more could you desire?â", "To return, however, to my own affairs: I was married in summer, on a\nglorious August morning. It took the whole eight months, and all Helenâs" ], [ "Frederick was exceedingly indignant against Mr. Huntingdon, and very much\ngrieved for me; but still he looked upon my project as wild and", "Huntingdon is married, he wonât have many opportunities of consorting\nwith his bachelor friends;âand the worse they are, the more I long to\ndeliver him from them.â", "Mr. Huntingdon, if not better; and yet you love him, and seem to be happy\nand contented; and perhaps I may manage as well. You must tell me, if", "âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you\nsitting there and laughing like an idiot!â", "Huntingdon and his guests had been particularly provoking and insulting\nto me in their encouragement of him, and I particularly anxious to get\nhim out of the room, and on the very point of demeaning myself by a burst", "âAnd the cream of the jest,â continued Mr. Huntingdon, laughing, âis,\nthat the artful minx loves nothing about him but his title and pedigree,", "âMrs. Huntingdon,â said he with bitter solemnity, âyou are cruelâcruel to\nmeâcruel to yourself.â", "This struck me as terrible news at the moment; but all regret and\napprehension vanished like a dream when I heard that Mr. Huntingdon was", "The first of these communications brought intelligence of a serious\nrelapse in Mr. Huntingdonâs illness, entirely the result of his own", "âIâm willing to grant you the satisfaction of a gentleman, Huntingdon,â\nsaid Mr. Hargrave, calmly addressing his host, but with a bitter sneer\nupon his countenance.", "Huntingdon? Donât you see what a sober, temperate man he is become? You\nsaw with regret the sad habits he was contracting, I know: and I know you", "thinks proper. He has no love for you, Mrs. Huntingdonâno reverence for\nyour sex, no belief in virtue, no admiration for its image. He will give", "Huntingdon, to think that your husband is the most enviable man in the\nworld, and I should be the next if you would deem me worthy of your\nfriendship.â", "But then it is a bitter trial to behold him, on his return, doing his\nutmost to subvert my labours and transform my innocent, affectionate,", "Huntingdon and meâfor we had both started up, and now stood wide enough\nasunder. But his confusion was only for a moment. Rallying in an", "as by the circumstance of his never coming to see me when Mr. Huntingdon\nis at home. But he has never openly expressed any disapprobation of him", "observed Huntingdon. âTheyâll make a match of it, as sure as can be.\nThat Lowboroughâs fairly besotted. But heâll find himself in a fix when", "between him and Lord Lowborough, and while she amuses herself with the\nlively Huntingdon, she tries her utmost to enslave his moody friend; and", "Mrs. Huntingdon is alone,â he would insist upon leaving the table\nhimself, to join me, and his host, however unwillingly, was obliged to\nfollow.", "âThen, they were demons themselves,â cried I, unable to contain my\nindignation. âAnd you, Mr. Huntingdon, it seems, were the first to tempt\nhim.â" ], [ "Some time before Mr. Huntingdonâs death Lady Lowborough eloped with\nanother gallant to the Continent, where, having lived a while in reckless", "âThey were talking about Lord Lowborough and his delectable lady, the\ncause of whose sudden departure is no secret amongst them; and her", "Lowborough. He was at the other end of the room, talking with Messrs.\nHargrave and Grimsby; but I saw him dart towards his lady and his host a", "servants from what they had seen in Lady Lowboroughâs manner last month;\nor perhaps from something that had passed between their master and her\nduring her former visit. At dinner I narrowly observed both her and", "âGone out with Lord Lowborough,â answered I, for he looked at me for a\nreply.\n\nâAnd not yet returned!â he said, seriously.", "It was in the free, dashing hand of Lady Lowborough. I glanced at the\nfirst page; it seemed full of extravagant protestations of affection;", "I answered,ââWhy do you wish to talk to me, Lady Lowborough? You must\nknow what I think of you.â", "On the day of Lady Lowboroughâs arrival, I followed her into her chamber,\nand plainly told her that, if I found reason to believe that she still", "âNo, thank you,â I replied; and, turning from him, I looked round. Lady\nLowborough was beside her husband, bending over him as he sat, with her", "But in saying this she looked back at Lord Lowborough, who was standing a\nlittle behind, leaning against the back of a chair, an attentive", "âThat,â answered the more low, deliberate voice of Lord Lowborough, âis\njust the remedy my own heart, or the devil within it, suggestedâto meet", "between him and Lord Lowborough, and while she amuses herself with the\nlively Huntingdon, she tries her utmost to enslave his moody friend; and", "âIf what?â\n\nâWell, if I was you, I wouldnât have that Lady Lowborough in the house\nanother minuteânot another minute I wouldnât!", "In the drawing-room I found Lady Lowborough, evidently in no very\nenviable state of mind, and struggling hard to conceal her discomposure", "âWho told you so? Lord Lowborough is a desperate man. He has dissipated\nhis fortune in gambling and other things, and is now seeking an heiress", "Nineteenth.âIn proportion as Lady Lowborough finds she has nothing to\nfear from me, and as the time of departure draws nigh, the more audacious", "âWhat you feel at this moment, I suppose?â said Lady Lowborough, with a\nmalicious smile, fixing her eyes upon her cousinâs distressed\ncountenance.", "âIf I were suspicious,â I replied, âI should have discovered your infamy\nlong before. No, Lady Lowborough, I do not found my charge upon\nsuspicion.â", "âWell,â replied he, âI thought of Lord Lowborough for one; but there is\nno possibility of getting him without his better half, our mutual friend,", "There followed a disgraceful contest: Lord Lowborough, in desperate\nearnest, and pale with anger, silently struggling to release himself from" ], [ "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âThen you must plead for me, Helen,â said he, and at length withdrew.", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âBy all means, leave him!â cried he earnestly; âbut NOT alone! Helen! let\nme protect you!â", "knowing, as I did, that (leaving myself entirely out of the question),\nhowever Helen might feel interested in her husbandâs welfare, however she", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "the needful himself, or should have when his old governor chose to quit\nthe stage. So you see, Helen, I have managed pretty well, both for your\nfriend and mine.â", "Helen immediately pushed the book from her, and after silently surveying\nher son, his friend, and his dog for a few moments, she dismissed the\nformer from the room under pretence of wishing him to fetch his last new", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "âThen I will save him from them.â\n\nâOh, Helen, Helen! you little know the misery of uniting your fortunes to\nsuch a man!â", "âHelen, what do you mean to do when I get well?â he asked this morning.\nâWill you run away again?â\n\nâIt entirely depends upon your own conduct.â", "When Helen was divested of her lugubrious bonnet and veil, her heavy\nwinter cloak, &c., she looked so like herself that I knew not how to bear", "âForgive me, Helen!â pleaded I. âI will never utter another word on the\nsubject. But may we not still meet as friends?â", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âWe shall meet in heaven. Let us think of that,â said she in a tone of\ndesperate calmness; but her eyes glittered wildly, and her face was\ndeadly pale.", "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "If the perusal of this letter filled me with dismay for Helenâs future\nlife and mine, there was one great source of consolation: it was now in", "âBut you donât, Helenâsay you love me, and Iâll go.â\n\nâI wish you would go!â I replied.", "likewise, for Helen is attached to the place and to meâas I am to her.\nThere are painful associations connected with Grassdale, which she cannot", "âHelen,â said I, turning impatiently towards her, âI cannot discuss the\nmatter of eternal separation calmly and dispassionately as you can do." ], [ "handâbut stop, Iâm telling too much,â muttered the narrator, startled at\nthe look I turned upon him. âBut no matter,â he recklessly added, and", "âIn confidence, I suppose? And you tell it in confidence to us? But I\ncan tell you that it is but a lame story after all, and scarcely one-half\nof it true.â", "may be all this, but I donât know him. I know only the exterior, and\nwhat, I trust, is the worst part of him.â", "This question, though unspoken, was not long unanswered; after a few\npassing observations upon indifferent subjects, he began in solemn tones\nthe following appeal to my humanity:â", "And indeed I know not whether, at the time, it was not for him rather\nthan myself that I blushed; for, since he and I are one, I so identify", "âWell, you know, thatâs what they told me,â said she, composedly staring\nme in the face. And then she broke out into a long shrill laugh that put", "confidence on your part might have removed; and, at last, I chanced to\noverhear a part of a conversation between you and her that made me think\nI had a right to hate you.â", "watched him and waited on him for several hours, showing myself as little\nas possible, and only speaking when necessary, and then not above my\nbreath. At first he addressed me as the nurse, but, on my crossing the", "the gentlemen themselves, I imagine. Iâll just tell you,â he continued,\nas if actuated by a sudden resolution, âwhat was said last night in the", "âIâll tell him, sir,â said the man. And I advanced further into the hall\nand followed him nearly to the door of the apartment where his master", "First, let me speak of his arrivalâhow I sat at my window, and watched\nfor nearly two hours, before his carriage entered the park-gatesâfor they", "greater than I was. Oh! if I had but known her before, how much\ndegradation and misery I should have been spared! But what have I done\nto deserve so magnificent a creature?â", "pronounced his book to be âcursed trash,â and threw it on the table.\nThen followed eight or ten minutes of silence, during the greater part of", "But it is time to bring my narrative to a close. Any one but you would\nsay I had made it too long already. But for your satisfaction I will add", "âIâll tell you, Mr. Hattersley,â said I. âShe was crying from pure shame\nand humiliation for you; because she could not bear to see you conduct", "âFirstly, he is at least forty years oldâconsiderably more, I should\nthinkâand I am but eighteen; secondly, he is narrow-minded and bigoted in", "and be suffered to rest in peace and quietness, at least, for the\nremainder of her life. I experienced a painful commiseration for her\nunhappy husband (though fully aware that he had brought every particle of", "âNo,â was the answer, and I shut the door and departed. I saw nothing\nmore of him till the following morning at breakfast, when he came down a\nfull hour after the usual time.", "to human nature, and especially to myself,âthat the former half of the\nnarrative was, to me, more painful than the latter, not that I was at all", "alone were present to his senses,âhe suddenly electrified me by\nbeginning, in a peculiar tone, low, soft, but perfectly distinct, to pour" ], [ "Poor Mrs. Graham looked dismayed, and attempted to make excuses, but\nRose, either compassionating her lonely life, or anxious to cultivate her", "Mrs. Graham among the number. She could not now absent herself under the\nplea of dark evenings or inclement weather, and, greatly to my relief,", "It was true, then, that he had some designs upon Mrs. Graham; and, were\nthey honourable, he would not be so anxious to conceal them. She was\nblameless, of course, but he was detestable beyond all count.", "âHelen,â said she, after a thoughtful silence, âdo you ever think about\nmarriage?â\n\nâYes, aunt, often.â", "Bay you are thinking about, I suppose, Mrs. Graham? It is a very long\nwalk, too far for you, and out of the question for Arthur. But we were", "But we had not done with Mrs. Graham yet.", "âWell, Mrs. Graham?â said I, calmly and coldly; for, though I saw she was\nmiserable, and pitied her, I felt glad to have it in my power to torment\nher.", "You must suppose about three weeks passed over. Mrs. Graham and I were\nnow established friendsâor brother and sister, as we rather chose to", "âWas that Mrs. Graham you were speaking to just now?â said he, after the\nfirst few words of greeting had passed between us.\n\nâYes.â", "âWell,â answered she, âperhaps you know already that Mrs. Grahamâs\nhusband is not really dead, and that she had run away from him?â I", "âBut Mrs. Graham doesnât think so. You shall just hear now what she told\nus the other dayâI told her Iâd tell you.â", "It was evident, then, that for Mrs. Grahamâs sake it was not his\nintention to criminate me.\n\n\n\n\nCHAPTER XV", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âBy no means, Mrs. Graham; pray let him stay. I am as much amused as he\nis,â pleaded I. But still, with hand and eye, she silently called him to\nher side.", "âCan it be that Mrs. Graham that distresses you so?â\n\nâNo, no, I tell youâitâs nothing.â", "but when I mentioned Mrs. Graham, thinking it might be a further\ninducement, it appeared to have a contrary effect, and he declined it\naltogether, and, to confess the truth, the decision was not displeasing", "It was never my custom to talk about Mrs. Graham either to her or any one\nelse; but I had not been seated three minutes before she brought that\nlady on to the carpet herself in a rather remarkable manner.", "ââMrs. Graham,â said I,â he continued, shaking his head as he spoke,", "During the next four months I did not enter Mrs. Grahamâs house, nor she\nmine; but still the ladies continued to talk about her, and still our", "such a person as Mrs. Graham to her house; but, perhaps, she is not aware\nthat the ladyâs character is considered scarcely respectable.â" ], [ "âHelen,â said she, âyou often see Esther, donât you?â\n\nâNot very often.â", "the needful himself, or should have when his old governor chose to quit\nthe stage. So you see, Helen, I have managed pretty well, both for your\nfriend and mine.â", "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "âHelen,â said she, after a thoughtful silence, âdo you ever think about\nmarriage?â\n\nâYes, aunt, often.â", "When Helen was divested of her lugubrious bonnet and veil, her heavy\nwinter cloak, &c., she looked so like herself that I knew not how to bear", "âBy all means, dearest Helen!âdo what you will with your own. I should\nnot dream of wishing your aunt to leave the place under any", "âHelen,â said he (he frequently called me Helen, and I never resented the\nfreedom), âI want you to look at this picture. Mr. Wilmot will excuse", "If the perusal of this letter filled me with dismay for Helenâs future\nlife and mine, there was one great source of consolation: it was now in", "children with me, and I gave them my whole attention, and determined to\nkeep them till the gentlemen came, or till Milicent arrived with her\nmother. Little Helen, however, was soon tired of playing, and insisted", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "âNo, Helen,â said she, with reproachful gravity, âbut I know many that\nhave; and some, through carelessness, have been the wretched victims of", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "Helen immediately pushed the book from her, and after silently surveying\nher son, his friend, and his dog for a few moments, she dismissed the\nformer from the room under pretence of wishing him to fetch his last new", "âThat was the crisis, Helen!â said he, delightedly. âI had an infernal\npain hereâit is quite gone now. I never was so easy since the fallâquite", "âAnother year! Oh, Helen, I could not wait so long!â\n\nâWhere is your fidelity?â", "To return, however, to my own affairs: I was married in summer, on a\nglorious August morning. It took the whole eight months, and all Helenâs", "You must suppose about three weeks passed over. Mrs. Graham and I were\nnow established friendsâor brother and sister, as we rather chose to", "âBut stay, Helen; sit down a little and compose yourself. Mr. Boarham is\nin no particular hurry, for he has little doubt of your acceptance; and I" ], [ "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âNo, HelenâMrs. Huntingdon,â said I, blushing at the implied imputation,", "Some time before Mr. Huntingdonâs death Lady Lowborough eloped with\nanother gallant to the Continent, where, having lived a while in reckless", "told me they were now on the Continent, and their present address was\nunknown to her. I never saw her speak much to Mr. Huntingdon; but he", "circumstances of Mrs. Huntingdon, the lady of Grassdale Manor, and those\nof Mrs. Graham, the artist, the tenant of Wildfell Hall. And it might be", "HELEN HUNTINGDON.\n\nâWhat do you think of it?â said Lawrence, as I silently refolded the\nletter.", "Mr. Huntingdon, if not better; and yet you love him, and seem to be happy\nand contented; and perhaps I may manage as well. You must tell me, if", "brightest expectations, and is at present residing in Grassdale Manor\nwith his young wifeâthe merry little Helen Hattersley of yore.", "Mrs. Huntingdon did not leave Wildfell Hall till above two months after\nour farewell interview. During that time she never appeared at church,", "âAh, Huntingdon!â said she reproachfully, pausing where I had stood with", "âOf course, Mr. Hargrave; is he not my husband?â\n\nâOh, Huntingdon; you know not what you slight!â he passionately murmured.", "âAnd the cream of the jest,â continued Mr. Huntingdon, laughing, âis,\nthat the artful minx loves nothing about him but his title and pedigree,", "March 20th.âHaving now got rid of Mr. Huntingdon for a season, my spirits", "I am married now, and settled down as Mrs. Huntingdon of Grassdale Manor.\nI have had eight weeksâ experience of matrimony. And do I regret the", "But Lowborough had gained the bottom of the stairs, and was now crossing\nthe hall; and Mr. Huntingdon, leaning over the banisters, called out,", "âMrs. Huntingdon,â said he with bitter solemnity, âyou are cruelâcruel to\nmeâcruel to yourself.â", "October 10th.âMr. Huntingdon returned about three weeks ago. His\nappearance, his demeanour and conversation, and my feelings with regard", "âHelen,â said she, âyou often see Esther, donât you?â\n\nâNot very often.â", "before. We seldom talked about Mrs. Huntingdon; but yet we never met\nwithout mentioning her, for I never sought his company but with the hope", "âDo you want to hear anything of your husband, Mrs. Huntingdon?â said he.\n\nâNo, unless you can tell me when to expect him home.â" ], [ "âOh, Gilbert!â\n\nâWell, do you think I could believe anything of the kind,âwhatever the\nWilsons and Millwards dared to whisper?â", "âMy dear Gilbert,â said she, âI wish you wouldnât do so! You know how\ndeeply I have your advantage at heart, how I love you and prize you above", "fixed his eyes upon you, Gilbert, as much as to say, âWhen Mr. Markham\nhas done flirting with those two ladies I will proceed.ââ", "âOh, my dear Gilbert, what nonsense you talk!âI know you donât mean it;", "âWell, but, Gilbert, there must be something in her manner to countenance\nsuch reports.â\n\nâDid you see anything in her manner?â", "âOh! but, Gilbert, how can you be so composed about it? You wonât mind\nbusiness for an hour or two in a case of this sort, when your friend is\nat the point of death.â", "âGilbert, why are you not in bedâyou said you wanted to go?â\n\nâConfound it! Iâm going,â said I.", "Gilbert, she can do anything. And we should call some time, mamma; itâs\nonly proper, you know.â", "are. And if you marry her, Gilbert, youâll break my heartâso thereâs an\nend of it.â", "our duty, to forget each other, though we might not see it ourselves.\nBut donât be afraid, Gilbert,â she added, smiling sadly at my manifest", "âI donât ask the reason of this change, Gilbert,â said she, with bitter\ncalmness: âI know it too well; but though I could see myself suspected", "that, Rose; Gilbert will like it for his supper.ââIâm nothing at all. In", "nowâthere, Gilbertâlet me goâhereâs Arthur; donât astonish his infantile\nbrain with your madness.â", "that thought at once. But Arthur is selfish; I am constrained to\nacknowledge that; and, indeed, the admission gives me less pain than", "âGilbert, do leave me!â she cried, in a tone of such thrilling anguish\nthat I felt it would be cruel to disobey.", "âGilbert, I must speak with you!â said she, in a tone of suppressed\nvehemence.\n\nI looked at her pale cheek and glittering eye, but answered nothing.", "âWhere are you going, Gilbert?â said Rose, one evening, shortly after\ntea, when I had been busy with the farm all day.\n\nâTo take a walk,â was the reply.", "answered with a long, low, chuckling laugh, as if he viewed the whole\ntransaction as a clever, merry jest from beginning to end. Surely that\nman will make me dislike him at last!", "âMy dear Gilbert, I wish you would try to be a little more amiable,â said\nmy mother one morning after some display of unjustifiable ill-humour on", "said,ââGilbert, it is getting late.â" ], [ "âYes: do you know what Mr. Lawrence is gone for?â She looked up\nanxiously for my reply.\n\nâIs he gone?â said I; and her face brightened.", "you allude to is Mr. Lawrence; but I think I can assure you that your\nsuspicions, in that respect, are utterly misplaced; and if he has any", "some rather pointed attentions, and upon whose heart, name, and fortune,\nit was whispered, she had serious designs. This was Mr. Lawrence, the", "Mr. Markham; my friend Markham, Mrs. Lawrence, late Miss Hargrave.â", "HELEN HUNTINGDON.\n\nâWhat do you think of it?â said Lawrence, as I silently refolded the\nletter.", "already know, and Mr. Lawrence, your landlord, with whom you ought to\nmake acquaintance.â", "âLawrence,â said I, calmly looking him in the face, âare you in love with\nMrs. Graham?â", "âWas that Mrs. Graham you were speaking to just now?â said he, after the\nfirst few words of greeting had passed between us.\n\nâYes.â", "She seemed vexed at the interruption.\n\nâIt is only Mr. Lawrence and Miss Wilson,â said I, âcoming to enjoy a\nquiet stroll. They will not disturb us.â", "Mrs. Graham, and he had prepared the rooms as well as he could upon so\nshort a notice; but he would do himself the pleasure of calling upon her\nto-morrow, to receive her further commands.â", "âOh! I was not aware that you were on such intimate terms with Mr.\nLawrenceâs household.â", "ladies to outshine, and all the gentlemen to charm,âand Mr. Lawrence,\nespecially, to capture and subdue. Her little arts to effect his", "show Mr. Lawrence that she had at least one brother more gentlemanly and\nrefined than Robert. That worthy individual she had been equally\nsolicitous to keep away; but he affirmed that he saw no reason why he", "Bay you are thinking about, I suppose, Mrs. Graham? It is a very long\nwalk, too far for you, and out of the question for Arthur. But we were", "âHere is Mr. Boarham, Helen,â said she. âHe wishes to see you.â", "circumstances of Mrs. Huntingdon, the lady of Grassdale Manor, and those\nof Mrs. Graham, the artist, the tenant of Wildfell Hall. And it might be", "âIs Mr. Lawrence at home?â I eagerly asked of the servant that opened the\ndoor.\n\nâNo, sir, master went yesterday,â replied he, looking very alert.", "Though Mr. Lawrenceâs health was now quite re-established, my visits to\nWoodford were as unremitting as ever; though often less protracted than", "âNo, HelenâMrs. Huntingdon,â said I, blushing at the implied imputation,", "fellow-traveller overtook me. He accosted me by name, for it was no\nstrangerâit was Mr. Lawrence! Instinctively the fingers of my whip-hand" ], [ "Arthur Huntingdon to me with impunity.â", "Annabellaâand even to dislike herâand now that Mr. Huntingdon is become\nmy Arthur, and I may enjoy his society without restraint. What shall I", "between him and Lord Lowborough, and while she amuses herself with the\nlively Huntingdon, she tries her utmost to enslave his moody friend; and", "âAnd the cream of the jest,â continued Mr. Huntingdon, laughing, âis,\nthat the artful minx loves nothing about him but his title and pedigree,", "not too glaringly, coquetting with Mr. Huntingdon, who is quite willing\nto be her partner in the game; but I donât care for it, because, with", "saw no more of Mr. Huntingdon. My aunt flatters herself I shall soon\nforget himâperhaps she thinks I have forgotten him already, for I never", "and Arthur Huntingdon have of late almost daily neglected the shooting\nexcursions to accompany us in our various rides and rambles. But these", "and Milicent went before, linked arm in arm and gravely discoursing\ntogether. At length Mr. Huntingdon turned to me, and addressing me in a", "Mr. Huntingdon, if not better; and yet you love him, and seem to be happy\nand contented; and perhaps I may manage as well. You must tell me, if", "against Mr. Huntingdon, and most ingeniously throwing the blame of her\nhusbandâs misconduct on to other menâs shoulders. The latter was full of", "Some time before Mr. Huntingdonâs death Lady Lowborough eloped with\nanother gallant to the Continent, where, having lived a while in reckless", "Huntingdon is married, he wonât have many opportunities of consorting\nwith his bachelor friends;âand the worse they are, the more I long to\ndeliver him from them.â", "âMrs. Huntingdon,â said he as I passed, âwill you allow me one word?â\n\nâWhat is it then? be quick, if you please.â", "apparently for the purpose of asking an introduction to me, for, shortly\nafter, they both came up, and she introduced him as Mr. Huntingdon, the", "after their arrival. Just as I had retired from the dining-room with the\nladies, before the door was closed upon us, Arthur exclaimed,ââNow then,", "observed Huntingdon. âTheyâll make a match of it, as sure as can be.\nThat Lowboroughâs fairly besotted. But heâll find himself in a fix when", "âNow, Nell,â said he, âthis young Huntingdon has been asking for you:", "Huntingdon, to think that your husband is the most enviable man in the\nworld, and I should be the next if you would deem me worthy of your\nfriendship.â", "âNo, HelenâMrs. Huntingdon,â said I, blushing at the implied imputation,", "Mrs. Huntingdon is alone,â he would insist upon leaving the table\nhimself, to join me, and his host, however unwillingly, was obliged to\nfollow." ], [ "âWhen will she return to Grassdale?â was my next question.\n\nâI donât know.â", "likewise, for Helen is attached to the place and to meâas I am to her.\nThere are painful associations connected with Grassdale, which she cannot", "My companion gravely took my arm, and leading me away to the garden, thus\nanswered my question,ââShe is at Grassdale Manor, in âshire.â", "brightest expectations, and is at present residing in Grassdale Manor\nwith his young wifeâthe merry little Helen Hattersley of yore.", "was with her aunt in âshire, but was expected to return before Christmas.\nShe usually spent most of her time at Staningley, only coming to\nGrassdale occasionally, when the management of affairs, or the interest", "âPositively, I do; and I will take you down myself to Grassdale, and then\nreturn. I shall not be absent above a week or fortnight at most.â", "âWhere are you going?â\n\nâTo Grassdale first,â said he, with a half-smile he would willingly have\nsuppressed if he could.", "them over to Grassdale in the phaeton, with little Helen and Ralph, and\nwe were all enjoying ourselves in the gardenâI had a few minutesâ", "wanted to get me home, he said, to have me all to himself, and to see me\nsafely installed as the mistress of Grassdale Manor, just as", "Nevertheless, it was with no small degree of impatience that I looked\nforward to Mr. Lawrenceâs return from Grassdale: impatience that", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "discovered that the London air did not agree with me, and I was\nlanguishing for my country home, and must immediately return to\nGrassdale.", "friends till Christmas; and then, next spring, he will be off again. If\nhe continue this plan, I shall be able to stay at Grassdale well", "âTo Grassdale! Is she there, then?â", "âHelen, what do you mean to do when I get well?â he asked this morning.\nâWill you run away again?â\n\nâIt entirely depends upon your own conduct.â", "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "âDegrade myself, Helen?â\n\nâYes, degrade! What have you been doing all this time?â", "At length, however, I entered the neighbourhood of Grassdale. I\napproached the little rural churchâbut lo! there stood a train of", "âWhere?â cried I, with a convulsive start.\n\nâAt Grassdale Manor.â", "âWhy are you in such a hurry to leave me, Helen?â he said, with a smile\nof the most provoking self-sufficiency. âYou donât hate me, you know.â" ], [ "fixed his eyes upon you, Gilbert, as much as to say, âWhen Mr. Markham\nhas done flirting with those two ladies I will proceed.ââ", "âI never told you, Markham, that I intended to marry Miss Wilson,â said\nhe, proudly.\n\nâNo, but whether you do or not, she intends to marry you.â", "âWell, but, Gilbert, there must be something in her manner to countenance\nsuch reports.â\n\nâDid you see anything in her manner?â", "are. And if you marry her, Gilbert, youâll break my heartâso thereâs an\nend of it.â", "admired, till after they were brought into closer contact here at\nStaningley, and she, in the absence of her other admirers, indubitably\ncourted his notice and held out every encouragement to his timid", "Master Graham, Mary and Eliza Millward, Jane and Richard Wilson, and\nRose, Fergus, and Gilbert Markham.", "âThere is no necessity for that,â said I, âfor we have had some discourse\non that subject already, and I assure you her ideas of love and matrimony\nare as romantic as any one could desire.â", "Yours immutably,\n GILBERT MARKHAM.\n\n\n\n\nCHAPTER II", "âI was half inclined to say so myself, Markham, at first. I assure you\nit was not by my advice that she went, for I detest that man as fervently", "âWhere are you going, Gilbert?â said Rose, one evening, shortly after\ntea, when I had been busy with the farm all day.\n\nâTo take a walk,â was the reply.", "Mary Millwardâthat steady, sensible girl, whose sterling worth had been\nso quickly perceived and duly valued by the supposed Mrs. Graham, in", "âWhy, Mr. Markham,â replied she, coolly, having quickly recovered her\nself-possession, âit surprises me rather that Mrs. Markham should invite", "The former, it is true, was most provokingly unsociable at\nfirstâseemingly bent upon talking to no one but Mary Millward and Arthur.", "âOh, Gilbert!â\n\nâWell, do you think I could believe anything of the kind,âwhatever the\nWilsons and Millwards dared to whisper?â", "âAnd so, Mr. Markham, you are going to rob me of my niece, I understand.\nWell! I hope God will prosper your union, and make my dear girl happy at", "âOh, Mr. Markham, how you blush!â cried she, with a tormenting laugh.", "âNow, Mr. Markham,â said she, with a kind of desperate calmness, âI must\ntell you plainly that I cannot do with this. I like your company,", "âGilbert, do leave me!â she cried, in a tone of such thrilling anguish\nthat I felt it would be cruel to disobey.", "âI think, sir, thereâs a bit of both,â she replied.\n\nHe departed; and Rachel pronounced him a very nice gentleman. I had\nstill my doubts on the subject.", "âAre you there still, Mr. Markham?â said she at length, looking round\nupon meâfor I was seated a little behind on a mossy projection of the" ], [ "consider ourselves. She called me Gilbert, by my express desire, and I\ncalled her Helen, for I had seen that name written in her books. I", "âIt is something of the kind,â she answered. âSome day I may tell you,\nbut at present you had better leave me; and never, Gilbert, put me to the", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "You must suppose about three weeks passed over. Mrs. Graham and I were\nnow established friendsâor brother and sister, as we rather chose to", "our duty, to forget each other, though we might not see it ourselves.\nBut donât be afraid, Gilbert,â she added, smiling sadly at my manifest", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "children with me, and I gave them my whole attention, and determined to\nkeep them till the gentlemen came, or till Milicent arrived with her\nmother. Little Helen, however, was soon tired of playing, and insisted", "She concludes with âGood-by, dear Helen. I am waiting anxiously for your\nadviceâbut mind you let it be all on the right side.â", "âOh, Gilbert!â\n\nâWell, do you think I could believe anything of the kind,âwhatever the\nWilsons and Millwards dared to whisper?â", "To return, however, to my own affairs: I was married in summer, on a\nglorious August morning. It took the whole eight months, and all Helenâs", "the needful himself, or should have when his old governor chose to quit\nthe stage. So you see, Helen, I have managed pretty well, both for your\nfriend and mine.â", "Gilbert, she can do anything. And we should call some time, mamma; itâs\nonly proper, you know.â", "When Helen was divested of her lugubrious bonnet and veil, her heavy\nwinter cloak, &c., she looked so like herself that I knew not how to bear", "âHelen,â said she, after a thoughtful silence, âdo you ever think about\nmarriage?â\n\nâYes, aunt, often.â", "âBy all means, dearest Helen!âdo what you will with your own. I should\nnot dream of wishing your aunt to leave the place under any", "âGilbert, do leave me!â she cried, in a tone of such thrilling anguish\nthat I felt it would be cruel to disobey.", "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âHelen,â said he (he frequently called me Helen, and I never resented the\nfreedom), âI want you to look at this picture. Mr. Wilmot will excuse", "HELEN HUNTINGDON.\n\nâWhat do you think of it?â said Lawrence, as I silently refolded the\nletter.", "âThat was the crisis, Helen!â said he, delightedly. âI had an infernal\npain hereâit is quite gone now. I never was so easy since the fallâquite" ], [ "The first of these communications brought intelligence of a serious\nrelapse in Mr. Huntingdonâs illness, entirely the result of his own", "This struck me as terrible news at the moment; but all regret and\napprehension vanished like a dream when I heard that Mr. Huntingdon was", "âMrs. Huntingdon,â said he with bitter solemnity, âyou are cruelâcruel to\nmeâcruel to yourself.â", "DEAR FREDERICK,âI know you will be anxious to hear from me, and I will\ntell you all I can. Mr. Huntingdon is very ill, but not dying, or in any", "the last illness and death of his once jolly friend Huntingdon so deeply\nand seriously impressed him with the evil of their former practices, that\nhe never needed another lesson of the kind. Avoiding the temptations of", "Huntingdon is married, he wonât have many opportunities of consorting\nwith his bachelor friends;âand the worse they are, the more I long to\ndeliver him from them.â", "The next was still more distressing in the tenor of its contents. The\nsufferer was fast approaching dissolutionâdragged almost to the verge of", "Frederick was exceedingly indignant against Mr. Huntingdon, and very much\ngrieved for me; but still he looked upon my project as wild and", "âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you\nsitting there and laughing like an idiot!â", "Mrs. Huntingdon is alone,â he would insist upon leaving the table\nhimself, to join me, and his host, however unwillingly, was obliged to\nfollow.", "are miserable now, Mrs. Huntingdon,â continued he, looking me boldly in\nthe face. âYou do not complain, but I seeâand feelâand know that you are", "and be suffered to rest in peace and quietness, at least, for the\nremainder of her life. I experienced a painful commiseration for her\nunhappy husband (though fully aware that he had brought every particle of", "Huntingdon and his guests had been particularly provoking and insulting\nto me in their encouragement of him, and I particularly anxious to get\nhim out of the room, and on the very point of demeaning myself by a burst", "âDo you want to hear anything of your husband, Mrs. Huntingdon?â said he.\n\nâNo, unless you can tell me when to expect him home.â", "thoughts of them from your mindâand my own too, for I hate to think of\nthemâyesâeven of my dear friend Huntingdon, when I consider the power he", "My worst fears are realised: mortification has commenced. The doctor has\ntold him there is no hope. No words can describe his anguish. I can\nwrite no more.\n\n * * * * *", "knew not what to do. I went down to dinner, but I could not force myself\nto eat. Mr. Huntingdon remarked the circumstance.", "itself under the stimulus of religion to its disagreeable and repulsive\ntask. âI knew that such charactersââas Huntingdon and his companionsââdo", "âIsnât it a shame, Mrs. Huntingdon?â cried his brother-in-law; âI struck", "âIâm willing to grant you the satisfaction of a gentleman, Huntingdon,â\nsaid Mr. Hargrave, calmly addressing his host, but with a bitter sneer\nupon his countenance." ], [ "âHelen!â cried he, the moment I had left the room. I turned back, and\nstood awaiting his commands.\n\nâWhat do you want, Arthur?â I said at length.", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âBy all means, leave him!â cried he earnestly; âbut NOT alone! Helen! let\nme protect you!â", "âBut you donât, Helenâsay you love me, and Iâll go.â\n\nâI wish you would go!â I replied.", "âWhy are you in such a hurry to leave me, Helen?â he said, with a smile\nof the most provoking self-sufficiency. âYou donât hate me, you know.â", "âThen you will leave me again, Arthur?â said I.", "âThe truth is, Arthur,â I said at last, âyou are weary of my company, and\ndetermined not to have me with you. You might as well have said so at\nonce.â", "âIt is I, Arthurâit is Helen, your wife,â I replied.", "Here was Arthur left to me at last; and rousing from my despondent\napathy, I exerted all my powers to eradicate the weeds that had been", "ââStay with me, Helen,â he says; âlet me hold you so: it seems as if harm", "âHelen, what do you mean to do when I get well?â he asked this morning.\nâWill you run away again?â\n\nâIt entirely depends upon your own conduct.â", "âNo, Arthur, if I could really serve you by them. I would give my life\nto save you, if I might.â\n\nâWould you, indeed? No!â", "obliged to meet them, and forcing myself to leave my little Arthur in her\nhands for hours together! But I trust these trials are over now: I have", "Arthur, whom he had driven over to see me. Our poor invalid evidently\nfelt it a heartless proposition, and would have felt it still more", "This is as it should be; but Arthur never will let me be satisfied with\nhim. I have never, for a single hour since I married him, known what it", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "âWait till Arthur comes, at least.â\n\nOnly too glad to obey, I stood and leant against the opposite side of the\nwindow.", "âThen you wonât go to London, Arthur?â I said, when the first transport\nof tears and kisses had subsided.", "At this he only laughed and kissed my hand, calling me a sweet\nenthusiast. Then taking off his hat, he added: âBut look here,\nHelenâwhat can a man do with such a head as this?â" ], [ "âWhen will she return to Grassdale?â was my next question.\n\nâI donât know.â", "likewise, for Helen is attached to the place and to meâas I am to her.\nThere are painful associations connected with Grassdale, which she cannot", "My companion gravely took my arm, and leading me away to the garden, thus\nanswered my question,ââShe is at Grassdale Manor, in âshire.â", "brightest expectations, and is at present residing in Grassdale Manor\nwith his young wifeâthe merry little Helen Hattersley of yore.", "was with her aunt in âshire, but was expected to return before Christmas.\nShe usually spent most of her time at Staningley, only coming to\nGrassdale occasionally, when the management of affairs, or the interest", "âPositively, I do; and I will take you down myself to Grassdale, and then\nreturn. I shall not be absent above a week or fortnight at most.â", "âWhere are you going?â\n\nâTo Grassdale first,â said he, with a half-smile he would willingly have\nsuppressed if he could.", "them over to Grassdale in the phaeton, with little Helen and Ralph, and\nwe were all enjoying ourselves in the gardenâI had a few minutesâ", "wanted to get me home, he said, to have me all to himself, and to see me\nsafely installed as the mistress of Grassdale Manor, just as", "Nevertheless, it was with no small degree of impatience that I looked\nforward to Mr. Lawrenceâs return from Grassdale: impatience that", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "discovered that the London air did not agree with me, and I was\nlanguishing for my country home, and must immediately return to\nGrassdale.", "friends till Christmas; and then, next spring, he will be off again. If\nhe continue this plan, I shall be able to stay at Grassdale well", "âTo Grassdale! Is she there, then?â", "âHelen, what do you mean to do when I get well?â he asked this morning.\nâWill you run away again?â\n\nâIt entirely depends upon your own conduct.â", "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "âDegrade myself, Helen?â\n\nâYes, degrade! What have you been doing all this time?â", "At length, however, I entered the neighbourhood of Grassdale. I\napproached the little rural churchâbut lo! there stood a train of", "âWhere?â cried I, with a convulsive start.\n\nâAt Grassdale Manor.â", "âWhy are you in such a hurry to leave me, Helen?â he said, with a smile\nof the most provoking self-sufficiency. âYou donât hate me, you know.â" ], [ "some rather pointed attentions, and upon whose heart, name, and fortune,\nit was whispered, she had serious designs. This was Mr. Lawrence, the", "married on Thursday, and Mr. Lawrence was gone to the wedding. She did\ntell me the name of the gentleman, but Iâve forgotten that. Perhaps you", "âYes: do you know what Mr. Lawrence is gone for?â She looked up\nanxiously for my reply.\n\nâIs he gone?â said I; and her face brightened.", "âLawrence,â said I, calmly looking him in the face, âare you in love with\nMrs. Graham?â", "And finally (for I omit myself), Mr. Lawrence was gentlemanly and\ninoffensive to all, and polite to the vicar and the ladies, especially", "Mr. Lawrence came too. He did not arrive till some time after the rest\nwere assembled. I was curious to see how he would comport himself to", "you allude to is Mr. Lawrence; but I think I can assure you that your\nsuspicions, in that respect, are utterly misplaced; and if he has any", "Mr. Markham; my friend Markham, Mrs. Lawrence, late Miss Hargrave.â", "show Mr. Lawrence that she had at least one brother more gentlemanly and\nrefined than Robert. That worthy individual she had been equally\nsolicitous to keep away; but he affirmed that he saw no reason why he", "ladies to outshine, and all the gentlemen to charm,âand Mr. Lawrence,\nespecially, to capture and subdue. Her little arts to effect his", "Though Mr. Lawrenceâs health was now quite re-established, my visits to\nWoodford were as unremitting as ever; though often less protracted than", "Mr. Lawrence had been invited to join us, but, for some reason best known\nto himself, had refused to give us his company. I had solicited the", "his hostess and her daughter, and Miss Wilsonâmisguided man; he had not\nthe taste to prefer Eliza Millward. Mr. Lawrence and I were on tolerably", "heart at least. I looked at the bridegroomâit was Frederick Lawrence! I\nwiped away the cold drops that were trickling down my forehead, and", "she had much better remain Miss Wilson of Ryecote Farm than be transmuted\ninto Mrs. Lawrence of Woodford Hall. I believe, too, that he soon", "were now returned to the house. I offered, nay, begged to accompany her\nhome. Mr. Lawrence was standing by at the time conversing with some one", "âI never told you, Markham, that I intended to marry Miss Wilson,â said\nhe, proudly.\n\nâNo, but whether you do or not, she intends to marry you.â", "âYou will go to her, Lawrence?â said I, as I put the letter into his\nhand.\n\nâYes, immediately.â", "fellow-traveller overtook me. He accosted me by name, for it was no\nstrangerâit was Mr. Lawrence! Instinctively the fingers of my whip-hand", "She seemed vexed at the interruption.\n\nâIt is only Mr. Lawrence and Miss Wilson,â said I, âcoming to enjoy a\nquiet stroll. They will not disturb us.â" ], [ "âCome here, Arthur,â said the latter, extending his hand towards him.\nThe child went, and timidly touched that burning hand, but almost started", "that thought at once. But Arthur is selfish; I am constrained to\nacknowledge that; and, indeed, the admission gives me less pain than", "Arthur, thus released, crept back to me and put his hand in mine. His\nfather swore I had made the child hate him, and abused and cursed me", "Such disgraceful scenes (or nearly such) have been repeated more than\nonce. I donât say much to Arthur about it, for, if I did, it would do", "tractable darling into a selfish, disobedient, and mischievous boy;\nthereby preparing the soil for those vices he has so successfully\ncultivated in his own perverted nature.", "The next object of assault was Arthur, who sat opposite, and had, no\ndoubt, richly enjoyed the whole scene.", "mistaken tenderness for this manâs feelings. Little Arthur had not\nforgotten his father, but thirteen months of absence, during which he had", "Arthur is not what is commonly called a bad man: he has many good\nqualities; but he is a man without self-restraint or lofty aspirations, a", "âThe truth is, Arthur,â I said at last, âyou are weary of my company, and\ndetermined not to have me with you. You might as well have said so at\nonce.â", "encouraging to me. There was one comfort, however,âall this was entailed\nupon little Arthur, and could not under any circumstances, strictly", "âOnly, Arthur, that you would love yourself as truly and as faithfully as\nyou are loved by me.â\n\nâThat would be hard, indeed!â he replied, tenderly squeezing my hand.", "Arthur, whom he had driven over to see me. Our poor invalid evidently\nfelt it a heartless proposition, and would have felt it still more", "âNot because you loved her, Arthur, mind, but because she injured you and\ndeceived her husband, and was altogether a very abominable woman, whom\nyou ought to be ashamed to mention.â", "This is as it should be; but Arthur never will let me be satisfied with\nhim. I have never, for a single hour since I married him, known what it", "now got down to the lowest gradation in Arthurâs affection, and\ndiscovered all the evils of his nature: if there be any further change,", "âYou didnât last time. But THIS time, Arthur,â I added, earnestly, âshow\nme that you can, and teach me that I need not fear to trust you!â", "âI do know something of himâbut you must excuse me this time; for the\nevenings, now, are dark and damp, and Arthur, I fear, is too delicate to", "But then it is a bitter trial to behold him, on his return, doing his\nutmost to subvert my labours and transform my innocent, affectionate,", "Arthur not unfrequently rides over to him. I do not think either of\nthese soi-disant friends is overflowing with love for the other; but such", "you hear such words spoken, Arthur, remember never to repeat them: it is\nwicked to say such things of others, not to have them said against you.â" ], [ "âYesâand it is my belief that Eliza Millward and she, if not the very\noriginators of the slanderous reports that have been propagated, were", "âNo, Miss Eliza, thatâs false.â\n\nâDo you charge me with a falsehood, sir?â", "more agreeable. But I was out of temper with Eliza at that moment for\nher insinuations against Mrs. Graham, which were false, I was certain,\nwhether she knew it or not.", "was, and still is, to blacken your sisterâs character to the utmost of\nher power, without risking too greatly the exposure of her own\nmalevolence!â", "talk. But Eliza took advantage of the first convenient pause to ask if I\nhad lately seen Mrs. Graham, in a tone of merely casual inquiry, but with", "Miss Wilson drew herself up with a look of freezing scorn, but said\nnothing. Eliza would have replied, but I interrupted her by saying as", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "hated her rival, and evidently delighted to wreak her spite on me. On\nthe other hand, Miss Wilson was as affable and courteous as heart could", "âConfound Jane Wilson!â\n\nâAnd Eliza Millward is quite grieved about you.â\n\nâI hope she is.â", "Mrs. Graham seated herself at a distance from me. Eliza was my nearest\nneighbour. She exerted herself to be agreeable, in her gentle,", "âAll a prejudice, Helen, a mere womanâs antipathy.â\n\nâNo; I have solid grounds for my dislike. And is that all?â", "Eliza, but because I had not half forgiven the old gentleman himself for\nhis ill opinion of Mrs. Huntingdon; for though now constrained to\nacknowledge himself mistaken in his former judgment, he still maintained", "âI think I do, perhaps a little better; and therefore, if you will inform\nme what you have heard or imagined against her, I shall, perhaps, be able\nto set you right.â", "But in revenge I followed Eliza into the dimly-lighted passage, where,\nunder pretence of helping her on with her shawl, I fear I must plead", "âWell, but, Gilbert, there must be something in her manner to countenance\nsuch reports.â\n\nâDid you see anything in her manner?â", "âAnd whom?â demanded Miss Wilson, with an air of cold, but keen severity.\n\nEliza was startled; the timidly spoken suggestion had been intended for\nmy ear alone.", "âHelen, you witch, do you know that youâve entailed upon me the curses of\nall my friends? I wrote to them the other day, to tell them of my happy", "against her, but no good or amiable woman would be capable of evincing\nthat bitter, cold-blooded, designing malice towards a fancied rival that\nI have observed in her.â", "wonder, Eliza, you should think of referring to that unfortunate\npersonâyou might know the mention of her would be anything but agreeable\nto any one here present.â" ], [ "âAnd the cream of the jest,â continued Mr. Huntingdon, laughing, âis,\nthat the artful minx loves nothing about him but his title and pedigree,", "Mr. Huntingdon, if not better; and yet you love him, and seem to be happy\nand contented; and perhaps I may manage as well. You must tell me, if", "âMrs. Huntingdon,â said he with bitter solemnity, âyou are cruelâcruel to\nmeâcruel to yourself.â", "observed Huntingdon. âTheyâll make a match of it, as sure as can be.\nThat Lowboroughâs fairly besotted. But heâll find himself in a fix when", "Huntingdon is married, he wonât have many opportunities of consorting\nwith his bachelor friends;âand the worse they are, the more I long to\ndeliver him from them.â", "Huntingdon, to think that your husband is the most enviable man in the\nworld, and I should be the next if you would deem me worthy of your\nfriendship.â", "persuade Mr. Huntingdon to think of you too; but to no purpose: I fear he\nis fully determined to enjoy himself this night; and it will be no use", "thinks proper. He has no love for you, Mrs. Huntingdonâno reverence for\nyour sex, no belief in virtue, no admiration for its image. He will give", "between him and Lord Lowborough, and while she amuses herself with the\nlively Huntingdon, she tries her utmost to enslave his moody friend; and", "against Mr. Huntingdon, and most ingeniously throwing the blame of her\nhusbandâs misconduct on to other menâs shoulders. The latter was full of", "âNo, HelenâMrs. Huntingdon,â said I, blushing at the implied imputation,", "tell you the truth, Helen, I donât like the thoughts of it at all. If I\nam to be Mr. Hattersleyâs wife, I must try to love him; and I do try with", "âOf course, Mr. Hargrave; is he not my husband?â\n\nâOh, Huntingdon; you know not what you slight!â he passionately murmured.", "At this he only laughed and kissed my hand, calling me a sweet\nenthusiast. Then taking off his hat, he added: âBut look here,\nHelenâwhat can a man do with such a head as this?â", "âDo you want to hear anything of your husband, Mrs. Huntingdon?â said he.\n\nâNo, unless you can tell me when to expect him home.â", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âWas Mr. Huntingdon proposing to you, Helen?â inquired my too watchful\nrelative.\n\nâNo.â", "âIâm willing to grant you the satisfaction of a gentleman, Huntingdon,â\nsaid Mr. Hargrave, calmly addressing his host, but with a bitter sneer\nupon his countenance.", "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "affection, and the injury he will do himself by trusting his happiness to\nher. She does not love him: she thinks only of herself. She cannot" ], [ "Huntingdon, to think that your husband is the most enviable man in the\nworld, and I should be the next if you would deem me worthy of your\nfriendship.â", "âAnd the cream of the jest,â continued Mr. Huntingdon, laughing, âis,\nthat the artful minx loves nothing about him but his title and pedigree,", "Mr. Huntingdon, if not better; and yet you love him, and seem to be happy\nand contented; and perhaps I may manage as well. You must tell me, if", "observed Huntingdon. âTheyâll make a match of it, as sure as can be.\nThat Lowboroughâs fairly besotted. But heâll find himself in a fix when", "Huntingdon is married, he wonât have many opportunities of consorting\nwith his bachelor friends;âand the worse they are, the more I long to\ndeliver him from them.â", "between him and Lord Lowborough, and while she amuses herself with the\nlively Huntingdon, she tries her utmost to enslave his moody friend; and", "against Mr. Huntingdon, and most ingeniously throwing the blame of her\nhusbandâs misconduct on to other menâs shoulders. The latter was full of", "Frederick was exceedingly indignant against Mr. Huntingdon, and very much\ngrieved for me; but still he looked upon my project as wild and", "âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you\nsitting there and laughing like an idiot!â", "âAh, Huntingdon!â said she reproachfully, pausing where I had stood with", "ââMy wife! what wife? I have no wife,â replied Huntingdon, looking", "Huntingdon and his guests had been particularly provoking and insulting\nto me in their encouragement of him, and I particularly anxious to get\nhim out of the room, and on the very point of demeaning myself by a burst", "Huntingdon? Donât you see what a sober, temperate man he is become? You\nsaw with regret the sad habits he was contracting, I know: and I know you", "Mrs. Huntingdon is alone,â he would insist upon leaving the table\nhimself, to join me, and his host, however unwillingly, was obliged to\nfollow.", "âNay, nay, Huntingdon,â said he, âyouâre too hard upon her; she must have", "Huntingdon and meâfor we had both started up, and now stood wide enough\nasunder. But his confusion was only for a moment. Rallying in an", "This struck me as terrible news at the moment; but all regret and\napprehension vanished like a dream when I heard that Mr. Huntingdon was", "âMrs. Huntingdon,â said he with bitter solemnity, âyou are cruelâcruel to\nmeâcruel to yourself.â", "âOf course, Mr. Hargrave; is he not my husband?â\n\nâOh, Huntingdon; you know not what you slight!â he passionately murmured.", "Arthur Huntingdon to me with impunity.â" ], [ "On the day of Lady Lowboroughâs arrival, I followed her into her chamber,\nand plainly told her that, if I found reason to believe that she still", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âThey were talking about Lord Lowborough and his delectable lady, the\ncause of whose sudden departure is no secret amongst them; and her", "servants from what they had seen in Lady Lowboroughâs manner last month;\nor perhaps from something that had passed between their master and her\nduring her former visit. At dinner I narrowly observed both her and", "I answered,ââWhy do you wish to talk to me, Lady Lowborough? You must\nknow what I think of you.â", "âShe told me herself. She told me all. She knew I might be trusted.\nBut you neednât disturb yourself about that, Mr. Lawrence, for Iâve seen\nthe last of her!â", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âI tell you, Helen, it would break his heartâit would be the death of\nhimâbesides being a scandalous trick to poor Annabella. There is no help", "âWho told you so? Lord Lowborough is a desperate man. He has dissipated\nhis fortune in gambling and other things, and is now seeking an heiress", "Nineteenth.âIn proportion as Lady Lowborough finds she has nothing to\nfear from me, and as the time of departure draws nigh, the more audacious", "Some time before Mr. Huntingdonâs death Lady Lowborough eloped with\nanother gallant to the Continent, where, having lived a while in reckless", "âWho told you so, my dear? What was that story about his intrigue with a\nmarried ladyâLady who was it?âMiss Wilmot herself was telling you the\nother day?â", "cause of my error, I think you blame me too severely. I told Lady\nLowborough two weeks ago, the very hour she came, that I should certainly", "âGone out with Lord Lowborough,â answered I, for he looked at me for a\nreply.\n\nâAnd not yet returned!â he said, seriously.", "âIf I were suspicious,â I replied, âI should have discovered your infamy\nlong before. No, Lady Lowborough, I do not found my charge upon\nsuspicion.â", "âHelen!â cried he, the moment I had left the room. I turned back, and\nstood awaiting his commands.\n\nâWhat do you want, Arthur?â I said at length.", "In the drawing-room I found Lady Lowborough, evidently in no very\nenviable state of mind, and struggling hard to conceal her discomposure", "âAnd now, Lady Lowborough,â continued I, âlet me counsel you to leave\nthis house as soon as possible. You must be aware that your continuance", "âWhat you feel at this moment, I suppose?â said Lady Lowborough, with a\nmalicious smile, fixing her eyes upon her cousinâs distressed\ncountenance.", "âIf what?â\n\nâWell, if I was you, I wouldnât have that Lady Lowborough in the house\nanother minuteânot another minute I wouldnât!" ], [ "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âThen you must plead for me, Helen,â said he, and at length withdrew.", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "âBy all means, leave him!â cried he earnestly; âbut NOT alone! Helen! let\nme protect you!â", "Helen immediately pushed the book from her, and after silently surveying\nher son, his friend, and his dog for a few moments, she dismissed the\nformer from the room under pretence of wishing him to fetch his last new", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "When Helen was divested of her lugubrious bonnet and veil, her heavy\nwinter cloak, &c., she looked so like herself that I knew not how to bear", "But that word refuge disturbed me. Had their unkindness then really\ndriven her to seek for peace in solitude?\n\nâWhy have they left you alone?â I asked.", "âBut you donât, Helenâsay you love me, and Iâll go.â\n\nâI wish you would go!â I replied.", "Helen!â", "the needful himself, or should have when his old governor chose to quit\nthe stage. So you see, Helen, I have managed pretty well, both for your\nfriend and mine.â", "likewise, for Helen is attached to the place and to meâas I am to her.\nThere are painful associations connected with Grassdale, which she cannot", "âHelen, I want you a moment,â said the distinct, low voice of my aunt,\nclose beside us. And I left him, muttering maledictions against his evil\nangel.", "âForgive me, Helen!â pleaded I. âI will never utter another word on the\nsubject. But may we not still meet as friends?â", "âHelen, what do you mean to do when I get well?â he asked this morning.\nâWill you run away again?â\n\nâIt entirely depends upon your own conduct.â", "âAnother year! Oh, Helen, I could not wait so long!â\n\nâWhere is your fidelity?â", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âHelen, I can! if faith would never fail.â\n\nâNow, then,â exclaimed she, âwhile this hope is strong within usââ", "âThen I will save him from them.â\n\nâOh, Helen, Helen! you little know the misery of uniting your fortunes to\nsuch a man!â" ] ]	[ "Who wants to receive the affection of Mrs. Graham?", "What does Gilbert accuse Mrs. Graham of?", "Where does Gilbert discover that Helen is rich?", "Why does Helen return to Grassdale?", "Who spreads rumors about Helen?", "When did Helen decide to hand her diaries to Gilbert?", "Why does Huntingdon become jealous of his son?", "Who was having an affair with Lady Lowborough?", "Where does Helen find asylum?", "Who is the narrator in Part One?", "Why was Mrs Helen Graham not free to marry?", "What estate did Helen eventually buy?", "In what estate did Helen live with Huntingdon?", "Who does Gilbert believe is his chief rival?", "Who is Mr Lawrence to Mrs Helen Graham?", "Who does Arthur Huntingdon flirt with?", "Why does Helen return to Grassdale?", "Who was Gilbert Markham's first romantic interest?", "When did Helen give Gilbert her diaries?", "Why is Huntingdon's death painful?", "What does Arthur do when he finds out about Helen's plans to leave?", "Why does Helen return to Grassdale?", "Who does Mr. Lawrence end up marrying?", "How does Arthur corrupt his son?", "Why does Eliza spread rumors about Helen?", "What does Huntingdon use to manipulate Helen and convince her to marry him?", "Who makes Huntingdon jealous?", "Who tells Helen about Arthur's affair with Lady Lowborough?", "Where does Helen find refuge?" ]	[ [ "Walter Hargrave.", "Mr. Lawrence." ], [ "He accuses her of loving Lawrence.", "Loving Lawrence." ], [ "In Grassdale.", "Staningley." ], [ "Her husband is really sick.", "Her husband was ill." ], [ "Eliza.", "Eliza." ], [ "After he accused her of loving Lawrence.", "When Gilbert accuses her of loving Lawrence." ], [ "He saw his son receive a lot of love and attention.", "He takes up Helen's time " ], [ "Arthur.", "Arthur" ], [ "At Wildfell Hall.", "Wildfell Hall" ], [ "Gilbert Markham.", "Gilbert Markham." ], [ "Because she was actually married to Arthur Huntingdon.", "Her husband was ill." ], [ "Staningley.", "Staningley" ], [ "Grassdale.", "Wildfell Hall." ], [ "Mr Lawrence.", "Mr. Lawrence." ], [ "Her brother.", "her brother" ], [ "Annabella (now Lady Lowborough).", "Annabella." ], [ "Because her husband is ill.", "Her husband is ill." ], [ "Eliza Millward.", "Helen Graham" ], [ "When Gilbert accused her of loving Mr Lawrence.", "When he accuses here of loving Lawrence." ], [ "He is afraid of what awaits him.", "Because he is terrified." ], [ "He burns her artists's tools.", "Arthur burns her art tools." ], [ "Her husband becomes ill.", "Her husband is gravely ill." ], [ "Esther Hargrave", "Esther Hargrave" ], [ "He encourages him to drink and smoke.", "HE encourages his to drink and swear " ], [ "Gilbert Markham becomes interested in Mrs. Graham.", "She's jealous of Gilbert's attention to Helen" ], [ "He flirts with Annabella.", "flirting with Annabelle" ], [ "His son.", "His son, Arthur" ], [ "Walter", "Walter." ], [ "Wildfell Hall", "Staningley estate." ] ]	4e959a5d22e1968a1950ac836a1ba0cc3edffa41	validation
[ [ "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "years of Sovereignty, I venture to ask your advice in the following\ndelicate matter. Mr. Enoch Soames, whose poems you may or may not", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never", "I wondered what train of thought poor Soames had been following. He\ndid not enlighten me when he said, after a long pause, \"You think I\nhaven't minded.\"\n\n\"Minded what, Soames?\"", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You" ], [ "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "fate, the cause of her sudden vanishing from the ken of her boy friend;\nand presently I blamed myself for letting the past override the\npresent. Poor vanished Soames!", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "wondered who the \"young woman\" was and what she had made of it all. I\nsadly suspect that Soames could not have made more of it than she.", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never", "In another instant I, too, was through that door. I stood staring all\nways, up the street, across it, down it. There was moonlight and\nlamplight, but there was not Soames nor that other.", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade." ], [ "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "Still, Soames had written a book. I asked if Rothenstein had read\n\"Negations.\" He said he had looked into it, \"but,\" he added crisply,", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "Soames was an artist, in so far as he was anything, poor fellow!", "heels in \"The Saturday Review,\" Alfred Harmsworth was letting me do\nlikewise in \"The Daily Mail.\" I was just what Soames wasn't. And he", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "about which he couldn't be enthusiastic. So I dropped the subject of\nSoames. The news that Soames had an income did take the edge off", "did, at the time of its publication, say to Rothenstein that I thought\npoor old Soames was really a rather tragic figure, and that I believed", "I dare say I am the only person who noticed the omission. Soames had\nfailed so piteously as all that! Nor is there a counterpoise in the", "course, was a master. How was I to know that Soames wasn't another?\nThere was a sort of music in his prose, not indeed, arresting, but", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the" ], [ "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "With an inhibitive gesture to my friend, \"Mr. Soames,\" I said\nemphatically to the devil, \"is a Catholic diabolist\"; but my poor", "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "of a reasonable obligation. I wouldn't have lifted a little finger to\nsave Faust. But poor Soames! Doomed to pay without respite an eternal", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "\"A Catholic diabolist,\" said Soames.\n\nThe devil accepted the reservation genially.", "Soames had not moved except to light a fresh cigarette. He sat\ncrouched forward, with his elbows squared on the table, and his head\njust above the level of his hands, staring up at the devil.", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "I had now just breath enough to offer my apologies. He accepted them,\nbut coldly, and re-addressed himself to Soames.", "\"You don't; you complete it,\" I assured him. \"Mr. Soames and I want to\nhave a little talk with you. Won't you sit? Mr. Soames got nothing," ], [ "\"We shall not be here. No,\" he droned, \"but the museum will still be\njust where it is. And the reading-room just where it is. And people", "restaurant they had just discovered, in whatever music-hall they were\nmost frequently, there was Soames in the midst of them, or, rather, on", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "from time to time in the domino-room and elsewhere. On the other side\nsat Soames. They made a queer contrast in that sunlit room, Soames", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "In another instant I, too, was through that door. I stood staring all\nways, up the street, across it, down it. There was moonlight and\nlamplight, but there was not Soames nor that other.", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Enoch Soames, Esq.\" It was very like him, and very like Rothenstein\nto have done it. Soames was standing near it, in his soft hat and his", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "\"It does. That's why I go there. The lower one's vitality, the more\nsensitive one is to great art. I live near the museum. I have rooms\nin Dyott Street.\"", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne." ], [ "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "Soames was an artist, in so far as he was anything, poor fellow!", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "\"Your own name? Really? Soames, I'm VERY glad.\"\n\n\"And yours.\"\n\n\"No!\"", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "\"It's no good abusing him.\"\n\n\"You must admit there's nothing Miltonic about him, Soames.\"\n\n\"I don't say he's not rather different from what I expected.\"", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white", "Still, Soames had written a book. I asked if Rothenstein had read\n\"Negations.\" He said he had looked into it, \"but,\" he added crisply,", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"", "His moroseness might have alienated me if I had regarded myself as a\nnobody. But ah! hadn't both John Lane and Aubrey Beardsley suggested", "\"Enoch Soames, Esq.\" It was very like him, and very like Rothenstein\nto have done it. Soames was standing near it, in his soft hat and his", "\"Enoch Soames,\" repeated Rothenstein in a tone implying that it was\nenough to have hit on the surname. \"We met in Paris a few times when\nyou were living there. We met at the Cafe Groche.\"", "\"He is dim,\" I admitted. But my mot juste fell flat. Rothenstein\nrepeated that Soames was non-existent." ], [ "and called for special treatment. But there was no need for\nvindictiveness. You say he contracted to pay the price he is paying.", "\"Go on,\" he nodded. I had no remnant of laughter in me now.\n\n\"It will be the more pleasant, our little deal,\" the devil went on,\n\"because you are--I mistake not?--a diabolist.\"", "I saw him make--that strange bargain whose results have kept him always\nin the foreground of my memory. But it is from those very results that\nthe full piteousness of him glares out.", "\"You don't; you complete it,\" I assured him. \"Mr. Soames and I want to\nhave a little talk with you. Won't you sit? Mr. Soames got nothing,", "we believe you meant well. But of course the bargain, such as it was,\nis off.\"", "know--\" Was there NO way of helping him, saving him? A bargain was a\nbargain, and I was the last man to aid or abet any one in wriggling out", "\"It's like my luck,\" he said, \"to spend my last hours on earth with an\nass.\" But I was not offended. \"And a treacherous ass,\" he strangely", "I, too, had forgotten that cryptic screed. I found it fallen on the\nfloor, and handed it to him.\n\nHe smoothed it out, nodding and smiling at me disagreeably.", "affaires--you detest them. So be it. But with me you will deal, eh?\nWhat you have said just now gives me furiously to hope.\"", "frankly nothing, by his journey this afternoon. We don't wish to say\nthat the whole thing was a swindle, a common swindle. On the contrary,", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "Yes; but I maintain that he was induced to do so by fraud. Well\ninformed in all things, the devil must have known that my friend would\ngain nothing by his visit to futurity. The whole thing was a very", "of a reasonable obligation. I wouldn't have lifted a little finger to\nsave Faust. But poor Soames! Doomed to pay without respite an eternal", "The devil looked at his watch. \"Ten past two,\" he said. \"Closing-time\nin summer same then as now--seven o'clock. That will give you almost", "Your point is, who am _I_?\" He glanced quickly over his shoulder, and\nin a lowered voice said, \"I am the devil.\"", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "\"He has an income. He's all right.\" Harland was the most joyous of\nmen and most generous of critics, and he hated to talk of anything", "heard any such question asked. As for his landlady in Dyott Street, no\ndoubt he had paid her weekly, and what possessions he may have had in", "Dazed, I stood there. Dazed, I turned back at length into the little\nroom, and I suppose I paid Berthe or Rose for my dinner and luncheon", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short," ], [ "\"Well, then, it's this wretched Nupton who must have made--must be\ngoing to make--some idiotic mistake. Look here Soames, you know me", "I snatched the paper. Soames's handwriting was characteristically dim.\nIt and the noisome spelling and my excitement made me all the slower to\ngrasp what T. K. Nupton was driving at.", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "I dare say I am the only person who noticed the omission. Soames had\nfailed so piteously as all that! Nor is there a counterpoise in the", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "In that extract from Nupton's repulsive book there is one point which\nperhaps puzzles you. How is it that the author, though I have here", "Still, Soames had written a book. I asked if Rothenstein had read\n\"Negations.\" He said he had looked into it, \"but,\" he added crisply,", "From page 234 of \"Inglish Littracher 1890-1900\" bi T. K. Nupton,\npublishd bi th Stait, 1992.", "did, at the time of its publication, say to Rothenstein that I thought\npoor old Soames was really a rather tragic figure, and that I believed", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "mentioned him by name and have quoted the exact words he is going to\nwrite, is not going to grasp the obvious corollary that I have invented\nnothing? The answer can be only this: Nupton will not have read the", "\"He is dim,\" I admitted. But my mot juste fell flat. Rothenstein\nrepeated that Soames was non-existent.", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "If Rothenstein had not been there, I should have revered Soames. Even\nas it was, I respected him. And I was very near indeed to reverence", "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "asked what was the best modern book on late nineteenth-century\nliterature. They told me Mr. T. K. Nupton's book was considered the", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white" ], [ "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "In another instant I, too, was through that door. I stood staring all\nways, up the street, across it, down it. There was moonlight and\nlamplight, but there was not Soames nor that other.", "from time to time in the domino-room and elsewhere. On the other side\nsat Soames. They made a queer contrast in that sunlit room, Soames", "fate, the cause of her sudden vanishing from the ken of her boy friend;\nand presently I blamed myself for letting the past override the\npresent. Poor vanished Soames!", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "I wondered what train of thought poor Soames had been following. He\ndid not enlighten me when he said, after a long pause, \"You think I\nhaven't minded.\"\n\n\"Minded what, Soames?\"", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never" ], [ "\"Enoch Soames,\" repeated Rothenstein in a tone implying that it was\nenough to have hit on the surname. \"We met in Paris a few times when\nyou were living there. We met at the Cafe Groche.\"", "\"Enoch Soames, Esq.\" It was very like him, and very like Rothenstein\nto have done it. Soames was standing near it, in his soft hat and his", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "he has been very hardly used. It is well that vanity should be\nchastened; and Enoch Soames's vanity was, I admit, above the average,", "\"Enoch Soames,\" said Enoch.", "our estimate of the works of Enoch Soames. That we had been horribly\nright was horribly clear from the look of him. But, \"Don't be", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "ill to deride the dead. And how can I write about Enoch Soames without\nmaking him ridiculous? Or, rather, how am I to hush up the horrid fact", "Nevertheless, I did, a day or two later, tentatively ask Harland if he\nknew anything of the work of a man called Enoch Soames. Harland paused", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "contrast with Soames. I was sure he was not an Englishman, but what\nWAS his nationality? Though his jet-black hair was en brosse, I did", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "GUTENBERG EBOOK ENOCH SOAMES ***\n\n\n\n\nProduced by Judith Boss.", "Soames, Enoch. It was as I feared: he was not there. But everybody\nelse was. Many writers whom I had quite forgotten, or remembered but", "Soames had not moved except to light a fresh cigarette. He sat\ncrouched forward, with his elbows squared on the table, and his head\njust above the level of his hands, staring up at the devil." ], [ "\"Enoch Soames, Esq.\" It was very like him, and very like Rothenstein\nto have done it. Soames was standing near it, in his soft hat and his", "he has been very hardly used. It is well that vanity should be\nchastened; and Enoch Soames's vanity was, I admit, above the average,", "\"Enoch Soames,\" repeated Rothenstein in a tone implying that it was\nenough to have hit on the surname. \"We met in Paris a few times when\nyou were living there. We met at the Cafe Groche.\"", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "\"Enoch Soames,\" said Enoch.", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "contrast with Soames. I was sure he was not an Englishman, but what\nWAS his nationality? Though his jet-black hair was en brosse, I did", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "ill to deride the dead. And how can I write about Enoch Soames without\nmaking him ridiculous? Or, rather, how am I to hush up the horrid fact", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "Nevertheless, I did, a day or two later, tentatively ask Harland if he\nknew anything of the work of a man called Enoch Soames. Harland paused", "our estimate of the works of Enoch Soames. That we had been horribly\nright was horribly clear from the look of him. But, \"Don't be", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "Rothenstein brightly focused him.\n\n\"Yes, I do,\" he replied after a moment, with pride rather than\neffusion--pride in a retentive memory. \"Edwin Soames.\"", "Soames, Enoch. It was as I feared: he was not there. But everybody\nelse was. Many writers whom I had quite forgotten, or remembered but", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "running around, or, rather, Enoch Soames is a name that might occur to\nany one writing a story. And I don't write stories; I'm an essayist,", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"" ], [ "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "Soames had not moved except to light a fresh cigarette. He sat\ncrouched forward, with his elbows squared on the table, and his head\njust above the level of his hands, staring up at the devil.", "\"A Catholic diabolist,\" said Soames.\n\nThe devil accepted the reservation genially.", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "With an inhibitive gesture to my friend, \"Mr. Soames,\" I said\nemphatically to the devil, \"is a Catholic diabolist\"; but my poor", "of a reasonable obligation. I wouldn't have lifted a little finger to\nsave Faust. But poor Soames! Doomed to pay without respite an eternal", "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "Yes; but I maintain that he was induced to do so by fraud. Well\ninformed in all things, the devil must have known that my friend would\ngain nothing by his visit to futurity. The whole thing was a very", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "Your point is, who am _I_?\" He glanced quickly over his shoulder, and\nin a lowered voice said, \"I am the devil.\"", "Soames was an artist, in so far as he was anything, poor fellow!", "much \"trusting and encouraging\" here! Soames triumphantly exposing the\ndevil as a liar, and laughing \"full shrill,\" cut a quite heartening", "\"Go on,\" he nodded. I had no remnant of laughter in me now.\n\n\"It will be the more pleasant, our little deal,\" the devil went on,\n\"because you are--I mistake not?--a diabolist.\"", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"" ], [ "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "Soames was an artist, in so far as he was anything, poor fellow!", "did, at the time of its publication, say to Rothenstein that I thought\npoor old Soames was really a rather tragic figure, and that I believed", "of a reasonable obligation. I wouldn't have lifted a little finger to\nsave Faust. But poor Soames! Doomed to pay without respite an eternal", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "years of Sovereignty, I venture to ask your advice in the following\ndelicate matter. Mr. Enoch Soames, whose poems you may or may not", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "course, was a master. How was I to know that Soames wasn't another?\nThere was a sort of music in his prose, not indeed, arresting, but", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "was the only lure offered in advertisements by Soames's publisher. I\nhad hoped that when next I met the poet I could congratulate him on", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book." ], [ "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never", "did, at the time of its publication, say to Rothenstein that I thought\npoor old Soames was really a rather tragic figure, and that I believed", "expression of faint happiness which on that day was discernible, yes,\nin Soames's countenance. Fame had breathed on him. Twice again in the", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "course, was a master. How was I to know that Soames wasn't another?\nThere was a sort of music in his prose, not indeed, arresting, but", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "he has been very hardly used. It is well that vanity should be\nchastened; and Enoch Soames's vanity was, I admit, above the average,", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "catalogue: 'Soames, Enoch' endlessly--endless editions, commentaries,\nprolegomena, biographies\"-- But here he was interrupted by a sudden" ], [ "As for the craftsmanship, \"rouged with rust\" seemed to me a fine\nstroke, and \"nor not\" instead of \"and\" had a curious felicity. I", "From page 234 of \"Inglish Littracher 1890-1900\" bi T. K. Nupton,\npublishd bi th Stait, 1992.", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "single, and mirthless sound from the throat, unaccompanied by any\nmovement of the face or brightening of the eyes. \"What a period!\" he", "\"I found myself glancing through Nupton's book,\" he resumed. \"Not very\neasy reading. Some sort of phonetic spelling. All the modern books I\nsaw were phonetic.\"", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "possess; and perhaps this was so. But at the private view of the New\nEnglish Art Club, a few weeks later, I beheld a pastel portrait of", "[Transcriber's Note: I have closed contractions in the text; e.g.,\n\"does n't\" has become \"doesn't\" etc.]", "\"Then I don't want to hear any more, Soames, please.\"\n\n\"The proper names seemed all to be spelt in the old way. But for that\nI mightn't have noticed my own name.\"", "\"You are pleased to sneer,\" said the devil, who had also risen, \"but it\nis one thing to write about an impossible machine; it is a quite other\nthing to be a supernatural power.\" All the same, I had scored.", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "Fr egzarmpl, a riter ov th time, naimed Max Beerbohm, hoo woz stil", "\"I am a man of business,\" he said, \"and always I would put things\nthrough 'right now,' as they say in the States. You are a poet. Les", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "\"You wish,\" he resumed, \"to visit now--this afternoon as-ever-is--the\nreading-room of the British Museum, yes? But of a hundred years hence,", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "few--Aubrey Beardsley by name. With Rothenstein I paid my first visit\nto the Bodley Head. By him I was inducted into another haunt of", "said for effect; but it carried conviction now. Absinthe, erst but a\npoint in the \"personality\" he had striven so hard to build up, was" ], [ "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "our estimate of the works of Enoch Soames. That we had been horribly\nright was horribly clear from the look of him. But, \"Don't be", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "supposed \"stauri\" had better have at least a happy ending. Soames\nrepeated those last three words in a tone of intense scorn.", "he has been very hardly used. It is well that vanity should be\nchastened; and Enoch Soames's vanity was, I admit, above the average,", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly" ], [ "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "fate, the cause of her sudden vanishing from the ken of her boy friend;\nand presently I blamed myself for letting the past override the\npresent. Poor vanished Soames!", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "Soames, Enoch. It was as I feared: he was not there. But everybody\nelse was. Many writers whom I had quite forgotten, or remembered but", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "course, was a master. How was I to know that Soames wasn't another?\nThere was a sort of music in his prose, not indeed, arresting, but" ], [ "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "Soames, Enoch. It was as I feared: he was not there. But everybody\nelse was. Many writers whom I had quite forgotten, or remembered but", "\"Your own name? Really? Soames, I'm VERY glad.\"\n\n\"And yours.\"\n\n\"No!\"", "supposed \"stauri\" had better have at least a happy ending. Soames\nrepeated those last three words in a tone of intense scorn.", "our estimate of the works of Enoch Soames. That we had been horribly\nright was horribly clear from the look of him. But, \"Don't be", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "\"Then I don't want to hear any more, Soames, please.\"\n\n\"The proper names seemed all to be spelt in the old way. But for that\nI mightn't have noticed my own name.\"", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood," ], [ "restaurant they had just discovered, in whatever music-hall they were\nmost frequently, there was Soames in the midst of them, or, rather, on", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "and for Soames's; I hope so, for I never went to the Vingtieme again.\nEver since that night I have avoided Greek Street altogether. And for", "\"Enoch Soames,\" repeated Rothenstein in a tone implying that it was\nenough to have hit on the surname. \"We met in Paris a few times when\nyou were living there. We met at the Cafe Groche.\"", "from time to time in the domino-room and elsewhere. On the other side\nsat Soames. They made a queer contrast in that sunlit room, Soames", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "for a moment. I had told them I would not order any dinner till Mr.\nSoames came. A hurdy-gurdy began to play, abruptly drowning the noise", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "Rothenstein brightly focused him.\n\n\"Yes, I do,\" he replied after a moment, with pride rather than\neffusion--pride in a retentive memory. \"Edwin Soames.\"", "\"Enoch Soames, Esq.\" It was very like him, and very like Rothenstein\nto have done it. Soames was standing near it, in his soft hat and his", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"" ], [ "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "I dare say I am the only person who noticed the omission. Soames had\nfailed so piteously as all that! Nor is there a counterpoise in the", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "\"It's no good abusing him.\"\n\n\"You must admit there's nothing Miltonic about him, Soames.\"\n\n\"I don't say he's not rather different from what I expected.\"", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "contrast with Soames. I was sure he was not an Englishman, but what\nWAS his nationality? Though his jet-black hair was en brosse, I did", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "Soames was an artist, in so far as he was anything, poor fellow!", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"", "If Rothenstein had not been there, I should have revered Soames. Even\nas it was, I respected him. And I was very near indeed to reverence", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood," ], [ "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "from time to time in the domino-room and elsewhere. On the other side\nsat Soames. They made a queer contrast in that sunlit room, Soames", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"Enoch Soames,\" repeated Rothenstein in a tone implying that it was\nenough to have hit on the surname. \"We met in Paris a few times when\nyou were living there. We met at the Cafe Groche.\"", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"", "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "restaurant they had just discovered, in whatever music-hall they were\nmost frequently, there was Soames in the midst of them, or, rather, on", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "and for Soames's; I hope so, for I never went to the Vingtieme again.\nEver since that night I have avoided Greek Street altogether. And for", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "In another instant I, too, was through that door. I stood staring all\nways, up the street, across it, down it. There was moonlight and\nlamplight, but there was not Soames nor that other.", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "Endless that afternoon was. Almost I wished I had gone with Soames,\nnot, indeed, to stay in the reading-room, but to sally forth for a" ], [ "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "\"It's no good abusing him.\"\n\n\"You must admit there's nothing Miltonic about him, Soames.\"\n\n\"I don't say he's not rather different from what I expected.\"", "Soames was an artist, in so far as he was anything, poor fellow!", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "\"I'm awfully sorry for you, Soames, and I make all possible allowances;\nbut what earthly right have you to insinuate that I should make 'copy,'\nas you call it, out of you?\"", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "I dare say I am the only person who noticed the omission. Soames had\nfailed so piteously as all that! Nor is there a counterpoise in the", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "His moroseness might have alienated me if I had regarded myself as a\nnobody. But ah! hadn't both John Lane and Aubrey Beardsley suggested", "did, at the time of its publication, say to Rothenstein that I thought\npoor old Soames was really a rather tragic figure, and that I believed", "Still, Soames had written a book. I asked if Rothenstein had read\n\"Negations.\" He said he had looked into it, \"but,\" he added crisply,", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "I wondered what train of thought poor Soames had been following. He\ndid not enlighten me when he said, after a long pause, \"You think I\nhaven't minded.\"\n\n\"Minded what, Soames?\"", "\"Your own name? Really? Soames, I'm VERY glad.\"\n\n\"And yours.\"\n\n\"No!\"", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "about which he couldn't be enthusiastic. So I dropped the subject of\nSoames. The news that Soames had an income did take the edge off", "\"He is dim,\" I admitted. But my mot juste fell flat. Rothenstein\nrepeated that Soames was non-existent." ], [ "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "\"You don't; you complete it,\" I assured him. \"Mr. Soames and I want to\nhave a little talk with you. Won't you sit? Mr. Soames got nothing,", "I had now just breath enough to offer my apologies. He accepted them,\nbut coldly, and re-addressed himself to Soames.", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "affaires--you detest them. So be it. But with me you will deal, eh?\nWhat you have said just now gives me furiously to hope.\"", "\"A Catholic diabolist,\" said Soames.\n\nThe devil accepted the reservation genially.", "\"He's only--tired.\" I asked her to get some wine--Burgundy--and\nwhatever food might be ready. Soames sat crouched forward against the", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "Your point is, who am _I_?\" He glanced quickly over his shoulder, and\nin a lowered voice said, \"I am the devil.\"", "Soames had not moved except to light a fresh cigarette. He sat\ncrouched forward, with his elbows squared on the table, and his head\njust above the level of his hands, staring up at the devil.", "\"Go on,\" he nodded. I had no remnant of laughter in me now.\n\n\"It will be the more pleasant, our little deal,\" the devil went on,\n\"because you are--I mistake not?--a diabolist.\"", "contrast with Soames. I was sure he was not an Englishman, but what\nWAS his nationality? Though his jet-black hair was en brosse, I did", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"", "With an inhibitive gesture to my friend, \"Mr. Soames,\" I said\nemphatically to the devil, \"is a Catholic diabolist\"; but my poor", "\"It's like my luck,\" he said, \"to spend my last hours on earth with an\nass.\" But I was not offended. \"And a treacherous ass,\" he strangely" ], [ "Your point is, who am _I_?\" He glanced quickly over his shoulder, and\nin a lowered voice said, \"I am the devil.\"", "\"Go on,\" he nodded. I had no remnant of laughter in me now.\n\n\"It will be the more pleasant, our little deal,\" the devil went on,\n\"because you are--I mistake not?--a diabolist.\"", "The devil looked at his watch. \"Ten past two,\" he said. \"Closing-time\nin summer same then as now--seven o'clock. That will give you almost", "Yes; but I maintain that he was induced to do so by fraud. Well\ninformed in all things, the devil must have known that my friend would\ngain nothing by his visit to futurity. The whole thing was a very", "\"You are pleased to sneer,\" said the devil, who had also risen, \"but it\nis one thing to write about an impossible machine; it is a quite other\nthing to be a supernatural power.\" All the same, I had scored.", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "\"A Catholic diabolist,\" said Soames.\n\nThe devil accepted the reservation genially.", "\"Diabolism? Oh, yes? Really?\" said I, with that vague discomfort and\nthat intense desire to be polite which one feels when a man speaks of\nhis own religion. \"You--worship the devil?\"", "\"And you go round to the reading-room to read Milton?\"\n\n\"Usually Milton.\" He looked at me. \"It was Milton,\" he\ncertificatively added, \"who converted me to diabolism.\"", "Soames had not moved except to light a fresh cigarette. He sat\ncrouched forward, with his elbows squared on the table, and his head\njust above the level of his hands, staring up at the devil.", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "imself a grate jeneus an maix a bargin with th Devvl in auder ter no\nwot posterriti thinx ov im! It iz a sumwot labud sattire, but not", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "With an inhibitive gesture to my friend, \"Mr. Soames,\" I said\nemphatically to the devil, \"is a Catholic diabolist\"; but my poor", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "For a few moments the devil let his hand rest where it lay, gazing at\nme out of the corners of his eyes, vulgarly triumphant.", "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "\"Come! This is 'trusting and encouraging' with a vengeance! This is\ndiabolism run mad!\" I filled his glass with wine. \"Surely, now that\nyou've SEEN the brute--\"", "I saw him make--that strange bargain whose results have kept him always\nin the foreground of my memory. But it is from those very results that\nthe full piteousness of him glares out.", "In your theaters the dullest comedien needs only to say 'The devil!'\nand right away they give him 'the loud laugh what speaks the vacant\nmind.' Is it not so?\"" ], [ "(To this day I have never made out that word.) \"It's all\nvery--baffling,\" I at length stammered.", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "would say: \"Oh, it's rather a remarkable book. It's by a man whom I\nknow.\" Just \"what it was about\" I never was able to say. Head or tail", "I found that by murmuring the words aloud (a device which I commend to\nmy reader) I was able to master them little by little. The clearer", "His moroseness might have alienated me if I had regarded myself as a\nnobody. But ah! hadn't both John Lane and Aubrey Beardsley suggested", "I made a gesture of despair. He went on repeating the word \"sealed.\"\nI began to realize that the wine had clouded his brain. No wonder!", "was just what I hadn't made of that slim, green volume. I found in the\npreface no clue to the labyrinth of contents, and in that labyrinth\nnothing to explain the preface.", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "\"He is dim,\" I admitted. But my mot juste fell flat. Rothenstein\nrepeated that Soames was non-existent.", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "cheerfulness. He said he never went there now. \"No absinthe there,\"\nhe muttered. It was the sort of thing that in old days he would have", "I, too, had forgotten that cryptic screed. I found it fallen on the\nfloor, and handed it to him.\n\nHe smoothed it out, nodding and smiling at me disagreeably.", "wanted to catch Rothenstein's eye. He had twice passed our table, with\na hesitating look; but Rothenstein, in the thick of a disquisition on", "have seemed to hurl defiance at things in general. And he ordered an\nabsinthe. \"Je me tiens toujours fidele,\" he told Rothenstein, \"a la\nsorciere glauque.\"", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never", "Book\" and later of \"The Savoy\" he had never a word but of scorn. He\nwasn't resented. It didn't occur to anybody that he or his Catholic", "\"Negations.\" His pale eyes had for the first time gleamed. I felt as\none who is about to be examined viva voce on the very subject in which", "that he WAS ridiculous? I shall not be able to do that. Yet, sooner\nor later, write about him I must. You will see in due course that I", "any one at the table abreast of yours was virtually at yours. I\nthought our neighbor was amused at my failure to interest Soames, and\nso, as I could not explain to him that my insistence was merely", "\"I'm awfully sorry for you, Soames, and I make all possible allowances;\nbut what earthly right have you to insinuate that I should make 'copy,'\nas you call it, out of you?\"" ], [ "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "In another instant I, too, was through that door. I stood staring all\nways, up the street, across it, down it. There was moonlight and\nlamplight, but there was not Soames nor that other.", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "from time to time in the domino-room and elsewhere. On the other side\nsat Soames. They made a queer contrast in that sunlit room, Soames", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "\"You wish,\" he resumed, \"to visit now--this afternoon as-ever-is--the\nreading-room of the British Museum, yes? But of a hundred years hence,", "restaurant they had just discovered, in whatever music-hall they were\nmost frequently, there was Soames in the midst of them, or, rather, on", "table-cloth. Soames's chair was empty. His cigarette floated sodden\nin his wine-glass. There was no other trace of him.", "\"We shall not be here. No,\" he droned, \"but the museum will still be\njust where it is. And the reading-room just where it is. And people" ], [ "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "His moroseness might have alienated me if I had regarded myself as a\nnobody. But ah! hadn't both John Lane and Aubrey Beardsley suggested", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "\"I'm awfully sorry for you, Soames, and I make all possible allowances;\nbut what earthly right have you to insinuate that I should make 'copy,'\nas you call it, out of you?\"", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "Soames was an artist, in so far as he was anything, poor fellow!", "\"It's no good abusing him.\"\n\n\"You must admit there's nothing Miltonic about him, Soames.\"\n\n\"I don't say he's not rather different from what I expected.\"", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"Your own name? Really? Soames, I'm VERY glad.\"\n\n\"And yours.\"\n\n\"No!\"", "I wondered what train of thought poor Soames had been following. He\ndid not enlighten me when he said, after a long pause, \"You think I\nhaven't minded.\"\n\n\"Minded what, Soames?\"", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "\"Well, then, it's this wretched Nupton who must have made--must be\ngoing to make--some idiotic mistake. Look here Soames, you know me", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white", "about which he couldn't be enthusiastic. So I dropped the subject of\nSoames. The news that Soames had an income did take the edge off", "Still, Soames had written a book. I asked if Rothenstein had read\n\"Negations.\" He said he had looked into it, \"but,\" he added crisply,", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You" ], [ "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "With an inhibitive gesture to my friend, \"Mr. Soames,\" I said\nemphatically to the devil, \"is a Catholic diabolist\"; but my poor", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "of a reasonable obligation. I wouldn't have lifted a little finger to\nsave Faust. But poor Soames! Doomed to pay without respite an eternal", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"You don't; you complete it,\" I assured him. \"Mr. Soames and I want to\nhave a little talk with you. Won't you sit? Mr. Soames got nothing,", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "Soames had not moved except to light a fresh cigarette. He sat\ncrouched forward, with his elbows squared on the table, and his head\njust above the level of his hands, staring up at the devil.", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day," ], [ "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "Soames was an artist, in so far as he was anything, poor fellow!", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "did, at the time of its publication, say to Rothenstein that I thought\npoor old Soames was really a rather tragic figure, and that I believed", "I dare say I am the only person who noticed the omission. Soames had\nfailed so piteously as all that! Nor is there a counterpoise in the", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "Still, Soames had written a book. I asked if Rothenstein had read\n\"Negations.\" He said he had looked into it, \"but,\" he added crisply,", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "course, was a master. How was I to know that Soames wasn't another?\nThere was a sort of music in his prose, not indeed, arresting, but", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "Soames, Enoch. It was as I feared: he was not there. But everybody\nelse was. Many writers whom I had quite forgotten, or remembered but", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "contrast with Soames. I was sure he was not an Englishman, but what\nWAS his nationality? Though his jet-black hair was en brosse, I did", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "\"Your own name? Really? Soames, I'm VERY glad.\"\n\n\"And yours.\"\n\n\"No!\"", "perhaps. But I liked the third, it was so bracingly unorthodox, even\naccording to the tenets of Soames's peculiar sect in the faith. Not", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never" ] ]	[ "How many years into the future was Soames sent?", "Where did Soames go in the future to learn more about his fate?", "Who had written the article Soames found?", "What does Soames request of his friend before departing to Hell?", "How do we know the people in the museum aware of Soames' presence?", "What were Beerbohm and Soames arguing about?", "What is the payment for the deal made?", "What did T.K. Nupton think of Soames' existance?", "How long was Soames in the future?", "How is the appearance of Enoch Soames described in the story?", "Which remarkable habit did Enoch Soames demonstrate with regard to choice of clothing?", "What was Soames's motivation for entering into a deal with the Devil?", "According to the deal Soames made, how would he find out whether his poetic talent would have been recognized in the future? ", "What does Soames discover about the way his contributions to poetry are described in the future?", "What is unique about the phonetic spelling of the 'future' article that discussed Beerbohm's story? ", "Which descriptions of the future world does Soames provide upon his return?", "How did Soames's presence in the future affect others? ", "Why were the people in the future so shocked by Soames's arrival? ", "At which restaurant does Soames meet Beerbohm?", "What does Beerbohm say is the one habit that makes Soames noticable?", "Where do Soames and Beerbohm meet for lunch?", "What does Soames complain to Beerbohm about?", "Who offers to make a deal with Saomes?", "What is the deal the Devil offers?", "What word does Beerbohm say he was never able to make out?", "What doe Soames find when arriving at the library in the future?", "Why does Soames get upset with Beerbohm?", "What does Soames ask of Beerbohm before leaving for Hell?", "Who wrote the scholary article which declared Soames to be fictional?" ]	[ [ "100 years", "100." ], [ "The Reading Room of the British Museum.", "The Reading Room of the British Museum." ], [ "T.K. Nupton", "T.K. Nupton" ], [ "That he attempts to let people known Soames existed.", "The he, Soames, actually existed." ], [ "They stared at him, followed him, and seem afraid of him.", "It caused a great stir." ], [ "Whether or not Beerbohm would have written about Soames in such a fashion.", "whether or not Beerbohm would write something negative about Soames" ], [ "Possession of Soames' soul", "Soames's soul" ], [ "He thought he was a fictional character.", "that it was fictional" ], [ "One afternoon.", "About 4 hours and 50 minutes in the afternoon." ], [ "Dim and leaving little impression", "Not very remarkable,but dim." ], [ "always wore a grey waterproof cape and a soft black hat", "He always wore a gray waterproof cape and a soft black hat." ], [ "He was desperate and considered his greatness unrecognized", "He was in despair and desperate for assurance that his talent and works would be recognized in the future." ], [ "By spending an afternoon in the Reading Room of the British Museum 100 years ahead of his time", "By selling his soul to the devil." ], [ "He learns that the only mention of him in the future is from the story written by his contemporary, Beerbohm", "that they are not good" ], [ "The spelling of most words is modified, presumably because of the change of language with time", "The English lanuage has evolved." ], [ "Vague and nondescript", "ones that are vague" ], [ "It caused a great stir", "It caused a stir." ], [ "They were prepared to see him because they have read Beerbohm's story", "They believed he was a ghost." ], [ "Restaurant du Vingtieme Siecle", "Restaurant du Vingtieme Siecle." ], [ "He always wears the same gray cape and soft black hat", "His wardrobe of choice." ], [ "Restaurant du Vingtieme Siecle", "At the Restaurant du Vingtieme Siecle." ], [ "That his great talent will remain unnoticed until after he is dead", "That he is not recognised as a great writer." ], [ "the Devil", "The Devil" ], [ "Soames will be transported to the future for one afternoon in exchange for his soul", "The Devil gets Soames' soul in exchange for Soame to ge a glance of what people say about him posthumously as an author anwhile the " ], [ "labud", "labud" ], [ "English ahs changed and all traces of him are gone", "He finds that the only mention of him is in an article talking about a story by Beerbohm where he is believed to be a fictional character." ], [ "He thinks Beerbohm wrote bad stuff about him", "Beerbohm wrote a fictional story about Soames." ], [ "He want Beerbohm to make sure people knew he was real", "to try to make people believe he existed" ], [ "T. K. Nupton", "T.K..Nupton." ] ]	829bd66e747e61902f22af2c0ff0d4f8090d2242	validation
[ [ "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "[She pauses for a moment, the girls start as if they heard something\nthrough the door that is half open behind them.]\n\nNORA [In a whisper.]", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "\"There were two men,\" says he, \"and they rowing round with poteen before\nthe cocks crowed, and the oar of one of them caught the body, and they\npassing the black cliffs of the north.\"", "He's gone now, God spare us, and we'll not see him again. He's gone\nnow, and when the black night is falling I'll have no son left me in the\nworld.", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "While Synge was on Inishmaan, the story came to him of a man whose body\nhad been washed up on the far away coast of Donegal, and who, by reason", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "Did you hear that, Cathleen? Did you hear a noise in the north-east?\n\nCATHLEEN [In a whisper.]\n\nThere's some one after crying out by the seashore.", "the white boards, for I won't live after them. I've had a husband, and\na husband's father, and six sons in this house--six fine men, though", "It's that number is in it [crying out.] Ah, Nora, isn't it a bitter\nthing to think of him floating that way to the far north, and no one to", "and a deep grave surely. What more can we want than that? No man at\nall can be living for ever, and we must be satisfied.\" The pity and", "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen" ], [ "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "CATHLEEN [Looking out.]\n\nShe's gone now. Throw it down quickly, for the Lord knows when she'll be\nout of it again.", "CATHLEEN [After spinning for a moment.]\n\nYou didn't give him his bit of bread?\n\n[Maurya begins to keen softly, without turning round.]", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "Did you hear that, Cathleen? Did you hear a noise in the north-east?\n\nCATHLEEN [In a whisper.]\n\nThere's some one after crying out by the seashore.", "CATHLEEN It's Michael, God spare him, for they're after sending us a bit\nof his clothes from the far north.", "CATHLEEN [Begins to keen.]\n\nIt's destroyed we are from this day. It's destroyed, surely.", "CATHLEEN How would they be Michael's, Nora. How would he go the length\nof that way to the far north?", "You did not, mother; it wasn't Michael you seen, for his body is after\nbeing found in the far north, and he's got a clean burial by the grace\nof God.", "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "CATHLEEN Michael is after being found in the far north, and when he is\nfound there how could he be here in this place?", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry,\nGod help her, you wouldn't know the thing she'd do.\n\nNORA Is she gone round by the bush?", "NORA The young priest says he's known the like of it. \"If it's Michael's\nthey are,\" says he, \"you can tell herself he's got a clean burial by the", "CATHLEEN [Slowly and clearly.]\n\nAn old woman will be soon tired with anything she will do, and isn't it\nnine days herself is after crying and keening, and making great sorrow\nin the house?" ], [ "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "MAURYA It's hard set we'll be surely the day you're drownd'd with the\nrest. What way will I live and the girls with me, and I an old woman\nlooking for the grave?", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "MAURYA If it wasn't found itself, that wind is raising the sea, and\nthere was a star up against the moon, and it rising in the night. If it", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "NORA Didn't the young priest say the Almighty God wouldn't leave her\ndestitute with no son living?\n\nMAURYA [In a low voice, but clearly.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "Sea\" has an historic value which it would be difficult to over-estimate\nin its accomplishment and its possibilities. A writer in The Manchester\nGuardian shortly after Synge's death phrased it rightly when he wrote", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "MAURYA [Continues without hearing anything.]", "MAURYA [Raising her head and speaking as if she did not see the people\naround her.]", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]" ], [ "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "CATHLEEN It's the life of a young man to be going on the sea, and who\nwould listen to an old woman with one thing and she saying it over?\n\nBARTLEY [Taking the halter.]", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "up. There was Patch after was drowned out of a curagh that turned over.\nI was sitting here with Bartley, and he a baby, lying on my two knees,", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "While Synge was on Inishmaan, the story came to him of a man whose body\nhad been washed up on the far away coast of Donegal, and who, by reason", "CATHLEEN Put these things away before she'll come in. Maybe it's easier\nshe'll be after giving her blessing to Bartley, and we won't let on\nwe've heard anything the time he's on the sea.", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "It is surely. There was a man in here a while ago--the man sold us that\nknife--and he said if you set off walking from the rocks beyond, it\nwould be seven days you'd be in Donegal.", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.]\n\nWhere is the bit of new rope, Cathleen, was bought in Connemara?", "It isn't that I haven't prayed for you, Bartley, to the Almighty God.\nIt isn't that I haven't said prayers in the dark night till you wouldn't", "the manner described in the play, and perhaps one of the most poignantly\nvivid passages in Synge's book on \"The Aran Islands\" relates the\nincident of his burial.", "\"There were two men,\" says he, \"and they rowing round with poteen before\nthe cocks crowed, and the oar of one of them caught the body, and they\npassing the black cliffs of the north.\"", "of certain peculiarities of dress, was suspected to be from the island.\nIn due course, he was recognised as a native of Inishmaan, in exactly" ], [ "\"There were two men,\" says he, \"and they rowing round with poteen before\nthe cocks crowed, and the oar of one of them caught the body, and they\npassing the black cliffs of the north.\"", "You did not, mother; it wasn't Michael you seen, for his body is after\nbeing found in the far north, and he's got a clean burial by the grace\nof God.", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "It's that number is in it [crying out.] Ah, Nora, isn't it a bitter\nthing to think of him floating that way to the far north, and no one to", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "It is surely. There was a man in here a while ago--the man sold us that\nknife--and he said if you set off walking from the rocks beyond, it\nwould be seven days you'd be in Donegal.", "the manner described in the play, and perhaps one of the most poignantly\nvivid passages in Synge's book on \"The Aran Islands\" relates the\nincident of his burial.", "CATHLEEN Michael is after being found in the far north, and when he is\nfound there how could he be here in this place?", "While Synge was on Inishmaan, the story came to him of a man whose body\nhad been washed up on the far away coast of Donegal, and who, by reason", "but in this place it is the young men do be leaving things behind for\nthem that do be old.\" In the quavering rhythm of these words, there is\npoignantly present that quality of strangeness and remoteness in beauty", "Did you hear that, Cathleen? Did you hear a noise in the north-east?\n\nCATHLEEN [In a whisper.]\n\nThere's some one after crying out by the seashore.", "they're gone now the lot of them. . . There were Stephen, and Shawn,\nwere lost in the great wind, and found after in the Bay of Gregory of", "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind", "of certain peculiarities of dress, was suspected to be from the island.\nIn due course, he was recognised as a native of Inishmaan, in exactly", "[She looks round at the boards.]\n\nBARTLEY How would it be washed up, and we after looking each day for\nnine days, and a strong wind blowing a while back from the west and\nsouth?", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "There was Sheamus and his father, and his own father again, were lost in\na dark night, and not a stick or sign was seen of them when the sun went", "And isn't it a pitiful thing when there is nothing left of a man who\nwas a great rower and fisher, but a bit of an old shirt and a plain\nstocking?\n\nCATHLEEN [After an instant.]", "it was a hard birth I had with every one of them and they coming to the\nworld--and some of them were found and some of them were not found, but", "NORA The young priest is after bringing them. It's a shirt and a plain\nstocking were got off a drowned man in Donegal." ], [ "NORA He'll not stop him, mother, and I heard Eamon Simon and Stephen\nPheety and Colum Shawn saying he would go.\n\nMAURYA Where is he itself?", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "NORA Didn't the young priest say the Almighty God wouldn't leave her\ndestitute with no son living?\n\nMAURYA [In a low voice, but clearly.]", "I must go now quickly. I'll ride down on the red mare, and the gray\npony'll run behind me. . . The blessing of God on you.\n\n[He goes out.]", "While Synge was on Inishmaan, the story came to him of a man whose body\nhad been washed up on the far away coast of Donegal, and who, by reason", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "MAURYA [Taking the bread.]\n\nWill I be in it as soon as himself?\n\nCATHLEEN If you go now quickly.", "[Nora picks up the turf and puts it round the pot-oven.]\n\nMAURYA [Sitting down on a stool at the fire.]" ], [ "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "I've seen the fearfulest thing any person has seen, since the day Bride\nDara seen the dead man with the child in his arms.\n\nCATHLEEN AND NORA UAH.", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "There was Sheamus and his father, and his own father again, were lost in\na dark night, and not a stick or sign was seen of them when the sun went", "\"There were two men,\" says he, \"and they rowing round with poteen before\nthe cocks crowed, and the oar of one of them caught the body, and they\npassing the black cliffs of the north.\"", "and I seen two women, and three women, and four women coming in, and\nthey crossing themselves, and not saying a word. I looked out then, and\nthere were men coming after them, and they holding a thing in the half", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "CATHLEEN [Looking out.]\n\nShe's gone now. Throw it down quickly, for the Lord knows when she'll be\nout of it again.", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "Did you hear that, Cathleen? Did you hear a noise in the north-east?\n\nCATHLEEN [In a whisper.]\n\nThere's some one after crying out by the seashore.", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "[She pauses for a moment, the girls start as if they heard something\nthrough the door that is half open behind them.]\n\nNORA [In a whisper.]", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "He's gone now, God spare us, and we'll not see him again. He's gone\nnow, and when the black night is falling I'll have no son left me in the\nworld.", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something" ], [ "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "CATHLEEN [Slowly and clearly.]\n\nAn old woman will be soon tired with anything she will do, and isn't it\nnine days herself is after crying and keening, and making great sorrow\nin the house?", "grace of God, and if they're not his, let no one say a word about them,\nfor she'll be getting her death,\" says he, \"with crying and lamenting.\"", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "CATHLEEN [After spinning for a moment.]\n\nYou didn't give him his bit of bread?\n\n[Maurya begins to keen softly, without turning round.]", "CATHLEEN [Looking out.]\n\nShe's gone now. Throw it down quickly, for the Lord knows when she'll be\nout of it again.", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Maurya takes up the tongs and begins raking the fire aimlessly without\nlooking round.]\n\nNORA [Turning towards her.]\n\nYou're taking away the turf from the cake.", "and I seen two women, and three women, and four women coming in, and\nthey crossing themselves, and not saying a word. I looked out then, and\nthere were men coming after them, and they holding a thing in the half", "stool at the other side of the fire. The cloth with the bread is still\nin her hand. The girls look at each other, and Nora points to the bundle\nof bread.]", "[She pauses again with her hand stretched out towards the door. It\nopens softly and old women begin to come in, crossing themselves on the\nthreshold, and kneeling down in front of the stage with red petticoats\nover their heads.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "CATHLEEN [Crying out.]\n\nThe Son of God forgive us, Nora, we're after forgetting his bit of\nbread.\n\n[She comes over to the fire.]", "[She kneels down again, crossing herself, and saying prayers under her\nbreath.]\n\nCATHLEEN [To an old man.]", "[They put them into a hole in the chimney corner. Cathleen goes back to\nthe spinning-wheel.]\n\nNORA Will she see it was crying I was?", "ANOTHER MAN It's a great wonder she wouldn't think of the nails, and all\nthe coffins she's seen made already.\n\nCATHLEEN It's getting old she is, and broken." ], [ "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "Let you go down now to the spring well and give him this and he passing.\nYou'll see him then and the dark word will be broken, and you can say\n\"God speed you,\" the way he'll be easy in his mind.", "\"There were two men,\" says he, \"and they rowing round with poteen before\nthe cocks crowed, and the oar of one of them caught the body, and they\npassing the black cliffs of the north.\"", "and a deep grave surely. What more can we want than that? No man at\nall can be living for ever, and we must be satisfied.\" The pity and", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "He's gone now, God spare us, and we'll not see him again. He's gone\nnow, and when the black night is falling I'll have no son left me in the\nworld.", "and I seen two women, and three women, and four women coming in, and\nthey crossing themselves, and not saying a word. I looked out then, and\nthere were men coming after them, and they holding a thing in the half", "races. In fact, they are so common as to arouse little or no wonder in\nthe minds of the people. It is just such a tale, which there seems no", "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "grace of God, and if they're not his, let no one say a word about them,\nfor she'll be getting her death,\" says he, \"with crying and lamenting.\"", "CATHLEEN [Looking out.]\n\nShe's gone now. Throw it down quickly, for the Lord knows when she'll be\nout of it again.", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "NORA Didn't the young priest say the Almighty God wouldn't leave her\ndestitute with no son living?\n\nMAURYA [In a low voice, but clearly.]", "It is surely. There was a man in here a while ago--the man sold us that\nknife--and he said if you set off walking from the rocks beyond, it\nwould be seven days you'd be in Donegal.", "I must go now quickly. I'll ride down on the red mare, and the gray\npony'll run behind me. . . The blessing of God on you.\n\n[He goes out.]", "CATHLEEN [Begins to keen.]\n\nIt's destroyed we are from this day. It's destroyed, surely.", "but in this place it is the young men do be leaving things behind for\nthem that do be old.\" In the quavering rhythm of these words, there is\npoignantly present that quality of strangeness and remoteness in beauty" ], [ "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "MAURYA It's hard set we'll be surely the day you're drownd'd with the\nrest. What way will I live and the girls with me, and I an old woman\nlooking for the grave?", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "MAURYA [Raising her head and speaking as if she did not see the people\naround her.]", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "it is the virtue in life of the women mothers and wives and sisters to\nbe great in their loneliness, great as Maurya, the stricken mother, is\ngreat in her final word.", "MAURYA [Continues without hearing anything.]", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "MAURYA [A little defiantly.]", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "NORA Didn't the young priest say the Almighty God wouldn't leave her\ndestitute with no son living?\n\nMAURYA [In a low voice, but clearly.]", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "MAURYA [Taking a stick Nora gives her.]", "MAURYA [Crying out as he is in the door.]", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?" ], [ "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "MAURYA [A little defiantly.]", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "MAURYA [Crying out as he is in the door.]", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "MAURYA [Continues without hearing anything.]", "MAURYA [Raising her head and speaking as if she did not see the people\naround her.]", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "MAURYA It's hard set we'll be surely the day you're drownd'd with the\nrest. What way will I live and the girls with me, and I an old woman\nlooking for the grave?", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]" ], [ "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "Did you ask him would he stop Bartley going this day with the horses to\nthe Galway fair?", "[Bartley lays down the halter, takes off his old coat, and puts on a\nnewer one of the same flannel.]\n\nBARTLEY [To Nora.]", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "BARTLEY [Beginning to work with the rope.]", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "CATHLEEN It's the life of a young man to be going on the sea, and who\nwould listen to an old woman with one thing and she saying it over?\n\nBARTLEY [Taking the halter.]", "BARTLEY [Working at the halter, to Cathleen.]", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "up. There was Patch after was drowned out of a curagh that turned over.\nI was sitting here with Bartley, and he a baby, lying on my two knees,", "BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.]\n\nWhere is the bit of new rope, Cathleen, was bought in Connemara?", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]" ], [ "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "NORA And what time would a man take, and he floating?\n\n[Cathleen opens the bundle and takes out a bit of a stocking. They look\nat them eagerly.]", "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "NORA They're carrying a thing among them and there's water dripping out\nof it and leaving a track by the big stones.\n\nCATHLEEN [In a whisper to the women who have come in.]", "CATHLEEN [Taking the bundle.]\n\nDid he say what way they were found?\n\nNORA [Coming down.]", "CATHLEEN [Coming down.]\n\nGive it to him, Nora; it's on a nail by the white boards. I hung it up\nthis morning, for the pig with the black feet was eating it.", "NORA The young priest is after bringing them. It's a shirt and a plain\nstocking were got off a drowned man in Donegal.", "Tell me is herself coming, Nora? I hear a little sound on the path.\n\nNORA [Looking out.]\n\nShe is, Cathleen. She's coming up to the door.", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "CATHLEEN [Crying out.]\n\nThe Son of God forgive us, Nora, we're after forgetting his bit of\nbread.\n\n[She comes over to the fire.]", "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "[Nora comes in softly, and takes a bundle from under her shawl.]\n\nCATHLEEN [Spinning the wheel rapidly.]\n\nWhat is it you have?", "NORA And it's destroyed he'll be going till dark night, and he after\neating nothing since the sun went up.\n\nCATHLEEN [Turning the cake out of the oven.]", "Give her the stick, Nora, or maybe she'll slip on the big stones.\n\nNORA What stick?\n\nCATHLEEN The stick Michael brought from Connemara.", "CATHLEEN [Looking out.]\n\nShe's gone now. Throw it down quickly, for the Lord knows when she'll be\nout of it again.", "CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry,\nGod help her, you wouldn't know the thing she'd do.\n\nNORA Is she gone round by the bush?", "NORA [Helping Cathleen to close the bundle.]\n\nWe'll put them here in the corner.", "[They put them into a hole in the chimney corner. Cathleen goes back to\nthe spinning-wheel.]\n\nNORA Will she see it was crying I was?", "I've seen the fearfulest thing any person has seen, since the day Bride\nDara seen the dead man with the child in his arms.\n\nCATHLEEN AND NORA UAH." ], [ "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "up. There was Patch after was drowned out of a curagh that turned over.\nI was sitting here with Bartley, and he a baby, lying on my two knees,", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "BARTLEY [Beginning to work with the rope.]", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "[Bartley lays down the halter, takes off his old coat, and puts on a\nnewer one of the same flannel.]\n\nBARTLEY [To Nora.]", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "Did you ask him would he stop Bartley going this day with the horses to\nthe Galway fair?", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "BARTLEY [Working at the halter, to Cathleen.]", "CATHLEEN It's the life of a young man to be going on the sea, and who\nwould listen to an old woman with one thing and she saying it over?\n\nBARTLEY [Taking the halter.]" ], [ "hitting one on the other. I'll have no call now to be going down and\ngetting Holy Water in the dark nights after Samhain, and I won't care", "long nights after Samhain, if it's only a bit of wet flour we do have to\neat, and maybe a fish that would be stinking.", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "There was Sheamus and his father, and his own father again, were lost in\na dark night, and not a stick or sign was seen of them when the sun went", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "CATHLEEN [Coming to the fire.]\n\nWhat is it ails you, at all?\n\nMAURYA [Speaking very slowly.]", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "MAURYA If it wasn't found itself, that wind is raising the sea, and\nthere was a star up against the moon, and it rising in the night. If it", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "CATHLEEN [After spinning for a moment.]\n\nYou didn't give him his bit of bread?\n\n[Maurya begins to keen softly, without turning round.]", "He's gone now, God spare us, and we'll not see him again. He's gone\nnow, and when the black night is falling I'll have no son left me in the\nworld.", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]" ], [ "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "MAURYA [Taking a stick Nora gives her.]", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "MAURYA It's hard set we'll be surely the day you're drownd'd with the\nrest. What way will I live and the girls with me, and I an old woman\nlooking for the grave?", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "MAURYA [Crying out as he is in the door.]", "[Nora picks up the turf and puts it round the pot-oven.]\n\nMAURYA [Sitting down on a stool at the fire.]", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "Let you go down now to the spring well and give him this and he passing.\nYou'll see him then and the dark word will be broken, and you can say\n\"God speed you,\" the way he'll be easy in his mind.", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "MAURYA [Raising her head and speaking as if she did not see the people\naround her.]" ], [ "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]" ], [ "While Synge was on Inishmaan, the story came to him of a man whose body\nhad been washed up on the far away coast of Donegal, and who, by reason", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "You did not, mother; it wasn't Michael you seen, for his body is after\nbeing found in the far north, and he's got a clean burial by the grace\nof God.", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "\"There were two men,\" says he, \"and they rowing round with poteen before\nthe cocks crowed, and the oar of one of them caught the body, and they\npassing the black cliffs of the north.\"", "you, if Michael is washed up to-morrow morning, or the next morning,\nor any morning in the week, for it's a deep grave we'll make him by the\ngrace of God.", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "NORA The young priest says he's known the like of it. \"If it's Michael's\nthey are,\" says he, \"you can tell herself he's got a clean burial by the", "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind", "NORA The young priest is after bringing them. It's a shirt and a plain\nstocking were got off a drowned man in Donegal.", "It's that number is in it [crying out.] Ah, Nora, isn't it a bitter\nthing to think of him floating that way to the far north, and no one to", "CATHLEEN Michael is after being found in the far north, and when he is\nfound there how could he be here in this place?", "CATHLEEN It's Michael, God spare him, for they're after sending us a bit\nof his clothes from the far north.", "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "they're gone now the lot of them. . . There were Stephen, and Shawn,\nwere lost in the great wind, and found after in the Bay of Gregory of" ], [ "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "MAURYA It's hard set we'll be surely the day you're drownd'd with the\nrest. What way will I live and the girls with me, and I an old woman\nlooking for the grave?", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "MAURYA If it wasn't found itself, that wind is raising the sea, and\nthere was a star up against the moon, and it rising in the night. If it", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "MAURYA [Raising her head and speaking as if she did not see the people\naround her.]", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "MAURYA [Crying out as he is in the door.]", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "MAURYA [Continues without hearing anything.]", "MAURYA [A little defiantly.]", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "[Nora picks up the turf and puts it round the pot-oven.]\n\nMAURYA [Sitting down on a stool at the fire.]" ], [ "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.]\n\nWhere is the bit of new rope, Cathleen, was bought in Connemara?", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "CATHLEEN It's the life of a young man to be going on the sea, and who\nwould listen to an old woman with one thing and she saying it over?\n\nBARTLEY [Taking the halter.]", "Did you ask him would he stop Bartley going this day with the horses to\nthe Galway fair?", "CATHLEEN There's a cake baking at the fire for a short space. [Throwing\ndown the turf] and Bartley will want it when the tide turns if he goes\nto Connemara.", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "[Bartley lays down the halter, takes off his old coat, and puts on a\nnewer one of the same flannel.]\n\nBARTLEY [To Nora.]", "CATHLEEN Put these things away before she'll come in. Maybe it's easier\nshe'll be after giving her blessing to Bartley, and we won't let on\nwe've heard anything the time he's on the sea.", "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "BARTLEY [Working at the halter, to Cathleen.]", "up. There was Patch after was drowned out of a curagh that turned over.\nI was sitting here with Bartley, and he a baby, lying on my two knees,", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "Is she coming to the pier?\n\nNORA [Looking out.] She's passing the green head and letting fall her\nsails.\n\nBARTLEY [Getting his purse and tobacco.]", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with" ], [ "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "CATHLEEN It's the life of a young man to be going on the sea, and who\nwould listen to an old woman with one thing and she saying it over?\n\nBARTLEY [Taking the halter.]", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "[Bartley lays down the halter, takes off his old coat, and puts on a\nnewer one of the same flannel.]\n\nBARTLEY [To Nora.]", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "MAURYA How would the like of her get a good price for a pig?\n\nBARTLEY [To Cathleen]", "up. There was Patch after was drowned out of a curagh that turned over.\nI was sitting here with Bartley, and he a baby, lying on my two knees,", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "BARTLEY [Working at the halter, to Cathleen.]" ], [ "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "MAURYA [Half in a dream, to Cathleen.]\n\nIs it Patch, or Michael, or what is it at all?", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "NORA The young priest says he's known the like of it. \"If it's Michael's\nthey are,\" says he, \"you can tell herself he's got a clean burial by the", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "You did not, mother; it wasn't Michael you seen, for his body is after\nbeing found in the far north, and he's got a clean burial by the grace\nof God.", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "CATHLEEN [After spinning for a moment.]\n\nYou didn't give him his bit of bread?\n\n[Maurya begins to keen softly, without turning round.]", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]" ], [ "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "NORA The young priest says he's known the like of it. \"If it's Michael's\nthey are,\" says he, \"you can tell herself he's got a clean burial by the", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "Give her the stick, Nora, or maybe she'll slip on the big stones.\n\nNORA What stick?\n\nCATHLEEN The stick Michael brought from Connemara.", "Tell me is herself coming, Nora? I hear a little sound on the path.\n\nNORA [Looking out.]\n\nShe is, Cathleen. She's coming up to the door.", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "CATHLEEN How would they be Michael's, Nora. How would he go the length\nof that way to the far north?", "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "NORA [Getting the bundle from the loft.]\n\nThe young priest said he'd be passing to-morrow, and we might go down\nand speak to him below if it's Michael's they are surely.", "NORA \"I won't stop him,\" says he, \"but let you not be afraid. Herself\ndoes be saying prayers half through the night, and the Almighty God", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "Is she coming to the pier?\n\nNORA [Looking out.] She's passing the green head and letting fall her\nsails.\n\nBARTLEY [Getting his purse and tobacco.]", "CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry,\nGod help her, you wouldn't know the thing she'd do.\n\nNORA Is she gone round by the bush?", "NORA And what time would a man take, and he floating?\n\n[Cathleen opens the bundle and takes out a bit of a stocking. They look\nat them eagerly.]", "CATHLEEN [Taking the bundle.]\n\nDid he say what way they were found?\n\nNORA [Coming down.]", "[Coming to the table.]\n\nIt's a long time we'll be, and the two of us crying.\n\nNORA [Goes to the inner door and listens.]" ], [ "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "Tell me is herself coming, Nora? I hear a little sound on the path.\n\nNORA [Looking out.]\n\nShe is, Cathleen. She's coming up to the door.", "CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry,\nGod help her, you wouldn't know the thing she'd do.\n\nNORA Is she gone round by the bush?", "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "CATHLEEN [Crying out.]\n\nThe Son of God forgive us, Nora, we're after forgetting his bit of\nbread.\n\n[She comes over to the fire.]", "CATHLEEN [Coming down.]\n\nGive it to him, Nora; it's on a nail by the white boards. I hung it up\nthis morning, for the pig with the black feet was eating it.", "NORA They're carrying a thing among them and there's water dripping out\nof it and leaving a track by the big stones.\n\nCATHLEEN [In a whisper to the women who have come in.]", "NORA And what time would a man take, and he floating?\n\n[Cathleen opens the bundle and takes out a bit of a stocking. They look\nat them eagerly.]", "[The door which Nora half closed is blown open by a gust of wind.]\n\nCATHLEEN [Looking out anxiously.]", "CATHLEEN (her daughter).... Sarah Allgood\n\n NORA (a younger daughter).. Emma Vernon\n\n MEN AND WOMEN", "CATHLEEN [In a low voice.]\n\nThe Lord spare us, Nora! isn't it a queer hard thing to say if it's his\nthey are surely?", "NORA And it's destroyed he'll be going till dark night, and he after\neating nothing since the sun went up.\n\nCATHLEEN [Turning the cake out of the oven.]", "[Nora comes in softly, and takes a bundle from under her shawl.]\n\nCATHLEEN [Spinning the wheel rapidly.]\n\nWhat is it you have?", "Give her the stick, Nora, or maybe she'll slip on the big stones.\n\nNORA What stick?\n\nCATHLEEN The stick Michael brought from Connemara.", "CATHLEEN [Taking the bundle.]\n\nDid he say what way they were found?\n\nNORA [Coming down.]", "CATHLEEN I hear some one passing the big stones.\n\nNORA [Looking out.]\n\nHe's coming now, and he's in a hurry.", "CATHLEEN [Looking out.]\n\nShe's gone now. Throw it down quickly, for the Lord knows when she'll be\nout of it again.", "Cathleen, a girl of about twenty, finishes kneading cake, and puts it\ndown in the pot-oven by the fire; then wipes her hands, and begins to", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?" ], [ "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "NORA The young priest says he's known the like of it. \"If it's Michael's\nthey are,\" says he, \"you can tell herself he's got a clean burial by the", "Tell me is herself coming, Nora? I hear a little sound on the path.\n\nNORA [Looking out.]\n\nShe is, Cathleen. She's coming up to the door.", "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "CATHLEEN [Coming down.]\n\nGive it to him, Nora; it's on a nail by the white boards. I hung it up\nthis morning, for the pig with the black feet was eating it.", "CATHLEEN It's Michael, God spare him, for they're after sending us a bit\nof his clothes from the far north.", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "CATHLEEN [Taking the bundle.]\n\nDid he say what way they were found?\n\nNORA [Coming down.]", "CATHLEEN I hear some one passing the big stones.\n\nNORA [Looking out.]\n\nHe's coming now, and he's in a hurry.", "CATHLEEN How would they be Michael's, Nora. How would he go the length\nof that way to the far north?", "NORA And what time would a man take, and he floating?\n\n[Cathleen opens the bundle and takes out a bit of a stocking. They look\nat them eagerly.]", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "CATHLEEN [Crying out.]\n\nThe Son of God forgive us, Nora, we're after forgetting his bit of\nbread.\n\n[She comes over to the fire.]", "Give her the stick, Nora, or maybe she'll slip on the big stones.\n\nNORA What stick?\n\nCATHLEEN The stick Michael brought from Connemara.", "CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry,\nGod help her, you wouldn't know the thing she'd do.\n\nNORA Is she gone round by the bush?", "NORA They're carrying a thing among them and there's water dripping out\nof it and leaving a track by the big stones.\n\nCATHLEEN [In a whisper to the women who have come in.]", "Did you hear that, Cathleen? Did you hear a noise in the north-east?\n\nCATHLEEN [In a whisper.]\n\nThere's some one after crying out by the seashore." ], [ "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "you, if Michael is washed up to-morrow morning, or the next morning,\nor any morning in the week, for it's a deep grave we'll make him by the\ngrace of God.", "NORA The young priest says he's known the like of it. \"If it's Michael's\nthey are,\" says he, \"you can tell herself he's got a clean burial by the", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]" ], [ "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "I must go now quickly. I'll ride down on the red mare, and the gray\npony'll run behind me. . . The blessing of God on you.\n\n[He goes out.]", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "God forgive you; he's riding the mare now over the green head, and the\ngray pony behind him." ], [ "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "NORA Didn't the young priest say the Almighty God wouldn't leave her\ndestitute with no son living?\n\nMAURYA [In a low voice, but clearly.]", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "He's gone now, God spare us, and we'll not see him again. He's gone\nnow, and when the black night is falling I'll have no son left me in the\nworld.", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "and a deep grave surely. What more can we want than that? No man at\nall can be living for ever, and we must be satisfied.\" The pity and", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "CATHLEEN [After spinning for a moment.]\n\nYou didn't give him his bit of bread?\n\n[Maurya begins to keen softly, without turning round.]", "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind" ], [ "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Maurya takes up the tongs and begins raking the fire aimlessly without\nlooking round.]\n\nNORA [Turning towards her.]\n\nYou're taking away the turf from the cake.", "[Nora picks up the turf and puts it round the pot-oven.]\n\nMAURYA [Sitting down on a stool at the fire.]", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "MAURYA [Taking a stick Nora gives her.]", "what way the sea is when the other women will be keening. [To Nora]. Give\nme the Holy Water, Nora, there's a small sup still on the dresser.", "Is she coming to the pier?\n\nNORA [Looking out.] She's passing the green head and letting fall her\nsails.\n\nBARTLEY [Getting his purse and tobacco.]", "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "Tell me is herself coming, Nora? I hear a little sound on the path.\n\nNORA [Looking out.]\n\nShe is, Cathleen. She's coming up to the door.", "[Coming to the table.]\n\nIt's a long time we'll be, and the two of us crying.\n\nNORA [Goes to the inner door and listens.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "stool at the other side of the fire. The cloth with the bread is still\nin her hand. The girls look at each other, and Nora points to the bundle\nof bread.]", "[She pauses for a moment, the girls start as if they heard something\nthrough the door that is half open behind them.]\n\nNORA [In a whisper.]", "[She goes out slowly. Nora goes over to the ladder.]", "[Nora comes in softly, and takes a bundle from under her shawl.]\n\nCATHLEEN [Spinning the wheel rapidly.]\n\nWhat is it you have?", "NORA [Swinging herself round, and throwing out her arms on the clothes.]", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]" ] ]	[ "Who told the sisters their brother may be dead?", "When did Cathleen know Michael was dead?", "Why doesn't Maurya have to worry about the sea anymore?", "What island was Bartley voyaging from in the story?", "What was found on the north-most island?", "How was Maurya's son traveling to his Connemarre?", "When was the ghost seen?", "Why was the widow scolded?", "What occurrence was foretold?", "What does Maurya lose her family to?", "Who is Maurya's brother?", "What is bartley planning to sell?", "What do Nora and Cathleen receive from the dead corpse?", "What happened to bartley ?", "What does Maurya seek in the dark nights after Samhain?", "Who gives Maurya holy water?", "Why does Maurya go after bartley?", "What shore does Michael's corpse wash up on?", "What does maurya predict by nightfall?", "What is Bartley planning to sell in Connemara?", "What is Bartley's relationship to Maurya?", "What is Michael's relationship to Maurya?", "What is Nora's relationship to MIchael?", "What is Cathleen's relationship to Nora?", "What evidence do Cathleen and Nora receive that confirms the death of Michael?", "What does Maurya predict will happen to MIchael and Bartley?", "What does Maurya claim to see riding behind Bartley?", "After the death of Michael and Bartley what entity does Maurya claim can no longer threaten the family?", "What does Maurya ask Nora to fetch from the dresser?" ]	[ [ "the priest", "the priest" ], [ "when she saw the clothes from the corpse", "They received clothing from a drowned corpse, Michael's clothing" ], [ "it has already taken her husband and all her sons", "everyone is dead" ], [ "Inishmaan", "Inishmaan" ], [ "a body", "Her brother" ], [ "sailing", "Sailing" ], [ "when Maurya went after Bartlry", "As Bartley's ship left" ], [ "she wasn't nice to her son before he left", "for sending bartley of with an ill word" ], [ "the death of Bartley", "the death of her sons" ], [ "The sea.", "Sea." ], [ "Michael", "Maurya's brother is Bartley" ], [ "A horse", "a horse" ], [ "Clothing ", "Clothing" ], [ "He fell off his horse and drowned in the sea", "fell of his horse into the sea and died" ], [ "Holy Water", "Holy Water" ], [ "Nora", "Nora" ], [ "To bless his voyage", "to bless his voyage" ], [ "The shore of donegal", "Donegal" ], [ "she will have no living sons", "Her last living son will be dead" ], [ "A horse.", "a horse" ], [ "Bartley is Maurya's son.", "her last living son" ], [ "MIchael is Maurya's son.", "her son" ], [ "Nora is Michael's sister", "Nora is Michael's brother" ], [ "Cathleen is Nora's sister", "sisters" ], [ "Michael's clothing", "clothing" ], [ "Bartley and Michael wil die", "they die" ], [ "The ghost of Michael", "His dead brother. Micheal." ], [ "The sea.", "a ghost" ], [ "Holy water.", "holy water" ] ]	b2091fab7149af1b52bdd0a2bc28e60a2092a16a	validation
[ [ "SIR ROBERT CHILTERN. The affair to which you allude was no more than a\nspeculation. The House of Commons had not yet passed the bill; it might\nhave been rejected.", "SIR ROBERT CHILTERN. [_Throws himself into an armchair by the\nwriting-table_.] One night after dinner at Lord Radleyâs the Baron began", "[SIR ROBERT CHILTERN _enters_. _A man of forty_, _but looking somewhat", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "[SIR ROBERT CHILTERN _walks up and down for a moment_; _then sits down\nand buries his face in his hands_. _The Servant enters and begins", "SIR ROBERT CHILTERN. Oh! spies are of no use nowadays. Their profession\nis over. The newspapers do their work instead.", "would disappear completely. And after all, Sir Robert, why should you\nsacrifice your entire future rather than deal diplomatically with your", "SIR ROBERT CHILTERN. I hope not, Lady Markby. At any rate we do our\nbest to waste the public time, donât we? But who is this charming person\nyou have been kind enough to bring to us?", "SIR ROBERT CHILTERN. [_With a polite bow_.] I fear I could hardly agree\nwith you there. But do sit down. And now tell me, what makes you leave", "[SIR ROBERT CHILTERN _walks up and down the room with a troubled\nexpression_. _Then comes over to his wife_, _and puts his hand on her\nshoulder_.]", "SIR ROBERT CHILTERN. Is Mr. Trafford in his room?\n\nMASON. Yes, Sir Robert.", "SIR ROBERT CHILTERN. [_Frowning_.] Ah! yes. I remember hearing, at the\ntime of his death, that he had been mixed up in the whole affair.", "JAMES. Lord Caversham has been waiting some time in the library for Sir\nRobert. I told him your lordship was here.", "really depends on you, Sir Robert. [_Sits down on the sofa_.]", "SIR ROBERT CHILTERN. There is some one. There are lights in the room,\nand the door is ajar. Some one has been listening to every secret of my\nlife. Arthur, what does this mean?", "hardly say. But his violent language could be heard all over the house!\nI trust, Gertrude, that Sir Robert is not like that?", "SIR ROBERT CHILTERN. [_Rises indignantly_.] If you will allow me, I\nwill call your carriage for you. You have lived so long abroad, Mrs.", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "LADY MARKBY. Well, dear Mrs. Cheveley, I hope you have enjoyed yourself.\nSir Robert is very entertaining, is he not?", "SIR ROBERT CHILTERN. No; he was a man of a most subtle and refined\nintellect. A man of culture, charm, and distinction. One of the most\nintellectual men I ever met." ], [ "Mrs. Cheveley went. She stole my letter and sent it anonymously to you\nthis morning, that you should think . . . Oh! Robert, I cannot tell you", "MRS. CHEVELEY. [_With a bitter note of triumph in her voice_.] I mean\nthat I am going to send Robert Chiltern the love-letter his wife wrote to\nyou to-night.", "MRS. CHEVELEY. It was a swindle, Sir Robert. Let us call things by\ntheir proper names. It makes everything simpler. And now I am going to", "MRS. CHEVELEY. My dear Sir Robert, what then? You are ruined, that is\nall! Remember to what a point your Puritanism in England has brought", "SIR ROBERT CHILTERN. Mrs. Cheveley, you cannot be serious in making me\nsuch a proposition!\n\nMRS. CHEVELEY. I am quite serious.", "MRS. CHEVELEY. [_In her most nonchalant manner_.] My dear Sir Robert,\nyou are a man of the world, and you have your price, I suppose.", "SIR ROBERT CHILTERN. As you choose. When I called on you yesterday\nevening I found Mrs. Cheveley concealed in your rooms. It was between", "LORD GORING. Mrs. Cheveley made an attempt to ruin your husband. Either\nto drive him from public life, or to make him adopt a dishonourable", "SIR ROBERT CHILTERN. Mrs. Cheveley herself. And the woman I love knows\nthat I began my career with an act of low dishonesty, that I built up my", "MRS. CHEVELEY. Your old friendâand mine.\n\nSIR ROBERT CHILTERN. Who?\n\nMRS. CHEVELEY. Baron Arnheim.", "MRS. CHEVELEY. [_Smiling_.] Intimately. Did you?\n\nSIR ROBERT CHILTERN. At one time.", "MRS. CHEVELEY. Sir Robert, I will be quite frank with you. I want you\nto withdraw the report that you had intended to lay before the House, on", "SIR ROBERT CHILTERN. In defending myself against Mrs. Cheveley, I have a\nright to use any weapon I can find, have I not?", "MRS. CHEVELEY. You thought that letter had been destroyed. How foolish\nof you! It is in my possession.", "MRS. CHEVELEY. That you must not do. In your own interests, Sir Robert,\nto say nothing of mine, you must not do that.", "SIR ROBERT CHILTERN. [_Looking at her in wonder_.] In my own interests?\nMy dear Mrs. Cheveley, what do you mean? [_Sits down beside her_.]", "SIR ROBERT CHILTERN. I fear I have no advice to give you, Mrs. Cheveley,\nexcept to interest yourself in something less dangerous. The success of", "MRS. CHEVELEY. As if anything could demoralise Robert Chiltern! You\nseem to forget that I know his real character.", "MRS. CHEVELEY. [_After a pause_.] Then you are going to allow your\ngreatest friend, Robert Chiltern, to be ruined, rather than marry some", "SIR ROBERT CHILTERN. Believe me, Mrs. Cheveley, it is a swindle. Let us\ncall things by their proper names. It makes matters simpler. We have" ], [ "LADY MARKBY. He has had a very interesting and brilliant career. And he\nhas married a most admirable wife. Lady Chiltern is a woman of the very", "LADY CHILTERN. That makes no matter. She must know at once that she has\nbeen mistaken in youâand that you are not a man to do anything base or", "LADY CHILTERN. [_Taking her husbandâs hand_.] I admire him for it. I", "LADY CHILTERN. Yes.\n\nSIR ROBERT CHILTERN. You trust me, Gertrude?\n\nLADY CHILTERN. Yes.", "SIR ROBERT CHILTERN. I am not changed. But circumstances alter things.\n\nLADY CHILTERN. Circumstances should never alter principles!", "LADY CHILTERN. Oh, my ambition! I have none now, but that we two may\nlove each other. It was your ambition that led you astray. Let us not\ntalk about ambition.", "SIR ROBERT CHILTERN. Ah! why did you not add you loved me?\n\nLADY CHILTERN. [_Taking his hand_.] Because I loved you.", "LORD GORING. Is Lady Chiltern as perfect as all that?\n\nSIR ROBERT CHILTERN. Yes; my wife is as perfect as all that.", "SIR ROBERT CHILTERN. When? When we were engaged? Do you think she\nwould have married me if she had known that the origin of my fortune is", "LADY CHILTERN. A manâs life is of more value than a womanâs. It has\nlarger issues, wider scope, greater ambitions. Our lives revolve in", "LADY CHILTERN. I think my husband in right in his determination, Lord\nCaversham. I approve of it.\n\nLORD CAVERSHAM. You approve of it? Good heavens!", "SIR ROBERT CHILTERN. Yes, utterly sacrificed. Loveless marriages are\nhorrible. But there is one thing worse than an absolutely loveless", "LADY CHILTERN. [_Sadly_.] Oneâs past is what one is. It is the only\nway by which people should be judged.", "do. And Lady Chiltern has a very ennobling effect on life, though her\ndinner-parties are rather dull sometimes. But one canât have everything,", "LADY CHILTERN. You sold a Cabinet secret for money! You began your life\nwith fraud! You built up your career on dishonour! Oh, tell me it is", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "SIR ROBERT CHILTERN. Must I write and tell her that?\n\nLADY CHILTERN. Surely, Robert! What else is there to do?", "LADY CHILTERN. I will love you always, because you will always be worthy\nof love. We needs must love the highest when we see it! [_Kisses him\nand rises and goes out_.]", "LADY CHILTERN. Apparently to try and lure Robert to uphold some\nfraudulent scheme in which she is interested. The Argentine Canal, in\nfact.", "MRS. CHEVELEY. [_After a pause_.] Then you are going to allow your\ngreatest friend, Robert Chiltern, to be ruined, rather than marry some" ], [ "MABEL CHILTERN. You did?\n\nLORD GORING. Yes.\n\n[LADY CHILTERN _enters alone_. _The other guests have gone_.]", "LORD GORING. Dear Mabel, while you are away, there are none. It makes\nme horribly dependent on you.\n\n[_Enter_ LADY CHILTERN.]", "LORD GORING. With pleasure, Miss Mabel. [_Moves away with her_.]\n\nMABEL CHILTERN. How horrid you have been! You have never talked to me\nthe whole evening!", "MRS. CHEVELEY. And what is Lord Goring?\n\nMABEL CHILTERN. Oh! Lord Goring is president.", "LORD GORING. Of course. And a very sensible remark for Mrs. Cheveley to\nmake, too.\n\n[_Enter_ MABEL CHILTERN. _She joins the group_.]", "LORD GORING. I am delighted to hear it. [_Bows and goes out_.]\n\nMABEL CHILTERN. Gertrude, I wish you would speak to Tommy Trafford.", "LORD CAVERSHAM. Lady Caversham is as usual, as usual.\n\nLORD GORING. Good morning, Miss Mabel!", "MRS. CHEVELEY. [_With a look of surprise_.] Lord Goring expects me?\n\nPHIPPS. Yes, madam.", "LORD GORING. [_After kissing her again_.] Of course Iâm not nearly good\nenough for you, Mabel.", "LORD GORING. Because it is found. In point of fact, I found it myself,\nand stupidly forgot to tell the butler anything about it as I was", "MABEL CHILTERN. You are very late!\n\nLORD GORING. Have you missed me?\n\nMABEL CHILTERN. Awfully!", "LORD GORING. Detestable.\n\nMABEL CHILTERN. I am glad you admit it. But I wish you wouldnât look so\npleased about it.", "LORD GORING. Must you really? [_Kisses her_.]\n\nMABEL CHILTERN. Yes.", "LORD GORING. I adore political parties. They are the only place left to\nus where people donât talk politics.", "MABEL CHILTERN. What are you doing?\n\nLORD GORING. Miss Mabel, I am going to make a rather strange request to\nyou.", "LADY CHILTERN. Yes; but I donât know why you said it to me.\n\nLORD GORING. I hardly know myself. Good-bye, Miss Mabel!", "MABEL CHILTERN. [_Taking no notice at all of_ LORD GORING, _and", "LORD GORING. But I love Mabel. No other woman has any place in my life.\n\nLADY CHILTERN. Robert, if they love each other, why should they not be\nmarried?", "LORD GORING. I am very selfish.\n\nMABEL CHILTERN. You are always telling me of your bad qualities, Lord\nGoring.", "LORD GORING. She has mistaken her man, hasnât she?\n\nLADY CHILTERN. She is incapable of understanding an upright nature like\nmy husbandâs!" ], [ "LORD GORING. [_Arranging his necktie_.] So little that I got engaged to\nbe married to her once, when I was staying at the Tenbysâ. The affair", "LORD CAVERSHAM. Engaged to be married yet?\n\nLORD GORING. [_Genially_.] Not yet: but I hope to be before lunch-time.", "LORD GORING. She has mistaken her man, hasnât she?\n\nLADY CHILTERN. She is incapable of understanding an upright nature like\nmy husbandâs!", "MRS. CHEVELEY. I have met Lord Goring before.\n\nLORD GORING. [_Bowing_.] I did not think you would remember me, Mrs.\nCheveley.", "LORD GORING. Thanks awfully, but I think Iâd sooner be engaged before\nlunch.\n\nLORD CAVERSHAM. Humph! Never know when you are serious or not.", "LORD GORING. But I love Mabel. No other woman has any place in my life.\n\nLADY CHILTERN. Robert, if they love each other, why should they not be\nmarried?", "LORD GORING. You mean that you amused yourself immensely, donât you?\n\nMRS. CHEVELEY. What do you know about my married life?", "MRS. CHEVELEY. Arthur, you loved me once.\n\nLORD GORING. Yes.\n\nMRS. CHEVELEY. And you asked me to be your wife.", "MRS. CHEVELEY. [_After a pause_.] Lord Goring merely rang that you\nshould show me out. Good-night, Lord Goring!", "LORD GORING. He would do what you asked him, wouldnât he?\n\nLADY CHILTERN. I think so.", "LORD GORING. I mean that you stole that ornament from my cousin, Mary\nBerkshire, to whom I gave it when she was married. Suspicion fell on a", "LORD GORING. I have nothing more to say.\n\nLADY CHILTERN. Robert, it was not Mrs. Cheveley whom Lord Goring\nexpected last night.", "LORD GORING. How terrible! Really, the thing should be more widely\nknown!\n\nLADY BASILDON. Basildon is quite as bad; he is as domestic as if he was\na bachelor.", "LORD GORING. I think it is better that he should know the exact truth.\n\nLADY CHILTERN. [_Rising_.] Oh, I couldnât, I couldnât!", "LORD GORING. Lady Chiltern, I have a certain amount of very good news to\ntell you. Mrs. Cheveley gave me up Robertâs letter last night, and I\nburned it. Robert is safe.", "LORD GORING. Ah! that is probably the lady. I shall see her myself.\n\n[_Just as he is going towards the door_ LORD CAVERSHAM _enters from the\nsmoking-room_.]", "LORD GORING. Extraordinary thing about the lower classes in Englandâthey\nare always losing their relations.\n\nPHIPPS. Yes, my lord! They are extremely fortunate in that respect.", "LORD GORING. [_Looking straight at her_.] Quite frankly?\n\nLADY CHILTERN. Surely. You have nothing to conceal, have you?", "LORD GORING. With pleasure, Miss Mabel. [_Moves away with her_.]\n\nMABEL CHILTERN. How horrid you have been! You have never talked to me\nthe whole evening!", "LORD GORING. I am delighted to hear it. [_Bows and goes out_.]\n\nMABEL CHILTERN. Gertrude, I wish you would speak to Tommy Trafford." ], [ "MRS. CHEVELEY. It was a swindle, Sir Robert. Let us call things by\ntheir proper names. It makes everything simpler. And now I am going to", "MRS. CHEVELEY. Your old friendâand mine.\n\nSIR ROBERT CHILTERN. Who?\n\nMRS. CHEVELEY. Baron Arnheim.", "MRS. CHEVELEY. Your house! A house bought with the price of dishonour.\nA house, everything in which has been paid for by fraud. [_Turns round", "MRS. CHEVELEY. [_In her most nonchalant manner_.] My dear Sir Robert,\nyou are a man of the world, and you have your price, I suppose.", "SIR ROBERT CHILTERN. Mrs. Cheveley, you cannot be serious in making me\nsuch a proposition!\n\nMRS. CHEVELEY. I am quite serious.", "Mrs. Cheveley went. She stole my letter and sent it anonymously to you\nthis morning, that you should think . . . Oh! Robert, I cannot tell you", "SIR ROBERT CHILTERN. Mrs. Cheveley herself. And the woman I love knows\nthat I began my career with an act of low dishonesty, that I built up my", "MRS. CHEVELEY. My dear Sir Robert, what then? You are ruined, that is\nall! Remember to what a point your Puritanism in England has brought", "SIR ROBERT CHILTERN. Believe me, Mrs. Cheveley, it is a swindle. Let us\ncall things by their proper names. It makes matters simpler. We have", "MRS. CHEVELEY. [_With a bitter note of triumph in her voice_.] I mean\nthat I am going to send Robert Chiltern the love-letter his wife wrote to\nyou to-night.", "SIR ROBERT CHILTERN. As you choose. When I called on you yesterday\nevening I found Mrs. Cheveley concealed in your rooms. It was between", "MRS. CHEVELEY. [_Smiling_.] Intimately. Did you?\n\nSIR ROBERT CHILTERN. At one time.", "MRS. CHEVELEY. As if anything could demoralise Robert Chiltern! You\nseem to forget that I know his real character.", "SIR ROBERT CHILTERN. In defending myself against Mrs. Cheveley, I have a\nright to use any weapon I can find, have I not?", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. I have not got it with me. I will give it to you\nto-morrow.", "MRS. CHEVELEY. Sir Robert, I will be quite frank with you. I want you\nto withdraw the report that you had intended to lay before the House, on", "MRS. CHEVELEY. I have invested very largely in it.\n\nSIR ROBERT CHILTERN. Who could have advised you to do such a foolish\nthing?", "SIR ROBERT CHILTERN. [_Looking at her in wonder_.] In my own interests?\nMy dear Mrs. Cheveley, what do you mean? [_Sits down beside her_.]", "MRS. CHEVELEY. [_Rising and facing him_.] I mean that I know the real\norigin of your wealth and your career, and I have got your letter, too.", "SIR ROBERT CHILTERN. Mrs. Cheveley? I seem to know the name.\n\nLADY MARKBY. She has just arrived from Vienna." ], [ "LORD GORING. Your letter was on pink paper. He could recognise it\nwithout reading it, couldnât he? By the colour?\n\nLADY CHILTERN. I suppose so.", "LORD GORING. Then I will go and see him myself, and tell him that a\ncertain letter, written on pink paper, is to be forwarded to Robert", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "[_Enter_ SIR ROBERT CHILTERN. _He has the letter in his hand_, _and is\nreading it_. _He comes towards his wife_, _not noticing_ LORD GORINGâS\n_presence_.]", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. Stop! Stop! Let me have time to think.", "LADY CHILTERN. What do you mean by a foolish letter?\n\nLORD GORING. A letter gravely compromising oneâs position. I am only\nputting an imaginary case.", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. I have not got it with me. I will give it to you\nto-morrow.", "LORD GORING. Lady Chiltern, I have a certain amount of very good news to\ntell you. Mrs. Cheveley gave me up Robertâs letter last night, and I\nburned it. Robert is safe.", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "LORD GORING. Pray be calm, Lady Chiltern, and answer the questions I am\ngoing to put to you. You said his secretaries open his letters.\n\nLADY CHILTERN. Yes.", "LADY CHILTERN. Let me see it.\n\n[SIR ROBERT _hands her the letter_. _She reads it_, _and then_, _with a\ngesture of passion_, _tears it up_.]", "LORD GORING. [_Holds up letter in pink envelope_.] Ahem! Phipps, when\ndid this letter arrive?", "MRS. CHEVELEY. [_Catches sight of_ LADY CHILTERNâS _letter_, _the cover", "LADY CHILTERN. There is no disgrace in store for you, nor any public\nshame. Mrs. Cheveley has handed over to Lord Goring the document that\nwas in her possession, and he has destroyed it.", "SIR ROBERT CHILTERN. Are you sure of this, Gertrude?\n\nLADY CHILTERN. Yes; Lord Goring has just told me.", "LORD GORING. [_Takes the letter_, _examines it_, _sighs_, _and burns it", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "handwriting on Lady Chilternâs pink notepaper. That is rather curious.\nI thought Robert was to write. Wonder what Lady Chiltern has got to say", "LORD GORING. You have come here to sell me Robert Chilternâs letter,\nhavenât you?", "[_Enter_ SIR ROBERT CHILTERN.]\n\nSIR ROBERT CHILTERN. Gertrude, here is the draft of my letter. Shall I\nread it to you?" ], [ "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. Stop! Stop! Let me have time to think.", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. I have not got it with me. I will give it to you\nto-morrow.", "LORD GORING. Lady Chiltern, I have a certain amount of very good news to\ntell you. Mrs. Cheveley gave me up Robertâs letter last night, and I\nburned it. Robert is safe.", "LADY CHILTERN. There is no disgrace in store for you, nor any public\nshame. Mrs. Cheveley has handed over to Lord Goring the document that\nwas in her possession, and he has destroyed it.", "MRS. CHEVELEY. [_With a bitter note of triumph in her voice_.] I mean\nthat I am going to send Robert Chiltern the love-letter his wife wrote to\nyou to-night.", "MRS. CHEVELEY. [_In her most nonchalant manner_.] My dear Sir Robert,\nyou are a man of the world, and you have your price, I suppose.", "LORD GORING. Mrs. Cheveley made an attempt to ruin your husband. Either\nto drive him from public life, or to make him adopt a dishonourable", "MRS. CHEVELEY. Thanks. I am never going to try to harm Robert Chiltern\nagain.\n\nLORD GORING. Fortunately you have not the chance, Mrs. Cheveley.", "SIR ROBERT CHILTERN. Mrs. Cheveley, you cannot be serious in making me\nsuch a proposition!\n\nMRS. CHEVELEY. I am quite serious.", "LORD GORING. [_Rising_.] Lady Chiltern, I will be quite frank with you.\nMrs. Cheveley puts a certain construction on that letter and proposes to\nsend it to your husband.", "MRS. CHEVELEY. Arthur, you loved me once.\n\nLORD GORING. Yes.\n\nMRS. CHEVELEY. And you asked me to be your wife.", "MRS. CHEVELEY. It was a swindle, Sir Robert. Let us call things by\ntheir proper names. It makes everything simpler. And now I am going to", "LORD GORING. What do you want then, Mrs. Cheveley?\n\nMRS. CHEVELEY. Why donât you call me Laura?", "Mrs. Cheveley went. She stole my letter and sent it anonymously to you\nthis morning, that you should think . . . Oh! Robert, I cannot tell you", "LORD GORING. Lady Chiltern, why are you playing Mrs. Cheveleyâs cards?\n\nLADY CHILTERN. [_Startled_.] I donât understand you.", "LORD GORING. Well?\n\nMRS. CHEVELEY. I find that somehow Gertrude Chilternâs dying speech and\nconfession has strayed into my pocket.", "MRS. CHEVELEY. My dear Sir Robert, what then? You are ruined, that is\nall! Remember to what a point your Puritanism in England has brought", "SIR ROBERT CHILTERN. [_Looking at her in wonder_.] In my own interests?\nMy dear Mrs. Cheveley, what do you mean? [_Sits down beside her_.]", "SIR ROBERT CHILTERN. Not Mrs. Cheveley! Who was it then?\n\nLORD GORING. Lady Chiltern!", "MRS. CHEVELEY. Sir Robert, I will be quite frank with you. I want you\nto withdraw the report that you had intended to lay before the House, on" ], [ "LADY MARKBY. [_Turning to_ LADY CHILTERN.] Dear Gertrude, we just\ncalled to know if Mrs. Cheveleyâs diamond brooch has been found.", "MRS. CHEVELEY. A diamond snake-brooch with a ruby, a rather large ruby.\n\nLADY MARKBY. I thought you said there was a sapphire on the head, dear?", "LORD GORING. A diamond snake-brooch with a ruby?\n\nMRS. CHEVELEY. Yes. How do you know?", "Mrs. Cheveley went. She stole my letter and sent it anonymously to you\nthis morning, that you should think . . . Oh! Robert, I cannot tell you", "MRS. CHEVELEY. It was a swindle, Sir Robert. Let us call things by\ntheir proper names. It makes everything simpler. And now I am going to", "MRS. CHEVELEY. Your house! A house bought with the price of dishonour.\nA house, everything in which has been paid for by fraud. [_Turns round", "MRS. CHEVELEY. Your old friendâand mine.\n\nSIR ROBERT CHILTERN. Who?\n\nMRS. CHEVELEY. Baron Arnheim.", "of your oldest friends, one of your husbandâs oldest friends. Mrs.\nCheveley stole that letter from my rooms.", "LORD GORING. The drawback of stealing a thing, Mrs. Cheveley, is that\none never knows how wonderful the thing that one steals is. You canât", "Mrs. Cheveley. I should not fancy Mrs. Cheveley is a woman who would be\neasily frightened. She has survived all her creditors, and she shows\nwonderful presence of mind.", "[_Enter_ MASON.]\n\nLADY CHILTERN. What sort of a brooch was it that you lost, Mrs.\nCheveley?", "MRS. CHEVELEY [_Smiling_.] No, lady Markbyâa ruby.", "MRS. CHEVELEY. My dear Sir Robert, what then? You are ruined, that is\nall! Remember to what a point your Puritanism in England has brought", "MRS. CHEVELEY. Yes. I am so glad to get it back. It was . . a present.\n\nLORD GORING. Wonât you wear it?", "MRS. CHEVELEY. [_Rising and facing him_.] I mean that I know the real\norigin of your wealth and your career, and I have got your letter, too.", "LORD GORING. Mrs. Cheveley made an attempt to ruin your husband. Either\nto drive him from public life, or to make him adopt a dishonourable", "LADY CHILTERN. Has a ruby and diamond brooch been found in any of the\nrooms this morning, Mason?\n\nMASON. No, my lady.", "MRS. CHEVELEY. [_Smiling_.] Intimately. Did you?\n\nSIR ROBERT CHILTERN. At one time.", "Goring, about Mrs. Cheveley? Oh! I remember, that she was a genius in\nthe daytime and a beauty at night.", "position. From the latter tragedy you saved him. The former you are now\nthrusting on him. Why should you do him the wrong Mrs. Cheveley tried to\ndo and failed?" ], [ "MRS. CHEVELEY. Quite seriously. I want to talk to you about a great\npolitical and financial scheme, about this Argentine Canal Company, in\nfact.", "MRS. CHEVELEY. Oh, I will tell you. I wanted to interest him in this\nArgentine Canal scheme, of which I dare say you have heard. And I found", "SIR ROBERT CHILTERN. Yes. But the Suez Canal was a very great and\nsplendid undertaking. It gave us our direct route to India. It had", "SIR ROBERT CHILTERN. Mrs. Cheveley, you cannot be serious in making me\nsuch a proposition!\n\nMRS. CHEVELEY. I am quite serious.", "MRS. CHEVELEY. It was a swindle, Sir Robert. Let us call things by\ntheir proper names. It makes everything simpler. And now I am going to", "MRS. CHEVELEY. My dear Sir Robert, what then? You are ruined, that is\nall! Remember to what a point your Puritanism in England has brought", "MRS. CHEVELEY. Your old friendâand mine.\n\nSIR ROBERT CHILTERN. Who?\n\nMRS. CHEVELEY. Baron Arnheim.", "MRS. CHEVELEY. [_In her most nonchalant manner_.] My dear Sir Robert,\nyou are a man of the world, and you have your price, I suppose.", "MRS. CHEVELEY. Sir Robert, I will be quite frank with you. I want you\nto withdraw the report that you had intended to lay before the House, on", "MRS. CHEVELEY. I have invested very largely in it.\n\nSIR ROBERT CHILTERN. Who could have advised you to do such a foolish\nthing?", "MRS. CHEVELEY. A speculation, Sir Robert! A brilliant, daring\nspeculation.", "SIR ROBERT CHILTERN. If there is not, the Ambassador will certainly have\nto be recalled. Pray point out Mrs. Cheveley to me. I should like to\nsee her.", "LADY MARKBY. Let me introduce you. [_To_ MRS. CHEVELEY.] My dear, Sir\nRobert Chiltern is dying to know you!", "SIR ROBERT CHILTERN. As you choose. When I called on you yesterday\nevening I found Mrs. Cheveley concealed in your rooms. It was between", "SIR ROBERT CHILTERN. [_Looking at her in wonder_.] In my own interests?\nMy dear Mrs. Cheveley, what do you mean? [_Sits down beside her_.]", "MRS. CHEVELEY. That you must not do. In your own interests, Sir Robert,\nto say nothing of mine, you must not do that.", "SIR ROBERT CHILTERN. Mrs. Cheveley? I seem to know the name.\n\nLADY MARKBY. She has just arrived from Vienna.", "SIR ROBERT CHILTERN. You are not going to plunge us into a European war,\nI hope?\n\nMRS. CHEVELEY. There is no danger, at present!", "MRS. CHEVELEY. Your house! A house bought with the price of dishonour.\nA house, everything in which has been paid for by fraud. [_Turns round", "MRS. CHEVELEY. [_Smiling_.] Intimately. Did you?\n\nSIR ROBERT CHILTERN. At one time." ], [ "LORD GORING. Because it is found. In point of fact, I found it myself,\nand stupidly forgot to tell the butler anything about it as I was", "LORD GORING. I mean that you stole that ornament from my cousin, Mary\nBerkshire, to whom I gave it when she was married. Suspicion fell on a", "[LORD GORING _rushes to the bureau and takes up the envelope_, _finds is\nempty_, _and turns round_.]", "LORD GORING. Certainly. [_Goes to the corner of the room and pours out", "LORD GORING. Then I will go and see him myself, and tell him that a\ncertain letter, written on pink paper, is to be forwarded to Robert", "[LORD GORING _returns from the conservatory_, _looking very pleased with\nhimself_, _and with an entirely new buttonhole that some one has made for\nhim_.]", "LORD GORING. How clever of you to guess it! [_Takes up his hat and\ncane_.] Good-bye, Lady Chiltern! You will remember what I said to you,\nwonât you?", "LORD GORING. You know you are lying. Give it to me at once. [MRS.", "LORD GORING. You wretched woman, must you always be thieving? Give me\nback that letter. Iâll take it from you by force. You shall not leave\nmy room till I have got it.", "LORD GORING. [_Is a little taken aback_, _but recovers himself_.] Donât\nmention to anybody that I have taken charge of this brooch. Should any", "[_Enter_ LORD GORING _in evening dress with a buttonhole_. _He is\nwearing a silk hat and Inverness cape_. _White-gloved_, _he carries a", "LORD GORING. [_Pulls out his watch_, _inspects it_, _and rings the", "LORD GORING. Ah! I guessed as much!\n\nSIR ROBERT CHILTERN. [_Looking at him_.] Really! How?", "LORD GORING. Lady Chiltern, I have a certain amount of very good news to\ntell you. Mrs. Cheveley gave me up Robertâs letter last night, and I\nburned it. Robert is safe.", "LORD GORING. [_Takes the letter_, _examines it_, _sighs_, _and burns it", "LORD CAVERSHAM. Have you been thinking over what I spoke to you about\nlast night?\n\nLORD GORING. I have been thinking about nothing else.", "LORD GORING. Well?\n\nMRS. CHEVELEY. I find that somehow Gertrude Chilternâs dying speech and\nconfession has strayed into my pocket.", "LORD GORING. He would do what you asked him, wouldnât he?\n\nLADY CHILTERN. I think so.", "LORD GORING. It can be used as a bracelet. [_Takes it from her_, _and_,\n_pulling out a green letter-case_, _puts the ornament carefully in it_,", "LORD GORING. [_Somewhat taken aback_.] Well, yes, it isâI am bound to\nsay it is." ], [ "LORD GORING. Your letter was on pink paper. He could recognise it\nwithout reading it, couldnât he? By the colour?\n\nLADY CHILTERN. I suppose so.", "MRS. CHEVELEY. [_Catches sight of_ LADY CHILTERNâS _letter_, _the cover", "LADY CHILTERN. Let me see it.\n\n[SIR ROBERT _hands her the letter_. _She reads it_, _and then_, _with a\ngesture of passion_, _tears it up_.]", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "handwriting on Lady Chilternâs pink notepaper. That is rather curious.\nI thought Robert was to write. Wonder what Lady Chiltern has got to say", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "LADY CHILTERN. What do you mean by a foolish letter?\n\nLORD GORING. A letter gravely compromising oneâs position. I am only\nputting an imaginary case.", "LADY CHILTERN. You are not going, Robert?\n\nSIR ROBERT CHILTERN. I have some letters to write, dear.", "[_Enter_ SIR ROBERT CHILTERN.]\n\nSIR ROBERT CHILTERN. Gertrude, here is the draft of my letter. Shall I\nread it to you?", "LADY CHILTERN. Yes. You have guessed it. After you left last night I\nfound out that what she had said was really true. Of course I made\nRobert write her a letter at once, withdrawing his promise.", "LADY CHILTERN. No. The letter must be intercepted. That is all. But\nhow can I do it? Letters arrive for him every moment of the day. His", "MRS. CHEVELEY. [_With a bitter note of triumph in her voice_.] I mean\nthat I am going to send Robert Chiltern the love-letter his wife wrote to\nyou to-night.", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. Stop! Stop! Let me have time to think.", "SIR ROBERT CHILTERN. [_Bewildered and unnerved_.] Wait a moment! What\ndid you propose? You said that you would give me back my letter, didnât\nyou?", "[_Enter_ SIR ROBERT CHILTERN. _He has the letter in his hand_, _and is\nreading it_. _He comes towards his wife_, _not noticing_ LORD GORINGâS\n_presence_.]", "MRS. CHEVELEY. Thank you. [_Rises hastily and slips the letter under a\nlarge silver-cased blotting-book that is lying on the table_.]", "LADY CHILTERN. There is no disgrace in store for you, nor any public\nshame. Mrs. Cheveley has handed over to Lord Goring the document that\nwas in her possession, and he has destroyed it.", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. I have not got it with me. I will give it to you\nto-morrow.", "SIR ROBERT CHILTERN. [_Takes letter and reads it_.] A seat in the\nCabinet!" ], [ "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "CHEVELEY _pulls the letter out_, _and hands it to him_. _She is horribly\npale_.] This is it?", "LORD GORING. [_Takes the letter_, _examines it_, _sighs_, _and burns it", "[_Writes something on the envelope_. MASON _then goes out with the\nletter_.]", "MRS. CHEVELEY. Thank you. [_Rises hastily and slips the letter under a\nlarge silver-cased blotting-book that is lying on the table_.]", "MRS. CHEVELEY. You thought that letter had been destroyed. How foolish\nof you! It is in my possession.", "[_A look of triumph comes over her face_. _She is just about to steal\nthe letter_, _when_ PHIPPS _comes in_.]", "Yes, that letter. I didnât go to Lord Goringâs, after all. I felt that\nit is from ourselves alone that help can come. Pride made me think that.", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "feel. When Montford passed me your letter across the tableâhe had opened\nit by mistake, I suppose, without looking at the handwriting on the", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "What a very interesting picture! Wonder what his correspondence is like.\n[_Takes up letters_.] Oh, what a very uninteresting correspondence!", "help, as he was our oldest and best friend. Later on, after that\nterrible scene in this room, I wrote to him telling him that I trusted", "and reads it_.] Yes; that will do. [_Rings bell_.] And now the\nenvelope. [_He writes the envelope slowly_. _Enter_ MASON.] Have this", "to me. This letter of yours, Gertrude, makes me feel that nothing that\nthe world may do can hurt me now. You want me, Gertrude?", "MRS. CHEVELEY. [_Catches sight of_ LADY CHILTERNâS _letter_, _the cover", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "to me? [_Sits at bureau and opens letter_, _and reads it_.] âI want", "that terribly distresses me. Yesterday evening you wrote me a very\nbeautiful, womanly letter, asking me for my help. You wrote to me as one", "letter sent at once to Claridgeâs Hotel. There is no answer. [_Exit_\nMASON. LADY CHILTERN _kneels down beside her husband_, _and puts her" ], [ "sell you that letter, and the price I ask for it is your public support\nof the Argentine scheme. You made your own fortune out of one canal.", "debate on the Argentine Canal is to begin at eleven. [_A chair falls in\nthe drawing-room_.] What is that?", "MRS. CHEVELEY. Quite seriously. I want to talk to you about a great\npolitical and financial scheme, about this Argentine Canal Company, in\nfact.", "Besides, you are interested, I know, in International Canal schemes. You\nwere Lord Radleyâs secretary, werenât you, when the Government bought the\nSuez Canal shares?", "few words to the effect that the Government is going to reconsider the\nquestion, and that you have reason to believe that the Canal, if\ncompleted, will be of great international value. You know the sort of", "MRS. CHEVELEY. Oh, I will tell you. I wanted to interest him in this\nArgentine Canal scheme, of which I dare say you have heard. And I found", "imperial value. It was necessary that we should have control. This\nArgentine scheme is a commonplace Stock Exchange swindle.", "LADY CHILTERN. Apparently to try and lure Robert to uphold some\nfraudulent scheme in which she is interested. The Argentine Canal, in\nfact.", "LORD CAVERSHAM. What should it say, sir? Everything complimentary, of\ncourse. Chilternâs speech last night on this Argentine Canal scheme was", "subscribed, no one seems to know what has become of it. The whole thing\nis a second Panama, and with not a quarter of the chance of success that", "SIR ROBERT CHILTERN. Yes. But the Suez Canal was a very great and\nsplendid undertaking. It gave us our direct route to India. It had", "great prize, the climax of my diplomatic career. You decline. Very\nwell. If Sir Robert doesnât uphold my Argentine scheme, I expose him.\nVoilÃ tout.", "all the information about it at the Foreign Office. In fact, I sent out\na special Commission to inquire into the matter privately, and they\nreport that the works are hardly begun, and as for the money already", "the Canal depends, of course, on the attitude of England, and I am going\nto lay the report of the Commissioners before the House to-morrow night.", "for what we do. You have to pay now. Before I leave you to-night, you\nhave got to promise me to suppress your report, and to speak in the House\nin favour of this scheme.", "would disappear completely. And after all, Sir Robert, why should you\nsacrifice your entire future rather than deal diplomatically with your", "of open secret that Baron Arnheim left her the greater portion of his\nimmense fortune. Beyond that I can learn nothing.", "Suez Canal sharesâa letter written three days before the Government\nannounced its own purchase.", "This speech is the turning-point in his career, as _The Times_ points\nout. You should read this article, sir. [_Opens_ The Times.] âSir", "LORD GORING. Ah! Never heard of Canning. Never wanted to. And did . . .\ndid Chiltern uphold the scheme?" ], [ "LADY MARKBY. He has had a very interesting and brilliant career. And he\nhas married a most admirable wife. Lady Chiltern is a woman of the very", "LORD GORING. Is Lady Chiltern as perfect as all that?\n\nSIR ROBERT CHILTERN. Yes; my wife is as perfect as all that.", "MABEL CHILTERN. An ideal husband! Oh, I donât think I should like that.\nIt sounds like something in the next world.", "LADY CHILTERN. [_Taking her husbandâs hand_.] I admire him for it. I", "LADY CHILTERN. I think my husband in right in his determination, Lord\nCaversham. I approve of it.\n\nLORD CAVERSHAM. You approve of it? Good heavens!", "LADY CHILTERN. Ah! it is heresy to say that in this house, Lady Markby.\nRobert is a great champion of the Higher Education of Women, and so, I am\nafraid, am I.", "LADY CHILTERN. [_Rising and going towards her_.] You are impertinent.\nWhat has my husband to do with you? With a woman like you?", "LADY CHILTERN. [_Troubled and hesitating_.] But it is my husband\nhimself who wishes to retire from public life. He feels it is his duty.\nIt was he who first said so.", "LADY CHILTERN. A manâs life is of more value than a womanâs. It has\nlarger issues, wider scope, greater ambitions. Our lives revolve in", "LADY CHILTERN. Oh, my ambition! I have none now, but that we two may\nlove each other. It was your ambition that led you astray. Let us not\ntalk about ambition.", "LADY CHILTERN. That makes no matter. She must know at once that she has\nbeen mistaken in youâand that you are not a man to do anything base or", "LADY CHILTERN. Robert, that is all very well for other men, for men who\ntreat life simply as a sordid speculation; but not for you, Robert, not", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "LADY CHILTERN. I will love you always, because you will always be worthy\nof love. We needs must love the highest when we see it! [_Kisses him\nand rises and goes out_.]", "do. And Lady Chiltern has a very ennobling effect on life, though her\ndinner-parties are rather dull sometimes. But one canât have everything,", "LADY CHILTERN. What do you mean by a foolish letter?\n\nLORD GORING. A letter gravely compromising oneâs position. I am only\nputting an imaginary case.", "SIR ROBERT CHILTERN. I am not changed. But circumstances alter things.\n\nLADY CHILTERN. Circumstances should never alter principles!", "LORD GORING. She has mistaken her man, hasnât she?\n\nLADY CHILTERN. She is incapable of understanding an upright nature like\nmy husbandâs!", "MRS. CHEVELEY. What a charming house you have, Lady Chiltern! I have\nspent a delightful evening. It has been so interesting getting to know\nyour husband.", "LADY CHILTERN. Dear Mabel, donât talk like that. Besides, Robert thinks\nvery highly of Mr. Trafford. He believes he has a brilliant future\nbefore him." ], [ "help, as he was our oldest and best friend. Later on, after that\nterrible scene in this room, I wrote to him telling him that I trusted", "that terribly distresses me. Yesterday evening you wrote me a very\nbeautiful, womanly letter, asking me for my help. You wrote to me as one", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "Yes, that letter. I didnât go to Lord Goringâs, after all. I felt that\nit is from ourselves alone that help can come. Pride made me think that.", "feel. When Montford passed me your letter across the tableâhe had opened\nit by mistake, I suppose, without looking at the handwriting on the", "What a very interesting picture! Wonder what his correspondence is like.\n[_Takes up letters_.] Oh, what a very uninteresting correspondence!", "to me. This letter of yours, Gertrude, makes me feel that nothing that\nthe world may do can hurt me now. You want me, Gertrude?", "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "weakness in that. There is a horrible, a terrible courage. I had that\ncourage. I sat down the same afternoon and wrote Baron Arnheim the", "This speech is the turning-point in his career, as _The Times_ points\nout. You should read this article, sir. [_Opens_ The Times.] âSir", "MRS. CHEVELEY. You thought that letter had been destroyed. How foolish\nof you! It is in my possession.", "[_Writes something on the envelope_. MASON _then goes out with the\nletter_.]", "CHEVELEY _pulls the letter out_, _and hands it to him_. _She is horribly\npale_.] This is it?", "thatâthat any public man, my father, or Lord Merton, or Robert, say, had,\nyears ago, written some foolish letter to some one . . .", "LORD CAVERSHAM. Yes; here is the Prime Ministerâs letter. [_Hands\nletter_.]", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "LADY CHILTERN. What do you mean by a foolish letter?\n\nLORD GORING. A letter gravely compromising oneâs position. I am only\nputting an imaginary case.", "me. You wrote me a letter last night in which you said you trusted me\nand wanted my help. Now is the moment when you really want my help, now", "LORD GORING. [_Takes the letter_, _examines it_, _sighs_, _and burns it", "envelopeâand I read itâoh! I did not care what disgrace or punishment was\nin store for me, I only thought you loved me still." ], [ "LORD GORING. I mean that you stole that ornament from my cousin, Mary\nBerkshire, to whom I gave it when she was married. Suspicion fell on a", "hidden by the cushion_.] What is this? Some one has dropped a diamond\nbrooch! Quite beautiful, isnât it? [_Shows it to him_.] I wish it was", "MABEL CHILTERN. That is a strange request.\n\nLORD GORING. Well, you see I gave this brooch to somebody once, years\nago.", "by Gertrudeâs rudeness and sneers. I called, oh!âa little out of malice\nif you likeâbut really to ask if a diamond brooch of mine had been found.", "[_Holds up the brooch_.]", "LORD GORING. [_Is a little taken aback_, _but recovers himself_.] Donât\nmention to anybody that I have taken charge of this brooch. Should any", "LORD GORING. [_Calmly_.] Oh, ten years ago, on Lady Berkshire, from\nwhom you stole it.", "LORD GORING. I wonder who dropped it.\n\nMABEL CHILTERN. It is a beautiful brooch.\n\nLORD GORING. It is a handsome bracelet.", "could win. I hated, I despised her. She stole things, she was a thief.\nShe was sent away for being a thief. Why do you let her influence you?", "LADY CHILTERN. Has a ruby and diamond brooch been found in any of the\nrooms this morning, Mason?\n\nMASON. No, my lady.", "of your oldest friends, one of your husbandâs oldest friends. Mrs.\nCheveley stole that letter from my rooms.", "I have found the thief now, and I have heard her own confession.", "Mrs. Cheveley went. She stole my letter and sent it anonymously to you\nthis morning, that you should think . . . Oh! Robert, I cannot tell you", "LORD GORING. You know it is true. Why, thief is written across your\nface at this moment.", "LORD GORING. You wretched woman, must you always be thieving? Give me\nback that letter. Iâll take it from you by force. You shall not leave\nmy room till I have got it.", "LORD GORING. A diamond snake-brooch with a ruby?\n\nMRS. CHEVELEY. Yes. How do you know?", "common thief were better. You put yourself up to sale to the highest\nbidder! You were bought in the market. You lied to the whole world.\nAnd yet you will not lie to me.", "[_Enter_ MASON.]\n\nLADY CHILTERN. What sort of a brooch was it that you lost, Mrs.\nCheveley?", "[_A look of triumph comes over her face_. _She is just about to steal\nthe letter_, _when_ PHIPPS _comes in_.]", "Cheveley here? That woman in heliotrope, who has just gone out of the\nroom with your brother?" ], [ "Yes, that letter. I didnât go to Lord Goringâs, after all. I felt that\nit is from ourselves alone that help can come. Pride made me think that.", "help, as he was our oldest and best friend. Later on, after that\nterrible scene in this room, I wrote to him telling him that I trusted", "feel. When Montford passed me your letter across the tableâhe had opened\nit by mistake, I suppose, without looking at the handwriting on the", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "CHEVELEY _pulls the letter out_, _and hands it to him_. _She is horribly\npale_.] This is it?", "that terribly distresses me. Yesterday evening you wrote me a very\nbeautiful, womanly letter, asking me for my help. You wrote to me as one", "envelopeâand I read itâoh! I did not care what disgrace or punishment was\nin store for me, I only thought you loved me still.", "What a very interesting picture! Wonder what his correspondence is like.\n[_Takes up letters_.] Oh, what a very uninteresting correspondence!", "MRS. CHEVELEY. You thought that letter had been destroyed. How foolish\nof you! It is in my possession.", "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "[LORD GORING _rushes to the bureau and takes up the envelope_, _finds is\nempty_, _and turns round_.]", "letterâshe stole it, when or how, I donât know.", "to me. This letter of yours, Gertrude, makes me feel that nothing that\nthe world may do can hurt me now. You want me, Gertrude?", "[_Writes something on the envelope_. MASON _then goes out with the\nletter_.]", "LORD GORING. [_Takes the letter_, _examines it_, _sighs_, _and burns it", "handwriting on Lady Chilternâs pink notepaper. That is rather curious.\nI thought Robert was to write. Wonder what Lady Chiltern has got to say", "letter this woman now holds. He made three-quarters of a million over\nthe transaction.", "MRS. CHEVELEY. Thank you. [_Rises hastily and slips the letter under a\nlarge silver-cased blotting-book that is lying on the table_.]", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "Bills and cards, debts and dowagers! Who on earth writes to him on pink\npaper? How silly to write on pink paper! It looks like the beginning of" ], [ "_followed by the servant_, _who closes the door after him_. _The husband\nand wife are left alone_. LADY CHILTERN _stands like some one in a", "[_Goes out followed by_ PHIPPS. _Her face is illumined with evil\ntriumph_. _There is joy in her eyes_. _Youth seems to have come back to", "ACT III. _The Library of Lord Goringâs House in Curzon Street_.\n\nACT IV. _Same as Act II_.\n\nTIME: _The Present_", "LADY CHILTERN. Oh, I am so glad! I am so glad! [_Shakes hands with_\nLORD GORING.]\n\nLORD GORING. Thank you, Lady Chiltern.", "MABEL CHILTERN. You did?\n\nLORD GORING. Yes.\n\n[LADY CHILTERN _enters alone_. _The other guests have gone_.]", "MRS. CHEVELEY. Arthur, you loved me once.\n\nLORD GORING. Yes.\n\nMRS. CHEVELEY. And you asked me to be your wife.", "ACT DROPS\n\n\n\n\nFOURTH ACT\n\n\nSCENE\n\n\n_Same as Act II_.", "MRS. CHEVELEY. Thank you. Will you help me on with my cloak?\n\nLORD GORING. With pleasure. [_Puts her cloak on_.]", "MASON. [_Announcing guests from the top of the staircase_.] Mr. and\nLady Jane Barford. Lord Caversham.", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "LORD GORING. But I love Mabel. No other woman has any place in my life.\n\nLADY CHILTERN. Robert, if they love each other, why should they not be\nmarried?", "Gertrude. You have married a pattern husband. I wish I could say as\nmuch for myself. But since Sir John has taken to attending the debates", "LORD GORING. Robert, you are your sisterâs guardian, and I want your\nconsent to my marriage with her. That is all.", "[_The room is brilliantly lighted and full of guests_. _At the top of\nthe staircase stands_ LADY CHILTERN, _a woman of grave Greek beauty_,", "who is there. I will know who it is to whom I have told my secret and my\nshame. [_Enters room_.]", "LORD GORING. [_Arranging his necktie_.] So little that I got engaged to\nbe married to her once, when I was staying at the Tenbysâ. The affair", "MRS. MARCHMONT. [_Drawing herself up_.] Oh, dear no! They are as happy\nas possible! And as for trusting us, it is tragic how much they trust\nus.", "[_He passes from the room_. LADY CHILTERN _rushes towards him_, _but the\ndoor is closed when she reaches it_. _Pale with anguish_, _bewildered_,", "slowly_.] âI want you. I trust you. I am coming to you.â So she has\nfound out everything! Poor woman! Poor woman! [ _Pulls out watch and", "LORD GORING. I have nothing more to say.\n\nLADY CHILTERN. Robert, it was not Mrs. Cheveley whom Lord Goring\nexpected last night." ], [ "[_The room is brilliantly lighted and full of guests_. _At the top of\nthe staircase stands_ LADY CHILTERN, _a woman of grave Greek beauty_,", "FIRST ACT\n\n\nSCENE\n\n\n_The octagon room at Sir Robert Chilternâs house in Grosvenor Square_.", "MRS. CHEVELEY. What a charming house you have, Lady Chiltern! I have\nspent a delightful evening. It has been so interesting getting to know\nyour husband.", "SIR ROBERT CHILTERN. [_Throws himself into an armchair by the\nwriting-table_.] One night after dinner at Lord Radleyâs the Baron began", "_followed by the servant_, _who closes the door after him_. _The husband\nand wife are left alone_. LADY CHILTERN _stands like some one in a", "ACT III. _The Library of Lord Goringâs House in Curzon Street_.\n\nACT IV. _Same as Act II_.\n\nTIME: _The Present_", "LADY CHILTERN. Robert and I are dining at home by ourselves to-night,\nand I donât think I shall go anywhere afterwards. Robert, of course,", "LORD GORING. May I ask are you staying in London long?\n\nMRS. CHEVELEY. That depends partly on the weather, partly on the\ncooking, and partly on Sir Robert.", "MRS. CHEVELEY. Oh, no! I canât stand your English house-parties. In\nEngland people actually try to be brilliant at breakfast. That is so", "do. And Lady Chiltern has a very ennobling effect on life, though her\ndinner-parties are rather dull sometimes. But one canât have everything,", "[_Enter servant_.]\n\nJAMES. Sir Robert is still at the Foreign Office, my lord.\n\nLORD GORING. Lady Chiltern not down yet?", "MRS. CHEVELEY. Your house! A house bought with the price of dishonour.\nA house, everything in which has been paid for by fraud. [_Turns round", "MRS. CHEVELEY. [_After a pause_.] I am tired of living abroad. I want\nto come back to London. I want to have a charming house here. I want to", "ACT I. _The Octagon Room in Sir Robert Chilternâs House in Grosvenor\nSquare_.\n\nACT II. _Morning-room in Sir Robert Chilternâs House_.", "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "letter sent at once to Claridgeâs Hotel. There is no answer. [_Exit_\nMASON. LADY CHILTERN _kneels down beside her husband_, _and puts her", "MRS. CHEVELEY. [_To_ PHIPPS, _who advances towards her_.] Is Lord\nGoring not here? I was told he was at home?", "CHILTERN _and goes out_; _then comes running back_.] Oh, Gertrude, do\nyou know who is coming to see you? That dreadful Mrs. Cheveley, in a", "MRS. CHEVELEY. Later on. [_Rises_.] And now may I walk through your\nbeautiful house? I hear your pictures are charming. Poor Baron", "LADY MARKBY. Dining at home by yourselves? Is that quite prudent? Ah,\nI forgot, your husband is an exception. Mine is the general rule, and" ], [ "LORD GORING. [_Taking out old buttonhole_.] You see, Phipps, Fashion is\nwhat one wears oneself. What is unfashionable is what other people wear.", "London knows it except you. It is a public scandal the way I adore you.\nI have been going about for the last six months telling the whole of", "LORD GORING. May I ask are you staying in London long?\n\nMRS. CHEVELEY. That depends partly on the weather, partly on the\ncooking, and partly on Sir Robert.", "LADY MARKBY. Ah! my dear, you need not be nervous. You will always be\nas pretty as possible. That is the best fashion there is, and the only\nfashion that England succeeds in setting.", "MABEL CHILTERN. Tommy is the most useful person in London.\n\nLORD GORING [_Turning to her_.] And who is the most ornamental?", "far as she could see, London Society was entirely made up of dowdies and\ndandies.", "produced on me, for some days afterwards he wrote and asked me to come\nand see him. He was living then in Park Lane, in the house Lord Woolcomb", "LORD GORING. Most pretty women do. But there is a fashion in pasts just\nas there is a fashion in frocks. Perhaps Mrs. Cheveleyâs past is merely", "MABEL CHILTERN. Oh, I love London Society! I think it has immensely\nimproved. It is entirely composed now of beautiful idiots and brilliant\nlunatics. Just what Society should be.", "can, donât they? It is most fashionable. [_To_ DUCHESS OF MARYBOROUGH.]", "LORD GORING. Rather distinguished thing, Phipps. I am the only person\nof the smallest importance in London at present who wears a buttonhole.", "LORD CAVERSHAM. Never go anywhere now. Sick of London Society.\nShouldnât mind being introduced to my own tailor; he always votes on the", "MRS. CHEVELEY. [_Sitting down_.] Oh, no! A well-made dress has no\npockets.\n\nLORD GORING. What is your price for it?", "MRS. CHEVELEY. [_After a pause_.] I am tired of living abroad. I want\nto come back to London. I want to have a charming house here. I want to", "JAMES. Her ladyship has not yet left her room. Miss Chiltern has just\ncome in from riding.\n\nLORD GORING. [_To himself_.] Ah! that is something.", "LORD GORING. [_Smiling_.] And those are the views of the two ladies who\nare known to have the most admirable husbands in London.", "[LORD GORING, _dressed in the height of fashion_, _is lounging in an\narmchair_. SIR ROBERT CHILTERN _is standing in front of the fireplace_.", "LADY BASILDON. [_Turning to her_.] I have always said, dear Margaret,\nthat you were the most morbid person in London.", "VICOMTE DE NANJAC. I am so fond of eating! I am very English in all my\ntastes.\n\nLADY BASILDON. You look quite English, Vicomte, quite English.", "MRS. CHEVELEY. I quite agree with you, Lady Markby. It is nearly six\nyears since I have been in London for the Season, and I must say Society" ], [ "SIR ROBERT CHILTERN. The affair to which you allude was no more than a\nspeculation. The House of Commons had not yet passed the bill; it might\nhave been rejected.", "JAMES. Lord Caversham has been waiting some time in the library for Sir\nRobert. I told him your lordship was here.", "SIR ROBERT CHILTERN. Nothing is absolutely known against her. On the\ncontrary, she occupies a rather high position in society. It is a sort", "SIR ROBERT CHILTERN. There is some one. There are lights in the room,\nand the door is ajar. Some one has been listening to every secret of my\nlife. Arthur, what does this mean?", "SIR ROBERT CHILTERN. [_Throws himself into an armchair by the\nwriting-table_.] One night after dinner at Lord Radleyâs the Baron began", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "SIR ROBERT CHILTERN. Lord Goring is the result of Boodleâs Club, Mrs.\nCheveley.\n\nMRS. CHEVELEY. He reflects every credit on the institution.", "SIR ROBERT CHILTERN. I hope not, Lady Markby. At any rate we do our\nbest to waste the public time, donât we? But who is this charming person\nyou have been kind enough to bring to us?", "SIR ROBERT CHILTERN. [_Frowning_.] Ah! yes. I remember hearing, at the\ntime of his death, that he had been mixed up in the whole affair.", "[SIR ROBERT CHILTERN _enters_. _A man of forty_, _but looking somewhat", "SIR ROBERT CHILTERN. Yes. But the Suez Canal was a very great and\nsplendid undertaking. It gave us our direct route to India. It had", "SIR ROBERT CHILTERN. Is Mr. Trafford in his room?\n\nMASON. Yes, Sir Robert.", "SIR ROBERT CHILTERN. Yes: he knew men and cities well, like the old\nGreek.", "SIR ROBERT CHILTERN. No; he was a man of a most subtle and refined\nintellect. A man of culture, charm, and distinction. One of the most\nintellectual men I ever met.", "SIR ROBERT CHILTERN. Ah! yes. I think I know whom you mean.", "SIR ROBERT CHILTERN. [_Walking up and down_.] I have reasons now to\nbelieve that the Commission was prejudiced, or, at any rate, misinformed.", "SIR ROBERT CHILTERN. Oh! spies are of no use nowadays. Their profession\nis over. The newspapers do their work instead.", "SIR ROBERT CHILTERN. [_Looking up_.] Yes; I got a telegram from the\nfirst secretary at eight oâclock to-night.\n\nLORD GORING. Well?", "SIR ROBERT CHILTERN. [_After a pause_.] Of course I had private\ninformation about a certain transaction contemplated by the Government of", "me? You are Robertâs greatest friend. You are our greatest friend, Lord\nGoring. No one, except myself, knows Robert better than you do. He has" ], [ "LORD GORING. I am delighted to hear it. [_Bows and goes out_.]\n\nMABEL CHILTERN. Gertrude, I wish you would speak to Tommy Trafford.", "LORD GORING. But I love Mabel. No other woman has any place in my life.\n\nLADY CHILTERN. Robert, if they love each other, why should they not be\nmarried?", "MABEL CHILTERN. You did?\n\nLORD GORING. Yes.\n\n[LADY CHILTERN _enters alone_. _The other guests have gone_.]", "LORD GORING. With pleasure, Miss Mabel. [_Moves away with her_.]\n\nMABEL CHILTERN. How horrid you have been! You have never talked to me\nthe whole evening!", "LORD GORING. Dear Mabel, while you are away, there are none. It makes\nme horribly dependent on you.\n\n[_Enter_ LADY CHILTERN.]", "LORD GORING. She has mistaken her man, hasnât she?\n\nLADY CHILTERN. She is incapable of understanding an upright nature like\nmy husbandâs!", "LORD GORING. I like you immensely.\n\nMABEL CHILTERN. Well, I wish youâd show it in a more marked way! [_They\ngo downstairs_.]", "LORD GORING. Must you really? [_Kisses her_.]\n\nMABEL CHILTERN. Yes.", "LORD GORING. Because it is found. In point of fact, I found it myself,\nand stupidly forgot to tell the butler anything about it as I was", "LORD GORING. Of course. And a very sensible remark for Mrs. Cheveley to\nmake, too.\n\n[_Enter_ MABEL CHILTERN. _She joins the group_.]", "MABEL CHILTERN. You are very late!\n\nLORD GORING. Have you missed me?\n\nMABEL CHILTERN. Awfully!", "LORD GORING. [_After kissing her again_.] Of course Iâm not nearly good\nenough for you, Mabel.", "LORD GORING. Detestable.\n\nMABEL CHILTERN. I am glad you admit it. But I wish you wouldnât look so\npleased about it.", "LADY CHILTERN. Yes; but I donât know why you said it to me.\n\nLORD GORING. I hardly know myself. Good-bye, Miss Mabel!", "LORD GORING. That is the first unkind thing you have ever said to me.\nHow charmingly you said it! Ten to-morrow.\n\nMABEL CHILTERN. Sharp.", "LORD GORING. [_Triumphantly_.] No; that was a flash of genius.\n\nMABEL CHILTERN. Your first.", "LORD GORING. I think it is better that he should know the exact truth.\n\nLADY CHILTERN. [_Rising_.] Oh, I couldnât, I couldnât!", "MABEL CHILTERN. It is too late now, I suppose?\n\nLORD GORING. [_Smiling_.] I am not so sure.", "LORD GORING. I wonder who dropped it.\n\nMABEL CHILTERN. It is a beautiful brooch.\n\nLORD GORING. It is a handsome bracelet.", "SIR ROBERT CHILTERN. Are you sure of this, Gertrude?\n\nLADY CHILTERN. Yes; Lord Goring has just told me." ], [ "MRS. CHEVELEY. It was a swindle, Sir Robert. Let us call things by\ntheir proper names. It makes everything simpler. And now I am going to", "MRS. MARCHMONT. [_After a pause_.] Oh! do you really think that is what\nMrs. Cheveley meant?", "SIR ROBERT CHILTERN. Mrs. Cheveley, you cannot be serious in making me\nsuch a proposition!\n\nMRS. CHEVELEY. I am quite serious.", "MRS. CHEVELEY. [_In her most nonchalant manner_.] My dear Sir Robert,\nyou are a man of the world, and you have your price, I suppose.", "MRS. CHEVELEY. My dear Sir Robert, what then? You are ruined, that is\nall! Remember to what a point your Puritanism in England has brought", "MRS. CHEVELEY. [_With a bitter note of triumph in her voice_.] I mean\nthat I am going to send Robert Chiltern the love-letter his wife wrote to\nyou to-night.", "Mrs. Cheveley went. She stole my letter and sent it anonymously to you\nthis morning, that you should think . . . Oh! Robert, I cannot tell you", "MRS. CHEVELEY. Your house! A house bought with the price of dishonour.\nA house, everything in which has been paid for by fraud. [_Turns round", "position. From the latter tragedy you saved him. The former you are now\nthrusting on him. Why should you do him the wrong Mrs. Cheveley tried to\ndo and failed?", "Mrs. Cheveley. I should not fancy Mrs. Cheveley is a woman who would be\neasily frightened. She has survived all her creditors, and she shows\nwonderful presence of mind.", "MRS. CHEVELEY. Quite seriously. I want to talk to you about a great\npolitical and financial scheme, about this Argentine Canal Company, in\nfact.", "MRS. CHEVELEY. [_After a pause_.] Then you are going to allow your\ngreatest friend, Robert Chiltern, to be ruined, rather than marry some", "MRS. CHEVELEY. Arthur, you loved me once.\n\nLORD GORING. Yes.\n\nMRS. CHEVELEY. And you asked me to be your wife.", "LORD GORING. Mrs. Cheveley made an attempt to ruin your husband. Either\nto drive him from public life, or to make him adopt a dishonourable", "MRS. CHEVELEY. Then you must make him keep it. I give you till\nto-morrow morningâno more. If by that time your husband does not", "MRS. CHEVELEY. Sir Robert, I will be quite frank with you. I want you\nto withdraw the report that you had intended to lay before the House, on", "MRS. CHEVELEY. [_Rising and facing him_.] I mean that I know the real\norigin of your wealth and your career, and I have got your letter, too.", "MRS. CHEVELEY. [_Smiling_.] Intimately. Did you?\n\nSIR ROBERT CHILTERN. At one time.", "leave Mrs. Cheveley in your charge and call back for her in a quarter of\nan hour. Or perhaps, dear Mrs. Cheveley, you wouldnât mind waiting in", "MRS. CHEVELEY. Your old friendâand mine.\n\nSIR ROBERT CHILTERN. Who?\n\nMRS. CHEVELEY. Baron Arnheim." ], [ "LORD GORING. Your letter was on pink paper. He could recognise it\nwithout reading it, couldnât he? By the colour?\n\nLADY CHILTERN. I suppose so.", "LORD GORING. Then I will go and see him myself, and tell him that a\ncertain letter, written on pink paper, is to be forwarded to Robert", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "[_Enter_ SIR ROBERT CHILTERN. _He has the letter in his hand_, _and is\nreading it_. _He comes towards his wife_, _not noticing_ LORD GORINGâS\n_presence_.]", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. Stop! Stop! Let me have time to think.", "LADY CHILTERN. What do you mean by a foolish letter?\n\nLORD GORING. A letter gravely compromising oneâs position. I am only\nputting an imaginary case.", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. I have not got it with me. I will give it to you\nto-morrow.", "LORD GORING. Lady Chiltern, I have a certain amount of very good news to\ntell you. Mrs. Cheveley gave me up Robertâs letter last night, and I\nburned it. Robert is safe.", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "LORD GORING. Pray be calm, Lady Chiltern, and answer the questions I am\ngoing to put to you. You said his secretaries open his letters.\n\nLADY CHILTERN. Yes.", "LADY CHILTERN. Let me see it.\n\n[SIR ROBERT _hands her the letter_. _She reads it_, _and then_, _with a\ngesture of passion_, _tears it up_.]", "LORD GORING. [_Holds up letter in pink envelope_.] Ahem! Phipps, when\ndid this letter arrive?", "MRS. CHEVELEY. [_Catches sight of_ LADY CHILTERNâS _letter_, _the cover", "LADY CHILTERN. There is no disgrace in store for you, nor any public\nshame. Mrs. Cheveley has handed over to Lord Goring the document that\nwas in her possession, and he has destroyed it.", "SIR ROBERT CHILTERN. Are you sure of this, Gertrude?\n\nLADY CHILTERN. Yes; Lord Goring has just told me.", "LORD GORING. [_Takes the letter_, _examines it_, _sighs_, _and burns it", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "handwriting on Lady Chilternâs pink notepaper. That is rather curious.\nI thought Robert was to write. Wonder what Lady Chiltern has got to say", "LORD GORING. You have come here to sell me Robert Chilternâs letter,\nhavenât you?", "[_Enter_ SIR ROBERT CHILTERN.]\n\nSIR ROBERT CHILTERN. Gertrude, here is the draft of my letter. Shall I\nread it to you?" ], [ "ACT III. _The Library of Lord Goringâs House in Curzon Street_.\n\nACT IV. _Same as Act II_.\n\nTIME: _The Present_", "FIRST ACT\n\n\nSCENE\n\n\n_The octagon room at Sir Robert Chilternâs house in Grosvenor Square_.", "ACT DROPS\n\n\n\n\nFOURTH ACT\n\n\nSCENE\n\n\n_Same as Act II_.", "ACT I. _The Octagon Room in Sir Robert Chilternâs House in Grosvenor\nSquare_.\n\nACT II. _Morning-room in Sir Robert Chilternâs House_.", "[_Goes out followed by_ PHIPPS. _Her face is illumined with evil\ntriumph_. _There is joy in her eyes_. _Youth seems to have come back to", "_followed by the servant_, _who closes the door after him_. _The husband\nand wife are left alone_. LADY CHILTERN _stands like some one in a", "[_He passes from the room_. LADY CHILTERN _rushes towards him_, _but the\ndoor is closed when she reaches it_. _Pale with anguish_, _bewildered_,", "ACT DROP\n\n\n\n\nTHIRD ACT\n\n\nSCENE", "[_The Servant puts out the lights_. _The room becomes almost dark_.\n_The only light there is comes from the great chandelier that hangs over\nthe staircase and illumines the tapestry of the Triumph of Love_.]", "[_The room is brilliantly lighted and full of guests_. _At the top of\nthe staircase stands_ LADY CHILTERN, _a woman of grave Greek beauty_,", "[_Enter servant_.]\n\nJAMES. Sir Robert is still at the Foreign Office, my lord.\n\nLORD GORING. Lady Chiltern not down yet?", "letter sent at once to Claridgeâs Hotel. There is no answer. [_Exit_\nMASON. LADY CHILTERN _kneels down beside her husband_, _and puts her", "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "_He is evidently in a state of great mental excitement and distress_.\n_As the scene progresses he paces nervously up and down the room_.]", "[SIR ROBERT CHILTERN _walks up and down for a moment_; _then sits down\nand buries his face in his hands_. _The Servant enters and begins", "PLACE: _London_.\n\n _The action of the play is completed within twenty-four hours_.\n\n\n\n\nTHEATRE ROYAL, HAYMARKET", "[_They go downstairs with the other guests_, _passing_ SIR ROBERT\nCHILTERN _and_ MRS. CHEVELEY, _who now enter_.]", "when they are caught. And they are always being caught. [_Looks about\nroom and approaches the writing-table_.] What a very interesting room!", "She ultimately was so broken-hearted that she went into a convent, or on\nto the operatic stage, I forget which. No; I think it was decorative", "MABEL CHILTERN. You did?\n\nLORD GORING. Yes.\n\n[LADY CHILTERN _enters alone_. _The other guests have gone_.]" ], [ "LORD CAVERSHAM. No, sir; I have called this evening for a definite\npurpose, and I am going to see it through at all costs to my health or\nyours. Put down my cloak, sir.", "LORD CAVERSHAM. It is the secret of your motherâs happiness. You are\nvery heartless, sir, very heartless.\n\nLORD GORING. I hope not, father.", "LORD CAVERSHAM. With pleasure, and Iâll drive you down to Downing Street\nafterwards, Chiltern. You have a great future before you, a great", "LORD CAVERSHAM. Well, sir! what are you doing here? Wasting your life\nas usual! You should be in bed, sir. You keep too late hours! I heard", "LORD CAVERSHAM. Certainly, sir. I mean certainly not, air. You are\ntalking very foolishly to-night. What I say is that marriage is a matter\nfor common sense.", "MASON. Lord Caversham.\n\nLORD GORING. That admirable father of mine really makes a habit of\nturning up at the wrong moment. It is very heartless of him, very\nheartless indeed.", "LORD CAVERSHAM. [_Angrily_.] Decline a seat in the Cabinet, and retire\nfrom public life? Never heard such damned nonsense in the whole course", "JAMES. Lord Caversham has been waiting some time in the library for Sir\nRobert. I told him your lordship was here.", "LORD CAVERSHAM. Well, sir, it is only ten oâclock. What is your\nobjection to the hour? I think the hour is an admirable hour!", "MASON. [_Announcing guests from the top of the staircase_.] Mr. and\nLady Jane Barford. Lord Caversham.", "LORD CAVERSHAM. Into what?\n\nMABEL CHILTERN. [_With a little curtsey_.] I hope to let you know very\nsoon, Lord Caversham!", "LORD CAVERSHAM. Have you been thinking over what I spoke to you about\nlast night?\n\nLORD GORING. I have been thinking about nothing else.", "LORD CAVERSHAM. Hum! That is what I have come to talk to you about,\nsir. You have got to get married, and at once. Why, when I was your", "LORD CAVERSHAM. I wish you would, sir. Then I should be happy. At\npresent I make your motherâs life miserable on your account. You are\nheartless, sir, quite heartless.", "LORD CAVERSHAM. Good morning, Lady Chiltern! Warmest congratulations to\nyou, Chiltern, on your brilliant speech last night. I have just left the", "[_Enter_ LORD CAVERSHAM, _an old gentleman of seventy_, _wearing the\nriband and star of the Garter_. _A fine Whig type_. _Rather like a\nportrait by Lawrence_.]", "LORD CAVERSHAM. What is the matter with this family? Something wrong\nhere, eh? [_Tapping his forehead_.] Idiocy? Hereditary, I suppose.", "LORD GORING. Ah! that is probably the lady. I shall see her myself.\n\n[_Just as he is going towards the door_ LORD CAVERSHAM _enters from the\nsmoking-room_.]", "LADY CHILTERN. I think my husband in right in his determination, Lord\nCaversham. I approve of it.\n\nLORD CAVERSHAM. You approve of it? Good heavens!", "[_Enter_ PHIPPS.]\n\nPHIPPS. Lord Caversham." ], [ "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "LADY CHILTERN. Let me see it.\n\n[SIR ROBERT _hands her the letter_. _She reads it_, _and then_, _with a\ngesture of passion_, _tears it up_.]", "[_Enter_ SIR ROBERT CHILTERN.]\n\nSIR ROBERT CHILTERN. Gertrude, here is the draft of my letter. Shall I\nread it to you?", "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "[_Enter_ SIR ROBERT CHILTERN. _He has the letter in his hand_, _and is\nreading it_. _He comes towards his wife_, _not noticing_ LORD GORINGâS\n_presence_.]", "SIR ROBERT CHILTERN. [_Takes letter and reads it_.] A seat in the\nCabinet!", "SIR ROBERT CHILTERN. Must I write and tell her that?\n\nLADY CHILTERN. Surely, Robert! What else is there to do?", "SIR ROBERT CHILTERN. [_Sits down at the table and takes a pen in his\nhand_.] Well, I shall send a cipher telegram to the Embassy at Vienna,", "LADY CHILTERN. Yes. You have guessed it. After you left last night I\nfound out that what she had said was really true. Of course I made\nRobert write her a letter at once, withdrawing his promise.", "SIR ROBERT CHILTERN. There is some one. There are lights in the room,\nand the door is ajar. Some one has been listening to every secret of my\nlife. Arthur, what does this mean?", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. Stop! Stop! Let me have time to think.", "SIR ROBERT CHILTERN. [_Bewildered and unnerved_.] Wait a moment! What\ndid you propose? You said that you would give me back my letter, didnât\nyou?", "LADY CHILTERN. You are not going, Robert?\n\nSIR ROBERT CHILTERN. I have some letters to write, dear.", "SIR ROBERT CHILTERN. [_Throws himself into an armchair by the\nwriting-table_.] One night after dinner at Lord Radleyâs the Baron began", "SIR ROBERT CHILTERN. [_Deeply overcome by emotion_, _embraces her_.] My", "handwriting on Lady Chilternâs pink notepaper. That is rather curious.\nI thought Robert was to write. Wonder what Lady Chiltern has got to say", "SIR ROBERT CHILTERN. Ah! why did you not add you loved me?\n\nLADY CHILTERN. [_Taking his hand_.] Because I loved you.", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. I have not got it with me. I will give it to you\nto-morrow." ], [ "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "LADY CHILTERN. Let me see it.\n\n[SIR ROBERT _hands her the letter_. _She reads it_, _and then_, _with a\ngesture of passion_, _tears it up_.]", "SIR ROBERT CHILTERN. [_Takes letter and reads it_.] A seat in the\nCabinet!", "[_Enter_ SIR ROBERT CHILTERN. _He has the letter in his hand_, _and is\nreading it_. _He comes towards his wife_, _not noticing_ LORD GORINGâS\n_presence_.]", "[_Enter_ SIR ROBERT CHILTERN.]\n\nSIR ROBERT CHILTERN. Gertrude, here is the draft of my letter. Shall I\nread it to you?", "SIR ROBERT CHILTERN. [_Bewildered and unnerved_.] Wait a moment! What\ndid you propose? You said that you would give me back my letter, didnât\nyou?", "SIR ROBERT CHILTERN. There is some one. There are lights in the room,\nand the door is ajar. Some one has been listening to every secret of my\nlife. Arthur, what does this mean?", "SIR ROBERT CHILTERN. [_Sits down at the table and takes a pen in his\nhand_.] Well, I shall send a cipher telegram to the Embassy at Vienna,", "SIR ROBERT CHILTERN. Must I write and tell her that?\n\nLADY CHILTERN. Surely, Robert! What else is there to do?", "SIR ROBERT CHILTERN. [_Throws himself into an armchair by the\nwriting-table_.] One night after dinner at Lord Radleyâs the Baron began", "would disappear completely. And after all, Sir Robert, why should you\nsacrifice your entire future rather than deal diplomatically with your", "LADY CHILTERN. Yes. You have guessed it. After you left last night I\nfound out that what she had said was really true. Of course I made\nRobert write her a letter at once, withdrawing his promise.", "SIR ROBERT CHILTERN. The affair to which you allude was no more than a\nspeculation. The House of Commons had not yet passed the bill; it might\nhave been rejected.", "SIR ROBERT CHILTERN. [_Frowning_.] Ah! yes. I remember hearing, at the\ntime of his death, that he had been mixed up in the whole affair.", "SIR ROBERT CHILTERN. [_Looking up_.] Yes; I got a telegram from the\nfirst secretary at eight oâclock to-night.\n\nLORD GORING. Well?", "SIR ROBERT CHILTERN. [_With a touch of bitterness_.] I suppose I had\nbetter write it at once. Such offers are not repeated. I will ask you", "handwriting on Lady Chilternâs pink notepaper. That is rather curious.\nI thought Robert was to write. Wonder what Lady Chiltern has got to say", "CHEVELEY _pulls the letter out_, _and hands it to him_. _She is horribly\npale_.] This is it?" ] ]	[ "What is Sir Robert's profession?", "What does Mrs. Cheveley attempt to backmail Sir Robert?", "What does Lady Chiltern believe her marriage is based on?", "What do Mabel and Lord Goring find at the party?", "Who was Lord Goring formerly engaged to?", "What proof does Mrs. Cheveley have that Sir Robert made his money illegially?", "What color is the letter Lord Goring receives from Lady Chiltern?", "What does Mrs. Cheveley want from Lord Goring in exchange for Sir Robert's letter?", "Who did Mrs. Cheveley steal the diamond brooch from?", "Where does Mrs. Cheveley want Sir Robert to build a canal?", "What did Lord Goring find and take?", "What color was the letter from Lady Chiltern?", "Whaat happens to the letter?", "What happened to the Argentinian canal scheme?", "In Lady Chilterns's opinion what is a \"ideal husband\"?", "What was the context of the letter?", "Who stole the brooch from their cousin?", "What was missing from the letter?", "Who are wed i the last act?", "In the opening of the play, whose home is the dinner party held at?", "What is fashionable district in London called?", "What prestigious membership does Sir Roberts belong to?", "By the end of Act 1, what do Mabel and Lord Goring find?", "What does Mrs. Cheveley propose?", "What color is the letter Lord Goring receives from Lady Chiltern?", "In what setting does the final act take place?", "What does Lord Caversham announce before the house in the final act?", "Who's name is the letter addressed to that Sir Robert reads in the final act?", "How does Sir Robert interpret the letter he reads?" ]	[ [ "He is a member of the British House of Commons.", "member of the house of commons" ], [ "She wants Sir Robert to support an illegial scheme to build a canel in Argentina.", "a letter to Baron Arnheim" ], [ "Having an ideal husband.", "Having the ideal husband." ], [ "A diamond brooch that Lord Goring gave someone years ago.", "diamond brooch" ], [ "Mrs. Cheveley.", "Mrs. Chevely " ], [ "A lettter.", "A letter" ], [ "Pink.", "pink" ], [ "For Lord Goring to consent to marry her.", "stolen diamond brooch" ], [ "Lord Goring's cousin, Mary Berkshire.", "Mary Berkshire." ], [ "Argentina", "Argentine " ], [ "A diamond brooch", "a diamond brooch" ], [ "Pink", "Pink." ], [ "It is burned", "Mrs. Cheveley steals it " ], [ "It was denounced by Sir Robert", "Sir Robert said he didn't think it was a good anymore." ], [ "An ideal spouse both in private and public that she can worship", "A spouse that acts as expected and she can worship" ], [ "A love note", "a compromising love note" ], [ "Mrs. Cheveley", "Ms Cheveley" ], [ "The addressee", "name" ], [ "Lord Goring and Mabel", "Lord Goring and Mabel" ], [ "Sir Robert Chiltern", "sir robert chiltern" ], [ "Grosvenor Square", "Grosvenor Square" ], [ "The House of Commons", "House of Commons " ], [ "A diamond brooch ", "a diamond brooch" ], [ "She offers to give Sir Robert's letter in exchange to marry her old beau", "That she'll give Lord Robert's letter to Goring if he marries her " ], [ "Pink", "Pink" ], [ "Grosvenor Square", "Grosvenor square." ], [ "That Sir Robert's has denounced the Argentine Canal", "Nothing Sir Robert does the denouncing " ], [ "The addressee's name is not mentioned", "no one" ], [ "As a letter asking for forgiveness", "assumes it is meant for him" ] ]	ed524405685e79384ca61daa883a2c0da21cfc9c	validation
[ [ "Smithers looks up at his holoset. Hovering in front of\n him in the air is Lenina Huxley.", "SMITHERS\n (this again)\n Yeah. <u>BE</u> well. Lieutenant\n Lenina Huxley.", "He kisses her back on the cheek. She smiles, they\n hug. Lenina watches from nearby.", "A pair of frosted doors reading S.A. and P.D. slide open\n to the presence of Lenina Huxley. She enters into a", "She turns quickly to a cabinet and removes two strange\n high-tech helmets and a towel. Lenina, all excited, puts\n one of the helmets on his head and hands him the towel.", "HUXLEY (V.O.)\n Huxley, coding off.\n\n\n INT. LENINA'S POLICE CAR - MOVING - NIGHT", "Spartan tosses Lenina a suavely-knitted sweater of\n familiar red yarn.\n\n SPARTAN\n This is for you, Huxley.", "Lenina removes her helmet with some confusion and hurt.\n\n HUXLEY\n But... but I thought you wanted\n to make love.", "LENINA'S APARTMENT - NIGHT\n\n Lenina's CAR WHIRRS up to two giant, geometric buildings.", "SPARTAN\n Huxley. Stop. I'm not any of\n that... I'm nothing.\n\n Touched, Lenina hands Spartan a small, unusual box.", "Huxley finishes primping. Hits a button. The dash\n unfolds, a steering wheel emerges, locks into place.\n Lenina calls out as she activates her badge.", "LAMB\n You don't get it, Lenina Huxley.\n Phoenix isn't coded. He got", "stares out his window in amazement at the shiny, happy\n people in the happy shiny city. Meanwhile, Lenina and\n Garcia are staring through a rearview screen at Spartan", "Huxley punches madly away. An ACCESS DENIED sign flashes\n on the screen, cutting her off. Lenina gets into a\n little more furious COMPUTER playing until she gets a\n violent BEEP.", "Lenina is waiting outside her car as Spartan emerges from\n the building.\n\n HUXLEY\n (all business)\n Detective...", "Behind the wheel, the mischievously-beautiful LENINA\n HUXLEY. A heads up display announces she is calling", "Emotions are still a little frayed at the station, but a\n certain peace has returned. Lenina approaches the Tough-\n looking Cop. They again exchange nontouching circular\n hand spins.", "HUXLEY (IMAGE)\n I find this lack of stimulus truly\n disappointing... Don't you think?\n\n\n INT. LENINA'S POLICE CAR - DAY", "HUXLEY\n Oh, thanks...\n\n\n INT. LENINA'S POLICE CAR - DAY", "HUXLEY\n Huxley, Lenina. Coding on.\n\n A serenely annoying VOICE answers her" ], [ "No one can mistake him for an exiting patron. He\n radiates attitude. Spartan picks up his pace. The food", "LAMB\n I knew him. We all knew him. He's\n evil like you've only read about,\n girl. He's...", "And misses the fact that Francis is coming up from\n behind. He slaps the baton out of her hand. Grabs", "Simon feels his foot stuck. And as he looks down in\n consternation, realizes in shock what's happened and\n then looks up, Spartan hits him straight from the", "Everything has become so slick, the recoil drives him back\n across the ice into the open. Spartan sees him, FIRES.", "Huxley visibly recoils. The morality box BRAAAPS. It\n never gets any further. Spartan shoots it without a\n look, dead center. His eyes never leave Cocteau.", "her around the neck, lifts her in the air. Begins to\n strangle her to death. She kicks and claws at him\n without effect.", "The room bursts into flames. He throws back his head and\n laughs. Spartan dives on him. Tries to hurl them both\n through the window.", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "Huxley and the restaurant patrons rush up to give him a\n blast of adulation. Spartan's attention stays on the\n fleeing Scraps.", "Spartan looks up and growls. Strides to the GTO. Huxley\n jumps in beside. He floors it. Huxley's head flies back", "Phoenix jumps on him and slams his head repeatedly\n against the hundred mile an hour ground rushing by as\n the car drives itself.", "feet. Keeps FIRING. Albert goes down. He's not going\n to get back up again. Payne rises to his feet FIRING a", "They turn and run away. Simon leaps over the squad car.\n Now he's in front of them. They freeze.", "And then... it gets worse. A NOISE from above. Beppo\n appears. Hangs from a firm support. He begins to stomp\n on Spartan's fingers. Laughing wildly.", "is kill this guy, named <u>Raymond</u>,\n who put it all together. Then\n as an added bonus, you get to kill", "Smithers crawls over his table, breaks for the door.\n Phoenix effortlessly latches out to his fleeing neck\n and pulls him face-to-face as the Guards behind them", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "Reaches up. Grabs the pipe, wrests it over, directs\n the blast at Phoenix. Holds it steady. Phoenix is", "The Scraps freeze for a moment. This guy means business\n in a way they've never seen before. But Spartan is dis-\n tracted for a moment by an excited yell --" ], [ "HUXLEY\n The Santa Barbara, Los Angeles,\n San Diego metroplex merged in\n 2011. You are in the center of\n what used to be Los Angeles.", "to impair the harmony of San\n Angeles. They are but vandals\n and Visigoths.\n (then)", "ever so briefly but I was\n groveling in fear in the humus at\n the time. You have had quite the\n exciting first day in San Angeles.", "execution of what we now call...\n (gestures proudly)\n San Angeles, a city as fine as any\n one of the holding facilities", "A wall on the side of the station house suddenly becomes\n translucent. A map of San Angeles filling the wall. A\n small red dot blinking in the middle.", "Forty-four years ago when Los\n Angeles exploded in violenceAnger,\n violenceHatred and violenceFear,\n a disease had erupted... A disease", "swiveling mounts. Each screen has the face of a San\n Angeles department head and his/her sphere of responsi-\n bility: PublicWorks, Orderly Conduct, Public Dietary", "the chance to make things right,\n I grabbed it. San Angeles would\n not be here. It would be your\n pit of stench.", "a reason. Not for your personal\n amusement. Your job is to kill\n this nuisance, Thomas Payne no\n one else in San Angeles can", "me to notify the San Angeles\n Police Department. Please remain\n here for your reprimand.", "The smoke clears. They're in downtown 20th Century\n L.A. They've dropped into the archeological exhibit we", "against her seat. The GTO THUNDERS out onto a shiny new\n San Angeles boulevard.", "COCTEAU\n (lost in his\n own reverie)\n Other cities will follow. San", "He looks at her like she's nuts.\n\n GARCIA\n There have been no deaths of\n unnatural causes in San Angeles\n in the last sixteen years.", "Spartan bends down to the little girl. Unclenches his\n fist. His LAPD badge inside. Pins it on the little\n girl, KATIE.", "The adrenaline in the control room surges. Tears are\n being wiped away. Justice is near.\n\n\n EXT. HOLLYWOOD AND VINE - DAY", "Central L.A. M.D.K.'d whatever\n got in his way. In a bad time,\n he was the worst.", "A flustered Earle gives a look to the morality box.\n Spartan turns to another vid screen. A map of San\n Angeles on it.", "She holds out a tarnished barely recognizable gold LAPD\n shield on a chain. Drapes it over his neck. She hugs\n him.", "(off his confused\n look)\n Uh, she died. In an earthquake.\n <u>The</u> earthquake." ], [ "The museum is located in the Cocteau complex. Phoenix\n wanders through a hall arrayed with displays of various", "INT. MUSEUM - ARMORY ROOM - DAY\n\n Phoenix stands behind the Civil War cannon.", "Not quite. Growls. A MUSEUM HELPER/GUARD comes into\n the room. Moves towards the annoyed Phoenix smiling\n pleasantly.", "Cocteau continues his eerie soliloquy, feeding Phoenix's\n amusement. Phoenix walks behind him under this, takes out\n a knife and behind Raymond's back, tries desperately to\n kill him. He can't.", "him again. Phoenix's steering wheel locks up and his\n seat restraint pops up as he races out of control for the\n station. He screams in rage.", "escaped cryocon, Mr. Simon Phoenix,\n may be on his way to the Museum of\n Art and History in your complex.", "Phoenix is ready to punch in the screen when two S.A.P.D.\n patrol cars pull to a dramatic halt behind him.\n\n PHOENIX\n Oooh, fuckers are fast, too.", "Phoenix steps off to one side, pulls an old Airweight out\n of his belt. Aims it at Cocteau, tries, tries to pull\n the trigger. Isn't going to happen. He grunts in\n frustration.", "A surveillance camera shot shows the image of the explo-\n sion at the museum. Spartan pops the disc and puts\n another in. This time the surveillance village shows", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "all the difficulties in life.\n Even now I am beginning to wonder\n if the fracas in the museum was\n the result of Mr. Phoenix's", "Phoenix sees the truck collide with the pod, BLASTING it\n to smithereens. He laughs as he enters a long tunnel.\n\n\n INT. LONG TUNNEL - NIGHT", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "locks onto Phoenix as he stands at the information kiosk.\n The police can be seen moving in. The cops in the squad\n room begin cheering.", "INT. STOLEN POLICE CAR - NIGHT\n\n Phoenix shouts at the car ---\n\n PHOENIX\n Open doors! Emergency!", "Phoenix's vehicle slaps the street curb and begins to\n roll, convulsing into a spectacularly flaming series of\n somersaults that violently climax at the base of the\n SAPD sign in front of the station.", "from Phoenix's grasp. Just manages to trap it against\n the side of the car as it falls. Snatches it up, lifts\n it up to take aim as ---", "The truck and Phoenix's car ROAR out of the tunnel and\n move straight for the police station. The truck smashes", "Phoenix finishes a final keystroke. The graffiti remov-\n ing shock poles burst from the building beside them.\n Fires. Electrocutes and cooks one of the cops.", "A BULLET WHISTLES by, barely missing Bob. He hurls\n himself into the dirt. Cocteau turns to face a jazzed-\n up Phoenix, still draped in weapons, the AcMag tucked in\n his belt." ], [ "The Tactical Fire Response vehicles have arrived. Fully-\n armored firemen wearing bulletproof gear fight the blaze.\n Spartan continues to stride away. And then everything", "Behind him, in front of two locked doors, are a pair of\n prison guards in odd, heavily-insulated uniforms. Tanks,", "He does. They come wildly awake, GUNTHER, HOWIE,\n IGNATIOUS, and JED. Eyes wide, jittery, completely\n cranked. Phoenix keeps it simple ---", "Spartan does. The man with the gun is Payne. Six other\n SCRAP TOUGHS have the drop on Lenina and Garcia with", "They turn and run away. Simon leaps over the squad car.\n Now he's in front of them. They freeze.", "Simon pounds a rushing up Garcia unconscious in a single\n blow. Recovers and empties a TOMMY GUN at the crowd.", "Gunther lets out the kind of scream the NFL would be\n proud of. Charges out the door, others behind him.\n\n\n INT. CRYO PRISON - LOBBY - NIGHT", "He's concerned when there're no shots fired. He oughta\n be. Phoenix drops in a cannon ball. Lights the fuse.\n Aims.", "The PILOT takes a thermogram of the building in the\n middle of the compound. We see a series of heat-outlined\n figures moving inside.", "West. Hurting people is not a\n good time. Well, sometimes it\n is... but not when it's just a\n bunch of guys who want something", "As they enter, a periscope pipe pops up, looks around,\n disappears. No one notices it.\n\n\n INT. TACO BELL - FRONT COUNTER AREA - NIGHT", "The elevator slides open. Danzig, Elvin and Francis\n spray it with GUNFIRE. It's empty. Spartan and Huxley\n slip in through a side door around the corner.", "Spartan heads for the door. Garcia has a distraught\n moment before following. Garcia hands Spartan a stun\n baton. It SPARKS to life.", "Spartan yanks out the Beretta. Associate Bob backs\n away while glancing furtively at a closed door. BLAM.\n BLAM. BLAM. Shoots out three of the screens.", "SQUAD LEADER\n Simon Phoenix, lie down and put\n your hands behind your back.\n\n Phoenix lets off a laugh.", "THOMAS PAYNE, a young wild-haired madman in some kind\n of ancient mechanics coveralls watches through the\n periscope.", "The adrenaline in the control room surges. Tears are\n being wiped away. Justice is near.\n\n\n EXT. HOLLYWOOD AND VINE - DAY", "SPARTAN\n Guess you people weren't part of\n the Cocteau plan.\n\n PAYNE\n Man, this is the Cocteau plan.", "A wall on the side of the station house suddenly becomes\n translucent. A map of San Angeles filling the wall. A\n small red dot blinking in the middle.", "Spartan still waits. A crowd begins to grow. Payne,\n despite the fact that he's the guy with the gun, decides\n to answer." ], [ "The scene of the Scraps' food truck attack. As, ON THE\n CUT, Spartan wrenches off one of the steel planks. It", "Every Scrap can see. The two hang on a suspension grid\n of an old rusty rebar, directly over one of the WHIRRING", "Two other Scraps attack him. Spartan fends off one,\n shotputs the other into the WINDOW, this time SHATTERING\n it competely.", "Huxley and the restaurant patrons rush up to give him a\n blast of adulation. Spartan's attention stays on the\n fleeing Scraps.", "The Scraps unearth half-a-dozen large explosive devices.\n Spartan loads them into the GTO. Earle is ready to cry\n when he sees all this. A catastrophe averted, but --", "Scraps crawl for cover. Payne and two others FIRE back.\n Phoenix disappears. Spartan blitzkriegs out of the\n refuse. Crazed.", "The Scraps freeze for a moment. This guy means business\n in a way they've never seen before. But Spartan is dis-\n tracted for a moment by an excited yell --", "Earle and Huxley follow his glance. Coming across the\n green, a horde of Scraps, armed to the teeth, carrying", "Two other equally disreputable types are with him.\n SCRAPS, leftovers from the perfect world above.", "thirty Scraps attack and loot. Spartan sees there's a\n lot of them here. A whole lot.", "A SCRAP appears beside Spartan, swinging a pair of\n nunchucks made from two knobby table legs.", "Spartan latches onto a nunchuck in the air as it comes\n toward him. Yanks it forward as he shoves the Scrap\n backward into the food store window. The Scrap bounces", "Three more Scraps come charging out of the store.\n Clutching packages. They hurl EXPLOSIVE DEVICES towards\n Spartan to make their escape.", "Huxley, Garcia, and the Scraps who have a clue dive as\n the ACMAG FIRES with the resulting tremendous EXPLOSION.", "Lenina, and the rest of the restaurant gather at the\n window to ooh in fear. Cocteau scowls angrily at the\n Scraps.", "Spartan stops. Backs away. Watches oddly as the Scrap\n escapes. He lets them go. Steps back away as the others", "COCTEAU\n We call them Scraps. Voluntary\n outcasts, they cower beneath us\n in sewers, abandoned tunnels...", "Spartan goes back to staring out the window. Two, three,\n then four Scraps loitering, looking around, they've done", "Way up ahead, amid the flames, is a fortress. A square\n city block. Walled. Something out of the middle ages.\n The walls are entirely made from stacked abandoned cars.", "Spartan stares out the window. Across the street he sees\n a scragly SCRAP on a sputtery patched together motor bike\n in front of a large food store across the street." ], [ "cryoprison and I'm Betsy fucking\n Ross and Phoenix comes out and he\n can access computers, operate all\n vehicles, find the locations of", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "With a LOUD BUZZ, the electronic MANACLES around\n Phoenix's arms and feet fly open. Phoenix knows a good", "INT. CRYO-PRISON - DAY\n\n The conference area wall slides open, revealing Simon\n Phoenix, elegantly holding the warden's detached eyeball.", "INT. CRYO PRISON - OUTER THAWING ROOM - NIGHT\n\n Med Techs scramble furiously. Phoenix grabs the glowing\n CompuClipboard from Bob.", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "PHOENIX\n So lemme get this straight -- they\n defrosted you just to lassoo my\n piddly ass?", "INT. CRYO-PRISON - CONFERENCE AREA - DAY\n\n Simon Phoenix is still fighting to shake off his\n defrosted confusion. Locks eyes with the warden.", "HUXLEY\n This morning Phoenix escaped from\n this cryo facility. We've had\n nine murder death kills so far.", "Phoenix finishes a final keystroke. The graffiti remov-\n ing shock poles burst from the building beside them.\n Fires. Electrocutes and cooks one of the cops.", "Phoenix is ready to punch in the screen when two S.A.P.D.\n patrol cars pull to a dramatic halt behind him.\n\n PHOENIX\n Oooh, fuckers are fast, too.", "Phoenix smashes Guard One in the neck. Left handed.\n Crushes his larynx. The Guard falls dying to the ground.", "On the top level of the cryo prison, the first batch\n of raving psychopath defrosted cryocons wanders in\n to watch John Spartan die.", "Four pucks are being rapidly removed from around the\n cryocons inside by the cutting lasers. They go blue.\n\n\n INT. CRYO PRISON - OUTER THAWING ROOM - NIGHT", "Gunther lets out the kind of scream the NFL would be\n proud of. Charges out the door, others behind him.\n\n\n INT. CRYO PRISON - LOBBY - NIGHT", "S.A.P.D. and immediate assignment\n to the apprehension of Simon\n Phoenix, or you can go back into\n cryo-stasis.", "Punches another button. The map is replaced with an\n image from the Cryo-Prison. Two dead guards. Warden\n Smithers crawling painfully toward the door. It's a\n brutal image.", "The Guard looks at him in total confusion. Phoenix grabs\n him by the lapels and shot-puts him across the room into\n the GLASS. This time it SHATTERS impressively.", "INT. CRYO PRISON - MAIN ROOM - DAY (2042)", "CUT TO:\n\n\n INT. CRYO-PRISON - MAIN ROOM - DAY" ], [ "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "Phoenix still has a free hand. Smashes a nerve center\n on the side of Spartan's neck. Spartan twitches visibly\n from it. Grunts.", "They hurl themselves together again. Spartan lands a\n horrific blow. All but drives Phoenix's nose and eye\n sockets through the back of his head. Spartan's", "Phoenix screams in rage as Spartan's hand comes at him\n and grabs him by the hair, yanking Phoenix's head back.", "Spartan continues to fight back, smashing Phoenix, but\n he's forced to avoid the close calls with cars, street", "Spartan punches him right, left, right in the sternum.\n Phoenix coughs blood, spits it away.\n\n Steps back to launch a mighty blow at Spartan and --", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "Phoenix leaps back up, triple-punches Spartan in the\n chest. Spartan's hands come free, he falls back, as", "Spartan lands behind him, coming around with an elbow\n into Phoenix's kidney, causing Phoenix to drop the MTL.", "The battle continues. The two trading blow for blow in\n this fiery arena. The two men are practically on fire.\n Finally Spartan knocks Phoenix cold, a clean shot", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "Spartan can hear Phoenix CLATTERING off up a culvert\n behind him. He bolts up after him.\n\n\n INT. WASTELAND - CULVERT - NIGHT", "Spartan activates the stun baton. Phoenix is racked with\n pain. Rattled and shaken by the charge. Involuntary\n shudders. Yanks himself clear with a wild grin.", "SPARTAN\n Phoenix is a complete meglomaniacal\n fucking psychopath. And the first", "Spartan looks up to see Phoenix and a wall of water\n headed his way.\n\n SPARTAN\n Oh shit.", "Spartan can't see it, but there's a kitchen match tucked\n behind Simon's ear. Phoenix reaches up to scratch\n another itch. Frees the match in one gestures, strikes", "Spartan is hoisted high in air, smashed again and again\n against a pillar. Phoenix slams him through a web of", "Spartan keeps the guns trained on Phoenix. Simon\n scratches his arm. It's a junkie's twitch. Or is it...", "Spartan ducks back from Phoenix's stream of bullets.\n Smashes the machine gun against the car, knocking it", "Phoenix is knocked to his side. Sidekicks Spartan dead\n in the groin. Spartan folds." ], [ "CUT TO:\n\n\n INT. CRYO-PRISON - MAIN ROOM - DAY", "INT. CRYO PRISON - MAIN ROOM - DAY (2042)", "On the top level of the cryo prison, the first batch\n of raving psychopath defrosted cryocons wanders in\n to watch John Spartan die.", "(as Spartan looks\n over her shoulder)\n He's accessed the cryoprison.\n He's about to defrost the entire", "Four pucks are being rapidly removed from around the\n cryocons inside by the cutting lasers. They go blue.\n\n\n INT. CRYO PRISON - OUTER THAWING ROOM - NIGHT", "Smithers grumbles past a barely conscious cryo-prisoner,\n who is strapped atop a sleek, thin, and uncomfortable", "Seventy pucks are stacked and loaded to be defrosted.\n Med Techs scramble furiously.\n\n\n INT. CRYO PRISON - INNER THAWING ROOM - NIGHT", "INT. CRYO PRISON - OUTER THAWING ROOM - NIGHT\n\n Med Techs scramble furiously. Phoenix grabs the glowing\n CompuClipboard from Bob.", "are to be returned to your cryo-\n cell immediately... 'Mr. Horace\n Bateman.' Do you understand what\n I've said...", "INT. CRYO-PRISON - DEFROSTING CHAMBER - DAY", "The displays all read: CRYO PRISONER EXITED. Yeeesh.\n There's a lot of them that way. A WHIR, followed by\n TROTTING FOOTSTEPS.", "INT. CRYO PRISON - MAIN ROOM - DAY", "The inner room splits open and the Med Techs rush in to\n the four thawed cryocons as Associate Bob steps away from\n a VidScreen with some concern ---", "Gunther lets out the kind of scream the NFL would be\n proud of. Charges out the door, others behind him.\n\n\n INT. CRYO PRISON - LOBBY - NIGHT", "INT. CRYO PRISON - OUTER THAWING ROOM - NIGHT\n\n A frenzy of activity. Simon, Associate Bob, Techs\n everywhere...", "INT. CRYO PRISON - MAIN ROOM - NIGHT\n\n Spartan prowls through the now depleted multilifer wing.\n Empty pods everywhere.", "He turns and quietly starts dispensing instructions to\n the cryocons.\n\n\n BACK TO SCENE", "PHOENIX\n Hey wake up. Good. Listen to\n me. You've just been defrosted.", "Half a beat. Realizes what he's done. In the next\n moment, four insane megadrenalized cryocons come", "HUXLEY\n All units, all units.\n ProtectServe Cryoprison. Simon" ], [ "Without a second beat, Phoenix SHOTGUNS them both. In\n the background we can hear the ALARM change \"RUN.\n RUN...\"", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "Gunther lets out the kind of scream the NFL would be\n proud of. Charges out the door, others behind him.\n\n\n INT. CRYO PRISON - LOBBY - NIGHT", "Spartan stops. Backs away. Watches oddly as the Scrap\n escapes. He lets them go. Steps back away as the others", "The room bursts into flames. He throws back his head and\n laughs. Spartan dives on him. Tries to hurl them both\n through the window.", "The three move along taking in the curious but\n unfrightened glances. More than one person recognizes\n Spartan from the battle the night before. You can feel\n the buzz work down the street.", "The elevator slides open. Danzig, Elvin and Francis\n spray it with GUNFIRE. It's empty. Spartan and Huxley\n slip in through a side door around the corner.", "escape. They don't know why he changed his mind, but\n they're not staying around to find out.", "Spartan chokes back a sob. Stands back up. Kisses his\n wife. Everything that can be said, has been said. They\n kiss again.", "The Cryocons OPEN UP with all manner of WEAPONRY on the\n crowd. Mayhem and slaughter. Huxley and Garcia have", "beam shifts in the wreckage. It's a big beam. It moves\n aside. Spartan emerges dragging his prisoner out behind", "Payne's got things to do, people to see. Takes off down\n the tunnel. The other two follow. As the periscope\n ducks back down ---", "Spartan bashes the robot arm out of the way. Picks\n up the vial. Looks around desperately. No point using", "feet. Keeps FIRING. Albert goes down. He's not going\n to get back up again. Payne rises to his feet FIRING a", "They all watch warily. Spartan comes to with a start.\n Looks up at them. Looks around quickly for any immediate\n threat. Sees none. Tries to stand. Can't yet.", "One gun goes flying. Spartan beats on Howie with his\n free hand. Ignacious fights for control of his gun\n hand.", "Spartan's still busy with Danzig. She starts to choke.\n Francis brings her closer to watch her die. A beat of", "Spartan launches himself at the guard. Hammers his head\n against the floor. This guy is not getting up again for", "The Scraps unearth half-a-dozen large explosive devices.\n Spartan loads them into the GTO. Earle is ready to cry\n when he sees all this. A catastrophe averted, but --", "The nearest cops approach with their stun batons. Simon\n kills them both. It doesn't take long. He breaks a" ], [ "He kisses her back on the cheek. She smiles, they\n hug. Lenina watches from nearby.", "She kisses him. Long and hard. Breaks.\n\n HUXLEY\n Welcome to the future, John\n Spartan. Now that you've\n destroyed everything.", "HUXLEY\n (understands)\n Done.\n (as she turns to the", "SPARTAN\n There's no kissing anymore...?\n I was a good kisser...\n\n HUXLEY\n Ughh.", "Spartan grabs her. Lays a real kiss on her. Long and\n hard. She comes up for air, gasping, eyes shiny.", "Huxley looks seriously pleased and flattered. Spartan\n just has no clue as to this choice of restaurants.\n Huxley discreetly elbows him. Hard.", "Huxley punches madly away. An ACCESS DENIED sign flashes\n on the screen, cutting her off. Lenina gets into a\n little more furious COMPUTER playing until she gets a\n violent BEEP.", "Lenina removes her helmet with some confusion and hurt.\n\n HUXLEY\n But... but I thought you wanted\n to make love.", "HUXLEY\n That was it? That's the whole\n kissing thing? What was Cocteau\n so worried about?", "Huxley and the restaurant patrons rush up to give him a\n blast of adulation. Spartan's attention stays on the\n fleeing Scraps.", "Huxley is nauseous.\n\n GARCIA\n Oh my...", "Smithers looks up at his holoset. Hovering in front of\n him in the air is Lenina Huxley.", "Spartan's grin, though it seems impossible, gets wider.\n He kisses her on the forehead. Holds her back out at\n arm's length, just looking at her with this great big\n smile...", "Spartan tosses Lenina a suavely-knitted sweater of\n familiar red yarn.\n\n SPARTAN\n This is for you, Huxley.", "Huxley finishes primping. Hits a button. The dash\n unfolds, a steering wheel emerges, locks into place.\n Lenina calls out as she activates her badge.", "A beat of open-mouthed amazement and enjoyment and then\n Spartan tears the helmet from his head and throws down\n his towel with a mixture of confusion and anxiety.\n Lenina is still seated across the room.", "SPARTAN\n Huxley. Stop. I'm not any of\n that... I'm nothing.\n\n Touched, Lenina hands Spartan a small, unusual box.", "She turns quickly to a cabinet and removes two strange\n high-tech helmets and a towel. Lenina, all excited, puts\n one of the helmets on his head and hands him the towel.", "A pair of frosted doors reading S.A. and P.D. slide open\n to the presence of Lenina Huxley. She enters into a", "Huxley and Spartan walk up to a sultry future version of\n a Taco Bell order counter. Spartan is trying to" ], [ "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "They hurl themselves together again. Spartan lands a\n horrific blow. All but drives Phoenix's nose and eye\n sockets through the back of his head. Spartan's", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "Phoenix still has a free hand. Smashes a nerve center\n on the side of Spartan's neck. Spartan twitches visibly\n from it. Grunts.", "Spartan continues to fight back, smashing Phoenix, but\n he's forced to avoid the close calls with cars, street", "Spartan ducks back from Phoenix's stream of bullets.\n Smashes the machine gun against the car, knocking it", "Spartan lands behind him, coming around with an elbow\n into Phoenix's kidney, causing Phoenix to drop the MTL.", "Spartan can hear Phoenix CLATTERING off up a culvert\n behind him. He bolts up after him.\n\n\n INT. WASTELAND - CULVERT - NIGHT", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "Two other Scraps attack him. Spartan fends off one,\n shotputs the other into the WINDOW, this time SHATTERING\n it competely.", "Spartan is hoisted high in air, smashed again and again\n against a pillar. Phoenix slams him through a web of", "Spartan activates the stun baton. Phoenix is racked with\n pain. Rattled and shaken by the charge. Involuntary\n shudders. Yanks himself clear with a wild grin.", "Spartan comes crashing out of the wreckage. Loading\n the Beretta as he runs, a crazed scowl on his face.\n Phoenix leaps the wall.", "Spartan punches him right, left, right in the sternum.\n Phoenix coughs blood, spits it away.\n\n Steps back to launch a mighty blow at Spartan and --", "The pipe \"T\"s at the top. Spartan mantles up as Phoenix\n CLATTERS off. Down below in the pipe, the sound of", "The battle continues. The two trading blow for blow in\n this fiery arena. The two men are practically on fire.\n Finally Spartan knocks Phoenix cold, a clean shot", "Spartan wrenches the pipe over to the claw arm. Holds\n it directly over one joint. Then clobbers it with\n the pipe. It SHATTERS. He drops.", "shield. It's like a video game. Phoenix's fishtailing\n brings him into the sights. Spartan FIRES. His own", "saw before. Spartan, shaking off the fall, finds himself\n weaponless. Phoenix is spinning madly around, AcMag in\n one hand, an Ingram from his shoulder bag in the other.", "The Guard looks at him in total confusion. Phoenix grabs\n him by the lapels and shot-puts him across the room into\n the GLASS. This time it SHATTERS impressively." ], [ "They all watch warily. Spartan comes to with a start.\n Looks up at them. Looks around quickly for any immediate\n threat. Sees none. Tries to stand. Can't yet.", "Spartan stops dead. He looks sick. Healy's not\n thrilled, but he knows what's required of him --", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "Spartan launches himself at the guard. Hammers his head\n against the floor. This guy is not getting up again for", "Healy continues to shake his head in consternation. No\n way he believes that... Spartan ignores him. Wipes the\n soot from his face. Shakes his head in disgust, walks\n away...", "SPARTAN\n Old trick.\n\n HUXLEY\n Old criminals.", "Spartan's grin, though it seems impossible, gets wider.\n He kisses her on the forehead. Holds her back out at\n arm's length, just looking at her with this great big\n smile...", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "The three move along taking in the curious but\n unfrightened glances. More than one person recognizes\n Spartan from the battle the night before. You can feel\n the buzz work down the street.", "Spartan looks up and growls. Strides to the GTO. Huxley\n jumps in beside. He floors it. Huxley's head flies back", "SPARTAN\n (shaking it off)\n How long have I been under?\n\n HUXLEY\n Forty-four years.\n\n Whoa...", "SPARTAN\n (beat; dry)\n Better.\n\n HUXLEY\n (beat)\n Better??! Oh. My.", "SPARTAN\n Oh. Great plan.\n\n EARLE\n Thank you.", "Spartan grabs her. Lays a real kiss on her. Long and\n hard. She comes up for air, gasping, eyes shiny.", "Spartan feels the rebar starting to fail around him. As\n he tries to haul himself up, it just gives way more. The", "Spartan turns, starts towards the Cryo prison. As he\n walks --- Takes a deep breath. Loosens up his right", "Spartan <u>remembers</u>. The freezer was bad, way bad. He\n swallows hard and --\n\n\n EXT. CRYO-PRISON - DAY", "SPARTAN\n Guess so.\n\n HUXLEY\n They've got him trapped in section\n eight.", "The technicians attempt to help Spartan into the chamber.\n He shakes them off to stagger down on his own. Let's not\n kid ourselves, he's scared --" ], [ "Cocteau continues his eerie soliloquy, feeding Phoenix's\n amusement. Phoenix walks behind him under this, takes out\n a knife and behind Raymond's back, tries desperately to\n kill him. He can't.", "Spartan bursts in, gun drawn. No one's there. Spins,\n checks everywhere. Spots a very dead Raymond Cocteau.\n Huxley sees him a moment later.", "Cocteau is in a corner of the room in front of a private\n Vidhead. Spartan stands with Beretta pointed directly\n at him. Nonetheless, Cocteau remains his arrogant self.", "quivers. He wants to kill, but he can't. Cocteau\n folds his arms.", "The Beretta appears next to Cocteau's head onscreen.\n\n CUT TO:", "Elvin empties all six shots into Cocteau's very surprised\n face.\n\n Associate Bob looks on from the corner. A little\n frightened, but not giving a shit about Cocteau.", "Huxley visibly recoils. The morality box BRAAAPS. It\n never gets any further. Spartan shoots it without a\n look, dead center. His eyes never leave Cocteau.", "Cocteau smiles. Simon tosses the gun to Elvin.\n\n PHOENIX\n You try to kill him. This is\n beginning to piss me off.", "Cocteau and Associate Bob walking through the courtyard.\n Then the gunshot. Then finally Spartan comes to the\n strange face-to-face between Cocteau and Phoenix.", "EARLE\n Dr. Cocteau is the most important\n man in San Angeles. He practically\n created our whole way of life.\n <u>Savage</u>!", "Phoenix raises a Luger to Cocteau. Something snaps.\n Phoenix's smile turns to a grimace. His gun hand", "As he goes SQUEALING OUT, clipping and KNOCKING OVER the\n one remaining WALL of the police station --\n\n\n INT. COCTEAU'S OFFICE - NIGHT", "COCTEAU\n Ah, no kiss-kiss. No bang-bang...\n And you were doing so well. Now,", "A BULLET WHISTLES by, barely missing Bob. He hurls\n himself into the dirt. Cocteau turns to face a jazzed-\n up Phoenix, still draped in weapons, the AcMag tucked in\n his belt.", "HUXLEY\n (somewhat mollified)\n There is that.\n\n\n INT. COCTEAU'S OFFICE - NIGHT", "Doctor Raymond Cocteau?", "Phoenix steps off to one side, pulls an old Airweight out\n of his belt. Aims it at Cocteau, tries, tries to pull\n the trigger. Isn't going to happen. He grunts in\n frustration.", "COCTEAU\n No doubt whacking, whatever it\n is, would be extremely bad. You\n scared him away and I do not know\n how to thank you. You saved my\n life.", "COCTEAU\n (exasperated)\n Illuminate.\n\n The lights come back on.", "ASSOCIATE BOB\n What a distasteful fellow.\n\n Cocteau just looks at him. Enough already..." ], [ "Spartan bursts in, gun drawn. No one's there. Spins,\n checks everywhere. Spots a very dead Raymond Cocteau.\n Huxley sees him a moment later.", "Cocteau is in a corner of the room in front of a private\n Vidhead. Spartan stands with Beretta pointed directly\n at him. Nonetheless, Cocteau remains his arrogant self.", "Huxley visibly recoils. The morality box BRAAAPS. It\n never gets any further. Spartan shoots it without a\n look, dead center. His eyes never leave Cocteau.", "quivers. He wants to kill, but he can't. Cocteau\n folds his arms.", "Spartan gives a SUSPICIOUS glance from the wall to\n Cocteau as Cocteau leads him...\n\n\n EXT. COCTEAU COMPLEX - MUSEUM ENTRANCE - DAY", "SPARTAN\n Guess you people weren't part of\n the Cocteau plan.\n\n PAYNE\n Man, this is the Cocteau plan.", "Spartan stops dead. He looks sick. Healy's not\n thrilled, but he knows what's required of him --", "Cocteau and Associate Bob walking through the courtyard.\n Then the gunshot. Then finally Spartan comes to the\n strange face-to-face between Cocteau and Phoenix.", "Spartan launches himself at the guard. Hammers his head\n against the floor. This guy is not getting up again for", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "Phoenix steps off to one side, pulls an old Airweight out\n of his belt. Aims it at Cocteau, tries, tries to pull\n the trigger. Isn't going to happen. He grunts in\n frustration.", "Spartan is staring at a vid screen on a wall: Cocteau,\n grinning, arms spread, his utopia behind him, and the\n Behavioral Engineering logo.", "ASSOCIATE BOB\n I am ever so sorry, John Spartan,\n but Dr. Raymond Cocteau is not", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "SPARTAN\n Great, I come to the future,\n Phoenix gets the ray gun, I get\n the rusty Beretta.\n\n Cocteau addresses Spartan and the entire assemblage.", "Spartan bashes the robot arm out of the way. Picks\n up the vial. Looks around desperately. No point using", "Spartan grabs him by the throat. Pulls him inches away\n from his own face.\n\n SPARTAN\n Think again.", "Spartan's still busy with Danzig. She starts to choke.\n Francis brings her closer to watch her die. A beat of", "Spartan GUNS the GTO, SCREAMS it across, SKIDS to a halt.\n Leaps out. It's too late. Lamb is dead. There's a half\n a beat with his dead friend.", "He never gets to say another word. Spartan spins and\n ventilates the device with 40 mm slugs." ], [ "Elvin empties all six shots into Cocteau's very surprised\n face.\n\n Associate Bob looks on from the corner. A little\n frightened, but not giving a shit about Cocteau.", "Spartan yanks out the Beretta. Associate Bob backs\n away while glancing furtively at a closed door. BLAM.\n BLAM. BLAM. Shoots out three of the screens.", "Spartan bursts in, gun drawn. No one's there. Spins,\n checks everywhere. Spots a very dead Raymond Cocteau.\n Huxley sees him a moment later.", "a terrorist. Now that you wussed\n out this entire society in a\n tribute to yourself you needed\n Phoenix to handle the cast-offs", "The nearest cops approach with their stun batons. Simon\n kills them both. It doesn't take long. He breaks a", "Earle nods seriously. Spartan steps over to the dead\n guys on the litters, pulls back a sheet. He stares at\n the first guy. Can't believe what he sees...", "Huxley visibly recoils. The morality box BRAAAPS. It\n never gets any further. Spartan shoots it without a\n look, dead center. His eyes never leave Cocteau.", "Thirty people who were riding that\n muni bus are still missing. I've\n got this bad hunch about who took\n them and where they are...", "Spartan falls three hundred feet from the blimp. Dead\n silent. The line runs free behind him. It's a giant", "Spartan GUNS the GTO, SCREAMS it across, SKIDS to a halt.\n Leaps out. It's too late. Lamb is dead. There's a half\n a beat with his dead friend.", "The room bursts into flames. He throws back his head and\n laughs. Spartan dives on him. Tries to hurl them both\n through the window.", "The Scraps unearth half-a-dozen large explosive devices.\n Spartan loads them into the GTO. Earle is ready to cry\n when he sees all this. A catastrophe averted, but --", "is kill this guy, named <u>Raymond</u>,\n who put it all together. Then\n as an added bonus, you get to kill", "Armed robbery!\n (as more speed; not\n enough)\n No, it's murder! An entire", "Without a second beat, Phoenix SHOTGUNS them both. In\n the background we can hear the ALARM change \"RUN.\n RUN...\"", "feet. Keeps FIRING. Albert goes down. He's not going\n to get back up again. Payne rises to his feet FIRING a", "(off his confused\n look)\n Uh, she died. In an earthquake.\n <u>The</u> earthquake.", "Phoenix smashes Guard One in the neck. Left handed.\n Crushes his larynx. The Guard falls dying to the ground.", "The Tactical Fire Response vehicles have arrived. Fully-\n armored firemen wearing bulletproof gear fight the blaze.\n Spartan continues to stride away. And then everything", "you blew to pieces trying to\n catch me...? They were already\n dead, pal, before you even\n touched the building. Cold as" ], [ "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "SPARTAN\n (fully awake)\n What?\n\n Huxley steps in.", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "They all watch warily. Spartan comes to with a start.\n Looks up at them. Looks around quickly for any immediate\n threat. Sees none. Tries to stand. Can't yet.", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "A far greater crowd has gathered. Police, citizens,\n Scraps. They watch in silent awe and shock as Spartan\n re-emerges. Katherine walks up. Deadpan as her\n father --", "INT. POLICE STATION - MAIN AREA - DUSK\n\n Spartan is not happy --\n\n SPARTAN\n Wait, wait, wait.", "Spartan's busy.\n\n GARCIA\n Spartan...\n (as Spartan ignores\n him; still busy)\n Spar...", "Spartan is stuffed into the back seat of Lenina's police\n car. Absently scratching the back of his hand, Spartan", "Spartan launches himself at the guard. Hammers his head\n against the floor. This guy is not getting up again for", "Spartan heads for the door. Garcia has a distraught\n moment before following. Garcia hands Spartan a stun\n baton. It SPARKS to life.", "Healy continues to shake his head in consternation. No\n way he believes that... Spartan ignores him. Wipes the\n soot from his face. Shakes his head in disgust, walks\n away...", "SPARTAN\n Somebody put me back in the fridge.\n\n\n INT. POLICE STATION - MAIN AREA - DAY", "SPARTAN\n (shaking it off)\n How long have I been under?\n\n HUXLEY\n Forty-four years.\n\n Whoa...", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "Spartan reaches out and shakes the Tough Cop's hand.\n It's like he spit on him. The Tough Cop tries not to\n react, but he's clearly disgusted.", "SPARTAN\n It's a hunch. Trust me on this.\n It's a cop thing.\n (as they get into\n the car)\n I'm driving.", "Spartan trudges through a spooked gantlet of 2042\n officers. The Tough Cop greets him, raising his hand.", "SPARTAN\n (pointing at Garcia,\n the nearest;\n rasping)\n You..." ], [ "execution of what we now call...\n (gestures proudly)\n San Angeles, a city as fine as any\n one of the holding facilities", "A wall on the side of the station house suddenly becomes\n translucent. A map of San Angeles filling the wall. A\n small red dot blinking in the middle.", "the chance to make things right,\n I grabbed it. San Angeles would\n not be here. It would be your\n pit of stench.", "to impair the harmony of San\n Angeles. They are but vandals\n and Visigoths.\n (then)", "He looks at her like she's nuts.\n\n GARCIA\n There have been no deaths of\n unnatural causes in San Angeles\n in the last sixteen years.", "ever so briefly but I was\n groveling in fear in the humus at\n the time. You have had quite the\n exciting first day in San Angeles.", "a reason. Not for your personal\n amusement. Your job is to kill\n this nuisance, Thomas Payne no\n one else in San Angeles can", "Forty-four years ago when Los\n Angeles exploded in violenceAnger,\n violenceHatred and violenceFear,\n a disease had erupted... A disease", "A flustered Earle gives a look to the morality box.\n Spartan turns to another vid screen. A map of San\n Angeles on it.", "EARLE\n Dr. Cocteau is the most important\n man in San Angeles. He practically\n created our whole way of life.\n <u>Savage</u>!", "Spartan stares past Payne to wild pieces of graffiti on\n a wall behind him that includes \"I HATE SAN ANGELES and\n SUCK MY COCTEAU!\"", "HUXLEY\n The Santa Barbara, Los Angeles,\n San Diego metroplex merged in\n 2011. You are in the center of\n what used to be Los Angeles.", "against her seat. The GTO THUNDERS out onto a shiny new\n San Angeles boulevard.", "EXT. SAN ANGELES SKYLINE - NIGHT\n\n The 2042 skyline glistens. Tiny cars zip along below us.", "me to notify the San Angeles\n Police Department. Please remain\n here for your reprimand.", "The smoke clears. They're in downtown 20th Century\n L.A. They've dropped into the archeological exhibit we", "EXT. SAN ANGELES - STREETS - DAY (2042)", "EXT. ANOTHER SAN ANGELES CITY STREET / INT. POLICE\n CAR - DAY", "COCTEAU\n So, John Spartan, tell me, what\n do you think of San Angeles, 2042?", "EXT. A DIFFERENT SAN ANGELES STREET - DAY" ], [ "The SAPD car is parked at the curb. Doors popped open.\n Museum patrons and guards flee. Spartan, followed by\n Huxley and Garcia, moves against the flow.", "Spartan yanks her into the driver's seat and rises,\n standing out through the missing windshield. Huxley\n barely holds onto the steering wheel and the car wildly\n swerves.", "Spartan can hear Phoenix CLATTERING off up a culvert\n behind him. He bolts up after him.\n\n\n INT. WASTELAND - CULVERT - NIGHT", "Spartan looks up and growls. Strides to the GTO. Huxley\n jumps in beside. He floors it. Huxley's head flies back", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "Huxley visibly recoils. The morality box BRAAAPS. It\n never gets any further. Spartan shoots it without a\n look, dead center. His eyes never leave Cocteau.", "Spartan, Huxley and Garcia step in. A meeting place\n of sorts. A machine shop. Off to one side, a giant", "A surveillance camera shot shows the image of the explo-\n sion at the museum. Spartan pops the disc and puts\n another in. This time the surveillance village shows", "Spartan can't see it, but there's a kitchen match tucked\n behind Simon's ear. Phoenix reaches up to scratch\n another itch. Frees the match in one gestures, strikes", "Huxley looks seriously pleased and flattered. Spartan\n just has no clue as to this choice of restaurants.\n Huxley discreetly elbows him. Hard.", "Now empty. Spartan strides along. Sparking bullshit\n stun baton in one hand.\n\n\n INT. MUSEUM - ARMORY ENTRANCE - DAY", "Huxley pulls out her stun baton. Pokes at them, pulls\n back, pokes again -- unable with the twisting, turning\n struggling bodies to be sure she won't get Spartan.", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "saw before. Spartan, shaking off the fall, finds himself\n weaponless. Phoenix is spinning madly around, AcMag in\n one hand, an Ingram from his shoulder bag in the other.", "Spartan keeps the guns trained on Phoenix. Simon\n scratches his arm. It's a junkie's twitch. Or is it...", "growls back. Spartan and the door strain against each\n other. The man wins. Wrenches the door clean off.\n Jumps in the car. Punches Phoenix square in the head.", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "Not quite. Growls. A MUSEUM HELPER/GUARD comes into\n the room. Moves towards the annoyed Phoenix smiling\n pleasantly.", "SPARTAN\n Great, I come to the future,\n Phoenix gets the ray gun, I get\n the rusty Beretta.\n\n Cocteau addresses Spartan and the entire assemblage." ], [ "LAMB\n Yeah, the Demo Man is back.\n\n Lamb bends over to look. As he does, we see a figure\n approaching from behind. Simon Phoenix.", "SQUAD LEADER\n Simon Phoenix, lie down and put\n your hands behind your back.\n\n Phoenix lets off a laugh.", "The future just amuses the hell out of Simon. Phoenix\n slams down the information button. He drops his hands\n onto the keyboard and his fingers fly. His grin grows\n wider and wider. His fingers stop and --", "INT. CRYO-PRISON - DAY\n\n The conference area wall slides open, revealing Simon\n Phoenix, elegantly holding the warden's detached eyeball.", "SIMON PHOENIX snorts a long pale blue line up one\n nostril. A long pink line up the other. One blue eye,", "SPARTAN\n Simon Phoenix. You're under\n arrest.\n (then)\n Where are the muni passengers?", "SPARTAN\n What!\n\n Garcia can only point: Simon Phoenix, forty feet away,\n giant grin, AcMag in hand, taking aim.", "LAMB\n It's Phoenix. Simon Phoenix...", "HUXLEY\n Hold that thought, Zachary Lamb.\n (to computer)\n Simon Phoenix's code. Now.", "A Mr. <u>Simon</u> Phoenix.", "INT. CRYO-PRISON - CONFERENCE AREA - DAY\n\n Simon Phoenix is still fighting to shake off his\n defrosted confusion. Locks eyes with the warden.", "HUXLEY\n Simon Phoenix isn't coded. An\n organically bioengineered microchip", "SPARTAN (O.S.)\n Simon Phoenix. L.A.P.D., I mean\n San Angeles P.D. You're under\n arrest.", "HUXLEY\n New inforama on Simon Phoenix?\n\n TOUGH COP\n None... So where is John Spartan?", "pursue the madman Simon Phoenix.\n (ready to cry)\n You told us to do everything in\n our power to capture the madman.", "appearance of Simon Phoenix and\n determined he will attempt to\n start up a new drug lab and form\n a crime syndicate.", "S.A.P.D. and immediate assignment\n to the apprehension of Simon\n Phoenix, or you can go back into\n cryo-stasis.", "MAIL COMPUTER (V.O.)\n You have reached secure mailbox\n facilities for... Simon Phoenix.", "Spartan keeps the guns trained on Phoenix. Simon\n scratches his arm. It's a junkie's twitch. Or is it...", "PHOENIX\n Simon says scream.\n\n\n INT. POLICE STATION - MAIN AREA - DAY\n\n The cops watch in horror as the last two go down." ], [ "Phoenix's vehicle slaps the street curb and begins to\n roll, convulsing into a spectacularly flaming series of\n somersaults that violently climax at the base of the\n SAPD sign in front of the station.", "Phoenix smashes Guard One in the neck. Left handed.\n Crushes his larynx. The Guard falls dying to the ground.", "Phoenix is ready to punch in the screen when two S.A.P.D.\n patrol cars pull to a dramatic halt behind him.\n\n PHOENIX\n Oooh, fuckers are fast, too.", "Phoenix jumps on him and slams his head repeatedly\n against the hundred mile an hour ground rushing by as\n the car drives itself.", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "PHOENIX\n So am I. Rookie.\n\n Phoenix digs out a .22. SHOOTS him repeatedly in the\n stomach.", "Phoenix finishes a final keystroke. The graffiti remov-\n ing shock poles burst from the building beside them.\n Fires. Electrocutes and cooks one of the cops.", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "Cocteau continues his eerie soliloquy, feeding Phoenix's\n amusement. Phoenix walks behind him under this, takes out\n a knife and behind Raymond's back, tries desperately to\n kill him. He can't.", "the car, manages to hang on. He opens FIRE on Phoenix's\n car. Perforating it, blowing off side mirrors, generally", "from Phoenix's grasp. Just manages to trap it against\n the side of the car as it falls. Snatches it up, lifts\n it up to take aim as ---", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "him again. Phoenix's steering wheel locks up and his\n seat restraint pops up as he races out of control for the\n station. He screams in rage.", "Phoenix thinks everything is A-okay until he looks in his\n rearview and sees a bunch of streetlights being taken out\n by the too huge truck and getting closer. The truck", "growls back. Spartan and the door strain against each\n other. The man wins. Wrenches the door clean off.\n Jumps in the car. Punches Phoenix square in the head.", "locks onto Phoenix as he stands at the information kiosk.\n The police can be seen moving in. The cops in the squad\n room begin cheering.", "Phoenix FIRES a wild salvo back emptying three or four\n different handguns. SHATTERING the grill, BLOWING out\n what remains of the glass in the GTO.", "He's concerned when there're no shots fired. He oughta\n be. Phoenix drops in a cannon ball. Lights the fuse.\n Aims.", "PHOENIX\n Arson.\n (as car picks up a\n little speed)" ], [ "EARLE\n Detective John Spartan.\n Temporarily reinstated to the San\n Angeles Police Department to", "EARLE\n John Spartan, I am Chief of\n Police George Earle. We did not", "HUXLEY\n (shocked)\n John Spartan, you must uphold the\n law.", "COCTEAU\n John Spartan, the hero of the\n hour. I congratulate you.", "GARCIA\n How will you accomplish this,\n John Spartan?\n\n SPARTAN\n I'm going to blow his fucking\n head off.", "John Spartan, weep.", "John Spartan, there is of course a\n well-known and documented connection\n between sex and violence. Not so\n much a causal effect, but a state", "SMITHERS\n John Spartan. You've been\n sentenced to 70 years in the", "It's the future. John Spartan is\n out those doors.\n (a beat; he smokes;\n this should be fun)", "SMITHERS\n John Spartan. You've done great\n deeds for the city of Los Angeles,\n so it is with some regret that I\n hereby...", "HUXLEY\n John Spartan, I thought your life\n force had been prematurely\n terminated. Look at you, you're\n in shambles.", "Huxley and Garcia are waiting by the police car out\n front. Half a beat, John Spartan, now completely done\n up in a 2042 cop uniform comes out. He feels like a\n buffoon.", "EARLE\n Please cease this madness,\n enhance your calm, John Spartan.", "The woman who looked up with such interest, steps over\n closer. She's got to know.\n\n KATHERINE\n John Spartan? The Demolition Man?", "HUXLEY\n But, John Spartan, you must be\n mistaken. You can't accuse the", "PHOENIX\n You were saying...\n (recognition jolt)\n Spartan! John Spartan! What's a\n guy like you doing in a century\n like this?", "'Unsolved Mysteries'... None of\n it worked. In the end, it took\n one man. One cop. John Spartan.", "HUXLEY\n But, John Spartan, why... How,\n wha...", "PHOENIX\n I like you, Bob. You have no\n heart.\n (then)\n Guys, John Spartan's on his way.\n Go downstairs. Kill him.", "COCTEAU\n John Spartan, in honor of your\n arrival, and your protection of\n the sanctity of human life," ], [ "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "Phoenix still has a free hand. Smashes a nerve center\n on the side of Spartan's neck. Spartan twitches visibly\n from it. Grunts.", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "They hurl themselves together again. Spartan lands a\n horrific blow. All but drives Phoenix's nose and eye\n sockets through the back of his head. Spartan's", "Phoenix screams in rage as Spartan's hand comes at him\n and grabs him by the hair, yanking Phoenix's head back.", "Spartan can hear Phoenix CLATTERING off up a culvert\n behind him. He bolts up after him.\n\n\n INT. WASTELAND - CULVERT - NIGHT", "straight in the face. Phoenix drops in a heap to the\n floor. Spartan shakes his head, sighs, bends down to\n retrieve his prisoner and...", "Phoenix leaps back up, triple-punches Spartan in the\n chest. Spartan's hands come free, he falls back, as", "Spartan lands behind him, coming around with an elbow\n into Phoenix's kidney, causing Phoenix to drop the MTL.", "The battle continues. The two trading blow for blow in\n this fiery arena. The two men are practically on fire.\n Finally Spartan knocks Phoenix cold, a clean shot", "Spartan activates the stun baton. Phoenix is racked with\n pain. Rattled and shaken by the charge. Involuntary\n shudders. Yanks himself clear with a wild grin.", "Spartan continues to fight back, smashing Phoenix, but\n he's forced to avoid the close calls with cars, street", "Phoenix sees him at the same time. Yanks a control on\n the crane. The puck pivots up as Spartan FIRES.", "Spartan steps onto the landing. Checks high and low.\n Room is clear. He can smell the gas.\n\n\n BACK TO PHOENIX", "Spartan punches him right, left, right in the sternum.\n Phoenix coughs blood, spits it away.\n\n Steps back to launch a mighty blow at Spartan and --", "Spartan comes up FIRING. Gets off about THREE SHOTS\n before Phoenix STRAFES the area with a HK91. Dives for\n cover.", "Phoenix FIRES again. The AcMag round barely misses them.\n Spartan's blasted brutally by the EXPLOSION. Stays on his", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away." ], [ "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "They hurl themselves together again. Spartan lands a\n horrific blow. All but drives Phoenix's nose and eye\n sockets through the back of his head. Spartan's", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "PHOENIX\n Fuck you, Spartan. They're gone.\n I told the city no one comes down", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "Spartan and Phoenix are carried along by the water into\n an aqueduct. Phoenix heaves himself over the side.\n Spartan follows.", "Spartan can hear Phoenix CLATTERING off up a culvert\n behind him. He bolts up after him.\n\n\n INT. WASTELAND - CULVERT - NIGHT", "Phoenix still has a free hand. Smashes a nerve center\n on the side of Spartan's neck. Spartan twitches visibly\n from it. Grunts.", "Spartan comes up FIRING. Gets off about THREE SHOTS\n before Phoenix STRAFES the area with a HK91. Dives for\n cover.", "Phoenix FIRES again. The AcMag round barely misses them.\n Spartan's blasted brutally by the EXPLOSION. Stays on his", "Spartan steps onto the landing. Checks high and low.\n Room is clear. He can smell the gas.\n\n\n BACK TO PHOENIX", "The battle continues. The two trading blow for blow in\n this fiery arena. The two men are practically on fire.\n Finally Spartan knocks Phoenix cold, a clean shot", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "Phoenix leaps back up, triple-punches Spartan in the\n chest. Spartan's hands come free, he falls back, as", "SPARTAN\n When a man like Phoenix has a\n gun to your head, ten seconds\n is nine and a half seconds longer\n than you live.", "Spartan comes crashing out of the wreckage. Loading\n the Beretta as he runs, a crazed scowl on his face.\n Phoenix leaps the wall.", "straight in the face. Phoenix drops in a heap to the\n floor. Spartan shakes his head, sighs, bends down to\n retrieve his prisoner and...", "growls back. Spartan and the door strain against each\n other. The man wins. Wrenches the door clean off.\n Jumps in the car. Punches Phoenix square in the head.", "Spartan keeps the guns trained on Phoenix. Simon\n scratches his arm. It's a junkie's twitch. Or is it..." ], [ "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "PHOENIX\n Fuck you, Spartan. They're gone.\n I told the city no one comes down", "Spartan can hear Phoenix CLATTERING off up a culvert\n behind him. He bolts up after him.\n\n\n INT. WASTELAND - CULVERT - NIGHT", "They hurl themselves together again. Spartan lands a\n horrific blow. All but drives Phoenix's nose and eye\n sockets through the back of his head. Spartan's", "Spartan and Phoenix are carried along by the water into\n an aqueduct. Phoenix heaves himself over the side.\n Spartan follows.", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "growls back. Spartan and the door strain against each\n other. The man wins. Wrenches the door clean off.\n Jumps in the car. Punches Phoenix square in the head.", "Spartan comes crashing out of the wreckage. Loading\n the Beretta as he runs, a crazed scowl on his face.\n Phoenix leaps the wall.", "Spartan lands behind him, coming around with an elbow\n into Phoenix's kidney, causing Phoenix to drop the MTL.", "Spartan steps onto the landing. Checks high and low.\n Room is clear. He can smell the gas.\n\n\n BACK TO PHOENIX", "straight in the face. Phoenix drops in a heap to the\n floor. Spartan shakes his head, sighs, bends down to\n retrieve his prisoner and...", "Phoenix still has a free hand. Smashes a nerve center\n on the side of Spartan's neck. Spartan twitches visibly\n from it. Grunts.", "Spartan comes up FIRING. Gets off about THREE SHOTS\n before Phoenix STRAFES the area with a HK91. Dives for\n cover.", "Spartan continues to fight back, smashing Phoenix, but\n he's forced to avoid the close calls with cars, street", "The battle continues. The two trading blow for blow in\n this fiery arena. The two men are practically on fire.\n Finally Spartan knocks Phoenix cold, a clean shot", "SPARTAN\n What!\n\n Garcia can only point: Simon Phoenix, forty feet away,\n giant grin, AcMag in hand, taking aim.", "saw before. Spartan, shaking off the fall, finds himself\n weaponless. Phoenix is spinning madly around, AcMag in\n one hand, an Ingram from his shoulder bag in the other." ], [ "Spartan <u>remembers</u>. The freezer was bad, way bad. He\n swallows hard and --\n\n\n EXT. CRYO-PRISON - DAY", "The blood freezes solid as it sprays, sealing the wound,\n and leaving a giant six foot red feather spray. Spartan\n brushes it away, breaks off, bleeds, freezes again\n instantly.", "As Spartan steps through, the MTL sputters to a halt.\n He tosses it aside. The cryo prison burns, explodes,\n freezes, contracts, expands behind him.", "The Scraps freeze for a moment. This guy means business\n in a way they've never seen before. But Spartan is dis-\n tracted for a moment by an excited yell --", "They all watch warily. Spartan comes to with a start.\n Looks up at them. Looks around quickly for any immediate\n threat. Sees none. Tries to stand. Can't yet.", "(as Spartan looks\n over her shoulder)\n He's accessed the cryoprison.\n He's about to defrost the entire", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "One swipe, he clears the ice from a path he can walk\n towards Spartan on.\n\n Metal bars melt away as the thermite flare crosses\n through them.", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "SPARTAN\n All right, who's next???\n\n Nobody moves. Nobody can move. Every last one is\n dead. Frozen in place.", "Spartan turns, starts towards the Cryo prison. As he\n walks --- Takes a deep breath. Loosens up his right", "frozen puck rises from its chamber. Spartan hasn't\n moved, blinked in 40 years.", "pipes. Holds him in the freezing blast. Ice forms all\n over Spartan. He struggles. It cracks off, reforms.", "The three move along taking in the curious but\n unfrightened glances. More than one person recognizes\n Spartan from the battle the night before. You can feel\n the buzz work down the street.", "Spartan hears FOOTSTEPS coming. Whirls. FIRES. Blows\n Bob away. A momentary distraction, but it's enough.\n Phoenix is gone.", "Everything has become so slick, the recoil drives him back\n across the ice into the open. Spartan sees him, FIRES.", "SPARTAN\n Skip it...\n\n Spartan is beginning to shake from the cold. His lips\n turning blue before our eyes. Color just drains away.", "Spartan launches himself at the guard. Hammers his head\n against the floor. This guy is not getting up again for", "Healy continues to shake his head in consternation. No\n way he believes that... Spartan ignores him. Wipes the\n soot from his face. Shakes his head in disgust, walks\n away...", "Simon feels his foot stuck. And as he looks down in\n consternation, realizes in shock what's happened and\n then looks up, Spartan hits him straight from the" ], [ "The museum is located in the Cocteau complex. Phoenix\n wanders through a hall arrayed with displays of various", "INT. MUSEUM - ARMORY ROOM - DAY\n\n Phoenix stands behind the Civil War cannon.", "Not quite. Growls. A MUSEUM HELPER/GUARD comes into\n the room. Moves towards the annoyed Phoenix smiling\n pleasantly.", "A surveillance camera shot shows the image of the explo-\n sion at the museum. Spartan pops the disc and puts\n another in. This time the surveillance village shows", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "Cocteau continues his eerie soliloquy, feeding Phoenix's\n amusement. Phoenix walks behind him under this, takes out\n a knife and behind Raymond's back, tries desperately to\n kill him. He can't.", "Phoenix sees the truck collide with the pod, BLASTING it\n to smithereens. He laughs as he enters a long tunnel.\n\n\n INT. LONG TUNNEL - NIGHT", "Phoenix is ready to punch in the screen when two S.A.P.D.\n patrol cars pull to a dramatic halt behind him.\n\n PHOENIX\n Oooh, fuckers are fast, too.", "locks onto Phoenix as he stands at the information kiosk.\n The police can be seen moving in. The cops in the squad\n room begin cheering.", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "Phoenix steps off to one side, pulls an old Airweight out\n of his belt. Aims it at Cocteau, tries, tries to pull\n the trigger. Isn't going to happen. He grunts in\n frustration.", "him again. Phoenix's steering wheel locks up and his\n seat restraint pops up as he races out of control for the\n station. He screams in rage.", "INT. STOLEN POLICE CAR - NIGHT\n\n Phoenix shouts at the car ---\n\n PHOENIX\n Open doors! Emergency!", "Phoenix smashes Guard One in the neck. Left handed.\n Crushes his larynx. The Guard falls dying to the ground.", "INT. MUSEUM - ARMORY ROOM - DAY\n\n The exhibit begins with the crudest weapons, cavemen with\n clubs, stone axes, arrowheads, and moves up the ladder of\n history toward modern day --", "Phoenix finishes a final keystroke. The graffiti remov-\n ing shock poles burst from the building beside them.\n Fires. Electrocutes and cooks one of the cops.", "Phoenix bounds up a hill. Jumps onto the back of a\n WHIRRING ELECTRIC TROLLEY heading by. It picks up speed.\n He disappears.", "escaped cryocon, Mr. Simon Phoenix,\n may be on his way to the Museum of\n Art and History in your complex.", "all the difficulties in life.\n Even now I am beginning to wonder\n if the fracas in the museum was\n the result of Mr. Phoenix's", "A BULLET WHISTLES by, barely missing Bob. He hurls\n himself into the dirt. Cocteau turns to face a jazzed-\n up Phoenix, still draped in weapons, the AcMag tucked in\n his belt." ], [ "Cocteau continues his eerie soliloquy, feeding Phoenix's\n amusement. Phoenix walks behind him under this, takes out\n a knife and behind Raymond's back, tries desperately to\n kill him. He can't.", "Phoenix steps off to one side, pulls an old Airweight out\n of his belt. Aims it at Cocteau, tries, tries to pull\n the trigger. Isn't going to happen. He grunts in\n frustration.", "Phoenix raises a Luger to Cocteau. Something snaps.\n Phoenix's smile turns to a grimace. His gun hand", "Phoenix is back where Cocteau can see him --\n\n PHOENIX\n I'm pretty happy now. I think I'll\n pass on that shot.", "Cocteau smiles. Simon tosses the gun to Elvin.\n\n PHOENIX\n You try to kill him. This is\n beginning to piss me off.", "quivers. He wants to kill, but he can't. Cocteau\n folds his arms.", "A BULLET WHISTLES by, barely missing Bob. He hurls\n himself into the dirt. Cocteau turns to face a jazzed-\n up Phoenix, still draped in weapons, the AcMag tucked in\n his belt.", "COCTEAU\n Fine. Take care of it.\n (then to Phoenix)\n Just get it over with... You're\n beginning to be more trouble\n than you're worth.", "PHOENIX\n Exactemundo.\n\n Cocteau turns to Bob.", "Cocteau and Associate Bob walking through the courtyard.\n Then the gunshot. Then finally Spartan comes to the\n strange face-to-face between Cocteau and Phoenix.", "PHOENIX\n So am I. Rookie.\n\n Phoenix digs out a .22. SHOOTS him repeatedly in the\n stomach.", "Phoenix is ready to punch in the screen when two S.A.P.D.\n patrol cars pull to a dramatic halt behind him.\n\n PHOENIX\n Oooh, fuckers are fast, too.", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "Cocteau is in a corner of the room in front of a private\n Vidhead. Spartan stands with Beretta pointed directly\n at him. Nonetheless, Cocteau remains his arrogant self.", "Cocteau clicks off the Holo. Rolls his eyes. As if\n the cops have a chance against Phoenix...\n\n\n INT. POLICE STATION - MAIN ROOM - DAY", "COCTEAU\n So you're gonna be the only mad\n dog type?\n\n For a minute we might think Phoenix is insulted. Uh uh.", "PHOENIX\n Raymond, bud, we need to talk.\n\n COCTEAU\n How'd you get in?", "Huxley visibly recoils. The morality box BRAAAPS. It\n never gets any further. Spartan shoots it without a\n look, dead center. His eyes never leave Cocteau.", "Phoenix jumps on him and slams his head repeatedly\n against the hundred mile an hour ground rushing by as\n the car drives itself.", "He's concerned when there're no shots fired. He oughta\n be. Phoenix drops in a cannon ball. Lights the fuse.\n Aims." ], [ "Phoenix's vehicle slaps the street curb and begins to\n roll, convulsing into a spectacularly flaming series of\n somersaults that violently climax at the base of the\n SAPD sign in front of the station.", "Phoenix finishes a final keystroke. The graffiti remov-\n ing shock poles burst from the building beside them.\n Fires. Electrocutes and cooks one of the cops.", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "PHOENIX\n So am I. Rookie.\n\n Phoenix digs out a .22. SHOOTS him repeatedly in the\n stomach.", "from Phoenix's grasp. Just manages to trap it against\n the side of the car as it falls. Snatches it up, lifts\n it up to take aim as ---", "Phoenix smashes Guard One in the neck. Left handed.\n Crushes his larynx. The Guard falls dying to the ground.", "But Phoenix is either stronger or just far crazier and\n drugged up. Smashes the two of them into the wall\n instead. They trade blows. The building gets worse.\n AMMO starts to EXPLODE downstairs.", "Phoenix jumps on him and slams his head repeatedly\n against the hundred mile an hour ground rushing by as\n the car drives itself.", "The battle continues. The two trading blow for blow in\n this fiery arena. The two men are practically on fire.\n Finally Spartan knocks Phoenix cold, a clean shot", "the car, manages to hang on. He opens FIRE on Phoenix's\n car. Perforating it, blowing off side mirrors, generally", "They hurl themselves together again. Spartan lands a\n horrific blow. All but drives Phoenix's nose and eye\n sockets through the back of his head. Spartan's", "Phoenix bounds up a hill. Jumps onto the back of a\n WHIRRING ELECTRIC TROLLEY heading by. It picks up speed.\n He disappears.", "Cocteau continues his eerie soliloquy, feeding Phoenix's\n amusement. Phoenix walks behind him under this, takes out\n a knife and behind Raymond's back, tries desperately to\n kill him. He can't.", "Phoenix sees the truck collide with the pod, BLASTING it\n to smithereens. He laughs as he enters a long tunnel.\n\n\n INT. LONG TUNNEL - NIGHT", "Phoenix's head snaps clean off.", "shoulder with everything he has left, dead in the face,\n as Phoenix solidifies.", "Over the oncoming thermal flame as it arcs up towards\n him. And over and past Phoenix.", "Phoenix is knocked to his side. Sidekicks Spartan dead\n in the groin. Spartan folds.", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away." ] ]	[ "Why was Lenina Huxley assigned to work with John? ", "What is the name of the antagonist in the story? ", "What event lead to the merging of San Diego, Santa Barbara, and Los Angeles? ", "What was Phoenix trying to steal from the museum?", "What group does Edgar Friendly lead?", "Where is the Scraps headquarters located?", "Who helped Phoenix free his fellow criminals from the Cryo-Penitentiary? ", "What did Phoenix say to Spartan to taunt him?", "Why was John awoken from his cryo state? ", "What happens to the hostages?", "Who does Huxley get kissed by?", "What does Spartan use to shatter Phoenix?", "How is Spartan to be rehabilitated?", "Who kills Dr. Cocteau?", "Why can't Spartan kill Dr. Cocteau himself?", "Who really killed the hostages in 1996?", "Why did the police decide to awake Spartan?", "What caused the creation of \"San Angeles\"?", "What do Huxley and Spartan try to stop Phoenix from stealing in the museum?", "Who is Simon Phoenix?", "What is the first crime Phoenix commits in the story?", "Who is John Spartan?", "What happens when Spartan orders Phoenix's successful capture?", "What happens to Spartan and Phoenix after the hostages die?", "What happens to California during Spartan and Phoenix's incarceration?", "How does Spartan exit his frozen state?", "Which items does Phoenix steal from the museum?", "Why can't Phoenix kill Dr. Cocteau?", "What happens to Phoenix at the end of the story?" ]	[ [ "To help him get used to the changes that had occured while he was frozen. ", "To help him acclimatize to the future." ], [ "Simon Phoenix.", "Simon Phoenix." ], [ "The Great Earthquake. ", "great earthquake" ], [ "20th century weapons. ", "20th century weapons" ], [ "The Scraps.", "The Scraps." ], [ "Underground.", "Under the city." ], [ "Dr. Cocteau", "Dr. Cocteau" ], [ "That he had already killed all of the hostages before he blew up the building. ", "that he had killed the hostages before Spartan arrived." ], [ "Because the police did not know how to handle Phoenix. ", "to help with phoenix" ], [ "They die", "At the end of story we find out they were all killed by Phoenix" ], [ "Spartan", "Spartan" ], [ "Cryogenic chemical", "Thermal Scan" ], [ "Subconscious reconditioning", "subconscious conditioning" ], [ "Spartan's gang", "one of phoenix's gang members" ], [ "because of the reconditioning he underwent when in the cryo-prison", "The rehabilitation program." ], [ "Simon Phoenix", "Phoenix" ], [ "They were not able to handle the violence in the city.", "They haven't dealt with violent crime in many years and are unprepared." ], [ "The Great Earthquake", "the Great Earthquake" ], [ "20th century weapons", "20th century weapons." ], [ "A psychopathic career criminal", "A psychopathic career criminal." ], [ "He kidnaps hostages and keeps them in an abandoned building.", "kidnaps hostages and holds in an abandoned building." ], [ "An LAPD sargeant", "An LAPD Sergant" ], [ "Phoenix blows up the building with the hostages inside.", "Spartan freezes and shatters him." ], [ "They are cryogenically frozen and will be rehabilitated during their frozen state.", "They are cryogenically frozen." ], [ "There is a major earthquake that melds Los Angeles, San Diego and Santa Barbara together into one new city.", "An earthquake causes Los Angeles, San Diego and Santa Barbara to merge ino one city call San Angeles." ], [ "Police unfreeze him because they need his help with Phoenix who has escaped.", "he is released to help catch Phoenix" ], [ "20th century weapons", "20th century weapons" ], [ "He has been rehabilitated.", "He finds himself unable to shoot him." ], [ "He is frozen before the prison explodes.", "Shattered into frozen pieces." ] ]	069ba0ceb78ef8fe8a193b7b4f225938f2044f0c	test
[ [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "A beat. Gruber discards end of a cigar. Takes a leather case \n from his suede jacket, extracts a new cigar. Offers one to \n Galvin.", "case. That's what I took it for. You \n let this drop -- we'll go up to New \n Hampshire, kill some fuckin' deer...", "JOHN\n Here you are, Franky.", "GALVIN\n We are going to try the case.\n\n A beat. Galvin fumbles for a cigarette. The three sit in \n silence.", "JUDGE\n I'm sure it is, Frank: and let me \n tell you something. If we find it so", "DR. THOMPSON\n (tapping his briefcase, \n referring to his \n files)\n From what I've seen, Mr. Galvin, you \n have a very good case...", "ward. Silent. Beat. He looks in his briefcase, takes out a \n file.", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "Concannon motions to the young Attorney who has run in. The \n young Attorney goes to Concannon and hands him a box of chalk.", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "Galvin replaces the chart, puts his file, briefcase, etc. on \n the foot of the bed, takes a flash photo of the figure in", "The empty wall. Galvin's P.O.V. The telephone heard Voice \n Over insisting, \"Frank...\"\n\n INT. GALVIN'S OFFICE ANTEROOM - NIGHT", "DONEGHY\n ...that's all right.\n\n GALVIN\n I was telling your wife, we have a \n very good case here.", "He lethargically opens the letter. On Bar Association \n letterhead, it reads: \"You are directed to appear on January", "GALVIN removes a business card from his jacket pocket and \n hands it to her as if he were giving her money. (i.e., \"Take \n it. Really. I want you to have it...\" She takes the card.", "He gestures to the Young Priest, who crosses the room, \n extracts a sheet from a file folder, and places it before", "This is it. I got you a good case, \n it's a moneymaker. You do it right \n and it will take care of you. But" ], [ "law school. You never ask a question \n you don't know the answer to.\n (beat)\n Frankie, wake up. You got your own", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "degrees hanging on the wall. He stumbles to them, picks them \n up and walks over to the wastebasket and throws them in. He", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "JOHN\n Here you are, Franky.", "The empty wall. Galvin's P.O.V. The telephone heard Voice \n Over insisting, \"Frank...\"\n\n INT. GALVIN'S OFFICE ANTEROOM - NIGHT", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "YOUNG ATTORNEY\n His name is Dr. Lionel Thompson. \n City College of New York, Class of", "Frank. We'll meet there. All right?", "everything's superb. Franky, he's \n starting to talk like he comes from \n Dorsetshire, some fuckin' place,", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "carries them to a wastebasket and throws them in. He sits on \n his desk, as if exhausted by his effort, pours from a whiskey \n bottle into a large water glass, downs the glass.", "I'm through. I'm sorry, Frank, this \n is the end.\n (beat)\n Life is too short, and I'm too old.", "A shoddy one-and-a-half room bachelor apartment. Galvin, \n beer and cigarettes on the table beside him. He is sitting \n on an armchair in the bedroom. A yellow legal pad in his \n lap.", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "MICKEY\n You got a good memory, Franky.\n\n GALVIN\n I had a good teacher. McLean versus \n Urban Transport..." ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "MICKEY\n A huge law firm. Okay? They put him \n in the firm, he's married,", "dropped, he's released from jail.\n (beat)\n P.S. He's fired from the firm, his", "conference room is EDWARD CONCANNON. Senior partner of the \n firm, late fifties, imposing, he radiates success. As the \n young Attorney approaches Concannon he is stopped with a", "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "indicted for Jury tampering, they \n throw him in jail, he's gonna be \n disbarred, his life is over.\n (beat)", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "INT. LAWYERS ROOM AND CORRIDOR - DAY", "Concannon motions to Billy, the young lawyer, who nods in \n response and starts whispering instructions to his colleagues \n at the Defense table, who start leafing through their \n lawbooks. Concannon takes up the fight again.", "law school. You never ask a question \n you don't know the answer to.\n (beat)\n Frankie, wake up. You got your own", "A hand turns a page and reveals a second clipping: \"Boston \n Lawyer Held in Jury Tampering Case,\" with a picture of a \n very confused Galvin at around forty-five being led to jail.", "It's been scheduled for eighteen \n months. We have the attorney for the \n Plaintiff, Frank Galvin -- and I", "The open purse. The red-backed legal form. The letterhead \n reads, \"CONCANNON, BARKER, WHITE,\" stamped huge across it in", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "He lethargically opens the letter. On Bar Association \n letterhead, it reads: \"You are directed to appear on January", "Attorney tearing through the corridors of the office, up a \n spiral staircase, through yet more office space, into:", "The carriage of a typewriter. A sheet of paper. Its letterhead \n reads \"Frank P. Galvin. Attorney at Law, 124 State Street,", "he calls up Harrington, he says he \n thinks he made a mistake. As if by \n magic, charges against him are", "The clipping in the folder, confused Galvin being led into \n jail, \"Boston Lawyer Held in Jury Tampering Case.\" Alito's \n hand snaps the folder shut.", "DONEGHY\n I'm going to have you disbarred. I'm \n going to have your ticket. You know \n what you did? Do you know what you \n did?" ], [ "GALVIN\n You're really...\n (stops, remembering \n something)\n You, are you the one they told me \n was the nurse?", "YOUNG LAWYER\n She's the only nurse who isn't \n testifying for the Doctors.\n\n ALITO\n What did he find?", "GALVIN\n Who? They're all testifying. Everybody \n who was in the O.R.'s going to take \n the stand.", "NURSE\n You can't be in here.\n\n GALVIN\n (as if remembering \n something, simply)\n I'm her attorney.", "GALVIN\n We've got her sister. Testifies she \n had a meal one hour before she was \n admitted to the hospital. This is \n the point.", "Mary Rooney motions the other Nurse to go away. She steps \n closer to Galvin.\n\n GALVIN\n I spoke to her, and everything is \n all right.", "GALVIN\n ...of the procedures...\n\n TOWLER\n Yes, the roving nurse...", "MICKEY\n (on phone)\n Yeah? How's our new witness?\n\n GALVIN\n D'you find the obstetric nurse?", "JUDGE\n Sustained. Yes. The witness will \n confine his testimony to review of \n the hospital records.\n\n GALVIN\n What?", "GALVIN\n (nods)\n She told me.\n\n ROONEY\n (credulous)\n She did?", "CONCANNON\n Yes, we've heard that. Doctor: you \n testify quite a bit against other", "She is weeping copiously. A beat. She starts to get herself \n under control.\n\n CONCANNON\n No further questions.", "GALVIN\n You have a record of what happened \n in the operating room...\n\n TOWLER\n Yes, that's correct.", "NURSE\n Dr. Gruber's not here today, Sir.\n\n GALVIN\n No... No...\n\n She glances down, checks a sheet.", "jury is going to do. St. Catherine's \n a very well thought of institution. \n Her doctors...", "Galvin surveys the courtroom, Kathy crosses in front of him, \n takes the stand, we hear the Bailiff administering the formula \n as we WATCH Galvin turn and look at the Jurors.", "Galvin gets up from Plaintiff's table, takes up a large book \n as Dr. Towler takes the stands. He reads:", "He nods toward Dr. Marx who is in the audience, who nods \n back.\n\n DR. TOWLER\n Mary Rooney, the obstetrical nurse...", "Galvin sitting on the bed looking at Deborah Ann. He looks \n up to the speaker. A slovenly Irish Nurse, who has come into", "DR. THOMPSON\n It's my opinion it took him much \n longer. Nine... ten minutes. There's \n too much brain damage.\n\n The Judge leans over." ], [ "Laura, looks up, sees him, smiles. Her smile fades, she sees \n that he knows.\n\n ANGLE", "LAURA\n Laura.\n\n GALVIN\n My name's Frank. And furthermore, \n you came back to see me tonight.", "Both awkward. He looks at her, turns back to the bed, turns \n down the bed, sees the silver-framed picture of his wife, he \n looks back at Laura, starts to take the picture to turn it \n down.", "LAURA\n You want me to tell you it's your \n fault? It probably is. What are you", "Laura getting up from the table. We SEE her back, and Galvin \n approaching. We SEE her shoulders droop, beaten. He draws", "LAURA\n ...and is that serious?\n\n Galvin, suddenly focuses, starts for worktable.\n\n GALVIN\n I've got to work...", "LAURA (V.O.)\n (on phone)\n At around four...?\n\n ANGLE", "ANGLE - INSERT - LAURA'S P.O.V.\n\n THE PAPER READS:", "GALVIN\n Thank you.\n\n LAURA\n I have to talk to you.", "He looks at Laura, tiredly closes the door behind him, hangs \n up his coat in the closet, moves into the room. As Galvin", "GALVIN\n (screaming)\n Stop pressuring me...\n\n The door opens, Galvin is still trying to catch his breath.\n\n Laura enters.", "GALVIN\n Who told you that?\n\n LAURA\n You told me so. Maybe you'd get some \n sympathy. You came to the wrong place.", "ANGLE - CONCANNON AND LAURA\n\n Laura sitting across from him, impassive.", "Laura in slacks and sweater coming out of the kitchen with \n her drink. She sits at worktable on which are Galvin's \n briefcase, files, etc. Galvin and Laura. He is biting his \n nails.", "LAURA\n And it's over...?\n\n GALVIN\n Yes.", "LAURA\n You're pressuring yourself...\n\n GALVIN\n (shaking head, utterly \n denying her)\n No... no...", "LAURA\n You do what you want. You want to \n leave... You want to go kill yourself?\n\n GALVIN\n I...", "LAURA\n Yes. It was, actually.\n\n GALVIN\n Oh, actually it was. Then why'd you \n call it off?", "LAURA\n My ex-husband was a lawyer.\n\n GALVIN\n Really. How wonderful for you.", "LAURA\n You're talking like a drunk.\n\n GALVIN\n That's what I am.\n\n Beat." ], [ "Something went wrong. And you know \n what it was. They gave her the wrong \n anesthetic. What happened? The phone", "DR. TOWLER\n Negligent. Yes... it would have been \n criminal. But that was not the case.\n\n GALVIN\n Thank you.", "the wrong anesthetic anyway, plus \n she came in complaining of stomach \n pains...", "that. What we don't know is why. \n What went on in there? In the O.R. \n That's what we'd like to know.", "DR. THOMPSON\n They gave her the wrong anesthetic.\n\n MICKEY\n Why is that?", "GALVIN\n You have a record of what happened \n in the operating room...\n\n TOWLER\n Yes, that's correct.", "Concannon nods to the Young Lawyer, who is conscientiously \n taking notes.\n\n CONCANNON\n ...and her heart stopped and she \n wasn't getting oxygen.", "DR. THOMPSON\n It's my opinion it took him much \n longer. Nine... ten minutes. There's \n too much brain damage.\n\n The Judge leans over.", "DR. THOMPSON\n I... given the limits of your \n question, that's correct.\n\n JUDGE\n The Doctors were not negligent.", "GRUBER\n Her doctors murdered her. They gave \n her the wrong anesthetic and they \n put her in the hospital for life.\n (a beat)\n Her doctors murdered her.", "TOWLER\n Because she was anemic.\n (beat)\n It's right there on her chart. Her \n brain was getting less oxygen \n anyway...", "me. They gave her the wrong \n anesthetic. They turned the girl \n into a vegetable. They killed her", "Dr. Towler called me in. He told me \n he had five difficult deliveries in \n a row and he was tired, and he never", "MICKEY\n All right. Who wasn't in the O.R.?\n\n GALVIN\n What difference can that make...? \n All right...", "The newspaper, folded to Page Two. A full-page photo of \n smiling doctors clustered around an operating table. Huge", "helped. To judge correctly. We have \n the reputation of two men. Two well \n respected doctors and a renowned \n hospital before us. And with those", "KATHY\n After, after the operation, when \n that poor girl, she went in a coma.", "GALVIN\n I want someone who was in the O.R. \n We're going to win the case, there's", "DR. THOMPSON\n ...she went in complaining of stomach \n cramps. Good doctor would have doubted \n the information on the chart.", "CONCANNON\n (changing tactics; \n soothing)\n Tell us.\n\n Beat. Dr. Towler sighs. He begins to speak." ], [ "LAURA\n At the Beacon. On Fifty-third \n Street... we can spend the night.\n\n Mickey has gone over to Laura's purse. Opens it, rummaging.", "He stands by Laura and looks down at her, he looks at Mickey.", "Mickey gets to his feet.\n\n MICKEY\n (to Laura)\n You got a cigarette...?\n\n She shrugs, \"I don't know...\"", "Mickey replacing the form and the cigarettes. He re-closes \n the purse. He turns to her. She has seen nothing.", "LAURA\n (on phone)\n Hello? Mr. Gal... where are you...?\n\n Mickey wakes up, looks around.", "INT. O'ROURKE'S PUB - NIGHT\n\n Laura is sitting in the same place at the bar. Mickey comes \n up to her.", "Laura opens her purse, starts hunting for a cigarette.", "MICKEY\n (listlessly)\n Read me what she said.\n\n Galvin flips through his notes. Reads.", "LAURA\n How'm I doing so far?\n\n MICKEY\n So far you're great. You got a \n cigarette?", "Mickey has woken up. Swings his feet to the floor. Picks up \n a pack of cigarettes. Crushes it. It is empty.\n\n LAURA\n Can we meet there, Joe?", "Mickey half-turns to Galvin, shrugs minutely, meaning, \"We're \n in trouble.\"\n\n INT. LAURA'S HOTEL ROOM - NIGHT", "Beat. He turns his back on her. Mickey does likewise.\n\n Beat.", "Mickey walks out of the office. Slams the door. Beat.\n\n Galvin looks around the office. Goes to his sofa. Sits, \n reaches to side table.", "Mickey and Laura. Positions unchanged, at the bar. Somewhat \n progressed toward a convivial drunkenness", "Laura holding the paper.\n\n ANGLE\n\n Galvin and Mickey looking at her. Galvin's face impassive.", "Mickey, looking pityingly at Galvin. Mickey sees the box of \n Macanudo Cigars on the desk, picks them up, starts to open \n them -- throws them across the room in disgust.", "The Woman from last night, sitting in her same place at the \n end of the bar. Mickey looks at her. Shrugs. Gets up off \n stool.", "INT. LAURA'S HOTEL ROOM - NIGHT\n\n Laura opening the door, looks down, sees something, bends \n down to pick it up. Straightens up.", "MICKEY\n Stearns, Harrington, you know who \n that is?\n\n LAURA\n Should I?", "Laura on the couch. Galvin dialing the phone. Mickey HALF \n SEEN in the next room.\n\n MICKEY\n ...four years ago..." ], [ "LAURA\n Laura.\n\n GALVIN\n My name's Frank. And furthermore, \n you came back to see me tonight.", "He looks at Laura, tiredly closes the door behind him, hangs \n up his coat in the closet, moves into the room. As Galvin", "Galvin starts hurriedly back down the street toward the Hotel.\n\n INT. NEW YORK HOTEL RESTAURANT - DAY\n\n LONG SHOT of Laura seated at a table alone.", "Both awkward. He looks at her, turns back to the bed, turns \n down the bed, sees the silver-framed picture of his wife, he \n looks back at Laura, starts to take the picture to turn it \n down.", "Laura. SEEN from the back, walking down the corridor. CAMERA \n FOLLOWS her. She stops outside Galvin's door. She turns.", "Laura, looks up, sees him, smiles. Her smile fades, she sees \n that he knows.\n\n ANGLE", "He walks off leaving Galvin standing there alone. Laura comes \n out of the courtroom. Tentatively, she looks around.\n\n Comes up to him.", "Laura in slacks and sweater coming out of the kitchen with \n her drink. She sits at worktable on which are Galvin's \n briefcase, files, etc. Galvin and Laura. He is biting his \n nails.", "Laura getting up from the table. We SEE her back, and Galvin \n approaching. We SEE her shoulders droop, beaten. He draws", "A lonely middle-class hotel corridor. HOLD. HOLD. Laura, \n tired, enters the corridor from the side and proceeds away", "Mickey has woken up. Swings his feet to the floor. Picks up \n a pack of cigarettes. Crushes it. It is empty.\n\n LAURA\n Can we meet there, Joe?", "LAURA\n That's all right.\n\n She starts taking off her blouse.\n\n INT. COURTHOUSE BAR-INSERT - DAY", "LAURA (V.O.)\n (on phone)\n At around four...?\n\n ANGLE", "Laura sighs, takes a drag. Puts the book down on her lap.\n\n Sits, thinking.\n\n INT. CONCANNON'S CONFERENCE ROOM - DAY", "LAURA\n And what are you? A cop?\n\n GALVIN\n I'm a lawyer.", "LAURA\n You're going to New York? I... you're \n kidding... Because I'm going to New", "GALVIN\n Thank you.\n\n LAURA\n I have to talk to you.", "CONCANNON (V.O.)\n Welcome back.\n\n INT. LAURA'S HOTEL ROOM/CORRIDOR - NIGHT", "Galvin and Laura are in a booth. The remains of a dinner and \n drinks around them. They are both smoking cigarettes, intent \n on each other. Both a little drunk.", "Same room, Laura, dressed in Galvin's bathrobe, sitting in \n the easy chair next to his worktable, smoking a cigarette, \n reading an old hard-cover novel. She looks up across the \n room." ], [ "GALVIN\n I'm going to win this case... Mist... \n Mr. Doneghy... I'm going to the Jury", "with a solid case, a famous doctor \n as an expert witness, and I'm going \n to win eight hundred thousand dollars.", "The Bishop nods, meaning, \"You are dismissed.\" As an \n afterthought:\n\n BISHOP\n If we were to go to trial, would we \n win the case?", "We're paid to win the case.", "GALVIN\n We are going to try the case.\n\n A beat. Galvin fumbles for a cigarette. The three sit in \n silence.", "win the case, but that we win the \n case so that it's seen that the attack \n on these men and this institution", "own. Four cases before the Circuit \n Court. He lost them all. He drinks.", "up in court. They want their \n vindication. I agree with them. But \n for today the offer stands. Before", "JUDGE\n (incredulous)\n That's it...?\n (beat)", "DONEGHY\n ...that's all right.\n\n GALVIN\n I was telling your wife, we have a \n very good case here.", "DR. THOMPSON\n (tapping his briefcase, \n referring to his \n files)\n From what I've seen, Mr. Galvin, you \n have a very good case...", "Galvin slowly raises his head, turns and looks at the Jury, \n Mickey begins to smile.\n\n JUDGE\n Yes. You are.", "The Judge. He is making some notations on a page in front of \n him. He nods to himself, he has reached a decision. He looks \n up.", "Concannon motions to Billy, the young lawyer, who nods in \n response and starts whispering instructions to his colleagues \n at the Defense table, who start leafing through their \n lawbooks. Concannon takes up the fight again.", "GALVIN\n I want someone who was in the O.R. \n We're going to win the case, there's", "Galvin in front of the dead-still courtroom. He breaks his \n reverie.\n\n GALVIN\n (to Concannon)\n Your witness.", "court cases, twelve malpractice.\n (smiles, saving his \n best 'til last)\n And he's black.", "The case is going to trial. Our chief \n witness is a Dr. David Gruber, you \n know who he is?", "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "She is weeping copiously. A beat. She starts to get herself \n under control.\n\n CONCANNON\n No further questions." ], [ "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "GALVIN\n (into phone)\n Hello. Yes. Thank you for calling. \n Frank Galvin... I'm representing", "It's been scheduled for eighteen \n months. We have the attorney for the \n Plaintiff, Frank Galvin -- and I", "CONCANNON\n Ed Concannon.\n\n GALVIN\n (shaking his head)\n Frank Galvin. We've met before.", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "The carriage of a typewriter. A sheet of paper. Its letterhead \n reads \"Frank P. Galvin. Attorney at Law, 124 State Street,", "FUNERAL DIRECTOR\n Mrs. Dee, this is Frank Galvin -- a \n very good friend of ours, and a very \n fine attorney.", "CLAIRE\n (into phone)\n Frank Galvin's... who's calling \n please? Bishop Brophy's office...", "Galvin downs his drink, picks his briefcase off of the bar \n and starts for the door.\n\n INT. JUDGE SWEENEY'S CHAMBERS-DAY", "Galvin is pacing. Beat.\n\n JUDGE\n (conciliatory)\n Galvin, look, many years ago...", "GALVIN\n And don't give me this shit, 'I was \n a lawyer, too.' 'Cause I know who", "A shoddy one-and-a-half room bachelor apartment. Galvin, \n beer and cigarettes on the table beside him. He is sitting \n on an armchair in the bedroom. A yellow legal pad in his \n lap.", "A hand turns a page and reveals a second clipping: \"Boston \n Lawyer Held in Jury Tampering Case,\" with a picture of a \n very confused Galvin at around forty-five being led to jail.", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "LAURA\n And what are you? A cop?\n\n GALVIN\n I'm a lawyer.", "DR. THOMPSON\n (tapping his briefcase, \n referring to his \n files)\n From what I've seen, Mr. Galvin, you \n have a very good case...", "Galvin continuing to the defense table, Mickey Morrissey \n already seated, studying notes on a yellow legal pad. Galvin \n sits. Mickey looks up.", "He has shouted unconsciously; the whole Courtroom turns to \n look at him.\n\n JUDGE\n Yes, Mr. Galvin?", "The sheet: \"I, Frank P. Galvin, duly appointed conservator \n for Deborah Ann Kaye, in consideration of Two Hundred Ten", "As the Judge starts to speak Galvin cannot help looking at \n Concannon out of the corner of his eye.\n\n JUDGE\n Let's do some business." ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "The empty wall. Galvin's P.O.V. The telephone heard Voice \n Over insisting, \"Frank...\"\n\n INT. GALVIN'S OFFICE ANTEROOM - NIGHT", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "dropped, he's released from jail.\n (beat)\n P.S. He's fired from the firm, his", "MICKEY\n Frank, but not now. Frank. You're \n trying to wipe out some old business.", "A hand turns a page and reveals a second clipping: \"Boston \n Lawyer Held in Jury Tampering Case,\" with a picture of a \n very confused Galvin at around forty-five being led to jail.", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "JOHN\n Here you are, Franky.", "MICKEY\n Before he can get there here comes \n this Federal Marshal, and Franky's", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "JUDGE\n I'm sure it is, Frank: and let me \n tell you something. If we find it so", "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "I'm through. I'm sorry, Frank, this \n is the end.\n (beat)\n Life is too short, and I'm too old.", "he calls up Harrington, he says he \n thinks he made a mistake. As if by \n magic, charges against him are", "He has been drinking for some time. He starts stumbling back \n to the file cabinet. On the way his eye is caught by his", "from his drinking. He puts his back against the door, puts \n down file and briefcase, extracts a small cheap Polaroid \n camera from the briefcase, readies it to shoot, picks up his" ], [ "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "He has been drinking for some time. He starts stumbling back \n to the file cabinet. On the way his eye is caught by his", "carries them to a wastebasket and throws them in. He sits on \n his desk, as if exhausted by his effort, pours from a whiskey \n bottle into a large water glass, downs the glass.", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "from his drinking. He puts his back against the door, puts \n down file and briefcase, extracts a small cheap Polaroid \n camera from the briefcase, readies it to shoot, picks up his", "Dead, resigned. He closes the phone book. He reaches in a \n pack of cigarettes on the desk. It is empty. He roots in the", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "Galvin, excited, is trying to light the cigar. His hand shakes \n badly. He has forgotten to bite off the end. He bites it, \n lights the cigar.", "He hurries out of the room. CAMERA FOLLOWS him into the \n bathroom, he shuts the door, his chest heaves convulsively.", "The side table, a pack of Luckies. Galvin taking one, his \n hand shaking a little. Also on side table a pile of change \n containing a small rosary and a wedding ring.", "the slot. He pours a half-tumbler full of whiskey, and drains \n it. He refills the tumbler. He absently picks up the mail", "He hangs up phone, sighs. Lights a cigarette. Rotates his \n neck to loosen it up. Reaches to the table next to his bed \n for the bottle to pour a drink.", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "ashtray for a long butt. This disgusts him. He rejects it. \n Rubs his eyes. Gets up. Goes to the window, stares out. Looks", "His hand reaching for the bottle. On the table the photo of \n a very beautiful blonde woman in a silver frame. She is the", "I'm through. I'm sorry, Frank, this \n is the end.\n (beat)\n Life is too short, and I'm too old.", "He starts back to the desk for the bottle, knocks the still-\n ringing phone off the desk. He pours himself a drink.", "He sits on a sofa opposite the television. Watches the game \n a beat. Opens the fresh bottle of whiskey and pours a large" ], [ "LAURA\n Laura.\n\n GALVIN\n My name's Frank. And furthermore, \n you came back to see me tonight.", "He looks at Laura, tiredly closes the door behind him, hangs \n up his coat in the closet, moves into the room. As Galvin", "Galvin starts hurriedly back down the street toward the Hotel.\n\n INT. NEW YORK HOTEL RESTAURANT - DAY\n\n LONG SHOT of Laura seated at a table alone.", "Both awkward. He looks at her, turns back to the bed, turns \n down the bed, sees the silver-framed picture of his wife, he \n looks back at Laura, starts to take the picture to turn it \n down.", "Laura. SEEN from the back, walking down the corridor. CAMERA \n FOLLOWS her. She stops outside Galvin's door. She turns.", "Laura, looks up, sees him, smiles. Her smile fades, she sees \n that he knows.\n\n ANGLE", "He walks off leaving Galvin standing there alone. Laura comes \n out of the courtroom. Tentatively, she looks around.\n\n Comes up to him.", "Laura in slacks and sweater coming out of the kitchen with \n her drink. She sits at worktable on which are Galvin's \n briefcase, files, etc. Galvin and Laura. He is biting his \n nails.", "Laura getting up from the table. We SEE her back, and Galvin \n approaching. We SEE her shoulders droop, beaten. He draws", "A lonely middle-class hotel corridor. HOLD. HOLD. Laura, \n tired, enters the corridor from the side and proceeds away", "Mickey has woken up. Swings his feet to the floor. Picks up \n a pack of cigarettes. Crushes it. It is empty.\n\n LAURA\n Can we meet there, Joe?", "LAURA\n That's all right.\n\n She starts taking off her blouse.\n\n INT. COURTHOUSE BAR-INSERT - DAY", "LAURA (V.O.)\n (on phone)\n At around four...?\n\n ANGLE", "Laura sighs, takes a drag. Puts the book down on her lap.\n\n Sits, thinking.\n\n INT. CONCANNON'S CONFERENCE ROOM - DAY", "LAURA\n And what are you? A cop?\n\n GALVIN\n I'm a lawyer.", "LAURA\n You're going to New York? I... you're \n kidding... Because I'm going to New", "GALVIN\n Thank you.\n\n LAURA\n I have to talk to you.", "CONCANNON (V.O.)\n Welcome back.\n\n INT. LAURA'S HOTEL ROOM/CORRIDOR - NIGHT", "Galvin and Laura are in a booth. The remains of a dinner and \n drinks around them. They are both smoking cigarettes, intent \n on each other. Both a little drunk.", "Same room, Laura, dressed in Galvin's bathrobe, sitting in \n the easy chair next to his worktable, smoking a cigarette, \n reading an old hard-cover novel. She looks up across the \n room." ], [ "Laura opens her purse, starts hunting for a cigarette.", "LAURA\n At the Beacon. On Fifty-third \n Street... we can spend the night.\n\n Mickey has gone over to Laura's purse. Opens it, rummaging.", "INT. LAURA'S HOTEL ROOM - NIGHT\n\n Laura opening the door, looks down, sees something, bends \n down to pick it up. Straightens up.", "Comes up with a pack of cigarettes. He sees something in the \n purse. Stops.\n\n ANGLE - P.O.V.", "Laura looks around the desk, picks up one then another pack, \n crushes them, empty. She nods to herself, picks up her coat \n off the couch in the anteroom, and starts down the hall.", "Laura in slacks and sweater coming out of the kitchen with \n her drink. She sits at worktable on which are Galvin's \n briefcase, files, etc. Galvin and Laura. He is biting his \n nails.", "LAURA\n Laura.\n\n GALVIN\n My name's Frank. And furthermore, \n you came back to see me tonight.", "Same room, Laura, dressed in Galvin's bathrobe, sitting in \n the easy chair next to his worktable, smoking a cigarette, \n reading an old hard-cover novel. She looks up across the \n room.", "Both awkward. He looks at her, turns back to the bed, turns \n down the bed, sees the silver-framed picture of his wife, he \n looks back at Laura, starts to take the picture to turn it \n down.", "A lonely middle-class hotel corridor. HOLD. HOLD. Laura, \n tired, enters the corridor from the side and proceeds away", "LAURA\n That's all right.\n\n She starts taking off her blouse.\n\n INT. COURTHOUSE BAR-INSERT - DAY", "Laura, looks up, sees him, smiles. Her smile fades, she sees \n that he knows.\n\n ANGLE", "Mickey replacing the form and the cigarettes. He re-closes \n the purse. He turns to her. She has seen nothing.", "Laura sighs, takes a drag. Puts the book down on her lap.\n\n Sits, thinking.\n\n INT. CONCANNON'S CONFERENCE ROOM - DAY", "He looks at Laura, tiredly closes the door behind him, hangs \n up his coat in the closet, moves into the room. As Galvin", "Laura getting up from the table. We SEE her back, and Galvin \n approaching. We SEE her shoulders droop, beaten. He draws", "Galvin straightens, looks around the vestibule, takes heavy \n letter opener from his jacket pocket and pries open the Rooney \n mailbox. He extracts letters and rifles through them.", "LAURA\n ...and is that serious?\n\n Galvin, suddenly focuses, starts for worktable.\n\n GALVIN\n I've got to work...", "LAURA\n And what are you? A cop?\n\n GALVIN\n I'm a lawyer.", "LAURA\n (as if in shock)\n It's all right... it's all right... \n it's all right... it's all right..." ], [ "CONCANNON\n Your Honor, Bishop Brophy and the \n Archdiocese have offered plaintiff \n two hundred and ten thousand dollars.", "GALVIN\n How did you settle on the amount?\n\n BISHOP\n We thought it was just.", "BISHOP\n I want to settle this thing and be \n done with it. I don't want the \n Archdiocese exposed.", "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "BISHOP\n So what I want to do is stop it here. \n I'm going to make him an offer. I \n want to do it myself. I want it to \n come from me.", "BISHOP\n It's a generous offer, Mr. Galvin...\n (beat)", "The Bishop nods, meaning, \"You are dismissed.\" As an \n afterthought:\n\n BISHOP\n If we were to go to trial, would we \n win the case?", "INT. BISHOP BROPHY'S OFFICE - DAY\n\n The Bishop from the waist up, sitting behind his beautiful \n desk. Compassionately:", "CLAIRE\n What does it mean?\n\n GALVIN\n They want to settle.\n (beat)\n It means a lot of money.", "Beat. Galvin nods. Beat. Bishop nods discreetly to the Young \n Priest who extracts Mount Blanc fountain pen from his pocket, \n holds it out to Galvin.", "But not now. I understand. But you \n go call 'em back. You call the Bishop \n back.", "that you turned down two-hundred-ten \n grand?\n (beat)\n Huh...? Are you nuts? Eh? Are you", "BISHOP\n Nothing that we can do can make that \n woman well.\n\n GALVIN\n And no one will know the truth.", "settlement, and get a record for \n himself.\n (beat)\n I myself would take it and run like \n a thief.", "Alito, strolling as he reads, moves toward the windows with \n his file TO REVEAL BISHOP BROPHY, a self-contained man in \n his early sixties, sitting on a leather couch, listening.", "Galvin seated across from the Bishop. A YOUNG PRIEST seated, \n discreetly, attentively, across the room. Sherry glasses in \n front of Galvin and the Bishop. Galvin drinking from his.", "up in court. They want their \n vindication. I agree with them. But \n for today the offer stands. Before", "GALVIN\n You thought it was just.\n\n BISHOP\n Yes.", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "Galvin, who is sitting as if in a dream. The Bishop waits a \n beat, not wanting to interrupt Galvin's reverie, then catches" ], [ "NURSE\n You can't be in here.\n\n GALVIN\n (as if remembering \n something, simply)\n I'm her attorney.", "GALVIN\n You're really...\n (stops, remembering \n something)\n You, are you the one they told me \n was the nurse?", "NURSE\n Dr. Gruber's not here today, Sir.\n\n GALVIN\n No... No...\n\n She glances down, checks a sheet.", "Mary Rooney motions the other Nurse to go away. She steps \n closer to Galvin.\n\n GALVIN\n I spoke to her, and everything is \n all right.", "GALVIN\n ...of the procedures...\n\n TOWLER\n Yes, the roving nurse...", "YOUNG LAWYER\n She's the only nurse who isn't \n testifying for the Doctors.\n\n ALITO\n What did he find?", "Galvin sitting on the bed looking at Deborah Ann. He looks \n up to the speaker. A slovenly Irish Nurse, who has come into", "GALVIN\n That's a wonderful profession. My \n daughter-in-law's a nurse. What did \n you do, stop?", "Galvin walking tentatively down the corridor of a very rundown \n nursing home. He receives suspicious looks from the \n Attendants. He is checking numbers on the doors against a \n notation in the file. He finds the correct door and enters.", "the room and is standing by him. The other Nurse is framed \n in the doorway. Galvin is lost in thought.", "CAMERA FOLLOWS him TO Nurses' Station. He speaks to the NURSE \n behind the desk.\n\n GALVIN\n Dr. Gruber.", "INT. MARY ROONEY'S HOUSE - DAY\n\n Door opens, MARY ROONEY, a tough-looking woman in nurse whites \n opens the door.\n\n ANGLE", "KATHY\n (very serious, correct)\n I used to be a nurse.", "as a nurse, are you aware that Drs. \n Towler and Marx based their treatment \n of Deborah Ann Kaye on this chart", "This is the Mrs. Costello that used \n to be a nurse?\n (beat)\n I'm sorry. I think we have our records", "MICKEY\n (on phone)\n Yeah? How's our new witness?\n\n GALVIN\n D'you find the obstetric nurse?", "MICKEY (V.O.)\n Hello, this is Dr. Dorchester in \n Boston. This is an emergency. A nurse \n left my employ...\n\n ANGLE", "INT. ST. CATHERINE LABOURE HOSPITAL CORRIDOR - NIGHT\n\n Mary Rooney and another Nurse walking down the corridor \n carrying foil-covered dishes of food, chatting.", "The legal pad. Spread on it a couple of Polaroids of Deborah \n Ann in the nursing home. Below them, written on the pad,", "INT. NORTHERN NURSING HOME WARD - DAY" ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "Galvin in front of the dead-still courtroom. He breaks his \n reverie.\n\n GALVIN\n (to Concannon)\n Your witness.", "The case is going to trial. Our chief \n witness is a Dr. David Gruber, you \n know who he is?", "MICKEY\n (reciting a catechism; \n dispiritedly)\n You use their witness.\n\n GALVIN\n That's right.", "GALVIN\n ...Well, she, on the eve of the \n case... You understand... I think \n quite frankly she's come down with \n nerves and she'd like...", "Galvin surveys the courtroom, Kathy crosses in front of him, \n takes the stand, we hear the Bailiff administering the formula \n as we WATCH Galvin turn and look at the Jurors.", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "Galvin walks away from the witness box. He looks at the jury. \n He turns to look at the spectators. His thoughts are a million \n miles away. Unconsciously he straightens his tie.\n\n ANGLE", "Concannon motions to Billy, the young lawyer, who nods in \n response and starts whispering instructions to his colleagues \n at the Defense table, who start leafing through their \n lawbooks. Concannon takes up the fight again.", "JUDGE\n You should have taken their offer. \n Especially if you were unprepared.\n\n GALVIN\n I had a witness disappear on me.", "Galvin at the Plaintiff's table, hastily scribbling notes, \n he looks up. Gets to his feet, walks over to Dr. Towler in \n the witness box, the CAMERA MOVES WITH him.", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "He has shouted unconsciously; the whole Courtroom turns to \n look at him.\n\n JUDGE\n Yes, Mr. Galvin?", "It's been scheduled for eighteen \n months. We have the attorney for the \n Plaintiff, Frank Galvin -- and I", "JUDGE\n Thank you.\n\n The Witness starts to step down. Galvin strides over to him \n and speaks to the Judge.", "Kathy at the back of the court, coming down the aisle. As \n she passes the Defendant's table, Towler grabs Marx and starts", "GALVIN\n We are going to try the case.\n\n A beat. Galvin fumbles for a cigarette. The three sit in \n silence.", "with a solid case, a famous doctor \n as an expert witness, and I'm going \n to win eight hundred thousand dollars.", "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "JUDGE\n I'm sure it is, Frank: and let me \n tell you something. If we find it so" ], [ "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "MICKEY\n Frank, but not now. Frank. You're \n trying to wipe out some old business.", "MICKEY\n I know what I said but not now. You \n won it. Franky. You won it. When", "MICKEY\n Before he can get there here comes \n this Federal Marshal, and Franky's", "MICKEY\n Oh, yeah. Your broad from last night.\n\n Galvin pays the Cigar Stand Operator.\n\n JOHN\n Thanks, Franky.", "MICKEY\n Franky can't make it. He had an \n appointment he forgot, he's going to", "He turns away.\n\n GALVIN\n Mick. Mick. Mick...\n\n MICKEY\n What?", "MICKEY\n (listlessly)\n Read me what she said.\n\n Galvin flips through his notes. Reads.", "MICKEY\n A huge law firm. Okay? They put him \n in the firm, he's married,", "Beat. He turns his back on her. Mickey does likewise.\n\n Beat.", "Mickey drops his belligerent attitude. Turns to someone behind \n him.\n\n ANGLE\n\n The two men, Galvin standing behind Mickey, smoking. He nods.", "Galvin becomes aware of him, shakes his head \"no.\" Beat.\n\n Mickey moves back into his seat, they both stare at the \n television.", "GALVIN\n I have to talk to you.\n\n MICKEY\n What do you want?", "MICKEY\n You got a good memory, Franky.\n\n GALVIN\n I had a good teacher. McLean versus \n Urban Transport...", "A beat. Mickey comes tentatively into the room and sits at \n the desk across from Galvin.", "Galvin is struck dumb. He has just made a terrible error.\n\n He looks at Mickey.", "MICKEY\n (harshly)\n Get up.\n (beat, more harshly)\n Get up.", "MICKEY\n How are you holding up?\n\n GALVIN\n I'm swell.", "He pushes Galvin again. Galvin waves Mickey off.\n\n GALVIN\n It's all right, Mickey." ], [ "GALVIN\n And did you write the numeral 'one' \n down on the record, standing for one \n hour?\n\n KATHY\n I did.", "looked at the admittance form.\n (beat)\n And he told me to change the form. \n He told me to change the one to a", "Galvin walking tentatively down the corridor of a very rundown \n nursing home. He receives suspicious looks from the \n Attendants. He is checking numbers on the doors against a \n notation in the file. He finds the correct door and enters.", "CONCANNON\n (holding chart)\n You swore on this form that the \n patient ate nine hours ago.\n\n KATHY\n That's not my handwriting.", "NURSE\n You can't be in here.\n\n GALVIN\n (as if remembering \n something, simply)\n I'm her attorney.", "GALVIN\n You were the Admitting Nurse at St. \n Catherine Laboure Hospital on May", "DR. THOMPSON\n (starting on reciting \n a list)\n Her sister said she ate one hour \n prior to admittance... she...", "This is the Mrs. Costello that used \n to be a nurse?\n (beat)\n I'm sorry. I think we have our records", "JUDGE\n Sustained. Yes. The witness will \n confine his testimony to review of \n the hospital records.\n\n GALVIN\n What?", "GALVIN\n What did she say?\n\n KATHY\n She said she had a full meal one \n hour before coming to the hospital.", "MICKEY\n You got the admittance form says \n patient ate nine hours prior to \n admittance.\n\n GALVIN\n Admittance form is wrong.", "Mary Rooney motions the other Nurse to go away. She steps \n closer to Galvin.\n\n GALVIN\n I spoke to her, and everything is \n all right.", "GRUBER\n I read the hospital report on your \n client.\n\n GALVIN\n ...Deborah Ann Kaye...", "CONCANNON\n Then, please, which is correct? You've \n sworn today the patient ate one hour", "GALVIN\n You're really...\n (stops, remembering \n something)\n You, are you the one they told me \n was the nurse?", "GALVIN\n One hour.\n\n KATHY\n Yes.", "The book, written very large: \"Dr. Gruber. 7:00 P.M. \n Hospital.\"\n\n ANGLE", "She looks closely at it. Is satisfied.\n\n KATHY\n Yes.\n\n GALVIN\n These are your initials, 'K.C.'?", "He starts checking the charts. Sighs. \"This is useless...\"\n\n GALVIN\n Uh... the admitting nurse...", "GALVIN\n We've got her sister. Testifies she \n had a meal one hour before she was \n admitted to the hospital. This is \n the point." ], [ "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "GALVIN\n (into phone)\n Hello. Yes. Thank you for calling. \n Frank Galvin... I'm representing", "It's been scheduled for eighteen \n months. We have the attorney for the \n Plaintiff, Frank Galvin -- and I", "The carriage of a typewriter. A sheet of paper. Its letterhead \n reads \"Frank P. Galvin. Attorney at Law, 124 State Street,", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "FUNERAL DIRECTOR\n Mrs. Dee, this is Frank Galvin -- a \n very good friend of ours, and a very \n fine attorney.", "CONCANNON\n Ed Concannon.\n\n GALVIN\n (shaking his head)\n Frank Galvin. We've met before.", "CLAIRE\n (into phone)\n Frank Galvin's... who's calling \n please? Bishop Brophy's office...", "Galvin downs his drink, picks his briefcase off of the bar \n and starts for the door.\n\n INT. JUDGE SWEENEY'S CHAMBERS-DAY", "GALVIN\n And don't give me this shit, 'I was \n a lawyer, too.' 'Cause I know who", "LAURA\n And what are you? A cop?\n\n GALVIN\n I'm a lawyer.", "The sheet: \"I, Frank P. Galvin, duly appointed conservator \n for Deborah Ann Kaye, in consideration of Two Hundred Ten", "As the Judge starts to speak Galvin cannot help looking at \n Concannon out of the corner of his eye.\n\n JUDGE\n Let's do some business.", "DR. THOMPSON\n (tapping his briefcase, \n referring to his \n files)\n From what I've seen, Mr. Galvin, you \n have a very good case...", "Galvin continuing to the defense table, Mickey Morrissey \n already seated, studying notes on a yellow legal pad. Galvin \n sits. Mickey looks up.", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "A shoddy one-and-a-half room bachelor apartment. Galvin, \n beer and cigarettes on the table beside him. He is sitting \n on an armchair in the bedroom. A yellow legal pad in his \n lap.", "LAURA\n My ex-husband was a lawyer.\n\n GALVIN\n Really. How wonderful for you.", "He has shouted unconsciously; the whole Courtroom turns to \n look at him.\n\n JUDGE\n Yes, Mr. Galvin?", "Galvin in front of the dead-still courtroom. He breaks his \n reverie.\n\n GALVIN\n (to Concannon)\n Your witness." ], [ "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "He has been drinking for some time. He starts stumbling back \n to the file cabinet. On the way his eye is caught by his", "carries them to a wastebasket and throws them in. He sits on \n his desk, as if exhausted by his effort, pours from a whiskey \n bottle into a large water glass, downs the glass.", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "from his drinking. He puts his back against the door, puts \n down file and briefcase, extracts a small cheap Polaroid \n camera from the briefcase, readies it to shoot, picks up his", "Dead, resigned. He closes the phone book. He reaches in a \n pack of cigarettes on the desk. It is empty. He roots in the", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "Galvin, excited, is trying to light the cigar. His hand shakes \n badly. He has forgotten to bite off the end. He bites it, \n lights the cigar.", "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "He starts back to the desk for the bottle, knocks the still-\n ringing phone off the desk. He pours himself a drink.", "He hurries out of the room. CAMERA FOLLOWS him into the \n bathroom, he shuts the door, his chest heaves convulsively.", "ashtray for a long butt. This disgusts him. He rejects it. \n Rubs his eyes. Gets up. Goes to the window, stares out. Looks", "the slot. He pours a half-tumbler full of whiskey, and drains \n it. He refills the tumbler. He absently picks up the mail", "He hangs up phone, sighs. Lights a cigarette. Rotates his \n neck to loosen it up. Reaches to the table next to his bed \n for the bottle to pour a drink.", "His hand reaching for the bottle. On the table the photo of \n a very beautiful blonde woman in a silver frame. She is the", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "He hangs up. Reaches for a bottle of whiskey on his desk.\n\n Pours a shot into a glass. Downs it. His attention is caught \n by something across the room.", "I'm through. I'm sorry, Frank, this \n is the end.\n (beat)\n Life is too short, and I'm too old.", "The side table, a pack of Luckies. Galvin taking one, his \n hand shaking a little. Also on side table a pile of change \n containing a small rosary and a wedding ring.", "shot into the almost-empty glass in front of him. Looks to \n his left. Reaches behind him to some glasses on a shelf," ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "The empty wall. Galvin's P.O.V. The telephone heard Voice \n Over insisting, \"Frank...\"\n\n INT. GALVIN'S OFFICE ANTEROOM - NIGHT", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "dropped, he's released from jail.\n (beat)\n P.S. He's fired from the firm, his", "MICKEY\n Frank, but not now. Frank. You're \n trying to wipe out some old business.", "A hand turns a page and reveals a second clipping: \"Boston \n Lawyer Held in Jury Tampering Case,\" with a picture of a \n very confused Galvin at around forty-five being led to jail.", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "JOHN\n Here you are, Franky.", "MICKEY\n Before he can get there here comes \n this Federal Marshal, and Franky's", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "JUDGE\n I'm sure it is, Frank: and let me \n tell you something. If we find it so", "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "I'm through. I'm sorry, Frank, this \n is the end.\n (beat)\n Life is too short, and I'm too old.", "he calls up Harrington, he says he \n thinks he made a mistake. As if by \n magic, charges against him are", "He has been drinking for some time. He starts stumbling back \n to the file cabinet. On the way his eye is caught by his", "from his drinking. He puts his back against the door, puts \n down file and briefcase, extracts a small cheap Polaroid \n camera from the briefcase, readies it to shoot, picks up his" ], [ "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "MICKEY\n I know what I said but not now. You \n won it. Franky. You won it. When", "MICKEY\n Frank, but not now. Frank. You're \n trying to wipe out some old business.", "MICKEY\n Before he can get there here comes \n this Federal Marshal, and Franky's", "MICKEY\n Oh, yeah. Your broad from last night.\n\n Galvin pays the Cigar Stand Operator.\n\n JOHN\n Thanks, Franky.", "MICKEY\n (listlessly)\n Read me what she said.\n\n Galvin flips through his notes. Reads.", "Mickey drops his belligerent attitude. Turns to someone behind \n him.\n\n ANGLE\n\n The two men, Galvin standing behind Mickey, smoking. He nods.", "MICKEY\n Yeah? And what are you going to do \n tonight?\n\n GALVIN\n I'm going to get laid.", "Mickey on his feet, pacing. Galvin at a blackboard on which \n is written, \"Dr. Towler. Dr. Marx. Admitting Form. \n Anaesthesia.\" Etc.", "Galvin becomes aware of him, shakes his head \"no.\" Beat.\n\n Mickey moves back into his seat, they both stare at the \n television.", "MICKEY\n (reciting a catechism; \n dispiritedly)\n You use their witness.\n\n GALVIN\n That's right.", "MICKEY\n Franky can't make it. He had an \n appointment he forgot, he's going to", "Galvin is struck dumb. He has just made a terrible error.\n\n He looks at Mickey.", "MICKEY\n How are you holding up?\n\n GALVIN\n I'm swell.", "MICKEY\n You got a good memory, Franky.\n\n GALVIN\n I had a good teacher. McLean versus \n Urban Transport...", "They continue walking. We cannot hear them. Galvin is becoming \n agitated. He stops Mickey, stands there, Mickey very sad, \n Galvin incredulous, talking to him. Mickey nods.", "He turns away.\n\n GALVIN\n Mick. Mick. Mick...\n\n MICKEY\n What?", "He pushes Galvin again. Galvin waves Mickey off.\n\n GALVIN\n It's all right, Mickey.", "CLAIRE\n Mickey told him to call.\n (reading from notes)" ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "up in court. They want their \n vindication. I agree with them. But \n for today the offer stands. Before", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "It's been scheduled for eighteen \n months. We have the attorney for the \n Plaintiff, Frank Galvin -- and I", "CLAIRE\n What does it mean?\n\n GALVIN\n They want to settle.\n (beat)\n It means a lot of money.", "Concannon motions to Billy, the young lawyer, who nods in \n response and starts whispering instructions to his colleagues \n at the Defense table, who start leafing through their \n lawbooks. Concannon takes up the fight again.", "settlement, and get a record for \n himself.\n (beat)\n I myself would take it and run like \n a thief.", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "Galvin at the Plaintiff's table, hastily scribbling notes, \n he looks up. Gets to his feet, walks over to Dr. Towler in \n the witness box, the CAMERA MOVES WITH him.", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "GALVIN\n We are going to try the case.\n\n A beat. Galvin fumbles for a cigarette. The three sit in \n silence.", "See my point? Let's talk a minute. \n Frank: what will you and your client \n take right now this very minute to", "As the Judge starts to speak Galvin cannot help looking at \n Concannon out of the corner of his eye.\n\n JUDGE\n Let's do some business.", "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "Galvin gets to his feet. Walks over to the JURY. Looks at \n them, appraising. He pauses as before a great effort. Takes \n a breath. Exhales.", "GRUBER\n You're going to settle out of court?\n\n Gruber stops at the bottom of the stairs, beside an exit to \n the outside.", "Galvin downs his drink, picks his briefcase off of the bar \n and starts for the door.\n\n INT. JUDGE SWEENEY'S CHAMBERS-DAY", "did not, and five days before we're \n supposed to go to court we made him \n a rather generous offer, which he", "MICKEY\n Frank, but not now. Frank. You're \n trying to wipe out some old business.", "GRUBER\n Right. Who called?\n\n GALVIN\n The Archdiocese called, they want to \n settle... her estate..." ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "Galvin in front of the dead-still courtroom. He breaks his \n reverie.\n\n GALVIN\n (to Concannon)\n Your witness.", "MICKEY\n (reciting a catechism; \n dispiritedly)\n You use their witness.\n\n GALVIN\n That's right.", "Galvin surveys the courtroom, Kathy crosses in front of him, \n takes the stand, we hear the Bailiff administering the formula \n as we WATCH Galvin turn and look at the Jurors.", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "Galvin walks away from the witness box. He looks at the jury. \n He turns to look at the spectators. His thoughts are a million \n miles away. Unconsciously he straightens his tie.\n\n ANGLE", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "Concannon motions to Billy, the young lawyer, who nods in \n response and starts whispering instructions to his colleagues \n at the Defense table, who start leafing through their \n lawbooks. Concannon takes up the fight again.", "She hands him typed memo slip.\n\n GALVIN\n (surprised)\n ...he wants to testify...?", "Witness stand. DR. TOWLER, a distinguished man in his fifties, \n sitting on the stand. Concannon o.s. The doctor is ill-at- \n ease; smiles nervously.", "JUDGE\n Thank you.\n\n The Witness starts to step down. Galvin strides over to him \n and speaks to the Judge.", "Galvin at the Plaintiff's table, hastily scribbling notes, \n he looks up. Gets to his feet, walks over to Dr. Towler in \n the witness box, the CAMERA MOVES WITH him.", "The empty wall. Galvin's P.O.V. The telephone heard Voice \n Over insisting, \"Frank...\"\n\n INT. GALVIN'S OFFICE ANTEROOM - NIGHT", "He has shouted unconsciously; the whole Courtroom turns to \n look at him.\n\n JUDGE\n Yes, Mr. Galvin?", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "JUDGE\n You should have taken their offer. \n Especially if you were unprepared.\n\n GALVIN\n I had a witness disappear on me.", "Kathy at the back of the court, coming down the aisle. As \n she passes the Defendant's table, Towler grabs Marx and starts", "Galvin gets up from Plaintiff's table, takes up a large book \n as Dr. Towler takes the stands. He reads:", "Galvin gets to his feet. Walks over to the JURY. Looks at \n them, appraising. He pauses as before a great effort. Takes \n a breath. Exhales.", "Galvin slowly raises his head, turns and looks at the Jury, \n Mickey begins to smile.\n\n JUDGE\n Yes. You are." ], [ "ALITO\n Legally it's over. Concannon was \n brilliant.\n\n BROPHY\n Tell me about Kaitlin Costello.", "CONCANNON\n What did these people do when her \n heart stopped?\n\n DR. TOWLER\n We went to Code Blue...", "Concannon nods to the Young Lawyer, who is conscientiously \n taking notes.\n\n CONCANNON\n ...and her heart stopped and she \n wasn't getting oxygen.", "GRUBER\n Her doctors murdered her. They gave \n her the wrong anesthetic and they \n put her in the hospital for life.\n (a beat)\n Her doctors murdered her.", "jury is going to do. St. Catherine's \n a very well thought of institution. \n Her doctors...", "CONCANNON\n Say it.\n\n DR. TOWLER\n I was her doctor.", "GALVIN\n About Kathy Costello.\n (beat)\n I understand, and I don't blame you \n for shielding her.\n\n A beat.", "KATHY\n After, after the operation, when \n that poor girl, she went in a coma.", "DR. THOMPSON\n I... given the limits of your \n question, that's correct.\n\n JUDGE\n The Doctors were not negligent.", "CONCANNON\n Whatever the 'truth' is, let's hear \n that. You were her doctor.\n\n DR. TOWLER\n Yes.", "NURSE\n You can't be in here.\n\n GALVIN\n (as if remembering \n something, simply)\n I'm her attorney.", "GRUBER\n (glances at watch, \n impatient)\n Her doctors killed her.", "CONCANNON\n Why wasn't she getting oxygen...?\n\n DR. TOWLER\n Well, many reasons, actually...", "DR. TOWLER\n ...We did everything we could...\n\n CONCANNON\n ...to save her and to save the baby. \n Is that...", "Dr. Towler called me in. He told me \n he had five difficult deliveries in \n a row and he was tired, and he never", "Mary Rooney motions the other Nurse to go away. She steps \n closer to Galvin.\n\n GALVIN\n I spoke to her, and everything is \n all right.", "CONCANNON\n Tell me one?\n\n DR. TOWLER\n She'd aspirated vomitus into her \n mask...", "I know it's late in the East, but \n this is an emergency. May I please \n speak to Kathy Costello?\n (beat)", "GALVIN\n D'you ask the patient when did she \n last eat?\n\n KATHY\n Yes.", "KATHY\n I do.\n\n BAILIFF\n Be seated.\n\n Kathy sits, the Bailiff retires, Galvin walks over to her." ], [ "JUDGE\n Sustained. Yes. The witness will \n confine his testimony to review of \n the hospital records.\n\n GALVIN\n What?", "looked at the admittance form.\n (beat)\n And he told me to change the form. \n He told me to change the one to a", "CONCANNON\n (holding chart)\n You swore on this form that the \n patient ate nine hours ago.\n\n KATHY\n That's not my handwriting.", "NURSE\n You can't be in here.\n\n GALVIN\n (as if remembering \n something, simply)\n I'm her attorney.", "GALVIN\n You have a record of what happened \n in the operating room...\n\n TOWLER\n Yes, that's correct.", "Dr. Thompson. Did you examine Deborah \n Ann Kaye last night at The Northern \n Chronic Care Facility?", "GALVIN\n You're really...\n (stops, remembering \n something)\n You, are you the one they told me \n was the nurse?", "This is the Mrs. Costello that used \n to be a nurse?\n (beat)\n I'm sorry. I think we have our records", "Mary Rooney motions the other Nurse to go away. She steps \n closer to Galvin.\n\n GALVIN\n I spoke to her, and everything is \n all right.", "CAMERA FOLLOWS him TO Nurses' Station. He speaks to the NURSE \n behind the desk.\n\n GALVIN\n Dr. Gruber.", "CONCANNON\n Whatever the 'truth' is, let's hear \n that. You were her doctor.\n\n DR. TOWLER\n Yes.", "Galvin walking tentatively down the corridor of a very rundown \n nursing home. He receives suspicious looks from the \n Attendants. He is checking numbers on the doors against a \n notation in the file. He finds the correct door and enters.", "GALVIN\n You were the Admitting Nurse at St. \n Catherine Laboure Hospital on May", "in the case of Deborah Ann Kaye. You \n meet him at the hospital.'", "MARY ROONEY\n And ask me what?\n\n GALVIN\n Who put my client in the hospital \n for life.", "KATHY\n Who told you that?\n\n GALVIN\n (gestures back at the \n office, vaguely)\n Mrs...", "Galvin standing, he waits a beat. Starts out of locker room.\n\n INT. GRUBER'S HOSPITAL CORRIDOR - NURSES' STATION - NIGHT", "MICKEY (V.O.)\n Hello, this is Dr. Dorchester in \n Boston. This is an emergency. A nurse \n left my employ...\n\n ANGLE", "GALVIN\n And did you write the numeral 'one' \n down on the record, standing for one \n hour?\n\n KATHY\n I did.", "GALVIN\n ...of the procedures...\n\n TOWLER\n Yes, the roving nurse..." ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "look at each other -- he starts to speak, cannot. He knocks \n her to the floor, she upsets the table. A large man at the \n next table starts to restrain Galvin.", "Mickey walks to him, knocks the drink out of his hand and \n slaps him several times in the face.", "They continue walking. We cannot hear them. Galvin is becoming \n agitated. He stops Mickey, stands there, Mickey very sad, \n Galvin incredulous, talking to him. Mickey nods.", "He has been drinking for some time. He starts stumbling back \n to the file cabinet. On the way his eye is caught by his", "Dark. He grabs the brass knocker. Pounds. Nothing, he pounds \n again. Nothing. He is beaten. He is without resource. He", "He hangs up. Reaches for a bottle of whiskey on his desk.\n\n Pours a shot into a glass. Downs it. His attention is caught \n by something across the room.", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "Beat. It occurs to her that she's been duped, as Galvin starts \n off hurriedly down the hall.\n\n INT. GALVIN'S OFFICE BUILDING CORRIDOR - NIGHT", "Galvin, excited, is trying to light the cigar. His hand shakes \n badly. He has forgotten to bite off the end. He bites it, \n lights the cigar.", "carries them to a wastebasket and throws them in. He sits on \n his desk, as if exhausted by his effort, pours from a whiskey \n bottle into a large water glass, downs the glass.", "He hurries out of the room. CAMERA FOLLOWS him into the \n bathroom, he shuts the door, his chest heaves convulsively.", "I'm through. I'm sorry, Frank, this \n is the end.\n (beat)\n Life is too short, and I'm too old.", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "Both awkward. He looks at her, turns back to the bed, turns \n down the bed, sees the silver-framed picture of his wife, he \n looks back at Laura, starts to take the picture to turn it \n down.", "head and turns it off. He sits stiffly in the dark a moment, \n then lets his head fall back to the chair.", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?" ], [ "Galvin slowly raises his head, turns and looks at the Jury, \n Mickey begins to smile.\n\n JUDGE\n Yes. You are.", "Galvin gets to his feet. Walks over to the JURY. Looks at \n them, appraising. He pauses as before a great effort. Takes \n a breath. Exhales.", "JUDGE\n Have you reached a verdict?\n\n FOREMAN (V.O.)\n We have, your Honor.\n\n ANGLE", "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "GALVIN\n I'm going to win this case... Mist... \n Mr. Doneghy... I'm going to the Jury", "In front of the full jury box. Beat.", "jury wants to believe. They're all \n cynics, sure, because they want to \n believe. I have to go in there", "The Judge. He is making some notations on a page in front of \n him. He nods to himself, he has reached a decision. He looks \n up.", "The Bishop nods, meaning, \"You are dismissed.\" As an \n afterthought:\n\n BISHOP\n If we were to go to trial, would we \n win the case?", "GALVIN\n We are going to try the case.\n\n A beat. Galvin fumbles for a cigarette. The three sit in \n silence.", "INT. COURTROOM - DAY\n\n The Jurors filing in from the Jury Room.\n\n ANGLE", "Galvin walks away from the witness box. He looks at the jury. \n He turns to look at the spectators. His thoughts are a million \n miles away. Unconsciously he straightens his tie.\n\n ANGLE", "JUDGE\n (incredulous)\n That's it...?\n (beat)", "jury is going to do. St. Catherine's \n a very well thought of institution. \n Her doctors...", "Galvin in front of the dead-still courtroom. He breaks his \n reverie.\n\n GALVIN\n (to Concannon)\n Your witness.", "Galvin surveys the courtroom, Kathy crosses in front of him, \n takes the stand, we hear the Bailiff administering the formula \n as we WATCH Galvin turn and look at the Jurors.", "up in court. They want their \n vindication. I agree with them. But \n for today the offer stands. Before", "The Courtroom is seated. JUDGE motions to the CLERK, who \n stands and reads:", "She nods. Beat. Walks off. Galvin turns to the open door to \n the Courtroom, through which the SPECTATORS are reentering", "The jury box. One JUROR leans over and makes a whispered \n comment to another. The SECOND JUROR nods, inclines his head \n toward the witness box.\n\n ANGLE" ] ]	[ "Who gives Frank the case?", "Where did Frank graduate from?", "What was Frank framed for by the law firms senior partner?", "Who is the nurse that testifies?", "Why is Frank angry at Laura?", "What was the surgeon's mistake?", "Why was Micky looking through Laura's purse?", "Where does Frank meet Laura?", "Who wins the case?", "What is Frank Galvin's profession before?", "What was Frank framed for?", "What addiction does Frank suffer from?", "Where does Frank meet Laura?", "What does Frank find in Laura's purse?", "How much is the settlement that Frank turns down from the Bishop?", "What occupation is the client's nurse involved in currently?", "Who becomes Frank's main witness in the case?", "What is Micky's relationship to Frank?", "What number is the nurse Kaitlin advised to change the number \"one\" to in the hospital admitting records?", "What is Frank Galvin's profession?", "From what addiction does Frank now suffer?", "What was Frank framed for?", "What does Frank's friend Mickey refer to Frank? ", "Who attempts to get Frank to settle out of court?", "Who becomes Frank's star witness?", "What did the attending doctors instruct Kaitlin Costello do?", "Who asked nurse Kaitlin to change hospital records?", "Who does Frank hit when he thinks he has been betrayed?", "Who does the jury find for in the case?" ]	[ [ "Micky, Frank's old teacher.", "Mickey." ], [ "Boston college Law school", "Boston College Law School." ], [ "Jury tampering", "Jury tampering" ], [ "Costello", "Kaitlin Costello." ], [ "He found out that she was a mole for the other law firm. ", "Because she was working for the lawyers working on a case against him." ], [ "Not reading the chart and giving his patent an anesthetic that cannot be used on a full stomach. ", "giving the patient the wrong anesthetic" ], [ "He was looking for cigarettes. ", "looking for cigarettes" ], [ "In a bar.", "At a bar" ], [ "Frank", "Frank" ], [ "Frank is a lawyer", "Lawyer." ], [ "Jury tampering", "Jury tampering." ], [ "Alcoholism", "alcoholism" ], [ "A bar", "New York." ], [ "A check", "A check from the Concannon's law firm." ], [ "two-hundred and ten thousand dollars", "$210,000" ], [ "A pre-school teacher", "She is a preschool teacher." ], [ "Kaitlin Costello", "Kaitlyn Costello, a nurse" ], [ "Former teacher and friend", "A former teacher" ], [ "\"nine\"", "9." ], [ "A lawyer.", "Lawyer" ], [ "Alcoholism.", "Alcohol" ], [ "Jury tampering.", "Jury Tampering" ], [ "A medical malpractice case.", "A medical malpractice case" ], [ "The Catholic Bishop.", "The bishop of the Archdiocese of Boston." ], [ "Kaitlin Costello", "Kaitlin Costello." ], [ "Tamper with hospital admitting records.", "They instructed her to change her notes on the forms to hide her error." ], [ "The anesthesiologist. ", "the anesthesiologist" ], [ "Laura", "Laura" ], [ "Frank's clients.", "For Frank's clients." ] ]	15f500761e9b3001810b088339b99ec7de656a2a	test
[ [ "Therefore I now must tell what happened, rather as it is told to me,\nthan as myself remember it. Only you must not expect such truth, as I\nalways give, while competent.", "who listened at the door, because their duty compelled them thus to\nprotect their master. And all of these told different stories, agreeing\nonly upon one point; but the best of them told it, as follows. Chowne", "\"Ever since I began to be put into clothes, and taught to kill other\npeople, I have longed to tell of an evil thing which happened once among", "story-tellers. Therefore let no one find any fault or doubt any single\nthing I tell them concerning some people who happen just now to be five\nor six shelves in the world above me, for I have seen a great deal of", "to make her contradict perhaps herself, but certainly us, ten times as\nmuch. She did her best to explain her meaning; and we really ought to\nenter more into their disabilities. Therefore let her tell her story, as", "say, \"Now you tell any stories at my expense, and you may look out.\" But\nWatkin was truth itself, and she nodded, and said \"Ness,\" at the end of\nhis speech.", "herself listened with her face concealed to the tale of her own\nmisfortune. Once or twice she whispered to herself, \"Oh my poor poor", "man. Nevertheless I bade him tell it, being an older man than he was,\nand therefore more able to enter into what young folk call", "shamefully treated. And now I have another thing to tell you about him;\nthat is if you have not heard it.\"", "and I could fill seven thousand pages with our whole adventures. But\nnone of them bore much on my tale, and nobody cares for my adventures,\nsince I ceased to be young and handsome; and sometimes I almost thought", "tale, and wanted the room to make much of him. Nevertheless, the men of\nperception had not done with me yet.", "wife a brisk sharp woman, quite ready to tell her story. But what she\ndid first, and for us, at this moment, was to rouse up the fire with a", "their legs; and thus I begin, but never end, the tale I now begin to\nyou, and perhaps shall never end it.", "and looked at one another, while this old chap told his story. And\nplease to mind that he had picked up a prawn-netful of little trifles,", "When Mrs Shapland had finished this tale, and was taking some\nwell-earned refreshment, Polly and I looked at one another, as much as", "will take him first, with your good leave, if ever words of mine can\nkeep up with him. But of course you will understand that I tell what\ncame to my knowledge afterwards.", "\"I tell you,\" I cried; \"that never does. And I never knew good come of\nit. A man's first place is to trust to himself, and to pray to the Lord\nto help him. Have you nothing more to say?\"", "\"I ought to have told,\" said the dying man slowly; \"only I could not\nbring myself. But now you will know, you will all know now. My father is", "this story were breathed any further off than our own two selves, until\nthe time was ripe for it. Of course I had not been quite such a fool as", "course of action highly lowering to my rank and position in society, but\nwithout which I could never have been enabled to tell this story. And\nyet before entering on that subject, everybody will want to know how I" ], [ "\"I'se two, I'se two,\" she answered, looking with some astonishment;\n\"didn't 'a know that? Hot's 'a name?\"", "thinks with all her might, as you may say. And then she says 'No! I'se\nnot hot you says. I'se two years old, and I'se Bardie. And my papa he be", "So spake up my two-year-old, astonishing me (as she always has done) by\nher wonderful cleverness, and surprising Moxy Thomas that such clear\ngood words should come from so small a creature.", "done when two years old, and offered her bright lips for a kiss, to\nprove that she was not arrogant. None but a surly bear could refuse her;\nstill my feelings were deeply hurt, that other people should take", "\"Pretty little soul,\" I said, \"how old do you call yourself?\"\n\nAt this she gathered up her forehead, not being used to the way I put\nit, while she was trying to think it out.", "By this time she began to be overcome with circumstances, as might\nhappen naturally to a child but two years old, after long exposure", "or 'Bardie,' as she called herself, though christened after her mother.\nEverybody, the poor little mite, she expected everybody to know her name", "\"Quick is it? Quick indeed! Much quick you are, old Dyo!\" she replied in\nEnglish. \"The darling dear, the pretty love!\" for the child had spread", "She laughed her usual merry laugh (although she had been crying so)\nwhile she spread her dainty hands, exactly as she used to spread them,\nwhen she was only two years old, with me alone to look at her.", "nos.\" To look at her size and figure, you would say that her age was\nfourteen at least; but I knew that she was but twelve years old, as she\nhappened to be our Bunny.", "it would be upon the feelings of this young girl, to have her \"identity\"\n(as Crowner Bowles entitled it) discussed in her own presence. Therefore\nshe was led away by that regular busybody the housekeeper, Mrs", "But as the brave little creature spoke, I saw that \"the dust was in her\neyes.\" This was her own expression always, to escape the reproach of", "deep compassion. The sense of bad-luck was too strong for the courage of\neven two years' growth, and little Bardie proved herself of just the\nright age for crying. I had observed how clear and bright and musical", "years old, and I will not be made a child of. You have been wonderfully\nkind and good, and as dear to me as a father; but I must go away now; I\nmust go away.\"", "little hands spread, and her bright eyes flashing; 'I'se Bardie, I tell\n'a; and evelybody knows it.' Oh yes, and she never could say 'th'--but", "\"Neither child came from that wreck. One is my granddaughter Bunny.\nBunny, show yourself to black Evan.\" But the child shrank closer behind", "\"I'se not a yicked shild,\" she said, \"I'se a yae good gal, I is; I 'ont", "\"Now go and play, like two little dears, and remember whose day it is,\"\nI said to them both, for I felt the duty of keeping my grandchild up to", "Near this delicate creature sate, in a bending attitude of protection, a\nstrong and well-made girl, with black hair, jet-black eyes, and a rosy", "the many times to come when none would care to comfort her. And though a\nchild is but a child, somehow I took to that child. Therefore I became\nmost anxious as to her state of body, and handled her little mites of" ], [ "Bampfylde's grandson, and the baby-girl his granddaughter. I never heard\nwhat became of her. She must have been drowned, or starved, most likely.", "\"An ancient widower, your worship, with a little grandchild; and how to\nkeep her to the mark, with father none and mother none, quite takes me\noff my head sometimes. Let me light your honour to your carriage.\"", "upon me, by presenting you with your long-lost granddaughter--and your\ngrandson to come afterwards.\"", "word to, or even about, the children coming out thus to stare at him.\nAll the children he used to know are gone to day's work long ago; and", "brother's children, and even to have buried them. He found it out of his\npower to prove that really he had not done it, nor had even entertained", "\"Not another word, General. You must not dwell on this matter so. The\nchildren were fine little dears of course, very clever and very\nprecious----\"", "\"Neither child came from that wreck. One is my granddaughter Bunny.\nBunny, show yourself to black Evan.\" But the child shrank closer behind", "beard), he wanted to show his skill in babies, of which he boasted\nhimself a grandfather. And so he began to whisper,--", "course these pretty children were a great delight to every one. But\naffairs of this sort happen in all ancient families. The mere extent of\nland appears to open for clandestine graves----\"", "grandson's barn, and to live on his grandson's ducks, potatoes, and\npigeons. This was last harvest-time, just as Chowne was enjoying his bit\nof cub-hunting.", "had dug up his son's cocked-hat, and his two grandchildren, all as fresh\nas the day itself. It is not for me (who have never been so deeply", "was disrespectful of the Government to call him so, when his true name\nwas 'Sir Philip.' He had never seen his grandchildren till now, and what", "CHAPTER XXXVII.\n\nTWO POOR CHILDREN.", "\"Great God! speak not like that, my boy. The worst you are of\neverything. If those two children came ashore, there must have been\nsomething better.\" And he peered at the children as if to search for any\ngold upon them.", "Captain Drake Bampfylde had drowned the children, some said by accident,\nsome said on purpose, and buried them somewhere on Braunton Burrows. And", "innocent children, very dear ones both of them, but also the loss of\nfair repute to an honourable family, and the cruel suspicion cast upon", "children were stolen, and refused to say whither, or why, he was gone.\nThat active and shrewd man Parson Chowne no sooner heard of the loss", "none was ever seen afterwards. It was the only field he had, being left\nto him by his grandmother; and many people were disappointed that he had\nnot slept with his cow that night. This directed his attention to the", "children. And of these the very worst was Parson Chowne. If it had been\nhis own only children--such as he says he is too good to have--he", "had been sitting for their Sunday evening) creaked, as if carried in and\ndusted for another Sunday, and there was not one child left (except a" ], [ "\"Hy'se 'a been so long, old Davy, afore 'a come to see poor Bardie?\"\n\n\"Because, my pretty dear, I have been forced to work, all day long\nalmost.\"", "\"Old Davy, poor ickle Bardie not go to 'e back pit-hole yet?\"\n\n\"No, my dear, not for ever so long. Not for eighty years at least. And\nthen go straight to heaven!\"", "forward little Davy, thinking that I spoil him so, because of his\ndecided genius giving such promise of bard-hood--already it would do you", "\"Old Davy tarry me aye nicely, I tell 'a. Old Davy good and kind; and I\n'ont have him called kumsy.\"", "manner, but Bardie said, \"No, I 'ont, old Davy; I'll thank God when I\ngets puddeny-pie.\"", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "\"Aye yell! Then I tell 'a hot to do. Take poor Bardie to markiss, old\nDavy; and 'e get a great big money for her.\"", "\"Old Davy,\" she said, as I came to see her at her own invitation, and\nshe sate quite over Bunny, \"'Ill 'a have a ickle dop?\" With the water up", "else, except that it was dear Bardie. That little darling whom I loved,\nfor her gifts direct from God, and her ways, so out of the way to all", "was gradually broken into distant admiration. One morning I came\nsuddenly in from looking to my night-lines, and a pretty scene I saw.\nThe door of my cupboard was wide open, and there stood little Bardie", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "deep compassion. The sense of bad-luck was too strong for the courage of\neven two years' growth, and little Bardie proved herself of just the\nright age for crying. I had observed how clear and bright and musical", "I thought I had made a most excellent speech, and Bardie looked up with\nadmiration, to know when I meant to finish. But to my surprise, young\nRodney took very little heed of it.", "herself, she never for a moment grudged to wipe poor Bardie's eyes with\nit. Nay, she even permitted her--which was much more for a child to", "old Davy some day. Ickle bother not like nat at all. Ickle bother not so\nbig enough, and only two ickle teeth in front, and his hair all gone", "Bardie, and might have been her twin-brother, as everybody vowed he was,\nonly his face was bolder and stronger, and his nose quite different,", "My chief reason is that poor dear Bardie first obtained a pure\nknowledge of her desolate state upon that occasion;--at least so far as", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"" ], [ "But poor Bardie hung down her head and was shy, which never happened to\nher with me or any of the common people; she seemed to know, as if by", "and all about her; and nothing put her in such a passion as to pretend\nnot to know who she was. 'I'se Bardie,' she used to cry out, with her", "or 'Bardie,' as she called herself, though christened after her mother.\nEverybody, the poor little mite, she expected everybody to know her name", "little hands spread, and her bright eyes flashing; 'I'se Bardie, I tell\n'a; and evelybody knows it.' Oh yes, and she never could say 'th'--but", "smaller, and the high-born Bardie looked down upon Bunny for being so\nmuch coarser. But neither was able to tell the other at all what her", "made no difference, however. Very soon they came to settle it between\nthem. The low-born Bunny looked down upon Bardie for being so much", "By the tone of her voice I knew that this last was a fib of fright, and\nglad I was to know it so. Much the better chance was left me of\ndisposing Bardie somewhere, where she might be comfortable.", "else, except that it was dear Bardie. That little darling whom I loved,\nfor her gifts direct from God, and her ways, so out of the way to all", "Bardie. And to the last day of my life I shall rejoice that I so\nbehaved. He saw that I was speaking truth; but he showed no signs of joy", "\"Bardie!\" I cried, with some indignation, as if she were growing beyond\nmy control; and she stood on the spring of her toes exactly as she had", "believed to be the body of poor little Bardie. For that child had such\nnice ways, and took such upper hand of me; that, expecting to find a\nCaptain always, especially among women----", "My chief reason is that poor dear Bardie first obtained a pure\nknowledge of her desolate state upon that occasion;--at least so far as", "herself, she never for a moment grudged to wipe poor Bardie's eyes with\nit. Nay, she even permitted her--which was much more for a child to", "Bardie, and might have been her twin-brother, as everybody vowed he was,\nonly his face was bolder and stronger, and his nose quite different,", "astonishment was worth seeing, on account of his being such a fair young\nchap, when suddenly he beheld poor Bardie, standing weakly on her legs", "doll's birth (still more so with her dress, of course, having her a\nfemale), because through her I learned a great deal more of Bardie's\nhistory than ever our Bunny could extract.", "\"I am not a ladyship,\" she answered, with a beautiful bright smile; \"I\nam only a common lady; and I think you must be an Irishman.\"", "And now the way in which Moxy came out, while Bardie was making much of\nme (who always saw everything first, of course), and the style of her", "sight of Bardie, everything else was gone from her. All the other\nchildren were fit only to make dirt-pies of. This confirmed and held me\nsteadfast in the opinions which I had formed without any female", "girl-child shook her hand at him, and said, 'E bad man, Bardie knows\n'a.'" ], [ "\"That shows how much you know, old Davy! Why I was come on purpose to\ntell you that they are tired out at last: and that I may go to sea, if", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "\"Davy,\" said he, \"we all know your courage, your readiness, and your\nresources. Still you appear to be under a spell--and you know you are", "Taffies with manners enough to come and hold a gentleman's horse? Here\nyou, Davy Jones, you are long enough, and lazy enough; put your hand to\nthe bridle, will you?\"", "\"Davy dear, this is not right, nor like our ancient friendship. A rogue\nlike Griffy to cheat you so! What had he beaten you down to, Davy?\"", "\"Fisherman Davy\" (as they call me all around our parts) was fifty and\ntwo years of age, I believe, that very same July, and with all my heart", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "strait toward this poor and unconverted Davy as if an angel held the\ntiller, with an admiral in the stern-sheets.", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"Little dears,\" is all I say, \"Captain Davy is getting old. It is hard\nto tell a tale, but easy to find fault with it. You tell me that my left", "The very next day, I was afloat as a seaman of the Royal Navy of the\nUnited Kingdom. None but a sailor can imagine what I felt and what I", "old Davy, fine old Davy, brave old Davy!\" they said I was every time I\nabated a halfpenny; and I called them generous gentlemen and", "\"Now, Davy, you know better. You think yourself at least as good as any\none of us, Davy, and likely far above us all. Therefore, Davy the", "CHAPTER I.\n\nFISHERMAN DAVY A FISH OUT OF WATER.", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"", "\"Old Davy tarry me aye nicely, I tell 'a. Old Davy good and kind; and I\n'ont have him called kumsy.\"", "then she saw old Davy. Her hands came toward me, and so did her eyes,\nand so did her lips, with great promise of kisses, such as her father", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "\"What is the matter, my pretty dear?\" I asked, after landing, and\ncoaxing her. \"Tell old Davy; Captain David will see the whole of it put\nto rights.\"" ], [ "At last he fetched a strong breath, and opened the usual wickedness of\nhis eyes, and knew me at once, but did not know exactly what had", "whom I had twice beheld already, and whom no man may three times see,\nand then survive the twelvemonth; in him, of course, I had true", "and meant to present the things in good time; but now being gored thus\nin his own house, the devil entered into him. His dark face grew of a", "did not show me round him so as to get his girth and substance. \"Think\nof the devil,\" is an old saying; and while I thought of him, in he\nwalked.", "from his constant desire to lash a horse. He was the devil himself to\nride, so everybody said of him; and Parson Chowne's horse was now become", "bitter disdain of his countenance. The devil, who wanted him for a rare\nmorsel in the way of cannibalism, stood at my elbow; but luckily thought", "\"That wicked devilish story, Dick! Did you tell me, or did you not, to\ntake it as the Fiend's own lie?\"", "of Welsh. But to let your Worship know my cause to come so much upon\nyou, is of things more to the purpose. I have found a bad man meaning\nmischief to your Worship.\"", "\"I look upon him, your Worship, as the blackest-hearted son of Belial\never sent into this world.\"", "Only Chowne's wicked face was white, and settled with calm fury; and his\nstyle of address to us, just as if we were nothing but dogs of his\nkennel.", "of black, and all his body tossing with spasms and weak groaning. \"What\nmeans this?\" asked his Lordship, drawing considerably nearer to the", "use,\" I said aloud; \"it is useless to contend with him. He has sold\nhimself to Satan, and, thank God, I have no chance with him.\" Therefore", "told me when and where to come across him, so as not to be broken in\nupon. Now he came down the narrow winding walk, at the lower side of the", "sought in vain for the cradle. And while he was moaning, came Satan\nhimself, bearing the cradle red-hot and crackling; and he seized the", "But finding this useless, he said that it was no more than he had\nexpected; because it was known that it always befell every man who\nforgot his baptism, and got into dealings with Parson Chowne.", "docile. This he pretended at first to explain as the result of a compact\nformed some years back between his reverence and the devil. For Parson", "and beyond any doubt at all, I never should have known him, if I had\nchanced to meet him elsewhere. For I had not set eyes on his face from", "\"Oh the villain! oh the cruel villain!\" she exclaimed, in a voice that\nquite alarmed me, considering how near the footpath was; \"and a minister", "\"What a gloomy and devilish place!\" cried Rodney Bluett, beginning to\ntremble from some unknown influence. \"Upon my soul, if I lived here, I", "dream, with the devil both roasting and rocking him. Glory be to the\nLord for it!\"" ], [ "Hence it was that Sir Philip Bampfylde, on the very morning after I gave\nhim back his grandchild, sate gazing into the ebb of the Tawe, some", "Philip Bampfylde, Esquire, and the younger Captain Drake Bampfylde, of\nwhom I have spoken already. Philip, the heir, had been appointed to", "Captain Drake Bampfylde had drowned the children, some said by accident,\nsome said on purpose, and buried them somewhere on Braunton Burrows. And", "in the West of England. She is the grandchild of Sir Philip Bampfylde of\nNarnton Court, near Barnstaple. And I think I have heard my mother speak", "Bampfylde's grandson, and the baby-girl his granddaughter. I never heard\nwhat became of her. She must have been drowned, or starved, most likely.", "audience of Sir Philip Bampfylde himself, and tell him all that I ever\nhad seen of Chowne and his devices, and place Sir Philip on his guard,", "Captain Drake Bampfylde was the most unlucky of born mortals. To begin\nwith, he was the younger son of that very fine Sir Philip, and feeling", "\"Who are you, my pretty creature?\" Sir Philip Bampfylde asked again,\nwhile she opened her grey eyes wide at him.", "\"He does not dislike you, Drake Bampfylde; he hates you with all the\nvenomous, cold, black hatred, such as I fear to think of--oh my dear, oh\nmy dear!\"", "far more) in true family love, that fine and pure old gentleman, the\nmuch-troubled Sir Philip Bampfylde,--this, I say, was the very first", "Bampfyldes even older. Come to me, my pretty darling. There, don't cry\nso; or if you must, come in here, and I will help you. Rodney, my dear,", "to my genuine benefactor, poor Sir Philip Bampfylde. This old gentleman\nclearly was not going on very comfortably; and Parson Chowne had given", "did not cost me long to learn that one was good Sir Philip Bampfylde,\nand the other that very wicked Chowne. The latter had manifestly been", "Sir Philip Bampfylde, as every one said, was a very nice gentleman\nindeed, the head of an ancient family, and the owner of a large estate.", "\"You lovely dear, why, who are you?\" cried Lady Bampfylde, with a start,\nthat made me dread hysterics.", "Nobody knows what might have happened with Captain Bampfylde so beset,\nand longing to think that he ought to act as everybody told him: but he", "Lest any one should be surprised that Sir Philip Bampfylde could have\npaid two visits to this delightful neighbourhood, without calling on our", "\"Here it is, sir,\" cried the General, overlooking me, in the rush of his\nsentiments towards the Colonel: \"here is the true Bampfylde mark. Even", "Bampfylde to the care of her maid, who was running up from the servants'\nhall to look after her, I fixed my hook (screwed on for the purpose)", "Bampfylde, and waiting for three or four years more of age, to come into\nlarge estates in South Devon." ], [ "Hence it was that Sir Philip Bampfylde, on the very morning after I gave\nhim back his grandchild, sate gazing into the ebb of the Tawe, some", "Philip Bampfylde, Esquire, and the younger Captain Drake Bampfylde, of\nwhom I have spoken already. Philip, the heir, had been appointed to", "audience of Sir Philip Bampfylde himself, and tell him all that I ever\nhad seen of Chowne and his devices, and place Sir Philip on his guard,", "\"Who are you, my pretty creature?\" Sir Philip Bampfylde asked again,\nwhile she opened her grey eyes wide at him.", "all these wonders about Sir Philip Bampfylde. What had led him to visit\nme? What was he seeking on Braunton Burrows--for now I knew that it must", "far more) in true family love, that fine and pure old gentleman, the\nmuch-troubled Sir Philip Bampfylde,--this, I say, was the very first", "in the West of England. She is the grandchild of Sir Philip Bampfylde of\nNarnton Court, near Barnstaple. And I think I have heard my mother speak", "Captain Drake Bampfylde was the most unlucky of born mortals. To begin\nwith, he was the younger son of that very fine Sir Philip, and feeling", "Sir Philip Bampfylde, as every one said, was a very nice gentleman\nindeed, the head of an ancient family, and the owner of a large estate.", "to my genuine benefactor, poor Sir Philip Bampfylde. This old gentleman\nclearly was not going on very comfortably; and Parson Chowne had given", "Lest any one should be surprised that Sir Philip Bampfylde could have\npaid two visits to this delightful neighbourhood, without calling on our", "\"You lovely dear, why, who are you?\" cried Lady Bampfylde, with a start,\nthat made me dread hysterics.", "\"Here it is, sir,\" cried the General, overlooking me, in the rush of his\nsentiments towards the Colonel: \"here is the true Bampfylde mark. Even", "Bampfylde, now wife (if you will please to remember) to Commodore Sir\nDrake Bampfylde, although by birth entitled the Honourable Isabel", "Bampfylde, and waiting for three or four years more of age, to come into\nlarge estates in South Devon.", "did not cost me long to learn that one was good Sir Philip Bampfylde,\nand the other that very wicked Chowne. The latter had manifestly been", "\"Sir Philip Bampfylde, allow me,\" I said, stretching forth my right hand\nto him, \"to repay you for some of the countless benefits you have heaped", "After the master of the ship Defence had proved so unable to defend\nhimself, General Sir Philip Bampfylde, with his large and quiet mind", "much--whether he has earned it or otherwise--to restrain him from\ndeserving more. The reason why Sir Philip Bampfylde kept us so long", "Sir Drake Bampfylde (being knighted for service in India), and how all\nhis life he had lain under a cloud by reason of this very matter, not" ], [ "Therefore I now must tell what happened, rather as it is told to me,\nthan as myself remember it. Only you must not expect such truth, as I\nalways give, while competent.", "were to be considered, and only three, whatever point of view one chose\nto take of it. The first of these was Sir Philip, the second the two\nchildren, and the third of course myself. To the first my duty was", "\"Ever since I began to be put into clothes, and taught to kill other\npeople, I have longed to tell of an evil thing which happened once among", "And I, who had seen him brand his bitten arm with the red hot poker,\nlaying the glowing iron on, until the blood hissed out at it, I alone", "who listened at the door, because their duty compelled them thus to\nprotect their master. And all of these told different stories, agreeing\nonly upon one point; but the best of them told it, as follows. Chowne", "to make her contradict perhaps herself, but certainly us, ten times as\nmuch. She did her best to explain her meaning; and we really ought to\nenter more into their disabilities. Therefore let her tell her story, as", "afterwards), that truly, surely, and with no mistake he must have seen\nsomething. What it was became naturally quite another question; and upon\nthis head no two people could be found of one opinion. But though it", "When the whole of the music was crashing like a battle, and people going\nround like great flies in a web, my father led me down by the\nriver-side, and sent me up some dark narrow steps, and pointed to two", "story-tellers. Therefore let no one find any fault or doubt any single\nthing I tell them concerning some people who happen just now to be five\nor six shelves in the world above me, for I have seen a great deal of", "none was ever seen afterwards. It was the only field he had, being left\nto him by his grandmother; and many people were disappointed that he had\nnot slept with his cow that night. This directed his attention to the", "set them forth pretty much to the following purport. First, it was the\nCaptain himself who proposed the dancing on the terrace. Second, it was\nhis own man who drew her attention away from the children, after a", "herself listened with her face concealed to the tale of her own\nmisfortune. Once or twice she whispered to herself, \"Oh my poor poor", "\"At the end of that passage turn to the left, and knock at the third\ndoor round the corner. You dare not lay hands on anything. My master\nwill know it if you do.\"", "between his knees, and through the gloss of her hair he poured such very\nbeautiful and true stories, that one could almost see her mind (like the", "The boy looked at me with wonder and eagerness about it. But I gave him\na look, as much as to say, \"Ask no more at present.\" However, he was so\nfull of her that he could not keep from talking.", "and examined him carefully. The rest of the children seemed to hate him,\nand he, to shrink out of their way almost; and yet he was the only fine", "When Mrs Shapland had finished this tale, and was taking some\nwell-earned refreshment, Polly and I looked at one another, as much as", "\"A lie, of course, as concerns the Captain: from their want of\nknowledge. But concerning some one else, true enough, I fear, I fear.\"", "and I could fill seven thousand pages with our whole adventures. But\nnone of them bore much on my tale, and nobody cares for my adventures,\nsince I ceased to be young and handsome; and sometimes I almost thought", "\"Madam,\" said I, with that bow of mine which takes the women captive, \"I\nshould like to see him wonderfully; only without his seeing me.\"" ], [ "\"Old Davy, poor ickle Bardie not go to 'e back pit-hole yet?\"\n\n\"No, my dear, not for ever so long. Not for eighty years at least. And\nthen go straight to heaven!\"", "\"Aye yell! Then I tell 'a hot to do. Take poor Bardie to markiss, old\nDavy; and 'e get a great big money for her.\"", "\"Hy'se 'a been so long, old Davy, afore 'a come to see poor Bardie?\"\n\n\"Because, my pretty dear, I have been forced to work, all day long\nalmost.\"", "manner, but Bardie said, \"No, I 'ont, old Davy; I'll thank God when I\ngets puddeny-pie.\"", "Jones, with a candle, stooping to ease her by means of a drop of hot\ngrease; and inside, by the wall, lay Bardie, sleeping (as she always", "By the tone of her voice I knew that this last was a fib of fright, and\nglad I was to know it so. Much the better chance was left me of\ndisposing Bardie somewhere, where she might be comfortable.", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "was gradually broken into distant admiration. One morning I came\nsuddenly in from looking to my night-lines, and a pretty scene I saw.\nThe door of my cupboard was wide open, and there stood little Bardie", "\"Old Davy,\" she said, as I came to see her at her own invitation, and\nshe sate quite over Bunny, \"'Ill 'a have a ickle dop?\" With the water up", "astonishment was worth seeing, on account of his being such a fair young\nchap, when suddenly he beheld poor Bardie, standing weakly on her legs", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "Now, being sure of my boat, I began to think what to do with Bardie. And\nmany foolish ideas came, but I saw no way to a wise one, or at least I", "scarcely vie with me. But they promised never to forget me; and the\nnight before I went away, I carried Bardie back to Sker, and saw that\nBlack Evan was dying.", "When he had got from me all that I knew--except that he never once hit\nupon Bardie (the heart and the jewel of everything), he asked me without\nany warning--\n\n\"Do you know who that Sir Philip is?\"", "Bardie. And to the last day of my life I shall rejoice that I so\nbehaved. He saw that I was speaking truth; but he showed no signs of joy", "made no difference, however. Very soon they came to settle it between\nthem. The low-born Bunny looked down upon Bardie for being so much", "arms almost as helpless as little Bardie, three years younger, had lain\nthe night before; and knowing how children will go off without a man's", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose" ], [ "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "\"Davy,\" said he, \"we all know your courage, your readiness, and your\nresources. Still you appear to be under a spell--and you know you are", "\"Fisherman Davy\" (as they call me all around our parts) was fifty and\ntwo years of age, I believe, that very same July, and with all my heart", "CHAPTER I.\n\nFISHERMAN DAVY A FISH OUT OF WATER.", "of it all, old Davy, by relieving your mind, and behaving in a sensible\nand religious manner.\"", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"", "\"Davy dear, this is not right, nor like our ancient friendship. A rogue\nlike Griffy to cheat you so! What had he beaten you down to, Davy?\"", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "\"Old Davy tarry me aye nicely, I tell 'a. Old Davy good and kind; and I\n'ont have him called kumsy.\"", "\"Now, Davy, you know better. You think yourself at least as good as any\none of us, Davy, and likely far above us all. Therefore, Davy the", "\"That shows how much you know, old Davy! Why I was come on purpose to\ntell you that they are tired out at last: and that I may go to sea, if", "then she saw old Davy. Her hands came toward me, and so did her eyes,\nand so did her lips, with great promise of kisses, such as her father", "it. Yet I could see that the dear little eyes looked at me, and tried to\nsay to the wandering wits that it was Old Davy; and the helpless tongue", "\"Well, Davy, I have apologised. How many times more must I do it? It was\nnot that I doubted your skill. You tell us of that so often, that none", "old Davy, fine old Davy, brave old Davy!\" they said I was every time I\nabated a halfpenny; and I called them generous gentlemen and", "\"Old Davy,\" she said, as I came to see her at her own invitation, and\nshe sate quite over Bunny, \"'Ill 'a have a ickle dop?\" With the water up", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "\"Your name is David Llewellyn,\" he said, caring no more to look at me;\n\"you came from the coast of Glamorgan, three days ago, in the Rose of\nDevon schooner.\"" ], [ "\"That shows how much you know, old Davy! Why I was come on purpose to\ntell you that they are tired out at last: and that I may go to sea, if", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "\"Davy,\" said he, \"we all know your courage, your readiness, and your\nresources. Still you appear to be under a spell--and you know you are", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"Fisherman Davy\" (as they call me all around our parts) was fifty and\ntwo years of age, I believe, that very same July, and with all my heart", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose", "\"Davy dear, this is not right, nor like our ancient friendship. A rogue\nlike Griffy to cheat you so! What had he beaten you down to, Davy?\"", "Taffies with manners enough to come and hold a gentleman's horse? Here\nyou, Davy Jones, you are long enough, and lazy enough; put your hand to\nthe bridle, will you?\"", "\"Oh, Davy, Davy, I will,\" he answered; \"only, only save me.\"", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "\"Lieutenant, you would not like me to account you in the number.\"\n\n\"Davy, you might fairly do it, when I come off deck, like this. Send him\nin, ere I snooze, old fellow.\"", "\"Now, Davy, you know better. You think yourself at least as good as any\none of us, Davy, and likely far above us all. Therefore, Davy the", "\"What is the matter, my pretty dear?\" I asked, after landing, and\ncoaxing her. \"Tell old Davy; Captain David will see the whole of it put\nto rights.\"", "then she saw old Davy. Her hands came toward me, and so did her eyes,\nand so did her lips, with great promise of kisses, such as her father", "CHAPTER I.\n\nFISHERMAN DAVY A FISH OUT OF WATER.", "\"Old Davy tarry me aye nicely, I tell 'a. Old Davy good and kind; and I\n'ont have him called kumsy.\"", "strait toward this poor and unconverted Davy as if an angel held the\ntiller, with an admiral in the stern-sheets.", "\"Little dears,\" is all I say, \"Captain Davy is getting old. It is hard\nto tell a tale, but easy to find fault with it. You tell me that my left" ], [ "By the tone of her voice I knew that this last was a fib of fright, and\nglad I was to know it so. Much the better chance was left me of\ndisposing Bardie somewhere, where she might be comfortable.", "settled in my mind what to do with Bardie. She must go to the old\nSker-house. And having taken a special liking (through the goodness of", "Now, being sure of my boat, I began to think what to do with Bardie. And\nmany foolish ideas came, but I saw no way to a wise one, or at least I", "\"Aye yell! Then I tell 'a hot to do. Take poor Bardie to markiss, old\nDavy; and 'e get a great big money for her.\"", "manner, but Bardie said, \"No, I 'ont, old Davy; I'll thank God when I\ngets puddeny-pie.\"", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"Old Davy, poor ickle Bardie not go to 'e back pit-hole yet?\"\n\n\"No, my dear, not for ever so long. Not for eighty years at least. And\nthen go straight to heaven!\"", "\"Old Davy,\" she said, as I came to see her at her own invitation, and\nshe sate quite over Bunny, \"'Ill 'a have a ickle dop?\" With the water up", "\"'Ill 'a,\" she said; \"and poor Bardie too?\"", "\"Hy'se 'a been so long, old Davy, afore 'a come to see poor Bardie?\"\n\n\"Because, my pretty dear, I have been forced to work, all day long\nalmost.\"", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "kennel. But Bardie showed good-nature now, for she ran up to Bunny and\ntook her hand and led her to me, and said very nicely, \"Give this ickle", "herself, she never for a moment grudged to wipe poor Bardie's eyes with\nit. Nay, she even permitted her--which was much more for a child to", "strange just now, that it might prove a rich wise thing to go for a\nquiet cruise with Bardie. In that boat, and on the waves, she might", "believed to be the body of poor little Bardie. For that child had such\nnice ways, and took such upper hand of me; that, expecting to find a\nCaptain always, especially among women----", "Bardie. And to the last day of my life I shall rejoice that I so\nbehaved. He saw that I was speaking truth; but he showed no signs of joy", "The next and last thing, before starting, was to provide for poor Bardie\nherself. For I feared that Hezekiah, or some other unprincipled fellow,", "\"Nare she have been, all 'e time, stealing 'a soogar, old Davy!\" And she\nlooked at me as if she had done a good turn by the information. I", "was wrong, or at any rate failed to work it out. In a fortnight Bardie\nwas mistress again; and poor Bunny had to trot after her.", "its hands to her, being taken with a woman's dress. \"Give her to me,\nclumsy Davy. Is it that way you do carry her?\"" ], [ "\"Ever since I began to be put into clothes, and taught to kill other\npeople, I have longed to tell of an evil thing which happened once among", "When the whole of the music was crashing like a battle, and people going\nround like great flies in a web, my father led me down by the\nriver-side, and sent me up some dark narrow steps, and pointed to two", "\"Twenty years at least,\" he pronounced it, in a clear decided voice;\n\"twenty years it must have taken to have made me what I am. Would twenty", "This was a very sad story, I thought, but they said that the worst of it\nstill lay behind: for poor Squire Philip had been so upset by the hurry", "It must have been either the end of February, or the early part of\nMarch, in the year of grace 1793, when we heard of this grand and", "and, Charley, can you say otherwise? Then it must have been eighteen\nyears agone, when I was took on for under-nurse, because the Princess", "as if she had known the place for a century. The General clearly had\nmanaged to visit her during the time of his absence from us; what passed\nbetween them matters not, except that he must have acknowledged her. For", "yesterday. And I take that to be the truth of it. How many years have I\nbeen here? I know not. Bring me a looking-glass.\"", "CHAPTER XXVIII.\n\nSOMETHING ABOUT HIM.", "\"At the end of that passage turn to the left, and knock at the third\ndoor round the corner. You dare not lay hands on anything. My master\nwill know it if you do.\"", "\"A month, your honour!\" I cried in dismay. \"I never could stop in this\ncountry a month. Why, a week of it would be enough to drive me out of my\nmind almost.\"", "CHAPTER XVII.\n\nFOR A LITTLE CHANGE OF AIR.", "CHAPTER XLVI.\n\nAFTER SEVEN YEARS.", "It may have been half an hour afterwards, or it may have been an hour\nand a half (so much these people differed), when Captain Vellacott on a", "\"My father before we got home stripped off the little boy's clothes, and\nburied them in a black moor-hole full of slime, with a great white stone", "of those children so much as a single farthing for taking care of her\nproperty until she was twenty-one years of age. Then as regards the\nsecond point, I displayed my zeal immediately, by falling upon Bunny", "years old, and I will not be made a child of. You have been wonderfully\nkind and good, and as dear to me as a father; but I must go away now; I\nmust go away.\"", "none was ever seen afterwards. It was the only field he had, being left\nto him by his grandmother; and many people were disappointed that he had\nnot slept with his cow that night. This directed his attention to the", "him. In the early days when he was poor, and clever, and ambitious, he\nhad ousted his elder brother from his father's hearth, and banished him.", "who listened at the door, because their duty compelled them thus to\nprotect their master. And all of these told different stories, agreeing\nonly upon one point; but the best of them told it, as follows. Chowne" ], [ "But poor Bardie hung down her head and was shy, which never happened to\nher with me or any of the common people; she seemed to know, as if by", "\"Old Davy, poor ickle Bardie not go to 'e back pit-hole yet?\"\n\n\"No, my dear, not for ever so long. Not for eighty years at least. And\nthen go straight to heaven!\"", "manner, but Bardie said, \"No, I 'ont, old Davy; I'll thank God when I\ngets puddeny-pie.\"", "little hands spread, and her bright eyes flashing; 'I'se Bardie, I tell\n'a; and evelybody knows it.' Oh yes, and she never could say 'th'--but", "\"Aye yell! Then I tell 'a hot to do. Take poor Bardie to markiss, old\nDavy; and 'e get a great big money for her.\"", "\"Hy'se 'a been so long, old Davy, afore 'a come to see poor Bardie?\"\n\n\"Because, my pretty dear, I have been forced to work, all day long\nalmost.\"", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"Davy,\" said he, \"we all know your courage, your readiness, and your\nresources. Still you appear to be under a spell--and you know you are", "\"Now, Davy, you know better. You think yourself at least as good as any\none of us, Davy, and likely far above us all. Therefore, Davy the", "Bardie, and might have been her twin-brother, as everybody vowed he was,\nonly his face was bolder and stronger, and his nose quite different,", "forward little Davy, thinking that I spoil him so, because of his\ndecided genius giving such promise of bard-hood--already it would do you", "else, except that it was dear Bardie. That little darling whom I loved,\nfor her gifts direct from God, and her ways, so out of the way to all", "When he had got from me all that I knew--except that he never once hit\nupon Bardie (the heart and the jewel of everything), he asked me without\nany warning--\n\n\"Do you know who that Sir Philip is?\"", "or 'Bardie,' as she called herself, though christened after her mother.\nEverybody, the poor little mite, she expected everybody to know her name", "\"Davy dear, this is not right, nor like our ancient friendship. A rogue\nlike Griffy to cheat you so! What had he beaten you down to, Davy?\"", "made no difference, however. Very soon they came to settle it between\nthem. The low-born Bunny looked down upon Bardie for being so much", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"", "old Davy some day. Ickle bother not like nat at all. Ickle bother not so\nbig enough, and only two ickle teeth in front, and his hair all gone", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose" ], [ "\"What a gloomy and devilish place!\" cried Rodney Bluett, beginning to\ntremble from some unknown influence. \"Upon my soul, if I lived here, I", "from his constant desire to lash a horse. He was the devil himself to\nride, so everybody said of him; and Parson Chowne's horse was now become", "so as to drive them to Heddon's Mouth. We durst not halt for a rest\nuntil there were three leagues between us and Nympton Moor; then", "\"You fool! Is that all the wit you have? Three days in and out of\nBarnstaple! It is Sir Philip Bampfylde of Narnton Court, close by you.\"", "three of his ribs stoven in, and a good deal of breakage abroad in his\nhead. However, they hoped that he might come round; and being a\nDevonshire man, he did, as I found out afterwards.", "Hurried speech does not become me on any other subject. Everybody has\nthe right to know, and everybody does know, how the whole of North Devon", "along the Braunton road, to find his boat where the river bends. And\nmuch as I longed to know him better, and understand why he did such", "in the West of England. She is the grandchild of Sir Philip Bampfylde of\nNarnton Court, near Barnstaple. And I think I have heard my mother speak", "\"Your name is David Llewellyn,\" he said, caring no more to look at me;\n\"you came from the coast of Glamorgan, three days ago, in the Rose of\nDevon schooner.\"", "We left the Sealark off Heddon's Mouth, a wild and desolate part of the\ncoast, for my object was to pounce unawares on the Parson's savage", "We brought the Rose of Devon to her moorings on the south side of the\nriver, about two miles short of Barnstaple, where a little bend and", "\"Exactly as I say, your Honour. These are what the wild man took for\nyour two children in Braunton Burrows; and here is the Captain's", "Appledore, which is, we believe, in Devonshire. The respected Coroner\nBowles held an inquest, which afforded universal satisfaction.\"", "\"I look upon him, your Worship, as the blackest-hearted son of Belial\never sent into this world.\"", "bitter disdain of his countenance. The devil, who wanted him for a rare\nmorsel in the way of cannibalism, stood at my elbow; but luckily thought", "\"He does not dislike you, Drake Bampfylde; he hates you with all the\nvenomous, cold, black hatred, such as I fear to think of--oh my dear, oh\nmy dear!\"", "coming home towards his family, very late one Friday night; and he knew\nthat it was Friday night because of the songs along the road of the folk\nfrom Barnstaple market. He kept himself out of their way, because they", "docile. This he pretended at first to explain as the result of a compact\nformed some years back between his reverence and the devil. For Parson", "barbarous broken English--if this jargon could be called English at\nall--the only thing I could gather was, that none but true Devonshire", "in places, when the tide is out, and no floods coming down. These two\ncunning barbarians came of course from the Nympton rookery, but were" ], [ "\"That shows how much you know, old Davy! Why I was come on purpose to\ntell you that they are tired out at last: and that I may go to sea, if", "\"Davy dear, this is not right, nor like our ancient friendship. A rogue\nlike Griffy to cheat you so! What had he beaten you down to, Davy?\"", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "\"Well, Davy, I have apologised. How many times more must I do it? It was\nnot that I doubted your skill. You tell us of that so often, that none", "\"Davy,\" said he, \"we all know your courage, your readiness, and your\nresources. Still you appear to be under a spell--and you know you are", "of it all, old Davy, by relieving your mind, and behaving in a sensible\nand religious manner.\"", "\"On, on!\" cried Rodney Bluett; \"you know these paths, gallop on, Davy.\"", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose", "old Davy some day. Ickle bother not like nat at all. Ickle bother not so\nbig enough, and only two ickle teeth in front, and his hair all gone", "\"'Hots 'a think, old Davy? Patty Geen been yecked, she has.\"\n\n\"'Yecked!' I don't know what that is, my dear.\"", "\"Thou hast crossed the water for something then, Davy. Them be the two\nPassons!\"\n\n\"Two Passons!\" I could not say it exactly as he sounded it. \"I never\nheard of two Passons.\"", "\"What does it mean?\" cried Rodney Bluett; \"is it murder, madness, or\nsuicide? Follow me, Davy. Here I go, anyhow, into the thick of it.\"", "good brother Davy with fish upon a Monday?\" His object in this was plain\nenough--to beat down my goods by terror of an information for\nSabbath-labour.", "\"Old Davy, poor ickle Bardie not go to 'e back pit-hole yet?\"\n\n\"No, my dear, not for ever so long. Not for eighty years at least. And\nthen go straight to heaven!\"", "\"Your Reverence, it so happens that my name is 'Old Davy Llewellyn.'\"\n\n\n\n\nCHAPTER LIV.", "scarcely vie with me. But they promised never to forget me; and the\nnight before I went away, I carried Bardie back to Sker, and saw that\nBlack Evan was dying.", "\"Your name is David Llewellyn,\" he said, caring no more to look at me;\n\"you came from the coast of Glamorgan, three days ago, in the Rose of\nDevon schooner.\"", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me." ], [ "\"Do you mean that big thief, Davy Llewellyn? Well, well, do as you\nplease. But I will thank you to pay my bill first.\"", "\"Your name is David Llewellyn,\" he said, caring no more to look at me;\n\"you came from the coast of Glamorgan, three days ago, in the Rose of\nDevon schooner.\"", "\"David Llewellyn,\" he said, as he rose and approached me as if I were\nquite his equal; \"allow me to take your hand, my friend. There are few", "\"It seems very likely,\" said Colonel Lougher, as they waited for his\nopinion. \"That David Llewellyn is a most shrewd fellow. But he ought to", "cause may be, the result seems always to be the same, in spite of inborn\nhumility--to wit, that poor old Davy Llewellyn, wherever his ups and", "\"Your Reverence, it so happens that my name is 'Old Davy Llewellyn.'\"\n\n\n\n\nCHAPTER LIV.", "believe was this old Davy Llewellyn; and right he has to be proud of it.\nBut what were left on my hands that evening were beginning to get so", "\"David Llewellyn.\" And so we met; and I squeezed his hand till he longed\nto dance; and I was ready to cut a caper from my depth of feeling.", "tongues of these natives by means of some excellent stories. Recalling\nthe fame of my grandfather (that long David Llewellyn, who made on his", "\"David Llewellyn, the only chance to save thy sinful soul is this. Open\nthine heart to the chosen one, to the favoured of the Lord. Confess to", "celebrated fisherman, and heroic pensioner of our royal navy, whose name\nis David Llewellyn, and who traces his lineage from the royal bard of", "\"Yes, your Reverence, David Llewellyn, once of his Majesty's Royal Navy,\nand now of----\"", "I could not help saying to myself, \"Come, after all now, Davy Llewellyn,\nyou are not gone so far as to want a low Scotchman to show you the place", "\"Llewellyn,\" he said, \"I trust in God. Years of trouble have taught me\nthat. I speak to you as a friend almost, from your long acquaintance", "\"To be sure, to be sure! I remember now,\" he said, with his grave and\nplacid smile: \"David Llewellyn! Both good old names, and the latter, I", "of a clock than I, old Davy Llewellyn, and once on a time I asked him,\nwhen he talked too much of his \"ometries\"--as a sailor might do in his", "\"Captain Llewellyn,\" he said; \"I am come to tell you that my mind is\nquite made up. I mean to go to sea as soon as I can have my clothes\nmade.\"", "\"Llewellyn,\" he said, \"the time is come for you to leave off this course\nof action. I do not wonder that you felt provoked; but you must seek for", "\"Indeed and indeed then, Mr Llewellyn,\" he went on in English, having an\nevident desire to improve himself by discourse with me, \"I did try, and", "\"There is not one of us, I daresay, who would not enjoy this little\nchange. But I think that Llewellyn is our man, simply for this reason." ], [ "strange just now, that it might prove a rich wise thing to go for a\nquiet cruise with Bardie. In that boat, and on the waves, she might", "to lift upon a bit of a wave, and, not having won her sea-legs yet in\nspite of that long cruise, down came poor Bardie with a thump, which", "By the tone of her voice I knew that this last was a fib of fright, and\nglad I was to know it so. Much the better chance was left me of\ndisposing Bardie somewhere, where she might be comfortable.", "yong. Ickle bother, such a lot of things Bardie's got to tell 'a.\" And\nthus she would run on the brink of the waves with hope and sadness", "little hands spread, and her bright eyes flashing; 'I'se Bardie, I tell\n'a; and evelybody knows it.' Oh yes, and she never could say 'th'--but", "settled in my mind what to do with Bardie. She must go to the old\nSker-house. And having taken a special liking (through the goodness of", "Now, being sure of my boat, I began to think what to do with Bardie. And\nmany foolish ideas came, but I saw no way to a wise one, or at least I", "Bardie seemed almost too full of life for quenching; and having escaped\nrocks, waves, and quicksands, surely she would never be wrecked upon dry", "\"Hush!\" I whispered; too late, however, for there stood Bardie herself,\na slim, light-footed, and graceful child, about ten years old just then,", "Bardie. And to the last day of my life I shall rejoice that I so\nbehaved. He saw that I was speaking truth; but he showed no signs of joy", "deep compassion. The sense of bad-luck was too strong for the courage of\neven two years' growth, and little Bardie proved herself of just the\nright age for crying. I had observed how clear and bright and musical", "and all about her; and nothing put her in such a passion as to pretend\nnot to know who she was. 'I'se Bardie,' she used to cry out, with her", "\"Your name is David Llewellyn,\" he said, caring no more to look at me;\n\"you came from the coast of Glamorgan, three days ago, in the Rose of\nDevon schooner.\"", "But poor Bardie hung down her head and was shy, which never happened to\nher with me or any of the common people; she seemed to know, as if by", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "By this time I owe it to all the kind people who have felt some pity for\nour Bardie and her fortunes, to put off no longer a few little things", "\"'Ill 'a,\" she said; \"and poor Bardie too?\"", "was gradually broken into distant admiration. One morning I came\nsuddenly in from looking to my night-lines, and a pretty scene I saw.\nThe door of my cupboard was wide open, and there stood little Bardie", "else, except that it was dear Bardie. That little darling whom I loved,\nfor her gifts direct from God, and her ways, so out of the way to all", "herself, she never for a moment grudged to wipe poor Bardie's eyes with\nit. Nay, she even permitted her--which was much more for a child to" ], [ "Now, being sure of my boat, I began to think what to do with Bardie. And\nmany foolish ideas came, but I saw no way to a wise one, or at least I", "strange just now, that it might prove a rich wise thing to go for a\nquiet cruise with Bardie. In that boat, and on the waves, she might", "The \"burning tide,\" as they called it (through which poor Bardie first\nappeared), had been heard of far inland, and with one consent pronounced", "one. Only I felt it just to leave my boat entire to Bardie.", "Bardie. And to the last day of my life I shall rejoice that I so\nbehaved. He saw that I was speaking truth; but he showed no signs of joy", "By the tone of her voice I knew that this last was a fib of fright, and\nglad I was to know it so. Much the better chance was left me of\ndisposing Bardie somewhere, where she might be comfortable.", "Because he would argue it out that a boat, unmanned and even unmasted,\nnever could have crossed the channel as Bardie's boat must needs have", "Bardie seemed almost too full of life for quenching; and having escaped\nrocks, waves, and quicksands, surely she would never be wrecked upon dry", "Rodney played with Bardie. This of course interfered with the lady's\nchances of spreading nets for him, so that soon she lost her temper,", "to lift upon a bit of a wave, and, not having won her sea-legs yet in\nspite of that long cruise, down came poor Bardie with a thump, which", "scarcely vie with me. But they promised never to forget me; and the\nnight before I went away, I carried Bardie back to Sker, and saw that\nBlack Evan was dying.", "ashore, or at least their bodies, and are now in Newton churchyard. The\nsame must have been the fate of Bardie but for the accident of that", "She was bearing towards Pool Tavan, as poor Bardie's boat had done, but\nwithout the summer glory and the golden wealth of waves. All was smooth", "tide rose higher, though all on board were swept away--suddenly it came\ninto my head about poor Bardie and Bunny. They were worth all the", "was gradually broken into distant admiration. One morning I came\nsuddenly in from looking to my night-lines, and a pretty scene I saw.\nThe door of my cupboard was wide open, and there stood little Bardie", "sweetheart Moxy, and for little Bardie in the thick of such disasters,\nthat could be no excuse to me for wasting good fish--or at least pretty\ngood--and losing thoroughly good money.", "But to break away at once from all these trifling matters, only one day\ncame to pass before I went for Bardie. All along the sea-coast I was", "\"'Ill 'a,\" she said; \"and poor Bardie too?\"", "and rudder also. And the same held true, as most people would think,\nconcerning Bardie's property; for if I had not saved her life, how could\nshe have owned any?", "And even this was not the whole of the blessings that now rolled down\nupon me, for the sake, no doubt, of little Bardie, as with the ark in" ], [ "Hence it was that Sir Philip Bampfylde, on the very morning after I gave\nhim back his grandchild, sate gazing into the ebb of the Tawe, some", "\"Who are you, my pretty creature?\" Sir Philip Bampfylde asked again,\nwhile she opened her grey eyes wide at him.", "Philip Bampfylde, Esquire, and the younger Captain Drake Bampfylde, of\nwhom I have spoken already. Philip, the heir, had been appointed to", "audience of Sir Philip Bampfylde himself, and tell him all that I ever\nhad seen of Chowne and his devices, and place Sir Philip on his guard,", "all these wonders about Sir Philip Bampfylde. What had led him to visit\nme? What was he seeking on Braunton Burrows--for now I knew that it must", "far more) in true family love, that fine and pure old gentleman, the\nmuch-troubled Sir Philip Bampfylde,--this, I say, was the very first", "in the West of England. She is the grandchild of Sir Philip Bampfylde of\nNarnton Court, near Barnstaple. And I think I have heard my mother speak", "Sir Philip Bampfylde, as every one said, was a very nice gentleman\nindeed, the head of an ancient family, and the owner of a large estate.", "to my genuine benefactor, poor Sir Philip Bampfylde. This old gentleman\nclearly was not going on very comfortably; and Parson Chowne had given", "Captain Drake Bampfylde was the most unlucky of born mortals. To begin\nwith, he was the younger son of that very fine Sir Philip, and feeling", "Lest any one should be surprised that Sir Philip Bampfylde could have\npaid two visits to this delightful neighbourhood, without calling on our", "\"Here it is, sir,\" cried the General, overlooking me, in the rush of his\nsentiments towards the Colonel: \"here is the true Bampfylde mark. Even", "\"You lovely dear, why, who are you?\" cried Lady Bampfylde, with a start,\nthat made me dread hysterics.", "Bampfylde, and waiting for three or four years more of age, to come into\nlarge estates in South Devon.", "\"Sir Philip Bampfylde, allow me,\" I said, stretching forth my right hand\nto him, \"to repay you for some of the countless benefits you have heaped", "Bampfylde, now wife (if you will please to remember) to Commodore Sir\nDrake Bampfylde, although by birth entitled the Honourable Isabel", "After the master of the ship Defence had proved so unable to defend\nhimself, General Sir Philip Bampfylde, with his large and quiet mind", "did not cost me long to learn that one was good Sir Philip Bampfylde,\nand the other that very wicked Chowne. The latter had manifestly been", "Bampfyldes even older. Come to me, my pretty darling. There, don't cry\nso; or if you must, come in here, and I will help you. Rodney, my dear,", "bride a most unhappy one. Therefore Sir Philip Bampfylde and the ancient\nEarl of Pomeroy were the only persons present of their rank and kindred;" ], [ "\"Aye yell! Then I tell 'a hot to do. Take poor Bardie to markiss, old\nDavy; and 'e get a great big money for her.\"", "By the tone of her voice I knew that this last was a fib of fright, and\nglad I was to know it so. Much the better chance was left me of\ndisposing Bardie somewhere, where she might be comfortable.", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"Old Davy, poor ickle Bardie not go to 'e back pit-hole yet?\"\n\n\"No, my dear, not for ever so long. Not for eighty years at least. And\nthen go straight to heaven!\"", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "\"Old Davy,\" she said, as I came to see her at her own invitation, and\nshe sate quite over Bunny, \"'Ill 'a have a ickle dop?\" With the water up", "manner, but Bardie said, \"No, I 'ont, old Davy; I'll thank God when I\ngets puddeny-pie.\"", "\"Hy'se 'a been so long, old Davy, afore 'a come to see poor Bardie?\"\n\n\"Because, my pretty dear, I have been forced to work, all day long\nalmost.\"", "Now, being sure of my boat, I began to think what to do with Bardie. And\nmany foolish ideas came, but I saw no way to a wise one, or at least I", "kennel. But Bardie showed good-nature now, for she ran up to Bunny and\ntook her hand and led her to me, and said very nicely, \"Give this ickle", "\"'Ill 'a,\" she said; \"and poor Bardie too?\"", "settled in my mind what to do with Bardie. She must go to the old\nSker-house. And having taken a special liking (through the goodness of", "Jones, with a candle, stooping to ease her by means of a drop of hot\ngrease; and inside, by the wall, lay Bardie, sleeping (as she always", "Bunny, being the elder and much the stronger child, had thrown the skirt\nof her frock across poor little Bardie's naked shoulders; while Bardie,", "herself, she never for a moment grudged to wipe poor Bardie's eyes with\nit. Nay, she even permitted her--which was much more for a child to", "\"Nare she have been, all 'e time, stealing 'a soogar, old Davy!\" And she\nlooked at me as if she had done a good turn by the information. I", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "Bardie wept in the arms of Bunny. They put their little hands behind\nthem, and stood apart to think a bit, and watched each other shyly. To", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose", "then she saw old Davy. Her hands came toward me, and so did her eyes,\nand so did her lips, with great promise of kisses, such as her father" ], [ "manner, but Bardie said, \"No, I 'ont, old Davy; I'll thank God when I\ngets puddeny-pie.\"", "Bardie. And to the last day of my life I shall rejoice that I so\nbehaved. He saw that I was speaking truth; but he showed no signs of joy", "Bardie was of a birth and nature such as demanded this thing highly.", "made no difference, however. Very soon they came to settle it between\nthem. The low-born Bunny looked down upon Bardie for being so much", "believed to be the body of poor little Bardie. For that child had such\nnice ways, and took such upper hand of me; that, expecting to find a\nCaptain always, especially among women----", "I thought I had made a most excellent speech, and Bardie looked up with\nadmiration, to know when I meant to finish. But to my surprise, young\nRodney took very little heed of it.", "Bardie, and might have been her twin-brother, as everybody vowed he was,\nonly his face was bolder and stronger, and his nose quite different,", "But poor Bardie hung down her head and was shy, which never happened to\nher with me or any of the common people; she seemed to know, as if by", "little hands spread, and her bright eyes flashing; 'I'se Bardie, I tell\n'a; and evelybody knows it.' Oh yes, and she never could say 'th'--but", "smaller, and the high-born Bardie looked down upon Bunny for being so\nmuch coarser. But neither was able to tell the other at all what her", "many could not stand against Bardie's smile. They made up, indeed, some\nscandalous story, as might have been expected, about my relationship to", "down the sandhill almost faster than became her dignity. But if she had\nbeen surprised before, how was she astonished now at Bardie's reception\nof her?", "was gradually broken into distant admiration. One morning I came\nsuddenly in from looking to my night-lines, and a pretty scene I saw.\nThe door of my cupboard was wide open, and there stood little Bardie", "girl-child shook her hand at him, and said, 'E bad man, Bardie knows\n'a.'", "Poor Bardie appeared as full of bright spirit, and as brave as ever, and\nwhen she tumbled from jumping two steps, what did she do but climb back", "else, except that it was dear Bardie. That little darling whom I loved,\nfor her gifts direct from God, and her ways, so out of the way to all", "kennel. But Bardie showed good-nature now, for she ran up to Bunny and\ntook her hand and led her to me, and said very nicely, \"Give this ickle", "\"I'se Bardie. Didn't 'a know that?\"", "\"Bardie!\" I cried, with some indignation, as if she were growing beyond\nmy control; and she stood on the spring of her toes exactly as she had", "show the best side of his manners. Wherefore, to let him have his say,\nhere is his opinion." ], [ "\"That shows how much you know, old Davy! Why I was come on purpose to\ntell you that they are tired out at last: and that I may go to sea, if", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "CHAPTER I.\n\nFISHERMAN DAVY A FISH OUT OF WATER.", "\"Davy dear, this is not right, nor like our ancient friendship. A rogue\nlike Griffy to cheat you so! What had he beaten you down to, Davy?\"", "\"Fisherman Davy\" (as they call me all around our parts) was fifty and\ntwo years of age, I believe, that very same July, and with all my heart", "Taffies with manners enough to come and hold a gentleman's horse? Here\nyou, Davy Jones, you are long enough, and lazy enough; put your hand to\nthe bridle, will you?\"", "Fuzzy and Ike were stealing rock at this particular period in a new\nketch called the Devil (wholly in honour of Parson Chowne); and through", "\"Thou hast crossed the water for something then, Davy. Them be the two\nPassons!\"\n\n\"Two Passons!\" I could not say it exactly as he sounded it. \"I never\nheard of two Passons.\"", "about her, she might very well have been in a Dutch ship with her father\nand mother, and little brother and Susan, in the best cabin. It was well\nknown among us that Dutch vessels lay generally northward of their true", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "The part to be beaten up first is the Welsh coast, from St David's Head\nto Penarth. I have heard of many good seamen there, and especially at", "\"Old Davy tarry me aye nicely, I tell 'a. Old Davy good and kind; and I\n'ont have him called kumsy.\"", "\"Your name is David Llewellyn,\" he said, caring no more to look at me;\n\"you came from the coast of Glamorgan, three days ago, in the Rose of\nDevon schooner.\"", "\"Brother Davy, I have offered a blessing on thy flesh-pots; and good\nthey were, though not manifold. It is comely that I should offer another\nblessing on thy vessels, Davy.\"", "\"Ketch, your reverence, if you please. The difference is in the\nmizzen-mast.\"", "then she saw old Davy. Her hands came toward me, and so did her eyes,\nand so did her lips, with great promise of kisses, such as her father", "\"I'se yeady, old Davy,\" she answered; \"I'se kite yeady. 'Hen 'll 'e be\nyeady? Peshy voo.\"", "find me redeem it afterwards. The famous David Llewellyn, of His\nMajesty's Royal Navy, took a berth in a trading-schooner, called the\n\"Rose of Devon!\"", "\"'Hots 'a think, old Davy? Patty Geen been yecked, she has.\"\n\n\"'Yecked!' I don't know what that is, my dear.\"" ], [ "Parson Chowne. It was expected that the Parson would be content to have\nhim down and horsewhip him (as his manner was), and burn his house down", "children. And of these the very worst was Parson Chowne. If it had been\nhis own only children--such as he says he is too good to have--he", "Parson Chowne, in early life, before his mind was put into shape for\nanything but to please itself, had been dreadfully vexed and thwarted.", "from his constant desire to lash a horse. He was the devil himself to\nride, so everybody said of him; and Parson Chowne's horse was now become", "employ his ship and crew for a purpose of high treason to his lawful\nmaster. That Parson Chowne should dare to think that I would swallow\nsuch stuff as that, made me angry with myself for not having", "This more than anything else aroused Parson Chowne's attention. For the\npapers he cared not a damn, he said; for two of them lived by abusing", "Through wholesome fear of Parson Chowne, and knowledge of his\nfire-tricks, I kept the Rose of Devon in a berth of deep fresh water;", "shelter us. And half a mile away round the corner might be found (as the\ndriver said) the rectory house of Parson Chowne. Neither horse nor man", "However, no more of arguments. What good can they do, when the thing is\nthere, and no reasoning can alter it? Even Parson Chowne might argue,", "It seems that no sooner did Parson Chowne discover how cleverly I had\nescaped him (after leaving my mark behind, in a way rather hard to put", "enough to say that Parson Chowne in my visions came and horribly stood\nover me.", "This affair impressed me so with a sense of awe and reverence, and a\ncertainty that Parson Chowne must be in direct receipt of counsel from", "Parson Chowne, he set off for the stables at a pace likely to prove\ninjurious to his credit for consistency.", "right or wrong, until his evil star led him into Parson Chowne's\nsociety. But still he had instincts now and then, such as a horse has,", "five pounds for his bargain. This ought to have satisfied any man who\nknew what Parson Chowne was, and that fifty times five pounds would be\nsaved by keeping out of his black books. Nevertheless the Captain stuck", "Parson Chowne (who happened to have two churches), this gentleman had\ncontrived to give, as almost every one managed to do, deadly offence to", "Parson Chowne rose, and threw off his mask, and drew back the\nwindow-curtain, and sat in his hunting-clothes, and watched with his", "What Parson Chowne said to this poor gentleman, on the night we are\nspeaking of, was known to none except themselves and two or three maids", "But finding this useless, he said that it was no more than he had\nexpected; because it was known that it always befell every man who\nforgot his baptism, and got into dealings with Parson Chowne.", "Parson Chowne did now, or at least I mean soon afterwards? That night he\nhad pressed his attentions on the beautiful young lady, so that in" ], [ "Captain Drake Bampfylde had drowned the children, some said by accident,\nsome said on purpose, and buried them somewhere on Braunton Burrows. And", "Philip Bampfylde, Esquire, and the younger Captain Drake Bampfylde, of\nwhom I have spoken already. Philip, the heir, had been appointed to", "Captain Drake Bampfylde was the most unlucky of born mortals. To begin\nwith, he was the younger son of that very fine Sir Philip, and feeling", "the river, and a great cry was made for Captain Drake Bampfylde, from\nhis knowledge of the waterways. But, though all the evening foremost in", "There was not a man of us dared to leave Captain Drake Bampfylde\nshabbily. We turned over to the Thetis, in a body, with him; and the", "Captain Drake, upon a charge of murder.", "sand, and come home to dinner afterwards. And of all the captains I had\nseen, Drake Bampfylde seemed as unfit as any to do a thing of that", "\"He does not dislike you, Drake Bampfylde; he hates you with all the\nvenomous, cold, black hatred, such as I fear to think of--oh my dear, oh\nmy dear!\"", "and the other to a Frenchman! Drake Bampfylde, but for inborn courage,\nmust have hanged himself outright. And, as it was, he could not keep", "together, before the young children went out of the world, Captain Drake\nBampfylde was not likely to have made them go so. For that fair maiden's", "perhaps, if the case had been my own--but they pledged their honour and\nkept it. Drake Bampfylde (like his father) had a strength of trust in", "Bampfylde, now wife (if you will please to remember) to Commodore Sir\nDrake Bampfylde, although by birth entitled the Honourable Isabel", "to settle themselves. And Captain Bampfylde was so hard set by the\nnature of the case, that he might have been enticed away from what his", "Sir Drake Bampfylde (being knighted for service in India), and how all\nhis life he had lain under a cloud by reason of this very matter, not", "\"Then all that I want of your ladyship is to get me rated aboard of\nCaptain Drake Bampfylde's ship.\"\n\nShe coloured up so clearly that I was compelled to look away: and then\nshe said--", "Nobody knows what might have happened with Captain Bampfylde so beset,\nand longing to think that he ought to act as everybody told him: but he", "value again to fight for, after abandoning their own. Not that Drake\nBampfylde ever did slip into evil courses, so far as I could hear of", "peace, when who should come with his evil luck to spoil everything, but\nDrake Bampfylde? How it came to pass was not clearly known, at least to", "commander, mere coaster fellows become true seamen, and even\nland-lubbers learn how to walk. Captain Drake Bampfylde did me the", "he swore that he never would be cast down, or doubt the honour of his\nfavourite son, until that son confessed it. This Drake Bampfylde had" ] ]	[ "Who tells the story?", "What does the 2-year-old girl call herself?", "Whose grandchildren have mysteriously disappeared?", "Why does Davy dote Bardie so strongly?", "What gives Bardie away that she is not a commoner?", "What kind of crew does Davy join?", "Who does he meet who is a demon and wicked?", "Who is suspected of kidnapping Phillip Bampfylde's grandchildren?", "Who is Sir Philip Bampfylde searching for? ", "Who's viewpoint is the story from?", "Where does Davy find Bardie?", "What is Davy's profession? ", "Where does Davy join the crew?", "After finding Bardie what does Davy decide to do with her?", "What century is the story set in? ", "How does Davy know Bardie is not a common child? ", "Which character is demonic and from the north of Devon? ", "What battle does Blackmore discuss with Davy? ", "How does Davy Llewellyn make his living?", "How old is Bardie when her boat drifts ashore at Glamorganshire?", "What happens to Bardie's boat?", "Who is Sir Philip Bampfylde looking for?", "What does Davy do with Bardie after he finds her?", "What type of manners does Bardie have?", "In what geographic area does the ketch Davy joins trade?", "Where does Parson Chowne work his evil will?", "What is Captain Drake Bamfylde suspected of doing?" ]	[ [ "Davy Llewellyn, a fisherman.", "Davy Llewellyn" ], [ "Bardie.", "Bardie. " ], [ "Sir Phillip Bampfylde", "Sir Philip Bampfylde" ], [ "In hopes that he can see some of the family fortune.", "He thinks his fortunes are linked to hers" ], [ "Fine clothes and refined manners.", "Her manners and her clothes." ], [ "He joins Ketch trading.", "A ketch trading crew." ], [ "Parson Chowne.", "Parson Chowne" ], [ "Drake Bampfylde.", "Captain Drake Bamfylde" ], [ "His two grandchildren ", "Looking for his grandchildren. " ], [ "Davy Llewellyn", "Blackmore." ], [ "On a boat on a beach in Glamorganshire", "Adrift on a boat in Glamorganshire" ], [ "A fisherman", "He is a fisherman." ], [ "Between Barnstaple and Porthcrawl", "Between Barnstaple and Porthcrawl" ], [ "Gives her to a well-to-do household in his neighborhood ", "He leaves her with an upper middle class household." ], [ "18th century ", "18th" ], [ "By her clothes and manners ", "She has very fine clothes." ], [ "Parson Chowne ", "Parson Chowne." ], [ "Battle of the Nile", "The Battle of the Nile" ], [ "He is a fisherman.", "Fishing. " ], [ "Two years old.", "Two years old." ], [ "Davy Llewellyn keeps it for himself.", "Davey Llewellyn keeps it for himself" ], [ "His two grandchildren who have disappeared.", "His 2 missing grandchildren" ], [ "He quarters her in a well-to-do household in his neighborhood.", "He gives her up." ], [ "Refined.", "Refined." ], [ "Between Barnstaple and Porthcawl.", "Around Barnstaple and Porthcawl" ], [ "In the north of Devon.", "The north of Devon" ], [ "Stealing away the children of his older brother who are the heirs to the family property. ", "Making off with the children of his brother." ] ]	24c8ed4f493ab62acff4da9bad5c6a1c07e4770d	test
[ [ "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "KUJAN\n Keaton was a piece of shit.\n\n\n VERBAL\n You trying to get a rise out of me, Agent \n Kujan?", "KUJAN\n I don't think you do. But you say you saw\n Keaton die. I think you're covering his", "KUJAN (VOICE)\n I know you liked Keaton I know you think\n he was a good man.\n\n VERBAL (VOICE)\n I know he was good.", "RAB IN\n You still don't know shit.\n\n KUJAN\n I know what I wanted to know about\n Keaton.", "Keaton looks up. He sees David Kujan. Behind him are the very\n serious looking guys in suits.\n\n Keaton is not happy to see them.", "9.\n KEATON (cont'd)\n This is Mr. Renault and Mr. Fortier.\n Everyone, this is David Kujan.", "KEATON\n Dave. I'm in a meeting.\n\n KUJAN\n Time for another one.", "KEATON\n Enjoy the meal.\n (To Edie)\n I'LL call you.\n\nKujan takes him by the arm, but Keaton yanks away.", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "KUJAN\n No, Verbal. You weren't friends. Keaton\n didn't have friends. He saved you because\n he wanted it that way. It was his will.", "KUJAN\n Is he Keyser Soze I don't know, Verbal. \n It seems to me that Keyser Sate is a", "KUJAN (CONT'D)\n Dean Keaton was dead. Did you know that? r\n He died in a fire two years ago during an", "KUJAN\n I don't get it.\n\n BAER\n They tell me you got the cripple from New\n York in there. He mention Keyser Soze", "KUJAN\n Keaton was Keyser Soze\n\n VERBAL\n NO.\n\n SCRIPT DATE 5/25/94", "KEATON\n His name is Verbal Kint. I thought you\n guys knew him.\n\n McMANUS\n Verbal?", "KUJAN\n Let me tell you something. I know Dean \n Keaton. I've been investigating him for", "111.\n\n KUJAN\n I'm saying Keaton did.\n\nVerbal cannot grasp this. He squints, trying to understand.", "KEATON\n If you will excuse us for a moment,\n gentlemen.\n\n KUJAN\n We need to ask you some questions\n downtown. You'll be quite awhile.", "KUJAN\n But Keaton..." ], [ "Jack Beer pulls the sheet out of the fax machine and turns it\n over, revealing the composite sketch of Keyser SOZE.", "She sketches frantically while Daniel Metzheiser looks on.\n\n The composite sketch of Keyser SOZE is taking form.", "The three Hungarians stand to greet him. Two hold guns in\n their hands. The third holds a straight razor. He grabs\n Soze youngest boy and holds the razor to his throat.", "Kujan finds one sheet and notices a paragraph is highlighted.\n\n KUJAN\n Keyser Soze\n\n BAER\n There's more.", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "You've never seen anyone like Keyser\n Soze in all your miserable life you\n idiot. Keyser Soze. Do you at least\n understand that? Keyser Soze. The", "MAN IN ROBE\n (CONT'D)\n I'M TELLING YOU IT'S KEYSER SOZE.", "Federal Marshals that he had seen and\n could positively identify one Keyser Soze\n and had intimate knowledge of his\n business, including, but not exclusive", "KOBAYASHI\n Mr. Soze made a few calls, yes. You were \n not to be released until I came to see", "SUDDENLY, Soze pulls out a pistol and shoots the two men with \n guns. He turns and aims at the third man holding his child.", "KOBAYASHI (CONT'D)\n Nine months ago, one of Mr. Soze less \n than intelligent couriers was taken in a", "KOBAYASHI\n I am sure you've heard a number of tall\n tales, myths and legends about Mr. Soze \n I can assure you gentlemen, most of them\n are true.", "anybody could have worked for Soze. You \n never knew. That was his power. The \n greatest trick the Devil ever pulled was", "METZHEISER\n Did he say Keyser Soze? He saw Keyser\n Soze.", "METZHEISER\n Did he say Keyser Soze? He saw Keyser\n Soze\n\n YELLOW 06/11/94", "The man threatens to cut the child's throat, slicing just\n enough to draw blood.\n\n SOZE FIRES.\n\n The stunned Hungarian watches the child fall from his arms.", "KOBAYASHI\n A gift from Mr. Soze gentlemen.\n\nHe turns and walks out of the room.", "power, and then they come after Soze He \n was small time then, just running dope, \n they say...", "KOBAYASHI\n Mr. Soze will be most -" ], [ "She sketches frantically while Daniel Metzheiser looks on.\n\n The composite sketch of Keyser SOZE is taking form.", "Verbal looks at everyone else from where he stands on the\n street. Fenster, McManus and Hockney all look at him and then\n at each other. It is a strange moment of unspoken\n understanding.", "Verbal looks away from Hockney, awaiting a violent response.\n Everyone slowly starts to laugh. Hockney looks as if he is\n about to boil in his own skin.", "Baer gestures to Tracy.\n\n BAER\n (To Bodi)\n This is Tracy Fitzgerald. She's a\n composite sketch artist from county.", "Sitting beside the bed is TRACY FITZGERALD, a casually\n dressed woman in her late twenties. She holds a 15x20 inch\n drawing pad on her lap.", "A strange look crosses Keaton's face. Skepticism, mockery and\njust a hint of fear. Hockney, McManus and Fenster all share\nsimilar looks.", "Hockney takes a step forward. He looks directly into a mirror\non the other side of the room. It is three feet square and we\ncan make out faint light behind it. It is a two-way. He\nspeaks in a complete dead-pan.", "Everyone looks at Hockney. He smiles shyly. It occurs to them\nall that he robbed the truck for which they were all arrested\nin the first place.", "tower followed by two bodyguards. He heads toward the\n elevator, failing to notice Hockney a few feet away, reading\n a newspaper.\n\n We see a wire running from Hockney's ear to his collar.", "It is the body of Fred Fenster, literally peppered with\n bullet holes. McManus stares at him, fighting any flicker of\n emotion.", "He smiles.\n BOOM\n BLOOD sprays all over the money. Hockney looks at it,\n puzzled.", "Keaton looks at Hockney who has one foot in a cab. He is\n looking at Fenster and McManus who are looking at Keaton.\n This makes Hockney look up at Keaton as well.", "They see A LARGE MAN dressed very much like the two dead\n bodies left in the hall downstairs. The man notices Kobayashi\n and the others. He stands and stares menacingly.", "Jack Beer pulls the sheet out of the fax machine and turns it\n over, revealing the composite sketch of Keyser SOZE.", "He turns and sees Hockney's dead body next to the van. \n He looks around frantically, frozen in terror. \n It is quiet, except for the sounds of screaming, far off in", "He looks closely at his battered and scalded face. He listens\n to him far a moment. Kovash goes on incessantly.", "Hockney and Fenster both look over at the sound of the gun.", "Hockney, suddenly oblivious to the sound of gunfire, opens\n one of the crates and looks inside.\n\n IT IS FILLED WITH MONEY. Cash and negotiable bonds of all\n kinds.", "The man hears Hockney coming and raises his gun. Hockney runs i\n straight at him, screaming frantically. i", "Kujan's eyes flash all' over the bulletin board. He finds a\n picture of Rabin in the far corner. He stands beside a scale" ], [ "Kujan finds one sheet and notices a paragraph is highlighted.\n\n KUJAN\n Keyser Soze\n\n BAER\n There's more.", "KUJAN\n I don't get it.\n\n BAER\n They tell me you got the cripple from New\n York in there. He mention Keyser Soze", "KUJAN\n Is he Keyser Soze I don't know, Verbal. \n It seems to me that Keyser Sate is a", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "BOOM - The door bursts open.\n\n KUJAN\n Who is Keyser Soze", "KOBAYASHI\n Mr. Soze made a few calls, yes. You were \n not to be released until I came to see", "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "Kujan looks at his watch.\n\n KUJAN\n You're stalling, Verbal.\n\n VERBAL\n Give a guy a break, huh?", "KOBAYASHI\n I am sure you've heard a number of tall\n tales, myths and legends about Mr. Soze \n I can assure you gentlemen, most of them\n are true.", "KUJAN\n Verbal, I know you know something. I know\n you're not telling us everything.\n\n VERBAL\n I told the D.A. everything I know.", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes.", "KUJAN\n If there is a Keyser Soze he'll be\n looking for you.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "KUJAN\n Keaton was Keyser Soze\n\n VERBAL\n NO.\n\n SCRIPT DATE 5/25/94", "KOBAYASHI (CONT'D)\n Nine months ago, one of Mr. Soze less \n than intelligent couriers was taken in a", "Verbal looks into Kujan's eyes with genuine terror. Kujan's\nface is red, his body trembles. His locomotive breathing is\nthe only sound in the room.", "KUJAN (CONT'D)\n If he's dead, Verbal - if what you say is\n true, then it won't matter. It was his", "tell you, Mr. Kint. I have come with an\n offer directly from Mr. Soze. An order \n actually." ], [ "Baer holds up his badge without looking at the man.\n\n BAER\n Agent Jack Baer, F.B.I. How many dead?", "Jack Baer stands by a fax machine. A green light comes on\n next to a digital display.\n\n The display reads: RECEIVING", "Watching this from the edge of the pier is a man in a dark\n suit. He is SPECIAL AGENT JACK BAER of the F.B.I. He is tall", "Kovash's room is now filled with people. Jack Baer stands\n next to DANIEL METZHEISER, a balding man in his forties. Next", "Jack Baer and Rabin listen to Verbal on the speaker with one \n ear.\n RAB IN\n You give this any weight, Agent Baer?", "PLUMBER\n Ridgly, this is Special Agent Jack Baer\n from the F.B.I. Agent Baer, this is\n Doctor Ridgly Waiters.", "BAER\n No shit?\n (Into Phone)\n Joel, call Dan Metzheiser over at Justice\n and find Dave Kujan from Customs.", "Rabin and Jack Baer are in the hall. Rabin hands Kujan a \n thick manila folder. Kujan thumbs through it.", "Baer pulls a cellular phone out of his jacket and dials.\n BAER\n Call hospital security and put a man on\n the door until the police get here.", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "BAER\n Everyone calm down.\n (To Bodi)\n Ask this man about the shoot-out in the\n harbor.", "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "Baer eyes the corpses on the dock, burned beyond recognition.\n\n COP\n Looking for anyone in particular?\n\nBaer looks at the cop for the first time, unamused.", "BAER (CONT'D)\n Joel, it's Baer. I'm down at L.A. county.\n The guy they pulled out of the harbor is", "Baer is suddenly distracted by something Kovash has said. In\nthe middle of a long string of unintelligible dialect, he has\nspouted two words that have gotten Baer's attention.", "METZHEISER\n (Impatient)\n I've got a noon meeting, Baer.\n\n PLUMBER\n Agent Baer, please.", "BAER\n I've been looking all over for you. You\n still after the coke that walked out of\n that blood bath in the harbor?\n\n KUJAN\n Yeah.", "BAER\n On the street? A few times. Outside\n stuff. Somebody was working for a guy who", "Jack Beer pulls the sheet out of the fax machine and turns it\n over, revealing the composite sketch of Keyser SOZE.", "Baer gestures to Tracy.\n\n BAER\n (To Bodi)\n This is Tracy Fitzgerald. She's a\n composite sketch artist from county." ], [ "KOBAYASHI (CONT'D)\n I am Mr. Kobayashi. I've been asked by my\n employer to bring a proposal to you", "They come to a glass office foyer. Kobayashi gestures and\n everyone looks through the glass into the lobby beyond.", "The man called Kobayashi gets in the driver's seat and pulls\n away .\n A moment later, Agent David Kujan of U.S. Customs wanders", "was real. Nobody ever saw him or knew \n anybody that ever worked directly for \n him, but to hear Kobayashi tell it,", "KOBAYASHI\n Mr. Keaton?\n\n Keaton stands back and lets him in. Kobayashi looks them\n over.", "KOBAYASHI\n I believe you, Mr. McManus. I quite\n sincerely do. You would not have been", "Kobayashi walks into the office. Edie turns to greet him.\n Keaton slowly turns and watches as they shake hands and talk.\n Kobayashi says something they cannot hear and Edie laughs,\n her back to the window.", "KOBAYASHI\n My employer requires your services. One\n job. One day's work. Very dangerous. I", "MR. KOBAYASHI a tall, slim, well groomed man stands in the\n hall. He has a briefcase in his hand. He smiles politely.", "IT IS KOBAYASHI, or the man we have come to know as such. He\n smiles to Verbal. Verbal steps off of the curb, returning the", "Everyone follows Kobayashi quietly down a dimly lit, oak-\n lined hallway. Verbal holds a small pistol discreetly in the\n small of Kobayashi's back.", "80\n80 INT. OFFICE BUILDING - DAY\n\n\n Kobayashi walks through the front door of a plush office", "KOBAYASHI\n A gift from Mr. Soze gentlemen.\n\nHe turns and walks out of the room.", "Everyone looks at Keaton.\n\n KOBAYASHI (CONT'D)\n No matter. Kill away, Mr. McManus.", "KOBAYASHI\n Ms. Finneran's escort in Los Angeles.\n Never leaves her for a moment. I thought\n you'd like to know she was in good hands.", "93.\n Kobayashi smiles over her shoulder at Keaton.\n All the while, the bodyguard watches Keaton. He nods politely", "All of the men surround Kobayashi, aching to kill him.", "KOBAYASHI\n In nineteen-eighty one, Mr. Keaton, you\n participated in the hijacking of a truck", "The elevator opens. Kobayashi and his bodyguards get on the\n elevator.\n 90\n90 INT. ELEVATOR", "They see A LARGE MAN dressed very much like the two dead\n bodies left in the hall downstairs. The man notices Kobayashi\n and the others. He stands and stares menacingly." ], [ "Kobayashi turns and points at Hockney.\n\n KOBAYASHI (CONT'D)\n Two months ago, Mr. Hockney stole a truck\n carrying gun parts through Queens -", "- Thursday. They're picking up a guy\n smuggling emeralds out of South America.\n Fenster and McManus have a fence set to\n take the stuff.", "Everyone looks at Hockney. He smiles shyly. It occurs to them\nall that he robbed the truck for which they were all arrested\nin the first place.", "in Buffalo, New York. The cargo was raw\n steel. Steel that belonged to Mr. Soze\n and was destined for Pakistan to be used", "complicated confidence seam by a cripple.\n He was relieved of sixty-two thousand\n dollars. Now\n (To all of them)", "VERBAL\n They're gonna do a job. Three million\n dollars, maybe more.\n\nKeaton is speechless. Verbal sits on the couch again.", "Hockney, Fenster, McManus and Verbal are all laughing in a\n secluded garage. They are still in their black clothes from\n the robbery. Hockney is throwing everyone a can of beer.", "KEATON\n Son of a bitch.\n\n Everyone looks in the case. It is filled with cash on one\n side. The other side is filled with clear plastic bags of\n WHITE POWDER.", "VERBAL\n Sure. Fifteen years ago, but he was a\n good thief Anyway, the cops wouldn't let\n him go legit.", "tower followed by two bodyguards. He heads toward the\n elevator, failing to notice Hockney a few feet away, reading\n a newspaper.\n\n We see a wire running from Hockney's ear to his collar.", "KOBAYASHI (CONT'D)\n Nine months ago, one of Mr. Soze less \n than intelligent couriers was taken in a", "REDFOOT\n A jeweler out of Texas named Saul. He\n rents a suite at a hotel downtown and", "was working for a guy who got money\n through Keyser Soze. That kind of shit.\n Could be an old badge. A hex sign to keep", "Keaton jumps out of the van and runs up to Saul's car, his\nface covered in a ski mask. He yanks on the door handle but", "A moment later, the door of the Caddy opens again. Someone\nhands Redfoot a different briefcase and he walks back over to\nMcManus.\n\nHe hands him the case.", "The others sit around a cheap card table. It is covered with\n emeralds. Dozens of them. Everyone is in awe.\n\n McManus\n There's more than I thought.", "Hockney, suddenly oblivious to the sound of gunfire, opens\n one of the crates and looks inside.\n\n IT IS FILLED WITH MONEY. Cash and negotiable bonds of all\n kinds.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "IT EXPLODES \n The men surrounding Keaton, are distracted.\n Keaton pulls a pistol out of each pocket and shoots the two\n men closest to him.", "The man standing on the roof doubles over and sticks a gun in\n Strausz's face. His face hangs upside down and looks gruesome" ], [ "RAB IN\n They're all dead. No matter how tough you r.\n say this Keaton was, no one on that boat\n could've made it out alive.", "The pier to which the boat is moored is littered with DEAD\nBODIES. Twenty or more men have been shot to pieces and lie\nscattered everywhere in what can only be the aftermath of a\nfierce fire-fight.", "The boat is quiet now. Keaton walks out onto the deck.\n He looks out over the pier and sees Verbal standing in the\n middle of the carnage, frozen. Their eyes meet. Keaton waves", "The flame runs up the stream, gaining in speed and intensity.\n It begins to ripple and rumble as it runs down the deck\n towards the stern.", "BAER\n (Unimpressed)\n Yes, the chief. Spooky stuff. Any\n survivors?", "On the boat, five men come up from below deck. They are tense \n and cautious around the men in suits. Someone speaks in", "Keaton and McManus step out of the hold, walking slowly and\n cautiously back from where they came. They hear the sounds of\n footsteps running on the deck above and the occasional\n hollered sentence in Spanish.", "Verbal hears a shot from the deck of the boat. He turns in\n time to see the man in the suit running across the deck\n toward the gangway.", "Keaton is weaving through tight, low-ceiling corridors,\n looking in every cabin, working his way towards the bottom of\n the boat.", "Jaime stands outside the door of the cabin and turns to face\n down the hall. Off in some other part of the boat, he can\n hear McManus wailing like a banshee and the ever-less\n frequent sound of gunshots.", "The vans pull away.\n Strausz and Rizzi escape from the car.\n Oscar is trapped inside, SCREAMING.\n Strausz and Rizzi stop, each expecting the other to go let\n Oscar out.", "At the van, he finds the one man who has stayed behind to\n protect it. I i", "He crawls over the bed and squeezes between it and the\n bulkhead. Only the top of his head is visible. He starts to\n cry.\n\n BOOM - BOOM - Two shots just outside in the hall.", "with his back against the front bulkhead of the wheel house.\n His legs are twisted at odd, almost impossible angles. He\n looks down.", "ELSEWHERE IN THE BOAT, McManus is tearing though the\n corridors, seemingly less interested in securing the cargo as\n he is in killing everyone on board.", "Everyone digs in the sand on the deserted beach with their\n hands. They are up to their waists in the hole they have\n scooped out. Fenster's body is a few feet away.", "The men all nod.\n\n VOICE (O.S.)\n Number one. Step forward.", "In the half-light we can make out that he is on the deck of a\n large boat. A yacht, perhaps, or a small freighter. He sits", "Keaton has come to the four-foot-high door to the hold. The\n door is open slightly. Keaton finds this strange. He pushes\n the door open and steps inside. The hold is empty.", "FUCK OUT OF HERE. EVERYONE IS DEAD.>>" ], [ "SUDDENLY, Soze pulls out a pistol and shoots the two men with \n guns. He turns and aims at the third man holding his child.", "The three Hungarians stand to greet him. Two hold guns in\n their hands. The third holds a straight razor. He grabs\n Soze youngest boy and holds the razor to his throat.", "KOBAYASHI\n Mr. Soze made a few calls, yes. You were \n not to be released until I came to see", "The man threatens to cut the child's throat, slicing just\n enough to draw blood.\n\n SOZE FIRES.\n\n The stunned Hungarian watches the child fall from his arms.", "Soze was tough. Not to be trifled with. \n So they let him know they meant business.", "You've never seen anyone like Keyser\n Soze in all your miserable life you\n idiot. Keyser Soze. Do you at least\n understand that? Keyser Soze. The", "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "KOBAYASHI (CONT'D)\n Nine months ago, one of Mr. Soze less \n than intelligent couriers was taken in a", "Federal Marshals that he had seen and\n could positively identify one Keyser Soze\n and had intimate knowledge of his\n business, including, but not exclusive", "KOBAYASHI\n Mr. Soze will be most -", "The Hungarian smiles. Soze's wife SCREAMS IN HORROR. \n The Hungarian holds up a BLOOD SOAKED RAZOR.", "power, and then they come after Soze He \n was small time then, just running dope, \n they say...", "KOBAYASHI\n A gift from Mr. Soze gentlemen.\n\nHe turns and walks out of the room.", "in Buffalo, New York. The cargo was raw\n steel. Steel that belonged to Mr. Soze\n and was destined for Pakistan to be used", "Keyser Soze - or whatever you want to\n call him - knows where I am right now.\n He's got the front burner under' your ass", "anybody could have worked for Soze. You \n never knew. That was his power. The \n greatest trick the Devil ever pulled was", "KOBAYASHI\n I am sure you've heard a number of tall\n tales, myths and legends about Mr. Soze \n I can assure you gentlemen, most of them\n are true.", "Three of the Hungarians come bursting into Keyser Soze's +\n home. They grab his five children and round them up in the", "KOBAYASHI\n Because you have stolen from Mr. Soze. \n That you did not know you stole from him" ], [ "The flame runs up the stream, gaining in speed and intensity.\n It begins to ripple and rumble as it runs down the deck\n towards the stern.", "The pier to which the boat is moored is littered with DEAD\nBODIES. Twenty or more men have been shot to pieces and lie\nscattered everywhere in what can only be the aftermath of a\nfierce fire-fight.", "Verbal hears a shot from the deck of the boat. He turns in\n time to see the man in the suit running across the deck\n toward the gangway.", "Jaime stands outside the door of the cabin and turns to face\n down the hall. Off in some other part of the boat, he can\n hear McManus wailing like a banshee and the ever-less\n frequent sound of gunshots.", "In the half-light we can make out that he is on the deck of a\n large boat. A yacht, perhaps, or a small freighter. He sits", "Verbal runs down the ramp as fast as he can. He comes to a \n rope ladder hanging down the side of the boat. +", "Keaton and McManus step out of the hold, walking slowly and\n cautiously back from where they came. They hear the sounds of\n footsteps running on the deck above and the occasional\n hollered sentence in Spanish.", "Get your rest, Gentlemen. The boat will\n be ready for you on Friday. If I see you\n or your friends before then, or fail to", "with his back against the front bulkhead of the wheel house.\n His legs are twisted at odd, almost impossible angles. He\n looks down.", "A half mile out from the pier.\n\n The sea is choppy, stirred by the wind. An object floats into\n view a few feet away, bobbing in the water.", "SUDDENLY, he stops dead in his tracks, looking up at the\n boat.\n\n YELLOW 06/11/94", "The boat is quiet now. Keaton walks out onto the deck.\n He looks out over the pier and sees Verbal standing in the\n middle of the carnage, frozen. Their eyes meet. Keaton waves", "Keaton has come to the four-foot-high door to the hold. The\n door is open slightly. Keaton finds this strange. He pushes\n the door open and steps inside. The hold is empty.", "McManus runs across the roof of the boathouse and jumps down\n to the pier. He arrives at a thick mooring cable and climbs\n across to the boat. i", "He crawls over the bed and squeezes between it and the\n bulkhead. Only the top of his head is visible. He starts to\n cry.\n\n BOOM - BOOM - Two shots just outside in the hall.", "The pellet of barrels hits him square in the back and sends\n him flying into the wheel house of the boat.", "PAUSE \n\n FINALLY, he turns and runs back for the van parked on the\n pier above. He finds a ramp leading from the dock to the\n pier.", "The man in the suit stops long enough to pull out a lighter.\n He turns and walks back across the deck and out of sight.\n A moment later flames leap up from on the deck.", "Keaton is weaving through tight, low-ceiling corridors,\n looking in every cabin, working his way towards the bottom of\n the boat.", "58A.\n\n BODI\n He says he saw him in the harbor. He was\n shooting... Killing... Killing many men." ], [ "finally did nail him for fraud, he spent +\n five years in Sing Sing. He killed three \n prisoners inside - one with a knife in", "ROGER KINT, VERBAL to his few friends. He has a deeply lined\n face, making his thirty-odd years a good guess at best. From", "Everyone looks at Hockney. He smiles shyly. It occurs to them\nall that he robbed the truck for which they were all arrested\nin the first place.", "complicated confidence seam by a cripple.\n He was relieved of sixty-two thousand\n dollars. Now\n (To all of them)", "off and the cops had nothing. They were\n hoping somebody would slip. Give them\n something to go on. They knew we wouldn't", "investigation into the murder of a \n witness who was going to testify against \n him. Two people saw Keaton enter a\n warehouse he owned just before it went", "story that criminals tell their kids at\n night. If you rat on your pop, Keyser\n Sate will get you. And nobody really ever\n believes.", "Strausz and Rizzi were indicted three\n days later. Within a few weeks, fifty\n more cops went down with them. It was\n beautiful. Everybody got it right in the", "VERBAL\n Sure. Fifteen years ago, but he was a\n good thief Anyway, the cops wouldn't let\n him go legit.", "that owe them money. And like that he was\n gone. Underground. No one has ever seen\n him again. He becomes a myth, a spook", "yesterday after the shoot-out. He came to +\n this morning and started talking. He was\n part of a Hungarian mob there to do a\n deal with a bunch of goats from", "P.D. pays homeless guys ten bucks a head\n half the time. No way they'd line five\n felons in the same row. No way. And what", "three years. The guy I know is a cold- +\n blooded bastard. L.A.P.D. indicted him on \n three counts of murder before he was", "He happens to glance over his shoulder and notice a brown\n Ford sedan with four men in it cruising along the curb. He\n picks up his step a little. The Ford keeps up.", "Verbal thumbs through his file. A long list of names,\nnumbers, addresses. It is a detailed portfolio of his entire\ncriminal and personal life. He looks up at Keaton.", "for the murder of Saul Berg and his\n bodyguards. Mr. Redfoot can attest to\n your involvement, and we can see to it", "KUJAN\n He used all of you to get him on that\n boat. He couldn't get on alone and he had", "All of the men open their files. Inside are mug shots of each\nman in his respective file as well as a printout of his\ncriminal record. But there is more.\n\n HOCKNEY\n They know everything.", "He screams like a lunatic, shooting everything in his path,\n killing some men with his bare hands, shooting others,\n stabbing others still with a knife he has brought along.", "He moves to another and then another, picking up speed and\n mock-shooting the men. He is steady and quick. It is clear he\n could take all fifteen in a few seconds." ], [ "As he gets closer, we can see he is wearing one black boot\n and one red. Keaton is still looking at them when the bike\n pulls up to them and stops.\n\n REDFOOT and McManus shake hands.", "REDFOOT\n Some Limey. He's a middle-man for\n somebody. He doesn't say and I don't ask.\n\n KEATON\n We want to meet him.", "KEATON\n What about Redfoot?", "REDFOOT\n He wants to meet you. He called last\n night and asked me to set it up. What do\n I tell him'\n\n KEATON\n Tell him we'll meet.", "REDFOOT\n Ain't it a crime? Call if you're\n interested.\n\nRedfoot fires up his bike and takes off with the Caddy close\nbehind.", "Redfoot comes around from behind the Caddy on his motorcycle.\nHe gets off the bike, trying to hide a faint smile.\nMcManus throws Saul's case on the ground in front of him.", "McManus hands the case back to Hockney. Hockney opens it,\nrevealing the stacks of money inside.\n\n REDFOOT\n You must be Keaton.", "REDFOOT\n The job got thrown to me by this lawyer.\n\n KEATON\n Who is he?", "Redfoot takes it and gets off the bike. He walks over to the\nCaddy. The door of the Caddy opens. Redfoot hands the case to\nSomeone inside that we cannot see. The door closes.", "KEATON (CONT'D)\n Better you hear it from me now than\n somebody else later.\n\n REDFOOT\n Business or personal?", "REDFOOT\n A jeweler out of Texas named Saul. He\n rents a suite at a hotel downtown and", "Redfoot gets on his Harley, smiling defiantly.\n REDFOOT (CONT'D)\n Real shame about Saul getting whacked.", "Keaton has come to the four-foot-high door to the hold. The\n door is open slightly. Keaton finds this strange. He pushes\n the door open and steps inside. The hold is empty.", "KEATON\n We're on vacation.\n\n REDFOOT\n I've got a ton of work and no good\n people.", "Keaton walks right into the face of all of these men,\n undaunted. His hands are in his pockets.\n\n Above him, in the darkness, McManus pokes his head out and", "Verbal hesitates and finally moves towards the van with the\n money. He looks back over his shoulder and sees Keaton.\n Keaton sees him looking and waves again, hurrying him along.", "Keaton jumps out of the van and runs up to Saul's car, his\nface covered in a ski mask. He yanks on the door handle but", "Redfoot's dead body has been shoved head-first through a hole\n in the windshield up to his waist, recognizable only by the\n trademark red boot.", "KEATON\n Tough break.\n\n VERBAL\n Don't tell me you don't need this. Is\n this your place?\n\nKeaton is unable to answer.", "Keaton laughs. Verbal thinks about it for a moment and laughs\nwith him.\n\nKeaton's laughter trails off. He thinks for a moment." ], [ "Just then, Verbal bumps into him on his way out the door. He\nexcuses himself and hobbles down the steps, oblivious to who\nhe has bumped into as he tries to navigate the stairs.", "(turning to Verbal)\n Which brings us to Mr. Kint.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes.", "Kujan looks at his watch.\n\n KUJAN\n You're stalling, Verbal.\n\n VERBAL\n Give a guy a break, huh?", "She stops when she sees Verbal. Verbal stands and smiles\nnervously.\n\n VERBAL\n How do you do?", "Verbal drinks slowly. Edie stands over him, her face blank.\nIt is an awkward moment. She deliberately makes Verbal\nuncomfortable.\n\nLONG PAUSE - FINALLY:", "KUJAN (CONT'D)\n If he's dead, Verbal - if what you say is\n true, then it won't matter. It was his", "KUJAN\n Oh come on, Verbal. Who do you think\n you're talking to? You really expect me\n to believe he retired? For a woman?\n Bullshit. He was using her.", "KEATON\n His name is Verbal Kint. I thought you\n guys knew him.\n\n McMANUS\n Verbal?", "KUJAN (CONT'D)\n What lawyer, Verbal?\n\nVerbal stammers for a moment, looking around wildly.", "After a moment, the door opens and Keaton stands on the other\n side of it. He is wearing a bathrobe and smoking a cigarette.\n\n He looks at Verbal without any expression whatsoever.", "Keaton turns and glares at Verbal. Verbal cringes.\n\n KEATON\n Get out.\n\n VERBAL\n If you'll just let me -", "Kujan runs up to the desk where Verbal had only moments\n before picked up his belongings. Rabin is right behind him, a\n look of absolute confusion on his face.", "The boat is quiet now. Keaton walks out onto the deck.\n He looks out over the pier and sees Verbal standing in the\n middle of the carnage, frozen. Their eyes meet. Keaton waves", "KUJAN\n Verbal, I know you know something. I know\n you're not telling us everything.\n\n VERBAL\n I told the D.A. everything I know.", "VERBAL\n What-are they speaking?\n\n KEATON\n Russian, I think. I don't know.\n\n VERBAL\n Hungarian?", "VERBAL\n They're gonna do a job. Three million\n dollars, maybe more.\n\nKeaton is speechless. Verbal sits on the couch again.", "We hear the voice of ROGER "VERBAL" KINT, whom we will soon\nmeet.", "Verbal Kint sits in a chair in front of a microphone attached\n to a tape recorder, his brow beaded with sweat.\n\n On the wall behind him is the seal of the STATE OF CALIFORNIA" ], [ "you. It seems Mr. Keaton's attorney, Ms.\n Finneran, was a bit too effective in\n expediting his release. Holding the rest", "Keaton pulls out a large black and white photograph of\nhimself and his lawyer EDIE FINNERAN. They are laughing arm\nin arm by a fountain in New York. He hides the photo from the\nothers.", "Six weeks ago I get an anonymous call\n telling me I can find Keaton eating at\n Mondino's with his lawyer, and there he", "REDFOOT\n The job got thrown to me by this lawyer.\n\n KEATON\n Who is he?", "McMANUS\n What about it, Keaton? You a lawyer's \n wife. What sort of "retainer" you giving\n her?", "is. Now because he never profited from\n his alleged death and because someone\n else was convicted for the murder we\n tried to pin on Keaton, we had to let him", "Keaton walks over to the case and opens it. He reaches in and\npulls out five thick manila envelopes, each marked in bold", "Keaton laughs. Verbal thinks about it for a moment and laughs\nwith him.\n\nKeaton's laughter trails off. He thinks for a moment.", "KEATON\n This is my attorney, Edie Finneran.\n (Gesturing)\n\n BLUE 06/01/94", "KEATON\n (Ignoring McManus)\n This whole thing was a shakedown.\n\n McMANUS\n What makes you say that?", "it at Keaton.", "Keaton was the real prize for them, for\n obvious reasons.", "KEATON\n You were waiting for a line-up then, too.\n What happened with that?\n\n VERBAL\n I walked. Ninety days, suspended.", "Keaton shows just a flicker of contempt. The threat has hit\n home.", "Keaton was a grounded guy. An ex-cop. To\n a cop, the explanation is never that\n complicated. It's always simple. There's", "McManus springs to his feet and points a pistol at Keaton.\n Keaton turns to face him and raises his head. McManus might\n as well be pointing a feather-duster.", "investigation into the murder of a \n witness who was going to testify against \n him. Two people saw Keaton enter a\n warehouse he owned just before it went", "Everyone looks at Keaton.\n\n KOBAYASHI (CONT'D)\n No matter. Kill away, Mr. McManus.", "Keaton walks right into the face of all of these men,\n undaunted. His hands are in his pockets.\n\n Above him, in the darkness, McManus pokes his head out and", "Nobody argued with Keaton. They just set\n their minds on whacking Kobayashi." ], [ "that owe them money. And like that he was\n gone. Underground. No one has ever seen\n him again. He becomes a myth, a spook", "up. They said he had gone in to check a +\n leaking gas main. It blew up and took all\n of Dean Keaton with it. Within three", "was real. Nobody ever saw him or knew \n anybody that ever worked directly for \n him, but to hear Kobayashi tell it,", "He happens to glance over his shoulder and notice a brown\n Ford sedan with four men in it cruising along the curb. He\n picks up his step a little. The Ford keeps up.", "the tailbone while he strangled him to \n death. Of course I can't prove this but I \n can't prove the best part either.", "convincing the world he didn't exist. One \n story the guys told me - the story I \n believe - was from his days in Turkey.", "in Buffalo, New York. The cargo was raw\n steel. Steel that belonged to Mr. Soze\n and was destined for Pakistan to be used", "An old but well kept Cadillac creeps into the lot from the\n far end and idles up to them. The windows are tinted too much\n to see in. The car passes within a few feet of them and", "He looks ahead at the corner. He tries to look as comfortable\n as he can, checking his watch as though remembering an\n appointment he is late for. The Ford stays right on him.", "He screams like a lunatic, shooting everything in his path,\n killing some men with his bare hands, shooting others,\n stabbing others still with a knife he has brought along.", "story that criminals tell their kids at\n night. If you rat on your pop, Keyser\n Sate will get you. And nobody really ever\n believes.", "outside of Queens. The driver didn't see\n anybody, but somebody fucked up. He heard\n a voice. Sometimes, that's all you need.", "He turns and sees Hockney's dead body next to the van. \n He looks around frantically, frozen in terror. \n It is quiet, except for the sounds of screaming, far off in", "boogey man. They took his statement and\n cut him a deal.", "It is the body of Fred Fenster, literally peppered with\n bullet holes. McManus stares at him, fighting any flicker of\n emotion.", "BAER\n On the street? A few times. Outside\n stuff. Somebody was working for a guy who", "BODI\n He says he saw him in the harbor. He was\n shooting... Killing... Killing many men.", "He spits the name out like it was poison.\n\nThe man puts the lighter back in his pocket and reaches under\nhis jacket. He produces a stainless .38 revolver.", "FRED FENSTER, a tall, thin man in his thirties strolls\n casually down the street. He is dressed conspicuously in a", "The man threatens to cut the child's throat, slicing just\n enough to draw blood.\n\n SOZE FIRES.\n\n The stunned Hungarian watches the child fall from his arms." ], [ "KUJAN (CONT'D)\n If he's dead, Verbal - if what you say is\n true, then it won't matter. It was his", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "KUJAN\n THE KIND OF MAN THAT COULD HAVE KILLED\n EDIE FINNERAN.\n\nA strange look crosses Verbal's face. Shock perhaps, or\nrevelation.", "The boat is quiet now. Keaton walks out onto the deck.\n He looks out over the pier and sees Verbal standing in the\n middle of the carnage, frozen. Their eyes meet. Keaton waves", "Just then, Verbal bumps into him on his way out the door. He\nexcuses himself and hobbles down the steps, oblivious to who\nhe has bumped into as he tries to navigate the stairs.", "Keaton and Verbal look at one another for a moment. Keaton\nthen looks over to the newsstand and sees Fenster looking at\nhim.\n\n KEATON\n Huh?", "Verbal gets out of the van and moves towards them to help.\nBOOM\nBoth of McManus' guns go off like one shot. Tucci and Higham\ncollapse, each with a bullet in his head\n\n\nPAUSE", "Verbal and McManus grab the dead bodies and drag them out of\nthe elevator. They drag them to the next elevator which has\nbeen forced open, revealing an empty shaft.\n\n KEATON\n The answer is no.", "Verbal drinks slowly. Edie stands over him, her face blank.\nIt is an awkward moment. She deliberately makes Verbal\nuncomfortable.\n\nLONG PAUSE - FINALLY:", "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "She stops when she sees Verbal. Verbal stands and smiles\nnervously.\n\n VERBAL\n How do you do?", "KUJAN (CONT'D)\n What lawyer, Verbal?\n\nVerbal stammers for a moment, looking around wildly.", "KUJAN (VOICE)\n I know you liked Keaton I know you think\n he was a good man.\n\n VERBAL (VOICE)\n I know he was good.", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "Verbal can barely see the man from where he is now. The man\n in the suit is covered by shadows and the poor angle from the\n barge. Verbal strains to see but he cannot.", "KEATON\n His name is Verbal Kint. I thought you\n guys knew him.\n\n McMANUS\n Verbal?", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes.", "VERBAL\n They're gonna do a job. Three million\n dollars, maybe more.\n\nKeaton is speechless. Verbal sits on the couch again.", "Kujan runs up to the desk where Verbal had only moments\n before picked up his belongings. Rabin is right behind him, a\n look of absolute confusion on his face.", "His foot crushes the broken pieces of Rabin's coffee cup. The\n cup that hovered over Verbal's head for two hours." ], [ "ROGER KINT, VERBAL to his few friends. He has a deeply lined\n face, making his thirty-odd years a good guess at best. From", "RABIN\n That's crazy, Dave and it doesn't matter.\n He has total immunity and his story\n checks out. He doesn't know what you want\n to know.", "up. They said he had gone in to check a +\n leaking gas main. It blew up and took all\n of Dean Keaton with it. Within three", "The man in the bathrobe looks up at the figure. We cannot see\n him.\n\n MAN IN ROBE\n I told them nothing.\n\n BOOM", "was real. Nobody ever saw him or knew \n anybody that ever worked directly for \n him, but to hear Kobayashi tell it,", "convincing the world he didn't exist. One \n story the guys told me - the story I \n believe - was from his days in Turkey.", "KUJAN\n I'11 tell you what I know. Stop me when\n it sounds familiar.", "that owe them money. And like that he was\n gone. Underground. No one has ever seen\n him again. He becomes a myth, a spook", "story that criminals tell their kids at\n night. If you rat on your pop, Keyser\n Sate will get you. And nobody really ever\n believes.", "yesterday after the shoot-out. He came to +\n this morning and started talking. He was\n part of a Hungarian mob there to do a\n deal with a bunch of goats from", "He looks ahead at the corner. He tries to look as comfortable\n as he can, checking his watch as though remembering an\n appointment he is late for. The Ford stays right on him.", "Everyone looks at Hockney. He smiles shyly. It occurs to them\nall that he robbed the truck for which they were all arrested\nin the first place.", "KEATON\n Dave. I'm in a meeting.\n\n KUJAN\n Time for another one.", "BAER\n Everyone calm down.\n (To Bodi)\n Ask this man about the shoot-out in the\n harbor.", "BODI\n He says he'll tell us everything he knows\n if we protect him.\n\n .BAER\n Tell him fine.", "He happens to glance over his shoulder and notice a brown\n Ford sedan with four men in it cruising along the curb. He\n picks up his step a little. The Ford keeps up.", "D.C. It's been a hobby of his for a few\n years. A lot of guys equate him to that\n reporter on the Incredible Hulk.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "McMANUS (CONT'D)\n Forget him then.\n (Whispering)\n Now I can't talk about this here in any\n detail, but listen up...", "off and the cops had nothing. They were\n hoping somebody would slip. Give them\n something to go on. They knew we wouldn't" ], [ "Kujan looks at his watch.\n\n KUJAN\n You're stalling, Verbal.\n\n VERBAL\n Give a guy a break, huh?", "KUJAN\n Verbal, I know you know something. I know\n you're not telling us everything.\n\n VERBAL\n I told the D.A. everything I know.", "KUJAN (CONT'D)\n What lawyer, Verbal?\n\nVerbal stammers for a moment, looking around wildly.", "Verbal looks into Kujan's eyes with genuine terror. Kujan's\nface is red, his body trembles. His locomotive breathing is\nthe only sound in the room.", "KUJAN\n He left you to stay behind and tell us he\n was dead. You saw him die, right? Or did", "KUJAN\n I'11 be sure to mention that to him.\n\nVerbal is not smiling anymore. He stares at Kujan with utter\ncontempt, knowing he is being shafted.", "KUJAN (CONT'D)\n TRY TO REEF LYING TO ME NOW. I KNOW\n EVERYTHING .", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes.", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "KUJAN\n Oh come on, Verbal. Who do you think\n you're talking to? You really expect me\n to believe he retired? For a woman?\n Bullshit. He was using her.", "KUJAN\n I don't think you do. But you say you saw\n Keaton die. I think you're covering his", "Kujan still stares at the bulletin board.\n\n SUDDENLY, Kujan's face changes. He leans in closer to the\n bulletin board and squints his eyes. His face changes again.", "RAB IN\n Can we get started again?\n\n KUJAN\n Now what happened after the line-up?\n\nVerbal sneers at Kujan, unable to change the subject.", "KUJAN (CONT'D)\n If he's dead, Verbal - if what you say is\n true, then it won't matter. It was his", "KUJAN (CONT'D)\n Verbal, he left you behind for a reason.\n If you all knew Soze could find you", "KUJAN\n And this is why you never told the D.A.", "VERBAL\n (Blurting)\n He wasn't behind anything. It was the\n lawyer.\n\n KUJAN\n What lawyer?\n\nPAUSE", "Rabin walks out of a small room. Behind him, we catch a\n glimpse of a workroom with a bench covered with wires.\n\n Kujan comes out a moment later, gently fixing his tie." ], [ "Jack Beer pulls the sheet out of the fax machine and turns it\n over, revealing the composite sketch of Keyser SOZE.", "Kujan finds one sheet and notices a paragraph is highlighted.\n\n KUJAN\n Keyser Soze\n\n BAER\n There's more.", "Federal Marshals that he had seen and\n could positively identify one Keyser Soze\n and had intimate knowledge of his\n business, including, but not exclusive", "KOBAYASHI\n Mr. Soze made a few calls, yes. You were \n not to be released until I came to see", "KOBAYASHI (CONT'D)\n Nine months ago, one of Mr. Soze less \n than intelligent couriers was taken in a", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "KUJAN\n Keaton was Keyser Soze\n\n VERBAL\n NO.\n\n SCRIPT DATE 5/25/94", "KUJAN\n I don't get it.\n\n BAER\n They tell me you got the cripple from New\n York in there. He mention Keyser Soze", "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "KOBAYASHI\n I am sure you've heard a number of tall\n tales, myths and legends about Mr. Soze \n I can assure you gentlemen, most of them\n are true.", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "The three Hungarians stand to greet him. Two hold guns in\n their hands. The third holds a straight razor. He grabs\n Soze youngest boy and holds the razor to his throat.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "KUJAN (VOICE)\n I know you liked Keaton I know you think\n he was a good man.\n\n VERBAL (VOICE)\n I know he was good.", "VERBAL\n Kobayashi.\n\n KUJAN\n Came from Redfoot.\n\n VERBAL\n Right.", "KUJAN\n Is he Keyser Soze I don't know, Verbal. \n It seems to me that Keyser Sate is a", "Kujan picks up his copy of Verbal's statement to the D.A.\n\n KUJAN (CONT'D)\n A man in a suit with a slim build. Tall.", "power, and then they come after Soze He \n was small time then, just running dope, \n they say...", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes." ], [ "Keaton pulls out a large black and white photograph of\nhimself and his lawyer EDIE FINNERAN. They are laughing arm\nin arm by a fountain in New York. He hides the photo from the\nothers.", "KEATON\n Verb - Roger, this is Edie Finneran.\n Edie, this is Roger Kint, he was at", "The man is DEAN KEATON, a well dressed, sturdy looking man in\nhis forties with slightly graying hair. He looks much better", "Edie shoots a look at Keaton on her way out of the room.\nKeaton tries to hush his voice despite his anger.\n\n KEATON\n What the hell do you want?", "Keaton stands up and throws a wad of money on the table to\ncover the check. He looks at Edie. She moves to stand, but he\nsits her back down with a hand on her shoulder.", "KUJAN\n But Keaton had. Edie Finneran was his\n extradition advisor. She knew who he was\n and what he knew.", "Keaton is uncomfortable in his suit, or perhaps the\n situation. Still, he smiles with genuine warmth.\n\n Edie straightens his tie and picks microscopic imperfections\n from his lapel.", "KEATON\n (To himself)\n They ruined me tonight.\n\n EDIE\n Dean, I love you. Do you hear me?", "Edie glances toward the men in the hall.\n Keaton turns quickly on his heels, facing the others. From\n where Edie stands, it looks as though Kobayashi is talking to", "EDIE\n A hijacker like Dean, here? Or something\n more creative?\n\n KEATON\n That's enough, Edie.", "Edie is smiling and laughing with the old woman. \n Keaton's face is marked with guilt and anguish.", "Kobayashi walks into the office. Edie turns to greet him.\n Keaton slowly turns and watches as they shake hands and talk.\n Kobayashi says something they cannot hear and Edie laughs,\n her back to the window.", "KUJAN (CONT'D)\n Dean Keaton was dead. Did you know that? r\n He died in a fire two years ago during an", "EDIE\n Come home, Dean.\n\n KEATON\n (Distant)\n Alright.", "He sees Edie working in the library with an old woman. The\ntwo women talk for a moment. \n\nSUDDENLY, Keaton turns with a start. Verbal is standing\nbehind him.", "SUDDENLY, Edie tunes in to what is going on. She notices the\n others on the street. She reaches over and takes Keaton by\n the arm, pulling gently. She glares at the others.", "EDIE\n Don't give up on me now, Dean.\n\n KEATON\n They'll never stop.\n\n EDIE\n I love you.", "Keaton stops at the top of the front steps of the police\n station and lights a cigarette. Edie comes out behind him,\n fuming mad.", "KEATON\n This is my attorney, Edie Finneran.\n (Gesturing)\n\n BLUE 06/01/94", "Keaton turns and walks out of the waiting room. Verbal takes \n one last glance at Edie and turns back to Keaton." ], [ "David Kujan is walking quickly beside SERGEANT RABIN, a dark\n and weathered looking man in his late thirties. They move up\n a staircase into the heart of police headquarters.", "The man called Kobayashi gets in the driver's seat and pulls\n away .\n A moment later, Agent David Kujan of U.S. Customs wanders", "9.\n KEATON (cont'd)\n This is Mr. Renault and Mr. Fortier.\n Everyone, this is David Kujan.", "Keaton looks up. He sees David Kujan. Behind him are the very\n serious looking guys in suits.\n\n Keaton is not happy to see them.", "BAER\n No shit?\n (Into Phone)\n Joel, call Dan Metzheiser over at Justice\n and find Dave Kujan from Customs.", "KEATON\n Dave. I'm in a meeting.\n\n KUJAN\n Time for another one.", "Rabin motions for Kujan to lower his voice. He points out\n that they are walking through a bullpen filled with desks\n where a number of other police are working within earshot.", "KUJAN\n Special Agent Kujan. U.S. Customs.\n (Gestures to men behind him)", "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "SPECIAL AGENT DAVID KUJAN (Pronounced Koo-yahn), U.S.\n CUSTOMS. Thirtyish, dark-haired and determined.", "KUJAN\n Verbal, I know you know something. I know\n you're not telling us everything.\n\n VERBAL\n I told the D.A. everything I know.", "Rabin opens the door to his office and Kujan enters. Rabin \n follows, looking up and down the hall before closing the door\n behind them.", "KUJAN (CONT'D)\n Dean Keaton was dead. Did you know that? r\n He died in a fire two years ago during an", "KUJAN\n (smiling)\n You know a dealer named Ruby Deemer,\n Verbal?\n\n VERBAL\n You know a religious guy named John Paul?", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "Rabin walks out of a small room. Behind him, we catch a\n glimpse of a workroom with a bench covered with wires.\n\n Kujan comes out a moment later, gently fixing his tie.", "KUJAN (CONT'D)\n What lawyer, Verbal?\n\nVerbal stammers for a moment, looking around wildly.", "KUJAN\n Oh come on, Verbal. Who do you think\n you're talking to? You really expect me\n to believe he retired? For a woman?\n Bullshit. He was using her.", "Kujan runs up to the desk where Verbal had only moments\n before picked up his belongings. Rabin is right behind him, a\n look of absolute confusion on his face.", "KUJAN\n And this is why you never told the D.A." ], [ "The pier to which the boat is moored is littered with DEAD\nBODIES. Twenty or more men have been shot to pieces and lie\nscattered everywhere in what can only be the aftermath of a\nfierce fire-fight.", "He looks ahead at the corner. He tries to look as comfortable\n as he can, checking his watch as though remembering an\n appointment he is late for. The Ford stays right on him.", "An old but well kept Cadillac creeps into the lot from the\n far end and idles up to them. The windows are tinted too much\n to see in. The car passes within a few feet of them and", "He happens to glance over his shoulder and notice a brown\n Ford sedan with four men in it cruising along the curb. He\n picks up his step a little. The Ford keeps up.", "in Buffalo, New York. The cargo was raw\n steel. Steel that belonged to Mr. Soze\n and was destined for Pakistan to be used", "Jaime stands outside the door of the cabin and turns to face\n down the hall. Off in some other part of the boat, he can\n hear McManus wailing like a banshee and the ever-less\n frequent sound of gunshots.", "are squealing, radios squawking, guns cocking. Fenster is\n surrounded instantly. He stops short and flaps his hands on\n his thighs in defeat.", "Verbal walks in and sits down on the couch, watching Keaton\n cautiously. He looks around the large apartment, beautifully\n furnished and decorated.", "The sound of a steel door opening. The bottom corner of a\n steel cage comes into view. Another set of feet falls into\n step with the first. Another steel door and another set of", "The flame runs up the stream, gaining in speed and intensity.\n It begins to ripple and rumble as it runs down the deck\n towards the stern.", "PAUSE \n\n FINALLY, he turns and runs back for the van parked on the\n pier above. He finds a ramp leading from the dock to the\n pier.", "They walk across the dimly lit dining room to a table in the\n far corner where two men are already waiting. The first is\n MR. FORTIER, age thirty-five, the other is MR. RENAULT, age", "Verbal sits behind the wheel. Keaton is beside him. Hockney\n and Fenster are in the back. They all watch McManus from\n where they are parked a few dozen yards away.", "SUDDENLY, he bolts. He gets no more than a few yards before\n cars pour out of every conceivable nook and cranny. Brakes", "The man called Kobayashi gets in the driver's seat and pulls\n away .\n A moment later, Agent David Kujan of U.S. Customs wanders", "Keaton has come to the four-foot-high door to the hold. The\n door is open slightly. Keaton finds this strange. He pushes\n the door open and steps inside. The hold is empty.", "The lame feet are in the front of the line. They come to\n another steel door, this one solid and covered with dents and\n rivets.\n\n CRANE UP TO REVEAL:", "up. They said he had gone in to check a +\n leaking gas main. It blew up and took all\n of Dean Keaton with it. Within three", "He looks over his shoulder, getting farther away from the\n police station. He can see Rabin and the cop on the steps,\n looking around with strange, lost expressions on their faces.", "He sees the driver of the van next to him holding the shotgun\n with one hand. A stocking is over the driver's head." ], [ "KOBAYASHI (CONT'D)\n I am Mr. Kobayashi. I've been asked by my\n employer to bring a proposal to you", "KOBAYASHI\n I believe you, Mr. McManus. I quite\n sincerely do. You would not have been", "was real. Nobody ever saw him or knew \n anybody that ever worked directly for \n him, but to hear Kobayashi tell it,", "KOBAYASHI\n Mr. Keaton?\n\n Keaton stands back and lets him in. Kobayashi looks them\n over.", "The man called Kobayashi gets in the driver's seat and pulls\n away .\n A moment later, Agent David Kujan of U.S. Customs wanders", "They come to a glass office foyer. Kobayashi gestures and\n everyone looks through the glass into the lobby beyond.", "Everyone looks at Keaton.\n\n KOBAYASHI (CONT'D)\n No matter. Kill away, Mr. McManus.", "KOBAYASHI\n In nineteen-eighty one, Mr. Keaton, you\n participated in the hijacking of a truck", "KOBAYASHI\n My employer requires your services. One\n job. One day's work. Very dangerous. I", "IT IS KOBAYASHI, or the man we have come to know as such. He\n smiles to Verbal. Verbal steps off of the curb, returning the", "All of the men surround Kobayashi, aching to kill him.", "Everyone follows Kobayashi quietly down a dimly lit, oak-\n lined hallway. Verbal holds a small pistol discreetly in the\n small of Kobayashi's back.", "KOBAYASHI\n Ms. Finneran's escort in Los Angeles.\n Never leaves her for a moment. I thought\n you'd like to know she was in good hands.", "KOBAYASHI\n A gift from Mr. Soze gentlemen.\n\nHe turns and walks out of the room.", "They see A LARGE MAN dressed very much like the two dead\n bodies left in the hall downstairs. The man notices Kobayashi\n and the others. He stands and stares menacingly.", "Kobayashi walks into the office. Edie turns to greet him.\n Keaton slowly turns and watches as they shake hands and talk.\n Kobayashi says something they cannot hear and Edie laughs,\n her back to the window.", "93.\n Kobayashi smiles over her shoulder at Keaton.\n All the while, the bodyguard watches Keaton. He nods politely", "MR. KOBAYASHI a tall, slim, well groomed man stands in the\n hall. He has a briefcase in his hand. He smiles politely.", "KOBAYASHI\n A strange threat. I can only assume\n you're here to kill me anyway. Pity about\n Mr. Redfoot.\n\n McMANUS\n Fair trade for Fenster.", "for anybody else, but\n for me. This Kobayashi cocksucker isn't\n going to stand over me.\n (Beat)" ], [ "KUJAN\n Is he Keyser Soze I don't know, Verbal. \n It seems to me that Keyser Sate is a", "KUJAN (CONT'D)\n If he's dead, Verbal - if what you say is\n true, then it won't matter. It was his", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes.", "Kujan looks at his watch.\n\n KUJAN\n You're stalling, Verbal.\n\n VERBAL\n Give a guy a break, huh?", "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "KUJAN\n Oh come on, Verbal. Who do you think\n you're talking to? You really expect me\n to believe he retired? For a woman?\n Bullshit. He was using her.", "KUJAN (CONT'D)\n What lawyer, Verbal?\n\nVerbal stammers for a moment, looking around wildly.", "KUJAN (VOICE)\n I know you liked Keaton I know you think\n he was a good man.\n\n VERBAL (VOICE)\n I know he was good.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "Kujan finds one sheet and notices a paragraph is highlighted.\n\n KUJAN\n Keyser Soze\n\n BAER\n There's more.", "For once Kujan cannot bring himself to look at Verbal.\n Verbal turns to the door, stopping to look Rabin in the eye.\n VERBAL (CONT'D)\n Fuckin' cops.", "Verbal looks into Kujan's eyes with genuine terror. Kujan's\nface is red, his body trembles. His locomotive breathing is\nthe only sound in the room.", "KUJAN\n Keaton was Keyser Soze\n\n VERBAL\n NO.\n\n SCRIPT DATE 5/25/94", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "KEATON\n What is this?\n\n VERBAL\n Who's Keyser Soze?", "VERBAL\n It was Keyser Soze, Agent Kujan. I mean \n the Devil himself. How do you shoot the\n Devil in the back?", "KUJAN\n I don't get it.\n\n BAER\n They tell me you got the cripple from New\n York in there. He mention Keyser Soze", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "KEATON\n His name is Verbal Kint. I thought you\n guys knew him.\n\n McMANUS\n Verbal?", "KUJAN\n Don't shine me, Verbal. No more stalling.\n You know what I'm getting at.\n\n VERBAL\n I don't." ], [ "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "You've never seen anyone like Keyser\n Soze in all your miserable life you\n idiot. Keyser Soze. Do you at least\n understand that? Keyser Soze. The", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "The three Hungarians stand to greet him. Two hold guns in\n their hands. The third holds a straight razor. He grabs\n Soze youngest boy and holds the razor to his throat.", "SUDDENLY, Soze pulls out a pistol and shoots the two men with \n guns. He turns and aims at the third man holding his child.", "Kujan finds one sheet and notices a paragraph is highlighted.\n\n KUJAN\n Keyser Soze\n\n BAER\n There's more.", "Federal Marshals that he had seen and\n could positively identify one Keyser Soze\n and had intimate knowledge of his\n business, including, but not exclusive", "Keyser Soze - or whatever you want to\n call him - knows where I am right now.\n He's got the front burner under' your ass", "MAN IN ROBE\n (CONT'D)\n I'M TELLING YOU IT'S KEYSER SOZE.", "anybody could have worked for Soze. You \n never knew. That was his power. The \n greatest trick the Devil ever pulled was", "BOOM - The door bursts open.\n\n KUJAN\n Who is Keyser Soze", "KEATON\n What happened to you?\n\n McMANUS\n Keyser Soze is on the boat. \n\n KEATON\n What?", "KEATON\n What is this?\n\n VERBAL\n Who's Keyser Soze?", "KOBAYASHI\n Mr. Soze made a few calls, yes. You were \n not to be released until I came to see", "KOBAYASHI\n Mr. Soze will be most -", "The Hungarian smiles. Soze's wife SCREAMS IN HORROR. \n The Hungarian holds up a BLOOD SOAKED RAZOR.", "Jack Beer pulls the sheet out of the fax machine and turns it\n over, revealing the composite sketch of Keyser SOZE.", "68 INT. SOZE'S HOME - LATER 68'\n\n The front door opens and in walks Keyser Sate. We are never t\n allowed to see his face.", "KOBAYASHI\n I am sure you've heard a number of tall\n tales, myths and legends about Mr. Soze \n I can assure you gentlemen, most of them\n are true.", "power, and then they come after Soze He \n was small time then, just running dope, \n they say..." ], [ "The pier to which the boat is moored is littered with DEAD\nBODIES. Twenty or more men have been shot to pieces and lie\nscattered everywhere in what can only be the aftermath of a\nfierce fire-fight.", "On the boat, five men come up from below deck. They are tense \n and cautious around the men in suits. Someone speaks in", "RAB IN\n They're all dead. No matter how tough you r.\n say this Keaton was, no one on that boat\n could've made it out alive.", "BAER\n (Unimpressed)\n Yes, the chief. Spooky stuff. Any\n survivors?", "The boat is quiet now. Keaton walks out onto the deck.\n He looks out over the pier and sees Verbal standing in the\n middle of the carnage, frozen. Their eyes meet. Keaton waves", "Keaton and McManus step out of the hold, walking slowly and\n cautiously back from where they came. They hear the sounds of\n footsteps running on the deck above and the occasional\n hollered sentence in Spanish.", "The flame runs up the stream, gaining in speed and intensity.\n It begins to ripple and rumble as it runs down the deck\n towards the stern.", "Keaton is weaving through tight, low-ceiling corridors,\n looking in every cabin, working his way towards the bottom of\n the boat.", "Everyone digs in the sand on the deserted beach with their\n hands. They are up to their waists in the hole they have\n scooped out. Fenster's body is a few feet away.", "The vans pull away.\n Strausz and Rizzi escape from the car.\n Oscar is trapped inside, SCREAMING.\n Strausz and Rizzi stop, each expecting the other to go let\n Oscar out.", "Keaton has come to the four-foot-high door to the hold. The\n door is open slightly. Keaton finds this strange. He pushes\n the door open and steps inside. The hold is empty.", "At the van, he finds the one man who has stayed behind to\n protect it. I i", "He crawls over the bed and squeezes between it and the\n bulkhead. Only the top of his head is visible. He starts to\n cry.\n\n BOOM - BOOM - Two shots just outside in the hall.", "with his back against the front bulkhead of the wheel house.\n His legs are twisted at odd, almost impossible angles. He\n looks down.", "Verbal hears a shot from the deck of the boat. He turns in\n time to see the man in the suit running across the deck\n toward the gangway.", "ELSEWHERE IN THE BOAT, McManus is tearing though the\n corridors, seemingly less interested in securing the cargo as\n he is in killing everyone on board.", "Jaime stands outside the door of the cabin and turns to face\n down the hall. Off in some other part of the boat, he can\n hear McManus wailing like a banshee and the ever-less\n frequent sound of gunshots.", "The men all nod.\n\n VOICE (O.S.)\n Number one. Step forward.", "In the half-light we can make out that he is on the deck of a\n large boat. A yacht, perhaps, or a small freighter. He sits", "The elevator is empty except for the three men. McManus has\n vanished. Kobayashi presses a button and they are on the way." ], [ "KOBAYASHI\n Mr. Soze made a few calls, yes. You were \n not to be released until I came to see", "The three Hungarians stand to greet him. Two hold guns in\n their hands. The third holds a straight razor. He grabs\n Soze youngest boy and holds the razor to his throat.", "Federal Marshals that he had seen and\n could positively identify one Keyser Soze\n and had intimate knowledge of his\n business, including, but not exclusive", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "KOBAYASHI (CONT'D)\n Nine months ago, one of Mr. Soze less \n than intelligent couriers was taken in a", "Kujan finds one sheet and notices a paragraph is highlighted.\n\n KUJAN\n Keyser Soze\n\n BAER\n There's more.", "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "power, and then they come after Soze He \n was small time then, just running dope, \n they say...", "KOBAYASHI\n I am sure you've heard a number of tall\n tales, myths and legends about Mr. Soze \n I can assure you gentlemen, most of them\n are true.", "SUDDENLY, Soze pulls out a pistol and shoots the two men with \n guns. He turns and aims at the third man holding his child.", "Jack Beer pulls the sheet out of the fax machine and turns it\n over, revealing the composite sketch of Keyser SOZE.", "You've never seen anyone like Keyser\n Soze in all your miserable life you\n idiot. Keyser Soze. Do you at least\n understand that? Keyser Soze. The", "Soze was tough. Not to be trifled with. \n So they let him know they meant business.", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "KOBAYASHI\n A gift from Mr. Soze gentlemen.\n\nHe turns and walks out of the room.", "KUJAN\n I don't get it.\n\n BAER\n They tell me you got the cripple from New\n York in there. He mention Keyser Soze", "The man threatens to cut the child's throat, slicing just\n enough to draw blood.\n\n SOZE FIRES.\n\n The stunned Hungarian watches the child fall from his arms.", "BOOM - The door bursts open.\n\n KUJAN\n Who is Keyser Soze", "KOBAYASHI\n Mr. Soze will be most -", "KOBAYASHI\n The offer is this, gentlemen. Mr. Soze's\n primary interest, as I am sure you all" ], [ "The man is DEAN KEATON, a well dressed, sturdy looking man in\nhis forties with slightly graying hair. He looks much better", "up. They said he had gone in to check a +\n leaking gas main. It blew up and took all\n of Dean Keaton with it. Within three", "KUJAN (CONT'D)\n Dean Keaton was dead. Did you know that? r\n He died in a fire two years ago during an", "there. Above all, I want to be sure that\n Dean Keaton is dead.", "McMANUS\n Dean Keaton, gone the high road. What is\n the world coming to?", "stopping to relieve himself on a small fire on the deck.\n He walks up and stands over Keaton. The two men exchange\n words and the man in the suit pulls out a pistol. He points", "McManus springs to his feet and points a pistol at Keaton.\n Keaton turns to face him and raises his head. McManus might\n as well be pointing a feather-duster.", "Keaton pulls out a large black and white photograph of\nhimself and his lawyer EDIE FINNERAN. They are laughing arm\nin arm by a fountain in New York. He hides the photo from the\nothers.", "He slumps to the deck. Keaton rushes over to him. He kneels\n down and sees a pipe sticking out of the back of McManus's\n neck.", "Keaton shows just a flicker of contempt. The threat has hit\n home.", "Everyone looks at Keaton.\n\n KOBAYASHI (CONT'D)\n No matter. Kill away, Mr. McManus.", "somewhat showy.\nKeaton looks up at the man. A look of realization crosses his\nface. It is followed by frustration, anger, and finally\nresignation.", "KUJAN\n Let me tell you something. I know Dean \n Keaton. I've been investigating him for", "Keaton grimaces bitterly and nods. He turns his head away and\ntakes another drag.\nThe hand with the gun waits long enough for Keaton to enjoy \nhis last drag before pulling the trigger.\n\nGUNSHOT", "Keaton looks up. He sees David Kujan. Behind him are the very\n serious looking guys in suits.\n\n Keaton is not happy to see them.", "Keaton laughs. Verbal thinks about it for a moment and laughs\nwith him.\n\nKeaton's laughter trails off. He thinks for a moment.", "it at Keaton.", "Verbal walks in and sits down on the couch, watching Keaton\n cautiously. He looks around the large apartment, beautifully\n furnished and decorated.", "Keaton walks over to the case and opens it. He reaches in and\npulls out five thick manila envelopes, each marked in bold", "Keaton pulls out the files, revealing a map underneath.\n\nKeaton hands each man his file. He opens his first. He pulls\nout a thick stack of papers and thumbs through them." ], [ "The boat is quiet now. Keaton walks out onto the deck.\n He looks out over the pier and sees Verbal standing in the\n middle of the carnage, frozen. Their eyes meet. Keaton waves", "Just then, Verbal bumps into him on his way out the door. He\nexcuses himself and hobbles down the steps, oblivious to who\nhe has bumped into as he tries to navigate the stairs.", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes.", "Keaton's mind races for an alternative. He can find none.\n Verbal lowers his gun without being told.\n KOBAYASHI (CONT'D)", "Keaton reaches into the car and grabs Saul's case. Everyone\n else piles into the van. Keaton gets in as Verbal is driving\n for the exit.", "She stops when she sees Verbal. Verbal stands and smiles\nnervously.\n\n VERBAL\n How do you do?", "Keaton turns and glares at Verbal. Verbal cringes.\n\n KEATON\n Get out.\n\n VERBAL\n If you'll just let me -", "Verbal drinks slowly. Edie stands over him, her face blank.\nIt is an awkward moment. She deliberately makes Verbal\nuncomfortable.\n\nLONG PAUSE - FINALLY:", "KUJAN (CONT'D)\n If he's dead, Verbal - if what you say is\n true, then it won't matter. It was his", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "After a moment, the door opens and Keaton stands on the other\n side of it. He is wearing a bathrobe and smoking a cigarette.\n\n He looks at Verbal without any expression whatsoever.", "Keaton's cold stare is all the answer Verbal needs. He slumps\n in his seat, resigned to the others.", "VERBAL\n They're gonna do a job. Three million\n dollars, maybe more.\n\nKeaton is speechless. Verbal sits on the couch again.", "Keaton lets Verbal go and steps back, thinking.\n\n VERBAL (CONT'D)\n As clean as you could ever get, they'll\n never let you go now.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "BOOM\n\n VERBAL SHOOTS SAUL. Keaton looks at him in surprise. Verbal\n trembles more than he does.\n\n The garage is silent.", "KUJAN (CONT'D)\n What lawyer, Verbal?\n\nVerbal stammers for a moment, looking around wildly.", "Kujan looks at his watch.\n\n KUJAN\n You're stalling, Verbal.\n\n VERBAL\n Give a guy a break, huh?", "Keaton reaches for Verbal. Verbal flinches. Keaton gently\nhelps him up and guides him to the couch. They bath sit.\n\nKeaton reaches for a pack of cigarettes and lights one for\neach of them.", "Keaton laughs. Verbal thinks about it for a moment and laughs\nwith him.\n\nKeaton's laughter trails off. He thinks for a moment." ] ]	[ "Who does Kujan think Keaton is?", "Who disctated the artist's rendering of Soze?", "Who does the artist's rendering look like?", "Who tells Kujan about Soze?", "Who does Jack Baer work for?", "What is Kobayashi's job?", "What was the second jewelry heist if it wasn't jewelry?", "Who are the survivors on the ship?", "Who did Soze kill?", "What happens to the ship at the start of the story?", "How many people did Roger commit crimes with, according to the story?", "Where was Keaton when he tried to sell stolen items to Redfoot?", "Which agency sent an agent to interogate Verbal?", "Who was Keaton's lawyer?", "Where was the man in the urban legend from, according to the story?", "How did Verbal find out that Finneran was dead?", "What was the source of information for the story Roger told Dave?", "When did Kujan figure out that Kint wasn't telling the truth?", "Who was able to provide the description of Soze that was faxed to Kujan?", "What is Dean Keaton's relationship to Edie Finneran?", "Where is Dave Kujan employed?", "What is the settting when this story begins?", "What is Kobayashi's role in this story?", "Who does Kujan believe Soze is when he is talking to Verbal?", "Who is revealed to be Soze?", "Who are the survivors found on the ship?", "Who gave the description of Soze to the police?", "What is Dean Keaton's former employment?", "How was Verbal freed?" ]	[ [ "Soze", "Soze." ], [ "Kovash", "Kovash." ], [ "Verbal", "Verbal." ], [ "Jack Baer", "FBI Agent Jack Baer." ], [ "The FBI", "the FBI" ], [ "Lawyer", "lawyer" ], [ "Heroin", "Heroin." ], [ "Kovash and Kint", "Arkosh Kovash and Roger Verbal Kint " ], [ "His family", "His own family." ], [ "someone sets it on fire", "set afire" ], [ "4", "A total of four other criminals." ], [ "California", "California." ], [ "Customs", "Customs" ], [ "Edie Finneran", "Edie Finneran" ], [ "Turkey", "Turkey" ], [ "Kujan told him", "Kujan tells him." ], [ "a bulletin board in Dave's office", "A crowded bulliten board." ], [ "After Kint is released", "After Kint posted bond and walks outside the police office." ], [ "Kovash", "Kovash." ], [ "Finneran is Keaton's lawyer and girlfriend.", "Lawyer and girlfriend." ], [ "Customs agent from New York.", "He is a customs agent" ], [ "A ship docked in San Pedro Bay.", "A ship docked in the San Pedro Bay." ], [ "Kobayashi is an attorney who contacted the thieves on behalf of Keyser Soze and who later drives the car that Verbal gets away in.", "strong-arm" ], [ "Dean Keaton", "A Turkish crime lord." ], [ "Roger \"Verbal\" Kint", "Verbal" ], [ "Arkosk Kovash and Roger \"Verbal\" Kint", "Arkosh Kovash and Verbal Kint." ], [ "Arkosk Kovash", "Verbal Kint." ], [ "Police Officer", "He was a police officer." ], [ "He was released after paying his bond before it was discovered that he is Soze.", "posting bond" ] ]	35891de62bab83d5b312ddeb835c7e0b245e3282	test
[ [ "Vlad, unsure of what he saw., cautiously heads toward the \n staff cabin. As he nears, he bends over a dead Secret Service", "Vlad approaches the crumpled body. Leans down to examine his \n victim. He cups his hand under the man's chin and lifts his \n head. Recognizes him.", "He tak9s a moment to think. Considers his situation. His \n eyes find the dead agent who risked his life so he could \n make it to the pod. He trots down the gangway toward the \n lower galley.", "Serge returns fire, ripping up Perkins who collapses over \n the shredder, and with his last bit of strength, he dumps \n out the briefcase.", "Marshall seizes the moment. Grabs Bazylev's gun. The two \n struggle and Bazylez instinctively pulls the trigger. A burst \n of richocheting gunfire sparks across the bulkhead.", "A pregnant pause as they both wait to see what happens.\n\n Then Bazylev smiles and slowly turns toward Marshall.\n\n Marshall backs away as Bazylev levels his gun.", "agent and pulls up the lifeless wrist revealing abeening \n watch. It wasn't Marshall's after all. No matter. Vlad \n continues to the staff Cabin.", "KORSHUNOV\n A secret service agent. It must be.\n\n Wounded but alive. Serge, Bazylev...\n\n Find him.", "Behind the terrorists, one of the bathroom doors swings open. \n A SECRET SERVICE AGENT emerges. Sees what's happening. Reaches", "GIBBS tosses his two extra weapons to Korshunov's men, pivots \n the corner and begins firing at his colleagues. The SECRET", "Unaware of Marshall, Viad reaches into his pocket and pulls \n out a cigarette. Lights it. On the first puff he feels a \n presence behind him.\n\n VLAD slowly turns around...", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "A red laser dot appears briefly on his forehead and, after a \n beat, the red dot seems to bleed. The Guard collapses dead. \n Two other GUARDS are dispatched with single, silenced shots.", "Bazylev motions Marshall to get on his knees. Marshall \n complies.\n\n BAZYUV\n What's that in your shirt? Open it.", "A spray of bullets mows him down. He collapses in the door \n frame. Terrified, Rose tries to close the door, but the dead \n agent is in the way.", "Tripping and falling over Joey, the steward. His dead eyes \n swim in a pool of blood that was his face. Alice screams, \n scrambling to her feet.", "The turbulence worsens. Bazylev manages to wrest away the \n rifle, but the plane pulls into a climb, sending Bazylev \n tumbling down the gangway into the rear baggage hold.", "But it's obvious that they're eavesdropping. Alice smiles \n and waves at them dramatically.", "His eyes spin back and then his heart explodes.\n\n Bazylev is caught frozen, suspended in a moment of disbelief.", "Marshall ascends down from the upper deck. Spots Korshunov \n by the front stairway. Korshunov pushes Alice down the stairs \n to the underdeck." ], [ "MARSHAlj Whoever said that, shut up. Walter, are you there?\n\n DEAN\n I'm here, Mr. President.", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "MARSHALL\n (dismissive)\n No good. I said they disabled the \n communications system.\n\n SECRETARY\n No. I thought about this, Mr.", "LEE\n Twenty minutes?\n\n V.P. CHANDLER\n You heard me.\n (points to an aide)\n You. Congress and cabinet heads.", "ZEDECK\n That man, he is the president, no?\n\n SHEPHERD\n Yes. Yes he is.", "V.P. CHANDLER\n Does your office have anything to \n add, Mr. Dean?\n\n National Security Advisor WALTER DEAN leans forward.", "Vlad, unsure of what he saw., cautiously heads toward the \n staff cabin. As he nears, he bends over a dead Secret Service", "Perkins, carrying the nuclear football, ducks and weaves his \n way down the corridor into the fray. He takes a bullet to \n the shoulder, which fells him.", "Marshall and the secretary rush the opposite direction toward \n the equipment room.\n\n INT. WHITE HOUSE PRESS ROOM - DAY", "The President exits the building and enters his limousine.\n\n EXT. TARMAC - AIR FORCE ONE - NIGHT\n\n Walters hands the bags back to the Russians.", "V.P. CHANDLER\n The Chief Justice? What on earth \n for?\n\n GENERAL NORTHWOOD\n To swear you in as President.", "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "V.P. CHANDLER\n Mr. Dean, may I remind you that the \n President is not 19 anymore.\n\n INT. PRESIDENT'S STATEROOM - NIGHT", "COL. CARLTON\n Mr. President, it's an honor. Now \n with your permission can we lead you \n the fuck out of here.", "GENERAL NORTHWOOD\n Walter, if you have a point, make \n it.\n\n DEAN\n That kid's name was Jim Marshall.", "Ingrahams locks the cockpit door.\n\n EXT. SKY - NIGHT\n\n Air Force One banks into a curve and descends through broken \n clouds.", "table... high-intensity lights. Equipped to deal with any \n medical emergency the president might encounter.\n\n But too late. Vlad kicks the door open.", "GENERAL NORTHWOOD\n Exactly. Ramstein? General \n Northwood... Patch me through to \n your fighters. Madame Vice \n President... with your permission?", "VIAD\n (wonderment)\n The President.\n\n But Marshall's eyes flash open.\n\n MARSHALL\n That's right, asshole.", "Two Army Rangers approach the cockpit.\n\n ARMY RANGER #1\n Mr. President!\n\n Army Ranger #2 slides into the co-pilot's seat." ], [ "Marshall manages to pull himself up the grating and into the \n galley. He's free, for the moment.\n\n INT. AFO, COCKPIT.", "shooting blindly. Marshall watches as he's hit repeatedly, \n but it gives him the time he needs to dive for the pod.", "Marshall hangs on to the strut for dear life as the \n pressurized air swooshes by him, taking with it everything \n that isn't nailed down including some of the spare parachutes.", "Marshall retrieves the phone, then wedges himself behind a \n waste storage tank, out of view.\n\n INT. PILOT'S REST AREA -", "He tak9s a moment to think. Considers his situation. His \n eyes find the dead agent who risked his life so he could \n make it to the pod. He trots down the gangway toward the \n lower galley.", "MARSHALL\n (murmuring)\n Out of fuel.\n\n INT. FORWARD BAGAGE HOLD - NIGHT", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "Marshall seizes the moment. Grabs Bazylev's gun. The two \n struggle and Bazylez instinctively pulls the trigger. A burst \n of richocheting gunfire sparks across the bulkhead.", "Marshall, still fighting the yoke, stands. He takes a deep \n breatn, drops the wheel and runs like a motherfucker for the \n stairs.", "Zedeck steps over the three dead Communications Specialists, \n on his way to the cockpit door. Tries the door. It's locked. \n He pounds on it.", "Marshall, silhouetted in the half light, craddles his head \n head in his hands. The shaft of light disappears as the main \n cabin hatch closes, sealing him off once again.", "The wave of pressurized air subsides leaving Zedeck, Marshall, \n Shepherd and Caldwell on the ramp. Caldwell begins edging \n toward Marshall.", "Marshall works the controls of the 747. Tries to engage the \n automatic pilot. The system is fried. Marshall wrestles with \n the yoke.", "Marshall sees that the stairway hatch has been sealed.\n\n INT. LOWER GALLEY - NIGHT", "MARSHALL\n (to himself)\n She was important.\n\n INT. MISSION COMMUNICATIONS CENTER.", "The agents lift Marshall to his feet, and practically carry \n him from the room, leaving the other high ranking officials \n to scramble for themselves in a cacophony of shouts.", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "As Marshall appears in the gangway he fires off another shot, \n hitting a cooling vent. Steam fills the' gangway area, bathed \n in red auxiliary lighting.", "MARSHALL\n What about my family?\n\n SECRET SERVICE AGENT #\n I have a family, too, sir. Now get \n in the fucking pod.", "MARSHALL\n Oh shit. It's got us.\n\n EXT. SKY - NIGHT" ], [ "Marshall hangs on to the strut for dear life as the \n pressurized air swooshes by him, taking with it everything \n that isn't nailed down including some of the spare parachutes.", "Marshall works the controls of the 747. Tries to engage the \n automatic pilot. The system is fried. Marshall wrestles with \n the yoke.", "Canton's plane edges around to the right... and Marshall \n follows. The 747 leans at an angle and continues the turn", "INT. FORWARD BAGGAGE HOLD.\n\n Marshall crosses back to the avionics compartment, talking \n on the phone.", "INT. FRONT BAGGAGE HOLD.\n\n For Marshall, this is the hardest decision of his life. His \n face a mask of anguish as he wrestles with his conscience.", "Marshall finds the throttle, pushes it up all the way. He \n feels the plane out, gently nudges it into a turn.\n\n EXT. SKY - NIGHT", "Marshall's out of plane. Nowhere to hide in the galley.\n\n Marshall eyes the bathrooms, doors flapping.\n\n FOLLOWING SERGE...", "Marshall manages to pull himself up the grating and into the \n galley. He's free, for the moment.\n\n INT. AFO, COCKPIT.", "INT. AIR FORCE ONE, COCKPIT - NIGHT\n\n MARSHALL STRUGGLES TO REGAIN CONTROL OF THE 747. HE OVER-", "At the end of his rope, literally. Marshall's harness snags \n on the end clasp. He hangs on for dear life.\n\n Moments later Air Force One impacts.", "The plane banks left into a dive. Marshall grabs the yoke.\n\n INT. MIG COCKPIT -\n\n Finger on the trigger.", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "Marshall slides down the cable, gripping at it, trying to \n break his fall.\n\n Air Force One plummets toward the water.\n\n Marshall sliding, right behind it, running out of cable.", "Marshall retreats behind a divider. Sees Serge coming. Fires \n a few rounds, then retreats to the next divider. Working \n toward the rear of the plane.", "The wave of pressurized air subsides leaving Zedeck, Marshall, \n Shepherd and Caldwell on the ramp. Caldwell begins edging \n toward Marshall.", "Marshall retrieves the phone, then wedges himself behind a \n waste storage tank, out of view.\n\n INT. PILOT'S REST AREA -", "INT. LOWER GALLEY, BAGGAGE LEVEL -\n\n Marshall tumbles out of the cramped galley dumbwaiter, \n breathing heavy. He slumps against the bulkhead and slides", "Korshunov retreats toward the rear of the plane.\n\n MARSHALL (O.S.)\n There's nowhere to go.", "Marshall waits a few beats, listens to the silence. Then re-\n mounts the stairs and almost runs into the back of...", "Hands behind his head, Marshall walks in front of Bazylev, \n an MP5 pressed against his neck.\n\n INT. F-15 EAGLE COCKPIT - NIGHT" ], [ "With Marshall back at the yoke.\n\n KC-LO PILOT\n Air Force One, you're losing altitude.", "Marshall slides down the cable, gripping at it, trying to \n break his fall.\n\n Air Force One plummets toward the water.\n\n Marshall sliding, right behind it, running out of cable.", "INT. AIR FORCE ONE, COCKPIT - NIGHT\n\n MARSHALL STRUGGLES TO REGAIN CONTROL OF THE 747. HE OVER-", "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "In the aftermath, Marshall takes a moment and pulls on the \n pilot's headset.\n\n MARSHALL\n U.S. Pilots, this is Air Force One.", "MARSHALL\n An emergency landing in friendly \n territory... there's your goddamn \n miracle.\n\n EXT. AIR FORCE ONE - NIGHT", "INT. COCKPIT, AIR FORCE ONE - NIGHT\n\n With a smile.\n\n MARSHALL\n Acknowledged.", "Air Force One\n\n Andrew Marlow \n\n FADE IN:\n\n INT. C-130 HERCULES TURBO-PROP - NIGHT", "The KC-135 flies above Air Force One, connected by a gasoline \n umbilical cord.\n\n INT. EMERGENCY RAMP PLATFORM.", "Marshall works the controls of the 747. Tries to engage the \n automatic pilot. The system is fried. Marshall wrestles with \n the yoke.", "At the end of his rope, literally. Marshall's harness snags \n on the end clasp. He hangs on for dear life.\n\n Moments later Air Force One impacts.", "INT. COCKPIT, AIR FORCE ONE - NIGHT\n\n MARSHALL\n How long's it been?", "TNT. AIR FORCE ONE COCKPIT - NIGHT\n\n MARSHALL\n I can't stabilize it.", "Air Force One descends.\n\n Whipping fire trails the KC-135.\n\n Slowly rolls it way into the plane's main tank.", "He looks out at the F-l5s.\n\n MARSHALL\n They're flying a protection formation.\n (beat)\n Call D.C. Find out what's going on.", "MARSHALL\n I dumped most of the fuel. They'll \n land soon and Delta will take its \n shot.", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines.", "As the entire airbase collectively holds its breath. Air \n Force One's tires hover 50 feet above the ground... 40 feet... \n 30...", "MARSHALL\n Not now, pumpkin.\n\n Alice's touch activates offensive mode.\n\n EXT. AIR FORCE ONE - NIGHT", "The squadron of F-15 still surround Air Force One, which \n slowly banks to one side.\n\n INT. F-15 COCKPIT - NIGHT" ], [ "Marshall slides down the cable, gripping at it, trying to \n break his fall.\n\n Air Force One plummets toward the water.\n\n Marshall sliding, right behind it, running out of cable.", "At the end of his rope, literally. Marshall's harness snags \n on the end clasp. He hangs on for dear life.\n\n Moments later Air Force One impacts.", "INT. AIR FORCE ONE, COCKPIT - NIGHT\n\n MARSHALL STRUGGLES TO REGAIN CONTROL OF THE 747. HE OVER-", "MARSHALL, flattened behind the edge of the galley divider. \n He creeps away from Vlad toward the Presidential Suite... \n stepping gingerly over dead secret service agents.", "In the aftermath, Marshall takes a moment and pulls on the \n pilot's headset.\n\n MARSHALL\n U.S. Pilots, this is Air Force One.", "Marshall hangs on to the strut for dear life as the \n pressurized air swooshes by him, taking with it everything \n that isn't nailed down including some of the spare parachutes.", "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "MARSHALL\n Not now, pumpkin.\n\n Alice's touch activates offensive mode.\n\n EXT. AIR FORCE ONE - NIGHT", "MARSHALL\n What about my family?\n\n SECRET SERVICE AGENT #\n I have a family, too, sir. Now get \n in the fucking pod.", "SECRET SERVICE AGENT\n We're under attack.\n\n MARSHALL\n Where's my family?", "Marshall manages to pull himself up the grating and into the \n galley. He's free, for the moment.\n\n INT. AFO, COCKPIT.", "Gibbs draws a bead on the President, smiles... but he doesn't \n have any strength left to pull the trigger. He expires.\n\n And the plane begins to dive. Marshall runs for the cockpit.", "stove, walk-in freezer, plates and silverware. Marshall picks \n up a butcher knife.\n\n INT. CORRIDOR, AIR FORCE ONE - NIGHT", "The rest of the pilots chime in.\n\n INT. AIR FORCE ONE, LOWER AFT GALLEY - NIGHT\n\n Marshall swings into the cubicle... empty.", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines.", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "The wave of pressurized air subsides leaving Zedeck, Marshall, \n Shepherd and Caldwell on the ramp. Caldwell begins edging \n toward Marshall.", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "Marshall works the controls of the 747. Tries to engage the \n automatic pilot. The system is fried. Marshall wrestles with \n the yoke." ], [ "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines.", "The President's motorcade pulls up in front of Air Force \n One.\n\n INT. AIR FORCE ONE - NIGHT", "INT. WHITE HOUSE SITUATION ROOM - DAY\n\n A map of Air Force One's flight trajectory is displayed on \n the rear screen. Moscow to Berlin and back toward the Black \n Sea.", "The President exits the building and enters his limousine.\n\n EXT. TARMAC - AIR FORCE ONE - NIGHT\n\n Walters hands the bags back to the Russians.", "EXT. SKY - NIGHT\n\n Air Force One, lit up by moonlight.\n\n INT. CORRIDOR.", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "Korshunov trades looks with his news team.\n\n EXT. MOSCOW INTERNATIONAL AIRPORT - NIGHT", "EXT. AIR FORCE ONE - NIGHT\n\n INT. MISSION COMMUNICATION CENTER - NIGHT\n\n Another sonic boom.", "KORSHUNOV\n And what is it you do, Ms. Mitchell.\n\n Maria Mitchell's voice echos over throughout Air Force One.", "Closing fast.\n\n FIGHTER PILOT #2\n Boss, they got one off.\n\n INT. AIR FORCE ONE - NIGHT", "Twin FIREBALLS erupt in the sky as the Mics evaporate.\n\n But from the fireball, a MISSILE emerges coming right at Air \n Force One.", "INT. MIG COCKPIT - NIGHT\n\n The MIG pilot targets Air Force One. He cuts his speed as he \n lines up his shot. Gets a lock.", "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "Shepherd and his Ranger clip onto the wire, but the KC-lO is \n now higher than Air Force One.\n\n INT. AFO COCKPIT -", "Air Force One\n\n Andrew Marlow \n\n FADE IN:\n\n INT. C-130 HERCULES TURBO-PROP - NIGHT", "COL. CARLTON\n Air Force one... please respond. Air \n Force One, you are entering hostile \n air space. Air Force one...\n\n All Carlton receives is static.", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "A mechanical him and clank gives way to a rush of wind as \n the tail section of Air Force One hinges open on hydraulic", "INT. AIR FORCE ONE COCKPIT - NIGHT\n\n The shock waves from a nearby MiG explosion shakes the plane." ], [ "The massive fireball and glowing remains of the Presidential \n aircraft almost reaches up to where the President struggles \n to hold on to the end of the cable.\n\n INT. KC-LO TRANSPORT", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "The President's motorcade pulls up in front of Air Force \n One.\n\n INT. AIR FORCE ONE - NIGHT", "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "Two Army Rangers approach the cockpit.\n\n ARMY RANGER #1\n Mr. President!\n\n Army Ranger #2 slides into the co-pilot's seat.", "The President exits the building and enters his limousine.\n\n EXT. TARMAC - AIR FORCE ONE - NIGHT\n\n Walters hands the bags back to the Russians.", "In the aftermath, Marshall takes a moment and pulls on the \n pilot's headset.\n\n MARSHALL\n U.S. Pilots, this is Air Force One.", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines.", "EXT. AIR FORCE ONE - NIGHT\n\n INT. MISSION COMMUNICATION CENTER - NIGHT\n\n Another sonic boom.", "INT. PRESIDENTIAL STATEROOM - NIGHT\n\n The sounds of gunfire have reached the the nose of the plane.", "Small bay doors open in the belly of Air Force One, and a \n human sized cannister drops from the bottom, its parachute \n Opening instantly.\n\n INT. FLIGHT DECK - NIGHT", "Beneath the main cabin, the Secret Service agents run the \n President through the forward baggage compartment and the \n lower galley: a large room with compartments, storage freezers \n and food preperation tables.", "INT. CORRIDOR - NIGHT\n\n Filled with smoke and gunfire. The agents rush the President \n behind a forward bulkhead.", "The Flying White House careens toward the barracks, then \n edges toward a hangar. The jet engines strain to reach full \n power.\n\n INT. RAMSTEIN CONTROL TOWER - NIGHT", "Surprised to hear their boss' voice, the aides and advisors \n release Marshall.\n\n SHEPHERD\n Mr. President, how the hell did you \n get on board?", "The squadron of F-15 still surround Air Force One, which \n slowly banks to one side.\n\n INT. F-15 COCKPIT - NIGHT", "Closing fast.\n\n FIGHTER PILOT #2\n Boss, they got one off.\n\n INT. AIR FORCE ONE - NIGHT", "The agent combat-rolls into the open and fires. He advances \n down the gangway acting as a shield for the president," ], [ "The agent combat-rolls into the open and fires. He advances \n down the gangway acting as a shield for the president,", "Mr. President.\n\n Thunderous applause as Marshall rises and approaches the \n podium.", "Shepherd nods and waits by the door. Lt. Col. Perkins takes \n a seat outside the Presidents stateroom and opens the latest", "ZEDECK\n That man, he is the president, no?\n\n SHEPHERD\n Yes. Yes he is.", "Most of the President's service record makes for dull reading \n because most of what he did iarLZ ULirn. History remembers", "Two Army Rangers approach the cockpit.\n\n ARMY RANGER #1\n Mr. President!\n\n Army Ranger #2 slides into the co-pilot's seat.", "When the men sees Stravanavitch they come to attention and \n salute him. Stravanavitch returns the salute. And then starts \n his march toward his limousine...", "MAJOR CALDWELL\n Sir, we stay with the President.\n\n MARSHALL\n That isn't necessary.", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines.", "MARSHALL\n That's my job.\n\n A STEWARD enters the room.\n\n STEWARD\n Mr. President?", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "Marshall turns to see this soldier, a fresh-faced, 19-year-\n old kid, saluting his Commander-in-chief.\n\n ARMY RANGER\n Welcome aboard, sir.", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "A mechanical him and clank gives way to a rush of wind as \n the tail section of Air Force One hinges open on hydraulic", "INT. CORRIDOR - NIGHT\n\n Filled with smoke and gunfire. The agents rush the President \n behind a forward bulkhead.", "The President's motorcade pulls up in front of Air Force \n One.\n\n INT. AIR FORCE ONE - NIGHT", "He looks out at the F-l5s.\n\n MARSHALL\n They're flying a protection formation.\n (beat)\n Call D.C. Find out what's going on.", "MARSHALL\n Fill this with Heineken.\n\n The steward nods...\n\n STEWARD\n Yes, Mr. President.", "V.P. CHANDLER\n but not the President. Not the \n President.\n\n A silent beat.", "V.P. CHANDLER\n But this is different, sir. You're \n the President.\n\n * MARSHALL" ], [ "ZEDECK\n That man, he is the president, no?\n\n SHEPHERD\n Yes. Yes he is.", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "Mr. President.\n\n Thunderous applause as Marshall rises and approaches the \n podium.", "The President hunts through luggage. Overturned garment bags \n and suitcases around him, belongings littered all over the", "President.\n\n V.P. CHANDLER\n It's him. He is alive.", "MARSHALL\n That's my job.\n\n A STEWARD enters the room.\n\n STEWARD\n Mr. President?", "The massive fireball and glowing remains of the Presidential \n aircraft almost reaches up to where the President struggles \n to hold on to the end of the cable.\n\n INT. KC-LO TRANSPORT", "office of the President is infinitely \n more important than the man who holds \n that office.\n (beat)", "VIAD\n (wonderment)\n The President.\n\n But Marshall's eyes flash open.\n\n MARSHALL\n That's right, asshole.", "V.P. CHANDLER\n By then I'll be President.\n\n Chandler hangs up the phone.", "MARSHALL\n Fill this with Heineken.\n\n The steward nods...\n\n STEWARD\n Yes, Mr. President.", "The agent combat-rolls into the open and fires. He advances \n down the gangway acting as a shield for the president,", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "Korshunov turns toward the monitor. Furrows his brow.\n\n KORSHUNOV\n And you are almost out of time.\n\n Where is the President?", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "The President's motorcade pulls up in front of Air Force \n One.\n\n INT. AIR FORCE ONE - NIGHT", "President.\n\n Zedeck grabs Caldwell's hands and tapes them behind his back \n with duct tape. Rose and Alice already have their hands taped.", "V.P. CHANDLER\n but not the President. Not the \n President.\n\n A silent beat.", "V.P. CHANDLER\n But this is different, sir. You're \n the President.\n\n * MARSHALL", "Shepherd nods and waits by the door. Lt. Col. Perkins takes \n a seat outside the Presidents stateroom and opens the latest" ], [ "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "The terrorists move toward the nose of the plane leaving \n Nevsky to guard the conference room.\n\n INT. BAGGAGE HOLD - NIGHT", "INT. AIR FORCE ONE COCKPIT - NIGHT\n\n The shock waves from a nearby MiG explosion shakes the plane.", "The terrorists, from every corner of the plane, lead the \n stunned survivors, hands on heads, to the central conference \n room.", "The President exits the building and enters his limousine.\n\n EXT. TARMAC - AIR FORCE ONE - NIGHT\n\n Walters hands the bags back to the Russians.", "INT. WHITE HOUSE SITUATION ROOM - DAY\n\n A map of Air Force One's flight trajectory is displayed on \n the rear screen. Moscow to Berlin and back toward the Black \n Sea.", "The turbulence worsens. Bazylev manages to wrest away the \n rifle, but the plane pulls into a climb, sending Bazylev \n tumbling down the gangway into the rear baggage hold.", "KORSHUNOV\n No. The plane lands when I say, or \n it will crash. The hostages are \n released when I say, or they will \n die.", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "KORSHUNOV\n No. He has the advantage down there.\n\n Bring me a hostage. A woman.\n\n INT. FORWARD BAGGAGE HOLD.", "With no oneat the controls, Air Force One goes into a sharp \n sloping dive.\n\n INT. GANGWAY, AIR FORCE ONE -", "INT. MIG COCKPIT - NIGHT\n\n The MIG pilot targets Air Force One. He cuts his speed as he \n lines up his shot. Gets a lock.", "The squadron of F-15 still surround Air Force One, which \n slowly banks to one side.\n\n INT. F-15 COCKPIT - NIGHT", "INT. CONFERENCE ROOM - NIGHT\n\n Korshunov surveys the hostages. Viad covers them at gunpoint.", "ignites the river of gasoline being pumped from the refueling \n craft's belly.\n\n INT. AIR FORCE ONE, COCKPIT -", "EXT. AIR FORCE ONE - NIGHT\n\n INT. MISSION COMMUNICATION CENTER - NIGHT\n\n Another sonic boom.", "Closing fast.\n\n FIGHTER PILOT #2\n Boss, they got one off.\n\n INT. AIR FORCE ONE - NIGHT", "INT. AIR FORCE ONE, COCKPIT - NIGHT\n\n MARSHALL STRUGGLES TO REGAIN CONTROL OF THE 747. HE OVER-", "INT. AIR FORCE ONE, FLIGHT DECK - NIGHT\n\n RAMSTEIN A.B. CONTROLLER (RADIO)", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines." ], [ "Mr. President.\n\n Thunderous applause as Marshall rises and approaches the \n podium.", "MARSHALL\n The First Lady was making a joke, \n Shep. I'll make some time, Rose. I \n promise.\n\n Marshall heads for his meeting.", "MARSHALL\n That's my job.\n\n A STEWARD enters the room.\n\n STEWARD\n Mr. President?", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "Rose and Marshall - their eyes meet. Enormous relief for the \n both of them. Marshall smiles at his wife, as she fights \n back her tears.", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "INT. PRESIDENT'S STATEROOM - NIGHT\n\n Marshall collapses on the couch, rubs his eyes, then closes \n them. A moment of peace in a breakneck day.", "President Marshall picks up one of the many phones in his \n office.\n\n MARSHALL\n I said it's not worth the fight.\n (into phone)\n Steward, please.", "VIAD\n (wonderment)\n The President.\n\n But Marshall's eyes flash open.\n\n MARSHALL\n That's right, asshole.", "MARSHALL\n This is President Marshall. I know \n you guys are busy, but we need some \n help here.", "MARSHALL\n This promise isn't subject to \n Congressional approval.\n\n She smiles. The tension breaks.", "MARSHALL\n Fill this with Heineken.\n\n The steward nods...\n\n STEWARD\n Yes, Mr. President.", "Marshall nods as he pulls off his bow tie and enters his \n stateroom. Shepherd follows two steps behind.\n\n SHEPHERD\n Mr. President?", "MARSHALL, flattened behind the edge of the galley divider. \n He creeps away from Vlad toward the Presidential Suite... \n stepping gingerly over dead secret service agents.", "Marshall waits as the phone rings...\n\n INT. WHITE HOUSE, SWITCHBOARD ROOM - DAY\n\n A chipper woman in her mid-20s picks up the call.", "V.P. CHANDLER\n But this is different, sir. You're \n the President.\n\n * MARSHALL", "Marshall waits a few beats, listens to the silence. Then re-\n mounts the stairs and almost runs into the back of...", "KORSHUNOV\n Mrs. Marshall. Alice. If you please.\n\n Rose turns to the other hostages.", "MARSHALL\n (to himself)\n She was important.\n\n INT. MISSION COMMUNICATIONS CENTER." ], [ "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "Behind the terrorists, one of the bathroom doors swings open. \n A SECRET SERVICE AGENT emerges. Sees what's happening. Reaches", "Beneath the main cabin, the Secret Service agents run the \n President through the forward baggage compartment and the \n lower galley: a large room with compartments, storage freezers \n and food preperation tables.", "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "Smoke, automatic weapons fire. Secret service agents battling \n the terrorists. Aides, diplomats, crew and personnel caught \n in the crossfire.", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines.", "Two Army Rangers approach the cockpit.\n\n ARMY RANGER #1\n Mr. President!\n\n Army Ranger #2 slides into the co-pilot's seat.", "The President's motorcade pulls up in front of Air Force \n One.\n\n INT. AIR FORCE ONE - NIGHT", "The blast slams bits of the fighter plane against Air Force \n One. Rocking it badly. Chunks of the plane rip away metal \n sheeting on the 747's wings and tail section.", "The broken edge of the fueling arm scrapes along the top of \n Air Force One... metal against metal... tearing a gash in \n the plane... Sparks fly.\n\n ONE OF THE SPARKS", "Vlad, unsure of what he saw., cautiously heads toward the \n staff cabin. As he nears, he bends over a dead Secret Service", "Surprised to hear their boss' voice, the aides and advisors \n release Marshall.\n\n SHEPHERD\n Mr. President, how the hell did you \n get on board?", "HITS - One of the Secret Service agents in the shoulder. \n Blood blossoms through his clothes but he winces it off.\n\n SECRET SERVICE AGENT\n Come on, sir.", "Closing fast.\n\n FIGHTER PILOT #2\n Boss, they got one off.\n\n INT. AIR FORCE ONE - NIGHT", "The squadron of F-15 still surround Air Force One, which \n slowly banks to one side.\n\n INT. F-15 COCKPIT - NIGHT", "The President exits the building and enters his limousine.\n\n EXT. TARMAC - AIR FORCE ONE - NIGHT\n\n Walters hands the bags back to the Russians.", "Rose peers out to see what's the matter. An armed Secret \n Service agent runs toward her.\n\n SECRET SERVICE AGENT\n Get back! Get back!", "With no oneat the controls, Air Force One goes into a sharp \n sloping dive.\n\n INT. GANGWAY, AIR FORCE ONE -", "SECRET SERVICE AGENT\n Get in! \n\n Marshall freezes.\n\n SECRET SERVICE AGENT\n Get in, sir.", "The missile has Air Force One dead to rights, crawling right \n up its tail pipe.\n\n Just before its about to hit the plane..." ], [ "Mr. President.\n\n Thunderous applause as Marshall rises and approaches the \n podium.", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "MARSHALL\n That's my job.\n\n A STEWARD enters the room.\n\n STEWARD\n Mr. President?", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "INT. PRESIDENT'S STATEROOM - NIGHT\n\n Marshall collapses on the couch, rubs his eyes, then closes \n them. A moment of peace in a breakneck day.", "VIAD\n (wonderment)\n The President.\n\n But Marshall's eyes flash open.\n\n MARSHALL\n That's right, asshole.", "MARSHALL\n This is President Marshall. I know \n you guys are busy, but we need some \n help here.", "V.P. CHANDLER\n But this is different, sir. You're \n the President.\n\n * MARSHALL", "President Marshall picks up one of the many phones in his \n office.\n\n MARSHALL\n I said it's not worth the fight.\n (into phone)\n Steward, please.", "During the applause, Marshall pulls a page from the speech, \n folds it and slides it into his pocket. He removes his \n glasses and looks out into the crowd. His tone becomes more \n personal.", "MARSHALL\n Fill this with Heineken.\n\n The steward nods...\n\n STEWARD\n Yes, Mr. President.", "Marshall catches his breath for a moment. Pulls open his \n shirt. Beneath it he wears a bulletproof Kevlar vest. He", "Marshall turns to see this soldier, a fresh-faced, 19-year-\n old kid, saluting his Commander-in-chief.\n\n ARMY RANGER\n Welcome aboard, sir.", "He fires once, hitting Marshall in the arm. Marshall winces \n off the pain.\n\n BAZYLEV\n (disgust)\n The leader of the free world.", "MAJOR CALDWELL\n Sir, we stay with the President.\n\n MARSHALL\n That isn't necessary.", "MARSHALL, flattened behind the edge of the galley divider. \n He creeps away from Vlad toward the Presidential Suite... \n stepping gingerly over dead secret service agents.", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "INT. REAR BAGGAGE HOLD/INT. WHITE HOUSE SITUATION ROOM\n\n Marshall rips his sleeve off, swabs the blood off his arm.", "MARSHALL\n What we did here was important. We \n finally pulled our heads out of the", "Marshall huddles tight with Rose and Alice as a MEDIC attends \n to their wounds.\n\n ARMY RANGER\n Mr. President?" ], [ "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "shooting blindly. Marshall watches as he's hit repeatedly, \n but it gives him the time he needs to dive for the pod.", "Marshall manages to pull himself up the grating and into the \n galley. He's free, for the moment.\n\n INT. AFO, COCKPIT.", "Marshall retrieves the phone, then wedges himself behind a \n waste storage tank, out of view.\n\n INT. PILOT'S REST AREA -", "MARSHALL, flattened behind the edge of the galley divider. \n He creeps away from Vlad toward the Presidential Suite... \n stepping gingerly over dead secret service agents.", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "Marshall dives for the nearest doorway. Vlad swings round to \n see a figure slip into the senior staff cabin.", "MARSHALL\n What about my family?\n\n SECRET SERVICE AGENT #\n I have a family, too, sir. Now get \n in the fucking pod.", "Marshall and the secretary rush the opposite direction toward \n the equipment room.\n\n INT. WHITE HOUSE PRESS ROOM - DAY", "INT. PRESIDENT'S STATEROOM - NIGHT\n\n Marshall collapses on the couch, rubs his eyes, then closes \n them. A moment of peace in a breakneck day.", "Marshall's out of plane. Nowhere to hide in the galley.\n\n Marshall eyes the bathrooms, doors flapping.\n\n FOLLOWING SERGE...", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "MARSHALL\n (dismissive)\n No good. I said they disabled the \n communications system.\n\n SECRETARY\n No. I thought about this, Mr.", "MARSHALL\n (to himself)\n She was important.\n\n INT. MISSION COMMUNICATIONS CENTER.", "Marshall, silhouetted in the half light, craddles his head \n head in his hands. The shaft of light disappears as the main \n cabin hatch closes, sealing him off once again.", "The massive fireball and glowing remains of the Presidential \n aircraft almost reaches up to where the President struggles \n to hold on to the end of the cable.\n\n INT. KC-LO TRANSPORT", "Marshall, still fighting the yoke, stands. He takes a deep \n breatn, drops the wheel and runs like a motherfucker for the \n stairs.", "Marshall frozen near the bottom of the steps. To go up would \n be to betray everything he believes in, and lose any chance \n to save the others. But if he stays...", "No time for remorse. Marshall tries the Main conference Room \n door. Locked. He knows the others will be coming so he \n flattens himself against the corridor wall. Trains his gun \n on the stairs.", "INT. REAR BAGGAGE HOLD/INT. WHITE HOUSE SITUATION ROOM\n\n Marshall rips his sleeve off, swabs the blood off his arm." ], [ "The aide nods and picks up a telephone.\n\n AIR FORCE COLONEL\n Madame Vice-President?", "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "interior to the South entrance of the White House. She is \n the VICE PRESIDENT of the UNITED STATES OF AMERICA.", "Lee whispers to the Vice President.\n\n LEE\n Finally, we can bargain.", "V.P. CHANDLER\n but not the President. Not the \n President.\n\n A silent beat.", "GENERAL GREELY\n Madame Vice-President, we just got \n word from Ramstein... The nod was \n UntiL Chandler stands.", "LEE\n Madame Vice president. We have an \n options paper. chandler takes the \n options paper, waves off Lee, and \n reads it as she talks.", "specifics except to say that the \n Vice-President is doing everything \n within her power to resolve the \n situation.", "LEE\n Twenty minutes?\n\n V.P. CHANDLER\n You heard me.\n (points to an aide)\n You. Congress and cabinet heads.", "PETROV\n I understand your dilemma, Vice \n President Chandler. But unless you", "V.P. CHANDLER\n The Chief Justice? What on earth \n for?\n\n GENERAL NORTHWOOD\n To swear you in as President.", "GENERAL NORTHWOOD\n Exactly. Ramstein? General \n Northwood... Patch me through to \n your fighters. Madame Vice \n President... with your permission?", "Vlad, unsure of what he saw., cautiously heads toward the \n staff cabin. As he nears, he bends over a dead Secret Service", "ZEDECK\n That man, he is the president, no?\n\n SHEPHERD\n Yes. Yes he is.", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "VIAD\n (wonderment)\n The President.\n\n But Marshall's eyes flash open.\n\n MARSHALL\n That's right, asshole.", "V.P. CHANDLER\n But this is different, sir. You're \n the President.\n\n * MARSHALL", "V.P. CHANDLER\n By then I'll be President.\n\n Chandler hangs up the phone.", "President.\n\n V.P. CHANDLER\n It's him. He is alive." ], [ "Korshunov SHOOTS Doherty through the head. Screams from some \n of the hostages. Korshunov squeezes off a few shots to quiet \n everyone.", "Marshall fires, his bullet ripping apart a good deal of \n Korshunov's face and snapping his body back.", "No more bullets. Korshunov steps into the room, brandishing \n his automatic, smiling. Rose backs against the wall and raises \n her hands.", "Korshunov fires and Marshall dives out of the way. He cones \n up in defensive crouch ready to shoot, but all he can see is \n Alice.", "They don't move. Korshunov raises his gun, points it a \n Shepherd's head.\n\n KORSHUNOV\n Now, or he dies, please.", "Korshunov backs away to the steps. Marshall does not lower \n his gun. Korshunov disappears down the staircase.\n\n MARSHALL\n Shepherd.", "Korshunov fires at Marshall, but...\n\n Major Caidwell dives in front of the bullet spray taking the \n rounds in his chest.", "KORSHUNOV\n Shall I begin by executing the \n President's daughter? She's right \n here.\n\n ROSE\n No.", "KORSHUNOV\n A secret service agent. It must be.\n\n Wounded but alive. Serge, Bazylev...\n\n Find him.", "KORSHUNOV\n He's already killed three of us, and \n we haven't even seen him. He's also", "Korshunov whips out his gun and lines up a clean shot at \n Marshall's head.\n\n MAJOR CALDWELL\n Mr. President.", "Marshall ascends down from the upper deck. Spots Korshunov \n by the front stairway. Korshunov pushes Alice down the stairs \n to the underdeck.", "Korshunov smiles.\n\n MARSHALL\n Stop.\n\n KORSHUNOV\n You'll do it?", "Korshunov straps on one of the few remaining parachutes. He \n tosses the rest of the spares out onto the platform.", "KORSHUNOV\n Yes, I am an asshole.\n\n A long beat, the Korshunov lovers the gun.", "Korshunov backs toward the edge of the ramp, pulling a \n struggling and fighting Alice.\n\n MARSHALL\n Let her go now! Or I will kill you.", "Marshall turns his aim to Korshunov... but Korshunov grabs \n Alice and presses his pistol to her head.\n\n Stand-off.", "KORSHUNOV\n Don't be hasty.\n\n Marshall holds Korshunov in his sights. Slowly advancing.", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "KORSHUNOV\n (to Zedeck)\n Go! Take Serge.. and watch your backs.\n\n Zedeck nods and dashes out of the cabin." ], [ "The blast slams bits of the fighter plane against Air Force \n One. Rocking it badly. Chunks of the plane rip away metal \n sheeting on the 747's wings and tail section.", "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "Through the cockpit window, an F-15 settles in front of Air \n Force One... Flames pouring out of its tail. Under any other", "AIR FORCE ONE\n The President's own Boeing 747-200,", "The broken edge of the fueling arm scrapes along the top of \n Air Force One... metal against metal... tearing a gash in \n the plane... Sparks fly.\n\n ONE OF THE SPARKS", "The squadron of F-15 still surround Air Force One, which \n slowly banks to one side.\n\n INT. F-15 COCKPIT - NIGHT", "Closing fast.\n\n FIGHTER PILOT #2\n Boss, they got one off.\n\n INT. AIR FORCE ONE - NIGHT", "INT. AIR FORCE ONE, VARIOUS SHOTS - NIGHT\n\n The shock wave hits the aircraft.\n\n Lights flicker and the plane rocks side to side.", "Twin FIREBALLS erupt in the sky as the Mics evaporate.\n\n But from the fireball, a MISSILE emerges coming right at Air \n Force One.", "On the damaged wing - Fuel starts leaking out and the outer \n jet engine catches fire.\n\n INT. COCKPIT, AIR FORCE ONE - NIGHT", "The KC-135 flies above Air Force One, connected by a gasoline \n umbilical cord.\n\n INT. EMERGENCY RAMP PLATFORM.", "Air Force One closes in on the Starlifter. She's struggling \n off\n\n the ground like some injured bird. The straining metal defies \n gravity.", "A C-141 STARLIFTER\n in his path. A monstrous plane, every \n bit as big as Air Force One. Gibbs", "An air-to-air missile detatches from under the Eagle. Its \n tail ignites in flame.\n\n INT. AIR FORCE ONE COCKPIT - NIGHT", "wing. The MiG swoops past Air Force One and jerks into a * \n vertical.", "With no oneat the controls, Air Force One goes into a sharp \n sloping dive.\n\n INT. GANGWAY, AIR FORCE ONE -", "ignites the river of gasoline being pumped from the refueling \n craft's belly.\n\n INT. AIR FORCE ONE, COCKPIT -", "EXT. AIR FORCE ONE -\n\n The tail cone section of Air Force One hinges open and \n parachutes begin to blossum from the rear of the plane.", "As the entire airbase collectively holds its breath. Air \n Force One's tires hover 50 feet above the ground... 40 feet... \n 30...", "A mechanical him and clank gives way to a rush of wind as \n the tail section of Air Force One hinges open on hydraulic" ], [ "With no oneat the controls, Air Force One goes into a sharp \n sloping dive.\n\n INT. GANGWAY, AIR FORCE ONE -", "Through the cockpit window, an F-15 settles in front of Air \n Force One... Flames pouring out of its tail. Under any other", "The blast slams bits of the fighter plane against Air Force \n One. Rocking it badly. Chunks of the plane rip away metal \n sheeting on the 747's wings and tail section.", "Air Force One closes in on the Starlifter. She's struggling \n off\n\n the ground like some injured bird. The straining metal defies \n gravity.", "MARSHALL\n An emergency landing in friendly \n territory... there's your goddamn \n miracle.\n\n EXT. AIR FORCE ONE - NIGHT", "Marshall slides down the cable, gripping at it, trying to \n break his fall.\n\n Air Force One plummets toward the water.\n\n Marshall sliding, right behind it, running out of cable.", "EXT. SKY - NIGHT\n\n The pale moon catches shiny streaks of metal that descend \n through the broken clouds. The Squadron of F-15 Eagles drops \n into formation around Air Force One.", "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "As the entire airbase collectively holds its breath. Air \n Force One's tires hover 50 feet above the ground... 40 feet... \n 30...", "Ingrahams locks the cockpit door.\n\n EXT. SKY - NIGHT\n\n Air Force One banks into a curve and descends through broken \n clouds.", "EXT. AIR FORCE ONE - NIGHT\n\n The engine whirs to a halt and the rushing wind blows out \n the fire. But now she's only got three engines.", "EXT. AIR FORCE ONE -\n\n The tail cone section of Air Force One hinges open and \n parachutes begin to blossum from the rear of the plane.", "Twin FIREBALLS erupt in the sky as the Mics evaporate.\n\n But from the fireball, a MISSILE emerges coming right at Air \n Force One.", "A mechanical him and clank gives way to a rush of wind as \n the tail section of Air Force One hinges open on hydraulic", "The missile has Air Force One dead to rights, crawling right \n up its tail pipe.\n\n Just before its about to hit the plane...", "On the damaged wing - Fuel starts leaking out and the outer \n jet engine catches fire.\n\n INT. COCKPIT, AIR FORCE ONE - NIGHT", "The broken edge of the fueling arm scrapes along the top of \n Air Force One... metal against metal... tearing a gash in \n the plane... Sparks fly.\n\n ONE OF THE SPARKS", "The massive fireball and glowing remains of the Presidential \n aircraft almost reaches up to where the President struggles \n to hold on to the end of the cable.\n\n INT. KC-LO TRANSPORT", "ignites the river of gasoline being pumped from the refueling \n craft's belly.\n\n INT. AIR FORCE ONE, COCKPIT -", "Small bay doors open in the belly of Air Force One, and a \n human sized cannister drops from the bottom, its parachute \n Opening instantly.\n\n INT. FLIGHT DECK - NIGHT" ], [ "MARSHALL\n No. no. no. Wait. Wait.\n\n Bazylev appears behind Marshall. Raises his gun.", "Korshunov fires and Marshall dives out of the way. He cones \n up in defensive crouch ready to shoot, but all he can see is \n Alice.", "Marshall lines up his shot. Korshunov laughs as he presses \n his pistol to Alice's ear.", "Marshall on his knees, hands behind his head. Bazylev, his \n automatic pressed against Marshall's forehead, disarms", "The steward arrives with the Russian beer. Marshall takes a \n swig. He swallows hard. Piss-water. Marshall crosses to", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "Marshall catches his breath for a moment. Pulls open his \n shirt. Beneath it he wears a bulletproof Kevlar vest. He", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "Unaware of Marshall, Viad reaches into his pocket and pulls \n out a cigarette. Lights it. On the first puff he feels a \n presence behind him.\n\n VLAD slowly turns around...", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "Marshall ascends down from the upper deck. Spots Korshunov \n by the front stairway. Korshunov pushes Alice down the stairs \n to the underdeck.", "Marshall turns his aim to Korshunov... but Korshunov grabs \n Alice and presses his pistol to her head.\n\n Stand-off.", "Marshall checks behind the racks of stored goods and luggage.\n\n P.O.V. LOOKING DOWN A GUNSIGHT AS MARSHALL WALKS INTO THE\n\n open.", "Marshall walks flevsky toward the mj vonteronve room3 As \n they pass the stairs to the upper deck, Nevsky breaks away.\n\n NEVSKY\n KORSKUNOV!", "Korshunov smiles.\n\n MARSHALL\n Stop.\n\n KORSHUNOV\n You'll do it?", "Bazylev motions Marshall to get on his knees. Marshall \n complies.\n\n BAZYUV\n What's that in your shirt? Open it.", "KORSHUNOV\n You're very valuable. And our nation \n needs so many things.\n\n Marshall leans his head against the wall. Just as he expected.", "Marshall makes his way through the dimness. Stepping \n cautiously.\n\n A shot rings out and richochets off a piece of piping right \n over Marshall's head.", "Korshunov fires at Marshall, but...\n\n Major Caidwell dives in front of the bullet spray taking the \n rounds in his chest." ], [ "Marshall struggles with his duty. His honor.", "MARSHALL\n No. no. no. Wait. Wait.\n\n Bazylev appears behind Marshall. Raises his gun.", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "Marshall catches his breath for a moment. Pulls open his \n shirt. Beneath it he wears a bulletproof Kevlar vest. He", "Marshall checks behind the racks of stored goods and luggage.\n\n P.O.V. LOOKING DOWN A GUNSIGHT AS MARSHALL WALKS INTO THE\n\n open.", "MARSHALL\n What we did here was important. We \n finally pulled our heads out of the", "Marshall struggles against his people.\n\n MARSHALL\n It's me goddamnit. Let me go.", "The firing begins again. Marshall struggles with the decision.", "MARSHALL (V.0.)\n It's June.\n\n Gunfire in the background.", "Marshall makes his way through the dimness. Stepping \n cautiously.\n\n A shot rings out and richochets off a piece of piping right \n over Marshall's head.", "Marshall on his knees, hands behind his head. Bazylev, his \n automatic pressed against Marshall's forehead, disarms", "It takes every bit of training and will to stop Marshall \n from going up those stairs. He knows what's going to happen. \n He closes his eyes tight as if that will stop it from \n happening.", "Marshall stares straight ahead tn silent defiance. Bazylev \n kicks him in the gut. Marshall doubles over, wheezing.", "Mr. President.\n\n Thunderous applause as Marshall rises and approaches the \n podium.", "He backs Marshall against a wall and holds him in his sights.", "Korshunov fires at Marshall, but...\n\n Major Caidwell dives in front of the bullet spray taking the \n rounds in his chest.", "Marshall returns the salute.\n\n EXT. SKY - DAWN", "Marshall cautiously enters the room. Ready for action.\n\n The room is empty, but it's been trashed by the firefight.", "The agents lift Marshall to his feet, and practically carry \n him from the room, leaving the other high ranking officials \n to scramble for themselves in a cacophony of shouts.", "Marshall fires, his bullet ripping apart a good deal of \n Korshunov's face and snapping his body back." ], [ "A cargo hold extending up the tapered edge of the aircraft's \n rear. The hostages begin pulling parachute packs out of the \n overhead storage bins. Helping each other.", "Hostages hold each other tight for comfort. A mournful silence \n fills the room.\n\n INT. FRONT BAGGAGE HOLD.", "Marshall manages to pull himself up the grating and into the \n galley. He's free, for the moment.\n\n INT. AFO, COCKPIT.", "INT. ITEAR BAGGAGE HOLD -\n\n Zedeck reaches the emergency pressure door. Through the \n porthole he sees the hostages getting away. He tries the \n door hatch. Locked.", "INT. UNDERDECK, REAR LOWER GALLEY - NIGHT\n\n Caldwell spins open the rear emergency pressure door and \n leads the hostages into...", "Caidwell, holding Serge's gun, takes position by the front \n stairway and waves the other hostages on. They emerge from \n the conference room, and move to the stairway.", "The hostages have torn up a section of carpeting. Caidwell \n and Shepherd examine the floor. Smooth sheets of steel riveted \n together. Pointless.", "The terrorists move toward the nose of the plane leaving \n Nevsky to guard the conference room.\n\n INT. BAGGAGE HOLD - NIGHT", "Caldwell stands on the conference table. The hostages have \n removed one of the ceiling panels. Air supply ducts and \n bundles of wiring run through the ten-inch space between the \n ceiling and the shielding plates.", "They duck under wing supports until they come to a mesh \n grating.\n\n The uninjured agent lifts the grating revealing an ESCAPE \n POD.", "They clip on the wire, move to the lip, and rappel off the \n side of the plane.\n\n INT. AFO UPPER DECK - NIGHT", "INT. MAIN CABIN -\n\n Three Army Rangers harness themselves `to the survivors. One \n to Alice, one to Rose and one to Shepherd. The other two \n head for the cockpit.", "The turbulence worsens. Bazylev manages to wrest away the \n rifle, but the plane pulls into a climb, sending Bazylev \n tumbling down the gangway into the rear baggage hold.", "HOSTAGES are bounced around the conference room.\n\n INT. GANGWAY -\n\n Marshall and Bazylev are slammed against the ceiling and \n then the floor.", "Korshunov exits, with Viad backing out behind him. Leaving \n the hostages alone. The sound of the door locking.", "The sharpshooters, the emergency crews, the commandos from \n Delta Force... Nothing they can do but watch her rise out. \n of sight.\n\n INT. FLIGHT DECK - LATER", "INT. MAIN CABIN - NIGHT\n\n Shepherd crosses to the forward cabin door. He follows \n directions for emergency door release.", "The massive fireball and glowing remains of the Presidential \n aircraft almost reaches up to where the President struggles \n to hold on to the end of the cable.\n\n INT. KC-LO TRANSPORT", "Marshall seizes the moment. Grabs Bazylev's gun. The two \n struggle and Bazylez instinctively pulls the trigger. A burst \n of richocheting gunfire sparks across the bulkhead.", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -" ], [ "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "MARSHALL\n (dismissive)\n No good. I said they disabled the \n communications system.\n\n SECRETARY\n No. I thought about this, Mr.", "VIAD\n (wonderment)\n The President.\n\n But Marshall's eyes flash open.\n\n MARSHALL\n That's right, asshole.", "Mr. President.\n\n Thunderous applause as Marshall rises and approaches the \n podium.", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "Marshall pulls himself up the shelves trying to keep his \n legs from buckling. Vlad grabs some I.V. tubing and wraps it \n around Marshall's neck. Marshall struggles for breath, clawing \n at the tube.", "MARSHALL\n This is President Marshall. I know \n you guys are busy, but we need some \n help here.", "V.P. CHANDLER\n But this is different, sir. You're \n the President.\n\n * MARSHALL", "He fires once, hitting Marshall in the arm. Marshall winces \n off the pain.\n\n BAZYLEV\n (disgust)\n The leader of the free world.", "can confirm that your President is \n indeed a hostage, I cannot release \n Stravanavitch. If Marshall is dead,", "V.P. CHANDLER\n The Chief Justice? What on earth \n for?\n\n GENERAL NORTHWOOD\n To swear you in as President.", "MARSHALL\n That's my job.\n\n A STEWARD enters the room.\n\n STEWARD\n Mr. President?", "MARSHALL, flattened behind the edge of the galley divider. \n He creeps away from Vlad toward the Presidential Suite... \n stepping gingerly over dead secret service agents.", "During the applause, Marshall pulls a page from the speech, \n folds it and slides it into his pocket. He removes his \n glasses and looks out into the crowd. His tone becomes more \n personal.", "Surprised to hear their boss' voice, the aides and advisors \n release Marshall.\n\n SHEPHERD\n Mr. President, how the hell did you \n get on board?", "The agents lift Marshall to his feet, and practically carry \n him from the room, leaving the other high ranking officials \n to scramble for themselves in a cacophony of shouts.", "INT. CONFERENCE ROOM - NIGHT\n\n The conference room door bursts open and TWO SECRET SERVICE \n AGENTS, weapons drawn, enter the room and run to Marshall.", "DOHERTY\n Maybe we should consider running him \n for re-election instead of the U.S.\n\n The applause dies as Marshall begins to speak.", "President Marshall picks up one of the many phones in his \n office.\n\n MARSHALL\n I said it's not worth the fight.\n (into phone)\n Steward, please." ], [ "Marshall fires, his bullet ripping apart a good deal of \n Korshunov's face and snapping his body back.", "Korshunov fires at Marshall, but...\n\n Major Caidwell dives in front of the bullet spray taking the \n rounds in his chest.", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "Marshall ascends down from the upper deck. Spots Korshunov \n by the front stairway. Korshunov pushes Alice down the stairs \n to the underdeck.", "Marshall turns his aim to Korshunov... but Korshunov grabs \n Alice and presses his pistol to her head.\n\n Stand-off.", "Korshunov fires and Marshall dives out of the way. He cones \n up in defensive crouch ready to shoot, but all he can see is \n Alice.", "Korshunov smiles.\n\n MARSHALL\n Stop.\n\n KORSHUNOV\n You'll do it?", "Marshall's eyes widen.\n\n KORSHUNOV\n One...\n\n Oh shit. Marshall tries to decide what to do.", "Vlad OPENS FIRE. A HALF DOZEN ROUNDS pump into Marshall's \n belly. He's thrown back against the wall, then slumps to the \n floor.", "KORSHUNOV\n Don't be hasty.\n\n Marshall holds Korshunov in his sights. Slowly advancing.", "Marshall fires. Killing him.\n\n SHIT1\n INT. CORRIDOR.", "Korshunov backs away to the steps. Marshall does not lower \n his gun. Korshunov disappears down the staircase.\n\n MARSHALL\n Shepherd.", "Marshall lines up his shot. Korshunov laughs as he presses \n his pistol to Alice's ear.", "Marshall seizes the moment. Grabs Bazylev's gun. The two \n struggle and Bazylez instinctively pulls the trigger. A burst \n of richocheting gunfire sparks across the bulkhead.", "Korshunov whips out his gun and lines up a clean shot at \n Marshall's head.\n\n MAJOR CALDWELL\n Mr. President.", "Korshunov backs toward the edge of the ramp, pulling a \n struggling and fighting Alice.\n\n MARSHALL\n Let her go now! Or I will kill you.", "Undaunted Marshall advances.\n\n MARSHALL\n It's over, Korshunov. You won. Now \n let her go.", "KORSHUNOV\n One...\n\n Gibbs begins to squeeze the trigger.\n\n MARSHALL\n NO!", "With blinding speed, Marshall leaps to his feet and swings \n his arm around Zedeck's throat. He snaps Zedeck's neck with \n quiet efficency.", "Marshall on his knees, hands behind his head. Bazylev, his \n automatic pressed against Marshall's forehead, disarms" ], [ "A mechanical him and clank gives way to a rush of wind as \n the tail section of Air Force One hinges open on hydraulic", "Through the cockpit window, an F-15 settles in front of Air \n Force One... Flames pouring out of its tail. Under any other", "EXT. AIR FORCE ONE - NIGHT\n\n The engine whirs to a halt and the rushing wind blows out \n the fire. But now she's only got three engines.", "With no oneat the controls, Air Force One goes into a sharp \n sloping dive.\n\n INT. GANGWAY, AIR FORCE ONE -", "EXT. SKY - NIGHT\n\n The pale moon catches shiny streaks of metal that descend \n through the broken clouds. The Squadron of F-15 Eagles drops \n into formation around Air Force One.", "Air Force One closes in on the Starlifter. She's struggling \n off\n\n the ground like some injured bird. The straining metal defies \n gravity.", "As the entire airbase collectively holds its breath. Air \n Force One's tires hover 50 feet above the ground... 40 feet... \n 30...", "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "Twin FIREBALLS erupt in the sky as the Mics evaporate.\n\n But from the fireball, a MISSILE emerges coming right at Air \n Force One.", "MARSHALL\n An emergency landing in friendly \n territory... there's your goddamn \n miracle.\n\n EXT. AIR FORCE ONE - NIGHT", "Ingrahams locks the cockpit door.\n\n EXT. SKY - NIGHT\n\n Air Force One banks into a curve and descends through broken \n clouds.", "EXT. AIR FORCE ONE -\n\n The tail cone section of Air Force One hinges open and \n parachutes begin to blossum from the rear of the plane.", "On the damaged wing - Fuel starts leaking out and the outer \n jet engine catches fire.\n\n INT. COCKPIT, AIR FORCE ONE - NIGHT", "The blast slams bits of the fighter plane against Air Force \n One. Rocking it badly. Chunks of the plane rip away metal \n sheeting on the 747's wings and tail section.", "EXT. RAMSTEIN FIELD - NIGHT\n\n Air Force One barely clears the Starlifter, the edge of her \n wing just missing the top of the C-141's tail.", "The President's motorcade pulls up in front of Air Force \n One.\n\n INT. AIR FORCE ONE - NIGHT", "A picture perfect take-off as Air Force One slides through \n the moonlight and skates upward on a sheet of air.\n\n EXT. AIR FORCE ONE, FLYING - AN HOUR LATER", "Marshall slides down the cable, gripping at it, trying to \n break his fall.\n\n Air Force One plummets toward the water.\n\n Marshall sliding, right behind it, running out of cable.", "The massive fireball and glowing remains of the Presidential \n aircraft almost reaches up to where the President struggles \n to hold on to the end of the cable.\n\n INT. KC-LO TRANSPORT", "Air rushes past the airplane at two hundred miles an hour.\n\n SHEPHERD\n IT'S OPEN!\n\n INT. COCKPIT -" ], [ "KORSHUNOV\n A secret service agent. It must be.\n\n Wounded but alive. Serge, Bazylev...\n\n Find him.", "Vlad approaches the crumpled body. Leans down to examine his \n victim. He cups his hand under the man's chin and lifts his \n head. Recognizes him.", "Vlad, unsure of what he saw., cautiously heads toward the \n staff cabin. As he nears, he bends over a dead Secret Service", "A pregnant pause as they both wait to see what happens.\n\n Then Bazylev smiles and slowly turns toward Marshall.\n\n Marshall backs away as Bazylev levels his gun.", "He tak9s a moment to think. Considers his situation. His \n eyes find the dead agent who risked his life so he could \n make it to the pod. He trots down the gangway toward the \n lower galley.", "Alice sits up, attentive.\n\n ALICE\n You're one of Stravanavitch's men.", "Bazylev motions Marshall to get on his knees. Marshall \n complies.\n\n BAZYUV\n What's that in your shirt? Open it.", "Marshall seizes the moment. Grabs Bazylev's gun. The two \n struggle and Bazylez instinctively pulls the trigger. A burst \n of richocheting gunfire sparks across the bulkhead.", "GUARD\n Halt! Halt!\n\n Stravanvitch looks behind him. Guards rushing toward him \n from the yard... the limousine fifty yards ahead of him... \n closing fast...", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "Unaware of Marshall, Viad reaches into his pocket and pulls \n out a cigarette. Lights it. On the first puff he feels a \n presence behind him.\n\n VLAD slowly turns around...", "But it's obvious that they're eavesdropping. Alice smiles \n and waves at them dramatically.", "Korshunov fires and Marshall dives out of the way. He cones \n up in defensive crouch ready to shoot, but all he can see is \n Alice.", "SERGE\n It's confirmed. Stravanavitch is on \n his way out. Our men are waiting \n outside.", "KORSHUNOV\n Your husband is a coward. He sends \n soldiers half-way around the world \n to steal a man from his home in the \n middle of the night.", "Marshall ascends down from the upper deck. Spots Korshunov \n by the front stairway. Korshunov pushes Alice down the stairs \n to the underdeck.", "PETROV\n What about him?\n\n AIDE\n He's dead, sir. Shot while trying to \n escape.\n\n A beat.", "MARSHALL\n No. no. no. Wait. Wait.\n\n Bazylev appears behind Marshall. Raises his gun.", "He can't see them, but he can hear them.\n\n The terrorists pass within a few feet as they ascend to the \n Mission Communications Center on the upper deck.", "KORSHUNOV\n He's already killed three of us, and \n we haven't even seen him. He's also" ], [ "Air rushes past the airplane at two hundred miles an hour.\n\n SHEPHERD\n IT'S OPEN!\n\n INT. COCKPIT -", "MARSHALL\n An emergency landing in friendly \n territory... there's your goddamn \n miracle.\n\n EXT. AIR FORCE ONE - NIGHT", "The altimeter begins to fall. A wave of relief washes over \n the group.\n\n EXT. SKY - NIGHT\n\n The KC-135 extends its flying gas pump.", "INT. FLIGHT DECK - NIGHT\n\n Altitude decreasing. 300 feet... 200 hundred feet...\n\n The runway coming up to meet them.", "EXT. RANSTEIN AIR FIELD - NIGHT\n\n The taxiing Boeing 747 suddenly veers to the right cutting \n across runways. Emergency vehicles give chase.", "Beneath the plane a trickle of gasoline appears and grows \n into a strong steady stream.\n\n INT. FLIGHT DECK - NIGHT", "Final approach... the landing strip not far at all.\n\n COL. AXELROD\n Almost there.\n\n He raises his flaps. Air speed and altitude drop.", "EXT. AIR FORCE ONE - NIGHT\n\n The engine whirs to a halt and the rushing wind blows out \n the fire. But now she's only got three engines.", "The emergency door opens and the emergency raft/slide deploys. \n It inflates before being ripped from the aircraft, gently \n wafting through stormy clouds.\n\n INT. MAIN CABIN - NIGHT", "A red warning light flashes on the plane's panel.\n\n GIBBS\n Goddamnit it. We're losing fuel.", "The turbulence worsens. Bazylev manages to wrest away the \n rifle, but the plane pulls into a climb, sending Bazylev \n tumbling down the gangway into the rear baggage hold.", "The other airplanes flare out giving distance to the Jumbo \n Jet. Canton's plane drops back.", "The KC-135 flies above Air Force One, connected by a gasoline \n umbilical cord.\n\n INT. EMERGENCY RAMP PLATFORM.", "The sharpshooters, the emergency crews, the commandos from \n Delta Force... Nothing they can do but watch her rise out. \n of sight.\n\n INT. FLIGHT DECK - LATER", "Marshall works the controls of the 747. Tries to engage the \n automatic pilot. The system is fried. Marshall wrestles with \n the yoke.", "The plane bounces. Is airborne for a second. Touches down \n again with a jolt.\n\n INT. CORRIDOR - AIR FORCE ONE - NIGHT", "the seemingly out of control plane aborted its landing and \n took off again. We haven't been able to confirm its status \n or whether or not the first family was onboard at the time.", "They clip on the wire, move to the lip, and rappel off the \n side of the plane.\n\n INT. AFO UPPER DECK - NIGHT", "The controller stares down at the out-of-control plane.\n\n RAMSTEIN A.B. CONTROLLER\n Aw Fuck. We're losing it!", "On the damaged wing - Fuel starts leaking out and the outer \n jet engine catches fire.\n\n INT. COCKPIT, AIR FORCE ONE - NIGHT" ], [ "The terrorists, from every corner of the plane, lead the \n stunned survivors, hands on heads, to the central conference \n room.", "The terrorists move toward the nose of the plane leaving \n Nevsky to guard the conference room.\n\n INT. BAGGAGE HOLD - NIGHT", "He can't see them, but he can hear them.\n\n The terrorists pass within a few feet as they ascend to the \n Mission Communications Center on the upper deck.", "They clip on the wire, move to the lip, and rappel off the \n side of the plane.\n\n INT. AFO UPPER DECK - NIGHT", "Hostages hold each other tight for comfort. A mournful silence \n fills the room.\n\n INT. FRONT BAGGAGE HOLD.", "A cargo hold extending up the tapered edge of the aircraft's \n rear. The hostages begin pulling parachute packs out of the \n overhead storage bins. Helping each other.", "INT. COCKPIT -\n\n On the faces of the terrorists, as the missile comes right \n at them.\n\n Then the missile veers downward.", "Just as the terrorists descend, Marshall squeezes off a few \n rounds. The terrorists edge back up the steps, returning \n fire.", "Terrorists lead hostages to the conference room. Everyone is \n bounced around, slamming against walls, spilling over chairs.", "Air rushes past the airplane at two hundred miles an hour.\n\n SHEPHERD\n IT'S OPEN!\n\n INT. COCKPIT -", "The sharpshooters, the emergency crews, the commandos from \n Delta Force... Nothing they can do but watch her rise out. \n of sight.\n\n INT. FLIGHT DECK - LATER", "staff, and will continue killing one \n hostage every minute until we crash \n or until a refueling plane arrives.", "The turbulence worsens. Bazylev manages to wrest away the \n rifle, but the plane pulls into a climb, sending Bazylev \n tumbling down the gangway into the rear baggage hold.", "Behind the terrorists, one of the bathroom doors swings open. \n A SECRET SERVICE AGENT emerges. Sees what's happening. Reaches", "Zedeck aims his MP5 at the flight door. Fires off a dozen \n rounds. Nickel sized indentations blossom across the steel \n surface.\n\n INT. FLIGHT DECK - NIGHT", "The terrorists seize the moment of quiet, descending the \n stairs to take position.\n\n Marshall lights the gauze fuse of his new made Molatov", "The blast slams bits of the fighter plane against Air Force \n One. Rocking it badly. Chunks of the plane rip away metal \n sheeting on the 747's wings and tail section.", "KORSHUNOV\n No. The plane lands when I say, or \n it will crash. The hostages are \n released when I say, or they will \n die.", "INT. MAIN CABIN -\n\n Three Army Rangers harness themselves `to the survivors. One \n to Alice, one to Rose and one to Shepherd. The other two \n head for the cockpit.", "grabs it and hauls it into the plane until he has its end. \n He hooks the cable to a metal clasp at the top of the door \n frame." ], [ "PETROV\n What about him?\n\n AIDE\n He's dead, sir. Shot while trying to \n escape.\n\n A beat.", "The turbulence worsens. Bazylev manages to wrest away the \n rifle, but the plane pulls into a climb, sending Bazylev \n tumbling down the gangway into the rear baggage hold.", "Marshall, still fighting the yoke, stands. He takes a deep \n breatn, drops the wheel and runs like a motherfucker for the \n stairs.", "Zedeck steps over the three dead Communications Specialists, \n on his way to the cockpit door. Tries the door. It's locked. \n He pounds on it.", "He tak9s a moment to think. Considers his situation. His \n eyes find the dead agent who risked his life so he could \n make it to the pod. He trots down the gangway toward the \n lower galley.", "His eyes spin back and then his heart explodes.\n\n Bazylev is caught frozen, suspended in a moment of disbelief.", "The front gate begins to close. Worry crosses Stravanavitch's \n face. His men rush toward him, take position by the gate.\n\n Stravanavitch breaks into a run toward his limousine.", "Marshall manages to pull himself up the grating and into the \n galley. He's free, for the moment.\n\n INT. AFO, COCKPIT.", "Marshall seizes the moment. Grabs Bazylev's gun. The two \n struggle and Bazylez instinctively pulls the trigger. A burst \n of richocheting gunfire sparks across the bulkhead.", "INT. ITEAR BAGGAGE HOLD -\n\n Zedeck reaches the emergency pressure door. Through the \n porthole he sees the hostages getting away. He tries the \n door hatch. Locked.", "Marshall pulls himself up the shelves trying to keep his \n legs from buckling. Vlad grabs some I.V. tubing and wraps it \n around Marshall's neck. Marshall struggles for breath, clawing \n at the tube.", "Marshall watches the remaining parachutes slide off the ramp \n and into the stormy sky.\n\n KORSHUNOV\n There goes your ride.", "Korshunov straps on one of the few remaining parachutes. He \n tosses the rest of the spares out onto the platform.", "Serge hops Bazylev's burning body and heads down the corridor, \n looking for this new wildcard. Korshunov grabs a fire \n extinguisher from the galley and attends to Bazylev.", "They plummet, Alice screaming. The line goes taut.\n\n The pair slide the hundred yards to the KC-lO. Rangers grab \n them and bring them into the transport.", "He feels the wall behind him. A dull edge of metal twisted \n slightly from the earlier cockpit door explosion.\n\n He understands.", "shooting blindly. Marshall watches as he's hit repeatedly, \n but it gives him the time he needs to dive for the pod.", "Korshunov exits, with Viad backing out behind him. Leaving \n the hostages alone. The sound of the door locking.", "Korshunov retreats toward the rear of the plane.\n\n MARSHALL (O.S.)\n There's nowhere to go.", "KORSHUNOV\n (to Zedeck)\n Go! Take Serge.. and watch your backs.\n\n Zedeck nods and dashes out of the cabin." ] ]	[ "Who is eventually discovered as the mole?", "Defense Secretary Walter Dean wants the president declared incapable under which amendment?", "Where is James Marshall when the escape pod is ejected?", "Which of James Marshall's family members are on the plane with him?", "Why does James Marshall actually want Air Force One taken to a lower altitude for refueling?", "Which of James Marshall's family members do not survive the encounter on Air Force One?", "Why is James Harrison in Moscow before the encounter on Air Force One?", "Who does President Harrison contact to inform that he is still alive as he hides in the cargo hold of the plane?", "What kind if military training does President Harrison have?", "What is the name of the President?", "Who leads the Russian terrorists aboard Air Force One?", "What is the name of President Marshall's wife?", "Which Secret Service agents allows the terrorists to board Air Force One?", "Of what war is President Marshall a veteran of?", "Where did President Marshall hide instead of using the escape pod?", "What is the name of the U.S. Vice President?", "Who kills Korshunov?", "What type of plane do the terrorists use to attack Air Force One?", "What sea does Air Force One crash into?", "Why is James Marshall in Moscow?", "What war was Marshall in?", "How do the hostages escape the cargo hold?", "What amendment is the vice president urged to invoke to declare Marshall incapable?", "How does Marshall kill Korshunov?", "What sea does Air Force Once crash into?", "Who is the mole?", "Where was the plane going to make an emergency landing?", "How do the terrorists get on the plane?", "What happens to Radek when he attempts his escape?" ]	[ [ "Secret Service agent Gibbs", "Gibbs" ], [ "the Twenty-Fifth Amendment", "25th amendment." ], [ "he is hidden in the cargo hold of the plane", "Hidden in cargo hold." ], [ "his wife and his daughter", "Shepherd" ], [ "so that the hostages can parachute to safety", "So hostages can parachute out." ], [ "they all survive the encounter ", "All survive." ], [ "to attend a diplomatic dinner ", "attending a diplomatic dinner" ], [ "his Vice President Kathryn Bennett", "the vice president" ], [ "he is a Vietnam veteran and Medal of Honor recipient", "military" ], [ "James Marshall.", "James Marshall " ], [ "Ivan Korshunov.", "Korshunov" ], [ "Grace.", "Grace" ], [ "Agent Gibbs.", "Gibbs" ], [ "The Vietnam War.", "Vietnam War." ], [ "The plane's cargo hold.", "cargo hold" ], [ "Kathryn Bennett.", "Katherine Bennett" ], [ "The President.", "Marshall" ], [ "MiG-29's", "MiG-29" ], [ "The Caspian Sea.", "Caspian Sea" ], [ "for a diplomatic dinner", "A diplomatic dinner" ], [ "the Vietnam War.", "Vietnam War" ], [ "with parachutes", "parachute" ], [ "the 25th amendment", "25th Amendment" ], [ "by strangling him and throwing him off the plane.", "he strangles him and throws him off the plane" ], [ "The Caspian Sea", "Caspian Sea" ], [ "Gibbs ", "Gibbs" ], [ "Ramstein Air Force Base in Germany", "Ramstein Air Force Base" ], [ "by disguising themselves as journalists", "they're invited" ], [ "he is killed.", "he's killed" ] ]	40ae9851099e8fc4d00c6d3fed1549ae50a75bd0	test
[ [ "Godfrey had risen. He had walked a few steps without noticing Phina,\nand unconsciously his index finger touched one of the keys of the piano.", "In short, Godfrey was enchanted.\n\nPhina, anxious without appearing to be so, was resigned to this\napprenticeship.", "\"I!\" answered Godfrey. \"I! All my life!\"\n\nPhina stepped forward.\n\n\"Godfrey,\" she asked, \"would you like to remain on your island?\"", "\"You must let Godfrey go,\" pleaded Phina; \"I have thought it carefully\nover. I am young, but really Godfrey is younger. Travel will age him,", "And hence it was that Godfrey was now absent in the presence of Phina,\nindifferent when she spoke to him, deaf when she played the airs which", "Godfrey and the black had gone out hunting in the central forest, at the\nfoot of the hill which formed the principal ridge of Phina Island. Since", "\"Uncle Will! Phina! You!\" exclaimed Godfrey, astounded.\n\nThree seconds afterwards he was in somebody's arms, and was clasping\nthat somebody in his own.", "A few seconds afterwards, Godfrey's head appeared through the same\nopening, and he soon found himself quite at his ease, installed on a\nfork of the tree where the lower branches gave off, at about eighty feet\nfrom the ground.", "After all, he was a brave man, in spite of his eccentricities. Everybody\nliked him. He liked Godfrey, he liked Phina, and they liked him. He had", "Godfrey, or Godfrey cared for Phina. It would also simplify the\nbookkeeping of the commercial house. Ever since their births an account", "\"Dearest Phina!\" said Godfrey, seizing the young lady's hand.\n\n\"Turcott, you promised to keep the secret!\" said Phina with a blush.", "\"And then, dearest Phina,\" said Godfrey, \"you will not be afraid to pass\na season there with me?\"", "IN WHICH GODFREY AGAIN SEES A SLIGHT SMOKE OVER ANOTHER PART OF THE\nISLAND.", "WHEREIN GODFREY FINDS SOME WRECKAGE, TO WHICH HE AND HIS COMPANION GIVE\nA HEARTY WELCOME.", "When Godfrey had found his fairly acceptable shelter, his sleep in it\nwas by no means undisturbed. His brain travelled as it had never done", "Godfrey at once raised the poor fellow, who lay prostrate before him. He\nlooked in his face.", "As for Godfrey he had been able to reach a large lofty rock away from\nthe surf. There, shouting vainly in the darkness, hearing no voice in", "Godfrey, not knowing what to do, thought of setting fire to a group of\nresinous trees which grew at the back of Flag Point. He lighted a heap", "Godfrey was rather agitated, and he did not strive to hide it. Phina\nshowed herself much the most composed. As for Tartlet he drowned his", "\"Land! land!\" exclaimed Godfrey.\n\nAnd he stretched his hands towards the shore-line, as he knelt on the\nreef and offered his thanks to Heaven." ], [ "\"Yes, the departure of Godfrey,\" continued Phina, \"of Godfrey who,\nbefore he gets married, wants to see a little of the world!\"", "\"You want to try travelling before you marry Phina! Well! You shall try\nit, my nephew!\"\n\nHe made two or three steps and stopping with crossed arms before\nGodfrey, asked,--", "\"You must let Godfrey go,\" pleaded Phina; \"I have thought it carefully\nover. I am young, but really Godfrey is younger. Travel will age him,", "\"I!\" answered Godfrey. \"I! All my life!\"\n\nPhina stepped forward.\n\n\"Godfrey,\" she asked, \"would you like to remain on your island?\"", "In short, Godfrey was enchanted.\n\nPhina, anxious without appearing to be so, was resigned to this\napprenticeship.", "Godfrey had risen. He had walked a few steps without noticing Phina,\nand unconsciously his index finger touched one of the keys of the piano.", "\"And then, dearest Phina,\" said Godfrey, \"you will not be afraid to pass\na season there with me?\"", "\"If we must part, it had better be before marriage than afterwards!\"\n\nAnd thus it was that she had spoken to Godfrey in these significant\nwords.", "I shall surprise no one in saying that Godfrey Morgan was going to\nmarry Phina Hollaney. Was he likely to do otherwise? All the proprieties", "Before the long voyage together through life, which men call marriage,\nGodfrey then was to make the tour of the world--a journey sometimes even", "And hence it was that Godfrey was now absent in the presence of Phina,\nindifferent when she spoke to him, deaf when she played the airs which", "way with Phina, then become Mrs. Morgan, would be clearly impossible! He\nmust go alone or leave it alone. Besides, once his fancy had passed", "Godfrey, or Godfrey cared for Phina. It would also simplify the\nbookkeeping of the commercial house. Ever since their births an account", "\"Dearest Phina!\" said Godfrey, seizing the young lady's hand.\n\n\"Turcott, you promised to keep the secret!\" said Phina with a blush.", "Before this reality, however, Godfrey, let it be said to his credit, did\nnot quail. But as before everything it was best for him to ascertain the", "An error, because at the outset Godfrey felt that he was not yet old\nenough for the serious undertaking of marriage; an omission, because he\nhad not been consulted on the subject.", "However, Godfrey could not and would not remain in doubt. He was\ndetermined to ascertain, yes or no, if the proa had definitely left the\nisland.", "of making their life of isolation a little more agreeable, Godfrey was\nalready thinking of how to escape from Phina Island. Could he not now\nconstruct a vessel strong enough to enable them to reach if not some", "\"If--\"\n\n\"If you will let me, and Phina will wait for me.\"\n\n\"Wait for you! An intended who intends until he gets away!\" exclaimed\nWilliam W. Kolderup.", "After all, he was a brave man, in spite of his eccentricities. Everybody\nliked him. He liked Godfrey, he liked Phina, and they liked him. He had" ], [ "And this, under the keeping of Providence, was what was done, but not\nuntil after Godfrey, in remembrance of his uncle, William W. Kolderup,", "But Godfrey stood embarrassed, and said not a word. His uncle took him\nby the head and turning it to the light looked fixedly at him for a", "\"Yes; I do, uncle,\" said Godfrey gallantly.\n\n\"And for how long?\"\n\n\"For eighteen months, or two years, or more, if--\"", "\"Oh! Uncle! Uncle Will! What is it you say?\" exclaimed Godfrey. \"Well,\nif you are in earnest, I can only answer that I deserved it! But then,\nUncle Will, the wreck of the _Dream_?\"", "\"Good-bye, Godfrey!\"\n\n\"May Heaven protect you!\" said the uncle.\n\n\"And above all may it bring us back!\" murmured Professor Tartlet.", "The trial was a rough one to begin with, but, we repeat, Godfrey had not\ncome out for a simple promenade. He himself put it very well when he", "When Godfrey had found his fairly acceptable shelter, his sleep in it\nwas by no means undisturbed. His brain travelled as it had never done", "Before this reality, however, Godfrey, let it be said to his credit, did\nnot quail. But as before everything it was best for him to ascertain the", "\"Come on! come on!\" exclaimed Godfrey, motioning to Carefinotu to\nquicken the pace.\n\nHe was uneasy. Strange presentiments agitated him without his being able\nto control them.", "\"Well,\" said he, \"there is nothing more now than for us to fix the\ndate.\"\n\n\"The date?\" answered Godfrey, with a start. \"What date, if you please,\nuncle?\"", "\"Then,\" answered Godfrey, who had begun to laugh, \"if you wished to make\nmatters unpleasant for us, why did you send us the box which contained\neverything we wanted?\"", "As he uttered the word Godfrey felt his heart shrink. The thought had\nnot occurred to him that he was on an island. And yet such was the case!", "Godfrey then put back most of the things in the box. A gun, a revolver,\na certain quantity of powder and lead, a hunting-knife, the telescope,\nand the iron pot, he took as his first load.", "Godfrey set to work. He knelt down by Tartlet; he unloosed the life-belt\nand rubbed him vigorously. He noticed at last a light breath on the", "Godfrey spoke to him.\n\nTartlet shook his head, then he gave utterance to a hoarse exclamation,\nfollowed by incoherent words.\n\nGodfrey shook him violently.", "Godfrey was in his twenty-third year. His education now finished, had\nleft him with absolutely nothing to do. He had graduated at the", "ground. A word to Tartlet not to be uneasy at his absence, and Godfrey\nhastened off in the north-easterly direction so as to reach the shore.", "Before starting, Godfrey assured himself that the fire-arms were ready\nfor action. The two guns were loaded, and one passed into the hands of", "This was what Godfrey did.", "terror, and began to speak with scorn of \"those cannibal\nlaughing-stocks.\" Godfrey, on the contrary, became more anxious, and it" ], [ "By his orders the _Dream_, a substantial steamer of 600 tons and 200\nhorse-power, was got ready. It was to be commanded by Captain Turcott, a", "The _Dream_ was instructed to communicate with the different branch\nestablishments of the wealthy merchant. She was to go from one market to\nanother.", "A thought flashed across the mind of Godfrey, and it was correct: it was\nthat these hens, agouties, goats, and sheep had belonged to the _Dream_.", "For two days nothing occurred worthy of mention. The _Dream_ made good\nprogress. The commencement of the voyage promised well--so that Captain", "It should be borne in mind all through that the voyage of the _Dream_\nwas carefully planned, and would be punctually performed. William W.", "\"And the _Dream_ is on the right road!\"\n\n\"Not yet.\"\n\n\"Not yet? and why?\"", "On the morrow, the 20th of January, the _Dream_ set sail under the\ncommand of Captain Turcott. At eight o'clock in the morning Godfrey, not", "It was the captain himself who had hurled him into the sea at the moment\nthe _Dream_ was disappearing.", "as to increase his speed. The _Dream_ thus balanced hardly rolled at\nall, and as the waves followed her, her pitching was but slight. This\nmode of progressing was not such as to affect the looks of the", "A mate, an engineer, four stokers, a dozen seamen, eighteen men in all,\nformed the crew of the _Dream_. And if the ship was contented to get", "And in fact the _Dream_, which had doubtless struck on a rock was\nsensibly foundering. The water was creeping up to the level of the deck.\nThe engine fires were probably already out below.", "The passage was rapid; the sea magnificent; the wind favourable. This\ntime the _Dream_ went straight to her destination! There was no one to", "_Dream_.", "\"Sham!\" replied William W. Kolderup, who had never seemed in such a good\nhumour before. \"The _Dream_ was quietly sunk by means of her water", "said, the wind having sensibly abated, the _Dream_ was headed in proper\ndirection.", "carry dead Celestials and nothing else. At all risks, therefore, he had\nsecretly slipped on board the _Dream_.", "The cabin occupied by Godfrey was below the poop of the _Dream_ and\nopened on to the dining-saloon. Our young traveller was lodged there as", "Her dreams were when she was asleep, not when she was awake. She was not\nasleep now, and had no intention of being so.\n\n\"Godfrey?\" she continued.", "\"No,\" answered the captain, \"we may want it again. Leave it in tow!\"\n\nThe captain's orders were executed, and the launch, still under steam,\ndropped round to the stern of the _Dream_.", "At a quarter-past eleven, Captain Turcott hailed and boarded the\n_Dream_.\n\n\"Well, captain, what news?\" asked Godfrey, shaking his hand." ], [ "\"Seventeen hundred thousand dollars!\" repeated the auctioneer. \"Now,\ngentlemen, that is a mere nothing! It is giving it away!\"", "\"If nobody bids we must put the lot back! Once! Twice!\n\n\"Twelve hundred thousand dollars!\"\n\nThe four words rang through the room like four shots from a revolver.", "it up for sale--on one condition only, and that was, that its purchaser\nshould be a free American citizen. There was no intention of giving away\nthe island for nothing, and so the reserve price had been fixed at", "\"Only a dollar! only a half-dollar! only a cent above the reserve!\" said\nthe auctioneer for the last time, \"and I will knock it down! Once!\nTwice!\"\n\nPerfect silence.", "put at eleven hundred thousand dollars, is there any one will bid? Who\nspeaks first? You, sir?--you, over there nodding your head like a", "monthlies, their reviews, magazines, bulletins, &c., had been for\nseveral months directing constant attention to the island whose sale by\nauction had been authorized by Act of Congress.", "\"An island to sell, for cash, to the highest bidder!\" said Dean Felporg,\nthe auctioneer, standing behind his rostrum in the room where the\nconditions of the singular sale were being noisily discussed.", "\"No,\" answered the auctioneer, \"but it is not impossible that there are,\nand the State abandons all its rights over the gold lands.\"", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "\"Seventeen hundred thousand dollars!\" howled Gingrass, the crier.\n\n\"Eighteen hundred thousand!\" replied William W. Kolderup.", "\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\n\n\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\n\"William Kolderup will never give in.\"", "The crowd, suddenly speechless, turned towards the bold man who had\ndared to bid.\n\nIt was William W. Kolderup, of San Francisco.\n\n\n\n\nCHAPTER II.", "There was no one to dispute with him.\n\n\"Twelve hundred thousand dollars--twelve hundred thousand!\" said the\nauctioneer, with that peculiar accent which men of his vocation find\nmost effective.", "\"An island which at the valuation will not fetch six dollars an acre!\"\nsaid the auctioneer.", "\"Two million, four hundred thousand dollars!\" he remarked, hoping by\nthis tremendous leap to completely rout his rival.\n\n\"Two million, seven hundred thousand!\" replied William W. Kolderup in a\npeculiarly calm voice.", "see. Who was going to be mad enough, even if he were rich enough, to\npurchase an isle of the Pacific, which the government had in some\neccentric moment decided to sell? Would the reserve price ever be", "\"Fourteen hundred thousand dollars,\" said William W. Kolderup.\n\n\"Fifteen hundred thousand!\" retorted J. R. Taskinar.\n\n\"Sixteen hundred thousand!\"", "Do not imagine that all these folks had come to the auction-room with\nthe intention of buying. I might say that all of them had but come to", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "reached? Could anybody be found to work up the bidding? If not, it would\nscarcely be the fault of the public crier, who tried his best to tempt" ], [ "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "Spencer Island fell for four millions of dollars to William W. Kolderup,\nof San Francisco.", "had capped the reserve price of Spencer Island, there was an\nirresistible sensation, the chaffing ceased instantly, jokes gave place\nto interjections of admiration, and cheers resounded through the saloon.", "\"The new name is a good one, and we will keep to it,\" answered the\nuncle; \"but for geographers this is Spencer Island, only three days'", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "The island was Spencer Island, which lies in the west-south-west of the\nBay of San Francisco, about 460 miles from the Californian coast, in 32Â°", "And Congress had decided not to sell the island under the price. Eleven\nhundred thousand dollars, not a cent less, or Spencer Island would\nremain the property of the Union.", "safely to land he brought her up and steamed away. Three days later he\ngot back to San Francisco, and he it is who has brought us to Spencer\nIsland on the date we fixed!\"", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "\"An island to sell, for cash, to the highest bidder!\" said Dean Felporg,\nthe auctioneer, standing behind his rostrum in the room where the\nconditions of the singular sale were being noisily discussed.", "\"Beyond that?\"\n\n\"A freehold island!\" repeated the crier, \"an island without a single\nnoxious animal, no wild beasts, no reptiles!--\"", "continued to increase, and the chaff never ceased for a moment. One\nindividual offered two dollars for the island, costs included. Another\nsaid that a man ought to be paid that for taking it.", "William W. Kolderup at this was quite disconcerted. He knew nothing\nabout it. Spencer Island--it had been known for a long time--never had", "matter, however simple. The truth was this: situated as it was, Spencer\nIsland had for a long time been known as a station perfectly useless.\nThere could be no practical result from settling there. In a military", "\"That is so? No mistake?\"\n\n\"No withdrawal?\"\n\n\"For twelve hundred thousand dollars, Spencer Island!\"", "\"Twelve hundred thousand dollars!\"\n\nJ. R. Taskinar at the moment when William W. Kolderup thought he had\ndefinitely secured the island, woke up with the words shouted in\nstentorian tones,--", "And he stepped towards his office to arrange the little matter of\nSpencer Island, and then dismiss it from his mind. He had only to\nrealize a few certificates in his portfolio and the acquisition was", "\"But with those terrible creatures,\" said Phina, \"Spencer Island--\"\n\n\"Phina Island--\" interrupted Godfrey." ], [ "Godfrey passed a sorrowful night. Every now and then jumping up as if he\nheard a cannon out at sea, he would ask himself if the steamer had not", "Godfrey bore the trial of the ship's motion without even losing his\ngood-humour for a moment. Evidently he was fond of the sea.\n\nBut Tartlet was not fond of the sea, and it served him out.", "All this detail mattered little to Godfrey once he was on the sea, and\nstill less to Tartlet, whose troubled spirit exaggerated from day to day", "Things had reached this pass; for a year or more Godfrey had been\nimmersed in books of voyages of recent date, and had passionately", "Godfrey was thoroughly happy. This sailing over a beautiful sea, under a\nbeautiful sky, could anything be more cheering, could anything give more", "\"What good should I have done?\" asked Godfrey. \"Besides, I thought that\nthe vessel had disappeared! But that boat might belong to her! Let us go\nand see!\"", "On the 25th of June, about eight o'clock in the morning, when Godfrey\nstepped on deck, a charming breeze from the north-east had swept away", "She was a large steamer, bearing north-east. Godfrey easily made that\nout. If that direction was maintained, she would inevitably approach\nPhina Island.", "Or would not rather the semi-visible smoke disappear with the vessel\ntowards the north-west or south-west of the horizon?\n\nFor two hours Godfrey was a prey to alternating emotions more easy to\nindicate than to describe.", "Godfrey could not contain himself for joy. Had he expressly ordered the\ntrousseau for the use of shipwrecked folks in difficulties, he could not\nhave made it more complete.", "On the morrow, the 20th of January, the _Dream_ set sail under the\ncommand of Captain Turcott. At eight o'clock in the morning Godfrey, not", "Before the long voyage together through life, which men call marriage,\nGodfrey then was to make the tour of the world--a journey sometimes even", "Godfrey's heart beat high.\n\n\"A ship!\" he exclaimed.", "At this Godfrey went and sat on the forecastle, having sent some one for\nhis glasses. He was anxious to watch the return of the launch. Captain", "However, Godfrey could not and would not remain in doubt. He was\ndetermined to ascertain, yes or no, if the proa had definitely left the\nisland.", "\"You were asleep, Mr. Godfrey,\" replied the mate, \"and the captain did\nnot like to wake you.\"\n\n\"I am sorry; but tell me, which way did the launch go?\"", "It was a vessel manned by savages which Godfrey saw approaching the\nisland. Built like a Polynesian canoe, she carried a large sail of woven", "By his orders the _Dream_, a substantial steamer of 600 tons and 200\nhorse-power, was got ready. It was to be commanded by Captain Turcott, a", "\"Take it quietly, Tartlet,\" replied Godfrey. \"A ship was made to float!\nThere are reasons for all this.\"\n\n\"I tell you there are none.\"", "\"Godfrey,\" said he, \"you have always been so fond of islands, that I am\nsure it will please you to hear that this is yours--wholly yours! I make" ], [ "The crowd, suddenly speechless, turned towards the bold man who had\ndared to bid.\n\nIt was William W. Kolderup, of San Francisco.\n\n\n\n\nCHAPTER II.", "\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\n\n\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\n\"William Kolderup will never give in.\"", "\"Two million, four hundred thousand dollars!\" he remarked, hoping by\nthis tremendous leap to completely rout his rival.\n\n\"Two million, seven hundred thousand!\" replied William W. Kolderup in a\npeculiarly calm voice.", "A bid from William W. Kolderup could not but be a serious one. And when\nthe crowd in the auction room had recognized who it was that by $100,000", "\"Seventeen hundred thousand dollars!\" howled Gingrass, the crier.\n\n\"Eighteen hundred thousand!\" replied William W. Kolderup.", "There was no one to dispute with him.\n\n\"Twelve hundred thousand dollars--twelve hundred thousand!\" said the\nauctioneer, with that peculiar accent which men of his vocation find\nmost effective.", "\"Only a dollar! only a half-dollar! only a cent above the reserve!\" said\nthe auctioneer for the last time, \"and I will knock it down! Once!\nTwice!\"\n\nPerfect silence.", "\"Fourteen hundred thousand dollars,\" said William W. Kolderup.\n\n\"Fifteen hundred thousand!\" retorted J. R. Taskinar.\n\n\"Sixteen hundred thousand!\"", "\"Seventeen hundred thousand dollars!\" repeated the auctioneer. \"Now,\ngentlemen, that is a mere nothing! It is giving it away!\"", "\"If nobody bids we must put the lot back! Once! Twice!\n\n\"Twelve hundred thousand dollars!\"\n\nThe four words rang through the room like four shots from a revolver.", "\"Yes, Mr. Kolderup,\" said Carefinotu, to whom we had better return his\nproper name of Jup Brass. \"Yes, a real live crocodile, which went for", "There was a preliminary \"Ah!\" of general stupefaction, then a second\n\"Ah!\" of not less general satisfaction. Another bidder had presented\nhimself! There was going to be a fight after all!", "Do not imagine that all these folks had come to the auction-room with\nthe intention of buying. I might say that all of them had but come to", "A few days afterwards there was celebrated with great pomp the wedding\nof the nephew and pupil of William W. Kolderup. That the young couple\nwere made much of by all the friends of the wealthy merchant can easily\nbe imagined.", "William W. Kolderup appeared, seemingly a little preoccupied as usual.\nHere was the merchant who had just finished one negotiation and was\nabout to begin another.", "\"Twelve hundred thousand dollars!\"\n\nJ. R. Taskinar at the moment when William W. Kolderup thought he had\ndefinitely secured the island, woke up with the words shouted in\nstentorian tones,--", "But was it probable? Was it even possible?\n\nNo! And at the outset it was only necessary to look at William W.\nKolderup to feel convinced that he could never yield on a question where\nhis financial gallantry was at stake.", "When William W. Kolderup had read these words he burst into a shout of\nlaughter. He understood all.", "J. R. Taskinar had learnt--how, I cannot tell--that it was the intention\nof William W. Kolderup to acquire possession of Spencer Island. This", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders." ], [ "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "Spencer Island fell for four millions of dollars to William W. Kolderup,\nof San Francisco.", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "And Congress had decided not to sell the island under the price. Eleven\nhundred thousand dollars, not a cent less, or Spencer Island would\nremain the property of the Union.", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "The island was Spencer Island, which lies in the west-south-west of the\nBay of San Francisco, about 460 miles from the Californian coast, in 32Â°", "\"That is so? No mistake?\"\n\n\"No withdrawal?\"\n\n\"For twelve hundred thousand dollars, Spencer Island!\"", "continued to increase, and the chaff never ceased for a moment. One\nindividual offered two dollars for the island, costs included. Another\nsaid that a man ought to be paid that for taking it.", "\"The new name is a good one, and we will keep to it,\" answered the\nuncle; \"but for geographers this is Spencer Island, only three days'", "\"Twelve hundred thousand dollars!\"\n\nJ. R. Taskinar at the moment when William W. Kolderup thought he had\ndefinitely secured the island, woke up with the words shouted in\nstentorian tones,--", "William W. Kolderup at this was quite disconcerted. He knew nothing\nabout it. Spencer Island--it had been known for a long time--never had", "had capped the reserve price of Spencer Island, there was an\nirresistible sensation, the chaffing ceased instantly, jokes gave place\nto interjections of admiration, and cheers resounded through the saloon.", "safely to land he brought her up and steamed away. Three days later he\ngot back to San Francisco, and he it is who has brought us to Spencer\nIsland on the date we fixed!\"", "quite out of the way of all maritime or commercial traffic, although\nSpencer Island was relatively, not very far off, and situated\npractically in American waters. But thereabouts the regular currents", "it up for sale--on one condition only, and that was, that its purchaser\nshould be a free American citizen. There was no intention of giving away\nthe island for nothing, and so the reserve price had been fixed at", "matter, however simple. The truth was this: situated as it was, Spencer\nIsland had for a long time been known as a station perfectly useless.\nThere could be no practical result from settling there. In a military", "And he stepped towards his office to arrange the little matter of\nSpencer Island, and then dismiss it from his mind. He had only to\nrealize a few certificates in his portfolio and the acquisition was", "It is in the centre of this enormous eddy, which has hardly an\nappreciable movement, that Spencer Island is situated. And so it is", "\"An island which at the valuation will not fetch six dollars an acre!\"\nsaid the auctioneer." ], [ "\"An island to sell, for cash, to the highest bidder!\" said Dean Felporg,\nthe auctioneer, standing behind his rostrum in the room where the\nconditions of the singular sale were being noisily discussed.", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "\"Beyond that?\"\n\n\"A freehold island!\" repeated the crier, \"an island without a single\nnoxious animal, no wild beasts, no reptiles!--\"", "\"An island which at the valuation will not fetch six dollars an acre!\"\nsaid the auctioneer.", "\"Island for sale! island for sale!\" repeated in shrill tones again and\nagain Gingrass, the crier, who was threading his way in and out of the", "continued to increase, and the chaff never ceased for a moment. One\nindividual offered two dollars for the island, costs included. Another\nsaid that a man ought to be paid that for taking it.", "And all the time the crier was heard with,--\n\n\"An island to sell! an island for sale!\"\n\nAnd there was no one to buy it.", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"An island! an isle to sell!\" repeated Gingrass.\n\n\"But not to buy!\" answered an Irishman, whose pocket did not hold enough\nto pay for a single pebble.", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "it up for sale--on one condition only, and that was, that its purchaser\nshould be a free American citizen. There was no intention of giving away\nthe island for nothing, and so the reserve price had been fixed at", "However, if the lot could not be passed round, the map of the island was\nat the public disposal. The whereabouts of the portion of the globe", "\"Twelve hundred thousand dollars!\"\n\nJ. R. Taskinar at the moment when William W. Kolderup thought he had\ndefinitely secured the island, woke up with the words shouted in\nstentorian tones,--", "\"Godfrey,\" said he, \"you have always been so fond of islands, that I am\nsure it will please you to hear that this is yours--wholly yours! I make", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "Still sea--west of him, south of him, north of him! The immense ocean\nsurrounding him on all sides!\n\n\"An island!\"", "\"An island to sell! an island for sale!\" yelled Gingrass, whose lungs\ntired themselves out to no purpose.", "CONTENTS.\n\nCHAPTER I.\n\n PAGE\nIn which the reader has the opportunity of buying an Island in\nthe Pacific Ocean 1", "CHAPTER I.\n\nIN WHICH THE READER HAS THE OPPORTUNITY OF BUYING AN ISLAND IN THE\nPACIFIC OCEAN." ], [ "\"If nobody bids we must put the lot back! Once! Twice!\n\n\"Twelve hundred thousand dollars!\"\n\nThe four words rang through the room like four shots from a revolver.", "There was no one to dispute with him.\n\n\"Twelve hundred thousand dollars--twelve hundred thousand!\" said the\nauctioneer, with that peculiar accent which men of his vocation find\nmost effective.", "There was a preliminary \"Ah!\" of general stupefaction, then a second\n\"Ah!\" of not less general satisfaction. Another bidder had presented\nhimself! There was going to be a fight after all!", "\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\n\n\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\n\"William Kolderup will never give in.\"", "\"Seventeen hundred thousand dollars!\" repeated the auctioneer. \"Now,\ngentlemen, that is a mere nothing! It is giving it away!\"", "\"Only a dollar! only a half-dollar! only a cent above the reserve!\" said\nthe auctioneer for the last time, \"and I will knock it down! Once!\nTwice!\"\n\nPerfect silence.", "Applause rang through the room, hushed, however, at the voice of the\nauctioneer, who repeated the bid, and whose oscillating hammer", "The crowd, suddenly speechless, turned towards the bold man who had\ndared to bid.\n\nIt was William W. Kolderup, of San Francisco.\n\n\n\n\nCHAPTER II.", "Do not imagine that all these folks had come to the auction-room with\nthe intention of buying. I might say that all of them had but come to", "\"Two million, four hundred thousand dollars!\" he remarked, hoping by\nthis tremendous leap to completely rout his rival.\n\n\"Two million, seven hundred thousand!\" replied William W. Kolderup in a\npeculiarly calm voice.", "A bid from William W. Kolderup could not but be a serious one. And when\nthe crowd in the auction room had recognized who it was that by $100,000", "\"Seventeen hundred thousand dollars!\" howled Gingrass, the crier.\n\n\"Eighteen hundred thousand!\" replied William W. Kolderup.", "put at eleven hundred thousand dollars, is there any one will bid? Who\nspeaks first? You, sir?--you, over there nodding your head like a", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "The waistcoats rose and fell convulsively. Could it be possible that at\nthe last second a higher bid would come? Felporg with his right hand", "\"Fourteen hundred thousand dollars,\" said William W. Kolderup.\n\n\"Fifteen hundred thousand!\" retorted J. R. Taskinar.\n\n\"Sixteen hundred thousand!\"", "And that is why J. R. Taskinar had come to the auction room among the\ncurious crowd who could not be aware of his designs, why at all points", "buyer, the auctioneer orated without obtaining a single specimen of\nthose nods which his estimable fraternity are so quick to discover; and\nthe reserve price was not even mentioned.", "After a long pause, however, his voice was heard; feeble it is true, but\nsufficiently audible.\n\n\"Three millions, five hundred thousand!\"" ], [ "chart. So the steam launch was got out, and with the boatswain and three\nmen, Captain Turcott has gone off to explore.\"", "Captain Turcott, the mate, and Godfrey, were sitting down to breakfast\nwhen an unusual noise was heard on deck. Almost immediately afterwards\nthe boatswain opened the door and appeared on the threshold.\n\n\"Captain!\" he said.", "His presence on board put into Captain Turcott's head an idea which his\nmate probably was the only one to understand thoroughly.", "Captain Turcott, having handed over the watch to the mate, also came\nunder the poop to take a few hours' rest. All was in order. The steamer", "However, Captain Turcott rose from his chair, and followed by Godfrey\nand the mate, left the saloon and walked towards the forecastle of the\n_Dream_.", "\"Well, John,\" exclaimed Captain Turcott, \"I am going to show you how to\nsave your passage-money.\"", "Captain Turcott knowing that Godfrey swam like a fish, seized him by the\nshoulders, and did him the service of throwing him overboard.", "\"Only show!\" answered Captain Turcott. \"We saw nothing suspicious, our\nmen must have been deceived, but I am rather surprised at that, all the\nsame.\"\n\n\"We are going ahead then?\" said Godfrey.", "Captain Turcott made a sign to his men to leave the unhappy intruder\nalone.\n\n\"Who are you?\" he asked.\n\n\"A son of the sun.\"", "At a quarter-past eleven, Captain Turcott hailed and boarded the\n_Dream_.\n\n\"Well, captain, what news?\" asked Godfrey, shaking his hand.", "At the same time two sailors, at the order of Captain Turcott who was in\ncommand, climbed up along the sequoia to set Tartlet free, and, with all\ndue respect, pluck him from the branch as if he were a fruit.", "\"Captain,\" he said, \"one more Chinee on board the _Dream_ is one Chinee\nless in California, where there are too many.\"\n\n\"A great deal too many!\" answered Captain Turcott.", "\"At the bottom of the hold!\" exclaimed Turcott. \"Well, by all\nthe--somethings--of Sacramento, just send him to the bottom of the sea!\"\n\n\"All right!\" answered the boatswain.", "On the morrow, the 20th of January, the _Dream_ set sail under the\ncommand of Captain Turcott. At eight o'clock in the morning Godfrey, not", "There was no rock to fear in these parts, for Captain Turcott had just\nfixed his exact position on the charts; but collisions are always\npossible, and they are much more frequent on foggy nights.", "At the start, in the lovely month of June, there was a beautiful breeze\nfrom the north-east, and Captain Turcott was able to set his canvas so", "\"Very much so,\" answered Captain Turcott, \"but when day breaks, if the\nsea falls a little, I shall resume our westerly route. I should", "\"What's up?\" asked Turcott, sailor as he was, always on the alert.\n\n\"Here's a--Chinee!\" said the boatswain.\n\n\"A Chinese!\"", "\"You, Mr. Godfrey, you--on the bridge?\"\n\n\"Yes, I, captain. I came to ask--\"\n\n\"What?\" answered Captain Turcott sharply.", "And Uncle Will turned towards Captain Turcott, who laughingly\nanswered,--" ], [ "IN WHICH T. ARTELETT, OTHERWISE TARTLET, IS DULY INTRODUCED TO THE\nREADER.", "If T. Artelett had been a Parisian, his compatriots would not have\nfailed to nickname him Tartlet, but as he had already received this", "Godfrey was not ten paces away from it, when he stopped as if rooted to\nthe soil, and exclaimed,--\n\n\"Tartlet!\"\n\nIt was the professor of dancing and deportment.", "In which T. Artelett, otherwise Tartlet, is duly introduced\nto the reader 35\n\n\nCHAPTER V.", "CHAPTER XVII.\n\nIN WHICH PROFESSOR TARTLET'S GUN REALLY DOES MARVELS.", "\"And, to the professor of deportment who has initiated him into\netiquette,\" interrupted the merchant, in a tone of which the guileless\nTartlet failed to perceive the irony.", "Professor Tartlet, generally so firm on his limbs, had lost all his\ndancing equilibrium. He had lost all his usual self-possession, and", "\"Mr. Tartlet,\" said William W. Kolderup, \"I have sent for you to tell\nyou some news which I imagine will rather surprise you.\"\n\n\"As you think best!\" answered the professor.", "Such would have been the report furnished by Tartlet, but desirable as\nhe might be to a lady of a certain age, the projected union had hitherto\nfailed. The professor remained a bachelor, and continued to give lessons\nin dancing and deportment.", "of the professor. And so he left Tartlet to his dreams, and set out.", "Godfrey made a sign to Tartlet to join him. The professor, as clumsy as\ncould be in his fighting harness, followed--not without some hesitation.", "In an instant Godfrey was out of his cabin and in the saloon. There he\ncannoned against an inert mass which he did not recognize. It was\nProfessor Tartlet.", "\"Look there, Tartlet!\" he exclaimed.\n\nAnd the professor looked, but saw nothing, so much was he absorbed with\nthe thought of this unexpected situation.", "was in learning the English language. Do what he might he could not be\nprevailed upon to pronounce the most ordinary words which Godfrey, and\nparticularly Professor Tartlet tried to teach him.", "A scream of terror welcomed them. It was Tartlet, who imagined he saw a\npanther or tiger! The unfortunate professor was clasping a branch,\nfrightened almost out of his life lest he should fall.", "captain or the mate, this proved to be Professor Tartlet, how little he\ncould depend on that frivolous being, and how slightly improved the", "The request of the nabob was an order for Tartlet. The professor left\nhis room, with his pocket violin--generally known as a kit--so as to be", "It should be stated that, not only did Professor Tartlet suffer from\nsea-sickness, but also that fear had seized him as he watched the great", "\"A bear!\" screamed the professor, looking round him with a bewildered\nglare as if the environs of Will Tree were being assailed by a herd of", "There Tartlet awaited him with his two-footed and four-footed flock. And\nhow was the obstinate professor occupying himself? In the same way. A" ], [ "\"Twelve hundred thousand dollars!\"\n\nJ. R. Taskinar at the moment when William W. Kolderup thought he had\ndefinitely secured the island, woke up with the words shouted in\nstentorian tones,--", "Spencer Island fell for four millions of dollars to William W. Kolderup,\nof San Francisco.", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "\"Two million, four hundred thousand dollars!\" he remarked, hoping by\nthis tremendous leap to completely rout his rival.\n\n\"Two million, seven hundred thousand!\" replied William W. Kolderup in a\npeculiarly calm voice.", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\n\n\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\n\"William Kolderup will never give in.\"", "continued to increase, and the chaff never ceased for a moment. One\nindividual offered two dollars for the island, costs included. Another\nsaid that a man ought to be paid that for taking it.", "it up for sale--on one condition only, and that was, that its purchaser\nshould be a free American citizen. There was no intention of giving away\nthe island for nothing, and so the reserve price had been fixed at", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"Fourteen hundred thousand dollars,\" said William W. Kolderup.\n\n\"Fifteen hundred thousand!\" retorted J. R. Taskinar.\n\n\"Sixteen hundred thousand!\"", "\"Seventeen hundred thousand dollars!\" howled Gingrass, the crier.\n\n\"Eighteen hundred thousand!\" replied William W. Kolderup.", "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "Kolderup was too practical a man not to put to some purpose a journey of\n15,000 or 16,000 leagues across all the oceans of the globe. His ship", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "A man extraordinarily rich, who counted dollars by the million as other\nmen do by the thousand; such was William W. Kolderup.", "\"An island to sell, for cash, to the highest bidder!\" said Dean Felporg,\nthe auctioneer, standing behind his rostrum in the room where the\nconditions of the singular sale were being noisily discussed.", "William W. Kolderup at this was quite disconcerted. He knew nothing\nabout it. Spencer Island--it had been known for a long time--never had", "would be made. But what were these two? Less than a needle in a hayrick\nor a sand-grain on the sea-bottom! The incalculable fortune of Uncle\nKolderup could not do everything.", "\"An island which at the valuation will not fetch six dollars an acre!\"\nsaid the auctioneer.", "There was thus no more to explain of the remarkable occurrences on\nPhina Island.\n\n\"Well done!\" exclaimed William W. Kolderup. \"I could not have done\nbetter myself!\"" ], [ "The 13th of September was noted for one of the greatest and cruellest\ndeceptions to which, on a desert island, the unfortunate survivors of a\nshipwreck could be subjected.", "It was, in truth, very unfortunate. The savages had probably come to the\nisland thinking it was uninhabited, as indeed it had been before the", "The presence of a formidable wild beast in Phina Island was, it must be\nconfessed, calculated to make our friends think the worst of the\nill-fortune which had fallen on them.", "It was only the goats and sheep and agouties. Terrified at the howling\nof the wild beasts, and scenting their approach, they had fled from\ntheir pasturage to take shelter behind the palisade.", "The night passed amid these alternations of fear and hope. No attack\noccurred. The savages had not yet come to the sequoia group. Perhaps\nthey would wait for the day before venturing to cross the island.", "\"It must also be concluded,\" continued he, \"that the island is not\ninhabited at all. Either natives or people shipwrecked here would have", "sea. It was still deserted. He had to conclude once more, that the\nisland lay away from the trade routes of the Pacific.", "Godfrey knew not what to do. Anyhow his immediate care must be to watch\nif they set foot on the island. He could think of other things\nafterwards.", "defend their lives perhaps against wild beasts, perhaps against savages\nwho would land there, wretches without resources, suffering from hunger,\nsuffering from thirst, without weapons, without tools, almost without", "points on the island. And he seemed very much troubled to find that all\nhad not passed on the island according to his instructions, and that the\nprogramme had been seriously interfered with.", "island inhabited, they would not advance without precaution, in fact\nthey would be as careful in ascending the little river as Godfrey was in\ndescending it. It was to be supposed therefore that if they were", "It was a vessel manned by savages which Godfrey saw approaching the\nisland. Built like a Polynesian canoe, she carried a large sail of woven", "savages returning in great numbers to Phina Island, the situation of\nwhich was known to them. Against such an invasion the palisade was but\nan insufficient barrier. All things considered, the refuge offered by", "As he uttered the word Godfrey felt his heart shrink. The thought had\nnot occurred to him that he was on an island. And yet such was the case!", "How bitter were their reflections during their evening repast! What long\nsleepless hours were in store for the inhabitants of Phina Island, on\nwhom misfortunes were now crowding.", "day to find there a refuge from the heat of the sun. No fear was there\nof their wandering abroad, or of their falling a prey to wild beasts, of\nwhich Phina Island seemed to contain not a single specimen.", "During the walk they noticed some wild animals in the distance; but they\ndared not attack so formidable a party as the sailors of the _Dream_.\nBut none the less was their presence absolutely incomprehensible.", "But Godfrey suddenly uttered an exclamation which made the professor\njump. There could be no doubt that the savages knew the island was", "Point. The moment had then come to put the project into execution, to\nreconnoitre if the savages were still in the island, and to see what\nthey were doing.", "But if the island was deserted, the sea which surrounded it was none the\nless so, for not a ship showed itself within the limits of what, from\nthe height of the cone, was a considerable circuit." ], [ "Before the long voyage together through life, which men call marriage,\nGodfrey then was to make the tour of the world--a journey sometimes even", "\"Yes, the departure of Godfrey,\" continued Phina, \"of Godfrey who,\nbefore he gets married, wants to see a little of the world!\"", "In short, Godfrey was enchanted.\n\nPhina, anxious without appearing to be so, was resigned to this\napprenticeship.", "\"With you, Godfrey--yes!\"\n\n\"No--alone!\"\n\n\"Alone! Never!\"\n\n\"Come along then!\"", "After all, he was a brave man, in spite of his eccentricities. Everybody\nliked him. He liked Godfrey, he liked Phina, and they liked him. He had", "In fact, when he had finished his studies Godfrey had displayed a quite\npremature indifference to the world, in which he wanted for nothing, in", "\"I!\" answered Godfrey. \"I! All my life!\"\n\nPhina stepped forward.\n\n\"Godfrey,\" she asked, \"would you like to remain on your island?\"", "\"Dearest Phina!\" said Godfrey, seizing the young lady's hand.\n\n\"Turcott, you promised to keep the secret!\" said Phina with a blush.", "\"My nephew's marriage is put off for a year or eighteen months, and\nGodfrey, at his own request, is going to visit the different countries\nof the old and new world.\"", "And hence it was that Godfrey was now absent in the presence of Phina,\nindifferent when she spoke to him, deaf when she played the airs which", "\"Godfrey,\" said he, \"you have always been so fond of islands, that I am\nsure it will please you to hear that this is yours--wholly yours! I make", "Godfrey had risen. He had walked a few steps without noticing Phina,\nand unconsciously his index finger touched one of the keys of the piano.", "\"If we must part, it had better be before marriage than afterwards!\"\n\nAnd thus it was that she had spoken to Godfrey in these significant\nwords.", "\"You must let Godfrey go,\" pleaded Phina; \"I have thought it carefully\nover. I am young, but really Godfrey is younger. Travel will age him,", "It is also the custom to travel together, and so Phina's portrait had\nits allotted place in Godfrey's cabin, and Godfrey's portrait its", "The trial was a rough one to begin with, but, we repeat, Godfrey had not\ncome out for a simple promenade. He himself put it very well when he", "When Godfrey had found his fairly acceptable shelter, his sleep in it\nwas by no means undisturbed. His brain travelled as it had never done", "Godfrey was in his twenty-third year. His education now finished, had\nleft him with absolutely nothing to do. He had graduated at the", "An engaged man could not decently start on a long voyage round the world\nwithout taking with him the image of her he loved, and in return leaving\nhis own image behind him.", "\"With you, my dear husband, I fear nothing from anywhere,\" answered\nPhina, \"and as you have not had your voyage round the world--\"" ], [ "\"If nobody bids we must put the lot back! Once! Twice!\n\n\"Twelve hundred thousand dollars!\"\n\nThe four words rang through the room like four shots from a revolver.", "\"Seventeen hundred thousand dollars!\" repeated the auctioneer. \"Now,\ngentlemen, that is a mere nothing! It is giving it away!\"", "There was no one to dispute with him.\n\n\"Twelve hundred thousand dollars--twelve hundred thousand!\" said the\nauctioneer, with that peculiar accent which men of his vocation find\nmost effective.", "There was a preliminary \"Ah!\" of general stupefaction, then a second\n\"Ah!\" of not less general satisfaction. Another bidder had presented\nhimself! There was going to be a fight after all!", "\"Only a dollar! only a half-dollar! only a cent above the reserve!\" said\nthe auctioneer for the last time, \"and I will knock it down! Once!\nTwice!\"\n\nPerfect silence.", "\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\n\n\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\n\"William Kolderup will never give in.\"", "Do not imagine that all these folks had come to the auction-room with\nthe intention of buying. I might say that all of them had but come to", "The crowd, suddenly speechless, turned towards the bold man who had\ndared to bid.\n\nIt was William W. Kolderup, of San Francisco.\n\n\n\n\nCHAPTER II.", "\"I will be avenged!\" muttered J. R. Taskinar, and throwing a glance of\nhatred at his conqueror, he returned to the Occidental Hotel.", "\"Two million, four hundred thousand dollars!\" he remarked, hoping by\nthis tremendous leap to completely rout his rival.\n\n\"Two million, seven hundred thousand!\" replied William W. Kolderup in a\npeculiarly calm voice.", "Applause rang through the room, hushed, however, at the voice of the\nauctioneer, who repeated the bid, and whose oscillating hammer", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"Seventeen hundred thousand dollars!\" howled Gingrass, the crier.\n\n\"Eighteen hundred thousand!\" replied William W. Kolderup.", "And that is why J. R. Taskinar had come to the auction room among the\ncurious crowd who could not be aware of his designs, why at all points", "The waistcoats rose and fell convulsively. Could it be possible that at\nthe last second a higher bid would come? Felporg with his right hand", "A bid from William W. Kolderup could not but be a serious one. And when\nthe crowd in the auction room had recognized who it was that by $100,000", "three millions of dollars, which seemed to crush him. He would have\nspoken, doubtless to bid higher--but he could not. He would have liked\nto nod his head--he could do so no more.", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "\"Thirteen hundred thousand dollars!\"\n\nEverybody as we have seen turned to look at him.\n\n\"Fat Taskinar!\"", "put at eleven hundred thousand dollars, is there any one will bid? Who\nspeaks first? You, sir?--you, over there nodding your head like a" ], [ "The island was Spencer Island, which lies in the west-south-west of the\nBay of San Francisco, about 460 miles from the Californian coast, in 32Â°", "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "quite out of the way of all maritime or commercial traffic, although\nSpencer Island was relatively, not very far off, and situated\npractically in American waters. But thereabouts the regular currents", "\"The new name is a good one, and we will keep to it,\" answered the\nuncle; \"but for geographers this is Spencer Island, only three days'", "William W. Kolderup at this was quite disconcerted. He knew nothing\nabout it. Spencer Island--it had been known for a long time--never had", "It is in the centre of this enormous eddy, which has hardly an\nappreciable movement, that Spencer Island is situated. And so it is", "Spencer Island fell for four millions of dollars to William W. Kolderup,\nof San Francisco.", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "safely to land he brought her up and steamed away. Three days later he\ngot back to San Francisco, and he it is who has brought us to Spencer\nIsland on the date we fixed!\"", "And Congress had decided not to sell the island under the price. Eleven\nhundred thousand dollars, not a cent less, or Spencer Island would\nremain the property of the Union.", "\"But with those terrible creatures,\" said Phina, \"Spencer Island--\"\n\n\"Phina Island--\" interrupted Godfrey.", "shortest road, would gain no advantage by crossing it. Hence ships of\nneither class know anything of Spencer Island, which rises above the\nwaters like the isolated summit of one of the submarine mountains of the", "matter, however simple. The truth was this: situated as it was, Spencer\nIsland had for a long time been known as a station perfectly useless.\nThere could be no practical result from settling there. In a military", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "\"That is so? No mistake?\"\n\n\"No withdrawal?\"\n\n\"For twelve hundred thousand dollars, Spencer Island!\"", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "15' north latitude, and 145Â° 18' west longitude, reckoning from\nGreenwich. It would be impossible to imagine a more isolated position,", "On this occasion he had advanced to the northern point which terminated\nin a sandy spit, when his attention was attracted by a rock of curious\nshape, rising near the last group of algÃ¦ and sea-weeds.", "had capped the reserve price of Spencer Island, there was an\nirresistible sensation, the chaffing ceased instantly, jokes gave place\nto interjections of admiration, and cheers resounded through the saloon.", "And he stepped towards his office to arrange the little matter of\nSpencer Island, and then dismiss it from his mind. He had only to\nrealize a few certificates in his portfolio and the acquisition was" ], [ "\"It is I! I! Godfrey!\"\n\n\"Godfrey?\" asked the professor.", "Godfrey was not ten paces away from it, when he stopped as if rooted to\nthe soil, and exclaimed,--\n\n\"Tartlet!\"\n\nIt was the professor of dancing and deportment.", "Godfrey made a sign to Tartlet to join him. The professor, as clumsy as\ncould be in his fighting harness, followed--not without some hesitation.", "\"Eh! How do you know that, Godfrey?\" replied the professor, drawing\nhimself up. \"Do you know what the future may bring forth?\"", "To which Godfrey made no reply. And as he never came for his lesson, the\nprofessor became professor \"emeritus.\"", "\"Don't say such things, Godfrey,\" exclaimed Tartlet. \"No! Don't joke\nabout such things! The mere supposition will kill me! You are laughing\nat me, are you not?\"", "At least that is what Godfrey thought of. The ideas of the professor\ntook quite a different turn.", "Godfrey spoke to him.\n\nTartlet shook his head, then he gave utterance to a hoarse exclamation,\nfollowed by incoherent words.\n\nGodfrey shook him violently.", "companion. In that empty box which served the professor for a cranium\nthere could be born no practical idea; Godfrey would have to think,\ncontrive, and decide for both.", "The black endeavoured to say the word, but although Godfrey repeated it\nseveral times, he could not succeed in pronouncing it in an intelligible\nfashion. Then he turned towards the professor, as if to know his name.", "was in learning the English language. Do what he might he could not be\nprevailed upon to pronounce the most ordinary words which Godfrey, and\nparticularly Professor Tartlet tried to teach him.", "In an instant Godfrey was out of his cabin and in the saloon. There he\ncannoned against an inert mass which he did not recognize. It was\nProfessor Tartlet.", "\"Hush!\" said the professor in a low voice; \"I think I hear something\noutside.\"\n\nGodfrey climbed up again to the window, and got down again almost\nimmediately.", "\"My dear Godfrey!\" exclaimed Tartlet.\n\n\"My good Tartlet!\" replied Godfrey.", "\"What is the good of it?\" was Godfrey's answer to the entreaties of the\nprofessor. \"Can you imagine Robinson Crusoe taking lessons in dancing\nand deportment?\"", "\"Good-bye, Godfrey!\"\n\n\"May Heaven protect you!\" said the uncle.\n\n\"And above all may it bring us back!\" murmured Professor Tartlet.", "Godfrey set to work. He knelt down by Tartlet; he unloosed the life-belt\nand rubbed him vigorously. He noticed at last a light breath on the", "In short, Godfrey was enchanted.\n\nPhina, anxious without appearing to be so, was resigned to this\napprenticeship.", "their two hands; and as the hands of the professor had never been used\nexcept in playing his fiddle, and making his gestures, Godfrey concluded\nthat he would have to trust to his own.", "\"No, Godfrey, it does not do,\" replied the professor. \"And I begin to\nthink that these inventions of the savages are only imaginations to\ndeceive the world.\"" ], [ "\"Twelve hundred thousand dollars!\"\n\nJ. R. Taskinar at the moment when William W. Kolderup thought he had\ndefinitely secured the island, woke up with the words shouted in\nstentorian tones,--", "\"Two million, four hundred thousand dollars!\" he remarked, hoping by\nthis tremendous leap to completely rout his rival.\n\n\"Two million, seven hundred thousand!\" replied William W. Kolderup in a\npeculiarly calm voice.", "\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\n\n\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\n\"William Kolderup will never give in.\"", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "Spencer Island fell for four millions of dollars to William W. Kolderup,\nof San Francisco.", "continued to increase, and the chaff never ceased for a moment. One\nindividual offered two dollars for the island, costs included. Another\nsaid that a man ought to be paid that for taking it.", "\"An island to sell, for cash, to the highest bidder!\" said Dean Felporg,\nthe auctioneer, standing behind his rostrum in the room where the\nconditions of the singular sale were being noisily discussed.", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "\"Seventeen hundred thousand dollars!\" howled Gingrass, the crier.\n\n\"Eighteen hundred thousand!\" replied William W. Kolderup.", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "it up for sale--on one condition only, and that was, that its purchaser\nshould be a free American citizen. There was no intention of giving away\nthe island for nothing, and so the reserve price had been fixed at", "The crowd, suddenly speechless, turned towards the bold man who had\ndared to bid.\n\nIt was William W. Kolderup, of San Francisco.\n\n\n\n\nCHAPTER II.", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"An island which at the valuation will not fetch six dollars an acre!\"\nsaid the auctioneer.", "\"Fourteen hundred thousand dollars,\" said William W. Kolderup.\n\n\"Fifteen hundred thousand!\" retorted J. R. Taskinar.\n\n\"Sixteen hundred thousand!\"", "A bid from William W. Kolderup could not but be a serious one. And when\nthe crowd in the auction room had recognized who it was that by $100,000", "\"Beyond that?\"\n\n\"A freehold island!\" repeated the crier, \"an island without a single\nnoxious animal, no wild beasts, no reptiles!--\"", "\"Island for sale! island for sale!\" repeated in shrill tones again and\nagain Gingrass, the crier, who was threading his way in and out of the", "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "\"Seventeen hundred thousand dollars!\" repeated the auctioneer. \"Now,\ngentlemen, that is a mere nothing! It is giving it away!\"" ], [ "\"Yes, Mr. Kolderup,\" said Carefinotu, to whom we had better return his\nproper name of Jup Brass. \"Yes, a real live crocodile, which went for", "Phina Hollaney was the goddaughter of William W. Kolderup. An orphan, he\nhad educated her, and given her the right to consider herself his", "\"Yes,\" said Godfrey to himself, \"if there is a human being there, we\nmust know who he is and whence he comes! We must know why he hides\nhimself! It will be for the safety of all!\"", "\"Godfrey,\" said he, \"you have always been so fond of islands, that I am\nsure it will please you to hear that this is yours--wholly yours! I make", "Before this reality, however, Godfrey, let it be said to his credit, did\nnot quail. But as before everything it was best for him to ascertain the", "\"It is I! I! Godfrey!\"\n\n\"Godfrey?\" asked the professor.", "\"Don't say such things, Godfrey,\" exclaimed Tartlet. \"No! Don't joke\nabout such things! The mere supposition will kill me! You are laughing\nat me, are you not?\"", "This was what Godfrey did.", "\"What! all of them?\" repeated Godfrey, a little ashamed at having been\ntaken in by these artifices.\n\n\"Yes! Things were going too smoothly in your island, and we had to get\nup a little excitement!\"", "IN WHICH GODFREY AGAIN SEES A SLIGHT SMOKE OVER ANOTHER PART OF THE\nISLAND.", "Godfrey set to work. He knelt down by Tartlet; he unloosed the life-belt\nand rubbed him vigorously. He noticed at last a light breath on the", "And this, under the keeping of Providence, was what was done, but not\nuntil after Godfrey, in remembrance of his uncle, William W. Kolderup,", "Godfrey spoke to him.\n\nTartlet shook his head, then he gave utterance to a hoarse exclamation,\nfollowed by incoherent words.\n\nGodfrey shook him violently.", "\"And never forget, Godfrey,\" added William W. Kolderup, \"the device\nwhich the _Dream_ bears on her stern, 'Confide, recte agens.'\"", "However, Godfrey could not and would not remain in doubt. He was\ndetermined to ascertain, yes or no, if the proa had definitely left the\nisland.", "\"All right,\" replied William W. Kolderup, fixing a curious look on his\nnephew.\n\nThen he muttered between his teeth,--\n\n\"The sooner the better.\"", "And at the moment he felt a hand placed on his chest, while all the\nblack's physiognomy seemed to ask him what his name was.\n\n\"Godfrey!\" answered he.", "\"With you, Godfrey--yes!\"\n\n\"No--alone!\"\n\n\"Alone! Never!\"\n\n\"Come along then!\"", "Godfrey had no thought of pursuing them. What was the good of killing\nthem? They had saved the victim. They had put them to flight, that was", "Godfrey was not ten paces away from it, when he stopped as if rooted to\nthe soil, and exclaimed,--\n\n\"Tartlet!\"\n\nIt was the professor of dancing and deportment." ], [ "Phina Hollaney was the goddaughter of William W. Kolderup. An orphan, he\nhad educated her, and given her the right to consider herself his", "were in favour of it. Besides, William W. Kolderup desired the marriage.\nThe two people whom he loved most in this world were sure of a fortune\nfrom him, without taking into consideration whether Phina cared for", "\"Phina?\" answered the young man.\n\n\"Where are you now?\"\n\n\"Near you--in this room--\"", "Perhaps Phina's heart was nearly full, she had made up her mind to say\nnothing.\n\nIt was then that William W. Kolderup, without noticing Godfrey,\napproached the piano.", "\"What could I do, Mr. Kolderup? I can sometimes resist you--but Miss\nPhina--it was too difficult! And four months ago, when you sent me to\nlook round the island, I landed the box from my boat--\"", "\"Yes, Mr. Kolderup,\" said Carefinotu, to whom we had better return his\nproper name of Jup Brass. \"Yes, a real live crocodile, which went for", "\"If--\"\n\n\"If you will let me, and Phina will wait for me.\"\n\n\"Wait for you! An intended who intends until he gets away!\" exclaimed\nWilliam W. Kolderup.", "\"Dearest Phina!\" said Godfrey, seizing the young lady's hand.\n\n\"Turcott, you promised to keep the secret!\" said Phina with a blush.", "Phina had understood him, and without more discussion was about to bring\nmatters to a crisis, when the door of the room opened.", "Godfrey, or Godfrey cared for Phina. It would also simplify the\nbookkeeping of the commercial house. Ever since their births an account", "way with Phina, then become Mrs. Morgan, would be clearly impossible! He\nmust go alone or leave it alone. Besides, once his fancy had passed", "used to please him; and Phina, like a thoughtful, serious girl, soon\nnoticed this.", "Godfrey had risen. He had walked a few steps without noticing Phina,\nand unconsciously his index finger touched one of the keys of the piano.", "The good man was thinking of Phina.\n\n\n\n\nCHAPTER IX.", "In short, Godfrey was enchanted.\n\nPhina, anxious without appearing to be so, was resigned to this\napprenticeship.", "comfortably as possible. He had given Phina's photograph the best place\non the best lighted panel of his room. A cot to sleep on, a lavatory for", "\"The date of your wedding!\" said William W. Kolderup. \"Not the date of\nmine, I suppose!\"\n\n\"Perhaps that is more urgent?\" said Phina.", "special position in Phina's room. As for Tartlet, who had no betrothed\nand who was not thinking of having one at present, he thought it better", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "\"I!\" answered Godfrey. \"I! All my life!\"\n\nPhina stepped forward.\n\n\"Godfrey,\" she asked, \"would you like to remain on your island?\"" ], [ "\"You want to try travelling before you marry Phina! Well! You shall try\nit, my nephew!\"\n\nHe made two or three steps and stopping with crossed arms before\nGodfrey, asked,--", "\"I!\" answered Godfrey. \"I! All my life!\"\n\nPhina stepped forward.\n\n\"Godfrey,\" she asked, \"would you like to remain on your island?\"", "\"Yes, the departure of Godfrey,\" continued Phina, \"of Godfrey who,\nbefore he gets married, wants to see a little of the world!\"", "\"You must let Godfrey go,\" pleaded Phina; \"I have thought it carefully\nover. I am young, but really Godfrey is younger. Travel will age him,", "\"And then, dearest Phina,\" said Godfrey, \"you will not be afraid to pass\na season there with me?\"", "In short, Godfrey was enchanted.\n\nPhina, anxious without appearing to be so, was resigned to this\napprenticeship.", "Godfrey had risen. He had walked a few steps without noticing Phina,\nand unconsciously his index finger touched one of the keys of the piano.", "I shall surprise no one in saying that Godfrey Morgan was going to\nmarry Phina Hollaney. Was he likely to do otherwise? All the proprieties", "\"If we must part, it had better be before marriage than afterwards!\"\n\nAnd thus it was that she had spoken to Godfrey in these significant\nwords.", "Godfrey, or Godfrey cared for Phina. It would also simplify the\nbookkeeping of the commercial house. Ever since their births an account", "And hence it was that Godfrey was now absent in the presence of Phina,\nindifferent when she spoke to him, deaf when she played the airs which", "Before this reality, however, Godfrey, let it be said to his credit, did\nnot quail. But as before everything it was best for him to ascertain the", "\"Dearest Phina!\" said Godfrey, seizing the young lady's hand.\n\n\"Turcott, you promised to keep the secret!\" said Phina with a blush.", "Before the long voyage together through life, which men call marriage,\nGodfrey then was to make the tour of the world--a journey sometimes even", "\"You are serious,\" he asked.\n\n\"Quite serious!\" interrupted Phina, while Godfrey contented himself with\nmaking a sign of affirmation.", "However, Godfrey could not and would not remain in doubt. He was\ndetermined to ascertain, yes or no, if the proa had definitely left the\nisland.", "way with Phina, then become Mrs. Morgan, would be clearly impossible! He\nmust go alone or leave it alone. Besides, once his fancy had passed", "After all, he was a brave man, in spite of his eccentricities. Everybody\nliked him. He liked Godfrey, he liked Phina, and they liked him. He had", "An error, because at the outset Godfrey felt that he was not yet old\nenough for the serious undertaking of marriage; an omission, because he\nhad not been consulted on the subject.", "\"If--\"\n\n\"If you will let me, and Phina will wait for me.\"\n\n\"Wait for you! An intended who intends until he gets away!\" exclaimed\nWilliam W. Kolderup." ], [ "\"Tartlet,\" was the reply of that individual in a most amiable tone.\n\n\"Tartlet!\" repeated Carefinotu.", "In which T. Artelett, otherwise Tartlet, is duly introduced\nto the reader 35\n\n\nCHAPTER V.", "IN WHICH T. ARTELETT, OTHERWISE TARTLET, IS DULY INTRODUCED TO THE\nREADER.", "CHAPTER XX.\n\nIN WHICH TARTLET REITERATES IN EVERY KEY THAT HE WOULD RATHER BE OFF.", "Tartlet was a bachelor, and aged about forty-five at the time we\nintroduce him to our readers. But for a dozen years or so his marriage\nwith a lady of somewhat mature age had been expected to take place.", "\"Tartlet! My dear Tartlet!\" shouted Godfrey, lightly raising his head.\n\nThe head with his mass of tumbled hair gave an affirmative nod.", "If any of them showed particular satisfaction at this mode of procedure,\nit was Tartlet.", "\"It is Tartlet!\" exclaimed Godfrey. \"The unfortunate man has been\nattacked! Quick! quick!\"", "\"My dear Godfrey!\" exclaimed Tartlet.\n\n\"My good Tartlet!\" replied Godfrey.", "\"Savages! Yes! They are really savages!\" he exclaimed.\n\nTartlet felt his knees knock together, and a tremor of fright ran\nthrough his body.", "adventures he had recommended to his pupil! Here, decidedly, was\nsomething to trouble a brain much more solid than his, and the\nunfortunate Tartlet for the first time in his life felt an involuntary", "Tartlet in the corner, groaned and lamented, and moaned again. He would\nhave asked Godfrey all about it, but Godfrey was not in the humour to", "Godfrey was not ten paces away from it, when he stopped as if rooted to\nthe soil, and exclaimed,--\n\n\"Tartlet!\"\n\nIt was the professor of dancing and deportment.", "If T. Artelett had been a Parisian, his compatriots would not have\nfailed to nickname him Tartlet, but as he had already received this", "And Tartlet, in a reverie, as he saw this child of Polynesia so demean\nhimself, inquired if these steps, perhaps a little too characteristic,", "It was Tartlet, who, without looking--for the excellent man kept his\neyes shut--had just fired, and the stock of the musket on his right", "Tartlet, who was watching the different phases of the cooking of the\nsoup. At a mirror, which was held out to him, he betrayed consummate", "\"Don't say such things, Godfrey,\" exclaimed Tartlet. \"No! Don't joke\nabout such things! The mere supposition will kill me! You are laughing\nat me, are you not?\"", "Carefinotu rushed towards Tartlet and lifted him up. Tartlet had escaped\nwith a fright! But what a fright!\n\nIt was six o'clock in the evening.", "As for Tartlet, he was not the sort of man to be humbugged. For his part\nhe would admit nothing, neither the sham shipwreck, nor the sham" ], [ "The island was Spencer Island, which lies in the west-south-west of the\nBay of San Francisco, about 460 miles from the Californian coast, in 32Â°", "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "quite out of the way of all maritime or commercial traffic, although\nSpencer Island was relatively, not very far off, and situated\npractically in American waters. But thereabouts the regular currents", "It is in the centre of this enormous eddy, which has hardly an\nappreciable movement, that Spencer Island is situated. And so it is", "William W. Kolderup at this was quite disconcerted. He knew nothing\nabout it. Spencer Island--it had been known for a long time--never had", "\"The new name is a good one, and we will keep to it,\" answered the\nuncle; \"but for geographers this is Spencer Island, only three days'", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "Spencer Island fell for four millions of dollars to William W. Kolderup,\nof San Francisco.", "\"But with those terrible creatures,\" said Phina, \"Spencer Island--\"\n\n\"Phina Island--\" interrupted Godfrey.", "safely to land he brought her up and steamed away. Three days later he\ngot back to San Francisco, and he it is who has brought us to Spencer\nIsland on the date we fixed!\"", "matter, however simple. The truth was this: situated as it was, Spencer\nIsland had for a long time been known as a station perfectly useless.\nThere could be no practical result from settling there. In a military", "And Congress had decided not to sell the island under the price. Eleven\nhundred thousand dollars, not a cent less, or Spencer Island would\nremain the property of the Union.", "shortest road, would gain no advantage by crossing it. Hence ships of\nneither class know anything of Spencer Island, which rises above the\nwaters like the isolated summit of one of the submarine mountains of the", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "\"That is so? No mistake?\"\n\n\"No withdrawal?\"\n\n\"For twelve hundred thousand dollars, Spencer Island!\"", "had capped the reserve price of Spencer Island, there was an\nirresistible sensation, the chaffing ceased instantly, jokes gave place\nto interjections of admiration, and cheers resounded through the saloon.", "\"Where have you been, then?\"\n\n\"On the island!\"\n\n\"You!\" exclaimed Godfrey.\n\n\"Yes.\"\n\n\"Then the smoke?\"", "15' north latitude, and 145Â° 18' west longitude, reckoning from\nGreenwich. It would be impossible to imagine a more isolated position,", "Still sea--west of him, south of him, north of him! The immense ocean\nsurrounding him on all sides!\n\n\"An island!\"" ], [ "\"Yes, Mr. Kolderup,\" said Carefinotu, to whom we had better return his\nproper name of Jup Brass. \"Yes, a real live crocodile, which went for", "Kolderup was too practical a man not to put to some purpose a journey of\n15,000 or 16,000 leagues across all the oceans of the globe. His ship", "At this very moment when we introduce him to our readers with all the\nconsideration such a many-sided man merits, William W. Kolderup had 2000", "A man extraordinarily rich, who counted dollars by the million as other\nmen do by the thousand; such was William W. Kolderup.", "Kolderup. That excellent man will hardly refuse to send on some\nnecessary cash for us to get back to Montgomery Street, for I have not\ngot a cent with me!\"", "William W. Kolderup had returned to his mansion in Montgomery Street.\nThis thoroughfare is the Regent Street, the Broadway, the Boulevard des", "Phina Hollaney was the goddaughter of William W. Kolderup. An orphan, he\nhad educated her, and given her the right to consider herself his", "A few days afterwards there was celebrated with great pomp the wedding\nof the nephew and pupil of William W. Kolderup. That the young couple\nwere made much of by all the friends of the wealthy merchant can easily\nbe imagined.", "Seng Vou advanced towards William W. Kolderup.", "When William W. Kolderup had read these words he burst into a shout of\nlaughter. He understood all.", "the chief of the Polynesian tribe--one of the servants of the Kolderup\nestablishment, who turned out to be as well as he was.", "As for William W. Kolderup, since he had arrived at a decision, he had\nbecome very uncommunicative, especially to his nephew. The closed lips,", "\"All right,\" replied William W. Kolderup, fixing a curious look on his\nnephew.\n\nThen he muttered between his teeth,--\n\n\"The sooner the better.\"", "William W. Kolderup appeared, seemingly a little preoccupied as usual.\nHere was the merchant who had just finished one negotiation and was\nabout to begin another.", "Yes! The nephew of William W. Kolderup was in this state when his uncle\nwas thinking of binding him in the chains of marriage. To travel in this", "\"You want to go away--you?\" said William W. Kolderup, stepping towards\nthe young man and raising his arms as if he were afraid that this\n\"rascal of a nephew\" would escape him.", "\"And on what raging ocean has Mr. Kolderup decided that his vessel\nshould bear his nephew and me?\"\n\n\"The Pacific, at first.\"", "\"Sham!\" replied William W. Kolderup, who had never seemed in such a good\nhumour before. \"The _Dream_ was quietly sunk by means of her water", "\"We shall not be really at home,\" replied the professor drily, \"until we\nare in Montgomery Street, with your Uncle Kolderup.\"\n\nThere was no disputing this opinion.", "\"Yes! Assuredly!\" replied William W. Kolderup; \"not only will his\ntravels bring out the talents of my nephew, but the talents of the\nprofessor to whom he owes so correct a bearing.\"" ], [ "Before the long voyage together through life, which men call marriage,\nGodfrey then was to make the tour of the world--a journey sometimes even", "Godfrey bore the trial of the ship's motion without even losing his\ngood-humour for a moment. Evidently he was fond of the sea.\n\nBut Tartlet was not fond of the sea, and it served him out.", "\"Yes, the departure of Godfrey,\" continued Phina, \"of Godfrey who,\nbefore he gets married, wants to see a little of the world!\"", "\"Godfrey,\" said he, \"you have always been so fond of islands, that I am\nsure it will please you to hear that this is yours--wholly yours! I make", "Things had reached this pass; for a year or more Godfrey had been\nimmersed in books of voyages of recent date, and had passionately", "Godfrey could not contain himself for joy. Had he expressly ordered the\ntrousseau for the use of shipwrecked folks in difficulties, he could not\nhave made it more complete.", "Godfrey listened. It was only an illusion of his over-excited brain.\nWhen the day came, he had come to look upon the apparition of the ship\nas but a dream, which had commenced about three o'clock on the previous\nafternoon.", "Godfrey's heart beat high.\n\n\"A ship!\" he exclaimed.", "It was a vessel manned by savages which Godfrey saw approaching the\nisland. Built like a Polynesian canoe, she carried a large sail of woven", "When Godfrey had found his fairly acceptable shelter, his sleep in it\nwas by no means undisturbed. His brain travelled as it had never done", "Godfrey was thoroughly happy. This sailing over a beautiful sea, under a\nbeautiful sky, could anything be more cheering, could anything give more", "Godfrey passed a sorrowful night. Every now and then jumping up as if he\nheard a cannon out at sea, he would ask himself if the steamer had not", "Godfrey did not hide from himself that the chances were a thousand to\none that he was lost. He no longer thought of making the tour of the", "As he uttered the word Godfrey felt his heart shrink. The thought had\nnot occurred to him that he was on an island. And yet such was the case!", "\"Take it quietly, Tartlet,\" replied Godfrey. \"A ship was made to float!\nThere are reasons for all this.\"\n\n\"I tell you there are none.\"", "However, Godfrey could not and would not remain in doubt. He was\ndetermined to ascertain, yes or no, if the proa had definitely left the\nisland.", "\"Land! land!\" exclaimed Godfrey.\n\nAnd he stretched his hands towards the shore-line, as he knelt on the\nreef and offered his thanks to Heaven.", "Godfrey was strolling in the morning along that part of the shore which\nformed the beach of the large bight to which he had given the name of", "Or would not rather the semi-visible smoke disappear with the vessel\ntowards the north-west or south-west of the horizon?\n\nFor two hours Godfrey was a prey to alternating emotions more easy to\nindicate than to describe.", "\"What good should I have done?\" asked Godfrey. \"Besides, I thought that\nthe vessel had disappeared! But that boat might belong to her! Let us go\nand see!\"" ], [ "As he uttered the word Godfrey felt his heart shrink. The thought had\nnot occurred to him that he was on an island. And yet such was the case!", "He had, therefore, to satisfy himself with illusions. If Godfrey were\nreally cast on an isolated rock in the Pacific, it was death to him", "But if Godfrey took all these precautions so as to make existence a\nlittle more possible on this lone isle of the Pacific, in case he and", "\"Godfrey,\" said he, \"you have always been so fond of islands, that I am\nsure it will please you to hear that this is yours--wholly yours! I make", "Godfrey knew not what to do. Anyhow his immediate care must be to watch\nif they set foot on the island. He could think of other things\nafterwards.", "\"Where have you been, then?\"\n\n\"On the island!\"\n\n\"You!\" exclaimed Godfrey.\n\n\"Yes.\"\n\n\"Then the smoke?\"", "\"I!\" answered Godfrey. \"I! All my life!\"\n\nPhina stepped forward.\n\n\"Godfrey,\" she asked, \"would you like to remain on your island?\"", "\"What! all of them?\" repeated Godfrey, a little ashamed at having been\ntaken in by these artifices.\n\n\"Yes! Things were going too smoothly in your island, and we had to get\nup a little excitement!\"", "It was a vessel manned by savages which Godfrey saw approaching the\nisland. Built like a Polynesian canoe, she carried a large sail of woven", "of making their life of isolation a little more agreeable, Godfrey was\nalready thinking of how to escape from Phina Island. Could he not now\nconstruct a vessel strong enough to enable them to reach if not some", "\"I beg your pardon, Tartlet,\" replied Godfrey; \"we are savages, and\nnothing else.\"\n\n\"As you please; but you will see that we shall leave the island before\nwe have worn the clothes!\"", "Most certainly Godfrey and he did then find themselves in the same\nposition as the hero of Daniel Defoe when the savages landed on his\nisland. They were to assist, without doubt, at the same scene of\ncannibalism.", "As for Godfrey he had been able to reach a large lofty rock away from\nthe surf. There, shouting vainly in the darkness, hearing no voice in", "Godfrey was alone! He could only count on himself to battle with the\ndangers of every sort which environed him!", "There was nothing astonishing in Godfrey being deep in thought. It\nseemed to him that the island was now under the empire of some occult", "Godfrey called up all his geographical reminiscences, in order to\ndiscover what island of the Pacific this could be. In reasoning it out\nhe came to this conclusion.", "Godfrey then occupied himself in trying to ascertain if the island was\ninhabited in the part which he had not yet been able to visit.", "Godfrey and the black had gone out hunting in the central forest, at the\nfoot of the hill which formed the principal ridge of Phina Island. Since", "Godfrey had never again seen that inexplicable and undiscoverable smoke\non the island; but on this day, about three o'clock in the afternoon,", "The trial was a rough one to begin with, but, we repeat, Godfrey had not\ncome out for a simple promenade. He himself put it very well when he" ], [ "on this occasion he was greatly assisted by Carefinotu. The negro, not\nwithout effort, understood what Godfrey required. He it was who", "Godfrey rushed after him.\n\nWhen he reached the bank, he saw Carefinotu struggling with the tiger,\nholding him by the throat, and at last stabbing him to the heart with a\npowerful blow.", "However, Godfrey and Carefinotu, without troubling themselves about\nTartlet, who could be of no use, were keeping as cool as they could, and", "\"To-morrow,\" said Godfrey, \"I will go out, and Carefinotu will go with\nme.\"\n\n\"Agreed!\" answered Tartlet.", "Godfrey, after rejoining Carefinotu, found that in the struggle the\nblack had only received a few scratches. Then, deeply anxious about the\nfuture, he retook the road to Will Tree.", "It was Carefinotu! Yes, Carefinotu had just pronounced these words, and\nin that English language which up to then he had seemed unable to speak\nor to understand!", "\"Come on! come on!\" exclaimed Godfrey, motioning to Carefinotu to\nquicken the pace.\n\nHe was uneasy. Strange presentiments agitated him without his being able\nto control them.", "\"There has been some one here!\" exclaimed Godfrey. \"Some one not a\nmoment ago! We must find out who!\"\n\nHe shouted. No response! Carefinotu gave a terrible yell. No one\nappeared!", "Godfrey and Carefinotu were almost torn from their resting-places. Had\nTartlet not been lashed to the branch, he would assuredly have been\nhurled to the ground.", "A moment afterwards Carefinotu and he descended to the foot of Will\nTree. Then Godfrey, informing Tartlet of what had passed and what he was\ngoing to do, proposed for him to accompany them to the north coast.", "After going about twenty yards they stopped. Godfrey took breath, and,\nturning towards Carefinotu, interrogated him with a look.", "To jump at Godfrey, seize him in spite of himself, push him into the\ndwelling and slam the door, was done by Carefinotu like a flash of\nlightning.", "But before Godfrey could stop him, Carefinotu had rushed at the place\nwhere the tiger disappeared, his hunting-knife in his hand.", "Godfrey, thinking Carefinotu would not have disturbed him unless he had\nserious reason, took his glasses with him and climbed up the interior\npassage, and passing through the hole, seated himself astride of one of\nthe main branches.", "And he it was who attempted to learn the idiom spoken by Carefinotu.\nGodfrey had warned him that the accomplishment would be of little use.", "Then, while Godfrey selected a place whence he could command the\nopening, Carefinotu went to another spot whence he could deliver a cross\nfire.\n\nAnd they waited.", "Godfrey and Carefinotu were busied in collecting the mollusks, at the\nextreme end of Dream Bay, when they perceived out at sea an innumerable", "\"We must open the door!\" exclaimed Godfrey.\n\nCarefinotu nodded his head. He did not want to know the language to\nunderstand what Godfrey meant.", "Gradually, Godfrey became greatly attached to this negro. There was only\none part of his progress in which Carefinotu showed refractoriness; that", "Godfrey had no thought of pursuing them. What was the good of killing\nthem? They had saved the victim. They had put them to flight, that was" ] ]	[ "Where does Godfrey see Phina after being rescued?", "What does Godfrey want to do before marrying Phina?", "What does Godfrey's uncle send him on?", "Who commands the Dream?", "What is the US Government auctioning off?", "Who won the auction of Spencer Island?", "Whose steamship does Godfrey go in for the sea voyage?", "Who lost the auction to Kolderup?", "How much was Spencer Island bought for?", "What is the name of the Island that is auctioned off?", "Who wins the auction?", "What boat does Captain Turcott captain?", "What is Professor T. Artlett's nickname?", "How much did Kolderup spend to buy the island?", "Which group of people threatened them on the deserted island?", "Who is Godfrey's love interest, who he tours the world with at the end?", "Who loses the auction and vows revenge?", "Off which state's coastline is Spencer island?", "What is the relationship between Godfrey and Professor Artlett?", "How much did Kolderup pay at auction for the island?", "What is Godfrey's relation to Kolderup?", "What is Phina's relationship to Kolderup?", "What did Godfrey ask to do before marrying Phina?", "Who is Tartlet?", "Where is Spencer Island located?", "Where is Kolderup from?", "What is the name of the ship used for Godfrey's world tour?", "Why was Godfrey marooned on an island?", "From whom did Godfrey rescue Carefinotu?" ]	[ [ "San Francisco.", "in San Francisco" ], [ "Go on a world tour.", "Godfrey wants to go on a world tour." ], [ "A sea voyage.", "one of his steamships, the Dream" ], [ "Captain Turcott.", "Captain Turcott" ], [ "Spencer Island.", "Spencer Island" ], [ "William Kolderup.", "Kolderup" ], [ "Kolderup's steamship/", "His uncle Kolderup's steamship." ], [ "Taskinar.", "J. R. Taskinar" ], [ "Four million dollars.", "Four million dollars." ], [ "Spencer Island", "Spencer Island" ], [ "William Kolderup.", "Kolderup" ], [ "The Dream.", "The Dream." ], [ "He is also known as Tartlet", "Tartlet" ], [ "Four million dollars.", "$4 million" ], [ "Polynesians.", "Polynesians." ], [ "Phina.", "Phina" ], [ "J. R. Taskingar", "J.R Taskinar" ], [ "It is 460 miles off of California's coast.", "California" ], [ "Artlett is his mentor, dance teacher, and dance instructor.", "Professor Artlett was Godfrey's mentor, teacher, and dance instructor." ], [ "Four million dollars.", "Four Million Dollars." ], [ "He is his nephew.", "Godfrey is Kolderup's nephew" ], [ "She is his adopted daughter.", "She is his adopted goddaughter." ], [ "Undertake a world tour.", "to go on a world tour" ], [ "Godfrey's mentor, teacher, and dance instructor.", "Godfrey's teacher" ], [ "Off of the California Coast", "460 miles off the California coast" ], [ "San Francisco", "San Francisco " ], [ "The Dream", "the Dream" ], [ "The Dream sank.", "The ship he was on, the Dream, was sinking and he was told to abandon ship, he jumped off and swam ashore" ], [ "The Polynesians", "The Polynesians" ] ]	55ac84541ede6e0f1106b2e4ab01a2bac2f21e39	test
[ [ "Later, we see Travis' taxi speeding down the rain-slicked\navenue. The action is periodically accompanied by Travis'\nnarration. He is reading from a haphazard personal diary.", "A taxi quickly pulls up.\n\nTravis feebly protests to no one in particular:\n\n TRAVIS\n But I got a taxi.", "PERSONNEL OFFICER\n So why do you want to be a taxi\n driver?\n\n TRAVIS\n I can't sleep nights.", "BETSY\n So why did you decide to drive a\n taxi at night?", "MAN IN BUSINESS SUIT\n Taxi! Taxi!\n\nTravis writes up his trip card and drives away.", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off.", "WIZARD\n The taxi life, you mean.\n\n TRAVIS\n Yeah.\n\n WIZARD\n (nods)\n I know.", "NIGHT has fallen: TRAVIS' taxi careens down 10th Ave. He\nspeeds, honks, accelerates quickly. The glare of speeding\nyellow and red lights flash through the night.", "TRAVIS' taxi pulls away.\n\nC.U. TRAVIS at the wheel. A FEMALE VOICE says:\n\n 110.", "TAXI DRIVER\n\n by", "night's activity. Only the taxis seem to rise above the\nsituation: They glide effortlessly through the rain and\ntraffic, picking up whom they choose, going where they please.", "An "Off Duty" taxi pulls up to the curb. Travis gets in.\n\nINSIDE TAXI", ""When it rains, the boss of the city is the taxi driver" -\nso goes the cabbie's maxim, proven true by this particular", "TRAVIS\n Well, Betsy mam, I drive a taxi at\n night.\n\n 28.", "TRAVIS\n Oh, yeah. People will do anything\n in front of a taxi driver. I mean", "He has almost hit a YOUNG GIRL recklessly crossing the\nstreet. She thumps her hand on the taxi hood to regain her\nbalance and stares in shock through the front window. C.U.\nGIRL's face.", "TRAVIS' taxi pulls over, letting out a fare.\n\nTRAVIS pockets his fare, but the rear right door doesn't\nslam -- instead there is the SOUND of another person jumping\ninto the cab.", "TRAVIS\n Yeah, well...\n (a beat)\n In a cab you get to meet people.\n You meet lotsa people. It's good\n for you.", "TRAVIS\n I drive a taxi. You tried to get\n away one night. Remember?\n\n 84.\n\n\n IRIS\n No.", "BETSY\n That taxi driver. The one that's\n been sitting here.\n\n TOM\n How long has he been there?" ], [ "TRAVIS' eyes follow her and she rejoins a GIRLFRIEND. They\nare both dressed as hippie hookers: sloppy clothes, boots,", "thirty seconds. Her gestures are too broad, her voice too\nmannered. We sympathize with Travis' paternal respect.\nThis girl is in trouble.", "Travis rarely smiles, but when he does his whole face glows.\nIt is as if he is able to tap an inner reserve of charm\nunknown even to himself. Betsy is completely disarmed.", "her GIRLFRIEND. She walks over to the taxi, loans in the\nopen left front window and gives TRAVIS the come-on disguised\nas an innocent question:", "BETSY is momentarily taken back, but pleased. TRAVIS'\npresence has a definite sexual charge. He has those star\nqualities BETSY looks for: She senses there is something", "Travis watches the hippie couple closely, his feeling\nsharply divided between cultural contempt and morose jealousy.\nWhy should these people enjoy the love and intimacy that has", "Travis watches intently. The color, however, is slowly\ndraining from Betsy's cheeks. One thought fills her mind:\n"What am I doing here?"", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "A young SALESGIRL sees his plight, walks over and asks if he\nneeds any help. Travis INAUDIBLY says a name to her, although\nthe name is obviously Kris Kristofferson.", "Later, we see Travis' taxi speeding down the rain-slicked\navenue. The action is periodically accompanied by Travis'\nnarration. He is reading from a haphazard personal diary.", "movies he sees, this is respectable. But then there's also\nsomething that Travis could not even acknowledge, much less\nadmit: That he really wants to get this pure white girl into", "TRAVIS is on his best behavior. He smiles slightly:\n\n TRAVIS\n Because you are the most beautiful\n woman I have ever seen.", "TRAVIS BICKLE, age 26, lean, hard, the consummate loner. On\nthe surface he appears good-looking, even handsome; he has a", "TRAVIS\n But... Betsy...\n\n BETSY\n I'm getting a taxi.\n\nShe walks to the curb.", "TRAVIS\n What is your name? My name is Travis.\n\n CONCESSION GIRL\n Awh, come off it, Pal.", "TRAVIS\n (shy)\n Hello.\n\n IRIS\n You looking for some action?\n\n TRAVIS\n Well...I guess so.", "Travis is in C.U. in the middle of the floor doing push-ups.\nHe is bareback, wearing only his jeans. There is a long scar\nacross his left side.", "Travis' cold piercingly eyes Stare out from his cab parked\nacross the street from Palantine Headquarters. He is like a\nlone wolf watching the warm campfires of civilization from a\ndistance. A thin red dot glows from his cigarette.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "CAMERA CLOSES IN on Travis' face: He is watching the woman\nin the seventh floor window with complete and total" ], [ "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "TRAVIS\n (to himself)\n Damn.\n\n BETSY\n What's wrong?", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "Betsy, realizing Travis remembers her precisely, scrambles\nfor a polite rationale for her behavior:", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "IRIS unbuttons her shirt, revealing her small pathetic\nbreasts -- two young doves hiding from a winter wind.\nTRAVIS is unnerved by her partial nudity.", "Travis watches intently. The color, however, is slowly\ndraining from Betsy's cheeks. One thought fills her mind:\n"What am I doing here?"", "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "Betsy is walking down a midtown street when Travis suddenly\nappears before her. He has been waiting.\n\nTravis tries to make conversation but she doesn't listen.\nShe motions for him to go away and keeps on walking.", "Travis makes an awkward gesture to escort Betsy into the\ntheatre. Betsy looks at the tickets, at the theatre, at\nTravis. She mentally shakes her head and walks toward the", "TRAVIS is on his best behavior. He smiles slightly:\n\n TRAVIS\n Because you are the most beautiful\n woman I have ever seen.", "TRAVIS (V.O.)\n But after the first call, she would\n no longer come to the phone.\n\nTravis holds the receiver in his hand. The other party has\nhung up.", "thirty seconds. Her gestures are too broad, her voice too\nmannered. We sympathize with Travis' paternal respect.\nThis girl is in trouble.", "BETSY is momentarily taken back, but pleased. TRAVIS'\npresence has a definite sexual charge. He has those star\nqualities BETSY looks for: She senses there is something", "TRAVIS\n (hesitant)\n Well... mostly...\n\n BETSY\n My God!", "Travis watches the hippie couple closely, his feeling\nsharply divided between cultural contempt and morose jealousy.\nWhy should these people enjoy the love and intimacy that has", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "Travis is flabbergasted by Betsy's blunt language. His arm\nstill gestures toward the marquees, his lips continue to\nmove, but words do not come out.", "Betsy laughs. Travis continues:\n\n 32.", "Travis seems confused. He is so much part of his own world,\nhe fails to comprehend another's world. Compared to the" ], [ "Easy Andy is a later version of the fast-talking, good-\nlooking kid in college who was always making money on one\nscheme or another. In high school he sold lottery tickets,", "DOUGH-BOY\n Hey Travis. This here's Easy Andy.\n He's a travelling salesman.", "ANDY\n That's an expensive gun.\n\n TRAVIS\n I got money.", "ANDY\n This is fine, Dough-Boy\n (to Travis)\n Pay Dough-Boy here.", "In the back seat, beside Travis, sits ANDY, an attractive\nyoung man about 29. He wears a pin-striped suit, white shirt", "ANDY\n You like ball games?\n\n TRAVIS\n Huh?", "ANDY (CONT'D)\n Some of these guns are like toys,\n but a Smith and Wesson, man, you", "ANDY\n Hello Travis.\n\nTravis nods as the taxi speeds off.", "treasure. Andy opens the chambers and cradles the long\neight-inch barrel in his palm. The .44 is a huge, oversize\ninhuman gun.", "Travis hands Andy the bills. Andy counts them and gives\nTravis a twenty and five.", "ANDY\n I can get you front and center.\n What do you like? I can get you\n Mets, Knicks, Rangers? Hell, I can\n get you the Mayor's box.", "ANDY\n Sure.", "ANDY\n (through counting)\n It's he'll out there all right. A", "ANDY\n Dough-Boy probably told you I don't\n carry any Saturday Night Specials\n or crap like that. It's all out of", "Travis follows Andy up the worn carpeted stairs and down the\nhallway. Andy unlocks the door to one of the rooms.", "Andy pulls a gym bag from under his bed. He wraps the gun in\nthe sheet in the bag and zips it up. An identical gym bag\ncan be partially seen under the bed. He hands Travis the bag.", "Andy opens the suitcases: Stacked in grey packing foam are\nrows and rows of brand new hand guns.\n\n TRAVIS\n You got a .44 Magnum?", "current is turned on and the air is filled with the\nelectricity of his personality. Travis' inner intensity sets\nAndy back a bit, but he quickly recovers.", "Andy locks the door behind them, steps over to the closet,\nunlocks it and pulls out two grey Samsonite suitcases - the\nkind you can drive a truck over.", "Andy holds the Magnum out for Travis' inspection. There's a\nworshipful CLOSEUP of the .44 Magnum. It is a monster." ], [ "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "Travis is lost among the hip, young intellectual type that\npopulate the store. He watches the stylish, attractive\nfemale help, unable to come right out and requests what he\ndesires.", "TRAVIS walks over to dairy counter in rear of store, picks\nout a pint of chocolate milk, goes over to the open cooler\nand picks through various chilled prepackaged sandwiches.", "Travis holds the .32 Revolver, hefts it, slips it under his\nbelt and pulls his shirt over it. He turns from side to\nside, to see how it rides in his waist.", "SPORT looks into TRAVIS' eyes, saying nothing: he realizes\nthe seriousness of the situation.\n\nTRAVIS pulls his .38 Special and holds it on SPORT, pushing\nhim even further back against the wall.", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "get up when TRAVIS discharges the mighty .44 at him. BLAAM!\nThe hallway reverberates with shock waves and gun powder.", "TRAVIS waves to STOREKEEPER as he walks past counter:\n\n TRAVIS\n Hey 'Melio.\n\nSpanish rhythm and blues blares from a cheap radio.", "The STICK-UP MAN, surprised, turns toward TRAVIS, finding\nonly an exploding .32. The MAN's lower jaw bursts open with", "TRAVIS hesitates a moment, uncertain what to do. The OLD\nMAN reaches in TRAVIS' jacket and pulls out the .38 Special.", "TRAVIS sees this: his eyes meet the SECRET SERVICE MAN's.\nHe recognizes the situation. To his right he spots the\nSECOND SECRET SERVICE MAN.", "Travis looks around helplessly: A cluster of PEDESTRIANS on\nthe crowded street has stopped to watch the argument. Travis\nlooks back at the woman in the porno theatre box office who\nhas also been following the argument.", "TRAVIS reaches over with his right hand and picks up the\nrevolver of the new dead PRIVATE COP.\n\nTRAVIS hoists himself up and sticks the revolver into the\nOLD MAN's mouth.", "Travis' efforts quickly subside when Tom motions to a nearby\nPOLICEMAN. Travis quiets down and walks off.\n\n CUT TO:\n\nEXT.", "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "When TRAVIS returns to the counter with the chocolate milk\nand a sandwich in one hand, he sees a YOUNG BLACK MAN", "TRAVIS, sitting in his chair in his APARTMENT, watching\nafternoon soap opera. He is cleaning his .38 and eating\nfrom a jar of applesauce. Soap opera audio continues.", "There is the sharp SOUND of a GUNSHOT behind TRAVIS: his\nface grimaces in pain. A bullet has ripped through the left\nside of his neck. Blood flows over his left shoulder.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "Travis' body shudders and shakes, his arm as if each recoil\nfrom the giant gun was a direct attack on his masculinity." ], [ "There is a pause. TRAVIS smiles and shrugs apologetically.\nTRAVIS looks at Iris' cigarette. It's burning down to the\nbutt.\n\n TRAVIS\n Well, I tried.", "TRAVIS is getting increasingly panicked, but IRIS only\nthinks this is part of his particular thing and tries to\novercome it.", "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "TRAVIS\n You can't leave 'em to do the same\n to other girls. You should get rid\n of them.\n\n IRIS\n How?", "TRAVIS turns to catch a glimpse of Sport as he walks off\nwith Iris.\n\nTRAVIS shrugs and turns around.\n\nTRAVIS' taxi pulls away.", "IRIS\n I think so. I tried to get into\n your cab one night, and now you\n want to come and take me away.\n\n TRAVIS\n Don't you want to go?", "IRIS\n You want to make it like this?\n (goes for his fly)\n\n\nTRAVIS pushes her hand away. He sits beside her on the edge\nof the bed.", "IRIS unbuttons her shirt, revealing her small pathetic\nbreasts -- two young doves hiding from a winter wind.\nTRAVIS is unnerved by her partial nudity.", "IRIS\n I can leave anytime I want.\n\n TRAVIS\n But that one night?", "IRIS says nothing. After a moment, TRAVIS again sits on the\nbed beside IRIS. She no longer tries to make him.\n\n 86.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "TRAVIS\n (pause)\n What are you going to do about\n Sport and that old bastard?\n\n IRIS\n Just leave'em. There's plenty of\n other girls.", "TRAVIS\n So long, Iris.\n (a beat)\n Sweet Iris.\n (smiles)\n\n\nTRAVIS exits.", "IRIS\n Sure you don't want to come with me?\n\n TRAVIS\n I can't. Otherwise, I would.", "IRIS screams in b.g. TRAVIS looks up:\n\n IRIS\n Don't kill him, Travis! Don't kill\n him!", "IRIS is helped out of the cab by a MAN TRAVIS cannot see.\n\n SPORT\n (to IRIS)\n Come on, baby, let's go. This is\n all a real drag.", "TRAVIS\n Why you hang around with them\n greasers?\n\n IRIS\n A girl needs protection.", "TRAVIS looks around IRIS' room: although dimly lit, the room\nis brightly decorated. There is an orange shag carpet, deep", "IRIS\n I sure hate to go alone...\n\n TRAVIS\n I'll give you the money to go. I\n don't want you to take any from\n those guys.", "IRIS\n (compassionate)\n I understand, mister. It means\n something, really.\n\n TRAVIS\n (getting up)\n Can I see you again?" ], [ "Travis, protesting, follows.\n\n CUT TO:\n\nINT. BUILDING - DAY\n\nTravis speaks intensely into a wall pay phone.", "TRAVIS begins moving up into the crowd.\n\n PALANTINE (CONTD)\n On to victory in Miami Beach next\n month\n (building applause)\n and on to victory next November!", "TRAVIS (V.O.)\n June 11. Eight rallies in six more\n days. The time is coming.\n\n CUT TO:", "TRAVIS' empty taxi sits parked a few blocks away from rally.\nAt this distance, the rally sounds are almost\nindistinguishable.", "TRAVIS sees this: his eyes meet the SECRET SERVICE MAN's.\nHe recognizes the situation. To his right he spots the\nSECOND SECRET SERVICE MAN.", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "reason to be noticed, Travis is one with his surroundings.\nHe wears rider jeans, cowboy boots, a plaid western shirt\nand a worn beige Army jacket with a patch reading, "King", "SECRET SERVICE MAN'S P.O.V.: TRAVIS, his face intense,\npushes his way through the CROWD.\n\nPALANTINE works his way through crowds and cameras.", "Travis' efforts quickly subside when Tom motions to a nearby\nPOLICEMAN. Travis quiets down and walks off.\n\n CUT TO:\n\nEXT.", "TRAVIS hastily works his way back through the CROWD. He\nhears the SECRET SERVICE MAN's voice call out:\n\n SECRET SERVICE MAN\n Detain that man!", "Travis' cold piercingly eyes Stare out from his cab parked\nacross the street from Palantine Headquarters. He is like a\nlone wolf watching the warm campfires of civilization from a\ndistance. A thin red dot glows from his cigarette.", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "TRAVIS rests a moment, collecting himself. Finally, he says:\n\n TRAVIS\n (slowly)\n Do you understand why I came here?", "We see a FULL FIGURE SHOT of TRAVIS: he is standing alone in\nan opening near the fringes of the CROWD.", "Anyone scanning the crowd would immediately light upon\nTRAVIS and think, "There is an assassin."\n\nTRAVIS pulls the vial of red pills from his pocket and\nswallows a couple.", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "TRAVIS checks to see if his .38 is in place (it is), opens\nthe door and exits from the cab.", "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "TRAVIS stares blankly ahead.\n\n CUT TO:", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off." ], [ "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "TRAVIS slumps to his knees. Down the corridor THE OLD MAN\nwith a bloody stump is struggling toward him. TRAVIS turns\nhis .38 toward THE OLD MAN.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "TRAVIS, sitting in his chair in his APARTMENT, watching\nafternoon soap opera. He is cleaning his .38 and eating\nfrom a jar of applesauce. Soap opera audio continues.", "He passes a ajar door and we are suprised to see the room is\nempty--and trashed. Travis lives in a decaying, if not\ncondemned building.\n\n 99.", "TRAVIS sits in driver's seat, thinking a moment. He looks\nto his right: the crumpled $20 bill still lies there,\nuntouched since it was thrown there six hours previously.", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "Watching Travis enter Palantine's Headquarters, we are\nsurprised to realize that Travis is really quite attractive.\nHis deformities are psychological, not physical. He believes\nhe is cursed, and therefore he is.", "TRAVIS (V.O.)\n But after the first call, she would\n no longer come to the phone.\n\nTravis holds the receiver in his hand. The other party has\nhung up.", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "TRAVIS fires the revolver, blowing the back of THE OLD MAN's\nhead off the silencing his protests.", "There is a pause. TRAVIS smiles and shrugs apologetically.\nTRAVIS looks at Iris' cigarette. It's burning down to the\nbutt.\n\n TRAVIS\n Well, I tried.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "TRAVIS sits behind the wheel, coldly staring at something in\nthe distance. His hair, of course, is still clipped short", "There is the sharp SOUND of a GUNSHOT behind TRAVIS: his\nface grimaces in pain. A bullet has ripped through the left\nside of his neck. Blood flows over his left shoulder.", "TRAVIS\n He'd been shot. I didn't know that.\n He just crawled into the back seat,\n said "West 45th Street" and conked\n out." ], [ "IRIS says nothing. After a moment, TRAVIS again sits on the\nbed beside IRIS. She no longer tries to make him.\n\n 86.", "Sport slowly rubs his crotch into her. Iris smiles. She is\nhappy. The music rises.\n\n CUT TO:", "There is a pause. TRAVIS smiles and shrugs apologetically.\nTRAVIS looks at Iris' cigarette. It's burning down to the\nbutt.\n\n TRAVIS\n Well, I tried.", "IRIS unbuttons her shirt, revealing her small pathetic\nbreasts -- two young doves hiding from a winter wind.\nTRAVIS is unnerved by her partial nudity.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "defense. Without the paraphernalia of adulthood, Iris looks\nlike a little girl she is. About 14, 15.", "IRIS\n (compassionate)\n I understand, mister. It means\n something, really.\n\n TRAVIS\n (getting up)\n Can I see you again?", "IRIS sits on the edge of the bed and removes her hat and\ncoat. She takes off her blue-tinted sunglasses--her last", "TRAVIS\n So long, Iris.\n (a beat)\n Sweet Iris.\n (smiles)\n\n\nTRAVIS exits.", "Both men are bleeding profusely as they thrash into IRIS'\nroom. IRIS hides behind the old red velvet sofa, her face\nfrozen in fright.", "This is where IRIS lives: it bears the individual touch of a\nyoung girl.\n\nIRIS lights a cigarette, takes a single puff and places it\nin an ashtray on the bedstand.", "TRAVIS struggles up and collapses on the red velvet sofa,\nhis blood-soaked body blending with the velvet.\n\nIRIS retreats in fright against the far wall.", "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "Sport slowly grinds his hips to hers. Iris starts to move\nwith him. This is what she really wanted. Her man's\nattention.", "TRAVIS turns to catch a glimpse of Sport as he walks off\nwith Iris.\n\nTRAVIS shrugs and turns around.\n\nTRAVIS' taxi pulls away.", "IRIS\n I think so. I tried to get into\n your cab one night, and now you\n want to come and take me away.\n\n TRAVIS\n Don't you want to go?", "Finally, TRAVIS spies the object of his search: IRIS walks\ndown the sidewalk with her GIRLFRIEND. Iris wears her large\nblue sunglasses.", "IRIS is dressed more sensibly, wearing jeans and a maroon\nsweater. Her face is freshly washed and her hair combed out.", "TRAVIS\n (pause)\n What are you going to do about\n Sport and that old bastard?\n\n IRIS\n Just leave'em. There's plenty of\n other girls.", "There is a brief silence. Iris mind continued to whirl at\n78 rpms. She seems to have three subjects on her mind at a\ntime. She welcomes this opportunity to unburden herself." ], [ "reason to be noticed, Travis is one with his surroundings.\nHe wears rider jeans, cowboy boots, a plaid western shirt\nand a worn beige Army jacket with a patch reading, "King", "Travis is in C.U. in the middle of the floor doing push-ups.\nHe is bareback, wearing only his jeans. There is a long scar\nacross his left side.", "TRAVIS\n (looking up)\n Huh?\n\n ANDY\n Vietnam? I saw it on your jacket.\n Where were you? Bet you got to\n handle a lot of weapons out there.", "TRAVIS\n I was in the Army too.\n (beat)\n And I'm good with crowds.", "TRAVIS\n I kinda thought I might make a good\n one. I'm very observant.\n\n SECRET SERVICE MAN\n Oh?", "TRAVIS sees this: his eyes meet the SECRET SERVICE MAN's.\nHe recognizes the situation. To his right he spots the\nSECOND SECRET SERVICE MAN.", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "TRAVIS, trapped under the heavy OLD MAN, reaches down with\nhis right hand and pulls the combat knife from his right calf.", "Seen from a distance - the only way Travis can see them -\nthose are America's chosen youth: Healthy, energetic, well-\ngroomed, attractive, all recruited from the bucolic fields\nof Massachusetts and Connecticut.", "TRAVIS\n You would, huh?\n\n SECRET SERVICE MAN\n (taking out notepad)\n Sure.", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "The PERSONNEL OFFICER is beat and exhausted: he arrives at\nwork exhausted. TRAVIS is something else again. His intense\nsteely gaze is enough to jar even the PERSONNEL OFFICER out\nof his workaday boredom.", "Travis' body shudders and shakes, his arm as if each recoil\nfrom the giant gun was a direct attack on his masculinity.", "There is the sharp SOUND of a GUNSHOT behind TRAVIS: his\nface grimaces in pain. A bullet has ripped through the left\nside of his neck. Blood flows over his left shoulder.", "TRAVIS\n (hesitant)\n Well... mostly...\n\n BETSY\n My God!", "and he wears mirror-reflecting sunglasses. Even though a\ndrop of sweat is working its way down his cheek, TRAVIS\nwears his Army jacket with the bulge on the left side -- the", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "Unable to respond to Betsy's question, Travis picks up where\nhe left off:", "Travis, protesting, follows.\n\n CUT TO:\n\nINT. BUILDING - DAY\n\nTravis speaks intensely into a wall pay phone.", "TRAVIS\n Are you a Secret Service Man?\n\n SECRET SERVICE MAN\n (indifferently)\n Why do you ask?" ], [ "TRAVIS (V.O.)\n Twelve hours of work and I still\n cannot sleep. The days dwindle on\n forever and do not end.\n\n FADE TO:", "Travis is now drifting in and out of the New York City night\nlife, a dark shadow among darker shadows. Not noticed, no", "TRAVIS (V.O.)\n I'm working a single now, which\n means stretch-shifts, six to six,\n sometimes six to eight in the a.m.,\n six days a week.", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "Sometimes after 2:00 a.m., TRAVIS pulls his cab to the curb\nnear an all-night delicatessen in Spanish Harlem. The\nstreets are relatively deserted.", "TRAVIS\n I work a single, which means\n there's no replacement - no second\n man on the cab. Six to six,\n sometimes eight. Seventy-two hours\n a week.", "that. But I didn't have anything to\n do at night. I got kinda lonely,\n you know, just wandering around. So\n I decided to works nights. It ain't", "TRAVIS (V.O.)\n My body fights me always. It won't\n work, it won't sleep, it won't\n shit, it won't eat.", "As the CAMERA examines Travis' face more closely, one can\nsee the hollowness wrought by lack of sleep and sufficient\ndiet.", "TRAVIS, still carrying his pint of chocolate milk and\nsandwich, walks down the empty sidewalk and enters his cab.\nThe street is deserted.\n\n CUT TO:", "PERSONNEL OFFICER\n So why do you want to be a taxi\n driver?\n\n TRAVIS\n I can't sleep nights.", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off.", "Later, we see Travis' taxi speeding down the rain-slicked\navenue. The action is periodically accompanied by Travis'\nnarration. He is reading from a haphazard personal diary.", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "The PERSONNEL OFFICER is beat and exhausted: he arrives at\nwork exhausted. TRAVIS is something else again. His intense\nsteely gaze is enough to jar even the PERSONNEL OFFICER out\nof his workaday boredom.", "It is LATER THAT NIGHT. The rain has turned to drizzle.\nTravis drives trough another section of Manhattan.", "Travis is like a light switch: For long periods he goes\nalong dark and silent, saying nothing; then suddenly, the", "Travis, protesting, follows.\n\n CUT TO:\n\nINT. BUILDING - DAY\n\nTravis speaks intensely into a wall pay phone.", "He passes a ajar door and we are suprised to see the room is\nempty--and trashed. Travis lives in a decaying, if not\ncondemned building.\n\n 99.", "One can now see the full effect of TRAVIS' lack of sleep and\nsufficient diet -- he looks sick and frail." ], [ "TRAVIS\n Oh, I think he's a wonderful man.\n Make a great, great President.\n\n BETSY\n You want to canvass?", "BETSY\n Well, that's not exactly what the\n Senator has proposed. You might not\n want to canvass, but there is\n plenty more other work we need\n done: Office work, filing, poster\n hanging.", "TRAVIS\n (his mind elsewhere)\n Who mam?\n\n BETSY\n Charles Palantine. The man you want\n to volunteer to help elect president.", "TRAVIS\n (to Betsy)\n No. I want to volunteer to you.\n\n TOM\n (under his voice)\n Bets.", "BETSY\n Yes. It won't be long now.\n Seventeen days.\n\n TRAVIS\n Well, I hope he wins.\n\nThere is another pause.", "Betsy does a subtle double-take: This isn't exactly\nPalantine's position on welfare. She remain intrigued by\nTravis.", "Betsy, putting down the phone, calls TOM, a lanky, amiable\nand modishly long-haired campaign workder over to her desk:\n\n BETSY\n Tom.", "BETSY\n (as if instructing a child)\n First push the man, then the issue.\n Senator Palantine is first of all a\n dynamic man, an intelligent,\n interesting, fascinating man.", "BETSY is momentarily taken back, but pleased. TRAVIS'\npresence has a definite sexual charge. He has those star\nqualities BETSY looks for: She senses there is something", "BETSY\n (smiling)\n Is that so?\n (pause)\n But what do you think of Charles\n Palantine?", "Travis checks the mirror. Scanning across the back seat, he\nrecognizes the middle passenger. It is CHARLES PALANTINE,\ncandidate for President. He must have left the Hotel\nshortly after BETSY.", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "TRAVIS\n (at Betsy's desk)\n I want to volunteer.", "BETSY\n (smiles)\n All right.\n (relents)", "BETSY excuses herself and walks across the platform with TOM.\nAs they stand to the rear of the platform, TOM secretively\nmakes a gesture with his eyes and says out of the side of\nhis mouth:", "TRAVIS\n Hello, Betsy.\n\nThere is an uneasy pause.\n\n TRAVIS\n I see where Palantine got the\n nomination.", "BETSY\n Yes?\n\n TRAVIS\n My name is Travis.\n\n BETSY\n Thank you, Travis.", "TRAVIS (V.O.; CONT'D)\n Her name is Betsy, but I can tell\n you no more than that.\n (interrupted)", "After a moment he walks over to the steps where BETSY is\nstanding.\n\n TOM\n Betsy, come over here a moment.", "BETSY\n All right, I'll accept the record.\n\nBetsy accepts the record, but quickly turns and hails a taxi.\n\n BETSY\n Taxi!" ], [ "TRAVIS\n (to himself)\n Damn.\n\n BETSY\n What's wrong?", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "Travis watches intently. The color, however, is slowly\ndraining from Betsy's cheeks. One thought fills her mind:\n"What am I doing here?"", "BETSY is momentarily taken back, but pleased. TRAVIS'\npresence has a definite sexual charge. He has those star\nqualities BETSY looks for: She senses there is something", "Travis makes an awkward gesture to escort Betsy into the\ntheatre. Betsy looks at the tickets, at the theatre, at\nTravis. She mentally shakes her head and walks toward the", "Betsy, realizing Travis remembers her precisely, scrambles\nfor a polite rationale for her behavior:", "TRAVIS\n (hesitant)\n Well... mostly...\n\n BETSY\n My God!", "Betsy is walking down a midtown street when Travis suddenly\nappears before her. He has been waiting.\n\nTravis tries to make conversation but she doesn't listen.\nShe motions for him to go away and keeps on walking.", "Betsy laughs. Travis continues:\n\n 32.", "Travis is flabbergasted by Betsy's blunt language. His arm\nstill gestures toward the marquees, his lips continue to\nmove, but words do not come out.", "TRAVIS\n But... Betsy...\n\n BETSY\n I'm getting a taxi.\n\nShe walks to the curb.", "BETSY\n (laughing)\n Travis, I never ever met anybody\n like you before.\n\n TRAVIS\n I can believe that.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "Betsy looks at Travis, trying to understand him:\n\n BETSY\n These are not the kind of movies I\n go to.", "INT. COFFEE SHOP\n\nTravis and Betsy are sitting in a booth of a small New York\nCoffee Shop. They both have been served coffee; Travis is\nnervously turning his cup around in his hands.", "Betsy is interviewing Travis, but she is also teasing him a\nlittle, leading him on in a gentle feminine way:", "TRAVIS\n (protesting)\n No, no, please. This fare's on me.\n Please.\n\n BETSY\n Thank you, Travis.", "Unable to respond to Betsy's question, Travis picks up where\nhe left off:", "Betsy's conversation interrupts Travis' V.O.:\n\n 30.", "Travis steps over to the window and buys two $5 tickets.\nBetsy, befuddled, watches him. She doesn't know what to say.\nTravis returns with the tickets." ], [ "Travis, protesting, follows.\n\n CUT TO:\n\nINT. BUILDING - DAY\n\nTravis speaks intensely into a wall pay phone.", "Travis' cold piercingly eyes Stare out from his cab parked\nacross the street from Palantine Headquarters. He is like a\nlone wolf watching the warm campfires of civilization from a\ndistance. A thin red dot glows from his cigarette.", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "The PERSONNEL OFFICER is beat and exhausted: he arrives at\nwork exhausted. TRAVIS is something else again. His intense\nsteely gaze is enough to jar even the PERSONNEL OFFICER out\nof his workaday boredom.", "Watching Travis enter Palantine's Headquarters, we are\nsurprised to realize that Travis is really quite attractive.\nHis deformities are psychological, not physical. He believes\nhe is cursed, and therefore he is.", "Travis is in C.U. in the middle of the floor doing push-ups.\nHe is bareback, wearing only his jeans. There is a long scar\nacross his left side.", "Travis' efforts quickly subside when Tom motions to a nearby\nPOLICEMAN. Travis quiets down and walks off.\n\n CUT TO:\n\nEXT.", "Travis kicks and protests as Tom leads him to the front door.\n\nON THE SIDEWALK", "TRAVIS turns to catch a glimpse of Sport as he walks off\nwith Iris.\n\nTRAVIS shrugs and turns around.\n\nTRAVIS' taxi pulls away.", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off.", "Travis walks briskly into the office, and heads toward\nBetsy's desk. Tom walks over to greet him, but Travis\nignores him.", "Palantine is not a Hubert Humphrey-type professional\nbullshitter, and Travis' intense reply stops him dead in his\ntracks. He is forced to fall back on a stock answer but\ntries to give it some meaning.", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "Travis appears at the door. He has to push aside the JUNKIES\nto enter without making physical contact - something Travis\nwould not relish. He may be repulsed with these people and", "TRAVIS hastily works his way back through the CROWD. He\nhears the SECRET SERVICE MAN's voice call out:\n\n SECRET SERVICE MAN\n Detain that man!", "Travis is watching early evening NEWS PROGRAM. TV background\nSOUND. Charles Palantine is being interviewed somewhere on\nthe campaign trail.", "TRAVIS begins moving up into the crowd.\n\n PALANTINE (CONTD)\n On to victory in Miami Beach next\n month\n (building applause)\n and on to victory next November!" ], [ "ANDY\n That's an expensive gun.\n\n TRAVIS\n I got money.", "Travis hands Andy the bills. Andy counts them and gives\nTravis a twenty and five.", "DOUGH-BOY\n Hey Travis. This here's Easy Andy.\n He's a travelling salesman.", "Andy pulls a gym bag from under his bed. He wraps the gun in\nthe sheet in the bag and zips it up. An identical gym bag\ncan be partially seen under the bed. He hands Travis the bag.", "ANDY\n Hello Travis.\n\nTravis nods as the taxi speeds off.", "Andy opens the suitcases: Stacked in grey packing foam are\nrows and rows of brand new hand guns.\n\n TRAVIS\n You got a .44 Magnum?", "ANDY\n This is fine, Dough-Boy\n (to Travis)\n Pay Dough-Boy here.", "Easy Andy is a later version of the fast-talking, good-\nlooking kid in college who was always making money on one\nscheme or another. In high school he sold lottery tickets,", "In the back seat, beside Travis, sits ANDY, an attractive\nyoung man about 29. He wears a pin-striped suit, white shirt", "Travis follows Andy up the worn carpeted stairs and down the\nhallway. Andy unlocks the door to one of the rooms.", "TRAVIS\n Nah. I ain't interested.\n\nAndy closes and locks the suitcases.\n\n ANDY\n Okay, okay.", "Travis turns to leave.\n\n 56.\n\n\n ANDY\n Wait a second, Travis. I'll walk\n you out.", "TRAVIS\n (looking up)\n Huh?\n\n ANDY\n Vietnam? I saw it on your jacket.\n Where were you? Bet you got to\n handle a lot of weapons out there.", "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "Andy holds the Magnum out for Travis' inspection. There's a\nworshipful CLOSEUP of the .44 Magnum. It is a monster.", "ANDY\n You like ball games?\n\n TRAVIS\n Huh?", "Travis holds the .32 Revolver, hefts it, slips it under his\nbelt and pulls his shirt over it. He turns from side to\nside, to see how it rides in his waist.", "Travis pulls out a roll of crisp one hundred dollar bills\nand counts off eight.\n\n ANDY\n You in Nam? Can't help but notice\n your jacket?", "Travis pulls a twenty out of his pocket and gives it to\nDough-Boy.\n\n TRAVIS\n 20 bucks?", "TRAVIS\n That's fine.\n\n CONCESSION GIRL\n That's a dollar forty-seven.\n\nTravis lays two dollar bills on the counter." ], [ "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "Later, we see Travis' taxi speeding down the rain-slicked\navenue. The action is periodically accompanied by Travis'\nnarration. He is reading from a haphazard personal diary.", "Travis seems confused. He is so much part of his own world,\nhe fails to comprehend another's world. Compared to the", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "Watching Travis enter Palantine's Headquarters, we are\nsurprised to realize that Travis is really quite attractive.\nHis deformities are psychological, not physical. He believes\nhe is cursed, and therefore he is.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "TRAVIS, sitting in his chair in his APARTMENT, watching\nafternoon soap opera. He is cleaning his .38 and eating\nfrom a jar of applesauce. Soap opera audio continues.", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "Travis, protesting, follows.\n\n CUT TO:\n\nINT. BUILDING - DAY\n\nTravis speaks intensely into a wall pay phone.", "Travis rests his elbow on the counter, looking at the Girl.\nHe is obviously trying to be friendly - no easy task for him.\nGod knows he needs a friend.", "key. It is the same look that crossed his face in the\nHarlem Deli. We are reminded with a jolt that the killer\nlies just beneath TRAVIS' surface.", "Travis is like a light switch: For long periods he goes\nalong dark and silent, saying nothing; then suddenly, the", "TRAVIS\n (releasing pent-up tension)\n At least I don't walk the streets\n like a skunk pussy. I don't screw\n and fuck with killers and junkies.", "Travis watches the hippie couple closely, his feeling\nsharply divided between cultural contempt and morose jealousy.\nWhy should these people enjoy the love and intimacy that has", "Travis watches intently. The color, however, is slowly\ndraining from Betsy's cheeks. One thought fills her mind:\n"What am I doing here?"", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "TRAVIS\n Sometimes it gets so I just don't\n know what I'm gonna do. I get some\n real crazy ideas, you know? Just\n go out and do somethin.", "Travis' cold piercingly eyes Stare out from his cab parked\nacross the street from Palantine Headquarters. He is like a\nlone wolf watching the warm campfires of civilization from a\ndistance. A thin red dot glows from his cigarette.", "He passes a ajar door and we are suprised to see the room is\nempty--and trashed. Travis lives in a decaying, if not\ncondemned building.\n\n 99." ], [ "As the STICK-UP MAN falls, 'MELIO leans over the counter,\nwielding his battered .38. He is about to fire when he\nrealizes the MAN is already dead.", "The STICK-UP MAN, surprised, turns toward TRAVIS, finding\nonly an exploding .32. The MAN's lower jaw bursts open with", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "The PRIVATE COP raises his gun and shoots TRAVIS. TRAVIS,\nblood gushing from his right shoulder, sinks to the floor.", "TRAVIS\n I shot the meter off, for one thing.\n I knew I wasn't goimg to get paid.\n Then I dropped him off at the cop\n shop. They took him.", "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "Travis' efforts quickly subside when Tom motions to a nearby\nPOLICEMAN. Travis quiets down and walks off.\n\n CUT TO:\n\nEXT.", "TRAVIS fires the revolver, blowing the back of THE OLD MAN's\nhead off the silencing his protests.", "SPORT looks into TRAVIS' eyes, saying nothing: he realizes\nthe seriousness of the situation.\n\nTRAVIS pulls his .38 Special and holds it on SPORT, pushing\nhim even further back against the wall.", "blood as he reels and crashes to the floor. There is no\nemotion on TRAVIS' face.", "Both men are bleeding profusely as they thrash into IRIS'\nroom. IRIS hides behind the old red velvet sofa, her face\nfrozen in fright.", "THE OLD MAN grows closer. TRAVIS smashes his right arm\nagainst the wall, miraculously, the small Colt .25 glides\ndown his forearm into his palm.", "get up when TRAVIS discharges the mighty .44 at him. BLAAM!\nThe hallway reverberates with shock waves and gun powder.", "TRAVIS exits. 'MELIO picks up the phone and starts dialing.\nThe bloody BODY lies on the floor unmoving.", "Andy pulls a gym bag from under his bed. He wraps the gun in\nthe sheet in the bag and zips it up. An identical gym bag\ncan be partially seen under the bed. He hands Travis the bag.", "A SHORT WHILE LATER, TRAVIS is walking down the sidewalk\nnear the taxi garage. His hands are in his jacket pockets,\nobscuring the slight bulge on his left side.", "He hooks the .44 into his pants behind his back and practices\nwithdrawing it. He holds the .44 firmly at an arm's length,\ntightening his forearm muscles.", "Travis holds the .32 Revolver, hefts it, slips it under his\nbelt and pulls his shirt over it. He turns from side to\nside, to see how it rides in his waist.", "DOUGH-BOY\n Stick up?\n\n 21.\n\n\n TRAVIS\n No, just some crazy fucker. Cut\n have his ear off." ], [ "TRAVIS turns to catch a glimpse of Sport as he walks off\nwith Iris.\n\nTRAVIS shrugs and turns around.\n\nTRAVIS' taxi pulls away.", "IRIS is helped out of the cab by a MAN TRAVIS cannot see.\n\n SPORT\n (to IRIS)\n Come on, baby, let's go. This is\n all a real drag.", "TRAVIS\n (pause)\n What are you going to do about\n Sport and that old bastard?\n\n IRIS\n Just leave'em. There's plenty of\n other girls.", "TRAVIS\n (thinks)\n Well, Iris, I look at it this way.\n A lot of girls come into my cab,", "Travis' eyes follow Iris' nod until they reach Sport,\nstanding in a doorway in his lime green jacket. Travis\nwalks toward him.", "TRAVIS\n You tried to run away in my taxi\n but your friend -- Sport -- wouldn't\n let you.\n\n IRIS\n I don't remember.", "Sport slowly rubs his crotch into her. Iris smiles. She is\nhappy. The music rises.\n\n CUT TO:", "TRAVIS' taxi pulls away.\n\nC.U. TRAVIS at the wheel. A FEMALE VOICE says:\n\n 110.", "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "Sport leans partially in the front window, throwing something\non the front seat. TRAVIS looks: it is a crumpled $20 bill.", "IRIS\n I think so. I tried to get into\n your cab one night, and now you\n want to come and take me away.\n\n TRAVIS\n Don't you want to go?", "A taxi quickly pulls up.\n\nTravis feebly protests to no one in particular:\n\n TRAVIS\n But I got a taxi.", "TRAVIS\n You name Sport?\n\nSport immediately takes Travis for an undercover cop. He\nextends his crosses wrists as if to be handcuffed.", "TRAVIS\n I drive a taxi. You tried to get\n away one night. Remember?\n\n 84.\n\n\n IRIS\n No.", "Sport slowly grinds his hips to hers. Iris starts to move\nwith him. This is what she really wanted. Her man's\nattention.", "SPORT\n What's going on?\n\n TRAVIS\n I'm here to see Iris.\n\n SPORT\n Iris?", "her GIRLFRIEND. She walks over to the taxi, loans in the\nopen left front window and gives TRAVIS the come-on disguised\nas an innocent question:", "TRAVIS\n But... Betsy...\n\n BETSY\n I'm getting a taxi.\n\nShe walks to the curb.", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off.", "TRAVIS\n I can't say -- it's top secret.\n I'm doing something for the Army.\n The cab thing is just part time.\n\n IRIS\n You a narc?" ], [ "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "Travis' body shudders and shakes, his arm as if each recoil\nfrom the giant gun was a direct attack on his masculinity.", "There is the sharp SOUND of a GUNSHOT behind TRAVIS: his\nface grimaces in pain. A bullet has ripped through the left\nside of his neck. Blood flows over his left shoulder.", "There is a pause. TRAVIS smiles and shrugs apologetically.\nTRAVIS looks at Iris' cigarette. It's burning down to the\nbutt.\n\n TRAVIS\n Well, I tried.", "He passes a ajar door and we are suprised to see the room is\nempty--and trashed. Travis lives in a decaying, if not\ncondemned building.\n\n 99.", "TRAVIS (V.O.)\n But after the first call, she would\n no longer come to the phone.\n\nTravis holds the receiver in his hand. The other party has\nhung up.", "TRAVIS\n He'd been shot. I didn't know that.\n He just crawled into the back seat,\n said "West 45th Street" and conked\n out.", "Travis seems confused. He is so much part of his own world,\nhe fails to comprehend another's world. Compared to the", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "reason to be noticed, Travis is one with his surroundings.\nHe wears rider jeans, cowboy boots, a plaid western shirt\nand a worn beige Army jacket with a patch reading, "King", "TRAVIS slumps to his knees. Down the corridor THE OLD MAN\nwith a bloody stump is struggling toward him. TRAVIS turns\nhis .38 toward THE OLD MAN.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "TRAVIS sits behind the wheel, coldly staring at something in\nthe distance. His hair, of course, is still clipped short", "Watching Travis enter Palantine's Headquarters, we are\nsurprised to realize that Travis is really quite attractive.\nHis deformities are psychological, not physical. He believes\nhe is cursed, and therefore he is.", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "TRAVIS\n (to himself)\n Damn.\n\n BETSY\n What's wrong?", "TRAVIS, trapped under the heavy OLD MAN, reaches down with\nhis right hand and pulls the combat knife from his right calf." ], [ "TRAVIS BICKLE, age 26, lean, hard, the consummate loner. On\nthe surface he appears good-looking, even handsome; he has a", "The young man is TRAVIS BICKLE. He wears his jeans, boots\nand Army jacket. He takes a drag off his unfiltered cigarette.", "Later, we see Travis' taxi speeding down the rain-slicked\navenue. The action is periodically accompanied by Travis'\nnarration. He is reading from a haphazard personal diary.", "After examining various strata of Manhattan nightlife,\nCAMERA begins to CLOSE IN on one particular taxi, and it is\nassumed that this taxi is being driven by TRAVIS BICKLE.\n\nEND CREDITS", "CAMERA CLOSES IN on TRAVIS BICKLE standing in the CROWD: he\nhas shaved his head to a short stubble. There he is: brush-", "Travis' cold piercingly eyes Stare out from his cab parked\nacross the street from Palantine Headquarters. He is like a\nlone wolf watching the warm campfires of civilization from a\ndistance. A thin red dot glows from his cigarette.", "Travis' cab is parked near a neighborhood Bickford's.\n\n CUT TO:", "EXT. TRAVIS' TAXI speed down darkened street.\n\nTravis lets off a fare and pulls into line at the Plaza.\n\n 37.", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off.", "Travis' thoughts are with Betsy, as THREE MEN enter Travis'\ncab. He activates the meter and pulls off.\n\n MAN'S VOICE\n St. Regis Hotel.", "Travis is now drifting in and out of the New York City night\nlife, a dark shadow among darker shadows. Not noticed, no", "sun, Travis Bickle moves toward violence.", "C.U. TRAVIS: His face is expressionless. The MAN makes\nhimself comfortable in the back seat.\n\n PROFESSIONAL PASSENGER\n Jackson Heights.", "It is LATER THAT NIGHT. The rain has turned to drizzle.\nTravis drives trough another section of Manhattan.", "WIZARD\n The taxi life, you mean.\n\n TRAVIS\n Yeah.\n\n WIZARD\n (nods)\n I know.", "We see the city as Travis sees it. The front windshield is a\nlittle dirty, the lighted meter just up at the low right\nscreen. The intercom crackles with STATIC and MESSAGES.", "Travis has no intention of driving out to Jackson Heights\nand coming back with a fare.\n\n 48.\n\n\n TRAVIS\n I'm off duty.", "TRAVIS\n He'd been shot. I didn't know that.\n He just crawled into the back seat,\n said "West 45th Street" and conked\n out.", "CUT TO:\n\nNIGHT on the LOWER EAST SIDE. TRAVIS sits parked in the\ndark shadows of a side street. The lone wolf waits.", "NIGHT has fallen: TRAVIS' taxi careens down 10th Ave. He\nspeeds, honks, accelerates quickly. The glare of speeding\nyellow and red lights flash through the night." ], [ "BETSY is momentarily taken back, but pleased. TRAVIS'\npresence has a definite sexual charge. He has those star\nqualities BETSY looks for: She senses there is something", "TRAVIS is on his best behavior. He smiles slightly:\n\n TRAVIS\n Because you are the most beautiful\n woman I have ever seen.", "TRAVIS' eyes follow her and she rejoins a GIRLFRIEND. They\nare both dressed as hippie hookers: sloppy clothes, boots,", "A young SALESGIRL sees his plight, walks over and asks if he\nneeds any help. Travis INAUDIBLY says a name to her, although\nthe name is obviously Kris Kristofferson.", "Travis rarely smiles, but when he does his whole face glows.\nIt is as if he is able to tap an inner reserve of charm\nunknown even to himself. Betsy is completely disarmed.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "Travis rests his elbow on the counter, looking at the Girl.\nHe is obviously trying to be friendly - no easy task for him.\nGod knows he needs a friend.", "her GIRLFRIEND. She walks over to the taxi, loans in the\nopen left front window and gives TRAVIS the come-on disguised\nas an innocent question:", "TRAVIS\n What is your name? My name is Travis.\n\n CONCESSION GIRL\n Awh, come off it, Pal.", "Travis watches intently. The color, however, is slowly\ndraining from Betsy's cheeks. One thought fills her mind:\n"What am I doing here?"", "Travis is lost among the hip, young intellectual type that\npopulate the store. He watches the stylish, attractive\nfemale help, unable to come right out and requests what he\ndesires.", "TRAVIS\n (shy)\n Hello.\n\n IRIS\n You looking for some action?\n\n TRAVIS\n Well...I guess so.", "TRAVIS\n Why you hang around with them\n greasers?\n\n IRIS\n A girl needs protection.", "TRAVIS\n (to himself)\n Damn.\n\n BETSY\n What's wrong?", "CAMERA CLOSES IN on Travis' face: He is watching the woman\nin the seventh floor window with complete and total", "movies he sees, this is respectable. But then there's also\nsomething that Travis could not even acknowledge, much less\nadmit: That he really wants to get this pure white girl into", "TRAVIS (V.O.; CONT'D)\n Her name is Betsy, but I can tell\n you no more than that.\n (interrupted)", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "TRAVIS\n (thinks)\n Well, Iris, I look at it this way.\n A lot of girls come into my cab," ], [ "Travis holds the .32 Revolver, hefts it, slips it under his\nbelt and pulls his shirt over it. He turns from side to\nside, to see how it rides in his waist.", "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "TRAVIS checks to see if his .38 is in place (it is), opens\nthe door and exits from the cab.", "TRAVIS unbuttons the middle two buttons of his jacket,\nopening access to his holster. With the other hand he\nchecks the .44 hooked behind his back.", "ANDY\n That's an expensive gun.\n\n TRAVIS\n I got money.", "In the SHOTS that follow TRAVIS gives the audience a lesson\nin gunmanship:\n\nTRAVIS practices fast-drawing the .38 Special from his\nholster and firing it.", "TRAVIS lies on his mattress, all bundled up in his shirts,\nsweater, jacket and guns. His face is turned toward the", "Travis stands rock solid, firing the .44 Magnum at an arm's\nlength. With each blasting discharge from the Magnum,", "TRAVIS reaches over with his right hand and picks up the\nrevolver of the new dead PRIVATE COP.\n\nTRAVIS hoists himself up and sticks the revolver into the\nOLD MAN's mouth.", "Andy opens the suitcases: Stacked in grey packing foam are\nrows and rows of brand new hand guns.\n\n TRAVIS\n You got a .44 Magnum?", "Travis fires the Magnum as quickly as he can re-set, re-aim\nand re-fire. The Magnum is empty, he sets it down, picks up", "TRAVIS hesitates a moment, uncertain what to do. The OLD\nMAN reaches in TRAVIS' jacket and pulls out the .38 Special.", "TRAVIS opens his jacket partially, checking underneath.\nThere rests the nickel-plated .38 Special in its holster.\n\n 58.", "Travis hefts the huge gun. It seems out of place in his hand.\nIt is built on Michelangelo's scale. The Magnum belongs in", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "THE OLD MAN grows closer. TRAVIS smashes his right arm\nagainst the wall, miraculously, the small Colt .25 glides\ndown his forearm into his palm.", "Andy pulls a gym bag from under his bed. He wraps the gun in\nthe sheet in the bag and zips it up. An identical gym bag\ncan be partially seen under the bed. He hands Travis the bag.", "Travis hefts the nickel-plated .38, points it out the window.", "TRAVIS fires the revolver, blowing the back of THE OLD MAN's\nhead off the silencing his protests.", "As he walks up the stairs, TRAVIS pulls the .44 Magnum from\nbehind his back and transfers the .38 Special to his left\nhand. He walks up the steps, a pistol dangling from each\nhand." ], [ "Palantine is not a Hubert Humphrey-type professional\nbullshitter, and Travis' intense reply stops him dead in his\ntracks. He is forced to fall back on a stock answer but\ntries to give it some meaning.", "Watching Travis enter Palantine's Headquarters, we are\nsurprised to realize that Travis is really quite attractive.\nHis deformities are psychological, not physical. He believes\nhe is cursed, and therefore he is.", "Travis' cold piercingly eyes Stare out from his cab parked\nacross the street from Palantine Headquarters. He is like a\nlone wolf watching the warm campfires of civilization from a\ndistance. A thin red dot glows from his cigarette.", "Travis checks the mirror. Scanning across the back seat, he\nrecognizes the middle passenger. It is CHARLES PALANTINE,\ncandidate for President. He must have left the Hotel\nshortly after BETSY.", "TRAVIS slumps to his knees. Down the corridor THE OLD MAN\nwith a bloody stump is struggling toward him. TRAVIS turns\nhis .38 toward THE OLD MAN.", "TOM\n (joking)\n And in some other places too...\n\nPalantine, his Assistant and Tom all laugh. Palantine,\nquickly reassuming candiorial mien, speaks to Travis:", "TRAVIS\n Hello, Betsy.\n\nThere is an uneasy pause.\n\n TRAVIS\n I see where Palantine got the\n nomination.", "TRAVIS fires the revolver, blowing the back of THE OLD MAN's\nhead off the silencing his protests.", "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "TRAVIS begins moving up into the crowd.\n\n PALANTINE (CONTD)\n On to victory in Miami Beach next\n month\n (building applause)\n and on to victory next November!", "PALANTINE looks in front window of cab momentarily and nods\ngoodbye to TRAVIS.\n\n PALANTINE\n Nice talking to you, Travis.", "TRAVIS\n (interrupting)\n Say, aren't you Charles Palantine,\n the candidate?", "Betsy does a subtle double-take: This isn't exactly\nPalantine's position on welfare. She remain intrigued by\nTravis.", "TRAVIS' eyes meet PALANTINE's: candidate and would-be\nassassin exchange quick glances.", "TRAVIS\n (his mind elsewhere)\n Who mam?\n\n BETSY\n Charles Palantine. The man you want\n to volunteer to help elect president.", "TRAVIS\n That fella "Sport" looks like a\n killer to me.\n\n IRIS\n He never killed nobody. He's a\n Libra.", "THE OLD MAN grows closer. TRAVIS smashes his right arm\nagainst the wall, miraculously, the small Colt .25 glides\ndown his forearm into his palm.", "The STICK-UP MAN, surprised, turns toward TRAVIS, finding\nonly an exploding .32. The MAN's lower jaw bursts open with", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "Travis is watching early evening NEWS PROGRAM. TV background\nSOUND. Charles Palantine is being interviewed somewhere on\nthe campaign trail." ], [ "IRIS unbuttons her shirt, revealing her small pathetic\nbreasts -- two young doves hiding from a winter wind.\nTRAVIS is unnerved by her partial nudity.", "TRAVIS is getting increasingly panicked, but IRIS only\nthinks this is part of his particular thing and tries to\novercome it.", "Both men are bleeding profusely as they thrash into IRIS'\nroom. IRIS hides behind the old red velvet sofa, her face\nfrozen in fright.", "TRAVIS struggles up and collapses on the red velvet sofa,\nhis blood-soaked body blending with the velvet.\n\nIRIS retreats in fright against the far wall.", "defense. Without the paraphernalia of adulthood, Iris looks\nlike a little girl she is. About 14, 15.", "Outside here environment, Iris seems the more pathetic. She\nseems unsure, schizy, unable to hold a subject for more than", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "IRIS lowers her head to go down on TRAVIS. TRAVIS, seeing\nthis, jumps up in panic.", "IRIS says nothing. After a moment, TRAVIS again sits on the\nbed beside IRIS. She no longer tries to make him.\n\n 86.", "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "TRAVIS' head slumps against the sofa.\n\nIRIS is huddled in the corner, shaking.\n\nLIVE SOUND CEASES.", "TRAVIS looks around IRIS' room: although dimly lit, the room\nis brightly decorated. There is an orange shag carpet, deep", "IRIS looks back uneasily at TRAVIS' taxi and continues on.", "There is a brief silence. Iris mind continued to whirl at\n78 rpms. She seems to have three subjects on her mind at a\ntime. She welcomes this opportunity to unburden herself.", "IRIS\n (voice rising)\n Why do you want me to go back to my\n parents? They hate me. Why do you\n think I split? There ain't nothin\n there.", "Sport slowly grinds his hips to hers. Iris starts to move\nwith him. This is what she really wanted. Her man's\nattention.", "This is where IRIS lives: it bears the individual touch of a\nyoung girl.\n\nIRIS lights a cigarette, takes a single puff and places it\nin an ashtray on the bedstand.", "Her name, as we shall learn later, is IRIS.\n\nTRAVIS hesitates, looking at her in the mirror.", "Sport slowly rubs his crotch into her. Iris smiles. She is\nhappy. The music rises.\n\n CUT TO:", "At the top of the dark stairs IRIS and TRAVIS enter a dimly\nlit hallway. On either side are doors with apartment\nnumbers. IRIS turns toward the first door, No. 2." ], [ "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "TRAVIS turns to catch a glimpse of Sport as he walks off\nwith Iris.\n\nTRAVIS shrugs and turns around.\n\nTRAVIS' taxi pulls away.", "TRAVIS looks around IRIS' room: although dimly lit, the room\nis brightly decorated. There is an orange shag carpet, deep", "IRIS says nothing. After a moment, TRAVIS again sits on the\nbed beside IRIS. She no longer tries to make him.\n\n 86.", "TRAVIS, he gun slipped into his jacket, walks quickly up the\nsidewalk.\n\nAROUND THE CORNER, TRAVIS walks into the darkened stairway\nleading to IRIS' apartment.", "At the top of the dark stairs IRIS and TRAVIS enter a dimly\nlit hallway. On either side are doors with apartment\nnumbers. IRIS turns toward the first door, No. 2.", "TRAVIS walks back to IRIS.\n\nIRIS motions for TRAVIS to follow her and he does.", "IRIS unbuttons her shirt, revealing her small pathetic\nbreasts -- two young doves hiding from a winter wind.\nTRAVIS is unnerved by her partial nudity.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "TRAVIS\n He'd been shot. I didn't know that.\n He just crawled into the back seat,\n said "West 45th Street" and conked\n out.", "IRIS and TRAVIS turn the corner and walk about a block,\nsaying nothing. IRIS turns into a darkened doorway and\nTRAVIS follows her.", "EXT.\n\nTRAVIS places the envelope to IRIS in his mail box.\n\nBACK IN APARTMENT. CAMERA CLOSE ON revolvers lying on the\ntable in neat array.", "Finally, TRAVIS spies the object of his search: IRIS walks\ndown the sidewalk with her GIRLFRIEND. Iris wears her large\nblue sunglasses.", "IRIS\n (compassionate)\n I understand, mister. It means\n something, really.\n\n TRAVIS\n (getting up)\n Can I see you again?", "IRIS\n Sure you don't want to come with me?\n\n TRAVIS\n I can't. Otherwise, I would.", "TRAVIS\n So long, Iris.\n (a beat)\n Sweet Iris.\n (smiles)\n\n\nTRAVIS exits.", "IRIS screams in b.g. TRAVIS looks up:\n\n IRIS\n Don't kill him, Travis! Don't kill\n him!", "IRIS\n I think so. I tried to get into\n your cab one night, and now you\n want to come and take me away.\n\n TRAVIS\n Don't you want to go?", "TRAVIS and IRIS are having late breakfast at a middle-class\nEAST SIDE COFFEE SHOP. It is about 1:30 P.M.", "IRIS\n ... and after that Sport and I just\n started hanging out...\n\n TRAVIS\n Where is home?" ], [ "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "TRAVIS\n You name Sport?\n\nSport immediately takes Travis for an undercover cop. He\nextends his crosses wrists as if to be handcuffed.", "SPORT looks into TRAVIS' eyes, saying nothing: he realizes\nthe seriousness of the situation.\n\nTRAVIS pulls his .38 Special and holds it on SPORT, pushing\nhim even further back against the wall.", "TRAVIS turns to catch a glimpse of Sport as he walks off\nwith Iris.\n\nTRAVIS shrugs and turns around.\n\nTRAVIS' taxi pulls away.", "As the CAMERA reaches the end of its track, it finds TRAVIS,\nstanding, his shirt open, but the mattress. He is wearing\nthe empty holster, and the .44 is in his hand.", "LATER. TRAVIS, his shirt still revealing his bare chest,\nsits on his straight-backed chair watching the TV. The .44\nMagnum rests on his lap.", "TRAVIS sticks his .38 into SPORT's gut and discharges it.\nThere is a muffled blast, followed by a muted scream of pain.\n\n TRAVIS\n Now suck on that.", "Travis' eyes follow Iris' nod until they reach Sport,\nstanding in a doorway in his lime green jacket. Travis\nwalks toward him.", "Without slowing, TRAVIS walks up to SPORT and puts his arm\non his shoulder in a gesture of friendliness.\n\n TRAVIS\n Hey, Sport. How are things?", "TRAVIS cannot see the Sport's face lime green completely,\nbut notices he is wearing a jacket. The voice is that of a\nman in his early twenties.", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "TRAVIS\n Your name Sport?\n\n SPORT\n Anything you say, officer.", "TRAVIS slumps to his knees. Down the corridor THE OLD MAN\nwith a bloody stump is struggling toward him. TRAVIS turns\nhis .38 toward THE OLD MAN.", "Agony and shock cross SPORT'S face as he slumps to the floor.\nTRAVIS turns and walks away before SPORT even hits.\n\nAs TRAVIS walks away, SPORT can be seen struggling in the b.g.", "THE OLD MAN grows closer. TRAVIS smashes his right arm\nagainst the wall, miraculously, the small Colt .25 glides\ndown his forearm into his palm.", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off.", "TRAVIS sits in driver's seat, thinking a moment. He looks\nto his right: the crumpled $20 bill still lies there,\nuntouched since it was thrown there six hours previously.", "The STICK-UP MAN, surprised, turns toward TRAVIS, finding\nonly an exploding .32. The MAN's lower jaw bursts open with", "TRAVIS\n (restrained anger)\n Here's the twenty bucks, old man.\n You better damn well spend it right.\n\nTRAVIS turns and walks away.", "TRAVIS\n (pause)\n What are you going to do about\n Sport and that old bastard?\n\n IRIS\n Just leave'em. There's plenty of\n other girls." ], [ "Love, Travis.\n\nTRAVIS, at his desk, examines the card upon which he has\njust written this letter.\n\n 79.", "TRAVIS stacks five crisp hundred dollar bills beside the\nletter, folds them up with the letter, and puts them into an\nenvelope.", "EXT.\n\nTRAVIS places the envelope to IRIS in his mail box.\n\nBACK IN APARTMENT. CAMERA CLOSE ON revolvers lying on the\ntable in neat array.", "LIVE SOUND again CEASES as TRAVIS resumes reading letter as\ntaxi drives away.\n\nAs TRAVIS reads final paragraph, scene CUTS TO INT. APARTMENT\nwhere TRAVIS sits at his table.", "LATE AFTERNOON. TRAVIS' taxi skids around a corner and\nspeeds into Manhattan.\n\nTRAVIS checks his mail slot: the letter to IRIS has already\nbeen picked up by the MAILMAN.", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "LATER. TRAVIS, his shirt still revealing his bare chest,\nsits on his straight-backed chair watching the TV. The .44\nMagnum rests on his lap.", "TRAVIS (V.O.)\n But after the first call, she would\n no longer come to the phone.\n\nTravis holds the receiver in his hand. The other party has\nhung up.", "He passes a ajar door and we are suprised to see the room is\nempty--and trashed. Travis lives in a decaying, if not\ncondemned building.\n\n 99.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "CUT TO:\n\nTRAVIS, envelope in hand, closes the door behind him and\nwalks down the corridor.", "CUT TO:\n\nTRAVIS sits at his desk in his APARTMENT, writing. He wears\njeans, western shirt and empty holster.", "LOVE!\n\nUnderneath the word "Love!" begins TRAVIS' short message to\nhis parents, a message which extends to the back cover of\nthe card.", "TRAVIS, sitting in his chair in his APARTMENT, watching\nafternoon soap opera. He is cleaning his .38 and eating\nfrom a jar of applesauce. Soap opera audio continues.", "Travis is in C.U. in the middle of the floor doing push-ups.\nHe is bareback, wearing only his jeans. There is a long scar\nacross his left side.", "ALL LIVE SOUND CEASES as TRAVIS' narration begins. He is\nreading from a letter or card he has just written.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "TRAVIS is again writing at the table. His western shirt is\nopen, exposing his bare chest.", "Travis watches the hippie couple closely, his feeling\nsharply divided between cultural contempt and morose jealousy.\nWhy should these people enjoy the love and intimacy that has", "Travis, protesting, follows.\n\n CUT TO:\n\nINT. BUILDING - DAY\n\nTravis speaks intensely into a wall pay phone." ], [ "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "TRAVIS\n But... Betsy...\n\n BETSY\n I'm getting a taxi.\n\nShe walks to the curb.", "BETSY\n No, Travis. You're a sweet guy and\n all that, but I think this is it.\n I'm going home.", "LATER. Travis and Betsy are in TIMES SQUARE, turning the\ncorner from Broadway to 42nd Street. Travis carries the\nalbum under his arm.", "Betsy is walking down a midtown street when Travis suddenly\nappears before her. He has been waiting.\n\nTravis tries to make conversation but she doesn't listen.\nShe motions for him to go away and keeps on walking.", "BETSY gets out of the cab and stands by the right front\nwindow, which is open.\n\nTRAVIS prepares to drive away.\n\n BETSY\n Travis?", "TRAVIS (V.O.; CONT'D)\n Her name is Betsy, but I can tell\n you no more than that.\n (interrupted)", "TRAVIS\n (thin smile)\n Sure.\n\nBETSY steps away from the curb and TRAVIS drives off. She\nwatches his taxi.", "TRAVIS\n (to himself)\n Damn.\n\n BETSY\n What's wrong?", "TRAVIS\n Well, Betsy mam, I drive by this\n place here in my taxi many times a\n day. And I watch you sitting here", "BETSY\n Where do you live?\n\n TRAVIS\n (evasive)\n Oh, uptown. You know. Some joint.\n It ain't much.", "BETSY\n (laughing)\n Travis, I never ever met anybody\n like you before.\n\n TRAVIS\n I can believe that.", "Travis' thoughts are with Betsy, as THREE MEN enter Travis'\ncab. He activates the meter and pulls off.\n\n MAN'S VOICE\n St. Regis Hotel.", "BETSY is momentarily taken back, but pleased. TRAVIS'\npresence has a definite sexual charge. He has those star\nqualities BETSY looks for: She senses there is something", "TRAVIS\n Yeah.\n\n BETSY\n Maybe I'll see you again sometime,\n huh?", "A SHORT WHILE LATER, TRAVIS and BETSY are walking down\nBroadway toward Times Square. BETSY does not let their\nbodies touch as they walk although TRAVIS contemplates\nedging closer to her.", "Travis watches intently. The color, however, is slowly\ndraining from Betsy's cheeks. One thought fills her mind:\n"What am I doing here?"", "Travis walks briskly into the office, and heads toward\nBetsy's desk. Tom walks over to greet him, but Travis\nignores him.", "BETSY\n Yes?\n\n TRAVIS\n My name is Travis.\n\n BETSY\n Thank you, Travis.", "LATER THAT NIGHT, about 12:30. TRAVIS is on the LOWER EAST\nSIDE, somewhere on B Street, east of Tompkins Square." ], [ "TRAVIS walks over to dairy counter in rear of store, picks\nout a pint of chocolate milk, goes over to the open cooler\nand picks through various chilled prepackaged sandwiches.", "TRAVIS walks past concession stand en route to the darkened\ntheater auditorium. A YOUNG MAN is now sitting listlessly\nbehind the concessions counter.", "Travis stands in the aisle for a moment. He turns around,\nwalking back toward the concession stand.\n\nCONCESSION STAND", "TRAVIS checks to see if his .38 is in place (it is), opens\nthe door and exits from the cab.", "Travis' efforts quickly subside when Tom motions to a nearby\nPOLICEMAN. Travis quiets down and walks off.\n\n CUT TO:\n\nEXT.", "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "TRAVIS\n That's fine.\n\n CONCESSION GIRL\n That's a dollar forty-seven.\n\nTravis lays two dollar bills on the counter.", "He passes a ajar door and we are suprised to see the room is\nempty--and trashed. Travis lives in a decaying, if not\ncondemned building.\n\n 99.", "Travis stops at the box office, purchases a ticket, and\nwalks in.\n\nINT. PORNO THEATRE", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "A SHORT WHILE LATER, TRAVIS is walking down the sidewalk\nnear the taxi garage. His hands are in his jacket pockets,\nobscuring the slight bulge on his left side.", "TRAVIS, dressed to the teeth, walks brightly down the\nsidewalk. His face is frehsly shaved, his hair combed, his\ntie straightened.\n\nHe pauses in a store window to check his appearance.", "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "TRAVIS, he gun slipped into his jacket, walks quickly up the\nsidewalk.\n\nAROUND THE CORNER, TRAVIS walks into the darkened stairway\nleading to IRIS' apartment.", "Travis turns a corner, keeps walking. Ahead of him is a 24-\nhour PORNO THEATRE. The theatre, a blaze of cheap day-glow", "Travis is lost among the hip, young intellectual type that\npopulate the store. He watches the stylish, attractive\nfemale help, unable to come right out and requests what he\ndesires.", "Travis holds the .32 Revolver, hefts it, slips it under his\nbelt and pulls his shirt over it. He turns from side to\nside, to see how it rides in his waist.", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "Travis' cab is parked near a neighborhood Bickford's.\n\n CUT TO:", "get up when TRAVIS discharges the mighty .44 at him. BLAAM!\nThe hallway reverberates with shock waves and gun powder." ] ]	[ "Why does he become a taxi driver?", "Who does Travis become infatuated with in the beginning of the story?", "How does Travis offend her?", "Who is Easy Andy?", "What does Travis do at the store when he witnesses a robbery?", "What does Travis try to convince Iris to quit?", "What does Travis intend to do at the public rally he attends?", "Why doesn't Travis commit suicide as planned?", "What happens to Iris at the end of the story?", "What branch of the military did Travis serve?", "What job does Travis take to deal with his insomnia?", "For which presidential candidate does Betsy volunteer?", "What offended Betsy while on a date with Travis?", "Who kicks Travis out of the Senator's campaign office?", "What does Travis buy from Easy Andy?", "Who does Travis confide in regarding his troubling and violent thoughts?", "What happens to the robber of the convenience store?", "What did Sport toss at Travis when he took Iris out of the cab?", "Why was Travis's suicide attempt a failure?", "What is Travis Bickle's current occupation?", "Travis has a crush on a certain individual, what is her name?", "From whom does Travis purchase firearms?", "Why does Travis not kill Senator Palantine?", "Why does Iris become so afraid?", "After the shooting, where does Travis learn Iris traveled?", "What happens when Travis goes to Matthew \"Sport\" Higgins' brothel?", "Who sends Travis a letter?", "Where does Travis encounter Betsy after he recovers from his injuries?", "What happens when Travis goes to the convenient store?" ]	[ [ "to cope with his insomnia", "To cope with his chronic insomnia." ], [ "Betsy, the campaign worker", "Betsy" ], [ "he took her to a Swedish sex film", "He takes Betsy to see a Swedish sex education film." ], [ "an illegal gun dealer", "gun dealer" ], [ "he shoots and kills the robber", "Travis shoots and kills the robber." ], [ "the prostitution she is involved in", "prostitution " ], [ "assassinate Senator Palantine", "Assassinate Senator Palantine" ], [ "He ran out of ammunition after killing Iris's pimp", "out of bullets" ], [ "She returns home and goes back to school", "she returns home and goes back to school" ], [ "US Marine Corps", "The Marines." ], [ "Taxi driver", "Taxi driver " ], [ "Senator Charles Palantine", "Palatine" ], [ "A Swedish sex education movie", "He took her to a pornographic film." ], [ "Tom", "tom" ], [ "Illegal handguns", "A number of handguns." ], [ "Wizard, another taxi driver", "Wizard" ], [ "Travis shoots and kills him.", "The robber is shot and killed by Travis." ], [ "Money, a twenty-dollar bill", "A crumpled twenty dollar bill." ], [ "Travis had no bullets left in his gun.", "He ran out of ammunition" ], [ "Travis is a taxi driver", "Taxi driver." ], [ "Travis has a crush on Betsy", "Betsy." ], [ "Travis purchases firearms from Easy Andy", "Easy andy" ], [ "The secret services prevents Travis from killing Senator Palantine.", "he was found out by the secret service agents" ], [ "Iris is afraid when the gunfight ensues.", "Because of all the killing " ], [ "Irish goes home to Pittsburgh", "pittsburgh" ], [ "Travis kills sport during a gunfight.", "He starts a shootout and kills Sport and two others" ], [ "Travis receives a letter from Iris's father.", "Iris's father" ], [ "Travis encounters Betsy in his cab when he drives her home.", "In his cab " ], [ "He stops a robbery by shooting and killing the robber.", "He shoots a robber" ] ]	6bec7c2bdd0b01296bc9020288d833709e54cd52	test
[ [ "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "In the foreground Klute sits down at a phone and\ndials.\n\n\t\t\tKLUTE\n\tYes, Mr. Cable's office, please.", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute finishes mopping up. SOUND OF TELEPHONE. He\nturns back out of the bathroom and answers it.", "INT. KLUTE'S APARTMENT - DAY (NIGHT)\n\nKLUTE on phone.", "Klute speaks quietly but with terrible urgency into\nthe phone (dealing evidently with an ethically\nskittish message service at the other end).", "INT. KLUTE'S APARTMENT: KLUTE - DAY\n\nKlute continues his phone conversation, short\nspoken.", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "CAMERA goes in close on Klute.\n\n\t\t\tCABLE'S VOICE\n\t\t(through telephone)\n\tJohn, how are you?", "The tape-recorder continues turning and winking as\nthe conversation upstairs continues. KLUTE looks at\nTV dinner. He reaches for the headset of the", "The DOORMAN hangs up the brass house-phone, smiles\nand gestures them graciously into the (self\nservice) ELEVATOR. We see Klute -- without making\ntoo much of it -- taking in the mirrors and marble\nwork.", "Klute goes downstairs to back entrance of Faber\nloft. He slips inside. He hears THE SOUNDS OF THE\nBEATING -- a stirring of feet and indistinct impact", "INT. KLUTE'S APARTMENT - NIGHT", "We see that we've been looking out from the bedroom\nwindow of this house. Klute turns to rolltop desk\nin bedroom and picture of Tom Grunemann, picture of", "case containing a tape recorder stands on the\nfloor. On the table are a FOLDER of Klute's notes,\nand a paper bag. Klute enters and deliberately", "Klute hangs up.", "KLUTE\n\tDid she leave a number?\n\t\t(beat)\n\tThis is a police call; don't make", "recorder. The TAPE RECORDER is going, its light\nwinking. KLUTE holds headset against one ear, makes\na note or two. We hear BREE's and other GIRL'S", "As KLUTE slowly walks away we bring in TELEPHONE\nRING and BREE VOICE, OVER answering.", "Klute goes.\n\nINT. KLUTE'S APARTMENT - DAY" ], [ "BREE\n\tFrank, he knows you're a pimp. He\n\tknows you were my pimp.\n\nShort silence. Then with the tact of a gentleman\ndealing with rude, difficult woman --", "BREE\n\tGee I hope this doesn't make my\n\tcold any worse.\n\n\t\t\tKLUTE\n\tTell me about Frank Ligourin.", "The room is still disordered. Bree and Frank\nLigourin look at him, silently. Bree has been\nassembling armfuls of dresses to carry away with", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "to somebody, and then he sees that she is talking\nto FRANK LIGOURIN.", "Frank's face, as he struggles away. Bree is\nscreaming. Bree grabs at him from behind. He\nthrusts her off. But it allows Frank to break away", "The point of this one brief shot -- Bree's face --\nin the instant after Frank has spoken and before\nshe enters, with Klute following. Her half-second\nof hesitation. This is someone who gets to her\nsomehow -- probably always will.", "BREE\n\tWhy?\n\n\t\t\tKLUTE\n\tYou know what I'm talking about.\n\tMiss Daniel.\n\n\t\t\tBREE\n\tHonest?", "BREE\n\t\t(coolly)\n\tI don't get you.\n\n\t\t\tKLUTE\n\tLigourin: How could you do it?", "BREE\n\tNo!\n\nKlute is restrained -- restrains himself. Frank has\nfaced around on the stairs, still bleeding\nextravagantly from his torn scalp. Earnestly --", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "BREE\n\tWhat did you expect? Frankie still\n\thas a good string, three girls.\n\tFigure three hundred a week from\n\teach.\n\n\t\t\tKLUTE\n\tIs that what you gave him?", "BREE\n\tFrankie kept them in the same\n\tapartment: it cut his travel-time.\n\n\t\t\tKLUTE\n\tThen maybe Arlyn Page knew the\n\tDumper too.", "FRANK\n\tWell Bree, maybe you'd rather --\n\nHe gestures gently to indicate outside. She nods\nonce. He escorts her in that direction, OUT the\ndoor, closing it behind them.", "INT. LANDING AT DOOR - DAY\n\nFrank clatters down a stairs as Klute arrives in\nthe doorframe, and as Bree, behind Klute, screams --", "BREE\n\tFrank -- Klute.", "FRANK\n\tI've always respected Bree.\n\t\t(then)\n\tI'd like to make something clear.\n\n\t\t\tKLUTE\n\tI've just got a few --", "Klute sees Mr. Faber first -- clearly a senior\ncitizen -- sitting transfixed, fastened in some\nprivate dream. Then BREE drifts into view -- stands", "BREE\n\tWhat about?\n\n\t\t\tKLUTE\n\tMy name's John Klute.\n\n\t\t\tBREE\n\tYou said that.", "BREE (CONT'D)\n\tBree Daniel.\n\t\t(listens. Brightly)\n\tOh yes, Ted Carlin, how is Ted?" ], [ "BREE\n\tI'm sorry, I'm just frightened.\n\tYes.\n\n\t\t\tCABLE\n\tExcuse me Miss Daniel?", "BREE\n\tWhy?\n\n\t\t\tKLUTE\n\tYou know what I'm talking about.\n\tMiss Daniel.\n\n\t\t\tBREE\n\tHonest?", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "Bree remains in place. She is a prisoner, we can\nsuppose -- when we cut closer we'll see her eyes\ncontinually shifting, her mind calculating her", "Bree has wrapped herself in the quilt -- standing\nup against a corner shivering, immobilized. We hear\nKLUTE'S FOOTSTEPS DESCENDING -- she flinches -- he\nenters.", "BREE (CONT'D)\n\tI am scared. The things I do. The\n\tthings I could do to you.\n\n\t\t\tKLUTE\n\tMm.", "INT. BREE'S APARTMENT: BREE - DAY\n\nBree is in the middle of dialing the phone. Her\nhands are shaking; she misdials -- holds down the\nreceiver for a moment then starts again.", "He reaches to touch her -- she quails away from\nhim.\n\n\t\t\tBREE\n\tWell do you think it was him?\n\n\t\t\tKLUTE\n\tWhat do you think?", "BREE VOICE\n\tBree Daniel.\n\t\t(then)\n\tYeah, hi hon.\n\nEXT. BREE APARTMENT - NIGHT", "BREE sits, looks with curiosity at housewives her\nage -- bringing their children in from the park, as\nif trying to imagine what their lives could be\nlike. KLUTE emerges from elevator.", "Bree comes out of door - goes down steps -\nhesitates in front of Klute's apartment struggling\nwith the question of whether to knock. CAMERA pulls", "EXT. BREE'S BROWNSTONE - NIGHT\n\nNear the entrance, outside the door to KLUTE's\napartment below. We open on BREE. She shouts\nangrily, miserably --", "Bree has shifted position to a window, is looking\ndown at the street. She sees - and we hear - SOUND\nOF BUS APPROACHING, distantly. She grabs her\nproperties, whips out the door.", "Bree is about a quarter block away from the\nBrownstone now, hurrying. She waves in the\ndirection of a cab, misses it, continues on. We CUT\nTO --", "Klute has strolled out of view from above --\ninstantly flattens himself against the wall, eases\nthe door open, about to slip and charge. As Bree\nlabors on --", "BREE'S POV\n\nA sea of staring faces revolves around her. We\ncross fade with SPANGLER VOICE OVER (as if\nrecalling a case record).", "BREE (CONT'D)\n\tYou scared me, Mr. Faber.\n\nHe smiles, kisses her cheek, tests the fabric of\nher evening dress -- (in passing, as a matter of\nexpertise).", "Bree skids to a stop just inside the door, scans\nquickly out in one direction then the other (in\ncase Klute has been waiting in ambush on the", "Bree Daniel, and other material he has collected on\nthe case. He puts them in his suitcase and closes\nthe suitcase. He shuts rolltop desk.", "Alongside of him the skylight of BREE's apartment\nlights up. He looks through the skylight and sees\nBREE enter her apartment. He can hear BREE talking" ], [ "You were scared. Arlyn Page, that\n\tscared you. Well it should; that's\n\tdeath.\n\tSo what did you do, you ran", "BREE\n\t\t(patiently)\n\tTrina honey, he just wants to find\n\tArlyn Page.\n\nTrina undergoes a change of demeanor. Flatly --", "KLUTE\n\tI thought you ought to know, Arlyn\n\tPage is dead.\n\n\t\t\tBREE\n\tHow?", "We see BERGER lying at the foot of the stairs. As\nArlyn clatters down toward him, Berger sways up\nonto his knees. His nose is bloodied, he cries.", "ARLYN enters rather eagerly. She sees Klute first,\nthen Bree -- recognizes her -- retires flat against\na wall, holding one palm outwards to shield her", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "The retching sounds are coming from the connecting\nroom. No one visible here. A very few barren pieces\nof furniture. We hear ARLYN'S VOICE ask from the\nnext room --", "We hear him STUMBLE AND FALL on the stairs outside,\nthe sound of body reeling down. Arlyn shrieks and\nraces after: Klute and Bree follow.", "BREE\n\tFrankie kept them in the same\n\tapartment: it cut his travel-time.\n\n\t\t\tKLUTE\n\tThen maybe Arlyn Page knew the\n\tDumper too.", "He stops for an instant face-to-face with Klute.\nThen turns, plunges out of view again. Arlyn breaks\nafter.\n\n\t\t\tARLYN\n\tNo --", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "ARLYN (CONT'D)\n\tIt's all right, they're all right --\n\n-- turns and runs.", "KLUTE\n\tArlyn Page was probably an alias.\n\tShe went by the names Terry Arlyn\n\tand June Price. She may have been", "ARLYN (CONT'D)\n\tGet out!\n\t\t(to Berger, again)", "Arlyn casts herself on her knees beside him, pulls\nhis face against her, croons to him, soothes and\ntends him.", "Arlyn seems to accept the bargain. He indicates to\nBree to proceed, stands away a little. Arlyn covers\nher elbow with one hand. Bree manages as best she\ncan.", "Arlyn I took her right into my\n\tapartment, my own sweet apartment\n\ton First. But she wouldn't stay off\n\tit -- the junk -- and I wept and I", "KLUTE\n\tIf Arlyn Page is living with Tom\n\tGrunemann --\n\n\t\t\tBREE\n\t\t(eagerly)\n\t-- Then you don't need me.", "She spins around -- mute -- terrified.\n\n\t\t\tBREE\n\t\t(manages)\n\tArlyn and Jane commited suicide. He\n\tsaid they commited suicide.", "INT. ARLYN'S APARTMENT - DAY" ], [ "Klute takes up the slip of paper previously given\nhim by Trask. In the same manner as before --", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "TRASK\n\tUnless he was involved with\n\tGrunemann's disappearance.\n\n\t\t\tKLUTE\n\tI knew Tom never wrote that letter.", "As Klute talks he paces back and forth in the\ndarkness. He crosses in front of the lighted\nscreen; the letters projected on the screen ripple\nover his face.", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "BREE\n\tWho?\n\n\t\t\tKLUTE\n\tTom Grunemann. He wrote you some\n\tletters.", "KLUTE\n\tIt looks like he sent her quite a\n\tfew of those Holly -- the girl --\n\tshe recalls six or seven letters\n\tlike --", "We see that we've been looking out from the bedroom\nwindow of this house. Klute turns to rolltop desk\nin bedroom and picture of Tom Grunemann, picture of", "Then -- (we are assuming a complete understanding\nhere between Klute and Trask, non-verbal. What\nTrask is asking, in effect, is: is this meaningful?\nDo we both suspect the same man?)", "KLUTE (O.S.)\n\tMiss Daniel? My name is Klute --\n\tJohn Klute --", "Klute pokes through a small collection of personal\neffects -- perhaps an ankle bracelet, rabbits foot,\nfaded snapshot of a child, some letters, pitiful", "Custodian finds it, unlocks for Klute's inspection.\nReaches for paper Klute's holding.\n\n\t\t\tCUSTODIAN\n\t-- And I keep the authorization,\n\tplease.", "Klute and Trask are seen entering from the\nProjection Room. In the background we see an old\nblack woman sitting in front of the picture file of\nunidentified dead, carefully studying each picture.", "Klute speaks quietly but with terrible urgency into\nthe phone (dealing evidently with an ethically\nskittish message service at the other end).", "KLUTE\n\tThat's the reason i told him we had\n\tno evidence Tom was still alive. We\n\twanted to shake him into another\n\tphone call or another letter. It\n\tdidn't work out just that way.", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "BREE\n\tWhat about?\n\n\t\t\tKLUTE\n\tMy name's John Klute.\n\n\t\t\tBREE\n\tYou said that.", "Klute looks on as EFFECTS trace the processing of\nthe body. SPENCE kneels down out of frame to slide\nthe bag around it. TRASK kneels down to make a\nbrief examination -- straightens again. To Klute --" ], [ "about a German girl, no details. We\n\tthink we know why he killed\n\tGrunemann -- he found out Cable was\n\ta dumper; Cable couldn't take that.", "CABLE\n\t\t(unhearing, resumes)\n\tTom Grunemann discovered me -- we\n\twere here on business together, he", "CABLE\n\tNo. It's ridiculous. This has\n\tnothing to do with Tom Grunemann.", "ROSS\n\t\t(to Klute)\n\tBut if Cable killed Grunemann why\n\twould he get you hired to look for\n\tGrunemann?", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "Camera stops at Mrs. Grunemann who sits at the foot\nof the table opposite her husband. She smiles\nacross at him with pleasure. We cut to Tom", "Grunemann smiling back at her. We cut back to a\ncloseup of Mrs. Grunemann looking back at her\nhusband with love. We cut back to Tom Grunemann's", "you, gonna follow you, gonna punish\n\tyou, kill you et cetera. Well, they\n\tsaid, all right that's Grunemann.", "TRASK\n\tUnless he was involved with\n\tGrunemann's disappearance.\n\n\t\t\tKLUTE\n\tI knew Tom never wrote that letter.", "TRASK'S VOICE\n\t\t(skipping, summarizing)\n\tAll right, there's Tom Grunemann,", "CABLE\n\tAll right, suppose it wasn't Tom\n\tGrunemann; where does that get you?", "He coerces her to the table and unrolls the Company\nouting picture. (We see the rip extending up\nthrough the image of Tom Grunemann in the front\nrow.)\n\n\t\t\tBREE\n\tOh no.", "BREE\n\tWho?\n\n\t\t\tKLUTE\n\tTom Grunemann. He wrote you some\n\tletters.", "CABLE VOICE\n\tHow do you go from that to the idea\n\tTom's dead? Suicide you're\n\tsuggesting? He killed himself?", "TRASK\n\tLike for you to look for the man.\n\n\t\t\tBREE\n\tGrunemann? I've looked at him a --", "KLUTE\n\tNo. No mistake Pete. It doesn't\n\tprove who it was -- but proves it\n\twasn't Tom.\n\n\t\t\tCABLE\n\tYou must be discouraged.", "We see that we've been looking out from the bedroom\nwindow of this house. Klute turns to rolltop desk\nin bedroom and picture of Tom Grunemann, picture of", "CABLE\n\tYou just finished telling me she\n\thad nothing to offer. Not Tom, you\n\tsaid, the Dumper was clearly not\n\tTom.", "KLUTE\n\tIt wasn't Tom that broke in the\n\troom.\n\n\t\t\tCABLE\n\tIt has to be Tom. You said he\n\tripped up his own pictures, he --", "moment he is there, and the next moment he is gone.\nThe camera pans back down the table, only now it is\nempty except for Grunemann's children and Mrs." ], [ "Cable breaks loose, backs a step -- backs another\nstep -- and then, turns and runs unhesitant against\none of the windows, exploding it outward with him,\nboth frame and glass.", "CABLE closes the door and returns to his desk. He\npulls out a tape recorder from a drawer in his\ndesk, rewinds it and turns it on. We hear a", "moves out of the shot. We hear the sound of the car\ndoor opening and closing. Through the windshield we\nsee Cable cross in front of the car and start to", "TRASK moves into scene, sits on another piling,\nlooks at him speculatively. Silence. Then --\n\n\t\t\tTRASK\n\tThat's how the other one died, you\n\tknow. In the water.", "Cable sits down next to window. The helicopter\nbegins to rise. CAMERA goes into a medium close\nshot of Cable against the helicopter window. The", "BREE\n\tYes.\n\n\t\t\tCABLE\n\tThen it doesn't matter what I do\n\tany more, does it?\n\nPause. Then he shudders slightly.", "shoulders giving us the feeling that Cable is\nalmost levitating by himself. As one floor after\nanother disappears behind him we see an almost", "darkness revealing a sweaty man huddled in the\ncorner looking like some strange animal from a\npainting by Bosch. It is Cable.", "CABLE\n\tYou're willing to listen? You want\n\tme just to keep talking?\n\nHe hits her.", "BREE\n\t\t(coldly)\n\tWell -- she's dead.\n\nAt the corner he slows, starts unzipping his\nbookcase as if indicating a change of route.", "racks, drawing closer to Cable, trying to gain\nposition. We intersperse his progress with further\nBree-Cable fragments, as for instance --", "Over the following conversation we show CLOSEUPS of\nmaterial in the dossier. It contains photographs of\nCable and his life from childhood to the present -\nincluding pictures of him with his mother and", "the loft, and the noise is deafening. But -- the\nmost bizarre element is Cable's absolute lack of\nresponse to it. It rings and rings as he talks and", "CABLE\n\tYes Evvie, thanks. Gentlemen, I'm\n\tsorry.\n\nThey rise, dismissed. He sorts a paper or two,\ncontinues to Klute.", "The CAMERA pulls back from a CU of CABLE standing\nat the window to a wide angle looking at CABLE\nthrough the window. The window is 30 or 40 stories", "Cable hastens toward her along a lane of garments.\nIn this brief glimpse a ludicrous and terrifying\nfigure -- a noise, a gesticulation (actually the", "We see BERGER lying at the foot of the stairs. As\nArlyn clatters down toward him, Berger sways up\nonto his knees. His nose is bloodied, he cries.", "Klute closes with him, knocks loose Cable's pistol \n- contends for it again, knocks it loose again.\nEFFECT -- under -- SIRENS.\n\nCABLE, KLUTE", "Klute's manner, over the next few minutes, exhibits\nan absolute, untheatrical, care and competence. A\nman -- Cable -- may in fact be hiding here", "Cable and Bree. They are at some remove from the\nsite of Cable's first appearance; there are other\nevidences of time-lapse. Cable's manner is that of" ], [ "Klute is alseep -- more or less -- on his stomach.\nBree beside him lies awake. She trails her fingers\nabout his back. A rather tentative, exploratory", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute, in pajama bottoms, lies in bed. A miserably\nhot humid night. KNOCK at the door. He answers.\nBREE stands in the doorway in bare feet.", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "BREE\n\tWhat about?\n\n\t\t\tKLUTE\n\tMy name's John Klute.\n\n\t\t\tBREE\n\tYou said that.", "She seems to have expressed it; the balance of\npower. She turns, goes out, heads upstairs. Klute\nunhurriedly takes up his folder of notes, then\nfollows.", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "KLUTE\n\tDon't worry.\n\nShe examines him -- shrugs -- turns, proceeds along\nthe sidewalk, Klute accompanying --\n\nEXT. DISCOTHEQUE - NIGHT", "The point of this one brief shot -- Bree's face --\nin the instant after Frank has spoken and before\nshe enters, with Klute following. Her half-second\nof hesitation. This is someone who gets to her\nsomehow -- probably always will.", "KLUTE (O.S.)\n\tMiss Daniel? My name is Klute --\n\tJohn Klute --", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "She is like a child awaiting praise from her\nteacher. Klute says nothing. They continue walking\namong the plants and he picks up a few that she had\nadmired.", "Klute sees Mr. Faber first -- clearly a senior\ncitizen -- sitting transfixed, fastened in some\nprivate dream. Then BREE drifts into view -- stands", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "Klute and Bree are only a half-step behind. Klute\noffers to assist: Arlyn puts him away ferociously.", "She pulls off her shirt, unhooks her brassiere and\ndiscards it, apparently quite unselfconscious.\nKlute reacts; then, carefully maintaining his cool \n-", "Klute half sits up in bed. Bree is fast asleep with\nher head pillowed on his midsection. Some humor in\nthis shot: he wants to move but doesn't want to", "On her part we see a wish to be reconciled -- a\nshyness mixed with defiance -- but Klute's manner\nis arduous. She smiles nervously, asks --", "BREE\n\tLook, I told the police everything:\n\tI don't even remember the schlub!\n\nKlute doesn't respond. Klute sets out a photograph\nfor her to look at." ], [ "BREE\n\tWhy?\n\n\t\t\tKLUTE\n\tYou know what I'm talking about.\n\tMiss Daniel.\n\n\t\t\tBREE\n\tHonest?", "BREE\n\tBree Daniel. Has he called in yet?\n\tWell if he does, I'm at --\n\t\t(reads phone)", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "BREE\n\tI'm sorry, I'm just frightened.\n\tYes.\n\n\t\t\tCABLE\n\tExcuse me Miss Daniel?", "Bree standing, angry, antagonistic, demanding. In a\nway -- a Bree-like way -- she's seized psychiatry\nby the throat.\n\n\t\t\tBREE\n\tThe son of a bitch seduced me!", "SPANGLER (V.O.)\n\tBree Daniel, Caucasian, twenty\n\teight, good physical health, no", "BREE VOICE\n\tBree Daniel.\n\t\t(then)\n\tYeah, hi hon.\n\nEXT. BREE APARTMENT - NIGHT", "BREE (CONT'D)\n\tBree Daniel.\n\t\t(listens. Brightly)\n\tOh yes, Ted Carlin, how is Ted?", "Bree is about a quarter block away from the\nBrownstone now, hurrying. She waves in the\ndirection of a cab, misses it, continues on. We CUT\nTO --", "KLUTE\n\tNo, but Bree does. She's\n\tnegotiating for me. Bree Daniel.\n\nCable takes an instant to compute the thing. Then --", "Bree sits isolated on the waiting-room couch. She\nmay have been here for fifteen minutes -- or an\nhour. She turns the pages of a magazine -- one", "Klute sees Mr. Faber first -- clearly a senior\ncitizen -- sitting transfixed, fastened in some\nprivate dream. Then BREE drifts into view -- stands", "At the top he notes -- but still without main\nconcern that Bree's door is open. He calls ahead --\n\n\t\t\tKLUTE\n\tBree --", "BREE\n\tOh you bastard.\n\nBut then she adjusts -- a frightened but matter-of\nfact hooker --", "BREE (CONT'D)\n\tYou scared me, Mr. Faber.\n\nHe smiles, kisses her cheek, tests the fabric of\nher evening dress -- (in passing, as a matter of\nexpertise).", "Bree moves about energetically, preparing to set\nout on rounds. A KNOCK on the door. She startled,\nthen approaches to door, to peep-hole, lifts lid\naside.", "Bree comes out of door - goes down steps -\nhesitates in front of Klute's apartment struggling\nwith the question of whether to knock. CAMERA pulls", "BREE\n\tYou saw that, goddamn you? You saw\n\tit? He's seventy. His wife's dead.", "Bree skids to a stop just inside the door, scans\nquickly out in one direction then the other (in\ncase Klute has been waiting in ambush on the", "BREE VOICE\n\tBree Daniel --\n\n\t\t\tMAN'S VOICE\n\tOh God baby, oh God I really love\n\tyou." ], [ "KLUTE\n\tPete, I've got a chance to buy Jane\n\tMcKenna's black book.\n\n\t\t\tCABLE\n\tWhat?", "KLUTE\n\tI'm meeting a man tomorrow night.\n\tHe wants to meet me on East-River\n\tDrive -- he wants five hundred\n\tdollars for the book. Can you get\n\tthat for me Pete?", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "twenty-five to thirty thousand a\n\tyear.\n\t\t(notes Klute's reaction)\n\tOh they don't keep the money: they", "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "KLUTE\n\tCall-girls generally keep a book,\n\tyou know, a list of their clients.\n\tSometimes, if a girl retires,", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "KLUTE\n\tYou could help me find her. You\n\tknow the people.\n\t\t(as she turns away)\n\tI'll pay you a hundred dollars.", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "She seems to have expressed it; the balance of\npower. She turns, goes out, heads upstairs. Klute\nunhurriedly takes up his folder of notes, then\nfollows.", "BREE\n\tLook, I told the police everything:\n\tI don't even remember the schlub!\n\nKlute doesn't respond. Klute sets out a photograph\nfor her to look at.", "Custodian finds it, unlocks for Klute's inspection.\nReaches for paper Klute's holding.\n\n\t\t\tCUSTODIAN\n\t-- And I keep the authorization,\n\tplease.", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "Klute goes downstairs to back entrance of Faber\nloft. He slips inside. He hears THE SOUNDS OF THE\nBEATING -- a stirring of feet and indistinct impact", "Klute speaks quietly but with terrible urgency into\nthe phone (dealing evidently with an ethically\nskittish message service at the other end).", "BREE\n\tWhat did you expect? Frankie still\n\thas a good string, three girls.\n\tFigure three hundred a week from\n\teach.\n\n\t\t\tKLUTE\n\tIs that what you gave him?", "Klute, stepping out, closes, locks and checks the\nhouse door, then moves on to his car -- a vintage\nPlymouth -- and tosses in his suitcase; and then", "Klute takes up the slip of paper previously given\nhim by Trask. In the same manner as before --" ], [ "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "Klute comes out door and descends the stairs at the\nsame even pace -- he walks into the vacant store\nbelow.\n\nINT. BASEMENT STORE - DAY", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute goes downstairs to back entrance of Faber\nloft. He slips inside. He hears THE SOUNDS OF THE\nBEATING -- a stirring of feet and indistinct impact", "Klute finishes mopping up. SOUND OF TELEPHONE. He\nturns back out of the bathroom and answers it.", "INT. KLUTE'S APARTMENT: KLUTE - DAY\n\nKlute continues his phone conversation, short\nspoken.", "Klute speaks quietly but with terrible urgency into\nthe phone (dealing evidently with an ethically\nskittish message service at the other end).", "We follow Klute through the house with suitcase. He\nputs away a last dish, shutting off water, gas, and\nelectricity, and so on -- takes a last look around \n- reaches for the door handle. WE CUT TO --", "Klute has strolled out of view from above --\ninstantly flattens himself against the wall, eases\nthe door open, about to slip and charge. As Bree\nlabors on --", "The DOORMAN hangs up the brass house-phone, smiles\nand gestures them graciously into the (self\nservice) ELEVATOR. We see Klute -- without making\ntoo much of it -- taking in the mirrors and marble\nwork.", "In the foreground Klute sits down at a phone and\ndials.\n\n\t\t\tKLUTE\n\tYes, Mr. Cable's office, please.", "INT. KLUTE'S APARTMENT - DAY (NIGHT)\n\nKLUTE on phone.", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "Klute goes.\n\nINT. KLUTE'S APARTMENT - DAY", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "CAMERA follows KLUTE as he cautiously makes his way\ndown the stairwell of the boarded up old\nbrownstone. He gets to the first floor. He can see", "We WIDEN TO INCLUDE KLUTE. Now she begins to get\nit. He turns, opens door to his room below. She\ncomes slowly down steps.\n\nINT. KLUTE'S ROOM - DAY", "The tape-recorder continues turning and winking as\nthe conversation upstairs continues. KLUTE looks at\nTV dinner. He reaches for the headset of the", "Klute, stepping out, closes, locks and checks the\nhouse door, then moves on to his car -- a vintage\nPlymouth -- and tosses in his suitcase; and then" ], [ "BREE\n\tWhy?\n\n\t\t\tKLUTE\n\tYou know what I'm talking about.\n\tMiss Daniel.\n\n\t\t\tBREE\n\tHonest?", "Klute is alseep -- more or less -- on his stomach.\nBree beside him lies awake. She trails her fingers\nabout his back. A rather tentative, exploratory", "BREE\n\tLook, I told the police everything:\n\tI don't even remember the schlub!\n\nKlute doesn't respond. Klute sets out a photograph\nfor her to look at.", "KLUTE (O.S.)\n\tMiss Daniel? My name is Klute --\n\tJohn Klute --", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "Klute, in pajama bottoms, lies in bed. A miserably\nhot humid night. KNOCK at the door. He answers.\nBREE stands in the doorway in bare feet.", "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "She pulls off her shirt, unhooks her brassiere and\ndiscards it, apparently quite unselfconscious.\nKlute reacts; then, carefully maintaining his cool \n-", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "At this point -- or about this point -- Klute takes\nnote of something. A little above her. He grows\nmore watchful, but containing it carefully. We", "Darkness now, or close to dark; the room heavily\nshadowed. Bree and Klute sit together on the bed.\nHe still strokes her hair. He has pulled a blanket", "BREE\n\tWhat about?\n\n\t\t\tKLUTE\n\tMy name's John Klute.\n\n\t\t\tBREE\n\tYou said that.", "The point of this one brief shot -- Bree's face --\nin the instant after Frank has spoken and before\nshe enters, with Klute following. Her half-second\nof hesitation. This is someone who gets to her\nsomehow -- probably always will.", "KLUTE\n\tIt's not so bad.\n\nThere is a silence. Both Klute and Cable seem to be\nwaiting for one or the other to make the next move.", "KLUTE\n\tWell --\n\n\t\t\tBREE\n\t\t(harshly)\n\tHey, but did we get to you, Klute?\n\tA little?", "He thinks better of continuing. Klute looks from\nhim back to Bree. He speaks gravely, spacing his\nwords -- unable to speak any faster.", "On her part we see a wish to be reconciled -- a\nshyness mixed with defiance -- but Klute's manner\nis arduous. She smiles nervously, asks --", "(beat - still reasonably)\n\tIs this something Klute just\n\tinvented? Is this a trap for me,\n\tMiss Daniel; does Klute know about" ], [ "Klute goes.\n\nINT. KLUTE'S APARTMENT - DAY", "INT. KLUTE'S APARTMENT - DAY", "INT. KLUTE'S APARTMENT - NIGHT", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "INT. KLUTE'S APARTMENT: KLUTE - DAY\n\nKlute continues his phone conversation, short\nspoken.", "INT. KLUTE'S APARTMENT - DAY (NIGHT)\n\nKLUTE on phone.", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "INT. KLUTE'S APARTMENT: KLUTE - NIGHT", "INT. KLUTE'S APARTMENT: KLUTE - NIGHT", "INT. KLUTE'S APARTMENT: KLUTE - DAY", "INT. KLUTE'S APARTMENT: KLUTE - DAY", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "A shabby place in a shabby neighborhood. Mrs.\nVasek, the landlady, shifts barrels at the same\ntime that she barks at Klute, in heavy accent.", "She continues on up; Klute continues down.\n\nINT. BREE'S APARTMENT - DAY", "INT. KLUTE'S APARTMENT: KLUTE - DAY (NIGHT)", "INT. BREE'S APARTMENT: KLUTE - DAY\n\nHe enters, puzzles, starts checking around (quite\nthoroughly; she might be hiding from him). We CUT\nBACK TO --", "INT. KLUTE'S APARTMENT: BREE, KLUTE - NIGHT", "Klute goes downstairs to back entrance of Faber\nloft. He slips inside. He hears THE SOUNDS OF THE\nBEATING -- a stirring of feet and indistinct impact", "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "The DOORMAN hangs up the brass house-phone, smiles\nand gestures them graciously into the (self\nservice) ELEVATOR. We see Klute -- without making\ntoo much of it -- taking in the mirrors and marble\nwork." ], [ "On the left a portion of the original obscene\nletter. On the right a series of comparison\ndocuments -- beginning with a portion of a personal", "She finds nothing inside but money -- bills\ntotaling fifty dollars. We see her looking for a\nmessage, finding nothing. It comes to her slowly", "He takes out a folded letter and a wallet and\npasses them both through to her. Silence. She\nexamines them with care, then appears to soften a\nlittle; even smiles slightly.", "SPANGLER\n\tAbout his letters -- that's all she\n\tremembered. Quite violent material,\n\tI'd say, obsessive, a quite sick\n\tman. But that's not unusual either.", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "Bree looks about for someone -- then scouts for a\npencil, finds one in a desk (or bench) drawer,\nstarts to readdress the envelope (to direct it back", "open the envelope then and there -- but OTHERS\ncontinue to move past her. She seeks a more private\nplace.", "and they meant nothing. Then they\n\tasked me, well had I been getting\n\tletters, from someone out there in\n\tCabbageville --", "ROSS\n\tExamine this letter please.\n\t\t(continues)\n\tWe recovered that from the shredder", "BREE\n\tAll right, yes, I had been. Those\n\tsick, wild letters -- I'm watching", "He turns quickly. She is holding out, at arms\nlength, a pair of her underpants. With a disgust so\nextreme she can only laugh.", "She waits, still smiling, for a while. But she's\nnot done with him yet. She rolls to lie with her\nupper body on his, trailing her fingers across his\nface. Affectionately, as a good whore --", "Klute pokes through a small collection of personal\neffects -- perhaps an ankle bracelet, rabbits foot,\nfaded snapshot of a child, some letters, pitiful", "She hangs up, goes back to readdressing the\nenvelope. FOOTSTEPS are approaching in her\ndirection. She glances up apologetically.", "disorganization of the room without comment, opens\nhis folder, rummages for the photographs. Then,\nexasperatedly --", "Klute takes up the slip of paper previously given\nhim by Trask. In the same manner as before --", "INT. GRUNEMANN HOUSE: C.U. HOLLY - DAY\n\nHOLLY thrusts the letter back toward camera, toward\nKLUTE crying out -", "The old black lady motions to Trask who crosses to\nher. She points to a picture in the file. She has\nobviously found her missing person among the", "This shot holds both in view for a moment, until\nthey both disappear separately in the traffic.\nCAMERA moves in slightly on litterbox as a man's\nhand comes into frame and removes the tapes.", "It is as black as a dungeon and as low. He lights a\nmatch, but sees no one. There is a sound of\nmovement coming from the floor above, He runs up" ], [ "You were scared. Arlyn Page, that\n\tscared you. Well it should; that's\n\tdeath.\n\tSo what did you do, you ran", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "BREE\n\t\t(coldly)\n\tWell -- she's dead.\n\nAt the corner he slows, starts unzipping his\nbookcase as if indicating a change of route.", "We see BERGER lying at the foot of the stairs. As\nArlyn clatters down toward him, Berger sways up\nonto his knees. His nose is bloodied, he cries.", "KLUTE\n\tI thought you ought to know, Arlyn\n\tPage is dead.\n\n\t\t\tBREE\n\tHow?", "She waits, still smiling, for a while. But she's\nnot done with him yet. She rolls to lie with her\nupper body on his, trailing her fingers across his\nface. Affectionately, as a good whore --", "She finds nothing inside but money -- bills\ntotaling fifty dollars. We see her looking for a\nmessage, finding nothing. It comes to her slowly", "BREE\n\t\t(patiently)\n\tTrina honey, he just wants to find\n\tArlyn Page.\n\nTrina undergoes a change of demeanor. Flatly --", "Then he slowly raises up, shuddering, looking down\nat her. He knows what she's done to him, is\nhelpless to do anything back. He rolls slowly out", "forearm. He and she stand in absolute silence. He\nlooks down at the stain of blood spreading through\nthe fabric of his jacket sleeve. Then he turns out\nof the room and down the stairs.", "somewhere to kill him. He sets about checking the\nlikely places -- first of all the lower hallway,\nthen the stairwell itself, moving steadily\nunalarmedly up.", "SUGARMAN\n\tNo point, thanks.\n\n\t\t\tKLUTE\n\tIs he claiming the body?", "It is as black as a dungeon and as low. He lights a\nmatch, but sees no one. There is a sound of\nmovement coming from the floor above, He runs up", "He tries to rebutton the pajama shirt. She catches\nhis hand, thrusts it underneath. In grief and anger\n--", "He hangs up. An ancient stirring, a kind of\ntriumph. He glances about, then tightens his tie.\nThen it comes to him, after all -- he takes note of", "He shows her a spot or two on his own forearm. She\ncompares, is reassured. Embarrassedly, she tries to\nsmile. It is unsuccessful. She gets up and moves", "We hear him STUMBLE AND FALL on the stairs outside,\nthe sound of body reeling down. Arlyn shrieks and\nraces after: Klute and Bree follow.", "TRASK moves into scene, sits on another piling,\nlooks at him speculatively. Silence. Then --\n\n\t\t\tTRASK\n\tThat's how the other one died, you\n\tknow. In the water.", "look around. Then he pulls the door shut, pulls\nout. And on this we CUT TO --" ], [ "BREE\n\tFrank, he knows you're a pimp. He\n\tknows you were my pimp.\n\nShort silence. Then with the tact of a gentleman\ndealing with rude, difficult woman --", "he was me he'd know better. If he\n\twas even a city boy he'd know\n\tbetter. You're a whore Miss Daniel,", "This is a hangout where black and white pimps wait\nto meet their whores after their night of street\nwalking. This streetwalker world is far removed", "Bree Daniel, and other material he has collected on\nthe case. He puts them in his suitcase and closes\nthe suitcase. He shuts rolltop desk.", "BREE and the OTHER GIRL advance to a pew. A MAN\nsitting there (the other girl's pimp) with a THIRD", "Among the people around the bar, pimps, whores, and\na sprinkling of hopeful Johns and curiosity\nseekers. The camera picks a familiar face: CABLE.", "She waits, still smiling, for a while. But she's\nnot done with him yet. She rolls to lie with her\nupper body on his, trailing her fingers across his\nface. Affectionately, as a good whore --", "(impatiently)\n\tJust tell him Bree Daniel; he knows\n\twho.", "BREE\n\tWhy?\n\n\t\t\tKLUTE\n\tYou know what I'm talking about.\n\tMiss Daniel.\n\n\t\t\tBREE\n\tHonest?", "BREE\n\tBree Daniel. Has he called in yet?\n\tWell if he does, I'm at --\n\t\t(reads phone)", "BREE (CONT'D)\n\tBree Daniel.\n\t\t(listens. Brightly)\n\tOh yes, Ted Carlin, how is Ted?", "Then he slowly raises up, shuddering, looking down\nat her. He knows what she's done to him, is\nhelpless to do anything back. He rolls slowly out", "BREE\n\tGil?\n\nThe pimp looks distrustfully at Klute who reassures\n--", "BREE\n\tI'm sorry, I'm just frightened.\n\tYes.\n\n\t\t\tCABLE\n\tExcuse me Miss Daniel?", "KLUTE\n\tNo, but Bree does. She's\n\tnegotiating for me. Bree Daniel.\n\nCable takes an instant to compute the thing. Then --", "LELA\n\t-- I have to close up now. Leave\n\tyour name and number with his\n\tmessage service, Mrs. Daniel, and\n\twhy don't you just go home and wait\n\tuntil he --", "He tries to rebutton the pajama shirt. She catches\nhis hand, thrusts it underneath. In grief and anger\n--", "get rid of it, they get pimps. Why?\n\t\t(stabs at record)\n\tWhy do you want to know all this?", "He watches BREE with a mixture of amusement and\ncontempt. A GIRL comes over to him and tries to\nproposition him. They appear to be discussing", "from the world of the call girl or the world of\nJanie Dale. CAMERA pans past a group of pimps at\nthe bar taking bet on whose girls have made the" ], [ "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "We follow Klute through the house with suitcase. He\nputs away a last dish, shutting off water, gas, and\nelectricity, and so on -- takes a last look around \n- reaches for the door handle. WE CUT TO --", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "CLOSEUP photograph of dead man. It is replaced with\nseries of photgraphs of dead men. CAMERA pulls back\nto reveal KLUTE flipping through the file of the\nunidentified dead.", "EXT. EMPTY STREET: KLUTE - NIGHT\n\nKlute walks, as before, carrying his suitcase. We\nsee him slow, concernedly looking toward --", "KLUTE\n\tNo, no you're right, I'm sorry. He\n\tuses women; he lets them kill\n\tthemselves. Is that how you want\n\tit?", "Klute takes up the slip of paper previously given\nhim by Trask. In the same manner as before --", "Klute, stepping out, closes, locks and checks the\nhouse door, then moves on to his car -- a vintage\nPlymouth -- and tosses in his suitcase; and then", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "She seems to have expressed it; the balance of\npower. She turns, goes out, heads upstairs. Klute\nunhurriedly takes up his folder of notes, then\nfollows.", "Klute finishes mopping up. SOUND OF TELEPHONE. He\nturns back out of the bathroom and answers it.", "At this point -- or about this point -- Klute takes\nnote of something. A little above her. He grows\nmore watchful, but containing it carefully. We", "through the still-open door. Klute pursues.", "Klute hangs up.", "Klute speaks quietly but with terrible urgency into\nthe phone (dealing evidently with an ethically\nskittish message service at the other end).", "Klute has strolled out of view from above --\ninstantly flattens himself against the wall, eases\nthe door open, about to slip and charge. As Bree\nlabors on --", "Klute stands in silence for a moment or two -- then\ntakes rather more note of his forearm. (Not\nurgently but practically; it behooves him to stop", "BERGER\n\tYou know, help me out. That's my\n\tbaby there, dead. I got to get up.\n\nKlute stares at him -- a quiet horror -- as Berger\ninsists --" ], [ "she remembered Grunemann -- from\n\tthose letters from before, she made\n\tthat connection -- but she hadn't\n\tseen him since and couldn't", "ROSS\n\tWhat about Grunemann's letters to\n\tthe girl, everything like that?", "you, gonna follow you, gonna punish\n\tyou, kill you et cetera. Well, they\n\tsaid, all right that's Grunemann.", "BREE\n\tWho?\n\n\t\t\tKLUTE\n\tTom Grunemann. He wrote you some\n\tletters.", "SPANGLER\n\tAbout his letters -- that's all she\n\tremembered. Quite violent material,\n\tI'd say, obsessive, a quite sick\n\tman. But that's not unusual either.", "On the left a portion of the original obscene\nletter. On the right a series of comparison\ndocuments -- beginning with a portion of a personal", "BREE\n\tThey showed me that one. I\n\tunderstand it's Grunemann, but I\n\ttold them, I just don't remember.\n\nKlute tosses down a second photograph.", "BREE\n\tAll right, yes, I had been. Those\n\tsick, wild letters -- I'm watching", "Grunemann. She is now dressed in something dark.\nShe and the three children sit eating another meal\nin emptiness. She has changed from a joyous woman\nto a woman bereaved.", "about a German girl, no details. We\n\tthink we know why he killed\n\tGrunemann -- he found out Cable was\n\ta dumper; Cable couldn't take that.", "moment he is there, and the next moment he is gone.\nThe camera pans back down the table, only now it is\nempty except for Grunemann's children and Mrs.", "Grunemann smiling back at her. We cut back to a\ncloseup of Mrs. Grunemann looking back at her\nhusband with love. We cut back to Tom Grunemann's", "TRASK\n\tLike for you to look for the man.\n\n\t\t\tBREE\n\tGrunemann? I've looked at him a --", "TRASK'S VOICE\n\t\t(skipping, summarizing)\n\tAll right, there's Tom Grunemann,", "and they meant nothing. Then they\n\tasked me, well had I been getting\n\tletters, from someone out there in\n\tCabbageville --", "Trask has clamped his thumb over the torn image of\nGrunemann, indicates with the other hand --", "conceivable Grunemann's still\n\taround there, just hangin around\n\ther, spooking her. But you know,\n\tthat --", "INT. GRUNEMANN HOUSE: C.U. HOLLY - DAY\n\nHOLLY thrusts the letter back toward camera, toward\nKLUTE crying out -", "As Klute talks he paces back and forth in the\ndarkness. He crosses in front of the lighted\nscreen; the letters projected on the screen ripple\nover his face.", "TRASK\n\tUnless he was involved with\n\tGrunemann's disappearance.\n\n\t\t\tKLUTE\n\tI knew Tom never wrote that letter." ], [ "and the scene has been invaded by POLICE\nTECHNICIANS. One is a photographer; another, a\nfingerprint man, is spraying surfaces with a can of", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "sequence. A POLICE VEHICLE or two has parked at the\nhead of the dock. We see several figures on the\nrear deck of the tug, but it's not clear at this", "tossed it away. We've already\n\tcontacted the New York Police; they\n\tthink they know the girl in\n\tquestion.", "distance what they're doing. The POLICE CAR WITH\nKLUTE arrives. He dismounts and proceeds from dock\nto tug-deck.", "Bree Daniel, and other material he has collected on\nthe case. He puts them in his suitcase and closes\nthe suitcase. He shuts rolltop desk.", "She finds nothing inside but money -- bills\ntotaling fifty dollars. We see her looking for a\nmessage, finding nothing. It comes to her slowly", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "She draws back again. Up to now she's been\nreasonably on top of things. Starting now we see\nher driven toward the things she'd really rather\nnot talk about -- and increasingly more shaken.", "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "Bree moves about energetically, preparing to set\nout on rounds. A KNOCK on the door. She startled,\nthen approaches to door, to peep-hole, lifts lid\naside.", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute is alseep -- more or less -- on his stomach.\nBree beside him lies awake. She trails her fingers\nabout his back. A rather tentative, exploratory", "Klute and Trask are seen entering from the\nProjection Room. In the background we see an old\nblack woman sitting in front of the picture file of\nunidentified dead, carefully studying each picture.", "He moves quickly to the rear of the apartment,\nlooks at the rear window which has been broken\ninward in a litter of glass -- then returns to the\ntable at the front of the apartment; his folders.\nBree cracks wise, unsteadily.", "He hangs up. First he checks out the windows (but -\nif we want to be accurate - from mid room, without\ndirectly approaching the windows themselves). Then", "It is as black as a dungeon and as low. He lights a\nmatch, but sees no one. There is a sound of\nmovement coming from the floor above, He runs up", "We think we know why he killed\n\tMcKenna -- she wanted to blackmail\n\thim for it. All fine. But we got no\n\tbody, no direct witnesses, we can't", "BREE\n\tLook, I told the police everything:\n\tI don't even remember the schlub!\n\nKlute doesn't respond. Klute sets out a photograph\nfor her to look at.", "No answer. He starts downstairs again -- then turns\nback, unlocks the door himself, enters.\n\nINT. BREE'S APARTMENT - DAY" ], [ "wall. CAMERA PANS over various pictures and pieces\nof evidence KLUTE has pinned up in an attempt to\nmake some sense from the puzzle of TOM GRUNMIANN's", "moment he is there, and the next moment he is gone.\nThe camera pans back down the table, only now it is\nempty except for Grunemann's children and Mrs.", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "CAMERA pulls back inside window to Klute staring\noutside, as if still pondering the fate of Tom\nGrunemann. The group in the office includes ROSS", "and the scene has been invaded by POLICE\nTECHNICIANS. One is a photographer; another, a\nfingerprint man, is spraying surfaces with a can of", "We see that we've been looking out from the bedroom\nwindow of this house. Klute turns to rolltop desk\nin bedroom and picture of Tom Grunemann, picture of", "you, gonna follow you, gonna punish\n\tyou, kill you et cetera. Well, they\n\tsaid, all right that's Grunemann.", "The contents of the folders have been spilled\nacross the table and -- we ZOOM IN -- the\nphotographs of Tom Grunemann sorted out and ripped", "Grunemann's been missing for a\n\tyear. And all the FBI has to offer\n\tis a report that must bore even\n\tyou.", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "CLOSEUP photograph of dead man. It is replaced with\nseries of photgraphs of dead men. CAMERA pulls back\nto reveal KLUTE flipping through the file of the\nunidentified dead.", "-- the plant disposal and\n\tincinerator system. Grunemann\n\tapparently typed it Friday, before\n\the left, decided not to send it,", "apart, Even the COMPANY PICNIC photograph has been\npainstakingly torn, specifically to destroy the\nimage of Grunemann in the front row.", "TRASK\n\tUnless he was involved with\n\tGrunemann's disappearance.\n\n\t\t\tKLUTE\n\tI knew Tom never wrote that letter.", "she remembered Grunemann -- from\n\tthose letters from before, she made\n\tthat connection -- but she hadn't\n\tseen him since and couldn't", "Grunemann to show up there. Didn't.\n\tThen we bagged -- we arrested her\n\ton a CP charge, convicted, two", "CLOSEUP photograph of TOM GRUNEMANN pinned to a\nlarge piece of beaverboard KLUTE has placed on a", "Bree Daniel, and other material he has collected on\nthe case. He puts them in his suitcase and closes\nthe suitcase. He shuts rolltop desk.", "BREE\n\tDid he come around often?\n\nKlute hands Grunemann's picture to Bree: Bree shows\nit to Arlyn. Arlyn inspects it, then uncertainly,\nweakly --", "about a German girl, no details. We\n\tthink we know why he killed\n\tGrunemann -- he found out Cable was\n\ta dumper; Cable couldn't take that." ], [ "On the left a portion of the original obscene\nletter. On the right a series of comparison\ndocuments -- beginning with a portion of a personal", "SPANGLER\n\tAbout his letters -- that's all she\n\tremembered. Quite violent material,\n\tI'd say, obsessive, a quite sick\n\tman. But that's not unusual either.", "Bree looks about for someone -- then scouts for a\npencil, finds one in a desk (or bench) drawer,\nstarts to readdress the envelope (to direct it back", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "and they meant nothing. Then they\n\tasked me, well had I been getting\n\tletters, from someone out there in\n\tCabbageville --", "He takes out a folded letter and a wallet and\npasses them both through to her. Silence. She\nexamines them with care, then appears to soften a\nlittle; even smiles slightly.", "She hangs up, goes back to readdressing the\nenvelope. FOOTSTEPS are approaching in her\ndirection. She glances up apologetically.", "BREE\n\tAll right, yes, I had been. Those\n\tsick, wild letters -- I'm watching", "She waits, still smiling, for a while. But she's\nnot done with him yet. She rolls to lie with her\nupper body on his, trailing her fingers across his\nface. Affectionately, as a good whore --", "BREE is farther along in her narrative, more\nfervent in manner. MR. FABER sits at the edge of\nhis seat, ducking his head now and then in\npleasure, but making no move to molest her.", "He only grunts. A sound like 'OK' or 'all right' --\nan invitation to leave. But she won't be driven\naway. More urgently, helplessly:", "He turns quickly. She is holding out, at arms\nlength, a pair of her underpants. With a disgust so\nextreme she can only laugh.", "Cable hastens toward her along a lane of garments.\nIn this brief glimpse a ludicrous and terrifying\nfigure -- a noise, a gesticulation (actually the", "She finds nothing inside but money -- bills\ntotaling fifty dollars. We see her looking for a\nmessage, finding nothing. It comes to her slowly", "amused at his discomfort.\nJANIE DALE, the madame, who has been on the phone\nin the back, puts the receiver down and crosses to", "He seems not to have heard the request. He sits for\na moment. An intellectual interest, a curiosity.\n(Meanwhile, perhaps, we see her starting to slip\nher shoes off, in hopes of running.)", "INT. GRUNEMANN HOUSE: C.U. HOLLY - DAY\n\nHOLLY thrusts the letter back toward camera, toward\nKLUTE crying out -", "utterly passive, smiling calmly, letting him finish\nfor himself. He can't stop -- cries out -- cries\nout again, burying his face against her -- is done.", "BREE\n\tOh you bastard.\n\nBut then she adjusts -- a frightened but matter-of\nfact hooker --", "her, puts his arms around her, soothes her hair. A\ncompletely asexual gesture at this point, a giving\nof comfort. She clings, trembles, burrows. Then --" ], [ "BREE\n\tWhy?\n\n\t\t\tKLUTE\n\tYou know what I'm talking about.\n\tMiss Daniel.\n\n\t\t\tBREE\n\tHonest?", "KLUTE\n\tNo, but Bree does. She's\n\tnegotiating for me. Bree Daniel.\n\nCable takes an instant to compute the thing. Then --", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "BREE VOICE\n\tBree Daniel.\n\t\t(then)\n\tYeah, hi hon.\n\nEXT. BREE APARTMENT - NIGHT", "BREE\n\tBree Daniel. Has he called in yet?\n\tWell if he does, I'm at --\n\t\t(reads phone)", "BREE (CONT'D)\n\tBree Daniel.\n\t\t(listens. Brightly)\n\tOh yes, Ted Carlin, how is Ted?", "BREE VOICE\n\tBree Daniel --\n\n\t\t\tMAN'S VOICE\n\tOh God baby, oh God I really love\n\tyou.", "It is a very small penthouse. KLUTE & BREE stand in\nthe small living room waiting for JANIE DALE. There\nare two very casually dressed prostitutes sitting", "BREE\n\tOh you bastard.\n\nBut then she adjusts -- a frightened but matter-of\nfact hooker --", "BREE\n\tI'm sorry, I'm just frightened.\n\tYes.\n\n\t\t\tCABLE\n\tExcuse me Miss Daniel?", "Bree comes out of door - goes down steps -\nhesitates in front of Klute's apartment struggling\nwith the question of whether to knock. CAMERA pulls", "BREE\n\tWhat about?\n\n\t\t\tKLUTE\n\tMy name's John Klute.\n\n\t\t\tBREE\n\tYou said that.", "BREE VOICE\n\tBree Daniel.", "BREE (CONT'D)\n\tOh boy, say, you think you're\n\tpretty good.\n\n\t\t\tKLUTE\n\tYup.", "Bree has shifted position to a window, is looking\ndown at the street. She sees - and we hear - SOUND\nOF BUS APPROACHING, distantly. She grabs her\nproperties, whips out the door.", "Klute and Bree head toward the rear. Her arrival\ncauses a little stir. She exchanges greetings with\none or two, is watched by others.", "SPANGLER (V.O.)\n\tBree Daniel, Caucasian, twenty\n\teight, good physical health, no", "Bree is about a quarter block away from the\nBrownstone now, hurrying. She waves in the\ndirection of a cab, misses it, continues on. We CUT\nTO --", "BREE\n\tGoodbye.\n\nShe turns smartly away, deposits the tapes in\npassing in a litter box, departs. Klute looks after\nher for a moment, then turns on his way. Then --", "BREE sits, looks with curiosity at housewives her\nage -- bringing their children in from the park, as\nif trying to imagine what their lives could be\nlike. KLUTE emerges from elevator." ], [ "CABLE\n\t\t(unhearing, resumes)\n\tTom Grunemann discovered me -- we\n\twere here on business together, he", "CABLE\n\tNo. It's ridiculous. This has\n\tnothing to do with Tom Grunemann.", "TRASK'S VOICE\n\t\t(skipping, summarizing)\n\tAll right, there's Tom Grunemann,", "CABLE\n\tAll right, suppose it wasn't Tom\n\tGrunemann; where does that get you?", "BREE\n\tWho?\n\n\t\t\tKLUTE\n\tTom Grunemann. He wrote you some\n\tletters.", "Grunemann smiling back at her. We cut back to a\ncloseup of Mrs. Grunemann looking back at her\nhusband with love. We cut back to Tom Grunemann's", "Camera stops at Mrs. Grunemann who sits at the foot\nof the table opposite her husband. She smiles\nacross at him with pleasure. We cut to Tom", "CABLE\n\tKlute, the Company's interest is\n\tTom Grunemann. Solely and", "about a German girl, no details. We\n\tthink we know why he killed\n\tGrunemann -- he found out Cable was\n\ta dumper; Cable couldn't take that.", "KLUTE\n\t\t(slowly)\n\tI know Tom Grunemann.", "He coerces her to the table and unrolls the Company\nouting picture. (We see the rip extending up\nthrough the image of Tom Grunemann in the front\nrow.)\n\n\t\t\tBREE\n\tOh no.", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "CABLE\n\tYou said he was no possible\n\tconnection with Tom. The Page girl\n\ttold you that, not Tom.", "CABLE\n\tTomorrow. See you tomorrow night.\n\nINT. HELICOPTER", "CABLE\n\tYou were hired to look for Tom.", "TRASK\n\tLike for you to look for the man.\n\n\t\t\tBREE\n\tGrunemann? I've looked at him a --", "We see that we've been looking out from the bedroom\nwindow of this house. Klute turns to rolltop desk\nin bedroom and picture of Tom Grunemann, picture of", "ROSS\n\t\t(shortcutting again)\n\tYou knew the subject Thomas\n\tGrunemann. How well?\n\n\t\t\tKLUTE\n\tWe grew up together. Kids.", "CLOSEUP photograph of TOM GRUNEMANN pinned to a\nlarge piece of beaverboard KLUTE has placed on a", "CAMERA pulls back inside window to Klute staring\noutside, as if still pondering the fate of Tom\nGrunemann. The group in the office includes ROSS" ], [ "CABLE\n\t\t(unhearing, resumes)\n\tTom Grunemann discovered me -- we\n\twere here on business together, he", "moment he is there, and the next moment he is gone.\nThe camera pans back down the table, only now it is\nempty except for Grunemann's children and Mrs.", "Klute's manner, over the next few minutes, exhibits\nan absolute, untheatrical, care and competence. A\nman -- Cable -- may in fact be hiding here", "ROSS\n\t\t(to Klute)\n\tBut if Cable killed Grunemann why\n\twould he get you hired to look for\n\tGrunemann?", "about a German girl, no details. We\n\tthink we know why he killed\n\tGrunemann -- he found out Cable was\n\ta dumper; Cable couldn't take that.", "CABLE closes the door and returns to his desk. He\npulls out a tape recorder from a drawer in his\ndesk, rewinds it and turns it on. We hear a", "TRASK\n\tLike for you to look for the man.\n\n\t\t\tBREE\n\tGrunemann? I've looked at him a --", "Grunemann's been missing for a\n\tyear. And all the FBI has to offer\n\tis a report that must bore even\n\tyou.", "CABLE\n\tAll right, suppose it wasn't Tom\n\tGrunemann; where does that get you?", "CABLE\n\tYou were hired to look for Tom.", "TRASK\n\tNo. Not Grunemann. The Dumper. Just\n\tlook around -- I said look for the\n\tDumper.", "ROSS\n\tPrivate investigation, you mean.\n\tYes sir, of course you're entitled,\n\tand there's some very competent --", "Among the people around the bar, pimps, whores, and\na sprinkling of hopeful Johns and curiosity\nseekers. The camera picks a familiar face: CABLE.", "she remembered Grunemann -- from\n\tthose letters from before, she made\n\tthat connection -- but she hadn't\n\tseen him since and couldn't", "KLUTE\n\tHe was a research engineer at the\n\tTuscarora Laboratories in\n\tPennsylvania. He disappeared from\n\tthere last April. I've been hired\n\tto look for him.", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "BREE\n\tWho?\n\n\t\t\tKLUTE\n\tTom Grunemann. He wrote you some\n\tletters.", "you, gonna follow you, gonna punish\n\tyou, kill you et cetera. Well, they\n\tsaid, all right that's Grunemann.", "In the foreground Klute sits down at a phone and\ndials.\n\n\t\t\tKLUTE\n\tYes, Mr. Cable's office, please.", "darkness revealing a sweaty man huddled in the\ncorner looking like some strange animal from a\npainting by Bosch. It is Cable." ], [ "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "INT. KLUTE'S APARTMENT: BREE, KLUTE - NIGHT", "Bree comes out of door - goes down steps -\nhesitates in front of Klute's apartment struggling\nwith the question of whether to knock. CAMERA pulls", "INT. KLUTE'S APARTMENT - NIGHT", "She continues on up; Klute continues down.\n\nINT. BREE'S APARTMENT - DAY", "INT. BREE'S APARTMENT: KLUTE - DAY\n\nHe enters, puzzles, starts checking around (quite\nthoroughly; she might be hiding from him). We CUT\nBACK TO --", "INT. KLUTE'S APARTMENT - DAY", "Klute goes.\n\nINT. KLUTE'S APARTMENT - DAY", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "Klute climbs the stairs to Bree's apartment --\nknocks. He waits. No answer. He calls once --\n\n\t\t\tKLUTE\n\tBree?", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "It is a very small penthouse. KLUTE & BREE stand in\nthe small living room waiting for JANIE DALE. There\nare two very casually dressed prostitutes sitting", "INT. KLUTE'S APARTMENT - DAY (NIGHT)\n\nKLUTE on phone.", "BREE (CONT'D)\n\tI thought you were going back to\n\tthe apartment.\n\n\t\t\tKLUTE\n\t\t(he shakes his head)\n\tYou said you wanted these.", "INT. KLUTE'S APARTMENT: KLUTE - NIGHT", "INT. KLUTE'S APARTMENT: KLUTE - NIGHT", "BREE\n\tWhat about?\n\n\t\t\tKLUTE\n\tMy name's John Klute.\n\n\t\t\tBREE\n\tYou said that.", "INT. KLUTE'S APARTMENT: BREE, KLUTE - DAY (DAWN)", "INT. KLUTE'S APARTMENT: KLUTE - DAY" ], [ "BREE\n\t\t(patiently)\n\tTrina honey, he just wants to find\n\tArlyn Page.\n\nTrina undergoes a change of demeanor. Flatly --", "BREE\n\tOh you bastard.\n\nBut then she adjusts -- a frightened but matter-of\nfact hooker --", "ARLYN enters rather eagerly. She sees Klute first,\nthen Bree -- recognizes her -- retires flat against\na wall, holding one palm outwards to shield her", "Klute and Bree are only a half-step behind. Klute\noffers to assist: Arlyn puts him away ferociously.", "KLUTE\n\tDumper, the man Bree Daniel\n\tmentioned and Arlyn Page knew and\n\tJane McKenna knew.", "KLUTE\n\tI thought you ought to know, Arlyn\n\tPage is dead.\n\n\t\t\tBREE\n\tHow?", "BREE\n\tFrankie kept them in the same\n\tapartment: it cut his travel-time.\n\n\t\t\tKLUTE\n\tThen maybe Arlyn Page knew the\n\tDumper too.", "BREE\n\tFrank, he knows you're a pimp. He\n\tknows you were my pimp.\n\nShort silence. Then with the tact of a gentleman\ndealing with rude, difficult woman --", "BREE and the OTHER GIRL advance to a pew. A MAN\nsitting there (the other girl's pimp) with a THIRD", "BREE\n\tArlyn, just tell me, did Jane have\n\ta dumper, one of her regular Johns?\n\n\t\t\tARLYN\n\tWhat about him? Yes.", "Arlyn seems to accept the bargain. He indicates to\nBree to proceed, stands away a little. Arlyn covers\nher elbow with one hand. Bree manages as best she\ncan.", "She waits, still smiling, for a while. But she's\nnot done with him yet. She rolls to lie with her\nupper body on his, trailing her fingers across his\nface. Affectionately, as a good whore --", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "You were scared. Arlyn Page, that\n\tscared you. Well it should; that's\n\tdeath.\n\tSo what did you do, you ran", "BREE\n\tArlyn Page.\n\n\t\t\tKLUTE\n\tDid she and Jane McKenna know each\n\tother?", "Klute has strolled out of view from above --\ninstantly flattens himself against the wall, eases\nthe door open, about to slip and charge. As Bree\nlabors on --", "KLUTE\n\tArlyn Page was probably an alias.\n\tShe went by the names Terry Arlyn\n\tand June Price. She may have been", "He watches BREE with a mixture of amusement and\ncontempt. A GIRL comes over to him and tries to\nproposition him. They appear to be discussing", "BREE (CONT'D)\n\tSo -- OK -- that's all?\n\nThen again she changes manner -- remembering a\npractical problem, approaching it as a matter-of\nfact hooker.", "Klute and Bree head toward the rear. Her arrival\ncauses a little stir. She exchanges greetings with\none or two, is watched by others." ], [ "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute takes up the slip of paper previously given\nhim by Trask. In the same manner as before --", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "We see that we've been looking out from the bedroom\nwindow of this house. Klute turns to rolltop desk\nin bedroom and picture of Tom Grunemann, picture of", "Klute speaks quietly but with terrible urgency into\nthe phone (dealing evidently with an ethically\nskittish message service at the other end).", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "Klute goes downstairs to back entrance of Faber\nloft. He slips inside. He hears THE SOUNDS OF THE\nBEATING -- a stirring of feet and indistinct impact", "BREE\n\tWho?\n\n\t\t\tKLUTE\n\tTom Grunemann. He wrote you some\n\tletters.", "As Klute talks he paces back and forth in the\ndarkness. He crosses in front of the lighted\nscreen; the letters projected on the screen ripple\nover his face.", "She seems to have expressed it; the balance of\npower. She turns, goes out, heads upstairs. Klute\nunhurriedly takes up his folder of notes, then\nfollows.", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "Klute and Trask are seen entering from the\nProjection Room. In the background we see an old\nblack woman sitting in front of the picture file of\nunidentified dead, carefully studying each picture.", "Klute pokes through a small collection of personal\neffects -- perhaps an ankle bracelet, rabbits foot,\nfaded snapshot of a child, some letters, pitiful", "C.U. KLUTE\n\nKlute reads. We see a controlled incredulity and\nrevulsion.", "Klute hits him, pursues, recovers, and starts to\nbeat him. BLOOD thickly descends the side of", "BREE\n\tLook, I told the police everything:\n\tI don't even remember the schlub!\n\nKlute doesn't respond. Klute sets out a photograph\nfor her to look at.", "through the still-open door. Klute pursues." ], [ "TRASK\n\tNo, not Grunemann. He's dead. The\n\tman that killed him -- also prob'ly\n\tJane McKenna, also Arlyn Page.", "We think we know why he killed\n\tMcKenna -- she wanted to blackmail\n\thim for it. All fine. But we got no\n\tbody, no direct witnesses, we can't", "You were scared. Arlyn Page, that\n\tscared you. Well it should; that's\n\tdeath.\n\tSo what did you do, you ran", "you, gonna follow you, gonna punish\n\tyou, kill you et cetera. Well, they\n\tsaid, all right that's Grunemann.", "KLUTE\n\tI thought you ought to know, Arlyn\n\tPage is dead.\n\n\t\t\tBREE\n\tHow?", "He coerces her to the table and unrolls the Company\nouting picture. (We see the rip extending up\nthrough the image of Tom Grunemann in the front\nrow.)\n\n\t\t\tBREE\n\tOh no.", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "discovered me with Jane McKenna.\n\tThen I suppose it was the -- the\n\tcontempt I saw in his face and the\n\tcertainty that sooner or later he'd", "TRASK\n\tA few more days. We know who did\n\tthis.\n\n\t\t\tBREE\n\tSo do I.", "TRASK\n\tLike for you to look for the man.\n\n\t\t\tBREE\n\tGrunemann? I've looked at him a --", "TRASK\n\tUnless he was involved with\n\tGrunemann's disappearance.\n\n\t\t\tKLUTE\n\tI knew Tom never wrote that letter.", "BREE\n\tI knew it, I knew it, a killer.\n\n\t\t\t\t\t DISSOLVE --\n\nC.U., HER FACE", "TRASK'S VOICE\n\t\t(skipping, summarizing)\n\tAll right, there's Tom Grunemann,", "TRASK\n\tNo. Not Grunemann. The Dumper. Just\n\tlook around -- I said look for the\n\tDumper.", "about a German girl, no details. We\n\tthink we know why he killed\n\tGrunemann -- he found out Cable was\n\ta dumper; Cable couldn't take that.", "moment he is there, and the next moment he is gone.\nThe camera pans back down the table, only now it is\nempty except for Grunemann's children and Mrs.", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "Camera stops at Mrs. Grunemann who sits at the foot\nof the table opposite her husband. She smiles\nacross at him with pleasure. We cut to Tom", "Grunemann smiling back at her. We cut back to a\ncloseup of Mrs. Grunemann looking back at her\nhusband with love. We cut back to Tom Grunemann's", "TRASK\n\tNow there's a picture I'd like you\n\tto --\n\n\t\t\tBREE\n\tYou said someone killed them, you\n\tsaid you know who, you said that." ] ]	[ "Whose phone does John Klute tap?", "Frank Ligourin is what to Bree Daniels?", "Bree Daniels suffers from what paranoia?", "Arlyn Page's body is found where?", "John Klute traces the letters to who? ", "Why did Peter Cable Kill Tom Gruneman?", "How does Peter Cable die?", "John Klute has a romantic relationship with whom?", "Bree Daniels see what sort of doctor?", "How much did Klute pay for the \"Black Book\" he purchased?", "What does Klute do to Daniel's phone after moving into the basement?", "What does Daniels admit to Klute after they develop a romance?", "Where does Klute rent the apartment?", "Where was the obscene letter found?", "Where does Page's body turn up?", "What was the name of Daniel's former pimp?", "What does Klute do after linking the \"suicide\" cases of the prostitutes?", "Who are the obscene letters of Gruneman's linked to?", "What are police investigating at the beginning of the story?", "What do police discover in Gruneman's office during the investigation?", "To whom is the obscene letter addressed?", "What is Bree Daniels' profession?", "How is Peter Cable connected to Tom Gruneman?", "Who does Peter Cable hire to investigate Gruneman's disappearance?", "Where does John Klute rent an apartment in order to keep tabs on Bree Daniels?", "What is the name of the prostitute who pased the abusive client onto Bree and Arlyn Page?", "To whom does Klute trace the obscene letters?", "Who confesses to killing Gruneman, McKenna and Page?" ]	[ [ "Bree Daniels", "Bree Daniels" ], [ "Former pimp", "Her former pimp" ], [ "That she is being watched.", "being watched" ], [ "Kill Van Knull", "In the Kill Van Kull." ], [ "Peter Cable", "Peter Cable" ], [ "Tom Gruneman witnessed Peter Cable attacking a prostitute.", "Gruneman interrupted him attacking a prostitute" ], [ "Fall from window", "He either jumps out a window or is pushed out." ], [ "Bree Daniels", "The callgirl Bree Daniels." ], [ "Psychiatrist ", "psychiatrist" ], [ "$500", "$500" ], [ "Taps it", "He taps it" ], [ "Feeling numb and being watched.", "A paranoia of being watched " ], [ "In the basement of Daniel's building", "In the basement of Bree building." ], [ "Gruneman's office", "On Tom Gruneman's desk." ], [ "In the Kill Van Kul.", "Kill van kull" ], [ "Frank Ligourin", "Frank Ligourin " ], [ "He revisits Gruneman's contacts.", "He tricks Cable into thinking that he is about to reveal Cable's identity." ], [ "Cable", "Bree Daniels" ], [ "The disappearance of businessman Tom Gruneman", "The disappearance of Tom Gruneman " ], [ "An obscene letter", "An obscene letter" ], [ "Bree Daniels", "Bree Daniels" ], [ "She is a prostitute.", "prostitution" ], [ "Peter Cable is an executive at Tom Gruneman's company.", "Cable attempted to frame Gruneman for murders that Cable committed." ], [ "John Klute.", "John Klute" ], [ "In the basement of her building.", "in the basement of Daniels' building" ], [ "Jane McKenna", "Jane McKenna" ], [ "Peter Cable", "Cable" ], [ "Peter Cable", "Peter Cable." ] ]	84419aee286a289ad219d380579e3b92ae2b6679	test
[ [ "Finding out who you are gets you out of\n\t\ttrouble.\n \nRita thinks about this silently then begins to worry and\ndoubt all over again.", "I'm sorry... I forget your name.\n \n\t\t\t\tRITA\n\t\t\t(almost inaudible)\n\t\tRita.", "You don't remember anything else?\n \n\t\t\t\tRITA\n\t\tNo\n\t\t\t(she covers her eyes with her", "This is your purse. Your name must be in\n\t\tyour purse.\n \nRita takes the purse with sudden trepidation. She hesitates.", "Betty's question hangs in the air. Slowly we move close to\nRita who is on the verge of remembering something.", "RITA\n\t\t\t(still sobbing)\n\t\tI'm...I'm... oh no... I thought when I woke", "BETTY\n\t\tWhat do you mean? You're Rita.\n \n\t\t\t\tRITA", "RITA\n\t\tNothing. I do remember the car crash... I\n\t\ttold you... I remember the glass ... I", "Here I am Hollywood! My name is ... Rita.\n \nThey look out, maybe waiting for an answer blowing in the\nSanta Ana wind.", "All the blinds are closed and the curtains drawn. They move\nslowly, looking around at everything as they go. Betty looks\nto Rita to see if any of this is something she remembers.", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "freezes and keeps Rita quiet with her hand still placed over\nher mouth, but she can't stop Rita's violent shaking nor the\nhorror in her eyes.", "Rita is compelled to go in and as the door clicks shut she\nreacts to the smell.\n \n\t\t\t\t\t\t\tCUT TO:", "Sounds, music churning continues.\n \nGreat sobs, almost hysterical, wrack Rita's body as she bends", "BETTY\n\t\tI guess you're not Diane.\n \nRita, still fighting her fear doesn't answer.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "it.\n \nRita turns and looks up at Betty, her eyes red with crying.\nBetty pulls her up facing her. Rita lets Betty take the", "close-up nameplate\n \nThe word \"DIANE\" is huge from Rita's POV.\n \n\t\t\t\t\t\t\tCUT TO:", "ceiling. She suddenly remembers Rita and her promise to look\nin on her. She gets off the couch and goes into the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:" ], [ "We move back and realize we are on a movie set inside a sound\nstage. A screen test is being shot of the girl and as we\ncontinue moving back we see the director Adam Kesher", "Adam Kesher...he...\n \n\t\t\t\tLORRAINE\n\t\tYeah, right ... get lost!", "On the set Betty hears the song again and turns and watches.\nOnce again her eyes find Adam as his eyes are finding hers.\nThis time Adam turns away. He watches Camilla for a moment.", "know and this is the director Adam\n\t\tKesher and his manager Robert Smith\n \nThe Castigliane brothers do not acknowledge any of this,", "Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN,\na tall sixty year old silver-haired man, comes through the", "KENNY\n\t\tThis is Adam Kesher's house. Where...\n \n\t\t\t\tLORRAINE", "A Hotel Manager is walking toward the door of room 214. He\nknocks softly on the door. The door opens and Adam Kesher is\nstanding there - still beaten looking with remnants of pink", "A secretary answers.\n \n\t\t\t\tSECRETARY\n\t\tAdam Kesher's office.", "crowd and stops at Adam's side. He looks down at Adam, but\nAdam continues watching Camilla Rhodes. Jason follows Adam's\ngaze and he watches Camilla sing then turns back to Adam.", "Ah... she's very pretty.\n \nWe see the photo of the girl - of a nice looking blonde -\nsomeone we've never seen before. Adam looks like he doesn't", "HANK\n\t\tCamilla Rhodes.\n \nAdam wonders - worries.", "As Sarah leads Betty up close Adam turns and his eyes fall on\nthe beautiful face of Betty Elms. Sensing something Betty", "brown suit. Ray and Mr. Darby sit at the head of the table\nand Robert Smith sits along the side. A younger man -ADAM\nKESHER enters and sits down, with an arrogant nonchalance,", "Adam looks up - a beautiful blonde steps into the set in\nfront of the microphone. IT IS THE GIRL! The back-up", "ADAM (cont'd)\n\t\tACTION!\n \nThe strings soar up and Camilla Rhodes begins to sing.", "with Vincenzo and Luigi Castigliane sitting in the back.\n \nKenny knocks on Adam's front door. Lorraine answers.", "Excellent choice, Adam.\n \nAdam is sick with himself.\n \nAcross the room Betty panics when she looks at her watch.", "Adam turns and goes back out of the set onto the stage floor.\nHe looks around. He sees Betty being introduced by Sarah to\nsome of the studio executives. He goes over to his Assistant", "LUIGI CASTIGLIANE\n\t\tThis is the girl.\n \n\t\t\t\tADAM", "next to Robert Smith. Adam is dressed in a frumpy old\nfashioned plaid shirt, worn jacket, dark blue cotton slacks,\nand a pair of old brown wing tips. As he sits he is holding" ], [ "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "Betty and Rita come out of Aunt Ruth's apartment. Betty is\nlaughing, pulling on Rita.\n \n\t\t\t\tBETTY", "Rita shoots a look from Betty to Diane to the nameplate.\n \n\t\t\t\t\t\t\tCUT TO:", "at the door, then at Rita. Rita waits, not knowing what to\ndo.\n \n\t\t\t\tBETTY\n\t\tIt'll be okay.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "INT. AUNT RUTH'S APARTMENT\n \nBetty and Rita both turn with alarm. Betty gets up, stares", "finds Rita breathing normally. She feels her forehead.\nSatisfied that all is well, Betty quietly leaves the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "INT. - AUNT RUTH'S APARTMENT - DAY\n \nThe door slams shut. Rita grabs Betty's shoulders.", "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "BETTY\n\t\tOpen it!\n \nRita slowly unzips the purse. The pressure of its contents", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "scream comes out of Rita as a force propelling her to look\ncloser. Betty lunges after Rita, her eyes also not able to\nleave the sight. She covers Rita's mouth with her hand and", "Moving back we realize that the girls are acting out Betty's\naudition scene. Rita is reading her lines.\n \n\t\t\t\tRITA", "above the clothes rack. Betty brings it down, takes out the\nhat, and Rita puts the purse inside. Betty puts the hat over\nthe purse in the hatbox and puts in back in the closet.", "Betty and Rita are moving down the corridor. They pass a\nsmall room and look in at a couch, wardrobe and make-up\ntable. They move on down the corridor to a door which is", "Betty goes to Rita.\n \n\t\t\t\tBETTY (cont'd)\n\t\tSit down...", "BETTY (cont'd)\n\t\tRita?\n \n\t\t\t\tRITA\n\t\t\t(crying harder)", "BETTY\n\t\tWhoa!\n \nShe catches Rita's look. Rita is staring at her, horrified.", "Oh no ... don't.\n \nBetty doesn't listen to Rita. She knocks strongly on the\ndoor. They stand waiting. There's no answer so Betty knocks" ], [ "else. I want to walk around anyway. I'm\n\t\tin Hollywood and I haven't even seen any\n\t\tof it. Come on Rita. Do you feel up to", "You don't have to tell me. It's written\n\t\tall over that pretty face of yours.. You\n\t\tcame here to be an actress. I just hope", "Here I am Hollywood! My name is ... Rita.\n \nThey look out, maybe waiting for an answer blowing in the\nSanta Ana wind.", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES\n \nDarkness. Distant sounds of freeway traffic. Then the closer", "shining lights of Hollywood laying far below like a galaxy.\nHe looks out and wonders.\n \n\t\t\t\t\t\t\tCUT TO:", "her as she goes. Her face is bright and her eyes move here\nand there taking in everything. She can hardly believe she's\nin Los Angeles - the City of Dreams. She and the old woman", "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "BETTY\n\t\tHere I am Hollywood! My name's Betty.\n \nA pause.", "DISSOLVE TO:\n \nEXT. HOLLYWOOD HILLS - LATER - NIGHT", "nameplate saying \"DIANE\" lays the check on their table\nsmiles, then walks off.\n \n\t\t\t\tHERB", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "before them are the lights of Hollywood with silhouetted\npalms, slow-moving theater kleig lights, and floating above\nit all the giant sign in the hills reading HOLLYWOOD.", "EXT. HOLLYWOOD STREETS - LATER - NIGHT\n \nThe woman crosses Sunset Boulevard. Coming up Sunset in the", "There's a silence.\n \n\t\t\t\tDARK-HAIRED WOMAN\n\t\tThere was an accident. I came here.", "EXT. HOLLYWOOD STREETS - EARLY DAWN\n \nThe clang of a metal gate wakes the woman. It is just getting", "This is Betty, Ruth's niece. In fact and\n\t\tfortunately I was just coming to see\n\t\tBetty. Betty's a young actress and I'm" ], [ "CUT TO:\n \nEXT. NIGHT - MULHOLLAND DRIVE", "DISSOLVE TO:\n \nEXT. MULHOLLAND DRIVE - NIGHT", "BETTY\n\t\tJust to see if there was an accident on\n\t\tMulholland Drive.", "happened last night on Mulholland Drive.\n \n\t\t\t\tVOICE\n\t\tHold please. I'll connect you to", "CUT TO:\n \nEXT. FURTHER UP MULHOLLAND DRIVE - NIGHT", "Suddenly -\n \n\t\t\t\tRITA\n\t\tMulholland Drive.", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "DISSOLVE TO:\n \nEXT. HOLLYWOOD HILLS - LATER - NIGHT", "We move back and realize we are on a movie set inside a sound\nstage. A screen test is being shot of the girl and as we\ncontinue moving back we see the director Adam Kesher", "EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES\n \nDarkness. Distant sounds of freeway traffic. Then the closer", "That's where I was going... Mulholland\n\t\tDrive.\n \n\t\t\t\tBETTY", "street sign is suddenly brightly lit. The words on the sign\nread... \"Mulholland Drive.\" The car moves under the sign as\nit turns and the words fall once again into darkness.", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "her as she goes. Her face is bright and her eyes move here\nand there taking in everything. She can hardly believe she's\nin Los Angeles - the City of Dreams. She and the old woman", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "else. I want to walk around anyway. I'm\n\t\tin Hollywood and I haven't even seen any\n\t\tof it. Come on Rita. Do you feel up to", "Gliding we follow the car - an older black Cadillac limousine\n- as it winds its way up Mulholland Drive through the\ndarkness of the Hollywood Hills. There is no one else on the" ], [ "On the set Betty hears the song again and turns and watches.\nOnce again her eyes find Adam as his eyes are finding hers.\nThis time Adam turns away. He watches Camilla for a moment.", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "crowd and stops at Adam's side. He looks down at Adam, but\nAdam continues watching Camilla Rhodes. Jason follows Adam's\ngaze and he watches Camilla sing then turns back to Adam.", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "noticing. Diane walks quickly over to the manager and the\nwoman in the blue dress. Betty turns and watches a heated\nconversation that she can't hear, but she sees the woman in", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "out a Mont Blanc fountain pen which she puts under Betty's\ncheck as she places it on their table. She does this very\nquickly but Betty notices this and Diane notices Betty", "Betty and Irene give each other a hug. The old gentleman nods\nto Betty and takes Irene off. Betty smiles after them.\nSuddenly someone is grabbing her bags. She turns abruptly to", "(as she kisses him - whispers)\n\t\tBefore I kill you.\n \nJimmy panics and pushes Betty away with his hands on her", "Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN,\na tall sixty year old silver-haired man, comes through the", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "for her to do this because she's ashamed at how the sex of\nthe scene took her over. Tears begin running down her\ncheeks. She backs away.", "pulls her closer. Something has started coming over Betty\nand she catches the drift of this scene in a different way.\nShe's surprising herself.", "turns and sees Adam. They each seem to feel the thrill of\nthe thunderbolt, but each embarrassed to stare longer than\nthey already have turn back and watch the girl finish the\nsong.", "She slowly looks up with the most seductive smile. Jimmy\nlets his hand rest more firmly on her thigh, and squeezes her\nthigh as he sees her smile. With his other hand Jimmy gently", "Jimmy plays this with a big lecherous smile. He gives the\nlast part of the line across her cheek up to her ear.", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "close-up nameplate\n \nThe word \"DIANE\" is huge from Rita's POV.\n \n\t\t\t\t\t\t\tCUT TO:" ], [ "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "himself in the proper line at Ed's desk and quickly fires two\nsilenced shots into the back of her head. The man with the\nvacuum enters. His eyes begin to widen in reaction to the", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "Joe's hand still at the small of his back moves into view\nholding a silenced pistol and in one swift move reaches out\nand fires a hole through Ed's temple - blowing Ed's brains", "Betty now has her ear pressed up against the phone also -\nstraining to hear everything. The machine starts recording.\nBetty hangs up the phone immediately.", "out a Mont Blanc fountain pen which she puts under Betty's\ncheck as she places it on their table. She does this very\nquickly but Betty notices this and Diane notices Betty", "woman and the cab driver get the trunk. She hears them set it\ndown once they have it in the courtyard. She hears the steps\nof the red-headed woman come back inside the apartment. She", "scene. Just then Joe fires a bullet into the man's chest.\nThe man inadvertently flicks on the vacuum cleaner as his\nhands rush up to the wound. As the vacuum cleaner whines Joe", "We can hear the dark-haired woman's frightened breathing as\nshe waits frozen listening.\n \n\t\t\t\t\t\t\tCUT TO:", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "Again we see the back of the man's head. He's dialing a new\nnumber. -He brings the receiver to his ear. We hear a phone\nringing - we hear a click- the phone being answered.", "On the set Betty hears the song again and turns and watches.\nOnce again her eyes find Adam as his eyes are finding hers.\nThis time Adam turns away. He watches Camilla for a moment.", "shrieks and leaps on Kenny. Her long fingernails going for\nhis eyes. Kenny slaps Lorraine hard. The shriek stops\ninstantly and she falls out cold on the carpet. Gene is back", "Kenny begins snapping the shaft of each club. As he snaps\neach club we see Lorraine and Gene remain out cold on the\nfloor.", "remains. She goes further into the apartment and crouches\ndown in a back corner of the kitchen. She listens as\nfootsteps come across the courtyard. She hears the red-headed", "Betty slowly and quietly hangs up the phone. She sits for a\nmoment listening. Silently she stands and moves toward the\nbedroom. As she approaches the bedroom door she stops at", "hears the footsteps go all around the apartment and then she\nhears the footsteps come toward the kitchen. Remaining\nfrozen, the dark-haired woman's eyes look up as the red-", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "The driver, still in his seat, has a pistol with a silencer\nattached pointing at the woman. The other man is getting out\nof the car. The woman is clutching the seat and the door" ], [ "We move in to the pile of money next to Rita's purse. Past\nthat we move down inside Rita's purse. We see the Blue Key\nand move closer to it until it fills the screen.", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "Rita takes the massive wad of bills out of the purse and sets\nit on the bed. She reaches back inside and comes up with the\nonly other remaining item in the purse ... A BLUE KEY. Betty", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "sees Rita's expression change to a kind of <U>horror</U>.\n(note: This blue key is made of very fine heavy metal and\ndoes not look like a door key.)", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "Ray crosses a carpeted closed area. He mounts a flight of\nstairs. At the top of the stairs there's a plain blonde wood\ndoor. Ray punches in a code on a security panel next to it.", "over to the dresser and opening the top drawer. He removes a\nlarge case.\n \n\t\t\t\tLORRAINE (cont'd)", "and unlocks her door. He opens her door. As he reaches for\nher, the woman's face becomes flooded with light. Her eyes\ndart to the front windshield. The driver, flooded with light,", "When you think about them... the\n\t\tmoney... the key ... does it make you\n\t\tremember anything?\n \nSilence.", "You may go right in, Ray.\n \nRay crosses to a blonde wood double door and waits. The\nreceptionist pushes a button behind her desk - chimes sound", "The door opens automatically. Ray passes through and goes\ndown a narrow hall. At the end of the hall there is a small\nelevator. Again Ray punches in a code. The elevator opens and", "coming closer. He sets the jewelry case and the paint can on\nthe floor, kneels down and opens the paint can with his car\nkey. Just as Lorraine enters the kitchen, he opens the", "turns on the light and looks around. He spots some paint\ncans on a shelf and grabs one and goes back into the kitchen.\nHe can hear Lorraine calling his name. She seems to be", "himself in the proper line at Ed's desk and quickly fires two\nsilenced shots into the back of her head. The man with the\nvacuum enters. His eyes begin to widen in reaction to the", "scene. Just then Joe fires a bullet into the man's chest.\nThe man inadvertently flicks on the vacuum cleaner as his\nhands rush up to the wound. As the vacuum cleaner whines Joe", "however, during the introductions the one with the briefcase\nremoves a photo of a girl and sets it in front of Ray.\n \n\t\t\t\tRAY (cont'd)", "headed woman walks right past her, grabs a set of keys off\nthe kitchen counter, then leaves the apartment. The woman can\nhear the door being locked. She lets go, slides to the", "woman and the cab driver get the trunk. She hears them set it\ndown once they have it in the courtyard. She hears the steps\nof the red-headed woman come back inside the apartment. She", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty" ], [ "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "Betty and Rita are moving down the corridor. They pass a\nsmall room and look in at a couch, wardrobe and make-up\ntable. They move on down the corridor to a door which is", "Betty goes to Rita.\n \n\t\t\t\tBETTY (cont'd)\n\t\tSit down...", "Betty and Rita come out of Aunt Ruth's apartment. Betty is\nlaughing, pulling on Rita.\n \n\t\t\t\tBETTY", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "Betty gets Rita out of the cab and pays the driver, who then\ndrives away. The girls go through a rear gate and enter the\ncomplex walking along a curving concrete walk. This leads", "Moving back we realize that the girls are acting out Betty's\naudition scene. Rita is reading her lines.\n \n\t\t\t\tRITA", "Betty and Rita start to leave.\n \n\t\t\t\tMIDDLE-AGED WOMAN (cont'd)\n\t\tShe hasn't been around for a few days ...", "Betty and Rita are sitting on the leather couch having some\ncoffee. The front door to the apartment is open and sunlight\nis pouring in through the screen door. Betty looks at her", "Betty and Rita enter Denny's.\n \n\t\t\t\t\t\t\tCUT TO:\n \nINT.- DENNY'S - DAY", "CUT TO:\n \nINT. CAB - DAY\n \nBetty reaches and gently grabs Rita's shoulder. She speaks", "Betty and Rita are on their hands and knees around the coffee\ntable. A map of L.A. is unfolded and Betty is running her\nfinger along a street. Her finger stops.", "RITA\n\t\tOkay.\n \nBetty closes the door and heads across the courtyard. She", "We see the red brick building. It is Denny's. Betty and\nRita are walking to the payphone. Betty digs out some change", "at the door, then at Rita. Rita waits, not knowing what to\ndo.\n \n\t\t\t\tBETTY\n\t\tIt'll be okay.", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "BETTY (cont'd)\n\t\tRita?\n \n\t\t\t\tRITA\n\t\t\t(crying harder)", "finds Rita breathing normally. She feels her forehead.\nSatisfied that all is well, Betty quietly leaves the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "INT. - BUNGALOW #17 - DAY\n \nBetty begins to go through the bungalow and Rita follows." ], [ "BETTY\n\t\tOpen it!\n \nRita slowly unzips the purse. The pressure of its contents", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "at the door, then at Rita. Rita waits, not knowing what to\ndo.\n \n\t\t\t\tBETTY\n\t\tIt'll be okay.", "mirror. She turns and her gaze falls to her purse. She\npicks it up and looks questioningly at Betty.\n \n\t\t\t\tBETTY (cont'd)", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "Betty looks down at the purse next to Rita's dress. She picks\nit up and hands it to Rita.\n \n\t\t\t\tBETTY", "Betty and Rita come out of Aunt Ruth's apartment. Betty is\nlaughing, pulling on Rita.\n \n\t\t\t\tBETTY", "scream comes out of Rita as a force propelling her to look\ncloser. Betty lunges after Rita, her eyes also not able to\nleave the sight. She covers Rita's mouth with her hand and", "above the clothes rack. Betty brings it down, takes out the\nhat, and Rita puts the purse inside. Betty puts the hat over\nthe purse in the hatbox and puts in back in the closet.", "Betty goes to Rita.\n \n\t\t\t\tBETTY (cont'd)\n\t\tSit down...", "Betty puts out her hand. Rita looks at it for a moment,\nsmiles, and they shake.\n \n\t\t\t\t\t\t\tCUT TO:", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "Betty and Irene give each other a hug. The old gentleman nods\nto Betty and takes Irene off. Betty smiles after them.\nSuddenly someone is grabbing her bags. She turns abruptly to", "BETTY\n\t\tWhoa!\n \nShe catches Rita's look. Rita is staring at her, horrified.", "BETTY (cont'd)\n\t\tRita?\n \n\t\t\t\tRITA\n\t\t\t(crying harder)", "This is your purse. Your name must be in\n\t\tyour purse.\n \nRita takes the purse with sudden trepidation. She hesitates.", "Oh no ... don't.\n \nBetty doesn't listen to Rita. She knocks strongly on the\ndoor. They stand waiting. There's no answer so Betty knocks", "Rita takes the massive wad of bills out of the purse and sets\nit on the bed. She reaches back inside and comes up with the\nonly other remaining item in the purse ... A BLUE KEY. Betty", "The girls walk along the busy boulevard, past guitar shops,\nvideo stores. Betty is looking for a payphone. Rita's eyes\ndart back and forth nervously. She's beginning to feel", "BETTY (cont'd)\n\t\t\t(to Rita)\n\t\tSay it!\n \n\t\t\t\tRITA" ], [ "Adam turns white and stands very still as this sinks in. The\nCastigliane brothers leave. As the big blonde wood doors\nclose behind them Adam starts to boil.", "know and this is the director Adam\n\t\tKesher and his manager Robert Smith\n \nThe Castigliane brothers do not acknowledge any of this,", "with Vincenzo and Luigi Castigliane sitting in the back.\n \nKenny knocks on Adam's front door. Lorraine answers.", "The men in dark suits go in as if they owned the place. Ray,\nMr. Darby and Robert Smith stand immediately. Adam remains\nseated. Mr. Darby is the only one near enough to attempt a", "The Castigliane brothers begin to leave. Adam stands up\ntrembling with anger.\n \n\t\t\t\tADAM", "of Adam and begins to speak with a true, slow Western drawl.\n \n\t\t\t\tCOWBOY\n\t\tHowdy!", "Throw him out!\n \nLorraine opens the front door while Gene picks Adam up, moves\nhim across the carpet and heaves him out onto the front lawn.", "We move back and realize we are on a movie set inside a sound\nstage. A screen test is being shot of the girl and as we\ncontinue moving back we see the director Adam Kesher", "He whacks two big dents in the hood, then smashes out a\nheadlight. The limo driver starts towards him. Adam laughs,\nruns to his car and takes off.", "opens a briefcase. Ray has been trying to make\nintroductions.\n \n\t\t\t\tRAY\n\t\tAh... the Castigliane brothers. Let me", "CYNTHIA\n\t\tSomething tells me this guy is connected\n\t\twith what's happening, Adam, and I think\n\t\tyou should do it and I think you should", "Adam turns and goes back out of the set onto the stage floor.\nHe looks around. He sees Betty being introduced by Sarah to\nsome of the studio executives. He goes over to his Assistant", "Lorraine slams the door behind him.\n \nAdam picks himself up, severely dazed and bleeding pretty\nbadly, he heads for his car.", "Director and looks down at the man's notepad.\n \n\t\t\t\tADAM (cont'd)\n\t\tWho's next, Hank?", "next to Robert Smith. Adam is dressed in a frumpy old\nfashioned plaid shirt, worn jacket, dark blue cotton slacks,\nand a pair of old brown wing tips. As he sits he is holding", "brown suit. Ray and Mr. Darby sit at the head of the table\nand Robert Smith sits along the side. A younger man -ADAM\nKESHER enters and sits down, with an arrogant nonchalance,", "Adam gets up off the floor bleeding from the nose and tries\nto hit Gene. Gene blocks his punch and slams Adam again,\nknocking him down to the kitchen floor where he lands and", "ADAM\n\t\tLook... I love you, but there's no way\n\t\tthey're gonna let me cast this thing", "Adam pauses.\n \n\t\t\t\tADAM\n\t\tGet Jason over here.", "He gets out of his chair and walks into the set - up to the\nblonde girl. He shakes her hand.\n \n\t\t\t\tADAM (cont'd)" ], [ "We move back and realize we are on a movie set inside a sound\nstage. A screen test is being shot of the girl and as we\ncontinue moving back we see the director Adam Kesher", "Silence. Ray doesn't know what to do. He struggles to\ninterpret Mr. Roque's silence. He waits. Mr. Roque does\nnothing but stare.", "happened last night on Mulholland Drive.\n \n\t\t\t\tVOICE\n\t\tHold please. I'll connect you to", "A Hotel Manager is walking toward the door of room 214. He\nknocks softly on the door. The door opens and Adam Kesher is\nstanding there - still beaten looking with remnants of pink", "voice can be heard in several locations throughout the stage.\n \n\t\t\t\tHANK\n\t\t\t(through walkie-talkie)", "surrounded by his crew. Behind them there are many people\nstanding, eating, watching, working. The stage is full and\nbustling. The song plays loudly over. Sarah and Nicki bring", "Luigi and takes a step back. The room becomes silent -\nwatching the Espresso Man and Luigi. Without looking up Luigi\nspeaks softly.", "There's a silence.\n \n\t\t\t\tDARK-HAIRED WOMAN\n\t\tThere was an accident. I came here.", "ever seen. His manservant stands in the shadows behind him.\n \n\t\t\t\tRAY\n\t\tGood afternoon Mr. Roque. (pronounced", "I never see that face ever outside a\n\t\tdream.\n \nHerb stares at Dan to see if he will continue. Dan looks", "As Herb is paying the bill he looks over at Dan just as Dan\nis turning to look at him. From Dan's point of view Herb is\nstanding in exactly the same spot as he stood in the dream.", "of Adam and begins to speak with a true, slow Western drawl.\n \n\t\t\t\tCOWBOY\n\t\tHowdy!", "THE MAN\n\t\tHello.\n \n\t\t\t\t\t\t\tCUT TO:", "Night descends on Los Angeles. Millions of lights down below\ntwinkle like stars.\n \n\t\t\t\t\t\t\tCUT TO:", "Betty still playing it in a dreamy whisper... lost in heat.\n \n\t\t\t\tBETTY\n\t\tStop... just stop! That's what you said", "shining lights of Hollywood laying far below like a galaxy.\nHe looks out and wonders.\n \n\t\t\t\t\t\t\tCUT TO:", "here? ... I'm in the middle of making a\n\t\tpicture.\n \nSilence for a moment. A man enters through a rear door and", "Again we see only the back of the man's head.\n \n\t\t\t\tTHE MAN\n\t\tSame.", "Again we see the back of the man's head. He's dialing a new\nnumber. -He brings the receiver to his ear. We hear a phone\nringing - we hear a click- the phone being answered.", "With his right hand he lifts the espresso cup and places it\nabove the napkin. He brings the cup and napkin to his mouth.\nHe takes a sip of espresso. A small fleeting expression forms" ], [ "We see the red brick building. It is Denny's. Betty and\nRita are walking to the payphone. Betty digs out some change", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "Dan takes Herb across the front of Denny's to a narrow\nsidewalk that leads down the side toward the back.\n \nThey begin walking down the narrow sidewalk - past a", "Betty and Rita enter Denny's.\n \n\t\t\t\t\t\t\tCUT TO:\n \nINT.- DENNY'S - DAY", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "CUT TO:\n \nEXT. DENNY'S", "DAN\n\t\tThis Denny's.\n \n\t\t\t\tHERB\n\t\tOkay. Why this Denny's?", "CUT TO:\n \nEXT. DENNY'S RESTAURANT - HOLLYWOOD - NIGHT", "INT. DENNY'S RESTAURANT , HOLLYWOOD - MORNING\n \nTwo well-dressed men HERB and DAN (mid 30's) are sitting at a", "We move back and realize we are on a movie set inside a sound\nstage. A screen test is being shot of the girl and as we\ncontinue moving back we see the director Adam Kesher", "nameplate saying \"DIANE\" lays the check on their table\nsmiles, then walks off.\n \n\t\t\t\tHERB", "Herb gets a strange feeling, turns back and finishes up with\nthe cashier. He motions for Dan to follow him. Dan rises\nreluctantly and he and Herb make their way outside.", "Diane searches through her many checks to find Betty and\nRita's.\n \nThe manager of Denny's, standing with a woman in a blue", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "We drift along the red bricks past the payphone, along the\nwall until we come to the corner. Slowly we round the corner\nand move to a dark alley. There amongst the dumpsters and", "turns on the light and looks around. He spots some paint\ncans on a shelf and grabs one and goes back into the kitchen.\nHe can hear Lorraine calling his name. She seems to be", "The girls walk along the busy boulevard, past guitar shops,\nvideo stores. Betty is looking for a payphone. Rita's eyes\ndart back and forth nervously. She's beginning to feel", "Betty and Rita are on their hands and knees around the coffee\ntable. A map of L.A. is unfolded and Betty is running her\nfinger along a street. Her finger stops.", "Two guys, JOE ( the guy who killed Ed in the sixth floor\noffice) and BILLY another unkept, rocker type delivery man\nare standing waiting for their chili dogs with a girl, LANEY,", "remains. She goes further into the apartment and crouches\ndown in a back corner of the kitchen. She listens as\nfootsteps come across the courtyard. She hears the red-headed" ], [ "hears voices as he throws the door open.\n \nLORRAINE and the poolman GENE are in bed.\n \n\t\t\t\tLORRAINE", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "INT. BEDROOM - DAY\n \nRita is still asleep when she enters. She leans down and", "and unlocks her door. He opens her door. As he reaches for\nher, the woman's face becomes flooded with light. Her eyes\ndart to the front windshield. The driver, flooded with light,", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "She slams the door, but Kenny's foot stops it and pushes it\nback with a force that shakes the wall as the door slams open\nonce again. Kenny enters the house.", "the eerie look of one possessed. She knocks mechanically on\nthe door.\n \n\t\t\t\t\t\t\tCUT TO:", "CUT TO:\n \nINT. APARTMENT - BEDROOM", "turns on the light and looks around. He spots some paint\ncans on a shelf and grabs one and goes back into the kitchen.\nHe can hear Lorraine calling his name. She seems to be", "ceiling. She suddenly remembers Rita and her promise to look\nin on her. She gets off the couch and goes into the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "over to the dresser and opening the top drawer. He removes a\nlarge case.\n \n\t\t\t\tLORRAINE (cont'd)", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "He hears a noise, something falling. He walks in the\ndirection of the noise. It leads him to his bedroom. His\nexpression darkens as he approaches the closed door. He", "hears the footsteps go all around the apartment and then she\nhears the footsteps come toward the kitchen. Remaining\nfrozen, the dark-haired woman's eyes look up as the red-", "Lorraine slams the door behind him.\n \nAdam picks himself up, severely dazed and bleeding pretty\nbadly, he heads for his car.", "CUT TO:\n \nINT. APARTMENT - EARLY DAWN\n \nThe woman comes into a living room where a single trunk", "CUT TO:\n \nINT. AUNT RUTH'S APARTMENT. - MORNING", "with Vincenzo and Luigi Castigliane sitting in the back.\n \nKenny knocks on Adam's front door. Lorraine answers." ], [ "Rita takes the massive wad of bills out of the purse and sets\nit on the bed. She reaches back inside and comes up with the\nonly other remaining item in the purse ... A BLUE KEY. Betty", "We move in to the pile of money next to Rita's purse. Past\nthat we move down inside Rita's purse. We see the Blue Key\nand move closer to it until it fills the screen.", "sees Rita's expression change to a kind of <U>horror</U>.\n(note: This blue key is made of very fine heavy metal and\ndoes not look like a door key.)", "This is your purse. Your name must be in\n\t\tyour purse.\n \nRita takes the purse with sudden trepidation. She hesitates.", "BETTY\n\t\tOpen it!\n \nRita slowly unzips the purse. The pressure of its contents", "ceiling. She suddenly remembers Rita and her promise to look\nin on her. She gets off the couch and goes into the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "INT. AUNT RUTH'S APARTMENT - BEDROOM - NIGHT\n \nRita has just taken the hatbox from the closet shelf and is\nsetting it on the bed.", "Betty looks down at the purse next to Rita's dress. She picks\nit up and hands it to Rita.\n \n\t\t\t\tBETTY", "Ray crosses a carpeted closed area. He mounts a flight of\nstairs. At the top of the stairs there's a plain blonde wood\ndoor. Ray punches in a code on a security panel next to it.", "Coco returns with the key and opens the screen door inhaling\na huge drag off her cigarette. She starts off into the\ncourtyard and Betty picks up her bags and follows. As Coco", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "above the clothes rack. Betty brings it down, takes out the\nhat, and Rita puts the purse inside. Betty puts the hat over\nthe purse in the hatbox and puts in back in the closet.", "After they pass each other Betty turns back and sees the boy\nand the woman enter 1612 Havenhurst. Betty and Rita continue", "turns on the light and looks around. He spots some paint\ncans on a shelf and grabs one and goes back into the kitchen.\nHe can hear Lorraine calling his name. She seems to be", "Betty and Rita are moving down the corridor. They pass a\nsmall room and look in at a couch, wardrobe and make-up\ntable. They move on down the corridor to a door which is", "He hurries off, but soon returns carrying two heavy\nsuitcases, followed by an older woman in a yellow dress.\nBoth Betty and Rita crawl further forward. They see the limo", "coming closer. He sets the jewelry case and the paint can on\nthe floor, kneels down and opens the paint can with his car\nkey. Just as Lorraine enters the kitchen, he opens the", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "woman and the cab driver get the trunk. She hears them set it\ndown once they have it in the courtyard. She hears the steps\nof the red-headed woman come back inside the apartment. She", "Rita is compelled to go in and as the door clicks shut she\nreacts to the smell.\n \n\t\t\t\t\t\t\tCUT TO:" ], [ "Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN,\na tall sixty year old silver-haired man, comes through the", "On the set Betty hears the song again and turns and watches.\nOnce again her eyes find Adam as his eyes are finding hers.\nThis time Adam turns away. He watches Camilla for a moment.", "crowd and stops at Adam's side. He looks down at Adam, but\nAdam continues watching Camilla Rhodes. Jason follows Adam's\ngaze and he watches Camilla sing then turns back to Adam.", "Moving back we realize that the girls are acting out Betty's\naudition scene. Rita is reading her lines.\n \n\t\t\t\tRITA", "BETTY (cont'd)\n\t\tAnd I've got an audition in one hour.\n \n\t\t\t\t\t\t\tCUT TO:", "ADAM (cont'd)\n\t\tACTION!\n \nThe strings soar up and Camilla Rhodes begins to sing.", "sounds beautiful ...oh well, I hope you\n\t\tpacked your coat. (laughs). You mean\n\t\tthe audition...Wally Brown... she didn't", "Camilla Rhodes next!", "delivering faxed pages of a scene for her\n\t\taudition tomorrow. Here they are honey.\n\t\tNow come along Louise and I'll take you\n\t\thome.", "You don't have to tell me. It's written\n\t\tall over that pretty face of yours.. You\n\t\tcame here to be an actress. I just hope", "Betty into this scene through a giant stage door. A guard\nmimes for them to be quiet as they approach the set. The\nsong continues to play over.", "Jimmy plays this with a big lecherous smile. He gives the\nlast part of the line across her cheek up to her ear.", "Everyone in the room has become mesmerized by Betty, but they\nsoon drift back to reality and begin applauding the\nperformance. Sarah turns to Nicki.", "turns and sees Adam. They each seem to feel the thrill of\nthe thunderbolt, but each embarrassed to stare longer than\nthey already have turn back and watch the girl finish the\nsong.", "surrounded by his crew. Behind them there are many people\nstanding, eating, watching, working. The stage is full and\nbustling. The song plays loudly over. Sarah and Nicki bring", "BETTY\n\t\tMy name is Betty Elms. I'm here to\n\t\taudition for... Mr. Brown", "WALLY (cont'd)\n\t\tI took the liberty of inviting an extra\n\t\tperson to see your audition. She saw", "Sounds, music churning continues.\n \nGreat sobs, almost hysterical, wrack Rita's body as she bends", "her as she goes. Her face is bright and her eyes move here\nand there taking in everything. She can hardly believe she's\nin Los Angeles - the City of Dreams. She and the old woman", "Adam looks up - a beautiful blonde steps into the set in\nfront of the microphone. IT IS THE GIRL! The back-up" ], [ "shrieks and leaps on Kenny. Her long fingernails going for\nhis eyes. Kenny slaps Lorraine hard. The shriek stops\ninstantly and she falls out cold on the carpet. Gene is back", "Excellent choice, Adam.\n \nAdam is sick with himself.\n \nAcross the room Betty panics when she looks at her watch.", "Rita looks as though she's walking in a trance. Through the\nhalf light they move deeper into the bungalow to a corridor.", "road. Her face is vacant. There is a bleeding cut just above\nher forehead. She stands for a moment clutching her purse -\nlost , then begins to walk as if in a trance across", "himself in the proper line at Ed's desk and quickly fires two\nsilenced shots into the back of her head. The man with the\nvacuum enters. His eyes begin to widen in reaction to the", "remains. She goes further into the apartment and crouches\ndown in a back corner of the kitchen. She listens as\nfootsteps come across the courtyard. She hears the red-headed", "look of horror directly toward us until her tortured face\nfills the screen.\n \nSounds, churning music.", "Sounds, music churning continues.\n \nGreat sobs, almost hysterical, wrack Rita's body as she bends", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "We can hear the dark-haired woman's frightened breathing as\nshe waits frozen listening.\n \n\t\t\t\t\t\t\tCUT TO:", "the eerie look of one possessed. She knocks mechanically on\nthe door.\n \n\t\t\t\t\t\t\tCUT TO:", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "Rita lies down and is instantly asleep. Betty leans over her\nand listens to her breathing. She gets a blanket and drapes\nit over the beautiful sleeping Rita, then leaves the room.", "This will be the end of everything.\n \nJimmy gets lost. He doesn't know where he is anymore. He\ncan only see Betty's eyes.", "brings her close. The scream is stifled by Betty's hand.\n \nIn the silence that follows, knocking can be heard. Betty", "The music fades.\n \nCoco looks down suddenly. On the cobblestone courtyard in\nfront of her she sees a fresh product of waste from a dog.", "An older, beautiful woman - drunk, is walking slowly -\nstrangely toward the door of Aunt Ruth's apartment.\n \n\t\t\t\t\t\t\tCUT TO:", "hears the footsteps go all around the apartment and then she\nhears the footsteps come toward the kitchen. Remaining\nfrozen, the dark-haired woman's eyes look up as the red-", "Betty slowly and quietly hangs up the phone. She sits for a\nmoment listening. Silently she stands and moves toward the\nbedroom. As she approaches the bedroom door she stops at", "desperately down another residential street. A drunken couple\nround the corner up ahead and start up the sidewalk toward\nher. She runs off the sidewalk and into the bushes in front" ], [ "Here I am Hollywood! My name is ... Rita.\n \nThey look out, maybe waiting for an answer blowing in the\nSanta Ana wind.", "Rita shoots a look from Betty to Diane to the nameplate.\n \n\t\t\t\t\t\t\tCUT TO:", "This is your purse. Your name must be in\n\t\tyour purse.\n \nRita takes the purse with sudden trepidation. She hesitates.", "BETTY\n\t\tWhat do you mean? You're Rita.\n \n\t\t\t\tRITA", "RITA\n\t\tShe has pretty red hair... she is very\n\t\tkind I think.", "Finding out who you are gets you out of\n\t\ttrouble.\n \nRita thinks about this silently then begins to worry and\ndoubt all over again.", "RITA\n\t\t\t(still sobbing)\n\t\tI'm...I'm... oh no... I thought when I woke", "RITA\n\t\t<U>Diane</U> <U>Selwyn</U>. Maybe it's my name.", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "BETTY (cont'd)\n\t\tRita?\n \n\t\t\t\tRITA\n\t\t\t(crying harder)", "Moving back we realize that the girls are acting out Betty's\naudition scene. Rita is reading her lines.\n \n\t\t\t\tRITA", "Rita lies down and is instantly asleep. Betty leans over her\nand listens to her breathing. She gets a blanket and drapes\nit over the beautiful sleeping Rita, then leaves the room.", "Betty sits Rita on the bed. She leans down and looks at her\nhead and face.\n \n \n\t\t\t\tBETTY (cont'd)", "DARK-HAIRED WOMAN\n\t\tMy name is Rita.\n \n\t\t\t\tBETTY", "close-up nameplate\n \nThe word \"DIANE\" is huge from Rita's POV.\n \n\t\t\t\t\t\t\tCUT TO:", "INT. AUNT RUTH'S BEDROOM - DAY\n \nRita is now dressed to go out and is studying herself in a", "and Rita call out.)\n \n\t\t\t\tRITA\n\t\tGood luck!\n \n\t\t\t\tBETTY" ], [ "CUT TO:\n \nEXT. NIGHT - MULHOLLAND DRIVE", "CUT TO:\n \nEXT. FURTHER UP MULHOLLAND DRIVE - NIGHT", "DISSOLVE TO:\n \nEXT. MULHOLLAND DRIVE - NIGHT", "Detective Harry McKnight turns and crosses Mulholland. His\neyes move over each blade of grass at the shoulder - each\ndesert bush just beyond. He slowly raises his gaze to the", "EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES\n \nDarkness. Distant sounds of freeway traffic. Then the closer", "Mulholland down through the bushes and into darkness.", "street sign is suddenly brightly lit. The words on the sign\nread... \"Mulholland Drive.\" The car moves under the sign as\nit turns and the words fall once again into darkness.", "DISSOLVE TO:\n \nEXT. HOLLYWOOD HILLS - LATER - NIGHT", "Gliding we follow the car - an older black Cadillac limousine\n- as it winds its way up Mulholland Drive through the\ndarkness of the Hollywood Hills. There is no one else on the", "The cars are travelling so fast that they seem to almost\nfloat as they fly with psychotic speed down both lanes of\nMulholland Drive.", "happened last night on Mulholland Drive.\n \n\t\t\t\tVOICE\n\t\tHold please. I'll connect you to", "Suddenly -\n \n\t\t\t\tRITA\n\t\tMulholland Drive.", "After they pass each other Betty turns back and sees the boy\nand the woman enter 1612 Havenhurst. Betty and Rita continue", "We move back and realize we are on a movie set inside a sound\nstage. A screen test is being shot of the girl and as we\ncontinue moving back we see the director Adam Kesher", "excited and animated way. Just after they enter through the\niron gates of 1612 Havenhurst and are out of sight we notice\na car moving slowly up Havenhurst toward us. We notice two", "BETTY\n\t\tJust to see if there was an accident on\n\t\tMulholland Drive.", "That's where I was going... Mulholland\n\t\tDrive.\n \n\t\t\t\tBETTY", "Beachwood Canyon. There's a corral up\n\t\tthere where he'll be.\n \n\t\t\t\tADAM", "crash and I want to know if there was an\n\t\taccident on Mulholland Drive.\n \n\t\t\t\tSERGEANT BAXTER", "CUT TO:\n \nINT. - BUNGALOW #17 - DAY" ], [ "Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN,\na tall sixty year old silver-haired man, comes through the", "crowd and stops at Adam's side. He looks down at Adam, but\nAdam continues watching Camilla Rhodes. Jason follows Adam's\ngaze and he watches Camilla sing then turns back to Adam.", "On the set Betty hears the song again and turns and watches.\nOnce again her eyes find Adam as his eyes are finding hers.\nThis time Adam turns away. He watches Camilla for a moment.", "HANK\n\t\tCamilla Rhodes.\n \nAdam wonders - worries.", "ADAM (cont'd)\n\t\tACTION!\n \nThe strings soar up and Camilla Rhodes begins to sing.", "Camilla Rhodes next!", "Adam turns and goes back out of the set onto the stage floor.\nHe looks around. He sees Betty being introduced by Sarah to\nsome of the studio executives. He goes over to his Assistant", "Adam turns white and stands very still as this sinks in. The\nCastigliane brothers leave. As the big blonde wood doors\nclose behind them Adam starts to boil.", "with Vincenzo and Luigi Castigliane sitting in the back.\n \nKenny knocks on Adam's front door. Lorraine answers.", "next to Robert Smith. Adam is dressed in a frumpy old\nfashioned plaid shirt, worn jacket, dark blue cotton slacks,\nand a pair of old brown wing tips. As he sits he is holding", "Adam looks up - a beautiful blonde steps into the set in\nfront of the microphone. IT IS THE GIRL! The back-up", "He gets out of his chair and walks into the set - up to the\nblonde girl. He shakes her hand.\n \n\t\t\t\tADAM (cont'd)", "The Castigliane brothers begin to leave. Adam stands up\ntrembling with anger.\n \n\t\t\t\tADAM", "Excellent choice, Adam.\n \nAdam is sick with himself.\n \nAcross the room Betty panics when she looks at her watch.", "Director and looks down at the man's notepad.\n \n\t\t\t\tADAM (cont'd)\n\t\tWho's next, Hank?", "Ah... she's very pretty.\n \nWe see the photo of the girl - of a nice looking blonde -\nsomeone we've never seen before. Adam looks like he doesn't", "LUIGI CASTIGLIANE\n\t\tThis is the girl.\n \n\t\t\t\tADAM", "of Adam and begins to speak with a true, slow Western drawl.\n \n\t\t\t\tCOWBOY\n\t\tHowdy!", "Lorraine slams the door behind him.\n \nAdam picks himself up, severely dazed and bleeding pretty\nbadly, he heads for his car.", "CYNTHIA\n\t\tSomething tells me this guy is connected\n\t\twith what's happening, Adam, and I think\n\t\tyou should do it and I think you should" ], [ "Throw him out!\n \nLorraine opens the front door while Gene picks Adam up, moves\nhim across the carpet and heaves him out onto the front lawn.", "Through the darkness Adam hears the sound of a car door\nopening and closing, then another opening and closing and\nthen the sound of the car driving away. Adam walks up in the", "his jacket. He begins walking around the house calling out\nfor Adam. He sees nothing and hears nothing. He goes back to\nthe front door and sees Adam's golf clubs sitting there.", "Lorraine slams the door behind him.\n \nAdam picks himself up, severely dazed and bleeding pretty\nbadly, he heads for his car.", "CUT TO:\n \nEXT. - ADAM'S HOUSE - AFTERNOON", "Adam turns white and stands very still as this sinks in. The\nCastigliane brothers leave. As the big blonde wood doors\nclose behind them Adam starts to boil.", "Adam gets up off the floor bleeding from the nose and tries\nto hit Gene. Gene blocks his punch and slams Adam again,\nknocking him down to the kitchen floor where he lands and", "The Castigliane brothers begin to leave. Adam stands up\ntrembling with anger.\n \n\t\t\t\tADAM", "THAT'S MY JEWELRY!!!\n \nAdam leaves the bedroom and starts through the house. He\ngoes into the kitchen and looks around - numb but trying to", "Taka bows, smiling and nodding, and goes back to work. Adam\nheads toward the front door of his house.\n \n\t\t\t\t\t\t\tCUT TO:", "Excellent choice, Adam.\n \nAdam is sick with himself.\n \nAcross the room Betty panics when she looks at her watch.", "of Adam and begins to speak with a true, slow Western drawl.\n \n\t\t\t\tCOWBOY\n\t\tHowdy!", "Adam exits the building carrying his 7-iron. An attendant\ntakes his valet parking ticket. While Adam, still fuming,\nwaits for his car he notices the big limo standing off to one", "He hears a noise, something falling. He walks in the\ndirection of the noise. It leads him to his bedroom. His\nexpression darkens as he approaches the closed door. He", "Adam gets in his car and drives off leaving the Cowboy\nsmiling behind him.\n \n\t\t\t\t\t\t\tCUT TO:", "spills the jewelry case. Adam, now covered with paint, is\npicked up by Gene and thrown out toward the front door.\n \n\t\t\t\tLORRAINE", "Adam hangs up and seems to sag, cupping his forehead and eyes\nwith his hand.\n \n\t\t\t\t\t\t\tCUT TO:", "He whacks two big dents in the hood, then smashes out a\nheadlight. The limo driver starts towards him. Adam laughs,\nruns to his car and takes off.", "Adam pulls into his driveway, but is blocked from entering\nthe garage by a poolman's truck. He gets out of the car and", "LORRAINE\n\t\tWhat the hell are you even doing here?\n \nAdam stands stunned for a moment. Then finds himself walking" ], [ "This is your purse. Your name must be in\n\t\tyour purse.\n \nRita takes the purse with sudden trepidation. She hesitates.", "BETTY\n\t\tWhat do you mean? You're Rita.\n \n\t\t\t\tRITA", "Here I am Hollywood! My name is ... Rita.\n \nThey look out, maybe waiting for an answer blowing in the\nSanta Ana wind.", "Finding out who you are gets you out of\n\t\ttrouble.\n \nRita thinks about this silently then begins to worry and\ndoubt all over again.", "DARK-HAIRED WOMAN\n\t\tMy name is Rita.\n \n\t\t\t\tBETTY", "RITA\n\t\t\t(still sobbing)\n\t\tI'm...I'm... oh no... I thought when I woke", "Rita shoots a look from Betty to Diane to the nameplate.\n \n\t\t\t\t\t\t\tCUT TO:", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "it.\n \nRita turns and looks up at Betty, her eyes red with crying.\nBetty pulls her up facing her. Rita lets Betty take the", "moving up to an empty mirror and eerie music builds. The\nreflection of the new Rita moves into the mirror. She has\nshort, beautiful blonde hair, blonde eyebrows and no make-up.", "Selwyn followed by an address and phone number. It is the\nonly Selwyn with a D. first name. She hands the phone to\nRita.", "Rita lies down and is instantly asleep. Betty leans over her\nand listens to her breathing. She gets a blanket and drapes\nit over the beautiful sleeping Rita, then leaves the room.", "#17. Just walk down that way. It's just\n\t\tto the right.\n \nThe woman seems to be looking now at Rita.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "RITA\n\t\t<U>Diane</U> <U>Selwyn</U>. Maybe it's my name.", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "Betty sits Rita on the bed. She leans down and looks at her\nhead and face.\n \n \n\t\t\t\tBETTY (cont'd)", "BETTY (cont'd)\n\t\tRita?\n \n\t\t\t\tRITA\n\t\t\t(crying harder)" ], [ "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "Yes?\n \n\t\t\t\tBETTY\n\t\tDiane?", "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "noticing. Diane walks quickly over to the manager and the\nwoman in the blue dress. Betty turns and watches a heated\nconversation that she can't hear, but she sees the woman in", "out a Mont Blanc fountain pen which she puts under Betty's\ncheck as she places it on their table. She does this very\nquickly but Betty notices this and Diane notices Betty", "nameplate saying \"DIANE\" lays the check on their table\nsmiles, then walks off.\n \n\t\t\t\tHERB", "Back to scene\n \nDiane finishes pouring Rita's cup and smiles at Betty.\n \n\t\t\t\tDIANE", "back into her pocket.\n \n\t\t\t\tDIANE\n\t\tThank you. Come in again.\n \nBetty holds her gaze.", "close-up nameplate\n \nThe word \"DIANE\" is huge from Rita's POV.\n \n\t\t\t\t\t\t\tCUT TO:", "Maybe the voice isn't Diane Selwyn.\n\t\tMaybe that's your roommate or if it is\n\t\tDiane Selwyn she can tell you who you", "There's a silence.\n \n\t\t\t\tDARK-HAIRED WOMAN\n\t\tThere was an accident. I came here.", "her as she goes. Her face is bright and her eyes move here\nand there taking in everything. She can hardly believe she's\nin Los Angeles - the City of Dreams. She and the old woman", "turns on the light and looks around. He spots some paint\ncans on a shelf and grabs one and goes back into the kitchen.\nHe can hear Lorraine calling his name. She seems to be", "BETTY\n\t\tI guess you're not Diane.\n \nRita, still fighting her fear doesn't answer.", "pulls her closer. Something has started coming over Betty\nand she catches the drift of this scene in a different way.\nShe's surprising herself." ], [ "finds Rita breathing normally. She feels her forehead.\nSatisfied that all is well, Betty quietly leaves the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "Rita lies down and is instantly asleep. Betty leans over her\nand listens to her breathing. She gets a blanket and drapes\nit over the beautiful sleeping Rita, then leaves the room.", "BETTY\n\t\tI guess you're not Diane.\n \nRita, still fighting her fear doesn't answer.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "Betty sits Rita on the bed. She leans down and looks at her\nhead and face.\n \n \n\t\t\t\tBETTY (cont'd)", "INT. AUNT RUTH'S APARTMENT\n \nBetty and Rita both turn with alarm. Betty gets up, stares", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "Betty and Rita are moving down the corridor. They pass a\nsmall room and look in at a couch, wardrobe and make-up\ntable. They move on down the corridor to a door which is", "All the blinds are closed and the curtains drawn. They move\nslowly, looking around at everything as they go. Betty looks\nto Rita to see if any of this is something she remembers.", "Betty and Rita come out of Aunt Ruth's apartment. Betty is\nlaughing, pulling on Rita.\n \n\t\t\t\tBETTY", "Betty and Rita enter Denny's.\n \n\t\t\t\t\t\t\tCUT TO:\n \nINT.- DENNY'S - DAY", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "Moving back we realize that the girls are acting out Betty's\naudition scene. Rita is reading her lines.\n \n\t\t\t\tRITA", "at the door, then at Rita. Rita waits, not knowing what to\ndo.\n \n\t\t\t\tBETTY\n\t\tIt'll be okay.", "Betty goes into the kitchen. Suddenly there's a knock on the\nscreen door and Coco peers in, seeing Rita on the couch.\nRita looks up ... panicked.", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees" ], [ "BETTY\n\t\tOpen it!\n \nRita slowly unzips the purse. The pressure of its contents", "Betty looks down at the purse next to Rita's dress. She picks\nit up and hands it to Rita.\n \n\t\t\t\tBETTY", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "Rita takes the massive wad of bills out of the purse and sets\nit on the bed. She reaches back inside and comes up with the\nonly other remaining item in the purse ... A BLUE KEY. Betty", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "finds Rita breathing normally. She feels her forehead.\nSatisfied that all is well, Betty quietly leaves the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "This is your purse. Your name must be in\n\t\tyour purse.\n \nRita takes the purse with sudden trepidation. She hesitates.", "mirror. She turns and her gaze falls to her purse. She\npicks it up and looks questioningly at Betty.\n \n\t\t\t\tBETTY (cont'd)", "Both Rita and Betty almost stop breathing. They look at each\nother, then back to the money.", "CUT TO:\n \nINT. CAB - DAY\n \nBetty reaches and gently grabs Rita's shoulder. She speaks", "Betty and Rita come out of Aunt Ruth's apartment. Betty is\nlaughing, pulling on Rita.\n \n\t\t\t\tBETTY", "Betty goes to Rita.\n \n\t\t\t\tBETTY (cont'd)\n\t\tSit down...", "Betty sits Rita on the bed. She leans down and looks at her\nhead and face.\n \n \n\t\t\t\tBETTY (cont'd)", "Betty and Rita are on their hands and knees around the coffee\ntable. A map of L.A. is unfolded and Betty is running her\nfinger along a street. Her finger stops.", "at the door, then at Rita. Rita waits, not knowing what to\ndo.\n \n\t\t\t\tBETTY\n\t\tIt'll be okay.", "Betty puts out her hand. Rita looks at it for a moment,\nsmiles, and they shake.\n \n\t\t\t\t\t\t\tCUT TO:", "BETTY\n\t\tWhoa!\n \nShe catches Rita's look. Rita is staring at her, horrified.", "scream comes out of Rita as a force propelling her to look\ncloser. Betty lunges after Rita, her eyes also not able to\nleave the sight. She covers Rita's mouth with her hand and", "Betty goes into the kitchen. Suddenly there's a knock on the\nscreen door and Coco peers in, seeing Rita on the couch.\nRita looks up ... panicked." ], [ "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "himself in the proper line at Ed's desk and quickly fires two\nsilenced shots into the back of her head. The man with the\nvacuum enters. His eyes begin to widen in reaction to the", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "scene. Just then Joe fires a bullet into the man's chest.\nThe man inadvertently flicks on the vacuum cleaner as his\nhands rush up to the wound. As the vacuum cleaner whines Joe", "however, during the introductions the one with the briefcase\nremoves a photo of a girl and sets it in front of Ray.\n \n\t\t\t\tRAY (cont'd)", "out a Mont Blanc fountain pen which she puts under Betty's\ncheck as she places it on their table. She does this very\nquickly but Betty notices this and Diane notices Betty", "nameplate saying \"DIANE\" lays the check on their table\nsmiles, then walks off.\n \n\t\t\t\tHERB", "Joe's hand still at the small of his back moves into view\nholding a silenced pistol and in one swift move reaches out\nand fires a hole through Ed's temple - blowing Ed's brains", "over to the dresser and opening the top drawer. He removes a\nlarge case.\n \n\t\t\t\tLORRAINE (cont'd)", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "The driver, still in his seat, has a pistol with a silencer\nattached pointing at the woman. The other man is getting out\nof the car. The woman is clutching the seat and the door", "behind Ed's desk, wipes the gun clean with a handkerchief and\nplaces the cleaned gun in Ed's right hand. He places Ed's", "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "Herb gets a strange feeling, turns back and finishes up with\nthe cashier. He motions for Dan to follow him. Dan rises\nreluctantly and he and Herb make their way outside.", "(as she kisses him - whispers)\n\t\tBefore I kill you.\n \nJimmy panics and pushes Betty away with his hands on her", "Betty pulls a table knife out from behind her back.\n \n\t\t\t\tBETTY\n\t\t\"Before I kill you.\"", "shrieks and leaps on Kenny. Her long fingernails going for\nhis eyes. Kenny slaps Lorraine hard. The shriek stops\ninstantly and she falls out cold on the carpet. Gene is back", "and unlocks her door. He opens her door. As he reaches for\nher, the woman's face becomes flooded with light. Her eyes\ndart to the front windshield. The driver, flooded with light," ], [ "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "Yes?\n \n\t\t\t\tBETTY\n\t\tDiane?", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "nameplate saying \"DIANE\" lays the check on their table\nsmiles, then walks off.\n \n\t\t\t\tHERB", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "close-up nameplate\n \nThe word \"DIANE\" is huge from Rita's POV.\n \n\t\t\t\t\t\t\tCUT TO:", "shrieks and leaps on Kenny. Her long fingernails going for\nhis eyes. Kenny slaps Lorraine hard. The shriek stops\ninstantly and she falls out cold on the carpet. Gene is back", "BETTY\n\t\tI guess you're not Diane.\n \nRita, still fighting her fear doesn't answer.", "out a Mont Blanc fountain pen which she puts under Betty's\ncheck as she places it on their table. She does this very\nquickly but Betty notices this and Diane notices Betty", "Dan lurches back. All his breath is suddenly gone. He falls\nback into Herb who tries to catch him as he's falling. Dan\nhits the ground unable to breathe - his eyes wide with", "himself in the proper line at Ed's desk and quickly fires two\nsilenced shots into the back of her head. The man with the\nvacuum enters. His eyes begin to widen in reaction to the", "Kenny begins snapping the shaft of each club. As he snaps\neach club we see Lorraine and Gene remain out cold on the\nfloor.", "silent. A fire erupts in the sedan and as the dust clears we\nsee the woman appear, then crawl out of the Cadillac to the", "Back to scene\n \nDiane finishes pouring Rita's cup and smiles at Betty.\n \n\t\t\t\tDIANE", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "road. Her face is vacant. There is a bleeding cut just above\nher forehead. She stands for a moment clutching her purse -\nlost , then begins to walk as if in a trance across" ], [ "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "out a Mont Blanc fountain pen which she puts under Betty's\ncheck as she places it on their table. She does this very\nquickly but Betty notices this and Diane notices Betty", "On the set Betty hears the song again and turns and watches.\nOnce again her eyes find Adam as his eyes are finding hers.\nThis time Adam turns away. He watches Camilla for a moment.", "crowd and stops at Adam's side. He looks down at Adam, but\nAdam continues watching Camilla Rhodes. Jason follows Adam's\ngaze and he watches Camilla sing then turns back to Adam.", "Yes?\n \n\t\t\t\tBETTY\n\t\tDiane?", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "Not really. I met her in junior college\n\t\tand she was from this other town.\n \nCoco looks hard into Betty's innocent face.", "nameplate saying \"DIANE\" lays the check on their table\nsmiles, then walks off.\n \n\t\t\t\tHERB", "noticing. Diane walks quickly over to the manager and the\nwoman in the blue dress. Betty turns and watches a heated\nconversation that she can't hear, but she sees the woman in", "Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN,\na tall sixty year old silver-haired man, comes through the", "Betty and Irene give each other a hug. The old gentleman nods\nto Betty and takes Irene off. Betty smiles after them.\nSuddenly someone is grabbing her bags. She turns abruptly to", "Betty puts out her hand. Rita looks at it for a moment,\nsmiles, and they shake.\n \n\t\t\t\t\t\t\tCUT TO:", "back into her pocket.\n \n\t\t\t\tDIANE\n\t\tThank you. Come in again.\n \nBetty holds her gaze.", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as" ], [ "Rita is compelled to go in and as the door clicks shut she\nreacts to the smell.\n \n\t\t\t\t\t\t\tCUT TO:", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "Betty goes to Rita.\n \n\t\t\t\tBETTY (cont'd)\n\t\tSit down...", "ceiling. She suddenly remembers Rita and her promise to look\nin on her. She gets off the couch and goes into the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "INT. AUNT RUTH'S BEDROOM - DAY\n \nRita is now dressed to go out and is studying herself in a", "#17. Just walk down that way. It's just\n\t\tto the right.\n \nThe woman seems to be looking now at Rita.", "Moving back we realize that the girls are acting out Betty's\naudition scene. Rita is reading her lines.\n \n\t\t\t\tRITA", "RITA\n\t\t\t(still sobbing)\n\t\tI'm...I'm... oh no... I thought when I woke", "Sounds, music churning continues.\n \nGreat sobs, almost hysterical, wrack Rita's body as she bends", "and Rita call out.)\n \n\t\t\t\tRITA\n\t\tGood luck!\n \n\t\t\t\tBETTY", "RITA\n\t\tOkay.\n \nBetty closes the door and heads across the courtyard. She", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "at the door, then at Rita. Rita waits, not knowing what to\ndo.\n \n\t\t\t\tBETTY\n\t\tIt'll be okay.", "Betty and Rita start to leave.\n \n\t\t\t\tMIDDLE-AGED WOMAN (cont'd)\n\t\tShe hasn't been around for a few days ...", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "phone... just to see if there was an\n\t\taccident.\n \nRita sits worrying.", "Betty and Rita come out of Aunt Ruth's apartment. Betty is\nlaughing, pulling on Rita.\n \n\t\t\t\tBETTY", "again harder. They wait.\n \n\t\t\t\tRITA (cont'd)\n\t\tNo one's ...", "Betty and Rita are moving down the corridor. They pass a\nsmall room and look in at a couch, wardrobe and make-up\ntable. They move on down the corridor to a door which is" ] ]	[ "Why has \"Rita\" forgotten her own name?", "Why does Adam Kesher cast unknown Camilla Rhodes as Sylvia North?", "What do \"Rita\" and Betty find in Diane Selwyns apartment?", "Why did Diane claim she had come to Hollywood?", "Why does Diane go to the party on Mulholland Drive?", "Why is Diane upset to see Camilla kissing other people?", "How will Diane know when the hit man has killed Camilla?", "What does the hit man do when Diane asks what the blue key will open?", "What is the name of the theater that \"Rita\" and Betty visit?", "At the beginning of the story, what does Betty find in Rita's purse?", "Who does the 'mobsters' insist Adam cast in a leading role?", "What does the man on stage at Club Silencio explain in several different languages?", "What diner does much of the story take place?", "Who appears in Diane's doorway, saying \"Time to wake up\"?", "Who finds a blue box that matches the key from Rita's purse?", "What does Camilla audition for?", "Who suffers hallucinations and kills herself?", "Where did Rita get inspiration for her name?", "Who lives on Mulholland Drive?", "Who wants Adam to cast Camilla Rhodes?", "What happened before Adam got thrown out of his house?", "Why did the woman choose Rita as her name?", "Why does Diane attend the Party?", "What state is Diane in when Rita and Betty find her?", "What does betty find in Rita's purse?", "What does the hitman give Diane?", "How did Diane die?", "How did Diane meet Camilla?", "What theter did Rita want to go to?" ]	[ [ "Rita was injured in a car crash on Mulholland drive.", "she was in a car accident" ], [ "Adam is being threatened to do so by mobsters.", "Mobsters insisted and he needed money" ], [ "Rita and Betty find a dead woman.", "A dead woman." ], [ "Diane had come after the death of her aunt.", "Because her aunt died." ], [ "Camilla invites her.", "Camilla invited her." ], [ "Diane is in love with Camilla.", "because she is in love with her" ], [ "Diane will find a blue key. ", "When she finds a blue key." ], [ "The hit man laughs.", "Laughs." ], [ "Club Silencio", "Club Silencio." ], [ "A blue key and a lot of cash.", "A Blue Key" ], [ "Camilla Rhodes", "Camilla Rhodes" ], [ "Everything is an illusion", "everything is an illusion" ], [ "Winkies", "Winkies" ], [ "The Cowboy", "The Cowboy." ], [ "Betty", "Betty." ], [ "The Sylvia North Story", "The Sylvia North Story." ], [ "Diane", "Diane/Rita" ], [ "From a Gilda movie poster.", "movie poster" ], [ "Adam", "The dark haired woman aka Rita." ], [ "Mobsters.", "Mobsters." ], [ "He found his wife having an affair.", "He finds wife cheating." ], [ "She came up with it, after seeing a poster featuring teh actress Rita Hayworth.", "Because she saw a poster with Rita Hayworth." ], [ "She was invited by Camilla.", "She was invited." ], [ "Diane is dead.", "dead" ], [ "Money and blue key.", "A blue key and a lot of money." ], [ "A blue key.", "a blue key" ], [ "Sshe shot herself", "she shoots herself" ], [ "She met Camilla at an audtion.", "in a movie" ], [ "Club silencio.", "Club Silencio" ] ]	999a532b45f030c8f382f0f92fc51b3d12fd821c	test
[ [ "encounter with Barrisor and his companions, and this is made to serve as\nan introduction to the _amour_ between Bussy and Tamyra, as Chapman", "him and Tamyra. Bussy takes the Countess's affections so completely by\nstorm, and he ignores so entirely the rights of her husband, that it is", "_Tamyra._ I think not on you, sir; y'are one I know not.\n\n _Buss._ Cry you mercy, madam!", "write the plot new.\" D'Urfey's main alteration was to represent Bussy\nand Tamyra as having been betrothed before the play opens, and the", "Bussy d'Ambois. In this letter, owing to the very intimate terms on\nwhich he stood with his young patron, he told him that he had enclosed", "_Tamyra._ I see y'are servant, sir, to my deare sister,\n The lady of her loved Baligny.", "Anjou, were devoted to one another, and Bussy was for a time a paramour\nof the Queen of Navarre. Though she denies the liaison, she says of him", "and dates, from the actual facts of history. Bussy's career was so\nromantic that it was impossible for even the most inventive dramatist to\nembellish it. This was especially true of its closing episode, which", "and a prince,\" proves that she is no light o' love, and that her\nsurrender to Bussy is the result of a sudden and overmastering passion.\nEven in the moment of keenest expectation she is torn between", "the published edition, played Tamyra, and the revival seems to have been\na success. But Mountfort was assassinated in the Strand towards the\nclose of the following year, and apparently the career of _Bussy_ upon", "dramatist worked upon. And an important clue to the spirit in which he\nhandled it is the identification, here first made, of part of Bussy's", "but on the following day Bussy, meeting Saint-Phal at the house of a\nlady with whom he had had relations, and who was now the mistress of the", "repulsive _rÃ´le_ of go-between, Bussy wins his way at night into\nTamyra's chamber on the plea that he has come to reassure her that she", "discovers through Tamyra's waiting-woman that the Countess, whose\nfavours he has vainly sought to win, has granted them to Bussy. It is he", "_Coun._ Who's that?\n\n _Ren._ The spirit of Bussy.\n\n _Tam._ O my servant!\n Let us embrace.", "when she declares to Bussy before the Court (III, ii, 138), \"Y'are one I\nknow not,\" and speaks of him vaguely in a later scene as \"the man.\" So,", "Tamyra appeals more to us, because we see in her more of the conflict\nbetween passion and moral obligation, which is the essence of drama. Her", "trace the relation of its plot to the recorded episodes of Bussy's\ncareer, has been the aim of the preceding pages. It must always count to", "greatest secrecy, so that Bussy should not know of his return. By a\nstratagem he arranged that a letter should be sent by his wife to Bussy,", "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the" ], [ "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the", "and dates, from the actual facts of history. Bussy's career was so\nromantic that it was impossible for even the most inventive dramatist to\nembellish it. This was especially true of its closing episode, which", "into the hands of Bussy, who dispatched him then and there. He\nafterwards distinguished himself in various operations against the\nHuguenots, and by his bravery and accomplishments won the favour of the", "Rosset relates in 1615 the story of Bussy's death. In the Preface to the\nvolume he declares: \"Ce ne sont pas des contes de l'AntiquitÃ© fabuleuse", "In a later passage (vol. V, lib. CXVIII, p. 558) he is even more\nexplicit. After referring to Bussy's treacherous assassination, he\ncontinues:", "basis of Chapman's tragedy, has been completely disproved. The passage\nin which he narrates the story of Bussy's death does not occur in the", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "blustering vein as before, and his death is reported, at the close of\nAct IV, as a fulfilment of Bussy's dying curse.", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "trace the relation of its plot to the recorded episodes of Bussy's\ncareer, has been the aim of the preceding pages. It must always count to", "The tragic close of Bussy's life has given his career an interest\ndisproportionate to his historical importance. But the drama of La", "greatest secrecy, so that Bussy should not know of his return. By a\nstratagem he arranged that a letter should be sent by his wife to Bussy,", "dramatist worked upon. And an important clue to the spirit in which he\nhandled it is the identification, here first made, of part of Bussy's", "and a prince,\" proves that she is no light o' love, and that her\nsurrender to Bussy is the result of a sudden and overmastering passion.\nEven in the moment of keenest expectation she is torn between", "Bussy's insolent arrogance and his petulant temper, he availed himself\nof this opportunity of avenging the old insults he had received from", "task, though finally the matter had been compromised. De Thou, at the\nclose of his account of Bussy's murder, relates (vol. III, lib. LXVII,", "Bussy d'Ambois. In this letter, owing to the very intimate terms on\nwhich he stood with his young patron, he told him that he had enclosed", "adherent of his faction that he elevates Bussy, and when he finds him\nfavoured by Henry he ruthlessly strikes him down, all the more readily", "The first two Acts of the play are chiefly occupied with Bussy's\narrival at court, his entry into the service of Monsieur, his quarrel", "on to Montsoreau. The latter thereupon forced his wife to make a\ntreacherous assignation with Bussy at the chÃ¢teau on the night of the" ], [ "when the ghost of Bussy appears, and chides his brother for his delay in\nrighting his wrongs. That the _Umbra_ of the elder D'Ambois is here", "Equally ineffective and incongruous are the moralising discourses of\nwhich Bussy's ghost is made the spokesman. It does not seem to have", "_Coun._ Who's that?\n\n _Ren._ The spirit of Bussy.\n\n _Tam._ O my servant!\n Let us embrace.", "Which Bussy, for his valours season, lackt;\n And so was rapt with outrage oftentimes\n Beyond decorum; where this absolute Clermont, 90", "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "basis of Chapman's tragedy, has been completely disproved. The passage\nin which he narrates the story of Bussy's death does not occur in the", "blustering vein as before, and his death is reported, at the close of\nAct IV, as a fulfilment of Bussy's dying curse.", "Rosset relates in 1615 the story of Bussy's death. In the Preface to the\nvolume he declares: \"Ce ne sont pas des contes de l'AntiquitÃ© fabuleuse", "BrantÃ´me further relates a midnight attack upon Bussy, about a month\nlater, by a number of his jealous rivals, when he had a narrow escape", "In a later passage (vol. V, lib. CXVIII, p. 558) he is even more\nexplicit. After referring to Bussy's treacherous assassination, he\ncontinues:", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "on to Montsoreau. The latter thereupon forced his wife to make a\ntreacherous assignation with Bussy at the chÃ¢teau on the night of the", "_Bussy._ Sit up to night, and watch: Ile speak with none\n But the old Frier, who bring to me.\n\n _Pages._ We will, sir. _Exeunt._", "and dates, from the actual facts of history. Bussy's career was so\nromantic that it was impossible for even the most inventive dramatist to\nembellish it. This was especially true of its closing episode, which", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "Or never looke to heare free truth. Tell me,\n For Bussy lives not; hee durst anger mee,", "Bussy's insolent arrogance and his petulant temper, he availed himself\nof this opportunity of avenging the old insults he had received from", "{ _Bussy_.\n { _Monsieur_.\n The ghost[s] of { _Guise_.\n { _Card. Guise_.\n { _Shattilion_." ], [ "But in the character of Clermont there mingle other elements than those\nderived from either the historical figure of D'Auvergne, or the ideal", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "from whom Chapman drew his conception of the character of Clermont\nD'Ambois. My brother-in-law, Mr. S. G. Owen, Student of Christ Church,", "makes her fiery passion for revenge at all costs a foil to the\nscrupulous and deliberate procedure of the high-souled Clermont. Like", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "_Henry._ Well, take your will, sir;--Ile have mine ere long.--\n _Aversus._\n But wherein is this Clermont such a rare one?", "Clermont, a prominent Huguenot, and follower of the King of Navarre.\nWhile his rival was fleeing for safety he had the misfortune to fall", "Which Bussy, for his valours season, lackt;\n And so was rapt with outrage oftentimes\n Beyond decorum; where this absolute Clermont, 90", "The portraiture of Clermont throughout the play as the high-souled\nphilosopher is inspired by Epictetus's delineation in his _Discourses_", "So flew brave Clermont forth, till breath forsooke him,\n Then fell to earth; and yet (sweet man) even then\n His spirits convulsions made him bound againe 35", "_Mess._ [_aside, to Clermont_]. Beleeve it, sir, his count'nance\n chang'd in turning.\n\n _Mail._ What doe you meane, sir?", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "=242-3=, 11-39. =What spirit . . . of the skie.= This account of\nClermont's desperate struggle to avoid capture is an invention of", "_Mons._ Ile part engendring vertue. Men affirme, 180\n Though this same Clermont hath a D'Ambois spirit,", "_Bal._ Strong, my lord,\n And fit for service: for whose readinesse\n Your creature, Clermont D'Ambois, and my selfe\n Ride shortly downe.", "While Guise is transfigured, and Monsieur remains his truculent,\nvainglorious self, Montsurry has suffered a strange degeneration. It is", "merely assumed his pusillanimity in the final scene, where he at first\ngrovels before Clermont on the plea that by his baseness he will \"shame\"", "Is come, and new arriv'd; and made partaker\n Of all the entertaining showes and feasts\n That welcom'd Clermont to the brave virago," ], [ "Clermont, a prominent Huguenot, and follower of the King of Navarre.\nWhile his rival was fleeing for safety he had the misfortune to fall", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "But in the character of Clermont there mingle other elements than those\nderived from either the historical figure of D'Auvergne, or the ideal", "the crisis of his fate lets himself be shipped off to England, so\nClermont makes no demur when the King, who suspects him of complicity", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "_Bal._ Strong, my lord,\n And fit for service: for whose readinesse\n Your creature, Clermont D'Ambois, and my selfe\n Ride shortly downe.", "_Mess._ [_aside, to Clermont_]. Beleeve it, sir, his count'nance\n chang'd in turning.\n\n _Mail._ What doe you meane, sir?", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "makes her fiery passion for revenge at all costs a foil to the\nscrupulous and deliberate procedure of the high-souled Clermont. Like", "Nor doth my brother Clermont scape my counsaile\n Given to the King about his Guisean greatnesse,\n Which (as I spice it) hath possest the King,", "Though he sends a challenge to Montsurry, and is not lacking in \"the\nD'Ambois spirit,\" the atmosphere in which he lingers with whole-hearted", "Hee was that whisper'd in your jealous eare\n His owne blacke treason in suggesting Clermonts,\n Colour'd with nothing but being great with mee. 5", "Is come, and new arriv'd; and made partaker\n Of all the entertaining showes and feasts\n That welcom'd Clermont to the brave virago,", "Shee loved him well, and was well beloved: for the Count of Auvergne\nhath been heard say, that if the King did set him at libertie and send", "_Chal._ As you should at all parts.\n Goe now to Clermont D'Ambois, and informe him," ], [ "_Mont._ Nothing but this: D'Ambois is thought\n negligent in observing the Duchesse, and therefore\n she is suspicious that your neece or my wife\n closely entertaines him.", "who, by means of a paper, convinces Montsurry of his wife's guilt, and\nit is he, together with Guise, who suggests to the Count the stratagem", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "strife. But the Duke of Guise, the protagonist of the play, is\ndetermined to counterwork this policy, and with the aid of Catherine de", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "[Sidenote: _Enter Henry, Monsieur, Guise, Clerm[ont], Espernone,\nSoisson. Monsieur taking leave of the King._]", "follower whom he had raised to serve his own ends, and he conspires with\nGuise for his overthrow. He is the more eagerly bent upon this when he", "merely emulating the attitude of the elder Hamlet's spirit would be\nsufficiently obvious, even if it were not put beyond doubt by the\nexcited dialogue between Guise, to whom the Ghost is invisible, and", "troops by the King's emissaries. But the intervention of Guise soon\nprocures his release. In the dialogue that follows between him and his", "Guise was really directed towards \"his elected mistress.\" On the advice\nof a Friar named Comolet, to whom Chapman strangely enough assigns the", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "The King determines to get rid of Guise, \"this newe starre in the East\nwhom the people worshipped already.\" (722.) \"Hee hath caused bookes to", "represented as one of the Guise's most fanatical adherents. Charles soon\nafterwards dies, and is succeeded by his brother Henry, but \"his mind", "While Guise is transfigured, and Monsieur remains his truculent,\nvainglorious self, Montsurry has suffered a strange degeneration. It is", "See Monsieur taking now his leave for Brabant; 145\n The Guise & his deare minion, Clermont D'Ambois,", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "Here's from your friend, the Guise; here from the Countesse, 80\n Your brothers mistresse, the contents whereof\n I know, and must prepare you now to please", "Hee was that whisper'd in your jealous eare\n His owne blacke treason in suggesting Clermonts,\n Colour'd with nothing but being great with mee. 5", "relates from personal knowledge an incident between Guise and Bussy,\nwhich took place shortly after the accession of Henry III. The Duke took\noccasion of a royal hunting party to draw Bussy alone into the forest,", "runs on his minions,\" and Catherine and the Guise wield all real power.\nBut there is one sphere which Guise cannot control--his wife's heart," ], [ "strife. But the Duke of Guise, the protagonist of the play, is\ndetermined to counterwork this policy, and with the aid of Catherine de", "represented as one of the Guise's most fanatical adherents. Charles soon\nafterwards dies, and is succeeded by his brother Henry, but \"his mind", "And that the rest with them with joy thus celebrate\n This our revenge! This certainely presages\n Some instant death both to the Guise and Cardinall.", "\"Thus lived and thus died Henry of Lorraine, Duke of Guise: a Prince\nworthie to be in the first rankes of Princes, goodly, great, tall of", "with the King against the rebel, who is treacherously murdered and dies\ncrying, \"_Vive la messe!_ perish Huguenots!\" His brother, the Cardinal,", "_Enter Aumall._\n\n _Aumale._ O sir, the Guise is slaine!\n\n _Cler._ Avert it heaven!", "While Guise is transfigured, and Monsieur remains his truculent,\nvainglorious self, Montsurry has suffered a strange degeneration. It is", "suffering a check at the hands of the Duke of Guise, made a truce and\nretired. The incident here spoken of apparently took place in the spring", "troops by the King's emissaries. But the intervention of Guise soon\nprocures his release. In the dialogue that follows between him and his", "donned masculine disguise for the purpose. But hard upon the deed comes\nthe news of Guise's assassination, and impatient of the earthly barriers", "As bitterly and deadly as the Guise. 120", "relates from personal knowledge an incident between Guise and Bussy,\nwhich took place shortly after the accession of Henry III. The Duke took\noccasion of a royal hunting party to draw Bussy alone into the forest,", "The King determines to get rid of Guise, \"this newe starre in the East\nwhom the people worshipped already.\" (722.) \"Hee hath caused bookes to", "follower whom he had raised to serve his own ends, and he conspires with\nGuise for his overthrow. He is the more eagerly bent upon this when he", "runs on his minions,\" and Catherine and the Guise wield all real power.\nBut there is one sphere which Guise cannot control--his wife's heart,", "\"The Duke of Guise, following the councell of the Cardinall Morosin, had\nthe one and twentith of December incensed the King a new by some bold", "and slain; but Henry, learning that Guise has raised an army against his\nsovereign \"to plant the Pope and Popelings in the realm,\" joins forces", "_An Ante-room to the Council-Chamber._]\n\n\n _Enter Guise._", "with Guise's traitorous designs, sends him to Cambray, of which his\nbrother-in-law, Baligny, has been appointed Lieutenant. When on his", "meets a similar fate, but the house of Lorraine is speedily revenged by\na friar, who stabs King Henry. He dies, vowing vengeance upon Rome, and" ], [ "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "So flew brave Clermont forth, till breath forsooke him,\n Then fell to earth; and yet (sweet man) even then\n His spirits convulsions made him bound againe 35", "Let my revenge for all loves satisfie, 50\n In which, dame, feare not, Clermont shall not dye.", "_Gui._ So, sir, your full swindge take; mine death hath curb'd. 65\n Clermont, farewell! O didst thou see but this!", "_Aum._ What! lye and languish, Clermont! Cursed man,\n To leave him here thus! hee hath slaine himselfe. 195", "world at last stirs up Clermont to execute the long-delayed vengeance\nupon Montsurry, though he is all but forestalled by Charlotte, who has", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "Was it primarily with the motive of providing Clermont with a plausible\nexcuse for suicide that Chapman so startlingly transformed the", "His foes uncurbed sword stopt in his heart:\n By which time all the life strings of th'tw'other\n Were cut, and both fell, as their spirit flew,", "=242-3=, 11-39. =What spirit . . . of the skie.= This account of\nClermont's desperate struggle to avoid capture is an invention of", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "As Clermont D'Ambois, should be now found tripping,\n And taken up thus, so to make his fall\n More steepe and head-long.", "_Cler._ Ensue what can;\n Tyrants may kill but never hurt a man;\n All to his good makes, spight of death and hell. 140\n\n _Enter Aumall._", "the avenger's victory. And when he does finally nerve himself to the\nencounter, and dies with words of forgiveness for Clermont and Tamyra on", "18th of August, and on his appearance, with his companion in pleasure,\nClaude Colasseau, they were both assassinated by the retainers of the\ninfuriated husband.", "(1048.) \"This was done as he had appointed. . . . D'Eurre came to\nClermont on Monday at night, and goes unto him where he supped in one of", "blustering vein as before, and his death is reported, at the close of\nAct IV, as a fulfilment of Bussy's dying curse.", "the crisis of his fate lets himself be shipped off to England, so\nClermont makes no demur when the King, who suspects him of complicity", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of" ], [ "strife. But the Duke of Guise, the protagonist of the play, is\ndetermined to counterwork this policy, and with the aid of Catherine de", "who, by means of a paper, convinces Montsurry of his wife's guilt, and\nit is he, together with Guise, who suggests to the Count the stratagem", "follower whom he had raised to serve his own ends, and he conspires with\nGuise for his overthrow. He is the more eagerly bent upon this when he", "The King determines to get rid of Guise, \"this newe starre in the East\nwhom the people worshipped already.\" (722.) \"Hee hath caused bookes to", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "Guise was really directed towards \"his elected mistress.\" On the advice\nof a Friar named Comolet, to whom Chapman strangely enough assigns the", "\"The Duke of Guise, following the councell of the Cardinall Morosin, had\nthe one and twentith of December incensed the King a new by some bold", "whose fortunes are entirely made by the patronage of Monsieur. His\nsudden elevation turns his head, and he insults the Duke of Guise by", "And showing hee hath learn'd it in his life,\n Being thereby strong in his perswading others,\n That this ambitious Guise, embracing him,", "relates from personal knowledge an incident between Guise and Bussy,\nwhich took place shortly after the accession of Henry III. The Duke took\noccasion of a royal hunting party to draw Bussy alone into the forest,", "troops by the King's emissaries. But the intervention of Guise soon\nprocures his release. In the dialogue that follows between him and his", "Though politick Monsieur, or the violent Guise.", "runs on his minions,\" and Catherine and the Guise wield all real power.\nBut there is one sphere which Guise cannot control--his wife's heart,", "with the King against the rebel, who is treacherously murdered and dies\ncrying, \"_Vive la messe!_ perish Huguenots!\" His brother, the Cardinal,", "to a mere chance, if not a misunderstanding. In Grimeston's narrative of\nthe plot against D'Auvergne he mentions that one of the King's agents,", "_Baligny._ This, sir, then, in short.\n The faction of the Guise (with which my policie, 5", "represented as one of the Guise's most fanatical adherents. Charles soon\nafterwards dies, and is succeeded by his brother Henry, but \"his mind", "with Guise's traitorous designs, sends him to Cambray, of which his\nbrother-in-law, Baligny, has been appointed Lieutenant. When on his", "suffering a check at the hands of the Duke of Guise, made a truce and\nretired. The incident here spoken of apparently took place in the spring", "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the" ], [ "Bussy d'Ambois. In this letter, owing to the very intimate terms on\nwhich he stood with his young patron, he told him that he had enclosed", "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "The first two Acts of the play are chiefly occupied with Bussy's\narrival at court, his entry into the service of Monsieur, his quarrel", "into the hands of Bussy, who dispatched him then and there. He\nafterwards distinguished himself in various operations against the\nHuguenots, and by his bravery and accomplishments won the favour of the", "Rosset relates in 1615 the story of Bussy's death. In the Preface to the\nvolume he declares: \"Ce ne sont pas des contes de l'AntiquitÃ© fabuleuse", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "and dates, from the actual facts of history. Bussy's career was so\nromantic that it was impossible for even the most inventive dramatist to\nembellish it. This was especially true of its closing episode, which", "greatest secrecy, so that Bussy should not know of his return. By a\nstratagem he arranged that a letter should be sent by his wife to Bussy,", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "_Discours sur les Couronnels de l'infanterie de France_. He tells us\nthat he was with Bussy at a play, when a dispute arose between him and", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "dramatist worked upon. And an important clue to the spirit in which he\nhandled it is the identification, here first made, of part of Bussy's", "entertained for a time by Bussy's sister RenÃ©e (whom Chapman calls\nCharlotte) and her husband, Baligny, to take vengeance on Montsurry.", "brother of Bussy would ever have trod the Jacobean stage. Not indeed\nthat the idea of vengeance being sought for D'Ambois's fate by one of", "basis of Chapman's tragedy, has been completely disproved. The passage\nin which he narrates the story of Bussy's death does not occur in the", "when the ghost of Bussy appears, and chides his brother for his delay in\nrighting his wrongs. That the _Umbra_ of the elder D'Ambois is here", "In a later passage (vol. V, lib. CXVIII, p. 558) he is even more\nexplicit. After referring to Bussy's treacherous assassination, he\ncontinues:", "_Henr._ D'Ambois, I thinke.\n\n _Bussy._ That's still my name, my lord, 60\n Though I be something altered in attire.", "with Guise's traitorous designs, sends him to Cambray, of which his\nbrother-in-law, Baligny, has been appointed Lieutenant. When on his" ], [ "Of vicious Monsieur. But now for the maine point\n Of your late resolution for revenge\n Of your slaine friend.", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "world at last stirs up Clermont to execute the long-delayed vengeance\nupon Montsurry, though he is all but forestalled by Charlotte, who has", "makes her fiery passion for revenge at all costs a foil to the\nscrupulous and deliberate procedure of the high-souled Clermont. Like", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "circumstances. Without further words he dismissed Montsoreau. The Count,\nstung to the quick by so grave an injury to his honour, and excited by", "Let my revenge for all loves satisfie, 50\n In which, dame, feare not, Clermont shall not dye.", "Montluc Baligny, who had married the murdered man's sister, a\nhigh-spirited woman who fanned the flame of her husband's wrath. With", "Was it primarily with the motive of providing Clermont with a plausible\nexcuse for suicide that Chapman so startlingly transformed the", "While Guise is transfigured, and Monsieur remains his truculent,\nvainglorious self, Montsurry has suffered a strange degeneration. It is", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "_Montsurry._ Speed me, vengeance! 55\n _Exit._", "18th of August, and on his appearance, with his companion in pleasure,\nClaude Colasseau, they were both assassinated by the retainers of the\ninfuriated husband.", "Which Bussy, for his valours season, lackt;\n And so was rapt with outrage oftentimes\n Beyond decorum; where this absolute Clermont, 90", "_Cler._ But killing of the King!\n\n _Mons._ Right: now I see\n Thou understand'st thy selfe.", "passion for FranÃ§oise de Maridort, wife of the Comte de Monsoreau, who\nhad been appointed _grand-veneur_ to the Duke. The favorite mansion of", "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more" ], [ "Th'unrested spirit of your slaughtered brother,\n If it be true, as you imagin'd once,\n His apparition show'd it. The complot 85", "is, in truth, far more really a spirit risen from the dead than the\nmaterialised _Umbra_ of his brother. His pervasive influence works in", "when the ghost of Bussy appears, and chides his brother for his delay in\nrighting his wrongs. That the _Umbra_ of the elder D'Ambois is here", "_Gui._ Thou dream'st awake now; what was here to see?\n\n _Cler._ My brothers spirit, urging his revenge.", "merely emulating the attitude of the elder Hamlet's spirit would be\nsufficiently obvious, even if it were not put beyond doubt by the\nexcited dialogue between Guise, to whom the Ghost is invisible, and", "_Coun._ Who's that?\n\n _Ren._ The spirit of Bussy.\n\n _Tam._ O my servant!\n Let us embrace.", "As any one good unrewarded die,\n Or any one ill scape his penaltie. _The Ghost stands close._", "implores his pardon for her share in bringing him to his doom. And when\nthe Friar's ghost seeks to reconcile husband and wife, the former is", "And who she should send is as farre from thought,\n Since he is dead whose only mean she us'd. _Knocks._\n Whose there? Look to the dore, and let him in,", "Behemoth, who proves a most unserviceable spirit, and the vain attempts\nof this scoundrelly ecclesiastic's ghost to shield D'Ambois from his", "_Gui._ But this thy brothers spirit startles mee,\n These spirits seld or never hanting men\n But some mishap ensues.", "With reminiscion of the Spirits promise,\n Who told me that by any invocation 25\n I should have power to raise him, though it wanted", "Equally ineffective and incongruous are the moralising discourses of\nwhich Bussy's ghost is made the spokesman. It does not seem to have", "arrival, his sister, the Lieutenant's wife, upbraids him with\n\"lingering\" their \"dear brother's wreak,\" he makes the confession (III,", "Though learnedst men hold that our sensive spirits\n A little time abide about the graves 135\n Of their deceased bodies, and can take,", "ties a note to one of the corners thereof, saying, 'Come forth and save\nyour selfe, else you are but a dead man.'\"", "That all things to be done, as here wee live,\n Are done before all times in th'other life.\n That spirits should rise in these times yet are fables;", "And there is something of pathetic dignity in his final forgiveness of\nhis wife, coupled with the declaration that his honour demands that she\nmust fly his house for ever.", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "=28=, 243-44. =Ile be your ghost to haunt you.= May this be an early" ], [ "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "_Cler._ In love of women my affection first\n Takes fire out of the fraile parts of my bloud;\n Which, till I have enjoy'd, is passionate", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "_Mess._ [_aside, to Clermont_]. Beleeve it, sir, his count'nance\n chang'd in turning.\n\n _Mail._ What doe you meane, sir?", "But in the character of Clermont there mingle other elements than those\nderived from either the historical figure of D'Auvergne, or the ideal", "\"greatness is a shade, a bubble,\" and who drinks in from the lips of\nClermont doctrines \"of stability and freedom.\" To such an extent does", "should not see this ladie, hee would rather desire to die. Shee\npresently ordered the affaires of her house, the disposition of her\nfurniture, and the retreat of her servants. This passion going from the", "What doe men thinke of me, I pray thee, Clermont? 190\n Once give me leave (for tryall of that love\n That from thy brother Bussy thou inherit'st)", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "So flew brave Clermont forth, till breath forsooke him,\n Then fell to earth; and yet (sweet man) even then\n His spirits convulsions made him bound againe 35", "instead of a woman. Hence he reads _Montsurry, Beaupre and Attendants_\nboth here and after l. 206. The other editors have not realized that", "Is come, and new arriv'd; and made partaker\n Of all the entertaining showes and feasts\n That welcom'd Clermont to the brave virago,", "Which Bussy, for his valours season, lackt;\n And so was rapt with outrage oftentimes\n Beyond decorum; where this absolute Clermont, 90", "_Henry._ Well, take your will, sir;--Ile have mine ere long.--\n _Aversus._\n But wherein is this Clermont such a rare one?", "and a prince,\" proves that she is no light o' love, and that her\nsurrender to Bussy is the result of a sudden and overmastering passion.\nEven in the moment of keenest expectation she is torn between" ], [ "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "_Mont._ Nothing but this: D'Ambois is thought\n negligent in observing the Duchesse, and therefore\n she is suspicious that your neece or my wife\n closely entertaines him.", "who had fallen under suspicion for a second time in 1604, was\ntreacherously arrested by agents of the King while attending a review of", "It will be seen that Rosset's account of the final episodes, beginning\nwith the intervention of the King, agrees, in the main details, with the", "The King determines to get rid of Guise, \"this newe starre in the East\nwhom the people worshipped already.\" (722.) \"Hee hath caused bookes to", "On Lisandre's return the King, instigated by the enemies of Lysis,\nreproached the former for tamely enduring dishonour, and bade him never", "_Tam._ O father, but at this suspicious houre\n You know how apt best men are to suspect us\n In any cause that makes suspicious shadow", "When she perceived the Duke, her husband, take\n Those late exceptions to her servants courtship, 20\n To entertaine him.", "Shee loved him well, and was well beloved: for the Count of Auvergne\nhath been heard say, that if the King did set him at libertie and send", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "King is both your King and mine. I am your friend.' There is no love nor\naffection to dispence any one from the Kings commandments.\"", "to a mere chance, if not a misunderstanding. In Grimeston's narrative of\nthe plot against D'Auvergne he mentions that one of the King's agents,", "betwixt him and a crown, and prepared to compass his ends by any means\nthat fall short of the actual killing of the King. It is as a useful", "Hee was that whisper'd in your jealous eare\n His owne blacke treason in suggesting Clermonts,\n Colour'd with nothing but being great with mee. 5", "the King was able to bring about a reconciliation between them. Such an\nepisode, reported with exaggeration of details, might well have\nsuggested the narrative in Act II of the triple encounter.", "with the King against the rebel, who is treacherously murdered and dies\ncrying, \"_Vive la messe!_ perish Huguenots!\" His brother, the Cardinal,", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "Offer'd to Count Montsurry; longing much\n To know on what events the secret loves\n Of these two honour'd persons shall arrive.", "courting his wife before his face, thus earning his enmity, and exciting\nat the same time the ridicule of the other courtiers. Hence springs the", "handling of the King, who is portrayed with an indulgent pen, and who\nreappears in the _rÃ´le_ of an enthusiastic admirer of the English Queen" ], [ "world at last stirs up Clermont to execute the long-delayed vengeance\nupon Montsurry, though he is all but forestalled by Charlotte, who has", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "that Bussy has spared Montsurry when \"he hath him down\" in the final\nstruggle; but when her lover is mortally wounded by a pistol shot, she", "_Mons._ He shall, I say.\n\n _Maf._ And Count Montsurry?\n\n _Mons._ I, and Count Montsurry.", "Though he sends a challenge to Montsurry, and is not lacking in \"the\nD'Ambois spirit,\" the atmosphere in which he lingers with whole-hearted", "latter forced against her will into a marriage with the wealthy Count\nMontsurry. This, he maintained, palliated the heroine's surrender to", "Montsurry to appear and deliver her.", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "_Ren._ Retire, my lord; get off.\n _They all fight and Bal[igny] drives in Mont[surry]._\n Hold, or thy death shall hold thee. Hence, my lord!", "difficulty, after a period of nine years, was an arrangement come to\nbetween him and Montsurry on specified terms by the order of the King.\"", "chooses to call the Countess of Montsurry. For Barrisor, we are told\n(II, ii, 202 ff.), had long wooed the Countess, and the report was", "on to Montsoreau. The latter thereupon forced his wife to make a\ntreacherous assignation with Bussy at the chÃ¢teau on the night of the", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "_Enter Montsurry._", "_Chal._ As you should at all parts.\n Goe now to Clermont D'Ambois, and informe him,", "circumstances. Without further words he dismissed Montsoreau. The Count,\nstung to the quick by so grave an injury to his honour, and excited by", "_Montsurry._ Tis not violent;\n Come you not willingly?\n\n _Tam._ Yes, good my lord.", "who, by means of a paper, convinces Montsurry of his wife's guilt, and\nit is he, together with Guise, who suggests to the Count the stratagem", "_Buss._ What you have given, my lord, is ever yours.\n _Exit Rex cum [Montsurry.]_", "Let my revenge for all loves satisfie, 50\n In which, dame, feare not, Clermont shall not dye." ], [ "Thus the two _Bussy_ plays, when critically examined, are seen to be\nessentially unlike in spite of their external similarity. The plot of", "Which Bussy, for his valours season, lackt;\n And so was rapt with outrage oftentimes\n Beyond decorum; where this absolute Clermont, 90", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "and dates, from the actual facts of history. Bussy's career was so\nromantic that it was impossible for even the most inventive dramatist to\nembellish it. This was especially true of its closing episode, which", "the Comte was at La CoutanciÃ¨re, and it was here that Bussy ardently\npursued his intrigue with the Countess. But a jocular letter on the", "outbreaks, but grouped round a figure who can scarcely have been very\nfamiliar to the English theatre-going public--Louis de Clermont, Bussy\nd'Amboise.[xii-1]", "And in certain aspects Bussy does not come far short of the ideal thus\npictured. His bravery, versatility, frankness, and readiness of speech", "This personage was born in 1549, and was the eldest son of Jacques de\nClermont d'Amboise, seigneur de Bussy et de Saxe-Fontaine, by his first", "on to Montsoreau. The latter thereupon forced his wife to make a\ntreacherous assignation with Bussy at the chÃ¢teau on the night of the", "Bussy d'Ambois. In this letter, owing to the very intimate terms on\nwhich he stood with his young patron, he told him that he had enclosed", "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the", "The first two Acts of the play are chiefly occupied with Bussy's\narrival at court, his entry into the service of Monsieur, his quarrel", "and a prince,\" proves that she is no light o' love, and that her\nsurrender to Bussy is the result of a sudden and overmastering passion.\nEven in the moment of keenest expectation she is torn between", "basis of Chapman's tragedy, has been completely disproved. The passage\nin which he narrates the story of Bussy's death does not occur in the", "BrantÃ´me further relates a midnight attack upon Bussy, about a month\nlater, by a number of his jealous rivals, when he had a narrow escape", "dramatist worked upon. And an important clue to the spirit in which he\nhandled it is the identification, here first made, of part of Bussy's", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "but on the following day Bussy, meeting Saint-Phal at the house of a\nlady with whom he had had relations, and who was now the mistress of the" ], [ "Tamyra appeals more to us, because we see in her more of the conflict\nbetween passion and moral obligation, which is the essence of drama. Her", "_Tamyra._ I see y'are servant, sir, to my deare sister,\n The lady of her loved Baligny.", "by which Tamyra is forced to decoy her paramour to his doom. All this\nis deftly contrived and does credit to Chapman's dramatic craftsmanship.", "_Tamyra._ I think not on you, sir; y'are one I know not.\n\n _Buss._ Cry you mercy, madam!", "encounter with Barrisor and his companions, and this is made to serve as\nan introduction to the _amour_ between Bussy and Tamyra, as Chapman", "of _her_ for _his_. The allusion is evidently to the letter that Tamyra\nafterwards writes to D'Ambois in her own blood. Cf. V, 1, 176-77.", "_Enter Tamyra with a book._", "and _discovers_, i. e. _reveals to view_, Tamyra, who since the close of\nV, 1, has remained wrapped _in the arras_, or, as the variant stage", "to find him ready to receive back Tamyra as his wife, though her sole\nmotive in rejoining him is to precipitate vengeance on his head. Nor had", "that he is his successful rival for Tamyra's love. He is the typical\nRenaissance politician, whose characteristics are expounded with", "him and Tamyra. Bussy takes the Countess's affections so completely by\nstorm, and he ignores so entirely the rights of her husband, that it is", "spectacle_, the _prodigie_, of l. 134, and its effect are described.\nTamyra, the light of D'Ambois's life, with her reddened bosom and hands,", "discovers through Tamyra's waiting-woman that the Countess, whose\nfavours he has vainly sought to win, has granted them to Bussy. It is he", "_Tamyra._ O, help me, father!", "_A Room in Montsurry's House._]\n\n\n _Enter Monts[urry] and Tamyra._\n\n _Montsurry._ Who have you let into my house?", "[SCÃNA TERTIA.\n\n _A Room in Montsurry's House._]\n\n\n _Enter Tamyra with a letter, Charlotte in mans attire._", "_Tamyra._ O, my deare servant, in thy close embraces\n I have set open all the dores of danger", "_Tamira enters_. A, she enters. _Pero, her maid_.\n Emend. Dilke; A, her maid; B, Pero and her maid.\n\n 22 _curst_. A omits.", "=49=, 182. =cast . . . beene:= undress, as if I had never been watching\nhere. Tamyra here determines to go to bed, but afterwards (l. 242) she\nreturns.", "_Guise._ And why then can ye not disclose your thoughts?\n\n _Tamyra._ Me thinks the man hath answer'd for us well." ], [ "with Guise's traitorous designs, sends him to Cambray, of which his\nbrother-in-law, Baligny, has been appointed Lieutenant. When on his", "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the", "_Baligny._ This, sir, then, in short.\n The faction of the Guise (with which my policie, 5", "which his brother and nearest kin took no heed, should remain unavenged.\nWhen, therefore, Baligny profferred himself as an avenger, she agreed to", "Montluc Baligny, who had married the murdered man's sister, a\nhigh-spirited woman who fanned the flame of her husband's wrath. With", "_Bal._ I have prepar'd\n Meanes for accesse to him, through all his guard.\n\n _Gui._ About it then, my worthy Baligny,\n And bring us the successe.", "_Baligny._ So foule a scandall never man sustain'd,\n Which caus'd by th'King is rude and tyrannous:\n Give me a place, and my Lieutenant make\n The filler of it!", "_Gui._ O Baligny!--who would beleeve there were\n A man that (onely since his lookes are rais'd", "entertained for a time by Bussy's sister RenÃ©e (whom Chapman calls\nCharlotte) and her husband, Baligny, to take vengeance on Montsurry.", "In a later passage (vol. V, lib. CXVIII, p. 558) he is even more\nexplicit. After referring to Bussy's treacherous assassination, he\ncontinues:", "_Aum._ Then, madame, thus it fares; he was envited,\n By way of honour to him, to take view\n Of all the powers his brother Baligny", "All your confederate fellowes of his guard,\n Till Monsieur Baligny be enter'd here.", "Late practis'd by my brother Baligny,\n Hee would not honor his hand with the justice\n (As hee esteemes it) of his blouds revenge,", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "_Cler._ These clouds, I doubt not, will be soone blowne over.\n\n _Enter Baligny, with his discharge: Renel, and others._", "_Bal._ Nobly, my lord. All thankes. _Exit Bal[igny]._\n\n _Tamy._ Ile make him reade it.\n _Exit Tamy[ra]._", "_Hen._ Still thou art right, my vertuous Baligny,\n For which I thanke and love thee. Thy advise\n Ile not forget. Haste to thy government,", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "_Bal._ Your Highnesse knowes my vowes.\n\n _Gui._ I, tis enough. 130\n _Exit Guise. Manet Bal[igny]._" ], [ "from whom Chapman drew his conception of the character of Clermont\nD'Ambois. My brother-in-law, Mr. S. G. Owen, Student of Christ Church,", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "_Cler._ And a Kings brother. 280\n\n _Mons._ True.", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "_Chal._ But knowes not hee of your command to take\n His brother Clermont?", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "Nor doth my brother Clermont scape my counsaile\n Given to the King about his Guisean greatnesse,\n Which (as I spice it) hath possest the King,", "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "He transformed the Count into an imaginary brother of his former hero.\nFor though D'Ambois had two younger brothers, Hubert, seigneur de", "But in the character of Clermont there mingle other elements than those\nderived from either the historical figure of D'Auvergne, or the ideal", "_Cler._ What's that?\n\n _Mont._ Give me leave\n To fetch and use the sword thy brother gave mee,\n When he was bravely giving up his life.", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "Is come, and new arriv'd; and made partaker\n Of all the entertaining showes and feasts\n That welcom'd Clermont to the brave virago,", "_Enter Clermont._\n\n _Clermont._ Now, to my challenge. What's the place, the weapon?", "Clermont, a prominent Huguenot, and follower of the King of Navarre.\nWhile his rival was fleeing for safety he had the misfortune to fall", "_Enter Guise, Clermont._", "_Mess._ [_aside, to Clermont_]. Beleeve it, sir, his count'nance\n chang'd in turning.\n\n _Mail._ What doe you meane, sir?", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved." ], [ "Thus the two _Bussy_ plays, when critically examined, are seen to be\nessentially unlike in spite of their external similarity. The plot of", "Which Bussy, for his valours season, lackt;\n And so was rapt with outrage oftentimes\n Beyond decorum; where this absolute Clermont, 90", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "outbreaks, but grouped round a figure who can scarcely have been very\nfamiliar to the English theatre-going public--Louis de Clermont, Bussy\nd'Amboise.[xii-1]", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "and dates, from the actual facts of history. Bussy's career was so\nromantic that it was impossible for even the most inventive dramatist to\nembellish it. This was especially true of its closing episode, which", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "basis of Chapman's tragedy, has been completely disproved. The passage\nin which he narrates the story of Bussy's death does not occur in the", "BrantÃ´me further relates a midnight attack upon Bussy, about a month\nlater, by a number of his jealous rivals, when he had a narrow escape", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "the Comte was at La CoutanciÃ¨re, and it was here that Bussy ardently\npursued his intrigue with the Countess. But a jocular letter on the", "_Bussy._ Sit up to night, and watch: Ile speak with none\n But the old Frier, who bring to me.\n\n _Pages._ We will, sir. _Exeunt._", "This personage was born in 1549, and was the eldest son of Jacques de\nClermont d'Amboise, seigneur de Bussy et de Saxe-Fontaine, by his first", "that Bussy has spared Montsurry when \"he hath him down\" in the final\nstruggle; but when her lover is mortally wounded by a pistol shot, she", "While Guise is transfigured, and Monsieur remains his truculent,\nvainglorious self, Montsurry has suffered a strange degeneration. It is", "makes her fiery passion for revenge at all costs a foil to the\nscrupulous and deliberate procedure of the high-souled Clermont. Like", "And in certain aspects Bussy does not come far short of the ideal thus\npictured. His bravery, versatility, frankness, and readiness of speech" ], [ "Clermont, a prominent Huguenot, and follower of the King of Navarre.\nWhile his rival was fleeing for safety he had the misfortune to fall", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "\"greatness is a shade, a bubble,\" and who drinks in from the lips of\nClermont doctrines \"of stability and freedom.\" To such an extent does", "follower whom he had raised to serve his own ends, and he conspires with\nGuise for his overthrow. He is the more eagerly bent upon this when he", "But in the character of Clermont there mingle other elements than those\nderived from either the historical figure of D'Auvergne, or the ideal", "patron the influence of Shakespeare's tragedy is unmistakably patent.\nThe latter is confiding to Clermont his apprehensions for the future,", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "Is come, and new arriv'd; and made partaker\n Of all the entertaining showes and feasts\n That welcom'd Clermont to the brave virago,", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "_Cler._ But killing of the King!\n\n _Mons._ Right: now I see\n Thou understand'st thy selfe.", "makes her fiery passion for revenge at all costs a foil to the\nscrupulous and deliberate procedure of the high-souled Clermont. Like", "from whom Chapman drew his conception of the character of Clermont\nD'Ambois. My brother-in-law, Mr. S. G. Owen, Student of Christ Church,", "Rather then here live, readie every houre\n To feede theeves, beasts, and be the slave of power?\n I come, my lord! Clermont, thy creature, comes.", "The portraiture of Clermont throughout the play as the high-souled\nphilosopher is inspired by Epictetus's delineation in his _Discourses_", "_Enter Clermont, Maillard close following him._\n\n _Clermont._ My Scotch horse to their armie--\n\n _Maillard._ Please you, sir?", "_Henry._ Well, take your will, sir;--Ile have mine ere long.--\n _Aversus._\n But wherein is this Clermont such a rare one?", "_Enter Clermont._\n\n _Clermont._ Now, to my challenge. What's the place, the weapon?" ], [ "\"Thus lived and thus died Henry of Lorraine, Duke of Guise: a Prince\nworthie to be in the first rankes of Princes, goodly, great, tall of", "suffering a check at the hands of the Duke of Guise, made a truce and\nretired. The incident here spoken of apparently took place in the spring", "strife. But the Duke of Guise, the protagonist of the play, is\ndetermined to counterwork this policy, and with the aid of Catherine de", "_Enter Aumall._\n\n _Aumale._ O sir, the Guise is slaine!\n\n _Cler._ Avert it heaven!", "relates from personal knowledge an incident between Guise and Bussy,\nwhich took place shortly after the accession of Henry III. The Duke took\noccasion of a royal hunting party to draw Bussy alone into the forest,", "represented as one of the Guise's most fanatical adherents. Charles soon\nafterwards dies, and is succeeded by his brother Henry, but \"his mind", "donned masculine disguise for the purpose. But hard upon the deed comes\nthe news of Guise's assassination, and impatient of the earthly barriers", "And that the rest with them with joy thus celebrate\n This our revenge! This certainely presages\n Some instant death both to the Guise and Cardinall.", "While Guise is transfigured, and Monsieur remains his truculent,\nvainglorious self, Montsurry has suffered a strange degeneration. It is", "troops by the King's emissaries. But the intervention of Guise soon\nprocures his release. In the dialogue that follows between him and his", "with the King against the rebel, who is treacherously murdered and dies\ncrying, \"_Vive la messe!_ perish Huguenots!\" His brother, the Cardinal,", "The King determines to get rid of Guise, \"this newe starre in the East\nwhom the people worshipped already.\" (722.) \"Hee hath caused bookes to", "whose fortunes are entirely made by the patronage of Monsieur. His\nsudden elevation turns his head, and he insults the Duke of Guise by", "\"The Duke of Guise, following the councell of the Cardinall Morosin, had\nthe one and twentith of December incensed the King a new by some bold", "_An Ante-room to the Council-Chamber._]\n\n\n _Enter Guise._", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "As bitterly and deadly as the Guise. 120", "death, the Duke himselfe sitting down to dinner, found a scroule under\nhis napkin, advertising him of this secret ambush.\" On the following", "_Henry._ This desperate quarrell sprung out of their envies\n To D'Ambois sudden bravery, and great spirit.\n\n _Guise._ Neither is worth their envie.", "follower whom he had raised to serve his own ends, and he conspires with\nGuise for his overthrow. He is the more eagerly bent upon this when he" ], [ "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "So flew brave Clermont forth, till breath forsooke him,\n Then fell to earth; and yet (sweet man) even then\n His spirits convulsions made him bound againe 35", "_Gui._ So, sir, your full swindge take; mine death hath curb'd. 65\n Clermont, farewell! O didst thou see but this!", "_Aum._ What! lye and languish, Clermont! Cursed man,\n To leave him here thus! hee hath slaine himselfe. 195", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "Let my revenge for all loves satisfie, 50\n In which, dame, feare not, Clermont shall not dye.", "world at last stirs up Clermont to execute the long-delayed vengeance\nupon Montsurry, though he is all but forestalled by Charlotte, who has", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "should not see this ladie, hee would rather desire to die. Shee\npresently ordered the affaires of her house, the disposition of her\nfurniture, and the retreat of her servants. This passion going from the", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "Was it primarily with the motive of providing Clermont with a plausible\nexcuse for suicide that Chapman so startlingly transformed the", "=242-3=, 11-39. =What spirit . . . of the skie.= This account of\nClermont's desperate struggle to avoid capture is an invention of", "the crisis of his fate lets himself be shipped off to England, so\nClermont makes no demur when the King, who suspects him of complicity", "(1048.) \"This was done as he had appointed. . . . D'Eurre came to\nClermont on Monday at night, and goes unto him where he supped in one of", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "circumstances. Without further words he dismissed Montsoreau. The Count,\nstung to the quick by so grave an injury to his honour, and excited by", "_Mess._ [_aside, to Clermont_]. Beleeve it, sir, his count'nance\n chang'd in turning.\n\n _Mail._ What doe you meane, sir?", "_Cler._ Ensue what can;\n Tyrants may kill but never hurt a man;\n All to his good makes, spight of death and hell. 140\n\n _Enter Aumall._", "_Chal._ As you should at all parts.\n Goe now to Clermont D'Ambois, and informe him," ], [ "to find him ready to receive back Tamyra as his wife, though her sole\nmotive in rejoining him is to precipitate vengeance on his head. Nor had", "makes her fiery passion for revenge at all costs a foil to the\nscrupulous and deliberate procedure of the high-souled Clermont. Like", "by which Tamyra is forced to decoy her paramour to his doom. All this\nis deftly contrived and does credit to Chapman's dramatic craftsmanship.", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "_Tamyra._ I see y'are servant, sir, to my deare sister,\n The lady of her loved Baligny.", "_Tamyra._ I? none.\n\n _Mont._ Tis false; I savour the rancke bloud of foes\n In every corner.", "_Tamyra._ Revenge, that ever red sitt'st in the eyes\n Of injur'd ladies, till we crowne thy browes", "Tamyra appeals more to us, because we see in her more of the conflict\nbetween passion and moral obligation, which is the essence of drama. Her", "the avenger's victory. And when he does finally nerve himself to the\nencounter, and dies with words of forgiveness for Clermont and Tamyra on", "of _her_ for _his_. The allusion is evidently to the letter that Tamyra\nafterwards writes to D'Ambois in her own blood. Cf. V, 1, 176-77.", "_A Room in Montsurry's House._]\n\n\n _Enter Monts[urry] and Tamyra._\n\n _Montsurry._ Who have you let into my house?", "Let my revenge for all loves satisfie, 50\n In which, dame, feare not, Clermont shall not dye.", "discovers through Tamyra's waiting-woman that the Countess, whose\nfavours he has vainly sought to win, has granted them to Bussy. It is he", "_Tam._ What vault? hold your sword. 5\n\n _Clermont ascends._\n\n _Clermont._ No, let him use it.", "[SCÃNA TERTIA.\n\n _A Room in Montsurry's House._]\n\n\n _Enter Tamyra with a letter, Charlotte in mans attire._", "him and Tamyra. Bussy takes the Countess's affections so completely by\nstorm, and he ignores so entirely the rights of her husband, that it is", "_Guise._ And why then can ye not disclose your thoughts?\n\n _Tamyra._ Me thinks the man hath answer'd for us well.", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "_Montsur[ry], Tamyra, Beaupre, Pero, Charlotte, Pyrha._\n\n _Montsurry._ He will have pardon, sure.", "My wifes heart stands with haste of the revenge,\n Being (as you know) full of her brothers fire,\n That shee imagines I neglect my vow; 110" ], [ "_A Room in Montsurry's House._]\n\n\n _Enter Monts[urry] and Tamyra._\n\n _Montsurry._ Who have you let into my house?", "Montsurry to appear and deliver her.", "[SCÃNA TERTIA.\n\n _A Room in Montsurry's House._]\n\n\n _Enter Tamyra with a letter, Charlotte in mans attire._", "world at last stirs up Clermont to execute the long-delayed vengeance\nupon Montsurry, though he is all but forestalled by Charlotte, who has", "_Montsur[ry], Tamyra, Beaupre, Pero, Charlotte, Pyrha._\n\n _Montsurry._ He will have pardon, sure.", "[_A Room in Montsurry's House._]\n\n\n _Enter D'Ambois, Tamyra, with a chaine of pearle._", "_Chal._ As you should at all parts.\n Goe now to Clermont D'Ambois, and informe him,", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "_Mons._ He shall, I say.\n\n _Maf._ And Count Montsurry?\n\n _Mons._ I, and Count Montsurry.", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "_Enter Montsurry._", "chooses to call the Countess of Montsurry. For Barrisor, we are told\n(II, ii, 202 ff.), had long wooed the Countess, and the report was", "Though he sends a challenge to Montsurry, and is not lacking in \"the\nD'Ambois spirit,\" the atmosphere in which he lingers with whole-hearted", "_Mons._ Goe, call the Count Montsurry,\n And make the dores fast; I will speak with none\n Till he come to me.", "(1048.) \"This was done as he had appointed. . . . D'Eurre came to\nClermont on Monday at night, and goes unto him where he supped in one of", "on to Montsoreau. The latter thereupon forced his wife to make a\ntreacherous assignation with Bussy at the chÃ¢teau on the night of the", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "ELENOR, Duchess of Guise.\n TAMYRA, Countess of Montsurry.\n BEAUPRE, niece to ELENOR.", "_Montsurry._ Tis not violent;\n Come you not willingly?\n\n _Tam._ Yes, good my lord." ], [ "world at last stirs up Clermont to execute the long-delayed vengeance\nupon Montsurry, though he is all but forestalled by Charlotte, who has", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "on to Montsoreau. The latter thereupon forced his wife to make a\ntreacherous assignation with Bussy at the chÃ¢teau on the night of the", "_Enter Montsurry._", "_Enter Clermont._\n\n _Clermont._ Now, to my challenge. What's the place, the weapon?", "_Bal._ This is my purpose, sir; from Clermont D'Ambois\n I bring this challenge.\n\n _Mont._ Challenge! Ile touch none.", "Though he sends a challenge to Montsurry, and is not lacking in \"the\nD'Ambois spirit,\" the atmosphere in which he lingers with whole-hearted", "_Ren._ Retire, my lord; get off.\n _They all fight and Bal[igny] drives in Mont[surry]._\n Hold, or thy death shall hold thee. Hence, my lord!", "_Montsurry._ Oh sir, has she met you?\n _Exeunt Henry, D'Amb[ois], Ladies._", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "_Mons._ He shall, I say.\n\n _Maf._ And Count Montsurry?\n\n _Mons._ I, and Count Montsurry.", "that Bussy has spared Montsurry when \"he hath him down\" in the final\nstruggle; but when her lover is mortally wounded by a pistol shot, she", "=34=, 105. [=Montsurry.=] See note on stage direction at beginning of\nthe scene.", "circumstances. Without further words he dismissed Montsoreau. The Count,\nstung to the quick by so grave an injury to his honour, and excited by", "_Fri._ Till he returnes (great prince of darknesse)\n Tell me if Monsieur and the Count Montsurry 90\n Are yet encounter'd.", "_Cler._ Your lordship must by all meanes.\n\n _Mont._ Then at all. 85\n\n _Fights, and D'Ambois hurts him._", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "_Chal._ As you should at all parts.\n Goe now to Clermont D'Ambois, and informe him,", "Montsurry to appear and deliver her.", "making a secret assignation with him at La CoutanciÃ¨re, which was a\npleasure-resort and convenient for hunting purposes. When Bussy came" ], [ "[SCÃNA TERTIA.\n\n _A Room in Montsurry's House._]\n\n\n _Enter Tamyra with a letter, Charlotte in mans attire._", "_Tamyra._ I see y'are servant, sir, to my deare sister,\n The lady of her loved Baligny.", "Tamyra appeals more to us, because we see in her more of the conflict\nbetween passion and moral obligation, which is the essence of drama. Her", "to find him ready to receive back Tamyra as his wife, though her sole\nmotive in rejoining him is to precipitate vengeance on his head. Nor had", "_Tamyra._ I think not on you, sir; y'are one I know not.\n\n _Buss._ Cry you mercy, madam!", "_Tamyra._ O, help me, father!", "_Enter Tamyra with a book._", "_Musick: and Tamira enters with Pero, her maid, bearing\n a letter._", "=49=, 182. =cast . . . beene:= undress, as if I had never been watching\nhere. Tamyra here determines to go to bed, but afterwards (l. 242) she\nreturns.", "by which Tamyra is forced to decoy her paramour to his doom. All this\nis deftly contrived and does credit to Chapman's dramatic craftsmanship.", "_A Room in Montsurry's House._]\n\n\n _Enter Monts[urry] and Tamyra._\n\n _Montsurry._ Who have you let into my house?", "_Tamira enters_. A, she enters. _Pero, her maid_.\n Emend. Dilke; A, her maid; B, Pero and her maid.\n\n 22 _curst_. A omits.", "discovers through Tamyra's waiting-woman that the Countess, whose\nfavours he has vainly sought to win, has granted them to Bussy. It is he", "and _discovers_, i. e. _reveals to view_, Tamyra, who since the close of\nV, 1, has remained wrapped _in the arras_, or, as the variant stage", "encounter with Barrisor and his companions, and this is made to serve as\nan introduction to the _amour_ between Bussy and Tamyra, as Chapman", "of _her_ for _his_. The allusion is evidently to the letter that Tamyra\nafterwards writes to D'Ambois in her own blood. Cf. V, 1, 176-77.", "spectacle_, the _prodigie_, of l. 134, and its effect are described.\nTamyra, the light of D'Ambois's life, with her reddened bosom and hands,", "_Montsur[ry], Tamyra, Beaupre, Pero, Charlotte, Pyrha._\n\n _Montsurry._ He will have pardon, sure.", "=115=, 67-68. =come . . . lust.= The _syren_ is Tamyra; her song the", "him and Tamyra. Bussy takes the Countess's affections so completely by\nstorm, and he ignores so entirely the rights of her husband, that it is" ], [ "_Gui._ Holde, murtherers! _They strike him downe._\n So then, this is confidence\n In greatnes, not in goodnes. Wher is the King?", "Hee was that whisper'd in your jealous eare\n His owne blacke treason in suggesting Clermonts,\n Colour'd with nothing but being great with mee. 5", "_Tam._ O father, but at this suspicious houre\n You know how apt best men are to suspect us\n In any cause that makes suspicious shadow", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "who, by means of a paper, convinces Montsurry of his wife's guilt, and\nit is he, together with Guise, who suggests to the Count the stratagem", "_Cler._ But killing of the King!\n\n _Mons._ Right: now I see\n Thou understand'st thy selfe.", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "_Mont._ Nothing but this: D'Ambois is thought\n negligent in observing the Duchesse, and therefore\n she is suspicious that your neece or my wife\n closely entertaines him.", "_Tam._ By this light, my lord,\n Y'are a vile fellow; and Ile tell the King 100", "The King determines to get rid of Guise, \"this newe starre in the East\nwhom the people worshipped already.\" (722.) \"Hee hath caused bookes to", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "On Lisandre's return the King, instigated by the enemies of Lysis,\nreproached the former for tamely enduring dishonour, and bade him never", "to a mere chance, if not a misunderstanding. In Grimeston's narrative of\nthe plot against D'Auvergne he mentions that one of the King's agents,", "_Friar._ Impious earle, forbeare;\n Take violent hand from her, or, by mine order,\n The King shall force thee.", "_Buss._ Then doe not doubt\n That there is any act within my nerves, 415\n But killing of the King, that is not yours.", "And showing hee hath learn'd it in his life,\n Being thereby strong in his perswading others,\n That this ambitious Guise, embracing him,", "_Mons._ Peace, peace, I pray thee, peace!\n Who dares doe that? the brother of his King! 80", "_Tam._ It rests as all Kings seales were set in thee.\n Now let us call my father, whom I sweare 45", "with the King against the rebel, who is treacherously murdered and dies\ncrying, \"_Vive la messe!_ perish Huguenots!\" His brother, the Cardinal,", "_Bussy._ I am suspitious, my most honour'd father,\n By some of Monsieurs cunning passages,\n That his still ranging and contentious nose-thrils" ] ]	[ "What is the relationship between Tamyra and Bussy?", "Who is responsible for Bussy's destruction?", "Who does Bussy's ghost rise and tell Clermont to punish?", "What character traits most strongly define Clermont?", "Who does Clermont's strongest allegiance lie with?", "Who is suspicious of the relationship between Clermont and de Guise?", "How does de Guise die?", "How does Clermont die?", "Who is the political manipulator that influences the King's suspicions about Duc de Guise?", "Who is Bussy's brother?", "Why is Monsturry the focus of Clermont's revenge?", "Who appears as a ghost in the story?", "Why does Clermont prefer relationships with men over those with women?", "Whose relationship is viewed with suspicion by the king?", "What is Clermont finally able to persuade Montsurry to do?", "How is Clermont different from Bussy?", "What are Tamyra's relationships with other characters in the story?", "Who is influenced by Baligny's mainpulations?", "Who is Clermont's brother?", "How is Clermont different from Bussey? ", "Who is Claremont a follower of? ", "How does Duc de Guise pass away? ", "How does Clermont pass away? ", "Who does Tamyra want Clermont to take vegengence upon? ", "Besides Tamyra, who else comes to tell Clermont to destroy Montsurry? ", "Where do Clermont and Montsurry finally meet? ", "Who is Tymra? ", "Who urges suspiscion of the king? " ]	[ [ "They are former lovers.", "They are former lovers." ], [ "Tamyra's husband, Montsurry.", "Montsurry." ], [ "Montsurry.", "Montsurry" ], [ "He is depicted as stoic Christian. ", "Christian Stoic" ], [ "Duc de Guise, a powerful nobleman. ", "The Duc de Guise." ], [ "The king.", "the King" ], [ "He is assassinated.", "He is assassinated " ], [ "He commits suicide after the assassination of de Guise.", "Suicide " ], [ "Baligny. ", "Blaigny." ], [ "Clermont D'Ambois.", "Clermont D'Ambois" ], [ "Montsurry is responsible for Bussy's death.", "Because he is the person who destroyed Bussy." ], [ "Bussy.", "Bussy" ], [ "Because he is asexual.", "They are asexual." ], [ "Clermont and Duc de Guise.", "Clermont and Duc De Guise" ], [ "To face him in a duel.", "to accept his death" ], [ "Clermont is a Christian Stoic.", "Clermont is a Christian Stoic" ], [ "She is Montsurry's wife and was Bussy's lover.", "She is bussy former lover" ], [ "The king.", "The king." ], [ "Bussy. ", "Bussy" ], [ "He is a Christian Stoic. ", "He is a stoic Christian." ], [ "Duc de Guise. ", "The Duc de Guise." ], [ "He is assassinated. ", "He is assassinated" ], [ "He commits suicide. ", "suicide" ], [ "Her husband Montsurry. ", "Montsurry." ], [ "Bussey's ghost. ", "Bussy's ghost." ], [ "On the field to face death. ", "the field of honor " ], [ "Bussey's former lover. ", "Tamyra is Montsurry's wife." ], [ "Baligny. ", "Baligny." ] ]	a7dda57366f6c9e627b4cbd97b89e3645551d258	test
[ [ "HYPNOS\n Oh, no, no, no. Y'see, Stu, as it happens, that\n girlfriend of yours figured out the chemical", "JULIE turns to look at STU in the bed. The certain knowledge that he was\nabout to propose is like a knife in her heart. KIMMY feels bad as well,\nhaving let the cat out of the bag, but before they can hash it out -", "STU is almost oblivious to JULIE. He lifts up the sheet, sneaks a quick\npeek at his CROTCH, and grins delightedly.", "No one says anything. But both women look at STU, and then at each\nother, and everyone knows exactly where everyone else stands. JULIE has\na sinking feeling that STU is working on a 3-month deadline.", "STU\n My life was totally crappy, Herb, and she...\n fixed it. She made me happy. Which I'd never\n been. She loves me the way I am - right now.\n (beat)", "INT. STU'S PRIVATE ROOM - NIGHT\n\nThe real JULIE awakens suddenly and lets out a scream of her own.\n\n JULIE\n STU!!!!", "She thinks it over, nods. STU takes a moment to catch his breath, then\nopens the door gingerly. A HORN BLARES as a car speeds past in the", "STU\n ...Kitty?!?\n\nAt the sight of STU behind bars, she breaks down CRYING.", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "STU-BONE does a take. The good news is, she doesn't suspect. The bad\nnews is, he's apparently named after his creator's penis.\n\nINT. HALLWAY - A MOMENT LATER", "HYPNOS\n Y'see, Stu, as I understand it, you made this\n pact with your sister...no life support?\n\nMONKEYBONE's jaw drops. He slaps himself across the forehead.", "STU-BONE\n Yes, being in a coma taught Stu Miley a thing or\n two about life. Buckle your seat belts, for one.", "CLARISSA\n He's not the same guy. He's not your Stu.\n (beat)\n I didn't want to tell you this, but the other\n day he pinched me on the butt.", "STU\n Julie and I - we were just gonna go...\n\nBut before STU knows what's hit him, HERB is leading him back to -", "STU\n Nothing for him! He's being repressed.\n\n KITTY\n Is something wrong, Stu? You seem so tense.", "STU\n That stupid monkey banner! It fell on my\n windshield - it practically killed us all!\n (to JULIE)\n God, Julie, if anything had happened to you -", "(pointing at STU)\n JUST KIDDING, BUDDY! Because if we know anything\n about Miss Julie, we know she is faithful,", "STU's back from the hospital. JULIE is removing his bags from the trunk\nof KIMMY's car while STU and KIMMY chat in the front seat.", "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "STU\n See these doors? The cool thing is, you go out\n ...they close...you can't get back in!\n\nHe opens one door and holds it for JULIE." ], [ "EARL does an end-zone dance toward the door. One by one, OTHER PATRONS\nget up from their seats to watch EARL's departure.\n\n\nEXT. COMA BAR - STREETS - NIGHT", "The group exchanges nervous glances: it's risky. JULIE claps her hands:\n\n JULIE\n All right! We have a plan. Let's move!", "O.D. STU doesn't even stop at the ticket window. He VAULTS over the\nturnstile, knocking benefit guests aside. The SURGEONS aren't far\nbehind. They race up to the ticket window -", "they're parked in. STU has to keep backing up because the exit lanes are\nblocked. It's like negotiating a labyrinth.", "ALICE\n How do you get from here - to there?\n\n JULIE\n Switch hands.\n\n ALICE\n What?", "It lands close enough to the FENCE that one of the SURGEONS thinks he\ncan reach it. He reaches through the bars and sees a pack of BENGAL", "STU\n See these doors? The cool thing is, you go out\n ...they close...you can't get back in!\n\nHe opens one door and holds it for JULIE.", "They wander off, arm in arm. STU TUGS at the seat of his pants.\n\n JULIE\n What's the matter?\n\n STU\n My tail itches.", "The gates slide open. STU passes through. But MONKEYBONE lingers behind\na moment - just long enough for one of the SINGING SPHINXES to slip him\na big, nasty BASEBALL BAT.", "STU realizes they've only got an instant to make their move. He DIVES\nthrough the gates at top speed. As soon as he's on the other side, he\nhears a nasty CLANG behind him...", "The REAPER wrings out his shroud and grabs the hand truck. As he wheels\nLULU past the boys, MONKEYBONE pops up with a helpful hint:", "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "Through the big window, he sees the boys leveling off, flying toward the\nDARK TOWN TUNNEL. They're moments away from a clean escape.\n\nINT. STU'S ROOM - NIGHT", "PASSENGERS are holding their noses, frantically pulling on the BELL ROPE\nto alert the driver that they want off. As we move toward the back we\nsee O.D. STU sitting alone, with rows of empty seats on either side.", "STU\n How am I gonna get past the guards?\n\n KITTY\n I'll worry about the guards.\n (loudly)", "STU\n Look at this! He won't let us leave!\n\n JULIE\n Who?", "In FG through all this is a dim teenage JANITOR pushing his electric\nfloor polisher. He has his Walkman on and he can't hear any of the\nmayhem behind him. He sings along atonally with the music:", "She thinks it over, nods. STU takes a moment to catch his breath, then\nopens the door gingerly. A HORN BLARES as a car speeds past in the", "EARL throws his crutches aside, jumps out of his chair, and DANCES A\nJIG, waving the ticket over his head. STU stares at him with naked envy.", "HERB\n Being rich is not a trap. That is a dirty lie\n perpetuated by rich people to keep the failures\n from killing them.\n\n STU\n Herb. I have to go." ], [ "MONKEYBONE cowers in fear as the REAPER gets up, shaking a fist at them.\nBut STU isn't intimidated. He grabs another ball and winds up.", "The REAPER loads LULU into the little roller-coaster and climbs aboard.\nThe car begins to move. STU and MONKEYBONE get there just in time to\njump onto the LUGGAGE RACK in the back!", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "BLAM! The cop's shot hits the giant MONKEYBONE BALLOON smack in the ass.", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "STU\n NO! JULIE! NO-O-O-O!\n\nAERIAL SHOT - ON MONKEYBONE", "A WINDOW shatters. The SHRINK comes hurtling out. MONKEYBONE STRADDLES\nHIM like Slim Pickens riding an H-bomb, hootin' and hollerin' all the\nway down to the street.", "HYPNOS\n Not again. THAT STINKING MONKEY!!!\n\nAERIAL SHOT - STU'S POV - MOVING", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "STU\n You saved my life, Monkeybone. I never would've\n made it without you.\n\n MONKEYBONE\n Move it. We got exactly five minutes left.", "STU grabs a CHAIR and swings it at the chandelier. MONKEYBONE makes a\nseries of SUBMARINE NOISES -\n\n MONKEYBONE\n DIVE! DIVE!!", "JULIE\n You want to leave? But Stu - you're a big hit!\n Everyone loves you!\n\n STU\n They don't love me. They love Monkeybone.", "The ball hits the REAPER smack on the head, knocking him off his bike!\n\n STU/MONKEYBONE\n (in unison - impressed)\n Damn.", "MONKEYBONE covers both eyes and wails in fear. But STU is rattling the\nignition switch, making ONE LAST EFFORT to get the bike aloft...", "As STU pulls into the intersection he sees a DELIVERY TRUCK approaching\nin the opposite lane, with a cardboard likeness of MONKEYBONE mounted\natop the cab. He chuckles...", "STU\n Stop! Monkeybone! Please!!\n\nEXT. DARK TOWN PLAZA - NIGHT" ], [ "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "MONKEYBONE\n Say, Death, just out of curiosity, could we\n maybe swap jobs with that other guy? See, we've\n been meaning to drop in on Dark Town - I mean\n I've been meaning to...", "MONKEYBONE\n What'd I tell you? You go to the Land of Death,\n wear a jockstrap!\n\nEXT. TRAINYARD - HIGH ANGLE", "STU\n Stop! Monkeybone! Please!!\n\nEXT. DARK TOWN PLAZA - NIGHT", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "MONKEYBONE\n Death, I'd like to point out that none of this\n was my fault. The roots of this tragedy go back\n to a callous, uncaring society that -", "MONKEYBONE\n Fate worse than death! Well, it's been real,\n boss, but I gotta go buff up my resumé. ANYBODY\n HERE NEED A FIGMENT?", "STANLEY (V.O.)\n Monkeybone!!", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "DEATH lets out a MIGHTY ROAR and CLAPS HIS GREAT METAL HANDS together.\nMan and monkey are surely squished. But when DEATH opens his hands, STU", "STU\n Hey. Where's Monkeybone?", "LULU is still sitting in her little car at the edge of the tracks, eyes\ncrossed, mouth agape. MONKEYBONE waves brightly. Then a mob of REAPERS", "A trouper to the end, MONKEYBONE WAVES at the crowd even as STU drags\nhim off to an empty table in the farthest corner of the room.", "MONKEYBONE\n Stu? Stu? Let's not disturb the nice Reaper.", "As STU pulls into the intersection he sees a DELIVERY TRUCK approaching\nin the opposite lane, with a cardboard likeness of MONKEYBONE mounted\natop the cab. He chuckles...", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "DEATH\n ...What??\n\n STU MONKEYBONE\n Salty Dog. Sufferin' Bastard.", "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him..." ], [ "DEATH rears back and KICKS HIM, full-force, SMACK IN THE ASS. The\nsupernatural might of the blow sends STU ROCKETING UPWARD THROUGH THE\nCEILING!!", "DEATH\n Back in your head, where he belongs.\n (beat)\n No offense, Stu, but on your own you're kinda\n vanilla. I didn't want to send you back without\n him.", "DEATH\n Thank me next time you see me.\n\nHe sends STU ROCKETING UPWARD INTO THE STRATOSPHERE with a single flick\nof his finger. Then he turns...", "The true horror of death is that it makes you look like a total idiot.\nThe REAPER pulls a collapsible HAND TRUCK from beneath his shroud and\nstarts maneuvering LULU onto it.", "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "The SECOND CORPSE sits up abruptly. His sheet falls away, revealing STU\n...the real STU...now back in his own body! The SURGEON and his TEAM run\naway from the ambulance SHRIEKING.", "DEATH\n Why??\n\n STU\n I have a girl up there. And I never - I\n should've - I just want to tell her I love her.", "just about killed us all. And Stu and I made a\n pact that when our time came - we wouldn't let\n it drag out.", "BUSTER barks like a maniac. JULIE turns and sees an IMPOSSIBLE VISION\nambling toward her...STU, alive and kicking. She can't believe it's him\nuntil he grabs her and pulls her close.", "of death. He stole my e-ticket. That's how he\n got my body, see? All they had left for me was\n this corpse!", "Then, with a distinct POP, he's gone. Over the rainbow...home.\n\n STU\n He's ninety. He's practically dead already. How\n come he goes back and I stay here?", "STU\n He's taking her to the land of Death, right? So\n all we've gotta do is...hitch a ride!\n (beat)\n Stop shaking! I'll protect you.", "STU\n Hello? Anybody? - Am I dead?\n (beat)\n PLEASE. I'D LIKE TO KNOW IF I'M DEAD.", "STU\n Coming from you, that's quite a compliment.\n\n DEATH\n De nada. Now, come here...bend over...before I\n change my mind.", "DEATH is stunned by this unprecedented breach of protocol. The other\nREAPERS in the line are ABUZZ.\n\n DEATH\n ...I beg your pardon?", "The blow sends STU staggering. DEATH and the other REAPERS look on in\nastonishment as the STAINED REAPER does a bizarre DANCE across the", "STU\n Back? You're sending me back?", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "HYPNOS\n Actually, Stu, Julie doesn't get to decide.\n That's why she was having the nightmare.\n (an embarrassed shrug)\n\n They're pulling the plug at nine AM.", "DEATH\n You're the customer, okay? You're about to die.\n It's a big occasion. A formal occasion. And as" ], [ "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "He turns and stalks off. MONKEYBONE stands there blinking.\n\n MONKEYBONE\n Hey. Aren't you gonna talk me into it?", "MONKEYBONE\n Say, Death, just out of curiosity, could we\n maybe swap jobs with that other guy? See, we've\n been meaning to drop in on Dark Town - I mean\n I've been meaning to...", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "DEATH lets out a MIGHTY ROAR and CLAPS HIS GREAT METAL HANDS together.\nMan and monkey are surely squished. But when DEATH opens his hands, STU", "A trouper to the end, MONKEYBONE WAVES at the crowd even as STU drags\nhim off to an empty table in the farthest corner of the room.", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "MONKEYBONE\n What'd I tell you? You go to the Land of Death,\n wear a jockstrap!\n\nEXT. TRAINYARD - HIGH ANGLE", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "MONKEYBONE fiddles with the ignition switch. A BLACK CLOUD OF EXHAUST\nbelches violently from the rear of the bike, almost pitching them off\ntheir seat. The batwings start to flap faster...", "MONKEYBONE\n Death, I'd like to point out that none of this\n was my fault. The roots of this tragedy go back\n to a callous, uncaring society that -", "MONKEYBONE marches back and forth across the bed, wearing a dimwit's\nexpression as he MOCKS STU in a singsongy voice...", "MONKEYBONE covers both eyes and wails in fear. But STU is rattling the\nignition switch, making ONE LAST EFFORT to get the bike aloft...", "MONKEYBONE\n Fate worse than death! Well, it's been real,\n boss, but I gotta go buff up my resumé. ANYBODY\n HERE NEED A FIGMENT?", "MONKEYBONE\n Maybe he wanted to pick out his own casket?\n\n STU\n (turning abruptly)\n HEY!! HEY, YOU!!", "STANLEY (V.O.)\n Monkeybone!!", "The REAPER wrings out his shroud and grabs the hand truck. As he wheels\nLULU past the boys, MONKEYBONE pops up with a helpful hint:", "MONKEYBONE\n Stu? Stu? Let's not disturb the nice Reaper." ], [ "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "HERB\n Why?\n\n STU\n I got the ring.\n (beat)\n Tonight's the night, Herb. Tonight's the night.", "HERB\n Sorry, Julie - won't be a minute. Now Stu - I\n know you don't like the idea, but you really\n ought to talk to these guys -", "HERB leads a round of APPLAUSE. JULIE nudges STU - the only guy in the\nroom who's still in his seat.", "STU\n Julie and I - we were just gonna go...\n\nBut before STU knows what's hit him, HERB is leading him back to -", "HERB\n Go? There's a potload of money here, pal. You\n got three major toy companies...you got the guys\n from Burger God over here...", "HERB holds up a finger. He's too busy talking. STU-BONE enters with the\nvideo crew in tow. JULIE somehow manages to sideline him.", "The MERCHANDISERS shoot STU an expectant wave. STU waves back and turns\nin the opposite direction. HERB grabs him by the sleeve.", "HERB\n Being rich is not a trap. That is a dirty lie\n perpetuated by rich people to keep the failures\n from killing them.\n\n STU\n Herb. I have to go.", "As HERB is walking toward the refreshment table, an ODD LOOK crosses his\nface. All at once he begins to TUG at his collar. He yanks his TIE off\n...doffs his JACKET onto the pavement...", "HERB\n Okay then. If I get you out of here - you pop\n the question - tonight. Or else. Get me?\n\nSTU nods gravely.", "STU\n Herb, it's too much. It's all out of hand.", "HERB\n I tell you, he's ready to merchandise. We've\n gotta move quickly. Get the toy guys, the burger\n guys, the lunchbox guys -", "STU GLOWERS at HERB as he opens the car door for JULIE.\n\n HERB\n Okay, okay! You're a beautiful couple. Go.", "HERB\n Oh, here's something. The city zoo is kicking\n off a fund-raising campaign. They wonder if\n you'd be willing to appear at a benefit.", "INT. KITCHEN - THAT MOMENT - LATE AFTERNOON\n\nJULIE squeezes through the crowd, finds HERB working the phone.", "HERB\n And last...you remember Bill here, from the\n Bazoom Toy Company? He's got a little something\n I think you'll like.", "HERB\n A piñata. That's a great idea!\n\n STU-BONE\n You guys don't know it, but you just saved my\n ass!", "times now. Herb says it gets higher ratings\n every time...they're hoping you'll give 'em some\n new material soon...\n (long, bored pause)", "HERB\n They're just prototypes...take 'em home and look\n at 'em before you say no...\n (scanning the streets)" ], [ "HYPNOS\n Oh, no, no, no. Y'see, Stu, as it happens, that\n girlfriend of yours figured out the chemical", "On the top shelf is a corked beaker of purple fluid bearing the label\n\"ONEIRIX\" with red DANGER stickers all over it. STU-BONE takes it out,", "...and suddenly he sees HYPNOS winking into view directly in front of\nhim! HYPNOS is perfectly capable of moving. He strolls right up to the", "HYPNOS\n Now find that nightmare juice and get to work.\n 'Cause you may be a free man during the day...\n but when you dream, your monkey ass is mine!", "HYPNOS\n Oh yeah. Mr. By-the-book, Stick-Up-the-Ass, My-", "HYP shuts up. Looks around the room, as if he's afraid of being\noverheard. Then he gestures to the boys to join him on the bed.\n\nThey climb aboard eagerly. HYPNOS hits his remote...", "HYPNOS\n It's a special kind of party. A farewell party.\n Do you...get what I'm saying?", "HYPNOS\n Haw! I like a monkey with vision!\n\n MONKEYBONE\n You said it, partner!", "HYPNOS\n It's simple, Stu. We need nightmares - lots of\n 'em. So whenever we can swing it, we send a guy", "Suddenly the two of them are locked in a tight embrace, rolling together\nthrough the flowers, LAUGHING, full of joy.\n\nINT. HYP'S HIDEAWAY - THAT MOMENT", "INT. HYP'S HIDEAWAY - THAT MOMENT", "INT. HYP'S HIDEAWAY - THAT MOMENT", "INT. HYP'S HIDEAWAY - A MOMENT LATER", "He unbuckles the belt. UNZIPS HIS PANTS. Keeps clawing toward the\nbeaker. But he still can't quite make it, and the BABOON won't let go.", "HYPNOS\n Now Death is not what you would call a people\n person, like me. Death is a putz - and I should\n know. I'm his little brother.", "INT. HYP'S HIDEAWAY - THAT MOMENT - NIGHT", "He unlocks the door and enters the darkened lab. Finds the dispensary\narea and kneels beside a LOCKED REFRIGERATOR. Then he shuffles through\nthe keys on the ring until he finds one labelled \"FRIDGE.\"", "HYPNOS\n Nobody wants to be a sidekick, Stu. So one day\n he comes to us - he's got a proposition. We help", "HUTCH\n It's nightmare juice. Julie and I were on the\n team that learned to synthesize it. If those", "STU\n But why me? Why'd you pick on me??\n\n HYPNOS\n The monkey, of course. It was his idea." ], [ "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "STU\n Julie and I - we were just gonna go...\n\nBut before STU knows what's hit him, HERB is leading him back to -", "HERB\n Sorry, Julie - won't be a minute. Now Stu - I\n know you don't like the idea, but you really\n ought to talk to these guys -", "STU GLOWERS at HERB as he opens the car door for JULIE.\n\n HERB\n Okay, okay! You're a beautiful couple. Go.", "HERB\n Why?\n\n STU\n I got the ring.\n (beat)\n Tonight's the night, Herb. Tonight's the night.", "HERB\n Now, let's give it up for the guy who started it\n all. Creator of America's most disturbed comic\n strip...the man behind the monkey...Mister Stu\n Miley!", "HERB\n Being rich is not a trap. That is a dirty lie\n perpetuated by rich people to keep the failures\n from killing them.\n\n STU\n Herb. I have to go.", "HERB holds up a finger. He's too busy talking. STU-BONE enters with the\nvideo crew in tow. JULIE somehow manages to sideline him.", "BURGER GOD EXEC\n Interesting fellow.\n\n HERB\n Head trauma.\n\nINT. STU'S KITCHEN - THAT MOMENT", "HERB leads a round of APPLAUSE. JULIE nudges STU - the only guy in the\nroom who's still in his seat.", "STU\n My life was totally crappy, Herb, and she...\n fixed it. She made me happy. Which I'd never\n been. She loves me the way I am - right now.\n (beat)", "HERB\n Okay then. If I get you out of here - you pop\n the question - tonight. Or else. Get me?\n\nSTU nods gravely.", "STU\n Herb, it's too much. It's all out of hand.", "STU-BONE\n I think it's a pig hair.\n (examining a contract)\n How much is McDonald's offering?\n\n HERB\n Less.", "The MERCHANDISERS shoot STU an expectant wave. STU waves back and turns\nin the opposite direction. HERB grabs him by the sleeve.", "HERB\n A piñata. That's a great idea!\n\n STU-BONE\n You guys don't know it, but you just saved my\n ass!", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "STU\n No. No. Not him.\n\n EARL\n So long, suckers! See you in the funny papers!", "STU, JULIE, and HERB in the parking lot. A small safari of FLUNKIES is\nloading enormous boxes full of MONKEYBONE JUNK into STU's beat-up car -", "STU-BONE\n How much?\n\n HERB\n Well, nothing. It's a benefit. But we could\n probably get People and Entertainment Tonight to\n cover it." ], [ "STU-BONE does a take. The good news is, she doesn't suspect. The bad\nnews is, he's apparently named after his creator's penis.\n\nINT. HALLWAY - A MOMENT LATER", "As STU sprints down the street, the SNAIL MAN oozes into his path - and\nTRIPS HIM! Before he can get up, cackling DARKTOWNERS converge on him -", "As STU wanders through, he gets a big surprise. Reproductions of his old\nNIGHTMARE PAINTINGS are hanging on the walls! They've been turned into\nONE-SHEETS for the coming attractions at the Morpheum.", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "STU\n No. No. Not him.\n\n EARL\n So long, suckers! See you in the funny papers!", "STU-BONE in pajamas and a head bandage, reading the morning funnies. He\npounds the table, practically WEEPING with hilarity at the MONKEYBONE\nCOMIC STRIP.", "A STRANGE FURRY CREATURE pops out from beneath the platform and yanks on\nSTU's pants leg. It looks like a raccoon, but it's FLAT - an animated", "HERB\n Now, let's give it up for the guy who started it\n all. Creator of America's most disturbed comic\n strip...the man behind the monkey...Mister Stu\n Miley!", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "The DARKTOWNERS are rubbing their hands together in anticipation of\nhorrors to come. STU looks from one misshapen face to the next, his\nheart pounding with dread.", "These photos are on the wall of the cramped room which serves as STU's\nstudio and JULIE's office. MONKEYBONE STRIPS are scattered across the\ndrafting table. ALICE is making up the sofa as a guest bed.", "STU\n Stop! Monkeybone! Please!!\n\nEXT. DARK TOWN PLAZA - NIGHT", "Reduced to babbling hysteria, STU ducks into the nearest building. Above\nthe door, an ANIMATED NEON SIGN shows a happy boozer lifting his martini", "STU\n You're nuts! I'm a comic strip artist! What's he\n gonna do - draw really scary cartoons??", "By now the onlookers at the bar are CRACKING UP. All except one - the\nlonely, disconsolate fellow on the last stool, nursing a martini - STU.", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "STU is the one guy in the auditorium who isn't laughing at the cartoon\non the screen. In fact, he's solemn as a judge - peering nervously\naround to see how the rest of the audience is responding.", "STU-BONE steps out into the driveway and hears a low growl - BUSTER is\ngiving him the stinkeye from behind the picket fence. STU-BONE's eyes\nlight up with inspiration.", "Through the big window, he sees the boys leveling off, flying toward the\nDARK TOWN TUNNEL. They're moments away from a clean escape.\n\nINT. STU'S ROOM - NIGHT", "Disheveled but triumphant, STU-BONE stands up, pounds his chest with\nboth fists, and lets out a Tarzanian ROAR. Lights go on all over the" ], [ "In the midst of the crowd is a handsome young couple: JULIE McELROY and\nSTU MILEY. JULIE's a research scientist, brainy, professional,", "JULIE\n Stu. That was right about the time we met.\n\n ALICE\n When he first came in to the sleep lab?", "JULIE\n You sure this is...medically advisable?\n\n STU-BONE\n Got a doctor on duty.", "STU-BONE\n And speaking of which, here's the light of my\n life, the pert and saucy Miss Julie McElroy.", "It appears that almost everyone in the waiting room is a friend of JULIE\nand STU's. Disheveled and groggy, they rouse themselves and make their\nway over to JULIE's side. She's overcome with emotion.", "STU is almost oblivious to JULIE. He lifts up the sheet, sneaks a quick\npeek at his CROTCH, and grins delightedly.", "JULIE turns to look at STU in the bed. The certain knowledge that he was\nabout to propose is like a knife in her heart. KIMMY feels bad as well,\nhaving let the cat out of the bag, but before they can hash it out -", "STU's back from the hospital. JULIE is removing his bags from the trunk\nof KIMMY's car while STU and KIMMY chat in the front seat.", "INT. STU & JULIE'S HOUSE - DAY", "JULIE\n Stu? Is that you? Where did you go?\n\n STU-BONE\n Me? Nowhere. I was asleep.", "INT. STU & JULIE'S HOUSE - ENTRY - NIGHT", "JULIE, in her white lab coat, wanders through Intensive Care and finds a\nWOMAN hunched over STU's bed, BAWLING HER EYES OUT.", "While JULIE is hugging him, STU is checking out his new fingers and\ntoes, RUBBING his sparse patch of CHEST FUR. DOCTORS and NURSES look on\nin amazement from the doorway.", "As he sings, STU-BONE gyrates over toward JULIE, bumping and grinding\nlike the cartoon-monkey sex machine he is. He waves his mike to the", "STU\n How was it? I don't recall.\n\n JULIE\n It was great, baby. Let's get you to the ER.", "STU\n JULIE! I'M HERE, DOC! DON'T LET THEM PULL THE\n PLUG! I'M HERE!!!", "JULIE has some dim sense that this ritual is supposed to be erotic, but\nin fact, it's making her damned nervous. She finds herself scrunching up\non the bed, trying to keep out of STU-BONE's way.", "EXT. HALLWAY - A MOMENT LATER\n\nJULIE helps a punchdrunk, staggering STU to the stairway.", "JULIE\n Stu?\n\n STU\n Julie?... Hey, you are a looker.", "JULIE\n Stu? I'm here, baby. It's me. It's Julie. I love\n you. You're gonna be okay, baby, I promise -" ], [ "STU\n Say, have you seen Mr. Hypnos?\n\n HAND WOMAN\n Hyp? He was here a while ago. Aren't you Stu\n Miley? The nightmare guy?", "STU\n I've been trying to get through to the head guy\n - the nightmare god - what's his name?\n\n KITTY\n Hypnos?", "HYPNOS\n It's simple, Stu. We need nightmares - lots of\n 'em. So whenever we can swing it, we send a guy", "STU\n But why me? Why'd you pick on me??\n\n HYPNOS\n The monkey, of course. It was his idea.", "HYPNOS\n Stu, I like you personally, I admire your work,\n but I'm just the God of Sleep. This is Death's\n bailiwick.", "STU\n Hypnos! The god of nightmares! Do you know what\n this means, Monkeybone? He's finally going to\n hear my case. I'm going home!", "STU-BONE\n Friggin' Hypnos. I'll show him...\n\nINT. SLEEP LAB - NIGHT", "...and suddenly he sees HYPNOS winking into view directly in front of\nhim! HYPNOS is perfectly capable of moving. He strolls right up to the", "With a brusque gesture, HYPNOS sends the party girls packing. He slings\none arm around STU's shoulder and pulls him aside.", "MONKEYBONE\n Stu... It's a party.\n\n STU\n Mr. Hypnos - sir - I needed to talk to you -", "STU\n Mr. Hypnos, you run this place. I'm begging you.\n There's gotta be something I can do.", "HYPNOS\n Actually, Stu, Julie doesn't get to decide.\n That's why she was having the nightmare.\n (an embarrassed shrug)\n\n They're pulling the plug at nine AM.", "HYP shuts up. Looks around the room, as if he's afraid of being\noverheard. Then he gestures to the boys to join him on the bed.\n\nThey climb aboard eagerly. HYPNOS hits his remote...", "STU\n Mr. Hypnos, I saw a dream. My girlfriend was\n having it. She dreamed they were pulling the\n plug on me. She was watching me die.", "HYPNOS\n Wait a minute. Stu Miley, right? Boys and girls\n ...Mr. Stu Miley, in the house!\n (leading a round of applause)", "HYPNOS\n Oh, no, no, no. Y'see, Stu, as it happens, that\n girlfriend of yours figured out the chemical", "HYPNOS\n Oh yeah. Mr. By-the-book, Stick-Up-the-Ass, My-", "HYPNOS\n Nobody wants to be a sidekick, Stu. So one day\n he comes to us - he's got a proposition. We help", "STU\n Land of Death. How do I get there?\n\n HYPNOS\n Kid, listen: that's all I'm saying. And you\n didn't hear it from me.", "STU\n You're mad at me. Great. You have every right to\n be. But we're both mad at Dark Town. We're both\n mad at Hypnos." ], [ "The SECOND CORPSE sits up abruptly. His sheet falls away, revealing STU\n...the real STU...now back in his own body! The SURGEON and his TEAM run\naway from the ambulance SHRIEKING.", "DEATH\n Back in your head, where he belongs.\n (beat)\n No offense, Stu, but on your own you're kinda\n vanilla. I didn't want to send you back without\n him.", "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him...", "The ORGAN DONOR grabs a lab coat from a nearby rack and races out. (And\nsince STU is temporarily occupying the DONOR's body, we will henceforth\nrefer to him as O.D. STU.)", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "STU-BONE tenses instinctively. The dog is yipping, wagging his tail\ninsanely at the sight of his long-lost master - until he gets just a\nlittle bit closer, and senses that something is very, very wrong.", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "STU breaks free and FLINGS HIMSELF on the ORB - which SHORTS OUT in a\nhaze of smoke and sparks, abruptly ending the nightmare. JULIE's image", "JULIE strokes STU's limp hand. He's COMATOSE, cocooned in a tangle of\nwires and tubes. His head and shoulders are heavily bandaged. He's", "INT. STU'S PRIVATE ROOM - NIGHT\n\nThe real JULIE awakens suddenly and lets out a scream of her own.\n\n JULIE\n STU!!!!", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "HYPNOS\n Actually, Stu, Julie doesn't get to decide.\n That's why she was having the nightmare.\n (an embarrassed shrug)\n\n They're pulling the plug at nine AM.", "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "STU\n Back? You're sending me back?", "O.D. STU sees him - pulls away from JULIE -\n\n O.D. STU\n I LOVE YOU!\n\n JULIE\n STU!!", "STU gets an idea as he looks down at his dangling INTESTINE. He begins\nFEEDING IT OUT - giving himself more rope to work with - and when it's\nlong enough, begins SWINGING IT like a LASSO!", "HYPNOS\n Sorry, Stu. It's all part of the deal. We've got\n big plans for that body of yours!\n\nEXT. E-TICKET RIDE - ON MONKEYBONE", "BUSTER barks like a maniac. JULIE turns and sees an IMPOSSIBLE VISION\nambling toward her...STU, alive and kicking. She can't believe it's him\nuntil he grabs her and pulls her close.", "DISSOLVE TO:\n\nINT. STU'S PRIVATE ROOM - MORNING" ], [ "With a brusque gesture, HYPNOS sends the party girls packing. He slings\none arm around STU's shoulder and pulls him aside.", "HYPNOS\n Sorry, Stu. It's all part of the deal. We've got\n big plans for that body of yours!\n\nEXT. E-TICKET RIDE - ON MONKEYBONE", "STU-BONE\n Friggin' Hypnos. I'll show him...\n\nINT. SLEEP LAB - NIGHT", "HYPNOS\n It's simple, Stu. We need nightmares - lots of\n 'em. So whenever we can swing it, we send a guy", "STU\n Say, have you seen Mr. Hypnos?\n\n HAND WOMAN\n Hyp? He was here a while ago. Aren't you Stu\n Miley? The nightmare guy?", "HYPNOS\n Stu, I like you personally, I admire your work,\n but I'm just the God of Sleep. This is Death's\n bailiwick.", "...and suddenly he sees HYPNOS winking into view directly in front of\nhim! HYPNOS is perfectly capable of moving. He strolls right up to the", "HYP shuts up. Looks around the room, as if he's afraid of being\noverheard. Then he gestures to the boys to join him on the bed.\n\nThey climb aboard eagerly. HYPNOS hits his remote...", "HYPNOS\n Oh, no, no, no. Y'see, Stu, as it happens, that\n girlfriend of yours figured out the chemical", "STU\n Hypnos! The god of nightmares! Do you know what\n this means, Monkeybone? He's finally going to\n hear my case. I'm going home!", "STU\n I've been trying to get through to the head guy\n - the nightmare god - what's his name?\n\n KITTY\n Hypnos?", "HYPNOS\n Actually, Stu, Julie doesn't get to decide.\n That's why she was having the nightmare.\n (an embarrassed shrug)\n\n They're pulling the plug at nine AM.", "STU\n Mr. Hypnos, you run this place. I'm begging you.\n There's gotta be something I can do.", "HYPNOS\n Oh yeah. Mr. By-the-book, Stick-Up-the-Ass, My-", "STU\n Mr. Hypnos, I saw a dream. My girlfriend was\n having it. She dreamed they were pulling the\n plug on me. She was watching me die.", "STU\n But why me? Why'd you pick on me??\n\n HYPNOS\n The monkey, of course. It was his idea.", "MONKEYBONE\n Stu... It's a party.\n\n STU\n Mr. Hypnos - sir - I needed to talk to you -", "DEATH\n HYPNOS! That little twerp! He's the one who put\n you up to this!", "HYPNOS marches off, chuckling. STU's head sinks into his hands.\n\n\nEXT. STU AND JULIE'S HOUSE - DAY", "HYPNOS\n Y'see, Stu, as I understand it, you made this\n pact with your sister...no life support?\n\nMONKEYBONE's jaw drops. He slaps himself across the forehead." ], [ "STU\n He's taking her to the land of Death, right? So\n all we've gotta do is...hitch a ride!\n (beat)\n Stop shaking! I'll protect you.", "DEATH is stunned by this unprecedented breach of protocol. The other\nREAPERS in the line are ABUZZ.\n\n DEATH\n ...I beg your pardon?", "DEATH rears back and KICKS HIM, full-force, SMACK IN THE ASS. The\nsupernatural might of the blow sends STU ROCKETING UPWARD THROUGH THE\nCEILING!!", "DEATH\n Back in your head, where he belongs.\n (beat)\n No offense, Stu, but on your own you're kinda\n vanilla. I didn't want to send you back without\n him.", "STU\n Coming from you, that's quite a compliment.\n\n DEATH\n De nada. Now, come here...bend over...before I\n change my mind.", "DEATH\n Take this to Dark Town. Sad to say, he's gonna\n live another forty years.\n (a consoling pat on the shoulder)\n Sorry. Nobody said this job would be easy.", "The true horror of death is that it makes you look like a total idiot.\nThe REAPER pulls a collapsible HAND TRUCK from beneath his shroud and\nstarts maneuvering LULU onto it.", "DEATH\n You're the customer, okay? You're about to die.\n It's a big occasion. A formal occasion. And as", "STU\n Death, I'm trying to make things right. Take my\n soul. Turn me into a paper doll. But give me\n just one lousy hour.", "STU\n Fine! Don't put yourself out. I'll go to the\n land of Death alone.", "STU\n Maybe you could talk to Death!", "HYPNOS\n Stu, I like you personally, I admire your work,\n but I'm just the God of Sleep. This is Death's\n bailiwick.", "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "just about killed us all. And Stu and I made a\n pact that when our time came - we wouldn't let\n it drag out.", "INT. DEATH'S OFFICE - BACK TO SCENE", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "of death. He stole my e-ticket. That's how he\n got my body, see? All they had left for me was\n this corpse!", "DEATH\n Now, if I may ask - what kind of idiot sneaks\n into the Land of Death twice?", "INT. DEATH'S OFFICE - CONTINUOUS - DAY", "DEATH\n Why??\n\n STU\n I have a girl up there. And I never - I\n should've - I just want to tell her I love her." ], [ "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "MONKEYBONE cowers in fear as the REAPER gets up, shaking a fist at them.\nBut STU isn't intimidated. He grabs another ball and winds up.", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "The REAPER loads LULU into the little roller-coaster and climbs aboard.\nThe car begins to move. STU and MONKEYBONE get there just in time to\njump onto the LUGGAGE RACK in the back!", "BLAM! The cop's shot hits the giant MONKEYBONE BALLOON smack in the ass.", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "MONKEYBONE PULLS STU through the rip in the back of the giant toppled\ncanvas. The bike's there waiting. They hop aboard and pedal off INTO THE", "The ball hits the REAPER smack on the head, knocking him off his bike!\n\n STU/MONKEYBONE\n (in unison - impressed)\n Damn.", "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "STU\n NO! JULIE! NO-O-O-O!\n\nAERIAL SHOT - ON MONKEYBONE", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "MONKEYBONE covers both eyes and wails in fear. But STU is rattling the\nignition switch, making ONE LAST EFFORT to get the bike aloft...", "A WINDOW shatters. The SHRINK comes hurtling out. MONKEYBONE STRADDLES\nHIM like Slim Pickens riding an H-bomb, hootin' and hollerin' all the\nway down to the street.", "STU's bigger. He pulls the pouch onto his shoulder, and MONKEYBONE with\nit. They grab the bike, climb aboard, and pedal off -", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "MONKEYBONE is caught - his body contorted like a pretzel, woven in and\nout among the meshing teeth! STU gives him a good hard YANK, and he\nslips out like a strand of fettuccine.", "As STU pulls into the intersection he sees a DELIVERY TRUCK approaching\nin the opposite lane, with a cardboard likeness of MONKEYBONE mounted\natop the cab. He chuckles...", "JULIE\n You want to leave? But Stu - you're a big hit!\n Everyone loves you!\n\n STU\n They don't love me. They love Monkeybone.", "HYPNOS\n Not again. THAT STINKING MONKEY!!!\n\nAERIAL SHOT - STU'S POV - MOVING" ], [ "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him...", "STU\n You saved my life, Monkeybone. I never would've\n made it without you.\n\n MONKEYBONE\n Move it. We got exactly five minutes left.", "The REAPER loads LULU into the little roller-coaster and climbs aboard.\nThe car begins to move. STU and MONKEYBONE get there just in time to\njump onto the LUGGAGE RACK in the back!", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "As STU pulls into the intersection he sees a DELIVERY TRUCK approaching\nin the opposite lane, with a cardboard likeness of MONKEYBONE mounted\natop the cab. He chuckles...", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "JULIE lifts the curtain - and sees STU-BONE in his gas mask, bent over\nin a weird crab like stance, chasing BUSTER around the yard with the\nMonkeybone doll.", "The gates slide open. STU passes through. But MONKEYBONE lingers behind\na moment - just long enough for one of the SINGING SPHINXES to slip him\na big, nasty BASEBALL BAT.", "MONKEYBONE looks over his shoulder. A small ARMY of REAPERS, anned with\nscythes, is pouring into the trainyard behind them.\n\n MONKEYBONE\n Stu...Stu...", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "MONKEYBONE covers both eyes and wails in fear. But STU is rattling the\nignition switch, making ONE LAST EFFORT to get the bike aloft...", "STU's bigger. He pulls the pouch onto his shoulder, and MONKEYBONE with\nit. They grab the bike, climb aboard, and pedal off -", "MONKEYBONE PULLS STU through the rip in the back of the giant toppled\ncanvas. The bike's there waiting. They hop aboard and pedal off INTO THE", "JULIE\n You want to leave? But Stu - you're a big hit!\n Everyone loves you!\n\n STU\n They don't love me. They love Monkeybone.", "MONKEYBONE cowers in fear as the REAPER gets up, shaking a fist at them.\nBut STU isn't intimidated. He grabs another ball and winds up.", "MONKEYBONE is caught - his body contorted like a pretzel, woven in and\nout among the meshing teeth! STU gives him a good hard YANK, and he\nslips out like a strand of fettuccine." ], [ "O.D. STU sees him - pulls away from JULIE -\n\n O.D. STU\n I LOVE YOU!\n\n JULIE\n STU!!", "JULIE\n Welcome home.\n\nSTU-BONE grins insipidly. She kisses him, pulls him into a tight embrace\n- and then, overwhelmed by emotion, begins to SOB.", "INT. STU'S PRIVATE ROOM - NIGHT\n\nThe real JULIE awakens suddenly and lets out a scream of her own.\n\n JULIE\n STU!!!!", "JULIE\n Stu? I'm here, baby. It's me. It's Julie. I love\n you. You're gonna be okay, baby, I promise -", "HYPNOS marches off, chuckling. STU's head sinks into his hands.\n\n\nEXT. STU AND JULIE'S HOUSE - DAY", "JULIE\n STU!!\n\nON STU - IN PHONE BOOTH\n\nHe sees JULIE running toward him and holds up a single finger.", "INT. STU & JULIE'S HOUSE - ENTRY - NIGHT", "INT. STU & JULIE'S HOUSE - DAY", "JULIE turns to look at STU in the bed. The certain knowledge that he was\nabout to propose is like a knife in her heart. KIMMY feels bad as well,\nhaving let the cat out of the bag, but before they can hash it out -", "JULIE gives him another kiss, WHISPERS in his ear:\n\n JULIE\n Thank you. Thank you for coming back to me.", "- so STU-BONE stops kissing JULIE long enough to reach over with one\nfoot and KICK THE DOOR SHUT.\n\nINT. BEDROOM - A MOMENT LATER", "It appears that almost everyone in the waiting room is a friend of JULIE\nand STU's. Disheveled and groggy, they rouse themselves and make their\nway over to JULIE's side. She's overcome with emotion.", "BUSTER barks like a maniac. JULIE turns and sees an IMPOSSIBLE VISION\nambling toward her...STU, alive and kicking. She can't believe it's him\nuntil he grabs her and pulls her close.", "STU's back from the hospital. JULIE is removing his bags from the trunk\nof KIMMY's car while STU and KIMMY chat in the front seat.", "STU is almost oblivious to JULIE. He lifts up the sheet, sneaks a quick\npeek at his CROTCH, and grins delightedly.", "While JULIE is hugging him, STU is checking out his new fingers and\ntoes, RUBBING his sparse patch of CHEST FUR. DOCTORS and NURSES look on\nin amazement from the doorway.", "JULIE just stares at her for a beat or two, refusing to understand. Then\nit sinks in. Her hand goes to her mouth in horror and grief.\n\n FADE THROUGH TO:", "JULIE\n Stu? Is that you? Where did you go?\n\n STU-BONE\n Me? Nowhere. I was asleep.", "JULIE\n Stu?\n\n STU\n Julie?... Hey, you are a looker.", "JULIE SCREAMS. STU SCREAMS. Unable to see, he slams on the brakes and\nJERKS THE WHEEL RIGHT." ], [ "HYPNOS\n Now find that nightmare juice and get to work.\n 'Cause you may be a free man during the day...\n but when you dream, your monkey ass is mine!", "His eyes widen in horror as he steps out to survey the scene. The\nasphalt is strewn with MONKEYBONE MERCHANDISE - stuffed dolls, games,", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "STU\n So here's my idea. We do a giveaway at the zoo\n benefit. We get a big piñata. We fill it with\n Monkeybone dolls - hundreds of 'em.", "On the top shelf is a corked beaker of purple fluid bearing the label\n\"ONEIRIX\" with red DANGER stickers all over it. STU-BONE takes it out,", "The BAZOOM TOY REP is rounding a corner when HERB pops out from behind a\ntree and BLASTS HIM with a jolt of purple gas from a Monkeybone doll! He\nsputters and coughs...", "STU\n Stop! Monkeybone! Please!!\n\nEXT. DARK TOWN PLAZA - NIGHT", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "STANLEY (V.O.)\n Monkeybone!!", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "STU\n Hypnos! The god of nightmares! Do you know what\n this means, Monkeybone? He's finally going to\n hear my case. I'm going home!", "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him...", "The entire Monkeybone brain trust has come to visit: HERB, syndicate\nhead MR. BOWERS, and several CORPORATE REPS hoping to arrange tie-in", "The familiar miasma of COLORS is beginning to swirl in the night sky\noverhead. MONKEYBONE straps on a NEEDLE-TIPPED HELMET which makes him", "MONKEYBONE\n This ain't my nightmare!\n\nEXT. TRAINYARD - JUST OUTSIDE TUNNEL", "MONKEYBONE slinks over behind STU - up onto his shoulder - and whispers\ninto his ear:", "HYPNOS\n It's simple, Stu. We need nightmares - lots of\n 'em. So whenever we can swing it, we send a guy", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "MONKEYBONE\n Stu... It's a party.\n\n STU\n Mr. Hypnos - sir - I needed to talk to you -", "A WINDOW shatters. The SHRINK comes hurtling out. MONKEYBONE STRADDLES\nHIM like Slim Pickens riding an H-bomb, hootin' and hollerin' all the\nway down to the street." ], [ "HYPNOS\n Wait a minute. Stu Miley, right? Boys and girls\n ...Mr. Stu Miley, in the house!\n (leading a round of applause)", "But seriously, Stu Miley is a different man\n today. I'm much homier.", "HEAD #1\n Hey, aren't you Stu Miley?\n\n HEAD #2\n We're big fans.", "STU-BONE\n Yes, being in a coma taught Stu Miley a thing or\n two about life. Buckle your seat belts, for one.", "MESSENGER BOY\n Miley? Stu Miley?", "In the midst of the crowd is a handsome young couple: JULIE McELROY and\nSTU MILEY. JULIE's a research scientist, brainy, professional,", "BULL\n Dark Town. Land of nightmares. I'm Bull.\n\n STU\n Stu Miley.", "STU\n Say, have you seen Mr. Hypnos?\n\n HAND WOMAN\n Hyp? He was here a while ago. Aren't you Stu\n Miley? The nightmare guy?", "DISPLAY AD for the benefit: \"MEET STU MILEY AND MONKEYBONE - 8 PM\nTONIGHT!\" He checks the wall clock: time is short.", "HERB\n Now, let's give it up for the guy who started it\n all. Creator of America's most disturbed comic\n strip...the man behind the monkey...Mister Stu\n Miley!", "STU-BONE does a take. The good news is, she doesn't suspect. The bad\nnews is, he's apparently named after his creator's penis.\n\nINT. HALLWAY - A MOMENT LATER", "STU gives him a cockeyed look. BULL points to a MONITOR mounted over the\nbar, on which a panicked man in pajamas is trying to run barefoot\nthrough a great sticky SEA OF MOLASSES.", "STU\n No. No. Not him.\n\n EARL\n So long, suckers! See you in the funny papers!", "STU is almost oblivious to JULIE. He lifts up the sheet, sneaks a quick\npeek at his CROTCH, and grins delightedly.", "STU is the one guy in the auditorium who isn't laughing at the cartoon\non the screen. In fact, he's solemn as a judge - peering nervously\naround to see how the rest of the audience is responding.", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "STU BOOTS MONKEYBONE aside. They're at a GAME STALL manned by Elsie the\nCow - the one where you throw baseballs at milk bottles. STU picks up a", "By now the onlookers at the bar are CRACKING UP. All except one - the\nlonely, disconsolate fellow on the last stool, nursing a martini - STU.", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "JULIE\n Stu?\n\n STU\n Julie?... Hey, you are a looker." ], [ "STANLEY (V.O.)\n Monkeybone!!", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "STU\n Hey. Where's Monkeybone?", "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him...", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "MONKEYBONE\n I'm reportin' this to my union!!\n\n STU\n What union?", "JULIE\n Well. As long as it's okay with Monkeybone -\n\nSTU-BONE almost lets out a gasp of shock. What does she mean???", "JULIE\n You want to leave? But Stu - you're a big hit!\n Everyone loves you!\n\n STU\n They don't love me. They love Monkeybone.", "MONKEYBONE\n Stu... It's a party.\n\n STU\n Mr. Hypnos - sir - I needed to talk to you -", "MONKEYBONE\n\n\n\n\n Written by\n\n Sam Hamm", "MONKEYBONE marches back and forth across the bed, wearing a dimwit's\nexpression as he MOCKS STU in a singsongy voice...", "MONKEYBONE\n Now this...is livin'.", "MONKEYBONE\n Hellooooooooo, Kitty.\n\n KITTY\n Hiya, Stu. Refill on that martini?", "STU\n You saved my life, Monkeybone. I never would've\n made it without you.\n\n MONKEYBONE\n Move it. We got exactly five minutes left.", "MONKEYBONE\n Just kiddin', folks! Drinks for everybody -\n (pointing at STU)\n\n On him!! HIYA, BOSS!!", "MONKEYBONE\n Stu? Stu? Let's not disturb the nice Reaper.", "STU\n Stop! Monkeybone! Please!!\n\nEXT. DARK TOWN PLAZA - NIGHT", "As STU pulls into the intersection he sees a DELIVERY TRUCK approaching\nin the opposite lane, with a cardboard likeness of MONKEYBONE mounted\natop the cab. He chuckles..." ], [ "In the midst of the crowd is a handsome young couple: JULIE McELROY and\nSTU MILEY. JULIE's a research scientist, brainy, professional,", "Julie McElroy. Just kiddin', Julie. Stand up.", "STU-BONE\n And speaking of which, here's the light of my\n life, the pert and saucy Miss Julie McElroy.", "It appears that almost everyone in the waiting room is a friend of JULIE\nand STU's. Disheveled and groggy, they rouse themselves and make their\nway over to JULIE's side. She's overcome with emotion.", "VOICE FROM BEHIND\n Mrs. Brewster? Julie? I'm Dr. Edelstein.", "JULIE\n I've put a ton of work into that boy, Alice. I\n am not going to let him get away from me.\n\nINT. ICU - MORNING", "JULIE\n I'm a doctor too. I know this man's brain -", "JULIE, in her white lab coat, wanders through Intensive Care and finds a\nWOMAN hunched over STU's bed, BAWLING HER EYES OUT.", "JULIE\n Okay. Call the police. I'll be right over.\n\nINT. SLEEP LAB - LATE AFTERNOON", "JULIE just stares at her for a beat or two, refusing to understand. Then\nit sinks in. Her hand goes to her mouth in horror and grief.\n\n FADE THROUGH TO:", "JULIE\n You sure this is...medically advisable?\n\n STU-BONE\n Got a doctor on duty.", "While JULIE is hugging him, STU is checking out his new fingers and\ntoes, RUBBING his sparse patch of CHEST FUR. DOCTORS and NURSES look on\nin amazement from the doorway.", "JULIE\n Hello? Oh, Hutch - what?\n\nINTERCUT - JULIE AND HUTCH\n\nHUTCH is at the sleep lab, standing over the open refrigerator.", "STU is almost oblivious to JULIE. He lifts up the sheet, sneaks a quick\npeek at his CROTCH, and grins delightedly.", "JULIE turns to look at STU in the bed. The certain knowledge that he was\nabout to propose is like a knife in her heart. KIMMY feels bad as well,\nhaving let the cat out of the bag, but before they can hash it out -", "EXT. HALLWAY - A MOMENT LATER\n\nJULIE helps a punchdrunk, staggering STU to the stairway.", "JULIE has some dim sense that this ritual is supposed to be erotic, but\nin fact, it's making her damned nervous. She finds herself scrunching up\non the bed, trying to keep out of STU-BONE's way.", "He wanders across the room, finds JULIE deep in conversation with a\nbunch of other GUESTS, and pulls her aside.", "DEAD SILENCE from the mortified group. They never had a case like that\nat Johns Hopkins. JULIE somehow keeps a stiff upper lip - deeply\nembarrassed for STU, but a scientist nonetheless.", "STU\n JULIE! I'M HERE, DOC! DON'T LET THEM PULL THE\n PLUG! I'M HERE!!!" ], [ "Through the big window, he sees the boys leveling off, flying toward the\nDARK TOWN TUNNEL. They're moments away from a clean escape.\n\nINT. STU'S ROOM - NIGHT", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "JULIE\n Oh, Stu. Tell me I'm not dreaming.\n\n STU\n Baby...you're asking the wrong guy.", "STU\n Julie and I - we were just gonna go...\n\nBut before STU knows what's hit him, HERB is leading him back to -", "just about killed us all. And Stu and I made a\n pact that when our time came - we wouldn't let\n it drag out.", "STU-BONE does a take. The good news is, she doesn't suspect. The bad\nnews is, he's apparently named after his creator's penis.\n\nINT. HALLWAY - A MOMENT LATER", "STU\n ...which is actually what I wanted to talk to\n you about. See, I've been here three months -", "STU\n No. No. Not him.\n\n EARL\n So long, suckers! See you in the funny papers!", "BULL\n Sad commentary, huh?\n\nNow a small muffled VOICE speaks from the area of STU'S BACKPACK:", "They wander off, arm in arm. STU TUGS at the seat of his pants.\n\n JULIE\n What's the matter?\n\n STU\n My tail itches.", "STU gives him a cockeyed look. BULL points to a MONITOR mounted over the\nbar, on which a panicked man in pajamas is trying to run barefoot\nthrough a great sticky SEA OF MOLASSES.", "No one says anything. But both women look at STU, and then at each\nother, and everyone knows exactly where everyone else stands. JULIE has\na sinking feeling that STU is working on a 3-month deadline.", "The DARKTOWNERS are rubbing their hands together in anticipation of\nhorrors to come. STU looks from one misshapen face to the next, his\nheart pounding with dread.", "STU\n How was it? I don't recall.\n\n JULIE\n It was great, baby. Let's get you to the ER.", "O.D. STU\n DOC! DOC! DON'T DO IT! HE ISN'T STU! HE'S\n MONKEYBONE!!!", "STU\n I was, uh, just getting ready to leave...\n\n BULL\n Yo, Jumbo. We got us some kind of ventriloquist\n here.", "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "STU\n Say, have you seen Mr. Hypnos?\n\n HAND WOMAN\n Hyp? He was here a while ago. Aren't you Stu\n Miley? The nightmare guy?", "JULIE\n Stu? Is that you? Where did you go?\n\n STU-BONE\n Me? Nowhere. I was asleep." ], [ "STU\n ...Kitty?!?\n\nAt the sight of STU behind bars, she breaks down CRYING.", "Through the big window, he sees the boys leveling off, flying toward the\nDARK TOWN TUNNEL. They're moments away from a clean escape.\n\nINT. STU'S ROOM - NIGHT", "STU\n Look at this! He won't let us leave!\n\n JULIE\n Who?", "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "STU\n No. No. Not him.\n\n EARL\n So long, suckers! See you in the funny papers!", "STU\n Julie and I - we were just gonna go...\n\nBut before STU knows what's hit him, HERB is leading him back to -", "STU's bigger. He pulls the pouch onto his shoulder, and MONKEYBONE with\nit. They grab the bike, climb aboard, and pedal off -", "STU\n See these doors? The cool thing is, you go out\n ...they close...you can't get back in!\n\nHe opens one door and holds it for JULIE.", "just about killed us all. And Stu and I made a\n pact that when our time came - we wouldn't let\n it drag out.", "He bounds over a table and into STU's arms, with the precious pouch in\nhand! DEATH lets out a great rattling BELLOW OF RAGE.", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "INT. DUNGEON - NIGHT\n\nA damp, stonewalled VAULT with a barred door. STU is sprawled on the\nfloor, OUT COLD, when a VOICE awakes him...", "STU-BONE\n Oh shit, the cake!\n\nHe bends down, snatches up the cake, and CRADLES IT under one arm as he\nKICKS AT BUSTER from the sofa.", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "STU\n How am I gonna get past the guards?\n\n KITTY\n I'll worry about the guards.\n (loudly)", "STU-BONE does a take. The good news is, she doesn't suspect. The bad\nnews is, he's apparently named after his creator's penis.\n\nINT. HALLWAY - A MOMENT LATER", "STU\n (grabbing him by the throat)\n I've got one chance to get back to Julie, and\n I'm gonna take it - with or without you.", "ON STU AND MONKEYBONE - FALLING\n\nSTU lands a HAYMAKER, and the two of them break loose of each other -", "With a brusque gesture, HYPNOS sends the party girls packing. He slings\none arm around STU's shoulder and pulls him aside.", "STU\n Well, I have to get a message to her. I have to\n let her know I'm okay. Until I can get out of\n here..." ], [ "Laughing maniacally, MONKEYBONE STEALS the E-TICKET and goes RACING OFF\nDOWN THE MIDWAY!!", "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him...", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "He digs around under the sink, finds the purple beaker of ONEIRIX. Looks\nat the FARTING DOLL...and GRINS.\n\n STU-BONE\n This'll get him off my back!", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "STU\n Hypnos! The god of nightmares! Do you know what\n this means, Monkeybone? He's finally going to\n hear my case. I'm going home!", "HYPNOS\n Haw! I like a monkey with vision!\n\n MONKEYBONE\n You said it, partner!", "MONKEYBONE\n I doubt that. Besides, I can't help myself. I'm\n just a figment of your imagination.\n\n STU\n Then you can learn to act normally. I had to!", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "MONKEYBONE covers both eyes and wails in fear. But STU is rattling the\nignition switch, making ONE LAST EFFORT to get the bike aloft...", "STANLEY (V.O.)\n Monkeybone!!", "MONKEYBONE\n Stu... It's a party.\n\n STU\n Mr. Hypnos - sir - I needed to talk to you -", "He turns and stalks off. MONKEYBONE stands there blinking.\n\n MONKEYBONE\n Hey. Aren't you gonna talk me into it?", "MONKEYBONE\n The penthouse is pretty swank, though.\n\n HYPNOS\n Thank you. I decorated it myself.", "On the top shelf is a corked beaker of purple fluid bearing the label\n\"ONEIRIX\" with red DANGER stickers all over it. STU-BONE takes it out,", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "MONKEYBONE\n Maybe he wanted to pick out his own casket?\n\n STU\n (turning abruptly)\n HEY!! HEY, YOU!!", "STU\n But why me? Why'd you pick on me??\n\n HYPNOS\n The monkey, of course. It was his idea.", "MONKEYBONE fiddles with the ignition switch. A BLACK CLOUD OF EXHAUST\nbelches violently from the rear of the bike, almost pitching them off\ntheir seat. The batwings start to flap faster..." ], [ "STU\n You saved my life, Monkeybone. I never would've\n made it without you.\n\n MONKEYBONE\n Move it. We got exactly five minutes left.", "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "STU\n Nine AM! But that's - twelve hours.\n\nIn checking his watch, STU removes his hand from MONKEYBONE's mouth. The\nsingsong resumes...", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "STU\n All right. You can come.\n\n MONKEYBONE\n OH, THANK YOU! THANK YOU! TH--\n (suddenly realizing)\n Something went very, very wrong here.", "MONKEYBONE\n Stu? Stu? Let's not disturb the nice Reaper.", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "JULIE\n You want to leave? But Stu - you're a big hit!\n Everyone loves you!\n\n STU\n They don't love me. They love Monkeybone.", "He turns and stalks off. MONKEYBONE stands there blinking.\n\n MONKEYBONE\n Hey. Aren't you gonna talk me into it?", "STU\n Stop! Monkeybone! Please!!\n\nEXT. DARK TOWN PLAZA - NIGHT", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "JULIE\n Well. As long as it's okay with Monkeybone -\n\nSTU-BONE almost lets out a gasp of shock. What does she mean???", "STANLEY (V.O.)\n Monkeybone!!", "STU\n Listen to me! Is there any way I can warn her\n what Monkeybone is up to??\n\n RAT GUARD\n Time's up! Break it up, you two.", "MONKEYBONE\n Stu, you have my absolute confidence. - DEAD\n MAN! DEAD MAN WALKING!!" ], [ "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "His eyes widen in horror as he steps out to survey the scene. The\nasphalt is strewn with MONKEYBONE MERCHANDISE - stuffed dolls, games,", "The entire Monkeybone brain trust has come to visit: HERB, syndicate\nhead MR. BOWERS, and several CORPORATE REPS hoping to arrange tie-in", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "STU\n So here's my idea. We do a giveaway at the zoo\n benefit. We get a big piñata. We fill it with\n Monkeybone dolls - hundreds of 'em.", "He turns and stalks off. MONKEYBONE stands there blinking.\n\n MONKEYBONE\n Hey. Aren't you gonna talk me into it?", "As STU pulls into the intersection he sees a DELIVERY TRUCK approaching\nin the opposite lane, with a cardboard likeness of MONKEYBONE mounted\natop the cab. He chuckles...", "The BAZOOM TOY REP is rounding a corner when HERB pops out from behind a\ntree and BLASTS HIM with a jolt of purple gas from a Monkeybone doll! He\nsputters and coughs...", "MONKEYBONE\n My Fellow Americans. I have a dream. Let us\n boldly go where no man has gone before.\n\n STU\n (trying to ignore him)", "HYPNOS\n Haw! I like a monkey with vision!\n\n MONKEYBONE\n You said it, partner!", "STANLEY (V.O.)\n Monkeybone!!", "MONKEYBONE fiddles with the ignition switch. A BLACK CLOUD OF EXHAUST\nbelches violently from the rear of the bike, almost pitching them off\ntheir seat. The batwings start to flap faster...", "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him...", "The REAPER wrings out his shroud and grabs the hand truck. As he wheels\nLULU past the boys, MONKEYBONE pops up with a helpful hint:", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "A WINDOW shatters. The SHRINK comes hurtling out. MONKEYBONE STRADDLES\nHIM like Slim Pickens riding an H-bomb, hootin' and hollerin' all the\nway down to the street.", "JULIE lifts the curtain - and sees STU-BONE in his gas mask, bent over\nin a weird crab like stance, chasing BUSTER around the yard with the\nMonkeybone doll.", "MONKEYBONE\n Stu... It's a party.\n\n STU\n Mr. Hypnos - sir - I needed to talk to you -", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck." ], [ "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "MONKEYBONE\n Say, Death, just out of curiosity, could we\n maybe swap jobs with that other guy? See, we've\n been meaning to drop in on Dark Town - I mean\n I've been meaning to...", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "DEATH lets out a MIGHTY ROAR and CLAPS HIS GREAT METAL HANDS together.\nMan and monkey are surely squished. But when DEATH opens his hands, STU", "MONKEYBONE\n Death, I'd like to point out that none of this\n was my fault. The roots of this tragedy go back\n to a callous, uncaring society that -", "He turns and stalks off. MONKEYBONE stands there blinking.\n\n MONKEYBONE\n Hey. Aren't you gonna talk me into it?", "MONKEYBONE\n Fate worse than death! Well, it's been real,\n boss, but I gotta go buff up my resumé. ANYBODY\n HERE NEED A FIGMENT?", "MONKEYBONE is caught - his body contorted like a pretzel, woven in and\nout among the meshing teeth! STU gives him a good hard YANK, and he\nslips out like a strand of fettuccine.", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "A trouper to the end, MONKEYBONE WAVES at the crowd even as STU drags\nhim off to an empty table in the farthest corner of the room.", "MONKEYBONE\n Stu? Stu? Let's not disturb the nice Reaper.", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "MONKEYBONE\n What'd I tell you? You go to the Land of Death,\n wear a jockstrap!\n\nEXT. TRAINYARD - HIGH ANGLE", "DEATH\n ...What??\n\n STU MONKEYBONE\n Salty Dog. Sufferin' Bastard.", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "MONKEYBONE fiddles with the ignition switch. A BLACK CLOUD OF EXHAUST\nbelches violently from the rear of the bike, almost pitching them off\ntheir seat. The batwings start to flap faster...", "His eyes widen in horror as he steps out to survey the scene. The\nasphalt is strewn with MONKEYBONE MERCHANDISE - stuffed dolls, games," ], [ "just about killed us all. And Stu and I made a\n pact that when our time came - we wouldn't let\n it drag out.", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "STU\n No. No. Not him.\n\n EARL\n So long, suckers! See you in the funny papers!", "STU\n Julie and I - we were just gonna go...\n\nBut before STU knows what's hit him, HERB is leading him back to -", "O.D. STU sees him - pulls away from JULIE -\n\n O.D. STU\n I LOVE YOU!\n\n JULIE\n STU!!", "STU\n Look at this! He won't let us leave!\n\n JULIE\n Who?", "STU\n ...Kitty?!?\n\nAt the sight of STU behind bars, she breaks down CRYING.", "- so STU-BONE stops kissing JULIE long enough to reach over with one\nfoot and KICK THE DOOR SHUT.\n\nINT. BEDROOM - A MOMENT LATER", "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "The REAPER vanishes. STU sits dejectedly on the edge of the curb.", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "HYPNOS marches off, chuckling. STU's head sinks into his hands.\n\n\nEXT. STU AND JULIE'S HOUSE - DAY", "STU-BONE\n Oh shit, the cake!\n\nHe bends down, snatches up the cake, and CRADLES IT under one arm as he\nKICKS AT BUSTER from the sofa.", "STU-BONE does a take. The good news is, she doesn't suspect. The bad\nnews is, he's apparently named after his creator's penis.\n\nINT. HALLWAY - A MOMENT LATER", "They wander off, arm in arm. STU TUGS at the seat of his pants.\n\n JULIE\n What's the matter?\n\n STU\n My tail itches.", "STU breaks free and FLINGS HIMSELF on the ORB - which SHORTS OUT in a\nhaze of smoke and sparks, abruptly ending the nightmare. JULIE's image", "STU\n Fine, thanks. Saw my girl, said goodbye,\n everything's gonna be okay.\n (shrugging)\n I guess I'm yours now.", "STU's bigger. He pulls the pouch onto his shoulder, and MONKEYBONE with\nit. They grab the bike, climb aboard, and pedal off -" ] ]	[ "What has Stu learned about his sister? ", "What are exit passes good for?", "Who shoots the balloon that Monkeybone and Stu are clinging to?", "Where does death place Monkeybone? ", "How does death send Stu back to the living? ", "How does Monkeybone try and distract death?", "What does Herb keep asking everyone to do? ", "What chemical substance does Hypos desire? ", "What is Herb's relationship with Stu?", "What does Stu discover about his comic strip when he enters Down Town?", "Why did Stu Miley meet with Dr. Julie McElroy?", "Why does Stu seek advice from Hypnos?", "What does Stu need to return back to his body?", "What does Hypnos plan to do with Stu's body?", "How long does Death give Stu to return to the land of the living to find his body?", "What happens to Stu and Monkeybone after their balloon is shot down?", "Who is operating the giant robot that saves Stu and Monkeybone?", "What happens to Stu and Julie when they are reunited?", "How does Monkeybone plan on infecting people with the nightmare substance?", "Who is Stu Miley?", "Who is Monkeybone?", "Who is Dr. Julie McElroy?", "Who did Stu ask for advice during his time in Down Town?", "Who helped Stu escape from prison?", "Why did Monkeybone steal the Oneirix?", "How much time did Death give Stu to stop Monkeybone?", "In what way did Monkeybone plan to expose people to the Oneirix?", "How did Death deal with Monkeybone?", "What did Stu do at the end?" ]	[ [ "That she intends to pull the plug on him", "she is about to pull his plug" ], [ "They allow coma victims to leave Down Town and awaken from their comas", "It gives the holder permission to leave Down Town. " ], [ "A police officer", "A police officer shoots the balloon." ], [ "Back inside Stu's head", "in Stu's hand" ], [ "By using a robot", "with a robot" ], [ "By asking to go to the bathroom", "He asked to go to the bathroom." ], [ "To take off their clothes", "Take off their clothes" ], [ "Oneirix", "Oneirix" ], [ "He is Stu's agent", "Herb is Stu's agent." ], [ "That his main character Monkeybone has become real.", "That the character he has drawn is real." ], [ "To help Stu deal with his nightmares.", "She helped him with his nightmares." ], [ "Stu wants to find out how to return to the living.", "Stu seeks advice from Hypnos on how to get back to the land of the living." ], [ "Stu needs an Exit Pass from Death.", "The Revive-O." ], [ "To steal a substance that gives humans and animals nightmares.", "He plans to get a drug called Oneirix into people's bodies to give them nightmares." ], [ "One hour.", "Death gives Stu only one hour to find his body." ], [ "They fall from the sky and are caught by a giant robot.", "They fall and are knocked unconscious." ], [ "Death", "Death is operating the giant robot." ], [ "They get engaged and then married.", "They get married" ], [ "He places the substance in stuffed animals.", "He puts it in stuffed monkey toys." ], [ "A disillusioned cartoonist.", "A cartoonist." ], [ "A monkey comic strip character created by Stu Miley.", "A rascal monkey. " ], [ "A sleep institute worker.", "Dr. Julie McElroy is a sleep institute worker." ], [ "Hypnos, god of sleep.", "Hypnos" ], [ "Miss Kitty.", "Miss Kitty" ], [ "It gives people and animals nightmares which gives Hypnos more power.", "Monkeybone steals the Oneirix to make people who touch Monkeybone dolls have nightmares." ], [ "One Hour.", "1 hour" ], [ "Via several farting Monkeybone dolls stuffed inside a pinata.", "A party. " ], [ "Placed him back in Stu's head.", "H eplaces him back in Stu's head." ], [ "Proposed to Julie.", "Stu proposes to Julie. " ] ]	bb4c45e6a2f4c58def38dbd630d7059028c27bdd	test
[ [ "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "Eternal, long ere now had all things gone\n Back into nothing utterly, and all\n We see around from nothing had been born--\n But since I taught above that naught can be", "Then, too, Democritus, when ripened eld\n Admonished him his memory waned away,\n Of own accord offered his head to death.", "Purged the breasts of men, and set the bounds\n Of lust and terror, and exhibited\n The supreme good whither we all endeavour,", "And followed up with maxims, they would free\n Their state of man from anguish and from fear.\n \"O even as here thou art, aslumber in death,", "Therefore we see that our corporeal life\n Needs little, altogether, and only such\n As takes the pain away, and can besides\n Strew underneath some number of delights.", "Forbidding life to him on whom might crowd\n Such irk and care; and granted 'tis to know:\n Nothing for us there is to dread in death,", "O thou who first uplifted in such dark\n So clear a torch aloft, who first shed light\n Upon the profitable ends of man,", "Seemeth the doctrine which the holy thought\n Of great Democritus lays down: that ever\n The nearer the constellations be to earth", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "In earthen body), contrariwise, they teach\n How the thin air, and with it the hot fire,\n Is borne asunder from the centre, and how,", "The bonds of common peace to pass a life\n Composed and tranquil. For albeit he 'scape\n The race of gods and men, he yet must dread", "From whom sweet solaces of life, afar\n Distributed o'er populous domains,\n Now soothe the minds of men. But if thou thinkest", "***\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "Stirred with a motion everlasting on,\n And in what mode things be from them create,\n And since I've taught what the mind's nature is,", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "Till thou dost learn the nature of all things\n And understandest their utility.", "'Tis needful most of all to make it sure\n That naught's at hand but body mixed with void.\n A first ensample: in grottos, rocks o'erhead", "For when in life one pictures to oneself\n His body dead by beasts and vultures torn,\n He pities his state, dividing not himself", "Seated in chariot o'er the realms of air\n To drive her team of lions, teaching thus\n That the great earth hangs poised and cannot lie" ], [ "Upon the ways and conduct of the skies--\n This to maintain by many a fact besides--\n That in no wise the nature of all things\n For us was fashioned by a power divine--", "This to maintain by many a fact besides--\n That in no wise the nature of the world\n For us was builded by a power divine--", "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "Eternal, long ere now had all things gone\n Back into nothing utterly, and all\n We see around from nothing had been born--\n But since I taught above that naught can be", "Meantime, when once we know from nothing still\n Nothing can be create, we shall divine\n More clearly what we seek: those elements\n From which alone all things created are,", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "Unless from out the infinite of space\n Could come supply of matter, whence in season\n They're wont whatever losses to repair.\n For as the nature of breathing creatures wastes,", "Herein in these affairs nowise take up\n What honoured sage, Democritus, lays down--\n That proposition, that primordials", "We must suppose to all the sky and earth\n Are ever supplied from out the infinite\n All things, O all in stores enough whereby\n The shaken earth can of a sudden move,", "Who by their reasonings do overshake\n The ramparts of the universe and wish\n There to put out the splendid sun of heaven,", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "And then collisions ne'er could be nor blows\n Among the primal elements; and thus\n Nature would never have created aught.", "In this our world 'tis hard to say for sure;\n But what can be throughout the universe,\n In divers worlds on divers plan create,\n This only do I show, and follow on", "*\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "By reasonings of mind. Again, without\n That place and room, which we do call the inane,\n Nowhere could bodies then be set, nor go", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "And from what causes they are brought to pass\n The origin is manifest; so, haply,\n Let none believe that in these regions stands", "The fact is founded in the void of things.\n But if the primal germs themselves be soft,\n Reason cannot be brought to bear to show\n The ways whereby may be created these", "And how accomplished by no tool of Gods.\n Suppose all sprang from all things: any kind\n Might take its origin from any thing,\n No fixed seed required. Men from the sea" ], [ "*\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "Seemeth the doctrine which the holy thought\n Of great Democritus lays down: that ever\n The nearer the constellations be to earth", "Herein in these affairs nowise take up\n What honoured sage, Democritus, lays down--\n That proposition, that primordials", "And, first,\n This do I say, as oft I've said before:\n In earth are atoms of things of every sort;", "That the white objects shining to thine eyes\n Are gendered of white atoms, or the black\n Of a black seed; or yet believe that aught", "For just as all things of creation are,\n In their whole nature, each to each unlike,\n So must their atoms be in shape unlike--", "Of the primeval atoms, are stirred up\n By impulse of those atoms' unseen blows,\n And these thereafter goad the next in size:", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "Hither and thither in all directions round.\n Lo, all their shifting movement is of old,\n From the primeval atoms; for the same", "Next, because, thinking there can be no end\n In cutting bodies down to less and less\n Nor pause established to their breaking up,\n They hold there is no minimum in things;", "In these affairs\n We wish thee also well aware of this:\n The atoms, as their own weight bears them down", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "Then, too, Democritus, when ripened eld\n Admonished him his memory waned away,\n Of own accord offered his head to death.", "This happens surely by a fixed law:\n For from all food-stuff, when once eaten down,\n Go sundered atoms, suited to each creature,", "Had staid at rest, its parts together crammed.\n Then too, however solid objects seem,\n They yet are formed of matter mixed with void:", "All things, were they not still together held\n By matter eternal, shackled through its parts,\n Now more, now less. A touch might be enough", "And so it never falters in delay\n Despite innumerable collisions, but\n Flies shooting onward with a swift elan.\n Next, since by nature always every weight", "This ultimate stock we have devised to name\n Procreant atoms, matter, seeds of things,\n Or primal bodies, as primal to the world.", "And naught opposing motion, from behind.\n And that more clearly thou perceive how all\n These mites of matter are darted round about,", "So in our programme of creation, mark\n How 'tis that, though the bodies of all stuff\n Are solid to the core, we yet explain" ], [ "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "End of the Project Gutenberg EBook of Of The Nature of Things, by \n[Titus Lucretius Carus] Lucretius", "Then, too, Democritus, when ripened eld\n Admonished him his memory waned away,\n Of own accord offered his head to death.", "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "Of these high matters, then a god was he,--\n Hear me, illustrious Memmius--a god;\n Who first and chief found out that plan of life", "O thou who first uplifted in such dark\n So clear a torch aloft, who first shed light\n Upon the profitable ends of man,", "Upon the crest of things, and now a birth\n And straightway now a ruin, inheres at rest\n Deep in the eternal atoms of the world.", "Now what the speed to matter's atoms given\n Thou mayest in few, my Memmius, learn from this:\n When first the dawn is sprinkling with new light", "For these consist of seeds more smooth and round\n And of much smaller elements than earth.\n And thus it was that ether, fraught with fire,", "Who by their reasonings do overshake\n The ramparts of the universe and wish\n There to put out the splendid sun of heaven,", "And followed up with maxims, they would free\n Their state of man from anguish and from fear.\n \"O even as here thou art, aslumber in death,", "Purged the breasts of men, and set the bounds\n Of lust and terror, and exhibited\n The supreme good whither we all endeavour,", "I know how hard it is in Latian verse\n To tell the dark discoveries of the Greeks,\n Chiefly because our pauper-speech must find", "His dauntless heart to be the first to rend\n The crossbars at the gates of Nature old.\n And thus his will and hardy wisdom won;", "And go right on to loose from round the mind\n The tightened coils of dread religion;\n Next, since, concerning themes so dark, I frame", "And go right on to loose from round the mind\n The tightened coils of dread religion;\n Next, since, concerning themes so dark, I frame", "Seemeth the doctrine which the holy thought\n Of great Democritus lays down: that ever\n The nearer the constellations be to earth", "The bellowings of ocean--poured his soul\n From dying body, as his light was ta'en.\n And Scipio's son, the thunderbolt of war,", "From out the triped and the Delphian laurel,\n Have still in matter of first-elements\n Made ruin of themselves, and, great men, great", "*\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think," ], [ "Seemed rounded, yet it more availeth us,\n Lacking the reason, to pretend a cause\n For each configuration, than to let\n From out our hands escape the obvious things", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "Upon the ways and conduct of the skies--\n This to maintain by many a fact besides--\n That in no wise the nature of all things\n For us was fashioned by a power divine--", "This to maintain by many a fact besides--\n That in no wise the nature of the world\n For us was builded by a power divine--", "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "For why those kinds should drop and part from things,\n Rather than others tenuous and thin,\n No power has man to open mouth to tell;\n Especially, since on outsides of things", "For the replenishment of wasted worlds.\n Once more, if nature had given a scope for things\n To be forever broken more and more,\n By now the bodies of matter would have been", "And then collisions ne'er could be nor blows\n Among the primal elements; and thus\n Nature would never have created aught.", "And know the substance of the soul is blood,\n Or rather wind (if haply thus their whim),\n And so need naught of this our science, then", "Fire made of fires, and water out of waters,\n Feigning the like with all the rest of stuff.\n Yet he concedes not any void in things,", "And so it never falters in delay\n Despite innumerable collisions, but\n Flies shooting onward with a swift elan.\n Next, since by nature always every weight", "All things, were they not still together held\n By matter eternal, shackled through its parts,\n Now more, now less. A touch might be enough", "Meantime, when once we know from nothing still\n Nothing can be create, we shall divine\n More clearly what we seek: those elements\n From which alone all things created are,", "But, now again to weave the tale begun,\n All nature, then, as self-sustained, consists\n Of twain of things: of bodies and of void", "So in our programme of creation, mark\n How 'tis that, though the bodies of all stuff\n Are solid to the core, we yet explain", "Spontaneous generations, fairer forms.\n Confess then, naught from nothing can become,\n Since all must have their seeds, wherefrom to grow,", "*\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "For, were aught mortal in its every part,\n Before our eyes it might be snatched away\n Unto destruction; since no force were needed", "Unless from out the infinite of space\n Could come supply of matter, whence in season\n They're wont whatever losses to repair.\n For as the nature of breathing creatures wastes," ], [ "For where, even from their old primordial start\n Causes have ever worked in such a way,\n And where, even from the world's first origin,", "This to maintain by many a fact besides--\n That in no wise the nature of the world\n For us was builded by a power divine--", "For all past actions may be said to be\n But accidents, in one way, of mankind,--\n In other, of some region of the world.", "Seemed rounded, yet it more availeth us,\n Lacking the reason, to pretend a cause\n For each configuration, than to let\n From out our hands escape the obvious things", "In this our world 'tis hard to say for sure;\n But what can be throughout the universe,\n In divers worlds on divers plan create,\n This only do I show, and follow on", "That very distance which in traversing\n The sun consumes the measure of a year.\n I say, no one clear reason hath been given\n For these affairs. Yet chief in likelihood", "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "That gods have stablished all things but for man,\n They seem in all ways mightily to lapse\n From reason's truth: for ev'n if ne'er I knew", "Reined up, whereat it settles back again.\n So seest thou not, how, though external force\n Drive men before, and often make them move,", "And from what causes they are brought to pass\n The origin is manifest; so, haply,\n Let none believe that in these regions stands", "Into arrangements such, and if they've passed\n Into vibrations such, as those whereby\n This sum of things is carried on to-day", "In divers worlds on divers plan create,--\n Somewhere afar more likely than upon\n One certain earth.) But men chose this to do\n Less in the hope of conquering than to give", "For the replenishment of wasted worlds.\n Once more, if nature had given a scope for things\n To be forever broken more and more,\n By now the bodies of matter would have been", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "In which they're set, and where they're moved around.\n For common instinct of our race declares\n That body of itself exists: unless", "And since I've taught thee that the world's great vaults\n Are mortal and that sky is fashioned\n Of frame e'en born in time, and whatsoe'er\n Therein go on and must perforce go on", "This sum of things is seen to be compact)\n So all have birth and perishable frame,\n Thus the whole nature of the world itself\n Must be conceived as perishable too.", "On alien air; but was conceived, like air,\n In the first origin of this the world,\n As a fixed portion of the same, as now", "That these things come to pass as I record,\n From this thou easily canst understand:\n So far as one is unto other like,", "And if their force and nature abide the same,\n Able to throw the seeds of things together\n Into their places, even as here are thrown\n The seeds together in this world of ours," ], [ "Therefore death to us\n Is nothing, nor concerns us in the least,\n Since nature of mind is mortal evermore.", "Or shades go floating in among the living,\n Or aught of us is left behind at death,\n When body and mind, destroyed together, each", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "From the whole body nothing ta'en in form,\n Nothing in weight. Death grants ye everything,\n But vital sense and exhalation hot.", "Will be dissolved and will therefore die.\n For just as food, dispersed through all the pores\n Of body, and passed through limbs and all the frame,", "Collects his senses. Death is, then, to us\n Much less--if there can be a less than that\n Which is itself a nothing: for there comes", "Is that, I trow, from what we mean by death.\n Wherefore 'tis sure that what hath been before\n Hath died, and what now is is now create.", "And hasten death, O many primal seeds\n Of many things in many modes--since earth\n Contains them mingled and gives forth discrete.\n And we have shown before that certain things", "Forbidding life to him on whom might crowd\n Such irk and care; and granted 'tis to know:\n Nothing for us there is to dread in death,", "Hard upon death a scattering more great\n Of the throng of matter, and no man wakes up\n On whom once falls the icy pause of life.", "That lack the living motion, living sense.\n For sure 'tis quite beside the mark to think\n That judgment and the nature of the mind\n In any kind of body can exist--", "The soul but mortal, since, so altered now\n Throughout the frame, it loses the life and sense\n It had before. Or how can mind wax strong", "Under the teeth of death? the fire? the moist?\n Or else the air? which then? the blood? the bones?\n No one, methinks, when every thing will be", "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "End of the Project Gutenberg EBook of Of The Nature of Things, by \n[Titus Lucretius Carus] Lucretius", "The vaults of sky receive. Nor thus doth death\n So far annihilate things that she destroys\n The bodies of matter; but she dissipates", "The icy members in the cold of death.\n But he whose mind and intellect abide\n Himself abides in life. However much", "Besides are seeds of soul there left behind\n In the breathless body, or not? If there they are,\n It cannot justly be immortal deemed,", "Within the very body, which at death\n Deserts our frames. And so, since nature of mind\n And even of soul is found to be, as 'twere,", "By which this sum of things recruited lives,\n Those same infallibly can never die,\n Nor nothing to nothing evermore return.\n And, too, the selfsame power might end alike" ], [ "Will be dissolved and will therefore die.\n For just as food, dispersed through all the pores\n Of body, and passed through limbs and all the frame,", "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "Therefore death to us\n Is nothing, nor concerns us in the least,\n Since nature of mind is mortal evermore.", "Or shades go floating in among the living,\n Or aught of us is left behind at death,\n When body and mind, destroyed together, each", "Collects his senses. Death is, then, to us\n Much less--if there can be a less than that\n Which is itself a nothing: for there comes", "Like to a snake. Wherefore, when once the body\n Hath passed away, admit we must that soul,\n Shivered in all that body, perished too.", "Hard upon death a scattering more great\n Of the throng of matter, and no man wakes up\n On whom once falls the icy pause of life.", "The soul no less is shed abroad and dies\n More quickly far, more quickly is dissolved\n Back to its primal bodies, when withdrawn", "Those plenteous exhalations it gives off.\n Thus, fairly, all things perish, when with ebbing\n They're made less dense and when from blows without", "From the whole body nothing ta'en in form,\n Nothing in weight. Death grants ye everything,\n But vital sense and exhalation hot.", "Now come: that thou mayst able be to know\n That minds and the light souls of all that live\n Have mortal birth and death, I will go on", "Under the teeth of death? the fire? the moist?\n Or else the air? which then? the blood? the bones?\n No one, methinks, when every thing will be", "Forbidding life to him on whom might crowd\n Such irk and care; and granted 'tis to know:\n Nothing for us there is to dread in death,", "And followed up with maxims, they would free\n Their state of man from anguish and from fear.\n \"O even as here thou art, aslumber in death,", "The soul but mortal, since, so altered now\n Throughout the frame, it loses the life and sense\n It had before. Or how can mind wax strong", "By which this sum of things recruited lives,\n Those same infallibly can never die,\n Nor nothing to nothing evermore return.\n And, too, the selfsame power might end alike", "Is that, I trow, from what we mean by death.\n Wherefore 'tis sure that what hath been before\n Hath died, and what now is is now create.", "And hasten death, O many primal seeds\n Of many things in many modes--since earth\n Contains them mingled and gives forth discrete.\n And we have shown before that certain things", "And rarefied by loss of blood from veins,\n Cannot for longer hold the soul, how then\n Thinkst thou it can be held by any air--", "The fears of death leave heart so free of care.\n But if we note how all this pomp at last\n Is but a drollery and a mocking sport," ], [ "Eternal, long ere now had all things gone\n Back into nothing utterly, and all\n We see around from nothing had been born--\n But since I taught above that naught can be", "Therefore death to us\n Is nothing, nor concerns us in the least,\n Since nature of mind is mortal evermore.", "He grieves that he is mortal born, nor marks\n That in true death there is no second self\n Alive and able to sorrow for self destroyed,", "With mutual motions. Besides the body alone\n Is nor begot nor grows, nor after death\n Seen to endure. For not as water at times", "There not at all exists the void inane.\n Thus primal bodies are solid, without a void.\n But since there's void in all begotten things,", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "Besides are seeds of soul there left behind\n In the breathless body, or not? If there they are,\n It cannot justly be immortal deemed,", "And now, since I have taught that things cannot\n Be born from nothing, nor the same, when born,\n To nothing be recalled, doubt not my words,", "The icy members in the cold of death.\n But he whose mind and intellect abide\n Himself abides in life. However much", "By which this sum of things recruited lives,\n Those same infallibly can never die,\n Nor nothing to nothing evermore return.\n And, too, the selfsame power might end alike", "This sum of things is seen to be compact)\n So all have birth and perishable frame,\n Thus the whole nature of the world itself\n Must be conceived as perishable too.", "For false the reasoning of those that say\n Immortal mind is changed by change of body--\n For what is changed dissolves, and therefore dies.", "Then heat will perish utterly and all,\n And out of nothing would the world be formed.\n For change in anything from out its bounds\n Means instant death of that which was before;", "Nor can we pluck one moment off, whereby\n To minish the aeons of our state of death.\n Therefore, O man, by living on, fulfil", "Now come: that thou mayst able be to know\n That minds and the light souls of all that live\n Have mortal birth and death, I will go on", "No wretchedness for him who is no more,\n The same estate as if ne'er born before,\n When death immortal hath ta'en the mortal life.", "Or shades go floating in among the living,\n Or aught of us is left behind at death,\n When body and mind, destroyed together, each", "The nature of things, since here is in debate\n Eternal time and not the single hour,\n Mortal's estate in whatsoever remains\n After great death.", "And besides,\n If soul immortal is, and winds its way\n Into the body at the birth of man,", "Thus if first bodies be, as I have taught,\n Solid, without a void, they must be then\n Eternal; and, if matter ne'er had been" ], [ "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "Of life within us, ere for thee my verse\n Hath put within thine ears the stores of proofs\n At hand for one soever question broached.", "Seemeth the doctrine which the holy thought\n Of great Democritus lays down: that ever\n The nearer the constellations be to earth", "Then, too, Democritus, when ripened eld\n Admonished him his memory waned away,\n Of own accord offered his head to death.", "Through which indeed unto himself is known\n The thing he calls the fire. For, though he thinks\n The senses truly can perceive the fire,\n He thinks they cannot as regards all else,", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "At bottom as mortal as whate'er we mark\n To perish by force before our gazing eyes.\n But my appeal is to the proofs above", "Upon the ways and conduct of the skies--\n This to maintain by many a fact besides--\n That in no wise the nature of all things\n For us was fashioned by a power divine--", "Herein in these affairs nowise take up\n What honoured sage, Democritus, lays down--\n That proposition, that primordials", "And followed up with maxims, they would free\n Their state of man from anguish and from fear.\n \"O even as here thou art, aslumber in death,", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "Eternal, long ere now had all things gone\n Back into nothing utterly, and all\n We see around from nothing had been born--\n But since I taught above that naught can be", "Forbidding life to him on whom might crowd\n Such irk and care; and granted 'tis to know:\n Nothing for us there is to dread in death,", "Indeed and heavy there for them the fall:\n First, because, banishing the void from things,\n They yet assign them motion, and allow", "More certain than our senses can there be\n Whereby to mark asunder error and truth?\n Besides, why rather do away with all,\n And wish to allow heat only, then deny", "Refuting the art of Greek astrologers,\n Labours, in opposition, to prove sure--\n As if, forsooth, the thing for which each fights,", "In which they're set, and where they're moved around.\n For common instinct of our race declares\n That body of itself exists: unless", "In these affairs\n We wish thee also well aware of this:\n The atoms, as their own weight bears them down", "'Tis needful most of all to make it sure\n That naught's at hand but body mixed with void.\n A first ensample: in grottos, rocks o'erhead", "Nor any limit to cutting bodies down.\n Wherefore to me he seems on both accounts\n To err no less than those we named before." ], [ "This to maintain by many a fact besides--\n That in no wise the nature of the world\n For us was builded by a power divine--", "Upon the ways and conduct of the skies--\n This to maintain by many a fact besides--\n That in no wise the nature of all things\n For us was fashioned by a power divine--", "Who by their reasonings do overshake\n The ramparts of the universe and wish\n There to put out the splendid sun of heaven,", "Making his child a sacrificial beast\n To give the ships auspicious winds for Troy:\n Such are the crimes to which Religion leads.", "And thus dissolve them by the blows of might.\n But not of solid body, as I've shown,\n Exists the nature of the world, because", "In divers worlds on divers plan create,--\n Somewhere afar more likely than upon\n One certain earth.) But men chose this to do\n Less in the hope of conquering than to give", "Whilst human kind\n Throughout the lands lay miserably crushed\n Before all eyes beneath Religion--who\n Would show her head along the region skies,", "And to unfold by his pronouncements all\n The nature of the world.", "In this our world 'tis hard to say for sure;\n But what can be throughout the universe,\n In divers worlds on divers plan create,\n This only do I show, and follow on", "They pressed from out their mass those particles\n Which were to form the sea, the stars, the sun,\n And moon, and ramparts of the mighty world--", "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "Unto annihilation! Then shall crash\n That massive form and fabric of the world\n Sustained so many aeons! Nor do I", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "They willed to prepare this world's magnificence,\n And that 'tis therefore duty and behoof\n To praise the work of gods as worthy praise,", "Succumbed, whilst each man sought unto himself\n Dominion and supremacy. So next\n Some wiser heads instructed men to found", "Spontaneous generations, fairer forms.\n Confess then, naught from nothing can become,\n Since all must have their seeds, wherefrom to grow,", "And since I've taught thee that the world's great vaults\n Are mortal and that sky is fashioned\n Of frame e'en born in time, and whatsoe'er\n Therein go on and must perforce go on", "And from what causes they are brought to pass\n The origin is manifest; so, haply,\n Let none believe that in these regions stands", "Purged the breasts of men, and set the bounds\n Of lust and terror, and exhibited\n The supreme good whither we all endeavour,", "Is there a lack of little in the world.\n But men wished glory for themselves and power\n Even that their fortunes on foundations firm\n Might rest forever, and that they themselves," ], [ "These wounds of life in no mean part are kept\n Festering and open by this fright of death.\n For ever we see fierce Want and foul Disgrace", "For when in life one pictures to oneself\n His body dead by beasts and vultures torn,\n He pities his state, dividing not himself", "Therefore we see that our corporeal life\n Needs little, altogether, and only such\n As takes the pain away, and can besides\n Strew underneath some number of delights.", "Not that we joyously delight that man\n Should thus be smitten, but because 'tis sweet\n To mark what evils we ourselves be spared;", "Have fallen out in vain, and, as he thinks\n How present times are not as times of old,\n Often he praises the fortunes of his sire,", "Hence, where thou seest a man to grieve because\n When dead he rots with body laid away,\n Or perishes in flames or jaws of beasts,", "For kinds alike. Then too 'tis thine to see\n How many things oppressive be and foul\n To man, and to sensation most malign:", "In those affairs, O awfullest of all,\n O pitiable most was this, was this:\n Whoso once saw himself in that disease", "Then, too, we see, that, just as body takes\n Monstrous diseases and the dreadful pain,\n So mind its bitter cares, the grief, the fear;", "Suffer a sore distress. For shouldst thou gaze\n Backwards across all yesterdays of time\n The immeasurable, thinking how manifold", "Poor wretch,\" they say, \"one hostile hour hath ta'en\n Wretchedly from thee all life's many guerdons,\"", "And why so great the heap of ill on heart,\n O not in this sort would they live their life,\n As now so much we see them, knowing not", "A discard of no honour; whilst another\n Succeeds to glory, issuing from contempt,\n And day by day is sought for more and more,", "For, lo, besides that, when the frame's diseased,\n Soul sickens too, there cometh, many a time,\n That which torments it with the things to be,", "As well befitting one for whom remains\n In life a journey through so many ills.\n But all the flocks and herds and all wild beasts", "And showed the path whereby we might arrive\n Thereunto by a little cross-cut straight,\n And what of ills in all affairs of mortals", "By more of kinship to these flaws of life,\n And mind by contact with that body suffers\n So many ills. But grant it be for them\n However useful to construct a body", "And born to die. And therefore when I see\n The mightiest members and the parts of this\n Our world consumed and begot again,\n 'Tis mine to know that also sky above", "And bares the inner thews hits not the life,\n Yet follows a fainting and a foul collapse,\n And, on the ground, dazed tumult in the mind,", "That now some portions seem about to fall,\n And falls the whole ere long--betrayed indeed\n By first deceiving estimates: so too\n Thy calculations in affairs of life" ], [ "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "That, when those creatures look upon the sun,\n We view the constellations of the night;\n And that with us the seasons of the sky\n They thus alternately divide, and thus", "Meantime, when once we know from nothing still\n Nothing can be create, we shall divine\n More clearly what we seek: those elements\n From which alone all things created are,", "In this our world 'tis hard to say for sure;\n But what can be throughout the universe,\n In divers worlds on divers plan create,\n This only do I show, and follow on", "Created them; but earth it was who bore--\n The same to-day who feeds them from herself.\n Besides, herself of own accord, she first", "Asunder flee, the ramparts of the world\n Dispart away, and through the void entire\n I see the movements of the universe.\n Rises to vision the majesty of gods,", "And think divinities are working there.\n Do thou, Calliope, ingenious Muse,\n Solace of mortals and delight of gods,", "That gods have stablished all things but for man,\n They seem in all ways mightily to lapse\n From reason's truth: for ev'n if ne'er I knew", "They willed to prepare this world's magnificence,\n And that 'tis therefore duty and behoof\n To praise the work of gods as worthy praise,", "This to maintain by many a fact besides--\n That in no wise the nature of the world\n For us was builded by a power divine--", "But now through oceans, lands, and heights of heaven,\n By divers causes and in divers modes,\n Before our eyes we mark how much may move,", "Nor constellations of the mighty world,\n Nor ocean, nor heaven, nor even earth nor air.\n Nor aught of things like unto things of ours", "Only because, seeing in land and sky\n So much the cause whereof no wise they know,\n Men think Divinities are working there.", "They roll along by any plan of gods.\n For even those men who have learned full well\n That godheads lead a long life free of care,\n If yet meanwhile they wonder by what plan", "They yet can do, distinguished one from other,\n No less than human beings, by clear signs.\n Thus oft before fair temples of the gods,", "That only this one earth and sky of ours\n Hath been create and that those bodies of stuff,\n So many, perform no work outside the same;", "Likewise, thou canst ne'er\n Believe the sacred seats of gods are here\n In any regions of this mundane world;", "Nay, thou beholdest in our verses here\n Elements many, common to many worlds,\n Albeit thou must confess each verse, each word", "They pressed from out their mass those particles\n Which were to form the sea, the stars, the sun,\n And moon, and ramparts of the mighty world--", "Much on the composition of the world,\n And in their turn inquire what elements\n They have themselves,--since, thus the same in kind\n As a whole mortal creature, even they" ], [ "Thus mind alone can never be, without\n The body and the man himself, which seems,\n As 'twere the vessel of the same--or aught", "And, born in any part soever, yet\n In the same man, in the same vessel abide.\n But since within this body even of ours\n Stands fixed and appears arranged sure", "By more of kinship to these flaws of life,\n And mind by contact with that body suffers\n So many ills. But grant it be for them\n However useful to construct a body", "Body is borne like ship with oars and wind.\n Nor yet in these affairs is aught for wonder\n That particles so fine can whirl around", "And, born in any part soever, yet\n In the same man, in the same vessel abide\n But since within this body even of ours\n Stands fixed and appears arranged sure", "Will be dissolved and will therefore die.\n For just as food, dispersed through all the pores\n Of body, and passed through limbs and all the frame,", "So great a body and turn this weight of ours;\n For wind, so tenuous with its subtle body,\n Yet pushes, driving on the mighty ship", "When creatures draw a breath or blow it out.\n Wherefore, since body thus is flogged alike\n Upon the inside and the out, and blows", "Thou markst that likewise with this body of ours\n Suffers the mind and with our body feels.\n If the dire speed of spear that cleaves the bones", "From out man's members it has gone away.\n For, sure, if body (container of the same\n Like as a jar), when shivered from some cause,", "Like to a snake. Wherefore, when once the body\n Hath passed away, admit we must that soul,\n Shivered in all that body, perished too.", "Once more, since body's unable to sustain\n Division from the soul, without decay\n And obscene stench, how canst thou doubt but that", "The trunk be mangled, with the limbs lopped off,\n The soul withdrawn and taken from the limbs,\n Still lives the trunk and draws the vital air.", "If one, moreover, denies that body feel,\n And holds that soul, through all the body mixed,\n Takes on this motion which we title \"sense,\"", "So then this soul is kept by all the body,\n Itself the body's guard, and source of weal:\n For they with common roots cleave each to each,", "Therefore, the soul, which was indeed but one,\n Has been divided with the body too:\n Each is but mortal, since alike is each", "Thus soul entire must be of smallmost seeds,\n Twined through the veins, the vitals, and the thews,\n Seeing that, when 'tis from whole body gone,", "To urge them up. 'Tis thus that blood, discharged\n From out our bodies, spurts its jets aloft\n And spatters gore. And hast thou never marked", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "Therefrom, removing not the self enough\n From the body flung away, imagining\n Himself that body, and projecting there\n His own sense, as he stands beside it: hence" ], [ "Spoilt from within,--in part, because he saw\n The vessel so cracked and leaky that nowise\n 'T could ever be filled to brim; in part because", "The vessel itself which worked the bane, and all,\n However wholesome, which from here or there\n Was gathered into it, was by that bane", "From out man's members it has gone away.\n For, sure, if body (container of the same\n Like as a jar), when shivered from some cause,", "Hath seized upon and held possession of\n The iron's open passage-ways, thereafter\n Cometh the tide of the stone, and in that iron", "Is borne along, although it seems to stand;\n The ship that bides in roadstead is supposed\n There to be passing by. And hills and fields", "The ice of bronze melts conquered in the flame;\n Warmth and the piercing cold through silver seep,\n Since, with the cups held rightly in the hand,", "And, born in any part soever, yet\n In the same man, in the same vessel abide.\n But since within this body even of ours\n Stands fixed and appears arranged sure", "To dash and beat; by means whereof it spues\n Forth from itself--and through the brass stirs up--\n The things which otherwise without the brass", "Into the spring what seeds she holds of fire\n (As one might squeeze with fist), which render hot\n The touch and steam of the fluid. Next, when sun,", "Body is borne like ship with oars and wind.\n Nor yet in these affairs is aught for wonder\n That particles so fine can whirl around", "And, born in any part soever, yet\n In the same man, in the same vessel abide\n But since within this body even of ours\n Stands fixed and appears arranged sure", "The vital veins of life is now no more\n Than that which ebbs within them and runs off.\n This is the point where life for each thing ends;", "And end his days in sterile love forever.\n What many men suppose; and gloomily\n They sprinkle the altars with abundant blood,", "And give its mother an eternal wound\n Along her heart. And 'tis on this account\n That armed they escort the mighty Mother,\n Or else because they signify by this", "It is preserved, when once it has been thrown\n Into the proper motions, bringing to pass\n That ever the streams refresh the greedy main", "Needeth no words--the mighty flux itself\n Of multitudinous waters round about\n Declareth this. But whatso water first\n Streams up is ever straightway carried off,", "And quenching thirst is earlier than cups.\n These objects, therefore, which for use and life\n Have been devised, can be conceived as found", "Thou grant what holds it be a solid. Know,\n That which can hold a void of things within\n Can be naught else than matter in union knit.", "Likewise, the wines sudden to vanish forth,\n The wine-jars intact,--because, ye see,\n Its heat arriving renders loose and porous", "That there the tide streams through without a break,\n Of which sort stuff of wood is seen to be.\n Therefore, when iron (which lies between the two)" ], [ "Sans body, give the vital motions forth;\n Nor, then, can body, wanting soul, endure\n And use the senses. Verily, as the eye,", "As that within live creatures as a whole.\n But of themselves those parts can never feel,\n For all the sense in every member back\n To something else refers--a severed hand,", "Once more, since body's unable to sustain\n Division from the soul, without decay\n And obscene stench, how canst thou doubt but that", "That lack the living motion, living sense.\n For sure 'tis quite beside the mark to think\n That judgment and the nature of the mind\n In any kind of body can exist--", "Thus mind alone can never be, without\n The body and the man himself, which seems,\n As 'twere the vessel of the same--or aught", "Apart from body can exist for soul,\n Nor tongue nor ears apart. And hence indeed\n Alone by self they can nor feel nor be.", "Thus soul entire must be of smallmost seeds,\n Twined through the veins, the vitals, and the thews,\n Seeing that, when 'tis from whole body gone,", "And just as hand, or eye, or nose, apart,\n Severed from us, can neither feel nor be,\n But in the least of time is left to rot,", "Where soul and mind can each exist and grow,\n Deny we must the more that they can dure\n Outside the body and the breathing form", "The trunk be mangled, with the limbs lopped off,\n The soul withdrawn and taken from the limbs,\n Still lives the trunk and draws the vital air.", "Will be dissolved and will therefore die.\n For just as food, dispersed through all the pores\n Of body, and passed through limbs and all the frame,", "Sans contact, and sans body contact fails--\n Must we not grant that mind and soul consist\n Of a corporeal nature?--And besides", "Or any other member of our frame,\n Itself alone cannot support sensation.\n It thus remains they must resemble, then,\n Live creatures as a whole, to have the power", "Throughout the body scattered, but obeys--\n Moved by the nod and motion of the mind.\n This, for itself, sole through itself, hath thought;", "Again, the body's and the mind's live powers\n Only in union prosper and enjoy;\n For neither can nature of mind, alone of self", "Of body and mind, each super-posed on each,\n Vary alternately and interweave\n The fabric of our members. For not only\n Are the soul-elements smaller far than those", "Besides are seeds of soul there left behind\n In the breathless body, or not? If there they are,\n It cannot justly be immortal deemed,", "With mutual motions. Besides the body alone\n Is nor begot nor grows, nor after death\n Seen to endure. For not as water at times", "And since we mark the vital sense to be\n In the whole body, all one living thing,\n If of a sudden a force with rapid stroke", "Alone, up-rended from its roots, apart\n From all the body, can peer about at naught,\n So soul and mind it seems are nothing able," ], [ "These wounds of life in no mean part are kept\n Festering and open by this fright of death.\n For ever we see fierce Want and foul Disgrace", "And fails the voice away, and ring the ears,\n Mists blind the eyeballs, and the joints collapse,--\n Aye, men drop dead from terror of the mind.", "And oft to that degree, from fright of death,\n Will hate of living and beholding light\n Take hold on humankind that they inflict", "FOLLY OF THE FEAR OF DEATH", "And followed up with maxims, they would free\n Their state of man from anguish and from fear.\n \"O even as here thou art, aslumber in death,", "The fears of death leave heart so free of care.\n But if we note how all this pomp at last\n Is but a drollery and a mocking sport,", "Collects his senses. Death is, then, to us\n Much less--if there can be a less than that\n Which is itself a nothing: for there comes", "Wherefore it tallies that the mind no less\n Partaker is of death; for pain and disease\n Are both artificers of death,--as well", "For just as children tremble and fear all\n In the viewless dark, so even we at times\n Dread in the light so many things that be", "Is aught, but power of thinking?--when, besides\n The whole of life but labours in the dark.\n For just as children tremble and fear all", "For as to what men sometimes will affirm:\n That more than Tartarus (the realm of death)\n They fear diseases and a life of shame,", "Therefore death to us\n Is nothing, nor concerns us in the least,\n Since nature of mind is mortal evermore.", "Hence, where thou seest a man to grieve because\n When dead he rots with body laid away,\n Or perishes in flames or jaws of beasts,", "And Nature holds this like a mirror up\n Of time-to-be when we are dead and gone.\n And what is there so horrible appears?", "With baseless terror, as the fables tell,\n Fears the huge boulder hanging in the air:\n But, rather, in life an empty dread of Gods", "Shuddering, will be upon them in the dark.\n This terror, then, this darkness of the mind,\n Not sunrise with its flaring spokes of light,", "Could well by any force o'ermastered be.\n And men would think them in their happiness\n Excelling far, because the fear of death", "Can ever be, and feareth lest the same\n But grow more heavy after death. Of truth,\n The life of fools is Acheron on earth.", "In perils and alarms? one fixed end\n Of life abideth for mortality;\n Death's not to shun, and we must go to meet.", "Forbidding life to him on whom might crowd\n Such irk and care; and granted 'tis to know:\n Nothing for us there is to dread in death," ], [ "On either side were given, that we might do\n Life's own demands. All such interpretation\n Is aft-for-fore with inverse reasoning,", "Which have been fashioned all of one like shape\n Are infinite in tale; for, since the forms\n Themselves are finite in divergences,", "All things to be borne backward and spring off\n At equal angles from all other things.\n To such degree the image gleams across\n From mirror unto mirror; where 'twas left", "In those which render from the mirror's plane\n A vision back, since each thing comes to pass\n By means of the two airs. Now, in the glass", "And flocks and fields to portion for each man\n After the beauty, strength, and sense of each--\n For beauty then imported much, and strength", "Yet formed with equal function, equal force\n In every bodily part--a fact thou mayst,\n However dull thy wits, well learn from this:", "The two should weigh alike, since body tends\n To load things downward, while the void abides,\n By contrary nature, the imponderable.", "And still I might by many an argument\n Here scrape together credence for my words.\n But for the keen eye these mere footprints serve,", "Seemed rounded, yet it more availeth us,\n Lacking the reason, to pretend a cause\n For each configuration, than to let\n From out our hands escape the obvious things", "Indeed and heavy there for them the fall:\n First, because, banishing the void from things,\n They yet assign them motion, and allow", "Now will I undertake an argument--\n One for these matters of supreme concern--\n That there exist those somewhats which we call\n The images of things: these, like to films", "The mirror, things of form and hue the same\n Respond. Besides, though but a moment since\n Serenest was the weather of the sky,", "Proportionate to the bulge of our own flank\n Send back to us their idols with the right\n Upon the right; and this is so because", "In the same fashion others of this ilk\n Created are. And when they're quickly borne\n In their exceeding lightness, easily\n (As earlier I showed) one subtle image,", "To us, but puts the fat on goats and quails.\n That thou mayst know by what devices this\n Is brought about, in chief thou must recall", "And so remould the features it gives back:\n It comes that now the right eye is the left,\n The left the right. An image too may be\n From mirror into mirror handed on,", "But besides,\n Seeing they feign that not all bodies press\n To centre inward, rather only those", "As throws the fire its light and warmth around,\n Giving thee proof its parts are not compact.\n But if perhaps they think, in other wise,", "Heaven keeps his two goals parted equally,\n By virtue of the fixed position old\n Of the whole starry Zodiac, through which", "When once unto the mirror it has come,\n Since the curved surface teaches it to turn\n To usward. Further, thou might'st well believe" ], [ "For all past actions may be said to be\n But accidents, in one way, of mankind,--\n In other, of some region of the world.", "In this our world 'tis hard to say for sure;\n But what can be throughout the universe,\n In divers worlds on divers plan create,\n This only do I show, and follow on", "For the replenishment of wasted worlds.\n Once more, if nature had given a scope for things\n To be forever broken more and more,\n By now the bodies of matter would have been", "That only this one earth and sky of ours\n Hath been create and that those bodies of stuff,\n So many, perform no work outside the same;", "By which this sum of things recruited lives,\n Those same infallibly can never die,\n Nor nothing to nothing evermore return.\n And, too, the selfsame power might end alike", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "The kinds of motion and conjoining, come\n Into those great arrangements out of which\n This sum of things established is create,\n By which, moreover, through the mighty years,", "This sum of things is seen to be compact)\n So all have birth and perishable frame,\n Thus the whole nature of the world itself\n Must be conceived as perishable too.", "And since I've taught thee that the world's great vaults\n Are mortal and that sky is fashioned\n Of frame e'en born in time, and whatsoe'er\n Therein go on and must perforce go on", "Nor can those motions that bring death prevail\n Forever, nor eternally entomb\n The welfare of the world; nor, further, can", "And to unfold by his pronouncements all\n The nature of the world.", "Much on the composition of the world,\n And in their turn inquire what elements\n They have themselves,--since, thus the same in kind\n As a whole mortal creature, even they", "Into arrangements such, and if they've passed\n Into vibrations such, as those whereby\n This sum of things is carried on to-day", "Each thing is seen to be: forsooth, this work\n With mightily swift order all goes on,\n So that upon one instant we may see", "And now to what remains!--Since I've resolved\n By what arrangements all things come to pass\n Through the blue regions of the mighty world,--", "And thus dissolve them by the blows of might.\n But not of solid body, as I've shown,\n Exists the nature of the world, because", "We must suppose to all the sky and earth\n Are ever supplied from out the infinite\n All things, O all in stores enough whereby\n The shaken earth can of a sudden move,", "That very distance which in traversing\n The sun consumes the measure of a year.\n I say, no one clear reason hath been given\n For these affairs. Yet chief in likelihood", "Now come: I will untangle for thy steps\n Now by what motions the begetting bodies\n Of the world-stuff beget the varied world,", "From off its course, shall fail to be on hand.\n Nor can the blows from outward still conserve,\n On every side, whatever sum of a world" ], [ "Were there before them, and their shapes remained,\n And chiefly, however, because men would not think\n Beings augmented with such mighty powers", "To move their limbs and speak pronouncements high,\n Befitting glorious visage and vast powers.\n And men would give them an eternal life,\n Because their visages forevermore", "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "Could well by any force o'ermastered be.\n And men would think them in their happiness\n Excelling far, because the fear of death", "Whilst human kind\n Throughout the lands lay miserably crushed\n Before all eyes beneath Religion--who\n Would show her head along the region skies,", "All things unto the empery of gods\n And to concede the kingly rule to them.\n For even those men who have learned full well", "And so committed to man's guardianship.\n Valour hath saved alive fierce lion-breeds\n And many another terrorizing race,", "Was ready to hand for mortals, and that life,\n As far as might be, was established safe,\n That men were lords in riches, honour, praise,", "Upon the verge, what wonder is it then\n That mortal generations abase themselves,\n And unto gods in all affairs of earth\n Assign as last resort almighty powers", "Of old religion and adopt again\n Harsh masters, deemed almighty,--wretched men,\n Unwitting what can be and what cannot,", "To meet together and to try all sorts\n Which, by combining one with other, they\n Are powerful to create: because of this\n It comes to pass that those primordials,", "For anxiously they fled the savage beasts,\n And peace they sought and their abundant foods,\n Obtained with never labours of their own,", "Reason thereof in speech. Because, in sooth,\n Even in those days would the race of man\n Be seeing excelling visages of gods", "And all the power of soul are shook so sore,\n And these so totter along with all the frame,\n That any cause a little stronger might", "The rabble's ingrate heads and impious hearts\n To panic with terror of the goddess' might.\n And so, when through the mighty cities borne,", "O humankind unhappy!--when it ascribed\n Unto divinities such awesome deeds,\n And coupled thereto rigours of fierce wrath!", "They roll along by any plan of gods.\n For even those men who have learned full well\n That godheads lead a long life free of care,\n If yet meanwhile they wonder by what plan", "Only because, seeing in land and sky\n So much the cause whereof no wise they know,\n Men think Divinities are working there.", "Tremendously with fires and winds, that even\n Back on the lands the people shudder round\n And seek for cover. Therefore, as I said,", "Harsh masters, deemed almighty,--wretched men,\n Unwitting what can be and what cannot,\n And by what law to each its scope prescribed," ], [ "His shall be aught of feeling after death.\n For he, I fancy, grants not what he says,\n Nor what that presupposes, and he fails", "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "Through which indeed unto himself is known\n The thing he calls the fire. For, though he thinks\n The senses truly can perceive the fire,\n He thinks they cannot as regards all else,", "And from the mind expelled, by words indeed,\n Not arms, O shall it not be seemly him\n To dignify by ranking with the gods?--", "Likewise, thou canst ne'er\n Believe the sacred seats of gods are here\n In any regions of this mundane world;", "And from the clouds of lighter density,\n None are sent forth forever. That 'tis so\n Beyond a doubt, fact plain to sense declares:", "Upon the ways and conduct of the skies--\n This to maintain by many a fact besides--\n That in no wise the nature of all things\n For us was fashioned by a power divine--", "And from what causes they are brought to pass\n The origin is manifest; so, haply,\n Let none believe that in these regions stands", "Herein in these affairs nowise take up\n What honoured sage, Democritus, lays down--\n That proposition, that primordials", "Doth he not seek the peace of gods with vows,\n And beg in prayer, a-tremble, lulled winds\n And friendly gales?--in vain, since, often up-caught", "Fire made of fires, and water out of waters,\n Feigning the like with all the rest of stuff.\n Yet he concedes not any void in things,", "If one, moreover, denies that body feel,\n And holds that soul, through all the body mixed,\n Takes on this motion which we title \"sense,\"", "Seek, so to say, to injure faith in sense--\n In vain, because the largest part of these\n Deceives through mere opinions of the mind,", "Among the silly, not the serious Greeks\n Who search for truth. For dolts are ever prone\n That to bewonder and adore which hides", "Nor constellations of the mighty world,\n Nor ocean, nor heaven, nor even earth nor air.\n Nor aught of things like unto things of ours", "Discovers to exist, therefore it comes\n That, in a moment how so brief ye will,\n The divers idols are hard by, and ready", "Whom nor the fame of Gods nor lightning's stroke\n Nor threatening thunder of the ominous sky\n Abashed; but rather chafed to angry zest", "They yet can do, distinguished one from other,\n No less than human beings, by clear signs.\n Thus oft before fair temples of the gods,", "Still the new temples of gods from land to land\n And drives mankind to visit them in throngs\n On holy days--'tis not so hard to give" ], [ "Seemeth the doctrine which the holy thought\n Of great Democritus lays down: that ever\n The nearer the constellations be to earth", "Herein in these affairs nowise take up\n What honoured sage, Democritus, lays down--\n That proposition, that primordials", "*\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "And, first,\n This do I say, as oft I've said before:\n In earth are atoms of things of every sort;", "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "In these affairs\n We wish thee also well aware of this:\n The atoms, as their own weight bears them down", "For just as all things of creation are,\n In their whole nature, each to each unlike,\n So must their atoms be in shape unlike--", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "That the white objects shining to thine eyes\n Are gendered of white atoms, or the black\n Of a black seed; or yet believe that aught", "Now what the speed to matter's atoms given\n Thou mayest in few, my Memmius, learn from this:\n When first the dawn is sprinkling with new light", "Of the primeval atoms, are stirred up\n By impulse of those atoms' unseen blows,\n And these thereafter goad the next in size:", "As have no parts, the minimums of nature.\n And since these are, likewise confess thou must\n That primal bodies are solid and eterne.", "Hither and thither in all directions round.\n Lo, all their shifting movement is of old,\n From the primeval atoms; for the same", "This happens surely by a fixed law:\n For from all food-stuff, when once eaten down,\n Go sundered atoms, suited to each creature,", "But rather with what sort of shape equipped,\n 'Tis thine to know the atoms need not colour,\n But render forth sensations, as of touch,", "Unto the procreant atoms of the world.\n Now come, and what the law of earthquakes is\n Hearken, and first of all take care to know", "Then, too, Democritus, when ripened eld\n Admonished him his memory waned away,\n Of own accord offered his head to death.", "This ultimate stock we have devised to name\n Procreant atoms, matter, seeds of things,\n Or primal bodies, as primal to the world.", "Athrough their pores. And much it does transfix,\n When these primordial atoms of the bolt\n Have fallen upon the atoms of these things\n Precisely where the intertwined atoms", "For these consist of seeds more smooth and round\n And of much smaller elements than earth.\n And thus it was that ether, fraught with fire," ], [ "*\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "Seemeth the doctrine which the holy thought\n Of great Democritus lays down: that ever\n The nearer the constellations be to earth", "'Tis thine to know our veins and blood and bones\n And thews are formed of particles unlike\n To them in kind; or if they say all foods", "Now what the speed to matter's atoms given\n Thou mayest in few, my Memmius, learn from this:\n When first the dawn is sprinkling with new light", "And, first,\n This do I say, as oft I've said before:\n In earth are atoms of things of every sort;", "In these affairs\n We wish thee also well aware of this:\n The atoms, as their own weight bears them down", "And naught opposing motion, from behind.\n And that more clearly thou perceive how all\n These mites of matter are darted round about,", "As have no parts, the minimums of nature.\n And since these are, likewise confess thou must\n That primal bodies are solid and eterne.", "Herein in these affairs nowise take up\n What honoured sage, Democritus, lays down--\n That proposition, that primordials", "That the white objects shining to thine eyes\n Are gendered of white atoms, or the black\n Of a black seed; or yet believe that aught", "Do come those particles which make the clouds\n And flying thunderheads. For I have taught\n That this their number is innumerable\n And infinite the sum of the Abyss,", "For these consist of seeds more smooth and round\n And of much smaller elements than earth.\n And thus it was that ether, fraught with fire,", "Meantime, when once we know from nothing still\n Nothing can be create, we shall divine\n More clearly what we seek: those elements\n From which alone all things created are,", "Which this our body and inward parts compose,\n But also are they in their number less,\n And scattered sparsely through our frame. And thus", "And so it never falters in delay\n Despite innumerable collisions, but\n Flies shooting onward with a swift elan.\n Next, since by nature always every weight", "The skeleton?--How tiny thus they are!\n And what besides of those first particles\n Whence soul and mind must fashioned be?--Seest not", "All things, were they not still together held\n By matter eternal, shackled through its parts,\n Now more, now less. A touch might be enough", "Of knowledge. For this reason too 'tis fit\n Thou turn thy mind the more unto these bodies\n Which here are witnessed tumbling in the light:", "Hither and thither in all directions round.\n Lo, all their shifting movement is of old,\n From the primeval atoms; for the same", "Had staid at rest, its parts together crammed.\n Then too, however solid objects seem,\n They yet are formed of matter mixed with void:" ], [ "To each by Nature's changeless, old decrees.\n The sum of things there is no power can change,\n For naught exists outside, to which can flee", "***\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "Again, since all things kind by kind obtain\n Fixed bounds of growing and conserving life;\n Since Nature hath inviolably decreed", "And with his words unfolded Nature's source.\n Then be it ours with steady mind to clasp\n The purport of the skies--the law behind", "But only Nature's aspect and her law,\n Which, teaching us, hath this exordium:\n Nothing from nothing ever yet was born.\n Fear holds dominion over mortality", "And so it never falters in delay\n Despite innumerable collisions, but\n Flies shooting onward with a swift elan.\n Next, since by nature always every weight", "To sunder its members and undo its bands.\n Whereas, of truth, because all things exist,\n With seed imperishable, Nature allows", "Its billows and plunging boulders. For clear fact\n Requires that earth must be in every part\n Alike in constitution. Therefore, earth,", "As have no parts, the minimums of nature.\n And since these are, likewise confess thou must\n That primal bodies are solid and eterne.", "But yet because true reason and nature of things\n Constrain us, come, whilst in few verses now\n I disentangle how there still exist", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "But, now again to weave the tale begun,\n All nature, then, as self-sustained, consists\n Of twain of things: of bodies and of void", "On any side, at any time, to aught\n Oppose resistance, but will ever yield,\n True to its bent of nature. Wherefore all,", "Yet formed with equal function, equal force\n In every bodily part--a fact thou mayst,\n However dull thy wits, well learn from this:", "Meantime, when once we know from nothing still\n Nothing can be create, we shall divine\n More clearly what we seek: those elements\n From which alone all things created are,", "And if their force and nature abide the same,\n Able to throw the seeds of things together\n Into their places, even as here are thrown\n The seeds together in this world of ours,", "Will scatter through the body's every pore.\n Yet as a rule, almost upon the skin\n These motion aIl are stopped, and this is why", "However far removed in twisting ways,\n May still be all brought forth through bending paths\n And by these several mirrors seen to be\n Within the house, since nature so compels", "Now since indeed there are those surest bodies\n Which keep their nature evermore the same,\n Upon whose going out and coming in\n And changed order things their nature change,", "All things, were they not still together held\n By matter eternal, shackled through its parts,\n Now more, now less. A touch might be enough" ], [ "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "They yet can do, distinguished one from other,\n No less than human beings, by clear signs.\n Thus oft before fair temples of the gods,", "In quaking thoughts!), and which abase their minds\n With dread of deities and press them crushed\n Down to the earth, because their ignorance\n Of cosmic causes forces them to yield", "Only because, seeing in land and sky\n So much the cause whereof no wise they know,\n Men think Divinities are working there.", "To move their limbs and speak pronouncements high,\n Befitting glorious visage and vast powers.\n And men would give them an eternal life,\n Because their visages forevermore", "And in what modes hath bosomed in their breasts\n That awe of gods, which halloweth in all lands\n Fanes, altars, groves, lakes, idols of the gods.", "And now what cause\n Hath spread divinities of gods abroad\n Through mighty nations, and filled the cities full", "Indeed, the nature of the gods, so subtle,\n So far removed from these our senses, scarce\n Is seen even by intelligence of mind.", "And all the more since he was wont to give,\n Concerning the immortal gods themselves,\n Many pronouncements with a tongue divine,", "The image of that mother, the divine.\n Her the wide nations, after antique rite,\n Do name Idaean Mother, giving her", "Reason thereof in speech. Because, in sooth,\n Even in those days would the race of man\n Be seeing excelling visages of gods", "Likewise, thou canst ne'er\n Believe the sacred seats of gods are here\n In any regions of this mundane world;", "Discovers to exist, therefore it comes\n That, in a moment how so brief ye will,\n The divers idols are hard by, and ready", "With mind awake; and in his sleeps, yet more--\n Bodies of wondrous growth. And, thus, to these\n Would men attribute sense, because they seemed", "And think divinities are working there.\n Do thou, Calliope, ingenious Muse,\n Solace of mortals and delight of gods,", "And from the mind expelled, by words indeed,\n Not arms, O shall it not be seemly him\n To dignify by ranking with the gods?--", "O humankind unhappy!--when it ascribed\n Unto divinities such awesome deeds,\n And coupled thereto rigours of fierce wrath!", "Branding with mortal talk immortal things--\n Though these same things are even so far removed\n From any touch of deity and seem", "That, when those creatures look upon the sun,\n We view the constellations of the night;\n And that with us the seasons of the sky\n They thus alternately divide, and thus", "So far unworthy of numbering with the gods,\n That well they may be thought to furnish rather\n A goodly instance of the sort of things" ], [ "The soul is close conjoined with the mind.\n Next, soul in turn strikes body, and by degrees\n Thus the whole mass is pushed along and moved.", "Of body and mind, each super-posed on each,\n Vary alternately and interweave\n The fabric of our members. For not only\n Are the soul-elements smaller far than those", "This nature of mind, now ruler of our body,\n Born from that soul which perished, when divided\n Along the frame. Wherefore it seems that soul", "That lack the living motion, living sense.\n For sure 'tis quite beside the mark to think\n That judgment and the nature of the mind\n In any kind of body can exist--", "And know the substance of the soul is blood,\n Or rather wind (if haply thus their whim),\n And so need naught of this our science, then", "Of body and mind. For of the primal germs\n Are loosed their old arrangements, and, throughout,\n The vital motions blocked,--until the stuff,", "Within the very body, which at death\n Deserts our frames. And so, since nature of mind\n And even of soul is found to be, as 'twere,", "Thou markst that likewise with this body of ours\n Suffers the mind and with our body feels.\n If the dire speed of spear that cleaves the bones", "Thus soul entire must be of smallmost seeds,\n Twined through the veins, the vitals, and the thews,\n Seeing that, when 'tis from whole body gone,", "Since both are one, a substance inter-joined.\n First, then, since I have taught how soul exists\n A subtle fabric, of particles minute,", "There is indeed in mind that heat it gets\n When seething in rage, and flashes from the eyes\n More swiftly fire; there is, again, that wind,", "To all his senses and recovers soul.\n Thus, since within the body itself of man\n The mind and soul are by such great diseases", "The power of mind; thereafter, where already\n The body's shattered by master-powers of eld,\n And fallen the frame with its enfeebled powers,", "Mind and soul,\n I say, are held conjoined one with other,\n And form one single nature of themselves;", "The soul no less is shed abroad and dies\n More quickly far, more quickly is dissolved\n Back to its primal bodies, when withdrawn", "Moreover, if after the body hath been built\n Our mind's live powers are wont to be put in,\n Just at the moment that we come to birth,", "And rarefied by loss of blood from veins,\n Cannot for longer hold the soul, how then\n Thinkst thou it can be held by any air--", "Where soul and mind can each exist and grow,\n Deny we must the more that they can dure\n Outside the body and the breathing form", "Which this our body and inward parts compose,\n But also are they in their number less,\n And scattered sparsely through our frame. And thus", "Of man than hand and foot and eyes are parts\n Of one whole breathing creature. [But some hold]\n That sense of mind is in no fixed part seated," ], [ "And fails the voice away, and ring the ears,\n Mists blind the eyeballs, and the joints collapse,--\n Aye, men drop dead from terror of the mind.", "By assailing pain, we are not tortured then\n Through all the body, so the mind alone\n Is sometimes smitten, or livens with a joy,", "As that within live creatures as a whole.\n But of themselves those parts can never feel,\n For all the sense in every member back\n To something else refers--a severed hand,", "For just as children tremble and fear all\n In the viewless dark, so even we at times\n Dread in the light so many things that be", "Fallen from the trunk, they quiver on the earth,\n The while the mind and powers of the man\n Can feel no pain, for swiftness of his hurt,", "Is aught, but power of thinking?--when, besides\n The whole of life but labours in the dark.\n For just as children tremble and fear all", "Then, too, we see, that, just as body takes\n Monstrous diseases and the dreadful pain,\n So mind its bitter cares, the grief, the fear;", "Shaken, so miserably in labour distraught,\n Why, then, believe that in the open air,\n Without a body, they can pass their life,", "Cringes not close, whose limbs with terror-spell\n Crouch not together, when the parched earth\n Quakes with the horrible thunderbolt amain,", "The vitals all begin to feel, and last\n To bones and marrow the sensation comes--\n Pleasure or torment. Nor will pain for naught", "Shuddering, will be upon them in the dark.\n This terror, then, this darkness of the mind,\n Not sunrise with its flaring spokes of light,", "For when in life one pictures to oneself\n His body dead by beasts and vultures torn,\n He pities his state, dividing not himself", "Whilst yet the soul's remainder through the limbs\n And through the frame is stirred by nothing new.\n But when the mind is moved by shock more fierce,", "Here leap dismay and terror; round these haunts\n Be blandishments of joys; and therefore here\n The intellect, the mind. The rest of soul,", "Thou markst that likewise with this body of ours\n Suffers the mind and with our body feels.\n If the dire speed of spear that cleaves the bones", "With two-fold terror bustle in alarm\n Through cities to and fro: they fear the roofs\n Above the head; and underfoot they dread", "To bear eternal pain nor furnish food\n From his own frame forever. But for us\n A Tityus is he whom vultures rend", "These wounds of life in no mean part are kept\n Festering and open by this fright of death.\n For ever we see fierce Want and foul Disgrace", "Shuddering, will be upon them in the dark.\n This terror then, this darkness of the mind,\n Not sunrise with its flaring spokes of light,", "With baseless terror, as the fables tell,\n Fears the huge boulder hanging in the air:\n But, rather, in life an empty dread of Gods" ], [ "Forbidding life to him on whom might crowd\n Such irk and care; and granted 'tis to know:\n Nothing for us there is to dread in death,", "Therefore death to us\n Is nothing, nor concerns us in the least,\n Since nature of mind is mortal evermore.", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "Or shades go floating in among the living,\n Or aught of us is left behind at death,\n When body and mind, destroyed together, each", "These wounds of life in no mean part are kept\n Festering and open by this fright of death.\n For ever we see fierce Want and foul Disgrace", "The fears of death leave heart so free of care.\n But if we note how all this pomp at last\n Is but a drollery and a mocking sport,", "Collects his senses. Death is, then, to us\n Much less--if there can be a less than that\n Which is itself a nothing: for there comes", "And followed up with maxims, they would free\n Their state of man from anguish and from fear.\n \"O even as here thou art, aslumber in death,", "And oft to that degree, from fright of death,\n Will hate of living and beholding light\n Take hold on humankind that they inflict", "FOLLY OF THE FEAR OF DEATH", "Could well by any force o'ermastered be.\n And men would think them in their happiness\n Excelling far, because the fear of death", "Under the teeth of death? the fire? the moist?\n Or else the air? which then? the blood? the bones?\n No one, methinks, when every thing will be", "Hence, where thou seest a man to grieve because\n When dead he rots with body laid away,\n Or perishes in flames or jaws of beasts,", "For when in life one pictures to oneself\n His body dead by beasts and vultures torn,\n He pities his state, dividing not himself", "Nor can we pluck one moment off, whereby\n To minish the aeons of our state of death.\n Therefore, O man, by living on, fulfil", "Then, too, Democritus, when ripened eld\n Admonished him his memory waned away,\n Of own accord offered his head to death.", "End of the Project Gutenberg EBook of Of The Nature of Things, by \n[Titus Lucretius Carus] Lucretius", "Besides are seeds of soul there left behind\n In the breathless body, or not? If there they are,\n It cannot justly be immortal deemed,", "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "And hasten death, O many primal seeds\n Of many things in many modes--since earth\n Contains them mingled and gives forth discrete.\n And we have shown before that certain things" ] ]	[ "What was the purpose of Epicurus' teaching?", "What did Epicurus call upon to demonstrate that a Supreme Being did not create the universe?", "What does the atomism of Democritus try to explain?", "What was Lucretius' task?", "What was not needed to explain how everything in nature works?", "The way the world operated can be accounted for in terms of what?", "What is death according to Lucretius?", "What analogy did Lucretius use to explain death?", "What argument explained about eternal non-existence before birth and after death?", "Who did Epicurus call upon to prove the position?", "Who wanted to demonstrate the world was not formed by a supreme being?", "What is displayed by the misfortunes in life?", "Who identifies that the deities created our world?", "Who uses the analogy that the body is a vessel?", "What is it that vessel is supposed to hold?", "What cannot survive independently without the body? ", "Who said that the fear of death is a perception of terror?", "Who put for the symmetry argument?", "What can operations of the world be accounted for?", "Whose power did the humans entertain?", "Whose Does not deny the existence of deites?", "Whose atomism does Epicurus call upon?", "What particles does Epicurus want to learn about?", "What laws can explain everything in nature?", "Who identifies the supernatural with deities?", "Of what analogy does Lucretius use for mind and spirit?", "According to Lucretius, who can only feel the pain of terror?", "What argument does Lucretius put forward against the fear of death?" ]	[ [ "To remove the peoples' fear of the gods' wrath.", "to establish tranquility in the heart" ], [ "The atomism of Democritus.", "atomism of democritus" ], [ "That the universe was formed by the mixing of eternally-existing particles.", "That the Supreme Being was formed by mixing elemental particles" ], [ "To clearly state and fully develop Epicurus' views in an attractive way.", "Clearly state and develop these views in an attractive form." ], [ "Divine intervention.", "the need of divine beings" ], [ "Natural phenomena.", "In terms of natural phenomena" ], [ "One's material mind dissipating.", "Eternal non-existence." ], [ "The analogy of a vessel.", "Non-existence before birth." ], [ "The symmetry argument.", "Symmetry." ], [ "Democritus", "Lucretius" ], [ "Epicurus", "Democritus" ], [ "Wrath", "The wrath of the deities." ], [ "Lucretius", "Lucretius" ], [ "Lucretius", "Lucretius" ], [ "The body and mind", "mind and spirit" ], [ "The mind", "mind and spirit" ], [ "Lucretius", "Lucretius" ], [ "Lucretius", "Lucretius put forth the symmetry argument." ], [ "Natural Phenomena ", "natural phenomena" ], [ "The Deities", "the deities" ], [ "Epicurus", "Lucretius" ], [ "Democritus", "Democritus" ], [ "Elemental Partiles", "Elemental particles. " ], [ "natural laws", "Natural Laws" ], [ "Lucretius", "Lucretius" ], [ "a Vessel", "of a vessel" ], [ "A living mind", "the living" ], [ "Symmetry Argument", "it is the dissipation of the material mind" ] ]	cba4515370099009b03d469ebe3e8ab69550bd2d	test
[ [ "Louise takes two long strides back towards him, raises the \n gun and FIRES a bullet into his face. We hear his body HIT", "HARLAN\n (pulling up his pants)\n Bitch. I should have gone ahead and \n fucked her.\n\n Louise stops in her tracks.", "LOUISE\n What did you say?\n\n HARLAN\n I said suck my cock.", "Louise reaches over and takes his gun.\n\n LOUISE\n (apologetic)\n I am really sorry about this.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "Louise looks at his truck off in the distance. She points \n the gun at it, takes a second to get a bead, then SHOOTS two", "THELMA\n (gasping for air)\n Harlan.\n\n LOUISE\n What?! What about him?!", "TIGHT SHOT of the barrel of Thelma's gun being pressed into \n the nape of Harlan's neck. Louise's thumb pulls back the \n hammer.", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "LOUISE\n What?\n\n THELMA\n Shoot the radio!", "HARLAN\n Now, calm down. We were just havin' \n a little fun.\n\n Louise glances at Thelma. Thelma shakes her head no.", "LOUISE\n Say you're sorry.\n\n TRUCKER\n Fuck that.\n\n Louise pulls the gun they stole from the State Patrolman.", "LOUISE\n (to Harlan)\n I don't mean to be rude, but I've \n got something I need to talk to my \n friend about. In private.", "Harlan laughs. Thelma laughs, too, but doesn't really get \n the joke. Louise does not laugh.", "LOUISE (O.S.)\n Let her go.\n\n HARLAN\n Get lost.\n\n THELMA\n Louise!", "HARLAN\n Louise is alright.\n\n LOUISE\n\n is now standing outside the door of the Silver Bullet. She \n is looking around.", "Louise fires TWO SHOTS into the police radio. It BLASTS all \n to hell.", "Louise lowers the gun and stares at him for a second. Then \n she turns and walks away. Thelma does, too.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "is breathless, drunk and giggly. She holds a beer bottle in \n one hand. She is laughing a lot about nothing, and Harlan \n is studying her closely. Louise notices this." ], [ "THELMA\n Okay. We'll go around Texas to get \n to Mexico. This is crazy.\n\n EXT. ROAD - FARMLAND - DAY", "THELMA\n (looking at map)\n Wait. What? You want to go to Mexico \n from Oklahoma and you don't want to \n go through Texas?", "INT. CAR - DAY\n\n THELMA\n Louise... are we still going to \n Mexico?\n\n LOUISE\n Yes.", "THELMA\n How far are we from Mexico?\n\n LOUISE\n About two hundred and fifty miles.", "LOUISE\n Thelma, I'm going to Mexico. I think \n I can make it in two and a half days,", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "THELMA\n (sternly)\n Now you get a grip, Louise! Just \n drive us to Goddamn Mexico, will ya!", "THELMA\n Louise.\n\n Louise does not answer.\n\n THELMA\n Louise. Where are we going?", "THELMA\n We're going to Mexico!\n\n INT. CAR - DAY", "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "THELMA\n ...in Texas... didn't it? That's \n what happened... Oh my God.\n\n Louise looks as if she is looking for a way to flee.", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "THELMA\n Shit! I... I, which way?\n\n LOUISE\n West. Left.", "LOUISE (V.O.)\n Oklahoma, Thelma. We're crossing \n into New Mexico.", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY", "Louise doesn't say anything.\n\n THELMA\n How long before we're in Goddamn \n Mexico?\n\n INT. POLICE STATION - DAY", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "THELMA\n (indicating the Grand \n Canyon)\n Go.\n\n LOUISE\n Go?", "Thelma starts to laugh. Louise is only concerned with missing \n the cacti and other obstacles that lie before her.\n\n INT. FBI HELICOPTER - DAY" ], [ "A cop walks into the kitchen and hands Hal a file that says \n Louise Elizabeth Sawyer on the outside. He opens it up and", "LOUISE\n Yes! Yes! Now what kind of deal do \n you think that cop can come up with \n to beat that?", "HAL\n Hello, Miss Sawyer. I'm Hal Slocumbe, \n Chief Investigator, Homicide, Arkansas \n State Police. How are you?", "LOUISE\n What did you say?\n\n HARLAN\n I said suck my cock.", "The surveillance man motions to Hal to keep it going.\n\n Darryl comes in and immediately realizes Hal is talking to \n Louise. Darryl looks attentively at Hal.", "PATROLMAN\n You wanna come with me, please? \n Walk around and get in the car, \n please.\n\n LOUISE\n In the back?", "Louise pulls the car off the road. The patrol car pulls up \n right behind them. The lights shine brightly in through the \n windows.", "Louise shivers with disgust.\n\n INT. POLICE STATION - INTERROGATION ROOM - DAY", "LOUISE\n Well, I figure if you take a state \n policeman, shoot up his car, take", "All the police cars are still following about a half a mile \n behind. The car is bouncing and flying across the desert. \n Finally, they get about twenty yards from the edge and Louise \n SLAMS on the brakes.", "PATROLMAN'S POV OF LOUISE smiling up at him. He gestures to \n her to roll her window down. She does.", "LOUISE\n Oh, I don't know, Thelma. I guess \n maybe we could turn ourselves in and", "THELMA\n I suggested we go to the police, but \n you didn't like that; so, frankly, \n Louise, I'm all out of ideas.", "LOUISE\n To find out if he knows anything. \n If you think he does, you gotta hang", "LOUISE\n Darryl, this is Louise. Are the \n police there?\n\n INT. THELMA'S HOUSE - NIGHT", "HAL (V.O.)\n Louise, I'll do anything. I know \n what's makin' you run. I know what \n happened to you in Texas.", "LOUISE\n We're both fine.\n\n HAL (V.O.)\n Good. You wanna tell me what \n happened?", "etc. Some cover their mouths as they recognize police \n sketches of Louise and Thelma. The Day Manager comes over, \n looks at the pictures and talks to Hal.", "LOUISE\n Sure. Maybe over coffee sometime. \n I'll buy.\n\n INT. THELMA'S HOUSE - NIGHT", "Louise said we could bring him here \n and then he'd have to go. And that's" ], [ "LOUISE\n Shit! Thelma, wake up! Shit! We're \n gettin' pulled over!\n\n Thelma jumps awake.", "INT. CAR - DAY\n\n Thelma sits up suddenly. An Arizona police car passes them \n going eastbound.", "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "J.D. is led off down the hall.\n\n EXT. GAS STATION - NIGHT\n\n Louise and Thelma pull into a gas station.", "LOUISE (V.O.)\n Oklahoma, Thelma. We're crossing \n into New Mexico.", "They are driving down the interstate. Thelma reaches for \n her purse and finds the gun.\n\n THELMA\n Louise, will you take care of the \n gun?", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "Thelma pulls off to the side of the road. Louise gets out \n and starts to walk around the car. She stops when she gets", "LOUISE (V.O.)\n Just past Boise City.\n\n THELMA (V.O.)\n Idaho?", "EXT. STREET - DAY\n\n Louise and Thelma pull into a convenience store.\n\n INT. THELMA'S HOUSE - DAY", "MONTAGE of driving shots as Louise and Thelma drive through \n the intense beauty of the Arizona desert.\n\n INT. CAR - DAY", "Thelma and Louise look at each other while this sinks in.\n\n THELMA\n\n walks around to the side of the building to the phone. She \n picks it up and dials.", "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "Again, Thelma slightly moves her head in a nod. Louise puts \n the car in gear and pulls OUT OF SHOT.\n\n EXT. TRUCK STOP - RESTAURANT - NIGHT", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "Louise pulls the car off the road. The patrol car pulls up \n right behind them. The lights shine brightly in through the \n windows.", "Thelma puts her seat belt on. Louise floors the car and it \n streaks off, putting some distance between them and the police \n car. Thelma looks back at the police car. She looks scared.", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY" ], [ "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "There are now two police cars behind them about half a mile \n back. They are going really fast. A police helicopter \n catches up to them and orders them to stop. Thelma stands \n and flips them off.", "Thelma and Louise look at each other while this sinks in.\n\n THELMA\n\n walks around to the side of the building to the phone. She \n picks it up and dials.", "Louise shoots Thelma a look. The three of them drive around \n to the back of the motel. Thelma turns and looks at the", "J.D. is led off down the hall.\n\n EXT. GAS STATION - NIGHT\n\n Louise and Thelma pull into a gas station.", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "EXT. STREET - DAY\n\n Louise and Thelma pull into a convenience store.\n\n INT. THELMA'S HOUSE - DAY", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "Thelma starts to laugh. Louise is only concerned with missing \n the cacti and other obstacles that lie before her.\n\n INT. FBI HELICOPTER - DAY", "Thelma puts her seat belt on. Louise floors the car and it \n streaks off, putting some distance between them and the police \n car. Thelma looks back at the police car. She looks scared.", "Louise and Thelma both are looking back at the two police \n cars following them. They turn back around just in time to", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "All the police cars are still following about a half a mile \n behind. The car is bouncing and flying across the desert. \n Finally, they get about twenty yards from the edge and Louise \n SLAMS on the brakes.", "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "They are driving down the interstate. Thelma reaches for \n her purse and finds the gun.\n\n THELMA\n Louise, will you take care of the \n gun?", "MONTAGE of driving shots as Louise and Thelma drive through \n the intense beauty of the Arizona desert.\n\n INT. CAR - DAY", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "Louise shoots her a look. She puts the car in gear and FLOORS \n it out of the parking lot. She is still looking at Thelma \n as if she has completely lost her mind.", "Louise doesn't say anything.\n\n THELMA\n How long before we're in Goddamn \n Mexico?\n\n INT. POLICE STATION - DAY" ], [ "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "Thelma and Louise look at each other while this sinks in.\n\n THELMA\n\n walks around to the side of the building to the phone. She \n picks it up and dials.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "They are driving down the interstate. Thelma reaches for \n her purse and finds the gun.\n\n THELMA\n Louise, will you take care of the \n gun?", "Louise shoots her a look. She puts the car in gear and FLOORS \n it out of the parking lot. She is still looking at Thelma \n as if she has completely lost her mind.", "INT. CAR - DAY\n\n THELMA\n Louise... are we still going to \n Mexico?\n\n LOUISE\n Yes.", "As Thelma and Louise talk, their voices are heard over the \n following scene.\n\n LOUISE (V.O.)\n You know what's happened, don't you?", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "THELMA\n Louise... It's okay. Louise? I'm \n sorry. I mean it.\n\n Louise has seen the end of the tunnel and there is no light.", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "EXT. CONVENIENCE STORE - DAY\n\n Thelma and Louise are sitting in the car. They've put all \n their money together.", "Louise speeds up.\n\n Thelma hands Louise a little bottle of Wild Turkey and she \n drinks it down. Thelma has one too.", "EXT. STREET - DAY\n\n Louise and Thelma pull into a convenience store.\n\n INT. THELMA'S HOUSE - DAY", "Louise shoots Thelma a look. The three of them drive around \n to the back of the motel. Thelma turns and looks at the", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY" ], [ "With his free hand, he reaches down and starts to pull her \n dress up. Thelma is still struggling and there are tears \n running down her face.", "Harlan slowly raises his hands in the air, and Thelma darts \n out, pulling her dress down.", "Harlan has led Thelma off to the far end of the parking lot. \n He is trying to kiss her now. He is pushing her arms down \n and turning her head away.", "There are now two police cars behind them about half a mile \n back. They are going really fast. A police helicopter \n catches up to them and orders them to stop. Thelma stands \n and flips them off.", "Louise lowers the gun and stares at him for a second. Then \n she turns and walks away. Thelma does, too.", "HAL\n Hey! Don't let them shoot those \n girls. This is too much. They got \n guns pointed at 'em!", "Louise takes two long strides back towards him, raises the \n gun and FIRES a bullet into his face. We hear his body HIT", "Louise starts to back away, but the gun is still close to \n his face. His pants are undone in the front. She is still \n backing away with the gun raised. Thelma is inching away as \n well.", "Thelma and Louise look at each other while this sinks in.\n\n THELMA\n\n walks around to the side of the building to the phone. She \n picks it up and dials.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "Louise quietly starts to fall apart. This causes Thelma to \n leap into action.", "Louise pulls the car off to the side of the road. As the \n truck gets close they start waving to him to stop. He pulls", "He is leering at them and laughing. Louise and Thelma drive \n further down the road.", "There is no trace of friendliness in his face now. He looks \n mean and dangerous. He lets go of her face and pins her \n arms behind her. He holds both of her arms with one hand.", "Hal walks along with a look of total disbelief on his face. \n He's shaking his head. Slowly he breaks into a trot and \n starts heading toward the front line.", "Louise and Thelma look at each other. They both turn towards \n the truck and FIRE rounds into the tankers until they EXPLODE", "Again, she twitches more than nods.\n\n LOUISE\n Tell me you understand that.\n\n Thelma nods more firmly now. She understands.", "As he's climbing into the trunk, Thelma explains to Louise:\n\n THELMA\n Air holes.\n\n He's all the way in and Louise closes the trunk.", "MAX\n The women are armed, Hal. This is \n standard. Now you stay calm here. \n These boys know what they're doin'.", "notice two such pretty ladies as \n yourselves.\n (standing, to Thelma)\n You better dance with me before you" ], [ "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "LOUISE\n Get the car!\n\n Thelma runs to get the car.", "THELMA\n Way up ahead!\n\n Louise strains to see. Whatever it is, Louise is barreling \n towards it, the car leaving the ground as they fly through \n the desert.", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "INT. CAR - DAY\n\n Thelma is looking way up ahead in the distance.\n\n THELMA\n Louise!", "Thelma puts her seat belt on. Louise floors the car and it \n streaks off, putting some distance between them and the police \n car. Thelma looks back at the police car. She looks scared.", "MONTAGE of driving shots as Louise and Thelma drive through \n the intense beauty of the Arizona desert.\n\n INT. CAR - DAY", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "INT. CAR - DAY\n\n THELMA\n Isn't it beautiful?!!\n\n LOUISE\n It's grand!", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY", "Louise yanks open her car door, gets in and slams the door \n and fires up the ENGINE. Thelma hops in quickly.", "INT. CAR - DAY\n\n THELMA\n Louise... are we still going to \n Mexico?\n\n LOUISE\n Yes.", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "Louise shoots her a look. She puts the car in gear and FLOORS \n it out of the parking lot. She is still looking at Thelma \n as if she has completely lost her mind.", "They are driving down the interstate. Thelma reaches for \n her purse and finds the gun.\n\n THELMA\n Louise, will you take care of the \n gun?", "THELMA\n Lemme see the map.\n\n Louise throws the map across the front seat at Thelma and \n FLOORS it." ], [ "Thelma leans back just watching Louise. She studies her as \n if she's never really seen her before. All of a sudden a \n look of shocked realization comes over Thelma's face.", "THELMA\n You know, Louise, you're supposed to \n be my best friend. You could at", "Louise quietly starts to fall apart. This causes Thelma to \n leap into action.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "THELMA\n Hi.\n\n She is shocked by Thelma's appearance.\n\n LOUISE\n What happened to your hair?", "Thelma is just laughing hysterically. Louise suddenly \n understands.\n\n LOUISE\n Oh, Thelma. Oh, no.", "EXT. STREET - DAY\n\n Louise and Thelma pull into a convenience store.\n\n INT. THELMA'S HOUSE - DAY", "THELMA\n I'm... I'm with Louise. We're in \n the mountains, we're...\n\n INT. THELMA'S HOUSE - DAY", "THELMA\n Just asking.\n\n They are both quiet for a second. Louise goes a little \n faster.", "Louise is completely unreasonable on this subject and Thelma \n is totally puzzled by Louise's reaction but is reluctant to \n press her further.", "THELMA\n (gently)\n Okay, Louise... It's okay.\n\n Louise's eyes are wild, not seeing, while Thelma now seems \n completely serene.", "LOUISE\n One of your friends?\n\n Thelma is watching herself in the side mirror, pretending to \n smoke a cigarette.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "LOUISE\n Oh Christ.\n (to Thelma)\n Thelma.\n\n Thelma doesn't hear.", "LOUISE\n Thelma.\n\n Thelma looks at her blankly, without answering.", "THELMA\n Nothing. It got messed up.\n\n Louise is studying Thelma closely as Thelma squirms in her \n seat, barely able to contain herself.", "Thelma shrieks with excitement. Louise is completely stunned.", "THELMA\n (struggling)\n Stop it! Goddamnit, I mean it! \n Louise is gonna wonder where I am. \n Let go!", "The curtains are open and we can see the car parked right \n outside the room. Thelma is lying on the bed staring up at \n the ceiling. Louise is bustling around the room, putting \n things in drawers.", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY" ], [ "LOUISE is a waitress in a coffee shop. She is in her early-\n thirties, but too old to be doing this. She is very pretty", "Louise knows what she is talking about. She becomes \n immediately agitated.", "Louise looks at her watch.", "LOUISE\n Oh Christ.\n (to Thelma)\n Thelma.\n\n Thelma doesn't hear.", "Louise is hanging up the phone. She walks away towards the \n front of the store.\n\n EXT. COUNTRY STORE - DAY", "LOUISE\n (laughing)\n Alright...\n (to Waitress)", "LOUISE\n Louise Elizabeth Sawyer. Are you \n sure?\n\n WOMAN\n Nothin'. Nothin' came in today at \n all.", "Louise is completely unreasonable on this subject and Thelma \n is totally puzzled by Louise's reaction but is reluctant to \n press her further.", "Louise reaches over and takes the keys. She takes her license \n off the clipboard. She gets out and trots around to the \n back of the car.", "Louise comes over and takes the phone out of his hand.", "Louise is driving. They fly past a kid on his bike on a \n long gravel driveway. He watches them. A huge cloud of", "LOUISE\n (to attendant)\n Fill her up.\n (to Thelma)\n There's a phone right over there.", "Louise goes into the bathroom. She stands in front of the \n sink and looks at herself in the mirror.\n\n EXT. PARKING LOT - NIGHT", "LOUISE\n Thelma!", "Louise covers the mouthpiece with her hand. She is trying \n very hard not to cry.", "LOUISE\n Thelma.\n\n Thelma looks at her blankly, without answering.", "Louise looks very shaken up. She keeps her eyes on the road \n but she's holding the steering wheel so tightly, her knuckles", "Louise is sitting in the booth by herself. Thelma comes \n hurrying by. She looks disheveled but is grinning like an \n idiot. She sees Louise and charges into the coffee shop.", "Louise in the motel room. She's looking at the phone. She \n picks it up and dials it and watches herself in the mirror.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise." ], [ "LOUISE\n Thelma.\n\n THELMA\n Yeah.\n\n LOUISE\n I want you to call Darryl.", "DARRYL\n (real friendly)\n Thelma! Hello!\n\n EXT. PAY PHONE\n\n Thelma hangs up the phone.", "THELMA\n I'm sorry, Doll, I just didn't want \n you to be late.\n\n Darryl is checking himself out in the hall mirror, and", "THELMA\n Darryl, please... You're my husband, \n not my father, Darryl.\n\n INT. THELMA'S HOUSE - DAY", "INT. THELMA'S HOUSE - DAY\n\n Darryl in the den of their house. The room is a mess.", "Thelma comes out of the front of the store. The store is at \n a crossroads with a fair amount of vehicular traffic.\n\n LOUISE\n Go call Darryl.", "THELMA\n Darryl.\n\n DARRYL (V.O.)\n What?\n\n THELMA\n Go fuck yourself.", "Neither one of them say anything for a moment.\n\n DARRYL\n Thelma?\n\n EXT. PAY PHONE - DAY", "DARRYL\n Uh-huh.\n\n THELMA\n Hon?\n\n DARRYL\n What?!", "Thelma has been sick. She has Harlan's handkerchief and is \n wiping her mouth. Harlan has backed off for this part, but \n he's right back in there.", "THELMA\n 'Bye, honey. I won't wait up.\n\n DARRYL\n See ya.", "DARRYL\n Damnit, Thelma, don't holler like \n that! Haven't I told you I can't", "LOUISE\n Darryl, this is Louise. Are the \n police there?\n\n INT. THELMA'S HOUSE - NIGHT", "THELMA\n Darryl, that's my husband, he says \n he's not ready. He's still too much", "Louise and Jimmy walk outside and catch Thelma sitting very \n close to J.D. Thelma sees Jimmy and is so startled she", "CUT TO:\n\n INT. THELMA'S HOUSE - DEN - DAY\n\n EXTREME CLOSEUP of Darryl's face.", "THELMA\n Darryl! Honey, you'd better hurry \n up.", "THELMA\n Darryl... baby... Darryl, calm down \n now, honey. Please don't get so \n mad. I can explain...", "Darryl leaves. We see his Corvette parked out front. As he \n closes the front door, Thelma leans against it.\n\n THELMA\n He's gonna shit.", "knows where you are. Is Thelma with \n you? Darryl's been callin' here \n every half-hour sayin' he's gonna" ], [ "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "LOUISE\n Get the car!\n\n Thelma runs to get the car.", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "They are driving down the interstate. Thelma reaches for \n her purse and finds the gun.\n\n THELMA\n Louise, will you take care of the \n gun?", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "INT. CAR - DAY\n\n THELMA\n Louise... are we still going to \n Mexico?\n\n LOUISE\n Yes.", "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "Louise yanks open her car door, gets in and slams the door \n and fires up the ENGINE. Thelma hops in quickly.", "to the back of the car, and she is sick. Thelma waits in \n the car and moves over to the passenger side. Louise gets \n in the driver's side.", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY", "Thelma puts her seat belt on. Louise floors the car and it \n streaks off, putting some distance between them and the police \n car. Thelma looks back at the police car. She looks scared.", "INT. CAR - DAY\n\n Thelma is looking way up ahead in the distance.\n\n THELMA\n Louise!", "Louise shoots her a look. She puts the car in gear and FLOORS \n it out of the parking lot. She is still looking at Thelma \n as if she has completely lost her mind.", "LOUISE\n (from her car)\n Sorry!\n\n Thelma hops into the car with Louise. They look at each \n other.", "INT. CAR - DAY\n\n THELMA\n Isn't it beautiful?!!\n\n LOUISE\n It's grand!", "THELMA\n Way up ahead!\n\n Louise strains to see. Whatever it is, Louise is barreling \n towards it, the car leaving the ground as they fly through \n the desert.", "They load everything into the car. The trunk barely closes. \n Thelma heaves all her weight against it. They get into the" ], [ "Thelma has been sick. She has Harlan's handkerchief and is \n wiping her mouth. Harlan has backed off for this part, but \n he's right back in there.", "Harlan has now pinned Thelma against the back of a car and \n is kissing her neck. He has her ass in his hands. He is", "Harlan has led Thelma off to the far end of the parking lot. \n He is trying to kiss her now. He is pushing her arms down \n and turning her head away.", "THELMA\n Don't hurt me. Harlan. Please.\n\n HARLAN\n Shut up.", "THELMA\n (impersonating Harlan)\n Suck my dick... Boom!!\n\n Thelma is laughing wildly.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "Harlan slowly raises his hands in the air, and Thelma darts \n out, pulling her dress down.", "HARLAN\n How you feelin' now, darlin'?\n\n Harlan is leaning close to Thelma's head, and she pulls her \n head away.", "is pulling at Thelma's clothes. Thelma gets one of her arms \n free and hits him hard in the face. He hits her back and \n grabs her face, squeezing it hard.", "THELMA\n Oh shit.\n\n HARLAN\n What's wrong?\n\n THELMA\n Stop.", "With his free hand, he reaches down and starts to pull her \n dress up. Thelma is still struggling and there are tears \n running down her face.", "EXT. SILVER BULLET PARKING LOT - NIGHT\n\n Harlan is hauling Thelma out the door into the parking lot. \n She is pretty limp.", "HARLAN\n (catching Thelma, \n copping feels)\n Oopsy-doopsy. We need to get you \n some fresh air, little lady.", "THELMA\n (gasping for air)\n Harlan.\n\n LOUISE\n What?! What about him?!", "THELMA\n Oh, sure. That'd be fun.\n\n Harlan leaves, then:", "is breathless, drunk and giggly. She holds a beer bottle in \n one hand. She is laughing a lot about nothing, and Harlan \n is studying her closely. Louise notices this.", "THELMA\n (struggling)\n Stop it! Goddamnit, I mean it! \n Louise is gonna wonder where I am. \n Let go!", "She suddenly feels awkward and stands up.\n\n THELMA\n You wanna drink?\n\n INT. JIMMY'S MOTEL ROOM - NIGHT", "Harlan laughs. Thelma laughs, too, but doesn't really get \n the joke. Louise does not laugh.", "HARLAN\n It's okay. I'm married, too.\n\n Harlan is pushing himself on her now, and she is beginning \n to push him away harder." ], [ "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "HARLAN\n (pulling up his pants)\n Bitch. I should have gone ahead and \n fucked her.\n\n Louise stops in her tracks.", "LOUISE\n What did you say?\n\n HARLAN\n I said suck my cock.", "is breathless, drunk and giggly. She holds a beer bottle in \n one hand. She is laughing a lot about nothing, and Harlan \n is studying her closely. Louise notices this.", "Harlan laughs. Thelma laughs, too, but doesn't really get \n the joke. Louise does not laugh.", "LOUISE\n (to Harlan)\n I don't mean to be rude, but I've \n got something I need to talk to my \n friend about. In private.", "HARLAN\n Now, calm down. We were just havin' \n a little fun.\n\n Louise glances at Thelma. Thelma shakes her head no.", "HARLAN\n Louise is alright.\n\n LOUISE\n\n is now standing outside the door of the Silver Bullet. She \n is looking around.", "THELMA\n (gasping for air)\n Harlan.\n\n LOUISE\n What?! What about him?!", "Louise takes two long strides back towards him, raises the \n gun and FIRES a bullet into his face. We hear his body HIT", "Louise's eyes get wide as she hears this.\n\n A FINGER reaches up and presses down the lever and hangs up \n the phone.\n\n ANGLE OF THELMA", "Louise quietly starts to fall apart. This causes Thelma to \n leap into action.", "Harlan has now pinned Thelma against the back of a car and \n is kissing her neck. He has her ass in his hands. He is", "Louise smiles at him quizzically as if she can't believe \n he's acting this way. He turns on his heel and slinks away.", "in a huge ball of fire. The truck driver screams at the top \n of his lungs. Louise starts the car and starts driving in", "HARLAN\n It's okay. I'm married, too.\n\n Harlan is pushing himself on her now, and she is beginning \n to push him away harder.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "Louise reaches over and takes his gun.\n\n LOUISE\n (apologetic)\n I am really sorry about this.", "Louise is sitting in the booth by herself. Thelma comes \n hurrying by. She looks disheveled but is grinning like an \n idiot. She sees Louise and charges into the coffee shop.", "THELMA\n (gently)\n Okay, Louise... It's okay.\n\n Louise's eyes are wild, not seeing, while Thelma now seems \n completely serene." ], [ "LOUISE\n (interrupting)\n I don't want to go that way. Find a \n way that we don't have to go through \n Texas.", "LOUISE\n You know how I feel about Texas... \n We're not going that way.", "LOUISE\n Texas... You were right about what \n happened to me there.\n\n They pull away from the burning wreckage.\n\n INT. CAR - DAY", "LOUISE\n Follow us.\n\n They turn off onto a dirt road and pull to a stop.\n\n INT. TRUCK CAB - DAY", "LOUISE\n We'll take you on to Oklahoma City, \n then you'd best be on your way.\n\n INT. THELMA'S HOUSE - DAY", "Louise looks very shaken up. She keeps her eyes on the road \n but she's holding the steering wheel so tightly, her knuckles", "Louise is completely unreasonable on this subject and Thelma \n is totally puzzled by Louise's reaction but is reluctant to \n press her further.", "Louise looks at the speedometer touching 80 mph and lets her \n foot off the gas. Louise is looking a little nervous.", "in a huge ball of fire. The truck driver screams at the top \n of his lungs. Louise starts the car and starts driving in", "LOUISE (V.O.)\n Oklahoma, Thelma. We're crossing \n into New Mexico.", "LOUISE\n Thelma, I'm going to Mexico. I think \n I can make it in two and a half days,", "Louise is driving. They fly past a kid on his bike on a \n long gravel driveway. He watches them. A huge cloud of", "Louise careens back onto the road.\n\n THELMA\n I'm sorry. I mean I...\n\n Louise slams on the brakes.", "Thelma pulls off to the side of the road. Louise gets out \n and starts to walk around the car. She stops when she gets", "Through clenched teeth, repulsed:\n\n LOUISE\n (interrupting)\n No!", "Louise shrieks at the sight of it.\n\n LOUISE\n Why in hell did you bring that?\n\n Thelma wonders if Louise is really that naive.", "Louise pulls out of the parking lot onto the road. They \n pass the Hitchhiker. Thelma waves.", "LOUISE\n Get back to the interstate.\n\n Louise lifts her hand and notices she is still holding the \n gun.", "Louise knows what she is talking about. She becomes \n immediately agitated.", "After a pause.\n\n THELMA\n I guess you haven't heard anything \n from Jimmy... yet?\n\n Louise's jaw tightens. The car speeds up." ], [ "They look at each other, into each other and Jimmy can see \n that Louise is already gone. Louise is really touched that \n he asked her that but she knows it's impossible. She is \n very kind to him.", "JIMMY\n (in a falsetto voice)\n Who is it?\n\n LOUISE\n It's me.", "INT. JIMMY'S ROOM - NIGHT\n\n Louise and Jimmy are sitting on the edge of the bed.", "JIMMY, mid-30's, musician, is standing in the kitchen on the \n phone. He's not the type you'd expect Louise to like, not \n quite straight-looking enough.", "Louise and Jimmy are wrapped in each other's arms, quietly \n making love. Through this, Jimmy is ardent.", "INT. JIMMY'S APARTMENT - DAY\n\n Jimmy is still holding the phone to his ear.\n\n JIMMY\n Louise?", "Louise sits on the edge of the bed. She is looking at her \n hand.\n\n LOUISE\n Jimmy?", "LOUISE\n (to Jimmy)\n Thelma kinda took to him.\n\n Jimmy is smiling.", "JIMMY\n Okay, okay, just tell me what's the \n trouble.\n\n Louise just looks at him for a minute.", "JIMMY\n (exploding)\n Then what?! What, goddamnit, Louise!", "LOUISE\n Why now, Jimmy?", "LOUISE (V.O.)\n (on phone)\n Jimmy...\n\n INT. MOTEL ROOM - DAY", "JIMMY\n Louise? I think you are so damn \n beautiful. I mean that. I always \n have.\n\n She smiles. Completely.", "Louise and Jimmy walk outside and catch Thelma sitting very \n close to J.D. Thelma sees Jimmy and is so startled she", "Jimmy gets up and leaves the coffee shop. Louise watches \n him go. A WAITRESS comes over and fills her coffee cup.", "LOUISE\n Oh my God! Jimmy! You... Oh my \n God! What are you doin' here?", "JIMMY (V.O.)\n I know. Call me back. Louise, I \n love you, okay?\n\n LOUISE\n Okay.", "LOUISE\n (cringing)\n Jimmy, my daddy's still alive and it \n kind of gives me the creeps when you \n do that...", "JIMMY (V.O.)\n (on phone)\n Louise! Where are you? Are you \n alright? Honey...", "Louise rolls her eyes and tries not to melt.\n\n LOUISE\n Okay, Jimmy. Thanks.\n\n She puts her finger down on the receiver." ], [ "JIMMY (V.O.)\n Christ, sure... yes!\n\n LOUISE\n Wire it to the Western Union in \n Oklahoma City,", "JIMMY\n Louise, let me call you back after I \n wire it, so you'll know which office \n to go to.", "INT. JIMMY'S APARTMENT - DAY\n\n Jimmy is still holding the phone to his ear.\n\n JIMMY\n Louise?", "LOUISE (V.O.)\n (on phone)\n Jimmy...\n\n INT. MOTEL ROOM - DAY", "JIMMY (V.O.)\n I know. Call me back. Louise, I \n love you, okay?\n\n LOUISE\n Okay.", "Louise dropping change into the phone. It RINGS and Jimmy \n answers.\n\n INT. JIMMY'S APARTMENT - DAY\n\n JIMMY\n Louise!", "JIMMY\n Will you wear this?\n\n He hands Louise the box. She opens it and it is a diamond \n ring. Louise is flabbergasted.", "LOUISE\n Oklahoma City. Jimmy's gonna wire \n me some money, and then...", "JIMMY\n (in a falsetto voice)\n Who is it?\n\n LOUISE\n It's me.", "Louise rolls her eyes and tries not to melt.\n\n LOUISE\n Okay, Jimmy. Thanks.\n\n She puts her finger down on the receiver.", "He drops an envelope in front of her. Louise is startled \n and turns around quickly.\n\n JIMMY\n Hey, peaches.", "JIMMY\n Can I just ask you one other thing?\n\n LOUISE\n Maybe.\n\n Jimmy pulls a little black box out of his pocket.", "Louise sits on the edge of the bed. She is looking at her \n hand.\n\n LOUISE\n Jimmy?", "They look at each other, into each other and Jimmy can see \n that Louise is already gone. Louise is really touched that \n he asked her that but she knows it's impossible. She is \n very kind to him.", "JIMMY, mid-30's, musician, is standing in the kitchen on the \n phone. He's not the type you'd expect Louise to like, not \n quite straight-looking enough.", "LOUISE\n And what's the mysterious code word?\n\n JIMMY (V.O.)\n (on phone)\n Peaches.", "JIMMY\n (exploding)\n Then what?! What, goddamnit, Louise!", "JIMMY (V.O.)\n (on phone)\n Louise! Where are you? Are you \n alright? Honey...", "LOUISE\n Why now, Jimmy?", "INT. MOTEL ROOM - DAY\n\n LOUISE\n Tell me now.\n\n JIMMY (V.O.)\n Call me back." ], [ "J.D.\n Well, not anymore, Thelma, except \n for bustin' parole, I haven't done \n one wrong thing.", "J.D.\n I'm just some guy. A guy whose parole \n officer is probably having a shit \n fit right about now.\n\n Thelma gasps.", "parole violation. They also found \n about six grand on him, so he probably \n knocked over something while he was", "THELMA\n What?! Parole officer? You mean \n you're a criminal?", "THELMA\n What did ya do?\n\n J.D.\n I'm a robber.", "HAL\n Now, for one thing, you violated \n your parole two days out. And you", "He's finally ready. He walks to the door and gives Thelma \n the most perfunctory kiss on the cheek.", "They both pause for a moment.\n\n THELMA\n God. The law is some tricky shit, \n isn't it?\n\n Then:", "THELMA (V.O.)\n Okay. I will, too.\n\n LOUISE\n And steal Darryl's fishin' stuff.", "THELMA\n Shit. That little sonofabitch burgled \n me. I don't believe it.", "Thelma is staring down the road. She does not answer. Then:\n\n THELMA\n I think he does. Fool around.", "J.D.\n Well, I robbed a gas station once, \n and I robbed a couple of liquor \n stores, and some convenience stores. \n And that's it.", "then when he finds out that you're a \n possible accessory to murder and \n armed robbery, well, I think we can", "Old Man finally looks at her. From the wall behind him, he \n takes a pint of Wild Turkey down.", "J.D.\n Naw, honey, that would be burglary. \n I never got arrested for burglary.", "Police are tapping the phones, dusting for prints, etc., \n while Darryl sits motionless in his recliner with a dull \n expression on his face.", "J.D.\n I may be the outlaw, but you're the \n one stealin' my heart.\n\n THELMA\n And smooth, boy, you are smooth.", "Thelma has been sick. She has Harlan's handkerchief and is \n wiping her mouth. Harlan has backed off for this part, but \n he's right back in there.", "Thelma opens her purse and exposes a bag full of bills.\n\n LOUISE\n What? You robbed the store? You \n robbed the Goddamn store?!", "Thelma has gone and bought cheese crackers and peanuts from \n a vending machine and is into her second Wild Turkey and 7-" ], [ "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "LOUISE\n Get the car!\n\n Thelma runs to get the car.", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "Louise yanks open her car door, gets in and slams the door \n and fires up the ENGINE. Thelma hops in quickly.", "Thelma puts her seat belt on. Louise floors the car and it \n streaks off, putting some distance between them and the police \n car. Thelma looks back at the police car. She looks scared.", "INT. CAR - DAY\n\n THELMA\n Louise... are we still going to \n Mexico?\n\n LOUISE\n Yes.", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "to the back of the car, and she is sick. Thelma waits in \n the car and moves over to the passenger side. Louise gets \n in the driver's side.", "LOUISE\n (from her car)\n Sorry!\n\n Thelma hops into the car with Louise. They look at each \n other.", "THELMA\n (to Louise)\n Open the trunk.\n\n Louise opens the trunk.", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "They load everything into the car. The trunk barely closes. \n Thelma heaves all her weight against it. They get into the", "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "INT. CAR - DAY\n\n THELMA\n Isn't it beautiful?!!\n\n LOUISE\n It's grand!", "INT. CAR - DAY\n\n Thelma is looking way up ahead in the distance.\n\n THELMA\n Louise!", "THELMA\n Way up ahead!\n\n Louise strains to see. Whatever it is, Louise is barreling \n towards it, the car leaving the ground as they fly through \n the desert.", "The curtains are open and we can see the car parked right \n outside the room. Thelma is lying on the bed staring up at \n the ceiling. Louise is bustling around the room, putting \n things in drawers." ], [ "Louise reaches over and takes the keys. She takes her license \n off the clipboard. She gets out and trots around to the \n back of the car.", "LOUISE\n Most people just cause me trouble, \n but that car always gets me out of \n it.\n\n INT. POLICE GARAGE - DAY", "Louise STARTS the car. They lurch into reverse then SCREECH \n forward as they tear off down the road.\n\n WIDE SHOT OF CAR", "LOUISE\n Get the car!\n\n Thelma runs to get the car.", "Louise yanks open her car door, gets in and slams the door \n and fires up the ENGINE. Thelma hops in quickly.", "in a huge ball of fire. The truck driver screams at the top \n of his lungs. Louise starts the car and starts driving in", "Louise is driving. They fly past a kid on his bike on a \n long gravel driveway. He watches them. A huge cloud of", "the counter. Louise is looking at a map. The car is parked \n outside, near the door.", "Louise looks at the speedometer touching 80 mph and lets her \n foot off the gas. Louise is looking a little nervous.", "Louise goes into the bathroom. She stands in front of the \n sink and looks at herself in the mirror.\n\n EXT. PARKING LOT - NIGHT", "Louise pulls the car off the road. The patrol car pulls up \n right behind them. The lights shine brightly in through the \n windows.", "Louise looks very shaken up. She keeps her eyes on the road \n but she's holding the steering wheel so tightly, her knuckles", "Louise. Louise charges out after her. They head out of the \n restaurant and, THROUGH THE WINDOW, we see them get into the \n car and drive away.", "Louise FLOORS it and her car screams ahead.", "Louise does. The PATROLMAN gets out of his car and approaches \n their car. He comes to the driver's side window. It is \n rolled up.", "LOUISE\n Texas... You were right about what \n happened to me there.\n\n They pull away from the burning wreckage.\n\n INT. CAR - DAY", "LOUISE\n (bellowing)\n Come on, Thelma! Get in the car!", "The curtains are open and we can see the car parked right \n outside the room. Thelma is lying on the bed staring up at \n the ceiling. Louise is bustling around the room, putting \n things in drawers.", "They both hang up.\n\n EXT. RESTAURANT - DAY\n\n Louise pulls out in a green '66 T-Bird in mint condition.", "sun with her eyes closed. Louise is driving with a fierce \n intensity. They hardly resemble the two women that started \n out for a weekend in the mountains two days earlier. Although" ], [ "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "Thelma is dancing with Harlan and has been for quite a while. \n Louise has been dancing with a quiet guy named DAN. Thelma", "Thelma is staring down the road. She does not answer. Then:\n\n THELMA\n I think he does. Fool around.", "Thelma comes out of the room and walks towards the pool.\n\n She stops, then decides to go on to the pool. She lies down \n in a lounge chair facing the road.", "Louise and Jimmy walk outside and catch Thelma sitting very \n close to J.D. Thelma sees Jimmy and is so startled she", "Thelma comes out of the front of the store. The store is at \n a crossroads with a fair amount of vehicular traffic.\n\n LOUISE\n Go call Darryl.", "notice two such pretty ladies as \n yourselves.\n (standing, to Thelma)\n You better dance with me before you", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "J.D. is led off down the hall.\n\n EXT. GAS STATION - NIGHT\n\n Louise and Thelma pull into a gas station.", "EXT. MOTEL POOL - DAY\n\n Thelma at pool basking in the sun.\n\n INT. MOTEL ROOM - DAY", "Thelma has taken a shower and is dressed in cut-offs and a T-\n shirt. Her hair is still damp but she looks better than she", "Thelma comes trotting out of the store and jumps into the \n car.\n\n THELMA\n (breathless)\n Drive!", "Harlan slowly raises his hands in the air, and Thelma darts \n out, pulling her dress down.", "Thelma opens the door and there stands J.D., soaking wet \n from the rain pouring down behind him.", "THELMA\n (impersonating Harlan)\n Suck my dick... Boom!!\n\n Thelma is laughing wildly.", "one, and he waves to them as they go by. Thelma waves back \n enthusiastically.", "EXT. BACK ROAD - NIGHT\n\n The car goes streaking by.\n\n INT. THELMA'S HOUSE - NIGHT (MUSCO LIGHT)", "THELMA\n Where you goin'?\n\n TRUCKER\n Fresno.", "Thelma has been sick. She has Harlan's handkerchief and is \n wiping her mouth. Harlan has backed off for this part, but \n he's right back in there." ], [ "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "Harlan has now pinned Thelma against the back of a car and \n is kissing her neck. He has her ass in his hands. He is", "Thelma has been sick. She has Harlan's handkerchief and is \n wiping her mouth. Harlan has backed off for this part, but \n he's right back in there.", "THELMA\n (gasping for air)\n Harlan.\n\n LOUISE\n What?! What about him?!", "Harlan has led Thelma off to the far end of the parking lot. \n He is trying to kiss her now. He is pushing her arms down \n and turning her head away.", "Louise and Jimmy walk outside and catch Thelma sitting very \n close to J.D. Thelma sees Jimmy and is so startled she", "THELMA\n Oh shit.\n\n HARLAN\n What's wrong?\n\n THELMA\n Stop.", "Thelma leans back just watching Louise. She studies her as \n if she's never really seen her before. All of a sudden a \n look of shocked realization comes over Thelma's face.", "Harlan slowly raises his hands in the air, and Thelma darts \n out, pulling her dress down.", "THELMA\n (impersonating Harlan)\n Suck my dick... Boom!!\n\n Thelma is laughing wildly.", "The curtains are open and we can see the car parked right \n outside the room. Thelma is lying on the bed staring up at \n the ceiling. Louise is bustling around the room, putting \n things in drawers.", "THELMA\n Don't hurt me. Harlan. Please.\n\n HARLAN\n Shut up.", "Harlan laughs. Thelma laughs, too, but doesn't really get \n the joke. Louise does not laugh.", "TIGHT SHOT of the barrel of Thelma's gun being pressed into \n the nape of Harlan's neck. Louise's thumb pulls back the \n hammer.", "On hearing this Louise mouths the word \"shit\" in a very \n frustrated way.\n\n Louise hangs up the phone.\n\n INT. THELMA'S HOUSE - NIGHT", "Louise's eyes get wide as she hears this.\n\n A FINGER reaches up and presses down the lever and hangs up \n the phone.\n\n ANGLE OF THELMA", "EXT. SILVER BULLET PARKING LOT - NIGHT\n\n Harlan is hauling Thelma out the door into the parking lot. \n She is pretty limp.", "Thelma is just laughing hysterically. Louise suddenly \n understands.\n\n LOUISE\n Oh, Thelma. Oh, no.", "HARLAN\n Now, calm down. We were just havin' \n a little fun.\n\n Louise glances at Thelma. Thelma shakes her head no.", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY" ], [ "for no reason. Maybe he was askin' \n for it. Anyway, somebody's husband \n probably got ol' Harlan.", "Harlan slowly raises his hands in the air, and Thelma darts \n out, pulling her dress down.", "HARLAN\n It's okay. I'm married, too.\n\n Harlan is pushing himself on her now, and she is beginning \n to push him away harder.", "THELMA\n Oh, sure. That'd be fun.\n\n Harlan leaves, then:", "Harlan has now pinned Thelma against the back of a car and \n is kissing her neck. He has her ass in his hands. He is", "HARLAN\n How you feelin' now, darlin'?\n\n Harlan is leaning close to Thelma's head, and she pulls her \n head away.", "Harlan has led Thelma off to the far end of the parking lot. \n He is trying to kiss her now. He is pushing her arms down \n and turning her head away.", "HARLAN\n You just shut up.", "Thelma has been sick. She has Harlan's handkerchief and is \n wiping her mouth. Harlan has backed off for this part, but \n he's right back in there.", "Hal is at the police station where they're dusting the car \n with Harlan all over it for prints. Hal looks closely at", "HARLAN\n Aw, I understand. I didn't mean to \n bother ya. It's just hard not to", "HARLAN\n (breathing heavily)\n You're beautiful. It's okay. I \n won't hurt you. It's okay.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "THELMA\n (gasping for air)\n Harlan.\n\n LOUISE\n What?! What about him?!", "Harlan laughs. Thelma laughs, too, but doesn't really get \n the joke. Louise does not laugh.", "THELMA\n Oh shit.\n\n HARLAN\n What's wrong?\n\n THELMA\n Stop.", "HARLAN\n (pulling up his pants)\n Bitch. I should have gone ahead and \n fucked her.\n\n Louise stops in her tracks.", "THELMA\n Don't hurt me. Harlan. Please.\n\n HARLAN\n Shut up.", "EXT. SILVER BULLET PARKING LOT - NIGHT\n\n Harlan is hauling Thelma out the door into the parking lot. \n She is pretty limp.", "HARLAN" ], [ "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "Louise pulls out of the parking lot onto the road. They \n pass the Hitchhiker. Thelma waves.", "LOUISE\n It's probably not a good idea.\n\n THELMA\n Louise.\n\n The Hitchhiker just nods and starts walking towards the road.", "Hitchhiker standing on the side of the road. Thelma looks \n at Louise pleadingly. Louise's car pulls over and he hops", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "As he's climbing into the trunk, Thelma explains to Louise:\n\n THELMA\n Air holes.\n\n He's all the way in and Louise closes the trunk.", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "his truck off the side of the road and stops. ANGLE ON Louise \n and Thelma smiling up at him. He chuckles to himself. He \n leans out the window.", "LOUISE\n (from her car)\n Sorry!\n\n Thelma hops into the car with Louise. They look at each \n other.", "THELMA\n Louise, this young man is on his way \n back to school and needs a ride, and \n I thought since...", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "LOUISE (O.S.)\n Let her go.\n\n HARLAN\n Get lost.\n\n THELMA\n Louise!", "The guy does seem really nice and Thelma is really frustrated \n that Louise wouldn't give him a ride, but decides not to \n confront her.", "J.D. is led off down the hall.\n\n EXT. GAS STATION - NIGHT\n\n Louise and Thelma pull into a gas station.", "THELMA\n Oh shit.\n\n HARLAN\n What's wrong?\n\n THELMA\n Stop.", "HITCHHIKER\n Do you think you could... I mean, I \n could help pay for gas.\n\n Thelma knows Louise isn't going to like this.", "Thelma and Louise look at each other while this sinks in.\n\n THELMA\n\n walks around to the side of the building to the phone. She \n picks it up and dials.", "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "THELMA\n See how polite he is? He was really \n nice.\n\n Louise lowers the top and backs the car out. They watch him \n walk away." ], [ "Louise's eyes get wide as she hears this.\n\n A FINGER reaches up and presses down the lever and hangs up \n the phone.\n\n ANGLE OF THELMA", "LOUISE\n Oklahoma City. Jimmy's gonna wire \n me some money, and then...", "Louise is getting a bad feeling. She is already standing up \n putting money on the table.\n\n LOUISE\n Where's the money, Thelma?", "JIMMY (V.O.)\n Christ, sure... yes!\n\n LOUISE\n Wire it to the Western Union in \n Oklahoma City,", "LOUISE\n Call him. Don't tell him anything. \n Tell him you're having a wonderful \n time and you'll be home tomorrow \n night.", "She hangs up and goes into the bathroom. As the door closes \n behind her, Louise comes up with a handful of change and", "Louise. Louise charges out after her. They head out of the \n restaurant and, THROUGH THE WINDOW, we see them get into the \n car and drive away.", "Louise comes over and takes the phone out of his hand.", "LOUISE\n Why not?! What's he got to lose? \n Other than my life's savings, that \n is. Shit!", "LOUISE\n You mean now or before?\n\n THELMA\n Before.", "Louise knows what she is talking about. She becomes \n immediately agitated.", "LOUISE\n (to attendant)\n Fill her up.\n (to Thelma)\n There's a phone right over there.", "Louise in the motel room. She's looking at the phone. She \n picks it up and dials it and watches herself in the mirror.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "Louise rolls her eyes and tries not to melt.\n\n LOUISE\n Okay, Jimmy. Thanks.\n\n She puts her finger down on the receiver.", "Thelma digs in her bag and hands Louise a roll of quarters. \n Louise gets out of the car and goes to the pay phone. Thelma \n follows her. She puts the money in and dials. It RINGS.", "LOUISE\n (agitated)\n Oh, come on! Murder one and armed \n robbery, Thelma!", "Louise is hanging up the phone. She walks away towards the \n front of the store.\n\n EXT. COUNTRY STORE - DAY", "Louise gets change while Thelma strolls around looking at \n rubber worms and pickled pigs' feet. Louise goes out to the \n phone.\n\n EXT. PAY PHONE - DAY", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise." ], [ "LOUISE\n Why not?! What's he got to lose? \n Other than my life's savings, that \n is. Shit!", "Louise. Louise charges out after her. They head out of the \n restaurant and, THROUGH THE WINDOW, we see them get into the \n car and drive away.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "Louise knows what she is talking about. She becomes \n immediately agitated.", "Louise is getting a bad feeling. She is already standing up \n putting money on the table.\n\n LOUISE\n Where's the money, Thelma?", "in a huge ball of fire. The truck driver screams at the top \n of his lungs. Louise starts the car and starts driving in", "They look at each other, into each other and Jimmy can see \n that Louise is already gone. Louise is really touched that \n he asked her that but she knows it's impossible. She is \n very kind to him.", "LOUISE\n Texas... You were right about what \n happened to me there.\n\n They pull away from the burning wreckage.\n\n INT. CAR - DAY", "Louise quietly starts to fall apart. This causes Thelma to \n leap into action.", "She hangs up and goes into the bathroom. As the door closes \n behind her, Louise comes up with a handful of change and", "On hearing this Louise mouths the word \"shit\" in a very \n frustrated way.\n\n Louise hangs up the phone.\n\n INT. THELMA'S HOUSE - NIGHT", "LOUISE\n (incredulous)\n Holy shit.\n\n CUT TO:", "LOUISE\n You mean now or before?\n\n THELMA\n Before.", "Louise comes over and takes the phone out of his hand.", "sun with her eyes closed. Louise is driving with a fierce \n intensity. They hardly resemble the two women that started \n out for a weekend in the mountains two days earlier. Although", "Louise's eyes get wide as she hears this.\n\n A FINGER reaches up and presses down the lever and hangs up \n the phone.\n\n ANGLE OF THELMA", "LOUISE is a waitress in a coffee shop. She is in her early-\n thirties, but too old to be doing this. She is very pretty", "Louise reaches over and takes the keys. She takes her license \n off the clipboard. She gets out and trots around to the \n back of the car.", "Louise slams down the phone. A framed picture of Louise and \n Jimmy sits on the table next to the phone. She matter-of-\n factly slams that face down, too.", "Louise is sitting in the booth by herself. Thelma comes \n hurrying by. She looks disheveled but is grinning like an \n idiot. She sees Louise and charges into the coffee shop." ], [ "THELMA\n We think you should apologize.\n\n He is getting a little panicky.\n\n TRUCKER\n I'm not apologizing for shit!", "LOUISE\n Are you going to apologize or not?\n\n TRUCKER\n Fuck you.", "LOUISE\n Say you're sorry.\n\n TRUCKER\n Fuck that.\n\n Louise pulls the gun they stole from the State Patrolman.", "As they get next to the truck, the truck driver is smiling \n and waving at them. They smile and wave back. He flicks \n his tongue at them. Louise screams.", "TRUCKER\n You fucking bitch! Aaaaaaarrrgghh!!! \n You're gonna have to pay for that!!!", "Louise pulls the car off to the side of the road. As the \n truck gets close they start waving to him to stop. He pulls", "in a huge ball of fire. The truck driver screams at the top \n of his lungs. Louise starts the car and starts driving in", "his truck off the side of the road and stops. ANGLE ON Louise \n and Thelma smiling up at him. He chuckles to himself. He \n leans out the window.", "TRUCKER\n Yeah... sure did.\n\n THELMA\n Damn. I hate that! I hate bein' \n called a beaver, don't you?", "The Trucker reaches over and opens a glove compartment crammed \n full of condoms. He grabs a few and shoves them in his \n pocket. He turns off his engine and gets out of the truck.", "This is not what is supposed to be happening.\n\n TRUCKER\n What? What are you talkin' about?", "circles around the truck driver. Thelma and Louise are both \n howling at the top of their lungs. Thelma is sitting on the", "The guy does seem really nice and Thelma is really frustrated \n that Louise wouldn't give him a ride, but decides not to \n confront her.", "He is leering at them and laughing. Louise and Thelma drive \n further down the road.", "TRUCKER\n Oh goddamn!! You bitch!!", "THELMA\n We're fine! How are you?\n\n TRUCKER\n Grrrreat!", "A police helicopter flies over the burning wreckage of the \n fuel truck. The truck driver is waving his arms as the \n helicopter descends, blowing dirt all over him.", "J.D.\n Yup. Thanks for the ride. You all \n take care.\n\n He quickly turns and walks away toward the road.", "Policeman #3 sits up in the seat. He can't believe he isn't \n dead. He puts his car in gear and takes off down the road \n after them.", "A battered old pickup truck is parked by the New Mexico State \n Patrol. An old man uses a crowbar to pry open the trunk. \n The New Mexico State Patrolman hops out of the trunk." ], [ "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "THELMA\n Louise... It's okay. Louise? I'm \n sorry. I mean it.\n\n Louise has seen the end of the tunnel and there is no light.", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "Thelma and Louise look at each other while this sinks in.\n\n THELMA\n\n walks around to the side of the building to the phone. She \n picks it up and dials.", "They are driving down the interstate. Thelma reaches for \n her purse and finds the gun.\n\n THELMA\n Louise, will you take care of the \n gun?", "Louise shoots her a look. She puts the car in gear and FLOORS \n it out of the parking lot. She is still looking at Thelma \n as if she has completely lost her mind.", "As Thelma and Louise talk, their voices are heard over the \n following scene.\n\n LOUISE (V.O.)\n You know what's happened, don't you?", "LOUISE\n (from her car)\n Sorry!\n\n Thelma hops into the car with Louise. They look at each \n other.", "INT. CAR - DAY\n\n THELMA\n Louise... are we still going to \n Mexico?\n\n LOUISE\n Yes.", "Louise speeds up.\n\n Thelma hands Louise a little bottle of Wild Turkey and she \n drinks it down. Thelma has one too.", "THELMA\n Let's get it over with.\n\n Thelma and Louise walk to the phone.", "Thelma and Louise are singing along with the MUSIC.\n\n THELMA/LOUISE\n (pointing)\n Yeah, yeah, yeah, yeah, yeah, yeah!", "EXT. CONVENIENCE STORE - DAY\n\n Thelma and Louise are sitting in the car. They've put all \n their money together.", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY" ] ]	[ "Why did Louise shoot Harlan? ", "Thelma and Louise are attempting to travel to Mexico, unable to go through Texas, what direction did they decide to travel? ", "What did the police investigator Hal Slocoumb offer to do for Louise if she would surrender?", "In what state are Thelma and Louise pulled over by the state trooper? ", "Where are Thelna and Louise finally cornered by authorities? ", "Before Thelma and Louise drive off the cliff to thier presumed death's, what did they do? ", "Who made a last ditch effort to convince the ladies to surrender?", "What type of vehicle did Thelma and Louise make their incredible journey? ", "What is Thelma's relationship to Louise?", "What is Louise's occupation?", "What is Daryl's relationship to Thelma?", "What type of vehicle do Thelma and Louise take on vacation?", "What does Harlan attempt to do to a drunk Thelma?", "What does Louise do to Harlan?", "What state does Louise refuse to travel through?", "What is Jimmy's relationship to Louise?", "What is Jimmy asked to wire to Louise?", "Who admits to breaking parole and being a thief?", "Who's car did Thelma and Louise use to go on vacation?", "What kind of car does Louise own?", "Who did Thelma dance with at the roadhouse?", "What was Harlan doing to Thelma when Louise found them?", "What happened to Harlan?", "Who did Thelma and Louise let hitchhike with them?", "Who did Louise have wire her life savings to her?", "What happened to Louise's life savings?", "What happened when the truck driver refused to apologize?", "What did Thelma and Louise do just before the drove over the cliff?" ]	[ [ "Halan attempted to rape Thelma and shouted profanities at them. ", "he raped Thelma" ], [ "West", "west" ], [ "He would offer protection. ", "promises to protect her" ], [ "New Mexico", "NEW MEXICO" ], [ "100 yards from the Grand Canyon", "rim of the grand canyon" ], [ "They kissed.", "kiss" ], [ "Hal Slocomb, the Arkanasas State Investigator. ", "Hal Slocumb." ], [ "a 1966 Ford Convertable. ", "A 1966 Ford Thunderbird convertible." ], [ "Thelma is Louise's best friend", "Friends" ], [ "A waitress", "waitress" ], [ "Daryl is Thelma's husband", "THELMA'S HUSBAND" ], [ "A 1966 Thunderbird convertible", "1966 ford thunderbird convertible" ], [ "Harlan tries to rape Thelma", "rape her" ], [ "Louise shoots and kills Harlan", "kills him" ], [ "Texas", "Texas" ], [ "Jimmy is Louise's boyfriend", "Louise's boyfriend" ], [ "Louise's life savings", "wire her life savings" ], [ "J.D.", "JD" ], [ "Louise's", "LOUISE'S" ], [ "1966 Ford Thunderbird", "1966 Ford Thunderbird Convertible" ], [ "Harlan Puckett", "harlan pluckett" ], [ "Harlan was attempting to rape Thelma.", "beating and raping her" ], [ "Louise killed him", "Louise killed him." ], [ "J.D.", "JD" ], [ "Her boyfriend.", "Jimmy Lennox, her boyfriend." ], [ "J.D. stole the money.", "J.D. stole them." ], [ "Thelma and Louise shot the the tanker on his truck causing it to explode.", "they shoot the tanker he is driving and it blows up" ], [ "Thelma and Louise kissed.", "they kiss" ] ]	dfea98678342e17dbfce44c7906602788cc2267c	test
[ [ "âWell, well! Gerome.â\n\nAnd the old fellow replied in a fury:", "Roland, leaning against the marble mantel-shelf as if it were winter and\nthe fire burning, with his hands in his pockets and his lips puckered", "âGood-bye,â said Roland in a great bustle.", "Roland's voice rescued them.\n\nâThis way, this way, children. Come and watch Beausire. The fellow is\npositively clearing out the sea!â", "Roland had no opinion. He repeated: âI do not want to hear anything\nabout it. I will go and see it when it is all finished.â", "Maitre Lecanu was M. Roland's lawyer, and in a way his friend, managing\nhis business for him. For him to send word that he would call in the", "But old Roland, who had been listening and cogitating, suddenly hit upon\nthe most probable solution.", "âNo--that is to say--yes--I have not found it, but I think I know where\nit is.â\n\nâWhat is that?â asked Roland. And Pierre answered:", "âShall I come back for you?â asked Roland.\n\nShe hesitated a moment and then said: âNo, dear old man; go to bed.\nPierre will see me home.â", "Roland replied: âOur best friend, monsieur, but a fanatic for Paris;\nnever to be got away from the boulevard. He was a head clerk in the", "Roland exclaimed:", "Pierre Roland, their pupil, had been submitted by M. Marchand to the\ndirectors of the Transatlantic Shipping Co., seconded by M. Poulin,", "Old Roland was very eager about this, to impress the voyagers on board\nthe Lorraine, no doubt, and he rose in haste.", "It had not struck him that this good news was that of the death of a\nfriend, of Roland's best friend; and the old man himself had suddenly\nforgotten the intimacy he had but just spoken of with so much\nconviction.", "The young men hauled in their lines, coiled them up, cleaned the hooks\nand stuck them into corks, and sat waiting.\n\nRoland stood up to look out like a captain.", "Every one cried bravo and clapped their hands, and the elder Roland rose\nto reply. After clearing his throat, for it felt thick and his tongue\nwas heavy, he stammered out:", "She was visiting it on Roland now, throwing all the responsibility of\nher sin on his ugliness, his stupidity, his clumsiness, the heaviness of", "âNo--no, M. Roland. To-morrow, at my office to-morrow, at two o'clock,\nif that suits you.â", "mankind. Now and again, however, old Roland looked at his watch. âCome,â\n said he, âit is time to be going.â", "âMonsieur Rolandâ before strangers), âtell me, do you remember who it\nwas that Joseph Lebru married for the second time?â" ], [ "Pierre Roland, their pupil, had been submitted by M. Marchand to the\ndirectors of the Transatlantic Shipping Co., seconded by M. Poulin,", "âNo--that is to say--yes--I have not found it, but I think I know where\nit is.â\n\nâWhat is that?â asked Roland. And Pierre answered:", "Pierre, leaning over him, gazed at him with hungry eagerness. No, this\nyoungster was not in the least like Roland; and for the second time the", "Pierre, too, was looking at them, and a harsh laugh suddenly broke form\nhis lips. Without turning to him Mme. Roland said:\n\nâWhat is it?â", "Roland filled his pipe; Pierre and Jean lighted cigarettes. They\ncommonly smoked them, Pierre while he paced the room, Jean, sunk in a", "Mme. Roland appealed to the judgment of her elder son.\n\nâAnd you, Pierre, what do you think of the matter?â", "everything, who had escaped death by a miracle, had bewitched Pierre\nRoland's lively and bold imagination; he had made friends with the old", "âShall I come back for you?â asked Roland.\n\nShe hesitated a moment and then said: âNo, dear old man; go to bed.\nPierre will see me home.â", "Maitre Lecanu was M. Roland's lawyer, and in a way his friend, managing\nhis business for him. For him to send word that he would call in the", "that they would bring on him incessant suffering too great to endure.\nJean was talking, chatting with Roland. Pierre, as he did not listen,", "Mme. Roland, much distressed, now put in her word: âCome, Pierre, what\nails you? For once it cannot hurt him. Think of what an occasion it", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "Roland replied: âOur best friend, monsieur, but a fanatic for Paris;\nnever to be got away from the boulevard. He was a head clerk in the", "Roland's voice rescued them.\n\nâThis way, this way, children. Come and watch Beausire. The fellow is\npositively clearing out the sea!â", "Pierre was looking at this home which might have been his, and he was\nrestive under his brother's frolics, thinking him really too silly and\nwitless.\n\nMme. Roland opened a door on the right.", "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "Roland, leaning against the marble mantel-shelf as if it were winter and\nthe fire burning, with his hands in his pockets and his lips puckered", "âPierre? But he is a doctor; he will make plenty of money; besides, his\nbrother will surely do something for him.â", "âHand it on to me,â said Roland.\n\nPierre held out the miniature and his father drew the candle towards him\nto see it better; then, he murmured in a pathetic tone:", "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would" ], [ "Jean had not spoken a word.\n\nWhen their guest had gone, silence fell again till father Roland clapped\nhis two hands on his younger son's shoulders, crying:", "that they would bring on him incessant suffering too great to endure.\nJean was talking, chatting with Roland. Pierre, as he did not listen,", "âMy colleague in Paris has just communicated to me the main item of his\nwill, by which he makes your son Jean--Monsieur Jean Roland--his sole\nlegatee.â", "Maitre Lecanu was M. Roland's lawyer, and in a way his friend, managing\nhis business for him. For him to send word that he would call in the", "When they had landed, Beausire at once took leave of them to go to\nbreakfast with a friend. Then Jean led the way with Mme. Rosemilly, and\nRoland said to his wife:", "Roland filled his pipe; Pierre and Jean lighted cigarettes. They\ncommonly smoked them, Pierre while he paced the room, Jean, sunk in a", "Jean in a low tone said to his mother: âLook, mother, she is close upon\nus!â And Mme. Roland uncovered her eyes, blinded with tears.", "Roland's voice rescued them.\n\nâThis way, this way, children. Come and watch Beausire. The fellow is\npositively clearing out the sea!â", "Pierre Roland, their pupil, had been submitted by M. Marchand to the\ndirectors of the Transatlantic Shipping Co., seconded by M. Poulin,", "Roland replied: âOur best friend, monsieur, but a fanatic for Paris;\nnever to be got away from the boulevard. He was a head clerk in the", "Roland, leaning against the marble mantel-shelf as if it were winter and\nthe fire burning, with his hands in his pockets and his lips puckered", "âGood-bye,â said Roland in a great bustle.", "He looked at Mme. Rosemilly, who began to smile and glanced at Mme.\nRoland. Mme. Roland took her hand and pressed it. Jean, in high spirits,", "âMonsieur Jean.â Marechal would hold out both hands, the right hand to\none of the young men, the left to the other, as they happened to come\nin.", "âNo--that is to say--yes--I have not found it, but I think I know where\nit is.â\n\nâWhat is that?â asked Roland. And Pierre answered:", "But old Roland, who had been listening and cogitating, suddenly hit upon\nthe most probable solution.", "They were accustomed to speak of Jean among themselves as the âlittle\none,â though he was much bigger than Pierre.", "Roland had no opinion. He repeated: âI do not want to hear anything\nabout it. I will go and see it when it is all finished.â", "Jean rolled up his trousers above his calf, and his sleeves to his\nelbows, that he might get wet without caring; then saying: âForward!â he", "âShall I come back for you?â asked Roland.\n\nShe hesitated a moment and then said: âNo, dear old man; go to bed.\nPierre will see me home.â" ], [ "âWere you not saying that our poor friend Marechal had left his fortune\nto my little Jean?â\n\nâYes, madame.â", "âNo; my Paris correspondent states that everything is quite clear. M.\nJean has only to sign his acceptance.â\n\nâGood. Then--then the fortune is quite clear?â", "far away and growing old. Why yes, since he had left all his fortune to\nhis son--their son!", "âAll I know is,â said he, âthat dying without any direct heirs, he\nhas left the whole of his fortune--about twenty thousand francs a year", "always have been fond of him, always have taken an interest in him,\nsince he thought of his needs. Well then--well then--why leave his whole\nfortune to Jean? No, he had never shown more marked affection for the", "âMy colleague in Paris has just communicated to me the main item of his\nwill, by which he makes your son Jean--Monsieur Jean Roland--his sole\nlegatee.â", "He asked himself: âWhat made this Marechal leave all his fortune to\nJean?â", "who had known their mother had left him all his fortune; he took the\nmoney and thought it quite fair and natural! He was sleeping, rich and\ncontented, not knowing that his brother was gasping with anguish and", "This Marechal then, being young, free, rich, ready for any form of\ntenderness, went by chance into the shop one day, having perhaps", "âGood heavens! Poor Leon--our poor friend! Dear me! Dear me! Dead!â", "âMonsieur Jean.â Marechal would hold out both hands, the right hand to\none of the young men, the left to the other, as they happened to come\nin.", "Marechal had of his own accord offered and lent him money, a few hundred\nfrancs perhaps, forgotten by both, and never repaid. Then this man must", "He crossed his legs and said:\n\nâHe has wonderful luck, that brother of mine. He had just come into a\nlegacy of twenty thousand francs a year.â", "âNo, he would not take it. Besides, this legacy is for Jean, only for\nJean. Pierre will find himself at a great disadvantage.â", "Marechal, to see him, to know him, to penetrate the man whom he had seen\npass by him, indifferent to his heart during all those years in Paris.", "Well then--well then--he must have had some strong secret reason for\nleaving everything to Jean--everything--and nothing to Pierre.", "After a long silence Marowsko asked whether Jean had come definitely\ninto possession of his fortune; and then he put two or three other\nquestions vaguely referring to the same subject. His jealous devotion", "âWhy, a legacy, of course. I am sure of it. I bring good luck.â\n\nBut they did not expect the death of any one who might leave them\nanything.", "But what could Jean do? The simplest thing no doubt, would be to refuse\nthe inheritance, which would then go to the poor, and to tell all", "âYou see, my dearest, that it would have been no good to stay any longer\nin Paris and work for the children till I dropped, instead of coming\nhere to recruit my health, since fortune drops on us from the skies.â" ], [ "And this thought rushed into Pierre's soul, as abrupt and violent as a\ncannon-ball rending and piercing it: âSince he knew me first, since he", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "It was as though they were spying on each other; and acute uneasiness,\nintolerable to be borne, clutched at Pierre's heart. He was saying to\nhimself--at once tortured and glad:", "again, and he was wondering by what device or trick he could possess\nhimself of it without exciting Pierre's remark. A ruse occurred to\nhim, the simplest possible. He took up the bottle with an air of", "Pierre raising his eyes met his brother's and understood.\n\nThen, after some hesitation, he asked:", "She murmured in a low voice, tremulous with feeling: âO Pierre, how\ncruel you are! That woman is honesty itself. Your brother could not find\na better.â", "to Pierre rebelled against this preference. And Pierre felt as though he\ncould hear him thinking; he guessed and understood, read in his averted\neyes and in the hesitancy of his tone, the words which rose to his lips", "Then they were silent, and sat for some minutes without a word under the\nsolitary gas-lamp. At last Pierre began, almost in spite of himself:", "And the young man went. He mounted the stairs with the fevered\ndetermination of a man who is about to fight a duel and who is in a\nfright. When he knocked at the door Pierre said:", "âNo, no, it is nothing--I shall get better directly--it is nothing.â\n\nPierre had gone up to her and was looking at her steadily.", "This delicate question being thus disposed of he came back to that of\nPierre's presence in the family. How was he to be got rid of? He was", "Dr. Pirette having gone on board, Pierre went to the ship, where he was\nreceived in a little state-room by a young man with a fair beard, not\nunlike his brother. They talked together a long time.", "âI too came out for fresh air.â And Pierre sat down by his brother's\nside.\n\nâLovely--isn't it?â", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "from an almost professional point of view, as though he had to legislate\nfor the future relations of certain clients after a moral disaster.\nConstant friction against Pierre had certainly become unendurable. He", "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "Then all was silent once more.\n\nPierre had opened his eyes and was looking about him, startled to find\nhimself here, roused from his nightmare.", "âYou are to know that Mme. Rosemilly is about to become my wife.â\n\nPierre laughed the louder.", "She could not get out, she must come through his room. She had not come;\nthen it was because she dare not.\n\nSuddenly Pierre stamped his foot." ], [ "When they had landed, Beausire at once took leave of them to go to\nbreakfast with a friend. Then Jean led the way with Mme. Rosemilly, and\nRoland said to his wife:", "âGood-bye,â said Roland in a great bustle.", "Roland, leaning against the marble mantel-shelf as if it were winter and\nthe fire burning, with his hands in his pockets and his lips puckered", "âShall I come back for you?â asked Roland.\n\nShe hesitated a moment and then said: âNo, dear old man; go to bed.\nPierre will see me home.â", "ate them. Then, at the end of about an hour, Mme. Rosemilly begged to\ntake leave. It was decided that old Roland should accompany her home and", "âThen it is understood,â repeated Roland. âTo-morrow, at your place, at\ntwo?â\n\nâQuite so. To-morrow, at two.â", "Roland's voice rescued them.\n\nâThis way, this way, children. Come and watch Beausire. The fellow is\npositively clearing out the sea!â", "money to live in modest comfort on the interest of his savings. He\nretired to le Havre, bought a boat, and became an amateur skipper.\nHis two sons, Pierre and Jean, had remained at Paris to continue their", "Roland was to take possession of the little floating cabin in which\nhenceforth his life was to be confined.", "âNo--that is to say--yes--I have not found it, but I think I know where\nit is.â\n\nâWhat is that?â asked Roland. And Pierre answered:", "Roland had no opinion. He repeated: âI do not want to hear anything\nabout it. I will go and see it when it is all finished.â", "sat the four Rolands, Mme. Rosemilly, and Captain Beausire, all silent,\ndeafened by the rumble of the wheels, and with their eyes shut to keep\nout the clouds of dust.", "She was visiting it on Roland now, throwing all the responsibility of\nher sin on his ugliness, his stupidity, his clumsiness, the heaviness of", "All their faces were beaming.\n\nâWell,â said Roland, âare you getting on with your purchases? I do not\nwant to see anything till it is all in its place.â", "enabled her to discover in the town of Havre the son of our worthy\nfriend Roland, skipper of the Pearl.â", "Jean had not spoken a word.\n\nWhen their guest had gone, silence fell again till father Roland clapped\nhis two hands on his younger son's shoulders, crying:", "The young men hauled in their lines, coiled them up, cleaned the hooks\nand stuck them into corks, and sat waiting.\n\nRoland stood up to look out like a captain.", "As soon as he was alone with his wife, father Roland took her in\nhis arms, kissed her a dozen times on each cheek, and, replying to a\nreproach she had often brought against him, said:", "Roland filled his pipe; Pierre and Jean lighted cigarettes. They\ncommonly smoked them, Pierre while he paced the room, Jean, sunk in a", "Roland replied: âOur best friend, monsieur, but a fanatic for Paris;\nnever to be got away from the boulevard. He was a head clerk in the" ], [ "âGood-bye,â replied Pierre, standing on one of the landing-planks lying\nbetween the deck of the Lorraine and the quay. He shook hands all round\nonce more, and they were gone.", "âGood-bye, my boy.â He kissed Pierre on the whiskers and then opened the\ndoor.", "and glided and rolled along the roofs and streets like the flow of a\nriver. Pierre, with his hands and feet frozen, made haste home and threw", "But while they were bustling about her and asking after her health,\nPierre made off, the door having been left open.", "âYou and I together, mate,â cried Pierre. He went down the iron ladder\nof the quay and leaped into the vessel.\n\nâWhich way is the wind?â he asked.", "When the family had gone, Pierre, alone once more, resumed his\ninvestigations in the apartments to let. After two or three hours", "And the young man went. He mounted the stairs with the fevered\ndetermination of a man who is about to fight a duel and who is in a\nfright. When he knocked at the door Pierre said:", "For some time they did not speak; then he said:\n\nâYou see that Pierre is quite ready and willing to go away.â\n\nShe murmured:", "Pierre could no longer endure to stay in the room! This house, his\nfather's house, crushed him. He felt the roof weigh on his head, and the", "Then all was silent once more.\n\nPierre had opened his eyes and was looking about him, startled to find\nhimself here, roused from his nightmare.", "âThat is out of the question, as Pierre left you here. Come, take\ncourage. I will arrange everything, I promise you, to-morrow; I will", "The passengers were already going on board the Trouville boat; Pierre\ntook a seat aft on a wooden bench.\n\nHe asked himself:", "Then they were silent, and sat for some minutes without a word under the\nsolitary gas-lamp. At last Pierre began, almost in spite of himself:", "and dense, of well-dressed people in two opposite streams elbowing and\nmingling. Pierre, made nervous and exasperated by this bustle, made his", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "endowed with life--the life of a vessel driven on by a mysterious latent\npower. Pierre took the tiller, and, holding his cigar between his teeth,", "As soon as he got out, Pierre made his way to the Rue de Paris, the\nhigh-street of Havre, brightly lighted up, lively and noisy. The rather", "Pierre went down to the sea. As he reached the jetty he descried the\nPearl; his father and Beausire were coming in. Papagris was pulling,", "âNo, no, it is nothing--I shall get better directly--it is nothing.â\n\nPierre had gone up to her and was looking at her steadily.", "Pierre, on his part, said that he too was going out, and after a few\nminutes followed his brother." ], [ "Pierre looked at the mother who had lied to him; looked at her with\nthe concentrated fury of a son who had been cheated, robbed of his most", "Pierre, as he went towards his mother, looked at her with a sudden sense\nof never having seen her before. She held up her face, he kissed each\ncheek, and then sat down in a low chair.", "Now, reminiscences came readily to Pierre's mind. Having seen him\nanxious from time to time, and suspecting his student's impecuniousness,", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "on the inmost fibres of his flesh, were certain words, certain tones of\nanguish, certain gestures of Pierre's, so full of suffering that they", "They did in fact recur, almost every day; and Pierre seemed to bring\nthem on with a word, as if he had the clew to her strange and new", "It was as though they were spying on each other; and acute uneasiness,\nintolerable to be borne, clutched at Pierre's heart. He was saying to\nhimself--at once tortured and glad:", "âPierre! Be silent. Mother is in the next room. Remember she may\nhear--she must hear.â", "And their mother, somewhat vexed, said:\n\nâWhy, Pierre, what rhyme or reason is there in getting into such a\nstate. You are not a child.â", "Pierre had scarcely any intercourse with his family during the days\nwhich followed. He was nervous, irritable, hard, and his rough speech", "Then they were silent, and sat for some minutes without a word under the\nsolitary gas-lamp. At last Pierre began, almost in spite of himself:", "She rose, took a taper, and went. Then, after an absence which Pierre\nthought long, though she was not away more than three minutes, Mme.", "to Pierre rebelled against this preference. And Pierre felt as though he\ncould hear him thinking; he guessed and understood, read in his averted\neyes and in the hesitancy of his tone, the words which rose to his lips", "to Pierre was far more decisive than the common aspect of the faces, was\nthat his mother had risen, had turned her back, and was pretending, too", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "He was too much crushed to stir or even to will. His distress became\nunbearable; and he knew that behind the door was his mother who had\nheard everything and was waiting.", "She did not venture to speak to Pierre, knowing that he would return\nsome hard answer; and he dared not address his mother, knowing that", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "Mme. Roland, much distressed, now put in her word: âCome, Pierre, what\nails you? For once it cannot hurt him. Think of what an occasion it", "Pierre could no longer endure to stay in the room! This house, his\nfather's house, crushed him. He felt the roof weigh on his head, and the" ], [ "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "PIERRE & JEAN\n\nBy Guy De Maupassant\n\n\nTranslated By Clara Bell\n\n\n\n\nCHAPTER I", "He called Pierre and Jean âmy dear children,â and had never seemed to\nprefer either, asking them both together to dine with him. And then", "âWell, but Pierre. What can we do about Pierre?â\n\nJean answered:\n\nâWe will find some plan! You cannot live with him any longer.â", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "His father, above all, amazed his eyes and his mind. That flabby, burly\nman, happy and besotted, was his own father! No, no; Jean was not in the\nleast like him.\n\nHis family!", "His eldest son, Pierre, a man of thirty, with black whiskers trimmed\nsquare like a lawyer's, his mustache and beard shaved away, replied:\n\nâOh, not many; three or four.â", "For a week or two nothing occurred. The father went fishing; Jean, with\nhis mother's help, was furnishing and settling himself; Pierre, very\ngloomy, never was seen excepting at meal-times.", "Pierre went down to the sea. As he reached the jetty he descried the\nPearl; his father and Beausire were coming in. Papagris was pulling,", "money to live in modest comfort on the interest of his savings. He\nretired to le Havre, bought a boat, and became an amateur skipper.\nHis two sons, Pierre and Jean, had remained at Paris to continue their", "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "âNo, he would not take it. Besides, this legacy is for Jean, only for\nJean. Pierre will find himself at a great disadvantage.â", "Roland filled his pipe; Pierre and Jean lighted cigarettes. They\ncommonly smoked them, Pierre while he paced the room, Jean, sunk in a", "On leaving school, Pierre, the elder, five years older than Jean, had\nfelt a vocation to various professions and had tried half a dozen in", "His two sons, Pierre and Jean, who each held a line twisted round his\nforefinger, one to port and one to starboard, both began to laugh, and\nJean remarked:", "Jean had not spoken a word.\n\nWhen their guest had gone, silence fell again till father Roland clapped\nhis two hands on his younger son's shoulders, crying:", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "âPierre? But he is a doctor; he will make plenty of money; besides, his\nbrother will surely do something for him.â" ], [ "His father!--A very worthy man, no doubt, upright and honest in\nbusiness, but with a mind which had never gone beyond the horizon of his", "His father, above all, amazed his eyes and his mind. That flabby, burly\nman, happy and besotted, was his own father! No, no; Jean was not in the\nleast like him.\n\nHis family!", "was stupidity, and whose kindliness was blindness. His parents, whose\ndream for their sons was some respectable and undistinguished calling,", "âI say, fatherâ (she called her husband âfatherâ at home, and sometimes", "studies, and came for the holidays from time to time to share their\nfather's amusements.", "them. This paternal love, this filial love, were the outcome of a lie--a\nlie which could not be unmasked, and which no one would ever know but\nhe, the true son.", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "Jean had not spoken a word.\n\nWhen their guest had gone, silence fell again till father Roland clapped\nhis two hands on his younger son's shoulders, crying:", "âMake haste, jump into the carriage,â cried the father.\n\nA fly was waiting for them and took them to the outer harbour, where\nPapagris had the Pearl in readiness to put out to sea.", "For a week or two nothing occurred. The father went fishing; Jean, with\nhis mother's help, was furnishing and settling himself; Pierre, very\ngloomy, never was seen excepting at meal-times.", "At the door of the dining-room he paused, doubtful about going in first;\nthen he abruptly opened the door and saw his father and mother seated at\nthe table opposite each other.", "âMuch the same as Pierre--four or five.â\n\nEvery time they told the same fib, which delighted father Roland. He had\nhitched his line round a row-lock, and folding his arms he announced:", "As soon as he was alone with his wife, father Roland took her in\nhis arms, kissed her a dozen times on each cheek, and, replying to a\nreproach she had often brought against him, said:", "But the public--their neighbours, the shopkeepers, their own tradesmen,\nall who knew them--would not they repeat the abominable thing, laugh at\nit, enjoy it, make game of his father and despise his mother?", "His eldest son, Pierre, a man of thirty, with black whiskers trimmed\nsquare like a lawyer's, his mustache and beard shaved away, replied:\n\nâOh, not many; three or four.â", "far away and growing old. Why yes, since he had left all his fortune to\nhis son--their son!", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "âGive me my glass. I fancy I see her out there.â\n\nThe father pulled out the copper tube, adjusted it to his eye, sought\nthe speck, and then, delighted to have seen it, exclaimed:", "He found his father, his mother, Jean, and Mme. Rosemilly waiting for\nhim in his cabin.\n\nâSo early!â he exclaimed.", "His father was surprised and tried to keep him; they had much to talk\nabout, plans to be made, decisions to be formed. But the young man" ], [ "As soon as he was alone with his wife, father Roland took her in\nhis arms, kissed her a dozen times on each cheek, and, replying to a\nreproach she had often brought against him, said:", "His wife merely answered: âYes; he was a faithful friend.â", "Both man and wife responded with the little movement of pained surprise,\ngenuine or false, but always ready, with which such news is received.\n\nMaitre Lecanu went on:", "her? Why should he have made friends with these tradespeople if he had\nnot been in love with the wife? He was a man of education and fairly\nrefined tastes. How many a time had he discussed poets and poetry with", "âI say, fatherâ (she called her husband âfatherâ at home, and sometimes", "Then turning to his wife he added:\n\nâGo and fetch that portrait, little woman, as you have done your dinner.\nI should like to see it again myself.â", "As his wife made no answer he went on:", "Again Roland sat thinking, but he could remember no more and appealed to\nhis wife's better memory.", "And his wife replied: âOh, yes. We are getting on. But it takes much\nconsideration to avoid buying things that do not match. The furniture\nquestion is an absorbing one.â", "Pierre, who had heard, and who was beginning to be restless under the\nyoung woman's indifference, muttered to himself: âWell, the widow is", "had always been to him hitherto. He understood now that, loving her,\nhe had never looked at her. All the same it was very really she, and he", "Then she sat still, her cheek against his, feeling the warmth of his\nskin through his beard, and she whispered in his ear: âNo, my little", "He replied: âI? I? How little you know me!â with such a burst of genuine\naffection that, with a cry, she seized his head by the hair with both", "He thought of Marowsko. The old Pole was the only person who loved\nhim well enough to feel true and keen emotion, and the doctor at once\ndetermined to go and see him.", "But he, too, was suffering as cruelly as she. It was dreadful pain to\nhim that he could no longer love her nor respect her, that he must put", "âYou? What can it be? What can you have found?â\n\nâA wife. And my mother and I have come to ask you whether she had\nchanged her mind this morning.â", "This day on the sea had been delightful to her. Her husband, without\nbeing brutal, was rough with her, as a man who is the despot of his", "âTumble yourselves overboard, rather, with your women and your little\nones.â And his heart ached so with pity that he went away unable to\nendure the sight.", "A dreamer, a lover, a sage--a happy or a desperate man? Who was it? He\nwent forward, curious to see the face of this lonely individual, and he\nrecognised his brother.", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving" ], [ "He was a retired jeweller who had been led by an inordinate love of\nseafaring and fishing to fly from the shop as soon as he had made enough", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "money to live in modest comfort on the interest of his savings. He\nretired to le Havre, bought a boat, and became an amateur skipper.\nHis two sons, Pierre and Jean, had remained at Paris to continue their", "ate them. Then, at the end of about an hour, Mme. Rosemilly begged to\ntake leave. It was decided that old Roland should accompany her home and", "The two young people who led the way went fast till on a sudden they\nsaw, by the side of a wooden bench which afforded a resting-place about", "insisted, declaring that he had an engagement. Besides, there would be\ntime enough for settling everything before he came into possession of\nhis inheritance. So he went away, for he wished to be alone to reflect.", "medicine. So they were now having a little rest at home, and both looked\nforward to settling in Havre if they could find a satisfactory opening.", "By the time they reached Havre their drowsiness was so heavy that they\nhad great difficulty in shaking it off, and Beausire even refused to go\nto Jean's rooms where tea was waiting for them. He had to be set down at\nhis own door.", "The rising tide drove them back to rejoin the fishers, and then they\nall made their way to the shore. They roused Pierre, who pretended to\nbe sleeping; and then came a long dinner washed down with many kinds of\nwine.", "far away and growing old. Why yes, since he had left all his fortune to\nhis son--their son!", "When they faced each other again, and were seated, they took hands and\nremained so, looking at each and smiling, while they seemed to have\nforgotten Jean.", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "exhausted, but comforted, as after the pains of child-birth. At last she\ncould walk and she took his arm. The town hall struck three as they went\npast.", "The three men spoke not another word till they reached the threshold of\ntheir own house. It was a narrow one, consisting of a ground-floor and", "âGood-bye,â replied Pierre, standing on one of the landing-planks lying\nbetween the deck of the Lorraine and the quay. He shook hands all round\nonce more, and they were gone.", "A faint attempt was made to detain her; but she would not consent, and\nwent home without either of the three men offering to escort her, as\nthey always had done.", "Pierre recollected quite clearly now that it was long, long before\nthey left Paris that the miniature had vanished. It had disappeared, he", "âGood-bye, my boy.â He kissed Pierre on the whiskers and then opened the\ndoor.", "But he was going away, flying, vanishing, a tiny speck already, no more\nthan an imperceptible spot on the enormous vessel. She tried still to\ndistinguish him, but she could not.\n\nJean took her hand.", "As soon as he was alone with his wife, father Roland took her in\nhis arms, kissed her a dozen times on each cheek, and, replying to a\nreproach she had often brought against him, said:" ], [ "On leaving school, Pierre, the elder, five years older than Jean, had\nfelt a vocation to various professions and had tried half a dozen in", "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "PIERRE & JEAN\n\nBy Guy De Maupassant\n\n\nTranslated By Clara Bell\n\n\n\n\nCHAPTER I", "âWell, but Pierre. What can we do about Pierre?â\n\nJean answered:\n\nâWe will find some plan! You cannot live with him any longer.â", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "Roland filled his pipe; Pierre and Jean lighted cigarettes. They\ncommonly smoked them, Pierre while he paced the room, Jean, sunk in a", "He called Pierre and Jean âmy dear children,â and had never seemed to\nprefer either, asking them both together to dine with him. And then", "End of the Project Gutenberg EBook of Pierre and Jean, by Guy de Maupassant", "money to live in modest comfort on the interest of his savings. He\nretired to le Havre, bought a boat, and became an amateur skipper.\nHis two sons, Pierre and Jean, had remained at Paris to continue their", "His two sons, Pierre and Jean, who each held a line twisted round his\nforefinger, one to port and one to starboard, both began to laugh, and\nJean remarked:", "non-aggressive animosity. They were fond of each other, it is true, but\nthey watched each other. Pierre, five years old when Jean was born,", "GUTENBERG EBOOK PIERRE AND JEAN *\n\n\n\n\nProduced by Dagny; John Bickers; HTML file by David Widger", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "âMonsieur Jean.â Marechal would hold out both hands, the right hand to\none of the young men, the left to the other, as they happened to come\nin.", "an almost imperceptible difference of voice and look and also by\noccasionally asking his opinion. She seemed to guess that Jean's\nviews would support her own, while those of Pierre must inevitably", "âPierre? But he is a doctor; he will make plenty of money; besides, his\nbrother will surely do something for him.â", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "But to-day they meant to display their biceps. Pierre's arms were hairy,\nsomewhat lean but sinewy; Jean's were round and white and rosy, and the\nknot of muscles moved under the skin.", "Pierre, who was nearest to the two women, took the stroke oar, Jean the\nother, and they sat waiting till the skipper should say: âGive way!â For\nhe insisted on everything being done according to strict rule." ], [ "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would", "Pierre had scarcely any intercourse with his family during the days\nwhich followed. He was nervous, irritable, hard, and his rough speech", "When the family had gone, Pierre, alone once more, resumed his\ninvestigations in the apartments to let. After two or three hours", "âAnd what did he die of, poor Marechal?â\n\nMaitre Lecanu did not know in the least.", "Perhaps, indeed, Marowsko believed that Jean was Marechal's son. Of\ncourse he believed it! How could he help believing it when the thing", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "Pierre, too, was looking at them, and a harsh laugh suddenly broke form\nhis lips. Without turning to him Mme. Roland said:\n\nâWhat is it?â", "âGood heavens! Poor Leon--our poor friend! Dear me! Dear me! Dead!â", "Pierre looked at the mother who had lied to him; looked at her with\nthe concentrated fury of a son who had been cheated, robbed of his most", "Pierre recollected quite clearly now that it was long, long before\nthey left Paris that the miniature had vanished. It had disappeared, he", "This delicate question being thus disposed of he came back to that of\nPierre's presence in the family. How was he to be got rid of? He was", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "The little fortune his father had saved brought him in about eight\nthousand francs a year, and Pierre had often blamed himself for having", "Pierre replied: âNo; I had not noticed that there was anything the\nmatter with her.â\n\nAt this Roland was angry.", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "at Marechal's fair hair, and show quite plainly that he was haunted by\na fixed idea. So that this little portrait, smaller than an opened palm,", "Then Pierre understood that they had wept together, but he could not\nread their minds. Did Jean believe in his mother's guilt, or think his\nbrother a base wretch?", "His eldest son, Pierre, a man of thirty, with black whiskers trimmed\nsquare like a lawyer's, his mustache and beard shaved away, replied:\n\nâOh, not many; three or four.â", "âGood-bye, my boy.â He kissed Pierre on the whiskers and then opened the\ndoor.", "Pierre could no longer endure to stay in the room! This house, his\nfather's house, crushed him. He felt the roof weigh on his head, and the" ], [ "Pierre looked at the mother who had lied to him; looked at her with\nthe concentrated fury of a son who had been cheated, robbed of his most", "Pierre, as he went towards his mother, looked at her with a sudden sense\nof never having seen her before. She held up her face, he kissed each\ncheek, and then sat down in a low chair.", "âI am mad,â thought he, âI suspect my mother.â And a surge of love and", "It was as though they were spying on each other; and acute uneasiness,\nintolerable to be borne, clutched at Pierre's heart. He was saying to\nhimself--at once tortured and glad:", "and very deeply pained, but after his quarrel with his brother, after\nthe violent and brutal betrayal which had shaken his nerves, the\nagonizing emotion of his mother's confession had so bereft him of energy", "Then Pierre understood that they had wept together, but he could not\nread their minds. Did Jean believe in his mother's guilt, or think his\nbrother a base wretch?", "She could not get out, she must come through his room. She had not come;\nthen it was because she dare not.\n\nSuddenly Pierre stamped his foot.", "And this thought rushed into Pierre's soul, as abrupt and violent as a\ncannon-ball rending and piercing it: âSince he knew me first, since he", "Under any other circumstances he would certainly not have understood,\nnot have imagined the possibility of such an insinuation against his\npoor mother, who was so kind, so simple, so excellent. But his spirit", "âPierre! Be silent. Mother is in the next room. Remember she may\nhear--she must hear.â", "to Pierre was far more decisive than the common aspect of the faces, was\nthat his mother had risen, had turned her back, and was pretending, too", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "Now, reminiscences came readily to Pierre's mind. Having seen him\nanxious from time to time, and suspecting his student's impecuniousness,", "âNo, no, it is nothing--I shall get better directly--it is nothing.â\n\nPierre had gone up to her and was looking at her steadily.", "She murmured in a low voice, tremulous with feeling: âO Pierre, how\ncruel you are! That woman is honesty itself. Your brother could not find\na better.â", "his mother? But did she give herself to him? Why yes, since this man had\nhad no other love, since he had remained faithful to her when she was", "He was too much crushed to stir or even to will. His distress became\nunbearable; and he knew that behind the door was his mother who had\nheard everything and was waiting.", "And their mother, somewhat vexed, said:\n\nâWhy, Pierre, what rhyme or reason is there in getting into such a\nstate. You are not a child.â", "of love. He remembered nothing of what his brother had told him;\nhe neither reasoned nor argued, he merely laid his two hands on his\nmother's inert body, and not being able to pull the pillow away, he", "She did not venture to speak to Pierre, knowing that he would return\nsome hard answer; and he dared not address his mother, knowing that" ], [ "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "Well then--well then--he must have had some strong secret reason for\nleaving everything to Jean--everything--and nothing to Pierre.", "to Pierre rebelled against this preference. And Pierre felt as though he\ncould hear him thinking; he guessed and understood, read in his averted\neyes and in the hesitancy of his tone, the words which rose to his lips", "Then Pierre understood that they had wept together, but he could not\nread their minds. Did Jean believe in his mother's guilt, or think his\nbrother a base wretch?", "Then all was silent once more.\n\nPierre had opened his eyes and was looking about him, startled to find\nhimself here, roused from his nightmare.", "was harassed by remorse for having told this thing to Jean. He felt that\nit was odious, indecent, and brutal, and yet it was a relief to him to\nhave uttered it.", "an almost imperceptible difference of voice and look and also by\noccasionally asking his opinion. She seemed to guess that Jean's\nviews would support her own, while those of Pierre must inevitably", "PIERRE & JEAN\n\nBy Guy De Maupassant\n\n\nTranslated By Clara Bell\n\n\n\n\nCHAPTER I", "It was as though they were spying on each other; and acute uneasiness,\nintolerable to be borne, clutched at Pierre's heart. He was saying to\nhimself--at once tortured and glad:", "his violence, from saying: âDear me! How like Jean!â And though he dared\nnot utter the terrible words, he betrayed his thought by his manner of", "âWell, but Pierre. What can we do about Pierre?â\n\nJean answered:\n\nâWe will find some plan! You cannot live with him any longer.â", "And this thought rushed into Pierre's soul, as abrupt and violent as a\ncannon-ball rending and piercing it: âSince he knew me first, since he", "For a week or two nothing occurred. The father went fishing; Jean, with\nhis mother's help, was furnishing and settling himself; Pierre, very\ngloomy, never was seen excepting at meal-times.", "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "Jean, in his turn, held out his hand for the picture. He gazed at it for\na few minutes and then said regretfully:", "Perhaps, indeed, Marowsko believed that Jean was Marechal's son. Of\ncourse he believed it! How could he help believing it when the thing", "âNo, no, it is nothing--I shall get better directly--it is nothing.â\n\nPierre had gone up to her and was looking at her steadily." ], [ "But he was going away, flying, vanishing, a tiny speck already, no more\nthan an imperceptible spot on the enormous vessel. She tried still to\ndistinguish him, but she could not.\n\nJean took her hand.", "money to live in modest comfort on the interest of his savings. He\nretired to le Havre, bought a boat, and became an amateur skipper.\nHis two sons, Pierre and Jean, had remained at Paris to continue their", "âGood-bye,â replied Pierre, standing on one of the landing-planks lying\nbetween the deck of the Lorraine and the quay. He shook hands all round\nonce more, and they were gone.", "âCome,â said Jean, much agitated. âLet us go on before they come up with\nus.â", "Jean went forward holding out his hand, and when he felt his fingers\nin the old man's fatherly clasp, a strange, unforeseen emotion thrilled\nthrough him, and a sense as of parting and farewell without return.", "Jean took one oar, the sailor seized the other and they pulled off.\nOn the breakwater, on the piers, even on the granite parapets, a crowd", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "âI--oh, I cannot be of any use to you. I am leaving Havre early next\nmonth.â\n\nMarowsko took off his spectacles, so great was his agitation.", "Jean replied gently:\n\nâStay, mother.â\n\nShe clasped him in her arms, and her tears flowed again; then, with her\nface against his, she went on:", "By the time they reached Havre their drowsiness was so heavy that they\nhad great difficulty in shaking it off, and Beausire even refused to go\nto Jean's rooms where tea was waiting for them. He had to be set down at\nhis own door.", "As soon as he got out, Pierre made his way to the Rue de Paris, the\nhigh-street of Havre, brightly lighted up, lively and noisy. The rather", "Jean flew to the window; it was shut and the shutters bolted. He looked\nabout him, peering into the dark corners with anxious eyes, and he then", "At this she led her little Jean farther away, quite to the edge of the\nwaves, and there they talked for a long time of this marriage on which\nhe had set his heart.", "Jean approved heartily.\n\nâYour idea is really capital.â And he smiled, quite reassured, almost\nhappy, sure of success and incapable of allowing himself to be unhappy\nfor long.", "When they had landed, Beausire at once took leave of them to go to\nbreakfast with a friend. Then Jean led the way with Mme. Rosemilly, and\nRoland said to his wife:", "Jean sat silent, as though he had no concern in the matter. When they\nwere discussing the murder at Bolbec he, as a legal authority, had", "For a week or two nothing occurred. The father went fishing; Jean, with\nhis mother's help, was furnishing and settling himself; Pierre, very\ngloomy, never was seen excepting at meal-times.", "Pole, without, however, having ever extracted from him any revelation as\nto his former career. It was owing to the young doctor that this worthy\nhad come to settle at Havre, counting on the large custom which the", "âYes, my dear, I am coming.â\n\nAnd she went down, followed by Jean.\n\nRoland, as soon as he saw him, exclaimed:", "Only yesterday he would have knocked at his door, have gone in, and\nsitting by the bed, would have said to Jean, scared by the sudden\nwaking:" ], [ "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "For a week or two nothing occurred. The father went fishing; Jean, with\nhis mother's help, was furnishing and settling himself; Pierre, very\ngloomy, never was seen excepting at meal-times.", "Well then--well then--he must have had some strong secret reason for\nleaving everything to Jean--everything--and nothing to Pierre.", "Then Pierre understood that they had wept together, but he could not\nread their minds. Did Jean believe in his mother's guilt, or think his\nbrother a base wretch?", "Jean had not spoken a word.\n\nWhen their guest had gone, silence fell again till father Roland clapped\nhis two hands on his younger son's shoulders, crying:", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "Pierre had scarcely any intercourse with his family during the days\nwhich followed. He was nervous, irritable, hard, and his rough speech", "Jean replied gently:\n\nâStay, mother.â\n\nShe clasped him in her arms, and her tears flowed again; then, with her\nface against his, she went on:", "This delicate question being thus disposed of he came back to that of\nPierre's presence in the family. How was he to be got rid of? He was", "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would", "âGood-bye,â replied Pierre, standing on one of the landing-planks lying\nbetween the deck of the Lorraine and the quay. He shook hands all round\nonce more, and they were gone.", "Pierre looked at the mother who had lied to him; looked at her with\nthe concentrated fury of a son who had been cheated, robbed of his most", "On leaving school, Pierre, the elder, five years older than Jean, had\nfelt a vocation to various professions and had tried half a dozen in", "Pierre recollected quite clearly now that it was long, long before\nthey left Paris that the miniature had vanished. It had disappeared, he", "When the family had gone, Pierre, alone once more, resumed his\ninvestigations in the apartments to let. After two or three hours", "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "Jean made no reply. He was thinking of the man he had hitherto believed\nto be his father; and possibly the vague notion he had long since", "was harassed by remorse for having told this thing to Jean. He felt that\nit was odious, indecent, and brutal, and yet it was a relief to him to\nhave uttered it.", "His father, above all, amazed his eyes and his mind. That flabby, burly\nman, happy and besotted, was his own father! No, no; Jean was not in the\nleast like him.\n\nHis family!", "But to-day he could say nothing; he could not tell Jean that he did not\nbelieve him to be their father's son. Now he must guard, must bury the" ], [ "Roland, quite distracted, asked her:\n\nâLouise, Louise, what is the mater with you? What on earth ails you?â", "âShall I come back for you?â asked Roland.\n\nShe hesitated a moment and then said: âNo, dear old man; go to bed.\nPierre will see me home.â", "shop, was it not, Louise? He first came to order something, and then\nhe called frequently. We knew him as a customer before we knew him as a\nfriend.â", "and with such a pleasant manner--was not he, Louise?â", "âOnly a woman ever thinks of these refinements.â Then turning to Father\nRoland: âAnd who was this Marechal, after all? You must have been very\nintimate with him.â", "âNo--that is to say--yes--I have not found it, but I think I know where\nit is.â\n\nâWhat is that?â asked Roland. And Pierre answered:", "ate them. Then, at the end of about an hour, Mme. Rosemilly begged to\ntake leave. It was decided that old Roland should accompany her home and", "âWhy, yes, of course--of course, Louise?â\n\nâCertainly, certainly,â she said in a low voice.", "âFor some one you never knew, and of whom I was too fond.â\n\nRoland imagined that his son alluded to some girl with whom he had had\nsome love passages, and he said:", "She was visiting it on Roland now, throwing all the responsibility of\nher sin on his ugliness, his stupidity, his clumsiness, the heaviness of", "When they had landed, Beausire at once took leave of them to go to\nbreakfast with a friend. Then Jean led the way with Mme. Rosemilly, and\nRoland said to his wife:", "âWell, well! Gerome.â\n\nAnd the old fellow replied in a fury:", "Pierre, too, was looking at them, and a harsh laugh suddenly broke form\nhis lips. Without turning to him Mme. Roland said:\n\nâWhat is it?â", "Jean in a low tone said to his mother: âLook, mother, she is close upon\nus!â And Mme. Roland uncovered her eyes, blinded with tears.", "âA gentleman called--three times.â\n\nOld Roland, who never spoke to her without shouting and swearing, cried\nout:", "Mme. Roland half opened her door and answered:\n\nâWhat is it, my dear?â\n\nâAre we to have nothing to eat to-day, hang it all?â", "Roland's voice rescued them.\n\nâThis way, this way, children. Come and watch Beausire. The fellow is\npositively clearing out the sea!â", "âIn what year was it, Louise? You surely have not forgotten, you\nwho remember everything. Let me see--it was in--in--in fifty-five or", "âYou are to know that Mme. Rosemilly is about to become my wife.â\n\nPierre laughed the louder.", "âThen it is understood,â repeated Roland. âTo-morrow, at your place, at\ntwo?â\n\nâQuite so. To-morrow, at two.â" ], [ "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "âWell, well! Gerome.â\n\nAnd the old fellow replied in a fury:", "Pierre, leaning over him, gazed at him with hungry eagerness. No, this\nyoungster was not in the least like Roland; and for the second time the", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "âYou are to know that Mme. Rosemilly is about to become my wife.â\n\nPierre laughed the louder.", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "Pierre. He did not appreciate these writers from an artistic point of\nview, but with sympathetic and responsive feeling. The doctor had often\nsmiled at his emotions which had struck him as rather silly, now he", "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would", "âPierre? But he is a doctor; he will make plenty of money; besides, his\nbrother will surely do something for him.â", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "His eldest son, Pierre, a man of thirty, with black whiskers trimmed\nsquare like a lawyer's, his mustache and beard shaved away, replied:\n\nâOh, not many; three or four.â", "He stammered out:\n\nâYou are surely not going to play me false--you?â\n\nPierre was so deeply touched that he felt inclined to embrace the old\nfellow.", "And this thought rushed into Pierre's soul, as abrupt and violent as a\ncannon-ball rending and piercing it: âSince he knew me first, since he", "âNo--that is to say--yes--I have not found it, but I think I know where\nit is.â\n\nâWhat is that?â asked Roland. And Pierre answered:", "Pierre went down to the sea. As he reached the jetty he descried the\nPearl; his father and Beausire were coming in. Papagris was pulling,", "Dr. Pirette having gone on board, Pierre went to the ship, where he was\nreceived in a little state-room by a young man with a fair beard, not\nunlike his brother. They talked together a long time.", "to Pierre rebelled against this preference. And Pierre felt as though he\ncould hear him thinking; he guessed and understood, read in his averted\neyes and in the hesitancy of his tone, the words which rose to his lips", "everything, who had escaped death by a miracle, had bewitched Pierre\nRoland's lively and bold imagination; he had made friends with the old", "from an almost professional point of view, as though he had to legislate\nfor the future relations of certain clients after a moral disaster.\nConstant friction against Pierre had certainly become unendurable. He" ], [ "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "âWell, but Pierre. What can we do about Pierre?â\n\nJean answered:\n\nâWe will find some plan! You cannot live with him any longer.â", "PIERRE & JEAN\n\nBy Guy De Maupassant\n\n\nTranslated By Clara Bell\n\n\n\n\nCHAPTER I", "an almost imperceptible difference of voice and look and also by\noccasionally asking his opinion. She seemed to guess that Jean's\nviews would support her own, while those of Pierre must inevitably", "non-aggressive animosity. They were fond of each other, it is true, but\nthey watched each other. Pierre, five years old when Jean was born,", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "End of the Project Gutenberg EBook of Pierre and Jean, by Guy de Maupassant", "He called Pierre and Jean âmy dear children,â and had never seemed to\nprefer either, asking them both together to dine with him. And then", "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "âNo, he would not take it. Besides, this legacy is for Jean, only for\nJean. Pierre will find himself at a great disadvantage.â", "Well then--well then--he must have had some strong secret reason for\nleaving everything to Jean--everything--and nothing to Pierre.", "On leaving school, Pierre, the elder, five years older than Jean, had\nfelt a vocation to various professions and had tried half a dozen in", "Then Pierre understood that they had wept together, but he could not\nread their minds. Did Jean believe in his mother's guilt, or think his\nbrother a base wretch?", "GUTENBERG EBOOK PIERRE AND JEAN *\n\n\n\n\nProduced by Dagny; John Bickers; HTML file by David Widger", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "âPierre? But he is a doctor; he will make plenty of money; besides, his\nbrother will surely do something for him.â", "âMonsieur Jean.â Marechal would hold out both hands, the right hand to\none of the young men, the left to the other, as they happened to come\nin.", "that they would bring on him incessant suffering too great to endure.\nJean was talking, chatting with Roland. Pierre, as he did not listen,", "Roland filled his pipe; Pierre and Jean lighted cigarettes. They\ncommonly smoked them, Pierre while he paced the room, Jean, sunk in a" ], [ "âWell, well! Gerome.â\n\nAnd the old fellow replied in a fury:", "A dreamer, a lover, a sage--a happy or a desperate man? Who was it? He\nwent forward, curious to see the face of this lonely individual, and he\nrecognised his brother.", "Pole, without, however, having ever extracted from him any revelation as\nto his former career. It was owing to the young doctor that this worthy\nhad come to settle at Havre, counting on the large custom which the", "âReally, Louise, you look very ill; you tire yourself too much with\nhelping Jean. Give yourself a little rest. Sacristi! The rascal is in no\nhurry, as he is a rich man.â", "âA gentleman from the lawyer's.â\n\nâWhat lawyer?â\n\nâWhy, M'sieu 'Canu--who else?â", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "He was a retired jeweller who had been led by an inordinate love of\nseafaring and fishing to fly from the shop as soon as he had made enough", "Dinner was announced, and as the old man was about to offer his arm to\nMme. Rosemilly, his wife exclaimed:\n\nâNo, no, father. Everything is for Jean to-day.â", "relations. They had settled at once in their shop in the Rue Montmartre;\nand the young wife, ruling over the desk, inspired by the feeling of a", "fashion of Havre, he could easily make a hundred thousand francs a year.\nAnd he calculated with great exactitude what his certain profits must\nbe. He would go out in the morning to visit his patients; at the very", "âLike a brother, you know. Such a friend as one does not make twice--we\nwere always together--he dined with us every evening--and would treat us", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "âGood-evening, my dear Maitre,â said he, giving his visitor the title\nwhich in France is the official prefix to the name of every lawyer.\n\nMme. Rosemilly rose.", "ate them. Then, at the end of about an hour, Mme. Rosemilly begged to\ntake leave. It was decided that old Roland should accompany her home and", "âIndeed! Which of them?â\n\nâM. Marchand, who is a great friend of the Chairman of the Board.â", "And the young man went. He mounted the stairs with the fevered\ndetermination of a man who is about to fight a duel and who is in a\nfright. When he knocked at the door Pierre said:", "things. It is wrong. You are forsaking a poor old man who came here to\nbe with you. It is wrong.â", "He thought of Marowsko. The old Pole was the only person who loved\nhim well enough to feel true and keen emotion, and the doctor at once\ndetermined to go and see him.", "Jean, in his turn, held out his hand for the picture. He gazed at it for\na few minutes and then said regretfully:" ], [ "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "from an almost professional point of view, as though he had to legislate\nfor the future relations of certain clients after a moral disaster.\nConstant friction against Pierre had certainly become unendurable. He", "âPierre? But he is a doctor; he will make plenty of money; besides, his\nbrother will surely do something for him.â", "On leaving school, Pierre, the elder, five years older than Jean, had\nfelt a vocation to various professions and had tried half a dozen in", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "Pierre, in his turn, spoke his views. After all, said he, it was not his\nwealth which made the moral worth, the intellectual worth of a man. To", "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would", "âYou and I together, mate,â cried Pierre. He went down the iron ladder\nof the quay and leaped into the vessel.\n\nâWhich way is the wind?â he asked.", "His eldest son, Pierre, a man of thirty, with black whiskers trimmed\nsquare like a lawyer's, his mustache and beard shaved away, replied:\n\nâOh, not many; three or four.â", "And this thought rushed into Pierre's soul, as abrupt and violent as a\ncannon-ball rending and piercing it: âSince he knew me first, since he", "Then they were silent, and sat for some minutes without a word under the\nsolitary gas-lamp. At last Pierre began, almost in spite of himself:", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "Pierre. He did not appreciate these writers from an artistic point of\nview, but with sympathetic and responsive feeling. The doctor had often\nsmiled at his emotions which had struck him as rather silly, now he", "The little fortune his father had saved brought him in about eight\nthousand francs a year, and Pierre had often blamed himself for having", "Pierre replied haughtily:\n\nâOur notions differ. For my part, I respect nothing on earth but\nlearning and intellect; everything else is beneath contempt.â", "to Pierre rebelled against this preference. And Pierre felt as though he\ncould hear him thinking; he guessed and understood, read in his averted\neyes and in the hesitancy of his tone, the words which rose to his lips", "and dense, of well-dressed people in two opposite streams elbowing and\nmingling. Pierre, made nervous and exasperated by this bustle, made his", "Then all was silent once more.\n\nPierre had opened his eyes and was looking about him, startled to find\nhimself here, roused from his nightmare.", "When the family had gone, Pierre, alone once more, resumed his\ninvestigations in the apartments to let. After two or three hours", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history" ], [ "âA very fine fellow, all the same, is our Jean.â\n\nâYes,â replied the mother.", "Jean replied gently:\n\nâStay, mother.â\n\nShe clasped him in her arms, and her tears flowed again; then, with her\nface against his, she went on:", "They were accustomed to speak of Jean among themselves as the âlittle\none,â though he was much bigger than Pierre.", "âOh, yes, lovely.â\n\nHe understood from the tone of voice that Jean had not looked at\nanything. He went on:", "Jean approved heartily.\n\nâYour idea is really capital.â And he smiled, quite reassured, almost\nhappy, sure of success and incapable of allowing himself to be unhappy\nfor long.", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "Jean, in his turn, held out his hand for the picture. He gazed at it for\na few minutes and then said regretfully:", "âJean did this--Jean does that,â he understood their meaning and the\nhint the words conveyed.", "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "Jean had come close up to him, pale, and his voice quivering with\nexasperation at this irony levelled at the woman he loved and had\nchosen.", "Jean, who was as fair as his brother was dark, as deliberate as his\nbrother was vehement, as gentle as his brother was unforgiving, had", "Jean began to laugh.\n\nâYou argue by comparisons which seem to have been borrowed from the\nmaxims of a moralist.â", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "âOh, in fashionable circles, I dare say,â replied Jean. âBut a man does\nnot treat his family _a l'Anglaise_, and my brother has done nothing\nelse for some time past.â", "She laid her two hands on Jean's shoulders, and holding him at arm's\nlength she said:", "âMonsieur Jean.â Marechal would hold out both hands, the right hand to\none of the young men, the left to the other, as they happened to come\nin.", "Only yesterday he would have knocked at his door, have gone in, and\nsitting by the bed, would have said to Jean, scared by the sudden\nwaking:", "This boyish threat quite overcame her; she clasped Jean in a passionate\nand tender embrace. He went on:", "Jean sat down in his arm-chair in front of his writing-table loaded with\nbooks, and in a solemn, rather stilted tone, he began:", "Then Jean turned to his mother:\n\nâAnd you, mother, what are you going to do?â\n\nâNothing. I do not know.â" ], [ "âMonsieur Jean.â Marechal would hold out both hands, the right hand to\none of the young men, the left to the other, as they happened to come\nin.", "He asked himself: âWhat made this Marechal leave all his fortune to\nJean?â", "âA little likeness of Marechal which used to be in the dining-room in\nParis. I thought that Jean might be glad to have it.â\n\nRoland exclaimed:", "âMy colleague in Paris has just communicated to me the main item of his\nwill, by which he makes your son Jean--Monsieur Jean Roland--his sole\nlegatee.â", "âWere you not saying that our poor friend Marechal had left his fortune\nto my little Jean?â\n\nâYes, madame.â", "Perhaps, indeed, Marowsko believed that Jean was Marechal's son. Of\ncourse he believed it! How could he help believing it when the thing", "always have been fond of him, always have taken an interest in him,\nsince he thought of his needs. Well then--well then--why leave his whole\nfortune to Jean? No, he had never shown more marked affection for the", "Well then--well then--he must have had some strong secret reason for\nleaving everything to Jean--everything--and nothing to Pierre.", "âNo, he would not take it. Besides, this legacy is for Jean, only for\nJean. Pierre will find himself at a great disadvantage.â", "âAnd what did he die of, poor Marechal?â\n\nMaitre Lecanu did not know in the least.", "After a long silence Marowsko asked whether Jean had come definitely\ninto possession of his fortune; and then he put two or three other\nquestions vaguely referring to the same subject. His jealous devotion", "âIt belongs to you now, my little Jean, as you are his heir. We will\ntake it to your new rooms.â And when they went into the drawing-room", "But what could Jean do? The simplest thing no doubt, would be to refuse\nthe inheritance, which would then go to the poor, and to tell all", "âGood heavens! Poor Leon--our poor friend! Dear me! Dear me! Dead!â", "Marechal had of his own accord offered and lent him money, a few hundred\nfrancs perhaps, forgotten by both, and never repaid. Then this man must", "âNo; my Paris correspondent states that everything is quite clear. M.\nJean has only to sign his acceptance.â\n\nâGood. Then--then the fortune is quite clear?â", "âAll I know is,â said he, âthat dying without any direct heirs, he\nhas left the whole of his fortune--about twenty thousand francs a year", "âDid you, in Paris, know a certain M. Marechal--Leon Marechal?â", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "Jean approved heartily.\n\nâYour idea is really capital.â And he smiled, quite reassured, almost\nhappy, sure of success and incapable of allowing himself to be unhappy\nfor long." ], [ "His father, above all, amazed his eyes and his mind. That flabby, burly\nman, happy and besotted, was his own father! No, no; Jean was not in the\nleast like him.\n\nHis family!", "Jean made no reply. He was thinking of the man he had hitherto believed\nto be his father; and possibly the vague notion he had long since", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "Perhaps, indeed, Marowsko believed that Jean was Marechal's son. Of\ncourse he believed it! How could he help believing it when the thing", "He found his father, his mother, Jean, and Mme. Rosemilly waiting for\nhim in his cabin.\n\nâSo early!â he exclaimed.", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "But to-day he could say nothing; he could not tell Jean that he did not\nbelieve him to be their father's son. Now he must guard, must bury the", "that the child was his. He was casting obloquy on a woman. How could he\nhave done this if Jean were not his son?", "Jean replied gently:\n\nâStay, mother.â\n\nShe clasped him in her arms, and her tears flowed again; then, with her\nface against his, she went on:", "Jean had not spoken a word.\n\nWhen their guest had gone, silence fell again till father Roland clapped\nhis two hands on his younger son's shoulders, crying:", "Only yesterday he would have knocked at his door, have gone in, and\nsitting by the bed, would have said to Jean, scared by the sudden\nwaking:", "âA very fine fellow, all the same, is our Jean.â\n\nâYes,â replied the mother.", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "âOh, yes, lovely.â\n\nHe understood from the tone of voice that Jean had not looked at\nanything. He went on:", "Jean in a low tone said to his mother: âLook, mother, she is close upon\nus!â And Mme. Roland uncovered her eyes, blinded with tears.", "Jean went forward holding out his hand, and when he felt his fingers\nin the old man's fatherly clasp, a strange, unforeseen emotion thrilled\nthrough him, and a sense as of parting and farewell without return.", "together and kiss each other, my little Jean, you must believe that\nthough I was your father's mistress I was yet more truly his wife, his", "his violence, from saying: âDear me! How like Jean!â And though he dared\nnot utter the terrible words, he betrayed his thought by his manner of", "suspicious. When this woman who was coming in should see the miniature\nof a man she did not know, she might perhaps at the first glance\ndiscover the likeness between this face and Jean. Then she would know" ], [ "âNo, no, it is nothing--I shall get better directly--it is nothing.â\n\nPierre had gone up to her and was looking at her steadily.", "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "And this thought rushed into Pierre's soul, as abrupt and violent as a\ncannon-ball rending and piercing it: âSince he knew me first, since he", "She murmured in a low voice, tremulous with feeling: âO Pierre, how\ncruel you are! That woman is honesty itself. Your brother could not find\na better.â", "Then they were silent, and sat for some minutes without a word under the\nsolitary gas-lamp. At last Pierre began, almost in spite of himself:", "âYou are to know that Mme. Rosemilly is about to become my wife.â\n\nPierre laughed the louder.", "She could not get out, she must come through his room. She had not come;\nthen it was because she dare not.\n\nSuddenly Pierre stamped his foot.", "âThat is out of the question, as Pierre left you here. Come, take\ncourage. I will arrange everything, I promise you, to-morrow; I will", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "But on a sudden Pierre turned equally furious. All the accumulation of\nimpotent rage, of suppressed malignity, of rebellion choked down for so", "Pierre, who had heard, and who was beginning to be restless under the\nyoung woman's indifference, muttered to himself: âWell, the widow is", "Pierre looked at the mother who had lied to him; looked at her with\nthe concentrated fury of a son who had been cheated, robbed of his most", "He stammered out:\n\nâYou are surely not going to play me false--you?â\n\nPierre was so deeply touched that he felt inclined to embrace the old\nfellow.", "And the young man went. He mounted the stairs with the fevered\ndetermination of a man who is about to fight a duel and who is in a\nfright. When he knocked at the door Pierre said:", "Mme. Roland, much distressed, now put in her word: âCome, Pierre, what\nails you? For once it cannot hurt him. Think of what an occasion it", "When the family had gone, Pierre, alone once more, resumed his\ninvestigations in the apartments to let. After two or three hours", "long-forgotten sin. Roland was snoring. In all the house Pierre alone\nwas awake, and had heard her come in.", "âGood-bye,â replied Pierre, standing on one of the landing-planks lying\nbetween the deck of the Lorraine and the quay. He shook hands all round\nonce more, and they were gone.", "from an almost professional point of view, as though he had to legislate\nfor the future relations of certain clients after a moral disaster.\nConstant friction against Pierre had certainly become unendurable. He" ], [ "âGood-bye,â replied Pierre, standing on one of the landing-planks lying\nbetween the deck of the Lorraine and the quay. He shook hands all round\nonce more, and they were gone.", "âTumble yourselves overboard, rather, with your women and your little\nones.â And his heart ached so with pity that he went away unable to\nendure the sight.", "In that vessel which nothing could stay, that vessel which she soon\nwould see no more, was her son, her poor son. And she felt as though", "âI have nothing more to say, my child. Good-bye.â And she went towards\nthe door.\n\nHe threw his arms about her exclaiming:", "But he was going away, flying, vanishing, a tiny speck already, no more\nthan an imperceptible spot on the enormous vessel. She tried still to\ndistinguish him, but she could not.\n\nJean took her hand.", "stranger, silent and reserved. Ever since the evening when he allowed\nthe shameful secret he had discovered to escape him in his brother's\npresence, he had felt that the last ties to his kindred were broken. He", "âMake haste, jump into the carriage,â cried the father.\n\nA fly was waiting for them and took them to the outer harbour, where\nPapagris had the Pearl in readiness to put out to sea.", "The ship was almost touching the Pearl now, as tall as a mountain and\nas swift as a train. Mme. Roland, distraught and desperate, held out her", "âGood-bye, my boy.â He kissed Pierre on the whiskers and then opened the\ndoor.", "At last they were all out of the cabin, and up on deck among the crowd\nof visitors, porters, and sailors. The steam was snorting in the huge\nbelly of the vessel, which seemed to quiver with impatience.", "such imperceptible ties. He would gladly have been off that moment,\nno matter whither, feeling that everything was over, that he could not\nendure to stay with them, that his presence was torture to them, and", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "âHah!â cried his father. âA good idea! As soon as we have bid you\ngood-bye, we will make haste on board the Pearl, and look out for you", "âI am not playing you false. I have not found anything to do here, and I\nam going as medical officer on board a Transatlantic passenger boat.â", "A dreamer, a lover, a sage--a happy or a desperate man? Who was it? He\nwent forward, curious to see the face of this lonely individual, and he\nrecognised his brother.", "âYou and I together, mate,â cried Pierre. He went down the iron ladder\nof the quay and leaped into the vessel.\n\nâWhich way is the wind?â he asked.", "held these four human beings together. It was all over, all ruined. He\nhad now no mother--for he could no longer love her now that he could not", "He walked on, his heart sinking with the despairing sorrow of those who\nare doomed to exile. He no longer felt a haughty disdain and scornful", "ate them. Then, at the end of about an hour, Mme. Rosemilly begged to\ntake leave. It was decided that old Roland should accompany her home and", "The steamer, in fact, was shrinking every second, as though she were\nmelting away in the ocean. Mme. Roland, turning back to look at her," ] ]	[ "What is Gerome Roland's profesion?", "What is Pierre Roland's profession?", "What is Jean Roland's profession?", "To whom does Leon Merechal leave his fortune? ", "How does Pierre discover that his brother is illegimate?", "Where does the Roland family live after Gerome Roland retires?", "What mode of transportation does Pierre use to leave home at the end of the story?", "When does Pierre most often torture his mother by making allusions about the past?", "What is the name of Pierre and Jean's Father?", "What was their Father's occupation?", "What is the name of his wife?", "Where did they retire?", "What are the occupations of Pierre and Jean?", "What happened to the family Leon Marechal passed away? Why was Pierre upset? What was his proof?", "What happens to Pierre's Mother when he suspects her infidelity? How did this affect his life?", "What happens to Jean and his life? Did Pierre reveal his suspicions to Jean and, how Jean did he react?", "Did Jean depart from Le Havre? How?", "Why did Jean depart? Why did the family suppress the truth? What happened to Pierre?", "What is Louise's relationship to Gerome Roland?", "What is Pierre's relationship to Gerome?", "What is Jean's relationship to Pierre?", "What is Gerome's profession?", "What is Pierre's profession?", "What is Jean's profession?", "What does Leon Marechal leave to Jean upon dying?", "Who is discovered to be Jean's actual father?", "How does Pierre treat Louise after learning of Louise's infidelity?", "By the end of the tale who is forced to exit the family on an ocean liner?" ]	[ [ "Gerome is a retired jeweller.", "Jeweller." ], [ "Pierre is a doctor.", "He's a doctor." ], [ "Jean is a lawyer.", "a jeweller" ], [ "Merechal leaves his fortune to Jean Roland.", "Jean." ], [ "Pierre reads old letters he finds that his mother and Leon Merechal had sent to each other.", "When a decease family member left Jean an inheritance. " ], [ "The family lives in LeHavre.", "Le Havre." ], [ "Pierre leaves on an oceanliner.", "And Oceanliner" ], [ "Mostly during family meals.", "During family meals." ], [ "Gerome Roland", "Gerome Roland." ], [ "jeweller", "Jeweller." ], [ "Louise", "Gerome's wife is named Louise." ], [ "Le Havre", "Le Havre" ], [ "Pierre was a doctor. Jean was a lawyer.", "Pierre is a doctor and Jean is a lawyer." ], [ "Leon left his inheritance to Jean only. Pierre suspected Jean's illegitimacy. Pierre found old letters between his Mother and Leon.", "It is discovered that Jean is illegitimate, which is collaborated by letters found between their mother and Leon." ], [ "He tortures her with his suspicions during family meals and causes anguish. Pierre's life became worse.", "He tortures his mother with allusions to the past. His external appearance changes." ], [ "Jean's career and love life improve. Pierre was jealous of Jean and revealed the truth. jean offers his Mother love and protection.", "His life gets better after he inherits money. Jean loves his mother, even though Jean is her illegitimate son." ], [ "Jean departed on an oceanliner.", "Jean did not depart from Le Havre." ], [ "Jean's illegitimacy became known. They suppressed the truth for the welfare of the family and, for it to continue. Pierre was expelled from the family.", "Jean does not leave, Pierre does and they maintain the lie in order to avoid scandal and to keep the inheritance their current situation entitles them to" ], [ "Louise is Gerome's wife.", "He's a son of Roland's" ], [ "Pierre is Gerome's son.", "He's Gerome's son." ], [ "Jean is Pierre's brother.", "He is Pierre's half-brother." ], [ "Gerome is a jeweller.", "Jeweller." ], [ "Pierre is a doctor.", "He's a doctor." ], [ "Jean is a lawyer.", "Lawyer." ], [ "An inheritance and fortune.", "his inheritance" ], [ "Leon Marechal.", "Leon Marechal." ], [ "Pierre constantly tortures his mother with insinuations.", "He tortures her with allusions to the past." ], [ "Pierre.", "Pierre" ] ]	eea7bb57b85ae2610235969115a78145aadd3e3d	test
[ [ "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "I have nothing to do with that side of Mrs Warren's life, and never had.\nShe has never spoken to me about it; and of course I have never spoken", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "MRS WARREN. Yes; or any other point of view. What is any respectable\ngirl brought up to do but to catch some rich man's fancy and get the", "lots of women who had got into trouble. But they were all nice women.\nThats what makes the real difference. Mrs Warren, no doubt, has her", "MRS WARREN. My own opinions and my own way of life! Listen to her\ntalking! Do you think I was brought up like you? able to pick and choose", "MRS WARREN [indignantly] Of course not. What sort of mother do you take\nme for! How could you keep your self-respect in such starvation", "[Mrs Warren comes in, looking apprehensively around for Vivie. She has\ndone her best to make herself matronly and dignified. The brilliant hat", "of an immoral life for poor women that has ever been penned.\" Happily\nthe St James Gazette here speaks in its haste. Mrs Warren's defence of", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "MRS WARREN. Yes, saving money. But where can a woman get the money to\nsave in any other business? Could y o u save out of four shillings a", "MRS WARREN. Of course it's worth while to a poor girl, if she can resist\ntemptation and is good-looking and well conducted and sensible. It's far\nbetter than any other employment open to her.", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "MRS WARREN. Why, of course. Everybody dislikes having to work and make\nmoney; but they have to do it all the same. I'm sure I've often pitied", "CROFTS. Of course not.\n\nFRANK [with enchanting placidity] Is that so, Mrs Warren?", "MRS WARREN. Nonsense! What would a young girl like her be doing with\nsuch things! Never mind: it don't matter. I wonder how she passes her\ntime here! I'd a good deal rather be in Vienna.", "MRS WARREN. Well, I like enough to eat. But a little of that cold\nbeef and cheese and lettuce goes a long way. [With a sigh of only half\nrepletion she sits down lazily on the settle].", "Mrs Warren's Profession has been performed at last, after a delay of\nonly eight years; and I have once more shared with Ibsen the triumphant" ], [ "the whole guilt of Mrs Warren's profession on Mrs Warren herself. Now\nthe whole aim of my play is to throw that guilt on the British public", "of an immoral life for poor women that has ever been penned.\" Happily\nthe St James Gazette here speaks in its haste. Mrs Warren's defence of", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "laugh at them if they did. So well have the rescuers learnt that Mrs\nWarren's defence of herself and indictment of society is the thing that", "Many friendly critics are too little skilled in social questions and\nmoral discussions to be able to conceive that respectable gentlemen like\nthemselves, who would instantly call the police to remove Mrs Warren if", "for Mrs Warren to choose what is, according to her lights, the least\nimmoral alternative, it is none the less infamous of society to offer\nsuch alternatives. For the alternatives offered are not morality and", "MRS WARREN. My own opinions and my own way of life! Listen to her\ntalking! Do you think I was brought up like you? able to pick and choose", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "MRS WARREN. Nonsense! What would a young girl like her be doing with\nsuch things! Never mind: it don't matter. I wonder how she passes her\ntime here! I'd a good deal rather be in Vienna.", "MRS WARREN. Yes; or any other point of view. What is any respectable\ngirl brought up to do but to catch some rich man's fancy and get the", "gentlemen to the condition of the city they live in, provided they\nlive at the west end of it on money earned by someone else's labor. The\nnotion that prostitution is created by the wickedness of Mrs Warren", "introduction of this resistance produces so strong an impression of\nheartlessness nowadays that a distinguished critic has summed up the\nimpression made on him by Mrs Warren's Profession, by declaring that", "profession also. So there are in every profession: the error lies in\nsupposing that every member of them sounds these depths. I sit on a\npublic body which prosecutes Mrs Warren zealously; and I can assure Mr", "The notion that Mrs Warren must be a fiend is only an example of the\nviolence and passion which the slightest reference to sex arouses in", "VIVIE. It would not matter if you did: you would not succeed. [Mrs\nWarren winces, deeply hurt by the implied indifference towards her", "her face in her hands]. Don't do that, mother: you know you don't feel\nit a bit. [Mrs Warren takes down her hands and looks up deplorably", "CROFTS [aggressively] What harm are they doing you?\n\nMRS WARREN. Well, harm or not, I don't like it.", "childhood by their father's profession. These critics must know, too,\nfrom history if not from experience, that women as unscrupulous as Mrs\nWarren have distinguished themselves as administrators and rulers, both", "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant" ], [ "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "VIVIE. Yes. Fifty pounds. Perhaps you don't know how it was. Mrs Latham,\nmy tutor at Newnham, told my mother that I could distinguish myself in", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "VIVIE. Everything was settled twenty minutes after I arrived here.\nHonoria has found the business too much for her this year; and she was", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "Miss Vivie: where would your Newnhams and Girtons be without it?", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "VIVIE. Everybody has some choice, mother. The poorest girl alive may\nnot be able to choose between being Queen of England or Principal", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "VIVIE. I shall set up chambers in the City, and work at actuarial\ncalculations and conveyancing. Under cover of that I shall do some law,", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "VIVIE. Well, anyhow, she did; and nothing would please my mother but\nthat I should do the same thing. I said flatly that it was not worth" ], [ "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "but do not know how to resist it. Vivie stands at the door looking in\nat them]. Can you squeeze past to that corner, Mr Praed: it's rather a", "CROFTS [with brutal good humor, as if he liked her pluck] Well thats not\nwhat I came to say. [Sitting down beside her] Now listen, Miss Vivie.", "affectionate intention. Vivie, neither understanding this nor concerning\nherself about it, goes on calmly] Mother: you don't at all know the sort", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "PRAED [rising also] Well, as you are, at all events, old enough to be\nher father, I don't mind agreeing that we both regard Miss Vivie in a", "[The cottage doors open whilst he is reciting; and Vivie and Praed\ncome in. He breaks off. Praed puts his hat on the dresser. There is an", "THE GENTLEMAN [daunted and conciliatory] I'm afraid I appear intrusive.\nMy name is Praed. [Vivie at once throws her books upon the chair, and", "VIVIE [studying him curiously] I suppose you really think youre getting\non famously with me.\n\nCROFTS. Well, I hope I may flatter myself that you think better of me\nthan you did at first.", "MRS WARREN. You think I want to force that played-out old sot on you! I\ndon't, Vivie: on my oath I don't.", "Frank places a chair near Vivie, and drops lazily and carelessly into\nit, talking at her over his shoulder.]", "VIVIE. So do I. Sit down, Mr Praed. [This invitation she gives with a\ngenial peremptoriness, his anxiety to please her clearly striking her as", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye." ], [ "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "affectionate intention. Vivie, neither understanding this nor concerning\nherself about it, goes on calmly] Mother: you don't at all know the sort", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "FRANK. The babes in the wood: Vivie and little Frank. [He nestles\nagainst her like a weary child]. Lets go and get covered up with leaves.", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "CROFTS [with brutal good humor, as if he liked her pluck] Well thats not\nwhat I came to say. [Sitting down beside her] Now listen, Miss Vivie.", "retreating figure of Crofts. Vivie seizes the muzzle and pulls it round\nagainst her breast].", "FRANK. That revelation was supposed to bring about a complete change in\nthe nature of our feeling for one another. It placed us on the footing\nof brother and sister.\n\nVIVIE. Yes.", "VIVIE. I believe it is I who will not be able to sleep now. [She goes\nto the dresser and lights the candle. Then she extinguishes the lamp,", "FRANK [enthusiastically] What! Do you know Vivie? Isn't she a jolly girl?\nI'm teaching her to shoot with this [putting down the rifle]. I'm so", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "FRANK. No fear of that, Viv: _she_ won't ever be deserted. [He sits on\nthe bench beside her].\n\nVIVIE. But I am to desert her, I suppose.", "VIVIE. It does not matter. I suppose you understand that when we leave\nhere today our acquaintance ceases.\n\nCROFTS. Why? Is it for helping your mother?", "PRAED [rising also] Well, as you are, at all events, old enough to be\nher father, I don't mind agreeing that we both regard Miss Vivie in a" ], [ "FRANK. That revelation was supposed to bring about a complete change in\nthe nature of our feeling for one another. It placed us on the footing\nof brother and sister.\n\nVIVIE. Yes.", "VIVIE. I think brother and sister would be a very suitable relation for\nus.\n\nFRANK. You really mean that?", "FRANK. Really and truly?\n\nVIVIE. Yes, really and truly.", "FRANK. The babes in the wood: Vivie and little Frank. [He nestles\nagainst her like a weary child]. Lets go and get covered up with leaves.", "VIVIE. What did he say?\n\nFRANK. He said he was sure there must be some mistake.\n\nVIVIE. Do you believe him?", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "VIVIE [to Frank] Is that your father, Frank? I do so want to meet him.", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE. What a lot, Frank!\n\nFRANK. What a crew!", "FRANK. No fear of that, Viv: _she_ won't ever be deserted. [He sits on\nthe bench beside her].\n\nVIVIE. But I am to desert her, I suppose.", "FRANK. Have you ever had a brother?\n\nVIVIE. No.", "FRANK. Perhaps Vivie's got some.", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE [bitingly] The same feeling, Frank, that brought your father to my\nmother's feet. Is that it?", "FRANK [calling] Come in. It's not locked.\n\n[Vivie comes in, in her hat and jacket. She stops and stares at him.]", "Frank places a chair near Vivie, and drops lazily and carelessly into\nit, talking at her over his shoulder.]", "FRANK. She thinks your enthusiasm frivolous, Praddy. She's had ever such\na serious call.\n\nVIVIE [sharply] Hold your tongue, Frank. Don't be silly.", "VIVIE. Why damn, dear?\n\nFRANK [whispering] Sh! Here's this brute Crofts. [He sits farther away\nfrom her with an unconcerned air].", "VIVIE. The dear little boy with his dowdy little girl.\n\nFRANK. Ever so peaceful, and relieved from the imbecility of the little\nboy's father and the questionableness of the little girl's--", "FRANK [enthusiastically] What! Do you know Vivie? Isn't she a jolly girl?\nI'm teaching her to shoot with this [putting down the rifle]. I'm so" ], [ "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "MRS WARREN. Nonsense! What would a young girl like her be doing with\nsuch things! Never mind: it don't matter. I wonder how she passes her\ntime here! I'd a good deal rather be in Vienna.", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "CROFTS. Of course not.\n\nFRANK [with enchanting placidity] Is that so, Mrs Warren?", "gentlemen to the condition of the city they live in, provided they\nlive at the west end of it on money earned by someone else's labor. The\nnotion that prostitution is created by the wickedness of Mrs Warren", "lots of women who had got into trouble. But they were all nice women.\nThats what makes the real difference. Mrs Warren, no doubt, has her", "MRS WARREN. Gone out to have a pipe. [The clergyman takes his hat from\nthe table, and joins Mrs Warren at the fireside. Meanwhile, Vivie comes", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "of an immoral life for poor women that has ever been penned.\" Happily\nthe St James Gazette here speaks in its haste. Mrs Warren's defence of", "VIVIE [slowly] You are certain of that, at _least_. Ah! You mean that\nthat is all you are certain of. [Thoughtfully] I see. [Mrs Warren buries", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "MRS WARREN. My own opinions and my own way of life! Listen to her\ntalking! Do you think I was brought up like you? able to pick and choose", "her face in her hands]. Don't do that, mother: you know you don't feel\nit a bit. [Mrs Warren takes down her hands and looks up deplorably", "MRS WARREN. Well, George, what do you think of her?\n\nCROFTS [ruefully] She has a powerful fist. Did you shake hands with her,\nPraed?", "MRS WARREN. Yes; and a very good aunt to have, too. She's living down\nat Winchester now, close to the cathedral, one of the most respectable", "MRS WARREN. Yes, saving money. But where can a woman get the money to\nsave in any other business? Could y o u save out of four shillings a", "REV. S. [mooning hospitably at them] I shall be pleased, I'm sure, if\nSir George and Mrs Warren really care about it.\n\nMRS WARREN. Oh, come along and get it over.", "MRS WARREN. But you don't know all that that means; youre too young. It\nmeans a new dress every day; it means theatres and balls every night;", "MRS WARREN [indignantly] Of course not. What sort of mother do you take\nme for! How could you keep your self-respect in such starvation" ], [ "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "[Mrs Warren, silenced for a moment, looks forlornly at Vivie, who waits,\nsecretly hoping that the combat is over. But the cunning expression", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "PRAED [to Mrs Warren] I really should be very sorry to cause you\nunnecessary pain; but I think perhaps you had better not wait. The fact\nis--[Vivie is heard at the inner door].", "FRANK [to Mrs Warren] Goodbye: youd ever so much better have taken my\nadvice. [He shakes hands with her. Then airily to Vivie] Byebye, Viv.", "VIVIE [slowly] You are certain of that, at _least_. Ah! You mean that\nthat is all you are certain of. [Thoughtfully] I see. [Mrs Warren buries", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. It would not matter if you did: you would not succeed. [Mrs\nWarren winces, deeply hurt by the implied indifference towards her", "MRS WARREN. He ought to have his tongue cut out. But I thought it was\nended: you said you didn't mind.\n\nVIVIE [steadfastly] Excuse me: I _do_ mind.", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "CROFTS [contemptuously] Yah! [He turns away again].\n\nFRANK [rising] Mrs Warren: I cannot give my Vivie up, even for your\nsake.", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "VIVIE [kindly] Won't you shake hands?\n\nMRS WARREN [after looking at her fiercely for a moment with a savage\nimpulse to strike her] No, thank you. Goodbye.", "VIVIE [looking across at her without raising her head from her book] No.\nWho are you? What are you?\n\nMRS WARREN [rising breathless] You young imp!" ], [ "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "VIVIE. Yes: they object to the smell in the office; and we've had to take\nto cigarets. See! [She opens the box and takes out a cigaret, which she", "FRANK. No fear of that, Viv: _she_ won't ever be deserted. [He sits on\nthe bench beside her].\n\nVIVIE. But I am to desert her, I suppose.", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE [blowing the wreath decisively away, and sitting straight up] Yes.\nThese two days have given me back all my strength and self-possession. I\nwill never take a holiday again as long as I live.", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "FRANK [to Mrs Warren] Goodbye: youd ever so much better have taken my\nadvice. [He shakes hands with her. Then airily to Vivie] Byebye, Viv.", "[Frank looks quizzically at her; puts his note carefully on the\nink-bottle, so that Vivie cannot fail to find it when next she dips her\npen; then rises and devotes his attention entirely to her.]", "FRANK. That revelation was supposed to bring about a complete change in\nthe nature of our feeling for one another. It placed us on the footing\nof brother and sister.\n\nVIVIE. Yes.", "CROFTS [contemptuously] Yah! [He turns away again].\n\nFRANK [rising] Mrs Warren: I cannot give my Vivie up, even for your\nsake.", "VIVIE. Pah! It's meaner than stealing it. No: I'm not coming. [She sits\ndown to work at the table, with her back to the glass door, and begins\nturning over the papers].", "FRANK. Really and truly?\n\nVIVIE. Yes, really and truly.", "VIVIE. What did he say?\n\nFRANK. He said he was sure there must be some mistake.\n\nVIVIE. Do you believe him?", "FRANK. Because she's an old wretch, Viv. If you ever put your arm around\nher waist in my presence again, I'll shoot myself there and then as a\nprotest against an exhibition which revolts me.", "VIVIE. Not at all: I am very much obliged to you for being so definite\nand business-like. I quite appreciate the offer: the money, the", "VIVIE. Wait a moment: I've not done. Tell me why you continue your\nbusiness now that you are independent of it. Your sister, you told me,\nhas left all that behind her. Why don't you do the same?", "FRANK. She thinks your enthusiasm frivolous, Praddy. She's had ever such\na serious call.\n\nVIVIE [sharply] Hold your tongue, Frank. Don't be silly.", "MRS WARREN. Oh, get out with your nonsense. [In a low voice] Where's\nVivie?\n\n[Frank points expressively to the door of the inner room, but says\nnothing.]" ], [ "Grein that she is often leniently dealt with because she has conducted\nher business \"respectably\" and held herself above its vilest branches.\nThe degrees in infamy are as numerous and as scrupulously observed as", "gentlemen to the condition of the city they live in, provided they\nlive at the west end of it on money earned by someone else's labor. The\nnotion that prostitution is created by the wickedness of Mrs Warren", "lies to silence.\" Fortunately, Shaw cannot be silenced. \"The harlot's\ncry from street to street\" is louder than the voices of all the kings.", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "lots of women who had got into trouble. But they were all nice women.\nThats what makes the real difference. Mrs Warren, no doubt, has her", "CROFTS. Of course not.\n\nFRANK [with enchanting placidity] Is that so, Mrs Warren?", "Baronet, the chief shareholder. Premises at Brussels, Ostend, Vienna,\nand Budapest. Managing director: Mrs Warren\"; and now don't let us forget", "parson takes Mrs Warren; and they pass into the kitchen. Praed and\nCrofts follow. All except Praed clearly disapprove of the arrangement,", "at the house. Frank, in an ecstasy of dissimulation, turns gaily to Mrs\nWarren, exclaiming] Ever so delighted to see you, Mrs Warren. This quiet\nold rectory garden becomes you perfectly.", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "MRS WARREN [on the alert at once] Now see here, George: what are you\nup to about that girl? I've been watching your way of looking at her.\nRemember: I know you and what your looks mean.", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "prostitution--that they are the vices and crimes of a nation, and\nnot merely its misfortunes--is (to put it as politely as possible) a\nhopelessly Private Person.", "VIVIE [quietly] In one of your own houses.", "certain of his way. He looks over the palings; takes stock of the place;\nand sees the young lady.]", "VIVIE [looking across at her without raising her head from her book] No.\nWho are you? What are you?\n\nMRS WARREN [rising breathless] You young imp!", "profession also. So there are in every profession: the error lies in\nsupposing that every member of them sounds these depths. I sit on a\npublic body which prosecutes Mrs Warren zealously; and I can assure Mr", "MRS WARREN. Well, George, what do you think of her?\n\nCROFTS [ruefully] She has a powerful fist. Did you shake hands with her,\nPraed?", "Everybody will, I hope, admit that this state of things is intolerable;\nthat the subject of Mrs Warren's profession must be either tapu", "MRS WARREN. Oh, get out with your nonsense. [In a low voice] Where's\nVivie?\n\n[Frank points expressively to the door of the inner room, but says\nnothing.]" ], [ "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "MRS WARREN. Oh, get out with your nonsense. [In a low voice] Where's\nVivie?\n\n[Frank points expressively to the door of the inner room, but says\nnothing.]", "MRS WARREN [correcting him quickly in a loud whisper] Tch! Nonsense! Mrs\nWarren: don't you see my daughter there?\n\n\n\n\nACT II", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE [looking across at her without raising her head from her book] No.\nWho are you? What are you?\n\nMRS WARREN [rising breathless] You young imp!", "MRS WARREN [lapsing recklessly into her dialect] We're mother and\ndaughter. I want my daughter. I've a right to you. Who is to care for me", "MRS WARREN. Nonsense! What would a young girl like her be doing with\nsuch things! Never mind: it don't matter. I wonder how she passes her\ntime here! I'd a good deal rather be in Vienna.", "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "MRS WARREN. Vivie: do you know how rich I am?\n\nVIVIE. I have no doubt you are very rich.", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "MRS WARREN. Yes; or any other point of view. What is any respectable\ngirl brought up to do but to catch some rich man's fancy and get the", "MRS WARREN. Oh, I'll sit down: don't you be afraid. [She plants her chair\nfarther forward with brazen energy, and sits down. Vivie is impressed in", "MRS WARREN. And youll be good to your poor old mother for it, won't you?\n\nVIVIE. I will, dear. [Kissing her] Good-night.", "MRS WARREN. Thank you. Your love's a pretty cheap commodity, my lad.\nIf you have no means of keeping a wife, that settles it; you can't have\nVivie.", "MRS WARREN [on the alert at once] Now see here, George: what are you\nup to about that girl? I've been watching your way of looking at her.\nRemember: I know you and what your looks mean.", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "MRS WARREN [with a perfunctory glance at the scene] Yes, dear; but take\ncare you don't catch your death of cold from the night air.\n\nVIVIE [contemptuously] Nonsense.", "MRS WARREN [within] Here, Vivie: come on you too, child. You must be\nfamished. [She enters, followed by Crofts, who holds the door open with", "MRS WARREN [screaming] Listen to her! listen to how she spits on her\nmother's grey hairs! Oh, may you live to have your own daughter tear and" ], [ "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE. Yes. Fifty pounds. Perhaps you don't know how it was. Mrs Latham,\nmy tutor at Newnham, told my mother that I could distinguish myself in", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "Miss Vivie: where would your Newnhams and Girtons be without it?", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. Everything was settled twenty minutes after I arrived here.\nHonoria has found the business too much for her this year; and she was", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "VIVIE. Everybody has some choice, mother. The poorest girl alive may\nnot be able to choose between being Queen of England or Principal", "VIVIE. Culture! My dear Mr Praed: do you know what the mathematical\ntripos means? It means grind, grind, grind for six to eight hours a day\nat mathematics, and nothing but mathematics.", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "VIVIE. Well, anyhow, she did; and nothing would please my mother but\nthat I should do the same thing. I said flatly that it was not worth", "VIVIE. Don't suppose anything, Mr Praed. I hardly know my mother. Since\nI was a child I have lived in England, at school or at college, or with", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]" ], [ "VIVIE. Everything was settled twenty minutes after I arrived here.\nHonoria has found the business too much for her this year; and she was", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE. Yes. Fifty pounds. Perhaps you don't know how it was. Mrs Latham,\nmy tutor at Newnham, told my mother that I could distinguish myself in", "VIVIE. Well, I shall win because I want nothing but my fare to London\nto start there to-morrow earning my own living by devilling for Honoria.", "VIVIE. Very well: sit down in Honoria's chair and talk here. I like ten\nminutes chat after tea. [He murmurs]. No use groaning: I'm inexorable.", "VIVIE. I shall set up chambers in the City, and work at actuarial\ncalculations and conveyancing. Under cover of that I shall do some law,", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "VIVIE. Yes I have. Last May I spent six weeks in London with Honoria\nFraser. Mamma thought we were doing a round of sightseeing together; but", "VIVIE. Culture! My dear Mr Praed: do you know what the mathematical\ntripos means? It means grind, grind, grind for six to eight hours a day\nat mathematics, and nothing but mathematics.", "VIVIE. Well, anyhow, she did; and nothing would please my mother but\nthat I should do the same thing. I said flatly that it was not worth", "[Praed goes. Vivie, composed and extremely grave, sits down in Honoria's\nchair, and waits for her mother to speak. Mrs Warren, dreading a pause,\nloses no time in beginning.]", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "Miss Vivie: where would your Newnhams and Girtons be without it?", "CROFTS [with brutal good humor, as if he liked her pluck] Well thats not\nwhat I came to say. [Sitting down beside her] Now listen, Miss Vivie." ], [ "REV. S. Nonsense, sir. I am Sir George Crofts' host. I must talk to him\nabout something; and he has only one subject. Where is Mr Praed now?", "PRAED [recovering himself with an effort and speaking gently and\ngravely] Now listen to me, my dear Crofts. [He sits down again].", "VIVIE [striding to the gate and opening it for him] Come in, Mr Praed.\n[He comes in]. Glad to see you. [She proffers her hand and takes his", "VIVIE. So do I. Sit down, Mr Praed. [This invitation she gives with a\ngenial peremptoriness, his anxiety to please her clearly striking her as", "PRAED [rising indignantly] Really, Crofts--!\n\nCROFTS. No offence, Praed. Quite allowable as between two men of the\nworld.", "VIVIE. Oh, do you think Mr Praed does not know all about my mother?\n[Turning on Praed] You had better have told me that morning, Mr Praed.\nYou are very old fashioned in your delicacies, after all.", "CROFTS [furtively] I say, Praed.\n\nPRAED. Yes.\n\nCROFTS. I want to ask you a rather particular question.", "PRAED [approving] Ah!! [He sits down, much relieved].\n\nVIVIE [continuing]--to the Opera--\n\nPRAED [still more pleased] Good!", "CROFTS [putting his head out of the window] I say, Praed: what are you\nabout? Do come along. [He disappears].", "VIVIE. It's Praed. He's going to Italy and wants to say goodbye. I asked\nhim to call this afternoon. Go and let him in.", "MRS WARREN [to Praed, looking at Crofts] Just look at him, Praddy: he\nlooks cheerful, don't he? He's been worrying my life out these three", "REV. S. Yes: it is indeed. Frank will take you for a walk, Mr Praed,\nif you like. I'll ask you to excuse me: I must take the opportunity", "THE GENTLEMAN [daunted and conciliatory] I'm afraid I appear intrusive.\nMy name is Praed. [Vivie at once throws her books upon the chair, and", "[Praed shakes his head bodingly, and is following Crofts when he is\nhailed by a young gentleman who has just appeared on the common, and is", "VIVIE. You have had a long walk and are hungry, Mr Praed: you shall have\nyour supper at once. I can wait myself. I want one person to wait with\nme. Frank: are you hungry?", "PRAED. What difference can that make? We take her on her own merits.\nWhat does it matter who her father was?\n\nCROFTS [suspiciously] Then you know who he was?", "[Praed, dressed for travelling, comes in, in high spirits.]", "[The cottage doors open whilst he is reciting; and Vivie and Praed\ncome in. He breaks off. Praed puts his hat on the dresser. There is an", "PRAED. Very good. [He goes into the cottage].", "VIVIE. Here they are. [Coming to them as they enter the garden] How do,\nmater? Mr Praed's been here this half hour, waiting for you." ], [ "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "MRS WARREN. Gone out to have a pipe. [The clergyman takes his hat from\nthe table, and joins Mrs Warren at the fireside. Meanwhile, Vivie comes", "MRS WARREN. Oh, get out with your nonsense. [In a low voice] Where's\nVivie?\n\n[Frank points expressively to the door of the inner room, but says\nnothing.]", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "Mrs Warren pretends to laugh, but looks after him with perceptible\nconcern. Then, she whispers to Crofts] Whats the matter with him? What\ndoes he take it like that for?", "CROFTS. Of course not.\n\nFRANK [with enchanting placidity] Is that so, Mrs Warren?", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "MRS WARREN. Yes, dearie. [She laughs indulgently at Praed's gravity, and\npats him on the cheek as she passes him on her way to the porch]. Don't", "parson takes Mrs Warren; and they pass into the kitchen. Praed and\nCrofts follow. All except Praed clearly disapprove of the arrangement,", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "MRS WARREN. Well, George, what do you think of her?\n\nCROFTS [ruefully] She has a powerful fist. Did you shake hands with her,\nPraed?", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "MRS WARREN. Yes, Heaven forgive me, it's true; and you are the only\none that ever turned on me. Oh, the injustice of it! the injustice! the", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "FRANK. So I have.\n\nMRS WARREN [turning on him with a sharp note of alarm in her voice]\nWhat!\n\nFRANK. Vivie and I are ever such chums.", "FRANK [grimacing] Sorry. [He goes for his cap and rifle. Mrs Warren\nreturns. He takes her hand] Good-night, dear Mrs Warren. [He kisses her", "[Mrs Warren appears on the threshold, and is immediately transfixed,\nrecognizing the clergyman.]\n\nVIVIE [continuing] Let me introduce--", "REV. S. [mooning hospitably at them] I shall be pleased, I'm sure, if\nSir George and Mrs Warren really care about it.\n\nMRS WARREN. Oh, come along and get it over.", "MRS WARREN [on the alert at once] Now see here, George: what are you\nup to about that girl? I've been watching your way of looking at her.\nRemember: I know you and what your looks mean.", "MRS WARREN. Yes; or any other point of view. What is any respectable\ngirl brought up to do but to catch some rich man's fancy and get the" ], [ "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "VIVIE [looking across at her without raising her head from her book] No.\nWho are you? What are you?\n\nMRS WARREN [rising breathless] You young imp!", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "VIVIE [slowly] You are certain of that, at _least_. Ah! You mean that\nthat is all you are certain of. [Thoughtfully] I see. [Mrs Warren buries", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "CROFTS [with brutal good humor, as if he liked her pluck] Well thats not\nwhat I came to say. [Sitting down beside her] Now listen, Miss Vivie.", "MRS WARREN. Thank you. Your love's a pretty cheap commodity, my lad.\nIf you have no means of keeping a wife, that settles it; you can't have\nVivie.", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "MRS WARREN. You think I want to force that played-out old sot on you! I\ndon't, Vivie: on my oath I don't.", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "MRS WARREN [within] Here, Vivie: come on you too, child. You must be\nfamished. [She enters, followed by Crofts, who holds the door open with", "affectionate intention. Vivie, neither understanding this nor concerning\nherself about it, goes on calmly] Mother: you don't at all know the sort", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye." ], [ "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE. Who was my father?\n\nMRS WARREN. You don't know what youre asking. I can't tell you.", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE [to Frank] Is that your father, Frank? I do so want to meet him.", "VIVIE. What did he say?\n\nFRANK. He said he was sure there must be some mistake.\n\nVIVIE. Do you believe him?", "PRAED [rising also] Well, as you are, at all events, old enough to be\nher father, I don't mind agreeing that we both regard Miss Vivie in a", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE. Your partner. My mother.\n\nCROFTS [black with rage] The old--\n\nVIVIE. Just so.", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "VIVIE. The dear little boy with his dowdy little girl.\n\nFRANK. Ever so peaceful, and relieved from the imbecility of the little\nboy's father and the questionableness of the little girl's--", "affectionate intention. Vivie, neither understanding this nor concerning\nherself about it, goes on calmly] Mother: you don't at all know the sort", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "THE GENTLEMAN [daunted and conciliatory] I'm afraid I appear intrusive.\nMy name is Praed. [Vivie at once throws her books upon the chair, and", "VIVIE. I believe it is I who will not be able to sleep now. [She goes\nto the dresser and lights the candle. Then she extinguishes the lamp," ], [ "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "CROFTS [with brutal good humor, as if he liked her pluck] Well thats not\nwhat I came to say. [Sitting down beside her] Now listen, Miss Vivie.", "VIVIE [looking across at her without raising her head from her book] No.\nWho are you? What are you?\n\nMRS WARREN [rising breathless] You young imp!", "VIVIE. Your partner. My mother.\n\nCROFTS [black with rage] The old--\n\nVIVIE. Just so.", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "CROFTS [contemptuously] Yah! [He turns away again].\n\nFRANK [rising] Mrs Warren: I cannot give my Vivie up, even for your\nsake.", "VIVIE. It would not matter if you did: you would not succeed. [Mrs\nWarren winces, deeply hurt by the implied indifference towards her", "VIVIE. Wait a moment: I've not done. Tell me why you continue your\nbusiness now that you are independent of it. Your sister, you told me,\nhas left all that behind her. Why don't you do the same?", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "VIVIE [fiercely] No. I hate you. [She takes a couple of books and some\npaper from the writing-table, and sits down with them at the middle\ntable, at the end next the fireplace].", "VIVIE. What did he say?\n\nFRANK. He said he was sure there must be some mistake.\n\nVIVIE. Do you believe him?" ], [ "VIVIE. I shall set up chambers in the City, and work at actuarial\ncalculations and conveyancing. Under cover of that I shall do some law,", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "VIVIE. Yes: they object to the smell in the office; and we've had to take\nto cigarets. See! [She opens the box and takes out a cigaret, which she", "VIVIE. Everything was settled twenty minutes after I arrived here.\nHonoria has found the business too much for her this year; and she was", "VIVIE. No: I am my mother's daughter. I am like you: I must have work,\nand must make more money than I spend. But my work is not your work, and", "VIVIE. Well, I shall win because I want nothing but my fare to London\nto start there to-morrow earning my own living by devilling for Honoria.", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. Wait a moment: I've not done. Tell me why you continue your\nbusiness now that you are independent of it. Your sister, you told me,\nhas left all that behind her. Why don't you do the same?", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE. Not at all: I am very much obliged to you for being so definite\nand business-like. I quite appreciate the offer: the money, the", "I always thought that it oughtn't to be. It _can't_ be right, Vivie, that\nthere shouldn't be better opportunities for women. I stick to that: it's" ], [ "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "MRS WARREN. Yes; or any other point of view. What is any respectable\ngirl brought up to do but to catch some rich man's fancy and get the", "MRS WARREN [indignantly] Of course not. What sort of mother do you take\nme for! How could you keep your self-respect in such starvation", "lots of women who had got into trouble. But they were all nice women.\nThats what makes the real difference. Mrs Warren, no doubt, has her", "MRS WARREN. My own opinions and my own way of life! Listen to her\ntalking! Do you think I was brought up like you? able to pick and choose", "of an immoral life for poor women that has ever been penned.\" Happily\nthe St James Gazette here speaks in its haste. Mrs Warren's defence of", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "MRS WARREN. Of course it's worth while to a poor girl, if she can resist\ntemptation and is good-looking and well conducted and sensible. It's far\nbetter than any other employment open to her.", "MRS WARREN. Yes, saving money. But where can a woman get the money to\nsave in any other business? Could y o u save out of four shillings a", "gentlemen to the condition of the city they live in, provided they\nlive at the west end of it on money earned by someone else's labor. The\nnotion that prostitution is created by the wickedness of Mrs Warren", "Mrs Warren's Profession has been performed at last, after a delay of\nonly eight years; and I have once more shared with Ibsen the triumphant", "I have nothing to do with that side of Mrs Warren's life, and never had.\nShe has never spoken to me about it; and of course I have never spoken", "Mrs Warren's Profession is no mere theorem, but a play of instincts\nand temperaments in conflict with each other and with a flinty social\nproblem that never yields an inch to mere sentiment.", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "her face in her hands]. Don't do that, mother: you know you don't feel\nit a bit. [Mrs Warren takes down her hands and looks up deplorably", "bottles, and for Mrs Warren to be a beast and a demon. All this is not\nonly not natural, but not dramatic. A man's profession only enters into", "profession also. So there are in every profession: the error lies in\nsupposing that every member of them sounds these depths. I sit on a\npublic body which prosecutes Mrs Warren zealously; and I can assure Mr" ], [ "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE. Yes. Fifty pounds. Perhaps you don't know how it was. Mrs Latham,\nmy tutor at Newnham, told my mother that I could distinguish myself in", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "Miss Vivie: where would your Newnhams and Girtons be without it?", "VIVIE. Everything was settled twenty minutes after I arrived here.\nHonoria has found the business too much for her this year; and she was", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. Don't suppose anything, Mr Praed. I hardly know my mother. Since\nI was a child I have lived in England, at school or at college, or with", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "VIVIE. Culture! My dear Mr Praed: do you know what the mathematical\ntripos means? It means grind, grind, grind for six to eight hours a day\nat mathematics, and nothing but mathematics.", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "VIVIE. Everybody has some choice, mother. The poorest girl alive may\nnot be able to choose between being Queen of England or Principal", "VIVIE. Well, anyhow, she did; and nothing would please my mother but\nthat I should do the same thing. I said flatly that it was not worth", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts," ], [ "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "[Mrs Warren comes in, looking apprehensively around for Vivie. She has\ndone her best to make herself matronly and dignified. The brilliant hat", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. It would not matter if you did: you would not succeed. [Mrs\nWarren winces, deeply hurt by the implied indifference towards her", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "VIVIE [looking across at her without raising her head from her book] No.\nWho are you? What are you?\n\nMRS WARREN [rising breathless] You young imp!", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "VIVIE [slowly] You are certain of that, at _least_. Ah! You mean that\nthat is all you are certain of. [Thoughtfully] I see. [Mrs Warren buries", "MRS WARREN. Did you hear what I said, Vivie?", "MRS WARREN. You think I want to force that played-out old sot on you! I\ndon't, Vivie: on my oath I don't.", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "MRS WARREN. And youll be good to your poor old mother for it, won't you?\n\nVIVIE. I will, dear. [Kissing her] Good-night.", "VIVIE. Who was my father?\n\nMRS WARREN. You don't know what youre asking. I can't tell you.", "MRS WARREN. Vivie: do you know how rich I am?\n\nVIVIE. I have no doubt you are very rich.", "MRS WARREN. There! I shouldn't have done that. I _am_ wicked. Never you\nmind, my dear: it's only a motherly kiss. Go and make love to Vivie.", "FRANK [to Mrs Warren] Goodbye: youd ever so much better have taken my\nadvice. [He shakes hands with her. Then airily to Vivie] Byebye, Viv.", "VIVIE. Nonsense, Frank. My mother will stay here.\n\nMRS WARREN [scared] I don't know: perhaps I'd better go. We're disturbing\nyou at your work.", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you" ], [ "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "CROFTS. May I shake hands with a young lady whom I have known by\nreputation very long as the daughter of one of my oldest friends?\n\nVIVIE [who has been looking him up and down sharply] If you like.", "CROFTS [with brutal good humor, as if he liked her pluck] Well thats not\nwhat I came to say. [Sitting down beside her] Now listen, Miss Vivie.", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "VIVIE. Do you think so?\n\nCROFTS. Well, whats he to do? No profession. No property. Whats he good\nfor?", "train. Vivie: put your hat on, dear: youll get sunburnt. Oh, I forgot to\nintroduce you. Sir George Crofts: my little Vivie.", "CROFTS. Could I have a few words with you, Miss Vivie?\n\nVIVIE. Certainly.", "VIVIE. Everybody knows my reputation, my social standing, and the\nprofession I intend to pursue. I know nothing about you. What is that\nway of life which you invite me to share with you and Sir George Crofts,\npray?", "CROFTS [watching him with a crafty air as he disappears, and speaking to\nVivie with an assumption of being on privileged terms with her] Pleasant", "CROFTS. Oh well, come, Miss Vivie: you needn't pretend you don't see what\nI'm driving at. I want to settle down with a Lady Crofts. I suppose you\nthink me very blunt, eh?", "VIVIE. Your partner. My mother.\n\nCROFTS [black with rage] The old--\n\nVIVIE. Just so.", "CROFTS [contemptuously] Yah! [He turns away again].\n\nFRANK [rising] Mrs Warren: I cannot give my Vivie up, even for your\nsake.", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "[Crofts advances to Vivie with his most courtly manner. She nods, but\nmakes no motion to shake hands.]", "VIVIE [rising, almost beside herself] Take care. I know what this\nbusiness is.\n\nCROFTS [starting, with a suppressed oath] Who told you?", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "PRAED [rising also] Well, as you are, at all events, old enough to be\nher father, I don't mind agreeing that we both regard Miss Vivie in a", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. It does not matter. I suppose you understand that when we leave\nhere today our acquaintance ceases.\n\nCROFTS. Why? Is it for helping your mother?" ], [ "PRAED [recovering himself with an effort and speaking gently and\ngravely] Now listen to me, my dear Crofts. [He sits down again].", "REV. S. Nonsense, sir. I am Sir George Crofts' host. I must talk to him\nabout something; and he has only one subject. Where is Mr Praed now?", "VIVIE [striding to the gate and opening it for him] Come in, Mr Praed.\n[He comes in]. Glad to see you. [She proffers her hand and takes his", "VIVIE. So do I. Sit down, Mr Praed. [This invitation she gives with a\ngenial peremptoriness, his anxiety to please her clearly striking her as", "CROFTS [furtively] I say, Praed.\n\nPRAED. Yes.\n\nCROFTS. I want to ask you a rather particular question.", "PRAED [rising indignantly] Really, Crofts--!\n\nCROFTS. No offence, Praed. Quite allowable as between two men of the\nworld.", "PRAED [approving] Ah!! [He sits down, much relieved].\n\nVIVIE [continuing]--to the Opera--\n\nPRAED [still more pleased] Good!", "VIVIE. Oh, do you think Mr Praed does not know all about my mother?\n[Turning on Praed] You had better have told me that morning, Mr Praed.\nYou are very old fashioned in your delicacies, after all.", "CROFTS [putting his head out of the window] I say, Praed: what are you\nabout? Do come along. [He disappears].", "MRS WARREN [to Praed, looking at Crofts] Just look at him, Praddy: he\nlooks cheerful, don't he? He's been worrying my life out these three", "VIVIE. It's Praed. He's going to Italy and wants to say goodbye. I asked\nhim to call this afternoon. Go and let him in.", "REV. S. Yes: it is indeed. Frank will take you for a walk, Mr Praed,\nif you like. I'll ask you to excuse me: I must take the opportunity", "THE GENTLEMAN [daunted and conciliatory] I'm afraid I appear intrusive.\nMy name is Praed. [Vivie at once throws her books upon the chair, and", "PRAED. What difference can that make? We take her on her own merits.\nWhat does it matter who her father was?\n\nCROFTS [suspiciously] Then you know who he was?", "Praed and I'll wait here, to give the thing an unpremeditated air. [The\nclergyman, dazed but obedient, hurries off].", "PRAED [very ill at ease] In that case--[He stops, quite at a loss. Then,\nwith a forced attempt at gaiety] But what nonsense we are talking! Of", "PRAED. Oh no: oh dear no. At least, not conventionally unconventionally,\nyou understand. [She nods and sits down. He goes on, with a cordial", "PRAED [sternly] Frank! [The two look at one another, Frank unruffled,\nPraed deeply indignant]. Let me tell you, Gardner, that if you desert\nher now you will behave very despicably.", "PRAED. Shall we go away?\n\nVIVIE. No: I'll be back presently. Only for a moment. [She goes into the\nother room, Praed opening the door for her].", "[Praed shakes his head bodingly, and is following Crofts when he is\nhailed by a young gentleman who has just appeared on the common, and is" ], [ "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "MRS WARREN. Oh, get out with your nonsense. [In a low voice] Where's\nVivie?\n\n[Frank points expressively to the door of the inner room, but says\nnothing.]", "MRS WARREN. Gone out to have a pipe. [The clergyman takes his hat from\nthe table, and joins Mrs Warren at the fireside. Meanwhile, Vivie comes", "Mrs Warren pretends to laugh, but looks after him with perceptible\nconcern. Then, she whispers to Crofts] Whats the matter with him? What\ndoes he take it like that for?", "parson takes Mrs Warren; and they pass into the kitchen. Praed and\nCrofts follow. All except Praed clearly disapprove of the arrangement,", "MRS WARREN. Yes, dearie. [She laughs indulgently at Praed's gravity, and\npats him on the cheek as she passes him on her way to the porch]. Don't", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "CROFTS. Of course not.\n\nFRANK [with enchanting placidity] Is that so, Mrs Warren?", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "MRS WARREN. Well, George, what do you think of her?\n\nCROFTS [ruefully] She has a powerful fist. Did you shake hands with her,\nPraed?", "[Mrs Warren appears on the threshold, and is immediately transfixed,\nrecognizing the clergyman.]\n\nVIVIE [continuing] Let me introduce--", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "FRANK. Better not wait for them, Mrs Warren. Praed will stay out as\nlong as possible. He has never known before what it is to stray over the\nheath on a summer night with my Vivie.", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "REV. S. [mooning hospitably at them] I shall be pleased, I'm sure, if\nSir George and Mrs Warren really care about it.\n\nMRS WARREN. Oh, come along and get it over.", "MRS WARREN [on the alert at once] Now see here, George: what are you\nup to about that girl? I've been watching your way of looking at her.\nRemember: I know you and what your looks mean.", "FRANK [grimacing] Sorry. [He goes for his cap and rifle. Mrs Warren\nreturns. He takes her hand] Good-night, dear Mrs Warren. [He kisses her", "MRS WARREN. Yes, Heaven forgive me, it's true; and you are the only\none that ever turned on me. Oh, the injustice of it! the injustice! the", "PRAED. I'm an old friend of her mother. Mrs Warren brought me over to\nmake her daughter's acquaintance.\n\nFRANK. The mother! Is _she_ here?" ], [ "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "MRS WARREN. Well, George, what do you think of her?\n\nCROFTS [ruefully] She has a powerful fist. Did you shake hands with her,\nPraed?", "CROFTS. Of course not.\n\nFRANK [with enchanting placidity] Is that so, Mrs Warren?", "MRS WARREN. So it's come to that with you, George, like all the other\nworn-out old creatures!\n\nCROFTS [savagely] Damn you!", "MRS WARREN. Nonsense! What would a young girl like her be doing with\nsuch things! Never mind: it don't matter. I wonder how she passes her\ntime here! I'd a good deal rather be in Vienna.", "CROFTS. Well, thats all it is. Your mother has got a genius for managing\nsuch things. We've got two in Brussels, one in Ostend, one in Vienna,", "REV. S. Frank: Mrs Warren and her daughter are coming across the heath\nwith Crofts: I saw them from the study windows. What _am_ I to say about\nyour mother?", "PRAED. Sir George Crofts, an old friend of Mrs Warren's. I think we had\nbetter come in.", "Mrs Warren pretends to laugh, but looks after him with perceptible\nconcern. Then, she whispers to Crofts] Whats the matter with him? What\ndoes he take it like that for?", "MRS WARREN [on the alert at once] Now see here, George: what are you\nup to about that girl? I've been watching your way of looking at her.\nRemember: I know you and what your looks mean.", "REV. S. [still holding the gate for Crofts, who loafs through it,\nheavily bored] You look well everywhere, Mrs Warren.", "REV. S. [mooning hospitably at them] I shall be pleased, I'm sure, if\nSir George and Mrs Warren really care about it.\n\nMRS WARREN. Oh, come along and get it over.", "CROFTS. Gardner'll put me up.\n\nMRS WARREN. Oh, no doubt you've taken care of yourself! But what about\nPraddy?", "parson takes Mrs Warren; and they pass into the kitchen. Praed and\nCrofts follow. All except Praed clearly disapprove of the arrangement,", "MRS WARREN. Never you mind how old she is.\n\nCROFTS. Why do you make such a secret of it?\n\nMRS WARREN. Because I choose.", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "CROFTS [contemptuously] Yah! [He turns away again].\n\nFRANK [rising] Mrs Warren: I cannot give my Vivie up, even for your\nsake.", "MRS WARREN [within] Here, Vivie: come on you too, child. You must be\nfamished. [She enters, followed by Crofts, who holds the door open with", "CROFTS. Of course it's impossible. Don't be a fool, Kitty.\n\nMRS WARREN [nettled] Why not? Isn't my daughter good enough for your son?", "CROFTS. Mayn't a man take an interest in a girl?\n\nMRS WARREN. Not a man like you.\n\nCROFTS. How old is she?" ], [ "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "Circumstances or no circumstances, Viv, you won't be able to stand your\nmother.\n\nVIVIE [very angry] Why not?", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "VIVIE. Well, anyhow, she did; and nothing would please my mother but\nthat I should do the same thing. I said flatly that it was not worth", "VIVIE. It does not matter. I suppose you understand that when we leave\nhere today our acquaintance ceases.\n\nCROFTS. Why? Is it for helping your mother?", "accused of ignoring, not stage logic, but, of all things, human feeling.\nPeople with completely theatrified imaginations tell me that no girl\nwould treat her mother as Vivie Warren does, meaning that no stage", "VIVIE. It would not matter if you did: you would not succeed. [Mrs\nWarren winces, deeply hurt by the implied indifference towards her", "VIVIE [not at all pleased] Did she? Hm! My mother has rather a trick of\ntaking me by surprise--to see how I behave myself while she's away, I", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "VIVIE. Wait a moment: I've not done. Tell me why you continue your\nbusiness now that you are independent of it. Your sister, you told me,\nhas left all that behind her. Why don't you do the same?", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "affectionate intention. Vivie, neither understanding this nor concerning\nherself about it, goes on calmly] Mother: you don't at all know the sort", "VIVIE [smothering the word against her breast] Sh-sh-sh-sh! little girl\nwants to forget all about her mother. [They are silent for some moments,", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. You are wrong: you know nothing about her. If you knew the\ncircumstances against which my mother had to struggle--" ], [ "VIVIE. I shall set up chambers in the City, and work at actuarial\ncalculations and conveyancing. Under cover of that I shall do some law,", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "VIVIE. Yes: they object to the smell in the office; and we've had to take\nto cigarets. See! [She opens the box and takes out a cigaret, which she", "VIVIE. No: I am my mother's daughter. I am like you: I must have work,\nand must make more money than I spend. But my work is not your work, and", "VIVIE. Well, I shall win because I want nothing but my fare to London\nto start there to-morrow earning my own living by devilling for Honoria.", "VIVIE. Everything was settled twenty minutes after I arrived here.\nHonoria has found the business too much for her this year; and she was", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "VIVIE. Wait a moment: I've not done. Tell me why you continue your\nbusiness now that you are independent of it. Your sister, you told me,\nhas left all that behind her. Why don't you do the same?", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "VIVIE. Everybody has some choice, mother. The poorest girl alive may\nnot be able to choose between being Queen of England or Principal", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE. Do you think so?\n\nCROFTS. Well, whats he to do? No profession. No property. Whats he good\nfor?" ] ]	[ "What did Mrs. Warren previously do for work?", "What does Mrs. Warren criticize about Victorian Britain?", "Where did Vivie graduate from?", "Who is attracted to Vivie?", "Who is Vivie romantically involved with?", "What possible relationship between Frank and Vivie is revealed?", "Where does Mrs. Warren own a chain of Brothels?", "Why does the reconciliation between Vivie and Mrs. Warren abruptly end?", "What does Vivie vow never to do after taking an office job and breaking up with Frank?", "Who owns a brothel?", "Who is Mrs. Warrens daughter?", "Which university did Vivie graduate from?", "Which area of study did Vivie get honours in?", "What is Mr. Praed's occupation?", "Who is Mrs. Warren's business partner?", "Who sees Vivie as a meal ticket?", "Who could be Vivie's father?", "Who did Vivie disown?", "Which kind of job did Vivie take in the city?", "What was Mrs. Warren's former occupation?", "Which college did Vivie graduate from?", "Why did Vivie's mother change her name to Mrs. Warren?", "What is the age difference between Vivie and George Crofts?", "What is the occupation of Mr. Praed?", "Who is Mrs Warren's business partner?", "Across which continent does Mrs Warren own brothels with George Crofts?", "Why does Vivie disown her mother?", "What type of job does Vivie take in the city?" ]	[ [ "Prostitution.", "She was a former prostitute." ], [ "The limited work opportunities for women that are available.", "There are limited employment opportunitues" ], [ "The University of Cambridge.", "University of Cambridge. " ], [ "Mrs. Warren's business partner, Sir George Crofts.", "SIR GEORGE CROFTS" ], [ "Frank Gardner.", "Frank Gardner" ], [ "They are half siblings.", "Half-siblings." ], [ "Europe.", "ALL OVER EUROPE" ], [ "Vivie finds out that Mrs. Warren continues to run the brothels even though she does not need them anymore.", "Vivie finds out her mother no longer needs to run the brothels but still does. " ], [ "Never to marry.", "Marry." ], [ "Mrs. Warren", "Mrs. Warren." ], [ "Vivie", "Vivie" ], [ "University of Cambridge", "University of Cambridge" ], [ "Mathematics", "mathematics" ], [ "Architect", "architect" ], [ "Sir George Crofts", "Sir George Crofts" ], [ "Frank Gardner", "Frank Gardner" ], [ "Reverend Samuel Gardner", "Reverend Samuel Gardner" ], [ "Her mother", "Her mother." ], [ "An office job", "OFFICE JOB" ], [ "A prostitute.", "Prostitute" ], [ "University of Cambridge.", "University of Cambridge" ], [ "To give the impression of being married and to hide her true identity.", "TO MAKE PEOPLE THINK SHES MARRIED & TO HIDE HER TRUE IDENTITY" ], [ "25 years.", "25 years" ], [ "He is an architect.", "Architect" ], [ "Sir George Crofts", "Sir George Crofts" ], [ "Europe", "Europe" ], [ "Because she finds out her mother is still running brothels when she no longer needs the money ", "She continues to run the brothel." ], [ "An office job", "an office job" ] ]	fcf28eb74e5d50c402f34d32ce2370ce1bd12506	test

[ [ "The Enterprise crew returns fire. It is a blazing phaser\nbattle, Worf leading his men with Klingon courage. They\nsteadily advance in the face of the blistering disruptor\nfire --", "It stops. Only a few hundred yards from the Enterprise, its\ngreat prow almost filling the gaping hole at the front of the\nbridge.\n\nPicard thinks, his mind racing. Then it comes to him in a\nflash:", "EXT. THE RIFT - SPACE\n\nThe Enterprise powers forward in a final thrust -- !\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "The Enterprise fires her phasers simultaneously -- the energy\nbeams shoot into space --\n\nAnd the Scimitar's shape is momentarily illuminated as one of\nits shields is hit.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nThe crew gapes at the huge ship on the viewscreen.", "The Enterprise quickly turns about -- firing her aft phasers,\nas the Valdore sweeps toward Shinzon's ship, firing --\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "Every part of the Enterprise ROCKS -- a great lurch as the\nScimitar begins to tear itself free -- backing away -- a", "Although Shinzon's ship is still cloaked, the steady barrage\nof triangulated phaser and disruptor fire from the Enterprise\nand the two Romulan vessels illuminate its shields with\nimpacts.", "The Enterprise dramatically powers forward and up -- rolling\nover in a great arc going into warp while still upside down.\nIt disappears in a blaze of light. Fade to...", "This family. A family we love.\n\nEXT. ENTERPRISE - SPACE\n\nThe Enterprise streaks through space.", "EXT. ENTERPRISE - OVER KOLARUS III - SPACE\n\nThe Enterprise is in orbit around the uncharted planet. In\nthe distance we can see the distorting violence of an ion\nstorm.", "EXT. THE RIFT - SPACE\n\nIt is a chaos of starships as the Enterprise and the two\nWarbirds fire steadily -- illuminating the Scimitar's\nshields.", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nThe crew sees the Scorpion appear on the viewscreen.", "The Enterprise is in orbit around Romulus. Remus can be seen\nin the distance.", "PICARD\n Savage them!\n\nEXT. THE RIFT - SPACE\n\nAnd the Enterprise attacks!", "Disruptor beams appear from nowhere -- streaking through\nspace -- slamming into the Enterprise's warp drive. The\nEnterprise recoils, dangerously dropping out of warp in a\nfurious lurch.", "And the Enterprise jumps to high warp -- disappearing in a\nflash of dazzling light. Yes!\n\nINT. ENTERPRISE - OBSERVATION LOUNGE - DAY", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nThe Scimitar sweeps into view on the viewscreen -- filling\nthe screen -- and launches a ferocious volley of photon\ntorpedoes.", "And we cut to --\n\nEXT. ENTERPRISE - SPACEDOCK - OVER EARTH - FOLLOWING" ], [ "Shinzon's vessel combines the clean lines of the traditional\nRomulan Warbird with unique weaponry and styling. It is", "Although Shinzon's ship is still cloaked, the steady barrage\nof triangulated phaser and disruptor fire from the Enterprise\nand the two Romulan vessels illuminate its shields with\nimpacts.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "Shinzon sits quite calmly in his command chair.\n\n SHINZON\n Target the flanking Warbird. All\n forward disruptor banks on my mark.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Shinzon's magnificent Reman Warbird, the SCIMITAR, decloaks\ndirectly before the Enterprise.\n\nEXT. OVER ROMULUS - SPACE", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "SHINZON\n Tractor beam! Now!\n\nEXT. OVER ROMULUS - SPACE\n\nBut they are too late -- the Scorpion dematerializes --", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nPicard strides to his command chair as two Romulan Warbirds\nappear on the viewscreen. Deanna is now on the bridge.", "SHINZON\n Report!\n\n REMAN OFFICER\n Two ships decloaking, sir!\n Romulan!", "Shinzon stands in the ruins of his bridge. Many of his\nbridge crew are now dead.\n\n SHINZON\n Divert all power to engines. Full\n reverse!", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "Picard watches through the gaping hole in the hull as the\nScimitar backs away. Another section of the Scimitar\ndisappears. Shinzon almost has his cloak back.", "SHINZON\n Disable their weapons!\n\nBut before the Viceroy can move the Scimitar suddenly ROCKS\n-- attacked from somewhere! Shinzon is stunned.", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon stares at the Enterprise.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "The Enterprise quickly turns about -- firing her aft phasers,\nas the Valdore sweeps toward Shinzon's ship, firing --\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "Shinzon sees it coming -- utterly shocked -- bolts up --\n\n SHINZON\n HARD TO PORT !\n\nToo late." ], [ "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "PICARD\n I so wanted to believe Shinzon.\n But the Thalaron radiation can't be\n explained away. Whatever he's\n after, it's not peace.", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "SHINZON\n Disable their weapons!\n\nBut before the Viceroy can move the Scimitar suddenly ROCKS\n-- attacked from somewhere! Shinzon is stunned.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Picard instantly fires for the Cascading Pulse control -- but\nShinzon dives to cover it -- the phaser blast hits Shinzon in\nthe chest -- he recoils, slamming to the deck, stunned.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "PICARD\n Please.\n\n SHINZON\n It's too late.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "Shinzon sees it coming -- utterly shocked -- bolts up --\n\n SHINZON\n HARD TO PORT !\n\nToo late.", "The crew is utterly confused. Their confusion turns to\noutright shock when Shinzon calmly pulls out a Reman knife\nand cuts his arm, drawing a little blood. He hands the knife\nto Data.", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "Shinzon stands in the ruins of his bridge. Many of his\nbridge crew are now dead.\n\n SHINZON\n Divert all power to engines. Full\n reverse!", "And then, amazingly, Shinzon forces himself forward --\npushing Picard back against a wall -- Shinzon slowly walks\ntoward Picard, forcing himself down the length of the spear", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "A computer display illustrates Geordi's words about the power\nof Shinzon's weapon. We see a chilling graphic of the\nBiogenic Pulse beam spreading around a ship, then a whole\nplanet.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:" ], [ "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "SHINZON\n I was lonely...\n (he realizes Picard is\n staring at the veins on\n his face)\n Perhaps I'm not aging as well as\n you did.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Data scans him with a tricorder as:\n\n PICARD\n And you're not as we imagined you.\n\n SHINZON\n No?", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "The Viceroy puts his hand on Shinzon's chest. A strange\nmoment as the Viceroy shuts his eyes and feels Shinzon's\nchest. His mind... probing.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi...", "Shinzon sits in his command chair, lined with veins now.\nHis Viceroy again has his hand pressed to Shinzon's chest.\n\n SHINZON\n How long?", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "PICARD\n With a full head of hair.\n\n SHINZON\n (smiles)\n There is that.\n\nA quiet beat.", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father." ], [ "SHINZON\n Disable their weapons!\n\nBut before the Viceroy can move the Scimitar suddenly ROCKS\n-- attacked from somewhere! Shinzon is stunned.", "The head abruptly stops talking.\n\nData, hands free now, quickly incapacitates the aliens around\nhim with a dazzling demonstration of his superior strength\nand agility.", "SHINZON\n Target disruptors. Destroy them.\n\n REMAN OFFICER\n Disruptors are off-line, sir.", "Although Shinzon's ship is still cloaked, the steady barrage\nof triangulated phaser and disruptor fire from the Enterprise\nand the two Romulan vessels illuminate its shields with\nimpacts.", "COMPUTER (V.O.)\n Auto-destruct is off-line.\n\nThen the ship gives a final LURCH. The Scimitar is free.", "Worf fires the mounted phaser canon -- blasting away at the\naliens, not killing them, just stopping them -- a few\ndramatic crashes as the alien vehicles overturn --\n\nMeanwhile:", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "The invisible Scimitar sweeps past for a particularly brutal\nassault -- disruptor blasts streak along the Enterprise's\nhull -- a huge, ripping series of explosions tear away\nseveral decks of the Enterprise --", "And instantly spins to fire a blazing disruptor. A battle\nbreaks out in the corridor -- the energy beams and explosions\nilluminating the violent fire fight in strobe-like bursts.", "He turns and heads toward his Ready Room.\n\nThe others watch him go with great sadness.", "When a thundering BLAST sends up a shower of debris, stopping\nthe aliens -- Picard is standing in the rear of the jeep,\nfiring the phaser canon.", "The entire Scimitar slowly begins to unfold. Like a gigantic\nversion of the small spider-weapon we saw kill the Romulan\nSenators before, legs appear and hoist up a savage weapon.\nThe Cascading Pulse.", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nThe bridge has been damaged, sparks sputter through the\ndarkness and debris litters the deck.", "Crew members assume battle stations. Weapons locker ring\nopen and Security Officers hand out sidearms and phaser\nrifles.\n\nGeordi and his Engineers establish emergency force field\naround the warp core.", "GEORDI\n He's getting his cloak back. We\n have exhausted our compliment of\n photon torpedoes. Phaser banks are\n down to four percent.", "Picard can now see his enemy directly through the gaping hole\nin the ship's hull -- he sees the Scimitar banking for\nanother attack run as part of the ship disappears --", "The few remaining Remans on the bridge spin to Picard, firing\ndisruptors -- Picard dives for cover and battles them with\nhis phaser rifle --", "The Valdore careens out of control and then slows to a stop.\nIt floats dead in space.\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "Beyond the security force field a ghoulish medical apparatus\nis being prepared. A metal chair with laser scalpels, IV\ntubes and hyposprays connected to it. Reman doctors work\nover the mysterious chair." ], [ "PICARD (V.O.)\n Captain's Log. Stardate 47844.9.\n The Enterprise has arrived at", "Picard watches him for a moment; great emotion playing over\nhis features, and then goes.\n\nINT. ENTERPRISE - CORRIDOR - NIGHT", "But Picard is gone.\n\nEXT. OVER ROMULUS - SPACE\n\nThe Scimitar cloaks.\n\nINT. SCIMITAR - BRIG - NIGHT", "B-9\n If you resist, I will incapacitate\n you.\n\nHe leads Picard out.\n\nINT. SCIMITAR - CORRIDORS - FOLLOWING", "PICARD\n Savage them!\n\nEXT. THE RIFT - SPACE\n\nAnd the Enterprise attacks!", "It stops. Only a few hundred yards from the Enterprise, its\ngreat prow almost filling the gaping hole at the front of the\nbridge.\n\nPicard thinks, his mind racing. Then it comes to him in a\nflash:", "The B-9 leads Picard through the dark corridors, holding the\ndisruptor on him steadily. All the Remans they pass glare at\nPicard with undisguised loathing.", "PICARD\n A bit less florid, Data.\n\n DATA\n Aye, sir... This way.\n\nHe leads Picard down the corridor.", "PICARD\n Fire!\n\nAnd the Scorpion's forward disruptors fire! The doors into\nthe ship explode! Picard powers forward!", "Picard stands and walks to the viewscreen. He gazes at\nRomulus below and the black infinity of space beyond.\nThey're out there, Waiting.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "PICARD\n His hatred of the Federation is\n apparent. He would have built a\n weapon of that scope for one\n reason. He is going after Earth.", "Picard stands, they shake hands as:\n\n PICARD\n Welcome aboard, Commander. I hope,\n your transfer didn't come as too\n much of a surprise.", "PICARD\n Then he'll come for me as a donor.\n\nINT. ENTERPRISE - DATA'S CABIN - NIGHT\n\nData stands before the B-9.", "PICARD\n Well then... only one way to go.\n\nHe swings the Scorpion around again so it is facing the doors\nthey came through, the doors back into the ship.", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nPicard strides to his command chair as two Romulan Warbirds\nappear on the viewscreen. Deanna is now on the bridge.", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nPicard stands... watching the Scimitar maneuver into\nposition. Large parts of it are now cloaked.", "PICARD\n Please.\n\n SHINZON\n It's too late.", "PICARD\n All hands. Battle stations.\n\nINT. ENTERPRISE - VARIOUS ANGLES\n\nWe see a montage of the Enterprise preparing for battle.", "PICARD\n He thinks he knows exactly what I'm\n going to do...\n\n GEORDI\n Sir?\n\n PICARD\n We've got him!" ], [ "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "PICARD\n You can still make a choice! Make\n the right one now!\n\n SHINZON\n I have no choices! I can't fight\n what I am!", "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "SHINZON (V.O.)\n I hope you'll forgive the\n darkness... we're not comfortable\n in the light.\n\n PICARD\n Praetor Shinzon?", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi...", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Picard is impressed with Shinzon's quiet words.\n\n SHINZON\n You don't trust me.\n\n PICARD\n I have no reason to.", "PICARD\n With a full head of hair.\n\n SHINZON\n (smiles)\n There is that.\n\nA quiet beat.", "Data scans him with a tricorder as:\n\n PICARD\n And you're not as we imagined you.\n\n SHINZON\n No?", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "SHINZON\n I think the facts speak for\n themselves. The same noble Picard\n blood runs in our veins. Had you", "PICARD\n We are.\n\n SHINZON\n It's just the two of us now, Jean\n Luc, as it should be... Your ship\n and mine... You and me.", "PICARD\n I know you as well as I know\n myself, Shinzon. There was a time\n you looked at the stars and dreamed\n of what might be." ], [ "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "SHINZON (V.O.)\n I hope you'll forgive the\n darkness... we're not comfortable\n in the light.\n\n PICARD\n Praetor Shinzon?", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Picard is impressed with Shinzon's quiet words.\n\n SHINZON\n You don't trust me.\n\n PICARD\n I have no reason to.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "PICARD\n I so wanted to believe Shinzon.\n But the Thalaron radiation can't be\n explained away. Whatever he's\n after, it's not peace.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "PICARD\n You can still make a choice! Make\n the right one now!\n\n SHINZON\n I have no choices! I can't fight\n what I am!", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "PICARD\n You're doing this to liberate the\n Remans?\n\n SHINZON\n No race should be a slave to\n another.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi..." ], [ "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "SHINZON (V.O.)\n I hope you'll forgive the\n darkness... we're not comfortable\n in the light.\n\n PICARD\n Praetor Shinzon?", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "Shinzon's Viceroy.", "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "Shinzon enters with the B-9 following. Shinzon stands on the\nother side of the force field.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "Shinzon stands with some REMAN ENGINEERS.\n\n SHINZON\n Transport.\n\nAn Engineer activates a transporter and the B-9 materializes!", "Picard is impressed with Shinzon's quiet words.\n\n SHINZON\n You don't trust me.\n\n PICARD\n I have no reason to.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi..." ], [ "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "disturbing resemblance to the original Nosferatu. He is\nvampiric and lethal. He is a Reman.", "The B-9 leads Picard through the dark corridors, holding the\ndisruptor on him steadily. All the Remans they pass glare at\nPicard with undisguised loathing.", "REMAN OFFICER\n What about Picard?\n\n SHINZON\n Our greater goal is more important,\n brother.", "SHINZON\n I can feel your hunger to know the\n Reman ways... the old ways.\n\nThen the world changes again...", "PICARD\n You're doing this to liberate the\n Remans?\n\n SHINZON\n No race should be a slave to\n another.", "The few remaining Remans on the bridge spin to Picard, firing\ndisruptors -- Picard dives for cover and battles them with\nhis phaser rifle --", "The flickering half-light and red emergency strobes of the\ncrippled ship make this an ominous sequence. The Viceroy is\nin his element, used to the perpetual night of the Reman\nHomeworld, he can see in the dark.", "SHINZON\n I came this far alone...\n (he looks at his Reman\n warriors)\n We came this far alone. We require\n no assistance from the fleet. Now\n leave me to my thoughts.", "A beat.\n\n SHINZON\n I want to know where I come from.\n The Remans gave me a future. You\n can tell me about my past.", "The crew cannot see him clearly in the dim light but it is\nevident he is human. Assuming that he was Reman, they're\nsurprised by this realization.", "Reman warriors are closing in on them.", "PICARD\n (grim)\n Cannon fodder.\n\n GEORDI\n Then how did a Reman get to be\n Praetor? I don't get it.", "They are silent as they pass a few Reman guards. Then:\n\n DATA\n My mission was a success, sir. I\n have discovered the source of the\n Thalaron radiation.", "JANEWAY (ON VIEWSCREEN)\n There's more... as always. He's\n Reman.", "A fight -- Picard uses a dazzlinq series of Starfleet hand-\nto-hand maneuvers -- he dramatically subdues the Remans.", "A sudden disruptor blast stops them cold! The Viceroy and\nhis invasion force of a dozen Reman Warriors are down the\ncorridor!", "always faces the sun. Due to the\n extreme temperatures on that half\n of their world, the Remans live on\n the dark side of the planet.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis." ], [ "Uproarious laughter. We pull back to reveal the wedding\nreception of WILL RIKER and DEANNA TROI.", "RIKER\n (to Helm Officer)\n Mister Branson, set course for the\n Kolarin system. Warp Five --\n (Deanna shoots him a\n glance)\n -- Warp Seven.", "INT. ENTERPRISE - RIKER AND DEANNA'S CABIN - NIGHT\n\nRiker is hard at work over a series of padds. He has been\nworking for hours.", "RIKER\n Sir?\n\nPicard doesn't answer, he just stares forward. Deanna goes\nto Riker.\n\n DEANNA\n Data.", "RIKER\n I don't think we're going to see\n much combat on Betazed.\n\n DEANNA\n Don't be too sure. Mother will be\n there.", "DEANNA\n (to Worf)\n ... and after the ceremony on\n Betazed, three entire weeks for our\n honeymoon.", "RIKER\n It's working.\n\n PICARD\n (to Deanna)\n Counselor?", "The crew is shocked.\n\n HELM OFFICER\n Aye aye, sir. Course plotted and\n laid in...\n\n RIKER\n Romulus?", "PICARD\n I'm going to miss you.\n\n DEANNA\n And I you.\n\nThey are interrupted by a comm signal:", "Riker takes her hand.", "Riker looks toward the glowing debris field in the distance.\nHe puts an arm around Deanna.\n\nSilence.\n\n GEORDI\n Sir, we're being hailed.", "It is Riker. She stares at him, then clings to him\ndesperately.\n\nEXT. ROMULAN SENATE - DAY", "conjugal rites I have discovered it\n is traditional to present the\n \"happy couple\" with a gift. Given\n Commander Riker's affection for", "RIKER\n We're going sailing on the Opal\n Sea. We've booked an old-fashioned\n solar catamaran. Just us and the\n sun and the waves.", "INT. ENTERPRISE - CREW LOUNGE - NIGHT\n\nRiker and Deanna are having dinner with Worf.", "RIKER\n Imzadi, what am I going to do with\n you?\n\nThey kiss deeply. She pulls him across the room and they\nfall into the bed.", "When the Ready Room doors close behind Picard, Deanna finally\nallows herself to cry. Riker holds her closely. Slow fade\nto...\n\nINT. ENTERPRISE - CREW LOUNGE - NIGHT", "DEANNA\n You better believe you're engaged!\n\nMeanwhile, Geordi and Data remain at the Engineering Station,\nstudying the displays.", "WORF\n It seems a very... soft honeymoon.\n\n DEANNA\n (amused)\n It's meant to be relaxing.", "GEORDI\n Aye, sir.\n\n PICARD\n Deanna, on my mark.\n\n GEORDI\n Ready, sir!" ], [ "The B-9 has been deactivated, he stands lifeless and\nimmobile. Data gazes deeply into his double's identical", "GEORDI\n How many of you did Dr. Soong make?\n\n DATA\n I thought only me, myself and Lore.", "RIKER\n So they've got him up and running.\n\n WORF\n He's a very unusual android", "They watch as Data leads the B-9 to a table. Data instructs\nhim to sit. The B-9 sits and stares forward placidly. Data\nshows him how use a napkin.", "DATA\n (to head)\n Do you have a name, sir?\n\n HEAD\n I am the B-9.", "GEORDI\n An individual more like you, you\n mean.\n\n DATA\n Yes.", "Beverly gazes at the android head. It gazes back at her.\n\n BEVERLY\n I think you have nicer eyes.", "The android is in a framework rig that holds the various body\nparts in place. The parts are not yet assembled\n\n RIKER\n Geordi?", "DATA\n Since positronic signatures have\n only been known to emanate from\n androids such as myself, it is\n logical to theorize that there is\n an android such as myself on\n Kolarus III.", "GEORDI\n Don't give up hope, Data. I know,\n I know, you're not capable of hope.\n\n DATA\n (looking at B-9)\n I am not.", "features. Then he opens a panel in the B-9's neck and uses a\nsmall instrument to activate the android's head.", "There is something strangely poignant in the twin androids.\nOne a bundle of curiosity and intelligence; the other\nsomewhat like a slow, simple child.\n\nINT. ENTERPRISE - READY ROOM - NIGHT", "B-9\n You are me.\n\n DATA\n No. My name is Data... I am your\n brother.", "Worf looks up. Glances at Data.\n\n WORF\n Positronic.\n\nINT. ENTERPRISE - BRIDGE - LATER", "DATA\n The resemblance is... striking.\n\nThen the head's eyes suddenly pop open. It looks up at them\nwith a sort of blank, childlike wonder.", "DATA\n At present he serves no useful\n function. Dr. Soong created us to\n become active and useful members of", "RIKER\n Well, that sounds relaxing too.\n\n WORF\n It is... invigorating.\n\nThey see Data enter the lounge, carefully leading the B-9.", "He goes. Geordi and Data begin to reassemble the B-9 piece\nby piece like the Tin Man as:", "DATA\n No, I do not mind.\n\nData looks at the B-9 with a sort of sadness.", "Picard starts the jeep in motion.\n\nTime passes as they continue on... coming across another\narm... a leg... a torso... another leg... various\ndisassembled components of a Data-like android!" ], [ "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "PICARD\n You can still make a choice! Make\n the right one now!\n\n SHINZON\n I have no choices! I can't fight\n what I am!", "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "SHINZON (V.O.)\n I hope you'll forgive the\n darkness... we're not comfortable\n in the light.\n\n PICARD\n Praetor Shinzon?", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi...", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Picard is impressed with Shinzon's quiet words.\n\n SHINZON\n You don't trust me.\n\n PICARD\n I have no reason to.", "PICARD\n With a full head of hair.\n\n SHINZON\n (smiles)\n There is that.\n\nA quiet beat.", "Data scans him with a tricorder as:\n\n PICARD\n And you're not as we imagined you.\n\n SHINZON\n No?", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "SHINZON\n I think the facts speak for\n themselves. The same noble Picard\n blood runs in our veins. Had you", "PICARD\n We are.\n\n SHINZON\n It's just the two of us now, Jean\n Luc, as it should be... Your ship\n and mine... You and me.", "PICARD\n I know you as well as I know\n myself, Shinzon. There was a time\n you looked at the stars and dreamed\n of what might be." ], [ "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "Although Shinzon's ship is still cloaked, the steady barrage\nof triangulated phaser and disruptor fire from the Enterprise\nand the two Romulan vessels illuminate its shields with\nimpacts.", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon stares at the Enterprise.", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "Shinzon's magnificent Reman Warbird, the SCIMITAR, decloaks\ndirectly before the Enterprise.\n\nEXT. OVER ROMULUS - SPACE", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "Shinzon's vessel combines the clean lines of the traditional\nRomulan Warbird with unique weaponry and styling. It is", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "The forward part of the Enterprise's saucer is enmeshed in\nShinzon's ship; two scorpions with their claws locked.\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "Shinzon enters with the B-9 following. Shinzon stands on the\nother side of the force field.", "SHINZON\n Disable their weapons!\n\nBut before the Viceroy can move the Scimitar suddenly ROCKS\n-- attacked from somewhere! Shinzon is stunned.", "The Enterprise quickly turns about -- firing her aft phasers,\nas the Valdore sweeps toward Shinzon's ship, firing --\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "Shinzon stands in the ruins of his bridge. Many of his\nbridge crew are now dead.\n\n SHINZON\n Divert all power to engines. Full\n reverse!", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon strides quickly to his command chair, barking to his\nViceroy:", "Shinzon sees it coming -- utterly shocked -- bolts up --\n\n SHINZON\n HARD TO PORT !\n\nToo late.", "Shinzon sits quite calmly in his command chair.\n\n SHINZON\n Target the flanking Warbird. All\n forward disruptor banks on my mark.", "INT. SCIMITAR - BRIDGE - NIGHT\n\nShinzon is entering tactical commands in his chair console." ], [ "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "SHINZON\n I was lonely...\n (he realizes Picard is\n staring at the veins on\n his face)\n Perhaps I'm not aging as well as\n you did.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "Shinzon sits in his command chair, lined with veins now.\nHis Viceroy again has his hand pressed to Shinzon's chest.\n\n SHINZON\n How long?", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "PICARD\n You can still make a choice! Make\n the right one now!\n\n SHINZON\n I have no choices! I can't fight\n what I am!", "The Viceroy puts his hand on Shinzon's chest. A strange\nmoment as the Viceroy shuts his eyes and feels Shinzon's\nchest. His mind... probing.", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "PICARD\n Please.\n\n SHINZON\n It's too late.", "Shinzon stands in the ruins of his bridge. Many of his\nbridge crew are now dead.\n\n SHINZON\n Divert all power to engines. Full\n reverse!", "PICARD\n I so wanted to believe Shinzon.\n But the Thalaron radiation can't be\n explained away. Whatever he's\n after, it's not peace." ], [ "PICARD\n Please.\n\n SHINZON\n It's too late.", "Picard instantly fires for the Cascading Pulse control -- but\nShinzon dives to cover it -- the phaser blast hits Shinzon in\nthe chest -- he recoils, slamming to the deck, stunned.", "PICARD\n Deanna, stand by.\n (to Data)\n Open a channel.\n\n SHINZON (V.O.)\n I hope you're still alive, Jean\n Luc.", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "They dematerialize, the shimmering glow illuminating\nShinzon's features. Picard's eyes never leave Shinzon as\nthe transporter effect ripples around him.", "And then, amazingly, Shinzon forces himself forward --\npushing Picard back against a wall -- Shinzon slowly walks\ntoward Picard, forcing himself down the length of the spear", "PICARD\n We are.\n\n SHINZON\n It's just the two of us now, Jean\n Luc, as it should be... Your ship\n and mine... You and me.", "PICARD\n The man who is Jean Luc Picard and\n Shinzon of Remus won't exterminate\n the population of an entire planet!\n He is better than that!", "PICARD\n You know that's not possible.\n\n SHINZON\n I know... you'll all gladly die to\n save your home world.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "-- the spear point explodes through Shinzon's back -- the\nweight of Shinzon's body is pinning Picard against the wall\n-- time is running out --", "Shinzon ends the transmission and his holographic image\nflickers and fades away.\n\nPicard stands alone, drained.", "Picard watches through the gaping hole in the hull as the\nScimitar backs away. Another section of the Scimitar\ndisappears. Shinzon almost has his cloak back.", "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "SHINZON\n Tractor beam! Now!\n\nEXT. OVER ROMULUS - SPACE\n\nBut they are too late -- the Scorpion dematerializes --", "Shinzon slowly backs away as Picard continues to move toward\nhim relentlessly.", "For the first time the crew can see Shinzon clearly. Picard\nactually gasps when he sees Shinzon's face. The rest of the\ncrew doesn't understand his reaction.", "SHINZON\n (quietly)\n Long ago.\n\n PICARD\n Not so long." ], [ "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "SHINZON (V.O.)\n Consider it The great symbol of\n the Empire... But the bird-of-prey\n holds planets. Romulus, Remus.\n Their destinies conjoined...", "PICARD\n I so wanted to believe Shinzon.\n But the Thalaron radiation can't be\n explained away. Whatever he's\n after, it's not peace.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "The viceroy strides out as Shinzon spins to another officer.\n\n SHINZON\n Get the cloak back! And target\n shield coordinates beta three. All\n disruptors. Fire!", "SHINZON\n Tractor beam! Now!\n\nEXT. OVER ROMULUS - SPACE\n\nBut they are too late -- the Scorpion dematerializes --", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon stares at the Enterprise.", "PICARD\n You know that's not possible.\n\n SHINZON\n I know... you'll all gladly die to\n save your home world.", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "A computer display illustrates Geordi's words about the power\nof Shinzon's weapon. We see a chilling graphic of the\nBiogenic Pulse beam spreading around a ship, then a whole\nplanet.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "And then it is Shinzon again, kissing her:\n\n SHINZON\n I'll always be with you now. Now\n and forever..." ], [ "Picard instantly fires for the Cascading Pulse control -- but\nShinzon dives to cover it -- the phaser blast hits Shinzon in\nthe chest -- he recoils, slamming to the deck, stunned.", "Shinzon sees it coming -- utterly shocked -- bolts up --\n\n SHINZON\n HARD TO PORT !\n\nToo late.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "PICARD\n Please.\n\n SHINZON\n It's too late.", "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "SHINZON\n Disable their weapons!\n\nBut before the Viceroy can move the Scimitar suddenly ROCKS\n-- attacked from somewhere! Shinzon is stunned.", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon stares at the Enterprise.", "And then, amazingly, Shinzon forces himself forward --\npushing Picard back against a wall -- Shinzon slowly walks\ntoward Picard, forcing himself down the length of the spear", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "PICARD\n We are.\n\n SHINZON\n It's just the two of us now, Jean\n Luc, as it should be... Your ship\n and mine... You and me.", "Shinzon ends the transmission and his holographic image\nflickers and fades away.\n\nPicard stands alone, drained.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "SHINZON\n I'm glad we're together now -- our\n destiny is complete.\n\nHe finally thrusts himself down the whole spear and clasps\nhis dying hands firmly around Picard's throat --", "Shinzon enters with the B-9 following. Shinzon stands on the\nother side of the force field.", "And then it is Shinzon again, kissing her:\n\n SHINZON\n I'll always be with you now. Now\n and forever..." ], [ "Picard stops, looks at Riker deeply.\n\n PICARD\n The Titan's a fine ship, Will. And\n she's getting a captain worthy of\n her.", "DATA\n And you were particularly aware of\n this feeling because Commander\n Riker will be leaving to assume\n command of the Titan?", "Picard stands, they shake hands as:\n\n PICARD\n Welcome aboard, Commander. I hope,\n your transfer didn't come as too\n much of a surprise.", "PICARD\n I'm sorry you won't be here for the\n re-fit, but I know the Titan needs\n you immediately.\n\nRiker does not respond.", "(laughter from the crowd)\n While you're happily settling in on\n the Titan, I'll have to train a new\n first officer; no doubt a stern", "He settles into his new command chair. Looks around for a\nbeat at his new bridge crew. Fresh-faced kids. A new\ngeneration to teach and nurture. He smiles.", "PICARD\n You never know what's over the\n horizon, Data. Before too long\n you'll be offered a command of your\n own. Data looks at him; he has\n never really considered this.", "Riker knows exactly what Picard is saying: the Enterprise is\nexpendable.\n\n RIKER\n Yes, sir.\n\nPicard stands. Presses a comm button.", "GEORDI\n I'll take care of it, sir.\n\n PICARD\n Number One.\n (a beat)\n You have the bridge.", "A fresh-faced young officer, COMMANDER MARTIN MADDEN, paces\nnervously outside Picard's Ready Room. Bracing himself\nbefore entering.", "Picard continues to enter command codes -- transmits them to\nDeanna at helm -- she receives the commands, nods. All of\nthis as Picard buys some time:", "Behind him we can see technicians working everywhere around\nthe bridge, trying to rebuild it. Worf is talking to a young\nofficer at tactical and Geordi is working at the engineering\nstation. We also see new command chairs being installed.", "PICARD\n That's an order, Commander.\n\n DATA\n Sir, allow me to go. You are\n needed here.\n\n PICARD\n Negative.", "It is Riker. She stares at him, then clings to him\ndesperately.\n\nEXT. ROMULAN SENATE - DAY", "PICARD\n (to Data)\n You have the bridge, Commander.\n Use all available power to move\n away from the Scimitar.\n (to Geordi)\n Now, Mister La Forge.", "DATA\n Counsellor Troi, please assume\n command. Geordi, if you will come\n with me.\n\nHe heads toward the turbolift, Geordi following.", "PICARD\n Will Riker, you have been my\n trusted right arm for fourteen\n years; you have helped keep my", "DEANNA\n The one thing he may have forgotten\n in the course of battle: me.\n\n PICARD\n Make it so.\n\nShe quickly goes to Worf at tactical.", "Picard leans forward in his chair:\n\n PICARD\n (on comm)\n All hands, brace for impact!\n (to Deanna)\n ENGAGE.", "PICARD\n Well. I suppose it does a bit.\n I'm very happy for them, of course,\n but I'm going to miss them. The\n ship will seem... incomplete\n without them." ], [ "Shinzon was created with temporal\n RNA sequencing. He was designed so\n that at a certain point his aging\n process could be accelerated to", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "SHINZON\n I was lonely...\n (he realizes Picard is\n staring at the veins on\n his face)\n Perhaps I'm not aging as well as\n you did.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Data scans him with a tricorder as:\n\n PICARD\n And you're not as we imagined you.\n\n SHINZON\n No?", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "The Viceroy puts his hand on Shinzon's chest. A strange\nmoment as the Viceroy shuts his eyes and feels Shinzon's\nchest. His mind... probing.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi...", "Shinzon sits in his command chair, lined with veins now.\nHis Viceroy again has his hand pressed to Shinzon's chest.\n\n SHINZON\n How long?", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "PICARD\n With a full head of hair.\n\n SHINZON\n (smiles)\n There is that.\n\nA quiet beat.", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father." ], [ "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "before him bears a disturbing resemblance to Shinzon.", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "And then we see him... SHINZON!\n\nHe is a dynamic young human in his twenties. Very handsome\nwith pale, almost white skin and shining, golden hair. He\nwears a striking Reman military uniform.", "Shinzon's voice seems to come from the Viceroy's lips:\n\n SHINZON (V.O.)\n I'm with you, Imzadi...", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "She sees Shinzon kneeling over a small flame, she realizes\nshe is looking through the Viceroy's eyes.\n\nOn the Scimitar, Shinzon looks up at the Viceroy/Deanna:", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "PICARD\n With a full head of hair.\n\n SHINZON\n (smiles)\n There is that.\n\nA quiet beat.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "Data scans him with a tricorder as:\n\n PICARD\n And you're not as we imagined you.\n\n SHINZON\n No?", "Picard is impressed with Shinzon's quiet words.\n\n SHINZON\n You don't trust me.\n\n PICARD\n I have no reason to.", "RIKER\n You seem very familiar with our\n personnel.\n\nShinzon moves even closer to Deanna, not taking his eyes from\nher.", "The Viceroy puts his hand on Shinzon's chest. A strange\nmoment as the Viceroy shuts his eyes and feels Shinzon's\nchest. His mind... probing.", "PICARD\n I know you as well as I know\n myself, Shinzon. There was a time\n you looked at the stars and dreamed\n of what might be.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "PICARD\n It's a mirror for you as well...\n\nShinzon turns back to him.\n\nA beat. Picard gazes at him evenly." ], [ "EXT. ENTERPRISE - OVER KOLARUS III - SPACE\n\nThe Enterprise is in orbit around the uncharted planet. In\nthe distance we can see the distorting violence of an ion\nstorm.", "WORF\n I'm picking up an unusual\n electromagnetic signature from the\n Kolarin system.\n\n PICARD\n What sort of signature?", "INT. ENTERPRISE - BRIDGE\n\nKolarus III is on the viewscreen, the ion storm raging beyond\nit.", "RIKER\n (looking at star chart)\n Diverting to the Kolarin system\n takes us awfully close to the\n Romulan Neutral Zone.", "Geordi is at the Engineering station with Picard, Riker and\nData.\n\n GEORDI\n It's very faint but I've isolated\n it to the third planet in the\n Kolarin system.", "RIKER\n (to Helm Officer)\n Mister Branson, set course for the\n Kolarin system. Warp Five --\n (Deanna shoots him a\n glance)\n -- Warp Seven.", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nThe crew gapes at the huge ship on the viewscreen.", "This family. A family we love.\n\nEXT. ENTERPRISE - SPACE\n\nThe Enterprise streaks through space.", "Although Shinzon's ship is still cloaked, the steady barrage\nof triangulated phaser and disruptor fire from the Enterprise\nand the two Romulan vessels illuminate its shields with\nimpacts.", "DATA\n Isolated pockets of humanoids. It\n appears to be a pre-warp\n civilization at an early stage of\n industrial development.", "PICARD\n What do we know about the planet?\n\n GEORDI\n Uncharted. We'll have to get\n closer for a more detailed scan.", "PICARD\n ... We've received our first\n assignment. We're going to be\n exploring the Denab system. It", "The crew is shocked.\n\n HELM OFFICER\n Aye aye, sir. Course plotted and\n laid in...\n\n RIKER\n Romulus?", "EXT. ENTERPRISE - SPACE\n\nThe Enterprise zooms through space.\n\nCompletely unaware of the predator directly above it.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "It stops. Only a few hundred yards from the Enterprise, its\ngreat prow almost filling the gaping hole at the front of the\nbridge.\n\nPicard thinks, his mind racing. Then it comes to him in a\nflash:", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "Disruptor beams appear from nowhere -- streaking through\nspace -- slamming into the Enterprise's warp drive. The\nEnterprise recoils, dangerously dropping out of warp in a\nfurious lurch.", "They are silent as they pass a few Reman guards. Then:\n\n DATA\n My mission was a success, sir. I\n have discovered the source of the\n Thalaron radiation.", "SHINZON\n Tractor beam! Now!\n\nEXT. OVER ROMULUS - SPACE\n\nBut they are too late -- the Scorpion dematerializes --" ], [ "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Shinzon enters with the B-9 following. Shinzon stands on the\nother side of the force field.", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon stares at the Enterprise.", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "Shinzon eyes reflect a growing sense of desperation.\n\n SHINZON\n (spinning to his Viceroy)\n Prepare a boarding party -- BRING\n ME PICARD!", "They dematerialize, the shimmering glow illuminating\nShinzon's features. Picard's eyes never leave Shinzon as\nthe transporter effect ripples around him.", "The forward part of the Enterprise's saucer is enmeshed in\nShinzon's ship; two scorpions with their claws locked.\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "PICARD\n Please.\n\n SHINZON\n It's too late.", "SHINZON\n Tractor beam! Now!\n\nEXT. OVER ROMULUS - SPACE\n\nBut they are too late -- the Scorpion dematerializes --", "PICARD\n We are.\n\n SHINZON\n It's just the two of us now, Jean\n Luc, as it should be... Your ship\n and mine... You and me.", "RIKER\n Worf! Lock on transporters!\n\nINT. SCIMITAR BRIDGE - FOLLOWING\n\nShinzon sees the Scorpion as well.", "PICARD\n What's this all about?\n\n SHINZON\n It's about destiny, Picard. About\n a Reman outcast who --", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "Shinzon stands with some REMAN ENGINEERS.\n\n SHINZON\n Transport.\n\nAn Engineer activates a transporter and the B-9 materializes!", "REMAN OFFICER\n But, Praetor, you won't survive\n without him...\n\nShinzon gazes at the Enterprise on the viewscreen." ], [ "SHINZON\n The Scimitar will serve my needs.\n\n SURAN\n But surely --", "INT. SCIMITAR - CORRIDORS - FOLLOWING\n\nThe Scorpion banks around a corner --it zigs and zags through\nthe ship at breakneck speed --", "SHINZON\n And you're wondering why the\n Scimitar is so well armed. Is this", "INT. SCIMITAR - VICEROY'S CABIN - FOLLOWING", "He is going to miss the Scimitar -- almost past it now! He\nthrusts out a hand --", "INT. SCIMITAR CORRIDORS - FOLLOWING", "BEVERLY\n He turned out all right.\n\nHe rises, goes to a window, gazes at the Scimitar in the\ndistance. A beat.", "The entire Scimitar slowly begins to unfold. Like a gigantic\nversion of the small spider-weapon we saw kill the Romulan\nSenators before, legs appear and hoist up a savage weapon.\nThe Cascading Pulse.", "And she is momentarily in a cabin on the Scimitar. Although\nentirely a telepathic experience, it is as if she has\nactually traveled.", "SHINZON\n We'll return to the Scimitar.\n Prepare yourself for the bonding.\n\nINT. ENTERPRISE BRIDGE - NIGHT", "The Bassen Rift is a strange area of electromagnetic\ndistortion. Energy patterns crackle through space.\n\nINT. SCIMITAR BRIDGE - FOLLOWING", "The forward part of the Enterprise's saucer is enmeshed in\nShinzon's ship; two scorpions with their claws locked.\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nThe bridge has been damaged, sparks sputter through the\ndarkness and debris litters the deck.", "INT. SCIMITAR - BRIDGE - NIGHT", "INT. SCIMITAR - OBSERVATION LOUNGE - NIGHT\n\nThe away team materializes in the most striking location on\nShinzon's ship: a large observation lounge.", "The Enterprise fires her phasers simultaneously -- the energy\nbeams shoot into space --\n\nAnd the Scimitar's shape is momentarily illuminated as one of\nits shields is hit.", "INT. SCIMITAR - GENERATION CHAMBER - NIGHT\n\nData leads Picard into a massive chamber that soars up like a\ncathedral. It is the size of a small town.", "Then the Scimitar unleashes a devastating volley... all her\nforward disruptor banks fire at once --", "The invisible Scimitar sweeps past for a particularly brutal\nassault -- disruptor blasts streak along the Enterprise's\nhull -- a huge, ripping series of explosions tear away\nseveral decks of the Enterprise --", "He stands on the Scimitar's bridge. The bridge is as unique\nas the rest of Shinzon's ship. Instead of the usual" ], [ "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "PICARD\n I so wanted to believe Shinzon.\n But the Thalaron radiation can't be\n explained away. Whatever he's\n after, it's not peace.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "SHINZON\n Disable their weapons!\n\nBut before the Viceroy can move the Scimitar suddenly ROCKS\n-- attacked from somewhere! Shinzon is stunned.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Picard instantly fires for the Cascading Pulse control -- but\nShinzon dives to cover it -- the phaser blast hits Shinzon in\nthe chest -- he recoils, slamming to the deck, stunned.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "PICARD\n Please.\n\n SHINZON\n It's too late.", "Shinzon sees it coming -- utterly shocked -- bolts up --\n\n SHINZON\n HARD TO PORT !\n\nToo late.", "Shinzon appears on the viewscreen. He is on the bridge of\nthe Scimitar.", "The crew is utterly confused. Their confusion turns to\noutright shock when Shinzon calmly pulls out a Reman knife\nand cuts his arm, drawing a little blood. He hands the knife\nto Data.", "And then, amazingly, Shinzon forces himself forward --\npushing Picard back against a wall -- Shinzon slowly walks\ntoward Picard, forcing himself down the length of the spear", "Shinzon stands in the ruins of his bridge. Many of his\nbridge crew are now dead.\n\n SHINZON\n Divert all power to engines. Full\n reverse!", "Picard is gone. Shinzon sits, thinking. His Viceroy enters.\n\n VICEROY\n This is a mistake.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "A computer display illustrates Geordi's words about the power\nof Shinzon's weapon. We see a chilling graphic of the\nBiogenic Pulse beam spreading around a ship, then a whole\nplanet.", "SHINZON\n You're too slow, old man.\n (entering commands in his\n chair console)\n Attack pattern Shinzon Theta.\n\nEXT. THE RIFT - SPACE", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:" ], [ "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "PICARD\n Please.\n\n SHINZON\n It's too late.", "Shinzon ends the transmission and his holographic image\nflickers and fades away.\n\nPicard stands alone, drained.", "Shinzon sees it coming -- utterly shocked -- bolts up --\n\n SHINZON\n HARD TO PORT !\n\nToo late.", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "Picard instantly fires for the Cascading Pulse control -- but\nShinzon dives to cover it -- the phaser blast hits Shinzon in\nthe chest -- he recoils, slamming to the deck, stunned.", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "SHINZON\n I'm glad we're together now -- our\n destiny is complete.\n\nHe finally thrusts himself down the whole spear and clasps\nhis dying hands firmly around Picard's throat --", "Shinzon enters with the B-9 following. Shinzon stands on the\nother side of the force field.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Shinzon stands in the ruins of his bridge. Many of his\nbridge crew are now dead.\n\n SHINZON\n Divert all power to engines. Full\n reverse!", "And then it is Shinzon again, kissing her:\n\n SHINZON\n I'll always be with you now. Now\n and forever...", "And then, amazingly, Shinzon forces himself forward --\npushing Picard back against a wall -- Shinzon slowly walks\ntoward Picard, forcing himself down the length of the spear", "Shinzon stands, his eyes glued to the Enterprise on the\nviewscreen.\n\nWe see a monitor showing that the Cascading Pulse weapon is\nlocked on the Enterprise.", "PICARD\n You know that's not possible.\n\n SHINZON\n I know... you'll all gladly die to\n save your home world." ], [ "EXT. ENTERPRISE - SPACEDOCK - OVER EARTH\n\nA few weeks later. The Enterprise is enclosed in the great\nwomb of a spacedock. The ship is being rebuilt.", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "The Enterprise is in orbit around Romulus. Remus can be seen\nin the distance.", "It stops. Only a few hundred yards from the Enterprise, its\ngreat prow almost filling the gaping hole at the front of the\nbridge.\n\nPicard thinks, his mind racing. Then it comes to him in a\nflash:", "This family. A family we love.\n\nEXT. ENTERPRISE - SPACE\n\nThe Enterprise streaks through space.", "PICARD (V.O.)\n Captain's Log. Stardate 47844.9.\n The Enterprise has arrived at", "The Enterprise dramatically powers forward and up -- rolling\nover in a great arc going into warp while still upside down.\nIt disappears in a blaze of light. Fade to...", "SHINZON\n You don't have to understand.\n\n SURAN\n And bringing the Enterprise here?!\n What possible purpose could that\n serve?!", "EXT. THE RIFT - SPACE\n\nThe Enterprise powers forward in a final thrust -- !\n\nINT. SCIMITAR - BRIDGE - FOLLOWING", "EXT. ENTERPRISE - OVER KOLARUS III - SPACE\n\nThe Enterprise is in orbit around the uncharted planet. In\nthe distance we can see the distorting violence of an ion\nstorm.", "INT. ENTERPRISE - BRIDGE - FOLLOWING\n\nThe crew gapes at the huge ship on the viewscreen.", "curiosity and conveniently make the\n Enterprise the closest ship to\n Romulus when I contacted Starfleet.", "And the Enterprise jumps to high warp -- disappearing in a\nflash of dazzling light. Yes!\n\nINT. ENTERPRISE - OBSERVATION LOUNGE - DAY", "The crew is shocked.\n\n HELM OFFICER\n Aye aye, sir. Course plotted and\n laid in...\n\n RIKER\n Romulus?", "A beat. Shinzon looks up.\n\n SHINZON\n Deploy the weapon. Kill everything\n on that ship. Then set a course\n for Earth.", "And we cut to --\n\nEXT. ENTERPRISE - SPACEDOCK - OVER EARTH - FOLLOWING", "Picard goes to his command chair:\n\n PICARD\n (to Helm)\n Lay in a new course... Take us to\n Romulus. Warp eight.", "EXT. ENTERPRISE - SPACE\n\nThe Enterprise zooms through space.\n\nCompletely unaware of the predator directly above it.", "PICARD (V.O.)\n Captain's Personal Log.\n Supplemental. We're heading toward\n Federation space at maximum warp.", "Riker knows exactly what Picard is saying: the Enterprise is\nexpendable.\n\n RIKER\n Yes, sir.\n\nPicard stands. Presses a comm button." ], [ "The Viceroy puts his hand on Shinzon's chest, leans very\nclose and talks to him quietly. This is an ancient form of\nReman telepathic medical diagnosis.", "Shinzon looks at her. A quick beat. Shinzon decides to\nrespond with benevolence. He smiles.", "Shinzon continues to stare at Deanna. It is strangely\nseductive. Almost disquieting in its intensity. Deanna\nhandles it with grace, her level gaze never leaving his.", "Picard notices something immediately. Tiny veins are now\nvisible on Shinzon's face; the faintest sign of an intricate\nspider-web pattern of pale blue veins.", "Shinzon looks at him deeply.\n\n SHINZON\n Consider that, Captain. I can\n think of no greater torment for\n you.\n\nHe turns to go.", "Shinzon doesn't respond. But Picard knows he has made a\nconnection. For this brief moment reconciliation is\npossible. He proceeds quietly:\n\n PICARD\n Let me tell you about our father.", "Shinzon sits in his command chair as the ship streaks through\nspace. He speaks on viewscreen with his Romulan\ncollaborators. His face is even more finely veined now.", "Picard stares at him with a mixture of realization and\ncuriosity. It is as if Picard is looking into a strange,\nremembered mirror: Shinzon's face is nearly identical to his\nat that age.", "Shinzon sits in his command chair. The viewscreen shows the\nEnterprise before him.\n\n SHINZON\n Target weapons systems and shields.\n I don't want the Enterprise\n destroyed.", "INT. SCIMITAR - BRIDGE - FOLLOWING\n\nShinzon stares at the Enterprise.", "The Viceroy puts his hand on Shinzon's chest. A strange\nmoment as the Viceroy shuts his eyes and feels Shinzon's\nchest. His mind... probing.", "PICARD\n Why have you asked for our presence\n here?\n\nShinzon does not answer. He is staring deeply at Deanna,\nmoans softly.", "Picard is impressed with Shinzon's quiet words.\n\n SHINZON\n You don't trust me.\n\n PICARD\n I have no reason to.", "A stunned moment of silence as Shinzon gazes at Picard,\nalmost with a look of disbelief. Blood spews from his mouth\nas he lets out a tormented cry.", "They dematerialize, the shimmering glow illuminating\nShinzon's features. Picard's eyes never leave Shinzon as\nthe transporter effect ripples around him.", "SHINZON\n (desperate)\n He is what his life has made him!\n\nShinzon is in turmoil. Picard senses this. He proceeds\nquietly:", "Shinzon leans back, satisfied. And looks at the viewscreen.\n\nThe image on the viewscreen is shocking.\n\nThe Enterprise only a few hundred yards away.", "Shinzon looks at him with an aching sadness. What might have\nbeen.\n\n SHINZON\n That's your life... not mine.", "Data scans him with a tricorder as:\n\n PICARD\n And you're not as we imagined you.\n\n SHINZON\n No?", "Shinzon slams his command chair in fury. The Viceroy watches\nhim carefully.\n\nA beat. Shinzon regains his composure. He sits again in his\ncommand chair." ], [ "Riker uses the cover to dive after the Viceroy, following him\ninto the dark Jefferies tube, intent on destroying the man\nwho has been tormenting his wife --", "RIKER\n I don't think we're going to see\n much combat on Betazed.\n\n DEANNA\n Don't be too sure. Mother will be\n there.", "Below decks, Riker stalks the Viceroy through a labyrinthine\nseries of access tunnels. It is like a scene from ALIEN.", "Riker takes her hand.", "INT. ENTERPRISE - CREW LOUNGE - NIGHT\n\nRiker and Deanna are having dinner with Worf.", "RIKER\n It's working.\n\n PICARD\n (to Deanna)\n Counselor?", "INT. ENTERPRISE - RIKER AND DEANNA'S CABIN - NIGHT\n\nRiker is hard at work over a series of padds. He has been\nworking for hours.", "RIKER\n Strength in numbers?\n\n PICARD\n We can only hope so.\n\nA beat as he looks at them gravely.", "RIKER\n Keep at it, Geordi. Find a way in.\n\nBeverly arrives on the bridge, urgent. She carries a medical\npadd.", "INT. ENTERPRISE - SICKBAY - DAY\n\nBeverly is scanning Deanna. Picard and Riker watch,\nconcerned.", "RIKER\n Sir?\n\nPicard doesn't answer, he just stares forward. Deanna goes\nto Riker.\n\n DEANNA\n Data.", "It is Riker. She stares at him, then clings to him\ndesperately.\n\nEXT. ROMULAN SENATE - DAY", "Riker looks toward the glowing debris field in the distance.\nHe puts an arm around Deanna.\n\nSilence.\n\n GEORDI\n Sir, we're being hailed.", "PICARD\n (thinking)\n And that's exactly what he's going\n to do.\n\n RIKER\n Sir?", "RIKER\n Believe it or not, I think the\n cavalry has arrived.\n\n WORF\n We're being hailed.", "RIKER\n Imzadi, what am I going to do with\n you?\n\nThey kiss deeply. She pulls him across the room and they\nfall into the bed.", "RIKER\n (quickly tapping his comm\n badge)\n Worf! Wonderful! I'll be right", "The crew is shocked.\n\n HELM OFFICER\n Aye aye, sir. Course plotted and\n laid in...\n\n RIKER\n Romulus?", "Riker is gone. She is now embracing Shinzon!\n\n SHINZON\n Imzadi. This is so good.\n\n DEANNA\n No!", "DATA\n Counsellor Troi, please assume\n command. Geordi, if you will come\n with me.\n\nHe heads toward the turbolift, Geordi following." ] ]

[ "What comes to Enterprise's aid?", "What does Shinzon do to the two Romulan Warbirds?", "Why does Shinzon activate the thalaron weapon?", "Why is Shinzon aging rapidly?", "Whose primary weapons were destroyed?", "Who kidnaps Picard from the Enterprise?", "Who is Shinzon a clone of?", "Why was Shinzon created?", "Who created Shinzon?", "What is the name of the Reman rebel leader?", "On what planet do Will Riker and Deanna Troi plan to marry?", "What is the name of android that resembles Data?", "Who is Shinzon a clone of?", "What is the name of Shinzon's flagship?", "What does Shinzon need in order to stop rapidly aging and save his life?", "Who rescues Picard from Shinzon?", "What planet is endangered by Shinzon's plans to use the thalaron radiation generator?", "Who kills Shinzon?", "Who will become commander of the USS Titan?", "Why is Shinzon aging rapidly?", "Which person (other than himself) does Shinzon most resemble?", "What is detected by the Enterprise when they travel through the Kolaron planetary system?", "Who does Shinzon kidnap from the Enterprise?", "What is the Scimitar?", "Why does Shinzon activate the Thalaron weapon?", "How does Shinzon die?", "Why does the Enterprise travel to Earth?", "How does Dr. Crusher treat Shinzon?", "What do Riker and Troy hope to accomplish on Betazed?" ]

[ [ "Two Romulan Warbirds.", "Two Romulan warbirds." ], [ "Destroys one and disables the other.", "he destroys and disables them " ], [ "To assure complete destruction of Enterprise and Scimitar ships.", "to invade federation" ], [ "Due to it being a clone.", "he's a clone" ], [ "Scimitar's.", "Shinzon's ship, The Scimitar's primary weapons are destroyed." ], [ "Shinzon.", "Shinzon" ], [ "Picard.", "Picard" ], [ "To plant a high ranking spy into the Federation.", "The Romulans wanted a high ranking spy in the Federation so they created Shinzon. " ], [ "The Romulans.", "The Romulans" ], [ "Shinzon.", "Shinzon" ], [ "Betazed.", "Betazed" ], [ "B-4.", "B-4" ], [ "Captain Picard.", "Picard" ], [ "The Scimitar.", "the Scimitar" ], [ "Picard's blood.", "A blood transfusion of Picard's blood." ], [ "Data.", "Commander Data " ], [ "Earth.", "Earth" ], [ "Picard.", "picard" ], [ "Riker.", "captain riker" ], [ "Because he is a clone.", "Because he is a clone." ], [ "Picard", "Picard" ], [ "Emissions of positronic energy ", "positronic energy" ], [ "Picard and B-4", "Picard" ], [ "A warship ", "flagship" ], [ "To destroy both the Scimitar and the Enterprise ", "Shinzon activates the weapon in order to ensure the mutual destruction of the Enterprise and the Scimitar." ], [ "Impaled on a piece of metal", "he is impaled by Picard" ], [ "For repairs", "For repairs." ], [ "By transfusing Picard's blood", "with Picard's blood" ], [ "They hope to be married", "They got married." ] ]

015c99b411cef291d31cd5543c7ae957edebe6b4

train

[ [ "MILTON MEAD\n Sid just called from St. Luke's, and \n he's heard that the demonstrators up \n there are planning a march to join \n the bunch down here.", "MILTON MEAD\n Yeah, see what that's about.\n (en passant to \n secretary)\n I'll be on Holly Eight. I'll be right \n back.", "During this maelstrom, the phone at Mead's elbow RINGS. Mead \n answers it, listens, nods, returns the receiver, stand and \n slips out of the room into the delicious silence of the...", "The small army of militants and activists has broken through \n the security into the lobby. Their entrance is greeted by \n one small scream from a woman in the lobby. A LEADER of the \n invading troop calls out.", "That was it, you see. That was his \n real revolution. It wasn't racism \n and the oppressed poor and the war", "The curtains on another room are drawn for privacy. On chairs \n in the corner sit a teenage boy with a badly sprained ankle \n and an elderly man bathing his hand in an enamel basin held \n in his lap.", "Beacon Hill practice and set out to \n start a mission in the Mexican \n mountains. And I turned in my S.D.S.", "Milton Mead is sitting in a back seat of the Staff Room -- a \n lounge with couches, easy chairs and magazine racks -- gives \n half an ear to the several opinions being simultaneously \n expressed by:", "As Milton Mead enters, his elder brother, WILLIAM MEAD, mid-\n forties, a smaller and manifestly nervous man, is seated", "...which is already galvanized into action. Miss Aronovici \n is at the girl's pulse even as she is being transferred to \n the bed that has just been cleared of Mr. Mitgang and his \n concussion case.", "He keels over like a felled tree, falling face-up on \n Drummond's bed, his legs dangling to the floor. William Mead \n promptly hides his head under his sheet.", "EXPANSIONIST POLICIES OF THIS IMPERIALIST HOSPITAL.\"", "LONG SHOT of the hospital, now alive and jumping. Taxis pull \n up and out of the large U-shaped drive. A noisy picket line", "His eyes are caught by a white doctor's uniform hanging in \n the armoire along with the suits and overcoats of the two \n patients in the room. He bends over to peer at the nameplate \n over the breast pocket.", "She pauses, her story over. Throughout, Bock has been trying \n to keep his glowering eye on the desktop. During her long", "Holding Room who admitted her, so \n she was here. And now I just spoke \n to Mrs. Fried on Holly Five, and she", "beside him, and silently reaches over to withdraw the I.V. \n needle from his right arm. He lets the needle dangle, dripping", "She sets her coffee down on the couch and decides to wear \n Bock's overcoat rather than use it as a cover. She searches \n for the sleeves. Bock assists her.", "and rubs down the vein. The needle slides into Mead's vein. \n OVER THIS, we begin to hear a distant sibilant HISSING,", "With a short, irritable sigh, Mrs. Reardon abandons her \n paperwork and heads down the west corridor, followed by Nurses" ], [ "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "BOCK\n I'm tired, I'm terribly tired, Miss \n Drummond. And I hurt, and I've got \n nothing going for me anymore. Can \n you understand that?", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "doctor, a man in his late forties, wearing a coat similar to \n Bock's. He is DR. LAGERMAN. He looks up from the magazine", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "DR. LAGERMAN\n Hi, Herb...\n\n Bock acknowledges him with a brusque nod, storms over to \n Miss Lebow.", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "BOCK\n This is Dr. Bock... Yes, Mrs. \n Christie, what is it? It's all right,", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "DR. LAGERMAN\n Ives is dead, Herb. That's why I'm \n here.\n\n This gives Bock pause. He blinks at Lagerman.", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "WELBECK\n Dr. Gilley tells me you're the one \n who initiated these proceedings \n against me.\n\n BOCK\n I'm busy, Welbeck.", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "BOCK\n Dr. Perry said he picked the \n tuberculosis and the liver nodes for \n today, right?\n\n BRUBAKER\n Yes, sir.", "BOCK\n (scowls, mutters)\n I had a Schaefer. He died yesterday \n of an overdose of insulin. What do \n they want Schaefer for?", "BOCK\n So she plugged an I.V. into him.\n\n MRS. CHRISTIE\n Yes.", "CLOSE-UP of Bock trying to hoist Welbeck and looking up \n slowly.\n\n DR. MORSE\n Is this his chart, Dr. Bock?", "Bock immediately emerges from the pharmacy holding a bottle \n of thorazine and a wrapped hypodermic syringe. He scowls at \n Welbeck, who scowls back." ], [ "His eyes are caught by a white doctor's uniform hanging in \n the armoire along with the suits and overcoats of the two \n patients in the room. He bends over to peer at the nameplate \n over the breast pocket.", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "There is, of course, no response. A terrible suspicion enters \n Nurse Perez's mind, and she closes her eyes and sighs a long", "died last night in Eight-O-Six, but \n that information wasn't given to the \n night nurses. These things happen.", "MILTON MEAD\n (to Hitchcock)\n Tom, you want to go down to the \n Emergency Room? One of our doctors \n just died.", "MRS. CUSHING\n (as Spezio approaches, \n with spiteful relish)\n I think one of your patients in here \n is dead, Dr. Spezio.", "CRASHES. William Mead sleeps fitfully. The other patient is \n entirely curtained off. Nurse Devine sets her tray on Mead's", "DRUMMOND\n (off-screen)\n He had at that time perhaps an hour \n to live. Prompt treatment would have \n saved his life.\n\n They go into the...", "Drummond, abashed, stands there, a scolded schoolboy, a \n rawboned figure in a hospital shift, a stethoscope dangling \n from his right hand.", "This is the Emergency Room. One of \n the doctors just died of a heart \n attack.", "taking Nurse Weitzenbaum out with her and closing the door. \n The room is dark and hushed again. Blacktree lights his \n cigarette and \"sends the smoke up,\" a ritual which consists", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "this hospital, they either died of a \n heart attack in Emergency or of \n anesthesia shock in an operating \n room.", "Two orderlies rush the old man's bed with, of course, the \n old man in it, past the Nurses' Station and into a waiting \n elevator.", "the manner of Nurse Campanella's \n death. She was to die of the great \n American plague -- vestigial identity.", "he gets up and puts on a doctor's \n uniform, and he goes out, and he \n murders doctors! He just went out", "All I need do was arrange for the \n doctors to become patients in their \n own hospital. Accordingly, the next", "EIGHTH FLOOR CORRIDOR\n\n The elevator door opens. Two orderlies wheel the sleeping \n man on his bed back around the Nurses' Station and down the \n corridor to his room.", "AMBLER\n We, the members of the Doctors \n Liberation Committee indict this \n hospital for the criminal neglect of" ], [ "The score of protesters outside the pavilion still move in \n an uneven ellipse and shout: \"Two -- Four! Help the Poor!\"", "HONKS and HOOTS. At a crosswalk, a loose procession of fifty \n or so shouting demonstrators, bearing placards, flows toward", "matter at some length: \"WE PROTEST THE EVICTION OF 386 BLACK \n FAMILIES AND THE DESTRUCTION OF THEIR HOMES TO SERVE THE", "SHOUTING CROWD\n We want Sundstrom! We want Sundstrom! \n Community control! Community control!", "The small army of militants and activists has broken through \n the security into the lobby. Their entrance is greeted by \n one small scream from a woman in the lobby. A LEADER of the \n invading troop calls out.", "MILTON MEAD\n Sid just called from St. Luke's, and \n he's heard that the demonstrators up \n there are planning a march to join \n the bunch down here.", "Most of the placards are slogan-y: \"PEOPLE YES! DOCTORS NO!\" -- \n \"CURE POVERTY! HEAL THE POOR!\" Two protesters move toward", "SKIDS!\" which is what they now chant: \"Save our kids! From \n the Skids!\" The demonstration moves through a handful of \n city cops where our original group of twenty still ramble", "CHANTING, SHOUTING. Absolutely no one pays any attention to \n the gaunt, doctor-clad sixty-year-old man standing on an \n island.", "the main gates. Their posters read: \"FIGHT DOPE -- NOT DOPES!\" \n \"DRUGS YES! TRANSPLANTS NO!\" and \"SAVE OUR KIDS FROM THE", "GRUMBLING PROTESTERS\n (chanting)\n Two-four! Help the poor!", "SHOUT\n What are you going to do about those \n fourteen ghetto people?\n\n As the shouts continue, Sundstrom raises a hand to quiet the \n crowd.", "That was it, you see. That was his \n real revolution. It wasn't racism \n and the oppressed poor and the war", "Eyes filled with tears of rage, Sundstrom lowers his head \n and moves into the mass of militants, which parts for him to \n leave.", "They pick their way around the shuffling line of protesters -- \n many with Afro haircuts and tinted glasses, including a black \n minister and four young white activists.", "LEADER\n Fourteen people just got arrested \n for doing...\n\n In the background, one of their fellow revolutionaries speaks \n up...", "Beacon Hill practice and set out to \n start a mission in the Mexican \n mountains. And I turned in my S.D.S.", "LEADER\n Would you be cool, man?\n (now yelling)\n Fourteen people got arrested for", "throng the sidestreets off First Avenue. Signs read, \"People \n Sí, Doctors No.\" A Channel 11 mobile news crew, newspaper", "the community in which it is situated! \n We demand an immediate dissolution \n of the governing and executive boards." ], [ "Barbara Drummond comes in. Bock has apparently turned the \n lights on for her, but Bock himself is not immediately", "ROOM 806. DAY\n\n Drummond on his chair. Barbara perched on one side of her \n father's bed, Bock on the other. William Mead sleeps on.", "BARBARA\n Rubbish.\n\n With a crash of his fist on the desktop, Bock stands; he is \n in a drunken rage.", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "BARBARA\n Yes. I still have to arrange an \n ambulance service. Is there a phone \n around I could use?\n\n BOCK\n Use my office.", "BOCK\n (who has been staring \n at her as if she \n were insane)\n What the hell am I supposed to say \n to that, Miss Drummond?", "BARBARA\n Thank you.\n\n Bock exits. Barbara edges past Weitzenbaum, who is still \n peeking into the room.", "Bock holds Drummond's coat and hat and crosses to take his \n arm. He finds the entranced Drummond as rigid as a statue.", "BARBARA\n I believe in everything, Doctor.\n\n BOCK\n Like a drink?\n\n BARBARA\n Yes.", "BOCK\n I'm tired, I'm terribly tired, Miss \n Drummond. And I hurt, and I've got \n nothing going for me anymore. Can \n you understand that?", "Bock cocks his head to him.\n\n DR. MORSE\n What's his name? Drummond?", "visible. She looks through the half-open door to Bock's \n private office, and there he is, staring blankly at the \n bottle. Barbara starts to say something, thinks better of", "BARBARA\n (who's been slipping \n into the nurse's \n uniform)\n Yeah?\n\n BOCK\n Yeah.", "He wrenches open the door of 806, marches in, followed by \n Bock and Barbara.\n\n EIGHTH FLOOR, ROOM", "BOCK\n You rang for your nurse?\n\n DRUMMOND\n To insure one full hour of \n uninterrupted privacy.", "BARBARA\n (in background on \n phone)\n ...Drummond, first name, Barbara. \n I'll pay cash...", "BOCK\n Well, that would be nice, too.\n\n She sips her coffee.\n\n BOCK\n What do you say, Miss Drummond?", "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "DRUMMOND\n (off-screen)\n He had at that time perhaps an hour \n to live. Prompt treatment would have \n saved his life.\n\n They go into the...", "HOLD ACROSS the patient Drummond, on Bock in the background \n at the window with his back to us. Suddenly, Drummond's eyes" ], [ "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "BOCK\n He had a heart attack in the Emergency \n Room?\n\n DR. LAGERMAN\n Yeah.", "BOCK\n (The doctor in him \n intrudes into his \n lassitude)", "BOCK\n Dr. Perry said he picked the \n tuberculosis and the liver nodes for \n today, right?\n\n BRUBAKER\n Yes, sir.", "BOCK\n Come and see me.\n (to the patient, \n helping her up)\n Would you sit up for a minute?", "DR. MORSE\n What do you have, Dr. Bock?\n\n BOCK\n Total cardiac arrest.", "BOCK\n And now you come to me with this \n gothic horror story in which the \n entire machinery of modern medicine", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "BOCK\n (looks down again)\n You're wasting your time. I've been \n impotent for years.", "BOCK\n (lurches about)\n What the hell's wrong with being", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "Bock moves quickly to the prostrate Welbeck, feels his throat \n for the carotid pulse, pulls out his stethoscope, rips", "The doctors exchange a look as Bock rises, moves toward them, \n laughing.", "DR. MORSE\n How long has he been like this?\n\n BOCK\n About a minute. No pulse, no \n heartbeat, no respiration...", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with" ], [ "Barbara Drummond comes in. Bock has apparently turned the \n lights on for her, but Bock himself is not immediately", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "ROOM 806. DAY\n\n Drummond on his chair. Barbara perched on one side of her \n father's bed, Bock on the other. William Mead sleeps on.", "As the small procession bears down, Barbara Drummond slips \n out of that room to intercept them.", "side of the dividing island. An ambulance attendant has opened \n the back doors to get Drummond in. Barbara hurries toward", "BARBARA\n (in background on \n phone)\n ...Drummond, first name, Barbara. \n I'll pay cash...", "BARBARA\n He's to be taken to American Airlines, \n Yes... No... Kennedy Airport, Flight", "comatose and rigged out with I.V.s and catheters. Barbara \n Drummond is packing her father's things into an open one-", "Barbara unsnaps her father's valise and stuffs Welbeck's \n garments in it. Bock takes Welbeck's coat and piles Drummond's \n things on top of that.", "DRUMMOND\n (off-screen)\n He had at that time perhaps an hour \n to live. Prompt treatment would have \n saved his life.\n\n They go into the...", "BARBARA\n Rubbish.\n\n With a crash of his fist on the desktop, Bock stands; he is \n in a drunken rage.", "BARBARA\n Yes. I still have to arrange an \n ambulance service. Is there a phone \n around I could use?\n\n BOCK\n Use my office.", "They reach an open elevator. Mead goes in, the doors close. \n The doors of a second elevator then open, and Barbara comes", "WELBECK\n (to Mrs. Donovan)\n I'm Dr. Welbeck. I have a patient on \n this floor named Drummond, and I'd \n like to see his chart.", "BARBARA\n Thank you.\n\n Bock exits. Barbara edges past Weitzenbaum, who is still \n peeking into the room.", "OVER DRUMMOND PERFORMING SOME PAGAN RITUAL. THE HISSING IS \n BARBARA'S CONTRIBUTION TO THE CEREMONY. (IT SOUNDS LIKE PIS-", "and back to Mexico where they live. \n The patient's name is Drummond. He's \n apparently a Methodist missionary,", "Drummond's bed. It's quite a sight for a nervous, sedated \n man to wake to. Thunder RUMBLES and the rain SLASHES and a", "BARBARA\n (to Nurse Chile as \n others begin moving \n William Mead's bed \n out of the room)\n Give him an ambu bag and an airway.", "DRUMMOND\n So last night, I coshed Miss \n Campanella with a sandbag, sedated" ], [ "DRUMMOND\n I was merely an instrument of God. I \n killed no one. They all three died", "DRUMMOND\n (off-screen)\n He had at that time perhaps an hour \n to live. Prompt treatment would have \n saved his life.\n\n They go into the...", "DRUMMOND\n (voice-off)\n ...simply... forgotten to death. \n Simply mislaid...\n\n CAMERA JUST STARES at the pageant of pain.", "DRUMMOND\n So last night, I coshed Miss \n Campanella with a sandbag, sedated", "DRUMMOND\n (voice-off)\n ...and then he was promptly...", "whose eyes now open; he has heard it all. In background, \n Drummond, suddenly released from his catatonic trance, heads", "OVER DRUMMOND PERFORMING SOME PAGAN RITUAL. THE HISSING IS \n BARBARA'S CONTRIBUTION TO THE CEREMONY. (IT SOUNDS LIKE PIS-", "WELBECK\n (to Mrs. Donovan)\n I'm Dr. Welbeck. I have a patient on \n this floor named Drummond, and I'd \n like to see his chart.", "He keels over like a felled tree, falling face-up on \n Drummond's bed, his legs dangling to the floor. William Mead \n promptly hides his head under his sheet.", "Drummond's bed. It's quite a sight for a nervous, sedated \n man to wake to. Thunder RUMBLES and the rain SLASHES and a", "DRUMMOND\n (off-screen)\n He was relentlessly subjected to the \n benefits of modern medicine. He was", "DRUMMOND\n (voice-off)\n ...which revealed occasional \n ventricular premature contractions. \n An intern took his history...", "in all the textbooks. I happen to be \n an eminent man, Miss Drummond. And \n you want to know something, Miss", "PAN SLOWLY to Drummond who stares at the Nameless Man.", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "DRUMMOND\n (off-screen)\n ...perhaps even Christ Himself.", "life and dies. CAMERA DOLLIES slowly to CLOSE-UP of Drummond \n lying motionless on his bed. His eyes are wide, glinting in", "Drummond turns to the voice. CAMERA PULLS BACK to include \n the man who had been brought into the E.R. by a uniformed \n cop.", "DRUMMOND\n (off-screen)\n Our Savior was, it seems, suffering \n from emphysema.", "Drummond, abashed, stands there, a scolded schoolboy, a \n rawboned figure in a hospital shift, a stethoscope dangling \n from his right hand." ], [ "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "BOCK\n Dr. Welbeck is dead. They thought he \n was you.", "The doctors exchange a look as Bock rises, moves toward them, \n laughing.", "Bock cocks his head to him.\n\n DR. MORSE\n What's his name? Drummond?", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "DR. LAGERMAN\n Hi, Herb...\n\n Bock acknowledges him with a brusque nod, storms over to \n Miss Lebow.", "doctor, a man in his late forties, wearing a coat similar to \n Bock's. He is DR. LAGERMAN. He looks up from the magazine", "BOCK\n This is Dr. Bock... Yes, Mrs. \n Christie, what is it? It's all right,", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "Except, of course, for Bock, who must pause to wait for a \n red light. Bock hustles through the traffic to where Drummond \n stands.", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped.", "Bock holds Drummond's coat and hat and crosses to take his \n arm. He finds the entranced Drummond as rigid as a statue.", "BOCK'S OFFICE\n\n Bock, back at his desk, looks up.\n\n BOCK\n You believe in witchcraft, Miss \n Drummond?" ], [ "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "BOCK\n Dr. Welbeck is dead. They thought he \n was you.", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "The doctors exchange a look as Bock rises, moves toward them, \n laughing.", "Bock cocks his head to him.\n\n DR. MORSE\n What's his name? Drummond?", "DR. LAGERMAN\n Hi, Herb...\n\n Bock acknowledges him with a brusque nod, storms over to \n Miss Lebow.", "BOCK\n This is Dr. Bock... Yes, Mrs. \n Christie, what is it? It's all right,", "He rumbles toward the door. The class of doctors dissolves \n into hospital murmurs and mutters and a general dispersal. \n They follow Bock out to...", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "Bock immediately emerges from the pharmacy holding a bottle \n of thorazine and a wrapped hypodermic syringe. He scowls at \n Welbeck, who scowls back.", "Except, of course, for Bock, who must pause to wait for a \n red light. Bock hustles through the traffic to where Drummond \n stands.", "BOCK\n Dr. Perry said he picked the \n tuberculosis and the liver nodes for \n today, right?\n\n BRUBAKER\n Yes, sir.", "doctor, a man in his late forties, wearing a coat similar to \n Bock's. He is DR. LAGERMAN. He looks up from the magazine" ], [ "lot of people come into this hospital \n in big trouble, Miss Drummond, and \n go out better for the experience. So", "because she couldn't tell the doctors \n from the patients on the floor? My \n God, the incompetence here is", "NARRATOR\n On Monday morning, a patient named \n Guernsey, male, middle-seventies was \n admitted to the hospital complaining \n of chest pains.", "hospital. One of them, a portly \n psychiatrist, explained I was \n generated by an unresolved lust for \n my father. I apparently cracked up.", "Out of respect for the COMATOSE PATIENT, the ensuing agitated \n scene is held in whispers.", "Representative of the Hospital, a young woman in her thirties \n named EVELYN BASSEY, who is trying to read a statement,", "This is the Emergency Room. One of \n the doctors just died of a heart \n attack.", "the I.V. on the bed had been pinched \n off, and she reported that back to \n Mrs. Reardon, who then assigned Nurse", "overheard his whole confession and \n just told the Chief Administrator of \n the hospital. They're sending for \n the cops.", "...and in the other room, a man in his thirties is being \n treated for some sort of head lacerations. In one treatment", "...where Dr. Sutfcliffe, the beautiful young woman, the \n elderly Indian and the minister are engaged in agitated \n discussion. The girl and the Indian retain their stoic", "AMBULANCE ATTENDANTS\n (shouting)\n Not breathing! Not breathing!\n\n They hurry into the Admitting Room past a nurse and into \n the...", "the hospital was the opening scene of the film) is being \n helped into the room by Nurse Felicia Chile. She solicitously \n helps the wispy old man off with his coat and jacket and hat", "FADE OUT.\n\n FADE IN:\n\n THE HOSPITAL. 6:30 A.M. NEXT MORNING, TUESDAY", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "EMERGENCY ADMITTING AND TREATMENT ROOMS\n\n Ives, seated on a table in evident distress, breathes heavily.", "the gates and spill across the drive. Some policemen and \n security guards move tentatively out of the hospital to \n intercept them.", "Two orderlies rush the old man's bed with, of course, the \n old man in it, past the Nurses' Station and into a waiting \n elevator.", "The orderly detaches himself from his cronies and exits. It \n is into this atmosphere of subdued febrility that William \n Mead is wheeled.", "The usual E.R. crush and motion goes on in the background. \n Drummond escorts an obviously ill Dr. Ives to the Admitting" ], [ "MAN\n Those buildings are imperialistic \n extensions of the medical \n establishment. This hospital ought \n to be rebuilding those tenements, \n give those people decent housing.", "MAN\n The point is that this hospital is \n the landlord for those buildings and \n they should've turned them down.", "the gates and spill across the drive. Some policemen and \n security guards move tentatively out of the hospital to \n intercept them.", "in the building came out. The police \n tried to arrest them and, apparently, \n the situation has erupted into a \n riot.", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "Avenue was condemned by the City \n before the hospital acquired \n ownership, and even then, only after \n responsible leaders in the community", "...where Dr. Sutfcliffe, the beautiful young woman, the \n elderly Indian and the minister are engaged in agitated \n discussion. The girl and the Indian retain their stoic", "next to it, eight ghetto buildings are being demolished to \n make way -- according to the construction company's sign -- \n for a new Drug Rehabilitation Center, to be completed in", "people out of those buildings before \n a wall collapses or a fire breaks \n out and we've got a riot on our \n hands!... Okay!", "All I need do was arrange for the \n doctors to become patients in their \n own hospital. Accordingly, the next", "and female. For the moment the door is ajar, we see a harried \n Milton Mead being assailed by angry blacks and Puerto Ricans \n and young white activist doctors.", "From the long tunnels of corridors, nurses, doctors, \n administrative personnel pause in their chores and errands \n and missions to watch the tide of events in the lobby.", "LONG SHOT of the hospital, now alive and jumping. Taxis pull \n up and out of the large U-shaped drive. A noisy picket line", "MRS. BASSEY\n (reading)\n ...complete sympathy with the tenants. \n So the hospital has assumed the", "FADE OUT.\n\n FADE IN:\n\n THE HOSPITAL. 6:30 A.M. NEXT MORNING, TUESDAY", "CHANTING, SHOUTING. Absolutely no one pays any attention to \n the gaunt, doctor-clad sixty-year-old man standing on an \n island.", "Out of respect for the COMATOSE PATIENT, the ensuing agitated \n scene is held in whispers.", "The small army of militants and activists has broken through \n the security into the lobby. Their entrance is greeted by \n one small scream from a woman in the lobby. A LEADER of the \n invading troop calls out.", "The gathering storm erupts. Rage suffuses Bock's face. Out \n of respect for the hospital corridor and the people working", "Two orderlies rush the old man's bed with, of course, the \n old man in it, past the Nurses' Station and into a waiting \n elevator." ], [ "Bock looks up, and they suddenly find their eyes locked. The \n dark, dense air in the room fairly steams with incipient \n sexuality.", "Bock holds Drummond's coat and hat and crosses to take his \n arm. He finds the entranced Drummond as rigid as a statue.", "of love. Then slowly over Bock's plunging shoulder to the \n woman's face. She gasps at the moment of penetration, then", "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "She senses Bock watching her, turns, smiles. She's a very \n beautiful girl. She returns to the phone.", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "BOCK\n This is Dr. Bock... Yes, Mrs. \n Christie, what is it? It's all right,", "BOCK\n (who has been staring \n at her as if she \n were insane)\n What the hell am I supposed to say \n to that, Miss Drummond?", "up almost to her waist and is saved from utter exhibitionism \n only by the darkness of the shadows. She seems unaffected by \n Bock's voyeuristic interest in her, but she is surely not", "BOCK\n I'm tired, I'm terribly tired, Miss \n Drummond. And I hurt, and I've got \n nothing going for me anymore. Can \n you understand that?", "BOCK\n You mean she was the one?\n\n LAGERMAN\n That's the one. I just identified \n her.", "visible. She looks through the half-open door to Bock's \n private office, and there he is, staring blankly at the \n bottle. Barbara starts to say something, thinks better of", "BOCK\n I think those were more expressions \n of gratitude than love.\n\n BARBARA\n Gratitude for what?", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "BOCK\n So she plugged an I.V. into him.\n\n MRS. CHRISTIE\n Yes.", "BOCK\n Come and see me.\n (to the patient, \n helping her up)\n Would you sit up for a minute?", "BOCK\n Dr. Welbeck is dead. They thought he \n was you.", "Bock immediately emerges from the pharmacy holding a bottle \n of thorazine and a wrapped hypodermic syringe. He scowls at \n Welbeck, who scowls back.", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped." ], [ "As the small procession bears down, Barbara Drummond slips \n out of that room to intercept them.", "Barbara Drummond comes in. Bock has apparently turned the \n lights on for her, but Bock himself is not immediately", "BARBARA\n (in background on \n phone)\n ...Drummond, first name, Barbara. \n I'll pay cash...", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "ROOM 806. DAY\n\n Drummond on his chair. Barbara perched on one side of her \n father's bed, Bock on the other. William Mead sleeps on.", "comatose and rigged out with I.V.s and catheters. Barbara \n Drummond is packing her father's things into an open one-", "DRUMMOND\n Her operation -- that is to say, \n Mrs. Mangafranni's operation -- was", "side of the dividing island. An ambulance attendant has opened \n the back doors to get Drummond in. Barbara hurries toward", "Barbara unsnaps her father's valise and stuffs Welbeck's \n garments in it. Bock takes Welbeck's coat and piles Drummond's \n things on top of that.", "DRUMMOND\n So last night, I coshed Miss \n Campanella with a sandbag, sedated", "BARBARA\n I believe in everything, Doctor.\n\n BOCK\n Like a drink?\n\n BARBARA\n Yes.", "WELBECK\n (to Mrs. Donovan)\n I'm Dr. Welbeck. I have a patient on \n this floor named Drummond, and I'd \n like to see his chart.", "BARBARA\n Well, let me put it this way. I love \n you. I fancied you from the first", "BARBARA\n You're a very tired and very damaged \n man. You've had a hideous marriage", "BARBARA\n Thank you.\n\n Bock exits. Barbara edges past Weitzenbaum, who is still \n peeking into the room.", "in his other hand. Barbara is perfectly framed in the doorway. \n He stares at her, slowly suffusing with the numb, blind,", "Barbara comes in, gathers her coat and purse from a chair \n and moves to the Indian, now occupied with what seems to be", "DRUMMOND\n (off-screen)\n ...perhaps even Christ Himself.", "BOCK\n (who has been staring \n at her as if she \n were insane)\n What the hell am I supposed to say \n to that, Miss Drummond?", "whose eyes now open; he has heard it all. In background, \n Drummond, suddenly released from his catatonic trance, heads" ], [ "Barbara Drummond comes in. Bock has apparently turned the \n lights on for her, but Bock himself is not immediately", "As the small procession bears down, Barbara Drummond slips \n out of that room to intercept them.", "BARBARA\n (in background on \n phone)\n ...Drummond, first name, Barbara. \n I'll pay cash...", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "ROOM 806. DAY\n\n Drummond on his chair. Barbara perched on one side of her \n father's bed, Bock on the other. William Mead sleeps on.", "comatose and rigged out with I.V.s and catheters. Barbara \n Drummond is packing her father's things into an open one-", "side of the dividing island. An ambulance attendant has opened \n the back doors to get Drummond in. Barbara hurries toward", "DRUMMOND\n Her operation -- that is to say, \n Mrs. Mangafranni's operation -- was", "DRUMMOND\n So last night, I coshed Miss \n Campanella with a sandbag, sedated", "WELBECK\n (to Mrs. Donovan)\n I'm Dr. Welbeck. I have a patient on \n this floor named Drummond, and I'd \n like to see his chart.", "Barbara unsnaps her father's valise and stuffs Welbeck's \n garments in it. Bock takes Welbeck's coat and piles Drummond's \n things on top of that.", "Barbara comes in, gathers her coat and purse from a chair \n and moves to the Indian, now occupied with what seems to be", "BARBARA\n I believe in everything, Doctor.\n\n BOCK\n Like a drink?\n\n BARBARA\n Yes.", "whose eyes now open; he has heard it all. In background, \n Drummond, suddenly released from his catatonic trance, heads", "DRUMMOND\n (off-screen)\n ...perhaps even Christ Himself.", "The ambulance pulls up and Barbara gets out of it.\n\n BARBARA\n (taking her father \n around to the back)\n We have to hurry, Dad.", "DRUMMOND\n I got up, wheeled Miss Campanella \n off to the operating rooms, replaced", "BOCK\n (who has been staring \n at her as if she \n were insane)\n What the hell am I supposed to say \n to that, Miss Drummond?", "Drummond turns to the voice. CAMERA PULLS BACK to include \n the man who had been brought into the E.R. by a uniformed \n cop.", "Drummond's eyes open and roll to the direction of the voice." ], [ "BOCK\n Dr. Welbeck is dead. They thought he \n was you.", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "Barbara helps Bock get Welbeck's dead weight onto the floor. \n On his knees, Bock straddles Welbeck's prone form, balls his", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "BARBARA\n Thank you.\n\n Bock exits. Barbara edges past Weitzenbaum, who is still \n peeking into the room.", "BARBARA\n Sounds to me like a familiar case of \n morbid menopause.\n\n BOCK\n Oh Christ.", "BOCK\n (regarding Schaefer's \n rigid death mask)\n As I understand it, one of the nurses", "BARBARA\n Yes, of course.\n\n BOCK\n Then can you understand that the \n only admissable matter left is death?", "ROOM 806\n\n Bock and Barbara slip through doctors and nurses, heading \n for the door.", "BARBARA\n Rubbish.\n\n With a crash of his fist on the desktop, Bock stands; he is \n in a drunken rage.", "BARBARA\n Yes. I still have to arrange an \n ambulance service. Is there a phone \n around I could use?\n\n BOCK\n Use my office.", "Bock, Lagerman and Hitchcock have gathered across the shrouded \n figure of Dr. Ives on a stretcher. We are in the lab section", "visible. She looks through the half-open door to Bock's \n private office, and there he is, staring blankly at the \n bottle. Barbara starts to say something, thinks better of", "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "Bock and Barbara remain at the window with heart-resuscitation \n team in background. Barbara slips into her own coat, in \n preparation for escape.", "While all this goes on, Bock and Barbara have picked up the \n remnants of Welbeck's jacket, trousers, shirt and underwear.", "Bock and Barbara hurry toward the elevators.\n\n THE HOSPITAL, HOLLY PAVILION, LOBBY", "BARBARA\n (who's been slipping \n into the nurse's \n uniform)\n Yeah?\n\n BOCK\n Yeah.", "Covered by Bock's overcoat, Barbara tosses and turns on the \n couch in a small nightmare. Through the windows comes the", "Bock looks across to Barbara, now helping out at the max \n cart. She looks back at Bock. She shrugs. He shrugs. They \n exchange a smile." ], [ "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "Bock cocks his head to him.\n\n DR. MORSE\n What's his name? Drummond?", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "doctor, a man in his late forties, wearing a coat similar to \n Bock's. He is DR. LAGERMAN. He looks up from the magazine", "BOCK\n This is Dr. Bock... Yes, Mrs. \n Christie, what is it? It's all right,", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "The doctors exchange a look as Bock rises, moves toward them, \n laughing.", "BOCK\n Dr. Welbeck is dead. They thought he \n was you.", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "DR. LAGERMAN\n Hi, Herb...\n\n Bock acknowledges him with a brusque nod, storms over to \n Miss Lebow.", "BOCK\n Yes, his name's Drummond. That's his \n chart.\n\n Straining under the effort, the three doctors get Welbeck \n off the floor.", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "BOCK'S OFFICE\n\n Bock, back at his desk, looks up.\n\n BOCK\n You believe in witchcraft, Miss \n Drummond?", "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped.", "The staff elevator doors open and Bock comes out, wearing \n his long white doctor's coat unbuttoned. Hanging about the" ], [ "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "He rumbles toward the door. The class of doctors dissolves \n into hospital murmurs and mutters and a general dispersal. \n They follow Bock out to...", "...where Dr. Joseph Lagerman, Head of Nephrology, perhaps \n remembered from an earlier scene, has been waiting for Bock. \n He joins them en route to the elevators.", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "Bock immediately emerges from the pharmacy holding a bottle \n of thorazine and a wrapped hypodermic syringe. He scowls at \n Welbeck, who scowls back.", "through the background, followed by the band of young doctors \n now dispersing. Bock crosses past the foreground group to \n the staff elevator. He pushes the button. Brubaker approaches", "A corridor of offices. This is the Department of Medicine, \n where Bock and all the senior staff members of the department", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "ROOM 819\n\n Past two beds, they group around the foot of a third bed on \n the right side of the room. Bock checks the patient lying in \n the bed.", "The elevator door opens. Out comes Bock, overcoat unbuttoned \n now. He clumps to the Nurses' Station. An unusual number of", "He heads for the Nurses' Station as Nurse Devine comes down \n the west corridor. Bock grunts at Mrs. Dunne and goes into...\n\n PHARMACY", "Bock moves past Mrs. Donovan and into the pharmacy where we \n see him scouring the shelves for thorazine and a syringe. An", "The doctors exchange a look as Bock rises, moves toward them, \n laughing.", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "Bock moves quickly to the prostrate Welbeck, feels his throat \n for the carotid pulse, pulls out his stethoscope, rips", "Except, of course, for Bock, who must pause to wait for a \n red light. Bock hustles through the traffic to where Drummond \n stands." ], [ "Avenue was condemned by the City \n before the hospital acquired \n ownership, and even then, only after \n responsible leaders in the community", "MAN\n Those buildings are imperialistic \n extensions of the medical \n establishment. This hospital ought \n to be rebuilding those tenements, \n give those people decent housing.", "MAN\n The point is that this hospital is \n the landlord for those buildings and \n they should've turned them down.", "next to it, eight ghetto buildings are being demolished to \n make way -- according to the construction company's sign -- \n for a new Drug Rehabilitation Center, to be completed in", "The Hospital was founded in the late 19th century, and there \n are still a few begrimed Victorian Bedlams and Bastilles", "responsibility of finding 400 housing \n units in good buildings. The hospital \n wishes to point out that this \n particular row of buildings on First", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "LONG SHOT of the hospital, now alive and jumping. Taxis pull \n up and out of the large U-shaped drive. A noisy picket line", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "MILTON MEAD\n There are no private rooms available. \n If they brought in Jesus Christ fresh \n off the cross, I couldn't get Him a \n private room.", "Designed to hold patients who've been examined and wait to \n be admitted to a room upstairs, it's in fact used for", "Two orderlies rush the old man's bed with, of course, the \n old man in it, past the Nurses' Station and into a waiting \n elevator.", "She turns to Mitgang. Something bothers her about the first \n patient. She finds Mitgang's chart tucked in under his pillow, \n takes out her pencil.", "All I need do was arrange for the \n doctors to become patients in their \n own hospital. Accordingly, the next", "AMBLER\n We, the members of the Doctors \n Liberation Committee indict this \n hospital for the criminal neglect of", "EIGHTH FLOOR CORRIDOR\n\n The elevator door opens. Two orderlies wheel the sleeping \n man on his bed back around the Nurses' Station and down the \n corridor to his room.", "MRS. BASSEY\n (reading)\n ...complete sympathy with the tenants. \n So the hospital has assumed the", "this hospital, they either died of a \n heart attack in Emergency or of \n anesthesia shock in an operating \n room.", "PAN SLOWLY across the Emergency Room to catch its state of \n contained febrility. Every curtained treatment room is", "Mead is wheeled down the corridor by the orderly. At the far \n end, an anesthetized patient, blue in the harsh light, fresh \n from surgery, is being wheeled into a recovery room." ], [ "As the small procession bears down, Barbara Drummond slips \n out of that room to intercept them.", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "The ambulance pulls up and Barbara gets out of it.\n\n BARBARA\n (taking her father \n around to the back)\n We have to hurry, Dad.", "Barbara Drummond comes in. Bock has apparently turned the \n lights on for her, but Bock himself is not immediately", "side of the dividing island. An ambulance attendant has opened \n the back doors to get Drummond in. Barbara hurries toward", "ROOM 806. DAY\n\n Drummond on his chair. Barbara perched on one side of her \n father's bed, Bock on the other. William Mead sleeps on.", "comatose and rigged out with I.V.s and catheters. Barbara \n Drummond is packing her father's things into an open one-", "DRUMMOND\n (off-screen)\n He had at that time perhaps an hour \n to live. Prompt treatment would have \n saved his life.\n\n They go into the...", "The usual E.R. crush and motion goes on in the background. \n Drummond escorts an obviously ill Dr. Ives to the Admitting", "Drummond, abashed, stands there, a scolded schoolboy, a \n rawboned figure in a hospital shift, a stethoscope dangling \n from his right hand.", "Barbara unsnaps her father's valise and stuffs Welbeck's \n garments in it. Bock takes Welbeck's coat and piles Drummond's \n things on top of that.", "Drummond turns to the voice. CAMERA PULLS BACK to include \n the man who had been brought into the E.R. by a uniformed \n cop.", "and back to Mexico where they live. \n The patient's name is Drummond. He's \n apparently a Methodist missionary,", "They head for the unoccupied bed. CLOSE-UP on Drummond's \n profile.\n\n ROOM 806", "Bock and Barbara hurry toward the elevators.\n\n THE HOSPITAL, HOLLY PAVILION, LOBBY", "Drummond pauses in his strangling and, releasing the poor \n man altogether, turns to his daughter in the doorway.", "DRUMMOND\n I got up, wheeled Miss Campanella \n off to the operating rooms, replaced", "Welbeck himself. Barbara and Dr. Biegelman go into the \n elevator. The doors close. Milton Mead and Hitchcock head", "raised. He shuffles to Drummond's bedside and looks down on \n him from his frail height.", "BARBARA\n (in background on \n phone)\n ...Drummond, first name, Barbara. \n I'll pay cash..." ], [ "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "BOCK\n This is Dr. Bock... Yes, Mrs. \n Christie, what is it? It's all right,", "visible. She looks through the half-open door to Bock's \n private office, and there he is, staring blankly at the \n bottle. Barbara starts to say something, thinks better of", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "Barbara Drummond comes in. Bock has apparently turned the \n lights on for her, but Bock himself is not immediately", "BOCK'S OFFICE\n\n Bock, back at his desk, looks up.\n\n BOCK\n You believe in witchcraft, Miss \n Drummond?", "Bock makes a vague noise, neither contradicting her nor \n assenting, and continues around her into...\n\n ROOM 806", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "BOCK\n Come and see me.\n (to the patient, \n helping her up)\n Would you sit up for a minute?", "She returns the receiver to its cradle. When she looks up \n again, Bock is no longer there. She returns the flight tickets", "BOCK\n Dr. Welbeck is dead. They thought he \n was you.", "up almost to her waist and is saved from utter exhibitionism \n only by the darkness of the shadows. She seems unaffected by \n Bock's voyeuristic interest in her, but she is surely not", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped.", "She slips into her coat and exits, as Bock looks after her \n thoughtfully, then turns back to his own office.\n\n BOCK'S OFFICE", "out. She and Bock stare at each other. In background, Welbeck \n is on the phone at the Nurses' Station.", "BOCK\n (who has been staring \n at her as if she \n were insane)\n What the hell am I supposed to say \n to that, Miss Drummond?", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "The doctors exchange a look as Bock rises, moves toward them, \n laughing." ], [ "He's already killed two doctors and \n one nurse.", "NURSE PEREZ\n Listen, did you know Doctor Schaefer \n was in Eight-O-Six, because he's \n dead?", "BARBARA\n What do you mean he killed two doctors \n and a nurse?", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "There is, of course, no response. A terrible suspicion enters \n Nurse Perez's mind, and she closes her eyes and sighs a long", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "taking Nurse Weitzenbaum out with her and closing the door. \n The room is dark and hushed again. Blacktree lights his \n cigarette and \"sends the smoke up,\" a ritual which consists", "This is the Emergency Room. One of \n the doctors just died of a heart \n attack.", "died last night in Eight-O-Six, but \n that information wasn't given to the \n night nurses. These things happen.", "NURSE PEREZ\n I'm just telling you, Dr. Schaefer \n is dead.", "is meaningful.\" Then I came in this \n morning and find out one of my doctors \n was killed by a couple of nurses who", "BOCK\n What do you mean, she died on the \n operating table in O.R. Three?\n\n They hurry down the corridor to the elevators.", "the I.V. on the bed had been pinched \n off, and she reported that back to \n Mrs. Reardon, who then assigned Nurse", "this hospital, they either died of a \n heart attack in Emergency or of \n anesthesia shock in an operating \n room.", "He rumbles toward the door. The class of doctors dissolves \n into hospital murmurs and mutters and a general dispersal. \n They follow Bock out to...", "AMBULANCE ATTENDANTS\n (shouting)\n Not breathing! Not breathing!\n\n They hurry into the Admitting Room past a nurse and into \n the...", "her bed with Mrs. Mangafranni's, \n exchanged charts and identity \n bracelets. She died officially of", "other words, Nurse Perez went in and \n sedated Dr. Schaefer thinking it was \n the patient Guernsey. My God! What I", "this, Herb. She died on the operating \n table in O. R. Three about an hour \n ago.", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped." ], [ "Avenue was condemned by the City \n before the hospital acquired \n ownership, and even then, only after \n responsible leaders in the community", "MAN\n Those buildings are imperialistic \n extensions of the medical \n establishment. This hospital ought \n to be rebuilding those tenements, \n give those people decent housing.", "POLICE CAPTAIN\n I repeat. I'm asking you to come out \n peacefully. These buildings are \n condemned and unfit for habitation.", "MAN\n The point is that this hospital is \n the landlord for those buildings and \n they should've turned them down.", "MRS. BASSEY\n (reading)\n ...complete sympathy with the tenants. \n So the hospital has assumed the", "AMBLER\n We, the members of the Doctors \n Liberation Committee indict this \n hospital for the criminal neglect of", "three black families, carrying children, and children carrying \n household effects, mattresses, pots, pans, bags of groceries, \n etc., are repossessing the condemned buildings.", "Out of respect for the COMATOSE PATIENT, the ensuing agitated \n scene is held in whispers.", "the gates and spill across the drive. Some policemen and \n security guards move tentatively out of the hospital to \n intercept them.", "They gather in anticipation outside O.R. Three and peer over \n each other's shoulders into the room where the operating", "Two orderlies rush the old man's bed with, of course, the \n old man in it, past the Nurses' Station and into a waiting \n elevator.", "people out of those buildings before \n a wall collapses or a fire breaks \n out and we've got a riot on our \n hands!... Okay!", "Welbeck advances on William Mead's bed, since he is the only \n patient in the room. (Hitchcock is on the phone.)", "From the long tunnels of corridors, nurses, doctors, \n administrative personnel pause in their chores and errands \n and missions to watch the tide of events in the lobby.", "...where Dr. Sutfcliffe, the beautiful young woman, the \n elderly Indian and the minister are engaged in agitated \n discussion. The girl and the Indian retain their stoic", "Bock and Barbara hurry toward the elevators.\n\n THE HOSPITAL, HOLLY PAVILION, LOBBY", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "Two or three people besides the elevator operator are there, \n as well as a patient on a stretcher and an orderly.", "EMERGENCY ADMITTING AND TREATMENT ROOMS\n\n Ives, seated on a table in evident distress, breathes heavily.", "through the background, followed by the band of young doctors \n now dispersing. Bock crosses past the foreground group to \n the staff elevator. He pushes the button. Brubaker approaches" ], [ "He's already killed two doctors and \n one nurse.", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "BARBARA\n What do you mean he killed two doctors \n and a nurse?", "taking Nurse Weitzenbaum out with her and closing the door. \n The room is dark and hushed again. Blacktree lights his \n cigarette and \"sends the smoke up,\" a ritual which consists", "He moves quickly forward to raise the dead man's eyelid. \n Behind him, a nurse enters. He wheels on her angrily.", "he gets up and puts on a doctor's \n uniform, and he goes out, and he \n murders doctors! He just went out", "through the background, followed by the band of young doctors \n now dispersing. Bock crosses past the foreground group to \n the staff elevator. He pushes the button. Brubaker approaches", "BOCK\n Let him go. Before we kill him.\n\n The elevator door opens. A couple of nurses come out. Bock \n strides in.", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped.", "other words, Nurse Perez went in and \n sedated Dr. Schaefer thinking it was \n the patient Guernsey. My God! What I", "There is, of course, no response. A terrible suspicion enters \n Nurse Perez's mind, and she closes her eyes and sighs a long", "Schaefer. Mrs. Christie is instructing the two nurses.", "Two orderlies rush the old man's bed with, of course, the \n old man in it, past the Nurses' Station and into a waiting \n elevator.", "NURSE PEREZ\n Listen, did you know Doctor Schaefer \n was in Eight-O-Six, because he's \n dead?", "He rumbles toward the door. The class of doctors dissolves \n into hospital murmurs and mutters and a general dispersal. \n They follow Bock out to...", "Welbeck himself. Barbara and Dr. Biegelman go into the \n elevator. The doors close. Milton Mead and Hitchcock head", "Nurse Weitzenbaum opens the door of the room and peeks in. \n At the stairway exit, Bock pauses to look back at all the \n women in front of Room 806.", "Mrs. Kimball, Mrs. Christie, Hitchcock and Sloan push through \n the glass doors to the crossroads of the operating rooms. \n Through each window, we see operating crews hacking away.", "uniform and has gone out to do God's \n work, presumably the murder of Dr. \n Welbeck. Except, that fellow on the", "...where Dr. Sutfcliffe, the beautiful young woman, the \n elderly Indian and the minister are engaged in agitated \n discussion. The girl and the Indian retain their stoic" ], [ "BOCK\n Is he in?\n\n The doctor is obviously in. He can be seen through the open \n door sitting at his desk writing in a notebook. Bock leans \n in.", "Bock goes in, closes the door behind himself.\n\n DR. EINHORN'S OFFICE\n\n Bock looks only at the floor.", "The modestly imposing office is lined with medical tomes. \n Bock slips out of his coat and jacket and hangs them in the", "BOCK\n In short, a man came into this \n hospital in perfectly good health,", "He rumbles toward the door. The class of doctors dissolves \n into hospital murmurs and mutters and a general dispersal. \n They follow Bock out to...", "phone)\n This is Dr. Welbeck. Were you paging \n me?\n (regarding Bock with", "He strides, followed by Dr. Lagerman, into...\n\n BOCK'S PRIVATE OFFICE\n\n ...and slams the door shut behind him.", "BOCK\n What do you mean, Ives is dead?\n\n DR. LAGERMAN\n I mean he's dead. He had a heart \n attack in the Emergency Room.", "The doctors exchange a look as Bock rises, moves toward them, \n laughing.", "The elevator door opens. Out comes Bock, overcoat unbuttoned \n now. He clumps to the Nurses' Station. An unusual number of", "...where Dr. Joseph Lagerman, Head of Nephrology, perhaps \n remembered from an earlier scene, has been waiting for Bock. \n He joins them en route to the elevators.", "A corridor of offices. This is the Department of Medicine, \n where Bock and all the senior staff members of the department", "Bock immediately emerges from the pharmacy holding a bottle \n of thorazine and a wrapped hypodermic syringe. He scowls at \n Welbeck, who scowls back.", "BOCK\n Psychiatry.\n (suddenly stands)\n Never mind. I'll look in myself.\n\n He lumbers across the room and out into...", "BOCK\n I mean, he's killed two doctors and \n a nurse! And he just tried to kill", "ACROSS to Bock coming out of the TV room, followed by some \n dozen young doctors. Bock is in very good spirits indeed. He \n quizzes his young doctors en route:", "BOCK\n And now you come to me with this \n gothic horror story in which the \n entire machinery of modern medicine", "DR. HERBERT BOCK, 53 years old, a large man, bulky, \n disheveled, apparently fell asleep in a chair while watching", "The gathering storm erupts. Rage suffuses Bock's face. Out \n of respect for the hospital corridor and the people working", "The Supervisor of Nurses, Mrs. Christie, is sitting on a \n chair reading a report. Bock, now in his doctor's coat, is \n hunched over his desk, hands clasped." ], [ "DRUMMOND\n (off-screen)\n He had at that time perhaps an hour \n to live. Prompt treatment would have \n saved his life.\n\n They go into the...", "DRUMMOND\n I was merely an instrument of God. I \n killed no one. They all three died", "DRUMMOND\n (voice-off)\n ...simply... forgotten to death. \n Simply mislaid...\n\n CAMERA JUST STARES at the pageant of pain.", "DRUMMOND\n (voice-off)\n ...and then he was promptly...", "DRUMMOND\n So last night, I coshed Miss \n Campanella with a sandbag, sedated", "DRUMMOND\n (off-screen)\n He was relentlessly subjected to the \n benefits of modern medicine. He was", "whose eyes now open; he has heard it all. In background, \n Drummond, suddenly released from his catatonic trance, heads", "DRUMMOND\n (off-screen)\n Our Savior was, it seems, suffering \n from emphysema.", "BOCK\n Yes, his name's Drummond. That's his \n chart.\n\n Straining under the effort, the three doctors get Welbeck \n off the floor.", "Drummond pauses in his strangling and, releasing the poor \n man altogether, turns to his daughter in the doorway.", "Drummond in his hospital shift, gaunt and mad as a prophet, \n sits rigidly on his chair. Barbara perches on her father's", "He keels over like a felled tree, falling face-up on \n Drummond's bed, his legs dangling to the floor. William Mead \n promptly hides his head under his sheet.", "HITCHCOCK\n Was it Drummond?\n\n MRS. DONOVAN\n Who else would it be?\n\n Hitchcock silently thanks God.", "WELBECK\n (to Mrs. Donovan)\n I'm Dr. Welbeck. I have a patient on \n this floor named Drummond, and I'd \n like to see his chart.", "DRUMMOND\n (voice-off)\n ...which revealed occasional \n ventricular premature contractions. \n An intern took his history...", "DRUMMOND\n (off-screen)\n ...perhaps even Christ Himself.", "Drummond, abashed, stands there, a scolded schoolboy, a \n rawboned figure in a hospital shift, a stethoscope dangling \n from his right hand.", "DRUMMOND\n (voice-off)\n His vital signs were taken, an \n electrocardiogram...", "Drummond turns to the voice. CAMERA PULLS BACK to include \n the man who had been brought into the E.R. by a uniformed \n cop.", "DRUMMOND\n (voice-off)\n ...mislaid among the broken wrists," ] ]

[ "WHAT WAS THE ANNEXATION PLANS FOR AN ADJACENT APARTMENT BUILDING?", "WHAT WAS DR. BOCK'S RELATIONSHIP WITH HIS WIFE?", "WHAT WERE THE HOSPITAL DEATHS OF TWO DOCTORS AND A NURSE ATTRIBUTED TO?", "WHAT WERE THE DEMANDS OF THE ANNEXATION PROTESTORS?", "HOW DO BARBARA DRUMMOND AND DR BOCK MEET?", "WHAT MEDICAL CONDITION DID DR BOCK COMPLAIN OF?", "WHAT AIRPORT DID BARBARA DRUMMOND BRING HER FATHER TO ESCAPE BACK TO MEXICO?", "HOW COULD DRUMMOND'S VICTIMS HAVE BEEN SAVED?", "What was Dr Bock position?", "Where did Dr Bock worked?", "What was the incident the hospital was dealing with?", "What did the occupants of the building next to the hospital demanded?", "Who did Dr Bock fell in love with?", "Who was Barbara Drummond?", "Where was Barbara Drummond came from?", "How did Dr Bock and Barbara covered up the deaths in the hospital?", "What is Dr. Bock's job titile?", "Where is the hospital where Dr. Bock works located?", "Why does the hospital want to annex the condemned building next door?", "From where did Barbara Drummond and her father travel to the hospital?", "Where is Dr. Bock's wife?", "To what are the recent deaths of two doctors and a nurse at the hospital attributed?", "What do the occupants of the condemned building want from the hospital?", "Who initiates the death of two doctors and a nurse?", "What is the type of hospital where Dr. Bock works?", "How could Drummond's victims have been saved?" ]

[ [ "A DRUG REHABILITATION CENTER", "To become a drug rehab." ], [ "SHE LEFT HIM", "She left him." ], [ "FAILURE TO PROVIDE ACCURATE TREATMENT", "Coincidental or unavoidable failures to provide proper treatment." ], [ "TO FIND ADEQUATE HOUSING FOR THE CURRENT APARTMENT BUILDING'S RESIDENTS", "An adjacent and decrepit apartmant buikding." ], [ "WHEN SHE BRINGS IN HER FATHER FROM MEXICO FOR TREATMENT AT THE HOSPITAL.", "She is a patient's daughter." ], [ "IMPOTENCE", "impotence" ], [ "JFK", "JFK" ], [ "IF THEY RECEIVED PROMPT ACCURATE TREATMENT", "If they received the right treatment right away " ], [ "Chief of Medicine", "Chief Of Medicine." ], [ "Manhattan teaching hospital", "A Manhattan hospital " ], [ "The unexplain deaths of two doctors and a nurse.", "death of two doctors and a nurse" ], [ "They wanted a replacement housing", "That they get replacement housing." ], [ "Barbara Drummond", "Barbara Drummond" ], [ "Barbara Drummond was a patient's daughter", "a patients daughter, that came with her father from mexico for his treatmant." ], [ "Mexico", "Mexico" ], [ "They used an accidental death of a doctor to covered Drummond tracks.", "a final accidental death of a docter." ], [ "He is the Chief of Medicine.", "Chief of Medicine. " ], [ "In Manhattan.", "Manhattan" ], [ "To use the space for a drug rehabilitation center.", "to make it a drug rehab center" ], [ "Mexico.", "Mexico. " ], [ "She left him.", "she left him." ], [ "Failure to provide the correct treatment.", "Coincidental or unavoidable failures to provide proper treatment. " ], [ "They demand to be provided with replacement housing.", "replacement housing" ], [ "Barbara Drummond's father.", "Barnard Hughes" ], [ "It is a teaching hospital.", "teaching hospital" ], [ "If they had received the correct mediacal treatment in a timely manner.", "They would have been saved if theyd recieved prompt and appropriate treatment." ] ]

061c5dd1dc117e3161f1f0a7794b807932ef4675

train

[ [ "PASTOR: Now the ribbon, Anna.\nAnna goes toward the two children, tying a white ribbon\naround Martin's upper arm and another in Marie's hair.", "PASTOR: When you were small, your mother once in\n a while would tie a ribbon in your hair or\n around your arm. Its white color was to remind", "MARTIN (following her lead): Please forgive us.\nSILENCE. Then the pastor speaks very quietly, without\nturning to the two children:", "While the pastor goes back to the black board, putting\nhis briefcase on the desk without saying a word, the\nschoolteacher, who feels slightly responsible for the", "Immediately all the CHILDREN rushing out say:\n Good-bye, Sir! Good-bye, Pastor!\nFinally, all the children have left the classroom,", "PASTOR: Well, Martin, why are you crying? Shall\n I spare you that confession? You too have done\n what that wretched boy did, haven't you?", "The schoolteacher has little affirmative and regretful\ngesture. He feels extremely uncomfortable in this role.\nAnother PAUSE. Then, the pastor continues:", "The students sit down. Marie keeps standing facing the\nwall. The pastor stops too. After a while he begins to\ntalk.\n This is a very sad day for me.", "children even make fun of her, and she yells at the top\nof her voice:\n QUIET!!!!\nAt that moment, the door opens and the pastor comes in", "He cries in a such pitiful way that even the pastor has\ntears in his eyes. He embraces the boy. The latter\nseizes the hand of his father and kisses it intensely.", "The boy looks embarrassed. He glances at his father,\nthen comes over with the cage and puts it carefully on\nhis father's desk. As Florian approaches, the pastor", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "cry with pity and fear.\nFinally both have received their 10 strokes.\nCLOSE ANGLE: The pastor. He is breathless and beads of", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "For a moment, neither of them knows what to do. Then the\nboy leaves the room.\nThe pastor follows him with his eyes. Then, he sits", "PASTOR: This will remain on you until we're all\n sure you have learned how to fight bad thoughts\n and manners. You're well aware, this year you", "The pastor is taking the white ribbon off Marie's head\nand Martin's arm. The rest of the family witnesses this\nalmost solemn act.", "The pastor looks at him, doesn't know how to react.\nThen, with a hoarse voice and trying to look\nindifferent, he says:", "PASTOR: Do you understand now why I'm worried?\nMartin reacts with a timid nod of his head.\n PASTOR: So, according to you: what caused these", "Martin carries the cane out of the room. The pastor and\nthe other children sit around the table. Marie leaves\nthe room with her mother. After all the others have sat" ], [ "He's a sturdy man in his early fifties, of peasant\nstock. He probably came straight from a tavern, and\nappears to be slightly drunk. The schoolteacher, Eva and", "EVA: Yes.\nPAUSE.\n SCHOOLTEACHER: Is that all right with you?\nPAUSE.", "SCHOOLTEACHER (surprised and glad): Eva!\n EVA (hardly understandable): May I come in?\nThe Schoolteacher stands up, goes toward and, laughing\nwith surprise, says to her.", "EVA: I don't know your father.\n SCHOOLTEACHER: That's true.\nThey look at each other for a while and then Eva rides", "EVA: That the schoolteacher is from the village\n next to mine.\n SCHOOLTEACHER (laughs): Oh, I see! Yes. Well...", "EVA (rather suspicious because all this is too\n intimate for her): Yes.\n SCHOOLTEACHER: Well, you're probably looking", "Eva looks down and shakes her head. The schoolteacher\nstops the carriage, turns to her:\n What's going on?\n EVA: Nothing. Please.", "at the father. The schoolteacher stands up, as Eva ran\nout. He'd rather follow her, but has to remain polite\ntoward the father. The father says calmly:", "make her complain about their forced separation, and\nsays cheerfully:\n EVA: No. Really.\nThe schoolteacher exchanges a smiling glance with her,", "SCHOOLTEACHER: Are you going there?\n EVA: Yes, I am.\n SCHOOLTEACHER (doesn't know what to say): Well,", "during which the horse keeps trotting, Eva leans against\nthe schoolteacher and puts her head against his\nshoulder. But the shaking of the carriage on the rutted", "SCHOOLTEACHER (stepping back): Of course. Well,\n good-bye.\n EVA: Good-bye.\nShe's about to ride off.", "SCHOOLTEACHER: Folks around here.\n EVA: Oh. So what?\n SCHOOLTEACHER: Nothing. I don't know. Sorry. I'm", "SCHOOLTEACHER: What's going on?\n\n EVA: They fired me.\n\n SCHOOLTEACHER (startled): What do you mean?", "SCHOOLTEACHER: You see: we're getting better.\n EVA: Well.\n SCHOOLTEACHER: Stop looking at your feet.", "On the dance floor, Eva and the schoolteacher try to\ndance. Neither is very talented. Eva keeps looking at\nher feet and smiles, embarrassed.", "The schoolteacher and Eva look at each other, but Eva\nsoon averts her eyes.\n SCHOOLTEACHER: They now want to tear down the", "Now Eva laughs too.\n EVA: What?!\n SCHOOLTEACHER (smiling as if to apologize):", "SCHOOLTEACHER: Hello.\n EVA (passing by): Hello.\nThe schoolteacher stops, turns to the girl:", "61. STREET. EXT/DAY\nThe schoolteacher and Eva drive in the carriage. In the\nbackground, we catch glimpses of the town." ], [ "barn. He walks toward the Baron.\n BARON. Have you seen my son?\n STEWARD (surprised): No.", "NARRATOR: ...The search began shortly after\n midnight. Before, the Baron had ridden to the\n Rectory. But there he found out nothing new from\n the children who had been specially woken up.", "Rudolph, his four year old son, had suddenly\n disappeared. Of course, everybody was terribly\n upset in view of all the previous occurrences.", "BARON: You all know now what was done to my son\n Siegmund. Policemen from the district town were\n here this week. They questioned many of you. But", "BARON: Where did you see my son for the last\n time?\n TUTOR: Outside, in the courtyard. He said, he", "NARRATOR: The midwife never came back. I waited\n until the morning, two days later. Then, I went\n to the manor house to inform the Baron. He", "exactly what had happened, and in the end they\n didn't care. The Baron was not really popular\n among the people, but he was respected as a", "BARON: Nonsense. He can't have vanished into\n thin air. When did you see him last?\n TUTOR (as above): Around 2 o'clock.", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "At the same time a boy of ten comes over to the first\nfarmer and butts in to his story:\n BOY: Father, they cut off the Baron's cabbages.", "The Baron makes a short speech and the steward assigns\nthe areas to be searched. Most of this is drowned out by\nthe narrator's voice.", "BARON (quietly): Could you please ask your boys.\n Apparently, Sigi has disappeared with a whole\n bunch of kids.", "EVA: The son of the Baron isn't at all well. His\n parents are angry and desperate. Now they say", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more", "Once the church is full, the Baron, the Baroness and\ntheir son Sigi walk down the aisle and sit down in the\nfront row.", "NARRATOR: Shortly after Easter, in the last week\n of April, the Baroness came back with the\n children. She was accompanied by a new nurse.", "and there we see some lanterns, put there to facilitate\nthe cleaning up.\nComing from the front door, the Baron crosses the vast\ncourtyard. Half way across he screams:", "NARRATOR: The next Sunday, the Baron, at the end\n of the service, asked the pastor if he could say\n a few words:", "was going to play with the other children.\n BARON: Where?\n TUTOR: That he didn't say.", "village.\n The Baron, who had come back without his family,\n didn't attend, which was very unusual for him..." ], [ "is about to put down his briefcase.\nThe dead bird lies in the middle of the desk with its\nwings spread out. The pastor's letter-opener is stuck in", "The boy looks embarrassed. He glances at his father,\nthen comes over with the cage and puts it carefully on\nhis father's desk. As Florian approaches, the pastor", "She takes the letter-opener, goes to the birdcage, puts\nthe letter-opener down beside it and grabs the tiny\ncanary. As the bird chirps, she glances round at the", "looked on, amazed. After putting down the cage, Florian\nsteps back a little, then stops, his head slightly\nbowed.\n PASTOR (not really understanding): What is it?", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "bedroom at night). In the cage is the bird that Florian\nhad found on Thanksgiving day, and who has recovered in\nthe meantime.\n PASTOR: Yes?", "PASTOR: Come in!\nFlorian comes in, hesitantly. In his hand, he carries a\nbirdcage (we've already seen it in Scene 49 in the boy's", "40. RECTORY. STUDY. INT/NIGHT\nThe pastor cleans the cage of the small bird behind the\ndesk and feeds the animal. As he does it, he talks to", "The pastor turns shortly around to his son, looks at\nhim, then turns again to the bird.", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then", "PASTOR: Yes, but Pipsi grew up in captivity.\n (nodding at Florian's bird): This one is used to\n living in freedom.", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "FLORIAN: \"Pipsi\" also lives in a cage.\nThe pastor looks at the cage shortly, hides a smile and\nturns to Florian again:", "her feverish and debilitated state...\nShe takes the bird into her left hand so that its little\nhead is turned upwards, and picks up the letter-opener\nwith her right hand...", "The boy comes over to the desk, opens a few buttons of\nhis shirt and then seizes something inside. In the open\nshirt we see the head of a little bird.", "The pastor looks at him, doesn't know how to react.\nThen, with a hoarse voice and trying to look\nindifferent, he says:", "PASTOR: Do you understand now why I'm worried?\nMartin reacts with a timid nod of his head.\n PASTOR: So, according to you: what caused these", "At the dinner table, the pastor (in his mid-forties)\nsits with his back to the door. In front of him, at the\nother end of the table, sits his wife Anna, a woman in", "PASTOR: So what?\n FLORIAN: I have found it. It's wounded.\nShort PAUSE.\n PASTOR: What do you want?" ], [ "NARRATOR: ...The neighbor, a single woman of\n around 40, was the village midwife, who had\n filled the invaluable position of housekeeper", "NARRATOR: The midwife never came back. I waited\n until the morning, two days later. Then, I went\n to the manor house to inform the Baron. He", "to the doctor. But since the night he was\n mistreated, I hadn't seen him again.\nHe leaves the midwife's house and hurries to the", "and I already knew, that we were searching in\n vain. Anyone who knew the midwife also knew how\n devoted she was to her disabled child, and that", "Suddenly I wondered why the midwife had closed\n the shutters of the house. Nobody in the village\n ever shut their house. Why had the midwife\n locked her boy in?", "the midwife doesn't know what to do. Finally she turns\naway from the door and starts to cross the yard. There,\nshe sees the schoolteacher. She comes over to him.", "POLICEMAN: But you didn't see anything?\n MIDWIFE: No.\n POLICEMAN: Do you have any idea how long the", "As he passes the midwife's house, he sees behind the\nfence in the garden, half hidden behind the bushes,\nMarie and a few other children. The shutters of the", "moans softly.\nThe midwife stands beside him, trying to stay calm, but\nshe is paralyzed with fear, and visibly still in a state\nof shock.", "and the midwife had tried to abort the child so\n that the shame of their relationship wouldn't be\n found out, and that's how the child became", "MIDWIFE: I have to go to the police in town. I\n now know who committed all these crimes.\n SCHOOLTEACHER (flabbergasted): Who?", "The boy is nowhere to be found.\n NARRATOR: I had never come to the midwife's\n house and felt uncomfortable at the idea of", "MIDWIFE: Please! Believe me! (She hesitates and\n adds, now quietly and imploringly):", "The schoolteacher looks at her. The midwife looks\npitiful: she tries to smile at him pleadingly, tears are\nstreaming down her face.", "spend all night here.\nThe midwife remains seated, her head bowed, as if struck\nby a lightning\n MIDWIFE (quietly): What did I do to you?", "For the time being, the doctor remained in the\n hospital. In the meantime the midwife catered\n the basic needs of Xenia and Rudolph, his two", "The doctor motions to the midwife that she should stay\nwith the child, and leaves the room silently and almost\nhastily.", "the midwife, and it looks like he's throwing her out\nwith a flood of angry insults.\n NARRATOR: When I went to the estate on Friday", "Neither the midwife nor Xenia know what to answer. At\nthat moment Hans comes running in from the field,\nexcited:", "NARRATOR: ...The search began shortly after\n midnight. Before, the Baron had ridden to the\n Rectory. But there he found out nothing new from\n the children who had been specially woken up." ], [ "FARMER (after a pause): Because of your mother?\n Because you feel they're responsible for her\n death? Is that it? What do you think? That I'm", "other women follow her, embarrassed.\nOnce the door has closed behind them, the farmer just\nstands there. Only after a long while does he move\nforward and sit beside his dead wife. He remains seated,", "Franz finally sits down again. SILENCE. The farmer\nstares at his plate, tries to speak softly, which is\nobviously difficult for him, to judge by the sound of\nhis voice.", "a tenant farmer died in a work-accident.", "The farmer keeps on walking as if he hasn't heard. Franz\nlooks at him from the side. For a long moment he remains\nsilent, while all three keep walking. Then, Franz goes", "arm and slams it down. The two stare at each other. For\na moment, we don't know what will happen. Then the\nfarmer goes on:", "FARMER: Well?\n FARMER: Tell me.\nFranz keeps on glaring straight ahead. The farmer adopts\na gentler tone.", "Suddenly the farmer stops and screams, almost crying\nwith fury and despair:\n FARMER: Shut up!\nCLOSE ANGLE: Paul. He was listening carefully the whole", "children. After the burial of the farmer's wife,\n that was attended by the whole village, the two\n accidents were soon forgotten...", "and very excited. The farmer looks very concerned.\n FARMER (to Franz): Is that true?\n FRANZ (hostile, keeps on eating): I don't know\n nothing.", "The father responds to this by slapping his face hard.\nFranz jumps up.\n FARMER (orders Franz without looking at him):\n Sit down!", "FARMER: Go and cut off his head of with your\n scythe. Sure, that'll bring your mother back to\n life.", "One of them tells a story, that we only partially\nunderstand because of all the noise:\n FIRST TENANT FARMER: ...so the guy really tried", "Franz bows his head. Paul, who has followed his father,\nout of the pigsty, glances surreptitiously at his\nbrother. The farmer goes over to the fountain and washes", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "FRANZ (hesitantly): Father, I have to tell you\n something.\n FARMER: What is it?\n FRANZ: I went to the sawmill.", "Franz turns to him abruptly:\n FRANZ: And how do you know they're innocent?\nThe farmer looks at Franz with round eyes. A long PAUSE\nfollows. Then the", "FARMER says (quietly): I don't know.\n\nAnd after another PAUSE.\n\n FARMER: But I don't know the opposite either.", "right behind the coffin.\nThe procession starts to move off. As it comes around\nthe corner of the farm to go down the path leading to", "time. He looks at the father. Then, lowers his eyes.\n NARRATOR: After these two days in July, life in\n the village returned to what it had always\n been..." ], [ "Today, more than a quarter of a century later,\n toward the end of my life, and several years\n after the end of a second war that was to change", "time. He looks at the father. Then, lowers his eyes.\n NARRATOR: After these two days in July, life in\n the village returned to what it had always\n been...", "She staggers back helplessly, he shouts something to her\nagain, whereupon she runs off. We hear all this from far\naway, because during the whole scene the narrator has\ncontinued his tale:\n 2", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more", "NARRATOR: The news spread around the village\n like wildfire. What would the consequences be?\n The first person who spoke the word WAR, was", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "who had died in the meantime, and with the money\n I opened a tailor's shop in the town, where I\n still live now.\n I never saw anybody from the village again.", "NARRATOR: The year was coming to an end with\n fine weather. The sun made the snowy landscape\n sparkle so brightly that it hurt the eyes.", "goes by fast. The world won't collapse. And\n during your holidays you can come and visit her.\n Good-bye.\nHe leaves the room. The schoolteacher is thrown off", "I was drafted at the start of the third year of\n the war. After the war, I sold the house in\n Grundbach that I had inherited from my father,", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "by the steward from harvesting chores, and was\n assigned to easier work in the sawmill.\nEverything happens very silently. An elderly woman, a", "all got back to bed. I'll wait till you're back\n in bed. It's freezing cold outside.\nThe three boys go back to bed. But first Anton ties up", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then", "XENIA: Yes. She's dead too. But that was a long\n time ago.\nBoth remain SILENT. In the meantime it has grown dark in\nthe kitchen.", "Won't you tell me? No?\n Then I'll tell you what the cause was: The boy\n had learned from someone, who had harmed the", "arm and slams it down. The two stare at each other. For\na moment, we don't know what will happen. Then the\nfarmer goes on:", "NARRATOR: Winter came early that year. At the\n Reformation feast on the first Sunday of\n November, a deep blanket of snow covered the", "Then he slips out of the bed and goes to the window.\nSuddenly, he is wide-awake:\n ANTON: Something is burning! Over there at the\n estate!", "At the same time a boy of ten comes over to the first\nfarmer and butts in to his story:\n BOY: Father, they cut off the Baron's cabbages." ], [ "questions remain without answer. But I believe I\n must tell of the strange events that occurred in\n our village, because they may cast a new light", "She staggers back helplessly, he shouts something to her\nagain, whereupon she runs off. We hear all this from far\naway, because during the whole scene the narrator has\ncontinued his tale:\n 2", "was caused by a wire that had been strung in his\n garden with the explicit intent of bringing him\n down. And in that case too, nobody knows\n anything, saw anything or heard anything.", "NARRATOR (o.s. continuing):...Everything began,\n if I remember correctly, with the doctor's\n riding accident. After his dressage session in", "NARRATOR: ...Despite of the strange events, that\n had unsettled the village, we thought of\n ourselves as united in the belief that the life", "Nobody saw the thing before, nobody saw it\n afterwards. It wound itself around the two trees\n all alone, and made itself vanish after the\n doctor's fall. Right?", "NARRATOR: ...to see if any of his patients had\n arrived. As it entered the property, the horse\n had tripped over a hardly visible, taut wire", "door, as if to make sure that nobody is coming.\n NARRATOR: A few days after Marie's fainting-fit\n that frightened us all, and that was followed by", "NARRATOR: ...The search began shortly after\n midnight. Before, the Baron had ridden to the\n Rectory. But there he found out nothing new from\n the children who had been specially woken up.", "NARRATOR: Winter came early that year. At the\n Reformation feast on the first Sunday of\n November, a deep blanket of snow covered the", "Suddenly I wondered why the midwife had closed\n the shutters of the house. Nobody in the village\n ever shut their house. Why had the midwife\n locked her boy in?", "and there we see some lanterns, put there to facilitate\nthe cleaning up.\nComing from the front door, the Baron crosses the vast\ncourtyard. Half way across he screams:", "by the steward from harvesting chores, and was\n assigned to easier work in the sawmill.\nEverything happens very silently. An elderly woman, a", "the fields. As they pass by the vegetable garden, they\nnotice the sliced off cabbages and stop. Some laugh at\nit, others are unsettled. Most of the children keep run", "time. He looks at the father. Then, lowers his eyes.\n NARRATOR: After these two days in July, life in\n the village returned to what it had always\n been...", "start at the beginning of the New Year.\n Since that night, where she had come looking for\n shelter in the school and we had tried to tell\n each other the story of our short lives until", "fetters. The child slumps down, his head is unwrapped,\ncovered in blood: it's the mongoloid son of the midwife.\nAstonished, somebody reads the words written in block", "NARRATOR: The midwife never came back. I waited\n until the morning, two days later. Then, I went\n to the manor house to inform the Baron. He", "motionless. For a very long time. He only tugs once at\nthe dress draped over the half-naked body, as if he\nwanted to cover a patch of nudity. Then he just sits", "her dizzy.\n Who assigned you to this job?\n MATTI (uneasy): You know how it works. The\n sawmill needed to be cleaned up, and the foremen" ], [ "The pastor looks at him, doesn't know how to react.\nThen, with a hoarse voice and trying to look\nindifferent, he says:", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "The schoolteacher has little affirmative and regretful\ngesture. He feels extremely uncomfortable in this role.\nAnother PAUSE. Then, the pastor continues:", "LONG SILENCE. Finally, the pastor gets up, takes a few\nsteps, then, after another PAUSE, turns again to the\nschoolteacher. His face is ashen, and he can hardly", "PASTOR: Do you understand now why I'm worried?\nMartin reacts with a timid nod of his head.\n PASTOR: So, according to you: what caused these", "him and says:\n Good-bye, Pastor.\n PASTOR: Good-bye.\nThe schoolteacher leaves the room. The pastor turns to", "While the pastor goes back to the black board, putting\nhis briefcase on the desk without saying a word, the\nschoolteacher, who feels slightly responsible for the", "At the dinner table, the pastor (in his mid-forties)\nsits with his back to the door. In front of him, at the\nother end of the table, sits his wife Anna, a woman in", "NARRATOR: The next Sunday, the Baron, at the end\n of the service, asked the pastor if he could say\n a few words:", "his suspicions will seem odd, and senses that the pastor\nwon't go along with then.\n SCHOOLTEACHER: Nothing. I had forgotten it.", "PASTOR: I think you know well.\nMartin doesn't know what to say, he looks down. The\npastor watches him for a long moment, then he gets up,", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "PASTOR (looking up): Come in\nFlorian comes hesitantly through the door.\n PASTOR: What do you want?", "PASTOR (refuses): What?\n SCHOOLTEACHER (keeps on searching hesitantly for\n his words): I don't know. (finally he dares to", "Supposedly, in order to help Xenia.\n PASTOR (doesn't understand): Yes... and?\nThe schoolteacher, uneasy, breathes hard. He knows that", "PASTOR: Well, how can I help you?\nThey enter the room and the pastor offers the\nschoolteacher a chair. Then he realizes that the windows", "PASTOR (looks up to the schoolteacher,\n \"stunned\"): Why should they?\nThe schoolteacher almost dodges speaking further:", "He first hugs Marie who, her face still wet with tears,\ntries a forced smile and then Martin. Then, the pastor\nturns to his wife:", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then", "PASTOR'S WIFE: Strange... Wait a second! I think\n that's my husband.\nAnd indeed, outside one can hear the FRONT DOOR and then" ], [ "PASTOR: Now the ribbon, Anna.\nAnna goes toward the two children, tying a white ribbon\naround Martin's upper arm and another in Marie's hair.", "PASTOR: When you were small, your mother once in\n a while would tie a ribbon in your hair or\n around your arm. Its white color was to remind", "The pastor is taking the white ribbon off Marie's head\nand Martin's arm. The rest of the family witnesses this\nalmost solemn act.", "their Sunday best, among them Marie and Martin, both\nwearing their white ribbons, the pastor's other\n 26", "The schoolteacher conducts the children's choir. The\nchildren sing enthusiastically. Marie and Martin wear\nthe white ribbon on their arm.", "Martin, who, the white ribbon still tied around his\nupper arm, stands in front of the desk.\n PASTOR: Your mother and I are deeply worried", "A paper has been tied around his neck with a white\nribbon.\nThe people hurry toward the child, free the child of its", "in our community was God's will and worth\n living.\n PASTOR: ... I take of this ribbon from you, in\n the belief that from now on you'll no longer", "after the other. At the end we see Marie: she wears the\nwhite ribbon in her hair.", "my own daughter is playing the leading role in\n this pitiful display.\n Last year I bound a white ribbon in her hair.\n Well, you all know that white is the color of", "Immediately all the CHILDREN rushing out say:\n Good-bye, Sir! Good-bye, Pastor!\nFinally, all the children have left the classroom,", "The students sit down. Marie keeps standing facing the\nwall. The pastor stops too. After a while he begins to\ntalk.\n This is a very sad day for me.", "Supposedly, in order to help Xenia.\n PASTOR (doesn't understand): Yes... and?\nThe schoolteacher, uneasy, breathes hard. He knows that", "Martin carries the cane out of the room. The pastor and\nthe other children sit around the table. Marie leaves\nthe room with her mother. After all the others have sat", "MARTIN (following her lead): Please forgive us.\nSILENCE. Then the pastor speaks very quietly, without\nturning to the two children:", "children even make fun of her, and she yells at the top\nof her voice:\n QUIET!!!!\nAt that moment, the door opens and the pastor comes in", "that she wouldn't need that ribbon any more\n I believed that she felt responsible, being the\n daughter of the spiritual leader of a Christian\n communi...", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "PASTOR: Do you understand now why I'm worried?\nMartin reacts with a timid nod of his head.\n PASTOR: So, according to you: what caused these" ], [ "He cries in a such pitiful way that even the pastor has\ntears in his eyes. He embraces the boy. The latter\nseizes the hand of his father and kisses it intensely.", "The boy looks embarrassed. He glances at his father,\nthen comes over with the cage and puts it carefully on\nhis father's desk. As Florian approaches, the pastor", "The pastor looks at him, doesn't know how to react.\nThen, with a hoarse voice and trying to look\nindifferent, he says:", "PASTOR: Well, Martin, why are you crying? Shall\n I spare you that confession? You too have done\n what that wretched boy did, haven't you?", "For a moment, neither of them knows what to do. Then the\nboy leaves the room.\nThe pastor follows him with his eyes. Then, he sits", "The schoolteacher has little affirmative and regretful\ngesture. He feels extremely uncomfortable in this role.\nAnother PAUSE. Then, the pastor continues:", "PASTOR: Do you understand now why I'm worried?\nMartin reacts with a timid nod of his head.\n PASTOR: So, according to you: what caused these", "the same, the father says\n PASTOR: I refuse to be touched by you. Your\n mother and I will sleep poorly because we know I\n have to hurt you tomorrow, and because it will", "PASTOR: And? What did she say?\n FLORIAN: She said, it was for Father to decide.\n PASTOR (smiling faintly): That's what she said?", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "PASTOR (softly): And when it's healed?\nFlorian looks at him with round eyes, he doesn't know\nwhat to answer. The pastor continues:", "PASTOR: I think you know well.\nMartin doesn't know what to say, he looks down. The\npastor watches him for a long moment, then he gets up,", "finest nerves of his body, in the area where\n God's will has erected sacred barriers. The boy\n imitated this action. He couldn't stop doing it,", "Florian doesn't know what to answer. So he merely looks\nat his father with pleading eyes.\n PASTOR (repeats): Will you set him free, as soon", "him and says:\n Good-bye, Pastor.\n PASTOR: Good-bye.\nThe schoolteacher leaves the room. The pastor turns to", "LONG SILENCE. Finally, the pastor gets up, takes a few\nsteps, then, after another PAUSE, turns again to the\nschoolteacher. His face is ashen, and he can hardly", "He first hugs Marie who, her face still wet with tears,\ntries a forced smile and then Martin. Then, the pastor\nturns to his wife:", "Franz bows his head. Paul, who has followed his father,\nout of the pigsty, glances surreptitiously at his\nbrother. The farmer goes over to the fountain and washes", "Martin looks his father in the eyes.\n Be sincere, Martin. Why did you blush and become\n so nervous when I told you the story of the poor\n boy." ], [ "come out with his suspicion): When the doctor\n had his accident... last year, you remember,\n Suddenly the children were in his garden.", "The doctor turns to her. She nods toward the house. The\ndoctor follows her look. Indeed Rudolph, who from here\nlooks even smaller than he really is, has stepped", "NARRATOR: During the next few weeks, the village\n gossip-factory worked overtime.\n Some claimed, the doctor was Hansi's father. He", "practice is closed until further notice. The\n doctor and his children have disappeared.\nThe pastor has almost finished closing the windows. He\npauses and turns to the schoolteacher:", "As he passes the midwife's house, he sees behind the\nfence in the garden, half hidden behind the bushes,\nMarie and a few other children. The shutters of the", "to the doctor. But since the night he was\n mistreated, I hadn't seen him again.\nHe leaves the midwife's house and hurries to the", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "Just as we were leaving the village, we met the\n doctor.\n A few days after the Thanksgiving feast,", "DOCTOR (laughs): Quod erat demonstrandum. Thank\n you. Well, good night, children.\n CHILDREN: Good night, Doctor.", "It was suspected, that the doctor had wanted to\n spare his legitimate children and himself public\n disclosure of his guilt, and had therefore fled\n with them. Apparently he had taken the disabled", "The doctor steps out of the door, and wanders through\nthe garden. He goes over to the trees, where the wire\nhad been strung. He examines the traces of the wire on", "time. He looks at the father. Then, lowers his eyes.\n NARRATOR: After these two days in July, life in\n the village returned to what it had always\n been...", "the fields. As they pass by the vegetable garden, they\nnotice the sliced off cabbages and stop. Some laugh at\nit, others are unsettled. Most of the children keep run", "Immediately all the CHILDREN rushing out say:\n Good-bye, Sir! Good-bye, Pastor!\nFinally, all the children have left the classroom,", "NARRATOR: ...The neighbor, a single woman of\n around 40, was the village midwife, who had\n filled the invaluable position of housekeeper", "NARRATOR: ...Despite of the strange events, that\n had unsettled the village, we thought of\n ourselves as united in the belief that the life", "children. After the burial of the farmer's wife,\n that was attended by the whole village, the two\n accidents were soon forgotten...", "As the farmer Felder and his children come out, they're\nshunned.\nGauntlet down the village street. The CAMERA follows.", "The children go away. The schoolteacher also goes on his\nway. After a few steps he turns around and looks at the\nchildren, then walks on.", "It's very quiet. The doctor speaks with a soothing,\nalmost tender voice to the child, who keeps on moaning:\n DOCTOR (softly): All right... Everything's all" ], [ "The doctor lies beside his wounded horse. His arm is\nstrangely twisted, his broken collarbone has made a bump\nin the blood-drenched jacket. He yells with pain.", "NARRATOR (o.s. continuing):...Everything began,\n if I remember correctly, with the doctor's\n riding accident. After his dressage session in", "NARRATOR: ...to see if any of his patients had\n arrived. As it entered the property, the horse\n had tripped over a hardly visible, taut wire", "behind the surrounding bushes.\nAs the group was approaching, we have been hearing\n NARRATOR: The day following the doctor's riding\n accident not only brought no solution to the", "to the doctor. But since the night he was\n mistreated, I hadn't seen him again.\nHe leaves the midwife's house and hurries to the", "The doctor turns to her. She nods toward the house. The\ndoctor follows her look. Indeed Rudolph, who from here\nlooks even smaller than he really is, has stepped", "to her father and looks at him, horrified, then at the\ntwitching horse, screams with horror. Her father shouts\nsomething to her, she bends over him and tries to raise", "The doctor steps out of the door, and wanders through\nthe garden. He goes over to the trees, where the wire\nhad been strung. He examines the traces of the wire on", "that tripped up the doctor's horse. A policeman is\nlooking for clues.\nWith him are Xenia, Rudolph, the midwife and her son\nHans.", "LONG SHOT OF THE RIDING STABLES.\nThe rider is the village doctor, a gaunt, intellectual-\nlooking man of around 60, who has finished his dressage", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "I remind you something what most of you have\n already forgotten. Almost two months ago, the\n doctor had a riding accident and he has still\n not returned from the hospital. This accident", "The doctor has one arm in a sling.\nThe Doctor's carriage ends up turning into his property.\nThe driver helps the doctor get out. Xenia comes running", "It was suspected, that the doctor had wanted to\n spare his legitimate children and himself public\n disclosure of his guilt, and had therefore fled\n with them. Apparently he had taken the disabled", "come out with his suspicion): When the doctor\n had his accident... last year, you remember,\n Suddenly the children were in his garden.", "their neighbor, who in turn got the message to\n the manor house, so that the agonizing doctor\n could be transported to the hospital of the", "during which the horse keeps trotting, Eva leans against\nthe schoolteacher and puts her head against his\nshoulder. But the shaking of the carriage on the rutted", "DOCTOR: According to you: when should it have\n occurred to me?\n At the hospital, I had forgotten how tiresome\n you were. One grows sentimental when one's in", "So they just let him go, saying to themselves:\n if he falls down, he falls down, that's it. But\n he didn't get much farther than the first", "the carthorses.\n STEWARD: ...its tendons were almost severed. It\n never would have recovered.\nThe landowner bends down and examines the wounds on the" ], [ "FARMER (after a pause): Because of your mother?\n Because you feel they're responsible for her\n death? Is that it? What do you think? That I'm", "other women follow her, embarrassed.\nOnce the door has closed behind them, the farmer just\nstands there. Only after a long while does he move\nforward and sit beside his dead wife. He remains seated,", "FARMER: Well?\n FARMER: Tell me.\nFranz keeps on glaring straight ahead. The farmer adopts\na gentler tone.", "50. FARM BUILDINGS /EXT/DAY\nPaul discovers his dead father in the pigsty. The farmer\nhas hung himself up from a hook in the wall. The", "Franz finally sits down again. SILENCE. The farmer\nstares at his plate, tries to speak softly, which is\nobviously difficult for him, to judge by the sound of\nhis voice.", "Suddenly the farmer stops and screams, almost crying\nwith fury and despair:\n FARMER: Shut up!\nCLOSE ANGLE: Paul. He was listening carefully the whole", "The farmer keeps on walking as if he hasn't heard. Franz\nlooks at him from the side. For a long moment he remains\nsilent, while all three keep walking. Then, Franz goes", "arm and slams it down. The two stare at each other. For\na moment, we don't know what will happen. Then the\nfarmer goes on:", "him right, that miser!\n FARMER (trying to control himself): Did you do\n it, or did you not do it?\nFranz doesn't answer and keeps on eating.", "FARMER says (quietly): I don't know.\n\nAnd after another PAUSE.\n\n FARMER: But I don't know the opposite either.", "The father responds to this by slapping his face hard.\nFranz jumps up.\n FARMER (orders Franz without looking at him):\n Sit down!", "The steward, who sent her there, must have known\n it. And the landowner too.\nThe farmer remains silent. They keep walking.\n Father?!", "One of them tells a story, that we only partially\nunderstand because of all the noise:\n FIRST TENANT FARMER: ...so the guy really tried", "Franz turns to him abruptly:\n FRANZ: And how do you know they're innocent?\nThe farmer looks at Franz with round eyes. A long PAUSE\nfollows. Then the", "FARMER: Go and cut off his head of with your\n scythe. Sure, that'll bring your mother back to\n life.", "and very excited. The farmer looks very concerned.\n FARMER (to Franz): Is that true?\n FRANZ (hostile, keeps on eating): I don't know\n nothing.", "At this, the farmer stops and turns around. He looks\nFranz right into the eyes:\n FARMER: I can see that. So what?", "NARRATOR: ...The villagers took that as a sign\n of his anger. Indeed, no evidence had been found\n as to the possible author of the crime, although", "...because they wanted to \"get even\". Get even\n for what? Because their mother had died while\n she was working in the sawmill, and it was", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more" ], [ "barn. He walks toward the Baron.\n BARON. Have you seen my son?\n STEWARD (surprised): No.", "STEWARD: It's really urgent. Normally, I\n wouldn't have disturbed you so late.\nAnnoyed, the Baron leaves the room with him. As he goes", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more", "The steward comes over to them and, with a little grin,\ncomments on the sensitivity of his masters:\n STEWARD: It used to be an old custom (he\n quotes):", "At this, the steward pounces on the boy and smacks him\nso hard that he falls out of his chair.\n Give it to me!", "The Baron makes a short speech and the steward assigns\nthe areas to be searched. Most of this is drowned out by\nthe narrator's voice.", "He turns away and goes out into the courtyard. The tutor\nfollow him with his eyes. He feels he's being badly\ntreated and hates the Baron for his insults. Finally he", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "BARON: Where did you see my son for the last\n time?\n TUTOR: Outside, in the courtyard. He said, he", "EVA: The son of the Baron isn't at all well. His\n parents are angry and desperate. Now they say", "The father responds to this by slapping his face hard.\nFranz jumps up.\n FARMER (orders Franz without looking at him):\n Sit down!", "KNOCKS at the door. After a short gesture of irritation\n BARON (irked): Come in!\nThe steward appears.", "BARON (wryly): I can imagine.(looks up to the\n tutor): You're an idiot, Huber. Why do you think", "BARON: Bräker!!\nThe steward is overseeing a dozen farmhands, who are\nputting the tables and the benches of the feast back the", "dashes upstairs. We hear him thrashing the boy in the", "GEORG (screaming): Ouch! ...Ouch!!\n STEWARD (beat): You bastard, you wretch!", "BARON: You all know now what was done to my son\n Siegmund. Policemen from the district town were\n here this week. They questioned many of you. But", "the result of her conversation, or of the message\nbrought by the steward. The Baron paces a few steps,\npondering, then glances at his wife. Finally, she asks", "FARMER (furious, but with forced calm): Do you\n want me to sue the Baron? Or kill the steward?\n FRANZ: I...", "and there we see some lanterns, put there to facilitate\nthe cleaning up.\nComing from the front door, the Baron crosses the vast\ncourtyard. Half way across he screams:" ], [ "his suspicions will seem odd, and senses that the pastor\nwon't go along with then.\n SCHOOLTEACHER: Nothing. I had forgotten it.", "SCHOOLTEACHER: Yes, she was.\n PASTOR'S WIFE: And she didn't say anything?\nThe schoolteacher shakes his head. They both remain", "Supposedly, in order to help Xenia.\n PASTOR (doesn't understand): Yes... and?\nThe schoolteacher, uneasy, breathes hard. He knows that", "The schoolteacher realizes that he won't get any further\nthis way.\n SCHOOLTEACHER: Did you ever ask yourselves who\n could have treated Hansi that way?", "The schoolteacher thinks for a moment, then he goes over\nto her.\n Come on, tell me. You have something on your\n mind, haven't you?", "Martin turns and faces the schoolteacher, and says in\nsuch a pleading voice that it startles him:\n MARTIN: Please, don't tell him! Please, sir,", "SCHOOLTEACHER: A couple of days before Hansi was\n almost beaten to death, the steward's daughter\n had predicted precisely that to me. Supposedly,", "PASTOR (looks up to the schoolteacher,\n \"stunned\"): Why should they?\nThe schoolteacher almost dodges speaking further:", "schoolteacher's eyes, while others mutter a greeting, as\nif they wanted to say goodbye, as they went away. The\nschoolteacher looks annoyed. As Marie steps out of the", "The schoolteacher, the steward and his wife search\nthrough the house. Because of the closed shutters, its\nrooms are veiled in half-light. Several times they call", "SCHOOLTEACHER: They wanted to help him.\n PASTOR: So what", "The schoolteacher has little affirmative and regretful\ngesture. He feels extremely uncomfortable in this role.\nAnother PAUSE. Then, the pastor continues:", "While the pastor goes back to the black board, putting\nhis briefcase on the desk without saying a word, the\nschoolteacher, who feels slightly responsible for the", "The schoolteacher bends over to catch her gaze.\n\n SCHOOLTEACHER: Look at me.\n\n\nShe looks at him reluctantly, maintaining her defiant\nreserve.", "SCHOOLTEACHER: Well?\n MARIE: We discussed it with Father. He said it\n must be a sick person.", "SCHOOLTEACHER: Folks around here.\n EVA: Oh. So what?\n SCHOOLTEACHER: Nothing. I don't know. Sorry. I'm", "MARTIN (after a short silence): Yes, I did.\n SCHOOLTEACHER: Well?\nThe boy remains silent.", "Of course, the schoolteacher notices the reaction. But\nhe has already gone too far to backtrack. After a PAUSE\nhe goes on:", "with the schoolteacher.\nAlmost instantly, the room becomes QUIET. Without saying\na word, the pastor goes over to Marie, grabs her by the", "He looks at the schoolteacher for a moment with disdain:" ], [ "MIDWIFE: Will you let me have the bicycle?\n SCHOOLTEACHER: Why don't you tell me?", "SCHOOLTEACHER: I just borrowed it myself. I\n going to ride to town, to see my fiancée..\n MIDWIFE: Please! Lend it to me!", "the midwife doesn't know what to do. Finally she turns\naway from the door and starts to cross the yard. There,\nshe sees the schoolteacher. She comes over to him.", "The schoolteacher looks at her. The midwife looks\npitiful: she tries to smile at him pleadingly, tears are\nstreaming down her face.", "borrow your bicycle?\n SCHOOLTEACHER: It's not mine.\n MIDWIFE: Could I borrow it just the same?", "Finally, he gives the bicycle to her. She grabs it\nquickly, says\n Thanks!\nand rides away. The schoolteacher remains behind, alone.", "SCHOOLTEACHER: Why do you need it? Where do you\n want to go?\n MIDWIFE: I must go to town.", "The schoolteacher stops. He ponders about this. Then he\ngoes back to the midwife's house.", "MIDWIFE: Well, did you enjoy the singing?\n HANS (nods eagerly): It was great!\nThe schoolteacher comes in.", "SCHOOLTEACHER: Can't the doctor can lend you his\n horse?\n MIDWIFE: I don't know how to ride.", "In the midwife's bedroom, the schoolteacher notices a\nphoto: it shows the doctor, an unknown woman, and Xenia\nas a small girl.", "SCHOOLTEACHER: What for?\n MIDWIFE: I asked the steward for a carriage, but\n that stubborn fool won't agree to anything.", "are open and closes them, as the schoolteacher starts to\nspeak.\n SCHOOLTEACHER: I spoke to the midwife today: she", "Embarrassed pause. Then\n SCHOOLTEACHER: Is that your bicycle?\n EVA (\"What an idea!\"): No! It belongs to the\n estate.", "NARRATOR: ...The neighbor, a single woman of\n around 40, was the village midwife, who had\n filled the invaluable position of housekeeper", "Martin, a tall gangly boy of around 12, whose elegant\nclothes make him stand out among the other children\ncoming out of the school, turns to the midwife:", "MIDWIFE: I have to go to the police in town. I\n now know who committed all these crimes.\n SCHOOLTEACHER (flabbergasted): Who?", "PAUSE.\n Please! Lend me the bicycle.\n SCHOOLTEACHER: Why? What is going on?\nAfter hesitating a while", "SCHOOLTEACHER: Good afternoon, Mrs. Wagner.\n What's happening?\n MIDWIFE (very excited): Good afternoon. Can I", "the Baron's children, aren't you?\nWe hear the bicycle stopping.\n EVA (o.s.): Why?\nThe schoolteacher has turned around and now moves toward" ], [ "The doctor turns to her. She nods toward the house. The\ndoctor follows her look. Indeed Rudolph, who from here\nlooks even smaller than he really is, has stepped", "The doctor goes over and slaps her. Tears start to run\ndown her face, but after a short pause she keeps on\nspeaking, \"unmoved\":", "around him. He lets her do it, with a patronizing smile\nand pulls gently away from her.\n DOCTOR: Careful, my arm.\nShe tries to hide her frustration, sits down again with", "The doctor snorts with disdain.\n\n DOCTOR: That's it. Now leave me alone. I've got\n work to do.", "he says coldly:\n DOCTOR: Wouldn't it be better if you stopped\n doing that?\nIt's like a slap in the face. She looks dumbfounded.", "to the doctor. But since the night he was\n mistreated, I hadn't seen him again.\nHe leaves the midwife's house and hurries to the", "and am embarrassed at myself. So what's the\n point?!\n MIDWIFE: Are you through?\n DOCTOR:(contemptuously)): Yes, I have been for", "The doctor lies beside his wounded horse. His arm is\nstrangely twisted, his broken collarbone has made a bump\nin the blood-drenched jacket. He yells with pain.", "pain.\nPAUSE.\n DOCTOR (tired): Get out. Why don't you get out.\n Don't you have any pride?", "PAUSE. The doctor \"works\", as if he hadn't heard. She\nkeeps watching him for a while, and then says softly:", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "DOCTOR: According to you: when should it have\n occurred to me?\n At the hospital, I had forgotten how tiresome\n you were. One grows sentimental when one's in", "NARRATOR (o.s. continuing):...Everything began,\n if I remember correctly, with the doctor's\n riding accident. After his dressage session in", "DOCTOR (more to himself, with a faint smile):\n Yes.\nLONG PAUSE.\n MIDWIFE: You didn't miss me.", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more", "He looks up at her. After a pause, he says:\n DOCTOR: My God, why don't you just die?!", "He pulls the girl to her feet. She's thoroughly\nintimidated, and sniffles faintly. Then he leads her\ntoward the door, at the same time turning to the", "The doctor steps out of the door, and wanders through\nthe garden. He goes over to the trees, where the wire\nhad been strung. He examines the traces of the wire on", "She staggers back helplessly, he shouts something to her\nagain, whereupon she runs off. We hear all this from far\naway, because during the whole scene the narrator has\ncontinued his tale:\n 2", "DOCTOR (irritated): My God, you haven't done\n anything at all. You're ugly, you're messy,\n you're flabby and you have bad breath. Isn't" ], [ "The doctor turns to her. She nods toward the house. The\ndoctor follows her look. Indeed Rudolph, who from here\nlooks even smaller than he really is, has stepped", "to the doctor. But since the night he was\n mistreated, I hadn't seen him again.\nHe leaves the midwife's house and hurries to the", "The doctor steps out of the door, and wanders through\nthe garden. He goes over to the trees, where the wire\nhad been strung. He examines the traces of the wire on", "behind the surrounding bushes.\nAs the group was approaching, we have been hearing\n NARRATOR: The day following the doctor's riding\n accident not only brought no solution to the", "The doctor has one arm in a sling.\nThe Doctor's carriage ends up turning into his property.\nThe driver helps the doctor get out. Xenia comes running", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "NARRATOR: ...to see if any of his patients had\n arrived. As it entered the property, the horse\n had tripped over a hardly visible, taut wire", "44. THE STEWARD'S HOUSE. INT/NIGHT\nThe doctor examines the steward's baby that is crying.\nFinally, he turns to the parents.", "The doctor lies beside his wounded horse. His arm is\nstrangely twisted, his broken collarbone has made a bump\nin the blood-drenched jacket. He yells with pain.", "65. THE MIDWIFE'S HOUSE INT/NIGHT\nThe doctor carefully examines Hansi's wounds. Especially\nthe areas around eyes that are badly affected. The boy", "After a few moments Xenia, the doctor's 12-year old\ndaughter, comes running out of the house. She rushes up", "DOCTOR (laughs): Quod erat demonstrandum. Thank\n you. Well, good night, children.\n CHILDREN: Good night, Doctor.", "their neighbor, who in turn got the message to\n the manor house, so that the agonizing doctor\n could be transported to the hospital of the", "57. THE DOCTOR'S HOUSE. INT/NIGHT\nSTAIRWELL.\nThe only light comes in from the living room. Rudolph", "come out with his suspicion): When the doctor\n had his accident... last year, you remember,\n Suddenly the children were in his garden.", "NARRATOR: ...The search began shortly after\n midnight. Before, the Baron had ridden to the\n Rectory. But there he found out nothing new from\n the children who had been specially woken up.", "him at the table, on which are the leftovers of their\nmeal. With a little ironic smile, the doctor raises his\nglass to her. She takes her glass and clinks it with", "For the time being, the doctor remained in the\n hospital. In the meantime the midwife catered\n the basic needs of Xenia and Rudolph, his two", "XENIA (startled, her face tearstained): Rudi?!\nThe doctor spins around, and looks stunned to his young\nson. Both look as if they have been caught red-handed.", "and there we see some lanterns, put there to facilitate\nthe cleaning up.\nComing from the front door, the Baron crosses the vast\ncourtyard. Half way across he screams:" ], [ "At the dinner table, the pastor (in his mid-forties)\nsits with his back to the door. In front of him, at the\nother end of the table, sits his wife Anna, a woman in", "One of them tells a story, that we only partially\nunderstand because of all the noise:\n FIRST TENANT FARMER: ...so the guy really tried", "She staggers back helplessly, he shouts something to her\nagain, whereupon she runs off. We hear all this from far\naway, because during the whole scene the narrator has\ncontinued his tale:\n 2", "The steward, who sent her there, must have known\n it. And the landowner too.\nThe farmer remains silent. They keep walking.\n Father?!", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then", "arm and slams it down. The two stare at each other. For\na moment, we don't know what will happen. Then the\nfarmer goes on:", "other women follow her, embarrassed.\nOnce the door has closed behind them, the farmer just\nstands there. Only after a long while does he move\nforward and sit beside his dead wife. He remains seated,", "A dance hall has been set up. On it we see the\nlandowner, the steward and the pastor with their\nfamilies.\nA couple of younger women, a delegation of the", "by the steward from harvesting chores, and was\n assigned to easier work in the sawmill.\nEverything happens very silently. An elderly woman, a", "NARRATOR: On the Sunday between those dates, the\n whole village came to the festive service.\n An atmosphere of expectation and departure was", "sits down at his place beside his father.\nThe pastor folds his hands in prayer, the others follow\nsuit.\n PASTOR (very friendly): Marie, would you say", "At the same time a boy of ten comes over to the first\nfarmer and butts in to his story:\n BOY: Father, they cut off the Baron's cabbages.", "Finally, he was found walking down the road,\n scantily dressed for a trip, headed eagerly\n toward the town. When he was asked where he was", "front of the young girls. Older women are stand around\nin groups, gossiping. Some farmers are gathered around\nthe landowner he is friendly with them, but we don't", "In the distance we hear the MUSIC from the feast.\nFranz, in working clothes, comes over, opens a gate in\nthe fence, then goes to a large field with the cabbages", "time. He looks at the father. Then, lowers his eyes.\n NARRATOR: After these two days in July, life in\n the village returned to what it had always\n been...", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "right behind the coffin.\nThe procession starts to move off. As it comes around\nthe corner of the farm to go down the path leading to", "(7). Two other places are empty.\nThe table is set for 8 people, but the plates are empty.\nSILENCE.\n MARIE (quietly): Please forgive us.", "Under a big shadowy tree, we see the two strollers of\nthe landowner's family, a small table and a few chairs.\nEva is sitting beside the twins and watches the colorful" ], [ "PASTOR: Now the ribbon, Anna.\nAnna goes toward the two children, tying a white ribbon\naround Martin's upper arm and another in Marie's hair.", "PASTOR: When you were small, your mother once in\n a while would tie a ribbon in your hair or\n around your arm. Its white color was to remind", "The pastor is taking the white ribbon off Marie's head\nand Martin's arm. The rest of the family witnesses this\nalmost solemn act.", "their Sunday best, among them Marie and Martin, both\nwearing their white ribbons, the pastor's other\n 26", "The schoolteacher conducts the children's choir. The\nchildren sing enthusiastically. Marie and Martin wear\nthe white ribbon on their arm.", "Martin, who, the white ribbon still tied around his\nupper arm, stands in front of the desk.\n PASTOR: Your mother and I are deeply worried", "A paper has been tied around his neck with a white\nribbon.\nThe people hurry toward the child, free the child of its", "in our community was God's will and worth\n living.\n PASTOR: ... I take of this ribbon from you, in\n the belief that from now on you'll no longer", "my own daughter is playing the leading role in\n this pitiful display.\n Last year I bound a white ribbon in her hair.\n Well, you all know that white is the color of", "after the other. At the end we see Marie: she wears the\nwhite ribbon in her hair.", "Immediately all the CHILDREN rushing out say:\n Good-bye, Sir! Good-bye, Pastor!\nFinally, all the children have left the classroom,", "Supposedly, in order to help Xenia.\n PASTOR (doesn't understand): Yes... and?\nThe schoolteacher, uneasy, breathes hard. He knows that", "The students sit down. Marie keeps standing facing the\nwall. The pastor stops too. After a while he begins to\ntalk.\n This is a very sad day for me.", "Martin carries the cane out of the room. The pastor and\nthe other children sit around the table. Marie leaves\nthe room with her mother. After all the others have sat", "him and says:\n Good-bye, Pastor.\n PASTOR: Good-bye.\nThe schoolteacher leaves the room. The pastor turns to", "MARTIN (following her lead): Please forgive us.\nSILENCE. Then the pastor speaks very quietly, without\nturning to the two children:", "The schoolteacher has little affirmative and regretful\ngesture. He feels extremely uncomfortable in this role.\nAnother PAUSE. Then, the pastor continues:", "children even make fun of her, and she yells at the top\nof her voice:\n QUIET!!!!\nAt that moment, the door opens and the pastor comes in", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "While the pastor goes back to the black board, putting\nhis briefcase on the desk without saying a word, the\nschoolteacher, who feels slightly responsible for the" ], [ "NARRATOR: In mid-December, I finally got a\n letter from Eva. Her father had found her a new\n job in the district capital, which she would", "SCHOOLTEACHER: What's going on?\n\n EVA: They fired me.\n\n SCHOOLTEACHER (startled): What do you mean?", "He's a sturdy man in his early fifties, of peasant\nstock. He probably came straight from a tavern, and\nappears to be slightly drunk. The schoolteacher, Eva and", "On the dance floor, Eva and the schoolteacher try to\ndance. Neither is very talented. Eva keeps looking at\nher feet and smiles, embarrassed.", "Eva laughs, embarrassed and looks down.\n EVA: One. Two. Three. One. Two. Three. One. Two.\n Three. One. Two. Three.", "SCHOOLTEACHER: Are you going there?\n EVA: Yes, I am.\n SCHOOLTEACHER (doesn't know what to say): Well,", "Eva looks down and shakes her head. The schoolteacher\nstops the carriage, turns to her:\n What's going on?\n EVA: Nothing. Please.", "EVA: I don't know your father.\n SCHOOLTEACHER: That's true.\nThey look at each other for a while and then Eva rides", "SCHOOLTEACHER (surprised and glad): Eva!\n EVA (hardly understandable): May I come in?\nThe Schoolteacher stands up, goes toward and, laughing\nwith surprise, says to her.", "SCHOOLTEACHER: You see: we're getting better.\n EVA: Well.\n SCHOOLTEACHER: Stop looking at your feet.", "EVA: Yes.\nPAUSE.\n SCHOOLTEACHER: Is that all right with you?\nPAUSE.", "The father sits down beside Eva and looks at the\nschoolteacher. Eva appears to be awkward, and stares at\nthe table in front of her.", "Eva (18), a redhead, somewhat chubby, but pretty girl,\ncrosses him way on her bicycle. A big bag is strapped to\nthe baggage carrier.", "EVA (rather suspicious because all this is too\n intimate for her): Yes.\n SCHOOLTEACHER: Well, you're probably looking", "Eva looks up. Their eyes meet. Then she takes his hand\nin her hand. They remain seated without saying a word.", "Now Eva laughs too.\n EVA: What?!\n SCHOOLTEACHER (smiling as if to apologize):", "SCHOOLTEACHER: Hello.\n EVA (passing by): Hello.\nThe schoolteacher stops, turns to the girl:", "balance by all this. He stands up and takes a few steps.\nHe sits down again and thinks.\nFinally, the door opens and Eva enters. She doesn't", "at the father. The schoolteacher stands up, as Eva ran\nout. He'd rather follow her, but has to remain polite\ntoward the father. The father says calmly:", "EVA says: And Sigi?\n SCHOOLTEACHER: I don't know. The Baroness isn't\n back yet.\n EVA: And the Baron?" ], [ "The boy looks embarrassed. He glances at his father,\nthen comes over with the cage and puts it carefully on\nhis father's desk. As Florian approaches, the pastor", "He cries in a such pitiful way that even the pastor has\ntears in his eyes. He embraces the boy. The latter\nseizes the hand of his father and kisses it intensely.", "cry with pity and fear.\nFinally both have received their 10 strokes.\nCLOSE ANGLE: The pastor. He is breathless and beads of", "For a moment, neither of them knows what to do. Then the\nboy leaves the room.\nThe pastor follows him with his eyes. Then, he sits", "the same, the father says\n PASTOR: I refuse to be touched by you. Your\n mother and I will sleep poorly because we know I\n have to hurt you tomorrow, and because it will", "The pastor looks at him, doesn't know how to react.\nThen, with a hoarse voice and trying to look\nindifferent, he says:", "PASTOR: Well, Martin, why are you crying? Shall\n I spare you that confession? You too have done\n what that wretched boy did, haven't you?", "The schoolteacher has little affirmative and regretful\ngesture. He feels extremely uncomfortable in this role.\nAnother PAUSE. Then, the pastor continues:", "with the schoolteacher.\nAlmost instantly, the room becomes QUIET. Without saying\na word, the pastor goes over to Marie, grabs her by the", "LONG SILENCE. Finally, the pastor gets up, takes a few\nsteps, then, after another PAUSE, turns again to the\nschoolteacher. His face is ashen, and he can hardly", "finest nerves of his body, in the area where\n God's will has erected sacred barriers. The boy\n imitated this action. He couldn't stop doing it,", "PASTOR: I think you know well.\nMartin doesn't know what to say, he looks down. The\npastor watches him for a long moment, then he gets up,", "him and says:\n Good-bye, Pastor.\n PASTOR: Good-bye.\nThe schoolteacher leaves the room. The pastor turns to", "PASTOR (softly): And when it's healed?\nFlorian looks at him with round eyes, he doesn't know\nwhat to answer. The pastor continues:", "PASTOR: You probably agree with me, that I\n cannot leave your offense unpunished, if we want\n keep living in mutual respect. So, tomorrow", "The students sit down. Marie keeps standing facing the\nwall. The pastor stops too. After a while he begins to\ntalk.\n This is a very sad day for me.", "The father responds to this by slapping his face hard.\nFranz jumps up.\n FARMER (orders Franz without looking at him):\n Sit down!", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "Florian doesn't know what to answer. So he merely looks\nat his father with pleading eyes.\n PASTOR (repeats): Will you set him free, as soon", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then" ], [ "He's a sturdy man in his early fifties, of peasant\nstock. He probably came straight from a tavern, and\nappears to be slightly drunk. The schoolteacher, Eva and", "she's willing to get married. She's still a\n child. She hasn't seen anything of the world.\n To Eva: Say something. Do you want him?", "Eva looks up. Their eyes meet. Then she takes his hand\nin her hand. They remain seated without saying a word.", "On the dance floor, Eva and the schoolteacher try to\ndance. Neither is very talented. Eva keeps looking at\nher feet and smiles, embarrassed.", "He drives on. After a few meters, Eva puts her hand on\nhis hands and on the reins. He stops the carriage, she\nlooks at him.\n EVA: Thanks.", "at the father. The schoolteacher stands up, as Eva ran\nout. He'd rather follow her, but has to remain polite\ntoward the father. The father says calmly:", "He first hugs Marie who, her face still wet with tears,\ntries a forced smile and then Martin. Then, the pastor\nturns to his wife:", "Eva looks down and shakes her head. The schoolteacher\nstops the carriage, turns to her:\n What's going on?\n EVA: Nothing. Please.", "the Baroness had left that morning with her\n children. Reluctantly, the steward lent me a\n carriage to take Eva home.\nAn open carriage with the Doctor inside comes from the", "NARRATOR: We had arranged to meet at the town\n railway station, since Eva wanted to avoid being\n seen with me. She was living with distant", "balance by all this. He stands up and takes a few steps.\nHe sits down again and thinks.\nFinally, the door opens and Eva enters. She doesn't", "EVA: I don't know your father.\n SCHOOLTEACHER: That's true.\nThey look at each other for a while and then Eva rides", "NARRATOR: In mid-December, I finally got a\n letter from Eva. Her father had found her a new\n job in the district capital, which she would", "STEWARD: I can imagine. Who wouldn't like that.\n EMMA (rebuking him gently): Georg!\n STEWARD (to Eva): What about you? Don't you get", "SCHOOLTEACHER (surprised and glad): Eva!\n EVA (hardly understandable): May I come in?\nThe Schoolteacher stands up, goes toward and, laughing\nwith surprise, says to her.", "Now Eva laughs too.\n EVA: What?!\n SCHOOLTEACHER (smiling as if to apologize):", "EVA: Yes.\nPAUSE.\n SCHOOLTEACHER: Is that all right with you?\nPAUSE.", "EVA says: And Sigi?\n SCHOOLTEACHER: I don't know. The Baroness isn't\n back yet.\n EVA: And the Baron?", "Eva laughs, embarrassed and looks down.\n EVA: One. Two. Three. One. Two. Three. One. Two.\n Three. One. Two. Three.", "Eva looks at the steward's wife, not knowing, how to\nreact to the \"mother joke\". But the slightly naive wife\nof the steward is basically fond of any jokes her" ], [ "He's a sturdy man in his early fifties, of peasant\nstock. He probably came straight from a tavern, and\nappears to be slightly drunk. The schoolteacher, Eva and", "EVA: Yes.\nPAUSE.\n SCHOOLTEACHER: Is that all right with you?\nPAUSE.", "EVA: That the schoolteacher is from the village\n next to mine.\n SCHOOLTEACHER (laughs): Oh, I see! Yes. Well...", "at the father. The schoolteacher stands up, as Eva ran\nout. He'd rather follow her, but has to remain polite\ntoward the father. The father says calmly:", "SCHOOLTEACHER (surprised and glad): Eva!\n EVA (hardly understandable): May I come in?\nThe Schoolteacher stands up, goes toward and, laughing\nwith surprise, says to her.", "during which the horse keeps trotting, Eva leans against\nthe schoolteacher and puts her head against his\nshoulder. But the shaking of the carriage on the rutted", "EVA: I don't know your father.\n SCHOOLTEACHER: That's true.\nThey look at each other for a while and then Eva rides", "Eva looks down and shakes her head. The schoolteacher\nstops the carriage, turns to her:\n What's going on?\n EVA: Nothing. Please.", "SCHOOLTEACHER (stepping back): Of course. Well,\n good-bye.\n EVA: Good-bye.\nShe's about to ride off.", "SCHOOLTEACHER: Hello.\n EVA (passing by): Hello.\nThe schoolteacher stops, turns to the girl:", "On the dance floor, Eva and the schoolteacher try to\ndance. Neither is very talented. Eva keeps looking at\nher feet and smiles, embarrassed.", "SCHOOLTEACHER: Are you going there?\n EVA: Yes, I am.\n SCHOOLTEACHER (doesn't know what to say): Well,", "make her complain about their forced separation, and\nsays cheerfully:\n EVA: No. Really.\nThe schoolteacher exchanges a smiling glance with her,", "EVA (rather suspicious because all this is too\n intimate for her): Yes.\n SCHOOLTEACHER: Well, you're probably looking", "SCHOOLTEACHER: You see: we're getting better.\n EVA: Well.\n SCHOOLTEACHER: Stop looking at your feet.", "The schoolteacher and Eva look at each other, but Eva\nsoon averts her eyes.\n SCHOOLTEACHER: They now want to tear down the", "SCHOOLTEACHER: Folks around here.\n EVA: Oh. So what?\n SCHOOLTEACHER: Nothing. I don't know. Sorry. I'm", "Now Eva laughs too.\n EVA: What?!\n SCHOOLTEACHER (smiling as if to apologize):", "SCHOOLTEACHER: What's going on?\n\n EVA: They fired me.\n\n SCHOOLTEACHER (startled): What do you mean?", "The father sits down beside Eva and looks at the\nschoolteacher. Eva appears to be awkward, and stares at\nthe table in front of her." ], [ "The doctor lies beside his wounded horse. His arm is\nstrangely twisted, his broken collarbone has made a bump\nin the blood-drenched jacket. He yells with pain.", "The doctor steps out of the door, and wanders through\nthe garden. He goes over to the trees, where the wire\nhad been strung. He examines the traces of the wire on", "The doctor turns to her. She nods toward the house. The\ndoctor follows her look. Indeed Rudolph, who from here\nlooks even smaller than he really is, has stepped", "NARRATOR (o.s. continuing):...Everything began,\n if I remember correctly, with the doctor's\n riding accident. After his dressage session in", "The doctor has one arm in a sling.\nThe Doctor's carriage ends up turning into his property.\nThe driver helps the doctor get out. Xenia comes running", "The doctor goes over and slaps her. Tears start to run\ndown her face, but after a short pause she keeps on\nspeaking, \"unmoved\":", "around him. He lets her do it, with a patronizing smile\nand pulls gently away from her.\n DOCTOR: Careful, my arm.\nShe tries to hide her frustration, sits down again with", "NARRATOR: ...to see if any of his patients had\n arrived. As it entered the property, the horse\n had tripped over a hardly visible, taut wire", "So they just let him go, saying to themselves:\n if he falls down, he falls down, that's it. But\n he didn't get much farther than the first", "behind the surrounding bushes.\nAs the group was approaching, we have been hearing\n NARRATOR: The day following the doctor's riding\n accident not only brought no solution to the", "to the doctor. But since the night he was\n mistreated, I hadn't seen him again.\nHe leaves the midwife's house and hurries to the", "Nobody saw the thing before, nobody saw it\n afterwards. It wound itself around the two trees\n all alone, and made itself vanish after the\n doctor's fall. Right?", "Then he tiptoes toward the stable door. As he touches\nthe stable door, he lacks the strength to go inside\nagain. Slowly he heads for the living room. The", "PAUSE. The doctor \"works\", as if he hadn't heard. She\nkeeps watching him for a while, and then says softly:", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:", "come out with his suspicion): When the doctor\n had his accident... last year, you remember,\n Suddenly the children were in his garden.", "It's very quiet. The doctor speaks with a soothing,\nalmost tender voice to the child, who keeps on moaning:\n DOCTOR (softly): All right... Everything's all", "the toilet. She tells her father with a smile. As Xenia\nhangs up the doctor's jacket, he goes to the toilet door\nand tries to open it. It's locked. The Doctor stops in", "He looks up at her. After a pause, he says:\n DOCTOR: My God, why don't you just die?!", "door, as if to make sure that nobody is coming.\n NARRATOR: A few days after Marie's fainting-fit\n that frightened us all, and that was followed by" ], [ "other women follow her, embarrassed.\nOnce the door has closed behind them, the farmer just\nstands there. Only after a long while does he move\nforward and sit beside his dead wife. He remains seated,", "FARMER (after a pause): Because of your mother?\n Because you feel they're responsible for her\n death? Is that it? What do you think? That I'm", "arm and slams it down. The two stare at each other. For\na moment, we don't know what will happen. Then the\nfarmer goes on:", "15. FARM INT/NIGHT\nThe body of the farmer's wife has been laid out. The\ncandles to its left and right are almost burnt out.", "NARRATOR: ...The neighbor, a single woman of\n around 40, was the village midwife, who had\n filled the invaluable position of housekeeper", "by the steward from harvesting chores, and was\n assigned to easier work in the sawmill.\nEverything happens very silently. An elderly woman, a", "The farmer keeps on walking as if he hasn't heard. Franz\nlooks at him from the side. For a long moment he remains\nsilent, while all three keep walking. Then, Franz goes", "FOURTH FARMHAND (sitting beside the second,\n almost in a whisper): Don't you know: it was her\n mother who had that accident?...", "FARMER: Go and cut off his head of with your\n scythe. Sure, that'll bring your mother back to\n life.", "The steward, who sent her there, must have known\n it. And the landowner too.\nThe farmer remains silent. They keep walking.\n Father?!", "The steward's wife has left the room. The schoolteacher\nsits around, bored. After a while he gets up, goes to\nthe window and looks out.", "children. After the burial of the farmer's wife,\n that was attended by the whole village, the two\n accidents were soon forgotten...", "She staggers back helplessly, he shouts something to her\nagain, whereupon she runs off. We hear all this from far\naway, because during the whole scene the narrator has\ncontinued his tale:\n 2", "Franz finally sits down again. SILENCE. The farmer\nstares at his plate, tries to speak softly, which is\nobviously difficult for him, to judge by the sound of\nhis voice.", "Reluctantly, the old midwife abandons her half completed\nwork, not without having spread the dress she had draped\nover the still half-naked body of the dead woman. The", "right behind the coffin.\nThe procession starts to move off. As it comes around\nthe corner of the farm to go down the path leading to", "FARMER: Well?\n FARMER: Tell me.\nFranz keeps on glaring straight ahead. The farmer adopts\na gentler tone.", "Suddenly the farmer stops and screams, almost crying\nwith fury and despair:\n FARMER: Shut up!\nCLOSE ANGLE: Paul. He was listening carefully the whole", "XENIA: Yes. She's dead too. But that was a long\n time ago.\nBoth remain SILENT. In the meantime it has grown dark in\nthe kitchen.", "body and finally he died. The body, which I\n blessed, looked like the body of an old man.\nThe pastor watches Martin:" ], [ "SCHOOLTEACHER: I just borrowed it myself. I\n going to ride to town, to see my fiancée..\n MIDWIFE: Please! Lend it to me!", "the midwife doesn't know what to do. Finally she turns\naway from the door and starts to cross the yard. There,\nshe sees the schoolteacher. She comes over to him.", "The schoolteacher looks at her. The midwife looks\npitiful: she tries to smile at him pleadingly, tears are\nstreaming down her face.", "The schoolteacher stops. He ponders about this. Then he\ngoes back to the midwife's house.", "SCHOOLTEACHER: Can't the doctor can lend you his\n horse?\n MIDWIFE: I don't know how to ride.", "SCHOOLTEACHER: Why do you need it? Where do you\n want to go?\n MIDWIFE: I must go to town.", "NARRATOR: ...The neighbor, a single woman of\n around 40, was the village midwife, who had\n filled the invaluable position of housekeeper", "SCHOOLTEACHER: What for?\n MIDWIFE: I asked the steward for a carriage, but\n that stubborn fool won't agree to anything.", "are open and closes them, as the schoolteacher starts to\nspeak.\n SCHOOLTEACHER: I spoke to the midwife today: she", "borrow your bicycle?\n SCHOOLTEACHER: It's not mine.\n MIDWIFE: Could I borrow it just the same?", "MIDWIFE: I have to go to the police in town. I\n now know who committed all these crimes.\n SCHOOLTEACHER (flabbergasted): Who?", "MIDWIFE: Well, did you enjoy the singing?\n HANS (nods eagerly): It was great!\nThe schoolteacher comes in.", "Martin, a tall gangly boy of around 12, whose elegant\nclothes make him stand out among the other children\ncoming out of the school, turns to the midwife:", "had gone to the school to fetch her own son,\n Hans. Since she didn't like leaving him alone,\n she asked me - in return for a small fee - to", "SCHOOLTEACHER: Good afternoon, Mrs. Wagner.\n What's happening?\n MIDWIFE (very excited): Good afternoon. Can I", "MIDWIFE: Will you let me have the bicycle?\n SCHOOLTEACHER: Why don't you tell me?", "In the midwife's bedroom, the schoolteacher notices a\nphoto: it shows the doctor, an unknown woman, and Xenia\nas a small girl.", "He holds his hand out to her. Astonished she looks at\nthe handkerchief in her hands. She had forgotten it\ncompletely, and gives it back the schoolteacher.", "NARRATOR: The midwife never came back. I waited\n until the morning, two days later. Then, I went\n to the manor house to inform the Baron. He", "As he passes the midwife's house, he sees behind the\nfence in the garden, half hidden behind the bushes,\nMarie and a few other children. The shutters of the" ], [ "NARRATOR: The news spread around the village\n like wildfire. What would the consequences be?\n The first person who spoke the word WAR, was", "NARRATOR: After this intricate atrocity\n committed on the retarded boy, even the Baron\n was finally convinced that it would be more", "Today, more than a quarter of a century later,\n toward the end of my life, and several years\n after the end of a second war that was to change", "time. He looks at the father. Then, lowers his eyes.\n NARRATOR: After these two days in July, life in\n the village returned to what it had always\n been...", "Marie. They look up at the house. They're waiting for\nsomething.\nAfter a while, Georg, the boy who earlier had urged them", "She staggers back helplessly, he shouts something to her\nagain, whereupon she runs off. We hear all this from far\naway, because during the whole scene the narrator has\ncontinued his tale:\n 2", "all got back to bed. I'll wait till you're back\n in bed. It's freezing cold outside.\nThe three boys go back to bed. But first Anton ties up", "Then he slips out of the bed and goes to the window.\nSuddenly, he is wide-awake:\n ANTON: Something is burning! Over there at the\n estate!", "to God, our beloved Father, and to all human\n beings.\n MARTIN (starts to cry): Oh, my God!", "goes by fast. The world won't collapse. And\n during your holidays you can come and visit her.\n Good-bye.\nHe leaves the room. The schoolteacher is thrown off", "arm and slams it down. The two stare at each other. For\na moment, we don't know what will happen. Then the\nfarmer goes on:", "The pastor says a few last words which we don't grasp,\nthat the narrator's voice drowns out. The people file\nout of the church, quietly and slowly, but talking\nworriedly to each other.", "in the air. From now on nothing would be the\n same.\n Only a few days ago everybody would have called\n the life they lived as God's will, worthy of", "shouts to them again, this time louder:\n Be quiet! For God's sake! Be quiet!!\nBut as the wild chase goes on and some over-exited", "being lived, and would have shunned any change.\n The strange joy with which the coming war was\n greeted, showed that this certainty of order and", "You all go to bed now. It's nothing. There's a\n fire on the estate. You don't need to be afraid.\n Go to bed and sleep. Come on, Marie, take your", "start at the beginning of the New Year.\n Since that night, where she had come looking for\n shelter in the school and we had tried to tell\n each other the story of our short lives until", "The doctor turns to her. She nods toward the house. The\ndoctor follows her look. Indeed Rudolph, who from here\nlooks even smaller than he really is, has stepped", "At the same time a boy of ten comes over to the first\nfarmer and butts in to his story:\n BOY: Father, they cut off the Baron's cabbages.", "The pastor has finished the cleaning and feeding, and\nnow sits down behind his desk, Martin opposite him:\n That lasted approximately half a year. Then" ] ]

[ "What does the pastor make the children wear as a reminder of the innocence in which they had strayed?", "How long were the school teacher and the nanny (Eva) engaged before being married?", "What was the event on the day the baron's young son went missing?", "How was the pastor's parakeet killed?", "Who gave the midwife evidence regarding the strange events happening?", "After what tragic event did the farmer die?", "What war is mentioned at the end of the story?", "What is the first unexplained event to be mentioned in the story?", "Who confronts the pastor regarding the unusual events?", "Why did the pastor make the children wear white ribbons?", "What did the pastor do when his son confessed to \"impure touching\"?", "How did the doctor treat the village children in the beginning of the story?", "Why did the doctor fall from his horse?", "Why did the farmer hang himself?", "Why did the steward at the baron's estate thrash the his son?", "Who did the schoolteacher suspect had prior knowledge about the local troubles?", "How was the midwife able to commandeer a bicycle from the schoolteacher?", "Who did the doctor humiliate?", "Who did they find the doctor with at night?", "What is the setting of the parable?", "Why does the pastor have the children wear white ribbons?", "What is Eva's job?", "What is the punishment the pastor's son must endure for improper touching?", "Who marries Eva?", "How long was the engagement of Eva to the school teacher?", "How does the doctor fall?", "How does the famer's wife die?", "What did the midwife borrow from the school teacher to go into town?", "What war is declared at the end of the story?" ]

[ [ "White ribbon", "White ribbon" ], [ "one year", "One year" ], [ "Harvest Festival", "the harvest festival" ], [ "impaled with scissors", "By being impaled by scissors." ], [ "her son", "Her son" ], [ "his wife's death", "his wife died at the sawmill" ], [ "the war on Serbia by Austria-Hungary", "The war on Serbia by Austria-Hungary." ], [ "The doctor is thrown from horse after wires were stretched between 2 trees", "The Doctor fell off his horse." ], [ "The school teacher", "the schoolteacher " ], [ "To remind them that they had strayed from their innocence.", "They serve a reminder of the purity they have strayed from." ], [ "He tied his hands to the bed frames every night.", "tie his hands to his bed frame each night" ], [ "He treated them kindly.", "kindly" ], [ "There was a wire stretched between two trees.", "Because he ran into a wire that was placed between trees." ], [ "He was grieving his wive's death.", "he was heartbroken about his dead wife" ], [ "His was a thief.", "petty theft" ], [ "The pastor's children.", "The pastor's children." ], [ "She said she had evidence for the police given tot her by her son.", "She says she has evidence to give to the police" ], [ "His housekeeper, the local mid-wife.", "His Housekeeper" ], [ "His teenage daughter.", "His teenage daughter" ], [ "Eichwald, Germany 1913-1914", "Eichwald, Germany" ], [ "To remind them of their straying from innocence", "Reminder of innocence and purity" ], [ "She's a nanny", "Being a nanny." ], [ "He ties the boy's hands to the bedframe each night", "has his hands tied to the bed each night" ], [ "The school teacher", "The schoolteacher was expected to." ], [ "one year", "1 year" ], [ "A wire between two trees trips him from his horse", "A wire stretched between trees makes him fall off his horse" ], [ "She falls through rotten floor boards at the sawmill", "She fell through rotten floorboards in the sawmill." ], [ "a bicycle", "bicycle" ], [ "War on Serbia by Austria-Hungary", "Austria-Hungary declares war on Serbia." ] ]

0c159ba273b7078c2fcd87edb32016c97e699b55

train

[ [ "\"Bunny,\" said Raffles, \"this is fame at last! It is no longer\nnotoriety; it lifts one out of the ruck of robbers into the society of", "\"You said I spoke as if I had known Mr. Raffles. Of course I have\noften seen him playing cricket, and heard about him and you. But I only", "\"I seem to have seen you with this great man Raffles,\" began Nasmyth,\nas he overhauled me with his fighting eye. \"Do you know him well?\"\n\n\"Intimately.\"", "name and repute. Raffles, after all, had aged and altered out of\nknowledge; but he had not lost the nerve that was equal to a far more", "butt, and the slates with a bullet not a yard from the protruding head.\nAnd that, I believe, was the only shot that Raffles ever fired in his\nwhole career as a midnight marauder.", "\"Hulloa!\"\n\n\"That you, Bunny?\"\n\n\"Yes--are you Raffles?\"", "Molesey. It was for Raffles to choose between the two excitements, and\nfor once I helped him to make up his mind. I duly pointed out to him", "\"My dear fellow,\" cried Raffles, \"I hear it was you who gave that\nhundred guineas by stealth to the very movement you denounced. Don't", "of robbing his old 'ome, it's believed he hadn't the 'eart to take the\nstuff away, and Raffles had to break in a second time for it. No, sir,", "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "\"Good Lord, no! I only wanted to see if he was dead,\" I explained,\nhaving satisfied myself that it was really Raffles, and that Raffles", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "\"The two poor people whom it was your own idea to despoil,\" quoth\nRaffles, \"prematurely gloating over these two pretty things?\"", "It was Raffles at his worst, Raffles as I never knew him before or\nafter--a Raffles mad with pain and rage, and desperate as any other", "It was but a little over a hundred sovereigns that Raffles had taken,\nand, of course, he had resolutely eschewed any and every form of paper", "\"Certainly I do,\" said Raffles. \"I was never more serious in my life.\"\n\n\"You would march into Scotland Yard in broad daylight?\"", "In a flash I saw the chance of my criminal career. It was some years\nsince Raffles had served his country in these encounters; he had never", "\"Then give me another cigarette, my dear fellow, and let me push on to\nScotland Yard.\"\n\nRaffles held up both hands in admiring horror. \"Scotland Yard!\"", "\"I was staying there at the time,\" said Raffles eagerly. No snob was\never quicker to boast of basking in the smile of the great.", "\"I'm sure of it, my good fellow,\" rejoined Raffles, a discreet twinkle\nin his eye. \"Tell us about it, to save time.\"" ], [ "\"You had better ask Raffles himself,\" said I to that. \"It's a pity you\ndidn't ask him in public, at the meeting!\"", "indeed deeply interested before the event, since Raffles assured me\nthat it was \"a one-man job,\" and naturally intended to be the one man\nhimself. It was only at the eleventh hour that our positions were", "that Raffles and I had made a bet about his burglar trap, and that I\nhad come to see who had won. I might or might not confess that Raffles", "\"I've told you already,\" said Raffles. \"I mean to make him.\"\n\n\"But how?\" I asked. \"And when, and where?\"", "\"My dear fellow,\" replied Raffles, \"that was my whole feeling about\nyou. I wanted to 'see you at it'--that was absolutely all. I wanted", "\"Of putting his head out, you mean,\" returned the clerk, whose\nknowledge of Raffles and his Relics was really most comprehensive on", "danger in discussing the matter quietly on the spot. But even as he\ngave me my dismissal Raffles turned and caught the sill above him,", "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "just nodded, and told me that I knew very well what you had done. But\nI began to wonder whether Mr. Raffles himself knew, and I tried to get", "\"And how did you?\" I asked. \"And in the Lord's name, Raffles, when and\nwhy?\"", "\"You mean what I felt, Raffles?\"", "\"I seem to have seen you with this great man Raffles,\" began Nasmyth,\nas he overhauled me with his fighting eye. \"Do you know him well?\"\n\n\"Intimately.\"", "I had forgotten Raffles was a modern first-class cricketer: that\nexplains him. Rather than see my son such another, do you know what\nI'd prefer to see him?\"", "\"Did you see that light in Nab's just now?\" cried Raffles as he led.\n\n\"No; why?\" I panted, nearly spent.", "It was from Raffles. I smoothed out the twisted scrap of paper, and on\nit were just a couple of lines in pencil:", "\"You said I spoke as if I had known Mr. Raffles. Of course I have\noften seen him playing cricket, and heard about him and you. But I only", "\"Good Lord, no! I only wanted to see if he was dead,\" I explained,\nhaving satisfied myself that it was really Raffles, and that Raffles", "I whispered back that I did not believe it for a moment. Raffles had\nnot heard all Nasmyth had said of him. And neither would he listen to", "But his voice had grown fainter and wearier with every answer, and now\nthere was no answer at all. Again and again I asked Raffles if he was", "\"I tell you I got it directly I had left you. He called you away in\norder to burgle you too, of course!\"\n\nAnd Raffles stood smiling upon me in all his incomparable radiance and\naudacity." ], [ "\"Not again, Bunny, not again,\" rejoined Raffles, laughing as he shook\nhis head. \"But do you think the man has enough to make it worth our\nwhile to go so far afield?\"", "\"If you don't,\" rejoined Raffles, \"you will miss some sport after both\nour hearts. Think of it, Bunny! These fellows meet to wallow in all", "\"My dear Bunny,\" replied Raffles, \"you should remember how long I had\nbeen maturing felonious little plan, what a blow it was to me to have", "\"Bunny,\" said Raffles, \"this is fame at last! It is no longer\nnotoriety; it lifts one out of the ruck of robbers into the society of", "\"My dear Bunny, but so he was!\" cried Raffles. \"Time was when I was\nnone too pure an amateur. But after this I take leave to consider", "\"That's for the police,\" said Raffles, waiting for me. \"But the fun's\nonly beginning in the stables. Hear the uproar, and see the lights!", "\"They might be brothers,\" rejoined Raffles, who knew all the loose fish\nabout town. \"Well, I'm not sure that I shall want you after all,\nBunny.\"\n\n\"Why not?\"", "\"Good Lord, no! I only wanted to see if he was dead,\" I explained,\nhaving satisfied myself that it was really Raffles, and that Raffles", "\"Hulloa!\"\n\n\"That you, Bunny?\"\n\n\"Yes--are you Raffles?\"", "\"The two poor people whom it was your own idea to despoil,\" quoth\nRaffles, \"prematurely gloating over these two pretty things?\"", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "\"You were always a bad liar, Bunny,\" said Raffles, smiling. \"Will you\nthink me one when I tell you that I can understand what you felt, and", "of robbing his old 'ome, it's believed he hadn't the 'eart to take the\nstuff away, and Raffles had to break in a second time for it. No, sir,", "\"Did you see that light in Nab's just now?\" cried Raffles as he led.\n\n\"No; why?\" I panted, nearly spent.", "pocket, and crept out to earn his honest grip or to fall in the\nattempt. On the landing I drew Raffles's little weapon, slipped my", "\"We shall be seen,\" I whispered at his heels. \"Raffles, Raffles,\nthere's a policeman at the corner!\"", "\"We mustn't give them one, Raffles?\"\n\n\"Of course we mustn't; but that means stopping where we are.\"\n\n\"We can't do that?\"", "\"So you are out of Paradise after all!\" said Raffles. \"I was not sure,\nor I should have come round before. Well, Bunny, if they don't want", "\"If we simply cleared out,\" continued Raffles, \"you would be\nincriminated in the first place as my accomplice, and once they had you", "\"When he told us he set it every night! Oh, Raffles, what sort of a\ntrap is it? What shall I do? What shall I bring?\"" ], [ "\"Good Lord, no! I only wanted to see if he was dead,\" I explained,\nhaving satisfied myself that it was really Raffles, and that Raffles", "\"If we simply cleared out,\" continued Raffles, \"you would be\nincriminated in the first place as my accomplice, and once they had you", "\"Only promise me not to take a revolver,\" said Raffles in a whisper.\n\"Here are my keys; there's an old life-preserver somewhere in the", "\"Not again, Bunny, not again,\" rejoined Raffles, laughing as he shook\nhis head. \"But do you think the man has enough to make it worth our\nwhile to go so far afield?\"", "name and repute. Raffles, after all, had aged and altered out of\nknowledge; but he had not lost the nerve that was equal to a far more", "\"Rather!\" cried Raffles. \"I'm afraid I have let myself lose touch, but\nI mean to turn over a new leaf. I suppose that isn't necessary in your\ncase, Nasmyth?\"", "about it in the end. I put my money on the man-trap. Raffles put his\nupon the other thing. And Raffles was right--it wasn't a man-trap.", "\"Then you're luckier than we are, sir,\" answered Raffles, \"for I fear\nour man has given us the slip.\"", "\"So you are out of Paradise after all!\" said Raffles. \"I was not sure,\nor I should have come round before. Well, Bunny, if they don't want", "It was but a little over a hundred sovereigns that Raffles had taken,\nand, of course, he had resolutely eschewed any and every form of paper", "\"The two poor people whom it was your own idea to despoil,\" quoth\nRaffles, \"prematurely gloating over these two pretty things?\"", "It was Raffles at his worst, Raffles as I never knew him before or\nafter--a Raffles mad with pain and rage, and desperate as any other", "thief and thief. Now all that was at an end. Raffles had cheated me.\nRaffles had completed the ruin of my life. I was done with Raffles, as", "morbid about the past. It is not for me to condone it, and yet I know\nthat Mr. Raffles was what he was because he loved danger and adventure,", "\"I'm sure of it, my good fellow,\" rejoined Raffles, a discreet twinkle\nin his eye. \"Tell us about it, to save time.\"", "It was Raffles. Yet for a moment I looked about me quite in vain. He\nwas not at the window; he was not at the open door. And yet Raffles it", "\"I wouldn't figure on that,\" observed the secretary, with a downward\nglance as though at the prostrate Raffles. \"Have you looked to see if\nthe trophies are all safe?\"", "it, if this was his,\" he added, picking up the murderous little\nlife-preserver which poor Raffles had provided for his own destruction.", "Molesey. It was for Raffles to choose between the two excitements, and\nfor once I helped him to make up his mind. I duly pointed out to him", "\"Certainly I do,\" said Raffles. \"I was never more serious in my life.\"\n\n\"You would march into Scotland Yard in broad daylight?\"" ], [ "\"Bunny!\" he yawned, and nothing more until his position came back to\nhim. \"So you came to me,\" he went on, in a tone that thrilled me with", "\"My dear Bunny!\" he exclaimed. \"Do you know what brought me back?\"\n\nI answered savagely that I neither knew nor cared.", "\"Did you ever hear from her, Bunny?\" he asked.\n\n\"In a way,\" I answered. \"We won't talk about it, if you don't mind,\nRaffles.\"", "\"Why, Bunny, this is the very thing!\" he cried. \"You must come and\nstay with me, and we'll lie low side by side. Only remember it really", "you and the poor devil upstairs. And up to a certain point, Bunny, I\nreally thought you played the scene to perfection.\"", "\"That's different,\" said I relentlessly. \"The tower was there in my\ntime, but the man I mean to rob was not.\"\n\n\"You really do mean to do it, Bunny?\"", "\"One question at a time, Bunny,\" said he. \"In the first place, I am\ngoing to have these rooms freshened up with a potful of paint, the\nelectric light, and the telephone you've been at me about so long.\"", "attention to it until yesterday morning. And when they do, they take\nall the credit and give me no more than you did, Bunny!\"", "\"From the inside of the chest, Bunny. Don't look like that--it's\nfoolish. Try to recall a few words that went before, between the idiot", "\"You silly ass, Bunny, don't tell all Kensington that I'm in town!\"\nreplied my tatterdemalion, shooting up and smoothing out into a merely", "\"In broad lime-light,\" he answered, studying the magazine again, \"to\nset eyes on my own once more. Why here they all are, Bunny--you never", "meantime I have no idea; very likely he'd done no harm; but it seemed\nworth while finding out. He had too good a start, though, and poor\nBunny had too bad a wind.\"", "\"It has been my fortune before to-night, Bunny. It has also given me\nmore confidence than you are likely to believe at this time of day.\nYou stimulate me more than you think.\"", "\"Not to steal, Bunny! I haven't stolen a thing. But staying here I\ncertainly am, and having the most complete rest a busy man could wish.\"\n\n\"There'll be no rest for me!\"", "\"I never even thought of him, Bunny, until you came to see me the day\nbefore yesterday, and put him into my head with your first words. The", "\"They shan't hear us at all, Bunny,\" said he. \"I mean to get out as I\ndid in the good old nights. I've been spoiling for the chance ever", "\"What's left of me! Bunny, I want you--quick.\"\n\nAnd even over the wire his voice was faint with anxiety and\napprehension.\n\n\"What on earth has happened?\"", "help yourself, with that poor brute in that state. And I admired you\nimmensely, Bunny, if that's any comfort to you now.\"", "you one of mine, although I picked your pocket of it in the end. I\nwill only say that when I had no wish to see you, Bunny, I must have", "\"Then will you trust me to hit on something--if possible before\nmorning--in any case by the time it's wanted? I won't fail you, Bunny.\nYou must see how I can never, never fail you after to-night!\"" ], [ "\"Well, it's about the most palatial of the lot. The old ruffian is as\nrich as Croesus. It's a country-place in town.\"", "The venerable butler stood wheezing at his elbow. I had not hitherto\nobserved that the man was an asthmatic.", "\"You make me feel quite ill,\" complained the grand lady in the chair.\n\"I wish you'd give me a little something, and not be more vulgar than\nyou can 'elp.\"", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "\"It's impossible to say, my lord. He's not in the house now, for he\ncould only be in your lordship's bedroom or dressing-room, and we have\nsearched every inch of both.\"", "\"Of course I do,\" said I. \"They are rich people, and he's not such a\nbrute as to spend everything on his stable. Her jewels are as much the", "\"Why is it nonsense? I know every inch of the ground, and since the\nhouse has changed hands I have no compunction. Besides, 'I have been", "\"Play light, Mr. Maguire!\" cried the sallow secretary. \"The man's\ndrugged, as well as down.\"\n\n\"He'll be lucky if he ever gets up, blight and blister him!\"", "some slight improvement became apparent, and at length the sufferer was\nable to sit upright, and to drain his glass with a sigh of rare relief.\nI sighed also, for I had witnessed a struggle for dear life by a man in", "a gallant spurt into the road, and there paid the penalty of his\nrashness by a sudden incapacity to move another inch. It had\neventually taken him twenty minutes to creep back to locked doors, and", "\"Not a bit of it,\" replied young Medlicott, with a grim geniality.\n\"I've just woke up with the devil of an attack of asthma, and may have", "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "\"I suppose you know that my aunt, Lady Melrose, died some years ago?\nShe was the best friend I had in the world, and it is thanks to her", "I had a Sullivan for him, too; and in another minute he was spread out\non my sofa, stretching his cramped limbs with infinite gusto, a", "\"No, they won't, old man!\" I whispered. And he sat up and saw the\ncomatose trio for himself.", "a man of eighty, gasping for every breath, shaken by every gasp,\nswaying, tottering, and choking, as if about to die upon his feet. Yet", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "And this miserable quibble was not a lie! My lip curled, I turned my\nback without a word, and drove home to my Mount Street flat in a new", "I had called at the Albany for the fiftieth time, and returned to\nPiccadilly in my usual despair, when a street sloucher sidled up to me\nin furtive fashion and inquired if my name was what it is.", "\"This fellow isn't formidable,\" whispered Raffles, as the blinds went\nup; \"still, we can't be too careful. My little lot are round the" ], [ "\"Hulloa!\"\n\n\"That you, Bunny?\"\n\n\"Yes--are you Raffles?\"", "\"Not again, Bunny, not again,\" rejoined Raffles, laughing as he shook\nhis head. \"But do you think the man has enough to make it worth our\nwhile to go so far afield?\"", "\"Sorry, Bunny!\" said Raffles, sitting on one pedestal of a desk from\nwhich the top had been removed, and setting his makeshift lantern on", "\"My dear Bunny, but so he was!\" cried Raffles. \"Time was when I was\nnone too pure an amateur. But after this I take leave to consider", "\"Allow me, Bunny! I shall take the liberty of locking both doors\nbehind you and putting the key in my pocket,\" said Raffles, when he had", "\"One's quite enough, Bunny,\" said Raffles dryly; he leaned back in his\nchair and took out another cigarette. And I accepted of yet another", "\"My dear Bunny,\" replied Raffles, \"you should remember how long I had\nbeen maturing felonious little plan, what a blow it was to me to have", "\"They might be brothers,\" rejoined Raffles, who knew all the loose fish\nabout town. \"Well, I'm not sure that I shall want you after all,\nBunny.\"\n\n\"Why not?\"", "\"If you don't,\" rejoined Raffles, \"you will miss some sport after both\nour hearts. Think of it, Bunny! These fellows meet to wallow in all", "\"Bunny,\" said Raffles, \"this is fame at last! It is no longer\nnotoriety; it lifts one out of the ruck of robbers into the society of", "\"I should think it did, Bunny,\" murmured Raffles, in a tone that added\nsensibly to my reward. \"I couldn't have done better myself, and you", "\"My dear, good Bunny,\" said Raffles, \"I've told you already that I\ndidn't come in here on business. I came in for the Cure. Not a penny", "\"I came down early,\" said Raffles, \"and had a look at the races. I\nalways prefer to measure my man, Bunny; and you needn't sit in the", "I sat very stiff in the iron clutch of a wintry morning. Suddenly I\nslued round in my chair. And there was Raffles in a chair behind me,", "That settled it. I gripped his hand without another word, and remained\non guard over the three sleepers while Raffles stole upstairs. I have", "drawing-room after dinner, and was just putting on the lights, when in\nwalked Mr. Raffles from the balcony. I knew him at once, because I", "\"Good Lord, no! I only wanted to see if he was dead,\" I explained,\nhaving satisfied myself that it was really Raffles, and that Raffles", "\"So you are out of Paradise after all!\" said Raffles. \"I was not sure,\nor I should have come round before. Well, Bunny, if they don't want", "\"You were always a bad liar, Bunny,\" said Raffles, smiling. \"Will you\nthink me one when I tell you that I can understand what you felt, and", "\"I was staying there at the time,\" said Raffles eagerly. No snob was\never quicker to boast of basking in the smile of the great." ], [ "Was he thinking even then of volunteering for the front? Had he\nalready set his heart on the one chance of some atonement for his", "But with this war one gets all the excitement one requires--and rather\nmore than usual may happen in three or four weeks?\"", "\"I'll go,\" he said hurriedly. \"I'll go as I am, before my mother is\ndisturbed and frightened out of her life. I owe you something, too,", "are punished. The world forgives, if it does not forget. You are\nyoung enough to live everything down. Your part in the war will help", "\"You said yesterday that your going to the war and getting wounded\nwiped out nothing that had gone before. I hope you are not growing", "\"The theatre of war,\" he answered--\"and here we are at the stage door!\"", "certainly shall not. Let your man or men bring up the chest at once.\nI dare say they also have been 'at it with others all the afternoon,'\nbut I shall make this worth their while.\"", "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "consuming excitement of the war in South Africa. These were the days\nwhen Raffles really had white hair, and when he and I were nearing the", "or four weeks in which those events happened that imperilled the fabric\nof our empire, and rallied her sons from the four winds to fight\nbeneath her banner on the veldt. It all seems very ancient history", "\"All of them?\"\n\n\"I think so.\"\n\n\"There, then.\"\n\n\"Now go to the back window and up with the blind.\"\n\n\"Well?\"", "\"Walk up!\" he cried, as he beckoned to us three. \"Walk up and see one\no' their blamed British crooks laid as low as the blamed carpet, and\nnailed as tight!\"", "\"You thought that, and yet you came like a shot to do battle for my\nbody with Barney Maguire! Jack-the-Giant-killer wasn't in it with you,\nBunny!\"", "\"Then let us be friends about it, Bunny, and smoke the cigarette of\nSullivan and peace! A lot may happen in three or four weeks; and what", "war came as a boon to us both. It not only provided us with an honest\ninterest in life, but gave point and zest to innumerable spins across", "\"They shan't hear us at all, Bunny,\" said he. \"I mean to get out as I\ndid in the good old nights. I've been spoiling for the chance ever", "\"As it is, however, we will all let the other fellow do so,\" said old\nNab in a genial growl. \"And you two had better turn into my house and\nhave something to keep the morning cold out.\"", "indeed deeply interested before the event, since Raffles assured me\nthat it was \"a one-man job,\" and naturally intended to be the one man\nhimself. It was only at the eleventh hour that our positions were", "the war. The magazine was one of those that are read (and sold) by the\nmillion; the article was rudely illustrated on every other page. Its", "to answer him again. And so it was for some minutes that might furnish\nforth a thrilling page, but not a novel one to those who know their" ], [ "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "\"You thought that, and yet you came like a shot to do battle for my\nbody with Barney Maguire! Jack-the-Giant-killer wasn't in it with you,\nBunny!\"", "The Field of Phillipi", "\"I know it wasn't, Bunny,\" he said regretfully. \"But things like that,\nas the poet will tell you, are really inseparable from victories like", "\"William and Charles are both dead monarchs,\" said he. \"The reigning\nking in their department is the fellow who gutted poor Danby's place in\nBond Street.\"", "\"Chawley Peace killed two policemen,\" said he.\n\n\"No, he didn't; only one of them was a policeman; and he never killed\nanybody with a knife.\"", "\"I am glad to hear that,\" he remarked in a high bland voice. \"I\nthought that man would die game.\"\n\n\"Did you know anything about him, then?\" inquired Lord Thornaby.", "right you in my eyes at his own expense. And yesterday I could see\nthat you knew nothing whatever about it, that your friend had died\nwithout telling you of his act of real and yet vain self-sacrifice!", "else, and armed with crops carried by the wrong end. The monumental\nperson with the short moustache led the advance. The fool stood still", "\"I suppose you know that my aunt, Lady Melrose, died some years ago?\nShe was the best friend I had in the world, and it is thanks to her", "\"Is he dead?\" wheezed the asthmatic coolly.\n\n\"Not he,\" I answered, with an indignation that I dared not show.", "a quick but natural respiration; and in the sudden cessation of the\ncruel contest, an uncanny stillness fell upon the scene. Meanwhile the", "\"All of them?\"\n\n\"I think so.\"\n\n\"There, then.\"\n\n\"Now go to the back window and up with the blind.\"\n\n\"Well?\"", "great end! It is true that he had been unfortunate enough to strike a\njugular vein, but his own end should take its place among the most", "There was one bristling broadside of revolvers under the longest shelf\nof closed eyes and swollen throats. There were festoons of", "\"No, they won't, old man!\" I whispered. And he sat up and saw the\ncomatose trio for himself.", "fellow's stealthy step. Some might have stood their ground and killed\nhim; more would have bolted into a worse corner than they were in", "such persons thinking yet a little better of him (and not wasting\nanother thought on me) that I am permitted to retail the very last word\nabout their hero and mine.", "\"A false description! Bunny, you have no more to learn from me. Time\nwas when I wouldn't have let you go there without me to retrieve a lost\numbrella--let alone a lost cause!\"" ], [ "danger in discussing the matter quietly on the spot. But even as he\ngave me my dismissal Raffles turned and caught the sill above him,", "But his voice had grown fainter and wearier with every answer, and now\nthere was no answer at all. Again and again I asked Raffles if he was", "\"Then you're luckier than we are, sir,\" answered Raffles, \"for I fear\nour man has given us the slip.\"", "\"Mr. Raffles 'as gawn, sir,\" said the porter, with a note of reproach\nin his confidential undertone. The man was a favorite with Raffles,", "It was Raffles. Yet for a moment I looked about me quite in vain. He\nwas not at the window; he was not at the open door. And yet Raffles it", "attention to a certain scene of notorious slaughter. There was no\nresponse. I looked round. There was no Raffles to respond. We had all", "\"Did you see that light in Nab's just now?\" cried Raffles as he led.\n\n\"No; why?\" I panted, nearly spent.", "\"Good Lord, no! I only wanted to see if he was dead,\" I explained,\nhaving satisfied myself that it was really Raffles, and that Raffles", "That settled it. I gripped his hand without another word, and remained\non guard over the three sleepers while Raffles stole upstairs. I have", "In a flash I saw the chance of my criminal career. It was some years\nsince Raffles had served his country in these encounters; he had never", "chest had indeed been rifled, and emptied of every silver thing but\none; that one remaining piece of silver, seen of men, was quite enough\nto cast Raffles into the outer darkness of penal servitude! And", "It was Raffles at his worst, Raffles as I never knew him before or\nafter--a Raffles mad with pain and rage, and desperate as any other", "\"Not again, Bunny, not again,\" rejoined Raffles, laughing as he shook\nhis head. \"But do you think the man has enough to make it worth our\nwhile to go so far afield?\"", "I thought I had never seen a man better bound or better gagged. But\nthe humanity seemed to have run out of Raffles with his blood. He tore", "Then I remembered Raffles, and could have killed him for what he had\ndone. Doubtless by this time he was safe and snug in the Albany: what", "to the Albany and find the regalia under his bed. And I took down my\novercoat as he put on his. But Raffles would not hear of my\naccompanying him that night.", "three been examining the photographs at one of the windows; at another\nthree newcomers were similarly engrossed; and without one word, or a\nsingle sound, Raffles had decamped behind all our backs.", "Raffles went through hands first, disappeared for an instant, then\nleaned out, lowering his hands for me.", "\"If we simply cleared out,\" continued Raffles, \"you would be\nincriminated in the first place as my accomplice, and once they had you", "\"My dear Bunny, but so he was!\" cried Raffles. \"Time was when I was\nnone too pure an amateur. But after this I take leave to consider" ], [ "\"Bunny!\" he yawned, and nothing more until his position came back to\nhim. \"So you came to me,\" he went on, in a tone that thrilled me with", "\"My dear Bunny!\" he exclaimed. \"Do you know what brought me back?\"\n\nI answered savagely that I neither knew nor cared.", "\"There's only one thing for it, Bunny,\" said he. \"We must trust each\nother and divide the labor. You ring up the police, and leave the rest\nto me.\"", "\"Did you ever hear from her, Bunny?\" he asked.\n\n\"In a way,\" I answered. \"We won't talk about it, if you don't mind,\nRaffles.\"", "\"You mean Bunny?\" said the familiar fellow. \"No, sir, he'd be out of\nplace; we've only room for real criminals here. Bunny was neither one", "\"That's different,\" said I relentlessly. \"The tower was there in my\ntime, but the man I mean to rob was not.\"\n\n\"You really do mean to do it, Bunny?\"", "\"Did you think I'd done it through an agent?\" he snarled. \"Upon my\nword, Bunny, I did you the credit of supposing you saw the joke all the\ntime!\"", "\"What's left of me! Bunny, I want you--quick.\"\n\nAnd even over the wire his voice was faint with anxiety and\napprehension.\n\n\"What on earth has happened?\"", "\"My dear Bunny,\" replied Raffles, \"you should remember how long I had\nbeen maturing felonious little plan, what a blow it was to me to have", "\"Of course I didn't, Bunny,\" he replied, backing into the tower; \"but\nno one will believe I didn't mean to, and it'll stick on ten years if", "\"Come, come, Bunny, there wasn't much inveigling about it,\" said he. \"I\ndid my level best to leave you behind, but you wouldn't listen to me.\"", "\"You silly ass, Bunny, don't tell all Kensington that I'm in town!\"\nreplied my tatterdemalion, shooting up and smoothing out into a merely", "\"And then, pray, how are they going to bring it home to us? Why should\nthey even suspect us, Bunny? I left early; that's all I did. You took", "attention to it until yesterday morning. And when they do, they take\nall the credit and give me no more than you did, Bunny!\"", "\"'Because I was the other man,' he said quite quietly; 'because I led\nhim blindfold into the whole business, and would rather pay the shot\nthan see poor Bunny suffer for it.'", "\"Come, Bunny,\" he said at last, \"I have been the one to suffer most,\nwhen all's said and done, and I'll be the first to say that I deserved", "\"In broad lime-light,\" he answered, studying the magazine again, \"to\nset eyes on my own once more. Why here they all are, Bunny--you never", "\"I never even thought of him, Bunny, until you came to see me the day\nbefore yesterday, and put him into my head with your first words. The", "\"Why, Bunny, this is the very thing!\" he cried. \"You must come and\nstay with me, and we'll lie low side by side. Only remember it really", "\"It's all right, Bunny,\" he resumed, showing me a glowing face in the\ndawn. \"History's on its own tracks once more, and I'll bet you it's" ], [ "Was he thinking even then of volunteering for the front? Had he\nalready set his heart on the one chance of some atonement for his", "But with this war one gets all the excitement one requires--and rather\nmore than usual may happen in three or four weeks?\"", "are punished. The world forgives, if it does not forget. You are\nyoung enough to live everything down. Your part in the war will help", "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "\"The theatre of war,\" he answered--\"and here we are at the stage door!\"", "consuming excitement of the war in South Africa. These were the days\nwhen Raffles really had white hair, and when he and I were nearing the", "\"I'll go,\" he said hurriedly. \"I'll go as I am, before my mother is\ndisturbed and frightened out of her life. I owe you something, too,", "\"You said yesterday that your going to the war and getting wounded\nwiped out nothing that had gone before. I hope you are not growing", "or four weeks in which those events happened that imperilled the fabric\nof our empire, and rallied her sons from the four winds to fight\nbeneath her banner on the veldt. It all seems very ancient history", "war came as a boon to us both. It not only provided us with an honest\ninterest in life, but gave point and zest to innumerable spins across", "\"Walk up!\" he cried, as he beckoned to us three. \"Walk up and see one\no' their blamed British crooks laid as low as the blamed carpet, and\nnailed as tight!\"", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "indeed deeply interested before the event, since Raffles assured me\nthat it was \"a one-man job,\" and naturally intended to be the one man\nhimself. It was only at the eleventh hour that our positions were", "\"Then let us be friends about it, Bunny, and smoke the cigarette of\nSullivan and peace! A lot may happen in three or four weeks; and what", "\"You thought that, and yet you came like a shot to do battle for my\nbody with Barney Maguire! Jack-the-Giant-killer wasn't in it with you,\nBunny!\"", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "certainly shall not. Let your man or men bring up the chest at once.\nI dare say they also have been 'at it with others all the afternoon,'\nbut I shall make this worth their while.\"", "the war. The magazine was one of those that are read (and sold) by the\nmillion; the article was rudely illustrated on every other page. Its", "addressed as Ernest, but whose surname I never learned. Ernest in turn\nintroduced me, with a shy and clumsy courtesy, to the two remaining", "It was, however, no ordinary occasion. The bicentenary loomed but a\nyear ahead, and a movement was on foot to mark the epoch with an" ], [ "\"You said yesterday that your going to the war and getting wounded\nwiped out nothing that had gone before. I hope you are not growing", "\"It will maim me for a month,\" said he; \"and if the V.C. comes out\nalive, the wound he gave may be identified with the wound I've got.\"", "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "Was he thinking even then of volunteering for the front? Had he\nalready set his heart on the one chance of some atonement for his", "\"The theatre of war,\" he answered--\"and here we are at the stage door!\"", "are punished. The world forgives, if it does not forget. You are\nyoung enough to live everything down. Your part in the war will help", "He came as though nothing had happened; and, indeed, not very many days\nhad passed, though they might have been months to me. Yet I fancied", "\"My dear Bunny!\" he exclaimed. \"Do you know what brought me back?\"\n\nI answered savagely that I neither knew nor cared.", "\"I know it wasn't, Bunny,\" he said regretfully. \"But things like that,\nas the poet will tell you, are really inseparable from victories like", "But with this war one gets all the excitement one requires--and rather\nmore than usual may happen in three or four weeks?\"", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "I saw him fell one officer to the ground, and dart across the lawn with\nanother at his heels. A third came running up to the window. What", "So, indeed, did I, and with no small concern, until I read of his\nadventures (and our own) in the newspapers. It seemed that he had made", "\"Walk up!\" he cried, as he beckoned to us three. \"Walk up and see one\no' their blamed British crooks laid as low as the blamed carpet, and\nnailed as tight!\"", "\"You thought that, and yet you came like a shot to do battle for my\nbody with Barney Maguire! Jack-the-Giant-killer wasn't in it with you,\nBunny!\"", "else, and armed with crops carried by the wrong end. The monumental\nperson with the short moustache led the advance. The fool stood still", "\"I'll go,\" he said hurriedly. \"I'll go as I am, before my mother is\ndisturbed and frightened out of her life. I owe you something, too,", "the war. The magazine was one of those that are read (and sold) by the\nmillion; the article was rudely illustrated on every other page. Its", "\"I remember now. You were with him when he forced himself upon me on\nthe way down yesterday. He had to tell me who he was. Yet he talks as\nthough we were old friends.\"" ], [ "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "\"I suppose you know that my aunt, Lady Melrose, died some years ago?\nShe was the best friend I had in the world, and it is thanks to her", "right you in my eyes at his own expense. And yesterday I could see\nthat you knew nothing whatever about it, that your friend had died\nwithout telling you of his act of real and yet vain self-sacrifice!", "\"Chawley Peace killed two policemen,\" said he.\n\n\"No, he didn't; only one of them was a policeman; and he never killed\nanybody with a knife.\"", "are punished. The world forgives, if it does not forget. You are\nyoung enough to live everything down. Your part in the war will help", "\"I know it wasn't, Bunny,\" he said regretfully. \"But things like that,\nas the poet will tell you, are really inseparable from victories like", "\"I am glad to hear that,\" he remarked in a high bland voice. \"I\nthought that man would die game.\"\n\n\"Did you know anything about him, then?\" inquired Lord Thornaby.", "Was he thinking even then of volunteering for the front? Had he\nalready set his heart on the one chance of some atonement for his", "\"William and Charles are both dead monarchs,\" said he. \"The reigning\nking in their department is the fellow who gutted poor Danby's place in\nBond Street.\"", "But with this war one gets all the excitement one requires--and rather\nmore than usual may happen in three or four weeks?\"", "\"The theatre of war,\" he answered--\"and here we are at the stage door!\"", "\"You said yesterday that your going to the war and getting wounded\nwiped out nothing that had gone before. I hope you are not growing", "life--nay, on the very death he was to die? I never knew, and shall\nnever know. Yet his words were strangely prophetic, even to the three", "and that you were what you were because you loved Mr. Raffles. But,\neven admitting it was all as bad as bad could be, he is dead, and you", "\"All of them?\"\n\n\"I think so.\"\n\n\"There, then.\"\n\n\"Now go to the back window and up with the blind.\"\n\n\"Well?\"", "that was his last question. My answer was enough for him. And to this\nday I cannot say whether it was more in relief than in regret that he\nlaid a hand upon my shoulder.", "consuming excitement of the war in South Africa. These were the days\nwhen Raffles really had white hair, and when he and I were nearing the", "I looked at the curly head upon the pillow, at the smiling, handsome\nface under the curls. And at last I understood.\n\n\"So all the time you never meant it!\"", "\"It's the night of their Hunt Point-to-Point. They wind up the season\nwith it every year; and the bloated Guillemard usually sweeps the board\nwith his fancy flyers.\"", "\"'Because I was the other man,' he said quite quietly; 'because I led\nhim blindfold into the whole business, and would rather pay the shot\nthan see poor Bunny suffer for it.'" ], [ "\"But how long did the whole thing take you?\"\n\n\"From mother earth, to mother earth? About five minutes, to-night, and\none of those was spent in doing another man's work.\"", "to answer him again. And so it was for some minutes that might furnish\nforth a thrilling page, but not a novel one to those who know their", "\"All of them?\"\n\n\"I think so.\"\n\n\"There, then.\"\n\n\"Now go to the back window and up with the blind.\"\n\n\"Well?\"", "three months. I now discovered that he also kept a particularly mellow\nScotch whiskey, an excellent cigar, and a fund of anecdote of which a", "I have already given you. I may have made more of them to you than I\ndo in my own mind, but at all events they exist. And I really did want\nthe telephone and the electric light.\"", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "irascible doctors, and arbitrary minions of the law. If I told my\nstory once, I told it a dozen times, and all on an empty stomach. But", "strange to hear the milkman in the early morning, and the postman\nknocking his way along the street an hour later, and to be passed over\nby one destroying angel after another. I had come down early enough,", "The station lights were twinkling ahead of us in the fading velvet of\nthe summer's night. I let them increase and multiply before I spoke.\n\n\"And where,\" I asked, \"did you think I first went wrong?\"", "And yet--and yet--what else could have happened? I must have asked\nmyself the question between each and all of the above reflections, made", "weeks, and why he had always come between seven and eight o'clock in\nthe evening, and waited at this very window, with these very glasses at", "mine. It had taken me a couple of hours to break out of that\nstrong-room; I was devoting a third to the harmless task of simulating\nthe appearance of having broken in; and it was then I heard the", "of retirement. There was only a flicker of firelight on the blinds: I\nwas the first to return after all. It was nearly four hours since", "\"It is no use my giving them to you,\" I said. \"They are empty also.\"\n\n\"When did you look into them?\"\n\n\"In the tower.\"", "tried, with the touch of a humane dentist; the third let us into the\nporch. And as we stood together on the mat, as he was gradually", "\"There isn't reelly, sir,\" whispered the clerk. \"We sometimes go weeks\non end without having regular visitors like you two gentlemen. I think", "\"Then let us be friends about it, Bunny, and smoke the cigarette of\nSullivan and peace! A lot may happen in three or four weeks; and what", "The story was new even to me, but I had no time to appreciate its\npoints. My concern was to watch its effect upon the other members of", "Thursday, Friday, and Saturday in July; the other affair had been all\narranged for the Thursday night, the night of the wedding at East", "\"Nearer three, Bunny. It was after seven when I slung in with the\nDaily Mail. The milk had beaten me by a short can. But even so I had\ntwo very good hours before you were due.\"" ], [ "Mr. Raffles was supposed to have been drowned, and everything was known\nabout you both. But I still kept my own independent knowledge to", "So, indeed, did I, and with no small concern, until I read of his\nadventures (and our own) in the newspapers. It seemed that he had made", "it, if this was his,\" he added, picking up the murderous little\nlife-preserver which poor Raffles had provided for his own destruction.", "it was certainly a most plausible and consistent tale, even without\nthat confirmation which none of the other victims was as yet\nsufficiently recovered to supply. And in the end I was permitted to", "him the night he dined with the Earl of Thornaby, and robbed the house\nbefore dinner. That's his life-preserver; but no one can make out what", "\"No, I'm not. I live there, you see.\"\n\nAnd I think the Nipper recalled that name as he ground his heel upon an\nunresponsive flagstone.", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "I don't think I went on my knees over it. But I am afraid I did cry;\nand that was the end. He pretended not to notice anything, and then in", "there was his blood upon it still; and seeing my horror, the clerk\nplunged into a characteristically garbled version of that incident\nalso. It happened to have come to light among others at the Old", "question him on the point. Indeed, the first thing was to get out of\nthe bank; for the stars were drowning in a sky of ink and water, and it", "\"All of them?\"\n\n\"I think so.\"\n\n\"There, then.\"\n\n\"Now go to the back window and up with the blind.\"\n\n\"Well?\"", "\"That's the only time we know about,\" the clerk admitted; \"and it\ncouldn't be brought 'ome, or his precious pal would have got more than", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "dangling feet. And before many more I heard the old metallic snap,\nfollowed by the raising of a sash so slowly and gently as to be almost\ninaudible to me listening just below.", "meantime I have no idea; very likely he'd done no harm; but it seemed\nworth while finding out. He had too good a start, though, and poor\nBunny had too bad a wind.\"", "before he gives up the ghost. Perhaps you will go and think it over\nwhile I wash my bags and dry 'em at the gas stove. It will take me at", "Barney Maguire crashed to the floor, without waking either himself or\nhis companions, though not without bringing my beating heart into the\nvery roof of my mouth.", "But I stood stubbornly before her, my heart hardened by her hardness,\nand perversely indifferent to all else. And as I stood I saw the\nletter she had written, in the hand with which she pointed, crushed\ninto a ball.", "the end? The jeweller never heard of those Americans again; and these\nfew cigarettes and lumps of sugar were all he found.\"", "he had been before; the flush had faded from his face, and his\nbreathing alone would have spoiled everything. In dumb show I had to" ], [ "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "The story was new even to me, but I had no time to appreciate its\npoints. My concern was to watch its effect upon the other members of", "Out of Paradise\n The Chest of Silver\n The Rest Cure\n The Criminologists' Club\n The Field of Phillipi", "The station lights were twinkling ahead of us in the fading velvet of\nthe summer's night. I let them increase and multiply before I spoke.\n\n\"And where,\" I asked, \"did you think I first went wrong?\"", "there was his blood upon it still; and seeing my horror, the clerk\nplunged into a characteristically garbled version of that incident\nalso. It happened to have come to light among others at the Old", "it was certainly a most plausible and consistent tale, even without\nthat confirmation which none of the other victims was as yet\nsufficiently recovered to supply. And in the end I was permitted to", "And at the CafÃ© Royal I incontinently told him of the trouble I was in.\nIt was the first he had ever heard of my affair, and I told him all,", "platform for the collection of mysterious objects under a dust-sheet on\nthe lid. \"These,\" he continued, unveiling them with an air, \"are the", "There was one deed of those days which deserved a place in our original\nannals. It is the deed of which I am personally most ashamed. I have", "the party. Ernest, on my left, doubled up with laughter, and tittered\nand shook for several minutes. My other neighbor, more impressionable", "strange to hear the milkman in the early morning, and the postman\nknocking his way along the street an hour later, and to be passed over\nby one destroying angel after another. I had come down early enough,", "Not a moment had I paused for my precious fable. It had all been\nprepared for me by Raffles, in case of need. I was merely repeating a", "Long before he was ready to go, however, I was waiting in the hall,\nclothed indeed, but not in a mind which I care to recall. Once or", "He could but gloat over them behind locked doors, as I used to tell\nhim, and at last one afternoon I caught him at it. It was in the year", "The last of all these tales of Raffles is from a fresher and a sweeter\npen. I give it exactly as it came to me, in a letter which meant more", "out first a sharp cry stopped me at the sill. \"Get back! Get back!\nWe're trapped!\" he cried; and in the single second that I stood there,", "\"You dozed off in your turn, but you were naturally the first to come\nto yourself. I had flown; so had the gold brick, the jewelled belt,", "\"You may; we don't,\" growled the clerk. \"The manager says he believes\nyour chest was at the bottom of it all.\"\n\n\"How could it be?\" I asked uneasily.", "I looked at the curly head upon the pillow, at the smiling, handsome\nface under the curls. And at last I understood.\n\n\"So all the time you never meant it!\"", "Till that moment she had not recognized me. I ran to catch her as she\nall but fell. And my touch repelled her into life, so that she shook" ], [ "there was his blood upon it still; and seeing my horror, the clerk\nplunged into a characteristically garbled version of that incident\nalso. It happened to have come to light among others at the Old", "it was certainly a most plausible and consistent tale, even without\nthat confirmation which none of the other victims was as yet\nsufficiently recovered to supply. And in the end I was permitted to", "would, and for that matter he nearly did. Then, at the last moment, he\nsaw how to hedge things with his conscience. And his second hundred\nwill be a real gift.\"", "There was one deed of those days which deserved a place in our original\nannals. It is the deed of which I am personally most ashamed. I have", "Not a moment had I paused for my precious fable. It had all been\nprepared for me by Raffles, in case of need. I was merely repeating a", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "platform for the collection of mysterious objects under a dust-sheet on\nthe lid. \"These,\" he continued, unveiling them with an air, \"are the", "The station lights were twinkling ahead of us in the fading velvet of\nthe summer's night. I let them increase and multiply before I spoke.\n\n\"And where,\" I asked, \"did you think I first went wrong?\"", "And the hulking figure advanced on tiptoe, like a performing elephant,\nuntil just at the open door, when for a second we saw his left", "play me a few weeks later. The second offence, on the other hand, was\nto prove the less serious of the two against society, and might in\nitself have been published to the world years ago. There have been", "Till that moment she had not recognized me. I ran to catch her as she\nall but fell. And my touch repelled her into life, so that she shook", "Out of Paradise\n The Chest of Silver\n The Rest Cure\n The Criminologists' Club\n The Field of Phillipi", "The bag was so heavy now that the secretary used both hands to get it\non the table. In another moment he had taken out the jewelled belt", "one or two about me, redirected to that address in Switzerland, and\nwhen I showed them to him it was all right. But after that it was no\nuse listening at the letter-box for a clear coast, was it?\"", "He could but gloat over them behind locked doors, as I used to tell\nhim, and at last one afternoon I caught him at it. It was in the year", "The story was new even to me, but I had no time to appreciate its\npoints. My concern was to watch its effect upon the other members of", "the party. Ernest, on my left, doubled up with laughter, and tittered\nand shook for several minutes. My other neighbor, more impressionable", "to answer him again. And so it was for some minutes that might furnish\nforth a thrilling page, but not a novel one to those who know their", "Long before he was ready to go, however, I was waiting in the hall,\nclothed indeed, but not in a mind which I care to recall. Once or", "strange to hear the milkman in the early morning, and the postman\nknocking his way along the street an hour later, and to be passed over\nby one destroying angel after another. I had come down early enough," ], [ "addressed as Ernest, but whose surname I never learned. Ernest in turn\nintroduced me, with a shy and clumsy courtesy, to the two remaining", "\"There isn't reelly, sir,\" whispered the clerk. \"We sometimes go weeks\non end without having regular visitors like you two gentlemen. I think", "your new profession. And when the hours are small enough, Bunny, my\nboy, I don't mind admitting I shall be very glad to have you with me.\"", "\"I don't believe he's the other thing,\" said a voice as brusque as the\nfirst was bland. \"I believe it's all bunkum. I wish I didn't, but I\ndo!\"", "There was to be a certain little wedding in which Raffles and I took a\nsurreptitious interest. The bride-elect was living in some retirement,", "With that he dropped softly into the street, and I after him, turning\nto the right instead of the left, and that at a brisk trot instead of", "\"William and Charles are both dead monarchs,\" said he. \"The reigning\nking in their department is the fellow who gutted poor Danby's place in\nBond Street.\"", "the professional gladiator. And they want to know whether my\nexperience tallies with their theory.\"", "to answer him again. And so it was for some minutes that might furnish\nforth a thrilling page, but not a novel one to those who know their", "\"Really, he might be following some disgraceful calling, by the mystery\nyou make of it!\" he exclaimed. \"And for that matter I call first-class", "at fifty miles an hour. He might have been following some honorable\ncalling in town; he might have snatched this brief respite from a\ndistinguished but exacting career. I am convinced that it was I alone", "indeed deeply interested before the event, since Raffles assured me\nthat it was \"a one-man job,\" and naturally intended to be the one man\nhimself. It was only at the eleventh hour that our positions were", "unexpectedly to the house, which had been left untenanted during\n the absence of the family abroad, it was found occupied by two\n ruffians, who overcame and secured the distinguished officer by", "\"The two poor people whom it was your own idea to despoil,\" quoth\nRaffles, \"prematurely gloating over these two pretty things?\"", "\"It's the night of their Hunt Point-to-Point. They wind up the season\nwith it every year; and the bloated Guillemard usually sweeps the board\nwith his fancy flyers.\"", "\"No, I'm not. I live there, you see.\"\n\nAnd I think the Nipper recalled that name as he ground his heel upon an\nunresponsive flagstone.", "\"Why is it nonsense? I know every inch of the ground, and since the\nhouse has changed hands I have no compunction. Besides, 'I have been", "\"Not old Crawshay!\" said I. \"He's far too good a man to be taken\ntwice. I should call him the very prince of professional cracksmen.\"", "I'm doing the same with mine. Here's a brown pair apiece, and we\nmustn't let the grass grow under them if we're to get to the station in", "\"Chawley Peace killed two policemen,\" said he.\n\n\"No, he didn't; only one of them was a policeman; and he never killed\nanybody with a knife.\"" ], [ "\"You said I spoke as if I had known Mr. Raffles. Of course I have\noften seen him playing cricket, and heard about him and you. But I only", "virtue of his cricket. There happened not to be another cricketer\namong us, and it was on their own subjects that Raffles laughed with", "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "\"Bunny,\" said Raffles, \"this is fame at last! It is no longer\nnotoriety; it lifts one out of the ruck of robbers into the society of", "cricket-bag, and found it heavier than a cricket-bag has any right to\nbe. But in the bed Raffles was sleeping like an infant, his shaven", "I had forgotten Raffles was a modern first-class cricketer: that\nexplains him. Rather than see my son such another, do you know what\nI'd prefer to see him?\"", "\"Good old Raffles!\" he panted in every pause. \"After being chosen\nlast, and as a bowler-man! That's the cricketer for me, sir; by Jove,", "into the boys' part, through the green baize door. It took a deal of\nopening and shutting, but Raffles seemed to enjoy nothing better than", "\"I tell the tale as I heard it last time I played at Trent Bridge; it\nwas never in the papers, I believe,\" said Raffles gravely. \"You may", "\"If you don't,\" rejoined Raffles, \"you will miss some sport after both\nour hearts. Think of it, Bunny! These fellows meet to wallow in all", "gate. In my time there was none of that. Amateurs were amateurs and\nsport was sport; there were no Raffleses in first-class cricket then.", "\"The best exercise I ever had in my life,\" said Raffles; \"and you would\nnever live to guess what it is. It's one of the reasons why I went in", "\"Rather!\" cried Raffles. \"I'm afraid I have let myself lose touch, but\nI mean to turn over a new leaf. I suppose that isn't necessary in your\ncase, Nasmyth?\"", "And it was I who knew the combination at a glance, after years and\nyears, when the fateful whim seized Raffles to play once more in the", "In a flash I saw the chance of my criminal career. It was some years\nsince Raffles had served his country in these encounters; he had never", "butt, and the slates with a bullet not a yard from the protruding head.\nAnd that, I believe, was the only shot that Raffles ever fired in his\nwhole career as a midnight marauder.", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "\"I seem to have seen you with this great man Raffles,\" began Nasmyth,\nas he overhauled me with his fighting eye. \"Do you know him well?\"\n\n\"Intimately.\"", "\"Then give me another cigarette, my dear fellow, and let me push on to\nScotland Yard.\"\n\nRaffles held up both hands in admiring horror. \"Scotland Yard!\"", "drawing-room after dinner, and was just putting on the lights, when in\nwalked Mr. Raffles from the balcony. I knew him at once, because I" ], [ "him the night he dined with the Earl of Thornaby, and robbed the house\nbefore dinner. That's his life-preserver; but no one can make out what", "Mr. Raffles was supposed to have been drowned, and everything was known\nabout you both. But I still kept my own independent knowledge to", "it, if this was his,\" he added, picking up the murderous little\nlife-preserver which poor Raffles had provided for his own destruction.", "\"William and Charles are both dead monarchs,\" said he. \"The reigning\nking in their department is the fellow who gutted poor Danby's place in\nBond Street.\"", "shot at a gentleman on the roof down Horsham way; it was afterward\ntaken from him on the P. & O. boat before he jumped overboard.\"", "life--nay, on the very death he was to die? I never knew, and shall\nnever know. Yet his words were strangely prophetic, even to the three", "I don't think I went on my knees over it. But I am afraid I did cry;\nand that was the end. He pretended not to notice anything, and then in", "Knowing my Raffles as I did, I was not surprised when he dived under\none end of this bridge, and came up with his Inverness cape and opera", "right you in my eyes at his own expense. And yesterday I could see\nthat you knew nothing whatever about it, that your friend had died\nwithout telling you of his act of real and yet vain self-sacrifice!", "\"I suppose you know that my aunt, Lady Melrose, died some years ago?\nShe was the best friend I had in the world, and it is thanks to her", "he had been before; the flush had faded from his face, and his\nbreathing alone would have spoiled everything. In dumb show I had to", "And he would have thrust his revolver upon me as a peace-offering, but\nI would not even take his hand, as I tapped the life-preserver in my", "before he gives up the ghost. Perhaps you will go and think it over\nwhile I wash my bags and dry 'em at the gas stove. It will take me at", "So, indeed, did I, and with no small concern, until I read of his\nadventures (and our own) in the newspapers. It seemed that he had made", "and that you were what you were because you loved Mr. Raffles. But,\neven admitting it was all as bad as bad could be, he is dead, and you", "\"Look here,\" I answered, sitting back on my heels. \"He isn't dead, Mr.\nMedlicott, and I don't know how long he'll be as much as stunned. He's", "\"Only promise me not to take a revolver,\" said Raffles in a whisper.\n\"Here are my keys; there's an old life-preserver somewhere in the", "Barney Maguire crashed to the floor, without waking either himself or\nhis companions, though not without bringing my beating heart into the\nvery roof of my mouth.", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "\"It's impossible to say, my lord. He's not in the house now, for he\ncould only be in your lordship's bedroom or dressing-room, and we have\nsearched every inch of both.\"" ], [ "\"As it is, however, we will all let the other fellow do so,\" said old\nNab in a genial growl. \"And you two had better turn into my house and\nhave something to keep the morning cold out.\"", "\"Walk up!\" he cried, as he beckoned to us three. \"Walk up and see one\no' their blamed British crooks laid as low as the blamed carpet, and\nnailed as tight!\"", "\"Of course he'll come out,\" said I. \"We must make up our minds to\nthat.\"\n\n\"Did he tell you he was expecting the servants or his wife? If so, of\ncourse we must hurry up.\"", "unexpectedly to the house, which had been left untenanted during\n the absence of the family abroad, it was found occupied by two\n ruffians, who overcame and secured the distinguished officer by", "Raffles stood still at my feet, and well he might! A deafening double\nknock had resounded through the empty house; and to add to the utter", "intimate knowledge of the house. And lastly, this was a Wednesday\nnight, when the tired legislator gets early to his bed.", "frequently than I went round to him. Of course he would come at his\nown odd hours, often just as one was dressing to go out and dine, and I", "joined us at last upon the landing. His collar was the tallest I have\never seen, and his face was as pallid as his collar. He carried a", "\"It's impossible to say, my lord. He's not in the house now, for he\ncould only be in your lordship's bedroom or dressing-room, and we have\nsearched every inch of both.\"", "Raffles had soon surrounded it were bored on a level with his eyes.\nYet the clock in the hall chimed again, and two ringing strokes\nresounded through the silent house before we gained admittance to the", "\"The son of the house!\" whispered Raffles in my ear, as he dragged me\nback to the window he had left open for our escape. But as he leaped", "\"Why is it nonsense? I know every inch of the ground, and since the\nhouse has changed hands I have no compunction. Besides, 'I have been", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "one, which I secured, while the panting butler and his satellites\nbrought up a respectful rear. It was our unconventional author,\nhowever, who was the first to volunteer his assistance and advice.", "\"I've been expecting you all the afternoon,\" said he. \"You needn't\nlook so pale.\"\n\n\"Is it safe?\"", "Doors were already opening overhead, voices calling, voices answering,\nthe alarm running like wildfire from room to room. Soft feet pattered", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "\"Well, it's about the most palatial of the lot. The old ruffian is as\nrich as Croesus. It's a country-place in town.\"", "It was daybreak when I gave the alarm with bell and telephone. In a\nfew minutes we had the house congested with dishevelled domestics,", "When he opened the door and beckoned to me, I knew by his face that he\nhad succeeded to his satisfaction, and by experience better than to" ], [ "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "\"Well, it's about the most palatial of the lot. The old ruffian is as\nrich as Croesus. It's a country-place in town.\"", "\"It's impossible to say, my lord. He's not in the house now, for he\ncould only be in your lordship's bedroom or dressing-room, and we have\nsearched every inch of both.\"", "The venerable butler stood wheezing at his elbow. I had not hitherto\nobserved that the man was an asthmatic.", "had been taken, after all. And then--and then--the one member of the\nhousehold who had come nearest to a personal encounter with either of\nus was unable to furnish any description of the man--had even expressed", "I looked at the curly head upon the pillow, at the smiling, handsome\nface under the curls. And at last I understood.\n\n\"So all the time you never meant it!\"", "\"No, I'm not. I live there, you see.\"\n\nAnd I think the Nipper recalled that name as he ground his heel upon an\nunresponsive flagstone.", "\"Of course I do,\" said I. \"They are rich people, and he's not such a\nbrute as to spend everything on his stable. Her jewels are as much the", "\"No, they won't, old man!\" I whispered. And he sat up and saw the\ncomatose trio for himself.", "And this miserable quibble was not a lie! My lip curled, I turned my\nback without a word, and drove home to my Mount Street flat in a new", "would, and for that matter he nearly did. Then, at the last moment, he\nsaw how to hedge things with his conscience. And his second hundred\nwill be a real gift.\"", "right you in my eyes at his own expense. And yesterday I could see\nthat you knew nothing whatever about it, that your friend had died\nwithout telling you of his act of real and yet vain self-sacrifice!", "guests. They were the pair who had driven up in the hansom; one turned\nout to be Kingsmill, Q.C.; the other I knew at a glance from his", "I had called at the Albany for the fiftieth time, and returned to\nPiccadilly in my usual despair, when a street sloucher sidled up to me\nin furtive fashion and inquired if my name was what it is.", "a gallant spurt into the road, and there paid the penalty of his\nrashness by a sudden incapacity to move another inch. It had\neventually taken him twenty minutes to creep back to locked doors, and", "\"I remember now. You were with him when he forced himself upon me on\nthe way down yesterday. He had to tell me who he was. Yet he talks as\nthough we were old friends.\"", "at fifty miles an hour. He might have been following some honorable\ncalling in town; he might have snatched this brief respite from a\ndistinguished but exacting career. I am convinced that it was I alone", "some slight improvement became apparent, and at length the sufferer was\nable to sit upright, and to drain his glass with a sigh of rare relief.\nI sighed also, for I had witnessed a struggle for dear life by a man in", "It was Raffles. Yet for a moment I looked about me quite in vain. He\nwas not at the window; he was not at the open door. And yet Raffles it" ], [ "\"They might be brothers,\" rejoined Raffles, who knew all the loose fish\nabout town. \"Well, I'm not sure that I shall want you after all,\nBunny.\"\n\n\"Why not?\"", "\"If you don't,\" rejoined Raffles, \"you will miss some sport after both\nour hearts. Think of it, Bunny! These fellows meet to wallow in all", "\"Hulloa!\"\n\n\"That you, Bunny?\"\n\n\"Yes--are you Raffles?\"", "\"Not again, Bunny, not again,\" rejoined Raffles, laughing as he shook\nhis head. \"But do you think the man has enough to make it worth our\nwhile to go so far afield?\"", "\"My dear Bunny, but so he was!\" cried Raffles. \"Time was when I was\nnone too pure an amateur. But after this I take leave to consider", "\"One's quite enough, Bunny,\" said Raffles dryly; he leaned back in his\nchair and took out another cigarette. And I accepted of yet another", "consuming excitement of the war in South Africa. These were the days\nwhen Raffles really had white hair, and when he and I were nearing the", "\"Bunny,\" said Raffles, \"this is fame at last! It is no longer\nnotoriety; it lifts one out of the ruck of robbers into the society of", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "\"My dear, good Bunny,\" said Raffles, \"I've told you already that I\ndidn't come in here on business. I came in for the Cure. Not a penny", "\"My dear Bunny,\" replied Raffles, \"you should remember how long I had\nbeen maturing felonious little plan, what a blow it was to me to have", "\"I came down early,\" said Raffles, \"and had a look at the races. I\nalways prefer to measure my man, Bunny; and you needn't sit in the", "\"Then we're both going, Bunny! And I give you my word,\" cried Raffles,\n\"that no real harm shall come of it. But you mustn't ask to see the", "In a flash I saw the chance of my criminal career. It was some years\nsince Raffles had served his country in these encounters; he had never", "Raffles looked at me with a wry smile; he was in good enough humor now.\n\n\"It would be rather dangerous, Bunny. If they spotted you, they might\nthink of me.\"", "Raffles was smiling under the double lamps of the first-class\ncompartment that we had to ourselves.\n\n\"I wouldn't say that, Bunny. We have done worse.\"", "\"Allow me, Bunny! I shall take the liberty of locking both doors\nbehind you and putting the key in my pocket,\" said Raffles, when he had", "\"So you are out of Paradise after all!\" said Raffles. \"I was not sure,\nor I should have come round before. Well, Bunny, if they don't want", "\"You may have forgotten your Shakespeare, Bunny, but you ought to\nremember that.\"\n\nAnd I did, vaguely, but had no idea what it or Raffles meant, as I\nplainly told him.", "Raffles laid a kindly hand upon my shoulder--\"Bunny, Bunny, you can rob\nthe old place, and yet you can't hear a word against it?\"" ], [ "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "right you in my eyes at his own expense. And yesterday I could see\nthat you knew nothing whatever about it, that your friend had died\nwithout telling you of his act of real and yet vain self-sacrifice!", "\"I am glad to hear that,\" he remarked in a high bland voice. \"I\nthought that man would die game.\"\n\n\"Did you know anything about him, then?\" inquired Lord Thornaby.", "\"I suppose you know that my aunt, Lady Melrose, died some years ago?\nShe was the best friend I had in the world, and it is thanks to her", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "\"You thought that, and yet you came like a shot to do battle for my\nbody with Barney Maguire! Jack-the-Giant-killer wasn't in it with you,\nBunny!\"", "\"William and Charles are both dead monarchs,\" said he. \"The reigning\nking in their department is the fellow who gutted poor Danby's place in\nBond Street.\"", "great end! It is true that he had been unfortunate enough to strike a\njugular vein, but his own end should take its place among the most", "The Field of Phillipi", "\"It's the night of their Hunt Point-to-Point. They wind up the season\nwith it every year; and the bloated Guillemard usually sweeps the board\nwith his fancy flyers.\"", "else, and armed with crops carried by the wrong end. The monumental\nperson with the short moustache led the advance. The fool stood still", "\"I know it wasn't, Bunny,\" he said regretfully. \"But things like that,\nas the poet will tell you, are really inseparable from victories like", "\"Chawley Peace killed two policemen,\" said he.\n\n\"No, he didn't; only one of them was a policeman; and he never killed\nanybody with a knife.\"", "\"Is he dead?\" wheezed the asthmatic coolly.\n\n\"Not he,\" I answered, with an indignation that I dared not show.", "such persons thinking yet a little better of him (and not wasting\nanother thought on me) that I am permitted to retail the very last word\nabout their hero and mine.", "life--nay, on the very death he was to die? I never knew, and shall\nnever know. Yet his words were strangely prophetic, even to the three", "\"All of them?\"\n\n\"I think so.\"\n\n\"There, then.\"\n\n\"Now go to the back window and up with the blind.\"\n\n\"Well?\"", "\"A false description! Bunny, you have no more to learn from me. Time\nwas when I wouldn't have let you go there without me to retrieve a lost\numbrella--let alone a lost cause!\"", "the first time during the evening. Our author, who was nibbling cheese\nfrom a knife, left a bead of blood upon his beard. The futile Ernest\nalone met the occasion with a hearty titter.", "a quick but natural respiration; and in the sudden cessation of the\ncruel contest, an uncanny stillness fell upon the scene. Meanwhile the" ], [ "\"It will maim me for a month,\" said he; \"and if the V.C. comes out\nalive, the wound he gave may be identified with the wound I've got.\"", "Within the last twenty-four hours Barney Maguire had fought his first\ngreat battle on British soil. Obviously, he would no longer be the man", "\"You said yesterday that your going to the war and getting wounded\nwiped out nothing that had gone before. I hope you are not growing", "But by this time the noble master was in worse case than the man. His\nfine forehead was a tangle of livid cords; his baggy jowl filled out", "\"Walk up!\" he cried, as he beckoned to us three. \"Walk up and see one\no' their blamed British crooks laid as low as the blamed carpet, and\nnailed as tight!\"", "or four weeks in which those events happened that imperilled the fabric\nof our empire, and rallied her sons from the four winds to fight\nbeneath her banner on the veldt. It all seems very ancient history", "\"I am glad to hear that,\" he remarked in a high bland voice. \"I\nthought that man would die game.\"\n\n\"Did you know anything about him, then?\" inquired Lord Thornaby.", "\"You thought that, and yet you came like a shot to do battle for my\nbody with Barney Maguire! Jack-the-Giant-killer wasn't in it with you,\nBunny!\"", "\"Chawley Peace killed two policemen,\" said he.\n\n\"No, he didn't; only one of them was a policeman; and he never killed\nanybody with a knife.\"", "But with this war one gets all the excitement one requires--and rather\nmore than usual may happen in three or four weeks?\"", "Barney Maguire crashed to the floor, without waking either himself or\nhis companions, though not without bringing my beating heart into the\nvery roof of my mouth.", "\"No, I'm not. I live there, you see.\"\n\nAnd I think the Nipper recalled that name as he ground his heel upon an\nunresponsive flagstone.", "great end! It is true that he had been unfortunate enough to strike a\njugular vein, but his own end should take its place among the most", "\"Is he dead?\" wheezed the asthmatic coolly.\n\n\"Not he,\" I answered, with an indignation that I dared not show.", "\"That's the only time we know about,\" the clerk admitted; \"and it\ncouldn't be brought 'ome, or his precious pal would have got more than", "consuming excitement of the war in South Africa. These were the days\nwhen Raffles really had white hair, and when he and I were nearing the", "\"Come, come, my lass,\" cried the old oak veteran, \"I'm not going to put\na bullet through you, you know! You tell me all about it, and it'll do", "genial clod, as he sat in his fat and listened to the young bloods\nboasting of their prowess, or elaborately explaining their mishaps.\nAnd for a minute we listened also, before I remembered my", "\"Look here,\" I answered, sitting back on my heels. \"He isn't dead, Mr.\nMedlicott, and I don't know how long he'll be as much as stunned. He's", "\"No, they won't, old man!\" I whispered. And he sat up and saw the\ncomatose trio for himself." ], [ "indeed deeply interested before the event, since Raffles assured me\nthat it was \"a one-man job,\" and naturally intended to be the one man\nhimself. It was only at the eleventh hour that our positions were", "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "might well have been left far astern of the fun. Yet it was Raffles\nwho was the life and soul of the party, and that not by meretricious", "\"I was staying there at the time,\" said Raffles eagerly. No snob was\never quicker to boast of basking in the smile of the great.", "And I saw a good deal of Raffles just then; it was, in fact, the one\nperiod at which I can remember his coming round to see me more", "drawing-room after dinner, and was just putting on the lights, when in\nwalked Mr. Raffles from the balcony. I knew him at once, because I", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "But Raffles wagged away with his most charming and disarming smile; he\nwas in old clothes, rather tattered and torn, and more than a little", "Raffles regarded me with that tantalizing smile of his which might mean\nnothing, yet which often meant so much; and in a flash I was convinced", "There was an absolute magnetism about Mr. Raffles which neither you nor\nI could resist. He had the strength of personality which is a\ndifferent thing from strength of character; but when you meet both", "\"I seem to have seen you with this great man Raffles,\" began Nasmyth,\nas he overhauled me with his fighting eye. \"Do you know him well?\"\n\n\"Intimately.\"", "Raffles stood over me with a smile made of mischief and cunning; but it\nwas the purest mischief imaginable, the most innocent and comic cunning.", "\"You said I spoke as if I had known Mr. Raffles. Of course I have\noften seen him playing cricket, and heard about him and you. But I only", "\"You'll remember Raffles,\" said I, \"if you don't remember me. You\nshowed us your trophies the other night, and asked us both to look you\nup at any hour of the day or night after the fight.\"", "none to discuss just then. Raffles, on the contrary, was showing\nhimself with some industry in the most respectable society, and by his\nadvice I used the club more than ever.", "Bailey, and perhaps had its share in promoting the quality of mercy\nwhich had undoubtedly been exercised on my behalf. But the present\nrecital was unduly trying, and Raffles created a noble diversion by", "\"I suppose you had one for the dance that was going on,\" I growled. Nor\nwould it have been a coincidence for Raffles to have had a ticket for\nthat or any other entertainment of the London season.", "encountered in the street was the constable on the beat. Raffles\nwished him good-morning, as well he might; for he had been upstairs to", "and envy every man of you--every name in those dreadful lists that fill\nthe papers every day. But I knew about Mr. Raffles, and I did not know", "\"My dear fellow,\" replied Raffles, \"that was my whole feeling about\nyou. I wanted to 'see you at it'--that was absolutely all. I wanted" ], [ "\"Hulloa!\"\n\n\"That you, Bunny?\"\n\n\"Yes--are you Raffles?\"", "\"Not again, Bunny, not again,\" rejoined Raffles, laughing as he shook\nhis head. \"But do you think the man has enough to make it worth our\nwhile to go so far afield?\"", "\"My dear Bunny,\" replied Raffles, \"you should remember how long I had\nbeen maturing felonious little plan, what a blow it was to me to have", "\"Bunny,\" said Raffles, \"this is fame at last! It is no longer\nnotoriety; it lifts one out of the ruck of robbers into the society of", "\"Allow me, Bunny! I shall take the liberty of locking both doors\nbehind you and putting the key in my pocket,\" said Raffles, when he had", "\"My dear Bunny, but so he was!\" cried Raffles. \"Time was when I was\nnone too pure an amateur. But after this I take leave to consider", "\"You were always a bad liar, Bunny,\" said Raffles, smiling. \"Will you\nthink me one when I tell you that I can understand what you felt, and", "\"That's for the police,\" said Raffles, waiting for me. \"But the fun's\nonly beginning in the stables. Hear the uproar, and see the lights!", "\"If you don't,\" rejoined Raffles, \"you will miss some sport after both\nour hearts. Think of it, Bunny! These fellows meet to wallow in all", "\"They might be brothers,\" rejoined Raffles, who knew all the loose fish\nabout town. \"Well, I'm not sure that I shall want you after all,\nBunny.\"\n\n\"Why not?\"", "\"Then we're both going, Bunny! And I give you my word,\" cried Raffles,\n\"that no real harm shall come of it. But you mustn't ask to see the", "\"You must try to forgive me, Bunny,\" continued Raffles before I could\nspeak. \"I don't say a word against what you did, or undid; in fact,", "\"Sorry, Bunny!\" said Raffles, sitting on one pedestal of a desk from\nwhich the top had been removed, and setting his makeshift lantern on", "of robbing his old 'ome, it's believed he hadn't the 'eart to take the\nstuff away, and Raffles had to break in a second time for it. No, sir,", "It was Lord Thornaby himself who fired the first shot, over the very\nsherry. He had Raffles on his right hand, and the backwoodsman of", "\"I came down early,\" said Raffles, \"and had a look at the races. I\nalways prefer to measure my man, Bunny; and you needn't sit in the", "\"I should think it did, Bunny,\" murmured Raffles, in a tone that added\nsensibly to my reward. \"I couldn't have done better myself, and you", "\"I tell you I got it directly I had left you. He called you away in\norder to burgle you too, of course!\"\n\nAnd Raffles stood smiling upon me in all his incomparable radiance and\naudacity.", "Raffles laid a kindly hand upon my shoulder--\"Bunny, Bunny, you can rob\nthe old place, and yet you can't hear a word against it?\"", "In a flash I saw the chance of my criminal career. It was some years\nsince Raffles had served his country in these encounters; he had never" ], [ "\"A pass?\" I cried triumphantly. \"Of course we should have to get one,\nand of course that puts an end to the whole idea. Who on earth would\ngive a pass for this show, of all others, to an old prisoner like me?\"", "\"You mean Bunny?\" said the familiar fellow. \"No, sir, he'd be out of\nplace; we've only room for real criminals here. Bunny was neither one", "offences by imprisonment, whereas Raffles was merely supposed to have\nescaped punishment in death. The result was that I could rush in where", "another ten to ring up the inmates. His description of my personal\nappearance, as reported in the papers, is the only thing that\nreconciles me to the thought of his sufferings during that half-hour.", "and left myself for dead on this very spot. In fact, I imagined him\ncomfortably back in jail.\"", "criminal in the land. Yet he had struck no brutal blow, he had uttered\nno disgraceful taunt, and probably not inflicted a tithe of the pain he", "\"Mr. Raffles,\" said he, \"has been telling me about that poor fellow who\nsuffered the extreme penalty last March. A great end, gentlemen, a", "\"'Because I was the other man,' he said quite quietly; 'because I led\nhim blindfold into the whole business, and would rather pay the shot\nthan see poor Bunny suffer for it.'", "chest had indeed been rifled, and emptied of every silver thing but\none; that one remaining piece of silver, seen of men, was quite enough\nto cast Raffles into the outer darkness of penal servitude! And", "\"True; we have had Peace,\" said Parrington, and launched out into such\nglowing details of that criminal's last moments that I began to hope\nthe diversion might prove permanent. But Lord Thornaby was not to be\ndenied.", "myself that this served him right. Even had I brained him, the fault\nhad been his, not mine. And it was a characteristic, an inveterate", "Majesty's inspectors of prisons, and his study's a storehouse of\ncriminology. It has been quite amusing to lie on one's back and have a", "In a flash I saw the chance of my criminal career. It was some years\nsince Raffles had served his country in these encounters; he had never", "part, and was playing the innocent inimitably in his turn, by reason of\nhis very innocence. It was a poetic judgment on old Raffles, and in my", "\"I was a fool ... to turn in,\" he blurted in more whispers between\nlonger pauses. \"Lying down is the devil ... when you're in for a real", "\"Locking your lordship's dressing-room door behind your lordship, my\nlord,\" stuttered the unfortunate Leggett, in the short spurts of a", "And for a minute Raffles frowned and smiled like a sensation novelist\nworking out a plot; then the light broke, and transfigured him through", "\"We were indulging in the chase ourselves,\" explained Raffles, \"and one\nof us has suffered for his zeal, as you can see. It is even possible\nthat we, too, have been chasing a perfectly innocent man.\"", "\"So he really did get out at nights?\" remarked my adversary. \"You\ncertainly give your friend away. What's he doing now?\"", "him the night he dined with the Earl of Thornaby, and robbed the house\nbefore dinner. That's his life-preserver; but no one can make out what" ] ]

[ "What was Raffles famous for?", "What does Raffles say he was asked about for?", "Where were Raffles and Bunny attemting a heist when they were caught and exposed?", "Raffles jumps overboard on the ocean voyage heist. He is presumed what?", "Where was Bunny before being summoned to the house of a rich invalid?", "Who is the rich invalid?", "Where was Bunny when he summoned Raffles?", "What war do they volunteer for?", "Who dies in battle?", "Where did Raffles disappear to?", "Who summoned Bunny after he was released from prison?", "What war do the main characters volunteer for?", "Which character is wounded in the war?", "Which character dies in the war?", "How many phases do these stories have?", "Which character is presumed drowned in the first story?", "Which collection was the first story part of?", "Which collection was the second part of the story originally collected in?", "What is the profession of the two main characters?", "What sport is Raffles famous for playing?", "Which character dives overboard while on an ocean voyage and is presumed dead?", "Who is summoned to the house of a rich invalid?", "Who does the rich invalid turn out to be?", "Which war do Raffles and Bunny volunteer for?", "Which main character dies in battle?", "Which character is wounded, but does not die, in the Boen War?", "Why was Raffle always invited to huge social events at the beginning of the story?", "What crime do Bunny and Raffles commit at the beginning of the story?", "Which character serves a prison sentence?" ]

[ [ "Cricket", "cricket" ], [ "cricket", "my cricketts" ], [ "an ocean voyage", "On an ocean voyage." ], [ "drowned", "drowned" ], [ "prison", "Prison" ], [ "Bunny", "Raffles" ], [ "England", "prison" ], [ "The Boer War", "The Boer War." ], [ "Raffles", "Raffles" ], [ "Reichenbach Falls?", "He jumps overboard into the ocean and is presumed to have drowned." ], [ "Raffles", "Raffles" ], [ "Boer War", "the Boer War" ], [ "Bunny", "Bunny." ], [ "Raffles", "Raffles." ], [ "Two", "Two." ], [ "Bunny", "Raffles" ], [ "An Amateur Cracksman", "The Amateur Cracksmen" ], [ "The Black Mask", "The Black Mask" ], [ "Thieves", "they are men-about-town who are also thieves" ], [ "Cricket", "Bowling." ], [ "Raffles", "Raffles" ], [ "Bunny", "Bunny" ], [ "Raffles", "Raffles." ], [ "Boer War", "The Boer War." ], [ "Raffles", "Raffles." ], [ "Bunny", "bunny" ], [ "He was a famous cricketer ", "because he was a famous cricket player" ], [ "Burglary ", "Theft." ], [ "Bunny?", "Bunny" ] ]

11ac9bf7f55ee9d40df3c0ba117c6914dd6ed9e6

train

[ [ "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "It's now just a blur of images of Carl at Southwest Bank,\n shaking his head `no', eating Lean Cuisine and watching\n reality television.", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "Carl's eating across from Renee. He can't stand the food.\n He grimaces with every bite, but manages to choke it down.", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "LUCY\n He can be just so closed off.\n \n Carl's phone rings.\n \n CARL", "Carl's strapped to a giant plasma donation machine. It's\n horrifying. As he donates plasma, he could not look more\n depressed.", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "Carl's taking a pottery lesson. He is sadly going through\n the motions of making a pot. He checks his watch and", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "CUT TO LATER -- Carl, Kath and Seb are now slightly drunk.\n However, it is a quiet, angry drunk, not a fun-loving drunk.", "INT. CARL'S LIVING ROOM/BEDROOM\n \n Carl lays down and closes his eyes. The alarm GOES OFF", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "INT. SOUTHWEST BANK - LOBBY\n \n Carl stands in the middle of the floor staring into the\n middle distance. A CUSTOMER approaches him.", "INT. CARL'S APARTMENT - NIGHT\n \n Carl goes into his apartment. He lies down in his bed and", "CUT TO LATER\n \n Carl has put up signs on the bank window that say \"Pet-a-", "You wanted to be more than you are.\n And yet you have suddenly woken up\n to find life is passing you by. Am\n I right, Carl?", "the fancy digs, Carl's depressed. Chris pokes his head in.\n Carl's on the phone.\n \n CARL", "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?" ], [ "She's very scared of flying.\n \n CARL\n Where's your seat?", "The YOUNG WOMAN points at her seat. It's a couple rows up in\n the middle. Her middle seat's BOOKENDED by a MOM with a", "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "switching places with me? I want\n to be across the aisle from my mom.\n \n Her MOM is indeed across from Carl.", "A cab PULLS UP. Peter realizes Carl's leaving.\n \n PETER (cont'd)\n Say hello to her when you see her.", "equipment, including a giant clear plastic harp. Renee steps\n up to the microphone.\n \n RENEE", "ground. I've tried on foot. I\n only have a two mile radius.\n \n CARL\n Done and done.", "throw your next art thing!\n \n Everyone gets into their cars. Carl and Renee walk off.\n \n RENEE", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "Carl takes the wheel. The tractor IMMEDIATELY GETS AWAY FROM\n HIM. They SWERVE STRAIGHT and CRASH THROUGH THE WALL OF AN", "Light is streaming in through the window. Carl opens his\n eyes. He's in bad shape. He looks over to see the Hot Girl\n finishing getting dressed.", "CARL\n Wait! I'll explain better.\n \n She turns back around.", "has been packed up.\n \n 41.", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "Beat.\n \n CARL\n Yes.\n \n WAITRESS", "Beat.\n \n CARL\n Yes.\n \n WAITRESS", "Carl's in a tuk tuk being driven at breakneck speed down the\n windy streets of Bangkok.", "She looks pretty in the photo.\n \n RENEE\n Alright! Enough standing around!", "Her business plan.\n \n Norman grabs the business plan and starts reading it.\n \n NORMAN" ], [ "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl's still massaging her. He stops.\n \n RENEE (cont'd)\n Can you please keep massaging?", "BACK TO CARL AND PETER. We CLOSE IN ON CARL'S MOUTH.\n \n CARL", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "Carl's massaging. His hands are really cramping up. She's\n asleep. He stops massaging.\n \n RENEE (cont'd)", "That was some good times last\n night. You back for more?\n \n CARL\n Yes.", "Don't stop.\n \n Carl continues massaging her.\n \n CHYRON: HALF HOUR LATER", "CARL\n Yes.\n \n Carl grabs Renee and starts making out with her. They fall", "CARL\n What? So? I'm like a sexual\n camel. I only need it once every\n couple years.", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Are you... ?\n \n CARL\n Yes.\n \n They kiss.", "Oooh. Yeah. Oooh, right there.\n \n Carl stops.\n \n RENEE (cont'd)", "Renee kisses Carl.\n \n RENEE (cont'd)\n Oooh, we should do some sexy", "The Hot Girl kisses Carl on the forehead.\n \n HOT GIRL (cont'd)", "Carl's eating across from Renee. He can't stand the food.\n He grimaces with every bite, but manages to choke it down.", "in to kiss Carl.\n \n CARL\n I have herpes.\n \n TONY", "INT. CARL'S APARTMENT - NIGHT\n \n Carl goes into his apartment. He lies down in his bed and", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "And that guy's crazy. Don't you\n want to go home and make out?\n \n CARL\n Yes." ], [ "Their four audience members cheer. The drummer bangs his\n sticks together and the band launches in. They are terrible.\n Like really terrible. Renee sings in a high-pitched voice", "The four people in the audience clap hard as she finishes.\n Renee takes a huge bow and motions to her fellow band mates.\n Carl, not knowing how to politely react to the horror show he", "who's name we'll learn is RENEE passing out flyers for a band\n called \"The Flying Buttresses.\"\n \n 4.", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "equipment, including a giant clear plastic harp. Renee steps\n up to the microphone.\n \n RENEE", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "People stream into the bar to celebrate. Outside, CARL\n KENDALL (30s) and his soon-to-be ex-girlfriend KATH are\n having a quiet intense discussion.", "Light is streaming in through the window. Carl opens his\n eyes. He's in bad shape. He looks over to see the Hot Girl\n finishing getting dressed.", "your name?]\n \n \n INT. THE NOTE BAR AND PERFORMANCE SPACE - NIGHT", "to White Town's \"Your Woman.\" It will bring it to life in a\n way that words on a page cannot do it justice.)\n \n CARL", "I like it. I can work with that.\n \n The drummer, a guy named LEEORE, shouts down to Renee from\n the stage.", "Carl walks out of Dunkin Donuts, carrying a giant coffee and\n several boxes of Munchkins. He walks by Renee, the cute girl\n who hands out band fliers.", "ALL)\n Of course!\n (reading from a binder)\n Pet-a-Puppy day. Free cookie day.", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "Carl gets really close to the Hot Girl's face and then COYLY\n pulls away for the bridge of the song. During the awesome", "Carl walks around a photography gallery. Renee's photos are\n up. They are terrible photos, since they were taken while\n she was jogging. Their subjects are blurry. Some of them", "He is!\n \n The woman POINTS AT Carl. The spotlight SWINGS OVER to Carl.\n He is annoyed.", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "Renee, along with several other amateur photographers in\n sweat suits, have gathered. They all have big cameras around\n their necks. Carl walks up to them. He does not look good.", "Carl lands on one knee in front of the Hot Girl. The crowd\n CHEERS FOR HIM. The Hot Girl's LARGE BOYFRIEND gets up close" ], [ "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "19.\n \n \n \n Sanji's suddenly getting to Carl. As Sanji talks to him, the", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "Carl then RUNS into his office and sits down at the desk.\n He's covered in sweat and is breathing heavily. Chris pokes\n his head in.", "Beat. Carl doesn't really know what to do so he slaps him\n across the face the way a woman would slap a man.", "67.\n \n \n \n Tony pulls Carl up. Carl starts to awkwardly shake his\n groove thing.", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "Carl takes the Maniyesto.\n \n CARL\n (reading the document)\n 1) Until New Year's Eve, I must say", "rapidly at Carl. Carl has no idea what he's saying. Seung\n Kim laughs. Carl laughs along with him. Chris hits a\n beautiful shot. His ball lands almost on the green. The", "Chris laughs. Carl laughs. Chris abruptly stops laughing.\n So does Carl. Carl's phone buzzes again. The text says", "Sanji grabs Carl hand and PULLS HIM to his feet. We PULL\n BACK and the crowd CHEERS.", "Tell everyone Happy New Year.\n \n Carl lies down and hangs up the phone.\n \n CUT TO LATER", "Carl gets dressed. He puts on his suit and tie. His\n apartment is noticeably nicer than the last time we saw it.", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "answers it.\n \n CARL (cont'd)\n Of course not.", "Instantly Carl's cubicle is surrounded by fellow workers.\n \n BANK EMPLOYEES\n Carl rules./You're the" ], [ "airport and hop on the first flight\n outta here.\n \n Carl's eyes light up.\n \n CARL", "(PROUDLY)\n We want two tickets on the next\n plane out of here.\n \n AIRLINE REP", "CARL\n That's our flight. We should\n probably get going.\n \n RENEE", "INT. PLANE\n \n Renee and Carl have the aisle and window on the plane. A", "Carl nervously hands the Airline Rep his credit card.\n \n \n INT. AIRPORT - OUTSIDE SECURITY", "She's very scared of flying.\n \n CARL\n Where's your seat?", "INT. LINCOLN AIRPORT\n \n Carl's sitting in the lounge at the Lincoln Airport. An OLD", "INT. PLANE\n \n Carl and Renee sit next to each other on the plane.", "INT. AIRPORT\n \n Carl and Renee walk off the plane, Carl carrying the package\n under his arm. Carl sees a tall blond guy holding a sign", "INT. LINCOLN AIRPORT - LATER\n \n Carl and Renee are in the airport.", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "RENEE\n We're actually flying together.\n \n YOUNG WOMAN\n It would really mean a great deal.", "Well, clearly we should go there.\n \n Carl points to an advertisement for a telephone museum:\n \"Come to the Frank H. Woods Telephone Pioneer Museum.\"", "You're going, already?\n \n 3.\n \n \n \n KATH", "INT. AIRPORT - TICKET COUNTER\n \n Renee and Carl are in line at the ticketing counter.\n \n RENEE", "It's very quiet. A couple people mill about.\n \n CARL\n We don't have to stay long.", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "CARL\n (clearly lying)\n I'm out of town.", "Carl stares as the clock clicks to 5:00. He's out the door.\n \n \n INT. CARL'S KITCHEN", "CARL\n (to the people who are\n being seated)\n You all know that we were up before" ], [ "Carl just looks at her.\n \n RENEE (cont'd)\n If you can't be honest with me,", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?", "Renee laughs. Carl fake laughs with her.\n \n 75.", "That's what I thought, Carl. And\n you think this is all bullshit,\n Carl, isn't that right, Carl?", "She rises, shaking her head, and heads for the door.\n \n CARL\n It wasn't a lie.", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "nice intimate touch. See you soon\n Carl.\n \n Carl turns away, nervous that he's accepted her invitation.", "All the VPs laugh. Carl fake laughs along with them.\n \n \n INT. CARL'S APARTMENT", "Carl's massaging. His hands are really cramping up. She's\n asleep. He stops massaging.\n \n RENEE (cont'd)", "CARL\n Yes.\n \n RENEE\n Yes?", "Chris laughs. Carl nervously laughs along with him. The\n Pretty Korean Banker walks by and waves at him. Carl waves\n back. He looks very guilty.", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "Are you... ?\n \n CARL\n Yes.\n \n They kiss.", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl gets really close to the Hot Girl's face and then COYLY\n pulls away for the bridge of the song. During the awesome", "Carl nervously sits before Norman.\n \n NORMAN\n Earlier today, you showed some\n initiative. And I loved it. What", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl." ], [ "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?", "Carl's sitting on the steps. Renee comes out of the station.\n \n RENEE\n What the hell happened?", "Carl's phone rings.\n \n CARL (cont'd)\n Sorry, Luce. Work stuff.", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "Carl's massaging. His hands are really cramping up. She's\n asleep. He stops massaging.\n \n RENEE (cont'd)", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "INT. CARL'S APARTMENT\n \n Norman's crying. Rooney's getting worked up.", "the fancy digs, Carl's depressed. Chris pokes his head in.\n Carl's on the phone.\n \n CARL", "Carl between the crying baby and the ENORMOUS MAN. Renee\n turns and waves to him from a couple rows up. Carl puts on a\n saccharin smile and waves back.", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "PETER (V.O.)\n (on the phone)\n Carl. It's Peter. Where are you?", "Renee laughs. Carl fake laughs with her.\n \n 75.", "87.\n \n \n \n CARL (cont'd)\n (covering the phone)", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "Renee starts jogging again. Carl starts after her and then\n abruptly doubles over and throws up on the ground. Renee and\n the other jogging/photographers snap photos of him.", "TONY\n Yeah, well, I've been busy too.\n \n Renee comes up and grabs Carl's arm.", "Carl's phone rings. People look angrily at him. He stands\n and PASSES OUT in the aisle.", "Carl giving blood while on the phone.\n \n CARL\n (on the phone)\n I just think if we're going to be" ], [ "Carl and Lucy are each drinking tea. The only other people\n in the tea room are groups of women.\n \n LUCY", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "INT. HOLIDAY INN CONFERENCE ROOM\n \n Carl runs to the conference room. The Just Say Yes seminar", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "Billy.\n \n She hands Carl a brochure.", "Carl gets a tap on the shoulder. REVEAL Kath standing there.\n \n KATH (O.S.)\n Thinking of learning a couple", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "CARL\n Wait! I'll explain better.\n \n She turns back around.", "Carl between the crying baby and the ENORMOUS MAN. Renee\n turns and waves to him from a couple rows up. Carl puts on a\n saccharin smile and waves back.", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "Carl walks around a photography gallery. Renee's photos are\n up. They are terrible photos, since they were taken while\n she was jogging. Their subjects are blurry. Some of them", "Carl's taking a pottery lesson. He is sadly going through\n the motions of making a pot. He checks his watch and", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "All the VPs laugh. Carl fake laughs along with them.\n \n \n INT. CARL'S APARTMENT", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM", "The Hot Girl kisses Carl on the forehead.\n \n HOT GIRL (cont'd)", "INT. STATIONERY STORE - LATER\n \n Lucy and Carl are looking over a book of stationery with the", "Carl gets up to the roof. Renee's looking out over Bangkok.\n He taps her on the shoulder. She turns.\n \n RENEE", "INT. POTTERY STUDIO\n \n Carl walks into the pottery studio, looking guilty. Renee is" ], [ "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "It's now just a blur of images of Carl at Southwest Bank,\n shaking his head `no', eating Lean Cuisine and watching\n reality television.", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "INT. CARL'S LIVING ROOM/BEDROOM\n \n Carl lays down and closes his eyes. The alarm GOES OFF", "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?", "Carl's eating across from Renee. He can't stand the food.\n He grimaces with every bite, but manages to choke it down.", "CARL\n I'm in bed. Why? What happened?\n Did someone die?\n \n 10.", "INT. CARL'S APARTMENT - NIGHT\n \n Carl goes into his apartment. He lies down in his bed and", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Carl's strapped to a giant plasma donation machine. It's\n horrifying. As he donates plasma, he could not look more\n depressed.", "CUT TO LATER -- Carl, Kath and Seb are now slightly drunk.\n However, it is a quiet, angry drunk, not a fun-loving drunk.", "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "88.\n \n \n \n CARL\n Long story.", "LUCY\n He can be just so closed off.\n \n Carl's phone rings.\n \n CARL" ], [ "Well, it was nice meeting you, Seb.\n So I'll be going.\n \n Carl starts to walk off.", "Carl then RUNS into his office and sits down at the desk.\n He's covered in sweat and is breathing heavily. Chris pokes\n his head in.", "airport and hop on the first flight\n outta here.\n \n Carl's eyes light up.\n \n CARL", "Carl gets up. He heads over to the soda machine and buys a\n Diet Coke. He then heads over to Norman's desk.", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "besides follow you around.\n \n RENEE\n Like what?\n \n CARL", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "Go to the seminar, Carl! You won't\n be sorry!\n \n \n INT. CARL'S APARTMENT", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "Chris gets out of his car and heads to the office. Carl\n hides his face from Chris so that Chris won't recognize him.\n \n ROONEY", "INT. CARL'S NEW OFFICE\n \n Carl's writing a list of names. The post card lies on the\n desk nearby. His secretary pops her head in.", "Carl leaves.\n \n \n INT. RUDY'S - NIGHT", "CARL\n (THROWN)\n Nothing. Do you want to go?", "(THEN)\n So what do you say, Carl?\n (WHISPERING)\n What do you say?", "his friends. As he shows off, Renee looks irritated.\n \n CARL\n (showing off, to Peter)", "Instantly Carl's cubicle is surrounded by fellow workers.\n \n BANK EMPLOYEES\n Carl rules./You're the", "CARL'S SECRETARY\n Will do.\n \n Carl starts to head out and then turns around.", "I'm Tony. I'm an old, close friend\n of Carl's.\n \n 103." ], [ "I almost skipped that one.\n \n CARL\n You gave me the flier, so I had to\n go.", "Go to the seminar, Carl! You won't\n be sorry!\n \n \n INT. CARL'S APARTMENT", "CARL\n (SCOFFING)\n Uh, yeah.\n (THEN)\n Have you been to this before?", "Let me guess, Carl. This was not\n your idea to come here, Carl.\n \n CARL\n I wouldn't say that.", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "I think that's really cute.\n \n Carl's starting to get really into it. He turns the page and\n sees an invitation decorated with animals labeled \"Knights in", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "Well, it was nice meeting you, Seb.\n So I'll be going.\n \n Carl starts to walk off.", "besides follow you around.\n \n RENEE\n Like what?\n \n CARL", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "That's because it's New Year's Eve.\n You have to be here. Besides, it's\n not only social stuff. You used to", "CARL\n He asked me to join them.\n \n PETER", "answers it.\n \n CARL (cont'd)\n Of course not.", "needs to get to him today.\n \n CARL\n (very nervous)\n Yeah. Sure. I'd be happy to.", "his friends. As he shows off, Renee looks irritated.\n \n CARL\n (showing off, to Peter)", "in joining?\n \n CARL\n Oh, thanks for the invite, but...", "CARL\n What're you talking about?\n \n PETER\n Our engagement party." ], [ "Carl takes the Maniyesto.\n \n CARL\n (reading the document)\n 1) Until New Year's Eve, I must say", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "INT. HOLIDAY INN CONFERENCE ROOM\n \n Carl runs to the conference room. The Just Say Yes seminar", "Believe it. Because this guy just\n got a promotion.\n \n LUCY\n Congrats, Carl!", "Carl lands on one knee in front of the Hot Girl. The crowd\n CHEERS FOR HIM. The Hot Girl's LARGE BOYFRIEND gets up close", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "Carl then RUNS into his office and sits down at the desk.\n He's covered in sweat and is breathing heavily. Chris pokes\n his head in.", "Go to the seminar, Carl! You won't\n be sorry!\n \n \n INT. CARL'S APARTMENT", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "CARL\n You have got to do that. Like it's\n not even a choice.\n \n 61.", "rapidly at Carl. Carl has no idea what he's saying. Seung\n Kim laughs. Carl laughs along with him. Chris hits a\n beautiful shot. His ball lands almost on the green. The", "CARL\n I say... yes.\n \n Carl signs the Maniyesto.\n \n SANJI", "Chris laughs. Carl nervously laughs along with him. The\n Pretty Korean Banker walks by and waves at him. Carl waves\n back. He looks very guilty.", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "Carl wakes up. He looks at the tattooed \"Yes\" on his hand.\n \n \n INT. CARL'S APARTMENT", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "Carl's strapped to a giant plasma donation machine. It's\n horrifying. As he donates plasma, he could not look more\n depressed.", "So you've just been saying yes to\n everything.\n \n CARL\n Yes.", "Carl runs out.\n \n \n INT. BLOOD BANK", "Instantly Carl's cubicle is surrounded by fellow workers.\n \n BANK EMPLOYEES\n Carl rules./You're the" ], [ "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM", "CARL\n Yes. I've got to run.\n \n LUCY\n I'm looking forward to meeting", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "Carl's walking towards security when he runs into TONY, the\n homosexual guy he hooked up with. Tony's handing out his\n books.", "awkward. Kath and Seb are clearly incredibly pissed off.\n \n CARL\n So, how did you guys meet?", "All the VPs laugh. Carl fake laughs along with them.\n \n \n INT. CARL'S APARTMENT", "Chris gets out of his car and heads to the office. Carl\n hides his face from Chris so that Chris won't recognize him.\n \n ROONEY", "TONY (cont'd)\n Carl?\n \n Carl realizes who he is. Suddenly they are in the middle of", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "Carl gets up. He heads over to the soda machine and buys a\n Diet Coke. He then heads over to Norman's desk.", "Are you... ?\n \n CARL\n Yes.\n \n They kiss.", "CARL\n Hey, Luce. What're you doing all\n the way over here?\n \n LUCY", "Carl lands on one knee in front of the Hot Girl. The crowd\n CHEERS FOR HIM. The Hot Girl's LARGE BOYFRIEND gets up close", "-- We see Carl having to write in tiny letters on his\n calendar because it's so full.\n \n -- At Southwest Bank.", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "19.\n \n \n \n Sanji's suddenly getting to Carl. As Sanji talks to him, the" ], [ "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "EXT. ANTELOPE PARK AND SUNKEN GARDENS\n \n Carl and Renee walk around a surprisingly pretty city park.", "CARL\n Yes.\n \n Carl grabs Renee and starts making out with her. They fall", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "Carl and Renee get out a dusty minivan. A dirty, rundown\n palace rises before them. Carl HEADS to the front door and", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "People stream into the bar to celebrate. Outside, CARL\n KENDALL (30s) and his soon-to-be ex-girlfriend KATH are\n having a quiet intense discussion.", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "-- Carl's walking around a florist shop with Lucy. She\n points to a small bouquet of white flowers. Carl points to a\n giant heart-shaped ice sculpture.", "Carl walks out of Dunkin Donuts, carrying a frozen coffee\n drink and several boxes of Munchkins. He walks by Renee and\n wordlessly takes a flier.", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "It's very quiet. A couple people mill about.\n \n CARL\n We don't have to stay long.", "INT. STATIONERY STORE - LATER\n \n Lucy and Carl are looking over a book of stationery with the", "Carl gets up to the roof. Renee's looking out over Bangkok.\n He taps her on the shoulder. She turns.\n \n RENEE", "INT. LINCOLN AIRPORT - LATER\n \n Carl and Renee are in the airport.", "(dripping with bitterness)\n Have fun. You abigail.\n \n Carl and Renee head off." ], [ "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "This is the problem. You don't\n even care that I'm breaking up with\n you.\n \n CARL", "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "A cab PULLS UP. Peter realizes Carl's leaving.\n \n PETER (cont'd)\n Say hello to her when you see her.", "She rises, shaking her head, and heads for the door.\n \n CARL\n It wasn't a lie.", "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?", "CARL (cont'd)\n Well I guess what they say is true,\n I could never spend my life with a\n man like you, I could never be your", "Well, it was nice meeting you, Seb.\n So I'll be going.\n \n Carl starts to walk off.", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "(dripping with bitterness)\n Have fun. You abigail.\n \n Carl and Renee head off.", "Carl leaves.\n \n \n INT. RUDY'S - NIGHT", "128.\n \n \n \n CARL\n I quit.", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "CARL\n We're at different places in our\n lives. I get it.\n \n KATH", "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "Chris Parker grabs Carl's hand and shakes it. Carl RUNS out\n of the office.", "Carl's massaging. His hands are really cramping up. She's\n asleep. He stops massaging.\n \n RENEE (cont'd)", "can live my life as I see fit. Can\n you please leave?\n \n Carl pushes Peter out the door. Carl sits down on the couch." ], [ "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "TONY (cont'd)\n Carl?\n \n Carl realizes who he is. Suddenly they are in the middle of", "Carl sits back down.\n \n BANK CUSTOMER\n (NERVOUS)\n So, what'd he say?", "19.\n \n \n \n Sanji's suddenly getting to Carl. As Sanji talks to him, the", "(THEN)\n So what do you say, Carl?\n (WHISPERING)\n What do you say?", "Carl takes a breath. He's about to pass out.\n \n RENEE\n What's with the \"They're Out There\"", "67.\n \n \n \n Tony pulls Carl up. Carl starts to awkwardly shake his\n groove thing.", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Tell everyone Happy New Year.\n \n Carl lies down and hangs up the phone.\n \n CUT TO LATER", "rapidly at Carl. Carl has no idea what he's saying. Seung\n Kim laughs. Carl laughs along with him. Chris hits a\n beautiful shot. His ball lands almost on the green. The", "Carl then RUNS into his office and sits down at the desk.\n He's covered in sweat and is breathing heavily. Chris pokes\n his head in.", "his friends. As he shows off, Renee looks irritated.\n \n CARL\n (showing off, to Peter)", "INT. TONY'S BEDROOM\n \n CARL", "He reads the postcard.\n \n JASON (V.O.)\n Dear Carl. I know this is kind of", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "Carl's walking towards security when he runs into TONY, the\n homosexual guy he hooked up with. Tony's handing out his\n books.", "Chris laughs. Carl nervously laughs along with him. The\n Pretty Korean Banker walks by and waves at him. Carl waves\n back. He looks very guilty.", "The Brutish Boyfriend PUNCHES Carl in the head.\n \n CARL (cont'd)" ], [ "PETER\n For a whole year?\n \n CARL\n Yesterday I got promoted and beat", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "Believe it. Because this guy just\n got a promotion.\n \n LUCY\n Congrats, Carl!", "BRUTISH BOYFRIEND\n Yes.\n \n CARL\n Then yes.", "I think that's really cute.\n \n Carl's starting to get really into it. He turns the page and\n sees an invitation decorated with animals labeled \"Knights in", "changed mine. If I tell you how,\n will you promise not to tell\n anyone?\n \n 78.", "She rises, shaking her head, and heads for the door.\n \n CARL\n It wasn't a lie.", "So you've just been saying yes to\n everything.\n \n CARL\n Yes.", "PETER\n Really?\n \n CARL\n Of course she is. I think you'll", "CARL\n Is this like a legal document?\n \n SANJI\n Kind of. And finally, my friend,", "yes. 2) The yes cannot distort the\n truth.\n \n SANJI\n (EXPLAINING)", "SEB\n How did you break them?\n \n RENEE\n I smashed one with a hammer,", "Carl takes the Maniyesto.\n \n CARL\n (reading the document)\n 1) Until New Year's Eve, I must say", "CARL\n Yes.\n \n The Waitress starts grinding pepper onto Carl's meal. It's", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "Sorry, Patricia, that was\n inappropriate.\n (then, back to Carl)\n Of course grand. To celebrate,", "Beat.\n \n CARL\n Yes.\n \n WAITRESS", "Beat.\n \n CARL\n Yes.\n \n WAITRESS", "CARL\n (SURPRISED)\n Yes.\n \n Carl shakes Chris's hand.", "Like a robot. Two years, and\n nothing.\n \n LUCY\n I'm so sorry." ], [ "CARL\n (SURPRISED)\n Yes.\n \n Carl shakes Chris's hand.", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl gets dressed. He puts on his suit and tie. His\n apartment is noticeably nicer than the last time we saw it.", "CARL\n Yes.\n \n Carl grabs Renee and starts making out with her. They fall", "Tell everyone Happy New Year.\n \n Carl lies down and hangs up the phone.\n \n CUT TO LATER", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "TONY (cont'd)\n Carl?\n \n Carl realizes who he is. Suddenly they are in the middle of", "Carl, Omar, Renee and the guard go into Omar's palace. The\n door CLOSES BEHIND THEM.\n \n THE END", "Are you... ?\n \n CARL\n Yes.\n \n They kiss.", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "Carl takes the Maniyesto.\n \n CARL\n (reading the document)\n 1) Until New Year's Eve, I must say", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "Omar! It's wonderful to meet you\n in person\n \n Carl and Omar hug.", "with Ralph.\n \n RENEE\n Ralph?\n \n CARL", "Chris gets out of his car and heads to the office. Carl\n hides his face from Chris so that Chris won't recognize him.\n \n ROONEY", "CARL\n We're at different places in our\n lives. I get it.\n \n KATH" ], [ "This is Carl Kendall. This is Jin\n Kim, Joo-Chan Park, Soo Lee and\n Seung Kim. Seung's the CEO of", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "Chris gets out of his car and heads to the office. Carl\n hides his face from Chris so that Chris won't recognize him.\n \n ROONEY", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM", "Carl walks into his apartment. He hits PLAY on his answering\n machine.\n \n PETER (V.O.)", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "INT. HOLIDAY INN HALLWAY\n \n Carl walks down the hallway. He knocks on Room 125. After a", "CARL\n Yes.\n \n CHRIS PARKER\n Of course you are. I better watch", "INT. CARL'S LIVING ROOM/BEDROOM\n \n Carl lays down and closes his eyes. The alarm GOES OFF", "Carl runs out.\n \n \n INT. BLOOD BANK", "All the VPs laugh. Carl fake laughs along with them.\n \n \n INT. CARL'S APARTMENT", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "INT. TONY'S BEDROOM\n \n CARL", "with Ralph.\n \n RENEE\n Ralph?\n \n CARL", "rapidly at Carl. Carl has no idea what he's saying. Seung\n Kim laughs. Carl laughs along with him. Chris hits a\n beautiful shot. His ball lands almost on the green. The", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "PETER (V.O.)\n (on the phone)\n Carl. It's Peter. Where are you?", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "INT. AIRPORT\n \n Carl and Renee walk off the plane, Carl carrying the package\n under his arm. Carl sees a tall blond guy holding a sign" ], [ "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "Carl takes the Maniyesto.\n \n CARL\n (reading the document)\n 1) Until New Year's Eve, I must say", "(THEN)\n So what do you say, Carl?\n (WHISPERING)\n What do you say?", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Carl. Tomorrow, I want you only to\n say yes. Can you do that for me?\n For one day, Carl?", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "CARL\n I say... yes.\n \n Carl signs the Maniyesto.\n \n SANJI", "Carl sits back down.\n \n BANK CUSTOMER\n (NERVOUS)\n So, what'd he say?", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "Carl just looks at her.\n \n RENEE (cont'd)\n If you can't be honest with me,", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "CARL\n (NERVOUSLY)\n Yes.", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "Tell everyone Happy New Year.\n \n Carl lies down and hangs up the phone.\n \n CUT TO LATER", "CARL\n You promise you'll pay it back?\n \n JITTERY GUY", "Carl then RUNS into his office and sits down at the desk.\n He's covered in sweat and is breathing heavily. Chris pokes\n his head in.", "So you've just been saying yes to\n everything.\n \n CARL\n Yes.", "BACK TO CARL AND PETER. We CLOSE IN ON CARL'S MOUTH.\n \n CARL" ], [ "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "CARL\n Yes. I've got to run.\n \n LUCY\n I'm looking forward to meeting", "All the VPs laugh. Carl fake laughs along with them.\n \n \n INT. CARL'S APARTMENT", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "Carl's walking towards security when he runs into TONY, the\n homosexual guy he hooked up with. Tony's handing out his\n books.", "They shake hands.\n \n CARL\n I'm Carl. What do you do?", "INT. HOLIDAY INN CONFERENCE ROOM\n \n Carl runs to the conference room. The Just Say Yes seminar", "TONY (cont'd)\n Carl?\n \n Carl realizes who he is. Suddenly they are in the middle of", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl gets up. He heads over to the soda machine and buys a\n Diet Coke. He then heads over to Norman's desk.", "Chris gets out of his car and heads to the office. Carl\n hides his face from Chris so that Chris won't recognize him.\n \n ROONEY", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "Carl runs out.\n \n \n INT. BLOOD BANK", "Carl lands on one knee in front of the Hot Girl. The crowd\n CHEERS FOR HIM. The Hot Girl's LARGE BOYFRIEND gets up close", "CARL\n Yes.\n \n Carl grabs Renee and starts making out with her. They fall", "awkward. Kath and Seb are clearly incredibly pissed off.\n \n CARL\n So, how did you guys meet?" ], [ "CARL\n That's our flight. We should\n probably get going.\n \n RENEE", "INT. PLANE\n \n Carl and Renee sit next to each other on the plane.", "airport and hop on the first flight\n outta here.\n \n Carl's eyes light up.\n \n CARL", "INT. LINCOLN AIRPORT - LATER\n \n Carl and Renee are in the airport.", "INT. PLANE\n \n Renee and Carl have the aisle and window on the plane. A", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "INT. AIRPORT - TICKET COUNTER\n \n Renee and Carl are in line at the ticketing counter.\n \n RENEE", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "CARL\n Yes.\n \n Carl grabs Renee and starts making out with her. They fall", "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off.", "Carl nervously hands the Airline Rep his credit card.\n \n \n INT. AIRPORT - OUTSIDE SECURITY", "INT. CARL'S APARTMENT\n \n Carl and Renee are making while Carl surreptitiously checks", "INT. AIRPORT\n \n Carl and Renee walk off the plane, Carl carrying the package\n under his arm. Carl sees a tall blond guy holding a sign", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "She's very scared of flying.\n \n CARL\n Where's your seat?", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "Carl gets up to the roof. Renee's looking out over Bangkok.\n He taps her on the shoulder. She turns.\n \n RENEE", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM" ], [ "Carl nervously hands the Airline Rep his credit card.\n \n \n INT. AIRPORT - OUTSIDE SECURITY", "INT. LINCOLN AIRPORT\n \n Carl's sitting in the lounge at the Lincoln Airport. An OLD", "CARL\n That's our flight. We should\n probably get going.\n \n RENEE", "INT. AIRPORT - SECURITY\n \n Carl walks through security. He puts the package on the\n conveyor belt. They don't notice anything odd.", "INT. AIRPORT\n \n Carl and Renee walk off the plane, Carl carrying the package\n under his arm. Carl sees a tall blond guy holding a sign", "INT. LINCOLN AIRPORT - LATER\n \n Carl and Renee are in the airport.", "INT. AIRPORT - TICKET COUNTER\n \n Renee and Carl are in line at the ticketing counter.\n \n RENEE", "airport and hop on the first flight\n outta here.\n \n Carl's eyes light up.\n \n CARL", "Carl sits back down.\n \n BANK CUSTOMER\n (NERVOUS)\n So, what'd he say?", "Carl then RUNS into his office and sits down at the desk.\n He's covered in sweat and is breathing heavily. Chris pokes\n his head in.", "Carl gets dressed. He puts on his suit and tie. His\n apartment is noticeably nicer than the last time we saw it.", "Carl runs out.\n \n \n INT. BLOOD BANK", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "INT. CARL'S LIVING ROOM/BEDROOM\n \n Carl lays down and closes his eyes. The alarm GOES OFF", "Renee heads to the bathroom. Carl takes the package out from\n under the seat in front of him. He starts to breathe really\n hard. He very gingerly opens the package. He pulls back the", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "Carl goes through a series of junk mail flyers for credit\n cards. He VERY CAREFULLY fills each one of them out.", "INT. HOLIDAY INN HALLWAY\n \n Carl walks down the hallway. He knocks on Room 125. After a", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "INT. CARL'S APARTMENT - NIGHT\n \n Carl goes into his apartment. He lies down in his bed and" ], [ "Their four audience members cheer. The drummer bangs his\n sticks together and the band launches in. They are terrible.\n Like really terrible. Renee sings in a high-pitched voice", "The four people in the audience clap hard as she finishes.\n Renee takes a huge bow and motions to her fellow band mates.\n Carl, not knowing how to politely react to the horror show he", "equipment, including a giant clear plastic harp. Renee steps\n up to the microphone.\n \n RENEE", "who's name we'll learn is RENEE passing out flyers for a band\n called \"The Flying Buttresses.\"\n \n 4.", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "mean, singer.\n \n MUSIC CUE: The opening notes of White Town's \"Your Woman\"", "Carl gets really close to the Hot Girl's face and then COYLY\n pulls away for the bridge of the song. During the awesome", "He is!\n \n The woman POINTS AT Carl. The spotlight SWINGS OVER to Carl.\n He is annoyed.", "PETER\n Really?\n \n CARL\n Of course she is. I think you'll", "Carl lands on one knee in front of the Hot Girl. The crowd\n CHEERS FOR HIM. The Hot Girl's LARGE BOYFRIEND gets up close", "People stream into the bar to celebrate. Outside, CARL\n KENDALL (30s) and his soon-to-be ex-girlfriend KATH are\n having a quiet intense discussion.", "-- Carl's at THE NOTE singing along to Renee's band's songs.\n He and the \"Jester\" audience member do shots together.", "that she probably thinks sounds like Tori Amos, but sounds\n more like a dog whistle. If you've heard the singer, Joanna\n Newsom, well that's who she's emulating.", "to White Town's \"Your Woman.\" It will bring it to life in a\n way that words on a page cannot do it justice.)\n \n CARL", "love spell.\n \n CUT TO LATER\n \n Renee's singing a power ballad.", "The Hot Girl kisses Carl on the forehead.\n \n HOT GIRL (cont'd)", "I like it. I can work with that.\n \n The drummer, a guy named LEEORE, shouts down to Renee from\n the stage.", "Carl heads over to the refreshment table. Once he's out of\n her sight, he sits down alone in a corner of the conference\n room. Ethereal music begins to play over the loudspeakers.", "(whispering to Carl)\n Told ya there was something weird\n under that white noise shell.\n \n Renee leaves Carl.", "Light is streaming in through the window. Carl opens his\n eyes. He's in bad shape. He looks over to see the Hot Girl\n finishing getting dressed." ], [ "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "Are you... ?\n \n CARL\n Yes.\n \n They kiss.", "Carl just looks at her.\n \n RENEE (cont'd)\n If you can't be honest with me,", "CARL\n Yes.\n \n Carl grabs Renee and starts making out with her. They fall", "CARL\n Yes.\n \n RENEE\n Yes?", "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "So you've just been saying yes to\n everything.\n \n CARL\n Yes.", "All the VPs laugh. Carl fake laughs along with them.\n \n \n INT. CARL'S APARTMENT", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "CARL\n (SURPRISED)\n Yes.\n \n Carl shakes Chris's hand.", "CARL\n (NERVOUSLY)\n Yes.", "CARL\n Definitely.\n \n RENEE\n I think I'm falling, you know...", "CARL\n (CONFUSED)\n Yes. And yes.\n \n Something registers in Renee.", "She rises, shaking her head, and heads for the door.\n \n CARL\n It wasn't a lie.", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry." ], [ "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "CARL\n (SURPRISED)\n Yes.\n \n Carl shakes Chris's hand.", "TONY (cont'd)\n Carl?\n \n Carl realizes who he is. Suddenly they are in the middle of", "Tell everyone Happy New Year.\n \n Carl lies down and hangs up the phone.\n \n CUT TO LATER", "Well, it was nice meeting you, Seb.\n So I'll be going.\n \n Carl starts to walk off.", "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "As Carl is dragged out by the cops, he passes Tony, standing\n near the exit, shaking his head.\n \n 109.", "Carl starts massaging again.\n \n CHYRON: AN HOUR LATER", "(THEN)\n So what do you say, Carl?\n (WHISPERING)\n What do you say?", "Carl, Omar, Renee and the guard go into Omar's palace. The\n door CLOSES BEHIND THEM.\n \n THE END", "CARL\n (very quiet)\n Yes.\n \n Carl and Tony head into his bedroom.", "rapidly at Carl. Carl has no idea what he's saying. Seung\n Kim laughs. Carl laughs along with him. Chris hits a\n beautiful shot. His ball lands almost on the green. The", "Beat. Carl makes a difficult decision.\n \n CARL\n (WHISPERING)", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "19.\n \n \n \n Sanji's suddenly getting to Carl. As Sanji talks to him, the", "Carl sits back down.\n \n BANK CUSTOMER\n (NERVOUS)\n So, what'd he say?", "-- Carl walks out of a movie with a woman who's in a head\n scarf. He awkwardly hugs her. REVEAL that the movie they\n watched is Saw III.", "Oh, it's beautiful. Makes great\n photos. Nice meeting you, Carl.\n \n Renee gets in her Volvo and drives off. Carl walks off." ], [ "CARL\n Of course. I couldn't say `no.'\n \n As he walks away...", "Renee looks at Carl like, why won't you just refuse?\n \n 104.", "Carl stares at them. He should probably lie...\n \n CARL\n Yes.", "Carl. Tomorrow, I want you only to\n say yes. Can you do that for me?\n For one day, Carl?", "So you've just been saying yes to\n everything.\n \n CARL\n Yes.", "Carl sees his hand with \"Yes\" on it.\n \n CARL\n Yes. I'm sorry. Just let the girl", "Carl takes the Maniyesto.\n \n CARL\n (reading the document)\n 1) Until New Year's Eve, I must say", "CARL\n No.\n \n -- ON THE STREET. Carl refuses the pamphlet.", "CARL (cont'd)\n Even if I wanted to.\n \n RENEE\n See you tonight, Carl!", "answers it.\n \n CARL (cont'd)\n Of course not.", "No.\n \n TITLES UP: THE YES MAN\n \n CARL (cont'd)", "Carl hangs up. Lucy suddenly starts crying.\n \n CARL (cont'd)\n Are you OK?", "(THEN)\n So what do you say, Carl?\n (WHISPERING)\n What do you say?", "She rises, shaking her head, and heads for the door.\n \n CARL\n It wasn't a lie.", "CARL\n Yes.\n \n RENEE\n Yes?", "Carl just looks at her.\n \n RENEE (cont'd)\n If you can't be honest with me,", "Renee laughs. Carl fake laughs with her.\n \n 75.", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "CARL\n No.\n \n \n INT. SOUTHWEST BANK - LATER", "Are you... ?\n \n CARL\n Yes.\n \n They kiss." ], [ "INT. STACKERS - LATER\n \n Carl and his friends are sitting at a table. Carl's slightly\n bored as his friends discuss real estate.", "Carl's friends look at him like a freak.\n \n WAITRESS\n Is that all?\n \n CARL", "his friends. As he shows off, Renee looks irritated.\n \n CARL\n (showing off, to Peter)", "CARL\n I see that happen like every night.\n Good night and Happy New Year.\n \n Carl leaves. His friends look concerned.", "Carl's friends don't really know what to say. The check\n comes. Carl grabs it before anyone else can. It's a $1500", "Among the patrons is our hero Carl, his best friend PETER,\n Peter's girlfriend LUCY, their party friend ROONEY and his ex-", "He is helping. Here I was thinking\n we were actual friends.\n \n Lucy leaves, upset. Carl doesn't move.", "CARL\n (to the people who are\n being seated)\n You all know that we were up before", "Carl stands at the back of a basically empty dive bar,\n nursing a beer. There's a makeshift stage at the front of\n the bar. \"The Flying Buttresses\" are setting up their", "rapidly at Carl. Carl has no idea what he's saying. Seung\n Kim laughs. Carl laughs along with him. Chris hits a\n beautiful shot. His ball lands almost on the green. The", "They walk into Carl's living room/bedroom.\n \n \n INT. CARL'S LIVING ROOM/BEDROOM", "there.\n \n Carl hangs up.\n \n CARL (cont'd)\n I'm sorry.", "Carl's phone rings. People look angrily at him. He stands\n and PASSES OUT in the aisle.", "Carl between the crying baby and the ENORMOUS MAN. Renee\n turns and waves to him from a couple rows up. Carl puts on a\n saccharin smile and waves back.", "Tell everyone Happy New Year.\n \n Carl lies down and hangs up the phone.\n \n CUT TO LATER", "FRIENDS)\n What would you all like to order?\n \n His friends are all looking at Carl.", "Carl ignores the girl handing out fliers.\n \n 8.", "Carl's eating across from Renee. He can't stand the food.\n He grimaces with every bite, but manages to choke it down.", "Instantly Carl's cubicle is surrounded by fellow workers.\n \n BANK EMPLOYEES\n Carl rules./You're the", "TONY (cont'd)\n Carl?\n \n Carl realizes who he is. Suddenly they are in the middle of" ] ]

[ "Why has Carl become withdrawn?", "What type of transporation does Allison have?", "Why does Carl go back to his elderly neighbor Tillie for oral sex?", "What is the name of Allison's band?", "How does Carl stop a man from killing himself?", "Where is the first plane out of town going?", "Why does Allison begin to doubt Carl's sincerity?", "Why does Stephanie call Carl crying?", "What is Allison teaching when Carl locates her? ", "What event prompts Carl to become withdrawn?", "Where does an old colleague suggest Carl go?", "Why does the colleague suggest Carl go to a certain event?", "What does the motivational guru force Carl to promise?", "Where does Carl first meet Allison?", "Where do Carl and Allison go on their excursion?", "Why does Allison leave Carl?", "What does Terrence tell Carl?", "What was the promise really about?", "Who does Carl reconcile with in the end?", "Who Plays Carl Allen?", "What does Carl have to promise to say?", "Where does Carl meet Allison?", "Where do Carl and Allison fly to?", "What happens to Carl when he checks in for a return flight?", "What Band is Allison the lead singer of?", "What does Carl admit to Allison in the end?", "What does Terrence tell Carl at the end?", "What happens when Carl says no to Tillie?", "Who are the friends Carl is ignoring in the begining?" ]

[ [ "Because of his divorce", "From his divorce." ], [ "She has a scooter", "Allison has a scooter." ], [ "Because he originally said no and more bad things happened to him", "He thinks bad things are happening because he said no." ], [ "Munchausen", "Allison's band's name is Munchausen by Proxy." ], [ "He plays the song \"Jumper\" on his guitar", "He plays \"Jump\" from Third Eye Blind. " ], [ "Lincoln, Nebraska", "Lincoln, nebraska" ], [ "Because she finds out about his motivational promise to say yes to everything", "Allison doubts Carl's sincerity because of is motivational convenant." ], [ "Because her new boyfriend has wallked out on her", "Her new boyfriend leaves her" ], [ "A sports photography class", "Sports-photography" ], [ "divorce from his ex wife", "His divorce" ], [ "a motivational seminar \"Yes!\"", "To a motivational \"Yes!\" seminar" ], [ "to seize the opportunity to say \"Yes!\"", "Because of his increasingly negative outlook. " ], [ "to answer \"yes\" to every opportunity, invitation, or request that presents itself", "To answer yes to every opportunity, request or invitation. " ], [ "gas station", "Gas station" ], [ "Lincoln, Nebraska", "Nebraska" ], [ "She doubts his sincerity.", "She finds out about his covenant and feels she's not able to trust him. " ], [ "There was never a covenant.", "There was no covenant." ], [ "Saying \"yes\" to every opportunity, but still having ability to say \"no\" if necessary, opening mind to new ideas and opportunities", "to open carl's mind" ], [ "Allison", "Allison" ], [ "Jim Carrey", " Jim Carrey plays Carl Allen." ], [ "Yes!", "yes" ], [ "A gas station", "Airport" ], [ "Lincoln, Nebraska", "They fly to Lincoln, Nebraska." ], [ "Detained by the FBI", "He is detained by the FBI" ], [ "Munchausen by Proxy", "Munchausen by Proxy" ], [ "That he is not ready to move in with her, but loves her.", "He isn't ready to move in together " ], [ "There is no convenant.", "A covenant never existed" ], [ "He falls down the stairs and gets attacked by a dog.", "he falls down steps" ], [ "Pete and Rooney", "Pete and Rooney" ] ]

16d75b7fbd36243f7315988d26324a1e6e0155ad

train

[ [ "ANTON, unaware of what he's done, disappears through the\n mirror as DOCTOR PARNASSUS crashes head first onto the stage.\n Crack!", "They turn to see PARNASSUS in the distance (where once the\n ballroom stood) stumbling towards them, drunk, desperate. As\n he moves forward a new landscape is created behind him.", "TONY re-enters the stage through the mirror, looking at DR.\n PARNASSUS who has just come out of his trance with\n astonishment", "ANTON looks across the stage to her. She mimes that a certain\n someone has gone into the mirror. ANTON considers waking", "PARNASSUS quiets down. Starts mumbling.\n\n TONY rushes to the mirror. Steps through. He finds himself\n standing amongst the stage scenery. Nothing else.", "VALENTINA, `Beauty', slips back on stage through the mirror.\n Her costume has reverted to its original state. She examines\n her knuckles on the hand with which she punched Martin.", "DR. PARNASSUS pushes aside the mirror to reveal a door in the\n back wall of the shallow stage. It is swinging open.", "Suddenly the stage begins to unfold. PARNASSUS looks up,\n unable to see what or who is doing this. He drunkenly\n stumbles around the side to see TONY pulling ropes.", "We hear a crash.\n\n THE CAMERA PANS around. PARNASSUS has fallen off his perch\n and is now lying on the floor...snoring and mumbling.", "They turn to the mirror but, an off-stage clearing of the\n throat makes them look round to see ANTON watching them. He's\n holding a torn and dirty piece of newspaper.", "Reflected in the swirling mirror fragments, they tango until\n he spins her towards the right hand mirror. She sails through\n - and, with a mad smile, throws him a kiss.", "ANTON tries to prevent MARTIN from getting on stage. But\n MARTIN thumps ANTON and pulls him into the `audience'.\n\n MARTIN'S drunken MATES laugh and applaud.", "the mirror (made of flexible reflective material slit down\n the middle). MARTIN crashes after her.", "...And then he realizes the clock is still striking the hour\n realizing that only a few moments have passed since he\n entered the mirror.\n\n TONY (CONT'D)\n ..how do you do this?", "and breasts) stands facing an elaborately framed full-length\n mirror nestled upstage amongst cut-out trees representing a\n forest... This is `Beauty'. She turns and steps forward.", "PERCY\n Take a ticket and join the queue!\n Only five quid a go! There's no\n greater bargain on planet earth!\n\n A beer bottle lands on the stage", "DOCTOR PARNASSUS is attempting to get ready for the show but\n he's so drunk he can hardly stand. He's already put some\n article of clothing on back-to-front or inside out. PERCY is\n trying to help.", "PERCY tries to head him off but MARTIN shoves PERCY off the\n stage. PERCY lands on the ground with a crash.\n\n More laughter from the MOB.", "ANTON steps out of the mirror. He produces an inflated\n balloon which he releases and which then flies, zig-zagging\n out over the audience.", "PARNASSUS slowly goes into a sobbing kind of trance state.\n\n TONY confirms he is in a trance, then rushes to the mirror." ], [ "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "PARNASSUS, holding his aching head, sits a short distance\n away sadly watching her. PERCY is with him.\n\n PERCY\n Five souls.. two days, eh!?", "DR. PARNASSUS and the MONKS, still struck dumb, look\n appalled.\n\n MR NICK (CONT'D)\n Cheer up... I've freed you from\n this ridiculous nonsense.", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "DR. PARNASSUS (V.O.)\n Whichever of us won ten converts\n first, would win the bet... My", "MR NICK\n First to five?... You might win.\n And save her. What do you have to\n lose?\n\n DR. PARNASSUS\n I'll kill you!", "DR. PARNASSUS\n (very down)\n I know... It's over....you've\n won...\n\n MR NICK\n Four rotten Russkies?", "MR NICK\n I tell you what... You're probably\n not a betting man but...\n\n MR NICK whispers into the DR. PARNASSUS's ear.", "MR NICK appears behind PARNASSUS...sits down beside him.\n\n MR NICK\n Funny how things work out, isn't\n it?\n\n He lights a cigarette.", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "DR. PARNASSUS (CONT'D)\n (alarmed)\n No!\n\n Another MONK, sitting at the table, immediately continues the\n story.", "PARNASSUS, a bottle in his hand, is lurching around.\n\n DOCTOR PARNASSUS\n You fool! You monstrous fool! You\n should be dead.", "The horse lifts its head and DR PARNASSUS recoils in shock\n and horror. Standing directly behind the horse is MR. NICK...\n a huge grin splitting his face.", "DOCTOR PARNASSUS\n You're man's lost his memory! He's\n bloody hopeless!\n\n MR NICK\n He's not my man.", "20 INT MONASTERY DINING HALL LATER 20\n\n DR. PARNASSUS and MR NICK are sitting at the fire.", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "CUT TO ANTON who's pleased.\n\n DR. PARNASSUS\n Perhaps I should offer her hand to\n whoever helps most in winning the\n next five souls.", "DR. PARNASSUS\n (smiling)\n Yes?\n\n MR NICK stubs out his cigarette.", "DR. PARNASSUS (V.O.)\n And so I made a wager with the\n devil.", "MR NICK\n Hello Parnassus... It's been a\n while hasn't it?\n\n PERCY, winding a rope onto a cleat, hears distant laughter\n and looks up." ], [ "PARNASSUS, holding his aching head, sits a short distance\n away sadly watching her. PERCY is with him.\n\n PERCY\n Five souls.. two days, eh!?", "DR. PARNASSUS (CONT'D)\n (alarmed)\n No!\n\n Another MONK, sitting at the table, immediately continues the\n story.", "They turn to see PARNASSUS in the distance (where once the\n ballroom stood) stumbling towards them, drunk, desperate. As\n he moves forward a new landscape is created behind him.", "DR. PARNASSUS and the MONKS, still struck dumb, look\n appalled.\n\n MR NICK (CONT'D)\n Cheer up... I've freed you from\n this ridiculous nonsense.", "She is weeping, completely overcome by her experience.\n PARNASSUS steps forward and helps her to her feet. She kisses\n his hands in gratitude.", "PARNASSUS, a bottle in his hand, is lurching around.\n\n DOCTOR PARNASSUS\n You fool! You monstrous fool! You\n should be dead.", "28.\n19 CONTINUED: 19\n DR. PARNASSUS (CONT'D)\n A rider who would challenge the\n very foundations of the world...", "117.\n71 CONTINUED: 71\n DR. PARNASSUS (CONT'D)", "DR. PARNASSUS\n Percy!\n\n DR. PARNASSUS, overjoyed, begins to dig PERCY out.\n\n PERCY\n About bloody time!", "DR. PARNASSUS (V.O.)\n Whichever of us won ten converts\n first, would win the bet... My", "DR. PARNASSUS (V.O.)\n The devil granted me mortality\n again...and youth and great powers.\n I won my bride. I was in love. But\n at what price...", "GEORGE\n Hold on!.. what dragon?\n\n VALENTINA\n You've met Parnassus.", "DR. PARNASSUS, holding a cold, damp towel to his throbbing\n head, appears, coughing and miserable from the wagon.\n\n PERCY\n Well, we didn't and he isn't.", "PARNASSUS smiles and bows slightly ironically.\n\n\n\n (CONTINUED)", "CUT TO ANTON who's pleased.\n\n DR. PARNASSUS\n Perhaps I should offer her hand to\n whoever helps most in winning the\n next five souls.", "Close up on Parnassus's glass plinth..now open-topped and\n sitting on the edge of the stage... full of the troupe's\n savings. A sign proclaims \"Please Take Generously\"", "DOCTOR PARNASSUS\n (distraught)\n He's come to collect.\n\n PERCY\n I thought so.", "120.\n73 CONTINUED: 73\n\n\n DR. PARNASSUS nods.", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "TONY, battered and bleeding, helps her lift PARNASSUS and\n manoeuvre him to his room.\n\n\n (CONTINUED)" ], [ "ANTON\n He was hanging under the b-bridge.\n\n DOCTOR PARNASSUS\n Hanging?\n\n\n\n (CONTINUED)", "We see what ANTON and VALENTINA see. A shadow, on the water,\n of someone `dancing', hung by his neck with a rope attached\n to the underside of the bridge.", "ANTON is `absailing' over the side of the bridge. One end of\n a rope is tied around his waist, the other is attached to the\n bridge parapet. A lantern dangles from his waist.", "With extreme difficulty and great discomfort, ANTON pulls the\n MAN close to him, takes a knife from his pocket and cuts the\n MAN'S rope.", "The little metal tube clatters over the asphalt.\n\n ANTON (CONT'D)\n He's alive!\n\n VALENTINA\n Thank God.", "VALENTINA and PERCY watch ANTON'S perilous descent.\n\n Moments later there are two bodies hanging from the bridge,\n the mysterious HANGING MAN'S and ANTON'S.", "The MAN is hanging by a noose around his neck, still jerking\n in his dance of death. His hands are tied behind his back.\n\n ANTON can't reach the MAN.", "TONY opens his mouth and is about to slip the tube down his\n throat when he spots the Hanged Man Tarot card lying at his\n feet. A hand from behind him snatches the tube away.", "ANTON\n (answering his own\n question)\n The first time they hung you from\n the b-bridge... right?... B-because\n you stole their money.", "ANTON and the MAN are now swinging back and forth together on\n ANTON'S rope which is threatening to cut ANTON in half.\n\n ANTON\n Arghhh!!!!", "The MAN appears to be dead but VALENTINA decides to try the\n kiss of life.\n\n ANTON is made uncomfortable seeing VALENTINA administer the\n kiss of life and he pulls her away.", "They start to bundle the MAN in one of the travelling trunks\n attached to the back of the wagon. With the body hanging\n half in half out, ANTON suddenly stops.", "VALENTINA\n (horrified)\n There's someone hanging there!\n\n ANTON\n (smugly to Percy)\n I t-told you!", "Over a distant rise the wagon appears, pulled by the horses.\n ANTON drags Tony, babbling and stumbling, towards it.", "Working very fast, TONY hoists him over his shoulder and\n wrestles the noose loose. He drops PARNASSUS on the ground.\n He's stunned but still alive.", "On one of the many pinnacles of garbage sits a lonely figure.\n It's ANTON, depressed, angry, forlorn.", "Although battered, TONY winks smugly at DR. PARNASSUS, but\n his mood changes when he sees DR. PARNASSUS spit out several", "ANTON\n Incredible! I saw somebody d-\n dancing in the air.. under the b-\n bridge..", "The terrified RUSSIANS let go of the lynching rope.\n\n TONY drops to the ground and, with a whistle, the brass pipe\n flies out of his mouth.", "He goes, unsteadily, back inside.\n\n VALENTINA and ANTON drag the MAN under the wagon, out of the\n rain." ], [ "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "DOCTOR PARNASSUS\n All is not lost.\n\n PERCY\n What proposal?\n\n VALENTINA\n Father?", "MR NICK\n I tell you what... You're probably\n not a betting man but...\n\n MR NICK whispers into the DR. PARNASSUS's ear.", "MR NICK\n How should I know? You're her\n father.\n (with needle)\n Her loving father.\n\n DR PARNASSUS looks askance at MR NICK.", "VALENTINA\n By playing games with the devil!?\n\n DR. PARNASSUS\n With one more show. The day isn't\n over.", "PARNASSUS sighs. Stops. He checks his watch\n\n DOCTOR PARNASSUS\n Yes.\n\n VALENTINA\n So tell me.", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "VALENTINA\n What price?\n\n DR. PARNASSUS\n (anguished)\n It's too terrible...\n\n VALENTINA\n Tell me...", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "GEORGE\n Hold on!.. what dragon?\n\n VALENTINA\n You've met Parnassus.", "MR NICK\n First to five?... You might win.\n And save her. What do you have to\n lose?\n\n DR. PARNASSUS\n I'll kill you!", "TONY\n Only Valentina's hand in marriage,\n if she'll have me...\n\n DR. PARNASSUS\n (not listening)\n Oh, my head...", "DR. PARNASSUS\n I think he might. Valentina sees\n good in him.\n\n PERCY\n She'd be better off with Anton.", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "DR. PARNASSUS\n It's true. Every word. But all is\n not lost.\n\n VALENTINA looks at him.", "MR NICK appears behind PARNASSUS...sits down beside him.\n\n MR NICK\n Funny how things work out, isn't\n it?\n\n He lights a cigarette.", "DOCTOR PARNASSUS\n (holding his head)\n Valentina...\n\n VALENTINA\n (indignant)\n He was chasing me." ], [ "TONY\n But that's amazing! Brilliant!\n (oddly concerned)\n Was there anything else?\n\n DOCTOR PARNASSUS shakes his head, no.", "TONY, battered and bleeding, helps her lift PARNASSUS and\n manoeuvre him to his room.\n\n\n (CONTINUED)", "Tony steers DOCTOR PARNASSUS towards his glass column.\n\n DOCTOR PARNASSUS\n Yes! Yes! Of course! Of course!\n Thank God! Thank God!", "She is weeping, completely overcome by her experience.\n PARNASSUS steps forward and helps her to her feet. She kisses\n his hands in gratitude.", "TONY\n (sitting PARNASSUS down)\n Concentrate. You must concentrate.\n (clearing the way to the", "TONY doesn't know what DR PARNASSUS in talking about but he\n grasps the fact that if he wants to be allowed to stay here\n he needs to play along.\n\n MAN\n Yes.", "TONY (CONT'D)\n Bugger!\n\n He steps back out of the mirror. Goes to PARNASSUS who is\n weeping.", "PARNASSUS slowly goes into a sobbing kind of trance state.\n\n TONY confirms he is in a trance, then rushes to the mirror.", "TONY, getting more and more flamboyant, forgets to lower his\n mask each time he re-enters the stage. And now a fourth woman\n descends. Four successes for DOCTOR PARNASSUS.", "VALENTINA\n Who was that?\n\n DOCTOR PARNASSUS\n Somebody asking the way. Where's\n Tony?", "TONY\n But...\n (realizing Parnassus is\n referring to his\n inability to go into a\n trance)\n Why not?! What's wrong?", "CUT TO ANTON who's pleased.\n\n DR. PARNASSUS\n Perhaps I should offer her hand to\n whoever helps most in winning the\n next five souls.", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "She bats her eyelashes at TONY and begins, knowingly, to pull\n him towards the motel.", "DR. PARNASSUS\n Choose!\n\n TONY chooses.\n\n TONY\n You've got to believe me! For all\n our sakes!", "TONY hesitates.. No time! He looks back to PARNASSUS who\n seems to still be in his trance. Hesitates. Then rushes to\n VALENTINA.", "PARNASSUS is standing on a chair with the noose around his\n neck. He smiles and opens his hand. The metal tube has\n vanished.\n\n TONY panics. The MOB is getting closer.", "TONY rushes towards PARNASSUS.\n\n TONY\n You old bastard! This is all your\n doing!", "PARNASSUS, holding his aching head, sits a short distance\n away sadly watching her. PERCY is with him.\n\n PERCY\n Five souls.. two days, eh!?", "TONY\n Only Valentina's hand in marriage,\n if she'll have me...\n\n DR. PARNASSUS\n (not listening)\n Oh, my head..." ], [ "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "MR NICK appears behind PARNASSUS...sits down beside him.\n\n MR NICK\n Funny how things work out, isn't\n it?\n\n He lights a cigarette.", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "DR. PARNASSUS (V.O.)\n The devil granted me mortality\n again...and youth and great powers.\n I won my bride. I was in love. But\n at what price...", "PERCY continues telling the story in the background.\n\n MR NICK\n What exactly do you do here?\n\n DR. PARNASSUS\n We tell the eternal story.", "The horse lifts its head and DR PARNASSUS recoils in shock\n and horror. Standing directly behind the horse is MR. NICK...\n a huge grin splitting his face.", "MR NICK\n How should I know? You're her\n father.\n (with needle)\n Her loving father.\n\n DR PARNASSUS looks askance at MR NICK.", "DOCTOR PARNASSUS\n What! Impossible!..you've seen the\n business we're doing.\n\n MR NICK\n Things are going to pick up. As\n sure as eggs is eggs.", "DR. PARNASSUS\n (smiling)\n Yes?\n\n MR NICK stubs out his cigarette.", "DOCTOR PARNASSUS\n You're man's lost his memory! He's\n bloody hopeless!\n\n MR NICK\n He's not my man.", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "MR NICK\n I tell you what... You're probably\n not a betting man but...\n\n MR NICK whispers into the DR. PARNASSUS's ear.", "DR. PARNASSUS and the MONKS, still struck dumb, look\n appalled.\n\n MR NICK (CONT'D)\n Cheer up... I've freed you from\n this ridiculous nonsense.", "DOCTOR PARNASSUS takes PERCY aside, shows him the Hanged Man\n Tarot Card and indicates the MAN with a nod.\n\n DOCTOR PARNASSUS\n He's from Mr Nick.", "A beat. Slowly, PARNASSUS looks up.\n\n MR NICK (CONT'D)\n How about it?", "DOCTOR PARNASSUS\n What I told you was... the truth.\n I really am thousands of years old.", "POLICEMAN\n (to Parnassus)\n I'll be doing worse than\n that...now, bugger off!\n\n DR. PARNASSUS\n With pleasure.", "MR NICK\n Hello Parnassus... It's been a\n while hasn't it?\n\n PERCY, winding a rope onto a cleat, hears distant laughter\n and looks up." ], [ "VALENTINA (CONT'D)\n ...a selfish bitch, everyone I love\n dies...I'm...\n\n MR NICK\n ...only fit for hell? If only.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "VALENTINA\n What price?\n\n DR. PARNASSUS\n (anguished)\n It's too terrible...\n\n VALENTINA\n Tell me...", "VALENTINA feints another direction. MR NICK blocks her.\n\n VALENTINA\n (a crazed look)\n Wrong. I'm 16...I'm a woman now..", "MR NICK\n Now, there's absolutely no need for\n that. That's just plain\n contrariness.\n\n VALENTINA tries to get around him.", "MR NICK (CONT'D)\n It's not what I had in mind\n y'know... this.. Valentina, being", "MR NICK turns, realizing he has been looking into a mirror\n fragment reflecting the two mirrors. The writing on the\n Valentina's mirror reads \"His\".", "said... If you manage to kill me,\n he'll release Valentina. Yes? Am I\n right?... I am aren't I? It's all", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "VALENTINA\n By playing games with the devil!?\n\n DR. PARNASSUS\n With one more show. The day isn't\n over.", "A figure steps out from the shadows to help her to her feet.\n It's MR. NICK in his bowler and red waistcoat.", "VALENTINA (CONT'D)\n Okay, you look after Imogen.\n\n She gives him the baby.", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "She rushes off into the dark night.\n\n DR. PARNASSUS\n Valentina! That's not true! It's\n not like that! Wait! Come back!\n Valentina!", "BOATMAN\n Give me your hand\n\n It's MR. NICK. VALENTINA recoils, drags TONY off the boat.", "MR NICK\n How should I know? You're her\n father.\n (with needle)\n Her loving father.\n\n DR PARNASSUS looks askance at MR NICK.", "MR NICK (CONT'D)\n God, I hate to see you like this.\n Look, I tell you what... If you can", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "She starts to go after him, then hesitates.\n\n VALENTINA\n (trying to get ANTON'S\n attention)\n Pssst!" ], [ "PARNASSUS, holding his aching head, sits a short distance\n away sadly watching her. PERCY is with him.\n\n PERCY\n Five souls.. two days, eh!?", "She is weeping, completely overcome by her experience.\n PARNASSUS steps forward and helps her to her feet. She kisses\n his hands in gratitude.", "PARNASSUS smiles and bows slightly ironically.\n\n\n\n (CONTINUED)", "28.\n19 CONTINUED: 19\n DR. PARNASSUS (CONT'D)\n A rider who would challenge the\n very foundations of the world...", "DR. PARNASSUS (V.O.) (CONT'D)\n Everlasting torment...\n Everlasting... Everlasting... Times\n changed. No one wanted our tales\n any longer.", "DIEGO, full of wonder and oblivious to his family, looks back\n at PARNASSUS and gives the old man the thumbs-up.\n\n PARNASSUS smiles and raises his thumb in response.", "31.\n20 CONTINUED: (3) 20\n DR. PARNASSUS (CONT'D)", "DR. PARNASSUS\n (aside to Percy)\n One more to go and we're free.", "117.\n71 CONTINUED: 71\n DR. PARNASSUS (CONT'D)", "They turn to see PARNASSUS in the distance (where once the\n ballroom stood) stumbling towards them, drunk, desperate. As\n he moves forward a new landscape is created behind him.", "DOCTOR PARNASSUS\n (descending from his glass\n plinth)\n And so... a glimmer of hope...\n Perhaps eternity has not been in\n vain!...", "DR. PARNASSUS (V.O.)\n The devil granted me mortality\n again...and youth and great powers.\n I won my bride. I was in love. But\n at what price...", "PARNASSUS, a bottle in his hand, is lurching around.\n\n DOCTOR PARNASSUS\n You fool! You monstrous fool! You\n should be dead.", "DR. PARNASSUS (V.O. (CONT'D)\n My prize...\n (a voice filled with\n horror)\n ... was ever-lasting life.", "DOCTOR PARNASSUS\n What I told you was... the truth.\n I really am thousands of years old.", "Shall I tell Parnassus I know? I\n think he knows I know. Silly man.\n Sweet sixteen.", "DR. PARNASSUS\n Percy!\n\n DR. PARNASSUS, overjoyed, begins to dig PERCY out.\n\n PERCY\n About bloody time!", "PERCY continues telling the story in the background.\n\n MR NICK\n What exactly do you do here?\n\n DR. PARNASSUS\n We tell the eternal story.", "DR. PARNASSUS\n Stop!\n\n\n (CONTINUED)", "DR. PARNASSUS rises unsteadily, coming out of his arduous\n trance.... `Beauty\" moves to support him as, exhausted, he\n loses his balance and snaps out of his trance." ], [ "VALENTINA (CONT'D)\n ...a selfish bitch, everyone I love\n dies...I'm...\n\n MR NICK\n ...only fit for hell? If only.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "MR NICK turns, realizing he has been looking into a mirror\n fragment reflecting the two mirrors. The writing on the\n Valentina's mirror reads \"His\".", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "A figure steps out from the shadows to help her to her feet.\n It's MR. NICK in his bowler and red waistcoat.", "MR NICK\n Now, there's absolutely no need for\n that. That's just plain\n contrariness.\n\n VALENTINA tries to get around him.", "MR NICK (CONT'D)\n It's not what I had in mind\n y'know... this.. Valentina, being", "VALENTINA feints another direction. MR NICK blocks her.\n\n VALENTINA\n (a crazed look)\n Wrong. I'm 16...I'm a woman now..", "MR NICK appears behind PARNASSUS...sits down beside him.\n\n MR NICK\n Funny how things work out, isn't\n it?\n\n He lights a cigarette.", "DOCTOR PARNASSUS takes PERCY aside, shows him the Hanged Man\n Tarot Card and indicates the MAN with a nod.\n\n DOCTOR PARNASSUS\n He's from Mr Nick.", "MR NICK\n How should I know? You're her\n father.\n (with needle)\n Her loving father.\n\n DR PARNASSUS looks askance at MR NICK.", "VALENTINA\n By playing games with the devil!?\n\n DR. PARNASSUS\n With one more show. The day isn't\n over.", "MR NICK (CONT'D)\n God, I hate to see you like this.\n Look, I tell you what... If you can", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "The MAN wipes his hand across his forehead. Looks at his inky\n hand.. confused.\n\n DOCTOR PARNASSUS\n (sotto voce)\n You've been sent by Mr Nick.", "VALENTINA\n What price?\n\n DR. PARNASSUS\n (anguished)\n It's too terrible...\n\n VALENTINA\n Tell me...", "BOATMAN\n Give me your hand\n\n It's MR. NICK. VALENTINA recoils, drags TONY off the boat." ], [ "TONY opens his mouth and is about to slip the tube down his\n throat when he spots the Hanged Man Tarot card lying at his\n feet. A hand from behind him snatches the tube away.", "The little metal tube clatters over the asphalt.\n\n ANTON (CONT'D)\n He's alive!\n\n VALENTINA\n Thank God.", "Working very fast, TONY hoists him over his shoulder and\n wrestles the noose loose. He drops PARNASSUS on the ground.\n He's stunned but still alive.", "With a look of realization and horror, TONY drops to his\n death as the MOB kicks the chair away from under him.\n\n The MOB cheers. Yes, he's dead.", "Tony struggles to maintain his balance - and somehow manages\n to get his feet on the two halves of a broken rung. Then, as\n if he were on giant stilts, starts to stride away.", "TONY (CONT'D)\n Oh God!... Doctor... We can save\n her.. you and me. I need this. We\n both need this. Please. The trance.", "PARNASSUS is standing on a chair with the noose around his\n neck. He smiles and opens his hand. The metal tube has\n vanished.\n\n TONY panics. The MOB is getting closer.", "TONY\n It's mine.\n\n\n\n\n (CONTINUED)", "TONY (CONT'D)\n There are hard choices to be made\n in life.\n (he indicates the", "Below, the MOB is still in hot pursuit.\n\n TONY reaches the summit. In front of him, is his salvation -\n an empty gibbet. A noose hangs from the crossbeam.", "TONY digs into one of his pockets and pulls out the brass\n tube that he has always kept close.", "TONY\n I mean, the pipe. Where did you get\n it?\n\n ANTON looks at the metal pipe.\n\n ANTON\n I found it.", "TONY looks up and freezes. At the same time the walls of the\n ballroom begin to crack and disintegrate. TONY'S world starts\n to fall apart... literally.", "is flattened. Knocked out cold. TONY is unscathed.. his fall\n broken by ANTON'S padding.", "The RUSSIANS spot Tony. He is already a hundred feet up a\n ladder and climbing.\n\n Unfortunately, their way is blocked by an over-bright, hyper-\n active, wide-eyed sales girl.", "TONY\n Call security, somebody.\n\n ANTON (V.O.)\n It's all rotten! A naked lie!\n You've got to understand!", "TONY\n Did you see me!! I almost reached\n the clouds! I could have...it was\n incredible...I was almost there...\n\n ANTON\n Shut up!", "TONY swallows the tube as the MOB surge around the gibbet,\n grabbing him, beating him, and then lifting him onto the\n chair, tightening the noose around his neck.", "TONY, battered and bleeding, helps her lift PARNASSUS and\n manoeuvre him to his room.\n\n\n (CONTINUED)", "TONY has grabbed little ANTON and starts hitting him.\n\n TONY\n And now he doesn't stutter! You\n see!? It was all an act to get\n cheap sympathy!" ], [ "VALENTINA (CONT'D)\n ...a selfish bitch, everyone I love\n dies...I'm...\n\n MR NICK\n ...only fit for hell? If only.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "said... If you manage to kill me,\n he'll release Valentina. Yes? Am I\n right?... I am aren't I? It's all", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "VALENTINA\n What price?\n\n DR. PARNASSUS\n (anguished)\n It's too terrible...\n\n VALENTINA\n Tell me...", "MR NICK turns, realizing he has been looking into a mirror\n fragment reflecting the two mirrors. The writing on the\n Valentina's mirror reads \"His\".", "VALENTINA feints another direction. MR NICK blocks her.\n\n VALENTINA\n (a crazed look)\n Wrong. I'm 16...I'm a woman now..", "A figure steps out from the shadows to help her to her feet.\n It's MR. NICK in his bowler and red waistcoat.", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "MR NICK\n Now, there's absolutely no need for\n that. That's just plain\n contrariness.\n\n VALENTINA tries to get around him.", "MR NICK (CONT'D)\n God, I hate to see you like this.\n Look, I tell you what... If you can", "MR NICK (CONT'D)\n It's not what I had in mind\n y'know... this.. Valentina, being", "BOATMAN\n Give me your hand\n\n It's MR. NICK. VALENTINA recoils, drags TONY off the boat.", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "MR NICK\n How should I know? You're her\n father.\n (with needle)\n Her loving father.\n\n DR PARNASSUS looks askance at MR NICK.", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "VALENTINA\n By playing games with the devil!?\n\n DR. PARNASSUS\n With one more show. The day isn't\n over.", "She rushes off into the dark night.\n\n DR. PARNASSUS\n Valentina! That's not true! It's\n not like that! Wait! Come back!\n Valentina!", "PARNASSUS sighs. Stops. He checks his watch\n\n DOCTOR PARNASSUS\n Yes.\n\n VALENTINA\n So tell me." ], [ "The other WOMEN gasp.\n\n LOUIS VUITTON WOMAN\n What?\n\n TONY\n Come forward and enter the\n Imaginarium.", "New signs proclaim `The Choice Is Yours' `The Imaginarium -\n More Exclusive than ever'.", "TONY\n Cost? Money is no good in the\n Imaginarium. This is a refuge for\n hearts in need of truth. A place\n for souls to be purified.", "The door to the club is opened by a mechanical fairground\n figure of a jolly smiling man (MR NICK) distinguished by a\n bowler hat and a red waistcoat.", "DR. PARNASSUS\n Please! This is The Imaginarium! It\n requires respect, concentration...\n Kindly go elsewhere and take your\n detritus with you?", "Experience the Imaginarium of the\n great Doctor Parnassus.", "The multi-reflection broken mirror corridor ends at two\n mirrors identical to the one used in the Imaginarium. The one", "ANTON\n Step up! Step up! For one night\n only! The Imaginarium of Dr.\n Parnassus! Not to be missed!", "DR. PARNASSUS pushes aside the mirror to reveal a door in the\n back wall of the shallow stage. It is swinging open.", "Doctor Parnassus be the portal to\n the infinite world of your\n imagination.", "SALLY\n I'm not going on my own.\n\n ANTON\n Your imagination is a very special\n place. Doctor Parnassus will make\n it flower.", "The MAN precedes DOCTOR PARNASSUS in the tiny room. He looks\n around in amazement.\n\n DOCTOR PARNASSUS\n We can talk here. Sit down, sit\n down.", "open your imagination. Let him\n guide and transport you to worlds\n and possibilities you never dreamt\n of... If you dare. But... Beware...", "A roll on the drums from PERCY. The curtain rises. DOCTOR\n PARNASSUS `floats' above the stage on his glass plinth.", "MARTIN, relieved and reassured by the welcome, steps inside.\n The door closes followed by the sound from within of much\n gaiety and laughter.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "travelling theatre. Electric footlights are powered by a\n clanking generator. The pediment above the stage carries the\n words: THE ASTONISHING IMAGINARIUM OF DOCTOR PARNASSUS.", "I was saved...saved by a\n miracle...The Imaginarium...and\n Doctor Parnassus. He brought me\n back from the dead. He gave me a", "DOCTOR PARNASSUS' cabin is tiny. It's packed with books and\n memorabilia; Egyptian/Assyrian/Greek/etc., magic trick\n paraphernalia, and much else.", "...and he wanders off into the darkness with SALLY.\n Somewhere, a clock strikes 11.\n\n DR. PARNASSUS, agitated, watches him go." ], [ "MR NICK\n First to five?... You might win.\n And save her. What do you have to\n lose?\n\n DR. PARNASSUS\n I'll kill you!", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "CUT TO ANTON who's pleased.\n\n DR. PARNASSUS\n Perhaps I should offer her hand to\n whoever helps most in winning the\n next five souls.", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "DOCTOR PARNASSUS takes PERCY aside, shows him the Hanged Man\n Tarot Card and indicates the MAN with a nod.\n\n DOCTOR PARNASSUS\n He's from Mr Nick.", "DOCTOR PARNASSUS\n You're man's lost his memory! He's\n bloody hopeless!\n\n MR NICK\n He's not my man.", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "DR. PARNASSUS (CONT'D)\n (feverishly)\n A new wager... The first of five.", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "MR NICK\n I tell you what... You're probably\n not a betting man but...\n\n MR NICK whispers into the DR. PARNASSUS's ear.", "DOCTOR PARNASSUS\n (distraught)\n He's come to collect.\n\n PERCY\n I thought so.", "DOCTOR PARNASSUS\n (babbling)\n This is my punishment. All is lost.\n First to Five. One down.", "DR. PARNASSUS and the MONKS, still struck dumb, look\n appalled.\n\n MR NICK (CONT'D)\n Cheer up... I've freed you from\n this ridiculous nonsense.", "The horse lifts its head and DR PARNASSUS recoils in shock\n and horror. Standing directly behind the horse is MR. NICK...\n a huge grin splitting his face.", "DR. PARNASSUS\n (smiling)\n Yes?\n\n MR NICK stubs out his cigarette.", "MAN\n Thank you.\n\n He does so. DOCTOR PARNASSUS sits opposite him.\n\n DOCTOR PARNASSUS\n (expectantly)\n So...", "PERCY continues telling the story in the background.\n\n MR NICK\n What exactly do you do here?\n\n DR. PARNASSUS\n We tell the eternal story.", "The MAN wipes his hand across his forehead. Looks at his inky\n hand.. confused.\n\n DOCTOR PARNASSUS\n (sotto voce)\n You've been sent by Mr Nick.", "DOCTOR PARNASSUS\n What! Impossible!..you've seen the\n business we're doing.\n\n MR NICK\n Things are going to pick up. As\n sure as eggs is eggs." ], [ "ANTON, unaware of what he's done, disappears through the\n mirror as DOCTOR PARNASSUS crashes head first onto the stage.\n Crack!", "ANTON (V.O.)\n All of this is false! It's nothing\n to do with you! It's all him. It's\n his imagination!", "ANTON\n Step up! Step up! For one night\n only! The Imaginarium of Dr.\n Parnassus! Not to be missed!", "ANTON looks across the stage to her. She mimes that a certain\n someone has gone into the mirror. ANTON considers waking", "ANTON moves through the cut -out trees and into a fantastic,\n brightly coloured landscape of Dr. Seuss-like hills and\n valleys. The sky if full of cloud-sized soap bubbles.", "On one of the many pinnacles of garbage sits a lonely figure.\n It's ANTON, depressed, angry, forlorn.", "ANTON is `absailing' over the side of the bridge. One end of\n a rope is tied around his waist, the other is attached to the\n bridge parapet. A lantern dangles from his waist.", "ANTON steps out of the mirror. He produces an inflated\n balloon which he releases and which then flies, zig-zagging\n out over the audience.", "ANTON\n It's alright! It's alright!\n\n Staggering under the weight of the struggling SALLY, ANTON\n barges into DOCTOR PARNASSUS' on his glass plinth.", "ANTON looks at her. She shrugs. DR. PARNASSUS is still in a\n trance, his lips moving soundlessly. ANTON watches DOCTOR", "Little ANTON has leapt on TONY's back and sunk his teeth into\n TONY'S ear. TONY throws him off and starts beating him.", "(CONTINUED)\n\n 9.\n8 CONTINUED: 8\n\n\n DOCTOR PARNASSUS turns on ANTON.", "ANTON suddenly plops down on his arse in a puddle of mud.\n Then spins, flips the flower high into the air and, rolling", "DR. PARNASSUS\n Anton! Where are you going?\n\n No answer from ANTON.\n\n VALENTINA runs after him but, he marches on silently.", "She gets up, kisses ANTON on the top of his head and climbs\n down into the hatch.\n\n Anton looks thoughtful, bruised.\n\n PERCY glances back.", "ANTON slips out of her grip, plummeting into the abyss.\n\n VALENTINA\n Noooo!", "Then PARNASSUS sees something beyond the wagon...ANTON,\n downcast, heading off through the swirling plastic bags and\n flying rubbish... a battered suitcase in his hand.", "Over a distant rise the wagon appears, pulled by the horses.\n ANTON drags Tony, babbling and stumbling, towards it.", "ANTON is working near PARNASSUS and PERCY who are unaware of\n his presence.\n\n DR. PARNASSUS\n What's eating Anton?", "ANTON\n He was hanging under the b-bridge.\n\n DOCTOR PARNASSUS\n Hanging?\n\n\n\n (CONTINUED)" ], [ "The other WOMEN gasp.\n\n LOUIS VUITTON WOMAN\n What?\n\n TONY\n Come forward and enter the\n Imaginarium.", "TONY\n Cost? Money is no good in the\n Imaginarium. This is a refuge for\n hearts in need of truth. A place\n for souls to be purified.", "TONY re-enters the stage through the mirror, looking at DR.\n PARNASSUS who has just come out of his trance with\n astonishment", "...And then he realizes the clock is still striking the hour\n realizing that only a few moments have passed since he\n entered the mirror.\n\n TONY (CONT'D)\n ..how do you do this?", "TONY doesn't know what DR PARNASSUS in talking about but he\n grasps the fact that if he wants to be allowed to stay here\n he needs to play along.\n\n MAN\n Yes.", "TONY looks up and freezes. At the same time the walls of the\n ballroom begin to crack and disintegrate. TONY'S world starts\n to fall apart... literally.", "PARNASSUS slowly goes into a sobbing kind of trance state.\n\n TONY confirms he is in a trance, then rushes to the mirror.", "TONY\n But that's amazing! Brilliant!\n (oddly concerned)\n Was there anything else?\n\n DOCTOR PARNASSUS shakes his head, no.", "ANTON\n Ah, there it is.\n\n TONY once more tries to take it. Once more ANTON makes it\n disappear.", "Looking off to their right they see Tony heading up another\n hill. But as they rush in that direction another wall rises\n up blocking them. Again it is painted with a hill and TONY", "TONY\n But...\n (realizing Parnassus is\n referring to his\n inability to go into a\n trance)\n Why not?! What's wrong?", "Tony struggles to maintain his balance - and somehow manages\n to get his feet on the two halves of a broken rung. Then, as\n if he were on giant stilts, starts to stride away.", "TONY (CONT'D)\n Bugger!\n\n He steps back out of the mirror. Goes to PARNASSUS who is\n weeping.", "TONY hesitates.. No time! He looks back to PARNASSUS who\n seems to still be in his trance. Hesitates. Then rushes to\n VALENTINA.", "...as TONY escorts a second woman through the mirror, and a\n third, they descend, ecstatic, emptying the contents of their\n handbags, their pearls, earrings and diamond rings into the\n glass box.", "PARNASSUS quiets down. Starts mumbling.\n\n TONY rushes to the mirror. Steps through. He finds himself\n standing amongst the stage scenery. Nothing else.", "TONY\n It's one of the rules... One\n imagination at a time, free from\n the influence of another.", "New signs proclaim `The Choice Is Yours' `The Imaginarium -\n More Exclusive than ever'.", "TONY opens his mouth and is about to slip the tube down his\n throat when he spots the Hanged Man Tarot card lying at his\n feet. A hand from behind him snatches the tube away.", "TONY (CONT'D)\n (grabbing VALENTINA)\n Hurry!\n\n TONY and VALENTINA disappear through the mirror." ], [ "The LITTLE BOY is tugging VALENTINA'S arm. She looks down.\n It's ANTON. A child-size ANTON.", "VALENTINA (CONT'D)\n Okay, you look after Imogen.\n\n She gives him the baby.", "VALENTINA, single-handedly, hefts the MAN into the trunk and\n carefully places a cushion under his head. An action not\n missed by ANTON.", "VALENTINA\n He takes advantage.\n\n ANTON\n I don't mind. He's extraordinary...\n Like you.", "VALENTINA\n Anton!!!", "VALENTINA\n Hi, Anton.... what?\n\n\n (CONTINUED)", "VALENTINA (CONT'D)\n (to man)\n Are you alright?\n\n MAN\n Yes... thank you.", "VALENTINA\n (teasing)\n Yes you are. I'll tell him.\n\n ANTON\n He knows I worship him....", "She starts to go after him, then hesitates.\n\n VALENTINA\n (trying to get ANTON'S\n attention)\n Pssst!", "VALENTINA\n (offended)\n That's enough!\n\n ANTON storms off. GEORGE looks at VALENTINA sympathetically.", "VALENTINA (CONT'D)\n This is all I ever wanted... I know\n it's not what you wanted for me,\n but...well... there you go... I'm\n happy.", "He puts it around Valentina's neck. VALENTINA smiles. ANTON\n glowers.\n\n ANTON\n The marks on your face...", "VALENTINA\n (startled, guiltily hiding\n `Homes and Gardens')\n Oh!\n\n She turns, holding her dress to cover her modesty. There's\n nobody there.", "VALENTINA\n (very concerned)\n Ssshhhh... Thanks, Tony. Leave us.\n\n TONY, nods, leaves slowly. Listening.", "Seeing that VALENTINA is really struggling with the little\n girl, TONY reluctantly goes to help. The little girl, on\n seeing TONY, tries to break away but, he holds on to her.", "VALENTINA\n Puhlease.\n\n ANTON\n You are.\n\n\n\n\n (CONTINUED)", "VALENTINA and GEORGE exchange a quick look. VALENTINA thinks\n she's found a kindred spirit.\n\n\n\n\n (CONTINUED)", "VALENTINA stops, turns, smiles sweetly and slams her fist\n hard into MARTIN'S gut. He doubles up. VALENTINA pauses for a", "VALENTINA appears. She is beautifully dressed, coiffed, made-\n up, she looks stunning.", "VALENTINA\n (sotto voce)\n Anton?\n\n ANTON\n What?\n\n VALENTINA\n Shut up." ], [ "They turn to see PARNASSUS in the distance (where once the\n ballroom stood) stumbling towards them, drunk, desperate. As\n he moves forward a new landscape is created behind him.", "DOCTOR PARNASSUS' cabin is tiny. It's packed with books and\n memorabilia; Egyptian/Assyrian/Greek/etc., magic trick\n paraphernalia, and much else.", "DR. PARNASSUS\n Please! This is The Imaginarium! It\n requires respect, concentration...\n Kindly go elsewhere and take your\n detritus with you?", "The MAN precedes DOCTOR PARNASSUS in the tiny room. He looks\n around in amazement.\n\n DOCTOR PARNASSUS\n We can talk here. Sit down, sit\n down.", "I was saved...saved by a\n miracle...The Imaginarium...and\n Doctor Parnassus. He brought me\n back from the dead. He gave me a", "GEORGE\n Hold on!.. what dragon?\n\n VALENTINA\n You've met Parnassus.", "SALLY\n I'm not going on my own.\n\n ANTON\n Your imagination is a very special\n place. Doctor Parnassus will make\n it flower.", "THE CAMERA pulls back to show PERCY manipulating the puppets\n and giving them voices. He and DR. PARNASSUS are running a\n stall selling toy theatres. Business is good.", "ANTON\n Step up! Step up! For one night\n only! The Imaginarium of Dr.\n Parnassus! Not to be missed!", "The horse lifts its head and DR PARNASSUS recoils in shock\n and horror. Standing directly behind the horse is MR. NICK...\n a huge grin splitting his face.", "DOCTOR PARNASSUS\n What I told you was... the truth.\n I really am thousands of years old.", "DOCTOR PARNASSUS\n You're man's lost his memory! He's\n bloody hopeless!\n\n MR NICK\n He's not my man.", "... the ground erupts and a giant London policeman's helmet\n rises up (we are talking 20 feet tall)and revolves -\n revealing DR. PARNASSUS' carved and painted face beneath.", "Experience the Imaginarium of the\n great Doctor Parnassus.", "DR. PARNASSUS (V.O.) (CONT'D)\n Many centuries ago, as a matter of\n fact...", "DOCTOR PARNASSUS\n What! Impossible!..you've seen the\n business we're doing.\n\n MR NICK\n Things are going to pick up. As\n sure as eggs is eggs.", "28.\n19 CONTINUED: 19\n DR. PARNASSUS (CONT'D)\n A rider who would challenge the\n very foundations of the world...", "New signs proclaim `The Choice Is Yours' `The Imaginarium -\n More Exclusive than ever'.", "DR. PARNASSUS, holding a cold, damp towel to his throbbing\n head, appears, coughing and miserable from the wagon.\n\n PERCY\n Well, we didn't and he isn't.", "DR. PARNASSUS (V.O.) (CONT'D)\n Everlasting torment...\n Everlasting... Everlasting... Times\n changed. No one wanted our tales\n any longer." ], [ "DOCTOR PARNASSUS' cabin is tiny. It's packed with books and\n memorabilia; Egyptian/Assyrian/Greek/etc., magic trick\n paraphernalia, and much else.", "PARNASSUS, a bottle in his hand, is lurching around.\n\n DOCTOR PARNASSUS\n You fool! You monstrous fool! You\n should be dead.", "DOCTOR PARNASSUS\n You're man's lost his memory! He's\n bloody hopeless!\n\n MR NICK\n He's not my man.", "Tony steers DOCTOR PARNASSUS towards his glass column.\n\n DOCTOR PARNASSUS\n Yes! Yes! Of course! Of course!\n Thank God! Thank God!", "The MAN precedes DOCTOR PARNASSUS in the tiny room. He looks\n around in amazement.\n\n DOCTOR PARNASSUS\n We can talk here. Sit down, sit\n down.", "DOCTOR PARNASSUS\n (distraught)\n He's come to collect.\n\n PERCY\n I thought so.", "DOCTOR PARNASSUS is attempting to get ready for the show but\n he's so drunk he can hardly stand. He's already put some\n article of clothing on back-to-front or inside out. PERCY is\n trying to help.", "TONY\n But that's amazing! Brilliant!\n (oddly concerned)\n Was there anything else?\n\n DOCTOR PARNASSUS shakes his head, no.", "A roll on the drums from PERCY. The curtain rises. DOCTOR\n PARNASSUS `floats' above the stage on his glass plinth.", "DOCTOR PARNASSUS is groaning and clutching his head. He has a\n fierce hangover. He pours some powder from a packet into a", "DOCTOR PARNASSUS bows exaggeratedly, with a hint of mockery.", "DOCTOR PARNASSUS is on stage, floating' on his glass pillar,\n apparently in a trance but,humming erratically. He is flanked", "On stage is DOCTOR PARNASSUS, `levitating' and in a trance,\n as before. Incense smoke swirls around him.", "DOCTOR PARNASSUS\n What are you doing? Please\n concentrate. We've got a tremendous\n amount of work to do tonight. A\n great deal depends on it.", "DOCTOR PARNASSUS\n No! No understudy! The audience\n won't tolerate an understudy!\n There's only one Doctor Parnassus,\n and I am he!", "DOCTOR PARNASSUS\n The hanged man!\n\n VALENTINA(O.S.)\n Is he okay?\n\n She appears from inside the wagon.", "PERCY pulls the reluctant DR. PARNASSUS up the drive of a\n suburban bungalow, past a perfect lawn and double garage, to\n the front door.\n\n PERCY rings the bell.", "DOCTOR PARNASSUS\n What I told you was... the truth.\n I really am thousands of years old.", "DOCTOR PARNASSUS\n Hold your breath.\n\n GEORGE does so.", "MAN\n Thank you.\n\n He does so. DOCTOR PARNASSUS sits opposite him.\n\n DOCTOR PARNASSUS\n (expectantly)\n So..." ], [ "We hear a crash.\n\n THE CAMERA PANS around. PARNASSUS has fallen off his perch\n and is now lying on the floor...snoring and mumbling.", "They turn to see PARNASSUS in the distance (where once the\n ballroom stood) stumbling towards them, drunk, desperate. As\n he moves forward a new landscape is created behind him.", "DR. PARNASSUS has just stepped out onto the top of the wagon.\n Soaked. He's drunk and is swaying.", "A DRUNK takes a swing at PERCY, misses, and connects with\n TONY.\n\n TONY (CONT'D)\n Ugh!", "VALENTINA and some of the WOMEN run forward.\n\n SYLVIA\n This man's drunk. Dead drunk.", "ANTON, unaware of what he's done, disappears through the\n mirror as DOCTOR PARNASSUS crashes head first onto the stage.\n Crack!", "DR. PARNASSUS (V.O.) (CONT'D)\n (enraged)\n AAAHHHH!!! DAMN AND BLAST!!!\n\n Things fly in all directions.", "A distraught, hysterical, DRUNKEN GIRL is looking for MARTIN.\n\n DRUNKEN GIRL (CONT'D)\n Martin!... Martin!...", "He picks up an open bottle of spirits and takes a swig.\n Clearly he's already had a few drinks.", "horses steaming, sections of the theatre hanging loose,\n broken..an utter mess. The siren fades into the distance.", "Tony wrenches his arm free and violently shoves the drunken\n DOCTOR right into the path of the frenzied MOB. PARNASSUS is\n trampled underfoot in their rush to catch TONY.", "DR. PARNASSUS breaks free, stumbles backwards, and pitches\n out into space. PERCY screams.", "A group of DRUNKEN YOUTHS emerge from the club, staggering,\n laughing, shouting, drinking, breaking bottles, and throwing\n up. The LADS grope the GIRLS. Everyone's having \"a great\n time\".", "PARAMEDIC\n ...d-dead drunk.\n\n A bottle falls from the DOCTOR'S hand and explodes in a\n million fragments as it hits the ground.", "...and he wanders off into the darkness with SALLY.\n Somewhere, a clock strikes 11.\n\n DR. PARNASSUS, agitated, watches him go.", "The wagon is parked on waste ground. It looms out of nowhere\n illuminated by a light leaking from within.\n\n We hear PERCY'S angry voice.", "She sees `Beauty'.\n\n DRUNKEN GIRL (CONT'D)\n He went with that cow! I'll scratch\n her eyes out!", "(under his breath,\n watching the drunk,\n MARTIN, with contempt)\n No prizes for guessing what you'll", "DRUNKEN GIRL (V.O.)\n Martin!...\n\n The POLICE are dealing with a drunken mob of nightclub\n REVELLERS, making arrests.", "The boat bumps into a submerged log. DR. PARNASSUS tries to\n push free. Several cigarette butts float past. Looking up," ], [ "PARNASSUS, holding his aching head, sits a short distance\n away sadly watching her. PERCY is with him.\n\n PERCY\n Five souls.. two days, eh!?", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "A figure steps out from the shadows to help her to her feet.\n It's MR. NICK in his bowler and red waistcoat.", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "...and he wanders off into the darkness with SALLY.\n Somewhere, a clock strikes 11.\n\n DR. PARNASSUS, agitated, watches him go.", "MAN\n (cautiously)\n The message?\n\n DOCTOR PARNASSUS\n The message! What's the message?\n From Mr Nick. What does he want?", "MR NICK (CONT'D)\n God, I hate to see you like this.\n Look, I tell you what... If you can", "61.\n43 CONTINUED: 43\n\n\n PERCY\n (ironic)\n And he's going to help us win five\n souls.", "DOCTOR PARNASSUS takes PERCY aside, shows him the Hanged Man\n Tarot Card and indicates the MAN with a nod.\n\n DOCTOR PARNASSUS\n He's from Mr Nick.", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "there are dangers. You will have to\n choose. Will your soul fly?... Or\n will it be dashed on the rocks of\n darkness? The choice is yours and", "PERCY continues telling the story in the background.\n\n MR NICK\n What exactly do you do here?\n\n DR. PARNASSUS\n We tell the eternal story.", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "MR NICK (CONT'D)\n I hope they get that bastard. Tear\n him limb from limb... But they", "The MAN wipes his hand across his forehead. Looks at his inky\n hand.. confused.\n\n DOCTOR PARNASSUS\n (sotto voce)\n You've been sent by Mr Nick.", "MR NICK\n First to five?... You might win.\n And save her. What do you have to\n lose?\n\n DR. PARNASSUS\n I'll kill you!", "A third monk continues.\n\n THIRD MONK\n ...yet the forces of evil could not\n prevail, and...\n\n MR.NICK renders him silent.", "The horse lifts its head and DR PARNASSUS recoils in shock\n and horror. Standing directly behind the horse is MR. NICK...\n a huge grin splitting his face.", "MR NICK appears behind PARNASSUS...sits down beside him.\n\n MR NICK\n Funny how things work out, isn't\n it?\n\n He lights a cigarette." ], [ "PARNASSUS, holding his aching head, sits a short distance\n away sadly watching her. PERCY is with him.\n\n PERCY\n Five souls.. two days, eh!?", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes...", "MR NICK\n First to five?... You might win.\n And save her. What do you have to\n lose?\n\n DR. PARNASSUS\n I'll kill you!", "DR. PARNASSUS\n You make it sound so simple.\n\n MR NICK\n And you believe it?\n\n DR. PARNASSUS smiles.", "DR. PARNASSUS\n (very down)\n I know... It's over....you've\n won...\n\n MR NICK\n Four rotten Russkies?", "MR NICK appears behind PARNASSUS...sits down beside him.\n\n MR NICK\n Funny how things work out, isn't\n it?\n\n He lights a cigarette.", "DOCTOR PARNASSUS\n What do you want? I'll do anything.\n\n MR NICK\n (smiles)\n I know.", "PERCY continues telling the story in the background.\n\n MR NICK\n What exactly do you do here?\n\n DR. PARNASSUS\n We tell the eternal story.", "DR. PARNASSUS (V.O.)\n The devil granted me mortality\n again...and youth and great powers.\n I won my bride. I was in love. But\n at what price...", "PARNASSUS, a bottle in his hand, is lurching around.\n\n DOCTOR PARNASSUS\n You fool! You monstrous fool! You\n should be dead.", "DOCTOR PARNASSUS\n You're man's lost his memory! He's\n bloody hopeless!\n\n MR NICK\n He's not my man.", "The horse lifts its head and DR PARNASSUS recoils in shock\n and horror. Standing directly behind the horse is MR. NICK...\n a huge grin splitting his face.", "DR. PARNASSUS (V.O.) (CONT'D)\n Everlasting torment...\n Everlasting... Everlasting... Times\n changed. No one wanted our tales\n any longer.", "MR NICK undoes the spell.\n\n The MONKS moan. DR. PARNASSUS slumps down in despair.\n\n MR NICK smiles and lights a cigarette. He's enjoying this.", "DR. PARNASSUS and the MONKS, still struck dumb, look\n appalled.\n\n MR NICK (CONT'D)\n Cheer up... I've freed you from\n this ridiculous nonsense.", "28.\n19 CONTINUED: 19\n DR. PARNASSUS (CONT'D)\n A rider who would challenge the\n very foundations of the world...", "CUT TO ANTON who's pleased.\n\n DR. PARNASSUS\n Perhaps I should offer her hand to\n whoever helps most in winning the\n next five souls.", "MR NICK\n Hello Parnassus... It's been a\n while hasn't it?\n\n PERCY, winding a rope onto a cleat, hears distant laughter\n and looks up.", "DR. PARNASSUS is hanging by his coat, snagged on a branch\n angled out from the cliff face and held, like a fishing rod,\n by MR NICK who has a great grin on his face.", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!" ], [ "TONY, disorientated, takes a moment to regain his composure.\n He smiles and, with an effort, puts his arm around THE LOUIS", "TONY is now surrounded by fascinated WOMEN. They laugh at one\n of his jokes. One pretty young woman, SALLY, in particular", "TONY and VALENTINA look around. ANTON is nowhere to be seen\n but, his voice continues.", "TONY, startled, turns to find himself looking up at DR.\n PARNASSUS.", "In the distance, TONY is hiding behind some billowing fabric.\n On being spotted, he takes off up a hill.", "The dust clears and TONY and ANTON find themselves in a\n desolate, empty landscape. Nowhere. Nothing.", "TONY looks up and freezes. At the same time the walls of the\n ballroom begin to crack and disintegrate. TONY'S world starts\n to fall apart... literally.", "TONY looks uncomfortable, tries to rub his forehead clean.\n\n\n\n\n (CONTINUED)", "Tony struggles to maintain his balance - and somehow manages\n to get his feet on the two halves of a broken rung. Then, as\n if he were on giant stilts, starts to stride away.", "The floor around TONY falls away into an abyss leaving only a\n narrow escape route. He hurls ANTON aside and dashes away as", "The angry troupe huddles amongst the clutter of props and\n jumbled scenery. TONY is on trial.", "TONY\n I mean, the pipe. Where did you get\n it?\n\n ANTON looks at the metal pipe.\n\n ANTON\n I found it.", "A battered TONY, chased by the enraged crowd,just manages to\n clamber on board, with the help of VALENTINA.", "Looking off to their right they see Tony heading up another\n hill. But as they rush in that direction another wall rises\n up blocking them. Again it is painted with a hill and TONY", "99.\n62 CONTINUED: (3) 62\n\n\n TONY shakes him hard.", "TONY (CONT'D)\n There are hard choices to be made\n in life.\n (he indicates the", "TONY\n It's mine.\n\n\n\n\n (CONTINUED)", "ANTON tries to stop him, but TONY pushes him back, off the\n stage. He crashes to the ground.", "TONY is the focus of attention. A TV current-affairs/news\n JOURNALIST with CAMERA CREW is following him around.", "PARNASSUS quiets down. Starts mumbling.\n\n TONY rushes to the mirror. Steps through. He finds himself\n standing amongst the stage scenery. Nothing else." ], [ "VALENTINA\n By playing games with the devil!?\n\n DR. PARNASSUS\n With one more show. The day isn't\n over.", "VALENTINA\n What price?\n\n DR. PARNASSUS\n (anguished)\n It's too terrible...\n\n VALENTINA\n Tell me...", "said... If you manage to kill me,\n he'll release Valentina. Yes? Am I\n right?... I am aren't I? It's all", "VALENTINA\n What do you mean `at what price'?\n\n\n\n\n (CONTINUED)", "VALENTINA (CONT'D)\n ...a selfish bitch, everyone I love\n dies...I'm...\n\n MR NICK\n ...only fit for hell? If only.", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "VALENTINA\n No!\n\n DR. PARNASSUS\n Valentina.", "PARNASSUS sighs. Stops. He checks his watch\n\n DOCTOR PARNASSUS\n Yes.\n\n VALENTINA\n So tell me.", "She rushes off into the dark night.\n\n DR. PARNASSUS\n Valentina! That's not true! It's\n not like that! Wait! Come back!\n Valentina!", "VALENTINA\n Percy liked the soup.\n\n DR. PARNASSUS\n (agitated)\n Why does everybody want to live\n forever?", "ANTON\n Valentina!..help me. Please.\n\n His grip slips. VALENTINA reaches for him, grasps his hand.", "DOCTOR PARNASSUS\n All is not lost.\n\n PERCY\n What proposal?\n\n VALENTINA\n Father?", "VALENTINA (CONT'D)\n But... didn't...\n\n DR. PARNASSUS\n Your mother never knew. She died\n before I had to tell her.", "VALENTINA, single-handedly, hefts the MAN into the trunk and\n carefully places a cushion under his head. An action not\n missed by ANTON.", "Seeing that VALENTINA is really struggling with the little\n girl, TONY reluctantly goes to help. The little girl, on\n seeing TONY, tries to break away but, he holds on to her.", "VALENTINA (CONT'D)\n ... until you remember who you are,\n I dub thee Saint George. You can\n save me from the dragon. George.", "VALENTINA (CONT'D)\n Okay, you look after Imogen.\n\n She gives him the baby.", "VALENTINA\n (teasing)\n Yes you are. I'll tell him.\n\n ANTON\n He knows I worship him....", "VALENTINA\n You've done it! Brilliant!\n\n ANTON\n Argggg!!!", "VALENTINA\n That's normal isn't it?\n\n DR. PARNASSUS\n Immortality's a curse! Any fool can\n tell you that!" ], [ "TONY\n But that's amazing! Brilliant!\n (oddly concerned)\n Was there anything else?\n\n DOCTOR PARNASSUS shakes his head, no.", "PARNASSUS is standing on a chair with the noose around his\n neck. He smiles and opens his hand. The metal tube has\n vanished.\n\n TONY panics. The MOB is getting closer.", "TONY doesn't know what DR PARNASSUS in talking about but he\n grasps the fact that if he wants to be allowed to stay here\n he needs to play along.\n\n MAN\n Yes.", "TONY\n (sitting PARNASSUS down)\n Concentrate. You must concentrate.\n (clearing the way to the", "PARNASSUS quiets down. Starts mumbling.\n\n TONY rushes to the mirror. Steps through. He finds himself\n standing amongst the stage scenery. Nothing else.", "TONY (CONT'D)\n Bugger!\n\n He steps back out of the mirror. Goes to PARNASSUS who is\n weeping.", "TONY, battered and bleeding, helps her lift PARNASSUS and\n manoeuvre him to his room.\n\n\n (CONTINUED)", "Suddenly the stage begins to unfold. PARNASSUS looks up,\n unable to see what or who is doing this. He drunkenly\n stumbles around the side to see TONY pulling ropes.", "TONY rushes towards PARNASSUS.\n\n TONY\n You old bastard! This is all your\n doing!", "TONY\n (to Valentina)\n This can be my birthday gift to\n Valentina.\n\n VALENTINA smiles and nods to PARNASSUS.", "PARNASSUS slowly goes into a sobbing kind of trance state.\n\n TONY confirms he is in a trance, then rushes to the mirror.", "TONY\n But...\n (realizing Parnassus is\n referring to his\n inability to go into a\n trance)\n Why not?! What's wrong?", "TONY\n Thank you.\n\n DR. PARNASSUS, who's been watching this exchange, looks\n thoughtful.\n\n 60.", "DR. PARNASSUS, grim faced, head bandaged, steps from behind\n the wagon.\n\n TONY and VALENTINA quickly disengage.", "DR. PARNASSUS gets up, goes to the door, opens it and steps\n outside, closing the door behind him.\n\n VALENTINA, ANTON, PERCY and TONY exchange looks.", "TONY\n (to himself)\n How about thanking me?\n\n DR. PARNASSUS\n What?", "Working very fast, TONY hoists him over his shoulder and\n wrestles the noose loose. He drops PARNASSUS on the ground.\n He's stunned but still alive.", "TONY, startled, turns to find himself looking up at DR.\n PARNASSUS.", "TONY hesitates.. No time! He looks back to PARNASSUS who\n seems to still be in his trance. Hesitates. Then rushes to\n VALENTINA.", "TONY\n I expect nothing in return.\n\n DR. PARNASSUS\n (trying to go into a\n trance)\n No. You're a saint... A saint." ], [ "TONY is now surrounded by fascinated WOMEN. They laugh at one\n of his jokes. One pretty young woman, SALLY, in particular", "TONY\n (stunned)\n My God! That's it! You're right!\n Anthony Shepherd! They call me\n Tony. Tony Shepherd! That's who I\n am!", "TONY\n It's mine.\n\n\n\n\n (CONTINUED)", "TONY, disorientated, takes a moment to regain his composure.\n He smiles and, with an effort, puts his arm around THE LOUIS", "TONY has grabbed little ANTON and starts hitting him.\n\n TONY\n And now he doesn't stutter! You\n see!? It was all an act to get\n cheap sympathy!", "TONY (CONT'D)\n (in response to Anton)\n Yes, I know, and you're right, but", "TONY\n Call security, somebody.\n\n ANTON (V.O.)\n It's all rotten! A naked lie!\n You've got to understand!", "TONY (CONT'D)\n There are hard choices to be made\n in life.\n (he indicates the", "TONY doesn't know what DR PARNASSUS in talking about but he\n grasps the fact that if he wants to be allowed to stay here\n he needs to play along.\n\n MAN\n Yes.", "TONY looks uncomfortable, tries to rub his forehead clean.\n\n\n\n\n (CONTINUED)", "interested in ANTON. Instead they pay more attention to the\n masked TONY who, decked out in a stylish costume, is working\n the sparse crowd with his smooth charm.", "TONY is the focus of attention. A TV current-affairs/news\n JOURNALIST with CAMERA CREW is following him around.", "ANTON (CONT'D)\n It's g-gone.\n\n TONY\n (getting shirty)\n Don't fool around.", "TONY\n I am not a liar!\n\n ANTON\n No?", "TONY\n (angry)\n Give it to me!\n\n ANTON\n (derisively)\n Oooooh!", "TONY (CONT'D)\n This is modern. It works. Trust me,\n I understand this world.\n (with a wink)", "TONY\n (to Valentina)\n Valentina, Don't listen to that.\n I'm innocent. This is the work of", "TONY pays off the cops who move on.", "ANTON (CONT'D)\n Look at this...\n\n He produces the newspaper with TONY'S photo and news story.", "...TONY, sleekly groomed and immaculately dressed, holding\n the smiling little girl. She too has been cleaned and\n buffed. The sun shines. He stands in..." ], [ "VALENTINA (CONT'D)\n ...a selfish bitch, everyone I love\n dies...I'm...\n\n MR NICK\n ...only fit for hell? If only.", "MR NICK appears out of the \"His\" mirror - a burst of flame\n behind him.\n\n He makes a sweeping gesture inviting VALENTINA to enter the\n mirror marked 'Hers'.", "VALENTINA feints another direction. MR NICK blocks her.\n\n VALENTINA\n (a crazed look)\n Wrong. I'm 16...I'm a woman now..", "DOCTOR PARNASSUS\n On Valentina?\n\n MR NICK\n No?\n\n DOCTOR PARNASSUS\n You bastard!", "She rushes off into the dark night.\n\n DR. PARNASSUS\n Valentina! That's not true! It's\n not like that! Wait! Come back!\n Valentina!", "MR NICK\n Now, there's absolutely no need for\n that. That's just plain\n contrariness.\n\n VALENTINA tries to get around him.", "VALENTINA\n (she's heard this before)\n Oh for God's sake!\n\n DR. PARNASSUS\n What was I thinking of!", "VALENTINA\n What price?\n\n DR. PARNASSUS\n (anguished)\n It's too terrible...\n\n VALENTINA\n Tell me...", "VALENTINA\n By playing games with the devil!?\n\n DR. PARNASSUS\n With one more show. The day isn't\n over.", "MR NICK turns, realizing he has been looking into a mirror\n fragment reflecting the two mirrors. The writing on the\n Valentina's mirror reads \"His\".", "MR NICK (CONT'D)\n It's not what I had in mind\n y'know... this.. Valentina, being", "VALENTINA\n (teasing)\n Yes you are. I'll tell him.\n\n ANTON\n He knows I worship him....", "VALENTINA\n Percy liked the soup.\n\n DR. PARNASSUS\n (agitated)\n Why does everybody want to live\n forever?", "VALENTINA (CONT'D)\n This is all I ever wanted... I know\n it's not what you wanted for me,\n but...well... there you go... I'm\n happy.", "said... If you manage to kill me,\n he'll release Valentina. Yes? Am I\n right?... I am aren't I? It's all", "VALENTINA (CONT'D)\n Okay, you look after Imogen.\n\n She gives him the baby.", "VALENTINA (CONT'D)\n (laughing madly)\n So this is to be my choice!!", "Seeing that VALENTINA is really struggling with the little\n girl, TONY reluctantly goes to help. The little girl, on\n seeing TONY, tries to break away but, he holds on to her.", "PARNASSUS sighs. Stops. He checks his watch\n\n DOCTOR PARNASSUS\n Yes.\n\n VALENTINA\n So tell me.", "MR NICK (CONT'D)\n She's free... isn't she?\n\n MR NICK smiles and blows smoke in PARNASSUS'S face. The smoke\n fills the screen and becomes..." ], [ "The LITTLE BOY is tugging VALENTINA'S arm. She looks down.\n It's ANTON. A child-size ANTON.", "VALENTINA (CONT'D)\n Okay, you look after Imogen.\n\n She gives him the baby.", "VALENTINA, single-handedly, hefts the MAN into the trunk and\n carefully places a cushion under his head. An action not\n missed by ANTON.", "VALENTINA\n He takes advantage.\n\n ANTON\n I don't mind. He's extraordinary...\n Like you.", "VALENTINA\n Anton!!!", "VALENTINA\n Hi, Anton.... what?\n\n\n (CONTINUED)", "VALENTINA (CONT'D)\n (to man)\n Are you alright?\n\n MAN\n Yes... thank you.", "VALENTINA\n (teasing)\n Yes you are. I'll tell him.\n\n ANTON\n He knows I worship him....", "She starts to go after him, then hesitates.\n\n VALENTINA\n (trying to get ANTON'S\n attention)\n Pssst!", "VALENTINA\n (offended)\n That's enough!\n\n ANTON storms off. GEORGE looks at VALENTINA sympathetically.", "VALENTINA (CONT'D)\n This is all I ever wanted... I know\n it's not what you wanted for me,\n but...well... there you go... I'm\n happy.", "He puts it around Valentina's neck. VALENTINA smiles. ANTON\n glowers.\n\n ANTON\n The marks on your face...", "VALENTINA\n (startled, guiltily hiding\n `Homes and Gardens')\n Oh!\n\n She turns, holding her dress to cover her modesty. There's\n nobody there.", "VALENTINA\n (very concerned)\n Ssshhhh... Thanks, Tony. Leave us.\n\n TONY, nods, leaves slowly. Listening.", "Seeing that VALENTINA is really struggling with the little\n girl, TONY reluctantly goes to help. The little girl, on\n seeing TONY, tries to break away but, he holds on to her.", "VALENTINA\n Puhlease.\n\n ANTON\n You are.\n\n\n\n\n (CONTINUED)", "VALENTINA and GEORGE exchange a quick look. VALENTINA thinks\n she's found a kindred spirit.\n\n\n\n\n (CONTINUED)", "VALENTINA stops, turns, smiles sweetly and slams her fist\n hard into MARTIN'S gut. He doubles up. VALENTINA pauses for a", "VALENTINA appears. She is beautifully dressed, coiffed, made-\n up, she looks stunning.", "VALENTINA\n (sotto voce)\n Anton?\n\n ANTON\n What?\n\n VALENTINA\n Shut up." ] ]

[ "What feature changed when the drunk crashed through a stage mirror?", "How many souls did Parnassus win when he bet Mr. Nick at the monastery?", "What did Parnassus gain after winning 12 souls at the monastery? ", "What did the man who was hanging below a bridge and was rescued by Anton spit out when brought back to life?", "What did Mr. Nick offer Parnassus as a way to allow Valentina to stay with Parnassus?", "What did Tony convince a woman to take toward a pyramid allowing a soul to be won for Parnassus?", "What kind of pact did Parnassus make with Mr. Nick to be youthful again to impress a woman?", "After Valentina offers to give her soul to Mr. Nick, who does Mr. Nick offer to trade Valentina for?", "How many souls earned Parnassus immortality?", "Why was Mr. Nick entitled to Valentina's soul?", "What object first saved Tony's life but later caused his death?", "Once Mr. Nick has Valentina's soul, what exchange does he offer to release her?", "How do people enter the Imaginarium?", "When Mr. Nick challenges Parnassus to collect five souls before him, who wins the first soul?", "Where does Anton fall in the Imaginarium?", "Why does Tony enter the Imaginarium the second time?", "Who does Valentina marry?", "What did Parnassus do before he owned the Imaginarium?", "What does Doctor Parnassus own?", "What does the drunk crash through?", "Whose soul will Nick gain in three days?", "How many souls did Parnassus win before Mr Nick to gain immortality?", "Where is Tony found?", "How many souls need to be gained in order to keep Valentina?", "What does Parnassus exchange with Tony?", "What is Tony's real occupation?", "Why does Valentina willingly give her soul to Mr. Nick?", "Who does Valentina marry?" ]

[ [ "His face", "his face " ], [ "12", "12" ], [ "Immortality", "immortality" ], [ "A golden pipe", "golden pipe" ], [ "Valentina can stay with whoever wins five souls first", "soul" ], [ "A gondola", "A gondola." ], [ "He gave any child he fathered to Mr. Nick at age 16", "Any child he had would become Mr. Nick's at the age of 16." ], [ "Tony", "youth" ], [ "Twelve.", "12" ], [ "Parnassus struck a bargain with him in exchange for youth.", "Because her father made a pact with Mr. Nick" ], [ "A golden pipe.", "pipe" ], [ "Mr. Nick will accept Tony in place of Valentina. ", "He wants to exchange her for Tony." ], [ "Through a mirror.", "They enter the mirror." ], [ "Parnassus.", "Tony" ], [ "A void. ", "Into a void." ], [ "He's chased by four Russian mobsters.", "To give his soul to Parnassus" ], [ "Anton.", "Anton." ], [ "He ran a monastery. ", "monastery" ], [ "A theatre troup", "immortality" ], [ "A mirror", "A stage mirror." ], [ "Valentina's", "Valentina" ], [ "12", "12" ], [ "Underneath a bridge", "Hanging over a bridge" ], [ "5", "five" ], [ "A trance that powers the dream world", "trance that powers the dream world" ], [ "A charity scammer", "A philanthropist." ], [ "She is angry at her father for his lies and deceit", "She is angry with her father for trading her away and not telling her about it." ], [ "Anton", "Anton" ] ]

1b3fb96b3e151a856c7846d05cfca170408dce08

train

[ [ "This incident caused a considerable change in Harry's position in\nthe family. Previously he had been accepted in consequence of the\norders of the marquis. Although compelled to treat him as an equal", "Seeing at a glance that his daughters were untouched, the marquis\nran on to Harry, who was standing panting and breathless, and threw\nhis arms round him.", "\"Shake hands with him,\" the marquis said sharply; \"it is the custom\nof his country.\"\n\nEach in turn held out his hand to Harry, who, as he shook hands\nwith them, took a mental stock of his future companions.", "\"Now, Harry,\" the marquis said when he had mastered the emotion\ncaused by the parting, which he felt might be a final one, \"since", "\"We have need of all our wits,\" Harry said quietly. \"The marquis\nwas good enough to accept my offer to do all that I could to look", "arms of the marquis emblazoned upon it came up to the door, and\nthey started. The horses were fat and lazy; and Harry, who had no\nidea how far they were going, thought that the journey was likely", "The marquis had put his hand approvingly upon Ernest's shoulder\nwhen he addressed Harry, and then turned to his daughters. The", "\"He is hardly a stranger, Ernest,\" the marquis replied. \"He has been\nwith us as one of the family for two years, and he risked his life", "The marquis now turned and led the way into a great drawing-room,\nand taking Harry's hand led him up to a lady seated on a couch.", "The young ones were all forbidden to follow, and after an hour\nspent with his parents and the girls in the dining-room, Harry\nwas pleased to see that the latter were beginning to feel at their\nease, and that the strangeness was wearing off.", "The greeting between the lovers was a silent one, few words were\nspoken, but their faces expressed their joy at meeting again after\nthe perils through which they had passed; there was a little pause,\nand then Harry, as usual, took the lead.", "For some time Harry lived a quiet life at the chateau. He found\nhis position a very pleasant one. The orders of the marquis that", "The answer of the gentleman he addressed had weighed little with\nthe marquis, but Harry thought over it seriously.", "\"Bring up the wolf,\" the marquis said, \"and Harry, do you come\nhere and stand by Ernest's side. Madam la marquise,\" he went on,", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "\"Pardon, marquis,\" Harry said quietly, \"I am firmly resolved to\nstay in Paris. I may be of assistance to your daughters, and there", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "The marquise, who had formerly protested, if playfully, against\nher husband's whim in introducing an English boy into their family", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only", "\"Since this is so, the marquis has concluded that the best thing\nwould be to have an English boy of good family as their companion." ], [ "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "\"We must be prepared, my love, to face the worst. Escape is now\nimpossible, and, indeed, so long as the king and queen are alive I\nwould not quit Paris; but we must prepare for sending the children\naway if possible.\"", "\"A great number of arrests have taken place in the night, among them\nthat of the Marquis de St. Caux and your father. Men are waiting\ninside your house to arrest you as you enter.\"", "sword and prepared to start for the palace. He embraced his wife,\nwho was calm but very pale, and his children. Ernest asked to be\nallowed to go with him, but the marquis said:", "to send the young ones away than to retain them in Paris, and the\nmarquise had been a prey to the liveliest anxiety respecting her\nchildren. It seemed impossible that there could be any animosity", "\"We must go to Paris,\" the marquis said one day towards the end of\nOctober. \"The place for a French nobleman now is beside the king.\"\n\n\"And that of his wife beside the queen,\" the marquise said quietly.", "the news has, no doubt, already been spread that the daughters of\nthe Marquis de St. Caux had left the house before those charged\nwith their father's arrest arrived, it will be better for you not", "\"But the children, Edouard!\" the marquise murmured.\n\n\"I shall stand by my father's side,\" Ernest said firmly.", "approvingly at their disguises, to which the marquise had, during\nthe long hours of the night, devoted the most zealous attention.\nMarie had been made to look much older than she was. A few dark", "The change of life was great indeed; the marquis had thrown himself\ninto the thick of all that was going on, and his salon was crowded\nevery evening with those of the nobility who still remained In", "marquis and his wife, of their daughters, and of Victor de Gisons,\nalmost excluding everything else. When he thought of the boys it\nhad been as already in England, under the charge of du Tillet.", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It", "\"The marquise was conveyed to prison with the marquis. The three\nyoung ladies are all safe with their mother's old servant, Louise", "\"I cannot think,\" the marquis said, \"that they will be included in\nthe order for our arrest. They must go, as arranged, in the morning", "\"I cannot say no,\" the marquis replied. \"I wish you could have stayed\nwith the children, but they need fear no trouble here. Ernest is", "\"The king and his family are prisoners in the Temple,\" the marquis\nsaid. \"The Commune has triumphed over the Assembly and a National", "been told off to see that none of the family attempted to fly for\nthe frontier. He therefore wrote to the marquis urging that it\nwould be better that the family should move to Paris, where they", "So it was arranged, and Adolphe and his wife went off invoking\nblessings on the heads of the fugitives. At daybreak the party took", "Had she herself been alone concerned, the old woman would have stood\nby Marie and shared her fate; but the words \"for the sake of the\nchildren\" decided her, and she had instantly slipped away among", "\"They have, I fear, been arrested by the sans culottes,\" Marie said\nmournfully as she burst into tears, feeling, now that the strain" ], [ "Lebat to come out. Rapidly thinking the matter over, he concluded\nthat the man would not present himself with the order of release until\nafter dark, in order that if Marie struggled or tried to make her", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "But Lebat could give no description whatever of her. He had noticed\nthat Marie was speaking to some one when he first caught sight of\nher face; but he had noticed nothing more, and did not know whether\nthe woman was young or old.", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "escape it would be unnoticed in the street. Lebat had calculated,\nof course, that on the presentation of the order the prison officials\nwould at once lead Marie to the gates whether she wished it or not,", "\"I am Citizen Lebat of the Committee of Public Safety, and I have\nan order here, signed by Citizen Robespierre, for the release of\nthe female prisoner known as Marie Caux.\"", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It", "\"He is not dead, Marie, but he has been very, very ill. He was with\nme at La Force on that terrible night, and saw his father brought", "When Lebat told her triumphantly that he had saved her from death,\nand that she was to have formed one of the party in the tumbril", "matters with him.\" She waited to see Marie drink the broth, and\nthen helped her to undress.", "\"I am sure we are much indebted to this Monsieur Lebat,\" Marie\nsaid. \"He was here at the hunting party and seemed a worthy young", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "their thoughts from dwelling upon Marie's capture. They had not\nbeen more than a quarter of an hour at their post when Harry gave\nan exclamation of satisfaction as he saw Louise Moulin approaching.", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "Marie will nurse him. I have great hopes that he will know her,\nand that she may be able in time to effect a complete cure. In the\nnext place I think it would be dangerous to bring her here, for we", "Marie burst into tears of happiness at hearing that her lover had\nescaped from the danger which threatened. Worn out by the fatigue\nand anxiety of the previous night, she had slept for some hours", "by her long imprisonment, and shaken by what she had gone through.\nShe had not asked a single question as to what had become of Lebat;\nbut she had no doubt that he was killed. She had grown, however,", "Mademoiselle Marie. After going first to the house and finding it in\nthe possession of a hideous mob, who were plundering and drinking,\nI went to see what had taken place at the hotel of the Duc de", "\"Poor Marie!\" Jeanne said softly. \"It is well she never knew about\nit. The thought he had got safely away kept her up. And now, tell", "\"I have news,\" Harry said, \"and good news, but you must not excite\nyourselves.\"\n\n\"Have you found a way for getting Marie out?\"\n\n\"Yes, I have found a way.\"" ], [ "While Robespierre was speaking Harry had rapidly thought over the\nrole which it would be best for him to adopt. Should he avow his\nreal character and ask for an order for the liberation of Marie as", "\"A sure, certain way, Harry?\" Virginie asked. \"Not only a chance?\"\n\n\"A sure, certain way,\" Harry replied. \"You need have no more fear;\nMarie will certainly be freed.\"", "\"I have news,\" Harry said, \"and good news, but you must not excite\nyourselves.\"\n\n\"Have you found a way for getting Marie out?\"\n\n\"Yes, I have found a way.\"", "\"With Robespierre!\" the two girls repeated in astonishment. \"You\nare not joking, Harry?\" Jeanne went on. \"But no, you cannot be\ndoing that; tell us how you came to have supper with Robespierre.\"", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "\"He seems just the man for us,\" Harry said. \"Will you tell your\nfriend, when you see her in the morning, that I will give her twenty\nlouis and her brother a hundred if he can succeed in getting Marie\nout?\"", "\"No,\" Harry replied. \"I have a recollection of your face and voice,\nbut I cannot recall where I have met you.\"\n\n\"I am Robespierre,\" he said.", "CHAPTER IX\n\nRobespierre\n\n\nAfter dark Harry presented himself at Louise Moulin's.", "creatures of Danton and Robespierre, and any attempt to bribe them\nwould have been dangerous in the extreme. Victor proposed that,\nas he as well as Harry was well provided with funds, for he had", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "But as to Marie, Harry could do nothing. Do what he would, he\ncould hit upon no plan whatever for getting her out of prison; and", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "\"It is bad news,\" Harry said quietly. \"Try and nerve yourselves,\nmy dear girls, for you will need all your courage. Marie is captured.\"", "\"I am Citizen Lebat of the Committee of Public Safety, and I have\nan order here, signed by Citizen Robespierre, for the release of\nthe female prisoner known as Marie Caux.\"", "Another month passed before the name appeared on the fatal list. In\nthe meantime Harry had corresponded regularly with Marie by means\nof the warder, and had even once seen her and exchanged a few", "Lebat to come out. Rapidly thinking the matter over, he concluded\nthat the man would not present himself with the order of release until\nafter dark, in order that if Marie struggled or tried to make her", "their thoughts from dwelling upon Marie's capture. They had not\nbeen more than a quarter of an hour at their post when Harry gave\nan exclamation of satisfaction as he saw Louise Moulin approaching.", "It was fortunate that Robespierre went out early on the following\nmorning to attend a meeting at the Jacobins, and Harry was therefore\nsaved the necessity for asking leave to absent himself again. At\neight o'clock he was at Louise Moulin's.", "Having thus paved the way for an appeal to Robespierre should he\nfind himself in difficulties on the road, Harry proceeded to Jacques'\nhouse and waited there until it was time to go up to meet Louise\nand the girls.", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It" ], [ "vessels engaged in carrying on smuggling operations with England.\nA few days after the death of Louise one of these women, whose\nchild Jeanne had helped to nurse through a fever and had brought", "of a regiment, when, soon after Jeanne's marriage, Marie came over\nto England by way of Holland to stay for a time with her sisters.\nShe was delighted at finding Jeanne so happy, and saw enough before she", "\"Here is Jeanne,\" Marie corrected; \"thank God we have all got here\nsafely. This, Louise, is a young English gentleman who is going to", "Jeanne was passionate and Virginie tearful in their sorrow and\nindignation. Over and over again Jeanne implored Harry to try to\nsave the king. There were still many Royalists, and indeed the bulk", "\"Well, then, Marthe, I and my sister and my brother Henri are anxious\nto be taken to England. We are ready to pay well for a passage,\nbut we have not known how to set about it.\"", "round you, and I could do nothing; and now, Jeanne, you have found\na way out for us where I never should have found one for myself.\"", "\"Poor Marie!\" Jeanne said softly. \"It is well she never knew about\nit. The thought he had got safely away kept her up. And now, tell", "\"In the first place, Jeanne, it would be absolutely impossible for\nthe king, watched as he is, to escape; and no pass or permit that", "\"That is good news indeed, Jeanne,\" Harry said, when the girl\ntold him of the conversation. \"That does seem a way out of our", "\"You forget, Virginie,\" Jeanne said, \"it was arranged they should\ngo to Harry's father when they got to England, and he will know\nwhere they are living; there is sure to be no mistake about that,\nis there, Harry?\"", "\"We do not mind where we hide, captain,\" Jeanne said. \"We have been\nhiding for the last six months, and we are indeed grateful to you\nfor having consented to take us with you.\"", "of a journey alone with Jeanne and Virginie had been continually\non his mind. The idea of taking the old woman with them had never\noccurred to him, but now he hailed it as a most welcome solution", "goods across to England; for it was in one of these alone that he\ncould hope to cross the Channel. This, however, he found much more\ndifficult than he had expected.", "and you were also in their hands. Besides, we can be of more use\noutside. Trust to me, Jeanne; I will do all in my power to save\nher, whatever the risk.\"", "friends who will help. These women whose hearts Jeanne has won will\naid if they can, and may get some of their husbands and brothers\nto aid. The battle is not lost yet, and Jeanne will know I shall", "\"Yes, for I have something to think of. Here have we been planning\nin vain for the last fortnight to hit upon some scheme for getting\nour friends out of prison, and Jeanne has pointed out a way which\nyou and I never thought of.\"", "The next day the farmer drove them in his gig to a town some miles\ninland. Here they procured dresses in which they could travel without\nexciting attention, and took their places in the coach which passed\nthrough the town for London next day.", "Greatly pleased with this unexpected stroke of luck, Harry went off\nat once to tell Jeanne that the outline of a plan to rescue Marie\nhad been fixed upon.\n\nThe girl's pale face brightened up at the news.", "\"No, I think we are ready,\" Jeanne said. \"Of course we have\nbeen talking it over for weeks, and agreed it was better to be in\nreadiness whenever you told us it was time to go. Louise will tell\nyou all about it.\"", "\"Oh, that is fortunate indeed!\" Jeanne exclaimed when he had\nfinished. \"Surely he cannot refuse any request you may make now.\"" ], [ "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "Finding that she could not persuade Harry to enter, Louise turned\nto perform her painful duty; while Harry, thoroughly exhausted with\nthe night of horrors, made his way home, and throwing himself on", "like Louise Moulin, and she is missing;' and then they would have\ntalked, and the end of it would have been you would have been\ndiscovered. Will you come home with us, Monsieur Sandwith?\"", "\"I feel better now,\" she said. \"Come, Virginie, and dry your eyes,\ndarling; we shall have plenty of time to cry afterwards. Are we to\ngo home, Harry? Have they taken Louise?\"", "\"So they would have done,\" the old woman said; \"but when that evil\nman looked away for a moment, mademoiselle whispered, 'Fly, Louise,", "\"No, I think we are ready,\" Jeanne said. \"Of course we have\nbeen talking it over for weeks, and agreed it was better to be in\nreadiness whenever you told us it was time to go. Louise will tell\nyou all about it.\"", "Louise Moulin had persuaded them to go out with her in the early\nmornings when she went to the markets. The fear of detection was\nsmall, for the girls had now become accustomed to their thick shoes", "\"It is true, Louise. I have seen it myself. I went with a disguise\nto try and rescue our dear lady, even if I could not save the\nmarquis; but I could not get to her--the wretches have murdered\nthem both.\"", "\"And you, Louise,\" said Harry, who had now come up, \"how did you\nget away? I have been terribly anxious, thinking that they might\nseize you too, and that would have been dreadful.\"", "The two girls ran away to Louise Moulin, and chatted to her gaily,\nwhile Harry walked up and down until, a quarter of an hour later,", "Louise, turned their faces to Paris, while Harry and Victor remained\nbehind until they had got well on their way.", "The girls, however, were in a state of terrible anxiety as to\ntheir parents, although Louise had avoided repeating to them the\nsinister rumours which came to her ears when she was abroad doing", "Louise through the fields to St. Denis. The count will be in my\nroom in a few minutes. We can keep a look-out from my window and\nfollow you at a distance until we get clear from observation beyond", "\"You must break it to them, Louise. Do they know how great the\ndanger is?\"", "long time outside, until at last he saw Louise Moulin put her head\nfrom the window. He succeeded in catching her eye, and placing his\nfinger on his lips signed to her to come down. A minute later she", "Louise Moulin of 15 Rue Michel; there were three of them, but the\neldest has disappeared. This, in itself, is mysterious; the old", "that there is no fear of its being noticed by any who may pillage\nthe house, which they will doubtless do after we are arrested. I\nhave already sent an equal sum to Louise Moulin. Here is her address;", "\"I trust so indeed, Louise. I will stay here quietly for an hour,\nand then if we hear nothing I will go home, and be back again in\nthe morning. Sleep will do more for them than anything I can say.\"", "Louise, and let me tell you all about it, for I have to be with\nRobespierre again at nine o'clock.\"", "They both took their places at the open window and leaned out\napparently chatting and carelessly watching what was passing in\nthe street.\n\nA quarter of an hour later they saw Louise Moulin and the girls\ncome out of their house." ], [ "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "CHAPTER XI\n\nMarie and Victor\n\n\n\"Are you taking me to the girls, Harry?\"", "Lebat to come out. Rapidly thinking the matter over, he concluded\nthat the man would not present himself with the order of release until\nafter dark, in order that if Marie struggled or tried to make her", "A quarter of an hour later Lebat came out of the house and walked\ndown the street. Harry followed him. After walking for some distance", "\"I have news,\" Harry said, \"and good news, but you must not excite\nyourselves.\"\n\n\"Have you found a way for getting Marie out?\"\n\n\"Yes, I have found a way.\"", "\"But we are to see her, Harry?\" Jeanne said. \"Surely we are not to\ngo away without seeing Marie!\"", "\"No,\" Harry said. \"It would not be safe to do so. There are already\nsuspicions, and they have been denounced.\"\n\nMarie gave a cry of alarm.", "Harry soon rejoined Jacques and Marie. There were but few words said\nas they made their way through the streets, for Marie was weakened", "\"How thoughtful you are, Harry!\" Jeanne murmured. \"Oh how much\nwe owe you! But oh how strange and lonely we seem--everyone gone\nexcept Marie, and we may never see her again!\"", "their thoughts from dwelling upon Marie's capture. They had not\nbeen more than a quarter of an hour at their post when Harry gave\nan exclamation of satisfaction as he saw Louise Moulin approaching.", "\"Oh, Harry,\" Jeanne exclaimed, \"what happiness! Then Marie's life\nwill be saved.\"", "\"I have just left your sisters, Marie,\" Harry said, \"and you may\nimagine their delight at the news I gave them. You are to see them\nthis evening in the gardens of the Tuileries.\"", "Finding that she could not persuade Harry to enter, Louise turned\nto perform her painful duty; while Harry, thoroughly exhausted with\nthe night of horrors, made his way home, and throwing himself on", "Greatly pleased with this unexpected stroke of luck, Harry went off\nat once to tell Jeanne that the outline of a plan to rescue Marie\nhad been fixed upon.\n\nThe girl's pale face brightened up at the news.", "Force with her, and that if inquiries were set on foot about him\nshe might be sought for. However, Marie said no more on the subject,\nquite content that Harry should make whatever arrangements he", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only" ], [ "Jeanne was passionate and Virginie tearful in their sorrow and\nindignation. Over and over again Jeanne implored Harry to try to\nsave the king. There were still many Royalists, and indeed the bulk", "Harry spoke lightly, and Jeanne with a great effort recovered her\ncomposure; and after that, although the trial and danger of the", "\"You know, Jeanne,\" Harry said, putting his hands on the girl's\nshoulders, \"that I love you; I should never have told you so until", "\"You forget, Virginie,\" Jeanne said, \"it was arranged they should\ngo to Harry's father when they got to England, and he will know\nwhere they are living; there is sure to be no mistake about that,\nis there, Harry?\"", "when they were gathered in the evening just as Harry's sisters had\ndone at home. Jeanne was, if the group broke up, generally Harry's\ncompanion. Ever since the affair of the mad dog she had treated", "Three years later, on the day after Harry passed his final examination,\nJeanne and he were married, and set up a pretty establishment", "\"That is good news indeed, Jeanne,\" Harry said, when the girl\ntold him of the conversation. \"That does seem a way out of our", "\"How thoughtful you are, Harry!\" Jeanne murmured. \"Oh how much\nwe owe you! But oh how strange and lonely we seem--everyone gone\nexcept Marie, and we may never see her again!\"", "\"Happily, Jeanne,\" Harry replied coolly, \"your dying would in no\nrespect benefit him; and as your life is in my eyes of a thousand", "\"No, no, Harry,\" Jeanne exclaimed in a tone of sharp pain, \"you\nmust not do that of all things. We have only you, and if you are", "\"We will wait patiently,\" Harry said. \"I feel better now, Jeanne,\nand you shall not see me give way again. What has been worrying me", "returned to France to feel assured that before very long Virginie\nwould follow Jeanne's example, and would also become an Englishwoman,\nfor she and Harry's next brother Tom had evidently some sort of", "\"Well, at anyrate,\" Harry said, \"Jeanne has no time for any thought\nof marrying just at present. But there is another thing I want to\ntell you about. I have first a confession to make. I have deceived\nyou.\"", "That evening, before the whole circle of his family, Harry related\nthe adventures that they had gone through, subject, however, to a\ngreat many interruptions from Jeanne.", "\"I am afraid that wouldn't do, Jeanne,\" Harry said with a slight\nsmile, shaking his head. \"It was a desperate enterprise for two of", "\"What is it, Harry?\" Jeanne exclaimed as he entered. \"I can see\nyou have news. What is it?\"", "Jeanne made no answer, but her eyes were full of tears as she put\nher hands into Harry's, and no sound came from her lips in answer\nto his good-night.", "The appeal was successful, and Jeanne burst into a passion of\ntears. Harry did not try to check them, and in a short time the\nsobs ceased and Jeanne raised her head again.", "\"It must be dreadful, Harry,\" Jeanne said soothingly. \"Will it not\nbe possible for you to give out that you are ill, and so absent", "After breakfast Jeanne strolled down with Harry to the river-side.\n\n\"I feel strange with you, Harry,\" she said. \"Before you seemed\nalmost like a brother, and now it is so different.\"" ], [ "\"You have kept your good news till the last, Marie,\" Victor said.\n\"Here have we been saying good-bye, and it seems that we are going\nto meet again very shortly.\"", "They had received occasional news from Marie. Victor had steadily\nrecovered his strength and memory, and as soon as the reign of terror\nhad come to an end, and the priests were able to show themselves", "from their hiding-places in many an out-of-the-way village in the\ncountry, Marie and Victor were quietly married. But France was at\nwar with all Europe now, and Victor, though he hated the revolution,", "\"But nothing that can happen can separate us, Marie.\"\n\n\"Nothing but death, Victor,\" she said quietly.", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It", "Marie away and all get safe together to England, which I begin to\ndespair now of our ever doing, but if we should do it what should\nwe say to Marie? She thinks Victor is safe there. Only the other", "CHAPTER XI\n\nMarie and Victor\n\n\n\"Are you taking me to the girls, Harry?\"", "related to you and have no claim upon you. And how could Victor\nrun away? But as Marie seemed pleased to think he was safe, I said", "\"Poor Marie!\" Jeanne said softly. \"It is well she never knew about\nit. The thought he had got safely away kept her up. And now, tell", "\"None at all,\" Harry said. \"You may rely upon it that directly you\nget to my father you will hear where your brothers are. And now I\nwill go and tell Marie that there is no occasion for Victor to take\na sleeping draught.\"", "Marie burst into tears of happiness at hearing that her lover had\nescaped from the danger which threatened. Worn out by the fatigue\nand anxiety of the previous night, she had slept for some hours", "the count and Marie made their appearance. The party stood talking\ntogether for a few minutes; then adieus were said with a very pale\nface, but with firmness on Marie's part, and then the girls, with", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "\"Oh, I hope so,\" Marie said, \"for I am sure Victor would soon\nbe found out, he could never make himself look like one of these\ncanaille.\"", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only", "that we have no right to take Marie away without her knowing the\ntruth about Victor. His misfortunes have come upon him because he\nwould stop in Paris to watch over her. I feel now that she has the", "\"For several reasons, Virginie. I have not told you before, but there\nis no reason why you should not know now, that Victor is still in\nParis.\"\n\nVirginie uttered an exclamation of wonder.", "place, and had held out hope to Marie that Victor's improvement\nwould be permanent, and that he would now make steady progress\ntowards recovery.", "\"I felt sure it was Victor all along,\" the girl said. \"In the first\nplace, I never believed that he had gone away. Marie told me she", "The girls were greatly rejoiced when they heard the good news that\nVictor had recognized Marie, and that Harry had now hopes that he\nwould do well." ], [ "from the stir and din of London. Dr. Sandwith had a good practice,\nbut he had also a large family. Harry was at Westminster, going\nbackwards and forwards across the fields to school. So far he had", "And so Mrs. Sandwith was informed by her husband that after talking\nit over with Harry he had concluded that the proposed arrangement\nwould really be an excellent one, and that it would be a great pity\nto let such an opportunity slip.", "\"It will indeed,\" Mrs. Sandwith said in a tone of deep happiness.\n\"You are certainly overworked and need a partner terribly, and who\ncould be like Harry?\"", "\"What do you want, fellow?\" Victor exclaimed, reining in his horse.\n\n\"You do not recognize me!\" Harry said. \"I am Harry Sandwith, count,\nand I am here to warn you of the danger of proceeding.\"", "The fact that Harry had three younger brothers and four sisters,\nand that Dr. Sandwith, who was obliged to keep up a good position,\nsometimes found it difficult to meet his various expenses, made", "Dr. Sandwith had requested the captain to allow one of his men\nto show Harry the way to the Lion door. Harry had pulled himself\ntogether a little as the vessel entered the still water in the", "kindness. Dr. Sandwith soon afterwards ran out to the excited\nchattering group in the garden, and after a few minutes' happy talk\nwith him, Harry spoke to him of the visitors who were closeted with", "\"Monsieur--Sandwith?\" he said interrogatively. \"I am glad to see\nyou.\"\n\nHarry did not understand the latter portion of the remark, but he\ncaught the sound of his name.", "Three days after the arrival of the letter of the marquis, Dr.\nSandwith and Harry started by stage for Dover, and the doctor put", "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "up in her room. By the time she came down they had recovered their\ngravity. Mrs. Sandwith and the girls had already given her the\nwarmest welcome as Harry's future wife, and the boys received her", "\"As yet I am ignorant of the name of my preserver.\"\n\n\"My name is Henry Sandwith,\" Harry replied.\n\n\"It is not a French name,\" Robespierre said in surprise.", "carry out Dr. Sandwith's request in this matter. M. du Tillet looked\ninterrogatively at Harry as he entered the shop, as if to ask if\nhe understood why he was taken there.", "\"That's right, my boy,\" Dr. Sandwith said heartily. \"I have always\nregretted you had a fancy for the army, for I used to look forward", "In the ordinary course of things he would probably in three or four\nyears' time have chosen some profession; and, indeed, his father\nhad already settled in his mind that as Harry was not likely to", "\"I hereby recommend Citizen Henri Sandwith, age 19, who has been\nacting as my confidential secretary, to all public authorities,\ntogether with Citoyenne Moulin and her two grandchildren, with whom\nhe is travelling.\"", "old age. You have made me very happy, Harry, and your mother too,\nI am sure. It will be delightful for us having you and your pretty\nFrench wife settled by us; will it not, mother?\"", "Harry was then measured. When this was done he took out his purse,\nwhich contained fifty guineas; for his father had thought it probable", "\"I know nothing about English politics,\" Harry replied with a smile;\n\"nor indeed about any politics. I am but little past eighteen, and", "French ambassador, notifying that Henry Sandwith, age sixteen,\nheight five feet eight, hair brown, eyes gray, nose short, mouth\nlarge, was about to reside in France in the family of the Marquis" ], [ "They remained three days in Paris, at the end of which time Harry's\nclothes were delivered. The following morning a carriage with the", "They met with no interruption on the road, and arrived in Paris\non the last day of April, 1792. Harry was glad at the change. The", "The next morning they started in the post-waggon for Paris, and\narrived there after thirty-six hours' travel. Harry was struck", "Harry drove on, and was soon in the Rue Montagnard. It was a dark\nnarrow street; no one seemed stirring, and Harry peered anxiously", "Louise, turned their faces to Paris, while Harry and Victor remained\nbehind until they had got well on their way.", "Three years later, on the day after Harry passed his final examination,\nJeanne and he were married, and set up a pretty establishment", "\"Pardon, marquis,\" Harry said quietly, \"I am firmly resolved to\nstay in Paris. I may be of assistance to your daughters, and there", "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "\"If you enter Paris as you are,\" Harry said, \"you are certain to\nbe arrested. Your only chance would be to do as I have done, namely\nto disguise yourself and take a small lodging, where you might live\nunsuspected.\"", "\"That slipped out, Harry, for I did not mean to say anything about\nit until you had left school; still, if you go to France I do not", "The meeting had taken place at a point where it could not be observed\nfrom the gate, and the count withdrew a few hundred yards farther\naway while Harry went back into Paris. The latter had no difficulty", "and the doctor gave but small hopes of his recovery. Harry determined\nthat he would not leave Paris until the issue was decided one way\nor the other, and when with the girls he discouraged any idea of", "During the intervening time Harry had been very busy, he had to\nsay good-bye to all his friends, who looked, some with envy, some", "Harry picked up French very rapidly. The absolute necessity there was\nto express himself in that language caused him to make a progress\nwhich surprised himself, and at the end of three months he was able", "Adolphe went in and out making his preparations. At half-past eight\nhe said, touching Harry on the shoulder: \"It is time to start,", "doings at Paris had been the subject of conversation and thought for\nnearly two years, and he had caught the excitement which pervaded\nFrance. He was tired of the somewhat monotonous life in the country,", "Harry and Victor went to their lodgings, and telling their landlords\nthat they had obtained work at the other end of town, paid their\nrent and left the city, and for the next two days slept in the", "Victor had taken a lodging a few houses from that of Harry. Every\nday the excitement in Paris increased, every day there were fresh", "Occasionally and at considerable intervals Harry received letters\nfrom his father. The latter said that there was great excitement\nin England over the events which had taken place in France, and", "A quarter of an hour later Lebat came out of the house and walked\ndown the street. Harry followed him. After walking for some distance" ], [ "This incident caused a considerable change in Harry's position in\nthe family. Previously he had been accepted in consequence of the\norders of the marquis. Although compelled to treat him as an equal", "The young ones were all forbidden to follow, and after an hour\nspent with his parents and the girls in the dining-room, Harry\nwas pleased to see that the latter were beginning to feel at their\nease, and that the strangeness was wearing off.", "\"You will see her again, never fear,\" Harry said confidently. \"And\nyou will not feel lonely long, for I can promise you that before\nyou have been long at my mother's place you will feel like one of\nthe family.\"", "her best to make the house cheerful. Harry, who had not much liked\nher at first, now found her most pleasant and agreeable, and the\nyounger girls walked in the grounds with their brothers and chatted", "everywhere, and a dull hatred of all who were above them in the\nworld. Harry had difficulty in making them talk, and at first could\nobtain only sullen monosyllables. His dress and appearance showed", "\"Oh, so much happier, Harry! But there is one thing I want to tell\nyou. It might seem strange to you that I should tell you I loved you\non my own account without your speaking to the head of the family.\"", "The last words were spoken sharply and significantly, and their\ntone was not lost upon the two boys; they had a moment before been\nstruggling to prevent themselves bursting into a laugh at Harry's", "\"Oh, Harry, is it you? Can it be true?\" And the spirit which had\nso long sustained the girl gave way, and leaning her head upon his", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only", "Seeing that it was safe now to proceed, Harry returned to his\ncompanions. He had scarcely glanced at them before, and now looked", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "in time to perform his part fairly. Two hours were spent in the\nevening in the salon. This part of the day Harry at first found the", "\"I do not blame you, Harry, my boy,\" his father said heartily. \"Of\ncourse you are very young, and under ordinary circumstances would", "These meetings were a source of great amusement to Harry, who could\nscarcely preserve his gravity at these formal and distant greetings.\nOn one occasion, however, the even course of these meetings was", "\"Oh, my boy, we had given you up,\" she sobbed as Harry rushed into\nher arms.", "\"You are a dear boy, Harry!\" Jeanne said with frank admiration,\nwhile Marie sobbed out exclamations of gratitude. \"You do seem to", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "Harry indeed had for some days been feeling that danger was\nthickening round him. He had noticed angry glances cast at him by\nthe more violent of the committee, and had caught sentences expressing", "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "\"Agreed!\" the man said, shaking Harry by the hand. \"You speak\nlike a man of heart. I will look after him. You need be under no" ], [ "Furious with rage and pain the wolf sprang upon him and seized\nhim by the shoulder. Ernest dropped his sword, and drawing his\nhunting-knife struck at it, while at the same moment Harry ran it\nthrough the body.", "\"Oh, never mind that, that's nothing,\" Ernest replied. \"Only think,\nHarry, you and I have killed the demon wolf, and no else had a hand\nin it. There is a triumph for us.\"", "When they went out with their guns Harry felt his inferiority\nkeenly. Not only was Ernest an excellent shot, but at the end of", "Upon the first of these occasions Harry and Ernest were in high\nspirits, for they were to take part in the chase. It was the first", "\"The triumph is yours, Ernest,\" Harry said. \"He would have got away\nhad you not stopped him with your bullet, and he would have made", "first blow as it was flying upon Harry, who had been thrown from\nhis horse. Then, again, Ernest would almost certainly have been\nkilled had not Harry in his turn come to his assistance and dealt", "\"Get ready to fire, Harry,\" Ernest exclaimed as the wolf sprang\nupon the man, \"it is our last chance. If he gets away now we shall\nnever catch him.\"", "\"This is awful!\" Harry said to himself as he turned away. \"The\nmarquis and his wife massacred, Ernest and Jules murdered, Marie", "\"Either he is not there at all, or he is lying very close,\" Ernest\nsaid.\n\n\"Look, look!\" Harry said suddenly, pointing through the trees to\nthe right.", "It was soon seen that nothing could be done for the woodman, who\nhad been killed almost instantly. Harry, therefore, proceeded to", "Harry and Victor went to their lodgings, and telling their landlords\nthat they had obtained work at the other end of town, paid their\nrent and left the city, and for the next two days slept in the", "\"Who is that young man who is talking to mademoiselle your sister,\nErnest?\" Harry asked, for since the adventure with the mad dog the\nceremonious title had been dropped, and the boys addressed each\nother by their Christian names.", "\"Just what we agreed upon,\" the man said. \"Here are the empty\nhouses. You stop where you are. I will get rid of this trash.\"\n\nHarry, however, got out.", "to be murdered; and how, half-mad, he was springing out to stand\nbeside him, when Harry as quick as thought knocked him down before\nhe could betray himself; and then Jacques, who was standing by saw", "\"The man is a scoundrel, and one of a band of men whom I regard as\nmurderers,\" Harry said; \"but I could not kill him in cold blood.\"", "\"And will again,\" an old forester, who was standing close to Harry,\nmuttered. \"I do not believe the bullet is cast which will bring\nthat wolf to earth.\"\n\n\"What is this demon wolf?\" Harry asked Ernest.", "\"Not a bit, sir,\" Harry said.\n\n\"And you have killed it--wonderful!\"", "\"Bring up the wolf,\" the marquis said, \"and Harry, do you come\nhere and stand by Ernest's side. Madam la marquise,\" he went on,", "The last words were spoken sharply and significantly, and their\ntone was not lost upon the two boys; they had a moment before been\nstruggling to prevent themselves bursting into a laugh at Harry's", "Ernest was confined to his bed for nearly a month, and during\nthis time Harry often went long rides and walks by himself. In the" ], [ "\"We must go to Paris,\" the marquis said one day towards the end of\nOctober. \"The place for a French nobleman now is beside the king.\"\n\n\"And that of his wife beside the queen,\" the marquise said quietly.", "been told off to see that none of the family attempted to fly for\nthe frontier. He therefore wrote to the marquis urging that it\nwould be better that the family should move to Paris, where they", "Towards the end of July the Marquis de St. Caux and the little\nbody of royalists who still remained faithful to the king became", "\"The king and his family are prisoners in the Temple,\" the marquis\nsaid. \"The Commune has triumphed over the Assembly and a National", "marquis and his wife, of their daughters, and of Victor de Gisons,\nalmost excluding everything else. When he thought of the boys it\nhad been as already in England, under the charge of du Tillet.", "The news of the failure of the king's attempt at flight on the\n20th of June was a great shock to the marquis. \"A king should never", "\"We must be prepared, my love, to face the worst. Escape is now\nimpossible, and, indeed, so long as the king and queen are alive I\nwould not quit Paris; but we must prepare for sending the children\naway if possible.\"", "\"A Marquis de St. Caux does not fly from the canaille of Paris,\"\nthe marquis said quietly. \"No, Du Tillet; the king and queen are", "\"Pardon, marquis,\" Harry said quietly, \"I am firmly resolved to\nstay in Paris. I may be of assistance to your daughters, and there", "now much attached to the marquis and his family; and the reports\nwhich came from all parts of France, as well as from Paris, together\nwith the talk among the visitors at the chateau, convinced him that", "\"The marquis and his family are all away at their chateau near\nDijon,\" his companion said, waving his hand. \"We shall stay a day\nor two to rest ourselves after our journey, and then start to join\nthem.\"", "The Marquis de St. Caux had, in some respects, the thoughts and\nopinions of the old school. He was a royalist pure and simple. As", "Thus it happened that on the same day that the marquis started for\nParis, M. du Tillet set out from the chateau taking with him some", "sword and prepared to start for the palace. He embraced his wife,\nwho was calm but very pale, and his children. Ernest asked to be\nallowed to go with him, but the marquis said:", "The change of life was great indeed; the marquis had thrown himself\ninto the thick of all that was going on, and his salon was crowded\nevery evening with those of the nobility who still remained In", "family. Whenever I see him he assures me of his devotion to the\nmarquis. To-day, Mademoiselle Marie, he prayed me to assure you", "In the next place he was greatly attached to the family of the\nmarquis; and the orgies of the mob had filled him with such horror", "Before hearing what had passed the marquise insisted upon her husband\ntaking refreshment and having his wounds bound up and attended to.\nWhen he had finished his meal the marquis began:", "the king. Marie acquiesced in the decision, and bade her lover\nadieu calmly and bravely.", "have no hope of being able to leave the king. She says my father\nis very indignant at the great emigration of the nobility that\nis going on. In the first place, he holds that they are deserting" ], [ "\"Your wife is right, Pierre; mademoiselle is my fiance. I am really\nan Englishman. She and her sister had their old nurse with them,", "\"He is not dead, Marie, but he has been very, very ill. He was with\nme at La Force on that terrible night, and saw his father brought", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It", "\"Here is Jeanne,\" Marie corrected; \"thank God we have all got here\nsafely. This, Louise, is a young English gentleman who is going to", "else, but I am engaged to Jeanne. You see,\" he went on, as his\nparents both uttered an exclamation of surprise, \"we have gone\nthrough a tremendous lot together, and when people have to look", "Marie burst into tears of happiness at hearing that her lover had\nescaped from the danger which threatened. Worn out by the fatigue\nand anxiety of the previous night, she had slept for some hours", "de Gisons. The estates of the duke, his father, adjoined those of\nthe marquis, and between him and Marie a marriage had long before\nbeen arranged by their parents. For once the inclination of the", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "Marie will nurse him. I have great hopes that he will know her,\nand that she may be able in time to effect a complete cure. In the\nnext place I think it would be dangerous to bring her here, for we", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "and insensible on that terrible night. It would seem natural that\nhis sister or his fiance--Marie could pass for whichever she\nchose--should come and help take care of him.\"", "from their hiding-places in many an out-of-the-way village in the\ncountry, Marie and Victor were quietly married. But France was at\nwar with all Europe now, and Victor, though he hated the revolution,", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "\"He seems just the man for us,\" Harry said. \"Will you tell your\nfriend, when you see her in the morning, that I will give her twenty\nlouis and her brother a hundred if he can succeed in getting Marie\nout?\"", "\"I have news,\" Harry said, \"and good news, but you must not excite\nyourselves.\"\n\n\"Have you found a way for getting Marie out?\"\n\n\"Yes, I have found a way.\"", "\"Oh, I hope so,\" Marie said, \"for I am sure Victor would soon\nbe found out, he could never make himself look like one of these\ncanaille.\"", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only", "\"Poor Marie!\" Jeanne said softly. \"It is well she never knew about\nit. The thought he had got safely away kept her up. And now, tell", "the count and Marie made their appearance. The party stood talking\ntogether for a few minutes; then adieus were said with a very pale\nface, but with firmness on Marie's part, and then the girls, with", "\"I have been bidding farewell,\" Marie said, \"not to you, but to\nour dream of happiness. We shall meet soon, but I fear that will\nnever return.\"" ], [ "their thoughts from dwelling upon Marie's capture. They had not\nbeen more than a quarter of an hour at their post when Harry gave\nan exclamation of satisfaction as he saw Louise Moulin approaching.", "The order was made out, and Marie was handed over to the armed\nguard, to be taken with the next batch of prisoners to La Force.", "\"It is bad news,\" Harry said quietly. \"Try and nerve yourselves,\nmy dear girls, for you will need all your courage. Marie is captured.\"", "CHAPTER VIII\n\nMarie Arrested", "So saying he set out, with Marie walking beside him, with a guard\non either hand. In the next street he came on a party of four of", "\"They have, I fear, been arrested by the sans culottes,\" Marie said\nmournfully as she burst into tears, feeling, now that the strain", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "One morning he was walking with the two younger girls, while Marie\nand the old nurse were together a short distance in front of them.\nThey had just reached the flower-market, which was generally the", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It", "from their hiding-places in many an out-of-the-way village in the\ncountry, Marie and Victor were quietly married. But France was at\nwar with all Europe now, and Victor, though he hated the revolution,", "Marie burst into tears of happiness at hearing that her lover had\nescaped from the danger which threatened. Worn out by the fatigue\nand anxiety of the previous night, she had slept for some hours", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "\"The king and his family are prisoners in the Temple,\" the marquis\nsaid. \"The Commune has triumphed over the Assembly and a National", "Louise Moulin had persuaded them to go out with her in the early\nmornings when she went to the markets. The fear of detection was\nsmall, for the girls had now become accustomed to their thick shoes", "Marie nodded. \"One moment,\" she said, as she brushed aside the tears\nwhich filled her eyes, drew herself up with a little gesture that", "Marie at once rose, and taking the child's hand set out. They had\nto traverse the greater part of Paris to reach their destination.", "\"In here, mesdemoiselles,\" he said to Marie, pointing to some shrubs\nclose to the gate. \"They will rush straight to the house when the\ngate gives way, and we will slip out quietly.\"", "\"A great number of arrests have taken place in the night, among them\nthat of the Marquis de St. Caux and your father. Men are waiting\ninside your house to arrest you as you enter.\"", "Lebat to come out. Rapidly thinking the matter over, he concluded\nthat the man would not present himself with the order of release until\nafter dark, in order that if Marie struggled or tried to make her", "Mademoiselle Marie. After going first to the house and finding it in\nthe possession of a hideous mob, who were plundering and drinking,\nI went to see what had taken place at the hotel of the Duc de" ], [ "Lebat to come out. Rapidly thinking the matter over, he concluded\nthat the man would not present himself with the order of release until\nafter dark, in order that if Marie struggled or tried to make her", "\"I am Citizen Lebat of the Committee of Public Safety, and I have\nan order here, signed by Citizen Robespierre, for the release of\nthe female prisoner known as Marie Caux.\"", "\"A sure, certain way, Harry?\" Virginie asked. \"Not only a chance?\"\n\n\"A sure, certain way,\" Harry replied. \"You need have no more fear;\nMarie will certainly be freed.\"", "escape it would be unnoticed in the street. Lebat had calculated,\nof course, that on the presentation of the order the prison officials\nwould at once lead Marie to the gates whether she wished it or not,", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "to give to Mademoiselle de St. Caux. It is to tell her to make\nno resistance when Lebat presents the order for her release, but", "to grant Marie's release in return for a benefit done him personally.\nHowever, do not let that discourage you in the least. As I said,\nI will have the order by fair means or foul.\"", "\"I have news,\" Harry said, \"and good news, but you must not excite\nyourselves.\"\n\n\"Have you found a way for getting Marie out?\"\n\n\"Yes, I have found a way.\"", "When Lebat told her triumphantly that he had saved her from death,\nand that she was to have formed one of the party in the tumbril", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "While Robespierre was speaking Harry had rapidly thought over the\nrole which it would be best for him to adopt. Should he avow his\nreal character and ask for an order for the liberation of Marie as", "forward, but that he preferred to wait and leave the horror of\nmonths in prison to work upon Marie's mind, and so break her down\nthat she would be willing enough to purchase her life by a marriage", "\"I have good news, monsieur,\" she said at once. \"I waited outside\nthe prison till Martha came out. Her brother has agreed to help if", "and that if I would consent to marry him he could save me. He said\nthat his influence would suffice, not only to get me free, but to", "But Lebat could give no description whatever of her. He had noticed\nthat Marie was speaking to some one when he first caught sight of\nher face; but he had noticed nothing more, and did not know whether\nthe woman was young or old.", "\"He seems just the man for us,\" Harry said. \"Will you tell your\nfriend, when you see her in the morning, that I will give her twenty\nlouis and her brother a hundred if he can succeed in getting Marie\nout?\"", "If I cannot ensure Marie's freedom now I should be a bungler\nindeed. Had I had the planning of the events of this evening they\ncould not have turned out better for us.\"", "by her long imprisonment, and shaken by what she had gone through.\nShe had not asked a single question as to what had become of Lebat;\nbut she had no doubt that he was killed. She had grown, however,", "\"He is not dead, Marie, but he has been very, very ill. He was with\nme at La Force on that terrible night, and saw his father brought", "\"I am sure we are much indebted to this Monsieur Lebat,\" Marie\nsaid. \"He was here at the hunting party and seemed a worthy young" ], [ "Harry waited until they were in a quiet street, and then quickened\nhis pace until he was close behind the man. Then he drew one of", "\"I live not far from here,\" the man said. \"I will take him to my\nroom. You need not be afraid,\" he added as Harry hesitated, \"I have\ngot my eyes open, you can trust me.\"", "and Harry, satisfied that he had stunned him, ran on and overtook\nthe others, and, turning down the first street they came to, was\nassured that they were safe from pursuit.", "Harry drove on, and was soon in the Rue Montagnard. It was a dark\nnarrow street; no one seemed stirring, and Harry peered anxiously", "\"I have been attacked in the street,\" he said, \"but I am not hurt,\nthough, had it not been for this citizen it would have gone hardly\nwith me. You have to thank him for saving your brother's life.\"", "first blow as it was flying upon Harry, who had been thrown from\nhis horse. Then, again, Ernest would almost certainly have been\nkilled had not Harry in his turn come to his assistance and dealt", "Harry gave a start of surprise. This man whom he had saved was he\nwhom he had so often execrated--one of the leaders of those who", "A quarter of an hour later Lebat came out of the house and walked\ndown the street. Harry followed him. After walking for some distance", "The words startled Harry. What was this? He had not interfered, as\nhe had supposed, to prevent the robbery of some quiet citizen by", "\"I will be at the end of the street,\" Harry said. \"It is quite\ndark by five, so do you start a quarter of an hour later; hide your", "\"Agreed!\" the man said, shaking Harry by the hand. \"You speak\nlike a man of heart. I will look after him. You need be under no", "in front of him, and in a moment would have bounded into the hall\nhad not Harry brought the heavy stick he carried with all his force\ndown upon his head. Victor fell like a log under the blow.", "Harry maintained his grasp tightly round its neck, with his head\npressed closely against one of its ears. Several times they rolled\nover and over. At last Harry made a great effort when he was", "On leaving Victor in the care of the man who had so providentially\ncame to his aid, Harry hurried down the street towards the Abbaye,", "\"They have to be saved,\" Harry interrupted him in a grave, steady\nvoice. \"The question is how?\"", "\"Well, let me get you to your feet,\" Harry said, holding out\nhis hands, but with a feeling of some disgust at the abject fear", "\"Thank you greatly,\" Harry said. \"I do not know how I should have\nmanaged without your aid. If you put him down here I will try and\nbring him round.\"", "on to his shoulder, made his way to the top of the stairs, Harry\npreceding him and opening a way through the crowd. In another minute\nthey were in the open air.", "\"You must not say so, Harry. You are too modest. Besides, was it\nnot your quickness that saved Victor? No, we owe you everything, and", "Seeing that it was safe now to proceed, Harry returned to his\ncompanions. He had scarcely glanced at them before, and now looked" ], [ "Three years later, on the day after Harry passed his final examination,\nJeanne and he were married, and set up a pretty establishment", "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "\"I know, Harry, and I love you too with all my heart; so much that\nI can feel almost happy that we are going to die together. We are\naffianced now, dear, come what will.\" And she lifted her face to\nhis.", "Another month passed before the name appeared on the fatal list. In\nthe meantime Harry had corresponded regularly with Marie by means\nof the warder, and had even once seen her and exchanged a few", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "\"Now, Harry,\" the marquis said when he had mastered the emotion\ncaused by the parting, which he felt might be a final one, \"since", "\"Never you mind, Harry,\" his father said; \"let those laugh that\nwin. But you are not thinking of getting married yet, I hope.\"\n\n\"No, no, father; you cannot think I would live on Jeanne's money.\"", "\"Oh, Harry, is it you? Can it be true?\" And the spirit which had\nso long sustained the girl gave way, and leaning her head upon his", "from the stir and din of London. Dr. Sandwith had a good practice,\nbut he had also a large family. Harry was at Westminster, going\nbackwards and forwards across the fields to school. So far he had", "The greeting between the lovers was a silent one, few words were\nspoken, but their faces expressed their joy at meeting again after\nthe perils through which they had passed; there was a little pause,\nand then Harry, as usual, took the lead.", "ceremonial observance which had, on his first arrival, surprised\nand amused Harry was now laid aside. Marie, happy in the visits\nof her lover and at the prospect of her approaching marriage, did", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only", "\"You are both very good, madame,\" Harry said, \"and my friend is\nfortunate indeed to have fallen into such good hands. I will sit\nwith him for three or four hours now, and you had better go and\nget a little fresh air.\"", "up in her room. By the time she came down they had recovered their\ngravity. Mrs. Sandwith and the girls had already given her the\nwarmest welcome as Harry's future wife, and the boys received her", "\"It will indeed,\" Mrs. Sandwith said in a tone of deep happiness.\n\"You are certainly overworked and need a partner terribly, and who\ncould be like Harry?\"", "Seeing at a glance that his daughters were untouched, the marquis\nran on to Harry, who was standing panting and breathless, and threw\nhis arms round him.", "Finding that she could not persuade Harry to enter, Louise turned\nto perform her painful duty; while Harry, thoroughly exhausted with\nthe night of horrors, made his way home, and throwing himself on", "Three days after the arrival of the letter of the marquis, Dr.\nSandwith and Harry started by stage for Dover, and the doctor put", "\"That is good news, indeed, Harry,\" Marie said. \"That relieves me\nof half my anxiety. Once on the sea-coast it will be comparatively" ], [ "\"I live not far from here,\" the man said. \"I will take him to my\nroom. You need not be afraid,\" he added as Harry hesitated, \"I have\ngot my eyes open, you can trust me.\"", "For some time Harry lived a quiet life at the chateau. He found\nhis position a very pleasant one. The orders of the marquis that", "Harry's face, and broke into a frank laugh. The Frenchman smiled,\nput his hand on Harry's shoulder, and said:", "old age. You have made me very happy, Harry, and your mother too,\nI am sure. It will be delightful for us having you and your pretty\nFrench wife settled by us; will it not, mother?\"", "CHAPTER XII\n\nNantes\n\n\nHarry was very pleased to see a look of recognition on Victor's\nface as he came up to the side of his couch.", "\"You will see her again, never fear,\" Harry said confidently. \"And\nyou will not feel lonely long, for I can promise you that before\nyou have been long at my mother's place you will feel like one of\nthe family.\"", "\"You are both very good, madame,\" Harry said, \"and my friend is\nfortunate indeed to have fallen into such good hands. I will sit\nwith him for three or four hours now, and you had better go and\nget a little fresh air.\"", "\"Jump inside,\" Jacques said to Harry. \"We may have some one out to\nsee what the noise is about. He will be no more trouble.\"", "\"If you enter Paris as you are,\" Harry said, \"you are certain to\nbe arrested. Your only chance would be to do as I have done, namely\nto disguise yourself and take a small lodging, where you might live\nunsuspected.\"", "Occasionally and at considerable intervals Harry received letters\nfrom his father. The latter said that there was great excitement\nin England over the events which had taken place in France, and", "Harry picked up French very rapidly. The absolute necessity there was\nto express himself in that language caused him to make a progress\nwhich surprised himself, and at the end of three months he was able", "Harry drove on, and was soon in the Rue Montagnard. It was a dark\nnarrow street; no one seemed stirring, and Harry peered anxiously", "\"That slipped out, Harry, for I did not mean to say anything about\nit until you had left school; still, if you go to France I do not", "Harry gave him his address.\n\n\"You have only to walk upstairs to the top story. My room is the\none directly opposite the top of the stairs.\"", "Harry accepted the sailor's invitation; and after partaking of\na meal with Adolphe and his wife, who was informed of the attempt", "\"I am of English parentage,\" Harry said quietly, \"but have been\nresident for some years in France. I was for some time in the service", "\"Now, Harry, you are turning flatterer. We are not at the chateau\nnow, sir, so your pretty speeches are quite thrown away; and now\nI shall go and take Virginie's place and send her in to you.\"", "\"France is not to be shaken,\" Harry said, smiling, \"by the efforts\nof an old woman of seventy and a young boy and girl; but I can", "\"A young gentleman desires to see M. du Tillet,\" he said, and Harry\nentered.", "\"Agreed!\" the man said, shaking Harry by the hand. \"You speak\nlike a man of heart. I will look after him. You need be under no" ], [ "de St. Caux. The officer glanced it over, and then returned it to\nHarry with a polite bow, which Harry in some confusion endeavoured\nto imitate.", "\"Certainly it will succeed if Harry undertakes it,\" Jeanne said,\nwith implicit trust in his powers.\n\nHarry laughed, and even Marie, anxious as she was, could not help\nsmiling.", "\"You will see her again, never fear,\" Harry said confidently. \"And\nyou will not feel lonely long, for I can promise you that before\nyou have been long at my mother's place you will feel like one of\nthe family.\"", "\"I live not far from here,\" the man said. \"I will take him to my\nroom. You need not be afraid,\" he added as Harry hesitated, \"I have\ngot my eyes open, you can trust me.\"", "The young ones were all forbidden to follow, and after an hour\nspent with his parents and the girls in the dining-room, Harry\nwas pleased to see that the latter were beginning to feel at their\nease, and that the strangeness was wearing off.", "Harry accepted the sailor's invitation; and after partaking of\na meal with Adolphe and his wife, who was informed of the attempt", "This incident caused a considerable change in Harry's position in\nthe family. Previously he had been accepted in consequence of the\norders of the marquis. Although compelled to treat him as an equal", "woman herself was a servant in the family of the ci-devant Marquis\nde St. Caux. She gives out that the girls are relatives of hers,\nbut it is believed in the neighbourhood that they are aristocrats", "\"You forget, Virginie,\" Jeanne said, \"it was arranged they should\ngo to Harry's father when they got to England, and he will know\nwhere they are living; there is sure to be no mistake about that,\nis there, Harry?\"", "\"That is good news indeed, Jeanne,\" Harry said, when the girl\ntold him of the conversation. \"That does seem a way out of our", "\"Oh, Harry, is it you? Can it be true?\" And the spirit which had\nso long sustained the girl gave way, and leaning her head upon his", "\"You are a dear boy, Harry!\" Jeanne said with frank admiration,\nwhile Marie sobbed out exclamations of gratitude. \"You do seem to", "\"So they told Marie and Ernest, who, if ill came to them, would be\nthe heads of the family, that I had their consent to marry you. It\nmakes me happy to know this, Harry.\"", "\"I am glad of that, papa,\" Mademoiselle de St. Caux said; \"it is\nonly right the chief honour should be with your son and not with\nthis English boy. He has had more than his share already, I think.\"", "The Marquis de St. Caux had, in some respects, the thoughts and\nopinions of the old school. He was a royalist pure and simple. As", "\"I will do my best to deserve it, sir,\" Harry said quietly; \"but I\ntrust that you and madame la marquise will soon be able to resume", "After Adolphe had started for the town, Harry was persuaded by\nPierre to lie down for a bit; but he soon gave up the idea of going", "her best to make the house cheerful. Harry, who had not much liked\nher at first, now found her most pleasant and agreeable, and the\nyounger girls walked in the grounds with their brothers and chatted", "\"Oh, so much happier, Harry! But there is one thing I want to tell\nyou. It might seem strange to you that I should tell you I loved you\non my own account without your speaking to the head of the family.\"", "Little Jules looked up to Harry as a hero, and henceforth, when\nthey were together, gave him the same sort of implicit obedience" ], [ "\"The peasants regard him not as an ordinary wolf but as a demon,\nand mothers quiet their children when they cry by saying that if", "\"do you see that great gray wolf? That is the demon wolf which has\nfor years been the terror of the district, and these are its slayers.", "CHAPTER III\n\nThe Demon Wolf", "\"Oh, never mind that, that's nothing,\" Ernest replied. \"Only think,\nHarry, you and I have killed the demon wolf, and no else had a hand\nin it. There is a triumph for us.\"", "Furious with rage and pain the wolf sprang upon him and seized\nhim by the shoulder. Ernest dropped his sword, and drawing his\nhunting-knife struck at it, while at the same moment Harry ran it\nthrough the body.", "they are not good the demon wolf will carry them off. Ah, if we\ncould kill him to-day it would be a grand occasion!\"", "\"Monsieur le marquis,\" he said, \"I have good news for you; the demon\nwolf is in the forest. I saw him making his way along a glade an", "\"And will again,\" an old forester, who was standing close to Harry,\nmuttered. \"I do not believe the bullet is cast which will bring\nthat wolf to earth.\"\n\n\"What is this demon wolf?\" Harry asked Ernest.", "\"It is a wolf of extraordinary size and fierceness. For many years\nhe has been the terror of the mothers of this part of France. He", "that the object slung between the two horses was really the demon\nwolf there was a shout of satisfaction and pleasure. Again the\nnotes of the mort rang out through the woods, and every one crowded", "descendants will point to it proudly, telling how a lad of their\nrace, with another his own age, slew the demon wolf of Burgundy.\"", "home a faggot from the forest is found torn and partly devoured,\nand the news spreads that the demon wolf has returned to the\nneighbourhood. Great hunts have over and over again been got up", "The news created great excitement.\n\n\"The demon wolf!\" the marquis repeated. \"Are you sure?\"", "\"We have got the demon wolf,\" Ernest replied; \"so you haven't had\nall the sport to yourselves.\"", "\"Is it possible, Edward,\" the marquise said, terrified at the\nthought of the danger her son must have run in an encounter with\nthe dreaded beast, \"is it possible that these two alone have slain\nthis dreadful wolf?\"", "out to see who was coming. He gave an exclamation of surprise and\nalarm as he saw the wolf, and raised his hatchet to defend himself.\nWithout a moment's hesitation the animal sprang upon him and", "On arriving there the marquis found several woodmen, who had been\nfor the last two days marking the places most frequented by the\nwolves. They had given their reports and the party were just starting\nwhen a young forester rode up.", "\"That is the chateau.\"\n\n\n\n\nCHAPTER II\n\nA Mad Dog", "carried the wolf, still slung on its pole, behind the litter. While\nthe preparations were being made Harry had given the history of the\nslaying of the wolf, saying that he owed his life to the quickness", "carried him to the ground, fixing its fangs into his throat. There\nwas a struggle for a few moments, and then the wolf left its lifeless\nfoe and was about to continue its flight." ], [ "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "\"I am just nineteen,\" Harry replied.", "Harry was then measured. When this was done he took out his purse,\nwhich contained fifty guineas; for his father had thought it probable", "\"Oh, Harry, is it you? Can it be true?\" And the spirit which had\nso long sustained the girl gave way, and leaning her head upon his", "old age. You have made me very happy, Harry, and your mother too,\nI am sure. It will be delightful for us having you and your pretty\nFrench wife settled by us; will it not, mother?\"", "In the ordinary course of things he would probably in three or four\nyears' time have chosen some profession; and, indeed, his father\nhad already settled in his mind that as Harry was not likely to", "During the intervening time Harry had been very busy, he had to\nsay good-bye to all his friends, who looked, some with envy, some", "\"We cannot tell,\" Harry said sadly. \"As for myself, I can hardly\nbelieve it, though I saw it. They say there are over four thousand", "\"I know nothing about English politics,\" Harry replied with a smile;\n\"nor indeed about any politics. I am but little past eighteen, and", "\"I live not far from here,\" the man said. \"I will take him to my\nroom. You need not be afraid,\" he added as Harry hesitated, \"I have\ngot my eyes open, you can trust me.\"", "\"I do not blame you, Harry, my boy,\" his father said heartily. \"Of\ncourse you are very young, and under ordinary circumstances would", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "\"You will see her again, never fear,\" Harry said confidently. \"And\nyou will not feel lonely long, for I can promise you that before\nyou have been long at my mother's place you will feel like one of\nthe family.\"", "Half an hour later the matter was settled, and Harry was installed\nin his apartment, which was a little room scantily furnished, at\nthe top of the house, the window looking into the street in front.", "Harry waited until they were in a quiet street, and then quickened\nhis pace until he was close behind the man. Then he drew one of", "After the young ones had all gone off to bed, Harry said to his\nfather and mother:", "\"Just what we agreed upon,\" the man said. \"Here are the empty\nhouses. You stop where you are. I will get rid of this trash.\"\n\nHarry, however, got out.", "\"Agreed!\" the man said, shaking Harry by the hand. \"You speak\nlike a man of heart. I will look after him. You need be under no", "\"I will be at the end of the street,\" Harry said. \"It is quite\ndark by five, so do you start a quarter of an hour later; hide your", "Harry gave him his address.\n\n\"You have only to walk upstairs to the top story. My room is the\none directly opposite the top of the stairs.\"" ], [ "Harry picked up French very rapidly. The absolute necessity there was\nto express himself in that language caused him to make a progress\nwhich surprised himself, and at the end of three months he was able", "\"That slipped out, Harry, for I did not mean to say anything about\nit until you had left school; still, if you go to France I do not", "During the intervening time Harry had been very busy, he had to\nsay good-bye to all his friends, who looked, some with envy, some", "Occasionally and at considerable intervals Harry received letters\nfrom his father. The latter said that there was great excitement\nin England over the events which had taken place in France, and", "\"I am of English parentage,\" Harry said quietly, \"but have been\nresident for some years in France. I was for some time in the service", "\"France is not to be shaken,\" Harry said, smiling, \"by the efforts\nof an old woman of seventy and a young boy and girl; but I can", "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "Harry hesitated, but believing it would be the polite way to do as\nhe was told, returned the bow and went out. The Frenchman put his", "They remained three days in Paris, at the end of which time Harry's\nclothes were delivered. The following morning a carriage with the", "courts of Versailles and St. James's. A knowledge of the French\nlanguage then would be likely to be of great utility to Harry if\nhe entered the army; his expenses at Westminster would be saved,", "They met with no interruption on the road, and arrived in Paris\non the last day of April, 1792. Harry was glad at the change. The", "Three years later, on the day after Harry passed his final examination,\nJeanne and he were married, and set up a pretty establishment", "\"I have just left your sisters, Marie,\" Harry said, \"and you may\nimagine their delight at the news I gave them. You are to see them\nthis evening in the gardens of the Tuileries.\"", "Harry's face, and broke into a frank laugh. The Frenchman smiled,\nput his hand on Harry's shoulder, and said:", "Harry did not think it necessary to say, that when Lebat was missed\nit would probably be ascertained that he was last seen leaving La", "Harry drove on, and was soon in the Rue Montagnard. It was a dark\nnarrow street; no one seemed stirring, and Harry peered anxiously", "In the ordinary course of things he would probably in three or four\nyears' time have chosen some profession; and, indeed, his father\nhad already settled in his mind that as Harry was not likely to", "Ernest was confined to his bed for nearly a month, and during\nthis time Harry often went long rides and walks by himself. In the", "Harry and Victor went to their lodgings, and telling their landlords\nthat they had obtained work at the other end of town, paid their\nrent and left the city, and for the next two days slept in the", "After Adolphe had started for the town, Harry was persuaded by\nPierre to lie down for a bit; but he soon gave up the idea of going" ], [ "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "CHAPTER VIII\n\nMarie Arrested", "\"This female citizen is an aristocrat in disguise,\" he went on,\npointing to Marie; \"in virtue of my office as deputy of Dijon and", "\"They have, I fear, been arrested by the sans culottes,\" Marie said\nmournfully as she burst into tears, feeling, now that the strain", "\"I see, citizen,\" he said--for such was the mode of address universal\nat that time--\"that among the list of persons to be tried is the\nname of Marie de St. Caux.\"", "One morning he was walking with the two younger girls, while Marie\nand the old nurse were together a short distance in front of them.\nThey had just reached the flower-market, which was generally the", "Marie nodded. \"One moment,\" she said, as she brushed aside the tears\nwhich filled her eyes, drew herself up with a little gesture that", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "an official of the republic, came along at a foot-pace. His eyes\nfell upon Marie's face and rested there, at first with the look of\nrecognition, followed by a start of surprise and satisfaction. He", "The order was made out, and Marie was handed over to the armed\nguard, to be taken with the next batch of prisoners to La Force.", "their thoughts from dwelling upon Marie's capture. They had not\nbeen more than a quarter of an hour at their post when Harry gave\nan exclamation of satisfaction as he saw Louise Moulin approaching.", "Marie burst into tears of happiness at hearing that her lover had\nescaped from the danger which threatened. Worn out by the fatigue\nand anxiety of the previous night, she had slept for some hours", "Louise Moulin had persuaded them to go out with her in the early\nmornings when she went to the markets. The fear of detection was\nsmall, for the girls had now become accustomed to their thick shoes", "It was a trial for Marie, who had never before been in the streets\nof Paris except with her mother and closely followed by two domestics,\nand even then only through the quiet streets of a fashionable", "approvingly at their disguises, to which the marquise had, during\nthe long hours of the night, devoted the most zealous attention.\nMarie had been made to look much older than she was. A few dark", "So saying he set out, with Marie walking beside him, with a guard\non either hand. In the next street he came on a party of four of", "\"Poor Marie!\" Jeanne said softly. \"It is well she never knew about\nit. The thought he had got safely away kept her up. And now, tell", "\"A great number of arrests have taken place in the night, among them\nthat of the Marquis de St. Caux and your father. Men are waiting\ninside your house to arrest you as you enter.\"", "\"I am Citizen Lebat of the Committee of Public Safety, and I have\nan order here, signed by Citizen Robespierre, for the release of\nthe female prisoner known as Marie Caux.\"", "Then, as Marie advanced to him, and kneeling by his side, clasped\nhim in her arms, Elise and Harry stole quietly from the room. It" ], [ "Harry waited until they were in a quiet street, and then quickened\nhis pace until he was close behind the man. Then he drew one of", "\"I live not far from here,\" the man said. \"I will take him to my\nroom. You need not be afraid,\" he added as Harry hesitated, \"I have\ngot my eyes open, you can trust me.\"", "and Harry, satisfied that he had stunned him, ran on and overtook\nthe others, and, turning down the first street they came to, was\nassured that they were safe from pursuit.", "Harry gave a start of surprise. This man whom he had saved was he\nwhom he had so often execrated--one of the leaders of those who", "\"They have to be saved,\" Harry interrupted him in a grave, steady\nvoice. \"The question is how?\"", "first blow as it was flying upon Harry, who had been thrown from\nhis horse. Then, again, Ernest would almost certainly have been\nkilled had not Harry in his turn come to his assistance and dealt", "A quarter of an hour later Lebat came out of the house and walked\ndown the street. Harry followed him. After walking for some distance", "\"You must not say so, Harry. You are too modest. Besides, was it\nnot your quickness that saved Victor? No, we owe you everything, and", "\"I have been attacked in the street,\" he said, \"but I am not hurt,\nthough, had it not been for this citizen it would have gone hardly\nwith me. You have to thank him for saving your brother's life.\"", "Harry drove on, and was soon in the Rue Montagnard. It was a dark\nnarrow street; no one seemed stirring, and Harry peered anxiously", "\"Agreed!\" the man said, shaking Harry by the hand. \"You speak\nlike a man of heart. I will look after him. You need be under no", "\"I will be at the end of the street,\" Harry said. \"It is quite\ndark by five, so do you start a quarter of an hour later; hide your", "The words startled Harry. What was this? He had not interfered, as\nhe had supposed, to prevent the robbery of some quiet citizen by", "\"It has nothing to do with perspicacity,\" Jeanne said. \"Harry saved\nmy life from that dreadful dog, and after that I knew if there was", "The bloody work was still going on, and Harry wandered away into\nthe quiet streets to avoid hearing the shrieks of the victims and", "\"Just what we agreed upon,\" the man said. \"Here are the empty\nhouses. You stop where you are. I will get rid of this trash.\"\n\nHarry, however, got out.", "in front of him, and in a moment would have bounded into the hall\nhad not Harry brought the heavy stick he carried with all his force\ndown upon his head. Victor fell like a log under the blow.", "Harry with difficulty repressed his desire to slay the urchin, and\nhurried away to reach the prison of Bicetre before the band from the", "On leaving Victor in the care of the man who had so providentially\ncame to his aid, Harry hurried down the street towards the Abbaye,", "Harry maintained his grasp tightly round its neck, with his head\npressed closely against one of its ears. Several times they rolled\nover and over. At last Harry made a great effort when he was" ], [ "Lebat to come out. Rapidly thinking the matter over, he concluded\nthat the man would not present himself with the order of release until\nafter dark, in order that if Marie struggled or tried to make her", "\"I am Citizen Lebat of the Committee of Public Safety, and I have\nan order here, signed by Citizen Robespierre, for the release of\nthe female prisoner known as Marie Caux.\"", "But Louise was gone. The moment Lebat had looked round in search\nof assistance Marie had whispered in Louise's ear: \"Fly, Louise,\nfor the sake of the children; if you are arrested they are lost!\"", "escape it would be unnoticed in the street. Lebat had calculated,\nof course, that on the presentation of the order the prison officials\nwould at once lead Marie to the gates whether she wished it or not,", "to give to Mademoiselle de St. Caux. It is to tell her to make\nno resistance when Lebat presents the order for her release, but", "to grant Marie's release in return for a benefit done him personally.\nHowever, do not let that discourage you in the least. As I said,\nI will have the order by fair means or foul.\"", "But Lebat could give no description whatever of her. He had noticed\nthat Marie was speaking to some one when he first caught sight of\nher face; but he had noticed nothing more, and did not know whether\nthe woman was young or old.", "When Lebat told her triumphantly that he had saved her from death,\nand that she was to have formed one of the party in the tumbril", "\"A sure, certain way, Harry?\" Virginie asked. \"Not only a chance?\"\n\n\"A sure, certain way,\" Harry replied. \"You need have no more fear;\nMarie will certainly be freed.\"", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "\"I have news,\" Harry said, \"and good news, but you must not excite\nyourselves.\"\n\n\"Have you found a way for getting Marie out?\"\n\n\"Yes, I have found a way.\"", "While Robespierre was speaking Harry had rapidly thought over the\nrole which it would be best for him to adopt. Should he avow his\nreal character and ask for an order for the liberation of Marie as", "and that if I would consent to marry him he could save me. He said\nthat his influence would suffice, not only to get me free, but to", "If I cannot ensure Marie's freedom now I should be a bungler\nindeed. Had I had the planning of the events of this evening they\ncould not have turned out better for us.\"", "\"He seems just the man for us,\" Harry said. \"Will you tell your\nfriend, when you see her in the morning, that I will give her twenty\nlouis and her brother a hundred if he can succeed in getting Marie\nout?\"", "\"I am sure we are much indebted to this Monsieur Lebat,\" Marie\nsaid. \"He was here at the hunting party and seemed a worthy young", "forward, but that he preferred to wait and leave the horror of\nmonths in prison to work upon Marie's mind, and so break her down\nthat she would be willing enough to purchase her life by a marriage", "\"I have good news, monsieur,\" she said at once. \"I waited outside\nthe prison till Martha came out. Her brother has agreed to help if", "Marie will nurse him. I have great hopes that he will know her,\nand that she may be able in time to effect a complete cure. In the\nnext place I think it would be dangerous to bring her here, for we", "\"Citizen Lebat,\" he corrected. \"You forget, there are no titles\nnow--we have changed all that. It goes to my heart,\" he went on with" ], [ "\"These are my sons Ernest and Jules, who will, I am sure, do all\nin their power to make you comfortable,\" the marquis said.", "\"Take M. Sandwith to the abbe,\" the marquis said to Ernest, \"and do\nall in your power to set him at his ease. Remember what you would\nfeel if you were placed, as he is, among strange people in a strange\ncountry.\"", "After a prolonged talk with M. du Tillet the marquis sent for\nErnest. As soon as he entered the lad said:", "\"I cannot say no,\" the marquis replied. \"I wish you could have stayed\nwith the children, but they need fear no trouble here. Ernest is", "marquis and his wife, of their daughters, and of Victor de Gisons,\nalmost excluding everything else. When he thought of the boys it\nhad been as already in England, under the charge of du Tillet.", "The Marquis de St. Caux had, in some respects, the thoughts and\nopinions of the old school. He was a royalist pure and simple. As", "\"The marquis and his family are all away at their chateau near\nDijon,\" his companion said, waving his hand. \"We shall stay a day\nor two to rest ourselves after our journey, and then start to join\nthem.\"", "\"This is awful!\" Harry said to himself as he turned away. \"The\nmarquis and his wife massacred, Ernest and Jules murdered, Marie", "\"But the children, Edouard!\" the marquise murmured.\n\n\"I shall stand by my father's side,\" Ernest said firmly.", "\"A Marquis de St. Caux does not fly from the canaille of Paris,\"\nthe marquis said quietly. \"No, Du Tillet; the king and queen are", "\"And the girls?\" the marquise asked, as Ernest bent his head in\nsign of obedience to his father's orders.", "sword and prepared to start for the palace. He embraced his wife,\nwho was calm but very pale, and his children. Ernest asked to be\nallowed to go with him, but the marquis said:", "In due time a letter was received from Count Auguste de St. Caux,\nstating that the marquis had requested him to write and say that", "the news has, no doubt, already been spread that the daughters of\nthe Marquis de St. Caux had left the house before those charged\nwith their father's arrest arrived, it will be better for you not", "woman herself was a servant in the family of the ci-devant Marquis\nde St. Caux. She gives out that the girls are relatives of hers,\nbut it is believed in the neighbourhood that they are aristocrats", "to send the young ones away than to retain them in Paris, and the\nmarquise had been a prey to the liveliest anxiety respecting her\nchildren. It seemed impossible that there could be any animosity", "Towards the end of July the Marquis de St. Caux and the little\nbody of royalists who still remained faithful to the king became", "\"'Crimes!' he said. 'Do you think a Marquis de St. Caux is going\nto plead for his life to a band of murderers and assassins? Come,\nmy love.'", "\"Oh, how I long to be in England,\" Virginie exclaimed, \"and to see\ndear Ernest and Jules again! How anxious they must be about us, not", "Thus it happened that on the same day that the marquis started for\nParis, M. du Tillet set out from the chateau taking with him some" ], [ "Three years later, on the day after Harry passed his final examination,\nJeanne and he were married, and set up a pretty establishment", "\"I know, Harry, and I love you too with all my heart; so much that\nI can feel almost happy that we are going to die together. We are\naffianced now, dear, come what will.\" And she lifted her face to\nhis.", "\"She is nearly a woman now, Harry,\" Marie said gently. \"She is some\nmonths past sixteen, and though you tell me girls of that age in", "\"And now, Harry,\" Marie said, turning to him, \"will you tell us\nall about it?\"", "\"Now, Harry,\" the marquis said when he had mastered the emotion\ncaused by the parting, which he felt might be a final one, \"since", "ceremonial observance which had, on his first arrival, surprised\nand amused Harry was now laid aside. Marie, happy in the visits\nof her lover and at the prospect of her approaching marriage, did", "\"Never you mind, Harry,\" his father said; \"let those laugh that\nwin. But you are not thinking of getting married yet, I hope.\"\n\n\"No, no, father; you cannot think I would live on Jeanne's money.\"", "\"Where is he, Harry?\" Marie said as she stood with clasped hands,\nand a face from which every vestige of colour had flown. \"Take me\nto him at once.\"", "\"Oh, Harry, is it you? Can it be true?\" And the spirit which had\nso long sustained the girl gave way, and leaning her head upon his", "Marie was greatly changed: her colour had faded away, the former\nsomewhat haughty air and carriage had disappeared, and there was\nan expression of patient resignation on her face. Harry had only", "up in her room. By the time she came down they had recovered their\ngravity. Mrs. Sandwith and the girls had already given her the\nwarmest welcome as Harry's future wife, and the boys received her", "Finding that she could not persuade Harry to enter, Louise turned\nto perform her painful duty; while Harry, thoroughly exhausted with\nthe night of horrors, made his way home, and throwing himself on", "Leaving the girls, who were worn out with weariness and anxiety,\nto sleep, she rejoined Harry.", "Another month passed before the name appeared on the fatal list. In\nthe meantime Harry had corresponded regularly with Marie by means\nof the warder, and had even once seen her and exchanged a few", "\"Well, at anyrate,\" Harry said, \"Jeanne has no time for any thought\nof marrying just at present. But there is another thing I want to\ntell you about. I have first a confession to make. I have deceived\nyou.\"", "Seeing at a glance that his daughters were untouched, the marquis\nran on to Harry, who was standing panting and breathless, and threw\nhis arms round him.", "CHAPTER XI\n\nMarie and Victor\n\n\n\"Are you taking me to the girls, Harry?\"", "Harry was some twenty yards behind Marie and her companion when\nLebat checked his horse before her. He recognized the man instantly,\nand saw that Marie's disguise was discovered. His first impulse", "Harry maintained his grasp tightly round its neck, with his head\npressed closely against one of its ears. Several times they rolled\nover and over. At last Harry made a great effort when he was", "\"It will indeed,\" Mrs. Sandwith said in a tone of deep happiness.\n\"You are certainly overworked and need a partner terribly, and who\ncould be like Harry?\"" ] ]

[ "The Marquis was taken with Harry right away but it took the rest the family a lot longer to adjust to him, Why?", "What did the Marquis and Marquise do with their children once they realized they were to be arrested for being nobility? ", "Who is Lebot and what does he do with Marie?", "It takes Harry several tries to get Robspierre to release Marie, what finally gets Robspierre to release her? ", "How does Jeanne find passage to England?", "What happens to Louise?", "Where does Marie go after Harry saves her from Lebat? ", "What happens to Harry and Jeanne once they return to England?", "What happens to Marie and Victor?", "How old is Harry Sandwith?", "In which year does Harry set off for Paris?", "When does the attiitude of the family change towards Harry?", "Who is killed by Harry and Ernest?", "To which city does Marquis decide to move his family, to support the King?", "Who is Marie's fiance?", "Who captures Marie in the marketplace?", "On what condition does Lebat agree to freeing Marie?", "Whom does Harry rescue from being beaten in the street?", "Whom does Harry marry after passing his medical exams?", "Who invites Harry to live at his chateau in France?", "What makes the St. Caux family start trusting Harry?", "Who kills the \"Demon Wolf\" that has been terrorizing the communities around the chateau?", "How old is Harry at the beginning of the story?", "What year does Harry leave for France?", "Who recognizes Marie in the marketplace and has her arrested?", "Who does Harry save from a beating in the streets?", "Lebat says he will free Marie in exchange for what?", "Where do the Marquis and Marquise de St. Caux send Ernest and Jules?", "Who does Harry end up marrying?" ]

[ [ "Harry did not dress as elegantly as the rest of the family and his manners were rough and course. ", "Harry's maniness and independence was qualities admired by the Marquis, but was found strange and funny to rest of family" ], [ "They sent Earnest and Jules to Paris, and Marie Jeanne and Virginne they sent to stay with their nurse Louis Moulin. ", "tell their children to escape" ], [ "Lebat is the son of the mayor and captures Marie in the marketplace and arrests her. ", "He is the son of the Mayor of Dijon and he arrests her as a noble in hiding" ], [ "Harry tells Robespierre that Marie has agreed to marry him and is a friend of the revolution. ", "That they are getting marries" ], [ "She finds passage with a fisherman named Adolphe. ", "with a fisherman whose child she nursed to health" ], [ "She becomes ill and dies. ", "She became ill and died while fleeing France." ], [ " She stays in Paris with her Fiance Victor. ", "Stays in Paris with Victor" ], [ "Harry gets his medical degree and marries Jeanne.", "They are married." ], [ "Marie and Victor marry and victor buys the chateaux that Marie grew up in. ", "They purchase the chateau once belonging to the Marquis." ], [ "16", "16" ], [ "1790", "1790." ], [ "When he kills a rabid dog which was attacking Jeanne and Virginie", "After killing the rabid dog." ], [ "Demon Wolf", "The Demon Wolf." ], [ "Paris", "Paris." ], [ "Victor de Gisons", "Victor de Gisons" ], [ "Lebat, the son of the Mayor of Dijon", "Lebat." ], [ "If she agress to marry him", "If Marie marries him." ], [ "Maximilien de Robespeirre", "Robespierre" ], [ "Jeanne", "Jeanne" ], [ "The Marquis de St. Caux", "The Marquis" ], [ "He kills a rabid dog that was attacking Jeanne and Virginie", "impressed with the English school system" ], [ "Harry and Ernest", "Harry and Ernest" ], [ "16", "16" ], [ "1790", "1790" ], [ "Lebat, son of the mayor of Dijon", "Lebat" ], [ "Maximilien de Robespierre", "Maxmilien de Robespierre" ], [ "Her promise to marry him", "Her marrying him." ], [ "England", "Paris" ], [ "Jeanne de St. Caux", "Jeanne" ] ]

216a7a5535571aae2842944a3529fae1f664cb0f

train

[ [ "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "His eyes move to her face... One wisp of hair falls over her\n\tsoft lips. OUTLINED IN THE SOFT READING LIGHT, Anna Crowe truly\n\tlooks like an angel.", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "The room falls into silence. Malcolm sits still across from his\n\twife. He drinks her in with his eyes.", "Husband and wife's eyes meet. Mrs. Collins smiles softly.\n\n\tMr. Collins' eyes tremble with tears.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "She looks back at her husband. His glare is painful. Rage\n\tfilling every cell of his body. Tears falling faster down his\n\tcheeks.", "Mrs. Collins is seated at the dining room surrounded by friends\n\tand family. She fixes one of the many bouquets of flowers on the\n\ttable. It takes her a beat before she feels the stare.", "Mayor on the news. Dr. Malcolm\n\t\tCrowe, he's helped so many children...\n\t\tAnd he doesn't even remember my\n\t\tname?", "MALCOLM\n\t\tMy name is Dr. Malcolm Crowe. I\n\t\twas supposed to meet you today.\n\t\tSorry I missed our appointment.", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "MALCOLM\n\t\tWhat about Mrs. Marschal?\n\n\t\t\t COLE\n\t\t\t(whispers)\n\t\tShe died a long time ago.", "Lynn closes her eyes. Lets out a tense breath. Beat. Malcolm\n\teyes the doctor as he glances back to an academic-looking woman\n\tstanding at the reception room door.", "Mrs. Collins turns her attention back to the flowers. She\n\tconcentrates with all her strength. Beat. Her hands begin to\n\tshake.", "Malcolm moves to her side. The sight of her stops him.\n\n\tHe stares at his wife...", "Doctor Hill gestures to the woman standing near the doorway.", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep." ], [ "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "Vincent instantly moves the gun to his own head. ANOTHER\n\tHORRIFIC BLAST SPIKES THE AIR. Vincent crumples onto the\n\tbathroom floor.", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "Vincent turns to the sink. His hand goes in. He turns arund and\n\traises a gun at Malcolm. He FIRES. A VIOLENT, EAR-SHATTERING", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "Lynn and Darren's mom rush to the door and turn the knob... The\n\tdoor flies open. Lynn reaches in and pulls out Cole. He's\n\tUNCONSCIOUS.", "Mr. Cunningham's expression drains of anger as Cole Sear begins\n\tto cry.\n\n\t\t\t\t\t\t\tCUT TO:", "Beat. Cole takes another step. The next step will put him at\n\tthe chair. Malcolm lowers his fingers from his temple.", "Cole begins to back away...\n\n\tThe father gazes at Cole as he melts into the crowd. Cole\n\treaches Malcolm and the two then slip out of the house.", "The villagers rise and rush to Cole. They scoop him up and carry\n\thim around the stage in celebration. Cole chuckles and then", "It happens too quick for Cole to react. Darren and Tommy shove\n\tCole backwards. He stumbles into the darkness of the crawl space.\n\n\t\t\t COLE\n\t\tDon't!", "Cole puts down his glass on a table and walks over to the plant.\n\tCole kneels down and starts to push the potted plant aside. THE\n\tPOT SCREECHES ON THE WOODEN FLOOR.", "COLE\n\t\tSomeone got hurt.\n\n\t\t\t LYNN\n\t\tThey did?\n\n\t\t\t COLE\n\t\tA lady. She died.", "Darren and Tommy back away from the door as COLE SCREAMS IN\n\tTERROR at the top of his lungs. He CRASHES OVER AND OVER against", "Beat.\n\n\t\t\t COLE\n\t\tI know.\n\n\t\t\t\t\t\t\tCUT TO:", "Malcolm's open jaw releases a long strained breath and then\n\tbecomes silent. Anna tries to cover the wound with her hands\n\tdesperately.\n\n\t\t\t\t\t\t\tSLAM CUT:" ], [ "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "Mayor on the news. Dr. Malcolm\n\t\tCrowe, he's helped so many children...\n\t\tAnd he doesn't even remember my\n\t\tname?", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "You need to help them. Each one of\n\t\tthem.\n\t\t\t(beat)\n\t\tEveryone wants to be heard.", "reminds him of that one. Reminds\n\t\thim a lot of that one. Malcolm\n\t\tdecides to try to help this new boy.", "Malcolm can't help smiling as well. This is not the same man he\n\tsaw before. Life has returned to this house. Beat.", "He thinks maybe if he can help this\n\t\tboy, it would be like helping that\n\t\tone too.", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "MALCOLM\n\t\tMy name is Dr. Malcolm Crowe. I\n\t\twas supposed to meet you today.\n\t\tSorry I missed our appointment.", "Cole begins surveying the room again. Beat. His eyes finally\n\tcome to rest on a plant seated in the corner. He stares at it...", "Malcolm's face is filled with emotion. Cole is suddenly hit by\n\tMalcolm's passion. Beat. Cole nods slowly as he looks at\n\tMalcolm with different eyes.", "His eyes move to her face... One wisp of hair falls over her\n\tsoft lips. OUTLINED IN THE SOFT READING LIGHT, Anna Crowe truly\n\tlooks like an angel.", "Mr. Cunningham's expression drains of anger as Cole Sear begins\n\tto cry.\n\n\t\t\t\t\t\t\tCUT TO:", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "proudly bestows upon its son Dr.\n\t\tMalcolm Crowe... That's you...\n\t\tthe Mayor's Citation for", "The sight of him exhausted and still, hits Lynn hard.\n\n\tLynn's face drowns in deep concern. She lays a hand on Cole's\n\thead as she drives.", "The villagers rise and rush to Cole. They scoop him up and carry\n\thim around the stage in celebration. Cole chuckles and then" ], [ "IT'S A BOY. A FEW YEARS OLDER THAN COLE.\n\n\tTHE BOY WHISPERS IN A LOW, HOARSE VOICE.", "couple. Lynn and Cole and a man. The man looks in every way a\n\tlarger version of Cole.", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers.", "COLE SEAR steps out his front door. Cole is a munchkin of a boy\n\twith large, black eyes that seem to take in everything around\n\thim.", "Cole takes a step. Malcolm opens his eyes. He looks right at\n\tCole.", "Malcolm nods \"yes\" as they continue walking. Cole slows as they\n\tapproach the old man. As we get closer, we make out the man can\n\tbarely see.", "Cole answers by taking a small step back. Beat.", "Cole who has shut his eyes... slowly opens them.", "Cole has become very still. He looks right at Malcolm.", "Lynn takes it all in curiously.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tINT. COLE'S BEDROOM - AFTERNOON", "Cole senses someone. He looks up and sees Malcolm staring at\n\thim. The boy immediately goes white. Every cell of his body\n\tstill with fear.", "Cole is curled up asleep on the passenger seat, back in his\n\tregular clothes, a tiny party hat clutched in his hand. He looks\n\tlike a four-year-old.", "Cole is seated in the school library by himself. He sits at a\n\tlong center table near the windows. His head is laying on his\n\tfolded arms on the table.", "Malcolm breaks from his thoughts and looks at Cole who watches\n\thim with unwavering attention. Malcolm smiles.", "Beat.\n\n\t\t\t COLE\n\t\tI know.\n\n\t\t\t\t\t\t\tCUT TO:", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "INT. COLE'S HOME - AFTERNOON", "Cole is the last one to go in. He stands alone on the sidewalk.\n\tHe looks like he'd rather be anywhere but there.\n\n\tBeat.", "Malcolm becomes completely motionless. Works to hide his shock.\n\tHe and Cole stare at each other a long time.", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and" ], [ "LYNN\n\t\tYou see ghosts, Cole?\n\n\t\t\t COLE\n\t\tThey want me to do things for them.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "LYNN\n\t\tDead people?\n\n\t\t\t COLE\n\t\tGhosts.\n\n\tBeat.", "MALCOLM\n\t\tThey don't know they're dead?\n\n\tBeat.\n\n\t\t\t COLE\n\t\tI see ghosts.", "COLE\n\t\tThey scare me too sometimes.\n\n\t\t\t LYNN\n\t\tThey?\n\n\t\t\t COLE\n\t\tDead people.", "The emaciated little girl who came to his tent lays curled on the\n\tfloor. Her bulging eyes glare at Cole. She moves suddenly.", "She looks to the closet. THE HIGH-PITCHED SCREAMS CUT THROUGH\n\tTHE HALL.\n\n\t\t\t LYNN\n\t\tCole!", "COLE\n\t\tNo.\n\n\t\t\t MALCOLM\n\t\tWhat do those ghosts want when they\n\t\ttalk to you? Think real careful\n\t\tnow, Cole...", "LYNN\n\t\tYou can see her?\n\n\t\t\t COLE\n\t\tYes.", "Cole turns a corner and comes to a dead stop. He turns white as\n\the stares at an open CRAWL SPACE CLOSET a few feet away. Cole's", "Cole jerks back startled. He watches as the girl's hand slips\n\tback under the bed. Cole stays very still. Waits. Nothing\n\thappens.", "His hair is dark, with a small patch of jet white on the side.\n\tCole carefully locks the door behind him.\n\n\tHe moves to the bottom of the stairs and looks around nervously.\n\tAnxiously.", "The girl reaches out with her withered and emaciated hands --\n\ttiny tubes hang from her wrists. She scratches Cole as he\n\ttumbles back terrified out of the tent. The whole tent collapses --", "Cole senses someone. He looks up and sees Malcolm staring at\n\thim. The boy immediately goes white. Every cell of his body\n\tstill with fear.", "Curled up next to him is Sebastian. They sleep surrounded by\n\tstatues and pictures.\n\n\tCole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "Cole closes the door behind him. He turns and gazes at the\n\tgirl's bedroom. There's a hospital bed near the window. The", "COLE\n\t\tI see dead people... Some of them\n\t\tscare me.\n\n\tBeat.\n\n\t\t\t MALCOLM\n\t\tIn your dreams?", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "A LIGHT TURNS ON FROM UNDER COLE'S DOOR.\n\n\tThe door opens a crack. Cole's tiny face peeks out. Eyes scan\n\tthe darkness." ], [ "Kyra picks up the spoon and takes a sip. Her face crinkles at\n\tthe taste. She looks up at her mother.", "Kyra climbs in bed and pretends to be sleeping when the door\n\topens. It's Mrs. Collins. She carries in a tray of soup and a\n\tsandwich.\n\n\tLIVING ROOM", "KYRA\n\t\t\t(video tape)\n\t\tI'm feeling much better now.\n\n\tThe image of the mother smiles.", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "She looks back at her husband. His glare is painful. Rage\n\tfilling every cell of his body. Tears falling faster down his\n\tcheeks.", "FOUR YEAR OLD\n\t\tKyra's not coming back.\n\n\tBeat.\n\n\t\t\t COLE\n\t\tNot anymore.", "Kyra slowly brings the spoon to her mouth and swallows another\n\tspoonful.", "LYNN\n\t\tYou think I hurt my child?\n\t\t\t(emotional)\n\t\tYou think I'm a bad mother?", "MRS. COLLINS\n\t\t\t(video tape)\n\t\tKyra, time for lunch.\n\n\tKyra pretends to wake from a deep sleep.", "The image of the mother prepares the meal. She uncovers the\n\tfruit and the soup. Places a straw into the drink.\n\n\tAnd then it happens.", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "I don't think it's the mother.\n\t\tJust a gut thing. The way she\n\t\tdeals with him. It doesn't fit.", "Lynn turns -- surprised to hear her son's voice. Lynn's eyes are\n\tred from crying. She wipes them quickly with the back of her\n\thand.", "COLE\n\t\tShe watched out for you.\n\n\tThe little girl finally looks up. She has the saddest eyes.", "Her words are met with ice cold stares. The first tears stream\n\tdown her face. The pretty flowers of consolation in her hand\n\ttumble to the floor.\n\n\t\t\t\t\t\t\tCUT TO:", "Beat. Lynn looks at her son. She barely gets the words out.\n\n\t\t\t LYNN\n\t\t\t(crying)\n\t\tDo I make her proud?", "FOOTSTEPS SPIKE THE AIR AS children and mothers come running down\n\tthe hall. Lynn is one of them.\n\n\tDarren's mother turns the corner.", "LYNN\n\t\tHe's my whole life.\n\n\tDarren's mom turns back to Lynn, the forced smile on her face.", "The girl reaches out with her withered and emaciated hands --\n\ttiny tubes hang from her wrists. She scratches Cole as he\n\ttumbles back terrified out of the tent. The whole tent collapses --" ], [ "Kyra climbs in bed and pretends to be sleeping when the door\n\topens. It's Mrs. Collins. She carries in a tray of soup and a\n\tsandwich.\n\n\tLIVING ROOM", "Kyra slowly brings the spoon to her mouth and swallows another\n\tspoonful.", "FOUR YEAR OLD\n\t\tKyra's not coming back.\n\n\tBeat.\n\n\t\t\t COLE\n\t\tNot anymore.", "MRS. COLLINS\n\t\t\t(video tape)\n\t\tKyra, time for lunch.\n\n\tKyra pretends to wake from a deep sleep.", "KYRA\n\t\t\t(video tape)\n\t\tI'm feeling much better now.\n\n\tThe image of the mother smiles.", "Kyra picks up the spoon and takes a sip. Her face crinkles at\n\tthe taste. She looks up at her mother.", "The emaciated little girl who came to his tent lays curled on the\n\tfloor. Her bulging eyes glare at Cole. She moves suddenly.", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "She looks back at her husband. His glare is painful. Rage\n\tfilling every cell of his body. Tears falling faster down his\n\tcheeks.", "COLE\n\t\tShe watched out for you.\n\n\tThe little girl finally looks up. She has the saddest eyes.", "The girl reaches out with her withered and emaciated hands --\n\ttiny tubes hang from her wrists. She scratches Cole as he\n\ttumbles back terrified out of the tent. The whole tent collapses --", "EXT. HOUSE - AFTERNOON\n\n\tCole sits on the swings next to Kyra's four-year-old sister. She\n\tdoesn't look up.", "Beat. She becomes silent. Anna falls back into deep sleep, her\n\tarm slides down. SOMETHING SHINY FALLS OUT AND ROLLS ON THE\n\tGROUND.", "COLE\n\t\tSomeone got hurt.\n\n\t\t\t LYNN\n\t\tThey did?\n\n\t\t\t COLE\n\t\tA lady. She died.", "Her words are met with ice cold stares. The first tears stream\n\tdown her face. The pretty flowers of consolation in her hand\n\ttumble to the floor.\n\n\t\t\t\t\t\t\tCUT TO:", "expressions. The same thing\n\t\thanging over them.\n\t\t\t(beat)\n\t\tIt might be some kind of abuse.", "Anna laughs as she wipes her eyes.\n\n\t\t\t ANNA\n\t\tNothing. There wasn't supposed to\n\t\tbe any crying at this celebration.\n\t\tJust a lot of drinking and sex.", "Malcolm watches everything anxiously.\n\n\tCole stares at Mr. Collins.\n\n\t\t\t COLE\n\t\tAre you Kyra's daddy?", "Anna is the rare combination of beauty and innocence. She stands\n\tin the chilly basement in an elegant summer dress that outlines" ], [ "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "Cole doesn't say a word.\n\n\t\t\t LYNN\n\t\t\t(crying)\n\t\tPlease.\n\n\t\t\t\t\t\t\tCUT TO:", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "Cole's expression changes back to sadness as he looks to the\n\twindows. Malcolm leans across the table and whispers.\n\n\t\t\t MALCOLM\n\t\tCole...", "Beat. Cole's chin starts to tremble. His voice cracks.\n\n\t\t\t COLE\n\t\t\t(whispers)\n\t\tPromise?\n\n\tBeat.", "He opens his mouth -- it takes a while before the words come out.\n\n\t\t\t COLE\n\t\tDo you want to tell me something?\n\n\t\t\t\t\t\t\tCUT TO:", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "Cole closes the door behind him. He turns and gazes at the\n\tgirl's bedroom. There's a hospital bed near the window. The", "Cole doesn't respond. Beat.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tWell, you know what I did today?", "Malcolm's face is filled with emotion. Cole is suddenly hit by\n\tMalcolm's passion. Beat. Cole nods slowly as he looks at\n\tMalcolm with different eyes.", "Cole begins surveying the room again. Beat. His eyes finally\n\tcome to rest on a plant seated in the corner. He stares at it...", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "Cole shrugs.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tYou know, you can tell me things if\n\t\tyou need to.", "Lynn comes out. She reaches Cole -- kneels down in front of him.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tHow was school, baby?", "Cole shakes his head, \"No.\"\n\n\t\t\t MALCOLM\n\t\tWhen you're awake?\n\n\tCole nods, \"Yes.\"", "Cole quietly walks to Malcolm who stands motionless. He stares\n\tdown at Cole in a daze.\n\n\tCole turns his head, crying.", "The room falls into silence again. Cole speaks extra soft.\n\n\t\t\t COLE\n\t\tYou want to go home?\n\n\tMalcolm stares across at Cole." ], [ "Vincent turns to the sink. His hand goes in. He turns arund and\n\traises a gun at Malcolm. He FIRES. A VIOLENT, EAR-SHATTERING", "Vincent instantly moves the gun to his own head. ANOTHER\n\tHORRIFIC BLAST SPIKES THE AIR. Vincent crumples onto the\n\tbathroom floor.", "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "Vincent's eyes burn at Malcolm.\n\n\t\t\t VINCENT\n\t\tYou forgot cursed.\n\n\tVINCENT is fully crying now.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "in those fifteen minutes. But I\n\t\tnow believe Vincent tried to tell\n\t\tme something, show me something and\n\t\tI didn't listen.", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "VINCENT GRAY stares with surprise through his tears.\n\n\tMalcolm lets out a deep breath like he just emerged from deep\n\twaters.", "Mr. Marschal's eyes slowly fill with tears of realization. They\n\tgently spill down his weathered face.\n\n\t\t\t MR. MARSCHAL\n\t\tOh no...", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "MALCOLM\n\t\t\t(on tape)\n\t\tVincent... Why are you crying?\n\t\t\t(beat)\n\t\tVincent?", "Malcolm's face is filled with emotion. Cole is suddenly hit by\n\tMalcolm's passion. Beat. Cole nods slowly as he looks at\n\tMalcolm with different eyes.", "Mr. Cunningham's expression drains of anger as Cole Sear begins\n\tto cry.\n\n\t\t\t\t\t\t\tCUT TO:", "MALCOLM\n\t\t\t(whispers)\n\t\tVincent... I'm sorry I didn't help\n\t\tyou... I can try to help you now.", "MALCOLM\n\t\tI do remember you, Vincent. You\n\t\twere a good kid. Very smart...\n\t\tQuiet... Compassionate...\n\t\tUnusually compassionate...", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "MALCOLM\n\t\t--Vincent?\n\n\tTHE ROOM GOES SILENT AGAIN.\n\n\t\t\t MALCOLM\n\t\tVincent Gray?", "Cole holds up his plastic rifleman. Malcolm's eyes show he\n\tunderstands now.\n\n\n\t\t\t MALCOLM\n\t\tMaybe later.\n\n\tBeat." ], [ "The man's hands flip the page. At the top of this new page\n\treads, \"Cole Sear, age 8, Referred September 1998.\"", "The empty basement is no longer empty. It's piled with file\n\tcabinets and boxes of psychology and medical books. A desk sits\n\tin the corner next to the wine racks.", "MALCOLM\n\t\tMy name is Dr. Malcolm Crowe. I\n\t\twas supposed to meet you today.\n\t\tSorry I missed our appointment.", "Malcolm stares at the tired child sitting before him in the\n\thospital bed.\n\n\tMalcolm rolls his stool away from his client as he thinks.", "Mayor on the news. Dr. Malcolm\n\t\tCrowe, he's helped so many children...\n\t\tAnd he doesn't even remember my\n\t\tname?", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "LYNN\n\t\t\t(raising voice)\n\t\tWhat happened to my child today?\n\n\tDr. Hill gets up.", "Malcolm shakes off the moment. He returns his hands to his\n\tpockets as he moves through the dark streets of Philadelphia to\n\this home.\n\n\t\t\t\t\t\t\tCUT TO:", "MALCOLM (o.s.)\n\t\tLook, he's an eight-year-old child.\n\t\tHe's my only client. If he invites", "Malcolm sits stoically at his desk in his basement. His eyes\n\tgaze at the dusty FRAMED CERTIFICATE FROM THE CITY OF\n\tPHILADELPHIA shoved between two packing boxes.", "work, and his continuing efforts to\n\t\timprove the quality of life for\n\t\tcountless children and their\n\t\tfamilies, the City of Philadelphia", "Lynn takes a step forward. Lynn's face betrays the fact that she\n\tnotices something she never noticed before. She touches a photo\n\tof three-year-old Cole.", "Vincent Gray. I was treating a\n\t\tcouple, Donald and Robin Wagner,\n\t\twho had lost their child to", "A young resident DR. HILL takes a seat at the table with them.\n\tHe opens up his notes.\n\n\t\t\t LYNN\n\t\tWhat's wrong with Cole?", "Malcolm looks down at his eyes full with emotion.\n\n\t\t\t MALCOLM\n\t\tI'm going to transfer you. I know\n\t\ttwo psychologists that are\n\t\texceptional--", "Lynn is a woman in her late twenties. One hundred percent South\n\tPhilly. Hair teased. She chews on an early morning piece of", "ANNA\n\t\tIn recognition for his outstanding\n\t\tachievement in the field of child\n\t\tpsychology, his dedication to his", "The city bus slithers through the old Philadelphia streets\n\tworking its way downtown.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tEXT. HOME - AFTERNOON", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "with children. Loved it more than\n\t\tanything.\n\t\t\t(smiles)\n\t\tThen one night, he finds out he" ], [ "Malcolm slowly starts towards the door. The first thing that\n\tcomes into view are the clothes on the bathroom floor. Then the\n\tfigure of a man comes into view. A STRANGER stands bare chested\n\tin the back of the bathroom.", "Malcolm moves to the bathroom door and opens it slowly.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tINT. BATHROOM - EVENING", "Malcolm steps into the bathroom quietly. He stares at the\n\tsilhouette of Anna's body through the smoked glass of the shower.\n\tAnna stands still, her head tilted back.", "The stranger suddenly comes forward into the doorway. Malcolm\n\tstumbles back onto the edge of the bed.\n\n\tAnna sees the stranger for the first time. Her face drains of\n\tcolor.", "Cole moves briskly to a door halfway down the corridor. Opens\n\tit. Cole turns on the LIGHT IN THE BATHROOM.", "His eyes move to her face... One wisp of hair falls over her\n\tsoft lips. OUTLINED IN THE SOFT READING LIGHT, Anna Crowe truly\n\tlooks like an angel.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "pants and turns. He doesn't come out of the bathroom at first.\n\tHe just stands there and stares into the darkness of the hall.", "Malcolm and Anna stare at the bathroom doorwary. They know\n\tsomeone is inside. Beat.", "A SHADOW FROM THE BATHROOM FLATS OVER BOTH OF THEM.\n\n\tANNA SCREAMS.\n\n\tMalcolm spins around. His heart stops.", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "Cole turns a corner and comes to a dead stop. He turns white as\n\the stares at an open CRAWL SPACE CLOSET a few feet away. Cole's", "Stanley Cunningham moves between two curtains and comes to a prop\n\troom door in the back. He puts an ear to the door, listens and\n\tthen knocks. After a second, he enters.", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "His hair is dark, with a small patch of jet white on the side.\n\tCole carefully locks the door behind him.\n\n\tHe moves to the bottom of the stairs and looks around nervously.\n\tAnxiously.", "MALCOLM TURNS ON THE BATHROOM LIGHT.\n\n\tA SHAFT OF LIGHT falls on Anna as she stands in the corner of the\n\troom.", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "Cole closes the door behind him. He turns and gazes at the\n\tgirl's bedroom. There's a hospital bed near the window. The", "Cole is too terrified to move.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tINT. KITCHEN - NIGHT", "The front door opens as another group arrives. Malcolm nods to\n\tCole as the foyer fills up. The two of them quietly disappear\n\tupstairs.\n\n\t\t\t\t\t\t\tCUT TO:" ], [ "Vincent instantly moves the gun to his own head. ANOTHER\n\tHORRIFIC BLAST SPIKES THE AIR. Vincent crumples onto the\n\tbathroom floor.", "Vincent turns to the sink. His hand goes in. He turns arund and\n\traises a gun at Malcolm. He FIRES. A VIOLENT, EAR-SHATTERING", "A SHOOTING PAIN PIERCES HIS SIDE. Malcolm's hand goes to it\n\tquickly. He waits for it to pass before starting for the ornate\n\tdoors.", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "A few minutes later. Cole is now standing in his doorway. He\n\tstares at the hunched figure covered by the collapsed tent.", "He heads right for the homemade tent seated in the corner with\n\tthe \"DO NOT TOUCH\" sign on it. He scurries in. His legs\n\tdisappear as the bedsheets flap closed behind him.", "The stranger suddenly comes forward into the doorway. Malcolm\n\tstumbles back onto the edge of the bed.\n\n\tAnna sees the stranger for the first time. Her face drains of\n\tcolor.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "His eyes come to rest on the door to his basement office. He\n\tlooks in disbelief at the set of DEAD BOLT LOCKS on the door.", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "His hair is dark, with a small patch of jet white on the side.\n\tCole carefully locks the door behind him.\n\n\tHe moves to the bottom of the stairs and looks around nervously.\n\tAnxiously.", "Malcolm's face shows his losing battle against his emotions. He\n\tdoesn't turn to look back.\n\n\t\t\t\t\t\t\tCUT TO:", "Cole closes the door behind him. He turns and gazes at the\n\tgirl's bedroom. There's a hospital bed near the window. The", "The father SHUTS OFF THE TELEVISION with his trembling hands. He\n\tpresses his hands to his eyes like they're burning.\n\n\tThe ROOM IS UTTERLY SILENT.", "Malcolm slowly starts towards the door. The first thing that\n\tcomes into view are the clothes on the bathroom floor. Then the\n\tfigure of a man comes into view. A STRANGER stands bare chested\n\tin the back of the bathroom.", "Vincent's eyes burn at Malcolm.\n\n\t\t\t VINCENT\n\t\tYou forgot cursed.\n\n\tVINCENT is fully crying now.", "A door opens. Malcolm is brought out of his trance.", "Malcolm's open jaw releases a long strained breath and then\n\tbecomes silent. Anna tries to cover the wound with her hands\n\tdesperately.\n\n\t\t\t\t\t\t\tSLAM CUT:", "The villagers rise and rush to Cole. They scoop him up and carry\n\thim around the stage in celebration. Cole chuckles and then", "He looks around fearfully. His eyes move to the windshield. No\n\tbroken glass. No blood. And no woman. Cole looks out through" ], [ "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "Cole smiles at his mother as he moves to her side. Touches her\n\tface with his tiny fingers.", "Cole moves closer to Lynn. She cradles him in her arms. Mother\n\tand son hold each other tight.", "COLE\n\t\t\t(soft)\n\t\tThat's Tommy, Momma.\n\n\tCole quietly kisses his mother on the cheek and starts out.", "LYNN\n\t\t\t(yells)\n\t\tGo!\n\n\tCole gets up -- never taking his eyes off his mother -- and\n\tleaves the room.", "LYNN\n\t\tHi, this is Lynn Sear, Cole's\n\t\tmother. I wonder if we could", "Cole just closes his eyes and holds his mom tight.\n\n\t\t\t LYNN\n\t\t\t(desperate)\n\t\t...Please tell me.", "Curled up next to him is Sebastian. They sleep surrounded by\n\tstatues and pictures.\n\n\tCole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.", "Lynn fights back some tears.\n\n\t\t\t LYNN\n\t\tLook at my face, Cole.\n\n\tCole does. Lynn smiles at her son.", "COLE\n\t\t\t(whispers)\n\t\tMomma, you sleep now.\n\n\tHis touch seems to have an effect. Lynn becomes still in her\n\tsleep. Cole watches her carefully.", "Cole nods \"Yes\" again. Lynn becomes upset. She nods with grave\n\tunderstanding. Cole watches her.\n\n\t\t\t COLE\n\t\tWhat are you thinking, Momma?", "Cole closes the door to his mother's bedroom shut. He stands\n\tstill in the hallway. Lets out a heavy sigh...", "Cole shakes his head, \"No.!\n\n\tMalcolm thinks for a bit.\n\n\t\t\t MALCOLM\n\t\tYour mom set that up?", "INT. COLE'S HOME - AFTERNOON", "COLE SEAR steps out his front door. Cole is a munchkin of a boy\n\twith large, black eyes that seem to take in everything around\n\thim.", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "Lynn takes it all in curiously.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tINT. COLE'S BEDROOM - AFTERNOON", "COLE\n\t\tYeah, Private Kinney needed to get\n\t\tback safe to take care of her.\n\n\tBeat. Cole's face becomes emotional. Tears fill his eyes.", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers." ], [ "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "EVERYTHING THAT'S SAID FROM THIS POINT ON IS WHISPERED.\n\n\t\t\t COLE\n\t\tI want to tell you my secret now.", "COLE\n\t\tAll the time. They're everywhere.\n\t\t\t(beat)\n\t\tYou won't tell anyone my secret,\n\t\tright?\n\n\tBeat.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "Cole shrugs.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tYou know, you can tell me things if\n\t\tyou need to.", "Cole's expression changes back to sadness as he looks to the\n\twindows. Malcolm leans across the table and whispers.\n\n\t\t\t MALCOLM\n\t\tCole...", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers.", "Cole doesn't say a word.\n\n\t\t\t LYNN\n\t\t\t(crying)\n\t\tPlease.\n\n\t\t\t\t\t\t\tCUT TO:", "Cole just closes his eyes and holds his mom tight.\n\n\t\t\t LYNN\n\t\t\t(desperate)\n\t\t...Please tell me.", "Cole takes a step. Malcolm opens his eyes. He looks right at\n\tCole.", "Malcolm becomes completely motionless. Works to hide his shock.\n\tHe and Cole stare at each other a long time.", "Malcolm's face is filled with emotion. Cole is suddenly hit by\n\tMalcolm's passion. Beat. Cole nods slowly as he looks at\n\tMalcolm with different eyes.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "Cole doesn't respond. Beat.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tWell, you know what I did today?", "Beat.\n\n\t\t\t COLE\n\t\tI know.\n\n\t\t\t\t\t\t\tCUT TO:", "Cole doesn't answer either of them. Instead, he continues to\n\tpush the plant aside revealing AN AIR VENT. Cole gently reaches\n\tover and takes off the metal face. It slips right off.", "Cole searches for the answer in Malcolm's eyes... He finds it.\n\tIt's not the one he wanted. Malcolm looks down.", "Cole stares down at his lap and tries not to look up anymore.\n\tBeat.\n\n\t\t\t COLE\n\t\tShe came a long way to visit me,\n\t\tdidn't she?", "Beat. Cole's chin starts to tremble. His voice cracks.\n\n\t\t\t COLE\n\t\t\t(whispers)\n\t\tPromise?\n\n\tBeat." ], [ "couple. Lynn and Cole and a man. The man looks in every way a\n\tlarger version of Cole.", "Cole takes a step. Malcolm opens his eyes. He looks right at\n\tCole.", "Cole starts to smile too. He thinks.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "Malcolm breaks from his thoughts and looks at Cole who watches\n\thim with unwavering attention. Malcolm smiles.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "Malcolm's face is filled with emotion. Cole is suddenly hit by\n\tMalcolm's passion. Beat. Cole nods slowly as he looks at\n\tMalcolm with different eyes.", "Malcolm smiles. Returns his fingers to the mind-reading\n\tposition. Malcolm looks to Cole's arm. Cole is wearing A LARGE", "Malcolm becomes completely motionless. Works to hide his shock.\n\tHe and Cole stare at each other a long time.", "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "They both look like shit.\n\n\t\t\t COLE\n\t\tYou don't wanna ask me questions\n\t\ttoday?\n\n\tMalcolm nods, \"No.\" Beat.", "Cole begins to back away...\n\n\tThe father gazes at Cole as he melts into the crowd. Cole\n\treaches Malcolm and the two then slip out of the house.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "The villagers rise and rush to Cole. They scoop him up and carry\n\thim around the stage in celebration. Cole chuckles and then", "Malcolm nods, \"Yes.\" Cole pulls the covers up to his chin and\n\tturns to the window in the room. Malcolm is very still and\n\tstares at Cole.", "Malcolm's eyes are drawn to Cole's arm. Peeking out from under\n\this shirt sleeve are a set of cuts. Malcolm gazes at them.", "Cole looks up from his soldiers. Malcolm stares at the far side\n\tof the street.\n\n\tCole taps his foot twice.\n\n\t\t\t\t\t\t\tCUT TO:", "Cole has become very still. He looks right at Malcolm." ], [ "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "Lynn takes it all in curiously.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tINT. COLE'S BEDROOM - AFTERNOON", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "COLE\n\t\tShe said, you came to her where\n\t\tthey buried her. Asked her a\n\t\tquestion... She said the answer is\n\t\t\"Everyday.\"", "Lynn takes a step forward. Lynn's face betrays the fact that she\n\tnotices something she never noticed before. She touches a photo\n\tof three-year-old Cole.", "EXT. HOUSE - AFTERNOON\n\n\tCole sits on the swings next to Kyra's four-year-old sister. She\n\tdoesn't look up.", "Kyra climbs in bed and pretends to be sleeping when the door\n\topens. It's Mrs. Collins. She carries in a tray of soup and a\n\tsandwich.\n\n\tLIVING ROOM", "Darren's mom looks into the crawl space -- there's nothing inside\n\texcept a couple packing boxes in the back. She looks to Lynn.\n\tShe turns around with Cole in her arms.", "COLE\n\t\tYeah, Private Kinney needed to get\n\t\tback safe to take care of her.\n\n\tBeat. Cole's face becomes emotional. Tears fill his eyes.", "CUT TO:\n\n\tINT. COLE'S HOUSE - NIGHT", "INT. COLE'S HOME - AFTERNOON", "Cole turns a corner and comes to a dead stop. He turns white as\n\the stares at an open CRAWL SPACE CLOSET a few feet away. Cole's", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "COLE\n\t\tShe watched out for you.\n\n\tThe little girl finally looks up. She has the saddest eyes.", "Lynn slowly reaches for a picture frame that peeks out from under\n\tCole's pillow. Slides it out... It's a VACATION PHOTO of a", "Cole is too terrified to move.\n\n\t\t\t\t\t\t\tCUT TO:\n\n\tINT. KITCHEN - NIGHT", "Cole begins to back away...\n\n\tThe father gazes at Cole as he melts into the crowd. Cole\n\treaches Malcolm and the two then slip out of the house.", "Lynn and Darren's mom rush to the door and turn the knob... The\n\tdoor flies open. Lynn reaches in and pulls out Cole. He's\n\tUNCONSCIOUS.", "She looks to the closet. THE HIGH-PITCHED SCREAMS CUT THROUGH\n\tTHE HALL.\n\n\t\t\t LYNN\n\t\tCole!", "Cole doesn't answer either of them. Instead, he continues to\n\tpush the plant aside revealing AN AIR VENT. Cole gently reaches\n\tover and takes off the metal face. It slips right off." ], [ "Cole just closes his eyes and holds his mom tight.\n\n\t\t\t LYNN\n\t\t\t(desperate)\n\t\t...Please tell me.", "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers.", "COLE\n\t\tAll the time. They're everywhere.\n\t\t\t(beat)\n\t\tYou won't tell anyone my secret,\n\t\tright?\n\n\tBeat.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "The father becomes very still. His eyes fill with a storm of\n\tconfusion and pain. After the longest time, the father reaches\n\tand gently takes the box out of Cole's small hands.", "Cole smiles at his mother as he moves to her side. Touches her\n\tface with his tiny fingers.", "LYNN\n\t\t\t(yells)\n\t\tGo!\n\n\tCole gets up -- never taking his eyes off his mother -- and\n\tleaves the room.", "Malcolm's face is filled with emotion. Cole is suddenly hit by\n\tMalcolm's passion. Beat. Cole nods slowly as he looks at\n\tMalcolm with different eyes.", "Cole stares down at his lap and tries not to look up anymore.\n\tBeat.\n\n\t\t\t COLE\n\t\tShe came a long way to visit me,\n\t\tdidn't she?", "Cole closes the door to his mother's bedroom shut. He stands\n\tstill in the hallway. Lets out a heavy sigh...", "Cole doesn't say a word.\n\n\t\t\t LYNN\n\t\t\t(crying)\n\t\tPlease.\n\n\t\t\t\t\t\t\tCUT TO:", "EVERYTHING THAT'S SAID FROM THIS POINT ON IS WHISPERED.\n\n\t\t\t COLE\n\t\tI want to tell you my secret now.", "Curled up next to him is Sebastian. They sleep surrounded by\n\tstatues and pictures.\n\n\tCole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.", "COLE\n\t\t\t(whispers)\n\t\tMomma, you sleep now.\n\n\tHis touch seems to have an effect. Lynn becomes still in her\n\tsleep. Cole watches her carefully.", "He opens his mouth -- it takes a while before the words come out.\n\n\t\t\t COLE\n\t\tDo you want to tell me something?\n\n\t\t\t\t\t\t\tCUT TO:", "Malcolm becomes completely motionless. Works to hide his shock.\n\tHe and Cole stare at each other a long time.", "COLE\n\t\t\t(soft)\n\t\tThat's Tommy, Momma.\n\n\tCole quietly kisses his mother on the cheek and starts out." ], [ "MALCOLM\n\t\tThey don't know they're dead?\n\n\tBeat.\n\n\t\t\t COLE\n\t\tI see ghosts.", "He gets to the last book. His hands become still as he stares at\n\tthe final page of writing.", "Mr. Marschal's eyes slowly fill with tears of realization. They\n\tgently spill down his weathered face.\n\n\t\t\t MR. MARSCHAL\n\t\tOh no...", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "His eyes come to rest on the door to his basement office. He\n\tlooks in disbelief at the set of DEAD BOLT LOCKS on the door.", "He looks around fearfully. His eyes move to the windshield. No\n\tbroken glass. No blood. And no woman. Cole looks out through", "out. He doesn't realize one of the bedsheets comes loose. It\n\tfolds to the ground.", "Beat.\n\n\t\t\t MALCOLM\n\t\t\t(whispers)\n\t\t...The mass for the dead.\n\n\tThe words seem to hang in the air forever.", "Cole's brow furrows. He breathes again. This time\n\tintentionally. Watches as his breath materializes in the\n\tsuddenly ice cold air.", "A few minutes later. Cole is now standing in his doorway. He\n\tstares at the hunched figure covered by the collapsed tent.", "The father looks down in a daze. He goes to open the jewelry\n\tbox. His movements are slow and strained. He lifts the latch\n\tand open the box.", "Cole holds his breath. He waits. Beat. Nothing happens. He\n\ttakes his first short breaths and watches the room for any sign\n\tof movement.", "Malcolm becomes completely motionless. Works to hide his shock.\n\tHe and Cole stare at each other a long time.", "LYNN\n\t\tDead people?\n\n\t\t\t COLE\n\t\tGhosts.\n\n\tBeat.", "Malcolm can't help smiling as well. This is not the same man he\n\tsaw before. Life has returned to this house. Beat.", "Cole begins surveying the room again. Beat. His eyes finally\n\tcome to rest on a plant seated in the corner. He stares at it...", "Stanley Cunningham looks over the class of blank faces. He's\n\tjust about to answer his own question when he sees a hand go up.\n\tMr. Cunningham looks surprised to see who it is.", "COLE\n\t\tThey scare me too sometimes.\n\n\t\t\t LYNN\n\t\tThey?\n\n\t\t\t COLE\n\t\tDead people.", "Cole senses someone. He looks up and sees Malcolm staring at\n\thim. The boy immediately goes white. Every cell of his body\n\tstill with fear." ], [ "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "Cole smiles at his mother as he moves to her side. Touches her\n\tface with his tiny fingers.", "COLE\n\t\t\t(whispers)\n\t\tMomma, you sleep now.\n\n\tHis touch seems to have an effect. Lynn becomes still in her\n\tsleep. Cole watches her carefully.", "Cole nods \"Yes\" again. Lynn becomes upset. She nods with grave\n\tunderstanding. Cole watches her.\n\n\t\t\t COLE\n\t\tWhat are you thinking, Momma?", "LYNN\n\t\t\t(yells)\n\t\tGo!\n\n\tCole gets up -- never taking his eyes off his mother -- and\n\tleaves the room.", "HIS MOTHER'S VOICE turns his attention back to the bed.\n\n\t\t\t LYNN\n\t\tCole, what's happening to you?", "Cole just closes his eyes and holds his mom tight.\n\n\t\t\t LYNN\n\t\t\t(desperate)\n\t\t...Please tell me.", "His smile fades away as he notices his mother fiddling with the\n\tHEATER controls.\n\n\tCole gazes out the front windshield as the car moves towards home.", "Curled up next to him is Sebastian. They sleep surrounded by\n\tstatues and pictures.\n\n\tCole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.", "COLE\n\t\tEverybody got upset. They had a\n\t\tmeeting. Momma started crying.\n\t\t\t(beat)\n\t\tI don't draw like that anymore.", "Cole moves closer to Lynn. She cradles him in her arms. Mother\n\tand son hold each other tight.", "Cole closes the door to his mother's bedroom shut. He stands\n\tstill in the hallway. Lets out a heavy sigh...", "The sight of him exhausted and still, hits Lynn hard.\n\n\tLynn's face drowns in deep concern. She lays a hand on Cole's\n\thead as she drives.", "COLE\n\t\t\t(soft)\n\t\tThat's Tommy, Momma.\n\n\tCole quietly kisses his mother on the cheek and starts out.", "LYNN\n\t\tHi, this is Lynn Sear, Cole's\n\t\tmother. I wonder if we could", "Cole sits alone in the corner of the living room. The open\n\tkitchen doorway is next to him. Inside the kitchen are Lynn and", "Lynn takes a step forward. Lynn's face betrays the fact that she\n\tnotices something she never noticed before. She touches a photo\n\tof three-year-old Cole.", "COLE SEAR steps out his front door. Cole is a munchkin of a boy\n\twith large, black eyes that seem to take in everything around\n\thim.", "Cole senses someone. He looks up and sees Malcolm staring at\n\thim. The boy immediately goes white. Every cell of his body\n\tstill with fear." ], [ "That's the only way I know how to\n\t\twork.\n\t\t\t(beat)\n\t\tVincent said I failed him.", "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "made a mistake with one of them.\n\t\tDidn't help that one at all. He\n\t\tthinks about that one a lot. Can't", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "Mr. Marschal's eyes slowly fill with tears of realization. They\n\tgently spill down his weathered face.\n\n\t\t\t MR. MARSCHAL\n\t\tOh no...", "A few minutes later. Cole is now standing in his doorway. He\n\tstares at the hunched figure covered by the collapsed tent.", "She looks back at her husband. His glare is painful. Rage\n\tfilling every cell of his body. Tears falling faster down his\n\tcheeks.", "COLE\n\t\tIt's sad they died, isn't it?\n\n\tMalcolm falls into silence and stares at his client. Beat. Cole\n\twipes his eyes quickly.", "Cole's expression changes back to sadness as he looks to the\n\twindows. Malcolm leans across the table and whispers.\n\n\t\t\t MALCOLM\n\t\tCole...", "Vincent's eyes burn at Malcolm.\n\n\t\t\t VINCENT\n\t\tYou forgot cursed.\n\n\tVINCENT is fully crying now.", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers.", "The hands close the notepad. The hands are slightly shaking now.\n\n\tWE PULL BACK to reveal the shaking hands belong to Dr. Malcolm\n\tCrowe.", "Cole's brow furrows. He breathes again. This time\n\tintentionally. Watches as his breath materializes in the\n\tsuddenly ice cold air.", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "in those fifteen minutes. But I\n\t\tnow believe Vincent tried to tell\n\t\tme something, show me something and\n\t\tI didn't listen.", "The villagers rise and rush to Cole. They scoop him up and carry\n\thim around the stage in celebration. Cole chuckles and then", "The girl reaches out with her withered and emaciated hands --\n\ttiny tubes hang from her wrists. She scratches Cole as he\n\ttumbles back terrified out of the tent. The whole tent collapses --", "He gets to the last book. His hands become still as he stares at\n\tthe final page of writing." ], [ "Vincent turns to the sink. His hand goes in. He turns arund and\n\traises a gun at Malcolm. He FIRES. A VIOLENT, EAR-SHATTERING", "Vincent instantly moves the gun to his own head. ANOTHER\n\tHORRIFIC BLAST SPIKES THE AIR. Vincent crumples onto the\n\tbathroom floor.", "Vincent's eyes burn at Malcolm.\n\n\t\t\t VINCENT\n\t\tYou forgot cursed.\n\n\tVINCENT is fully crying now.", "VINCENT GRAY stares with surprise through his tears.\n\n\tMalcolm lets out a deep breath like he just emerged from deep\n\twaters.", "VINCENT\n\t\t\t(on tape)\n\t\tOkay.", "MALCOLM\n\t\t\t(on tape)\n\t\tVincent... Why are you crying?\n\t\t\t(beat)\n\t\tVincent?", "VINCENT\n\t\t\t(on tape)\n\t\tI don't want to talk anymore. I\n\t\twant to go home, okay? I want to\n\t\tgo home.", "MALCOLM\n\t\tI do remember you, Vincent. You\n\t\twere a good kid. Very smart...\n\t\tQuiet... Compassionate...\n\t\tUnusually compassionate...", "in those fifteen minutes. But I\n\t\tnow believe Vincent tried to tell\n\t\tme something, show me something and\n\t\tI didn't listen.", "MALCOLM\n\t\t--Vincent?\n\n\tTHE ROOM GOES SILENT AGAIN.\n\n\t\t\t MALCOLM\n\t\tVincent Gray?", "VINCENT\n\t\tYou failed me.", "VINCENT\n\t\t\t(on tape)\n\t\tYou won't believe.\n\n\t\t\t MALCOLM\n\t\t\t(on tape)\n\t\tI won't believe what?", "MALCOLM\n\t\t\t(whispers)\n\t\tVincent... I'm sorry I didn't help\n\t\tyou... I can try to help you now.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "MALCOLM\n\t\t\t(on tape)\n\t\tWhat happened?\n\t\t\t(beat)\n\t\tDid something upset you?\n\n\tBeat. VINCENT SNIFFLES.", "A MAN'S VOICE IS HEARD IN THE ROOM WITH VINCENT", "WE HEAR VINCENT CHUCKLE SOFTLY.\n\n\tTHE SOUND OF A DOOR OPENING IS HEARD.", "FLASHBACK: INT. BEDROOM - NIGHT\n\n\tVIOLENT GUN SHOTS RING THROUGH THE BEDROOM.", "A GUNSHOT ECHOES IN THE AIR. THE MAN'S CHEST EXPLODES IN RED AS\n\tHE FALLS TO HIS KNEES SCREAMING.", "That's the only way I know how to\n\t\twork.\n\t\t\t(beat)\n\t\tVincent said I failed him." ], [ "Cole takes a step. Malcolm opens his eyes. He looks right at\n\tCole.", "COLE SEAR steps out his front door. Cole is a munchkin of a boy\n\twith large, black eyes that seem to take in everything around\n\thim.", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "Cole senses someone. He looks up and sees Malcolm staring at\n\thim. The boy immediately goes white. Every cell of his body\n\tstill with fear.", "Beat.\n\n\tThey slow and come to a rest at the bumper of their car. Lynn\n\tleans over -- sees the side of Cole's face smiling.", "Cole who has shut his eyes... slowly opens them.", "A few minutes later. Cole is now standing in his doorway. He\n\tstares at the hunched figure covered by the collapsed tent.", "Cole begins surveying the room again. Beat. His eyes finally\n\tcome to rest on a plant seated in the corner. He stares at it...", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "Cole points to the corner of the street. Malcolm slowly turns.\n\tHe sits in profile to Cole. Beat.", "The sight of him exhausted and still, hits Lynn hard.\n\n\tLynn's face drowns in deep concern. She lays a hand on Cole's\n\thead as she drives.", "Cole turns a corner and comes to a dead stop. He turns white as\n\the stares at an open CRAWL SPACE CLOSET a few feet away. Cole's", "CUT TO:\n\n\tINT. TENT - NIGHT\n\n\tWhen Cole turns around, he stops breathing.", "Cole has become very still. He looks right at Malcolm.", "Cole closes the door behind him. He turns and gazes at the\n\tgirl's bedroom. There's a hospital bed near the window. The", "Cole's brow furrows. He breathes again. This time\n\tintentionally. Watches as his breath materializes in the\n\tsuddenly ice cold air.", "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "Beat. Cole takes another step. The next step will put him at\n\tthe chair. Malcolm lowers his fingers from his temple.", "Cole is curled up asleep on the passenger seat, back in his\n\tregular clothes, a tiny party hat clutched in his hand. He looks\n\tlike a four-year-old.", "Malcolm breaks from his thoughts and looks at Cole who watches\n\thim with unwavering attention. Malcolm smiles." ], [ "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "Cole smiles at his mother as he moves to her side. Touches her\n\tface with his tiny fingers.", "LYNN\n\t\tYou can see her?\n\n\t\t\t COLE\n\t\tYes.", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "LYNN\n\t\t\t(yells)\n\t\tGo!\n\n\tCole gets up -- never taking his eyes off his mother -- and\n\tleaves the room.", "COLE\n\t\tI see dead people... Some of them\n\t\tscare me.\n\n\tBeat.\n\n\t\t\t MALCOLM\n\t\tIn your dreams?", "Cole just closes his eyes and holds his mom tight.\n\n\t\t\t LYNN\n\t\t\t(desperate)\n\t\t...Please tell me.", "(beat)\n\t\tCole Sear allowed me to witness\n\t\tsomething today.\n\t\t\t(beat)", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "MALCOLM\n\t\tThey don't know they're dead?\n\n\tBeat.\n\n\t\t\t COLE\n\t\tI see ghosts.", "Curled up next to him is Sebastian. They sleep surrounded by\n\tstatues and pictures.\n\n\tCole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.", "Cole senses someone. He looks up and sees Malcolm staring at\n\thim. The boy immediately goes white. Every cell of his body\n\tstill with fear.", "Mr. Cunningham's expression drains of anger as Cole Sear begins\n\tto cry.\n\n\t\t\t\t\t\t\tCUT TO:", "COLE\n\t\t\t(whispers)\n\t\tMomma, you sleep now.\n\n\tHis touch seems to have an effect. Lynn becomes still in her\n\tsleep. Cole watches her carefully.", "Cole takes a step. Malcolm opens his eyes. He looks right at\n\tCole.", "Cole turns a corner and comes to a dead stop. He turns white as\n\the stares at an open CRAWL SPACE CLOSET a few feet away. Cole's", "INT. LYNN'S BEDROOM - NIGHT\n\n\tCole stands in the doorway to his mother's bedroom. He looks\n\tover the room carefully. Everything is still.", "COLE\n\t\tThey scare me too sometimes.\n\n\t\t\t LYNN\n\t\tThey?\n\n\t\t\t COLE\n\t\tDead people.", "Cole begins surveying the room again. Beat. His eyes finally\n\tcome to rest on a plant seated in the corner. He stares at it..." ], [ "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "Cole's expression changes back to sadness as he looks to the\n\twindows. Malcolm leans across the table and whispers.\n\n\t\t\t MALCOLM\n\t\tCole...", "COLE\n\t\tAll the time. They're everywhere.\n\t\t\t(beat)\n\t\tYou won't tell anyone my secret,\n\t\tright?\n\n\tBeat.", "Cole doesn't say a word.\n\n\t\t\t LYNN\n\t\t\t(crying)\n\t\tPlease.\n\n\t\t\t\t\t\t\tCUT TO:", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "Cole is crying now.\n\n\tCole wipes his eyes with his sleeve. They sit quietly and stare\n\tat each other. Beat.\n\n\tCole whispers.", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "Cole looks up. An anxious expression on his face. Beat.\n\n\t\t\t LYNN\n\t\tYou got something you want to\n\t\tconfess?", "Lynn comes out. She reaches Cole -- kneels down in front of him.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tHow was school, baby?", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "Cole shrugs.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tYou know, you can tell me things if\n\t\tyou need to.", "EVERYTHING THAT'S SAID FROM THIS POINT ON IS WHISPERED.\n\n\t\t\t COLE\n\t\tI want to tell you my secret now.", "Cole doesn't respond. Beat.\n\n\t\t\t LYNN\n\t\t\t(whispers)\n\t\tWell, you know what I did today?", "Cole begins to back away...\n\n\tThe father gazes at Cole as he melts into the crowd. Cole\n\treaches Malcolm and the two then slip out of the house.", "Lynn looks over slowly. She doesn't see anything outside his\n\twindow. She eyes Cole.\n\n\t\t\t LYNN\n\t\tCole, you're scaring me.", "Beat.\n\n\t\t\t COLE\n\t\tI know.\n\n\t\t\t\t\t\t\tCUT TO:", "Cole takes a step. Malcolm opens his eyes. He looks right at\n\tCole.", "Malcolm calls to Cole under his breath.\n\n\t\t\t MALCOLM\n\t\tCole--\n\n\t\t\t MR. MARSCHAL\n\t\tWhat's going on there?", "Cole looks up from his soldiers. Malcolm stares at the far side\n\tof the street.\n\n\tCole taps his foot twice.\n\n\t\t\t\t\t\t\tCUT TO:", "Beat.\n\n\t\t\t COLE\n\t\tShe wanted me to tell you--\n\n\t\t\t LYNN\n\t\t\t(soft)\n\t\tCole, please stop." ], [ "His eyes move to her face... One wisp of hair falls over her\n\tsoft lips. OUTLINED IN THE SOFT READING LIGHT, Anna Crowe truly\n\tlooks like an angel.", "Malcolm smiles at Anna.\n\n\t\t\t MAN'S VOICE (o.s.)\n\t\tI thought you'd want to get out.\n\t\tYou've been kind of down.", "Anna smiles as she moves to his desk. Sean begins to tear off\n\tthe wrapping paper like a kid at Christmas.", "Malcolm looks at Anna surprised at what he said. They crack up\n\tlaughing. THEIR SWEET LAUGHTER FILLS THE HOUSE.\n\n\t\t\t\t\t\t\tCUT TO:", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "Anna ignores Malcolm and clears her throat. She leans forward\n\ther seat and reads the certificate out loud as Malcolm tries to\n\ttickle her.", "Anna's expression becomes serious.\n\n\n\t\t\t MALCOLM\n\t\tWhat?\n\n\tShe just keeps staring. Beat.", "Anna laughs. Sean holds up a weathered hardback copy of \"THE\n\tGREAT GATSBY.\" Beat.\n\n\t\t\t ANNA\n\t\tIt's a first edition.", "Anna Crowe moves for the staircase in a hurry. Each step faster\n\tthan the next. She climbs out of the basement in another burst\n\tof LIGHT, QUICK FOOTSTEPS.", "Anna lets go of his hands. Anna's eyes are emotional. Malcolm\n\tsmiles softly.\n\n\t\t\t MALCOLM\n\t\tThank you.", "The stranger suddenly comes forward into the doorway. Malcolm\n\tstumbles back onto the edge of the bed.\n\n\tAnna sees the stranger for the first time. Her face drains of\n\tcolor.", "Malcolm steps into the bathroom quietly. He stares at the\n\tsilhouette of Anna's body through the smoked glass of the shower.\n\tAnna stands still, her head tilted back.", "That makes Anna turn back. She glances across the table, then\n\tlooks down.", "Malcolm looks to Anna's face and becomes very still. Beat.", "Anna lays still.\n\n\t\t\t ANNA\n\t\tGoodnight, Malcolm.\n\n\t\t\t MALCOLM\n\t\tGoodnight, sweetheart.", "Malcolm plays softly with her face. Anna takes his hands and\n\tholds them steady.", "Anna stirs sugar in her coffee as Malcolm sits in the seat across\n\tfrom her. She gently stops stirring, but doesn't look up. Beat.", "Confusion washes over his face. He looks to Anna's hand... An\n\tidentical gold wedding ring sits on her finger.", "Anna rushes across the room to a crumpled Malcolm laying on the\n\tfloor. Malcolm's hands are clutched at his side.", "Beat. The young man and the young woman gaze at Anna silently.\n\n\tThey look down at the ring. They place their hands on it\n\treverently, delicately -- like checking for a pulse." ], [ "Vincent's eyes burn at Malcolm.\n\n\t\t\t VINCENT\n\t\tYou forgot cursed.\n\n\tVINCENT is fully crying now.", "Vincent Gray. I was treating a\n\t\tcouple, Donald and Robin Wagner,\n\t\twho had lost their child to", "MALCOLM\n\t\tI do remember you, Vincent. You\n\t\twere a good kid. Very smart...\n\t\tQuiet... Compassionate...\n\t\tUnusually compassionate...", "Vincent turns to the sink. His hand goes in. He turns arund and\n\traises a gun at Malcolm. He FIRES. A VIOLENT, EAR-SHATTERING", "in those fifteen minutes. But I\n\t\tnow believe Vincent tried to tell\n\t\tme something, show me something and\n\t\tI didn't listen.", "VINCENT\n\t\t\t(on tape)\n\t\tOkay.", "MALCOLM\n\t\t\t(on tape)\n\t\tVincent... Why are you crying?\n\t\t\t(beat)\n\t\tVincent?", "MALCOLM\n\t\t--Vincent?\n\n\tTHE ROOM GOES SILENT AGAIN.\n\n\t\t\t MALCOLM\n\t\tVincent Gray?", "And then we see what he's staring at. Through Cole's hospital\n\troom window we see the adjacent wing of the hospital building.", "VINCENT GRAY stares with surprise through his tears.\n\n\tMalcolm lets out a deep breath like he just emerged from deep\n\twaters.", "VINCENT\n\t\t\t(on tape)\n\t\tYou won't believe.\n\n\t\t\t MALCOLM\n\t\t\t(on tape)\n\t\tI won't believe what?", "COLE\n\t\tDr. Crowe?\n\n\t\t\t MALCOLM\n\t\tYes.\n\n\t\t\t COLE\n\t\tYou believe me, right?", "Vincent instantly moves the gun to his own head. ANOTHER\n\tHORRIFIC BLAST SPIKES THE AIR. Vincent crumples onto the\n\tbathroom floor.", "A long pause.\n\n\t\t\t COLE\n\t\tDr. Crowe, you believe my secret,\n\t\tright?\n\n\tThey both just stare.", "Malcolm and Cole just stare at each other.\n\n\t\t\t COLE\n\t\tI forgot your name.\n\n\t\t\t MALCOLM\n\t\tDr. Crowe.", "MALCOLM\n\t\t\t(on tape)\n\t\tWhat happened?\n\t\t\t(beat)\n\t\tDid something upset you?\n\n\tBeat. VINCENT SNIFFLES.", "COLE\n\t\tDr. Crowe.\n\n\t\t\t MALCOLM\n\t\tYes.", "That's the only way I know how to\n\t\twork.\n\t\t\t(beat)\n\t\tVincent said I failed him.", "The villagers rise and rush to Cole. They scoop him up and carry\n\thim around the stage in celebration. Cole chuckles and then", "MALCOLM\n\t\t\t(whispers)\n\t\tVincent... I'm sorry I didn't help\n\t\tyou... I can try to help you now." ], [ "Kyra climbs in bed and pretends to be sleeping when the door\n\topens. It's Mrs. Collins. She carries in a tray of soup and a\n\tsandwich.\n\n\tLIVING ROOM", "KYRA\n\t\t\t(video tape)\n\t\tI'm feeling much better now.\n\n\tThe image of the mother smiles.", "Kyra picks up the spoon and takes a sip. Her face crinkles at\n\tthe taste. She looks up at her mother.", "Kyra slowly brings the spoon to her mouth and swallows another\n\tspoonful.", "Cole looks down and finds his mother laying in her bed. Her face\n\tcontorted in deep sadness as she speaks in her sleep.", "Cole slowly looks over to his mother. He finds her staring at\n\thim in complete and utter disbelief. Her hands clutch the wheel.\n\tThe whites of her knuckles showing her fear. She has no idea why\n\the screamed.", "FOUR YEAR OLD\n\t\tKyra's not coming back.\n\n\tBeat.\n\n\t\t\t COLE\n\t\tNot anymore.", "MRS. COLLINS\n\t\t\t(video tape)\n\t\tKyra, time for lunch.\n\n\tKyra pretends to wake from a deep sleep.", "Malcolm watches everything anxiously.\n\n\tCole stares at Mr. Collins.\n\n\t\t\t COLE\n\t\tAre you Kyra's daddy?", "He walks towards it. Reaches down and slowly pulls the sheet off\n\tthe figure. The girl vomits one more time before looking up at\n\tCole.", "The person turns. It's not Lynn. It's a strange woman. The\n\twoman's face is demented. A purple gash cuts across her", "He takes a seat across from her. He looks at his wife and\n\tsuddenly becomes very still.\n\n\tAnna's still curled up asleep, but tears are falling from her\n\tshut eyes.", "The image of the mother prepares the meal. She uncovers the\n\tfruit and the soup. Places a straw into the drink.\n\n\tAnd then it happens.", "FOOTSTEPS SPIKE THE AIR AS children and mothers come running down\n\tthe hall. Lynn is one of them.\n\n\tDarren's mother turns the corner.", "I don't think it's the mother.\n\t\tJust a gut thing. The way she\n\t\tdeals with him. It doesn't fit.", "The stranger suddenly comes forward into the doorway. Malcolm\n\tstumbles back onto the edge of the bed.\n\n\tAnna sees the stranger for the first time. Her face drains of\n\tcolor.", "Lynn and Darren's mom rush to the door and turn the knob... The\n\tdoor flies open. Lynn reaches in and pulls out Cole. He's\n\tUNCONSCIOUS.", "The room is thick with mourners. Most are gathered around the\n\tGIRL'S MOTHER, a young woman in her late twenties. As she moves", "Lynn turns -- surprised to hear her son's voice. Lynn's eyes are\n\tred from crying. She wipes them quickly with the back of her\n\thand.", "Curled up next to him is Sebastian. They sleep surrounded by\n\tstatues and pictures.\n\n\tCole's eyes open as he hears HIS MOTHER'S DISTANT VOICE." ] ]

[ "What is the name of Dr. Crowe's wife?", "Who shoots Dr. Crowe?", "Who is patient that Dr. Crowe feels he has to help to get his life back together? ", "Who old is Cole?", "Who is the first ghost that Cole decides to help?", "What did Kyra's mother do to her? ", "What was Kyra a victim of? ", "When does Cole recommend that Dr. Crowe try to speak to his wife? ", "What does Dr. Crowe finally realize about Vincent shooting him? ", "Who is a child psychologist in Philadelphia?", "Who appears in Crowe's bathroom?", "What does Victor do after shooting the doctor?", "Who is Cole's mother?", "What secret does Cole end up telling Crowe about?", "Why does Crowe think Cole and Vincent are similar?", "What did Kyra help Cole and Crowe to find at her home during the funeral?", "When does Cole finally tell his mother about his secret?", "Who realizes that he is actually dead?", "What causes Cole's mother concern?", "Who does Crow believe he failed?", "Who does Vincent shoot?", "Who does Cole see next to his car?", "How does Cole prove to his mother that he can see dead people?", "When does Cole tell Crowe to go talk to Anna?", "What happens when Crowe and Anna interact?", "Why did Crowe treat Vincent?", "Who is Kyra's mother's next victim expected to be?" ]

[ [ "Anna", "Anna" ], [ "Vincent Grey", "Vincent Grey" ], [ "Cole Sear", "Cole Sear. " ], [ "Nine years old", "9" ], [ "Kyra Collins", "kyra" ], [ "She put cleaning fluid in her soup", "Intentionally make her sick which ended up killing her" ], [ "Munchausen syndrome", "Munchausen syndrome by proxy." ], [ "When she is asleep", "When she is sleeping." ], [ "That Vincent actually killed him", "That he died when he was shot. " ], [ "Dr. Malcolm Crowe", "Dr. Malcolm Crowe." ], [ "Vincent Grey", "Vincent Grey." ], [ "He kills himself", "kills himself" ], [ "Lynn", "Lynn" ], [ "He sees dead people", "He sees dead people " ], [ "They may have had the same ability to see dead people", "Because their cases and hallucinations are similar. " ], [ "A videotape", "A videotape" ], [ "While stuck in a traffic jam", "When they were stuck in a traffic jam." ], [ "Crowe", "Malcolm Crowe" ], [ "She sees signs of physical abuse", "His social stamina." ], [ "Vincent", "Because his former patient Vincent kills himself" ], [ "Crowe and then himself", "Crowe and himself. " ], [ "A dead cyclist ", "The person that was killed in a car accident" ], [ "By discussing events that had occured between her and her mother", "By telling her his dead grandmother speaks to him." ], [ "In her sleep", "when she is sleeping" ], [ "There is barely any interaction", "Crowe realizes he was a ghost all along." ], [ "Childhood hallucenations", "To rectify his failure of another patient" ], [ "Her sister", "Kyra's younger sister" ] ]

27ad3a0a84489109ca5d3cc4bf3b8b74a7b8ed9a

train

[ [ "WELL-DRESSED BUREAUCRAT\n Dr. Kelvin?\n\nThe Man he is addressing, who we now understand is CHRIS\nKELVIN, stares back at him.", "SARTORIUS\n (incredulous)\n Who, here, could possibly care what\n you want? At best, you're Employee", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "SARTORIUS\n Gibarian was helpless. It's very\n simple: Man created the science\n that resulted in the discovery of\n Solaris, and the ship that brought\n us here.", "Gibarian stares at the camera for a long moment before\nswitching it off and ending the transmission.\n\nKelvin sits back.\n\nThe visitors exchange glances.", "Kelvin registers it, then moves to the corner of the room\nwhere the computer terminal rests. Within moments he has\ndiscovered Gibarian has recorded a video message for him to\nreplay.\n\nVIDEO", "Kelvin gets his bearings and looks around, but sees no sign\nof life.\n\n CUT TO:\n\nINT. CORRIDOR\n\nEmpty.", "SARTORIUS\n YOU ARE NOT HUMAN! Try to\n understand that if you can\n understand anything!\n\nKelvin is within an inch of his face.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "The intercom comes to life.\n\n SNOW\n Kelvin, you awake?\n\n KELVIN\n What is it?", "to the planet Earth. This is\n hilarious: He thinks it's God, but\n he wants it to sit still for a\n photograph so he can show the folks", "They smile at this. Rheya's smile fades before Kelvin's.\n\n RHEYA\n Sartorius wants to destroy it.", "SARTORIUS\n I suggest we pool our knowledge\n regarding the... visitors. We can\n express whatever questions or\n conclusions we might have... share\n information about our various...\n experiments. Agreed?", "CUT TO:\n\nINT. PROMETHEUS", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:", "Snow and Sartorius wait for Kelvin.\n\n SNOW\n He won't do it.\n\n SARTORIUS\n Why do you say that?", "Sartorius cracks the door open and slithers through the slit\nand into the hallway. He is of obvious intelligence and not", "He opens the door of a pod and indicates for her to enter. \nShe is unsure.\n\n KELVIN\n Go ahead. I'll close the door\n behind me.", "Close on Kelvin. We hold on him a long time, as a myriad of\nreadouts scroll and flash across his face. A slit of\nsunlight glides slowly through frame." ], [ "Sartorius cracks the door open and slithers through the slit\nand into the hallway. He is of obvious intelligence and not", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:", "If he is not entirely surprised it is because he has\nobviously dreamed of Rheya before. He looks at her, simply.\n\nRHEYA\n\nStands and makes her way to Kelvin.", "Hearing his name spoken by her (and those particular words,\nperhaps) nearly causes Kelvin to scream.\n\nHe stands and moves to the chair. Rheya watches him.", "Satisfied, he begins to walk away but is stopped by the\nsounding of a CRASHING GLASS from within. He hears footsteps\napproach the door, and then a fierce POUNDING.", "A FIGURE, seated with its back to the door, turns to see\nKelvin enter. This is SNOW. He looks Kelvin up and down,\nhis expression wary and alert.", "SARTORIUS\n Why did you agree to come here?\n\nA beat.\n\n SARTORIUS\n Too tired to answer?", "When the car is alongside him, a darkened window turns\ntransparent and we see a WELL-DRESSED BUREAUCRAT in the rear\nseat. His demeanor is pleasant and professional.", "Kelvin moves toward him. Sartorius just lets him come.\n\n RHEYA\n (to Sartorius)\n You're the coward.", "Snow and Sartorius wait for Kelvin.\n\n SNOW\n He won't do it.\n\n SARTORIUS\n Why do you say that?", "WELL-DRESSED BUREAUCRAT\n Dr. Kelvin?\n\nThe Man he is addressing, who we now understand is CHRIS\nKELVIN, stares back at him.", "Opens the door. He cannot speak.\n\nRHEYA\n\nRises and moves toward him.\n\nThey embrace.", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "Finally, he steps forward and presses the button to open the\ndoor.\n\nRHEYA", "KELVIN\n Go ahead.\n\nSartorius begins.", "He opens the door of a pod and indicates for her to enter. \nShe is unsure.\n\n KELVIN\n Go ahead. I'll close the door\n behind me.", "RHEYA\n When?\n\n KELVIN\n Last night. You were talking to\n someone in the corridor.", "He doesn't look up.\n\n KELVIN\n Yes.\n\nA beat.\n\n KELVIN\n I need to see Snow.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "KELVIN\n He spoke to me.\n\nKelvin leaves the room. After a few beats, Rheya follows.\n\nINT. LAB" ], [ "KELVIN\n Go ahead.\n\nSartorius begins.", "They smile at this. Rheya's smile fades before Kelvin's.\n\n RHEYA\n Sartorius wants to destroy it.", "SARTORIUS\n Why did you agree to come here?\n\nA beat.\n\n SARTORIUS\n Too tired to answer?", "RHEYA\n He has a point.\n\n KELVIN\n He does have a point. That's just\n not the way I'd like to see it\n proven.", "KELVIN\n He spoke to me.\n\nKelvin leaves the room. After a few beats, Rheya follows.\n\nINT. LAB", "Kelvin looks around.\n\n KELVIN\n She'll come back.\n\n SARTORIUS\n No, she won't.", "Sartorius cracks the door open and slithers through the slit\nand into the hallway. He is of obvious intelligence and not", "He nods, and they smile. They seem to be rooting for each\nother. After an extended pleasurable moment, Rheya leans\nover and whispers in his ear. He listens, then leans back\nand looks at her.", "Snow and Sartorius wait for Kelvin.\n\n SNOW\n He won't do it.\n\n SARTORIUS\n Why do you say that?", "Hearing his name spoken by her (and those particular words,\nperhaps) nearly causes Kelvin to scream.\n\nHe stands and moves to the chair. Rheya watches him.", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "KELVIN\n Meaning Man can do whatever the\n fuck it wants?\n\n SARTORIUS\n Yes.\n\n KELVIN\n That's fantastic.", "SARTORIUS\n YOU ARE NOT HUMAN! Try to\n understand that if you can\n understand anything!\n\nKelvin is within an inch of his face.", "SARTORIUS\n I suggest we pool our knowledge\n regarding the... visitors. We can\n express whatever questions or\n conclusions we might have... share\n information about our various...\n experiments. Agreed?", "lives, thinks, and acts. We are\n dealing with a living creature\n here, no question. And it's done\n something we've never been able to", "to the planet Earth. This is\n hilarious: He thinks it's God, but\n he wants it to sit still for a\n photograph so he can show the folks", "Kelvin moves toward him. Sartorius just lets him come.\n\n RHEYA\n (to Sartorius)\n You're the coward.", "KELVIN\n Get out of here.\n\nSlowly, carefully, Sartorius grasps Kelvin by the shoulders. \nThen he leans in and whispers in Kelvin's ear:", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:" ], [ "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "to the planet Earth. This is\n hilarious: He thinks it's God, but\n he wants it to sit still for a\n photograph so he can show the folks", "He doesn't know.\n\n CUT TO:\n\nEXT. SOLARIS\n\nTurning slowly.", "Sartorius is losing the battle with whomever or whatever is\non the other side of his door.\n\n KELVIN\n They shouldn't let people like you\n into space.", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of", "A beat.\n\n CUT TO:\n\nEXT. SOLARIS\n\nTurning, slowly.\n\n CUT TO:", "And we realize we are now looking at the surface of Solaris.\n\n FADE OUT.", "CUT TO:\n\nEXT. SPACE\n\nA shot hovering over the surface of Solaris.\n\nINT. KELVIN'S ROOM", "SARTORIUS\n If it continues, it will implode\n from its own weight and turn into a\n black hole in about four hours and\n pulls us in with it.\n\nINT. FLIGHT DECK", "SARTORIUS\n Gibarian was helpless. It's very\n simple: Man created the science\n that resulted in the discovery of\n Solaris, and the ship that brought\n us here.", "CUT TO:\n\nINT. SPACE CAPSULE", "No response. He exhales and types on a keyboard.\n\nEXT. SPACE\n\nThe Athena 7, sporting a DBA logo, advances toward the\nPrometheus.", "CUT TO:\n\nEXT. SOLARIS\n\nStill turning, slowly.\n\nBut something about its appearance is different.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "Gibarian stares at the camera for a long moment before\nswitching it off and ending the transmission.\n\nKelvin sits back.\n\nThe visitors exchange glances.", "EXT. SPACE\n\nSilence.\n\nThe Prometheus moves away from Solaris.\n\nCLOSER ON SOLARIS\n\nAfter the ship has gone.", "Sartorius to return to Earth, but\n as they currently view me as an\n intruder of sorts, this may take\n some time.", "EXT. SPACE\n\nSolaris. Quiet, but still active somehow." ], [ "KELVIN (V.O.)\n The Prometheus, as far as I can\n tell, is functionally intact. Crew\n status: One dead, Gibarian. Cause\n of death appears to be suicide.", "Only now the three officials are Snow, Sartorius, and\nGibarian.\n\nINT. KELVIN'S ROOM (PROMETHEUS)\n\nKelvin, transfixed.", "Kelvin stares at Gibarian's body, which is lying under a\nsheet in the ship's operating room. Also under the sheet,\nnext to Gibarian: The Young Girl.", "Kelvin and Rheya sit together in the Prometheus. Rheya\ncontinues her story without a beat.", "INT. CABIN - DAY\n\nKelvin sits in his chair, as he did at the beginning, with\nthe three officials from DBA behind him.", "SARTORIUS\n If it continues, it will implode\n from its own weight and turn into a\n black hole in about four hours and\n pulls us in with it.\n\nINT. FLIGHT DECK", "And we realize we are now looking at the surface of Solaris.\n\n FADE OUT.", "CUT TO:\n\nINT. SPACE CAPSULE", "Kelvin and Sartorius get the ship ready for take off.\n\n KELVIN\n Where's Snow? Did you call him?", "Close on Kelvin. We hold on him a long time, as a myriad of\nreadouts scroll and flash across his face. A slit of\nsunlight glides slowly through frame.", "An uncomfortably long moment as we realize she is actually\nnot going to wake up.\n\n KELVIN\n She's dead.\n\nSnow says nothing.\n\nThen:", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of", "EXT. SPACE\n\nSilence.\n\nThe Prometheus moves away from Solaris.\n\nCLOSER ON SOLARIS\n\nAfter the ship has gone.", "CUT TO:\n\nINT. CABIN - DAY", "INT. PROMETHEUS\n\nComplete chaos.\n\nKelvin is chasing Sartorius to the flight deck.", "Her face contorted in confusion, watches through the pod\nwindow as the docking bay doors close in front of her with a\nbrutal finality.\n\nKELVIN", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "KELVIN\n Interviews with the surviving\n members and a perusal of the\n deceased's personal effects", "KELVIN\n Yes.\n\n CUT TO:\n\nINT. B DECK CONFERENCE ROOM" ], [ "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "INT. APARTMENT - DAY\n\nKelvin holds the dead Rheya.\n\nKELVIN (ON PROMETHEUS)\n\nSqueezing her.", "Rheya's body is on the floor of the kitchen.\n\nRHEYA (ON PROMETHEUS)\n\nShe is looking at Kelvin. He is dreading this.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "Reveals that Rheya is not sitting on the train -- she is\nsitting in Kelvin's room on the Prometheus, right now.\n\nShe is staring at Kelvin and she is ethereal in her\nstillness.", "SARTORIUS\n Rheya is dead. She's a copy. A\n facsimile. And she's seducing you", "Rheya enters, looks around. She spots Kelvin, who has\nalready spotted her. Their expressions indicate they are\npleased to see each other again. He approaches her, and they\nstare at each other a long time, until:", "RHEYA\n Yes.\n\nHe looks at her.\n\n KELVIN\n Where did you come from?", "RHEYA (ON PROMETHEUS)\n\nExperiencing this all over again. Kelvin comes and sits in\nfront of her.\n\nINT. APARTMENT - DAY", "RHEYA\n Don't. I'm the one at risk here. \n If we're playing out what happened\n before, I won't survive.\n\nHe goes to her.", "INT. KELVIN'S ROOM\n\nA long, held shot of Rheya, crying. She is curled up,\nretreating into herself. Kelvin is trying to console her.", "Kelvin puts Rheya on the bed. Her face and throat have\nreturned to normal, but she is not breathing. Kelvin goes", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nKelvin, thinking. He gives Rheya some pills to take. She\njust looks at them.", "Opens the door. He cannot speak.\n\nRHEYA\n\nRises and moves toward him.\n\nThey embrace.", "Rheya's wounds have HEALED; in fact, they are HEALING in\nfront of us.\n\nShe looks up at him and doesn't like the look on his face.", "Rheya crying as she embraces Kelvin.\n\n RHEYA\n I'm so sorry. I'm so sorry.", "She looks away.\n\n RHEYA\n I know that you loved me, Chris. I\n know that.\n (beat)\n I love you.\n\nKelvin breaks down.", "Rheya lingers behind Kelvin, who is looking at Gibarian's\nbody.\n\nIt is there, alone on its slab; even the Young Girl is not\nwith him.", "RHEYA\n Did you hear what Gibarian said? \n I'm not a human being. I'm an" ], [ "They smile at this. Rheya's smile fades before Kelvin's.\n\n RHEYA\n Sartorius wants to destroy it.", "GIBARIAN\n You're being tricked. Sartorius\n picked a fight with you to avoid\n telling you about his idea for", "Kelvin registers it, then moves to the corner of the room\nwhere the computer terminal rests. Within moments he has\ndiscovered Gibarian has recorded a video message for him to\nreplay.\n\nVIDEO", "SARTORIUS\n Rheya is dead. She's a copy. A\n facsimile. And she's seducing you", "threatening to break apart. It sounds like a plane is\ncrashing in Kelvin's room -- no human could create this kind\nof cacophony.", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:", "Rheya lingers behind Kelvin, who is looking at Gibarian's\nbody.\n\nIt is there, alone on its slab; even the Young Girl is not\nwith him.", "Gibarian stares at the camera for a long moment before\nswitching it off and ending the transmission.\n\nKelvin sits back.\n\nThe visitors exchange glances.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "RHEYA\n He has a point.\n\n KELVIN\n He does have a point. That's just\n not the way I'd like to see it\n proven.", "Kelvin registers this.\n\n GIBARIAN\n What I'm saying is: Don't trust\n anyone. Find yourself a weapon of\n some sort.", "As we saw him before, sitting in the chair. But we didn't\nhear him say this before:\n\n GIBARIAN\n If they succeed, you'll never see\n her again.", "getting rid of the visitors. He's\n figured out they're made of\n subatomic particles called\n neutrinos, and he's going to create", "Sartorius rotates and zips back into his room. As the door\ncloses Kelvin sees a flash of ANOTHER FIGURE in Sartorius'", "SARTORIUS\n YOU ARE NOT HUMAN! Try to\n understand that if you can\n understand anything!\n\nKelvin is within an inch of his face.", "KELVIN (V.O.)\n You killed her!\n\n SARTORIUS (V.O.)\n Not her. It.\n\n CUT TO:", "lives, thinks, and acts. We are\n dealing with a living creature\n here, no question. And it's done\n something we've never been able to", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM" ], [ "Kelvin looks around.\n\n KELVIN\n She'll come back.\n\n SARTORIUS\n No, she won't.", "Snow and Sartorius wait for Kelvin.\n\n SNOW\n He won't do it.\n\n SARTORIUS\n Why do you say that?", "She finishes making her drink, drinks it, and walks out the\ndoor.\n\nKelvin stands in the doorway for a beat, then pivots and\nreturns to bed. The light goes out.", "lives, thinks, and acts. We are\n dealing with a living creature\n here, no question. And it's done\n something we've never been able to", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Finally, he steps forward and presses the button to open the\ndoor.\n\nRHEYA", "They smile at this. Rheya's smile fades before Kelvin's.\n\n RHEYA\n Sartorius wants to destroy it.", "(beat)\n Whether you've been sent here to\n make me happy or punish me, it\n doesn't matter. The decision we", "An uncomfortably long moment as we realize she is actually\nnot going to wake up.\n\n KELVIN\n She's dead.\n\nSnow says nothing.\n\nThen:", "KELVIN (V.O.)\n You killed her!\n\n SARTORIUS (V.O.)\n Not her. It.\n\n CUT TO:", "Looking from the doorway, notes this. He doesn't seem\nsurprised, though.\n\n KELVIN (V.O.)\n I don't believe it will happen.", "KELVIN (V.O.)\n Is this what it means to die?\n (beat)\n Am I in the moment of my own death?\n (beat)\n Is this the last thought I will\n ever have?", "(beat, the smile fades)\n I still have a little time, and I\n want to tell you something. To\n warn you. By now you know about", "It takes her a moment to realize she shouldn't be seeing him;\nshe shouldn't be seeing anything. She should be dead.\n\nShe begins to cry.", "KELVIN\n Meaning Man can do whatever the\n fuck it wants?\n\n SARTORIUS\n Yes.\n\n KELVIN\n That's fantastic.", "Satisfied, he begins to walk away but is stopped by the\nsounding of a CRASHING GLASS from within. He hears footsteps\napproach the door, and then a fierce POUNDING.", "This continues until she gets off the train. Kelvin watches\nher go, and she looks back at him through the window as the\ntrain pulls away.\n\nINT. PARTY - NIGHT", "Close on Kelvin. We hold on him a long time, as a myriad of\nreadouts scroll and flash across his face. A slit of\nsunlight glides slowly through frame.", "And we realize we are now looking at the surface of Solaris.\n\n FADE OUT.", "anything else, then I am insane.\n (beat, smiles)\n You ask questions at the end of\n your life, the sort of questions" ], [ "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "He's thinking: If I can figure out\n how to make it stop, than I am\n smarter than it is, and therefore\n it cannot be God.", "Sartorius cracks the door open and slithers through the slit\nand into the hallway. He is of obvious intelligence and not", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:", "40s, lies on his side in bed, staring at us.\n\nHe has not been sleeping. In fact, judging from his distant\nexpression, he has not slept in ages.", "monologue with itself. Of course\n it was beyond our understanding.\n (beat)\n I've come to hate it here. There's", "Then he gets up and puts two heavy cases on top of the chair,\nand lies back down.\n\nLaughing to himself, he drifts off to sleep.\n\nSilence.", "lives, thinks, and acts. We are\n dealing with a living creature\n here, no question. And it's done\n something we've never been able to", "to the planet Earth. This is\n hilarious: He thinks it's God, but\n he wants it to sit still for a\n photograph so he can show the folks", "Kelvin looks around.\n\n KELVIN\n She'll come back.\n\n SARTORIUS\n No, she won't.", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Breathes a sigh of relief at being home. Everything seems\nslowed down, somehow.\n\n KELVIN (V.O.)\n I though I was home.", "It takes her a moment to realize she shouldn't be seeing him;\nshe shouldn't be seeing anything. She should be dead.\n\nShe begins to cry.", "SARTORIUS\n Gibarian was helpless. It's very\n simple: Man created the science\n that resulted in the discovery of\n Solaris, and the ship that brought\n us here.", "exceed its powers, but it doesn't\n realize it.\n (beat)\n It's created a situation without a", "KELVIN (V.O.)\n I thought it was over.\n\nHe looks around the room. He is alone.\n\nA flashing light on his computer demands attention.", "Snow and Sartorius wait for Kelvin.\n\n SNOW\n He won't do it.\n\n SARTORIUS\n Why do you say that?", "INT. KELVIN'S CABIN - NIGHT\n\nKelvin, in his bed, awake.\n\n KELVIN (V.O.)\n But I will wait, anyway.", "Satisfied, he begins to walk away but is stopped by the\nsounding of a CRASHING GLASS from within. He hears footsteps\napproach the door, and then a fierce POUNDING.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard." ], [ "WELL-DRESSED BUREAUCRAT\n Dr. Kelvin?\n\nThe Man he is addressing, who we now understand is CHRIS\nKELVIN, stares back at him.", "She looks away.\n\n RHEYA\n I know that you loved me, Chris. I\n know that.\n (beat)\n I love you.\n\nKelvin breaks down.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "KELVIN (V.O.)\n Earth.\n (beat)\n What did that word mean to me?\n (beat)\n I have returned. Finally.\n\nKelvin begins to walk.", "Kelvin speaks into a video communication device. As he does,\nwe see images of the things and people he describes.", "The intercom comes to life.\n\n SNOW\n Kelvin, you awake?\n\n KELVIN\n What is it?", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "RHEYA\n Chris, I had to. I had to. I\n didn't think you'd react like this.\n\n KELVIN\n Neither did I.", "Kelvin gets his bearings and looks around, but sees no sign\nof life.\n\n CUT TO:\n\nINT. CORRIDOR\n\nEmpty.", "KELVIN (V.O.)\n You killed her!\n\n SARTORIUS (V.O.)\n Not her. It.\n\n CUT TO:", "RHEYA\n Don't do this. I am literally\n begging you not to do this. Chris.\n\n KELVIN\n You should have told me.", "RHEYA\n You never said you wanted one.\n\n KELVIN\n I never said I didn't.\n\n RHEYA\n Chris --", "We now show this scene being played out on a video monitor,\nwatched by Kelvin.", "Kelvin registers it, then moves to the corner of the room\nwhere the computer terminal rests. Within moments he has\ndiscovered Gibarian has recorded a video message for him to\nreplay.\n\nVIDEO", "CUT TO:\n\nINT. KELVIN'S CABIN (EARTH)\n\nKelvin sits in a chair, looking at:", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nLater. Kelvin is lying down. The lights are out, and he is\ntrying to sleep.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "KELVIN\n I can't stay here.\n\n RHEYA\n Chris, please. Chris, I'm serious. \n I won't make it.", "KELVIN (V.O.)\n I thought it was over.\n\nHe looks around the room. He is alone.\n\nA flashing light on his computer demands attention.", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of" ], [ "She looks out the portal at Solaris.\n\n RHEYA\n Is it a planet?", "EXT. SPACE\n\nSolaris. Quiet, but still active somehow.", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "CUT TO:\n\nEXT. SPACE\n\nA shot hovering over the surface of Solaris.\n\nINT. KELVIN'S ROOM", "A beat.\n\n CUT TO:\n\nEXT. SOLARIS\n\nTurning, slowly.\n\n CUT TO:", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of", "Sartorius to return to Earth, but\n as they currently view me as an\n intruder of sorts, this may take\n some time.", "of the Month for the highest bidder\n in the Solaris auction. They have\n no idea what's going on up here.\n They've never even been in space.", "CUT TO:\n\nINT. SPACE CAPSULE", "EXT. SPACE\n\nSilence.\n\nThe Prometheus moves away from Solaris.\n\nCLOSER ON SOLARIS\n\nAfter the ship has gone.", "to the planet Earth. This is\n hilarious: He thinks it's God, but\n he wants it to sit still for a\n photograph so he can show the folks", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "CUT TO:\n\nEXT. SOLARIS\n\nStill turning, slowly.\n\nBut something about its appearance is different.", "SARTORIUS\n If it continues, it will implode\n from its own weight and turn into a\n black hole in about four hours and\n pulls us in with it.\n\nINT. FLIGHT DECK", "CUT TO:\n\nEXT. SOLARIS\n\nTurning, slowly.\n\n CUT TO:", "He doesn't know.\n\n CUT TO:\n\nEXT. SOLARIS\n\nTurning slowly.", "EXT. SOLARIS\n\nThe fog-shrouded surface, shifting and turning like an ocean.\n\n CUT TO:", "Sartorius is losing the battle with whomever or whatever is\non the other side of his door.\n\n KELVIN\n They shouldn't let people like you\n into space.", "Kelvin's attention is diverted as an orbiting ship, the\nPROMETHEUS, edges into frame.", "SARTORIUS\n What if this thing follows us back\n to Earth? What if what's happening\n here started happening on Earth, on" ], [ "WELL-DRESSED BUREAUCRAT\n Dr. Kelvin?\n\nThe Man he is addressing, who we now understand is CHRIS\nKELVIN, stares back at him.", "KELVIN\n (via intercom)\n Snow! We need you up here.\n\nSnow doesn't reply.\n\n KELVIN\n Snow!", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "Kelvin looks around.\n\n KELVIN\n She'll come back.\n\n SARTORIUS\n No, she won't.", "KELVIN\n My wife.\n\n SNOW\n Dead?\n\nKelvin nods.", "Kelvin moves toward him. Sartorius just lets him come.\n\n RHEYA\n (to Sartorius)\n You're the coward.", "Snow and Sartorius wait for Kelvin.\n\n SNOW\n He won't do it.\n\n SARTORIUS\n Why do you say that?", "KELVIN\n Get out of here.\n\nSlowly, carefully, Sartorius grasps Kelvin by the shoulders. \nThen he leans in and whispers in Kelvin's ear:", "SNOW\n In his lab. He won't let you in.\n\n KELVIN\n (leaving)\n He'll let me in.", "KELVIN\n Listen --\n\n SARTORIUS\n We're done. Oh, I should tell you,\n I don't trust Snow. There's\n something wrong with him.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "KELVIN\n Tell me. I won't think you're\n insane.\n\n SNOW\n Oh, that's a relief.\n\nSnow lies back down.", "KELVIN\n This is my wife, Rheya.\n\nShe looks at Snow and nods. Sartorius she hates instantly,\nand the feeling seems to be mutual.", "Kelvin, staring intently. What he is staring at is Rheya,\nwho is seated across from him. She doesn't see him, yet. \nWhen she does, she locks eyes with his and doesn't look away.", "He doesn't look up.\n\n KELVIN\n Yes.\n\nA beat.\n\n KELVIN\n I need to see Snow.", "SNOW\n I can't talk just now. I'm too\n tired.\n\n KELVIN\n Where's Sartorius?", "KELVIN\n Who are you, then?\n\n RHEYA\n I... I am Rheya. But I am not the\n woman you loved ten years ago.", "KELVIN\n You're talking about a man in a\n white beard again. You're\n ascribing human characteristics to", "KELVIN (V.O.)\n Is this what it means to die?\n (beat)\n Am I in the moment of my own death?\n (beat)\n Is this the last thought I will\n ever have?", "KELVIN\n Rheya, I am not going back. I'm\n staying here with you.\n\n RHEYA\n Then you'll die." ], [ "Gibarian stares at the camera for a long moment before\nswitching it off and ending the transmission.\n\nKelvin sits back.\n\nThe visitors exchange glances.", "KELVIN\n Gibarian. He was here.\n\n RHEYA\n You said he was dead.", "GIBARIAN\n I wish you'd come a little sooner. \n I might not have had to kill\n myself.\n\nHe smiles, looking at Kelvin.", "Kelvin registers it, then moves to the corner of the room\nwhere the computer terminal rests. Within moments he has\ndiscovered Gibarian has recorded a video message for him to\nreplay.\n\nVIDEO", "KELVIN\n Gibarian.\n\n GIBARIAN\n Leave the light off.\n\nA beat. Kelvin tries to get his bearings.", "Rheya lingers behind Kelvin, who is looking at Gibarian's\nbody.\n\nIt is there, alone on its slab; even the Young Girl is not\nwith him.", "Gibarian smiles.\n\nKELVIN\n\nwakes up, gulping air. Rheya, startled:\n\n RHEYA\n What's wrong?", "KELVIN\n He is. But he was here...\n\nHe moves to the chair, looking for some residue of Gibarian,\nsome proof. Finding none:", "INT. KELVIN'S ROOM\n\nKelvin, asleep.\n\n CUT TO:\n\nGIBARIAN", "KELVIN\n Gibarian warned me. He left me a\n message.\n\n SNOW\n Who was it?", "KELVIN\n What's wrong? What happened to\n Gibarian?\n\n SNOW\n He's dead.\n\n KELVIN\n How?", "KELVIN\n What happened to Gibarian?\n\n SARTORIUS\n Didn't you talk to Snow?", "Kelvin stares at Gibarian's body, which is lying under a\nsheet in the ship's operating room. Also under the sheet,\nnext to Gibarian: The Young Girl.", "Kelvin registers this.\n\n GIBARIAN\n What I'm saying is: Don't trust\n anyone. Find yourself a weapon of\n some sort.", "CUT TO:\n\nINT. CONFERENCE ROOM\n\nBefore Kelvin's arrival.\n\nGibarian is talking to Snow and Sartorius.", "GIBARIAN\n (addressing whoever made\n the noise)\n Cut that out. Do you hear me?\n\nGibarian switches off the video.", "KELVIN\n You're not Gibarian...\n\n GIBARIAN\n No? Who am I, then?\n\n KELVIN\n A puppet.", "Kelvin, Rheya, Sartorius, and Snow. They are in the middle\nof a heated discussion.\n\n SNOW\n Gibarian was under enormous --", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "Kelvin is out of bed and speaking into a videophone to Snow. \nRheya is asleep in the background. The room is dark except\nfor the glow of the screen." ], [ "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Kelvin is asleep. Rheya is next to him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "This continues until she gets off the train. Kelvin watches\nher go, and she looks back at him through the window as the\ntrain pulls away.\n\nINT. PARTY - NIGHT", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nLater. Kelvin is lying down. The lights are out, and he is\ntrying to sleep.", "Kelvin lies in bed, his eyes open. Rheya is in his arms.\n\n CUT TO:\n\nINT. APARTMENT - DAY", "Kelvin asleep, alone. Rheya is in the corridor, talking to\nsomeone.\n\nKELVIN\n\nwakes up. Rheya is beside him, asleep.", "Kelvin is out of bed and speaking into a videophone to Snow. \nRheya is asleep in the background. The room is dark except\nfor the glow of the screen.", "INT. KELVIN'S ROOM\n\nTime has passed. Kelvin is asleep.\n\nRHEYA leans into frame and kisses him.", "If he is not entirely surprised it is because he has\nobviously dreamed of Rheya before. He looks at her, simply.\n\nRHEYA\n\nStands and makes her way to Kelvin.", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "Kelvin puts his hand on her forehead.\n\nShe gradually begins to open her eyes. She looks at Kelvin.", "They make love. It's even better than before.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "INT. KELVIN'S ROOM\n\nRheya is asleep. Kelvin is talking to Snow on the\nvideophone.", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Hearing his name spoken by her (and those particular words,\nperhaps) nearly causes Kelvin to scream.\n\nHe stands and moves to the chair. Rheya watches him.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "He passes Kelvin and leaves.\n\nKelvin watches him, then looks at Rheya. She seems dazed.\n\n CUT TO:", "INT. KELVIN'S ROOM\n\nKelvin is asleep. Rheya is next to him.\n\nOffscreen, we hear the door open.", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "CUT TO:\n\nINT. KELVIN'S ROOM" ], [ "Kelvin is yelling at Rheya. We don't hear what he's saying,\nbut judging from her reaction, it's not pleasant. She is\ncrying.", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "He passes Kelvin and leaves.\n\nKelvin watches him, then looks at Rheya. She seems dazed.\n\n CUT TO:", "KELVIN\n He spoke to me.\n\nKelvin leaves the room. After a few beats, Rheya follows.\n\nINT. LAB", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "She looks away.\n\n RHEYA\n I know that you loved me, Chris. I\n know that.\n (beat)\n I love you.\n\nKelvin breaks down.", "Kelvin, still yelling, is packing some things into a\nsuitcase. Rheya, between sobs, pleads with him.\n\nRHEYA (ON PROMETHEUS)", "KELVIN\n You were trying to break down the\n door. Do you know why?\n\n RHEYA\n When I saw you were gone I got\n scared.", "KELVIN\n What's wrong.\n\n RHEYA\n You don't love me.\n\n KELVIN\n Stop.", "RHEYA\n Yes.\n\nHe looks at her.\n\n KELVIN\n Where did you come from?", "KELVIN\n Rheya, I am not going back. I'm\n staying here with you.\n\n RHEYA\n Then you'll die.", "Rheya crying as she embraces Kelvin.\n\n RHEYA\n I'm so sorry. I'm so sorry.", "KELVIN (V.O.)\n I thought it was over.\n\nHe sees Rheya, in the hallway again, talking to someone we\ncan't see.\n\nKELVIN", "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "INT. KELVIN'S ROOM\n\nKelvin and Rheya. She is sobbing, but somewhat calmer.", "RHEYA\n Chris, I had to. I had to. I\n didn't think you'd react like this.\n\n KELVIN\n Neither did I.", "Kelvin moves toward him. Sartorius just lets him come.\n\n RHEYA\n (to Sartorius)\n You're the coward.", "KELVIN\n Let's go home.\n\n RHEYA\n You go home.", "INT. KELVIN'S ROOM\n\nA long, held shot of Rheya, crying. She is curled up,\nretreating into herself. Kelvin is trying to console her." ], [ "Rheya is shaking violently now, as if a rippling rhythmic\nforce were coursing through her. Snow, as he looks\ndispassionately on the two of them:", "Rheya continues her process of \"waking up\" -- it's violent,\neven sexual. She spasms to a peak of some sort, and then\nslowly returns to normal.", "Rheya's wounds have HEALED; in fact, they are HEALING in\nfront of us.\n\nShe looks up at him and doesn't like the look on his face.", "Kelvin, with the dead Rheya in his arms, crying. Beyond him\nis the rain-streaked window. On the floor, by her hand, is", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "Rheya's body is on the floor of the kitchen.\n\nRHEYA (ON PROMETHEUS)\n\nShe is looking at Kelvin. He is dreading this.", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "Rheya is on the ground, convulsing. Beside her is a SMALL\nSTEEL DRUM, which is spilling a strange-looking LIQUID that\nsolidifies and vaporizes with a smoky hiss.", "She looks away.\n\n RHEYA\n I know that you loved me, Chris. I\n know that.\n (beat)\n I love you.\n\nKelvin breaks down.", "Rheya, on the kitchen floor. The bottle of sleeping pills\njust beyond her hand.\n\nBACK ON THE PROMETHEUS", "RHEYA\n Don't. I'm the one at risk here. \n If we're playing out what happened\n before, I won't survive.\n\nHe goes to her.", "RHEYA\n I've decided that if it is God,\n it's a sick God. Its ambitions", "RHEYA\n What am I? Why can't I die?\n\nShe turns away.", "Kelvin puts Rheya on the bed. Her face and throat have\nreturned to normal, but she is not breathing. Kelvin goes", "RHEYA\n (whispering)\n Shhhh. Just stay with me.\n (beat)\n Stay with me. Everything is\n forgiven. Everything.", "Is revealed, covered in blood. She has completely torn the\ninside of the cabin door apart and has badly injured herself\nin the process.\n\n KELVIN\n Rheya...", "RHEYA\n Don't blame them. I begged them to\n do it. It's better this way.\n (beat)", "RHEYA (V.O.)\n \"Though lovers be lost love shall\n not. And death shall have no\n dominion.\"\n\nKelvin wipes the hair from her face.", "INT. APARTMENT - MORNING\n\nRheya, on the floor, dead. Her hand outstretched, a repeat\nof an image we saw earlier.\n\nRain streaks the kitchen window." ], [ "Rheya continues her process of \"waking up\" -- it's violent,\neven sexual. She spasms to a peak of some sort, and then\nslowly returns to normal.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "Kelvin puts Rheya on the bed. Her face and throat have\nreturned to normal, but she is not breathing. Kelvin goes", "RHEYA (V.O.)\n \"Though lovers be lost love shall\n not. And death shall have no\n dominion.\"\n\nKelvin wipes the hair from her face.", "Rheya's wounds have HEALED; in fact, they are HEALING in\nfront of us.\n\nShe looks up at him and doesn't like the look on his face.", "Rheya is shaking violently now, as if a rippling rhythmic\nforce were coursing through her. Snow, as he looks\ndispassionately on the two of them:", "Kelvin, with the dead Rheya in his arms, crying. Beyond him\nis the rain-streaked window. On the floor, by her hand, is", "Rheya's body is on the floor of the kitchen.\n\nRHEYA (ON PROMETHEUS)\n\nShe is looking at Kelvin. He is dreading this.", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "KELVIN\n What are you talking about?\n\n RHEYA\n That I am not Rheya. That Rheya\n died. Killed herself. I'm\n different.", "Rheya is on the ground, convulsing. Beside her is a SMALL\nSTEEL DRUM, which is spilling a strange-looking LIQUID that\nsolidifies and vaporizes with a smoky hiss.", "She looks away.\n\n RHEYA\n I know that you loved me, Chris. I\n know that.\n (beat)\n I love you.\n\nKelvin breaks down.", "RHEYA\n What am I? Why can't I die?\n\nShe turns away.", "Rheya, on the kitchen floor. The bottle of sleeping pills\njust beyond her hand.\n\nBACK ON THE PROMETHEUS", "INT. APARTMENT - DAY\n\nKelvin holds the dead Rheya.\n\nKELVIN (ON PROMETHEUS)\n\nSqueezing her.", "RHEYA\n (whispering)\n Shhhh. Just stay with me.\n (beat)\n Stay with me. Everything is\n forgiven. Everything.", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "SARTORIUS\n Rheya is dead. She's a copy. A\n facsimile. And she's seducing you", "INT. APARTMENT - MORNING\n\nRheya, on the floor, dead. Her hand outstretched, a repeat\nof an image we saw earlier.\n\nRain streaks the kitchen window.", "RHEYA\n Don't. I'm the one at risk here. \n If we're playing out what happened\n before, I won't survive.\n\nHe goes to her." ], [ "Sartorius to return to Earth, but\n as they currently view me as an\n intruder of sorts, this may take\n some time.", "SNOW\n She'll come back, don't worry. But\n then what? My theory is she can\n only live here, that she will die\n if she leaves this ship.", "to the planet Earth. This is\n hilarious: He thinks it's God, but\n he wants it to sit still for a\n photograph so he can show the folks", "EXT. SPACE\n\nSilence.\n\nThe Prometheus moves away from Solaris.\n\nCLOSER ON SOLARIS\n\nAfter the ship has gone.", "SARTORIUS\n Gibarian was helpless. It's very\n simple: Man created the science\n that resulted in the discovery of\n Solaris, and the ship that brought\n us here.", "KELVIN (V.O.)\n Earth.\n (beat)\n What did that word mean to me?\n (beat)\n I have returned. Finally.\n\nKelvin begins to walk.", "world where I used to live... but I\n feel completely and continually out\n of-sync. I am separate. Why did I\n return to Earth and lie about what", "A beat.\n\n CUT TO:\n\nEXT. SOLARIS\n\nTurning, slowly.\n\n CUT TO:", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "SARTORIUS\n What if this thing follows us back\n to Earth? What if what's happening\n here started happening on Earth, on", "SARTORIUS\n If it continues, it will implode\n from its own weight and turn into a\n black hole in about four hours and\n pulls us in with it.\n\nINT. FLIGHT DECK", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "Her face contorted in confusion, watches through the pod\nwindow as the docking bay doors close in front of her with a\nbrutal finality.\n\nKELVIN", "CUT TO:\n\nEXT. SOLARIS\n\nStill turning, slowly.\n\nBut something about its appearance is different.", "He doesn't know.\n\n CUT TO:\n\nEXT. SOLARIS\n\nTurning slowly.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of", "CUT TO:\n\nEXT. SPACE\n\nA shot hovering over the surface of Solaris.\n\nINT. KELVIN'S ROOM", "No response. He exhales and types on a keyboard.\n\nEXT. SPACE\n\nThe Athena 7, sporting a DBA logo, advances toward the\nPrometheus.", "Sartorius is losing the battle with whomever or whatever is\non the other side of his door.\n\n KELVIN\n They shouldn't let people like you\n into space." ], [ "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "He passes Kelvin and leaves.\n\nKelvin watches him, then looks at Rheya. She seems dazed.\n\n CUT TO:", "Kelvin gets his bearings and looks around, but sees no sign\nof life.\n\n CUT TO:\n\nINT. CORRIDOR\n\nEmpty.", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nLater. Kelvin is lying down. The lights are out, and he is\ntrying to sleep.", "Kelvin nods and obeys. He then takes one last look at the\nmonitor to see Snow lying in bed. Kelvin reaches over and\nshuts the monitor off.\n\n CUT TO:", "This continues until she gets off the train. Kelvin watches\nher go, and she looks back at him through the window as the\ntrain pulls away.\n\nINT. PARTY - NIGHT", "Kelvin, with the dead Rheya in his arms, crying. Beyond him\nis the rain-streaked window. On the floor, by her hand, is", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nKelvin, on the edge of his bed. He wants to tear himself\ninside out.", "They make love. It's even better than before.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Kelvin is lying down, looking at the door.\n\nAfter a beat, he turns out the lights and rolls over.\n\n CUT TO:", "KELVIN (V.O.)\n You killed her!\n\n SARTORIUS (V.O.)\n Not her. It.\n\n CUT TO:", "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "KELVIN\n (to Rheya)\n When you cut yourself pounding the\n door, did it hurt?\n\n RHEYA\n Yes.\n (looks around)\n Of course.", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nIn the immediate aftermath of her suicide attempt with the\nliquid oxygen:", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "Hearing his name spoken by her (and those particular words,\nperhaps) nearly causes Kelvin to scream.\n\nHe stands and moves to the chair. Rheya watches him.", "Her finger twitches.\n\nBarely noticeable at first, but growing in intensity. Kelvin\nsees it, and goes to her. She is starting to shake a little,\nas though cold.", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin." ], [ "GIBARIAN\n I wish you'd come a little sooner. \n I might not have had to kill\n myself.\n\nHe smiles, looking at Kelvin.", "KELVIN\n What's wrong? What happened to\n Gibarian?\n\n SNOW\n He's dead.\n\n KELVIN\n How?", "CUT TO:\n\nGIBARIAN\n\nOn his suicide tape:", "GIBARIAN\n You're being tricked. Sartorius\n picked a fight with you to avoid\n telling you about his idea for", "KELVIN\n Gibarian. He was here.\n\n RHEYA\n You said he was dead.", "Gibarian addressing the camera. He appears to be lucid, but\nextremely fatigued.", "Kelvin stares at Gibarian's body, which is lying under a\nsheet in the ship's operating room. Also under the sheet,\nnext to Gibarian: The Young Girl.", "GIBARIAN\n (addressing whoever made\n the noise)\n Cut that out. Do you hear me?\n\nGibarian switches off the video.", "Gibarian stares at the camera for a long moment before\nswitching it off and ending the transmission.\n\nKelvin sits back.\n\nThe visitors exchange glances.", "Gibarian considers this.\n\n SNOW\n We're not even sure it will let us\n leave.\n\n CUT TO:", "Rheya lingers behind Kelvin, who is looking at Gibarian's\nbody.\n\nIt is there, alone on its slab; even the Young Girl is not\nwith him.", "RHEYA\n Did you hear what Gibarian said? \n I'm not a human being. I'm an", "SNOW\n I'm not sure.\n (beat)\n It started with Gibarian. He", "Gibarian smiles.\n\nKELVIN\n\nwakes up, gulping air. Rheya, startled:\n\n RHEYA\n What's wrong?", "GIBARIAN\n You think you're dreaming me, like\n you dream her. Understand\n something: I am the real Gibarian. \n Just a new incarnation.", "ANOTHER VIDEO\n\nThis time, Gibarian alone. Near the end.", "KELVIN\n What happened to Gibarian?\n\n SARTORIUS\n Didn't you talk to Snow?", "INT. GIBARIAN'S ROOM\n\nRansacked.", "GIBARIAN\n Maybe it's stuck. Maybe its power\n isn't that God-like. I mean, we", "As we saw him before, sitting in the chair. But we didn't\nhear him say this before:\n\n GIBARIAN\n If they succeed, you'll never see\n her again." ], [ "KELVIN (V.O.)\n The Prometheus, as far as I can\n tell, is functionally intact. Crew\n status: One dead, Gibarian. Cause\n of death appears to be suicide.", "A beat. Then a shot of Kelvin that we've seen before: Him\nleaving their apartment, angry.\n\nON THE PROMETHEUS\n\nA beat.", "CUT TO:\n\nINT. CORRIDOR - DAY\n\nKelvin walks, exploring the ship. He sees something that\nstops him:", "Kelvin gets his bearings and looks around, but sees no sign\nof life.\n\n CUT TO:\n\nINT. CORRIDOR\n\nEmpty.", "INT. CABIN - DAY\n\nKelvin sits in his chair, as he did at the beginning, with\nthe three officials from DBA behind him.", "KELVIN (V.O.)\n Earth.\n (beat)\n What did that word mean to me?\n (beat)\n I have returned. Finally.\n\nKelvin begins to walk.", "INT. PROMETHEUS\n\nComplete chaos.\n\nKelvin is chasing Sartorius to the flight deck.", "Kelvin and Sartorius get the ship ready for take off.\n\n KELVIN\n Where's Snow? Did you call him?", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nOn the Prometheus. Kelvin is in bed, feverish.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of", "KELVIN\n Yes.\n\n CUT TO:\n\nINT. B DECK CONFERENCE ROOM", "CUT TO:\n\nINT. KELVIN'S CABIN (EARTH)\n\nKelvin sits in a chair, looking at:", "We now show this scene being played out on a video monitor,\nwatched by Kelvin.", "Close on Kelvin. We hold on him a long time, as a myriad of\nreadouts scroll and flash across his face. A slit of\nsunlight glides slowly through frame.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:", "Only now the three officials are Snow, Sartorius, and\nGibarian.\n\nINT. KELVIN'S ROOM (PROMETHEUS)\n\nKelvin, transfixed.", "This idea forces him to rise, and he does, slowly.\n\nINT. CORRIDOR\n\nBehind Kelvin as he somehow keeps moving.", "CUT TO:\n\nINT. DOCKING BAY\n\nKelvin leads Rheya to one of the exploratory pods. They are\nin space suits." ], [ "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "Kelvin is yelling at Rheya. We don't hear what he's saying,\nbut judging from her reaction, it's not pleasant. She is\ncrying.", "He passes Kelvin and leaves.\n\nKelvin watches him, then looks at Rheya. She seems dazed.\n\n CUT TO:", "KELVIN\n He spoke to me.\n\nKelvin leaves the room. After a few beats, Rheya follows.\n\nINT. LAB", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "She looks away.\n\n RHEYA\n I know that you loved me, Chris. I\n know that.\n (beat)\n I love you.\n\nKelvin breaks down.", "RHEYA\n Yes.\n\nHe looks at her.\n\n KELVIN\n Where did you come from?", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "KELVIN (V.O.)\n I thought it was over.\n\nHe sees Rheya, in the hallway again, talking to someone we\ncan't see.\n\nKELVIN", "KELVIN\n I am. Please come with me. I\n don't want to do this here.\n\n RHEYA\n You talk like an actor.", "KELVIN\n You were trying to break down the\n door. Do you know why?\n\n RHEYA\n When I saw you were gone I got\n scared.", "Kelvin moves toward him. Sartorius just lets him come.\n\n RHEYA\n (to Sartorius)\n You're the coward.", "KELVIN\n What's wrong.\n\n RHEYA\n You don't love me.\n\n KELVIN\n Stop.", "KELVIN\n Rheya, I am not going back. I'm\n staying here with you.\n\n RHEYA\n Then you'll die.", "Kelvin, still yelling, is packing some things into a\nsuitcase. Rheya, between sobs, pleads with him.\n\nRHEYA (ON PROMETHEUS)", "Rheya crying as she embraces Kelvin.\n\n RHEYA\n I'm so sorry. I'm so sorry.", "RHEYA\n Chris, I had to. I had to. I\n didn't think you'd react like this.\n\n KELVIN\n Neither did I.", "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "KELVIN\n What are you talking about?\n\n RHEYA\n That I am not Rheya. That Rheya\n died. Killed herself. I'm\n different.", "KELVIN\n You... she said I didn't love her.\n\n RHEYA\n Was she right?" ], [ "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "Kelvin is yelling at Rheya. We don't hear what he's saying,\nbut judging from her reaction, it's not pleasant. She is\ncrying.", "Rheya's body is on the floor of the kitchen.\n\nRHEYA (ON PROMETHEUS)\n\nShe is looking at Kelvin. He is dreading this.", "Kelvin puts Rheya on the bed. Her face and throat have\nreturned to normal, but she is not breathing. Kelvin goes", "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "KELVIN\n What are you talking about?\n\n RHEYA\n That I am not Rheya. That Rheya\n died. Killed herself. I'm\n different.", "RHEYA\n Yes.\n\nHe looks at her.\n\n KELVIN\n Where did you come from?", "Kelvin runs Rheya through a battery of tests and studies the\nresults.\n\n RHEYA\n Am I all right?\n\nA beat.", "Kelvin, with the dead Rheya in his arms, crying. Beyond him\nis the rain-streaked window. On the floor, by her hand, is", "He passes Kelvin and leaves.\n\nKelvin watches him, then looks at Rheya. She seems dazed.\n\n CUT TO:", "Kelvin is still looking at Rheya, who is shaking a little\nharder; it's feeling like a seizure now.", "INT. APARTMENT - DAY\n\nKelvin holds the dead Rheya.\n\nKELVIN (ON PROMETHEUS)\n\nSqueezing her.", "Her eyes fill with tears. Kelvin embraces her.\n\n KELVIN\n I'm sorry. I'm sorry.\n\nRheya is devastated, inconsolable.", "Rheya is shaking much harder now, Kelvin tries to hold her\nstill, but she's too strong. He stands, reluctantly, and\nwatches her.", "Rheya on the kitchen floor, the note in her hand.\n\nKelvin is kneeling over her.\n\n CUT TO:", "INT. KELVIN'S ROOM\n\nKelvin and Rheya. She is sobbing, but somewhat calmer.", "Looks at Rheya, then back to Kelvin.", "KELVIN\n He spoke to me.\n\nKelvin leaves the room. After a few beats, Rheya follows.\n\nINT. LAB", "Rheya enters, looks around. She spots Kelvin, who has\nalready spotted her. Their expressions indicate they are\npleased to see each other again. He approaches her, and they\nstare at each other a long time, until:" ], [ "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "KELVIN (V.O.)\n The Prometheus, as far as I can\n tell, is functionally intact. Crew\n status: One dead, Gibarian. Cause\n of death appears to be suicide.", "Reveals that Rheya is not sitting on the train -- she is\nsitting in Kelvin's room on the Prometheus, right now.\n\nShe is staring at Kelvin and she is ethereal in her\nstillness.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "INT. KELVIN'S ROOM\n\nOn the Prometheus. Kelvin looks over to Rheya.\n\n KELVIN\n Where did you go before?", "KELVIN (V.O.)\n You killed her!\n\n SARTORIUS (V.O.)\n Not her. It.\n\n CUT TO:", "Close on Kelvin. We hold on him a long time, as a myriad of\nreadouts scroll and flash across his face. A slit of\nsunlight glides slowly through frame.", "KELVIN (V.O.)\n Is this what it means to die?\n (beat)\n Am I in the moment of my own death?\n (beat)\n Is this the last thought I will\n ever have?", "An uncomfortably long moment as we realize she is actually\nnot going to wake up.\n\n KELVIN\n She's dead.\n\nSnow says nothing.\n\nThen:", "He opens the door of a pod and indicates for her to enter. \nShe is unsure.\n\n KELVIN\n Go ahead. I'll close the door\n behind me.", "CUT TO:\n\nINT. DOCKING BAY\n\nKelvin leads Rheya to one of the exploratory pods. They are\nin space suits.", "And we realize we are now looking at the surface of Solaris.\n\n FADE OUT.", "INT. PROMETHEUS\n\nComplete chaos.\n\nKelvin is chasing Sartorius to the flight deck.", "Sweating. Struggling. Beyond fear.\n\n KELVIN (V.O.)\n I'm losing my mind.\n (beat)\n I'm breaking apart.", "her and caused her destruction. \n What if I was wrong about\n everything?\n (beat)\n I've come to believe that memory is", "Rheya enters, looks around. She spots Kelvin, who has\nalready spotted her. Their expressions indicate they are\npleased to see each other again. He approaches her, and they\nstare at each other a long time, until:", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "Kelvin stares at Gibarian's body, which is lying under a\nsheet in the ship's operating room. Also under the sheet,\nnext to Gibarian: The Young Girl.", "EXT. SPACE\n\nSilence.\n\nThe Prometheus moves away from Solaris.\n\nCLOSER ON SOLARIS\n\nAfter the ship has gone." ], [ "An uncomfortably long moment as we realize she is actually\nnot going to wake up.\n\n KELVIN\n She's dead.\n\nSnow says nothing.\n\nThen:", "Kelvin gives chase. He sees her turn a corner, but by the\ntime he gets there, she is gone.\n\n CUT TO:\n\nINT. SNOW'S ROOM", "and puts his head to her chest, but doesn't hear what he\nhoped to hear. He stands, still looking at her. Snow seems\nvery detached.", "A beat.\n\n SNOW\n Suicide.\n\nSnow exhales, then looks up as though he's remembered\nsomething.", "KELVIN\n My wife.\n\n SNOW\n Dead?\n\nKelvin nods.", "Kelvin nods and obeys. He then takes one last look at the\nmonitor to see Snow lying in bed. Kelvin reaches over and\nshuts the monitor off.\n\n CUT TO:", "Snow lies down on his bed. Kelvin looks at Sartorius.", "KELVIN\n What's wrong? What happened to\n Gibarian?\n\n SNOW\n He's dead.\n\n KELVIN\n How?", "SNOW\n You'll see her die, that's all. \n They're mortal, despite what she\n told you. She will die. Then what\n will you do?", "A long beat as Kelvin stares at Snow.\n\n KELVIN\n What happened here?\n\nSnow lies back in his bunk.", "Snow is lying on his bunk.\n\n KELVIN\n Is there anybody else here?\n\n SNOW\n (sits up a little)\n Why, who did you see?", "Kelvin, with the dead Rheya in his arms, crying. Beyond him\nis the rain-streaked window. On the floor, by her hand, is", "SNOW\n I got rid of him. I wanted to see\n if... I wanted to be the only one. \n I wanted to be Snow.", "SNOW\n We didn't even get to hear his new\n ideas.\n\nSnow wanders toward the door.\n\n SNOW\n I'm not feeling well.", "SNOW\n I can't talk just now. I'm too\n tired.\n\n KELVIN\n Where's Sartorius?", "SNOW\n Well, when you do go to sleep:\n barricade your door.\n\nSnow rolls over, away from Kelvin.\n\n CUT TO:", "SNOW\n Yes. We heard.\n\nKelvin takes a step forward, and Snow recoils.", "A FIGURE, seated with its back to the door, turns to see\nKelvin enter. This is SNOW. He looks Kelvin up and down,\nhis expression wary and alert.", "SNOW\n I never get used to them, these...\n \"Resurrections\".\n\nHe leaves.", "A voice calls over the intercom: Snow's.\n\n SNOW\n Was her breakfast conversation that\n bad?\n\n KELVIN\n Shut up." ], [ "It takes her a moment to realize she shouldn't be seeing him;\nshe shouldn't be seeing anything. She should be dead.\n\nShe begins to cry.", "threatening to break apart. It sounds like a plane is\ncrashing in Kelvin's room -- no human could create this kind\nof cacophony.", "Is revealed, covered in blood. She has completely torn the\ninside of the cabin door apart and has badly injured herself\nin the process.\n\n KELVIN\n Rheya...", "SARTORIUS\n She reappeared exactly as she had\n before?\n\nKelvin looks at Rheya and nods. She is struck by the word\n\"before\".", "monologue with itself. Of course\n it was beyond our understanding.\n (beat)\n I've come to hate it here. There's", "SARTORIUS\n Rheya is dead. She's a copy. A\n facsimile. And she's seducing you", "A wave of terror is barely suppressed as he puts his hand to\nhis forehead. Rheya opens her eyes.\n\n KELVIN\n Oh, God. I'm awake.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "Someone walks quietly (though not surreptitiously) through\nthe frame and sits.\n\nAfter a long beat, Kelvin bolts upright, his mind struggling\nto clear. When it does:", "her and caused her destruction. \n What if I was wrong about\n everything?\n (beat)\n I've come to believe that memory is", "Maybe now we begin to notice a strange quality to the light\n(or is it the sky?). Something vaguely unsettling.\n\n CUT TO:", "Rheya enters, looks around. She spots Kelvin, who has\nalready spotted her. Their expressions indicate they are\npleased to see each other again. He approaches her, and they\nstare at each other a long time, until:", "Worlds. We want mirrors.\n (beat)\n Maybe we don't need to know what it\n is, or why. Maybe just knowing", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "We stay in a translucent white stage for a few moments, until\ngradually the edges of a circle become apparent in the\ncorners of the frame. Still there is a light rain sound.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "RHEYA\n (thinking)\n Yes. But not until you mentioned\n them. As soon as you said those", "KELVIN\n What are you talking about?\n\n RHEYA\n That I am not Rheya. That Rheya\n died. Killed herself. I'm\n different.", "But there are strange incongruities in the image -- pieces of\nthe Prometheus breaking through; for instance, a few of the\nAUTOMATED TASKMASTERS are crawling along the ground.\n\nKELVIN", "If he is not entirely surprised it is because he has\nobviously dreamed of Rheya before. He looks at her, simply.\n\nRHEYA\n\nStands and makes her way to Kelvin." ], [ "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nKelvin, on the edge of his bed. He wants to tear himself\ninside out.", "CUT TO:\n\nINT. KELVIN'S ROOM", "She knows, intellectually, that he is right. But it doesn't\nmatter.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "KELVIN\n (to Rheya)\n When you cut yourself pounding the\n door, did it hurt?\n\n RHEYA\n Yes.\n (looks around)\n Of course.", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nLater. Kelvin is lying down. The lights are out, and he is\ntrying to sleep.", "threatening to break apart. It sounds like a plane is\ncrashing in Kelvin's room -- no human could create this kind\nof cacophony.", "KELVIN\n Please. Don't.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "KELVIN\n I came back. You have to know\n that. I came back that night.\n\n CUT TO:\n\nINT. APARTMENT - DAY", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "This continues until she gets off the train. Kelvin watches\nher go, and she looks back at him through the window as the\ntrain pulls away.\n\nINT. PARTY - NIGHT", "Kelvin is lying down, looking at the door.\n\nAfter a beat, he turns out the lights and rolls over.\n\n CUT TO:", "KELVIN\n Stay with me.\n (beat)\n Stay with me.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "Hearing his name spoken by her (and those particular words,\nperhaps) nearly causes Kelvin to scream.\n\nHe stands and moves to the chair. Rheya watches him.", "KELVIN\n I don't think it knows it's\n torturing us. It's just watching.\n\n CUT TO:", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nHe is playing back a message sent by Sartorius.", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nKelvin is eating with Rheya. Looking at her. Desiring her.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard.", "Kelvin lies in bed, his eyes open. Rheya is in his arms.\n\n CUT TO:\n\nINT. APARTMENT - DAY" ], [ "He walks across the docking bay to the control room and\nbegins preparations for the pod to be jettisoned.\n\nKELVIN", "CUT TO:\n\nINT. SPACE CAPSULE", "Kelvin, in a space suit, climbs with some difficulty out of\nthe Athena 7, which has come to rest in the DOCKING BAY of", "CUT TO:\n\nINT. DOCKING BAY\n\nKelvin leads Rheya to one of the exploratory pods. They are\nin space suits.", "SARTORIUS\n If it continues, it will implode\n from its own weight and turn into a\n black hole in about four hours and\n pulls us in with it.\n\nINT. FLIGHT DECK", "He opens the door of a pod and indicates for her to enter. \nShe is unsure.\n\n KELVIN\n Go ahead. I'll close the door\n behind me.", "Her face contorted in confusion, watches through the pod\nwindow as the docking bay doors close in front of her with a\nbrutal finality.\n\nKELVIN", "Kelvin and Sartorius get the ship ready for take off.\n\n KELVIN\n Where's Snow? Did you call him?", "In agony as he watches a real-time, beat-by-beat brand of\ntechnological murder take place: Rheya's pod is pushed off\ninto space.\n\nRHEYA", "two months later still. He is looking out his small,\nrectangular window, and for the fist time we cut around to\nsee the approaching planet: SOLARIS.", "EXT. SPACE\n\nSilence.\n\nThe Prometheus moves away from Solaris.\n\nCLOSER ON SOLARIS\n\nAfter the ship has gone.", "Kelvin, now out of his space suit and holding a small\ncarrying case and a duffle bag, moves on.\n\n CUT TO:", "CUT TO:\n\nINT. PROMETHEUS", "Kelvin's attention is diverted as an orbiting ship, the\nPROMETHEUS, edges into frame.", "CUT TO:\n\nEXT. SPACE\n\nA shot hovering over the surface of Solaris.\n\nINT. KELVIN'S ROOM", "She stares up and into the pod. Kelvin watches her go with\ndifficulty and then CLOSES THE DOOR behind Rheya.", "Sartorius is losing the battle with whomever or whatever is\non the other side of his door.\n\n KELVIN\n They shouldn't let people like you\n into space.", "No response. He exhales and types on a keyboard.\n\nEXT. SPACE\n\nThe Athena 7, sporting a DBA logo, advances toward the\nPrometheus.", "EXT. SPACE\n\nSolaris. Quiet, but still active somehow.", "KELVIN\n\nin the same capsule, two months later. He is dictating some\ncoordinates to Earth. He absently scratches his heavy growth\nof beard." ], [ "KELVIN (V.O.)\n Earth.\n (beat)\n What did that word mean to me?\n (beat)\n I have returned. Finally.\n\nKelvin begins to walk.", "We now show this scene being played out on a video monitor,\nwatched by Kelvin.", "Kelvin speaks into a video communication device. As he does,\nwe see images of the things and people he describes.", "Kelvin moves toward him. Sartorius just lets him come.\n\n RHEYA\n (to Sartorius)\n You're the coward.", "Kelvin is asleep. Rheya is crying beside him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "KELVIN\n What are you talking about?\n\n RHEYA\n That I am not Rheya. That Rheya\n died. Killed herself. I'm\n different.", "Kelvin gets his bearings and looks around, but sees no sign\nof life.\n\n CUT TO:\n\nINT. CORRIDOR\n\nEmpty.", "Rheya, as Kelvin brushes past her on his way out. She looks\ndesperate.\n\nINT. KELVIN'S ROOM\n\nRheya and Kelvin.", "Kelvin moves to Rheya and is startled to see that half of her\nface and throat are burned away -- not melted as in a fire,\nbut merely eaten cleanly away. He picks her up.", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nLater. Kelvin is lying down. The lights are out, and he is\ntrying to sleep.", "After a long period of silence, we hear the faint sound of an\ninstrument of some sort hitting the ground. After another\nbeat, Kelvin awakens. He notices that he is alone, and\nsomething tells him that's not a good sign.", "CUT TO:\n\nINT. KELVIN'S ROOM\n\nHe is playing back a message sent by Sartorius.", "Kelvin puts his hand on her forehead.\n\nShe gradually begins to open her eyes. She looks at Kelvin.", "Kelvin asleep, alone. Rheya is in the corridor, talking to\nsomeone.\n\nKELVIN\n\nwakes up. Rheya is beside him, asleep.", "Kelvin lies in bed, his eyes open. Rheya is in his arms.\n\n CUT TO:\n\nINT. APARTMENT - DAY", "He passes Kelvin and leaves.\n\nKelvin watches him, then looks at Rheya. She seems dazed.\n\n CUT TO:", "Kelvin is out of bed and speaking into a videophone to Snow. \nRheya is asleep in the background. The room is dark except\nfor the glow of the screen.", "They make love. It's even better than before.\n\n CUT TO:\n\nINT. KELVIN'S ROOM", "This continues until she gets off the train. Kelvin watches\nher go, and she looks back at him through the window as the\ntrain pulls away.\n\nINT. PARTY - NIGHT", "Kelvin is asleep. Rheya is next to him.\n\n CUT TO:\n\nINT. KELVIN'S ROOM" ] ]

[ "Who is the scientist approached by emmisaries of the corporation?", "Why is the scientist approached?", "What does the scientist ag ree to do?", "What does the scientilst learn when he reaches the space station?", "What are the names of the surviving crew members?", "How does the scientist try to save the replica of his wife Rheya?", "How does Gordon attempt to solve the problem of the replicas?", "In the end what does the scientist decide to do?", "What does scientist decide is his situation?", "What does Dr. Chris Kelvin do?", "What planet is the space station orbiting?", "What is the scientist's name who is friends with Dr. Kelvin?", "Why was Gibarian not answering Kelvin's calls?", "Who does Kelvin dream about?", "Why did Kelvin walk out on Rheya?", "How does Rheya die?", "What happens to Rheya after she dies?", "Why can't the ship return to earth?", "What happens after Kelvin cuts his finger off?", "How does Gibarian die?", "How many crew have survived when Kelvin arrives?", "Why did Kelvin walk out on the real Rheya?", "What did Kelvin do to the first replica Rheya? ", "Out of the two surviving crew members which one admits to being a replica?", "Where is Snow's body found?", "What happens to make the replicas appear?", "What is Kelvin chopping up when he cuts his finger?", "What is the name of the smaller space vehicle that is prepared for escape? ", "Whose son appears as a replica to help Kelvin?" ]

[ [ "Dr, Chris Kelvin is approached.", "Dr. Chris Kelvin" ], [ "He is given a message from his friend to come to the space station.", "To come to the space station and investigate something that is happening. " ], [ "He agrees to do a solo mission and bring the crew home safelly.", "go on a solo mission to Solaris" ], [ "His friend has committed suicide and most of the crew have died or disappeared.", "He learned that Gibarian committed suicide, and most other crew died or disappeared." ], [ "Snow and Gordon are the names of t he survivors.", "Snow and Dr. Gordon" ], [ "He puts her in an escape pod and jettisons it into space.", "He puts her in an escape pod and jettisons her into space." ], [ "He develops an apparatus that will destroy the replicas.", "Creates apparatus to destroy replicas." ], [ "He decides to stay on Solaris.", "stay on the space station" ], [ "That his perception of home away from home could merely be a convenience.", "He and wife have forgiven each other." ], [ "Clinical psychologist", "tries to save the replica of his wife" ], [ "Solaris", "Solaris" ], [ "Dr. Gibarian", "Dr. Gibarian" ], [ "She committed suicide", "he committed suicide" ], [ "Rheya", "His dead wife Rheya" ], [ "She terminated her pregnancy", "She terminated a pregnancy." ], [ "Suicide", "she commits suicide" ], [ "She self-resurrects", "She self-resurrects." ], [ "The ship's fuel cell reactor was drained.", "The fuel cell reactor is drained. " ], [ "It immediately heals", "The wound immediately heals." ], [ "He commits suicide.", "he commits suicide" ], [ "Two", "Two" ], [ "She secretly terminated a pregnancy that made Kelvin walk out on her.", "he discovers Rheya terminated a pregnancy " ], [ "Puts her in an escape pod and jetisons it into space.", "leads her into an escape pod and jettisons it off into space" ], [ "Snow", "Snow" ], [ "Stashed in a ceiling vent.", "In a ceiling vent" ], [ "They are dreamed about.", "People dream them into existence." ], [ "Vegetables.", "vegetables" ], [ "Athena.", "Athena" ], [ "Gibarian's.", "Gibarian's" ] ]

2e24e035fddb9b96430c9bb2cf45d44facac6fc8

train

[ [ "The trapper drew slowly aside, as if satisfied with the somewhat\nincoherent reason Ellen had given why he should retire. When completely\nout of ear shot of the earnest and hurried dialogue, that instantly", "A long and a musing, if not a melancholy, silence succeeded this\ndeparture. It was first broken by the trapper, whose regret was not the\nleast visible in his dejected and sorrowful eye--", "The trapper loitered about the place, declining to share the straw\nof the emigrant, until the whole arrangement was completed; and then,\nwithout the ceremony of an adieu, he slowly retired from the spot.", "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "renew his importunities; but the trapper, who had discovered how great\na counterfeit he was, shook him off in displeasure. An end was, however,", "The trapper paused, and followed the departing wagon with his eye,\nmarvelling greatly as to the nature of its concealed contents, until it", "The trapper made a gesture of compliance, and turning in his tracks, he\nled Asinus across the trembling earth of the swale, and quickly emerged\non the hard ground, on the side opposite to the encampment of the\nsquatter.", "rifle has taken leave, and who has become no better than a miserable\ntrapper, can offer before we part.\"", "they mutually proved, in expedients that were so entirely useless. He\nchanged his plans, accordingly, and withdrew from the bank, as has been\nalready explained through the mouth of the trapper, in order to invite", "The sudden and striking change, which instantly occurred in the\ncountenance of the Indian, caused the trapper to look aside, when\nhe perceived that the conference of the Siouxes had ended, and that", "The trapper earnestly regarded her anxious and frightened features,\nand then he dropped the butt of his rifle on the ground, like one whose\npurpose had undergone a sudden change.", "The effect of this outbreaking was inevitable. Le Balafre turned away\ndisappointed, and hid himself in the crowd, while the trapper, whose", "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "\"Old World!\" retorted the trapper, \"that is the miserable cry of all the\nhalf-starved miscreants that have come into this blessed land, since the", "He was interrupted by a long and hearty, but still a noiseless fit of\nmerriment, from the trapper, which was considered so ill-timed by the", "The trapper, who had meditated no violence, dropped his rifle again,\nand laughing at the success of his experiment, with great seeming", "\"This must end,\" said the trapper, rising with the dignity of one bent\nonly on the importance of his object. \"I know not what need ye may have,", "\"Hunter or trapper--there is little difference. I have come, old man,\ninto these districts because I found the law sitting too tight upon me,", "The trapper was the first to speak, as the man on whose intelligence and\nexperience they all depended for counsel, after running his eye over the\ndifferent individuals who gathered about him, in order to see that none\nwere missing.", "\"Now leave the Pawnee to be the pilot,\" said the trapper; \"my hand is\nnot so steady as it used to be; but he has limbs like toughened hickory." ], [ "The effect of such a spectacle was instantaneous and powerful. The man\nin front of the emigrants came to a stand, and remained gazing at", "mean time the vessel of skin had reached the land, and the fugitives\nwere once more united on the margin of the river.", "to the original direction of their flight. To most of the fugitives\ntheir situation was as entirely unknown as is that of a ship in the\nmiddle of the ocean to the uninstructed voyager: but the old man", "and as tenantless as the rest of the vehicles, the men applied their\nstrength to its wheels, and rolled it apart from the others, to a dry\nand elevated spot, near the edge of the thicket. Here they brought", "\"I call nothing a stream that a man can travel round,\" exclaimed the\nill-looking associate of the emigrant: \"a real river must be crossed;\nnot headed, like a bear in a county hunt.\"[*]", "It was, therefore, no unusual thing for strangers to encounter each\nother in the endless wastes of the west. By signs, which an unpractised", "needed conveniences. The leader of the emigrants cast his eyes,\nunderstandingly, about him, and examined the place with the keenness of\none competent to judge of so nice a question, though in that dilatory", "Paul had by this time assisted Ellen to dismount, and he now stood\nlooking, with rueful eyes, at the naked banks of the river. Neither tree", "Then he directed the attention of all to the chief of the strangers. He\nwas a son of their great white father. He had not come upon the prairies", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "lay. There was but little difficulty in solving the mystery of this\nmovement. The snow had fallen in time to assure them that those\nthey sought were in their rear, and they were now employed, with the", "him to the desire of profiting by the migratory propensities of the\nsquatter. This gentleman he had cordially received into his family, or\nrather under his protection, and they had journeyed together, thus far", "were brief, and soon completed. When they were all ready, they took\na short and silent leave of the squatter and his family; and then the\nwhole of the singularly constituted party were seen slowly and silently", "It was in the midst of such a scene that the family of the squatter\nassembled to make their final decision, concerning the several", "\"You seem to have but little plunder,[*] stranger, for one who is far\nabroad,\" bluntly interrupted the emigrant, as if he had a reason for", "Still, the leader of the emigrants steadily pursued his way, with no\nother guide than the sun, turning his back resolutely on the abodes", "The trapper loitered about the place, declining to share the straw\nof the emigrant, until the whole arrangement was completed; and then,\nwithout the ceremony of an adieu, he slowly retired from the spot.", "\"Ah, the lad is right. We must to our inventions, therefore, or the\nriver cannot be crossed.\" Then, cutting the discourse short, he turned", "intentions. His train followed the course of the river for a mile, and\nthen it came to a halt on the brow of the elevated land, and in a place\nwhich afforded the necessary facilities. Here he again pitched his", "The examination, which his companions so instantly and so intently\nmade, rather served to assure them of their desperate situation, than\nto appease their fears. Huge columns of smoke were rolling up from the" ], [ "The sincere manner of the trapper, as he uttered this simple\nvindication, was not entirely thrown away on the emigrant, whose dull", "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "\"Mount, mount,\" shouted the trapper, the instant he beheld them; \"mount\nand fly, if you value those who lean on you for help. Mount, and leave\nus in the hands of the Lord.\"", "The trapper made a gesture of compliance, and turning in his tracks, he\nled Asinus across the trembling earth of the swale, and quickly emerged\non the hard ground, on the side opposite to the encampment of the\nsquatter.", "The trapper drew slowly aside, as if satisfied with the somewhat\nincoherent reason Ellen had given why he should retire. When completely\nout of ear shot of the earnest and hurried dialogue, that instantly", "\"It will be well,\" whispered the trapper, who knew enough of the\nlanguage he heard to comprehend perfectly the subject of the discussion,", "\"What say you, trapper?\" returned the father, showing the slight\nimpression his powerful heel had made on the compact earth, and laughing", "The trapper was the first to speak, as the man on whose intelligence and\nexperience they all depended for counsel, after running his eye over the\ndifferent individuals who gathered about him, in order to see that none\nwere missing.", "The trapper paused, and followed the departing wagon with his eye,\nmarvelling greatly as to the nature of its concealed contents, until it", "their tongues, and turning to the squatter at the same time, in order\nthat the latter might see he dealt fairly by him; \"he asks for a\nmiserable and worn-out trapper.\"", "\"There may be reason in what he says,\" returned the trapper, so far\ncomplying as to take his piece from the place where it had lain during", "\"I can put the little strength that is left me,\" returned the trapper,\n\"to this, as well as to another of your loads.\"", "\"The lad has good in him! I see it plainly by his manner;\" said the\ntrapper, turning to Ellen with an encouraging air; \"I will take it on", "\"It is rational,\" rejoined the trapper, when the other had delivered\nhis reasons; \"it is very rational, for what man cannot move with his", "suddenness of the movement. His example was followed by the trapper, as\nwell as the rest of the party; and then, without much deference to\nthe presence of their guest, the travellers proceeded to make their", "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "[*] They who have read the preceding books, in which, the trapper\n appears as a hunter and a scout, will readily understand the\n allusions.", "The trapper bestowed such articles as he conceived were necessary to the\ncomfort of the weaker and more delicate members of the party, in those", "\"Come nigher; we are friends,\" said the trapper, associating himself\nwith his companion by long use, and, probably, through the strength of\nthe secret tie that connected them together; \"we are your friends; none\nwill harm you.\"", "\"A hint from such a friend is far better than man's advice!\" muttered\nthe trapper, as he slowly moved towards the couple who were yet, too" ], [ "As the Teton spoke, he pointed towards the tents of Ishmael, which were\nin plain sight, and then he paused, to await the effect of his words on", "succeeded, Ishmael made a gesture which commanded his sons to bear the\nbody into the tent.", "and proceeded to make the enquiries which they fancied the former had\nso repeatedly demanded. Ishmael made no objections; but, though he", "\"Ishmael! Ishmael!\" she said, \"you parted from the boy in your wrath!\"", "\"Look!\" repeated Abiram, in a voice which sounded hollow and warning;\n\"if you have time for any thing but quarrels, Ishmael, look!\"", "his fears, and having arrived at the indicated point, he pushed into the\nwilderness in pursuit. It was not difficult to trace a train like that\nof Ishmael, until he was well assured its object lay far beyond the", "So saying, Ishmael deliberately led the way back towards his rifled\nencampment, and ushered the man, whose life a few minutes before had", "\"I did, I did the Lord gave me the feeling, as a punishment for my sins!\nbut his mercy was not slow in lifting the veil; I looked into the book,\nIshmael, and there I found the words of comfort.\"", "of his murderer. Ishmael seemed to press this proof with a singular\nmixture of sorrow and pride: sorrow, at the loss of a son, whom in their", "\"I will go upon the rock, boys, and look abroad for the savages,\" said\nIshmael shortly after, advancing towards them with a mien which\nhe intended should be conciliating, at the same time that it was\nauthoritative.", "\"Take the cords from the young man,\" said Ishmael. When the order was\nobeyed, he motioned for all his sons to advance, and he placed them in", "the night, that the former saw her taking a furtive look at the pan\nof his rifle. Ishmael bade his sons seek their rest, announcing his", "cause of the Loups. Then came Ishmael and his stout sons in open view,\nbearing down upon their late treacherous allies, with looks and voices\nthat proclaimed the character of the succour.", "murdered son. Ishmael signed to his wife to take a seat beside him on a\nfragment of rock, and then followed a space, during which neither seemed\ndisposed to speak.", "It was in this state of things that the sons of Ishmael, in obedience\nto an order from their father, conducted the several subjects of his", "forgotten. The summons of Ishmael to his gloomy associate had, however,\nas it would now seem, this hitherto neglected portion of his effects for\nits object.", "and blasphemously mingled. The sons of Ishmael turned away in horror\nat the disgusting spectacle, and even the stern nature of the squatter\nbegan to bend before so abject misery.", "if to assure himself he was not deceived. Then he bent his look on the\nparty of Ishmael, and counted its number.", "When Ishmael had delivered his mind thus far, he paused and looked\nabout him, as if he would trace the effects in the countenances of his\nhearers. When his eye met that of Middleton, he was answered by the\nlatter--", "Ishmael stood for many minutes, with his wife and children clustered\ntogether, in an amazement, with which awe was singularly mingled, gazing" ], [ "had been made the prison of Inez and Ellen. The bride of Middleton was\nseated on a simple couch of sweet-scented herbs covered with skins.", "Inez, and paced back and forth several times, with the air of one who\nmaintained a warm struggle on some difficult point, in the recesses of", "\"This is terrible!\" exclaimed Middleton, folding the trembling Inez to\nhis heart. \"At such a time as this, and in such a manner!\"", "Inez. Springing to their feet, like men, who were about to struggle for\ntheir lives, they found the vast plain, the rolling swells, the little", "Ellen advanced to the side of the beast, and seizing Inez by the hand,\nshe said, with heartfelt warmth, after struggling to suppress an emotion\nthat nearly choked her--", "his established opinions, endangering the dignity of a chief, for a\nwarrior thus to humble himself before a woman. But as Inez sat before\nhim, reserved and imposing in air, utterly unconscious of his object,", "Middleton wavered. At times he felt inclined to rush through the bushes,\nand, seizing Inez, attempt to fly. Then recollecting the impossibility", "While speaking to the trapper he suffered his wandering glances to stray\ntowards the intellectual and nearly infantile beauty of Inez, as one", "\"Inez!\" cried the officer, \"do I again see you! mine shall you now\nbe, though a million devils were posted on this rock. Push up, brave\nwoodsman, and give room for another!\"", "him to overcome the difficulties of the wide region which still lay\nbetween the village of the Pawnees and the nearest fortress of his\ncountrymen. A lodge was yielded to the exclusive possession of Inez and", "The eyes of Mahtoree followed the direction of the old man's extended\narm, until they rested on the drooping form of Inez. The look of the", "ingenious invention, and which the trapper as uniformly cast away the\nmoment his back was turned. Paul showed his dexterity in removing such\nlight articles as Inez and Ellen had prepared for their flight to", "Believing that he must have passed her in the darkness, Middleton\nretraced his steps to meet with another disappointment. Inez had\nnot been seen. Without communicating his intention to any one, the", "\"God in Heaven protect us!\" cried Middleton, catching Inez to his bosom,\nunder the instant impression of the imminence of their danger. \"There is\nno time to lose, old man; each instant is a day; let us fly.\"", "According to the calculations of the trapper, they had ridden twenty\nmiles since the commencement of their flight. The delicate frame of Inez", "figure of Inez, on whose anxious countenance he cast such occasional\nglances of tender interest as, in similar circumstances, a father would\nhave given to his child. Paul led Ellen, close in their rear. But while", "\"One hour,\" repeated Inez, as she kissed her hand to him; and then\nblushing, ashamed at her own boldness, she darted from the arbour, and", "that the eyes of both sunk to the earth, under a feeling of terror and\nembarrassment. Then Inez recovered herself, and addressing the trapper,", "related, led Inez forth from the tent, and gave a new direction to\nthe thoughts of the whole party. He summoned Paul from his flourish of", "As there was but little time to make the necessary arrangements, the\nwhole party set about them in good earnest. Inez and Ellen were placed" ], [ "Hard-Heart, each of whom had involuntarily extended a hand to support\nthe form of the old man, turned to him again, they found, that the\nsubject of their interest was removed for ever beyond the necessity of", "of Hard-Heart had not sufficed to extricate himself in season from the\nfallen beast. He saw that his case was desperate. Feeling for his knife,", "Hard-Heart alone, of all his band, was present to witness the novel and\nfar from unimposing spectacle. He stood leaning, gravely, on his lance,", "The fate of Hard-Heart and his companions, all of whom would have died\nrather than relinquish their object, would have been quickly sealed, but", "Hard-Heart was perfectly insensible. His eye kept the same steady,\nriveted look on the air, though the glittering axe described, in its", "Hard-Heart had already crossed half the bottom, which lay between the\nacclivity and the water. At this precise moment a band of armed and", "The experience of Hard-Heart had not deceived him. When his snorting\nsteed issued from the water, he found himself on a tremendous but damp", "The eye of Hard-Heart was fixed, composed, and a little anxious; but\nas to every other emotion, impenetrable. He neither spoke himself, nor", "Though Hard-Heart was sensible of the kindness of his warriors, and\nbelieved that a chief, furnished with such appointments, might depart", "instructions of Hard-Heart, on quitting his band, had been worthy of the\nself-devotion and daring of his character. So long as single warriors", "When he had placed his guests in front of the dying man, Hard-Heart,\nafter a pause, that proceeded as much from sorrow as decorum, leaned a\nlittle forward and demanded--", "\"Hard-Heart has looked at himself, within and without. He has thought\nof all he has done in the hunts and in the wars. Every where he is the", "Hard-Heart intended to speak, the former stopped, and manifested their\nreadiness to listen, the trapper performing the office of interpreter.\nThen the young chief addressed his people, in the usual metaphorical", "by a sudden change in the air of Hard-Heart. When the old men turned\ntowards the youth, they saw him standing in the very centre of the ring,", "Hard-Heart had no sooner received the brief congratulations of his band,\nand communicated to the chiefs such facts as were important to be known,\nthan he prepared himself to act such a part in the coming conflict,", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on", "now to have closed his accounts with the world, and to await merely for\nthe final summons to quit it. Middleton and Hard-Heart placed themselves\non the opposite sides of his seat, and watched with melancholy", "burn it with the offals of the buffaloe. No,\" he added, advancing a\nfew feet nigher to the immovable Hard-Heart, as if in the sincerity of", "The crafty Sioux had not made his calculations on the noble and honest\nnature of his more youthful rival in vain. Hard-Heart had continued", "\"It is good,\" returned the other, a gleam of satisfaction flitting\nacross his features. \"Hard-Heart will ride his horse to the blessed\nprairies, and he will come before the Master of Life like a chief!\"" ], [ "\"Asa,\" said the father, advancing with a portion of that dignity with\nwhich the hand of Nature seems to have invested the parental character,\n\"you have struck the brother of your mother!\"", "generally believed Asa had retreated, as a place of refuge. These were\ninterpreted into so many proofs of the weakness of the murderer, who", "\"Mother means that we should look for the signs, that we may know in\nwhat manner Asa has come by his end.\"", "in which there was some reason to believe the body of the murdered Asa\nstill lay. Perhaps the naturalist was urged to show his spirit, on this\noccasion, by some secret consciousness that his excessive industry in", "have the temerity to dispute his commands. Asa evidently struggled with\nhimself to compel the required obedience, but his heavy nature quietly\nsunk into its ordinary repose, and he soon appeared again the being he", "\"What has Ellen done, father,\" said Asa, with a degree of spirit, which\nwas the more striking from being unusual, \"that she should be shot at\nlike a straggling deer, or a hungry wolf?\"", "of insubordination, which emanated from the unfortunate Asa, had spread\namong his juniors; and the squatter had been made painfully to remember", "\"Now, Asa, richly do you deserve to be left with an earthen bed this\nblessed night!\" the woman began to mutter, with a revolution in her", "re-appeared, pale, and nearly insensible themselves, and laid at her\nfeet the stiff and motionless body of the lost Asa, with the marks of a", "\"Asa shall account to me for this undutiful conduct!\" he observed. \"Here\nhas the livelong night gone by, and he out-lying on the prairie, when", "\"It is unaccountable that Asa should choose to be out of the way at such\na time as this,\" Esther pettishly observed. \"When all is finished and", "\"He lies! he lies!\" shrieked Abiram. \"I did no murder; I gave but blow\nfor blow.\"\n\nThe voice of Ishmael was deep, and even awful, as he answered--", "incomprehensible. At length Asa, in right of his years, and moved by the\nrankling impulse of the recent quarrel, took on himself the office of", "\"Asa, you are right,\" said the father, turning suddenly on the trapper,\na lost idea being recalled by the hint of his son. \"How is it, stranger;\nthere were three of you, just now, or there is no virtue in moonlight?\"", "and its subsequent interment, had so far consumed the day, that by the\ntime their steps were retraced across the broad track of waste which lay\nbetween the grave of Asa and the rock, the sun had fallen far below his", "very charge of good Mrs. Bush is a sufficient proof. But to speak of the\nabsent Asa. There is doubt as to his fate, and there is a proposition", "the law of nature should be strong. You understand me, Asa; and you know\nme. As for you, Abiram, the child has done you wrong, and it is my place", "At length the eldest of the sons stepped heavily forward, and, without\nany apparent effort, he buried his axe to the eye, in the soft body of a", "\"Dr. Battius wishes to say,\" Ellen modestly interposed, \"that as some\nof us think Asa is in danger, and some think otherwise, the whole family\nmight pass an hour or two in looking for him.\"", "\"As I am a sinner,\" exclaimed Asa, usually one of the most phlegmatic of\nthe youths, \"the girl is blown away by the wind!\"" ], [ "The trapper was the first to speak, as the man on whose intelligence and\nexperience they all depended for counsel, after running his eye over the\ndifferent individuals who gathered about him, in order to see that none\nwere missing.", "The sudden and striking change, which instantly occurred in the\ncountenance of the Indian, caused the trapper to look aside, when\nhe perceived that the conference of the Siouxes had ended, and that", "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "The trapper was not sorry to find that so long a respite was granted. He\nhad before found reason to believe, that the Teton partisan was one of", "\"Mount, mount,\" shouted the trapper, the instant he beheld them; \"mount\nand fly, if you value those who lean on you for help. Mount, and leave\nus in the hands of the Lord.\"", "seized the Doctor by the arm; and, as the trapper followed with the\nsmallest possible delay, the whole party was quickly collected within\nthe cover of the thicket. After a few short explanations concerning the", "shock seeming to increase his exertions. There was now no longer time to\nhesitate. Throwing down his rifle, the trapper stretched forth his\narms, and advanced from the cover with naked hands, directly towards the", "howls. The trapper was in the act of raising himself from this\nsuccessful exploit, when he felt the hand of Weucha grasping his throat,\nas if determined to suppress his voice by the very unequivocal process", "contracted brow and threatening eye of the young man, that a discovery\nwould not bestow a bloodless victory on the savages. Finding his advice\ndisregarded, the trapper took his measures accordingly, and awaited the", "\"It will be well,\" whispered the trapper, who knew enough of the\nlanguage he heard to comprehend perfectly the subject of the discussion,", "The trapper, who had meditated no violence, dropped his rifle again,\nand laughing at the success of his experiment, with great seeming", "The trapper laid his long lean finger on the naked shoulder of the\nIndian as he ended, and seemed to demand his felicitations on his", "The trapper wasted no unnecessary words in explanation. Familiar with\nthe brevity and promptitude of the natives, he immediately communicated", "The deepest silence had prevailed for hours, when the quick ears of the\ntrapper and the Pawnee were startled by a faint cry of surprise from", "\"You are right, you are right!\" cried the trapper, laughing with inward\nself-complacency at the recollection of his former skill. \"The day has", "The trapper now hesitated, in his turn. He was perfectly aware that\ndeception, if detected, might prove dangerous; and, for one of his", "\"Speak aloud!\" said the trapper, who readily understood the metaphorical\nmanner, in which the Teton expressed a desire that he should become an", "plain. It was at this moment that the trapper determined to escape. He\nhad been left with the rest of his friends, under the surveillance of\nthose who were assigned to the duty of watching the horses, and as they", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on" ], [ "\"Look ye, here,\" returned the trapper, pointing to the mutilated carcass\nof a horse, that lay more than half consumed in a little hollow of the", "A long and a musing, if not a melancholy, silence succeeded this\ndeparture. It was first broken by the trapper, whose regret was not the\nleast visible in his dejected and sorrowful eye--", "The trapper was the first to speak, as the man on whose intelligence and\nexperience they all depended for counsel, after running his eye over the\ndifferent individuals who gathered about him, in order to see that none\nwere missing.", "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "\"There!\" said the Doctor, pointing into a dense mass of the thicket,\nto a spot within fifty feet of that where they both stood. The trapper", "When all of Middleton's party had embarked, the trapper lifted a small\nbundle, which had lain at his feet during the previous proceedings,", "He was interrupted by a long and hearty, but still a noiseless fit of\nmerriment, from the trapper, which was considered so ill-timed by the", "The trapper laid his long lean finger on the naked shoulder of the\nIndian as he ended, and seemed to demand his felicitations on his", "\"Woman,\" he answered sternly, \"when we believed that miserable old\ntrapper had done this deed, nothing was said of mercy!\"", "\"His own! ay, and that which is not his own, too! Can you tell me, old\ntrapper, who held the rifle that did the deed for the sheriff's deputy,", "\"It seems to me,\" the trapper calmly observed, \"that there is something\ndark and hidden in this matter. I am a witness that the traveller likes", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on", "\"There's no mistake,\" at length he muttered through his compressed\nteeth. \"It is from the pouch of that accursed trapper. Like many of the", "seized the Doctor by the arm; and, as the trapper followed with the\nsmallest possible delay, the whole party was quickly collected within\nthe cover of the thicket. After a few short explanations concerning the", "to a consultation, which was held mounted. This body was collected on\nthe very margin of that mass of herbage in which the trapper and his\ncompanions were hid. As the young man looked up and saw the fierce", "The trapper made a gesture of compliance, and turning in his tracks, he\nled Asinus across the trembling earth of the swale, and quickly emerged\non the hard ground, on the side opposite to the encampment of the\nsquatter.", "of the place, and passed off into the prairie, in cadences that rose\nand fell, like its own undulating surface. The trapper was impressively", "The trapper drew slowly aside, as if satisfied with the somewhat\nincoherent reason Ellen had given why he should retire. When completely\nout of ear shot of the earnest and hurried dialogue, that instantly" ], [ "commencing with those whom he accused of stealing or murdering, on the\nbanks of the distant Mississippi, and concluding, in terms of suitable\nenergy, with the Teton tribe. The latter more than once received from", "\"Too late! too late!\" exclaimed the trapper, \"for the creatur's are\nin open view; and a bloody band of accursed Siouxes they are, by their\nthieving look, and the random fashion in which they ride!\"", "The remaining horse was given to the Doctor, with instructions to pursue\nthe course just taken by Middleton and Paul. When the naturalist was\nmounted and in full retreat, the trapper and the young Pawnee stole from", "movements of their enemies. At the distance of half a mile, the Teton\nband was seen riding in a circuit, which was gradually contracting\nitself, and evidently closing upon the very spot where the fugitives", "to frighten the buffaloes from their pastures, or to seek the game of\nthe Indians. Wicked men had robbed him of one of his wives; no doubt she", "\"The Teton, and the Pawnee, and the Konza, and men of a dozen other\ntribes, claim to own these naked fields.\"", "woods under the rising sun, and that they have filled the prairies with\ntheir complaints of the robberies of the Long-knives. Where a Pale-face", "\"They are the captives of the Pawnee, according to the rules of Indian\nwarfare, and I cannot meddle with his rights.\"", "manner in which the Siouxes broke into your encampment, and drove off\nthe cattle; stripping the poor man you call Ishmael of his smallest\nhoofs, counting even the cloven feet.\"", "\"Now leave the Pawnee to be the pilot,\" said the trapper; \"my hand is\nnot so steady as it used to be; but he has limbs like toughened hickory.", "The Pawnee awaited the time of his enemy with calmness and dignity. The\nTeton made a short run or two, to curb the impatience of his steed, and", "a moral, which teaches the manner of a prairie life. A band of Pawnees\nare outlying for these very Siouxes, as you see the buzzards looking", "There was now a fearful struggle for the friendly bank. As the Dahcotahs\nadvanced with beasts, which had not, like that of the Pawnee, expended", "in, like the buzzards after a fight atween the beasts, and pick up the\ngleanings of the ground--there are Pawnees nigh us, too! It is a certain", "\"Since you own your kin, I may ask a simple question. Where are the\nSiouxes who have stolen my cattle?\"", "The deepest silence had prevailed for hours, when the quick ears of the\ntrapper and the Pawnee were startled by a faint cry of surprise from", "\"Have not the pale-faces stolen enough from the red men, that you come\nso far to carry a lie? I have said that this is a hunting-ground of my\ntribe.\"", "to his belt, he issued on the open plain, trusting entirely to the\nwell-known speed of the beast for their mutual safety. The Pawnees were\nnot long in catching a view of these new objects, and several turned", "Pawnee? A thief, who only steals from women; a Red-skin, who is not\nbrave; a hunter, that begs for his venison. In counsel he is a squirrel,", "\"The eyes of a Pawnee are good, if he can see a white-skin so far.\"\n\nThe Indian turned slowly towards the speaker, and after a pause of a\nmoment he sternly demanded--" ], [ "\"Ah!\" exclaimed the trapper, tossing a hand into the air as his whole\ncountenance lighted with the recollections the name revived. \"They", "\"Old World!\" retorted the trapper, \"that is the miserable cry of all the\nhalf-starved miscreants that have come into this blessed land, since the", "\"What say you, trapper?\" returned the father, showing the slight\nimpression his powerful heel had made on the compact earth, and laughing", "\"Mount, mount,\" shouted the trapper, the instant he beheld them; \"mount\nand fly, if you value those who lean on you for help. Mount, and leave\nus in the hands of the Lord.\"", "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "hands of the trapper, and struggling to command his voice, he succeeded\nin announcing his presence. The old man listened like one whose thoughts\nwere dwelling on a very different subject, but when the other had", "\"It is a man!\" exclaimed the trapper, rising. \"It is a man, if I am a\njudge of the creatur's ways. There is but little said atwixt the hound", "It was a spectacle so unusual to see the human form amid the solitude in\nwhich he dwelt, that the trapper bent his eyes on the dim figures of his", "A long and a musing, if not a melancholy, silence succeeded this\ndeparture. It was first broken by the trapper, whose regret was not the\nleast visible in his dejected and sorrowful eye--", "The trapper was the first to speak, as the man on whose intelligence and\nexperience they all depended for counsel, after running his eye over the\ndifferent individuals who gathered about him, in order to see that none\nwere missing.", "\"Uncas! did ye call him Uncas?\" repeated the trapper, approaching the\nyouth and parting the dark curls which clustered over his brow, without", "\"Harkee, old trapper,\" said Paul, clearing his throat with a desperate\neffort, as if determined to give his voice a clear exit; \"I have just", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "\"Excellent young woman,\" commenced the young stranger, who had so\nlately joined himself to the party on the prairie--but his mouth\nwas immediately stopped by a significant sign from the trapper, who\nwhispered in his ear--", "\"Lord! Lord!\" continued the trapper, shaking his head, and still\nlaughing, in his deep but quiet manner; \"the boy mistakes a brute for a", "\"You are right, you are right!\" cried the trapper, laughing with inward\nself-complacency at the recollection of his former skill. \"The day has", "\"Stoop your head, old trapper,\" returned the voice of Paul, \"down with\nye both into your nest. The Teton devil is in your line; down with your\nheads and make way for a Kentucky bullet.\"", "Though the trapper manifested some surprise when he perceived that\nanother human figure was approaching him, and that, too, from a\ndirection opposite to the place where the emigrant had made his", "forgotten. When this equivocal species of amity was established between\nthe warrior of the prairies and the experienced old trapper, the latter\nproceeded to give his directions to Paul, concerning the arrangements", "\"Of whom? of whom?\" repeated the trapper, who had sat regarding the\nstranger, during the whole discourse, with eyes that seemed greedily to" ], [ "\"Never! The Wahcondah has given me legs, and he has given me resolution\nto use them. For sixty summers and winters did I journey in the woods", "\"The skin of the traveller is white,\" said the young native, laying a\nfinger impressively on the hard and wrinkled hand of the trapper. \"Does\nhis heart say one thing and his tongue another?\"", "path he is about to travel with a steady eye. Has he nothing to whisper\nin the ears of his people, before he starts? These legs are old, but\nthey may yet carry me to the forks of the Loup river.\"", "\"What! think you, Captain, that a man, who has spent more than\nthreescore years in the wilderness, has not learned the virtue of", "of the natives, it served to make each of the parties acquainted with\nall the necessary information of the other. When they rejoined their\nassociates, the old man saw fit to explain a portion of what had passed", "former passage through the same regions. When within a proper distance,\nhe despatched an Indian runner, belonging to a friendly tribe, to\nannounce the approach of himself and party, continuing his route at a", "in working a great and beneficial change in his character. He soon\nbecame a land-holder, then a prosperous cultivator of the soil, and\nshortly after a town-officer. By that progressive change in fortune,", "The remaining horse was given to the Doctor, with instructions to pursue\nthe course just taken by Middleton and Paul. When the naturalist was\nmounted and in full retreat, the trapper and the young Pawnee stole from", "hand across a wide distance of plain without track or guide of any sort,\nexcept that which the trapper furnished by communicating his knowledge\nof the cardinal points of the compass. In accomplishing this object,", "him to the desire of profiting by the migratory propensities of the\nsquatter. This gentleman he had cordially received into his family, or\nrather under his protection, and they had journeyed together, thus far", "\"There is richer soil in the bottoms,\" returned the old man calmly, \"and\nyou have passed millions of acres to get to this dreary spot, where he", "was suited to his functions and rank, the journey was effected, with the\nprivations and hardships that are the accompaniments of all travelling\nin a wild, but without any of those dangers and alarms that marked his", "proprietors, entirely at his mercy. The instant he could do so with\nsafety, the indefatigable savage was again in motion. He took his way", "of dignity and composure. But when a little time had passed, even this\nsecondary object attracted the attention of the Tetons. Then it was that\nthe trapper first learned, by the shout of triumph and the long drawn", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "Following the route indicated by the old man, they turned the rock in\na body, and pursued their way as fast as possible across the prairie,\nunder the favour of the cover it afforded.", "It was, therefore, no unusual thing for strangers to encounter each\nother in the endless wastes of the west. By signs, which an unpractised", "in the wisdom of my years. And I have seen much of the folly of man; for\nhis natur' is the same, be he born in the wilderness, or be he born in", "and my eyes grow dim. Where do they stand?\" The chief remained silent a\nmoment, as if he disdained to contest any further the truth of a fact,\nconcerning which he was already satisfied. Then pointing to the traces", "towards the hunting-grounds of his tribe. It was apparent, however, by\nthe singular mixture of interest, contempt, and indignation, that were" ], [ "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "\"Mount, mount,\" shouted the trapper, the instant he beheld them; \"mount\nand fly, if you value those who lean on you for help. Mount, and leave\nus in the hands of the Lord.\"", "The trapper drew slowly aside, as if satisfied with the somewhat\nincoherent reason Ellen had given why he should retire. When completely\nout of ear shot of the earnest and hurried dialogue, that instantly", "The trapper made a gesture of compliance, and turning in his tracks, he\nled Asinus across the trembling earth of the swale, and quickly emerged\non the hard ground, on the side opposite to the encampment of the\nsquatter.", "silence and despatch, and this time not even the aged trapper was exempt\nfrom a similar fortune. The tent was struck, the females placed upon the", "\"Now mount you, with the tender ones, and ride for yonder hillock,\" said\nthe trapper; \"beyond it, you will find another stream, into which you", "seized the Doctor by the arm; and, as the trapper followed with the\nsmallest possible delay, the whole party was quickly collected within\nthe cover of the thicket. After a few short explanations concerning the", "The hint was taken; and in a few minutes, the exposed situation in which\nthe family was collected, was exchanged for the more secure elevation", "When all of Middleton's party had embarked, the trapper lifted a small\nbundle, which had lain at his feet during the previous proceedings,", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on", "The trapper looked about him to ascertain in what situations he might\nfind his friends. True to the signals, Middleton and Paul had drawn", "of Middleton had taught him enough to fill his soul with horrible\nforebodings. With an incredible effort he succeeded in gaining his feet,\nand called aloud to the retiring trapper--", "\"There!\" said the Doctor, pointing into a dense mass of the thicket,\nto a spot within fifty feet of that where they both stood. The trapper", "\"The path to the spot is crooked, and it is night. The hour is come for\nsleep,\" said the trapper, with perfect composure. \"Bid your warriors go", "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "\"Stoop your head, old trapper,\" returned the voice of Paul, \"down with\nye both into your nest. The Teton devil is in your line; down with your\nheads and make way for a Kentucky bullet.\"", "In the mean time the trapper and the Sioux chief pursued their way to\nthe lodge. The former had watched with painful interest the expression", "stimulated her sluggish sons to break into the cover. The reader will\nreadily imagine that the trapper and his companions were not indifferent\nobservers of so threatening a movement. The old man summoned all" ], [ "of his murderer. Ishmael seemed to press this proof with a singular\nmixture of sorrow and pride: sorrow, at the loss of a son, whom in their", "\"Ishmael, he murdered our first-born; but it is not meet that the son of\nmy mother should lie upon the ground, like the carrion of a dog!\"", "At length the eldest of the sons stepped heavily forward, and, without\nany apparent effort, he buried his axe to the eye, in the soft body of a", "\"He died as a son of mine should die,\" said the squatter, gleaning a\nhollow consolation from so unnatural an exultation: \"a dread to his", "murdered son. Ishmael signed to his wife to take a seat beside him on a\nfragment of rock, and then followed a space, during which neither seemed\ndisposed to speak.", "\"He lies! he lies!\" shrieked Abiram. \"I did no murder; I gave but blow\nfor blow.\"\n\nThe voice of Ishmael was deep, and even awful, as he answered--", "It is true that his slow-minded sons, even while they submitted to the\nimpressions of the recent event, had glimmerings of terrible distrusts,", "of my cabin, in order to drive it out at the other. But shall a son of\nmine be murdered, and he who did it go at large?--the boy would never\nrest!\"", "long and painfully. But it would seem, that the resolution, she had\nonce adopted, was not to be conquered by the lingering emotions of any\naffection, however natural. The boy himself was next laid at the feet", "\"May that, which you ask of Him, be granted,\" he said; \"but a father can\nnever forget a murdered child.\"", "\"My son's will shall be done. And with these old hands, which I had\nhoped had nearly done with bloodshed, whether it be of man or beast,\nwill I slay the animal on your grave!\"", "\"He did, he did,\" murmured Esther; \"the boy was the pride of the family.\nMy other children are as nothing to him!\"", "\"Brother,\" he said, in a hurried, unnatural whisper, \"did I hear you?\"\n\n\"My words are plain, Abiram White: thou hast done murder, and for the\nsame must thou die!\"", "\"And they find them many. Too many for the safety of its owner, while he\nis in their revengeful hands. My son is not a woman, and he looks on the", "\"I cannot believe that he has done this deed, unless in self-defence, or\non some justifiable provocation. That he knew of the death of your son,", "\"He has been shot in the open ground and come here for a cover,\" said\nAbiram; \"these marks would clearly prove it. The boy has been set upon", "account of her son. It might be true, as Abiram had hinted, that he had\nbecome a captive to some of the tribes who were hunting the buffaloe", "Her husband made no reply, but stood, leaning on his rifle, looking\nsadly, but with an unaltered eye, at the mangled remains of his son. Not", "\"The murderers have been here!\" moaned Esther. \"My babes! my babes!\"", "fruitless remedy against the violent blow, which had thus suddenly\ndestroyed the child in whom she had not only placed her greatest\nhopes, but so much of her maternal pride. While engaged in the" ], [ "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "\"The boy is right! can it be, that the Tetons have been caught in\ntheir own snares? Such things do happen; and here is an example to all", "The eyes of the Teton, and those of the fugitives met. The former raised\na long, loud, and piercing yell, in which the notes of exultation", "movements of their enemies. At the distance of half a mile, the Teton\nband was seen riding in a circuit, which was gradually contracting\nitself, and evidently closing upon the very spot where the fugitives", "When within twenty feet of the prisoners, the Tetons stopped, and their\nleader made a sign to the old man to draw nigh. The trapper obeyed,", "In the mean time the Tetons proceeded to the more regular business of\nthe hour. A fierce and savage joy had existed in the camp, from the", "Tetons raised a loud shout, and darted across the prairie in a line for\nthe distant rock, with the directness and nearly with the velocity of\nthe arrow, that has just been shot from its bow.", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "of your flight. What think you, old trapper? How long may it be before\nthese Tetons, as you call them, will be coming for the rest of old", "\"The Tetons are liars!\" exclaimed the other. \"They dare not shut their\neyes in the night. No; they sleep in the sun. See,\" he added, pointing", "\"Stoop your head, old trapper,\" returned the voice of Paul, \"down with\nye both into your nest. The Teton devil is in your line; down with your\nheads and make way for a Kentucky bullet.\"", "of dignity and composure. But when a little time had passed, even this\nsecondary object attracted the attention of the Tetons. Then it was that\nthe trapper first learned, by the shout of triumph and the long drawn", "In the mean time the Teton warriors had not been idle. Profiting by the\nhigh fog which grew in the bottoms, they had wormed their way through", "stimulated her sluggish sons to break into the cover. The reader will\nreadily imagine that the trapper and his companions were not indifferent\nobservers of so threatening a movement. The old man summoned all", "\"Mount, mount,\" shouted the trapper, the instant he beheld them; \"mount\nand fly, if you value those who lean on you for help. Mount, and leave\nus in the hands of the Lord.\"", "\"No doubt, no doubt; their tempers begin to mount, as they remember the\nnumber of Tetons you have struck, and better would it be for you now,", "\"Am I a fool not to know a burnt-wood Teton?\" demanded the trapper, with\na steadiness that did great credit to his nerves. \"Go; it is dark, and\nyou do not see that my head is grey!\"", "\"It will be well if the boy has escaped the Tetons!\" he muttered. \"I\nshould be sorry to have Asa, who is one of the stoutest of our party,\nboth in heart and hand, fall into the power of the red devils.\"", "\"And if we meet the Tetons?\" demanded the trapper, who wished to\nunderstand, thoroughly, the more important conditions of this new\nalliance.", "The singular coolness, with which the Teton concluded this audacious\nproposal, confounded even the practised trapper. He stared after the" ], [ "\"Hard-Heart!\" shouted the Sioux, turning in his fury, and aiming a\ndeadly blow at the head of his victim. His arm fell into the hollow of", "Hard-Heart intended to speak, the former stopped, and manifested their\nreadiness to listen, the trapper performing the office of interpreter.\nThen the young chief addressed his people, in the usual metaphorical", "and rank. The whole formed a large circle, in the centre of which, were\nperhaps a dozen of the principal chiefs. Hard-Heart waved his hand as he", "Though Hard-Heart was sensible of the kindness of his warriors, and\nbelieved that a chief, furnished with such appointments, might depart", "\"Hard-Heart has looked at himself, within and without. He has thought\nof all he has done in the hunts and in the wars. Every where he is the", "Hard-Heart had no sooner received the brief congratulations of his band,\nand communicated to the chiefs such facts as were important to be known,\nthan he prepared himself to act such a part in the coming conflict,", "When he had placed his guests in front of the dying man, Hard-Heart,\nafter a pause, that proceeded as much from sorrow as decorum, leaned a\nlittle forward and demanded--", "\"It is good,\" returned the other, a gleam of satisfaction flitting\nacross his features. \"Hard-Heart will ride his horse to the blessed\nprairies, and he will come before the Master of Life like a chief!\"", "The crafty Sioux had not made his calculations on the noble and honest\nnature of his more youthful rival in vain. Hard-Heart had continued", "See,\" he added, directing the eyes of the other to the earnest\ncountenance of the attentive trapper; \"Hard-Heart is not without a", "friend Hard-Heart; neither is an Indian to be judged of by the rules of\na white. See! we are not altogether slighted, for here comes a party at", "instructions of Hard-Heart, on quitting his band, had been worthy of the\nself-devotion and daring of his character. So long as single warriors", "\"Teton--no! Hard-Heart has never struck the stranger. They come into\nhis lodge and eat, and they go out in safety. A mighty chief is their", "lodge, and call the name of Hard-Heart aloud. No Pawnee will be deaf.\nThen let my father ask for the colt, that has never been ridden, but", "Hard-Heart had already crossed half the bottom, which lay between the\nacclivity and the water. At this precise moment a band of armed and", "from the Rocky Mountains, and move towards the land of the Pale-faces,\nthe mind of Hard-Heart will soften, and his spirit will become Sioux.", "\"Tell them that Hard-Heart has tied a knot in his wampum for every\nTeton,\" burst from the lips of the captive, with that vehemence", "\"Such a warrior should have a name?\"\n\n\"They call him Hard-Heart, from the stoutness of his resolution; and\nwell is he named, if all I have heard of his deeds be true.\"", "Hard-Heart alone, of all his band, was present to witness the novel and\nfar from unimposing spectacle. He stood leaning, gravely, on his lance,", "the well-known war-cry of Hard-Heart was heard at hand, and at the next\ninstant the chief appeared in their centre, flourishing the scalp of the" ], [ "As there was but little time to make the necessary arrangements, the\nwhole party set about them in good earnest. Inez and Ellen were placed", "Ellen advanced to the side of the beast, and seizing Inez by the hand,\nshe said, with heartfelt warmth, after struggling to suppress an emotion\nthat nearly choked her--", "\"Friends!\" interrupted Inez, glancing her eyes around the little tent\nin quest of the form of Ellen. \"I, too, have a friend who must not be", "figure of Inez, on whose anxious countenance he cast such occasional\nglances of tender interest as, in similar circumstances, a father would\nhave given to his child. Paul led Ellen, close in their rear. But while", "astonishment. Though Inez and Ellen had passed an entire day in her\nsight, it seemed as if the longings of her curiosity were increasing\nwith each new gaze. She regarded them as beings of an entirely different", "Inez. Springing to their feet, like men, who were about to struggle for\ntheir lives, they found the vast plain, the rolling swells, the little", "\"Inez!\" cried the officer, \"do I again see you! mine shall you now\nbe, though a million devils were posted on this rock. Push up, brave\nwoodsman, and give room for another!\"", "Notwithstanding the presence of Inez and Ellen, the entrance of the\nTeton warrior into the lodge of his favourite wife, was made with the", "themselves delivered from the presence of Ellen and her unknown\ncompanion, they bestowed an undivided attention on their more masculine\nand certainly more dangerous assailants, who by this time had made a", "Ellen turned her eyes in the direction in which so many arms were\nalready extended, and, to her consternation, beheld several men,", "a row before the eyes of Ellen. \"Now let there be no trifling, but open\nyour heart. Here ar' all I have to offer, besides a hearty welcome.\"", "While Inez and Ellen stood regarding these several strange movements\nwith eyes of wonder, a low soft musical voice was heard saying in a\nlanguage, that to them was unintelligible--", "\"Ellen!\" cried the young stranger, who until now had been an attentive\nlistener to the parley, \"since Ellen is the name by which you are\nknown--\"", "had been made the prison of Inez and Ellen. The bride of Middleton was\nseated on a simple couch of sweet-scented herbs covered with skins.", "Middleton wavered. At times he felt inclined to rush through the bushes,\nand, seizing Inez, attempt to fly. Then recollecting the impossibility", "efforts of Middleton and Inez, in behalf of her husband, were warmly and\nsagaciously seconded by Ellen, and they succeeded, in process of time,", "\"I have promised the lady,\" said Ellen, dropping her eyes again to the\nearth, \"not to leave her; and after she has received so much wrong from\nour hands, she may have a right to claim that I keep my word.\"", "\"Well, since it is your wish, Ellen,\" returned the youth, endeavouring\nto swallow his spleen, \"I will make the trial; though, as you ought", "of the contemplated halt. While Inez and Ellen were dismounting, and\nMiddleton and the bee-hunter were attending to their comforts, the", "Don Augustin himself was now seized with the desire of proselyting. Even\nthe soft and amiable Inez thought it would be a glorious consummation" ], [ "out the necessity of their being once more on the alert. While Middleton\nattended to the arrangements necessary to the comforts of Inez and\nEllen, in the long and painful journey which lay before them, the old", "\"See, Middleton,\" exclaimed Inez, in a sudden burst of youthful\npleasure, that caused her for a moment to forget her situation, \"how\nlovely is that sky; surely it contains a promise of happier times!\"", "\"God in Heaven protect us!\" cried Middleton, catching Inez to his bosom,\nunder the instant impression of the imminence of their danger. \"There is\nno time to lose, old man; each instant is a day; let us fly.\"", "\"And now, Ishmael,\" resumed his conquering wife, \"in order to keep a\nquiet family and to smother all heart-burnings between us, show yonder", "had been made the prison of Inez and Ellen. The bride of Middleton was\nseated on a simple couch of sweet-scented herbs covered with skins.", "Middleton wavered. At times he felt inclined to rush through the bushes,\nand, seizing Inez, attempt to fly. Then recollecting the impossibility", "\"How is this?\" cried Middleton; \"did you not say, Inez, that this\nexcellent young woman was to accompany us, and to live with us for the", "plain, in the direction of the retiring families; and when Ishmael left\nthe spot with his prisoners and his booty, the ground, which had so\nlately been alive with the bustle and life of an extensive Indian", "limits of the defences of Ishmael. Here she listened, as if she doubted\nthe propriety of venturing further. The pause was only momentary,", "But it would seem that while Ishmael made such a concession to the\nawakened feelings of Esther, he was far from abandoning his original", "itself,\" cried Middleton, hastening to the side of the weeping Inez,\nthe instant he was released; \"and, friend, I pledge you the honour of", "of view. In short, the family of Ishmael appeared now to be in the\nplenitude of an enjoyment, which depended on inactivity, but which was", "\"I have promised the lady,\" said Ellen, dropping her eyes again to the\nearth, \"not to leave her; and after she has received so much wrong from\nour hands, she may have a right to claim that I keep my word.\"", "\"Have we not done enough,\" Middleton demanded, in tenderness to the\ninability of Inez and Ellen to endure so much fatigue, at the end of", "his might, and even Obed took his leave with an effort that bore the\nappearance of desperate philosophical resolution. When he had made the\ncircuit of the whole, the old man, with his own hands, shoved the boat", "The trapper, who had found time to collect his perplexed faculties, saw\nat once that Middleton, having perceived Ishmael on the trail by which", "As the Teton spoke, he pointed towards the tents of Ishmael, which were\nin plain sight, and then he paused, to await the effect of his words on", "of her wishes, to be a humble instrument of bringing her lover into\nthe bosom of the true church. The offers of Middleton were promptly\naccepted, and, while the father looked forward impatiently to the day", "\"You have come to your recollections too late, miserable old man,\" cried\nMiddleton; \"the flames are within a quarter of a mile of us, and the\nwind is bringing them down in this quarter with dreadful rapidity.\"", "and all the solemn sounds of filling a grave. Esther lingered on her\nknees, and Ishmael stood uncovered while the woman muttered a prayer.\nAll was then finished." ], [ "A long and a musing, if not a melancholy, silence succeeded this\ndeparture. It was first broken by the trapper, whose regret was not the\nleast visible in his dejected and sorrowful eye--", "The trapper drew slowly aside, as if satisfied with the somewhat\nincoherent reason Ellen had given why he should retire. When completely\nout of ear shot of the earnest and hurried dialogue, that instantly", "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "The trapper made a gesture of compliance, and turning in his tracks, he\nled Asinus across the trembling earth of the swale, and quickly emerged\non the hard ground, on the side opposite to the encampment of the\nsquatter.", "The trapper loitered about the place, declining to share the straw\nof the emigrant, until the whole arrangement was completed; and then,\nwithout the ceremony of an adieu, he slowly retired from the spot.", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on", "that of the fugitives. The trapper, who clearly comprehended the whole\ndanger of their situation, calmly turned his eyes from the Tetons to his", "The trapper earnestly regarded her anxious and frightened features,\nand then he dropped the butt of his rifle on the ground, like one whose\npurpose had undergone a sudden change.", "[*] They who have read the preceding books, in which, the trapper\n appears as a hunter and a scout, will readily understand the\n allusions.", "\"There may be reason in what he says,\" returned the trapper, so far\ncomplying as to take his piece from the place where it had lain during", "In the mean time the trapper and the Sioux chief pursued their way to\nthe lodge. The former had watched with painful interest the expression", "\"You are right, you are right!\" cried the trapper, laughing with inward\nself-complacency at the recollection of his former skill. \"The day has", "of Middleton had taught him enough to fill his soul with horrible\nforebodings. With an incredible effort he succeeded in gaining his feet,\nand called aloud to the retiring trapper--", "The trapper was the first to speak, as the man on whose intelligence and\nexperience they all depended for counsel, after running his eye over the\ndifferent individuals who gathered about him, in order to see that none\nwere missing.", "It was a spectacle so unusual to see the human form amid the solitude in\nwhich he dwelt, that the trapper bent his eyes on the dim figures of his", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "shock seeming to increase his exertions. There was now no longer time to\nhesitate. Throwing down his rifle, the trapper stretched forth his\narms, and advanced from the cover with naked hands, directly towards the", "\"Mount, mount,\" shouted the trapper, the instant he beheld them; \"mount\nand fly, if you value those who lean on you for help. Mount, and leave\nus in the hands of the Lord.\"", "hands of the trapper, and struggling to command his voice, he succeeded\nin announcing his presence. The old man listened like one whose thoughts\nwere dwelling on a very different subject, but when the other had" ], [ "introduced into its awful precincts? Without pretending to explain what\nmust ever be a mystery to the quick, we shall simply relate facts as\nthey occurred.", "\"Not I--not I; I never visited the towns; but often have heard the place\nyou speak of named. 'Tis a wide clearing there, I reckon.\"", "\"There is richer soil in the bottoms,\" returned the old man calmly, \"and\nyou have passed millions of acres to get to this dreary spot, where he", "quarters. Throwing on his clothes he proceeded to the spot, and beheld\nthe individual, with whom he had held the preceding conference, in the\nprecise situation in which he had first been found.", "Though nakedness might, as usual, be given as the pervading character of\nthe spot, whither it is now necessary to transfer the scene of the tale,", "\"It lies ag'in the outer edge of old Kentuck, I reckon; though what the\ndistance may be I never knew.\"", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "so embarrassing to most other men, we shall again shift the scene a few\nshort miles from the place last described, preserving, however, the due\nand natural succession of time. At the very moment that the squatter and", "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "intentions. His train followed the course of the river for a mile, and\nthen it came to a halt on the brow of the elevated land, and in a place\nwhich afforded the necessary facilities. Here he again pitched his", "\"The path to the spot is crooked, and it is night. The hour is come for\nsleep,\" said the trapper, with perfect composure. \"Bid your warriors go", "\"I know the place,\" interrupted Middleton, observing that he spoke with\nincreasing difficulty; \"proceed to tell me, what you would have done.\"", "In order to preserve an even pace between the incidents of the tale, it\nbecomes necessary to revert to such events as occurred during the ward\nof Ellen Wade.", "and my eyes grow dim. Where do they stand?\" The chief remained silent a\nmoment, as if he disdained to contest any further the truth of a fact,\nconcerning which he was already satisfied. Then pointing to the traces", "When, some months later, the story appeared, its effect was immediate on\nboth sides the Atlantic. It is worth note that during his French visit", "The incidents and scenes which are connected with this legend, occurred\nin the earliest periods of the enterprises which have led to so great\nand so speedy a result.", "\"Now look off yonder to the East,\" said the old man, as he began to lead\nthe way across the murky and still smoking plain; \"little fear of cold", "the place. \"I am about to depart from the village of the Loups, and\nshortly shall be beyond the reach of your voice.\"", "At length the hour arrived when charity to man and beast required a\ntemporary suspension of labour. Ishmael chose the required spot with his", "\"The place of rendezvous is many leagues from this, on the banks of La\nPlatte.\"" ], [ "his fears, and having arrived at the indicated point, he pushed into the\nwilderness in pursuit. It was not difficult to trace a train like that\nof Ishmael, until he was well assured its object lay far beyond the", "our separation, I have journeyed far, having entered into a compactum or\nagreement with a certain man named Ishmael--\"", "As the Teton spoke, he pointed towards the tents of Ishmael, which were\nin plain sight, and then he paused, to await the effect of his words on", "of view. In short, the family of Ishmael appeared now to be in the\nplenitude of an enjoyment, which depended on inactivity, but which was", "So saying, Ishmael deliberately led the way back towards his rifled\nencampment, and ushered the man, whose life a few minutes before had", "Having made the reader acquainted with the manner in which Ishmael Bush\nhad disposed of his family, under circumstances that might have proved", "my good man, and learn to be a provider. Why, Ishmael! I believe my\nsoul,\" she continued, dropping the tow she was twisting on a distaff,", "forgotten. The summons of Ishmael to his gloomy associate had, however,\nas it would now seem, this hitherto neglected portion of his effects for\nits object.", "\"And now, Ishmael,\" resumed his conquering wife, \"in order to keep a\nquiet family and to smother all heart-burnings between us, show yonder", "of his murderer. Ishmael seemed to press this proof with a singular\nmixture of sorrow and pride: sorrow, at the loss of a son, whom in their", "succeeded, Ishmael made a gesture which commanded his sons to bear the\nbody into the tent.", "\"Ishmael! Ishmael!\" she said, \"you parted from the boy in your wrath!\"", "At length the hour arrived when charity to man and beast required a\ntemporary suspension of labour. Ishmael chose the required spot with his", "\"Ishmael, he murdered our first-born; but it is not meet that the son of\nmy mother should lie upon the ground, like the carrion of a dog!\"", "It was in this state of things that the sons of Ishmael, in obedience\nto an order from their father, conducted the several subjects of his", "among the savages, which announced the occurrence of some fresh event.\nThen Ishmael and his sluggish sons were seen in the distance, and soon", "Ishmael stood for many minutes, with his wife and children clustered\ntogether, in an amazement, with which awe was singularly mingled, gazing", "duty to be strictly neutral. A few direct and pertinent enquiries served\nto obtain the little additional information that was necessary, in\norder to make the contemplated movement, and then Ishmael, who was, on", "and you shall hear. I have already made known that, in virtue of a\ncompactum, I journey with the aforesaid Ishmael Bush; but though I am", "limits of the defences of Ishmael. Here she listened, as if she doubted\nthe propriety of venturing further. The pause was only momentary," ], [ "manner in which the Siouxes broke into your encampment, and drove off\nthe cattle; stripping the poor man you call Ishmael of his smallest\nhoofs, counting even the cloven feet.\"", "\"Yonder is one of the creatures left by the villains to mock us,\" said\nIshmael, glancing his eye towards the latter, \"and that the meanest of", "of Ishmael's beasts of burden, that the man he had selected to watch his\ncaptives chose to indulge in the malignant pleasure of tormenting", "in singular accordance with those of his companion, \"and I have often\nthought and said as much, when and where I have believed my voice could\nbe heard. But your beasts are stolen by them who claim to be masters of", "At length the hour arrived when charity to man and beast required a\ntemporary suspension of labour. Ishmael chose the required spot with his", "cause of the Loups. Then came Ishmael and his stout sons in open view,\nbearing down upon their late treacherous allies, with looks and voices\nthat proclaimed the character of the succour.", "\"Ishmael!\" interrupted the impatient Esther, \"make no words with a man\nwho can break your bones as easily as set them, and let the poisoning", "As the Teton spoke, he pointed towards the tents of Ishmael, which were\nin plain sight, and then he paused, to await the effect of his words on", "expense of toil and time, and the body was wrapped in such spare\nvestments as could be collected among the labourers. When these\narrangements were completed, Ishmael approached the seemingly", "The unfortunate bee-hunter and his companions had become the captives of\na people, who might, without exaggeration, be called the Ishmaelites of", "The trapper, who had found time to collect his perplexed faculties, saw\nat once that Middleton, having perceived Ishmael on the trail by which", "\"They have robbed the squatter of his beasts!\" said the attentive\ntrapper. \"The reptiles have left him as hoofless as a beaver!\" He was", "\"Come away, boys; come away, and leave the hounds to sing their tunes\nfor their own amusement,\" Ishmael said, in his coldest manner. \"I scorn", "\"Ishmael, my man, heard ye nothing?\"", "the red-skins show themselves, in time to give you notice. But, Ishmael,\nwhat have you been killing, my man; for it was your rifle I heard a few", "\"Harkee, friend Ishmael Bush,\" returned the bee-hunter, who found that\nhe was expected to answer to the charge of burglary, as well as to that", "\"Old man,\" said Ishmael sternly, \"to which people do you belong? You\nhave the colour and speech of a Christian, while it seems that your\nheart is with the redskins.\"", "\"I will go upon the rock, boys, and look abroad for the savages,\" said\nIshmael shortly after, advancing towards them with a mien which\nhe intended should be conciliating, at the same time that it was\nauthoritative.", "plain, in the direction of the retiring families; and when Ishmael left\nthe spot with his prisoners and his booty, the ground, which had so\nlately been alive with the bustle and life of an extensive Indian", "fellow-creatures. I pined greatly in secret to know the contents of the\ntent, which Ishmael guarded so carefully, and which he had covenanted" ], [ "\"Ishmael, he murdered our first-born; but it is not meet that the son of\nmy mother should lie upon the ground, like the carrion of a dog!\"", "of his murderer. Ishmael seemed to press this proof with a singular\nmixture of sorrow and pride: sorrow, at the loss of a son, whom in their", "and blasphemously mingled. The sons of Ishmael turned away in horror\nat the disgusting spectacle, and even the stern nature of the squatter\nbegan to bend before so abject misery.", "murdered son. Ishmael signed to his wife to take a seat beside him on a\nfragment of rock, and then followed a space, during which neither seemed\ndisposed to speak.", "\"Tell me, you Abner--Abiram--Ishmael!\" the woman cried, standing over a\nspot where the earth was trampled and beaten, and plainly sprinkled with", "As the Teton spoke, he pointed towards the tents of Ishmael, which were\nin plain sight, and then he paused, to await the effect of his words on", "Mahtoree encountered, at the door of his lodge, Ishmael, Abiram,\nand Esther. The first glance of his eye, at the countenance of the", "It was not often that the blood of Ishmael moved at the rate with which\nthe fluid circulates in the veins of ordinary men; but now he felt it", "cause of the Loups. Then came Ishmael and his stout sons in open view,\nbearing down upon their late treacherous allies, with looks and voices\nthat proclaimed the character of the succour.", "The unfortunate bee-hunter and his companions had become the captives of\na people, who might, without exaggeration, be called the Ishmaelites of", "\"He lies! he lies!\" shrieked Abiram. \"I did no murder; I gave but blow\nfor blow.\"\n\nThe voice of Ishmael was deep, and even awful, as he answered--", "\"Take the cords from the young man,\" said Ishmael. When the order was\nobeyed, he motioned for all his sons to advance, and he placed them in", "limits of the defences of Ishmael. Here she listened, as if she doubted\nthe propriety of venturing further. The pause was only momentary,", "succeeded, Ishmael made a gesture which commanded his sons to bear the\nbody into the tent.", "and all the solemn sounds of filling a grave. Esther lingered on her\nknees, and Ishmael stood uncovered while the woman muttered a prayer.\nAll was then finished.", "\"And yet, Ishmael, my blood, and the blood of my children, is in his\nveins, cannot mercy be shown?\"", "\"I did, I did the Lord gave me the feeling, as a punishment for my sins!\nbut his mercy was not slow in lifting the veil; I looked into the book,\nIshmael, and there I found the words of comfort.\"", "It was in this state of things that the sons of Ishmael, in obedience\nto an order from their father, conducted the several subjects of his", "Having made the reader acquainted with the manner in which Ishmael Bush\nhad disposed of his family, under circumstances that might have proved", "\"If one of the lazy sons of Skirting Ishmael is prowling out of his camp\nto-night,\" said the young bee-hunter, with great vivacity, and in tones" ], [ "\"The women of the Siouxes and of the white men are not of the same\nwigwam,\" he answered evasively. \"Would a Teton warrior make his wife", "\"The Teton chief has spoken very plainly,\" the old man continued; \"he\nwill not give you the lady, to whom the Lord in heaven knows you have no", "\"Therein shall the savage speak for himself. The daughters of the\nPale-faces wish to know why the Great Teton has come into his lodge?\"", "put her out of his lodge. Mahtoree loves him as a brother. He is his\nbrother. He shall have the youngest wife of the Teton. Tachechana, the", "of her supposed rival, and well might the self-abased wife of the Teton\nbelieve that the burden of her sacrifice was now full.", "the most favoured of the wives of the Teton. Her charms had not been\nwithout the most powerful attraction in the eyes of her husband, until\nthey had so unexpectedly opened on the surpassing loveliness of a woman", "\"Why do the mothers of the Tetons sing with bitter tongues? The Pawnee\nprisoners are not yet in their village; their young men have not come\nback loaded with scalps!\"", "\"A Teton is a dog. When the Pawnee war-whoop is in their ears, the whole\nnation howls.\"", "\"She shall be the wife of Mahtoree; then the Long-knife will be the\nfather of a chief.\"", "\"If the Tetons lose their great chief by the hands of the\nLong-knives[*], old shall die as well as young!\"\n\n [*] The whites are so called by the Indians, from their swords.", "The eyes of the Teton flashed fire as he answered--\n\n\"They are gone: but Mahtoree is a wise chief, and his eyes can see a\ngreat distance!\"", "movements of their enemies. At the distance of half a mile, the Teton\nband was seen riding in a circuit, which was gradually contracting\nitself, and evidently closing upon the very spot where the fugitives", "Notwithstanding the presence of Inez and Ellen, the entrance of the\nTeton warrior into the lodge of his favourite wife, was made with the", "of comprehension little inferior to that of the Teton himself. \"The\nBig-knives do not send their women to war. I know that the Dahcotahs\nwill smoke with the strangers.\"", "of his people. He has said to himself, Teton, count the scalps in your\nsmoke. They are all red but two! Does the wolf destroy the wolf, or the", "commencing with those whom he accused of stealing or murdering, on the\nbanks of the distant Mississippi, and concluding, in terms of suitable\nenergy, with the Teton tribe. The latter more than once received from", "\"The Teton, and the Pawnee, and the Konza, and men of a dozen other\ntribes, claim to own these naked fields.\"", "\"Enough! Mahtoree is a wise chief. Put your women on the horses of the\nDahcotahs: we shall see, for our eyes are open very wide.\"", "\"Friend squatter, you ask what few men would be willing to grant. You\nwould first cut the tongue from the mouth of the Teton, and then the heart\nfrom his bosom.\"", "\"My ears listen to many wicked lies!\" exclaimed the Teton warrior, in\na voice so stern that it startled even his red auditors. \"Am I a woman?" ], [ "generally believed Asa had retreated, as a place of refuge. These were\ninterpreted into so many proofs of the weakness of the murderer, who", "in which there was some reason to believe the body of the murdered Asa\nstill lay. Perhaps the naturalist was urged to show his spirit, on this\noccasion, by some secret consciousness that his excessive industry in", "\"Asa,\" said the father, advancing with a portion of that dignity with\nwhich the hand of Nature seems to have invested the parental character,\n\"you have struck the brother of your mother!\"", "\"He lies! he lies!\" shrieked Abiram. \"I did no murder; I gave but blow\nfor blow.\"\n\nThe voice of Ishmael was deep, and even awful, as he answered--", "\"Mother means that we should look for the signs, that we may know in\nwhat manner Asa has come by his end.\"", "\"Now, Asa, richly do you deserve to be left with an earthen bed this\nblessed night!\" the woman began to mutter, with a revolution in her", "have the temerity to dispute his commands. Asa evidently struggled with\nhimself to compel the required obedience, but his heavy nature quietly\nsunk into its ordinary repose, and he soon appeared again the being he", "\"What has Ellen done, father,\" said Asa, with a degree of spirit, which\nwas the more striking from being unusual, \"that she should be shot at\nlike a straggling deer, or a hungry wolf?\"", "\"It is unaccountable that Asa should choose to be out of the way at such\na time as this,\" Esther pettishly observed. \"When all is finished and", "of insubordination, which emanated from the unfortunate Asa, had spread\namong his juniors; and the squatter had been made painfully to remember", "\"Brother,\" he said, in a hurried, unnatural whisper, \"did I hear you?\"\n\n\"My words are plain, Abiram White: thou hast done murder, and for the\nsame must thou die!\"", "re-appeared, pale, and nearly insensible themselves, and laid at her\nfeet the stiff and motionless body of the lost Asa, with the marks of a", "\"Asa shall account to me for this undutiful conduct!\" he observed. \"Here\nhas the livelong night gone by, and he out-lying on the prairie, when", "\"Asa, you are right,\" said the father, turning suddenly on the trapper,\na lost idea being recalled by the hint of his son. \"How is it, stranger;\nthere were three of you, just now, or there is no virtue in moonlight?\"", "\"As I am a sinner,\" exclaimed Asa, usually one of the most phlegmatic of\nthe youths, \"the girl is blown away by the wind!\"", "incomprehensible. At length Asa, in right of his years, and moved by the\nrankling impulse of the recent quarrel, took on himself the office of", "very charge of good Mrs. Bush is a sufficient proof. But to speak of the\nabsent Asa. There is doubt as to his fate, and there is a proposition", "and its subsequent interment, had so far consumed the day, that by the\ntime their steps were retraced across the broad track of waste which lay\nbetween the grave of Asa and the rock, the sun had fallen far below his", "\"Murder them!\" cried Abiram; \"I'll swear to the old hound; 'tis the dog\nof the trapper, whom we now know to be our mortal enemy.\"", "\"Nell is mad!\" said Asa, half in contempt and yet not a little in\nconcern. \"The girl is dreaming with her eyes open; and thinks she sees" ], [ "the result to his companions. Paul was mounted in an instant, with Ellen\nat his back. A few more moments were necessary to assure Middleton", "\"For the sake of heaven, do not let them hear you!\" cried Ellen. \"Go,\nPaul, go; you can easily quit us now!\"", "Not so Paul; conceiving himself to have obtained the two things dearest\nto his heart, the possession of Ellen and a triumph over the sons of", "\"Ellen! Ellen Wade,\" cried Paul Hover, who had advanced to his elbow,\nwithout betraying any of that sensitiveness which had so manifestly\ndiscomposed the Doctor; \"I didn't expect to find an enemy in you!\"", "Paul had by this time assisted Ellen to dismount, and he now stood\nlooking, with rueful eyes, at the naked banks of the river. Neither tree", "Ellen; and even Paul, when he saw an armed sentinel in the uniform of\nthe States, pacing before its entrance, was content to stray among the", "\"If I do, may I b--!\" The mouth of Paul was stopped by the hand of\nEllen, and he was obliged to swallow the rest of the sentence, which", "\"Paul! rash Paul!\" shrieked Ellen; \"another step and the rocks will\ncrush you! they hang by but a thread, and these girls are ready and\nwilling to let them fall!\"", "Ellen admired Paul for anything but his learning. There was enough in\nhis frank, fearless, and manly character, backed as it was by great", "\"Harkee, old trapper,\" interrupted Paul, who, content with the knowledge\nthat his waist was grasped by one of the arms of Ellen, had hitherto", "In order to give the worthy priest something to employ his mind,\nMiddleton made him the instrument of uniting Paul and Ellen. The former", "The mouth of Paul was again stopped by the hand of Ellen, who took on\nherself to reply, in her conciliating tones: \"we should be all of a", "\"The whole truth is out, Ellen,\" Paul continued, \"and we have lined\nthe squatter into his most secret misdoings. We have come to right the", "Paul Hover, however, remained in his tracks, sullenly leaning on his\nrifle. Near a minute had elapsed before he was observed by Ellen, who", "figure of Inez, on whose anxious countenance he cast such occasional\nglances of tender interest as, in similar circumstances, a father would\nhave given to his child. Paul led Ellen, close in their rear. But while", "has related of Paul, and of his own continued happiness, he has added\na short narrative of what took place in a subsequent visit to the\nprairies, with which, as we conceive it a suitable termination to what", "Ellen seemed to hesitate, but catching a glimpse of Paul, who stood\nleaning proudly on his rifle, whistling, with an appearance of the", "and Paul summoned Ellen from her culinary labours, to become a witness\nof the lively scene.", "\"Call her Nelly Wade at once,\" muttered Paul; \"it is her rightful name,\nand I care not if she keeps it for ever!\"", "\"Hush, Paul, hush,\" said the terrified young woman, who leaned on his\narm for support; \"your voice might be heard.\"" ], [ "The trapper had remained nearly motionless for an hour. His eyes, alone,\nhad occasionally opened and shut. When opened, his gaze seemed fastened", "penetrated a mile into the place. Here they found a spot suited to their\ncircumstances, and, dismounting, they began to make their dispositions\nto pass the remainder of the night. By this time the trapper", "\"There!\" said the Doctor, pointing into a dense mass of the thicket,\nto a spot within fifty feet of that where they both stood. The trapper", "descent, the trapper gave him up for lost; but the next instant he was\nseen safely seated in a cavity formed by some of the projecting stones\nwhich had yielded to the shock, holding triumphantly in his hand the", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on", "\"Give it all to the trapper by rule, and by figures of speech,\" said\nPaul, very coolly taking his seat on the other side of the young", "twenty feet in diameter. Into one edge of this little area the trapper\nbrought the females, directing Middleton and Paul to cover their light", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "that the eyes of both sunk to the earth, under a feeling of terror and\nembarrassment. Then Inez recovered herself, and addressing the trapper,", "\"Speak,\" returned the trapper, in tones that issued from his chest, but\nwhich were rendered awfully distinct by the stillness that reigned in", "The trapper was placed on a rude seat, which had been made, with studied\ncare, to support his frame in an upright and easy attitude. The first", "\"It seems to me,\" the trapper calmly observed, \"that there is something\ndark and hidden in this matter. I am a witness that the traveller likes", "The sleep of the fugitives lasted for several hours. The trapper was the\nfirst to shake off its influence, as he had been the last to court its", "In the mean time the trapper and the Sioux chief pursued their way to\nthe lodge. The former had watched with painful interest the expression", "on three sides of the position. Within these narrow limits (with the\nexception of what the tent contained), both man and beast were now\ncollected; the latter being far too happy in resting their weary", "\"I fear your friends in the other bottom will not escape the eyes of\nthe imps!\" continued the trapper, as coolly as though he had not heard a", "hands of the trapper, and struggling to command his voice, he succeeded\nin announcing his presence. The old man listened like one whose thoughts\nwere dwelling on a very different subject, but when the other had", "seized the Doctor by the arm; and, as the trapper followed with the\nsmallest possible delay, the whole party was quickly collected within\nthe cover of the thicket. After a few short explanations concerning the", "of the place, and passed off into the prairie, in cadences that rose\nand fell, like its own undulating surface. The trapper was impressively", "The trapper drew slowly aside, as if satisfied with the somewhat\nincoherent reason Ellen had given why he should retire. When completely\nout of ear shot of the earnest and hurried dialogue, that instantly" ], [ "\"It is good,\" returned the other, a gleam of satisfaction flitting\nacross his features. \"Hard-Heart will ride his horse to the blessed\nprairies, and he will come before the Master of Life like a chief!\"", "The crafty Sioux had not made his calculations on the noble and honest\nnature of his more youthful rival in vain. Hard-Heart had continued", "\"Hard-Heart!\" shouted the Sioux, turning in his fury, and aiming a\ndeadly blow at the head of his victim. His arm fell into the hollow of", "of Hard-Heart had not sufficed to extricate himself in season from the\nfallen beast. He saw that his case was desperate. Feeling for his knife,", "prairie. And now, stranger,\" he added, dropping the butt of his rifle on\nthe hard earth, with a violence and clatter that would have intimidated", "Following the route indicated by the old man, they turned the rock in\na body, and pursued their way as fast as possible across the prairie,\nunder the favour of the cover it afforded.", "Hard-Heart, each of whom had involuntarily extended a hand to support\nthe form of the old man, turned to him again, they found, that the\nsubject of their interest was removed for ever beyond the necessity of", "The experience of the trapper was in the right. As the fire gained\nstrength and heat, it began to spread on three sides, dying of itself on", "prairie, while he was speaking. It was fortunate that the senses of\nthe aged hunter remained so acute, and that he had lost none of his", "Hard-Heart had already crossed half the bottom, which lay between the\nacclivity and the water. At this precise moment a band of armed and", "Hard-Heart intended to speak, the former stopped, and manifested their\nreadiness to listen, the trapper performing the office of interpreter.\nThen the young chief addressed his people, in the usual metaphorical", "Hard-Heart had no sooner received the brief congratulations of his band,\nand communicated to the chiefs such facts as were important to be known,\nthan he prepared himself to act such a part in the coming conflict,", "Though Hard-Heart was sensible of the kindness of his warriors, and\nbelieved that a chief, furnished with such appointments, might depart", "Hard-Heart was perfectly insensible. His eye kept the same steady,\nriveted look on the air, though the glittering axe described, in its", "instructions of Hard-Heart, on quitting his band, had been worthy of the\nself-devotion and daring of his character. So long as single warriors", "Hard-Heart alone, of all his band, was present to witness the novel and\nfar from unimposing spectacle. He stood leaning, gravely, on his lance,", "The experience of Hard-Heart had not deceived him. When his snorting\nsteed issued from the water, he found himself on a tremendous but damp", "The fate of Hard-Heart and his companions, all of whom would have died\nrather than relinquish their object, would have been quickly sealed, but", "experienced trapper. He had been, in common with the rest, astonished\nat the sudden act of Hard-Heart; and there was a single moment when a", "burn it with the offals of the buffaloe. No,\" he added, advancing a\nfew feet nigher to the immovable Hard-Heart, as if in the sincerity of" ], [ "former passage through the same regions. When within a proper distance,\nhe despatched an Indian runner, belonging to a friendly tribe, to\nannounce the approach of himself and party, continuing his route at a", "At length an athletic and dark looking Indian, who, by his air of\nauthority, would seem to be the leader, summoned his chiefs about him,", "Indians, who had joined their chief so soon as he was at such a distance\nfrom the encampment as to excite no jealousy by their numbers, had gone", "The sudden and striking change, which instantly occurred in the\ncountenance of the Indian, caused the trapper to look aside, when\nhe perceived that the conference of the Siouxes had ended, and that", "Indian chief, before their eyes. The old man had glided past him, and\nalready taken a position suited to the office he had been commanded to\nfill.", "\"True, true,\" whispered Ellen; \"and we have other things to attend to\nnow! Here comes the Indian to put his questions.\"", "to practise than an Indian warrior, he made no direct mention of the\nrapacious temper, that so many of them had betrayed, in their dealings\nwith the Red-men. Feeling that the sentiment of distrust was strongly", "\"Enough,\" said the old man, rising with dignity; \"I have cast away the\npriming; for certain death would follow your rashness. Now let us meet\nour fates like men. Cringing and complaining find no favour in Indian\neyes.\"", "retiring form of the Indian, with an astonishment he did not care to\nconceal, nor did he renew his attempt at interpretation until the\nperson of Mahtoree was blended with the cluster of warriors, who had so", "which had so lately been seen on every countenance, was now changed to\none better suited to the feeling of the moment. It was understood by\nall, that the Pale-faces, who had befriended their chief were about", "\"Come nigher; we are friends,\" said the trapper, associating himself\nwith his companion by long use, and, probably, through the strength of\nthe secret tie that connected them together; \"we are your friends; none\nwill harm you.\"", "into its leading column, apparently hesitating on the risk of storming a\nbank so formidably defended. The well-known precaution of Indian warfare", "\"I call myself a fair trader, and one who gives to his chaps as good as\nhe receives. You saw the Indians?\"\n\n\"I did--they held me a prisoner, while they stole into your camp.\"", "Then he directed the attention of all to the chief of the strangers. He\nwas a son of their great white father. He had not come upon the prairies", "Thoroughly understanding the character of this Indian, the old man lost\nno time in getting rid of him also. Riding to his side he said, in an\naffected whisper--", "In the mean time, the Siouxes (for the sagacity of the old man was not\ndeceived in the character of his dangerous neighbours) had terminated", "inferior to his own. Before he had time to reproach his comrade for\nthis apparent treachery, a dozen Siouxes were around them, and the whole\nparty were compelled to yield themselves as prisoners.", "\"My son has forgotten his cunning. This is a low-minded Indian, and\none easily hurried into folly. I cannot do the thing myself, for my", "As the adventurers had not come unprepared for victory, each individual\nemployed himself in such offices as were best adapted to his strength\nand situation. The trapper had already made himself master of the", "In the mean time the Teton warriors had not been idle. Profiting by the\nhigh fog which grew in the bottoms, they had wormed their way through" ] ]

[ "Why did the Trapper leave New York?", "How did the immigrants become stranded?", "Why did the Trapper help the family move the wagons?", "Who helped look for Ishmail's son?", "Who was held Inez captive?", "How did Hard-heart survive the fire?", "Who killed Asa?", "How did the Trapper save everyone from the Indians?", "Who buried the trapper?", "What is the name of the Indian tribe who is stealing animals from the pioneers?", "What was the name of the trapper from New York, the family encounterd?", "What did Natty accomplish in his travels?", "Where does the trapper and the family relocate to safety?", "What was the name of the son that was murdered? ", "What do the Tetons use in an attempt to trap the family? ", "What tribe did Hard-Heart belong too?", "Who wants to take Inez and Ellen as wives? ", "Where does Ishmeals family, Ellen, Inez and Middleton eventually return to?", "Where does the trapper eventually do?", "Where does this story take place?", "What was the purpose of Ishmael and his family's journey?", "Who steals Ishmaels's animals?", "Which child of ishmael is discovered murdered?", "Who is intended to become wives of the Teton warriors?", "Who was Asa's murderer?", "Where do Paul and Ellen end up?", "Where does the trapped settle?", "How did Hard-Heart survive the prairie fire?", "Who forms alliance with the Indians?" ]

[ [ "To find a place where there were more trees.", "find a place where he cannot hear people" ], [ "A group of Teton warriors came and stole all of the animals.", "Teton warriors steal his animals." ], [ "To protect the from the Teton warriors.", "they were attacked by the Tetons" ], [ "Ishmael and his family.", "his family" ], [ "Abiram and Ishmael.", "Abiram and Ishmael" ], [ "He wrapped himself in buffalo skin.", "He wrapped himself in a buffalo skin." ], [ "Abiram.", "Abiram." ], [ "By backfiring the prairie fire.", "He lit a backfire." ], [ "Middleton and Paul.", "Middleton and Paul" ], [ "The Tetons", "the Tetons" ], [ "Natty Bumpo", "Natty Bumppo" ], [ "He walked to the Pacific ocean", "walked all the way to the Pacific" ], [ "a butte", "to a butte nearby" ], [ "Asa", "Asa" ], [ "a prairie fire", "A ring of fire." ], [ "The Pawnee Tribe", "Pawnee" ], [ "Mahatoree", "Mahtoree" ], [ "Back east", "back east, to Louisiana and Kentucky" ], [ "He joins the Pawnee village", "joins a Pawnee village" ], [ "In the virgin prairies of the Midwest.", "on the prairies of the Midwest" ], [ "They were seeking a new homestead", "Looking for a homestead." ], [ "The Teton warriors", "the Teton warriors" ], [ "As a, his eldest son", "Asa" ], [ "Ellen and Inez", "Inez and Ellen" ], [ "Abiram", "Ishmael and his family" ], [ "Louisiana and Kentucky", "Kentucky" ], [ "In a Pawnee village, in a tributary of the Missouri River", "A pawnee village on the Missouri river." ], [ "He wraps himself in buffalo skin.", "he wrapped himself in a buffalo skin" ], [ "Ishmael", "Ishmael" ] ]

33beeecef8e727e7cf85f29acb4db7e3cc683c95

train

[ [ "CRAIS\n\tThese \"Newcomers,\" we soon learned,\n\twere a genetically-engineered race,", "alien). He moves into:", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "They have reached a table holding a covered body. Winter\nunceremoniously throws back the cover. There lies the\npale naked body of the Raincoat alien.\n\n\t\t\tJETSON\n\tHave you identified this one?", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "head... and alien hand. Sykes jumps. It's a NEWCOMER\nDERELICT standing there, weaving, mumbling in his own\nlanguage. In one filthy hand holds a quart carton of", "He indicates the drug. The first alien Dealer sways\ngently, enjoying the sensation. The second alien Dealer\ntakes his hit... shudders as the first rush washes over", "alien is knocked backwards to the wet asphalt by the\nblasts. Sykes approaches the body slowly. With an\ninhuman ROAR, the alien snaps forward, lunging at Sykes", "And instantly Sykes whips out this flashlight, snaps on\nthe beam, and arcs it into the faces of the aliens around\nhim. Jetson gets a blast of it, too. The aliens are\nmomentarily blinded.", "Sykes catches sight of the two aliens just as they round\nthe corner at the far end of the alley. He takes off,\nquickly cranking up to full speed.", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "Tuggle fires at the two aliens. They return fire and he\nslides down to safety behind the car. Or so he thinks.", "Harcourt sees the hungering expressions on the alien\nDealers' faces... smiles knowingly. He slides one of the\ndispensers from the suitcase.", "O'NEAL\n\tYes it is.\n\t\t (some alien workers\n\t\t come through the\n\t\t door)", "The large suitcase rests on the expansive conference\ntable. A manicured alien hand reaches in and slowly opens\nit. Inside are fifty one-kilo glass tubes full of the", "An explosion of color and movement as OPENING TITLES PLAY\nvery quickly. We're TRAVELING the streets in a n.d.\nsedan, getting MOVING GLIMPSES of the aliens living among\nus now:", "counter. His eyes go wide as Kipling whips back his coat\nand yanks out a short combat pump-shotgun and aims it\nright at him. The Raincoat alien pulls an identical gun", "Sykes stops struggling, and his eyes focus. He looks at\nthe alien he just decked, sprawled on his ass ten feet\naway. The alien is a uniformed cop... his name is JETSON.", "Several ALIEN MEN, brute laborer-types, lounge around out\nfront. They glare with antagonism as Sykes and Jetson\nclimb out of their car.", "adapted for hard labor in almost any\n\tenvironmental condition. In effect,\n\ttheir ship was a slave ship...\n\twashed ashore on Earth with no way" ], [ "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "Warner is surprised. He never expected Sykes.\n\n\t\t\tWARNER\n\t... All right. Detective Sergeant\n\tSykes, this is Detective... Jetson.", "He glances over at the two cops... his expression shifting\nto recognition as he spots Jetson.\n\nBACK TO SCENE\n\nSykes speaks to the Big Newcomer's back.", "SYKES\n\tI'm Sergeant Sykes, and this is\n\tDetective Jetson, Los Angeles Police\n\tDepartment.", "O'Neal is experiencing real fear now. Sykes has decided\nto back Jetson up, for better or worse. He takes the\n\"good cop\" role.", "Jetson is starting to take on Sykes' looks, his clothing\nrumpled and a day old. Sykes has showered and changed so\nhe's not suffering as much by comparison. They approach\nSykes' desk.", "The CRIME SCENE TEAM is checking for prints, digging slugs\nout of the wall, photographing everything. Several\nUNIFORMED COPS mill around. Sykes moves aimlessly around\nthe room like a stranger at a party.", "He turns and heads back to his office in the wake of\ncontinued grumbling from the detectives. Sykes, standing\nto one side, absently watches Warner return to his glass-", "INT. CORRIDOR - BUREAU OF NEWCOMER AFFAIRS - NIGHT\n\nSykes and Jetson move down this government-building\ncorridor.", "Sykes lumbers past the burning police unit. Kipling is\nstill behind the wheel, his head slumped forward. Sykes\nis just past the cars when they explode -- sending hoods", "his shift starts ambling past. Sykes runs in front of it,\nwaving his badge. The pickup skids to a stop.", "Sykes sees that his partner is covered with a sudden sheen\nof sweat, his hands shaking. Sykes softens.", "The Big Newcomer continues to sip his mug of sour milk.\nDoesn't turn. Sykes grabs him by the shoulder and turns", "Sykes stops struggling, and his eyes focus. He looks at\nthe alien he just decked, sprawled on his ass ten feet\naway. The alien is a uniformed cop... his name is JETSON.", "Sykes rounds the corner. Doesn't see them anymore. He\nslows... moves along this street with some caution. Lots", "Jetson, looking bizarre in his ear-protectors, is taking\ncareful aim with his .38 as Sykes walks up. Jetson slips\nthe protectors down.", "INT. \"X\" BAR - NIGHT\n\nSykes and Jetson walk into the almost total blackness of\nthis all-Newcomer place.", "SYKES\n\t\t (wearily)\n\tWatson... this is my partner here's\n\tfirst coupla days, and he wants to", "Sykes has Porter pinned to the bar, the flashlight in his\nface, as he starts to handcuff him. But Porter gets a", "A second arriving police unit pulls into the alley,\nheading straight for the slug-mobile. Sykes has to grate\nbetween the alley wall and the arriving police unit to get\npast." ], [ "PORTER\n\tYeah... I seen him around. High-\n\troller dude named Strader. Joshua\n\tStrader. Runs a club on the west\n\tside. Encounters.", "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "The Operator punches up STRADER, JOSHUA. The screen fills\nwith information.", "The Big Newcomer continues to sip his mug of sour milk.\nDoesn't turn. Sykes grabs him by the shoulder and turns", "More laughter. Sykes gives the darkness where the\noffender sits a hard stare, then turns and shoulders his\nway to the end of the bar. Jetson follows. Sykes stops\nbehind a big Newcomer in greasy work clothes.", "CASSANDRA\n\tYou... you killed Strader?\n\nCassandra runs to Harcourt grabbing his jacket.", "A moment, then he turns and starts back toward the limo.\nHe motions to Strader's body and the surf. The Thugs grab\nthe body and heave it into the waves.", "FEDORCHUK\n\tFound his wallet in his jacket\n\tpocket. Joshua Strader, big as\n\tlife.", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "Newcomers with nothing in common,\n\tright? What if it's just one other\n\tguy who killed these three?\n\t\t (Jetson looks at him", "punk Newcomer (PORTER) has started to slip away unnoticed.\nJetson spots him, reaches out with one arm, and grabs him\nby the jacket.", "Quint and the Thugs free Watson from the bumper. He bucks\nand lunges as they drag him toward the surf. Quint\naddresses one of the Thugs, a new guy.", "Newcomer workers move in and out through the door during:\n\n\t\t\tO'NEAL\n\t\t (looking at photo)\n\tYou think this is the guy who did\n\tit?", "A new voice enters the conversation.\n\n\t\t\tJETSON (O.S.)\n\tAn identical round was used in the\n\tshooting of a Newcomer named\n\tHubley, two days ago.", "with outstretched arms. Sykes jumps back, startled, and\nFIRES twice more at the pale figure. Raincoat goes down\nand stays down.", "Newcomer ship upon its dramatic\n\tarrival. As with the assassination\n\tof John Kennedy, who among us does\n\tnot remember exactly where he was", "O'Neal recognizes Sykes and doesn't wait around for the\nbig Newcomer bearing down on him. He dodges quickly\nthrough the refrigeration door and swings it closed.", "the nightclub as Strader's successor.\n\tIf you do, you will know a wealth\n\tand comfort our people never dared\n\timagine...", "WATSON\n\tLook -- Mr. Strader hasn't been\n\taround for a coupla days. He didn't\n\ttell me where he was going or when\n\the'd be back. I swear it.", "Kipling recovers enough to come at Sykes again with the\nsuitcase again. Jetson, shaking but determined, fires\nagain, and again, and again." ], [ "Two detectives on their way out, stop, and head back into\nthe room. Everybody gathers around, curious, as Warner\nstands holding a sheet of paper.", "The off-duty uniformed and plainclothes cops are mostly\nignoring the TV, except for two detectives, FEDORCHUK and\nALTEREZ, who are waiting for the ball scores.", "More laughter. Sykes gives the darkness where the\noffender sits a hard stare, then turns and shoulders his\nway to the end of the bar. Jetson follows. Sykes stops\nbehind a big Newcomer in greasy work clothes.", "PORTER\n\tYeah... I seen him around. High-\n\troller dude named Strader. Joshua\n\tStrader. Runs a club on the west\n\tside. Encounters.", "the nightclub as Strader's successor.\n\tIf you do, you will know a wealth\n\tand comfort our people never dared\n\timagine...", "The club is deserted tonight as Harcourt and entourage\nmove toward the back.\n\n\nEXT. SECOND FLOOR CORRIDOR - NIGHT", "-- a large black suitcase. He slides it out. Harcourt\nnods. He and Kipling start into the club, followed by\nQuint.\n\n\nINT. ENCOUNTERS - NIGHT", "somehow come up with the formula for\n\tthe drug. Hubley manufactured it --\n\tat the refinery. Strader, through\n\tthe nightclub, established a", "CASSANDRA\n\tYou... you killed Strader?\n\nCassandra runs to Harcourt grabbing his jacket.", "Cassandra walks a trio of well-dressed DRUG DEALERS (two\nalien, one human) through the deserted club.\n\n\nINT. SECOND FLOOR CORRIDOR - NIGHT", "The police mop-up is winding down. Cop cars, coroner's\nwagons, fire trucks. We MOVE through it all to find Sykes\nand Jetson seated on the curb, away from the railing.", "The first two arriving black-and-whites skid to stops at\nthe coroner's wagon. The Officers leap out, flagging\nother arriving units to continue on toward the warehouses.", "We can dimly make out booths along one wall, some tables,\nand the bar. There are maybe twenty figures seated or\nstanding in the darkness. The room falls silent in a wave\nas Sykes' presence becomes noticed.", "The CRIME SCENE TEAM is checking for prints, digging slugs\nout of the wall, photographing everything. Several\nUNIFORMED COPS mill around. Sykes moves aimlessly around\nthe room like a stranger at a party.", "Came immediately to L.A. Ten weeks\n\tafter arriving he took over the\n\tabandoned club which is now\n\tEncounters.", "A moment, then he turns and starts back toward the limo.\nHe motions to Strader's body and the surf. The Thugs grab\nthe body and heave it into the waves.", "EXT. ALLEY - BEHIND ENCOUNTER - NIGHT\n\nTwo UNIFORMED OFFICERS bound from their unit and run into\nthe back entrance of the club, leaving the unit running.", "Kipling shoves Jetson aside, draws his gun and fires at\nSykes.\n\nSykes dodges into the private office for cover.\n\nThe three Dealers dive behind any available furniture.", "And he moves off with his partner. Sykes calls after him,\nbut Jetson is already approaching the woman and doesn't\nturn.", "Todd, it's me. The police were just\n\there... looking for Strader. And\n\tasking about you." ], [ "JETSON\n\t\t (finally)\n\t... It is called ss'jabroka'. To us\n\tit is a potent narcotic.", "It is Jetson. He had been hiding behind some crates\nstacked here in the corridor. He pins Cassandra\npowerfully to the wall, keeping one hand over her mouth.\nShe struggles until she sees who it is.", "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "Meanwhile, Jetson struggles to regain his feet. Kipling\nrears back and delivers a crushing blow under Jetson's arm", "Jetson moves forward slowly, holding the bomb in front of\nhim. He is sweating rivers. The others quickly join him.\nHe nudges Cassandra ahead of himself, keeping her where he\ncan see her.", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "Jetson has waited politely half-in half-out of the room.\nSykes rapidly motions to him to \"go look around\". Jetson\nmimes back, \"Huh?\"", "He shambles to the door and gets it open, admitting\nJetson. Jetson holds the C-4 charge in a handkerchief\nwith one hand and gives it to Sykes.", "It's a length of black tarp, torn and flapping from the\nceiling. Jetson lets out a deep breath.\n\n\nINT. STORAGE ROOM - NIGHT", "The shattered windows have been covered with plywood.\nThrough the open doorway we see Jetson talking to the\nProprietor's Wife. She studies a photo Jetson shows her,\nnods her head, speaking rapidly in the alien language.", "Jetson sees this and is shitting bricks. Suddenly the\nstark BEAM of a police helicopter sun-gun stabs down from", "JETSON\n\tSs'loka'. It means literally \"small\n\tbut intelligent creature\".\n\t\t (Sykes looks over,", "Harcourt and Kipling bang down the metal stairs. Jetson\nis ten feet above them. Sykes flies out onto the fire", "The fingertips of the two hands waver mere inches from\neach other... Jetson stretches farther, farther... and the\ntwo hands meet! Jetson winces from the pain of the", "going into the wall behind Harcourt. Striking like a\nmongoose, Kipling leaps forward, grabbing the two lead\nwires on the bomb in Jetson's hand and jerking them apart.", "Jetson looks up, sees movement in the distance. It is\nSykes, quite far away, in another section of the\nwarehouse. Sykes leaves Jetson's field of view.", "Kipling recovers enough to come at Sykes again with the\nsuitcase again. Jetson, shaking but determined, fires\nagain, and again, and again.", "INT. HELICOPTER - NIGHT\n\nJetson watches this happen.\n\n\nEXT. DINGHY - NIGHT", "A beat, than Jetson explodes -- he sweeps a rack of\nequipment off the worktable, savagely wipes the drug from", "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with" ], [ "Sykes stumbles back, but Harcourt is on him in a flash.\nHarcourt grabs Sykes' arm holding the gun, yanks hard. We", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the", "touches. Sykes is taking one hell of a beating. Harcourt\nsweeps Sykes up in a bear hug, is about to crush his rib", "cage, when Sykes shifts his body weight, knocking Harcourt\noff balance. Harcourt wobbles, fear on his face for the\nfirst time -- then he finally loses it, and the two of", "Sykes cat-steps forward slowly. Harcourt stares at Sykes'\neyes, and the desire there that Harcourt will give him an\nexcuse. Harcourt simply... smiles.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The", "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "Harcourt is thrown into the dinghy with Sykes. As\nHarcourt recovers, Sykes spots the release for the tie", "Sykes breaks the surface, Harcourt's misshapen lump of a\nbody unmoving but still on top of him. Sykes shoves it", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "his leg. Sykes jerks his leg away, and Harcourt's claws\ndig deep through Sykes' pants into his legs as he pulls\naway. Sykes BELLOWS in pain.", "ON SYKES\n\nHe eases cautiously toward the shadows where he knows\nHarcourt is. There's some movement among the shadows, and\nSykes straight-arms the Casull, his finger white against\nthe trigger.", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "Suddenly, Sykes senses something is there. He turns,\nslowly, and--\n\nSHOCK CUT - HARCOURT", "EXT. DOCKS - NIGHT\n\nSykes is on his feet, but his knees buckle, and he almost\ncollapses again. Harcourt comes at him. Then Sykes sees\nit--", "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "seawater on two side of him. Harcourt pivots frantically,\nsees Sykes coming this way. Harcourt is a trapped animal.", "as he steps from the shadows -- just like he did the last\ntime Sykes saw him on the abandoned drawbridge. Only this\ntime it is a horribly transformed Harcourt. His eyes are", "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with" ], [ "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "He's still dragging Jetson away when he spots Harcourt\npulling himself through the smashed police unit window.\nBruised and bleeding, Harcourt reaches in for the\nsuitcase, then starts to run with it.", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "Harcourt recovers from the jolt of the bullet impact. The\ncloth of his disheveled shirt is shredded and powder-", "and door panels and glass flying in all directions.\nHarcourt, on the other side of the fence, grabs the\nsuitcase and limps off into the shadowy world of the", "With nowhere else to go, Harcourt yells something at\nKipling and Kipling floors it back the way they came.\n\n\nEXT. HENRY FORD BOULEVARD - NIGHT", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the", "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with", "Harcourt snatches up the suitcase and rushes to the door\nleading into the adjoining outer office.", "The Captain reacts to the helicopter overhead, looks back\nat what the sun-gun spotlights. He sees Harcourt standing\nat the bow of the dinghy, starting to clamber in.", "Harcourt remains behind the desk. Cassandra stays where\nshe is, near Jetson. The others move to the wall.\nKipling in particular is going nuts, letting this happen.", "Harcourt turns in his seat just in time to see the slug-\nmobile airborne as it flies from the on-ramp, landing a\nfew feet behind the black-and-white's bumper.", "touches. Sykes is taking one hell of a beating. Harcourt\nsweeps Sykes up in a bear hug, is about to crush his rib", "of the stairs waiting for them. She's very uncomfortable\ndealing with Harcourt. Kipling and Quint continue on\ntoward the office door. Harcourt pauses with Cassandra.", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "Harcourt reaches the chain link fence leading to the\nclosed drawbridge. He heaves the suitcase over, then\nstarts to climb.", "With Jetson a safe distance away from the cars, Sykes\nclambers to his feet, draws the Casull, and starts off\nafter Harcourt.", "Harcourt and Kipling in the first police unit come\nthundering down the street zig-zagging through traffic.\nThe slug-mobile is three-quarters of a block behind them." ], [ "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with", "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "Harcourt recovers from the jolt of the bullet impact. The\ncloth of his disheveled shirt is shredded and powder-", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "of the dinghy as Harcourt's savage visage appears at the\nbow. Harcourt grins -- the predator with his prey\ntrapped.", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "The Captain reacts to the helicopter overhead, looks back\nat what the sun-gun spotlights. He sees Harcourt standing\nat the bow of the dinghy, starting to clamber in.", "Harcourt is thrown into the dinghy with Sykes. As\nHarcourt recovers, Sykes spots the release for the tie", "and door panels and glass flying in all directions.\nHarcourt, on the other side of the fence, grabs the\nsuitcase and limps off into the shadowy world of the", "HARCOURT\n\tIt is such a pity to die for an\n\toutmoded value.\n\t\t (rising)\n\tMr. Quint, I believe it's time for\n\tour friend's swimming lesson.", "Sykes stumbles back, but Harcourt is on him in a flash.\nHarcourt grabs Sykes' arm holding the gun, yanks hard. We", "Harcourt, who is getting more and more wet, HOWLS in\nagony, thick blood beginning to bead wherever the water", "He's still dragging Jetson away when he spots Harcourt\npulling himself through the smashed police unit window.\nBruised and bleeding, Harcourt reaches in for the\nsuitcase, then starts to run with it.", "Harcourt and the others react. Quint leaps to his feet,\ncaught off guard. Kipling reaches for his shoulder", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The", "Harcourt and Kipling bang down the metal stairs. Jetson\nis ten feet above them. Sykes flies out onto the fire", "touches. Sykes is taking one hell of a beating. Harcourt\nsweeps Sykes up in a bear hug, is about to crush his rib" ], [ "own arm below the surface! He feels around, gets hold of\nsomething, and pulls. It is Sykes' wrist. He pulls hard,\nbringing the sputtering Sykes up out of the water.", "Sykes manages to pull himself up into the dinghy hanging\nover the stern of the fishing boat. He pushes to the back", "Sykes breaks the surface, gasping for air, frantically\nclawing with his one good arm at the wedge of dinghy still", "The Pilot does. Sykes comes up out of the water. His\nfeet are just clear of the surface when -- Harcourt's hand", "he does the bravest thing he has ever done. He moves out\nonto the narrow helicopter skid. Hanging on, three feet\nabove the water, he reaches down for Sykes' up reaching", "Harcourt is thrown into the dinghy with Sykes. As\nHarcourt recovers, Sykes spots the release for the tie", "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "and arm rocket out of the water, grabbing Sykes' ankle.\nSykes looks down in horror. The helicopter keeps moving\nup, and before Harcourt's body breaks the surface, the arm", "Sykes' outreached hand stretches up from the water, but\nthe skid is just too high. Jetson has no alternative, and", "EXT. FISHING BOAT - NIGHT\n\nSykes lies there, holding his arm, breathing hard,\nrelieved that he has escaped.\n\n\nEXT. JETTY - NIGHT", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "behind Sykes as he reaches the end of the jetty and vaults\noff toward the stern of the boat -- landing on the fishing\nnet piled on the rear deck. He yells in pain as his ankle", "seawater on Sykes' hand. He starts pulling Sykes up.\nWhen--", "-- a fishing boat chugging along past the end of one of\nthe jetties. Sykes makes a break for it.\n\n\nEXT. WAREHOUSE - AT STAIRS - NIGHT", "Sykes lumbers along the narrow jetty. The fishing boat is\nalready passing the end of the jetty. Harcourt is fast", "Sykes reaches the fence. Instead of climbing, he simply\nblows the lock to hell with the Casull, and kicks open the\ngate.\n\n\nEXT. ABANDONED DRAWBRIDGE - NIGHT", "sinking. Harcourt grabs Sykes' leg and pulls him toward\nhim. Sykes holds on to the stern cleats with all his", "seawater on two side of him. Harcourt pivots frantically,\nsees Sykes coming this way. Harcourt is a trapped animal.", "Sykes plops on the floor, soaked, battered, holding his\nlimp arm. Jetson is quickly whipping off his jacket,", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the" ], [ "FRESNO HOUSEWIFE\n\tWhen the Newcomers were first let\n\tout of the ship, they were", "Newcomer ship upon its dramatic\n\tarrival. As with the assassination\n\tof John Kennedy, who among us does\n\tnot remember exactly where he was", "adapted for hard labor in almost any\n\tenvironmental condition. In effect,\n\ttheir ship was a slave ship...\n\twashed ashore on Earth with no way", "head... and alien hand. Sykes jumps. It's a NEWCOMER\nDERELICT standing there, weaving, mumbling in his own\nlanguage. In one filthy hand holds a quart carton of", "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "The Captain reacts to the helicopter overhead, looks back\nat what the sun-gun spotlights. He sees Harcourt standing\nat the bow of the dinghy, starting to clamber in.", "Harcourt exits the limo, walks onto the sand to the back\nof the van. Here he finds Kipling and Quint and the three\nhuman Thugs.", "Harcourt's private limo glides down the narrow access\nroad, passing a lookout car attended by two alien Thugs.\nThe limo moves down to the beach, parking near an n.d.\nvan.", "Quint and the Thugs free Watson from the bumper. He bucks\nand lunges as they drag him toward the surf. Quint\naddresses one of the Thugs, a new guy.", "The Big Newcomer continues to sip his mug of sour milk.\nDoesn't turn. Sykes grabs him by the shoulder and turns", "CRAIS\n\tThese \"Newcomers,\" we soon learned,\n\twere a genetically-engineered race,", "punk Newcomer (PORTER) has started to slip away unnoticed.\nJetson spots him, reaches out with one arm, and grabs him\nby the jacket.", "The men are in tuxedos, the women in evening gowns. Only\ntwo of three Newcomers faces present. Kipling threads his\nway among the tables as the MAYOR, at the speaker's\nplatform, addresses the assembly.", "INT. HELICOPTER - NIGHT\n\nJetson watches this happen.\n\n\nEXT. DINGHY - NIGHT", "that October nineteenth morning,\n\twhen news first broke: that people\n\thave landed... from another star.", "The first two arriving black-and-whites skid to stops at\nthe coroner's wagon. The Officers leap out, flagging\nother arriving units to continue on toward the warehouses.", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "More laughter. Sykes gives the darkness where the\noffender sits a hard stare, then turns and shoulders his\nway to the end of the bar. Jetson follows. Sykes stops\nbehind a big Newcomer in greasy work clothes.", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "The slug-mobile skids to a stop at the loading dock\nentrance. Sykes and Jetson climb out. They hop up onto\nthe loading platform and move purposefully into the well-\nlit interior through the open door." ], [ "Sykes sees that his partner is covered with a sudden sheen\nof sweat, his hands shaking. Sykes softens.", "He and Sykes take off running. Wiltey skids to the left,\nrockets in through the open warehouse door, out of sight.", "Sykes rounds the corner. Doesn't see them anymore. He\nslows... moves along this street with some caution. Lots", "Sykes lumbers along the narrow jetty. The fishing boat is\nalready passing the end of the jetty. Harcourt is fast", "Sykes locks up the brakes. Kipling veers around a couple\nof cars and speeds away.\n\nBecause of the other traffic, Sykes has only one course of\naction. He skids a left onto a side street.", "Jetson is frantic. He keeps waiting -- but this time\nSykes doesn't come up. Jetson doesn't know what to do.", "And he moves off with his partner. Sykes calls after him,\nbut Jetson is already approaching the woman and doesn't\nturn.", "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "O'Neal is experiencing real fear now. Sykes has decided\nto back Jetson up, for better or worse. He takes the\n\"good cop\" role.", "Sykes lumbers past the burning police unit. Kipling is\nstill behind the wheel, his head slumped forward. Sykes\nis just past the cars when they explode -- sending hoods", "SYKES\n\tMy partner is dead! Because one of\n\tyou bastards killed him -- then\n\tdisappeared into a rathole down in", "Sykes sits stunned behind the wheel. Disoriented but\nconscious, he raises his head, looks over... sees Jetson\nout cold, his forehead gashed and bleeding. Then he looks", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "-- a BLAST comes through the car and catches him squarely\nin the chest throwing him back onto the street.\n\nSykes' head jerks around -- in time to see his partner of\nnine years blown away.", "Sykes moves to join his daughter. As he does:\n\n\t\t\tJETSON\n\tThat is all right, Matthew. After\n\tall, you are only human.", "And he moves toward the back exit. Sykes watches him go.\n\n\t\t\t\t CUT TO:\n\nEXT. \"X\" BAR - NIGHT", "The poor guy bails out and Sykes jumps in, jamming it into\ngear. The truck has seen better days... it doesn't have\nmuch power to give as Sykes floors it toward the exit.", "EXT. FISHING BOAT - NIGHT\n\nSykes lies there, holding his arm, breathing hard,\nrelieved that he has escaped.\n\n\nEXT. JETTY - NIGHT", "with outstretched arms. Sykes jumps back, startled, and\nFIRES twice more at the pale figure. Raincoat goes down\nand stays down.", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The" ], [ "The Driver is out of the car now, brings up the machine\npistol to fire at Tuggle. Sykes sees this and opens fire", "Sykes is already pulling his gun. Tuggle quickly reaches\nfor the radio in the glovebox.", "EXT. STREET - NIGHT\n\nSykes runs to Tuggle's spread-eagled body. One glance is\nenough. Nobody ever looked deader.", "Sykes rises and runs across the street toward the getaway\ncar, firing toward the store as he goes.\n\nKipling and Raincoat dodge behind cover.", "Tuggle is pinned down behind the thin lamp post by the\nshotgun fire from Kipling and Raincoat alien.\n\n\t\t\tSYKES\n\tGet outta there!", "TUGGLE\n\tI can't! Do you mind!\n\n\t\t\tSYKES\n\tI'll cover you! Get outta there!!", "Jetson, looking bizarre in his ear-protectors, is taking\ncareful aim with his .38 as Sykes walks up. Jetson slips\nthe protectors down.", "SYKES\n\t\t (under his breath)\n\tAw, shit.\n\nTuggle is almost across the street when he hears the\nshots.", "Sykes and Tuggle crouch at the car directly across the\nstreet from the store entrance.\n\n\t\t\tTUGGLE\n\tWatch the driver. I'm going for a\n\tbetter angle on the door.", "Sykes keeps one hand on the wheel and draws the Casull\nwith the other. He brings it up and around right in front\nof Jetson's nose, pointing it through the passenger window\nat Kipling.", "TUGGLE\n\tOf course. Right in the trunk of\n\tthe car.\n\n\t\t\tSYKES\n\tYeah, that's comforting. Mine, too.", "TUGGLE\n\tIt is.\n\t\t (and Sykes gives him\n\t\t a look)\n\n-- A Newcomer lowrider pulls up beside the slug-mobile.", "Kipling recovers enough to come at Sykes again with the\nsuitcase again. Jetson, shaking but determined, fires\nagain, and again, and again.", "Tuggle drops the radio mike and follows Sykes as the Radio\nDispatcher confirms the call.\n\n\nEXT. STREET - NIGHT", "Danny last week.\n\t\t (Sykes stiffens)\n\tDanny thought Tug was the greatest\n\t-- but, then, who doesn't? Anyway,", "Sykes reaches the fence. Instead of climbing, he simply\nblows the lock to hell with the Casull, and kicks open the\ngate.\n\n\nEXT. ABANDONED DRAWBRIDGE - NIGHT", "The poor guy bails out and Sykes jumps in, jamming it into\ngear. The truck has seen better days... it doesn't have\nmuch power to give as Sykes floors it toward the exit.", "O'Neal is experiencing real fear now. Sykes has decided\nto back Jetson up, for better or worse. He takes the\n\"good cop\" role.", "Sykes stumbles back, but Harcourt is on him in a flash.\nHarcourt grabs Sykes' arm holding the gun, yanks hard. We", "Jetson and Sykes hit the ground just as the unit peels\nout. Sykes raises the Casull and fires at the fleeing" ], [ "Sykes sees that his partner is covered with a sudden sheen\nof sweat, his hands shaking. Sykes softens.", "O'Neal is experiencing real fear now. Sykes has decided\nto back Jetson up, for better or worse. He takes the\n\"good cop\" role.", "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "Sykes cat-steps forward slowly. Harcourt stares at Sykes'\neyes, and the desire there that Harcourt will give him an\nexcuse. Harcourt simply... smiles.", "Sykes has Porter pinned to the bar, the flashlight in his\nface, as he starts to handcuff him. But Porter gets a", "Sykes manages to pull himself up into the dinghy hanging\nover the stern of the fishing boat. He pushes to the back", "Finally Jetson gets what Sykes is trying to tell him. He\nsays in the uncertain, stagy voice of a bad liar:", "Sykes reaches the fence. Instead of climbing, he simply\nblows the lock to hell with the Casull, and kicks open the\ngate.\n\n\nEXT. ABANDONED DRAWBRIDGE - NIGHT", "Sykes rises, makes his way to Jetson's side. Jetson has\nlet the weight of the gun carry his hand to the ground.", "Sykes stares at him for about five seconds and then\nexplodes with laughter.\n\n\t\t\tSYKES\n\tYou son-of-a-bitch. You're okay.", "Jetson is starting to take on Sykes' looks, his clothing\nrumpled and a day old. Sykes has showered and changed so\nhe's not suffering as much by comparison. They approach\nSykes' desk.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Sykes stumbles back, but Harcourt is on him in a flash.\nHarcourt grabs Sykes' arm holding the gun, yanks hard. We", "The poor guy bails out and Sykes jumps in, jamming it into\ngear. The truck has seen better days... it doesn't have\nmuch power to give as Sykes floors it toward the exit.", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The", "Sykes sees it. Thinking fast, he eases off, using another\ncar as a blind. He waits until the police unit is\nparallel to an off-ramp, then guns ahead and swings right,\ndirectly for the police unit.", "Jetson is frantic. He keeps waiting -- but this time\nSykes doesn't come up. Jetson doesn't know what to do.", "Watson rears back to swing at Sykes, when Sykes swings his\narms around in two wide arcs, his fists landing two direct", "ON SYKES\n\nHe eases cautiously toward the shadows where he knows\nHarcourt is. There's some movement among the shadows, and\nSykes straight-arms the Casull, his finger white against\nthe trigger." ], [ "O'Neal is experiencing real fear now. Sykes has decided\nto back Jetson up, for better or worse. He takes the\n\"good cop\" role.", "Jetson is starting to take on Sykes' looks, his clothing\nrumpled and a day old. Sykes has showered and changed so\nhe's not suffering as much by comparison. They approach\nSykes' desk.", "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "Sykes has Porter pinned to the bar, the flashlight in his\nface, as he starts to handcuff him. But Porter gets a", "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "Jetson, looking bizarre in his ear-protectors, is taking\ncareful aim with his .38 as Sykes walks up. Jetson slips\nthe protectors down.", "Finally Jetson gets what Sykes is trying to tell him. He\nsays in the uncertain, stagy voice of a bad liar:", "Sykes rounds the corner. Doesn't see them anymore. He\nslows... moves along this street with some caution. Lots", "Sykes rises, makes his way to Jetson's side. Jetson has\nlet the weight of the gun carry his hand to the ground.", "Jetson is frantic. He keeps waiting -- but this time\nSykes doesn't come up. Jetson doesn't know what to do.", "Sykes reaches the fence. Instead of climbing, he simply\nblows the lock to hell with the Casull, and kicks open the\ngate.\n\n\nEXT. ABANDONED DRAWBRIDGE - NIGHT", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Sykes stares at him, exasperated. Without warning, he\nslams the car to a stop right in the middle of heavy", "Sykes sits stunned behind the wheel. Disoriented but\nconscious, he raises his head, looks over... sees Jetson\nout cold, his forehead gashed and bleeding. Then he looks", "ON SYKES\n\nHe eases cautiously toward the shadows where he knows\nHarcourt is. There's some movement among the shadows, and\nSykes straight-arms the Casull, his finger white against\nthe trigger.", "EXT. STREET - NIGHT\n\nSykes runs to Tuggle's spread-eagled body. One glance is\nenough. Nobody ever looked deader.", "Sykes lumbers past the burning police unit. Kipling is\nstill behind the wheel, his head slumped forward. Sykes\nis just past the cars when they explode -- sending hoods", "Sykes stares at him for about five seconds and then\nexplodes with laughter.\n\n\t\t\tSYKES\n\tYou son-of-a-bitch. You're okay.", "Sykes rounds this second corner, races down the street.\nThe only route they could've taken is through a tunnel up\nahead. Sykes approaches the tunnel, all senses wide open.\n\n\nINT. TUNNEL - NIGHT", "He and Sykes take off running. Wiltey skids to the left,\nrockets in through the open warehouse door, out of sight." ], [ "as he steps from the shadows -- just like he did the last\ntime Sykes saw him on the abandoned drawbridge. Only this\ntime it is a horribly transformed Harcourt. His eyes are", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "burned, but the bullet couldn't pierce his plated skin.\nHarcourt smiles with grotesquely altered teeth, starts\ntoward Sykes.", "Jetson is starting to take on Sykes' looks, his clothing\nrumpled and a day old. Sykes has showered and changed so\nhe's not suffering as much by comparison. They approach\nSykes' desk.", "red-rimmed and piggish. His head is lumpen, his skin\nthick and hard. His neck muscles are corded -- giving him", "They have reached a table holding a covered body. Winter\nunceremoniously throws back the cover. There lies the\npale naked body of the Raincoat alien.\n\n\t\t\tJETSON\n\tHave you identified this one?", "Cassandra is practically melting herself into Sykes now.\nShe takes his hand and guides his fingertips over her\nfacial ridges. She shudders with pleasure. Sykes begins\nto perspire.", "The fingertips of the two hands waver mere inches from\neach other... Jetson stretches farther, farther... and the\ntwo hands meet! Jetson winces from the pain of the", "directly behind Sykes. Close enough to reach out and\ntouch him. It is an alien silhouette, but larger, more\npowerful.", "his leg. Sykes jerks his leg away, and Harcourt's claws\ndig deep through Sykes' pants into his legs as he pulls\naway. Sykes BELLOWS in pain.", "SYKES\n\tLooked like every other damn slag to\n\tme. Just plain ugly.\n\nDespite the pain, Jetson smiles.", "behind Sykes as he reaches the end of the jetty and vaults\noff toward the stern of the boat -- landing on the fishing\nnet piled on the rear deck. He yells in pain as his ankle", "tears away from the torso at the shoulder. Sykes wildly\nshakes the clinging severed arm from his ankle, and it\nfalls back into the water below.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "with outstretched arms. Sykes jumps back, startled, and\nFIRES twice more at the pale figure. Raincoat goes down\nand stays down.", "Though his vision is BLURRED, Sykes still gets a good look\nat an exotic silver bracelet on the alien's wrist. The\nstrands of this bracelet are what make the CLINKING NOISE.\n\nANGLE", "He moves off. Jetson moves toward Sykes and the Raincoat\nalien's body. Sykes tenses, thinking Jetson might", "Sykes is watching Jetson, mesmerized. The guy's never\nsaid this much at one time before.\n\nIf he wasn't drunk, Jetson would never let himself open up\nto a human like this.", "It is Jetson. He had been hiding behind some crates\nstacked here in the corridor. He pins Cassandra\npowerfully to the wall, keeping one hand over her mouth.\nShe struggles until she sees who it is." ], [ "CASSANDRA\n\tYou... you killed Strader?\n\nCassandra runs to Harcourt grabbing his jacket.", "A moment, then he turns and starts back toward the limo.\nHe motions to Strader's body and the surf. The Thugs grab\nthe body and heave it into the waves.", "The Operator punches up STRADER, JOSHUA. The screen fills\nwith information.", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "PORTER\n\tYeah... I seen him around. High-\n\troller dude named Strader. Joshua\n\tStrader. Runs a club on the west\n\tside. Encounters.", "JETSON\n\tThe charge is murder... and\n\tconspiracy to commit murder.\n\tHubley, Porter, Strader... probably\n\tothers.", "Kipling tackles Jetson and they both go crashing to the\nfloor. Quint grabs the gun from Cassandra and hammers her\nwith it, hard. She drops to her knees and Quint viciously\nhits her again.", "with outstretched arms. Sykes jumps back, startled, and\nFIRES twice more at the pale figure. Raincoat goes down\nand stays down.", "KIPLING\n\tThat cop, the human, he was the one\n\twho killed Anderson and the driver.\n\n\t\t\tHARCOURT\n\tThis is becoming a serious breach of\n\tsecurity.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Newcomers with nothing in common,\n\tright? What if it's just one other\n\tguy who killed these three?\n\t\t (Jetson looks at him", "Kipling recovers enough to come at Sykes again with the\nsuitcase again. Jetson, shaking but determined, fires\nagain, and again, and again.", "determination, but it looks to me\n\tlike he was shot before being tossed\n\tin the drink. At least twice--\n\t\t (indicates where", "FEDORCHUK\n\tFound his wallet in his jacket\n\tpocket. Joshua Strader, big as\n\tlife.", "More laughter. Sykes gives the darkness where the\noffender sits a hard stare, then turns and shoulders his\nway to the end of the bar. Jetson follows. Sykes stops\nbehind a big Newcomer in greasy work clothes.", "It is Jetson. He had been hiding behind some crates\nstacked here in the corridor. He pins Cassandra\npowerfully to the wall, keeping one hand over her mouth.\nShe struggles until she sees who it is.", "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "abandoned. One door has been wrenched off its hinges and\nlays in the street, and the front windshield is smashed.\nOur three cops approach the car, then Wiltey spots", "and -- a shotgun butt is slammed into his forehead. He\ngoes down. Kipling stands over him, flanked by FOUR HUMAN", "slides to the floor. Kipling leans over the counter and\nFIRES another round into the Proprietor." ], [ "Sykes stumbles back, but Harcourt is on him in a flash.\nHarcourt grabs Sykes' arm holding the gun, yanks hard. We", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Harcourt is thrown into the dinghy with Sykes. As\nHarcourt recovers, Sykes spots the release for the tie", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The", "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "Sykes cat-steps forward slowly. Harcourt stares at Sykes'\neyes, and the desire there that Harcourt will give him an\nexcuse. Harcourt simply... smiles.", "cage, when Sykes shifts his body weight, knocking Harcourt\noff balance. Harcourt wobbles, fear on his face for the\nfirst time -- then he finally loses it, and the two of", "touches. Sykes is taking one hell of a beating. Harcourt\nsweeps Sykes up in a bear hug, is about to crush his rib", "ON SYKES\n\nHe eases cautiously toward the shadows where he knows\nHarcourt is. There's some movement among the shadows, and\nSykes straight-arms the Casull, his finger white against\nthe trigger.", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "might. Harcourt yanks him free. Sykes kicks wildly at\nthe ratchet release, trying to free the remainder of the\nline. Harcourt is coming in for the kill when--", "Suddenly, Sykes senses something is there. He turns,\nslowly, and--\n\nSHOCK CUT - HARCOURT", "Sykes stares at him, exasperated. Without warning, he\nslams the car to a stop right in the middle of heavy", "Sykes breaks the surface, Harcourt's misshapen lump of a\nbody unmoving but still on top of him. Sykes shoves it", "With Jetson a safe distance away from the cars, Sykes\nclambers to his feet, draws the Casull, and starts off\nafter Harcourt.", "burned, but the bullet couldn't pierce his plated skin.\nHarcourt smiles with grotesquely altered teeth, starts\ntoward Sykes.", "The Pilot does. Sykes comes up out of the water. His\nfeet are just clear of the surface when -- Harcourt's hand", "his leg. Sykes jerks his leg away, and Harcourt's claws\ndig deep through Sykes' pants into his legs as he pulls\naway. Sykes BELLOWS in pain." ], [ "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with", "Harcourt reaches the chain link fence leading to the\nclosed drawbridge. He heaves the suitcase over, then\nstarts to climb.", "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "as he steps from the shadows -- just like he did the last\ntime Sykes saw him on the abandoned drawbridge. Only this\ntime it is a horribly transformed Harcourt. His eyes are", "Harcourt recovers from the jolt of the bullet impact. The\ncloth of his disheveled shirt is shredded and powder-", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the", "The Captain reacts to the helicopter overhead, looks back\nat what the sun-gun spotlights. He sees Harcourt standing\nat the bow of the dinghy, starting to clamber in.", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "Harcourt and Kipling bang down the metal stairs. Jetson\nis ten feet above them. Sykes flies out onto the fire", "and door panels and glass flying in all directions.\nHarcourt, on the other side of the fence, grabs the\nsuitcase and limps off into the shadowy world of the", "Harcourt is thrown into the dinghy with Sykes. As\nHarcourt recovers, Sykes spots the release for the tie", "He's still dragging Jetson away when he spots Harcourt\npulling himself through the smashed police unit window.\nBruised and bleeding, Harcourt reaches in for the\nsuitcase, then starts to run with it.", "With nowhere else to go, Harcourt yells something at\nKipling and Kipling floors it back the way they came.\n\n\nEXT. HENRY FORD BOULEVARD - NIGHT", "Harcourt can't reach the boat from the same jetty Sykes\ndid, so he jumps on a platform beside this jetty, then\nonto a second jetty. And from here, he vaults across the\nseawater onto the boat.", "Harcourt and the others react. Quint leaps to his feet,\ncaught off guard. Kipling reaches for his shoulder", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "Sykes lumbers along the narrow jetty. The fishing boat is\nalready passing the end of the jetty. Harcourt is fast", "Harcourt, who is getting more and more wet, HOWLS in\nagony, thick blood beginning to bead wherever the water" ], [ "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with", "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "Harcourt recovers from the jolt of the bullet impact. The\ncloth of his disheveled shirt is shredded and powder-", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "of the dinghy as Harcourt's savage visage appears at the\nbow. Harcourt grins -- the predator with his prey\ntrapped.", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "The Captain reacts to the helicopter overhead, looks back\nat what the sun-gun spotlights. He sees Harcourt standing\nat the bow of the dinghy, starting to clamber in.", "Harcourt is thrown into the dinghy with Sykes. As\nHarcourt recovers, Sykes spots the release for the tie", "and door panels and glass flying in all directions.\nHarcourt, on the other side of the fence, grabs the\nsuitcase and limps off into the shadowy world of the", "HARCOURT\n\tIt is such a pity to die for an\n\toutmoded value.\n\t\t (rising)\n\tMr. Quint, I believe it's time for\n\tour friend's swimming lesson.", "Sykes stumbles back, but Harcourt is on him in a flash.\nHarcourt grabs Sykes' arm holding the gun, yanks hard. We", "Harcourt, who is getting more and more wet, HOWLS in\nagony, thick blood beginning to bead wherever the water", "He's still dragging Jetson away when he spots Harcourt\npulling himself through the smashed police unit window.\nBruised and bleeding, Harcourt reaches in for the\nsuitcase, then starts to run with it.", "Harcourt and the others react. Quint leaps to his feet,\ncaught off guard. Kipling reaches for his shoulder", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The", "Harcourt and Kipling bang down the metal stairs. Jetson\nis ten feet above them. Sykes flies out onto the fire", "touches. Sykes is taking one hell of a beating. Harcourt\nsweeps Sykes up in a bear hug, is about to crush his rib" ], [ "that October nineteenth morning,\n\twhen news first broke: that people\n\thave landed... from another star.", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "alien). He moves into:", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "Tuggle fires at the two aliens. They return fire and he\nslides down to safety behind the car. Or so he thinks.", "alien is knocked backwards to the wet asphalt by the\nblasts. Sykes approaches the body slowly. With an\ninhuman ROAR, the alien snaps forward, lunging at Sykes", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "And instantly Sykes whips out this flashlight, snaps on\nthe beam, and arcs it into the faces of the aliens around\nhim. Jetson gets a blast of it, too. The aliens are\nmomentarily blinded.", "CAL-TECH PROFESSOR\n\tFrom the time mankind first gazed up\n\tat the stars there had been\n\tspeculation about a visit by people", "adapted for hard labor in almost any\n\tenvironmental condition. In effect,\n\ttheir ship was a slave ship...\n\twashed ashore on Earth with no way", "An explosion of color and movement as OPENING TITLES PLAY\nvery quickly. We're TRAVELING the streets in a n.d.\nsedan, getting MOVING GLIMPSES of the aliens living among\nus now:", "The two cops, guns in hand, move along the row of parked\ncars across the street from the mini-mart. Through the\nstore window they see the old alien PROPRIETOR behind the", "The large suitcase rests on the expansive conference\ntable. A manicured alien hand reaches in and slowly opens\nit. Inside are fifty one-kilo glass tubes full of the", "They have reached a table holding a covered body. Winter\nunceremoniously throws back the cover. There lies the\npale naked body of the Raincoat alien.\n\n\t\t\tJETSON\n\tHave you identified this one?", "Newcomer ship upon its dramatic\n\tarrival. As with the assassination\n\tof John Kennedy, who among us does\n\tnot remember exactly where he was", "Sykes slides out of the driver's door, stumbles to\nJetson's door, wrenches it open, and drags the huge\nunconscious alien away from the cars.", "The VIDEO CAMERA image climbs up onto the roof of a parked\nlocal TV van, finds the object again in the distance,\nzooms in, and waits, like everyone else.", "Harcourt turns in his seat just in time to see the slug-\nmobile airborne as it flies from the on-ramp, landing a\nfew feet behind the black-and-white's bumper.", "surface of the water. He howls and yanks out his hand.\nWe see the alien hand dripping seawater... then a thousand\ndroplets of purple alien blood begin to bead all over the", "The shattered windows have been covered with plywood.\nThrough the open doorway we see Jetson talking to the\nProprietor's Wife. She studies a photo Jetson shows her,\nnods her head, speaking rapidly in the alien language." ], [ "Tuggle fires at the two aliens. They return fire and he\nslides down to safety behind the car. Or so he thinks.", "alien is knocked backwards to the wet asphalt by the\nblasts. Sykes approaches the body slowly. With an\ninhuman ROAR, the alien snaps forward, lunging at Sykes", "alien). He moves into:", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "And instantly Sykes whips out this flashlight, snaps on\nthe beam, and arcs it into the faces of the aliens around\nhim. Jetson gets a blast of it, too. The aliens are\nmomentarily blinded.", "directly behind Sykes. Close enough to reach out and\ntouch him. It is an alien silhouette, but larger, more\npowerful.", "The VIDEO CAMERA image climbs up onto the roof of a parked\nlocal TV van, finds the object again in the distance,\nzooms in, and waits, like everyone else.", "Harcourt's private limo glides down the narrow access\nroad, passing a lookout car attended by two alien Thugs.\nThe limo moves down to the beach, parking near an n.d.\nvan.", "Harcourt turns in his seat just in time to see the slug-\nmobile airborne as it flies from the on-ramp, landing a\nfew feet behind the black-and-white's bumper.", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "The two cops, guns in hand, move along the row of parked\ncars across the street from the mini-mart. Through the\nstore window they see the old alien PROPRIETOR behind the", "Sykes catches sight of the two aliens just as they round\nthe corner at the far end of the alley. He takes off,\nquickly cranking up to full speed.", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "Sykes kneels beside him, gently taking the gun from the\nalien's hand. The two partners remain like this, bathed\nin the orange flickering glow of the fire.", "Just then, Wiltey spots a flit of movement cutting across\nhis headlight beams fifty yards ahead. Whatever it was,\nwas large and fast. It darted into an open warehouse\ndoor.", "surface of the water. He howls and yanks out his hand.\nWe see the alien hand dripping seawater... then a thousand\ndroplets of purple alien blood begin to bead all over the", "The shattered windows have been covered with plywood.\nThrough the open doorway we see Jetson talking to the\nProprietor's Wife. She studies a photo Jetson shows her,\nnods her head, speaking rapidly in the alien language.", "The slug-mobile skids to a stop at the loading dock\nentrance. Sykes and Jetson climb out. They hop up onto\nthe loading platform and move purposefully into the well-\nlit interior through the open door.", "that October nineteenth morning,\n\twhen news first broke: that people\n\thave landed... from another star.", "The alien rears back, and as he does, the approaching\nSIREN suddenly WAILS louder as a backup patrol car swings\nonto the street heading this way. Kipling sees this and\nleaves Sykes, running off down the dark tunnel." ], [ "Tuggle fires at the two aliens. They return fire and he\nslides down to safety behind the car. Or so he thinks.", "The large suitcase rests on the expansive conference\ntable. A manicured alien hand reaches in and slowly opens\nit. Inside are fifty one-kilo glass tubes full of the", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "And instantly Sykes whips out this flashlight, snaps on\nthe beam, and arcs it into the faces of the aliens around\nhim. Jetson gets a blast of it, too. The aliens are\nmomentarily blinded.", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "directly behind Sykes. Close enough to reach out and\ntouch him. It is an alien silhouette, but larger, more\npowerful.", "alien). He moves into:", "Harcourt sees the hungering expressions on the alien\nDealers' faces... smiles knowingly. He slides one of the\ndispensers from the suitcase.", "The VIDEO CAMERA image climbs up onto the roof of a parked\nlocal TV van, finds the object again in the distance,\nzooms in, and waits, like everyone else.", "The two cops, guns in hand, move along the row of parked\ncars across the street from the mini-mart. Through the\nstore window they see the old alien PROPRIETOR behind the", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "Just then, Wiltey spots a flit of movement cutting across\nhis headlight beams fifty yards ahead. Whatever it was,\nwas large and fast. It darted into an open warehouse\ndoor.", "The slug-mobile skids to a stop at the loading dock\nentrance. Sykes and Jetson climb out. They hop up onto\nthe loading platform and move purposefully into the well-\nlit interior through the open door.", "A LONG LENS SHOT of a far distant metallic object hovering\njust above the ground -- maybe two or three miles away.\nThe heat waves and the light refraction off the desert-", "alien is knocked backwards to the wet asphalt by the\nblasts. Sykes approaches the body slowly. With an\ninhuman ROAR, the alien snaps forward, lunging at Sykes", "Two large plastic packets are dumped of their contents\nonto a formica counter. Sykes looks through the dead\nalien's effects while Jetson goes through the human's.", "Sykes catches sight of the two aliens just as they round\nthe corner at the far end of the alley. He takes off,\nquickly cranking up to full speed.", "The alien rears back, and as he does, the approaching\nSIREN suddenly WAILS louder as a backup patrol car swings\nonto the street heading this way. Kipling sees this and\nleaves Sykes, running off down the dark tunnel.", "The shattered windows have been covered with plywood.\nThrough the open doorway we see Jetson talking to the\nProprietor's Wife. She studies a photo Jetson shows her,\nnods her head, speaking rapidly in the alien language.", "He moves off. Jetson moves toward Sykes and the Raincoat\nalien's body. Sykes tenses, thinking Jetson might" ], [ "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "Tuggle fires at the two aliens. They return fire and he\nslides down to safety behind the car. Or so he thinks.", "And instantly Sykes whips out this flashlight, snaps on\nthe beam, and arcs it into the faces of the aliens around\nhim. Jetson gets a blast of it, too. The aliens are\nmomentarily blinded.", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "The large suitcase rests on the expansive conference\ntable. A manicured alien hand reaches in and slowly opens\nit. Inside are fifty one-kilo glass tubes full of the", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "adapted for hard labor in almost any\n\tenvironmental condition. In effect,\n\ttheir ship was a slave ship...\n\twashed ashore on Earth with no way", "alien). He moves into:", "Sykes slides out of the driver's door, stumbles to\nJetson's door, wrenches it open, and drags the huge\nunconscious alien away from the cars.", "Sykes catches sight of the two aliens just as they round\nthe corner at the far end of the alley. He takes off,\nquickly cranking up to full speed.", "Harcourt sees the hungering expressions on the alien\nDealers' faces... smiles knowingly. He slides one of the\ndispensers from the suitcase.", "They have reached a table holding a covered body. Winter\nunceremoniously throws back the cover. There lies the\npale naked body of the Raincoat alien.\n\n\t\t\tJETSON\n\tHave you identified this one?", "alien is knocked backwards to the wet asphalt by the\nblasts. Sykes approaches the body slowly. With an\ninhuman ROAR, the alien snaps forward, lunging at Sykes", "The two cops, guns in hand, move along the row of parked\ncars across the street from the mini-mart. Through the\nstore window they see the old alien PROPRIETOR behind the", "directly behind Sykes. Close enough to reach out and\ntouch him. It is an alien silhouette, but larger, more\npowerful.", "Two large plastic packets are dumped of their contents\nonto a formica counter. Sykes looks through the dead\nalien's effects while Jetson goes through the human's.", "surface of the water. He howls and yanks out his hand.\nWe see the alien hand dripping seawater... then a thousand\ndroplets of purple alien blood begin to bead all over the", "O'NEAL\n\tYes it is.\n\t\t (some alien workers\n\t\t come through the\n\t\t door)", "An explosion of color and movement as OPENING TITLES PLAY\nvery quickly. We're TRAVELING the streets in a n.d.\nsedan, getting MOVING GLIMPSES of the aliens living among\nus now:", "him around. The alien grabs Sykes' hand off, rising to\nhis full height. He and Sykes lock eyes. Meanwhile. the" ], [ "adapted for hard labor in almost any\n\tenvironmental condition. In effect,\n\ttheir ship was a slave ship...\n\twashed ashore on Earth with no way", "alien). He moves into:", "Sykes catches sight of the two aliens just as they round\nthe corner at the far end of the alley. He takes off,\nquickly cranking up to full speed.", "Tuggle fires at the two aliens. They return fire and he\nslides down to safety behind the car. Or so he thinks.", "Harcourt signals and the two Thugs drag an alien body from\nthe back if the van: a middle-aged alien, Strader, shot\ntwice through the front of his silk suit. Watson's eyes\nwiden in fear.", "-- A city park where a number of alien families have\ngathered to play some arcane alien game.\n\n\t\t\tSYKES\n\tJeez... they call that gang-bang a\n\tgame...?", "alien is knocked backwards to the wet asphalt by the\nblasts. Sykes approaches the body slowly. With an\ninhuman ROAR, the alien snaps forward, lunging at Sykes", "And instantly Sykes whips out this flashlight, snaps on\nthe beam, and arcs it into the faces of the aliens around\nhim. Jetson gets a blast of it, too. The aliens are\nmomentarily blinded.", "Sykes slides out of the driver's door, stumbles to\nJetson's door, wrenches it open, and drags the huge\nunconscious alien away from the cars.", "-- Aliens hanging around outside their homes.\n\n-- Alien hookers plying their trade.\n\n\t\t\tSYKES\n\tHope their plumbing's the same.", "Several ALIEN MEN, brute laborer-types, lounge around out\nfront. They glare with antagonism as Sykes and Jetson\nclimb out of their car.", "maintained home on the outskirts of Slagtown. Jetson's\nWIFE, an attractive alien woman, stands watering the lawn", "An explosion of color and movement as OPENING TITLES PLAY\nvery quickly. We're TRAVELING the streets in a n.d.\nsedan, getting MOVING GLIMPSES of the aliens living among\nus now:", "Harcourt sees the hungering expressions on the alien\nDealers' faces... smiles knowingly. He slides one of the\ndispensers from the suitcase.", "They have reached a table holding a covered body. Winter\nunceremoniously throws back the cover. There lies the\npale naked body of the Raincoat alien.\n\n\t\t\tJETSON\n\tHave you identified this one?", "During this, Jetson has turned the dead alien's hand over\n-- sees something that brings a frown of curiosity to his\nface. He leans closer, examining the palm carefully.\nThen he peels back the alien's upper lip.", "from \"out there.\" How ironic that\n\twhen that first contact was made,\n\tthe two hundred and sixty thousand\n\toccupants aboard the craft were as", "The large suitcase rests on the expansive conference\ntable. A manicured alien hand reaches in and slowly opens\nit. Inside are fifty one-kilo glass tubes full of the", "The two cops, guns in hand, move along the row of parked\ncars across the street from the mini-mart. Through the\nstore window they see the old alien PROPRIETOR behind the", "Sykes kneels beside him, gently taking the gun from the\nalien's hand. The two partners remain like this, bathed\nin the orange flickering glow of the fire." ], [ "Sykes is on all fours, clawing his way up the fishing net\ntoward the back of the boat. Harcourt gets one hand on", "Sykes moves to join his daughter. As he does:\n\n\t\t\tJETSON\n\tThat is all right, Matthew. After\n\tall, you are only human.", "The assailant does. He looks at Sykes, scared, breathing\nhard. He's a Newcomer in a snappy Armani suit. This is", "Sykes watches all this... and as he does, slowly his\nderisive expression softens. As corny as this tableau may\nbe, there's something very appealing about the innocence", "Sykes stares at him, exasperated. Without warning, he\nslams the car to a stop right in the middle of heavy", "Sykes lumbers along the narrow jetty. The fishing boat is\nalready passing the end of the jetty. Harcourt is fast", "And he moves toward the back exit. Sykes watches him go.\n\n\t\t\t\t CUT TO:\n\nEXT. \"X\" BAR - NIGHT", "Sykes rounds the corner. Doesn't see them anymore. He\nslows... moves along this street with some caution. Lots", "O'Neal is experiencing real fear now. Sykes has decided\nto back Jetson up, for better or worse. He takes the\n\"good cop\" role.", "He shoves a business card at her, then retreats through\nthe door.\n\n\nINT. CORRIDOR - NIGHT\n\nSykes closes the door and lets out his breath.", "CUT TO:\n\nINT. SYKES' APARTMENT - DAY", "Sykes cat-steps forward slowly. Harcourt stares at Sykes'\neyes, and the desire there that Harcourt will give him an\nexcuse. Harcourt simply... smiles.", "Sykes rises, makes his way to Jetson's side. Jetson has\nlet the weight of the gun carry his hand to the ground.", "Sykes stares at him for about five seconds and then\nexplodes with laughter.\n\n\t\t\tSYKES\n\tYou son-of-a-bitch. You're okay.", "Sykes locks up the brakes. Kipling veers around a couple\nof cars and speeds away.\n\nBecause of the other traffic, Sykes has only one course of\naction. He skids a left onto a side street.", "Sykes gets in, slams the door. His hand hurts as he grabs\nthe wheel. He holds the wheel gingerly as he slams the", "Sykes reaches the fence. Instead of climbing, he simply\nblows the lock to hell with the Casull, and kicks open the\ngate.\n\n\nEXT. ABANDONED DRAWBRIDGE - NIGHT", "Finally Jetson gets what Sykes is trying to tell him. He\nsays in the uncertain, stagy voice of a bad liar:", "Jetson is starting to take on Sykes' looks, his clothing\nrumpled and a day old. Sykes has showered and changed so\nhe's not suffering as much by comparison. They approach\nSykes' desk.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward" ], [ "Sykes sees that his partner is covered with a sudden sheen\nof sweat, his hands shaking. Sykes softens.", "-- a BLAST comes through the car and catches him squarely\nin the chest throwing him back onto the street.\n\nSykes' head jerks around -- in time to see his partner of\nnine years blown away.", "And he moves off with his partner. Sykes calls after him,\nbut Jetson is already approaching the woman and doesn't\nturn.", "He and Sykes take off running. Wiltey skids to the left,\nrockets in through the open warehouse door, out of sight.", "We're just partners. And don't call\n\tme Sergeant. Call me Sykes... or\n\tMatt if you have to.", "The police mop-up is winding down. Cop cars, coroner's\nwagons, fire trucks. We MOVE through it all to find Sykes\nand Jetson seated on the curb, away from the railing.", "He's still dragging Jetson away when he spots Harcourt\npulling himself through the smashed police unit window.\nBruised and bleeding, Harcourt reaches in for the\nsuitcase, then starts to run with it.", "SYKES\n\tMy partner is dead! Because one of\n\tyou bastards killed him -- then\n\tdisappeared into a rathole down in", "(Jetson nods)\n\tOkay. Well, my friend and partner\n\twas shot last night and I'm after\n\tthe shitbag that did it. As my", "Sykes lumbers past the burning police unit. Kipling is\nstill behind the wheel, his head slumped forward. Sykes\nis just past the cars when they explode -- sending hoods", "Sykes locks up the brakes. Kipling veers around a couple\nof cars and speeds away.\n\nBecause of the other traffic, Sykes has only one course of\naction. He skids a left onto a side street.", "Sykes sits stunned behind the wheel. Disoriented but\nconscious, he raises his head, looks over... sees Jetson\nout cold, his forehead gashed and bleeding. Then he looks", "More laughter. Sykes gives the darkness where the\noffender sits a hard stare, then turns and shoulders his\nway to the end of the bar. Jetson follows. Sykes stops\nbehind a big Newcomer in greasy work clothes.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "Sykes kneels beside him, gently taking the gun from the\nalien's hand. The two partners remain like this, bathed\nin the orange flickering glow of the fire.", "with outstretched arms. Sykes jumps back, startled, and\nFIRES twice more at the pale figure. Raincoat goes down\nand stays down.", "and door panels and glass flying in all directions.\nHarcourt, on the other side of the fence, grabs the\nsuitcase and limps off into the shadowy world of the", "Scared shitless, Sykes rapid-fires. One of his shots\nmisses, shattering a crate beside Harcourt's head. The", "Porter throws him a look over his shoulder, then\ndisappears through the door. Sykes and Jetson start down\nthe alley.", "They worked very well together.\n\tUnfortunately, they are no longer\n\twith us... but I was fortunate\n\tenough to reap the benefit of their" ], [ "-- a BLAST comes through the car and catches him squarely\nin the chest throwing him back onto the street.\n\nSykes' head jerks around -- in time to see his partner of\nnine years blown away.", "Sykes sees that his partner is covered with a sudden sheen\nof sweat, his hands shaking. Sykes softens.", "SYKES\n\tMy partner is dead! Because one of\n\tyou bastards killed him -- then\n\tdisappeared into a rathole down in", "with outstretched arms. Sykes jumps back, startled, and\nFIRES twice more at the pale figure. Raincoat goes down\nand stays down.", "We're just partners. And don't call\n\tme Sergeant. Call me Sykes... or\n\tMatt if you have to.", "And he moves off with his partner. Sykes calls after him,\nbut Jetson is already approaching the woman and doesn't\nturn.", "wallop of the overdose hits him... his face contorts in\nagony as he begins to convulse. Sykes, wide-eyed, lowers\nthe Casull and watches as Harcourt drops to the ground and", "Sykes lumbers past the burning police unit. Kipling is\nstill behind the wheel, his head slumped forward. Sykes\nis just past the cars when they explode -- sending hoods", "He and Sykes take off running. Wiltey skids to the left,\nrockets in through the open warehouse door, out of sight.", "Kipling brings the suitcase above his head. He is a half-\nsecond from hurling it down on Sykes' skull when -- a GUN\nROARS. Kipling is thrown back by the chest wound. Sykes\nlooks.", "They worked very well together.\n\tUnfortunately, they are no longer\n\twith us... but I was fortunate\n\tenough to reap the benefit of their", "slides to the floor. Kipling leans over the counter and\nFIRES another round into the Proprietor.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "and door panels and glass flying in all directions.\nHarcourt, on the other side of the fence, grabs the\nsuitcase and limps off into the shadowy world of the", "(Jetson nods)\n\tOkay. Well, my friend and partner\n\twas shot last night and I'm after\n\tthe shitbag that did it. As my", "determination, but it looks to me\n\tlike he was shot before being tossed\n\tin the drink. At least twice--\n\t\t (indicates where", "Sykes kneels beside him, gently taking the gun from the\nalien's hand. The two partners remain like this, bathed\nin the orange flickering glow of the fire.", "He's still dragging Jetson away when he spots Harcourt\npulling himself through the smashed police unit window.\nBruised and bleeding, Harcourt reaches in for the\nsuitcase, then starts to run with it.", "JETSON\n\tGreen light, Matthew.\n\t\t (Sykes doesn't\n\t\t respond)\n\tGreen light!", "of it hits Harcourt -- he HOWLS and falls away. Sykes\nsees this, tries to clamber over the side, but Harcourt is\non him again. Sykes' body weight at the side of the" ], [ "Warner is surprised. He never expected Sykes.\n\n\t\t\tWARNER\n\t... All right. Detective Sergeant\n\tSykes, this is Detective... Jetson.", "He turns and heads back to his office in the wake of\ncontinued grumbling from the detectives. Sykes, standing\nto one side, absently watches Warner return to his glass-", "Two detectives on their way out, stop, and head back into\nthe room. Everybody gathers around, curious, as Warner\nstands holding a sheet of paper.", "Warner is starting to suspect what Sykes is up to.", "WARNER\n\tI'll make this short. This is a\n\tdirective from Chief Evaner, who is", "WARNER\n\tAnd we've got him, gentleman.\n\t\t (more groans)\n\tVolunteers for duty with the new", "Across the room, the Captain's door BANGS open and CAPTAIN\nWARNER pounds out, his deep voice booming through the\nsquad room.", "Others grumble. \"Yeah!\". Meanwhile, Sykes has decided\nsomething. He heads toward Warner's office. Fedorchuk\nsees this.", "Harcourt and Kipling in the first police unit come\nthundering down the street zig-zagging through traffic.\nThe slug-mobile is three-quarters of a block behind them.", "Long-suffering Warner looks up at Goldrup, then finally\nsighs with resignation. Sykes grins.\n\n\t\t\t\t CUT TO:", "WARNER\n\tYeah, Sykes?\n\n\t\t\tSYKES\n\tCaptain. I'd like to volunteer for\n\tduty with the new detective.", "WARNER\n\t\t (to Sykes)\n\tYou are to have nothing to do with\n\tthe investigation into Bill Tuggle's\n\tdeath. You know that. Leave that\n\tfor Fedorchuk.", "WARNER\n\tNobody wanders off! I got an\n\tannouncement. Get your asses back\n\tin here.", "Jetson smiles. He glances up as they are bathed in red\nand blue light. A patrol car has pulled up next to them.\nInside is Wiltey, a uniformed cop.", "escape, a few steps behind Jetson. A POLICE CAR SIREN is\nHEARD arriving O.S.", "SYKES\n\t\t (nodding)\n\tDepartmental policy.\n\n\t\t\tWARNER\n\t\t (to Jetson)\n\tYou?", "JETSON\n\tWe have met.\n\nWarner looks up, clocking this. He looks at Sykes,\nstarting to smell something fishy.", "FEDORCHUK\n\tWhere the hell is he going?\n\n\nINT. WARNER'S OFFICE - DAY\n\nSykes KNOCKS and enters.", "Sykes lumbers past the burning police unit. Kipling is\nstill behind the wheel, his head slumped forward. Sykes\nis just past the cars when they explode -- sending hoods", "The traffic ahead of the police car peels off in response\nto the approaching lights and SIREN. Kipling dodges\naround the stopped traffic easily." ], [ "Harcourt emerges from the darkness. His face is composed,\nthe superior glint is back in his eye. His arms are held\naway from his sides at 30 degree angles, clearly in\nsurrender.", "Harcourt recovers from the jolt of the bullet impact. The\ncloth of his disheveled shirt is shredded and powder-", "viscous blue drug. Also several of the small, individual\ndispensers. It is Harcourt, standing behind the table in\na pool of light, who has opened the suitcase. He is", "HARCOURT\n\t\t (continuing)\n\tI will not make this offer again. I\n\twant you to work for me, to manage", "Harcourt sees the hungering expressions on the alien\nDealers' faces... smiles knowingly. He slides one of the\ndispensers from the suitcase.", "Harcourt turns, sees the Captain on the bridge above him.\nHe reaches for a wood-handled gaff nearby. He rears back\nwith it and lets it fly like a spear.", "Harcourt is smiling as he says this last, but his eyes are\npenetrating... telegraphing a subliminal warning.\nHarcourt and entourage move off... leaving Sykes steaming.", "Harcourt claws his way toward Sykes. Water is already\nsplashing in over the stern transom... the dinghy is", "Harcourt reaches the shadows at the end of the bridge --\nand has nowhere to go. He is backed into a corner, with", "empty and Harcourt keeps coming.", "And now Sykes sees it -- Harcourt has been holding one of\nthe one-kilo glass cylinders of the drug concealed behind", "HARCOURT\n\t\t (continuing; to\n\t\t alien dealers)\n\tPlease feel free to sample the\n\tquality. The experience will be\n\teverything you remember it to be...", "HARCOURT\n\t\t (a chilling smile)\n\tI will have to remember that...\n\nHe continues down toward the office door. Cassandra\nwatches him go.", "Sykes, scraped and bruised, struggles to his feet.\nHarcourt moves down the stairs, then vaults over the\nrailing the last fifteen feet. Harcourt lurches forward", "He says it with such straightforward eye contact, that\nHarcourt (and we) know he isn't bluffing.", "Harcourt studies Watson a moment, perhaps even admiring\nhis resolve. Then--", "JETSON\n\tI am here to take Harcourt. Where\n\tis he?\n\nShe hesitates, then decides to cooperate, indicates with a\nnod toward the office door.", "Harcourt, who is getting more and more wet, HOWLS in\nagony, thick blood beginning to bead wherever the water", "of the dinghy as Harcourt's savage visage appears at the\nbow. Harcourt grins -- the predator with his prey\ntrapped.", "HARCOURT\n\t\t (to alien dealers)\n\tIt's been a long time, hasn't it,\n\tgentlemen?" ] ]

[ "What was the name given to these new alien arrivals?", "What is the name of the newcomer detective Sykes has to work with? ", "What happened to the newcomer Joshua Strader? ", "Instead of interviewing Strader, who do the detectives interview at the club?", "What is Jabroka?", "What happens when Harcourt is cornered by Sykes? ", "What happens when Harcourt is taken away in the ambulance?", "How does Harcourt die? ", "What is used to rescue Sykes from the water? ", "Where does the Newcomers ship land?", "What happened to Matthew Sykes partner?", "Why were Sykes and Tugger involved in the shootout?", "Why does Sykes partner with Francisco?", "Why are Sykes and Francisco investigating Joshua Strader?", "What is the connection between the skin anomaly and Jabroka?", "Who murdered Joshua Straber?", "What was Harcourt planning when Sykes and Francisco stop him?", "What happens to Harcourt at the bridge?", "How does Harcourt die?", "In what year did the UFO land?", "Where did the UFO land?", "What was the UFO carrying?", "How many enslaved aliens was the UFO carrying?", "What city becomes the enslaved aliens home?", "What does Matthew Sykes do?", "What happened to Matthew's partner?", "How did Matthew's partner die?", "What is Warner's police title?", "What is Harcourt attempting to produce and sell?" ]

[ [ "The newcomers", "Newcomers." ], [ "Sam Francisco", "Sam Francisco" ], [ "He was murdered", "He is murdered by a new criminal ring." ], [ "Strader's girlfriend", "his girlfriend" ], [ "A street drug for the newcomers", "a drug" ], [ "He overdoses on Jabroka", "he purposely overdoses on a sample of the stimulant" ], [ "He transforms into a more muscular newcomer", "he mutates into a larger, more muscular, violent Newcomer" ], [ "He dies when his body lands in salt water", "disintegrates in the salt water of the sea" ], [ "A police helicopter", "A helicopter." ], [ "In the Mojave Desert.", "in the Mojave Desert" ], [ "Bill Tuggles was killed in a shootout.", "he was killed in a shoot-out with a pair of Newcomer criminals" ], [ "They were trying to save a Newcomer Patrick from two Newcomer criminals from murdering him.", "trying to stop two newcomer criminals at a robbery" ], [ "To ivestigate the homicide of William Huberly, but also to search for his partner's killer.", "because his superior, Captain Warner, has ordered him to" ], [ "An anomaly found on the body of one of the criminals.", "they believe he is linked to the homocide of Newcomer Warren Hubley" ], [ "The anomaly is a side-effect of the drug's influence.", "a side effect" ], [ "A criminal ring led by William Harcourt and Rudyard Kipling.", "Harcourt" ], [ "To release Jabroka more widely.", "To mass produce the drug Jabroka." ], [ "He intentionally overdoses on Jabroka.", "He is cornered by Sykes and overdoses" ], [ "He dies to exposure of salt water, which is toxic to Newcomers.", "salt water causes his body to disintegrate" ], [ "1990", "1990" ], [ "Mojave Deser", "The Mojave Desert." ], [ "enslaved aliens", "the Newcomers" ], [ "300,000", "300,000" ], [ "Los Angeles", "Los Angeles" ], [ "police detective", "he is a police detective" ], [ "died", "He died in a shootout." ], [ "In a shootout", "In a shootout." ], [ "captain", "Captain." ], [ "a drug called Jabroka", "a drug called Jabroka which pacifies the Newcomers" ] ]

38f9d45e053517a0312cad18b6c322b3b50a3427

train

[ [ "THOR\n You're work with the Tesseract is what\n drew Loki to it, and his allies. It is\n the signal to all the realms that the\n earth is ready for a higher form of\n war.", "Also, it means the portal can open as\n wide, and stay open as long, as Loki\n wants.", "EXT. SKY DAY\n\n Loki watches below, motionless.\n\n LOKI\n Send the rest.", "LOKI\n I don't have it. You need the cube to\n bring me home, but I've sent it off I\n know not where.\n Mjölnir flies back to his grasp.", "As the crowd runs away, Loki slowly walks out and materializes\n in his gold armor and helmet. The POLICE arrive and with no\n hesitation, he BLASTS the cars, FLIPPING them over and over.", "THOR\n When I first came to earth, Loki's rage\n followed me here and your people paid\n the price. And now again. In my youth I\n courted war.", "make you long for something as sweet as\n pain.\n THE OTHER places his hand on Loki's head and transports him back\n to Earth. Loki looks around, menacing.", "Loki opens the HATCH. Thor still hopes. LOKI HITS THE BUTTON AND", "TONY\n Okay.\n From the mountain side, Loki watches in amusement. Thor raises", "Loki's fired shot.\n ALL HELL BREAKS. Machine gun fire is shot at Loki, but the\n bullets bounce off him like a boss. Loki jumps high from the", "Loki walks onto the balcony as the SOUNDS of the CHITAURI rings\n out. He admires his soon to be kingdom. THOR LANDS ON THE TOWER.\n Loki turns to his ENEMY.", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "THE OTHER\n Battle? Against the meager might of\n Earth?\n\n LOKI\n Glorious, not lengthy. If your force is\n as formidable as you claim.", "his cane the other end. The guard there notices him, pulls out\n his gun, but Loki CLUBS his head in. CHAOS ERUPTS.", "LOKI\n Of course it does. I've come too far\n for anything else. I am Loki of Asgard,\n and I am burdened with glorious\n purpose.", "Thor and Loki battle savagely. Loki fires ENERGY from the\n scepter, sending Thor sliding across the floor.\n\n INT. QUINJET DAY", "THOR\n So you take the world I love as\n recompense for your imagined slights.\n No, the Earth is under my protection,\n Loki.\n\n LOKI", "TONY lands his SUIT and goes through the gauntlet and unsuits\n him. LOKI looks up at him, smiling. They proceed to walk into\n the penthouse.", "LOKI\n Freedom. Freedom is life's great lie.\n Once you accept that, in your heart...", "LOKI\n I said. KNEEL!!!\n Everyone becomes quiet and kneels in front him. Loki embracing\n his arms out, smiling." ], [ "As Loki is busy using his abilities to control the minds of\n several S.H.I.E.L.D. personnel, Fury takes the Tesseract,", "NICK FURY\n Because of him.\n (pointing at Thor)\n\n THOR\n\n (STUNNED)\n Me?", "SELVIG\n Director.\n\n NICK FURY\n Is there anything we know for certain?\n\n SELVIG\n Tesseract is misbehaving.", "NICK FURY\n Trying to save it.\n Fury hands Steve a file on the Tesseract, along with other files\n on HYDRA'S projects.", "NICK FURY\n Well, it's an old fashioned notion.\n\n EXT. MEADOW DAY", "NICK FURY\n How bad is it?\n\n AGENT PHIL COULSON\n That's the problem, sir. We don't know.", "NICK FURY\n They'll come back.\n\n AGENT MARIA HILL\n You really sure about that?\n\n NICK FURY\n I am.", "NICK FURY\n I am.\n\n STEVE\n Trying to get me back in the world?", "NICK FURY\n The Tesseract is with the hostile\n force. I have men down. Hill?\n\n INT. P.E.G.A.S.U.S TUNNEL NIGHT", "NICK FURY\n (through the walkie talkie)\n Hill, do you copy?!\n Loki and Barton SHARPLY look at Agent Hill.", "NICK FURY (V.O.)\n Agent Coulson is down.\n Agent Hill is being treated for a gash on her head, listens on\n her headset, standing up.", "NICK FURY\n They found it. Get our communications\n back up, whatever you have to do. I\n want eyes on everything.\n\n AGENT MARIA HILL\n Yes, sir.", "NICK FURY\n He's got the Tesseract! Track it down!\n The energy is really brewing a fucking shit storm from the\n vacuum chamber ceiling.", "NICK FURY\n I send that bird out, we already have.\n Fury shuts off his viewscreen.\n\n EXT. MANHATTAN DAY", "NICK FURY\n (trying to explain)\n Rogers, we gathered everything related\n to the Tesseract. This does not mean\n that we're...", "INT. HELICARRIER PORT SIDE DAY\n\n Steve and Tony listen in as well.\n\n NICK FURY (V.O.)\n They called it.", "STEVE\n A higher form?\n\n NICK FURY\n You forced our hand. We had to come up\n with something.", "NICK FURY (V.O.)\n Just get him here. We're low on time.\n With Loki tied up and cuffed to his seat, Tony and Steve watch\n from a distance, whispering.", "NICK FURY\n Stark, you hearing me? We have a\n missile headed straight for the city.\n\n IRON MAN (V.O.)\n How long?", "Back in the bridge, Fury sees on his VIEWSCREEN that the hatch\n has been open. Knowing Agent Coulson was sent there, he goes to." ], [ "NATASHA\n This is the Tesseract. It has the\n potential energy to wipe out the\n planet.\n She shows him a photo of the Tesseract on her cell phone. Banner\n takes a closer look.", "(TO LOKI)\n Thank you for your cooperation.\n Natasha quickly walks out, leaving Loki frozen.\n\n INT. BANNER'S LAB MORNING", "Banner looks at Natasha, charming a smile at her.\n\n BANNER\n Just you and me?\n Natasha fidgets now that she exposed her guard down.", "NATASHA\n No. No. Of course not. I'm here on\n behalf of SHIELD.\n\n BANNER\n SHIELD. How did they find me?", "NICK FURY\n Agent Romanoff, would you show\n Dr.Banner to his laboratory, please.\n Natasha nods and walks off, leading Banner down the hall.", "NATASHA\n Talk to Fury, he needs you on this.\n\n BANNER\n He needs me in a cage?", "At that moment, Thor and Natasha walk into the lab. Natasha\n keeps her eyes right on Banner. Banner looks at her, PISSED.", "Natasha looks over to Banner, who is breathing heavy, having\n landed hard. He is gripping the grated floor to maintain\n control, but his eyes are green, his face intense.", "INT. HELICARRIER MEDICAL ROOM DAY\n\n Barton is strapped down. Natasha watches over him as Barton\n tries to shake off Loki's mind control.", "NATASHA\n Nick Fury seems to trust you. But now I\n need you to come in.\n\n BANNER\n What if I said no?", "BANNER\n Yes, and I'm not leaving because\n suddenly you get a little twitchy. I'd\n like to know why SHIELD is using the\n Tesseract to build weapons of mass\n destruction.", "NATASHA\n I did.\n\n BANNER\n Who are you?\n\n NATASHA\n Natasha Romanoff.", "SELVIG\n Director.\n\n NICK FURY\n Is there anything we know for certain?\n\n SELVIG\n Tesseract is misbehaving.", "Selvig a hug. Tony opens the Tesseract's case.\n Banner takes it out and places inside a glass tube, held by", "Natasha one last knowing look. Natasha STRUGGLES FREE of the\n rubble. She stops.\n The HULK, sensing her, turns his head and puts on a face of a", "NATASHA\n We never lost you, doctor. We've kept\n our distance, even helped keep some\n other interested parties off your\n scent.\n\n BANNER\n Why?", "BANNER\n Should have got paid up front, Banner.\n Natasha then appears from behind the curtains. Banner turns\n around, quietly.", "Still shaken by the HULK ordeal, Natasha sits there, rocking\n back and forth, after crying for a while. Summoning back all her\n coolness, she touches her EARPIECE.", "STOP LYING TO ME!\n The THUNDEROUS TONE in is voice makes Natasha QUICKLY grab her\n gun and point it at him, but something is now OFF in the\n atmosphere. Banner stands straight up, smiling.", "STEVE\n Put on the suit.\n At that moment Banner who's looking at the monitor notices\n something about the Tesseract.\n\n BANNER\n Oh, my God!" ], [ "Loki is now free from his cuffs and is contained in a LARGE\n GLASS CELL held by HYDRAULIC RIGS. Fury walks up the control\n panel of the cell.", "As Loki is busy using his abilities to control the minds of\n several S.H.I.E.L.D. personnel, Fury takes the Tesseract,", "S.H.I.E.L.D personnel Loki is controlling.", "INT. HELICARRIER DETENTION SECTION DAY\n\n Thor runs into the detention section where he finds Loki,\n escaping.\n\n THOR", "INT. HELICARRIER DETENTION SECTION DAY\n\n Loki looks up, smiling mischievously.", "INT. HELICARRIER DETENTION SECTION NIGHT\n\n Loki walks back and forth inside his glass cell. Suddenly, he\n stops.", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "(TO LOKI)\n Thank you for your cooperation.\n Natasha quickly walks out, leaving Loki frozen.\n\n INT. BANNER'S LAB MORNING", "INT. HELICARRIER DETENTION SECTION DAY\n\n Loki has no remorse as he looks down. He closes the hatch and\n proceeds to leave. A WEAK VOICE.", "HYDRA WEAPONS.\n\n INT. HELICARRIER DETENTION SECTION NIGHT\n\n Loki SLAMS his cell, making Natasha FLINCH.", "DOZENS of SHIELD POLICE escort Loki, who is in handcuffs,\n smiling. As they pass the HELICARRIER LAB, Banner stops working", "Loki's fired shot.\n ALL HELL BREAKS. Machine gun fire is shot at Loki, but the\n bullets bounce off him like a boss. Loki jumps high from the", "NICK FURY (V.O.)\n Just get him here. We're low on time.\n With Loki tied up and cuffed to his seat, Tony and Steve watch\n from a distance, whispering.", "TONY lands his SUIT and goes through the gauntlet and unsuits\n him. LOKI looks up at him, smiling. They proceed to walk into\n the penthouse.", "LOKI\n And what will you do if I vow to spare\n him?\n\n NATASHA\n Not let you out.\n\n LOKI", "LOKI\n After. After whatever tortures Fury can\n concoct, you would appear as a friend,\n as a balm. And I would cooperate.", "SELVIG WAKES UP FROM LOKI MIND CONTROL. He looks around,\n confused where he is. He looks up at the sky, amazed.", "SHIELD GUARDS slowly approach, weapons in hands. A figure is\n kneeling on the platform, smoke coming off it. It's LOKI.", "IRON MAN\n Doesn't matter. If he frees Loki or\n kills him, the Tesseract's lost.\n Tony turns and gets ready to jump off the jet to chase after\n Thor.", "LOKI\n I come with glad tidings, of a world\n made free.\n\n NICK FURY\n Free from what?" ], [ "SELVIG WAKES UP FROM LOKI MIND CONTROL. He looks around,\n confused where he is. He looks up at the sky, amazed.", "eyes suddenly glow BLACK. The ability to control Barton's mind\n is now in Loki's hand. Barton puts his piece away and stands\n straight.", "Barton tries to stand up. Loki quickly walks towards him. Barton\n raises his gun, but Loki grabs Barton's hand.", "Several soldiers under Loki's mind control run around, preparing\n to infiltrate whatever Loki has planned. Loki sits down,\n watching Selvig work with a CMS device. Loki meditates, until...", "BARTON'S MAN opens fire once more. CAPTAIN AMERICA pulls himself\n up and finally PULLS the lever.", "As Loki is busy using his abilities to control the minds of\n several S.H.I.E.L.D. personnel, Fury takes the Tesseract,", "LOKI\n You have heart.\n Loki points the head of his spear at Barton's head. Barton's", "her, but she grabs his arm, TWISTING it. BARTON WRITHES IN PAIN.\n Using his other arm, he tosses the knife over and begins to", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "(TO LOKI)\n Thank you for your cooperation.\n Natasha quickly walks out, leaving Loki frozen.\n\n INT. BANNER'S LAB MORNING", "Barton walks alone down the catwalk. In a lightning fast move,\n Barton nocks an arrow, and points it at NATASHA. A hand-to-hand", "SLAMS him down, hard. Loki, bleeding, rolls over the edge. Thor\n looks down. LOKI IS RIDING ON A FLYING CHARIOT. DOZENS of", "LOKI\n Freedom. Freedom is life's great lie.\n Once you accept that, in your heart...", "NATASHA\n I wanna know what you've done to Agent\n Barton.\n\n LOKI\n I'd say I've expanded his mind.", "LOKI\n I won't touch Barton. Not until I make\n him kill you! Slowly. Intimately. In", "SLASH at Natasha. She dodges every move, but finds herself in a\n LOCK HOLD with him. As he forces the knife down, she BITES his\n wrist. Barton lets go of the knife.", "LOKI\n Well, then...\n Loki, looking at Barton, who doesn't even hesitate, SHOOTS FURY", "down, breathing fast. Loki makes his way to the control switch.\n He gives his brother one last look. Thor looks at him, hopeful.", "Barton's men. He begins to TAKE THEM DOWN, even goes as far as\n throwing one off. A few more enter, FIRING.", "his cane the other end. The guard there notices him, pulls out\n his gun, but Loki CLUBS his head in. CHAOS ERUPTS." ], [ "IRON MAN catches up, now comes at the missile from behind. The\n missile speeds on. IRON MAN grabs it from behind, gripping it\n tightly.", "NICK FURY\n Stark, you hearing me? We have a\n missile headed straight for the city.\n\n IRON MAN (V.O.)\n How long?", "AMERICA arrives! He dives in just in time and BLOCKS the blast\n with his SHIELD, knocking down Loki on his ass.", "Cap gets off the car, looks around the city. Destroyed. The\n police and firemen arrive, pulling out those civilians he saved.\n A WAITRESS looks back, thankful.", "TONY\n I got a nuke coming in, it's gonna blow\n in less than a minute. And I know just\n where to put it.\n\n EXT. SKY DAY", "NICK FURY\n Three minutes, at best. Stay low and\n wipe out the missile.\n\n EXT. MANHATTAN DAY", "NICK FURY\n That is the island of Manhattan,\n Councilman. Until I'm certain my team\n can't hold it, I will not order a\n nuclear strike against a civilian\n population.", "hang still in the air. Some move swimmingly about.\n IRON MAN lets go of the missile. It whistles off into the", "her knives into his nervous system. She gets him to BANK over a\n building.\n - IRON MAN arrives and SHOOTS any other CHITAURI RIDERS", "7 ALPHA 11 arrives outside the city. He flips the switch to\n press the button. He presses it. THE MISSILE IS FLYING OUT TO\n\n MANHATTAN.", "his fuckin' head and actually sends IRON MAN across the forest.\n IRON MAN boosters up and flies back at Thor, grabbing him by the", "but misses. Land draws closer.\n In a final attempt before crashing, Thor positions himself onto\n the glass door and LEAPFROGS just as the cage is about to hit", "Back in the bridge, Fury sees on his VIEWSCREEN the destruction\n going on in NEW YORK. Agent Hill walks up to him.", "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "BARTON'S MAN opens fire once more. CAPTAIN AMERICA pulls himself\n up and finally PULLS the lever.", "TONY\n Nuclear deterrent. `Cause that always\n calms everything right down.\n\n NICK FURY\n Remind me again how you made your\n fortune, Stark?", "blackness as IRON MAN IDLY falls back down the portal's opening.\n The missile reaches the MAIN SHIP. The MAIN SHIP IMPLODES,", "toward mid-air. His eyes tight in concentration. The HULK runs\n right at him. At the last second, MJÖLNIR flies into his hand", "EXT. MANHATTAN DAY\n\n The COPS continuously fire at the flying chariots. It's pretty\n pointless. A YOUNG COP runs over to his POLICE SERGEANT.", "- From above them, HAWKEYE sends down remaining arrows. He sends\n one across the street, taking down a CHITAURI RIDER following" ], [ "The BLASTWAVE of the Tesseract causes the tunnel to cave it.\n Like an ocean wave, blinding crumbles of falling rock, fall onto", "THE OTHER (V.O.)\n The Tesseract has awakened. It is on a\n little world. A human world. They would\n wield its power,...", "Without hesitating, BLACK WIDOW pulls the scepter out, the\n TESSERACT turns off its energy beam. The PORTAL QUICKLY CLOSES.", "NATASHA\n This is the Tesseract. It has the\n potential energy to wipe out the\n planet.\n She shows him a photo of the Tesseract on her cell phone. Banner\n takes a closer look.", "appears and a GUST of BLUE ENERGY CLOUDS fill the room, blinding\n everyone.\n The Tesseract's energy forms into a cloud that reaches to the", "BANNER\n Sorry, kids. You don't get to see my\n little party trick after all.\n\n THOR\n Located the Tesseract?", "INT. RADIATION FACILITY, VACUUM CHAMBER NIGHT\n\n The Tesseract's energy cloud now SHRINKS into a SMALL BALL OF\n WHITE LIGHT. Then...", "at the end of a platform that is wired to the CMS device. The\n great maelstrom beam FIRES the TESSERACT energy. The beam then", "Everyone is thrown in every direction. Steve, Fury, Thor and\n Tony are thrown across while Natasha and Banner is down in the\n lower equipment room. Steve looks up at Tony.", "Selvig a hug. Tony opens the Tesseract's case.\n Banner takes it out and places inside a glass tube, held by", "Cap gets off the car, looks around the city. Destroyed. The\n police and firemen arrive, pulling out those civilians he saved.\n A WAITRESS looks back, thankful.", "The Tesseract is glowing unusually brighter and flare rings\n shoot out at random.", "PEPPER\n Work hard.\n As Pepper leaves with Agent Coulson, Tony grabs the Tesseract in\n holograph form, worried.\n\n INT. QUINJET DAY", "(A BEAT)\n Yes, we were going to build an arsenal\n with the Tesseract. I never put all my", "but misses. Land draws closer.\n In a final attempt before crashing, Thor positions himself onto\n the glass door and LEAPFROGS just as the cage is about to hit", "THE OTHER\n You will have your war, Asgardian. If\n you fail, if the Tesseract is kept from", "Steve watches until the monitor goes black. Thor, who didn't\n even look, just listened, stands there, torn apart. They all\n just stand there in stunned SILENCE. Finally --", "OUTSIDE THE HELICARRIER\n The carrier that brought Barton and his team now leaves, taking\n Loki and his scepter. The carrier flies into the distance.", "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "DR. SELVIG clacks away at the keyboard and sees on the\n monitoring his worst nightmares. Suddenly- the Tesseract\n THUNDERS and SHAKES the entire facility. Big enough where both" ], [ "Several soldiers under Loki's mind control run around, preparing\n to infiltrate whatever Loki has planned. Loki sits down,\n watching Selvig work with a CMS device. Loki meditates, until...", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "Selvig works around the CMS device that has already been set-\n upon the rooftop of Tony's tower.\n\n INT. HELICARRIER MEDICAL ROOM DAY", "EXT. STARK TOWER DAY\n\n Selvig looks up at the sky. The Tesseract's energy BEAMS into\n the sky. The beam then forms a VORTEX, which then opens up", "BANNER\n So he's building another portal. That's\n what he needs Erik Selvig for.\n\n THOR\n Selvig?", "IRON MAN arrives at STARK TOWER where Selvig, ACTIVATES the CMS\n device, holding the Tesseract.", "SOLDIERS AND COPS have taken positions covering the streets.\n They see from the sky, IRON MAN leading a trail of CHITAURI\n towards his tower.\n\n EXT. SKY DAY", "Selvig a hug. Tony opens the Tesseract's case.\n Banner takes it out and places inside a glass tube, held by", "Like a gunslinger, Loki turns to face Selvig who's\n standingbehind him and places his spear against Selvig's heart.\n Selvig's eyes glow BLACK.", "As the crowd runs away, Loki slowly walks out and materializes\n in his gold armor and helmet. The POLICE arrive and with no\n hesitation, he BLASTS the cars, FLIPPING them over and over.", "Loki walks onto the balcony as the SOUNDS of the CHITAURI rings\n out. He admires his soon to be kingdom. THOR LANDS ON THE TOWER.\n Loki turns to his ENEMY.", "INT. STARK PENTHOUSE DAY\n\n Loki walks in, holding the scepter. Tony casually walks down the\n steps, towards the bar.", "Inside this particular van, Selvig and a few other SOLDIERS are\n driving inside a long tunnel. With the CMS device inside, Selvig", "SELVIG\n Loki? Brother of Thor?\n\n NICK FURY\n We have no quarrel with your people.", "SELVIG WAKES UP FROM LOKI MIND CONTROL. He looks around,\n confused where he is. He looks up at the sky, amazed.", "SELVIG\n Well, actually I think I did. I built\n in a safety to cut the power source.\n\n BLACK WIDOW\n Loki's scepter.", "ACCEPTS IT. Selvig looks at it, devilishly smiling.", "IT GOES OFF IN ONE FINAL CONFLAGRATION.\n TERRIFIED PEOPLE running from Loki, looking over their\n shoulders, coming straight at us. CAPTAIN AMERICA looks down the\n bridge.", "EXT. STARK TOWER DAY\n\n Thor holds down Loki's face straight ahead, forcing him to watch\n the city falling to ash.", "HE ATTACKS THE ARMY AT CULVER UNIVERSITY, THOR FIGHTING THE\n DESTROYER and another is of Loki and the Tesseract, to which\n Stark and Pepper look on in awe." ], [ "SELVIG\n He's right. The portal is collapsing in\n on itself. You got maybe two minutes\n before this goes critical.", "DROPS THOR OUT OF THE SHIP.\n\n INT. LOWER EQUIPMENT ROOM, CARRIER DAY", "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "at the end of a platform that is wired to the CMS device. The\n great maelstrom beam FIRES the TESSERACT energy. The beam then", "Without hesitating, BLACK WIDOW pulls the scepter out, the\n TESSERACT turns off its energy beam. The PORTAL QUICKLY CLOSES.", "(points at the MINI-ARC\n REACTOR in his chest)\n This stops it. This little circle of\n light. It's part of me now, not just", "TONY\n See that red lever? It'll slow the\n rotors down long enough for me to get", "STEVE\n Just find the cube.\n Steve walks out of the lab. Still torn apart by the possibility,\n he walks away, towards the HULL of the ship.\n\n BACK IN THE LAB", "JARVIS\n Sir, I took off the arc reactor. The\n device is already self-sustained.\n\n TONY\n Shut it down, Dr. Selvig.", "SELVIG\n Well, actually I think I did. I built\n in a safety to cut the power source.\n\n BLACK WIDOW\n Loki's scepter.", "TONY\n Lever. Now!\n Tony lets go of the rotors. They spin by themselves. Tony is", "The BLASTWAVE of the Tesseract causes the tunnel to cave it.\n Like an ocean wave, blinding crumbles of falling rock, fall onto", "TONY\n Then stay in the control unit and\n reverse polarity long enough to\n disengage mag...\n\n CAPTAIN AMERICA\n Speak English!", "Steve watches until the monitor goes black. Thor, who didn't\n even look, just listened, stands there, torn apart. They all\n just stand there in stunned SILENCE. Finally --", "SHARPLY heads for the engine. The arrow is punctured onto the\n engine. It has a visible timer which is COUNTING DOWN.", "INT. RADIATION FACILITY, VACUUM CHAMBER NIGHT\n\n The Tesseract's energy cloud now SHRINKS into a SMALL BALL OF\n WHITE LIGHT. Then...", "INT. FACILITY FLOOR NIGHT\n\n Fury races out of the hallway, avoiding falling pipes. The\n entire facility is now in a full earthquake.", "IRON MAN laser cuts a big piece of broken metal. He then JUMPS\n on it, relieving the rotors.", "Selvig and several scientists work around the CMS device.\n Bartonwalks in, holding a tablet.\n\n SELVIG\n Put it over there!", "hand. He then places a STARK ENERGY REACTOR. It lights up. IRON\n MAN rockets out of the water and flies towards STARK TOWER." ], [ "THE OTHER\n The Chitauri grow restless.\n\n LOKI\n Let them go at themselves. I will lead\n them into glorious battle.", "THE OTHER (V.O.)\n But our ally knows its workings as they\n never will. He is ready to lead. And\n our force, our Chitauri, will follow.", "CHITAURI follow his lead.", "known. He means to lead them against\n your people. They will win him the\n earth. In return, I suspect, for the\n Tesseract.", "(COMING TOO)\n He has an army called the Chitauri.\n They're not of Asgard or any world", "and FIRES. The CHITAURI LEVIATHAN ROARS in annoyance. The\n CHITAURI LEVIATHAN turns to him.", "CHITAURI.\n\n INSIDE THE SUIT\n\n JARVIS\n Sir, we have more incoming.", "SOLDIERS AND COPS have taken positions covering the streets.\n They see from the sky, IRON MAN leading a trail of CHITAURI\n towards his tower.\n\n EXT. SKY DAY", "TONY\n Then tell him to suit up. I'm bringing\n the party to you.\n IRON MAN comes out from behind a building. The CHITAURI\n LEVIATHAN follows, impatiently.", "Loki walks onto the balcony as the SOUNDS of the CHITAURI rings\n out. He admires his soon to be kingdom. THOR LANDS ON THE TOWER.\n Loki turns to his ENEMY.", "her knives into his nervous system. She gets him to BANK over a\n building.\n - IRON MAN arrives and SHOOTS any other CHITAURI RIDERS", "A CHITAURI SOLDIER attacks him from behind and RIPS OFF HIS\n HELMET. The bomb is beeping faster.", "at the CHITAURI BOMBER. The TWO CHITAURI SOLDIERS aim their\n rifles, but Cap heads for cover under a desk, which he KICKS at\n them.", "CHITAURI SOLDIERS fire at him. THE HULK BACKHANDS THEM, SEIZES", "CHITAURI LEVIATHAN collapse. IRON MAN rolls down the street. The\n wind is knocked out of him. He looks up with an overwhelming", "A hole in space rips open, and from it, the CHITAURI ARMY SPILLS\n out in FLYING CHARIOTS, carrying ENERGY RIFLES with a bayonet on\n the end.", "IN A MASSIVE SHOCKWAVE. THE CHITAURI SOLDIERS CONVULSE, DROP\n\n DEAD TO THE GROUND. HE EVEN RIPS THE SHIT OUT OF A CHITAURI", "LOKI\n The CHITAURI are coming, nothing will\n change that. What have I to fear?\n\n TONY", "following her. He makes his way down to CAPTAIN AMERICA, who\n fights off more CHITAURI SOLDIERS. IRON MAN points his HAND", "The HULK holds CHITAURI SOLDIERS by the face and SLAMS them\n down. More keep coming. HULK looks up. HUNDREDS OF RIDERS HOVER" ], [ "THE OTHER\n The Chitauri grow restless.\n\n LOKI\n Let them go at themselves. I will lead\n them into glorious battle.", "THE OTHER\n Battle? Against the meager might of\n Earth?\n\n LOKI\n Glorious, not lengthy. If your force is\n as formidable as you claim.", "EXT. THRONE ROOM NIGHT\n\n ...the scepter materializes him back into the throne room of THE\n OTHER, fully armed in his horned helmet and armor. THE OTHER\n appears from the steps.", "THE OTHER\n You question us? You question HIM? He,\n who put the scepter in your hand, who\n gave you ancient knowledge and new\n purpose when you were cast out,\n defeated?", "LOKI\n I have an army.\n\n TONY\n We have a HULK.\n\n LOKI\n I thought the beast had wandered off.", "LOKI\n After. After whatever tortures Fury can\n concoct, you would appear as a friend,\n as a balm. And I would cooperate.", "make you long for something as sweet as\n pain.\n THE OTHER places his hand on Loki's head and transports him back\n to Earth. Loki looks around, menacing.", "CUT TO:\n THE OTHER faces a HORNED SHAPED SHADOW. LOKI. Loki is handed the", "LOKI\n Freedom. Freedom is life's great lie.\n Once you accept that, in your heart...", "LOKI\n Of course it does. I've come too far\n for anything else. I am Loki of Asgard,\n and I am burdened with glorious\n purpose.", "THE OTHER\n You will have your war, Asgardian. If\n you fail, if the Tesseract is kept from", "THOR\n So you take the world I love as\n recompense for your imagined slights.\n No, the Earth is under my protection,\n Loki.\n\n LOKI", "LOKI\n You don't have the Tesseract yet.\n THE OTHER runs over to attack him, but stops as Loki points his\n scepter.", "LOKI\n I said. KNEEL!!!\n Everyone becomes quiet and kneels in front him. Loki embracing\n his arms out, smiling.", "LOKI\n The mindless beast, makes play he's\n still a man. How desperate are you,\n that you call upon such lost creatures\n to defend you?", "THE OTHER (V.O.)\n The world will be his. The universe\n yours. And the humans, what can they do\n but burn?\n\n CUT TO:", "Like a gunslinger, Loki turns to face Selvig who's\n standingbehind him and places his spear against Selvig's heart.\n Selvig's eyes glow BLACK.", "known. He means to lead them against\n your people. They will win him the\n earth. In return, I suspect, for the\n Tesseract.", "THOR\n Then you miss the truth of ruling,\n brother. Throne would suit you ill.\n Angrily, Loki shoves his brother to the side. He walks back up\n to the ledge. Turns around.", "NATASHA\n Love is for children. I owe him a debt.\n\n LOKI\n\n (SITTING DOWN)\n Tell me." ], [ "STEVE\n I think Loki's trying to wind us up.\n This is a man who means to start a war,", "LOKI\n I have an army.\n\n TONY\n We have a HULK.\n\n LOKI\n I thought the beast had wandered off.", "STEVE\n I wanna know why Loki let us take him.\n He's not leading an army from here.", "As the crowd runs away, Loki slowly walks out and materializes\n in his gold armor and helmet. The POLICE arrive and with no\n hesitation, he BLASTS the cars, FLIPPING them over and over.", "Several soldiers under Loki's mind control run around, preparing\n to infiltrate whatever Loki has planned. Loki sits down,\n watching Selvig work with a CMS device. Loki meditates, until...", "LOKI\n I said. KNEEL!!!\n Everyone becomes quiet and kneels in front him. Loki embracing\n his arms out, smiling.", "his cane the other end. The guard there notices him, pulls out\n his gun, but Loki CLUBS his head in. CHAOS ERUPTS.", "known. He means to lead them against\n your people. They will win him the\n earth. In return, I suspect, for the\n Tesseract.", "EXT. SKY DAY\n\n Loki watches below, motionless.\n\n LOKI\n Send the rest.", "LOKI\n The mindless beast, makes play he's\n still a man. How desperate are you,\n that you call upon such lost creatures\n to defend you?", "THE OTHER\n Battle? Against the meager might of\n Earth?\n\n LOKI\n Glorious, not lengthy. If your force is\n as formidable as you claim.", "LOKI\n That was the plan.", "THOR\n Who showed you this power? Who controls\n the would-be-king?\n\n LOKI\n I am a king!", "As Loki is busy using his abilities to control the minds of\n several S.H.I.E.L.D. personnel, Fury takes the Tesseract,", "TONY\n Okay.\n From the mountain side, Loki watches in amusement. Thor raises", "trucks pull up to them. A drive-by shooting ensues.\n Loki, who stands on top of the bed of the truck, uses his", "THE OTHER\n The Chitauri grow restless.\n\n LOKI\n Let them go at themselves. I will lead\n them into glorious battle.", "Loki after Loki appears, they all grin as they raise their\n spears, encircling the crowd.", "SOLDIER.\n\n LOKI\n (smiles; walks over to the", "Loki's fired shot.\n ALL HELL BREAKS. Machine gun fire is shot at Loki, but the\n bullets bounce off him like a boss. Loki jumps high from the" ], [ "THE OTHER (V.O.)\n The Tesseract has awakened. It is on a\n little world. A human world. They would\n wield its power,...", "The Tesseract is glowing unusually brighter and flare rings\n shoot out at random.", "at the end of a platform that is wired to the CMS device. The\n great maelstrom beam FIRES the TESSERACT energy. The beam then", "The BLASTWAVE of the Tesseract causes the tunnel to cave it.\n Like an ocean wave, blinding crumbles of falling rock, fall onto", "NATASHA\n This is the Tesseract. It has the\n potential energy to wipe out the\n planet.\n She shows him a photo of the Tesseract on her cell phone. Banner\n takes a closer look.", "appears and a GUST of BLUE ENERGY CLOUDS fill the room, blinding\n everyone.\n The Tesseract's energy forms into a cloud that reaches to the", "BURNING BLUE FLAMES. A smoky cube shape emerges - THE TESSERACT.\n Filling the screen with BLACKNESS.\n\n CUT TO:", "THE OTHER\n Your ambition is little, born of\n childish need. We look beyond the Earth\n to greater worlds the Tesseract will\n unveil.", "thought what we think, the Tesseract\n could be the key to unlimited\n sustainable energy. That's something\n the world sorely needs.", "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "SELVIG\n Well, I didn't know!\n (sees Loki coming)\n Hey! The Tesseract is showing me so\n much. It's more than just knowledge,\n it's... truth.", "Selvig a hug. Tony opens the Tesseract's case.\n Banner takes it out and places inside a glass tube, held by", "Without hesitating, BLACK WIDOW pulls the scepter out, the\n TESSERACT turns off its energy beam. The PORTAL QUICKLY CLOSES.", "SELVIG\n No, it's not funny at all. The\n Tesseract is not only active,\n she's...misbehaving.", "IRON MAN arrives at STARK TOWER where Selvig, ACTIVATES the CMS\n device, holding the Tesseract.", "INT. RADIATION FACILITY, VACUUM CHAMBER NIGHT\n\n The Tesseract's energy cloud now SHRINKS into a SMALL BALL OF\n WHITE LIGHT. Then...", "CLINT BARTON\n Yeah, the cube is a doorway to the\n other end of space, right? The doors\n open from both sides.", "Agents Hill and Coulson can feel and they're at different ends\n of the facility.\n The flaring rings and glow of the cube spout out brighter and", "louder, like a boiling pot of water. The Tesseract's energy\n builds up into a BEAM much like the Bifrost Bridge, which HITS", "forms a VORTEX, which then opens up a PORTAL.\n A BLACK HOLE IS CREATED. From the portal, the blackness of\n SPACE, beautiful and mysterious, strewn with a billion stars" ], [ "S.H.I.E.L.D personnel Loki is controlling.", "NATASHA\n No. No. Of course not. I'm here on\n behalf of SHIELD.\n\n BANNER\n SHIELD. How did they find me?", "SHIELD AGENT (V.O.)\n Paramedics are on their way.\n\n NICK FURY (V.O.)\n They're here.", "Amazingly, DOZENS OF SHIELD AGENTS are surrounding the shack\n outside.\n\n INT. LITTLE GIRL'S SHACK NIGHT", "scepter and EMITS energy blasts, flipping over SHIELD trucks.\n They get in, the cars roar out after them. Agent Hill puts\n herself at a distance.", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "Standing a few yards from the landing pad, A Fed in a suit with\n badass shades, peers at the helicopter as it lands. This is\n\n SHIELD AGENT PHIL COULSON.", "Walking out of the helicopter is SHIELD AGENT MARIA HILL, SEXY,", "FIERCE AND DETERMINED. Following her, SHIELD DIRECTOR NICK FURY\n climbs out. Hill and Fury approach Agent Coulson.", "NICK FURY\n Well, it's an old fashioned notion.\n\n EXT. MEADOW DAY", "INT. HELICARRIER BRIDGE DAY\n\n Back in the bridge, Agent Hill sees on her SCREEN 7 ALPHA 11\n preparing to leave.", "NICK FURY (V.O.)\n Agent Coulson is down.\n Agent Hill is being treated for a gash on her head, listens on\n her headset, standing up.", "AGENT MARIA HILL\n Why?\n\n NICK FURY\n Because we'll need them to.\n\n Agent Hill turns around. Fury looks out, smiling.", "The HELICARRIER rises high into the heavens. Suddenly, the\n entire ship is covered in reflecting mirrors, which then\n camouflages in the sky.", "INT. HELICARRIER BRIDGE DAY\n\n A gunfight opens up. AGENTS exchange fire with brutally\n efficient tactical soldiers.", "NATASHA BANNER\n Are you all really that Captain America is on\n naive? S.H.I.E.L.D monitors potential threat potential\n threats? watch list?", "JARVIS\n Sir, Agent Coulson of SHIELD is on the\n line.\n\n TONY\n I'm not in. I'm actually out.", "have a very specific skillset. I didn't\n care who I used it for, or on. I got on\n SHIELD's radar in a bad way. Agent", "STEVE\n A higher form?\n\n NICK FURY\n You forced our hand. We had to come up\n with something.", "SHIELD SCIENTIST (V.O.)\n Oh my god!" ], [ "THOR\n Then you miss the truth of ruling,\n brother. Throne would suit you ill.\n Angrily, Loki shoves his brother to the side. He walks back up\n to the ledge. Turns around.", "LOKI\n Your father. He did tell you my true\n parentage, did he not?\n Thor lets go Loki, who walks away from Thor, causing an even\n bigger wedge between them.", "THOR\n Who showed you this power? Who controls\n the would-be-king?\n\n LOKI\n I am a king!", "THOR\n We were raised together, we played\n together, we fought together. Do you\n remember none of that?\n\n LOKI", "THOR\n Have care how you speak. Loki is beyond\n reason, but he is of Asgard, and he's\n my brother.", "THOR\n So you take the world I love as\n recompense for your imagined slights.\n No, the Earth is under my protection,\n Loki.\n\n LOKI", "THOR\n You think yourself above them.\n\n LOKI\n Well, yes.", "THOR\n So be it.\n Loki and Thor rush at each other. They and their weapons", "Somewhere out in the European mountains, Thor throws Loki into\n the side of the mountain. He raises the mighty hammer, MJÖLNIR.", "Although Thor is pissed for what he has done, a family is\n everything to a man or god.", "Thor and Loki battle savagely. Loki fires ENERGY from the\n scepter, sending Thor sliding across the floor.\n\n INT. QUINJET DAY", "TONY\n Okay.\n From the mountain side, Loki watches in amusement. Thor raises", "INT. HELICARRIER DETENTION SECTION DAY\n\n Thor runs into the detention section where he finds Loki,\n escaping.\n\n THOR", "THOR\n When I first came to earth, Loki's rage\n followed me here and your people paid\n the price. And now again. In my youth I\n courted war.", "down, breathing fast. Loki makes his way to the control switch.\n He gives his brother one last look. Thor looks at him, hopeful.", "THOR\n I thought you dead.\n\n LOKI\n Did you mourn?\n\n THOR\n We all did. Our father...", "THOR\n No. We can. Together.\n Loki looks at his brother, showing a sign of hope. Then... Loki\n stabs Thor with a small knife. Thor keels over.", "SLAMS him down, hard. Loki, bleeding, rolls over the edge. Thor\n looks down. LOKI IS RIDING ON A FLYING CHARIOT. DOZENS of", "THOR\n They are repulsive, and they trample\n everything in their path.\n Thor walks over to the side of the ship and looks out the\n window, lamenting about what has happened and what may come.", "the cell door, which closes on THOR, locking him up. Loki\n smiles." ], [ "Loki's fired shot.\n ALL HELL BREAKS. Machine gun fire is shot at Loki, but the\n bullets bounce off him like a boss. Loki jumps high from the", "THOR\n Who showed you this power? Who controls\n the would-be-king?\n\n LOKI\n I am a king!", "As Loki is busy using his abilities to control the minds of\n several S.H.I.E.L.D. personnel, Fury takes the Tesseract,", "LOKI\n Of course it does. I've come too far\n for anything else. I am Loki of Asgard,\n and I am burdened with glorious\n purpose.", "As the crowd runs away, Loki slowly walks out and materializes\n in his gold armor and helmet. The POLICE arrive and with no\n hesitation, he BLASTS the cars, FLIPPING them over and over.", "LOKI\n You have heart.\n Loki points the head of his spear at Barton's head. Barton's", "Loki FLINGS Cap to the ground. Cap then throws his shield, but\n Loki SWATS it way. Cap, using all the moves of a boxer, is", "LOKI\n I said. KNEEL!!!\n Everyone becomes quiet and kneels in front him. Loki embracing\n his arms out, smiling.", "LOKI\n Freedom. Freedom is life's great lie.\n Once you accept that, in your heart...", "Thor and Loki battle savagely. Loki fires ENERGY from the\n scepter, sending Thor sliding across the floor.\n\n INT. QUINJET DAY", "BILCHSTEIM. Loki pulls out an OPTICAL TORTURE DEVICE. He PLUNGES\n down the doctor's eye. The doctor TWISTS in pain.", "LOKI\n Your father. He did tell you my true\n parentage, did he not?\n Thor lets go Loki, who walks away from Thor, causing an even\n bigger wedge between them.", "trucks pull up to them. A drive-by shooting ensues.\n Loki, who stands on top of the bed of the truck, uses his", "LOKI\n The mindless beast, makes play he's\n still a man. How desperate are you,\n that you call upon such lost creatures\n to defend you?", "ELDER GERMAN MAN\n Not to men like you.\n\n LOKI\n There are no men like me.", "eyes suddenly glow BLACK. The ability to control Barton's mind\n is now in Loki's hand. Barton puts his piece away and stands\n straight.", "THOR\n I do not know. Loki's mind is far\n afield, it's not just power he craves,", "LOKI\n It should work.\n\n TONY\n Well, performance issues. You know?\n In anger, Loki GRABS Tony by the throat and FLINGS him across\n the room.", "THOR\n You think yourself above them.\n\n LOKI\n Well, yes.", "TONY\n Okay.\n From the mountain side, Loki watches in amusement. Thor raises" ], [ "BANNER\n So he's building another portal. That's\n what he needs Erik Selvig for.\n\n THOR\n Selvig?", "NICK FURY\n Talk to me, doctor.\n DR. ERIK SELVIG emerges from behind the CMS machine, concerned.", "ACCEPTS IT. Selvig looks at it, devilishly smiling.", "THOR\n Thank you. It's no accident Loki taking\n Erik Selvig. I dread what he plans for\n him once he's done. Erik is a good man.", "SELVIG\n Director.\n\n NICK FURY\n Is there anything we know for certain?\n\n SELVIG\n Tesseract is misbehaving.", "SELVIG\n Well, I didn't know!\n (sees Loki coming)\n Hey! The Tesseract is showing me so\n much. It's more than just knowledge,\n it's... truth.", "Several soldiers under Loki's mind control run around, preparing\n to infiltrate whatever Loki has planned. Loki sits down,\n watching Selvig work with a CMS device. Loki meditates, until...", "SELVIG\n Loki? Brother of Thor?\n\n NICK FURY\n We have no quarrel with your people.", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "Selvig works around the CMS device that has already been set-\n upon the rooftop of Tony's tower.\n\n INT. HELICARRIER MEDICAL ROOM DAY", "Selvig a hug. Tony opens the Tesseract's case.\n Banner takes it out and places inside a glass tube, held by", "Selvig and several scientists work around the CMS device.\n Bartonwalks in, holding a tablet.\n\n SELVIG\n Put it over there!", "BANNER\n He's an astrophysicist.\n\n THOR\n He's a friend.", "EXT. STARK TOWER DAY\n\n Selvig looks up at the sky. The Tesseract's energy BEAMS into\n the sky. The beam then forms a VORTEX, which then opens up", "Like a gunslinger, Loki turns to face Selvig who's\n standingbehind him and places his spear against Selvig's heart.\n Selvig's eyes glow BLACK.", "SELVIG\n The Hawk? Up in his nest, as usual.\n We see CLINT BARTON, dressed in black tactical gear, is up on", "SELVIG WAKES UP FROM LOKI MIND CONTROL. He looks around,\n confused where he is. He looks up at the sky, amazed.", "Inside this particular van, Selvig and a few other SOLDIERS are\n driving inside a long tunnel. With the CMS device inside, Selvig", "BLACK WIDOW walks up the CMS machine. Selvig, slumped down,\n weakened, looks at her desperately. The Tesseract's energy is", "SELVIG\n Well, actually I think I did. I built\n in a safety to cut the power source.\n\n BLACK WIDOW\n Loki's scepter." ], [ "The TRIO arrives in the middle of a four-way street. Suddenly,\n the city LURCHES to a stop. A DEEP, PRIMAL RAGE BELLOWS OUT.", "EXT. MANHATTAN DAY\n\n The COPS continuously fire at the flying chariots. It's pretty\n pointless. A YOUNG COP runs over to his POLICE SERGEANT.", "EXT. EMPIRE STATE BUILDING DAY", "NATASHA\n Then, what is it? Yoga?\n\n BANNER\n You brought me to the edge of the city,\n smart. I uh... assume the whole place\n is surrounded?", "BANNER\n Thanks, but the last time I was in New\n York I kind of broke...Harlem.", "EXT. MANHATTAN DAY", "EXT. MANHATTAN DAY", "EXT. MANHATTAN DAY", "EXT. MANHATTAN DAY", "EXT. MANHATTAN DAY", "Cap gets off the car, looks around the city. Destroyed. The\n police and firemen arrive, pulling out those civilians he saved.\n A WAITRESS looks back, thankful.", "PEPPER, along with her crew, watches on T.V., in horror, the\n destruction in NEW YORK. On the table, her cell is VIBRATING,\n with Tony's picture on it.", "7 ALPHA 11\n Destination is in 2 minutes, 30 seconds\n mark.\n\n EXT. MANHATTAN DAY", "Back in the bridge, Fury sees on his VIEWSCREEN the destruction\n going on in NEW YORK. Agent Hill walks up to him.", "OLD MAN (STAN LEE)\n Superheroes? In New York? Give me a\n break!", "The CHITAURI UNLEASH. New Yorkers fill the streets, staring at\n the fire fight in the distance. BOOM!!! The CHITAURI unleashes", "STEVE\n The Stark Tower? That big ugly\n (Tony gives him a look)\n ...building in New York?", "EXT. MANHATTAN DAY\n\n\n CAPTAIN AMERICA", "PEPPER\n Not gonna be that subtle.\n\n TONY\n I'll tell you what. Next building's\n gonna say 'Potts' on the tower.", "INT. BROOKLYN GYM NIGHT\n\n Steve opens his eyes and fuckin' tears the bag as the last\n memory kicks in. I don't think he can physically stop..." ], [ "A SMALL FIGURE is hurled backwards into the open now closed\n portal. IRON MAN. Plummeting to the earth.", "PLUMMETS TO EARTH, ROARING HIS SWAN SONG.\n\n EXT. HELICARRIER PORT SIDE DAY", "(SMILING)\n Son of a gun!\n TIGHT ON IRON MAN: He keeps falling. And falling. And falling.\n\n EXT. MANHATTAN DAY", "increases in intensity. IRON MAN falls back.", "the ground and trip Thor over. Standing up, Thor looks for him,\n but from behind him, IRON MAN CRASHES into his back. Thor stands", "(PAUSE)\n Sonofabitch!\n\n EXT. STARK TOWER DAY", "hang still in the air. Some move swimmingly about.\n IRON MAN lets go of the missile. It whistles off into the", "A VENT opens up from Engine 3. IRON MAN falls out, but the suit\n heavily damaged, hardly keeping him up. IRON MAN heads for Cap.", "but misses. Land draws closer.\n In a final attempt before crashing, Thor positions himself onto\n the glass door and LEAPFROGS just as the cage is about to hit", "toward mid-air. His eyes tight in concentration. The HULK runs\n right at him. At the last second, MJÖLNIR flies into his hand", "PULLS OUT, showing the letters for \"STARK TOWER\" have been blown\n away, and all that remains is a giant A.", "hand. He then places a STARK ENERGY REACTOR. It lights up. IRON\n MAN rockets out of the water and flies towards STARK TOWER.", "EXT. STARK TOWER DAY\n\n Thor holds down Loki's face straight ahead, forcing him to watch\n the city falling to ash.", "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "IRON MAN climbs higher and higher over the city, gaining speed,\n suddenly flings himself through the portal. Communications die.\n The suit begins to freeze. Tony looks in horror.", "TONY\n Lever. Now!\n Tony lets go of the rotors. They spin by themselves. Tony is", "the ground. The cell CRASHES into the shore as Thor crashes out\n into the meadow.", "begins to TRANSFORM into the MARK VII suit.\n It LATCHES onto Tony. IRON MAN. The suit FLIES up before he hits", "drops him down the open floor, dangling. She picks up the phone\n and her heels, like a boss.", "blackness as IRON MAN IDLY falls back down the portal's opening.\n The missile reaches the MAIN SHIP. The MAIN SHIP IMPLODES," ], [ "THE OTHER\n You question us? You question HIM? He,\n who put the scepter in your hand, who\n gave you ancient knowledge and new\n purpose when you were cast out,\n defeated?", "THE OTHER (V.O.)\n The world will be his. The universe\n yours. And the humans, what can they do\n but burn?\n\n CUT TO:", "THE OTHER\n The Chitauri grow restless.\n\n LOKI\n Let them go at themselves. I will lead\n them into glorious battle.", "THE OTHER (V.O.)\n The Tesseract has awakened. It is on a\n little world. A human world. They would\n wield its power,...", "EXT. THRONE ROOM NIGHT\n\n ...the scepter materializes him back into the throne room of THE\n OTHER, fully armed in his horned helmet and armor. THE OTHER\n appears from the steps.", "THE OTHER\n Your ambition is little, born of\n childish need. We look beyond the Earth\n to greater worlds the Tesseract will\n unveil.", "CUT TO:\n THE OTHER faces a HORNED SHAPED SHADOW. LOKI. Loki is handed the", "THE OTHER (V.O.)\n But our ally knows its workings as they\n never will. He is ready to lead. And\n our force, our Chitauri, will follow.", "THE OTHER\n You will have your war, Asgardian. If\n you fail, if the Tesseract is kept from", "THE OTHER\n Battle? Against the meager might of\n Earth?\n\n LOKI\n Glorious, not lengthy. If your force is\n as formidable as you claim.", "LOKI\n You don't have the Tesseract yet.\n THE OTHER runs over to attack him, but stops as Loki points his\n scepter.", "(A BEAT)\n I got low. I didn't see an end, so I\n put a bullet in my mouth and the other", "guy spit it out! So I moved on. I\n focused on helping other people. I was\n good, until you dragged me back into\n this freak show and put everyone here", "were made to be ruled. In the end, you\n will always kneel.\n As the words resonate to the kneeling crowd, an ELDER GERMAN MAN", "He looks down at his brother, who he thought to be dead and is\n angry to see him alive in this fashion.", "The TRIO arrives in the middle of a four-way street. Suddenly,\n the city LURCHES to a stop. A DEEP, PRIMAL RAGE BELLOWS OUT.", "(LAUGHS)\n And you're doing a marvelous job with\n that. The humans slaughter each other\n in droves, while you idly threat. I\n mean to rule them. And why should I\n not?", "THE END", "LOKI\n The mindless beast, makes play he's\n still a man. How desperate are you,\n that you call upon such lost creatures\n to defend you?", "trucks pull up to them. A drive-by shooting ensues.\n Loki, who stands on top of the bed of the truck, uses his" ], [ "TONY\n The Avengers Initiative was scrapped, I\n thought. And I didn't even qualify.\n\n PEPPER\n I didn't know that either.", "chips on that number though, because I\n was playing something even riskier.\n There was an idea, Stark knows this,\n called THE AVENGERS INITIATIVE. The", "WORLD SECURITY COUNCIL #1\n The Avengers Initiative was shut down.\n\n NICK FURY\n This isn't about The Avengers.", "AGENT MARIA HILL\n Why?\n\n NICK FURY\n Because we'll need them to.\n\n Agent Hill turns around. Fury looks out, smiling.", "NICK FURY\n Because of him.\n (pointing at Thor)\n\n THOR\n\n (STUNNED)\n Me?", "NICK FURY\n I am.\n\n STEVE\n Trying to get me back in the world?", "Still shaken by the HULK ordeal, Natasha sits there, rocking\n back and forth, after crying for a while. Summoning back all her\n coolness, she touches her EARPIECE.", "has never been denied! Heed the call, then--for now, the Avengers\n Assemble!\"", "Fury gathers Tony and Steve back into the briefing room everyone\n there has a look as if in a daze. A look of numb shock is shown\n on their devastated faces.", "STEVE\n A higher form?\n\n NICK FURY\n You forced our hand. We had to come up\n with something.", "NICK FURY\n They'll come back.\n\n AGENT MARIA HILL\n You really sure about that?\n\n NICK FURY\n I am.", "NICK FURY (V.O.)\n Agent Coulson is down.\n Agent Hill is being treated for a gash on her head, listens on\n her headset, standing up.", "THE AVENGERS look up. Way out of their fucking element.\n\n BLACK WIDOW\n Guys.\n\n IRON MAN\n Call it, Cap.", "THE AVENGERS.\n (Loki looks at him, confused)\n It's what we call ourselves, sort of\n like a team. `EARTH'S MIGHTIEST HEROES'\n type of thing.", "NICK FURY\n They found it. Get our communications\n back up, whatever you have to do. I\n want eyes on everything.\n\n AGENT MARIA HILL\n Yes, sir.", "SELVIG\n Director.\n\n NICK FURY\n Is there anything we know for certain?\n\n SELVIG\n Tesseract is misbehaving.", "common threat. On that day, the Avengers were born--to fight the\n foes no single superhero could withstand! Through the years,\n their roster has prospered, changing many times, but their glory", "TONY\n That is the point. That's Loki's point.\n He hit us all right where we live. Why?\n\n STEVE\n To tear us apart.", "NICK FURY\n We've made some mistakes along the way.\n Some very recently.\n\n STEVE\n You here with a mission, sir?", "NICK FURY\n Well, it's an old fashioned notion.\n\n EXT. MEADOW DAY" ], [ "known. He means to lead them against\n your people. They will win him the\n earth. In return, I suspect, for the\n Tesseract.", "Selvig a hug. Tony opens the Tesseract's case.\n Banner takes it out and places inside a glass tube, held by", "SELVIG\n Director.\n\n NICK FURY\n Is there anything we know for certain?\n\n SELVIG\n Tesseract is misbehaving.", "Without hesitating, BLACK WIDOW pulls the scepter out, the\n TESSERACT turns off its energy beam. The PORTAL QUICKLY CLOSES.", "NATASHA\n This is the Tesseract. It has the\n potential energy to wipe out the\n planet.\n She shows him a photo of the Tesseract on her cell phone. Banner\n takes a closer look.", "(A BEAT)\n Yes, we were going to build an arsenal\n with the Tesseract. I never put all my", "PEPPER\n Work hard.\n As Pepper leaves with Agent Coulson, Tony grabs the Tesseract in\n holograph form, worried.\n\n INT. QUINJET DAY", "IRON MAN\n Doesn't matter. If he frees Loki or\n kills him, the Tesseract's lost.\n Tony turns and gets ready to jump off the jet to chase after\n Thor.", "IRON MAN arrives at STARK TOWER where Selvig, ACTIVATES the CMS\n device, holding the Tesseract.", "THOR\n The Tesseract belongs on Asgard, no\n human is a match for it.\n Tony turns to leave, but Steve stops him.\n\n STEVE\n You're not going alone!", "WHO FALLS TO THE GROUND. Barton grabs the case containing the\n Tesseract and leaves the lab with Loki, Selvig and the other", "STEVE\n Put on the suit.\n At that moment Banner who's looking at the monitor notices\n something about the Tesseract.\n\n BANNER\n Oh, my God!", "NICK FURY\n The Tesseract is with the hostile\n force. I have men down. Hill?\n\n INT. P.E.G.A.S.U.S TUNNEL NIGHT", "NICK FURY\n Is there anything you can tell us about\n the Tesseract that we ought to know\n now?\n\n STEVE\n You should have left it in the ocean.", "THOR\n You're work with the Tesseract is what\n drew Loki to it, and his allies. It is\n the signal to all the realms that the\n earth is ready for a higher form of\n war.", "TONY\n That is the point. That's Loki's point.\n He hit us all right where we live. Why?\n\n STEVE\n To tear us apart.", "DR. SELVIG clacks away at the keyboard and sees on the\n monitoring his worst nightmares. Suddenly- the Tesseract\n THUNDERS and SHAKES the entire facility. Big enough where both", "THE OTHER (V.O.)\n The Tesseract has awakened. It is on a\n little world. A human world. They would\n wield its power,...", "THE OTHER\n You will have your war, Asgardian. If\n you fail, if the Tesseract is kept from", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki." ], [ "THOR\n You're work with the Tesseract is what\n drew Loki to it, and his allies. It is\n the signal to all the realms that the\n earth is ready for a higher form of\n war.", "THOR\n When I first came to earth, Loki's rage\n followed me here and your people paid\n the price. And now again. In my youth I\n courted war.", "Also, it means the portal can open as\n wide, and stay open as long, as Loki\n wants.", "EXT. SKY DAY\n\n Loki watches below, motionless.\n\n LOKI\n Send the rest.", "LOKI\n Of course it does. I've come too far\n for anything else. I am Loki of Asgard,\n and I am burdened with glorious\n purpose.", "As the crowd runs away, Loki slowly walks out and materializes\n in his gold armor and helmet. The POLICE arrive and with no\n hesitation, he BLASTS the cars, FLIPPING them over and over.", "Loki opens the HATCH. Thor still hopes. LOKI HITS THE BUTTON AND", "TONY\n Okay.\n From the mountain side, Loki watches in amusement. Thor raises", "Loki walks onto the balcony as the SOUNDS of the CHITAURI rings\n out. He admires his soon to be kingdom. THOR LANDS ON THE TOWER.\n Loki turns to his ENEMY.", "Loki's fired shot.\n ALL HELL BREAKS. Machine gun fire is shot at Loki, but the\n bullets bounce off him like a boss. Loki jumps high from the", "THE OTHER\n Battle? Against the meager might of\n Earth?\n\n LOKI\n Glorious, not lengthy. If your force is\n as formidable as you claim.", "make you long for something as sweet as\n pain.\n THE OTHER places his hand on Loki's head and transports him back\n to Earth. Loki looks around, menacing.", "THOR\n So you take the world I love as\n recompense for your imagined slights.\n No, the Earth is under my protection,\n Loki.\n\n LOKI", "Several soldiers under Loki's mind control run around, preparing\n to infiltrate whatever Loki has planned. Loki sits down,\n watching Selvig work with a CMS device. Loki meditates, until...", "LOKI\n I don't have it. You need the cube to\n bring me home, but I've sent it off I\n know not where.\n Mjölnir flies back to his grasp.", "STEVE\n I think Loki's trying to wind us up.\n This is a man who means to start a war,", "Thor and Loki battle savagely. Loki fires ENERGY from the\n scepter, sending Thor sliding across the floor.\n\n INT. QUINJET DAY", "LOKI\n I said. KNEEL!!!\n Everyone becomes quiet and kneels in front him. Loki embracing\n his arms out, smiling.", "down, breathing fast. Loki makes his way to the control switch.\n He gives his brother one last look. Thor looks at him, hopeful.", "you here? Your precious Earth.\n Thor drops MJÖLNIR, causing the mountain to quake. He picks up\n Loki. His brother." ], [ "We then see Tony's horror. AN ARMADA. The black sky is filled\n with what must be ninety ships in a vague cluster. Most of them", "Out in the NEW MEXICO desert, a remote research facility is in a\n state of panic. It's an evacuation. A SWOOPING helicopter flies\n in.", "The doors part and we enter THE BRIDGE OF THE SHIP a flurry of\n activity dozens of agents sit in front of their VIEWSCREENS.", "NICK FURY\n Are you seeing anything that might set\n this thing off?\n\n NASA SCIENTIST", "BARTON\n Arms to ammunition, over.\n Inside, BARTON and his crew suit up and arm themselves. Barton\n pulls out his hi-tech bow and arrows.", "INT. HELICARRIER BRIDGE DAY\n\n A gunfight opens up. AGENTS exchange fire with brutally\n efficient tactical soldiers.", "Dozens of civilians are gathered in bank. Tension and\n uncertainty surround them. THREE CHITAURI SOLDIERS oversee them,\n pointing their weapons at them. One of them charges a BOMB. It", "Loki, Barton, Selvig and the other S.H.I.E.L.D personnel are in\n the parking lot of the facility, quickly gathering certain\n weapons. Agent Hill watches in confusion, referring to Loki.", "INT. NASA SPACE RADIATION FACILITY, VACUUM CHAMBER CONTINUOUS", "A hole in space rips open, and from it, the CHITAURI ARMY SPILLS\n out in FLYING CHARIOTS, carrying ENERGY RIFLES with a bayonet on\n the end.", "NICK FURY\n How bad is it?\n\n AGENT PHIL COULSON\n That's the problem, sir. We don't know.", "HYDRA WEAPONS.\n\n INT. HELICARRIER DETENTION SECTION NIGHT\n\n Loki SLAMS his cell, making Natasha FLINCH.", "scepter and EMITS energy blasts, flipping over SHIELD trucks.\n They get in, the cars roar out after them. Agent Hill puts\n herself at a distance.", "scramble for their positions and armaments. Agent Hill keeps the\n bridge as calm as possible.", "NICK FURY\n They surely are. And the whole world\n knows it. Every world knows it.", "NICK FURY\n Last year earth had a visitor from\n another planet who had a grudge match\n that leveled a small town. We learned", "STEVE\n\n (SERIOUSLY)\n An army? From outer space?", "STEVE\n PHASE 2 is SHIELD uses the cube to make\n weapons.\n\n (TO TONY)\n Sorry, the computer was moving a little\n slow.", "INT. HELICARRIER ARMORY SECTION DAY", "KNIVES and ENERGY BLASTS from the scepter. He stops and waits to\n see who will attack him next. Honestly, the whole lab has almost\n gone to shit." ], [ "ANOTHER PORTAL.\n\n EXT. VASTNESS OF SPACE", "EXT. VASTNESS OF SPACE\n\n From the portal, THOUSANDS MORE OF CHITAURI SOLDIERS AND EVEN", "forms a VORTEX, which then opens up a PORTAL.\n A BLACK HOLE IS CREATED. From the portal, the blackness of\n SPACE, beautiful and mysterious, strewn with a billion stars", "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "SELVIG\n He's right. The portal is collapsing in\n on itself. You got maybe two minutes\n before this goes critical.", "The BLASTWAVE of the Tesseract causes the tunnel to cave it.\n Like an ocean wave, blinding crumbles of falling rock, fall onto", "Agents Hill and Coulson can feel and they're at different ends\n of the facility.\n The flaring rings and glow of the cube spout out brighter and", "at the end of a platform that is wired to the CMS device. The\n great maelstrom beam FIRES the TESSERACT energy. The beam then", "SWALLOWS INTO ITSELF-- A TERRIFYING, UNIMAGINABLE IMPLOSION.\n\n INT. P.E.G.A.S.U.S TUNNEL NIGHT", "STEVE\n Just find the cube.\n Steve walks out of the lab. Still torn apart by the possibility,\n he walks away, towards the HULL of the ship.\n\n BACK IN THE LAB", "Barton leads his men into the air ducts of the ship. They rappel\n down into a corridor.", "THE OTHER (V.O.)\n The Tesseract has awakened. It is on a\n little world. A human world. They would\n wield its power,...", "INT. P.E.G.A.S.U.S BUNKER, ENTRANCE OF EXITING TUNNEL NIGHT", "INT. NASA SPACE RADIATION FACILITY, VACUUM CHAMBER CONTINUOUS", "DROPS THOR OUT OF THE SHIP.\n\n INT. LOWER EQUIPMENT ROOM, CARRIER DAY", "The doors part and we enter THE BRIDGE OF THE SHIP a flurry of\n activity dozens of agents sit in front of their VIEWSCREENS.", "INT. FACILITY FLOOR NIGHT\n\n Fury races out of the hallway, avoiding falling pipes. The\n entire facility is now in a full earthquake.", "FLYING CHARIOT.\n [Note: The following sequence will take us through the action in\n one extended shot.]", "Inside this particular van, Selvig and a few other SOLDIERS are\n driving inside a long tunnel. With the CMS device inside, Selvig", "INT. PROJECT P.E.G.A.S.U.S, ANTARCTICA DAY (FLASHBACK)" ], [ "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "A VENT opens up from Engine 3. IRON MAN falls out, but the suit\n heavily damaged, hardly keeping him up. IRON MAN heads for Cap.", "but misses. Land draws closer.\n In a final attempt before crashing, Thor positions himself onto\n the glass door and LEAPFROGS just as the cage is about to hit", "A SMALL FIGURE is hurled backwards into the open now closed\n portal. IRON MAN. Plummeting to the earth.", "hand. He then places a STARK ENERGY REACTOR. It lights up. IRON\n MAN rockets out of the water and flies towards STARK TOWER.", "(PAUSE)\n Sonofabitch!\n\n EXT. STARK TOWER DAY", "begins to TRANSFORM into the MARK VII suit.\n It LATCHES onto Tony. IRON MAN. The suit FLIES up before he hits", "IRON MAN laser cuts a big piece of broken metal. He then JUMPS\n on it, relieving the rotors.", "(SMILING)\n Son of a gun!\n TIGHT ON IRON MAN: He keeps falling. And falling. And falling.\n\n EXT. MANHATTAN DAY", "the ground and trip Thor over. Standing up, Thor looks for him,\n but from behind him, IRON MAN CRASHES into his back. Thor stands", "blackness as IRON MAN IDLY falls back down the portal's opening.\n The missile reaches the MAIN SHIP. The MAIN SHIP IMPLODES,", "Fury BOLTS out of the facility and jumps into a helicopter. The\n surface of the pad gives way, PLUNGING the helicopter through\n the surface. But Fury's chopper BARELY makes it out.", "Everyone is thrown in every direction. Steve, Fury, Thor and\n Tony are thrown across while Natasha and Banner is down in the\n lower equipment room. Steve looks up at Tony.", "hang still in the air. Some move swimmingly about.\n IRON MAN lets go of the missile. It whistles off into the", "TONY\n Good. See what we got.\n Tony flies in his IRON MAN suit and gets close to the damaged\n engine.", "THOR and IRON MAN crash right back down, smashing down every\n tree possible. IRON MAN YANKS Thor right up. Thor grabs both", "TONY\n Fine. Let's keep them occupied.\n IRON MAN heads back to the portal.\n\n EXT. STARK TOWER DAY", "THOR and IRON MAN CRASH into the forest. Thor rolls himself up.\n IRON MAN is still standing, but keeps his distance. The helmet\n opens up.", "increases in intensity. IRON MAN falls back.", "CHITAURI LEVIATHAN collapse. IRON MAN rolls down the street. The\n wind is knocked out of him. He looks up with an overwhelming" ], [ "With a mighty effort, he wrenches the rocket off its course.\n Steering it from behind, he accelerates quickly, flying straight\n up into sky, towards the portal.", "blackness as IRON MAN IDLY falls back down the portal's opening.\n The missile reaches the MAIN SHIP. The MAIN SHIP IMPLODES,", "NICK FURY\n Stark, you hearing me? We have a\n missile headed straight for the city.\n\n IRON MAN (V.O.)\n How long?", "hand. He then places a STARK ENERGY REACTOR. It lights up. IRON\n MAN rockets out of the water and flies towards STARK TOWER.", "We then see Tony's horror. AN ARMADA. The black sky is filled\n with what must be ninety ships in a vague cluster. Most of them", "EXT. VASTNESS OF SPACE\n\n From the portal, THOUSANDS MORE OF CHITAURI SOLDIERS AND EVEN", "IRON MAN catches up, now comes at the missile from behind. The\n missile speeds on. IRON MAN grabs it from behind, gripping it\n tightly.", "ANOTHER PORTAL.\n\n EXT. VASTNESS OF SPACE", "(PAUSE)\n Sonofabitch!\n\n EXT. STARK TOWER DAY", "hang still in the air. Some move swimmingly about.\n IRON MAN lets go of the missile. It whistles off into the", "7 ALPHA 11 arrives outside the city. He flips the switch to\n press the button. He presses it. THE MISSILE IS FLYING OUT TO\n\n MANHATTAN.", "Barton leads his men into the air ducts of the ship. They rappel\n down into a corridor.", "TONY\n Fine. Let's keep them occupied.\n IRON MAN heads back to the portal.\n\n EXT. STARK TOWER DAY", "but misses. Land draws closer.\n In a final attempt before crashing, Thor positions himself onto\n the glass door and LEAPFROGS just as the cage is about to hit", "forms a VORTEX, which then opens up a PORTAL.\n A BLACK HOLE IS CREATED. From the portal, the blackness of\n SPACE, beautiful and mysterious, strewn with a billion stars", "TONY\n Right. Army.\n IRON MAN flies up towards the portal. From his shoulders, a", "PULLS OUT, showing the letters for \"STARK TOWER\" have been blown\n away, and all that remains is a giant A.", "IRON MAN climbs higher and higher over the city, gaining speed,\n suddenly flings himself through the portal. Communications die.\n The suit begins to freeze. Tony looks in horror.", "INT. STARK PENTHOUSE DAY", "INT. STARK PENTHOUSE DAY" ], [ "LOKI\n I don't have it. You need the cube to\n bring me home, but I've sent it off I\n know not where.\n Mjölnir flies back to his grasp.", "Loki walks onto the balcony as the SOUNDS of the CHITAURI rings\n out. He admires his soon to be kingdom. THOR LANDS ON THE TOWER.\n Loki turns to his ENEMY.", "TONY\n Okay.\n From the mountain side, Loki watches in amusement. Thor raises", "make you long for something as sweet as\n pain.\n THE OTHER places his hand on Loki's head and transports him back\n to Earth. Loki looks around, menacing.", "Guests begin to leave the museum. Loki grabs the doctor and\n flips him over onto a marble table of the mythological creatures", "Somewhere out in the European mountains, Thor throws Loki into\n the side of the mountain. He raises the mighty hammer, MJÖLNIR.", "LOKI\n Of course it does. I've come too far\n for anything else. I am Loki of Asgard,\n and I am burdened with glorious\n purpose.", "As the crowd runs away, Loki slowly walks out and materializes\n in his gold armor and helmet. The POLICE arrive and with no\n hesitation, he BLASTS the cars, FLIPPING them over and over.", "SELVIG WAKES UP FROM LOKI MIND CONTROL. He looks around,\n confused where he is. He looks up at the sky, amazed.", "SLAMS him down, hard. Loki, bleeding, rolls over the edge. Thor\n looks down. LOKI IS RIDING ON A FLYING CHARIOT. DOZENS of", "Thor. Thor gives Loki the other end, who reluctantly takes it.\n The Asgardians leap into the energy beam. GONE.", "LOKI\n Your father. He did tell you my true\n parentage, did he not?\n Thor lets go Loki, who walks away from Thor, causing an even\n bigger wedge between them.", "Loki crawls onto the stair, looking like a piece of shit rag\n doll. He takes a few breathers, senses someone is behind him. He\n turns TO FIND THE AVENGERS STARING AT HIM, PISSED.", "THOR\n Then you miss the truth of ruling,\n brother. Throne would suit you ill.\n Angrily, Loki shoves his brother to the side. He walks back up\n to the ledge. Turns around.", "his cane the other end. The guard there notices him, pulls out\n his gun, but Loki CLUBS his head in. CHAOS ERUPTS.", "EXT. SKY DAY\n\n Loki watches below, motionless.\n\n LOKI\n Send the rest.", "EXT. THRONE ROOM NIGHT\n\n ...the scepter materializes him back into the throne room of THE\n OTHER, fully armed in his horned helmet and armor. THE OTHER\n appears from the steps.", "LOKI\n I said. KNEEL!!!\n Everyone becomes quiet and kneels in front him. Loki embracing\n his arms out, smiling.", "TONY lands his SUIT and goes through the gauntlet and unsuits\n him. LOKI looks up at him, smiling. They proceed to walk into\n the penthouse.", "down, breathing fast. Loki makes his way to the control switch.\n He gives his brother one last look. Thor looks at him, hopeful." ], [ "KNOCKS HIM OUT WITH HER HEAD.\n Yeah, during all this Coulson is still waiting on the line. She", "Agent Coulson looks away. Sighs his last breath. Nick Fury looks\n on grimly at Coulson. The medical team arrives.", "Back in the bridge, Fury sees on his VIEWSCREEN that the hatch\n has been open. Knowing Agent Coulson was sent there, he goes to.", "INT. HELICARRIER BRIDGE DAY\n\n Agent Coulson runs out of the bridge.", "A LOUD GASP. AGENT COULSON IS IMPALED THROUGH THE HEART. THE\n\n REAL LOKI STANDS BEHIND COULSON.", "TONY\n Then leave it urgently.\n At that moment the elevator door opens and Coulson appears.\n\n TONY\n Security breach.", "Suddenly, GUARDING SOLDIER falls down like a tree. AGENT COULSON\n stands there, holding PHASE 2 WEAPON PROTOTYPE.", "INT. HELICARRIER DETENTION SECTION DAY\n\n Fury runs in finding Agent Coulson still alive, barely.", "AGENT PHIL COULSON\n No! Leave it!\n They run out of there like a bat from hell.\n\n INT. P.E.G.A.S.U.S TUNNEL NIGHT", "AGENT PHIL COULSON\n I sort of met you, I mean, I watched\n you while you were sleeping.\n Steve looks down. He stands up, closes his laptop and walks to\n the side with Coulson following.", "CAUSING LOKI TO BE BLOWN THROUGH THE WALL BEHIND HIM.\n\n AGENT PHIL COULSON\n So that's what it does.", "EXT. VAN NIGHT\n\n Agent Coulson jumps into a SHIELD VAN. On his walkie:", "AGENT PHIL COULSON\n Natasha. Barton's been compromised.\n A beat.", "NICK FURY (V.O.)\n Agent Coulson is down.\n Agent Hill is being treated for a gash on her head, listens on\n her headset, standing up.", "THOR\n Nooo!\n Loki sends Agent Coulson against the wall. Agent Coulson slumps", "AGENT COULSON SHOOTS LOKI WITH HIS PHASE 2 WEAPON PROTOTYPE,", "AGENT PHIL COULSON\n See you there.\n Agent Coulson walks away leaving Steve with Natasha, walking\n towards the railing of the ship.", "AGENT PHIL COULSON\n He's like a smart person. I gotta say,\n it's an honor to meet you, officially.\n Steve smiles at Coulson.", "AGENT PHIL COULSON\n He talks about you a lot. You changed\n his life. You changed everything around\n here.", "AGENT PHIL COULSON\n Stark, we need to talk. Tony picks up\n his phone and looks into it at Coulson." ] ]

[ "What allows Loki to get to Earth?", "What does Nick Fury reactivate in response to Loki's attack on the research facility and theft of the Tesseract?", "What property of the Tesseract does Natasha Romanoff want Dr. Banner to investigate?", "Who frees Loki from S.H.E.I.L.D. in an attempt to reason with him and return with him to Asgard?", "How is Barton freed from Loki's mind control?", "Who intercepts the nuclear missile that is sent in to destroy Manhattan?", "What happens to the Tesseract after the battle is over?", "Over what building do Loki and Selvig open the wormhole for the army to come through?", "Which object is used to shut down the generator to the wormhole?", "What is the Chitauri leader known as?", "In exchange for what does the Other promise Loki an army?", "How would Loki use this army?", "What does the Tesseract activate and open up?", "What is S.H.I.E.L.D.?", "How is Thor related to Loki?", "What special ability does Loki possess?", "What is Erik Selvig's profession?", "What is significant about New York City?", "Why does Stark fall toward the ground?", "What race does the Other belong to?", "Why was the \"Avengers Initiative\" reactivated?", "What is stolen to stabalize the Tesseract?", "What is activated that allows Loki to come to Earth?", "What is the name of the agency that is attempting to create weapons to protect against hostile extraterrestian attacks?", "Where is the wormhole located?", "Who saves Stark from crashing into the ground after he falls out of the wormhole?", "Where does Stark take the missle through the wormhole?", "In the end, where does Loki return?", "Who kills Coulson?" ]

[ [ "The Tesseract opens a wormhole.", "The tesseract opens a wormhole" ], [ "The Avengers Initiative.", "The Avengers Initiative" ], [ "Gamma radiation emissions.", "gamma radiation emissions" ], [ "Thor.", "Thor" ], [ "Romanoff knocks Barton unconscious.", "He is knocked unconscious" ], [ "Tony Stark.", "Tony Stark." ], [ "Thor takes it back to Asgard.", "it is returned to Asgard" ], [ "Stark Tower.", "Stark Tower." ], [ "Loki's scepter.", "Loki's scepter" ], [ "The Other.", "The Other." ], [ "The Tesseract.", "The Tesseract" ], [ "To subjugate the Earth.", "So he can take" ], [ "A wormhole to Earth.", "A wormhole." ], [ "An espionage agency.", "an espionage agency" ], [ "Thor is Loki's adoptive brother.", "They are adopted brothers." ], [ "Mind control.", "Mind control" ], [ "He is a physicist.", "physicist" ], [ "It is where the wormhole is located.", "It hosts the wormhole's location" ], [ "His suit loses power.", "His suit runs out of power." ], [ "The Chitauri", "Chitauri" ], [ "It was a response to the attack", "In response to the attack on a couple of agents." ], [ "Iridium", "iridium" ], [ "A wormhole", "The Tesseract" ], [ "S.H.I.E.L.D", "S.H.E.I.L.D." ], [ "New York City", "New York City" ], [ "The Hulk", "The Hulk" ], [ "To the Chitauri fleet", "He's taking it toward the Chitauri fleet" ], [ "Asgard", "To Asgard" ], [ "Loki", "Loki." ] ]

3eb3061b6357ba45ae3dc9d670e41b43f0299f01

train

[ [ "JESSE\n (a beat, softly)\n I did.\n\n Murmurs bubble through the entire group now. They stare\n at Jesse, dismayed.", "He runs his hand up and down her body. Jesse starts to\n shake. She breaks out in a cold sweat. The others grin.\n He picks her up by the throat. Her legs flail in the\n air...", "Jesse takes a breath, crosses to him, stands very close,\n stares up into his eyes. He stares down at her, amazed,\n his heart pounding. He breathes in her hair, the scent\n of her skin.", "198 CONTINUED: (2) 198\n\n Talbot closes his eyes to shut out a tear, and Jesse is\n at his side and leans down to whisper in his ear...", "JESSE\n I know a lot of things.\n\n He gazes at her. Moves closer, breathing her in, making\n her flustered. He smiles.", "Jesse is excited, a bit nervous, hoping to impress. She\n holds a remote which controls images appearing on the\n large video screen. Clips from Lestat's press conference\n continue. Jesse gazes out at the Talamascans.", "Jesse stops at a contemporary self-portrait.\n\n TALBOT\n It's Marius, Jesse.", "Jesse walks away from the house. Coming to a highway,\n she reads a sign -- \"DEATH VALLEY 120 miles.\" Just then,", "Jesse moves steadily along the street past darkened\n warehouses. Several bonfires line the lane, illuminating\n rows of prone bodies, cardboard shelters, empty bottles.\n The drunks look up at her with dead eyes.", "90.\n\n134 CONTINUED: 134\n\n JESSE\n Is she alright?", "JESSE\n It's not. I... I came on my own.\n\n He stares at her, taking her in.", "He goes to the paintings hanging on a wall in the back of\n his office, covered with black velvet. Jesse follows.\n He unveils them.", "He turns, walks out. All the Talamascans look at Jesse.\n It doesn't look good. Her face burning red, Jesse turns,\n leaves.\n\n CUT TO:", "JESSE\n (surprised)\n You do?\n\n He steers her over to a locked cabinet.", "Jesse hears strange whispering. She sees now figures\n moving through the fog. One pushes a buzzer. Jesse stares,\n barely breathing, her heart pounding.", "JESSE\n (touched)\n Thanks. What is it?\n\n As he unlocks the cabinet...", "Jesse closes her eyes in terror, knowing her life is\n about to be over.", "Jesse starts out. Looking down at papers on his desk,\n Talbot calls out, almost casually...", "He gazes into her eyes, finding himself desperately\n wanting her to say yes. The horror, the revulsion in\n Jesse's face says it all.", "Jesse runs her finger across the faces, then stops on the\n face of a gentleman with long white hair watching the\n bloodshed of gory battles and the sacrifices of saints\n burned at the stake." ], [ "She crosses to him, stands close.", "As they gaze at her, astonished, she gathers her\n materials, starts out. Several start shouting back at\n her. Amidst the uproar, a voice booms across the room.", "She turns in paroxysm of excitement to the girl next to\n her. Lestat stares, taken aback. It is Jesse. Dressed", "He takes her by the arm, smiles down at her.", "She retrieves her rucksack. Starts away. As she\n reaches the end of the alley, she pauses, takes a breath,\n turns back, daring everything.", "touches it. He looks into her terrified eyes...", "her. Heart racing, she shakes with fear. They close in,\n smiling.", "happy to be chosen, moves onto the dance floor. She\n dances a little farther away. A game. He laughs.\n Moves closer.", "With her eyes moored to his, she draws a line with the\n point across her breast. She inhales through clenched\n teeth... then settles as we see:", "stares in wonder and terror at the burning \"kites.\" Then\n seizes her chance. She pushes toward the stage against\n the tide of bodies fleeing.", "He pushes her away. She gasps, humbled by his physical\n power.", "He turns, gazes at her. She steps forward.\n\n (CONTINUED)\n\n 85.", "But she's disappeared. He turns. Akasha's behind him\n now. He stares at her. Her hips are gyrating, her", "But Jesse steps forward. Lestat turns, stares at her.", "Jesse takes a breath, crosses to him, stands very close,\n stares up into his eyes. He stares down at her, amazed,\n his heart pounding. He breathes in her hair, the scent\n of her skin.", "MAHARET\n How? With your own throat!\n You've all been asleep too long!\n You're still dreaming.\n\n Marius steps up beside Maharet.", "with the moment, the girl's vitality. He notices that\n sitting on the ground by the girl are several\n instruments. Impulsively, he reaches over, picks up a", "... falls into step behind them. One knocks on the door.\n A face peers out at the group. Steps back. The door\n opens. Jesse follows the couples in. The door shuts\n behind her.", "disappears. She stares into the night. There's a SWISH\n and the sound of RUSHING AIR. Jesse turns, screams,", "scared than she is, who scuttles off quickly into the\n night. Jesse presses her back against the wall.\n Breathes. She inches around the corner..." ], [ "Jesse closes the journal, her eyes wide with the new\n knowledge of Lestat's past. She sits there a moment,\n speechless, then stares out at the vast, black night.", "Then her blood speaks to him as Lestat's eyes fall on her\n rucksack. He sees the journal. It all falls into place.", "The journalists laugh. The French Journalist looks a\n little frightened/fascinated by Lestat's leer.", "Reading the journal, listening to LESTAT'S MUSIC. She\n hears the lyrics... \"Mine eyes dazzle, she died so", "Jesse puts on headphones, listens to LESTAT'S MUSIC. As\n she opens the journal, LESTAT'S MUSIC DISSOLVES INTO\n VIOLIN...", "The girls glance at each other, then, giggling, crawl\n over toward Lestat. Groupie #1 slides her hand slowly\n up his leg.", "Jesse notices her rucksack cast aside by the Punk\n Vampires -- Lestat's journal sticks out. She glances at\n Lestat. He mustn't see it. She steps away, tries to\n distract him.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "Lestat moves closer and closer to her, gazes into her\n eyes, hesitates for a moment, then continues on...", "itself. Lestat closes her eyes... He comes up to her\n face, brushing his lips against her cheek. She\n shivers...", "Lestat looks up to face her, revealing his blood-stained\n lips. Jesse reflexively looks away.\n\n LESTAT\n Come closer, Jesse. You want to\n see? You want to know?", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "It is Lestat. He stares at Jesse, amazed. Jesse glances\n desperately at the door. It's just a few feet away now.\n\n (CONTINUED)", "She crosses to him, her eyes locked on his. She lifts\n her wrist, drips her blood into Lestat's mouth. Lestat's", "Lestat's face appears on a video screen in front of a room\n lined from floor to ceiling with leather-bound books, ancient\n scrolls. Subjects are marked, Werewolves, Poltergeists,\n Possession...", "MUSIC JOURNALIST\n Of the closet.\n\n LESTAT\n (smiles)\n The casket...", "Lestat laughs, impressed by her bravado. Her trust. For\n a moment she laughs like a child. Then they look at each\n other deeply, feeling something. He wants to kiss her.\n She knows it. He turns away.", "She turns in paroxysm of excitement to the girl next to\n her. Lestat stares, taken aback. It is Jesse. Dressed", "The girl still faces into the shadows towards him, and\n plays fast and wild, her fingers flying. Lestat stands\n there frozen to the spot. The music pulses through", "He turns slowly to the corner where she sits. They lock\n eyes. Lestat's face stares cold and hard.\n\n JESSE\n What has she done to you?" ], [ "CUT TO:\n\n\n152 EXT. CONCERT ENTRANCE - NIGHT 152", "The pulsing strain moves into a faster beat as the whole\n place resonates with the most incredible harmonics, the\n energy throbbing, the crowd almost genuflecting in front", "place goes berserk. We see the dim figures of the band\n take their places. Jesse desperately tries to push\n toward the front.", "A high-tech conference room. The band, sitting up front,\n is faced by an audience of over fifty journalists and\n then another fifty photographers and TV cameras. The\n room crackles with anticipation. Roger steps to the\n podium.", "A wave of hysteria hits the fans. Roger hustles the\n band through the crowd and up the stairs into the church,\n past the giant billboard with their own images written", "Lestat emerges from his honey-wagon, splendid in his\n concert costume. He looks ready for business, whatever", "Backstage is all abuzz with pre-show energy; press\n everywhere. Roger still worrying and sweating. James,\n Alex and Maudy sit in their own circle, jamming with", "He swoops down through the air over the stage and into\n their very midst. Jesse, in the crowd, screams up to\n him... But her voice is lost in the thousands of screams", "The girl still faces into the shadows towards him, and\n plays fast and wild, her fingers flying. Lestat stands\n there frozen to the spot. The music pulses through", "BOOM, the torches relight and an enormous CHORD surges\n through the crowd louder than a jet on takeoff. The mass", "Lestat standing alone in the bedroom, in a deep reverie,\n playing the girl's violin with incredible passion. His\n playing picks up speed as he works himself into a Pagnani\n furor...", "behind her, a flyer for Lestat's concert. She takes off\n the headphones. Walking over to the mantel above her\n fireplace, she picks up a solitary, framed photo -- holds", "The song of the VIOLIN ECHOES around the walls...\n\n Lestat plays, with increasing abandon...\n\n Akasha and Enkil sit frozen...", "101.\n\n164 CONTINUED: 164\n\n The place erupts into one solid scream as the band kicks\n it in.", "Jesse makes her way through the throng, trying to get\n closer to the stage. Suddenly the torches go out sending\n the place into utter darkness. A stunned moment. The", "MAEL\n No. Armand is right. We will go\n to the concert and first see what\n she does. There may be no need\n for action.", "upon him. OVER this scene the BAND'S SONG RUSHES IN LOUD again,\n reaching an incredible CRESCENDO as the violent", "JESSE\n David, listen...\n (struggles a moment)\n I'm going to Los Angeles for the\n concert.", "The assassins approach closer -- Lestat assaults with\n relentless lyrics... Reaching the stage, they are\n suddenly on it -- roadies run in and are immediately", "brat. We must go to the concert\n and pay our respects to our great\n Queen." ], [ "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "Jesse, now almost to the stage, screams to him.\n\n JESSE\n Lestat! Lestat!", "It is Lestat. He stares at Jesse, amazed. Jesse glances\n desperately at the door. It's just a few feet away now.\n\n (CONTINUED)", "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "Jesse joins the screaming crowds.\n\n JESSE\n Lestat! Lestat!\n\n (CONTINUED)", "Lestat's lip curls in anger. He shoves Jesse away.\n Wipes his mouth. The mood suddenly changes.", "As they start off, Lestat puts up his hand, points to\n Jesse.\n\n LESTAT\n Roger. Not that one. Leave her\n to me...", "Lestat looks up to face her, revealing his blood-stained\n lips. Jesse reflexively looks away.\n\n LESTAT\n Come closer, Jesse. You want to\n see? You want to know?", "But Jesse steps forward. Lestat turns, stares at her.", "JESSE\n (smiles)\n David, this is Lestat.\n\n He looks at Lestat, fear in his eyes.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "Lestat and Jesse quietly move among the trees. Lestat\n stops on a dime -- senses tuned. He looks into the dark.", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "JESSE\n Lestat!\n\n He turns back, stares at her, astonished.", "Lestat again becomes aware of Jesse's pulsing jugular,\n the white flesh of her neck. He reaches out, touches her", "He stares at her. Her eyes gazing directly into\n his... Suddenly...\n\n LESTAT\n Alright!\n\n Jesse breaks into a smile.", "JESSE\n Lestat, no!", "JESSE\n Right. That's the best part.\n Lestat's not afraid to piss them", "But suddenly her words catch him... His head flails as he\n tries to stop his natural impulse. Lestat lets out a\n desperate cry and throws her aside. Jesse gazes at him,\n surprised. He looms over her, angry." ], [ "Jesse lies on the floor, eyes closed and pale. Dead.\n\n AKASHA\n Good-bye, great family.", "at the lifeless body of the girl. Marius turns to\n Lestat, furious.", "The fisherman is moaning. Looking down at the suffering\n victim, Marius swiftly snaps his neck and dumps him into", "servant girls' bodies, now grey with death, lying around\n the edge of the bath. The roses are now black and the\n water is colored a rich deep red...", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "was pale, it's now a chalkish powder. And next to him...\n Akasha's throne sits empty. A god again walks the earth.", "The Ancients are still flung around by Akasha's great\n strength, but they all hold on, as the thrashing finally\n begins to subside. The mass of bodies sinks to the\n ground. The Ancients pull back to reveal that...", "Marius kneels over the body of the Father on the island's\n deserted shoreline. Tosses him in a boat. Lestat gazes", "Lestat steps into the hallway, stares at dead bodies\n sprinkling the ground -- both servants formally dressed,\n and guests in white tropical evening dress...", "His strength leaving him, Lestat slumps flat on the\n floor.\n\n MARIUS\n You're weak... near passing. I\n can barely hear your heartbeat.", "Lestat turns again toward the bodies of the dead girl and\n her Father, his face filled with pain, enormous sadness.", "floor. He kneels and gently wipes his brow. Lestat's\n body thrashes as he grabs at his own limbs...", "she sleeps to Lestat's voice, still as death. Flickering\n candles all over the room reveal her lithe, strong body,\n pale as the moon. She is surrounded by her work, ancient", "Lestat lays in bed, feverish, his skin paler than ever.\n At the foot of the bed stands Marius.\n\n MARIUS\n (quietly)\n Lestat?", "floor and slices his wrist. He brings the open vein to\n Jesse's mouth, but she's not moving. Lestat bends down\n to her ear and whispers.", "She tosses his body, her long tongue slowly licks her\n bloody, thirsty lips. She strides out through the flames.\n In a whispery, sing-song voice.", "his face frozen in a grotesque mask. She laughs, drops\n him unceremoniously to the floor...", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "beneath his shirt, pulling his clothes from his body. He\n swoons, closes his eyes, smiles.", "... out the French windows onto the beach, bodies of\n servants and villagers are scattered. Lestat's feet step\n down the wooden stairs, onto the sand, through the\n bodies..." ], [ "He takes out an old leather-bound journal. Turns to\n Jesse.\n\n (CONTINUED)\n\n 32.", "Jesse closes the journal, her eyes wide with the new\n knowledge of Lestat's past. She sits there a moment,\n speechless, then stares out at the vast, black night.", "JESSE\n You're right, David. The journal\n has everything in it.\n\n TALBOT (V.O.)\n I knew you'd appreciate its\n scientific significance.", "Then her blood speaks to him as Lestat's eyes fall on her\n rucksack. He sees the journal. It all falls into place.", "Reading the journal, listening to LESTAT'S MUSIC. She\n hears the lyrics... \"Mine eyes dazzle, she died so", "The journalists laugh. The French Journalist looks a\n little frightened/fascinated by Lestat's leer.", "As Jesse goes out, holding the journal, Talbot smiles\n after her.", "Quick flashes of gruesome period newspaper drawings,\n blood pouring from the neck of a screaming woman. A\n white-faced ghoul with fangs.\n\n Jesse is smiling wider, excited by her discovery.", "JOURNALIST\n Excellent makeup job. Marilyn\n Manson, look out...\n\n A thousand questions suddenly burst out of the\n journalists.", "Jesse puts on headphones, listens to LESTAT'S MUSIC. As\n she opens the journal, LESTAT'S MUSIC DISSOLVES INTO\n VIOLIN...", "LESTAT\n (shaking his head)\n How sad, you people always trying\n to know the unknowable... So, was\n it a good read? My diary.", "Jesse notices her rucksack cast aside by the Punk\n Vampires -- Lestat's journal sticks out. She glances at\n Lestat. He mustn't see it. She steps away, tries to\n distract him.", "MUSIC JOURNALIST\n Of the closet.\n\n LESTAT\n (smiles)\n The casket...", "She stares at him, found out. He turns from her,\n laughing, but not the kind of laugh to make Jesse\n think all's well.\n\n (CONTINUED)", "As they gaze at her, astonished, she gathers her\n materials, starts out. Several start shouting back at\n her. Amidst the uproar, a voice booms across the room.", "Jesse runs her finger across the faces, then stops on the\n face of a gentleman with long white hair watching the\n bloodshed of gory battles and the sacrifices of saints\n burned at the stake.", "Behind them, Roger sits pensively watching.\n Surreptitiously, he glances down at a book on his lap --\n its title Vampires -- The Occult Truth. He talks on a\n phone.", "Jesse hears strange whispering. She sees now figures\n moving through the fog. One pushes a buzzer. Jesse stares,\n barely breathing, her heart pounding.", "Jesse moves past rough-hewn columns, watching something\n with great curiosity. Behind her, we glimpse a giant\n mural of names cut into the stone walls. A family tree,\n extending up onto the ceiling and down to the floor.", "... falls into step behind them. One knocks on the door.\n A face peers out at the group. Steps back. The door\n opens. Jesse follows the couples in. The door shuts\n behind her." ], [ "Lestat stretches out with his eyes closed as the sounds\n of the DRUMMING crowd begin to make the whole van\n shudder. Roger pops his head in.", "quickly sticks his hand in his mouth. With a horrified\n expression, he realizes he's sucking his blood. He\n quickly heads out. But Lestat is faster and reaches", "Suddenly, the bow flies out of his hand and slides across\n the floor, jamming itself under an old bookcase. Lestat\n comes out of his spell, walks across the room to the", "LESTAT\n Your music woke me from the\n longest sleep. It's sublime. In\n two hundred years I've never heard\n anything quite like it.", "Lestat suddenly glides through an open door and calmly\n touches ground. He empties his pockets out on a coffee\n table. We see a --", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "The girls glance at each other, then, giggling, crawl\n over toward Lestat. Groupie #1 slides her hand slowly\n up his leg.", "finally truly drink and revive as Lestat cradles her.\n She pulls away, gasping. Lestat looks into her eyes.", "The sleeping man leaps up, grabs Lestat unmercifully and\n again plunges his teeth into the young man's neck.", "Then, Lestat's face still buried in his arms, he begins\n to laugh almost drunkenly. Raising his head, his", "Lestat stands by his bed, playing the ancient violin... a\n long mournful note. He stops a moment, lost in his\n thoughts. A flash of the first morning light reflects", "Slowly, Lestat starts to feel something. Pain begins\n travelling through his body, consuming him until he\n screams. Marius crosses to Lestat convulsing on the", "itself. Lestat closes her eyes... He comes up to her\n face, brushing his lips against her cheek. She\n shivers...", "floor and slices his wrist. He brings the open vein to\n Jesse's mouth, but she's not moving. Lestat bends down\n to her ear and whispers.", "Impulsively, Lestat goes back to them, hovers, his face\n still somewhat obscured by the darkness. Lestat starts\n clapping along to the music, exuberantly.", "Lestat rises out of the bed and grabs his clothes from a\n nearby Louis IV chair. He makes for a door when...", "floor. He kneels and gently wipes his brow. Lestat's\n body thrashes as he grabs at his own limbs...", "Lestat is suddenly in front of her with his hand over her\n mouth, covering her muffled scream. Her struggle is no\n use against his strength. Reaching up to her neck, he", "Rising from his victim we see for the first time the\n revitalized face of this creature, a mane of blond hair\n frames the beautiful features of the VAMPIRE LESTAT --\n his bulbous lips glistening red.", "Lestat is awestruck. There is such an unearthly power in\n Akasha's voice. Everything seems to hum and vibrate with\n her breath." ], [ "MARIUS\n Stop her, Lestat!\n\n Lestat turns to Marius, shaking his head no in horror.\n\n MARIUS\n You must!", "Marius stops talking, turns. Lestat is no longer beside\n him. Marius turns back and sees Lestat standing in the", "MARIUS\n Lestat.\n\n (CONTINUED)\n\n 70.", "Marius is enraged, tries to control himself. Lestat\n gazes at him, speaks steadily.", "MARIUS\n (quietly)\n I see you still have a few\n lingering mortal emotions. They\n will serve you no good, Lestat.", "Lestat roars and struggles against his manacles.\n\n LESTAT\n You'll not stop me...\n\n Marius stares at him, shocked.", "Maharet and Marius realize what he's doing, see the\n chance Lestat has gained for them. A silent signal\n passes between them as...", "MARIUS\n What have you done, Lestat?\n Lestat!\n\n\n91 INT. MARIUS'S VILLA - NIGHT 91", "MARIUS\n Lestat... step aside.\n\n LESTAT\n Never. She is my Queen.", "MARIUS\n It is good to see you, Lestat.\n\n LESTAT\n And you. Still wearing the old\n fashions, I see.", "MARIUS\n Lestat. Welcome.\n\n Weakened and helpless, Lestat drags himself back across\n the floor in terror.", "Marius feels Lestat's gaze, turns to him.\n\n MARIUS\n I'm talking about humanity.", "Lestat lays in bed, feverish, his skin paler than ever.\n At the foot of the bed stands Marius.\n\n MARIUS\n (quietly)\n Lestat?", "Marius's face fills with the bond. He slowly sinks\n down to his knees as Lestat feeds and feeds. As\n Lestat drinks, a barrage of IMAGES flood into him...", "MARIUS\n If someone doesn't get to you\n first.\n\n Lestat grins, feeling Marius's disapproval.", "Lestat turns to Marius, shaking his head, speaks in a\n horrified whisper...\n\n LESTAT\n My God, what have you done to me?", "Lestat gazes up at him, taking it in. Marius moves\n slowly away.\n\n (CONTINUED)\n\n 64.", "But Lestat keeps on feeding hungrily.\n\n MARIUS\n No... no more. Lestat, no more!", "LESTAT\n Who are you? Do I know you?\n\n MARIUS\n I'm unknowable by nature.\n\n Marius advances again on the young man...", "Marius, with a tortured expression, gazes at Mael.\n Maharet steps up.\n\n MAHARET\n Wait. Never mind Lestat! We\n have greater problems..." ], [ "JESSE\n (whirling around)\n Marius?! From Lestat's lyrics.\n I knew I was right.", "JESSE\n You have to listen to Lestat's\n lyrics. They're amazing.\n (MORE)\n\n (CONTINUED)", "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "Lestat and Jesse quietly move among the trees. Lestat\n stops on a dime -- senses tuned. He looks into the dark.", "It is Lestat. He stares at Jesse, amazed. Jesse glances\n desperately at the door. It's just a few feet away now.\n\n (CONTINUED)", "JESSE\n (leans forward,\n eagerly)\n It would appear that way. But\n have you listened to his songs?\n Read his lyrics?", "Jesse puts on headphones, listens to LESTAT'S MUSIC. As\n she opens the journal, LESTAT'S MUSIC DISSOLVES INTO\n VIOLIN...", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "But suddenly her words catch him... His head flails as he\n tries to stop his natural impulse. Lestat lets out a\n desperate cry and throws her aside. Jesse gazes at him,\n surprised. He looms over her, angry.", "Lestat, content for the first time since we've known him,\n looks lovingly to Jesse. A flicker of curiosity crosses\n David's face.", "giggles drunkenly. Jesse watches and gasps as she\n realizes the male lover is a vampire. Lestat moves\n forward. Jesse gingerly follows.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "Lestat's lip curls in anger. He shoves Jesse away.\n Wipes his mouth. The mood suddenly changes.", "Lestat looks up to face her, revealing his blood-stained\n lips. Jesse reflexively looks away.\n\n LESTAT\n Come closer, Jesse. You want to\n see? You want to know?", "Lestat again becomes aware of Jesse's pulsing jugular,\n the white flesh of her neck. He reaches out, touches her", "Jesse joins the screaming crowds.\n\n JESSE\n Lestat! Lestat!\n\n (CONTINUED)", "Her lips move to his wrist. Lestat strokes her hair,\n soothes her. Jesse gasps as pain courses through her.\n Lestat holds her close. She looks up at him, their eyes\n are locked together.", "Taking his lover in his arms the vampire begins to bite\n her neck... Lestat looks over at Jesse who watches,\n fascinated and disturbed. The vampire senses another's", "Lestat...\n\n Jesse's eyes open wide, entirely stunned." ], [ "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "The violin dissolves into Lestat's ROCK MUSIC.\n\n\n58 BACK TO JESSE (PRESENT) 58", "Jesse joins the screaming crowds.\n\n JESSE\n Lestat! Lestat!\n\n (CONTINUED)", "Lestat again becomes aware of Jesse's pulsing jugular,\n the white flesh of her neck. He reaches out, touches her", "Impulsively, Lestat goes back to them, hovers, his face\n still somewhat obscured by the darkness. Lestat starts\n clapping along to the music, exuberantly.", "Jesse, now almost to the stage, screams to him.\n\n JESSE\n Lestat! Lestat!", "He stares at her. Her eyes gazing directly into\n his... Suddenly...\n\n LESTAT\n Alright!\n\n Jesse breaks into a smile.", "But Jesse steps forward. Lestat turns, stares at her.", "Lestat's lip curls in anger. He shoves Jesse away.\n Wipes his mouth. The mood suddenly changes.", "Lestat, content for the first time since we've known him,\n looks lovingly to Jesse. A flicker of curiosity crosses\n David's face.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "giggles drunkenly. Jesse watches and gasps as she\n realizes the male lover is a vampire. Lestat moves\n forward. Jesse gingerly follows.", "Lestat and Jesse quietly move among the trees. Lestat\n stops on a dime -- senses tuned. He looks into the dark.", "JESSE\n Lestat!\n\n He turns back, stares at her, astonished.", "Her lips move to his wrist. Lestat strokes her hair,\n soothes her. Jesse gasps as pain courses through her.\n Lestat holds her close. She looks up at him, their eyes\n are locked together.", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "His eyes still as death, he starts moving away.\n\n JESSE\n Lestat! Wait!", "in Goth gear. Jesse stares back at Lestat brazenly. A\n long moment." ], [ "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "Lestat looks up to face her, revealing his blood-stained\n lips. Jesse reflexively looks away.\n\n LESTAT\n Come closer, Jesse. You want to\n see? You want to know?", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "But suddenly her words catch him... His head flails as he\n tries to stop his natural impulse. Lestat lets out a\n desperate cry and throws her aside. Jesse gazes at him,\n surprised. He looms over her, angry.", "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "Her lips move to his wrist. Lestat strokes her hair,\n soothes her. Jesse gasps as pain courses through her.\n Lestat holds her close. She looks up at him, their eyes\n are locked together.", "Lestat again becomes aware of Jesse's pulsing jugular,\n the white flesh of her neck. He reaches out, touches her", "Lestat drinks and drinks and Jesse sighs with intimacy,\n clutching his neck and back, and drawing his bite deeper\n into her flesh. She slowly crumples to the floor, being\n drawn down until finally...", "JESSE\n Lestat!\n\n He turns back, stares at her, astonished.", "floor and slices his wrist. He brings the open vein to\n Jesse's mouth, but she's not moving. Lestat bends down\n to her ear and whispers.", "As they start off, Lestat puts up his hand, points to\n Jesse.\n\n LESTAT\n Roger. Not that one. Leave her\n to me...", "Taking his lover in his arms the vampire begins to bite\n her neck... Lestat looks over at Jesse who watches,\n fascinated and disturbed. The vampire senses another's", "He turns, walks away. Jesse lets out a sigh of relief,\n then stares after him. She hesitates, then suddenly\n calls out:\n\n JESSE\n Does anything, Lestat?", "But Jesse steps forward. Lestat turns, stares at her.", "Jesse gasps, backs away. Lestat finishes and, wiping his\n mouth, approaches Jesse.", "LESTAT\n Yes...\n\n He draws closer. Jesse stares, mortified. Akasha and\n Lestat's mouths almost meet when Akasha pulls away.\n Akasha slowly turns to Jesse.", "neck, strokes it. Jesse shivers under his touch,\n terrified, but wanting more. Lestat brushes his lips\n against her hair, her neck. Runs his hands down her", "Lestat gazes at her, begins to advance. Jesse keeps her\n gaze steady into Lestat's, risking everything.\n\n AKASHA\n (smirking)\n How sweet..." ], [ "shadows, listening to the music. The young woman, sensing\n something, turns towards Lestat in the shadows as she\n plays. Marius goes to Lestat, pulls him farther into the", "The girl still faces into the shadows towards him, and\n plays fast and wild, her fingers flying. Lestat stands\n there frozen to the spot. The music pulses through", "Lestat plays and plays, lost in the music. He throws a\n glance up at the throne and stops...\n\n Akasha is moving...", "Impulsively, Lestat goes back to them, hovers, his face\n still somewhat obscured by the darkness. Lestat starts\n clapping along to the music, exuberantly.", "Lestat stretches out with his eyes closed as the sounds\n of the DRUMMING crowd begin to make the whole van\n shudder. Roger pops his head in.", "LESTAT\n Your music woke me from the\n longest sleep. It's sublime. In\n two hundred years I've never heard\n anything quite like it.", "Lestat stands by his bed, playing the ancient violin... a\n long mournful note. He stops a moment, lost in his\n thoughts. A flash of the first morning light reflects", "MARIUS\n Your music's woken a very old\n friend...\n\n Lestat looks at Marius, trying to understand.", "Lestat is drawn to the woman -- her form and beauty is\n exquisite even in its absolute stillness. As if this\n statue had just asked him to play, Lestat holds out his\n violin.", "LOUD, intense MUSIC as the band rehearses. Lestat\n creates a fantastic melody around the beat. He lets\n the note trail off, eyes closed, smiling, the", "certain, as they gaze at Lestat's strange, pale, glowing\n skin, the luminous shine of eyes. But Lestat is\n completely taken by the music, the moment. The Father", "Unconsciously, Lestat steps closer to the music, into\n firelight. The Father and his daughter become less", "Lestat nods, taking it in. They pass another bonfire.\n MUSIC floats through the night. An OLDER MAN, 50, plays", "Lestat stares out at the ominous night. As Maudy and the\n band continue to play, the wolflike HOWLS in the night", "The song of the VIOLIN ECHOES around the walls...\n\n Lestat plays, with increasing abandon...\n\n Akasha and Enkil sit frozen...", "Relenting, Lestat starts to follow. But the music\n quickens. Lestat pauses, turns back. As if the music is\n calling to him.", "Lestat is awestruck. There is such an unearthly power in\n Akasha's voice. Everything seems to hum and vibrate with\n her breath.", "86 CONTINUED: 86\n\n Her eyes still bore into him. Lestat smiles. He raises\n his violin and begins to play.", "The girls glance at each other, then, giggling, crawl\n over toward Lestat. Groupie #1 slides her hand slowly\n up his leg.", "Lestat standing alone in the bedroom, in a deep reverie,\n playing the girl's violin with incredible passion. His\n playing picks up speed as he works himself into a Pagnani\n furor..." ], [ "The audience doesn't see Lestat anywhere and cheers over\n the sound, and it seems as if the whole of Death Valley\n is shaking, when... Lestat appears above the stage,\n inhumanly levitating and...", "180 EXT. DEATH VALLEY PEAK - NIGHT 180\n\n Lestat opens his eyes and finds himself high above the\n desert, the tiny lights of the concert far below.", "place goes berserk. We see the dim figures of the band\n take their places. Jesse desperately tries to push\n toward the front.", "JESSE\n (smiles)\n Yeah.\n\n\n151 EXT. DEATH VALLEY - FROM HIGH ABOVE - DUSK 151", "JESSE\n David, listen...\n (struggles a moment)\n I'm going to Los Angeles for the\n concert.", "Jesse walks away from the house. Coming to a highway,\n she reads a sign -- \"DEATH VALLEY 120 miles.\" Just then,", "MUSIC JOURNALIST\n Your first and only concert's in\n Death Valley, just days away. Why\n just the one?", "MAUDY\n I'm ready for Death Valley.\n (jazzed)\n Two days till we go...", "Down in the throng, vampires also begin to combust -- hot\n flashes of white exploding through the crowd, turning\n into black paper dolls -- wafting up over the valley --", "He swoops down through the air over the stage and into\n their very midst. Jesse, in the crowd, screams up to\n him... But her voice is lost in the thousands of screams", "101.\n\n164 CONTINUED: 164\n\n The place erupts into one solid scream as the band kicks\n it in.", "CUT TO:\n\n\n152 EXT. CONCERT ENTRANCE - NIGHT 152", "The girl still faces into the shadows towards him, and\n plays fast and wild, her fingers flying. Lestat stands\n there frozen to the spot. The music pulses through", "The pulsing strain moves into a faster beat as the whole\n place resonates with the most incredible harmonics, the\n energy throbbing, the crowd almost genuflecting in front", "A high-tech conference room. The band, sitting up front,\n is faced by an audience of over fifty journalists and\n then another fifty photographers and TV cameras. The\n room crackles with anticipation. Roger steps to the\n podium.", "Jesse makes her way through the throng, trying to get\n closer to the stage. Suddenly the torches go out sending\n the place into utter darkness. A stunned moment. The", "A wave of hysteria hits the fans. Roger hustles the\n band through the crowd and up the stairs into the church,\n past the giant billboard with their own images written", "161 INT. BACKSTAGE - NIGHT 161\n\n Lestat readies himself as he scans the valley from behind\n a speaker, and sees...", "the knives. He rips the microphone from the stand and\n holds it up just in time... as an assassin is impaled.\n The assassin squirms and convulses. The crowd goes", "Lestat stretches out with his eyes closed as the sounds\n of the DRUMMING crowd begin to make the whole van\n shudder. Roger pops his head in." ], [ "Fiercely determined, Lestat bites into Akasha's throat,\n this time for the kill. Akasha sinks her nails into his throat.", "Lestat looks at her and then smiles. Akasha's mouth\n spreads into a smile. Flashes of brilliant light strobe", "Lestat smiles with a blood-stained mouth. Akasha\n approaches Lestat and offers him her vein. She looks\n scornfully at the others as he cradles her wrist...", "Lestat looks once at Marius, then sinks his teeth into\n its original font. He drinks as Akasha gasps with\n pleasure at giving so much pleasure to him. She keeps", "smiling to the others. But Lestat doesn't stop drinking.\n Akasha looks back to him, her face changing.", "LESTAT\n Had a King?\n\n AKASHA\n He's no more. You are my consort.\n I've kept you safe -- alive.", "Akasha hovers higher, drawing him into the sky until\n their mouths finally meet and her blood flows freely into\n him. Lestat pulls away as a great surge of power gathers\n in him and floods his body with an electric rush.", "Lestat sinks his teeth into Akasha's vein, drawing in the\n unimaginable font. A burst of image and color floods\n into him, as...", "AKASHA\n Be my King. Forget about\n everything else.\n\n Lestat looks straight at Akasha, his face flushed. His\n eyes are empty of everything except her blood.", "Lestat plays and plays, lost in the music. He throws a\n glance up at the throne and stops...\n\n Akasha is moving...", "LESTAT\n Yes...\n\n He draws closer. Jesse stares, mortified. Akasha and\n Lestat's mouths almost meet when Akasha pulls away.\n Akasha slowly turns to Jesse.", "Akasha bites her own lip. Blood trickles slightly across\n her chin. Lestat stares at the blood, yearns towards it,", "LESTAT\n So warm...\n (sniffs their skin)\n ... their blood...\n\n AKASHA\n ... yes...", "neck, his chest, bites... Lestat arches in ecstasy...\n Akasha rises up from his breast, blood on her lips,\n smiles, goes back down and drinks.", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "bed... Akasha rolls him over -- smiles down at him -- a\n fang exposed... She draws her wrist across her mouth... a\n globule of blood smacks Lestat's open lips... Flash --", "Akasha watches and waits. Finally Lestat grins boyishly\n through bloody teeth and wipes his lips with the back of\n his hand.", "remain closed but his mouth opens... Now it's Akasha\n kissing him. Lestat responds, but his eyes sneak a peek.\n Akasha smiles -- takes his head in her hands -- she", "But Lestat clamps down even harder. Akasha thrashes,\n trying to release herself.", "itself. Lestat closes her eyes... He comes up to her\n face, brushing his lips against her cheek. She\n shivers..." ], [ "Lestat gazes at her, begins to advance. Jesse keeps her\n gaze steady into Lestat's, risking everything.\n\n AKASHA\n (smirking)\n How sweet...", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "MAHARET\n Lestat has joined with Akasha. He\n is lost to us now. He is never\n coming back.\n\n JESSE\n I don't believe that.", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "LESTAT\n Yes...\n\n He draws closer. Jesse stares, mortified. Akasha and\n Lestat's mouths almost meet when Akasha pulls away.\n Akasha slowly turns to Jesse.", "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "Akasha watches and waits. Finally Lestat grins boyishly\n through bloody teeth and wipes his lips with the back of\n his hand.", "Jesse watches him with absolute love. He reaches her.\n Maharet flies across the room, but Akasha meets her\n halfway. Grabs her by the hair. Maharet struggles but", "Maharet struggles but Akasha is too strong. Jesse gazes\n at Lestat. Then steps forward.\n\n JESSE\n It's all right, Maharet.", "Suddenly, Akasha takes her chance, rises, her eyes flare\n green, marshalling the last of her wrath. Lestat cries\n out in agony as smoke rises from his limbs.", "Her lips move to his wrist. Lestat strokes her hair,\n soothes her. Jesse gasps as pain courses through her.\n Lestat holds her close. She looks up at him, their eyes\n are locked together.", "Akasha is much more powerful. Jesse offers up her neck\n to his bite. Maharet looks away and Akasha looks pleased\n as...", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "But suddenly her words catch him... His head flails as he\n tries to stop his natural impulse. Lestat lets out a\n desperate cry and throws her aside. Jesse gazes at him,\n surprised. He looms over her, angry.", "floor and slices his wrist. He brings the open vein to\n Jesse's mouth, but she's not moving. Lestat bends down\n to her ear and whispers.", "Lestat looks up to face her, revealing his blood-stained\n lips. Jesse reflexively looks away.\n\n LESTAT\n Come closer, Jesse. You want to\n see? You want to know?", "MAHARET\n Wait, Lestat! You must stop!\n\n Lestat pulls away, leaving Akasha hanging in a twisted,\n unnatural angle.", "She crosses to the family tree, traces the names down to\n one. Jessica Reeves. Akasha is beyond fury, yet she\n keeps her temper under control and turns to Lestat.", "Akasha smiles at him, then laughs a strange laugh, a\n kind of purr/growl. Lestat gazes at her as the sensual" ], [ "Jesse watches him with absolute love. He reaches her.\n Maharet flies across the room, but Akasha meets her\n halfway. Grabs her by the hair. Maharet struggles but", "Akasha is much more powerful. Jesse offers up her neck\n to his bite. Maharet looks away and Akasha looks pleased\n as...", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "Ones stare up into the sky as... Akasha and Lestat\n vanish. Jesse stares in horror after them.", "The Vampire Girl who Jesse saw vanish with the Yuppie,\n flies towards Akasha, knife raised, but Akasha just", "Jesse lies on the floor, eyes closed and pale. Dead.\n\n AKASHA\n Good-bye, great family.", "Maharet struggles but Akasha is too strong. Jesse gazes\n at Lestat. Then steps forward.\n\n JESSE\n It's all right, Maharet.", "Fragments of sharp wood fly into the audience. Jesse\n raises her hands to protect herself. She looks up.\n Freezes. Akasha rises up through the stage. Beautiful", "TALBOT\n Yes. Take care of her, Lestat.\n\n LESTAT\n Always.\n\n Talbot looks at Jesse, once his spiritual daughter.", "111 JESSE 111\n\n wakes with a start.\n\n JESSE\n Akasha!", "She crosses to the family tree, traces the names down to\n one. Jessica Reeves. Akasha is beyond fury, yet she\n keeps her temper under control and turns to Lestat.", "LESTAT\n Yes...\n\n He draws closer. Jesse stares, mortified. Akasha and\n Lestat's mouths almost meet when Akasha pulls away.\n Akasha slowly turns to Jesse.", "Lestat drinks and drinks and Jesse sighs with intimacy,\n clutching his neck and back, and drawing his bite deeper\n into her flesh. She slowly crumples to the floor, being\n drawn down until finally...", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "Lestat gazes at her, begins to advance. Jesse keeps her\n gaze steady into Lestat's, risking everything.\n\n AKASHA\n (smirking)\n How sweet...", "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "Jesse and Lestat hold onto each other, gazing at\n Maharet's face. On Maharet's lips is the most content of\n smiles. Jesse wipes away a tear.", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "MAHARET\n Lestat has joined with Akasha. He\n is lost to us now. He is never\n coming back.\n\n JESSE\n I don't believe that.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass." ], [ "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "Lestat and Jesse quietly move among the trees. Lestat\n stops on a dime -- senses tuned. He looks into the dark.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "It is Lestat. He stares at Jesse, amazed. Jesse glances\n desperately at the door. It's just a few feet away now.\n\n (CONTINUED)", "Jesse joins the screaming crowds.\n\n JESSE\n Lestat! Lestat!\n\n (CONTINUED)", "Jesse closes the journal, her eyes wide with the new\n knowledge of Lestat's past. She sits there a moment,\n speechless, then stares out at the vast, black night.", "JESSE\n Lestat!\n\n He turns back, stares at her, astonished.", "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "JESSE\n (smiles)\n David, this is Lestat.\n\n He looks at Lestat, fear in his eyes.", "Jesse notices her rucksack cast aside by the Punk\n Vampires -- Lestat's journal sticks out. She glances at\n Lestat. He mustn't see it. She steps away, tries to\n distract him.", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "The violin dissolves into Lestat's ROCK MUSIC.\n\n\n58 BACK TO JESSE (PRESENT) 58", "He turns, walks away. Jesse lets out a sigh of relief,\n then stares after him. She hesitates, then suddenly\n calls out:\n\n JESSE\n Does anything, Lestat?", "giggles drunkenly. Jesse watches and gasps as she\n realizes the male lover is a vampire. Lestat moves\n forward. Jesse gingerly follows.", "But suddenly her words catch him... His head flails as he\n tries to stop his natural impulse. Lestat lets out a\n desperate cry and throws her aside. Jesse gazes at him,\n surprised. He looms over her, angry.", "Lestat, content for the first time since we've known him,\n looks lovingly to Jesse. A flicker of curiosity crosses\n David's face.", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "filling the alley. Lestat lunges, fangs bared. Jesse\n screams. Turns. Runs. Finds herself --", "JESSE\n Jesus Christ.\n\n She stands there a moment, happy, amazed to be alive.\n Then it sinks in. She realizes -- Lestat let her go." ], [ "Taking his arm, Akasha draws Lestat to her. The Ancient\n Vampires subtly position themselves under the medieval\n weapons hanging on the walls, as Marius moves toward his\n son.", "The Ancients make an instantaneous decision. Akasha\n looks up, gasping, in time to see Maharet, Marius,\n Khayman, Armand, Mael, Pandora flying towards her.\n Akasha lets out a hiss...", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "The Ancient Ones look to each other, uncertain a moment.\n\n Akasha gazes at them, then turns slowly, fixes her gaze\n on Lestat. He gazes back at her.", "Fiercely determined, Lestat bites into Akasha's throat,\n this time for the kill. Akasha sinks her nails into his throat.", "Marius looks up to see all the Ancients now stepping\n from the shadows. KHAYMAN, the desert vampire, in", "Akasha scans the faces of the other Ancient Ones, staring\n deep into their souls. Akasha sees Khayman glance at the\n family tree. Akasha's eyes blaze with anger.", "... Maharet moves quickly. She strides over to Akasha\n and sinks her fangs into Akasha's neck. Akasha struggles", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "AKASHA\n Be my King. Forget about\n everything else.\n\n Lestat looks straight at Akasha, his face flushed. His\n eyes are empty of everything except her blood.", "LESTAT\n I will never leave you again.\n\n He holds her tight in his arms.\n\n All the Ancients gaze at Lestat, now understanding what\n he did.", "MARIUS\n She... she is your mother, my\n mother... Akasha, the Queen of all\n who are damned. And he is her\n King.", "smiling to the others. But Lestat doesn't stop drinking.\n Akasha looks back to him, her face changing.", "Jesse watches him with absolute love. He reaches her.\n Maharet flies across the room, but Akasha meets her\n halfway. Grabs her by the hair. Maharet struggles but", "Lestat smiles with a blood-stained mouth. Akasha\n approaches Lestat and offers him her vein. She looks\n scornfully at the others as he cradles her wrist...", "She crosses to the family tree, traces the names down to\n one. Jessica Reeves. Akasha is beyond fury, yet she\n keeps her temper under control and turns to Lestat.", "Marius looks for some recognition in Lestat's eyes.\n There is none. Maharet turns to Akasha.\n\n MAHARET\n Akasha. The world has changed\n since you reigned.", "Akasha is much more powerful. Jesse offers up her neck\n to his bite. Maharet looks away and Akasha looks pleased\n as...", "MAHARET\n Wait, Lestat! You must stop!\n\n Lestat pulls away, leaving Akasha hanging in a twisted,\n unnatural angle.", "Standing on the strange rocks are the Ancient vampires,\n except for Maharet. Some of whom can't help but smile\n at the scene below. Marius is now with them." ], [ "But Lestat, strong with Akasha's blood, keeps his hold\n and Khayman, Armand, Marius, Maharet fly at her again.", "Lestat smiles with a blood-stained mouth. Akasha\n approaches Lestat and offers him her vein. She looks\n scornfully at the others as he cradles her wrist...", "smiling to the others. But Lestat doesn't stop drinking.\n Akasha looks back to him, her face changing.", "Taking his arm, Akasha draws Lestat to her. The Ancient\n Vampires subtly position themselves under the medieval\n weapons hanging on the walls, as Marius moves toward his\n son.", "Lestat looks once at Marius, then sinks his teeth into\n its original font. He drinks as Akasha gasps with\n pleasure at giving so much pleasure to him. She keeps", "Akasha watches and waits. Finally Lestat grins boyishly\n through bloody teeth and wipes his lips with the back of\n his hand.", "Fiercely determined, Lestat bites into Akasha's throat,\n this time for the kill. Akasha sinks her nails into his throat.", "Akasha smiles, raises her hand, suddenly slices her wrist\n with a knife. Lestat stares at her dripping blood.", "... Maharet moves quickly. She strides over to Akasha\n and sinks her fangs into Akasha's neck. Akasha struggles", "Guiding Lestat's hand with the knife, Marius smiles and\n cuts his own arm, opening his veins. Lestat stares in", "Akasha hovers higher, drawing him into the sky until\n their mouths finally meet and her blood flows freely into\n him. Lestat pulls away as a great surge of power gathers\n in him and floods his body with an electric rush.", "Akasha bites her own lip. Blood trickles slightly across\n her chin. Lestat stares at the blood, yearns towards it,", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "AKASHA\n Be my King. Forget about\n everything else.\n\n Lestat looks straight at Akasha, his face flushed. His\n eyes are empty of everything except her blood.", "Lestat sinks his teeth into Akasha's vein, drawing in the\n unimaginable font. A burst of image and color floods\n into him, as...", "Jesse watches him with absolute love. He reaches her.\n Maharet flies across the room, but Akasha meets her\n halfway. Grabs her by the hair. Maharet struggles but", "Lestat, lost, looks at Marius, his eyes intoxicated with\n Akasha's blood. Marius steps back. Looks at his\n fledgling with great sadness, anger, disappointment.", "But Lestat clamps down even harder. Akasha thrashes,\n trying to release herself.", "LESTAT\n So warm...\n (sniffs their skin)\n ... their blood...\n\n AKASHA\n ... yes...", "LESTAT\n Yes...\n\n He draws closer. Jesse stares, mortified. Akasha and\n Lestat's mouths almost meet when Akasha pulls away.\n Akasha slowly turns to Jesse." ], [ "Jesse watches him with absolute love. He reaches her.\n Maharet flies across the room, but Akasha meets her\n halfway. Grabs her by the hair. Maharet struggles but", "... Maharet moves quickly. She strides over to Akasha\n and sinks her fangs into Akasha's neck. Akasha struggles", "Akasha smiles, raises her hand, suddenly slices her wrist\n with a knife. Lestat stares at her dripping blood.", "Fiercely determined, Lestat bites into Akasha's throat,\n this time for the kill. Akasha sinks her nails into his throat.", "Akasha turns on [Khayman to incinerate him. Flash. He\n screams as his blood boils, exploding out of his", "Akasha is much more powerful. Jesse offers up her neck\n to his bite. Maharet looks away and Akasha looks pleased\n as...", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "But she's disappeared. He turns. Akasha's behind him\n now. He stares at her. Her hips are gyrating, her", "Akasha sinks her fangs into his neck and at the same\n time, plunges her hand down. We can't see where... We", "He hangs on, his teeth deep. They are locked in mortal combat.\n Akasha slowly sinks to the ground, real\n fear in her eyes as her strength finally vanishes.", "Akasha turns to the terrified barman again, pulls him\n over the bar and attacks him as if she were just reaching\n for a snack. He flails but is overwhelmed by her\n strength...", "Akasha bites her own lip. Blood trickles slightly across\n her chin. Lestat stares at the blood, yearns towards it,", "But Lestat clamps down even harder. Akasha thrashes,\n trying to release herself.", "Akasha watches and waits. Finally Lestat grins boyishly\n through bloody teeth and wipes his lips with the back of\n his hand.", "Akasha flicks her wrist. Maharet is hurled against a\n pillar, pinned by Akasha's hand.\n\n AKASHA\n You still think to challenge me,\n Maharet?", "smiling to the others. But Lestat doesn't stop drinking.\n Akasha looks back to him, her face changing.", "Suddenly, Akasha takes her chance, rises, her eyes flare\n green, marshalling the last of her wrath. Lestat cries\n out in agony as smoke rises from his limbs.", "MARIUS\n Akasha has risen. She has taken\n her King's blood. Absorbed his\n power. You've done it this time.", "She crosses to the family tree, traces the names down to\n one. Jessica Reeves. Akasha is beyond fury, yet she\n keeps her temper under control and turns to Lestat.", "Akasha hovers higher, drawing him into the sky until\n their mouths finally meet and her blood flows freely into\n him. Lestat pulls away as a great surge of power gathers\n in him and floods his body with an electric rush." ], [ "smiling to the others. But Lestat doesn't stop drinking.\n Akasha looks back to him, her face changing.", "Lestat looks once at Marius, then sinks his teeth into\n its original font. He drinks as Akasha gasps with\n pleasure at giving so much pleasure to him. She keeps", "... Maharet moves quickly. She strides over to Akasha\n and sinks her fangs into Akasha's neck. Akasha struggles", "Akasha bites her own lip. Blood trickles slightly across\n her chin. Lestat stares at the blood, yearns towards it,", "Fiercely determined, Lestat bites into Akasha's throat,\n this time for the kill. Akasha sinks her nails into his throat.", "ARMAND\n (a reverent whisper)\n She took Akasha's last drop, took\n Akasha's death into herself.\n Behold, our Queen... our new\n mother...", "Akasha sinks her fangs into his neck and at the same\n time, plunges her hand down. We can't see where... We", "Jesse watches him with absolute love. He reaches her.\n Maharet flies across the room, but Akasha meets her\n halfway. Grabs her by the hair. Maharet struggles but", "Lestat smiles with a blood-stained mouth. Akasha\n approaches Lestat and offers him her vein. She looks\n scornfully at the others as he cradles her wrist...", "Akasha smiles, raises her hand, suddenly slices her wrist\n with a knife. Lestat stares at her dripping blood.", "AKASHA\n Has your tongue lost its taste for\n blood?\n\n LESTAT\n (melting)\n Never.", "Akasha hovers higher, drawing him into the sky until\n their mouths finally meet and her blood flows freely into\n him. Lestat pulls away as a great surge of power gathers\n in him and floods his body with an electric rush.", "Lestat drinks and drinks and Jesse sighs with intimacy,\n clutching his neck and back, and drawing his bite deeper\n into her flesh. She slowly crumples to the floor, being\n drawn down until finally...", "Akasha is much more powerful. Jesse offers up her neck\n to his bite. Maharet looks away and Akasha looks pleased\n as...", "Akasha watches and waits. Finally Lestat grins boyishly\n through bloody teeth and wipes his lips with the back of\n his hand.", "Lestat sinks his teeth into Akasha's vein, drawing in the\n unimaginable font. A burst of image and color floods\n into him, as...", "finally truly drink and revive as Lestat cradles her.\n She pulls away, gasping. Lestat looks into her eyes.", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "Lestat, lost, looks at Marius, his eyes intoxicated with\n Akasha's blood. Marius steps back. Looks at his\n fledgling with great sadness, anger, disappointment.", "opens his eyes. He sits up alone in the canopied bed,\n disoriented. Akasha is nowhere to be seen. He looks\n toward the window. The sun is just about to disappear" ], [ "LESTAT\n Your music woke me from the\n longest sleep. It's sublime. In\n two hundred years I've never heard\n anything quite like it.", "Lestat stretches out with his eyes closed as the sounds\n of the DRUMMING crowd begin to make the whole van\n shudder. Roger pops his head in.", "quickly sticks his hand in his mouth. With a horrified\n expression, he realizes he's sucking his blood. He\n quickly heads out. But Lestat is faster and reaches", "Suddenly, the bow flies out of his hand and slides across\n the floor, jamming itself under an old bookcase. Lestat\n comes out of his spell, walks across the room to the", "Slowly, Lestat starts to feel something. Pain begins\n travelling through his body, consuming him until he\n screams. Marius crosses to Lestat convulsing on the", "The girls glance at each other, then, giggling, crawl\n over toward Lestat. Groupie #1 slides her hand slowly\n up his leg.", "finally truly drink and revive as Lestat cradles her.\n She pulls away, gasping. Lestat looks into her eyes.", "Then, Lestat's face still buried in his arms, he begins\n to laugh almost drunkenly. Raising his head, his", "Lestat suddenly glides through an open door and calmly\n touches ground. He empties his pockets out on a coffee\n table. We see a --", "itself. Lestat closes her eyes... He comes up to her\n face, brushing his lips against her cheek. She\n shivers...", "The Ancient Ones stare at Akasha, step back in awe.\n Lestat sits up, burned but still alive to see...", "Impulsively, Lestat goes back to them, hovers, his face\n still somewhat obscured by the darkness. Lestat starts\n clapping along to the music, exuberantly.", "Then her blood speaks to him as Lestat's eyes fall on her\n rucksack. He sees the journal. It all falls into place.", "Lestat stands by his bed, playing the ancient violin... a\n long mournful note. He stops a moment, lost in his\n thoughts. A flash of the first morning light reflects", "Akasha watches and waits. Finally Lestat grins boyishly\n through bloody teeth and wipes his lips with the back of\n his hand.", "Lestat is awestruck. There is such an unearthly power in\n Akasha's voice. Everything seems to hum and vibrate with\n her breath.", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "Lestat bursts out the doors of his bedroom and looks down\n into the living room. Marius sits on a couch, still\n dressed in red velvet, studying the Rolling Stone with\n Lestat on the cover.", "Lestat is drawn to the woman -- her form and beauty is\n exquisite even in its absolute stillness. As if this\n statue had just asked him to play, Lestat holds out his\n violin.", "MARIUS\n I slept.\n\n LESTAT\n Don't think you missed much.\n\n MARIUS\n Elvis." ], [ "at Lestat. Lestat is struck down, his singing stopped.\n The assassins move in.", "Marius's face fills with the bond. He slowly sinks\n down to his knees as Lestat feeds and feeds. As\n Lestat drinks, a barrage of IMAGES flood into him...", "Marius stops talking, turns. Lestat is no longer beside\n him. Marius turns back and sees Lestat standing in the", "MARIUS\n I slept.\n\n LESTAT\n Don't think you missed much.\n\n MARIUS\n Elvis.", "Lestat, lost, looks at Marius, his eyes intoxicated with\n Akasha's blood. Marius steps back. Looks at his\n fledgling with great sadness, anger, disappointment.", "MARIUS\n Stop her, Lestat!\n\n Lestat turns to Marius, shaking his head no in horror.\n\n MARIUS\n You must!", "Slowly, Lestat starts to feel something. Pain begins\n travelling through his body, consuming him until he\n screams. Marius crosses to Lestat convulsing on the", "Lestat turns to Marius, shaking his head, speaks in a\n horrified whisper...\n\n LESTAT\n My God, what have you done to me?", "shadows, listening to the music. The young woman, sensing\n something, turns towards Lestat in the shadows as she\n plays. Marius goes to Lestat, pulls him farther into the", "LESTAT\n Who are you? Do I know you?\n\n MARIUS\n I'm unknowable by nature.\n\n Marius advances again on the young man...", "MARIUS\n Lestat.\n\n (CONTINUED)\n\n 70.", "Lestat bursts out the doors of his bedroom and looks down\n into the living room. Marius sits on a couch, still\n dressed in red velvet, studying the Rolling Stone with\n Lestat on the cover.", "Marius is enraged, tries to control himself. Lestat\n gazes at him, speaks steadily.", "Lestat roars and struggles against his manacles.\n\n LESTAT\n You'll not stop me...\n\n Marius stares at him, shocked.", "But Lestat keeps on feeding hungrily.\n\n MARIUS\n No... no more. Lestat, no more!", "LESTAT\n More!\n\n Lestat smiles with red glistening lips. A beat on Marius\n as he slowly smiles, too.", "MARIUS\n (quietly)\n I see you still have a few\n lingering mortal emotions. They\n will serve you no good, Lestat.", "The strange man lifts himself up from Lestat's neck to\n reveal the face of the vampire MARIUS, the mysterious\n figure. Wiping his blooded mouth on his painter's\n cloth --", "Maharet and Marius realize what he's doing, see the\n chance Lestat has gained for them. A silent signal\n passes between them as...", "Lestat lays in bed, feverish, his skin paler than ever.\n At the foot of the bed stands Marius.\n\n MARIUS\n (quietly)\n Lestat?" ], [ "coven. Many of the faces are unnaturally pale, gaunt.\n Their eyes shine with a strange, reflective light. Jesse\n moves through the tables, passing a mortal YUPPIE-TYPE", "JESSE\n And it had a reputation for\n dealing with black magic.\n Witches' covens, seances, that\n sort of thing.", "He runs his hand up and down her body. Jesse starts to\n shake. She breaks out in a cold sweat. The others grin.\n He picks her up by the throat. Her legs flail in the\n air...", "Jesse moves past rough-hewn columns, watching something\n with great curiosity. Behind her, we glimpse a giant\n mural of names cut into the stone walls. A family tree,\n extending up onto the ceiling and down to the floor.", "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "JESSE\n (a beat, softly)\n I did.\n\n Murmurs bubble through the entire group now. They stare\n at Jesse, dismayed.", "JESSE\n It's a vampire coven. And\n Lestat's leading us to it.", "Jesse hears strange whispering. She sees now figures\n moving through the fog. One pushes a buzzer. Jesse stares,\n barely breathing, her heart pounding.", "... falls into step behind them. One knocks on the door.\n A face peers out at the group. Steps back. The door\n opens. Jesse follows the couples in. The door shuts\n behind her.", "He gazes into her eyes, finding himself desperately\n wanting her to say yes. The horror, the revulsion in\n Jesse's face says it all.", "Jesse is excited, a bit nervous, hoping to impress. She\n holds a remote which controls images appearing on the\n large video screen. Clips from Lestat's press conference\n continue. Jesse gazes out at the Talamascans.", "He goes to the paintings hanging on a wall in the back of\n his office, covered with black velvet. Jesse follows.\n He unveils them.", "Murmurs. Many of definite interest. Some of definite\n skepticism. Jesse's face shines bright with her\n enthusiasm.", "Behind them, Roger sits pensively watching.\n Surreptitiously, he glances down at a book on his lap --\n its title Vampires -- The Occult Truth. He talks on a\n phone.", "198 CONTINUED: (2) 198\n\n Talbot closes his eyes to shut out a tear, and Jesse is\n at his side and leans down to whisper in his ear...", "JESSE\n I've been tracking your manager\n for days...\n (gesturing to her\n Goth outfit)\n Then I figured out you simply\n have to look the part.", "90.\n\n134 CONTINUED: 134\n\n JESSE\n Is she alright?", "Jesse, making a presentation, stands before an impressive\n and imposing group of 10 TALAMASCANS, wearing demure\n suits.", "JESSE\n (gesturing to photo,\n defending herself)\n Hey, does it look like I got\n involved? That is not called\n involvement. That is called\n running.", "Quick flashes of gruesome period newspaper drawings,\n blood pouring from the neck of a screaming woman. A\n white-faced ghoul with fangs.\n\n Jesse is smiling wider, excited by her discovery." ], [ "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "But Lestat is only concerned about Jesse. He rushes to\n her, picks up her lifeless head, takes a dagger from the", "It is Lestat. He stares at Jesse, amazed. Jesse glances\n desperately at the door. It's just a few feet away now.\n\n (CONTINUED)", "Lestat sinks his teeth into Jesse's neck. Jesse gasps\n with the bite, but puts her arm around Lestat as he draws\n her into him, draining her of her very life-force as she\n holds him.", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "Lestat and Jesse quietly move among the trees. Lestat\n stops on a dime -- senses tuned. He looks into the dark.", "Lestat looks up to face her, revealing his blood-stained\n lips. Jesse reflexively looks away.\n\n LESTAT\n Come closer, Jesse. You want to\n see? You want to know?", "JESSE\n (smiles)\n David, this is Lestat.\n\n He looks at Lestat, fear in his eyes.", "giggles drunkenly. Jesse watches and gasps as she\n realizes the male lover is a vampire. Lestat moves\n forward. Jesse gingerly follows.", "But suddenly her words catch him... His head flails as he\n tries to stop his natural impulse. Lestat lets out a\n desperate cry and throws her aside. Jesse gazes at him,\n surprised. He looms over her, angry.", "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "Lestat, content for the first time since we've known him,\n looks lovingly to Jesse. A flicker of curiosity crosses\n David's face.", "Slowly Jesse rises, gazes at Lestat, her face pale, her\n eyes glowing. Then Jesse turns, stares at Maharet. All\n the Ancients turn, follow her gaze.", "JESSE\n I have reason to believe Lestat's\n the real thing. A vampire. And\n an ancient one.", "Jesse joins the screaming crowds.\n\n JESSE\n Lestat! Lestat!\n\n (CONTINUED)", "Her lips move to his wrist. Lestat strokes her hair,\n soothes her. Jesse gasps as pain courses through her.\n Lestat holds her close. She looks up at him, their eyes\n are locked together.", "He bares his fangs. Jesse bolts out the door... PAN\n ACROSS vampire faces staring after Jesse TO Lestat\n who gazes at her, absolutely entranced. He watches the\n Punk Vampires head after Jesse.", "Lestat drinks and drinks and Jesse sighs with intimacy,\n clutching his neck and back, and drawing his bite deeper\n into her flesh. She slowly crumples to the floor, being\n drawn down until finally...", "He turns, walks away. Jesse lets out a sigh of relief,\n then stares after him. She hesitates, then suddenly\n calls out:\n\n JESSE\n Does anything, Lestat?", "JESSE\n Lestat!\n\n He turns back, stares at her, astonished." ], [ "TALBOT\n Yes. Take care of her, Lestat.\n\n LESTAT\n Always.\n\n Talbot looks at Jesse, once his spiritual daughter.", "Jesse stares up at him in absolute awe, taking it in.\n Talbot gestures in the direction of the Talamascans in\n the library.", "TALBOT\n Jesse, you listen to me very, very\n carefully now. You are no longer\n seeing things clearly. Your\n emotions are clouding things.", "MAHARET\n Jesse, you must stay away from\n Lestat. You must forget all about\n him.\n\n Jesse looks at her, surprised. Maharet smiles.", "He circles her. Jesse is shaking, terrified. Enjoying\n the game, Lestat smiles, moves closer. But Jesse suddenly\n blurts out.", "198 CONTINUED: (2) 198\n\n Talbot closes his eyes to shut out a tear, and Jesse is\n at his side and leans down to whisper in his ear...", "Talbot looks up to see Jesse and Lestat looking over his\n shoulder. He leaps out of his seat. Sees the change in\n her instantly.\n\n TALBOT\n Jesse. My God...", "Lestat and Jesse quietly move among the trees. Lestat\n stops on a dime -- senses tuned. He looks into the dark.", "Jesse is excited, a bit nervous, hoping to impress. She\n holds a remote which controls images appearing on the\n large video screen. Clips from Lestat's press conference\n continue. Jesse gazes out at the Talamascans.", "He turns, walks out. All the Talamascans look at Jesse.\n It doesn't look good. Her face burning red, Jesse turns,\n leaves.\n\n CUT TO:", "That stops Lestat. He gazes at Jesse, surprised.\n Recovers his composure. Stares at her intensely,\n regarding her anew.", "The Talamascans burst out laughing, even Talamascan #2.\n Jesse gazes at them, her face burning red. She's lost\n them, blown it. Made a fool of herself.", "As they start off, Lestat puts up his hand, points to\n Jesse.\n\n LESTAT\n Roger. Not that one. Leave her\n to me...", "JESSE\n (smiles)\n David, this is Lestat.\n\n He looks at Lestat, fear in his eyes.", "It is Lestat. He stares at Jesse, amazed. Jesse glances\n desperately at the door. It's just a few feet away now.\n\n (CONTINUED)", "As she speaks, Lestat guides Jesse over to a pile of\n crates. She stares at some beer bottles shattered on\n the top of one. He guides her hand downward, closer to\n the shattered glass.", "Jesse's heart pounds with terror.\n\n LESTAT\n The Talamascans have become quite\n stealthy. I didn't know\n infiltration was quite their style.", "A wood-lined room -- walls covered with books, artifacts,\n paintings. Jesse stands before Talbot. He fixes his\n eyes on her, pours her some coffee.", "Jesse stops at a contemporary self-portrait.\n\n TALBOT\n It's Marius, Jesse.", "Jesse runs her finger across the faces, then stops on the\n face of a gentleman with long white hair watching the\n bloodshed of gory battles and the sacrifices of saints\n burned at the stake." ] ]

[ "Who is Jesse Reeves?", "Who take her a side?", "Who show her Lestat's jounnal?", "Where was the concert?", "Who demandsLestat to kill Jesse?", "Who was lying lifeless?", "Who read the journal?", "How is Lestat awakened from his slumber?", "What is Marius' warning to Lestat?", "What does Jesse suspect on listening to the lyrics of Lestat's songs?", "What does Jesse return to Lestat at the concert in Los Angeles?", "What does Jesse ask Lestat to do to her that he won't?", "Who is awakened by Lestat's music?", "What happens at the concert in Death Valley?", "What do Lestat and Akasha do following the consumation of their relationship?", "What does Akasha order Lestat to do to Jessie to get back at Maharet?", "What happens to Jessie after Akasha is killed?", "What was the name of the city where Jesse returned Lestat's journal to him?", "Why were the Ancient vampires planning to kill Akasha? ", "Who helps Lestat drain the blood of Akasha?", "Who is killed by Akasha's power?", "Who is the last to drink of Akasha's blood?", "What awakens Lestat from his decades of slumber?", "What was Lestat warned about by Marius when he became a singer?", "What is the name of the paranormal study group that Jesse Reeves worked for? ", "How did Jesse originally come up with the theory that Lestat was a vampire?", "What is the name of Jesse's mentor at Talamasca?" ]

[ [ "A researcher.", "A researcher. " ], [ "David Talbot.", "David Talbot" ], [ "David Talbot.", "Marius." ], [ "In death valley.", "Death Valley" ], [ "Akasha.", "Akasha" ], [ "Jesse.", "jesse" ], [ "Davis.", "Jesse Reeves. " ], [ "By a heavy metal band, which he takes over as lead singer.", "by hearing a heavy metal band" ], [ "That the vampires of the world are not going to like his flamboyancy.", "that the vampires will not tolerate his flamboyant public profile" ], [ "That Lestat is most likely a vampire.", "That he's a vampire." ], [ "Lestat's journal.", "his journal" ], [ "Turn her into a vampire.", "She asks him to make her a vampire" ], [ "The vampire Akasha.", "Akasha" ], [ "Vampires attack, and Akasha bursts through the stage, taking Lestat as her new king.", "Vampires attack and Akasha kidnaps Lestat." ], [ "They confront the ancient vampires at the home of Maharet.", "take with her as new king" ], [ "She orders Lestat to kill Jessie, Maharet's niece.", "kill Jesse" ], [ "Lestat turns her into a vampire.", "is now a vampire" ], [ "Los Angeles.", "Los Angeles." ], [ "To save the human world from demise.", "To save the human world from demise. " ], [ "The Ancient Vampires.", "The Ancients" ], [ "Mael and Pandora", "Mael and Pandora. " ], [ "Maharet.", "Marharet." ], [ "A heavy metal band.", "a heavy metal band" ], [ "That the vampires wouldn't tolerate his flamboyant public profile.", "that the vampires will not tolerate his flamboyant public profile" ], [ "Talamasca", "Talamsca" ], [ "From listening to his lyrics", "by listening to Lestat's lyrics" ], [ "David Talbot", "David Talbot. " ] ]

43fce60036da73632775421436a2c2a1f970c755

train

[ [ "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "that everyone is talking about. And\n here he is, Mr. Felix Bush, the\n mysterious hermit of Caleb County!\n How are you today, sir?", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "BUS H\n Pretty good prayer. Mighta been\n wrong about that preacher.\n\n CHARLIE\n Why don't you lay down, Felix?", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "MATTIE\n I'm not stupid, Felix. No, I take\n that back. How long was it going", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him.", "BUSH\n Yeah, well..\n Bush returns to chopping wood.\n Feeling awkward, Horton hesitates, starts for his car, stops.", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "RAY\n What money is that?\n\n MATTIE\n Felix has money?\n Everyone is looking at Frank but he shuffles the cards.", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters." ], [ "the steps and it had blood and hair\n on it.\n The crowd gasps. Mattie is trembling.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "lighter to a tombstone and brushes away the debris. It reads:\n MARY LEE STROUP B. 1874 D. 1894. THUNDER rolls.", "(BEAT)\n He had blood on him.\n For Mattie all of this is like window into the past being\n suddenly thrown open and she is haunted and mesmerized.", "touches her in way that she is not prepared for. They sit\n there in silence. She suddenly wipes her face and scowls.", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "75.\n Suddenly she hurls the trowel as far as she can, then a\n handful of bulbs.. then her hat.\n\n MATTIE\n .too goddamn late..", ".Bush enters the field with his shotgun pointed at Carl and\n Gary's backs. They are drenched with gas and it is burning\n them through their clothes.", "Mattie pulls the door open. Bush is standing there soaking\n wet, breathing hard, holding his shotgun. She draws back\n reflexively. He looks into her.\n\n BUSH\n Please, Ma'am.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie.", "11.\n But the rock misses Bush and hits Mule, startling him. Old\n instincts kick in and he has a VIOLENT FIT.", "them. Burning and spitting they empty the cans. Suddenly\n Theman bolts, moaning and running blind with gas in his eyes.", "MATTIE\n Little Bit?! Oh my God, nobody's\n called me that in..\n But suddenly she is lifted from the chair as if by strong", "Mule stands with his ears back, upset. Bush, back in his old\n clothes, is angrily planing a board. The box of his casket\n minus the lid is on sawhorses behind him.", "Mattie sits down beside him. Tears are streaming down her\n face. She lays her head gently on his shoulder.", "BUSH (CONT'D)\n And as I was slamming his head into\n the wall, trying to get shed of", "Mattie sits just behind the girl with tears in her eyes, not\n really listening. On the table beside the piano is a stack of\n picture albums and old yellowed newspaper articles.", "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "ropes. She stares at the wall as she walks toward Bush's bed.\n Bush is stricken and white. He would stop her if he could but\n it is too late." ], [ "BUSH\n I fell in love with a married lady.\n And somehow she fell in love with\n me. It was the only time that I\n have been in love.", "The look takes Bush's breath away. But he suddenly seems to\n accept it as his due and when he talks, it is only to her.", "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "BUSH\n Can you help who you love?\n Mattie's face tells us that she has asked herself that\n question many times.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "BUSH\n You have a tender heart, always\n did.\n She gives him a curious look.", "Bush's shoulder hunch then fall as he turns. He looks into\n her, taking everything in. When he speaks his eyes and voice\n are soft.", "BUSH\n Is that all?\n Bush leans back stone-faced.\n In the silence, Buddy looks over again at the wondrous", "BUSH\n She's a peach.\n Frank and Buddy cut Bush a look. He looks ahead.\n\n BUSH\n We had a go.\n Frank nearly drives off the road.", "BUSH\n Hey Mattie.\n Buddy comes out, surprised to see Mattie and Bush together.\n Frank walks up behind him and scowls. Kathryn steers them\n back inside to give Mattie privacy.", "BUSH\n I want to tell you how it was. If\n you don't want me to, I'll go.\n Mattie sighs from down deep in her shoes then comes around\n and sits down.", "Buddy arrives at Bush first and sees the blood weeping onto\n his shirt.", "BUSH\n I am.\n Bush is surprised by the sound of his own voice.", "some lint from Buddy's jacket. He catches her fingers and\n kisses them.\n Bush is transfixed by the loving moment.", "Dim lamp light glows. We see Bush sitting on the edge of the\n bed wiping the sweat from his face with a sheet. He looks up\n at the picture of the beautiful woman.", "BUSH\n She turned around..\n (as Mattie turns back)\n .and.. I promise you that I did\n not know that I had a heart till\n right then.", "Somehow he has made it. Sopping wet and shivering, Bush is in\n bad shape and knows it.\n Mule sees Bush and grunts anxiously as he rises.", "As Bush starts out the open door, he nearly bumps into\n Buddy's wife, Kathryn, and MATTIE DARROW. Mattie is carrying", "BUSH\n I can wait.\n Buddy and Kathryn see Horton and double-take Bush. Buddy nods", "BUSH\n Yeah, well..\n Bush returns to chopping wood.\n Feeling awkward, Horton hesitates, starts for his car, stops." ], [ "world to think. I could see that\n her husband had set the downstairs\n on fire before he came up.", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "Out of nowhere a man bursts through a second story window,\n lands hard and rolls to smother his burning clothes.\n He crawls away and staggers up and for a moment looks as if", "He did what?! Good God. No, Ma'am,\n I didn't know that about your\n husband. Well, yeah now I\n understand why you want him under", "From a distance and through the trees we see a raging hell\n fire engulfing a small two story house. It burns and burns.", ".Bush enters the field with his shotgun pointed at Carl and\n Gary's backs. They are drenched with gas and it is burning\n them through their clothes.", "(BEAT)\n But before I could get to her and\n help her up.. a kerosene lamp hit\n the wall. And then her husband", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "With his clothes still smoking, he unbelievably tries to run\n back into the hell. But the fire is too hot and he cannot. He\n screams like a mad man and runs into the trees..", "BUSH\n Just fair, son.\n\n HORTON\n Carl said Ray paid them to set the\n fire. Paid them to break into the\n funeral home too.", "(BEAT)\n He had blood on him.\n For Mattie all of this is like window into the past being\n suddenly thrown open and she is haunted and mesmerized.", "BUSH\n Thank you.\n\n MATTIE\n What are you doing here?\n Burned through, a log falls in the fire. Bush jerks oddly and\n moves away.", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "Still shivering, Bush steps uneasily in front of the fire.\n Mattie hands him the hot mug. He looks uneasily at the yellow\n flowers on the table nearby.", "A man on fire bursts through the second story window of a\n burning house. He lands hard and rolls across the yard to\n smother the flames.", "them. Burning and spitting they empty the cans. Suddenly\n Theman bolts, moaning and running blind with gas in his eyes.", "FRANK\n So? We got to know.\n Kathryn shakes her head and goes back outside. FRANK has\n another look at Mattie then lets the curtain fall back.", "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "hell with it. And to hell with me.\n Bush grabs his shotgun and goes. Frank sits, stunned." ], [ "Hunkered down nearby, Bush is as still as a gravestone,\n staring at the last resting place of his old friend.\n As Bush gets up to leave he stops abruptly and stands frozen,", "Bush stands staring out the checkerboard window. He sees\n Charlie approaching and opens the door for him. Charlie\n climbs the steps, appraises the shack, and stares at Bush.", "6.\n But as he turns he sees Bush silently looking around.\n\n HORTON\n Oh! Hello..\n Horton comes to Bush but Bush ignores him and keeps\n critically looking around.", "Under the trees crooked rows of cold ghostly headstones\n glisten in the darkness. An old pocket lighter flares to\n reveal Bush staring at a pot of yellow flowers. He holds the", "BUSH\n I am.\n Bush is surprised by the sound of his own voice.", "Buddy arrives at Bush first and sees the blood weeping onto\n his shirt.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "Mr. Tollerude, nervous as hell, brings Bush up from his\n reclining position and turns the chair to the mirror.", "Bush studies his well trimmed hair and beard for a moment.\n It's impossible to tell what his thoughts are as he looks\n into his own eyes.", "that is as still as it can be. The sawdust makes him look\n almost wooden. A shadow crosses then comes closer.\n Buddy is sure he is dead but Bush's eyes open.", "Bush sits on the edge his bed. His face is drawn and haunted.\n The door open and closes. He doesn't look up.", "BUSH\n Is that all?\n Bush leans back stone-faced.\n In the silence, Buddy looks over again at the wondrous", "Somehow he has made it. Sopping wet and shivering, Bush is in\n bad shape and knows it.\n Mule sees Bush and grunts anxiously as he rises.", "BUSH\n\n (TO HIMSELF)\n Look at that. My funeral and\n everybody's in there but me.\n The hearse pulls onto the road and drives away.", "BUSH\n Thank you.\n\n MATTIE\n What are you doing here?\n Burned through, a log falls in the fire. Bush jerks oddly and\n moves away.", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie.", "Bush starts out of the barn, draws back, and peeks through\n the wall boards: A FIGURE approaches. He jerks..\n REVEAL Mattie walking\n\n BUSH\n Mattie?", "BUSH\n Me.\n Buddy peers around from the vestibule, listening, curious as\n hell, until Kathryn pulls him back.", "Dim lamp light glows. We see Bush sitting on the edge of the\n bed wiping the sweat from his face with a sheet. He looks up\n at the picture of the beautiful woman.", "Buddy, Kathryn, and Horton see Bush.\n Quinn and Charlie follow the crowd's eyes to Bush." ], [ "Frank Quinn at Quinn Funeral Home.\n As the Announcer begins a song, Bush moves his head in time\n with the music. Frank and Buddy rush into the control booth.", "FRANK\n Good afternoon ladies and\n gentlemen. I'm Frank Quinn of Quinn\n Funeral Home. Welcome to the live", "FRANK\n Reverend Jackson?\n (Charlie looks at hearse)\n Frank Quinn, Quinn funeral home.", "(QUIETLY)\n I might know someone who is looking\n for a funeral.\n Frank's eyes crawl over to him.\n\n 25 OMITTED 25", "BUSH\n Send it to the Quinn Funeral Home.\n Frank's eyes light up like fiery pinwheels and he almost\n yelps! Buddy looks oddly perplexed and sad.", "heart of Quinn Funeral Home and I'm\n proud to know him.\n Buddy is embarrassed and moved. Kathryn's eyes soften.", "BUSH\n Funeral party.\n Stumped for once in his life, Frank looks at Buddy. Then\n years of honed instincts surge back to life.\n\n FRANK\n We can do that.", "FRANK\n A funeral party.\n\n \n\n \n\n \n\n \n\n 35.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "FRANK\n So you'd like to have a funeral\n party while you're alive so you can\n go?\n\n BUSH\n Yes or no?", ".Quinn Funeral Home. I thought I\n could help you.\n Bush glances at his blown out window: 'Damn'. He lowers his", "FRANK\n Hey, the man wants to be at his own\n funeral. What can I say? I'd like\n to be at my funeral so I could tell\n my ex-wife to kiss my..", "BUSH\n I'm after a funeral.\n\n FRANK\n Boy, are you in luck.\n\n (GETTING UP)\n Follow me.", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "ANNOUNCER\n So tell us, sir, exactly how did\n you come up with the idea of having\n a funeral party before you die?\n\n BUSH\n I dreamed it.", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "A well crafted live-in home doubling as a funeral parlor. A\n sign, 'QUINN FUNERAL HOME', hangs from the porch.", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "Frank is lying in the back of the hearse, his head propped up\n on an old suitcase. He sips from his flask and stares out the\n window, thinking.", "FRANK\n I wonder what the odds are of a\n funeral home going broke? I mean\n you have a business everybody on" ], [ "BUSH\n I fell in love with a married lady.\n And somehow she fell in love with\n me. It was the only time that I\n have been in love.", "As Bush starts out the open door, he nearly bumps into\n Buddy's wife, Kathryn, and MATTIE DARROW. Mattie is carrying", "The look takes Bush's breath away. But he suddenly seems to\n accept it as his due and when he talks, it is only to her.", "on? She was already married when I\n met you. Were you just making up to\n me to get to her?\n Bush is so still he looks like a gargoyle.", "ropes. She stares at the wall as she walks toward Bush's bed.\n Bush is stricken and white. He would stop her if he could but\n it is too late.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "BUSH\n She's a peach.\n Frank and Buddy cut Bush a look. He looks ahead.\n\n BUSH\n We had a go.\n Frank nearly drives off the road.", "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "BUSH\n Hey Mattie.\n Buddy comes out, surprised to see Mattie and Bush together.\n Frank walks up behind him and scowls. Kathryn steers them\n back inside to give Mattie privacy.", "BUSH\n Is that all?\n Bush leans back stone-faced.\n In the silence, Buddy looks over again at the wondrous", "BUSH\n I am.\n Bush is surprised by the sound of his own voice.", "BUSH\n Me.\n Buddy peers around from the vestibule, listening, curious as\n hell, until Kathryn pulls him back.", "Dim lamp light glows. We see Bush sitting on the edge of the\n bed wiping the sweat from his face with a sheet. He looks up\n at the picture of the beautiful woman.", "BUSH\n I can wait.\n Buddy and Kathryn see Horton and double-take Bush. Buddy nods", "BUSH\n Her husband answered the door.", "BUSH\n I want to tell you how it was. If\n you don't want me to, I'll go.\n Mattie sighs from down deep in her shoes then comes around\n and sits down.", "BUSH\n He can hear what's said.\n Buddy is surprised again. So is Charlie.\n\n CHARLIE\n All right. After you left here..\n did you do the right thing?", "BUSH\n He's paying.\n As Bush blows out the door, Mr. Tollerude leans against the\n chair with relief.", "BUSH\n What stories?\n Bush leans in and stares into Horton. It feels like\n everything in the world stops dead.\n Buddy peeks in again, this time Kathryn peeks too.", "Buddy, Kathryn, and Horton see Bush.\n Quinn and Charlie follow the crowd's eyes to Bush." ], [ "BUSH\n Hey Mattie.\n Buddy comes out, surprised to see Mattie and Bush together.\n Frank walks up behind him and scowls. Kathryn steers them\n back inside to give Mattie privacy.", "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "BUSH\n Heard you moved off.\n\n MATTIE\n I've been back a while.\n\n BUSH", "Mattie and Bush walks side by side through the last of the\n glimmering light and shadows beneath the trees. It is a", "BUSH\n I want to tell you how it was. If\n you don't want me to, I'll go.\n Mattie sighs from down deep in her shoes then comes around\n and sits down.", "As Bush starts out the open door, he nearly bumps into\n Buddy's wife, Kathryn, and MATTIE DARROW. Mattie is carrying", "The look takes Bush's breath away. But he suddenly seems to\n accept it as his due and when he talks, it is only to her.", "Bush and Mattie are looking into each other, one anguished\n soul to another.", "BUSH\n Well.. what do you want to do?\n Buddy looks back at Bush.", "TOM\n Daddy!\n Wild with fear, Bonnie and Tom run toward Bush.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "BUSH\n I can wait.\n Buddy and Kathryn see Horton and double-take Bush. Buddy nods", "BUSH\n How you sleeping these days, girl?\n\n MATTIE\n How am I what?", "KEEPER, CHARLIE, MAUDE.\n Bush is squatting down staring at the markers. Mattie stands\n close beside him. Since his attention is elsewhere she looks", "BUSH\n Is that all?\n Bush leans back stone-faced.\n In the silence, Buddy looks over again at the wondrous", "BUSH\n It's still going on, Little Bit.\n Mattie tries to absorb that. The truth and tragedy of it", "BUSH\n What stories?\n Bush leans in and stares into Horton. It feels like\n everything in the world stops dead.\n Buddy peeks in again, this time Kathryn peeks too.", ".Bush enters the field with his shotgun pointed at Carl and\n Gary's backs. They are drenched with gas and it is burning\n them through their clothes.", ".Bush gives Mattie a glance and tries to be invisible." ], [ "BUSH\n He's paying.\n As Bush blows out the door, Mr. Tollerude leans against the\n chair with relief.", "HORTON\n Well.. you can't buy forgiveness,\n Mr. Bush. It's free. But you do\n have to ask for it.", "BUSH\n I did.. what I thought was right.\n\n CHARLIE\n You confessed? Asked forgiveness?\n Bush looks off and the muscles jump in his jaw.", "BUSH\n Is that all?\n Bush leans back stone-faced.\n In the silence, Buddy looks over again at the wondrous", "BUSH\n They keep talking about\n forgiveness.. ask Jesus for\n forgiveness.. I never did nothing\n to Him..", "BUSH\n Why did you change your mind?\n Charlie just looks at him, the unspoken words louder than any\n reason he could give.\n\n BUSH\n Thank you.", "BUSH\n I am.\n Bush is surprised by the sound of his own voice.", "BUSH\n You have no goddamn idea how right\n you are, son.\n Buddy moves to help him up but Bush waves him off.", "BUSH\n He can hear what's said.\n Buddy is surprised again. So is Charlie.\n\n CHARLIE\n All right. After you left here..\n did you do the right thing?", "eating and realizes that Bush has taken another turn and that\n he's been dismissed.", "BUSH\n She's a peach.\n Frank and Buddy cut Bush a look. He looks ahead.\n\n BUSH\n We had a go.\n Frank nearly drives off the road.", "BUSH\n Yeah, well..\n Bush returns to chopping wood.\n Feeling awkward, Horton hesitates, starts for his car, stops.", "Finally Bush drops his gaze and lets Tom off the hook.\n Relieved, Tom heaves the can up into the truck. Bonnie\n hesitates then goes back into the diner just as...", "BUDDY\n (out of nowhere)\n We say that funerals are \"For the\n Living\" but we forget what that\n means sometimes, I guess.\n (to Bush but almost to", "BUSH\n Still standing.\n\n CHARLIE\n Yes.\n Charlie give Bush a look then holds out his hand to Buddy\n again.", "93.\n Bush thinks about it, sees a way out. For a second he looks\n like he might take it. Then he shakes his head, puts a rag\n over the poultice and pulls his shirt up.", "Buddy arrives at Bush first and sees the blood weeping onto\n his shirt.", "BUSH\n I can wait.\n Buddy and Kathryn see Horton and double-take Bush. Buddy nods", "Somehow he has made it. Sopping wet and shivering, Bush is in\n bad shape and knows it.\n Mule sees Bush and grunts anxiously as he rises.", "18.\n Buddy is caught off guard by Bush's lucid candor and finds\n himself automatically responding differently to him." ], [ "world to think. I could see that\n her husband had set the downstairs\n on fire before he came up.", "Out of nowhere a man bursts through a second story window,\n lands hard and rolls to smother his burning clothes.\n He crawls away and staggers up and for a moment looks as if", "From a distance and through the trees we see a raging hell\n fire engulfing a small two story house. It burns and burns.", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "A man on fire bursts through the second story window of a\n burning house. He lands hard and rolls across the yard to\n smother the flames.", "With his clothes still smoking, he unbelievably tries to run\n back into the hell. But the fire is too hot and he cannot. He\n screams like a mad man and runs into the trees..", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "163 EXT. BURNING HOUSE - NIGHT 163", "Still shivering, Bush steps uneasily in front of the fire.\n Mattie hands him the hot mug. He looks uneasily at the yellow\n flowers on the table nearby.", "Buddy's son is crying his heart out. Kathryn comes in\n unbuttoning her blouse, picks him up, sits down, slips her", "(BEAT)\n But before I could get to her and\n help her up.. a kerosene lamp hit\n the wall. And then her husband", "BUSH\n Thank you.\n\n MATTIE\n What are you doing here?\n Burned through, a log falls in the fire. Bush jerks oddly and\n moves away.", "touches her in way that she is not prepared for. They sit\n there in silence. She suddenly wipes her face and scowls.", "Mattie sits down beside him. Tears are streaming down her\n face. She lays her head gently on his shoulder.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "he might run back into the flames. But the heat is\n unbearable. He runs toward us then past us through black\n shadows. We cannot see his face,", "ropes. She stares at the wall as she walks toward Bush's bed.\n Bush is stricken and white. He would stop her if he could but\n it is too late.", "KATHRYN\n I hope not.\n\n MATTIE\n Oh no, listen, he was beautiful.\n\n KATHRYN\n Are you serious?", "them. Burning and spitting they empty the cans. Suddenly\n Theman bolts, moaning and running blind with gas in his eyes." ], [ "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "Mattie sits just behind the girl with tears in her eyes, not\n really listening. On the table beside the piano is a stack of\n picture albums and old yellowed newspaper articles.", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "MATTIE\n She was married! And she wasn't\n just my sister, she was my best\n friend. We told each other", "BUSH\n Hey Mattie.\n Buddy comes out, surprised to see Mattie and Bush together.\n Frank walks up behind him and scowls. Kathryn steers them\n back inside to give Mattie privacy.", "FRANK\n So? We got to know.\n Kathryn shakes her head and goes back outside. FRANK has\n another look at Mattie then lets the curtain fall back.", "Mattie sits down beside him. Tears are streaming down her\n face. She lays her head gently on his shoulder.", "FRANK\n Are you alright, Mattie?\n She looks up at Frank for a long moment, her face softening.", "(BEAT)\n He had blood on him.\n For Mattie all of this is like window into the past being\n suddenly thrown open and she is haunted and mesmerized.", "Mattie pulls the door open. Bush is standing there soaking\n wet, breathing hard, holding his shotgun. She draws back\n reflexively. He looks into her.\n\n BUSH\n Please, Ma'am.", "Bush starts out of the barn, draws back, and peeks through\n the wall boards: A FIGURE approaches. He jerks..\n REVEAL Mattie walking\n\n BUSH\n Mattie?", "Mattie is standing on the sidewalk at Feldman's store with\n her coat collar pulled up against the cold, giving someone we\n can't see a bemused affectionate scolding..", "MATTIE\n And there's no getting over some\n things either, is there?\n\n BUSH\n Reckon not, Little Bit.", "82 INT. MATTIE'S HOUSE - NIGHT 82", "the steps and it had blood and hair\n on it.\n The crowd gasps. Mattie is trembling.", "KEEPER, CHARLIE, MAUDE.\n Bush is squatting down staring at the markers. Mattie stands\n close beside him. Since his attention is elsewhere she looks", "Kathryn and Buddy's baby boy.\n Frank sees Mattie and flicks his hair back nervously and\n quickly brushes his teeth with his finger as..", "MATTIE\n Little Bit?! Oh my God, nobody's\n called me that in..\n But suddenly she is lifted from the chair as if by strong", "CARL\n I'll tell you one damn thing, ain't\n nobody gonna go to a funeral for\n that son of a bitch.\n Mattie gives Carl a look" ], [ "that everyone is talking about. And\n here he is, Mr. Felix Bush, the\n mysterious hermit of Caleb County!\n How are you today, sir?", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "funeral party of Mr. Felix Bush!\n People don't know whether to clap or not. Some do and the\n rest of them pick it up.", "BUS H\n Pretty good prayer. Mighta been\n wrong about that preacher.\n\n CHARLIE\n Why don't you lay down, Felix?", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "Mule stands with his ears back, upset. Bush, back in his old\n clothes, is angrily planing a board. The box of his casket\n minus the lid is on sawhorses behind him.", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "CHARLIE\n My hearing is not what it was. It\n sounded like you said you want me\n to preach at your funeral party\n with you sitting there?\n\n BUSH\n Yes, sir.", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "BUSH\n Yeah, well..\n Bush returns to chopping wood.\n Feeling awkward, Horton hesitates, starts for his car, stops.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "the most beautiful sanctuary that\n I've ever seen. A lot of wonderful\n things happened in that church.\n Suddenly Bush breaks away, moves up beside Charlie, and puts", "BUSH\n Need a funeral.\n Horton looks up from the money.", "BUS H\n You was at the church with your\n wife and baby.\n Buddy opens his eyes and can't believe he is still alive.\n\n BUDDY\n Yes, sir.", "Bush is on the porch, straining boiled herbs, grass, and bark\n into a jar. There is something not right with him and he\n knows it. While the medicine cools he looks out across the\n mountain and draws a deep breath.", "RAY\n\n (SERIOUSLY)\n How much has he got? Maybe he can.\n Hearing that Bush wants or needs a real funeral Mattie is\n suddenly truly concerned." ], [ "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "that everyone is talking about. And\n here he is, Mr. Felix Bush, the\n mysterious hermit of Caleb County!\n How are you today, sir?", "funeral party of Mr. Felix Bush!\n People don't know whether to clap or not. Some do and the\n rest of them pick it up.", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "BUSH\n Funeral party.\n Stumped for once in his life, Frank looks at Buddy. Then\n years of honed instincts surge back to life.\n\n FRANK\n We can do that.", "Bush is on the porch, straining boiled herbs, grass, and bark\n into a jar. There is something not right with him and he\n knows it. While the medicine cools he looks out across the\n mountain and draws a deep breath.", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "CHARLIE\n My hearing is not what it was. It\n sounded like you said you want me\n to preach at your funeral party\n with you sitting there?\n\n BUSH\n Yes, sir.", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "FRANK\n A what?\n\n BUSH\n A party.\n\n BUDDY\n What kind of party?", "ANNOUNCER\n So tell us, sir, exactly how did\n you come up with the idea of having\n a funeral party before you die?\n\n BUSH\n I dreamed it.", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him.", "23.\n\n FRANK\n A service?\n\n BUSH\n Party.", "BUSH\n Yeah, well..\n Bush returns to chopping wood.\n Feeling awkward, Horton hesitates, starts for his car, stops.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "Bush stands staring out the checkerboard window. He sees\n Charlie approaching and opens the door for him. Charlie\n climbs the steps, appraises the shack, and stares at Bush." ], [ "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "toward him. He squints, recognizes her, and his face fills\n with a timeless love.", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "BUDDY\n No catch, sir.\n\n CHARLIE\n Still don't get it, do you? With\n Felix, there's always a catch.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "MATTIE\n Oh, Felix..\n He sniffs her hair and tenderly touches it.\n\n BUSH\n Wonder if her hair would be white?", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "MATTIE\n I'm not stupid, Felix. No, I take\n that back. How long was it going", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "FRANK\n Yeah, sorry.\n He stands, loving the view, forgetting why he is here.\n She waits it out as long as she can, not sure how she feels\n about this adoring look.", "RAY\n What money is that?\n\n MATTIE\n Felix has money?\n Everyone is looking at Frank but he shuffles the cards.", "CHARLIE\n Well, Felix, this one's for real, I\n guess. I didn't actually see them", "26.\n\n MATTIE\n How are you?\n\n BUSH\n You look like you always did.\n He abruptly rips himself away and is gone.", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him." ], [ "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "BUS H\n Pretty good prayer. Mighta been\n wrong about that preacher.\n\n CHARLIE\n Why don't you lay down, Felix?", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "RAY\n What money is that?\n\n MATTIE\n Felix has money?\n Everyone is looking at Frank but he shuffles the cards.", "MATTIE\n I'm not stupid, Felix. No, I take\n that back. How long was it going", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him.", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "BUDDY\n No catch, sir.\n\n CHARLIE\n Still don't get it, do you? With\n Felix, there's always a catch.", "HORTON\n Well.. you can't buy forgiveness,\n Mr. Bush. It's free. But you do\n have to ask for it.", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "MATTIE\n Oh, Felix..\n He sniffs her hair and tenderly touches it.\n\n BUSH\n Wonder if her hair would be white?" ], [ "that everyone is talking about. And\n here he is, Mr. Felix Bush, the\n mysterious hermit of Caleb County!\n How are you today, sir?", "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "RAY\n What money is that?\n\n MATTIE\n Felix has money?\n Everyone is looking at Frank but he shuffles the cards.", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "CHARLIE\n Well, Felix, this one's for real, I\n guess. I didn't actually see them", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "Frank and Buddy enter the store and find MR. FELDMAN and a\n PHOTOGRAPHER setting up a large camera and backdrop. As they\n turn to show Bush what is happening they see him go by the\n window outside.", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him.", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "BUS H\n Pretty good prayer. Mighta been\n wrong about that preacher.\n\n CHARLIE\n Why don't you lay down, Felix?" ], [ "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "that everyone is talking about. And\n here he is, Mr. Felix Bush, the\n mysterious hermit of Caleb County!\n How are you today, sir?", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "Frank and Buddy enter the store and find MR. FELDMAN and a\n PHOTOGRAPHER setting up a large camera and backdrop. As they\n turn to show Bush what is happening they see him go by the\n window outside.", "HORTON\n Took out ads in a bunch of papers\n too, something about a party?\n\n FRANK\n God, I love small towns.", "making sure they know that he has his eyes on them.\n A BAND arrives on the back of pick-up truck.\n The Generator kicks on belching smoke everywhere. Frank is", "on it, a truck loaded with equipment and workers for the big\n event rumbles down a dirt road. The Quinn Funeral home hearse\n completes the unlikely parade.", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "FRANK\n What do you mean, what? Goddamn\n ball of money! He wants a party\n with pink balloons on his ears,\n we're gonna give it to him.", "funeral party of Mr. Felix Bush!\n People don't know whether to clap or not. Some do and the\n rest of them pick it up.", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "RAY\n What money is that?\n\n MATTIE\n Felix has money?\n Everyone is looking at Frank but he shuffles the cards.", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "CHARLIE\n Well, Felix, this one's for real, I\n guess. I didn't actually see them", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters." ], [ "FRANK\n They might. He's inviting everyone\n who has a story about him to come.\n You could tell about him kicking\n your ass, Carl.\n Carl looks at Frank as if he wants to cold cock him.", "on and have a party with the devil\n for his money but I'll dance on his\n grave someday.\n Carl snatches his few dollars up and heads out.", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "FRANK \n He came to see me after he'd been \n here, wants to call the party off.\n\n CHARLIE\n I don't care.", "BUDDY\n The day of the party he told me\n about the will he had in the secret\n drawer of his table. He left the\n raffle money to all of us.\n Everyone is shocked, touched.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "ANNOUNCER\n So tell us, sir, exactly how did\n you come up with the idea of having\n a funeral party before you die?\n\n BUSH\n I dreamed it.", "done, would you do it? I want it\n said. Please, sir.\n Charlie sighs from down in his shoes and starts for the door.", "KATHRYN\n What's wrong? My husband has his\n head bashed in and all you care\n about is this party!", "CHARLIE\n My hearing is not what it was. It\n sounded like you said you want me\n to preach at your funeral party\n with you sitting there?\n\n BUSH\n Yes, sir.", "part?\n (off Charlie's sigh)\n At first he said he wanted\n everybody to come who had a story", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie.", "HIMSELF)\n I was thinking about your funeral\n party before I went to sleep last\n night and I think I understand it a", "Frank and Charlie walk toward the stage. Buddy peels away.\n Frank calls after him to come with them to the stage but\n Buddy waves them away. He wants no part of that. He sees", "FRANK\n What do you mean, what? Goddamn\n ball of money! He wants a party\n with pink balloons on his ears,\n we're gonna give it to him.", "BUSH\n Funeral party.\n Stumped for once in his life, Frank looks at Buddy. Then\n years of honed instincts surge back to life.\n\n FRANK\n We can do that.", "They enter the dark room together. Bush lights a lantern,\n gets a chair from a corner and holds it out for her. She sits", "His voice booms out over the crowd, startling him. He looks\n down, sees Buddy, Kathryn, Frank and Horton.\n He looks closer for someone most important but she is not", "Horton steps up to the microphone. The shocked crowd turns to\n him. He closes his eyes and bows his head.", "23.\n\n FRANK\n A service?\n\n BUSH\n Party." ], [ "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "CHARLIE\n Well, Felix, this one's for real, I\n guess. I didn't actually see them", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "Under the trees crooked rows of cold ghostly headstones\n glisten in the darkness. An old pocket lighter flares to\n reveal Bush staring at a pot of yellow flowers. He holds the", "Frank enters with a flashlight. He sees that his desk and\n files have been ransacked. He rushes into the casket room.", "Charlie sits at his desk, staring blankly at his crooked\n stamp. Suddenly Fate in the form of Frank Quinn looms at the\n window. Charlie knows he is there but he won't look at him.", "BUS H\n Pretty good prayer. Mighta been\n wrong about that preacher.\n\n CHARLIE\n Why don't you lay down, Felix?", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "MATTIE\n Oh, Felix..\n He sniffs her hair and tenderly touches it.\n\n BUSH\n Wonder if her hair would be white?", "Several caskets have been thrown to the floor. He goes to the\n one where the money is, finds that it is sealed tight, and\n sighs with relief. Hearing something he whips the light", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie." ], [ "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "funeral party of Mr. Felix Bush!\n People don't know whether to clap or not. Some do and the\n rest of them pick it up.", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "FRANK\n A funeral party.\n\n \n\n \n\n \n\n \n\n 35.", "CHARLIE\n My hearing is not what it was. It\n sounded like you said you want me\n to preach at your funeral party\n with you sitting there?\n\n BUSH\n Yes, sir.", "BUSH\n Funeral party.\n Stumped for once in his life, Frank looks at Buddy. Then\n years of honed instincts surge back to life.\n\n FRANK\n We can do that.", "ANNOUNCER\n So tell us, sir, exactly how did\n you come up with the idea of having\n a funeral party before you die?\n\n BUSH\n I dreamed it.", "62.\n\n BUDDY\n Almost nothing, sir. I just work at\n the funeral home.\n\n CHARLIE\n Do you know he built this church?", "CHARLIE\n Are you sure you're in the right\n place? Not expecting a funeral.\n Suddenly Bush steps into the church. Charlie squints over\n then stares at Bush with utter disbelief.", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "the most beautiful sanctuary that\n I've ever seen. A lot of wonderful\n things happened in that church.\n Suddenly Bush breaks away, moves up beside Charlie, and puts", "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "Buddy quietly creeps in through the front door, looks back\n over his shoulder, scowls, and enters the church.", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "FRANK\n So you'd like to have a funeral\n party while you're alive so you can\n go?\n\n BUSH\n Yes or no?", "FRANK\n Hey, the man wants to be at his own\n funeral. What can I say? I'd like\n to be at my funeral so I could tell\n my ex-wife to kiss my..", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "HORTON\n All right, I see. Well the church\n can help you get your affairs in\n order, arrange a service..\n Horton glances at the strange wad of money again." ], [ "ANNOUNCER\n You heard him! If you want a chance\n to win 300 acres of virgin timber\n worth thousands and thousands of", "are selling the raffle tickets, making them turn their\n pockets inside out. The generator makes a strange noise,\n Frank eyeballs it, and it labors on.", "A MAN chooses a winning raffle ticket from a wire cage.\n A poor YOUNG COUPLE with SEVERAL CHILDREN win the raffle! The", "space with a prized addition. A LOUD KNOCKING startles him\n and the stamp is placed slightly crooked..\n Reveal Charlie Jackson scowling at the crooked stamp. He gets", "BUSH\n You buy a ticket for $5.00 The day\n of the funeral we draw names. Then\n when I die, the winner gets my", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "BUDDY\n The day of the party he told me\n about the will he had in the secret\n drawer of his table. He left the\n raffle money to all of us.\n Everyone is shocked, touched.", "Buddy is surrounded by bags. He is copying down names onto\n raffle tickets and putting them in bin for the drawing. There\n is a MAN standing guard by the front door with a rifle.", "RAY\n Please. I've won that 4 times\n already.\n\n FRANK\n It's who has it last that counts.", "Frank has cleaned the wound. Buddy has made a poultice that\n Bush is pressing onto the wound as he hears the last of\n Horton's prayer over the loudspeakers.", "Several caskets have been thrown to the floor. He goes to the\n one where the money is, finds that it is sealed tight, and\n sighs with relief. Hearing something he whips the light", "promise of a new and better life begins for them.\n The big funeral party breaks up people wind their way home.\n The big old honking generator coughs off.", "Frank rips open two more envelopes and dollar bills rain down\n to the floor. He's beside himself. Buddy eyes him warily.", "93.\n Bush thinks about it, sees a way out. For a second he looks\n like he might take it. Then he shakes his head, puts a rag\n over the poultice and pulls his shirt up.", "MATTIE\n Oh please.. you think the Lord's\n taking sides in a poker game in a\n funeral home?\n Horton shrugs and points to the divine evidence.", "Ray shrugs, sweetly blase. Frank tries to rein in his temper\n for her. The loss of the hand is especially hard on Carl who\n has only a couple of dollars left.", "9.\n Bush abruptly grabs his money and starts out. His hand bangs\n into the pew and the money FALLS.", "Horton steps up to the microphone. The shocked crowd turns to\n him. He closes his eyes and bows his head.", "slides to the floor, crawls on his knees, and looks out.\n Frank is standing there, scratching on the screen. Behind him\n is Charlie, looking very unhappy about standing in the near", "Buddy stares wild-eyed at the big wad of money then drops\n back into the vestibule.\n Bush storms past Buddy, Kathryn and the baby like a hot wind." ], [ "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "MATTIE\n Oh, Felix..\n He sniffs her hair and tenderly touches it.\n\n BUSH\n Wonder if her hair would be white?", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him.", "MATTIE\n I'm not stupid, Felix. No, I take\n that back. How long was it going", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "RAY\n What money is that?\n\n MATTIE\n Felix has money?\n Everyone is looking at Frank but he shuffles the cards.", "CHARLIE\n Well, Felix, this one's for real, I\n guess. I didn't actually see them", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "CHARLIE\n Felix?!\n\n BUSH\n Hey, Charlie.\n They shake hands, then hug. Buddy is blown away that Bush\n would hug anyone. Bush looks up at the church rafters.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "BUSH\n I fell in love with a married lady.\n And somehow she fell in love with\n me. It was the only time that I\n have been in love.", "He did what?! Good God. No, Ma'am,\n I didn't know that about your\n husband. Well, yeah now I\n understand why you want him under" ], [ "lighter to a tombstone and brushes away the debris. It reads:\n MARY LEE STROUP B. 1874 D. 1894. THUNDER rolls.", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "Everyone piles into the hearse. There is no back seat so they\n all have to crawl in the back door and sit along the sides.\n It makes everyone smile. Mattie gives Bush one last fleeting", "the steps and it had blood and hair\n on it.\n The crowd gasps. Mattie is trembling.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "Mattie sits down beside him. Tears are streaming down her\n face. She lays her head gently on his shoulder.", "BUSH\n\n (SOFTLY)\n What got him?\n\n HORTON\n Just got old, sir.", "BUSH\n It's still going on, Little Bit.\n Mattie tries to absorb that. The truth and tragedy of it", "MATTIE\n She was married! And she wasn't\n just my sister, she was my best\n friend. We told each other", "(BEAT)\n He had blood on him.\n For Mattie all of this is like window into the past being\n suddenly thrown open and she is haunted and mesmerized.", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "CARL\n I'll tell you one damn thing, ain't\n nobody gonna go to a funeral for\n that son of a bitch.\n Mattie gives Carl a look", "FRANK\n So? We got to know.\n Kathryn shakes her head and goes back outside. FRANK has\n another look at Mattie then lets the curtain fall back.", "BUSH\n I came to see you and she was\n there, hanging clothes on the line\n with your mama.\n Bush stares out the window so hard, Mattie turns to see what\n he is looking at..", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "KATHRYN\n I hope not.\n\n MATTIE\n Oh no, listen, he was beautiful.\n\n KATHRYN\n Are you serious?", "MATTIE\n He was a Doctor; a real good man.\n We lived in St. Louis for awhile.\n He died unexpectedly about a year", "3.\n\n HORTON\n Uh, well, Mr. Wiley Starke has\n passed on, sir. His funeral is\n tomorrow and I thought you might\n want to know since..", "89A.\n Buddy starts toward Bush. Kathryn tries to stop him but he\n pulls free and walks slowly toward Bush.\n A shot rings out!" ], [ "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "An EMPTY CASKET, awaits its passenger in a small but\n serviceable funeral hall. Through the office door, FRANK", "Everyone piles into the hearse. There is no back seat so they\n all have to crawl in the back door and sit along the sides.\n It makes everyone smile. Mattie gives Bush one last fleeting", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "funeral party of Mr. Felix Bush!\n People don't know whether to clap or not. Some do and the\n rest of them pick it up.", "41 INT. FUNERAL HOME - DAY 41", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "on it, a truck loaded with equipment and workers for the big\n event rumbles down a dirt road. The Quinn Funeral home hearse\n completes the unlikely parade.", "100 OMITTED 100\n\n 101 INT. FUNERAL HOME - NIGHT 101", "23 INT. FUNERAL HOME - DAY 23", "Bush enters the Funeral Home. As Buddy starts to close the\n door, Bush catches it.", "24 INT. FUNERAL HOME/OFFICE - SAME 24", "Frank Quinn at Quinn Funeral Home.\n As the Announcer begins a song, Bush moves his head in time\n with the music. Frank and Buddy rush into the control booth.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "BUSH\n Send it to the Quinn Funeral Home.\n Frank's eyes light up like fiery pinwheels and he almost\n yelps! Buddy looks oddly perplexed and sad.", "BUSH\n I'm after a funeral.\n\n FRANK\n Boy, are you in luck.\n\n (GETTING UP)\n Follow me.", "FRANK\n A funeral party.\n\n \n\n \n\n \n\n \n\n 35.", "brought the wagon with the coffin into the field. Everyone\n quiets, remembering why they are here. They park the wagon\n behind the hearse." ], [ "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "CHARLIE\n Did you tell her, Felix?\n Charlie sighs, leans on his knees, and drops his head.", "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "CHARLIE\n Well, Felix, this one's for real, I\n guess. I didn't actually see them", "Frank enters with a flashlight. He sees that his desk and\n files have been ransacked. He rushes into the casket room.", "fierce gray bearded man, FELIX BUSH. He is holding out a\n handkerchief to the boy. Shaking hard, Tom hesitates then\n takes it and wipes his mouth.", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "Under the trees crooked rows of cold ghostly headstones\n glisten in the darkness. An old pocket lighter flares to\n reveal Bush staring at a pot of yellow flowers. He holds the", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "MATTIE\n Oh, Felix..\n He sniffs her hair and tenderly touches it.\n\n BUSH\n Wonder if her hair would be white?", "Charlie sits at his desk, staring blankly at his crooked\n stamp. Suddenly Fate in the form of Frank Quinn looms at the\n window. Charlie knows he is there but he won't look at him.", "Several caskets have been thrown to the floor. He goes to the\n one where the money is, finds that it is sealed tight, and\n sighs with relief. Hearing something he whips the light", "BUS H\n Pretty good prayer. Mighta been\n wrong about that preacher.\n\n CHARLIE\n Why don't you lay down, Felix?", "CHARLIE\n Some 40 years ago Felix Bush\n dropped into my life and then\n dropped out. In between he built", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him." ], [ "CHARLIE\n I'm Reverend Charlie Jackson. Felix\n wants to continue with his funeral.\n And he's asked me to say a few", "FRANK\n (looking out again)\n She called him Felix.\n\n 45 EXT. FUNERAL HOME - DAY 45", "Funeral Party. It seems that Mr.\n Bush has been shot. I repeat, Mr.\n Felix Bush has been shot. There is\n no word of condition..", "funeral party of Mr. Felix Bush!\n People don't know whether to clap or not. Some do and the\n rest of them pick it up.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "Everyone piles into the hearse. There is no back seat so they\n all have to crawl in the back door and sit along the sides.\n It makes everyone smile. Mattie gives Bush one last fleeting", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "on it, a truck loaded with equipment and workers for the big\n event rumbles down a dirt road. The Quinn Funeral home hearse\n completes the unlikely parade.", "An EMPTY CASKET, awaits its passenger in a small but\n serviceable funeral hall. Through the office door, FRANK", "embrace then climbs in. Bush looks in on them all for a long\n moment all then closes the door.\n As the hearse moves out, he waves to Buddy who is looking out", "FRANK\n But what happened?\n\n BUDDY\n He asked the preacher to come to\n the funeral. He said no.", "41 INT. FUNERAL HOME - DAY 41", "24 INT. FUNERAL HOME/OFFICE - SAME 24", "Frank Quinn at Quinn Funeral Home.\n As the Announcer begins a song, Bush moves his head in time\n with the music. Frank and Buddy rush into the control booth.", "brought the wagon with the coffin into the field. Everyone\n quiets, remembering why they are here. They park the wagon\n behind the hearse.", "Bush enters the Funeral Home. As Buddy starts to close the\n door, Bush catches it.", "FRANK\n A funeral party.\n\n \n\n \n\n \n\n \n\n 35.", "114 INT. FUNERAL HOME/OFFICE - NIGHT/LATER 114\n\n Frank sits with his feet on the desk. Bush sits across from\n him. They each have a cup of whiskey.", "BUSH\n I'm after a funeral.\n\n FRANK\n Boy, are you in luck.\n\n (GETTING UP)\n Follow me." ], [ "MATTIE\n Felix?\n Mattie enters, straining to see into the barn. Her eyes\n adjust to find him standing near Mule. She is startled and\n pleased by his new do.", "Everyone moves away as the men fill in the grave. Buddy and\n Kathryn move up beside Frank and Mattie and Charlie. Buddy\n tosses the ball of hermit money to Frank.", "Everyone piles into the hearse. There is no back seat so they\n all have to crawl in the back door and sit along the sides.\n It makes everyone smile. Mattie gives Bush one last fleeting", "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "A fourth grave marker just like the others leans against the\n tree. It is freshly carved with: Felix Elijah Bush. A pot of\n fresh yellow flowers sit beside the marker.", "MATTIE\n Oh, Felix..\n He sniffs her hair and tenderly touches it.\n\n BUSH\n Wonder if her hair would be white?", "MATTIE (CONT'D)\n Felix!\n (off his haunted silence)\n Get out of my house! NOW!\n Bush stands up quickly and starts for the door.", "I wish it for us all.\n Mattie moves toward the edge of the grave. Frank puts a hand\n out to catch her should she should stumble. She stares down", "Mattie sits down beside him. Tears are streaming down her\n face. She lays her head gently on his shoulder.", "MATTIE\n When someone you love is gone, you\n can pour everything, even a\n lifetime of things into the place\n where they were but it's still\n always empty.", "fades we see in their faces the impact that Felix Bush has\n had upon them. Buddy feels the comfort of this odd but\n growing family and stops and looks back at the grave and the", "MATTIE\n I'm not stupid, Felix. No, I take\n that back. How long was it going", "MATTIE\n Felix! Say hello to me!\n Frank, eyes wide with surprise, mouths, \"Felix?\".", "MATTIE\n Oh please.. you think the Lord's\n taking sides in a poker game in a\n funeral home?\n Horton shrugs and points to the divine evidence.", "MATTIE\n Felix?!\n Feigning deafness, Bush walks on. Sensing something, Kathryn\n takes the baby so Mattie can go after him.", "CARL\n I'll tell you one damn thing, ain't\n nobody gonna go to a funeral for\n that son of a bitch.\n Mattie gives Carl a look", "FRANK\n (a knowing look at Mattie)\n \"Felix\" Bush.\n\n MATTIE\n You're giving him a party?", "Buddy is putting the money into the foot of a casket. A lit\n candelabra sits nearby. There is NOISE, like the muted sound\n of something breaking. Buddy jerks and listens.", "96.\n Mattie's here. Seeing that Felix appears to alright, her face\n changes from conflicted concern to open unbridled hatred.", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie." ], [ "MATTIE\n Just tell me, Felix. Did you hurt\n Mary or not?\n Bush stares into her then suddenly gets up, picks up his\n shotgun and goes out the door without a word.", "He did what?! Good God. No, Ma'am,\n I didn't know that about your\n husband. Well, yeah now I\n understand why you want him under", "(BEAT)\n He had blood on him.\n For Mattie all of this is like window into the past being\n suddenly thrown open and she is haunted and mesmerized.", "Finally she whirls and looks at him, her face a tortured\n mask. A strangled sob escapes her.\n He gets up and stands there staring at the floor.", "(BEAT)\n And as I was thinking about that, I\n saw that the lamp he threw had set\n the room we were in on fire too.\n Bush forces himself to keep looking into Mattie.", "world to think. I could see that\n her husband had set the downstairs\n on fire before he came up.", "(BEAT)\n But before I could get to her and\n help her up.. a kerosene lamp hit\n the wall. And then her husband", "Mattie pulls the door open. Bush is standing there soaking\n wet, breathing hard, holding his shotgun. She draws back\n reflexively. He looks into her.\n\n BUSH\n Please, Ma'am.", "Suddenly she is moving toward him and then past him and out\n the door. Her shadow merges with the darkness. Bush stands\n with his head down, staring into oblivion.", "the steps and it had blood and hair\n on it.\n The crowd gasps. Mattie is trembling.", "KATHRYN\n What's wrong? My husband has his\n head bashed in and all you care\n about is this party!", "Mule stands with his ears back, upset. Bush, back in his old\n clothes, is angrily planing a board. The box of his casket\n minus the lid is on sawhorses behind him.", "BUSH (CONT'D)\n And as I was slamming his head into\n the wall, trying to get shed of", "BUSH\n I hit him pretty hard, knocked him\n down. Can't remember going upstairs\n but I remember I saw a hammer on", "lighter to a tombstone and brushes away the debris. It reads:\n MARY LEE STROUP B. 1874 D. 1894. THUNDER rolls.", ".Bush enters the field with his shotgun pointed at Carl and\n Gary's backs. They are drenched with gas and it is burning\n them through their clothes.", "BUSH\n That crazy old son of a bitch tried\n to beat a man to death for no\n reason? That it?", "ropes. She stares at the wall as she walks toward Bush's bed.\n Bush is stricken and white. He would stop her if he could but\n it is too late.", "barn and levels a glinting shotgun at him!\n Tom freezes, bends over, and throws up!\n When Tom looks up, a ray of light reveals the half face of a", "touches her in way that she is not prepared for. They sit\n there in silence. She suddenly wipes her face and scowls." ] ]

[ "What does Felix request when he returns to town?", "What was Mary Lee attacked with?", "Who was Bush's true love?", "How did Mary Lee's husband set the house on fire?", "Whose ghost does Bush think he sees?", "Why does Frank Quinn agree to advtertise a funeral party for Felix?", "Who did Bush have an affair with?", "What plans did Bush and Mary Lee have together?", "Who forgives Bush?", "What woman dies in a terrible fire?", "What is Mary Lee's relationship to Mattie?", "What does Felix Bush want to plan with the help of the town's minister?", "Who is Felix Bush's party for?", "Who does Felix confess he always loved?", "Who has to forgive Felix?", "Who do the town folf believe Felix is in league with?", "What does Felix bring to town with him to plan a party with?", "Who agrees to help him throw a party?", "Whose ghost does Felix appear to see before he dies?", "Whose church does Felix want to have a funeral party at?", "What is the lottery prize?", "Who did Felix have an affair with?", "How did Mary Lee die?", "Where is Felix's funeral service held?", "Whose ghost does Felix see before dying?", "Who officiates Felix's funeral?", "What does Mattie place on Felix's casket?", "What weapon did Mary Lee's husband use to attack her?" ]

[ [ "A funeral party for himself.", "A funeral party " ], [ "A hammer.", "a hammer" ], [ "Mary Lee.", "Mary Lee Stroup" ], [ "By throwing a kerosene lamp against a wall.", "He threw a kerosine lamp against the wall" ], [ "The ghost of Mary Lee.", "Mary Lee." ], [ "Because he was having financial troubles.", "he wants Filix's money" ], [ "Mary Lee.", "Mary ." ], [ "To run away.", "to run off and be together" ], [ "Mattie.", "Mattie Darrow" ], [ "Mary Lee", "Mary Lee" ], [ "She is her sister", "they are sisters" ], [ "A funeral party", "A funeral party" ], [ "Himself", "Himself" ], [ "Mary Lee", "Mary Lee" ], [ "Mattie", "Mattie Darrow" ], [ "The devil", "The Devil." ], [ "A wad of cash", "A wad of cash " ], [ "The town's funeral director", "Frank Quinn" ], [ "Mary Lee's", "Mary Lee" ], [ "Reverend Gus Horton's", "Rev Gus Horton's" ], [ "Felix's property", "Bush's property" ], [ "Mary Lee", "Mary Lee, Mattie's sister" ], [ "Her husband attacked her and set the house on fire", "She died in a fire." ], [ "On his property", "A burial plot on Felix's property" ], [ "Mary Lee's", "Mary Lee" ], [ "Charlie", "Charlie." ], [ "A picture of Mary Lee", "A picture of Mary Lee" ], [ "A hammer", "Hammer." ] ]

48e4a4f877a7b8844de565b4dc1269db01803435

train

[ [ "She turns to her husband. He is not what Racine expected.\nHe may, in fact, be mean, as Matty described him, but he", "She looks at him, and there is something startling about\nthe directness of her gaze. When she speaks, she is cool\nwithout being hostile.\n\n MATTY\n I'm a married woman.", "Matty turns toward him.\n\n MATTY\n No, darling. Don't talk that way.\n It's not true.\n\nRacine studies her face.", "MATTY\n Mary Ann's an old friend. She's\n like a sister to me. She wants me\n to be happy.", "Matty's face, her head on a pillow, turned away from her\nhusband, away from the bedroom door. Her look is just as\nintense as Racine's. Her eyes are focused on -", "Matty, flat on her back, smiles weakly and looks at the\nceiling. Again, the mattress moves. She looks at Edmund.\nHe has pulled on his shorts and is walking toward the\nbathroom.", "Matty is leaning against one of the posts that flank the\nporch stairs. Headlights pass across the front of the\nhouse and Matty's body. She smiles a welcoming smile to\nthe unseen Edmund.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "Matty's face looks different than we've seen it. There's\na fire burning behind there and the heat it's throwing is\nbringing her equal portions of dread and relief. She\nstares at him,", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "MATTY\n (hugs him closer)\n Oh, I know you will, darling. I didn't", "MATTY\n He left this morning. I had to see\n you.\n\n RACINE\n (kissing her)\n I know.", "Matty is silent for a long beat.\n\n MATTY\n No. I signed a pre-nuptial agreement.\n\n RACINE\n What?", "He disappears into the bathroom. Matty slips out of bed.\nShe is wearing a silky nightgown. She hurries to the\nbedroom door.", "Matty watches Heather give Edmund a big goodbye kiss and\nrun off to talk to Betty, the Walker's Housekeeper, who", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water.", "MATTY\n You're right, darling. I'm sorry.\n I know you're right.\n\nEXT. \"THE BREAKERS\" - NIGHT", "Racine and Matty are in bed. Matty is sound asleep, her\nback close to Racine. But he is not asleep. He is propped", "MATTY (CONT'D)\n as I can. I should be there by seven-\n thirty. I can't wait to see you,\n darling. We've made it.", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT" ], [ "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "MATTY\n Ned, I don't know what you think,\n but you're wrong. I haven't done\n anything to hurt you. I love you.\n You've got to believe me.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "MATTY\n Don't say it, if you don't mean it.\n Please, Ned, don't.\n\n RACINE\n I do. I want you with me.", "MATTY\n I did arrange to meet you. But, Ned,\n it all changed. You changed it. I\n fell in love with you. I didn't plan\n that...", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "MATTY\n Bad. I get some money for a year.\n Not much. That's it. But I don't\n care, Ned. Not if I can be with you.", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "MATTY\n Don't talk about it, Ned. Please\n don't. Talk is dangerous. Sometimes\n it makes things happen, it makes it\n real.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know.", "MATTY\n It didn't lock. Oh. Ned, hold me.\n Please just hold me, God, I love\n you.\n\nRacine reaches over and locks the door to his office.", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "MATTY\n It's all ours now, Ned. We could\n leave tonight if we wanted. It's\n over.\n\n RACINE\n Yes, it is.", "MATTY\n I'm careful. I hated it, Ned. I\n hated sitting there with the two of\n you. I thought I was going to scream.", "Matty watches with panicky eyes as Edmund moves toward\ndoor. When she speaks, her voice is different, husky.\n\n MATTY\n Edmund.", "MATTY\n We'll know if she does tell. Roz\n will report to Edmund quick enough.\n It's exactly what she's always wanted.\n\nMatty disappears for a moment into the shadows.", "She turns to her husband. He is not what Racine expected.\nHe may, in fact, be mean, as Matty described him, but he", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse." ], [ "Racine walks over to the incendiary device. He pulls out\nthe lever and straightens up. As he does he looks down a", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "But they've always been small-time.\n This might not be. She's trouble,\n Ned. The real thing. Big-time, major\n league trouble. Watch yourself.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "The smile fades from Racine's face.\n\n RACINE\n Ned Racine.\n\nIt comes back to Glenn in a flash. He wishes he hadn't\ncome up.", "LOWENSTEIN\n -- I think I've underestimated you,\n Ned. I don't know why it took me so\n long. You've started using your\n incompetence as a weapon.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "LOWENSTEIN\n Ned, that lady may have just killed\n her husband.\n\nRacine smiles cheerfully and puts a reassuring arm around\nLowenstein's shoulder, leading him to the door.", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "MATTY\n It's all ours now, Ned. We could\n leave tonight if we wanted. It's\n over.\n\n RACINE\n Yes, it is.", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "He pulls down the wooden case and opens it. Inside is\nEdmund's .38 revolver.\n\nEXT. DRAWBRIDGE ACROSS THE CANAL - NIGHT", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "LOWENSTEIN\n Oh, yeah! Right, right. You'll\n love this, Ned, this latest", "He knows where everything Is. Teddy is watching Racine,\nwho is kneeling on the floor before a compact incendiary", "got to hold together, Ned. It won't\n be long, then we'll get away from\n here. Out from under all this.\n (a beat)", "MATTY\n I did arrange to meet you. But, Ned,\n it all changed. You changed it. I\n fell in love with you. I didn't plan\n that...", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you." ], [ "Edmund looks at her and laughs.\n\n WALKER\n You trying to kill me?\n\n Converted to PDF by www.screentalk.org 61.", "WALKER\n (at the bedroom\n door)\n I've got a surprise for this fucker.\n\n MATTY\n Edmund, be careful!", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "Edmund is getting out the driver's side.\n\n WALKER\n Hello, sweetheart. Have I got a\n nice present for you.", "MATTY\n He has a gun!\n\nEdmund thinks she is warning him. He spins to look.\n\n WALKER\n Where?", "Suddenly, Racine bursts from the hall closet, the wooden\nplank raised above his head. He brings it down fast toward\nEdmund's head.", "Edmund comes slowly down the steps, his gun pointing here,\nthen there in his perfectly steady grip. The thrill of\nthe hunt is in Edmund's eyes. The downstairs is thick", "Edmund frowns, goes back up the stairs.\n\n WALKER\n (grumbling)\n Damn. She's not going to wake up at\n 2 o'clock in the morning...", "GRACE\n Racine, you got to face something.\n You killed Edmund Walker, man. And\n you're going down for it. Two people", "Edmund reacts instinctively, raising his arm, the arm\nthat holds the gun, to protect himself. The wooden plank\nsmashes down -- half its force taken by Edmund's forearm,\nhalf by his head. The gun BLASTS once.", "LOWENSTEIN\n You know, that Edmund Walker was a\n bad guy. The more I find out about", "Matty watches Heather give Edmund a big goodbye kiss and\nrun off to talk to Betty, the Walker's Housekeeper, who", "Through an open door, Edmund can be seen kissing Heather\ngoodnight in the guest room. He gets up, comes to the\ndoor and switches off her light. He starts to close her", "WALKER\n Edmund Walker. Nice to meet you.", "HARDIN\n (almost wistful)\n No, there doesn't seem to be any\n problem here. This is Edmund Walker's\n last will and testament. I'm afraid\n the problem is elsewhere.", "Racine puts his left hand into Edmund's face, his thumb\nflat against the lens of Edmund's glasses and pushes his\nhead back. The glasses fly away and Racine loses his\nhold. Edmund comes on.", "HARDIN\n As you can imagine, Mrs. Walkers\n given the circumstances of Edmund's\n death, none of this is going to\n happen... how should I say it...\n simply.", "MATTY\n Edmund's company owns The Breakers.\n\n RACINE\n Is that right?\n\nFor a second, Walker's eyes flick over Matty like a whip.", "He pulls down the wooden case and opens it. Inside is\nEdmund's .38 revolver.\n\nEXT. DRAWBRIDGE ACROSS THE CANAL - NIGHT", "Converted to PDF by www.screentalk.org 58.\n\n\nINT. WALKER HOUSE - DAY" ], [ "The trunk is open like a giant maw. A sheet of plastic\nhas been spread across the inside. Edmund's body flops\ndown inside. He has been dressed, his shoes and watch", "Edmund reacts instinctively, raising his arm, the arm\nthat holds the gun, to protect himself. The wooden plank\nsmashes down -- half its force taken by Edmund's forearm,\nhalf by his head. The gun BLASTS once.", "He pulls down the wooden case and opens it. Inside is\nEdmund's .38 revolver.\n\nEXT. DRAWBRIDGE ACROSS THE CANAL - NIGHT", "Edmund is on the floor, blood pouring from his scalp.\nBut he is coming on like a crazed beast. His glasses", "Edmund comes slowly down the steps, his gun pointing here,\nthen there in his perfectly steady grip. The thrill of\nthe hunt is in Edmund's eyes. The downstairs is thick", "IN THE SUPPLY AREA, Racine has dropped Edmund's body over\nsome tipped shelves. Now he lifts the heavy ceiling beam", "Racine puts his left hand into Edmund's face, his thumb\nflat against the lens of Edmund's glasses and pushes his\nhead back. The glasses fly away and Racine loses his\nhold. Edmund comes on.", "Everything is as Racine left it. Edmund's body lies\nbeneath the beam. It is barely discernible in the gloom.", "Suddenly, Racine bursts from the hall closet, the wooden\nplank raised above his head. He brings it down fast toward\nEdmund's head.", "Matty reaches the bottom of the stairs and peers around.\nShe starts back along the dark hall of the house just as\nEdmund comes out of the bedroom upstairs; he is still in", "one here. Racine peers inside one final time. He is looking\nthrough the new glass in the same little window shot out\nby Edmund's gun. The wind chimes TINKLE loudly.", "Racine sits down hard. He is streaming with sweat under\nthe enormous dead weight. He adjusts the plastic sheet\nso that Edmund's bloody skull won't contact the wall.", "Edmund is pulling Racine toward him with all his might,\ncrawling up Racine's body as they both slide on the wood\nfloor. Edmund reaches out one huge hand, and pulls Racine\neven closer.", "INT. MATTY'S BEDROOM - NIGHT\n\nEdmund's alarm clock - 2:05. Edmund rolls into view, his\nbreath ragged. Matty's hand is on his chest.", "Matty watches with panicky eyes as Edmund moves toward\ndoor. When she speaks, her voice is different, husky.\n\n MATTY\n Edmund.", "Racine grunts under the weight of Edmund's corpse, flung\nover his back. He stumbles back toward the hulking hotel.\nThe trunk of the Cadillac is closed.", "Edmund is sitting up in bed, putting on his glasses.\n\n MATTY\n What's wrong?\n\nEdmund motions for her to be silent.", "RACINE\n It's Edmund's gun. You remember it,\n don't you?\n\nHe has it in his hand now. He looks it over casually, but\nthe barrel is toward her.", "Matty, flat on her back, smiles weakly and looks at the\nceiling. Again, the mattress moves. She looks at Edmund.\nHe has pulled on his shorts and is walking toward the\nbathroom.", "Edmund points his gun at that approaching space and stops.\nHe listens. The TINKLING of the wind chimes rises weirdly,\nmaking it hard for him to hear." ], [ "with no one looking for her. At the\n boathouse. You find two bodies, me\n and this girl. Two killers dead.\n Case closed.", "Approaching the boathouse carefully, Tracy takes out his\npistol. The front door is ajar. Tracy pushes it, and it\ncreaks open. He enters cautiously.\n\nINT. BOATHOUSE", "Traced against a window at the far end of the boathouse,\nTracy sees the silhouette of a man. Gripping his pistol,\nhe moves silently toward that silhouette, closing in on\nit while keeping alert for movement.", "Racine comes down the lawn. He walks slowly toward the\nboathouse. His walk is unsteady. Racine moves around to\nthe front of the boathouse and steps onto its wooden porch.", "The boathouse is dark, lit only by moonlight and park\nlights that shine through the windows. Tensely, Tracy\nlistens for sounds, then moves very carefully past stacked\nup rowboats and canoes.", "RACINE\n No, out there.\n\n MATTY\n Boat house.\n\n RACINE\n What is in there?", "Everything is as Racine left it. Edmund's body lies\nbeneath the beam. It is barely discernible in the gloom.", "liquor. All the lights on the lawn, gazebo and boathouse\nare off. Racine hears something and peers toward the\ndriveway. Headlights move very slowly up the drive toward", "Siren off, Tracy cuts the motor and silently glides into\nCullen Park, stopping just under a low-hanging weeping\nwillow.\n\nEXT. BOATHOUSE", "MATTY\n No. She wouldn't do that. She's\n putting them in the boathouse. In", "completely in the gloom. Racine lowers the revolver wearily\nand stares out toward the boathouse. Grace lowers his\ngun and looks out there too. He moves slowly forward.", "the top drawer of the dresser in the\n boathouse. They should be there\n now, if she's kept up her end.", "He looks out at the boat house.\n\n RACINE\n What's that?\n\n MATTY\n A gazebo", "\"You are entering\n PINEHAVEN\n Please drive safely\"\n\nThe town looks well tended.\n\nEXT. BOAT HOUSE - WALKER HOUSE - DAY", "Matty walks twenty feet past the gazebo and stops when\nshe can make out the boathouse in the gloom. She stares\nat it a moment then turns back toward the house.", "Racine has rocked back on his heels away from the window.\nHe stands up and steps away from the boathouse. You might\ncall it a stagger.", "There is a sound like the ROAR of a dragon, and the roof\nof the boathouse lifts and then disappears in a huge BALL", "been carefully drawn across it; it is impossible to see\nbeyond them into the boathouse. Except... except for one\nlittle slice at the bottom of the window where the curtains", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water.", "window and runs tautly back into the gloom of the\nboathouse. Racine shifts his head an inch and he can see\nanother wire. It originates from that same spot back in" ], [ "with no one looking for her. At the\n boathouse. You find two bodies, me\n and this girl. Two killers dead.\n Case closed.", "Approaching the boathouse carefully, Tracy takes out his\npistol. The front door is ajar. Tracy pushes it, and it\ncreaks open. He enters cautiously.\n\nINT. BOATHOUSE", "Everything is as Racine left it. Edmund's body lies\nbeneath the beam. It is barely discernible in the gloom.", "Traced against a window at the far end of the boathouse,\nTracy sees the silhouette of a man. Gripping his pistol,\nhe moves silently toward that silhouette, closing in on\nit while keeping alert for movement.", "Racine comes down the lawn. He walks slowly toward the\nboathouse. His walk is unsteady. Racine moves around to\nthe front of the boathouse and steps onto its wooden porch.", "The boathouse is dark, lit only by moonlight and park\nlights that shine through the windows. Tensely, Tracy\nlistens for sounds, then moves very carefully past stacked\nup rowboats and canoes.", "the top drawer of the dresser in the\n boathouse. They should be there\n now, if she's kept up her end.", "RACINE\n No, out there.\n\n MATTY\n Boat house.\n\n RACINE\n What is in there?", "Siren off, Tracy cuts the motor and silently glides into\nCullen Park, stopping just under a low-hanging weeping\nwillow.\n\nEXT. BOATHOUSE", "completely in the gloom. Racine lowers the revolver wearily\nand stares out toward the boathouse. Grace lowers his\ngun and looks out there too. He moves slowly forward.", "been carefully drawn across it; it is impossible to see\nbeyond them into the boathouse. Except... except for one\nlittle slice at the bottom of the window where the curtains", "liquor. All the lights on the lawn, gazebo and boathouse\nare off. Racine hears something and peers toward the\ndriveway. Headlights move very slowly up the drive toward", "\"You are entering\n PINEHAVEN\n Please drive safely\"\n\nThe town looks well tended.\n\nEXT. BOAT HOUSE - WALKER HOUSE - DAY", "RACINE\n In the boathouse.", "GRACE\n Her teeth were left, man. We sent\n them back to Illinois. The\n identification was positive. That\n was her, that was Matty Tyler Walker.\n That was her and she's dead.", "MATTY\n No. She wouldn't do that. She's\n putting them in the boathouse. In", "put on. Racine drops the blooded wooden plank beside the\nbody, then throws a blanket over the corpse and slams the\ntrunk. Racine turns to Matty who stands, fully dressed,", "GRACE\n So it's looking more and more like\n he was killed somewhere else and\n brought there in his own car. Your", "The trunk is open like a giant maw. A sheet of plastic\nhas been spread across the inside. Edmund's body flops\ndown inside. He has been dressed, his shoes and watch", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water." ], [ "Matty is leaning against one of the posts that flank the\nporch stairs. Headlights pass across the front of the\nhouse and Matty's body. She smiles a welcoming smile to\nthe unseen Edmund.", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT", "MATTY\n How'd you know?\n\n RACINE\n You look like Pinehaven.\n\n MATTY\n How does Pinehaven look?", "Matty sits on the porch drinking a highball. She stubs\nout another cigarette in the overflowing ashtray and looks\nat her watch. Her foot swings nervously.", "MATTY\n ... Mary Ann and I left Wheaton\n together and went to Chicago. We\n didn't know what we were doing. I", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "Matty closes the front door behind Racine and wraps her\narms around him. She kisses him hard and long on the mouth,\nthen starts on his neck. He begins to push her away but\nshe clings to him, eating him up.", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water.", "Racine has just parked his car and is walking back across\nthe lawn. Matty is standing in the gazebo, her back\nturned, looking out at the Waterway.", "MATTY\n Is this town that small?\n\nRacine hands her a snow cone. They walk over to the rail.\nRacine watches her eat the snow cone with enormous\ninterest.", "She's smiling as she leaves the gazebo and walks across\nthe lawn. Matty takes Racine's arm as they watch Mary\nAnn get into her little sports car, which has been pulled\nup close to the house. She pulls out waving.", "Racine and Matty are in bed. Matty is sound asleep, her\nback close to Racine. But he is not asleep. He is propped", "MATTY\n He left this morning. I had to see\n you.\n\n RACINE\n (kissing her)\n I know.", "Racine turns and stares out at the ocean. Matty rises up\nbehind and hugs him from the back. She kisses his shoulder\nblades and presses her cheek against his spine.", "Behind them the group breaks up, Hardin goes back into\nthe building and Lowenstein walks Roz the short distance\nto her car. Matty reaches the door of her car and turns\nto Racine.", "MATTY\n What are you doing in Pinehaven?\n\n RACINE\n I'm no yokel. Why, I was all the\n way to Miami once.", "A. Matty sits on the dock dangling her feet in the water\nas Heather plays in an inner tube.\nB. Racine stands at his office window, staring down at", "The Cadillac stops in front of the house and for several\nmoments nothing happens. Then Matty gets out of the car\nWaterway.", "Matty has been pushed roughly across the entry hall. Her\nback hits hard against the wall at the front of the central\nhall. She rubs her wrist where the skin is red and looks\nwith frightened eyes at Racine.", "RACINE'S POV. Matty is standing at the bottom of the\nstairs in the hall. She is looking directly at the front\ndoor. Frozen in the spot." ], [ "The picture is not great. The pretty face is a little\ncheap-looking. It is not the Matty he knew. It is her\nfriend from the back verandah, Mary Ann.", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT", "The lady in question turns around, surprised. It is not\nMatty at all. It is MARY ANN. She's attractive, but a\nlittle cheap-looking. She looks him over.", "Matty's face looks different than we've seen it. There's\na fire burning behind there and the heat it's throwing is\nbringing her equal portions of dread and relief. She\nstares at him,", "Matty comes in. She peers into the darkness until she\nsees him. She locks the door and turns to face him. She\nis dressed in a pale silk suit and blouse, very carefully", "Back to her picture. We're moving in on it. Closer. Closer.\nAnd then through it --\n\nTo her real face, this Matty, this Mary Ann, alive and\nfine in the sun of --", "Matty kisses him on the mouth, then shakes her head \"no.\"\n\n MATTY\n I waited till I saw her leave. Please\n don't be angry with me.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "He disappears into the bathroom. Matty slips out of bed.\nShe is wearing a silky nightgown. She hurries to the\nbedroom door.", "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "MATTY\n We'll know if she does tell. Roz\n will report to Edmund quick enough.\n It's exactly what she's always wanted.\n\nMatty disappears for a moment into the shadows.", "MATTY\n How'd you know?\n\n RACINE\n You look like Pinehaven.\n\n MATTY\n How does Pinehaven look?", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "MATTY\n Remember your promise.\n\nRacine agrees. Matty looks him over a moment, then turns\nto unlock the door.", "Matty gave him. Now he sails it across the office at the\nhook of a coatstand. It hits and bounces off onto the\nfloor. Racine gets up, walks over and picks it up. He", "Matty's face, her head on a pillow, turned away from her\nhusband, away from the bedroom door. Her look is just as\nintense as Racine's. Her eyes are focused on -", "his undershorts. He reaches the top of the stairs as Matty\nmoves back along the hall. The alcove under the stairs is\nin black shadow. Matty is focused on it.", "MATTY\n Look in my eyes. Can you see yourself?\n\nRacine tries for a moment, then gives up with a laugh.\n\n MATTY\n Here!", "She turns to her husband. He is not what Racine expected.\nHe may, in fact, be mean, as Matty described him, but he", "MATTY\n No... I'm weak.\n\nShe kisses him on the lips and steps quickly inside the\nfront door. She closes it, looks through the window at\nhim, then moves away." ], [ "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "RACINE\n I'm Ned Racine, Heather. I've heard\n a lot about you. It's nice to meet\n you.\n\nHeather nods uncertainly.", "The smile fades from Racine's face.\n\n RACINE\n Ned Racine.\n\nIt comes back to Glenn in a flash. He wishes he hadn't\ncome up.", "Racine puts his hand up under her hair, on her nape. She\ncloses her eyes at his touch, then moves away, as though\nby an act, of will, to the door, half opening it.", "Then she is just nodding. Racine puts his face deep into\nher hair, closing his eyes as the smell of her washes\nover him.", "Racine and Matty are in bed. Matty is sound asleep, her\nback close to Racine. But he is not asleep. He is propped", "MATTY\n It didn't lock. Oh. Ned, hold me.\n Please just hold me, God, I love\n you.\n\nRacine reaches over and locks the door to his office.", "There is a pregnant pause as Racine takes off his shirt\nand leans against the refrigerator.\n\n GRACE\n Ned, how did you get involved with\n this Matty Walker?", "Glenda the Meter Maid passes their table on her way out.\nShe has eyes only for Racine.\n\n GLENDA\n Hello, Ned.", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "Matty closes the front door behind Racine and wraps her\narms around him. She kisses him hard and long on the mouth,\nthen starts on his neck. He begins to push her away but\nshe clings to him, eating him up.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "LOWENSTEIN\n Ned, that lady may have just killed\n her husband.\n\nRacine smiles cheerfully and puts a reassuring arm around\nLowenstein's shoulder, leading him to the door.", "Now, for the first time, Racine turns to look at her.\nShe is sitting on the edge of the bed, half into her", "MATTY\n Don't say it, if you don't mean it.\n Please, Ned, don't.\n\n RACINE\n I do. I want you with me.", "RACINE\n That wouldn't be quite so meaningful,\n except that today she started coming\n on to me. And maybe you haven't\n heard but the lady is about to come\n into a great deal of money.", "Racine is behind the desk. Occupying the two seats in\nfront are a married couple rapidly approaching divorce.\nThey are arguing now, each trying to convince Racine of", "Racine watches, mesmerized, as she walks directly toward\nhim. She passes within a few inches of him, her eyes", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "Racine tries to see his reflection in the car's side view\nmirror but he has trouble. Matty, very animated in her\ndelight, steps up and kisses him quickly." ], [ "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "MATTY\n I'll divorce him. And we won't have\n his money. Part of me wants it so", "Matty turns toward him.\n\n MATTY\n No, darling. Don't talk that way.\n It's not true.\n\nRacine studies her face.", "Matty is silent for a long beat.\n\n MATTY\n No. I signed a pre-nuptial agreement.\n\n RACINE\n What?", "She turns to her husband. He is not what Racine expected.\nHe may, in fact, be mean, as Matty described him, but he", "MATTY\n I'm going to tell Edmund I want a\n divorce. I won't stay any longer. I", "She looks at him, and there is something startling about\nthe directness of her gaze. When she speaks, she is cool\nwithout being hostile.\n\n MATTY\n I'm a married woman.", "Matty's face, her head on a pillow, turned away from her\nhusband, away from the bedroom door. Her look is just as\nintense as Racine's. Her eyes are focused on -", "the enclosed side verandah in the Walker house. Matty is\nin a big chair. She watches Heather, not the television.\nShe puts a cigarette in her mouth then reaches out to", "RACINE\n Anyway, you'll come out all right.\n\n MATTY\n Of the divorce?\n\n RACINE\n Yeah. He's ripe.", "MATTY\n He has a gun!\n\nEdmund thinks she is warning him. He spins to look.\n\n WALKER\n Where?", "Matty kisses him on the mouth, then shakes her head \"no.\"\n\n MATTY\n I waited till I saw her leave. Please\n don't be angry with me.", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "RACINE\n Then you should have said -- 'I'm a\n happily married woman.'\n\n MATTY\n That's my business.", "ROZ\n Thank you.\n\nRacine comes up to Matty and takes her hand.\n\n RACINE\n Mrs. Walker, I'm very sorry about\n your husband.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "MATTY\n I miss you so badly. But it's too\n dangerous.\n\n RACINE\n She won't wake up now.", "WALKER\n Yes, she is. I'm crazy about her.\n If I ever thought she was seeing" ], [ "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "MATTY\n He has a gun!\n\nEdmund thinks she is warning him. He spins to look.\n\n WALKER\n Where?", "WALKER\n (at the bedroom\n door)\n I've got a surprise for this fucker.\n\n MATTY\n Edmund, be careful!", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "MATTY\n I did arrange to meet you. But, Ned,\n it all changed. You changed it. I\n fell in love with you. I didn't plan\n that...", "MATTY\n It's all ours now, Ned. We could\n leave tonight if we wanted. It's\n over.\n\n RACINE\n Yes, it is.", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "Matty watches Heather give Edmund a big goodbye kiss and\nrun off to talk to Betty, the Walker's Housekeeper, who", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "MATTY\n I'm careful. I hated it, Ned. I\n hated sitting there with the two of\n you. I thought I was going to scream.", "the enclosed side verandah in the Walker house. Matty is\nin a big chair. She watches Heather, not the television.\nShe puts a cigarette in her mouth then reaches out to", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "MATTY\n Ned, I don't know what you think,\n but you're wrong. I haven't done\n anything to hurt you. I love you.\n You've got to believe me.", "MATTY\n We'll know if she does tell. Roz\n will report to Edmund quick enough.\n It's exactly what she's always wanted.\n\nMatty disappears for a moment into the shadows.", "MATTY\n Bad. I get some money for a year.\n Not much. That's it. But I don't\n care, Ned. Not if I can be with you.", "MATTY\n Are you sure, Ned? I've been thinking\n about it. Maybe there is. The will\n is with his lawyer in Miami I know", "Matty reaches the bottom of the stairs and peers around.\nShe starts back along the dark hall of the house just as\nEdmund comes out of the bedroom upstairs; he is still in" ], [ "batty lately. She's convinced she\n ain't gonna be out into the will.\n It seems that a couple weeks before\n the murder, Walker's niece stayed up", "Converted to PDF by www.screentalk.org 58.\n\n\nINT. WALKER HOUSE - DAY", "Walker looks at Racine and laughs. As he begins to speak,\nhe focuses intently on Racine. He seems to be trying to\ncommunicate something other than what he's saying.", "WALKER\n (whispering)\n I think there's someone downstairs I\n heard something.\n\nHe swings out of bed; he is in his undershorts.", "WALKER\n Right.\n\n RACINE\n That hasn't changed, has it?\n\n WALKER\n No, we're very happy with it.", "LOWENSTEIN\n Someone's putting you in deep trouble,\n my friend. From about three thirty\n to five AM on the night Walker was", "Again Walker takes off his glasses. He holds them up to\nthe light and then rubs them again with his handkerchief.", "years ago, since she first spotted\n him and decided to take him... one\n way or another. Maybe Walker -- or\n any of us -- never knew her real", "GRACE\n So it's looking more and more like\n he was killed somewhere else and\n brought there in his own car. Your", "GRACE\n Racine, you got to face something.\n You killed Edmund Walker, man. And\n you're going down for it. Two people", "Grace, exasperated, indicates that he didn't.\n\n LOWENSTEIN\n Seems Walker always ware glasses --\n steel-rimmed glasses. He was a real\n fanatic about them.", "RACINE'S POV. The Walker House. In front sits a huge\nwhite Cadillac. All the lights in the house are out.\nThe wind chimes TINKLE softly.\n\nRacine lights a cigarette.", "He rises slowly and watches the patrol car disappear.\n\nEXT. STREET IN FRONT OF WALKER HOUSE - NIGHT\n\nThe Ford stops at front of the drive.", "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "WALKER\n (low, from the\n closet)\n Will you be quiet? I'm going to\n nail the bastard.", "F. At \"The Breakers.\" Racine follows the same path as\nthe police car he'd watched.", "with no one looking for her. At the\n boathouse. You find two bodies, me\n and this girl. Two killers dead.\n Case closed.", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "Then maybe we can talk about pantyhose or something\ninteresting.\n\nShe walks away. Walker watches her go with a satisfied,\npossessive grin. They sit.", "WALKER\n I was a lawyer. Still am, I guess.\n But I don't practice. Went to\n Columbia. You?\n\n RACINE\n F. S. U." ], [ "batty lately. She's convinced she\n ain't gonna be out into the will.\n It seems that a couple weeks before\n the murder, Walker's niece stayed up", "LOWENSTEIN\n Ned, that lady may have just killed\n her husband.\n\nRacine smiles cheerfully and puts a reassuring arm around\nLowenstein's shoulder, leading him to the door.", "who I've know for years, wants to\n know of my whereabouts on the night\n of our recent local murder?", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "But they've always been small-time.\n This might not be. She's trouble,\n Ned. The real thing. Big-time, major\n league trouble. Watch yourself.", "MATTY\n I'm careful. I hated it, Ned. I\n hated sitting there with the two of\n you. I thought I was going to scream.", "MATTY\n Ned, I don't know what you think,\n but you're wrong. I haven't done\n anything to hurt you. I love you.\n You've got to believe me.", "LOWENSTEIN\n -- I think I've underestimated you,\n Ned. I don't know why it took me so\n long. You've started using your\n incompetence as a weapon.", "Middle of the night. No one in sight. Now comes the only\nmovement -- a Miranda Beach Police Patrol Car drives slowly\nup the street next to the old hotel and turns south on\nOcean Avenue. When it is gone, all is dead again.", "LOWENSTEIN\n Someone's putting you in deep trouble,\n my friend. From about three thirty\n to five AM on the night Walker was", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "Matty, flat on her back, smiles weakly and looks at the\nceiling. Again, the mattress moves. She looks at Edmund.\nHe has pulled on his shorts and is walking toward the\nbathroom.", "RACINE\n They had to be here when you cleaned\n up that night. Think about it, think\n hard. They've probably got my prints\n on them.", "honey, his wife, says he left the\n house in the middle of the night\n driving himself to some mysterious\n meeting. Is that vague enough for\n you?", "GRACE\n (nods, looking at\n his notes)\n I've got it all here. And, Ned, I'm\n sorry I had to ask.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know.", "One small window in the front door shatters and the bullet\ncontinues into the night.\n\nEdmund's revolver slides across the hall floor into a\ncorner.", "MATTY\n It didn't lock. Oh. Ned, hold me.\n Please just hold me, God, I love\n you.\n\nRacine reaches over and locks the door to his office." ], [ "Approaching the boathouse carefully, Tracy takes out his\npistol. The front door is ajar. Tracy pushes it, and it\ncreaks open. He enters cautiously.\n\nINT. BOATHOUSE", "The boathouse is dark, lit only by moonlight and park\nlights that shine through the windows. Tensely, Tracy\nlistens for sounds, then moves very carefully past stacked\nup rowboats and canoes.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "Traced against a window at the far end of the boathouse,\nTracy sees the silhouette of a man. Gripping his pistol,\nhe moves silently toward that silhouette, closing in on\nit while keeping alert for movement.", "Racine comes down the lawn. He walks slowly toward the\nboathouse. His walk is unsteady. Racine moves around to\nthe front of the boathouse and steps onto its wooden porch.", "Suddenly, Racine bursts from the hall closet, the wooden\nplank raised above his head. He brings it down fast toward\nEdmund's head.", "been carefully drawn across it; it is impossible to see\nbeyond them into the boathouse. Except... except for one\nlittle slice at the bottom of the window where the curtains", "window and runs tautly back into the gloom of the\nboathouse. Racine shifts his head an inch and he can see\nanother wire. It originates from that same spot back in", "RACINE\n No, out there.\n\n MATTY\n Boat house.\n\n RACINE\n What is in there?", "MATTY\n No. She wouldn't do that. She's\n putting them in the boathouse. In", "There is a sound like the ROAR of a dragon, and the roof\nof the boathouse lifts and then disappears in a huge BALL", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "Edmund comes slowly down the steps, his gun pointing here,\nthen there in his perfectly steady grip. The thrill of\nthe hunt is in Edmund's eyes. The downstairs is thick", "\"You are entering\n PINEHAVEN\n Please drive safely\"\n\nThe town looks well tended.\n\nEXT. BOAT HOUSE - WALKER HOUSE - DAY", "The trunk is open like a giant maw. A sheet of plastic\nhas been spread across the inside. Edmund's body flops\ndown inside. He has been dressed, his shoes and watch", "liquor. All the lights on the lawn, gazebo and boathouse\nare off. Racine hears something and peers toward the\ndriveway. Headlights move very slowly up the drive toward", "He knows where everything Is. Teddy is watching Racine,\nwho is kneeling on the floor before a compact incendiary", "MATTY\n I went to phone booths. I'm afraid\n of him, Ned. I'm always afraid.", "Matty reaches the bottom of the stairs and peers around.\nShe starts back along the dark hall of the house just as\nEdmund comes out of the bedroom upstairs; he is still in", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?" ], [ "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "MATTY\n I did arrange to meet you. But, Ned,\n it all changed. You changed it. I\n fell in love with you. I didn't plan\n that...", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "He looks out at the boat house.\n\n RACINE\n What's that?\n\n MATTY\n A gazebo", "Matty walks twenty feet past the gazebo and stops when\nshe can make out the boathouse in the gloom. She stares\nat it a moment then turns back toward the house.", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water.", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "MATTY\n I went to phone booths. I'm afraid\n of him, Ned. I'm always afraid.", "MATTY\n I'll go, Ned. I'll go and look for\n them.", "Matty reaches the bottom of the stairs and peers around.\nShe starts back along the dark hall of the house just as\nEdmund comes out of the bedroom upstairs; he is still in", "RACINE\n No, out there.\n\n MATTY\n Boat house.\n\n RACINE\n What is in there?", "MATTY\n No. She wouldn't do that. She's\n putting them in the boathouse. In", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "MATTY\n Bad. I get some money for a year.\n Not much. That's it. But I don't\n care, Ned. Not if I can be with you.", "MATTY\n Don't say it, if you don't mean it.\n Please, Ned, don't.\n\n RACINE\n I do. I want you with me.", "MATTY\n It didn't lock. Oh. Ned, hold me.\n Please just hold me, God, I love\n you.\n\nRacine reaches over and locks the door to his office.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know." ], [ "Matty walks twenty feet past the gazebo and stops when\nshe can make out the boathouse in the gloom. She stares\nat it a moment then turns back toward the house.", "He looks out at the boat house.\n\n RACINE\n What's that?\n\n MATTY\n A gazebo", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water.", "RACINE\n No, out there.\n\n MATTY\n Boat house.\n\n RACINE\n What is in there?", "MATTY\n No. She wouldn't do that. She's\n putting them in the boathouse. In", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT", "Matty looks across the hall toward the open door to the\nguest room; it is dark. She hurries to the stairs, peering\ndown into the darkness. She starts down the steps.", "Matty slips under his arms and quickly steps out the front\ndoor. She stands just outside watching him. Racine shakes\nhis head, goes out there.\n\nEXT. FRONT TERRACE - NIGHT", "down the wall there. He moves to them. They go into the\nliving room but their shutters are closed. He looks\nthrough a broken slat at Matty, who watches him from the", "The boathouse is dark, lit only by moonlight and park\nlights that shine through the windows. Tensely, Tracy\nlistens for sounds, then moves very carefully past stacked\nup rowboats and canoes.", "Matty gave him. Now he sails it across the office at the\nhook of a coatstand. It hits and bounces off onto the\nfloor. Racine gets up, walks over and picks it up. He", "He disappears into the bathroom. Matty slips out of bed.\nShe is wearing a silky nightgown. She hurries to the\nbedroom door.", "his undershorts. He reaches the top of the stairs as Matty\nmoves back along the hall. The alcove under the stairs is\nin black shadow. Matty is focused on it.", "For a second, we are blinded by the glare. In the next\nInstant, as we see that the space below the stairs is\nempty, Matty screams from the top of the stairs --", "Matty reaches the bottom of the stairs and peers around.\nShe starts back along the dark hall of the house just as\nEdmund comes out of the bedroom upstairs; he is still in", "Racine comes out of the structure. And stops. Matty is\ngone. Racine looks around without much hope. Finally,", "EXT. FRONT TERRACE - WALKER HOUSE - NIGHT\n\nMatty comes to the end of the porch, a big, welcoming\nsmile on her face.", "Matty comes out. She's wearing a light, simple shift.\nShe walks over to a small table and begins putting some\ndirty dishes and glasses on a small tray. Suddenly, Racine", "Racine comes down the lawn. He walks slowly toward the\nboathouse. His walk is unsteady. Racine moves around to\nthe front of the boathouse and steps onto its wooden porch.", "She's smiling as she leaves the gazebo and walks across\nthe lawn. Matty takes Racine's arm as they watch Mary\nAnn get into her little sports car, which has been pulled\nup close to the house. She pulls out waving." ], [ "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "The picture is not great. The pretty face is a little\ncheap-looking. It is not the Matty he knew. It is her\nfriend from the back verandah, Mary Ann.", "RACINE\n Matty Walker?", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "the enclosed side verandah in the Walker house. Matty is\nin a big chair. She watches Heather, not the television.\nShe puts a cigarette in her mouth then reaches out to", "Racine looks at him blankly.\n\n GLENN\n Did you ever meet a lady named Matty\n Walker? You'd remember her. A very\n hot number.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "Back to her picture. We're moving in on it. Closer. Closer.\nAnd then through it --\n\nTo her real face, this Matty, this Mary Ann, alive and\nfine in the sun of --", "MATTY\n He has a gun!\n\nEdmund thinks she is warning him. He spins to look.\n\n WALKER\n Where?", "Matty watches Heather give Edmund a big goodbye kiss and\nrun off to talk to Betty, the Walker's Housekeeper, who", "RACINE\n You're not listening to me. What if\n she's been using this other girl's\n name? Since she met Walker three", "Matty comes out. She's wearing a light, simple shift.\nShe walks over to a small table and begins putting some\ndirty dishes and glasses on a small tray. Suddenly, Racine", "MATTY\n Edmund's company owns The Breakers.\n\n RACINE\n Is that right?\n\nFor a second, Walker's eyes flick over Matty like a whip.", "GRACE\n Her teeth were left, man. We sent\n them back to Illinois. The\n identification was positive. That\n was her, that was Matty Tyler Walker.\n That was her and she's dead.", "The lady in question turns around, surprised. It is not\nMatty at all. It is MARY ANN. She's attractive, but a\nlittle cheap-looking. She looks him over.", "MATTY\n Mary Ann's an old friend. She's\n like a sister to me. She wants me\n to be happy.", "years ago, since she first spotted\n him and decided to take him... one\n way or another. Maybe Walker -- or\n any of us -- never knew her real", "Morning. Matty sits with coffee and toast at the table.\nThe Walker's Housekeeper moves about in the kitchen.\nHeather comes in and takes her place opposite Matty. She", "WALKER\n You don't really mind, do you?\n (Matty shakes her\n head)\n Roz will pick her up on Friday. And\n don't worry, Roz won't stay overnight." ], [ "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "Matty watches Heather give Edmund a big goodbye kiss and\nrun off to talk to Betty, the Walker's Housekeeper, who", "MATTY\n I did arrange to meet you. But, Ned,\n it all changed. You changed it. I\n fell in love with you. I didn't plan\n that...", "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "MATTY\n He has a gun!\n\nEdmund thinks she is warning him. He spins to look.\n\n WALKER\n Where?", "MATTY\n Ned, I don't know what you think,\n but you're wrong. I haven't done\n anything to hurt you. I love you.\n You've got to believe me.", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "RACINE\n I don't talk that way.\n\n MATTY\n How'd you find me, Ned?\n\nRacine gives her a look.", "MATTY\n We'll know if she does tell. Roz\n will report to Edmund quick enough.\n It's exactly what she's always wanted.\n\nMatty disappears for a moment into the shadows.", "the enclosed side verandah in the Walker house. Matty is\nin a big chair. She watches Heather, not the television.\nShe puts a cigarette in her mouth then reaches out to", "The picture is not great. The pretty face is a little\ncheap-looking. It is not the Matty he knew. It is her\nfriend from the back verandah, Mary Ann.", "MATTY\n Bad. I get some money for a year.\n Not much. That's it. But I don't\n care, Ned. Not if I can be with you." ], [ "The picture is not great. The pretty face is a little\ncheap-looking. It is not the Matty he knew. It is her\nfriend from the back verandah, Mary Ann.", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT", "The lady in question turns around, surprised. It is not\nMatty at all. It is MARY ANN. She's attractive, but a\nlittle cheap-looking. She looks him over.", "Matty's face looks different than we've seen it. There's\na fire burning behind there and the heat it's throwing is\nbringing her equal portions of dread and relief. She\nstares at him,", "Matty comes in. She peers into the darkness until she\nsees him. She locks the door and turns to face him. She\nis dressed in a pale silk suit and blouse, very carefully", "Back to her picture. We're moving in on it. Closer. Closer.\nAnd then through it --\n\nTo her real face, this Matty, this Mary Ann, alive and\nfine in the sun of --", "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "Matty kisses him on the mouth, then shakes her head \"no.\"\n\n MATTY\n I waited till I saw her leave. Please\n don't be angry with me.", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "He disappears into the bathroom. Matty slips out of bed.\nShe is wearing a silky nightgown. She hurries to the\nbedroom door.", "INT. MATTY'S BEDROOM - NIGHT\n\nMatty, wrapped in a thin white terrycloth robe, is\nstripping the bed of its sheets. Racine watches from\nacross the room.", "MATTY\n We'll know if she does tell. Roz\n will report to Edmund quick enough.\n It's exactly what she's always wanted.\n\nMatty disappears for a moment into the shadows.", "MATTY\n No... I'm weak.\n\nShe kisses him on the lips and steps quickly inside the\nfront door. She closes it, looks through the window at\nhim, then moves away.", "MATTY\n Remember your promise.\n\nRacine agrees. Matty looks him over a moment, then turns\nto unlock the door.", "his undershorts. He reaches the top of the stairs as Matty\nmoves back along the hall. The alcove under the stairs is\nin black shadow. Matty is focused on it.", "GRACE\n Her teeth were left, man. We sent\n them back to Illinois. The\n identification was positive. That\n was her, that was Matty Tyler Walker.\n That was her and she's dead.", "Matty gave him. Now he sails it across the office at the\nhook of a coatstand. It hits and bounces off onto the\nfloor. Racine gets up, walks over and picks it up. He", "MATTY\n How'd you know?\n\n RACINE\n You look like Pinehaven.\n\n MATTY\n How does Pinehaven look?", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse." ], [ "Racine stares out at the ocean. He lights another cigarette\nand lifts a glass of bourbon to his lips. Suddenly, he\nlaughs, short and harsh. But the smile fades quickly.", "Racine, dressed in undershorts, is standing on the small\nporch off his apartment on the upper floor of an old house.\nRacine lights a cigarette and continues to stare off at", "He looks at the Bum settling again into a deep sleep. He\nlooks for one final second at himself in the mirror.", "Racine watches, mesmerized, as she walks directly toward\nhim. She passes within a few inches of him, her eyes", "Then she is just nodding. Racine puts his face deep into\nher hair, closing his eyes as the smell of her washes\nover him.", "up, looking down at her. We've never seen his face like\nthis before. Never this open, never so much in repose.\nShe stirs, and then is still again. He touches her hair", "Matty, flat on her back, smiles weakly and looks at the\nceiling. Again, the mattress moves. She looks at Edmund.\nHe has pulled on his shorts and is walking toward the\nbathroom.", "She stands up, takes her purse and her cigarettes, and\nwalks to the other end of the bar, where she sits down.\nRacine watches her with amazed eyes. He stands up and\nthrows some money on the bar.", "He gives her a once-over, proprietary look and drives\naway, honking once to Heather, who waves.\n\nHEATHER'S STAY/RACINE'S WEEK - SERIES OF SHOTS", "A. The first stretch of his trip, Racine travels on a\ndeserted back road with overhanging trees. A Teenage", "Racine has been running. Walking now, breathing hard, he\ntakes his cigarettes from his shorts. At the end of the", "She is wearing the same white dress she was wearing when\nRacine first saw her and she is luminous in the moonlight.\n\nRacine watches from the blackness of the gazebo. Silently.", "Her face goes through several transformations: confusion\nto disbelief to despair, then on in the direction of\noutrage.\n\nLowenstein's eyes are flashing around at the faces. He\nseems genuinely amused.", "The trunk is open like a giant maw. A sheet of plastic\nhas been spread across the inside. Edmund's body flops\ndown inside. He has been dressed, his shoes and watch", "She turns to her husband. He is not what Racine expected.\nHe may, in fact, be mean, as Matty described him, but he", "Racine gathers his strength and half-lifts, half-drags\nthe body down the corridor, his silhouette that of a\ntwisted, double-headed monster. His flashlight glows", "pen. Then, as he looks, the paper stops flapping and the\nchimes gradually STOP TINKLING. Racine looks toward the\nwindow. It is still open, but the air had died.", "Just as she reaches it, the lights in the hall snap on.\nRacine is standing under the stairs, poised to strike the\nfigure in the hall with a heavy wooden plank about two", "woman herself was gone... looked\n like she left in a hurry.\n (a beat)\n Oscar thought any story she could\n tell might help you. He thinks you", "Racine's eyes are darting over the pages. Suddenly they\nstop. He has found her entry. We see it too --" ], [ "Just as she reaches it, the lights in the hall snap on.\nRacine is standing under the stairs, poised to strike the\nfigure in the hall with a heavy wooden plank about two", "Racine gathers his strength and half-lifts, half-drags\nthe body down the corridor, his silhouette that of a\ntwisted, double-headed monster. His flashlight glows", "She turns to her husband. He is not what Racine expected.\nHe may, in fact, be mean, as Matty described him, but he", "Suddenly, Racine bursts from the hall closet, the wooden\nplank raised above his head. He brings it down fast toward\nEdmund's head.", "Edmund is pulling Racine toward him with all his might,\ncrawling up Racine's body as they both slide on the wood\nfloor. Edmund reaches out one huge hand, and pulls Racine\neven closer.", "Racine stares out at the ocean. He lights another cigarette\nand lifts a glass of bourbon to his lips. Suddenly, he\nlaughs, short and harsh. But the smile fades quickly.", "He starts to move away. Racine grabs him by his tie and\npulls him back hard. The people nearby turn in alarm.\nRacine speaks very quietly to the startled Glenn.", "Racine puts his left hand into Edmund's face, his thumb\nflat against the lens of Edmund's glasses and pushes his\nhead back. The glasses fly away and Racine loses his\nhold. Edmund comes on.", "Her face goes through several transformations: confusion\nto disbelief to despair, then on in the direction of\noutrage.\n\nLowenstein's eyes are flashing around at the faces. He\nseems genuinely amused.", "He looks at the Bum settling again into a deep sleep. He\nlooks for one final second at himself in the mirror.", "Racine is behind the desk. Occupying the two seats in\nfront are a married couple rapidly approaching divorce.\nThey are arguing now, each trying to convince Racine of", "Racine knows horror. He struggles to his feet and stumbles\ntoward the fire. His body is silhouetted against the\nleaping, ROARING flames in the night sky.", "But they've always been small-time.\n This might not be. She's trouble,\n Ned. The real thing. Big-time, major\n league trouble. Watch yourself.", "Racine's eyes dart. He thinks. Then, he flips back a few\npages. He finds what he wants --", "Again, Matty lies on her side, turned away from Edmund,\neyes wide, watching the clock. Again, the bed moves\nsuddenly! Matty rolls over to look.", "Traced against a window at the far end of the boathouse,\nTracy sees the silhouette of a man. Gripping his pistol,\nhe moves silently toward that silhouette, closing in on\nit while keeping alert for movement.", "Suddenly she backs away from him, down the steps, her\nwhite dress moving back into the bright moonlight from\nthe shadow of the gazebo. She looks up at Racine.", "MATTY\n I can't stand the thought of him...\n He's small and mean... and weak.", "the line, when she's finally going\n to collect, that one person shows\n up. That girl. Finds her. And\n threatens to expose her. So Matty", "Racine watches, mesmerized, as she walks directly toward\nhim. She passes within a few inches of him, her eyes" ], [ "MATTY\n Are you sure, Ned? I've been thinking\n about it. Maybe there is. The will\n is with his lawyer in Miami I know", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "LOWENSTEIN\n Ned, that lady may have just killed\n her husband.\n\nRacine smiles cheerfully and puts a reassuring arm around\nLowenstein's shoulder, leading him to the door.", "The smile fades from Racine's face.\n\n RACINE\n Ned Racine.\n\nIt comes back to Glenn in a flash. He wishes he hadn't\ncome up.", "LOWENSTEIN\n -- I think I've underestimated you,\n Ned. I don't know why it took me so\n long. You've started using your\n incompetence as a weapon.", "The lawyers pile out of the elevator. A few carry\nbriefcases. Racine finally appears. He too carries a\nbriefcase. He looks across the huge lobby at the entrance\nto a restaurant/bar.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "The elevator is packed with lawyers. They're heading out\nto lunch. They wear expensive suits. Racine is backed\ninto a corner. He watches them, as though from a distance.\nHe looks different from them.", "BEVERLY\n Ned. Miles Hardin. Do you want\n him?\n\n RACINE\n Who is he?", "But they've always been small-time.\n This might not be. She's trouble,\n Ned. The real thing. Big-time, major\n league trouble. Watch yourself.", "LOWENSTEIN\n Oh, yeah! Right, right. You'll\n love this, Ned, this latest", "RACINE\n Hello, Peter.\n\n LOWENSTEIN\n Hi, Ned.", "BEVERLY\n She says he's a lawyer from Miami.\n\nRacine picks up his phone.\n\n RACINE\n Hello.", "GRACE\n (nods, looking at\n his notes)\n I've got it all here. And, Ned, I'm\n sorry I had to ask.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know.", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "MATTY\n Bad. I get some money for a year.\n Not much. That's it. But I don't\n care, Ned. Not if I can be with you.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "MATTY\n Don't say it, if you don't mean it.\n Please, Ned, don't.\n\n RACINE\n I do. I want you with me.", "Lowenstein steps away, toward the street. He looks sad.\n\n LOWENSTEIN\n I wish I knew what to tell you, Ned.\n But I don't have any good ideas." ], [ "GRACE\n Her teeth were left, man. We sent\n them back to Illinois. The\n identification was positive. That\n was her, that was Matty Tyler Walker.\n That was her and she's dead.", "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "The panic which shoots across her face, cuts him off in\nmid-sentence, a split second before EDMUND WALKER appears\nbehind her. Matty's face goes calm and she smiles\npolitely.", "the enclosed side verandah in the Walker house. Matty is\nin a big chair. She watches Heather, not the television.\nShe puts a cigarette in her mouth then reaches out to", "Matty's face looks different than we've seen it. There's\na fire burning behind there and the heat it's throwing is\nbringing her equal portions of dread and relief. She\nstares at him,", "MATTY\n He has a gun!\n\nEdmund thinks she is warning him. He spins to look.\n\n WALKER\n Where?", "RACINE\n Matty Walker?", "The picture is not great. The pretty face is a little\ncheap-looking. It is not the Matty he knew. It is her\nfriend from the back verandah, Mary Ann.", "She pulls him tightly to her, clinging like a drowning\nwoman.\n\n DISSOLVE TO:\n\nINT. MATTY'S BEDROOM - NIGHT", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT", "An ashtray, full to overflowing, on the rug next to Matty's\nbed. And, above it, Matty's hand, clutching the sheets\non the side of the bed.", "MATTY\n Heather. What a surprise.\n\nINT. DINING ROOM - WALKER HOUSE - NIGHT", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "Back to her picture. We're moving in on it. Closer. Closer.\nAnd then through it --\n\nTo her real face, this Matty, this Mary Ann, alive and\nfine in the sun of --", "EXT. FRONT TERRACE - WALKER HOUSE - NIGHT\n\nMatty comes to the end of the porch, a big, welcoming\nsmile on her face.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "MATTY\n I miss you so badly. But it's too\n dangerous.\n\n RACINE\n She won't wake up now.", "Matty's face, her head on a pillow, turned away from her\nhusband, away from the bedroom door. Her look is just as\nintense as Racine's. Her eyes are focused on -", "Racine looks at him blankly.\n\n GLENN\n Did you ever meet a lady named Matty\n Walker? You'd remember her. A very\n hot number." ], [ "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "The smile fades from Racine's face.\n\n RACINE\n Ned Racine.\n\nIt comes back to Glenn in a flash. He wishes he hadn't\ncome up.", "MATTY\n I'm careful. I hated it, Ned. I\n hated sitting there with the two of\n you. I thought I was going to scream.", "RACINE\n (offers his hand)\n Ned Racine.\n\n MATTY\n Matty Walker.", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "MARY ANN\n (smiling)\n We were just meeting. Ned made me\n feel very welcome.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "LOWENSTEIN\n Ned, that lady may have just killed\n her husband.\n\nRacine smiles cheerfully and puts a reassuring arm around\nLowenstein's shoulder, leading him to the door.", "RACINE\n Hello, Peter.\n\n LOWENSTEIN\n Hi, Ned.", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "MATTY\n I'll go, Ned. I'll go and look for\n them.", "But they've always been small-time.\n This might not be. She's trouble,\n Ned. The real thing. Big-time, major\n league trouble. Watch yourself.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "RACINE\n I'm Ned Racine, Heather. I've heard\n a lot about you. It's nice to meet\n you.\n\nHeather nods uncertainly.", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "GRACE\n (nods, looking at\n his notes)\n I've got it all here. And, Ned, I'm\n sorry I had to ask.", "LOWENSTEIN\n Oh, yeah! Right, right. You'll\n love this, Ned, this latest", "got to hold together, Ned. It won't\n be long, then we'll get away from\n here. Out from under all this.\n (a beat)" ], [ "Matty grasps his face in her hands and looks into his\nface.\n\n MATTY\n Why, Ned? What's happened?", "MATTY\n Ned, I don't know what you think,\n but you're wrong. I haven't done\n anything to hurt you. I love you.\n You've got to believe me.", "MATTY\n What is it, Ned? What's happened?\n\n RACINE\n I think you know.", "She searches his face, almost frightened.\n\n MATTY\n Does it matter, Ned? Tell me the\n truth please. I'll understand, I\n swear to you.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "MATTY\n Ned, it scares me to talk about these\n things.\n\n RACINE\n Why?\n\n MATTY\n You know.", "MATTY\n Don't say it, if you don't mean it.\n Please, Ned, don't.\n\n RACINE\n I do. I want you with me.", "Racine lifts her head and kisses her on the mouth.\n\n MATTY\n I'm afraid, Ned.", "MATTY\n I did arrange to meet you. But, Ned,\n it all changed. You changed it. I\n fell in love with you. I didn't plan\n that...", "She takes his hand and drags him to the steps and leads\nthe way up, her eyes on him always.\n\n MATTY\n Please, Ned.\n\nHe lets her lead him up the stairs.", "MATTY\n Don't talk about it, Ned. Please\n don't. Talk is dangerous. Sometimes\n it makes things happen, it makes it\n real.", "MATTY\n It didn't lock. Oh. Ned, hold me.\n Please just hold me, God, I love\n you.\n\nRacine reaches over and locks the door to his office.", "Matty straightens with an armload of sheets.\n\n MATTY\n No one must know. Promise me, Ned.\n No one.\n\nHe promise with a gesture.", "MATTY\n I'm careful. I hated it, Ned. I\n hated sitting there with the two of\n you. I thought I was going to scream.", "MATTY\n Are you sure, Ned? I've been thinking\n about it. Maybe there is. The will\n is with his lawyer in Miami I know", "MATTY\n Bad. I get some money for a year.\n Not much. That's it. But I don't\n care, Ned. Not if I can be with you.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "MATTY\n I'll go, Ned. I'll go and look for\n them.", "MATTY\n It's all ours now, Ned. We could\n leave tonight if we wanted. It's\n over.\n\n RACINE\n Yes, it is.", "MATTY\n (filtered throughout)\n Hello, Ned. Can we talk?" ], [ "MARY ANN\n (negative)\n Got to go, got to go.\n\nShe pecks Matty on the cheek, then steps close to Racine\nto shake his hand.", "There is a pregnant pause as Mary Ann looks him over,\nfighting some private amusement.\n\n MATTY\n (to Mary Ann)\n Do you want to stay for dinner?", "Racine comes up on the porch.\n\n RACINE\n I feel like a jerk.\n\nMary Ann gives him a salacious smile.", "The lady in question turns around, surprised. It is not\nMatty at all. It is MARY ANN. She's attractive, but a\nlittle cheap-looking. She looks him over.", "That's why he's been busting his\n butt trying to locate this Mary Ann\n Simpson. They finally found her\n place in Miami yesterday, but the", "She stands up, takes her purse and her cigarettes, and\nwalks to the other end of the bar, where she sits down.\nRacine watches her with amazed eyes. He stands up and\nthrows some money on the bar.", "He looks at the Bum settling again into a deep sleep. He\nlooks for one final second at himself in the mirror.", "She's smiling as she leaves the gazebo and walks across\nthe lawn. Matty takes Racine's arm as they watch Mary\nAnn get into her little sports car, which has been pulled\nup close to the house. She pulls out waving.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "door, but she speaks to him. He nods and leaves the door\nhalf open.", "turns to an unseen male COMPANION, who has spoken to her\nin Spanish. She wipes her eyes and looks off at him.", "She looks at him a long time. There is real joy in her\nface. And tears in her eyes. We're very close to those", "Then she is just nodding. Racine puts his face deep into\nher hair, closing his eyes as the smell of her washes\nover him.", "back. \"Like a Cuban,\" she says. I\n loved that!\n (he laughs again)\n Can you imagine poor Heather? She", "Again he silences her. He walks silently over to his.\ncloset and disappears inside.\n\n MATTY\n (whispering)\n Should I call the police?", "Matty turns toward him.\n\n MATTY\n No, darling. Don't talk that way.\n It's not true.\n\nRacine studies her face.", "up, looking down at her. We've never seen his face like\nthis before. Never this open, never so much in repose.\nShe stirs, and then is still again. He touches her hair", "He starts to move away. Racine grabs him by his tie and\npulls him back hard. The people nearby turn in alarm.\nRacine speaks very quietly to the startled Glenn.", "Racine stares out at the ocean. He lights another cigarette\nand lifts a glass of bourbon to his lips. Suddenly, he\nlaughs, short and harsh. But the smile fades quickly.", "MARY ANN\n Maybe you were supposed to deliver\n it next door?\n (a beat)\n You must be looking for the lady of\n the house." ], [ "The trunk is open like a giant maw. A sheet of plastic\nhas been spread across the inside. Edmund's body flops\ndown inside. He has been dressed, his shoes and watch", "Everything is as Racine left it. Edmund's body lies\nbeneath the beam. It is barely discernible in the gloom.", "Edmund is on the floor, blood pouring from his scalp.\nBut he is coming on like a crazed beast. His glasses", "Racine puts his left hand into Edmund's face, his thumb\nflat against the lens of Edmund's glasses and pushes his\nhead back. The glasses fly away and Racine loses his\nhold. Edmund comes on.", "Edmund reacts instinctively, raising his arm, the arm\nthat holds the gun, to protect himself. The wooden plank\nsmashes down -- half its force taken by Edmund's forearm,\nhalf by his head. The gun BLASTS once.", "Edmund is pulling Racine toward him with all his might,\ncrawling up Racine's body as they both slide on the wood\nfloor. Edmund reaches out one huge hand, and pulls Racine\neven closer.", "Edmund comes slowly down the steps, his gun pointing here,\nthen there in his perfectly steady grip. The thrill of\nthe hunt is in Edmund's eyes. The downstairs is thick", "Matty reaches the bottom of the stairs and peers around.\nShe starts back along the dark hall of the house just as\nEdmund comes out of the bedroom upstairs; he is still in", "Suddenly, Racine bursts from the hall closet, the wooden\nplank raised above his head. He brings it down fast toward\nEdmund's head.", "Matty watches with panicky eyes as Edmund moves toward\ndoor. When she speaks, her voice is different, husky.\n\n MATTY\n Edmund.", "He pulls down the wooden case and opens it. Inside is\nEdmund's .38 revolver.\n\nEXT. DRAWBRIDGE ACROSS THE CANAL - NIGHT", "Edmund is sitting up in bed, putting on his glasses.\n\n MATTY\n What's wrong?\n\nEdmund motions for her to be silent.", "butt)\n Now someone's trying to give us\n Edmund's glasses. We don't know who.\n We don't know what the glasses will", "Through an open door, Edmund can be seen kissing Heather\ngoodnight in the guest room. He gets up, comes to the\ndoor and switches off her light. He starts to close her", "Again, Matty lies on her side, turned away from Edmund,\neyes wide, watching the clock. Again, the bed moves\nsuddenly! Matty rolls over to look.", "Matty, flat on her back, smiles weakly and looks at the\nceiling. Again, the mattress moves. She looks at Edmund.\nHe has pulled on his shorts and is walking toward the\nbathroom.", "IN THE SUPPLY AREA, Racine has dropped Edmund's body over\nsome tipped shelves. Now he lifts the heavy ceiling beam", "Racine doesn't breathe. Matty is frozen in the spot,\ndirectly in front of Racine and five feet below Edmund,\nwho now starts down the steps.\n\n MATTY\n Edmund... wait!", "INT. MATTY'S BEDROOM - NIGHT\n\nEdmund's alarm clock - 2:05. Edmund rolls into view, his\nbreath ragged. Matty's hand is on his chest.", "Racine sits down hard. He is streaming with sweat under\nthe enormous dead weight. He adjusts the plastic sheet\nso that Edmund's bloody skull won't contact the wall." ], [ "Matty is leaning against one of the posts that flank the\nporch stairs. Headlights pass across the front of the\nhouse and Matty's body. She smiles a welcoming smile to\nthe unseen Edmund.", "But he is already out the door, silently. For a moment\nMatty is frozen, then she slides out of bed.\n\nINT. SECOND FLOOR HALL - NIGHT", "Matty sits on the porch drinking a highball. She stubs\nout another cigarette in the overflowing ashtray and looks\nat her watch. Her foot swings nervously.", "MATTY\n No, Ned, not with her I wasn't. I\n could tell there was a difference.\n Maybe she know about us. Maybe she\n wants something.", "Matty has been pushed roughly across the entry hall. Her\nback hits hard against the wall at the front of the central\nhall. She rubs her wrist where the skin is red and looks\nwith frightened eyes at Racine.", "Matty closes the front door behind Racine and wraps her\narms around him. She kisses him hard and long on the mouth,\nthen starts on his neck. He begins to push her away but\nshe clings to him, eating him up.", "She's smiling as she leaves the gazebo and walks across\nthe lawn. Matty takes Racine's arm as they watch Mary\nAnn get into her little sports car, which has been pulled\nup close to the house. She pulls out waving.", "MATTY\n Boat.\n\nRacine moves back and stands very close to her. He looks\nat her in the moonlight, but she concentrates on the\ndistant water.", "MATTY\n ... Mary Ann and I left Wheaton\n together and went to Chicago. We\n didn't know what we were doing. I", "Racine and Matty are in bed. Matty is sound asleep, her\nback close to Racine. But he is not asleep. He is propped", "MATTY\n How'd you know?\n\n RACINE\n You look like Pinehaven.\n\n MATTY\n How does Pinehaven look?", "MATTY\n Mary Ann's an old friend. She's\n like a sister to me. She wants me\n to be happy.", "MATTY\n (very serious)\n I mean it. I like you. But my life\n is complicated enough.\n\nRacine again accepts.", "MATTY\n Is this town that small?\n\nRacine hands her a snow cone. They walk over to the rail.\nRacine watches her eat the snow cone with enormous\ninterest.", "RACINE'S POV. Matty is standing at the bottom of the\nstairs in the hall. She is looking directly at the front\ndoor. Frozen in the spot.", "Racine has just parked his car and is walking back across\nthe lawn. Matty is standing in the gazebo, her back\nturned, looking out at the Waterway.", "Matty watches Heather give Edmund a big goodbye kiss and\nrun off to talk to Betty, the Walker's Housekeeper, who", "Matty watches. Matty listens. She tries to confirm that\nWalker is sleeping without looking there. Matty begins to\nmove her legs slowly toward the side of the bed, to get\nout.", "MATTY\n Ned, this is Mary Ann.\n\nMatty hands the envelope to Mary Ann, who puts it in her\npurse.", "there for a while with your friend\n Matty. One night she waxes up, goes\n to see her aunt and catches the lady\n with some guy." ] ]

[ "Who is Matty married to?", "What does Ned tell Matty to do about her husband?", "Who gives Ned a bomb?", "Who kills Edmund Walker?", "What was missing from Edmund when the police found him?", "Whose body is thought to be found at the boathouse?", "How is the body found at the boathouse identified?", "What state did Matty attend high school?", "Who stole Matty's identitiy?", "Who does Ned Racine begin having an affair with?", "Why does Matty Walker not want to divorce her husband?", "How do Matty and Ned plan on murdering Mr. Walker?", "Why do police believe that Mr. Walker was murdered?", "Why do police considered Ned's alibi for the night of the murder to be weak?", "How does Ned know that there is a booby trap on the boathouse?", "Why does Ned go to the boathouse to meet Matty?", "What happens to the boathouse when Matty goes to retrieve the glasses?", "What is Matty Walker's real name?", "How does Ned discover the real identity of Matty Walker?", "Who stole Matty Tyler's identity? ", "Who is the protagonist in this story? ", "Who is the antagonist in this story? ", "What kind of lawyer is Ned? ", "How is Matty Walker's body identified after the explosion? ", "Who are Ned's two friends? ", "Who does Ned try to convince that Matty is alive? ", "At the end of this story, what language does the man speak to Mary Ann? ", "What important item is missing from Edmund's body? ", "Where did Matty attend high school? " ]

[ [ "Edmund Walker", "Edmund Walker" ], [ "Kill him", "To kill him" ], [ "Teddy Lewis", "Teddy Lewis" ], [ "Ned Racine", "Ned Racine" ], [ "His glasses", "His steel-rimmed glasses" ], [ "Matty Walker", "Matty Walker" ], [ "Dental records", "Dental records " ], [ "Illinois", "Illinois " ], [ "Mary Ann Simpson", "Mary Ann Simpson" ], [ "Matty Walker.", "Matty" ], [ "A prenup prevents her from getting any of his money.", "Due to the prenup she won't get very much money" ], [ "An explosion.", "A bomb" ], [ "Mr. Walker was not wearing his glasses when they discovered the body.", "Because Ned wasn't wearing his glasses" ], [ "Ned failed to answer several phone calls in his hotel room.", "He never answered the phone in his hotel room" ], [ "He sees a wire attached to the door.", "He saw the wire attached to the door" ], [ "To retrieve a pair of glasses that police are looking for.", "She said that is where Edmund Walker's glasses are " ], [ "It explodes.", "The boathouse explodes" ], [ "Mary Ann Simpson.", "Mary Ann Simpson" ], [ "Through a high school yearbook.", "From school yearbook" ], [ "Mary Ann Simpson", "Mary Ann Simpson" ], [ "Ned", "Mary Ann" ], [ "Matty Walker", "Mary Ann Simpson" ], [ "An inept one.", "An inept one" ], [ "Through dental records", "Dental records" ], [ "Peter Lowenstein and Oscar Grace", "Mary Ann Simpson and Ted Lewis" ], [ "Grace", "Grace" ], [ "Spanish", "Spanish" ], [ "His glasses", "His steel-rimmed glasses" ], [ "Indiana", "Illinois" ] ]

50331d1bab6df4533409553db7cf32554a5cc80e

train

[ [ "TREVES\n My name is...\n\n MERRICK\n My... name is...\n\n TREVES\n John Merrick.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "MERRICK\n John... Merrick\n\n TREVES\n Say \"Merrick\".\n\n MERRICK\n Merrick...", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "enquiries proved it to be none other \n than Mr. John Merrick, The Elephant \n Man, with whom our readers are", "TREVES\n He is English, he is twenty-one years \n of age and his name is John Merrick.", "MERRICK\n Hello... my name is John Merrick. I \n am very pleased to meet you.\n\n Carr Gomm, still shaken, instinctively offers his hand.", "MERRICK\n John... Merrick!", "MERRICK\n Hello, my name is John Merrick. I am \n very, VERY pleased to meet you!", "MERRICK\n (haltingly)\n Hello... my name is... John Merrick.\n\n DISSOLVE TO HALLWAY", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Merrick, the Elephant Man...", "meets him. Somehow, between now and \n then I've got to make John Merrick \n at least seem like an intelligent", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "TREVES\n Gentlemen, John Merrick is not an \n animal, he is a man, fully aware of", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "TREVES\n You look splendid, John.\n\n MERRICK\n Thank you very much.", "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "John Merrick, so dreadful a sight \n that he is unable even to come out \n by daylight to the garden. He has", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne." ], [ "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Bytes considers and then snaps his fingers at the Boy who \n runs out. He then breaks into an ingratiating grin and leans \n down over Treves who busily examines the wheezing E.M.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "Treves pulls the blanket away from the E.M. exposing several \n bruises and bloody cuts. Treves freezes at the sight and \n slowly turns to look at Bytes.", "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "Merrick looks at Treves for guidance, but Treves cannot look \n him in the eye.\n\n MERRICK\n ...everyone has been very kind.", "TREVES\n My name is Frederick Treves... I am \n a surgeon here at the London Hospital,", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "Throughout their dialogue, Merrick is still very garbled, \n but he no longer babbles. He makes a great effort to speak \n slowly, to form words the way Treves forms them, to be \n understood.", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "TREVES\n Yes, John?\n\n MERRICK\n ...Can you cure me?\n\n Treves is taken aback. He considers, then says tentatively." ], [ "MERRICK\n No, but I certainly shall.\n\n Merrick finds a place and begins to read.", "Merrick looks up at her very apprehensively. She walks over \n to the bed, picks up the Bible from the table, opens it and \n hands it to Merrick.", "MOTHERSHEAD\n Read it.\n\n Merrick looks down at the Bible.", "He and Mothershead exit. Merrick watches the door close. He \n sighs quietly, looks about, and sees the Bible on the bedside \n table. He picks it up and, gently runs his fingers over the \n cover.", "She produces a beautiful leather-bound volume of Shakespeare's \n works. Merrick takes it with reverence and begins to leaf \n through it.\n\n KENDAL\n Have you read it?", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "Treves' words have disturbed Merrick. He sinks into the \n pillows, the book before him. We see the picture of the Mock", "MERRICK\n Yes.\n\n TREVES\n Excellent! Now, say... \"Hello\"\n\n MERRICK\n Hello...", "Merrick is still hesitant, from years of fear, but his eyes \n betray a growing excitement. Slowly, he tries to talk, his \n voice a tremulous whisper.", "Throughout their dialogue, Merrick is still very garbled, \n but he no longer babbles. He makes a great effort to speak \n slowly, to form words the way Treves forms them, to be \n understood.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Merrick is silent. He goes over to his cloak, reaches into \n it and pulls out a folded up advertisement. He hands it to", "Merrick sitting on his bed, hunched over in concentration \n reading an Illustrated London News. He is staring at a picture \n of the Eddystone Lighthouse.", "takes up his walking stick, breathes deeply, then walks around \n the room in a slow circle. Merrick is transforming himself. \n Merrick comes back to the table and examines his reflection", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "MERRICK\n ...Yyes\n\n TREVES\n Yyyess.\n\n MERRICK\n Yyess." ], [ "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "The others cough their agreement and hurriedly leave the \n room. Treves walks over to the committee table and takes the \n paper off the photograph. He stares sadly at Merrick's \n picture.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "Merrick is overcome by the applause. Tears run down his \n cheeks. Treves, Nora, Mothershead and the Princess, filled \n with pride, beam at John.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "TREVES\n No John, I can't. I can care for \n you, but I can't cure you.\n\n MERRICK\n I thought as much.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "with tears. Merrick, too, is weeping. Treves embraces him.", "TREVES\n (after a pause)\n And what was that, John?\n\n MERRICK\n Potatoes...", "MERRICK\n Yyyy... Yyye... yyyess.\n\n TREVES\n (grabbing Merrick's \n arm)\n Yes John!", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "TREVES\n Goodnight John. Sleep well.\n\n MERRICK\n You too, my friend. Goodnight.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "TREVES\n That's a canopy, John.\n\n MERRICK\n Ohhh...", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "TREVES\n My name is...\n\n MERRICK\n My... name is...\n\n TREVES\n John Merrick.", "TREVES\n You look splendid, John.\n\n MERRICK\n Thank you very much.", "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne." ], [ "Merrick looks incapable of even this simple movement, but he \n slowly manages to turn. The crowd reacts to the horrible \n condition of Merrick's back and head.", "John Merrick, so dreadful a sight \n that he is unable even to come out \n by daylight to the garden. He has", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "He puts his left hand up and feels the back of his head. \n Merrick turns out the lamp and goes to his bed. He looks at", "The figure leans back fearfully. From behind him we see just \n the top of his wide hooded head.\n\n Treves, standing before him, lifts the hood up and back.", "Merrick is on the bed, propped up by pillows. The door opens. \n Treves comes in, shuts the door and leans against it. They \n look at each other for a moment.", "Treves notices to his dismay that the growths on Merrick's \n head are larger.\n\n He finds it very difficult to disguise his concern.", "Treves' words have disturbed Merrick. He sinks into the \n pillows, the book before him. We see the picture of the Mock", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "The poster is rolled up, Merrick on the floor of the wagon \n wheezing horribly.\n\n Beside him on the floor is a bowl of what looks to be slop \n and potatoes.", "skull... and upper limb, which is \n totally useless. The alarming \n curvature of the spine... Turn him,", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Merrick sitting on his bed, hunched over in concentration \n reading an Illustrated London News. He is staring at a picture \n of the Eddystone Lighthouse.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "takes up his walking stick, breathes deeply, then walks around \n the room in a slow circle. Merrick is transforming himself. \n Merrick comes back to the table and examines his reflection", "TREVES\n ....Good morning... John. I've brought \n your breakfast.\n\n Treves is unsettled by the sight of Merrick cowering down on \n the floor.", "meets him. Somehow, between now and \n then I've got to make John Merrick \n at least seem like an intelligent", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "Merrick closes his eyes and his head tilts forward slightly. \n It seems unbearably large: too large for him to support.", "Through the high barred window, we see the dark sky. The \n E.M. is on his bed in his sleeping posture. A dim gaslight \n burns in the room." ], [ "Amidst great applause the curtain rings down. Through the \n curtain comes Mrs. Kendal to renewed applause. She motions \n the audience to quiet down.", "Merrick has never been properly \n presented to London society. But \n knowing that wherever Mrs. Kendal \n goes, others inevitably follow, the", "undoubtedly familiar. After a chat \n of three-quarters of an hour, Mrs. \n Kendal was kind enough to leave Mr.", "KENDAL\n Oh no, Mr. Merrick. I just work there.\n\n MERRICK\n Well, even to work there would be \n wonderful. Is it beautiful?", "GIRL\n But it's about Mrs. Kendal, mummy! \n The actress you go on so much about!\n\n She has got the women's attention.", "Merrick is a trifle nervous but Mrs. Kendal smiles at him \n and he relaxes a little.", "Above Merrick's bookshelf we see a row of framed pictures of \n prettily smiling society women. Mrs. Kendal has started a", "fad. We pan slowly by them and down to Merrick's table where \n his Mother and Mrs. Kendal have their place of honor. The", "Mrs. Kendal knows Juliet's lines by heart. She looks at \n Merrick for a moment, then replies tenderly.", "KENDAL\n Good day, Mr. Merrick.\n\n MERRICK\n Good day...!", "MERRICK\n Wasn't Mrs. Kendal wonderful? I can't \n blame the King for wanting to marry \n her.", "CUT TO:\n\n Mrs. Kendal and an actor dressed as royalty doing the last \n scene of Henry the Fifth.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "He places it, with great care, next to his mother's portrait.\n\n KENDAL\n She's very pretty, your mother.", "(Merrick as before) he reaches over to the picture of Mrs. \n Kendal and picks it up. We see his face reflected in the", "GIRL\n \"Mrs. Kendal, always at the forefront \n of fashion and form, was seen leaving", "She produces a beautiful leather-bound volume of Shakespeare's \n works. Merrick takes it with reverence and begins to leaf \n through it.\n\n KENDAL\n Have you read it?", "MRS. KENDAL\n Thank you for your warm greeting.\n Ladies and gentlemen, tonight's", "KENDAL\n Oh no... no... you're a Romeo.\n\n DISSOLVE TO:\n\n THE PEACOCK - WHITECHAPEL", "KENDAL\n Well, it's all quite... I've never \n heard... It's quite...\n\n TREVES\n (understandingly)\n Yes." ], [ "We also hear the boy, almost pleading with Merrick to stop \n coughing and to try to eat. As Bytes listens he gets angrier", "BYTES\n Turn around!\n\n Merrick slowly turns around, the audience gasping at the \n sight of the horrible tumors. Bytes raps the walking stick \n twice.", "Bytes is humiliated at first, and then is quickly angry. He \n turns to Merrick.\n\n BYTES\n Get up you miserable bastard!", "Bytes considers and then snaps his fingers at the Boy who \n runs out. He then breaks into an ingratiating grin and leans \n down over Treves who busily examines the wheezing E.M.", "BYTES\n Another bleedin' heart!\n\n The boy is crouched over Merrick, who looks little better \n than a corpse.", "Suddenly Merrick falters and comes to a stop, breathing \n irregularly. Seeing this, Bytes goes to him and bringing the", "Bytes, striving to save the moment and please the angry crowd, \n goes to Merrick and roughly helps him up. Merrick teeters \n precariously on the stool. Bytes raps the stick.", "Treves pulls the blanket away from the E.M. exposing several \n bruises and bloody cuts. Treves freezes at the sight and \n slowly turns to look at Bytes.", "The others cough their agreement and hurriedly leave the \n room. Treves walks over to the committee table and takes the \n paper off the photograph. He stares sadly at Merrick's \n picture.", "Merrick closes his eyes. This really enrages Bytes.\n\n BYTES\n Eat, damn you. EAT! EAT!", "The monkeys strive to pull him down. Merrick looks through \n the bars at the wagon and screams frantically.\n\n MERRICK\n Bytes! Bytes, please!!", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters.", "The monkeys keep on biting and screeching, pulling at him. \n Suddenly a formidable cry rings out of Merrick's mouth, with", "BYTES (V.O.)\n My treasure...\n\n Merrick's eyes flash open. We see Bytes coming toward him.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "But Bytes won't come. Something is happening inside Merrick. \n A wave of feeling is growing, coming from a place in him \n very deep down and far away.", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Unseen by anyone, Bytes slips into Merrick's room. Merrick \n is now standing.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker." ], [ "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "CARR\n Well then, I move that Mr. John \n Merrick be admitted to the London", "CARR\n You are quite right, Treves, this is \n an exceptional case. And I quite \n agree that the committee should see \n Mr. Merrick.", "The others cough their agreement and hurriedly leave the \n room. Treves walks over to the committee table and takes the \n paper off the photograph. He stares sadly at Merrick's \n picture.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Mr. Treves is finished, that we put \n it to a vote. All those in favor of \n keeping Mr. Merrick here?", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "COMMITTEE ROOM - THE LONDON HOSPITAL\n\n We see a pair of hands. One of the photographs of Merrick is \n passed to them.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "TREVES\n Gentlemen, John Merrick is not an \n animal, he is a man, fully aware of", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "Merrick is overcome by the applause. Tears run down his \n cheeks. Treves, Nora, Mothershead and the Princess, filled \n with pride, beam at John.", "CARR\n Indeed!\n\n He gestures toward his office door. As he and Treves enter \n the office, Nora looks apprehensively up the isolation ward \n stairs." ], [ "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "MOTHERSHEAD\n Welcome home, John.\n\n Merrick finds it very difficult to speak.\n\n MERRICK\n ...my... home?", "TREVES\n (startled)\n Your mother?\n\n MERRICK\n Here.", "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "MERRICK\n Yyyy... Yyye... yyyess.\n\n TREVES\n (grabbing Merrick's \n arm)\n Yes John!", "MERRICK\n Please... please...\n\n But Anne goes on, as Treves, in wonder, watches her and \n Merrick locked together in the communication of intense \n sympathy.", "TREVES\n You look splendid, John.\n\n MERRICK\n Thank you very much.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "Merrick is overcome by the applause. Tears run down his \n cheeks. Treves, Nora, Mothershead and the Princess, filled \n with pride, beam at John.", "into the tub and begins to weep. Treves and Mothershead are \n astounded by the tears rolling down Merrick's cheeks. They", "Finally we hear the patter of Bytes, telling of the horrible \n fate of John Merrick's Mother on that African Isle so many", "TREVES\n Goodnight John. Sleep well.\n\n MERRICK\n You too, my friend. Goodnight.", "TREVES\n My name is...\n\n MERRICK\n My... name is...\n\n TREVES\n John Merrick.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "MERRICK\n Yes.\n\n TREVES\n Excellent! Now, say... \"Hello\"\n\n MERRICK\n Hello...", "MERRICK\n Oh yes! It was wonderful!\n\n TREVES\n I'm glad, John. Goodnight.\n\n He turns and starts out the door.", "He and Mothershead exit. Merrick watches the door close. He \n sighs quietly, looks about, and sees the Bible on the bedside \n table. He picks it up and, gently runs his fingers over the \n cover." ], [ "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "MERRICK\n No, but I certainly shall.\n\n Merrick finds a place and begins to read.", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "He drags Merrick across the way to a small monkey wagon. The \n boy follows, his face filled with sympathy for Merrick. Bytes", "Merrick enters and looks around, confused. Treves stands in \n the doorway.\n\n Merrick turns to him.", "The door opens. Merrick, disguised, enters, followed by Treves \n who closes it and hangs up Merrick's mask on the coat rack.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Merrick rises. Treves ponders over what Merrick has just \n said. He looks at Merrick and something very odd happens. \n Merrick is looking levelly at him.", "Merrick is lowered down into the crowd. it parts and the \n Night Porter emerges walking Merrick toward us to his room.", "by the crowd. On the dock amidst the umbrellas, we see \n Merrick. He looks around, then moves off into the crowd. The" ], [ "COMMITTEE ROOM - THE LONDON HOSPITAL\n\n We see a pair of hands. One of the photographs of Merrick is \n passed to them.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "CARR\n Well then, I move that Mr. John \n Merrick be admitted to the London", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick looks at Treves for guidance, but Treves cannot look \n him in the eye.\n\n MERRICK\n ...everyone has been very kind.", "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "Mr. Treves is finished, that we put \n it to a vote. All those in favor of \n keeping Mr. Merrick here?", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters." ], [ "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "Merrick looks incapable of even this simple movement, but he \n slowly manages to turn. The crowd reacts to the horrible \n condition of Merrick's back and head.", "Treves, his eyes wide with horror and wonder, his mouth frozen \n open, steps backward in an instinctive movement of self \n preservation.\n\n The Owner laughs.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "Treves steps closer. The Owner, watching his every move, \n turns-and smiles at him. He bangs his riding crop on the \n wall and yells to the crouched figure, as if speaking to a \n dog.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "OWNER\n Turn around!\n\n The Elephant Man begins to turn. The boy filled with malicious \n glee at seeing the monster obey, screams.", "Merrick looks at Treves for guidance, but Treves cannot look \n him in the eye.\n\n MERRICK\n ...everyone has been very kind.", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "TREVES\n ....Good morning... John. I've brought \n your breakfast.\n\n Treves is unsettled by the sight of Merrick cowering down on \n the floor.", "Throughout their dialogue, Merrick is still very garbled, \n but he no longer babbles. He makes a great effort to speak \n slowly, to form words the way Treves forms them, to be \n understood.", "He drags Merrick across the way to a small monkey wagon. The \n boy follows, his face filled with sympathy for Merrick. Bytes", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock." ], [ "Merrick looks incapable of even this simple movement, but he \n slowly manages to turn. The crowd reacts to the horrible \n condition of Merrick's back and head.", "Merrick is crouched in a dark corner underneath a stairway, \n his head resting on the points of both knees, his arms clasped", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "He has turned back to the bed, but Merrick has slipped to \n the floor again, still trying to hide himself in the corner.", "He puts his left hand up and feels the back of his head. \n Merrick turns out the lamp and goes to his bed. He looks at", "He pushes the screaming Whore down onto Merrick. Her screaming \n face goes right into his. Merrick tries to move away and as \n he does his head goes too far back and his cried turn to \n horrible wheezing.", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "Because of the horror of touching him, the crowd outside \n lets Merrick fall to the ground.", "Treves' words have disturbed Merrick. He sinks into the \n pillows, the book before him. We see the picture of the Mock", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "We now see Merrick crouched in a corner of the cage in his \n sleeping position.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "The poster is rolled up, Merrick on the floor of the wagon \n wheezing horribly.\n\n Beside him on the floor is a bowl of what looks to be slop \n and potatoes.", "NIGHT PORTER\n Head's too heavy, eh?\n\n He pulls Merrick all the way down onto the bed, so that he \n is prone, struggling for breath.", "His head bent forward toward his knees. Bytes is going to \n the door as it opens and the Boy leads Treves in.", "Merrick is on the bed, propped up by pillows. The door opens. \n Treves comes in, shuts the door and leans against it. They \n look at each other for a moment.", "TREVES\n ....Good morning... John. I've brought \n your breakfast.\n\n Treves is unsettled by the sight of Merrick cowering down on \n the floor.", "Merrick sitting on his bed, hunched over in concentration \n reading an Illustrated London News. He is staring at a picture \n of the Eddystone Lighthouse." ], [ "The monkeys keep on biting and screeching, pulling at him. \n Suddenly a formidable cry rings out of Merrick's mouth, with", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "He jabs Merrick a few times with the silver-tipped walking-\n stick. The crowd jeers even louder still. There is a clap of \n thunder.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "He grabs Merrick fiercely by the hair and jerks his head \n back. Merrick immediately starts to wheeze and gasp.", "toward Merrick, screeching threateningly. Another leaps out \n and clings to Merrick's shoulder, biting and scratching \n furiously then he too jumps away.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick is overcome by the applause. Tears run down his \n cheeks. Treves, Nora, Mothershead and the Princess, filled \n with pride, beam at John.", "Satisfied, the Night Porter rights Merrick who is just able \n to catch his breath. The Night Porter smiles and pats Merrick \n on the shoulder.", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "He pushes the screaming Whore down onto Merrick. Her screaming \n face goes right into his. Merrick tries to move away and as \n he does his head goes too far back and his cried turn to \n horrible wheezing.", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "Merrick looks incapable of even this simple movement, but he \n slowly manages to turn. The crowd reacts to the horrible \n condition of Merrick's back and head.", "Merrick rises. Treves ponders over what Merrick has just \n said. He looks at Merrick and something very odd happens. \n Merrick is looking levelly at him.", "One of them darts toward him and grabs a hold of Merrick's \n hood. Merrick turns frantically away and as he does, the", "Suddenly one of the braver ones leaps at Merrick with a \n scream, biting him on the arm, and moving quickly away.", "CARR\n (after a pause)\n I understand that you were beaten?\n\n Merrick is at a loss. This is not part of the expected \n scenario.", "with tears. Merrick, too, is weeping. Treves embraces him.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "Throughout their dialogue, Merrick is still very garbled, \n but he no longer babbles. He makes a great effort to speak \n slowly, to form words the way Treves forms them, to be \n understood." ], [ "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Merrick is lowered down into the crowd. it parts and the \n Night Porter emerges walking Merrick toward us to his room.", "He drags Merrick across the way to a small monkey wagon. The \n boy follows, his face filled with sympathy for Merrick. Bytes", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "The door opens. Merrick, disguised, enters, followed by Treves \n who closes it and hangs up Merrick's mask on the coat rack.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "MERRICK\n ...I'll walk you to the door.\n\n Merrick rises and goes with Treves to the door.", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters.", "COMMITTEE ROOM - THE LONDON HOSPITAL\n\n We see a pair of hands. One of the photographs of Merrick is \n passed to them.", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "CARR\n Well then, I move that Mr. John \n Merrick be admitted to the London" ], [ "trouble in raising the funds for his \n maintenance. Indeed, this hospital's \n rules do preclude the admission of", "Both the Royal Hospital and the \n British Home have turned him down \n even if sufficient funds for his \n care were provided. The workhouse is", "CARR\n What are your plans then, Treves... \n You are aware that the London does \n not accept incurables. The rules are \n quite clear on that point.", "Treves. But you must remember that \n this is a hospital, and there are \n many patients here. Patients who can", "Again, the hospital is closing down for the night. Lights go \n off in each hallway. The staff is vacating the hospital. As \n the last light goes off, we hear the great iron door slam \n shut.", "MERRICK\n (incredulous)\n The hospital?\n\n TREVES\n Of course! What did you think?", "CARR\n Mr. Treves, it's out of the question. \n I want to hear as soon as possible \n what the other hospitals can do. I'm \n sorry.", "Hospital on a permanent basis, on \n condition that the Hospital shall \n receive a yearly payment equal to \n the cost of occupying one bed, and", "which would be far better served in \n accommodating treatable patients, \n patients to whom this hospital was \n originally dedicated? I believe we", "The receiving room is a bare hall, painted stone color. It \n has rows of benches and a long desk where entries are made, \n and certificates and other papers are issued. It is a cold, \n harsh place.", "TREVES\n Well sir, he's quite seriously \n deformed, and I fear the other \n patients would find him... rather \n shocking.", "that the funds for his care shall be \n clearly separate from hospital funds. \n All those in favor.", "CARR\n A hospital is no place for secrecy, \n Mr. Treves. Doctors spiriting hooded", "matter. Had we not ascertained that \n an Elephant Man is not acceptable as \n a patient? Have we not, very", "guvnor of the hospital.\n (starts to read)\n There is now in a little room off \n one of our attic wards a man named", "good impression on the hospital \n committee they'd see that he's the \n exception to their rule. Now I'm not", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "as far as I'm concerned this creature \n has no business being in our hospital. \n I think Mr. Carr Gomm's letter would", "LONDON HOSPITAL GATE\n\n A carriage draws up in the street outside the hospital. A \n nicely dressed woman sticks her head out the window, looks \n around and scowls disappointedly.", "Merrick quietly enters the room, dressed in a billowy white \n shirt and baggy black pants. The two nurses try to smile, \n but he cannot look at them." ], [ "Merrick looks about him at his rooms. It's beginning to dawn \n on him that this is indeed his, that at last he has a real \n home, a place of his own.", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "MERRICK'S ROOM\n\n Merrick is at his table working on his cathedral. There is a \n knock at the door.\n\n MERRICK\n Come in.", "Merrick is enchanted by the house. Treves takes him by the \n arm and leads him into the sitting room. Anne appears at the \n top of the stairs.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "MERRICK\n No, but I certainly shall.\n\n Merrick finds a place and begins to read.", "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters.", "CARR\n Well then, I move that Mr. John \n Merrick be admitted to the London", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Merrick looks at Treves for guidance, but Treves cannot look \n him in the eye.\n\n MERRICK\n ...everyone has been very kind.", "Square that are no longer in use and \n would be admirably suited to Mr. \n Merrick's needs. I also propose to", "Merrick is lowered down into the crowd. it parts and the \n Night Porter emerges walking Merrick toward us to his room.", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "CARR\n You are quite right, Treves, this is \n an exceptional case. And I quite \n agree that the committee should see \n Mr. Merrick." ], [ "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Merrick recognizes his voice and looks frantically around \n for his former owner. The Night Porter pulls Merrick up by \n the window again. He then begins pushing the crowd out the \n door.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "The Night Porter whirls around and sees that Merrick is gone. \n He pushes the rest of the people outside and quickly goes to \n Merrick, lifting him to his feet.", "with tears. Merrick, too, is weeping. Treves embraces him.", "He drags Merrick across the way to a small monkey wagon. The \n boy follows, his face filled with sympathy for Merrick. Bytes", "MERRICK\n ...I'll walk you to the door.\n\n Merrick rises and goes with Treves to the door.", "The monkeys keep on biting and screeching, pulling at him. \n Suddenly a formidable cry rings out of Merrick's mouth, with", "The Plumed Dwarf, his arm around Merrick, is helping him \n down the platform, as fast as possible, his ark trailing", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters.", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "At this, Anne is so extremely touched that she begins to \n cry. She tries to hold it in, but to no avail. She reaches a \n hand out to Merrick and he takes it. He tries to comfort \n her.", "Merrick is overcome by the applause. Tears run down his \n cheeks. Treves, Nora, Mothershead and the Princess, filled \n with pride, beam at John.", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "Merrick rises with the help of his stick, and slowly descends \n from the carriage watched very carefully by the others. He", "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "Merrick is lowered down into the crowd. it parts and the \n Night Porter emerges walking Merrick toward us to his room.", "The others cough their agreement and hurriedly leave the \n room. Treves walks over to the committee table and takes the \n paper off the photograph. He stares sadly at Merrick's \n picture." ], [ "TREVES\n Say \"Mmmerrick.\"\n\n MERRICK\n Mmmerrick.", "TREVES\n Say \"Mmmerrick.\"\n\n MERRICK\n Mmmerrick.", "Merrick is still hesitant, from years of fear, but his eyes \n betray a growing excitement. Slowly, he tries to talk, his \n voice a tremulous whisper.", "Merrick starts to wail. The crowd joins in and they hoist \n him above their heads, screaming with laughter, around and \n around, joining him all the while.", "Merrick is very flattered that you're \n taking the time and trouble to meet \n him, and he's most anxious to make a", "Merrick is concentrated on his work. Nora, curious now, walks \n to the table.\n\n Merrick, conscious of her presence, leans back in his chair \n and looks up at her.", "He jabs Merrick a few times with the silver-tipped walking-\n stick. The crowd jeers even louder still. There is a clap of \n thunder.", "Merrick is silent. He goes over to his cloak, reaches into \n it and pulls out a folded up advertisement. He hands it to", "MERRICK\n (the word gives him \n pleasure)\n Friends. Ah yes, friends! How nice.\n\n ANNE\n And here is one of Frederick's mother.", "Merrick is examining everything in the room. Nothing in this \n almost magical world escapes his attention. The furniture, \n the personal mementoes, particularly the pictures on the", "by the crowd. On the dock amidst the umbrellas, we see \n Merrick. He looks around, then moves off into the crowd. The", "(Merrick as before) he reaches over to the picture of Mrs. \n Kendal and picks it up. We see his face reflected in the", "Merrick recognizes his voice and looks frantically around \n for his former owner. The Night Porter pulls Merrick up by \n the window again. He then begins pushing the crowd out the \n door.", "TREVES\n My name is...\n\n MERRICK\n My... name is...\n\n TREVES\n John Merrick.", "Merrick looks about him at his rooms. It's beginning to dawn \n on him that this is indeed his, that at last he has a real \n home, a place of his own.", "At this word, Merrick begins to babble wildly. Obviously \n alarmed, he thrashes about in the tub, spilling water onto", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "MERRICK\n Hello... my name is John Merrick. I \n am very pleased to meet you.\n\n Carr Gomm, still shaken, instinctively offers his hand." ], [ "TREVES\n My name is Frederick Treves... I am \n a surgeon here at the London Hospital,", "BOBBY\n Are you Frederick Treves, sir?\n\n TREVES\n Yes...\n\n The card changes hands.", "The man is Treves. He is holding the stiff black surgeon's \n coat of which he was once so proud. He looks at it for a", "#2 DOCTOR\n Good publicity for the Hospital, at \n any rate.\n\n #3 DOCTOR\n Treves comes off well too, eh Freddie?", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "back we see the black awning entrance to the freak tent, \n where FREDERICK TREVES, Resident Surgeon and Lecturer on", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "It is a small, elegantly furnished room with a large window. \n The two men sit, Carr Gomm behind his desk and Treves in a \n leather chair.", "The girls leave, taking the buckets.\n\n Merrick, alone, walks about the room getting the feel of his \n new clothes.\n\n There is a knock at the door and Treves enters.", "FOX\n (coldly)\n Well, no one did ask you Atkins.\n Frederick Treves is not only the", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "TREVES\n ...Yes, Sir.\n\n They part company. We follow Treves down the stairs.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "the E.M.'s head. Treves sits at his desk and makes some final \n notes. He becomes more absorbed in his notes than in the", "Merrick is on the bed, propped up by pillows. The door opens. \n Treves comes in, shuts the door and leans against it. They \n look at each other for a moment.", "TREVES\n Is it the one you wanted?\n\n MERRICK\n Oh, Mr. Treves. Mr. Treves.", "There is a hissing sound and steam from the cauterizing of \n the wound comes up obscuring part of Treves' face. The patient \n is being held down firmly by the other men." ], [ "Treves watches them go for a moment, then turns and we go \n with him into the dark freak tent. He pauses to pay admission \n at a small booth, then disappears within.", "Filled with curiosity, Treves moves toward the curtain.\n\n ALDERMAN\n This exhibit degrades all who see \n it, as well as the poor creature \n himself.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "The figure leans back fearfully. From behind him we see just \n the top of his wide hooded head.\n\n Treves, standing before him, lifts the hood up and back.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "TREVES\n My name is Frederick Treves... I am \n a surgeon here at the London Hospital,", "Treves turns and looks down to a chocolate-covered face. He \n smiles at the children and Anne.\n\n Anne sees the dirty faces and begins cleaning one of them. \n The other daughter looks into the freak tent.", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "The man is Treves. He is holding the stiff black surgeon's \n coat of which he was once so proud. He looks at it for a", "back we see the black awning entrance to the freak tent, \n where FREDERICK TREVES, Resident Surgeon and Lecturer on", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "We see a CLOSE-UP of the Elephant Man looking at Treves. His \n face is utterly devoid, and incapable, of expression.\n\n We see the Elephant Man's eyes. He closes them.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "The figure in the chair is still. Treves is at a loss. His \n sense of discomfort is growing. He looks at the floor for a \n moment, then locks his eyes on the figure's left arm.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "TREVES\n Well sir, he's quite seriously \n deformed, and I fear the other \n patients would find him... rather \n shocking.", "wagon. He is quite sick. The audience gasps and shudders. A \n few shrieks are heard. The Elephant Man is always the Elephant \n Man." ], [ "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "TREVES\n My name is...\n\n MERRICK\n My... name is...\n\n TREVES\n John Merrick.", "TREVES\n He is English, he is twenty-one years \n of age and his name is John Merrick.", "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "TREVES\n Gentlemen, John Merrick is not an \n animal, he is a man, fully aware of", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "MERRICK\n John... Merrick\n\n TREVES\n Say \"Merrick\".\n\n MERRICK\n Merrick...", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Treves steps closer. The Owner, watching his every move, \n turns-and smiles at him. He bangs his riding crop on the \n wall and yells to the crouched figure, as if speaking to a \n dog.", "OWNER\n Turn around!\n\n The Elephant Man begins to turn. The boy filled with malicious \n glee at seeing the monster obey, screams.", "TREVES\n This is your new home, John.\n\n Merrick pulls off his hood. His eyes are bewildered.", "TREVES\n ....Good morning... John. I've brought \n your breakfast.\n\n Treves is unsettled by the sight of Merrick cowering down on \n the floor.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "TREVES\n You look splendid, John.\n\n MERRICK\n Thank you very much.", "MERRICK\n Hello... my name is John Merrick. I \n am very pleased to meet you.\n\n Carr Gomm, still shaken, instinctively offers his hand." ], [ "Merrick looks incapable of even this simple movement, but he \n slowly manages to turn. The crowd reacts to the horrible \n condition of Merrick's back and head.", "Because of the horror of touching him, the crowd outside \n lets Merrick fall to the ground.", "John Merrick, so dreadful a sight \n that he is unable even to come out \n by daylight to the garden. He has", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "TREVES\n ....Good morning... John. I've brought \n your breakfast.\n\n Treves is unsettled by the sight of Merrick cowering down on \n the floor.", "He has turned back to the bed, but Merrick has slipped to \n the floor again, still trying to hide himself in the corner.", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "The poster is rolled up, Merrick on the floor of the wagon \n wheezing horribly.\n\n Beside him on the floor is a bowl of what looks to be slop \n and potatoes.", "the floor. Treves, alarmed now himself, attempts to calm \n Merrick, who, still babbling, tries to rise from the tub.", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Treves' words have disturbed Merrick. He sinks into the \n pillows, the book before him. We see the picture of the Mock", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "meets him. Somehow, between now and \n then I've got to make John Merrick \n at least seem like an intelligent", "He puts his left hand up and feels the back of his head. \n Merrick turns out the lamp and goes to his bed. He looks at", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "Merrick is on the bed, propped up by pillows. The door opens. \n Treves comes in, shuts the door and leans against it. They \n look at each other for a moment.", "He pushes the screaming Whore down onto Merrick. Her screaming \n face goes right into his. Merrick tries to move away and as \n he does his head goes too far back and his cried turn to \n horrible wheezing.", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "TREVES\n (after a pause)\n And what was that, John?\n\n MERRICK\n Potatoes..." ], [ "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "He grabs Merrick fiercely by the hair and jerks his head \n back. Merrick immediately starts to wheeze and gasp.", "The monkeys keep on biting and screeching, pulling at him. \n Suddenly a formidable cry rings out of Merrick's mouth, with", "CARR\n (after a pause)\n I understand that you were beaten?\n\n Merrick is at a loss. This is not part of the expected \n scenario.", "He jabs Merrick a few times with the silver-tipped walking-\n stick. The crowd jeers even louder still. There is a clap of \n thunder.", "He pushes the screaming Whore down onto Merrick. Her screaming \n face goes right into his. Merrick tries to move away and as \n he does his head goes too far back and his cried turn to \n horrible wheezing.", "BYTES\n Another bleedin' heart!\n\n The boy is crouched over Merrick, who looks little better \n than a corpse.", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Merrick looks incapable of even this simple movement, but he \n slowly manages to turn. The crowd reacts to the horrible \n condition of Merrick's back and head.", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "They help Merrick settle back on the pillow. Merrick is still \n making desperate, unintelligible sounds.", "At this word, Merrick begins to babble wildly. Obviously \n alarmed, he thrashes about in the tub, spilling water onto", "Because of the horror of touching him, the crowd outside \n lets Merrick fall to the ground.", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "One of them darts toward him and grabs a hold of Merrick's \n hood. Merrick turns frantically away and as he does, the", "The poster is rolled up, Merrick on the floor of the wagon \n wheezing horribly.\n\n Beside him on the floor is a bowl of what looks to be slop \n and potatoes.", "toward Merrick, screeching threateningly. Another leaps out \n and clings to Merrick's shoulder, biting and scratching \n furiously then he too jumps away.", "Merrick is still hesitant, from years of fear, but his eyes \n betray a growing excitement. Slowly, he tries to talk, his \n voice a tremulous whisper.", "At this last word he throws the contents of the bowl \n splattering in Merrick's face. He stands for a moment looking \n down at Merrick who has lapsed into a coughing fit." ], [ "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "Carr Gomm calls a Nurse from a nearby ward over. It is Nora. \n He takes the bowl from Treves and hands it to her.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "COMMITTEE ROOM - THE LONDON HOSPITAL\n\n We see a pair of hands. One of the photographs of Merrick is \n passed to them.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "MERRICK\n Please... please...\n\n But Anne goes on, as Treves, in wonder, watches her and \n Merrick locked together in the communication of intense \n sympathy.", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "TREVES\n Yes, John.\n\n MERRICK\n You did this for me?\n\n TREVES\n Yes.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "Mothershead continues on. Nora guiltily watches her go.\n\n ISOLATION WARD\n\n Treves and Merrick are absorbed in their work. A knock comes \n at the door.", "NURSE\n Breakfasting with the patients this \n morning, Mr. Treves?\n\n TREVES\n It's for a patient.", "YOUNG PORTER\n Mr. Treves?\n\n Now we see Mrs. Mothershead entering Merrick's room surveying \n the same scene.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Merrick is overcome by the applause. Tears run down his \n cheeks. Treves, Nora, Mothershead and the Princess, filled \n with pride, beam at John.", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital." ], [ "Merrick looks up at her very apprehensively. She walks over \n to the bed, picks up the Bible from the table, opens it and \n hands it to Merrick.", "MOTHERSHEAD\n Read it.\n\n Merrick looks down at the Bible.", "He and Mothershead exit. Merrick watches the door close. He \n sighs quietly, looks about, and sees the Bible on the bedside \n table. He picks it up and, gently runs his fingers over the \n cover.", "MERRICK\n (hesitantly)\n I... I used to read the Bible every", "MERRICK\n No, but I certainly shall.\n\n Merrick finds a place and begins to read.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "She quickly turns and exits. Merrick looks down at the Bible. \n It is open to \"Lamentations\".\n\n HALLWAY - THE LONDON (NIGHT)", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Merrick has come to the end of what Treves taught him to \n say. He makes one last, desperate attempt to be heard.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Merrick is standing beside his disguise on its hook. He \n nervously smooths the cloak down, repositions the Bible on", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "MERRICK\n (his voice is gaining \n strength)\n The Lord is my shepherd, I shall not", "TREVES\n Say \"Mmmerrick.\"\n\n MERRICK\n Mmmerrick.", "TREVES\n Say \"Mmmerrick.\"\n\n MERRICK\n Mmmerrick.", "Merrick is still hesitant, from years of fear, but his eyes \n betray a growing excitement. Slowly, he tries to talk, his \n voice a tremulous whisper.", "MERRICK\n Yes.\n\n TREVES\n Excellent! Now, say... \"Hello\"\n\n MERRICK\n Hello...", "MERRICK\n Yyyy... Yyye... yyyess.\n\n TREVES\n (grabbing Merrick's \n arm)\n Yes John!", "He raps twice with the walking stick and pulls the poster \n up.\n\n Merrick is now extremely sick. He almost looks as if he is \n unable to stand.", "Treves' words have disturbed Merrick. He sinks into the \n pillows, the book before him. We see the picture of the Mock" ], [ "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "The others cough their agreement and hurriedly leave the \n room. Treves walks over to the committee table and takes the \n paper off the photograph. He stares sadly at Merrick's \n picture.", "COMMITTEE ROOM - THE LONDON HOSPITAL\n\n We see a pair of hands. One of the photographs of Merrick is \n passed to them.", "guvnor of the hospital.\n (starts to read)\n There is now in a little room off \n one of our attic wards a man named", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "Merrick is in his bed as always. He holds the portrait of \n the beautiful woman, gazing at it longingly. He hears a door \n close far away in the silence of the hospital.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Mr. Treves is finished, that we put \n it to a vote. All those in favor of \n keeping Mr. Merrick here?", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "MERRICK\n (incredulous)\n The hospital?\n\n TREVES\n Of course! What did you think?", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "CARR\n You are quite right, Treves, this is \n an exceptional case. And I quite \n agree that the committee should see \n Mr. Merrick.", "Carr Gomm goes back into his office and Treves walks off.\n\n MERRICK'S ROOM (A WHILE LATER)", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick looks at Treves for guidance, but Treves cannot look \n him in the eye.\n\n MERRICK\n ...everyone has been very kind.", "Treves enters and pushes through the crowd. He sees Merrick \n in a heap on the floor. The SERGEANT gets up to meet him in \n the middle of the room, but Treves keeps walking toward \n Merrick.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "TREVES\n ....Good morning... John. I've brought \n your breakfast.\n\n Treves is unsettled by the sight of Merrick cowering down on \n the floor." ], [ "She produces a beautiful leather-bound volume of Shakespeare's \n works. Merrick takes it with reverence and begins to leaf \n through it.\n\n KENDAL\n Have you read it?", "MERRICK\n No, but I certainly shall.\n\n Merrick finds a place and begins to read.", "Treves sits beside him.\n\n TREVES\n The disease is shocking.\n\n Merrick's eyes flicker.", "Merrick begins to babble. Treves enters the room, placing \n the bowl on the table and going to Merrick.", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "CARR\n Treves. Well done.\n\n TREVES\n Not me, sir. Mr. Merrick. He succeeded \n in spite of my shortsightedness.", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Merrick is on the bed, propped up by pillows. The door opens. \n Treves comes in, shuts the door and leans against it. They \n look at each other for a moment.", "TREVES\n (lowering his voice)\n I'm sure that if Mr. Merrick made a", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "Merrick is a trifle apprehensive, but he agrees. Treves ushers \n MRS. KENDAL through the door. At the sight of her, Merrick's \n eyes go wide.", "He looks at the picture silently. There is a knock at the \n door. Merrick says, \"Come in\". Treves enters, holding a book.", "Treves goes to Merrick who, just coming to, reaches out to \n him with his good hand. Treves pulls him up, his eyes brimming", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "MERRICK\n Come in.\n\n The door opens and Treves and Carr Gomm enter. Carr Gomm's \n eyes are rivited on Merrick, but he contains his shock.", "hospital. After a few moments the window opens wide, and \n there, neatly framed and silhouetted, stand Merrick and the", "He starts to help Merrick up, but Merrick just presses himself \n farther back in the corner, still babbling. There are two \n raps at the door. Treves goes to it and lets Mothershead in.", "CARR\n Well then, I move that Mr. John \n Merrick be admitted to the London" ], [ "TREVES\n My name is...\n\n MERRICK\n My... name is...\n\n TREVES\n John Merrick.", "MERRICK\n (hesitantly)\n Hello, my name is John Merrick.\n\n MOTHERSHEAD\n Good Lord, Mr. Treves!", "MERRICK\n John... Merrick\n\n TREVES\n Say \"Merrick\".\n\n MERRICK\n Merrick...", "MERRICK\n Mr. Treves?\n\n Treves comes back to Merrick.\n\n TREVES\n Yes John?", "enquiries proved it to be none other \n than Mr. John Merrick, The Elephant \n Man, with whom our readers are", "MERRICK\n Hello... my name is John Merrick. I \n am very pleased to meet you.\n\n Carr Gomm, still shaken, instinctively offers his hand.", "TREVES\n He is English, he is twenty-one years \n of age and his name is John Merrick.", "MERRICK\n John... Merrick!", "MERRICK\n Hello, my name is John Merrick. I am \n very, VERY pleased to meet you!", "MERRICK\n (haltingly)\n Hello... my name is... John Merrick.\n\n DISSOLVE TO HALLWAY", "Treves enters.\n\n TREVES\n Good morning, John.\n\n MERRICK\n Good morning.", "Merrick, the Elephant Man...", "meets him. Somehow, between now and \n then I've got to make John Merrick \n at least seem like an intelligent", "Merrick is breathing unevenly, his eyes still closed. Treves \n goes to him and touches his shoulder. Merrick opens his eyes", "KENDAL\n Why, Mr. Merrick, you're not an \n Elephant Man at all...\n\n MERRICK\n Oh no?", "He reaches into his cloak and brings out the small portrait \n of the beautiful woman. Treves is absolutely amazed. Merrick \n gently hands the picture to Anne.", "wagon. He is quite sick. The audience gasps and shudders. A \n few shrieks are heard. The Elephant Man is always the Elephant \n Man.", "Merrick, in his disguise, and Treves, one arm around him, \n are walking together. Merrick seems very uneasy.", "Merrick, at a loss, shrugs his shoulders. The movement makes \n Nora aware of his body, and he is the Elephant Man once again.", "TREVES\n You look splendid, John.\n\n MERRICK\n Thank you very much." ] ]

[ "What is John Merrick nickname?", "How does Treves get Mr Bytes to bring Merrick to the hospital for medical exams?", "What does Merrick quote proofing he can read?", "What does John Merrick die from?", "How does John Merrick have to sleep because of his giant skull?", "What is Madge Kendals profession?", "What happens to Merrick that causes him to flee Bytes and return to hospital?", "Who ensures that John Merrick will be able to reside at hospital even againt hospital council concerns.?", "When dying what is the quote John Merrick hears his mother say?", "Who finds Merrick?", "Who keeps Merrick in London?", "How does Merrick's owner view him?", "What forces Merrick to sleep with his head on his knees?", "Who beats Merrick? ", "Who brings Merrick to the hospital?", "What does the hospital not accept?", "Who grants merrick's residence?", "Who helps merrick escape?", "What is merricks nickname?", "What is Frederick Treves occupation?", "Who is the person in a freak show that Treves examines?", "Who is John Merrick's \"owner\"?", "What would happen to John Merrick if he slept lying down?", "Who beat Merrick so badly he needed medical help?", "Which nurse tends to John Merrick at the hospital?", "What Bible verse can Merrick recite?", "What hospital governor was against Merrick staying at the hospital?", "Who introduced Merrick to Shakespeare?", "What is the nickname given to John Merrick?" ]

[ [ "The elephant man.", "Elephant man is his nickname." ], [ "By paying him.", "Mr. Treves is paid to take John." ], [ "23rd psalms", "23rd Psalm" ], [ "Chronic obstructive pulmonary disease.", "Chronic Obstructive Pulmonary Disease." ], [ "With his head on his knees.", "With his head on his knees." ], [ "She is an actress.", "Actress." ], [ "He is beaten badly by Bytes upon his return from the medical exams.", "Bytes beats him badly." ], [ "Queen Victoria", "Queen Victoria" ], [ "Nothing dies.", "Nothing will Die" ], [ "Treves", "Frederick Treves." ], [ "Bytes", "Mr. Bytes" ], [ "Retarded", "an elephant man" ], [ "His large skull", "He would asphyxiate if laying flat because of the size of his head" ], [ "His owner", "Bytes" ], [ "Treves", "Frederick Treves" ], [ "Curables?", "Incurables." ], [ "Queen Victoria", "Queen Victoria." ], [ "His fellow freakshow attractions ", "fellow freakshow attractions" ], [ "The elephant man", "elephant Man" ], [ "London Hospital surgeon", "He is a surgeon." ], [ "John Merrick", "John Merrick is a man with a huge head and presumed to be retarded." ], [ "Mr. Bytes", "Mr. Bytes" ], [ "He would die from asphyxiation", "He would die of asphyxiation. " ], [ "Mr. Bytes", "Bytes" ], [ "Mrs. Mothershead", "Mrs. Mothershead" ], [ "Psalm 23", "23rd Psalm." ], [ "Mr. Carr-Gomm", "Mr. Carr-Gomm." ], [ "Madge Kendal", "Madge Kendal" ], [ "The Elephant Man", "Elephant Man." ] ]

567c1a39aff9590875a843a9df35f8c5b880ae27

train

[ [ "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "about Strickland. He had known him well.", "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "an individual, but a thing, an instrument to some purpose\nforeign to his ego. Love is never quite devoid of\nsentimentality, and Strickland was the least inclined to that", "white man, but it's not decent for a white man. Now, listen\nto me, Strickland.'\"", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "exist for him, but only as a model; and then there were long\nhours in which they lived side by side in silence. It must\nhave frightened her. When Strickland suggested that in her", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "Charles Strickland lived obscurely. He made enemies rather\nthan friends. It is not strange, then, that those who wrote of\nhim should have eked out their scanty recollections with a", "Strickland's attention. Here, too, was a man with a vision of\nthe world peculiar to himself. I made somewhat copious notes\nat the time, intending to write something about him, but I", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "caught sight of Strickland. He rolled up to him. He did not speak.\nHe gathered the spittle in his mouth and spat full in", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding", "Stroeve made a great effort to collect himself.\n\n\"You must be a little reasonable. You can't live on air,\nyou know. Strickland hasn't got a penny.\"", "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "for Strickland was not a fluent talker. He seemed to\nexpress himself with difficulty, as though words were not the\nmedium with which his mind worked; and you had to guess the", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the" ], [ "little old red-brick house, neat and clean, by the side of a\nsluggish canal. The streets were wide and empty; for two\nhundred years the place had been dying, but the houses had the", "He was twenty-three. They played together, walked on the front\ntogether, listened together to the nigger minstrels; and she\nhad made up her mind to accept him a week before he proposed", "Sometimes a man survives a considerable time from an era in\nwhich he had his place into one which is strange to him, and\nthen the curious are offered one of the most singular", "\"Is she dead?\"\n\n\"No; they've taken her to the hospital.\"\n\n\"Then what are you talking about?\" I cried impatiently. \"Why\ndid you say she'd killed herself?\"", "by the heavy boots of the men, and gray with smoke. It was\nvery hot. Behind the bar was seated a woman nursing her baby.\nThe waiter, an undersized youth with a flat, spotty face,", "away from the door in tears. He thought nothing of it, but\nwhen he went out to get into his trap and drive home, he saw\nher again, standing a little way off; she looked at him with a", "Then two years more went by, or perhaps three, for time passes\nimperceptibly in Tahiti, and it is hard to keep count of it;", "of a fishing smack), unwilling to lose a moment, bent over\ntheir sewing. Nothing ever happened in that little town, left\nbehind by the advance of civilisation, and one year followed", "Then he told me, in a trembling voice, with the tears pouring\ndown his cheeks, how he had gone up to her, trying to take her", "out where he was. He seemed on a sudden to have entered a\nmagic world. He had a vague impression of a great primeval\nforest and of naked people walking beneath the trees. Then he", "\"Well, you've come here to talk to me about it. You'd better\ntell me the whole story.\"", "eventually to Stroeve's studio. He was so exhausted by the\ntime we arrived that he allowed us to put him to bed without a word.\nHe was ill for six weeks. At one time it looked as", "I confess that time has now accustomed me to incidents of this\ncharacter among my acquaintance. But I was a little shocked.\nStrickland was certainly forty, and I thought it disgusting", "to the sky. These gallant words which seem so novel to those\nthat speak them were said in accents scarcely changed a hundred\ntimes before. The pendulum swings backwards and forwards.", "succeeded to vast chin. I do not know how many of them there were.\nThey fell away voluminously into the capaciousness of her bosom.\nShe was dressed usually in a pink Mother Hubbard,", "during this period was romantic, but he certainly saw no\nromance in it. It may be that in order to realise the romance\nof life you must have something of the actor in you; and,", "Chapter III\n\n\nBut all this is by the way.", "It was a fine day, early in spring, and we were in a good humour.\nWe talked about a hundred things. Miss Waterford,\ntorn between the aestheticism of her early youth, when she", "Now and then they made a bit of money. Sometimes a mail\nsteamer would come in, and Captain Nichols, having scraped\nacquaintance with the timekeeper, would succeed in getting the", "The explanation came a week later. It was about ten o' clock\nat night; I had been dining by myself at a restaurant, and" ], [ "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "\"Where are you going?\" he said hastily. \"You don't know what\nStrickland's place is like. You can't live there. It would\nbe awful.\"", "here, either. Strickland was indifferent to his surroundings,\nand he had lived in the other's studio without thinking of\naltering a thing. It was deliberately artistic. It represented", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "\"'I'm going with Strickland, Dirk,' she said. 'I can't live\nwith you any more.'", "Here Strickland lived, coming seldom to Papeete, on the\nproduce of the land. There was a little stream that ran not", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "Stroeve liked his ease, and in his studio were a couple of\nheavily upholstered arm-chairs and a large divan.\nStrickland would not go near them, not from any affectation", "With Strickland the sexual appetite took a very small place.\nIt was unimportant. It was irksome. His soul aimed elsewhither.", "Strickland had only herself to provide for. She let her flat\nand sold her furniture. She settled in two tiny rooms in\nWestminster, and faced the world anew. She was so efficient", "Strickland was impossible, and he swore never to speak to him again.\nBut the season touched him with gentle feeling, and he hated\nthe thought of Strickland spending Christmas Day by himself;", "thousands of miles from civilisation. I asked Strickland if\nit did not irk him to live in that promiscuity. No, he said;", "\"This afternoon I couldn't stand it any more. I went to\nStrickland and told him I thought he was quite well enough to\ngo back to his own place. I wanted the studio myself.\"", "I suppose the next three years were the happiest of\nStrickland's life. Ata's house stood about eight kilometres", "Next day we moved Strickland. It needed a good deal of\nfirmness and still more patience to induce him to come, but he", "I can never walk its streets without feeling myself\non the verge of adventure. Strickland remained placid.\nLooking back, I think now that he was blind to everything but", "exist for him, but only as a model; and then there were long\nhours in which they lived side by side in silence. It must\nhave frightened her. When Strickland suggested that in her", "so bedraggled an air that the houses on each side of it looked\nneat and clean. The dirty windows were all shut. It was not\nhere that Charles Strickland lived in guilty splendour with" ], [ "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "about Strickland. He had known him well.", "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "\"You don't understand. She's in love with Strickland.\"", "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "white man, but it's not decent for a white man. Now, listen\nto me, Strickland.'\"", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding", "appreciation of another, which added to Strickland's\nnotoriety, and fed without satisfying the curiosity of\nthe public. The subject was grateful, and the industrious", "Strickland was thinking of it, so I said to him: 'I've given\nher good wages and she's saved them, and the captains and the", "Charles Strickland lived obscurely. He made enemies rather\nthan friends. It is not strange, then, that those who wrote of\nhim should have eked out their scanty recollections with a", "Stroeve made a great effort to collect himself.\n\n\"You must be a little reasonable. You can't live on air,\nyou know. Strickland hasn't got a penny.\"", "Strickland, for reasons of her own, had concealed from him\nsome part of the facts. It was clear that a man after\nseventeen years of wedlock did not leave his wife without", "Mrs. Strickland's sister and her husband, Colonel MacAndrew,\nand the wife of a Member of Parliament. It was because the Member\nof Parliament found that he could not leave the House that I had", "Strickland had only herself to provide for. She let her flat\nand sold her furniture. She settled in two tiny rooms in\nWestminster, and faced the world anew. She was so efficient", "I do not know why Strickland put up with me. Our relations\nwere peculiar. One day he asked me to lend him fifty francs.\n\n\"I wouldn't dream of it,\" I replied.", "their box. He cursed Strickland freely, then, calling for the\nwaiter, paid for the drinks, and left. Stroeve drew his chair\ncloser to the table.", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from" ], [ "Blanche Stroeve was in the cruel grip of appetite.\nPerhaps she hated Strickland still, but she hungered for him,\nand everything that had made up her life till then became of", "so long as Blanche's strength endured, I suppose that\nStrickland painted, and it must have irritated her when she\nsaw him absorbed in his work. As a mistress she did not then", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "emotion which is defenceless against passion. I suspected\nthat Blanche Stroeve's violent dislike of Strickland had in it\nfrom the beginning a vague element of sexual attraction.", "I could not believe that Strickland had fallen in love with\nBlanche Stroeve. I did not believe him capable of love.\nThat is an emotion in which tenderness is an essential part,", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "Strickland's attention. Here, too, was a man with a vision of\nthe world peculiar to himself. I made somewhat copious notes\nat the time, intending to write something about him, but I", "men whose desire for truth is so great that to attain it they\nwill shatter the very foundation of their world. Of such was\nStrickland, only beauty with him took the place of truth.", "But perhaps this is very fanciful; and it may be that she was\nmerely bored with her husband and went to Strickland out of a", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "with which she had accepted the burden he laid on her.\nBut he was a little puzzled by the behaviour of Blanche and\nStrickland towards one another.", "from it only decorous sentiments and normal emotions.\nWhen Blanche saw that, notwithstanding his moments of passion,\nStrickland remained aloof, she must have been filled with", "over to it and leaned it towards him so that he could see the\npainting. It was a nude. His heart began to beat quickly,\nfor he guessed at once that it was one of Strickland's", "\"And the passion that held Strickland was a passion to\ncreate beauty. It gave him no peace. It urged him hither", "Strickland. Did she want to see me or did she not? It was\nlikely enough that in the agitation of the moment my note had", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from", "had her to live with me. Strickland used to come here now and\nthen to have a square meal or to play chess with one of the boys.\nI noticed that she looked at him when he came, and I" ], [ "things which must lead to disaster, and yet by some chance\nmanage to evade the result of their folly. When Blanche\nquarrelled with Strickland she had only to leave him, and her", "from one day to the next. Stroeve knew from the enquiries\nmade by the police that Strickland had walked out of the house\nimmediately after dinner, and the fact that Blanche had washed", "\"But that doesn't prevent the fact that Charles Strickland is\na heartless beast.\" She looked at me severely. \"I can tell\nyou why he left his wife -- from pure selfishness and nothing\nelse whatever.\"", "Strickland set off at once, and that was the last Captain\nNichols saw of him. The ship was only in port for six hours,", "so long as Blanche's strength endured, I suppose that\nStrickland painted, and it must have irritated her when she\nsaw him absorbed in his work. As a mistress she did not then", "A week later I heard by chance that Strickland had gone to\nMarseilles. I never saw him again.\n\n\n\n\nChapter XLIII", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "from it only decorous sentiments and normal emotions.\nWhen Blanche saw that, notwithstanding his moments of passion,\nStrickland remained aloof, she must have been filled with", "their box. He cursed Strickland freely, then, calling for the\nwaiter, paid for the drinks, and left. Stroeve drew his chair\ncloser to the table.", "the wretched morning on which they had taken Blanche to the hospital.\nI was glad he did not want me to accompany him, and when\nI left him at the door I walked away with relief. I took", "Mrs. Strickland, without saying a word that was untrue, insinuated\nthat her relations with her husband had always been perfect.\nAt last Mr. Van Busche Taylor rose to go. Holding his", "When I left him, after we had buried poor Blanche, Stroeve\nwalked into the house with a heavy heart. Something impelled", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from", "At last she rose and shepherded the ladies out of one room.\nStrickland shut the door behind her, and, moving to the other", "\"'I'm going with Strickland, Dirk,' she said. 'I can't live\nwith you any more.'", "He walked out and closed the door behind him. With my mind's\neye I saw Strickland throw his hat on a table, and, sitting down,\nbegin to smoke a cigarette.", "he'd go at once. He began to put his things together.\nYou remember I fetched from his room what I thought he needed,\nand he asked Blanche for a piece of paper and some string to", "I could not believe that Strickland had fallen in love with\nBlanche Stroeve. I did not believe him capable of love.\nThat is an emotion in which tenderness is an essential part,", "Strickland's injurious calm robbed Stroeve of the rest of his\nself-control. Blind rage seized him, and without knowing what", "woman's to a man who loves her and whom she does not love;\nshe has no kindness then, no tolerance even, she has only an\ninsane irritation. Blanche Stroeve stopped suddenly, and as" ], [ "He answered from Paris. He said he'd made up his mind not to\nlive with her any more.\"", "over to Paris on a fool's errand to an ill-famed house in a\nmean street. Still, I thought I had better go and see.", "It was about five years after this that I decided to live in\nParis for a while. I was growing stale in London. I was", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "\"We don't know who the woman is, you know,\" he said. \"All we\nknow is that the blackguard's gone to Paris.\"\n\n\"I thought they got on so well.\"", "\"What is Mrs. Strickland going to do?\"\n\n\"Well, the first thing is to get our proofs. I'm going over\nto Paris myself.\"\n\n\"And what about his business?\"", "who were spending a little while in Paris, and Stroeve\nbecause, having quarreled with him more violently than usual,\nhe had made up his mind to have nothing more to do with him.", "I agreed to go over on the next day but one, and to\nstay in Paris till I had achieved something. Then, as it was\ngrowing late and we were both exhausted by so much emotion,", "\"You said that if I wanted you to do anything you wouldn't\nmind doing it,\" she remarked.\n\n\"It was quite true.\"\n\n\"Will you go over to Paris and see Charlie?\"", "\"Don't you think you'd better go away for a bit?\" I said.\n\"There can be no object in your staying in Paris now.\"\n\nHe did not answer, but I went on ruthlessly:", "blue leaves; but they are mad in Paris, and it may be that\nyour brother will be able to sell it for the two hundred\nfrancs you lent Strickland.' Well, we packed it up and we sent", "lives, but I can take you to see him. He goes to a cafe in\nthe Avenue de Clichy at seven o'clock every evening. If you\nlike we'll go there to-morrow.\"", "I settled down in Paris and began to write a play. I led a\nvery regular life, working in the morning, and in the", "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "\"No; I haven't heard a word. He may be dead for all I know.\"\n\n\"I may run across him in Paris. Would you like me to let you\nknow about him?\"", "But after all when I look back upon that winter in Paris,\nmy pleasantest recollection is of Dirk Stroeve. There was\nsomething very charming in his little household. He and his", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "\"He's bolted. He's gone off to Paris with a woman. He's left\nAmy without a penny.\"\n\n\"I'm awfully sorry,\" I said, not knowing what else to say.", "spent in Paris; but I do not suppose I should ever have set\ndown my recollections if the hazards of the war had not taken", "When I told him that I meant to live in Paris for a while, and\nhad taken an apartment, he reproached me bitterly for not" ], [ "which had been Strickland. He was dead. Dr. Coutras made an\neffort of will and bent over that battered horror. Then he", "Strickland's injurious calm robbed Stroeve of the rest of his\nself-control. Blind rage seized him, and without knowing what", "At last I turned away. I felt that Strickland had kept his\nsecret to the grave.", "touched him on the arm. We walked along in silence. I tried\nto imagine what had happened to drive the poor creature to\nthat dreadful step. I presumed that Strickland knew what had", "he was doing he flung himself on Strickland. Strickland was\ntaken by surprise and he staggered, but he was very strong,\neven after his illness, and in a moment, he did not exactly", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "but at last a message was brought to Dr. Coutras that\nStrickland was dying. Ata had waylaid the cart that took the", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "caught sight of Strickland. He rolled up to him. He did not speak.\nHe gathered the spittle in his mouth and spat full in", "Charles Strickland lived obscurely. He made enemies rather\nthan friends. It is not strange, then, that those who wrote of\nhim should have eked out their scanty recollections with a", "about Strickland. He had known him well.", "\"I think Strickland knew it was a masterpiece. He had\nachieved what he wanted. His life was complete. He had made\na world and saw that it was good. Then, in pride and\ncontempt, he destroyed it.\"", "I had been thinking of it, too. It seemed to me that here\nStrickland had finally put the whole expression of himself.\nWorking silently, knowing that it was his last chance, I", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from", "In a few days Strickland began to get up. He was nothing but\nskin and bone. His clothes hung upon him like rags on a", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "Strickland stepped to the door and looked out. There must\nhave been something terrible in his face, for suddenly they\nall burst out into loud cries and lamentation. They lifted up", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once" ], [ "I had been thinking of it, too. It seemed to me that here\nStrickland had finally put the whole expression of himself.\nWorking silently, knowing that it was his last chance, I", "\"I think Strickland knew it was a masterpiece. He had\nachieved what he wanted. His life was complete. He had made\na world and saw that it was good. Then, in pride and\ncontempt, he destroyed it.\"", "It is here that I purposed to end my book. My first idea was\nto begin it with the account of Strickland's last years in", "\"And the passion that held Strickland was a passion to\ncreate beauty. It gave him no peace. It urged him hither", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "genius of his youth, and who, seeing in Strickland the\npossibilities which himself had wasted, influenced him to\nforsake all and follow the divine tyranny of art. I think", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "thither that after many wanderings Charles Strickland came,\nand it is there that he painted the pictures on which his fame\nmost securely rests. I suppose no artist achieves completely", "of Strickland's opinions of the great artists of the past.\nI am afraid I have very little worth noting. Strickland was not\na conversationalist, and he had no gift for putting what he", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "Then he told me again of his asking Strickland to go.\nHe chose his moment carefully, and tried to make his request\nsound casual; but he could not master the trembling of his voice;", "men whose desire for truth is so great that to attain it they\nwill shatter the very foundation of their world. Of such was\nStrickland, only beauty with him took the place of truth.", "over to it and leaned it towards him so that he could see the\npainting. It was a nude. His heart began to beat quickly,\nfor he guessed at once that it was one of Strickland's", "\"What on earth can it be that two people so dissimilar as you\nand Strickland could aim at?\" I asked, smiling.\n\n\"Beauty.\"\n\n\"A large order,\" I murmured.", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "and the reputation of Charles Strickland is now firmly\nestablished on the lines which he laid down. The rise of this\nreputation is one of the most romantic incidents in the", "to rival him in song. Strickland seemed to bear in his heart\nstrange harmonies and unadventured patterns, and I foresaw for\nhim an end of torture and despair. I had again the feeling" ], [ "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "about Strickland. He had known him well.", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "Strickland's attention. Here, too, was a man with a vision of\nthe world peculiar to himself. I made somewhat copious notes\nat the time, intending to write something about him, but I", "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "an individual, but a thing, an instrument to some purpose\nforeign to his ego. Love is never quite devoid of\nsentimentality, and Strickland was the least inclined to that", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the", "and the reputation of Charles Strickland is now firmly\nestablished on the lines which he laid down. The rise of this\nreputation is one of the most romantic incidents in the", "white man, but it's not decent for a white man. Now, listen\nto me, Strickland.'\"", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "\"A big fellow with a red beard. Charles Strickland.\nAn Englishman.\"", "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "I confess that when first I made acquaintance with Charles\nStrickland I never for a moment discerned that there was in", "Mrs. Strickland's sister and her husband, Colonel MacAndrew,\nand the wife of a Member of Parliament. It was because the Member\nof Parliament found that he could not leave the House that I had", "caught sight of Strickland. He rolled up to him. He did not speak.\nHe gathered the spittle in his mouth and spat full in" ], [ "In a few days Strickland began to get up. He was nothing but\nskin and bone. His clothes hung upon him like rags on a", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "caught sight of Strickland. He rolled up to him. He did not speak.\nHe gathered the spittle in his mouth and spat full in", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "placed far apart, so that only the starving should be tempted\nto make use of them. So they had breakfast, and so began the\nqueer companionship of Charles Strickland and Captain Nichols.", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "he was doing he flung himself on Strickland. Strickland was\ntaken by surprise and he staggered, but he was very strong,\neven after his illness, and in a moment, he did not exactly", "the door numbered thirty-two. There was a sound within, and\nthe door was partly opened. Charles Strickland stood before me.\nHe uttered not a word. He evidently did not know me.", "about Strickland. He had known him well.", "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "I can never walk its streets without feeling myself\non the verge of adventure. Strickland remained placid.\nLooking back, I think now that he was blind to everything but", "Strickland stepped to the door and looked out. There must\nhave been something terrible in his face, for suddenly they\nall burst out into loud cries and lamentation. They lifted up", "I have narrated all this as best I could, because I like the\ncontrast of these episodes with the life that I had seen\nStrickland live in Ashley Gardens when he was occupied with", "Strickland at this time must have been nearly forty-seven.\n\n\n\n\nChapter XLV", "which had been Strickland. He was dead. Dr. Coutras made an\neffort of will and bent over that battered horror. Then he", "I confess that when first I made acquaintance with Charles\nStrickland I never for a moment discerned that there was in" ], [ "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "blue leaves; but they are mad in Paris, and it may be that\nyour brother will be able to sell it for the two hundred\nfrancs you lent Strickland.' Well, we packed it up and we sent", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "\"What is Mrs. Strickland going to do?\"\n\n\"Well, the first thing is to get our proofs. I'm going over\nto Paris myself.\"\n\n\"And what about his business?\"", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the", "The concierge shrugged his shoulders. There was no other\nhotel of that name in Paris. It occurred to me that\nStrickland had concealed his address, after all. In giving", "down in the best order I can. They made one another's\nacquaintance during the latter part of the winter following my\nlast meeting with Strickland in Paris. How he had passed the", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "When she saw me she called out to Strickland, and he\ncame to the door. He, too, wore nothing but a .\nHe was an extraordinary figure, with his red beard and matted", "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "and the reputation of Charles Strickland is now firmly\nestablished on the lines which he laid down. The rise of this\nreputation is one of the most romantic incidents in the", "I confess that when first I made acquaintance with Charles\nStrickland I never for a moment discerned that there was in", "I was interested to learn that it was the same as that\nat which Strickland and I had drunk absinthe when I had gone\nover to Paris to see him. The fact that he had never changed" ], [ "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "\"What is Mrs. Strickland going to do?\"\n\n\"Well, the first thing is to get our proofs. I'm going over\nto Paris myself.\"\n\n\"And what about his business?\"", "blue leaves; but they are mad in Paris, and it may be that\nyour brother will be able to sell it for the two hundred\nfrancs you lent Strickland.' Well, we packed it up and we sent", "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "who were spending a little while in Paris, and Stroeve\nbecause, having quarreled with him more violently than usual,\nhe had made up his mind to have nothing more to do with him.", "mother, to state that Charles Strickland in a letter written\nfrom Paris had described her as \"an excellent woman,\" since\nDr. Weitbrecht-Rotholz was able to print the letter in", "When she saw me she called out to Strickland, and he\ncame to the door. He, too, wore nothing but a .\nHe was an extraordinary figure, with his red beard and matted", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "Dr. Weitbrecht-Rotholz was an enthusiastic admirer of Charles\nStrickland, and there was no danger that he would whitewash him.", "Mrs. Strickland's sister and her husband, Colonel MacAndrew,\nand the wife of a Member of Parliament. It was because the Member\nof Parliament found that he could not leave the House that I had", "I was interested to learn that it was the same as that\nat which Strickland and I had drunk absinthe when I had gone\nover to Paris to see him. The fact that he had never changed", "The concierge shrugged his shoulders. There was no other\nhotel of that name in Paris. It occurred to me that\nStrickland had concealed his address, after all. In giving", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "But after all when I look back upon that winter in Paris,\nmy pleasantest recollection is of Dirk Stroeve. There was\nsomething very charming in his little household. He and his" ], [ "things which must lead to disaster, and yet by some chance\nmanage to evade the result of their folly. When Blanche\nquarrelled with Strickland she had only to leave him, and her", "woman's to a man who loves her and whom she does not love;\nshe has no kindness then, no tolerance even, she has only an\ninsane irritation. Blanche Stroeve stopped suddenly, and as", "The door wasn't locked, and she went in. Blanche was lying on\nthe bed. She'd been frightfully sick. There was a bottle of\noxalic acid on the table.\"", "penny the worse for all that wretchedness. I had an idea that\nDirk, a man of greater emotional reactions than depth of\nfeeling, would soon forget; and Blanche's life, begun with who", "Stroeve had always been excitable, but now he was beside\nhimself; there was no reasoning with him. I thought it\nprobable enough that Blanche Stroeve would not continue to", "there or not, but Blanche. She shuddered when I went to kiss her.\nWhen at last I was certain I didn't know what to do;", "Blanche Stroeve was in the cruel grip of appetite.\nPerhaps she hated Strickland still, but she hungered for him,\nand everything that had made up her life till then became of", "for years seemed now to weigh him down, and the final blow of\nBlanche's treachery had robbed him of the resiliency which had\nmade him take it so gaily. He could no longer laugh with", "\"But that doesn't prevent the fact that Charles Strickland is\na heartless beast.\" She looked at me severely. \"I can tell\nyou why he left his wife -- from pure selfishness and nothing\nelse whatever.\"", "so long as Blanche's strength endured, I suppose that\nStrickland painted, and it must have irritated her when she\nsaw him absorbed in his work. As a mistress she did not then", "There was in his tone a frigid contempt. It was obvious that\nto him Blanche Stroeve was only a unit to be added to the", "I saw Blanche little by little trying all her tricks.\nWith infinite patience she prepared to snare me and bind me.\nShe wanted to bring me down to her level; she cared nothing", "But he found his traps waiting for him in the porter's\nlodge, and the concierge told him that Blanche had gone out.\nI do not think he resisted the temptation of giving her an", "\"We both loved Blanche. There would have been room for him in\nmy mother's house. I think the company of poor, simple people", "merely the result of a physical appeal. I do not suppose she\nhad ever really cared for her husband, and what I had taken\nfor love was no more than the feminine response to caresses", "astonished at the effect they had on Blanche Stroeve.\nShe started a little, and gave her husband a long look.\nHis eyes were fixed on the ground. I did not know why he", "When we went again to the hospital we saw a nursing sister.\nShe told us that Blanche seemed a little better, and she went\nin to ask if she would see her husband. We heard voices in", "I could not believe that Strickland had fallen in love with\nBlanche Stroeve. I did not believe him capable of love.\nThat is an emotion in which tenderness is an essential part,", "Dirk, the man who had loved her so devotedly, betrayed a\nsudden temper and a horrid cruelty. She had abandoned the\nsafe shelter of her husband's protection and the comfortable", "two on the landing to get his breath after the ascent, and how\nabsurdly his impatience to see Blanche had taken it away again.\nTo see her was a delight that never staled, and even" ], [ "Blanche Stroeve was in the cruel grip of appetite.\nPerhaps she hated Strickland still, but she hungered for him,\nand everything that had made up her life till then became of", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "I could not believe that Strickland had fallen in love with\nBlanche Stroeve. I did not believe him capable of love.\nThat is an emotion in which tenderness is an essential part,", "so long as Blanche's strength endured, I suppose that\nStrickland painted, and it must have irritated her when she\nsaw him absorbed in his work. As a mistress she did not then", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from", "emotion which is defenceless against passion. I suspected\nthat Blanche Stroeve's violent dislike of Strickland had in it\nfrom the beginning a vague element of sexual attraction.", "exist for him, but only as a model; and then there were long\nhours in which they lived side by side in silence. It must\nhave frightened her. When Strickland suggested that in her", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "men whose desire for truth is so great that to attain it they\nwill shatter the very foundation of their world. Of such was\nStrickland, only beauty with him took the place of truth.", "Strickland. She made no secret of her desires, and I was\nbidden to translate.", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "Strickland's injurious calm robbed Stroeve of the rest of his\nself-control. Blind rage seized him, and without knowing what", "But perhaps this is very fanciful; and it may be that she was\nmerely bored with her husband and went to Strickland out of a", "\"I think Strickland knew it was a masterpiece. He had\nachieved what he wanted. His life was complete. He had made\na world and saw that it was good. Then, in pride and\ncontempt, he destroyed it.\"", "\"You don't understand. She's in love with Strickland.\"", "There was in my soul a perfectly genuine horror of Strickland,\nand side by side with it a cold curiosity to discover his motives.", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "Strickland. Did she want to see me or did she not? It was\nlikely enough that in the agitation of the moment my note had", "With Strickland the sexual appetite took a very small place.\nIt was unimportant. It was irksome. His soul aimed elsewhither.", "\"What on earth can it be that two people so dissimilar as you\nand Strickland could aim at?\" I asked, smiling.\n\n\"Beauty.\"\n\n\"A large order,\" I murmured." ], [ "Charles Strickland lived obscurely. He made enemies rather\nthan friends. It is not strange, then, that those who wrote of\nhim should have eked out their scanty recollections with a", "It is here that I purposed to end my book. My first idea was\nto begin it with the account of Strickland's last years in", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "At last I turned away. I felt that Strickland had kept his\nsecret to the grave.", "I suppose the next three years were the happiest of\nStrickland's life. Ata's house stood about eight kilometres", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "Here Strickland lived, coming seldom to Papeete, on the\nproduce of the land. There was a little stream that ran not", "I have narrated all this as best I could, because I like the\ncontrast of these episodes with the life that I had seen\nStrickland live in Ashley Gardens when he was occupied with", "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "Strickland had only herself to provide for. She let her flat\nand sold her furniture. She settled in two tiny rooms in\nWestminster, and faced the world anew. She was so efficient", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "about Strickland. He had known him well.", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "thither that after many wanderings Charles Strickland came,\nand it is there that he painted the pictures on which his fame\nmost securely rests. I suppose no artist achieves completely", "I had been thinking of it, too. It seemed to me that here\nStrickland had finally put the whole expression of himself.\nWorking silently, knowing that it was his last chance, I", "Strickland's attention. Here, too, was a man with a vision of\nthe world peculiar to himself. I made somewhat copious notes\nat the time, intending to write something about him, but I", "their lives; and it seemed to me that my surmises had not\nbeen incorrect. Mrs. Strickland was the daughter of an\nIndian civilian, who on his retirement had settled in the depths", "of the country, but it was his habit every August to take his\nfamily to Eastbourne for change of air; and it was here,\nwhen she was twenty, that she met Charles Strickland." ], [ "Here Strickland lived, coming seldom to Papeete, on the\nproduce of the land. There was a little stream that ran not", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "Strickland reached Tahiti about six months after he left\nMarseilles. He worked his passage on a sailing vessel that\nwas making the trip from Auckland to San Francisco, and he", "Strickland made no particular impression on the people who\ncame in contact with him in Tahiti. To them he was no more\nthan a beach-comber in constant need of money, remarkable only", "Tahiti as in an English village, and one or two enquiries I\nhad made for pictures by Strickland had been quickly spread.\nI asked the stranger if he had breakfasted.", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "Then I told them what I had learned about Charles Strickland\nin Tahiti. I thought it unnecessary to say anything of Ata", "had heard anything of Strickland. By now it was known\neverywhere that he had leprosy. First Tane, the boy, had left\nthe house, and then, a little time afterwards, the old woman", "of the country, but it was his habit every August to take his\nfamily to Eastbourne for change of air; and it was here,\nwhen she was twenty, that she met Charles Strickland.", "for a long time. I had no news of Strickland. Once or twice\nI heard that Ata had been to Papeete to buy painting", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "me to Tahiti. There, as is notorious, he spent the last years\nof his life; and there I came across persons who were familiar\nwith him. I find myself in a position to throw light on just", "their lives; and it seemed to me that my surmises had not\nbeen incorrect. Mrs. Strickland was the daughter of an\nIndian civilian, who on his retirement had settled in the depths", "I suppose the next three years were the happiest of\nStrickland's life. Ata's house stood about eight kilometres", "and sky and the varied colour of the lagoon and the grace of\nthe cocoa-nut trees; but the place where Strickland lived had", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the", "penury where they had enjoyed consideration. During his sea\nfaring days he had cruised the South Seas, and he determined\nnow to seek his fortune there. He spent some months in Papeete", "\",\" said Tiare, one day\nwhen I was fitting together what she could tell me of Strickland.\n\"He knew Strickland well; he visited him at his house.\"", "It would seem that my visit to this remote island should\nimmediately revive my interest in Strickland, but the work I\nwas engaged in occupied my attention to the exclusion of" ], [ "I had been thinking of it, too. It seemed to me that here\nStrickland had finally put the whole expression of himself.\nWorking silently, knowing that it was his last chance, I", "\"I think Strickland knew it was a masterpiece. He had\nachieved what he wanted. His life was complete. He had made\na world and saw that it was good. Then, in pride and\ncontempt, he destroyed it.\"", "Strickland's attention. Here, too, was a man with a vision of\nthe world peculiar to himself. I made somewhat copious notes\nat the time, intending to write something about him, but I", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "\"How should I know? It is true I had never heard of this work;\nbut I thought perhaps it had fallen into the hands of a\nprivate owner. Even now there is no certain list of\nStrickland's paintings.\"", "It is here that I purposed to end my book. My first idea was\nto begin it with the account of Strickland's last years in", "singularly devoid of charm. But I have nothing to go on.\nI never once saw Strickland at work, nor do I know that anyone\nelse did. He kept the secret of his struggles to himself.", "Looking back, I realise that what I have written about Charles\nStrickland must seem very unsatisfactory. I have given", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the", "and the reputation of Charles Strickland is now firmly\nestablished on the lines which he laid down. The rise of this\nreputation is one of the most romantic incidents in the", "of Strickland's opinions of the great artists of the past.\nI am afraid I have very little worth noting. Strickland was not\na conversationalist, and he had no gift for putting what he", "Charles Strickland lived obscurely. He made enemies rather\nthan friends. It is not strange, then, that those who wrote of\nhim should have eked out their scanty recollections with a", "It would seem that my visit to this remote island should\nimmediately revive my interest in Strickland, but the work I\nwas engaged in occupied my attention to the exclusion of", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from", "With Strickland the sexual appetite took a very small place.\nIt was unimportant. It was irksome. His soul aimed elsewhither.", "Strickland's injurious calm robbed Stroeve of the rest of his\nself-control. Blind rage seized him, and without knowing what", "which had been Strickland. He was dead. Dr. Coutras made an\neffort of will and bent over that battered horror. Then he", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and" ], [ "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "mother, to state that Charles Strickland in a letter written\nfrom Paris had described her as \"an excellent woman,\" since\nDr. Weitbrecht-Rotholz was able to print the letter in", "Here Strickland lived, coming seldom to Papeete, on the\nproduce of the land. There was a little stream that ran not", "But after all when I look back upon that winter in Paris,\nmy pleasantest recollection is of Dirk Stroeve. There was\nsomething very charming in his little household. He and his", "blue leaves; but they are mad in Paris, and it may be that\nyour brother will be able to sell it for the two hundred\nfrancs you lent Strickland.' Well, we packed it up and we sent", "I do not know why Strickland put up with me. Our relations\nwere peculiar. One day he asked me to lend him fifty francs.\n\n\"I wouldn't dream of it,\" I replied.", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "Strickland had only herself to provide for. She let her flat\nand sold her furniture. She settled in two tiny rooms in\nWestminster, and faced the world anew. She was so efficient", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "\"What is Mrs. Strickland going to do?\"\n\n\"Well, the first thing is to get our proofs. I'm going over\nto Paris myself.\"\n\n\"And what about his business?\"", "I have narrated all this as best I could, because I like the\ncontrast of these episodes with the life that I had seen\nStrickland live in Ashley Gardens when he was occupied with", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "who were spending a little while in Paris, and Stroeve\nbecause, having quarreled with him more violently than usual,\nhe had made up his mind to have nothing more to do with him.", "here, either. Strickland was indifferent to his surroundings,\nand he had lived in the other's studio without thinking of\naltering a thing. It was deliberately artistic. It represented" ], [ "I can never walk its streets without feeling myself\non the verge of adventure. Strickland remained placid.\nLooking back, I think now that he was blind to everything but", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "so bedraggled an air that the houses on each side of it looked\nneat and clean. The dirty windows were all shut. It was not\nhere that Charles Strickland lived in guilty splendour with", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "In a few days Strickland began to get up. He was nothing but\nskin and bone. His clothes hung upon him like rags on a", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "I suppose the next three years were the happiest of\nStrickland's life. Ata's house stood about eight kilometres", "I have narrated all this as best I could, because I like the\ncontrast of these episodes with the life that I had seen\nStrickland live in Ashley Gardens when he was occupied with", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "of the country, but it was his habit every August to take his\nfamily to Eastbourne for change of air; and it was here,\nwhen she was twenty, that she met Charles Strickland.", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "thousands of miles from civilisation. I asked Strickland if\nit did not irk him to live in that promiscuity. No, he said;", "affect him. Strickland was distinguished from most Englishmen\nby his perfect indifference to comfort; it did not irk him to\nlive always in one shabby room; he had no need to be", "here, either. Strickland was indifferent to his surroundings,\nand he had lived in the other's studio without thinking of\naltering a thing. It was deliberately artistic. It represented", "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "Here Strickland lived, coming seldom to Papeete, on the\nproduce of the land. There was a little stream that ran not", "\"Is there a Mr. Strickland?\" I asked\n\n\"Oh yes; he's something in the city. I believe he's a\nstockbroker. He's very dull.\"", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding" ], [ "little old red-brick house, neat and clean, by the side of a\nsluggish canal. The streets were wide and empty; for two\nhundred years the place had been dying, but the houses had the", "He was twenty-three. They played together, walked on the front\ntogether, listened together to the nigger minstrels; and she\nhad made up her mind to accept him a week before he proposed", "\"Is she dead?\"\n\n\"No; they've taken her to the hospital.\"\n\n\"Then what are you talking about?\" I cried impatiently. \"Why\ndid you say she'd killed herself?\"", "by the heavy boots of the men, and gray with smoke. It was\nvery hot. Behind the bar was seated a woman nursing her baby.\nThe waiter, an undersized youth with a flat, spotty face,", "away from the door in tears. He thought nothing of it, but\nwhen he went out to get into his trap and drive home, he saw\nher again, standing a little way off; she looked at him with a", "Then two years more went by, or perhaps three, for time passes\nimperceptibly in Tahiti, and it is hard to keep count of it;", "Strickland at this time must have been nearly forty-seven.\n\n\n\n\nChapter XLV", "out where he was. He seemed on a sudden to have entered a\nmagic world. He had a vague impression of a great primeval\nforest and of naked people walking beneath the trees. Then he", "Sometimes a man survives a considerable time from an era in\nwhich he had his place into one which is strange to him, and\nthen the curious are offered one of the most singular", "The explanation came a week later. It was about ten o' clock\nat night; I had been dining by myself at a restaurant, and", "a very modest position that he occupied, and there was about\nhim an air of straitened circumstance. Then he told me his story.\nWhen he set out on his holiday in the Mediterranean he", "It was a fine day, early in spring, and we were in a good humour.\nWe talked about a hundred things. Miss Waterford,\ntorn between the aestheticism of her early youth, when she", "eventually to Stroeve's studio. He was so exhausted by the\ntime we arrived that he allowed us to put him to bed without a word.\nHe was ill for six weeks. At one time it looked as", "\"But he had one already.\"\n\n\"That is what he said, but I told him she was in England,\nand England is at the other end of the world.\"\n\n\"True,\" I replied.", "about like a lost dog. I was sorry for him. I had a girl\nhere then called Ata to do the rooms; she was some sort of a\nrelation of mine, and her father and mother were dead, so I", "of a fishing smack), unwilling to lose a moment, bent over\ntheir sewing. Nothing ever happened in that little town, left\nbehind by the advance of civilisation, and one year followed", "her eyes intent, as though she watched for the coming of death.\nIt could now be only the question of a day or two;\nand when, late one evening, Stroeve came to see me I knew it was", "Then he told me, in a trembling voice, with the tears pouring\ndown his cheeks, how he had gone up to her, trying to take her", "\"Well, you've come here to talk to me about it. You'd better\ntell me the whole story.\"", "to the sky. These gallant words which seem so novel to those\nthat speak them were said in accents scarcely changed a hundred\ntimes before. The pendulum swings backwards and forwards." ], [ "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "of the country, but it was his habit every August to take his\nfamily to Eastbourne for change of air; and it was here,\nwhen she was twenty, that she met Charles Strickland.", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "I can never walk its streets without feeling myself\non the verge of adventure. Strickland remained placid.\nLooking back, I think now that he was blind to everything but", "a very modest position that he occupied, and there was about\nhim an air of straitened circumstance. Then he told me his story.\nWhen he set out on his holiday in the Mediterranean he", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "The only address I knew was the Hotel des Belges, but\nStrickland had long left that, and they would have no\nrecollection of him. With that queer idea of his to keep his", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "an individual, but a thing, an instrument to some purpose\nforeign to his ego. Love is never quite devoid of\nsentimentality, and Strickland was the least inclined to that", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "which she stood in need. She knew that the natives looked\nupon her with the same horrified aversion as they looked upon\nStrickland, and she kept out of their way. Once some women,", "I confess that when first I made acquaintance with Charles\nStrickland I never for a moment discerned that there was in" ], [ "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "A week later I heard by chance that Strickland had gone to\nMarseilles. I never saw him again.\n\n\n\n\nChapter XLIII", "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "One night Captain Nichols and Strickland were sitting in one\nof the bars of the Rue Bouterie. The Rue Bouterie is a narrow", "\"What is Mrs. Strickland going to do?\"\n\n\"Well, the first thing is to get our proofs. I'm going over\nto Paris myself.\"\n\n\"And what about his business?\"", "blue leaves; but they are mad in Paris, and it may be that\nyour brother will be able to sell it for the two hundred\nfrancs you lent Strickland.' Well, we packed it up and we sent", "I can never walk its streets without feeling myself\non the verge of adventure. Strickland remained placid.\nLooking back, I think now that he was blind to everything but", "But one evening when I was passing along the Avenue de Clichy\nin front of the cafe which Strickland frequented and which I", "After a moment's hesitation, Strickland scrambled to his feet,\nand together they went to the Bouchee de Pain, where the", "The concierge shrugged his shoulders. There was no other\nhotel of that name in Paris. It occurred to me that\nStrickland had concealed his address, after all. In giving", "The only address I knew was the Hotel des Belges, but\nStrickland had long left that, and they would have no\nrecollection of him. With that queer idea of his to keep his", "of the hotel and introduced himself. He had heard that I was\ninterested in Charles Strickland, and announced that he was\ncome to have a talk about him. They are as fond of gossip in", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "of the Avenue de Clichy and ask at every house if Strickland\nlived there. My commonplace scheme was, after all, effective,\nfor in the second shop we asked at the woman behind the", "It was known where Strickland was staying. His partner, in a\nviolent letter, sent to his bank, had taunted him with hiding" ], [ "\"The fact remains that he's a great artist, a very great artist.\"\n\n\"Strickland?\" I exclaimed. \"It can't be the same man.\"", "thither that after many wanderings Charles Strickland came,\nand it is there that he painted the pictures on which his fame\nmost securely rests. I suppose no artist achieves completely", "genius of his youth, and who, seeing in Strickland the\npossibilities which himself had wasted, influenced him to\nforsake all and follow the divine tyranny of art. I think", "here, either. Strickland was indifferent to his surroundings,\nand he had lived in the other's studio without thinking of\naltering a thing. It was deliberately artistic. It represented", "of Strickland's opinions of the great artists of the past.\nI am afraid I have very little worth noting. Strickland was not\na conversationalist, and he had no gift for putting what he", "When so much has been written about Charles Strickland, it may\nseem unnecessary that I should write more. A painter's", "He was told that that was what they called the Englishman, a\npainter, who lived with Ata up in the valley seven kilometres\nfrom where they were. He recognised Strickland by the", "\"And the passion that held Strickland was a passion to\ncreate beauty. It gave him no peace. It urged him hither", "over to it and leaned it towards him so that he could see the\npainting. It was a nude. His heart began to beat quickly,\nfor he guessed at once that it was one of Strickland's", "and the reputation of Charles Strickland is now firmly\nestablished on the lines which he laid down. The rise of this\nreputation is one of the most romantic incidents in the", "Maurice Huret in his famous article gave an outline of Charles\nStrickland's life which was well calculated to whet the", "\"He's all right,\" said Strickland. \"I bet he found it hell to paint.\"", "so long as Blanche's strength endured, I suppose that\nStrickland painted, and it must have irritated her when she\nsaw him absorbed in his work. As a mistress she did not then", "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "I had been thinking of it, too. It seemed to me that here\nStrickland had finally put the whole expression of himself.\nWorking silently, knowing that it was his last chance, I", "\"But if he wanted to be an artist, why didn't he say so?\"\nasked Mrs. Strickland at last. \"I should have thought I was\nthe last person to be unsympathetic to -- to aspirations of\nthat kind.\"", "incidents that came to my knowledge, but they remain obscure\nbecause I do not know the reasons that led to them.\nThe strangest, Strickland's determination to become a painter,", "Strickland went to his easel and looked reflectively at the\npicture that stood on it.", "entered, and there found Strickland cleaning his palette.\nThere was a picture on the easel. Strickland, clad only in a", "Mr. Strickland has drawn the portrait of an excellent husband\nand father, a man of kindly temper, industrious habits, and\nmoral disposition. The modern clergyman has acquired in his" ], [ "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "When the fat man had left I said:\n\n\"Dirk Stroeve thinks you're a great artist.\"\n\n\"What the hell do you suppose I care?\"", "Madame Dirk Stroeve.\"", "\"Dirk, you make me impatient,\" said Mrs. Stroeve. \"How can\nyou talk like that about his pictures when he treated you as", "He was constantly offending Dirk Stroeve so bitterly\nthat he flung away, vowing he would never speak to him again;\nbut there was a solid force in Strickland that attracted the", "Dirk Stroeve, telling the story, had such a look of blank\nastonishment on his round, foolish face that it was almost\nimpossible not to laugh.", "Dirk, the man who had loved her so devotedly, betrayed a\nsudden temper and a horrid cruelty. She had abandoned the\nsafe shelter of her husband's protection and the comfortable", "I was furious with Strickland, and was indignant with myself,\nbecause Dirk Stroeve cut such an absurd figure that I felt\ninclined to laugh.\n\n\"But what did your wife say?\"", "\"Please let me go quietly, Dirk,\" she said at last. \"Don't\nyou understand that I love Strickland? Where he goes I shall go.\"", "\"'I'm going with Strickland, Dirk,' she said. 'I can't live\nwith you any more.'", "Dirk Stroeve was one of those persons whom, according to your\ncharacter, you cannot think of without derisive laughter or an", "Chapter XXXIII\n\n\nTwo or three days later Dirk Stroeve called on me.\n\n\"I hear you've seen Blanche,\" he said.", "Stroeve had always been excitable, but now he was beside\nhimself; there was no reasoning with him. I thought it\nprobable enough that Blanche Stroeve would not continue to", "\"But that doesn't prevent the fact that Charles Strickland is\na heartless beast.\" She looked at me severely. \"I can tell\nyou why he left his wife -- from pure selfishness and nothing\nelse whatever.\"", "\"You see, you don't love her,\" said Stroeve.\n\n\"After all, there's nothing to prove that she is unhappy.\nFor all we know they may have settled down into a most\ndomestic couple.\"", "I was silent for a while.\n\n\"What did you expect her to do when you left her?\"\n\n\"She could have gone back to Stroeve,\" he said irritably.\n\"He was ready to take her.\"", "I supposed that for some reason or other -- and Heaven knows\nwhat ingenuity men exercise to torment themselves -- Dirk had\ngot it into his head that his wife cared for Strickland, and", "But after all when I look back upon that winter in Paris,\nmy pleasantest recollection is of Dirk Stroeve. There was\nsomething very charming in his little household. He and his", "Strickland was in a good humour, and when Dirk Stroeve came\nup and sat down with us he attacked him with ferocious banter.", "\"Let me put the facts before you. You were dying, and Dirk\nStroeve took you into his own house. He nursed you like a mother." ], [ "The door wasn't locked, and she went in. Blanche was lying on\nthe bed. She'd been frightfully sick. There was a bottle of\noxalic acid on the table.\"", "there or not, but Blanche. She shuddered when I went to kiss her.\nWhen at last I was certain I didn't know what to do;", "\"Blanche. Blanche.\"", "I saw Blanche little by little trying all her tricks.\nWith infinite patience she prepared to snare me and bind me.\nShe wanted to bring me down to her level; she cared nothing", "woman's to a man who loves her and whom she does not love;\nshe has no kindness then, no tolerance even, she has only an\ninsane irritation. Blanche Stroeve stopped suddenly, and as", "The circumstances of Blanche Stroeve's death necessitated all\nmanner of dreadful formalities, but at last we were allowed to", "But it was Blanche who most surprised me. She proved herself\nnot only a capable, but a devoted nurse. There was nothing in", "one knee was raised, and the other leg was stretched out.\nThe pose was classic. Stroeve's head swam. It was Blanche.\nGrief and jealousy and rage seized him, and he cried", "Stroeve had always been excitable, but now he was beside\nhimself; there was no reasoning with him. I thought it\nprobable enough that Blanche Stroeve would not continue to", "\"We both loved Blanche. There would have been room for him in\nmy mother's house. I think the company of poor, simple people", "her eyes intent, as though she watched for the coming of death.\nIt could now be only the question of a day or two;\nand when, late one evening, Stroeve came to see me I knew it was", "things which must lead to disaster, and yet by some chance\nmanage to evade the result of their folly. When Blanche\nquarrelled with Strickland she had only to leave him, and her", "for years seemed now to weigh him down, and the final blow of\nBlanche's treachery had robbed him of the resiliency which had\nmade him take it so gaily. He could no longer laugh with", "Blanche Stroeve was in the cruel grip of appetite.\nPerhaps she hated Strickland still, but she hungered for him,\nand everything that had made up her life till then became of", "\"You have not the courage of your convictions. Life has no\nvalue. Blanche Stroeve didn't commit suicide because I left", "When we went again to the hospital we saw a nursing sister.\nShe told us that Blanche seemed a little better, and she went\nin to ask if she would see her husband. We heard voices in", "unconscious they said I might go in. Her mouth and chin were\nall burnt by the acid. It was awful to see her lovely skin\nall wounded. She died very peacefully, so that I didn't know", "When I left him, after we had buried poor Blanche, Stroeve\nwalked into the house with a heavy heart. Something impelled", "to tell me she was dead. He was absolutely exhausted.\nHis volubility had left him at last, and he sank down wearily\non my sofa. I felt that no words of condolence availed, and I", "the wretched morning on which they had taken Blanche to the hospital.\nI was glad he did not want me to accompany him, and when\nI left him at the door I walked away with relief. I took" ], [ "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "A week later I heard by chance that Strickland had gone to\nMarseilles. I never saw him again.\n\n\n\n\nChapter XLIII", "long to let, which I had noticed on my first visit after the\ncatastrophe. But now that I had seen Strickland in Paris it\nwas difficult to imagine him in those surroundings. I thought", "that Charles Strickland had become infatuated with a French\ndancer, whom he had first seen in the ballet at the Empire,\nand had accompanied her to Paris. I could not find out how", "began to chat with her; but, it was plain that her interest\nwas in Strickland. I explained that he knew no more than two\nwords of French. She tried to talk to him, partly by signs,", "wanted. He offered to take her for a journey. He told her\nthat Strickland would soon tire of her. When he repeated to", "go and see that poor Strickland?' I asked one or two natives\nif they knew anything about him, and I discovered that he\nlived not more than five kilometres from where I was. So I went.", "Chapter XVIII\n\n\nIn point of fact, I met Strickland before I had been a\nfortnight in Paris.", "Strickland reached Tahiti about six months after he left\nMarseilles. He worked his passage on a sailing vessel that\nwas making the trip from Auckland to San Francisco, and he", "I enquired at my hotel for that in which Charles Strickland\nwas living. It was called the Hotel des Belges. But the", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "blue leaves; but they are mad in Paris, and it may be that\nyour brother will be able to sell it for the two hundred\nfrancs you lent Strickland.' Well, we packed it up and we sent", "\"What is Mrs. Strickland going to do?\"\n\n\"Well, the first thing is to get our proofs. I'm going over\nto Paris myself.\"\n\n\"And what about his business?\"", "The only address I knew was the Hotel des Belges, but\nStrickland had long left that, and they would have no\nrecollection of him. With that queer idea of his to keep his", "discovered that we both knew Strickland. I do not know if\nStrickland listened. He glanced at me once or twice\nreflectively, but for the most part seemed occupied with his", "During the journey back to England I thought much of\nStrickland. I tried to set in order what I had to tell his wife.", "of the country, but it was his habit every August to take his\nfamily to Eastbourne for change of air; and it was here,\nwhen she was twenty, that she met Charles Strickland.", "Strickland set off at once, and that was the last Captain\nNichols saw of him. The ship was only in port for six hours,", "I can never walk its streets without feeling myself\non the verge of adventure. Strickland remained placid.\nLooking back, I think now that he was blind to everything but", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once" ], [ "\"Strickland is very ill. He may be dying. He is alone in a\nfilthy attic, and there is not a soul to look after him.\nI want you to let me bring him here.\"", "he was doing he flung himself on Strickland. Strickland was\ntaken by surprise and he staggered, but he was very strong,\neven after his illness, and in a moment, he did not exactly", "which had been Strickland. He was dead. Dr. Coutras made an\neffort of will and bent over that battered horror. Then he", "There was a strike at Marseilles at the time, and Strickland,\nhaving come to the end of his resources, had apparently found\nit impossible to earn the small sum he needed to keep body and", "had heard anything of Strickland. By now it was known\neverywhere that he had leprosy. First Tane, the boy, had left\nthe house, and then, a little time afterwards, the old woman", "Dirk Stroeve, giving up his work entirely, nursed Strickland\nwith tenderness and sympathy. He was dexterous to make him", "In a few days Strickland began to get up. He was nothing but\nskin and bone. His clothes hung upon him like rags on a", "but at last a message was brought to Dr. Coutras that\nStrickland was dying. Ata had waylaid the cart that took the", "Strickland's injurious calm robbed Stroeve of the rest of his\nself-control. Blind rage seized him, and without knowing what", "her eyes intent, as though she watched for the coming of death.\nIt could now be only the question of a day or two;\nand when, late one evening, Stroeve came to see me I knew it was", "Tahiti and with his horrible death, and then to go back and\nrelate what I knew of his beginnings. This I meant to do,\nnot from wilfulness, but because I wished to leave Strickland", "the long darkness as she sat by the bedside. Strickland was a\nweird figure as he lay there, thinner than ever, with his\nragged red beard and his eyes staring feverishly into vacancy;", "Strickland stepped to the door and looked out. There must\nhave been something terrible in his face, for suddenly they\nall burst out into loud cries and lamentation. They lifted up", "constantly to he knew not what. If I have succeeded at all in\ngiving the complicated impression that Strickland made on me,\nit will not seem outrageous to say that I felt he was at once", "accurately enough that against him he is powerless. When I\nsaw that Strickland was really indifferent to the blame his\nconduct must excite, I could only draw back in horror as from", "condemned when he compared himself with the doctor, sane and\nhealthy, who had the inestimable privilege of life.\nStrickland looked at him in silence. Nothing of emotion could", "\"Since is interested in Strickland, why do you\nnot take him to see Dr. Coutras? He can tell him something\nabout his illness and death.\"", "At last I turned away. I felt that Strickland had kept his\nsecret to the grave.", "I had been thinking of it, too. It seemed to me that here\nStrickland had finally put the whole expression of himself.\nWorking silently, knowing that it was his last chance, I", "\"But that doesn't prevent the fact that Charles Strickland is\na heartless beast.\" She looked at me severely. \"I can tell\nyou why he left his wife -- from pure selfishness and nothing\nelse whatever.\"" ] ]

[ "What does Strickland do for a living?", "What time period doe this story take place?", "Where does Strickland choose to live instead of home?", "Who supports Strickland financially?", "Why did Strickland seek out Blanche's attention?", "What happens when Strickland leaves Blanche?", "After Paris, where does the story begin to take place?", "How did Strickland die?", "What ere Strickland's wishes concerning his final masterpiece?", "What is Strickland's occupation?", "Where does Strickland do at the beginning of the Story?", "What is Strickland's occupation in Paris?", "Who supports Strickland in Paris?", "Whom did Blanche dump her husband for?", "What did Strickland really want Blanch for?", "Where did Strickland live at the end of his life?", "Where did Strickland live before moving to Tahiti?", "What happened to Strickland's magnum opus?", "Who supports Strickland while he lives in Paris?", "In what city does Strickland live at the beginning of the story?", "At about what time period does the story take place?", "In the beginning of the story Strickland travels to what foreign country?", "What city in France does Strickland go to?", "What sort of artist does Strickland become?", "Dirk Stroeve's wife leaves him for whom?", "How does Blanche die?", "Where does Strickland travel to after France?", "What illness causes the the death of Strickland?" ]

[ [ "He is a stockbroker.", "He is a stockbroker." ], [ "During the late 19th and early 20th century.", "19th or 20th century " ], [ "Inside run down hotels.", "paris" ], [ "Dirk Stroeve, a successful dutch painter he lives with.", "Dirk Stroeve" ], [ "He wanted to paint her as a model", "Because he wanted her to be a model for him to paint." ], [ "She commits suicide.", "She commits suicide" ], [ "Tahiti.", "Tahiti" ], [ "Of leprosy.", "From Leprosy" ], [ "His wife was to burn it.", "To be burnt after his death" ], [ "A stockbroker", "Stockbroker" ], [ "Paris", "Leaves his wife and children and goes to Paris" ], [ "An artist", "A painter" ], [ "Dirk Stroave", "Dirk Stroeve" ], [ "Strickland", "Strickland" ], [ "A modal", "model to paint" ], [ "Tahiti", "French port of Marseilles" ], [ "Mersailles", "Marseille" ], [ "It was burnt after he died", "It was burnt after his death." ], [ "Dirk Stroeve", "Dirk Stroeve" ], [ "London", "London" ], [ "Late 19th or early 20th century.", "Late 19th early 20th century" ], [ "France ", "Paris " ], [ "Paris", "Paris" ], [ "Painter", "A painter" ], [ "Strickland", "For Strickland" ], [ "Suicide", "suicide" ], [ "Tahiti", "Tahiti" ], [ "Leprosy", "leprosy " ] ]

5ac3d5e216b574eccf17acf5dad1524b8f84dddf

train

[ [ "SID 6.7 (CONT'D)\n\t\tBut rest assured...\n\t\t\t(a beat)\n\t\tA star is born.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "Hidden from Reilly's view, Lindenmeyer, the software expert\n\twho created Sid 6.7, stares jealously through a narrow gap in\n\ta partition. Trying to contain his anger. And failing.\n\tEspecially as...", "The graphics show you that Sid 1.2 was a combination of\n\tCharles Manson and Billy the Kid. You see what look like two\n\tviruses, which represent each criminal's psychological", "In various ways throughout his \"life\" be it a wandering\n\teye, or a momentary limp - you will be reminded that Sid 6.7\n\tis a synthetic nanoorganism unlike anyone has ever seen.", "Sid 6.7 takes a bow, as if on stage.\n\n\t\t\t\tSID 6.7\n\t\tThank you, ladies and gentlemen,\n\t\tyou've been a real pleasure...", "Sid 6.7's resulting head is slightly off center. His skin\n\ttone isn't perfect, nor is his color, but at least its\n\tfunctional. Sid 6.7 admires himself in a broken mirror.", "He rushes out. Sid 6.7 appears on the various monitors next\n\tto Sheila 3.2. He kisses her cheek. Caresses her body. Sheila\n\t3.2 enjoys the attention.", "Berkowitz was added to create Sid 1.3. A three-way\n\tpsychological battle, more hostile than the first, occurs.", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "SID 6.7\n\t\t\t(yelling)\n\t\tWhat's wrong, convict, your arms", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "SID 6.7 (CONT'D)\n\t\tI think I'm going to like it here.", "SID 6.7 (CONT'D)\n\t\tWho else do you know who's been\n\t\tlocked out of the real world for", "SID 6.7 (CONT'D)\n\t\tYou know so much about me, I was\n\t\thoping to learn a little bit about\n\t\tyou. You see, I'm doing research,\n\t\ttoo...", "Sid 6.7 thinks about it. Long and hard.", "Sid 6.7 checks inside closets. Cabinets. Anywhere large\n\tenough for a human being to fit. He is practically standing\n\tover her. Looking. Listening.", "SID 6.7 (CONT'D)\n\t\tToo bad you can't regenerate...", "SID 6.7\n\t\tGod, I hate interruptions.\n\t\t\t(to the patrons)" ], [ "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "Officer Barnes. Or should I say,\n\t\tinmate 673429...", "a lunatic like Barnes loose in the\n\t\treal world did pose an unacceptably\n\t\tdangerous risk to the public.\n\t\t\t(glancing at Cox)", "WALLACE\n\t\tBarnes used to work for him when he\n\t\twas still a cop in the field,\n\t\tremember?", "Grimes was an expert at media manipulation. He delighted in\n\tpublicly humiliating anyone who stood in his way. The Mayor\n\tof Los Angeles, Bob Bennett, who offered increasingly higher", "Red charges Parker wildly. Parker dodges him like a matador\n\tdoes a bull. Then brings his fists down savagely on the back\n\tof Red's head. His skull CRACKS. Red drops to the floor.", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "Parker jumps on top of him, arms around his neck. Choking\n\thim. Red staggers to his feet. His eyes wide. His face now\n\teven redder.", "You HEAR the sound of metal crushing bone. Red is thrown\n\tbackwards into the stall. Blood splatters from his mouth,\n\tadding another shade of redness to his face.", "The media has caught wind of his\n\t\tpardon. Unless Mr. Barnes starts\n\t\tgiving me some tangible results,\n\t\tI'm going to put him back in his", "He should concentrate more on fighting, and less on asking\n\tquestions, because he's losing. Parker takes a wicked shot to\n\tthe face, and but then blocks the anticipated shot to his\n\tgun.", "He reaches out to give Lindenmeyer a hand, then grabs him by\n\tthe throat. Choking him. Lindenmeyer can't believe what is\n\thappening.", "After giving Wallace a cold, hard stare -- namely at his hand\n\tstitched lapel, his gold watch, and his diamond-studded", "L.A.P.D. Special Investigations Division Officer Parker\n\tBarnes managed to stop Grimes from killing Mayor Bennett.\n\tGrimes retaliated by repeatedly humiliating Parker with false\n\tleads and lawsuits.", "He should concentrate more on fighting, and less on asking\n\tquestions, because he's losing. Parker takes a wicked shot to", "Parker goes absolutely berserk. Viciously punching the steel\n\tmesh which separates them until the synthetic skin on his\n\tknuckles is shredded.", "Parker is knocked on his ass. Daze4. Blood streams down his\n\tcheek. He staggers to his feet, blocking another blow with\n\this arm. Which SNAPS the wood in two.", "He empties his clip into Sid 6.7, then discards the gun. As\n\tSid 6.7's wounds heal themselves, Parker pounds him\n\tmercilessly.", "LINDENMEYER\n\t\t\t(annoyed)\n\t\tHow much do you think I care?\n\n\tParker, still not fully conscious, hurls himself at\n\tLindenmeyer.", "Parker charges him wildly, but Sid 6.7 brutally kicks him in\n\tthe stomach. In perfect rhythm with the symphony playing in" ], [ "a rocket scientist to come to the\n\t\tconclusion that Sid 6.7 might go\n\t\tafter him, too.\n\t\t\t(a beat)", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "DEANE\n\t\tI watched your simulation, Mr.\n\t\tBarnes. Very impressive. You know,\n\t\tyou're the only one to ever go up\n\t\tagainst Sid 6.7 who is still alive.", "If Madison is discovered, she doesn't have a prayer. Her\n\theart pounds. Her forehead perspires. Sid 6.7 is getting\n\tcloser.", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt.", "As Sid 6.7 realizes he's being videotaped, his entire face\n\tseems to light up. Playing directly to the camera, he clearly", "He moves to the next TV over and changes the channel to the\n\tbaseball game. Sid 6.7 moves over with him, standing directly\n\tbehind the Skinhead as if also interested in the Dodgers.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "He changes the channel back to the first news broadcast. A\n\treporter stands amid the chaos outside the bar where Sid 6.7\n\thad terrified the patrons.", "The steel jaws immediately close in on Sid 6.7, who\n\tfrantically tries to climb out. He gets his hands out. Then\n\this head. But that's about it.", "The graphics show you that Sid 1.2 was a combination of\n\tCharles Manson and Billy the Kid. You see what look like two\n\tviruses, which represent each criminal's psychological", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "Hidden from Reilly's view, Lindenmeyer, the software expert\n\twho created Sid 6.7, stares jealously through a narrow gap in\n\ta partition. Trying to contain his anger. And failing.\n\tEspecially as...", "MADISON\n\t\tI'm not sure. My guess is that's\n\t\twhat Sid wants us to think.", "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "SID 6.7\n\t\t\t(to himself)\n\t\tThe Dahmer part of me wants to boil", "He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is\n\tstanding directly behind him. Sid 6.7 grabs Parker by the\n\tthroat.", "As he walks toward the exit, he admires himself in the mirror\n\tbehind the bar. Sid 6.7 has never seen his own image in the\n\treal world before. He likes what he sees." ], [ "Dozens of TVs on display. There is a different channel on\n\teach. The audio/visual bombardment is overwhelming. Sid 6.7\n\tenters, making his way to a big screen TV with the local news\n\tin progress.", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "He moves to the next TV over and changes the channel to the\n\tbaseball game. Sid 6.7 moves over with him, standing directly\n\tbehind the Skinhead as if also interested in the Dodgers.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "Sid 6.7 turns to the other CUSTOMERS in the store. Most of\n\tthem are watching other channels. He goes over to a control\n\tpad on a counter and presses several buttons.", "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "He changes the channel back to the first news broadcast. A\n\treporter stands amid the chaos outside the bar where Sid 6.7\n\thad terrified the patrons.", "Sid 6.7 changes the channel to a different news broadcast.\n\tParker's Folsom County Prison I. D. photograph is shown\n\talongside a photograph of Madison from one of her book\n\tcovers.", "As Sid 6.7 realizes he's being videotaped, his entire face\n\tseems to light up. Playing directly to the camera, he clearly", "Wallace ignores him as he walks toward the door. On the\n\tmonitors, Sid 6.7 starts walking toward you. Into a CLOSEUP.", "He rushes out. Sid 6.7 appears on the various monitors next\n\tto Sheila 3.2. He kisses her cheek. Caresses her body. Sheila\n\t3.2 enjoys the attention.", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "The news broadcast zooms in on Parker's picture. Sid 6.7\n\twiggles his synthetic fingers in front of his face.", "Sid 6.7 walks over to the Skinhead and changes the channel\n\tback to the news.\n\n\t\t\t\tSKINHEAD\n\t\tYou don't wanna fuck with me, man.", "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "Sid 6.7 watches the TV intently, completely ignoring the\n\thorrified customers circling around him because of the dead", "Her attention turns to the upper right corner of the screen,\n\twhere onlookers are visible watching Sid 6.7. Their faces\n\tblurry. But even out of focus, it isn't hard to recognize\n\tLindenmeyer.", "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "She moves closer to the screen as the tape is played back.\n\tMadison studies Sid 6.7 intently.", "Sid 6.7 picks him up out of his seat and throws him three\n\trows ahead. Sid 6.7 then puts hands around the Woman's\n\tthroat.\n\n\tON THE MASSIVE SCREEN" ], [ "Sid 6.7 picks him up out of his seat and throws him three\n\trows ahead. Sid 6.7 then puts hands around the Woman's\n\tthroat.\n\n\tON THE MASSIVE SCREEN", "He moves to the next TV over and changes the channel to the\n\tbaseball game. Sid 6.7 moves over with him, standing directly\n\tbehind the Skinhead as if also interested in the Dodgers.", "Dozens of TVs on display. There is a different channel on\n\teach. The audio/visual bombardment is overwhelming. Sid 6.7\n\tenters, making his way to a big screen TV with the local news\n\tin progress.", "Sid 6.7 gently caresses the hair of a terrified young WOMAN\n\tsitting among several others. You hear the sound of tires\n\tSCREECHING to a halt outside.", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt.", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "He changes the channel back to the first news broadcast. A\n\treporter stands amid the chaos outside the bar where Sid 6.7\n\thad terrified the patrons.", "Two bullet holes are visible in the windshield. The two\n\tPrison Guards lie dead in their seats. Sid 6.7's eyes appear,\n\tlooking directly at you. He's smiling.", "Sid 6.7 slowly reaches inside his jacket and fires his weapon\n\tthrough it. He only gets a hole in his jacket. The Traffic\n\tCop gets a hole through his chest.", "Bullets riddle Sid 6.7's table as he dives from his chair. He\n\tlands next to a bowling ball bag, which sits beneath his\n\ttable.", "Sid 6.7 points his gun at one group, then another, waving his\n\tarm as if he were a conductor, and as if his gun were a", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "She points to Lindenmeyer, then makes her way over to Parker,\n\twho's standing exactly where Sid 6.7 was when he killed the", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "After giving one last look around, Sid 6.7 reluctantly gives\n\tup the hunt, and exits. Madison does not move until she is\n\tcertain Sid 6.7 has left the building.", "Sid 6.7 checks inside closets. Cabinets. Anywhere large\n\tenough for a human being to fit. He is practically standing\n\tover her. Looking. Listening.", "He shoots the Foreman in the chest. Sid 6.7 relieves him of\n\this keys and heads to an explosives storage shed.\n\n\t\t\t\t\tCUT TO:", "Parker spots Sid 6.7 across the room. Without hesitation the\n\thunter chases his prey. Gun out and firing. NOT what you\n\twould call Standard Police Procedure." ], [ "AIDE\n\t\tParker Barnes just escaped from the\n\t\tprison transport. Both of the\n\t\tguards are dead.\n\n\tThe Aide exits.", "Officer Barnes. Or should I say,\n\t\tinmate 673429...", "A prison transport and another police vehicle pull up to them\n\tfast. Two of the Prison Guards met earlier jump out of the\n\ttransport, advancing on Parker. Their weapons aimed at his\n\thead.", "Behind him, John's body is loaded into an ambulance. The\n\tGuards SLAM the prison transport doors shut.\n\n\tINSIDE THE PRISON TRANSPORT -- REAR", "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "Cox leads Parker by the arm to a waiting prison transport.\n\tThe two guards walk behind at a distance. Two more by the\n\ttransport. The chain between Parker's legs keeps his steps\n\tshort.", "He turns back toward the transport. Cox follows. Two armed\n\tGUARDS open the back doors for Parker, then stand poised with\n\tweapons out and ready.", "Parker shuts her up with a look. There is nothing that can be\n\tsaid. The prison transport doors are SLAMMED shut. The\n\tvehicle takes off.\n\n\t\t\t\t\tCUT TO:", "Madison rushes in front of the television to see a report of\n\tParker's escape from the prison transport.\n\n\t\t\t\tMADISON\n\t\tOh, shit!", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "CUT TO:\n\n\tTHE PRISON TRANSPORT\n\n\tcomes to a stop at a traffic light.", "The media has caught wind of his\n\t\tpardon. Unless Mr. Barnes starts\n\t\tgiving me some tangible results,\n\t\tI'm going to put him back in his", "INSIDE THE PRISON TRANSPORT -- REAR\n\n\tCold metal benches. No windows. Parker climbs in, the only\n\tpassenger. He looks out the open doors to Cox.", "The Guard removes Parker's cuffs, then exits, taking up his\n\tpost outside the door. The skin around Parker's wrists is\n\tblue where the cuffs dug into his skin.", "MADISON\n\t\t\t(forcefully)\n\t\tLetting a lunatic like Parker\n\t\tBarnes loose in the free world is", "a lunatic like Barnes loose in the\n\t\treal world did pose an unacceptably\n\t\tdangerous risk to the public.\n\t\t\t(glancing at Cox)", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "DEANE\n\t\t\t(revealing a document)\n\t\tThis is a full pardon. It\n\t\tauthorizes your immediate release.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "passing through the Security Checkpoints outside the Prison.\n\tParker at the wheel. Madison beside him. It's afternoon.\n\n\tINSIDE THE SQUAD CAR" ], [ "Sid 6.7 gently caresses the hair of a terrified young WOMAN\n\tsitting among several others. You hear the sound of tires\n\tSCREECHING to a halt outside.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "Sid 6.7 picks him up out of his seat and throws him three\n\trows ahead. Sid 6.7 then puts hands around the Woman's\n\tthroat.\n\n\tON THE MASSIVE SCREEN", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "Madison pulls Lindenmeyer roughly out of the car. She drags\n\thim to Parker, who is still on his knees, clutching the Sid\n\t6.7 character module. SIRENS approach in the distance.", "Before she can do so, Sid 6.7 stands behind the Woman,\n\tgrabbing her and throwing her across the table into Parker.\n\tCRASH! They tumble to the floor.", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is\n\tstanding directly behind him. Sid 6.7 grabs Parker by the\n\tthroat.", "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "Sid 6.7 SLAMS on the brakes and abandons the car, leaving it\n\tright in the middle of the street. A TRAFFIC COP with his\n\tweapon trained on Sid 6.7 from a distance.", "Sid 6.7 has separated the patrons into four separate groups:\n\tolder men and woman, and younger men and woman. All are\n\tfrozen in their seats with fear.", "Sid 6.7 remains unconcerned. He toys with the Woman, pointing\n\tthe gun in her face, then pulling it back. Her expression\n\tchanges instantly. Dramatically.", "He fires his gun just above her head. She SCREAMS in terror. \n\n\t\t\t\tSID 6.7 (CONT'D)\n\t\tThat's better...", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "Madison crawls out of Lindenmeyer's station. Sid 6.7 just\n\tcatches sight of her, and goes after her.\n\n\tINSIDE LETAC", "Sid 6.7 points his gun at one group, then another, waving his\n\tarm as if he were a conductor, and as if his gun were a", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt." ], [ "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "Madison drops to the floor, unconscious. The needle she had\n\tbeen holding falls from her grasp, breaking the circuit. She\n\tstops being electrocuted. Which saves her life.", "Officer Barnes. Or should I say,\n\t\tinmate 673429...", "least some military or survival\n\t\ttraining - only Mr. Barnes is\n\t\tstill breathing.", "She pulls Parker back just before the train reaches him. Had\n\this arm still been raised, Parker would have lost his arm a\n\tsecond time.\n\n\tThey tumble to the floor. A PASSENGER rushes to Madison.", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "Red charges Parker wildly. Parker dodges him like a matador\n\tdoes a bull. Then brings his fists down savagely on the back\n\tof Red's head. His skull CRACKS. Red drops to the floor.", "He rushes to Cox. Parker drops to his knees, cradling Cox's\n\thead. Cox isn't long for this earth. Looking up to Parker, he\n\ttries to talk. But nothing comes out.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "Except Parker now does something different. Just before Sid\n\t6.7 is decapitated, Parker jams a metal rod between the\n\tcompactor's steel teeth. Then grabs Sid 6.7 by the throat.", "He reaches out to give Lindenmeyer a hand, then grabs him by\n\tthe throat. Choking him. Lindenmeyer can't believe what is\n\thappening.", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "Parker maintains his mechanical grip. Red finally succumbs to\n\tthe lack of oxygen. He drops to his knees. Parker does not\n\trelent until he feels the barrel of a gun at the back of his\n\thead.", "He and the chair fall to the roof, which will keep him from\n\tfalling to his death for another minute, if he's lucky.\n\n\t\t\t\tPARKER\n\t\tMADISON!!!", "COX\n\t\t\t(to Deane)\n\t\tBarnes wouldn't kill two innocent\n\t\tguards.", "a lunatic like Barnes loose in the\n\t\treal world did pose an unacceptably\n\t\tdangerous risk to the public.\n\t\t\t(glancing at Cox)", "Parker dives to the ground, just avoiding the bullet. He\n\tscrambles behind a pillar for protection. Only to see the guy\n\tstanding behind him wasn't as lucky.", "line-of-fire and takes the bullet meant for Parker through\n\tthe chest. Cox drops to the bridge.", "Madison pulls Lindenmeyer roughly out of the car. She drags\n\thim to Parker, who is still on his knees, clutching the Sid\n\t6.7 character module. SIRENS approach in the distance.", "L.A.P.D. Special Investigations Division Officer Parker\n\tBarnes managed to stop Grimes from killing Mayor Bennett.\n\tGrimes retaliated by repeatedly humiliating Parker with false\n\tleads and lawsuits." ], [ "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "Sid 6.7 takes a bow, as if on stage.\n\n\t\t\t\tSID 6.7\n\t\tThank you, ladies and gentlemen,\n\t\tyou've been a real pleasure...", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "He empties his clip into Sid 6.7, then discards the gun. As\n\tSid 6.7's wounds heal themselves, Parker pounds him\n\tmercilessly.", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "SID 6.7 (CONT'D)\n\t\tBut rest assured...\n\t\t\t(a beat)\n\t\tA star is born.", "His head tumbles to the street. The force of the impact\n\tcauses the Sid 6.7 character module to separate from the\n\tneural net.", "Sid 6.7 frantically tries to climb out of the compactor as\n\tthe steel jaws close in on him. He gets his hands out. Then\n\this head...", "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "Except Parker now does something different. Just before Sid\n\t6.7 is decapitated, Parker jams a metal rod between the\n\tcompactor's steel teeth. Then grabs Sid 6.7 by the throat.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "Sid 6.7 SLAMS on the brakes and abandons the car, leaving it\n\tright in the middle of the street. A TRAFFIC COP with his\n\tweapon trained on Sid 6.7 from a distance.", "SID 6.7 (CONT'D)\n\t\t\t(as if to God)\n\t\tNOOOH! You can't take him, yet. I'm\n\t\tnot finished!", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt.", "Sid 6.7 slowly reaches inside his jacket and fires his weapon\n\tthrough it. He only gets a hole in his jacket. The Traffic\n\tCop gets a hole through his chest.", "Two bullet holes are visible in the windshield. The two\n\tPrison Guards lie dead in their seats. Sid 6.7's eyes appear,\n\tlooking directly at you. He's smiling.", "Which now leaves Parker a clean shot at Sid 6.7's head. BOOM!\n\tBOOM! Two hits. Two head wounds. Sid 6.7 falls behind a\n\ttruck, losing his weapon.", "Sid 6.7 thinks about it. Long and hard." ], [ "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is\n\tstanding directly behind him. Sid 6.7 grabs Parker by the\n\tthroat.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "Parker immediately returns back to normal. His pace picks up.\n\tHe starts closing the gap between him and Sid 6.7 as he races\n\tinto a shopping mall.\n\n\t\t\t\t\tCUT TO:", "Parker and Madison just catch a glimpse of Sid 6.7 as he\n\trushes up the entrance ramp to the Hollywood Freeway. Parker\n\tand Madison bolt after him.\n\n\tON THE HOLLYWOOD FREEWAY", "Parker's vehicle speeds through city streets. Gaining ground\n\ton Sid 6.7.", "To be perfectly clear, the events you just witnessed\n\tinvolving Parker, John, and Sid 6.7 took place within virtual\n\treality, not the real world.", "Parker struggles to his feet. Aims his weapon. Sid 6.7 does\n\tthe same, but without looking. BOOM! Parker gets a bullet", "Parker turns a corner, stopping fast. At the other end of the\n\taisle stands Sid 6.7, who presses his gun against the head of", "Sid 6.7 stares at Parker in disbelief. Blood is now visible\n\tflowing from a bullet hole in Sid 6.7's shoulder, which was", "Parker gives up the chase of Sid 6.7's vehicle and runs in\n\tthe other direction. Toward Madison as she rounds the corner\n\tin their squad car.", "SID 6.7 (CONT'D)\n\t\t\t(to the monitor)\n\t\tHang in there, Parker.", "Sid 6.7 pauses, then goes over to Parker and checks his\n\twatch. It is also moving backwards. A smile of realization", "He carries John and the bowling ball bag into the kitchen.\n\tParker scrambles to his gun, and races after Sid 6.7.\n\n\tINSIDE THE RESTAURANT KITCHEN", "which is also the highest, Sid 6.7 veers out of view. Parker\n\traces up the final steps to the seventh floor. Sid 6.7 is\n\tnowhere to be seen.", "Parker spots Sid 6.7 across the room. Without hesitation the\n\thunter chases his prey. Gun out and firing. NOT what you\n\twould call Standard Police Procedure.", "Parker crawls desperately toward his weapon. But not fast\n\tenough. Sid 6.7 arrives at the weapon first.\n\n\t\t\t\tSID 6.7\n\t\tSo close, and yet, so far...", "SID 6.7\n\t\t\t(to Parker)\n\t\tI wouldn't pull the trigger if I\n\t\twere you\n\n\t\t\t\tPARKER\n\t\tWhy's that?", "He sits back down at the simulator's main console, and starts\n\tto type commands. On the monitor, Parker is visible exiting\n\tthe shopping mall.\n\n\t\t\t\t\tCUT TO:", "Sid 6.7 drives dangerously fast, causing an accident, around\n\twhich Parker must circumnavigate. Tires SCREECH. Glass\n\tSHATTERS. Sid 6.7 hangs his head out the window." ], [ "an L. A. P. D. uniform. His name is WILLIAM COX, 40S. His\n\tnameplate reads CHIEF OF POLICE.", "He gives her a brief smile. Which Madison does not return.\n\tOne of the other policemen tentatively approaches Parker.", "Their uniforms are freshly pressed. Their shoes just recently\n\tshined. Hair tightly cropped. Faces perfectly shaved. Clearly\n\tmen proud to wear the badge of the Los Angeles Police\n\tDepartment. The guy in the lead is", "People bolt through the turnstiles, running away from the\n\tstadium as L. A. P. D. squad cars approach in the distance.\n\tThe car in the lead is Parker's.", "He turns up the police radio.\n\n\t\t\t\t\tCUT TO:\n\n\tINSIDE THE UPSCALE NIGHTCLUB", "He turns to Parker, who is looking right at him. Not with\n\tanger. Not with any emotion, really. But it's enough to scare\n\tthe shit out of Cop #3, who walks away.", "sometime, and we've got to be ready\n\t\twhen he does.\n\t\t\t(a beat)\n\t\tWelcome to police work. You better", "in the L. A. P. D. Downtown Headquarters the next morning.\n\tChief Cox stares angrily at Parker. Madison sits next to him.\n\tBehind them is a mirrored wall.", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "Wondering who this strange man is, and why he's sitting in a\n\tpolice car outside her house. But not saying a word.", "L.A.P.D. Special Investigations Division Officer Parker\n\tBarnes managed to stop Grimes from killing Mayor Bennett.\n\tGrimes retaliated by repeatedly humiliating Parker with false\n\tleads and lawsuits.", "MADISON\n\t\tThank-you.\n\t\t\t(a beat)\n\t\tHer name is Karin.\n\n\tShe turns on the police radio.", "6:00 AM. Parker, clearly just awakened, is led into the room\n\tby a guard, who then exits. Waiting for Parker are Chief of\n\tPolice Cox and Elizabeth Deane.", "He is scanned with a metal detector. So is his clothing,\n\twhich is then returned to him.\n\n\t\t\t\tGUARD #1\n\t\tWelcome home, cop.", "INSIDE COX'S POLICE VEHICLE\n\n\tCox and Madison head back toward L. A. P. D. Headquarters.\n\tThey are in midconversation:", "Madison stops herself from speaking. It isn't easy for her.\n\tParker cracks a faint smile. YOU HEAR the police radio.", "Parker quickly explains the situation to the sanitation\n\tworker while Madison motions Lindenmeyer into the cab with\n\ther gun. As Parker climbs up to her, Madison shuts the door\n\tto give them a moment of privacy.", "of them. In which two UNDERCOVER COPS sit waiting to see if\n\tLindenmeyer returns. Parker waves apologetically.", "Cheers are heard around the area from the other cops who'd\n\tbeen listening in.\n\n\t\t\t\tDEANE\n\t\tThank God.", "weapon and stops behind Lindenmeyer. Even in disguise, he\n\tlooks familiar. Madison puts her gun against his back." ], [ "Red charges Parker wildly. Parker dodges him like a matador\n\tdoes a bull. Then brings his fists down savagely on the back\n\tof Red's head. His skull CRACKS. Red drops to the floor.", "In the entire crowd, there is only one person not watching\n\tthe TV screen. He is watching Parker. Through his gun sight.\n\tSid 6.7 pulls the trigger. BOOM!", "Parker maintains his mechanical grip. Red finally succumbs to\n\tthe lack of oxygen. He drops to his knees. Parker does not\n\trelent until he feels the barrel of a gun at the back of his\n\thead.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "You see footage of a woman lying dead in an alley. A note is\n\tpinned to her clothing. The note reads: \"HEY, PARKER, THIS\n\tONE'S FOR YOU.\"", "COX\n\t\tDonley started experiencing the\n\t\tattack for real. If I hadn't gotten\n\t\tyou out, the same thing would have", "He shoots the Foreman in the chest. Sid 6.7 relieves him of\n\this keys and heads to an explosives storage shed.\n\n\t\t\t\t\tCUT TO:", "He rushes to Cox. Parker drops to his knees, cradling Cox's\n\thead. Cox isn't long for this earth. Looking up to Parker, he\n\ttries to talk. But nothing comes out.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "Which now leaves Parker a clean shot at Sid 6.7's head. BOOM!\n\tBOOM! Two hits. Two head wounds. Sid 6.7 falls behind a\n\ttruck, losing his weapon.", "Glancing at Reilly's prone body, he then SLAMS the office\n\tdoor in our face.\n\n\t\t\t\t\tCUT TO:", "Two bullet holes are visible in the windshield. The two\n\tPrison Guards lie dead in their seats. Sid 6.7's eyes appear,\n\tlooking directly at you. He's smiling.", "He knocks Parker back with a good shot to the face, then\n\tdisappears around a van.\n\n\tParker continues the hunt. Quietly. Carefully. Tension grows\n\tin the silence that follows.", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "He watches Reilly's face with curiosity as the life drains\n\tfrom it. A puddle forms beneath him. He drops Reilly's body\n\tto the floor.", "Grimes then kidnapped Parker's wife and daughter. Parker\n\tlocated the group in a club, but only in time to witness\n\ttheir deaths. Parker then killed everybody in the club,", "She means it. Parker turns away, looking at his wife's\n\theadstone.\n\n\t\t\t\tCOX\n\t\tThe sonofa-bitch is still out\n\t\tthere, Parker.", "DEANE\n\t\tIt's already been called off.\n\t\tWitnesses confirmed you weren't the\n\t\tshooter.\n\t\t\t(a beat)\n\t\tDid you find out where the bomb is?", "His partner is JOHN DONLEY, late 20s, eager to prove himself.\n\tHe struggles to keep up with Parker. John accidently knocks", "Behind him, John's body is loaded into an ambulance. The\n\tGuards SLAM the prison transport doors shut.\n\n\tINSIDE THE PRISON TRANSPORT -- REAR" ], [ "Madison enters, carrying a folder labelled:\tINMATE #673429\n\tA/K/A PARKER BARNES. She withdraws several PHOTOGRAPHS from", "One of the women sits by herself in front of a monitor.\n\tIntently following the action on screen. Studying it\n\tclinically. Her name is DR. MADISON CARTER, late 30s.", "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "Parker quickly explains the situation to the sanitation\n\tworker while Madison motions Lindenmeyer into the cab with\n\ther gun. As Parker climbs up to her, Madison shuts the door\n\tto give them a moment of privacy.", "MADISON\n\t\tThis is Parker Barnes six years\n\t\tago.\n\t\tThe most decorated cop in the\n\t\thistory of L. A. P. D. Special\n\t\tInvestigations Division...", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "MADISON\n\t\t\t(forcefully)\n\t\tLetting a lunatic like Parker\n\t\tBarnes loose in the free world is", "cufflinks, she exits. Wallace follows after her quickly. You\n\tnow notice that the chair Dr. Madison Carter had occupied is\n\tnow empty. She left a while ago.", "whose wrists and ankles are cuffed, being led into a Prison\n\tInterrogation Room. Dr. Madison Carter sits at a table, a", "MADISON\n\t\tLindenmeyer put increasingly\n\t\tcomplex combinations of criminal\n\t\tpsychological profiles together to\n\t\tdevelop the ultimate villain.", "Madison rushes in front of the television to see a report of\n\tParker's escape from the prison transport.\n\n\t\t\t\tMADISON\n\t\tOh, shit!", "OUTSIDE THE PRISON GATES\n\n\tParker gets out of the car. Madison follows suit.\n\n\t\t\t\tMADISON\n\t\tWhat are you doing?!", "Madison SCREECHES the vehicle to a halt. She comes within\n\tinches of mowing down several people. Madison and Parker bolt\n\tto the entrance, flashing their badges to the guards.", "DEANE\n\t\t\t(to Madison)\n\t\tYou were right, Dr. Carter. Letting", "Parker relents, and holds up his wrist. Madison places the\n\tcuff around it, then gets out of the car.\n\n\tOUTSIDE MADISON'S HOUSE", "a lunatic like Barnes loose in the\n\t\treal world did pose an unacceptably\n\t\tdangerous risk to the public.\n\t\t\t(glancing at Cox)", "MADISON\n\t\tThe government must have figured\n\t\tthere was no better person to\n\t\tcreate a psycho than a psycho.", "Madison goes to Parker, who sits quietly by himself. Elbows\n\ton his knees. Head between his hands. Staring at the cement\n\tbetween his feet.", "in the L. A. P. D. Downtown Headquarters the next morning.\n\tChief Cox stares angrily at Parker. Madison sits next to him.\n\tBehind them is a mirrored wall.", "COX\n\t\tParker Barnes, I'd like you to meet\n\t\tCrime Czar Elizabeth Deane." ], [ "an L. A. P. D. uniform. His name is WILLIAM COX, 40S. His\n\tnameplate reads CHIEF OF POLICE.", "in the L. A. P. D. Downtown Headquarters the next morning.\n\tChief Cox stares angrily at Parker. Madison sits next to him.\n\tBehind them is a mirrored wall.", "Their uniforms are freshly pressed. Their shoes just recently\n\tshined. Hair tightly cropped. Faces perfectly shaved. Clearly\n\tmen proud to wear the badge of the Los Angeles Police\n\tDepartment. The guy in the lead is", "on which a RED DOT moves west along a street in Los Feliz.\n\tThe map occupies a wall inside Chief Cox's Office in the", "PARKER\n\t\tShit!\n\n\t\t\t\t\tCUT TO:\n\n\tINSIDE A CONFERENCE ROOM IN L. A. P. D. HEADQUARTERS", "People bolt through the turnstiles, running away from the\n\tstadium as L. A. P. D. squad cars approach in the distance.\n\tThe car in the lead is Parker's.", "INSIDE L. A. P. D. HEADQUARTERS\n\n\tMadison races through the bustling facility. Looking for\n\tsomebody. She finally finds Cox coming out of his office.", "COX\n\t\tBe careful with it.\n\n\t\t\t\t\tCUT TO:\n\n\tAN L. A. P. D. SQUAD CAR", "Madison speeds recklessly through traffic toward the\n\tHollywood Bowl. Parker doesn't notice. He's totally focused\n\ton screaming into the police radio.", "She slides an unsigned pardon across the table to Parker,\n\tmaking sure to stay beyond his arm's reach. Cox reveals a\n\tworn, L. A. P. D. badge. It was Parker's.", "INSIDE COX'S POLICE VEHICLE\n\n\tCox and Madison head back toward L. A. P. D. Headquarters.\n\tThey are in midconversation:", "L.A.P.D. Special Investigations Division Officer Parker\n\tBarnes managed to stop Grimes from killing Mayor Bennett.\n\tGrimes retaliated by repeatedly humiliating Parker with false\n\tleads and lawsuits.", "Chief Cox will give you a ride back\n\t\tto the station. You will provide\n\t\thim with any and all information\n\t\tyou have developed thus far.", "PARKER\n\t\t(urgently into radio) This is\n\t\tOfficer Parker Barnes. Get every\n\t\table body you can to Dodger Stadium\n\t\t-- J Section.", "REPORTER\n\t\t\t(to her camera) )\n\t\tAs L. A. P. D.\n\t\tOfficers continue gathering", "sight of Mayor Bennett's upcoming Re-Election Rally, Cox\n\tsupervises an army of L. A. P. D. officers who are securing", "MADISON\n\t\tThis is Parker Barnes six years\n\t\tago.\n\t\tThe most decorated cop in the\n\t\thistory of L. A. P. D. Special\n\t\tInvestigations Division...", "L.A.P. D. Downtown Headquarters. Cox, Wallace and Deane look\n\ton.", "Grimes was an expert at media manipulation. He delighted in\n\tpublicly humiliating anyone who stood in his way. The Mayor\n\tof Los Angeles, Bob Bennett, who offered increasingly higher", "He lifts the businessman off his bar stool and carries him to\n\tthe table.\n\n\t\t\t\t\tCUT TO:\n\n\tAN ELECTRONIC MAP OF LOS ANGELES" ], [ "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "Grimes then kidnapped Parker's wife and daughter. Parker\n\tlocated the group in a club, but only in time to witness\n\ttheir deaths. Parker then killed everybody in the club,", "PARKER (CONT'D)\n\t\t(voice slowly rising) The man who\n\t\tkilled my wife...who killed my\n\t\tdaughter...who ruined my life used\n\t\tto taunt me with that line...", "Officer Barnes. Or should I say,\n\t\tinmate 673429...", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "Red charges Parker wildly. Parker dodges him like a matador\n\tdoes a bull. Then brings his fists down savagely on the back\n\tof Red's head. His skull CRACKS. Red drops to the floor.", "He jumps behind the wheel, flooring the accelerator. Speeding\n\tthrough the already frightened motorists. Madison is pinned\n\tto the back of her seat. Looking out the window, she looks at\n\tthe motorists.", "COX\n\t\tDo I need to remind you what\n\t\thappened to his wife? To his\n\t\tdaughter?", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "She rifles through data concerning MATHEW GRIMES, who was the\n\tleader of a cult of cyber anarchists. He was known as the\n\tCharles Manson of technological terrorism.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "She means it. Parker turns away, looking at his wife's\n\theadstone.\n\n\t\t\t\tCOX\n\t\tThe sonofa-bitch is still out\n\t\tthere, Parker.", "MADISON (V. 0. CONT'D)\n\t\tThis is what Parker's wife and\n\t\tdaughter looked like after they\n\t\twere kidnapped and executed.", "You see footage of a woman lying dead in an alley. A note is\n\tpinned to her clothing. The note reads: \"HEY, PARKER, THIS\n\tONE'S FOR YOU.\"", "He changes the channel back to the first news broadcast. A\n\treporter stands amid the chaos outside the bar where Sid 6.7\n\thad terrified the patrons.", "She points to Lindenmeyer, then makes her way over to Parker,\n\twho's standing exactly where Sid 6.7 was when he killed the", "L.A.P.D. Special Investigations Division Officer Parker\n\tBarnes managed to stop Grimes from killing Mayor Bennett.\n\tGrimes retaliated by repeatedly humiliating Parker with false\n\tleads and lawsuits.", "Parker maintains his mechanical grip. Red finally succumbs to\n\tthe lack of oxygen. He drops to his knees. Parker does not\n\trelent until he feels the barrel of a gun at the back of his\n\thead.", "The closedcircuit camera remains focused on the Woman. The\n\tcamera is locked off. It's operator lies dead beside it.\n\n\tTHROUGH ITS VIEWFINDER", "He rushes to Cox. Parker drops to his knees, cradling Cox's\n\thead. Cox isn't long for this earth. Looking up to Parker, he\n\ttries to talk. But nothing comes out." ], [ "He rushes to Cox. Parker drops to his knees, cradling Cox's\n\thead. Cox isn't long for this earth. Looking up to Parker, he\n\ttries to talk. But nothing comes out.", "line-of-fire and takes the bullet meant for Parker through\n\tthe chest. Cox drops to the bridge.", "Red charges Parker wildly. Parker dodges him like a matador\n\tdoes a bull. Then brings his fists down savagely on the back\n\tof Red's head. His skull CRACKS. Red drops to the floor.", "Parker maintains his mechanical grip. Red finally succumbs to\n\tthe lack of oxygen. He drops to his knees. Parker does not\n\trelent until he feels the barrel of a gun at the back of his\n\thead.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "WALLACE\n\t\tJust an unrepentant criminal who is\n\t\tapparently going to die from a\n\t\tpreviously undiagnosed brain tumor.\n\n\tCox enters, concerning Wallace.", "Wallace exits the room. Cox has no idea what is going on. And\n\tDeane is not about to tell him.\n\n\t\t\t\t\tCUT TO:", "COX\n\t\tI think we both know who did.\n\t\t\t(a beat)\n\t\tWhat's so urgent?\n\n\t\t\t\tMADISON\n\t\tI need your help--", "In the entire crowd, there is only one person not watching\n\tthe TV screen. He is watching Parker. Through his gun sight.\n\tSid 6.7 pulls the trigger. BOOM!", "WALLACE (CONT'D)\n\t\tWhat are you doing here, sir?\n\n\t\t\t\tCOX\n\t\tJust paying my last respects.", "She means it. Parker turns away, looking at his wife's\n\theadstone.\n\n\t\t\t\tCOX\n\t\tThe sonofa-bitch is still out\n\t\tthere, Parker.", "He shoots the Foreman in the chest. Sid 6.7 relieves him of\n\this keys and heads to an explosives storage shed.\n\n\t\t\t\t\tCUT TO:", "Cox's eyes roll back in his head. Parker then closes them and\n\tgently lays his head on the sidewalk.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "The look on Cox's face tells you Madison has explained the\n\tsituation to him. He is furious.\n\n\t\t\t\tCOX\n\t\tWhy didn't anybody tell me?!", "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "She points to Lindenmeyer, then makes her way over to Parker,\n\twho's standing exactly where Sid 6.7 was when he killed the", "Which now leaves Parker a clean shot at Sid 6.7's head. BOOM!\n\tBOOM! Two hits. Two head wounds. Sid 6.7 falls behind a\n\ttruck, losing his weapon.", "Madison, and Cox wind their way to him through obstacle\n\tcourse of tombstones. Parker stands as they arrive. He is\n\twiped out. There is no emotion left in him.", "He watches Reilly's face with curiosity as the life drains\n\tfrom it. A puddle forms beneath him. He drops Reilly's body\n\tto the floor." ], [ "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "He empties his clip into Sid 6.7, then discards the gun. As\n\tSid 6.7's wounds heal themselves, Parker pounds him\n\tmercilessly.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "A threeman demolition team slowly, carefully disarms the\n\tbomb Sid 6.7 had secured to the automated sewer cleaning\n\tvehicle. Snip. One wire at a time. Snip.", "WALLACE\n\t\t\t(relishing his authority)\n\t\tYou are to turn over the Sid 6.7\n\t\tprogram, and all its documentation,\n\t\tfor immediate destruction. Is that\n\t\tunderstood?", "Peeling the label off the Sid 6.7 character module,\n\tLindenmeyer removes the module from its slot. Sid 6.7\n\tdisappears from the screen.\n\n\t\t\t\t\tCUT TO:", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "His head tumbles to the street. The force of the impact\n\tcauses the Sid 6.7 character module to separate from the\n\tneural net.", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "He removes the Sid 6.7 character module from its slot and\n\texits the station.\n\n\tON THE ROOF OF THE HOLLYWOOD TOWER", "Except Parker now does something different. Just before Sid\n\t6.7 is decapitated, Parker jams a metal rod between the\n\tcompactor's steel teeth. Then grabs Sid 6.7 by the throat.", "SID 6.7\n\t\t\t(losing it)\n\t\tYou...ruined...I'M GOING TO KILL\n\t\tYOU!!!", "He rushes out. Sid 6.7 appears on the various monitors next\n\tto Sheila 3.2. He kisses her cheek. Caresses her body. Sheila\n\t3.2 enjoys the attention.", "Wallace ignores him as he walks toward the door. On the\n\tmonitors, Sid 6.7 starts walking toward you. Into a CLOSEUP.", "A SECURITY GUARD\n\n\tclimbs up the stairs to the mouth of the tunnel. Weapon in\n\thand. He draws a bead on Sid 6.7's back. BOOM!", "Mustering her strength, she manages to crawl behind several\n\tof the computers which make up the simulator. Sid 6.7\n\tadvances calmly toward her.", "SID 6.7 (CONT'D)\n\t\tBut rest assured...\n\t\t\t(a beat)\n\t\tA star is born.", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short" ], [ "A threeman demolition team slowly, carefully disarms the\n\tbomb Sid 6.7 had secured to the automated sewer cleaning\n\tvehicle. Snip. One wire at a time. Snip.", "Madison pulls Lindenmeyer roughly out of the car. She drags\n\thim to Parker, who is still on his knees, clutching the Sid\n\t6.7 character module. SIRENS approach in the distance.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "Except Parker now does something different. Just before Sid\n\t6.7 is decapitated, Parker jams a metal rod between the\n\tcompactor's steel teeth. Then grabs Sid 6.7 by the throat.", "Before she can do so, Sid 6.7 stands behind the Woman,\n\tgrabbing her and throwing her across the table into Parker.\n\tCRASH! They tumble to the floor.", "A SECURITY GUARD\n\n\tclimbs up the stairs to the mouth of the tunnel. Weapon in\n\thand. He draws a bead on Sid 6.7's back. BOOM!", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "Which now leaves Parker a clean shot at Sid 6.7's head. BOOM!\n\tBOOM! Two hits. Two head wounds. Sid 6.7 falls behind a\n\ttruck, losing his weapon.", "Parker's landing isn't pretty. Finally getting to his feet,\n\the sees the Sid 6.7 character module is about to be run over.\n\n\tParker dives for it, nearly getting run over himself.", "Madison drops to the floor, unconscious. The needle she had\n\tbeen holding falls from her grasp, breaking the circuit. She\n\tstops being electrocuted. Which saves her life.", "After giving one last look around, Sid 6.7 reluctantly gives\n\tup the hunt, and exits. Madison does not move until she is\n\tcertain Sid 6.7 has left the building.", "Bullets riddle Sid 6.7's table as he dives from his chair. He\n\tlands next to a bowling ball bag, which sits beneath his\n\ttable.", "Parker struggles to his feet. Aims his weapon. Sid 6.7 does\n\tthe same, but without looking. BOOM! Parker gets a bullet", "Absorbing the blows, Sid 6.7 backs up against the atrium\n\trailing. Taking one final shot, he falls backward. Over the\n\trailing.\n\n\tPARKER'S POV", "He empties his clip into Sid 6.7, then discards the gun. As\n\tSid 6.7's wounds heal themselves, Parker pounds him\n\tmercilessly.", "The rest of the passengers hit the deck, except for a COLLEGE\n\tSTUDENT listening to music on headphones. He is riding the\n\tescalator up. Sid 6.7 stands behind him, using the student as\n\ta shield.", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt.", "If Madison is discovered, she doesn't have a prayer. Her\n\theart pounds. Her forehead perspires. Sid 6.7 is getting\n\tcloser." ], [ "shot at him. Hell, nobody else had\n\t\teven been able to start tracking\n\t\thim before he got to them first.\n\t\t\t(eyeing Parker's scar)", "Madison walks calmly behind them. Scanning the crowd. Looking\n\tfor Lindenmeyer. Her every instinct telling her he's here. He\n\tmust be.", "If Madison is discovered, she doesn't have a prayer. Her\n\theart pounds. Her forehead perspires. Sid 6.7 is getting\n\tcloser.", "He knocks Parker back with a good shot to the face, then\n\tdisappears around a van.\n\n\tParker continues the hunt. Quietly. Carefully. Tension grows\n\tin the silence that follows.", "Parker bolts recklessly through the downtown street. A hunter\n\thot on the trail of his prey in an urban jungle.\n\n\t\t\t\t\tCUT TO:", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "Parker comes within inches of mowing down several people, who\n\tkeep right on running. Parker jumps out of the vehicle,", "But you are making progress.\n\t\tInstead of killing seven people to\n\t\tget the one you're after, this time\n\t\tthere was only one other person", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt.", "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "She does the best she can to follow after him. People knock\n\tinto Parker as hard as he does them. A human version of\n\tbumper cars.", "He jumps behind the wheel, flooring the accelerator. Speeding\n\tthrough the already frightened motorists. Madison is pinned\n\tto the back of her seat. Looking out the window, she looks at\n\tthe motorists.", "You see footage of a woman lying dead in an alley. A note is\n\tpinned to her clothing. The note reads: \"HEY, PARKER, THIS\n\tONE'S FOR YOU.\"", "As Parker continues dreaming, the locater implant in his head\n\tis tested. Parker's location is pinpointed on an electronic\n\tmap to within one inch of his present location. The hole in\n\this skull is then stitched shut.", "moves toward the edge of the platform, aiming his gun across\n\tthe tracks. Those around him quickly back away.\n\n\t\t\t\tPARKER\n\t\t\t(yelling)\n\t\tEverybody get down!", "The room is still under construction. Wallace stands behind a\n\tTECHNICIAN sitting at a console in front of a massive\n\telectronic map tracking several convicts, including Parker.\n\tThe technician is typing in an elaborate termination code.", "People bolt through the turnstiles, running away from the\n\tstadium as L. A. P. D. squad cars approach in the distance.\n\tThe car in the lead is Parker's.", "HIS POV -- IN THE REARVIEW MIRROR\n\n\tParker becomes visible racing around the corner. Running like\n\ta dog who's got the scent.", "Madison's reaction is one of panic. She bolts toward their\n\tsquad car with all the speed she has. Parker chases after\n\ther.", "She spots him. Veering from the direction the cops headed in,\n\tMadison casually wades into the crowd. She takes out her" ], [ "He rushes to Cox. Parker drops to his knees, cradling Cox's\n\thead. Cox isn't long for this earth. Looking up to Parker, he\n\ttries to talk. But nothing comes out.", "COX\n\t\tDonley started experiencing the\n\t\tattack for real. If I hadn't gotten\n\t\tyou out, the same thing would have", "Moving toward her slowly is the wounded college student, who\n\tclutches his bleeding shoulder. He is shivering. Going into\n\tshock. Madison goes to him, taking off his headphones.", "TWO PARAMEDICS burst through the doors and rush to John. The\n\tparamedics inject him. Fibrillate him. Repeatedly.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "Tears. Hopelessness. Detonation. And finally blackness.\n\tComplete and utter blackness.\n\n\t\t\t\t\tCUT TO:\n\n\tELIZABETH DEANE", "He watches Reilly's face with curiosity as the life drains\n\tfrom it. A puddle forms beneath him. He drops Reilly's body\n\tto the floor.", "Glancing at Reilly's prone body, he then SLAMS the office\n\tdoor in our face.\n\n\t\t\t\t\tCUT TO:", "Madison's reaction is one of panic. She bolts toward their\n\tsquad car with all the speed she has. Parker chases after\n\ther.", "John's body goes limp. His vital signs flat. The Paramedics\n\trecord the time of death and cover the body with a sheet.\n\tThey begin to assemble a gurney to wheel him out.", "He turns to Parker, who is looking right at him. Not with\n\tanger. Not with any emotion, really. But it's enough to scare\n\tthe shit out of Cop #3, who walks away.", "Parker goes absolutely berserk. Viciously punching the steel\n\tmesh which separates them until the synthetic skin on his\n\tknuckles is shredded.", "caused by the same bullet. Sid 6.7's arm dangles uselessly.\n\tHis gun lies on the floor.", "He jumps behind the wheel, flooring the accelerator. Speeding\n\tthrough the already frightened motorists. Madison is pinned\n\tto the back of her seat. Looking out the window, she looks at\n\tthe motorists.", "His flailing appendages repeatedly hit the apparatus around\n\thim. Like an epileptic having a grand mal seizure. It's ugly.\n\tFrightening.", "Sid 6.7 stares at Parker in disbelief. Blood is now visible\n\tflowing from a bullet hole in Sid 6.7's shoulder, which was", "Madison drops to the floor, unconscious. The needle she had\n\tbeen holding falls from her grasp, breaking the circuit. She\n\tstops being electrocuted. Which saves her life.", "Parker maintains his mechanical grip. Red finally succumbs to\n\tthe lack of oxygen. He drops to his knees. Parker does not\n\trelent until he feels the barrel of a gun at the back of his\n\thead.", "Cox's eyes roll back in his head. Parker then closes them and\n\tgently lays his head on the sidewalk.", "The bullet must have hit bone, because it deflected upon\n\timpact, missing Sid 6.7 entirely.\n\n\tThe student drops to the escalator, screaming in pain. Sid\n\t6.7 crouches beside him." ], [ "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "One of the women sits by herself in front of a monitor.\n\tIntently following the action on screen. Studying it\n\tclinically. Her name is DR. MADISON CARTER, late 30s.", "The room is still under construction. Wallace stands behind a\n\tTECHNICIAN sitting at a console in front of a massive\n\telectronic map tracking several convicts, including Parker.\n\tThe technician is typing in an elaborate termination code.", "Her attention turns to the upper right corner of the screen,\n\twhere onlookers are visible watching Sid 6.7. Their faces\n\tblurry. But even out of focus, it isn't hard to recognize\n\tLindenmeyer.", "The building is partitioned into dozens of stations. At each\n\tstation, a leading engineer in his field is frantically\n\treadying a prototype for demonstration. Each new technology\n\tdesigned to help fight the new Cold War... the War on Crime.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "The scene immediately starts over, with the man once again\n\twalking peacefully through the park. This was Lindenmeyer's\n\tSCREEN SAVER.\n\n\tINSIDE LINDENMEYER'S OFFICE", "opening his office door for Lindenmeyer fifteen minutes\n\tlater. Reilly immediately double bolts the door behind him\n\tand leads Lindenmeyer through piles of electronic circuitry.", "He moves to the next TV over and changes the channel to the\n\tbaseball game. Sid 6.7 moves over with him, standing directly\n\tbehind the Skinhead as if also interested in the Dodgers.", "Elizabeth Deane is solely responsible for the funds allocated\n\tto LETAC. As well as which prototypes will move on to\n\tproduction.", "The Guest Conductor's movements grow even more intense. More\n\tdemanding. As he looks to the violin section, we now see the\n\tconductor's face. It is Sid 6.7.", "The Woman's face appears on various monitors. The phone\n\tRINGS. No one answers it. The room appears to be empty. \n\n\tThe stadium's closed-circuit TV director is not in his chair.", "WALLACE\n\t\t\t(relishing his authority)\n\t\tYou are to turn over the Sid 6.7\n\t\tprogram, and all its documentation,\n\t\tfor immediate destruction. Is that\n\t\tunderstood?", "CUT TO:\n\n\tINSIDE REILLY'S OFFICE\n\n\tReilly paces anxiously by the incubator eight hours later.", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "LAB ASSISTANTS remove the polyurethane skull caps from the\n\ttwo unconscious bodies. The acupuncture needles remain in the\n\tcaps. You can now see the faces of the participants:", "LINDENMEYER\n\t\t\t(to the monitor)\n\t\tShe's taking a nap at the moment.\n\n\tHe types a set of instructions into the console and hits\n\tENTER.", "Parker's screams for help ECHO throughout the facility. But\n\tthere is no one there to hear him.\n\n\t\t\t\t\tCUT TO:\n\n\tOUTSIDE LETAC", "In complete disarray to the uninitiated. But to those in the\n\tknow, this is the most advanced facility of its kind in the\n\tworld.", "CUT TO:\n\n\tINSIDE LETAC" ], [ "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "Officer Barnes. Or should I say,\n\t\tinmate 673429...", "(to Parker)\n\t\tEnjoy the rest of your sentence,\n\t\tMr. Barnes.", "The media has caught wind of his\n\t\tpardon. Unless Mr. Barnes starts\n\t\tgiving me some tangible results,\n\t\tI'm going to put him back in his", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "MARY BARNES (1987-1992). Parker kneels in front of it. Magic\n\thour.", "a lunatic like Barnes loose in the\n\t\treal world did pose an unacceptably\n\t\tdangerous risk to the public.\n\t\t\t(glancing at Cox)", "WALLACE\n\t\tBarnes used to work for him when he\n\t\twas still a cop in the field,\n\t\tremember?", "Cox leads Parker by the arm to a waiting prison transport.\n\tThe two guards walk behind at a distance. Two more by the\n\ttransport. The chain between Parker's legs keeps his steps\n\tshort.", "PARKER\n\t\t\t(struggling to sit up)\n\t\tHe...only had a year left on his\n\t\tsentence.", "least some military or survival\n\t\ttraining - only Mr. Barnes is\n\t\tstill breathing.", "He stands completely naked, arms held out to the sides, as he\n\tis strip searched. Every portion of the body in which someone\n\tcould hide something is closely inspected.", "Behind him, John's body is loaded into an ambulance. The\n\tGuards SLAM the prison transport doors shut.\n\n\tINSIDE THE PRISON TRANSPORT -- REAR", "(with conviction)\n\t\tI will stake my reputation that\n\t\tBarnes didn't kill those guards.", "The other inmates then turn their attentions to a man of\n\tincredible size following Parker. 6' 6\", 255 lbs. His face", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "Red kicks in the door to the stall. Revealing a pair of shoes\n\tand socks stuffed with a prison shirt. Red hears something\n\tbehind him. And turns around slowly.", "Parker eats at a table with a dozen other inmates. The food\n\tis unrecognizable. The air thick with humidity and cigarette\n\tsmoke. Nobody is talking. Just staring. At Parker.", "MADISON\n\t\tThis is Parker Barnes six years\n\t\tago.\n\t\tThe most decorated cop in the\n\t\thistory of L. A. P. D. Special\n\t\tInvestigations Division...", "AIDE\n\t\tParker Barnes just escaped from the\n\t\tprison transport. Both of the\n\t\tguards are dead.\n\n\tThe Aide exits." ], [ "PARKER\n\t\tBecause this painintheass\n\t\tcriminal psychology expert has\n\t\thelped me understand what I'm", "DEANE\n\t\tWe have an emergency situation\n\t\twhich requires somebody with\n\t\texpertise in criminal psychology.", "She is beautiful, and charming, but those qualities take a\n\tback seat to her intelligence. She is one of the country's\n\tforemost authorities on criminal psychology. Her concerns are", "MADISON\n\t\tLindenmeyer put increasingly\n\t\tcomplex combinations of criminal\n\t\tpsychological profiles together to\n\t\tdevelop the ultimate villain.", "He runs his finger along a book shelf, pausing at two books\n\tin particular. Their titles are: UNDERSTANDING THE CRIMINAL", "MADISON\n\t\tThe government must have figured\n\t\tthere was no better person to\n\t\tcreate a psycho than a psycho.", "MIND, and CRIMINAL PURSUIT -- A PSYCHOLOGICAL GUIDE FOR LAW\n\tENFORCEMENT. They were written by Dr. Madison Carter.", "The room is still under construction. Wallace stands behind a\n\tTECHNICIAN sitting at a console in front of a massive\n\telectronic map tracking several convicts, including Parker.\n\tThe technician is typing in an elaborate termination code.", "6:00 AM. Parker, clearly just awakened, is led into the room\n\tby a guard, who then exits. Waiting for Parker are Chief of\n\tPolice Cox and Elizabeth Deane.", "INSIDE THE SUBURBAN HOME\n\n\tInvestigators analyze the crime scene extensively with every\n\tdevice imaginable. Parker and Madison survey the scene with\n\tnothing but their eyes.", "The graphics show you that Sid 1.2 was a combination of\n\tCharles Manson and Billy the Kid. You see what look like two\n\tviruses, which represent each criminal's psychological", "WALLACE\n\t\tJust an unrepentant criminal who is\n\t\tapparently going to die from a\n\t\tpreviously undiagnosed brain tumor.\n\n\tCox enters, concerning Wallace.", "DEANE\n\t\t\t(sharply)\n\t\tDon't forget, convict, if this\n\t\tpsycho isn't stopped, you go right\n\t\tback to rotting in a prison cell.", "MADISON\n\t\tAs a matter of fact, it is.\n\n\tParker points to a name on the screen:\tJEFFREY DAHMER.", "One of the women sits by herself in front of a monitor.\n\tIntently following the action on screen. Studying it\n\tclinically. Her name is DR. MADISON CARTER, late 30s.", "The approaching car SCREECHES to a halt next to him. It's\n\tdriven by Lindenmeyer. At gunpoint. Madison sits behind him,\n\ther gun to his head.", "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "She points to Lindenmeyer, then makes her way over to Parker,\n\twho's standing exactly where Sid 6.7 was when he killed the", "Parker's screams for help ECHO throughout the facility. But\n\tthere is no one there to hear him.\n\n\t\t\t\t\tCUT TO:\n\n\tOUTSIDE LETAC", "What you notice, however, is that ALL THE DATA relates to\n\tDIFFERENT KINDS of CRIMINALS: serial killers, mass murderers," ], [ "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "Wallace ignores him as he walks toward the door. On the\n\tmonitors, Sid 6.7 starts walking toward you. Into a CLOSEUP.", "He removes the Sid 6.7 character module from its slot and\n\texits the station.\n\n\tON THE ROOF OF THE HOLLYWOOD TOWER", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "WALLACE\n\t\t\t(relishing his authority)\n\t\tYou are to turn over the Sid 6.7\n\t\tprogram, and all its documentation,\n\t\tfor immediate destruction. Is that\n\t\tunderstood?", "They are both watching Parker chase Sid 6.7 on the monitor in\n\tfront of them. Parker continues experiencing intolerable\n\tpain. A clock reads 4:00 AM. They are the only ones inside\n\tthe entire facility.", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "a rocket scientist to come to the\n\t\tconclusion that Sid 6.7 might go\n\t\tafter him, too.\n\t\t\t(a beat)", "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "Peeling the label off the Sid 6.7 character module,\n\tLindenmeyer removes the module from its slot. Sid 6.7\n\tdisappears from the screen.\n\n\t\t\t\t\tCUT TO:", "Sid 6.7 takes a bow, as if on stage.\n\n\t\t\t\tSID 6.7\n\t\tThank you, ladies and gentlemen,\n\t\tyou've been a real pleasure...", "He rushes out. Sid 6.7 appears on the various monitors next\n\tto Sheila 3.2. He kisses her cheek. Caresses her body. Sheila\n\t3.2 enjoys the attention.", "Mustering her strength, she manages to crawl behind several\n\tof the computers which make up the simulator. Sid 6.7\n\tadvances calmly toward her.", "His head tumbles to the street. The force of the impact\n\tcauses the Sid 6.7 character module to separate from the\n\tneural net.", "SID 6.7 (CONT'D)\n\t\t\t(to the monitor)\n\t\tHang in there, Parker.", "SID 6.7\n\t\tMan, what a rush.\n\t\t\t(yelling up to Parker)\n\t\tAdios, amigo!", "As Sid 6.7 realizes he's being videotaped, his entire face\n\tseems to light up. Playing directly to the camera, he clearly", "His expression is exaggerated. Artificial. Only for a moment,\n\tbut it's enough to remind you Sid 6.7 is not human.", "SID 6.7\n\t\t\t(to Parker)\n\t\tI wouldn't pull the trigger if I\n\t\twere you\n\n\t\t\t\tPARKER\n\t\tWhy's that?" ], [ "DEANE\n\t\tI watched your simulation, Mr.\n\t\tBarnes. Very impressive. You know,\n\t\tyou're the only one to ever go up\n\t\tagainst Sid 6.7 who is still alive.", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "He moves to the next TV over and changes the channel to the\n\tbaseball game. Sid 6.7 moves over with him, standing directly\n\tbehind the Skinhead as if also interested in the Dodgers.", "Parker turns a corner, stopping fast. At the other end of the\n\taisle stands Sid 6.7, who presses his gun against the head of", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "As Sid 6.7 realizes he's being videotaped, his entire face\n\tseems to light up. Playing directly to the camera, he clearly", "Bullets riddle Sid 6.7's table as he dives from his chair. He\n\tlands next to a bowling ball bag, which sits beneath his\n\ttable.", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "Sid 6.7 enters quietly. A hunter on the prowl. Moving very\n\tslowly. Then lunging very swiftly. He continues the hunt.", "a rocket scientist to come to the\n\t\tconclusion that Sid 6.7 might go\n\t\tafter him, too.\n\t\t\t(a beat)", "He hands a photograph of Sid 6.7 exiting LETAC to Parker.", "He scans the room for Sid 6.7. Parker has no idea Sid 6.7 is\n\tstanding directly behind him. Sid 6.7 grabs Parker by the\n\tthroat.", "Parker searches methodically. Efficiently. He finally spots\n\tSid 6.7. Who has Parker's head lined-up perfectly in his gun\n\tsight. Parker is a sitting duck. BOOM!", "PARKER\n\t\tSid 6.7 told me after he killed the\n\t\ttwo guards. He suggested I kill you\n\t\trather than him.", "The media has caught wind of his\n\t\tpardon. Unless Mr. Barnes starts\n\t\tgiving me some tangible results,\n\t\tI'm going to put him back in his", "Wallace ignores him as he walks toward the door. On the\n\tmonitors, Sid 6.7 starts walking toward you. Into a CLOSEUP.", "A threeman demolition team slowly, carefully disarms the\n\tbomb Sid 6.7 had secured to the automated sewer cleaning\n\tvehicle. Snip. One wire at a time. Snip.", "Except Parker now does something different. Just before Sid\n\t6.7 is decapitated, Parker jams a metal rod between the\n\tcompactor's steel teeth. Then grabs Sid 6.7 by the throat." ], [ "Barnes. And, there is nobody who\n\t\tknows him better than you. If a\n\t\tsituation becomes volatile, you", "(with conviction)\n\t\tI will stake my reputation that\n\t\tBarnes didn't kill those guards.", "DEANE\n\t\t\t(a beat)\n\t\tYes or no, Mr. Barnes?\n\n\t\t\t\t\tCUT TO:\n\n\tPARKER", "Officer Barnes. Or should I say,\n\t\tinmate 673429...", "The media has caught wind of his\n\t\tpardon. Unless Mr. Barnes starts\n\t\tgiving me some tangible results,\n\t\tI'm going to put him back in his", "COX\n\t\t\t(to Deane)\n\t\tBarnes wouldn't kill two innocent\n\t\tguards.", "L.A.P.D. Special Investigations Division Officer Parker\n\tBarnes managed to stop Grimes from killing Mayor Bennett.\n\tGrimes retaliated by repeatedly humiliating Parker with false\n\tleads and lawsuits.", "Mayor Bennett and I have been\n\t\tfriends a long time. Since Grimes\n\t\ttried to kill him, it doesn't take", "WALLACE\n\t\tBarnes used to work for him when he\n\t\twas still a cop in the field,\n\t\tremember?", "a lunatic like Barnes loose in the\n\t\treal world did pose an unacceptably\n\t\tdangerous risk to the public.\n\t\t\t(glancing at Cox)", "Madison enters, carrying a folder labelled:\tINMATE #673429\n\tA/K/A PARKER BARNES. She withdraws several PHOTOGRAPHS from", "She points to Lindenmeyer, then makes her way over to Parker,\n\twho's standing exactly where Sid 6.7 was when he killed the", "He reaches out to give Lindenmeyer a hand, then grabs him by\n\tthe throat. Choking him. Lindenmeyer can't believe what is\n\thappening.", "He changes the channel back to the first news broadcast. A\n\treporter stands amid the chaos outside the bar where Sid 6.7\n\thad terrified the patrons.", "Beside the bowling bag lies John's body, which is convulsing.\n\tHis hands have been tied to bare electrical wire. John is\n\tbeing electrocuted. Parker kicks away the wires, but not in\n\ttime.", "He rushes to Cox. Parker drops to his knees, cradling Cox's\n\thead. Cox isn't long for this earth. Looking up to Parker, he\n\ttries to talk. But nothing comes out.", "Madison walks calmly behind them. Scanning the crowd. Looking\n\tfor Lindenmeyer. Her every instinct telling her he's here. He\n\tmust be.", "Madison's reaction is one of panic. She bolts toward their\n\tsquad car with all the speed she has. Parker chases after\n\ther.", "6:00 AM. Parker, clearly just awakened, is led into the room\n\tby a guard, who then exits. Waiting for Parker are Chief of\n\tPolice Cox and Elizabeth Deane.", "Red charges Parker wildly. Parker dodges him like a matador\n\tdoes a bull. Then brings his fists down savagely on the back\n\tof Red's head. His skull CRACKS. Red drops to the floor." ], [ "Without emphasizing graphic detail, Sid 6.7 is decapitated.\n\tHis lifeless body drops back into the compactor.", "She does so. Parker reaches OUT OF FRAME to remove the Sid\n\t6.7 character module from within his skull. Then reveals the\n\tcharacter module in hand.", "He empties his clip into Sid 6.7, then discards the gun. As\n\tSid 6.7's wounds heal themselves, Parker pounds him\n\tmercilessly.", "The Sid 6.7 character module is plugged into the system's\n\tmain console. Lindenmeyer sits at the controls. Madison next\n\tto him, her gun aimed at Lindenmeyer's head.", "SID 6.7\n\t\t\t(from the monitor)\n\t\tHey, Wallace, you really think you\n\t\tcan shut me down?\n\n\tWallace stops, staring at a monitor in disbelief.", "WALLACE\n\t\t\t(relishing his authority)\n\t\tYou are to turn over the Sid 6.7\n\t\tprogram, and all its documentation,\n\t\tfor immediate destruction. Is that\n\t\tunderstood?", "A threeman demolition team slowly, carefully disarms the\n\tbomb Sid 6.7 had secured to the automated sewer cleaning\n\tvehicle. Snip. One wire at a time. Snip.", "Peeling the label off the Sid 6.7 character module,\n\tLindenmeyer removes the module from its slot. Sid 6.7\n\tdisappears from the screen.\n\n\t\t\t\t\tCUT TO:", "SID 6.7 (CONT'D)\n\t\tThat's all, folks.\n\n\tHe leaps over a railing, rushing into a tunnel which leads\n\tout of the seating area.", "His head tumbles to the street. The force of the impact\n\tcauses the Sid 6.7 character module to separate from the\n\tneural net.", "In the same movement, Sid 6.7 removes a gun from inside his\n\tjacket and shoots John in the shoulder before he can fire.\n\tJohn's gun flies from his hand. Sid 6.7 advances toward him.", "He removes the Sid 6.7 character module from its slot and\n\texits the station.\n\n\tON THE ROOF OF THE HOLLYWOOD TOWER", "He rushes out. Sid 6.7 appears on the various monitors next\n\tto Sheila 3.2. He kisses her cheek. Caresses her body. Sheila\n\t3.2 enjoys the attention.", "SID 6.7\n\t\t\t(losing it)\n\t\tYou...ruined...I'M GOING TO KILL\n\t\tYOU!!!", "Wallace ignores him as he walks toward the door. On the\n\tmonitors, Sid 6.7 starts walking toward you. Into a CLOSEUP.", "SID 6.7 (CONT'D)\n\t\tYou could say thankyou, you know?\n\t\tI'm giving you your freedom, short", "Except Parker now does something different. Just before Sid\n\t6.7 is decapitated, Parker jams a metal rod between the\n\tcompactor's steel teeth. Then grabs Sid 6.7 by the throat.", "SID 6.7 (CONT'D)\n\t\tBut rest assured...\n\t\t\t(a beat)\n\t\tA star is born.", "A SECURITY GUARD\n\n\tclimbs up the stairs to the mouth of the tunnel. Weapon in\n\thand. He draws a bead on Sid 6.7's back. BOOM!", "Mustering her strength, she manages to crawl behind several\n\tof the computers which make up the simulator. Sid 6.7\n\tadvances calmly toward her." ] ]

[ "Who created SID?", "Who did Barnes get into a fight with ?", "Why did Barnes want to catch SID?", "What does SID do at the Media Zone?", "Where does SID begin his killing spree?", "Who frees Barnes from his prisoner transport?", "Who does SID kidnap?", "Who saves Barnes?", "What ultimately happens to SID 6.7?", "Where did Lt. Parker Barnes and John Donovan begin tracking SID 6.7?", "Who is the police lieutenant?", "Who killed Donovan?", "Barnes meet with criminal phsychologist Dr. Madison Carter, why?", "Who is the Los Angeles Police Department Chief?", "Who is the terrorist that killed Barnes wife and daughter?", "Who killed Cochrane?", "Who destroys SID?", "Who saves Karin from a booby trap set by SID?", "Who is being tracked down ?", "What causes Donovan to go into shock?", "Who is the director overseeing the program?", "How long does Barnes serve?", "Who is the criminal psychologist? ", "Who tells SID he is about to be shut down?", "Who offers Barnes a Deal for catching SID?", "Who tries to prove Barnes' innocence?", "Who destroys SID ?" ]

[ [ "Dr. Darrel Lindenmeyer", "Dr Lindenmeyer" ], [ "Big Red", "Big Red" ], [ "so he would be released from prison", "So he can be released from prison" ], [ "Takes hostages", "He takes hostages" ], [ "Los Angeles Olympic Auditorium", "In Los Angeles at the Olympic Auditorium " ], [ "SID", "SID" ], [ "Carter's daughter Karin", "Karin" ], [ "Carter", "Carter" ], [ "Barnes destroys him", "he is destroyed" ], [ "At a restaurant in Los Angeles.", "Los Angeles" ], [ "Parker Barnes.", "Parker Barnes" ], [ "SID", "SID" ], [ "Because of a fight with another prisoner - Big Red.", "Because he got into a fight with Big Red." ], [ "William Cochrane.", "William Cochran" ], [ "Matthew Grimes", "Matthew Grimes" ], [ "Dr. Darrel Lindenmeyer", "Lindenmeyer" ], [ "Barnes", "Barnes" ], [ "Barnes and Carter", "Barnes and Carter" ], [ "SID", "Serial killer SID 6.7" ], [ "The VR Amalgam", "SID " ], [ "William Wallace", "William Wallace" ], [ "17 years to life", "17 years to life" ], [ "Dr. Madison Carter", "Madison Carter" ], [ "Lindenmeyer", "Lindenmeyer" ], [ "Department Chief WiIlliam Cochran", "Elizabeth Deane and William Cochran" ], [ "Carter", "Carter" ], [ "Barnes", "Barnes" ] ]

60267d554b5505cec3ad671d0ee48f51545dd9b7

train

[ [ "Although the light of almost four centuries has been focused on \"The\nPrince,\" its problems are still debatable and interesting, because they\nare the eternal problems between the ruled and their rulers. Such as", "THE PRINCE", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "principalities. In doing so I will keep to the order indicated above,\nand discuss how such principalities are to be ruled and preserved.", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "as he found them, and he writes with such skill and insight that his\nwork is of abiding value. But what invests \"The Prince\" with more than\na merely artistic or historical interest is the incontrovertible truth", "It is necessary to consider another point in examining the character of\nthese principalities: that is, whether a prince has such power that, in", "CHAPTER XIV -- THAT WHICH CONCERNS A PRINCE ON THE SUBJECT OF THE ART OF\nWAR", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "THE PRINCE\n\nby Nicolo Machiavelli\n\nTranslated by W. K. Marriott", "Such dominions thus acquired are either accustomed to live under a\nprince, or to live in freedom; and are acquired either by the arms of\nthe prince himself, or of others, or else by fortune or by ability.", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "Having discoursed particularly on the characteristics of such\nprincipalities as in the beginning I proposed to discuss, and having\nconsidered in some degree the causes of there being good or bad, and", "End of the Project Gutenberg EBook of The Prince, by Nicolo Machiavelli", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "Prince\" is bestrewn with truths that can be proved at every turn. Men\nare still the dupes of their simplicity and greed, as they were in the", "It remains now to see what ought to be the rules of conduct for a prince\ntowards subject and friends. And as I know that many have written on", "His first mission was in 1499 to Catherina Sforza, \"my lady of Forli\" of\n\"The Prince,\" from whose conduct and fate he drew the moral that it" ], [ "hereditary or a newly formed principality; because the sons of the old\nprince are not the heirs, but he who is elected to that position by", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "I say at once there are fewer difficulties in holding hereditary states,\nand those long accustomed to the family of their prince, than new", "A principality is created either by the people or by the nobles,\naccordingly as one or other of them has the opportunity; for the nobles,", "those who have authority, and the sons remain only noblemen. And this\nbeing an ancient custom, it cannot be called a new principality, because\nthere are none of those difficulties in it that are met with in new", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "Such dominions thus acquired are either accustomed to live under a\nprince, or to live in freedom; and are acquired either by the arms of\nthe prince himself, or of others, or else by fortune or by ability.", "in '10, unless he had been long established in his dominions. For the\nhereditary prince has less cause and less necessity to offend; hence it", "a new prince are more narrowly observed than those of an hereditary\none, and when they are seen to be able they gain more men and bind\nfar tighter than ancient blood; because men are attracted more by the", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "the title of prince, whilst others might have the principality.", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "ones; for although the prince is new, the constitution of the state is\nold, and it is framed so as to receive him as if he were its hereditary\nlord.", "It is necessary to consider another point in examining the character of\nthese principalities: that is, whether a prince has such power that, in", "Those who by valorous ways become princes, like these men, acquire\na principality with difficulty, but they keep it with ease. The", "CHAPTER II -- CONCERNING HEREDITARY PRINCIPALITIES", "There is first to note that, whereas in other principalities the\nambition of the nobles and the insolence of the people only have to be", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED" ], [ "a new prince are more narrowly observed than those of an hereditary\none, and when they are seen to be able they gain more men and bind\nfar tighter than ancient blood; because men are attracted more by the", "those who have authority, and the sons remain only noblemen. And this\nbeing an ancient custom, it cannot be called a new principality, because\nthere are none of those difficulties in it that are met with in new", "hereditary or a newly formed principality; because the sons of the old\nprince are not the heirs, but he who is elected to that position by", "Those who by valorous ways become princes, like these men, acquire\na principality with difficulty, but they keep it with ease. The", "4. Without doubt princes become great when they overcome the\ndifficulties and obstacles by which they are confronted, and therefore\nfortune, especially when she desires to make a new prince great, who", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "Although a prince may rise from a private station in two ways, neither\nof which can be entirely attributed to fortune or genius, yet it is", "Those who solely by good fortune become princes from being private\ncitizens have little trouble in rising, but much in keeping atop; they", "I say at once there are fewer difficulties in holding hereditary states,\nand those long accustomed to the family of their prince, than new", "I say, therefore, that in entirely new principalities, where there is\na new prince, more or less difficulty is found in keeping them,", "in '10, unless he had been long established in his dominions. For the\nhereditary prince has less cause and less necessity to offend; hence it", "And you have to understand this, that a prince, especially a new one,\ncannot observe all those things for which men are esteemed, being often", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "And of all princes, it is impossible for the new prince to avoid the\nimputation of cruelty, owing to new states being full of dangers. Hence", "in his footsteps. Therefore a prince, new to the principality, cannot\nimitate the actions of Marcus, nor, again, is it necessary to follow", "to rise from a private station to that rank. And, on the contrary, it is\nseen that when princes have thought more of ease than of arms they have" ], [ "Machiavelli was undoubtedly a man of great observation, acuteness, and\nindustry; noting with appreciative eye whatever passed before him, and", "Nicolo Machiavelli was born at Florence on 3rd May 1469. He was the\nsecond son of Bernardo di Nicolo Machiavelli, a lawyer of some repute,", "The following is a list of the works of Machiavelli:", "Nicolo Machiavelli, born at Florence on 3rd May 1469. From 1494 to 1512", "with results that have lasted to our day; we are concerned with those\nevents, and with the three great actors in them, so far only as they\nimpinge on the personality of Machiavelli. He had several meetings with", "Although there is little recorded of the youth of Machiavelli, the\nFlorence of those days is so well known that the early environment of\nthis representative citizen may be easily imagined. Florence has been", "Machiavelli concludes his letter to Vettori thus: \"And as to this little\nthing [his book], when it has been read it will be seen that during the", "fortunes of Florence, he only furnished Machiavelli with a subject of\na gibe in \"The Prince,\" where he is cited as an example of an unarmed", "Machiavelli, in his \"History of Florence,\" gives us a picture of the\nyoung men among whom his youth was passed. He writes: \"They were freer", "were once more driven out. This was the period of Machiavelli's literary\nactivity and increasing influence; but he died, within a few weeks of", "Lorenzo. Savonarola's influence upon the young Machiavelli must have\nbeen slight, for although at one time he wielded immense power over the", "rely on material rather than on moral forces. Its historical incidents\nand personages become interesting by reason of the uses which\nMachiavelli makes of them to illustrate his theories of government and\nconduct.", "The second period of Machiavelli's life was spent in the service of the\nfree Republic of Florence, which flourished, as stated above, from", "Machiavelli was absent from Florence at this time, but hastened his\nreturn, hoping to secure his former office of secretary to the \"Ten of", "Machiavelli's public life was largely occupied with events arising out\nof the ambitions of Pope Alexander VI and his son, Cesare Borgia, the", "Before Machiavelli had got \"The Prince\" off his hands he commenced his\n\"Discourse on the First Decade of Titus Livius,\" which should be read", "supplies the sources from which he drew the experiences and characters\nwhich illustrate \"The Prince.\"", "When the \"History of Florence\" was finished, Machiavelli took it to\nRome for presentation to his patron, Giuliano de' Medici, who had in", "Machiavelli's life, for during this time he took a leading part in\nthe affairs of the Republic, and we have its decrees, records,", "the meanwhile become pope under the title of Clement VII. It is somewhat\nremarkable that, as, in 1513, Machiavelli had written \"The Prince\" for" ], [ "he ought to be admired, if only for that favour which made him worthy to\nspeak with God. But in considering Cyrus and others who have acquired or", "King of Rome and founder of the fatherland. It was necessary that Cyrus\nshould find the Persians discontented with the government of the Medes,\nand the Medes soft and effeminate through their long peace. Theseus", "in his mind, as it is said Alexander the Great imitated Achilles, Caesar\nAlexander, Scipio Cyrus. And whoever reads the life of Cyrus, written", "should be oppressed by the Medes so as to discover the greatness of the\nsoul of Cyrus; and that the Athenians should be dispersed to illustrate", "liberality Scipio conformed to those things which have been written of\nCyrus by Xenophon. A wise prince ought to observe some such rules, and\nnever in peaceful times stand idle, but increase his resources with", "man. This has been figuratively taught to princes by ancient writers,\nwho describe how Achilles and many other princes of old were given to\nthe Centaur Chiron to nurse, who brought them up in his discipline;", "But to come to those who, by their own ability and not through fortune,\nhave risen to be princes, I say that Moses, Cyrus, Romulus, Theseus,", "authority over them, and that they loved and obeyed him, Messer\nFrancesco became greatly desirous of learning who he was. Being informed\nof the circumstances of the bringing up of Castruccio he felt a greater", "of so great ability, even as a private citizen, that one who writes\nof him says he wanted nothing but a kingdom to be a king. This man\nabolished the old soldiery, organized the new, gave up old alliances,", "founded kingdoms, all will be found admirable; and if their particular\ndeeds and conduct shall be considered, they will not be found inferior\nto those of Moses, although he had so great a preceptor. And in", "which he lived and the city in which he was born; but, like many others,\nhe was neither fortunate nor distinguished in his birth, as the course\nof this history will show. It appeared to be desirable to recall his", "Now if you will consider what was the nature of the government of\nDarius, you will find it similar to the kingdom of the Turk, and", "of the people to sustain his armies, and by that long war to lay the\nfoundation for the military skill which has since distinguished him.\nFurther, always using religion as a plea, so as to undertake greater", "it is Hiero the Syracusan.(*) This man rose from a private station to\nbe Prince of Syracuse, nor did he, either, owe anything to fortune but", "Great became the master of Asia in a few years, and died whilst it\nwas scarcely settled (whence it might appear reasonable that the whole\nempire would have rebelled), nevertheless his successors maintained", "took from him his government and life. He who will, therefore, carefully\nexamine the actions of this man will find him a most valiant lion and", "the years passed Castruccio grew very handsome, and gave evidence of\nwit and discretion, and learnt with a quickness beyond his years those\nlessons which Messer Antonio imparted to him. Messer Antonio intended", "caused him to be beloved by the armies. Nevertheless, his ferocity and\ncruelties were so great and so unheard of that, after endless single", "delighting in nothing so much as in learning their uses, and in running,\nleaping, and wrestling with other boys. In all exercises he far excelled", "But let us come to Alexander, who was a man of such great goodness,\nthat among the other praises which are accorded him is this, that in the" ], [ "in his mind, as it is said Alexander the Great imitated Achilles, Caesar\nAlexander, Scipio Cyrus. And whoever reads the life of Cyrus, written", "liberality Scipio conformed to those things which have been written of\nCyrus by Xenophon. A wise prince ought to observe some such rules, and\nnever in peaceful times stand idle, but increase his resources with", "he ought to be admired, if only for that favour which made him worthy to\nspeak with God. But in considering Cyrus and others who have acquired or", "by Xenophon, will recognize afterwards in the life of Scipio how that\nimitation was his glory, and how in chastity, affability, humanity, and", "King of Rome and founder of the fatherland. It was necessary that Cyrus\nshould find the Persians discontented with the government of the Medes,\nand the Medes soft and effeminate through their long peace. Theseus", "of so great ability, even as a private citizen, that one who writes\nof him says he wanted nothing but a kingdom to be a king. This man\nabolished the old soldiery, organized the new, gave up old alliances,", "should be oppressed by the Medes so as to discover the greatness of the\nsoul of Cyrus; and that the Athenians should be dispersed to illustrate", "But let us come to Alexander, who was a man of such great goodness,\nthat among the other praises which are accorded him is this, that in the", "caused him to be beloved by the armies. Nevertheless, his ferocity and\ncruelties were so great and so unheard of that, after endless single", "But to come to those who, by their own ability and not through fortune,\nhave risen to be princes, I say that Moses, Cyrus, Romulus, Theseus,", "nor your subjects' you can be a ready giver, as were Cyrus, Caesar, and\nAlexander; because it does not take away your reputation if you squander", "took from him his government and life. He who will, therefore, carefully\nexamine the actions of this man will find him a most valiant lion and", "of the people to sustain his armies, and by that long war to lay the\nfoundation for the military skill which has since distinguished him.\nFurther, always using religion as a plea, so as to undertake greater", "founded kingdoms, all will be found admirable; and if their particular\ndeeds and conduct shall be considered, they will not be found inferior\nto those of Moses, although he had so great a preceptor. And in", "the soldiers and people that the latter were kept in a way astonished\nand awed and the former respectful and satisfied. And because the\nactions of this man, as a new prince, were great, I wish to show", "others, for he was deferential to the great men, modest with his equals,\nand courteous to his inferiors. These gifts made him beloved, not only", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "offer him for imitation to all those who, by the fortune or the arms of\nothers, are raised to government. Because he, having a lofty spirit and", "placed by him to testify forever to his days of adversity. As in\nhis life he was inferior neither to Philip of Macedon, the father of", "that brought the glory, not the methods of achieving it. No one was\nbolder in facing danger, none more prudent in extricating himself. He\nwas accustomed to say that men ought to attempt everything and fear" ], [ "Machiavelli concludes his letter to Vettori thus: \"And as to this little\nthing [his book], when it has been read it will be seen that during the", "The following is a list of the works of Machiavelli:", "THE PRINCE\n\nby Nicolo Machiavelli\n\nTranslated by W. K. Marriott", "Machiavelli was absent from Florence at this time, but hastened his\nreturn, hoping to secure his former office of secretary to the \"Ten of", "Nicolo Machiavelli was born at Florence on 3rd May 1469. He was the\nsecond son of Bernardo di Nicolo Machiavelli, a lawyer of some repute,", "Nicolo Machiavelli, born at Florence on 3rd May 1469. From 1494 to 1512", "In 1520 the Florentine merchants again had recourse to Machiavelli\nto settle their difficulties with Lucca, but this year was chiefly", "was thought the wisest.\" In a letter to his son Guido, Machiavelli shows\nwhy youth should avail itself of its opportunities for study, and leads", "Machiavelli was undoubtedly a man of great observation, acuteness, and\nindustry; noting with appreciative eye whatever passed before him, and", "Machiavelli moralizes on the resemblance between Fortune and women, and\nconcludes that it is the bold rather than the cautious man that will win\nand hold them both.", "On the return of the Medici, Machiavelli, who for a few weeks had\nvainly hoped to retain his office under the new masters of Florence, was", "the meanwhile become pope under the title of Clement VII. It is somewhat\nremarkable that, as, in 1513, Machiavelli had written \"The Prince\" for", "dismissal of Machiavelli and his friends, and thus put an end to his\npublic career, for, as we have seen, he died without regaining office.", "Machiavelli, who was an envoy at his court in 1507-8, reveals the secret\nof his many failures when he describes him as a secretive man, without", "The second period of Machiavelli's life was spent in the service of the\nfree Republic of Florence, which flourished, as stated above, from", "fortunes of Florence, he only furnished Machiavelli with a subject of\na gibe in \"The Prince,\" where he is cited as an example of an unarmed", "Machiavelli, in his \"History of Florence,\" gives us a picture of the\nyoung men among whom his youth was passed. He writes: \"They were freer", "It was to Julius II that Machiavelli was sent in 1506, when that pontiff\nwas commencing his enterprise against Bologna; which he brought to a", "End of the Project Gutenberg EBook of The Prince, by Nicolo Machiavelli", "Before Machiavelli had got \"The Prince\" off his hands he commenced his\n\"Discourse on the First Decade of Titus Livius,\" which should be read" ], [ "state, still less in the doubtful times of war. I believe that this\nfollows from severities(*) being badly or properly used. Those may be\ncalled properly used, if of evil it is possible to speak well, that are", "state, so that the acquisition turns into a loss, and many more are\nexasperated, because the whole state is injured; through the shifting\nof the garrison up and down all become acquainted with hardship, and", "lost their states. And the first cause of your losing it is to neglect\nthis art; and what enables you to acquire a state is to be master of", "would lose him his state; and also to keep himself, if it be possible,\nfrom those which would not lose him it; but this not being possible, he", "state; because men, walking almost always in paths beaten by others, and\nfollowing by imitation their deeds, are yet unable to keep entirely to", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "forced, in order to maintain the state, to act contrary to fidelity,(*)\nfriendship, humanity, and religion. Therefore it is necessary for him to\nhave a mind ready to turn itself accordingly as the winds and variations", "where the state is not well armed, it follows that where they are well\narmed they have good laws. I shall leave the laws out of the discussion\nand shall speak of the arms.", "state composed of divers elements.", "detect, but in the course of time, not having been either detected or\ntreated in the beginning, it becomes easy to detect but difficult to\ncure. Thus it happens in affairs of state, for when the evils that arise", "which they feel against the ruling power. So that in respect to those\nsubject states he has not to take any trouble to gain them over to\nhimself, for the whole of them quickly rally to the state which he has", "the state to defend him; so that, adding to all these things the\npopular goodwill, it is impossible that any one should be so rash as to", "party at once took courage and seized the state. Such methods argue,\ntherefore, weakness in the prince, because these factions will never be\npermitted in a vigorous principality; such methods for enabling one the", "their word. You must know there are two ways of contesting,(*) the one\nby the law, the other by force; the first method is proper to men, the", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "other state, is compelled to reside there in person.", "the state, they always have the means of giving work to the community\nin those labours that are the life and strength of the city, and on\nthe pursuit of which the people are supported; they also hold military", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "Hence it is to be remarked that, in seizing a state, the usurper ought\nto examine closely into all those injuries which it is necessary for him", "ones; for although the prince is new, the constitution of the state is\nold, and it is framed so as to receive him as if he were its hereditary\nlord." ], [ "state, still less in the doubtful times of war. I believe that this\nfollows from severities(*) being badly or properly used. Those may be\ncalled properly used, if of evil it is possible to speak well, that are", "Machiavelli to indicate the policy adopted by the Roman Senate towards\nthe weaker states of Greece, would by an Elizabethan be correctly\nrendered \"entertain,\" and every contemporary reader would understand", "lost their states. And the first cause of your losing it is to neglect\nthis art; and what enables you to acquire a state is to be master of", "detect, but in the course of time, not having been either detected or\ntreated in the beginning, it becomes easy to detect but difficult to\ncure. Thus it happens in affairs of state, for when the evils that arise", "state, so that the acquisition turns into a loss, and many more are\nexasperated, because the whole state is injured; through the shifting\nof the garrison up and down all become acquainted with hardship, and", "for the position of every word. To an Englishman of Shakespeare's time\nthe translation of such a treatise was in some ways a comparatively easy\ntask, for in those times the genius of the English more nearly resembled", "party at once took courage and seized the state. Such methods argue,\ntherefore, weakness in the prince, because these factions will never be\npermitted in a vigorous principality; such methods for enabling one the", "accordingly as there is more or less ability in him who has acquired\nthe state. Now, as the fact of becoming a prince from a private station\npresupposes either ability or fortune, it is clear that one or other", "listened to a word you said.\" He used to say of one who had been a\nbeautiful child and who afterwards became a fine man, that he was", "his affairs. And since the matter demands it, I must not fail to warn a\nprince, who by means of secret favours has acquired a new state, that he\nmust well consider the reasons which induced those to favour him who", "adapted to the modern notions of style and expression. Machiavelli was\nno facile phrasemonger; the conditions under which he wrote obliged him", "edition, which was published with the sanction of the papal\n authorities. It may be that the meaning attached to the word", "time, but also by those of an earlier date. In stature he was above\nthe ordinary height, and perfectly proportioned. He was of a gracious\npresence, and he welcomed men with such urbanity that those who spoke", "word \"religione\" was suffered to stand in the text of the\n Testina, being used to signify indifferently every shade of\n belief, as witness \"the religion,\" a phrase inevitably", "forced, in order to maintain the state, to act contrary to fidelity,(*)\nfriendship, humanity, and religion. Therefore it is necessary for him to\nhave a mind ready to turn itself accordingly as the winds and variations", "concurrently with \"The Prince.\" These and several minor works occupied\nhim until the year 1518, when he accepted a small commission to look", "(*) Mr Burd suggests that this word probably comes near the\n modern equivalent of Machiavelli's thought when he speaks of\n \"crudelta\" than the more obvious \"cruelties.\"", "state; because men, walking almost always in paths beaten by others, and\nfollowing by imitation their deeds, are yet unable to keep entirely to", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "that of the Italian language; to the Englishman of to-day it is not so\nsimple. To take a single example: the word \"intrattenere,\" employed by" ], [ "principalities. In doing so I will keep to the order indicated above,\nand discuss how such principalities are to be ruled and preserved.", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "Having discoursed particularly on the characteristics of such\nprincipalities as in the beginning I proposed to discuss, and having\nconsidered in some degree the causes of there being good or bad, and", "It is necessary to consider another point in examining the character of\nthese principalities: that is, whether a prince has such power that, in", "Now, concerning the characteristics of which mention is made above, I\nhave spoken of the more important ones, the others I wish to discuss\nbriefly under this generality, that the prince must consider, as has", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "Such dominions thus acquired are either accustomed to live under a\nprince, or to live in freedom; and are acquired either by the arms of\nthe prince himself, or of others, or else by fortune or by ability.", "I have noted down what I have gained from their conversation, and have\ncomposed a small work on 'Principalities,' where I pour myself out", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "It remains now to see what ought to be the rules of conduct for a prince\ntowards subject and friends. And as I know that many have written on", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "CHAPTER XIV -- THAT WHICH CONCERNS A PRINCE ON THE SUBJECT OF THE ART OF\nWAR", "CHAPTER XV -- CONCERNING THINGS FOR WHICH MEN, AND ESPECIALLY PRINCES,\nARE PRAISED OR BLAMED", "Machiavelli concludes his letter to Vettori thus: \"And as to this little\nthing [his book], when it has been read it will be seen that during the", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "be useful to him who apprehends it, it appears to me more appropriate to\nfollow up the real truth of the matter than the imagination of it; for\nmany have pictured republics and principalities which in fact have never", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince" ], [ "manifest to me that I must not be silent on them, although one could be\nmore copiously treated when I discuss republics. These methods are\nwhen, either by some wicked or nefarious ways, one ascends to the", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "be useful to him who apprehends it, it appears to me more appropriate to\nfollow up the real truth of the matter than the imagination of it; for\nmany have pictured republics and principalities which in fact have never", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "Having discoursed particularly on the characteristics of such\nprincipalities as in the beginning I proposed to discuss, and having\nconsidered in some degree the causes of there being good or bad, and", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "republic, armed with its own arms, under the sway of one of its citizens\nthan it is to bring one armed with foreign arms. Rome and Sparta stood\nfor many ages armed and free. The Switzers are completely armed and", "I will leave out all discussion on republics, inasmuch as in another\nplace I have written of them at length, and will address myself only to", "in republics there is more vitality, greater hatred, and more desire\nfor vengeance, which will never permit them to allow the memory of their\nformer liberty to rest; so that the safest way is to destroy them or to", "principalities. In doing so I will keep to the order indicated above,\nand discuss how such principalities are to be ruled and preserved.", "republics, and, the Church consisting of priests and the republic of\ncitizens unaccustomed to arms, both commenced to enlist foreigners.", "The second period of Machiavelli's life was spent in the service of the\nfree Republic of Florence, which flourished, as stated above, from", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "Machiavelli concludes his letter to Vettori thus: \"And as to this little\nthing [his book], when it has been read it will be seen that during the", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "Republic, and at a given signal the soldiers killed all the senators and\nthe richest of the people; these dead, he seized and held the princedom", "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord," ], [ "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "Those who by valorous ways become princes, like these men, acquire\na principality with difficulty, but they keep it with ease. The", "Such dominions thus acquired are either accustomed to live under a\nprince, or to live in freedom; and are acquired either by the arms of\nthe prince himself, or of others, or else by fortune or by ability.", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "A principality is created either by the people or by the nobles,\naccordingly as one or other of them has the opportunity; for the nobles,", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "them. And weighing well the reasons for this in those examples which\ncan be taken from ancient and modern affairs, we shall find that it is\neasier for the prince to make friends of those men who were contented", "Therefore, one who becomes a prince through the favour of the people\nought to keep them friendly, and this he can easily do seeing they", "It is necessary to consider another point in examining the character of\nthese principalities: that is, whether a prince has such power that, in", "themselves. For this reason they are very slow to take up arms, and a\nprince can gain them to himself and secure them much more easily. But", "I say at once there are fewer difficulties in holding hereditary states,\nand those long accustomed to the family of their prince, than new", "in '10, unless he had been long established in his dominions. For the\nhereditary prince has less cause and less necessity to offend; hence it", "For that reason, let a prince have the credit of conquering and holding\nhis state, the means will always be considered honest, and he will be", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "I say, therefore, that in entirely new principalities, where there is\na new prince, more or less difficulty is found in keeping them,", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "Again, the prince who holds a country differing in the above respects\nought to make himself the head and defender of his less powerful", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "Having discoursed particularly on the characteristics of such\nprincipalities as in the beginning I proposed to discuss, and having\nconsidered in some degree the causes of there being good or bad, and" ], [ "happens that he will be more loved; and unless extraordinary vices cause\nhim to be hated, it is reasonable to expect that his subjects will be\nnaturally well disposed towards him; and in the antiquity and duration", "of disposition or character. This, I believe, arises firstly from causes\nthat have already been discussed at length, namely, that the prince who\nrelies entirely on fortune is lost when it changes. I believe also that", "them. And weighing well the reasons for this in those examples which\ncan be taken from ancient and modern affairs, we shall find that it is\neasier for the prince to make friends of those men who were contented", "Nevertheless a prince ought to inspire fear in such a way that, if he\ndoes not win love, he avoids hatred; because he can endure very well", "them, and win them to himself by benefits. He who does otherwise, either\nfrom timidity or evil advice, is always compelled to keep the knife\nin his hand; neither can he rely on his subjects, nor can they attach", "Therefore, a prince, not being able to exercise this virtue of\nliberality in such a way that it is recognized, except to his cost, if", "2. There never was a new prince who has disarmed his subjects; rather\nwhen he has found them disarmed he has always armed them, because, by", "We have seen above how necessary it is for a prince to have his\nfoundations well laid, otherwise it follows of necessity he will go", "It remains now to see what ought to be the rules of conduct for a prince\ntowards subject and friends. And as I know that many have written on", "And above all things, a prince ought to live amongst his people in such\na way that no unexpected circumstances, whether of good or evil, shall", "shown; even if they should be good they would not be sufficient to\ndefend you against powerful enemies and distrusted subjects. Therefore,\nas I have said, a new prince in a new principality has always", "more righteous than that of the nobles, the latter wishing to oppress,\nwhile the former only desire not to be oppressed. It is to be added also\nthat a prince can never secure himself against a hostile people, because", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "For this reason I consider that a prince ought to reckon conspiracies\nof little account when his people hold him in esteem; but when it", "Therefore, a prince who has a strong city, and had not made himself\nodious, will not be attacked, or if any one should attack he will only", "conquered in so many enterprises if he had been reputed liberal. A\nprince, therefore, provided that he has not to rob his subjects, that he", "The previous suggestions, carefully observed, will enable a new prince\nto appear well established, and render him at once more secure and fixed\nin the state than if he had been long seated there. For the actions of", "are useful or not according to circumstances; if they do you good in one\nway they injure you in another. And this question can be reasoned thus:\nthe prince who has more to fear from the people than from foreigners", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "present than by the past, and when they find the present good they enjoy\nit and seek no further; they will also make the utmost defence of a\nprince if he fails them not in other things. Thus it will be a double" ], [ "There are, for example, the Spartans and the Romans. The Spartans held\nAthens and Thebes, establishing there an oligarchy; nevertheless they", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord,", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "under their own laws, drawing a tribute, and establishing within it an\noligarchy which will keep it friendly to you. Because such a government,\nbeing created by the prince, knows that it cannot stand without", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "and from this it arises that the people do not wish to be ruled nor\noppressed by the nobles, and the nobles wish to rule and oppress the\npeople; and from these two opposite desires there arises in cities one", "I will leave out all discussion on republics, inasmuch as in another\nplace I have written of them at length, and will address myself only to", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "party at once took courage and seized the state. Such methods argue,\ntherefore, weakness in the prince, because these factions will never be\npermitted in a vigorous principality; such methods for enabling one the", "consider themselves his equals, and because of this he can neither rule\nnor manage them to his liking. But he who reaches sovereignty by popular", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "in troubled times, can destroy the government with great ease, either\nby intrigue or open defiance; and the prince has not the chance amid\ntumults to exercise absolute authority, because the citizens and", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "of there being too many, whilst from the nobles he can secure himself,\nas they are few in number. The worst that a prince may expect from a\nhostile people is to be abandoned by them; but from hostile nobles he", "only ask not to be oppressed by him. But one who, in opposition to\nthe people, becomes a prince by the favour of the nobles, ought, above", "their own greed and cruelty. Hence it arose that those emperors were\nalways overthrown who, either by birth or training, had no great\nauthority, and most of them, especially those who came new to the", "In our times, during the rule of Alexander the Sixth, Oliverotto da\nFermo, having been left an orphan many years before, was brought up" ], [ "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord,", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "I will leave out all discussion on republics, inasmuch as in another\nplace I have written of them at length, and will address myself only to", "consider themselves his equals, and because of this he can neither rule\nnor manage them to his liking. But he who reaches sovereignty by popular", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "and from this it arises that the people do not wish to be ruled nor\noppressed by the nobles, and the nobles wish to rule and oppress the\npeople; and from these two opposite desires there arises in cities one", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "republic, armed with its own arms, under the sway of one of its citizens\nthan it is to bring one armed with foreign arms. Rome and Sparta stood\nfor many ages armed and free. The Switzers are completely armed and", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "There are, for example, the Spartans and the Romans. The Spartans held\nAthens and Thebes, establishing there an oligarchy; nevertheless they", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "in troubled times, can destroy the government with great ease, either\nby intrigue or open defiance; and the prince has not the chance amid\ntumults to exercise absolute authority, because the citizens and", "attributed to them. From this a general rule is drawn which never or\nrarely fails: that he who is the cause of another becoming powerful\nis ruined; because that predominancy has been brought about either by", "their word. You must know there are two ways of contesting,(*) the one\nby the law, the other by force; the first method is proper to men, the", "and language, or they are not. When they are, it is easier to hold them,\nespecially when they have not been accustomed to self-government; and", "his friendship and interest, and does it utmost to support him; and\ntherefore he who would keep a city accustomed to freedom will hold it\nmore easily by the means of its own citizens than in any other way." ], [ "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord,", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "only ask not to be oppressed by him. But one who, in opposition to\nthe people, becomes a prince by the favour of the nobles, ought, above", "and from this it arises that the people do not wish to be ruled nor\noppressed by the nobles, and the nobles wish to rule and oppress the\npeople; and from these two opposite desires there arises in cities one", "Bentivogli, the tyrant of Bologna: for he intended to bring that city\nunder his domination, and to make it the head of his Romagnian duchy.", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "attributed to them. From this a general rule is drawn which never or\nrarely fails: that he who is the cause of another becoming powerful\nis ruined; because that predominancy has been brought about either by", "There is first to note that, whereas in other principalities the\nambition of the nobles and the insolence of the people only have to be", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "It makes him hated above all things, as I have said, to be rapacious,\nand to be a violator of the property and women of his subjects, from", "took from him his government and life. He who will, therefore, carefully\nexamine the actions of this man will find him a most valiant lion and", "their own greed and cruelty. Hence it arose that those emperors were\nalways overthrown who, either by birth or training, had no great\nauthority, and most of them, especially those who came new to the", "is hostile to him, and bears hatred towards him, he ought to fear\neverything and everybody. And well-ordered states and wise princes have\ntaken every care not to drive the nobles to desperation, and to keep the", "being feared whilst he is not hated, which will always be as long as he\nabstains from the property of his citizens and subjects and from their\nwomen. But when it is necessary for him to proceed against the life of", "more powerful than himself for the purposes of attacking others, unless\nnecessity compels him, as is said above; because if he conquers you are\nat his discretion, and princes ought to avoid as much as possible being", "and language, or they are not. When they are, it is easier to hold them,\nespecially when they have not been accustomed to self-government; and", "state, still less in the doubtful times of war. I believe that this\nfollows from severities(*) being badly or properly used. Those may be\ncalled properly used, if of evil it is possible to speak well, that are", "more righteous than that of the nobles, the latter wishing to oppress,\nwhile the former only desire not to be oppressed. It is to be added also\nthat a prince can never secure himself against a hostile people, because" ], [ "CHAPTER III -- CONCERNING MIXED PRINCIPALITIES", "Endless examples could be given on this subject, but I will be content\nwith one, brought to pass within the memory of our fathers. Messer", "CHAPTER XIII -- CONCERNING AUXILIARIES, MIXED SOLDIERY, AND ONE'S OWN", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "To these great examples I wish to add a lesser one; still it bears some\nresemblance to them, and I wish it to suffice me for all of a like kind:", "first case he ought to be sparing, in the second he ought not to neglect\nany opportunity for liberality. And to the prince who goes forth with", "The \"little book\" suffered many vicissitudes before attaining the form\nin which it has reached us. Various mental influences were at work", "another cunning; one hard, another easy; one grave, another frivolous;\none religious, another unbelieving, and the like. And I know that every", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "In the second case, when those who fight are of such a character that\nyou have no anxiety as to who may conquer, so much the more is it", "show themselves against the enemy in the field, but are forced to\ndefend themselves by sheltering behind walls. The first case has been\ndiscussed, but we will speak of it again should it recur. In the second", "I was not intending to go beyond Italian and recent examples, but I am\nunwilling to leave out Hiero, the Syracusan, he being one of those I", "their word. You must know there are two ways of contesting,(*) the one\nby the law, the other by force; the first method is proper to men, the", "pray God that you will let him feed you also.\" Seeing that someone had\nwritten upon his house in Latin the words: \"May God preserve this house", "be able to tell you what is in it, and of the discourses I have had with\nhim; nevertheless, I am still enriching and polishing it.\"", "having shown the methods by which many have sought to acquire them and\nto hold them, it now remains for me to discuss generally the means of\noffence and defence which belong to each of them.", "when thou comest out, but when thou goest into such places.\" A friend\ngave him a very curiously tied knot to undo and was told: \"Fool, do", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "when he is hungry; if he be poor, then when he can.\" Seeing one of his\ngentlemen make a member of his family lace him up, he said to him: \"I", "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord," ], [ "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "state, still less in the doubtful times of war. I believe that this\nfollows from severities(*) being badly or properly used. Those may be\ncalled properly used, if of evil it is possible to speak well, that are", "lost their states. And the first cause of your losing it is to neglect\nthis art; and what enables you to acquire a state is to be master of", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "state, so that the acquisition turns into a loss, and many more are\nexasperated, because the whole state is injured; through the shifting\nof the garrison up and down all become acquainted with hardship, and", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "where the state is not well armed, it follows that where they are well\narmed they have good laws. I shall leave the laws out of the discussion\nand shall speak of the arms.", "party at once took courage and seized the state. Such methods argue,\ntherefore, weakness in the prince, because these factions will never be\npermitted in a vigorous principality; such methods for enabling one the", "which they feel against the ruling power. So that in respect to those\nsubject states he has not to take any trouble to gain them over to\nhimself, for the whole of them quickly rally to the state which he has", "would lose him his state; and also to keep himself, if it be possible,\nfrom those which would not lose him it; but this not being possible, he", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "inasmuch as it can only be tried once. Therefore a wise prince ought to\nadopt such a course that his citizens will always in every sort and\nkind of circumstance have need of the state and of him, and then he will", "Hence it is to be remarked that, in seizing a state, the usurper ought\nto examine closely into all those injuries which it is necessary for him", "Whenever those states which have been acquired as stated have been\naccustomed to live under their own laws and in freedom, there are three", "detect, but in the course of time, not having been either detected or\ntreated in the beginning, it becomes easy to detect but difficult to\ncure. Thus it happens in affairs of state, for when the evils that arise", "I say, therefore, that the arms with which a prince defends his state\nare either his own, or they are mercenaries, auxiliaries, or mixed.", "to ruin. The chief foundations of all states, new as well as old or\ncomposite, are good laws and good arms; and as there cannot be good laws", "state; because men, walking almost always in paths beaten by others, and\nfollowing by imitation their deeds, are yet unable to keep entirely to" ], [ "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord,", "him, and to form a government, of which he made himself the prince. He\nkilled all the malcontents who were able to injure him, and strengthened", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "took from him his government and life. He who will, therefore, carefully\nexamine the actions of this man will find him a most valiant lion and", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "Now if you will consider what was the nature of the government of\nDarius, you will find it similar to the kingdom of the Turk, and", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "under the former government, and are therefore his enemies, than of\nthose who, being discontented with it, were favourable to him and\nencouraged him to seize it.", "and his government; and for the overcoming of this peril it was only\nnecessary for him to make himself secure against a few, but this would\nnot have been sufficient had the people been hostile. And do not let any", "It is the cry of a far later day than Machiavelli's that government\nshould be elevated into a living moral force, capable of inspiring the", "difficulties they have in acquiring it rise in part from the new rules\nand methods which they are forced to introduce to establish their\ngovernment and its security. And it ought to be remembered that there", "and security of the king; of these the first is the parliament and its\nauthority, because he who founded the kingdom, knowing the ambition of\nthe nobility and their boldness, considered that a bit to their mouths", "in troubled times, can destroy the government with great ease, either\nby intrigue or open defiance; and the prince has not the chance amid\ntumults to exercise absolute authority, because the citizens and", "CHAPTER I -- HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT\nMEANS THEY ARE ACQUIRED", "If Moses, Cyrus, Theseus, and Romulus had been unarmed they could not\nhave enforced their constitutions for long--as happened in our time to", "I will leave out all discussion on republics, inasmuch as in another\nplace I have written of them at length, and will address myself only to" ], [ "Those who by valorous ways become princes, like these men, acquire\na principality with difficulty, but they keep it with ease. The", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "Therefore, one who becomes a prince through the favour of the people\nought to keep them friendly, and this he can easily do seeing they", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "them. And weighing well the reasons for this in those examples which\ncan be taken from ancient and modern affairs, we shall find that it is\neasier for the prince to make friends of those men who were contented", "Such dominions thus acquired are either accustomed to live under a\nprince, or to live in freedom; and are acquired either by the arms of\nthe prince himself, or of others, or else by fortune or by ability.", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "themselves. For this reason they are very slow to take up arms, and a\nprince can gain them to himself and secure them much more easily. But", "For that reason, let a prince have the credit of conquering and holding\nhis state, the means will always be considered honest, and he will be", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "That prince is highly esteemed who conveys this impression of himself,\nand he who is highly esteemed is not easily conspired against; for,", "principalities. In doing so I will keep to the order indicated above,\nand discuss how such principalities are to be ruled and preserved.", "A principality is created either by the people or by the nobles,\naccordingly as one or other of them has the opportunity; for the nobles,", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "Prince\" is bestrewn with truths that can be proved at every turn. Men\nare still the dupes of their simplicity and greed, as they were in the", "It is necessary to consider another point in examining the character of\nthese principalities: that is, whether a prince has such power that, in", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "principality, recognizing the difficulty of these two opposing humours,\nwere inclined to give satisfaction to the soldiers, caring little about\ninjuring the people. Which course was necessary, because, as princes", "The previous suggestions, carefully observed, will enable a new prince\nto appear well established, and render him at once more secure and fixed\nin the state than if he had been long seated there. For the actions of" ], [ "Nevertheless a prince ought to inspire fear in such a way that, if he\ndoes not win love, he avoids hatred; because he can endure very well", "or despised, or else, in avoiding poverty, rapacious and hated. And a\nprince should guard himself, above all things, against being despised", "in '10, unless he had been long established in his dominions. For the\nhereditary prince has less cause and less necessity to offend; hence it", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "It makes him hated above all things, as I have said, to be rapacious,\nand to be a violator of the property and women of his subjects, from", "happens that he will be more loved; and unless extraordinary vices cause\nhim to be hated, it is reasonable to expect that his subjects will be\nnaturally well disposed towards him; and in the antiquity and duration", "benefit, would not endure the ill-treatment of the new prince. It is\nvery true that, after acquiring rebellious provinces a second time,", "is hostile to him, and bears hatred towards him, he ought to fear\neverything and everybody. And well-ordered states and wise princes have\ntaken every care not to drive the nobles to desperation, and to keep the", "would be necessary to hold them in; and, on the other side, knowing the\nhatred of the people, founded in fear, against the nobles, he wished to", "In this way you have enemies in all those whom you have injured in\nseizing that principality, and you are not able to keep those friends", "others. But on this question one cannot speak generally, for it varies\nso much with the individual; I will only say this, that those men who\nat the commencement of a princedom have been hostile, if they are of", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "receive good from him of whom they were expecting evil, are bound more\nclosely to their benefactor; thus the people quickly become more devoted\nto him than if he had been raised to the principality by their favours;", "There is first to note that, whereas in other principalities the\nambition of the nobles and the insolence of the people only have to be", "him, and to form a government, of which he made himself the prince. He\nkilled all the malcontents who were able to injure him, and strengthened", "Therefore, one who becomes a prince through the favour of the people\nought to keep them friendly, and this he can easily do seeing they", "whilst the soldiers loved the warlike prince who was bold, cruel, and\nrapacious, which qualities they were quite willing he should exercise\nupon the people, so that they could get double pay and give vent to", "But when cities or countries are accustomed to live under a prince, and\nhis family is exterminated, they, being on the one hand accustomed to", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "to fight in foreign lands, no dissensions arose either among them or\nagainst the prince, whether in his bad or in his good fortune. This\narose from nothing else than his inhuman cruelty, which, with his" ], [ "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "temporal power, and that Italy has been divided up into more states,\nfor the reason that many of the great cities took up arms against their\nnobles, who, formerly favoured by the emperor, were oppressing them,", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "Whenever those states which have been acquired as stated have been\naccustomed to live under their own laws and in freedom, there are three", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "which they feel against the ruling power. So that in respect to those\nsubject states he has not to take any trouble to gain them over to\nhimself, for the whole of them quickly rally to the state which he has", "1. Some princes, so as to hold securely the state, have disarmed their\nsubjects; others have kept their subject towns distracted by factions;", "difficulties they have in acquiring it rise in part from the new rules\nand methods which they are forced to introduce to establish their\ngovernment and its security. And it ought to be remembered that there", "His life falls naturally into three periods, each of which singularly\nenough constitutes a distinct and important era in the history of", "distributed arms. Histories are full of examples. But when a prince\nacquires a new state, which he adds as a province to his old one, then", "collectively, may be called composite, the changes arise chiefly from\nan inherent difficulty which there is in all new principalities; for\nmen change their rulers willingly, hoping to better themselves, and this", "States that rise unexpectedly, then, like all other things in nature\nwhich are born and grow rapidly, cannot leave their foundations and\ncorrespondencies(*) fixed in such a way that the first storm will", "And of all princes, it is impossible for the new prince to avoid the\nimputation of cruelty, owing to new states being full of dangers. Hence", "country districts. As Lucca had five gates, he divided his own country\ndistricts into five parts, which he supplied with arms, and enrolled the", "his affairs. And since the matter demands it, I must not fail to warn a\nprince, who by means of secret favours has acquired a new state, that he\nmust well consider the reasons which induced those to favour him who", "to ruin. The chief foundations of all states, new as well as old or\ncomposite, are good laws and good arms; and as there cannot be good laws", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body" ], [ "The examples of these two governments in our time are the Turk and the\nKing of France. The entire monarchy of the Turk is governed by one lord,", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "him, and to form a government, of which he made himself the prince. He\nkilled all the malcontents who were able to injure him, and strengthened", "There are, for example, the Spartans and the Romans. The Spartans held\nAthens and Thebes, establishing there an oligarchy; nevertheless they", "I will leave out all discussion on republics, inasmuch as in another\nplace I have written of them at length, and will address myself only to", "There is first to note that, whereas in other principalities the\nambition of the nobles and the insolence of the people only have to be", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "the others are his servants; and, dividing his kingdom into sanjaks, he\nsends there different administrators, and shifts and changes them as\nhe chooses. But the King of France is placed in the midst of an ancient", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "took from him his government and life. He who will, therefore, carefully\nexamine the actions of this man will find him a most valiant lion and", "and security of the king; of these the first is the parliament and its\nauthority, because he who founded the kingdom, knowing the ambition of\nthe nobility and their boldness, considered that a bit to their mouths", "Now if you will consider what was the nature of the government of\nDarius, you will find it similar to the kingdom of the Turk, and", "to bring back peace and obedience to authority, he considered it\nnecessary to give it a good governor. Thereupon he promoted Messer", "If Moses, Cyrus, Theseus, and Romulus had been unarmed they could not\nhave enforced their constitutions for long--as happened in our time to", "this case indeed he may be well governed, but it would not be for long,\nbecause such a governor would in a short time take away his state from\nhim.", "and language, or they are not. When they are, it is easier to hold them,\nespecially when they have not been accustomed to self-government; and", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "in troubled times, can destroy the government with great ease, either\nby intrigue or open defiance; and the prince has not the chance amid\ntumults to exercise absolute authority, because the citizens and" ], [ "I say, therefore, that in entirely new principalities, where there is\na new prince, more or less difficulty is found in keeping them,", "But the difficulties occur in a new principality. And firstly, if it be\nnot entirely new, but is, as it were, a member of a state which, taken", "And of all princes, it is impossible for the new prince to avoid the\nimputation of cruelty, owing to new states being full of dangers. Hence", "Those who by valorous ways become princes, like these men, acquire\na principality with difficulty, but they keep it with ease. The", "And you have to understand this, that a prince, especially a new one,\ncannot observe all those things for which men are esteemed, being often", "collectively, may be called composite, the changes arise chiefly from\nan inherent difficulty which there is in all new principalities; for\nmen change their rulers willingly, hoping to better themselves, and this", "necessity, which always causes a new prince to burden those who have\nsubmitted to him with his soldiery and with infinite other hardships\nwhich he must put upon his new acquisition.", "The previous suggestions, carefully observed, will enable a new prince\nto appear well established, and render him at once more secure and fixed\nin the state than if he had been long seated there. For the actions of", "Such dominions thus acquired are either accustomed to live under a\nprince, or to live in freedom; and are acquired either by the arms of\nthe prince himself, or of others, or else by fortune or by ability.", "4. Without doubt princes become great when they overcome the\ndifficulties and obstacles by which they are confronted, and therefore\nfortune, especially when she desires to make a new prince great, who", "a new prince are more narrowly observed than those of an hereditary\none, and when they are seen to be able they gain more men and bind\nfar tighter than ancient blood; because men are attracted more by the", "in '10, unless he had been long established in his dominions. For the\nhereditary prince has less cause and less necessity to offend; hence it", "his affairs. And since the matter demands it, I must not fail to warn a\nprince, who by means of secret favours has acquired a new state, that he\nmust well consider the reasons which induced those to favour him who", "difficulties they have in acquiring it rise in part from the new rules\nand methods which they are forced to introduce to establish their\ngovernment and its security. And it ought to be remembered that there", "I answer that the principalities of which one has record are found to\nbe governed in two different ways; either by a prince, with a body", "2. There never was a new prince who has disarmed his subjects; rather\nwhen he has found them disarmed he has always armed them, because, by", "In this way you have enemies in all those whom you have injured in\nseizing that principality, and you are not able to keep those friends", "CHAPTER VII -- CONCERNING NEW PRINCIPALITIES WHICH ARE ACQUIRED EITHER\nBY THE ARMS OF OTHERS OR BY GOOD FORTUNE", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "distributed arms. Histories are full of examples. But when a prince\nacquires a new state, which he adds as a province to his old one, then" ], [ "and his servants hold their prince in more consideration, because in all\nthe country there is no one who is recognized as superior to him, and\nif they yield obedience to another they do it as to a minister and", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "by antiquity of blood and not by the grace of the prince. Such barons\nhave states and their own subjects, who recognize them as lords and hold\nthem in natural affection. Those states that are governed by a prince", "a new prince are more narrowly observed than those of an hereditary\none, and when they are seen to be able they gain more men and bind\nfar tighter than ancient blood; because men are attracted more by the", "A prince is also respected when he is either a true friend or a\ndownright enemy, that is to say, when, without any reservation, he", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "ones; for although the prince is new, the constitution of the state is\nold, and it is framed so as to receive him as if he were its hereditary\nlord.", "These princes alone have states and do not defend them; and they have\nsubjects and do not rule them; and the states, although unguarded, are", "benefit, would not endure the ill-treatment of the new prince. It is\nvery true that, after acquiring rebellious provinces a second time,", "in '10, unless he had been long established in his dominions. For the\nhereditary prince has less cause and less necessity to offend; hence it", "That prince is highly esteemed who conveys this impression of himself,\nand he who is highly esteemed is not easily conspired against; for,", "hereditary or a newly formed principality; because the sons of the old\nprince are not the heirs, but he who is elected to that position by", "Therefore, one who becomes a prince through the favour of the people\nought to keep them friendly, and this he can easily do seeing they", "the soldiers and people that the latter were kept in a way astonished\nand awed and the former respectful and satisfied. And because the\nactions of this man, as a new prince, were great, I wish to show", "and by being considered so, I answer: Either you are a prince in\nfact, or in a way to become one. In the first case this liberality is", "they cannot resist the nobles, also cry up the reputation of one of\nthemselves, and make him a prince so as to be defended by his authority.", "Prince\" is bestrewn with truths that can be proved at every turn. Men\nare still the dupes of their simplicity and greed, as they were in the", "happens that he will be more loved; and unless extraordinary vices cause\nhim to be hated, it is reasonable to expect that his subjects will be\nnaturally well disposed towards him; and in the antiquity and duration", "Although a prince may rise from a private station in two ways, neither\nof which can be entirely attributed to fortune or genius, yet it is", "I say at once there are fewer difficulties in holding hereditary states,\nand those long accustomed to the family of their prince, than new" ], [ "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "be useful to him who apprehends it, it appears to me more appropriate to\nfollow up the real truth of the matter than the imagination of it; for\nmany have pictured republics and principalities which in fact have never", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "All states, all powers, that have held and hold rule over men have been\nand are either republics or principalities.\n\nPrincipalities are either hereditary, in which the family has been long\nestablished; or they are new.", "republic, armed with its own arms, under the sway of one of its citizens\nthan it is to bring one armed with foreign arms. Rome and Sparta stood\nfor many ages armed and free. The Switzers are completely armed and", "manifest to me that I must not be silent on them, although one could be\nmore copiously treated when I discuss republics. These methods are\nwhen, either by some wicked or nefarious ways, one ascends to the", "in republics there is more vitality, greater hatred, and more desire\nfor vengeance, which will never permit them to allow the memory of their\nformer liberty to rest; so that the safest way is to destroy them or to", "country, under a most excellent president, wherein all cities had their\nadvocates. And because he knew that the past severity had caused some\nhatred against himself, so, to clear himself in the minds of the people,", "principality, or when by the favour of his fellow-citizens a private\nperson becomes the prince of his country. And speaking of the first\nmethod, it will be illustrated by two examples--one ancient, the other", "Republic, and at a given signal the soldiers killed all the senators and\nthe richest of the people; these dead, he seized and held the princedom", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "republics, and, the Church consisting of priests and the republic of\ncitizens unaccustomed to arms, both commenced to enlist foreigners.", "The second period of Machiavelli's life was spent in the service of the\nfree Republic of Florence, which flourished, as stated above, from", "not taken from them, and the subjects, although not ruled, do not care,\nand they have neither the desire nor the ability to alienate themselves.\nSuch principalities only are secure and happy. But being upheld by", "happens that he will be more loved; and unless extraordinary vices cause\nhim to be hated, it is reasonable to expect that his subjects will be\nnaturally well disposed towards him; and in the antiquity and duration", "could beat down the great and favour the lesser without reproach to the\nking. Neither could you have a better or a more prudent arrangement, or\na greater source of security to the king and kingdom. From this one can", "If Moses, Cyrus, Theseus, and Romulus had been unarmed they could not\nhave enforced their constitutions for long--as happened in our time to", "and destroyed them. And although one cannot give a final judgment on all\nof these things unless one possesses the particulars of those states\nin which a decision has to be made, nevertheless I will speak as", "personally or through magistrates. In the latter case their government\nis weaker and more insecure, because it rests entirely on the goodwill\nof those citizens who are raised to the magistracy, and who, especially", "I will leave out all discussion on republics, inasmuch as in another\nplace I have written of them at length, and will address myself only to" ], [ "Therefore, one who becomes a prince through the favour of the people\nought to keep them friendly, and this he can easily do seeing they", "seeing they cannot withstand the people, begin to cry up the reputation\nof one of themselves, and they make him a prince, so that under his\nshadow they can give vent to their ambitions. The people, finding", "That prince is highly esteemed who conveys this impression of himself,\nand he who is highly esteemed is not easily conspired against; for,", "themselves. For this reason they are very slow to take up arms, and a\nprince can gain them to himself and secure them much more easily. But", "For that reason, let a prince have the credit of conquering and holding\nhis state, the means will always be considered honest, and he will be", "them. And weighing well the reasons for this in those examples which\ncan be taken from ancient and modern affairs, we shall find that it is\neasier for the prince to make friends of those men who were contented", "The previous suggestions, carefully observed, will enable a new prince\nto appear well established, and render him at once more secure and fixed\nin the state than if he had been long seated there. For the actions of", "a new prince are more narrowly observed than those of an hereditary\none, and when they are seen to be able they gain more men and bind\nfar tighter than ancient blood; because men are attracted more by the", "receive good from him of whom they were expecting evil, are bound more\nclosely to their benefactor; thus the people quickly become more devoted\nto him than if he had been raised to the principality by their favours;", "And above all things, a prince ought to live amongst his people in such\na way that no unexpected circumstances, whether of good or evil, shall", "it, but rather a happy shrewdness. I say then that such a principality\nis obtained either by the favour of the people or by the favour of the\nnobles. Because in all cities these two distinct parties are found,", "Those who by valorous ways become princes, like these men, acquire\na principality with difficulty, but they keep it with ease. The", "collectively, may be called composite, the changes arise chiefly from\nan inherent difficulty which there is in all new principalities; for\nmen change their rulers willingly, hoping to better themselves, and this", "Therefore, putting on one side imaginary things concerning a prince, and\ndiscussing those which are real, I say that all men when they are spoken\nof, and chiefly princes for being more highly placed, are remarkable", "present than by the past, and when they find the present good they enjoy\nit and seek no further; they will also make the utmost defence of a\nprince if he fails them not in other things. Thus it will be a double", "Nevertheless a prince ought to inspire fear in such a way that, if he\ndoes not win love, he avoids hatred; because he can endure very well", "only ask not to be oppressed by him. But one who, in opposition to\nthe people, becomes a prince by the favour of the nobles, ought, above", "Therefore it is unnecessary for a prince to have all the good qualities\nI have enumerated, but it is very necessary to appear to have them. And", "of there being too many, whilst from the nobles he can secure himself,\nas they are few in number. The worst that a prince may expect from a\nhostile people is to be abandoned by them; but from hostile nobles he", "more righteous than that of the nobles, the latter wishing to oppress,\nwhile the former only desire not to be oppressed. It is to be added also\nthat a prince can never secure himself against a hostile people, because" ] ]

[ "Is \"The Prince\" about Princedoms?", "What is a unique trait about hereditary Princedoms?", "Why do non-hereditary Princes have unique challenges?", "What influences inspired Machiavelli?", "Who educated Cyrus the Great?", "According to Xenophon, how was Cyrus the Great unique?", "Who is Machiavelli advising?", "What does the word state denote?", "At what time did the word state come to acquire a modern meaning?", "What else in included in this treatise that is supposed to be about princedoms?", "How are republics treated in this work?", "What type of princedoms are earier to rule?", "When would a prince's subject not be well disposed toward him?", "What is an oligarchy?", "What is a democracy?", "What is tyranny?", "What are mixed cases?", "What is a state?", "What type of government does the story talk about?", "Which princedom is easiest to rule?", "What would cause a population to hate a prince who inherited his princedom?", "What groups does the story divide new states into?", "What other form of governement is mentioned throughout the story?", "Why is it harder to rule a new princedom?", "How do subjects treat an hereditary prince?", "Why are republics favored in the story?", "What type of prince will a population most easily accept?" ]

[ [ "It is about Princedoms.", "Yes, though it it mixed with republics discussion. " ], [ "It is unlikely that subjects will disdain the Prince except in extreme circumstances.", "They are easier to rule. " ], [ "They have to establish themselves.", "A new Prince has to establish himself as a new leader in defiance of custom" ], [ "His own experiences.", "Tacitus" ], [ "Xenophon educated Cyrus the Great.", "Xenophon" ], [ "He was different from both hereditary kings and kings who earned their own rule.", "he was different than all other kings" ], [ "Princes and rulers.", "non-hereditary leaders" ], [ "All organized forms of political power.", "status" ], [ "During the Renaissance.", "During the Renaissance " ], [ "Republics.", "republics" ], [ "Reublics are effectively treated as a type of princedom.", "as a type of princedom" ], [ "Hereditary princedoms.", "hereditary princedoms " ], [ "In a situation where immoral or wicked behavior causes the prince to be hated.", "if he has extraordinary vices " ], [ "A government ruled by a single person.", "ruled by a single monarch" ], [ "A government ruled by the people.", "Government ruled by the people" ], [ "A corrupt form of government.", "cruel or oppressive government rule" ], [ "One of two types of new states.", "Cases of hereditary Princes and those who gained the crown by their own efforts. " ], [ "A form of gorvernment either repulican or princely.", "all forms of organization of supreme political power" ], [ "Princedoms", "Princedom " ], [ "An hereditary princedom", "Heredity princedoms " ], [ "Extrodinary vices", "Extraordinary vices" ], [ "Mixed cases and purely new states", "princedoms and republics" ], [ "Republics", "monarchy" ], [ "The new ruler isn't established and doesn't know the customs..", "His subjects are not naturally well disposed towards him." ], [ "They naturally like him.", "He will be well received. " ], [ "They have many strengths.", "it is a type of princedom with many strenghs" ], [ "One who inherits his princedom.", "Xenophon" ] ]

65ba9ee675bf87cff5d76e2a27c0652adb69381b

train

[ [ "It was a great tunnel. Its walls were hard and smooth to the\ntouch; it felt like stone, but it was not stone. On the ground\nthere were long thin tracks of iron, but it was not iron; it felt", "speedily. We [-lunged\nagainst the door and it gave way. We-] stole through the dark passages, and through the\ndark streets, and down into our tunnel.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We have built strange things with this discovery of ours. We used\nfor it the copper wires which we found here under the ground. We\nhave walked the length of our tunnel, with a candle lighting the", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "dark and empty. If we went back to hide in our tunnel, we would\nbe found and our light\n[-found-] with us. So we walked to the Home of the", "Then we thought of the meaning of that which lay before us. We\ncan light our tunnel, and the City, and all the Cities of the", "We must wait. We must guard our tunnel as we had never guarded it\nbefore. For should any men save the Scholars learn of our secret,", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "And now, sitting here in our tunnel, we wonder about these words.\nIt is forbidden, not to be happy. For, as it has been explained", "We have not written for thirty days. For thirty days we have not\nbeen here, in our tunnel. We had been caught.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We feel it also, when we are in the Home of the Street Sweepers.\nBut here, in our tunnel, we feel it no longer. The air is pure", "Tomorrow, in the full light of day, we shall take our box, and\nleave our tunnel open, and walk through the streets to the Home", "We placed our glass box [-upon-] {+on+} the table before them. We spoke of it,\nand of our long quest, and of our tunnel, and of our escape from", "to this place. We have stolen glass vials and powders and acids\nfrom the Home of the Scholars. Now we sit in the tunnel for three", "heard it, we ran away from the Home of the Peasants. We found the\nmarks of your feet across the plain where no men walk. So we\nfollowed them, and we went into the forest, and we followed", "International 4-8818 stepped back. But we pulled at the grill and\nit gave way. And then we saw iron rings as steps leading down a\nshaft into a darkness without bottom.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue." ], [ "There is no reason to have guards, for men have never defied the\nCouncils so far as to escape from whatever place they were\nordered to be. Our body is healthy and strength returns to it", "It was easy to escape from the Palace of Corrective Detention.\nThe locks are old on the doors and there are no guards about.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We fell, but we never let the box fall from our hands. Then we\nran. We ran blindly, and men and houses streaked past us in a", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We counted each day and each night as it passed. Then, tonight,\nwe knew that we must escape. For tomorrow the World Council of\nScholars is to meet in our City.", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "the Palace of Corrective Detention. Not a hand moved in that\nhall, as we spoke, nor an eye. Then we put the wires to the box,", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "Scholars. No men stopped us, for there were none about [-from-] the Palace\nof Corrective Detention, and the others knew nothing. No men", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "that once or twice in a hundred years, one among the men of the\nCity escape alone and run to the Uncharted Forest, without call\nor reason. These men do not return. They perish from hunger and", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "the earth to rise and strike us in the face. But we ran. We knew\nnot where we were going. We knew only that we must run, run to\nthe end of the world, to the end of our days.", "and try to believe the sight of our eyes. We pulled the heavy\ncurtains from the windows and we saw that the rooms were small,\nand we thought that not more than twelve men could have lived" ], [ "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "It was when I read the first of the books I found in my house\nthat I saw the word \"I.\" And when I understood this word, the", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "of the quest. I wished to know the meaning of things. I am the meaning.\nI wished to find a warrant for being. I need no warrant for\nbeing, and no word of sanction upon my being. I am the warrant", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "And now I see the face of god, and I raise this god over the\nearth, this god whom men have sought since men came into being,\nthis god who will grant them joy and peace and pride.\n\nThis god, this one word:", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "I read {+many+} books for many days. Then I called the Golden One,\nand I told her what I had read and what I had learned. She looked\nat me and the first words she spoke were:\n\n\"I love you.\"", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "the history of men, which I have learned from the books, and I\nwonder. It was a long story, and the spirit which moved it was\nthe spirit of man's freedom. But what is freedom? Freedom from", "against them, which they did not know, but we knew. So we were\nhappy, and proud of ourselves and of our victory over ourselves.\nWe raised our right arm and we spoke, and our voice was the", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the" ], [ "Thus have we lived each day of four years, until two springs ago\nwhen our crime happened. Thus must all men live until they are", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "But this is not the only sin upon us. We have committed a greater\ncrime, and for this crime there is no name. What punishment", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "drove us to our crime. We had been a good Street Sweeper and like\nall our brother Street Sweepers, save for our cursed wish to", "this is the great transgression and the root of all evil. But we\nhave broken many laws. And now there is nothing here save our one\nbody, and it is strange to see only two legs stretched on the", "Then we saw a fist before us. It knocked our chin up, and we saw\nthe red froth of our mouth on the withered fingers, and the Judge\nasked:\n\n\"Where have you been?\"", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the" ], [ "heard it, we ran away from the Home of the Peasants. We found the\nmarks of your feet across the plain where no men walk. So we\nfollowed them, and we went into the forest, and we followed", "Then we walked on into the forest, their hand in ours.", "has not been killed within them and who suffer under the yoke of\ntheir brothers. They will follow me and I shall lead them to my\nfortress. And here, in this uncharted wilderness, I and they, my", "Then we took our glass box, and we went [-on-] into the forest. We went\non, cutting through the branches, and it was as if we were", "We have walked for many days. The forest has no end, and we seek\nno end. But each day added to the chain of days between us and\nthe City is like an added blessing.", "Then the Golden One rose and walked to the hedge, as if they had\nheard a command in our eyes. The two other Street Sweepers of our", "that once or twice in a hundred years, one among the men of the\nCity escape alone and run to the Uncharted Forest, without call\nor reason. These men do not return. They perish from hunger and", "It was on our second day in the forest that we heard steps behind\nus. We hid in the bushes, and we waited. The steps came closer.\nAnd then we saw the fold of a white tunic among the trees, and a\ngleam of gold.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "for trees and weeds. Beyond the ravine there is a plain, and\nbeyond the plain there lies the Uncharted Forest, about which men\nmust not think.", "\"Our dearest one. Fear nothing of the forest. There is no danger\nin solitude. We have no need of our brothers. Let us forget their", "over us in {+a+} great silence. Then we knew. We were in the\nUncharted Forest. We had not thought of coming here, but our legs\nhad carried our wisdom, and our legs had brought us to the", "They raised their head, and there was a great pride in their\nvoice; they answered:\n\n\"We have followed you.\"\n\nThen we could not speak, and they said:", "Then three of the sisters in the field appeared, coming toward\nthe road, so the Golden One walked away from us. They took the\nbag of seeds, and they threw the seeds into the furrows of earth", "It mattered not where we went. We knew that men would not follow\nus, for they never [-enter-] {+entered+} the Uncharted Forest. We had nothing", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "upon the sky. Men never enter the Uncharted Forest, for there is\nno power to explore it and no path to lead among its ancient\ntrees which stand as guards of fearful secrets. It is whispered", "And the Golden One stepped back, and stood looking upon their\nhands in wonder. Then the Golden One moved away, even though no\nothers were coming, and they", "We walked on till the sun had set. When the shadows gathered\namong the trees, we stopped in a hollow between the roots, where\nwe shall sleep tonight. And suddenly, for the first time this", "It is dark here in the forest. The leaves rustle over our head,\nblack against the last gold of the sky. The moss is soft and" ], [ "punished when the Council of Vocations came to give us our life\nMandates which tell those who reach their fifteenth year what\ntheir work is to be for the rest of their days.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "Collective Spirit. The sky is a soggy purple when we return to\nthe Home. Then the bell rings and we walk in a straight column to\nthe City Theatre for three hours of Social Recreation. There a", "\"We are nothing. Mankind is all. By the grace of our brothers are\nwe allowed our lives. We exist through, by and for our brothers\nwho are the State. Amen.\"", "spring when all the men older than twenty and all the women older\nthan eighteen are sent for one night to the City Palace of\nMating. And each of the men have one of the women assigned to\nthem", "our dinner, which lasts one hour. Then the bell rings and we walk\nin a straight column to one of the City Halls, for the Social\nMeeting. Other columns of men arrive from the Homes of the", "Council of [-Vocations-] {+Vocation+} shall prescribe for you. For the Council of\nVocations knows in its great wisdom where you are needed by your", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"" ], [ "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "We strive to be like all our brother men, for all men must be\nalike. Over the portals of the Palace of the World Council, there", "Great Truth which is this: that all men are one and that there is\nno will save the will of all men together.", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "what? There is nothing to take a man's freedom away from him,\nsave other men. To be free, a man must be free of his brothers.\nThat is freedom. That and nothing else." ], [ "We counted each day and each night as it passed. Then, tonight,\nwe knew that we must escape. For tomorrow the World Council of\nScholars is to meet in our City.", "Unmentionable Times, and of the wagons which moved without\nhorses, and of the lights which burned without flame. But those\ntimes were evil. And those times passed away, when men saw the", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "world with nothing save metal and wires. We can give our brothers\na new light, cleaner and brighter than any they have ever known.\nThe power of the sky can be made to do men's bidding. There are", "moved. Some power unknown to men was making it move. We could not\nunderstand it. Then, after many tests, we found the answer. The\nfrog had been hanging on a wire of copper; and it had been the", "for us to judge. Nor for any small Council. We shall deliver this\ncreature to the World Council itself and let their will be done.\"", "which produced this light. I shall learn how to repair it and how\nto make it work again. I shall learn how to use the wires which\ncarry this power. Then I shall build a barrier of wires around my", "We looked upon them and we laughed and said:\n\n\"Fear nothing, our brothers. There is a great power in these\nwires, but this power is tamed. It is yours. We give it to you.\"", "But terror struck the men of the Council. They leapt to their\nfeet, they ran from the table, and they stood pressed against the\nwall, huddled together, seeking the warmth of one another's\nbodies to give them courage.", "\"A Street Sweeper! A Street Sweeper walking in upon the World\nCouncil of Scholars! It is not to be believed! It is against all\nthe rules and all the laws!\"", "\"This would wreck the [-Plans-] {+plans+} of the World Council,\" said\nUnanimity 2-9913, \"and without the Plans of the World Council the", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "I have learned that [-my-] {+the+} power of the sky was known to men long\nago; they called it Electricity. It was the power that moved", "of those Times. Hundreds upon hundreds of years ago men knew\nsecrets which we have lost. And we thought: \"This is a foul\nplace. They are damned who touch the things of the Unmentionable", "We looked upon them and we pleaded:\n\n\"Our brothers! You are right. Let the will of the Council be\ndone upon our body. We do not care. But the light? What will you\ndo with the light?\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We have built strange things with this discovery of ours. We used\nfor it the copper wires which we found here under the ground. We\nhave walked the length of our tunnel, with a candle lighting the", "It was that the learning was too easy. This is a great sin, to be\nborn with a head which is too quick. It is not good to be\ndifferent from our brothers, but it is evil to be superior to", "elected, and it meets once a year in the different Cities of the\nearth. We shall go to this Council and we shall lay before them,", "power of the sky, and these things had some relation to it. We do\nnot know, but we shall learn. We cannot stop now, even though it\nfrightens us that we are alone in our knowledge." ], [ "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "Then we heard a voice from the others call their name: \"Liberty\n5-3000,\" and they turned and walked back. Thus we learned their", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "women, and women are forbidden to take notice of men. But we\nthink of one among women, they whose name is Liberty 5-3000, and\nwe think of no others.", "We do not think of them as Liberty 5-3000 any longer. We have\ngiven them a name in our thoughts. We call them the Golden One.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "as we had. Thus, each day, we greet Liberty 5-3000, and they\nanswer, and no men can suspect.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "And the following day, as we came to the northern road, we kept\nour eyes upon Liberty 5-3000 in the field. And each day", "\"You are beautiful, Liberty 5-3000.\"", "And there [-is-] {+it+} was that we saw Liberty 5-3000 walking along the\nfurrows. Their body was straight and thin as a blade of iron." ], [ "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "punished when the Council of Vocations came to give us our life\nMandates which tell those who reach their fifteenth year what\ntheir work is to be for the rest of their days.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "Council of [-Vocations-] {+Vocation+} shall prescribe for you. For the Council of\nVocations knows in its great wisdom where you are needed by your", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "Teachers came into the great hall. And the Council of [-vocations-] {+Vocations+}\nsat on a high dais, and they had but two words to speak to each", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "duties and of our brother men. Then visiting Leaders mount the\npulpit and they read to us the speeches which were made in the\nCity Council that day, for the City Council represents all men", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "of the Leaders, which is the greatest house in the City, for it\nhas three stories. And there they study for many years, {+so that\nthey may become candidates+} and be elected to the City Council and", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "The Council of Vocations came {+in+} on the first day of spring, and\nthey sat in the great hall. And we who were fifteen and all the", "The Teachers were just, for they had been appointed by the\nCouncils, and the Councils are the [-voice-] {+voices+} of all justice, for", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names" ], [ "We both knew it without words: this house was left from\nthe Unmentionable Times. The trees had protected it from time\nand weather, and from men who have less pity than time and weather.\nWe turned to the Golden One and we asked:", "When we had seen all the rooms of the house, we looked at the\nGolden One and we both knew the thought in our minds.", "Then the Golden One rose and walked to the hedge, as if they had\nheard a command in our eyes. The two other Street Sweepers of our", "And the Golden One stepped back, and stood looking upon their\nhands in wonder. Then the Golden One moved away, even though no\nothers were coming, and they", "Many days passed before we could speak to the Golden One again.\nBut then came the day when the sky turned white, as if the sun\nhad burst and spread its flame in the air, and the fields lay", "\"We shall never leave this house,\" we said, \"nor let it be taken\nfrom us. This is our home and the end of our journey. This is your house,", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "their work, and they were far from the road when we came. But the\nGolden [-One-] {+one+} stood alone at the hedge, waiting. We stopped and we", "at the moat which runs through the field. And the drops of water\nfalling from their hands, as they raised the water to their lips,\nwere like sparks of fire in the sun. Then the Golden One saw us,", "Then three of the sisters in the field appeared, coming toward\nthe road, so the Golden One walked away from us. They took the\nbag of seeds, and they threw the seeds into the furrows of earth", "Golden One, and ours, and it belongs to no other men whatever\nas far as the earth may stretch. We shall not share it with others,\nas we share not our joy with them, nor our love, nor our hunger.", "We are sitting at a table and we are writing this upon paper\nmade thousands of years ago. The light is dim, and we cannot see\nthe Golden One, only one lock of gold on the pillow of an ancient\nbed. This is our home.", "Then a blow of pain struck us, our first and our only. We thought\nof the Golden One. We thought of the Golden One whom we shall", "When the sun sank beyond the mountains, the Golden One fell\nasleep on the floor, amidst jewels, and bottles of crystal, and", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "So we went into the Home of the Street Sweepers. It is a grey\nhouse on a narrow street. There is a sundial in its courtyard, by", "Look ahead. It is our own world, Golden One, a strange, unknown\nworld, but our own.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We had never thought of that which we did. We bent to raise the\nGolden One to their feet, but when we touched them, it was as if", "Then we walked away together and back to the Home of the Street\nSweepers. And we walked in silence." ], [ "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "And the Golden One stepped back, and stood looking upon their\nhands in wonder. Then the Golden One moved away, even though no\nothers were coming, and they", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "heard it, we ran away from the Home of the Peasants. We found the\nmarks of your feet across the plain where no men walk. So we\nfollowed them, and we went into the forest, and we followed", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "secret to ourselves, nor buried under the ground. We must bring\nit into the sight of all men. We need all our time, we need the\nwork rooms of the Home of the Scholars, we want the help of our", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "has not been killed within them and who suffer under the yoke of\ntheir brothers. They will follow me and I shall lead them to my\nfortress. And here, in this uncharted wilderness, I and they, my" ], [ "for us to judge. Nor for any small Council. We shall deliver this\ncreature to the World Council itself and let their will be done.\"", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We strive to be like all our brother men, for all men must be\nalike. Over the portals of the Palace of the World Council, there", "the State Council and the World Council--by a free and general\nvote of all men. But we wished not to be a Leader, even though it\nis a great honor. We wished to be a Scholar.", "We counted each day and each night as it passed. Then, tonight,\nwe knew that we must escape. For tomorrow the World Council of\nScholars is to meet in our City.", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "\"This would wreck the [-Plans-] {+plans+} of the World Council,\" said\nUnanimity 2-9913, \"and without the Plans of the World Council the", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We looked upon them and we pleaded:\n\n\"Our brothers! You are right. Let the will of the Council be\ndone upon our body. We do not care. But the light? What will you\ndo with the light?\"", "\"Our greeting to you, our honored brothers of the World Council\nof Scholars!\"\n\nThen Collective 0-0009, the oldest and wisest of the Council,\nspoke and asked:", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"We shall not report our find to the City Council. We shall not\nreport it to any men.\"\n\nThey raised their hands to their ears, for never had they heard\nsuch words as these.", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "elected, and it meets once a year in the different Cities of the\nearth. We shall go to this Council and we shall lay before them,", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "But terror struck the men of the Council. They leapt to their\nfeet, they ran from the table, and they stood pressed against the\nwall, huddled together, seeking the warmth of one another's\nbodies to give them courage.", "\"A Street Sweeper! A Street Sweeper walking in upon the World\nCouncil of Scholars! It is not to be believed! It is against all\nthe rules and all the laws!\"" ], [ "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We were born with a curse. It has always driven us to thoughts\nwhich are forbidden. It has always given us wishes which men may", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "And questions give us no rest. We know not why our curse makes us\nseek we know not what, ever and ever. But we cannot resist it. It", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "I understood the blessed thing which I had called my curse. I\nunderstood why the best in me had been my sins and my", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "It was that the learning was too easy. This is a great sin, to be\nborn with a head which is too quick. It is not good to be\ndifferent from our brothers, but it is evil to be superior to" ], [ "And now, sitting here in our tunnel, we wonder about these words.\nIt is forbidden, not to be happy. For, as it has been explained", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "It was a great tunnel. Its walls were hard and smooth to the\ntouch; it felt like stone, but it was not stone. On the ground\nthere were long thin tracks of iron, but it was not iron; it felt", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We must wait. We must guard our tunnel as we had never guarded it\nbefore. For should any men save the Scholars learn of our secret,", "We feel it also, when we are in the Home of the Street Sweepers.\nBut here, in our tunnel, we feel it no longer. The air is pure", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "And they answered: \"Since the Council does not know of this\nhole, there can be no law permitting to enter it. And everything\nwhich is not permitted by law is forbidden.\"", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "Then we thought of the meaning of that which lay before us. We\ncan light our tunnel, and the City, and all the Cities of the", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "What agony must have been theirs before that which they saw\ncoming and could not stop! Perhaps they cried out in protest and\nin warning. But men paid no heed to their warning. And they, [-these-]", "Unmentionable Times, and of the wagons which moved without\nhorses, and of the lights which burned without flame. But those\ntimes were evil. And those times passed away, when men saw the", "We have not written for thirty days. For thirty days we have not\nbeen here, in our tunnel. We had been caught." ], [ "spring when all the men older than twenty and all the women older\nthan eighteen are sent for one night to the City Palace of\nMating. And each of the men have one of the women assigned to\nthem", "punished when the Council of Vocations came to give us our life\nMandates which tell those who reach their fifteenth year what\ntheir work is to be for the rest of their days.", "forty. At forty, they are worn out. At forty, they are sent to\nthe Home of the Useless, where the Old Ones live. The Old Ones do", "And we take no heed of the law which says that men may not think\nof women, save at the Time of Mating. This is the time each", "learning. Men must learn till they reach their fifteenth year.\nThen they go to work. In the Home of the Students we arose when\nthe big bell rang in the tower and we went to our beds when it", "our dinner, which lasts one hour. Then the bell rings and we walk\nin a straight column to one of the City Halls, for the Social\nMeeting. Other columns of men arrive from the Homes of the", "Thus have we lived each day of four years, until two springs ago\nwhen our crime happened. Thus must all men live until they are", "parents. Twice have we been sent to the Palace of Mating, but it\nis an ugly and shameful matter, of which we do not like to think.", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "\"We are nothing. Mankind is all. By the grace of our brothers are\nwe allowed our lives. We exist through, by and for our brothers\nwho are the State. Amen.\"", "of the Leaders, which is the greatest house in the City, for it\nhas three stories. And there they study for many years, {+so that\nthey may become candidates+} and be elected to the City Council and", "We counted each day and each night as it passed. Then, tonight,\nwe knew that we must escape. For tomorrow the World Council of\nScholars is to meet in our City.", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "\"Which words?\" we asked. But they did not answer, and we knew it.\n\n\"Our dearest one,\" we whispered.\n\nNever have men said this to women.", "that once or twice in a hundred years, one among the men of the\nCity escape alone and run to the Uncharted Forest, without call\nor reason. These men do not return. They perish from hunger and", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "Collective Spirit. The sky is a soggy purple when we return to\nthe Home. Then the bell rings and we walk in a straight column to\nthe City Theatre for three hours of Social Recreation. There a", "often, for they are weary. The Old Ones know that they are soon\nto die. When a miracle happens and some live to be forty-five,\nthey are the", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "alone here under the earth. It is a fearful word, alone. The laws\nsay that none among men may be alone, ever and at any time, for" ], [ "women, and women are forbidden to take notice of men. But we\nthink of one among women, they whose name is Liberty 5-3000, and\nwe think of no others.", "We do not think of them as Liberty 5-3000 any longer. We have\ngiven them a name in our thoughts. We call them the Golden One.", "Then we heard a voice from the others call their name: \"Liberty\n5-3000,\" and they turned and walked back. Thus we learned their", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "distinguish him from all other men. So let us choose our names. I\nhave read of a man who lived many thousands of years ago, and of", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "as we had. Thus, each day, we greet Liberty 5-3000, and they\nanswer, and no men can suspect.", "And we said:\n\n\"We have [-give-] {+given+} you a name in our thoughts, Liberty 5-3000.\"\n\n\"What is our name?\" they asked.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "the history of men, which I have learned from the books, and I\nwonder. It was a long story, and the spirit which moved it was\nthe spirit of man's freedom. But what is freedom? Freedom from", "never see again. Then the pain passed. It is best. We are one of\nthe Damned. It is best if the Golden [-One-] {+one+} forget our name and the\nbody which bore that name.", "And there [-is-] {+it+} was that we saw Liberty 5-3000 walking along the\nfurrows. Their body was straight and thin as a blade of iron.", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "It was when I read the first of the books I found in my house\nthat I saw the word \"I.\" And when I understood this word, the", "And the following day, as we came to the northern road, we kept\nour eyes upon Liberty 5-3000 in the field. And each day", "\"If you see us among scores of women, will you look upon us?\"\n\n\"We shall look upon you, Liberty 5-3000, if we see you among all\nthe women of the earth.\"", "were shading our eyes from the sun. But Liberty 5-3000 saw it and\nunderstood. They raised their hand to their forehead and moved it", "it slowly, palm down, toward Liberty 5-3000. Had the others seen\nit, they could have guessed nothing, for it looked only as if we", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"" ], [ "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "which no men may speak nor hear. But sometimes, and it is rare,\nsometimes, somewhere, one among men find that word. They find it\nupon scraps of old manuscripts or cut into the fragments of", "\"Which words?\" we asked. But they did not answer, and we knew it.\n\n\"Our dearest one,\" we whispered.\n\nNever have men said this to women.", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "And now I see the face of god, and I raise this god over the\nearth, this god whom men have sought since men came into being,\nthis god who will grant them joy and peace and pride.\n\nThis god, this one word:", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the" ], [ "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "the history of men, which I have learned from the books, and I\nwonder. It was a long story, and the spirit which moved it was\nthe spirit of man's freedom. But what is freedom? Freedom from", "We strive to be like all our brother men, for all men must be\nalike. Over the portals of the Palace of the World Council, there", "We stood together for a long time. And we were frightened that we\nhad lived for twenty-one years and had never known what joy is\npossible to men.\n\nThen we said:" ], [ "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "duties and of our brother men. Then visiting Leaders mount the\npulpit and they read to us the speeches which were made in the\nCity Council that day, for the City Council represents all men", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "learning. Men must learn till they reach their fifteenth year.\nThen they go to work. In the Home of the Students we arose when\nthe big bell rang in the tower and we went to our beds when it" ], [ "It was a great tunnel. Its walls were hard and smooth to the\ntouch; it felt like stone, but it was not stone. On the ground\nthere were long thin tracks of iron, but it was not iron; it felt", "And now, sitting here in our tunnel, we wonder about these words.\nIt is forbidden, not to be happy. For, as it has been explained", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We have not written for thirty days. For thirty days we have not\nbeen here, in our tunnel. We had been caught.", "We must wait. We must guard our tunnel as we had never guarded it\nbefore. For should any men save the Scholars learn of our secret,", "dark and empty. If we went back to hide in our tunnel, we would\nbe found and our light\n[-found-] with us. So we walked to the Home of the", "speedily. We [-lunged\nagainst the door and it gave way. We-] stole through the dark passages, and through the\ndark streets, and down into our tunnel.", "And they answered: \"Since the Council does not know of this\nhole, there can be no law permitting to enter it. And everything\nwhich is not permitted by law is forbidden.\"", "Then we thought of the meaning of that which lay before us. We\ncan light our tunnel, and the City, and all the Cities of the", "We have built strange things with this discovery of ours. We used\nfor it the copper wires which we found here under the ground. We\nhave walked the length of our tunnel, with a candle lighting the", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "for trees and weeds. Beyond the ravine there is a plain, and\nbeyond the plain there lies the Uncharted Forest, about which men\nmust not think.", "International 4-8818 stepped back. But we pulled at the grill and\nit gave way. And then we saw iron rings as steps leading down a\nshaft into a darkness without bottom." ], [ "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "upon it. We are twenty-one years old. We are six feet tall, and\nthis is a burden, for there are not many men who are six feet", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "learning. Men must learn till they reach their fifteenth year.\nThen they go to work. In the Home of the Students we arose when\nthe big bell rang in the tower and we went to our beds when it", "Thus have we lived each day of four years, until two springs ago\nwhen our crime happened. Thus must all men live until they are", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "forty. At forty, they are worn out. At forty, they are sent to\nthe Home of the Useless, where the Old Ones live. The Old Ones do", "scripts. Two years have passed since we found this place. And in\nthese two years we have learned more than we had learned in the\nten years of the Home of the Students.", "the history of men, which I have learned from the books, and I\nwonder. It was a long story, and the spirit which moved it was\nthe spirit of man's freedom. But what is freedom? Freedom from", "We stood together for a long time. And we were frightened that we\nhad lived for twenty-one years and had never known what joy is\npossible to men.\n\nThen we said:", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has" ], [ "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "women, and women are forbidden to take notice of men. But we\nthink of one among women, they whose name is Liberty 5-3000, and\nwe think of no others.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "And we take no heed of the law which says that men may not think\nof women, save at the Time of Mating. This is the time each", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "Then a blow of pain struck us, our first and our only. We thought\nof the Golden One. We thought of the Golden One whom we shall", "I read {+many+} books for many days. Then I called the Golden One,\nand I told her what I had read and what I had learned. She looked\nat me and the first words she spoke were:\n\n\"I love you.\"", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521," ], [ "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "that once or twice in a hundred years, one among the men of the\nCity escape alone and run to the Uncharted Forest, without call\nor reason. These men do not return. They perish from hunger and", "We counted each day and each night as it passed. Then, tonight,\nwe knew that we must escape. For tomorrow the World Council of\nScholars is to meet in our City.", "But terror struck the men of the Council. They leapt to their\nfeet, they ran from the table, and they stood pressed against the\nwall, huddled together, seeking the warmth of one another's\nbodies to give them courage.", "has not been killed within them and who suffer under the yoke of\ntheir brothers. They will follow me and I shall lead them to my\nfortress. And here, in this uncharted wilderness, I and they, my", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "heard it, we ran away from the Home of the Peasants. We found the\nmarks of your feet across the plain where no men walk. So we\nfollowed them, and we went into the forest, and we followed", "We are doomed. Whatever days are left to us, we shall spend them\nalone. And we have heard of the corruption to be found in\nsolitude. We have torn ourselves from the truth which is our", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "And the Golden One stepped back, and stood looking upon their\nhands in wonder. Then the Golden One moved away, even though no\nothers were coming, and they", "the earth to rise and strike us in the face. But we ran. We knew\nnot where we were going. We knew only that we must run, run to\nthe end of the world, to the end of our days.", "We fell, but we never let the box fall from our hands. Then we\nran. We ran blindly, and men and houses streaked past us in a" ], [ "for trees and weeds. Beyond the ravine there is a plain, and\nbeyond the plain there lies the Uncharted Forest, about which men\nmust not think.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"We heard that you had gone to the Uncharted Forest, for the\nwhole City is speaking of it. So on the night of the day when we", "upon the sky. Men never enter the Uncharted Forest, for there is\nno power to explore it and no path to lead among its ancient\ntrees which stand as guards of fearful secrets. It is whispered", "over us in {+a+} great silence. Then we knew. We were in the\nUncharted Forest. We had not thought of coming here, but our legs\nhad carried our wisdom, and our legs had brought us to the", "that once or twice in a hundred years, one among the men of the\nCity escape alone and run to the Uncharted Forest, without call\nor reason. These men do not return. They perish from hunger and", "sky, and there is peace in the sky, and cleanliness, and dignity.\nAnd beyond the City there lies the plain, and beyond the plain,\nblack upon the black sky, there lies the Uncharted Forest.", "And as we look upon the Uncharted Forest far in the night, we\nthink of the secrets of the Unmentionable Times. And we wonder", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "It mattered not where we went. We knew that men would not follow\nus, for they never [-enter-] {+entered+} the Uncharted Forest. We had nothing", "has not been killed within them and who suffer under the yoke of\ntheir brothers. They will follow me and I shall lead them to my\nfortress. And here, in this uncharted wilderness, I and they, my", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "heard it, we ran away from the Home of the Peasants. We found the\nmarks of your feet across the plain where no men walk. So we\nfollowed them, and we went into the forest, and we followed", "blue mists as veils over their heads. We had never heard of these\nmountains, nor seen them marked on any map. The Uncharted Forest\nhas protected them from the Cities and from the men of the", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"Our dearest one. Fear nothing of the forest. There is no danger\nin solitude. We have no need of our brothers. Let us forget their", "It was on our second day in the forest that we heard steps behind\nus. We hid in the bushes, and we waited. The steps came closer.\nAnd then we saw the fold of a white tunic among the trees, and a\ngleam of gold." ], [ "Then we heard a voice from the others call their name: \"Liberty\n5-3000,\" and they turned and walked back. Thus we learned their", "women, and women are forbidden to take notice of men. But we\nthink of one among women, they whose name is Liberty 5-3000, and\nwe think of no others.", "as we had. Thus, each day, we greet Liberty 5-3000, and they\nanswer, and no men can suspect.", "And there [-is-] {+it+} was that we saw Liberty 5-3000 walking along the\nfurrows. Their body was straight and thin as a blade of iron.", "And the following day, as we came to the northern road, we kept\nour eyes upon Liberty 5-3000 in the field. And each day", "it slowly, palm down, toward Liberty 5-3000. Had the others seen\nit, they could have guessed nothing, for it looked only as if we", "were shading our eyes from the sun. But Liberty 5-3000 saw it and\nunderstood. They raised their hand to their forehead and moved it", "We do not think of them as Liberty 5-3000 any longer. We have\ngiven them a name in our thoughts. We call them the Golden One.", "\"You are beautiful, Liberty 5-3000.\"", "\"If you see us among scores of women, will you look upon us?\"\n\n\"We shall look upon you, Liberty 5-3000, if we see you among all\nthe women of the earth.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "Then three of the sisters in the field appeared, coming toward\nthe road, so the Golden One walked away from us. They took the\nbag of seeds, and they threw the seeds into the furrows of earth", "Then the Golden One rose and walked to the hedge, as if they had\nheard a command in our eyes. The two other Street Sweepers of our", "It was on a day of the spring before last. We Street Sweepers\nwork in brigades of three, and we were with Union 5-3992, they of", "We looked upon them and we pleaded:\n\n\"Our brothers! You are right. Let the will of the Council be\ndone upon our body. We do not care. But the light? What will you\ndo with the light?\"", "And we sighed, as if a burden had been taken from us, for we had\nbeen thinking without reason of the Palace of Mating. And we", "We looked upon them and we laughed and said:\n\n\"Fear nothing, our brothers. There is a great power in these\nwires, but this power is tamed. It is yours. We give it to you.\"", "We counted each day and each night as it passed. Then, tonight,\nwe knew that we must escape. For tomorrow the World Council of\nScholars is to meet in our City.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"" ], [ "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "Then we heard a voice from the others call their name: \"Liberty\n5-3000,\" and they turned and walked back. Thus we learned their", "women, and women are forbidden to take notice of men. But we\nthink of one among women, they whose name is Liberty 5-3000, and\nwe think of no others.", "We do not think of them as Liberty 5-3000 any longer. We have\ngiven them a name in our thoughts. We call them the Golden One.", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "as we had. Thus, each day, we greet Liberty 5-3000, and they\nanswer, and no men can suspect.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "And the following day, as we came to the northern road, we kept\nour eyes upon Liberty 5-3000 in the field. And each day", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "And there [-is-] {+it+} was that we saw Liberty 5-3000 walking along the\nfurrows. Their body was straight and thin as a blade of iron.", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "were shading our eyes from the sun. But Liberty 5-3000 saw it and\nunderstood. They raised their hand to their forehead and moved it" ], [ "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We are sitting at a table and we are writing this upon paper\nmade thousands of years ago. The light is dim, and we cannot see\nthe Golden One, only one lock of gold on the pillow of an ancient\nbed. This is our home.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "scripts. Two years have passed since we found this place. And in\nthese two years we have learned more than we had learned in the\nten years of the Home of the Students.", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take" ], [ "We are sitting at a table and we are writing this upon paper\nmade thousands of years ago. The light is dim, and we cannot see\nthe Golden One, only one lock of gold on the pillow of an ancient\nbed. This is our home.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "and try to believe the sight of our eyes. We pulled the heavy\ncurtains from the windows and we saw that the rooms were small,\nand we thought that not more than twelve men could have lived", "were shading our eyes from the sun. But Liberty 5-3000 saw it and\nunderstood. They raised their hand to their forehead and moved it", "We did this work alone, for no words of ours could take the\nGolden One away from the big glass which is not glass. They stood\nbefore it and they looked and looked upon their own body.", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "And now I see the face of god, and I raise this god over the\nearth, this god whom men have sought since men came into being,\nthis god who will grant them joy and peace and pride.\n\nThis god, this one word:", "It is my eyes which see, and the sight of my eyes grants beauty\nto the earth. It is my ears which hear, and the hearing of my", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "We saw nothing as we entered, save the sky in the great windows,\nblue and glowing. Then we saw the Scholars who sat around a long table;", "As the flames rose, a thing happened which no eyes saw but ours,\nelse we would not be living today. Perhaps it had only seemed to", "It is dark here. The flame of the candle stands still in the air.\nNothing moves in this tunnel save our [-hand-] {+hands+} on the paper. We are", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "light is precious and we should not waste it to write when we\nneed it for that work which is our crime. Nothing matters save\nthe work, our secret, our evil, our precious work. Still, we must" ], [ "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "We remember the Home of the Infants where we lived till we were\nfive years old, together with all the children of the City who\nhad been born in the same year. The sleeping halls there were", "We had never thought of that which we did. We bent to raise the\nGolden One to their feet, but when we touched them, it was as if", "learning. Men must learn till they reach their fifteenth year.\nThen they go to work. In the Home of the Students we arose when\nthe big bell rang in the tower and we went to our beds when it", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the" ], [ "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "the history of men, which I have learned from the books, and I\nwonder. It was a long story, and the spirit which moved it was\nthe spirit of man's freedom. But what is freedom? Freedom from", "to us, men are free and the earth belongs to them; and all things\non earth belong to all men; and the will of all men together is\ngood for all; and so all men must be happy.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "I shall choose friends among men, but neither slaves nor masters.\nAnd I shall choose only such as please me, and them I shall love\nand respect, but neither command nor obey. And we shall join our", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "and with them all the words of the Evil Ones. Great mountains of\nflame stood in the squares of the Cities for three months. Then\ncame the Great Rebirth.", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "There is some error, one frightful error, in the thinking of men.\nWhat is that error? We do not know, but the knowledge struggles\nwithin us, struggles to be born.\n\nToday, the Golden One stopped suddenly and said:" ], [ "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "We were born with a curse. It has always driven us to thoughts\nwhich are forbidden. It has always given us wishes which men may", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "And questions give us no rest. We know not why our curse makes us\nseek we know not what, ever and ever. But we cannot resist it. It", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "that which is black are lost equally in the grey of it. It is the\nword by which the depraved steal the virtue of the good, by which\nthe weak steal the might of the strong, by which the fools steal", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "I understood the blessed thing which I had called my curse. I\nunderstood why the best in me had been my sins and my", "Their eyes were dark and hard and glowing, with no fear in them,\nno kindness and no guilt. Their hair was golden as the sun; their" ], [ "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "We strive to be like all our brother men, for all men must be\nalike. Over the portals of the Palace of the World Council, there", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "the history of men, which I have learned from the books, and I\nwonder. It was a long story, and the spirit which moved it was\nthe spirit of man's freedom. But what is freedom? Freedom from" ], [ "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"", "speak. And they are glad when {+the+} candles are blown for the\nnight. But we, Equality 7-2521, look through the window upon the", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "away from him, no matter what their number, for his is the right\nof man, and there is no right on earth above this right. And he\nstood on the threshold of [-the-] freedom for which the blood of the", "chains. He was enslaved by his birth, by his kin, by his race.\nBut he broke their chains. He declared to all his brothers that a\nman has rights which neither god nor king nor other men can take", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "We strive to be like all our brother men, for all men must be\nalike. Over the portals of the Palace of the World Council, there" ], [ "Council of [-Vocations-] {+Vocation+} shall prescribe for you. For the Council of\nVocations knows in its great wisdom where you are needed by your", "punished when the Council of Vocations came to give us our life\nMandates which tell those who reach their fifteenth year what\ntheir work is to be for the rest of their days.", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "Teachers came into the great hall. And the Council of [-vocations-] {+Vocations+}\nsat on a high dais, and they had but two words to speak to each", "forgive. For our gift is greater than our transgression. They\nwill explain it to the Council of Vocations, and we shall be\nassigned to the Home of the Scholars. This has never been done", "The Council of Vocations came {+in+} on the first day of spring, and\nthey sat in the great hall. And we who were fifteen and all the", "laws say that men may not write unless the Council of Vocations\nbid them so. May we be forgiven!", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "elected, and it meets once a year in the different Cities of the\nearth. We shall go to this Council and we shall lay before them,", "\"The will of the Council is above all things, for it is the will\nof our brothers, which is holy. But if you wish it so, we shall", "duties and of our brother men. Then visiting Leaders mount the\npulpit and they read to us the speeches which were made in the\nCity Council that day, for the City Council represents all men", "said: \"Carpenter\" or \"Doctor\" or \"Cook\" or \"Leader.\" Then each\nStudent raised their right arm and said: \"The will of our\nbrothers be done.\"", "The Teachers were just, for they had been appointed by the\nCouncils, and the Councils are the [-voice-] {+voices+} of all justice, for", "Now if the Council [-has-] said \"Carpenter\" or \"Cook,\" the Students so", "We looked upon them and we pleaded:\n\n\"Our brothers! You are right. Let the will of the Council be\ndone upon our body. We do not care. But the light? What will you\ndo with the light?\"", "different Trades. The candles are lit, and the Councils of the\ndifferent Homes stand in a pulpit, and they speak to us of our", "Council. They sat before us and they did not move. And we saw no\nbreath to stir the folds of their white togas. But we knew that", "There are the Saints of Labor, and the Saints of the Councils,\nand the Saints of the Great Rebirth. But we had never seen a", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "guilty of the great Transgression of Preference. We preferred\nsome work and some lessons to the others. We did not listen well\nto the history of all the Councils elected since the Great" ], [ "punished when the Council of Vocations came to give us our life\nMandates which tell those who reach their fifteenth year what\ntheir work is to be for the rest of their days.", "we had been guilty, but now we had a way to atone for it. We\nwould accept our Life Mandate, and we would work for our\nbrothers, gladly and willingly, and we would erase our sin", "\"We are nothing. Mankind is all. By the grace of our brothers are\nwe allowed our lives. We exist through, by and for our brothers\nwho are the State. Amen.\"", "come from more years than men could count. And these words are\nthe truth, for they are written on the Palace of the World\nCouncil, and the World Council is the body of all truth. Thus has", "spring when all the men older than twenty and all the women older\nthan eighteen are sent for one night to the City Palace of\nMating. And each of the men have one of the women assigned to\nthem", "And now I see the face of god, and I raise this god over the\nearth, this god whom men have sought since men came into being,\nthis god who will grant them joy and peace and pride.\n\nThis god, this one word:", "Great Truth which is this: that all men are one and that there is\nno will save the will of all men together.", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "of the quest. I wished to know the meaning of things. I am the meaning.\nI wished to find a warrant for being. I need no warrant for\nbeing, and no word of sanction upon my being. I am the warrant", "\"The will of the Council is above all things, for it is the will\nof our brothers, which is holy. But if you wish it so, we shall", "the first time in our life, what we look like. Men never see\ntheir own faces and never ask their brothers about it, for it is\nevil to have concern for their own faces or bodies. But tonight,", "It is said. Now let us be lashed for it, if we must. The Council\nof Scholars has said that we all know the things which exist and", "brothers. And as we look back upon our life, we see that it has\never been thus and that it has brought us step by step to our", "elected, and it meets once a year in the different Cities of the\nearth. We shall go to this Council and we shall lay before them,", "We looked upon them and we pleaded:\n\n\"Our brothers! You are right. Let the will of the Council be\ndone upon our body. We do not care. But the light? What will you\ndo with the light?\"", "that waits. It seems to us it asks a sign from us, a spark, a\nfirst commandment. We cannot know what word we are to give, nor", "Thus have we lived each day of four years, until two springs ago\nwhen our crime happened. Thus must all men live until they are", "forty. At forty, they are worn out. At forty, they are sent to\nthe Home of the Useless, where the Old Ones live. The Old Ones do", "Look ahead. It is our own world, Golden One, a strange, unknown\nworld, but our own.\"", "of the Leaders, which is the greatest house in the City, for it\nhas three stories. And there they study for many years, {+so that\nthey may become candidates+} and be elected to the City Council and" ], [ "\"Our name is [-Equality-] {+Equity+} 7-2521,\" we answered, \"and we are a Street\nSweeper of this City.\"", "brothers will it. But we, Equality 7-2521, are glad to be living.\nIf this is a vice, then we wish no virtue.", "we had been guilty, but now we had a way to atone for it. We\nwould accept our Life Mandate, and we would work for our\nbrothers, gladly and willingly, and we would erase our sin", "All men are good and wise. It is only we, Equality 7-2521, we\nalone who were born with a curse. For we are not like our", "and all men must know. Then we sing hymns, the Hymn of\nBrotherhood, and the Hymn of Equality, and the Hymn of the", "So we awaited our turn in the great hall and then we heard the\nCouncil of Vocations call our name: \"Equality 7-2521.\" We walked", "We, Equality 7-2521, have discovered a new power of nature. And\nwe have discovered it alone, and we [-alone-] are to know it.", "\"You are not one of our brothers, Equality 7-2521, for we do not\nwish you to be.\"", "\"What is your name?\"\n\n\"Equality 7-2521,\" we answered.", "Our name is Equality 7-2521, as it is written on the iron\nbracelet which all men wear on [-the-] {+their+} left wrists with their names", "We, Equality 7-2521, were not happy in those years in the Home of\nthe Students. It was not that the learning was too hard for us.", "We returned to the earth. International 4-8818 looked upon us and\nstepped back.\n\n\"Equality 7-2521,\" they said, \"your face is white.\"", "punished when the Council of Vocations came to give us our life\nMandates which tell those who reach their fifteenth year what\ntheir work is to be for the rest of their days.", "\"We are nothing. Mankind is all. By the grace of our brothers are\nwe allowed our lives. We exist through, by and for our brothers\nwho are the State. Amen.\"", "\"Then,\" we said, \"keep silent. This place is ours. This place\nbelongs to us, Equality 7-2521, and to", "Great Truth which is this: that all men are one and that there is\nno will save the will of all men together.", "tall. Ever have the Teachers and the Leaders pointed to us and\nfrowned and said: \"There is evil in your bones, Equality 7-2521,", "\"We are singing because we are happy,\" we answered the one of the\nHome Council who reprimanded us.\n\n\"Indeed you are happy,\" they answered. \"How else can men be when\nthey live for their brothers?\"", "\"Take our brother Equality 7-2521 to the Palace of Corrective\nDetention. Lash them until they tell.\"", "\"The Golden One.\"\n\n\"Nor do we call you Equality 7-2521 when we think of you.\"\n\n\"What name have you given us?\"" ] ]

[ "How did Equality use the tunnel he found?", "Why didn't Equality face guards when he attempted to escape?", "In discovering the pronoun \"I,\" what did Equality also discover?", "What crime did Equality commit?", "Who follows Equality into the forest?", "What group assigns jobs and vocations in Equality's world?", "What is Equality's ultimate plan?", "Why was discovering electricity bad, according to the World Council?", "What does Liberty name Equality?", "What job is Equality given by a Council of Vocations?", "Where do Equality and the Golden One find a house together?", "Where does Equality take his discovery?", "What does the World Council wish to do with Equality's discovery?", "What is Equality's \"Curse\"?", "Who protests about Equality entering the tunnels?", "When are people assigned a mate?", "After discovering individuality, what name does Liberty change to?", "What word does Equality discover?", "What job did Equality want to have?", "What job was Equality assigned?", "What did Equality find in the forbidden tunnel? ", "How old was Equality when he began writing his journal?", "What is the name of the girl Equality is constantly thinking about?", "Where does Equality escape to when he is told his discovery will be destroyed?", "What was Equality's new name in the Uncharted Forest?", "What was Liberty's assigned job?", "What was Equality's nickname for Liberty?", "Where does Equality write?", "What does Equality use to see while writing?", "Where was equality raised?", "What was equality born with?", "What attributes does the curse cause for Equality?", "What does Equality dream of becoming?", "What does Equality excel at?", "What does the Council of Vocations assign to people?", "Who assigns people their Life Mandate?", "What Life Mandate is assigned to Equality?" ]

[ [ "He used it as a secret laboratory. ", "For scientific work" ], [ "There were no guards as no one had tried to escape before. ", "There are no guards" ], [ "Individuality of the self. ", "individuality " ], [ "He was absent from the Home of the Street Sweepers. ", "Deviation from his assigned norm." ], [ "The Golden One. ", "The Golden One" ], [ "The Council of Vocations. ", "council of vocations " ], [ "To create a future where men have individuality.", "To give men their individuality back" ], [ "It would disrupt their plans. ", "It was unauthorized" ], [ "The Unconquered", "The Unconquered." ], [ "Street Sweeper", "Street Sweeper" ], [ "In the mountains", "The mountains" ], [ "The World Council of Scholars", "in abandoned tunnels" ], [ "Destroy it", "Destroy it" ], [ "He learns quickly", "He learns quickly and asks many questions." ], [ "International", "International" ], [ "The Annual time of Mating", "the Time of Mating" ], [ "Gaea", "Gaea" ], [ "I", "\"I\"" ], [ "Scholar", "Scholar" ], [ "A Street Sweeper", "Street sweeping." ], [ "Metal Tracks", "Metal tracks" ], [ "21 years", "21" ], [ "Liberty 5-3000", "Liberty/Gaea/Golden One" ], [ "The Uncharted Forest", "Uncharted Forest" ], [ "Prometheus", "Prometheus" ], [ "A worker in the fields", "Working in the fields." ], [ "The Golden One", "Golden One" ], [ "in a tunnel", "In a tunnel" ], [ "candlelight", "Candlelight" ], [ "in collective homes", "in a collective home" ], [ "a curse", "Curse" ], [ "learns quickly and asks many question", "he learns quickly and asks questions" ], [ "a scholar", "a Scholar" ], [ "The Science of Things", "the Science of Things" ], [ "their Life Mandate", "Their Life Mandate" ], [ "Council of Vocations", "The Council of Vocations" ], [ "street sweeper", "His Life Mandate is Street Sweeper." ] ]

6b94891a91a8eeb5618a0575d341338cf0d9a82f

train

[ [ "WILLIAM\n (caught out)\n Oh hi. It's William Thacker. We,\n ahm I work in a bookshop.", "We arrive outside his blue-doored house just off Portobello.\n\n WILLIAM (V.O.)\n ... and where I now lead a strange\n half-life with a lodger called...", "KAREN\n Mr. Thacker?\n\n WILLIAM\n (so weary)\n Yes?\n\n KAREN\n Have you got a moment?", "He approaches the lifts. At the lift, he pushes the button and\n the doors open. As he is getting in, William is joined by a young\n man. His name is Tarquin.", "It is a small shop, slightly chaotic, bookshelves everywhere,\n with little secret bits round corners with even more books.\n Martin, William's sole employee, is waiting enthusiastically.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "The lift lands. William gets out. So does Tarquin. Rooms\n 30-35 are to the left. 35-39 to the right. William heads right.\n So does Tarquin.", "WILLIAM (V.O.)\n ... which, well, sells travel books\n -- and, to be frank with you, doesn't\n always sell many of those.\n\n William enters.", "William swings out of the little shop -- he turns the corner of\n Portobello Road and bumps straight into Anna. The orange\n juice, in its foam cup, flies. It soaks Anna.", "And after a couple of seconds -- wow -- she smiles.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "INT. WILLIAM'S LIVING ROOM - NIGHT", "INT. WILLIAM'S LIVING ROOM - NIGHT", "WILLIAM\n (seeing it on a coffee\n table)\n 'Horse and Hound.' The name's\n William Whacker. I think she might\n be expecting me.", "WILLIAM\n Gardens. All these streets round\n here have these mysterious communal\n gardens in the middle of them.\n They're like little villages.\n\n ANNA\n Let's go in.", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch.", "WILLIAM\n Thanks. I just wondered if Mr. Thacker\n realized he'd been a daft prick and got", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "Mix through to William, 35, relaxed, pleasant, informal. We\n follow him as he walks down Portobello Road, carrying a load of\n bread. It is spring.", "WILLIAM\n If you could just give me a second.\n\n Her eyes follow him as he moves toward the back of the shop and\n approaches a man in slightly ill-fitting clothes.", "William is puzzled. He slows down as he approaches room 38. So\n does Tarquin. William spots, so does Tarquin. William points\n at the number." ], [ "William coming along the hotel corridor. He knocks on the\n door.\n\n ANNA\n Hiya.\n\n There's something slightly awry. He doesn't notice.", "William jumps off a bus and walks toward the Ritz. He carries a\n small bunch of roses.\n\n INT. RITZ HOTEL - DAY", "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "He watches her go -- and stands in the street. Music plays.\n\n INT. RITZ CORRIDOR/ANNA'S SUITE - NIGHT", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "The car turns illegally right across Piccadilly the wrong way\n down a one-way street and ends up outside the Ritz. William\n sprints into the hotel. Bernie follows.", "WILLIAM\n Right. Great.\n (he hangs up)\n Classic. Classic.\n\n EXT. RITZ - DAY", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "William looks up. At that moment the entire window is suddenly\n taken up by the huge side of a bus, obscuring the light -- and\n entirely covered with a portrait of Anna -- from her new film,\n 'Helix.'", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "INT. RITZ CORRIDOR - NIGHT\n\n William walks away.\n\n EXT. RITZ - NIGHT", "A Japanese guest assumes this is the way to behave and the Ritz\n Man gets kissed a third time.\n\n EXT. LONDON STREET - DAY", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "He rises from his stove position.\n\n WILLIAM\n Max. This is Anna.", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in." ], [ "Jeff drifts into view behind. He is a very famous film star and\n looks the part -- well built, very handsome. Unshaven, he has", "ANNA\n It's really not my business any more.\n Though I will say, from my experience,\n that rumours about Jeff... do tend to\n be true.", "WILLIAM\n Ah -- no. It's fine.\n\n JEFF\n What's your name?\n\n WILLIAM\n Ahm... Bernie.", "He is duly shocked. She's trying to be calm.\n\n ANNA\n Yes...\n\n JEFF (V.O.)\n Who is it?", "Jeff slips him a fiver.\n\n JEFF\n Thank you, Bernie.\n (to Anna)\n Hey -- nice surprise, or nasty\n surprise?", "Only two tables are being used. William and his friends are\n on their first course. Bernie reads an \"Evening Standard,\"\n with a picture of Anna and Jeff at Heathrow Airport.", "JEFF\n Oh great. Could you do me a favour\n and try to get us some really cold\n water up here?\n\n WILLIAM\n I'll see what I can do.", "It is the same man.\n\n RITZ MAN\n No, sir.\n\n WILLIAM\n How about Miss Flintstone?", "He approaches the lifts. At the lift, he pushes the button and\n the doors open. As he is getting in, William is joined by a young\n man. His name is Tarquin.", "Spike appears. An unusual looking fellow. He has unusual\n hair, unusual facial hair and an unusual Welsh accent: very\n white, as though his flesh has never seen the sun. He wears\n only shorts.", "QUESTIONER 2\n Is your decision to take a year off\n anything to do with the rumours about\n Jeff and his present leading lady?\n\n ANNA\n Absolutely not.", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "They look at each other. Jeremy enters, with another journalists\n in tow. Anna and William stand and shake hands formally.\n\n ANNA\n Well, it was nice to meet you.\n Surreal but nice.", "It is a small shop, slightly chaotic, bookshelves everywhere,\n with little secret bits round corners with even more books.\n Martin, William's sole employee, is waiting enthusiastically.", "He is very keen, an uncrushable optimist. Perhaps without\n cause. A few seconds later, William stands gloomily behind the\n desk.", "JEFF\n Still, not sparkling.\n\n WILLIAM\n Absolutely. Ice cold still water.", "miracle it is just to be able to touch this girl's skin. Then\n he looks at her face. That face. He is suddenly struck by who\n it is.", "They leave him behind. Honey leans out the window and shouts...\n\n HONEY\n You're my hero.", "Spike happens to be in the foreground of this shot. He's read-\n ing a newspaper.\n\n RITZ MAN\n Yes, sir. I have him in my mind.", "He comes down wearing it. Lots of hearts, saying, 'You're the\n most beautiful woman in the world.'\n\n WILLIAM\n Well, yes, that's perfect. Well\n done." ], [ "ANNA\n Okay.\n\n WILLIAM\n Okay.\n\n INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM/CORRIDOR - NIGHT\n\n Anna and William are leaving.", "INT. MAX AND BELLA'S CONSERVATORY - NIGHT\n\n A little later. They are sat at dinner. Bella next to Anna.", "WILLIAM\n Bella -- this is Anna.\n\n BELLA\n Right.\n (pause)\n\n MAX\n Okay. Crisis over.", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT\n\n They enter the room.\n\n MAX\n Bernie -- this is Anna.", "Max, dressed in the most devastating Bond-like white tuxedo is\n dancing with Anna -- thrilled. He does a rather flashy little\n move. Cut to Bella who is watching and laughing.", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT\n\n The kitchen. William is looking uneasy. A doorbell rings.", "ANNA\n I'll think about it.\n\n The front door bell goes.\n\n MAX\n That'll be Bernie.", "INT. MAX AND BELLA'S CORRIDOR - NIGHT\n\n Max heads for the door impatiently. He opens it and turns back\n without looking at William and Anna standing there.", "TESSA\n Oh hello, you're in a wheelchair.\n\n BELLA\n That's right.\n\n MAX\n And this is William.", "He rises from his stove position.\n\n WILLIAM\n Max. This is Anna.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "MAX\n You see -- incredibly sad.\n\n BELLA\n On the other hand, her best friend is\n Anna Scott.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "We cut to Max, Bella, Bernie and Honey, all watching. Then back\n to Anna.\n\n ANNA\n Yes, I'm pretty sure I would.", "A minute or two later -- they are standing, drinking wine before\n dinner. Bernie with Anna on their own -- William helping Max in\n the kitchen.\n\n MAX\n You haven't slept with her, have you?", "INT. MAX AND BELLA'S KITCHEN/CONSERVATORY - NIGHT\n\n Max walks over to the table. Honey, Bella, William and another\n girl.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "At one table Bella and Honey sit -- beer and wine on the table.\n\n BELLA\n I'm really horribly drunk.\n\n Elsewhere, Max an William are relaxed together.", "MAX\n Now you're lying.\n\n ANNA\n You're right. I told you I was bad\n at acting.\n\n Max loves this." ], [ "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "ANNA\n There are lots of reasons. Do you\n want to come up?\n\n His look says yes.\n\n ANNA\n Give me five minutes.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "The darkness of the living room. We see Anna in the shadow.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in.", "WILLIAM\n Jesus Christ.\n\n He comes back inside, snapping the door behind him. Anna is in\n the kitchen.\n\n ANNA\n What?", "William and Anna step outside. From inside they hear a massive\n and hysterical scream of the friends letting out their true\n feelings. William is a little embarrassed.", "ANNA\n Both.\n\n INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT\n\n They are walking up the stairs -- and stop at the top.", "ANNA\n I do. Your furry friend thought he'd\n make a buck or two telling the papers\n where I was.\n\n She's packing.", "WILLIAM\n Don't ask.\n\n She heads back the corridor, with no suspicion.\n\n ANNA\n You're up to something...", "ANNA\n Okay. So what does 'just over the\n street' mean -- give it to me in yards.\n\n WILLIAM\n Eighteen yards. That's my house\n there.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?" ], [ "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "ANNA\n I'm sorry... I don't know what to\n say.\n\n WILLIAM\n I think goodbye is traditional.", "They are walking.\n\n ANNA\n I shouldn't have done that. I\n shouldn't have done that.\n\n WILLIAM\n No, you were brilliant", "WILLIAM\n She left me.\n\n ANNA\n Why?\n\n WILLIAM\n She saw through me.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "WILLIAM\n Nothing, nothing... Look, I live just\n over the street -- you could get\n cleaned up.\n\n ANNA\n No thank you. I need to get my car\n back.", "ANNA\n No, thanks. I'll just look around.\n\n WILLIAM\n Fine.", "WILLIAM\n I'm sorry.\n\n ANNA\n No, that's fine. I love that you\n tried... time was I'd have done the\n same.", "WILLIAM\n Oh please sod off.\n\n ANNA\n Okay.", "He wanders off taking off his t-shirt.\n\n WILLIAM\n I better leave.\n\n Anna just nods.", "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "She's awaiting an answer.\n\n WILLIAM\n Anna. Look -- I'm a fairly level-\n headed bloke. Not often in and out of\n love. But...", "ANNA\n No.\n\n WILLIAM\n Do you always say 'no' to everything?\n\n Pause. She looks at him deep.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no." ], [ "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "ANNA\n Ahm... I think that sounds -- you know\n -- lucky me. Happy Birthday.\n\n She hands her a present.", "Pause. She kisses him on the cheek.\n\n ANNA\n Bye.\n\n Then turns and leaves. Leaving him.", "He wanders off taking off his t-shirt.\n\n WILLIAM\n I better leave.\n\n Anna just nods.", "WILLIAM\n She left me.\n\n ANNA\n Why?\n\n WILLIAM\n She saw through me.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "WILLIAM\n That's fine.\n\n ANNA\n Busy tomorrow?\n\n WILLIAM\n I thought you were leaving.", "She heads across. She smiles and sits on the bed.\n\n ANNA\n Can I stay a bit longer?\n\n WILLIAM\n Stay forever.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "It's quite a big wrapped parcel, flat -- 3 foot by 4 foot,\n leaning against a bookshelf.\n\n ANNA\n I thought I'd give it to you.", "ANNA\n I'm sorry... I don't know what to\n say.\n\n WILLIAM\n I think goodbye is traditional.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM/CORRIDOR - NIGHT\n\n Anna and William are leaving.", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch.", "WILLIAM\n Don't think about it. We'll sort it\n out. Now what would you like -- tea\n ... bath...?\n\n ANNA\n A bath would be great.", "WILLIAM\n And I think the book is the poorer for\n it.\n\n Anna smiles her biggest smile of the day. He is helping." ], [ "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "A few moments later. William and Anna stand in the middle of\n the room. He kisses her neck. Then her shoulder. What a", "William swings out of the little shop -- he turns the corner of\n Portobello Road and bumps straight into Anna. The orange\n juice, in its foam cup, flies. It soaks Anna.", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "Jeremy goes out -- it's their last seconds.\n\n WILLIAM\n Are you busy tonight?\n\n ANNA\n Yes.", "ANNA\n Both.\n\n INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT\n\n They are walking up the stairs -- and stop at the top.", "WILLIAM\n (pause)\n You're lovelier this morning than you\n have ever been.\n\n ANNA\n (very touched)\n Oh.", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM/CORRIDOR - NIGHT\n\n Anna and William are leaving.", "They are walking.\n\n ANNA\n I shouldn't have done that. I\n shouldn't have done that.\n\n WILLIAM\n No, you were brilliant", "She's awaiting an answer.\n\n WILLIAM\n Anna. Look -- I'm a fairly level-\n headed bloke. Not often in and out of\n love. But...", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "But she's already almost over.\n\n WILLIAM\n Oh no it's not -- it's easy.\n\n A few seconds later. Anna jumps down into the garden.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna." ], [ "He nods. They are standing on either side of the bench,\n looking at each other. The camera glides away from them, up\n into the night sky, leaving them alone in the garden. Music\n plays.", "She kisses him gently on the cheek. He opens the door -- she\n walks out. He shuts the door quietly and heads back into the\n living room...", "paraphernalia of the upcoming scene passes between them. The\n movie divides them. But then she begins to walk through it, and\n followed by her cluster, she makes her way towards him. When", "arguing with her boyfriend, walking away tearful. Then turns\n past 'the pregnant woman' -- now holding her three-month baby.\n The camera holds on her.", "Two hours later. They've had a very good time. There's been a\n chocolate cake. Lots of alcohol. Tony is playing 'Blue Moon'\n on the piano, and Bernie joins him, singing.", "Cut to William's face -- flash after flash -- still looking at\n Anna. They are both smiling.\n\n INT./EXT. THE HEMPEL ZEN GARDEN WITH MARQUEEN - DAY", "Moving on through the evening -- they are very relaxed, as they\n eat dinner. A few seconds watching the evening going well -- Anna", "In a slightly awkward moment, he shows her out the door. He\n closes the door and shakes his head in wonder. Then...", "They walk around the garden. It's a moonlit dream. We see\n the lights of the houses that surround the garden. They come\n across a single, simple wooden bench.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "And she rushes out. William looks at the piece of paper, folds\n it and then places it gently in the garbage bin.\n\n INT. TONY'S RESTAURANT - NIGHT", "She moves inside. Her hair is a mess -- her eyes are tired.\n Nothing idealized.\n\n INT. LIVING ROOM - DAY\n\n The two of them.", "forward and she kisses him. Total silence. A real sense of the\n strangeness of those lips, those famous lips on his. They part.", "They leave him behind. Honey leans out the window and shouts...\n\n HONEY\n You're my hero.", "They stand in that corridor -- in that small space. Second time\n saying goodbye. A strange feeling of intimacy. She leans", "William is very grateful. He kisses the Ritz Man. Bernie's also\n gratuful. He kisses him too.\n\n BERNIE\n We have lift off!!", "Jeremy goes out -- it's their last seconds.\n\n WILLIAM\n Are you busy tonight?\n\n ANNA\n Yes.", "And she walks away. Gerald turns to Lawrence.\n\n GERALD\n You prick.\n\n EXT. RITZ ARCADE - NIGHT", "She looks at him. The doorbell goes again. She opens the door.\n Massive noise and photos. Outside are her people, including", "He returns to his desk. In the monitor we just glimpse, as does\n William, the book coming out of the trousers and put back on the" ], [ "It is a small shop, slightly chaotic, bookshelves everywhere,\n with little secret bits round corners with even more books.\n Martin, William's sole employee, is waiting enthusiastically.", "WILLIAM\n If you could just give me a second.\n\n Her eyes follow him as he moves toward the back of the shop and\n approaches a man in slightly ill-fitting clothes.", "WILLIAM (V.O.)\n ... which, well, sells travel books\n -- and, to be frank with you, doesn't\n always sell many of those.\n\n William enters.", "INT. BOOKSHOP - DAY\n\n The next day. William and Martin quietly co-existing. An annoy-\n ing customer enters. Mr. Smith.", "INT. BOOKSHOP - DAY\n\n A grey day in the bookshop. Martin and William. As ever. A\n feeling that things in there ever change.", "WILLIAM\n Yes. This one though is... very\n good.\n\n He picks up a book on the counter.", "own...William. Just watching. We see a momentous flash of\n light from the screen explode, reflected in his eye.", "The two of them on the rooftop terrace, passing the day.\n William is reading 'The bookseller.' The terrace is small and", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "They head out, Martin behind him, incomprehensively rubbing\n his hands -- he's in a very good mood.\n\n INT. BOOKSHOP - DAY", "William swings out of the little shop -- he turns the corner of\n Portobello Road and bumps straight into Anna. The orange\n juice, in its foam cup, flies. It soaks Anna.", "William sets off.\n\n INT. COFFEE SHOP - DAY\n\n William collects his juice in a coffee shop on Westbourne Park\n Road.", "WILLIAM\n (caught out)\n Oh hi. It's William Thacker. We,\n ahm I work in a bookshop.", "The next day. William is hard at work, doing the accounts in a\n dark small room with files in it. Martin pops his head in.", "He returns to his desk. In the monitor we just glimpse, as does\n William, the book coming out of the trousers and put back on the", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "William is puzzled. He slows down as he approaches room 38. So\n does Tarquin. William spots, so does Tarquin. William points\n at the number.", "A small unpretentious store... named 'The Travel Book Co.'", "He is very keen, an uncrushable optimist. Perhaps without\n cause. A few seconds later, William stands gloomily behind the\n desk." ], [ "INT. WILLIAM'S LIVING ROOM - NIGHT", "INT. WILLIAM'S LIVING ROOM - NIGHT", "We arrive outside his blue-doored house just off Portobello.\n\n WILLIAM (V.O.)\n ... and where I now lead a strange\n half-life with a lodger called...", "And after a couple of seconds -- wow -- she smiles.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT\n\n The kitchen. William is looking uneasy. A doorbell rings.", "William walks away. The moment of hope is gone. He couldn't\n have had a clear reminder.\n\n INT. WILLIAM'S LIVING ROOM - EVENING", "And kisses her.\n\n INT. WILLIAM'S BEDROOM - NIGHT", "William enters. A certain nervousness. They are alone again.", "SPIKE\n And she's in your house.\n\n WILLIAM\n Yes.\n\n SPIKE\n And you get on very well.", "INT. WILLIAM'S LIVING ROOM - EVENING\n\n William is looking out the window, lost in thought. Spike\n enters.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "WILLIAM\n Gardens. All these streets round\n here have these mysterious communal\n gardens in the middle of them.\n They're like little villages.\n\n ANNA\n Let's go in.", "He approaches the lifts. At the lift, he pushes the button and\n the doors open. As he is getting in, William is joined by a young\n man. His name is Tarquin.", "The darkness of the living room. We see Anna in the shadow.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "INT. WILLIAM'S LIVING ROOM - EVENING\n\n William in a towel rushes downstairs, having just had a shower.\n He shoots past Spike.", "Pause. She leans forward, kisses him gently, then steps into\n the bedroom and closes the door.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "The lift lands. William gets out. So does Tarquin. Rooms\n 30-35 are to the left. 35-39 to the right. William heads right.\n So does Tarquin.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "INT. WILLIAM'S BATHROOM - DAY\n\n William is shaving. The bell goes. He heads out to answer it.", "INT. WILLIAM'S HOUSE - CONDOR/LIVING ROOM - DAY\n\n William heads upstairs and pauses. Spike coming down, wearing\n full body scuba diving gear." ], [ "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "ANNA\n There are lots of reasons. Do you\n want to come up?\n\n His look says yes.\n\n ANNA\n Give me five minutes.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA (V.O.)\n Oh -- Okay.\n\n WILLIAM\n Perhaps I could drop round for tea or\n something?", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "WILLIAM\n Jesus Christ.\n\n He comes back inside, snapping the door behind him. Anna is in\n the kitchen.\n\n ANNA\n What?", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "ANNA\n Okay. So what does 'just over the\n street' mean -- give it to me in yards.\n\n WILLIAM\n Eighteen yards. That's my house\n there.", "INT. WILLIAM'S DINING ROOM\n\n Anna and William. Sat down at table. There's a picture\n hanging on the wall behind.", "WILLIAM\n Don't think about it. We'll sort it\n out. Now what would you like -- tea\n ... bath...?\n\n ANNA\n A bath would be great.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "WILLIAM\n Gardens. All these streets round\n here have these mysterious communal\n gardens in the middle of them.\n They're like little villages.\n\n ANNA\n Let's go in.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay." ], [ "ANNA\n (on the phone)\n It's Anna. The press are here. No,\n there are hundreds of them. My", "ANNA\n I do. Your furry friend thought he'd\n make a buck or two telling the papers\n where I was.\n\n She's packing.", "INT. ANNA'S SUITE SITTING ROOM - DAY\n\n They knock on her door.\n\n ANNA (V.O.)\n Come in.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA\n No time at all. I fly out tonight.\n\n She's in a slightly melancholic and therefore honest mood.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "It is Anna Scott, the biggest movie star in the world -- here --\n in his shop. The most divine, subtle, beautiful woman on earth.\n When she speaks she is very self-assured and self-contained.", "ANNA\n I'm an actress.", "William looks up. At that moment the entire window is suddenly\n taken up by the huge side of a bus, obscuring the light -- and\n entirely covered with a portrait of Anna -- from her new film,\n 'Helix.'", "Pause. She kisses him on the cheek.\n\n ANNA\n Bye.\n\n Then turns and leaves. Leaving him.", "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "ANNA\n Ahm... I think that sounds -- you know\n -- lucky me. Happy Birthday.\n\n She hands her a present.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in." ], [ "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "They look at each other. Jeremy enters, with another journalists\n in tow. Anna and William stand and shake hands formally.\n\n ANNA\n Well, it was nice to meet you.\n Surreal but nice.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM/CORRIDOR - NIGHT\n\n Anna and William are leaving.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "He wanders off taking off his t-shirt.\n\n WILLIAM\n I better leave.\n\n Anna just nods.", "ANNA\n Both.\n\n INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT\n\n They are walking up the stairs -- and stop at the top.", "William and Anna step outside. From inside they hear a massive\n and hysterical scream of the friends letting out their true\n feelings. William is a little embarrassed.", "ANNA\n Yes, thanks.\n\n JEREMY\n And you are from 'Horse and Hound'\n magazine?\n\n William nods.", "They are walking.\n\n ANNA\n I shouldn't have done that. I\n shouldn't have done that.\n\n WILLIAM\n No, you were brilliant", "William coming along the hotel corridor. He knocks on the\n door.\n\n ANNA\n Hiya.\n\n There's something slightly awry. He doesn't notice.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "William swings out of the little shop -- he turns the corner of\n Portobello Road and bumps straight into Anna. The orange\n juice, in its foam cup, flies. It soaks Anna.", "A few moments later. William and Anna stand in the middle of\n the room. He kisses her neck. Then her shoulder. What a", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "INT. WILLIAM'S DINING ROOM\n\n Anna and William. Sat down at table. There's a picture\n hanging on the wall behind.", "Jeremy goes out -- it's their last seconds.\n\n WILLIAM\n Are you busy tonight?\n\n ANNA\n Yes.", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no." ], [ "William coming along the hotel corridor. He knocks on the\n door.\n\n ANNA\n Hiya.\n\n There's something slightly awry. He doesn't notice.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch.", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "A few moments later. William and Anna stand in the middle of\n the room. He kisses her neck. Then her shoulder. What a", "ANNA\n Oh my God. And they got a photo of you\n dressed like that?\n\n WILLIAM\n Undressed like this, yes.\n\n ANNA\n Jesus.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "WILLIAM\n Don't ask.\n\n She heads back the corridor, with no suspicion.\n\n ANNA\n You're up to something...", "WILLIAM\n Don't think about it. We'll sort it\n out. Now what would you like -- tea\n ... bath...?\n\n ANNA\n A bath would be great.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in.", "ANNA\n There are lots of reasons. Do you\n want to come up?\n\n His look says yes.\n\n ANNA\n Give me five minutes.", "INT. WILLIAM'S DINING ROOM\n\n Anna and William. Sat down at table. There's a picture\n hanging on the wall behind." ], [ "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "WILLIAM\n She left me.\n\n ANNA\n Why?\n\n WILLIAM\n She saw through me.", "ANNA\n I'm sorry... I don't know what to\n say.\n\n WILLIAM\n I think goodbye is traditional.", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "They are walking.\n\n ANNA\n I shouldn't have done that. I\n shouldn't have done that.\n\n WILLIAM\n No, you were brilliant", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "ANNA\n You've got big feet.\n\n WILLIAM\n Yes. Always have had.\n\n ANNA\n You know what they say about men with\n big feet?", "ANNA\n You disappeared.\n\n WILLIAM\n Yes -- I'm sorry -- I had to leave... I\n didn't want to disturb you.", "WILLIAM\n Oh please sod off.\n\n ANNA\n Okay.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "Pause. Anna looks up at William. He nods.\n\n ANNA\n Indefinitely.", "A few moments later. William and Anna stand in the middle of\n the room. He kisses her neck. Then her shoulder. What a", "Jeremy goes out -- it's their last seconds.\n\n WILLIAM\n Are you busy tonight?\n\n ANNA\n Yes.", "ANNA\n There are lots of reasons. Do you\n want to come up?\n\n His look says yes.\n\n ANNA\n Give me five minutes." ], [ "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "WILLIAM\n Hello. Hi. Hi.\n\n ANNA (V.O.)\n Hi.\n\n We hear her voice -- don't see her.", "WILLIAM\n I appreciate that absolutely.\n (changing subject\n tactfully)\n Is that the film you're doing?\n\n ANNA\n Yes -- start in L.A. on Tuesday.", "They look at each other. Jeremy enters, with another journalists\n in tow. Anna and William stand and shake hands formally.\n\n ANNA\n Well, it was nice to meet you.\n Surreal but nice.", "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "WILLIAM\n Jesus Christ.\n\n He comes back inside, snapping the door behind him. Anna is in\n the kitchen.\n\n ANNA\n What?", "William enters -- and there stands Anna -- in a simple blue\n skirt and top.\n\n ANNA\n Hi.\n\n WILLIAM\n Hello.", "ANNA\n Oh my God. And they got a photo of you\n dressed like that?\n\n WILLIAM\n Undressed like this, yes.\n\n ANNA\n Jesus.", "William looks up. At that moment the entire window is suddenly\n taken up by the huge side of a bus, obscuring the light -- and\n entirely covered with a portrait of Anna -- from her new film,\n 'Helix.'", "INT. WILLIAM'S KITCHEN - DAY\n\n Anna is on the phone. Spike is blithely heading downstairs to\n the kitchen in just his underpants.", "He is duly shocked. She's trying to be calm.\n\n ANNA\n Yes...\n\n JEFF (V.O.)\n Who is it?" ], [ "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "WILLIAM\n Would you like me to take you through\n your lines?\n\n ANNA\n Would you? It's all talk, talk, talk.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "WILLIAM\n She left me.\n\n ANNA\n Why?\n\n WILLIAM\n She saw through me.", "ANNA\n No.\n\n WILLIAM\n Do you always say 'no' to everything?\n\n Pause. She looks at him deep.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "WILLIAM\n Nothing, nothing... Look, I live just\n over the street -- you could get\n cleaned up.\n\n ANNA\n No thank you. I need to get my car\n back.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "WILLIAM\n Right. No one. I mean, I'll tell\n myself sometimes but... don't worry\n -- I won't believe it.\n\n ANNA\n Bye.", "ANNA\n No, thanks. I'll just look around.\n\n WILLIAM\n Fine.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "WILLIAM\n Wow.\n\n ANNA\n What?\n\n And then gets over it straight away.\n\n WILLIAM\n Nothing.", "ANNA\n Oh... no one... no one. Just some...\n guy from the past. I don't know what\n he's doing here. Bit of an awkward\n situation.", "ANNA\n You've got big feet.\n\n WILLIAM\n Yes. Always have had.\n\n ANNA\n You know what they say about men with\n big feet?", "William looks up. At that moment the entire window is suddenly\n taken up by the huge side of a bus, obscuring the light -- and\n entirely covered with a portrait of Anna -- from her new film,\n 'Helix.'", "It is Anna Scott, the biggest movie star in the world -- here --\n in his shop. The most divine, subtle, beautiful woman on earth.\n When she speaks she is very self-assured and self-contained." ], [ "HONEY\n William has just turned down Anna Scott.\n\n SPIKE\n You daft prick!", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA\n No, let him... ask away. You were\n saying?\n\n WILLIAM\n Yes, I just wondered whether if it\n turned out that this... person...", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "ANNA\n I'm rash and I'm stupid and what\n am I doing with you?\n\n WILLIAM\n I don't know, I'm afraid.", "ANNA\n You've got big feet.\n\n WILLIAM\n Yes. Always have had.\n\n ANNA\n You know what they say about men with\n big feet?", "WILLIAM\n And I think the book is the poorer for\n it.\n\n Anna smiles her biggest smile of the day. He is helping.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "She's awaiting an answer.\n\n WILLIAM\n Anna. Look -- I'm a fairly level-\n headed bloke. Not often in and out of\n love. But...", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "WILLIAM\n (pause)\n You're lovelier this morning than you\n have ever been.\n\n ANNA\n (very touched)\n Oh.", "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "WILLIAM\n Jesus Christ.\n\n He comes back inside, snapping the door behind him. Anna is in\n the kitchen.\n\n ANNA\n What?" ], [ "Bella is casually looking at the painting that sits beside\n William. It is the original of the Chagall, the poster of which\n was on his wall.", "ANNA\n I can't believe you have that picture\n on your wall.\n\n It is a poster of a Chagall painting of a floating wedding couple,\n with a goat as company.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "WILLIAM\n You like Chagall?\n\n ANNA\n I do. It feels like how being in love\n should be. Floating through a dark\n blue sky.", "William looks up. At that moment the entire window is suddenly\n taken up by the huge side of a bus, obscuring the light -- and\n entirely covered with a portrait of Anna -- from her new film,\n 'Helix.'", "INT. WILLIAM'S DINING ROOM\n\n Anna and William. Sat down at table. There's a picture\n hanging on the wall behind.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "Pause. She kisses him on the cheek.\n\n ANNA\n Bye.\n\n Then turns and leaves. Leaving him.", "shelves. The thief drifts out towards the door. Anna, who has\n observed all this, is looking at a blue book on the counter.", "Mid-film. We move across the audience. And there is in the\n middle of it, we see Anna, watching the screen, and next to", "He watches her go -- and stands in the street. Music plays.\n\n INT. RITZ CORRIDOR/ANNA'S SUITE - NIGHT", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "Anna's character -- Woody Anna -- is walking around the gallery\n with her famous co-star, Michael. They should be the perfect\n couple, but there is tension. Anna is not happy.", "A few moments later. William and Anna stand in the middle of\n the room. He kisses her neck. Then her shoulder. What a", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "BELLA\n This painting isn't the original, is\n it?\n\n WILLIAM\n Yes, I think that one may be.", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands." ], [ "ANNA\n (on the phone)\n It's Anna. The press are here. No,\n there are hundreds of them. My", "They look at each other. Jeremy enters, with another journalists\n in tow. Anna and William stand and shake hands formally.\n\n ANNA\n Well, it was nice to meet you.\n Surreal but nice.", "Huge room -- full of press. Row after row of journalists,\n cameras at the front, TV cameras at the back. Anna clearly", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "WILLIAM\n That's very good news. The readers of\n 'Horse and Hound' will be absolutely\n delighted.\n\n Anna whispers something to Jeremy.", "ANNA\n Yes, thanks.\n\n JEREMY\n And you are from 'Horse and Hound'\n magazine?\n\n William nods.", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "INT. ANNA'S SUITE SITTING ROOM - DAY\n\n They knock on her door.\n\n ANNA (V.O.)\n Come in.", "A huge premier -- screaming crowds -- Anna and William get out\n of the car, she holding his hand -- looking ultimately gorgeous\n -- he in a black tie that doesn't quite fit. He's startled.", "ANNA\n As far as they're concerned I do. And\n now tomorrow there'll be pictures of\n you in every newspapers from here to\n Timbuktu.", "Only two tables are being used. William and his friends are\n on their first course. Bernie reads an \"Evening Standard,\"\n with a picture of Anna and Jeff at Heathrow Airport.", "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "Back by the desk, William is listening and laughs. That's his\n girl. Anna prepares.", "ANNA\n I do. Your furry friend thought he'd\n make a buck or two telling the papers\n where I was.\n\n She's packing.", "INT. WILLIAM'S CORRIDOR - DAY\n\n Spike enters through the front door. William doesn't hear him.\n Spike is reading newspapers with the Anna pictures in it.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "William heads down the corridor and opens the door. Outside\n are hundreds of paparazzi -- an explosion of cameras and\n questions, of noise and light. The press seem to fill the\n entire street.", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch." ], [ "William coming along the hotel corridor. He knocks on the\n door.\n\n ANNA\n Hiya.\n\n There's something slightly awry. He doesn't notice.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "William shakes his head.\n\n ANNA\n I don't know where to go. The hotel\n is surrounded.\n\n WILLIAM\n This is the place.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "He is duly shocked. She's trying to be calm.\n\n ANNA\n Yes...\n\n JEFF (V.O.)\n Who is it?", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "A few moments later. William and Anna stand in the middle of\n the room. He kisses her neck. Then her shoulder. What a", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "They look at each other. Jeremy enters, with another journalists\n in tow. Anna and William stand and shake hands formally.\n\n ANNA\n Well, it was nice to meet you.\n Surreal but nice.", "ANNA\n Both.\n\n INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT\n\n They are walking up the stairs -- and stop at the top.", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in.", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "He rises from his stove position.\n\n WILLIAM\n Max. This is Anna." ], [ "ANNA\n Ahm... I think that sounds -- you know\n -- lucky me. Happy Birthday.\n\n She hands her a present.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "WILLIAM\n You'll be my date at my little sister's\n birthday party?\n\n ANNA\n If that's all right.", "INT. WILLIAM'S DINING ROOM\n\n Anna and William. Sat down at table. There's a picture\n hanging on the wall behind.", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n Okay.\n\n WILLIAM\n Okay.\n\n INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in.", "ANNA\n Both.\n\n INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT\n\n They are walking up the stairs -- and stop at the top.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "William enters -- and there stands Anna -- in a simple blue\n skirt and top.\n\n ANNA\n Hi.\n\n WILLIAM\n Hello.", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "Back by the desk, William is listening and laughs. That's his\n girl. Anna prepares.", "INT. MAX AND BELLA'S KITCHEN/LIVING ROOM/CORRIDOR - NIGHT\n\n Anna and William are leaving.", "They all laugh. Anna smiles across at William.\n\n WILLIAM\n So I get the brownie?\n\n MAX\n I think you do, yes." ], [ "WILLIAM\n That's right... I work for their in-\n house magazine.\n (mimes quotation marks)\n 'Movies are our business.'", "ANNA\n Yes, thanks.\n\n JEREMY\n And you are from 'Horse and Hound'\n magazine?\n\n William nods.", "William walks past the newsagent, heading for home. We see,\n though he doesn't, a rack of tabloid papers, all of which seem", "He returns to his desk. In the monitor we just glimpse, as does\n William, the book coming out of the trousers and put back on the", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "WILLIAM (V.O.)\n ... which, well, sells travel books\n -- and, to be frank with you, doesn't\n always sell many of those.\n\n William enters.", "William goes for the cover-up.\n\n WILLIAM\n No -- they're... for my grandmother.\n She's in a hospital nearby. Thought\n I'd kill two birds with one stone.", "They look at each other. Jeremy enters, with another journalists\n in tow. Anna and William stand and shake hands formally.\n\n ANNA\n Well, it was nice to meet you.\n Surreal but nice.", "INT. WILLIAM'S CORRIDOR - DAY\n\n Spike enters through the front door. William doesn't hear him.\n Spike is reading newspapers with the Anna pictures in it.", "WILLIAM\n If you could just give me a second.\n\n Her eyes follow him as he moves toward the back of the shop and\n approaches a man in slightly ill-fitting clothes.", "William heads down the corridor and opens the door. Outside\n are hundreds of paparazzi -- an explosion of cameras and\n questions, of noise and light. The press seem to fill the\n entire street.", "It is a small shop, slightly chaotic, bookshelves everywhere,\n with little secret bits round corners with even more books.\n Martin, William's sole employee, is waiting enthusiastically.", "WILLIAM\n (seeing it on a coffee\n table)\n 'Horse and Hound.' The name's\n William Whacker. I think she might\n be expecting me.", "WILLIAM\n So, I saw you put that book down your\n trousers.\n\n THIEF\n What book?", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "WILLIAM\n Excuse me.\n\n THIEF\n Yes.\n\n WILLIAM\n Bad news.\n\n THIEF\n What?", "WILLIAM\n (caught out)\n Oh hi. It's William Thacker. We,\n ahm I work in a bookshop.", "WILLIAM\n (pause)\n Actually, I can't think really -- let\n me just have a quick look...\n\n He looks under the sheet at her breasts.", "The next day. William is hard at work, doing the accounts in a\n dark small room with files in it. Martin pops his head in.", "WILLIAM\n Yes. This one though is... very\n good.\n\n He picks up a book on the counter." ], [ "WILLIAM\n If you could just give me a second.\n\n Her eyes follow him as he moves toward the back of the shop and\n approaches a man in slightly ill-fitting clothes.", "WILLIAM (V.O.)\n ... which, well, sells travel books\n -- and, to be frank with you, doesn't\n always sell many of those.\n\n William enters.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "It is a small shop, slightly chaotic, bookshelves everywhere,\n with little secret bits round corners with even more books.\n Martin, William's sole employee, is waiting enthusiastically.", "William enters. A certain nervousness. They are alone again.", "William shrugs his shoulders. Jeremy settles at a little desk\n in the corner and makes notes. A pause. William feels he has to\n act the part. They sit in chairs opposite each other.", "WILLIAM\n Fine. Everything much the same. When\n they change the law Spike and I will\n marry immediately. Whereas you...\n I've watched in wonder. Awards, glory\n ...", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "He approaches the lifts. At the lift, he pushes the button and\n the doors open. As he is getting in, William is joined by a young\n man. His name is Tarquin.", "He is very keen, an uncrushable optimist. Perhaps without\n cause. A few seconds later, William stands gloomily behind the\n desk.", "WILLIAM\n Excuse me.\n\n THIEF\n Yes.\n\n WILLIAM\n Bad news.\n\n THIEF\n What?", "The two of them on the rooftop terrace, passing the day.\n William is reading 'The bookseller.' The terrace is small and", "Cut to the wide sweep of Hampstead Heath. William entirely\n alone. He marches up a hill... goes over the crest of it -- and", "The next day. William is hard at work, doing the accounts in a\n dark small room with files in it. Martin pops his head in.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "He returns to his desk. In the monitor we just glimpse, as does\n William, the book coming out of the trousers and put back on the", "WILLIAM\n Are you sure you...?\n\n TARQUIN\n Yes.\n\n WILLIAM\n Oh. Right.", "WILLIAM\n (caught out)\n Oh hi. It's William Thacker. We,\n ahm I work in a bookshop.", "WILLIAM\n (pause)\n Actually, I can't think really -- let\n me just have a quick look...\n\n He looks under the sheet at her breasts.", "William on the bed. The door opens. It is Anna with a tray of\n toast and tea.\n\n ANNA\n Breakfast in bed. Or lunch, or brunch." ], [ "MAX\n Now you're lying.\n\n ANNA\n You're right. I told you I was bad\n at acting.\n\n Max loves this.", "WILLIAM\n She left me.\n\n ANNA\n Why?\n\n WILLIAM\n She saw through me.", "ANNA\n What did you say?\n\n WILLIAM\n Nothing.\n\n ANNA\n Yes, you did.", "WILLIAM\n Would you like me to take you through\n your lines?\n\n ANNA\n Would you? It's all talk, talk, talk.", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "She smiles. She's cool.\n\n ANNA\n Thank you.\n\n WILLIAM\n Yes. Well. My pleasure.", "WILLIAM\n Absolutely -- you're clearly very busy.\n\n ANNA\n But... wait... there are things to say.\n\n WILLIAM\n Okay.", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "ANNA\n No.\n\n WILLIAM\n Do you always say 'no' to everything?\n\n Pause. She looks at him deep.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "ANNA\n You've got big feet.\n\n WILLIAM\n Yes. Always have had.\n\n ANNA\n You know what they say about men with\n big feet?", "They are walking.\n\n ANNA\n I shouldn't have done that. I\n shouldn't have done that.\n\n WILLIAM\n No, you were brilliant", "ANNA\n Oh my God. And they got a photo of you\n dressed like that?\n\n WILLIAM\n Undressed like this, yes.\n\n ANNA\n Jesus.", "WILLIAM\n Right. No one. I mean, I'll tell\n myself sometimes but... don't worry\n -- I won't believe it.\n\n ANNA\n Bye.", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "WILLIAM\n I appreciate that absolutely.\n (changing subject\n tactfully)\n Is that the film you're doing?\n\n ANNA\n Yes -- start in L.A. on Tuesday.", "WILLIAM\n (pause)\n You're lovelier this morning than you\n have ever been.\n\n ANNA\n (very touched)\n Oh.", "There Anna is, framed in the window. Glorious.\n\n WILLIAM\n Hi.\n\n ANNA\n Hello.", "ANNA\n I'm rash and I'm stupid and what\n am I doing with you?\n\n WILLIAM\n I don't know, I'm afraid." ], [ "William and Anna step outside. From inside they hear a massive\n and hysterical scream of the friends letting out their true\n feelings. William is a little embarrassed.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "WILLIAM\n She left me.\n\n ANNA\n Why?\n\n WILLIAM\n She saw through me.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "WILLIAM\n And I think the book is the poorer for\n it.\n\n Anna smiles her biggest smile of the day. He is helping.", "He wanders off taking off his t-shirt.\n\n WILLIAM\n I better leave.\n\n Anna just nods.", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "ANNA\n You disappeared.\n\n WILLIAM\n Yes -- I'm sorry -- I had to leave... I\n didn't want to disturb you.", "WILLIAM\n Okay -- perfect timing as ever -- hold\n the fort for a second will you, Martin?\n\n Martin is left with Anna.", "WILLIAM\n Oh please sod off.\n\n ANNA\n Okay.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "ANNA\n Well, get a message through to him\n too.\n\n WILLIAM\n Brilliant.\n (the scene's over)\n Word perfect I'd say.", "They are walking.\n\n ANNA\n I shouldn't have done that. I\n shouldn't have done that.\n\n WILLIAM\n No, you were brilliant", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "HONEY\n William has just turned down Anna Scott.\n\n SPIKE\n You daft prick!", "INT. RESTAURANT - NIGHT\n\n A very smart Japanese restaurant. We see Anna and William\n sitting, near the end of their meal.\n\n ANNA\n So who left who?", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?" ], [ "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "He is pointing straight at William, who has his hand up.\n\n WILLIAM\n Yes -- Miss Scott -- are there any\n circumstances in which you two might be\n more than just friends?", "He puts down a copy of the 'Evening Standard' with a picture of\n Anna on its cover.\n\n WILLIAM\n (immediate gloom)\n Oh God no.", "He approaches the lifts. At the lift, he pushes the button and\n the doors open. As he is getting in, William is joined by a young\n man. His name is Tarquin.", "Cut to the wide sweep of Hampstead Heath. William entirely\n alone. He marches up a hill... goes over the crest of it -- and", "And after a couple of seconds -- wow -- she smiles.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "William can't think his way out of this.\n\n WILLIAM\n Yes. That's right. Bitch.\n\n He turns to go, but is accosted by Karen.", "He comes down wearing it. Lots of hearts, saying, 'You're the\n most beautiful woman in the world.'\n\n WILLIAM\n Well, yes, that's perfect. Well\n done.", "WILLIAM\n What?\n\n BERNIE\n Well, you know, anybody saying they\n want to go out with you is... pretty\n great... isn't it...", "HONEY\n William has just turned down Anna Scott.\n\n SPIKE\n You daft prick!", "WILLIAM\n Gardens. All these streets round\n here have these mysterious communal\n gardens in the middle of them.\n They're like little villages.\n\n ANNA\n Let's go in.", "WILLIAM\n (pause)\n Actually, I can't think really -- let\n me just have a quick look...\n\n He looks under the sheet at her breasts.", "William goes for the cover-up.\n\n WILLIAM\n No -- they're... for my grandmother.\n She's in a hospital nearby. Thought\n I'd kill two birds with one stone.", "Only two tables are being used. William and his friends are\n on their first course. Bernie reads an \"Evening Standard,\"\n with a picture of Anna and Jeff at Heathrow Airport.", "It is a small shop, slightly chaotic, bookshelves everywhere,\n with little secret bits round corners with even more books.\n Martin, William's sole employee, is waiting enthusiastically.", "The lift lands. William gets out. So does Tarquin. Rooms\n 30-35 are to the left. 35-39 to the right. William heads right.\n So does Tarquin.", "William swings out of the little shop -- he turns the corner of\n Portobello Road and bumps straight into Anna. The orange\n juice, in its foam cup, flies. It soaks Anna.", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "TESSA\n Oh hello, you're in a wheelchair.\n\n BELLA\n That's right.\n\n MAX\n And this is William." ], [ "EXT./INT. WILLIAM'S HOUSE -DAY\n\n William arrives at the door and opens it. There stands a dark-\n glassed Anna.", "William is tidying up frantically. Then he hears Anna's feet on\n the stairs. She walks down, wearing a short, sparkling black", "She looks at him carefully. Then leaps out of bed.\n\n ANNA\n I'll be back.\n\n INT. WILLIAM'S BEDROOM - MORNING", "At that moment -- thirty yards away, William sees trailer door\n open. Out of it comes Anna -- looking extraordinary -- in a", "ANNA\n Thanks.\n\n And leaves. She's out of his life forever. William is a little\n dazed. Seconds later Martin comes back in.", "ANNA\n Here we are.\n (pause)\n Do you want to come up?\n\n WILLIAM\n (he hoes)\n There seem to be lots of reasons\n why I shouldn't.", "The darkness of the living room. We see Anna in the shadow.\n\n INT. WILLIAM'S LIVING ROOM - NIGHT", "ANNA\n Come on, Flops.\n\n William clambers over with terrible difficulty, dusts himself\n off, and heads towards where she stands.", "ANNA\n Nice surprise.\n\n He kisses her.\n\n JEFF\n Liar.\n (to William)\n She hates surprises. What are you\n ordering?", "INT. WILLIAM'S KITCHEN - DAY\n\n Anna is on the phone. Spike is blithely heading downstairs to\n the kitchen in just his underpants.", "William and Anna step outside. From inside they hear a massive\n and hysterical scream of the friends letting out their true\n feelings. William is a little embarrassed.", "William sits alone on a bus. We see him through the side\n window. As it drives away, we see that the whole back of the\n bus is taken up with a huge picture of Anna.", "ANNA\n Both.\n\n INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT\n\n They are walking up the stairs -- and stop at the top.", "WILLIAM\n Jesus Christ.\n\n He comes back inside, snapping the door behind him. Anna is in\n the kitchen.\n\n ANNA\n What?", "ANNA\n This is certainly... ah...\n\n WILLIAM\n I only found out you were here\n yesterday.", "ANNA\n Because my boyfriend, who I thought\n was in America, is in fact in the\n next room.\n\n WILLIAM\n Your boyfriend?", "ANNA\n Hi. Can I come in?\n\n WILLIAM\n Come in.", "William enters -- and there stands Anna -- in a simple blue\n skirt and top.\n\n ANNA\n Hi.\n\n WILLIAM\n Hello.", "ANNA\n (pause)\n You've got to go.\n\n WILLIAM\n Why?", "INT. WILLIAM'S DINING ROOM\n\n Anna and William. Sat down at table. There's a picture\n hanging on the wall behind." ] ]

[ "Who lives with William Thacker?", "What is Will mistaken for when he goes to visit Anna at the Ritz Hotel?", "Who is Jeff King?", "What do Max and Bella do to help Will move on from Anna?", "Why does Anna come to Will's house to hide out?", "Why does Will refuse to get back together with Anna after apologizes?", "What is the present that Anna leaves for Will?", "Where does Will race off to catch Anna to proclaim his love?", "What does the montage show in their future at the end of the story?", "What kind of store does Will own?", "Who does Will live with?", "Why does Will ask Anna to come to his house the first time?", "What is Anna's profession?", "Where do Will and Anna go after him being mistaken for a journalist?", "Why does Will pretend to be a waiter in Anna's hotel room?", "Why do Anna and Will break up the second time?", "What does Anna tell her costar about Will when he shows up to her set?", "Why does Anna tell her costar that Will is no one important?", "Who tells Will he is daft for turning Anna down?", "What painting does Anna fall in love with?", "How are the reporters notified of Anna's prince at Will's house?", "Who does Will pretend to be when he gets to Anna's hotel and finds her boyfriend there?", "Who's birthday party does Anna attend with Will?", "What publication does Will pretend to work for?", "What is Will's profession?", "Why does Anna say she lied about Will when talking to her costar?", "Which of Will's friends lambast him for leaving Anna?", "Who sets Will up on a series of blind dates?", "Why is Anna upset when she shows up unexpectedly at Will's house?" ]

[ [ "A Welshman by the name of Spike.", "Spike" ], [ "He is mistaken for a journalist.", "A journalist." ], [ "He is Anna's American boyfriend who showed up unannounced.", "An American film star." ], [ "They set Will up on a series of blind dates.", "Set him up on dates" ], [ "She needs to hide because some nude photos of her were released and reporters are trying to find her.", "Nude photos of her were released" ], [ "He is convinced that they will just break up again and he could not stand to see her famous face everywhere.", "Will says he can't handle another breakup" ], [ "The present is the original Marc Chagall painting that she saw a poster of at his home (La Mariee).", "the original La Mariee" ], [ "He races to Anna's press conference at the Savoy Hotel.", "The Savoy Hotel " ], [ "The story ends showing them married with a baby on the way.", "Them getting married and Anna being pregnant." ], [ "A book store", "An independent book store." ], [ "An eccentric and care free man named Spike", "Spike" ], [ "He spilled his drink on her clothes and she needs to change", "So she can change" ], [ "She's an actress", "Acting " ], [ "His sister's birthday party", "His sisters birthday party" ], [ "Her boyfriend shows up unannounced ", "To avoid rousing the suspicion of Anna's boyfriend." ], [ "Reporters find her at Will's house, and Spike answers the door in his underwear, and Anna is upset by the scandal that it will cause", "Anna thinks Will desires publicity" ], [ "That he is no one important ", "That he is a nobody." ], [ "Because the costar is a gossip and she was being discreet", "The costar is a gossiper" ], [ "Spike", "Spike." ], [ "La MariĂŠe", "La Mariee" ], [ "Spike was overheard at a pub", "Spike blabbed about it." ], [ "A room service waiter", "A room service waiter" ], [ "His sister Honey", "His sisters " ], [ "Horse & Hound", "Horse & Hound" ], [ "Bookstore owner", "An independent bookstore owner" ], [ "The costar is a gossip", "To be discreet " ], [ "Spike", "Spike." ], [ "Max and Bella", "Max and Bella" ], [ "Nude photos of her had been leaked", "Nude photos of her have been published." ] ]

70b3f55e376d461b1cb7dc5005c02091478e2e44

train

[ [ "and take out each of the Generals, knocking them back into\n the PORTAL! They're plucked out of mid-air by cloudy tendrils\n and pulled back!", "ON PORTAL - It begins to close. The Generals struggle to get\n out, only now, we see they are HUMAN... their curse broken...\n and an eternity of pain and suffering ahead of them.", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "90 90\n Winters stands with Four Generals in his office, overseeing\n the portal. Ready.", "GENERAL AGUILA\n Challenge accepted.\n 97 The Portal worsens behind them. Sound and sight. The Eight 97", "like a sliding puzzle. Then they start to randomly SINK\n further into the ground. Light pours out of them, until all\n of them give way to create THE PORTAL.", "ORNAMENTAL STAND - a \"stargate\" of sorts. Yaotl and his men\n are unmoving... as they begin a ceremony. Yaotl looks to the", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "BEGUN to feel our wrath!\n The brothers are screwed. They can't stop the Generals. Until-", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "CLOSE ON LEO - A SHADOW suddenly falls over him. He looks up\n to see the FOUR GENERALS surrounding him. He tries to fight", "precipice of the Portal, being pulled back. They struggle to\n stand.\n The brothers look at each other. The place is violent with a\n whirlwind and screaming Monsters." ], [ "DONATELLO\n I know. Isn't it great?\n A beat. Mikey sighs, then walks back downstairs to the LIVING", "DONATELLO\n New York City.\n\n APRIL\n Winters Tower.", "DONATELLO\n Better hit the tunnels, guys.\n Donnie uses a small prod to prop open a MANHOLE COVER. Don,", "LEONARDO\n Just enjoying being home.\n hey walk past Donnie's Chop Shop room as - BOOM! - something\n explodes and smoke pours out under his door.", "RAPHAEL\n Leo's home.\n Donatello wakes up, looks around. LIGHTS UP when he sees Leo.", "DONATELLO\n Moneymoneymoneymoney.\n As Donnie walks away, Mikey LOUDLY CLEARS HIS THROAT. Don", "MICHAELANGELO\n Yes... sir.\n\n DONATELLO (O.S.)\n That's a good boy.", "DONATELLO (O.S.)\n Um... make that another hour.\n Leo sighs. Splinter walks by, not stopping.", "DONATELLO\n His vital signs seem to be okay.\n (opens his eye)\n Pupil dilation is normal.\n Raph weakly pushes Donnie's head away.", "N DON - He's hunched over a work table, back to Mikey.\n Tinkering as always. Wild inventions line the walls, some", "DONATELLO\n Temper is normal too.\n (to others)\n He's going to be fine. Health-wise,", "DONATELLO\n Leo!!\n ON MIKEY - He wakes up. A Cheese Doodle stuck to his upper\n snout. Really groggy.", "DONATELLO (O.S.)\n All part of the cover, my friend.\n\n CUT TO:", "ICHAELANGELO\n Whoa... I am in the wrong line of\n work. Nice pad, kids.\n Don immediately starts checking Raph out.", "DONATELLO\n Look!\n OFF DON'S LOOK - the mayhem builds at the other end of the\n vast lobby. The cells are glowing. The portal worsens.", "Splinter surrenders the cake. As Don walks away,\n Michaelangelo reaches into his bag and secretly passes\n Splinter a smaller wrapped piece.", "MICHAELANGELO\n I guess that would be a \"no\".\n ON RAPH - He finds Leo!\n\n DONATELLO\n Out of the way, please.", "Casey wheels the crate inside. The gate closes only KARAI HAS\n NOW DISAPPEARED! Casey opens the front hatch, revealing Don,", "a mesh of wires and circuitry powering the entire lair.\n Donatello runs up to Mikey. Mikey robotically hands him the\n wad of money from the party.", "MICHAELANGELO\n We don't see much of `em anymore.\n April seems to be working a lot -" ], [ "MICHAELANGELO\n (ventriloquist style)\n Just get me outta here, dude.\n ON DON - He hits some switches. Monitors change.", "MICHAELANGELO\n (from inside mascot head)", "MICHAELANGELO\n (put-on voice)\n Hyuk! Cowabunga dudes! Bye!\n\n KIDS", "MICHAELANGELO\n Aw nuts.\n Mikey suddenly grips his face back into a tight SMILE,\n frozen. He looks over and waves at the man who confusingly\n waves back.", "MICHAELANGELO (O.S.)\n Heheh... score.\n\n CUT TO:", "MICHAELANGELO\n All's I'm saying Donnie is that no\n one would notice if YOU did one of\n these gigs every now and again.", "MICHAELANGELO\n Honeeeeey! I'm hooome!\n As Mikey slides down the banister, the cam dollies around", "MICHAELANGELO\n (sighs - to himself)\n Every day it's the same thing. Wake", "MICHAELANGELO\n Okay... just a little bit creepy.\n\n (SNEEZES)\n Oh gawd. I think he's in my n-n-", "MICHAELANGELO\n\n YEEEEEHAAAAAAWWWW!!\n\n \n\n 13.", "MICHAELANGELO\n Domo arigato, dude.\n Mikey walks into the room and plops down on a sofa. Hits a", "MICHAELANGELO\n What?! Why does everyone always\n call ME out?\n A long beat. Then...", "MICHAELANGELO\n Yes... sir.\n\n DONATELLO (O.S.)\n That's a good boy.", "MICHAELANGELO\n Well, if panache is French for\n \"punching bag\", I'd have to agree\n with ya.", "ICHAELANGELO\n (ventriloquist style)\n Righteous.", "MICHAELANGELO\n Teamwork. The more you know...\n Don clocks Mikey behind the head.\n\n LEONARDO", "MICHAELANGELO\n You kiddin' me?! I mean, no offense\n Donnie, but you ain't exactly the\n biggest hitter on the bench.", "MICHAELANGELO\n Well?! WHAT NEXT?!!!\n\n APRIL\n No one knows. The legend stops\n there.", "MICHAELANGELO", "MICHAELANGELO" ], [ "WINTERS\n\n AAAAAAAAAAAAGGGH!!!\n\n \n\n \n\n INT. WINTERS BEDROOM - DAWN", "WINTERS\n We were so close... so close.\n Winters collapses on the floor. Head in hands.", "WINTERS\n Fascinating...\n\n SPLINTER\n Mister Winters. We mean you no\n harm.", "WINTERS", "WINTERS", "WINTERS", "INT. WINTERS OFFICE", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "AGUILA speaks in a gravelly, hardened voice. He towers over\n Winters by a foot. Clearly the leader of the four.", "INT. WINTERS OFFICE - LATER", "WINTERS\n Chris! How's it going?\n Winters nearly crushes Casey's hand in his grip.", "WINTERS ASSISTANT\n The board is waiting.\n\n WINTERS\n Excellent.\n He walks to the large bay windows that overlooks the city.", "WINTERS\n Well, I guess I'm just special that\n way.\n Winters walks over to his desk. The Statue looms behind them.", "WIPE TO:\n\n \n\n \n\n INT. WINTERS LOBBY - DAY", "CUT TO:\n\n \n\n \n\n INT. WINTERS LOBBY - SUNSET", "WINTERS\n Oh no, Miss O'Neil.\n looks back to statue)\n Like you said... just a story.\n inters doesn't break his stare.", "They flank Winters, who is just loving the theatricality of\n it all.\n The Foot Ninja leap back. Winters remains confident and", "After they leave, we pause for A BEAT on Winters. Quiet.\n Tired. Contemplative.", "WINTERS ASSISTANT\n It's time for your morning workout.\n\n \n\n \n\n INT. WINTERS WORKOUT ROOM", "72 72\n\n INT. WINTERS STUDY - CONTINUOUS" ], [ "Raph takes a ready stance. Leo does too. And they fight.\n Brother vs. brother. Katana vs. Sai. Technique vs. Heart.", "The Turtles collapse onto the floor, back to the portal.\n Silent. Splinter runs over to them.", "LOOK OUT!\n Winters dives in and pushes the Turtles out of way as the\n Creature flies in and knocks the Generals back into the", "Splinter looks at the Turtles. Busted, as we-\n\n X-DISSOLVE TO:", "RAPHAEL\n Nah. We kick butt.\n Raph jumps forward! Leo rolls his eyes, as all the Turtles", "are ready to fight.\n ...and the fight BEGINS! The Turtles leap, pounce and strike\n with all the exuberance and intensity they've ever had.", "DISSOLVE TO:\n\n \n\n \n\n INT. TURTLES LAIR - LATER", "52 52\n\n INT. SPLINTER'S ROOM - LATER\n\n The Turtles are kneeling before their sensei.", "HOLY CRAP!!!\n\n RAPHAEL\n\n WE DID IT!\n\n TURTLES", "About five more to go. Splinter also flips around and takes\n out another demon trying to escape. Splinter actually seems\n to be having FUN.", "RAPHAEL\n Nice of ya's ta join me.\n But the Turtles eventually get cornered. And just as the\n Creature closes in-\n\n MICHAELANGELO", "Raph gets separated at one point, jumping off the side of the\n building to catch up, and swings himself back onto the bottom\n floor to await the others.", "We finally get to see how much of an ass-kicker Master\n Splinter is. Same with April, who squares off against Karai.", "Leo accidentally slips, PLOWING Raph face-first into a brick\n wall. Raph, convinced Leo did it on purpose, uses his next\n opportunity to hurl Leo dangerously high and far over a", "SPLINTER\n What kind of business?\n\n KARAI\n The kind that involves familiar\n faces from your past...\n ON TURTLES - They all look at each other.", "YEAH! WHOOHOO! WE DID IT!\n The brothers high five one another. Splinter smiles proud.", "BACK IN LOBBY - The Turtles and Generals are at a standstill.\n Turtles all get thrown into a pile between the Generals.", "Splinter surrenders the cake. As Don walks away,\n Michaelangelo reaches into his bag and secretly passes\n Splinter a smaller wrapped piece.", "attacks. Stalemate. She gestures to the Foot as they use this\n opportunity for their escape. As they leap away, Karai looks\n back at the Turtles...", "It ends with Raph pinning Leo to the ground... holding a sai" ], [ "PLINTER\n Ah, Raphael. Your brothers and I\n were just discussing the vigilante\n Nightwatcher once again.", "RAPHAEL\n Wow, sounds... exciting.\n\n LEONARDO\n Save the brute vigilante junk for\n that Nightwing guy.", "RAPHAEL (O.S.)\n Sounds like four turtles I used ta\n know.\n ON DOOR - Raphael walks in, his Nightwatcher costume no where\n in sight.", "RAPHAEL\n If you mess with one of us-\n (looks around)\n -you mess with all of us.\n Aguila smiles at their chutzpa.", "RAPHAEL\n This should explain most of it. The\n legacy of the city's newest hero.\n Compliments of the fanboy over\n there. M", "RAPHAEL\n Sometimes there are lines that even\n the police can't cross. Someone has\n to be willing to do what needs to\n be done. And to do that, fear\n becomes a weapon.", "MIKEY/RAPH\n \"Nightwatcher\".", "Night's CHAIN, and pulled down. Raph's visor flips up.", "Raphael's on edge from the mention of Nightwatcher already.\n His attention doesn't break from Donatello.", "RAPHAEL\n\n AAAAAAAAGHH!!\n He mule kicks Leo back. Leo tumbles back, still in shock.\n They yell at each other through the pouring rain.", "RAPHAEL\n We rescue our brother... and save\n New York City.\n Splinter stands to his side.\n\n SPLINTER\n Together.", "He pulls it out, placing it in his NIGHTWATCHER SCRAPBOOK,\n overflowing with paper clippings and articles on the\n vigilante.", "Raph's loving this. Walks to the Burglar and picks him up.", "Raph passes out as we-\n\n WIPE TO:", "A WHOLE lot worse... I know you\n must be ashamed of me, father.\n Raphael is lost in his guilt. Splinter kneels in front of", "SPLINTER\n Raphael. You always bear the\n world's problems on your shoulders.\n It is an admirable quality when you", "SPLINTER\n Raphael! Kneel.\n Raph stops. Breathing heavy. Falls in line - walking to\n Splinter and dropping to his knees in front of his father.", "RAPHAEL\n Yeah... whatever.\n - and bolts out the door.\n\n CUT TO:\n\n \n\n A", "(GROANS)\n Raph can't take it any more. He draws his sais and thrusts\n them at Winters. THAT gets his attention. Winters looks up in", "ASEY\n \"And a legend was born\". So what\n was your handle before that?\n\n RAPHAEL\n I kinda liked \"The Midnight\n Marauder\"..." ], [ "the TMNT. He is well-kempt, still walks with a cane, and has\n the same sparkle in his eye. He approaches Mikey. Silent.", "Raph gets separated at one point, jumping off the side of the\n building to catch up, and swings himself back onto the bottom\n floor to await the others.", "RAPHAEL\n Nice of ya's ta join me.\n But the Turtles eventually get cornered. And just as the\n Creature closes in-\n\n MICHAELANGELO", "Raph takes a ready stance. Leo does too. And they fight.\n Brother vs. brother. Katana vs. Sai. Technique vs. Heart.", "Leo accidentally slips, PLOWING Raph face-first into a brick\n wall. Raph, convinced Leo did it on purpose, uses his next\n opportunity to hurl Leo dangerously high and far over a", "RAPHAEL\n Nah. We kick butt.\n Raph jumps forward! Leo rolls his eyes, as all the Turtles", "45 45\n\n INT. TURTLES LAIR - TRAINING DOJO\n\n Leo feverishly works out. He stops, looking up, panting.", "ON TURTLES - Raph and Leo GLARE at one another while they\n eat. Don is pouring over a THICK BOOK while Mikey sits with\n his forehead on the table.", "Raph, Mikey, April and Splinter.", "DISSOLVE TO:\n\n \n\n \n\n INT. TURTLES LAIR - LATER", "Raph RUNS AWAY, across a few rooftops. Away from his brother.\n He suddenly STOPS and looks back at Leo, small in the\n distance.", "M\n ikey and Don high five. Leo and Raph aren't amused. They\n stare down. Raph does his BULLY FLINCH fake-lunge... only Leo\n doesn't twitch. Suddenly-", "Aguila moves forward to Leo. Raph steps in beside him,\n defiant. Then Mikey. Then Don.", "Splinter surrenders the cake. As Don walks away,\n Michaelangelo reaches into his bag and secretly passes\n Splinter a smaller wrapped piece.", "RAPHAEL\n We rescue our brother... and save\n New York City.\n Splinter stands to his side.\n\n SPLINTER\n Together.", "RAPHAEL\n I did something... I did something\n really stupid, Master Splinter.\n\n SPLINTER\n Go on...", "We finally get to see how much of an ass-kicker Master\n Splinter is. Same with April, who squares off against Karai.", "- RAPHAEL, THE RED-MASKED NINJA TURTLE!\n He reaches back and pulls out the KNIFE from his SHELL. Looks", "Mike and Leo jump in. Leo looks back, Raph is still stewing.", "TURTLES\n Morning, sensei.\n Splinter makes himself a TEA. Room is SILENT." ], [ "Raph takes a ready stance. Leo does too. And they fight.\n Brother vs. brother. Katana vs. Sai. Technique vs. Heart.", "are ready to fight.\n ...and the fight BEGINS! The Turtles leap, pounce and strike\n with all the exuberance and intensity they've ever had.", "Leo accidentally slips, PLOWING Raph face-first into a brick\n wall. Raph, convinced Leo did it on purpose, uses his next\n opportunity to hurl Leo dangerously high and far over a", "RAPHAEL\n Nah. We kick butt.\n Raph jumps forward! Leo rolls his eyes, as all the Turtles", "Aguila moves forward to Leo. Raph steps in beside him,\n defiant. Then Mikey. Then Don.", "Raph and Aguila duke it out in and around the MONSTER CELLS.\n It's a Jackie Chan-inspired sequence, where they have to be\n aware of their environment to avoid defeat.", "RAPHAEL\n Nice of ya's ta join me.\n But the Turtles eventually get cornered. And just as the\n Creature closes in-\n\n MICHAELANGELO", "About five more to go. Splinter also flips around and takes\n out another demon trying to escape. Splinter actually seems\n to be having FUN.", "Raph gets separated at one point, jumping off the side of the\n building to catch up, and swings himself back onto the bottom\n floor to await the others.", "LOOK OUT!\n Winters dives in and pushes the Turtles out of way as the\n Creature flies in and knocks the Generals back into the", "ON TURTLES - Raph and Leo GLARE at one another while they\n eat. Don is pouring over a THICK BOOK while Mikey sits with\n his forehead on the table.", "YEEEAAAAARGGHHH!!!!!\n The creature stops. Confused. So are the other three turtles.", "6\n\n \n\n 9 69\n\n INT. TURTLES LAIR - EVENING", "Suddenly - BOOM! - Gato finds them. He tries to smash through\n the steel door with his bare hands!\n Raph leans his body into the door as a last ditch effort.", "- The Generals capture a Sloth-like creature, jumping in\n throughout rafters above. The Foot try to help by blocking\n exits.", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "DISSOLVE TO:\n\n \n\n \n\n INT. TURTLES LAIR - LATER", "Mike and Leo jump in. Leo looks back, Raph is still stewing.", "104 104\n All four turtles are horsing around. They get geared up...", "UT TO:\n\n \n\n \n\n INT. TURTLES LAIR - EVENING" ], [ "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "BEGUN to feel our wrath!\n The brothers are screwed. They can't stop the Generals. Until-", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "GENERAL AGUILA\n Silly children. We are immortals\n made of stone! The Earth has only", "SPLINTER\n Yes. Yes, my sons.\n The Generals can't keep up. It's enough to distract them to", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "Their bodies \"glow\" with a red inner life, seeping through\n their stone cracks and piercing eyes.\n The Generals are all ANIMAL-THEMED - Mute and powerful Ape-", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "quickly look at one another. Know what they have to do.\n They all leap in the way, standing between Winters and his\n backstabbing Generals.", "distinct armor as the Four Stone Generals - in human form.", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "CLOSE ON LEO - A SHADOW suddenly falls over him. He looks up\n to see the FOUR GENERALS surrounding him. He tries to fight", "QUICK SHOTS OF EACH GENERAL. The walk along side Yoatl.\n Possibly slo-mo. We will come to recognize them through their", "The Generals turn and walk-push the Foot out of the door.\n They move to fight back, but Karai waves her hand." ], [ "Splinter walks through the lair. It's empty. He walks past\n their \"trophy room\". He places the ornate head of WINTERS'\n CANE on the shelf.", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "Splinter surrenders the cake. As Don walks away,\n Michaelangelo reaches into his bag and secretly passes\n Splinter a smaller wrapped piece.", "Splinter smiles. Reaches into a box and takes out a similar\n MEDALLION to the one given to Leonardo.", "About five more to go. Splinter also flips around and takes\n out another demon trying to escape. Splinter actually seems\n to be having FUN.", "SPLINTER\n Enter.\n Leo walks in and kneels in front of Splinter.", "SPLINTER\n He-heh. You have done well, my son.\n Donatello walks to the fridge and opens it - FILLED with", "figure. YAOTL. His helmet is impenetrable, with eye slits.\n Note - the flashback is dark, shadowed and monochromed.", "ABOVE FIREPLACE - is a suit of armor... THE suit of armor of\n none other than Yaotl the Conqueror. He looks at it with\n heavy thought. Then-", "SPLINTER\n My sons, what-\n Splinter's eyes go wide. He looks at his boys listening to\n the TV intently. Mikey nurses his sore head.", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "his helmet. Red cloth spills out. He turns around as we see-", "SPLINTER\n But I-\n (changes attitude)\n -Donatello! I am your Master!", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "his helmeted head repeatedly to the floor! It lunges forward,\n mouth open as Night backhands it with a PLATE. The Demon", "Splinter watches the growing tension with concern.", "Splinter walks over to them. CAM ADJUSTS to show Karai and\n the Foot Ninja standing there. Silence. Finally, Karai steps\n forward -", "SPLINTER\n Raphael! Kneel.\n Raph stops. Breathing heavy. Falls in line - walking to\n Splinter and dropping to his knees in front of his father.", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "SPLINTER\n Leonardo? R\n\n APHAEL\n (beat, ashamed)\n Yes.\n Splinter is grim. Nods. But he moves on." ], [ "RAPHAEL\n\n AAAAAAAAGHH!!\n He mule kicks Leo back. Leo tumbles back, still in shock.\n They yell at each other through the pouring rain.", "RAPHAEL\n Yeah... whatever.\n - and bolts out the door.\n\n CUT TO:\n\n \n\n A", "RAPHAEL\n You know I ain't much on speeches.", "RAPHAEL\n Thank you... father.\n Mikey bursts in the door, frantic.", "RAPHAEL\n Listen, I - I'm sorry.\n\n \n\n 9", "RAPHAEL\n If you mess with one of us-\n (looks around)\n -you mess with all of us.\n Aguila smiles at their chutzpa.", "RAPHAEL\n (awkward beat/fake yawn)\n Well, I'm goin' to bed.\n He leaves.", "RAPHAEL\n I can only hope, Mikey. I can only\n hope...\n Leo disapprovingly flips through the book.", "RAPHAEL\n So... congratulations.\n\n LEONARDO\n Thanks.", "RAPHAEL\n I thought he'd never shut up.\n WIDER - The portal EXPLODES in a upwards funnel. Silence.\n\n MICHAELANGELO", "LEONARDO\n R-raph?\n\n (THINKS)\n What?\n But Raph doesn't feel like explaining. Refuses defeat.", "RAPHAEL\n Yer tellin' me...\n Casey looks at his old bud.\n\n CASEY\n Raph?", "RAPHAEL\n And we did... but turns out I was\n the only one who was willing to do", "Raph passes out as we-\n\n WIPE TO:", "RAPHAEL\n Later!\n Raph RUNS OFF toward the action.\n\n LEONARDO", "RAPHAEL\n Hop on.\n Raph leaves Gato in a cloud of dust... but not for long. Gato", "RAPHAEL\n\n (GRINNING)\n You keep on playing with fire,\n little man, you might just get\n burnt.", "RAPHAEL\n Sometimes there are lines that even\n the police can't cross. Someone has\n to be willing to do what needs to\n be done. And to do that, fear\n becomes a weapon.", "RAPHAEL\n\n L\n eo!!! Hang on!!\n But the Caravan is too fast, and eventually loses Raph.\n\n APHAEL", "stops. He collapses back. Almost ashamed of what he's done.\n Leo just can't believe that Raph bested him. They pant\n heavily. The rain dies down." ], [ "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "Cool shots of Yaotl. His armor, his stance, etc.", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "And then he stops. Dust slowly settles and smoke dissipates.", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "BEAT)\n It was like blood in the water for\n a predator like Yaotl.", "ABOVE FIREPLACE - is a suit of armor... THE suit of armor of\n none other than Yaotl the Conqueror. He looks at it with\n heavy thought. Then-", "figure. YAOTL. His helmet is impenetrable, with eye slits.\n Note - the flashback is dark, shadowed and monochromed.", "PANTERA\n Let's see if a ghost can die, then.\n Pantera SCREAMS and runs to Leo and starts swinging! At the\n CLASH of sword and machete, we-", "GENERAL AGUILA\n Two creatures remain, my lord.\n A long beat. Winters closes his eyes.", "loving his entire life. Of FEELING.\n (gestures to portal)\n So he prefers to end it all. End", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action." ], [ "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "Cool shots of Yaotl. His armor, his stance, etc.", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "BEAT)\n It was like blood in the water for\n a predator like Yaotl.", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "ABOVE FIREPLACE - is a suit of armor... THE suit of armor of\n none other than Yaotl the Conqueror. He looks at it with\n heavy thought. Then-", "figure. YAOTL. His helmet is impenetrable, with eye slits.\n Note - the flashback is dark, shadowed and monochromed.", "ORNAMENTAL STAND - a \"stargate\" of sorts. Yaotl and his men\n are unmoving... as they begin a ceremony. Yaotl looks to the", "fascination with these particular\n works of art? I'd never even heard\n of the Legend of Yaotl until we\n met.", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "ON YAOTL - He takes off his helmet... IT'S WINTERS HIMSELF.", "(\n shaking/nervous)\n The jungle god that punishes those\n who prey upon the weak.\n (looks scared to Pantera)\n He's coming... for us." ], [ "DONATELLO\n What can't be, April?\n April sits down on the floor with the disk. Trying to figure\n things out. Casey leans down to her.", "APRIL\n Yeah.\n They sit on that for a moment. Casey leans in for a kiss.\n April doesn't notice. Awkward. Casey changes his mind.", "LEONARDO\n Oof! You're a heavy boy, aren't\n you?\n They both land on a fire escape, as Night clamors to the top.\n Leo wastes no time in catching up.", "APRIL\n I cleaned out my archives on\n ancient South America. Might have\n found something useful.\n She takes out a hand-drawn map.", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "LEONARDO\n My training is now complete.\n The camera lifts away from Leo... and then PLUNGES into the", "LEONARDO\n Say, what's up with April and\n Casey? I expected them to drop by\n after I got back.", "LEONARDO\n Nice try, amateur.\n Leo crosses the busy street while still maintaining his", "MICHAELANGELO\n We don't see much of `em anymore.\n April seems to be working a lot -", "LEONARDO\n (thinks, then realizes)\n Oh, you didn't.\n Raph sheepishly shrugs as we-\n\n SMASH CUT TO:", "WINTERS (V.O.)\n It was a time long before the\n Mayans, April. Long before the", "ON APRIL - She's listening to Casey... maybe her man-boy is\n growing up. Raph knows he can't win.", "APRIL\n Yes. It was today that I returned\n to you after being in a deadly\n jungle for almost a month.", "APRIL\n Casey, I think we need to talk.\n (turns around)\n I don't want- whoa.", "SPLINTER\n Leonardo? R\n\n APHAEL\n (beat, ashamed)\n Yes.\n Splinter is grim. Nods. But he moves on.", "APRIL\n ...yes.\n She wraps her arms around his waist and holds tight for the\n adventures that await...\n CAM FOLLOWS for a beat, then rises up the buildings to-", "Casey is enjoying the hell out of it. High flying, adrenaline\n rush. He even catches April checking him out, and vice versa.\n April suddenly spots an opening to the front doors!", "MICHAELANGELO\n Well?! WHAT NEXT?!!!\n\n APRIL\n No one knows. The legend stops\n there.", "LEONARDO\n You're playing video games on the\n possible eve of Armageddon, Mikey.\n\n MICHAELANGELO", "SPLINTER\n I've missed you, Leonardo.\n\n L\n eo hugs Splinter." ], [ "of New York. But hey, that's just\n me.\n Don elbows Mikey back in line.", "CUT TO:\n\n \n\n \n\n EXT. NEW YORK CITY STREETS", "ostentatious bedroom of MAXIMILIAN WINTERS, a young mid-40's.\n Famous NYC entrepreneur.\n inters is large, handsome, built and powerful in every", "EXT. NEW YORK CITY STREET", "EONARDO\n So what do we have? We have someone\n with a lot of money.", "18.\n NYC DIRT REPORTER(cont'd)\n Although the victims have been", "ventually the NYPD peter out. The mugger looks back. Smiles.", "EXT. NEW YORK CITY STREETS - MOMENTS LATER", "CUT TO:\n\n \n\n \n\n EXT. NYC ROOFTOPS - NIGHT", "78 78\n\n EXT. NEW YORK CITY STREETS - CONTINUOUS", "DONATELLO\n New York City.\n\n APRIL\n Winters Tower.", "EXT. NEW YORK CITY STREETS - CONTINUOUS\n\n\n 18 18", "EXT. NEW YORK CITY STREET\n\n\n 102 102", "CUT TO:\n\n \n\n \n\n EXT. NYC SHORELINE - NIGHT", "drive away. NYC civilians point to the sky, worried. PUSH IN\n on a TV/STEREO STORE WINDOW - Simon's Electronics.", "11 11\n\n EXT. NEW YORK CITY STREET - CONTINUOUS", "16 16\n\n EXT. NEW YORK CITY STREETS - LATER", "59 59\n\n EXT. NYC ROOFTOPS - CONTINUOUS", "EXT. NEW YORK CITY BACK ALLEYS/STREETS - NIGHT", "OFFICERS clamor after him. The Mugger is a jackrabbit -\n hopping newspaper machines, rolling under passing trucks and\n doing anything he can to avoid arrest." ], [ "APRIL\n Yeah.\n They sit on that for a moment. Casey leans in for a kiss.\n April doesn't notice. Awkward. Casey changes his mind.", "INT. APRIL AND CASEY'S LOFT APARTMENT - CONTINUOUS", "INT. APRIL AND CASEY'S LOFT APARTMENT - CONTINUOUS", "APRIL\n Casey, I think we need to talk.\n (turns around)\n I don't want- whoa.", "INT. APRIL AND CASEY'S LOFT APARTMENT - LATER", "INT. APRIL AND CASEY'S LOFT APARTMENT - LATER", "APRIL\n Suit yourself.\n (she stops - a beat)\n Case?\n\n CASEY\n Yeah?\n\n APRIL", "Casey is enjoying the hell out of it. High flying, adrenaline\n rush. He even catches April checking him out, and vice versa.\n April suddenly spots an opening to the front doors!", "OFF HIS LOOK - We see APRIL, dressed stunning in a dark\n business suit at the other side of the street. She's dangling", "33.\n APRIL(cont'd)\n\n (BEAT)", "APRIL\n Guys! Front door is open. Now!\n They all charge the front door!\n\n \n\n \n\n INT. WINTERS TOWER", "Winters BEAMS, way too excited as well. April holds out her\n hand to Casey, who doesn't know what she wants. He awkwardly\n HIGH FIVES her.", "APRIL\n Hello Max.\n\n (BEAT)\n This is my... friend, Casey Jones.\n\n \n\n (", "APRIL\n ...yes.\n She wraps her arms around his waist and holds tight for the\n adventures that await...\n CAM FOLLOWS for a beat, then rises up the buildings to-", "crate. PUSH IN on it as April steps in front. Admires it with\n pride. Turns, takes out a cell phone, and hits speed dial.", "CASEY\n I missed you?\n April doesn't answer. She closes the phone. Casey slumps in\n his chair, shaking his head.", "SMASH CUT TO:\n\n \n\n \n\n INT. APRIL AND CASEY'S LOFT APARTMENT", "hand. A line of DROOL hangs from his mouth. April is\n fascinated by the story. She nudges Casey who does the\n slurp/half-snore wake up.", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "ASEY\n Aw, c'mon April! We just started!\n April just gives him \"the look\" with an eyebrow cock. Casey\n knows he can't win." ], [ "ON PORTAL - It begins to close. The Generals struggle to get\n out, only now, we see they are HUMAN... their curse broken...\n and an eternity of pain and suffering ahead of them.", "loving his entire life. Of FEELING.\n (gestures to portal)\n So he prefers to end it all. End", "like a sliding puzzle. Then they start to randomly SINK\n further into the ground. Light pours out of them, until all\n of them give way to create THE PORTAL.", "Portal! The Cloud Tendrils grab a hold of it and pull it back\n into the Portal!\n ON STARS - The Stars move out of alignment, ending the cycle.", "93.\n\n \n\n \n\n \n Aguila tries to fight his way out of the portal.", "precipice of the Portal, being pulled back. They struggle to\n stand.\n The brothers look at each other. The place is violent with a\n whirlwind and screaming Monsters.", "They trust one another, and their efficiency shows.\n ON PORTAL - More tentacles begin to come out. More claws\n surround the surface edges.", "ON PORTAL - A small DEMON makes its way out of the portal!\n Winters runs and flips through the air and then CLOBBERS IT\n with his bare hands, sending it back down!", "and take out each of the Generals, knocking them back into\n the PORTAL! They're plucked out of mid-air by cloudy tendrils\n and pulled back!", "ON CHARGING ARMY - they stop dead in their tracks. Front-lit\n by the OS portal. Don't know what to expect -\n ON PORTAL - A crackling electric circle opens to another", "HIS \"misery\" at the expense of\n ours.\n Aguila walks to the cells. The portal writhes in the bg,\n sinking into the floor.", "RAPHAEL\n I thought he'd never shut up.\n WIDER - The portal EXPLODES in a upwards funnel. Silence.\n\n MICHAELANGELO", "GENERAL AGUILA\n Challenge accepted.\n 97 The Portal worsens behind them. Sound and sight. The Eight 97", "W\n inters SMASHES the portal, stopping the slew of monsters\n from pouring out. End on a scream. Dissolve to LATER in the\n battle...", "He's taking a pounding as the door is denting with each slam\n by Gato. Casey tries to help as well.\n Gato comes close to breaking in. Very tense. Then-", "another portal could take place.\n (to herself)\n Max, what are you up to?", "BACK IN LOBBY - The light burst flies into the lobby and hits\n the circle in the middle of all the monsters' cells.\n ON CIRCLE - The pieces suddenly start to move around. Almost", "SPLINTER\n They must face them alone. As\n brothers.\n Winters debates it in his head for a beat - WHAM! - a\n tentacle from the portal slams down next to him!", "90 90\n Winters stands with Four Generals in his office, overseeing\n the portal. Ready.", "The Turtles collapse onto the floor, back to the portal.\n Silent. Splinter runs over to them." ], [ "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "together with his Four Warrior-\n Priest Generals, they pillaged\n every culture in their path.", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "CLOSE ON LEO - A SHADOW suddenly falls over him. He looks up\n to see the FOUR GENERALS surrounding him. He tries to fight", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "BEGUN to feel our wrath!\n The brothers are screwed. They can't stop the Generals. Until-", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "GENERAL AGUILA (O.S.)\n Our master fails to include crucial\n points in his tale.\n ON SHADOWS - The Four Generals thump forward.", "distinct armor as the Four Stone Generals - in human form.", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "SPLINTER\n Yes. Yes, my sons.\n The Generals can't keep up. It's enough to distract them to", "QUICK SHOTS OF EACH GENERAL. The walk along side Yoatl.\n Possibly slo-mo. We will come to recognize them through their" ], [ "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "BEAT)\n It was like blood in the water for\n a predator like Yaotl.", "together with his Four Warrior-\n Priest Generals, they pillaged\n every culture in their path.", "Aztecs and even the Olmecs. It was\n a time of legends. A time of\n greatness. The true mother culture\n of Central America.", "So, if we can cross-reference our\n current star field, positioning of\n the Stars of Kikin and backtrack\n positioning based off of the Aztec", "foot towering wall of granite and obsidian. Eagle warrior\n armor reflecting a South American design... though not from a\n specific time period. Winters rubs his hand over the stone.", "DONATELLO\n For use in an Aztec calendar.\n (picks up map)", "ABOVE FIREPLACE - is a suit of armor... THE suit of armor of\n none other than Yaotl the Conqueror. He looks at it with\n heavy thought. Then-", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "APRIL\n Azteks and Mayans.\n\n CASEY\n That's what i said.", "AGUILA speaks in a gravelly, hardened voice. He towers over\n Winters by a foot. Clearly the leader of the four." ], [ "Raph, Mikey, April and Splinter.", "ON APRIL - She's listening to Casey... maybe her man-boy is\n growing up. Raph knows he can't win.", "CASEY\n (caught - looks at both)\n Oh. I, uh -\n HUHN! - Casey tosses Karai off of him. April's eye cocks.", "APRIL\n Hello Max.\n\n (BEAT)\n This is my... friend, Casey Jones.\n\n \n\n (", "the front, we see April and Casey.\n nd on Raph in passenger seat and Mikey driving.", "Oh! Here ya go, Master Splinter.\n Mikey reaches into his bag and removes a foil-wrapped piece\n of BIRTHDAY CAKE. Splinter lights up.", "MICHAELANGELO\n Yes... sir.\n\n DONATELLO (O.S.)\n That's a good boy.", "Mikey stares at Splinter, dead pan. A beat. Then returns to\n flipping channels. He stops on a NEWS program - \"NYC DIRT\".", "DONATELLO\n What can't be, April?\n April sits down on the floor with the disk. Trying to figure\n things out. Casey leans down to her.", "the TMNT. He is well-kempt, still walks with a cane, and has\n the same sparkle in his eye. He approaches Mikey. Silent.", "LEONARDO\n Heh. Yeah... I mean, yes sensei.\n\n SPLINTER\n (to doorway)\n Raphael, your brother is home.", "RAPHAEL\n Yeah?\n\n CASEY\n Nice to see ya, man.\n Raph acknowledges. The moment is broken by a HORRIBLE SHRIEK!", "Leo paces back and forth in the main area. Splinter walks in.\n Mikey plays video games on the main TV.", "We finally get to see how much of an ass-kicker Master\n Splinter is. Same with April, who squares off against Karai.", "CAM LOWERS - as APRIL O'NEIL leaps down into frame. Dressed\n in jungle expedition gear with her head wrapped in a bandana.", "Splinter surrenders the cake. As Don walks away,\n Michaelangelo reaches into his bag and secretly passes\n Splinter a smaller wrapped piece.", "SPLINTER\n I've missed you, Leonardo.\n\n L\n eo hugs Splinter.", "SPLINTER\n My sons, what-\n Splinter's eyes go wide. He looks at his boys listening to\n the TV intently. Mikey nurses his sore head.", "MICHAELANGELO\n Yes, sensei.\n ANGLE ON - SPLINTER the Japanese rodent master and father of", "don't have much time.\n Karai runs off. April looks over at Winters. He nods, still\n hurting. April takes off after Karai, leaving Casey behind" ], [ "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "WINTERS\n\n AAAAAAAAAAAAGGGH!!!\n\n \n\n \n\n INT. WINTERS BEDROOM - DAWN", "WINTERS\n Fascinating...\n\n SPLINTER\n Mister Winters. We mean you no\n harm.", "WINTERS\n We were so close... so close.\n Winters collapses on the floor. Head in hands.", "WINTERS\n What is it?\n Winters doesn't turn around. Stays in E-FG. Cam adjusts to\n show the shape of GENERAL AGUILA in the doorway.", "They flank Winters, who is just loving the theatricality of\n it all.\n The Foot Ninja leap back. Winters remains confident and", "WINTERS", "WINTERS", "WINTERS", "WINTERS\n Oh no, Miss O'Neil.\n looks back to statue)\n Like you said... just a story.\n inters doesn't break his stare.", "ON WINTERS - He just SMILES. Content. Finally at peace. As he\n ages thousands of years in front of us... eventually turning\n to DUST and blowing away.", "WINTERS\n Well, I guess I'm just special that\n way.\n Winters walks over to his desk. The Statue looms behind them.", "INT. WINTERS OFFICE - LATER", "WINTERS\n What?\n His mind reels. Looks down at the cells. Nothing. Then it\n hits him like a ton of bricks. He turns to the Generals...", "WINTERS\n Chris! How's it going?\n Winters nearly crushes Casey's hand in his grip.", "WINTERS (V.O.)\n It was I who stood on that\n battlefield all those years ago.", "INT. WINTERS OFFICE", "AGUILA speaks in a gravelly, hardened voice. He towers over\n Winters by a foot. Clearly the leader of the four.", "WINTERS ASSISTANT\n The board is waiting.\n\n WINTERS\n Excellent.\n He walks to the large bay windows that overlooks the city.", "WINTERS\n Well, by all means then. Let's\n finish it.\n ON AGUILA - He squints. Deep in thought and not sharing." ], [ "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "Cool shots of Yaotl. His armor, his stance, etc.", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "BEAT)\n It was like blood in the water for\n a predator like Yaotl.", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "ABOVE FIREPLACE - is a suit of armor... THE suit of armor of\n none other than Yaotl the Conqueror. He looks at it with\n heavy thought. Then-", "fascination with these particular\n works of art? I'd never even heard\n of the Legend of Yaotl until we\n met.", "ORNAMENTAL STAND - a \"stargate\" of sorts. Yaotl and his men\n are unmoving... as they begin a ceremony. Yaotl looks to the", "figure. YAOTL. His helmet is impenetrable, with eye slits.\n Note - the flashback is dark, shadowed and monochromed.", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "ON YAOTL - He takes off his helmet... IT'S WINTERS HIMSELF.", "(\n shaking/nervous)\n The jungle god that punishes those\n who prey upon the weak.\n (looks scared to Pantera)\n He's coming... for us." ], [ "T\n he creature lunges down again, but this time, Night is\n ready. He fights back. Like fighting with a Chihuahua hopped", "There's a break. They circle like tigers. Renewing attacks.\n Night knows every one of Leo's moves, and counters in turn.", "DISSOLVE TO:\n\n \n\n \n\n INT. TURTLES LAIR - LATER", "zipper on his chest and then pulls off his fake turtle head.\n His trademark orange bandana spills out.\n He turns, breathing in the fresh surface air. A quiet beat", "YEEEAAAAARGGHHH!!!!!\n The creature stops. Confused. So are the other three turtles.", "BEHIND TURTLES - Glowing headlights grow larger. Closer. As -\n KERSMASH!!! The Van flies through the lobby, musical chime", "Mikey immediately \"unfreezes\" and sticks his tongue out and\n antics at the Man! Before the man can react, Mikey TEARS OUT", "Nightwatcher drops TWIN BOLOS. He twirls them with\n expertise... then motions for Leo to fight. Charge at each\n other, running through the rain, weapons drawn.", "They flank Winters, who is just loving the theatricality of\n it all.\n The Foot Ninja leap back. Winters remains confident and", "The chase continues. Night giving it his all, and Leo keeping\n up pretty easily. He throws Leo a pretty strong curveball,\n and Leo barely recovers.", "He walks directly to the Mugger with purpose. Mugger starts\n to really freak out. Driver picks him up by the collar and\n SLAMS him to the back WOODEN FENCE WALL.", "And then he stops. Dust slowly settles and smoke dissipates.", "Utter commotion. Mikey is paired with Serpiente.\n Donnie is paired with the General Mono. He uses his quick\n speed and expert staff against the hammer-weilding Statue.", "BACK IN LOBBY - The Turtles and Generals are at a standstill.\n Turtles all get thrown into a pile between the Generals.", "It SCREAMS. Fights it's restraints. Tires. Breathing heavily.\n Winters approaches, safely inches away from his fanged maw.", "He's taking a pounding as the door is denting with each slam\n by Gato. Casey tries to help as well.\n Gato comes close to breaking in. Very tense. Then-", "of a flurry of fist and foot attacks. His attacker is moving\n way too fast for the camera to keep up.\n Pantera falls back, panting heavily. Panicked. He tears off", "UT TO:\n\n \n\n \n\n INT. TURTLES LAIR - EVENING", "Turtles are buried under the rubble.\n RUH? - The Creature is confused... until it's hit with a", "ON TURTLES - As they've all now crept up to the dark corner\n of the floor. A FOOT NINJA gets clobbered and sails past" ], [ "and take out each of the Generals, knocking them back into\n the PORTAL! They're plucked out of mid-air by cloudy tendrils\n and pulled back!", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "precipice of the Portal, being pulled back. They struggle to\n stand.\n The brothers look at each other. The place is violent with a\n whirlwind and screaming Monsters.", "One of the generals effortlessly picks up a TRASH DUMPSTER\n and wallops the Creature with one blow.", "ON PORTAL - It begins to close. The Generals struggle to get\n out, only now, we see they are HUMAN... their curse broken...\n and an eternity of pain and suffering ahead of them.", "- The Generals capture a Sloth-like creature, jumping in\n throughout rafters above. The Foot try to help by blocking\n exits.", "Their bodies \"glow\" with a red inner life, seeping through\n their stone cracks and piercing eyes.\n The Generals are all ANIMAL-THEMED - Mute and powerful Ape-", "GENERAL AGUILA\n Challenge accepted.\n 97 The Portal worsens behind them. Sound and sight. The Eight 97", "They trust one another, and their efficiency shows.\n ON PORTAL - More tentacles begin to come out. More claws\n surround the surface edges.", "like a sliding puzzle. Then they start to randomly SINK\n further into the ground. Light pours out of them, until all\n of them give way to create THE PORTAL.", "- The Generals capture a werewolf-like creature in the high-\n speed subway tunnels. The Foot maneuver the subway car.", "LOOK OUT!\n Winters dives in and pushes the Turtles out of way as the\n Creature flies in and knocks the Generals back into the", "drilled with TRANQUILIZER DARTS from below! CHOOOM! - A\n grappling hook winds around its feet. The Creature struggles\n but is pulled down hard!", "CLOSE ON LEO - A SHADOW suddenly falls over him. He looks up\n to see the FOUR GENERALS surrounding him. He tries to fight", "90 90\n Winters stands with Four Generals in his office, overseeing\n the portal. Ready.", "The Generals turn and walk-push the Foot out of the door.\n They move to fight back, but Karai waves her hand.", "BEGUN to feel our wrath!\n The brothers are screwed. They can't stop the Generals. Until-", "ON GENERALS - they turn around. Look up.\n GENERAL GATO POV - He scans the two. Organic Earth-based.", "SPLINTER\n Yes. Yes, my sons.\n The Generals can't keep up. It's enough to distract them to", "HIS \"misery\" at the expense of\n ours.\n Aguila walks to the cells. The portal writhes in the bg,\n sinking into the floor." ], [ "precipice of the Portal, being pulled back. They struggle to\n stand.\n The brothers look at each other. The place is violent with a\n whirlwind and screaming Monsters.", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "W\n inters SMASHES the portal, stopping the slew of monsters\n from pouring out. End on a scream. Dissolve to LATER in the\n battle...", "ON PORTAL - It begins to close. The Generals struggle to get\n out, only now, we see they are HUMAN... their curse broken...\n and an eternity of pain and suffering ahead of them.", "dimension. Suddenly - DOZENS OF MONSTERS EXPLODE OUT!\n Creatures of all varieties. Gnashing Fangs. Swiping claws.", "They trust one another, and their efficiency shows.\n ON PORTAL - More tentacles begin to come out. More claws\n surround the surface edges.", "ON PORTAL - A small DEMON makes its way out of the portal!\n Winters runs and flips through the air and then CLOBBERS IT\n with his bare hands, sending it back down!", "like a sliding puzzle. Then they start to randomly SINK\n further into the ground. Light pours out of them, until all\n of them give way to create THE PORTAL.", "and take out each of the Generals, knocking them back into\n the PORTAL! They're plucked out of mid-air by cloudy tendrils\n and pulled back!", "WINTERS (V.O.)\n They unleashed an army of monsters.\n N BATTLEFIELD - men getting slaughtered (in a nice PG sort\n of way). Quick shots. Intense.", "BACK IN LOBBY - The light burst flies into the lobby and hits\n the circle in the middle of all the monsters' cells.\n ON CIRCLE - The pieces suddenly start to move around. Almost", "About five more to go. Splinter also flips around and takes\n out another demon trying to escape. Splinter actually seems\n to be having FUN.", "SPLINTER\n They must face them alone. As\n brothers.\n Winters debates it in his head for a beat - WHAM! - a\n tentacle from the portal slams down next to him!", "Portal! The Cloud Tendrils grab a hold of it and pull it back\n into the Portal!\n ON STARS - The Stars move out of alignment, ending the cycle.", "WINTERS\n Help me push the cells into the\n portal!\n Splinter does as the two masters also manage to lay some\n smackdown on any emerging creature out of the portal.", "93.\n\n \n\n \n\n \n Aguila tries to fight his way out of the portal.", "GENERAL AGUILA\n Challenge accepted.\n 97 The Portal worsens behind them. Sound and sight. The Eight 97", "KARAI\n My soldiers will find the\n thirteenth monster. And you will\n bring it back here. Hurry - we", "GENERAL GATO\n Even with one monster still free,\n the curse can never be broken!", "happiness throughout the city... oh\n wait... HE WAS A FREAKING MONSTER\n TRYIN' TA KILL US!!! Good call," ], [ "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "together with his Four Warrior-\n Priest Generals, they pillaged\n every culture in their path.", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "CLOSE ON LEO - A SHADOW suddenly falls over him. He looks up\n to see the FOUR GENERALS surrounding him. He tries to fight", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "GENERAL AGUILA (O.S.)\n Our master fails to include crucial\n points in his tale.\n ON SHADOWS - The Four Generals thump forward.", "distinct armor as the Four Stone Generals - in human form.", "QUICK SHOTS OF EACH GENERAL. The walk along side Yoatl.\n Possibly slo-mo. We will come to recognize them through their", "BEAT)\n It was like blood in the water for\n a predator like Yaotl.", "BEGUN to feel our wrath!\n The brothers are screwed. They can't stop the Generals. Until-" ], [ "GENERAL AGUILA\n Then he shall perfectly serve our\n purposes... let us inform our\n commander that the final creature", "GENERAL AGUILA\n Silly children. We are immortals\n made of stone! The Earth has only", "GENERAL AGUILA\n But thanks to his cunning, his\n technology, we are now capable of\n LIVING... we have now become-\n (close, creepy)\n - gods.", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "GENERAL GATO\n It is neither monster nor human.\n CLOSE ON AGUILA - He manages a small smile.", "GENERAL AGUILA\n Two creatures remain, my lord.\n A long beat. Winters closes his eyes.", "KARAI\n My soldiers will find the\n thirteenth monster. And you will\n bring it back here. Hurry - we", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "AGUILA speaks in a gravelly, hardened voice. He towers over\n Winters by a foot. Clearly the leader of the four.", "- the 13th monster! Looks like a land-locked GIANT CROCODILE.\n It appears unconscious - a hundred or so TRANQ DARTS sticking", "GENERAL AGUILA\n So, while our great leader basked\n in the warmth of the sun and the", "(SOFT)\n ...the gods be praised.\n ON BOX - We finally see the statue - GENERAL AGUILA - a seven-", "GENERAL AGUILA\n (to Gato)\n Fetch.\n Gato SMILES as the other three board a Transport Vehicle.", "GENERAL AGUILA\n None, my lord.", "MOTIONLESS.\n ON GROUP - They just stare at him. Back up to the office,\n nearly 150 feet above them.\n ON BALCONY ABOVE - Aguila looks down. Snarls.", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "Their bodies \"glow\" with a red inner life, seeping through\n their stone cracks and piercing eyes.\n The Generals are all ANIMAL-THEMED - Mute and powerful Ape-", "GENERAL AGUILA\n Challenge accepted.\n 97 The Portal worsens behind them. Sound and sight. The Eight 97", "GENERAL AGUILA\n WE ARE NO BROTHERS TO YOU! Our\n brotherhood was broken the day that\n you condemned us to this eternity.", "GENERAL AGUILA\n He fails to discuss the petrified\n agony of three thousand years." ], [ "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "90 90\n Winters stands with Four Generals in his office, overseeing\n the portal. Ready.", "ON PORTAL - It begins to close. The Generals struggle to get\n out, only now, we see they are HUMAN... their curse broken...\n and an eternity of pain and suffering ahead of them.", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "town very soon. Thirteen in all, to\n be exact.\n The Four Generals move the monster into a position on the", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "and take out each of the Generals, knocking them back into\n the PORTAL! They're plucked out of mid-air by cloudy tendrils\n and pulled back!", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "QUICK SHOTS OF EACH GENERAL. The walk along side Yoatl.\n Possibly slo-mo. We will come to recognize them through their", "GENERAL AGUILA\n Challenge accepted.\n 97 The Portal worsens behind them. Sound and sight. The Eight 97", "CLOSE ON LEO - A SHADOW suddenly falls over him. He looks up\n to see the FOUR GENERALS surrounding him. He tries to fight", "make mistakes the TMNT take advantage of.\n ON WINTERS - Sees the portal light beginning to SHRINK!\n Because of the TMNT's moves, the Generals are now on the" ], [ "INTERS (V.O.)\n There was a man named Yaotl. More a\n force of nature than man. And", "Yaotl's own army. Men who swore to\n spill their blood for his cause.\n Yaotl had to do something to stop", "He's in the actual ceremonial gear worn by Yaotl years ago.\n He holds the helmet to his side. Very serious. He looks over\n his now-ceremonial lobby... satisfied.", "Cool shots of Yaotl. His armor, his stance, etc.", "army of THOUSANDS. Waving their weapons in the air.\n The opposing army CHARGES. Yaotl's men pull out a large", "WINTERS (V.O.)\n As the army approached, Yaotl used\n the knowledge they'd gained in", "APRIL\n Sit down, Jones.\n (to group)\n So there was this guy call Yaotl...", "Yaotl started 3000 years ago.\n N WINTERS - He looks up. Sees April. Exhausted, as we-", "BEAT)\n It was like blood in the water for\n a predator like Yaotl.", "Winters/Yaotl looks out at the death and destruction. He\n looks shocked, surprised.\n A SHADOW falls over Winters body. He looks up - it's a", "Desolate, destroyed battlefield. Smoldering. Bodies\n everywhere. No monsters. End pan on Yaotl on his knees.", "fascination with these particular\n works of art? I'd never even heard\n of the Legend of Yaotl until we\n met.", "CLOSE ON - Yaotl. As he raises his sword in the air. CAM\n DOLLIES AROUND HIS HEAD REVEALING their opposing forces. An", "figure. YAOTL. His helmet is impenetrable, with eye slits.\n Note - the flashback is dark, shadowed and monochromed.", "GENERAL AGUILA\n (to Winters)\n Join us. Join us Yaotl, and live a\n life eternal with us at your side!\n ON WINTERS - He waits. A beat.", "ABOVE FIREPLACE - is a suit of armor... THE suit of armor of\n none other than Yaotl the Conqueror. He looks at it with\n heavy thought. Then-", "ORNAMENTAL STAND - a \"stargate\" of sorts. Yaotl and his men\n are unmoving... as they begin a ceremony. Yaotl looks to the", "(\n shaking/nervous)\n The jungle god that punishes those\n who prey upon the weak.\n (looks scared to Pantera)\n He's coming... for us.", "Camera pushes in on YAOTL and his Four Generals high on a\n hill, surveying the action.", "Utter commotion. Mikey is paired with Serpiente.\n Donnie is paired with the General Mono. He uses his quick\n speed and expert staff against the hammer-weilding Statue." ] ]

[ "What happens to Yaotl's generals when he opens the portal?", "Where does Donatello work now?", "What is Michelangelo's performer name?", "Who is Max Winters?", "Who did the Turtles defeat before the split?", "What is Raphael's vigilante name?", "Which of the Turtles became a vigilante?", "Which of the 13 beasts do the Turtles fight first?", "Why do the Stone Generals betray Yaotl?", "What does Splinter do with Yaotl's helmet?", "What does Raphael say at the end?", "What did Yaotl do with his dying breath?", "What does Yaotl want?", "What did April tell Leonardo in Central America?", "Who is the richest man in New York City?", "Who is April's boyfriend?", "What does the portal release?", "What happened to Yaotl's four generals?", "Who was the Aztec warload?", "Who is April O'Neil's boy freind? ", "What is Max Winters actual identity? ", "Who is Yaotl? ", "Who does the Turtle engage? ", "How did the Sea Monster drag the Generals into the open portal? ", "How many immortal monsters diid the parallel universe portal release? ", "What did Yaotl and his four generals discover?", "After capturing all the 13 monsters, what does General Aguila do? ", "When did Yaotl and his four generals discover the parallel universe portal openning?", "How did Yaotl gain his awesome power?" ]

[ [ "The generals turn to stone.", "They are turned to stone." ], [ "Donatello is an IT specialist", "as an IT specialist " ], [ "Cowabunga Carl", "Cowabunga Carl" ], [ "Warlord Yaotl", "Richest man in the city." ], [ "The Shredder", "The Shredder." ], [ "Nightwatcher", "Nightwatcher." ], [ "Nightwatcher", "Raphael" ], [ "Bigfoot", "Bigfoot." ], [ "The Stone Generals want to stay Immortal.", "To stay immortal." ], [ "He places it among his trophy collection.", "He puts it in his trophy collection." ], [ "That the turtles will always be brothers.", "That the turtles will always be brothers " ], [ "Thanked the turtles for making him mortal and fulfilling his lifelong wish.", "Thanked the Turtles and Splinter " ], [ "To be free of the curse of immortality.", "To be free of his curse of immortality." ], [ "That the turtles have drifted apart.", "That the turtles had drifted apart" ], [ "Max Winters.", "Max Winters." ], [ "Casey Jones.", "Casey Jones." ], [ "It releases 13 immortal monsters.", "13 immortal monsters. " ], [ "They were turned to stone.", "They were turned to stone." ], [ "Yaotl", "Yaotl" ], [ "Casey Jones. ", "Casey Jones " ], [ "The still-immortal Yaotl. ", "Yaotl." ], [ "An ancient Aztec warlord. ", "An Aztec warlord." ], [ "BigFoot. ", "Bigfoor" ], [ "The Sea Monster crashed into the Generals.", "He crashes into them " ], [ "13. ", "13." ], [ "A parallel universe portal openning.", "A portal opening." ], [ "He questions Yaotl's actions. ", "Questions Yaotl's actions." ], [ "Three thousand years ago. ", "3 thousand years ago" ], [ "From the parallel universe portal openning. ", "From a portal into a parallel universe " ] ]

76971e76743f5a4defedb9ef516560a323fc2eac

train

[ [ "for ten days. When we anchored here they thought, I suppose, it was\nall right. The nearest land (and that's five miles) is the ship's", "and farther away, till I lost it at last behind the miter-shaped hill\nof the great pagoda. And then I was left alone with my ship, anchored at\nthe head of the Gulf of Siam.", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "\"Your ladder--\" he murmured, after a silence. \"Who'd have thought of\nfinding a ladder hanging over at night in a ship anchored out here! I", "\"Are you aware that there is a ship anchored inside the islands? I saw\nher mastheads above the ridge as the sun went down.\"", "main-deck. The sails, in that light breeze, made but a faint fluttering\nnoise. It ceased. The ship was coming round slowly: I held my breath", "\"That's so,\" confirmed the second mate, suddenly, in his slightly hoarse\nvoice. \"She draws over twenty feet. She's the Liverpool ship Sephora\nwith a cargo of coal. Hundred and twenty-three days from Cardiff.\"", "He mumbled something which I really did not catch, and I turned my ear\nto him in a puzzled manner. He fairly bawled:\n\n\"The land--I say, the mainland is at least seven miles off my\nanchorage.\"", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "However that might have been, the silence was not very prolonged. He\ntook another oblique step.\n\n\"I reckon I had no more than a two-mile pull to your ship. Not a bit\nmore.\"", "after a bit they gave up. Everything quieted down and the anchorage\nbecame still as death. I sat down on a stone and began to think. I felt", "I walked to the break of the poop. On the over-shadowed deck all hands\nstood by the forebraces waiting for my order. The stars ahead seemed to", "\"Yes,\" I said, replacing the lamp in the binnacle. The warm, heavy\ntropical night closed upon his head again.\n\n\"There's a ship over there,\" he murmured.", "She floated at the starting point of a long journey, very still in an\nimmense stillness, the shadows of her spars flung far to the eastward by", "The mate with the terrific whiskers was now putting the ship on the\nother tack. In the moment of profound silence which follows upon the", "of his writing desk--had exercised him infinitely. The ship within the\nislands was much more easily accounted for; and just as we were about", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "ship was put in stays. Must! There could be no going back for him. After\na moment I walked over to leeward and my heart flew into my mouth at the", "\"Well, then, be good enough to hold yourself as if you were. And keep\na lookout. If there's any current we'll be closing with some islands\nbefore daylight.\"", "the sun. And now--behold--it was saving the ship, by serving me for a\nmark to help out the ignorance of my strangeness. Ha! It was drifting" ], [ "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "The man's eyes glistened wildly in the binnacle light as he jumped round\nto the other side and spun round the wheel.", "\"Yes,\" I said, replacing the lamp in the binnacle. The warm, heavy\ntropical night closed upon his head again.\n\n\"There's a ship over there,\" he murmured.", "caprice to take a five hours' anchor watch on myself. I heard the other\nraise his voice incredulously--\"What? The Captain himself?\" Then a few", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "\"Well, then, be good enough to hold yourself as if you were. And keep\na lookout. If there's any current we'll be closing with some islands\nbefore daylight.\"", "the officer of the watch moved here and there. Then I heard him move\nquickly. I knew what that meant. He was making for the companion; and\npresently his voice was outside my door.", "stillness of all things under heaven. At that I suppose he raised up his\nface, a dimly pale oval in the shadow of the ship's side. But even then", "the gate of the everlasting night towering over her taffrail. What would\nshe do now? Had she way on her yet? I stepped to the side swiftly, and", "I paced a turn or two on the poop and saw him take up his position face\nforward with his elbow in the ratlines of the mizzen rigging before I", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "Walking to the taffrail, I was in time to make out, on the very edge\nof a darkness thrown by a towering black mass like the very gateway of", "\"What is it?\" I asked in a deadened voice, taking the lighted lamp out\nof the binnacle, and raising it to his face.\n\n\"An ugly business.\"", "the night. Passing on my way aft along the other side of the ship, I\nobserved that the rope side ladder, put over, no doubt, for the master", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "At midnight I went on deck, and to my mate's great surprise put the\nship round on the other tack. His terrible whiskers flitted round me", "I walked to the break of the poop. On the over-shadowed deck all hands\nstood by the forebraces waiting for my order. The stars ahead seemed to", "coming back on deck, saw the naked man from the sea sitting on the main\nhatch, glimmering white in the darkness, his elbows on his knees and", "The side of the ship made an opaque belt of shadow on the darkling\nglassy shimmer of the sea. But I saw at once something elongated and", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"" ], [ "As he hung by the ladder, like a resting swimmer, the sea lightning\nplayed about his limbs at every stir; and he appeared in it ghastly,", "of my thoughts, as though he were my second self, had lowered himself\ninto the water to take his punishment: a free man, a proud swimmer\nstriking out for a new destiny.", "pale floating very close to the ladder. Before I could form a guess a\nfaint flash of phosphorescent light, which seemed to issue suddenly\nfrom the naked body of a man, flickered in the sleeping water with the", "coming back on deck, saw the naked man from the sea sitting on the main\nhatch, glimmering white in the darkness, his elbows on his knees and", "boats! He's committed suicide! No, he's swimming.' Certainly I was\nswimming. It's not so easy for a swimmer like me to commit suicide by", "I had somehow the impression that he was on the point of letting go the\nladder to swim away beyond my ken--mysterious as he came. But, for the", "\"Yes. I've been in the water practically since nine o'clock. The\nquestion for me now is whether I am to let go this ladder and go on\nswimming till I sink from exhaustion, or--to come on board here.\"", "us two--in the face of that silent, darkened tropical sea. I was\nyoung, too; young enough to make no comment. The man in the water began", "to myself, 'What's the good?' When I saw a man's head looking over I\nthought I would swim away presently and leave him shouting--in whatever", "\"Can't?... Not naked like a soul on the Day of Judgment. I shall\nfreeze on to this sleeping suit. The Last Day is not yet--and... you\nhave understood thoroughly. Didn't you?\"", "land, either. The water was like glass. One might have been swimming in\na confounded thousand-feet deep cistern with no place for scrambling out", "I heard a \"By Jove!\" whispered at the level of the water. The\nphosphorescence flashed in the swirl of the water all about his limbs,\nhis other hand seized the ladder.", "\"Yes--straight for it. It was something to swim for. I couldn't see any\nstars low down because the coast was in the way, and I couldn't see the", "I felt suddenly ashamed of myself. I may say truly that I\nunderstood--and my hesitation in letting that man swim away from my\nship's side had been a mere sham sentiment, a sort of cowardice.", "on a little longer. It had been a confounded lonely time--I don't mean\nwhile swimming. I was glad to talk a little to somebody that didn't", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "and was in the water before I had made up my mind fairly. Somebody heard\nthe splash and they raised an awful hullabaloo. 'He's gone! Lower the", "elusive, silent play of summer lightning in a night sky. With a gasp I\nsaw revealed to my stare a pair of feet, the long legs, a broad livid", "It was a rather high bed place with a set of drawers underneath. This\namazing swimmer really needed the lift I gave him by seizing his leg. He" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "strangling people. Am I a murdering brute? Do I look it? By Jove! If I\nhad been he wouldn't have trusted himself like that into my room. You'll", "to me. 'This thing must take its course. I represent the law here.' He\nwas shaking like a leaf. 'So you won't?' 'No!' 'Then I hope you will", "He was. To the law. His obscure tenacity on that point had in it\nsomething incomprehensible and a little awful; something, as it were,", "\"I suppose I must report a suicide.\"\n\n\"Beg pardon?\"\n\n\"Suicide! That's what I'll have to write to my owners directly I get\nin.\"", "\"Don't you think,\" I said, \"that the heavy sea which, you told me, came\naboard just then might have killed the man? I have seen the sheer weight\nof a sea kill a man very neatly, by simply breaking his neck.\"", "\"Yes. Very wrong indeed. I've killed a man.\"\n\n\"What do you mean? Just now?\"", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "It was like being haunted. Motionless, with a grave face, he raised his\nhands slightly at me in a gesture which meant clearly, \"Heavens! what", "had not the strength to get on my legs. Everything remained still. Had\nmy second self taken the poor wretch by the throat? I don't know what I", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "look for him in our coal-hole?' Quite a tiff. But they made it up in the\nend. I suppose he did drown himself. Don't you, sir?\"", "of his thoughts by saying: \"My father's a parson in Norfolk. Do you see\nme before a judge and jury on that charge? For myself I can't see the", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "\"Such a young man, too!\" he nodded, keeping his smeary blue,\nunintelligent eyes fastened upon me. \"What was the cause of it--some", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "\"What was that for--fun?\" I asked, with an appearance of polite\ninterest.\n\n\"No!\" He sighed. \"Painful duty.\"", "character where there are no means of legal repression. And I knew well\nenough also that my double there was no homicidal ruffian. I did not", "\"He looked extremely haggard all of a sudden. His head rolled on his\nshoulders.\n\n\"H'm. We shall see then. Meantime get into that bed,\" I whispered. \"Want\nhelp? There.\"" ], [ "and the steward entered with a tray, bringing in my morning coffee. I\nhad slept, after all, and I was so frightened that I shouted, \"This way!", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "\"He looked extremely haggard all of a sudden. His head rolled on his\nshoulders.\n\n\"H'm. We shall see then. Meantime get into that bed,\" I whispered. \"Want\nhelp? There.\"", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "I caught his arm as he was raising it to batter his poor devoted head,\nand shook it violently.\n\n\"She's ashore already,\" he wailed, trying to tear himself away.", "to go to the after braces. At breakfast time, eating nothing myself, I\npresided with such frigid dignity that the two mates were only too glad", "\"Aren't you properly awake yet?\"\n\n\"Yes, sir! I am awake.\"", "and the other people pretty certain to be round here in the morning. I\ndon't know--I wanted to be seen, to talk with somebody, before I went", "I lived. The weather was too bad to give the corpse a proper sea burial.\nSo next day at dawn they took it up on the poop, covering its face with", "And, besides, there were the scares. On the second day out, for\ninstance, coming off the deck in the afternoon (I had straw slippers", "his tale. It is not worth while to record his version. It was just over\ntwo months since all this had happened, and he had thought so much\nabout it that he seemed completely muddled as to its bearings, but still", "dreaded, after putting down the dishes ran up on deck busily. This could\nnot be dangerous. Presently he came down again; and then it appeared", "the effort of whispering and the general secrecy of this excitement. It\nwas three o'clock by now and I had been on my feet since nine, but I", "I had to shake him for a solid minute, but when at last he opened his\neyes it was in the full possession of his senses, with an inquiring\nlook.", "to shout after him. Suddenly I became aware (it could be heard plainly\nenough) that the fellow for some reason or other was opening the door of\nthe bathroom. It was the end. The place was literally not big enough to", "\"I heard somebody moving about, and went in there at once,\" he\nwhispered.\n\nI, too, spoke under my breath.", "He nodded. His face was thin and the sunburn faded, as though he had\nbeen ill. And no wonder. He had been, I heard presently, kept under", "\"You see I wasn't.\"\n\n\"No, sir. I could have sworn I had heard you moving in there not a\nmoment ago. It's most extraordinary... very sorry, sir.\"", "He did not wait for my question. \"I heard him fumbling here and just\nmanaged to squat myself down in the bath,\" he whispered to me. \"The", "Arrived at that comforting conclusion, I bethought myself of a cigar and\nwent below to get it. All was still down there. Everybody at the" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "\"And now we'll have a look at my stateroom,\" I declared, in a voice as\nloud as I dared to make it, crossing the cabin to the starboard side\nwith purposely heavy steps.", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"", "my bed place, and we would whisper together, with the regular footfalls\nof the officer of the watch passing and repassing over our heads. It\nwas an infinitely miserable time. It was lucky that some tins of fine", "After thus overwhelming us with the extent of his information he slipped\nout of the cabin. The mate observed regretfully that he \"could not\naccount for that young fellow's whims.\" What prevented him telling us\nall about it at once, he wanted to know.", "He touched my shoulder lightly. Lazy footsteps came right over our heads\nand stopped. The second mate had crossed from the other side of the poop\nand might have been hanging over the rail for all we knew.", "\"Preposterous--isn't it?\"\n\nWe were walking to and fro athwart the quarter-deck. No one of the crew\nforward could be seen (the day was Sunday), and the mate pursued:", "the officer of the watch moved here and there. Then I heard him move\nquickly. I knew what that meant. He was making for the companion; and\npresently his voice was outside my door.", "He did so, as noiseless as a ghost, and then I rang for the steward,\nand facing him boldly, directed him to tidy up my stateroom while I", "When I left him there to go back to my room the steward was finishing\ndusting. I sent for the mate and engaged him in some insignificant", "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "We listened to the steward going into the bathroom out of the saloon,\nfilling the water bottles there, scrubbing the bath, setting things", "\"What on earth's the matter with you?\" I asked, astonished.\n\nHe was extremely confused. \"Beg your pardon, sir. I made sure you were\nin your cabin.\"", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I" ], [ "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"I heard somebody moving about, and went in there at once,\" he\nwhispered.\n\nI, too, spoke under my breath.", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "\"I shall stand in as close as I dare and then put her round. I will\npresently find means to smuggle you out of here into the sail locker,", "to rights, whisk, bang, clatter--out again into the saloon--turn the\nkey--click. Such was my scheme for keeping my second self invisible.\nNothing better could be contrived under the circumstances. And there", "\"He looked extremely haggard all of a sudden. His head rolled on his\nshoulders.\n\n\"H'm. We shall see then. Meantime get into that bed,\" I whispered. \"Want\nhelp? There.\"", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "You seem to have been there on purpose.\" And in the same whisper, as if\nwe two whenever we talked had to say things to each other which were not", "to shout after him. Suddenly I became aware (it could be heard plainly\nenough) that the fellow for some reason or other was opening the door of\nthe bathroom. It was the end. The place was literally not big enough to", "I waited till he was gone out of the cuddy, then rose. My double moved\ntoo. The time had come to exchange our last whispers, for neither of us\nwas ever to hear each other's natural voice.", "to escape from the cabin as soon as decency permitted; and all the\ntime the dual working of my mind distracted me almost to the point of\ninsanity. I was constantly watching myself, my secret self, as dependent", "He did not wait for my question. \"I heard him fumbling here and just\nmanaged to squat myself down in the bath,\" he whispered to me. \"The", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "other. It occurred to me that if old \"Bless my soul--you don't say so\"\nwere to put his head up the companion and catch sight of us, he would", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "Another pause full of mistrust followed. Necessity, they say, is mother\nof invention, but fear, too, is not barren of ingenious suggestions. And\nI was afraid he would ask me point-blank for news of my other self.", "\"Now,\" I whispered, loudly, into the saloon--too loudly, perhaps, but I\nwas afraid I couldn't make a sound. He was by my side in an instant--the", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and" ], [ "was my being a stranger to the ship; and if all the truth must be\ntold, I was somewhat of a stranger to myself. The youngest man on board", "forward. All these people had been together for eighteen months or so,\nand my position was that of the only stranger on board. I mention this\nbecause it has some bearing on what is to follow. But what I felt most", "crew, all they knew was that I was appointed to take the ship home.\nFor the rest, I was almost as much of a stranger on board as himself,", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I", "He had turned about meantime; and we, the two strangers in the ship,\nfaced each other in identical attitudes.", "\"Who's that?\" he whispered then.\n\n\"My second mate. But I don't know much more of the fellow than you do.\"", "fortnight ago. I didn't know either the ship or the people. Hadn't had\nthe time in port to look about me or size anybody up. And as to the", "ready to depart, and remembered only that I was a total stranger to the\nship. I did not know her. Would she do it? How was she to be handled?", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "word. In my case they were not unalloyed. I was not wholly alone with my\ncommand; for there was that stranger in my cabin. Or rather, I was", "sharer of my cabin as though he were my second self. There he was on the\nother side of the bulkhead, four or five feet from us, no more, as we", "the whole ship whom I dared take into my confidence. Since the hands had\ngot to know his story, it would have been impossible to pass him off for", "\"Seems a very nice man. His boat's crew told our chaps a very\nextraordinary story, if what I am told by the steward is true. I suppose\nyou had it from the captain, sir?\"", "I had become so connected in thoughts and impressions with the secret\nsharer of my cabin that I felt as if I, personally, were being given to", "\"Preposterous--isn't it?\"\n\nWe were walking to and fro athwart the quarter-deck. No one of the crew\nforward could be seen (the day was Sunday), and the mate pursued:", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "THE SECRET SHARER\n\nBy Joseph Conrad\n\n\n\n\nI", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"Good God!\" he uttered, impressively, fixing his smeary blue eyes on\nme. \"The sea! No man killed by the sea ever looked like that.\" He seemed", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"" ], [ "It was a very tiny place. Sometimes he reclined on the floor, his legs\nbent, his head sustained on one elbow. At others I would find him on the", "his tale. It is not worth while to record his version. It was just over\ntwo months since all this had happened, and he had thought so much\nabout it that he seemed completely muddled as to its bearings, but still", "\"In the bathroom, sir.\" The usual anxious tone. \"It's not quite dry yet,\nsir.\"", "\"No, on the passage. Weeks ago. Thirty-nine south. When I say a man--\"\n\n\"Fit of temper,\" I suggested, confidently.", "to shout after him. Suddenly I became aware (it could be heard plainly\nenough) that the fellow for some reason or other was opening the door of\nthe bathroom. It was the end. The place was literally not big enough to", "\"My father's a parson in Norfolk,\" it said. Evidently he had forgotten\nhe had told me this important fact before. Truly a nice little tale.", "and farther away, till I lost it at last behind the miter-shaped hill\nof the great pagoda. And then I was left alone with my ship, anchored at\nthe head of the Gulf of Siam.", "\"There was some little dispute about it. Our chaps took offense. 'As\nif we would harbor a thing like that,' they said. 'Wouldn't you like to", "She floated at the starting point of a long journey, very still in an\nimmense stillness, the shadows of her spars flung far to the eastward by", "\"I shall stand in as close as I dare and then put her round. I will\npresently find means to smuggle you out of here into the sail locker,", "\"Be quiet,\" I said, sternly.\n\nHe lowered his tone, but I saw the shadowy gesture of his despair. \"What\nare we doing here?\"\n\n\"Looking for the land wind.\"", "I saw him far back there, sitting rigidly on the low stool, his\nbare feet close together, his arms folded, his head hanging on his\nbreast--and perfectly still. Anybody would have taken him for me.", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "I am here, steward,\" as though he had been miles away. He put down the\ntray on the table next the couch and only then said, very quietly, \"I", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "And, besides, there were the scares. On the second day out, for\ninstance, coming off the deck in the afternoon (I had straw slippers", "land, either. The water was like glass. One might have been swimming in\na confounded thousand-feet deep cistern with no place for scrambling out", "You seem to have been there on purpose.\" And in the same whisper, as if\nwe two whenever we talked had to say things to each other which were not", "think of asking him for details, and he told me the story roughly in\nbrusque, disconnected sentences. I needed no more. I saw it all going on\nas though I were myself inside that other sleeping suit.", "for ten days. When we anchored here they thought, I suppose, it was\nall right. The nearest land (and that's five miles) is the ship's" ], [ "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "\"Yes,\" I said, replacing the lamp in the binnacle. The warm, heavy\ntropical night closed upon his head again.\n\n\"There's a ship over there,\" he murmured.", "compass with such a stealthy gait that the helmsman noticed it--and\nI could not help noticing the unusual roundness of his eyes. These", "stillness of all things under heaven. At that I suppose he raised up his\nface, a dimly pale oval in the shadow of the ship's side. But even then", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "The man's eyes glistened wildly in the binnacle light as he jumped round\nto the other side and spun round the wheel.", "caprice to take a five hours' anchor watch on myself. I heard the other\nraise his voice incredulously--\"What? The Captain himself?\" Then a few", "the officer of the watch moved here and there. Then I heard him move\nquickly. I knew what that meant. He was making for the companion; and\npresently his voice was outside my door.", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "\"Well, then, be good enough to hold yourself as if you were. And keep\na lookout. If there's any current we'll be closing with some islands\nbefore daylight.\"", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "The mate with the terrific whiskers was now putting the ship on the\nother tack. In the moment of profound silence which follows upon the", "main-deck. The sails, in that light breeze, made but a faint fluttering\nnoise. It ceased. The ship was coming round slowly: I held my breath", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I", "moment, this being appearing as if he had risen from the bottom of the\nsea (it was certainly the nearest land to the ship) wanted only to know\nthe time. I told him. And he, down there, tentatively:", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "I paced a turn or two on the poop and saw him take up his position face\nforward with his elbow in the ratlines of the mizzen rigging before I", "The side of the ship made an opaque belt of shadow on the darkling\nglassy shimmer of the sea. But I saw at once something elongated and", "I walked to the break of the poop. On the over-shadowed deck all hands\nstood by the forebraces waiting for my order. The stars ahead seemed to", "sleep. I felt painfully that I--a stranger--was doing something unusual\nwhen I directed him to let all hands turn in without setting an\nanchor watch. I proposed to keep on deck myself till one o'clock or" ], [ "coming back on deck, saw the naked man from the sea sitting on the main\nhatch, glimmering white in the darkness, his elbows on his knees and", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "As he hung by the ladder, like a resting swimmer, the sea lightning\nplayed about his limbs at every stir; and he appeared in it ghastly,", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "I paced a turn or two on the poop and saw him take up his position face\nforward with his elbow in the ratlines of the mizzen rigging before I", "\"Yes. I've been in the water practically since nine o'clock. The\nquestion for me now is whether I am to let go this ladder and go on\nswimming till I sink from exhaustion, or--to come on board here.\"", "pale floating very close to the ladder. Before I could form a guess a\nfaint flash of phosphorescent light, which seemed to issue suddenly\nfrom the naked body of a man, flickered in the sleeping water with the", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "eagerly. He happened to catch sight of me and dived, the second ran down\non the main-deck shouting some order or other, and the chief mate came\nto meet me, touching his cap.", "The man's eyes glistened wildly in the binnacle light as he jumped round\nto the other side and spun round the wheel.", "dreaded, after putting down the dishes ran up on deck busily. This could\nnot be dangerous. Presently he came down again; and then it appeared", "\"Good God!\" he uttered, impressively, fixing his smeary blue eyes on\nme. \"The sea! No man killed by the sea ever looked like that.\" He seemed", "not attempt to come on board, and strangely troubling to suspect that\nperhaps he did not want to. And my first words were prompted by just\nthat troubled incertitude.", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I", "I heard a \"By Jove!\" whispered at the level of the water. The\nphosphorescence flashed in the swirl of the water all about his limbs,\nhis other hand seized the ladder.", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "\"No, on the passage. Weeks ago. Thirty-nine south. When I say a man--\"\n\n\"Fit of temper,\" I suggested, confidently." ], [ "not attempt to come on board, and strangely troubling to suspect that\nperhaps he did not want to. And my first words were prompted by just\nthat troubled incertitude.", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "After thus overwhelming us with the extent of his information he slipped\nout of the cabin. The mate observed regretfully that he \"could not\naccount for that young fellow's whims.\" What prevented him telling us\nall about it at once, he wanted to know.", "I hesitated. Should I whisper something to him? But what? His immobility\nseemed to have been never disturbed. What could I tell him he did not\nknow already?... Finally I went on deck.", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "ship was put in stays. Must! There could be no going back for him. After\na moment I walked over to leeward and my heart flew into my mouth at the", "dreaded, after putting down the dishes ran up on deck busily. This could\nnot be dangerous. Presently he came down again; and then it appeared", "spiritless sigh, and mumbled dismally that he must really be going back\nto his ship now. I desired my mate, who had joined us, to see to the\ncaptain's boat.", "I felt suddenly ashamed of myself. I may say truly that I\nunderstood--and my hesitation in letting that man swim away from my\nship's side had been a mere sham sentiment, a sort of cowardice.", "His anxiety was in answer, a sufficient answer, to the question I had\nput to him. An answer containing all the difficulty of that situation. I\nclosed the porthole quietly, to make sure. A louder word might have been\noverheard.", "the officer of the watch moved here and there. Then I heard him move\nquickly. I knew what that meant. He was making for the companion; and\npresently his voice was outside my door.", "He had. And the proof of it was his earnest whisper, \"The man told you\nhe hardly dared to give the order.\"\n\nI understood the reference to be to that saving foresail.", "\"Don't you think,\" I said, \"that the heavy sea which, you told me, came\naboard just then might have killed the man? I have seen the sheer weight\nof a sea kill a man very neatly, by simply breaking his neck.\"", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "But I had no leisure to weigh the merits of the matter--footsteps in\nthe saloon, a heavy knock. \"There's enough wind to get under way with,", "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to" ], [ "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"Seems a very nice man. His boat's crew told our chaps a very\nextraordinary story, if what I am told by the steward is true. I suppose\nyou had it from the captain, sir?\"", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"", "Meantime the chief mate, with an almost visible effect of collaboration\non the part of his round eyes and frightful whiskers, was trying to", "\"As long as I know that you understand,\" he whispered. \"But of course\nyou do. It's a great satisfaction to have got somebody to understand.", "arrest in his cabin for nearly seven weeks. But there was nothing sickly\nin his eyes or in his expression. He was not a bit like me, really; yet,", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I", "eagerly. He happened to catch sight of me and dived, the second ran down\non the main-deck shouting some order or other, and the chief mate came\nto meet me, touching his cap.", "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "I found my two officers waiting for me near the supper table, in the\nlighted cuddy. We sat down at once, and as I helped the chief mate, I\nsaid:", "forward. All these people had been together for eighteen months or so,\nand my position was that of the only stranger on board. I mention this\nbecause it has some bearing on what is to follow. But what I felt most", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "belong to the Sephora. As to asking for the captain, that was a mere\nimpulse. It could have been no use, with all the ship knowing about me", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "character where there are no means of legal repression. And I knew well\nenough also that my double there was no homicidal ruffian. I did not", "leg slightly more bandy than the other. He shook hands, looking vaguely\naround. A spiritless tenacity was his main characteristic, I judged. I" ], [ "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"", "\"I assure you he never gave the order. He may think he did, but he never\ngave it. He stood there with me on the break of the poop after the", "\"I suppose your captain's turned in?\"\n\n\"I am sure he isn't,\" I said.", "After thus overwhelming us with the extent of his information he slipped\nout of the cabin. The mate observed regretfully that he \"could not\naccount for that young fellow's whims.\" What prevented him telling us\nall about it at once, he wanted to know.", "belong to the Sephora. As to asking for the captain, that was a mere\nimpulse. It could have been no use, with all the ship knowing about me", "\"Seems a very nice man. His boat's crew told our chaps a very\nextraordinary story, if what I am told by the steward is true. I suppose\nyou had it from the captain, sir?\"", "He concealed his astonishment. \"Very well, sir.\" Outside the cuddy he\nput his head in the second mate's door to inform him of my unheard-of", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "spiritless sigh, and mumbled dismally that he must really be going back\nto his ship now. I desired my mate, who had joined us, to see to the\ncaptain's boat.", "\"Is she?... Keep good full there!\"\n\n\"Good full, sir,\" cried the helmsman in a frightened, thin, childlike\nvoice.", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "It was something that a ghost might have said. But what he was alluding\nto was his old captain's reluctant admission of the theory of suicide.", "\"Preposterous--isn't it?\"\n\nWe were walking to and fro athwart the quarter-deck. No one of the crew\nforward could be seen (the day was Sunday), and the mate pursued:", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "However that might have been, the silence was not very prolonged. He\ntook another oblique step.\n\n\"I reckon I had no more than a two-mile pull to your ship. Not a bit\nmore.\"", "not, I think, have met him by a direct lie, also for psychological (not\nmoral) reasons. If he had only known how afraid I was of his putting", "His anxiety was in answer, a sufficient answer, to the question I had\nput to him. An answer containing all the difficulty of that situation. I\nclosed the porthole quietly, to make sure. A louder word might have been\noverheard." ], [ "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"", "It was something that a ghost might have said. But what he was alluding\nto was his old captain's reluctant admission of the theory of suicide.", "It was like being haunted. Motionless, with a grave face, he raised his\nhands slightly at me in a gesture which meant clearly, \"Heavens! what", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "the skipper, too, started raving like the rest of them. The man had been\ndeprived of sleep for more than a week, and to have this sprung on him", "looking more sick than ever. He was afraid of the men, and also of\nthat old second mate of his who had been sailing with him for years--a", "After thus overwhelming us with the extent of his information he slipped\nout of the cabin. The mate observed regretfully that he \"could not\naccount for that young fellow's whims.\" What prevented him telling us\nall about it at once, he wanted to know.", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "one's skipper go on like that in such weather was enough to drive any\nfellow out of his mind. It worked me up into a sort of desperation. I", "years at sea, of which over twenty of immaculate command, and the last\nfifteen in the Sephora, seemed to have laid him under some pitiless\nobligation.", "Meantime the chief mate, with an almost visible effect of collaboration\non the part of his round eyes and frightful whiskers, was trying to", "spiritless sigh, and mumbled dismally that he must really be going back\nto his ship now. I desired my mate, who had joined us, to see to the\ncaptain's boat.", "And all the time I dared not look towards the land lest my heart should\nfail me. I released my grip at last and he ran forward as if fleeing for\ndear life.", "to keep the ship running; so you may guess what it had been like for\ndays. Anxious sort of job, that. He gave me some of his cursed insolence", "arbitrarily chased out of my cabin, suddenly called into it, sent flying\nout of his pantry on incomprehensible errands, that accounted for the\ngrowing wretchedness of his expression.", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "He was densely distressed--and perhaps I should have sympathized with\nhim if I had been able to detach my mental vision from the unsuspected" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"", "\"Seems a very nice man. His boat's crew told our chaps a very\nextraordinary story, if what I am told by the steward is true. I suppose\nyou had it from the captain, sir?\"", "He concealed his astonishment. \"Very well, sir.\" Outside the cuddy he\nput his head in the second mate's door to inform him of my unheard-of", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "Meantime the chief mate, with an almost visible effect of collaboration\non the part of his round eyes and frightful whiskers, was trying to", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "Arrived at that comforting conclusion, I bethought myself of a cigar and\nwent below to get it. All was still down there. Everybody at the", "The mate with the terrific whiskers was now putting the ship on the\nother tack. In the moment of profound silence which follows upon the", "After thus overwhelming us with the extent of his information he slipped\nout of the cabin. The mate observed regretfully that he \"could not\naccount for that young fellow's whims.\" What prevented him telling us\nall about it at once, he wanted to know.", "I found my two officers waiting for me near the supper table, in the\nlighted cuddy. We sat down at once, and as I helped the chief mate, I\nsaid:", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "eagerly. He happened to catch sight of me and dived, the second ran down\non the main-deck shouting some order or other, and the chief mate came\nto meet me, touching his cap.", "belong to the Sephora. As to asking for the captain, that was a mere\nimpulse. It could have been no use, with all the ship knowing about me", "His anxiety was in answer, a sufficient answer, to the question I had\nput to him. An answer containing all the difficulty of that situation. I\nclosed the porthole quietly, to make sure. A louder word might have been\noverheard.", "He had. And the proof of it was his earnest whisper, \"The man told you\nhe hardly dared to give the order.\"\n\nI understood the reference to be to that saving foresail.", "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "spiritless sigh, and mumbled dismally that he must really be going back\nto his ship now. I desired my mate, who had joined us, to see to the\ncaptain's boat." ], [ "was my being a stranger to the ship; and if all the truth must be\ntold, I was somewhat of a stranger to myself. The youngest man on board", "forward. All these people had been together for eighteen months or so,\nand my position was that of the only stranger on board. I mention this\nbecause it has some bearing on what is to follow. But what I felt most", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I", "He had turned about meantime; and we, the two strangers in the ship,\nfaced each other in identical attitudes.", "not attempt to come on board, and strangely troubling to suspect that\nperhaps he did not want to. And my first words were prompted by just\nthat troubled incertitude.", "\"Who's that?\" he whispered then.\n\n\"My second mate. But I don't know much more of the fellow than you do.\"", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "crew, all they knew was that I was appointed to take the ship home.\nFor the rest, I was almost as much of a stranger on board as himself,", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "\"No, on the passage. Weeks ago. Thirty-nine south. When I say a man--\"\n\n\"Fit of temper,\" I suggested, confidently.", "sharer of my cabin as though he were my second self. There he was on the\nother side of the bulkhead, four or five feet from us, no more, as we", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "fortnight ago. I didn't know either the ship or the people. Hadn't had\nthe time in port to look about me or size anybody up. And as to the", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "word. In my case they were not unalloyed. I was not wholly alone with my\ncommand; for there was that stranger in my cabin. Or rather, I was", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "\"Cramp,\" it answered, no louder. Then slightly anxious, \"I say, no need\nto call anyone.\"\n\n\"I was not going to,\" I said.\n\n\"Are you alone on deck?\"", "ready to depart, and remembered only that I was a total stranger to the\nship. I did not know her. Would she do it? How was she to be handled?", "moment, this being appearing as if he had risen from the bottom of the\nsea (it was certainly the nearest land to the ship) wanted only to know\nthe time. I told him. And he, down there, tentatively:" ], [ "coming back on deck, saw the naked man from the sea sitting on the main\nhatch, glimmering white in the darkness, his elbows on his knees and", "\"Yes. I've been in the water practically since nine o'clock. The\nquestion for me now is whether I am to let go this ladder and go on\nswimming till I sink from exhaustion, or--to come on board here.\"", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "have been the good? But now I was clear of that ship, I was not going\nback. So after a while I took off all my clothes, tied them up in a", "of my thoughts, as though he were my second self, had lowered himself\ninto the water to take his punishment: a free man, a proud swimmer\nstriking out for a new destiny.", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "Already the ship was drawing ahead. And I was alone with her. Nothing!\nno one in the world should stand now between us, throwing a shadow on\nthe way of silent knowledge and mute affection, the perfect communion of", "I felt suddenly ashamed of myself. I may say truly that I\nunderstood--and my hesitation in letting that man swim away from my\nship's side had been a mere sham sentiment, a sort of cowardice.", "I caught his arm as he was raising it to batter his poor devoted head,\nand shook it violently.\n\n\"She's ashore already,\" he wailed, trying to tear himself away.", "boats! He's committed suicide! No, he's swimming.' Certainly I was\nswimming. It's not so easy for a swimmer like me to commit suicide by", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "And all the time I dared not look towards the land lest my heart should\nfail me. I released my grip at last and he ran forward as if fleeing for\ndear life.", "to feel the ship coming-to. No! I could not feel her. And my second self\nwas making now ready to ship out and lower himself overboard. Perhaps he\nwas gone already...?", "land, either. The water was like glass. One might have been swimming in\na confounded thousand-feet deep cistern with no place for scrambling out", "\"Is she?... Keep good full there!\"\n\n\"Good full, sir,\" cried the helmsman in a frightened, thin, childlike\nvoice.", "Our eyes met; several seconds elapsed, till, our glances still mingled,\nI extended my hand and turned the lamp out. Then I passed through the\ncuddy, leaving the door of my room wide open.... \"Steward!\"", "I was going out to make the acquaintance of my ship. Before I left\nthe cabin our eyes met--the eyes of the only two strangers on board. I", "pale floating very close to the ladder. Before I could form a guess a\nfaint flash of phosphorescent light, which seemed to issue suddenly\nfrom the naked body of a man, flickered in the sleeping water with the", "As he hung by the ladder, like a resting swimmer, the sea lightning\nplayed about his limbs at every stir; and he appeared in it ghastly,", "and was in the water before I had made up my mind fairly. Somebody heard\nthe splash and they raised an awful hullabaloo. 'He's gone! Lower the" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "arrest in his cabin for nearly seven weeks. But there was nothing sickly\nin his eyes or in his expression. He was not a bit like me, really; yet,", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "his name (it was something like Archbold--but at this distance of years\nI hardly am sure), his ship's name, and a few other particulars of\nthat sort, in the manner of a criminal making a reluctant and", "I caught his arm as he was raising it to batter his poor devoted head,\nand shook it violently.\n\n\"She's ashore already,\" he wailed, trying to tear himself away.", "\"No, on the passage. Weeks ago. Thirty-nine south. When I say a man--\"\n\n\"Fit of temper,\" I suggested, confidently.", "However that might have been, the silence was not very prolonged. He\ntook another oblique step.\n\n\"I reckon I had no more than a two-mile pull to your ship. Not a bit\nmore.\"", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "I detained him as he was making a move. For the last two days the crew\nhad had plenty of hard work, and the night before they had very little", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "\"Your ladder--\" he murmured, after a silence. \"Who'd have thought of\nfinding a ladder hanging over at night in a ship anchored out here! I", "to keep the ship running; so you may guess what it had been like for\ndays. Anxious sort of job, that. He gave me some of his cursed insolence", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "for ten days. When we anchored here they thought, I suppose, it was\nall right. The nearest land (and that's five miles) is the ship's", "\"I assure you he never gave the order. He may think he did, but he never\ngave it. He stood there with me on the break of the poop after the" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "strangling people. Am I a murdering brute? Do I look it? By Jove! If I\nhad been he wouldn't have trusted himself like that into my room. You'll", "\"Don't you think,\" I said, \"that the heavy sea which, you told me, came\naboard just then might have killed the man? I have seen the sheer weight\nof a sea kill a man very neatly, by simply breaking his neck.\"", "\"Such a young man, too!\" he nodded, keeping his smeary blue,\nunintelligent eyes fastened upon me. \"What was the cause of it--some", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "\"Yes. Very wrong indeed. I've killed a man.\"\n\n\"What do you mean? Just now?\"", "\"Good God!\" he uttered, impressively, fixing his smeary blue eyes on\nme. \"The sea! No man killed by the sea ever looked like that.\" He seemed", "He was. To the law. His obscure tenacity on that point had in it\nsomething incomprehensible and a little awful; something, as it were,", "had not the strength to get on my legs. Everything remained still. Had\nmy second self taken the poor wretch by the throat? I don't know what I", "\"Give the mate a call,\" I said to the young man who stood at my elbow as\nstill as death. \"And turn all hands up.\"", "character where there are no means of legal repression. And I knew well\nenough also that my double there was no homicidal ruffian. I did not", "\"No, on the passage. Weeks ago. Thirty-nine south. When I say a man--\"\n\n\"Fit of temper,\" I suggested, confidently.", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "It was like being haunted. Motionless, with a grave face, he raised his\nhands slightly at me in a gesture which meant clearly, \"Heavens! what", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "look for him in our coal-hole?' Quite a tiff. But they made it up in the\nend. I suppose he did drown himself. Don't you, sir?\"", "\"Look here, my man. Could you call him out quietly?\"\n\nI thought the time had come to declare myself.\n\n\"I am the captain.\"", "\"I suppose I must report a suicide.\"\n\n\"Beg pardon?\"\n\n\"Suicide! That's what I'll have to write to my owners directly I get\nin.\"", "to shout after him. Suddenly I became aware (it could be heard plainly\nenough) that the fellow for some reason or other was opening the door of\nthe bathroom. It was the end. The place was literally not big enough to" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "\"I shall stand in as close as I dare and then put her round. I will\npresently find means to smuggle you out of here into the sail locker,", "\"You had better slip down into my stateroom now,\" I said, moving off\nstealthily. My double followed my movements; our bare feet made no", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "double captain slipped past the stairs--through a tiny dark passage\n... a sliding door. We were in the sail locker, scrambling on our knees\nover the sails. A sudden thought struck me. I saw myself wandering", "After thus overwhelming us with the extent of his information he slipped\nout of the cabin. The mate observed regretfully that he \"could not\naccount for that young fellow's whims.\" What prevented him telling us\nall about it at once, he wanted to know.", "\"I heard somebody moving about, and went in there at once,\" he\nwhispered.\n\nI, too, spoke under my breath.", "other. It occurred to me that if old \"Bless my soul--you don't say so\"\nwere to put his head up the companion and catch sight of us, he would", "arrest in his cabin for nearly seven weeks. But there was nothing sickly\nin his eyes or in his expression. He was not a bit like me, really; yet,", "It seems they rushed us aft together, gripped as we were, screaming\n'Murder!' like a lot of lunatics, and broke into the cuddy. And the ship", "He concealed his astonishment. \"Very well, sir.\" Outside the cuddy he\nput his head in the second mate's door to inform him of my unheard-of", "I waited till he was gone out of the cuddy, then rose. My double moved\ntoo. The time had come to exchange our last whispers, for neither of us\nwas ever to hear each other's natural voice.", "He did so, as noiseless as a ghost, and then I rang for the steward,\nand facing him boldly, directed him to tidy up my stateroom while I", "to rights, whisk, bang, clatter--out again into the saloon--turn the\nkey--click. Such was my scheme for keeping my second self invisible.\nNothing better could be contrived under the circumstances. And there", "\"You see I wasn't.\"\n\n\"No, sir. I could have sworn I had heard you moving in there not a\nmoment ago. It's most extraordinary... very sorry, sir.\"", "round. When at last I did I saw him standing bolt-upright in the\nnarrow recessed part. It would not be true to say I had a shock, but an", "think he was seeing double, or imagine himself come upon a scene of\nweird witchcraft; the strange captain having a quiet confabulation\nby the wheel with his own gray ghost. I became very much concerned to", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "and was in the water before I had made up my mind fairly. Somebody heard\nthe splash and they raised an awful hullabaloo. 'He's gone! Lower the", "land, either. The water was like glass. One might have been swimming in\na confounded thousand-feet deep cistern with no place for scrambling out", "boats! He's committed suicide! No, he's swimming.' Certainly I was\nswimming. It's not so easy for a swimmer like me to commit suicide by", "\"Good God!\" he uttered, impressively, fixing his smeary blue eyes on\nme. \"The sea! No man killed by the sea ever looked like that.\" He seemed", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "I heard a \"By Jove!\" whispered at the level of the water. The\nphosphorescence flashed in the swirl of the water all about his limbs,\nhis other hand seized the ladder.", "And all the time I dared not look towards the land lest my heart should\nfail me. I released my grip at last and he ran forward as if fleeing for\ndear life.", "bundle with a stone inside, and dropped them in the deep water on the\nouter side of that islet. That was suicide enough for me. Let them think", "\"She will never get out. You have done it, sir. I knew it'd end in\nsomething like this. She will never weather, and you are too close now\nto stay. She'll drift ashore before she's round. Oh my God!\"", "I caught his arm as he was raising it to batter his poor devoted head,\nand shook it violently.\n\n\"She's ashore already,\" he wailed, trying to tear himself away.", "As he hung by the ladder, like a resting swimmer, the sea lightning\nplayed about his limbs at every stir; and he appeared in it ghastly,", "of my thoughts, as though he were my second self, had lowered himself\ninto the water to take his punishment: a free man, a proud swimmer\nstriking out for a new destiny.", "look for him in our coal-hole?' Quite a tiff. But they made it up in the\nend. I suppose he did drown himself. Don't you, sir?\"", "\"Don't you think,\" I said, \"that the heavy sea which, you told me, came\naboard just then might have killed the man? I have seen the sheer weight\nof a sea kill a man very neatly, by simply breaking his neck.\"", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "I had somehow the impression that he was on the point of letting go the\nladder to swim away beyond my ken--mysterious as he came. But, for the", "\"Yes. I've been in the water practically since nine o'clock. The\nquestion for me now is whether I am to let go this ladder and go on\nswimming till I sink from exhaustion, or--to come on board here.\"", "was still over his eyes; but his chest heaved; his hair was wet; his\nchin glistened with perspiration. I reached over him and opened the\nport." ], [ "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "and the steward entered with a tray, bringing in my morning coffee. I\nhad slept, after all, and I was so frightened that I shouted, \"This way!", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "\"I heard somebody moving about, and went in there at once,\" he\nwhispered.\n\nI, too, spoke under my breath.", "\"You see I wasn't.\"\n\n\"No, sir. I could have sworn I had heard you moving in there not a\nmoment ago. It's most extraordinary... very sorry, sir.\"", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "\"Do you think they will be round here presently?\" I asked with some\nincredulity.\n\n\"Quite likely,\" he said, faintly.", "\"No, on the passage. Weeks ago. Thirty-nine south. When I say a man--\"\n\n\"Fit of temper,\" I suggested, confidently.", "I was fascinated by it myself. Every moment I had to glance over my\nshoulder. I was looking at him when a voice outside the door said:\n\n\"Beg pardon, sir.\"", "and the other people pretty certain to be round here in the morning. I\ndon't know--I wanted to be seen, to talk with somebody, before I went", "the officer of the watch moved here and there. Then I heard him move\nquickly. I knew what that meant. He was making for the companion; and\npresently his voice was outside my door.", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "It was like being haunted. Motionless, with a grave face, he raised his\nhands slightly at me in a gesture which meant clearly, \"Heavens! what", "moment, this being appearing as if he had risen from the bottom of the\nsea (it was certainly the nearest land to the ship) wanted only to know\nthe time. I told him. And he, down there, tentatively:", "You seem to have been there on purpose.\" And in the same whisper, as if\nwe two whenever we talked had to say things to each other which were not", "round. When at last I did I saw him standing bolt-upright in the\nnarrow recessed part. It would not be true to say I had a shock, but an", "\"Such a young man, too!\" he nodded, keeping his smeary blue,\nunintelligent eyes fastened upon me. \"What was the cause of it--some", "I am here, steward,\" as though he had been miles away. He put down the\ntray on the table next the couch and only then said, very quietly, \"I", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "I paced a turn or two on the poop and saw him take up his position face\nforward with his elbow in the ratlines of the mizzen rigging before I", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "the officer of the watch moved here and there. Then I heard him move\nquickly. I knew what that meant. He was making for the companion; and\npresently his voice was outside my door.", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "He touched my shoulder lightly. Lazy footsteps came right over our heads\nand stopped. The second mate had crossed from the other side of the poop\nand might have been hanging over the rail for all we knew.", "ship was put in stays. Must! There could be no going back for him. After\na moment I walked over to leeward and my heart flew into my mouth at the", "\"I assure you he never gave the order. He may think he did, but he never\ngave it. He stood there with me on the break of the poop after the", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "It was the mate moaning at my elbow. He was thunderstruck, and as it\nwere deprived of the moral support of his whiskers. He clapped his hands\nand absolutely cried out, \"Lost!\"", "sharer of my cabin as though he were my second self. There he was on the\nother side of the bulkhead, four or five feet from us, no more, as we", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "However that might have been, the silence was not very prolonged. He\ntook another oblique step.\n\n\"I reckon I had no more than a two-mile pull to your ship. Not a bit\nmore.\"", "eagerly. He happened to catch sight of me and dived, the second ran down\non the main-deck shouting some order or other, and the chief mate came\nto meet me, touching his cap.", "\"Preposterous--isn't it?\"\n\nWe were walking to and fro athwart the quarter-deck. No one of the crew\nforward could be seen (the day was Sunday), and the mate pursued:", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "I took no notice of him and raised my tone just enough to be heard by\nthe helmsman.\n\n\"Keep her good full.\"\n\n\"Good full, sir.\"" ], [ "\"'Mr. Leggatt, you have killed a man. You can act no longer as chief\nmate of this ship.'\"", "\"My name's Leggatt.\"\n\nThe voice was calm and resolute. A good voice. The self-possession of\nthat man had somehow induced a corresponding state in myself. It was\nvery quietly that I remarked:", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "I caught his arm as he was raising it to batter his poor devoted head,\nand shook it violently.\n\n\"She's ashore already,\" he wailed, trying to tear himself away.", "And all the time I dared not look towards the land lest my heart should\nfail me. I released my grip at last and he ran forward as if fleeing for\ndear life.", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "dreaded, after putting down the dishes ran up on deck busily. This could\nnot be dangerous. Presently he came down again; and then it appeared", "It was like being haunted. Motionless, with a grave face, he raised his\nhands slightly at me in a gesture which meant clearly, \"Heavens! what", "I paced a turn or two on the poop and saw him take up his position face\nforward with his elbow in the ratlines of the mizzen rigging before I", "\"Well!...\" I kept my eyes on him, and so when the voice outside the\ndoor announced, \"There's a ship's boat coming our way, sir,\" I saw him", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "\"Be quiet,\" I said, sternly.\n\nHe lowered his tone, but I saw the shadowy gesture of his despair. \"What\nare we doing here?\"\n\n\"Looking for the land wind.\"", "ship was put in stays. Must! There could be no going back for him. After\na moment I walked over to leeward and my heart flew into my mouth at the", "\"We are drawing in pretty fast, sir. Land looks rather close.\"\n\n\"Very well,\" I answered. \"I am coming on deck directly.\"", "I hesitated. Should I whisper something to him? But what? His immobility\nseemed to have been never disturbed. What could I tell him he did not\nknow already?... Finally I went on deck.", "land, either. The water was like glass. One might have been swimming in\na confounded thousand-feet deep cistern with no place for scrambling out", "eagerly. He happened to catch sight of me and dived, the second ran down\non the main-deck shouting some order or other, and the chief mate came\nto meet me, touching his cap.", "\"I am going to stand right in. Quite in--as far as I can take her.\"\n\nThe stare of extreme surprise imparted an air of ferocity also to his\neyes, and he looked truly terrific for a moment.", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "\"Good God!\" he uttered, impressively, fixing his smeary blue eyes on\nme. \"The sea! No man killed by the sea ever looked like that.\" He seemed" ], [ "\"That's so,\" confirmed the second mate, suddenly, in his slightly hoarse\nvoice. \"She draws over twenty feet. She's the Liverpool ship Sephora\nwith a cargo of coal. Hundred and twenty-three days from Cardiff.\"", "We looked at him in surprise.\n\n\"The tugboat skipper told me when he came on board for your letters,\nsir,\" explained the young man. \"He expects to take her up the river the\nday after tomorrow.\"", "\"I have been at sea now, man and boy, for seven-and-thirty years, and\nI've never heard of such a thing happening in an English ship. And that\nit should be my ship. Wife on board, too.\"", "belong to the Sephora. As to asking for the captain, that was a mere\nimpulse. It could have been no use, with all the ship knowing about me", "\"Yes. I had a story from the captain.\"\n\n\"A very horrible affair--isn't it, sir?\"\n\n\"It is.\"", "for ten days. When we anchored here they thought, I suppose, it was\nall right. The nearest land (and that's five miles) is the ship's", "spiritless sigh, and mumbled dismally that he must really be going back\nto his ship now. I desired my mate, who had joined us, to see to the\ncaptain's boat.", "and at me. We closed just as an awful sea made for the ship. All hands\nsaw it coming and took to the rigging, but I had him by the throat, and", "\"Is she?... Keep good full there!\"\n\n\"Good full, sir,\" cried the helmsman in a frightened, thin, childlike\nvoice.", "However that might have been, the silence was not very prolonged. He\ntook another oblique step.\n\n\"I reckon I had no more than a two-mile pull to your ship. Not a bit\nmore.\"", "knowledge. It's horrible enough for me.... But the queerest part is\nthat those fellows seemed to have some idea the man was hidden aboard\nhere. They had really. Did you ever hear of such a thing?\"", "to keep the ship running; so you may guess what it had been like for\ndays. Anxious sort of job, that. He gave me some of his cursed insolence", "But I had no leisure to weigh the merits of the matter--footsteps in\nthe saloon, a heavy knock. \"There's enough wind to get under way with,", "\"What would you think of such a thing happening on board your own\nship? I've had the Sephora for these fifteen years. I am a well-known\nshipmaster.\"", "his name (it was something like Archbold--but at this distance of years\nI hardly am sure), his ship's name, and a few other particulars of\nthat sort, in the manner of a criminal making a reluctant and", "The mate with the terrific whiskers was now putting the ship on the\nother tack. In the moment of profound silence which follows upon the", "sat in the saloon. I looked politely at Captain Archbold (if that was\nhis name), but it was the other I saw, in a gray sleeping suit, seated", "I came out on deck slowly. It was now a matter of conscience to shave\nthe land as close as possible--for now he must go overboard whenever the", "eagerly. He happened to catch sight of me and dived, the second ran down\non the main-deck shouting some order or other, and the chief mate came\nto meet me, touching his cap.", "\"Yes,\" I said, replacing the lamp in the binnacle. The warm, heavy\ntropical night closed upon his head again.\n\n\"There's a ship over there,\" he murmured." ] ]

[ "Where does the ship anchor and by what?", "What does the captain see the night he takes the watch?", "Who is the naked swimmer and why is he swimming at night?", "Why does Leggatt think he'll be hanged for murder?", "What happenes the morning after?", "Who must the narrator and Leggatt avoid on their routine trips to the captain's cabin?", "What plan does the narrator and Leggatt make and does it work?", "Who is considered the \"stranger\" of the crew?", "Where does the story take place?", "What odd thing does the ship's captain notice while he's on watch?", "Who is the naked man that climbs aboard?", "Why is Leggatt hesitant to come aboard?", "Why do the Captain and Leggatt get along so well?", "Who does the Captain lie to?", "What plagues the Captain?", "How does the Captain satisfy Leggatt and his own crew?", "Who calls himself the stranger on board?", "Who swims naked to the ship?", "Why was Leggatt under arrest on the other ship?", "What did Leggatt call the man he murdered?", "Where does the Captain hide Leggatt?", "What body of water does Leggatt jump into?", "Who arrives in the morning asking about Leggatt?", "What was Leggatt's position on his ship?", "What was Leggatt going to face upon landing?", "What country was the cargo for that the Captain was transporting?" ]

[ [ "Near barren islands a few miles from shore, another ship a few miles away.", "It anchored down near a small group of islands a few miles off shore by a tug boat" ], [ "A naked swimmer named Leggatt.", "a man swimming up to the ship" ], [ "The first mate of the other ship and he was arrested.", "Leggatt and to escape. " ], [ "He is a stranger to his crew.", "because he murdered a crew member" ], [ "The other captain comes looking for him and the narrator is able to lie.", "the Captain of Leggatt's ship arrived to question them" ], [ "The Steward.", "The steward " ], [ "Leggatt will drop into the sea and swim to land near the Gulf of Siam. Yes but the narrator almost crashes into rocks. ", "Leggatt will swim alongside the boat " ], [ "The ship's young captain", "The narrator " ], [ "In the Gulf of Siam/Gulf of Thailand", "Gulf of Siam" ], [ "A naked man", "A naked man swimming up to the ship" ], [ "Leggatt, a former First Mate of a different ship", "Leggatt" ], [ "He killed a man on accident and doesn't want to be caught", "he is suspected for murder" ], [ "They were both \"strangers\" on their ships", "They both feel like the strangers aboard their ships and see each as their other self." ], [ "The captain of another ship searching for Leggatt", "The captain of Leggatt's ship" ], [ "The thought of Leggatt being found out", "His crew finding out about Leggatt's" ], [ "By showing good seamanship and allowing Leggatt to escape.", "he helps him secretly" ], [ "The Captain", "The Captain" ], [ "Leggatt", "Leggatt" ], [ "He murdered a crew member", "For murder." ], [ "A disobedient bully", "A disobedient bully." ], [ "In his cabin", "in his cabin" ], [ "The Gulf of Siam", "the gulf of Siam" ], [ "The other ship's captain", "The captain " ], [ "First mate", "First Mate" ], [ "The gallows", "arrest" ], [ "Britain", "Britain " ] ]

7d47230b4497695daed8e532fdf42dff38131e91

train

[ [ "And now from her--\n\n CUT TO:\n\n WOODWARD and BERNSTEIN in a corner of the room, talking low \n and fast.", "WOODWARD\n (looks at BERNSTEIN)\n --she was panicked, Carl--every time \n I mentioned Watergate, you could \n tell.", "As WOODWARD and BERNSTEIN leave the office--\n\n BRADLEE\n Leave plenty of room for his denial.\n\n CUT TO:", "BERNSTEIN\n You heard?\n (WOODWARD glances up)\n They put us both on the break-in", "BERNSTEIN\n Who?\n\n WOODWARD\n Haldeman.\n\n CUT TO:", "WOODWARD AND BERNSTEIN, nervously watching BRADLEE come. As \n soon as BRADLEE is within earshot, ROSENFELD starts his sell.", "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "of his on the byline. ROSENFELD watches. As WOODWARD finishes, \n he takes the story again, hurries off. Now--", "CUT TO:\n\n WOODWARD and BERNSTEIN as the news commentator come on, begins \n introducing another story.", "CUT TO:\n\n WOODWARD and BERNSTEIN huddling outside BRADLEE's office.", "WOODWARD and BERNSTEIN heading toward the office. As they \n enter--\n\n BRADLEE\n I got Clawsen on hold--", "BERNSTEIN\n What's that?\n\n WOODWARD\n The fucking New York Times.\n\n CUT TO:", "CUT TO:\n\n WOODWARD AND BERNSTEIN\n\n They are driving through McLean, Virginia, a development of \n identical imitation Tudor houses.", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "WOODWARD\n --no way--\n\n BERNSTEIN\n (handing them over)\n --read 'em both and you'll see--", "CUT TO:\n\n WOODWARD AND BERNSTEIN getting back into a cab.", "WOODWARD AND BERNSTEIN walking toward BERSTEIN'S desk.\n\n WOODWARD\n Hey?", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "BERNSTEIN\n (as WOODWARD reaches \n him)\n See her?\n (WOODWARD nods)\n Get anything?", "A tremendous pall has settled on the city room. People walk \n by, glancing at WOODWARD and BERNSTEIN, who sit almost \n immobilized at their desks, wet, whipped; no energy left." ], [ "CUT TO:\n\n DEEP THROAT. He blinks for a moment. Then he begins to \n whisper.", "He stops as suddenly DEEP THROAT dives down behind the nearest \n car.\n\n WOODWARD dropping beside him.\n\n WOODWARD\n What?", "CUT TO:\n\n DEEP THROAT moving out of the shadows, smoking, as always.", "DEEP THROAT\n Someone with authority I'd imagine, \n wouldn't you?\n (coughs)\n Don't you know what you're onto? \n Come on.", "DEEP THROAT\n Did you change cabs?\n (as WOODWARD nods)\n It didn't work, something moved there--\n\n And as he points", "DEEP THROAT\n (nods)\n Yes, the little ratfuckers are now \n running our government.", "WOODWARD takes a breath, nods.\n\n DEEP THROAT\n --wait--\n (almost a smile)\n --there's more...", "WOODWARD\n Who?--be specific. How high up?\n\n DEEP THROAT\n You'll have to find that out, won't \n you.", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "DEEP THROAT\n My turn to keep you waiting.\n (approaches)\n What's the topic for tonight?\n\n WOODWARD\n Ratfucking.", "WOODWARD\n We can't trust the phones, not \n anymore. Deep Throat says so.\n\n As WOODWARD beckons for him to move out into the lawn--", "DEEP THROAT pacing and smoking. He is visibly upset; scared \n maybe. He glances over as WOODWARD comes back down the ramp \n alone.", "DEEP THROAT\n Follow the money. Always follow the \n money.\n\n WOODWARD\n To where?", "DEEP THROAT shakes his head, walks off. WOODWARD stands alone \n now, watching. Now the shadows have the other man. Just his \n footsteps are audible. WOODWARD stands there... HOLD.", "DEEP THROAT\n In my day, it was simply called the \n double cross. I believe the CIA refers", "DEEP THROAT\n (shakes his head \"no\")\n Go on.", "DEEP THROAT\n You'll have to find that out, won't \n you?--\n\n CUT TO:", "DEEP THROAT and WOODWARD in the underground garage.", "DEEP THROAT\n Because the press stinks too--history \n on the run, that's all you're \n interested in.\n (inhales)\n You come up with anything?", "WOODWARD\n There were more then.\n\n DEEP THROAT\n Follow every lead--every lead goes \n somewhere--" ], [ "BERNSTEIN\n --we've got to find out who the five \n guys are--the five with access to \n the slush fund--they were aware of \n the break-in.", "BERNSTEIN\n You heard?\n (WOODWARD glances up)\n They put us both on the break-in", "WOODWARD\n Probably you're right, but a little \n while ago, I was talking to a couple \n of lawyers who'd been assigned to \n represent the burglars.", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "WOODWARD\n --we're working on the last guy now \n and we're going all the way--that \n fifth man was Haldeman.", "BERNSTEIN\n Who?\n\n WOODWARD\n Haldeman.\n\n CUT TO:", "WOODWARD\n (stunned)\n Fifty ratfuckers directed by the \n White House to destroy the Democrats?\n\n CUT TO:", "And now from her--\n\n CUT TO:\n\n WOODWARD and BERNSTEIN in a corner of the room, talking low \n and fast.", "CUT TO:\n\n WOODWARD and BERNSTEIN as the news commentator come on, begins \n introducing another story.", "WOODWARD\n I was just kind of wondering why \n your name and phone number were in \n the address books of two of the men \n arrested at Watergate?", "CUT TO:\n\n WOODWARD AND BERNSTEIN\n\n They are driving through McLean, Virginia, a development of \n identical imitation Tudor houses.", "WOODWARD\n (moving in behind him)\n Mr. Rafferty was very helpful. Four \n Cuban-Americans and this other man, \n James McCord.", "BERNSTEIN\n What's that?\n\n WOODWARD\n The fucking New York Times.\n\n CUT TO:", "CUT TO:\n\n WOODWARD and BERNSTEIN huddling outside BRADLEE's office.", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "(silence)\n In Bernard Barker's Florida account.\n (still nothing)\n Bernard Barker, the Watergate burglar--", "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti", "have seen their uniforms and radioed Hunt and Liddy in time \n for them to have gotten to the five burglars and then safely \n away.)", "BERNSTEIN\n Look--five men controlled that slush \n fund as CREEP--three of them we've" ], [ "WOODWARD\n The slush fund at CREEP financed the \n ratfucking, we've almost got that \n nailed down, so--", "SLOAN\n Well, when Liddy came and asked for \n money for what turned out to be the", "BERNSTEIN\n Look--five men controlled that slush \n fund as CREEP--three of them we've", "BERNSTEIN\n --we've got to find out who the five \n guys are--the five with access to \n the slush fund--they were aware of \n the break-in.", "WOODWARD\n --you never knew Haldeman had control \n of the slush fund--\n\n FBI GUY\n --it's all in our files--", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "SLOAN\n Of course--everything they asked--\n\n BERNSTEIN\n --if we wrote a story that said \n Haldeman controlled the fund?--", "BOOKKEEPER\n A lot of it was. I just thought it \n was sort of an all-purpose political \n fund--you know, for taking fat cats \n to dinner, things like that.", "BERNSTEIN\n (ticking them off)\n Mitchell, Stans, Magruder, they're \n obvious--\n\n SLOAN stirs his coffee.", "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "SLOAN\n No. It was closer to seven hundred \n thousand.\n\n WOODWARD\n And as treasurer, you could release \n those funds?", "SLOAN\n Routine--I'd just call John Mitchell \n over at the Justice Department and \n he'd say \"go ahead, give out the \n money.\"", "there was a 350 thousand cash slush \n fund in Stans' safe. Did you know \n about that from the beginning?", "SLOAN\n I won't talk about the other two.\n\n BERNSTEIN\n But they both worked at the White \n House?", "BERNSTEIN\n (out of the blue)\n Kalmbach--Nixon's personal lawyer.\n\n SLOAN is shocked at the mention of Kalmbach.", "SLOAN\n Well, they sure didn't ask us to \n come forward and tell the truth.\n\n WOODWARD\n Does \"they\" mean the White House?", "Now we have a series of shots of the two of them going through \n the slips; it took them hours and hours, and the afternoon \n darkened as they worked. And they're tired. Now--", "SLOAN\n We were never told flat out \"Don't \n talk.\" But the message was clear.\n\n BERNSTEIN\n To cover up?", "BERNSTEIN\n You were Hugh Sloan's bookkeeper \n when he worked for Maurice Stans at", "MITCHELL (V.O.)\n --jeeeeeeesus--\n\n BERNSTEIN\n --fund that was used to gather \n information against the Democrats--" ], [ "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "CREEP secretary being scared, that's \n one thing. But what does the wife of \n one of the most powerful men in", "studying the front page, on which one headline indicates \n that they're named the guys at CREEP who got the reports.", "And from these, they begin to get the home addresses of the \n various small-fry people who work for CREEP.", "White House and CREEP to ratfuck--\n some of what they did is beyond \n belief.", "ROSENFELD\n CREEP financed the Watergate break-\n in, Jesus Christ.\n\n He starts off.", "WOODWARD\n The slush fund at CREEP financed the \n ratfucking, we've almost got that \n nailed down, so--", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "CUT TO:\n\n GETTING THE CREEP LIST SEQUENCE.", "THE WOODWARD/BERNSTEIN STORY that said the GAO found that \n CREEP has mishandled over $500,000 in campaign funds.", "CREEP\n --the fact remains that except for \n Watergate, we ran one hell of a great \n campaign...\n\n The CAMERA is almost at the pillar now.", "BERNSTEIN\n Look--five men controlled that slush \n fund as CREEP--three of them we've", "CREEP P.R. MAN\n (in mid-sentence)\n --hearsay, innuendo, and character", "got destroyed--they wanted to run \n against McGovern, and look who they're \n running against. They bugged, they", "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "WOODWARD\n (headshake)\n --just that a lot of reports were \n sent to CREEP, but he doesn't name \n who, not here anyway--", "WOODWARD\n (stunned)\n Fifty ratfuckers directed by the \n White House to destroy the Democrats?\n\n CUT TO:", "You don't realize how close all this \n came to staying undiscovered--I gave \n Liddy the Dahlberg check and he gave", "SEGRETTI\n I didn't.\n\n BERNSTEIN\n But you know who did.", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was" ], [ "CUT TO:\n\n DEEP THROAT. He blinks for a moment. Then he begins to \n whisper.", "WOODWARD takes a breath, nods.\n\n DEEP THROAT\n --wait--\n (almost a smile)\n --there's more...", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "DEEP THROAT\n Did you change cabs?\n (as WOODWARD nods)\n It didn't work, something moved there--\n\n And as he points", "He stops as suddenly DEEP THROAT dives down behind the nearest \n car.\n\n WOODWARD dropping beside him.\n\n WOODWARD\n What?", "DEEP THROAT\n (nods)\n Yes, the little ratfuckers are now \n running our government.", "CUT TO:\n\n DEEP THROAT moving out of the shadows, smoking, as always.", "DEEP THROAT\n My turn to keep you waiting.\n (approaches)\n What's the topic for tonight?\n\n WOODWARD\n Ratfucking.", "WOODWARD\n Who?--be specific. How high up?\n\n DEEP THROAT\n You'll have to find that out, won't \n you.", "DEEP THROAT\n Someone with authority I'd imagine, \n wouldn't you?\n (coughs)\n Don't you know what you're onto? \n Come on.", "DEEP THROAT\n Of course--my God, you think something \n this big just happens? The break-in", "DEEP THROAT\n Follow the money. Always follow the \n money.\n\n WOODWARD\n To where?", "WOODWARD\n We can't trust the phones, not \n anymore. Deep Throat says so.\n\n As WOODWARD beckons for him to move out into the lawn--", "WOODWARD\n There were more then.\n\n DEEP THROAT\n Follow every lead--every lead goes \n somewhere--", "DEEP THROAT shakes his head, walks off. WOODWARD stands alone \n now, watching. Now the shadows have the other man. Just his \n footsteps are audible. WOODWARD stands there... HOLD.", "DEEP THROAT\n Because the press stinks too--history \n on the run, that's all you're \n interested in.\n (inhales)\n You come up with anything?", "DEEP THROAT\n Yes, yes, everything. There were \n over fifty people employed by the", "DEEP THROAT\n You'll have to find that out, won't \n you?--\n\n CUT TO:", "DEEP THROAT\n In my day, it was simply called the \n double cross. I believe the CIA refers", "DEEP THROAT pacing and smoking. He is visibly upset; scared \n maybe. He glances over as WOODWARD comes back down the ramp \n alone." ], [ "CUT TO:\n\n WOODWARD AT HIS DESK.", "CUT TO:\n\n WOODWARD", "WOODWARD and BERNSTEIN tearing into BRADLEE's office--he \n stands scowling at the TV set in a corner of the room--\n outside, it is raining like hell.", "CUT TO:\n\n WOODWARD turning a corner, running on and--\n\n CUT TO:", "BERNSTEIN and WOODWARD in a crummy cafeteria, watching the \n evening news on the TV set high on the wall. WOODWARD eats a", "the TV set, answering questions. WOODWARD and BERNSTEIN sip \n coffee. We don't know yet--or better, they don't know it", "WOODWARD\n (stunned)\n Holy shit.\n\n Now from the courtroom--\n\n CUT TO:", "ROSENFELD hurrying (he always hurries) toward his office. \n WOODWARD, looking for something in his desk throughout this \n scene, speaks to him.", "CUT TO:\n\n WOODWARD in the shadows, coming closer.\n\n CUT TO:", "The room is reasonably quiet. ROSENFELD is visible in his \n office. As WOODWARD picks up the phone, gets Minneapolis \n information--\n\n CUT TO:", "room. WOODWARD is working at his desk until he glances up at \n a wall clock. It's almost one on the button and as he rises--", "CUT TO:\n\n WOODWARD and BERNSTEIN as the news commentator come on, begins \n introducing another story.", "WOODWARD appears in the side exit, walks off. When he gets \n out of sight of the paper, he starts to run. Now--\n\n CUT TO:", "The maids nod, move out of sight. WOODWARD stands tense and \n still, watching the closed door numbered 710... Now--\n\n CUT TO:", "The elevator opens. WOODWARD shakes his head \"no\" and steps \n inside as we\n\n CUT TO:", "CUT TO:\n\n WOODWARD'S APARTMENT in the dark as he manages to knock the \n phone off its cradle.", "CUT TO:\n\n WOODWARD on the phone.", "THE TV SET. SLOAN is walking along toward a large office \n building, he is flanked by a lawyer. A TV Reporter (it was \n DANIEL SCHORR) is walking alongside, mike in hand.", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "MRS. GRAHAM in her office as a SECRETARY lets WOODWARD in. \n He's nervous. She's standing by the window, he crosses to \n her." ], [ "'70, and this is on deep background, \n the FBI thinks he's involved with \n the break-in.", "BERNSTEIN\n (to WOODWARD)\n When did Hunt start at the White \n House?\n\n WOODWARD\n July of '71.", "The JUDGE indicates the bald burglar.\n\n JUDGE\n Your name, please.\n\n MCCORD\n James McCord.", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "with a sign reading: Office of the Dade County Clerk. \n BERNSTEIN goes into a phone booth in the corridor from which", "WOODWARD\n You call me in on my day off because \n some idiots have broken into local \n Democratic Headquarters--tell me, \n Harry, why should I be smiling?", "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "(silence)\n In Bernard Barker's Florida account.\n (still nothing)\n Bernard Barker, the Watergate burglar--", "Democratic Headquarters--\n (WOODWARD is surprised--\n he hadn't known)\n --and (b) these weren't just any", "BERNSTEIN\n You heard?\n (WOODWARD glances up)\n They put us both on the break-in", "BERNSTEIN\n ---fifteen or more phone calls from \n the burglars in Miami to Gordon Liddy \n at CREEP--", "And from nowhere, suddenly she bursts into tears.\n\n CUT TO:\n\n WOODWARD and BERNSTEIN as her door slams in their faces.", "The maids nod, move out of sight. WOODWARD stands tense and \n still, watching the closed door numbered 710... Now--\n\n CUT TO:", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "DAHLBERG (V.O.)\n That twenty-five thousand dollars is \n money I collected for Nixon in this \n year's campaign.", "DEEP THROAT\n Of course--my God, you think something \n this big just happens? The break-in" ], [ "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "\"Oh my Lord, what am I doing to this \n newspaper?\"\n (She looks at WOODWARD)\n I woke up again last night with that", "And now suddenly--\n\n THE PRESSES OF THE POST\n\n rolling the story. They're modern and gigantic and\n\n CUT TO:", "BERNSTEIN\n What's that?\n\n WOODWARD\n The fucking New York Times.\n\n CUT TO:", "The Times spread somewhat tentatively over a mailbox. A small \n headline is visible, with the words \"Barker,\" \"Liddy,\" and", "Papers the next day. The Times had \n already been stopped from publishing \n anymore of them and all my legal", "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "And he stalks out. WOODWARD and BERNSTEIN stand staring at \n the teletype which keeps on clacking and clacking as the \n L.A. Times story keeps getting longer.", "We're back with the UNION GUY from before. He pulls out a \n paper again, looks at a story on the front page--\n\n CUT TO:", "You're those two from the Post, aren't \n you.\n (they nod)\n I'll tell him.", "The editors have a long story and they all read and pace, \n read and pace; the reporters look traumatized with fatigue. \n All this goes fast.", "It looks, early of a Saturday morning, pretty deserted. Those \n reporters that are around are young, bright, and presently \n involved in nothing more taxing than drinking coffee and \n thumbing through the papers.", "WOODWARD appears in the side exit, walks off. When he gets \n out of sight of the paper, he starts to run. Now--\n\n CUT TO:", "DAHLBERG (V.O.)\n (struggling)\n ...you're definitely doing a story...?\n\n WOODWARD\n Yes, sir.", "And as they get back into the car--\n\n CUT TO:\n\n THE NEWSROOM--EARLY MORNING", "First Amendment of the Constitution \n plus the freedom of the press plus \n the reputation of a hundred-year-old \n paper plus the jobs of the two", "We are at the end of the press run, the papers are all \n assembled and being cabled and sent off by machine to various \n places. As the papers continue to roll past--", "CUT TO:\n\n THE PRESSES continuing to roll. The SOUND is incredible. Now--\n\n CUT TO:", "They start for the sports section, only this time, they stop, \n go back, stare at the headline again. From them watching--\n\n CUT TO:", "A tremendous pall has settled on the city room. People walk \n by, glancing at WOODWARD and BERNSTEIN, who sit almost \n immobilized at their desks, wet, whipped; no energy left." ], [ "The JUDGE indicates the bald burglar.\n\n JUDGE\n Your name, please.\n\n MCCORD\n James McCord.", "Near the end alphabetically, there is a common female name, \n Jane Smith or something like that. As BERNSTEIN runs his \n finger down the addresses, something strikes him as familiar, \n and as he reaches for the phone--", "JUDGE\n And what is your occupation, Mr. \n McCord?\n\n MCCORD\n (softly)\n Security consultant.", "talks quietly on)\n Why would the burglars have put the \n tape around the door instead of up \n and down unless they wanted to get", "alone in the underground garage. Tense, jumpy. He looks at \n his watch, paces around. It's all eerie as hell. Then, from \n the ramps, footsteps.", "The break-in ends when Leeper arrests the five men. He thought \n he only had one guy, so when ten hands were raised he was", "on the door nearest him. Now 710 is wide open and several \n maids leave, watched by a large black man.", "walking up to his apartment house later that night. He sees, \n and then we see, BERNSTEIN, asleep at the front door. He \n comes awake as WOODWARD approaches.", "five burglars--we know he knows a \n lot, we just don't know what.", "THE COURTROOM and business is booming. Muggers, pimp, hookers, \n their families and friends. In the scene that follows, a", "DARDIS' OFFICE. He is fiddling with a combination lock at a \n filing cabinet. BERNSTEIN is seated across DARDIS' desk.", "He leaves. BRADLEE and SIMONS stay where they are, both of \n them flattened by what the guy's said. Because they're not \n sure he's wrong... HOLD. Now--", "AN ELEVATOR, the numbers of the floors being lit as it rises. \n 4--5--6-- WOODWARD stands alone in the elevator. As it reaches \n seven and the doors slide open, he steps out and", "You don't realize how close all this \n came to staying undiscovered--I gave \n Liddy the Dahlberg check and he gave", "PUDGY FBI MAN\n --fuck you fuck you fuck you--\n\n And he tears into an office, slams the door and as we hear \n it lock--", "The maids nod, move out of sight. WOODWARD stands tense and \n still, watching the closed door numbered 710... Now--\n\n CUT TO:", "moves out of his office into a corridor. They go with him. \n No one else is around. The LIBRARIAN looks at them, quickly--", "Wills wouldn't have spotted it and alerted the police; \"if \n only\" the first police car called had gone to investigate, \n Baldwin, watching from the Howard Johnson Motor Inn, would", "WOODWARD continues to rub his neck as ROSENFELD hurries off, \n all the editors still moving toward the place where the moon-\n faced man intermittently rings the triangle.", "name. They showed him a list and he \n picked me but it wasn't me, it was \n Gordon Liddy.\n (looks at the reporters)" ], [ "ROSENFELD\n The most powerful man in America is \n President Nixon, probably you've \n heard his name.", "they were looking for a successor to \n J. Edgar Hoover. I wrote it and the \n day it appeared Johnson called a", "name. They showed him a list and he \n picked me but it wasn't me, it was \n Gordon Liddy.\n (looks at the reporters)", "WOODWARD\n Right. Nixon didn't get where he got \n by being dumb--\n (stops abruptly)\n --listen, that was a Watergate \n question--", "Nixon. I worked in the White House \n four years--so did my wife. What \n happened on June 17 I don't think", "Nixon. Fortunately, the American \n public is too smart to be fooled \n by...", "A CHRISTMAS CARD from the Nixons, they are standing in front \n of the White House Christmas tree. It is signed \"To Hugh and", "BERNSTEIN\n What, though?\n (points to Nixon)\n It can't be the Republicans--he'd", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "\"ALL THE PRESIDENT'S MEN\"\n\n by\n\n William Goldman\n\n Based on the novel", "And as he rolls forward again, out of sight--\n\n CUT TO:\n\n RICHARD NIXON ON THE TUBE.", "Debbie Sloan, with thanks, Richard M. Nixon, Patricia Nixon.\"", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "You don't realize how close all this \n came to staying undiscovered--I gave \n Liddy the Dahlberg check and he gave", "CUT TO:\n\n NIXON--on the tube.", "NIXON\n ...No one in this administration, \n presently employed, was involved in \n this very bizarre incident...\n\n PULL BACK TO REVEAL", "has dropped, what, 50 percent?\n (WOODWARD pushes for \n the elevator)\n And the word is some Nixon people", "work for Nixon--I had him over for a \n drink a few weeks ago and he told me \n he wrote the Canuck letter.\n (she looks from one", "guy and the President said, \"Call \n Ben Bradlee and tell him fuck you.\"\n (shakes his head)\n I took a lot of static for that--" ], [ "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti", "name. They showed him a list and he \n picked me but it wasn't me, it was \n Gordon Liddy.\n (looks at the reporters)", "DEEP THROAT\n In my day, it was simply called the \n double cross. I believe the CIA refers", "The JUDGE indicates the bald burglar.\n\n JUDGE\n Your name, please.\n\n MCCORD\n James McCord.", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "WOODWARD\n (moving in behind him)\n Mr. Rafferty was very helpful. Four \n Cuban-Americans and this other man, \n James McCord.", "SEGRETTI\n I didn't.\n\n BERNSTEIN\n But you know who did.", "WOODWARD\n Did you know to come because one of \n the other men involved in the break-\n in called you?", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "that. The FBI knows about Segretti--\n Howard Hunt made a bunch of phone \n calls to him--they interrogated him,", "BERNSTEIN\n Baldwin told the FBI it was you.", "SEDAM\n Baldwin told the FBI it was someone \n whose first name sounded like a last", "WOODWARD\n Who?--be specific. How high up?\n\n DEEP THROAT\n You'll have to find that out, won't \n you.", "BERNSTEIN\n Chapin did contact you then?\n\n SEGRETTI\n Sure--off the record.", "RINGLE\n (writes down phone \n number)\n Call her. She worked for Colson, if \n that's any help.", "'70, and this is on deep background, \n the FBI thinks he's involved with \n the break-in.", "BERNSTEIN\n (as WOODWARD reaches \n him)\n See her?\n (WOODWARD nods)\n Get anything?", "Either they get it as it is now, or as they really did, from \n a Post researcher who knew someone. In ant case, we see the \n list, with the columns of names and numbers meaning offices \n and phone extensions.", "Near the end alphabetically, there is a common female name, \n Jane Smith or something like that. As BERNSTEIN runs his \n finger down the addresses, something strikes him as familiar, \n and as he reaches for the phone--", "they were looking for a successor to \n J. Edgar Hoover. I wrote it and the \n day it appeared Johnson called a" ], [ "DAHLBERG (V.O.)\n That twenty-five thousand dollars is \n money I collected for Nixon in this \n year's campaign.", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "has dropped, what, 50 percent?\n (WOODWARD pushes for \n the elevator)\n And the word is some Nixon people", "work for Nixon--I had him over for a \n drink a few weeks ago and he told me \n he wrote the Canuck letter.\n (she looks from one", "WOODWARD\n (stunned)\n Fifty ratfuckers directed by the \n White House to destroy the Democrats?\n\n CUT TO:", "NIXON\n The White House has had no involvement \n whatever in this particular incident.\n\n CUT TO:", "BERNSTEIN\n Look--five men controlled that slush \n fund as CREEP--three of them we've", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "CUT TO:\n\n NIXON--on the tube.", "BERNSTEIN\n --we've got to find out who the five \n guys are--the five with access to \n the slush fund--they were aware of \n the break-in.", "NIXON\n ...No one in this administration, \n presently employed, was involved in \n this very bizarre incident...\n\n PULL BACK TO REVEAL", "A CHRISTMAS CARD from the Nixons, they are standing in front \n of the White House Christmas tree. It is signed \"To Hugh and", "WOODWARD\n The slush fund at CREEP financed the \n ratfucking, we've almost got that \n nailed down, so--", "WOODWARD\n --we're working on the last guy now \n and we're going all the way--that \n fifth man was Haldeman.", "BERNSTEIN\n What, though?\n (points to Nixon)\n It can't be the Republicans--he'd", "DEEP THROAT\n (nods)\n Yes, the little ratfuckers are now \n running our government.", "name. They showed him a list and he \n picked me but it wasn't me, it was \n Gordon Liddy.\n (looks at the reporters)", "BERNSTEIN\n Dwight Chapin, Nixon's appointments \n chief--he knew Segretti in school.", "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP." ], [ "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "BERNSTEIN\n What's that?\n\n WOODWARD\n The fucking New York Times.\n\n CUT TO:", "You're those two from the Post, aren't \n you.\n (they nod)\n I'll tell him.", "BERNSTEIN talking softly from a relatively private phone in \n the newsroom. The voice of the lawyer is also whispered and \n scared to death.", "Either they get it as it is now, or as they really did, from \n a Post researcher who knew someone. In ant case, we see the \n list, with the columns of names and numbers meaning offices \n and phone extensions.", "name. They showed him a list and he \n picked me but it wasn't me, it was \n Gordon Liddy.\n (looks at the reporters)", "The Times spread somewhat tentatively over a mailbox. A small \n headline is visible, with the words \"Barker,\" \"Liddy,\" and", "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "The editors have a long story and they all read and pace, \n read and pace; the reporters look traumatized with fatigue. \n All this goes fast.", "It looks, early of a Saturday morning, pretty deserted. Those \n reporters that are around are young, bright, and presently \n involved in nothing more taxing than drinking coffee and \n thumbing through the papers.", "WOODWARD\n (edgy)\n You asking me to disclose my source?\n\n Other reporters are watching now. BRADLEE is impatient, as \n always.", "reporters or hear their questions but the answers they receive \n make it self-evident. We start with the middle-aged man seen \n above.", "\"Oh my Lord, what am I doing to this \n newspaper?\"\n (She looks at WOODWARD)\n I woke up again last night with that", "And now suddenly--\n\n THE PRESSES OF THE POST\n\n rolling the story. They're modern and gigantic and\n\n CUT TO:", "Papers the next day. The Times had \n already been stopped from publishing \n anymore of them and all my legal", "We are at the end of the press run, the papers are all \n assembled and being cabled and sent off by machine to various \n places. As the papers continue to roll past--", "BERNSTEIN\n (as WOODWARD reaches \n him)\n See her?\n (WOODWARD nods)\n Get anything?", "And he stalks out. WOODWARD and BERNSTEIN stand staring at \n the teletype which keeps on clacking and clacking as the \n L.A. Times story keeps getting longer.", "ROSENFELD\n Then how come the Associated Press \n were the ones found out that Mr.", "Finally BERNSTEIN inserts the paper, starts to type as\n\n WOODWARD (V.O.)\n (from behind the pillar)\n Carl?" ], [ "WOODWARD\n (stunned)\n Fifty ratfuckers directed by the \n White House to destroy the Democrats?\n\n CUT TO:", "WOODWARD\n The slush fund at CREEP financed the \n ratfucking, we've almost got that \n nailed down, so--", "White House and CREEP to ratfuck--\n some of what they did is beyond \n belief.", "DEEP THROAT\n (nods)\n Yes, the little ratfuckers are now \n running our government.", "did it at college and called it \n ratfucking.\n (SEGRETTI half-smiles, \n nods)", "DEEP THROAT\n My turn to keep you waiting.\n (approaches)\n What's the topic for tonight?\n\n WOODWARD\n Ratfucking.", "got destroyed--they wanted to run \n against McGovern, and look who they're \n running against. They bugged, they", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti", "to it as Mindfuck. In our context, \n it simply means infiltration of the \n Democrats.", "contacted a bunch of lawyers and \n asked them if they'd like to go to \n work with him screwing up the \n Democrats, dirty tricks, shit like", "followed people, false press leaks, \n fake letters, they canceled Democratic \n campaign rallies, they investigated \n Democratic private lives, they planted", "BERNSTEIN\n Well, we are trying to ruin his life.\n\n WOODWARD\n It's nothing personal, though.\n (looks troubled)", "Ever wonder if Nixon might turn out \n to be the biggest ratfucker of them \n all?", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "BERNSTEIN\n Dwight Chapin, Nixon's appointments \n chief--he knew Segretti in school.", "that. The FBI knows about Segretti--\n Howard Hunt made a bunch of phone \n calls to him--they interrogated him,", "DEEP THROAT\n Total manipulation. I suppose you \n could say they wanted to subvert the \n Constitution, but they don't think \n along philosophical lines.", "deliberately tries to infuse the \n Watergate caper with a seriousness \n far beyond those shenanigans that \n have been the stock trade of political" ], [ "five burglars--we know he knows a \n lot, we just don't know what.", "The JUDGE indicates the bald burglar.\n\n JUDGE\n Your name, please.\n\n MCCORD\n James McCord.", "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "(silence)\n In Bernard Barker's Florida account.\n (still nothing)\n Bernard Barker, the Watergate burglar--", "You don't realize how close all this \n came to staying undiscovered--I gave \n Liddy the Dahlberg check and he gave", "BERNSTEIN\n --we've got to find out who the five \n guys are--the five with access to \n the slush fund--they were aware of \n the break-in.", "THE COURTROOM and business is booming. Muggers, pimp, hookers, \n their families and friends. In the scene that follows, a", "have seen their uniforms and radioed Hunt and Liddy in time \n for them to have gotten to the five burglars and then safely \n away.)", "WOODWARD\n Probably you're right, but a little \n while ago, I was talking to a couple \n of lawyers who'd been assigned to \n represent the burglars.", "Near the end alphabetically, there is a common female name, \n Jane Smith or something like that. As BERNSTEIN runs his \n finger down the addresses, something strikes him as familiar, \n and as he reaches for the phone--", "WOODWARD\n (moving in behind him)\n Mr. Rafferty was very helpful. Four \n Cuban-Americans and this other man, \n James McCord.", "BERNSTEIN\n Look--five men controlled that slush \n fund as CREEP--three of them we've", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "burglars had arranged for their own \n counsel. And that could only mean \n the burglars didn't arrange for their", "back to the D.A. to tell the things \n the FBI didn't ask her. That night, \n her boss, he knew what she'd done.", "BERNSTEIN\n (nods)\n I wish we were investigating Attila \n the Hun.\n\n WOODWARD\n Maybe we are...", "talks quietly on)\n Why would the burglars have put the \n tape around the door instead of up \n and down unless they wanted to get", "WOODWARD\n The burglary was done by Cubans or \n Democrats or Republicans.", "this Watergate compulsion with you \n guys and I said, well, we think it's \n important and he said, if it's so", "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--" ], [ "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "You're those two from the Post, aren't \n you.\n (they nod)\n I'll tell him.", "BERNSTEIN\n Hi. Carl Bernstein of the Washington \n Post. I was just wondering if you", "Inside the Executive Editor's office, BEN BRADLEE sits. As \n SIMONS knocks, he turns, nods. He appears, for the moment, \n deep in thought.", "BERNSTEIN\n Hi, I'm Carl Bernstein of the \n Washington Post and--", "FOREIGN EDITOR\n Ben, Jesus, there are over two \n thousand reporters in this town, are \n there five on Watergate? Where did \n we suddenly get all this wisdom?", "He's got the Colson file spread out now, and we see pictures \n of the man and articles the Post had done on him. But", "Either they get it as it is now, or as they really did, from \n a Post researcher who knew someone. In ant case, we see the \n list, with the columns of names and numbers meaning offices \n and phone extensions.", "WOODWARD\n Hello, I'm Bob Woodward of the Washing \n Post and...\n (beat)", "BERNSTEIN\n Sir, this is Carl Bernstein of the \n Washington Post, and I'm sorry to", "WOODWARD\n Mr. Caddy? My name's Bob Woodward, \n I'm from the Post and I wanted to \n ask about how you happened to come \n on this case--", "WOODWARD\n (edgy)\n You asking me to disclose my source?\n\n Other reporters are watching now. BRADLEE is impatient, as \n always.", "MISS ABBOTT\n Yes?\n\n WOODWARD\n We're from the Washington Post and \n we wanted to ask you some questions \n about the Committee.", "And now suddenly--\n\n THE PRESSES OF THE POST\n\n rolling the story. They're modern and gigantic and\n\n CUT TO:", "guy and the President said, \"Call \n Ben Bradlee and tell him fuck you.\"\n (shakes his head)\n I took a lot of static for that--", "WOODWARD and BERNSTEIN heading toward the office. As they \n enter--\n\n BRADLEE\n I got Clawsen on hold--", "THE ENORMOUS FIFTH FLOOR OF THE WASHINGTON POST.", "WOODWARD\n I've met Mrs. Mitchell in Washington, \n I'm Bob Woodward of the Post and \n tell her--\n\n And the phone clicks dead--", "they were looking for a successor to \n J. Edgar Hoover. I wrote it and the \n day it appeared Johnson called a" ], [ "The break-in ends when Leeper arrests the five men. He thought \n he only had one guy, so when ten hands were raised he was", "burglars had arranged for their own \n counsel. And that could only mean \n the burglars didn't arrange for their", "five burglars--we know he knows a \n lot, we just don't know what.", "WOODWARD\n Probably you're right, but a little \n while ago, I was talking to a couple \n of lawyers who'd been assigned to \n represent the burglars.", "The JUDGE indicates the bald burglar.\n\n JUDGE\n Your name, please.\n\n MCCORD\n James McCord.", "--only now it turns out the burglars \n got their own counsel.\n (he starts to laugh)", "talks quietly on)\n Why would the burglars have put the \n tape around the door instead of up \n and down unless they wanted to get", "have seen their uniforms and radioed Hunt and Liddy in time \n for them to have gotten to the five burglars and then safely \n away.)", "idiots, these were special idiots, \n seeing as when they were arrested at \n 2:30 this morning, they were all", "burglars--those indictments are gonna \n be bullshit when they come down. \n What else do we know?", "Now we have a series of shots of the two of them going through \n the slips; it took them hours and hours, and the afternoon \n darkened as they worked. And they're tired. Now--", "THE COURTROOM and business is booming. Muggers, pimp, hookers, \n their families and friends. In the scene that follows, a", "that burglar, your guess is as good \n as mine.", "CUT TO:\n\n THE TWO MEN getting into a cab also, roaring off in the same \n direction and\n\n CUT TO:", "enough places to put it. I thought \n it was all legal, I guess I did, til \n after the break-in, when I remembered", "WOODWARD\n Your clients were arrested with a \n walkie-talkie; they didn't need that \n to talk among themselves.", "shots of the men taken when they went to jail and they flash \n on, the mug shots and the name and across each the word", "JUDGE\n Will you please state your \n professions.\n\n The five men do not move or reply. Then, after a long pause, \n Barker says--", "(they nod)\n You had a good source?\n (nod)\n Did he have an ax?\n (pause. Then another", "(silence)\n In Bernard Barker's Florida account.\n (still nothing)\n Bernard Barker, the Watergate burglar--" ], [ "The editors have a long story and they all read and pace, \n read and pace; the reporters look traumatized with fatigue. \n All this goes fast.", "And now suddenly--\n\n THE PRESSES OF THE POST\n\n rolling the story. They're modern and gigantic and\n\n CUT TO:", "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "We're back with the UNION GUY from before. He pulls out a \n paper again, looks at a story on the front page--\n\n CUT TO:", "DAHLBERG (V.O.)\n (struggling)\n ...you're definitely doing a story...?\n\n WOODWARD\n Yes, sir.", "It looks, early of a Saturday morning, pretty deserted. Those \n reporters that are around are young, bright, and presently \n involved in nothing more taxing than drinking coffee and \n thumbing through the papers.", "(SIMONS gestures for \n ROSENFELD to continue)\n I want to send a reporter to Miami.", "A tremendous pall has settled on the city room. People walk \n by, glancing at WOODWARD and BERNSTEIN, who sit almost \n immobilized at their desks, wet, whipped; no energy left.", "WOODWARD\n (to the clerk)\n You do a lot of things when you're \n on a story.", "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "And as she goes on, quickly--\n\n CUT TO:\n\n THE NEWSROOM.", "They start for the sports section, only this time, they stop, \n go back, stare at the headline again. From them watching--\n\n CUT TO:", "You're those two from the Post, aren't \n you.\n (they nod)\n I'll tell him.", "THE CAMERA STARTS TO MOVE toward the pillar, the one that \n separates the two reporters, and the denunciations are still \n going on, but not so loud now, not so fierce.", "door. The other, BACHINSKI, is taking hurried notes in a \n reporter's type notebook as he examines the evidence.", "And he stalks out. WOODWARD and BERNSTEIN stand staring at \n the teletype which keeps on clacking and clacking as the \n L.A. Times story keeps getting longer.", "And as they get back into the car--\n\n CUT TO:\n\n THE NEWSROOM--EARLY MORNING", "reporters or hear their questions but the answers they receive \n make it self-evident. We start with the middle-aged man seen \n above.", "This is a compressed montage sequence in which we CUT from \n one reporter to the other, both of them desperately trying \n to locate a man names DAHLBERG.", "of his on the byline. ROSENFELD watches. As WOODWARD finishes, \n he takes the story again, hurries off. Now--" ], [ "BENNETT (V.O.)\n Well, if you've been doing some \n investigating then obviously it's no \n secret to you that Howard was with \n the C.I.A.", "As WOODWARD and BERNSTEIN leave the office--\n\n BRADLEE\n Leave plenty of room for his denial.\n\n CUT TO:", "they were looking for a successor to \n J. Edgar Hoover. I wrote it and the \n day it appeared Johnson called a", "against it)\n --they both went to Brown University--\n (consulting his notes)\n --Hunt worked for the C.I.A. till", "WOODWARD\n (tired, voice deeper)\n Hello, C.I.A. This is R.W. Woodward, \n of the Washington Post--get me \n Personnel--", "WOODWARD\n (cutting him off)\n --I'm not interested in theory. What \n do we know? For example, Hunt's \n disappeared.", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "JUDGE\n (he can't either)\n Where?\n\n MCCORD\n (clearing his throat)\n The C.I.A.", "HUNT (V.O.)\n Howard Hunt here.\n\n WOODWARD\n Hi, I'm Bob Woodward of the Post and--", "BERNSTEIN\n Baldwin told the FBI it was you.", "SEGRETTI\n I didn't.\n\n BERNSTEIN\n But you know who did.", "SIMONS\n --well and good, but when will he \n say it on the record.\n\n WOODWARD\n He just did.", "You don't realize how close all this \n came to staying undiscovered--I gave \n Liddy the Dahlberg check and he gave", "name. They showed him a list and he \n picked me but it wasn't me, it was \n Gordon Liddy.\n (looks at the reporters)", "CLAWSEN (V.O.)\n For Chissakes, don't tell them I \n came to your place.\n\n BERGER\n I already told them.", "WOODWARD\n --he said John Haldeman, not Bob \n Haldeman--\n\n And as they take off after the agent--", "WOODWARD\n (moving in behind him)\n Mr. Rafferty was very helpful. Four \n Cuban-Americans and this other man, \n James McCord.", "CUT TO:\n\n WOODWARD and BERNSTEIN, staring at the man.\n\n WOODWARD\n Democrats?", "JUDGE\n Where?\n\n MCCORD\n (softer)\n Government. Recently retired.\n\n JUDGE\n Where in government?", "He's got the Colson file spread out now, and we see pictures \n of the man and articles the Post had done on him. But" ], [ "Mr. Colson is the President's special \n counsel.", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "--that's Charles Colson, Nixon's \n special counsel--\n (SIMONS almost says \n something, decides", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "ROSENFELD\n The most powerful man in America is \n President Nixon, probably you've \n heard his name.", "BERNSTEIN\n Dwight Chapin, Nixon's appointments \n chief--he knew Segretti in school.", "\"ALL THE PRESIDENT'S MEN\"\n\n by\n\n William Goldman\n\n Based on the novel", "NIXON\n The White House has had no involvement \n whatever in this particular incident.\n\n CUT TO:", "WOODWARD\n --there had to be a White House \n overseer--\n\n BERNSTEIN\n --Colson.", "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti", "Nixon. I worked in the White House \n four years--so did my wife. What \n happened on June 17 I don't think", "BERNSTEIN\n Who?\n\n WOODWARD\n Haldeman.\n\n CUT TO:", "WOODWARD\n Right. Nixon didn't get where he got \n by being dumb--\n (stops abruptly)\n --listen, that was a Watergate \n question--", "BERNSTEIN\n (to WOODWARD)\n When did Hunt start at the White \n House?\n\n WOODWARD\n July of '71.", "NIXON\n ...No one in this administration, \n presently employed, was involved in \n this very bizarre incident...\n\n PULL BACK TO REVEAL", "WHITE HOUSE OPERATOR (V.O.)\n White House.\n\n WOODWARD\n (casually)\n Howard Hunt, please.", "WOODWARD\n (to BERNSTEIN)\n Haldeman.\n (to SLOAN)\n Right?", "WOODWARD\n --and it wasn't Ehrlichman or Colson \n or the President.\n\n SLOAN\n No, none of those.", "BERNSTEIN\n It gets interesting if it was \n Haldeman, because our word is that" ], [ "Inside the Executive Editor's office, BEN BRADLEE sits. As \n SIMONS knocks, he turns, nods. He appears, for the moment, \n deep in thought.", "CUT TO:\n\n THE POST.", "You're those two from the Post, aren't \n you.\n (they nod)\n I'll tell him.", "THE ENORMOUS FIFTH FLOOR OF THE WASHINGTON POST.", "Either they get it as it is now, or as they really did, from \n a Post researcher who knew someone. In ant case, we see the \n list, with the columns of names and numbers meaning offices \n and phone extensions.", "The papers they grabbed were the Post front page. (This \n happened.) And as they walked, the Haldeman story was on \n their heads. HOLD on the reporters walking miserably through \n the rain. Now--", "they were looking for a successor to \n J. Edgar Hoover. I wrote it and the \n day it appeared Johnson called a", "THOUSANDS AND THOUSANDS OF WASHINGTON POSTS.", "And now suddenly--\n\n THE PRESSES OF THE POST\n\n rolling the story. They're modern and gigantic and\n\n CUT TO:", "He's got the Colson file spread out now, and we see pictures \n of the man and articles the Post had done on him. But", "The editors have a long story and they all read and pace, \n read and pace; the reporters look traumatized with fatigue. \n All this goes fast.", "The foreign editor, an enormously thoughtful-looking and \n respected man, indicates \"no.\"\n\n SIMONS\n (to another editor)\n National?", "The Watergate story, headlined whatever it was headlined, is \n visible. The byline was by Alfred E. Lewis. The union type \n Post employee glances at the article--", "guy and the President said, \"Call \n Ben Bradlee and tell him fuck you.\"\n (shakes his head)\n I took a lot of static for that--", "spirit that I feel only sadness that \n a once fine journal of record like \n the Post would have become merely \n the hysterical spokesman for the", "and my God, all the executives were \n running around like crazy--you had \n to practically wait in line to use", "FOREIGN EDITOR\n Ben, Jesus, there are over two \n thousand reporters in this town, are \n there five on Watergate? Where did \n we suddenly get all this wisdom?", "As the men rise and head for the door, the FOREIGN EDITOR \n moves toward BRADLEE and SIMONS who remain seated as before.", "WESTERN SENATOR\n (coming in, overlapping)\n It is only our pathetic Post that", "WOODWARD and BERNSTEIN. They're in the lobby of the Post at \n night and through a thick-pane of glass they're watching" ], [ "DEEP THROAT\n Follow the money. Always follow the \n money.\n\n WOODWARD\n To where?", "WOODWARD\n There were more then.\n\n DEEP THROAT\n Follow every lead--every lead goes \n somewhere--", "BERNSTEIN\n (as WOODWARD reaches \n him)\n See her?\n (WOODWARD nods)\n Get anything?", "WOODWARD takes a breath, nods.\n\n DEEP THROAT\n --wait--\n (almost a smile)\n --there's more...", "BERNSTEIN\n What's that?\n\n WOODWARD\n The fucking New York Times.\n\n CUT TO:", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "WOODWARD\n I was told by this guy at the White \n House that Hunt was investigating \n Teddy Kennedy.\n\n BRADLEE\n How senior?", "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti", "WOODWARD\n Who?--be specific. How high up?\n\n DEEP THROAT\n You'll have to find that out, won't \n you.", "HUNT (V.O.)\n Howard Hunt here.\n\n WOODWARD\n Hi, I'm Bob Woodward of the Post and--", "BERNSTEIN\n Who?\n\n WOODWARD\n Haldeman.\n\n CUT TO:", "CUT TO:\n\n WOODWARD in the shadows, coming closer.\n\n CUT TO:", "WOODWARD\n Hello?\n\n BERNSTEIN'S VOICE (O.S.)\n What'd you find?", "WOODWARD\n All right, what do we know?\n\n BERNSTEIN\n Let me lay a little theory on you--", "CUT TO:\n\n WOODWARD and BERNSTEIN, staring at the man.\n\n WOODWARD\n Democrats?", "WOODWARD\n We can't trust the phones, not \n anymore. Deep Throat says so.\n\n As WOODWARD beckons for him to move out into the lawn--", "WOODWARD\n (moving in behind him)\n Mr. Rafferty was very helpful. Four \n Cuban-Americans and this other man, \n James McCord.", "WOODWARD nods, heads back toward the files as we\n\n CUT TO:\n\n WOODWARD AT HIS DESK dialing the phone.", "WOODWARD\n (edgy)\n You asking me to disclose my source?\n\n Other reporters are watching now. BRADLEE is impatient, as \n always.", "And now from her--\n\n CUT TO:\n\n WOODWARD and BERNSTEIN in a corner of the room, talking low \n and fast." ], [ "the polls, Muskie was running ahead \n of Nixon then. Before he self-\n destructed.", "got destroyed--they wanted to run \n against McGovern, and look who they're \n running against. They bugged, they", "BERNSTEIN\n What, though?\n (points to Nixon)\n It can't be the Republicans--he'd", "work for Nixon--I had him over for a \n drink a few weeks ago and he told me \n he wrote the Canuck letter.\n (she looks from one", "DAHLBERG (V.O.)\n That twenty-five thousand dollars is \n money I collected for Nixon in this \n year's campaign.", "they were looking for a successor to \n J. Edgar Hoover. I wrote it and the \n day it appeared Johnson called a", "destructing before our eyes--just \n like Muskie did, Humphrey, the bunch \n of 'em.\n (sits on the table,", "ROSENFELD\n The most powerful man in America is \n President Nixon, probably you've \n heard his name.", "DEEP THROAT\n Nationwide--my God, they were \n frightened of Muskie and look who", "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "never allow something as stupid as \n this, not when he's gonna slaughter \n McGovern anyway.", "CUT TO:\n\n NIXON--on the tube.", "WOODWARD\n Right. Nixon didn't get where he got \n by being dumb--\n (stops abruptly)\n --listen, that was a Watergate \n question--", "has dropped, what, 50 percent?\n (WOODWARD pushes for \n the elevator)\n And the word is some Nixon people", "WOODWARD\n Did he just say what I think he said?\n\n BERNSTEIN\n You voted for him.", "The photo.\n\n It is a picture of Hubert Humphrey standing next to another \n man. The caption identifies that other man as KENNETH \n DAHLBERG. Now--", "either--you're just a couple Democrats \n out to stop Nixon getting re-elected.", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:" ], [ "this Watergate compulsion with you \n guys and I said, well, we think it's \n important and he said, if it's so", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti", "ROSENFELD\n CREEP financed the Watergate break-\n in, Jesus Christ.\n\n He starts off.", "(silence)\n In Bernard Barker's Florida account.\n (still nothing)\n Bernard Barker, the Watergate burglar--", "SLOAN\n Well, when Liddy came and asked for \n money for what turned out to be the", "You don't realize how close all this \n came to staying undiscovered--I gave \n Liddy the Dahlberg check and he gave", "WOODWARD\n --and it wasn't Ehrlichman or Colson \n or the President.\n\n SLOAN\n No, none of those.", "\"ALL THE PRESIDENT'S MEN\"\n\n by\n\n William Goldman\n\n Based on the novel", "any reason, they were so far ahead. \n But Segretti was talking to these \n other lawyers a year before the break-\n in.", "BERNSTEIN\n (to WOODWARD)\n When did Hunt start at the White \n House?\n\n WOODWARD\n July of '71.", "BERNSTEIN\n You heard?\n (WOODWARD glances up)\n They put us both on the break-in", "WOODWARD\n (moving in behind him)\n Mr. Rafferty was very helpful. Four \n Cuban-Americans and this other man, \n James McCord.", "BERNSTEIN\n (starting to read)\n John N. Mitchell, while serving as \n US Attorney General, personally \n controlled a secret cash fund that--", "HUNT (V.O.)\n Howard Hunt here.\n\n WOODWARD\n Hi, I'm Bob Woodward of the Post and--", "family. That doesn't exactly have \n the ring of truth.\n (DEEP THROAT nods)\n Howard Hunt's been found--there was", "DEEP THROAT\n Of course--my God, you think something \n this big just happens? The break-in", "WOODWARD\n I was just kind of wondering why \n your name and phone number were in \n the address books of two of the men \n arrested at Watergate?", "WOODWARD\n (stunned)\n Fifty ratfuckers directed by the \n White House to destroy the Democrats?\n\n CUT TO:" ], [ "We also see the two of them working, first, making long \n attempts at figuring out who worked for whom at CREEP.", "McCord is security coordinator for \n the Committee to Re-elect the \n President, otherwise known as CREEP?", "CREEP secretary being scared, that's \n one thing. But what does the wife of \n one of the most powerful men in", "And from these, they begin to get the home addresses of the \n various small-fry people who work for CREEP.", "ROSENFELD\n CREEP financed the Watergate break-\n in, Jesus Christ.\n\n He starts off.", "studying the front page, on which one headline indicates \n that they're named the guys at CREEP who got the reports.", "BERNSTEIN (V.O.)\n Donald Segretti?\n\n SEGRETTI\n That's right.\n\n CUT TO:", "WOODWARD\n The slush fund at CREEP financed the \n ratfucking, we've almost got that \n nailed down, so--", "BERNSTEIN\n Look--five men controlled that slush \n fund as CREEP--three of them we've", "WOODWARD\n (headshake)\n --just that a lot of reports were \n sent to CREEP, but he doesn't name \n who, not here anyway--", "CREEP\n --the fact remains that except for \n Watergate, we ran one hell of a great \n campaign...\n\n The CAMERA is almost at the pillar now.", "CUT TO:\n\n GETTING THE CREEP LIST SEQUENCE.", "White House and CREEP to ratfuck--\n some of what they did is beyond \n belief.", "WOODWARD\n (stunned)\n Fifty ratfuckers directed by the \n White House to destroy the Democrats?\n\n CUT TO:", "BERNSTEIN\n Nothing--I just found out that Jeb \n Magruder from CREEP is a bigger bike", "CREEP P.R. MAN\n For twenty years, the Eastern liberal \n press has been trying to smear Dick", "SECRETARY (V.O.)\n Charles Colson's wire.\n\n WOODWARD\n (a little more excited)\n Howard Hunt, please.", "office building, talking to reporters, the CREEP P.R. \n SOUTHERNER will be talking to reporters in front of the CREEP", "CREEP P.R. MAN\n (in mid-sentence)\n --hearsay, innuendo, and character", "Woodward, I got a tip. A guy called \n me up with a tip--\n (carefully)\n --someone named Donald Segretti" ], [ "CUT TO:\n\n WOODWARD and BERNSTEIN huddling outside BRADLEE's office.", "CUT TO:\n\n WOODWARD", "And now from her--\n\n CUT TO:\n\n WOODWARD and BERNSTEIN in a corner of the room, talking low \n and fast.", "CUT TO:\n\n WOODWARD AND BERNSTEIN getting back into a cab.", "CUT TO:\n\n WOODWARD AT HIS DESK.", "CUT TO:\n\n WOODWARD and BERNSTEIN as the news commentator come on, begins \n introducing another story.", "ROSENFELD AND SIMONS approaching WOODWARD who is working at \n his desk. He has put in a lot of hours on this and looks it.", "CUT TO:\n\n ROSENFELD as WOODWARD hands him another sheet of paper.", "He moves on. ROSENFELD turns quickly to WOODWARD.", "WOODWARD\n --you do?--with access to records?\n\n As BERNSTEIN nods--\n\n CUT TO:", "of his on the byline. ROSENFELD watches. As WOODWARD finishes, \n he takes the story again, hurries off. Now--", "CUT TO:\n\n WOODWARD AND BERNSTEIN walking along through the Library of \n Congress.", "WOODWARD AND BERNSTEIN walking toward BERSTEIN'S desk.\n\n WOODWARD\n Hey?", "WOODWARD and BERNSTEIN watch him go, they are embarrassed, \n angry, crushed. HOLD on their faces. Then--\n\n CUT TO:", "WOODWARD and BERNSTEIN work on. And now, as the voices \n continue condemning, we see them--all the President's men--", "WOODWARD\n Hello?\n\n BERNSTEIN'S VOICE (O.S.)\n What'd you find?", "WOODWARD makes a nod. HOLD. Then--\n\n CUT TO:\n\n BRADLEE", "CUT TO:\n\n WOODWARD in the shadows, coming closer.\n\n CUT TO:", "BERNSTEIN\n Who?\n\n WOODWARD\n Haldeman.\n\n CUT TO:", "WOODWARD\n We have to talk.\n\n BERNSTEIN nods, grabs the papers both that he's been typing \n and that he's been copying from." ] ]

[ "Who is assigned to cover the Watergate story with Woodward?", "Who is Deep Throat?", "What do Woodward and Bernstein connect the five burglars too?", "Who do they connect a slush fund to?", "What do they learn CREEP did?", "What does Deep Throat reveal?", "What is shown on the TV in Woodward's office?", "What year does the burglary at the DNC headquarters take place?", "What is the name of the newspaper that is key to the story?", "What is the name of the security guard that discovers the burglars at the DNC?", "What is the name of the president that succeeded Nixon?", "What was the code name given to the key informant?", "What is the five letter acronym given to Nixons campaign?", "What was the name of the newspaper that the reporters used to communicate with their source?", "What was the purpose of the \"ratfucking\" campaign?", "Four of the five burglars at the DNC had a common immigrant background, what was it?", "What was the name of the editor of the Washington Post handling the story?", "How many burglars were arrested?", "Who is assigned to cover this story?", "Who admitted that he had recently left the CIA?", "Who was President Nixon's special counsel?", "Who was the Executive editor of the Post?", "Who tells Woodward to follow the money?", "Who was the democratic nominee Nixon was going up against?", "Who came up with the plan for Watergate?", "Who is the head of CREEP?", "Who is assigned to work with Woodward?" ]

[ [ "Carl Bernstein. ", "Carl Bernstein" ], [ "An anonymous source Woodward has used I'm the past. ", "a senior government official" ], [ "Thousands of dollars to Nixon's Committee. ", "The CIA" ], [ "H. R. Halderman and John. N Mitchell. ", "White House Chief of Staff H.R. Haldeman " ], [ "Used a fund to sabotage Democratic presidential campaigns. ", "They diverted money to ruin the Democratic campaign." ], [ "Haldman masterminded the Watergate break in, after all. ", "watergate was masterminded by haldeman" ], [ "Nixon taking the Oath of Office. ", "Nixon taking the Oath of Office. " ], [ "The year was 1972", "1972" ], [ "The Washington Post", "Washington Post" ], [ "Frank Wills", "Frank Willis " ], [ "Gerald Ford", "Gerald Ford. " ], [ "Deep Throat", "Deep Throat" ], [ "CREEP", "CREEP" ], [ "The New York Times", "The New York Times" ], [ "To sabotage Democratic presidential candidates", "To sabotage the Democratic presidential canidates" ], [ "They were cuban-Americans", "Cuban" ], [ "Benjamin Bradlee", "Ben Bradlee" ], [ "five", "Five. " ], [ "Bob Woodward", "Woodward" ], [ "James Mccord Jr. ", "James McCord" ], [ "Charles Colson", "Charles Colson" ], [ "Benjamin Bradlee", "Benjamin Bradlee. " ], [ "Deep Throat", "Deep Throat" ], [ "George Mcgovern", "Edmund Muskie" ], [ "Halderman", "haldeman" ], [ "John Mitchell", "General John Mitchell" ], [ "Carl Bernstein", "Bernstein" ] ]

83a1fd492021ceb110451d65888072daf64a5d4f

train

[ [ "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "in Paris, where young men were easily debauched. Lescaut assured him\nthat I was naturally of so grave a character that I thought of nothing\nbut becoming a clergyman, and that, even as a child, my favourite", "nearly a year at Paris without hearing of Manon. It cost me no slight\neffort to abstain from enquiry; but the unintermitting advice of", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "seeing Manon in male attire, for it was the custom in Paris and the\nenvirons to adopt all disguises. I took care to have her served with", "difficulty in procuring us the same enjoyment again. He at length\ninduced us to follow his advice. Manon especially could not reconcile", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "a quarter of an hour of Christian meditation, to every sensual\ngratification, not excepting any that I might have derived even from\nManon's society. Nevertheless, one unlucky moment plunged me again", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "\"I gave him, as briefly as I could, a history of my long-standing and\ninsurmountable passion for Manon, of the flourishing condition of our", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "Magdalen, good sir! Oh heavens! my adorable mistress, my beloved Manon,\na degraded inmate of the Hospital! How shall I command strength of\nmind enough to survive this grief and shame!'", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"G---- M----, although a good deal embarrassed by the whole scene, soon\nrecognised me; and Manon still more easily. 'Is this a dream?' said", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "in order to facilitate my speedy return to Paris, that I might restore\nlife and happiness to my dear Manon.", "endeavour to prove himself worthy of it, by the sincerity of his\nservices. He could not absolutely promise to restore Manon to my arms,\nbecause, as he said, he himself had very little influence; but he" ], [ "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "affairs; and Manon's relations have no doubt remitted her money through\nhis house. She has probably already received some from him, and he is", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "of your generous gift, amounted to the small sum of forty pistoles; I\nexpended eight in the purchase of some necessary articles for Manon;\nand I put the remainder by, as the capital upon which we were to rest", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "\"He approached to take me by the hand, while Manon was securing the\nmoney and jewels, and leading me towards M. G---- M----, he desired me", "Just about six months before my departure for Spain, I first met the\nChevalier des Grieux. Though I rarely quitted my retreat, still the", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "taken as cash. I have already said that he was not rich. His living\nwas worth about six thousand francs a year, but as this was the first", "\"He told me that, as G---- M---- had gone to his father's house for the\nmoney which he wanted, he had taken advantage of his absence to", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "arranged a plan for interesting him in favour of Manon. If he is a man\nof feeling and of right mind, he will give us his assistance from", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "\"The main object now was to replenish my purse. M. de T---- had once\noffered me his, but I had an extreme repugnance to mention the subject", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "her equipage, had begged of him to make her acquainted with M. G----\nM----, who had a character for liberality. He carefully avoided", "Manon. I asked him for only fifty pistoles. 'You can remit it to me,'\nsaid I to him, 'through the hands of the postmaster. You must perceive", "both his mistress and his money. You may thus, at one blow, be amply\nrevenged upon father and son.'" ], [ "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "servant called. I could not help feeling a pang as she took leave of\nme. 'Manon,' said I, 'do not deceive me; will you be faithful to me?'", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "Lescaut fell, without the least sign of life. I pressed Manon to fly,\nfor we could be of no use to a dead man, and I feared being arrested by", "do; I am but too happy, too contented, if my dear Manon will only leave\nme master of her affections! But,' continued I, remembering that it", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "\"I was then on the point of going away, determined never to bestow\nanother thought on Manon: the mortal jealousy that was racking my heart", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "Manon, and of the expense he had gone to on her account; the manner in\nwhich he had passed the afternoon with her until about nine o'clock,\nthe circumstance of his leaving her, and the outrage he encountered on", "the consolation of embracing Manon, or of bidding her farewell. I\nremained for a long time ignorant of her fate. It was perhaps", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "ruined me,' said I to Lescaut; 'I shall be no longer safe at your\nhouse; we must go hence at once.' I gave Manon my arm, and as quickly", "\"Manon received the proposition with considerable coldness. However,\nthe difficulties she made, being apparently the suggestions of\ntenderness alone, or as arising from the natural fear of losing me, if", "\"My spirit was not destined to accompany Manon's. Doubtless, Heaven\ndid not as yet consider me sufficiently punished, and therefore" ], [ "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"Manon replied: 'Alas! does a life so thoroughly miserable deserve the\ncare we bestow on ours? Let us die at Havre, dearest chevalier! Let", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "the consolation of embracing Manon, or of bidding her farewell. I\nremained for a long time ignorant of her fate. It was perhaps", "my entreaties in her favour would have been useless. The cruel\nsentence upon Manon had arrived at the same time as the warrant for my\ndischarge. The unfortunate girl was conducted in an hour after to the", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "Lescaut fell, without the least sign of life. I pressed Manon to fly,\nfor we could be of no use to a dead man, and I feared being arrested by", "\"I was myself in a most deplorable state of mind; I could not discern\nthe slightest prospect of safety for either of us. 'Manon,' said I to", "Magdalen, good sir! Oh heavens! my adorable mistress, my beloved Manon,\na degraded inmate of the Hospital! How shall I command strength of\nmind enough to survive this grief and shame!'", "\"G---- M----, although a good deal embarrassed by the whole scene, soon\nrecognised me; and Manon still more easily. 'Is this a dream?' said", "\"He replied, that I must be, of course, aware that the governor was\nabsolute master here; that Manon, having been transported from France", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "ruined me,' said I to Lescaut; 'I shall be no longer safe at your\nhouse; we must go hence at once.' I gave Manon my arm, and as quickly", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of" ], [ "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "\"I waited upon the governor, as I had settled with Manon, to procure\nhis consent to the ceremony of our marriage. I should have avoided", "\"He replied, that I must be, of course, aware that the governor was\nabsolute master here; that Manon, having been transported from France", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "M----, and perhaps equally so to prevent him from making his\ndeclaration to Manon, I resolved to tell her beforehand of the designs\nof my new rival. I fancied that when she knew I was aware of the", "'where is Manon? what have you done with her?' My agitation startled\nhim. He replied, that if this was the reception he was to meet, when", "\"He took my hand, and exhorted me to have courage and be comforted;\nbut, as he seemed to consider it settled that Manon and I were to", "endeavour to prove himself worthy of it, by the sincerity of his\nservices. He could not absolutely promise to restore Manon to my arms,\nbecause, as he said, he himself had very little influence; but he", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "\"He approached to take me by the hand, while Manon was securing the\nmoney and jewels, and leading me towards M. G---- M----, he desired me", "\"G---- M----, although a good deal embarrassed by the whole scene, soon\nrecognised me; and Manon still more easily. 'Is this a dream?' said", "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should", "Manon was. He said that was easily done, by merely ascending the great\nstaircase. 'Come then at once,' said I to him, 'and endeavour to", "\"I gave him, as briefly as I could, a history of my long-standing and\ninsurmountable passion for Manon, of the flourishing condition of our", "after a cold salutation, he announced to me in two words, that the\ngovernor desired I would relinquish all thoughts of such a thing, for\nthat he had other views for Manon.", "arranged a plan for interesting him in favour of Manon. If he is a man\nof feeling and of right mind, he will give us his assistance from", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a" ], [ "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "M----, and perhaps equally so to prevent him from making his\ndeclaration to Manon, I resolved to tell her beforehand of the designs\nof my new rival. I fancied that when she knew I was aware of the", "\"The governor had a nephew named Synnelet, of whom he was particularly\nfond. He was about thirty; brave, but of a headstrong and violent", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "\"About two hours previously, a guardsman of Lescaut's acquaintance had\ncome to see him, and proposed play. Lescaut had such a rapid and", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "Lescaut had refused to give him the required satisfaction, and the\nother swore, on quitting him, that he would take his life; a threat", "Chaillot, of our projected adventure, and of the part he was to\nperform. He therefore told him that the object was to make a dupe of", "place to the ecclesiastical habit, and the designation of the AbbÃ© de\nGrieux was substituted for that of chevalier. I applied so diligently", "\"He replied, that I must be, of course, aware that the governor was\nabsolute master here; that Manon, having been transported from France", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "Aware, as I was, of the affection of the governor for his nephew, I\nfelt perfectly sure that my death would not be delayed a single hour", "\"On quitting me, my father went to pay a visit to M. G---- M----. He\nfound him with his son, whom the guardsman had safely restored to", "'where is Manon? what have you done with her?' My agitation startled\nhim. He replied, that if this was the reception he was to meet, when", "Just about six months before my departure for Spain, I first met the\nChevalier des Grieux. Though I rarely quitted my retreat, still the", "and he had given a promise to his nephew.' I was resolved to command\nmy feelings to the last: I merely replied, that I had imagined he was", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of" ], [ "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "ruined me,' said I to Lescaut; 'I shall be no longer safe at your\nhouse; we must go hence at once.' I gave Manon my arm, and as quickly", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "from the Hospital adventure. He told me that, from the fear of their\nsuspecting that he had a hand in Manon's escape, he had gone that", "Lescaut fell, without the least sign of life. I pressed Manon to fly,\nfor we could be of no use to a dead man, and I feared being arrested by", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "another reason which made me fear even to approach him; I had quitted\nhis lodgings contrary to his express orders, and was resolved, since I\nhad learned the sad fate of my poor Manon, never again to return", "\"I was myself in a most deplorable state of mind; I could not discern\nthe slightest prospect of safety for either of us. 'Manon,' said I to", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "Manon, and of the expense he had gone to on her account; the manner in\nwhich he had passed the afternoon with her until about nine o'clock,\nthe circumstance of his leaving her, and the outrage he encountered on", "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'" ], [ "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "\"We journeyed on as long as Manon's strength would permit, that is to\nsay, about six miles; for this incomparable creature, with her usual", "\"I was myself in a most deplorable state of mind; I could not discern\nthe slightest prospect of safety for either of us. 'Manon,' said I to", "my entreaties in her favour would have been useless. The cruel\nsentence upon Manon had arrived at the same time as the warrant for my\ndischarge. The unfortunate girl was conducted in an hour after to the", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "the consolation of embracing Manon, or of bidding her farewell. I\nremained for a long time ignorant of her fate. It was perhaps", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "Manon and myself. He was so good as to distinguish us from the herd of\nour miserable associates. I took an opportunity, on the second day, of", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "Lescaut fell, without the least sign of life. I pressed Manon to fly,\nfor we could be of no use to a dead man, and I feared being arrested by", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "of a coach, in which they took an airing occasionally in the Bois de\nBoulogne; and each night when I returned, I was sure of finding Manon", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "ruined me,' said I to Lescaut; 'I shall be no longer safe at your\nhouse; we must go hence at once.' I gave Manon my arm, and as quickly", "\"I held Manon in such close embrace in my arms, that we occupied but\none place in the coach. She cried for joy, and I could feel her tears\ntrickling down my cheeks." ], [ "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "Just about six months before my departure for Spain, I first met the\nChevalier des Grieux. Though I rarely quitted my retreat, still the", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "\"He accordingly came to St. Lazare. I met him with an air more grave\nand certainly less silly than I had exhibited at his house with Manon.", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "place to the ecclesiastical habit, and the designation of the AbbÃ© de\nGrieux was substituted for that of chevalier. I applied so diligently", "the consolation of embracing Manon, or of bidding her farewell. I\nremained for a long time ignorant of her fate. It was perhaps", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "already decorated with the Cross, and called the Chevalier des Grieux.\nThe vacation having arrived, I was preparing to return to my father,\nwho had promised to send me soon to the Academy.", "\"Manon replied: 'Alas! does a life so thoroughly miserable deserve the\ncare we bestow on ours? Let us die at Havre, dearest chevalier! Let", "Magdalen, good sir! Oh heavens! my adorable mistress, my beloved Manon,\na degraded inmate of the Hospital! How shall I command strength of\nmind enough to survive this grief and shame!'", "\"My spirit was not destined to accompany Manon's. Doubtless, Heaven\ndid not as yet consider me sufficiently punished, and therefore", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should" ], [ "the young man conveyed in the most graceful language. Here, then, is\nhis story, which in its progress I shall not encumber with a single\nobservation that was not his own.", "Although he seemed to recite this story tranquilly enough, I observed\nthe tears start to his eyes as he concluded. This adventure struck me", "yourself,\" said the woman, \"and see if it is not a sight to rend your\nheart!\" Curiosity made me dismount; and leaving my horse to the care", "who appeared to have charge of her, was busy in getting her luggage\nfrom the vehicle. She struck me as being so extremely beautiful, that\nI, who had never before thought of the difference between the sexes, or", "I should here inform the reader that I wrote down the story almost\nimmediately after hearing it; and he may, therefore, be assured of the", "afterwards told him the name of the street to which I wished him to\ndrive, he answered that he feared I was about to implicate him in some\nbad business; that he saw plainly enough that the good-looking young", "than myself. She acknowledged that she was greatly pleased with me,\nand that she should be enchanted to owe to me her freedom and future\nhappiness. She would insist on hearing who I was, and the knowledge", "\"Manon Lescaut (this she told me was her name) seemed gratified by the\nvisible effect of her own charms. She appeared to me not less excited", "the door. He had, however, the precaution to ask first who it was, and\nwhat was wanted? I was obliged to mention my name, but I assumed a", "\"Manon was reading. I had there an opportunity of admiring the\nsingular character of this girl. Instead of being nervous or alarmed", "\"He began by asking me whether I was really simple enough to believe\nthat I had been really loved by the girl. I told him confidently that", "---- was below, and wished to see her. The name alone almost threw me\ninto a rage.", "\"The main object now was to replenish my purse. M. de T---- had once\noffered me his, but I had an extreme repugnance to mention the subject", "himself. He turned to my brother, to ask if he had not told me the\nwhole story. My brother answered, that I appeared to him so tranquil", "any distinction between her and the others, I cannot help treating her\ndifferently, for she seems to me somewhat superior to her companions.\nYonder is a young man,\" continued the archer, \"who can tell you, better", "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "\"At first she laughed at me for my simplicity; but when she found that\nI continued to look at her with an unchanging expression of melancholy,", "\"'We have gone far enough, then,' said I, catching hold of his arm;\n'take from me, in common mercy, my life! weary and odious and" ], [ "separated from all one loves. I must have taken leave of my senses, to\nhave voluntarily brought all this misery upon myself.'", "his esteem and friendship for my family; that it was in this sense he\nhad explained the matter to him; that what I had now told him should\nassuredly produce a change in my treatment, and that he had no doubt", "his return. This was enough to convince him that his son's affair was a\nlove quarrel. Although it was then at least half-past ten at night, he", "\"'Adieu!' exclaimed I to him, in a burst of grief, 'adieu, cruel and\nunnatural father!'", "attached. We had been brought up together; but from the straitened\ncircumstances of his family, he was intended to take orders, and was to", "\"He then enquired why I had never thought of informing my family of\nwhat had taken place, since they had not been instrumental to my", "disappointment, that I could make him no reply. He appeared for some\nminutes revolving different thoughts in his mind; and as if they had\nsuddenly excited his anger, he exclaimed, addressing himself to me:", "another reason which made me fear even to approach him; I had quitted\nhis lodgings contrary to his express orders, and was resolved, since I\nhad learned the sad fate of my poor Manon, never again to return", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "They begged pardon for the necessity they were under of treating me\nwith apparent disrespect; telling me frankly that they were acting by\nthe orders of my father, and that my eldest brother was in a carriage", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "\"He told me that, as G---- M---- had gone to his father's house for the\nmoney which he wanted, he had taken advantage of his absence to", "for this port, and am now going to the house of one of my relations who\nlives a few miles off, where my brother said that he should anxiously\nawait my arrival.\"", "\"He went out, and left me in a condition that you may picture to\nyourself. 'O Heavens!' cried I to myself, 'I receive with humble", "reproached me warmly with the habit I was contracting of staying out so\nlate. My silence gave her an opportunity of continuing; and she then\nsaid that for the last three weeks I had never spent one entire day in", "\"As I was about to turn away from him: 'You refuse then to follow me,'\ncried he, in a tone of excessive anger. 'Go! go on to your ruin.\nAdieu! ungrateful and disobedient boy.'", "seeing her during the last nine or ten months, had so inflamed his\npassion, that he was absolutely pining for her in secret. However, as\nhe was convinced in common with his uncle and the whole colony that I", "Lescaut had refused to give him the required satisfaction, and the\nother swore, on quitting him, that he would take his life; a threat", "He answered me candidly, that he could not communicate her history\nwithout making himself known, and that he had urgent reasons for", "sorrow, that I have not since known a moment's happiness. You may judge\nof this by the steps it induced me to take.' He then told me how," ], [ "\"We passed two months together at New Orleans whilst waiting the\ndeparture of a vessel direct to France; and having at length sailed, we", "speculation had directed to New Orleans. I stood by whilst the\npassengers landed. Judge my surprise on recognising Tiberge amongst\nthose who proceeded towards the town. This ever-faithful friend knew", "ourselves in New Orleans, as in the midst of the ocean, separated from\nthe rest of the world by an immense interval of space. In a country", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "However, the captain having discharged some pieces of artillery, we\npresently observed a group of the inhabitants of New Orleans, who\napproached us with evident signs of joy. We had not perceived the", "view the true land of milk and honey, the abode of contentment and\ndelight. 'People should come to New Orleans,' I often said to Manon,", "immediately apprised Lescaut of her return, and he having informed me,\nwe went together to her new abode. The old lover had already gone out.", "to their destination; and believing that it was at Rochelle this\nunhappy group was to embark, all my trouble would have been thrown away\nin waiting for them on the Orleans road. However, I learned, by the", "\"She raised herself in spite of her weakness, and taking hold of my\nhand to lead me towards the door: 'Let us,' said she, 'fly together,", "she proposed. She got into her carriage to go and wait for me at the\ncorner of the street. I escaped the next moment, without attracting", "made me think of amusing myself with these creatures: but when they\ndiscovered that I was in love, they increased their demands in such a\nway, that my purse was completely empty on leaving Mantes, where we had", "perpetual imprisonment, or to transport her for life to America. They\nhappened, at that very period, to be sending out a number of convicts\nto the Mississippi. The lieutenant-general promised to have her", "between us, and he generously did justice to my conduct on the\noccasion. I was sent for; and as neither of us could be found, our\nflight was immediately suspected. It was then too late to attempt to", "away a small portion of her apparel, of which I took charge. The\nchaise was in readiness, and we were soon at a distance from the town.", "soldier's report, that they would go out towards Rouen, and that it was\nfrom Havre-de-Grace they were to sail for America.", "\"After many reflections we could discover no other resource than in\nflight. To effect this it would be requisite to cheat the vigilance of", "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'" ], [ "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "Manon and myself. He was so good as to distinguish us from the herd of\nour miserable associates. I took an opportunity, on the second day, of", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "Lescaut fell, without the least sign of life. I pressed Manon to fly,\nfor we could be of no use to a dead man, and I feared being arrested by", "Manon's guardian, who required management, although he was but a\nservant. We determined, therefore, that, during the night, I should", "\"M. de T---- spoke to some of the porters of the establishment, who\nappeared all anxious to please him. The quarter in which Manon's room", "\"G---- M----, although a good deal embarrassed by the whole scene, soon\nrecognised me; and Manon still more easily. 'Is this a dream?' said", "the last occasion, as men whose courage had been proved. M. de T----\nhad told me the exact number of archers that would escort Manon; they\nwere but six. Five strong and determined men could not fail to strike", "Manon was. He said that was easily done, by merely ascending the great\nstaircase. 'Come then at once,' said I to him, 'and endeavour to", "Manon's house. I saw de T----'s messenger arrive, and G---- M---- come\nout the next moment, followed by a servant. Allowing him barely time to", "room where he expected to pass the night; and Manon, instead of\nfollowing him, promised to come out, and join us. Lescaut undertook to\nhave a coach waiting at the door.", "\"He took my hand, and exhorted me to have courage and be comforted;\nbut, as he seemed to consider it settled that Manon and I were to", "'where is Manon? what have you done with her?' My agitation startled\nhim. He replied, that if this was the reception he was to meet, when", "from the Hospital adventure. He told me that, from the fear of their\nsuspecting that he had a hand in Manon's escape, he had gone that", "\"He approached to take me by the hand, while Manon was securing the\nmoney and jewels, and leading me towards M. G---- M----, he desired me", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "M----, and perhaps equally so to prevent him from making his\ndeclaration to Manon, I resolved to tell her beforehand of the designs\nof my new rival. I fancied that when she knew I was aware of the", "Hospital. We were not long waiting, when we saw Manon make her\nappearance with her guide. The door of the coach being opened, they", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was" ], [ "I should here inform the reader that I wrote down the story almost\nimmediately after hearing it; and he may, therefore, be assured of the", "Although he seemed to recite this story tranquilly enough, I observed\nthe tears start to his eyes as he concluded. This adventure struck me", "the young man conveyed in the most graceful language. Here, then, is\nhis story, which in its progress I shall not encumber with a single\nobservation that was not his own.", "\"The remainder of the day appeared to me of endless length. When at\nlast night came, we went in a coach to within a few yards of the", "together in less than a quarter of an hour. I waited at his lodgings\ntill he returned with them, and then conducted him to the corner of a", "perhaps love you in return.' The poor child, who was only sixteen or\nseventeen years of age, and who appeared more modest than girls of her\nclass generally are, was thunderstruck at this unusual scene. She", "\"I was seventeen years old, and was finishing my studies at Amiens,\nwhither my parents, who belonged to one of the first families in", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "Returned to my retreat, I remained in ignorance of the result of this\nadventure; and ere two years had passed, it was completely blotted from\nmy recollection, when chance brought me an opportunity of learning all\nthe circumstances from beginning to end.", "yourself,\" said the woman, \"and see if it is not a sight to rend your\nheart!\" Curiosity made me dismount; and leaving my horse to the care", "who appeared to have charge of her, was busy in getting her luggage\nfrom the vehicle. She struck me as being so extremely beautiful, that\nI, who had never before thought of the difference between the sexes, or", "upon some adventure of gallantry. He had not been able to learn\nanything further, he added, trembling as he spoke, because the prince,", "immediately retired into the inn. One remained behind: she was very\nyoung, and stood by herself in the court, while a man of advanced age,", "that in the space of ten years some change must occur in my family: my\nfather is even now of an advanced age; he may die; in which event I\nmust inherit a fortune, and we shall then be above all other fears.'", "himself. He turned to my brother, to ask if he had not told me the\nwhole story. My brother answered, that I appeared to him so tranquil", "\"You will find it difficult to believe that, during the whole time of\nthis protracted and distressing ceremony, not a tear or a sigh escaped", "the police, who would certainly be soon upon the spot. I turned down\nthe first narrow street with her and the servant: she was so\noverpowered by the scene she had just witnessed, that I could hardly", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "\"About two hours previously, a guardsman of Lescaut's acquaintance had\ncome to see him, and proposed play. Lescaut had such a rapid and", "\"He told me that, as G---- M---- had gone to his father's house for the\nmoney which he wanted, he had taken advantage of his absence to" ], [ "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "Manon and myself. He was so good as to distinguish us from the herd of\nour miserable associates. I took an opportunity, on the second day, of", "Manon, he had heard of her; at least, if the person I was talking of\nwas the same who had been the mistress of old G---- M----. I", "Hospital. We were not long waiting, when we saw Manon make her\nappearance with her guide. The door of the coach being opened, they", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "\"Manon was reading. I had there an opportunity of admiring the\nsingular character of this girl. Instead of being nervous or alarmed", "Manon, and of the expense he had gone to on her account; the manner in\nwhich he had passed the afternoon with her until about nine o'clock,\nthe circumstance of his leaving her, and the outrage he encountered on", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "\"Manon received the proposition with considerable coldness. However,\nthe difficulties she made, being apparently the suggestions of\ntenderness alone, or as arising from the natural fear of losing me, if", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"Manon's caresses soon dissipated the annoyance this scene had caused\nme. We continued to lead a life entirely devoted to pleasure and love.", "\"It was Manon. It was she indeed, but more bewitching and brilliant\nthan I had ever beheld her. She was now in her eighteenth year. Her", "with singular affection. The sight of so lovely a girl as Manon, my\nill-disguised impatience to conduct her to the inn, and the anxiety I", "principal of these, and the remainder were disposed of by lot. He had\nnot yet addressed Manon; but having ordered the others to depart, he", "of a coach, in which they took an airing occasionally in the Bois de\nBoulogne; and each night when I returned, I was sure of finding Manon", "\"I gave him, as briefly as I could, a history of my long-standing and\ninsurmountable passion for Manon, of the flourishing condition of our" ], [ "informed me that having seen her at her window, he became passionately\nin love with her; that he made his advances in the true style of a", "\"I gave him, as briefly as I could, a history of my long-standing and\ninsurmountable passion for Manon, of the flourishing condition of our", "\"He began by asking me whether I was really simple enough to believe\nthat I had been really loved by the girl. I told him confidently that", "\"In order to enhance the sacrifice she had made for me of her late\nlover, she determined to treat him without the least ceremony. 'I", "girl he appeared so much in love with! How pretty she was! The poor\nyoung things, how they caressed each other! Pity if they have been", "her to quit me for some happier and more wealthy lover. This idea\nbrought in its train a thousand reflections, which had no other effect\nthan to torment me, and throw me again into the state of despair in", "man beloved. He has furnished houses and equipages to bestow, while I,\nwho have nothing but constancy of love to offer, am despised for my\npoverty, and laughed at for my simplicity.'", "She addressed me by all the endearing appellations with which love\nsupplies his votaries, to enable them to express the most passionate\nfondness. I still answered with affected coldness; but the sudden", "tender messages, and to assure you that she loves you more dearly than\never.'\"", "He said that he came to bring her consolation; that he was a friend of\nmine, and felt deeply interested for the happiness of us both. She\nasked with the tenderest anxiety, whether he could tell her what had", "love, exchanged in languishing rapture, astonished M. de T----, and\naffected him even to tears.", "love prompted. But her incessant sighs, her silence, and inattention\nto my enquiries, the convulsed grasp of her hands, in which she", "conversation had not lasted half an hour, when I perceived that Manon's\ncharms had made a visible impression upon him. His looks and his\nmanner became by degrees more tender. He, however, allowed no", "\"He, indeed, exceeded me in the proofs of his esteem; for, inferring\nfrom my adventures, and especially my late escape from St. Lazare, that", "over her temper or inclinations. Although she loved me tenderly, and I\nwas the only person, as she often declared, in whose society she could\never find the pure enjoyments of love, yet I felt thoroughly convinced", "than I can, the cause of her misfortunes. He has followed her from\nParis, and has scarcely dried his tears for a single moment. He must\nbe either her brother or her lover.\"", "with singular affection. The sight of so lovely a girl as Manon, my\nill-disguised impatience to conduct her to the inn, and the anxiety I", "to render more endurable the hard and rugged ground on which she lay.\nI protected her delicate hands from the cold by my burning kisses and\nthe warmth of my sighs. I passed the livelong night in watching over", "was married, he put such a restraint upon his feelings, that they\nremained generally unnoticed; and he lost no opportunity of showing the\nmost disinterested friendship for me.", "started. 'Show me the lover who does not blindly humour every whim of\nan adored mistress, and I will then allow that I was wrong in yielding" ], [ "\"The governor had a nephew named Synnelet, of whom he was particularly\nfond. He was about thirty; brave, but of a headstrong and violent", "Aware, as I was, of the affection of the governor for his nephew, I\nfelt perfectly sure that my death would not be delayed a single hour", "and he had given a promise to his nephew.' I was resolved to command\nmy feelings to the last: I merely replied, that I had imagined he was", "having been carried into the town and skilfully examined, it was found\nthat, so far from being dead, he was not even dangerously wounded. He\ninformed his uncle of the manner in which the affray had occurred", "upon some adventure of gallantry. He had not been able to learn\nanything further, he added, trembling as he spoke, because the prince,", "hundred times over to please his nephew. However, I persevered in\nrestraining my temper to the end; deeply resolved, if they persisted in", "to follow him, or if he gave the slightest alarm, he would blow his\nbrains out. G---- M----, seeing that his assailant was supported by", "\"The governor appeared. He had been informed of my apprehension. He\nsaluted me with great mildness. 'Do not, my good sir,' said I to him,", "him, most imprudently, to come to his assistance. He was a powerful\nruffian, and threw himself upon me without an instant's hesitation.", "\"On quitting me, my father went to pay a visit to M. G---- M----. He\nfound him with his son, whom the guardsman had safely restored to", "all asleep. I at length proceeded with my pistol and a lighted candle.\nI first gave a gentle tap at the governor's door to awaken without", "seeing her during the last nine or ten months, had so inflamed his\npassion, that he was absolutely pining for her in secret. However, as\nhe was convinced in common with his uncle and the whole colony that I", "They begged pardon for the necessity they were under of treating me\nwith apparent disrespect; telling me frankly that they were acting by\nthe orders of my father, and that my eldest brother was in a carriage", "remember that there shall be now no quarter.' He attacked me with\nredoubled fury. I must confess that I was not an accomplished", "I cannot but think you must have given provocation for such excessive\nviolence.' This reply disconcerted G---- M---- beyond measure and he", "liberty. I never learned the particulars of their conversation; but I\ncould easily infer them from the disastrous results. They went\ntogether (the two old gentlemen) to the lieutenant-general of police,", "\"I had gone out the moment before, which was doubtless fortunate for\neither him or me, for I was little disposed to brook an insult. I only", "\"He happened to be with his uncle when I arrived at the government\nhouse. I had no reason for keeping my intention a secret from him, so", "\"G---- M---- was followed by a servant, when he was stopped by my\nfriend the guardsman. Alarmed by what he saw, this fellow retraced his", "the Hospital, sword in hand, assisted by all whom I could enlist in my\ncause. Even my father's life was hardly respected, so just appeared my" ], [ "her to quit me for some happier and more wealthy lover. This idea\nbrought in its train a thousand reflections, which had no other effect\nthan to torment me, and throw me again into the state of despair in", "than I can, the cause of her misfortunes. He has followed her from\nParis, and has scarcely dried his tears for a single moment. He must\nbe either her brother or her lover.\"", "at least in mercy rid me of life, and then you can seek another lot in\nthe arms of some happier lover.'", "\"In order to enhance the sacrifice she had made for me of her late\nlover, she determined to treat him without the least ceremony. 'I", "Tiberge, and my own reflections, secured this victory over my wishes.\nThe last months glided away so tranquilly, that I considered the memory\nof this charming but treacherous creature about to be consigned to", "\"He began by asking me whether I was really simple enough to believe\nthat I had been really loved by the girl. I told him confidently that", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "brutally violated her. Manon loves me. Do I not know that well? He\nmust have terrified her with a poniard, to induce her to abandon me.'", "play, where she was so gorgeously dressed, that he of course set it\ndown to the account of some new lover; that he had followed her\nequipage to her house, and had there learned from a servant that she", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "arrives, you will find me disposed to love and to serve you; this day\nends our intercourse, and I once for all avow my horror of the life you\nare leading.'", "\"I gave him, as briefly as I could, a history of my long-standing and\ninsurmountable passion for Manon, of the flourishing condition of our", "alternation between hate and love; between hope and despair; according\nas, the tendency of each passing thought brought Manon back to my\nrecollection. At one time, I could see in her the most delightful of", "separated from all one loves. I must have taken leave of my senses, to\nhave voluntarily brought all this misery upon myself.'", "girl he appeared so much in love with! How pretty she was! The poor\nyoung things, how they caressed each other! Pity if they have been", "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the", "informed me that having seen her at her window, he became passionately\nin love with her; that he made his advances in the true style of a", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "deceived you too,' said I, 'my poor girl--they have deceived you; you\nare a woman, and probably wish for a lover; but you must find one who", "\"I cherished this idea so willingly, that it considerably lightened my\ngrief. I immediately returned to my lodgings, and embraced Manon as" ], [ "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the", "\"The very evening before my expected departure, as I was walking with\nmy friend, whose name was Tiberge, we saw the Arras diligence arrive,", "He said that he came to bring her consolation; that he was a friend of\nmine, and felt deeply interested for the happiness of us both. She\nasked with the tenderest anxiety, whether he could tell her what had", "remain after me at Amiens to complete the requisite studies for his\nsacred calling. He had a thousand good qualities. You will recognise", "treated me as a friend, and that appellation implies a certain degree\nof confidence and candour.' He pressed me so much and so earnestly to\ndiscover my secret, that, having never up to that moment felt the", "Manon and myself. He was so good as to distinguish us from the herd of\nour miserable associates. I took an opportunity, on the second day, of", "\"In a little time he became so familiar, that hearing us speak of our\nreturn to Chaillot, he insisted on accompanying us. We were obliged to", "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should", "impossible for me to remain longer at St. Lazare; that the night was\nthe most favourable time for going out unobserved, and that I\nconfidently expected, from his tried friendship, that he would consent", "voyage had been to see me once more, and to induce me to return with\nhim to France; that on receipt of the last letter which I had written", "did not dare refuse to open it. I made my exit in perfect safety, and,\na few paces off, found Lescaut with two friends waiting for me,\naccording to his promise.", "Tiberge complained, which had escaped my poor friend's penetration; and\nhe took such pains to find me out, that in two days after his arrival\nhe learned that I was in Le Chatelet.", "accorded me by fate. Your compassion at the sight of my sufferings was\nmy only recommendation to your generous nature. The assistance which\nyou so liberally extended, enabled me to reach Havre, and the guards", "to him from Havre, he started for that place, and was himself the\nbearer of the succour which I solicited; that he had been sensibly\naffected on learning my departure, and that he would have instantly", "\"I told M. Lescaut of my difficulties, and did not conceal from him\nthat I had received a thousand francs from a friend. He repeated, that", "had influence enough to ensure an effectual pursuit, and we were\nsufficiently imprudent to rely upon the extent of Paris and the\ndistance between our residence and his. Not only did he discover our", "\"On quitting me, my father went to pay a visit to M. G---- M----. He\nfound him with his son, whom the guardsman had safely restored to", "\"This was of course my friend Tiberge; not that I could hope from him\nthe assistance necessary for effecting my liberty; but I wished to make", "\"He took my hand, and exhorted me to have courage and be comforted;\nbut, as he seemed to consider it settled that Manon and I were to", "drove her and her companions; that he had promised her, on the other\nside of the Alps, a brilliant fortune and eternal adoration; that she\nreturned to Chaillot, with the intention of relating to me the whole" ], [ "man beloved. He has furnished houses and equipages to bestow, while I,\nwho have nothing but constancy of love to offer, am despised for my\npoverty, and laughed at for my simplicity.'", "that her ruling passion is for affluence and pleasure; and, as he is\nalready in possession of a considerable fortune, he declared his\nintention of tempting her at once with a present of great value, and", "place reliance on my honour, and on the tender interest with which she\nhad already inspired me, I would sacrifice my life to deliver her from\nthe tyranny of her parents, and to render her happy. I have since been", "\"Our project of marriage was forgotten at St. Denis; we defrauded the\nChurch of her rights; and found ourselves united as man and wife", "valet in love with her. They knew they had to deal with a young and\ninexperienced couple, whom they fancied they could impose upon without", "portion of them, were it only to inspire a more thorough contempt for\nthe remainder. Love is more powerful than wealth--more attractive than\ngrandeur or fame; but, alas! it cannot exist without certain artificial", "\"'In that case,' she answered, 'you shall be the richest man in the\nuniverse; for, as there never was love surpassing yours, so it is", "starvation for her sake, by renouncing fortune and the comforts of my\nfather's house! I, who denied myself actual necessaries, in order to", "her to quit me for some happier and more wealthy lover. This idea\nbrought in its train a thousand reflections, which had no other effect\nthan to torment me, and throw me again into the state of despair in", "plenty she loved too well to sacrifice them for my sake. 'I shall lose\nher!' I cried; 'miserable chevalier! you are about then to lose all", "very different indeed from the one you now betray.' With the greatest\neffrontery he acknowledged that he had been always of the same mind,\nand that his sister having once sacrificed her virtue, though it might", "than I can, the cause of her misfortunes. He has followed her from\nParis, and has scarcely dried his tears for a single moment. He must\nbe either her brother or her lover.\"", "for the future, many demands for money; that she had the charge of a\nyoung brother, who had been thrown upon her hands since the death of\nour parents; and that, if he wished to prove himself worthy of her", "separated from all one loves. I must have taken leave of my senses, to\nhave voluntarily brought all this misery upon myself.'", "perhaps love you in return.' The poor child, who was only sixteen or\nseventeen years of age, and who appeared more modest than girls of her\nclass generally are, was thunderstruck at this unusual scene. She", "its attendant denials. Say that the enjoyments of love are fleeting,\nif you will, that they are rigidly forbidden, that they lead with", "\"In order to enhance the sacrifice she had made for me of her late\nlover, she determined to treat him without the least ceremony. 'I", "death. She should be sole mistress of his heart and fortune; and as an\nimmediate token of his liberality, he was ready at once to supply her", "thus inspected them, he sent for several young men of the colony who\nwere desirous to marry. He assigned the handsomest women to the", "love and duty, the weightier one of necessity should also have some\ninfluence; for our finances were sadly reduced, and I began to see the\nfolly of thinking them, as I once did, inexhaustible." ], [ "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'", "speculation had directed to New Orleans. I stood by whilst the\npassengers landed. Judge my surprise on recognising Tiberge amongst\nthose who proceeded towards the town. This ever-faithful friend knew", "Lescaut fell, without the least sign of life. I pressed Manon to fly,\nfor we could be of no use to a dead man, and I feared being arrested by", "become the prey of wild beasts. I then determined to bury her, and\nwait my own doom upon her grave. I was already, indeed, so near my end", "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "executed. 'It IS Lescaut!' said he, snapping a pistol at his head; 'he\nshall sup tonight with the angels!' He then instantly disappeared.", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "\"The remainder of the day appeared to me of endless length. When at\nlast night came, we went in a coach to within a few yards of the", "\"'We have gone far enough, then,' said I, catching hold of his arm;\n'take from me, in common mercy, my life! weary and odious and", "perpetual imprisonment, or to transport her for life to America. They\nhappened, at that very period, to be sending out a number of convicts\nto the Mississippi. The lieutenant-general promised to have her", "extremities in order to aid her; and when these prove of no avail, fly\nto death as a last resource!'", "no doubt, have to encounter the most horrible pains, since it has been\ntheir object to punish me by exile? Let us die,' she repeated, 'or do", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "Manon and myself. He was so good as to distinguish us from the herd of\nour miserable associates. I took an opportunity, on the second day, of", "However, the captain having discharged some pieces of artillery, we\npresently observed a group of the inhabitants of New Orleans, who\napproached us with evident signs of joy. We had not perceived the", "\"We journeyed on as long as Manon's strength would permit, that is to\nsay, about six miles; for this incomparable creature, with her usual", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "much longer at St. Lazare. We went to pass the night at a tavern,\nwhere I made up, in some degree, for the miserable fare which had been", "breathe lest I should disturb her. As day broke, I observed that her\nhands were cold and trembling; I pressed them to my bosom in the hope" ], [ "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should", "\"I told M. Lescaut of my difficulties, and did not conceal from him\nthat I had received a thousand francs from a friend. He repeated, that", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "her equipage, had begged of him to make her acquainted with M. G----\nM----, who had a character for liberality. He carefully avoided", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "confidence and friendship. G---- M---- easily found an opportunity of\ndeclaring his sentiments to Manon. I did not wish to annoy him by", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "affairs; and Manon's relations have no doubt remitted her money through\nhis house. She has probably already received some from him, and he is", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "\"He approached to take me by the hand, while Manon was securing the\nmoney and jewels, and leading me towards M. G---- M----, he desired me", "He, however, promised to use his influence with them; and, what was\nmore than I expected at his hands, he said that he would supply me with\na little money whenever I had pressing occasion for any. The only", "arranged a plan for interesting him in favour of Manon. If he is a man\nof feeling and of right mind, he will give us his assistance from", "so virtuous a friend. He then took me to a banker of his acquaintance,\nwho gave one hundred and seventy crowns for his note of hand, which was", "established on the firmest basis. In the friendship of M. de T----,\nand the tender affections of Manon, I imagined myself so thoroughly", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "\"M. de T---- spoke to some of the porters of the establishment, who\nappeared all anxious to please him. The quarter in which Manon's room", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "Just about six months before my departure for Spain, I first met the\nChevalier des Grieux. Though I rarely quitted my retreat, still the", "of your generous gift, amounted to the small sum of forty pistoles; I\nexpended eight in the purchase of some necessary articles for Manon;\nand I put the remainder by, as the capital upon which we were to rest" ], [ "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "already decorated with the Cross, and called the Chevalier des Grieux.\nThe vacation having arrived, I was preparing to return to my father,\nwho had promised to send me soon to the Academy.", "\"I cherished this idea so willingly, that it considerably lightened my\ngrief. I immediately returned to my lodgings, and embraced Manon as", "Just about six months before my departure for Spain, I first met the\nChevalier des Grieux. Though I rarely quitted my retreat, still the", "\"I returned towards the town; on my arrival at home, I found Manon half\ndead with fright and anxiety: my presence restored her. I could not", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "drove her and her companions; that he had promised her, on the other\nside of the Alps, a brilliant fortune and eternal adoration; that she\nreturned to Chaillot, with the intention of relating to me the whole", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "endeavour to prove himself worthy of it, by the sincerity of his\nservices. He could not absolutely promise to restore Manon to my arms,\nbecause, as he said, he himself had very little influence; but he", "\"He took my hand, and exhorted me to have courage and be comforted;\nbut, as he seemed to consider it settled that Manon and I were to", "\"He approached to take me by the hand, while Manon was securing the\nmoney and jewels, and leading me towards M. G---- M----, he desired me", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the" ], [ "extremity of the world. I shall embark with her and cross to America.", "perpetual imprisonment, or to transport her for life to America. They\nhappened, at that very period, to be sending out a number of convicts\nto the Mississippi. The lieutenant-general promised to have her", "America. There are one or two of them pretty enough; and it is that,\napparently, which attracts the curiosity of these good people.\"", "Europe or in America, of what moment to me was the place of my abode,\nprovided I might live happy in the society of my mistress? Is not the", "our hopes and raise our fortunes in America. I had no difficulty in\ngetting admitted on board the vessel. They were at the time looking\nfor young men as voluntary emigrants to the colony. The passage and", "\"After many reflections we could discover no other resource than in\nflight. To effect this it would be requisite to cheat the vigilance of", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'", "him whence he came. He replied, that he had just arrived, by sea, from\nHavre, where he had lately landed from America. \"You do not seem to be", "\"At length it was time to retire. He hinted at the impatience of love.\nLescaut and I took our departure. G---- M---- went to his room, and", "that it is the last time I can by possibility trespass on your friendly\nkindness; and my poor unhappy mistress being about to be exiled from\nher country for ever, I cannot let her depart without supplying her", "between us, and he generously did justice to my conduct on the\noccasion. I was sent for; and as neither of us could be found, our\nflight was immediately suspected. It was then too late to attempt to", "between us a continual emulation of attentions and of love. I felt no\nregret at quitting Europe; on the contrary, the nearer we approached", "their islands, he had contrived to escape; and that, in short, after\nmany adventures, he had got on board the vessel which had just arrived,\nand at length happily attained his object.", "long and last farewell. But when I assured her that no power on earth\ncould ever separate me from her, and that I was resolved to follow her", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "\"'To ask my life at your hands,' said I, 'which I never can retain if\nManon once embark for America.'", "reconcile myself to my destiny in all its rigour. I shall go to\nAmerica: there, at least, I may be free to live with her I love. I", "\"She raised herself in spite of her weakness, and taking hold of my\nhand to lead me towards the door: 'Let us,' said she, 'fly together,", "the New World. But the distance was terrific. In order to reach them,\nwe should have to traverse deserts of many days' journey, and more than" ], [ "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "my entreaties in her favour would have been useless. The cruel\nsentence upon Manon had arrived at the same time as the warrant for my\ndischarge. The unfortunate girl was conducted in an hour after to the", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "might in its execution, it would be possible for us to escape the\nconsequences. Nevertheless, we exposed ourselves to all risk with the\nblindest confidence. Manon took her departure with Marcel--so was the", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "the consolation of embracing Manon, or of bidding her farewell. I\nremained for a long time ignorant of her fate. It was perhaps", "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'", "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should", "\"I cherished this idea so willingly, that it considerably lightened my\ngrief. I immediately returned to my lodgings, and embraced Manon as", "\"I returned towards the town; on my arrival at home, I found Manon half\ndead with fright and anxiety: my presence restored her. I could not", "them if they were assured, as we are, of the continuance of those of\nlove.' I left Manon enchanted by this resolution.", "\"I held Manon in such close embrace in my arms, that we occupied but\none place in the coach. She cried for joy, and I could feel her tears\ntrickling down my cheeks.", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "\"He took my hand, and exhorted me to have courage and be comforted;\nbut, as he seemed to consider it settled that Manon and I were to", "\"Manon's caresses soon dissipated the annoyance this scene had caused\nme. We continued to lead a life entirely devoted to pleasure and love.", "Magdalen, good sir! Oh heavens! my adorable mistress, my beloved Manon,\na degraded inmate of the Hospital! How shall I command strength of\nmind enough to survive this grief and shame!'", "\"He replied, that I must be, of course, aware that the governor was\nabsolute master here; that Manon, having been transported from France", "\"M. de T---- spoke to some of the porters of the establishment, who\nappeared all anxious to please him. The quarter in which Manon's room" ], [ "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "M----, and perhaps equally so to prevent him from making his\ndeclaration to Manon, I resolved to tell her beforehand of the designs\nof my new rival. I fancied that when she knew I was aware of the", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "he, in the most serious tone--'do I not see before me the Chevalier des\nGrieux and Manon Lescaut?' I was so overcome with shame and", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "\"He accordingly came to St. Lazare. I met him with an air more grave\nand certainly less silly than I had exhibited at his house with Manon.", "\"G---- M----, although a good deal embarrassed by the whole scene, soon\nrecognised me; and Manon still more easily. 'Is this a dream?' said", "passion and of Manon's merit, as of two things that were unequalled,\nexcept by each other. He told me, that although he had never seen", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "\"M. de T---- spoke to some of the porters of the establishment, who\nappeared all anxious to please him. The quarter in which Manon's room", "use fair and ordinary means for gaining Manon's affections; but he is\naware of her capricious disposition; he has learned, God knows how,", "\"I gave him, as briefly as I could, a history of my long-standing and\ninsurmountable passion for Manon, of the flourishing condition of our", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "If in addition to such proofs of kindness and friendship, you enable me\nto see Manon again, rely on my eternal regard and gratitude. If you\nsucceed in restoring altogether this dear creature to my arms, I should", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "Manon. I asked him for only fifty pistoles. 'You can remit it to me,'\nsaid I to him, 'through the hands of the postmaster. You must perceive" ], [ "that I had never before heard, whether she had the honour of speaking\nto the Chevalier des Grieux? I answered, 'That is my name.' 'I have a", "The Chevalier des Grieux having occupied more than an hour with his\nstory, I begged him to give himself a little rest, and meanwhile to", "own. He told me so with the most sorrowful countenance. Young G----\nM----, although less irritated than his father against Manon and me,", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "Just about six months before my departure for Spain, I first met the\nChevalier des Grieux. Though I rarely quitted my retreat, still the", "place to the ecclesiastical habit, and the designation of the AbbÃ© de\nGrieux was substituted for that of chevalier. I applied so diligently", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "Lescaut had refused to give him the required satisfaction, and the\nother swore, on quitting him, that he would take his life; a threat", "already decorated with the Cross, and called the Chevalier des Grieux.\nThe vacation having arrived, I was preparing to return to my father,\nwho had promised to send me soon to the Academy.", "executed. 'It IS Lescaut!' said he, snapping a pistol at his head; 'he\nshall sup tonight with the angels!' He then instantly disappeared.", "\"I reflected a moment on this suggestion; but seeing nothing around me\nbut despair, I took a final and indeed desperate resolution: this was\nto thank my companion for his services, and, far from attacking the", "M----, and perhaps equally so to prevent him from making his\ndeclaration to Manon, I resolved to tell her beforehand of the designs\nof my new rival. I fancied that when she knew I was aware of the", "\"He accordingly came to St. Lazare. I met him with an air more grave\nand certainly less silly than I had exhibited at his house with Manon.", "he, in the most serious tone--'do I not see before me the Chevalier des\nGrieux and Manon Lescaut?' I was so overcome with shame and", "\"G---- M----, although a good deal embarrassed by the whole scene, soon\nrecognised me; and Manon still more easily. 'Is this a dream?' said", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "\"He took my hand, and exhorted me to have courage and be comforted;\nbut, as he seemed to consider it settled that Manon and I were to", "\"About two hours previously, a guardsman of Lescaut's acquaintance had\ncome to see him, and proposed play. Lescaut had such a rapid and", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "the last occasion, as men whose courage had been proved. M. de T----\nhad told me the exact number of archers that would escort Manon; they\nwere but six. Five strong and determined men could not fail to strike" ], [ "speculation had directed to New Orleans. I stood by whilst the\npassengers landed. Judge my surprise on recognising Tiberge amongst\nthose who proceeded towards the town. This ever-faithful friend knew", "town? Yes dearest Manon, do remain; you may possibly still be happy\nhere; while I, far away from you, may seek death and find it amongst\nthe savages, or the wild beasts.'", "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "between us, and he generously did justice to my conduct on the\noccasion. I was sent for; and as neither of us could be found, our\nflight was immediately suspected. It was then too late to attempt to", "to their destination; and believing that it was at Rochelle this\nunhappy group was to embark, all my trouble would have been thrown away\nin waiting for them on the Orleans road. However, I learned, by the", "made me think of amusing myself with these creatures: but when they\ndiscovered that I was in love, they increased their demands in such a\nway, that my purse was completely empty on leaving Mantes, where we had", "perpetual imprisonment, or to transport her for life to America. They\nhappened, at that very period, to be sending out a number of convicts\nto the Mississippi. The lieutenant-general promised to have her", "our hopes and raise our fortunes in America. I had no difficulty in\ngetting admitted on board the vessel. They were at the time looking\nfor young men as voluntary emigrants to the colony. The passage and", "view the true land of milk and honey, the abode of contentment and\ndelight. 'People should come to New Orleans,' I often said to Manon,", "ourselves in New Orleans, as in the midst of the ocean, separated from\nthe rest of the world by an immense interval of space. In a country", "seeing her during the last nine or ten months, had so inflamed his\npassion, that he was absolutely pining for her in secret. However, as\nhe was convinced in common with his uncle and the whole colony that I", "However, the captain having discharged some pieces of artillery, we\npresently observed a group of the inhabitants of New Orleans, who\napproached us with evident signs of joy. We had not perceived the", "\"We passed two months together at New Orleans whilst waiting the\ndeparture of a vessel direct to France; and having at length sailed, we", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"After many reflections we could discover no other resource than in\nflight. To effect this it would be requisite to cheat the vigilance of", "companions. They stopped simultaneously, and having muttered to each\nother some words which I could not hear, they turned their horses'\nheads, threw the bridles on their necks, and galloped back towards", "had influence enough to ensure an effectual pursuit, and we were\nsufficiently imprudent to rely upon the extent of Paris and the\ndistance between our residence and his. Not only did he discover our", "Manon and myself. He was so good as to distinguish us from the herd of\nour miserable associates. I took an opportunity, on the second day, of", "girl he appeared so much in love with! How pretty she was! The poor\nyoung things, how they caressed each other! Pity if they have been", "not harass and persecute two lovers, when they see us adopt their own\nsimple habits.' I was therefore at ease upon that point." ], [ "Paris, that Manon, while in the wood, had left her companions for a\nmoment, and that the foreigner, who had followed her at a short\ndistance, approached, upon her making him a sign, and that she handed", "\"As soon as he got into his carriage with M. de T----, Manon ran\ntowards me with extended arms, and embraced me; laughing all the while", "quitted Amiens. Passionately in love as I felt with Manon, she knew\nhow to convince me that she was equally so with me. So little did we", "\"Manon was a creature of most extraordinary disposition. Never had\nmortal a greater contempt for money, and yet she was haunted by", "favours, that they soon left me penniless. Love did not permit me to\nput any bounds to my liberality. At Manon's side I was not master of", "returned to the lodgings after he had left them. The low spirits in\nwhich I found Manon convinced me at once that something extraordinary\nhad occurred. She told me of the provoking scene she had just gone", "Paris. She signed herself, 'Your loving and constant, MANON LESCAUT.'", "Manon, and even to take no notice of the sums of money which from time\nto time he received from her. No doubt, as he played very deep, he was", "town whenever pleasure or business required it. We fixed on Chaillot,\nwhich is at a convenient distance. Manon at once returned to her", "disposition. He was not married. Manon's beauty had struck him on the\nfirst day of our arrival; and the numberless opportunities he had of", "in Paris, where young men were easily debauched. Lescaut assured him\nthat I was naturally of so grave a character that I thought of nothing\nbut becoming a clergyman, and that, even as a child, my favourite", "seeing Manon in male attire, for it was the custom in Paris and the\nenvirons to adopt all disguises. I took care to have her served with", "nearly a year at Paris without hearing of Manon. It cost me no slight\neffort to abstain from enquiry; but the unintermitting advice of", "\"'But it is not in reality a question of my existence! Manon's life\nand maintenance, her love and her fidelity, are at stake! What", "do; I am but too happy, too contented, if my dear Manon will only leave\nme master of her affections! But,' continued I, remembering that it", "himself to Manon, and said, he was come to make excuses for his\nviolence; that he had supposed her to be living a life of shame and", "importance to communicate to me. I urged him to explain himself\nwithout reserve. After some hesitation, he gave me to understand that\na foreigner of high rank had apparently fallen in love with Manon. I", "affection. I had in truth lost all that other men value; but I was the\nmaster of Manon's heart, the only possession that I prized. Whether in", "servant called. I could not help feeling a pang as she took leave of\nme. 'Manon,' said I, 'do not deceive me; will you be faithful to me?'", "Manon! perfidious, perfidious creature!' She had no wish, she repeated\nwith a flood of tears, to attempt to justify her infidelity. 'What is" ] ]

[ "What does Des Grieux struggle with while in Paris with Manon?", "How does Des Grieux come up with money?", "Why does Manon Leave Des Grieux?", "What happens when Manon and Des Grieux end up in New Orleans?", "What happens when Des Grieux tells the Governor he wants to marry Manon?", "Why does Des Grieux challenge the governors nephew in a duel?", "Why did Manon and Des Grieux flee New Orleans?", "What happens to Manon in the wilderness?", "Where does Des Grieux end up at the end?", "What is the name of the main character in the story?", "Why did the main character become estranged from his family?", "Where do the two lovers go after leaving New Orleans?", "Who were the two men pursuing Manon?", "In what century did the story take place?", "What was Manon's occupation?", "What things did the main character do to show his feelings and love for his lover?", "Who does the Governor's nephew get into a fight with?", "What happens to the main character's lover?", "Who is the good friend of the main character who takes him back to France?", "Who forfeits their inheritance to marry the one they love?", "Who dies of exposure in the Louisiana wilderness?", "What loyal friend lends Des Grieux money?", "Who takes Des Grieux back to France at the endnof the story?", "Why do the lovers end up in North America?", "Where do the lovers end up after Manon's deportation?", "Who duels Des Grieux for Manon's favor?", "What is the outcome of Des Grieux's duel?", "What were the lovers hoping to find in the Louisiana wilderness?", "Why does Manon leave Des Grieux for other men in Paris?" ]

[ [ "He struggles with satisfying Manon and their taste for luxury. ", "his father" ], [ "Des Grieux borrows money from his friend Tiberge and steals from gamblers. ", "Borrowing" ], [ "Because Des Grieux becomes poor after unfortunate events that cost his money. ", "the fear of living in penury" ], [ "Manon is deported as a prostitute and they pretend that they are married. ", "She dies" ], [ "The governor's nephew tries to win Manon's and in marriage. ", "The governors nephew wanted to marry her" ], [ "Because he wants to be the one to marry Manon. ", "THe nephew wanted to marry Manon" ], [ "Des Grieux thought he killed the governors nephew during the duel. ", "Des Griex thought he killed the Governor's nephew. " ], [ "She dies from exposure and exhaustion trying to find an English settlement. ", "Manon died of exposure and exhaustion. " ], [ "He ends up back in France. ", "France" ], [ "Chevalier des Grieux", "Des Grieux" ], [ "Because he ran off with a woman that his father disapproved of.", "He ran away with Manon. " ], [ "Into the wilderness of Louisiana.", "the wilderness" ], [ "des Grieux and the Governor's newphew", "Chevalier des Grieux and the Governor's nephew" ], [ "19th century", "18th century" ], [ "Prostitute", "prostitute" ], [ "Runs away with her, borrows money and cheats gamblers.", "Borrowing" ], [ "des Grieux", "Des Grieux" ], [ "She dies of exposure in the wilderness.", "She died. " ], [ "Tiberge", "Tiberge" ], [ "Chevalier Des Grieux", "Des Grieux" ], [ "Manon Lescaut", "Manon" ], [ "Tiberge", "Tiberge" ], [ "Tiberge", "Tiberge" ], [ "Manon was deported as a prostitute", "Manon was deported as a prostitute. " ], [ "New Orleans", "New Orleans" ], [ "Governor's nephew", "The Governor's nephew. " ], [ "Des Grieux knocks out his opponent", "Des Grieux knocked the nephew unconscious." ], [ "An English settlement", "an English settlement" ], [ "Because he lost his wealth", "He was richer" ] ]

8ac0b889ea488a2592e625b5a6f82e02c7bfec04

train

[ [ "Two days later, the _America_, cutting her way across the Atlantic,\ncarried one more passenger than she registered. In the big life-boat\nswung above the hurricane-deck lay Sandy Kilday, snugly concealed by\nthe heavy canvas covering.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "Sandy ate the orange and took courage. Life had acquired a new\ninterest.\n\n\n\n\nCHAPTER II\n\nON SHIPBOARD", "\"But,\" cried Sandy, bewildered but hopeful, \"I have to go back!\"\n\nThe doctor shook his head. \"No, you don't. I've paid your passage.\"", "Sandy thought so, too, but he tried to be modest. \"If it'll be in me,\nit will come out,\" he said with suppressed triumph as he swung his\nbooks across his shoulder and started home.", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "him this year and next, and then he can come home and be a comfort to\nme all the rest of my days.' That's what I was sitting up to tell you,\nSandy; but now--\"", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "But Sandy did \"pay 'em mind.\" He followed Aunt Melvy's advice about\nasking questions, and wrestled with each new proposition until he", "He saw her send a quick, puzzled glance from the letter to Sandy; he\nsaw her turn away from the door and tear open the envelop; then, to\nhis everlasting credit, he saw no more.", "\"That's right. I'd go, too, if I were not needed here. Wait a minute,\nSandy.\" His face looked old and worn. \"Have you happened to see my\nNettie since noon?\"", "\"Would you, now?\" cried Sandy, fervently pressing her hand. Then he\nstopped short. \"Annette,\" he said wistfully, \"do you think she'll be\ncaring to dance with a boy like me?\"", "\"And would I?\" asked Sandy, his eyes flying open. \"It's me word of\nhonor I'd give you that I'd come back.\"", "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "The change from the road to the school-room was not without many a\nstruggle on Sandy's part. The new life, the new customs, and the\nstrange language, were baffling.", "Sandy gave a short laugh. \"Home? Why, I ain't got any home. I've just\nlived around since I was a young one. It's a chance to get on that I'm\nafter.\"", "\"But ye will,\" cried Sandy, hot with sympathy. \"I'll be making money\nsome day, and I'll send ye to the finest master in the country; and\nyou will be getting well and strong, and we'll go--\"" ], [ "Two days later, the _America_, cutting her way across the Atlantic,\ncarried one more passenger than she registered. In the big life-boat\nswung above the hurricane-deck lay Sandy Kilday, snugly concealed by\nthe heavy canvas covering.", "His chosen companion at these times was a boy in the steerage,\nselected not for congeniality, but for his unlimited knowledge of all", "his life. It was what he had been born for, what he had crossed the\nocean for, and what he would gladly have died for.", "\"He had!\" cried Sandy, raising his head and leaning toward her. \"He\nstole on board with only a few shillings and a bundle of clothes. He", "He tossed a coin to the sailor, and thrusting his hands in his\npockets, executed a brief but brilliant _pas seul_, and then went", "The Exposition was his salvation. No sacrifice seemed too great to\nenable him to get beyond that magic gate. For the \"Knights of the", "When they were gone he crawled out to stretch his weary body. On the\ndeck he found a book which they had left; it was a green book, and on", "CHAPTER I\n\nTHE STOWAWAY", "For three weeks he had been hanging about the docks, picking up jobs\nhere and there, accommodating any one who wanted to be accommodated,", "The sailor looked after him fondly. \"He's a bloomin' good little\nchap,\" he said to a man near by. \"Carries a civil tongue in his head\nfor everybody.\"", "making many friends and little money. He had had no thought of\nembarking until the big English liner _Great Britain_ arrived in port\nafter breaking all records on her homeward passage. She was to start", "\"Just keep company with the cows?\" cried Sandy. \"Sure and I can!\"\n\nSo the bargain was struck, and that night found him in the great city\nwith a dollar in his pocket and a promise of work in the morning.", "From that time on the doctor took an interest in him. He even took up\na collection of clothes for him among the officers. His professional\nservices were no longer necessary, for Sandy enjoyed a speedy recovery\nfrom his maritime troubles.", "[Illustration: \"He sent up yell after yell of victory for the land of\nhis adoption\"]\n\nThen he was seized by the ankle and jerked roughly down upon the deck.\nOver him stood the deck steward.", "As it was, he led him ruthlessly down the narrow steps, past the long\nline of curious passengers, then down again to the steerage deck,", "The line of passengers moved slowly forward, and his heart sank.\nSuddenly his eyes fell upon the little hand-bag which she carried. On", "\"You are luckier than the rest,\" he said, one day, stopping on his\nrounds. \"I never had so many steerage patients before.\"", "corner of the deck, and stretching himself on the boards with the\ngreen book in his hand, would float in a sea of sentiment. The fact\nthat he had decided to study medicine and become a ship's surgeon in", "board the steamship _America_. But since then his funds had run rather\nlow. What he did not lend he contributed, and the result was a chronic\nstate of bankruptcy.", "Mrs. Nelson rustled back into the phaÃ«ton, and taking a piece of money\nfrom her purse, held it out to him.\n\n\"That will amply repay you,\" she said." ], [ "was Ricks Wilson's old pal, you know.\"", "\"It's Ricks Wilson,\" he whispered to the judge--\"the boy I used to\npeddle with. Don't be sending him to jail, sir. I'll--I'll go his bail\nif you'll be letting him go.\"", "\"It was Ricks Wilson, or I am a blind man!\" cried Sandy, standing up\nin the buggy and straining his eyes in the darkness.\n\n\"Why, he's in jail!\"", "before he could dismount. Kilday jumped out in the crowd and began to\ntalk like a crazy man. He said we mustn't harm Ricks Wilson; that", "\"There are several things I want to talk over,\" continued the judge.\n\"One is about Ricks Wilson. He has behaved very badly ever since that", "In a small front cell, beside a narrow grated window, Ricks Wilson had\nsat and successfully planned his way to freedom.", "\"Who was your stylish friend?\" she asked Sandy.\n\n\"Ricks Wilson,\" said Sandy, shortly.\n\nCarter smiled condescendingly. \"Your old business partner, I believe?\"", "At each end of the stand a flaring torch lighted up the scene. The\nlight fell on the careless, laughing faces in front, on Ricks Wilson,", "\"I say, Ricks,\" he called to his companion, who was inspecting the\nhorse, \"can't we do somethin' for him?\"\n\nRicks reluctantly produced the short bottle.", "At the first words Sandy had sprung to his feet. \"The judge shot!\nRicks Wilson! I'll kill him for that. Get out, Annette. I must go to", "\"You better come down to Kentucky with me,\" urged Ricks Wilson,\nresuming an old argument. \"I'm goin' to peddle my way back home, then\ngit a payin' job at the racetrack.\"", "Ricks took a long drink from a short bottle, then holding it before\nhim, he said impressively: \"A feller could do me ninety-nine good", "\"Ricks,\" said Sandy, lowering his voice unsteadily, \"is this\nKentucky?\"\n\n\"Yep; we crossed the line to-day.\"", "there, the greater crowd was not around the sorrel's driver, who lay\nin a heap against the railing with a broken leg and a bruised head; it\nwas around Ricks Wilson in angry protest and indignation.", "\"Me and him are a winnin' couple,\" said Ricks. \"We plays the races\nstraight along. He puts up the dough, and I puts up the tips. Say,", "To them all Sandy gave patient, silent audience, wincing under the\nblame, but making no effort to defend himself. All he would say was\nthat Ricks Wilson had not done the shooting, and that he could say no\nmore.", "left. He knew, without glancing up, just how Ricks looked when he said\nthe words; he knew how his teeth pushed his lips back, and how his\nrestless little eyes watched everything at once. A sudden fierce", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "Ricks surveyed him contemptuously. \"Look-a here, are you comin' along\nof me or not?\"\n\n\"I can't,\" said Sandy, weakly.", "\"Say, Ricks,\" he said abruptly; \"I'm after quittin' peddlin'.\"\n\n\"What you goin' to do?\"\n\n\"I'm goin' to school.\"" ], [ "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "Sandy stood before him in an agony of indecision. He had fought it out\nwith himself there in his bedroom, and all personal considerations", "\"But,\" cried Sandy, bewildered but hopeful, \"I have to go back!\"\n\nThe doctor shook his head. \"No, you don't. I've paid your passage.\"", "\"And ye sha'n't be disappointed!\" cried Sandy. \"I'll go anywhere you\nsay, do anything you wish. Only you wouldn't be asking me to stay\nhere?\"", "\"I guess so,\" said Sandy, indifferently.\n\n\"You ain't goin' to school yet?\"\n\n\"That I am,\" said Sandy; \"and next year, too, if the money holds out.\"", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "Sandy, miserable in body and spirit, mechanically obeyed instructions.\nHis head was getting queerer all the time, and he could not remember\nwhether it was day or night. About a mile from Clayton he sank down by\nthe road.", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward.", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "\"Ricks,\" said Sandy, lowering his voice unsteadily, \"is this\nKentucky?\"\n\n\"Yep; we crossed the line to-day.\"", "\"That's right. I'd go, too, if I were not needed here. Wait a minute,\nSandy.\" His face looked old and worn. \"Have you happened to see my\nNettie since noon?\"", "Suddenly Sandy rose and stood by the table.\n\n\"Don't be making any more plans for me,\" he said desperately; \"I've\nmade up me mind to enlist.\"", "Sandy declined with violence. He explained his feelings with all the\nauthority of a first experience, adding in conclusion: \"It was Jonah I\nused to be after feelin' sorry for; it ain't now. It's the whale.\"", "Sandy shook his head ruefully. \"I got to go back,\" he said.\n\nRicks glanced around cautiously, then moved closer.", "The judge laughed contemptuously, but Sandy watched Ricks depart with\ntroubled eyes. He knew that he meant what he said.\n\n\n\n\nCHAPTER XIV", "Sandy gave a short laugh. \"Home? Why, I ain't got any home. I've just\nlived around since I was a young one. It's a chance to get on that I'm\nafter.\"", "On and on and on she went, and Sandy ceased to struggle. He sank in\nhis chair in dogged dejection. He felt that she had been talking ever", "Then he wandered on into sixthlies and seventhlies of increasing\nlength. Before the final amen had died upon the air, Annette and Sandy\nhad escaped to their reward." ], [ "Sandy started up to follow him; he tried to call, but he had no\nstrength. He lay with his face on the road and talked. He knew there", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "Sandy, miserable in body and spirit, mechanically obeyed instructions.\nHis head was getting queerer all the time, and he could not remember\nwhether it was day or night. About a mile from Clayton he sank down by\nthe road.", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "Sandy had found a friendly sympathizer at a neighboring farm-house,\nhad been given a good breakfast, had made his toilet, and was ready\nfor the next round in the fight of life.", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "Carter had discreetly departed. It was Sandy whom he spied, and\ninstantly called: \"Kilday, you'll see me through this mess? You know\nit wasn't none of my fault.\"", "\"That's right. I'd go, too, if I were not needed here. Wait a minute,\nSandy.\" His face looked old and worn. \"Have you happened to see my\nNettie since noon?\"", "Before Hicks could finish he found himself inextricably tangled in\nSandy's arms and legs, while that irate youth sat upon him and\npommeled him soundly.", "\"Who?\" cried Jimmy, with palpitating ears.\n\n\"Sandy Kilday. You never saw anybody look so g-grand. He's gotten to\nbe a regular swell, and he walks like this.\"", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward.", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "Sandy thought so, too, but he tried to be modest. \"If it'll be in me,\nit will come out,\" he said with suppressed triumph as he swung his\nbooks across his shoulder and started home.", "his life. It was exceedingly inconvenient to have to lie down or\ncrawl; but Sandy had been used to inconveniences all his life, and", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "Sandy thought so too. He cheerfully stood treat for the rest of the\nday, and felt that it was small return for Ricks's condescension.", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon" ], [ "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "From that time on the doctor took an interest in him. He even took up\na collection of clothes for him among the officers. His professional\nservices were no longer necessary, for Sandy enjoyed a speedy recovery\nfrom his maritime troubles.", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward.", "plainly Providence that guided that thin and ill-treated kitten to\nSandy's window. The welcome it received must have completely restored\nits shaken faith in human nature. Tired as he was, Sandy went out and", "Sandy had had ample time to watch the Meeches during his long\nconvalescence. He had been moved from the spare room to a snug little", "Sandy looked and was lost. He ate with a coming appetite.\n\nThe farmer's wife served them with delighted zeal; she made trip after\ntrip from the stove to the table, pausing frequently to admire her\nguests.", "Sandy thought so too. He cheerfully stood treat for the rest of the\nday, and felt that it was small return for Ricks's condescension.", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "\"Just keep company with the cows?\" cried Sandy. \"Sure and I can!\"\n\nSo the bargain was struck, and that night found him in the great city\nwith a dollar in his pocket and a promise of work in the morning.", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "It was Sandy's privilege to pass the lines unchallenged. In fact, the\ndoctor's strict surveillance diminished, and he was occasionally\nguilty of napping at the post when Sandy was with Annette.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "\"But,\" cried Sandy, bewildered but hopeful, \"I have to go back!\"\n\nThe doctor shook his head. \"No, you don't. I've paid your passage.\"", "The judge put down his fork and laid his hand on Sandy's arm. \"You\nmustn't neglect the learning, Sandy. You've made fine progress, and", "\"They've found out about me!\" wailed Annette, breaking her long\nsilence. \"Oh, Sandy, what m-must I do?\"", "Sandy had found a friendly sympathizer at a neighboring farm-house,\nhad been given a good breakfast, had made his toilet, and was ready\nfor the next round in the fight of life." ], [ "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "During the long, hot days that followed Sandy worked faithfully at the\ndepot. The regular hours and confinement seemed doubly irksome after\nthe bohemian life on the road.", "\"I guess so,\" said Sandy, indifferently.\n\n\"You ain't goin' to school yet?\"\n\n\"That I am,\" said Sandy; \"and next year, too, if the money holds out.\"", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "During the summer Sandy worked faithfully to make amends for his\nfailure to win the scholarship. He had meekly accepted the torrent of", "Sandy thought so, too, but he tried to be modest. \"If it'll be in me,\nit will come out,\" he said with suppressed triumph as he swung his\nbooks across his shoulder and started home.", "One afternoon Sandy sat at his table, deep in his work. He heard the\nkey turn in its lock and the door open, but he did not look up.", "But Sandy did \"pay 'em mind.\" He followed Aunt Melvy's advice about\nasking questions, and wrestled with each new proposition until he", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "On and on and on she went, and Sandy ceased to struggle. He sank in\nhis chair in dogged dejection. He felt that she had been talking ever", "all her life. It would kill her when she knew. And he, Sandy Kilday,\nwas the only one who suspected the truth. A momentary temptation", "Sandy stood before him in an agony of indecision. He had fought it out\nwith himself there in his bedroom, and all personal considerations", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "\"It's been love, Sandy,\" she whispered, \"ever since the first.\"\n\n[Illustration: \"'It's been love, Sandy, ... ever since the first'\"]", "The change from the road to the school-room was not without many a\nstruggle on Sandy's part. The new life, the new customs, and the\nstrange language, were baffling." ], [ "\"It was found outside Judge Hollis's window after he had been shot.\"\n\n\"Judge Hollis shot! Who did it?\"\n\nSandy again looked at the pistol.", "\"Dat jail-bird Wilson done shot Jedge Hollis. 'Mos' ebery man in town\nwent out to ketch him. Dey been gone all night.\"", "Judge Hollis. He was the only man we met after we left town. Just\nreturn to him, with my compliments, and tell him I say he is a meddler\nand a fool!\"", "\"That you, Sandy? Ricks Wilson's broke jail and shot Judge Hollis. It\nwas at half-past five. Dr. Fenton's been out there ever since. They", "At the first words Sandy had sprung to his feet. \"The judge shot!\nRicks Wilson! I'll kill him for that. Get out, Annette. I must go to", "\"What made him shoot him? How could he be so cruel, when the dear old\njudge is so good and kind to everybody?\"", "But to-night the darkness obscured even that image. The judge's life\nstill hung in the balance, and the man who had shot him lay in a", "Ricks hadn't shot the judge, for he was sure he had seen him out the\nJunction road about half-past five. We all saw it was a put-up job; he", "The most vehement of them all was Judge Hollis,--the big, easy-going\njudge,--whose passion, once roused, was a thing to be reckoned with.", "\"To Judge Hollis's. Get down this minute!\"\n\n\"What for?\"\n\n\"Somebody's sick. Get down, I say!\"", "At Hollis Farm the judge met them at the gate. He was large and\nloose-jointed, with the frame of a Titan and the smile of a child. He", "\"You see, a rumor got out that the judge had died. We didn't say\nanything before the sheriff, but it was understood that Ricks wouldn't", "The judge must be his first consideration. He had been shot down\nwithout cause, and might pay his life for it. There was but one thing\nto do: to find the real culprit, give him up, and take the\nconsequences.", "Late that afternoon Judge Hollis left his office and walked around to\nthe academy. He had sympathized fully with Sandy, and wanted, if", "Mrs. Hollis shook her head. \"He hasn't moved an inch or spoken since\nwe put him on the bed. Are you going with the men?\"\n\n\"I'm going to town now,\" said Sandy, evasively.", "The words scarcely carried a meaning to him. It was her brother that\nhad shot the judge--the brother whom she had defended and protected", "His soul was in a wild riot of grief and revenge. Two thoughts tore at\nhis brain: one was to see the judge before he died, and the other was\nto capture Ricks Wilson.", "\"Your protÃ©gÃ©, Judge Hollis, is an ambiguous proposition. He possesses\ninvention and originality, but he is sadly lacking in sustained\nconcentration.\"", "Sandy hesitated, and a dozen invitations were shouted in one breath.\nHe stood irresolute, with his foot on the step of the buggy; then he\npulled himself up.\n\n\"To Judge Hollis,\" he said.", "\"Strange boy sick at Judge Hollis's. How's trade?\"\n\n\"Fair to middlin',\" answered the miller. \"Do you reckon that there boy\nhas got anything ketchin'?\"" ], [ "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "When it was over, Sandy and Ruth drove away in the old town surrey,\nfollowed by such a shower of rice and flowers and blessings as had", "\"It's been love, Sandy,\" she whispered, \"ever since the first.\"\n\n[Illustration: \"'It's been love, Sandy, ... ever since the first'\"]", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "Sandy made up in gratitude what she declined in cash, and started on\nhis way. At the corner of Main street and the bridge he found Ricks,", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "She said yes. During the silence that followed, Sandy, unable to\nrestrain his joy, threw his arms about a life-preserver and embraced\nit fervently.", "Sandy stood before him in an agony of indecision. He had fought it out\nwith himself there in his bedroom, and all personal considerations", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "Sandy thought so too. He cheerfully stood treat for the rest of the\nday, and felt that it was small return for Ricks's condescension.", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward.", "\"I thought Annette told me you were just learning to dance!\"\n\n\"So I am,\" said Sandy; \"but me heart never kept time for me before!\"", "\"They've found out about me!\" wailed Annette, breaking her long\nsilence. \"Oh, Sandy, what m-must I do?\"", "\"But,\" cried Sandy, bewildered but hopeful, \"I have to go back!\"\n\nThe doctor shook his head. \"No, you don't. I've paid your passage.\"", "Then he wandered on into sixthlies and seventhlies of increasing\nlength. Before the final amen had died upon the air, Annette and Sandy\nhad escaped to their reward.", "Sandy declined with violence. He explained his feelings with all the\nauthority of a first experience, adding in conclusion: \"It was Jonah I\nused to be after feelin' sorry for; it ain't now. It's the whale.\"", "\"Would you, now?\" cried Sandy, fervently pressing her hand. Then he\nstopped short. \"Annette,\" he said wistfully, \"do you think she'll be\ncaring to dance with a boy like me?\"" ], [ "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "The change from the road to the school-room was not without many a\nstruggle on Sandy's part. The new life, the new customs, and the\nstrange language, were baffling.", "Sandy had made it a rule in life to be on hand when anything was\nhappening. He had viewed cricket-matches from tree-tops, had answered", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "all her life. It would kill her when she knew. And he, Sandy Kilday,\nwas the only one who suspected the truth. A momentary temptation", "\"I guess so,\" said Sandy, indifferently.\n\n\"You ain't goin' to school yet?\"\n\n\"That I am,\" said Sandy; \"and next year, too, if the money holds out.\"", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "Sandy stood before him in an agony of indecision. He had fought it out\nwith himself there in his bedroom, and all personal considerations", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "his life. It was exceedingly inconvenient to have to lie down or\ncrawl; but Sandy had been used to inconveniences all his life, and", "But Sandy did \"pay 'em mind.\" He followed Aunt Melvy's advice about\nasking questions, and wrestled with each new proposition until he", "Sandy gave a short laugh. \"Home? Why, I ain't got any home. I've just\nlived around since I was a young one. It's a chance to get on that I'm\nafter.\"", "in the past. It was full of homely advice, the result of forty years'\nexperience, and Sandy found comfort in following it to the letter.", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "There was but one other person in the world to whom she had spoken,\nand that was Sandy Kilday. As she looked back it seemed to her there", "After they started, Sandy leaned back in the buggy, lost in the fog\nof his unhappiness. Off in the distance he could see the twinkling\nlights of Clayton. One was apart from the rest; that was Willowvale.", "Sandy thought so, too, but he tried to be modest. \"If it'll be in me,\nit will come out,\" he said with suppressed triumph as he swung his\nbooks across his shoulder and started home.", "Sandy had had ample time to watch the Meeches during his long\nconvalescence. He had been moved from the spare room to a snug little", "Sandy flushed to the roots of his close-cropped hair. A tip,\nheretofore a gift of the gods, had suddenly become an insult. Angry," ], [ "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "Two days later, the _America_, cutting her way across the Atlantic,\ncarried one more passenger than she registered. In the big life-boat\nswung above the hurricane-deck lay Sandy Kilday, snugly concealed by\nthe heavy canvas covering.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "Sandy thought so too. He cheerfully stood treat for the rest of the\nday, and felt that it was small return for Ricks's condescension.", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "\"It was the fool I was,\" cried Sandy, in deep contrition, \"but if\nye'll trust me the one time more, may I die in me traces if I ever\nstir out of them!\"", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "\"You old f-fraud,\" she whispered to Sandy in passing, \"I thought you\ndidn't like to sit out d-dances.\"\n\nHe smiled feebly.", "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "But Sandy did \"pay 'em mind.\" He followed Aunt Melvy's advice about\nasking questions, and wrestled with each new proposition until he", "Carter had discreetly departed. It was Sandy whom he spied, and\ninstantly called: \"Kilday, you'll see me through this mess? You know\nit wasn't none of my fault.\"", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "He saw her send a quick, puzzled glance from the letter to Sandy; he\nsaw her turn away from the door and tear open the envelop; then, to\nhis everlasting credit, he saw no more.", "Sandy thought so, too, but he tried to be modest. \"If it'll be in me,\nit will come out,\" he said with suppressed triumph as he swung his\nbooks across his shoulder and started home.", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "Sandy made up in gratitude what she declined in cash, and started on\nhis way. At the corner of Main street and the bridge he found Ricks,", "\"Would you, now?\" cried Sandy, fervently pressing her hand. Then he\nstopped short. \"Annette,\" he said wistfully, \"do you think she'll be\ncaring to dance with a boy like me?\"", "\"It's been love, Sandy,\" she whispered, \"ever since the first.\"\n\n[Illustration: \"'It's been love, Sandy, ... ever since the first'\"]", "As the song trembled to a close, a slight burst of applause came from\nthe cabin deck. Sandy looked up, frowned, and bit his lip. He did not\nknow why, but he was sorry he had sung." ], [ "\"It's Ricks Wilson,\" he whispered to the judge--\"the boy I used to\npeddle with. Don't be sending him to jail, sir. I'll--I'll go his bail\nif you'll be letting him go.\"", "\"It was Ricks Wilson, or I am a blind man!\" cried Sandy, standing up\nin the buggy and straining his eyes in the darkness.\n\n\"Why, he's in jail!\"", "was Ricks Wilson's old pal, you know.\"", "before he could dismount. Kilday jumped out in the crowd and began to\ntalk like a crazy man. He said we mustn't harm Ricks Wilson; that", "\"There are several things I want to talk over,\" continued the judge.\n\"One is about Ricks Wilson. He has behaved very badly ever since that", "In a small front cell, beside a narrow grated window, Ricks Wilson had\nsat and successfully planned his way to freedom.", "\"Who was your stylish friend?\" she asked Sandy.\n\n\"Ricks Wilson,\" said Sandy, shortly.\n\nCarter smiled condescendingly. \"Your old business partner, I believe?\"", "At each end of the stand a flaring torch lighted up the scene. The\nlight fell on the careless, laughing faces in front, on Ricks Wilson,", "\"I say, Ricks,\" he called to his companion, who was inspecting the\nhorse, \"can't we do somethin' for him?\"\n\nRicks reluctantly produced the short bottle.", "\"You better come down to Kentucky with me,\" urged Ricks Wilson,\nresuming an old argument. \"I'm goin' to peddle my way back home, then\ngit a payin' job at the racetrack.\"", "At the first words Sandy had sprung to his feet. \"The judge shot!\nRicks Wilson! I'll kill him for that. Get out, Annette. I must go to", "Ricks took a long drink from a short bottle, then holding it before\nhim, he said impressively: \"A feller could do me ninety-nine good", "\"Me and him are a winnin' couple,\" said Ricks. \"We plays the races\nstraight along. He puts up the dough, and I puts up the tips. Say,", "\"Ricks,\" said Sandy, lowering his voice unsteadily, \"is this\nKentucky?\"\n\n\"Yep; we crossed the line to-day.\"", "To them all Sandy gave patient, silent audience, wincing under the\nblame, but making no effort to defend himself. All he would say was\nthat Ricks Wilson had not done the shooting, and that he could say no\nmore.", "there, the greater crowd was not around the sorrel's driver, who lay\nin a heap against the railing with a broken leg and a bruised head; it\nwas around Ricks Wilson in angry protest and indignation.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "\"Say, Ricks,\" he said abruptly; \"I'm after quittin' peddlin'.\"\n\n\"What you goin' to do?\"\n\n\"I'm goin' to school.\"", "left. He knew, without glancing up, just how Ricks looked when he said\nthe words; he knew how his teeth pushed his lips back, and how his\nrestless little eyes watched everything at once. A sudden fierce", "Ricks surveyed him contemptuously. \"Look-a here, are you comin' along\nof me or not?\"\n\n\"I can't,\" said Sandy, weakly." ], [ "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "\"It's been love, Sandy,\" she whispered, \"ever since the first.\"\n\n[Illustration: \"'It's been love, Sandy, ... ever since the first'\"]", "Suddenly Sandy caught his breath. There, just above him, stood \"the\ndamsel passing fair.\" Instead of the tam-o'-shanter she wore a big", "\"Would you, now?\" cried Sandy, fervently pressing her hand. Then he\nstopped short. \"Annette,\" he said wistfully, \"do you think she'll be\ncaring to dance with a boy like me?\"", "\"I thought Annette told me you were just learning to dance!\"\n\n\"So I am,\" said Sandy; \"but me heart never kept time for me before!\"", "Sandy surveyed her with tolerant sadness. Little her childish heart\nknew of the depths through which he was passing.\n\n\"Do you love him very much?\" he asked.", "He saw her send a quick, puzzled glance from the letter to Sandy; he\nsaw her turn away from the door and tear open the envelop; then, to\nhis everlasting credit, he saw no more.", "\"They've found out about me!\" wailed Annette, breaking her long\nsilence. \"Oh, Sandy, what m-must I do?\"", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "days, and lingered over the forgotten lines with a half-quizzical,\nhalf-sad smile on his lips. For he had been a lover once, and Sandy's", "Sandy's eyes answered for him. They were held by a vision in the\ncenter of the room, and he was blinded to everything else.", "all her life. It would kill her when she knew. And he, Sandy Kilday,\nwas the only one who suspected the truth. A momentary temptation", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "\"Hello!\" he exclaimed briskly; \"what's your name?\"\n\n\"Sandy Kilday.\"\n\n\"Scotch, eh?\"", "afraid of discovery to listen to what they were saying, but later his\ninterest outweighed his fear. For they were evidently lovers, and\nSandy was at that inflammable age when to hear mention of love is", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS" ], [ "Sandy started up to follow him; he tried to call, but he had no\nstrength. He lay with his face on the road and talked. He knew there", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "Sandy, miserable in body and spirit, mechanically obeyed instructions.\nHis head was getting queerer all the time, and he could not remember\nwhether it was day or night. About a mile from Clayton he sank down by\nthe road.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "his life. It was exceedingly inconvenient to have to lie down or\ncrawl; but Sandy had been used to inconveniences all his life, and", "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "\"But,\" cried Sandy, bewildered but hopeful, \"I have to go back!\"\n\nThe doctor shook his head. \"No, you don't. I've paid your passage.\"", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "Sandy had found a friendly sympathizer at a neighboring farm-house,\nhad been given a good breakfast, had made his toilet, and was ready\nfor the next round in the fight of life.", "Sandy stretched him out on the snow, where he lay for a while with\nclosed eyes. He was very white, and his lips twitched convulsively.", "\"That's right. I'd go, too, if I were not needed here. Wait a minute,\nSandy.\" His face looked old and worn. \"Have you happened to see my\nNettie since noon?\"", "Sandy had had ample time to watch the Meeches during his long\nconvalescence. He had been moved from the spare room to a snug little", "Sandy thought so, too, but he tried to be modest. \"If it'll be in me,\nit will come out,\" he said with suppressed triumph as he swung his\nbooks across his shoulder and started home.", "Sandy thought so too. He cheerfully stood treat for the rest of the\nday, and felt that it was small return for Ricks's condescension.", "him this year and next, and then he can come home and be a comfort to\nme all the rest of my days.' That's what I was sitting up to tell you,\nSandy; but now--\"", "\"Who?\" cried Jimmy, with palpitating ears.\n\n\"Sandy Kilday. You never saw anybody look so g-grand. He's gotten to\nbe a regular swell, and he walks like this.\"", "The change from the road to the school-room was not without many a\nstruggle on Sandy's part. The new life, the new customs, and the\nstrange language, were baffling.", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However," ], [ "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "From that time on the doctor took an interest in him. He even took up\na collection of clothes for him among the officers. His professional\nservices were no longer necessary, for Sandy enjoyed a speedy recovery\nfrom his maritime troubles.", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward.", "plainly Providence that guided that thin and ill-treated kitten to\nSandy's window. The welcome it received must have completely restored\nits shaken faith in human nature. Tired as he was, Sandy went out and", "Sandy had had ample time to watch the Meeches during his long\nconvalescence. He had been moved from the spare room to a snug little", "Sandy looked and was lost. He ate with a coming appetite.\n\nThe farmer's wife served them with delighted zeal; she made trip after\ntrip from the stove to the table, pausing frequently to admire her\nguests.", "Sandy thought so too. He cheerfully stood treat for the rest of the\nday, and felt that it was small return for Ricks's condescension.", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "\"Just keep company with the cows?\" cried Sandy. \"Sure and I can!\"\n\nSo the bargain was struck, and that night found him in the great city\nwith a dollar in his pocket and a promise of work in the morning.", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "It was Sandy's privilege to pass the lines unchallenged. In fact, the\ndoctor's strict surveillance diminished, and he was occasionally\nguilty of napping at the post when Sandy was with Annette.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "\"But,\" cried Sandy, bewildered but hopeful, \"I have to go back!\"\n\nThe doctor shook his head. \"No, you don't. I've paid your passage.\"", "The judge put down his fork and laid his hand on Sandy's arm. \"You\nmustn't neglect the learning, Sandy. You've made fine progress, and", "\"They've found out about me!\" wailed Annette, breaking her long\nsilence. \"Oh, Sandy, what m-must I do?\"", "Sandy had found a friendly sympathizer at a neighboring farm-house,\nhad been given a good breakfast, had made his toilet, and was ready\nfor the next round in the fight of life." ], [ "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "During the long, hot days that followed Sandy worked faithfully at the\ndepot. The regular hours and confinement seemed doubly irksome after\nthe bohemian life on the road.", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "\"It's been love, Sandy,\" she whispered, \"ever since the first.\"\n\n[Illustration: \"'It's been love, Sandy, ... ever since the first'\"]", "\"I guess so,\" said Sandy, indifferently.\n\n\"You ain't goin' to school yet?\"\n\n\"That I am,\" said Sandy; \"and next year, too, if the money holds out.\"", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "One afternoon Sandy sat at his table, deep in his work. He heard the\nkey turn in its lock and the door open, but he did not look up.", "all her life. It would kill her when she knew. And he, Sandy Kilday,\nwas the only one who suspected the truth. A momentary temptation", "But Sandy did \"pay 'em mind.\" He followed Aunt Melvy's advice about\nasking questions, and wrestled with each new proposition until he", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "Sandy and Annette stood, holding out their hands to the friendly\nwarmth. She was watching with interest the preparations for supper,\nbut he had grown silent and preoccupied.", "Sandy stood before him in an agony of indecision. He had fought it out\nwith himself there in his bedroom, and all personal considerations", "Sandy declined with violence. He explained his feelings with all the\nauthority of a first experience, adding in conclusion: \"It was Jonah I\nused to be after feelin' sorry for; it ain't now. It's the whale.\"", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "his life. It was exceedingly inconvenient to have to lie down or\ncrawl; but Sandy had been used to inconveniences all his life, and", "\"You do the jawin', Sandy. I ain't much on givin' 'em the talk,\" said\nRicks. \"Chuck a jolly at 'em and keep 'em hangin' round.\"", "Sandy had made it a rule in life to be on hand when anything was\nhappening. He had viewed cricket-matches from tree-tops, had answered" ], [ "\"Carter?\" he cried--\"is he--\"\n\nRuth nodded; her face was white and drawn, and purple shadows lay\nabout her eyes.", "Carter looked up as Ruth came breezily into the room. She wore her\nriding-habit, and her hair was tossed by her brisk morning canter.", "\"Carter!\" begged Ruth, appealingly.\n\nHe laughed. \"You ought to be glad to get rid of me, Ruth. You've\nbothered your head about me ever since you were born.\"", "\"Ruth's all right,\" said Carter, seeing her discomfort. \"She will have\nmore sense when she is older. She's just got her little head turned by", "Carter laughed. \"One would think that Ruth's sole aim in life was to\ncultivate Clayton--the distinguished, exclusive, aristocratic society\nof Clayton.\"", "On the table was a photograph of Carter. Ruth sighed as she passed it.\nIt was a composite of all the grace, beauty, and weakness of the\nsurrounding portraits.", "\"It's Carter,\" she whispered. \"D-dad doesn't allow him to come here.\"\n\n\"Little's the wonder,\" grumbled Sandy.", "\"Sandy,\" cried Annette, \"what do you think? Ruth is coming home!\nCarter is on his way to the d-depot to meet her now. She's been gone", "\"Carter,\" she called again and again--\"Carter, is it you?\"", "At the opening Carter's face appeared. It was a pale, delicate face,\nover-sensitive, over-refined, with the stamp of weakness on every", "Mrs. Nelson withdrew her hand and directed her injured reply to\nCarter. \"I have done my duty by your sister. She has been given every", "Above him, Annette Fenton was fathoms deep in a flirtation with Carter\nNelson; while below him, Ruth, in the daintiest of gowns and the", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "Ruth? He is a grandson of Commodore Warrenton.\"", "Carter had discreetly departed. It was Sandy whom he spied, and\ninstantly called: \"Kilday, you'll see me through this mess? You know\nit wasn't none of my fault.\"", "Suddenly he was aware of the soft rustle of skirts, and, lifting his\neyes, he saw Ruth. For a moment he did not move, thinking she must be", "\"But I hate to stay in bed,\" said Ruth; \"and, besides, I hate to miss\na half-day.\"\n\n\"Is there anything on for this afternoon?\" asked Carter.", "In a moment Ruth was at her side, all contrition: \"I'm sorry, Aunt\nClara; I know I'm a disappointment to you. I'll try--\"", "\"Now, Carter, it's too warm to be proposing anything more. You aren't\nwell, and Ruth ought to stay at home and put cold cream on her face.", "The men rode on, and she stood holding to the gate and looking after\nthem.\n\n\"Here comes Mr. Sid Gray,\" said Rachel. The approaching rider drew\nrein when he saw Ruth and dismounted." ], [ "The old judge watched him from the pavement. \"That's right,\" he said,\nrubbing his hands together with childish satisfaction; \"that's just\nabout the best-looking sign I ever saw!\"", "But to-night the darkness obscured even that image. The judge's life\nstill hung in the balance, and the man who had shot him lay in a", "Down in the sitting-room the judge was lost in the pages of a worn old\ncopy of Tom Moore. He fingered the pages with a tenderness of other", "His soul was in a wild riot of grief and revenge. Two thoughts tore at\nhis brain: one was to see the judge before he died, and the other was\nto capture Ricks Wilson.", "Meanwhile the judge's condition was slowly improving.", "The judge must be his first consideration. He had been shot down\nwithout cause, and might pay his life for it. There was but one thing\nto do: to find the real culprit, give him up, and take the\nconsequences.", "When it was over the judge had hold of his hand and was bestowing\nlarge, indiscriminate pats upon his head and shoulders.", "upon him with a whole battery of reproaches. In stentorian tones he\nrehearsed the judge's kindness in befriending him, he pointed out his", "Something in his eyes, in his voice, in his intensity, brought the\njudge to his side.\n\n\"How long has this thing been going on?\" he asked seriously.\n\n\"Four years!\"", "Behind the door of his room hung the pride of his soul, a new suit of\nclothes, whole, patchless, clean, which the judge had bought him two", "\"What made him shoot him? How could he be so cruel, when the dear old\njudge is so good and kind to everybody?\"", "At Hollis Farm the judge met them at the gate. He was large and\nloose-jointed, with the frame of a Titan and the smile of a child. He", "\"Sandy went with them,\" thought Ruth, in sudden relief; then she\nthought of the judge.\n\n\"Oh, Rachel, is he dangerously hurt? Will he die?\"", "The judge was obliging and easy-going, and he frequently gratified\nJimmy's curiosity.\n\n\"No; he's studying pretty hard these days. He says he is through with\nathletics.\"", "sudden light. The judge noticed that he was pale and dejected, and he\nsuppressed a smile over the imaginary troubles of youth.", "spirit that she placed him there, but the judge had taken one of those\ninfrequent stands which she knew it was useless to resist. She put the", "absorption in the subject, that carried him straight to the heart of\nthe matter. Meanwhile he was unconsciously receiving a life-imprint of\nthe old judge's native nobility.", "At the first words Sandy had sprung to his feet. \"The judge shot!\nRicks Wilson! I'll kill him for that. Get out, Annette. I must go to", "Ricks hadn't shot the judge, for he was sure he had seen him out the\nJunction road about half-past five. We all saw it was a put-up job; he", "\"It was found outside Judge Hollis's window after he had been shot.\"\n\n\"Judge Hollis shot! Who did it?\"\n\nSandy again looked at the pistol." ], [ "When it was over, Sandy and Ruth drove away in the old town surrey,\nfollowed by such a shower of rice and flowers and blessings as had", "\"Miss Fenton and I expect to be married this evening,\" said Carter,\nstriving for dignity, though his breath came short with excitement.", "She said yes. During the silence that followed, Sandy, unable to\nrestrain his joy, threw his arms about a life-preserver and embraced\nit fervently.", "Amid suppressed merriment, the marriage service was concluded, Mr.\nMeech heroically foregoing his meteoric finale.", "The bridal march had sounded many times, and the impatient guests were\nbecoming seriously concerned, when a handkerchief fluttered from the\nlanding and Sandy and Ruth came down the wide white steps together.", "Up-stairs, at a hall window, the groom was living through rapturous\nthroes of anticipation. For the hundredth time he made sure the ring\nwas in the left pocket of his waistcoat.", "\"It's the last dance,\" said she. \"Aren't you sorry? We've had a\nperfectly divine time--\" She got no further, for her partner, faithful\nthrough many numbers, had deserted his post at last.", "Aunt Melvy bent over the cup, and her sides shook. \"You gwine be a\nfarmer's wife,\" she said, chuckling at the girl's grimace. \"You gwine\nraise chickens an' chillun.\"", "By this time Martha was at the door, urging the others to hurry. Her\nface was pale and her eyes were troubled. Ruth saw her nervousness and\nslipped her arm about her. \"It's all in fun,\" she whispered.", "\"Take it off him,\" whispered Sandy, recklessly, to Jimmy Reed; and\nviolence was prevented only by the timely arrival of Aunt Melvy with\nthe original wedding tie.", "Mr. Meech sought a secluded spot under the stairway and nervously\npractised the wedding service, while Mrs. Meech, tucked up for once in", "The whole town was early astir and wore a holiday air. By noon\nbusiness was virtually abandoned, for Clayton was getting ready to go\nto the wedding.", "Then he wandered on into sixthlies and seventhlies of increasing\nlength. Before the final amen had died upon the air, Annette and Sandy\nhad escaped to their reward.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "\"I saw Martha Meech yesterday. She was talking about you. She was very\nweak, and could speak only in a whisper, but she seemed happy.\"\n\n\"It's like her soul was in Heaven already,\" said Sandy.", "the time to keep him from being lonely. He was awfully fond of me, but\nhe had to go out West to make his fortune, and he married before he\ngot back.\"", "\"It's all the same wherever we are,\" said Ruth, in joyful freedom.\n\nThey turned into the road, and before them, through the trees, lay the\nlong stretch of smiling valley.", "Next door, in an upper bedroom, a tired soul paused in its final\nflight. Martha Meech, stretching forth her thin arms in the twilight,\nlistened as one might listen to the strains of an angel choir.", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy." ], [ "Then Sandy, having confided so far, made a clean breast of it,\nbreaking down at the end when he tried to describe Ruth's goodness\nand the sorrow his misery had caused her.", "Sandy started from his chair. How finite intelligence could have\ndiscovered the innermost secret of his soul seemed little short of\nmiraculous. But the relief of being able to pour out his feelings\nmastered all other considerations.", "Once, long ago, she had confided her secret to one of her uncles, and\nhe had laughed and told her that boys would be boys. After that she\nhad kept things to herself.", "\"He's dead,\" she whispered, with a catch in her voice; then she went\non in breathless explanation: \"but he told me first. He said, 'Hurry", "A long silence followed--of the kind that ripens confidence. Presently\nSandy lifted his haggard eyes: \"It's nothing I'm ashamed of, judge; ye", "'em off some ways, and de very nex' day what you think he done? He put\ndat gal in a Cafolic nunnery convent! Dey say she cut up scan'lous at", "Everything he did, in fact, seemed to be wrong; and everything he\nsaid, to bring a smile. He confided many a woe to Aunt Melvy as he\nsat on the kitchen steps in the evenings.", "head. All through his illness he had been tortured by the thought that\nhe had talked of Ruth, though now wild horses could not have dragged\nforth a question concerning her.", "To part of the company at least the situation was clear. Aunt Melvy,\nafter seeking religion for nearly sixty years, had chosen this\ninopportune time to \"come th'u'.\"", "Then he wandered on into sixthlies and seventhlies of increasing\nlength. Before the final amen had died upon the air, Annette and Sandy\nhad escaped to their reward.", "The doctor heaved a prodigious sigh. As a colonel of the Confederacy\nhe had exacted strict discipline and unquestioning obedience, but he\nnow found himself ignominiously reduced to the ranks, and another\nFenton in command.", "With a groan, he knotted his fingers together and prayed the first\nreal prayer his heart had ever uttered. It was wordless and formless,\njust an inarticulate cry for help in the hour of need.", "Here he ostensibly held office hours, but in reality he was doing\nsentry duty. His real business in life was keeping up with Annette,\nand his diversion was in the constant perusal of a slim sheet known as\n\"The Confederate Veteran.\"", "Ruth sat very still and looked straight before her. She had never seen\na soul laid bare before, and the sight thrilled and troubled her. All\nthe petty artifices which the world had taught her seemed useless\nbefore this shining candor.", "The judge must be his first consideration. He had been shot down\nwithout cause, and might pay his life for it. There was but one thing\nto do: to find the real culprit, give him up, and take the\nconsequences.", "A strained silence, then he said:\n\n\"Nettie, could you be forgiving me if I told you the Lord's truth?\"", "This thought brought remarkable consolation. He pictured to himself\nher remorse when she heard the tragic news. He attended in spirit his\nown funeral, and even saw her tears fall upon his still face.\nMeanwhile he listened impatiently for the train.", "In the little Hard-Shell Baptist Church the congregation had assembled\nand services had begun before Mr. Meech arrived. He appeared\nsingularly flushed and breathless, and caused some confusion by", "Sandy declined with violence. He explained his feelings with all the\nauthority of a first experience, adding in conclusion: \"It was Jonah I\nused to be after feelin' sorry for; it ain't now. It's the whale.\"", "His one desire in life now was to quit it. He felt as if he had read\nhis death-warrant, and it was useless ever again to open his eyes on\nthis gray, impossible world." ], [ "She glanced up in disapproval as Ruth's laugh sounded in the hall.\n\n\"Rachel, tell her that lunch is waiting,\" she said to the colored\ngirl at her side.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "\"Miss Rufe, was you ever in love?\" It was black Rachel who broke in\nupon her thoughts. She was standing at the foot of the table, her\nround, good-humored face comically serious.", "\"Who is it?\" asked her aunt, hastily arranging her disturbed locks.\n\nRuth paused at the door. There was a slight tremor about her lips,\nbut her eyes flashed their first open declaration of independence.", "feelin's. Pore Miss Sue!\" She threw her apron over her head and swayed\nand sobbed.", "Aunt Melvy pondered over the leaves. \"Well, now, 'pears to me he's\nsorter dark-complected an' fat, like Mr. Sid Gray,\" she said.", "\"I got one from my beau,\" went on Rachel, in great embarrassment; \"but\ndat nigger knows I can't read.\"\n\n\"Where does he live?\" asked Ruth.", "By this time Martha was at the door, urging the others to hurry. Her\nface was pale and her eyes were troubled. Ruth saw her nervousness and\nslipped her arm about her. \"It's all in fun,\" she whispered.", "But what was the real color of her eyes? Sandy brought all his\nintellect to bear upon the momentous question. Sometimes, he thought,", "Joe, or Nick--any of the darkies you can find!\"", "\"'Fore de Lawd, he's done been cunjered!\" cried the old woman, aghast.", "\"Nettie.\" He watched her as she pranced around the ring under Ricks's\nskilful handling; she had nothing to fear from the bays, but the\nsorrel was a close competitor.", "\"Oh, this is your race, isn't it?\" cried Annette as the band struck up\n\"Dixie.\" \"Where's my namesake? The pretty one just c-coming, with the", "\"'T ain't no time to joke, chile,\" whispered Aunt Melvy, all the\nsuperstition of her race embodied in her trembling figure. \"What I", "whatever touched his heart. It surely was no harm just to stand aside\nand look. He liked the way she carried her head; he liked the way her", "\"Hit's de green rubbin' off,\" she assured him sympathetically. \"De\nsame ones dat laugh at you now will be takin' off dey hats to you some\nday.\"", "Suddenly he was aware of the soft rustle of skirts, and, lifting his\neyes, he saw Ruth. For a moment he did not move, thinking she must be", "Twice she touched the knob before she turned it again; then she\nresolutely gathered her long white dress in her hand, and passed down\nthe broad stone steps. The wind blew sharply against her, and the\npavement was cold to her slippered feet.", "Aunt Melvy bent over the cup, and her sides shook. \"You gwine be a\nfarmer's wife,\" she said, chuckling at the girl's grimace. \"You gwine\nraise chickens an' chillun.\"", "The men rode on, and she stood holding to the gate and looking after\nthem.\n\n\"Here comes Mr. Sid Gray,\" said Rachel. The approaching rider drew\nrein when he saw Ruth and dismounted." ], [ "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "He guided Sandy's dying footsteps to the deck and propped him against\nthe railing. That was when he laughed.", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "Thus encouraged and supported, Sandy stumbled on through the dark, up\na hillside that seemed never to end, across a bridge, then into a tiny\nlog cabin, where he dropped exhausted.", "As Sandy tried to pass, she stopped him again, and after looking\nfurtively around she fumbled in her pocket for something which she\nthrust into his hand.", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "He discovered Sandy lying on his face in the passageway, his right\nhand still dutifully wielding the scrub-brush, but his spirit broken\nand his courage low.", "Sandy, miserable in body and spirit, mechanically obeyed instructions.\nHis head was getting queerer all the time, and he could not remember\nwhether it was day or night. About a mile from Clayton he sank down by\nthe road.", "Sandy started up to follow him; he tried to call, but he had no\nstrength. He lay with his face on the road and talked. He knew there", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "Sandy hurried away to his duties, but not without an anxious glance at\nthe upper deck. He had never lost an opportunity, since that first", "Sandy pushed eagerly through the crowd and presented himself at Ruth's\nside. She was sitting with several boys on the stage steps, her cheeks", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "Sandy flushed to the roots of his close-cropped hair. A tip,\nheretofore a gift of the gods, had suddenly become an insult. Angry,", "Sandy stretched him out on the snow, where he lay for a while with\nclosed eyes. He was very white, and his lips twitched convulsively.", "Suddenly Sandy caught his breath. There, just above him, stood \"the\ndamsel passing fair.\" Instead of the tam-o'-shanter she wore a big", "his life. It was exceedingly inconvenient to have to lie down or\ncrawl; but Sandy had been used to inconveniences all his life, and", "It was after eleven when Sandy's step sounded on the porch. At the\njudge's call he opened the sitting-room door and stood dazed by the", "repeated on every side. Sandy, laughing and protesting, was pushed to\nthe front. Being thus suddenly forced into prominence, he suffered an\nacute attack of stage fright." ], [ "The judge put down his fork and laid his hand on Sandy's arm. \"You\nmustn't neglect the learning, Sandy. You've made fine progress, and", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "\"Sandy went with them,\" thought Ruth, in sudden relief; then she\nthought of the judge.\n\n\"Oh, Rachel, is he dangerously hurt? Will he die?\"", "The judge laughed contemptuously, but Sandy watched Ricks depart with\ntroubled eyes. He knew that he meant what he said.\n\n\n\n\nCHAPTER XIV", "Sandy hesitated, and a dozen invitations were shouted in one breath.\nHe stood irresolute, with his foot on the step of the buggy; then he\npulled himself up.\n\n\"To Judge Hollis,\" he said.", "Late that afternoon Judge Hollis left his office and walked around to\nthe academy. He had sympathized fully with Sandy, and wanted, if", "It was after eleven when Sandy's step sounded on the porch. At the\njudge's call he opened the sitting-room door and stood dazed by the", "Sandy got Ricks out of the firing-line, around the corner of the\ncourting-box. His face was crimson with mortification, but it never\noccurred to him to be angry.", "Sandy pushed his way to the judge's side. He had never hated the sight\nof Ricks so much as at that moment.", "following them half-way with his body to pick up the verbal crumbs of\ninterest the judge might let fall while perusing them. The supremacy\nwhich Sandy had established in the base-ball days had lent him a", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "with apprehension. Without stopping to speak to them, Sandy hurried to\nthe door of the judge's room. Before he could turn the knob, Dr.", "That evening the judge glanced across the table with great\nsatisfaction at Sandy, who was apparently buried in his Vergil. The", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward.", "\"I hope Sandy isn't interested there,\" went on the judge,\nthoughtfully. \"It would not do him any good, and would spoil his taste\nfor what he could get. How long has it been going on, Sue?\"", "Meanwhile his cheeks became hollow and he lost his appetite. The judge\nattributed it to Martha Meech's death; for Sandy's genuine grief and", "\"And afterward?\" demanded Sandy, kneeling before him and looking\nintently in his eyes.\n\n\"Gus Heyser's saloon, and then--\"\n\n\"And then?\" repeated Sandy.", "During the two years Sandy remained at the university, Jimmy handed\nhis letters out of the post-office window to the judge once a week,", "Sandy, miserable in body and spirit, mechanically obeyed instructions.\nHis head was getting queerer all the time, and he could not remember\nwhether it was day or night. About a mile from Clayton he sank down by\nthe road.", "\"We must think of the judge first, Sandy,\" she said. \"While he lives\nwe must stay here; there'll be time enough for the big world after a\nwhile.\"" ], [ "Sandy declined with violence. He explained his feelings with all the\nauthority of a first experience, adding in conclusion: \"It was Jonah I\nused to be after feelin' sorry for; it ain't now. It's the whale.\"", "Sandy, miserable in body and spirit, mechanically obeyed instructions.\nHis head was getting queerer all the time, and he could not remember\nwhether it was day or night. About a mile from Clayton he sank down by\nthe road.", "During the long, hot days that followed Sandy worked faithfully at the\ndepot. The regular hours and confinement seemed doubly irksome after\nthe bohemian life on the road.", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "his life. It was exceedingly inconvenient to have to lie down or\ncrawl; but Sandy had been used to inconveniences all his life, and", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "Sandy sighed, ostensibly in sympathy, but in reality at his own sad\nfate. At that moment Prometheus himself would not have envied him his", "It was Sandy Kilday, his clothes disheveled, his brows lowered, and\nhis lips compressed info a straight, determined line.", "Sandy stood before him in an agony of indecision. He had fought it out\nwith himself there in his bedroom, and all personal considerations", "Sandy started from his chair. How finite intelligence could have\ndiscovered the innermost secret of his soul seemed little short of\nmiraculous. But the relief of being able to pour out his feelings\nmastered all other considerations.", "CHAPTER V\n\nSANDY RETIRES FROM BUSINESS", "After they started, Sandy leaned back in the buggy, lost in the fog\nof his unhappiness. Off in the distance he could see the twinkling\nlights of Clayton. One was apart from the rest; that was Willowvale.", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "all her life. It would kill her when she knew. And he, Sandy Kilday,\nwas the only one who suspected the truth. A momentary temptation", "Then Sandy, having confided so far, made a clean breast of it,\nbreaking down at the end when he tried to describe Ruth's goodness\nand the sorrow his misery had caused her.", "On and on and on she went, and Sandy ceased to struggle. He sank in\nhis chair in dogged dejection. He felt that she had been talking ever", "Sandy went wearily back to the house. He had made his first trial in\nbehalf of his lady fair, but his soul knew no elation. His beautiful\nnew armor had sustained irreparable injury, and his vanity had\nreceived a mortal wound.", "corner. Ricks went on into town to arrange matters, while Sandy\nstopped in a grocery to buy their supper. His interest in the show had\nbeen of short duration. He felt listless and tired, something seemed", "Sandy started up to follow him; he tried to call, but he had no\nstrength. He lay with his face on the road and talked. He knew there", "Sandy turned and looked up at the doctor impatiently. The presence of\nother people in the world seemed an intrusion." ], [ "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "\"Aren't all days cleaning-days to you, Sue?\" asked the judge,\nplayfully.\n\n\"When you are in the house,\" she answered sharply. Then she turned to\nthe doctor, who was starting up the stairs:", "Down in the sitting-room the judge was lost in the pages of a worn old\ncopy of Tom Moore. He fingered the pages with a tenderness of other", "\"Sandy went with them,\" thought Ruth, in sudden relief; then she\nthought of the judge.\n\n\"Oh, Rachel, is he dangerously hurt? Will he die?\"", "The judge stirred uncomfortably. \"Now, Sue,\" he remonstrated, \"you\nneedn't take a bit of bother. Melvy will see to him by day, and I will\nlook after him at night.\"", "\"To Judge Hollis's. Get down this minute!\"\n\n\"What for?\"\n\n\"Somebody's sick. Get down, I say!\"", "The old judge watched him from the pavement. \"That's right,\" he said,\nrubbing his hands together with childish satisfaction; \"that's just\nabout the best-looking sign I ever saw!\"", "\"Does he like it up there?\"\n\n\"Oh, yes, yes; I guess he likes it well enough,\" the judge would\nanswer tentatively; \"but I am afraid he's working too hard.\"", "Meanwhile his cheeks became hollow and he lost his appetite. The judge\nattributed it to Martha Meech's death; for Sandy's genuine grief and", "Judge Hollis. He was the only man we met after we left town. Just\nreturn to him, with my compliments, and tell him I say he is a meddler\nand a fool!\"", "At Hollis Farm the judge met them at the gate. He was large and\nloose-jointed, with the frame of a Titan and the smile of a child. He", "It was after eleven when Sandy's step sounded on the porch. At the\njudge's call he opened the sitting-room door and stood dazed by the", "Behind the door of his room hung the pride of his soul, a new suit of\nclothes, whole, patchless, clean, which the judge had bought him two", "spirit that she placed him there, but the judge had taken one of those\ninfrequent stands which she knew it was useless to resist. She put the", "In the library Judge and Mrs. Hollis did the honors, and presented the\nguests to little Miss Merritt, whose cordial, homely greetings\ncounteracted the haughty disapproval of the portraits overhead.", "\"We must think of the judge first, Sandy,\" she said. \"While he lives\nwe must stay here; there'll be time enough for the big world after a\nwhile.\"", "The judge paused, with his eyes on the fire; then he said: \"I think\nI'll wait up for the boy to-night, Sue. I want to tell him the good\nnews myself. You haven't spoken of it?\"", "The house seemed suddenly quiet and lonesome. He went from the\nsitting-room to the kitchen, but neither Mrs. Hollis nor Aunt Melvy\nwas to be found. Returning through the front hall, he opened the door\nto the parlor.", "The judge was obliging and easy-going, and he frequently gratified\nJimmy's curiosity.\n\n\"No; he's studying pretty hard these days. He says he is through with\nathletics.\"", "This being a familiar opening to a disagreeable subject, the two young\npeople lapsed into silence, and Mrs. Nelson was constrained to address\nher communications to the tea-pot. She glanced about the big,\nold-fashioned room and sighed." ], [ "Sandy's eyes answered for him. They were held by a vision in the\ncenter of the room, and he was blinded to everything else.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "Suddenly Sandy caught his breath. There, just above him, stood \"the\ndamsel passing fair.\" Instead of the tam-o'-shanter she wore a big", "Eagerly, wistfully watching it all, stood Sandy, as alert and\ndistressed as a young hound restrained from the hunt. It is something", "Sandy eyed him curiously, taking in all the details of his\nriding-costume down to the short whip with the silver mounting.", "Sandy rushed to do her bidding. He was rather hazy as to the object of\nhis search; but when his fingers touched a round, soft ball he drew it\nforth and hastily presented it to the lady's Roman nose.", "He saw her send a quick, puzzled glance from the letter to Sandy; he\nsaw her turn away from the door and tear open the envelop; then, to\nhis everlasting credit, he saw no more.", "\"Would you, now?\" cried Sandy, fervently pressing her hand. Then he\nstopped short. \"Annette,\" he said wistfully, \"do you think she'll be\ncaring to dance with a boy like me?\"", "Sandy looked and was lost. He ate with a coming appetite.\n\nThe farmer's wife served them with delighted zeal; she made trip after\ntrip from the stove to the table, pausing frequently to admire her\nguests.", "The will-o'-the-wisp, which had been hiding his light, suddenly swung\nit full in the eyes of Sandy. Once more he saw the little maid of his", "\"It's been love, Sandy,\" she whispered, \"ever since the first.\"\n\n[Illustration: \"'It's been love, Sandy, ... ever since the first'\"]", "Sandy made a wry face and winked at Mrs. Hollis, but she betrayed him.\n\n\"He has been primping since sun-up,\" she said. \"Anybody would think he\nwas going to get married.\"", "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "When it was time for him to go, Sandy heaved a sigh of regret. For\ntwo hours he had been beguiled by Ricks's romances, and now he had to", "Sandy surveyed her with tolerant sadness. Little her childish heart\nknew of the depths through which he was passing.\n\n\"Do you love him very much?\" he asked.", "Sandy and Annette stood, holding out their hands to the friendly\nwarmth. She was watching with interest the preparations for supper,\nbut he had grown silent and preoccupied.", "Sandy, bareheaded and in motley garb, laughing and shoving with the\nbest of them, hanging over the railing, and keeping up a fire of", "Sandy gripped him by the hand, then turned the corner into the\ncourting-box. Instantly his eager eyes sought Ruth, but she did not\nlook up as he passed.", "Sandy saw her waver. The first minute she looked at him, the second at\nCarter. He took no chances on the third. With a quick bound, he was\nin the buggy and turning the horse homeward." ], [ "Sandy enjoyed the peddling. It was astonishing what friendly\nsociability and confidential intimacy were established by the sale of\nblue suspenders and pink soap. He left a line of smiling testimonials\nin his wake.", "\"But you don't know him,\" protested Ruth. \"And, besides, he was--he\nwas a peddler.\"", "know--an Irish peddler; came here three or four years ago with a pack\non his back.\"", "\"But, my dear child, you forget who Mr. Warrenton is. And you actually\ndanced with a peddler!\" Her voice grew faint. \"My dear, this must", "The judge peered over his glasses quizzically. \"Thinking about the\nboys, as usual! Now I want to know what business you have noticing the\ncolor of a peddler's eyes?\"", "Annette blushed, but she stood her ground. \"All the g-girls noticed\nhim. He wasn't an ordinary peddler. He was just as smart and f-funny\nas could be.\"", "\"Say, Ricks,\" he said abruptly; \"I'm after quittin' peddlin'.\"\n\n\"What you goin' to do?\"\n\n\"I'm goin' to school.\"", "was no mistaking that short, slouching body with the peddler's pack\nstrapped on its back. With a cry of joy, Sandy bounded after Ricks", "\"I've blacked boots, and sold papers; I've fought dogs, and peddled,\nand worked on the railroad. Many's the time I've been glad to eat the", "\"It's Ricks Wilson,\" he whispered to the judge--\"the boy I used to\npeddle with. Don't be sending him to jail, sir. I'll--I'll go his bail\nif you'll be letting him go.\"", "things terrestrial, from the easiest way of making a fortune to the\nbest way of spending it. He was a short, heavy-set fellow of some\neighteen years. His hair grew straight up from an overhanging", "\"It's the microscopes that'll be sellin',\" said Sandy, hopefully, as\nhe pulled his coat collar about his ears and shivered. \"The man as", "\"That old feather-bed? O Lord! He's so good he gives me a pain. Goes\nround with his mouth hiked up in a smile, and I bet he's as mean as\nthe--\"", "As dark came on, trade began. The three bars of soap were sold, and a\npurple necktie. Sandy saw that public taste must be guided in the", "\"Where'd he come from?\" asked the doctor.\n\n\"Mrs. Hollis says he was peddling goods up at Main street and the\nbridge last night.\"", "For three weeks he had been hanging about the docks, picking up jobs\nhere and there, accommodating any one who wanted to be accommodated,", "\"It presses in, too,\" he thought. \"It's all crowdin' over me. I'm just\nme by myself, all alone.\" A tear made a white course down his grimy", "When they were gone he crawled out to stretch his weary body. On the\ndeck he found a book which they had left; it was a green book, and on", "The old judge watched him from the pavement. \"That's right,\" he said,\nrubbing his hands together with childish satisfaction; \"that's just\nabout the best-looking sign I ever saw!\"", "Tired and sore from the experiences of the night before, he sought a\ncheap lodging-house near by. A hook-nosed woman, carrying a smoking" ], [ "He waited for some response, but, getting none, pulled his chair in\nconfidential proximity and laid his hand on Sandy's knee. \"However,", "Sandy pushed eagerly through the crowd and presented himself at Ruth's\nside. She was sitting with several boys on the stage steps, her cheeks", "The work was so heavy, in fact, that he obtained permission to get a\nboy to assist him. The happy duty devolved upon Sandy, who promptly", "Here Sandy sat for the remainder of the afternoon, stared at from\nabove and below, an object of lively curiosity. He bit his nails until", "Thus encouraged and supported, Sandy stumbled on through the dark, up\na hillside that seemed never to end, across a bridge, then into a tiny\nlog cabin, where he dropped exhausted.", "Sandy, bareheaded and in motley garb, laughing and shoving with the\nbest of them, hanging over the railing, and keeping up a fire of", "Sandy, thus peremptorily summoned from the height of patriotic\nfrenzy, collapsed in terror. Had the deck steward not been familiar", "Sandy, whose chagrin over his blunder had sent him to the background,\ncame promptly forward. Seizing the wheel, he made several ineffectual\nefforts to lift it back to the road.", "\"It's Sandy,\" she said, and the color came to her cheeks, the light to\nher eyes. For, like Sandy, she had youth and she had love, and life\nitself could give no more.", "\"He had!\" cried Sandy, raising his head and leaning toward her. \"He\nstole on board with only a few shillings and a bundle of clothes. He", "Sandy's eyes answered for him. They were held by a vision in the\ncenter of the room, and he was blinded to everything else.", "He guided Sandy's dying footsteps to the deck and propped him against\nthe railing. That was when he laughed.", "A few moments later there was a moving of chairs, and Annette's voice\nwas counting, \"One, two, three; one, two, three,\" while Sandy went", "Sandy hurried away to his duties, but not without an anxious glance at\nthe upper deck. He had never lost an opportunity, since that first", "As Sandy tried to pass, she stopped him again, and after looking\nfurtively around she fumbled in her pocket for something which she\nthrust into his hand.", "There was a crash of wheels and a great commotion. Several women\nscreamed, and a number of men rushed into the ring. When Sandy got", "Two days later, the _America_, cutting her way across the Atlantic,\ncarried one more passenger than she registered. In the big life-boat\nswung above the hurricane-deck lay Sandy Kilday, snugly concealed by\nthe heavy canvas covering.", "Sandy stood motionless and humbly adored her. He was a born lover,\nlavishing his affection, without discrimination or calculation, upon", "Sandy bit his lip and shot a swift glance at Ruth. She was still\nsmiling. With savage determination he fell upon the wheel as if it had", "Sandy looked and was lost. He ate with a coming appetite.\n\nThe farmer's wife served them with delighted zeal; she made trip after\ntrip from the stove to the table, pausing frequently to admire her\nguests." ], [ "When inaction became intolerable, he plunged into his law books, at\nfirst not comprehending a line, but gradually becoming more and more", "So sincere was his desire to make amends that he asked to read law\nwith the judge in the evenings after his work was done. Nothing could", "The judge was obliging and easy-going, and he frequently gratified\nJimmy's curiosity.\n\n\"No; he's studying pretty hard these days. He says he is through with\nathletics.\"", "about her. For his whole purpose in life these days, aside from\nassisting the government in the distribution of mail and reading a\nmusty old volume of Blackstone, was learning to dance.", "The next time Aunt Melvy came he asked for some of his law-books, and\nfrom that on there was no more idling or dreaming.", "Mr. Meech, shuffling up the walk toward them, interrupted. \"Studying\nfor the examination, eh? That's right, my boy. The judge tells me\nthat you have a good chance to win the scholarship.\"", "The judge must be his first consideration. He had been shot down\nwithout cause, and might pay his life for it. There was but one thing\nto do: to find the real culprit, give him up, and take the\nconsequences.", "The old judge watched him from the pavement. \"That's right,\" he said,\nrubbing his hands together with childish satisfaction; \"that's just\nabout the best-looking sign I ever saw!\"", "Behind the door of his room hung the pride of his soul, a new suit of\nclothes, whole, patchless, clean, which the judge had bought him two", "\"You see, my boy,\" the judge said one day when they were alone, \"I had\nset my heart on taking you into the office after next year. I had\ncounted on the scholarship to put you through your last year at the\nacademy.\"", "The judge looked at him long and earnestly over his glasses, then he\nasked in calm, judicial tones: \"Is her answer final?\"", "\"Wasn't it g-grand in Judge Hollis to send him to school?\" said\nAnnette. \"Of course he's going to work for him b-between times. They\nsay even Mrs. Hollis is glad he is going to stay.\"", "\"Is it Ruth?\" asked the judge.\n\nSandy assented with bowed head.\n\nThe judge got up and stood before the fire.", "Once, long ago, she had confided her secret to one of her uncles, and\nhe had laughed and told her that boys would be boys. After that she\nhad kept things to herself.", "\"Well, he showed what he was, all right. He took sides with that\ngood-for-nothing scoundrel who had shot a man that was almost his\nfather. Why, I never saw such a case of ingratitude in my life!\"", "scholarship, it'll be because you want me to, Martha; if I come to be\na lawyer, it's because it's the wish of the judge's heart; and if I", "Early in the morning he went to town, where, after much consultation\nand many changes of mind, he purchased a suit of clothes. Then he", "Judge Hollis. He was the only man we met after we left town. Just\nreturn to him, with my compliments, and tell him I say he is a meddler\nand a fool!\"", "A long silence followed--of the kind that ripens confidence. Presently\nSandy lifted his haggard eyes: \"It's nothing I'm ashamed of, judge; ye", "\"Your protÃ©gÃ©, Judge Hollis, is an ambiguous proposition. He possesses\ninvention and originality, but he is sadly lacking in sustained\nconcentration.\"" ] ]

[ "How does Sandy plan to get to the new world? ", "Who pays for his passage across the ocean? ", "How does Ricks Wilson make his living? ", "What state does Sandy decide to go to?", "Who picks up Sandy by the roadside when he is ill?", "Who adopts Sandy? ", "What occupation does Sandy eventually take up after college? ", "Who shot Judge Hollis?", "Who does Sandy end up marrying? ", "In what country did Sandy grow up?", "Who ends up paying for Sandy's passage on the ocean liner?", "How does Ricks Wilson earn a living?", "What is the name of the woman Sandy falls in love with?", "Who picks up Sandy when he is ill by the roadside?", "Who adopts Sandy?", "What job does Sandy hold as an adult?", "How is Carter related to Ruth?", "How is the judge injured?", "Who gets married at the end of the story?", "What was confess?", "What was the colored woman name?", "What did Sandy slip upon abroadly?", "Where did the Judge take Sandy?", "When did Sandy become disgusted with his life?", "Where were the Judge's wife kids?", "Who is the lady Sandy has eyes for?", "Who makes a living as a peddler?", "How does Sandy climb the ladder?", "Who becomes a lawyer?" ]

[ [ "As a stowaway", "as a stowaway on an ocean liner" ], [ "The ship's doctor", "the ship's doctor" ], [ "By peddling", "peddling" ], [ "Kentucky", "Kentucky" ], [ "Aunt Melvy", "Auny Melvy" ], [ "Judge Hollis", "Judge Hollis" ], [ "He becomes a lawyer", "Lawyer" ], [ "Carter", "Carter" ], [ "Ruth", "Ruth" ], [ "Ireland", "Ireland" ], [ "The doctor.", "the ship's doctor" ], [ "Peddling", "peddling" ], [ "Ruth Nelson", "Ruth" ], [ "Aunt Melvy", "Aunt Melvy" ], [ "Judge Hollis and his wife", "Judge Hollis" ], [ "lawyer", "lawyer" ], [ "He's her brother.", "He is Ruth's brother" ], [ "He gets shot.", "He is shot by Carter" ], [ "Ruth and Sandy", "Sandy and Ruth" ], [ "Carter shot the Judge", "Carter" ], [ "Aunt Melvy", "Aunt Melvy" ], [ "A big ocean liner", "An ocean liner" ], [ "To his home", "into his home" ], [ "After watching ruth at the circus", "after seeing Ruth at a circus" ], [ "She was childless", "they didn't have any" ], [ "Miss Ruth Nelson", "Ruth Nelson" ], [ "Ricks Wilson", "Sandy and Ricks" ], [ "The Judge educates and send Sandy to college ", "A judge sends him to college" ], [ "Sandy ", "Sandy" ] ]

9001b135170722af260d09feca9be9d5e293aeef

train

[ [ "CHARLIE\n (to Tony; re: Harriet)\n This is Harriet.", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet.", "HARRIET\n (smiling)\n Oh, he did...?\n\n CHARLIE\n Thank you, Tony. This is my best \n friend.", "TONY\n Where's Harriet?\n\n CHARLIE\n I don't know. Oh, there she is.", "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "Charlie and Harriet kiss. We can see (though Charlie can't) \n Harriet has a strange unsure expression on her face. Tony \n notices it though and can't figure it out.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "TONY\n Oh. Sorry. Of course.\n (whispering to Harriet)\n I apologize. Charlie described you \n as much older. And heavier.", "HARRIET\n Tony, Rose is trying to kill Charlie. \n They're out on the ledge.", "Harriet and Charlie kiss one last time and she goes to the \n piano.\n\n Charlie stays in the corner, and Tony comes over.", "Harriet starts to speak; but right before the words come \n out, she stares into Charlie's eyes and STOPS. Charlie looks \n nervous. So does the Scottish Minister. So does Tony. So \n does everyone.", "Tony and Charlie are at the back of the tour group.\n\n TONY\n So did you and Harriet?... you know...", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "HARRIET\n Sure, anything. You've got to save \n Charlie.\n\n Tony slaps cuffs on her and takes her to the window.", "TONY\n Fine. Okay.\n\n CHARLIE\n I broke up with Harriet.\n\n TONY\n You're an asshole.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "She moves around to Charlie. She lifts his chin so that he \n is looking directly into her eyes.\n\n HARRIET\n Why not? And tell me the truth.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "TONY (O.S.)\n Hey Charlie!\n\n Tony is getting out of a cab accompanied by Susan, the girl \n from Spiletti's Coffee House. He approaches Charlie.", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind." ], [ "TONY\n (to Kathy)\n Keep trying the hotel. Tell the chief \n I just chartered a plane up to Oregon.\n\n The Police Captain enters.", "EXT./INT. CHARTERED CESSNA - NIGHT\n\n A small plane flies through the clouds. It's just Tony and \n DENNIS the pilot.", "Charlie, then with all his strength -- his \"where has this \n strength been my whole life\" strength -- pulls her up to the \n roof next to him.", "Then Rose strikes a match. She lights a candle and comes \n toward him. He looks around. The window is open. And Charlie \n is gone.\n\n INT. COMMANDEERED CAR - NIGHT", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "Tony and Charlie are waiting in line.\n\n AERIAL VIEW OF BOAT\n\n as they travel to the island.", "INT. JEWELRY STORE - DAY\n\n Charlie and Harriet pick out a diamond ring.\n\n INT. TRAVEL AGENCY", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "HARRIET\n Smile, Charlie. Act like you're having \n a good time.\n\n INT. OREGON AIRPORT - SAME/NIGHT", "The CONCIERGE at this point interrupts to bring Charlie a \n TELEPHONE. Everyone stops and watches and waits.", "CHARLIE\n (through door)\n Jesus...\n\n Charlie then looks down at another article in the Enquirer \n and reads:", "Harriet watches Charlie very closely, as Charlie looks scared. \n Then, the people start to carry them out of the room and \n down the hallway.", "TONY (V.O.)\n Just land. Don't worry about Lake \n Shanony. I don't give a shit about \n Lake Shanony.\n\n The plane touches down.", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "The four of them walk along the wharf. Charlie is at one of \n those arcade games where you throw bean bags at the puppets \n and try and knock them down. Charlie knocks two down.", "CHARLIE\n (curious)\n Hello?\n\n INT. AIRPORT IN OREGON - EARLY EVENING", "Charlie and her are squared off. Neither speak. Suddenly \n both of them are lifted into the air. They look down and see", "As Harriet seems to get closer Charlie continues to back up, \n picking up cat toys. Charlie realizes he has no where else \n to turn. so he side steps down the platform, never stopping \n his conversation with the lady.", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet.", "Harriet is moving in on him. Charlie steadily makes his way \n down the platform, feigning accidentally kicking cat food \n down the platform. The old lady is unsure what is going on, \n she tries to keep up with him." ], [ "Harriet...", "HARRIET\n He did?\n (a beat)\n Yeah.", "HARRIET\n I pretty much raised her. You know \n the scene. Depressed mother... \n withdrawn father.\n (she remembers)\n My dad was a photographer too.", "HARRIET\n (screams)\n AAAhhhhhhh!", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "HARRIET\n The eyes are good.\n\n ROSE\n Charlie really liked it.", "Harriet laughs.\n\n HARRIET\n (to the next customer)\n Can I help you?\n (to Charlie)\n Sorry, I'm really busy.", "HARRIET\n You haven't. At least you left early \n on.\n (she's crying)", "HARRIET\n Income of course, and then...\n (thinks)\n ...savings.\n\n He smiles at her.", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "HARRIET\n (after a long pause; \n finally:)\n I do.", "HARRIET\n So I heard.\n\n Harriet hugs Rose and then stands right next to her.", "HARRIET\n It's not that, Charlie.\n\n CHARLIE\n What then?", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "Harriet is talking to a CUSTOMER.\n\n HARRIET\n Hi.", "Harriet is doing a load of laundry consisting of bloodied \n work clothes. Suddenly she can hear the sound of MUSIC, very \n loudly.", "Charlie and Harriet stand at the desk. Harriet is not quite \n paying attention. Her attention span has slipped to none. \n She's fidgety. She looks around suspiciously at everything \n and everyone.", "CHARLIE\n About Harriet?\n\n ROSE\n About her past.", "HARRIET\n \"Brutal\" is such a subjective word. \n I mean, what's brutal to one person \n might be totally reasonable to \n another.", "HARRIET\n I've been there for almost a year. I \n only planned on stay with her for a \n few weeks, but she gets upset every \n time I say I'm moving." ], [ "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X.", "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "MAY\n Oh, here it is. Mrs. X. The Honeymoon \n Murderer. She marries men under fake", "the relatives or friends of Mrs. X's \n victims to identify her.", "It is the article about Mrs. X -- the axe-murderer who kills \n her husbands on their honeymoons and then marries again under \n a different identity.", "\"WHO'S NEXT FOR MRS. X - THE HONEYMOON KILLER?\"", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "He opens the curtain. It's not Harriet. The woman, ROSE, \n calmly looks at him and closes the curtain.\n\n ROSE\n Go away.", "Charlie pulls out the National Enquirer (the one on MRS. X, \n the Honeymoon Killer).", "ROSE\n Yet you still don't know her.\n (contemplates this)\n See, that's the problem with sex. \n It's not very revealing.", "WALTER\n That's Ralph Elliot's wife, alright. \n She had shorter hair in those days.\n\n INT. MARTIAL ARTS STUDIO - NIGHT", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "She meets Charlie and Tony at the door and kisses him good-\n bye. She turns to kiss Tony, and holds on the kiss far too \n long.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "CHARLIE\n (shocked)\n Ralph?\n\n A plain looking lady in her thirties, RALPH, is sitting by \n the window.", "LADY\n Oh, yes.\n\n Charlie glances over at Harriet, who slowly makes her way \n down the platform towards him.", "HARRIET\n (sleepily)\n That's odd. Just today I was thinking \n about, her. She's a friend.", "CHARLIE\n Is there any mention of the wife? At \n all?", "identities, and then murders them. \n She killed some German martial arts \n expert, and some plumber named Ralph" ], [ "Tony dashes out of the police station and into his car.\n\n INT. CHARLIE'S HOTEL ROOM - NIGHT", "Several policemen make their way onto the roof and come over \n to where Charlie is detaining Rose. The police take her, \n handcuff her and cart her away. From the corner of the roof \n appears Tony.", "Tony and the commandeered man drive through the swampy, \n winding road on the way up to the hotel. Tony is drumming on \n the dash.", "TONY\n (to Kathy)\n Keep trying the hotel. Tell the chief \n I just chartered a plane up to Oregon.\n\n The Police Captain enters.", "EXT. POLICE STATION - DAY\n\n Tony hurries to his car.\n\n EXT. GAS STATION ALONG THE COAST - DAY", "TONY\n (through phone)\n Not that it matters anymore, but I \n thought you should know -- someone \n just turned themselves in for the \n murder of Ralph Elliot.", "Tony is doing three-sixties, scoping out beauties, when \n suddenly his roving eyes lock on a police car directly behind \n them. He slouches down into his seat.", "TONY\n (not believing)\n Get on the floor and put your hands \n behind your back.\n\n Harriet willingly goes on the floor.", "TONY\n Christ. It's the cops.\n\n CHARLIE\n Tony, you are a cop.", "He keeps driving.\n\n INT. POLICE STATION - DAY\n\n Charlie walks through the precinct towards Tony's office, \n holding the National Enquirer in his hand.", "TONY\n (exasperated)\n Captain! When I joined the police \n force, I thought I was going to be", "INT. HALLWAY - HARRIET'S APARTMENT - DAY\n\n Tony knocks. No answer. He picks the lock and enters.\n\n INT. LIVING ROOM - DAY", "HARRIET\n Tony, Rose is trying to kill Charlie. \n They're out on the ledge.", "TONY\n Circuits are out from the storm.\n\n Tony gets to the police station door and opens it. Kathy \n follows him.", "Tony looks behind him out the window. Nobody is there.\n\n TONY\n Nice try.", "TONY\n I called the police. All the roads \n are closed, but they're on their \n way. In the mean time just...\n\n The line goes DEAD.", "INT. TONY'S CUBICLE - NIGHT\n\n Tony is on the phone. Kathy, seen before at the police \n station, stands with him.", "TONY\n Police work should be all about \n running around, following up crazy \n hunches that turn out to be right, \n going out on a limb.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "INT. BEDROOM\n\n Tony breaks into the room with his gun drawn.\n\n TONY\n (shouting)\n Charlie!" ], [ "ROSE\n Harriet never knew. She thought they \n all just left her. I protected her. \n She's my sister.\n\n Charlie turns and runs. Rose chases him.", "ROSE\n I'm Harriet's sister, Rose. And this \n is Harriet's note.\n\n He reaches for it, but she reads it aloud to him.", "HARRIET\n So I heard.\n\n Harriet hugs Rose and then stands right next to her.", "Charlie looks at it again, then at Rose, then at Harriet. \n It's all a little bizarre, but in a funny way he feels for \n Rose. A hidden talented overshadowed by her sister's beauty.", "HARRIET\n Rose, I don't really --\n\n ROSE\n He disturbed me while I was naked in \n the shower this morning.", "He opens the curtain. It's not Harriet. The woman, ROSE, \n calmly looks at him and closes the curtain.\n\n ROSE\n Go away.", "ROSE\n (after a pause)\n To warn you, Charlie.\n (after a pause)\n There are just some things you should \n know, about Harriet.", "ROSE\n (affectionately)\n Well, you know Harriet.\n\n CHARLIE\n Actually, I really don't.", "ROSE\n I doubt I'd have any. Harriet hates \n being photographed.\n\n The sound of a key in the door as Harriet enters the \n apartment.", "ROSE (O.S.)\n Harriet, its for you.\n\n INT. HARRIET'S LIVING ROOM", "ROSE\n I did a sketch of him.\n\n Rose shows the sketch to Harriet.", "TONY\n No you don't.\n\n HARRIET\n I beg you... Look! It is Rose.", "ROSE\n If you've done something to my sister, \n Harriet, I swear to God I'll kill \n you.", "HARRIET\n The eyes are good.\n\n ROSE\n Charlie really liked it.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "CHARLIE\n About Harriet?\n\n ROSE\n About her past.", "From Harriet's POV we see Charlie on the ledge edging along. \n He stops in horror when he sees Harriet, glances back to the \n pursuing Rose, and rushes off.", "HARRIET\n She's just being kind. Show Charlie \n one of your photographs, Rose. Rose \n is a great artist.", "ROSE\n Here's the thing. I may have to tell \n Harriet.\n\n CHARLIE\n Tell her what?", "ROSE\n I know, and it's a damn shame.\n\n Harriet walks in the room, fully dressed, and fully dazzling." ], [ "INT. CHARLIE'S APARTMENT", "INT. CHARLIE'S BEDROOM - EARLY EVENING", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "Charlie is sleeping alone in the bed, and the sound of RUNNING \n WATER is heard off in the distance. His eyes slowly open, he", "PULL BACK TO REVEAL WE ARE IN:\n\n INT. CHARLIE'S PARENTS' APARTMENT - NIGHT", "Charlie, then with all his strength -- his \"where has this \n strength been my whole life\" strength -- pulls her up to the \n roof next to him.", "CHARLIE\n (startled)\n Aaaahhh!\n\n Charlie turns on his heel. Rose has appeared out of nowhere.", "RUMBLINGS make him cross the street to avoid the danger. \n Headlights of a slow moving car approach from the distance. \n Charlie, frightened, turns another corner onto:", "INT. CHARLIE'S PARENT'S APARTMENT - NIGHT", "Charlie goes.\n\n INT. SPILETTI'S COFFEE HOUSE - NIGHT\n\n Charlie lies on the bar head down. Tony rushes in, looks \n around and sees Charlie.", "CHARLIE\n\n carefully opening the front door and then gingerly closing \n it. He reaches for a baseball bat in a nearby umbrella stand. \n Sound of BREAKING GLASS from his apartment upstairs.", "Charlie races along towards Harriet's house.\n\n EXT. HARRIET'S APARTMENT DOOR - DAY", "A beautiful dining room with a small dance floor. Charlie \n sits at an intimate table for two with Harriet. A small band", "CHARLIE\n Sandy was an alcoholic.", "Charlie puts the \"CLOSED\" sign on the door and proceeds to \n walk home.\n\n EXT. SAN FRANCISCO STREETS", "INT. CHARLIE'S CAR - EARLY EVENING", "Charlie slows down to look at her. She looks great in her \n little Dutch costume.\n\n INT. CITY LIGHTS BOOKSTORE - DAY", "is safe. People are all staring at Charlie curiously, \n including Harriet and the old lady. Charlie is embarrassed.", "CHARLIE\n (through door)\n Jesus...\n\n Charlie then looks down at another article in the Enquirer \n and reads:" ], [ "TONY (O.S.)\n Hey Charlie!\n\n Tony is getting out of a cab accompanied by Susan, the girl \n from Spiletti's Coffee House. He approaches Charlie.", "EXT. POLICE STATION - DAY\n\n Tony hurries to his car.\n\n EXT. GAS STATION ALONG THE COAST - DAY", "Tony is doing three-sixties, scoping out beauties, when \n suddenly his roving eyes lock on a police car directly behind \n them. He slouches down into his seat.", "TONY\n No shit.", "Tony is at his desk. The captain kicks open the door, knocking \n Tony's feet off the desk. The captain is now dressed in \n suspenders, a loosened tie, and a shirt with pit stains.", "Tony is second generation Italian-American with very \n Mediterranean features. They're listening to Teenage Fan \n Club. They pass Ghierardeli Square.", "TONY\n (flashing his badge)\n Excuse me, Sir, I'm with the San", "TONY\n Christ. It's the cops.\n\n CHARLIE\n Tony, you are a cop.", "INT. TONY'S CUBICLE - NIGHT\n\n Tony is on the phone. Kathy, seen before at the police \n station, stands with him.", "Tony speaks into the phone frantically.\n\n TONY\n Charlie, you okay?\n\n INTERCUT PHONE CALL", "Tony looks behind him out the window. Nobody is there.\n\n TONY\n Nice try.", "TONY\n Besides, everyone has something going \n on with them. I mean, you can't find", "TONY\n He says my Dad's back in jail again.\n\n CHARLIE\n Ah, I'm sorry, man.", "TONY\n My name's Tony. This is my friend \n Charlie.", "INT. HALLWAY - HARRIET'S APARTMENT - DAY\n\n Tony knocks. No answer. He picks the lock and enters.\n\n INT. LIVING ROOM - DAY", "Tony and the commandeered man drive through the swampy, \n winding road on the way up to the hotel. Tony is drumming on \n the dash.", "Tony is talking to an attractive young girl behind the airport \n Rent-A-Car booth.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "STUART\n Oh, that's for Tony. So, Charlie \n tells me you're a butcher. Let's \n talk meat.", "TONY\n Not now, Captain.\n\n CAPTAIN\n (nice again)\n Sorry." ], [ "ROSE\n I'm Harriet's sister, Rose. And this \n is Harriet's note.\n\n He reaches for it, but she reads it aloud to him.", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "CHARLIE\n (through door)\n Jesus...\n\n Charlie then looks down at another article in the Enquirer \n and reads:", "thought it was pretty accurate. I \n did all the husbands' notes. I can \n forge anyone's handwriting, I can", "With Harriet speaking in the b.g., Charlie continues reading, \n now absorbed in the article about the 3 victims:", "LADY\n Oh, yes.\n\n Charlie glances over at Harriet, who slowly makes her way \n down the platform towards him.", "People clap and smile. Harriet looks at Charlie. He has tears \n in his eyes.\n\n HARRIET\n Yes.", "at each other. Harriet blocks the door. Charlie looks around \n the room. The Axe. The Corkscrew. The letter opener. The", "He listens for a dial tone. Beside the phone he sees a note. \n He starts to read is:", "Charlie again points to the Kerouac section without looking \n up.\n\n MAN\n Thanks.\n\n ON THE PAD\n\n Charlie writes...", "ROSE\n (reading)\n 'Dear Charlie, I didn't want to wake \n you, make yourself at home, thanks \n for making me smile.' Harriet.", "Charlie looks at it again, then at Rose, then at Harriet. \n It's all a little bizarre, but in a funny way he feels for \n Rose. A hidden talented overshadowed by her sister's beauty.", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "CUT TO:\n\n HANDS\n\n taking papers out of a desk drawer.\n\n CUT TO:", "The band starts to play \"Only You\".\n\n People APPLAUD. Harriet and Charlie just stare at each other. \n He knows.", "Then Rose strikes a match. She lights a candle and comes \n toward him. He looks around. The window is open. And Charlie \n is gone.\n\n INT. COMMANDEERED CAR - NIGHT", "With her in the shower, he sneaks back into the bedroom and \n checks the trash can. Nothing. Then he runs around the bed \n to the other trash can. Nothing.", "He opens the curtain. It's not Harriet. The woman, ROSE, \n calmly looks at him and closes the curtain.\n\n ROSE\n Go away.", "Charlie slows down to look at her. She looks great in her \n little Dutch costume.\n\n INT. CITY LIGHTS BOOKSTORE - DAY" ], [ "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "MAY\n Oh, here it is. Mrs. X. The Honeymoon \n Murderer. She marries men under fake", "It is the article about Mrs. X -- the axe-murderer who kills \n her husbands on their honeymoons and then marries again under \n a different identity.", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "the relatives or friends of Mrs. X's \n victims to identify her.", "\"WHO'S NEXT FOR MRS. X - THE HONEYMOON KILLER?\"", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "CHARLIE\n (re: the article)\n Yeah well murder is. And this article \n says that these men were murdered by \n the same woman.", "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X.", "identities, and then murders them. \n She killed some German martial arts \n expert, and some plumber named Ralph", "TONY\n Rose had a picture. It checked out. \n It's her, Charlie. She is the \n murderer.", "HARRIET\n I swear to you... It was Charlie... \n Look! Now there's Rose!\n\n Rose looks into the room, with the axe in her hand.", "TONY\n (through phone)\n Not that it matters anymore, but I \n thought you should know -- someone \n just turned themselves in for the \n murder of Ralph Elliot.", "CHARLIE\n Really? Did she confess to the other \n murders?", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "CHARLIE\n Thank God. I'm sorry I doubted you, \n but I thought you were the killer, \n but you were acting pretty strange?", "Rose is tied up and lying in a pool of blood. Tony stops for \n a beat, draws his gun and slowly walks over to her. Just as \n he gets there, a SHUTTER CLICKS.", "just a maybe, she kills her husbands. \n Marriage is give and take, Man. You \n take the good with the bad." ], [ "HARRIET\n So I heard.\n\n Harriet hugs Rose and then stands right next to her.", "ROSE\n (affectionately)\n Well, you know Harriet.\n\n CHARLIE\n Actually, I really don't.", "ROSE\n I'm Harriet's sister, Rose. And this \n is Harriet's note.\n\n He reaches for it, but she reads it aloud to him.", "ROSE\n I did a sketch of him.\n\n Rose shows the sketch to Harriet.", "CHARLIE\n About Harriet?\n\n ROSE\n About her past.", "ROSE\n Harriet never knew. She thought they \n all just left her. I protected her. \n She's my sister.\n\n Charlie turns and runs. Rose chases him.", "TONY\n No you don't.\n\n HARRIET\n I beg you... Look! It is Rose.", "ROSE\n (after a pause)\n To warn you, Charlie.\n (after a pause)\n There are just some things you should \n know, about Harriet.", "He opens the curtain. It's not Harriet. The woman, ROSE, \n calmly looks at him and closes the curtain.\n\n ROSE\n Go away.", "ROSE\n (as she now proceeds \n to be let in by \n Harriet)", "ROSE\n Here's the thing. I may have to tell \n Harriet.\n\n CHARLIE\n Tell her what?", "HARRIET\n She's just being kind. Show Charlie \n one of your photographs, Rose. Rose \n is a great artist.", "Then she realizes it's Rose. She calms down and smiles. \n Charlie looks at her, a little peculiarly, but Harriet regains \n her composure.", "Charlie looks at it again, then at Rose, then at Harriet. \n It's all a little bizarre, but in a funny way he feels for \n Rose. A hidden talented overshadowed by her sister's beauty.", "ROSE\n Charlie. Why did you marry Harriet? \n I warned you not to marry her, didn't", "HARRIET\n The eyes are good.\n\n ROSE\n Charlie really liked it.", "ROSE (O.S.)\n Harriet, its for you.\n\n INT. HARRIET'S LIVING ROOM", "ROSE\n I know, and it's a damn shame.\n\n Harriet walks in the room, fully dressed, and fully dazzling.", "ROSE\n Yes, Harriet, give it to me. She's a \n butcher.\n (Tony reacts)\n ...She owns a butcher shop.", "ROSE\n I doubt I'd have any. Harriet hates \n being photographed.\n\n The sound of a key in the door as Harriet enters the \n apartment." ], [ "It is the article about Mrs. X -- the axe-murderer who kills \n her husbands on their honeymoons and then marries again under \n a different identity.", "MAY\n Oh, here it is. Mrs. X. The Honeymoon \n Murderer. She marries men under fake", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "woman in her late twenties, wearing a blood-stained smock \n enters. It is HARRIET MICHAELS. She has a cleaver in one", "the relatives or friends of Mrs. X's \n victims to identify her.", "fountain pen. At this point, everything in the room looks \n like a potential weapon. Harriet takes the axe.", "at each other. Harriet blocks the door. Charlie looks around \n the room. The Axe. The Corkscrew. The letter opener. The", "\"WHO'S NEXT FOR MRS. X - THE HONEYMOON KILLER?\"", "HARRIET\n I swear to you... It was Charlie... \n Look! Now there's Rose!\n\n Rose looks into the room, with the axe in her hand.", "Rose is tied up and lying in a pool of blood. Tony stops for \n a beat, draws his gun and slowly walks over to her. Just as \n he gets there, a SHUTTER CLICKS.", "CHARLIE\n (re: the article)\n Yeah well murder is. And this article \n says that these men were murdered by \n the same woman.", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "pushing open his apartment door in a mock SWAT maneuver, \n then stealthily stalking toward the sound of the intruder in", "identities, and then murders them. \n She killed some German martial arts \n expert, and some plumber named Ralph", "Charlie pulls out the National Enquirer (the one on MRS. X, \n the Honeymoon Killer).", "Rose pulls the Axe back and swings, and the momentum of the \n swing pulls her feet out from under her, and on the slippery \n icy roof she falls and starts to slide.", "The other hotel guests threw them inside. The room is all \n made up, the sheets are pulled down, the firewood is cut, \n the AXE is in the wood.", "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X." ], [ "Harriet...", "HARRIET\n (screams)\n AAAhhhhhhh!", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "HARRIET\n I pretty much raised her. You know \n the scene. Depressed mother... \n withdrawn father.\n (she remembers)\n My dad was a photographer too.", "Harriet rushes out and smiles as she sees the source of the \n noise. Charlie serenades Harriet in the street below,", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "HARRIET\n Income of course, and then...\n (thinks)\n ...savings.\n\n He smiles at her.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "HARRIET\n It's not that, Charlie.\n\n CHARLIE\n What then?", "HARRIET\n (after a long pause; \n finally:)\n I do.", "Harriet is moving in on him. Charlie steadily makes his way \n down the platform, feigning accidentally kicking cat food \n down the platform. The old lady is unsure what is going on, \n she tries to keep up with him.", "Harriet laughs.\n\n HARRIET\n (to the next customer)\n Can I help you?\n (to Charlie)\n Sorry, I'm really busy.", "Harriet is talking to a CUSTOMER.\n\n HARRIET\n Hi.", "HARRIET\n So I heard.\n\n Harriet hugs Rose and then stands right next to her.", "HARRIET\n The eyes are good.\n\n ROSE\n Charlie really liked it.", "HARRIET\n You haven't. At least you left early \n on.\n (she's crying)", "HARRIET\n Actually, he just proposed to her. \n Those are tears of joy.\n\n She lifts her soda to toast them.", "HARRIET\n He did?\n (a beat)\n Yeah.", "And then Harriet begins singing at the piano." ], [ "TONY (O.S.)\n Hey Charlie!\n\n Tony is getting out of a cab accompanied by Susan, the girl \n from Spiletti's Coffee House. He approaches Charlie.", "Charlie goes.\n\n INT. SPILETTI'S COFFEE HOUSE - NIGHT\n\n Charlie lies on the bar head down. Tony rushes in, looks \n around and sees Charlie.", "Charlie and his best friend, TONY SPILETTI, are out for a \n night on the town.", "TONY\n Christ. It's the cops.\n\n CHARLIE\n Tony, you are a cop.", "INT. BEDROOM\n\n Tony breaks into the room with his gun drawn.\n\n TONY\n (shouting)\n Charlie!", "Tony speaks into the phone frantically.\n\n TONY\n Charlie, you okay?\n\n INTERCUT PHONE CALL", "Harriet and Charlie kiss one last time and she goes to the \n piano.\n\n Charlie stays in the corner, and Tony comes over.", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet.", "Tony dashes out of the police station and into his car.\n\n INT. CHARLIE'S HOTEL ROOM - NIGHT", "TONY\n My name's Tony. This is my friend \n Charlie.", "CHARLIE\n Look, Tony, I'm going home. See you \n later, girls.\n\n Tony grabs him and pulls him aside.", "TONY\n (whispers to Charlie)\n I give Susan one night.\n\n INT. POETRY FESTIVAL - NIGHT", "Tony and Charlie look at each other. They're a little queasy.", "CHARLIE\n Hey, Tony, I gotta talk to you.", "TONY\n And this is Susan. Charlie, you \n remember her from Uncle Giuseppi's.\n\n CHARLIE\n Yes, I do.", "He keeps driving.\n\n INT. POLICE STATION - DAY\n\n Charlie walks through the precinct towards Tony's office, \n holding the National Enquirer in his hand.", "Two girls at a nearby table, laugh. Charlie and Tony exchange, \n \"This could be promising.\" looks.", "TONY\n But Charlie, you're a normal suburban \n guy at heart, from a normal suburban", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "Tony and Charlie are waiting in line.\n\n AERIAL VIEW OF BOAT\n\n as they travel to the island." ], [ "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "CHARLIE\n Sandy was an alcoholic.", "CHARLIE\n (to Ralph)\n Call me.\n\n He leaves.", "Charlie slows down to look at her. She looks great in her \n little Dutch costume.\n\n INT. CITY LIGHTS BOOKSTORE - DAY", "Charlie takes his place behind the cash register and resumes \n writing in his handsome leather-bound poetry journal.", "CHARLIE\n (shocked)\n Ralph?\n\n A plain looking lady in her thirties, RALPH, is sitting by \n the window.", "PULL BACK TO REVEAL WE ARE IN:\n\n INT. CHARLIE'S PARENTS' APARTMENT - NIGHT", "INT. CHARLIE'S CAR - EARLY EVENING", "CHARLIE\n (delighted)\n Oh, like Ralph, the lady carpenter \n in Green Acres!\n\n HARRIET\n This is Charlie.", "CHARLIE", "is safe. People are all staring at Charlie curiously, \n including Harriet and the old lady. Charlie is embarrassed.", "Harriet laughs.\n\n HARRIET\n (to the next customer)\n Can I help you?\n (to Charlie)\n Sorry, I'm really busy.", "INT. MEATS OF THE WORLD\n\n The store is very busy. There is a line at the meat counter \n seven people deep. Charlie takes his place at the end of the \n line.", "CHARLIE\n Bold, and here, I've written it out.\n\n Charlie looks over to the deaths counter. He overhears two \n obituary assistants having a conversation.", "A beautiful dining room with a small dance floor. Charlie \n sits at an intimate table for two with Harriet. A small band", "Charlie goes.\n\n INT. SPILETTI'S COFFEE HOUSE - NIGHT\n\n Charlie lies on the bar head down. Tony rushes in, looks \n around and sees Charlie.", "CHARLIE\n (startled)\n Aaaahhh!\n\n Charlie turns on his heel. Rose has appeared out of nowhere.", "Charlie comes out of the bathroom in a robe.\n\n HARRIET\n Charlie, I want you to meet a friend \n of mine. Say hi to Ralph." ], [ "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X.", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "CHARLIE\n No, no. That's a natural fear. I've \n thought about that fear.\n\n HARRIET\n It really worries me, Charlie.", "Harriet watches Charlie very closely, as Charlie looks scared. \n Then, the people start to carry them out of the room and \n down the hallway.", "EXT. CHRONICLE ANNOUNCEMENT OFFICE - DAY\n\n Charlie stands outside the announcement office, terrified.\n\n INT. MEATS OF THE WORLD", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "From Harriet's POV we see Charlie on the ledge edging along. \n He stops in horror when he sees Harriet, glances back to the \n pursuing Rose, and rushes off.", "Harriet pulls Charlie back into the room, frightened that \n he's leaving.\n\n HARRIET\n Don't go, Charlie.", "CHARLIE\n Thank God. I'm sorry I doubted you, \n but I thought you were the killer, \n but you were acting pretty strange?", "CHARLIE\n Really? Did she confess to the other \n murders?", "CHARLIE\n The truth is... I'm afraid that you \n are...\n (he can't)\n You're going to laugh.", "CHARLIE\n (re: the article)\n Yeah well murder is. And this article \n says that these men were murdered by \n the same woman.", "Charlie's smile fades. He sits up and looks at her. She is \n lying completely still on the bed, her eyes closed, and still \n sleep-talking.", "CHARLIE\n Tony, she's a killer. The... \n everything.", "Charlie pulls out the National Enquirer (the one on MRS. X, \n the Honeymoon Killer).", "Charlie finds himself in the middle of the dance floor dancing \n slowly with Harriet. He's scared out of his mind. The music" ], [ "Tony dashes out of the police station and into his car.\n\n INT. CHARLIE'S HOTEL ROOM - NIGHT", "Tony and the commandeered man drive through the swampy, \n winding road on the way up to the hotel. Tony is drumming on \n the dash.", "Charlie goes.\n\n INT. SPILETTI'S COFFEE HOUSE - NIGHT\n\n Charlie lies on the bar head down. Tony rushes in, looks \n around and sees Charlie.", "Tony speaks into the phone frantically.\n\n TONY\n Charlie, you okay?\n\n INTERCUT PHONE CALL", "TONY (O.S.)\n Hey Charlie!\n\n Tony is getting out of a cab accompanied by Susan, the girl \n from Spiletti's Coffee House. He approaches Charlie.", "INT. BEDROOM\n\n Tony breaks into the room with his gun drawn.\n\n TONY\n (shouting)\n Charlie!", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet.", "Several policemen make their way onto the roof and come over \n to where Charlie is detaining Rose. The police take her, \n handcuff her and cart her away. From the corner of the roof \n appears Tony.", "CHARLIE\n Look, Tony, I'm going home. See you \n later, girls.\n\n Tony grabs him and pulls him aside.", "He keeps driving.\n\n INT. POLICE STATION - DAY\n\n Charlie walks through the precinct towards Tony's office, \n holding the National Enquirer in his hand.", "EXT. POLICE STATION - DAY\n\n Tony hurries to his car.\n\n EXT. GAS STATION ALONG THE COAST - DAY", "Harriet and Charlie kiss one last time and she goes to the \n piano.\n\n Charlie stays in the corner, and Tony comes over.", "TONY\n (to Kathy)\n Keep trying the hotel. Tell the chief \n I just chartered a plane up to Oregon.\n\n The Police Captain enters.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "TONY\n (whispers to Charlie)\n I give Susan one night.\n\n INT. POETRY FESTIVAL - NIGHT", "EXT. CHARLIE'S APARTMENT BUILDING - DAY\n\n Tony stands at the door, buzzing the buzzer to no response.", "EXT. AIRPORT - NIGHT\n\n Tony runs out of the airport terminal where he sees a man in \n his forties who's just entered his four wheel drive jeep.", "CHARLIE\n Hey, Tony, I gotta talk to you.", "HARRIET\n Sure, anything. You've got to save \n Charlie.\n\n Tony slaps cuffs on her and takes her to the window.", "HARRIET\n Tony, Rose is trying to kill Charlie. \n They're out on the ledge." ], [ "CHARLIE\n (waking her)\n Harriet...? Harriet...?\n (as her eyes open)\n You were having a dream, or...? You \n kept saying the name Ralph.", "HARRIET\n (sleeptalking)\n Ralph! No, Ralph!\n\n Charlie sighs, then just shrugs and tries to fall asleep. \n What can he do.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "PULL BACK to see Charlie in bed. He lies awake on his side, \n his back up to Harriet's. She is sound asleep. Suddenly:", "Charlie's smile fades. He sits up and looks at her. She is \n lying completely still on the bed, her eyes closed, and still \n sleep-talking.", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "HARRIET\n Ralph?\n\n CHARLIE\n Ralph. I heard you say it.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "Harriet pulls Charlie back into the room, frightened that \n he's leaving.\n\n HARRIET\n Don't go, Charlie.", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "Harriet starts laughing. Then so does Charlie. They lean \n into each other. Pretty close. Too close even, and when it \n seems like they're going to kiss, Charlie suddenly gets \n uncomfortable and looks at his watch.", "HARRIET\n (angry)\n Goddamn shoplifter.\n (conscious of Charlie's", "HARRIET\n (screams)\n AAAhhhhhhh!", "CHARLIE\n Hi. I'm really sorry. I must have \n scared the... I'm Harriet's friend,", "CHARLIE\n No, no. That's a natural fear. I've \n thought about that fear.\n\n HARRIET\n It really worries me, Charlie.", "CHARLIE\n (frightened)\n Harriet, I...\n\n HARRIET\n I've been married before.", "He races up to the door and starts to bang and knock and \n ring...\n\n CHARLIE\n (through door)\n Harriet, it's me, Charlie.", "Harriet starts to speak; but right before the words come \n out, she stares into Charlie's eyes and STOPS. Charlie looks \n nervous. So does the Scottish Minister. So does Tony. So \n does everyone.", "Harriet watches Charlie very closely, as Charlie looks scared. \n Then, the people start to carry them out of the room and \n down the hallway." ], [ "It is the article about Mrs. X -- the axe-murderer who kills \n her husbands on their honeymoons and then marries again under \n a different identity.", "MAY\n Oh, here it is. Mrs. X. The Honeymoon \n Murderer. She marries men under fake", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "\"WHO'S NEXT FOR MRS. X - THE HONEYMOON KILLER?\"", "the relatives or friends of Mrs. X's \n victims to identify her.", "identities, and then murders them. \n She killed some German martial arts \n expert, and some plumber named Ralph", "Charlie pulls out the National Enquirer (the one on MRS. X, \n the Honeymoon Killer).", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "CHARLIE\n (re: the article)\n Yeah well murder is. And this article \n says that these men were murdered by \n the same woman.", "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X.", "He looks very uneasy. She kisses him and shuts off the light. \n The moon gives the room an eerie glow.\n\n HARRIET\n Well, good night.", "The bellboy is frightened and runs away.\n\n CHARLIE\n (shouting down the \n hall after him)\n STAY FOR A NIGHTCAP!", "Then Rose strikes a match. She lights a candle and comes \n toward him. He looks around. The window is open. And Charlie \n is gone.\n\n INT. COMMANDEERED CAR - NIGHT", "RUMBLINGS make him cross the street to avoid the danger. \n Headlights of a slow moving car approach from the distance. \n Charlie, frightened, turns another corner onto:", "woman in her late twenties, wearing a blood-stained smock \n enters. It is HARRIET MICHAELS. She has a cleaver in one", "just a maybe, she kills her husbands. \n Marriage is give and take, Man. You \n take the good with the bad.", "HARRIET\n I swear to you... It was Charlie... \n Look! Now there's Rose!\n\n Rose looks into the room, with the axe in her hand.", "Rose is tied up and lying in a pool of blood. Tony stops for \n a beat, draws his gun and slowly walks over to her. Just as \n he gets there, a SHUTTER CLICKS." ], [ "CHARLIE MACKENZIE, in his late twenties, wearing a flannel \n shirt and torn jeans, walks INTO THE FRAME, right in front", "SHERRI\n I'm okay. This is Michael. Michael, \n this is Charlie MacKenzie.", "EXT. SAN FRANCISCO STREET\n\n Charlie is driving in his car. He drives slowly looking for \n an address. Finds it, slips in to a parking spot in front.", "Charlie slows down to look at her. She looks great in her \n little Dutch costume.\n\n INT. CITY LIGHTS BOOKSTORE - DAY", "EXT. SAN FRANCISCO STREET\n\n Charlie is driving along listening to Kerouac. We absorb the \n flavor of San Francisco as he drives down Lombard Street.", "A beautiful old Colonial Mansion, nestled in the mountains \n and forests of the North-West. Romantic and from another \n day. Charlie and Harriet pull up in front of it.", "INT. CHARLIE'S APARTMENT", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "Charlie puts the \"CLOSED\" sign on the door and proceeds to \n walk home.\n\n EXT. SAN FRANCISCO STREETS", "Charlie and Harriet point to brochures of the different cities \n they could go to on their honeymoon. They decide on a picture \n of the \"DRY CREEK LODGE\" in Oregon.", "CHARLIE\n Oh, the martial arts expert. The \n north-south guy. Here in San \n Francisco?\n\n HARRIET\n Actually, Miami.", "Charlie takes his place behind the cash register and resumes \n writing in his handsome leather-bound poetry journal.", "An old crappie apartment building in San Francisco. Charlie's \n car pulls up. We hear \"SATURDAY NIGHT\" by the Bay City \n Rollers.", "RUMBLINGS make him cross the street to avoid the danger. \n Headlights of a slow moving car approach from the distance. \n Charlie, frightened, turns another corner onto:", "him. He rounds the bend. Charlie looks into one room and \n sees MR. & MRS. LEVENSTEIN there. There's loud OPERA MUSIC \n playing in the room", "Charlie again points to the Kerouac section without looking \n up.\n\n MAN\n Thanks.\n\n ON THE PAD\n\n Charlie writes...", "HARRIET\n I can't believe the resemblance \n between you and Charlie, Mrs. \n MacKenzie.\n\n INT. CHARLIE IN THE BATHROOM", "Harriet walks off to the lobby store, backwards, looking at \n Charlie. Charlie watches her walk off. The Desk Clerk sits \n staring at Charlie.", "Charlie is sleeping alone in the bed, and the sound of RUNNING \n WATER is heard off in the distance. His eyes slowly open, he", "INT. MEATS OF THE WORLD\n\n The store is very busy. There is a line at the meat counter \n seven people deep. Charlie takes his place at the end of the \n line." ], [ "Charlie. Take a look at your other \n girlfriends. Every time you get close \n to a commitment there's something \n wrong with them.", "CHARLIE\n No, no. That's a natural fear. I've \n thought about that fear.\n\n HARRIET\n It really worries me, Charlie.", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "Harriet pulls Charlie back into the room, frightened that \n he's leaving.\n\n HARRIET\n Don't go, Charlie.", "EXT. CHRONICLE ANNOUNCEMENT OFFICE - DAY\n\n Charlie stands outside the announcement office, terrified.\n\n INT. MEATS OF THE WORLD", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "CHARLIE\n The truth is... I'm afraid that you \n are...\n (he can't)\n You're going to laugh.", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "Harriet starts laughing. Then so does Charlie. They lean \n into each other. Pretty close. Too close even, and when it \n seems like they're going to kiss, Charlie suddenly gets \n uncomfortable and looks at his watch.", "CHARLIE\n (frightened)\n Harriet, I...\n\n HARRIET\n I've been married before.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "CHARLIE\n 'Dear, Harriet. I just can't handle \n the commitment. I'm leaving you.' \n Signed, 'Charlie.'", "CHARLIE\n (backing out the door; \n terrified)\n I've come at a bad time.\n\n HARRIET\n No stay!", "Charlie and Harriet kiss. We can see (though Charlie can't) \n Harriet has a strange unsure expression on her face. Tony \n notices it though and can't figure it out.", "Charlie finds himself in the middle of the dance floor dancing \n slowly with Harriet. He's scared out of his mind. The music", "Charlie's smile fades. He sits up and looks at her. She is \n lying completely still on the bed, her eyes closed, and still \n sleep-talking.", "CHARLIE\n Good night.\n\n She doesn't close her eyes. He's scared to close his. Pause.", "CHARLIE\n And secondly... That woman over \n there...\n (Re: Harriet)\n That's Harriet, and we're getting \n married.", "She moves around to Charlie. She lifts his chin so that he \n is looking directly into her eyes.\n\n HARRIET\n Why not? And tell me the truth.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie..." ], [ "Harriet...", "HARRIET\n (screams)\n AAAhhhhhhh!", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "HARRIET\n I pretty much raised her. You know \n the scene. Depressed mother... \n withdrawn father.\n (she remembers)\n My dad was a photographer too.", "Harriet rushes out and smiles as she sees the source of the \n noise. Charlie serenades Harriet in the street below,", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "HARRIET\n Income of course, and then...\n (thinks)\n ...savings.\n\n He smiles at her.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "HARRIET\n It's not that, Charlie.\n\n CHARLIE\n What then?", "HARRIET\n (after a long pause; \n finally:)\n I do.", "Harriet is moving in on him. Charlie steadily makes his way \n down the platform, feigning accidentally kicking cat food \n down the platform. The old lady is unsure what is going on, \n she tries to keep up with him.", "Harriet laughs.\n\n HARRIET\n (to the next customer)\n Can I help you?\n (to Charlie)\n Sorry, I'm really busy.", "Harriet is talking to a CUSTOMER.\n\n HARRIET\n Hi.", "HARRIET\n So I heard.\n\n Harriet hugs Rose and then stands right next to her.", "HARRIET\n The eyes are good.\n\n ROSE\n Charlie really liked it.", "HARRIET\n You haven't. At least you left early \n on.\n (she's crying)", "HARRIET\n Actually, he just proposed to her. \n Those are tears of joy.\n\n She lifts her soda to toast them.", "HARRIET\n He did?\n (a beat)\n Yeah.", "And then Harriet begins singing at the piano." ], [ "HARRIET\n (screams)\n AAAhhhhhhh!", "INT. BEDROOM\n\n Tony is standing with his back to the window, between it and \n Harriet. She looks out of the window and screams.", "HARRIET\n (sleeptalking)\n Ralph! No, Ralph!\n\n Charlie sighs, then just shrugs and tries to fall asleep. \n What can he do.", "CHARLIE\n (waking her)\n Harriet...? Harriet...?\n (as her eyes open)\n You were having a dream, or...? You \n kept saying the name Ralph.", "PULL BACK to see Charlie in bed. He lies awake on his side, \n his back up to Harriet's. She is sound asleep. Suddenly:", "TONY\n You're just getting scared. Like the \n dream, you feel Harriet could be the", "walk-in closet and locks it. From behind the door, we hear \n Harriet WAILING. Which continues.", "HARRIET\n Look at you, you're sleeping. Look \n how vulnerable you are. I mean, I \n could do anything at that point.", "Harriet...", "HARRIET\n I thought it was coming from here.\n\n STEWARDESS\n But someone keeps shouting your name \n over and over.", "HARRIET\n You haven't. At least you left early \n on.\n (she's crying)", "HARRIET\n (sleepily)\n That's odd. Just today I was thinking \n about, her. She's a friend.", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "Harriet watches Charlie very closely, as Charlie looks scared. \n Then, the people start to carry them out of the room and \n down the hallway.", "HARRIET\n Ralph?\n\n CHARLIE\n Ralph. I heard you say it.", "Charlie's smile fades. He sits up and looks at her. She is \n lying completely still on the bed, her eyes closed, and still \n sleep-talking.", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "Harriet is doing a load of laundry consisting of bloodied \n work clothes. Suddenly she can hear the sound of MUSIC, very \n loudly.", "HARRIET\n Rose, I don't really --\n\n ROSE\n He disturbed me while I was naked in \n the shower this morning.", "HARRIET\n (sweet and innocent)\n Anything. You're lying on your side, \n asleep, I could... stick a needle in \n your ear." ], [ "ROSE\n I'm Harriet's sister, Rose. And this \n is Harriet's note.\n\n He reaches for it, but she reads it aloud to him.", "Harriet...", "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "HARRIET\n (screams)\n AAAhhhhhhh!", "ROSE\n Harriet never knew. She thought they \n all just left her. I protected her. \n She's my sister.\n\n Charlie turns and runs. Rose chases him.", "HARRIET\n So I heard.\n\n Harriet hugs Rose and then stands right next to her.", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "Harriet starts laughing. Then so does Charlie. They lean \n into each other. Pretty close. Too close even, and when it \n seems like they're going to kiss, Charlie suddenly gets \n uncomfortable and looks at his watch.", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "Charlie looks at it again, then at Rose, then at Harriet. \n It's all a little bizarre, but in a funny way he feels for \n Rose. A hidden talented overshadowed by her sister's beauty.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "HARRIET\n It's not that, Charlie.\n\n CHARLIE\n What then?", "HARRIET\n (sleepily)\n That's odd. Just today I was thinking \n about, her. She's a friend.", "LADY\n Oh, yes.\n\n Charlie glances over at Harriet, who slowly makes her way \n down the platform towards him.", "HARRIET\n You haven't. At least you left early \n on.\n (she's crying)", "HARRIET\n I pretty much raised her. You know \n the scene. Depressed mother... \n withdrawn father.\n (she remembers)\n My dad was a photographer too.", "pretty one. Where's Harriet? What \n have you done with my sister, Harriet?", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet.", "Harriet is moving in on him. Charlie steadily makes his way \n down the platform, feigning accidentally kicking cat food \n down the platform. The old lady is unsure what is going on, \n she tries to keep up with him.", "HARRIET\n I've been there for almost a year. I \n only planned on stay with her for a \n few weeks, but she gets upset every \n time I say I'm moving." ], [ "STUART\n Heed. Move that melon of yours into \n the bathroom and get the paper for \n your mother.\n\n William gets the National Enquirer and brings it back.", "STUART\n May, shut it.", "MAY\n Stuart, put your pants on.\n\n STUART\n Hold your horses.\n (calling to William)\n Heed! Pants!", "THE GROUP\n Happy Anniversary to you...\n (Etc.)\n\n The song ends. May and Stuart blow out the candles.", "looks at another young couple who are touched by this sincere \n display of love. He looks over at Harriet. Stuart and May \n feed each other cake. Charlie approaches Harriet.", "STUART\n What are you talking about? It's the \n fifth highest circulating paper in \n the United States, I'll have you \n know.", "STUART\n And light a match.\n\n MAY\n (to Harriet)\n He always leaves the seat up. He's \n gotta learn.", "MAY\n She's so sweet. I hope you keep her.\n (calling)\n Stuart, come out here. You tube.", "STUART\n Make sure there's paper, Charlie.\n\n Charlie picks up the pace, scared of what he might hear next.", "Charlie and Harriet are watching the news show. DOCTOR SHOW \n is patched in via the Anchorman's close circuit TV.", "Harriet is in the audience, also looking very beatnik with \n their three year old son, STUART, a miniature beatnik version \n of Charlie.", "We pass the buffet which we see is catered by \"Meats Of The \n World.\" Then we pass a very drunken Stuart in a heated \n discussion with four other people.", "STUART\n That's the latest report from Lyndon \n H. LaRouche, outlining how the Queen", "They kiss and everyone APPLAUDS. Uncle Angus breaks into, \n \"Stand By Your Man.\" May and Stuart start to dance. Charlie", "We see the re-play of the goal on TV. Tony sits down and May \n brings over a plate of stew and three types of potatoes, \n piled very high.", "STUART\n Listen, Sonny Jim, it's a known fact \n there's a society of the five", "MAY\n Maybe it's just as well not to get \n married, look at the news. Where did \n I put it?", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "INT. THE LIVING ROOM - NIGHT\n\n May excitedly shows Harriet family photo albums.", "STUART\n (inappropriately angry \n & loud)\n That's right. They fuckin' own the" ], [ "Harriet looks at Charlie, very suspiciously. He looks back \n at her, and tries to smile, pretending that he is having a \n pleasant, and completely irrelevant conversation.", "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X.", "HARRIET\n Charlie, what's the matter?\n\n CHARLIE\n Nothing.\n\n HARRIET\n Charlie...", "HARRIET\n Why of me, Charlie?", "She moves around to Charlie. She lifts his chin so that he \n is looking directly into her eyes.\n\n HARRIET\n Why not? And tell me the truth.", "CHARLIE\n About Harriet?\n\n ROSE\n About her past.", "Charlie is dressed very sharply in sport coat and tie. He \n yells into the bathroom where we can see part of Harriet \n from behind.", "HARRIET\n It's not that, Charlie.\n\n CHARLIE\n What then?", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "Harriet flinches slightly at the word \"Wife\", but Charlie is \n too wrapped up in the moment to notice. Stuart addresses the \n group.", "Harriet doesn't respond. Her head is turned from his.\n\n CHARLIE\n Don't you agree, Harriet? Harriet?", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet.", "Harriet is moving in on him. Charlie steadily makes his way \n down the platform, feigning accidentally kicking cat food \n down the platform. The old lady is unsure what is going on, \n she tries to keep up with him.", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "CHARLIE\n And secondly... That woman over \n there...\n (Re: Harriet)\n That's Harriet, and we're getting \n married.", "CHARLIE\n (to Tony; re: Harriet)\n This is Harriet.", "LADY\n Oh, yes.\n\n Charlie glances over at Harriet, who slowly makes her way \n down the platform towards him.", "CHARLIE\n (waking her)\n Harriet...? Harriet...?\n (as her eyes open)\n You were having a dream, or...? You \n kept saying the name Ralph.", "CHARLIE\n I already know.\n\n HARRIET\n About my husbands?" ], [ "TONY\n (through phone)\n Not that it matters anymore, but I \n thought you should know -- someone \n just turned themselves in for the \n murder of Ralph Elliot.", "CHARLIE\n Thank God. I'm sorry I doubted you, \n but I thought you were the killer, \n but you were acting pretty strange?", "CAPTAIN\n I can't believe I'm doing this, but \n that girl who confused to Ralph \n Elliot's murder also confessed to \n other murders.", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "CHARLIE\n Really? Did she confess to the other \n murders?", "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "CHARLIE\n (re: the article)\n Yeah well murder is. And this article \n says that these men were murdered by \n the same woman.", "TONY\n Rose had a picture. It checked out. \n It's her, Charlie. She is the \n murderer.", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "HARRIET\n I swear to you... It was Charlie... \n Look! Now there's Rose!\n\n Rose looks into the room, with the axe in her hand.", "identities, and then murders them. \n She killed some German martial arts \n expert, and some plumber named Ralph", "CAPTAIN\n Yeah, apparently she also confessed \n to killing Abe Lincoln, Julius Caesar, \n and Warren G. Harding. She's a nut, \n Spiletti!", "She's a great girl. And the last \n thing in the world she'd be is a \n murderer.", "MAY\n Oh, here it is. Mrs. X. The Honeymoon \n Murderer. She marries men under fake", "Rose is tied up and lying in a pool of blood. Tony stops for \n a beat, draws his gun and slowly walks over to her. Just as \n he gets there, a SHUTTER CLICKS.", "CHARLIE\n Tony, she's a killer. The... \n everything.", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "Suddenly the power goes off again. They're both in the dark. \n A scuffle. Charlie has restrained Harriet, throws her in a", "got to dismember the rest of his \n bloody torso. Dig a makeshift shallow \n grave. Cover the body with quick" ], [ "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "MAY\n Oh, here it is. Mrs. X. The Honeymoon \n Murderer. She marries men under fake", "It is the article about Mrs. X -- the axe-murderer who kills \n her husbands on their honeymoons and then marries again under \n a different identity.", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "the relatives or friends of Mrs. X's \n victims to identify her.", "\"WHO'S NEXT FOR MRS. X - THE HONEYMOON KILLER?\"", "SHERRI\n Let me guess...\n (smiles)\n She's a murderer.\n\n For a moment, Charlie is too stunned to respond. Then...", "CHARLIE\n (re: the article)\n Yeah well murder is. And this article \n says that these men were murdered by \n the same woman.", "CHARLIE\n Curious, that's all. I read about \n it, and...\n (after a pause)\n I think I'm dating Mrs. X.", "identities, and then murders them. \n She killed some German martial arts \n expert, and some plumber named Ralph", "TONY\n Rose had a picture. It checked out. \n It's her, Charlie. She is the \n murderer.", "HARRIET\n I swear to you... It was Charlie... \n Look! Now there's Rose!\n\n Rose looks into the room, with the axe in her hand.", "TONY\n (through phone)\n Not that it matters anymore, but I \n thought you should know -- someone \n just turned themselves in for the \n murder of Ralph Elliot.", "CHARLIE\n Really? Did she confess to the other \n murders?", "Charlie picks up the axe, looks at it, relieved at his lucky \n escape. He rushes to the door to escape. He opens it and \n standing there is Rose.", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "CHARLIE\n Thank God. I'm sorry I doubted you, \n but I thought you were the killer, \n but you were acting pretty strange?", "Rose is tied up and lying in a pool of blood. Tony stops for \n a beat, draws his gun and slowly walks over to her. Just as \n he gets there, a SHUTTER CLICKS.", "just a maybe, she kills her husbands. \n Marriage is give and take, Man. You \n take the good with the bad." ], [ "TONY\n Charlie, listen to me! It's her! \n Harriet is Mrs. X! She killed Ralph \n and the two other men!", "Several policemen make their way onto the roof and come over \n to where Charlie is detaining Rose. The police take her, \n handcuff her and cart her away. From the corner of the roof \n appears Tony.", "Tony hangs up. Charlie stops pedaling on the bike. Now he \n really feels like shit. Harriet's not a killer. Sherri's not \n a cheater.\n\n He races out of the bedroom.", "Tony and the commandeered man drive through the swampy, \n winding road on the way up to the hotel. Tony is drumming on \n the dash.", "Tony dashes out of the police station and into his car.\n\n INT. CHARLIE'S HOTEL ROOM - NIGHT", "TONY\n Charlie, listen to me! There is no \n Mrs. X! Drop it! Okay?\n\n INT. HALLWAY - HARRIET'S APARTMENT - EVENING", "INT. HALLWAY - HARRIET'S APARTMENT - DAY\n\n Tony knocks. No answer. He picks the lock and enters.\n\n INT. LIVING ROOM - DAY", "TONY\n (through phone)\n Not that it matters anymore, but I \n thought you should know -- someone \n just turned themselves in for the \n murder of Ralph Elliot.", "Tony is at his desk. The captain kicks open the door, knocking \n Tony's feet off the desk. The captain is now dressed in \n suspenders, a loosened tie, and a shirt with pit stains.", "She meets Charlie and Tony at the door and kisses him good-\n bye. She turns to kiss Tony, and holds on the kiss far too \n long.", "INT. TONY'S CUBICLE - NIGHT\n\n Tony is on the phone. Kathy, seen before at the police \n station, stands with him.", "TONY\n (to Kathy)\n Keep trying the hotel. Tell the chief \n I just chartered a plane up to Oregon.\n\n The Police Captain enters.", "Rose is tied up and lying in a pool of blood. Tony stops for \n a beat, draws his gun and slowly walks over to her. Just as \n he gets there, a SHUTTER CLICKS.", "EXT. POLICE STATION - DAY\n\n Tony hurries to his car.\n\n EXT. GAS STATION ALONG THE COAST - DAY", "HARRIET\n (from closet)\n Tony, is that you? It's me, Harriet. \n I'm in here.\n\n Carefully, Tony opens the closet door.", "TONY\n (not believing)\n Get on the floor and put your hands \n behind your back.\n\n Harriet willingly goes on the floor.", "INT. BEDROOM\n\n Tony is standing with his back to the window, between it and \n Harriet. She looks out of the window and screams.", "TONY (O.S.)\n Hey Charlie!\n\n Tony is getting out of a cab accompanied by Susan, the girl \n from Spiletti's Coffee House. He approaches Charlie.", "CHARLIE\n Have you heard of this case? Mrs. X? \n She murders her husbands on their \n honeymoons and then changes her \n identity and marries again.", "Charlie looks beyond Tony and sees Harriet standing in the \n doorway. He goes over and puts his arm around Harriet." ] ]

[ "Why did charlie ask tony to investigate harriet?", "Who charters a plane?", "What kind of job did harriet do?", "WHO IS MRS X?", "Why did Tony lead the police to the hotel?", "Who do rose feels is taking her sister harriet away from her?", "Where did charlie live?", "What kind of job do tony do?", "Who found the dear jane letter?", "Who is the real Mrs. X killer?", "How is Rose related to Harriet?", "What weapon does the Mrs. X killer use?", "What is Harriet's profession?", "What city do Charlie and Tony live in?", "What is Charlie's profession?", "Who is Charlie afraid might be the Mrs. X killer?", "How does Tony get to the hotel to rescue Charlie?", "What name does Harriet say in her sleep which alarms Charlie?", "What special night does the Mrs. X killer always strike?", "Where does Charlie MacKenzie live?", "Who points out Charlie's phobia towards commitment to him?", "What is Harriet's profession?", "What name does Harriet scream in her sleep?", "Who is Harriet's sister?", "From where do Stuart and May get their news from?", "Who does Charlie ask to investigate the connection between Mrs. X and Harriet?", "What does the confessed killer turn out to be?", "Who is the real Mrs. X killer?", "Who does Tony initially arrest as Mrs. X killer when he arrives at the hotel?" ]

[ [ "he thought she killed he rhusband", "He thinks she is Mrs. X" ], [ "tony", "Tony" ], [ "BUTCHER", "Buthcher" ], [ "Harriet", "Rose" ], [ "he thought she was a murder", "Phone lines to hotel down, needed to tell Charlie" ], [ "her husband", "Her husbands" ], [ "in san fransico", "San Fransico" ], [ "policeman", "He is a policeman" ], [ "charlie", "Charlie" ], [ "Rose", "Rose" ], [ "She is her sister.", "They are sisters." ], [ "An axe.", "An Axe" ], [ "A butcher.", "Butcher" ], [ "San Francisco", "San Francisco" ], [ "A beat poet.", "Poet" ], [ "Harriet.", "Harriet" ], [ "He charters a plane.", "He had chartered a plane . But it does not state how he got directly to the hotel." ], [ "Ralph.", "Ralph" ], [ "On the honeymoon.", "The honeymoon" ], [ "Charlie lives in San Francisco", "San Francisco" ], [ "Tony", "Tony " ], [ "Butcher", "Butcher" ], [ "Ralph", "Ralph" ], [ "Rose", "Rose" ], [ "From the tabloid Weekly World News", "Weekly World News" ], [ "Tony", "Tony" ], [ "Compulsive liar", "A compulsive liar." ], [ "Rose", "Rose" ], [ "Harriet", "Harriet" ] ]

953a454c146650e09d27fdb4dbe3cfdc6a9ca697

train

[ [ "Gibbons walks into the INFORMATION ROOM of the NATIONAL \n SECURITY AGENCY (NSA). There are WORLD MAPS, SATELLITE IMAGES", "Agent Polk looks around, spots Gibbons. He rushes to him, \n waving a COMMUNIQUÉ.\n\n Gibbons grabs the communiqué, reads it. He looks up, stunned.", "Xander sits with Gibbons in big leather chairs. They are \n surrounded by NSA AGENTS in suits.\n\n A NERDY AGENT snaps an ANKLET around Xander's ankle.", "GIBBONS\n That information is classified. You're \n there to gather information on their \n operations, period.", "I'm with the National Security Agency. \n And unlikely as it may sound, I need \n your help.", "Through the crowd, Xander sees Gibbons break through with \n his squad of Agents. Gibbons and Xander make eye contact.", "INT. SAM TANNICK'S OFFICE - DAY\n\n Gibbons stands before Sam's desk. Sam scans over the \n communiqué.", "Xander, Gibbons and his Men are all silhouetted against the \n smoked glass windows.\n\n The Nerdy Agent hands Xander a Palm Pilot sized ELECTRONIC \n DEVICE.", "As the door closes, he looks back at Gibbons and his phalanx \n of Agents.", "GIBBONS\n Do you know the reason why I try to \n recruit guys like you? There's no \n risk.", "GIBBONS\n We're gonna have to step in, Sam. \n Those CIA boys couldn't find a clown", "XANDER\n Who the hell are you?\n\n GIBBONS\n The name's Gibbons. You were saying?", "GIBBONS\n You've kept up your end of the \n bargain, I'll do the same. But you \n really should consider staying on, \n you make a decent agent.", "GIBBONS\n He's gotten closer in 24 hours than \n all of the other operatives combined.", "GIBBONS\n This is good work, X, damn fine work. \n You need to press on at all costs, \n find out what they have planned with \n this \"Ahab\".", "SAM TANNICK\n Get these \"scum\", Mr. Gibbons, bring \n them in. Test them. Train them. Find \n your man.", "GIBBONS\n I think we should send him whatever \n he wants.\n\n SAM TANNICK\n You what? A wire transfer of this \n size?", "GIBBONS\n Most guys we ran through this either \n took off or helped them rob the place. \n I expected you to do the same.", "GIBBONS\n Good thing you were there to save \n the day. Come walk with me.\n\n Xander gets up and Gibbons leads him on a stroll around the", "If a nuclear war broke out, you could run the country from \n down here.\n\n Gibbons takes an elevator up.\n\n INT. SAM TANNICK'S OFFICE - NIGHT" ], [ "GIBBONS\n You've really got me confused, Cage. \n On the one hand you showed leadership,", "Agent Polk looks around, spots Gibbons. He rushes to him, \n waving a COMMUNIQUÉ.\n\n Gibbons grabs the communiqué, reads it. He looks up, stunned.", "Through the crowd, Xander sees Gibbons break through with \n his squad of Agents. Gibbons and Xander make eye contact.", "GIBBONS\n (smiles)\n You know what I hate? It's always \n the assholes that pass the tests.", "GIBBONS\n Alright, Cage, you've got me. This \n is one of those moments. \"Many are", "GIBBONS\n That information is classified. You're \n there to gather information on their \n operations, period.", "Xander sits with Gibbons in big leather chairs. They are \n surrounded by NSA AGENTS in suits.\n\n A NERDY AGENT snaps an ANKLET around Xander's ankle.", "GIBBONS\n Sure as gravity. I've had a feeling \n about you from the start, Cage. It's \n nausea.", "As the door closes, he looks back at Gibbons and his phalanx \n of Agents.", "GIBBONS\n Oh I don't know, I think the tests \n work pretty well. Sometimes they \n give me answers you wouldn't admit \n to in a million years.", "Xander, Gibbons and his Men are all silhouetted against the \n smoked glass windows.\n\n The Nerdy Agent hands Xander a Palm Pilot sized ELECTRONIC \n DEVICE.", "Xander tosses the gun on the counter. Gibbons gives a sly \n smile.\n\n GIBBONS\n Not bad. Not bad at all. Have a seat.", "SAM TANNICK\n Why not? You were going to throw him \n in a tub full of acid, weren't you?\n\n Gibbons smiles.", "Gibbons walks into the INFORMATION ROOM of the NATIONAL \n SECURITY AGENCY (NSA). There are WORLD MAPS, SATELLITE IMAGES", "INT. SAM TANNICK'S OFFICE - DAY\n\n Gibbons stands before Sam's desk. Sam scans over the \n communiqué.", "INT. AIRPORT TERMINAL - SUNSET\n\n The phalanx of Agents surrounds Xander and Gibbons as they \n walk to the gate. The Nerdy Agent hurries to catch up.", "Gibbons kicks the back of Xander's leg and dumps him on his \n ass. Gibbons was so quick, Xander never saw it coming.", "GIBBONS\n You've kept up your end of the \n bargain, I'll do the same. But you \n really should consider staying on, \n you make a decent agent.", "GIBBONS\n Do you know the reason why I try to \n recruit guys like you? There's no \n risk.", "GIBBONS\n We're gonna have to step in, Sam. \n Those CIA boys couldn't find a clown" ], [ "think Cage may be an American agent, \n do you understand what I'm telling \n you?", "PETRA\n Yes, I do. You're right. I can't \n just let him go free. Besides, I can \n help you from the inside.", "they'd kill me unless I help them. \n Plus they offer me a lot of money. \n No big deal. These things happen.", "GIBBONS\n Alright, Cage, you've got me. This \n is one of those moments. \"Many are", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "GIBBONS\n You've really got me confused, Cage. \n On the one hand you showed leadership,", "KID\n What do you get if you finish?\n\n XANDER\n Nothing, really. My guy is just doing \n it to stay alive.", "I put him out there, Sam. If he \n doesn't come up with the money, \n they'll kill him. I can't let that", "He looks the other direction, to the mass of PEOPLE on the \n bridge above him. Total strangers...\n\n The fate of the whole world is in the hands of a former \n nihilist.", "I'm with the National Security Agency. \n And unlikely as it may sound, I need \n your help.", "He gets it immediately. In a panic he fumbles for the \n cigarette...\n\n Too late. The missile zeroes in on his head.", "they went through the same training \n program. Ergo they ain't strangers \n and this isn't what it seems. That's", "He got us an account number to boot. \n Now even if he's just dumb and lucky, \n I say we back his play.\n (beat)", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "He's gotten through to her. She nods in agreement.\n\n PETRA\n They left. To a fortress in the \n mountains.", "GIBBONS\n That information is classified. You're \n there to gather information on their \n operations, period.", "YORGI\n This is insane, man. Xander Cage in \n Prague. Come on, sit. Sit with us.\n\n Yorgi signals for more drinks.", "twist you and use you how I see fit. \n And to be honest, you went much \n farther than I ever expected you \n would for your country.", "GIBBONS\n Sure as gravity. I've had a feeling \n about you from the start, Cage. It's \n nausea.", "Xander glides down and makes his landing. Accomplices #4 and \n #5 rush out to help him gather up his chute and jump in the \n van. SIRENS APPROACH as the van makes it's escape." ], [ "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS.", "YORGI\n That's what I'm talking about, man! \n That's why Anarchy 99 was born.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "it \"blood week\". He combined all of \n their global enterprises into one \n huge crime syndicate: Anarchy 99.", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "It's a crowded basement rave club. Hot and sweaty RAVERS \n dance in provocative outfits. The Anarchy 99 group is standing \n on the best booth, right on the packed dance floor.", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "Xander hops out, rifles through Slovo's pockets. The other \n Anarchy 99 cars pull up, the whole group looking on.", "XANDER\n Slick graphics, huh? See these dudes? \n They're called \"Anarchy 99\", they're \n the bad guy bosses.", "Then they hear talking outside and the door is UNLOCKED.\n\n A very nasty looking Marco comes in. By his look he's the \n LEADER.", "XANDER\n The people I know want facts, the \n kinds of things an insider would \n know. They're interested in putting \n Anarchy 99 out of business.", "SLOVO\n Oh no!\n\n He sees Xander walk right up to the Anarchy 99 booth and \n start talking to them.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!" ], [ "The big spotlight plays over the area, then moves on.\n\n Xander gives a sigh of relief. He crawls out of the drainpipe.", "By now Slovo is down the fire escape. He hits the ground and \n goes running down the street.", "He gets it immediately. In a panic he fumbles for the \n cigarette...\n\n Too late. The missile zeroes in on his head.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "As he strolls back out the alley, he HEARS something and \n flattens against the wall.\n\n A BLACKED OUT SUV screeches to a stop, blocking his exit.", "He looks the other direction, to the mass of PEOPLE on the \n bridge above him. Total strangers...\n\n The fate of the whole world is in the hands of a former \n nihilist.", "wanna be here either, so just step \n off. Three, if you had the authority \n to shoot me you would've done it by", "He climbs up to a second story window of a wooden building \n on a WHARF. From here he can shoot and NOT BE SEEN. He takes \n his LIT CIGARETTE and tucks it behind his ear.", "He can see Narcos shooting into the trees at the UNSEEN ENEMY.\n\n Looking the other way, he spots Virg running back his way.", "The Bodyguards pull out guns and Slovo rushes for the \n emergency exit in a panic. In seconds he's out and gone.", "Cornered, Sterling heads deeper into the alley, staying in \n the shadows. He gets to that DOOR the Hacker was heading \n towards.", "Police open fire, but the truck tears out the gate and starts \n heading down the mountain.\n\n INT. CASTLE - MAIN BUILDING - DAY", "He nods for Kirill to stand down.\n\n OUTSIDE - the two transport trucks are driven off by the \n Ivans. As they pull out they reveal ANOTHER CAR under a COVER.", "think Cage may be an American agent, \n do you understand what I'm telling \n you?", "He looks out the window, sees a GRAND HOTEL. They drive right \n on by.\n\n EXT. DIRTY APARTMENT BUILDING - DAY", "Sterling looks around desperately. Somehow he's got to get \n this data out of here.\n\n Straight ahead is the RIVER. Chugging up the river: a PARTY \n BARGE.", "JEEPS race by on the road right above him as MILITARY MEN \n flood the compound. There's no going back.\n\n Xander turns and makes his way along the tree line.", "I put him out there, Sam. If he \n doesn't come up with the money, \n they'll kill him. I can't let that", "Then they turn on Xander.\n\n XANDER\n I get the picture.\n\n Xander jumps out on his own." ], [ "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "came in as Yorgi's girlfriend and \n you stayed because it was fun. Now \n you don't like it so much, but you're", "She heads out. Yorgi goes to the bathroom, splashes water on \n his face.\n\n Kirill enters, still half asleep.", "Ivan 1 is talking on the radio when Yorgi appears behind him \n and shoots him in the back.\n\n They step over him and enter a GARAGE.", "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "YORGI\n (laughing)\n Don't look at me, X, she handles all \n the details.", "YORGI\n (smiles)\n Viktor! Stay the course.\n\n Yorgi kisses her again and heads to the cabin below.", "YORGI\n Petra, my sweet dove, do you notice \n anything strange about X? He looks \n slightly less than dead.\n\n Kirill aims his gun at Petra.", "XANDER\n She had nothing to do with the tower \n jump. She's nobody. I just met her \n last night. Tell them.\n (with meaning)\n I hardly know you.", "Up inside the castle he can see Yorgi at a window. Yorgi \n appears mildly shocked as they make EYE CONTACT.\n\n Xander takes aim.", "Xander and Petra are pinned down, but Yorgi and Kirill manage \n to make a fast exit out another door.\n\n XANDER\n Hey! We're on your side!", "YORGI\n I could have killed you, but I thought \n this would be so much more fun. To", "Across the room, Xander sees a small window leading to the \n courtyard. He has to run across open ground to reach it. He \n calls out to Yorgi.", "YORGI\n Not bad, man, not bad. You put things \n together quick. Prague it is.\n\n PETRA\n The Peace conference...", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "Slovo crumples, never knowing what hit him.\n\n The door creaks open. It's Petra, her gun still smoking.\n\n She's with the Ivans.", "think Cage may be an American agent, \n do you understand what I'm telling \n you?", "YORGI\n This is insane, man. Xander Cage in \n Prague. Come on, sit. Sit with us.\n\n Yorgi signals for more drinks.", "They make EYE CONTACT and Sterling gives a little nod.\n\n Yorgi calmly issues orders into his phone.", "YORGI\n Look who we found playing outside.\n\n Petra looks up. She can barely hide her shock." ], [ "Yorgi creeps down the hall, Kirill in tow. They both screw \n SILENCERS onto their PISTOLS.", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "YORGI\n I've got it, go! Cover me!\n\n Kirill grabs his sniper rifle and heads off.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "Up inside the castle he can see Yorgi at a window. Yorgi \n appears mildly shocked as they make EYE CONTACT.\n\n Xander takes aim.", "Ivan 1 is talking on the radio when Yorgi appears behind him \n and shoots him in the back.\n\n They step over him and enter a GARAGE.", "KIRILL\n Yorgi!\n\n They all look to the abandoned building.\n\n Through the second floor window they can see Slovo's leg \n poking through the ceiling.", "Yorgi hits an ALARM switch, alerting the guards.\n\n The Anarchy boys grab weapons and start racing through the \n house.", "They make EYE CONTACT and Sterling gives a little nod.\n\n Yorgi calmly issues orders into his phone.", "Yorgi goes to shoot but his hand won't work. There's a HUGE \n SHARD OF GLASS sticking through his forearm.", "YORGI\n Petra, my sweet dove, do you notice \n anything strange about X? He looks \n slightly less than dead.\n\n Kirill aims his gun at Petra.", "He hands the canisters to Viktor one by one.\n\n ANDERS\n (singing)\n \"Silent Night... Holy Night\"", "YORGI\n (smiles)\n Viktor! Stay the course.\n\n Yorgi kisses her again and heads to the cabin below.", "YORGI\n I could have killed you, but I thought \n this would be so much more fun. To", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "In the main room upstairs, Kirill is blasting away. Yorgi \n starts rounding up the computer gear.\n\n YORGI\n Hurry up, kill him!", "Yorgi walks up and SMASHES Xander in the face.\n\n YORGI\n That was for Anders.", "YORGI\n Easier than that, buddy. I'll get \n them to destroy each other. You kill", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "Yorgi nods and the Bodyguards step in front of Xander.\n\n XANDER\n I guess I heard wrong.\n\n Xander turns to leave." ], [ "The big spotlight plays over the area, then moves on.\n\n Xander gives a sigh of relief. He crawls out of the drainpipe.", "else. He slides to a stop on the near vertical face, clinging \n to rocks for balance.", "The fingers are so powerful that Xander is paralysed. He \n looks over, sees the bone saw start revving.\n\n XANDER\n (choking)\n No.", "Xander takes a deep breath and dives down. He grabs the hatch \n door, braces his feet and PULLS.\n\n His muscles strain as the heavy metal door slowly swings \n SHUT.", "He takes a METAL BALL from his pocket. There's a sink in the \n corner and he drops the metal ball down the drain.\n\n INT. DRAIN PIPE", "He gets it immediately. In a panic he fumbles for the \n cigarette...\n\n Too late. The missile zeroes in on his head.", "They land on Ahab and both grab on. They punch and pummel \n each other while desperately hanging on to the speeding \n torpedo. It surfaces as it approaches the magnificent St. \n Charles bridge.", "He pans over, clicks into \"penetrator\" mode, and sees the \n Crew pounding on the walls below decks. They're trapped,", "Yorgi hits another switch, opening the BALLAST DOORS on the \n port side of the ship. Air flows out, causing the ship to \n list to one side.", "Suddenly the massive SPOTLIGHT picks him out.\n\n XANDER\n Shit!\n\n The CHOPPER swoops down after him.", "Then we hear the BUZZING of a TATTOO NEEDLE.\n\n CUT TO:", "Sterling comes through the door and his face falls. He's \n stepped into a loud METAL CONCERT.", "But there's nothing there. He continues on.\n\n Then the Intruder comes sliding down the ZIP-LINE from above.", "Petra finds the CONTROLLER in the cab of the truck. She \n presses buttons desperately.\n\n PETRA\n He's shut out the communication \n circuit!", "They hit the last roof in a crunch of gravel. Anders clamps \n on the brakes and comes skidding to a stop, Xander right \n behind him.", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "He pulls off the claws and heads into the Guard Tower.\n\n INT. CASTLE - COURTYARD - DAY\n\n Xander exits the Guard Tower at the ground level.", "Anders starts pounding on a drumset. Petra kicks a soccer \n ball at him.\n\n PETRA\n Yeb vas, z'opa. Shut up!", "The smoking shell clatters to the ground.\n\n Slovo blinks up at Xander, gasping for words, then lays still." ], [ "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "it \"blood week\". He combined all of \n their global enterprises into one \n huge crime syndicate: Anarchy 99.", "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "It's a crowded basement rave club. Hot and sweaty RAVERS \n dance in provocative outfits. The Anarchy 99 group is standing \n on the best booth, right on the packed dance floor.", "YORGI\n That's what I'm talking about, man! \n That's why Anarchy 99 was born.", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS.", "of Anarchy 99.", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "YORGI\n Total chaos, man! Welcome to Anarchy \n 99!\n\n XANDER\n What's \"Anarchy 99\"?", "XANDER\n The people I know want facts, the \n kinds of things an insider would \n know. They're interested in putting \n Anarchy 99 out of business.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "canister is shot into the air and \n detonated. The black and white \n chemicals mix, forming a toxic cloud.", "XANDER\n I found something big enough for us \n to take these guys down with. They've \n got a of nerve agent they're gonna \n unleash.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "Laid out below he can see the AHAB DEVICE, hanging from \n chains. TECHIES are working with the Anarchy 99 crew to \n RETROFIT the thing." ], [ "think Cage may be an American agent, \n do you understand what I'm telling \n you?", "GIBBONS\n Alright, Cage, you've got me. This \n is one of those moments. \"Many are", "to a suicide mission. I think no \n matter which way I go I'm likely to \n wind up face down on a sheet of", "PETRA\n Yes, I do. You're right. I can't \n just let him go free. Besides, I can \n help you from the inside.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "He gets it immediately. In a panic he fumbles for the \n cigarette...\n\n Too late. The missile zeroes in on his head.", "I put him out there, Sam. If he \n doesn't come up with the money, \n they'll kill him. I can't let that", "KID\n What do you get if you finish?\n\n XANDER\n Nothing, really. My guy is just doing \n it to stay alive.", "He looks the other direction, to the mass of PEOPLE on the \n bridge above him. Total strangers...\n\n The fate of the whole world is in the hands of a former \n nihilist.", "GIBBONS\n You've really got me confused, Cage. \n On the one hand you showed leadership,", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "He pans over, clicks into \"penetrator\" mode, and sees the \n Crew pounding on the walls below decks. They're trapped,", "they'd kill me unless I help them. \n Plus they offer me a lot of money. \n No big deal. These things happen.", "He's gotten through to her. She nods in agreement.\n\n PETRA\n They left. To a fortress in the \n mountains.", "Then they turn on Xander.\n\n XANDER\n I get the picture.\n\n Xander jumps out on his own.", "GIBBONS\n That information is classified. You're \n there to gather information on their \n operations, period.", "All around him the Guards are driving into position. They \n form a gauntlet of AK-47's. There must be a DOZEN of them.", "And that's it. He's gone. One mile, straight down.\n\n Suddenly we're falling with him.", "Before he can shout, he's SHOT IN THE LEG and goes down.\n\n Seconds later, they're on the deck, tearing off their rigs.", "The Guards charge at him and he HOPS up onto the top of the \n CUBICLE WALL. This thing is maybe FOUR INCHES WIDE and FIVE \n FEET TALL." ], [ "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "YORGI\n That's what I'm talking about, man! \n That's why Anarchy 99 was born.", "it \"blood week\". He combined all of \n their global enterprises into one \n huge crime syndicate: Anarchy 99.", "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "of Anarchy 99.", "It's a crowded basement rave club. Hot and sweaty RAVERS \n dance in provocative outfits. The Anarchy 99 group is standing \n on the best booth, right on the packed dance floor.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS.", "YORGI\n Total chaos, man! Welcome to Anarchy \n 99!\n\n XANDER\n What's \"Anarchy 99\"?", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "XANDER\n Slick graphics, huh? See these dudes? \n They're called \"Anarchy 99\", they're \n the bad guy bosses.", "Xander hops out, rifles through Slovo's pockets. The other \n Anarchy 99 cars pull up, the whole group looking on.", "XANDER\n The people I know want facts, the \n kinds of things an insider would \n know. They're interested in putting \n Anarchy 99 out of business.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "SLOVO\n Oh no!\n\n He sees Xander walk right up to the Anarchy 99 booth and \n start talking to them." ], [ "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "XANDER\n The people I know want facts, the \n kinds of things an insider would \n know. They're interested in putting \n Anarchy 99 out of business.", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "YORGI\n That's what I'm talking about, man! \n That's why Anarchy 99 was born.", "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "Xander hops out, rifles through Slovo's pockets. The other \n Anarchy 99 cars pull up, the whole group looking on.", "SLOVO\n Oh no!\n\n He sees Xander walk right up to the Anarchy 99 booth and \n start talking to them.", "Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS.\n\n For all their screwing around, it's clear Anarchy 99 runs a \n large operation.", "of Anarchy 99.", "it \"blood week\". He combined all of \n their global enterprises into one \n huge crime syndicate: Anarchy 99.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "YORGI\n Total chaos, man! Welcome to Anarchy \n 99!\n\n XANDER\n What's \"Anarchy 99\"?" ], [ "Xander can see Ahab just a few inches under as Yorgi grabs \n him from behind in a chokehold.", "ANGLE ON - Ahab as Yorgi flips a switch and let's it go. The \n electric motor purrs to life and Ahab zips out into the river.", "Yorgi is motoring away, smiling, when he glances back and \n sees Xander and Petra take off after Ahab. He pounds on his", "Then Yorgi lunges onto his back, trying to pull him into the \n water. Xander HITS BUTTONS on the control panel and Ahab \n starts to DIVE.", "They remove it from it's box and carry it waist deep into \n the water. Yorgi opens a panel and works feverishly on Ahab's \n insides.", "PETRA\n Fantastic options.\n\n At the riverbank Yorgi and Kirill pull Ahab off the truck \n and prepare for launching.", "INT. CASTLE - GARAGE - DAY\n\n The Ahab device is in the back of a flatbed TRUCK. Yorgi and \n Kirill start up the truck and jam it into gear.", "They're heading into downtown Prague now, the riverbank \n getting more and more populated. Yorgi is closing fast.\n\n Down below them Petra can see the white streak of Ahab beneath \n the water.", "YORGI\n I've got it, go! Cover me!\n\n Kirill grabs his sniper rifle and heads off.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "YORGI\n (smiles)\n Viktor! Stay the course.\n\n Yorgi kisses her again and heads to the cabin below.", "This is the AHAB DEVICE. It sits in the WET WELL at the back \n of the ship, ready to be launched out the back sea doors.\n\n YORGI\n Ready the boat.", "Xander glances down, sees Ahab nearing the surface. Yorgi \n clobbers him and Xander falls to the edge of the boat. Petra \n tries to help, but Yorgi slugs her in her wounded arm.", "YORGI\n I could have killed you, but I thought \n this would be so much more fun. To", "Yorgi goes to shoot but his hand won't work. There's a HUGE \n SHARD OF GLASS sticking through his forearm.", "YORGI\n You think I'm after money? I told \n you, my friend. Anarchy. Time for a", "Up inside the castle he can see Yorgi at a window. Yorgi \n appears mildly shocked as they make EYE CONTACT.\n\n Xander takes aim.", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "He looks around a bit, doesn't find what he's looking for.\n\n He sits up, getting pissed.\n\n YORGI\n Get Kirill. Now!", "YORGI\n Petra, my sweet dove, do you notice \n anything strange about X? He looks \n slightly less than dead.\n\n Kirill aims his gun at Petra." ], [ "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "Police open fire, but the truck tears out the gate and starts \n heading down the mountain.\n\n INT. CASTLE - MAIN BUILDING - DAY", "Yorgi hits an ALARM switch, alerting the guards.\n\n The Anarchy boys grab weapons and start racing through the \n house.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "He pulls off the claws and heads into the Guard Tower.\n\n INT. CASTLE - COURTYARD - DAY\n\n Xander exits the Guard Tower at the ground level.", "INT. CASTLE - MAIN BUILDING - DAY\n\n The Police whip through the building like lightening, mowing \n down everyone in their path.", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS.", "It's a crowded basement rave club. Hot and sweaty RAVERS \n dance in provocative outfits. The Anarchy 99 group is standing \n on the best booth, right on the packed dance floor.", "He raises his gun and suddenly BOOOOOM! A massive explosion \n rocks the whole castle. Shrapnel shatters the windows, \n spraying glass, and Yorgi's shot goes wide.", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "EXT. CASTLE - COURTYARD - DAY\n\n The truck smashes through the garage doors and rumbles across \n the courtyard.", "Xander hops out, rifles through Slovo's pockets. The other \n Anarchy 99 cars pull up, the whole group looking on.", "He runs in a low crouch to the smooth castle wall. There's \n no hand-holds, it's, a perfectly flat climb. A canyon of \n ROCKS is below.", "Laid out below he can see the AHAB DEVICE, hanging from \n chains. TECHIES are working with the Anarchy 99 crew to \n RETROFIT the thing." ], [ "INT. CASTLE - MAIN BUILDING - DAY\n\n Kirill looks down at the carnage below. Xander takes advantage \n of the distraction and charges at Yorgi.", "Xander and Petra are pinned down, but Yorgi and Kirill manage \n to make a fast exit out another door.\n\n XANDER\n Hey! We're on your side!", "In the main room upstairs, Kirill is blasting away. Yorgi \n starts rounding up the computer gear.\n\n YORGI\n Hurry up, kill him!", "Ivan 1 is talking on the radio when Yorgi appears behind him \n and shoots him in the back.\n\n They step over him and enter a GARAGE.", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Police open fire, but the truck tears out the gate and starts \n heading down the mountain.\n\n INT. CASTLE - MAIN BUILDING - DAY", "The Bodyguards pull out guns and Slovo rushes for the \n emergency exit in a panic. In seconds he's out and gone.", "Yorgi hits an ALARM switch, alerting the guards.\n\n The Anarchy boys grab weapons and start racing through the \n house.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "Xander grabs Petra and jumps. Together they land in Yorgi's \n boat. The grenade explodes and their boat slams into a bridge \n support and shatters.", "YORGI\n I've got it, go! Cover me!\n\n Kirill grabs his sniper rifle and heads off.", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "By the time he pulls it out, Xander is on top of him. He \n body checks Yorgi, sending him flying over a desk. Kirill \n spins and starts FIRING. Xander ducks for cover.", "INT. CASTLE - MAIN BUILDING - DAY\n\n The Police whip through the building like lightening, mowing \n down everyone in their path.", "Kirill is almost on top of him.\n\n Xander sights up and FIRES.\n\n The fire extinguisher EXPLODES, blinding Kirill.", "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "Before he can shout, he's SHOT IN THE LEG and goes down.\n\n Seconds later, they're on the deck, tearing off their rigs.", "Up inside the castle he can see Yorgi at a window. Yorgi \n appears mildly shocked as they make EYE CONTACT.\n\n Xander takes aim.", "KIRILL\n Yorgi!\n\n They all look to the abandoned building.\n\n Through the second floor window they can see Slovo's leg \n poking through the ceiling.", "Xander elbow's Yorgi's gut and breaks the chokehold. He flips \n him and they both topple overboard." ], [ "GIBBONS\n Good thing you were there to save \n the day. Come walk with me.\n\n Xander gets up and Gibbons leads him on a stroll around the", "Agent Polk looks around, spots Gibbons. He rushes to him, \n waving a COMMUNIQUÉ.\n\n Gibbons grabs the communiqué, reads it. He looks up, stunned.", "GIBBONS\n Alright, Cage, you've got me. This \n is one of those moments. \"Many are", "GIBBONS\n You've really got me confused, Cage. \n On the one hand you showed leadership,", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "Gibbons releases his grip.\n\n GIBBONS\n I thought you might see it my way.\n\n Then Xander starts walking away.", "Gibbons and his men push through the cordon of POLICE, \n scanning the water. Nothing.\n\n Tears well in Petra's eyes. Even Gibbons looks dejected.", "SAM TANNICK\n Why not? You were going to throw him \n in a tub full of acid, weren't you?\n\n Gibbons smiles.", "GIBBONS\n Sure as gravity. I've had a feeling \n about you from the start, Cage. It's \n nausea.", "GIBBONS\n You've kept up your end of the \n bargain, I'll do the same. But you \n really should consider staying on, \n you make a decent agent.", "Petra runs down to him and throws her arms around him. Xander \n shakes Ivan 2's hand and then turns to Gibbons.", "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "Through the crowd, Xander sees Gibbons break through with \n his squad of Agents. Gibbons and Xander make eye contact.", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "GIBBONS\n So the odds are up to fifty-fifty? I \n can deal with that.\n\n CUT TO:", "YORGI\n (smiles)\n Viktor! Stay the course.\n\n Yorgi kisses her again and heads to the cabin below.", "GIBBONS\n We'll be talking soon, you'll see. \n You'll be back.\n\n Xander and Petra move off through the crowd arm in arm.", "As the door closes, he looks back at Gibbons and his phalanx \n of Agents.", "YORGI\n Petra, my sweet dove, do you notice \n anything strange about X? He looks \n slightly less than dead.\n\n Kirill aims his gun at Petra.", "Xander elbow's Yorgi's gut and breaks the chokehold. He flips \n him and they both topple overboard." ], [ "Xander is talking to Gibbons on his communicator.", "Agent Polk looks around, spots Gibbons. He rushes to him, \n waving a COMMUNIQUÉ.\n\n Gibbons grabs the communiqué, reads it. He looks up, stunned.", "Through the crowd, Xander sees Gibbons break through with \n his squad of Agents. Gibbons and Xander make eye contact.", "They make EYE CONTACT and Sterling gives a little nod.\n\n Yorgi calmly issues orders into his phone.", "INT. SAM TANNICK'S OFFICE - DAY\n\n Gibbons stands before Sam's desk. Sam scans over the \n communiqué.", "Ivan 1 is talking on the radio when Yorgi appears behind him \n and shoots him in the back.\n\n They step over him and enter a GARAGE.", "INT. AIRPORT TERMINAL - SUNSET\n\n The phalanx of Agents surrounds Xander and Gibbons as they \n walk to the gate. The Nerdy Agent hurries to catch up.", "Xander sits with Gibbons in big leather chairs. They are \n surrounded by NSA AGENTS in suits.\n\n A NERDY AGENT snaps an ANKLET around Xander's ankle.", "Yorgi checks his watch. His delivery is late. Then his CELL \n PHONE rings. He's getting the news from outside.", "If a nuclear war broke out, you could run the country from \n down here.\n\n Gibbons takes an elevator up.\n\n INT. SAM TANNICK'S OFFICE - NIGHT", "As the door closes, he looks back at Gibbons and his phalanx \n of Agents.", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "KIRILL\n Yorgi!\n\n They all look to the abandoned building.\n\n Through the second floor window they can see Slovo's leg \n poking through the ceiling.", "Xander, Gibbons and his Men are all silhouetted against the \n smoked glass windows.\n\n The Nerdy Agent hands Xander a Palm Pilot sized ELECTRONIC \n DEVICE.", "Gibbons and his men push through the cordon of POLICE, \n scanning the water. Nothing.\n\n Tears well in Petra's eyes. Even Gibbons looks dejected.", "On the other side, Xander sees a FLIGHT CREW readying a \n GULFSTREAM for travel. Gibbons steps up from behind him.", "INT. CASTLE - MAIN BUILDING - DAY\n\n Kirill looks down at the carnage below. Xander takes advantage \n of the distraction and charges at Yorgi.", "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "In the main room upstairs, Kirill is blasting away. Yorgi \n starts rounding up the computer gear.\n\n YORGI\n Hurry up, kill him!", "Across the room, Xander sees a small window leading to the \n courtyard. He has to run across open ground to reach it. He \n calls out to Yorgi." ], [ "He is XANDER CAGE. He's got a shaved head, bizarre TATTOOS \n all over his body and multiple PIERCINGS. He's lean and \n heavily cut, even dangerous looking.", "That's when Anders notices the \"X\" tattoo on the back of \n Xander's head. He gets excited and alerts Yorgi.\n\n YORGI\n Xander Cage!", "YORGI\n This is insane, man. Xander Cage in \n Prague. Come on, sit. Sit with us.\n\n Yorgi signals for more drinks.", "He's hacked in to the CZECH POLICE network.\n\n YORGI\n Something bothers me about you, Mr. \n Xander Cage...", "Xander, now on a MOTORCYCLE, zips through traffic. He's \n smiling, leaning it way over on the turns. He's got another \n BACKPACK on his back.", "Xander is in the last row against the bulkhead. He's got a \n personal DVD player and headphones and he's reviewing his \n mission. The high-tech screen shows photos, maps, cool \n graphics.", "Xander pulls himself back onto the bike and lands. He stops, \n sees Anders' BLOODY HELMET come bouncing into the alley. He \n tucks his pistol away and roars off.", "XANDER\n Who the hell are you?\n\n GIBBONS\n The name's Gibbons. You were saying?", "Xander and Slovo walk up to the place. Xander's wearing a \n Tshirt that says \"RON JEREMY: AMERICAN LEGEND\" complete with \n a photo of the Hedgehog.", "At the other end Xander catches air and lands on a CONFERENCE \n TABLE. He does a WHEELIE across it's length with Guards \n closing in.", "Xander's on the floor of a military aircraft. TWO OTHER TOUGH \n GUYS are waking up next to him. One's a greaser named VIRG,", "Xander blazes down the street, Anders racing right behind \n him. A wrong turn sends him into a dead end.\n\n At the end is a panel truck parked next to a stone wall.", "XANDER\n Next we got a Siberian redneck, \n Viktor. Into snowmobiles and \n snowboarding. So naturally, he covers \n prostitution and the drug trade.", "The two tough guys flash their COP ID's. Xander studies them. \n \"IVAN PEDGRAG\" and \"IVAN PODROV\".", "\"xXx\"\n\n by\n\n Rich Wilkes\n\n August 26, 2001", "Xander books, running for all he's worth. His cuffed hands \n and the dangling chain make it difficult.\n\n He's heading straight into the FIELD OF POT PLANTS.", "A squad of Narcos runs by and Xander makes his move.\n\n He rounds another pile of equipment and comes right into the \n HEADLIGHTS of a truck.", "Xander sits in a chair with the BLACK HOOD still over his \n head. He blinks when the hood is torn off. A Black Ops Soldier \n smirks as he walks away.", "XANDER\n Yeah, give it here.\n\n Slovo raises his pistol.\n\n SLOVO\n Sorry, \"dude\".", "Slovo is huffing and puffing as fast as he can when Xander \n comes skidding around the corner. He looks back and sees the \n speeding GTO." ], [ "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "YORGI\n That's what I'm talking about, man! \n That's why Anarchy 99 was born.", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS.", "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "It's a crowded basement rave club. Hot and sweaty RAVERS \n dance in provocative outfits. The Anarchy 99 group is standing \n on the best booth, right on the packed dance floor.", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "of Anarchy 99.", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "it \"blood week\". He combined all of \n their global enterprises into one \n huge crime syndicate: Anarchy 99.", "YORGI\n Total chaos, man! Welcome to Anarchy \n 99!\n\n XANDER\n What's \"Anarchy 99\"?", "Xander hops out, rifles through Slovo's pockets. The other \n Anarchy 99 cars pull up, the whole group looking on.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "Sitting silently on benches facing them are SOLDIERS DRESSED \n IN BLACK. They wear BLACK MASKS over their faces. They are a \n nasty looking BLACK OPS TEAM.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "KID\n (skeptically)\n \"Anarchy\" 99\"?\n\n XANDER\n What are you gonna do? They're Euro-\n trash.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "XANDER\n The people I know want facts, the \n kinds of things an insider would \n know. They're interested in putting \n Anarchy 99 out of business." ], [ "Xander lays down on the bed. Slovo stares, burning with \n hatred. He heads to the door.\n\n SLOVO\n Be ready in three hours.", "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "Xander stays strangely calm, his senses now fully focused.\n\n XANDER\n (shrugs)\n Alright, \"Buck\", whatever you say.", "Then they turn on Xander.\n\n XANDER\n I get the picture.\n\n Xander jumps out on his own.", "Xander turns. Suddenly their whole demeanor changes. All \n five guys get up, awed, and push the Bodyguards out of the \n way.", "As he makes his way down, Anders stirs. The guy is a bloody, \n broken mess but he gets to his feet. He sees where Xander is \n headed and he scurries off to intercept him.", "Viktor rides up twenty yards and waits, his engine idling.\n\n VIKTOR\n Hold positions!\n\n He squints up at the speck that is Xander.", "Xander is in the last row against the bulkhead. He's got a \n personal DVD player and headphones and he's reviewing his \n mission. The high-tech screen shows photos, maps, cool \n graphics.", "XANDER\n I know, poison needles in my shins. \n You've got 36 hours. Peace, out.\n\n Xander hangs up.", "XANDER\n Yeah, give it here.\n\n Slovo raises his pistol.\n\n SLOVO\n Sorry, \"dude\".", "Xander is the last one to board the plane.\n\n XANDER\n Is that all?\n\n GIBBONS\n Just remember, I'll be watching.", "Outside the Ivans nod approval and Xander heads to the office. \n Yorgi looks to kirill, who puts his hand on his PISTOL.\n\n Xander opens the door.", "XANDER\n It's about your next mission. You \n need to be debriefed.", "Xander moves to the edge and peers down. At the bottom of \n the mountain he can see the CASTLE, an imposing medieval", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "Kirill gives a thumbs up and puts on a pair of NIGHT VISION \n GOGGLES. He scans the big room but sees nothing.\n\n Xander, hidden at the opposite end, waits breathlessly.", "Kirill chambers another bullet and waits for them to make \n their second approach. The GTO comes roaring out, spinning \n in circles wildly. Xander's is just doing donuts as fast as \n he can.", "Xander steels himself, takes a few deep breaths.\n\n Then he sprints to the edge and JUMPS off the cliff...", "Slovo can't hear a thing, but they're obviously interested \n in what he has to say. Next thing he knows Xander is pointing \n at him and waving him over.", "PETRA\n You'll have forty-eight hours to \n complete the transfer. Don't waste \n our time.\n\n Xander snatches the napkin." ], [ "think Cage may be an American agent, \n do you understand what I'm telling \n you?", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "GIBBONS\n Alright, Cage, you've got me. This \n is one of those moments. \"Many are", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "He's hacked in to the CZECH POLICE network.\n\n YORGI\n Something bothers me about you, Mr. \n Xander Cage...", "Police open fire, but the truck tears out the gate and starts \n heading down the mountain.\n\n INT. CASTLE - MAIN BUILDING - DAY", "I'm with the National Security Agency. \n And unlikely as it may sound, I need \n your help.", "The Guards charge at him and he HOPS up onto the top of the \n CUBICLE WALL. This thing is maybe FOUR INCHES WIDE and FIVE \n FEET TALL.", "He drops down, six feet of chain still hanging from his cuffed \n wrists, and Jefe comes charging at him.\n\n Xander dodges a few wild swings.", "VIKTOR\n You almost died on that one.\n\n XANDER\n Cops arrested me while I was still \n in surgery. Did two months.", "SLOVO\n (panicked whisper)\n What the hell are you doing?\n\n He slams Slovo up against the wall and pulls out Slovo's \n police badge.", "GIBBONS\n You've really got me confused, Cage. \n On the one hand you showed leadership,", "Xander comes out of the torture building holding T.J. in a \n fireman's carry. His hands are still CUFFED, the length of \n chain dragging.", "Xander glides down and makes his landing. Accomplices #4 and \n #5 rush out to help him gather up his chute and jump in the \n van. SIRENS APPROACH as the van makes it's escape.", "Agent Polk looks around, spots Gibbons. He rushes to him, \n waving a COMMUNIQUÉ.\n\n Gibbons grabs the communiqué, reads it. He looks up, stunned.", "GIBBONS\n Sure as gravity. I've had a feeling \n about you from the start, Cage. It's \n nausea.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "Before he can shout, he's SHOT IN THE LEG and goes down.\n\n Seconds later, they're on the deck, tearing off their rigs.", "Xander books, running for all he's worth. His cuffed hands \n and the dangling chain make it difficult.\n\n He's heading straight into the FIELD OF POT PLANTS.", "Sitting silently on benches facing them are SOLDIERS DRESSED \n IN BLACK. They wear BLACK MASKS over their faces. They are a \n nasty looking BLACK OPS TEAM." ], [ "As he makes his way down, Anders stirs. The guy is a bloody, \n broken mess but he gets to his feet. He sees where Xander is \n headed and he scurries off to intercept him.", "Xander and Slovo walk up to the place. Xander's wearing a \n Tshirt that says \"RON JEREMY: AMERICAN LEGEND\" complete with \n a photo of the Hedgehog.", "Xander's on the floor of a military aircraft. TWO OTHER TOUGH \n GUYS are waking up next to him. One's a greaser named VIRG,", "More WORKERS appear at the bottom of the stairs so Xander \n goes up. He cranks up three flights of stairs and bashes \n onto the roof.", "Xander blazes down the street, Anders racing right behind \n him. A wrong turn sends him into a dead end.\n\n At the end is a panel truck parked next to a stone wall.", "Xander, now on a MOTORCYCLE, zips through traffic. He's \n smiling, leaning it way over on the turns. He's got another \n BACKPACK on his back.", "Xander moves to the edge and peers down. At the bottom of \n the mountain he can see the CASTLE, an imposing medieval", "XANDER\n I've been here before, when I was a \n kid. My old man was in the service, \n we used to live on the Army base in \n Hamburg.", "XANDER\n I thought that was in detail.\n\n As Shavers drones on, Xander hangs his head.\n\n EXT. WAREHOUSE DISTRICT - DAY", "He pulls off the claws and heads into the Guard Tower.\n\n INT. CASTLE - COURTYARD - DAY\n\n Xander exits the Guard Tower at the ground level.", "Shavers looks on in shock. He's got a crew of MECHANICS with \n him. Xander hands him the blowtorch and walks away.\n\n EXT. PRAGUE OPEN AIR MARKET - DAY", "EXT. MEDIEVAL MANOR - COURTYARD - NIGHT\n\n Xander places an EXPLOSIVE on a CONTROL BOX.", "Xander hangs up and heads down the hill.\n\n EXT. CASTLE - DAY", "EXT. LOFT DISTRICT - DOWNTOWN - NIGHT\n\n Xander drives his motorcycle into the garage of his building.", "EXT. ROMANTIC RESTAURANT - DAY\n\n Xander's timed it perfectly so that just as they get to the \n door, a BUS passes by.", "Xander is in the last row against the bulkhead. He's got a \n personal DVD player and headphones and he's reviewing his \n mission. The high-tech screen shows photos, maps, cool \n graphics.", "XANDER\n You ain't seen nothing yet.\n\n CUT TO:\n\n EXT. CZECH POLICE BUILDING - DAY", "Ivan 1 pulls Xander's gear bag from the trunk and throws it \n on the sidewalk.\n\n Xander picks it up and carries it into the building.", "He looks around but Xander is gone. He heads for the exit, \n pushing his way through the crowd. But then he spots him, \n not by the door but deeper in the club.", "XANDER\n I'm an information gatherer. You \n wanna go somewhere and talk about \n it?\n\n INT. MEDIEVAL MANOR - HALLWAY - DAY" ], [ "HE CHECKS HIS WATCH: \"6 PM\"\n\n The members of Anarchy 99 put on their goggles and, without \n saying a word, they leap off the Troll Wall.", "EXT. INSIDE THE INDUSTRIAL COMPLEX - DAY\n\n The Anarchy 99 guys seem to have a whole other army in here.", "The Anarchy 99 guys run outside just in time to see him go.\n\n YORGI\n He blew the gate control. Anders! \n Get the bastard!", "Xander hops out, rifles through Slovo's pockets. The other \n Anarchy 99 cars pull up, the whole group looking on.", "Anarchy 99 seals the door, locking the crew away. They slap \n five and bump chests, still totally amped up.\n\n EXT. SHIP - LATE AFTERNOON", "SLOVO\n Oh no!\n\n He sees Xander walk right up to the Anarchy 99 booth and \n start talking to them.", "The Anarchy 99 crew heads for their cars. Xander SPINS the \n cylinder on his REVOLVER.\n\n XANDER\n I've got him. Buckle up.", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "Xander sprints down the hallway. With the Anarchy 99 boys \n and Guards roaming the house, he's having a hard time finding \n his way out.", "Yorgi claps and a flock of strippers descends on the booth.\n\n Anarchy 99 lifts their glasses. Xander joins in the toast.", "Xander takes in WORLD MAPS, FAX MACHINES, BANKS OF COMPUTERS.\n\n For all their screwing around, it's clear Anarchy 99 runs a \n large operation.", "INT. GTO - MOVING - DAY\n\n The rest of Anarchy 99 follows behind the GTO.", "He sees THE CREW, herded into a room and LOCKED IN by Anarchy \n 99.\n\n INT. SHIP - LATE AFTERNOON", "XANDER\n The people I know want facts, the \n kinds of things an insider would \n know. They're interested in putting \n Anarchy 99 out of business.", "It's a crowded basement rave club. Hot and sweaty RAVERS \n dance in provocative outfits. The Anarchy 99 group is standing \n on the best booth, right on the packed dance floor.", "XANDER\n Slick graphics, huh? See these dudes? \n They're called \"Anarchy 99\", they're \n the bad guy bosses.", "What ANARCHY 99 is doing in their booth with the STRIPPERS \n looks like Led Zeppelin on tour. Booze, broads, good times... \n These guys are living like rock stars.", "YORGI\n Total chaos, man! Welcome to Anarchy \n 99!\n\n XANDER\n What's \"Anarchy 99\"?", "Xander sits with Gibbons in big leather chairs. They are \n surrounded by NSA AGENTS in suits.\n\n A NERDY AGENT snaps an ANKLET around Xander's ankle.", "SLOVO\n The corner. Anarchy 99.\n\n Slovo points them out in the far corner. They're surrounded \n by straight faced BODYGUARDS." ], [ "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "The scope pans over to Yorgi, who looks INTO CAMERA and gives \n a small signal, calling off the hit.\n\n BACK ON YORGI AND XANDER", "YORGI\n (smiles)\n Viktor! Stay the course.\n\n Yorgi kisses her again and heads to the cabin below.", "They make EYE CONTACT and Sterling gives a little nod.\n\n Yorgi calmly issues orders into his phone.", "YORGI\n This is insane, man. Xander Cage in \n Prague. Come on, sit. Sit with us.\n\n Yorgi signals for more drinks.", "YORGI\n Not bad, man, not bad. You put things \n together quick. Prague it is.\n\n PETRA\n The Peace conference...", "YORGI\n I've got it, go! Cover me!\n\n Kirill grabs his sniper rifle and heads off.", "YORGI\n I could have killed you, but I thought \n this would be so much more fun. To", "Ivan 1 is talking on the radio when Yorgi appears behind him \n and shoots him in the back.\n\n They step over him and enter a GARAGE.", "YORGI\n You think I'm after money? I told \n you, my friend. Anarchy. Time for a", "Finally we see YORGI, the unlikely looking Mafiya Don. We \n see CRIME SCENE PHOTOS that illustrate his exploits.", "YORGI\n You say you get a million, you get \n the million. Some cop gives us shit, \n he's dead. Jesus Christ, man, you're \n hard-core!", "Up inside the castle he can see Yorgi at a window. Yorgi \n appears mildly shocked as they make EYE CONTACT.\n\n Xander takes aim.", "Yorgi goes to shoot but his hand won't work. There's a HUGE \n SHARD OF GLASS sticking through his forearm.", "Yorgi rolls up his sleeve, revealing an Anarchy 99 tat (a \n circled \"A\" with \"99\" underneath).", "YORGI\n You hang with us, buddy, taste some \n freedom! Petra! Dance with this guy!", "YORGI\n Cops. Like a plague. No matter how \n many you pay there's always another \n with his hand out. How did you pick \n him out?", "YORGI\n Let's get some air, man.\n\n Yorgi and Xander head outside. A moment later, Kirill hurries \n out another door.", "Yorgi paws at a Stripper.\n\n YORGI\n I've got meetings this afternoon, \n I've got to get some sleep. Just \n pick a girl.", "YORGI\n Look who we found playing outside.\n\n Petra looks up. She can barely hide her shock." ], [ "He hands the canisters to Viktor one by one.\n\n ANDERS\n (singing)\n \"Silent Night... Holy Night\"", "me this it that \"classified\" stuff \n you didn't want me to know about. \n Does the song \"Silent Night\" mean", "Ahab starts making noise and it's payload doors swing open.\n\n Inside Xander can see the row of glass cannister containing \n Silent Night. The first one rises up into FIRING POSITION.", "time before they figure out how to \n deploy Silent Night. Then we're gonna \n have a catastrophe on our hands.", "GIBBONS\n If it means getting Silent Night \n back, absolutely.", "GIBBONS\n Silent Night is the name of a top \n secret binary nerve agent. The glass", "SAM TANNICK\n Silent Night in the hands of a bunch \n of impertinent cowboys", "XANDER\n I wanted to get the hell out of Prague \n before Silent Night falls.", "The big spotlight plays over the area, then moves on.\n\n Xander gives a sigh of relief. He crawls out of the drainpipe.", "Just like that it's quiet again. Sky hyperventilates, a gun \n in her face.", "Xander grabs onto the chimney as the avalanche washes over \n the Outpost. He holds on until the ocean of snow comes to a \n stop.\n\n Then it's all quiet.", "Sitting silently on benches facing them are SOLDIERS DRESSED \n IN BLACK. They wear BLACK MASKS over their faces. They are a \n nasty looking BLACK OPS TEAM.", "By now Xander is out of sight. Kirill pounds his rifle in \n frustration.", "Then she turns and looks off after Xander. She sees his GTO \n speeding away.\n\n FADE TO:", "And that's it. He's gone. One mile, straight down.\n\n Suddenly we're falling with him.", "It's all in silhouette now as WHAM! The rocket EXPLODES, \n setting off a CHAIN REACTION. WHAM! WHAM! WHAM! Ahab and", "But there's nothing there. He continues on.\n\n Then the Intruder comes sliding down the ZIP-LINE from above.", "PETRA\n I don't know. Eight months ago I \n stop hearing from my people. No", "XANDER\n A long time ago I learned how to put \n fear away in a little place in my", "XANDER\n I'm gonna need to hit the trees after \n a night like this.\n\n He tucks it-into his shirt and takes off through the POT \n FOREST." ], [ "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "Kirill gives a thumbs up and puts on a pair of NIGHT VISION \n GOGGLES. He scans the big room but sees nothing.\n\n Xander, hidden at the opposite end, waits breathlessly.", "Before Kirill can do so, Cops burst into the room, spraying \n bullets everywhere.", "He looks down into the room, sees Kirill bending down to \n examine the roach. Time to go.\n\n INT. MANOR BASEMENT - MAIN HALL - NIGHT", "Kirill is almost on top of him.\n\n Xander sights up and FIRES.\n\n The fire extinguisher EXPLODES, blinding Kirill.", "He looks around a bit, doesn't find what he's looking for.\n\n He sits up, getting pissed.\n\n YORGI\n Get Kirill. Now!", "Petra gets to the top of the stairs. She gives Kirill a \"Where \n did he go?\" look. Her nose is bloody, helping to sell her \n performance.", "In the main room upstairs, Kirill is blasting away. Yorgi \n starts rounding up the computer gear.\n\n YORGI\n Hurry up, kill him!", "Kirill chambers another bullet and waits for them to make \n their second approach. The GTO comes roaring out, spinning \n in circles wildly. Xander's is just doing donuts as fast as \n he can.", "POV ON XANDER THRU SNIPER SCOPE\n\n From up above, Kirill has Xander in his sights.", "Kirill's finger tightens on the trigger...\n\n As soon as the bus passes he FIRES!\n\n But Xander's not there, he's ducked down to tie his shoe.", "But then KIRILL steps around the corner. He's academic \n looking, a CHAIN SMOKING intellectual with COKE-BOTTLE", "He pulls out his gun as Kirill creeps ever closer.\n\n Against the far wall Xander spots a FIRE EXTINGUISHER.", "KIRILL\n Yorgi!\n\n They all look to the abandoned building.\n\n Through the second floor window they can see Slovo's leg \n poking through the ceiling.", "He nods for Kirill to stand down.\n\n OUTSIDE - the two transport trucks are driven off by the \n Ivans. As they pull out they reveal ANOTHER CAR under a COVER.", "He runs bent low, the parked cars protecting him from the \n sniper. Kirill fires anyway, taking out car windows.", "Kirill advances slowly, his buddies covering him from the \n door.", "Kirill aims, but with all the dust being kicked up he doesn't \n have much of a target.\n\n KIRILL\n What are you doing!", "KIRILL (O.S.)\n (on phone)\n Listen very carefully, Petra. We", "INT. CASTLE - MAIN BUILDING - DAY\n\n Kirill looks down at the carnage below. Xander takes advantage \n of the distraction and charges at Yorgi." ], [ "YORGI\n Do you think I didn't know about you \n all along? My contacts in the KGB", "PETRA\n I'm a agent as well. KGB. I've been \n undercover for over a year.", "Xander rubs his sore hand but stays put. Kirill could have \n killed him and he knows it. From a doorway comes Yorgi with \n some Guards.", "YORGI\n Petra, my sweet dove, do you notice \n anything strange about X? He looks \n slightly less than dead.\n\n Kirill aims his gun at Petra.", "She heads out. Yorgi goes to the bathroom, splashes water on \n his face.\n\n Kirill enters, still half asleep.", "KIRILL\n Yorgi!\n\n They all look to the abandoned building.\n\n Through the second floor window they can see Slovo's leg \n poking through the ceiling.", "YORGI\n (laughing)\n Don't look at me, X, she handles all \n the details.", "Slovo crumples, never knowing what hit him.\n\n The door creaks open. It's Petra, her gun still smoking.\n\n She's with the Ivans.", "YORGI\n I've got it, go! Cover me!\n\n Kirill grabs his sniper rifle and heads off.", "PETRA\n Whoever sent you knew what they were \n doing. You and Yorgi are practically", "Ivan 1 is talking on the radio when Yorgi appears behind him \n and shoots him in the back.\n\n They step over him and enter a GARAGE.", "I'm with the National Security Agency. \n And unlikely as it may sound, I need \n your help.", "YORGI\n Not bad, man, not bad. You put things \n together quick. Prague it is.\n\n PETRA\n The Peace conference...", "By the time he pulls it out, Xander is on top of him. He \n body checks Yorgi, sending him flying over a desk. Kirill \n spins and starts FIRING. Xander ducks for cover.", "Yorgi stares, finally believes him. He lowers his gun.\n\n YORGI\n Get him! Find out who he is!", "computers. Joined the gang after \n spending some time as the girlfriend \n of this dude, Yorgi Azar Zimin. Capo", "came in as Yorgi's girlfriend and \n you stayed because it was fun. Now \n you don't like it so much, but you're", "YORGI\n I could have killed you, but I thought \n this would be so much more fun. To", "Up inside the castle he can see Yorgi at a window. Yorgi \n appears mildly shocked as they make EYE CONTACT.\n\n Xander takes aim.", "Xander and Petra are pinned down, but Yorgi and Kirill manage \n to make a fast exit out another door.\n\n XANDER\n Hey! We're on your side!" ] ]

[ "Who did NSA Agent Gibbons select to help him?", "What were the two tests that Agent Gibbons made Cage complete?", "Why did Cage agree to help with the mission?", "How did Cage gain the trust of the Anarchy 99 leader when he first arived?", "Why does Cage refuse to go back home after his cover is blown?", "What does Yelena tell Cage about herself at the safehouse?", "What was Yorgi's plan involving Silent Night?", "How does Cage stop the drone?", "What is the name of the biochemical weapon that Anarchy 99 has?", "Why does Cage agree to go on the mission?", "What is the name of Anarchy 99's leader?", "Who does Cage gain critical information from on the military background of Anarchy 99?", "What did Yorgi plan to equip Ahab with?", "How does Cage destroy the monitoring station that Anarchy 99 used to secure the castle?", "When Cage and Yelena escape during the special forces attack, who do they kill?", "What does Gibbons promise to Yelena after Cage is rescued?", "Where are Cage and Yelena when Gibbons calls with another mission?", "What alias is Xander Cage known by?", "Where are Anarchy 99 soldiers from, according to the story?", "When does X agree to accept the mission?", "What agency arrested Cage?", "Where does Xander meet Milan?", "Which Anarchy 99 member watches X's television program?", "How did Cage initially gain Yorgi's trust?", "When did \"Silent Night\" first disappear?", "Who was with Cage when Kirill tried to kill him?", "Which agency did Yelena work for, according to the story?" ]

[ [ "Xander Cage", "Xander Cage" ], [ "Stopping a robbery and escaping from a drug plantation", "Stopping a staged robbery and escaping from a drug cartel. " ], [ "Agent Gibbons offered to wipe (remove) his criminal record", "His criminal record would be wiped" ], [ "He blew the cover of another agent, named Sova", "He shoots sova with a fake blood splatter round to make it look like hes dead." ], [ "He is afraid for Yelena's safety", "He fears for Yelena's safety." ], [ "That she is an FSB agent, working undercover", "She is an FSB agent" ], [ "To put Silent Night on a waterborne drone and release the biochemical in every major city", "To destroy every major city with it." ], [ "He harpoons it and it sinks underwater", "He harpoons Ahab and sinks the drone." ], [ "Silent Night", "Silent Night." ], [ "Gibbons will wipe his criminal record", "Because Gibbons can wipe his criminal record." ], [ "Yorgi", "Yorgi." ], [ "Kolya", "Kolya" ], [ "Silent Night", "A biochemical weapon." ], [ "By starting an avalanche ", "With an avalanche" ], [ "Kirill and Yorgi", "Kirill and Yorgi." ], [ "American citizenship", "Gibbons promises Yelena American citizenship." ], [ "Bora Bora", "In Bora Bora." ], [ "X", "X. " ], [ "Russia", "Russia" ], [ "after Augustus offers to erase his criminal record", "When Gibbons offers to wipe his criminal record" ], [ "FBI", "FBI" ], [ "in Prague", "Prague. " ], [ "Kolya", "To recruit X for the mission." ], [ "he revealed that Milan was an agent", "He reveals Sova's location to Yorgi." ], [ "after the Soviet Union's fall", "The fall of the Soviet Union." ], [ "Yelena", "Yelena" ], [ "FSB", "FBI. " ] ]

9b99f455760055f2c719e61f29fa4a09479d8524

train

[ [ "either a painful or a disgusting subject to the whole party, two or\nthree curious and hard minds excepted, to whom opposition to Catholicism\nwas meat and drink. Besides, in such chance collections of men, no one", "manner, denounced parties and party-spirit, and thought to avoid the one\nand the other by eschewing all persons, and holding all opinions. He had", "and parties in Oxford, which had so many bad effects, making so many\ntalk, so many criticise, and not a few perhaps doubt about truth\naltogether. Then he said that, evil as it was in a place of education,", "relish it; and, moreover, he felt some little repugnance to such\nopinions and such people, under the notion that the authorities of the\nUniversity were opposed to the whole movement. He could not help looking", "No one thinks or feels like me. I hear sermons, I talk on religious\nsubjects with friends, and every one seems to bear witness against me.\nAnd now the College bears its witness, and sends me down.\"", "professors, he knew, were active and influential, and in past times had\nbeen much persecuted. Freeborn had surprised and offended him at", "at its leaders as demagogues; and towards demagogues he felt an\nunmeasured aversion and contempt. He did not see why clergymen, however", "After this introduction, he proceeded to attribute to this defect the\nnumber of religious differences in the world. He said that the most\ncelebrated questions in religion were but verbal ones; that the", "place, he would in the main have agreed with them, had he let himself\nalone; but he was determined to have an intellect of his own, and this\nput him to great shifts when he would distinguish himself from them. Had", "think of our Church.\" There was a pause. \"I thought this was at the\nbottom,\" she said; \"I never could believe that a parcel of people, some", "conversation proceeded. Two persons did not like it; Freeborn, who was\nsimply disgusted at the doctrine, and Reding, who thought it a bore; yet", "Especially was he desirous of dissipating the fog of pomposity and\nsolemn pretence, which its writer had thrown around the personages", "said, \"of the opinions of the Truth Society to admire their ingenuity\nand originality, but, excuse me, not their good sense. It is impossible", "They had fallen on a difficult subject; all were somewhat puzzled except\nWhite, who had not been attending, and was simply wearied; he now", "respectable, should be collecting undergraduates about them; and he\nheard stories of their way of going on which did not please him.\nMoreover, he did not like the specimens of their followers whom he fell", "than to obtrude their fanaticism on persons who did but despise it. \"I\nknow more about the Universities,\" he continued, \"than to suppose that", "Think of the good old man's horror, Majesty in the distance, and his own\npeople swaying to and fro under his very nose, and promising to leave\nhim for the gutter before the march was ended.\"", "distinguished in the pursuit of Truth, though they have arrived at\ncontradictory opinions.\"", "the dispute. Freeborn, in fact, thought theology itself a mistake, as\nsubstituting, as he considered, worthless intellectual notions for the", "despises the Fathers, is jealous of priestcraft, is a Protestant\nreality, is a Catholic sham. This existing reality, which is alive and" ], [ "because, too, the more he had an opportunity of hearing and seeing, the\ngreater cause he had to admire and revere the Roman Catholic system, and\nto be dissatisfied with his own. Carlton, after carefully considering", "view, he carefully got up some of the most popular works against the\nChurch of Rome. After much thought he determined to direct his attack on", "despises the Fathers, is jealous of priestcraft, is a Protestant\nreality, is a Catholic sham. This existing reality, which is alive and", "Rome; he could not tell distinctly why he so anticipated, except that\nthere were so many things which he thought right in the Church of Rome,\nand so many which he thought wrong in the Church of England; and,", "Charles was not pleased with the subject, on various accounts. He did\nnot like what seemed to him an attack of Sheffield's upon the Church of", "and aspirations, then and there prevailing, than was to be found in the\nanti-Catholic pamphlets, charges, sermons, reviews, and story-books of\nthe day.", "either a painful or a disgusting subject to the whole party, two or\nthree curious and hard minds excepted, to whom opposition to Catholicism\nwas meat and drink. Besides, in such chance collections of men, no one", "Charles thought awhile; then he said, \"Certainly, I don't like many\nthings which are done and said by Roman Catholics just now; but I don't", "It was with some malicious feeling, in consequence of his attack on\nclergymen of the past age, that Charles pressed his visitor to give an\naccount of his own reforms.", "at its leaders as demagogues; and towards demagogues he felt an\nunmeasured aversion and contempt. He did not see why clergymen, however", "involved of disposing young men towards Catholicism, by attaching to\nthem the bad report of it, and of forcing them farther by inflicting on", "\"But what do you mean by the Catholic Church?\" asked Freeborn.\n\n\"The Anglican,\" answered Bateman.\n\n\"The Roman,\" answered White; both in the same breath.", "\"Why, then, go to Rome for Gregorians?\" said Campbell; \"I suspect they\nare called after Gregory I. Bishop of Rome, whom Protestants consider\nthe first specimen of Antichrist.\"", "Protestant; the living body abjures Catholicism, flings off the name and\nthe thing, hates the Church of Rome, laughs at sacramental power,", "feeling. For myself, I cannot deny, I never have concealed from you my\nconvictions, that the Romish Church is antichristian. She has ten", "despised money; he cared nothing for public opinion; yet he was a\nSabellian. Would he have eaten the bread of the Church, as it is called,", "\"Well, if there is anything that recommends Romanism to me,\" said\nCharles, \"it is what you so much dislike: I'd give twopence, if some", "\"You know well enough,\" answered Willis, \"though you wish to annoy me.\"\n\n\"I don't indeed.\"\n\n\"It's the Catholic church,\" said Willis.", "Catholic. He said no one should go over merely because he thought he\nshould like it better; that he had found out by experience that no one\ncould live on sentiment; that the whole system of worship in the Romish", "\"Well,\" said Campbell, \"you but read a bit of the history of the\nReformation, and you will find that the doctrine that the Pope is\nAntichrist was the life of the movement.\"" ], [ "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "before he had read the Articles, to take them on trust; but a young man\nwho had had the advantages of Mr. Reding, who had been three years at", "\"Well, Charles Reding,\" he said, \"I think we know each other well enough\nfor you to have given me a hint of what was going on as regards you.\"\n\nCharles said he had written to him only the evening before.", "\"You, dear Reding,\" said Father Aloysius, \"have keen fresh feelings;\nmine are blunted by familiarity.\"", "\"Mr. Reding,\" said he, \"I did not like to question you before the\nothers, but I conceive you had no particular _meaning_ in your praise of", "At length he felt a light hand on his shoulder, and a voice said,\n\"Reding, I am going; let me just say farewell to you before I go.\" He", "Reding began to rouse himself; he felt he ought to say something; he\nfelt that silence would tell against him. \"Dear sir,\" he answered,", "Mr. Reding had left his family well provided for; and this, though a\nreal alleviation of their loss in the event, perhaps augmented the pain", "appearance: I speak for myself; I will say no more; I can be of use to\nyou. Mr. Reding,\" he continued, pulling his chair towards him, and", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "\"If you have made up your mind, Reding,\" said Carlton, \"it's no good\ntalking. May you be happy wherever you are! You must always be yourself;\nas a Romanist, you will still be Charles Reding.\"", "Charles Reding was the only son of a clergyman, who was in possession of\na valuable benefice in a midland county. His father intended him for", "\"Excuse me, Mr. Reding,\" he said, \"if before you go, I say one word. I\nfeel very much for the struggle which is going on in your mind; and I am", "\"Reding, my good fellow,\" said he, \"what is the meaning of this report\nconcerning you, which is everywhere about?\"\n\n\"I have not heard it,\" said Charles abruptly.", "absence perhaps from dangerous companions, will have brought you to a\nsoberer state of mind, Mr. Reding.\"", "\"Certainly,\" answered Reding, \"things have been said to me by your\nteachers which I must suppose were only private opinions, though they\nseemed to be more.\"", "\"You need not go far for an answer,\" said his neighbour, and, turning to\ntheir host, added, \"Carlton, who is Mr. Reding?\"", "The time at length was come; Reding could not bear more; and, as it\nhappened, his visitor's offence gave him the means, as well as a cause,", "\"Understand me,\" answered Reding; \"I have come to my resolution with\ngreat deliberation. It has remained on my mind as a mere intellectual", "Charles at once changed his tone in speaking to him. He came to Mr.\nReding, he said, from a sense of duty; and there was nothing in his" ], [ "But to return to our story. Such was Reding. But Sheffield, on the other\nhand, without possessing any real view of things more than Charles, was,", "\"Reding,\" answered Sheffield, \"I speak what I think, and ever will do\nso; I will be no party man. I don't attempt, like Vincent, to unite", "before his examination; and, as Mrs. Reding had not as yet fully\narranged her plans, but was still, with her daughters, passing from\nfriend to friend, he had listened to Sheffield's proposal to take a", "\"My dear Sheffield, how you run on!\" said Reding. \"Well, do you know, I\ncan tell you a piece of real news bearing on these reports, and not of\nthe pleasantest. Did you know Willis of St. George's?\"", "\"But, my dear Sheffield,\" answered Reding, \"consider how many things\nthere are which, in the course of time, have altered their original", "\"That's not a fair answer, Reding,\" said Sheffield; \"what Mr. Freeborn\nobserved was, that there's no creed in the Bible; and you answer that\nthere is a creed in the Prayer Book.\"", "CHAPTER IV.\n\n\nA few days later, Carlton, Sheffield, and Reding were talking together\nafter dinner out of doors about White.", "\"I know better what's at the bottom of it,\" said Sheffield; \"but I can't\nstay; I must go in and read; Reding is too fond of a gossip.\"", "Sheffield laughed out, nor could Reding stand it. \"What is it?\" cried\nSheffield; \"don't be hard on me? What have I done? Where did the\nsacredness begin? I eat my words.\"", "\"You wish me to say good-night,\" said Sheffield. Charles did not deny\nthe charge; and the friends parted.\n\n\n\n\nCHAPTER XV.", "pursued into its consequences, and to affect his existing opinions. In\nthe instance before us, he saw Sheffield's principle was more or less\nantagonistic to his own favourite maxim, that it was a duty to be", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "\"It's quite true,\" returned Fusby; \"I had it from the Under-Marshal, who\nwas passing at the moment. My eye has been on Mr. Reding for some\nyears.\"", "\"Mr. Reding,\" said he, \"I did not like to question you before the\nothers, but I conceive you had no particular _meaning_ in your praise of", "\"You mean,\" said Sheffield, \"if I understand you, that it is a piece of\nmawkish hypocrisy to shake the head and throw up the eyes at Mr. this or", "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "\"I declare,\" said Reding to himself, \"it really has power over him;\" and\nhe still confronted Dr. Kitchens with it, while he kept it out of Dr.\nKitchens' reach.", "\"You are wrong,\" said Sheffield, \"if you think I don't value him\nextremely, and love him too; it's impossible not to love him. But he's\nnot the person quite to get influence over me.\"", "\"I don't think you like Carlton as well as I do,\" said Reding to\nSheffield, as they lay on the green sward with some lighter classic in", "There was a silence; the answer conveyed a good deal: it was a relief,\nbut it was an intimation. \"Sit down, my dear Reding; will you have" ], [ "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "Reding had for near two years put aside his doubts about the Articles;\nbut it was like putting off the payment of a bill--a respite, not a", "before he had read the Articles, to take them on trust; but a young man\nwho had had the advantages of Mr. Reding, who had been three years at", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "\"I did not say a creed was everything,\" answered Reding, \"or that a\nreligion could not be false which had a creed; but a religion can't be\ntrue which has none.\"", "Reding sighed; he saw clearly that his change of religion, when\ncompleted, would not fail to have an effect on Carlton's thoughts about", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "Reding was silent a moment; then he said, \"Well, I don't think you have\nmended the matter; it _is_ a dissenting meeting, call it what you will,\nthough not the kind of one I meant.\"", "He returned to his former subject. \"In what sense do you understand the\nArticles, Mr. Reding?\" he asked. That was more than Charles could tell;", "\"I declare,\" said Reding to himself, \"it really has power over him;\" and\nhe still confronted Dr. Kitchens with it, while he kept it out of Dr.\nKitchens' reach.", "The thought came across Reding whether perhaps, after all, what is\ncalled Evangelical Religion was not the true Christianity: its", "Reding took some time to think over this. \"All this,\" he said, \"proceeds\non the fundamental principle that the Church of England is an integral", "\"That's not a fair answer, Reding,\" said Sheffield; \"what Mr. Freeborn\nobserved was, that there's no creed in the Bible; and you answer that\nthere is a creed in the Prayer Book.\"", "Reding thought; then he said: \"Tell me, Bateman, would not this view of\nsubscription to the Articles let the Unitarians into the Church?\"", "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into", "ideas, but he brings in the dicta of that system to confirm and to\njustify certain private judgments and personal feelings and habits\nalready existing. Reding, for instance, felt a difficulty in determining", "Some dear sisters of hers were engaged in organizing a new religious\nbody, and Mr. Reding's accession, counsel, assistance, would be\nparticularly valuable; the more so, because as yet they had not any", "Now Charles Reding, a youth of twenty, could not be supposed to have\nmuch of a view in religion or politics; but no clever man allows himself", "from the West End for the honour of an interview with Mr. Reding.\nCharles groaned, but only one reply was possible; the day was already\nwasted, and with a sort of dull resignation he gave permission for the" ], [ "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "\"Mr. Reding,\" said he, \"I did not like to question you before the\nothers, but I conceive you had no particular _meaning_ in your praise of", "There was a silence; the answer conveyed a good deal: it was a relief,\nbut it was an intimation. \"Sit down, my dear Reding; will you have", "Reding was silent a moment; then he said, \"Well, I don't think you have\nmended the matter; it _is_ a dissenting meeting, call it what you will,\nthough not the kind of one I meant.\"", "\"Excuse me, Mr. Reding,\" he said, \"if before you go, I say one word. I\nfeel very much for the struggle which is going on in your mind; and I am", "Reding had for near two years put aside his doubts about the Articles;\nbut it was like putting off the payment of a bill--a respite, not a", "before he had read the Articles, to take them on trust; but a young man\nwho had had the advantages of Mr. Reding, who had been three years at", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "\"I declare,\" said Reding to himself, \"it really has power over him;\" and\nhe still confronted Dr. Kitchens with it, while he kept it out of Dr.\nKitchens' reach.", "\"It's quite true,\" returned Fusby; \"I had it from the Under-Marshal, who\nwas passing at the moment. My eye has been on Mr. Reding for some\nyears.\"", "appearance: I speak for myself; I will say no more; I can be of use to\nyou. Mr. Reding,\" he continued, pulling his chair towards him, and", "At length he felt a light hand on his shoulder, and a voice said,\n\"Reding, I am going; let me just say farewell to you before I go.\" He", "\"Well, if I am, you have put me on it,\" said Reding, wishing to get away\nfrom the subject as quick as he could; \"for you are ever talking", "\"Reding, my good fellow,\" said he, \"what is the meaning of this report\nconcerning you, which is everywhere about?\"\n\n\"I have not heard it,\" said Charles abruptly.", "Reding was surprised, and shocked, and puzzled too; he did not know what\nto say; when the conversation was, perhaps fortunately, interrupted.\n\n\n\n\nCHAPTER V.", "the New Jerusalem!\" \"In charity,\" said Reding, without changing his\nattitude, \"in charity, leave me alone. You mean it well, but I don't", "The time at length was come; Reding could not bear more; and, as it\nhappened, his visitor's offence gave him the means, as well as a cause,", "But to return to our story. Such was Reding. But Sheffield, on the other\nhand, without possessing any real view of things more than Charles, was,", "\"I hold, d'ye see,\" answered Vincent, \"that all errors are counterfeits\nof truth. Clever men say true things, Mr. Reding, true in their", "\"Take it away, Mr. Reding, I beseech you,\" cried Kitchens, still\nretreating, while Charles still pressed on him; \"take it away, it's too" ], [ "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "\"That's about the truth,\" said another; \"I met Mr. Malcolm yesterday at\ndinner, and it seems he knows the family. He said that his religious\nnotions carried Reding away, and spoiled his reading.\"", "\"Reding, my good fellow,\" said he, \"what is the meaning of this report\nconcerning you, which is everywhere about?\"\n\n\"I have not heard it,\" said Charles abruptly.", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "Reding sighed; he saw clearly that his change of religion, when\ncompleted, would not fail to have an effect on Carlton's thoughts about", "\"Well, Charles Reding,\" he said, \"I think we know each other well enough\nfor you to have given me a hint of what was going on as regards you.\"\n\nCharles said he had written to him only the evening before.", "\"True, my love,\" answered Mrs. Reding; \"Charles is a dear good fellow, I\nknow. How glad we all shall be to have him ordained, and settled in a\ncuracy!\"", "There was a silence; the answer conveyed a good deal: it was a relief,\nbut it was an intimation. \"Sit down, my dear Reding; will you have", "\"Mr. Reding,\" said he, \"I did not like to question you before the\nothers, but I conceive you had no particular _meaning_ in your praise of", "two friends of Mr. Reding's below, who wished very much to have a few\nminutes' conversation with him. Charles could make no intelligible\nobjection to the request; and in the course of a few minutes their knock", "\"If you have made up your mind, Reding,\" said Carlton, \"it's no good\ntalking. May you be happy wherever you are! You must always be yourself;\nas a Romanist, you will still be Charles Reding.\"", "followed. Reding thought he never had been present at worship before, so\nabsorbed was the attention, so intense was the devotion of the\ncongregation. What particularly struck him was, that whereas in the", "At length he felt a light hand on his shoulder, and a voice said,\n\"Reding, I am going; let me just say farewell to you before I go.\" He", "from the West End for the honour of an interview with Mr. Reding.\nCharles groaned, but only one reply was possible; the day was already\nwasted, and with a sort of dull resignation he gave permission for the", "Charles at once changed his tone in speaking to him. He came to Mr.\nReding, he said, from a sense of duty; and there was nothing in his", "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into", "before his examination; and, as Mrs. Reding had not as yet fully\narranged her plans, but was still, with her daughters, passing from\nfriend to friend, he had listened to Sheffield's proposal to take a", "The time at length was come; Reding could not bear more; and, as it\nhappened, his visitor's offence gave him the means, as well as a cause," ], [ "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "Some dear sisters of hers were engaged in organizing a new religious\nbody, and Mr. Reding's accession, counsel, assistance, would be\nparticularly valuable; the more so, because as yet they had not any", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into", "\"Hear me out, Mr. Reding, sir,\" answered Jack, waving his hand; \"hear\nme, but strike; I repeat, I am a member of the Holy Catholic Church,\nassembling in Huggermugger Lane.\"", "Willis carried him from the church into the sacristy. \"What a joy,\nReding!\" he whispered, when the door closed upon them; \"what a day of", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "followed. Reding thought he never had been present at worship before, so\nabsorbed was the attention, so intense was the devotion of the\ncongregation. What particularly struck him was, that whereas in the", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "Reding sighed; he saw clearly that his change of religion, when\ncompleted, would not fail to have an effect on Carlton's thoughts about", "Reding took some time to think over this. \"All this,\" he said, \"proceeds\non the fundamental principle that the Church of England is an integral", "\"True, my love,\" answered Mrs. Reding; \"Charles is a dear good fellow, I\nknow. How glad we all shall be to have him ordained, and settled in a\ncuracy!\"", "\"If you have made up your mind, Reding,\" said Carlton, \"it's no good\ntalking. May you be happy wherever you are! You must always be yourself;\nas a Romanist, you will still be Charles Reding.\"", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "Reding was silent a moment; then he said, \"Well, I don't think you have\nmended the matter; it _is_ a dissenting meeting, call it what you will,\nthough not the kind of one I meant.\"", "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "\"Because,\" answered Reding, \"you are more of a Dissenter than a\nCatholic. I beg your pardon,\" he added, seeing Willis look up sharply,", "\"You did more,\" said Reding. \"I was told most carefully. You solemnly\nengaged to keep the statutes; and one statute is, not to go into any\ndissenting chapel or meeting whatever.\"", "Charles Reding was the only son of a clergyman, who was in possession of\na valuable benefice in a midland county. His father intended him for", "\"He's too much of an Anglican for you,\" said Reding." ], [ "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "Some dear sisters of hers were engaged in organizing a new religious\nbody, and Mr. Reding's accession, counsel, assistance, would be\nparticularly valuable; the more so, because as yet they had not any", "Reding took some time to think over this. \"All this,\" he said, \"proceeds\non the fundamental principle that the Church of England is an integral", "Charles Reding was the only son of a clergyman, who was in possession of\na valuable benefice in a midland county. His father intended him for", "followed. Reding thought he never had been present at worship before, so\nabsorbed was the attention, so intense was the devotion of the\ncongregation. What particularly struck him was, that whereas in the", "\"Hear me out, Mr. Reding, sir,\" answered Jack, waving his hand; \"hear\nme, but strike; I repeat, I am a member of the Holy Catholic Church,\nassembling in Huggermugger Lane.\"", "been suspended since the time of the Apostles. And now you see the\nreason of my calling on you, Mr. Reding. It is reported that you lean", "\"Yes, Mrs. Reding,\" said Bateman; \"but by ancestors I meant the holy\nBishops and other members of our Catholic Church previously to the", "\"He's too much of an Anglican for you,\" said Reding.", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "other place in the world; which makes it, as no other place can be,\nholy. The Breviary offices were by this time not unknown to Reding; and", "\"Now this is just one of the points on which I can't get at the bottom\nof the Church of England's doctrine,\" Reding replied. \"But it's so on so", "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into", "\"Because,\" answered Reding, \"you are more of a Dissenter than a\nCatholic. I beg your pardon,\" he added, seeing Willis look up sharply,", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "Reding was silent a moment; then he said, \"Well, I don't think you have\nmended the matter; it _is_ a dissenting meeting, call it what you will,\nthough not the kind of one I meant.\"", "\"But _this_ is a different matter,\" said Reding, changing his ground;\n\"this is a matter of religion. It can't be right to go to strange places\nof worship or meetings.\"", "\"Well, Reding,\" answered Carlton, \"you make Christianity a very\ndifferent religion from what our Church considers it, I really think;\"\nand he paused awhile.", "the Church of England? \"Mr. Reding could not give her any satisfaction\non the subject of her inquiry;\"--he answered shortly, and had some", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"" ], [ "BY\nJOHN HENRY NEWMAN,\nOF THE ORATORY.", "the Church of England; for a while I was a member of the New Connexion;\nand after that,\" she added, still with drooping head and languid", "\"No, sir,\" he said, \"not Irvingites; we do not follow man; we follow\nwherever the Spirit leads us; we have given up Tongue. But I ought to", "I am, my dear Dr. Russell,\n\n Your affectionate friend,\n\n JOHN H. NEWMAN.", "\"I did not know that Carlton was so much of a party man,\" said\nSheffield; \"did not his reading the Athanasian Creed strike you?\"\n\n\"That's no mark of party, surely,\" answered Charles.", "\"I don't like Lord Newlights,\" said Charles, \"he seems to me to have no\nprinciple; that is, no fixed, definite religious principle. You don't", "A tale, directed against the Oxford converts to the Catholic Faith, was\nsent from England to the author of this Volume in the summer of 1847,", "\"Now you are a Puseyite,\" said Sheffield in surprise.", "viewed in all its parts, constituted a new religion. He did not speak of\nhimself definitely, but he said generally that all this might be a great", "\"O my dear Sheffield,\" cried Charles, in distress, \"think what you are\nsaying; you don't mean what you say. You are speaking as if you thought\nthat belief in the Athanasian Creed was a mere party opinion.\"", "\"Take again Shipton, who died lately,\" continued Sheffield; \"what a high\nposition he held in the Church; yet it is perfectly well known that he", "Some dear sisters of hers were engaged in organizing a new religious\nbody, and Mr. Reding's accession, counsel, assistance, would be\nparticularly valuable; the more so, because as yet they had not any", "One day the King passed through Oxford; Sturdy, a tall, upright,\niron-faced man, had to meet him in procession at Magdalen Bridge, and", "Charles started; \"I knew him a little ... I have seen him several\ntimes.\"\n\n\"You know he left us,\" continued Vincent, \"and joined the Church of\nRome. Well, it is credibly reported that he is returning.\"", "to _seek_ it for ourselves from Scripture. Several Articles led to this\nquestion; and Mr. Upton, who was a High Churchman, answered him that the", "nor of Oxford itself. He was introduced, and found the awkwardness of a\nnew acquaintance little relieved by the conversation which went on. It\nwas a dropping fire of serious remarks; with pauses, relieved only by", "\"It is quite plain whom I mean--The Catholics,\" answered Charles. \"The\nPopedom is the true Apostolate, the Pope is the successor of the\nApostles, particularly of St. Peter.\"", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "and parties in Oxford, which had so many bad effects, making so many\ntalk, so many criticise, and not a few perhaps doubt about truth\naltogether. Then he said that, evil as it was in a place of education,", "At Oxford, it is needless to say, he had found a great number of his\nschoolfellows, but, it so happened, had found very few friends among" ], [ "about Oxford and Oxford men. He really liked him, and wished to please\nhim; but, as to consulting him in any serious matter, or going to him", "who still resided in Oxford, and to ask his advice what was to be done\nunder his circumstances. It seemed, too, to be interposing what they", "and parties in Oxford, which had so many bad effects, making so many\ntalk, so many criticise, and not a few perhaps doubt about truth\naltogether. Then he said that, evil as it was in a place of education,", "A tale, directed against the Oxford converts to the Catholic Faith, was\nsent from England to the author of this Volume in the summer of 1847,", "becoming a Catholic, this he had lost; whatever he was to gain higher\nand better, at least this and such as this he never could have again. He\ncould not have another Oxford, he could not have the friends of his", "maintain, and quarrel, as the orders do in the Church of Rome. No,\nthat's too grand a comparison; rather, Oxford is like an almshouse for", "\"But is that really all?\" she said; \"who wants you to lead an Oxford\nlife? not we.\"\n\n\"No, but Oxford implies taking a degree--taking orders.\"", "least some personal knowledge of Oxford, and some perception of the\nvarious aspects of the religious phenomenon, which the work in question\nhandled so rudely and so unskilfully.", "there's much,\" he continued, rousing; \"certainly there is more division\njust at this minute in Oxford, but there always is division, always\nrivalry. The separate societies have their own interests and honour to", "Church, and then in all matters of faith the Church superseded it; but\nfrom this Oxford divine he could not get a distinct answer. First he was", "It must also be added, to prevent a farther misconception, that no\nproper representative is intended in this tale, of the religious\nopinions which had lately so much influence in the University of Oxford.", "\"Well, I will speak more precisely,\" said Sheffield: \"an Oxford man,\nsome ten years since, was going to publish a history of the Nicene", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "At Oxford, it is needless to say, he had found a great number of his\nschoolfellows, but, it so happened, had found very few friends among", "who had known _what_ the Church of England was; not a Dissenter, not an\nunlettered layman; but one who had been at Oxford, who had come across", "Mr. de Mowbray or Father Agostino gives his next retreat? Reding, it is\njust what you want, just what all Oxford men want; I think you will not\nrefuse me.\"", "to hold that faith, to hold what she holds, without professing to be a\ndivine. This is the doctrine which I have been taught at Oxford. I am", "company, whether at the school itself, or afterwards at Oxford. To that\ncelebrated seat of learning he was in due time transferred, being", "and had turned out some one else. It was like a great breach of trust.\nShe had seen there was a good deal in the newspapers about the \"Oxford", "One day the King passed through Oxford; Sturdy, a tall, upright,\niron-faced man, had to meet him in procession at Magdalen Bridge, and" ], [ "because, too, the more he had an opportunity of hearing and seeing, the\ngreater cause he had to admire and revere the Roman Catholic system, and\nto be dissatisfied with his own. Carlton, after carefully considering", "view, he carefully got up some of the most popular works against the\nChurch of Rome. After much thought he determined to direct his attack on", "despises the Fathers, is jealous of priestcraft, is a Protestant\nreality, is a Catholic sham. This existing reality, which is alive and", "Rome; he could not tell distinctly why he so anticipated, except that\nthere were so many things which he thought right in the Church of Rome,\nand so many which he thought wrong in the Church of England; and,", "Charles was not pleased with the subject, on various accounts. He did\nnot like what seemed to him an attack of Sheffield's upon the Church of", "and aspirations, then and there prevailing, than was to be found in the\nanti-Catholic pamphlets, charges, sermons, reviews, and story-books of\nthe day.", "either a painful or a disgusting subject to the whole party, two or\nthree curious and hard minds excepted, to whom opposition to Catholicism\nwas meat and drink. Besides, in such chance collections of men, no one", "Charles thought awhile; then he said, \"Certainly, I don't like many\nthings which are done and said by Roman Catholics just now; but I don't", "It was with some malicious feeling, in consequence of his attack on\nclergymen of the past age, that Charles pressed his visitor to give an\naccount of his own reforms.", "at its leaders as demagogues; and towards demagogues he felt an\nunmeasured aversion and contempt. He did not see why clergymen, however", "involved of disposing young men towards Catholicism, by attaching to\nthem the bad report of it, and of forcing them farther by inflicting on", "\"But what do you mean by the Catholic Church?\" asked Freeborn.\n\n\"The Anglican,\" answered Bateman.\n\n\"The Roman,\" answered White; both in the same breath.", "\"Why, then, go to Rome for Gregorians?\" said Campbell; \"I suspect they\nare called after Gregory I. Bishop of Rome, whom Protestants consider\nthe first specimen of Antichrist.\"", "Protestant; the living body abjures Catholicism, flings off the name and\nthe thing, hates the Church of Rome, laughs at sacramental power,", "feeling. For myself, I cannot deny, I never have concealed from you my\nconvictions, that the Romish Church is antichristian. She has ten", "despised money; he cared nothing for public opinion; yet he was a\nSabellian. Would he have eaten the bread of the Church, as it is called,", "\"Well, if there is anything that recommends Romanism to me,\" said\nCharles, \"it is what you so much dislike: I'd give twopence, if some", "\"You know well enough,\" answered Willis, \"though you wish to annoy me.\"\n\n\"I don't indeed.\"\n\n\"It's the Catholic church,\" said Willis.", "Catholic. He said no one should go over merely because he thought he\nshould like it better; that he had found out by experience that no one\ncould live on sentiment; that the whole system of worship in the Romish", "\"Well,\" said Campbell, \"you but read a bit of the history of the\nReformation, and you will find that the doctrine that the Pope is\nAntichrist was the life of the movement.\"" ], [ "BY\nJOHN HENRY NEWMAN,\nOF THE ORATORY.", "becoming a Catholic, this he had lost; whatever he was to gain higher\nand better, at least this and such as this he never could have again. He\ncould not have another Oxford, he could not have the friends of his", "There was no help for it. Charles walked slowly home, saying to himself:\n\"What if, after all, the Roman Catholic Church is the true Church? I", "Charles started; \"I knew him a little ... I have seen him several\ntimes.\"\n\n\"You know he left us,\" continued Vincent, \"and joined the Church of\nRome. Well, it is credibly reported that he is returning.\"", "A tale, directed against the Oxford converts to the Catholic Faith, was\nsent from England to the author of this Volume in the summer of 1847,", "\"Well, what's the upshot?\" asked Sheffield.\n\n\"He has turned Catholic,\" said Charles.\n\n\"What a fool!\" cried Sheffield.", "because, too, the more he had an opportunity of hearing and seeing, the\ngreater cause he had to admire and revere the Roman Catholic system, and\nto be dissatisfied with his own. Carlton, after carefully considering", "\"Talking of transitions,\" said Campbell abruptly, \"do you know that your\nman Willis--I don't know his college, he turned Romanist--is living in\nmy parish, and I have hopes he is making a transition back again.\"", "His companion looked round curiously at him, and then said, quietly,\n\"Depend upon it, there is quite evidence enough for a _moral conviction_\nthat the Catholic or Roman Church, and none other, is the voice of God.\"", "conviction which is upon me. This last week it has possessed me in a\ndifferent way than ever before. It is now so strong, that to wait longer\nis to resist God. Whether I join the Catholic Church is now simply a", "\"Four years!\" cried White; \"we shall be all real Catholics by then;\nEngland will be converted.\"\n\n\"It will be done just in time for the Bishop,\" said Charlotte.", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "his sympathies, and the like; and thereupon becomes a Catholic. Such a\nperson is often said to go by private judgment, to be choosing his", "\"You are come, then, to inquire whether I am likely to become a Jew.\"\n\n\"Stranger things have happened,\" answered his visitor; \"for instance, I\nmyself was once a deacon in the Church of England.\"", "\"What true? that I am a Roman Catholic? Oh, certainly; don't you\nunderstand, that's why I am reading so hard for the schools?\" said\nCharles.", "it suited him. He was to prepare for confession at once; and it was\nhoped that on the following Sunday he might be received into Catholic\ncommunion. After that, he was, at a convenient interval, to present", "Catholic. He said no one should go over merely because he thought he\nshould like it better; that he had found out by experience that no one\ncould live on sentiment; that the whole system of worship in the Romish", "There was a dreadful pause; Mary turned very pale; then, darting at a\nconclusion with precipitancy, she said quickly, \"You mean to say, you\nare going to join the Church of Rome, Charles.\"", "I am, my dear Dr. Russell,\n\n Your affectionate friend,\n\n JOHN H. NEWMAN.", "\"It has frequently been observed,\" said No. 4, \"nay it has struck me\nmyself, that the way to convert Romanists is first to convert the Pope.\"" ], [ "\"Four years!\" cried White; \"we shall be all real Catholics by then;\nEngland will be converted.\"\n\n\"It will be done just in time for the Bishop,\" said Charlotte.", "himself to the Bishop, from whom he would seek the sacrament of\nconfirmation. Not much time was necessary for removing his luggage from\nhis lodgings; and in the course of an hour from the time of his", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "\"You are come, then, to inquire whether I am likely to become a Jew.\"\n\n\"Stranger things have happened,\" answered his visitor; \"for instance, I\nmyself was once a deacon in the Church of England.\"", "Charles started; \"I knew him a little ... I have seen him several\ntimes.\"\n\n\"You know he left us,\" continued Vincent, \"and joined the Church of\nRome. Well, it is credibly reported that he is returning.\"", "becoming a Catholic, this he had lost; whatever he was to gain higher\nand better, at least this and such as this he never could have again. He\ncould not have another Oxford, he could not have the friends of his", "\"Well, what's the upshot?\" asked Sheffield.\n\n\"He has turned Catholic,\" said Charles.\n\n\"What a fool!\" cried Sheffield.", "it suited him. He was to prepare for confession at once; and it was\nhoped that on the following Sunday he might be received into Catholic\ncommunion. After that, he was, at a convenient interval, to present", "A tale, directed against the Oxford converts to the Catholic Faith, was\nsent from England to the author of this Volume in the summer of 1847,", "a free intellectual assent. He went on to ask him by what texts he\nproved the Protestant doctrine of justification. Charles gave two or\nthree of the usual passages with such success, that the Vice-Principal", "it effected a saving change in six hours; seventy-nine in which its\noperations took place in as few as three; and twenty-seven where\nconversion followed instantaneously after the perusal. At once, poor", "fellow. There was young Dalton of St. Cross; he goes abroad, and falls\nin with a smooth priest, who persuades the silly fellow that the\nCatholic Church is the ancient and true Church of England, the only", "His new friend looked surprised and not over-pleased; \"Surely,\" he said,\n\"in matter of fact, a man may have more _evidence_ for believing the", "sympathy and authority, and felt he was restored to himself. The\nconversation stopped. After a while he disclosed to his new friend the\nplace for which he was bound, which, after what Charles had already been", "BY\nJOHN HENRY NEWMAN,\nOF THE ORATORY.", "\"You take matters too seriously, Reding,\" answered Carlton; \"who does\nnot change his opinions between twenty and thirty? A young man enters", "of Bateman, now a clergyman, and lately appointed curate of a\nneighbouring parish. Charles had not seen him for a year and a half, and", "I am, my dear Dr. Russell,\n\n Your affectionate friend,\n\n JOHN H. NEWMAN.", "entered at St. Saviour's College; and he is in his sixth term from\nmatriculation, and his fourth of residence, at the time our story opens.", "be what he had been. People come to man's estate at very different\nages. Youngest sons in a family, like monks in a convent, may remain\nchildren till they have reached middle age; but the elder, should their" ], [ "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "\"Well, Charles Reding,\" he said, \"I think we know each other well enough\nfor you to have given me a hint of what was going on as regards you.\"\n\nCharles said he had written to him only the evening before.", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "\"That's about the truth,\" said another; \"I met Mr. Malcolm yesterday at\ndinner, and it seems he knows the family. He said that his religious\nnotions carried Reding away, and spoiled his reading.\"", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "At length he felt a light hand on his shoulder, and a voice said,\n\"Reding, I am going; let me just say farewell to you before I go.\" He", "them; but he hesitated about Reding. He had found him far less\ndefinitely Roman than he expected, and he conjectured that, by making\nhim his confidant and employing him against Willis, he really might", "\"Excuse me, Mr. Reding,\" he said, \"if before you go, I say one word. I\nfeel very much for the struggle which is going on in your mind; and I am", "Jennings sat upright in his easy-chair, with indignation mounting into\nhis forehead. At length his face became like night. \"_That_ is your\nopinion, Mr. Reding.\"\n\nCharles began to be frightened.", "Bateman seemed unwilling to talk on the subject; at last he said, \"Oh,\nmy dear Reding, you really are in an excited state of mind; I don't like", "\"You give me the name of a very good man, whom I hardly know by sight,\"\nsaid Reding; \"but I mean, that nobody knows what to believe, no one has", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "Reding was silent a moment; then he said, \"Well, I don't think you have\nmended the matter; it _is_ a dissenting meeting, call it what you will,\nthough not the kind of one I meant.\"", "\"I declare,\" said Reding to himself, \"it really has power over him;\" and\nhe still confronted Dr. Kitchens with it, while he kept it out of Dr.\nKitchens' reach.", "Reding was surprised, and shocked, and puzzled too; he did not know what\nto say; when the conversation was, perhaps fortunately, interrupted.\n\n\n\n\nCHAPTER V.", "length she asked, without raising her eyes, whether it was true--and she\nspoke slowly and in what is called a spiritual tone--whether it was\ntrue, the information had been given her, that Mr. Reding, the", "There was a silence; the answer conveyed a good deal: it was a relief,\nbut it was an intimation. \"Sit down, my dear Reding; will you have", "\"Mr. Reding,\" said he, \"I did not like to question you before the\nothers, but I conceive you had no particular _meaning_ in your praise of", "two friends of Mr. Reding's below, who wished very much to have a few\nminutes' conversation with him. Charles could make no intelligible\nobjection to the request; and in the course of a few minutes their knock", "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into" ], [ "There was a dreadful pause; Mary turned very pale; then, darting at a\nconclusion with precipitancy, she said quickly, \"You mean to say, you\nare going to join the Church of Rome, Charles.\"", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "\"True, my love,\" answered Mrs. Reding; \"Charles is a dear good fellow, I\nknow. How glad we all shall be to have him ordained, and settled in a\ncuracy!\"", "\"Excuse me, Mr. Reding,\" he said, \"if before you go, I say one word. I\nfeel very much for the struggle which is going on in your mind; and I am", "speaking to you about, Morley. A happy meeting; sit down, dear Reding; I\nhave much to tell you.\"", "There was a silence; the answer conveyed a good deal: it was a relief,\nbut it was an intimation. \"Sit down, my dear Reding; will you have", "Mary was frightened, and her heart beat. \"Charles,\" she said,\nwithdrawing her hand, \"any pain is less than to see you thus. I see too\nclearly that something is on your mind.\"", "\"My dearest Charles,\" said Mary tenderly, \"come, I will bear anything,\nand not be annoyed. Anything better than to see you go on in this way.\nBut really you frighten me.\"", "\"Ah, dear Mary, don't say so; it frightens me.\"\n\nShe looked round at him surprised, and almost frightened herself.", "Reding sighed; he saw clearly that his change of religion, when\ncompleted, would not fail to have an effect on Carlton's thoughts about", "\"Oh, Charles,\" said Mary, \"how changed you are!\" and tears came into her\neyes; \"you used to be so cheerful, so happy. You took such pleasure in", "\"My sweet Mary,\" he said, affectionately taking her hand, \"my only real\nconfidant and comfort, I would tell you something more, if you could\nbear it.\"", "At length he felt a light hand on his shoulder, and a voice said,\n\"Reding, I am going; let me just say farewell to you before I go.\" He", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "\"If you have made up your mind, Reding,\" said Carlton, \"it's no good\ntalking. May you be happy wherever you are! You must always be yourself;\nas a Romanist, you will still be Charles Reding.\"", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "\"There's more than that,\" said Mrs. Reding, \"if I knew what it was.\"\n\n\"He thinks the scent more intellectual than the other senses,\" said\nMary, smiling.", "\"Yet persons have before now been converted by the sight of Catholic\nworship,\" said Reding." ], [ "When Reding presented himself to the Vice-Principal, the Rev. Joshua\nJennings, to ask for leave to reside in lodgings for the two terms", "Jennings, at last to be sent down, as a rowing-man might be rusticated\nfor tandem-driving. You have no notion how strong the old Principal was,\nand Jennings too.\"", "Jennings sat upright in his easy-chair, with indignation mounting into\nhis forehead. At length his face became like night. \"_That_ is your\nopinion, Mr. Reding.\"\n\nCharles began to be frightened.", "This put all wrong again. Jennings would not allow this; it was a blind,\nPopish reliance; it was very well, when he first came to the University,", "\"Reding ought to live here all through the Long,\" said Tenby: \"does any\none live through the Vacation, sir, in Oxford?\"", "Mr. de Mowbray or Father Agostino gives his next retreat? Reding, it is\njust what you want, just what all Oxford men want; I think you will not\nrefuse me.\"", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "This was a home-thrust; the controversies of Oxford passed before\nReding's mind; but he instantly recovered himself. \"You cannot expect,\"", "\"How have your peaches been this year, Malcolm?\" said Mr. Reding one day\nafter dinner to his guest.\n\n\"You ought to know that we have no peaches in Oxford,\" answered Mr.\nMalcolm.", "forwarded from home; it was from Willis, dated from London, and\nannounced that he had come to a very important decision, and should not\nreturn to Oxford. Charles was fairly in the world again, plunged into", "coming. It's odd a man of such self-command as he should not better hide\nhis feelings; but I have always been able to see what Jennings was\nthinking about.\"", "\"Say in summer,\" said Reding; \"if you choose place, I will choose time.\nI think the University goes down just when Oxford begins to be most", "Jennings gave a little start in his arm-chair, and slightly coloured.\n\"Eh?\" he said; \"give me the book.\" He slowly read the Article, and then", "\"I don't see that at all, my dear Reding,\" said Carlton. \"It's not as if\nhe could not afford it; he has a good living waiting for him; and,", "subjects. Jennings fell on me the moment I entered his room. I can call\nit nothing else; very civil at first in his manner, but there was\nsomething in his eye before he spoke which told me at once what was", "Charles Reding was the only son of a clergyman, who was in possession of\na valuable benefice in a midland county. His father intended him for", "\"Because,\" answered Reding, \"you are more of a Dissenter than a\nCatholic. I beg your pardon,\" he added, seeing Willis look up sharply,", "he had kept his feelings to himself. When they were about to part,\nWillis said to him, in a subdued tone, \"You are soon going to Oxford,", "cut him on coming into residence, or, being entered at other colleges,\nhad lost sight of him. Almost everything depends at Oxford, in the\nmatter of acquaintance, on proximity of rooms. You choose your friend,", "from home whom he is seeking; not to say that freshmen, who naturally\nhave common feelings and interests, as naturally are allotted a\nstaircase in common. And thus it was that Charles Reding was brought" ], [ "the Church of England? \"Mr. Reding could not give her any satisfaction\non the subject of her inquiry;\"--he answered shortly, and had some", "\"Now this is just one of the points on which I can't get at the bottom\nof the Church of England's doctrine,\" Reding replied. \"But it's so on so", "Reding was silent a moment; then he said, \"Well, I don't think you have\nmended the matter; it _is_ a dissenting meeting, call it what you will,\nthough not the kind of one I meant.\"", "Jennings sat upright in his easy-chair, with indignation mounting into\nhis forehead. At length his face became like night. \"_That_ is your\nopinion, Mr. Reding.\"\n\nCharles began to be frightened.", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "\"He confesses,\" said Willis, \"that he has no faith; he confesses that he\nis in doubt. My dear Reding, can you sincerely plead that you are in", "\"He's too much of an Anglican for you,\" said Reding.", "It did not produce this effect on Reding. Whether he had expected too\nmuch, or whatever was the cause, so it was that he did but feel more", "Reding took some time to think over this. \"All this,\" he said, \"proceeds\non the fundamental principle that the Church of England is an integral", "\"Because,\" answered Reding, \"you are more of a Dissenter than a\nCatholic. I beg your pardon,\" he added, seeing Willis look up sharply,", "\"Well, they seem to me,\" said Reding, \"sometimes inconsistent with\nthemselves, sometimes with the Prayer Book; so that I am suspicious of", "\"Well, Reding,\" answered Carlton, \"you make Christianity a very\ndifferent religion from what our Church considers it, I really think;\"\nand he paused awhile.", "from the West End for the honour of an interview with Mr. Reding.\nCharles groaned, but only one reply was possible; the day was already\nwasted, and with a sort of dull resignation he gave permission for the", "been suspended since the time of the Apostles. And now you see the\nreason of my calling on you, Mr. Reding. It is reported that you lean", "Vexed as Reding was, he felt that he had no right to visit the\ntediousness of his former visitor upon his present; so he forced himself", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "Reding sighed; he saw clearly that his change of religion, when\ncompleted, would not fail to have an effect on Carlton's thoughts about", "Church, and then in all matters of faith the Church superseded it; but\nfrom this Oxford divine he could not get a distinct answer. First he was", "\"But _this_ is a different matter,\" said Reding, changing his ground;\n\"this is a matter of religion. It can't be right to go to strange places\nof worship or meetings.\"", "had seen the Church Service _carried out_, and could desiderate\nnothing;--tell me, my dear good Reding,\" taking hold of his button-hole," ], [ "\"Willis!\" he cried, as he stopped.\n\nWillis coloured, and tried to look easy.", "He found Willis in company with a person apparently two or three years\nolder. Willis started on seeing him.", "Mr. Morley began: \"If you knew the circumstances better,\" he said, \"you\nwould doubtless judge differently. I consider Mr. Willis to be just the", "\"I have not introduced you,\" said Willis. \"Reding, let me introduce Mr.\nMorley; Morley, Mr. Reding. Yes, Reding, I owe it to him that I am a", "Charles sat down opposite Willis, and for a while could not keep his\neyes from him. At first he had some difficulty in believing he had", "Willis did not know whether he was in jest or earnest. \"Reding,\" he\nsaid, \"don't go on; you offend me.\"\n\n\"Well, what is it?\" said Charles.", "Now, at least, there was no mistaking Willis. Bateman stared, and was\nalmost frightened at a burst of enthusiasm which he had been far from", "\"That is too much,\" said Willis, gently; then, disengaging his arm from\nReding's, he suddenly darted away from him, saying, \"Good-bye, good-bye;", "paused before he answered; then he said briefly, that he was aware that\nhe did not know the Roman Catholic religion, but he knew Mr. Willis. He", "Willis laughed; \"Well, not a bad reason, as times go, _I_ think,\" said\nhe: \"poor souls, what better means of judging have they? how can you", "prodigious. Well, Willis saw all this; and I have it on good authority,\"\nhe said mysteriously, \"that he is thoroughly disgusted with the whole\naffair, and is coming back to us.\"", "himself, \"but very unfairly, most unfairly; one ought to be up to their\ndodges. I dare say, if the truth were known, Willis has had lessons; he", "\"I see it,\" continued Willis; and, starting up, he seized his arm;\n\"come, my dear fellow, come with me directly; let us go to the good", "\"You know well enough,\" answered Willis, \"though you wish to annoy me.\"\n\n\"I don't indeed.\"\n\n\"It's the Catholic church,\" said Willis.", "so much when he heard him talk; still he could not help being interested\nin him, and not the least for this reason, that Willis seemed to have\ntaken a great fancy to himself. He certainly did court Charles, and", "too, for what he knew, Willis might by this time be better read than\nhimself. He considered, too, that, if Willis had been at all shaken in", "as it is independent or not.\" Then he said to himself, \"White, too, has\nmore in him than I thought; he really has spoken about Willis very\nsensibly: what has come to him?\"", "control. It was Willis; and apparently submitted to the process of\nreconversion. Charles was evidently _de trop_, but there was no help for\nit; so he shook hands with Willis, and accepted the pressing call of", "\"Come, my dear Willis,\" he said, \"I can't let you off so; I am sure what\nyou saw abroad scandalized you.\"", "\"Not so,\" said Willis; \"you must follow me, and we shall be one still.\"\n\nCharles was half offended; \"Really I must go,\" he said, and he rose;\n\"you must not talk in that manner.\"" ], [ "Charles started; \"I knew him a little ... I have seen him several\ntimes.\"\n\n\"You know he left us,\" continued Vincent, \"and joined the Church of\nRome. Well, it is credibly reported that he is returning.\"", "\"A person must go somewhere,\" answered Campbell; \"I suppose he went to\nchurch up to the week he joined the Romanists.\"", "Catholic. I have been on a tour with him abroad. We met with a good\npriest in France, who consented to receive my abjuration.\"", "There was no help for it. Charles walked slowly home, saying to himself:\n\"What if, after all, the Roman Catholic Church is the true Church? I", "it suited him. He was to prepare for confession at once; and it was\nhoped that on the following Sunday he might be received into Catholic\ncommunion. After that, he was, at a convenient interval, to present", "\"But what do you mean by the Catholic Church?\" asked Freeborn.\n\n\"The Anglican,\" answered Bateman.\n\n\"The Roman,\" answered White; both in the same breath.", "\"Well, what's the upshot?\" asked Sheffield.\n\n\"He has turned Catholic,\" said Charles.\n\n\"What a fool!\" cried Sheffield.", "His companion interposed: \"I am taking a liberty perhaps,\" he said; \"but\nMr. Willis has been regularly received into the Catholic Church.\"", "because, too, the more he had an opportunity of hearing and seeing, the\ngreater cause he had to admire and revere the Roman Catholic system, and\nto be dissatisfied with his own. Carlton, after carefully considering", "There was a dreadful pause; Mary turned very pale; then, darting at a\nconclusion with precipitancy, she said quickly, \"You mean to say, you\nare going to join the Church of Rome, Charles.\"", "\"What true? that I am a Roman Catholic? Oh, certainly; don't you\nunderstand, that's why I am reading so hard for the schools?\" said\nCharles.", "His companion looked round curiously at him, and then said, quietly,\n\"Depend upon it, there is quite evidence enough for a _moral conviction_\nthat the Catholic or Roman Church, and none other, is the voice of God.\"", "\"Don't you think, then, it would be well,\" continued Charles, \"that,\nbefore coming to convert me, you should first join the Catholic Church?", "becoming a Catholic, this he had lost; whatever he was to gain higher\nand better, at least this and such as this he never could have again. He\ncould not have another Oxford, he could not have the friends of his", "\"I am,\" answered Jack, as if he were confessing at the tribunal of a\nProprÃ¦tor, \"I am a member of the Holy Catholic Church.\"", "\"Well, then,\" said Bateman, \"I will appeal to the Church of Rome too.\nRome is part of the Catholic Church as well as we: since, then, the", "Catholic. He said no one should go over merely because he thought he\nshould like it better; that he had found out by experience that no one\ncould live on sentiment; that the whole system of worship in the Romish", "\"We are very well inclined to the Roman Catholics,\" answered Mr.\nHighfly, with some hesitation; \"we have adopted a great part of their", "very person on whom it was incumbent to join the Church, and who will\nmake an excellent Catholic. You must blame, not the venerable priest who", "reply that he was on the point of _becoming_ a Catholic, so he shortly\nanswered in the negative. Mr. Mumford then informed him that there were" ], [ "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "\"Yet persons have before now been converted by the sight of Catholic\nworship,\" said Reding.", "Some dear sisters of hers were engaged in organizing a new religious\nbody, and Mr. Reding's accession, counsel, assistance, would be\nparticularly valuable; the more so, because as yet they had not any", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "followed. Reding thought he never had been present at worship before, so\nabsorbed was the attention, so intense was the devotion of the\ncongregation. What particularly struck him was, that whereas in the", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "\"Hear me out, Mr. Reding, sir,\" answered Jack, waving his hand; \"hear\nme, but strike; I repeat, I am a member of the Holy Catholic Church,\nassembling in Huggermugger Lane.\"", "\"Yes, Mrs. Reding,\" said Bateman; \"but by ancestors I meant the holy\nBishops and other members of our Catholic Church previously to the", "impertinent, proceeded to inquire if Mr. Reding was a Catholic. \"The\nquestion had been put to him, and he thought he might venture to solicit\nan answer from the person who could give the most authentic", "Reding sighed; he saw clearly that his change of religion, when\ncompleted, would not fail to have an effect on Carlton's thoughts about", "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into", "\"If you have made up your mind, Reding,\" said Carlton, \"it's no good\ntalking. May you be happy wherever you are! You must always be yourself;\nas a Romanist, you will still be Charles Reding.\"", "She continued: \"Perhaps it is right, Mr. Reding, that I should tell you\nsomething more about myself personally. I was born in the communion of", "Charles Reding, Esq., member of Oxford University, had unanimously\nelected him into their number, and had assigned him the dignified and\nresponsible office of associate and corresponding member.", "\"Well, I think he might profitably have examined into your state of mind\na little before he did so,\" said Reding; \"_you_ are not the person to\nbecome a Catholic, Willis.\"\n\n\"What do you mean?\"", "dearest Reding; oh, that you were one with us! You have it in you. I\nhave thought of you at Mass many times. Our priest has said Mass for", "\"Because,\" answered Reding, \"you are more of a Dissenter than a\nCatholic. I beg your pardon,\" he added, seeing Willis look up sharply,", "Presently he said, dryly and abruptly, \"Reding, do you know any Roman\nCatholics?\"" ], [ "It was a pale-faced man of about thirty-five, who, when he spoke, arched\nhis eyebrows, and had a peculiar smile. He began by expressing his", "who were very little younger than himself. Besides, Vincent looked much\nolder than he really was; he was of a full habit, with a florid", "there was a thin line down his face on each side of his mouth; his\ncheeks were wanting in fulness, and he had the air of a man of thirty.\nWhen he entered into conversation, and became animated, his former self", "the deputy, and in the presence of him whom now he succeeded. His\nfather, being not much more than a middle-aged man, had been accustomed", "room, where, being left to himself, he had time to collect his thoughts.\nAt length the Superior appeared; he was a man past the middle age, and", "\"You take matters too seriously, Reding,\" answered Carlton; \"who does\nnot change his opinions between twenty and thirty? A young man enters", "be what he had been. People come to man's estate at very different\nages. Youngest sons in a family, like monks in a convent, may remain\nchildren till they have reached middle age; but the elder, should their", "Most of the party were undergraduates; he (Freeborn) was a Master; it\nwas too bad of Bateman. He finished in silence his sausage, which had", "\"My young friend,\" said Vincent, finishing his mutton, and pushing his\nplate from him, \"my two young friends--for Carlton is not much older", "He found Willis in company with a person apparently two or three years\nolder. Willis started on seeing him.", "\"Well,\" said White, who did not seem in great awe of the young M.A.,\nthough some years, of course, his senior, \"I will take a better", "he been older than they, he would have talked of \"young heads,\" \"hot\nheads,\" and the like; but since they were grave and cool men, and outran", "before he had read the Articles, to take them on trust; but a young man\nwho had had the advantages of Mr. Reding, who had been three years at", "His new friend looked surprised and not over-pleased; \"Surely,\" he said,\n\"in matter of fact, a man may have more _evidence_ for believing the", "of Bateman, now a clergyman, and lately appointed curate of a\nneighbouring parish. Charles had not seen him for a year and a half, and", "rather, there was no one to know him; he had been virtually three years\naway; three years is a generation; Oxford had been his place once, but", "of things passed away for centuries, while the real work might be done\nin a quarter of an hour. I fall in with this Bateman, and he talks to me", "\"He has other friends in the room,\" said another: \"I think,\" turning to\na young Fellow of Leicester, \"_you_, Sheffield, were at one time\nintimate with Reding?\"", "\"So it seems,\" said Sheffield, \"for that must have been at least, let me\nsee, four or five years ago.\"", "deportment, he hated the show of religion, and was impatient at those\nwho affected it. He had known the University for thirty years, and\nformed a right estimate of most things in it. He had come out to Oxley" ], [ "Though Reding had continued standing, no one would have noticed him; but\nhe saw the time was come for him to kneel, and accordingly he moved into", "The time at length was come; Reding could not bear more; and, as it\nhappened, his visitor's offence gave him the means, as well as a cause,", "two friends of Mr. Reding's below, who wished very much to have a few\nminutes' conversation with him. Charles could make no intelligible\nobjection to the request; and in the course of a few minutes their knock", "from the West End for the honour of an interview with Mr. Reding.\nCharles groaned, but only one reply was possible; the day was already\nwasted, and with a sort of dull resignation he gave permission for the", "Now they got into a fresh discussion among themselves; and, as it seemed\nas interminable as it was uninteresting, Reding took an opportunity to", "had not been for a quarter of an hour past, did not find himself in\nspirits to try much to detain either them or Reding; so he was speedily", "Reding moved towards him, and, spreading his arms as one drives sheep\nand poultry in one direction, he repeated, looking towards the door,", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "Reding was surprised, and shocked, and puzzled too; he did not know what\nto say; when the conversation was, perhaps fortunately, interrupted.\n\n\n\n\nCHAPTER V.", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "them; but he hesitated about Reding. He had found him far less\ndefinitely Roman than he expected, and he conjectured that, by making\nhim his confidant and employing him against Willis, he really might", "\"It's quite true,\" returned Fusby; \"I had it from the Under-Marshal, who\nwas passing at the moment. My eye has been on Mr. Reding for some\nyears.\"", "There was a silence; the answer conveyed a good deal: it was a relief,\nbut it was an intimation. \"Sit down, my dear Reding; will you have", "At length he felt a light hand on his shoulder, and a voice said,\n\"Reding, I am going; let me just say farewell to you before I go.\" He", "\"My dear Reding,\" said Carlton, with some emotion, \"where did you get\nthese notions?\"", "\"Well, Charles Reding,\" he said, \"I think we know each other well enough\nfor you to have given me a hint of what was going on as regards you.\"\n\nCharles said he had written to him only the evening before.", "again appeared at the door. He assured Mr. Reding that it was no fault\nof his that the last two persons had called on him; that the lady had", "before he had read the Articles, to take them on trust; but a young man\nwho had had the advantages of Mr. Reding, who had been three years at", "\"Reding, my good fellow,\" said he, \"what is the meaning of this report\nconcerning you, which is everywhere about?\"\n\n\"I have not heard it,\" said Charles abruptly.", "which were duly responded to by Reding, the two visitors took their\ndeparture." ], [ "\"But is that really all?\" she said; \"who wants you to lead an Oxford\nlife? not we.\"\n\n\"No, but Oxford implies taking a degree--taking orders.\"", "One day the King passed through Oxford; Sturdy, a tall, upright,\niron-faced man, had to meet him in procession at Magdalen Bridge, and", "Charles Reding, Esq., member of Oxford University, had unanimously\nelected him into their number, and had assigned him the dignified and\nresponsible office of associate and corresponding member.", "about Oxford and Oxford men. He really liked him, and wished to please\nhim; but, as to consulting him in any serious matter, or going to him", "who had known _what_ the Church of England was; not a Dissenter, not an\nunlettered layman; but one who had been at Oxford, who had come across", "least some personal knowledge of Oxford, and some perception of the\nvarious aspects of the religious phenomenon, which the work in question\nhandled so rudely and so unskilfully.", "\"Now you are a Puseyite,\" said Sheffield in surprise.", "At Oxford, it is needless to say, he had found a great number of his\nschoolfellows, but, it so happened, had found very few friends among", "becoming a Catholic, this he had lost; whatever he was to gain higher\nand better, at least this and such as this he never could have again. He\ncould not have another Oxford, he could not have the friends of his", "Church, and then in all matters of faith the Church superseded it; but\nfrom this Oxford divine he could not get a distinct answer. First he was", "Mr. de Mowbray or Father Agostino gives his next retreat? Reding, it is\njust what you want, just what all Oxford men want; I think you will not\nrefuse me.\"", "BY\nJOHN HENRY NEWMAN,\nOF THE ORATORY.", "maintain, and quarrel, as the orders do in the Church of Rome. No,\nthat's too grand a comparison; rather, Oxford is like an almshouse for", "nor of Oxford itself. He was introduced, and found the awkwardness of a\nnew acquaintance little relieved by the conversation which went on. It\nwas a dropping fire of serious remarks; with pauses, relieved only by", "abruptly stopped the conversation; and, after apparently beating about\nfor an introductory topic, he said, \"Perhaps I can read you, sir, better\nthan you can me. You are an Oxford man by your appearance.\"", "A tale, directed against the Oxford converts to the Catholic Faith, was\nsent from England to the author of this Volume in the summer of 1847,", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "some of the men have turned Romans; and they say that there are\nstrangers going about Oxford whom no one knows anything of. Jack, who is\na bit of a divine himself, says he heard the Principal say that, for", "distinguished person, whom that solemnity brought up to Oxford; no less\na man than the Very Rev. Dr. Brownside, the new Dean of Nottingham, some", "\"Well, I will speak more precisely,\" said Sheffield: \"an Oxford man,\nsome ten years since, was going to publish a history of the Nicene" ], [ "He had gone to lecture, and he had been lectured; and he had let out his\nsecret state of mind: no, not let out, he had nothing to let out. He had", "The speaker was a layman; he spoke with earnestness the more intense,\nbecause quiet. Charles felt himself reproved by his manner; his good", "of Bateman, now a clergyman, and lately appointed curate of a\nneighbouring parish. Charles had not seen him for a year and a half, and", "of things passed away for centuries, while the real work might be done\nin a quarter of an hour. I fall in with this Bateman, and he talks to me", "His new friend looked surprised and not over-pleased; \"Surely,\" he said,\n\"in matter of fact, a man may have more _evidence_ for believing the", "wanted. Before entering, Charles hung back, and whispered to his friend\nthat he did not know Bateman. An introduction, in consequence, took", "sympathy and authority, and felt he was restored to himself. The\nconversation stopped. After a while he disclosed to his new friend the\nplace for which he was bound, which, after what Charles had already been", "conversation to clash with that profession. He explained that he had\nheard of Mr. Reding's being unsettled in his religious views, and he\nwould not lose the opportunity of attempting so valuable an accession to", "the New Jerusalem!\" \"In charity,\" said Reding, without changing his\nattitude, \"in charity, leave me alone. You mean it well, but I don't", "But to return to the subject of our narrative. What a mystery is the\nsoul of man! Here was Charles, busy with Aristotle and Euripides,", "end the conversation than the visit. He threw himself back in his chair\nin despair, and half closed his eyes. \"Oh, those good Irvingites,\" he", "The stranger assented; \"A man's moral self,\" he said, \"is concentrated\nin each moment of his life; it lives in the tips of his fingers, and the\nspring of his insteps. A very little thing tries what a man is made of.\"", "whom Charles knew. He was a man of family, and had some little property\nof his own, had been a contemporary of his father's at the University,", "what it was, but what he had ever wanted,--a soul sympathetic with his\nown. He felt he was no longer alone in the world, though he was losing", "He was one day sitting thoughtfully over the fire with a book in his\nhand, when Mary entered. \"I wish you would teach _me_ the art of reading\nGreek in live coals,\" she said.", "\"That's about the truth,\" said another; \"I met Mr. Malcolm yesterday at\ndinner, and it seems he knows the family. He said that his religious\nnotions carried Reding away, and spoiled his reading.\"", "\"I believe not, indeed,\" answered Sheffield; \"he lived out of\ncontroversy, was a literary, accomplished person, and a man of piety to", "nor of Oxford itself. He was introduced, and found the awkwardness of a\nnew acquaintance little relieved by the conversation which went on. It\nwas a dropping fire of serious remarks; with pauses, relieved only by", "priest who lives two streets off. You shall be received this very day.\nOn with your hat.\" And, before Charles could show any resistance, he was\nhalf out of the room.", "viewed in all its parts, constituted a new religion. He did not speak of\nhimself definitely, but he said generally that all this might be a great" ], [ "It must also be added, to prevent a farther misconception, that no\nproper representative is intended in this tale, of the religious\nopinions which had lately so much influence in the University of Oxford.", "least some personal knowledge of Oxford, and some perception of the\nvarious aspects of the religious phenomenon, which the work in question\nhandled so rudely and so unskilfully.", "any congeniality can exist between their members and the mass of\nreligious sectarians. You have had very distinguished men among you,\nsir, at Oxford, of very various schools, yet all able men, and", "there's much,\" he continued, rousing; \"certainly there is more division\njust at this minute in Oxford, but there always is division, always\nrivalry. The separate societies have their own interests and honour to", "and parties in Oxford, which had so many bad effects, making so many\ntalk, so many criticise, and not a few perhaps doubt about truth\naltogether. Then he said that, evil as it was in a place of education,", "October came at length, and with it Charles's thoughts were turned again\nto Oxford. One or two weeks passed by; then a few days; and it was time", "maintain, and quarrel, as the orders do in the Church of Rome. No,\nthat's too grand a comparison; rather, Oxford is like an almshouse for", "becoming a Catholic, this he had lost; whatever he was to gain higher\nand better, at least this and such as this he never could have again. He\ncould not have another Oxford, he could not have the friends of his", "\"My dear Bateman,\" said Willis, \"you seem to live in an atmosphere of\ncontroversy; so it was at Oxford; there was always argument going on in", "nor of Oxford itself. He was introduced, and found the awkwardness of a\nnew acquaintance little relieved by the conversation which went on. It\nwas a dropping fire of serious remarks; with pauses, relieved only by", "This put all wrong again. Jennings would not allow this; it was a blind,\nPopish reliance; it was very well, when he first came to the University,", "A tale, directed against the Oxford converts to the Catholic Faith, was\nsent from England to the author of this Volume in the summer of 1847,", "One day the King passed through Oxford; Sturdy, a tall, upright,\niron-faced man, had to meet him in procession at Magdalen Bridge, and", "The time came at length for Charles to return to Oxford; but during the\nlast month scruples had arisen in his mind, whether, with his present", "deportment, he hated the show of religion, and was impatient at those\nwho affected it. He had known the University for thirty years, and\nformed a right estimate of most things in it. He had come out to Oxley", "Church, and then in all matters of faith the Church superseded it; but\nfrom this Oxford divine he could not get a distinct answer. First he was", "company, whether at the school itself, or afterwards at Oxford. To that\ncelebrated seat of learning he was in due time transferred, being", "some of the men have turned Romans; and they say that there are\nstrangers going about Oxford whom no one knows anything of. Jack, who is\na bit of a divine himself, says he heard the Principal say that, for", "suspected men in the University, Mede on the Apostasy, the Catholic\nRelief Bill, Dr. Pusey's Tract on Baptism, Justification, and the\nappointment of the Taylor Professors.", "\"Well, I will speak more precisely,\" said Sheffield: \"an Oxford man,\nsome ten years since, was going to publish a history of the Nicene" ], [ "Charles Reding was the only son of a clergyman, who was in possession of\na valuable benefice in a midland county. His father intended him for", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "\"True, my love,\" answered Mrs. Reding; \"Charles is a dear good fellow, I\nknow. How glad we all shall be to have him ordained, and settled in a\ncuracy!\"", "\"If you have made up your mind, Reding,\" said Carlton, \"it's no good\ntalking. May you be happy wherever you are! You must always be yourself;\nas a Romanist, you will still be Charles Reding.\"", "\"Reding, my good fellow,\" said he, \"what is the meaning of this report\nconcerning you, which is everywhere about?\"\n\n\"I have not heard it,\" said Charles abruptly.", "the New Jerusalem!\" \"In charity,\" said Reding, without changing his\nattitude, \"in charity, leave me alone. You mean it well, but I don't", "from the West End for the honour of an interview with Mr. Reding.\nCharles groaned, but only one reply was possible; the day was already\nwasted, and with a sort of dull resignation he gave permission for the", "\"Well, Charles Reding,\" he said, \"I think we know each other well enough\nfor you to have given me a hint of what was going on as regards you.\"\n\nCharles said he had written to him only the evening before.", "Charles at once changed his tone in speaking to him. He came to Mr.\nReding, he said, from a sense of duty; and there was nothing in his", "Charles Reding, Esq., member of Oxford University, had unanimously\nelected him into their number, and had assigned him the dignified and\nresponsible office of associate and corresponding member.", "of their voices. There was no mistaking it; Reding said to himself,\n\"This _is_ a popular religion.\" He looked round at the building; it was,", "Charles started; \"I knew him a little ... I have seen him several\ntimes.\"\n\n\"You know he left us,\" continued Vincent, \"and joined the Church of\nRome. Well, it is credibly reported that he is returning.\"", "\"Charles, you must know,\" said Mr. Reding to his guest, \"is romantic in\nhis notions just now. I believe it is that he thinks no one good enough", "Now Charles Reding, a youth of twenty, could not be supposed to have\nmuch of a view in religion or politics; but no clever man allows himself", "\"Take it away, Mr. Reding, I beseech you,\" cried Kitchens, still\nretreating, while Charles still pressed on him; \"take it away, it's too", "followed. Reding thought he never had been present at worship before, so\nabsorbed was the attention, so intense was the devotion of the\ncongregation. What particularly struck him was, that whereas in the", "Reding took Father Aloysius's hand and kissed it; as he sank on his\nknees the young priest made the sign of blessing over him. Then he", "He returned to his former subject. \"In what sense do you understand the\nArticles, Mr. Reding?\" he asked. That was more than Charles could tell;", "from home whom he is seeking; not to say that freshmen, who naturally\nhave common feelings and interests, as naturally are allotted a\nstaircase in common. And thus it was that Charles Reding was brought", "\"Not yet, Miss Reding, not yet,\" answered he; \"of course they are\ndestroying the pews.\"\n\n\"They are to put in seats,\" said Charles, \"and of a very good pattern.\"" ], [ "private judgment, as a duty, but they have never sought, they have never\njudged; they are where they are, not because it is true, but because\nthey find themselves there, because it is their 'providential position,'", "approves of private judgment; and that private judgment, so far forth as\nit is admitted, necessarily involves parties; the slender private\njudgment allowed in the Church of Rome admitting occasional or local", "difficulties than we have. You _must_ sacrifice your private judgment.\"", "might open them and see. There is no absurdity, then, or inconsistency\nin a person first using his private judgment and then denouncing its\nuse. Circumstances change duties.", "the question in another form, and asked if the Christian Religion\nallowed of private judgment? This was no abstruse question, and a very\npractical one. Had he asked a Wesleyan or Independent, he would have had", "his sympathies, and the like; and thereupon becomes a Catholic. Such a\nperson is often said to go by private judgment, to be choosing his", "religion by his own standard of what a religion ought to be. Now it need\nnot be denied that those who are external to the Church must begin with\nprivate judgment; they use it in order ultimately to supersede it; as a", "parties in a church, a church may thank itself for them. They are the\ncertain effect of private judgment; and the more private judgment you\nhave, the more parties you will have. You are reduced, then, to this", "course he was seeking the truth; it was his duty to do so; he\nrecollected distinctly his tutor laying down, on one occasion, the duty\nof private judgment. This was the very difference between Protestants", "But still, after all, the person in question does not, strictly\nspeaking, judge of the external system presented to him by his private", "private judgment, if I _must_ act on faith, there _is_ a Church which\nhas a greater claim on us all than the Church of England.\"", "parties, and the ample private judgment allowed in our Church\nrecognizing parties as an element of the Church.\"", "Church-of-England people say. They tell us to seek, they give us rules\nfor seeking, they make us exert our private judgment; but directly we", "\"This is just an instance in point,\" said Willis; \"you see you are\njudging _Ã priori_; you know nothing of the state of the case from", "ideas, but he brings in the dicta of that system to confirm and to\njustify certain private judgments and personal feelings and habits\nalready existing. Reding, for instance, felt a difficulty in determining", "acts, conclusions, and judgments, must accompany that worship and\nobedience. He might not realize his own belief till questions had been\nput to him; but then a single discussion with a friend, such as the", "attempting to form a judgment on the subject; but, my dear Carlton, I\nprotest to you, and you may think with what distress I say it, that if", "told that doubtless we _must_ use our judgment in the determination of\nreligious doctrine; but next he was told that it was sin (as it", "an unconditional answer in the affirmative; had he asked a Catholic, he\nwould have been told that we used our private judgment to find the", "Charles paused to think; at last he said: \"Persons who band together on\ntheir own authority for the maintenance of views of their own.\"" ], [ "Charles Reding, Esq., member of Oxford University, had unanimously\nelected him into their number, and had assigned him the dignified and\nresponsible office of associate and corresponding member.", "Charles Reding was the only son of a clergyman, who was in possession of\na valuable benefice in a midland county. His father intended him for", "forwarded from home; it was from Willis, dated from London, and\nannounced that he had come to a very important decision, and should not\nreturn to Oxford. Charles was fairly in the world again, plunged into", "Charles looked up in his face, and smiled. \"It is not my line,\" he said\nat length. \"I am on my way to Oxford. I must go. I came here to be of", "from the West End for the honour of an interview with Mr. Reding.\nCharles groaned, but only one reply was possible; the day was already\nwasted, and with a sort of dull resignation he gave permission for the", "This was a home-thrust; the controversies of Oxford passed before\nReding's mind; but he instantly recovered himself. \"You cannot expect,\"", "October came at length, and with it Charles's thoughts were turned again\nto Oxford. One or two weeks passed by; then a few days; and it was time", "The funeral is over by some days; Charles is to remain at home the\nremainder of the term, and does not return to Oxford till towards the", "Charles's perplexities rapidly took a definite form on his coming into\nDevonshire. The very fact of his being at home, and not at Oxford where", "\"Reding, my good fellow,\" said he, \"what is the meaning of this report\nconcerning you, which is everywhere about?\"\n\n\"I have not heard it,\" said Charles abruptly.", "A thought struck Reding. \"Tell me, Willis,\" he said, \"your exact\nposition; in what sense are you a Catholic? What is to prevent your\nreturning with me to Oxford?\"", "\"Take it away, Mr. Reding, I beseech you,\" cried Kitchens, still\nretreating, while Charles still pressed on him; \"take it away, it's too", "The time came at length for Charles to return to Oxford; but during the\nlast month scruples had arisen in his mind, whether, with his present", "\"Well, Charles Reding,\" he said, \"I think we know each other well enough\nfor you to have given me a hint of what was going on as regards you.\"\n\nCharles said he had written to him only the evening before.", "Mrs. Reding was by this time settled in the neighbourhood of old friends\nin Devonshire; and there Charles spent the winter and early spring with\nher and his three sisters, the eldest of whom was two years older than\nhimself.", "Charles sat down all suspense, looking at Willis with such keen anxiety\nthat the latter was forced to cut the matter short. \"Reding, I am a\nCatholic.\"", "indeed, that Willis had been detained in Oxford, as he had been himself;\nbut what had compelled him to a visit so extraordinary as that which he\nhad just made, Charles had no means of determining.", "from home whom he is seeking; not to say that freshmen, who naturally\nhave common feelings and interests, as naturally are allotted a\nstaircase in common. And thus it was that Charles Reding was brought", "Charles went up this term for his first examination, and this caused him\nto remain in Oxford some days after the undergraduate part of his", "Charles at once changed his tone in speaking to him. He came to Mr.\nReding, he said, from a sense of duty; and there was nothing in his" ] ]

[ "Which group was despised out of all of the thinkers?", "Why was the Roman Catholic Church despised?", "What was the advice that Reding's father provided him?", "What do conversation with Sheffield convince Reding of?", "What is Reding forced to subscribe to, yet has doubts about?", "What temporarily erases Reding's doubts of the Thirty-nine Articles?", "How was Reding received when telling his family about his plan to convert?", "What church does Reding ultimately join?", "What church is Reding originally a part of?", "What movement was Newman the leading member of?", "What did the Oxford movement advocate?", "Why was the Roman Catholic Church despised?", "When did Newman convert to Roman Catholicism?", "How old was Newman at the time of his conversion?", "Who does Redding confess his doubts to?", "When Redding converts what emotions does Mary express to him?", "Why does Jennings force Redding to live away from Oxford during his studies?", "Why is Redding disappointed when he seeks out Church authority?", "Who is Willis?", "Who joined the Roman Catholic church?", "Where did Reding join the Catholic Church?", "How old was Newman?", "Where was Reding confronted by emissaries?", "Who was the leading member of the Oxford Movement?", "What did Newman do for a living?", "When were the religious tensions occurring at Oxford University?", "What church did Charles Reding depart?", "What is Private Judgment?", "Who forced Charles Reding to live away from Oxford?" ]

[ [ "Roman Catholic Church.", "Roman Catholic Church" ], [ "Introduction of superstition into its practice.", "Because they had introduced superstition into their practice of religion." ], [ "To submit to the teachings of the English Church, but not follow any factious parties.", "Become involved in the teachings of the Church of England but not the parties within. " ], [ "There are right and wrong answers in doctrinal matters.", "doctrinal matters must have a right and wrong answers" ], [ "Thirty-nine Articles.", "The Church of England " ], [ "Reding's father's death.", "the death of his father" ], [ "Reding was received with resentment and anger.", "His family are resentful and hurt" ], [ "Roman Catholic Church.", "the Roman Catholic Church" ], [ "Anglican Church.", "Church of England" ], [ "Oxford Movement", "The Oxford Movement" ], [ "The catholic interpretation of the church of England.", "Catholic interpretation of the Church of England" ], [ "They brought in the belief of superstitions.", "Because of the superstition involved in its practice." ], [ "1845", "1845" ], [ "in his 40's", "40s" ], [ "his sister Mary", "Mary" ], [ "Anger and resetnment", "Anger" ], [ "to not corrupt the other students", "so he is not a bad influence on the other students" ], [ "he finds disention", "There was no consensus, only contradictory ideas." ], [ "a former Oxford peer who converted to Roman Catholicism", "A former Oxford peer" ], [ "Charles Reding. ", "Reding" ], [ "The Passionists Convent. ", "Passionists Convent" ], [ "In his 40s. ", "In his 40's" ], [ "London. ", "at Oxford" ], [ "Newman. ", "Newman " ], [ "He was a theologian. ", "Leading Member of the Oxford Movement" ], [ "The 1840s. ", "The 1840's." ], [ "The Anglican church. ", "The Church of Englad" ], [ "A Protestant doctrine. ", "It locates authority in an individual" ], [ "Jennings ", "To prevent him from corrupting students" ] ]

9ff140c1a8d2d147eaa956d8783481e401ab3beb

train

[ [ "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "LT is very high now. A meditative, hallucinatory state.\n\n ARIANE takes a DIET COKE and lies down on the BED.", "LT, out of breath from his tirade, lets the Downtown half of \n his dose kick in but good.", "LT breaks out more COKE and some GRASS.\n\n LT\n All right, Bowtay. Show us your stuff.", "LITE\n Don't bullshit me.\n\n LT keeps doing COKE off hs wrist, even as ne speaks to LITE. \n LT can't seem to wipe the smile off his face.", "Apparently BOWTAY overheard that drugs are on the way. BOWTAY \n appears out of the KITCHEN.\n\n BOWTAY sits down near by, awaiting her DOSE.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "He puts them down, takes a BEER for himself. ARIANE doesn't \n turn around. She's busy preparing drugs.", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "LT arrives, leading a BUST. Lots of COPS. LT chases a handsome \n young COKE DEALER, JC, cornering him a couple flights up a", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "LT is some 40 years old. His natural swagger makes up for \n his lack of conventional good looks. He is obviously hung-\n over.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT\n Fuck you.\n (takes a deep hit)\n Just give me back a little something \n for the road.", "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars.", "Finally, LT approaches a hustling STREET DEALER. He cops. \n The STREET DEALER is wearing a WALKMAN, so the deal goes \n down in mime.", "They mime the deal. LT buys some COKE for immediate use.\n\n LT does the COKE off his wrist as he moves through the CROWD.", "LT\n It's not the drugs, Ariane, it's -- \n it's someone who wants to kill me.\n (beat)\n You gotta believe me!" ], [ "LT\n That's my problem. Just put in my \n bet.\n\n LITE gestures assent, but is not happy. He waits a moment, \n looks around.", "A change comes over LT. He leans in, gets seriously excited. \n LT is possessed by his memory of this afternoon's game.", "Now LT has to take their BETS for tomorrow afternoon's GAME, \n the FOURTH GAME of the World Series. LT urges the COPS to \n bet against the Mets.", "LT absorbs this, then bursts out.\n\n LT\n Fuck the nuns, man! I'm talking about \n Strawberry! Is the bet down?", "The COP BETS total $800 -- on OAKLAND. LT has obviously been \n the bookie for this precinct for a long time. He takes care \n of a lot of action and has these guy's faith.", "LITE stands up. He writes the BOOKIE'S NUMBER on a MATCHBOOK \n and gives it to LT.\n\n LITE leans over and gives LT a final warning.", "LT comes down off the CAR HOOD. Now he has to feign pride in \n his supposed big bet on OAKLAND.", "LT, his betting friend who is not a cop comes up beside him.\n\n LITE\n OK asshole. You owe thirty grand. \n Now what are you gonna do?", "LT. He watches STRAWBERRY as --\n\n With winning runs on, STRAWBERRY takes strike three, to lose \n the game.", "LITE\n (OC)\n All right. What are you gonna do?\n\n LT\n I want 15 on the Mets.", "COP ONE SHRUGS his assent, gives CASH to LT. The OTHER COPS \n follow his example, place their BETS on OAKLAND.", "LT pulls up alone beside a PHONE BOOTH and phones in the \n COPS' bets and his own to LITE. More than an anonymous", "GAME FIVE is close, and features STRAWBERRY. As LT listens, \n he reacts physically to the changing status of the game.\n\n He drives crazy through the streets, pounds the ceiling.", "LT has to convince the COPS to keep betting -- he can't afford \n to pay them all off. Unfortunately, the COPS all think LT \n just scored big, himself.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "Worst of all, the Mets are seriously behind. They are \n definitely LOSING.\n\n LT drags himself onward.\n\n CUT TO:", "CUT TO:\n\n DAY FIVE:\n\n GAME SEVEN: LT GETS DOUBLE OR NOTHING: $120,000", "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "LT\n There's nothing to think about. Either \n you put in my bet or you ain't getting \n nothing.\n\n BIG SILENCE on the PHONE.", "All three, despite the situation, are heavily into the Game.\n\n LT\n Strawberry...\n\n PAOLO\n Yeah..." ], [ "The NUN'S description of the RAPE is both a turn on for LT \n and a matter of profound curiosity. Something divine. His", "The NUN turns to run.\n\n NUN\n I have already forgiven them.\n\n LT is desperate. He lunges forward. Pleads with her.", "The NUN knows he is there. After a time, she gets up, goes \n to the altar, kneels. As if waiting for him.", "and got no surprise at all. No, they \n did not rape a nun. But a nun has \n been raped. And the nun must now", "LT has observed their interaction. Though he would have loved \n to have heard some information from the YOUNG NUN, her \n defiance gives him even more pleasure.", "The NUN LAUGHS. At first, it sounds like crying. But it is a \n strange, low laughter.", "NUN\n As I have prayed day and night since \n the desecration of this church \n yesterday morning -- and my sin. You \n see, Father --", "This blows him away. He has nothing to say to that.\n\n The NUN has finished her morning prayers.\n\n For a moment, she looks deep into LT's eyes.", "Finally, as if she knew he was there all along, the NUN looks \n up at where LT is hiding and boldly meets his eyes.\n\n CUT TO:", "They are all alone. At the ALTAR, before the CRUCIFIX, LT \n confronts the NUN face to face. The NUN holds her ROSARY \n BEADS.", "The NUN turns to him, simple and pure, pure and simple.", "The ELDERLY NUN lowers her head. Shamed.\n\n ELDERLY NUN\n I would tell you more if I could. I \n am so sorry, Officers.", "ARIANE suddenly starts up.\n\n ARIANE\n And the nun's not a virgin anymore, \n either. Will they make her leave the \n convent?", "path. The path of the material world. \n The path no nun has the right to \n take. And so, I sinned.\n (beat)", "NUN\n Those boys, those sad, raging boys... \n They came to me as the needy do. And", "INT: EVENING - ARIANE'S APARTMENT\n\n CU - LT fucking a NUN.\n\n Its ARIANE.", "He wants to get into the inner sanctum. Beyond where even \n COPS were allowed to go. He wants to get to the NUN.\n\n A sexy NURSE stops him.", "BLOOD! TWO KIDS are raping a NUN, attacking the SECOND NUN, \n and shitting on the ALTAR. Going berserk. They steal PURPLE \n ROBES and the CHALICE.", "And the NUN is spectacularly beautiful. She doesn't speak. \n Looks like a Pieta.", "The ELDERLY NUN was attacked but not raped. They carved \n crosses on her." ], [ "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "LT, his betting friend who is not a cop comes up beside him.\n\n LITE\n OK asshole. You owe thirty grand. \n Now what are you gonna do?", "LT\n That's my problem. Just put in my \n bet.\n\n LITE gestures assent, but is not happy. He waits a moment, \n looks around.", "LT has to convince the COPS to keep betting -- he can't afford \n to pay them all off. Unfortunately, the COPS all think LT \n just scored big, himself.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "One COP doesn't go along with the deal. LT painfully pays \n him off.", "LT absorbs this, then bursts out.\n\n LT\n Fuck the nuns, man! I'm talking about \n Strawberry! Is the bet down?", "Silence. The COPS think about it for a moment.\n\n BET COP speaks up first; hands LT some CASH. When he talks \n to LT, his fawning posture is obvious.", "LITE\n You couldn't pay 60. You lose, you'll \n be in for 180. To a guy who kills \n people for nothing.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT\n There's nothing to think about. Either \n you put in my bet or you ain't getting \n nothing.\n\n BIG SILENCE on the PHONE.", "LT turns to the OWNER.\n\n LT\n How much did they take?\n\n KOREAN OWNER\n Five hundred dollars cash.", "CUT TO:\n\n DAY FIVE:\n\n GAME SEVEN: LT GETS DOUBLE OR NOTHING: $120,000", "The COP BETS total $800 -- on OAKLAND. LT has obviously been \n the bookie for this precinct for a long time. He takes care \n of a lot of action and has these guy's faith.", "Never any other way. So you had better \n just put in my fucking bet. $120,000 \n on the last game. The Big One. Come", "LT nods \"yes.\" An outright lie.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT\n More than you did.\n\n GAMBLER COP TWO\n Well, let's see some green!", "LT is entirely alone. He is stock-still, victim of his own \n terror.", "In the background, the questioning has already begun. The \n interrogators become increasingly frustrated. It can be heard \n in their voices. They want the reward, and -- despite a" ], [ "Worst of all, the Mets are seriously behind. They are \n definitely LOSING.\n\n LT drags himself onward.\n\n CUT TO:", "GAME FIVE is close, and features STRAWBERRY. As LT listens, \n he reacts physically to the changing status of the game.\n\n He drives crazy through the streets, pounds the ceiling.", "A change comes over LT. He leans in, gets seriously excited. \n LT is possessed by his memory of this afternoon's game.", "Now LT has to take their BETS for tomorrow afternoon's GAME, \n the FOURTH GAME of the World Series. LT urges the COPS to \n bet against the Mets.", "The Mets are coming up from behind -- but it is a long shot. \n LT doesn't seem to care. He stares into space.\n\n CUT TO:", "Now LT is alone with the TWO YOUNG BLACK KIDS.\n\n LT takes the KIDS inside at gunpoint.\n\n INT: The store appears to be deserted.", "Tired of the SPORTS STATIONS, LT turns on 911. There is a \n call for an uptown MURDER SCENE.\n\n HARD CUT TO:", "LT bounds off the COUCH, Still half-asleep, he crawls to the \n TV, turns on GAME FOUR. The LITTLE GIRL starts CRYING.", "LT. He watches STRAWBERRY as --\n\n With winning runs on, STRAWBERRY takes strike three, to lose \n the game.", "LT absorbs this, then bursts out.\n\n LT\n Fuck the nuns, man! I'm talking about \n Strawberry! Is the bet down?", "There is even a TV in the CRACKHOUSE -- playing the GAME! \n The SOUND is Off. The Mets keep losing. If anything will", "All three, despite the situation, are heavily into the Game.\n\n LT\n Strawberry...\n\n PAOLO\n Yeah...", "He blackmails them into humiliating sex scenes. On a side \n street off Eleventh Avenue, LT plays it out until dawn.\n\n CUT TO:", "The FINAL GAME (SEVEN) is on the RADIO. LT is listening, but \n also not listening.", "CUT TO:\n\n DAY FIVE:\n\n GAME SEVEN: LT GETS DOUBLE OR NOTHING: $120,000", "TWINS\n (shrug - in unison)\n It's 7-0: Oakland.\n (single Twin)\n That nigger could have let it drop \n and gone home.", "LT\n No fucking way they're gonna do it \n in four games straight.\n\n COP ONE\n You serious, man? I wanna go Mets \n all the way!", "The BET COP and a couple of OTHER, FAMILIAR GAMBLER COPS \n move in. They've got nothing on their minds but the World \n Series.", "LT sits down next to the KIDS. SMOKES with them, watches the \n Game. LT must hold the PIPE for them, as they are HANDCUFFED.", "LITE\n The fucking rapists, man. The punks \n who raped that nun. The $50,000 reward \n from the Church! Remember?" ], [ "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT whips out his GUN and shoots a deafening BLAST between \n the TWO KIDS' heads.It almost takes off the left ear of one \n and the right ear of the other.", "LT uncuffs them and the KIDS get on the BUS, dumbstruck.\n\n LT hands JULIO the CIGAR BOX. His \"salvation.\"", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "Now LT is alone with the TWO YOUNG BLACK KIDS.\n\n LT takes the KIDS inside at gunpoint.\n\n INT: The store appears to be deserted.", "JESUS kneels down, knee to knee, face to face with LT.\n\n JESUS\n I forgive you.", "LT\n Those fucking Mob assholes.\n\n LT makes the strangulation gesture again. ARIANE laughs at \n him.", "The NUN turns to run.\n\n NUN\n I have already forgiven them.\n\n LT is desperate. He lunges forward. Pleads with her.", "The GIRLS don't miss a sexual beat. They continue what is \n now a menage a deux. They won't miss LT while he's gone.\n\n LT splits. No good-byes.", "When LT and the ELDERLY BLACK WOMAN reach the door to outside, \n they both pause to GENUFLECT.\n\n Then LT grabs her again and they rush out.", "LT finishes looking at the various artifacts of his life. He \n sighs, leans back, appears to be -- dare we say it -- at \n peace.\n\n FADE TO BLACK;", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT\n Get out.\n\n The KIDS do. LT follows fast.\n\n AT THE BUS: He makes them board at GUN POINT.", "LITE lowers his head and exits.\n\n LT gets up a moment later, brushes himself off, and swaggers \n out of the V.I.P. ROOM.", "The UNIFORMED COP looks at LT for a moment, then goes.\n\n LT is now alone with the KOREAN OWNER and the TWO YOUNG BLACK \n KIDS.", "Then she gets up and leaves LT alone in the CHURCH.\n\n LT comes face to face with the mammoth CRUCIFIX. He is \n transfixed.", "fun, and then, he puts up 100 G to \n bring in some guys who raped a nun. \n What a sick fuck. Man...", "LT\n (to himself)\n Lite, man... Where the fuck are you?\n\n ARIANE can't get the image of the rape out of her mind.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN." ], [ "LT\n And he got electrocuted.", "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "The BOOKIE pulls up and -- without getting out of his CAR -- \n He SHOOTS LT in the head.", "LT whips out his GUN and shoots a deafening BLAST between \n the TWO KIDS' heads.It almost takes off the left ear of one \n and the right ear of the other.", "LT saunters up to the MURDER CAR, DEAD WILLIE still in the \n front seat. LT is obviously berserk to get the KI, but he", "LT finishes looking at the various artifacts of his life. He \n sighs, leans back, appears to be -- dare we say it -- at \n peace.\n\n FADE TO BLACK;", "LT uses his Lieutenants' privilege to enter the MURDER CAR \n and begin his own investigation.\n\n TIRE TRACKS are discovered nearby. The OTHER COPS are \n distracted.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "Suddenly. LT can move. He takes out his GUN, presses himself \n against the nearest WALL. From that position, he hears --", "LT is entirely alone. He is stock-still, victim of his own \n terror.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT is still pressed against the wall, GUN at the ready. He \n cannot be relieved. The terror is with him.\n\n CUT TO:", "LT is further away now from the scene of WILLIE'S murder and \n his own debacle. LT overhears something. Cuts off his \n muttering.", "The BOOKIE speeds off. (We never saw him behind the dark \n windows,} LT is dead in his CAR.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "LT\n Those fucking Mob assholes.\n\n LT makes the strangulation gesture again. ARIANE laughs at \n him.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling." ], [ "They pass the PAROCHIAL SCHOOL BUS. It has stopped for a \n moment taking on KIDS. LT cuts off the TWINS' tirade.", "CUT TO:\n\n INT: MORNING - LT'S CAR - EN ROUTE TO/AT PAROCHIAL SCHOOL", "LT\n Get out.\n\n The KIDS do. LT follows fast.\n\n AT THE BUS: He makes them board at GUN POINT.", "LT\n What the fuck are ya standing there \n for? Be gone!\n\n The KIDS, stunned, split.", "(beat)\n Father. I knew them; They learn in \n our school. And play in our \n schoolyard. And they are good boys.", "LT has the KIDS handcuffed in the back seat. (The Scene \n mirrors Scene 2. in which LT drove his own TWINS to school.)", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "POV LT - THE NUNS\n\n LT\n Get going.\n\n The TWINS get out. Join the line of students entering the \n SCHOOL.", "CU. LT - It hits him. The CRACKHOUSE where the kids hang out \n has always been right next to the CHURCH/CONVENT where it an \n began! It suddenly makes sense to him.", "LT nods \"yes.\" An outright lie.", "LT busts in. Fires shots, collars the KIDS. The KIDS are \n wearing the PURPLE ROBES from the CHURCH/CONVENT. They also", "As LT drives the TWINS to SCHOOL, the three play wild rough-\n house.\n\n The CAR swerves crazily.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT has observed their interaction. Though he would have loved \n to have heard some information from the YOUNG NUN, her \n defiance gives him even more pleasure.", "After a moment, LT gets up. The KIDS understand that they \n must do the same.\n\n LT\n Give me the robes.", "LT is carrying on about the NUN. As he speaks about various \n subjects, his tone changes radically. From contempt and", "ANGLE - Through the WINDSHIELD, the PAROCHIAL SCHOOL comes \n into view. A CROWD of UNIFORMED KIDS is gathered outside.", "LT whips out his GUN and shoots a deafening BLAST between \n the TWO KIDS' heads.It almost takes off the left ear of one \n and the right ear of the other.", "LT comes on to them. He's way out there. The GIRLS are \n smashed.\n\n LT notes their \"Heavy Metal\" CROSSES, and questions them.", "The KIDS don't even know what is inside. They take it.\n\n LT gets back into his CAR, takes off.\n\n CUT TO:" ], [ "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "LT is some 40 years old. His natural swagger makes up for \n his lack of conventional good looks. He is obviously hung-\n over.", "LITE\n Don't bullshit me.\n\n LT keeps doing COKE off hs wrist, even as ne speaks to LITE. \n LT can't seem to wipe the smile off his face.", "LT is very high now. A meditative, hallucinatory state.\n\n ARIANE takes a DIET COKE and lies down on the BED.", "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "LT\n Fuck you.\n (takes a deep hit)\n Just give me back a little something \n for the road.", "LT, out of breath from his tirade, lets the Downtown half of \n his dose kick in but good.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT is entirely alone. He is stock-still, victim of his own \n terror.", "LT\n (to himself)\n Why me, man?\n\n LT leans into the TV, transfixed, as --", "LT stumbles into the CHURCH. Alone now, he notes various \n aspects of the DESECRATION, but can't see much because he's \n blind drunk.", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "LT sits back on top of his CAR, DRINKING heavily. He toasts \n STRAWBERRY. The others are uneasy. Why toast STRAWBERRY?", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "LT rises, moves around the interior of the CHURCH. He \n stumbles, struggles, pleads. Falls, rises, falls and rises \n again -- as if wrestling with an invisible assailant.", "LT talks wildly about Jesus Christ. And about the misery \n they pass in the street. He waves his GUN wildly, punctuating", "LT trembles, frantic and manic-high, as he goes to his meeting \n with LITE. LT plows his way through the CROWD, heading toward" ], [ "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "LITE\n Don't bullshit me.\n\n LT keeps doing COKE off hs wrist, even as ne speaks to LITE. \n LT can't seem to wipe the smile off his face.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT is some 40 years old. His natural swagger makes up for \n his lack of conventional good looks. He is obviously hung-\n over.", "LT breaks out more COKE and some GRASS.\n\n LT\n All right, Bowtay. Show us your stuff.", "LT\n (soft, sardonic)\n I guess he was a bigtime dealer...\n (beat)\n What d'ya know... A kilo of 'caine...", "LT is very high now. A meditative, hallucinatory state.\n\n ARIANE takes a DIET COKE and lies down on the BED.", "LT ignores his colleagues, the COPS ON THE SCENE. He knows \n some of the DEALERS and STREET CHARACTERS on the sidelines.\n\n He heads straight for them.", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "Finally, LT approaches a hustling STREET DEALER. He cops. \n The STREET DEALER is wearing a WALKMAN, so the deal goes \n down in mime.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "LT\n Fuck you.\n (takes a deep hit)\n Just give me back a little something \n for the road.", "The STREET DEALER tries to consider what this crazy guy has \n just told him, but before the STREET DEALER can even react. \n LT leans in on him, shows his GUN and then his BADGE.", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "LT arrives, leading a BUST. Lots of COPS. LT chases a handsome \n young COKE DEALER, JC, cornering him a couple flights up a", "Apparently BOWTAY overheard that drugs are on the way. BOWTAY \n appears out of the KITCHEN.\n\n BOWTAY sits down near by, awaiting her DOSE.", "LT, out of breath from his tirade, lets the Downtown half of \n his dose kick in but good.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars." ], [ "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "LT nods, puts MAMACITA'S CRACK VIALS in his pocket. He notices \n that --", "LT takes a handful of the COKE and puts it in a DOLLAR BILL; \n pockets it.", "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars.", "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "Outside the MURDER CAR, LT makes to stand up. In the act, he -- \n DROPS the BAG of COKE!", "He puts them down, takes a BEER for himself. ARIANE doesn't \n turn around. She's busy preparing drugs.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "LT, out of breath from his tirade, lets the Downtown half of \n his dose kick in but good.", "LT gets into the CAR, looks around. He finds a BAG OF POT.\n\n LT waves the POT in front of the GIRLS.", "Apparently BOWTAY overheard that drugs are on the way. BOWTAY \n appears out of the KITCHEN.\n\n BOWTAY sits down near by, awaiting her DOSE.", "The instant the KIDS have left the CAR -- LT takes out some \n COKE. Snorts it. He takes his GUN out of hiding.\n\n LT steers with his knees as he drives off toward the City.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "Finally, LT approaches a hustling STREET DEALER. He cops. \n The STREET DEALER is wearing a WALKMAN, so the deal goes \n down in mime.", "LITE\n Don't bullshit me.\n\n LT keeps doing COKE off hs wrist, even as ne speaks to LITE. \n LT can't seem to wipe the smile off his face.", "The KIDS don't even know what is inside. They take it.\n\n LT gets back into his CAR, takes off.\n\n CUT TO:", "They mime the deal. LT buys some COKE for immediate use.\n\n LT does the COKE off his wrist as he moves through the CROWD." ], [ "They pass the PAROCHIAL SCHOOL BUS. It has stopped for a \n moment taking on KIDS. LT cuts off the TWINS' tirade.", "LT\n Get out.\n\n The KIDS do. LT follows fast.\n\n AT THE BUS: He makes them board at GUN POINT.", "CUT TO:\n\n INT: MORNING - LT'S CAR - EN ROUTE TO/AT PAROCHIAL SCHOOL", "LT\n What the fuck are ya standing there \n for? Be gone!\n\n The KIDS, stunned, split.", "LT has the KIDS handcuffed in the back seat. (The Scene \n mirrors Scene 2. in which LT drove his own TWINS to school.)", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "The KIDS don't even know what is inside. They take it.\n\n LT gets back into his CAR, takes off.\n\n CUT TO:", "Now LT is alone with the TWO YOUNG BLACK KIDS.\n\n LT takes the KIDS inside at gunpoint.\n\n INT: The store appears to be deserted.", "(beat)\n Father. I knew them; They learn in \n our school. And play in our \n schoolyard. And they are good boys.", "LT\n No.\n\n LT exits. Taking the KIDS along. He carries the CHALICE and \n the CIGAR BOX.", "POV LT - THE NUNS\n\n LT\n Get going.\n\n The TWINS get out. Join the line of students entering the \n SCHOOL.", "CU. LT - It hits him. The CRACKHOUSE where the kids hang out \n has always been right next to the CHURCH/CONVENT where it an \n began! It suddenly makes sense to him.", "As LT drives the TWINS to SCHOOL, the three play wild rough-\n house.\n\n The CAR swerves crazily.", "LT busts in. Fires shots, collars the KIDS. The KIDS are \n wearing the PURPLE ROBES from the CHURCH/CONVENT. They also", "LT whips out his GUN and shoots a deafening BLAST between \n the TWO KIDS' heads.It almost takes off the left ear of one \n and the right ear of the other.", "After a moment, LT gets up. The KIDS understand that they \n must do the same.\n\n LT\n Give me the robes.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT's WIFE, BABE in arms, comes out to watch LT's lovely SEVEN \n YEAR-OLD DAUGHTER head off toward her school on foot. Many", "LT uncuffs them and the KIDS get on the BUS, dumbstruck.\n\n LT hands JULIO the CIGAR BOX. His \"salvation.\"", "LT sits down next to the KIDS. SMOKES with them, watches the \n Game. LT must hold the PIPE for them, as they are HANDCUFFED." ], [ "LT averts his eyes. When he looks up again --\n\n JESUS is back on the CROSS. Inert, and yet --", "Then she gets up and leaves LT alone in the CHURCH.\n\n LT comes face to face with the mammoth CRUCIFIX. He is \n transfixed.", "The enormous, graphically bloody CRUCIFIX confronts him.\n\n He collapses immediately into a PEW. Sleeps.\n\n TIME PASSES", "LT talks wildly about Jesus Christ. And about the misery \n they pass in the street. He waves his GUN wildly, punctuating", "LT is not shocked or even surprised. He speaks to JESUS as \n to someone he's known all his life.\n\n JESUS\n (OC)\n I forgive you.", "They are all alone. At the ALTAR, before the CRUCIFIX, LT \n confronts the NUN face to face. The NUN holds her ROSARY \n BEADS.", "This turns on ARIANE. She stops talking. Writhes and grapples \n him.\n\n LT is reaching climax. When describing Jesus rising again --\n\n LT has an orgasm.", "LT rises, moves around the interior of the CHURCH. He \n stumbles, struggles, pleads. Falls, rises, falls and rises \n again -- as if wrestling with an invisible assailant.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "JESUS kneels down, knee to knee, face to face with LT.\n\n JESUS\n I forgive you.", "Taking that aura with him, JESUS comes down off the CROSS, \n and moves toward LT, who is still kneeling at the ALTAR.\n\n JESUS\n I forgive you.", "From just outside the door, LT peep-toms on the NUN while \n she is being examined. He sees her stark naked, laid out on \n a table, her legs spread wide apart.", "LT senses the confession is over. As the PRIEST begins to \n speak again, LT snaps to and returns to his original hiding \n place, near the CANDLES.", "This blows him away. He has nothing to say to that.\n\n The NUN has finished her morning prayers.\n\n For a moment, she looks deep into LT's eyes.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "POV - LT - JESUS on the CROSS.\n\n Soon, LT hears a VOICE.", "LT stumbles into the CHURCH. Alone now, he notes various \n aspects of the DESECRATION, but can't see much because he's \n blind drunk.", "Finally, as if she knew he was there all along, the NUN looks \n up at where LT is hiding and boldly meets his eyes.\n\n CUT TO:", "LT\n What's to believe?\n\n ARIANE\n That Jesus Christ was the Son of God \n and he came to die for your sins.", "LT can't help but start up. As if, telepathically, the NUN \n knew he was there and cried out to him. Asked him to complete \n her mission." ], [ "NUN\n I have prayed for days, Lieutenant. \n I have prayed for the souls of the", "The NUN turns to run.\n\n NUN\n I have already forgiven them.\n\n LT is desperate. He lunges forward. Pleads with her.", "This blows him away. He has nothing to say to that.\n\n The NUN has finished her morning prayers.\n\n For a moment, she looks deep into LT's eyes.", "LT has observed their interaction. Though he would have loved \n to have heard some information from the YOUNG NUN, her \n defiance gives him even more pleasure.", "Finally, as if she knew he was there all along, the NUN looks \n up at where LT is hiding and boldly meets his eyes.\n\n CUT TO:", "POV LT - The YOUNG NUN smiles a quiet, intractable smile.\n\n COP 2 is screaming mad, but tries to hide it.", "They are all alone. At the ALTAR, before the CRUCIFIX, LT \n confronts the NUN face to face. The NUN holds her ROSARY \n BEADS.", "The NUN knows he is there. After a time, she gets up, goes \n to the altar, kneels. As if waiting for him.", "The NUN'S description of the RAPE is both a turn on for LT \n and a matter of profound curiosity. Something divine. His", "INT: EVENING - ARIANE'S APARTMENT\n\n CU - LT fucking a NUN.\n\n Its ARIANE.", "LT is carrying on about the NUN. As he speaks about various \n subjects, his tone changes radically. From contempt and", "LT\n Nah...\n\n ARIANE\n Sure it is. You're a virgin. Just \n like that nun. And I'm gonna rape \n you.", "LT\n (to the Cops)\n What's this shit about a nun getting \n raped?", "LT can't help but start up. As if, telepathically, the NUN \n knew he was there and cried out to him. Asked him to complete \n her mission.", "NUN\n The good reasons are not always the \n real reasons. Talk to Jesus, \n Lieutenant. Pray.", "and got no surprise at all. No, they \n did not rape a nun. But a nun has \n been raped. And the nun must now", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "The NUN turns to him, simple and pure, pure and simple.", "The ELDERLY NUN lowers her head. Shamed.\n\n ELDERLY NUN\n I would tell you more if I could. I \n am so sorry, Officers.", "this nun, let me tell you. What a \n beautiful lady...\n (snaps out of his awe)" ], [ "LT\n That's my problem. Just put in my \n bet.\n\n LITE gestures assent, but is not happy. He waits a moment, \n looks around.", "LT, his betting friend who is not a cop comes up beside him.\n\n LITE\n OK asshole. You owe thirty grand. \n Now what are you gonna do?", "The COP BETS total $800 -- on OAKLAND. LT has obviously been \n the bookie for this precinct for a long time. He takes care \n of a lot of action and has these guy's faith.", "LT\n There's nothing to think about. Either \n you put in my bet or you ain't getting \n nothing.\n\n BIG SILENCE on the PHONE.", "LT has to convince the COPS to keep betting -- he can't afford \n to pay them all off. Unfortunately, the COPS all think LT \n just scored big, himself.", "Now LT has to take their BETS for tomorrow afternoon's GAME, \n the FOURTH GAME of the World Series. LT urges the COPS to \n bet against the Mets.", "LT\n I wanna go double or nothing on the \n next game.\n\n LITE\n Double or nothing? Are you fucking \n out of your mind?", "Never any other way. So you had better \n just put in my fucking bet. $120,000 \n on the last game. The Big One. Come", "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "LT absorbs this, then bursts out.\n\n LT\n Fuck the nuns, man! I'm talking about \n Strawberry! Is the bet down?", "LITE looks his friend up and down as if he's lost his mind.", "LT\n Oooo... Big fucking scary guy. Just \n put $120,000 on tomorrow's game.", "COP ONE SHRUGS his assent, gives CASH to LT. The OTHER COPS \n follow his example, place their BETS on OAKLAND.", "LITE stands up. He writes the BOOKIE'S NUMBER on a MATCHBOOK \n and gives it to LT.\n\n LITE leans over and gives LT a final warning.", "connection to the BOOKIE, LITE is obviously LT's old friend -- \n and a hustler just like himself.", "LT comes down off the CAR HOOD. Now he has to feign pride in \n his supposed big bet on OAKLAND.", "A change comes over LT. He leans in, gets seriously excited. \n LT is possessed by his memory of this afternoon's game.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT\n Uh-uh. I'm gonna win. Just make sure \n the bet gets in.", "LITE\n (OC)\n All right. What are you gonna do?\n\n LT\n I want 15 on the Mets." ], [ "LT. He watches STRAWBERRY as --\n\n With winning runs on, STRAWBERRY takes strike three, to lose \n the game.", "Worst of all, the Mets are seriously behind. They are \n definitely LOSING.\n\n LT drags himself onward.\n\n CUT TO:", "Strawberry. If Oakland wins, it's \n thanks to Strawberry. Nothing can \n happen out there on the field that", "The Mets are coming up from behind -- but it is a long shot. \n LT doesn't seem to care. He stares into space.\n\n CUT TO:", "GAME FIVE is close, and features STRAWBERRY. As LT listens, \n he reacts physically to the changing status of the game.\n\n He drives crazy through the streets, pounds the ceiling.", "This story takes place during a World Series between the \n Mets and the A's. Canseco plays for Oakland, and Strawberry \n is still with New York.\n\n DAY ONE:", "LT\n We are, man! That's the point! If \n the Mets win, it's thanks to", "TWINS\n (shrug - in unison)\n It's 7-0: Oakland.\n (single Twin)\n That nigger could have let it drop \n and gone home.", "TWIN\n They're gonna win the Series in four!\n\n LT\n All the way with Strawberry!", "LT\n No fucking way they're gonna do it \n in four games straight.\n\n COP ONE\n You serious, man? I wanna go Mets \n all the way!", "STRAWBERRY overthrows a sacrifice fly from Canseco and the \n A's WIN.", "All three, despite the situation, are heavily into the Game.\n\n LT\n Strawberry...\n\n PAOLO\n Yeah...", "On the RADIO, the GAME is ending. STRAWBERRY hits a HOME RUN \n and the -- Mets win, the CROWD ROARS.\n\n END CREDITS.", "Now LT has to take their BETS for tomorrow afternoon's GAME, \n the FOURTH GAME of the World Series. LT urges the COPS to \n bet against the Mets.", "TWINS\n (in unison)\n Strawberry!\n\n The TWINS whoop and shout, celebrating LT's -- and their own -- \n favorite player.", "EXT: LATE AFTERNOON - SHEA STADIUM - THE SIX GAME OF THE \n WORLD SERIES\n\n The MASSIVE CROWD ROARS.", "LT bounds off the COUCH, Still half-asleep, he crawls to the \n TV, turns on GAME FOUR. The LITTLE GIRL starts CRYING.", "ON TV: STRAWBERRY makes a fantastic catch of a Canseco drive \n with runners on base. LT CHEERS.\n\n DOORS SLAM (OFF). The TWINS have come home from school.", "A change comes over LT. He leans in, gets seriously excited. \n LT is possessed by his memory of this afternoon's game.", "that Strawberry? He does what ever \n you want him to, huh Lieutenant? \n Even strike out!\n (beat)" ], [ "Silence. The COPS think about it for a moment.\n\n BET COP speaks up first; hands LT some CASH. When he talks \n to LT, his fawning posture is obvious.", "LT\n Give me the fucking money, assholes!\n\n They give LT the CASH. The KIDS stand there.", "LT turns to the OWNER.\n\n LT\n How much did they take?\n\n KOREAN OWNER\n Five hundred dollars cash.", "LT\n A wiseguy. Paying 100 Grand for the \n rapists if I turn then over direct \n to him.\n\n ARIANE'S eyes light up.", "LT, his betting friend who is not a cop comes up beside him.\n\n LITE\n OK asshole. You owe thirty grand. \n Now what are you gonna do?", "One COP doesn't go along with the deal. LT painfully pays \n him off.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars.", "LT\n Gimme the money! Now!\n\n The TWO YOUNG BLACK KIDS have regained some of their cool.\n\n They are still belligerent.", "LITE\n The fucking rapists, man. The punks \n who raped that nun. The $50,000 reward \n from the Church! Remember?", "He blackmails them into humiliating sex scenes. On a side \n street off Eleventh Avenue, LT plays it out until dawn.\n\n CUT TO:", "COP\n Uh, Lieutenant, Sir -- The owner \n says they stole cash from the \n register. He was chasing them down \n the block when I caught up with them.", "fun, and then, he puts up 100 G to \n bring in some guys who raped a nun. \n What a sick fuck. Man...", "LT whips out his GUN and shoots a deafening BLAST between \n the TWO KIDS' heads.It almost takes off the left ear of one \n and the right ear of the other.", "Now LT is alone with the TWO YOUNG BLACK KIDS.\n\n LT takes the KIDS inside at gunpoint.\n\n INT: The store appears to be deserted.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT\n Nah...\n\n ARIANE\n Sure it is. You're a virgin. Just \n like that nun. And I'm gonna rape \n you." ], [ "LT finishes looking at the various artifacts of his life. He \n sighs, leans back, appears to be -- dare we say it -- at \n peace.\n\n FADE TO BLACK;", "LT\n And he got electrocuted.", "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT is entirely alone. He is stock-still, victim of his own \n terror.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "LT is still pressed against the wall, GUN at the ready. He \n cannot be relieved. The terror is with him.\n\n CUT TO:", "The BOOKIE speeds off. (We never saw him behind the dark \n windows,} LT is dead in his CAR.", "LT is further away now from the scene of WILLIE'S murder and \n his own debacle. LT overhears something. Cuts off his \n muttering.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "LT saunters up to the MURDER CAR, DEAD WILLIE still in the \n front seat. LT is obviously berserk to get the KI, but he", "LITE lowers his head and exits.\n\n LT gets up a moment later, brushes himself off, and swaggers \n out of the V.I.P. ROOM.", "LT is still laughing as LITE leaves the V.I.P ROOM.\n\n Before going out the door, LITE turns to look one more time \n at his friend.", "She speaks at last.\n\n ELDERLY BLACK WOMAN\n I can't tell you.\n\n Gun in hand, LT gets down on his knees.", "The BOOKIE pulls up and -- without getting out of his CAR -- \n He SHOOTS LT in the head.", "LT uses his Lieutenants' privilege to enter the MURDER CAR \n and begin his own investigation.\n\n TIRE TRACKS are discovered nearby. The OTHER COPS are \n distracted." ], [ "LT finishes looking at the various artifacts of his life. He \n sighs, leans back, appears to be -- dare we say it -- at \n peace.\n\n FADE TO BLACK;", "She speaks at last.\n\n ELDERLY BLACK WOMAN\n I can't tell you.\n\n Gun in hand, LT gets down on his knees.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "LT hears ARIANE calling to him from the LIVING ROOM.\n\n ARIANE\n (OC - calling to LT)\n There's nothing!", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT is further away now from the scene of WILLIE'S murder and \n his own debacle. LT overhears something. Cuts off his \n muttering.", "This blows him away. He has nothing to say to that.\n\n The NUN has finished her morning prayers.\n\n For a moment, she looks deep into LT's eyes.", "BOWTAY begins to recite the monologue from the very end of \n the play. \"When will the world be ready to receive thy \n saints?\", etc.", "LT starts MOUTHING WORDS silently at the STREET DEALER. No \n response. Then, he -- silently -- begins to shout.", "LT is entirely alone. He is stock-still, victim of his own \n terror.", "Finally, as if she knew he was there all along, the NUN looks \n up at where LT is hiding and boldly meets his eyes.\n\n CUT TO:", "The NUN turns to run.\n\n NUN\n I have already forgiven them.\n\n LT is desperate. He lunges forward. Pleads with her.", "NUN\n I have prayed for days, Lieutenant. \n I have prayed for the souls of the", "LT is still pressed against the wall, GUN at the ready. He \n cannot be relieved. The terror is with him.\n\n CUT TO:", "Suddenly. LT can move. He takes out his GUN, presses himself \n against the nearest WALL. From that position, he hears --", "LITE\n He's gonna kill you, man. Do you \n hear me, motherfucker? You. Dead. \n Get it?", "LT can hardly speak. He is NUDE, and communicating from \n another world syllable by syllable.\n\n LT\n (into the phone)\n Large?", "ARIANE\n Your sins, Lieutenant!\n (beat)\n And look around you! Where do you \n think all this shit came from?", "LT senses the confession is over. As the PRIEST begins to \n speak again, LT snaps to and returns to his original hiding \n place, near the CANDLES.", "The FINAL GAME (SEVEN) is on the RADIO. LT is listening, but \n also not listening." ], [ "LT\n Get out.\n\n The KIDS do. LT follows fast.\n\n AT THE BUS: He makes them board at GUN POINT.", "CUT TO:\n\n INT: MORNING - LT'S CAR - EN ROUTE TO/AT PAROCHIAL SCHOOL", "The KIDS don't even know what is inside. They take it.\n\n LT gets back into his CAR, takes off.\n\n CUT TO:", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "The instant the KIDS have left the CAR -- LT takes out some \n COKE. Snorts it. He takes his GUN out of hiding.\n\n LT steers with his knees as he drives off toward the City.", "LT\n What the fuck are ya standing there \n for? Be gone!\n\n The KIDS, stunned, split.", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "LT\n No.\n\n LT exits. Taking the KIDS along. He carries the CHALICE and \n the CIGAR BOX.", "LT uncuffs them and the KIDS get on the BUS, dumbstruck.\n\n LT hands JULIO the CIGAR BOX. His \"salvation.\"", "LT has the KIDS handcuffed in the back seat. (The Scene \n mirrors Scene 2. in which LT drove his own TWINS to school.)", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "Now LT is alone with the TWO YOUNG BLACK KIDS.\n\n LT takes the KIDS inside at gunpoint.\n\n INT: The store appears to be deserted.", "LITE\n Are you sure?\n\n LT\n Yeah. I'm sure.\n\n LT hangs up the PHONE, heads back toward his parked CAR.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "They pass the PAROCHIAL SCHOOL BUS. It has stopped for a \n moment taking on KIDS. LT cuts off the TWINS' tirade.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "LT starts CRYING too, at the same time CURSING at the TRAFFIC.\n\n He drives wildly toward the Port Authority Terminal.", "LITE lowers his head and exits.\n\n LT gets up a moment later, brushes himself off, and swaggers \n out of the V.I.P. ROOM.", "LT jams his GUN down the PANTS of one of the KIDS. At the \n same time, he whips out his BADGE and thrusts it into the \n other KID'S FACE.", "After a moment, LT gets up. The KIDS understand that they \n must do the same.\n\n LT\n Give me the robes." ], [ "LT ignores his colleagues, the COPS ON THE SCENE. He knows \n some of the DEALERS and STREET CHARACTERS on the sidelines.\n\n He heads straight for them.", "Finally, LT approaches a hustling STREET DEALER. He cops. \n The STREET DEALER is wearing a WALKMAN, so the deal goes \n down in mime.", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars.", "The STREET DEALER tries to consider what this crazy guy has \n just told him, but before the STREET DEALER can even react. \n LT leans in on him, shows his GUN and then his BADGE.", "LT gives a cursory glance to the crime scene. A couple of \n COPS greet him; LT keeps walking.\n\n The BET COP digs his attitude.", "LT arrives, leading a BUST. Lots of COPS. LT chases a handsome \n young COKE DEALER, JC, cornering him a couple flights up a", "The COPS turn away, continue to talk among themselves. LT \n walks away.\n\n CUT TO:", "LT is further away now from the scene of WILLIE'S murder and \n his own debacle. LT overhears something. Cuts off his \n muttering.", "LT\n (soft, sardonic)\n I guess he was a bigtime dealer...\n (beat)\n What d'ya know... A kilo of 'caine...", "POV LT - A RESIDENT COKE DEALER. His FACE is visible, floating \n above the writhing crowd.\n\n LT pursues him. Finally catches him.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "LT points to a PUDDLE in which the STREET DEALER is now \n Standing.\n\n STREET DEALER\n And what?", "The UNIFORMED COP looks at LT for a moment, then goes.\n\n LT is now alone with the KOREAN OWNER and the TWO YOUNG BLACK \n KIDS.", "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT uses his Lieutenants' privilege to enter the MURDER CAR \n and begin his own investigation.\n\n TIRE TRACKS are discovered nearby. The OTHER COPS are \n distracted.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "Outside the MURDER CAR, LT makes to stand up. In the act, he -- \n DROPS the BAG of COKE!", "LT gets out of his CAR and makes his way through the COPS \n and GAWKERS.\n\n The BET COP comes up to LT." ], [ "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars.", "That decides it for LT. He sits down like a little boy and \n lets ARIANE shoot him up with the potent mixture of COCAINE \n and HEROIN.", "The STREET DEALER tries to consider what this crazy guy has \n just told him, but before the STREET DEALER can even react. \n LT leans in on him, shows his GUN and then his BADGE.", "Finally, LT approaches a hustling STREET DEALER. He cops. \n The STREET DEALER is wearing a WALKMAN, so the deal goes \n down in mime.", "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "LT ignores his colleagues, the COPS ON THE SCENE. He knows \n some of the DEALERS and STREET CHARACTERS on the sidelines.\n\n He heads straight for them.", "LT arrives, leading a BUST. Lots of COPS. LT chases a handsome \n young COKE DEALER, JC, cornering him a couple flights up a", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "They mime the deal. LT buys some COKE for immediate use.\n\n LT does the COKE off his wrist as he moves through the CROWD.", "LT\n (soft, sardonic)\n I guess he was a bigtime dealer...\n (beat)\n What d'ya know... A kilo of 'caine...", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "LT, out of breath from his tirade, lets the Downtown half of \n his dose kick in but good.", "Apparently BOWTAY overheard that drugs are on the way. BOWTAY \n appears out of the KITCHEN.\n\n BOWTAY sits down near by, awaiting her DOSE.", "POV LT - A RESIDENT COKE DEALER. His FACE is visible, floating \n above the writhing crowd.\n\n LT pursues him. Finally catches him.", "The instant the KIDS have left the CAR -- LT takes out some \n COKE. Snorts it. He takes his GUN out of hiding.\n\n LT steers with his knees as he drives off toward the City.", "The UNIFORMED COP looks at LT for a moment, then goes.\n\n LT is now alone with the KOREAN OWNER and the TWO YOUNG BLACK \n KIDS.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "LT\n Fuck you.\n (takes a deep hit)\n Just give me back a little something \n for the road." ], [ "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "The GIRLS don't miss a sexual beat. They continue what is \n now a menage a deux. They won't miss LT while he's gone.\n\n LT splits. No good-byes.", "LT ignores his colleagues, the COPS ON THE SCENE. He knows \n some of the DEALERS and STREET CHARACTERS on the sidelines.\n\n He heads straight for them.", "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT uses his Lieutenants' privilege to enter the MURDER CAR \n and begin his own investigation.\n\n TIRE TRACKS are discovered nearby. The OTHER COPS are \n distracted.", "LT is further away now from the scene of WILLIE'S murder and \n his own debacle. LT overhears something. Cuts off his \n muttering.", "LT gets them super-high, and himself likewise. He still holds \n his GUN.\n\n The KIDS go along with it. Taking it moment to moment.", "LT wakes up. Ruckus all around him. The COPS are there in \n force -- including some of the guys from the BAR, the UPTOWN", "The COPS turn away, continue to talk among themselves. LT \n walks away.\n\n CUT TO:", "From just outside the door, LT peep-toms on the NUN while \n she is being examined. He sees her stark naked, laid out on \n a table, her legs spread wide apart.", "LT stumbles into the CHURCH. Alone now, he notes various \n aspects of the DESECRATION, but can't see much because he's \n blind drunk.", "He blackmails them into humiliating sex scenes. On a side \n street off Eleventh Avenue, LT plays it out until dawn.\n\n CUT TO:", "COPS avoid each others' eyes. Competition has begun. No one \n shares information, each after the reward for himself.\n\n LT bursts out, swings into high gear.", "Then she gets up and leaves LT alone in the CHURCH.\n\n LT comes face to face with the mammoth CRUCIFIX. He is \n transfixed.", "LT is still pressed against the wall, GUN at the ready. He \n cannot be relieved. The terror is with him.\n\n CUT TO:", "As LT speaks to LITE, ARIANE continues to give him head." ], [ "LT takes his shot. He reaches for and finds the KI of COCAINE \n under the BACK SEAT. LT slips it under his COAT and emerges \n from the MURDER CAR.", "Outside the MURDER CAR, LT makes to stand up. In the act, he -- \n DROPS the BAG of COKE!", "LT completes re transaction, pays the STREET DEALER for the \n DRUG BAGS. He takes the CASH out of the CIGAR BOX, revealing \n dozens of thousands of dollars.", "LT arrives, leading a BUST. Lots of COPS. LT chases a handsome \n young COKE DEALER, JC, cornering him a couple flights up a", "COP\n Uh, Lieutenant, Sir -- The owner \n says they stole cash from the \n register. He was chasing them down \n the block when I caught up with them.", "The other COPS ignore the query.\n\n LT walks away.\n\n LT has successfully covered himself, but he walks off cursing \n and mumbling.", "The instant the KIDS have left the CAR -- LT takes out some \n COKE. Snorts it. He takes his GUN out of hiding.\n\n LT steers with his knees as he drives off toward the City.", "The COPS (OFF) rush out of the building.\n\n JC watches LT smoking like a fiend.\n\n JC\n That stuff'll kill you quick, man.", "LT ignores his colleagues, the COPS ON THE SCENE. He knows \n some of the DEALERS and STREET CHARACTERS on the sidelines.\n\n He heads straight for them.", "The KIDS don't even know what is inside. They take it.\n\n LT gets back into his CAR, takes off.\n\n CUT TO:", "LT uses his Lieutenants' privilege to enter the MURDER CAR \n and begin his own investigation.\n\n TIRE TRACKS are discovered nearby. The OTHER COPS are \n distracted.", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT gives a cursory glance to the crime scene. A couple of \n COPS greet him; LT keeps walking.\n\n The BET COP digs his attitude.", "The STREET DEALER tries to consider what this crazy guy has \n just told him, but before the STREET DEALER can even react. \n LT leans in on him, shows his GUN and then his BADGE.", "LT nods, puts MAMACITA'S CRACK VIALS in his pocket. He notices \n that --", "The COPS spot the KILO of COKE. Even those COPS that were \n far away, somehow know what has happened. They quickly gather \n round the MURDER CAR, LT, and the KI.", "LT breaks out more COKE and some GRASS.\n\n LT\n All right, Bowtay. Show us your stuff.", "LT turns to the OWNER.\n\n LT\n How much did they take?\n\n KOREAN OWNER\n Five hundred dollars cash.", "The COPS turn away, continue to talk among themselves. LT \n walks away.\n\n CUT TO:", "LT\n (orders the Cop)\n Take this guy down to the Precinct. \n I need to talk to him." ], [ "The NUN'S description of the RAPE is both a turn on for LT \n and a matter of profound curiosity. Something divine. His", "and got no surprise at all. No, they \n did not rape a nun. But a nun has \n been raped. And the nun must now", "LT has observed their interaction. Though he would have loved \n to have heard some information from the YOUNG NUN, her \n defiance gives him even more pleasure.", "From just outside the door, LT peep-toms on the NUN while \n she is being examined. He sees her stark naked, laid out on \n a table, her legs spread wide apart.", "Finally, as if she knew he was there all along, the NUN looks \n up at where LT is hiding and boldly meets his eyes.\n\n CUT TO:", "This blows him away. He has nothing to say to that.\n\n The NUN has finished her morning prayers.\n\n For a moment, she looks deep into LT's eyes.", "INT: EVENING - ARIANE'S APARTMENT\n\n CU - LT fucking a NUN.\n\n Its ARIANE.", "LT\n (to the Cops)\n What's this shit about a nun getting \n raped?", "INT: LATE NIGHT - THE NUN'S HOSPITAL EXAMINING ROOM", "The NUN knows he is there. After a time, she gets up, goes \n to the altar, kneels. As if waiting for him.", "The ELDERLY NUN lowers her head. Shamed.\n\n ELDERLY NUN\n I would tell you more if I could. I \n am so sorry, Officers.", "The NUN turns to run.\n\n NUN\n I have already forgiven them.\n\n LT is desperate. He lunges forward. Pleads with her.", "NUN\n I have prayed for days, Lieutenant. \n I have prayed for the souls of the", "LT\n Nah...\n\n ARIANE\n Sure it is. You're a virgin. Just \n like that nun. And I'm gonna rape \n you.", "He comes upon a DOOR that is plastered with \"QUARANTINE\" \n SIGNS. One too many, perhaps. LT senses the NUN is inside.", "They are all alone. At the ALTAR, before the CRUCIFIX, LT \n confronts the NUN face to face. The NUN holds her ROSARY \n BEADS.", "He wants to get into the inner sanctum. Beyond where even \n COPS were allowed to go. He wants to get to the NUN.\n\n A sexy NURSE stops him.", "them. The Sister who suffered a rape \n is just 17. She arrived from Ireland \n only a couple of months ago. This --", "ARIANE suddenly starts up.\n\n ARIANE\n And the nun's not a virgin anymore, \n either. Will they make her leave the \n convent?", "Then she gets up and leaves LT alone in the CHURCH.\n\n LT comes face to face with the mammoth CRUCIFIX. He is \n transfixed." ], [ "LT enters his car, drives off.\n\n CUT TO:\n\n EXT: EVENING - CRACK CITY", "The GIRLS don't miss a sexual beat. They continue what is \n now a menage a deux. They won't miss LT while he's gone.\n\n LT splits. No good-byes.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "LT gets into the CAR, looks around. He finds a BAG OF POT.\n\n LT waves the POT in front of the GIRLS.", "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT comes on to them. He's way out there. The GIRLS are \n smashed.\n\n LT notes their \"Heavy Metal\" CROSSES, and questions them.", "CUT TO:\n\n EXT INT: EVENING - LT'S CAR AND STREETS EN ROUTE TO RENDEZ-\n VOUS", "are the two inebriated, leather-clad GIRLS inside. LT pulls \n them over.", "LT saunters up to the MURDER CAR, DEAD WILLIE still in the \n front seat. LT is obviously berserk to get the KI, but he", "The KIDS don't even know what is inside. They take it.\n\n LT gets back into his CAR, takes off.\n\n CUT TO:", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "The instant the KIDS have left the CAR -- LT takes out some \n COKE. Snorts it. He takes his GUN out of hiding.\n\n LT steers with his knees as he drives off toward the City.", "CUT TO:\n\n INT: MORNING - LT'S CAR - EN ROUTE TO/AT PAROCHIAL SCHOOL", "LT starts CRYING too, at the same time CURSING at the TRAFFIC.\n\n He drives wildly toward the Port Authority Terminal.", "INT: EVENING - LT'S CAR\n\n LT is furious. He COKES UP. DRINKS heavily.", "LT is still laughing as LITE leaves the V.I.P ROOM.\n\n Before going out the door, LITE turns to look one more time \n at his friend.", "LITE\n Are you sure?\n\n LT\n Yeah. I'm sure.\n\n LT hangs up the PHONE, heads back toward his parked CAR.", "LT drives up, sizes up the scene. It's fresh territory. He'll \n milk it for what it's worth.", "Then she gets up and leaves LT alone in the CHURCH.\n\n LT comes face to face with the mammoth CRUCIFIX. He is \n transfixed.", "LT notices a SQUAD CAR, parked in front of the MARKET. LT \n picks up his pace." ], [ "LT is driving through HEAVY TRAFFIC while listening to GAME \n FIVE on the RADIO. He COKES UP. He mumbles to himself.", "GAME FIVE is close, and features STRAWBERRY. As LT listens, \n he reacts physically to the changing status of the game.\n\n He drives crazy through the streets, pounds the ceiling.", "A change comes over LT. He leans in, gets seriously excited. \n LT is possessed by his memory of this afternoon's game.", "LT. He watches STRAWBERRY as --\n\n With winning runs on, STRAWBERRY takes strike three, to lose \n the game.", "LT\n That's my problem. Just put in my \n bet.\n\n LITE gestures assent, but is not happy. He waits a moment, \n looks around.", "INT: EVENING - LT'S CAR\n\n LT is furious. He COKES UP. DRINKS heavily.", "The FINAL GAME (SEVEN) is on the RADIO. LT is listening, but \n also not listening.", "A CARTOON EXPLOSION wakes LT. He jumps up in a panic.\n\n LT\n Did I win? Shit! The game!", "LT shoots out the CAR RADIO. LT LOSES! He's $30,000 down.", "LT absorbs this, then bursts out.\n\n LT\n Fuck the nuns, man! I'm talking about \n Strawberry! Is the bet down?", "LT\n (to himself)\n Why me, man?\n\n LT leans into the TV, transfixed, as --", "LT comes down off the CAR HOOD. Now he has to feign pride in \n his supposed big bet on OAKLAND.", "Worst of all, the Mets are seriously behind. They are \n definitely LOSING.\n\n LT drags himself onward.\n\n CUT TO:", "LT has lost the $60,000 bet. He knows how heavy this is. \n That his life is new in danger.", "LT starts CRYING too, at the same time CURSING at the TRAFFIC.\n\n He drives wildly toward the Port Authority Terminal.", "LT saunters up to the MURDER CAR, DEAD WILLIE still in the \n front seat. LT is obviously berserk to get the KI, but he", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "Now LT has to take their BETS for tomorrow afternoon's GAME, \n the FOURTH GAME of the World Series. LT urges the COPS to \n bet against the Mets.", "Tired of the SPORTS STATIONS, LT turns on 911. There is a \n call for an uptown MURDER SCENE.\n\n HARD CUT TO:", "LT\n I wanna go double or nothing on the \n next game.\n\n LITE\n Double or nothing? Are you fucking \n out of your mind?" ], [ "This blows him away. He has nothing to say to that.\n\n The NUN has finished her morning prayers.\n\n For a moment, she looks deep into LT's eyes.", "The NUN turns to run.\n\n NUN\n I have already forgiven them.\n\n LT is desperate. He lunges forward. Pleads with her.", "The NUN'S description of the RAPE is both a turn on for LT \n and a matter of profound curiosity. Something divine. His", "NUN\n I have prayed for days, Lieutenant. \n I have prayed for the souls of the", "LT has observed their interaction. Though he would have loved \n to have heard some information from the YOUNG NUN, her \n defiance gives him even more pleasure.", "LT\n Nah...\n\n ARIANE\n Sure it is. You're a virgin. Just \n like that nun. And I'm gonna rape \n you.", "Finally, as if she knew he was there all along, the NUN looks \n up at where LT is hiding and boldly meets his eyes.\n\n CUT TO:", "and got no surprise at all. No, they \n did not rape a nun. But a nun has \n been raped. And the nun must now", "POV LT - The YOUNG NUN smiles a quiet, intractable smile.\n\n COP 2 is screaming mad, but tries to hide it.", "INT: EVENING - ARIANE'S APARTMENT\n\n CU - LT fucking a NUN.\n\n Its ARIANE.", "LT\n (to the Cops)\n What's this shit about a nun getting \n raped?", "They are all alone. At the ALTAR, before the CRUCIFIX, LT \n confronts the NUN face to face. The NUN holds her ROSARY \n BEADS.", "The NUN knows he is there. After a time, she gets up, goes \n to the altar, kneels. As if waiting for him.", "ARIANE suddenly starts up.\n\n ARIANE\n And the nun's not a virgin anymore, \n either. Will they make her leave the \n convent?", "LT is carrying on about the NUN. As he speaks about various \n subjects, his tone changes radically. From contempt and", "The ELDERLY NUN lowers her head. Shamed.\n\n ELDERLY NUN\n I would tell you more if I could. I \n am so sorry, Officers.", "LT can't help but start up. As if, telepathically, the NUN \n knew he was there and cried out to him. Asked him to complete \n her mission.", "The YOUNG NUN shoots the MONSIGNOR an offended look.\n\n It appears for a moment as if the YOUNG NUN makes eye contact \n with LT. But he can't be sure.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "LT hangs back in the crowd, staring at the YOUNG NUN as the \n COPS interrogate both NUNS." ], [ "LT stops in his tracks. The erotic import of this conversation \n has seized LT's imagination. He heads toward the cluster of \n COPS, cuts in.", "LT whips out his GUN and shoots a deafening BLAST between \n the TWO KIDS' heads.It almost takes off the left ear of one \n and the right ear of the other.", "LT leaves his CAR, heads for the GROUP of COPS. He joins \n them, sits down on the HOOD of a nearby CAR. The COPS are \n all DRINKING heavily.", "Now LT is alone with the TWO YOUNG BLACK KIDS.\n\n LT takes the KIDS inside at gunpoint.\n\n INT: The store appears to be deserted.", "LT turns around and looks at JULIO and PAOLO, both of them \n HANDCUFFED in the back seat.", "He blackmails them into humiliating sex scenes. On a side \n street off Eleventh Avenue, LT plays it out until dawn.\n\n CUT TO:", "LT jams his GUN down the PANTS of one of the KIDS. At the \n same time, he whips out his BADGE and thrusts it into the \n other KID'S FACE.", "This breaks LT up. He laughs until he cries. LITE watches \n the spectacle. Falls silent. They sit quietly for a moment.", "LT uncuffs them and the KIDS get on the BUS, dumbstruck.\n\n LT hands JULIO the CIGAR BOX. His \"salvation.\"", "LT\n Get out.\n\n The KIDS do. LT follows fast.\n\n AT THE BUS: He makes them board at GUN POINT.", "LT has the KIDS handcuffed in the back seat. (The Scene \n mirrors Scene 2. in which LT drove his own TWINS to school.)", "LT plays both ADDICT and COP as it suits his needs. By now, \n he looks more like a homeless man than anything else. But \n none of his play-acting or lethal threats get him anywhere.", "LT arrives, leading a BUST. Lots of COPS. LT chases a handsome \n young COKE DEALER, JC, cornering him a couple flights up a", "LT\n Shut the fuck up!\n\n LT turns to the UNIFORMED COP.", "LT\n Those fucking Mob assholes.\n\n LT makes the strangulation gesture again. ARIANE laughs at \n him.", "You don't want to hurt those boys, \n do you? I mean, they sure as Hell \n have got something coming, but it", "LT uses his Lieutenants' privilege to enter the MURDER CAR \n and begin his own investigation.\n\n TIRE TRACKS are discovered nearby. The OTHER COPS are \n distracted.", "At first, she doesn't speak at all. LT begins to CRY. Begs \n her to tell him. Then he wields his PISTOL, repeats his plea. \n Then breaks into TEARS.", "LT\n Nah...\n\n ARIANE\n Sure it is. You're a virgin. Just \n like that nun. And I'm gonna rape \n you.", "The GIRLS don't miss a sexual beat. They continue what is \n now a menage a deux. They won't miss LT while he's gone.\n\n LT splits. No good-byes." ] ]

[ "What drugs does the Lieutenant use?", "What sporting team does the Lieutenant bet for?", "What crime is committed against the Nun?", "How much is the wager the Lieutenant unable to pay?", "Which sports team wins the pennant while the Lieutenant hold the two rapist hostage?", "What does the Lieutenant doe with the two rapist after freeing them?", "By what method is the Lieutenant killed?", "What sort of school does the Lieutenants children attend?", "The Lieutenant suffers from what two addictions?", "Is the Lieutenant a drug user?", "What happens to the drugs that the Lieutenant puts in his pocket?", "Where do the Lieutenant's children go to school?", "What did the Lieutenant do when he saw the crucified Christ?", "What did the nun say when the Lieutenant vowed to kill her attackers?", "Why wouldn't the Lieutenant's friend place a bet on the game?", "Who wins the pennant?", "How much money does the Lieutenant give the two rapists?", "How does the Lieutenant die?", "What are the last two words the Lieutenant hears?", "What does the Lieutenant do after he drops his kids at school?", "After wandering away from crime scene what is the interaction that the Lieutenant has with a local drug dealer?", "What does the Lieutenant do after he give the drugs to the dealer?", "What happens in the community while the Lieutenant is engaged in his illicit activities?", "After stealing drugs from a crime scene, and having them fall from his pocket, what does the Lieutenant instruct his team to do?", "While visiting the hospital what does the Lieutenant learn about the rape of the nun?", "After leaving the hospital the Lieutenant runs into two girls driving illegally, how does he respond to this event?", "The Lieutenant bet on a ball game and his team lost, how did he treat his car radio when the news came through?", "When the Lieutenant encounters the nun who was raped and vows to kill her attackers what is her response?", "What does the Lieutenant do to the two rapists once he tracks them down and cuffs them?" ]

[ [ "Cocaine, Crack, Alcohol, Heroin", "Crack and heroin." ], [ "Dodgers", "dodgers" ], [ "Rape", "She is raped." ], [ "$30,000", "30,000" ], [ "Mets", "mets" ], [ "Puts them on a bus with a cigar box holding $30,000", "Puts them on a bus with 30,000 dollars in a cigar box. " ], [ "Gunshot ", "He is shot." ], [ "Catholic", "Catholic school." ], [ "Drugs and Gambling ", "drugs and gambling" ], [ "He uses drugs multiple times.", "Yes." ], [ "They fall out of his pocket in front of his colleagues.", "They fall out in front of coworkers." ], [ "They go to a Catholic school.", "A Catholic school." ], [ "He begged for forgiveness of his crimes.", "curses and the begs forgiveness" ], [ "That she had forgiven them.", "She had forgiven them." ], [ "His friend thought he would be killed by the bookie.", "His friend fears that the bookie will kill him." ], [ "The Mets.", "Mets." ], [ "He gives them $30,000.", "$30,000" ], [ "He is shot twice.", "he got shot" ], [ "Hey, cop!", "Hey Cop!" ], [ "He takes a couple of bumps of cocaine and drives to a double murder scene.", "Does drugs and heads to a crime scene." ], [ "The lieutenant gives the dealer a back of drugs and is told that the he will get the money from the sale of those drugs in a few days. ", "gives him drugs and smokes with him" ], [ "He goes to an apartment and gets drunk engaging in a threesome with a couple of women.", "He gets drunk and has a threesome. " ], [ "A num in the community gets raped by two men. ", "the nun is raped in a church by two young hoodlums" ], [ "He tells them to enter them into evidence as part of a crime scene. ", "Enter them into evidence." ], [ "He learns that she was violated with a crucifix. ", "she offered grace to them" ], [ "He uses the girls for sexual pleasure. ", "He instructs them to simulate felatio with each other." ], [ "He shot out his car radio. ", "He shot the radio." ], [ "the nun insists that she has forgiven her attackers and just wants to move forward. ", "she says that she has forgiven them and leaves" ], [ "He give them his drug money and put them on a bus out of town. ", "Sends them away by bus." ] ]

a4a5274e6563d93830ce2749567ff04f907ea5ff

train

[ [ "All this will serve to explain the terms on which Mrs. Dale was\nliving at the Small House,--a matter needful of explanation sooner or", "It was Mrs. Dale's eldest daughter who spoke to her, and they were\nalone together in the parlour at the Small House. Mrs. Dale took the", "occurred to him that evil could come upon any of the Dale ladies from\nthe words which had then been spoken. He regarded the Small House as\ntheir abode and home as surely as the Great House was his own. In", "themselves agreeable to him. Mrs. Dale, since she had come to the\nSmall House, had never been a source of satisfaction to him, but he\ndid not on that account regret that he had brought her there. He", "\"Have you heard the news, my dear, from the Small House?\" said Mrs.\nBoyce to her husband, some two or three days after Mrs. Dale's visit", "\"Come up to the house,\" said Mrs. Dale, \"and I'll tell you all.\"\n\n\n\n\nCHAPTER LVIII.\n\nTHE FATE OF THE SMALL HOUSE.", "As Mrs. Dale, of the Small House, was not a Dale by birth, there\ncan be no necessity for insisting on the fact that none of the", "Small House, was in the hands of Hopkins, the head gardener to the\nGreat House; and it was so simply for this reason, that Mrs. Dale", "from Mrs. Dale, asking them to drink tea at the Small House on that\nday week. At the bottom of the note which Lily had written for Mr.", "Then came in old Mrs. Hearn, whose cottage was not distant two\nminutes' walk from the Small House. She always called Mrs. Dale \"my", "such modest way as her very limited means allowed. Old Mrs. Dale,\nthe squire's mother, then occupied the Small House. But when old\nMrs. Dale died, the squire offered the place rent-free to his", "\"What news?\" said Mr. Boyce, for he had heard none.\n\n\"Mrs. Dale and the girls are going to leave the Small House; they're\ngoing into Guestwick to live.\"", "Mrs. Dale was poor, her whole income not exceeding three hundred a\nyear, and therefore her own style of living was of necessity very\nunassuming; but she saw her girls becoming popular in the county,", "He did not visit the Small House on that, his first day. It had been\nthought better that he should first meet the squire and Bell at\nGuestwick Manor, so he postponed his visit to Mrs. Dale till the next\nmorning.", "Alexandrina was spoken of much more frequently at the Small House.\nIt was not a subject which Mrs. Dale or Bell would have chosen for\nconversation; but Lily would refer to it. She would begin by doing so", "It had been decided between the squire and Mrs. Dale that the removal\nfrom the Small House to Guestwick was not to take place till the", "summoned at the Great House did not usually exceed twenty minutes,\nand the upshot would be communicated to the girls in a turn or two\nround the garden; but in the present instance Mrs. Dale positively", "intimate with Mrs. Dale's daughters, and especially so with the\neldest. Young unmarried doctors ought perhaps to be excluded from\nhouses in which there are young ladies. I know, at any rate, that", "and, nevertheless, makes some pretence of going into society, it has\nto be very mindful of small details, even though that family may\nconsist only of ladies. Of this Mrs. Dale was well aware, and as", "much liked by the families around them, and enjoying nearly all\nthe advantages which would have accrued to them had they been the\ndaughters of Squire Dale of Allington. Under such circumstances it" ], [ "The idea of jilting Alexandrina instead of Lily had never as yet\npresented itself to Crosbie, and now, as he thought of it, he could\nnot perceive that it was feasible.", "And Lily Dale was engaged to be married to Adolphus Crosbie,--to\nApollo Crosbie, as she still called him, confiding her little joke", "\"L. D. is engaged to be married to a man named Adolphus Crosbie,\"\nsaid poor Johnny, slowly. \"If you please, we will not say any more\nabout her.\"", "In this way the matter had been talked over between the mother and\nher elder daughter. Then Mr. Crosbie had come; and before the end\nof the first month his declared admiration for Lily had proved", "\"It will come all right.\" But Bell, though she made this very\nsatisfactory promise, was as well aware as either of the others that\nthe family would be divided when Crosbie should have married Lily and\ntaken her off to London.", "given in marriage,--was carried on after a somewhat humdrum fashion,\nand in a manner that must be called commonplace. How different had\nit been when Crosbie had made his offer! Lily for the time had been", "Crosbie was at Allington this was natural enough. He and Lily were of\ncourse together, while Bell remained with her mother. But the same\nstate of things continued even after Crosbie was gone. It was not", "And then Crosbie told Lily of his intention. \"On Wednesday!\" she\nsaid, turning almost pale with emotion as she heard this news. He had\ntold her abruptly, not thinking, probably, that such tidings would\naffect her so strongly.", "reminding her mother that that promise had been made, and must be\nkept. Lily was to be told the day on which Crosbie was to be married.\nIt had come to the knowledge of them all that the marriage was to", "way. She could therefore be doing no harm to Lilian Dale. If she\nentertained any inner feeling that Crosbie's fault in jilting Lilian", "earl in establishing that new household. To Crosbie he had refused to\ngive anything, and there was upon his conscience a shade of remorse\nin that he had so refused. But if Lily could be brought to love this", "and made some sweet little loving speech to her. Adolphus Crosbie\nwas a clever man; and he meant also to be a true man,--if only the", "that she had ever desired. It would give her a prospect of seeing\nvery much of Lily; for if Bell were settled at the old family house,\nCrosbie would naturally be much with his friend. She liked Bernard", "and she felt as anxious as he did to provide Lily with another\nhusband in place of that horrible man Crosbie. \"She has been very\nfortunate in her escape,\" she said to her brother; \"very fortunate.\"", "But Bell was not seated next to her lover. Lily, when she had once\naccepted Crosbie, seemed to think that she could never be too near", "them through her own fault. She well knew how great a load of sorrow\nwas lying on Lily's heart, hidden beneath those little attempts at\npleasantry which she made. When she spoke of being disappointed in", "two in favour of Mr. Crosbie, she felt herself to be rebuked by her\nsister for this unwonted enthusiasm. Lily was at work on a drawing,", "away from her? She had already realized the fact that Crosbie's\nhouse could never be a home to her,--never even a temporary home.\nHer visits there must be of that full-dressed nature to which Lily", "actually promised to another man, and as good as married, he was not\nthe less broken-hearted because his former hopes had not been high.\nHe had never dared to speak to Lily of his love, but he was conscious", "\"I'm sure Lily won't object to my telling such a dear friend as you\nwhat has happened,\" said Mrs. Dale. \"She is engaged to be married to\nMr. Crosbie.\"" ], [ "CHAPTER XLVI.\n\nJOHN EAMES AT HIS OFFICE.\n\n\n[ILLUSTRATION: (untitled)]", "I may as well announce at once that John Eames, when he went up to\nLondon, was absolutely and irretrievably in love with Lily Dale. He", "In the meantime John Eames had continued his career in London without\nmuch immediate satisfaction to himself, or to the lady who boasted to", "CHAPTER LIX.\n\nJOHN EAMES BECOMES A MAN.", "and to whom Mrs. Eames had been strongly recommended when she was\ndesirous of finding a specially safe domicile for her son. For the\nfirst year of his life in London John Eames had lived alone in", "to his children. He had, moreover, obtained for John Eames that\nsituation under the Crown which he now held.", "And thus John Eames was thoughtful. They who knew him best accounted\nhim to be a gay, good-hearted, somewhat reckless young man, open to", "world would, if known to John Eames, have made him appear fabulously\nrich in the eyes of that brother clerk. His lodgings in Mount Street\nwere elegant in their belongings. During three months of the season", "\"I think I told you,\" continued the earl, \"that young John Eames is\ndown here; but he goes back to-morrow, as they can't spare him at his", "Johnny Eames was a mere clerk; whereas Crosbie, if he was to be\ncalled a clerk at all, was a clerk of some very special denomination.", "CHAPTER XXI.\n\nJOHN EAMES ENCOUNTERS TWO ADVENTURES, AND DISPLAYS GREAT COURAGE IN\nBOTH.", "\"It was about John Eames, and not about Mr. Crosbie, that I wished to\nspeak to you.\"\n\n\"Oh, mamma!\"", "There had been some fun in this at first; but of late John Eames had\nbecome tired of it. He disliked Mr. Kissing, and the big book out", "busy themselves in books and be at their ease among the creations\nof other minds. These are they who afterwards become well-informed\nmen. It was not so with John Eames. He had never been studious. The", "the qualifications of Mr. Crosbie. Now John Eames was a young\nman from Guestwick, who had been appointed to a clerkship in the", "CHAPTER XXIX.\n\nJOHN EAMES RETURNS TO BURTON CRESCENT.", "And then had come that visit from Johnny Eames. As the poor fellow\nmarched out of the room, giving them no time to say farewell, Mrs.", "John Eames watched the party of cavaliers as they rode away from\nhis mother's door, and then started upon a solitary walk, as soon", "When Crosbie was making his ineffectual inquiry after Lady De\nCourcy's bracelet at Lambert's, John Eames was in the act of entering\nMrs. Roper's front door in Burton Crescent.", "Poor John Eames had been so placed that he had been driven to do his\nflirting in very bad company, and he was now fully aware that it had" ], [ "\"Shall I never say so, Bell? What if so poor a man as I ask for the\nhand that you will not give to so rich a man as your cousin Bernard?\"", "before the commencement of this narrative. He made no declaration to\nBell; but Bell, young as she was, understood well that he would fain\nhave done so, had not his courage failed him, or rather had not his", "\"Not if it be a refusal, Bell. Think well of it before you do that.\nI should have told you that our uncle wishes this match, and that he\nwill remove any difficulty there might be about money.\"", "proposed marriage, but as to that nothing further could be said in\nBell's presence. Bell understood it all, and sat quite silent, with\ndemure countenance;--perhaps even with something of sternness in her", "\"No, John; no,\" she answered.\n\n\"Must it be always no?\"\n\n\"Always no to that. How can it be otherwise? You would not have me\nmarry you while I love another!\"", "\"I think a great deal about her,\" said the squire. \"But that does not\nmuch matter now. The fact is, that she has declined Bernard's offer.\"\n\n\"Has Bernard offered to her?\"", "refuse him now?\" asked Lily. \"I don't know,\" said Bell. \"It seems as\nthough I should want years to make up my mind; and he won't ask me\nagain.\"", "her, and Bell, as I have said before, made up her mind with great\nfirmness that she was not in love with him. I may certainly say that", "wishes and sufficiently liberal in his offers; and that, therefore,\nhe would marry. It had hardly occurred to him as probable that his\ncousin would reject so eligible an offer, and had certainly never", "\"I do not wish to press you unfairly, Bell; but may I ask if any\nother preference--\"\n\n\"There is no other preference,\" she answered. And then again they\nwere silent for a minute or two.", "Bell, as she had been desired to listen, did listen very patiently.\nBut when her cousin had finished, her answer was very short. \"Nothing\nthat my uncle can say, or think, or do, can make any difference in\nthis,\" said she.", "\"If that be all,\" said Bell, \"I do not think that we need either of\nus trouble ourselves. He can have no right to dispose of our hearts.\"\n\n\"I understand the taunt, Bell.\"", "from her manner that this marriage of hers was about to take place at\nonce, and that she was preparing to leave her home. \"Bell,\" she said,", "\"If you mean that she cannot be made to marry her cousin, of course\nwe all know she can't.\"\n\n\"I mean rather more than that.\"\n\n\"What do you mean, then?\"", "alternative. She could not now teach her daughters to obey their\nuncle's wishes in all things. She could not make Bell understand that\nit would be well that she should marry Bernard because the squire had", "\"And because she has been deceived by the man she did love, I am to\nmake matters square by marrying a man I--\" and then she paused. \"Dear", "\"Bell,\" she said, \"I wish you were going to be married too.\"\n\n\"Thank'ye, dear,\" said Bell. \"Perhaps I shall some day.\"", "that he would marry her himself. No one seeing her that evening, and\nknowing nothing of her immediate history, would have imagined that\nshe herself had been cruelly jilted some six or eight months ago. And", "\"Dr. Crofts is going to marry Bell Dale,\" said Mary; and then the\nconversation was turned from the subject of Lady Julia's perfections,\nand the awe inspired by the earl.", "in due course of time become his wife,--let Miss Dale and all her\nfriends say what they might to the contrary. As to that head she had\nno fear. But nevertheless she did not accept him at once. Though she" ], [ "that Crosbie had been a villain, and as such should be discarded from\nher heart? As it was, Lily had spoken the simple truth when she told\nJohn Eames that she was dealing more openly with him on that affair", "Crosbie was at Allington this was natural enough. He and Lily were of\ncourse together, while Bell remained with her mother. But the same\nstate of things continued even after Crosbie was gone. It was not", "continued purpose of seeing Eames on his promised visit. Crosbie\nwould have had her acknowledge herself wrong, and would have\ndelighted in the privilege of forgiving her. But Lily Dale was one", "\"All right,\" said Bernard. So they separated; and Crosbie went away\nwith Lily into the field where they had first learned to know each\nother in those haymaking days.", "On the next morning the postman brought a letter, or rather a note,\nand Lily at once saw that it was from Crosbie. She had contrived to", "And then Crosbie told Lily of his intention. \"On Wednesday!\" she\nsaid, turning almost pale with emotion as she heard this news. He had\ntold her abruptly, not thinking, probably, that such tidings would\naffect her so strongly.", "In this way the matter had been talked over between the mother and\nher elder daughter. Then Mr. Crosbie had come; and before the end\nof the first month his declared admiration for Lily had proved", "Lily. \"Give her the enclosed,\" Crosbie had said in his letter, \"if\nyou do not now think it wrong to do so. I have left it open, that you", "sister. She had been present when Crosbie had bid them good-by, and\nhad listened to his eagerness as he declared to Lily that he should", "\"It will come all right.\" But Bell, though she made this very\nsatisfactory promise, was as well aware as either of the others that\nthe family would be divided when Crosbie should have married Lily and\ntaken her off to London.", "reminding her mother that that promise had been made, and must be\nkept. Lily was to be told the day on which Crosbie was to be married.\nIt had come to the knowledge of them all that the marriage was to", "\"Then Johnny Eames is a mere clerk,\" said Lily; \"and Mr. Crosbie\nis-- After all, Bell, what is Mr. Crosbie, if he is not a mere clerk?", "Lily had received another letter, and had answered it before Eames\nmade his promised visit to Allington. He, as will be remembered, had", "earl in establishing that new household. To Crosbie he had refused to\ngive anything, and there was upon his conscience a shade of remorse\nin that he had so refused. But if Lily could be brought to love this", "given in marriage,--was carried on after a somewhat humdrum fashion,\nand in a manner that must be called commonplace. How different had\nit been when Crosbie had made his offer! Lily for the time had been", "declared that Crosbie was perfect, knowing that by such assurances\nonly could they now administer to Lily's happiness; and Lily, between\nthem, was made perfect in her happiness, receiving all manner of", "Crosbie hastened at once to exculpate Lily; and then, with more\nawkward blunders than a man should have made who was so well", "The path proposed lay right across the field into which Lily had\ntaken Crosbie when she made her offer to let him off from his\nengagement. Could it be possible that she should ever walk there", "And Lily, though she said nothing on the subject to Mrs. Dale, felt\nthat her mother was in some degree estranged from her. Crosbie's name", "nose at Lily before Crosbie's face, and saying little things against\nhimself behind his back. Her wrath would not carry her much beyond\nthat." ], [ "The idea of jilting Alexandrina instead of Lily had never as yet\npresented itself to Crosbie, and now, as he thought of it, he could\nnot perceive that it was feasible.", "\"The house will do very well,\" said Crosbie. And Alexandrina could\nperceive that there was something of the master in his tone as he\nspoke.\n\n\"I am only telling you what Amelia said,\" she replied.", "got home. When they reached their house Alexandrina had a headache,\nand went up to her room immediately. Crosbie threw himself into a\nchair before the remains of a fire in the dining-room, and resolved", "altogether agreed with her that it was out of the question that\nMr. Crosbie should marry Lily Dale. From Alexandrina he encountered\nduring the week none of that raillery which he had expected. He", "Lady Alexandrina fell to Crosbie's lot, and he felt gratified that\nit was so. It might be necessary for him, as a married man, to give", "Crosbie remained silent for a minute before he answered, and then he\nspoke in a serious voice. \"Lady Alexandrina,\" said he, \"I would beg\nfrom you a great favour.\"", "\"Was that all an invention of yours, sir?\" said Alexandrina to\nCrosbie.", "the festivity. So Crosbie and Lady Alexandrina Crosbie heard Mr.\nGresham's speech, in which he prophesied for the young couple an\namount of happiness and prosperity almost greater than is compatible", "brought Mr. Crosbie up to you. I did not know that you were here,\nAlexandrina, or I should have warned him.\"", "than others around him. But such success alone would hardly suffice\nfor him. Then he considered whether he might not even yet be happy in\nhis own home,--whether Alexandrina, when separated from her mother,", "Crosbie and his wife went home together in a cab,--speechless both\nof them. Alexandrina hated cabs,--but she had been plainly told that", "with her. She had endured for years, and now Alexandrina was unable\nto endure for six months. Her chief grievance, moreover, was", "Alexandrina might have done better. But I don't believe that\nhe'll raise any strong objection. There will be something about\nsettlements, and that sort of thing, of course.\" Then the countess", "\"You don't know exactly how far it went, do you?\"\n\n\"No; yes;--not exactly, that is,\" said Alexandrina.\n\n\"I suppose he did say something about marriage to the girl?\"", "But for a week Alexandrina sojourned under Mr. Gazebee's roof,\nduring which time Crosbie was made happy with all the delights of an", "close to him. After that he reflected whether it would not be well\nthat he too should die, so that Alexandrina might be comfortable. She\nand her mother might be very comfortable together, with plenty of", "were other considerations. Mr. Crosbie had not much certainly in\nhis own possession, but he was a man out of whom something might be\nmade by family influence and his own standing. He was not a hopeless,", "as belonging to Crosbie, in the interest of Lady Alexandrina.\nHe had gone to work for her, scraping here and arranging there,\nstrapping the new husband down upon the grindstone of his matrimonial", "of her husband. \"I wish he could keep a carriage for you, but perhaps\nthat will come some day.\" Upon the whole Alexandrina did not repent,", "expressing such a wish on his own part. But if Alexandrina was simply\nmaking a fool of herself, then it would be well for her to stay.\n\"I suppose she would rather I should go,\" said the elder sister" ], [ "\"Bell,\" she said, \"I wish you were going to be married too.\"\n\n\"Thank'ye, dear,\" said Bell. \"Perhaps I shall some day.\"", "proposed marriage, but as to that nothing further could be said in\nBell's presence. Bell understood it all, and sat quite silent, with\ndemure countenance;--perhaps even with something of sternness in her", "\"Bell,\" he said, \"you and I have always been dear friends.\"\n\n\"Yes; always.\"\n\n\"Why should we not be something more than friends?\"", "\"Dr. Crofts is going to marry Bell Dale,\" said Mary; and then the\nconversation was turned from the subject of Lady Julia's perfections,\nand the awe inspired by the earl.", "\"Bell,\" she said, \"he has gone.\"\n\n\"Lily! Lily! Lily!\" said Bell, weeping.", "from her manner that this marriage of hers was about to take place at\nonce, and that she was preparing to leave her home. \"Bell,\" she said,", "\"Crofts going to marry Bell!\" exclaimed Eames, thinking almost with\ndismay of the doctor's luck in thus getting himself accepted all at\nonce, while he had been suing with the constancy almost of a Jacob.", "\"Yes, about Bell. Here's Lily going to be married, and it will be\nwell that Bell should be married too.\"", "really wanted us. He liked to have Bell there when he thought that\nBell would marry his pet.\"", "believe a word about the squire having been cross to them. Indeed I\nknow he has been the reverse of cross. So Bell is going to marry Dr.\nCrofts!\"", "Bell and Lily went together also to Mrs. Boyce's. \"If she makes\nherself very disagreeable, I shall insist upon talking of your\nmarriage,\" said Lily.", "\"I've not the slightest objection,\" said Bell; \"only I don't know\nwhat there can be to say about it. Marrying the doctor is such a very\ncommonplace sort of thing.\"", "\"Bernard and Bell!\" exclaimed Mrs. Dale. No idea of such a union\nhad ever yet come upon her, and now in her surprise she sat silent.", "people to do, like you and Bell. All the same, Bell, I do wish you\ncould have been married from this house.\"", "before the commencement of this narrative. He made no declaration to\nBell; but Bell, young as she was, understood well that he would fain\nhave done so, had not his courage failed him, or rather had not his", "\"Bell told me that it was to be so,\" said Mrs. Dale. \"But I could\nhardly bring myself at first to think that he was good enough for my\ndarling.\"", "The squire had been told that his niece Bell had accepted Dr. Crofts,\nand he had signified a sort of acquiescence in the arrangement,", "her, and Bell, as I have said before, made up her mind with great\nfirmness that she was not in love with him. I may certainly say that", "Bell. But you may be sure of this; that he had made up his mind as to\nwhat he would do. Nothing that you or I could have said would have\nchanged him.\"", "or two they were to live in lodgings, and their goods were to be\nstored in some friendly warehouse. Under such circumstances would\nit not be well that Bell's marriage should be so arranged that the" ], [ "front door of the house which stands there. I will only say here, at\nthis fag end of a chapter, that it is the Small House at Allington.\nAllington Street, as I have said, turns short round towards the", "Of course there was a Great House at Allington. How otherwise should\nthere have been a Small House? Our story will, as its name imports,", "_The Small House at Allington_ was first published serially\n in the _Cornhill Magazine_ from September, 1862, to April,", "Then they heard at the Small House that the squire had gone away from\nAllington. During the last few days Bernard had not been much with", "All this will serve to explain the terms on which Mrs. Dale was\nliving at the Small House,--a matter needful of explanation sooner or", "steeple. The glory of the Small House at Allington certainly consists\nin its lawn, which is as smooth, as level, and as much like velvet as", "So it was settled among them that notice should be given to their\nuncle of their intention to quit the Small House of Allington.", "So much it was needful that I should say of Allington Great House,\nof the Squire, and of the village. Of the Small House, I will speak\nseparately in a further chapter.", "GUTENBERG EBOOK THE SMALL HOUSE AT ALLINGTON***\n\n\nE-text prepared by Andrew Turek\nand revised by Joseph E. Loewenstein, M.D., and an anonymous\nProject Gutenberg volunteer", "And now I will speak of the Great House of Allington. After all, it\nwas not very great; nor was it surrounded by much of that exquisite", "Small House, was in the hands of Hopkins, the head gardener to the\nGreat House; and it was so simply for this reason, that Mrs. Dale", "Such in character was the squire of Allington, the only regular\ninhabitant of the Great House. In person, he was a plain, dry man,", "should be left for ever. It would be a great fall in a worldly\npoint of view,--from the Allington Small House to an abode in some\nlittle street of Guestwick. At Allington they had been county", "He did not visit the Small House on that, his first day. It had been\nthought better that he should first meet the squire and Bell at\nGuestwick Manor, so he postponed his visit to Mrs. Dale till the next\nmorning.", "such modest way as her very limited means allowed. Old Mrs. Dale,\nthe squire's mother, then occupied the Small House. But when old\nMrs. Dale died, the squire offered the place rent-free to his", "\"Come up to the house,\" said Mrs. Dale, \"and I'll tell you all.\"\n\n\n\n\nCHAPTER LVIII.\n\nTHE FATE OF THE SMALL HOUSE.", "\"Leave the Small House!\" he said, repeating her words; \"and where on\nearth do you mean to go?\"\n\n\"We think we shall go into Guestwick.\"\n\n\"And why?\"", "The gardens of the Great House of Allington and those of the Small\nHouse open on to each other. A proper boundary of thick laurel hedge,", "On the morning following the squire's return to his own house, Mrs.\nCrump, the post-mistress at Allington, received a parcel by post", "themselves agreeable to him. Mrs. Dale, since she had come to the\nSmall House, had never been a source of satisfaction to him, but he\ndid not on that account regret that he had brought her there. He" ], [ "CHAPTER I.\n\nTHE SQUIRE OF ALLINGTON.\n\n\n[ILLUSTRATION: (untitled)]", "Such in character was the squire of Allington, the only regular\ninhabitant of the Great House. In person, he was a plain, dry man,", "interests at Allington; and, moreover, those interests were now\nbacked by an ally who in this matter must be regarded as much more\npowerful than the earl. The squire had given in his consent to the", "the existing squire. Some futile attempts had been made to increase\nthe territory, as indeed had been done by Kit Dale, the father of\nChristopher Dale, who will appear as our squire of Allington when the", "The squires of Allington had been squires of Allington since squires,\nsuch as squires are now, were first known in England. From father", "\"You'll be squire of Allington for the next twenty years,\" said Mrs.\nDale. \"And as long as you are the squire, you'll be master of this", "and he bore few signs of age. Such in person was Christopher Dale,\nEsq., the squire of Allington, and owner of some three thousand a\nyear, all of which proceeded from the lands of that parish.", "On the morning following the squire's return to his own house, Mrs.\nCrump, the post-mistress at Allington, received a parcel by post", "left the Squire of Allington in conference with Fowler Pratt. He had\nseen Fowler Pratt again that same night, and the course of the story\nwill have shown what took place at that interview.", "Then there was no more said between them till they sat down to their\nmeal.\n\nHad the squire at Allington known all, he might, I think, have been\nsatisfied with the punishment which Crosbie had encountered.", "boldly to the Squire of Allington, and tell him what were his views\nwith reference to Lily? And how far would he be justified in taking\nthe earl at his word? Some incredible amount of wealth would be", "Allington had been coterminous with the parish of Allington for some\nhundreds of years; and though, as I have said, the race of squires\nhad possessed nothing of superhuman discretion, and had perhaps been", "moved in a position which belongs, as a rule, to the daughters of\nrich men only. This they did as nieces of the childless squire of\nAllington, and as his nieces she felt that they were entitled to", "however, with her neighbour the squire which I regret to say are not\nas friendly as they should be. Beyond this lady's modest residence,\nAllington Street, for so the road is called, turns suddenly round", "Late on that evening the squire returned to Allington, Bernard having\ndriven over to meet him at the station. He had telegraphed to his", "I. THE SQUIRE OF ALLINGTON.\n II. THE TWO PEARLS OF ALLINGTON.\n III. THE WIDOW DALE OF ALLINGTON.", "other always. Many years had now gone by since these things had\noccurred, but still the same feelings remained. When she had first\ncome down to Allington she had resolved to win the squire's regard,", "\"I don't know what it was about, or why he should have made such a\nbrute of himself. You have heard about those people at Allington?\"\n\n\"Oh, yes; I have heard about them.\"", "that other one. He had said that he would call at Allington before he\nreturned to town, and he was now redeeming his promise. But he did", "So much it was needful that I should say of Allington Great House,\nof the Squire, and of the village. Of the Small House, I will speak\nseparately in a further chapter." ], [ "CHAPTER XLVI.\n\nJOHN EAMES AT HIS OFFICE.\n\n\n[ILLUSTRATION: (untitled)]", "I may as well announce at once that John Eames, when he went up to\nLondon, was absolutely and irretrievably in love with Lily Dale. He", "And thus John Eames was thoughtful. They who knew him best accounted\nhim to be a gay, good-hearted, somewhat reckless young man, open to", "CHAPTER LIX.\n\nJOHN EAMES BECOMES A MAN.", "himself a despairing lover. And then such a young man as John Eames\nis very apt to talk of his fancies.\"", "\"It was about John Eames, and not about Mr. Crosbie, that I wished to\nspeak to you.\"\n\n\"Oh, mamma!\"", "busy themselves in books and be at their ease among the creations\nof other minds. These are they who afterwards become well-informed\nmen. It was not so with John Eames. He had never been studious. The", "to his children. He had, moreover, obtained for John Eames that\nsituation under the Crown which he now held.", "\"I think I told you,\" continued the earl, \"that young John Eames is\ndown here; but he goes back to-morrow, as they can't spare him at his", "Johnny Eames was a mere clerk; whereas Crosbie, if he was to be\ncalled a clerk at all, was a clerk of some very special denomination.", "In the meantime John Eames had continued his career in London without\nmuch immediate satisfaction to himself, or to the lady who boasted to", "the qualifications of Mr. Crosbie. Now John Eames was a young\nman from Guestwick, who had been appointed to a clerkship in the", "world would, if known to John Eames, have made him appear fabulously\nrich in the eyes of that brother clerk. His lodgings in Mount Street\nwere elegant in their belongings. During three months of the season", "CHAPTER XXI.\n\nJOHN EAMES ENCOUNTERS TWO ADVENTURES, AND DISPLAYS GREAT COURAGE IN\nBOTH.", "When Crosbie was making his ineffectual inquiry after Lady De\nCourcy's bracelet at Lambert's, John Eames was in the act of entering\nMrs. Roper's front door in Burton Crescent.", "\"What;--John Eames!\"\n\n\"Yes, John Eames. And I wish heartily for his sake that he had won\nher regard before she had met that rascal whom you had to stay down\nat your house.\"", "and to whom Mrs. Eames had been strongly recommended when she was\ndesirous of finding a specially safe domicile for her son. For the\nfirst year of his life in London John Eames had lived alone in", "There had been some fun in this at first; but of late John Eames had\nbecome tired of it. He disliked Mr. Kissing, and the big book out", "among all the guests. \"How is it that he does it?\" said John Eames to\nhimself, envying the perfect happiness of the London man of fashion.", "De Guest were the one for whom he had the strongest and the oldest\nlove. And yet he must have known that John Eames knew as much about\nit as he did himself. But there are men who have the most lively" ], [ "All this will serve to explain the terms on which Mrs. Dale was\nliving at the Small House,--a matter needful of explanation sooner or", "Small House. So Hopkins stood on the terrace, raising his hat and\nscratching his head. \"There's something wrong amongst them,\" said he\nto himself, sorrowfully.", "Small House, was in the hands of Hopkins, the head gardener to the\nGreat House; and it was so simply for this reason, that Mrs. Dale", "The morning of the fourteenth came upon them at the Small House,\nas comes the morning of those special days which have been long", "Of course there was a Great House at Allington. How otherwise should\nthere have been a Small House? Our story will, as its name imports,", "\"Resolved on what?\" said the squire, turning his eyes full upon her.\n\n\"We have resolved to leave the Small House.\"", "let the Small House to strangers. T' squire ain't one of that sort\nany ways.\"", "front door of the house which stands there. I will only say here, at\nthis fag end of a chapter, that it is the Small House at Allington.\nAllington Street, as I have said, turns short round towards the", "On that day they dined early at the Small House, as they had been in\nthe habit of doing since the packing had commenced. And after dinner", "\"Have you heard the news, my dear, from the Small House?\" said Mrs.\nBoyce to her husband, some two or three days after Mrs. Dale's visit", "\"Leave the Small House!\" he said, repeating her words; \"and where on\nearth do you mean to go?\"\n\n\"We think we shall go into Guestwick.\"\n\n\"And why?\"", "CHAPTER XIX.\n\nTHE SQUIRE MAKES A VISIT TO THE SMALL HOUSE.\n\n\n[ILLUSTRATION: (untitled)]", "to live with him on terms of affection, made during the first year or\ntwo of her residence at the Small House. But, nevertheless, in spite\nof all, her heart bled for him now. She had gained her victory over", "\"Come up to the house,\" said Mrs. Dale, \"and I'll tell you all.\"\n\n\n\n\nCHAPTER LVIII.\n\nTHE FATE OF THE SMALL HOUSE.", "During the whole of that day Crosbie's name was not mentioned at\nthe Small House. Neither of the girls stirred out, and Bell spent", "It was Mrs. Dale's eldest daughter who spoke to her, and they were\nalone together in the parlour at the Small House. Mrs. Dale took the", "such modest way as her very limited means allowed. Old Mrs. Dale,\nthe squire's mother, then occupied the Small House. But when old\nMrs. Dale died, the squire offered the place rent-free to his", "as they were in the habit of saying. The older and more solid\nthings,--articles of household stuff that stand the wear of half a\ncentury,--had been in the Small House when they came to it. There", "\"What news?\" said Mr. Boyce, for he had heard none.\n\n\"Mrs. Dale and the girls are going to leave the Small House; they're\ngoing into Guestwick to live.\"", "themselves agreeable to him. Mrs. Dale, since she had come to the\nSmall House, had never been a source of satisfaction to him, but he\ndid not on that account regret that he had brought her there. He" ], [ "Dr. Crofts didn't exactly see the matter in this light, but he was\nnot anxious to argue it very closely with the earl. \"The younger\none,\" he said, \"has provided for herself.\"", "CHAPTER XXXVIII.\n\nDOCTOR CROFTS IS CALLED IN.", "Crofts got himself quickly up to the fireplace, making civil little\nspeeches to Mrs. Dale, Mrs. Boyce, and Mrs. Hearn. And then at last\nhe made his way round to Bell.", "\"Crofts going to marry Bell!\" exclaimed Eames, thinking almost with\ndismay of the doctor's luck in thus getting himself accepted all at\nonce, while he had been suing with the constancy almost of a Jacob.", "Dr. Crofts was a slight, spare man, about five feet nine in height,\nwith very bright dark eyes, a broad forehead, with dark hair that", "It was thus that Crofts first heard of their intention. Now, in\nthese days of Lily's worst illness, he came daily over to Allington,", "favour. It is hard upon old friends that this difficulty should\nusually fall the heaviest upon them. Crofts had been so intimate with\nthe Dale family that very many persons had thought it probable that", "when his lordship asked him. And so Dr. Crofts is there. It couldn't\nhave been anything in the doctoring way, I suppose.\"", "\"They're very old friends of mine,\" said Crofts.\n\n\"Yes, I daresay. There are two girls, are there not?\"\n\n\"Yes, two.\"", "Dr. Crofts as he rode home enjoyed but little of the triumph of a\nsuccessful lover. \"It may be that she's right,\" he said to himself;", "on, and he knew it. Dr. Crofts was already in treaty on their behalf\nfor a small furnished house at Guestwick. The squire was very sad", "Crofts, with all the danger to her children, to Dr. Gruffen, with\nall the danger to herself. But the result was that the young doctor", "by Dr. Crofts himself. Let it then be considered that Dr. Crofts\nhad given her some such authority. This may be done in more ways\nthan one; and Miss Dale could not have found herself asking herself", "Dr. Crofts had now been practising in Guestwick nearly seven years,\nhaving settled himself in that town when he was twenty-three years", "\"Dr. Crofts is going to marry Bell Dale,\" said Mary; and then the\nconversation was turned from the subject of Lady Julia's perfections,\nand the awe inspired by the earl.", "Crofts.\" And then the earl took himself off to bed.", "\"You're sure he wants to see me?\" said Crofts.\n\n\"Oh, yes; I'm sure enough of that, sir.\"\n\n\"It wasn't Dr. Gruffen?\"", "But Dr. Crofts had so winked his eye, that he was not in the least\naware whether he had winged his bird or no. Indeed, having no one at", "for Dr. Gruffen. On the occasion of Mrs. Dale's party, Crofts was\nthere, having been specially invited; but Mrs. Dale's special", "between them. They shall each have a hundred a year,--that is, when\nthey marry. You had better tell Crofts to speak to me.\"" ], [ "Crosbie and Lily Dale. When Crosbie came to Lily and made his offer,\nhe did it with perfect ease and thorough self-possession, for he", "\"I'm sure Lily won't object to my telling such a dear friend as you\nwhat has happened,\" said Mrs. Dale. \"She is engaged to be married to\nMr. Crosbie.\"", "an exactly opposite impulse to his heart. He had hesitated as to\nmarrying Lily Dale at once, because of the smallness of his income.\nNow he had a prospect of considerable increase to that income.", "As Crosbie walked back to the Great House that night, he made a firm\nresolution that no consideration of worldly welfare should ever\ninduce him to break his engagement with Lily Dale. He went somewhat", "And Lily Dale was engaged to be married to Adolphus Crosbie,--to\nApollo Crosbie, as she still called him, confiding her little joke", "Oh, if Lily could have heard him as he then spoke! \"It would be\nimpossible for me to speak in terms too high of Miss Dale; but I am\nquite sure that I could not make her happy as her husband.\"", "in such a state of circumstances as was now existing. But at last\nhis thoughts brought themselves to the real question at issue. Would\nLily Dale accept him? After all, the realization of his good fortune", "He had sat there for an hour, and Mrs. Dale still remained with her\ndaughter. Should he get up boldly and ask Lily to put on her bonnet", "\"Lily, I wonder whether you would come as far as that with me.\"\nAs the request was made Mrs. Dale looked at her daughter almost\nbeseechingly. \"Do, pray do,\" said he; \"it is a beautiful day for\nwalking.\"", "he would marry one of the girls. Mrs. Dale herself had thought so,\nand had almost hoped it. Lily had certainly done both. These thoughts\nand hopes had somewhat faded away, but yet their former existence", "had no doubt that he had promised to make Lily Dale his wife, but\nso had he previously promised her, or nearly so. It was a fair game,", "Whereupon Dr. Crofts explained that Mr. Crosbie was engaged to Lilian\nDale.", "But she and Bell would pass hours together talking of Lily's\nprospects. \"It seems so strange to me,\" said Mrs. Dale, \"that she", "has proposed to two ladies. I dare say it was wrong, but I can't help\nit. As to Mr. Dale coming here with a tale of his niece's wrongs, I", "On the following morning Crosbie returned to town, but just before he\nleft the castle he received a third letter from Lily Dale. \"I have", "Hotel. Was it then possible that Lily Dale might even yet become his\nwife? Could it be true that he, even now, was in a position to go", "\"Lily, my love,\" said Mrs. Dale, when they were all together in her\nbedroom, \"it seems to me that you are very hard upon Mr. Crosbie.\"", "\"And now you mean that you are altogether engaged to her?\"\n\n\"Exactly so.\"\n\n\"And that Miss Dale must be told that, on second thoughts, you have\nchanged your mind?\"", "that the difficulties were vanishing from out of his path. \"Could\nit be possible,\" he asked himself, as he went to bed, \"that in a\nfortnight's time Lily Dale should have accepted him as her future", "\"Lily,\" said he; and then he stopped. Mrs. Dale walked away to the\nwindow, turning her back upon her daughter and visitor. \"Lily, I have" ], [ "And then she remembered that that other lady might at this very\nmoment possess the name which she had once been so proud to think\nthat she would bear herself. \"Bell,\" she said, stopping her other", "This sarcastic condemnation was spoken by Miss Lilian Dale to her\nsister Isabella, and referred to a gentleman with whom we shall have", "\"Bell,\" she said, \"he has gone.\"\n\n\"Lily! Lily! Lily!\" said Bell, weeping.", "Bell the chin was something more slender and delicate. But Bell's\nchin was unmarked, whereas on her sister's there was a dimple which", "\"Griselda,\" he said,--and it must be admitted that his tone was not\nbad. The word sank softly into her ear, like small rain upon moss,\nand it sank into no other ear. \"Griselda!\"", "If there was anything in the world as to which Isabella Dale was\nquite certain, it was this--that she was not in love with Dr. Crofts.", "\"Mamma is in the garden,\" said Bell, with that hypocritical pretence\nso common with young ladies when young gentlemen call; as though they\nwere aware that mamma was the object specially sought.", "\"Isn't mamma down yet?\" said Bell.\n\n\"Bell,\" said Lily, \"something has happened. Mamma has got a letter.\"", "\"She has been going on like that all the evening,\" said Bell.\n\n\"I'm sure we are very good friends,\" said Lily.\n\n\"Oh, very!\" said Bell.", "\"What, Bell?\"\n\n\"Yes, with Bell, if her name is Bell. She's a very pretty girl, too.\nI don't know whether she's not the prettiest of the two, after all.\"", "brightness of its own. But with Bell it was more plentiful than\nwith Lily, and therefore Lily would always talk of her own scanty\nlocks, and tell how beautiful were those belonging to her sister.", "well behaved to take the liberty of calling an earl's daughter by her\nplain Christian name, even though that earl's daughter was his own\nwife. \"She fears that you have been a good deal hurt.\"", "\"Who is going to say a word against her? You can little understand me\nif you don't know that the protection of her name against evil words\nis already more my care than it is yours. I regard Lily as my own.\"", "Alexandrina was spoken of much more frequently at the Small House.\nIt was not a subject which Mrs. Dale or Bell would have chosen for\nconversation; but Lily would refer to it. She would begin by doing so", "from her manner that this marriage of hers was about to take place at\nonce, and that she was preparing to leave her home. \"Bell,\" she said,", "\"If you please, ma'am, Mr. Bernard is below, and wants to speak to\nyou.\"\n\n\"Mr. Bernard! ask Miss Bell to see him.\"", "\"So you have Lady Dumbello here?\" said Crosbie.\n\n\"Oh, yes; the dear creature!\" said Lady Margaretta. \"It was so good\nof her to come, you know.\"", "\"I hope Mrs. Dale is quite well,\" said he;--\"and Lily.\" The word had\nbeen pronounced, but it had been done with so manifest an effort that\nall in the room were conscious of it, and paused as Bell prepared her\nlittle answer.", "\"D---- Lady Dumbello!\" and then there was a pause. The countess had\nno objection whatsoever to the above proposition, and was rejoiced\nthat that question of the servants was allowed to slip aside, through\nthe aid of her ladyship.", "\"Dear Lily,\" she had said, \"I am so glad.\" And then Lily remembered\nhow she had, as it were, stolen her lover from her sister, and she\nput her arms round Bell's neck and kissed her." ], [ "\"Bell,\" she said, \"he has gone.\"\n\n\"Lily! Lily! Lily!\" said Bell, weeping.", "\"Lily,\" said he; and then he stopped. Mrs. Dale walked away to the\nwindow, turning her back upon her daughter and visitor. \"Lily, I have", "\"Who is going to say a word against her? You can little understand me\nif you don't know that the protection of her name against evil words\nis already more my care than it is yours. I regard Lily as my own.\"", "\"Lily, my darling; my poor, ill-used darling.\"", "Lilian Dale, dear Lily Dale--for my reader must know that she is to\nbe very dear, and that my story will be nothing to him if he do not", "she is one with whom I may mate myself without an inward conviction\nthat I shall destroy all her happiness by doing so. Lilian,\" he said,\n\"shall always have my prayers; and I trust that she may soon forget,", "\"About Miss Lilian Dale!\" he said, repeating her words.\n\n\"Is she very pretty?\"\n\n\"Yes; she certainly is pretty.\"", "\"Oh, Lily.\"", "was still the word LILY. When he cut those letters she had been\nalmost a child. \"I wonder whether she will come here with me and let", "\"Lily, my love,\" said Mrs. Dale, when they were all together in her\nbedroom, \"it seems to me that you are very hard upon Mr. Crosbie.\"", "And Lily Dale was engaged to be married to Adolphus Crosbie,--to\nApollo Crosbie, as she still called him, confiding her little joke", "heart was true to Lilian Dale. In truth, however, many more of the\npassing words had been spoken by the fair Amelia than by him.", "and a strong shield against great troubles. \"Lily,\" he said, \"my own\nLily!\"", "\"She has been going on like that all the evening,\" said Bell.\n\n\"I'm sure we are very good friends,\" said Lily.\n\n\"Oh, very!\" said Bell.", "\"My dear Lily,\" she said, \"you will think me cold if I do not say one\nword to you.\" \"No, I shall not,\" said Lily, almost sharply, shrinking", "\"Lily, dear,\" said Mrs. Dale, as soon as the front door had been\nclosed, \"this is meant for kindness to you,--for most affectionate\nkindness.\"", "This mention of Lily's name in such a place was sacrilege in the ears\nof poor Eames. \"I cannot tell,\" said he, \"what may be the intention", "Lily's promise made in the fields, that she would do everything for\nhim. He remembered her kisses; the touch of her fingers; the low\nsilvery laughing voice; the feel of her dress as she would press", "and spoke to her. \"Lily, my child!\" Then she burst into sobs, and was\nunable to tell her tale.", "Alexandrina was spoken of much more frequently at the Small House.\nIt was not a subject which Mrs. Dale or Bell would have chosen for\nconversation; but Lily would refer to it. She would begin by doing so" ], [ "proposed marriage, but as to that nothing further could be said in\nBell's presence. Bell understood it all, and sat quite silent, with\ndemure countenance;--perhaps even with something of sternness in her", "her, and Bell, as I have said before, made up her mind with great\nfirmness that she was not in love with him. I may certainly say that", "before the commencement of this narrative. He made no declaration to\nBell; but Bell, young as she was, understood well that he would fain\nhave done so, had not his courage failed him, or rather had not his", "refuse him now?\" asked Lily. \"I don't know,\" said Bell. \"It seems as\nthough I should want years to make up my mind; and he won't ask me\nagain.\"", "\"I do not wish to press you unfairly, Bell; but may I ask if any\nother preference--\"\n\n\"There is no other preference,\" she answered. And then again they\nwere silent for a minute or two.", "\"That is nothing. Such an offer to me now is simply laughing at me.\nBell, I tell you what,--I will not give you up. The fact is, you do", "\"Shall I never say so, Bell? What if so poor a man as I ask for the\nhand that you will not give to so rich a man as your cousin Bernard?\"", "\"I think a great deal about her,\" said the squire. \"But that does not\nmuch matter now. The fact is, that she has declined Bernard's offer.\"\n\n\"Has Bernard offered to her?\"", "\"Bell,\" he said, \"you and I have always been dear friends.\"\n\n\"Yes; always.\"\n\n\"Why should we not be something more than friends?\"", "Bell, as she had been desired to listen, did listen very patiently.\nBut when her cousin had finished, her answer was very short. \"Nothing\nthat my uncle can say, or think, or do, can make any difference in\nthis,\" said she.", "\"I've not the slightest objection,\" said Bell; \"only I don't know\nwhat there can be to say about it. Marrying the doctor is such a very\ncommonplace sort of thing.\"", "\"Not if it be a refusal, Bell. Think well of it before you do that.\nI should have told you that our uncle wishes this match, and that he\nwill remove any difficulty there might be about money.\"", "\"Bell,\" she said, \"I wish you were going to be married too.\"\n\n\"Thank'ye, dear,\" said Bell. \"Perhaps I shall some day.\"", "\"Bell, before you give me a final answer, sleep upon this and talk it\nover with your mother. Of course you were unprepared, and I cannot\nexpect that you should promise me so much without a moment's\nconsideration.\"", "of Mr. Dale. \"Mary,\" he said, as soon as Mrs. Dale was seated, \"I\nshall do for Bell exactly what I have proposed to do for Lily. I had", "\"Not as I do! To say that is nonsense, Bell; of course she does not\nlove him as I do. But the truth is she does not love him at all. Do\nyou think I cannot see it?\"", "\"If that be all,\" said Bell, \"I do not think that we need either of\nus trouble ourselves. He can have no right to dispose of our hearts.\"\n\n\"I understand the taunt, Bell.\"", "from her manner that this marriage of hers was about to take place at\nonce, and that she was preparing to leave her home. \"Bell,\" she said,", "wishes and sufficiently liberal in his offers; and that, therefore,\nhe would marry. It had hardly occurred to him as probable that his\ncousin would reject so eligible an offer, and had certainly never", "the interview was over. She would have known whether or no she loved\nthe man, or could love him, and would have given him some true and\nintelligible answer. Bell had not done so, but had given him an" ], [ "The idea of jilting Alexandrina instead of Lily had never as yet\npresented itself to Crosbie, and now, as he thought of it, he could\nnot perceive that it was feasible.", "And Lily Dale was engaged to be married to Adolphus Crosbie,--to\nApollo Crosbie, as she still called him, confiding her little joke", "\"L. D. is engaged to be married to a man named Adolphus Crosbie,\"\nsaid poor Johnny, slowly. \"If you please, we will not say any more\nabout her.\"", "and made some sweet little loving speech to her. Adolphus Crosbie\nwas a clever man; and he meant also to be a true man,--if only the", "earl in establishing that new household. To Crosbie he had refused to\ngive anything, and there was upon his conscience a shade of remorse\nin that he had so refused. But if Lily could be brought to love this", "In this way the matter had been talked over between the mother and\nher elder daughter. Then Mr. Crosbie had come; and before the end\nof the first month his declared admiration for Lily had proved", "This was the family for whose sake Crosbie had jilted Lily Dale!\nHis single and simple ambition had been that of being an earl's", "Crosbie was at Allington this was natural enough. He and Lily were of\ncourse together, while Bell remained with her mother. But the same\nstate of things continued even after Crosbie was gone. It was not", "And then Crosbie told Lily of his intention. \"On Wednesday!\" she\nsaid, turning almost pale with emotion as she heard this news. He had\ntold her abruptly, not thinking, probably, that such tidings would\naffect her so strongly.", "given in marriage,--was carried on after a somewhat humdrum fashion,\nand in a manner that must be called commonplace. How different had\nit been when Crosbie had made his offer! Lily for the time had been", "that Crosbie had been a villain, and as such should be discarded from\nher heart? As it was, Lily had spoken the simple truth when she told\nJohn Eames that she was dealing more openly with him on that affair", "of his meeting with Lily all the night and throughout the morning,\nand now he heard that she was walking alone about the gardens with\na strange gentleman. That Mr. Crosbie was very grand and very", "away from her? She had already realized the fact that Crosbie's\nhouse could never be a home to her,--never even a temporary home.\nHer visits there must be of that full-dressed nature to which Lily", "Lily. \"Give her the enclosed,\" Crosbie had said in his letter, \"if\nyou do not now think it wrong to do so. I have left it open, that you", "As Crosbie walked back to the Great House that night, he made a firm\nresolution that no consideration of worldly welfare should ever\ninduce him to break his engagement with Lily Dale. He went somewhat", "way. She could therefore be doing no harm to Lilian Dale. If she\nentertained any inner feeling that Crosbie's fault in jilting Lilian", "who says nothing. On this occasion Crosbie ignored the necessity\naltogether, and gave up his mind to the consideration of what it\nmight be expedient that he should say to Lily before he went. He", "that she had ever desired. It would give her a prospect of seeing\nvery much of Lily; for if Bell were settled at the old family house,\nCrosbie would naturally be much with his friend. She liked Bernard", "\"I'm sure Lily won't object to my telling such a dear friend as you\nwhat has happened,\" said Mrs. Dale. \"She is engaged to be married to\nMr. Crosbie.\"", "They found Lady Julia sitting in her drawing-room alone, and\nintroduced to her Mr. Crosbie in due form. The fact of Lily's" ], [ "The idea of jilting Alexandrina instead of Lily had never as yet\npresented itself to Crosbie, and now, as he thought of it, he could\nnot perceive that it was feasible.", "\"L. D. is engaged to be married to a man named Adolphus Crosbie,\"\nsaid poor Johnny, slowly. \"If you please, we will not say any more\nabout her.\"", "And Lily Dale was engaged to be married to Adolphus Crosbie,--to\nApollo Crosbie, as she still called him, confiding her little joke", "and made some sweet little loving speech to her. Adolphus Crosbie\nwas a clever man; and he meant also to be a true man,--if only the", "that Crosbie had been a villain, and as such should be discarded from\nher heart? As it was, Lily had spoken the simple truth when she told\nJohn Eames that she was dealing more openly with him on that affair", "earl in establishing that new household. To Crosbie he had refused to\ngive anything, and there was upon his conscience a shade of remorse\nin that he had so refused. But if Lily could be brought to love this", "And then Crosbie told Lily of his intention. \"On Wednesday!\" she\nsaid, turning almost pale with emotion as she heard this news. He had\ntold her abruptly, not thinking, probably, that such tidings would\naffect her so strongly.", "Crosbie was at Allington this was natural enough. He and Lily were of\ncourse together, while Bell remained with her mother. But the same\nstate of things continued even after Crosbie was gone. It was not", "who says nothing. On this occasion Crosbie ignored the necessity\naltogether, and gave up his mind to the consideration of what it\nmight be expedient that he should say to Lily before he went. He", "\"Very dangerous,\" said Crosbie. Then Lily laughed again, and Lady\nJulia became more angry than ever. What odious man was this whom her", "This was the family for whose sake Crosbie had jilted Lily Dale!\nHis single and simple ambition had been that of being an earl's", "away from her? She had already realized the fact that Crosbie's\nhouse could never be a home to her,--never even a temporary home.\nHer visits there must be of that full-dressed nature to which Lily", "way. She could therefore be doing no harm to Lilian Dale. If she\nentertained any inner feeling that Crosbie's fault in jilting Lilian", "of his meeting with Lily all the night and throughout the morning,\nand now he heard that she was walking alone about the gardens with\na strange gentleman. That Mr. Crosbie was very grand and very", "Lily. \"Give her the enclosed,\" Crosbie had said in his letter, \"if\nyou do not now think it wrong to do so. I have left it open, that you", "As Crosbie walked back to the Great House that night, he made a firm\nresolution that no consideration of worldly welfare should ever\ninduce him to break his engagement with Lily Dale. He went somewhat", "that backwardness on his part in assuming manhood which had rendered\nhim incapable of making himself acceptable to Lily before she had\nfallen into the clutches of Crosbie. As he thought of this he", "In this way the matter had been talked over between the mother and\nher elder daughter. Then Mr. Crosbie had come; and before the end\nof the first month his declared admiration for Lily had proved", "\"Whether or no my uncle is a man of the world, I will not say; but\nyou are, Crosbie, whether he is or not. Lily, as you have always\nknown, has nothing of her own.\"", "Crosbie hastened at once to exculpate Lily; and then, with more\nawkward blunders than a man should have made who was so well" ], [ "front door of the house which stands there. I will only say here, at\nthis fag end of a chapter, that it is the Small House at Allington.\nAllington Street, as I have said, turns short round towards the", "Of course there was a Great House at Allington. How otherwise should\nthere have been a Small House? Our story will, as its name imports,", "_The Small House at Allington_ was first published serially\n in the _Cornhill Magazine_ from September, 1862, to April,", "Then they heard at the Small House that the squire had gone away from\nAllington. During the last few days Bernard had not been much with", "All this will serve to explain the terms on which Mrs. Dale was\nliving at the Small House,--a matter needful of explanation sooner or", "So it was settled among them that notice should be given to their\nuncle of their intention to quit the Small House of Allington.", "And now I will speak of the Great House of Allington. After all, it\nwas not very great; nor was it surrounded by much of that exquisite", "should be left for ever. It would be a great fall in a worldly\npoint of view,--from the Allington Small House to an abode in some\nlittle street of Guestwick. At Allington they had been county", "steeple. The glory of the Small House at Allington certainly consists\nin its lawn, which is as smooth, as level, and as much like velvet as", "So much it was needful that I should say of Allington Great House,\nof the Squire, and of the village. Of the Small House, I will speak\nseparately in a further chapter.", "GUTENBERG EBOOK THE SMALL HOUSE AT ALLINGTON***\n\n\nE-text prepared by Andrew Turek\nand revised by Joseph E. Loewenstein, M.D., and an anonymous\nProject Gutenberg volunteer", "\"Leave the Small House!\" he said, repeating her words; \"and where on\nearth do you mean to go?\"\n\n\"We think we shall go into Guestwick.\"\n\n\"And why?\"", "Such in character was the squire of Allington, the only regular\ninhabitant of the Great House. In person, he was a plain, dry man,", "He did not visit the Small House on that, his first day. It had been\nthought better that he should first meet the squire and Bell at\nGuestwick Manor, so he postponed his visit to Mrs. Dale till the next\nmorning.", "And now, in these days, Dr. Crofts did not come over to Allington\nvery often. Had any of the family in the Small House been ill, he", "The gardens of the Great House of Allington and those of the Small\nHouse open on to each other. A proper boundary of thick laurel hedge,", "As soon as it had been resolved by Mrs. Dale and Lily that\nthe flitting from the Small House at Allington was not to be\naccomplished, Lily communicated the fact to Hopkins.", "such modest way as her very limited means allowed. Old Mrs. Dale,\nthe squire's mother, then occupied the Small House. But when old\nMrs. Dale died, the squire offered the place rent-free to his", "at Allington. Crosbie was a pleasant man for ladies in a large house.\nThough a sportsman, he was not so keen a sportsman as to be always", "\"Come up to the house,\" said Mrs. Dale, \"and I'll tell you all.\"\n\n\n\n\nCHAPTER LVIII.\n\nTHE FATE OF THE SMALL HOUSE." ], [ "All this will serve to explain the terms on which Mrs. Dale was\nliving at the Small House,--a matter needful of explanation sooner or", "Small House, was in the hands of Hopkins, the head gardener to the\nGreat House; and it was so simply for this reason, that Mrs. Dale", "occurred to him that evil could come upon any of the Dale ladies from\nthe words which had then been spoken. He regarded the Small House as\ntheir abode and home as surely as the Great House was his own. In", "as bound in duty to leave the Small House. To this he had returned\nno answer, and she had communicated her intention to Mrs. Hearn,\nthinking it better that there should be no secret in the matter.", "to live with him on terms of affection, made during the first year or\ntwo of her residence at the Small House. But, nevertheless, in spite\nof all, her heart bled for him now. She had gained her victory over", "let the Small House to strangers. T' squire ain't one of that sort\nany ways.\"", "Indeed, in those days Lily reigned as a queen at the Small House.\nIll-usage and illness together falling into her hands had given her", "position, it may be forgiven in that which he then filled. So Crosbie\nwent down to the Small House alone.", "\"I'm just going to call at the Small House, and I thought I'd come\nthis way.\"", "The morning of the fourteenth came upon them at the Small House,\nas comes the morning of those special days which have been long", "I must not allow my readers to suppose that these considerations were\na matter of indifference to any of the ladies at the Small House. To", "greeted! How it had been felt by all concerned that the fortunes\nof the Small House were in the ascendant,--felt, indeed, with some", "\"Resolved on what?\" said the squire, turning his eyes full upon her.\n\n\"We have resolved to leave the Small House.\"", "Of course there was a Great House at Allington. How otherwise should\nthere have been a Small House? Our story will, as its name imports,", "other man, he would be more open-handed. She should have her share\nas though she was in fact his daughter. But then, if he intended\nto do so much for them at the Small House, should not they in", "\"Leave the Small House!\" he said, repeating her words; \"and where on\nearth do you mean to go?\"\n\n\"We think we shall go into Guestwick.\"\n\n\"And why?\"", "Small House. So Hopkins stood on the terrace, raising his hat and\nscratching his head. \"There's something wrong amongst them,\" said he\nto himself, sorrowfully.", "themselves agreeable to him. Mrs. Dale, since she had come to the\nSmall House, had never been a source of satisfaction to him, but he\ndid not on that account regret that he had brought her there. He", "On that day they dined early at the Small House, as they had been in\nthe habit of doing since the packing had commenced. And after dinner", "It had been agreed between them that Crosbie should come down to\nthe Small House on the next day after breakfast, and remain there\ntill the time came for riding. But Lily determined to alter this" ], [ "CHAPTER I.\n\nTHE SQUIRE OF ALLINGTON.\n\n\n[ILLUSTRATION: (untitled)]", "Such in character was the squire of Allington, the only regular\ninhabitant of the Great House. In person, he was a plain, dry man,", "interests at Allington; and, moreover, those interests were now\nbacked by an ally who in this matter must be regarded as much more\npowerful than the earl. The squire had given in his consent to the", "the existing squire. Some futile attempts had been made to increase\nthe territory, as indeed had been done by Kit Dale, the father of\nChristopher Dale, who will appear as our squire of Allington when the", "The squires of Allington had been squires of Allington since squires,\nsuch as squires are now, were first known in England. From father", "\"You'll be squire of Allington for the next twenty years,\" said Mrs.\nDale. \"And as long as you are the squire, you'll be master of this", "On the morning following the squire's return to his own house, Mrs.\nCrump, the post-mistress at Allington, received a parcel by post", "and he bore few signs of age. Such in person was Christopher Dale,\nEsq., the squire of Allington, and owner of some three thousand a\nyear, all of which proceeded from the lands of that parish.", "Then there was no more said between them till they sat down to their\nmeal.\n\nHad the squire at Allington known all, he might, I think, have been\nsatisfied with the punishment which Crosbie had encountered.", "Late on that evening the squire returned to Allington, Bernard having\ndriven over to meet him at the station. He had telegraphed to his", "boldly to the Squire of Allington, and tell him what were his views\nwith reference to Lily? And how far would he be justified in taking\nthe earl at his word? Some incredible amount of wealth would be", "moved in a position which belongs, as a rule, to the daughters of\nrich men only. This they did as nieces of the childless squire of\nAllington, and as his nieces she felt that they were entitled to", "left the Squire of Allington in conference with Fowler Pratt. He had\nseen Fowler Pratt again that same night, and the course of the story\nwill have shown what took place at that interview.", "other always. Many years had now gone by since these things had\noccurred, but still the same feelings remained. When she had first\ncome down to Allington she had resolved to win the squire's regard,", "Allington had been coterminous with the parish of Allington for some\nhundreds of years; and though, as I have said, the race of squires\nhad possessed nothing of superhuman discretion, and had perhaps been", "however, with her neighbour the squire which I regret to say are not\nas friendly as they should be. Beyond this lady's modest residence,\nAllington Street, for so the road is called, turns suddenly round", "when he got to Allington he found that the squire had accepted the\nearl's invitation. Then he declared to himself that there was no\nlonger any possibility of retractation for him. Of course he did not", "that other one. He had said that he would call at Allington before he\nreturned to town, and he was now redeeming his promise. But he did", "\"Squire,\" he began. They all called him squire when they were on good\nterms together, and Crosbie thought it well to begin as though there", "\"I don't know what it was about, or why he should have made such a\nbrute of himself. You have heard about those people at Allington?\"\n\n\"Oh, yes; I have heard about them.\"" ], [ "All this will serve to explain the terms on which Mrs. Dale was\nliving at the Small House,--a matter needful of explanation sooner or", "such modest way as her very limited means allowed. Old Mrs. Dale,\nthe squire's mother, then occupied the Small House. But when old\nMrs. Dale died, the squire offered the place rent-free to his", "Small House, was in the hands of Hopkins, the head gardener to the\nGreat House; and it was so simply for this reason, that Mrs. Dale", "occurred to him that evil could come upon any of the Dale ladies from\nthe words which had then been spoken. He regarded the Small House as\ntheir abode and home as surely as the Great House was his own. In", "It was Mrs. Dale's eldest daughter who spoke to her, and they were\nalone together in the parlour at the Small House. Mrs. Dale took the", "\"Come up to the house,\" said Mrs. Dale, \"and I'll tell you all.\"\n\n\n\n\nCHAPTER LVIII.\n\nTHE FATE OF THE SMALL HOUSE.", "themselves agreeable to him. Mrs. Dale, since she had come to the\nSmall House, had never been a source of satisfaction to him, but he\ndid not on that account regret that he had brought her there. He", "He did not visit the Small House on that, his first day. It had been\nthought better that he should first meet the squire and Bell at\nGuestwick Manor, so he postponed his visit to Mrs. Dale till the next\nmorning.", "Bernard Dale was still at Allington, and had remained there through\nthe period of Crosbie's absence. Whatever words Mrs. Dale might", "It had been decided between the squire and Mrs. Dale that the removal\nfrom the Small House to Guestwick was not to take place till the", "As soon as it had been resolved by Mrs. Dale and Lily that\nthe flitting from the Small House at Allington was not to be\naccomplished, Lily communicated the fact to Hopkins.", "from Mrs. Dale, asking them to drink tea at the Small House on that\nday week. At the bottom of the note which Lily had written for Mr.", "As Mrs. Dale, of the Small House, was not a Dale by birth, there\ncan be no necessity for insisting on the fact that none of the", "After that Mrs. Dale walked home through the garden by herself. He\nhad studiously told her that that house in which they lived should be", "\"Very nice indeed,\" said Crosbie, who began to make a comparison\nwith Mrs. Dale's turf at the Small House, and to determine that the\nAllington turf was better than that of the hospital.", "\"Have you heard the news, my dear, from the Small House?\" said Mrs.\nBoyce to her husband, some two or three days after Mrs. Dale's visit", "Then came in old Mrs. Hearn, whose cottage was not distant two\nminutes' walk from the Small House. She always called Mrs. Dale \"my", "\"What news?\" said Mr. Boyce, for he had heard none.\n\n\"Mrs. Dale and the girls are going to leave the Small House; they're\ngoing into Guestwick to live.\"", "had any claim on that score. It was a well-understood thing in the\nfamily that the senior male Dale should have all the Dale property\nand all the Dale money. She fully recognized even the propriety of", "Then they heard at the Small House that the squire had gone away from\nAllington. During the last few days Bernard had not been much with" ], [ "\"I do love her, Lily; that at any rate is true.\"", "actually promised to another man, and as good as married, he was not\nthe less broken-hearted because his former hopes had not been high.\nHe had never dared to speak to Lily of his love, but he was conscious", "\"No, Lily; you don't understand all that I would say. You have never\nknown how often and how much I have thought of you; how dearly I have\nloved you.\"", "\"Dear Lily,\" she had said, \"I am so glad.\" And then Lily remembered\nhow she had, as it were, stolen her lover from her sister, and she\nput her arms round Bell's neck and kissed her.", "\"Did you ever see anything so sweet and affectionate and romantic?\"\nsaid Lily, standing over them and looking at them. \"And all the", "\"Not as you do, Lily; but she does love him.\"", "Poor Lily! How little she understood as yet what was passing through\nhis mind. Had she known his wish she would have wrapped up her love", "had declared his passion in the most moving language a hundred times;\nbut he had declared it only to himself. He had written much poetry\nabout Lily, but he kept his lines safe under double lock and key.", "\"And so will I love you,\" said Lily, giving him her hand again. He\nlooked longingly into her face as though he had thought it possible", "Lily's promise made in the fields, that she would do everything for\nhim. He remembered her kisses; the touch of her fingers; the low\nsilvery laughing voice; the feel of her dress as she would press", "\"Lily, my darling; my poor, ill-used darling.\"", "loved with all his heart,--with all the heart that he had for such\npurposes. In those doubts as to his marriage which had troubled him\nhe had never expressed to himself any disapproval of Lily. He had not", "he told how he had fallen suddenly in love with Lily, how he had been\nrash and imprudent, how nice she was--\"infinitely too good for such a", "\"Who is going to say a word against her? You can little understand me\nif you don't know that the protection of her name against evil words\nis already more my care than it is yours. I regard Lily as my own.\"", "Lily, \"and I defy her to deny it. I would forgive him for keeping me\nin bed if he would only make her fall in love with him.\"", "Lily Dale he had loved; and he now declared to himself that he could\nhave continued to love her through his whole life. But what was there\nfor any man to love in Alexandrina De Courcy?", "had determined to caress. And yet, what would it all be if Lily would\nnot share his happiness? When he had carved that name on the rail,\nhis love for Lily had been an idea. It had now become a reality which", "I may as well announce at once that John Eames, when he went up to\nLondon, was absolutely and irretrievably in love with Lily Dale. He", "them through her own fault. She well knew how great a load of sorrow\nwas lying on Lily's heart, hidden beneath those little attempts at\npleasantry which she made. When she spoke of being disappointed in", "\"But is he fond of you?--that's the question,\" said Lily. \"We could\nhave forgiven him anything done to us, and have put up with any words" ], [ "CHAPTER XLVI.\n\nJOHN EAMES AT HIS OFFICE.\n\n\n[ILLUSTRATION: (untitled)]", "I may as well announce at once that John Eames, when he went up to\nLondon, was absolutely and irretrievably in love with Lily Dale. He", "CHAPTER LIX.\n\nJOHN EAMES BECOMES A MAN.", "And thus John Eames was thoughtful. They who knew him best accounted\nhim to be a gay, good-hearted, somewhat reckless young man, open to", "Johnny Eames was a mere clerk; whereas Crosbie, if he was to be\ncalled a clerk at all, was a clerk of some very special denomination.", "to his children. He had, moreover, obtained for John Eames that\nsituation under the Crown which he now held.", "\"I think I told you,\" continued the earl, \"that young John Eames is\ndown here; but he goes back to-morrow, as they can't spare him at his", "In the meantime John Eames had continued his career in London without\nmuch immediate satisfaction to himself, or to the lady who boasted to", "the qualifications of Mr. Crosbie. Now John Eames was a young\nman from Guestwick, who had been appointed to a clerkship in the", "\"It was about John Eames, and not about Mr. Crosbie, that I wished to\nspeak to you.\"\n\n\"Oh, mamma!\"", "himself a despairing lover. And then such a young man as John Eames\nis very apt to talk of his fancies.\"", "world would, if known to John Eames, have made him appear fabulously\nrich in the eyes of that brother clerk. His lodgings in Mount Street\nwere elegant in their belongings. During three months of the season", "busy themselves in books and be at their ease among the creations\nof other minds. These are they who afterwards become well-informed\nmen. It was not so with John Eames. He had never been studious. The", "CHAPTER XXI.\n\nJOHN EAMES ENCOUNTERS TWO ADVENTURES, AND DISPLAYS GREAT COURAGE IN\nBOTH.", "There had been some fun in this at first; but of late John Eames had\nbecome tired of it. He disliked Mr. Kissing, and the big book out", "and to whom Mrs. Eames had been strongly recommended when she was\ndesirous of finding a specially safe domicile for her son. For the\nfirst year of his life in London John Eames had lived alone in", "When Crosbie was making his ineffectual inquiry after Lady De\nCourcy's bracelet at Lambert's, John Eames was in the act of entering\nMrs. Roper's front door in Burton Crescent.", "JOHN EAMES.", "\"What;--John Eames!\"\n\n\"Yes, John Eames. And I wish heartily for his sake that he had won\nher regard before she had met that rascal whom you had to stay down\nat your house.\"", "\"She was always very fond of John Eames;--and he is doing so well.\"" ], [ "\"Ah, Bell,\" he said, coming close up to her, \"I wish you could\nunderstand how I love you.\" And, as he spoke, his cousin", "\"Bell,\" he said, \"you and I have always been dear friends.\"\n\n\"Yes; always.\"\n\n\"Why should we not be something more than friends?\"", "her, and Bell, as I have said before, made up her mind with great\nfirmness that she was not in love with him. I may certainly say that", "should have been in the doctor's favour. But now, when he had in some\nway spoken out, Bell started back from him and would not believe that\nhe was in earnest. She probably loved him better than any man in the", "before the commencement of this narrative. He made no declaration to\nBell; but Bell, young as she was, understood well that he would fain\nhave done so, had not his courage failed him, or rather had not his", "\"Bell,\" she said, \"he has gone.\"\n\n\"Lily! Lily! Lily!\" said Bell, weeping.", "he loved Bell dearly. So he did, though he seldom spoke to her with\nmuch show of special regard, and never was soft and tender with her.", "But they were Dales, and he loved them; and with Christopher Dale to\nlove once was to love always. Bell was his chief favourite, sharing\nwith his nephew Bernard the best warmth of his heart. About these", "\"Not as I do! To say that is nonsense, Bell; of course she does not\nlove him as I do. But the truth is she does not love him at all. Do\nyou think I cannot see it?\"", "wish it to be Bell's, because I knew well that there was somebody she\nwould like a great deal better than ever she could like Bernard.\"", "\"Something very like it. But, however, I have no doubt you were true\nenough. But, Bell, why should it be so? If you were in love with any\none else I could understand it.\"", "desirous of some palpable assurance of his presence. It was not so at\nall with Bell. She was happy in loving and in being loved, but she", "the interview was over. She would have known whether or no she loved\nthe man, or could love him, and would have given him some true and\nintelligible answer. Bell had not done so, but had given him an", "Bell. But you may be sure of this; that he had made up his mind as to\nwhat he would do. Nothing that you or I could have said would have\nchanged him.\"", "house, and behaved very prettily to Bell for four or five days\nrunning. That he did not make love to her, in the ordinary sense of\nthe word, must, I suppose, be taken for granted, seeing that Bell", "\"I do not wish to press you unfairly, Bell; but may I ask if any\nother preference--\"\n\n\"There is no other preference,\" she answered. And then again they\nwere silent for a minute or two.", "\"Dear Lily,\" she had said, \"I am so glad.\" And then Lily remembered\nhow she had, as it were, stolen her lover from her sister, and she\nput her arms round Bell's neck and kissed her.", "early visit, it had seemed as though Bell had been chiefly noticed\nby him. And Bell in her own quiet way had accepted his admiration,\nsaying nothing of it and thinking but very little. Lily was", "\"I suppose it would,\" said Bell, answering him without a sign of\nfeeling in her face or voice. But she took in every word that he", "really wanted us. He liked to have Bell there when he thought that\nBell would marry his pet.\"" ], [ "favourably on his proposition. It would be good for them all, he\nsaid, especially for Lily, as to whom, at the present moment, their", "\"It was such fun,\" said Lily. \"James, who took, at any rate, a year\nor two to make his proposal, wanted to be married the next day\nafterwards.\"\n\n\"No, Lily; not quite that.\"", "\"I don't want to go in unless you wish it,\" he said. \"Indeed, I'd\nrather stay here. So, Lily, you're going to be married?\" And thus he\nrushed at once into the middle of his discourse.", "engaged to Lily with the knowledge of us all. Then, when my belief on\nthe subject could make no possible difference in your conduct, I told\nyou that I thought my uncle would do something for her. I told you so", "\"As to Lily's fortune! The question is whether Lily has got a\nfortune.\"\n\n\"He can hardly expect that I am to take her without something. Your\nuncle is a man of the world and he knows--\"", "embarrassment, and was inclined to wish that Lily would abstain from\nthat manner which seemed to declare to all the world that she was\nabout to be married immediately. \"I must speak to her to-morrow,\" he", "\"I'm sure Lily won't object to my telling such a dear friend as you\nwhat has happened,\" said Mrs. Dale. \"She is engaged to be married to\nMr. Crosbie.\"", "the slightest idea of breaking from that engagement. But then the\nmarriage might possibly be delayed. He had not discussed that matter\nyet with Lily, having, indeed, at the first moment of his gratified", "And in that quadrille Crofts and Bell had been dancing together, and\nthey also had been talking of Lily's marriage. \"A man may undergo", "refuse him now?\" asked Lily. \"I don't know,\" said Bell. \"It seems as\nthough I should want years to make up my mind; and he won't ask me\nagain.\"", "actually promised to another man, and as good as married, he was not\nthe less broken-hearted because his former hopes had not been high.\nHe had never dared to speak to Lily of his love, but he was conscious", "remembered well those few words which he had spoken in the first\nardour of his love, pleading that an early day might be fixed for\ntheir marriage. And he remembered, also, how prettily Lily had", "given in marriage,--was carried on after a somewhat humdrum fashion,\nand in a manner that must be called commonplace. How different had\nit been when Crosbie had made his offer! Lily for the time had been", "Crosbie and Lily Dale. When Crosbie came to Lily and made his offer,\nhe did it with perfect ease and thorough self-possession, for he", "\"I don't at all know yet when we are to be married,\" said Lily, as\nsoon as they were again standing together.\n\n\"No; I dare say not,\" said Eames.", "\"Yes, about Bell. Here's Lily going to be married, and it will be\nwell that Bell should be married too.\"", "\"Lily will never become really fond of any man till he shall have\ngiven her proper reason. And if he admires her, why should they not\ncome together?\"\n\n\"But she is so young, Bell.\"", "Lily's promise made in the fields, that she would do everything for\nhim. He remembered her kisses; the touch of her fingers; the low\nsilvery laughing voice; the feel of her dress as she would press", "\"Yes, Lily;--to be rid of you in that way. If I could see you put\nyour hand in his as his promised wife, I think that I should be the\nhappiest woman in the world.\"", "\"Lily, what did you promise just now?\"\n\n\"Well; after to-night. And I don't know why you should turn against\nhim.\"\n\n\"I have never turned against him or for him.\"" ], [ "\"Bell,\" he said, \"you and I have always been dear friends.\"\n\n\"Yes; always.\"\n\n\"Why should we not be something more than friends?\"", "\"Bell,\" she said, \"I wish you were going to be married too.\"\n\n\"Thank'ye, dear,\" said Bell. \"Perhaps I shall some day.\"", "believe a word about the squire having been cross to them. Indeed I\nknow he has been the reverse of cross. So Bell is going to marry Dr.\nCrofts!\"", "\"Dr. Crofts is going to marry Bell Dale,\" said Mary; and then the\nconversation was turned from the subject of Lady Julia's perfections,\nand the awe inspired by the earl.", "proposed marriage, but as to that nothing further could be said in\nBell's presence. Bell understood it all, and sat quite silent, with\ndemure countenance;--perhaps even with something of sternness in her", "\"Crofts going to marry Bell!\" exclaimed Eames, thinking almost with\ndismay of the doctor's luck in thus getting himself accepted all at\nonce, while he had been suing with the constancy almost of a Jacob.", "\"I've not the slightest objection,\" said Bell; \"only I don't know\nwhat there can be to say about it. Marrying the doctor is such a very\ncommonplace sort of thing.\"", "\"Yes, about Bell. Here's Lily going to be married, and it will be\nwell that Bell should be married too.\"", "\"Bell,\" she said, \"he has gone.\"\n\n\"Lily! Lily! Lily!\" said Bell, weeping.", "from her manner that this marriage of hers was about to take place at\nonce, and that she was preparing to leave her home. \"Bell,\" she said,", "before the commencement of this narrative. He made no declaration to\nBell; but Bell, young as she was, understood well that he would fain\nhave done so, had not his courage failed him, or rather had not his", "\"Bernard and Bell!\" exclaimed Mrs. Dale. No idea of such a union\nhad ever yet come upon her, and now in her surprise she sat silent.", "people to do, like you and Bell. All the same, Bell, I do wish you\ncould have been married from this house.\"", "Bell and Lily went together also to Mrs. Boyce's. \"If she makes\nherself very disagreeable, I shall insist upon talking of your\nmarriage,\" said Lily.", "success in life.\" Then Butterwell shook him very cordially by the\nhand,--having offered him no such special testimony of approval when\nunder the belief that he was going to marry a Bell, a Tait, or a", "her, and Bell, as I have said before, made up her mind with great\nfirmness that she was not in love with him. I may certainly say that", "The squire had been told that his niece Bell had accepted Dr. Crofts,\nand he had signified a sort of acquiescence in the arrangement,", "Bell. But you may be sure of this; that he had made up his mind as to\nwhat he would do. Nothing that you or I could have said would have\nchanged him.\"", "\"Bell told me that it was to be so,\" said Mrs. Dale. \"But I could\nhardly bring myself at first to think that he was good enough for my\ndarling.\"", "of Mr. Dale. \"Mary,\" he said, as soon as Mrs. Dale was seated, \"I\nshall do for Bell exactly what I have proposed to do for Lily. I had" ] ]

[ "How many daughters did Dale's sister-in-law have living in Small House?", "Who felt jilted from the marriage of Adolphus Crosbie and Lily?", "Where did John Eames work?", "Who did Belle refuse to marry?", "What did Lily do to Eames after divorcing Crosbie?", "What could Alexandrina's family do for Crosbie?", "Who did Bell marry?", "Who is the owner of the Small House at Allington?", "Who is the Squire of Allington?", "What is John Eames' profession?", "What is the name of the family living in the Small House?", "What is James Crofts' profession?", "Who proposes to Lily Dale?", "What is the diminutive used for Isabella's name?", "What is the diminutive used for Liliam's name?", "For whom does Bell refuse an offer of marriage?", "For whom does Adolphus Crosbie jilt Lily?", "Why does Adolphus Crosbie jilt Lily?", "Who lives in the Small House at Allington?", "Who was the Small House intended for?", "Who is the squire of Allington?", "Who did Dale Allocate the Small house to after his mother died?", "Who loves Lily in secret?", "What is John Eames job?", "Who is Bell in love with?", "Who proposes marriage to Lily?", "Who does Bell marry?" ]

[ [ "two", "2" ], [ "John Eames", "John Eames." ], [ "Income Tax Office", "income tax office" ], [ "cousin Bernard", "her cousin Bernard" ], [ "kept rejecting him ", "Rejects his marriage purposals" ], [ "further his career", "Further his career" ], [ "Dr. Crofts", "dr crofts" ], [ "Christopher Dale", "Christopher Dale, Squire of Allington" ], [ "Christopher Dale.", "christopher dale" ], [ "John Eames is a junior clerk who works at the Income Tax Department.", "junior clerk at the Income Tax Office" ], [ "The Dale family.", "dale" ], [ "James Crofts is the local doctor.", "doctor" ], [ "Adolphus Crosbie.", "adolphus" ], [ "Bell.", "Bell" ], [ "Lily.", "Lily" ], [ "Dr. James Crofts.", "Bernard." ], [ "Lady Alexandria de Courcy.", "Lady Alexandrina de Courcy." ], [ "Her family is able to further his career.", "He favored Lady Alexandrina de Courcy. " ], [ "The Dale family", "the dale family and his sister in law and her two daughters." ], [ "the widowed mother (Dowager) of the estate owner", "widowed mother dowager." ], [ "Christopher Dale", "Chistopher Dale" ], [ "his widowed sister-in-law and her daughters", "His sister in law" ], [ "John Eames", "John Eames" ], [ "junior clerk at the income Tax Office", "Clerk at the tax office" ], [ "Dr. James Crofts", "james crofts" ], [ "Adolphus Crosbie", "Adolphus. " ], [ "Dr. James Crofts", "Dr. James Crofts" ] ]

a92d15a67e802a1ab4fbaeecb6b58914690059f8

train

[ [ "behind his chair, and he saw Jules give a slow, significant, ominous\nwink to Mr Dimmock--Christian name, Reginald.", "'Do you mean, Miss Racksole, that there was an understanding between\npoor Dimmock and this fellow Jules?'\n\n'There was an understanding.'\n\n'Impossible!'", "Racksole that he was somehow implicated in Jules' schemes--and probably\nin the death of Reginald Dimmock and the disappearance of Prince Eugen\nof Posen.", "It was Jules.\n\nThe two exchanged glances in the half light for a second.\n\n'Good evening, Mr Racksole,' said Jules calmly. 'I must apologize for\nbeing here.'", "Jules himself served the liquids, and at ten o'clock he brought another\nnote. Entreating a thousand pardons, Reginald Dimmock, after he had", "'A visitor, who insists on seeing you, sir,' said Jules, and fled.\n\nMr Reginald Dimmock, still in evening dress, and smoking a cigarette,\nrose hurriedly from a table.", "the handle of the door of one of the bedrooms. Then a man came round the\ncorner of the transverse corridor, and Racksole drew back. It was Jules-", "take charge of Jules' dead body. And Racksole was by no means inclined\nto tell them everything. Beyond question he had transgressed the laws of", "While waiting for Jules, Racksole considered the question of Miss\nSpencer's disappearance.\n\n'Good morning, Jules,' was his cheerful greeting, when the imperturbable\nwaiter arrived.", "'Good,' said Racksole, as he unlocked the door and entered the room. All\nwas exactly as he had left it, except that Jules who had been lying on", "'Ah!' said Racksole, 'I was informed that everyone knew Jules, but it\nappears not. Well, be that as it may, previously to the night of your", "was a window; the window was open; and Jules was innocently gazing out\nof the window. Ten silent strides, and Theodore Racksole was upon him.", "Before Racksole parted company with the Customs man that night Jules had\nbeen safely transported into the Grand Babylon HÃ´tel and the two\nwatermen had received their Â£10 apiece.", "Racksole considered in detail the particular affair of Reginald Dimmock,\ndeceased, he was struck by one point especially, to wit: Why had Dimmock", "Jules approached with the steak. Racksole tried to catch the waiter's\neye, but could not. The dinner proceeded.\n\n'Oh, Father!' cried Nella, 'what a lot of mustard you have taken!'", "'It's Jules, I'll swear,' cried Racksole. 'After him, men. Ten pounds\napiece if we overtake him!'", "NEVERTHELESS, sundry small things weighed on Racksole's mind. First\nthere was Jules' wink. Then there was the ribbon on the door-handle and", "'I have heard that Herr Racksole has returned to the hÃ´tel,' he\nwhispered, 'and that he has captured that man Jules, who they say is\nsuch a villain.'", "But the dazzling flare which had disclosed the features of the dead man\nto the insensible lens of the camera had disclosed them also to Theodore\nRacksole. The dead man was Reginald Dimmock!", "had appeared silently behind Jules, and two small arms with a vicious\nshove precipitated him into the water. He fell with a fine gurgling\nsplash. It was at once obvious that swimming was not among Jules'" ], [ "'Do you mean, Miss Racksole, that there was an understanding between\npoor Dimmock and this fellow Jules?'\n\n'There was an understanding.'\n\n'Impossible!'", "'It's Jules, I'll swear,' cried Racksole. 'After him, men. Ten pounds\napiece if we overtake him!'", "take charge of Jules' dead body. And Racksole was by no means inclined\nto tell them everything. Beyond question he had transgressed the laws of", "'Ah!' said Racksole, 'I was informed that everyone knew Jules, but it\nappears not. Well, be that as it may, previously to the night of your", "'Good,' said Racksole, as he unlocked the door and entered the room. All\nwas exactly as he had left it, except that Jules who had been lying on", "'Neither,' said Racksole. 'Jules is going to have another try--that's\nall.'\n\n'Another try at what?'", "NEVERTHELESS, sundry small things weighed on Racksole's mind. First\nthere was Jules' wink. Then there was the ribbon on the door-handle and", "It was Jules.\n\nThe two exchanged glances in the half light for a second.\n\n'Good evening, Mr Racksole,' said Jules calmly. 'I must apologize for\nbeing here.'", "the handle of the door of one of the bedrooms. Then a man came round the\ncorner of the transverse corridor, and Racksole drew back. It was Jules-", "'I fancy so, Miss Racksole. I'm telling you all I know, that I swear.'\n\n'Did your husband and Mr Dimmock have a quarrel that night in Room 111?'", "AS regards Theodore Racksole, who was to have caught his man from the\noutside of the cellar, he made his way as rapidly as possible from the", "'You'd better see that Miss Racksole changes her room to-night,' Jules\nsaid after another pause. 'Leave it to me: I'll fix it. Au revoir! It's", "'Mr Sleszak and I will meet,' said Racksole.\n\n'Not in this world,' said Jules quickly. 'He is dead. I heard only last\nnight--just before our little tussle.'", "'Mr Dimmock?' questioned Racksole.\n\n'Yes, Dimmock. I do not remember that he ever missed an appointment\nbefore.\n\nYou know him? He has been here?'", "'Don't question me, Mr Rucker,' said Theodore Racksole. 'I feel very\nmuch inclined to break your back across my knee. Therefore I advise you\nnot to irritate me. What have you been doing to Dimmock's body?'", "While waiting for Jules, Racksole considered the question of Miss\nSpencer's disappearance.\n\n'Good morning, Jules,' was his cheerful greeting, when the imperturbable\nwaiter arrived.", "'I venture to remark that this is Miss Racksole's room.'\n\n'My good sir,' answered Dimmock, 'you must be mad to dream of such a\nthing.", "the barge than Jules himself--Racksole had won his game. For the first\ntime for several weeks the millionaire experienced a sensation of\nequanimity and satisfaction. He leaned over the prostrate form of Jules,", "'I see,' said Racksole. 'I think you must be rather a clever person,\nJules.'\n\n'That is not for me to say, sir.'", "'Mr Racksole is here, but he can see no one, Miss.' The words came from\nbehind the door, and the voice was the commissionaire's. Racksole\nstarted up, and went towards the door." ], [ "Miss Spencer, the unscrupulous and brilliant Jules, the dark, damp\ncellar, the horrible little bedroom--these things were over. Thanks to", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "'It was a perfectly simple proceeding, I assure you. Before I had done\nwith him, I rather liked the fellow.'\n\n'Miss Spencer and Jules--both gone in one day!' mused Felix Babylon.", "that it was not Jules. I certainly was not aware that Miss Spencer was\nhis wife, but I had long suspected that their relations were somewhat\nmore intimate than the nature of their respective duties in the hÃ´tel", "Just as there was only one Racksole, so there was only one Jules, and\nMiss Spencer instinctively shared the latter's indignation at the", "Miss Spencer, and Rocco. Jules had invented it. No one but he would have\nhad either the wit or the audacity to do so.", "While waiting for Jules, Racksole considered the question of Miss\nSpencer's disappearance.\n\n'Good morning, Jules,' was his cheerful greeting, when the imperturbable\nwaiter arrived.", "To do the lady justice, Miss Spencer bore the surprising ordeal very\nwell.\n\nShe did not flinch; she betrayed no emotion. The sole sign of\nperturbation was in her hurried breathing.", "hÃ´tel was performed there. The place served chiefly as the lair of Miss\nSpencer, who was as well known and as important as Jules himself. Most", "Miss Spencer nodded, and, looking up, Nella could see the traces of\ntears in her face.\n\n'Then Prince Eugen was a prisoner? Some one had captured him at the\ninstigation of Jules?'", "'Anybody with Mr Theodore Racksole?' asked Jules, continuing his\nconversation with Miss Spencer. He put a scornful stress on every\nsyllable of the guest's name.", "'Now see here, Miss Spencer,' Racksole said calmly, 'I guess we've had\nenough of this fandango. You'd better get up and clear out, or we'll\njust have to drag you off.'", "A few minutes later, while the alert, middle-aged man was tasting the\nAngel Kiss, Jules sat in conclave with Miss Spencer, who had charge of", "'I want to see Miss Spencer,' said Nella impulsively. She couldn't think\nof anything else to say.\n\n'Miss Spencer?'\n\n'Yes; she's just arrived.'", "Bang, bang! He had fired twice, purposely missing her. Miss Spencer\nnever blenched. Racksole was tremendously surprised--and he would have", "newspapers. In short, everything was smothered over. Only--only Jules,\nRocco, and Miss Spencer were still at large; and the body of Reginald", "Miss Spencer's eyes gleamed, and she stood up and moved swiftly to the\nmantelpiece.\n\n'You may be a Yankee, but you're a fool,' she said.", "Miss Spencer was just going into a room off the narrow hall. Nella\nfollowed her into the apartment, which was shabbily furnished in the\nBelgian lodging-house style.", "to the point, and I'm glad they were right. Now as to that feller Jules,\nI shall make my own inquiries as to him. Might I ask you why you\ndismissed him?'", "'I saw Jules by the side of my bed,' she murmured; 'I'm sure I saw him;\nhe laughed at me. I had not undressed. I sprang up, frightened, but he\nhad gone, and then I ran downstairs--to you.'" ], [ "At that moment, Eugen, Hereditary Prince of Posen, entered the audience\nchamber. He was pale and languid, and his uniform seemed to be a trouble", "'That is my nephew, Prince Eugen,' said Aribert.\n\n'Hurt?' she inquired coldly. 'I hope not.'", "Prince Eugen was convalescent.", "That various matters lay heavy on the mind of Prince Eugen was beyond\nquestion. He seemed to have withdrawn within himself. Despite the\nextraordinary experiences through which he had recently passed, events", "'Eugen,' cried Prince Aribert once more, but this time his forlorn\nnephew made no response whatever, and then Aribert added in a low voice\nto Racksole: 'Perhaps he cannot see us clearly.'", "There was a slight noise, and Aribert looked aside. He saw that Eugen's\nbody had slipped forward limply over the left arm of his chair; the\nPrince's arms hung straight and lifeless; his eyes were closed; he was\nunconscious.", "incorrect. I would wager a hundred thousand dollars that Prince Eugen\nhas been kidnapped.'", "only like a secret shame in the hearts of those who had witnessed it.\nPrince Eugen had recovered; at any rate, he was convalescent, and he had", "Eugen took up the glass and held it to the light.\n\n'Don't drink it,' said Aribert very quietly. 'It is poisoned.'\n\n'Poisoned!' exclaimed Prince Eugen.", "On the afternoon of the third day Prince Eugen was distinctly and\nseriously worse. Nella had sat up with him the previous night and\nthroughout the day.", "'I'll take you to her, my dear Eugen.' Prince Aribert put his hands on\nthe other's shoulder, but Eugen shook him off violently, stood up, and\nthen sat down again.", "are somewhat handicapped by our anxiety to keep Prince Eugen's\npredicament quite quiet, and he is taking advantage, of that fact. As he", "Aribert looked at Racksole, and they both looked at Prince Eugen. The\nlatter's face was flushed, and Racksole observed that the left pupil was", "The Prince threw up his hands and went back in to the bedroom. The\ndoctor was at a table writing out a prescription. Aribert approached the\nbedside, his heart beating furiously. Eugen greeted him with a faint,\nfatigued smile.", "'Aribert,' said Prince Eugen, a little later, 'you were right. It is all\nover. I have only one refuge--'\n\n'You don't mean--' Aribert stopped, dumbfounded.", "According to official intelligence, a Prince is never seriously ill\nuntil he is dead. Such is statecraft.\n\nThe worst feature of Prince Eugen's case was that emetics proved futile.", "and that is--how your charming husband kidnapped Prince Eugen, and why\nhe kidnapped him. Let us begin with the second question. You have evaded\nit once.'", "Princess Anna, and that is the man who means to marry her himself.'\nEugen went very pale.", "'My dear Eugen,' said Prince Aribert, startled in spite of himself.\n'Don't be absurd.'", "It was a queer shabby little bedroom to shelter the august body of a\nEuropean personage like Prince Eugen of Posen. Curiously enough, both" ], [ "Dimmock goes and dies, and there is to be an inquest; then Prince Eugen\nand his suite, who were expected here for dinner, fail to turn up at\nall--'", "affairs in London. He wished me to come with him. I sent Dimmock on in\nfront, and waited for Eugen. He did not arrive. I telegraphed back to", "'Who knows?' she said. 'By the way, is not Prince Eugen coming here to-\nday? Mr Dimmock told us so.'", "visits, and of the non-arrival of Prince Eugen of Posen. Theodore\nRacksole had worried his brain without result. He had conducted an\nelaborate private investigation without result, and he had spent a", "that Dimmock's death has something to do with the disappearance of\nPrince Eugen.", "'Had something gone wrong in the hÃ´tel, or over here?'\n\n'Both.'\n\n'Was it about Prince Eugen of Posen?'", "'My poor Dimmock!' exclaimed the Prince, his voice broken. 'And I was\nangry because the lad did not meet me at Charing Cross!'\n\n'Are you sure he is dead, Father?' Nella said.", "due on the very afternoon that young Dimmock died. But he never came,\nand I have not heard why he has failed to arrive; nor have I seen his", "'You have bought the hÃ´tel!' exclaimed the Prince.\n\n'That's so,' said Racksole.\n\n'And Felix Babylon has gone?'", "went. In the ante-room, where the body of Reginald Dimmock had\noriginally been placed, were the inspector and Prince Aribert, and two\npolicemen.", "'Dimmock dead!' Prince Aribert whispered under his breath, and he\nkneeled down by the side of the stretcher. 'What does this mean?'", "'Oh! Dad,' she exclaimed, 'I've only just heard you were in the hÃ´tel.\nWe looked for you everywhere. Come at once, Prince Eugen is dying--'\nThen she saw the man sitting on the bed, and stopped.", "'Aribert,' said Prince Eugen, a little later, 'you were right. It is all\nover. I have only one refuge--'\n\n'You don't mean--' Aribert stopped, dumbfounded.", "There was a silence.\n\n'It is well,' said Racksole at length. 'Prince Eugen lives, despite all\nplots. After all, justice is done.'", "Prince Eugen of Posen to attend him here, and that summons hasn't\narrived. It appears that Prince Eugen hasn't come to London at all. Now,", "'Eugen,' cried Prince Aribert once more, but this time his forlorn\nnephew made no response whatever, and then Aribert added in a low voice\nto Racksole: 'Perhaps he cannot see us clearly.'", "Racksole that he was somehow implicated in Jules' schemes--and probably\nin the death of Reginald Dimmock and the disappearance of Prince Eugen\nof Posen.", "It was a queer shabby little bedroom to shelter the august body of a\nEuropean personage like Prince Eugen of Posen. Curiously enough, both", "'Prince Eugen has not come?'\n\n'He has not; and Uncle Aribert is in a deuce of a stew about him, and\ntelegraphing all over Europe. Altogether, things are working up pretty\nlively.'", "'But what can he do? Surely you don't suggest that he will attempt the\nlife of Prince Eugen in this hÃ´tel?'" ], [ "room herself. Seated in a corner, half-hidden by a pillar, she could\nsurvey all the guests, and watch each group as it entered or left.", "survey the place anew from the vantage ground. To his surprise he found\na man in the dark little room, watching the scene of the ball as\nintently as he himself had been doing a few minutes before. Hearing", "end wall from which the hÃ´tel authorities might keep a watchful eye, not\nonly on the dancers, but on the occupants of the balcony itself.", "the ample brick walls of the Grand Babylon. The eye-hole, through which\nhe now had a view of the bedroom, was a very minute one, and probably", "upon the small room which had a surreptitious view of Mr and Mrs Sampson\nLevi's ball. Except for the light of the chandelier of the ball-room the", "of the Grand Babylon should need the observation of a watchful eye. Yet\nso it was. Strange matters and unexpected faces had been descried from\nthe little window, and more than one European detective had kept vigil", "once. All you have to do is to take note of what the fellow does. If he\nhas any accomplices within the hÃ´tel we shall probably be able by that\nmeans to discover who the accomplice is.'", "'Perhaps I can throw some light on this mystery,' said Racksole. 'I may\ntell you that I was already aware that man had attended your ball\nuninvited.'\n\n'How did you get to know?'", "hÃ´tel management as regards that ball: it was very decently done, very\ndecently, but what I want to know is this--Why did you have a private\ndetective among my guests?'", "ball in his hÃ´tel that evening, and just before dinner he had almost a\nmind to issue a decree that the Gold Room was to be closed and the ball", "It may seem incredible to the uninitiated that the guests at any social\ngathering held in so gorgeous and renowned an apartment as the Gold Room", "AT the Grand Babylon a great ball was given that night in the Gold Room,\na huge saloon attached to the hÃ´tel, though scarcely part of it, and", "But when the millionaire arrived on the balcony floor he could see\nnothing of Jules, neither there nor in the ball-room itself. Saying no", "from this vantage men and maidens and chaperons who could not or would\nnot dance might survey the scene. Everyone knew this, and most people", "found that he had a fine view of the State bathroom, and through the\ndoor of the State bathroom into the State bedroom. At the massive\nmarble-topped washstand in the State bedroom a man was visible, bending", "No. 111 and the State bathroom on the floor below must have been\nspecially designed by some person or persons for the purpose of keeping\na nefarious watch upon the occupants of the State suite of apartments.", "much secrecy as possible, to this empty bedroom. There proved to be no\ndifficulty in doing so; Jules showed himself perfectly amenable to a\nshow of superior force.", "The Gold Room of the Grand Babylon was built for a ballroom. A balcony,\nsupported by arches faced with gilt and lapis-lazulo, ran around it, and", "'Come this way,' said Racksole, and led Aribert to another room. A sofa\nin this room was covered with a linen cloth. Racksole lifted the cloth--", "'I suppose you know everything that goes on in the hÃ´tel, Jules?'\n\n'As the head waiter, sir, it is my business to keep a general eye on\nthings.'" ], [ "AS regards Theodore Racksole, who was to have caught his man from the\noutside of the cellar, he made his way as rapidly as possible from the", "They entered the stone apartment, rendered almost sacred by the\npreciousness of its contents, and Racksole looked round with a strangely\nintent and curious air. At the far side was a grating, through which\ncame a feeble light.", "was a window; the window was open; and Jules was innocently gazing out\nof the window. Ten silent strides, and Theodore Racksole was upon him.", "'Well, there is the house which Miss Racksole so intrepidly entered last\nevening'--he gave her the homage of an admiring glance; 'you and I, Mr\nRacksole, might examine that abode in detail.'", "'Mr Racksole is here, but he can see no one, Miss.' The words came from\nbehind the door, and the voice was the commissionaire's. Racksole\nstarted up, and went towards the door.", "At eleven o'clock Theodore Racksole, afflicted by vexation of spirit,\nfound himself gazing idly through the little barred window. Nella was\nwith him.", "Theodore Racksole looked at the young man for a few seconds in silence.\n\nThere was a faint knock at the door.\n\n'Come in,' said Racksole loudly.", "That night, or rather about half-past one the next morning, when the\nlast noises of the hÃ´tel's life had died down, Racksole made his way to", "into the dark room where they had heard the conversation of Miss Spencer\nand the lady in the red hat. For a moment Racksole did not stir from the\nthreshold of the window. 'Come,' Prince Aribert repeated, and there was", "'I will,' said Racksole. At that moment there was a quick, curt rap on\nthe french window, and both Racksole and the Prince glanced round", "'Looks broken, doesn't it?' Racksole suggested and then, putting a\nfinger quickly on Babylon's shoulder, 'there's someone in the cellar.\nCan't you hear breathing, down there, behind that bin?'", "the handle of the door of one of the bedrooms. Then a man came round the\ncorner of the transverse corridor, and Racksole drew back. It was Jules-", "'This is quaint,' said Racksole; 'quaint to a degree!'\n\nIt occurred to him to look at the number of the room, and he stole\ntowards it.", "Racksole boldly pushed the french window a little wider open, and put\nhis ear to the aperture, through which came a beam of yellow light.", "It was Jules.\n\nThe two exchanged glances in the half light for a second.\n\n'Good evening, Mr Racksole,' said Jules calmly. 'I must apologize for\nbeing here.'", "'Good,' said Racksole, as he unlocked the door and entered the room. All\nwas exactly as he had left it, except that Jules who had been lying on", "Racksole's manner, quietly followed him down the lane. The sight of the\nmillionaire climbing the railings had put him on his mettle, and the", "could not see it from the window. As Racksole examined the window and\nthe outlook, he said to himself that Jules could not escape by that", "Lighting a match and shading it with his hands, Racksole showed them\nboth out of the little cellar. 'Now if you lock this glass door on the", "Jules' visit to No. 111, and the broken window--broken from the outside.\nRacksole did not forget that the time was 3 a.m. He slept but little" ], [ "'I want to see Miss Spencer,' said Nella impulsively. She couldn't think\nof anything else to say.\n\n'Miss Spencer?'\n\n'Yes; she's just arrived.'", "Miss Spencer was just going into a room off the narrow hall. Nella\nfollowed her into the apartment, which was shabbily furnished in the\nBelgian lodging-house style.", "Dumbfounded, and overcome with a miserable sense of the truth of Miss\nSpencer's words, Nella stood still. The idea of her colossal foolishness", "in the passage; the door opened, but Nella did not turn round. She could\nnot move her eyes from Miss Spencer's. There was a noise of rushing", "triumphantly at the tall dark house just at the moment when Miss Spencer\ndisappeared into it. The other carriage drove away. Nella, uncertain\nwhat to do, stepped down from her carriage and gave the driver some", "sympathetic, the old Nella. She felt immensely relieved that this had\nhappened. But at the same instant Miss Spencer sprang up from the chair", "tall dark house, and Miss Spencer emerged. Nella called to her driver to\nstop, but he, determined to be in at the death, was engaged in whipping\nhis horse, and he completely ignored her commands. He drew up", "Miss Spencer looked into Nella's face, and then her eyes dropped, and\nher fingers worked nervously with the tablecloth.", "'You had better sit down now,' said Nella, 'and I will ask you a few\nquestions.'\n\nAnd Miss Spencer obediently sat down, rather white, and trying to screw\nher lips into a formal smile.", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "'Rocco! What about Rocco?' Nella could scarcely hear herself. Her grip\nof the revolver tightened.\n\nMiss Spencer's eyes opened wider; she gazed at Nella with a glassy\nstare.", "not the Baroness Zerlinski, but Miss Spencer herself! Nella turned aside\ninstantly, hiding her face, and Miss Spencer, carrying a small bag,", "'It's death,' repeated Miss Spencer, and gradually her head and\nshoulders sank back, and hung loosely over the chair. Nella was", "'Am I?' Nella replied, as firmly as she could, though her hand shook\nviolently with excitement, could Miss Spencer but have observed it. 'Am", "unintentional sort of action, and certainly she had no intention of\nusing the weapon, but, strange to say, Miss Spencer again cowered before\nit. Even at that moment Nella wondered that a woman like Miss Spencer", "Most of this was simple bluff on Nella's part, and she trembled lest\nMiss Spencer should perceive that it was simple bluff. Happily for her,", "'What sum do you suggest?' asked Miss Spencer carelessly.\n\n'Twenty thousand pounds,' said Nella promptly. She had begun to regard\nthe affair as a business operation.", "She took hold of the bell-rope.\n\n'Don't ring that bell if you value your life,' said Nella.\n\n'If what?' Miss Spencer remarked.", "'And what were you to do in Ostend? What were your instructions from\nthis husband of yours?'\n\nMiss Spencer's head dropped on her arms on the table which separated her\nfrom Nella, and she appeared to sob violently.", "danger, and she would succumb. Nella at once divined this useful fact,\nand proceeded accordingly, hiding the strangeness of her own sensations\nas well as she could." ], [ "'I want to see Miss Spencer,' said Nella impulsively. She couldn't think\nof anything else to say.\n\n'Miss Spencer?'\n\n'Yes; she's just arrived.'", "Miss Spencer was just going into a room off the narrow hall. Nella\nfollowed her into the apartment, which was shabbily furnished in the\nBelgian lodging-house style.", "'And what were you to do in Ostend? What were your instructions from\nthis husband of yours?'\n\nMiss Spencer's head dropped on her arms on the table which separated her\nfrom Nella, and she appeared to sob violently.", "triumphantly at the tall dark house just at the moment when Miss Spencer\ndisappeared into it. The other carriage drove away. Nella, uncertain\nwhat to do, stepped down from her carriage and gave the driver some", "Dumbfounded, and overcome with a miserable sense of the truth of Miss\nSpencer's words, Nella stood still. The idea of her colossal foolishness", "tall dark house, and Miss Spencer emerged. Nella called to her driver to\nstop, but he, determined to be in at the death, was engaged in whipping\nhis horse, and he completely ignored her commands. He drew up", "in the passage; the door opened, but Nella did not turn round. She could\nnot move her eyes from Miss Spencer's. There was a noise of rushing", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "'It's death,' repeated Miss Spencer, and gradually her head and\nshoulders sank back, and hung loosely over the chair. Nella was", "sympathetic, the old Nella. She felt immensely relieved that this had\nhappened. But at the same instant Miss Spencer sprang up from the chair", "'You had better sit down now,' said Nella, 'and I will ask you a few\nquestions.'\n\nAnd Miss Spencer obediently sat down, rather white, and trying to screw\nher lips into a formal smile.", "'Rocco! What about Rocco?' Nella could scarcely hear herself. Her grip\nof the revolver tightened.\n\nMiss Spencer's eyes opened wider; she gazed at Nella with a glassy\nstare.", "Miss Spencer looked into Nella's face, and then her eyes dropped, and\nher fingers worked nervously with the tablecloth.", "Prince Aribert's guess was correct. The lady's carriage stopped in front\nof the house where Nella Racksole and Miss Spencer had had their", "not the Baroness Zerlinski, but Miss Spencer herself! Nella turned aside\ninstantly, hiding her face, and Miss Spencer, carrying a small bag,", "'Am I?' Nella replied, as firmly as she could, though her hand shook\nviolently with excitement, could Miss Spencer but have observed it. 'Am", "'What sum do you suggest?' asked Miss Spencer carelessly.\n\n'Twenty thousand pounds,' said Nella promptly. She had begun to regard\nthe affair as a business operation.", "Nella had the front bedroom on the first floor; Miss Spencer was immured\nin the attic; the last-named lady had been singularly quiet and", "Miss Spencer, the unscrupulous and brilliant Jules, the dark, damp\ncellar, the horrible little bedroom--these things were over. Thanks to", "hurried with assured footsteps to the Custom House. It seemed as if she\nknew the port of Ostend fairly well. The moon shone like day, and Nella" ], [ "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon.", "'Ah, my friend, you little know what you have bought.'\n\n'Oh! yes I do,' returned Racksole; 'I have bought just the first hÃ´tel\nin the world.'", "That night, or rather about half-past one the next morning, when the\nlast noises of the hÃ´tel's life had died down, Racksole made his way to", "'There is no next move,' answered Racksole candidly, 'and I will tell\nyou why I bought the hÃ´tel; there need be no secret about it. I bought", "Before Racksole parted company with the Customs man that night Jules had\nbeen safely transported into the Grand Babylon HÃ´tel and the two\nwatermen had received their Â£10 apiece.", "'You have bought the hÃ´tel!' exclaimed the Prince.\n\n'That's so,' said Racksole.\n\n'And Felix Babylon has gone?'", "That afternoon Racksole went with Felix Babylon first to a firm of\nsolicitors in the City, and then to a stockbroker, in order to carry out\nthe practical details of the purchase of the hÃ´tel.", "them goes, the hÃ´tel is likely to suffer. I will go, Mr Racksole. In\nfact, I had already thought of giving notice.'", "impressed Theodore Racksole. How many hÃ´tel proprietors in the world,\nRacksole asked himself, would have let that beef-steak and Bass go by\nwithout a word of comment.", "'Rather expensive, is it not?' said Babylon.\n\n'To you, sir,' answered Racksole, 'the inclusive terms will be exactly\nhalf a crown a week. Do you accept?'", "'So you're another Englishman masquerading as a foreigner in my hÃ´tel,'\n\nRacksole remarked, by way of commencing the interrogation.", "'This is quaint,' said Racksole; 'quaint to a degree!'\n\nIt occurred to him to look at the number of the room, and he stole\ntowards it.", "'Exactly,' Racksole put in, and continued quickly: 'Mr Rocco, I wish to\nacquaint you before any other person with the fact that I have purchased", "management. And as for Racksole he soon realized that Felix Babylon must\nbe a prince of hÃ´tel managers. It had never occurred to Racksole before", "'Very tolerable,' said Racksole, assuming as much of the air of the\nprofessional hÃ´tel proprietor as he could. 'I think I may say in the", "Racksole did not like the idea of his impeccable hÃ´tel being the subject\nof sinister rumours. He wondered, grimly, what the public and the Sunday", "doing so. He brought the keys to Mr Racksole in person, and after he had\nhad a little chat with his former master, the proprietor and the ex-", "certainly less exclusive than the hÃ´tel itself. Theodore Racksole knew\nnothing of the affair, except that it was an entertainment offered by a", "mysterious occurrences in this hÃ´tel. That is all.' Feeling a draught of\nair on his shoulder, Racksole turned to the window. 'For instance,' he", "'Good-day, then. You have my good wishes and my admiration, so long as\nyou keep out of my hÃ´tel.'\n\nRacksole got up. 'Good-day, sir. And thank you.'" ], [ "'Recollect, Miss Racksole, that this afternoon, here, I am not the\nPrince.'\n\n'You are Count Steenbock, is that it?'", "'Certainly, Prince,' Nella replied sweetly. 'You were plain Count\nSteenbock last spring in Paris--doubtless travelling incognito--'", "'Ah!' he said. 'That is over. That belongs to the past. It was an\naccident in my dull career. I shall never be Count Steenbock again.'", "'For a foreigner, sir! I am an Englishman, a Hertfordshire man born and\nbred. Perhaps my name has misled you, sir. I am only called Jules", "'Certainly. You interested me extremely. I have never met another man\nwho could talk so well about sculpture as the Count Steenbock.'\n\n'Do you really always get what you want, Miss Racksole?'", "possible for the Baroness to have caught the eight o'clock steamer, and\nit was also possible for the Baroness not to have gone to Ostend at all,\nbut to some other place in an entirely different direction.", "stole a steam yacht at Ostend. What you have done with it I don't know,\nnor do I care. But I strongly suspect that my daughter had a narrow", "And so was brought to a close the complex chain of events which had\nbegun when Theodore Racksole ordered a steak and a bottle of Bass at the\ntable d'hÃ´te of the Grand Babylon HÃ´tel.", "'You know my name, FrÃ¤ulein?' the new-comer murmured in German.", "'Nothing whatever,' said Babylon. 'Until you told me, I don't think I\nwas aware that his true name was Thomas Jackson, though of course I knew", "to her fellow-creatures, in the pension of some cheap foreign boarding-\nhouse. As for Rocco, he certainly was heard of again. Several years\nafter the events set down, it came to the knowledge of Felix Babylon", "It was Jules.\n\nThe two exchanged glances in the half light for a second.\n\n'Good evening, Mr Racksole,' said Jules calmly. 'I must apologize for\nbeing here.'", "'I did. That is to say, I invented them and I saw that they were carried\nout. You see, the suspicions of your police obliged me to be\nparticularly spry.'\n\n'And who carried them out?'", "'So you're another Englishman masquerading as a foreigner in my hÃ´tel,'\n\nRacksole remarked, by way of commencing the interrogation.", "imagine that that wasn't his real name. I don't know his real name. An\nold man, he often used to be found at the HÃ´tel Ritz, Paris.'", "'Yes. He's been arrested in Ostend,' the millionaire continued, lying\ncleverly at a venture. 'They say that he and several others are\nimplicated in a murder case--the murder of Reginald Dimmock.'", "visits, and of the non-arrival of Prince Eugen of Posen. Theodore\nRacksole had worried his brain without result. He had conducted an\nelaborate private investigation without result, and he had spent a", "for him in the London Times. Such a disappearance must be kept secret.\nThe people at Posen and at Berlin believe that Eugen is in London, here,", "WE must now return to Nella Racksole and Prince Aribert of Posen on\nboard the yacht without a name. The Prince's first business was to make", "Nevertheless, Nella had a faint hope that the lady who called herself\nZerlinski might be in that curtained stateroom, and throughout the\nsmooth moonlit voyage she never once relaxed her observation of its" ], [ "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon.", "'There is no next move,' answered Racksole candidly, 'and I will tell\nyou why I bought the hÃ´tel; there need be no secret about it. I bought", "That night, or rather about half-past one the next morning, when the\nlast noises of the hÃ´tel's life had died down, Racksole made his way to", "'Ah, my friend, you little know what you have bought.'\n\n'Oh! yes I do,' returned Racksole; 'I have bought just the first hÃ´tel\nin the world.'", "mysterious occurrences in this hÃ´tel. That is all.' Feeling a draught of\nair on his shoulder, Racksole turned to the window. 'For instance,' he", "Racksole did not like the idea of his impeccable hÃ´tel being the subject\nof sinister rumours. He wondered, grimly, what the public and the Sunday", "them goes, the hÃ´tel is likely to suffer. I will go, Mr Racksole. In\nfact, I had already thought of giving notice.'", "'You have bought the hÃ´tel!' exclaimed the Prince.\n\n'That's so,' said Racksole.\n\n'And Felix Babylon has gone?'", "fact was, and it is necessary to insist on it, that Mr Racksole, owner\nof the Grand Babylon HÃ´tel, was by no means in a state of self-", "'So you're another Englishman masquerading as a foreigner in my hÃ´tel,'\n\nRacksole remarked, by way of commencing the interrogation.", "That afternoon Racksole went with Felix Babylon first to a firm of\nsolicitors in the City, and then to a stockbroker, in order to carry out\nthe practical details of the purchase of the hÃ´tel.", "'Exactly,' Racksole put in, and continued quickly: 'Mr Rocco, I wish to\nacquaint you before any other person with the fact that I have purchased", "'Is the purchase of hÃ´tels your notion of relaxation, then?'\n\nRacksole shrugged his shoulders. 'It is a change from railroads,' he\nlaughed.", "impressed Theodore Racksole. How many hÃ´tel proprietors in the world,\nRacksole asked himself, would have let that beef-steak and Bass go by\nwithout a word of comment.", "it because of a whim.' And then Theodore Racksole gave this little Jew,\nwhom he had begun to respect, a faithful account of the transaction with", "management. And as for Racksole he soon realized that Felix Babylon must\nbe a prince of hÃ´tel managers. It had never occurred to Racksole before", "was not a mere accident, Racksole felt perfectly sure. He had felt\nperfectly sure all along; but the significance of the facts had not\nstruck him. It was plain to him now that there must be something of", "doing so. He brought the keys to Mr Racksole in person, and after he had\nhad a little chat with his former master, the proprietor and the ex-", "That night, after dinner, Racksole and his friend Felix Babylon were\nwalking together on the terrace of the Grand Babylon HÃ´tel.\n\nFelix had begun the conversation.", "'Good-day, then. You have my good wishes and my admiration, so long as\nyou keep out of my hÃ´tel.'\n\nRacksole got up. 'Good-day, sir. And thank you.'" ], [ "'Tom Jackson--Jules, you know, head waiter at the Grand Babylon.'\n\n'So Jules's real name is Tom Jackson? Why did he want you to leave\nwithout giving notice?'", "Jules, the celebrated head waiter of the Grand Babylon, was bending\nformally towards the alert, middle-aged man who had just entered the", "'By pure chance, Mr Levi, and not by inquiry. That man was a former\nwaiter at this hÃ´tel--the head waiter, in fact--Jules. No doubt you have\nheard of him.'", "unique Jules--could scarcely have been noticed in the enormous staff of\na place like the Grand Babylon. The functions of a head-waiter are\ngenerally more ornamental, spectacular, and morally impressive than", "afterwards what he was doing there. I was told by someone that he was\none of your waiters, but I didn't believe that. I know nothing of the", "because the head waiter of any really high-class hÃ´tel must have either\na French or an Italian name.'", "'I suppose you know everything that goes on in the hÃ´tel, Jules?'\n\n'As the head waiter, sir, it is my business to keep a general eye on\nthings.'", "dismissal by Theodore Racksole. No other head-waiter had been formally\nappointed in his place; and, indeed, the absence of one man--even the", "acquired a prominent position in the hÃ´tel. Decidedly he was the\ncleverest and most intellectual waiter I have ever known, and he was\nspecially skilled in the difficult task of retaining his own dignity", "Jules, and that the policeman had thrown him just too late. He ran, and\nJules, hearing the noise of pursuit, ran also. The ex-waiter was fleet;", "waiters were still in attendance. One of these latter was despatched in\nsearch of the singular Mr Hubbard, and it fortunately turned out that\nthis gentleman had not actually retired, though he was on the point of", "The millionaire smiled appreciatively. 'What wages do you require in\nlieu of notice? It is my intention that you leave the hÃ´tel within an\nhour.'", "IT happened that the small bedroom occupied by Jules during the years he\nwas head-waiter at the Grand Babylon had remained empty since his sudden", "imagine that that wasn't his real name. I don't know his real name. An\nold man, he often used to be found at the HÃ´tel Ritz, Paris.'", "she spoke, and the contempt in them added mightily to her beauty. Mr\nThomas Jackson, otherwise Jules, erstwhile head waiter at the Grand", "surprised. It sometimes happens that there is incompatibility of temper\nbetween a hÃ´tel proprietor and his head waiter, and then, unless one of", "'Nothing whatever,' said Babylon. 'Until you told me, I don't think I\nwas aware that his true name was Thomas Jackson, though of course I knew", "receiving and executing orders with that air of profound importance of\nwhich only really first-class waiters have the secret. The atmosphere\nwas an atmosphere of serenity and repose, characteristic of the Grand", "course, you sent him as a waiter; and this chap didn't do any waiting,\nthough he did his share of drinking.'", "It was Jules.\n\nThe two exchanged glances in the half light for a second.\n\n'Good evening, Mr Racksole,' said Jules calmly. 'I must apologize for\nbeing here.'" ], [ "'Aribert, I withdraw my promise. Observe that, I withdraw it.' Aribert\nshook his head emphatically, without removing his gaze from Hans. The", "ruin of his own hopes. For Aribert would have to occupy his nephew's\nthrone, and he felt instinctively that nature had not cut him out for a", "Aribert looked up. Nella was standing silent at the foot of the bed, her\neyes moist. She came round to the bedside, and put her hand on the", "'Aribert,' said Prince Eugen, a little later, 'you were right. It is all\nover. I have only one refuge--'\n\n'You don't mean--' Aribert stopped, dumbfounded.", "Prince Aribert with a kindly interest. She perceived, what her father\nhad failed to perceive, that His Highness had assumed an attitude of\nreserve merely to hide the secret distraction and dismay which consumed", "'Ah, Hans, my old friend!' said Aribert, approaching the old man. 'I\nmust have a little talk with you about one or two matters. How do you\nfind His Royal Highness?'", "'But my wife will have a fortune. Knowing the sacrifices which I shall\nhave made in order to marry her, she will not hesitate to place that\nfortune in my hands for our mutual use,' said Aribert stiffly.", "'Eugen,' said Aribert, 'I wish you to be as serious as I am. Why cannot\nwe have faith in each other? I want to help you. I have helped you. You", "proceeding, even after his definite promise. Aribert remembered now with\npainful vividness his nephew's words: 'I withdraw my promise. Observe", "'Not at all,' said Aribert. 'They wanted no money from you. They knew\nwell enough that you had no money. They knew you were the naughty", "'Prince Aribert,' Nella said, 'shall I tell you what I think?' She\nleaned back in her chair, and looked at him out of half-closed eyes. His", "'Aribert,' she said quickly, 'remember you are not in Posen holding a\nCourt reception. You are in England and you are talking to an American\ngirl who has always been in the habit of having her own way.'", "'You think so?' murmured the other. 'I want you to forgive me for all\nthis, Aribert. I must have caused you an intolerable trouble. I did it", "Aribert, I wouldn't lose Anna for the Imperial throne. She is a good and\npure woman, and I love her as a man might love an angel.'", "'Of course you aren't,' Aribert replied. 'But you mustn't sit up. You\nmust take care of yourself.'\n\n'Who will lend the money?' Eugen asked in a feeble, happy whisper.", "Aribert had compelled him to give his word of honour not to do so.", "'You are a good friend to me, Aribert. You mean well. But you are\nmistaken.\n\nYou have been worrying about nothing.'\n\n'Have you forgotten about Reginald Dimmock?'", "He rose, staggered towards Aribert, and fell headlong on the floor. He\nhad swooned. The two men raised him, carried him up the stone steps, and", "Aribert hesitated.\n\n'Money,' he said at length. 'As a family we are very poor--poorer than\nanyone in Berlin suspects.'", "'Aribert!' The faint call came from the bed. Aribert went to the\nbedside, while Nella remained near the window.\n\n'What is it, Eugen?' he said. 'You are better now.'" ], [ "Together they had been wandering about the corridors of the hÃ´tel, still\nstrange to them both, and it was quite by accident that they had lighted", "'Yes.'\n\n'In this hÃ´tel?'\n\n'Yes.'\n\n'Oh! How lovely!'", "everything, and my hÃ´tel--your hÃ´tel--is the centre of London. Once I\nhad a King and a Dowager Empress staying here at the same time. Imagine\nthat!'", "hÃ´tel was performed there. The place served chiefly as the lair of Miss\nSpencer, who was as well known and as important as Jules himself. Most", "That night, after dinner, Racksole and his friend Felix Babylon were\nwalking together on the terrace of the Grand Babylon HÃ´tel.\n\nFelix had begun the conversation.", "THE Royal apartments at the Grand Babylon are famous in the world of\nhÃ´tels, and indeed elsewhere, as being, in their own way, unsurpassed.", "HÃ´tel. She was a plump, little old lady, with white hair and an old-\nfashioned bonnet, and she had a quaint, simple smile of surprise at\neverything in general.", "so late, the hÃ´tel was not, of course, closed for the night. A few\nguests still remained about in the public rooms, and a few fatigued", "Before Racksole parted company with the Customs man that night Jules had\nbeen safely transported into the Grand Babylon HÃ´tel and the two\nwatermen had received their Â£10 apiece.", "They were all three seated--Racksole, his daughter, and Prince Aribert--\nround a dinner table in a private room at the HÃ´tel Wellington. Racksole", "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon.", "since the Grand Babylon had first raised its massive chimneys to heaven,\nand she remained in her place despite the vagaries of other hÃ´tels.\nAlways admirably dressed in plain black silk, with a small diamond", "lift, the thing struck her as somewhat strange. Perhaps the Baroness\nZerlinski had stayed at the hÃ´tel before. For the sake of convenience an", "ON the following morning, just before lunch, a lady, accompanied by a\nmaid and a considerable quantity of luggage, came to the Grand Babylon", "cream, within the precincts of the Grand Babylon. In the world of hÃ´tels\nit was currently stated that, next to the proprietor, there were three", "hÃ´tel, ascertain where she is and follow her. Understand, it is of the\nfirst importance.'", "'I read in the New York papers some months ago,' Theodore started,\nwithout even a clearing of the throat, 'that this hÃ´tel of yours, Mr", "AT the Grand Babylon a great ball was given that night in the Gold Room,\na huge saloon attached to the hÃ´tel, though scarcely part of it, and", "them goes, the hÃ´tel is likely to suffer. I will go, Mr Racksole. In\nfact, I had already thought of giving notice.'", "the Grand Babylon HÃ´tel. If you think well to afford me the privilege of\nretaining your services I shall be happy to offer you a remuneration of\nthree thousand a year.'" ], [ "'I want to see Miss Spencer,' said Nella impulsively. She couldn't think\nof anything else to say.\n\n'Miss Spencer?'\n\n'Yes; she's just arrived.'", "Miss Spencer was just going into a room off the narrow hall. Nella\nfollowed her into the apartment, which was shabbily furnished in the\nBelgian lodging-house style.", "in the passage; the door opened, but Nella did not turn round. She could\nnot move her eyes from Miss Spencer's. There was a noise of rushing", "triumphantly at the tall dark house just at the moment when Miss Spencer\ndisappeared into it. The other carriage drove away. Nella, uncertain\nwhat to do, stepped down from her carriage and gave the driver some", "Dumbfounded, and overcome with a miserable sense of the truth of Miss\nSpencer's words, Nella stood still. The idea of her colossal foolishness", "Miss Spencer looked into Nella's face, and then her eyes dropped, and\nher fingers worked nervously with the tablecloth.", "tall dark house, and Miss Spencer emerged. Nella called to her driver to\nstop, but he, determined to be in at the death, was engaged in whipping\nhis horse, and he completely ignored her commands. He drew up", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "not the Baroness Zerlinski, but Miss Spencer herself! Nella turned aside\ninstantly, hiding her face, and Miss Spencer, carrying a small bag,", "'You had better sit down now,' said Nella, 'and I will ask you a few\nquestions.'\n\nAnd Miss Spencer obediently sat down, rather white, and trying to screw\nher lips into a formal smile.", "sympathetic, the old Nella. She felt immensely relieved that this had\nhappened. But at the same instant Miss Spencer sprang up from the chair", "Nella had the front bedroom on the first floor; Miss Spencer was immured\nin the attic; the last-named lady had been singularly quiet and", "'Rocco! What about Rocco?' Nella could scarcely hear herself. Her grip\nof the revolver tightened.\n\nMiss Spencer's eyes opened wider; she gazed at Nella with a glassy\nstare.", "'Am I?' Nella replied, as firmly as she could, though her hand shook\nviolently with excitement, could Miss Spencer but have observed it. 'Am", "'It's death,' repeated Miss Spencer, and gradually her head and\nshoulders sank back, and hung loosely over the chair. Nella was", "unintentional sort of action, and certainly she had no intention of\nusing the weapon, but, strange to say, Miss Spencer again cowered before\nit. Even at that moment Nella wondered that a woman like Miss Spencer", "Prince Aribert's guess was correct. The lady's carriage stopped in front\nof the house where Nella Racksole and Miss Spencer had had their", "Most of this was simple bluff on Nella's part, and she trembled lest\nMiss Spencer should perceive that it was simple bluff. Happily for her,", "She took hold of the bell-rope.\n\n'Don't ring that bell if you value your life,' said Nella.\n\n'If what?' Miss Spencer remarked.", "'What sum do you suggest?' asked Miss Spencer carelessly.\n\n'Twenty thousand pounds,' said Nella promptly. She had begun to regard\nthe affair as a business operation." ], [ "'I want to see Miss Spencer,' said Nella impulsively. She couldn't think\nof anything else to say.\n\n'Miss Spencer?'\n\n'Yes; she's just arrived.'", "Miss Spencer was just going into a room off the narrow hall. Nella\nfollowed her into the apartment, which was shabbily furnished in the\nBelgian lodging-house style.", "tall dark house, and Miss Spencer emerged. Nella called to her driver to\nstop, but he, determined to be in at the death, was engaged in whipping\nhis horse, and he completely ignored her commands. He drew up", "Nella had the front bedroom on the first floor; Miss Spencer was immured\nin the attic; the last-named lady had been singularly quiet and", "Miss Spencer nodded, and, looking up, Nella could see the traces of\ntears in her face.\n\n'Then Prince Eugen was a prisoner? Some one had captured him at the\ninstigation of Jules?'", "triumphantly at the tall dark house just at the moment when Miss Spencer\ndisappeared into it. The other carriage drove away. Nella, uncertain\nwhat to do, stepped down from her carriage and gave the driver some", "Dumbfounded, and overcome with a miserable sense of the truth of Miss\nSpencer's words, Nella stood still. The idea of her colossal foolishness", "Prince Aribert's guess was correct. The lady's carriage stopped in front\nof the house where Nella Racksole and Miss Spencer had had their", "in the passage; the door opened, but Nella did not turn round. She could\nnot move her eyes from Miss Spencer's. There was a noise of rushing", "They were compelled to return to the bedroom where Miss Spencer was\nincarcerated, in order to demand the key of the cellar from her. She\nstill lay without movement on the bed.", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "'You had better sit down now,' said Nella, 'and I will ask you a few\nquestions.'\n\nAnd Miss Spencer obediently sat down, rather white, and trying to screw\nher lips into a formal smile.", "sympathetic, the old Nella. She felt immensely relieved that this had\nhappened. But at the same instant Miss Spencer sprang up from the chair", "Miss Spencer, the unscrupulous and brilliant Jules, the dark, damp\ncellar, the horrible little bedroom--these things were over. Thanks to", "'Rocco! What about Rocco?' Nella could scarcely hear herself. Her grip\nof the revolver tightened.\n\nMiss Spencer's eyes opened wider; she gazed at Nella with a glassy\nstare.", "'It's death,' repeated Miss Spencer, and gradually her head and\nshoulders sank back, and hung loosely over the chair. Nella was", "Miss Spencer looked into Nella's face, and then her eyes dropped, and\nher fingers worked nervously with the tablecloth.", "'Am I?' Nella replied, as firmly as she could, though her hand shook\nviolently with excitement, could Miss Spencer but have observed it. 'Am", "not the Baroness Zerlinski, but Miss Spencer herself! Nella turned aside\ninstantly, hiding her face, and Miss Spencer, carrying a small bag,", "money. At the same moment a man reopened the door of the house, which\nhad closed on Miss Spencer." ], [ "peculiar telegram, asking when Eugen might be expected to return to\nPosen, and requesting that he should go first to Berlin. That telegram\nwas addressed to myself. Now, if the Emperor thought that Eugen was", "'Prince Eugen has not come?'\n\n'He has not; and Uncle Aribert is in a deuce of a stew about him, and\ntelegraphing all over Europe. Altogether, things are working up pretty\nlively.'", "'Go out, and send for a doctor, Hans. Say that Prince Eugen has been\nsuddenly taken ill, but that it isn't serious. The truth must never be\nknown.'", "here, why should he have caused the telegram to be addressed to me? I\nhave hesitated for three days, but I can hesitate no longer. I must\nmyself go to the Emperor and acquaint him with the facts.'", "Prince Eugen of Posen to attend him here, and that summons hasn't\narrived. It appears that Prince Eugen hasn't come to London at all. Now,", "Eugen took up the glass and held it to the light.\n\n'Don't drink it,' said Aribert very quietly. 'It is poisoned.'\n\n'Poisoned!' exclaimed Prince Eugen.", "'Had something gone wrong in the hÃ´tel, or over here?'\n\n'Both.'\n\n'Was it about Prince Eugen of Posen?'", "'That is my nephew, Prince Eugen,' said Aribert.\n\n'Hurt?' she inquired coldly. 'I hope not.'", "'Aribert,' said Prince Eugen, a little later, 'you were right. It is all\nover. I have only one refuge--'\n\n'You don't mean--' Aribert stopped, dumbfounded.", "'You ask me where I think Prince Eugen has disappeared to?'\n\n'I do.'\n\n'Then you think it's a disappearance?'", "With a gesture she beckoned him towards the ante-room.\n\n'If you choose,' she said, when they were alone, 'Prince Eugen can be\nsaved.\n\nI have arranged it.'", "and that is--how your charming husband kidnapped Prince Eugen, and why\nhe kidnapped him. Let us begin with the second question. You have evaded\nit once.'", "corpse, and the disappearance of Prince Eugen of Posen. I thought you\nmight be able to help me in some investigations which I am making.'", "at this hÃ´tel; or, rather, they did so believe. But this morning I\nreceived a cypher telegram from--from His Majesty the Emperor, a very", "'To return to Prince Eugen,' Racksole resumed. 'I was expecting His\nHighness here. The State apartments had been prepared for him. He was", "information. 'Where is Prince Eugen now?' she asked at length.", "'Who knows?' she said. 'By the way, is not Prince Eugen coming here to-\nday? Mr Dimmock told us so.'", "The Prince threw up his hands and went back in to the bedroom. The\ndoctor was at a table writing out a prescription. Aribert approached the\nbedside, his heart beating furiously. Eugen greeted him with a faint,\nfatigued smile.", "incorrect. I would wager a hundred thousand dollars that Prince Eugen\nhas been kidnapped.'", "There was a silence.\n\n'It is well,' said Racksole at length. 'Prince Eugen lives, despite all\nplots. After all, justice is done.'" ], [ "'But Mr Dimmock was murdered. He was poisoned. If he had not been\npoisoned why was his body stolen? It must have been stolen to prevent\ninquiry, to hide traces. Tell me about that.'", "'Poisoned, sire!' exclaimed old Hans, with an air of profound amazement\nand concern, and he seized the glass. 'Impossible, sire. I myself opened\nthe bottle. No one else has touched it, and the cork was perfect.'", "over there that I poisoned myself. Swear Hans to secrecy; swear the\ndoctors to secrecy; and breathe no word yourself. I have been a fool,", "poisoned wine. But a moment's reflection showed that this was not\npossible. If the Hereditary Prince of Posen was dying or dead, his", "'Dimmock was poisoned.'", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "Eugen took up the glass and held it to the light.\n\n'Don't drink it,' said Aribert very quietly. 'It is poisoned.'\n\n'Poisoned!' exclaimed Prince Eugen.", "momentarily diverted; and yielding to a sudden impulse of despair, had\ndecided to poison himself, and had carried out his intention on the\nspot.", "suddenly disappeared. He pushed the window wide open. The room was in\ndarkness, and apparently empty.", "'Why was poor little Dimmock poisoned?' The millionaire's voice softened\nas he looked for an instant at the corpse of the unfortunate young man.", "'You ask me where I think Prince Eugen has disappeared to?'\n\n'I do.'\n\n'Then you think it's a disappearance?'", "think he repented, and I think that it was because he repented that he--\ner--died so suddenly, and that his body was spirited away.'", "corpse, and the disappearance of Prince Eugen of Posen. I thought you\nmight be able to help me in some investigations which I am making.'", "'Just so,' said the inspector. 'The body of the deceased has\ndisappeared.", "station at Ostend Quay that he disappeared. He was travelling with a\nsingle equerry, and the equerry, too, has vanished. I need not explain", "'Partly Dimmock and partly other things. First of all, that Miss\nSpencer, or whatever her wretched name is, mysteriously disappears. Then", "His eyes closed. There was a sudden noise. Old Hans had slipped from his\nchair to the floor. He picked himself up, dazed, and crept shamefacedly\nout of the room.", "'It was a perfectly simple proceeding, I assure you. Before I had done\nwith him, I rather liked the fellow.'\n\n'Miss Spencer and Jules--both gone in one day!' mused Felix Babylon.", "and look after my hÃ´tel' And soon afterwards he disappeared.", "The Prince agreed, and they searched the house from top to bottom, but\nfound no one. Then, having locked the front door and the french window\nof the sitting-room, they proceeded again to the cellar." ], [ "certainly less exclusive than the hÃ´tel itself. Theodore Racksole knew\nnothing of the affair, except that it was an entertainment offered by a", "'I read in the New York papers some months ago,' Theodore started,\nwithout even a clearing of the throat, 'that this hÃ´tel of yours, Mr", "They were all three seated--Racksole, his daughter, and Prince Aribert--\nround a dinner table in a private room at the HÃ´tel Wellington. Racksole", "'Her father is,' said the girl. 'Oh, Dad! can't you guess? He--he loves\nme.' Her head fell on Theodore's shoulder and she began to cry.", "NEVERTHELESS, there are men with a confirmed habit of getting their own\nway, even as guests in an exclusive hÃ´tel: and Theodore Racksole had", "But when Theodore and his daughter happened to be going one and the same\nroad, which was pretty often, then Heaven alone might help any obstacle", "Theodore Racksole went direct to the entrance-hall of the hÃ´tel, and\nentered Miss Spencer's sanctum.\n\n'I want to see Mr Babylon,' he said, 'without the delay of an instant.'", "everything, and my hÃ´tel--your hÃ´tel--is the centre of London. Once I\nhad a King and a Dowager Empress staying here at the same time. Imagine\nthat!'", "Her father had spent the morning at the hÃ´tel, and Prince Aribert had\nkept watch. The two men were never absent from the house at the same", "THE Royal apartments at the Grand Babylon are famous in the world of\nhÃ´tels, and indeed elsewhere, as being, in their own way, unsurpassed.", "part, seemed not to take much interest in him; and there were certainly\nvarious persons in London who were capable of snapping their fingers at\nhim--at Theodore Racksole. Neither he nor his daughter could get used to", "Theodore Racksole laughingly lighted the Rothschild Havana which Babylon\ngave him, and they entered the hÃ´tel arm in arm. But no sooner had they", "bedroom. The doctor had just left. Theodore Racksole was downstairs\nreading the New York Herald. The Prince and Nella were near the window,\nwhich looked on to the back-garden.", "impressed Theodore Racksole. How many hÃ´tel proprietors in the world,\nRacksole asked himself, would have let that beef-steak and Bass go by\nwithout a word of comment.", "That night, after dinner, Racksole and his friend Felix Babylon were\nwalking together on the terrace of the Grand Babylon HÃ´tel.\n\nFelix had begun the conversation.", "was a stout lady with an aquiline nose and many diamonds, and that they\nwere very rich and very hospitable. Theodore Racksole did not want a", "'Oh! Dad,' she exclaimed, 'I've only just heard you were in the hÃ´tel.\nWe looked for you everywhere. Come at once, Prince Eugen is dying--'\nThen she saw the man sitting on the bed, and stopped.", "Together they had been wandering about the corridors of the hÃ´tel, still\nstrange to them both, and it was quite by accident that they had lighted", "'Yes.'\n\n'In this hÃ´tel?'\n\n'Yes.'\n\n'Oh! How lovely!'", "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon." ], [ "'I buy,' said Theodore Racksole, smiling contentedly; 'and we will, if\nyou please, exchange contract-letters on the spot.'", "it because of a whim.' And then Theodore Racksole gave this little Jew,\nwhom he had begun to respect, a faithful account of the transaction with", "that night, but he was glad that he had bought the Grand Babylon HÃ´tel.\nIt was an acquisition which seemed to promise fun and diversion.", "'I read in the New York papers some months ago,' Theodore started,\nwithout even a clearing of the throat, 'that this hÃ´tel of yours, Mr", "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon.", "impressed Theodore Racksole. How many hÃ´tel proprietors in the world,\nRacksole asked himself, would have let that beef-steak and Bass go by\nwithout a word of comment.", "The landlord and his guest sat down opposite each other. Theodore\nRacksole had met with the usual millionaire's luck in this adventure,", "'Eh!' Felix exclaimed. 'I sell you my hÃ´tel with Jules, with Rocco, with\nMiss Spencer. You go and lose all those three inestimable servants, and", "Five minutes later the buyer and seller of the Grand Babylon HÃ´tel had\neach signed a curt document, scribbled out on the hÃ´tel note-paper.", "Theodore Racksole, however, was ignorant that a mere accident had served\nhim. He took all the credit to himself.", "'Give me a penny one,' was Theodore Racksole's laconic request, and he\nwalked out of the shop smoking the penny cigar. It was a new sensation\nfor him.", "'What are the best you've got?' asked Theodore Racksole.\n\n'Five shillings each, sir,' said the man promptly.", "'I am,' said Babylon, 'on terms. The price was four hundred thousand\npounds, including the leasehold and goodwill. But I sell only on the\ncondition that the buyer does not transfer the property to a limited\ncompany at a higher figure.'", "certainly less exclusive than the hÃ´tel itself. Theodore Racksole knew\nnothing of the affair, except that it was an entertainment offered by a", "AS regards Theodore Racksole, who was to have caught his man from the\noutside of the cellar, he made his way as rapidly as possible from the", "it from him. With a man of Theodore Racksole's temperament there is no\ntime like the present, and at six o'clock, as the bright morning sun", "The millionaire smiled appreciatively. 'What wages do you require in\nlieu of notice? It is my intention that you leave the hÃ´tel within an\nhour.'", "'Now for that lantern of yours,' he said eagerly to Theodore Racksole,\nafter he had translated to him the conversation of the two women,", "These words, spoken by a servant to Theodore Racksole, aroused the\nmillionaire from a reverie which had been the reverse of pleasant. The", "Theodore Racksole went direct to the entrance-hall of the hÃ´tel, and\nentered Miss Spencer's sanctum.\n\n'I want to see Mr Babylon,' he said, 'without the delay of an instant.'" ], [ "that night, but he was glad that he had bought the Grand Babylon HÃ´tel.\nIt was an acquisition which seemed to promise fun and diversion.", "'I read in the New York papers some months ago,' Theodore started,\nwithout even a clearing of the throat, 'that this hÃ´tel of yours, Mr", "'There is no next move,' answered Racksole candidly, 'and I will tell\nyou why I bought the hÃ´tel; there need be no secret about it. I bought", "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon.", "'I buy,' said Theodore Racksole, smiling contentedly; 'and we will, if\nyou please, exchange contract-letters on the spot.'", "certainly less exclusive than the hÃ´tel itself. Theodore Racksole knew\nnothing of the affair, except that it was an entertainment offered by a", "it because of a whim.' And then Theodore Racksole gave this little Jew,\nwhom he had begun to respect, a faithful account of the transaction with", "Theodore Racksole went direct to the entrance-hall of the hÃ´tel, and\nentered Miss Spencer's sanctum.\n\n'I want to see Mr Babylon,' he said, 'without the delay of an instant.'", "NEVERTHELESS, there are men with a confirmed habit of getting their own\nway, even as guests in an exclusive hÃ´tel: and Theodore Racksole had", "impressed Theodore Racksole. How many hÃ´tel proprietors in the world,\nRacksole asked himself, would have let that beef-steak and Bass go by\nwithout a word of comment.", "'Is the purchase of hÃ´tels your notion of relaxation, then?'\n\nRacksole shrugged his shoulders. 'It is a change from railroads,' he\nlaughed.", "'You have bought the hÃ´tel!' exclaimed the Prince.\n\n'That's so,' said Racksole.\n\n'And Felix Babylon has gone?'", "'It's a mighty queer arrangement,' Theodore remarked. 'But of course if\nyou think it'll be of any use, you had better go down and tell your", "them goes, the hÃ´tel is likely to suffer. I will go, Mr Racksole. In\nfact, I had already thought of giving notice.'", "'I?' exclaimed Theodore.\n\n'Yes,' she repeated positively. 'I will tell you what I want you to do,\nand you must do it.'", "it from him. With a man of Theodore Racksole's temperament there is no\ntime like the present, and at six o'clock, as the bright morning sun", "'I suppose it was for the sake of quiet and rest that you bought the\nhÃ´tel, Papa?'\n\n'You would insist on the steak,' he retorted. 'Get out of this, on the\ninstant.'", "'Only that I've bought the entire hÃ´tel. But don't split.'\n\n'Father, you always were a delicious parent. Shall you give me the hÃ´tel\nfor a birthday present?'", "And so was brought to a close the complex chain of events which had\nbegun when Theodore Racksole ordered a steak and a bottle of Bass at the\ntable d'hÃ´te of the Grand Babylon HÃ´tel.", "'Ah, my friend, you little know what you have bought.'\n\n'Oh! yes I do,' returned Racksole; 'I have bought just the first hÃ´tel\nin the world.'" ], [ "'Dimmock was poisoned.'", "'But Mr Dimmock was murdered. He was poisoned. If he had not been\npoisoned why was his body stolen? It must have been stolen to prevent\ninquiry, to hide traces. Tell me about that.'", "'Dimmock dead!' Prince Aribert whispered under his breath, and he\nkneeled down by the side of the stretcher. 'What does this mean?'", "'You mean to say you don't know why Dimmock was done to death?'", "'Why was poor little Dimmock poisoned?' The millionaire's voice softened\nas he looked for an instant at the corpse of the unfortunate young man.", "due on the very afternoon that young Dimmock died. But he never came,\nand I have not heard why he has failed to arrive; nor have I seen his", "'My poor Dimmock!' exclaimed the Prince, his voice broken. 'And I was\nangry because the lad did not meet me at Charing Cross!'\n\n'Are you sure he is dead, Father?' Nella said.", "death of Reginald Dimmock was only a minor event, which had occurred, as\nit were, on the fringe of some far more profound mystery. And,", "'You mean about poor Mr Dimmock?'", "but the theory that Reginald Dimmock had probably been a traitor to his\nfamily--a traitor whose repentance had caused his death--had not been", "therefore, he decided to wait, with his eyes very wide open, until\nsomething else happened that would throw light on the business. At the\nmoment he took only one measure--he arranged that the theft of Dimmock's", "As for Racksole, he sent a message for the detective in charge of the\nDimmock affair, and bravely told him the happenings of the previous\nnight.", "'But how does this theory square with the murder of Reginald Dimmock?'", "Racksole considered in detail the particular affair of Reginald Dimmock,\ndeceased, he was struck by one point especially, to wit: Why had Dimmock", "'Well, my young madame, they've got me in for one, and you for another;\nand they're manufacturing mysteries like fun. It's young Dimmock's death\nthat has started 'em.'", "story of the adventures by sea and land of Nella and the Prince. As to\nhis own adventure of the previous night he said very little, merely\nexplaining, with as little detail as possible, that Dimmock's body had", "that fool Dimmock, who had been in the swim with us, chose to prove\nrefractory. The slightest hitch would have upset everything, and I was", "'There are several reasons, and they are connected with Mr Dimmock. Did\nyou ever suspect, your Highness, that that poor young man was not\nentirely loyal to you?'", "'Mr Dimmock?' questioned Racksole.\n\n'Yes, Dimmock. I do not remember that he ever missed an appointment\nbefore.\n\nYou know him? He has been here?'", "went. In the ante-room, where the body of Reginald Dimmock had\noriginally been placed, were the inspector and Prince Aribert, and two\npolicemen." ], [ "AT the Grand Babylon a great ball was given that night in the Gold Room,\na huge saloon attached to the hÃ´tel, though scarcely part of it, and", "ball in his hÃ´tel that evening, and just before dinner he had almost a\nmind to issue a decree that the Gold Room was to be closed and the ball", "It may seem incredible to the uninitiated that the guests at any social\ngathering held in so gorgeous and renowned an apartment as the Gold Room", "But on that evening I encountered him here--not in the Gold Room, but in\nthe hÃ´tel itself. I asked him to explain his presence, and he stated he", "went forward, and neither Mr nor Mrs Sampson Levi had ever the least\nsuspicion what a narrow escape they had had of looking very foolish in\nthe eyes of the thousand or so guests invited by them to the Gold Room", "The Gold Room of the Grand Babylon was built for a ballroom. A balcony,\nsupported by arches faced with gilt and lapis-lazulo, ran around it, and", "'My dear Mr Levi,' said Racksole, 'I assure you that, having let the\nGold Room to a private individual for a private entertainment, I should\nnever dream of doing what you suggest.'", "other night I had a ball in this hÃ´tel. It cost me a couple of thousand\nand odd pounds, and, by the way, I wrote out a cheque for your bill this", "certainly less exclusive than the hÃ´tel itself. Theodore Racksole knew\nnothing of the affair, except that it was an entertainment offered by a", "hÃ´tel management as regards that ball: it was very decently done, very\ndecently, but what I want to know is this--Why did you have a private\ndetective among my guests?'", "They were all three seated--Racksole, his daughter, and Prince Aribert--\nround a dinner table in a private room at the HÃ´tel Wellington. Racksole", "Chapter Six. Â Â IN THE GOLD ROOM\n\nChapter Seven. Â Â NELLA AND THE PRINCE", "the decorum of hÃ´tel life. Racksole entered. The room was brilliantly\nlighted.", "everything, and my hÃ´tel--your hÃ´tel--is the centre of London. Once I\nhad a King and a Dowager Empress staying here at the same time. Imagine\nthat!'", "ON the following morning, just before lunch, a lady, accompanied by a\nmaid and a considerable quantity of luggage, came to the Grand Babylon", "so late, the hÃ´tel was not, of course, closed for the night. A few\nguests still remained about in the public rooms, and a few fatigued", "hÃ´tel was performed there. The place served chiefly as the lair of Miss\nSpencer, who was as well known and as important as Jules himself. Most", "The next morning the high-born guests of the Grand Babylon were aroused\nby a rumour that by some accident the millionaire proprietor of the", "'Yes.'\n\n'In this hÃ´tel?'\n\n'Yes.'\n\n'Oh! How lovely!'", "That night, after dinner, Racksole and his friend Felix Babylon were\nwalking together on the terrace of the Grand Babylon HÃ´tel.\n\nFelix had begun the conversation." ], [ "'Perhaps I can throw some light on this mystery,' said Racksole. 'I may\ntell you that I was already aware that man had attended your ball\nuninvited.'\n\n'How did you get to know?'", "'Mr Racksole is here, but he can see no one, Miss.' The words came from\nbehind the door, and the voice was the commissionaire's. Racksole\nstarted up, and went towards the door.", "AS regards Theodore Racksole, who was to have caught his man from the\noutside of the cellar, he made his way as rapidly as possible from the", "That night, or rather about half-past one the next morning, when the\nlast noises of the hÃ´tel's life had died down, Racksole made his way to", "'Well, there is the house which Miss Racksole so intrepidly entered last\nevening'--he gave her the homage of an admiring glance; 'you and I, Mr\nRacksole, might examine that abode in detail.'", "'I have,' said Racksole simply, 'though I believe you are laughing at\nme.'\n\n'By no means,' Babylon replied. 'Now what, if I may ask the question, is\ngoing to be your next step?'", "'This is quaint,' said Racksole; 'quaint to a degree!'\n\nIt occurred to him to look at the number of the room, and he stole\ntowards it.", "Babylon, considered himself a connoisseur in feminine loveliness, and\nthe vision of Nella Racksole smote him like an exquisite blow.", "Racksole's manner, quietly followed him down the lane. The sight of the\nmillionaire climbing the railings had put him on his mettle, and the", "Racksole felt suddenly at that moment he was nothing but a mere hÃ´tel\nproprietor with an awkward affair on his hands. For a fraction of a\nsecond he wished he had never bought the Grand Babylon.", "'I am,' the Prince smiled. 'But Miss Racksole is a young lady of quite\nremarkable nerve.'\n\n'She is,' said Racksole drily. 'I wish sometimes she had less.'", "But when Racksole reached the Grand Babylon he found that Miss Spencer's\nchair in the bureau was occupied by a stately and imperious girl,\ndressed becomingly in black.", "'I venture to remark that this is Miss Racksole's room.'\n\n'My good sir,' answered Dimmock, 'you must be mad to dream of such a\nthing.", "'What did I tell you?' said Racksole, leading the way to another table\nfurther up the room. A hundred curious glances went after him. One old", "They entered the stone apartment, rendered almost sacred by the\npreciousness of its contents, and Racksole looked round with a strangely\nintent and curious air. At the far side was a grating, through which\ncame a feeble light.", "genuinely concerned about the fate of his dead attendant, yet it seemed\nto Racksole that he was keeping something back, that he hesitated to say\nall he knew. Racksole, with characteristic insight, decided that the", "The man bowed.\n\n'At this moment I wish to see you more than anyone else in the world,'\nsaid Racksole. 'I am consumed and burnt up with a desire to see you, Mr\nBabylon.", "Racksole looked at the gilt clock on the high mantelpiece.\n\n'Great Scott!' he said. 'It's three o'clock. Mr Babylon, accept my\napologies for having kept you up to such an absurd hour.'", "With unerring insight, Jules had perceived exactly the difficulty of\nRacksole's position, and it was certainly a difficulty which Racksole", "moved--and that is all. Miss Racksole is at this moment, I trust, asleep\nin No. 124.'" ], [ "'Aribert,' said Prince Eugen, a little later, 'you were right. It is all\nover. I have only one refuge--'\n\n'You don't mean--' Aribert stopped, dumbfounded.", "'Eugen,' cried Prince Aribert once more, but this time his forlorn\nnephew made no response whatever, and then Aribert added in a low voice\nto Racksole: 'Perhaps he cannot see us clearly.'", "There was a slight noise, and Aribert looked aside. He saw that Eugen's\nbody had slipped forward limply over the left arm of his chair; the\nPrince's arms hung straight and lifeless; his eyes were closed; he was\nunconscious.", "Whereupon Aribert discreetly departed, and Prince Eugen sat down in the\ngreat velvet chair, and began to look at the papers which Hans had\npreviously placed upon the table.", "only like a secret shame in the hearts of those who had witnessed it.\nPrince Eugen had recovered; at any rate, he was convalescent, and he had", "In due course the doctor left, saying that Prince Eugen was 'on the high\nroad to recovery,' and promising to come again within a few hours.\nMorning had dawned. Nella drew the great curtains, and let in a flood of\nsunlight.", "'You ask me where I think Prince Eugen has disappeared to?'\n\n'I do.'\n\n'Then you think it's a disappearance?'", "Prince Eugen of Posen to attend him here, and that summons hasn't\narrived. It appears that Prince Eugen hasn't come to London at all. Now,", "There was a silence.\n\n'It is well,' said Racksole at length. 'Prince Eugen lives, despite all\nplots. After all, justice is done.'", "Aribert looked at Racksole, and they both looked at Prince Eugen. The\nlatter's face was flushed, and Racksole observed that the left pupil was", "'At Prince Eugen. Either at his life or his liberty. Most probably the\nformer this time; almost certainly the former. He has guessed that we", "Prince Eugen was convalescent.", "'I'll take you to her, my dear Eugen.' Prince Aribert put his hands on\nthe other's shoulder, but Eugen shook him off violently, stood up, and\nthen sat down again.", "'I shall die for this anyhow,' whined Miss Spencer, and then, with a\nsort of fierce despair, 'I had to keep watch on Prince Eugen.'\n\n'Where? In this house?'", "Eugen took up the glass and held it to the light.\n\n'Don't drink it,' said Aribert very quietly. 'It is poisoned.'\n\n'Poisoned!' exclaimed Prince Eugen.", "That various matters lay heavy on the mind of Prince Eugen was beyond\nquestion. He seemed to have withdrawn within himself. Despite the\nextraordinary experiences through which he had recently passed, events", "The Prince threw up his hands and went back in to the bedroom. The\ndoctor was at a table writing out a prescription. Aribert approached the\nbedside, his heart beating furiously. Eugen greeted him with a faint,\nfatigued smile.", "'To return to Prince Eugen,' Racksole resumed. 'I was expecting His\nHighness here. The State apartments had been prepared for him. He was", "On the afternoon of the third day Prince Eugen was distinctly and\nseriously worse. Nella had sat up with him the previous night and\nthroughout the day.", "It was a queer shabby little bedroom to shelter the august body of a\nEuropean personage like Prince Eugen of Posen. Curiously enough, both" ], [ "Zerlinski. Then it was that Nella began to imagine, what had swiftly\ncrossed her mind when first the Baroness presented herself at the", "'You have ceased to be the Baroness Zerlinski,' Nella continued. 'May I\nsit down?'", "not the Baroness Zerlinski, but Miss Spencer herself! Nella turned aside\ninstantly, hiding her face, and Miss Spencer, carrying a small bag,", "thus: 'Baroness Zerlinski'. She desired rooms on the third floor. It\nhappened that Nella was in the bureau.", "Nevertheless, Nella had a faint hope that the lady who called herself\nZerlinski might be in that curtained stateroom, and throughout the\nsmooth moonlit voyage she never once relaxed her observation of its", "that it would pass unheeded. But, unfortunately for the Baroness, it was\nthe thousandth chance that happened. Nella jumped up, and walking over\nto the Baroness, said to her:", "had full opportunity to observe her quarry. She could see now quite\nplainly that the Baroness Zerlinski had been only Miss Spencer in", "At the moment Nella regarded the Baroness's correction of her figures as\na curious chance, but afterwards, when the Baroness had ascended in the", "'Well, Miss Spencer,' she greeted the former Baroness Zerlinski, 'I\nguess you didn't expect to see me. You left our hÃ´tel very suddenly this", "'The Baroness Zerlinski has left, about a quarter of an hour ago,' said\nthe attendant.\n\n'But she only arrived this morning.'", "'I want to see Miss Spencer,' said Nella impulsively. She couldn't think\nof anything else to say.\n\n'Miss Spencer?'\n\n'Yes; she's just arrived.'", "lift, the thing struck her as somewhat strange. Perhaps the Baroness\nZerlinski had stayed at the hÃ´tel before. For the sake of convenience an", "'Look here, Father,' Nella whispered suddenly, and pointed to the\nbalcony immediately below them. 'Who's that?' She indicated a man with a", "Prince Aribert's guess was correct. The lady's carriage stopped in front\nof the house where Nella Racksole and Miss Spencer had had their", "remarkable thing happened. A cream puff was served to the Baroness by\nway of sweets, and Nella was astonished to see the little lady remove\nthe top, and with a spoon quietly take something from the interior which", "Nella looked the Baroness full in the face. The piece of folded paper,\nto which a little cream had attached itself, lay under the edge of a\nplate.\n\n'No, thanks.' The Baroness smiled her simple smile.", "'Rocco! What about Rocco?' Nella could scarcely hear herself. Her grip\nof the revolver tightened.\n\nMiss Spencer's eyes opened wider; she gazed at Nella with a glassy\nstare.", "danger, and she would succumb. Nella at once divined this useful fact,\nand proceeded accordingly, hiding the strangeness of her own sensations\nas well as she could.", "'It was Jules,' he exclaimed to Nella, and without another word rushed\nupstairs to the attic. The attic was empty. Miss Spencer had\nmysteriously vanished.", "'Prince Aribert,' Nella said, 'shall I tell you what I think?' She\nleaned back in her chair, and looked at him out of half-closed eyes. His" ], [ "It was Jules.\n\nThe two exchanged glances in the half light for a second.\n\n'Good evening, Mr Racksole,' said Jules calmly. 'I must apologize for\nbeing here.'", "'Tom Jackson--Jules, you know, head waiter at the Grand Babylon.'\n\n'So Jules's real name is Tom Jackson? Why did he want you to leave\nwithout giving notice?'", "absolutely demanded. All that I do know of Jules--he will always be\ncalled Jules--is that he gradually, by some mysterious personal force,", "Jules yawned elaborately. 'What do you want to know?' he inquired, with\npoliteness.\n\n'First and foremost, I want to know the names of your accomplices inside\nthis hÃ´tel.'", "Jules, and that the policeman had thrown him just too late. He ran, and\nJules, hearing the noise of pursuit, ran also. The ex-waiter was fleet;", "'I hadn't previously thought of him as being Jules, but immediately you\nmentioned the name I somehow knew that he was. Yes, I am sure it was\nJules.'", "'It's Jules, I'll swear,' cried Racksole. 'After him, men. Ten pounds\napiece if we overtake him!'", "Jules and other rascals unknown. Nevertheless, from habit, he obeyed his\ndaughter, giving her credit for a certain amount of perspicuity and\ncleverness.", "had appeared silently behind Jules, and two small arms with a vicious\nshove precipitated him into the water. He fell with a fine gurgling\nsplash. It was at once obvious that swimming was not among Jules'", "'By pure chance, Mr Levi, and not by inquiry. That man was a former\nwaiter at this hÃ´tel--the head waiter, in fact--Jules. No doubt you have\nheard of him.'", "'Ah!' said Racksole, 'I was informed that everyone knew Jules, but it\nappears not. Well, be that as it may, previously to the night of your", "'Well, who is it?'\n\n'Isn't it Jules?'\n\n'Gemini! By the beard of the prophet, it is!'", "In the meantime, our friend Jules, sublimely unconscious of the\naltercation going on outside, and of the special risk which he ran, was", "'Have I?' he said, and then he happened to glance into a mirror on his\nleft hand between two windows. He saw the reflection of Jules, who stood", "'Well,' said Babylon, after a pause, 'let us begin. In the first place,\nit is possible you may be interested to hear that I happened to see\nJules to-day.'", "Jules, otherwise Mr Tom Jackson, perfectly secure by means of several\npieces of rope. Although Mr Jackson had been stunned into a complete\nunconsciousness, and there was a contused wound under his ear, no one", "'So Jules is your friend and colleague, is he?'", "Jules started slightly.", "'That's a sight better,' said the fat man. At the same moment a head\nappeared over the edge of the barge. It was Jules' face--dark, sinister\nand leering.", "Then he called in the commissionaire, and together they bound Jules\nfirmly to the bedstead, allowing him, however, to lie down. All the" ], [ "With a gesture she beckoned him towards the ante-room.\n\n'If you choose,' she said, when they were alone, 'Prince Eugen can be\nsaved.\n\nI have arranged it.'", "There was a silence.\n\n'It is well,' said Racksole at length. 'Prince Eugen lives, despite all\nplots. After all, justice is done.'", "'Then had he some reason for wishing to prevent Prince Eugen from coming\nto London?'", "interest in stopping this loan of yours to Prince Eugen? Wouldn't he\nhave an interest in causing Prince Eugen to disappear--at any rate, for\na time?'", "'Did Mr Tom Jackson want to get some money out of Prince Eugen?'\n\n'Money! Not he! Tom's never short of money.'", "are somewhat handicapped by our anxiety to keep Prince Eugen's\npredicament quite quiet, and he is taking advantage, of that fact. As he", "'At Prince Eugen. Either at his life or his liberty. Most probably the\nformer this time; almost certainly the former. He has guessed that we", "'I was unfortunately detained at Ostend,' said Prince Eugen, with as\nmuch haughtiness as he could assume, 'by--by important business. I have", "'Aribert,' said Prince Eugen, a little later, 'you were right. It is all\nover. I have only one refuge--'\n\n'You don't mean--' Aribert stopped, dumbfounded.", "safer to shift the scene of our operations to Ostend. I had meant to\ndeal with Prince Eugen in this hÃ´tel, but I decided, then, to intercept", "Prince Eugen of Posen to attend him here, and that summons hasn't\narrived. It appears that Prince Eugen hasn't come to London at all. Now,", "see that Prince Eugen did not have an interview with a certain Mr\nSampson Levi in London before a certain date, that was all. It seemed\nsimple enough. I had been engaged in far more complicated transactions", "nevertheless he, Theodore Racksole, wanted to continue it for them. To a\ncertain extent, of course, the battle had been won, for Prince Eugen had", "'But what can he do? Surely you don't suggest that he will attempt the\nlife of Prince Eugen in this hÃ´tel?'", "'What sort of reasons?'\n\n'Do not ask me. In the history of every family there are passages--' He\nstopped.\n\n'And what was Prince Eugen's object in coming to London?'", "'Had something gone wrong in the hÃ´tel, or over here?'\n\n'Both.'\n\n'Was it about Prince Eugen of Posen?'", "'To return to Prince Eugen,' Racksole resumed. 'I was expecting His\nHighness here. The State apartments had been prepared for him. He was", "Levi might work harm to them. So they applied to me again. This time\nthey wanted Prince Eugen to be--em--finished off entirely. They offered\nhigh terms.'", "Sampson Levi. Unfortunately for me, they ultimately wanted to make too\nsure of Prince Eugen. They were afraid he might after all arrange his", "'I shall die for this anyhow,' whined Miss Spencer, and then, with a\nsort of fierce despair, 'I had to keep watch on Prince Eugen.'\n\n'Where? In this house?'" ] ]

[ "What does Racksole witness the head waiter, Jules, doing to Reginald Dimmick?", "What does Racksole do to Jules for as soon as he sees what happen between Jules and Dimmick?", "What happens to Miss Spencer right after Jules is dismissed?", "What is wrong with Prince Eugen?", "What happens to Dimmick, after it is established that Prince Eugen never arrived to the Great Babylon Hotel?", "What secret object can be used to monitor the guests in the ballroom?", "Who does Racksole catch looking through the window?", "What happens to make Nella follow Miss Spencer?", "What happens to Nella as a result of following Miss Spencer to the house in Ostend?", "How much does Racksole spend to buy the hotel? ", "Who travelled under the fake name of Count Steenbock?", "What incident causes Racksole to buy the hotel?", "What was the false name of the headwaiter who was fired? ", "Who promises to support Aribert?", "What is the name of the hotel the characters stay at?", "Where does Nella go while following Miss Spencer?", "Who was a captive in the house where Miss Spencer leads Nella?", "To whom does the Emporer send a telegram asking about Prince Eugen? ", "Who was poisoned and then disappeared?", "At what exclusive hotel are Theodore and his daughter staying?", "What does Theodore throw on top of his purchase price to make the hotel seller feel good?", "What prompts Theodore to purchase the hotel?", "How is Dimmok killed?", "Who hosts the ball in the Gold Room at the hotel?", "Who does Racksole observe at the ball?", "Where was Prince Eugen last seen?", "Who does Nella suspect Baroness Zerlinski to really be?", "What is Jules' real name?", "In what city would Prince Eugen have prevented Jackson's scheme?" ]

[ [ "Racksole witnesses the head waiter, Jules, winking at Reginald Dimmick.", "He winks at her. " ], [ "Racksole Dismisses Jules.", "He orders Jules out of the hotel. " ], [ "Miss Spencer Disappears.", "She took her things and left." ], [ "Prince Eugen is missing.", "he has been abducted" ], [ "Dimmick's Body turns up and he appears to have been poisened.", "his body is found" ], [ "A secret window.", "The secret window. " ], [ "Jules the waiter.", "Jules" ], [ "Miss Spencer tries to check into the hotel under a false name, while Nella has been told the hold story by Prince Aribert.", "Miss Spencer checked into the hotel in disguise then suddenly checked out." ], [ "Nella learns the truth about Jules, and Miss Spencer, she is also overpowered by Miss Spencer.", "She is overpowered and loses consciousness." ], [ "400,000 pounds and a guinea", "E400,000" ], [ "Prince Aribert", "Prince Aribert" ], [ "His daughter was unable to get her order at the restaurant.", "his daughter's order is refused" ], [ "Jules", "Jules" ], [ "Nella", "Nella" ], [ "Grand Babylon Hotel", "Grand Babylon Hotel." ], [ "Ostend.", "Into a house in Ostend. " ], [ "The Prince Eugen", "Prince Eugen" ], [ "Aribert", "Aribert. " ], [ "Reginald Dimmock", "Dimmock. " ], [ "The Grand Babylon Hotel.", "The Grand Babylon Hotel" ], [ "A guinea.", "a guinea" ], [ "His dughter is refused dinner.", "his daughter's request is refused" ], [ "Poison.", "Poison." ], [ "Mr. and Mrs. Sampson Levi.", "Mr. and Mrs. Sampson Levi" ], [ "Jules.", "Jules" ], [ "Ostend.", "Ostend" ], [ "Miss Spencer.", "Miss Spencer, the hotel clerk" ], [ "Tom Jackson.", "Tom Jackson" ], [ "London.", "Ostend" ] ]

aeb4b0c7cd1faaae70c732656dddcbb56bf19b99

train

[ [ "the grove, as it was not lawful to do, and ate the fruit.\"", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "Then Almighty God asked Eve about this:", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:", "set forth and depart from paradise into a harder life.\nBehind them, by God's command, a holy angel with a 945\nfiery sword shut the gate of their blissful home of peace", "The Ruler of Heaven did not think it fitting that 170\nAdam, the keeper of Paradise and shepherd of the new", "\"The woman, my Lord, the fair woman gave into\nmy hand this fruit, which I accepted in sin against thee. 885\nNow I bear this manifest sign in myself: I know so much\nthe more of sorrow!\"", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "two fair first-born sons, Cain and Abel. The books\ntell us how these first toilers, loving brothers, gained 970\ntheir subsistence, riches and food: the one who was", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "Yet the Almighty, our First Father, would not take\naway all comforts from Adam and Eve, though they had\nfallen away from him: but he still let the lofty roof 955", "XI.\n\n\nThen God wrathfully spoke to Eve:", "at line 852, with the conversation between Adam and Eve and Jehovah\n(Gen. 3.8 ff.).]", "clothing and concealing his nakedness, as was ordained\nfor men and women, ever since the minister of Glory 1575\nlocked the native abode of life behind our [first father]", "hands, but on the contrary delight in all things! How\ncome you to know evil and hide shame and behold sor-\nrow and cover your body with leaves and, saddened and", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he" ], [ "\"I am resolved to destroy humanity by means of a\ndeluge, and also every kind of living thing that the air\nand waters produce and support, both beast and bird:", "of the broad earth. For forty days will I set my ven-\ngeance against mankind, and with a deluge blot out all\nthe possessions and possessors that are beyond the sides", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "our Saviour and merciful Father wished to find out\nwhat his children were doing: he knew that they were\nsinful to whom he had given perfection. Bereft of", "Lord, when the Wielder of Victory himself saw what 1270\nwas man's wickedness on earth, and how they all were\nbold in crime and utterly vicious. He thought to", "sons of men, the Lord determined to annihilate.", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "They had committed a dire sin against God: on that\naccount dire punishment befell them. They asserted,\nin fierce mood, that they wished to seize the kingdom", "and wide, that men had owned in the cities of Sodoma\nand Gomorra: all this, together with the people, God 2560\nthe Lord destroyed.", "XI.\n\n\nThen God wrathfully spoke to Eve:", "formerly spoken with his Lord in words. He saw the\nreek of death and destruction ascending widely from\nthe earth. Riches and feasting preoccupied [the people]", "wrath against mankind and spoke these words:", "Cain, destroyed with my hands the father of Enos, the\nslayer of Abel, and poured on the ground the life-blood\nof a man. Well knew I that for this shall come at last", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:", "wished to inflict punishment upon the covenant-breakers,\nand to smite with death the doers of evil, the giant folk\nunloved by God, the great and sinful foes hateful to the", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "the inundation killed all creatures upon earth other than\nthose whom the Lord of Heaven saved on board the Ark,\nwhen the Holy God everlasting, the steadfast King, let 1405", "Then Almighty God asked Eve about this:", "north. Thereupon God became angered and hostile 35\ntowards the beings whom he had formerly exalted in\nbeauty and glory: he created for the traitors a marvelous", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000" ], [ "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "Noe did as the Lord commanded him, obeyed the 1315\nholy King of Heaven, began at once to build that Ark,", "Then our Preserver spoke to Noe: \"I give thee my\npledge for this, O dearest of mankind, that thou mayst", "evening to seek the Ark over the dusky flood, and sank\nweary and famished in the hands of the pious hero.\nThen after a week the wild-dove was again sent out 1465", "Depart in peace out of the Ark, and lead forth upon the\nbosom of the earth out of this lofty structure your com-\npanions and all the creatures which I mercifully preserved 1490", "let a black raven fly out of the Ark over the high flood.\nNoe believed that if it found no land in its flight, it 1445\nwould zealously seek him again on the ship over the wide", "XVIII.\n\n\nThen to Noe spoke our Preserver, Ruler of Heaven,\nwith holy voice:", "of the broad earth. For forty days will I set my ven-\ngeance against mankind, and with a deluge blot out all\nthe possessions and possessors that are beyond the sides", "the Ark aloft from the ground, and its noble crew with it,\n[the Ark] which the Lord Himself, our Creator, blessed, 1390\nwhen he locked the ship. Thereafter this best of ships", "Then Noe began to institute a sacrifice to our Preserver,\nand immediately took a part of all his possessions which", "vast sea-house, Noe's vessel, towered up in readiness,\nstrengthened within and without with the best earth-\nlime, against the waves; it is unique in its kind: the", "over the hills. That is a memorable occurrence: there 1400\nwas nothing at hand for [the Ark] but destruction,\nexcept that it was raised aloft into the upper air when", "our Saviour blessed [all] within the Ark with his own\ngrace. Noe, the son of Lamech, had 600 winters when", "upon the flood until this number of days of dire time 1420\nhad passed. Then the Ark of Noe, greatest of ocean-\nhomes, settled on high with its burden on the hills which", "may see this witness frequently upon the clouds, when 1540\nI show my rainbow, [as proof] that I will certainly keep\nthis bond with men, while the world lasts.\"", "with sin, polluted with foulness. Then spoke the Al- 1295\nmighty, our Saviour, and said to Noe:", "would have seized them with violence in the sea-traver-\nsing vessel, but the Holy God led and preserved them.\nFifteen ells deep, by man's measure, stood the deluge", "Section XVII (Gen. 8.1-4, 6-12) 20 (160)", "Noe and his sons too, that [the patriarch] had given Him\nthis offering acceptably and in his youth had merited\nby his good deeds that Almighty God, Glorious in", "Noe, the son of Lamech, just and honorable, was dear 1285\nto God, the Preserver. The Lord knew that the virtue" ], [ "parted in bands separated by their speech: one had\nbecome to another a strange race, after the Lord by the 1695\nfullness of his might had confused the speech of men.", "began to rear up to the skies; and the steadfast King\nachieved the prevention of this evil design, when in\nwrath he distributed different languages among the 1685", "place. Then speedily the broad ocean stood all together\nunder heaven, as the Holy One commanded, for the\nflood was sundered from the dry land. Thereupon", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "Ruler of everyone born of the race of man, blessed these\nfirst two creatures, father and mother, woman and\nman. Thereafter he spoke these words: 195", "Then swiftly came advancing over the world the third 155\ngreat morn. Nor were the spreading lands and ways\nyet deemed needful by our Lord, but the earth stood", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "fourth, fifth, and perhaps first part of the sixth, days, including the\ncreation of man, (i.e., apparently the contents of Gen. 1.11-2.17,", "* * * * *\n\n(_Genesis B intervenes here_.)\n\n * * * * *", "The people multiplied widely under the skies: the\nrace of men increased in number over the earth, by 1245\n[the birth of] sons and daughters. Now the descendants", "Then Almighty God asked Eve about this:", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "XI.\n\n\nThen God wrathfully spoke to Eve:", "of Seth, fruitful in the Lord. He was dear to God, and\nlived here 90 winters before he begot children here by\nhis wife through intercourse: to him then was Cainan", "Lines 169-234 (Gen. 1.28, 31; 2.10-14, 18, 21, 22) 5 (145)", "inhabitants of earth, so that they no longer had control\nof their speech. They found then multitudes at the\ntower with victorious strength, leaders of work in vast", "[Footnote 2: Aside from necessary omissions made for _Genesis B_, the\nSections are numbered consecutively in this translation (regardless of", "of the broad earth. For forty days will I set my ven-\ngeance against mankind, and with a deluge blot out all\nthe possessions and possessors that are beyond the sides", "As yet there was nothing at all created here, except\nshadows, but this broad earth stood deep and dim, idle 105\nand useless, alien even to God himself; on it the King" ], [ "Then the good man built an altar and offered sacrifice\nto the Ruler of Life and Source of Light, the Protector\nof souls. Thereupon Abraham traveled still further from", "and settle their homes, and renew their prosperity.\nThe men built an altar in the meadows near the one that\nAbraham had formerly reared to his Lord, when he", "About thirteen years after that, the Lord and Ever-\nlasting King spoke with Abraham:", "he wisely wished to seek the land of Canan, with his\nhousehold. The cousins chosen by the Lord, Abraham\nand Loth, went with him out of their heritage. Then 1735", "Then Abraham gave pledges to Abimeleh that he would\n[do] thus.\n\n\n\n\nXXXV.", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "with child by the chieftain. Abraham with his own hand\nset the sign upon him, as the Lord glorious in splendor\nbade him, about a week from the time when his mother 2770", "There Abraham for the second time built an altar:\nthere he called upon God with noble words, and offered", "Then Abraham, preÃ«minently upright, rich, and blessed\nwith gold and silver, set out to take his flocks and", "Then the holy Guardian of the heavenly kingdom, the 1745\nEternal Lord, spoke to Abraham:", "Then Abraham in haste laid his cheek on the earth,\nand with scorn turned over these words in his mind, the", "Lord first through His own word foretold this day of\nhappiness. Now the matter so happened that his wife\nonce saw Ismael playing before Abraham where they", "Then again to Abraham the High-King of Heaven 2165\nshowed himself, with holy speech comforted the wise-\nhearted man, and spoke to him thus:", "Section XXVI (Gen. 15.2-5, 7, 18; 16.1-6) 39 (179)", "Then Abraham went forth alone, at dawn, so that he 2575\nagain stood in the place where the pious leader had", "Then the king sent his ministers and bade them bring\nto him [the wife of Abraham].[36] Thus for the second\ntime in a foreign land, the wife of Abraham was taken 2630", "alone amid strangers. The Lord of the Angels showed\nhim a dwelling-place which the men dwelling in the city\ncalled the land of Bersaba. There the pious man built", "had to fare forth, to give up Carran and his kinsfolk.\nSo Abraham set out, mindful of the instructions of the 1780\nFather Almighty, to look for the broad land beyond", "At that moment a minister of God, one of the angels,\ncalled Abraham from above, with a loud voice. Motion-", "accordance with these words here pronounced. I will now\nbless with my grace Ismael, as thou art petitioner, for\nthy first born, so that he may dwell many days in the" ], [ "Lord first through His own word foretold this day of\nhappiness. Now the matter so happened that his wife\nonce saw Ismael playing before Abraham where they", "Then the king sent his ministers and bade them bring\nto him [the wife of Abraham].[36] Thus for the second\ntime in a foreign land, the wife of Abraham was taken 2630", "bade her, in sapient speech. Thus was Ismael born to\nAbraham, even when he had [lived] 86 winters in the", "\"Thou hast taken Abraham's wife, his bride from the\nhero; for that deed death shall tear thy soul from thy\nbreast!\"", "many years. But it was not vouchsafed to Abraham\nas yet that his bright-faced bride should bring into the\nworld a guardian for his heritage, that Sarra [should", "with child by the chieftain. Abraham with his own hand\nset the sign upon him, as the Lord glorious in splendor\nbade him, about a week from the time when his mother 2770", "We should no longer be together, for my pleasure, if I\nmight have my way. Never shall Ismael share the\nheritage with Isaac, my own son, after thee, when thou", "Then AbimÃ¦leh began to enrich Abraham with worldly\ntreasures and returned his wife to him: he gave him\nto boot, when he received his wife, live stock and bright", "Her spirit exalted itself, when she had become pregnant\nwith a man-child by Abraham; stiff-necked in scorn she\nbegan to despise her mistress, showed insolence, was", "accordance with these words here pronounced. I will now\nbless with my grace Ismael, as thou art petitioner, for\nthy first born, so that he may dwell many days in the", "Now the period of time had come when Abraham 1720\nbrought a wife, a fair and free-born bride to his house,", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "\"Let the sorrow and heart-felt grief slip from thy\nbreast, and obey the woman, thy wife. Bid both Agar", "wife of Abraham had given way to hopeless laughter,\nin her bower, then the Holy God said:", "to Abraham: with my word I tell thee now that this 2285\nman-child shall be called Ismahel, among men. He\nshall be rough, warlike, hostile to the races of men and", "promise to the dear man and woman. A son was be-\ngotten of Abraham upon his wife, whom the Prince of\nthe Angels named Isaac even before the mother was great 2765", "maiden afflict me every day by deed and word, ever\nsince Agar entered thy bed in place of thy wife, as was", "Then Abraham in haste laid his cheek on the earth,\nand with scorn turned over these words in his mind, the", "ye bear that sign with true faith. Thou shalt possess 2325\na son, a child by thy wife, whom men shall all call Isaac.", "him. So Abraham spoke to his servants:" ], [ "name was Loth. Thereafter the righteous heroes,\nAbraham and Loth, throve nobly in the Lord's sight, as 1715\nthe inheritance in the kingdom came to them from their", "and wealth in their cities; therefore the King of the\nAngels sent his fervid fire to punish them. Our faithful 2585\nLord then remembered Abraham mercifully, the dear", "So Abraham set out with the three chieftains who had\njust pledged their troth to him, and the band of their\nfollowers. He wished to rescue his kinsman at least,", "and wide, that men had owned in the cities of Sodoma\nand Gomorra: all this, together with the people, God 2560\nthe Lord destroyed.", "Sodoma came, young and old, hateful to God, to demand\nthe strangers, with a great throng so that they surrounded 2455\nLoth and his guests by the multitude of their force;", "sins gave Sodoma and Gomorra to destruction, to the\ndark flames. So the son of Aron chose his dwelling-\nplace there, a settlement in the city of Sodoma, and", "Sodoma and Gomorra, southward from there. Then was\nthe country of the men by Iordan widely besieged by\nwarriors, the land [was surrounded] by foes. Many", "upon Sodom, the lofty city: they saw palaces tower up\nabove treasures, halls above red gold. Then the right-", "Section XXX (Gen. 19.1-13, 18-26) 45 (185)", "of the man was in dire straits. The King of the Angels, 2795\nthe Eternal Lord, spoke to Abraham:", "the war-track to see the retreat of the wicked men. Lot\nwas freed, the chieftain with his possessions, [while] the\nwomen [and] wives were restored to joy. Far and wide", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "Then the good man built an altar and offered sacrifice\nto the Ruler of Life and Source of Light, the Protector\nof souls. Thereupon Abraham traveled still further from", "he reported to the Ebrew chieftain the outcome of the\nfray,--the people of Sodoma sorely stricken, the nation's\nwealth, and Loth's situation. Thereupon Abraham re-", "Then the people of Sodoma was southward from\nthere, to bear the news as to what rout of their fierce", "us, because of the people's sins, to give over Sodoma and 2505\nGomorra to black flame and fire, and to slay these people,", "for his deeds, did not dare to tarry longer in the strong- 2590\nhold for fear of the Lord, but Loth departed from the\ncity with his children to seek a dwelling-place far from", "Mamre, and Escol. I am unwilling to deprive these\nwarriors of their rights: for they stood by me in the\ncombat, and fought in your behalf. Go now and take", "Section XXXII (Gen. 20.1-10) 50 (190)" ], [ "Then AbimÃ¦leh began to enrich Abraham with worldly\ntreasures and returned his wife to him: he gave him\nto boot, when he received his wife, live stock and bright", "Then the king sent his ministers and bade them bring\nto him [the wife of Abraham].[36] Thus for the second\ntime in a foreign land, the wife of Abraham was taken 2630", "was still angry at Abimeleh for the sin which he had\ncommitted against Sarra and Abraham, when he sepa-\nrated these two loving ones, the wife and the husband. 2745", "\"Thou hast taken Abraham's wife, his bride from the\nhero; for that deed death shall tear thy soul from thy\nbreast!\"", "many years. But it was not vouchsafed to Abraham\nas yet that his bright-faced bride should bring into the\nworld a guardian for his heritage, that Sarra [should", "Now the period of time had come when Abraham 1720\nbrought a wife, a fair and free-born bride to his house,", "fear, the king of Egipt called Abraham to him and gave\nhim his bride, [returned] his wife into his keeping, bade\nhim seek friends elsewhere, noblemen of another race.", "\"Give back this woman to Abraham, his wife, into 2655\nhis possession, if thou wishest for life any longer in this", "So Abraham set out with the three chieftains who had\njust pledged their troth to him, and the band of their\nfollowers. He wished to rescue his kinsman at least,", "Lord first through His own word foretold this day of\nhappiness. Now the matter so happened that his wife\nonce saw Ismael playing before Abraham where they", "Then the brother of Aron set out with his wife to take 2620\nhis possessions and his household to Abimelech. Abra-", "came here; therefore I concealed from thy ministers and\nfrom thyself as well as possible the true statement that\nSarra was wont to enter my bed with me as my wife.\" 2715", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "\"Let the sorrow and heart-felt grief slip from thy\nbreast, and obey the woman, thy wife. Bid both Agar", "Her spirit exalted itself, when she had become pregnant\nwith a man-child by Abraham; stiff-necked in scorn she\nbegan to despise her mistress, showed insolence, was", "Then Sarra was grieved at heart that no son had come 2215\nto Abraham through their wedlock, a free-born heir for\ntheir solace; so the sorrowful one began to speak to her\nhusband in these words:", "had to fare forth, to give up Carran and his kinsfolk.\nSo Abraham set out, mindful of the instructions of the 1780\nFather Almighty, to look for the broad land beyond", "Then Abraham in haste laid his cheek on the earth,\nand with scorn turned over these words in his mind, the", "Loth, when he gave him back his son, Isaac, alive. Then 2925\nthe holy hero looked about over his shoulder, and there\nnot far from him the brother of Aron beheld a ram", "Then Abraham took [all his] possessions out of the\ncountry of Egypt: these worthy heroes took their wives, 1875\nboth brides and rings, while they brought their flocks" ], [ "About thirteen years after that, the Lord and Ever-\nlasting King spoke with Abraham:", "Then Abraham, preÃ«minently upright, rich, and blessed\nwith gold and silver, set out to take his flocks and", "Thereupon Abraham, the vigorous leader, proceeded 1845\nwith his possessions into Egypt, where the people were\nstrange to him, and friends unknown. Many haughty", "Then Abraham gave pledges to Abimeleh that he would\n[do] thus.\n\n\n\n\nXXXV.", "Then AbimÃ¦leh began to enrich Abraham with worldly\ntreasures and returned his wife to him: he gave him\nto boot, when he received his wife, live stock and bright", "Then the king sent his ministers and bade them bring\nto him [the wife of Abraham].[36] Thus for the second\ntime in a foreign land, the wife of Abraham was taken 2630", "Abraham and Loth lived in these dwellings and had 1890\nabundance of prosperity, ruled over their heritage, until", "Then the brother of Aron set out with his wife to take 2620\nhis possessions and his household to Abimelech. Abra-", "foes had occurred. Forthwith the king of the people,\nbereft of his nobles and stripped of friends, went out to\nmeet Abraham; he brought with him the master of the 2100", "Now the period of time had come when Abraham 1720\nbrought a wife, a fair and free-born bride to his house,", "So Abraham set out with the three chieftains who had\njust pledged their troth to him, and the band of their\nfollowers. He wished to rescue his kinsman at least,", "and settle their homes, and renew their prosperity.\nThe men built an altar in the meadows near the one that\nAbraham had formerly reared to his Lord, when he", "the nobly-born sons of the patriarchs took up their\ndwelling in Carran, the men with their wives. In his\nhome here Abraham's father departed this life, the 1740", "name was Loth. Thereafter the righteous heroes,\nAbraham and Loth, throve nobly in the Lord's sight, as 1715\nthe inheritance in the kingdom came to them from their", "had to fare forth, to give up Carran and his kinsfolk.\nSo Abraham set out, mindful of the instructions of the 1780\nFather Almighty, to look for the broad land beyond", "Then the good man built an altar and offered sacrifice\nto the Ruler of Life and Source of Light, the Protector\nof souls. Thereupon Abraham traveled still further from", "many years. But it was not vouchsafed to Abraham\nas yet that his bright-faced bride should bring into the\nworld a guardian for his heritage, that Sarra [should", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "he wisely wished to seek the land of Canan, with his\nhousehold. The cousins chosen by the Lord, Abraham\nand Loth, went with him out of their heritage. Then 1735", "with child by the chieftain. Abraham with his own hand\nset the sign upon him, as the Lord glorious in splendor\nbade him, about a week from the time when his mother 2770" ], [ "Likewise, at this same time, there was in this family\na man called Tubal Cain, a son of Lamech, who through", "two fair first-born sons, Cain and Abel. The books\ntell us how these first toilers, loving brothers, gained 970\ntheir subsistence, riches and food: the one who was", "XI.\n\n\nThen God wrathfully spoke to Eve:", "Cain, destroyed with my hands the father of Enos, the\nslayer of Abel, and poured on the ground the life-blood\nof a man. Well knew I that for this shall come at last", "the sons of men (and so they still do), from which the\nbroad leaves of all suffering began to spring. We may 995\ntearfully lament this account, this death-bringing fatal-", "But when the sons of God began to seek brides among\nthe race of Cain, the accursed folk, and chose wives 1250", "foes far or near might dare to approach him with warlike\nintent; then he bade the wicked one leave forever his\nmother and sons, all his family. Thereupon Cain set", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "Now, there came to Adam in Abel's place another 1105\nheir born in legal wedlock, an upright son, whose name", "The eldest was called Enos, first-born of Cain; he 1055\nbegan at once to build a city, with his kinsfolk: that", "was Seth: he was happy and contributed greatly to the\ncomfort of his parents, Adam and Eve, his father and\nmother, and took Abel's place in worldly affairs. 1110", "Once on a time Lamech himself made in words a wicked 1090\nconfession to his two wives, his dear bed-fellows, Ada\nand Sella:", "After that his sons dispensed the treasures: they\nbegot children: great was their wealth. Thus to Iafeth", "Then Almighty God asked Eve about this:", "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "was born to him: when an heir was born for the patri-\nmony, this son of Cainan was called Malalehel. There- 1160", "\"The Eternal Lord of Victory and Ruler of Life has\ngiven me a son in place of the dear one whom Cain", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:" ], [ "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "two fair first-born sons, Cain and Abel. The books\ntell us how these first toilers, loving brothers, gained 970\ntheir subsistence, riches and food: the one who was", "After that his sons dispensed the treasures: they\nbegot children: great was their wealth. Thus to Iafeth", "Noe enjoyed his broad heritage with his sons, free men,\nfor 350 winters of this life after the flood: then he passed 1600\naway.", "of Seth, fruitful in the Lord. He was dear to God, and\nlived here 90 winters before he begot children here by\nhis wife through intercourse: to him then was Cainan", "The people multiplied widely under the skies: the\nrace of men increased in number over the earth, by 1245\n[the birth of] sons and daughters. Now the descendants", "increase the numbers of his family by sons and daughters.\nThe eldest son of Seth was called Enos: he first of all 1135\nthe children of man called upon God,[14] since Adam", "the sons of men (and so they still do), from which the\nbroad leaves of all suffering began to spring. We may 995\ntearfully lament this account, this death-bringing fatal-", "after for 840 [years] he increased the number of his\nfamily by [begetting] children. In all, the son of Enos", "Likewise, at this same time, there was in this family\na man called Tubal Cain, a son of Lamech, who through", "stepped upon the green grass, endowed with the spirit\nof life. Seth was happy, and afterwards begot sons", "number of its sons, prosperous in blessings, as I promised\nthee by my word.\"", "when he began to beget children by his wife. His wife\nbrought a son to him, the woman to the man: this son\nin his childhood, as I have heard, the man-child in his", "bring a son into the world to him; he knew well that his\nwife had already numbered at least one hundred winters,\nby actual reckoning. So then, wise in years, he spoke 2345", "was Seth: he was happy and contributed greatly to the\ncomfort of his parents, Adam and Eve, his father and\nmother, and took Abel's place in worldly affairs. 1110", "XI.\n\n\nThen God wrathfully spoke to Eve:", "Then Almighty God asked Eve about this:", "Now, there came to Adam in Abel's place another 1105\nheir born in legal wedlock, an upright son, whose name", "The eldest son of Noe was called Sem, the next Cham, 1240\nthe third Jafeth.", "Sons of Cham were born, likewise, heirs for the pa- 1615\ntrimony: the eldest were called Chus and Cham, very" ], [ "of the broad earth. For forty days will I set my ven-\ngeance against mankind, and with a deluge blot out all\nthe possessions and possessors that are beyond the sides", "\"I am resolved to destroy humanity by means of a\ndeluge, and also every kind of living thing that the air\nand waters produce and support, both beast and bird:", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "our Saviour and merciful Father wished to find out\nwhat his children were doing: he knew that they were\nsinful to whom he had given perfection. Bereft of", "Lord, when the Wielder of Victory himself saw what 1270\nwas man's wickedness on earth, and how they all were\nbold in crime and utterly vicious. He thought to", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "XI.\n\n\nThen God wrathfully spoke to Eve:", "They had committed a dire sin against God: on that\naccount dire punishment befell them. They asserted,\nin fierce mood, that they wished to seize the kingdom", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "with sin, polluted with foulness. Then spoke the Al- 1295\nmighty, our Saviour, and said to Noe:", "and wide, that men had owned in the cities of Sodoma\nand Gomorra: all this, together with the people, God 2560\nthe Lord destroyed.", "wished to inflict punishment upon the covenant-breakers,\nand to smite with death the doers of evil, the giant folk\nunloved by God, the great and sinful foes hateful to the", "world, as protector of the nobles. He is good and wise,\nand may himself speak with [God] and see the King of\nGlory. Thou shalt die, with thy flocks and thy sub-", "the inundation killed all creatures upon earth other than\nthose whom the Lord of Heaven saved on board the Ark,\nwhen the Holy God everlasting, the steadfast King, let 1405", "Then Abraham in haste laid his cheek on the earth,\nand with scorn turned over these words in his mind, the", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005", "formerly spoken with his Lord in words. He saw the\nreek of death and destruction ascending widely from\nthe earth. Riches and feasting preoccupied [the people]", "* * * * *\n\n(_Genesis B intervenes here_.)\n\n * * * * *", "Then Almighty God asked Eve about this:", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000" ], [ "parted in bands separated by their speech: one had\nbecome to another a strange race, after the Lord by the 1695\nfullness of his might had confused the speech of men.", "The disunited sons of the patriarchs then parted in\nfour directions to seek land: behind them, both the 1700\nmighty tower of stone and the lofty city stood on Sennar", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "inhabitants of earth, so that they no longer had control\nof their speech. They found then multitudes at the\ntower with victorious strength, leaders of work in vast", "began to rear up to the skies; and the steadfast King\nachieved the prevention of this evil design, when in\nwrath he distributed different languages among the 1685", "place. Then speedily the broad ocean stood all together\nunder heaven, as the Holy One commanded, for the\nflood was sundered from the dry land. Thereupon", "There were often dissensions among the followers of the\nsteadfast heroes, quarrels among the herdsmen. Then\nthe blessed Abraham, mindful of their honor, began to", "The people multiplied widely under the skies: the\nrace of men increased in number over the earth, by 1245\n[the birth of] sons and daughters. Now the descendants", "ations of the firmament: this the Mighty One, omnipotent\nKing, reared aloft from the earth through his own word. 150\nThe flood was divided under the high heavens by holy", "the earth, numbers of the nation in search of land, they\nshould build a city and raise up a tower to the stars of\nheaven as a sign that they had sought Sennar fields because", "alone amid strangers. The Lord of the Angels showed\nhim a dwelling-place which the men dwelling in the city\ncalled the land of Bersaba. There the pious man built", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "from among them against the will of God, the children\nof men from among the sinful maidens, beautiful and\nbright, then the Ruler of the heavens pronounced his", "Then the first of men spoke these words:", "Iafeth: from these warriors the nations sprang and all\nthis earth was filled with the children of men.", "* * * * *\n\n(_Genesis B intervenes here_.)\n\n * * * * *", "After that his sons dispensed the treasures: they\nbegot children: great was their wealth. Thus to Iafeth", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "Then the good man built an altar and offered sacrifice\nto the Ruler of Life and Source of Light, the Protector\nof souls. Thereupon Abraham traveled still further from", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005" ], [ "\"Let the sorrow and heart-felt grief slip from thy\nbreast, and obey the woman, thy wife. Bid both Agar", "\"Thou hast taken Abraham's wife, his bride from the\nhero; for that deed death shall tear thy soul from thy\nbreast!\"", "ward [to see] this devastation. The Scriptures tell us\nthat she immediately turned into the likeness of a pillar\nof salt: ever since then this statue has stood there 2565", "When Loth's wife, his bride in the city, heard the din\nof fire, the death of the people, then she looked back-", "Then I heard how the wife spoke to her husband in the\nsorrow of her heart, with these words; sad in mind she\nspoke, and said bitterly:", "Then Abraham's queen became unkind, wrathful in 2260\nheart towards her serving-maid, hard and cruel, spoke", "Then the holy man yielded to the advice of his wife,\nand bade the handmaiden go to his couch as a bride.[29] 2235", "Then the king sent his ministers and bade them bring\nto him [the wife of Abraham].[36] Thus for the second\ntime in a foreign land, the wife of Abraham was taken 2630", "Her spirit exalted itself, when she had become pregnant\nwith a man-child by Abraham; stiff-necked in scorn she\nbegan to despise her mistress, showed insolence, was", "Then the man obeyed his Master and drove from his\nhome the sad-minded pair, [drove] from his patrimony 2805\nthe woman and his own son....[39]", "motion less (this is a strange story), where she incurred\nthis severe penalty because she would not obey the\nministers of glory in their commands: now, stiff and", "They had committed a dire sin against God: on that\naccount dire punishment befell them. They asserted,\nin fierce mood, that they wished to seize the kingdom", "Once on a time Lamech himself made in words a wicked 1090\nconfession to his two wives, his dear bed-fellows, Ada\nand Sella:", "Lord first through His own word foretold this day of\nhappiness. Now the matter so happened that his wife\nonce saw Ismael playing before Abraham where they", "to instruct his wife, in these words:", "was still angry at Abimeleh for the sin which he had\ncommitted against Sarra and Abraham, when he sepa-\nrated these two loving ones, the wife and the husband. 2745", "maiden afflict me every day by deed and word, ever\nsince Agar entered thy bed in place of thy wife, as was", "Then the brother of Aron set out with his wife to take 2620\nhis possessions and his household to Abimelech. Abra-", "XI.\n\n\nThen God wrathfully spoke to Eve:", "Then Abraham in haste laid his cheek on the earth,\nand with scorn turned over these words in his mind, the" ], [ "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "Then the good man built an altar and offered sacrifice\nto the Ruler of Life and Source of Light, the Protector\nof souls. Thereupon Abraham traveled still further from", "Lord first through His own word foretold this day of\nhappiness. Now the matter so happened that his wife\nonce saw Ismael playing before Abraham where they", "Loth, when he gave him back his son, Isaac, alive. Then 2925\nthe holy hero looked about over his shoulder, and there\nnot far from him the brother of Aron beheld a ram", "gold began to harness his asses, and bade two young men\ngo with him: his own son was the third and he himself\nthe fourth. Without delay he then set out to lead Isaac 2870", "offer up Isaac to me, thy son as a sacrifice. After thou\nascendest on foot the steep dune, the bordering circle of\nthat high land which I shall show thee from here, there 2855", "fire and sword. Then the man young in years began\nto ask Abraham about the affair, in these words:", "\"Beloved Abraham! Do not slay thine own son, but\ntake the boy alive from the pile, thy child. The God 2915", "words. Forthwith he began to build the funeral-pyre\nand kindle the fire, and he bound his son hand and foot,\nand then laid young Isaac on the pile, and then straight-", "of Angels was sacred to him, and his Master was beloved.\nThen the pious Abraham forsook his nightly repose,\nwith no resistance at all to the command of the Saviour,", "\"Go forth now speedily, Abraham, hasten thy steps, 2850\nand take with thee thine own child. Thou shalt thyself", "with child by the chieftain. Abraham with his own hand\nset the sign upon him, as the Lord glorious in splendor\nbade him, about a week from the time when his mother 2770", "Abraham did as the Eternal bade him, set the sign\nof peace on his son, by the Lord's command, and bade 2370", "ye bear that sign with true faith. Thou shalt possess 2325\na son, a child by thy wife, whom men shall all call Isaac.", "sacrifice to the Lord of his life. Not at all sparingly\ndid God, through His own hand, give him reward for", "in place of his own son, brandished the sword, and dec-\norated the burnt-offering, the smoking altar, with the\nblood of the ram, offered that oblation to God, [and fin-", "Then again to Abraham the High-King of Heaven 2165\nshowed himself, with holy speech comforted the wise-\nhearted man, and spoke to him thus:", "Then Abraham, preÃ«minently upright, rich, and blessed\nwith gold and silver, set out to take his flocks and", "accordance with these words here pronounced. I will now\nbless with my grace Ismael, as thou art petitioner, for\nthy first born, so that he may dwell many days in the", "There Abraham for the second time built an altar:\nthere he called upon God with noble words, and offered" ], [ "show to his own father nor at least conceal the dis-\ngrace from his kinsmen; but laughing aloud he told\nhis brothers how the patriarch rested in the house.", "\"Why didst thou cast that virtuous man, thy brother, 1010\non his death-bed with thy violent hands, and his blood", "We should no longer be together, for my pleasure, if I\nmight have my way. Never shall Ismael share the\nheritage with Isaac, my own son, after thee, when thou", "gold began to harness his asses, and bade two young men\ngo with him: his own son was the third and he himself\nthe fourth. Without delay he then set out to lead Isaac 2870", "Then Abraham in haste laid his cheek on the earth,\nand with scorn turned over these words in his mind, the", "After that his sons dispensed the treasures: they\nbegot children: great was their wealth. Thus to Iafeth", "Loth, when he gave him back his son, Isaac, alive. Then 2925\nthe holy hero looked about over his shoulder, and there\nnot far from him the brother of Aron beheld a ram", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "\"Never shall thy steward possess the heritage of thy\nsons: but thine own children shall hold the treasure,\nwhen thy flesh lies [in the grave]. Behold the sky. Count", "race, cruel hunger, deadly to home-staying men. Then 1815\nthe wise Abraham, chosen by the Lord, went into Egypt\nto seek sustenance; the sage fled before evil: the plague", "\"To far distant times shalt thou, an outcast, crawl\nover the broad earth on thy breast, thy belly; without\nfeet shalt thou move about, so long as life and breath", "\"Thou hast taken Abraham's wife, his bride from the\nhero; for that deed death shall tear thy soul from thy\nbreast!\"", "Then the brother of Aron set out with his wife to take 2620\nhis possessions and his household to Abimelech. Abra-", "Then Abraham's queen became unkind, wrathful in 2260\nheart towards her serving-maid, hard and cruel, spoke", "After this fatal blow woe was aroused, the long train\nof afflictions: since then from this twig have hatefully", "The disunited sons of the patriarchs then parted in\nfour directions to seek land: behind them, both the 1700\nmighty tower of stone and the lofty city stood on Sennar", "born, any affection and duty, when honor was due him.\nThat was bitter to the heart of the holy man, and he\nbegan to curse his son with [harsh] words: he said that", "riches to his brothers, the private property of his father,\nafter Cham fared forth from the body when death fell\nto his lot. This leader of the people delivered judgments 1625", "of its race. Next to Jared, Malalehel was the keeper\nof the heritage after his father, until he passed away.\nAfterwards Mathusal shared the royal treasures with", "fire and sword. Then the man young in years began\nto ask Abraham about the affair, in these words:" ], [ "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "He did so, and obeyed the Lord, stood forth upon the\nstrand, as the Voice bade him, and with great joy led 1495\nout of the ship the survivors of these perils.", "family, whom the Source of Light and Life had locked\nup against the water in the bosom of the ship. The\nLord of mankind led the heroes by his Word over far", "Noe enjoyed his broad heritage with his sons, free men,\nfor 350 winters of this life after the flood: then he passed 1600\naway.", "would have seized them with violence in the sea-traver-\nsing vessel, but the Holy God led and preserved them.\nFifteen ells deep, by man's measure, stood the deluge", "the inundation killed all creatures upon earth other than\nthose whom the Lord of Heaven saved on board the Ark,\nwhen the Holy God everlasting, the steadfast King, let 1405", "Depart in peace out of the Ark, and lead forth upon the\nbosom of the earth out of this lofty structure your com-\npanions and all the creatures which I mercifully preserved 1490", "man, as he often had done, and saved his kinsman, Loth,\nwhen the multitude perished. The [latter] hero, famed", "Noe and his sons too, that [the patriarch] had given Him\nthis offering acceptably and in his youth had merited\nby his good deeds that Almighty God, Glorious in", "Then Noe began to institute a sacrifice to our Preserver,\nand immediately took a part of all his possessions which", "Keeper of Life, the Almighty King, gave him relief from\nthe perilous chances which he had long undergone,\nwhen the dark waves bore him abroad on the deep over 1430", "the Ark aloft from the ground, and its noble crew with it,\n[the Ark] which the Lord Himself, our Creator, blessed, 1390\nwhen he locked the ship. Thereafter this best of ships", "Then God, Wielder of Victory, was mindful of those\nfloating on the deep, the son of Lamech and all his 1410", "our Saviour blessed [all] within the Ark with his own\ngrace. Noe, the son of Lamech, had 600 winters when", "Then our Preserver spoke to Noe: \"I give thee my\npledge for this, O dearest of mankind, that thou mayst", "Thus was the prudent son of Lamech, the keeper of\nthe heritage, disembarked from his ship after the flood 1545", "\"My men! Remain ye here in this place. We shall 2880\nreturn, after we have offered to the King of Spirits what\nwas entrusted to us both.\"", "upon the flood until this number of days of dire time 1420\nhad passed. Then the Ark of Noe, greatest of ocean-\nhomes, settled on high with its burden on the hills which", "vast sea-house, Noe's vessel, towered up in readiness,\nstrengthened within and without with the best earth-\nlime, against the waves; it is unique in its kind: the", "The flood was sinking; the sea-farers, the heroes and\ntheir wives, longed [for the time] when they might\nventure to step out of their straitened quarters over the" ], [ "\"The serpent tempted me and urgently prompted me\nto sin; through fair words the worm goaded me into", "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "Then Almighty God asked Eve about this:", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "\"The woman, my Lord, the fair woman gave into\nmy hand this fruit, which I accepted in sin against thee. 885\nNow I bear this manifest sign in myself: I know so much\nthe more of sorrow!\"", "Then our Saviour, the Lord Almighty, ordained wide\nwanderings for the serpent, the venomous worm, and 905\nspoke further in these words:", "spacious and heaven-bright. Then there fell upon\nthem, grievously, the envy, presumption, and pride\nof the Angel who first began to carry out the evil plot, 30", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "XI.\n\n\nThen God wrathfully spoke to Eve:", "set forth and depart from paradise into a harder life.\nBehind them, by God's command, a holy angel with a 945\nfiery sword shut the gate of their blissful home of peace", "Lines 852-871 (Gen. 3.8-10) 7 (147)", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "at line 852, with the conversation between Adam and Eve and Jehovah\n(Gen. 3.8 ff.).]", "creation, should be alone any longer: so the supreme\nKing, Ruler Almighty, made a companion for him--\ncreated Woman, and gave this helpmate to his cherished 175", "the grove, as it was not lawful to do, and ate the fruit.\"", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "hands, but on the contrary delight in all things! How\ncome you to know evil and hide shame and behold sor-\nrow and cover your body with leaves and, saddened and", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "but went forth on a journey to go into the wilderness.\nThere a servant of glory, an angel of the Lord, found her\nsorrowing; he eagerly asked her:", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005" ], [ "fourth, fifth, and perhaps first part of the sixth, days, including the\ncreation of man, (i.e., apparently the contents of Gen. 1.11-2.17,", "he formed the two names of the dispensers of life: light\nwas first called \"Day\" by the word of the Lord, a 130\nbeauteous creation. This period of creation greatly", "Then our Maker beheld the beauty of his works and\nthe fullness of his abundance, his new creations. Pa-", "place. Then speedily the broad ocean stood all together\nunder heaven, as the Holy One commanded, for the\nflood was sundered from the dry land. Thereupon", "pleased God, in the beginning: the first day saw the\ndark shadows duskily flee away over the wide earth.", "creation, should be alone any longer: so the supreme\nKing, Ruler Almighty, made a companion for him--\ncreated Woman, and gave this helpmate to his cherished 175", "these two: ever since then they have ceaselessly wrought\nand fulfilled the will of the Lord over the earth.\nThen the second day advanced, light after darkness;", "Ruler of everyone born of the race of man, blessed these\nfirst two creatures, father and mother, woman and\nman. Thereafter he spoke these words: 195", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "over the waste spaces, as the Creator had ordained it.\nThe Wielder of Victory next sundered light from darkness,\nshadow from radiance, over the surge of the sea. Then", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "Lord first through His own word foretold this day of\nhappiness. Now the matter so happened that his wife\nonce saw Ismael playing before Abraham where they", "of the broad earth. For forty days will I set my ven-\ngeance against mankind, and with a deluge blot out all\nthe possessions and possessors that are beyond the sides", "dear to God: therefore he enjoyed tranquility happily\nand proceeded under the shadow of his Creator, covered 2740\nby His protecting wings, while he lived. But God", "accordance with these words here pronounced. I will now\nbless with my grace Ismael, as thou art petitioner, for\nthy first born, so that he may dwell many days in the", "waste, until this world-creation came to pass through\nthe word of the King of Glory. First the everlasting\nLord, protector of all things, created heaven and earth;", "and every living thing that walks the earth; all breath-\ning creatures, whatsoever the sea brings forth over the 205\nwhale-paths, all things belong to you two.\"", "Life's Ruler looked upon the dry land, the Preserver of\nmankind [found it] widely visible, and the King of 165\nGlory called it \"Earth.\" He established a proper", "XXVI.\n\n\nThen Abraham, famed for his deeds, answered his\nLord and asked Him, in the fullness of his days:", "fashioned the first evening, but on its track rushed a\nthronging welter of darkness which the Lord himself\ncalled by the name of \"Night.\" Our Saviour sundered 140" ], [ "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "creation, should be alone any longer: so the supreme\nKing, Ruler Almighty, made a companion for him--\ncreated Woman, and gave this helpmate to his cherished 175", "Ruler of everyone born of the race of man, blessed these\nfirst two creatures, father and mother, woman and\nman. Thereafter he spoke these words: 195", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "he formed the two names of the dispensers of life: light\nwas first called \"Day\" by the word of the Lord, a 130\nbeauteous creation. This period of creation greatly", "As yet there was nothing at all created here, except\nshadows, but this broad earth stood deep and dim, idle 105\nand useless, alien even to God himself; on it the King", "bone while the man was unwounded. From this God\nfashioned a noble woman, and put into her the breath\nof life and an immortal soul: these two were like the 185", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "Then Almighty God asked Eve about this:", "Life's Ruler looked upon the dry land, the Preserver of\nmankind [found it] widely visible, and the King of 165\nGlory called it \"Earth.\" He established a proper", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "fourth, fifth, and perhaps first part of the sixth, days, including the\ncreation of man, (i.e., apparently the contents of Gen. 1.11-2.17,", "place. Then speedily the broad ocean stood all together\nunder heaven, as the Holy One commanded, for the\nflood was sundered from the dry land. Thereupon", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005", "Then our Maker beheld the beauty of his works and\nthe fullness of his abundance, his new creations. Pa-", "the holy word of the Lord and feared him. Straight-\nway the King of Heaven began to call for the keeper\nof the [newly] created world; the mighty Lord bade", "fashioned the first evening, but on its track rushed a\nthronging welter of darkness which the Lord himself\ncalled by the name of \"Night.\" Our Saviour sundered 140", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "increase the numbers of his family by sons and daughters.\nThe eldest son of Seth was called Enos: he first of all 1135\nthe children of man called upon God,[14] since Adam" ], [ "creation, should be alone any longer: so the supreme\nKing, Ruler Almighty, made a companion for him--\ncreated Woman, and gave this helpmate to his cherished 175", "bone while the man was unwounded. From this God\nfashioned a noble woman, and put into her the breath\nof life and an immortal soul: these two were like the 185", "Then Almighty God asked Eve about this:", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "XI.\n\n\nThen God wrathfully spoke to Eve:", "Ruler of everyone born of the race of man, blessed these\nfirst two creatures, father and mother, woman and\nman. Thereafter he spoke these words: 195", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "without emendation, I have not followed the various scholars who would\ninsert after \"Adam's bride\" some such clause as, \"Whom God named Eve.\"]", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "As yet there was nothing at all created here, except\nshadows, but this broad earth stood deep and dim, idle 105\nand useless, alien even to God himself; on it the King", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "he formed the two names of the dispensers of life: light\nwas first called \"Day\" by the word of the Lord, a 130\nbeauteous creation. This period of creation greatly", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "Once on a time Lamech himself made in words a wicked 1090\nconfession to his two wives, his dear bed-fellows, Ada\nand Sella:", "place. Then speedily the broad ocean stood all together\nunder heaven, as the Holy One commanded, for the\nflood was sundered from the dry land. Thereupon", "Then our Maker beheld the beauty of his works and\nthe fullness of his abundance, his new creations. Pa-", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "of Seth, fruitful in the Lord. He was dear to God, and\nlived here 90 winters before he begot children here by\nhis wife through intercourse: to him then was Cainan", "when he began to beget children by his wife. His wife\nbrought a son to him, the woman to the man: this son\nin his childhood, as I have heard, the man-child in his" ], [ "bone while the man was unwounded. From this God\nfashioned a noble woman, and put into her the breath\nof life and an immortal soul: these two were like the 185", "creation, should be alone any longer: so the supreme\nKing, Ruler Almighty, made a companion for him--\ncreated Woman, and gave this helpmate to his cherished 175", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "Then Almighty God asked Eve about this:", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "XI.\n\n\nThen God wrathfully spoke to Eve:", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "Ruler of everyone born of the race of man, blessed these\nfirst two creatures, father and mother, woman and\nman. Thereafter he spoke these words: 195", "fourth, fifth, and perhaps first part of the sixth, days, including the\ncreation of man, (i.e., apparently the contents of Gen. 1.11-2.17,", "Then our Maker beheld the beauty of his works and\nthe fullness of his abundance, his new creations. Pa-", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "As yet there was nothing at all created here, except\nshadows, but this broad earth stood deep and dim, idle 105\nand useless, alien even to God himself; on it the King", "in the majesty of God. They had no knowledge of\nworking evil or wickedness, but dwelt in innocence 20\nforever with their Lord: from the beginning they wrought", "was filled with the breath of life by the mouth of God!", "without emendation, I have not followed the various scholars who would\ninsert after \"Adam's bride\" some such clause as, \"Whom God named Eve.\"]", "hands, but on the contrary delight in all things! How\ncome you to know evil and hide shame and behold sor-\nrow and cover your body with leaves and, saddened and", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "place. Then speedily the broad ocean stood all together\nunder heaven, as the Holy One commanded, for the\nflood was sundered from the dry land. Thereupon" ], [ "Then Almighty God asked Eve about this:", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "XI.\n\n\nThen God wrathfully spoke to Eve:", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "the grove, as it was not lawful to do, and ate the fruit.\"", "Lines 169-234 (Gen. 1.28, 31; 2.10-14, 18, 21, 22) 5 (145)", "set forth and depart from paradise into a harder life.\nBehind them, by God's command, a holy angel with a 945\nfiery sword shut the gate of their blissful home of peace", "at line 852, with the conversation between Adam and Eve and Jehovah\n(Gen. 3.8 ff.).]", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:", "Ruler of everyone born of the race of man, blessed these\nfirst two creatures, father and mother, woman and\nman. Thereafter he spoke these words: 195", "The Ruler of Heaven did not think it fitting that 170\nAdam, the keeper of Paradise and shepherd of the new", "Lines 852-871 (Gen. 3.8-10) 7 (147)", "Yet the Almighty, our First Father, would not take\naway all comforts from Adam and Eve, though they had\nfallen away from him: but he still let the lofty roof 955", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "Then Noe left him, as our Preserver commanded, in\norder to lead his children on board the Ark, men and their\nwives together on the great ship; and all that God Al-", "two fair first-born sons, Cain and Abel. The books\ntell us how these first toilers, loving brothers, gained 970\ntheir subsistence, riches and food: the one who was", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he" ], [ "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "\"The serpent tempted me and urgently prompted me\nto sin; through fair words the worm goaded me into", "spacious and heaven-bright. Then there fell upon\nthem, grievously, the envy, presumption, and pride\nof the Angel who first began to carry out the evil plot, 30", "\"The woman, my Lord, the fair woman gave into\nmy hand this fruit, which I accepted in sin against thee. 885\nNow I bear this manifest sign in myself: I know so much\nthe more of sorrow!\"", "Then our Saviour, the Lord Almighty, ordained wide\nwanderings for the serpent, the venomous worm, and 905\nspoke further in these words:", "Then Almighty God asked Eve about this:", "set forth and depart from paradise into a harder life.\nBehind them, by God's command, a holy angel with a 945\nfiery sword shut the gate of their blissful home of peace", "XI.\n\n\nThen God wrathfully spoke to Eve:", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "but went forth on a journey to go into the wilderness.\nThere a servant of glory, an angel of the Lord, found her\nsorrowing; he eagerly asked her:", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "hands, but on the contrary delight in all things! How\ncome you to know evil and hide shame and behold sor-\nrow and cover your body with leaves and, saddened and", "affiliations. _Genesis B_ describes the Fall of Man and also gives a new\nversion of the revolt and overthrow of Satan. _Genesis A_ begins again,", "Lines 852-871 (Gen. 3.8-10) 7 (147)", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005", "fashioned the first evening, but on its track rushed a\nthronging welter of darkness which the Lord himself\ncalled by the name of \"Night.\" Our Saviour sundered 140", "at line 852, with the conversation between Adam and Eve and Jehovah\n(Gen. 3.8 ff.).]", "Once on a time Lamech himself made in words a wicked 1090\nconfession to his two wives, his dear bed-fellows, Ada\nand Sella:" ], [ "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "Then Almighty God asked Eve about this:", "\"The woman, my Lord, the fair woman gave into\nmy hand this fruit, which I accepted in sin against thee. 885\nNow I bear this manifest sign in myself: I know so much\nthe more of sorrow!\"", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "XI.\n\n\nThen God wrathfully spoke to Eve:", "set forth and depart from paradise into a harder life.\nBehind them, by God's command, a holy angel with a 945\nfiery sword shut the gate of their blissful home of peace", "\"The serpent tempted me and urgently prompted me\nto sin; through fair words the worm goaded me into", "spacious and heaven-bright. Then there fell upon\nthem, grievously, the envy, presumption, and pride\nof the Angel who first began to carry out the evil plot, 30", "the grove, as it was not lawful to do, and ate the fruit.\"", "Lines 852-871 (Gen. 3.8-10) 7 (147)", "didst recently take to thyself with the apple, strikes\nthee cruelly to the heart: then shalt thou die.\"", "remain in thee. Dust shalt thou eat all the days of thy 910\nlife, since thou hast accomplished so evil a deed here.\nThee the woman shall war against, and hate thee", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "at line 852, with the conversation between Adam and Eve and Jehovah\n(Gen. 3.8 ff.).]", "hands, but on the contrary delight in all things! How\ncome you to know evil and hide shame and behold sor-\nrow and cover your body with leaves and, saddened and", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:", "of their versions is satisfactory or convincing, I venture upon an\nindependent reading. _Hebeleac_, of course, is the Scriptural Havilah", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world" ], [ "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "Then Almighty God asked Eve about this:", "\"The woman, my Lord, the fair woman gave into\nmy hand this fruit, which I accepted in sin against thee. 885\nNow I bear this manifest sign in myself: I know so much\nthe more of sorrow!\"", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "XI.\n\n\nThen God wrathfully spoke to Eve:", "the grove, as it was not lawful to do, and ate the fruit.\"", "didst recently take to thyself with the apple, strikes\nthee cruelly to the heart: then shalt thou die.\"", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "Once on a time Lamech himself made in words a wicked 1090\nconfession to his two wives, his dear bed-fellows, Ada\nand Sella:", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "remain in thee. Dust shalt thou eat all the days of thy 910\nlife, since thou hast accomplished so evil a deed here.\nThee the woman shall war against, and hate thee", "To him thus the sinner, gorged with feasting, replied 2640\nin his sleep:", "at line 852, with the conversation between Adam and Eve and Jehovah\n(Gen. 3.8 ff.).]", "angels. Thus was Adam's bride[6] endowed with a\nliving spirit. They were both radiantly beautiful in their\nyouthfulness, in the world prepared by the might of", "Then the holy man yielded to the advice of his wife,\nand bade the handmaiden go to his couch as a bride.[29] 2235", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005", "evening to seek the Ark over the dusky flood, and sank\nweary and famished in the hands of the pious hero.\nThen after a week the wild-dove was again sent out 1465", "two fair first-born sons, Cain and Abel. The books\ntell us how these first toilers, loving brothers, gained 970\ntheir subsistence, riches and food: the one who was", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:", "Lines 852-871 (Gen. 3.8-10) 7 (147)" ], [ "set forth and depart from paradise into a harder life.\nBehind them, by God's command, a holy angel with a 945\nfiery sword shut the gate of their blissful home of peace", "away from the blessings of paradise; the separation of\nsoul and body is now ordained for thee. Lo, thou hast\nwickedly originated sin: therefore thou shalt toil, and", "Then Almighty God asked Eve about this:", "crushed by the woes of life, say that you need clothing,\nunless you have tasted of an apple from the tree which 880\nI forbade to you by express command?\"", "XI.\n\n\nThen God wrathfully spoke to Eve:", "Likewise to Adam did the Eternal Lord, Source of 925\nLight and Life, declare a cruel edict:", "Thereupon the Guardian of Glory, our Creator, girded\nthem with clothing; the Lord bade them cover their\nnakedness with some simple garments, and bade them", "Then they began, by God's command, to produce 965\nchildren, as the Lord had charged them. To begin\nwith, by Adam and Eve were brought into the world", "two fair first-born sons, Cain and Abel. The books\ntell us how these first toilers, loving brothers, gained 970\ntheir subsistence, riches and food: the one who was", "ity, and not in vain: but the fair woman injured us\n[more] severely through the first sin which men dwelling\non earth ever committed against the Lord, since Adam 1000", "Yet the Almighty, our First Father, would not take\naway all comforts from Adam and Eve, though they had\nfallen away from him: but he still let the lofty roof 955", "Man as the first and fruitful light of his life. He took his\nmaterial from Adam's body and skilfully removed a\nrib from his side: the latter was deep in repose and", "remain in thee. Dust shalt thou eat all the days of thy 910\nlife, since thou hast accomplished so evil a deed here.\nThee the woman shall war against, and hate thee", "win thy sustenance on earth by thyself, acquire it by\nthe sweat of thy face, and thus eat thy bread so long 935\nas thou livest here,--until ungentle disease, which thou", "in your cupidity you seized on the trunk and took the\nfruit from the branch of the tree and ate the accursed\nthing in defiance of me, and gave of the apple to Adam,", "out and departed sorrowing from before the face of God, 1050\na joyless exile, and built himself a dwelling to the east,", "\"To far distant times shalt thou, an outcast, crawl\nover the broad earth on thy breast, thy belly; without\nfeet shalt thou move about, so long as life and breath", "exceedingly that he had ever created the author of the\nnations, the source of the peoples, when he fashioned\nAdam. He said that on account of the sins of men he", "Then was Abraham heavy at heart, because he must\ndrive away his own son into exile; then speedily the\nTrue God came to his aid, for He knew that the heart", "Then the Master of Splendor asked Cain through his\nword, where Abel was, upon the earth. Quickly there-\nupon the wicked worker of slaughter answered him: 1005" ] ]

[ "What were Adam and Eve not allowed to eat?", "Why did God plan to destroy mankind?", "What was the symbol of God' promise after Noah was instructed to build the ark?", "When did God create different languages?", "Where did God make a covenant with Abram?", "Which of Abraham's wives is Ishmael's mother?", "How many righteous men were needed to save Sodom and Gomorrah?", "Which husband had to return Sarah?", "When did Abraham purchase Machpelah?", "Which of Eve's sons becomes cursed?", "How many sons did Eve bear?", "Why does God want to wipe out the world?", "How does God split up the men building the Tower of Babel? ", "Whose wife is turned into salt for disobeying a command?", "Which man is tested by God when he is told to sacrifice his son?", "What cruel thing happens to Jacob because of his brothers?", "Which man's family was spared by being allowed on the great boat?", "What creature tempts Eve?", "What does God declare the seventh day of creation to be?", "What is the name of the man God creates?", "What is the name of the woman God creates?", "What does God create Eve with?", "What does God instruct Adam and Eve not to do?", "What form does Satan take to seduce Eve?", "What does Satan convince Eve to take a bite of?", "To whom does Eve feed the apple?", "From where does God subsequently ban Adam and Eve from to a life of toil and hard labor?" ]

[ [ "fruit from the tree of knowledge", "the fruit from the tree of the knowledge of good and evil" ], [ "man's sin had corrupted the world", "Corruption" ], [ "a rainbow", "The rainbow." ], [ "After people starting working together to build the Tower of Babel", "when he saw that mankind was working together to build the Tower of Babel" ], [ "the land of Canaan", "Canaan." ], [ "Hagar", "Hagar" ], [ "10", "ten" ], [ "The King of Gerar", "the King of Gerar" ], [ "When Sarah died", "The death of sarah" ], [ "Cain", "Cain" ], [ "Three - Abel, Cain and Seth", "Two" ], [ "It's been tainted by the sins of Man and Nephilim.", "The world became corrupted." ], [ "By having them all be given different languages they can speak ", "he confuses their language, causing them to speak in many different languages" ], [ "Lot's", "Abraham's" ], [ "Abraham", "Abraham" ], [ "Jacob being sold into slavery.", "It was not Jacob, but his son Joseph, who was sold into slavery by his brothers." ], [ "Noah's", "Noah's" ], [ "A serpent", "Serpent " ], [ "A day of rest.", "a day of rest" ], [ "Adam", "Adam" ], [ "Eve.", "Eve" ], [ "The rib of the man.", "The rib of Adam" ], [ "Eat from the tree of knowledge.", "Not to eat fruit from the tree of knowledge." ], [ "A serpent.", "A snake" ], [ "An apple.", "apple" ], [ "Adam", "Adam" ], [ "The Garden of Paradise.", "the Garden of Eden" ] ]

b57cfffa1b8af82d2f3890200178338cec29a23f

train

[ [ "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "RONSON\n Who?\n\n KIRSTY\n The Cenobites.\n\nShe stares directly at RONSON, daring him to disbelieve.", "It seems for a moment she has succeeded. She swings around the\nside of the CENOBITES and begins to run across the chamber.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "Finally, just as PINHEAD breaks from his determined but medium-\npaced stride and speeds up eagerly for the last two or three", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "KIRSTY can't quite believe this but she has no intention of\nquestioning it. She runs into the corridor and away, with\nPINHEAD's last words echoing after her.", "Immediately behind her, and probing with professional skill and\ncoolness into her exposed brain, is DOCTOR MALAHIDE. He is in", "He is staring at the photograph, that great immobile brow finally\npuckering, as if something is stirring.\n\n PINHEAD\n I...remember.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "To some extent, KIRSTY's ploy is working. The CENOBITES are\nmoving closer together as they advance to the corner in which she\nstands.", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him.", "The thing inside completes its escape and stands clear of the\nshredded caul. Like a new-born child, it is stained and soiled\nwith amiotic fluids and blood. But it is not a new born child.", "At this stage, the camera CUTS TO the watching PINHEAD. He lets\nthe photograph of his past life flutter to the floor.", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?" ], [ "KIRSTY has been dozing fitfully, but is awakened by strange\nnoises. At first terrified, she slowly realises it is simply\nsomeone being put in the room next door.", "KIRSTY moans and opens her eyes gingerly. She puts a hand to her\nface, rubbing at the place where JULIA hit her.", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "There is no response. KIRSTY arrives at the mattress and pulls\nthe blanket back. She leaps backwards, her hand at her mouth\nstifling a scream.", "KYLE enters, having heard KIRSTY crying. She is sitting with her\nlegs over the side of the bed with her face in her hands.", "Her eyes are open and red-rimmed from weeping now. There is also\ncomplete silence.\n\nAll the more jarring, then, the sudden sound of someone fumbling\nat the handle of KIRSTY'S door.", "The scream continues, but the blackness is replaced by KIRSTY's\nanguished face; it is she who is screaming. The scream subsides,\nreplaced by breathless panting accompanied by rapid eye movement.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "A low moan comes from the far end of the room. KIRSTY assumes it\nissues from the figure hidden beneath the blanket and walks\nnearer, lifting her arm in readiness to remove the blanket.", "Before KIRSTY can react to this, a voice issues from beyond the\ndoor.\n\n VOICE\n Kirsty!", "KIRSTY is instantly tense again. She swings her head to the side\nand tenses in horror, stifling a scream.", "KIRSTY suppresses a shudder. She bites her lip, takes two or\nthree deep breaths, crosses to the door firmly, and flings it\nopen, moving into the room even as she does so.", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY\n Oh, Jesus. What is it?\n\nKYLE opens his mouth a few times, as if unsure what to say.", "KIRSTY throws her hands to her ears.\n\n KIRSTY\n Nooooo!\n\nShe rushes at one of the walls and begins beating it with her\nfists.", "KIRSTY jumps back in alarm, fear on her face. But it is only\nKYLE.\n\nKYLE raises his hand in apology.", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher.", "Carefully and slowly, KIRSTY moves across to the entrance and\nlooks down it. She is rewarded with the sight of TIFFANY just", "We pull out to see that KIRSTY is sitting up, fully dressed, on a\nhospital bed. RONSON, a police detective, sits on a plain wooden", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position." ], [ "KIRSTY emits a pained moan of pure anguish as she realises what\nshe is looking at.\n\n KIRSTY\n (under her breath)\n Daddy...", "KIRSTY\n (shouting)\n Because I'm going to get my father!", "KIRSTY\n Daddy. It's Kirsty...", "KIRSTY\n (Very Tentatively)\n Daddy...?\n\n Only a low moan comes from behind the door.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "Tears start to her eyes and she stares at KYLE defiantly. Then\nshe repeats, more softly;\n\n KIRSTY\n I'm going to get my father.", "She looks at her father. A sea of sweat has broken out on his\nbrow and face as he stares intensely at the flowers. KIRSTY's\nvoice slows, begins to trail off.", "We pull out to see that KIRSTY is sitting up, fully dressed, on a\nhospital bed. RONSON, a police detective, sits on a plain wooden", "KIRSTY gulps back a sob and her eyes fill with tears.\n\n KIRSTY\n Daddy... ?\n\nThe figure leans slowly into the light, speaking as he does\nso.", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "FRANK\n Oh, right. Daddy's died and gone\n to heaven, eh?\n\n KIRSTY\n Yes!", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "KYLE enters, having heard KIRSTY crying. She is sitting with her\nlegs over the side of the bed with her face in her hands.", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY'S face fills the screen. Her voice is slightly dreamy, as\nif she is still trying to understand herself the story she is\nabout to tell.", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher.", "KIRSTY'S eyes prick with tears. She looks away from RONSON.\n\n KIRSTY (to herself)\n Daddy...", "is revealed. It is his brother, LARRY. KIRSTY's father.", "TIFFANY has hardly had time to turn from the bowl of flowers\nbefore KIRSTY is kneeling by her father.\n\n KIRSTY\n Daddy!", "FRANK\n That's it, baby. Come to\n Daddy.\n\nKIRSTY stands still. There is a second where her face registers\nnothing. Then she screams." ], [ "JULIA looks at him and walks toward him slowly. She smiles. She\nstrokes his cheek. She moves closer, gently slipping her arms around", "JULIA walks towards him, slowly raising her hands. When she is\nclose enough her hands cup his cheeks. She pulls him towards her,\nand, tipping her head to one side, kisses him. Her body moulds\nitself to his.", "JULIA is right next to MALAHIDE now. Smoothly, she releases her\ngrip on TIFFANY and embraces MALAHIDE sensuously. He returns the\nembrace. They kiss.", "JULIA still enveloping him. With the desperate strength with which\nshe clings to him and the way her legs are wrapped around his\nhips, it is like an obscenely perverse parody of sexual passion.", "JULIA enters the room and closes the door behind her. She is\ndressed in one of MALAHIDE'S suits. It is a light weight suit of\nwhite linen, a suit for expensive holidays in hot countries.", "JULIA shifts position so she is standing behind him. She wraps\nher arms around him, one stroking his belly, the other across his\nshoulders. FRANK leans his head back and twists it slightly.\nThey kiss.", "JULIA plays it exactly as a sensual, passionate kiss, her mouth\nwide open, her head moving rhythmically and sinuously.", "JULIA\n ... and more.\n\nFor a moment, MALAHIDE's face is stone. Then, slowly, he returns\nher smile and, drawing his lighter, lights her cigarette.", "He pauses. Perhaps he is being ungallant. He turns slightly\ntowards JULIA and takes her hand.", "JULIA begins to laugh, small, sensual giggles at first building\nfinally as the blackness comes into an almost hysterical\ncrescendo of raucous joy.", "JULIA removes her arm from his stomach and slips it behind him.\nNothing happens for a second and then, suddenly, FRANK's whole", "JULIA\n I'm JULIA.\n\nShe raised one hand from his back to the back of his head and\npresses his face to hers.", "JULIA crosses the room rapidly towards him. Her face is a\npicture of concern.\n\n JULIA\n Oh. You look awful. You poor\n boy. Come here...", "JULIA treats him to the approximation of a smile. She is far from\nnervous.", "JULIA still has not moved.\n\n FRANK\n Of course I am. She BELONGS\n to me.\n\nJULIA begins to cross the room to him.", "JULIA begins to pull up and for a moment it seems the crisis is\nover. Then a terrible and familiar ripping noise is heard: The", "His arms fly from her and he throws his head back. But JULIA is\nvery strong now and her grip does not relax.", "JULIA\n Do you really need to ask?\n\nFRANK laughs.\n\n FRANK\n Show them.", "JULIA seems quietly amused - both by what is going on in the room\nand by MALAHIDE's heated response to it. She glances from one to\nthe other, her eyes twinkling.", "As she speaks, JULIA's arms are opening out to him. KYLE sees the\ncomfort offered and advances towards her, too." ], [ "On a long, low table there are three glass cases. In each of\nthese cases is a Lament Configuration. On each case is a small", "Two of the walls simply part physically, revealing entrances into\nthe corridors of Hell. These corridors are lined with gray walls\nand seem to run for a great distance.", "Specifically, we recognize a print that resembles very closely\nthe jigsaw he has had TIFFANY recently solve. Also, there are\nframed diagrams (which look very old) of the Lament Configuration\n-Both open and closed.", "The room is entirely devoted to MALAHIDE'S secret obsession -\nwith the Paranormal in general and the Lament Configuration in\nparticular.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "It has the same architecture as the corridor that appeared in the\nhospital room in HELLRAISER; walls of stained gray stone broken\nup by vaguely medieval-looking arches.", "It is like the TORTURE ROOM in HELLRAISER. The walls are black,\nthe floor slimy, and the room filled with chains, hooks, and", "TIFFANY sits cross-legged in the middle of the floor. She appears\nto be alone in the room. Cradled in her lap is a Lament\nConfiguration, taken from one of the glass cases on the low\ntable.", "We see the door-frame of the elevator and the floor buttons\nbeside it and, looking down the corridor through the open\nelevator doors, PINHEAD and the FEMALE CENOBITE marching towards\nus.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "If the last room was a beauty salon, this is the orgy room. But\nthe orgy is very strange. It is a very dark room, filled with a", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "Suddenly, the air is full of flying chains. MALAHIDE is hooked\neverywhere. It is like a high-speed version of FRANK's final re-\ncapture in HELLRAISER. The chains start tugging almost instantly.", "Keeping his eyes firmly on the OFFICER, he reaches beneath him\nand brings something up from under the counter and places it In\nthe OFFICER'S outstretched hand. He is holding a LAMENT\nCONFIGURATION.", "The object at first resembles a large and bloody plastic bag, but\nthen internal movement begins to rip at this covering. Hands\nappear out of the rips and complete the removal. We realise that", "There is also one last portal he looks into. He is gazing into\na room where the floor is a vast, seething pool of maggots.", "Hell's equivalent of a beauty salon. He is being re-made. This\ninvolves the scar tissue being manually peeled from the upper\npart of his face to reveal beneath small, vicious, human eyes.", "As LEVIATHAN makes its final closing, the mild tremors of before\nbecome larger. Hell shakes violently and this time TIFFANY does", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position." ], [ "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "To some extent, KIRSTY's ploy is working. The CENOBITES are\nmoving closer together as they advance to the corner in which she\nstands.", "FRANK\n That's it, baby. Come to\n Daddy.\n\nKIRSTY stands still. There is a second where her face registers\nnothing. Then she screams.", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him.", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY gulps back a sob and her eyes fill with tears.\n\n KIRSTY\n Daddy... ?\n\nThe figure leans slowly into the light, speaking as he does\nso.", "KIRSTY'S face fills the screen. Her voice is slightly dreamy, as\nif she is still trying to understand herself the story she is\nabout to tell.", "KIRSTY\n You're full of shit, Frank Cotton.\n My Dad wasn't like that at all.\n He could feel. He could love. He\n loved ME.", "Before KIRSTY can react to this, a voice issues from beyond the\ndoor.\n\n VOICE\n Kirsty!", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher.", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "A low moan comes from the far end of the room. KIRSTY assumes it\nissues from the figure hidden beneath the blanket and walks\nnearer, lifting her arm in readiness to remove the blanket.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "chest, the hands clutching his shoulders. He opens his eyes and\nlooks at KIRSTY for a second, his expression one of surprise.\nThen his eyes roll up into the sockets and he collapses to the", "KIRSTY emits a pained moan of pure anguish as she realises what\nshe is looking at.\n\n KIRSTY\n (under her breath)\n Daddy...", "He stares at KIRSTY and makes a small gesture with his brow. It\nis ALMOST cute. If anything, it resembles the cocky, aren't-I-", "KYLE enters, having heard KIRSTY crying. She is sitting with her\nlegs over the side of the bed with her face in her hands.", "We pull out to see that KIRSTY is sitting up, fully dressed, on a\nhospital bed. RONSON, a police detective, sits on a plain wooden", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down." ], [ "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "RONSON\n Who?\n\n KIRSTY\n The Cenobites.\n\nShe stares directly at RONSON, daring him to disbelieve.", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "Surrounding her, in various parts of the room, are the four\nCENOBITES from HELLRAISER.\n\nThe FEMALE CENOBITE smiles and advances towards TIFFANY.", "To some extent, KIRSTY's ploy is working. The CENOBITES are\nmoving closer together as they advance to the corner in which she\nstands.", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "It seems for a moment she has succeeded. She swings around the\nside of the CENOBITES and begins to run across the chamber.", "It is a NEW CENOBITE. And it used to be MALAHIDE. The\ntransformation we caught glimpses of is now complete. Its skin", "The other three CENOBITES stop moving and stare at KIRSTY. Any\nadvances they were making on KIRSTY or TIFFANY stop as the same\ndim, distant, recollection begins to stir within them.", "torture-pillars. And, in the room and staring at the GIRLS, are\nthe four CENOBITES.", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "The leader of the CENOBITES, PINHEAD raises a hand.\n\n PINHEAD\n Wait.\n\nThe FEMALE stops and looks questioningly at PINHEAD.", "MALAHIDE looks up at the tiny noise this makes and his eyes meet\nPINHEAD'S. He turns more fully to face PINHEAD and the other\nCENOBITES who are now standing with their leader, and a strange\nsmile crosses his face", "We see the door-frame of the elevator and the floor buttons\nbeside it and, looking down the corridor through the open\nelevator doors, PINHEAD and the FEMALE CENOBITE marching towards\nus.", "FEMALE CENOBITE\n We've always been here.\n\n PINHEAD\n We have no more surprises.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "The three limbs detatch themselves from MALAHIDE. The three\nCENOBITES are all well above the floor, pinned and twitching like\nthe rats in FRANK's attic.", "The CENOBITES do not move but suddenly, from nowhere a hook flies\nacross the room, attached to a metal chain. The hook buries", "Before they can discuss it, a new rushing sound is heard. They\nlook back.\n\nHurtling towards them is the ENGINEER from HELLRAISER.\n\nTIFFANY screams.", "PINHEAD\n ... we have Eternity to\n know your flesh!\n\nDelighted CENOBITE laughter follows her back into the labyrinth." ], [ "He is clearly very, excited. He walks around the mattress two or\nthree times, never taking his eyes off it.\n\nHe walks back to the writing table, throws his drink back, puts\nthe glass down and leaves the room.", "He stares at the mattress with incredulity, as if he still can't\nbelieve his superior has had it brought here. Then he begins to\nlook around the room in more detail. He approaches the glass\ncases and bends slightly to look at their contents.", "CORTEZ leaves the room to fetch a colleague to help him\nmove the mattress. We move in to see the drop of blood disappear\nvery quickly into the mattress, as if it is being sucked in.", "Over by the far wall (the wall opposite to that containing the\ndoor) there is a mattress on the floor. A body like shape on this\nmattress is obscured by a heavy blanket that covers it.", "Finally, with titanic effort, he gathers enough momentum to roll\ncompletely free of the mattress and falls to the floor beside it.", "The thing on his back now is pulling free from the bed of\nbubbling, frothing slime that the mattress now is with a sliding,\nslurping sound.", "Fascinated and sympathetic as he is however he cannot yet quite\nbrine himself to touch this creature. Instead he moves the\nmattress nearer to her, allowing her to crawl back onto it and\nlie down again.", "There is no response. KIRSTY arrives at the mattress and pulls\nthe blanket back. She leaps backwards, her hand at her mouth\nstifling a scream.", "Suddenly, without any preliminaries, two painfully thin, flayed,\nmucus-covered arms shoot out of the mattress, one on either side\nof the still-busy BROWNING.", "It takes several seconds and much pain for him to succeed, but\nsucceed he does. He flops backwards into the room.", "123 INT. OBSESSION ROOM DAY\n \nand we see the 2nd. WORKMAN. He is crouching over the mattress\nwhich is still in the middle of the floor of the otherwise empty\nroom.", "MALAHIDE gestures to the mattress. Now that his arms are free,\nBROWNING is scratching furiously.\n\n MALAHIDE\n Mr. Browning. Please, lie down.", "They wrap themselves tightly across his chest and crush him\ntightly to the mattress, as a head, similarly wasted, oozes out\nof the mattress to the side of BROWNING's head.", "As the WORKMAN stands open-mouthed, her feet clear the mattress.\nBut they don't stop there. She slows to a graceful halt about six", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "from doing this, a single drop of blood from his thumb lands on\nthe mattress. (It is important that we see it is only a single\ndrop - and nothing like the amount LARRY spilled on the", "Two legs now rise from the oozing slime that the bloodstains on\nthe mattress have become. They too wrap themselves around\nBROWNING so that he is held tight.", "2nd. WORKMAN\n ... Gimme a hand with this.\n\nAlmost faster than the eye can register it, a hand shoots out\nfrom the mattress and grabs his wrist.", "The camera TRACKS slowly up MALAHIDE's hallway. The hallway is\nlined with packing cases filled with items from the house. A\nWORKMAN is shoving something into one of the cases. As the camera\nmoves past him, he speaks.", "In the second, a very thin man of about thirty is pressed as\ntight as he can be into one corner of the room. His hair is long" ], [ "The curtains balloon inwards, part, and KYLE steps into the room.\n\nHe stands still for a moment, as if making sure he is alone, and\nthen begins to take in his surroundings.", "It takes several seconds and much pain for him to succeed, but\nsucceed he does. He flops backwards into the room.", "He stares at the mattress with incredulity, as if he still can't\nbelieve his superior has had it brought here. Then he begins to\nlook around the room in more detail. He approaches the glass\ncases and bends slightly to look at their contents.", "We approach it until finally we are above it, looking down into\nthe opening it has made in itself. There is undefined movement\ninside.", "A second later, and it is explained. He leads TIFFANY into the\nroom.\n\n TIME CUT\n\n\n70 INT. OBSESSION ROOM DAY", "In the second, a very thin man of about thirty is pressed as\ntight as he can be into one corner of the room. His hair is long", "The first WORKMAN appears hurriedly in the doorway and then\nfreezes, an awestruck expression on his face.", "As MALAHIDE enters, the first thing he sees is a bloody palm-\nprint on one of his white walls. He blinks at it and looks down\ninto the room. We CUT TO;", "When he reaches it, he pauses. We see his face working as he\nponders his choices -should he push it open inch by slow inch, or\nslam it inwards quickly?", "He is clearly very, excited. He walks around the mattress two or\nthree times, never taking his eyes off it.\n\nHe walks back to the writing table, throws his drink back, puts\nthe glass down and leaves the room.", "A second or so after this, as the GIRLS edge down the middle of\nthe room, they hear a rushing sound behind the double doors they\nare heading towards.", "Very slowly he moves his hand towards the door. The camera\nmatches his movement, moving in on his hand, the door, and the\nspace between.", "He enters an elevator and the doors close in front of him.\n\n\n32 INT. BASEMENT CORRIDOR DAY", "Carefully and slowly, KIRSTY moves across to the entrance and\nlooks down it. She is rewarded with the sight of TIFFANY just", "123 INT. OBSESSION ROOM DAY\n \nand we see the 2nd. WORKMAN. He is crouching over the mattress\nwhich is still in the middle of the floor of the otherwise empty\nroom.", "We see KYLE standing very still in the limited space behind the\ncurtains. It is clearly seen that, given the thoroughness with", "The door flies open. CHATTERER II lunges in at them.", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "38 INT. OBSESSION ROOM NIGHT\n\nThe TRACK continues.\n\nThe room is dim, lit only by stray shafts of moonlight.", "There is also one last portal he looks into. He is gazing into\na room where the floor is a vast, seething pool of maggots." ], [ "For the last months, TIFFANY has been finding ways out of the\ninstitute and making her way here, where she has one special\nobsession, which we will soon see.", "TIFFANY looks around the room again. She stares from one entrance\nto the other. Her manner is reminiscent of when she is making\ndecisions during her solving of puzzles.", "TIFFANY, who is nearest to her, helps her to her feet and, as she\ndoes so, catches sight of the BOX (or white diamond, as it is", "TIFFANY looks up at one point and eye-contact is made. KIRSTY\ngives a tentative smile and a small wave. TIFFANY stares at her.", "TIFFANY sits cross-legged in the middle of the floor. She appears\nto be alone in the room. Cradled in her lap is a Lament\nConfiguration, taken from one of the glass cases on the low\ntable.", "Into shot, and running down the midway, comes a girl, TIFFANY.\n\nTIFFANY is a girl in her early teens but looks younger\nthen her years due to her boyish figure and her slightly over-\ndelicate features.", "The puzzle, which we can now see more clearly, is an intricate\nabstract design in black and white. There are several pieces\nstill un-fitted but TIFFANY is working steadily, efficiently, and\nwith complete concentration.", "To TIFFANY this is a marvelous reward - something the jigsaw\nnever offered - and she lets out a little sound in response,", "TIFFANY's eyes widen. She rushes to the door and disappears into\nthe corridor. Within two seconds we hear an emergency alarm go\noff and TIFFANY re-enters the room.", "TIFFANY does so and KIRSTY places it under the head of LARRY,\nwhose lips are now blue and who is breathing very shallowly.\nKIRSTY looks up at TIFFANY, despair in her eyes.", "All the TIFFANYS move quietly toward him until they all disappear\nfrom view. Then the real TIFFANY comes into shot, her back to us,", "TIFFANY is completely engrossed in the box. She seems blissfully\nunaware of the changes taking place in the room.", "TIFFANY nods slowly, her eyes flicking back and forth across the\nward.", "TIFFANY stops, startled, and looks at the doorway and KIRSTY.\n\nKIRSTY raises her hands in a placatory gesture and speaks more\nsoftly.", "In short, TIFFANY's instincts were absolutely right; this too is\nanother puzzle. The girls are lost in a concrete maze, full of\ntwists and turns and labyrinthine windings.", "They are six feet from the lip of the catwalk. TIFFANY kneels\nand, holding the white diamond BOX in front of her, begins to\nmove her fingers over it. The music box tune begins to play as\nthe BOX begins to move.", "TIFFANY still sits cross-legged in the middle of the floor,\nstaring about her in astonishment.", "comes off. TIFFANY's weight pulls it clear like a very long and\nvery tasteless evening glove and it seems she will finally make\nthe long drop. At the final second, as the arm-skin comes off,", "But suddenly the two arms that have Just lost their skin fly out\nagain and catch her fingers. TIFFANY is hauled over the edge and", "Still clutched in the skin's hollow fingers is the white diamond BOX.\n\nAs they turn another corner, they see, very far in the distance,\na glimmer of light. TIFFANY points excitedly." ], [ "MALAHIDE exits the elevator into a lower corridor, one not so\ncarefully decorated.\n\nWe are in the area in which the more deeply disturbed of the\nInstitute's patients live.", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "In the fourth, a man in his early twenties restrained in a\nstrait-jacket. He shuffles around on the call-floor, his eyes\ntwitching and flitting from one part of his body to another.", "If the last room was a beauty salon, this is the orgy room. But\nthe orgy is very strange. It is a very dark room, filled with a", "KYLE returns into the room and closes the door. His expression is\npuzzled, troubled. Then he remembers there is a patient here and\nhe smiles.", "MALAHIDE has done his mistress proud. It had been an empty\nupstairs room (no furniture, bare floorboards) but now it\nresembles a nightmarish cross between a butcher's shop and a\nbordello.", "an unmistakably insane fashion, and gives them a conspiratorial\nwink. Then he simply proceeds to the other side of the ward.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "Generally the contents are unremarkable - handwritten notes, a\nfew patients case-files etc. - but in one of the drawers he\nfinds a black ring-binder which he takes out and lays on the\ntable.", "They are good at their job - within seconds LARRY is secured on\nthe gurney and they head for the door, KIRSTY and TIFFANY behind\nthem. The following exchanges are spoken on the move.", "face, filling his eyes with more subliminal images of horror as they\npass; a child, a knife, and a dead animal; a naked woman whose\nprivate parts are made of sharp, oily, metal; perfect hands", "The GIRLS run wildly along the corridor, not knowing MALAHIDE is\nworking his way through his former patients. They come to another", "KIRSTY, LARRY and TIFFANY are now gathered together to one side\nof the room near the door that leads to the corridor. They should\nleave, but a kind of sick fascination keeps them watching FRANK.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "Immediately behind her, and probing with professional skill and\ncoolness into her exposed brain, is DOCTOR MALAHIDE. He is in", "In the corner of the room, against the wall lying in a pool of\nblood, is her skinned father LARRY.", "of the very disturbed. He stops by the cell of the man in the\nstrait-jacket. We hear from the outside the familiar muttering of\nBROWNING. MALAHIDE enters the call.", "torture-pillars. And, in the room and staring at the GIRLS, are\nthe four CENOBITES.", "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?" ], [ "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "To some extent, KIRSTY's ploy is working. The CENOBITES are\nmoving closer together as they advance to the corner in which she\nstands.", "KIRSTY can't quite believe this but she has no intention of\nquestioning it. She runs into the corridor and away, with\nPINHEAD's last words echoing after her.", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "PINHEAD\n But he's in his own Hell, child\n And quite unreachable.\n\nSuddenly KIRSTY makes her break shouting out as she does so.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "Before KIRSTY can react to this, a voice issues from beyond the\ndoor.\n\n VOICE\n Kirsty!", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him.", "FRANK\n That's it, baby. Come to\n Daddy.\n\nKIRSTY stands still. There is a second where her face registers\nnothing. Then she screams.", "Suddenly, rising up from behind KIRSTY, comes PINHEAD.\n\n PINHEAD\n Ah, Kirsty. And we thought\n we'd lost you.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "She raises her hand towards KIRSTY. PINHEAD's arm flies out and\nstops her.\n\n PINHEAD\n Wait!", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy", "The scream continues, but the blackness is replaced by KIRSTY's\nanguished face; it is she who is screaming. The scream subsides,\nreplaced by breathless panting accompanied by rapid eye movement.", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher.", "We pull out to see that KIRSTY is sitting up, fully dressed, on a\nhospital bed. RONSON, a police detective, sits on a plain wooden", "RONSON\n Who?\n\n KIRSTY\n The Cenobites.\n\nShe stares directly at RONSON, daring him to disbelieve." ], [ "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "Finally, just as PINHEAD breaks from his determined but medium-\npaced stride and speeds up eagerly for the last two or three", "It seems for a moment she has succeeded. She swings around the\nside of the CENOBITES and begins to run across the chamber.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "RONSON\n Who?\n\n KIRSTY\n The Cenobites.\n\nShe stares directly at RONSON, daring him to disbelieve.", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy", "He is staring at the photograph, that great immobile brow finally\npuckering, as if something is stirring.\n\n PINHEAD\n I...remember.", "While this process has been going on, KYLE has been dying slowly\nand horribly in her arms, his lifeforce being sucked into her", "KIRSTY can't quite believe this but she has no intention of\nquestioning it. She runs into the corridor and away, with\nPINHEAD's last words echoing after her.", "The thing inside completes its escape and stands clear of the\nshredded caul. Like a new-born child, it is stained and soiled\nwith amiotic fluids and blood. But it is not a new born child.", "On a long, low table there are three glass cases. In each of\nthese cases is a Lament Configuration. On each case is a small", "The object at first resembles a large and bloody plastic bag, but\nthen internal movement begins to rip at this covering. Hands\nappear out of the rips and complete the removal. We realise that", "PINHEAD almost smiles at the naivete of the question.\n\n PINHEAD\n It's different for us.", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him." ], [ "KIRSTY\n You're full of shit, Frank Cotton.\n My Dad wasn't like that at all.\n He could feel. He could love. He\n loved ME.", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "CORTEZ prods at the corpse with his night-stick, attempting\nto turn it over. A stream of maggots pours from the mouth and\nthe cavity that used to be its throat.", "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?", "His face is frozen into a permanent expression of terror and he\nseems incapable of any independent movement, simply being pulled\nalong by FRANK.", "FRANK pauses and smiles. Then he begins to move more fully into\nthe room, shifting his weight as he does so and dragging what was\nhidden into the light. KIRSTY screams again.", "FRANK howls, loud and long.\n\nWithout pausing, LARRY pulls a knife free from the wall and, with\none vicious slice, separates himself from his brother.", "Hell's equivalent of a beauty salon. He is being re-made. This\ninvolves the scar tissue being manually peeled from the upper\npart of his face to reveal beneath small, vicious, human eyes.", "There is a cry of horror off-camera. We pull out. TIFFANY has\nfollowed her friend. She stares in shock at LARRY's wounded arm\nand at the impaled FRANK.", "FRANK is still impaled on the knives, but his anguished howl has\nBecome small whimpers of complaint (with, given his history with", "neatly and calmly slices PINHEAD's throat open. The thin red line\nbecomes a torrent of blood and the former lord of Hell falls dead\nat the feet of his successor.", "As he makes this speech, the mask of his colleague stains rapidly\nwith blood, as if it is literally pouring from its mouth.\nSimultaneously, his own mask is slowly pierced by a score of nails\nbursting through from beneath.", "The three limbs detatch themselves from MALAHIDE. The three\nCENOBITES are all well above the floor, pinned and twitching like\nthe rats in FRANK's attic.", "In the corner of the room, against the wall lying in a pool of\nblood, is her skinned father LARRY.", "Suddenly, the air is full of flying chains. MALAHIDE is hooked\neverywhere. It is like a high-speed version of FRANK's final re-\ncapture in HELLRAISER. The chains start tugging almost instantly.", "Finally, just as PINHEAD breaks from his determined but medium-\npaced stride and speeds up eagerly for the last two or three", "Finally, a disembodied hand gripping a hammer drives nails into\neach corner formed by these wounds and, as the face comes into\nfull view for the first time, we realize who this is. It is\nPINHEAD from HELLRAISER.", "At this stage, the camera CUTS TO the watching PINHEAD. He lets\nthe photograph of his past life flutter to the floor.", "is entirely blue, its head entirely bald. The decorative wounds\nand tortures we saw being applied are all present; its flesh is\npeeled back in various places, its features are threaded and", "There is a ripping, bursting sound and JULIA's hand emerges from\nhis chest, covered in his blood. Clutched in her hand is his\nruptured, still pumping heart." ], [ "JULIA begins to pull up and for a moment it seems the crisis is\nover. Then a terrible and familiar ripping noise is heard: The", "JULIA licks her lips and looks down, not without affection, at\nthe dead KYLE. She smiles.\n\n JULIA\n Thank you, Kyle.", "There is a ripping, bursting sound and JULIA's hand emerges from\nhis chest, covered in his blood. Clutched in her hand is his\nruptured, still pumping heart.", "KIRSTY\n For God's sake! He KILLED you!\n\nJULIA doesn't pause. FRANK grins.", "JULIA still enveloping him. With the desperate strength with which\nshe clings to him and the way her legs are wrapped around his\nhips, it is like an obscenely perverse parody of sexual passion.", "JULIA, having presumably just replaced her skin, is not quite as\nperfect as before; there are bloody lines like scars beneath her\nears and chin as if the skin required some adjustment before\nbeing put on.", "JULIA\n I'm JULIA.\n\nShe raised one hand from his back to the back of his head and\npresses his face to hers.", "JULIA enters the room and closes the door behind her. She is\ndressed in one of MALAHIDE'S suits. It is a light weight suit of\nwhite linen, a suit for expensive holidays in hot countries.", "JULIA crosses the room rapidly towards him. Her face is a\npicture of concern.\n\n JULIA\n Oh. You look awful. You poor\n boy. Come here...", "JULIA\n Kirsty! How nice of\n you to drop in.\n\nJULIA glances meaningfully at the dead thing that lies beside her\nfeet and then back at KIRSTY.", "JULIA stares down at the unconscious body. When it was awake, it\nwas KIRSTY and her attitude to it was based on personal enmity.", "MALAHIDE crosses the room to her quickly, drawing a wicked-\nlooking kitchen knife from his pocket as he does so. He reaches\nJULIA and raises the knife to her face.", "JULIA takes her arms from around the corpse of KYLE and steps\nback, allowing the husk to fall to the floor.", "JULIA removes her arm from his stomach and slips it behind him.\nNothing happens for a second and then, suddenly, FRANK's whole", "JULIA\n Yes. I had to stop you going in\n there because I knew you'd cry\n out. Any normal person would.\n It ...It's just TERRIBLE.", "JULIA\n What's your name?\n\nKYLE can hardly speak for fear.\n\n KYLE\n Kyle...", "JULIA is fully fleshed, fully skinned, and fully dressed. She is\nin a replica of the dress MALAHIDE bought for her, but this one\nis jet black. She looks fabulous.", "His fingertips are less than an inch from touching the door when\nanother hand shoots into view and grabs his wrist.\n\nJULIA has crept up beside him on the landing while all his\nattention was on the door.", "JULIA looks at him and walks toward him slowly. She smiles. She\nstrokes his cheek. She moves closer, gently slipping her arms around", "There is of course, nothing for him to recognize from the\nmonstrous vision of the previous night. JULIA's arms, chest, and\nface are completely re-skinned now. All KYLE sees is a beautiful\nstranger in a white dress." ], [ "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "To some extent, KIRSTY's ploy is working. The CENOBITES are\nmoving closer together as they advance to the corner in which she\nstands.", "We see the door-frame of the elevator and the floor buttons\nbeside it and, looking down the corridor through the open\nelevator doors, PINHEAD and the FEMALE CENOBITE marching towards\nus.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "RONSON\n Who?\n\n KIRSTY\n The Cenobites.\n\nShe stares directly at RONSON, daring him to disbelieve.", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "The other three CENOBITES stop moving and stare at KIRSTY. Any\nadvances they were making on KIRSTY or TIFFANY stop as the same\ndim, distant, recollection begins to stir within them.", "torture-pillars. And, in the room and staring at the GIRLS, are\nthe four CENOBITES.", "It seems for a moment she has succeeded. She swings around the\nside of the CENOBITES and begins to run across the chamber.", "Surrounding her, in various parts of the room, are the four\nCENOBITES from HELLRAISER.\n\nThe FEMALE CENOBITE smiles and advances towards TIFFANY.", "We also see KIRSTY'S finger jabbing frantically at the floor\nbuttons. The doors are not closing. The CENOBITES are getting\nvery close.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "KIRSTY can't quite believe this but she has no intention of\nquestioning it. She runs into the corridor and away, with\nPINHEAD's last words echoing after her.", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "MALAHIDE looks up at the tiny noise this makes and his eyes meet\nPINHEAD'S. He turns more fully to face PINHEAD and the other\nCENOBITES who are now standing with their leader, and a strange\nsmile crosses his face", "It has the same architecture as the corridor that appeared in the\nhospital room in HELLRAISER; walls of stained gray stone broken\nup by vaguely medieval-looking arches.", "PINHEAD\n ... we have Eternity to\n know your flesh!\n\nDelighted CENOBITE laughter follows her back into the labyrinth.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy" ], [ "KIRSTY's fear and disgust are momentarily displaced by a furious\nrage as she realises what JULIA has done. Her face erupts into\nanger and she screams out.", "KIRSTY\n Kyle! No! I'll kill you,\n you...\n\nShe flings herself across the room at JULIA even as she speaks.", "JULIA completes her turn and looks at KIRSTY completely\nimpassively for a moment. Then her mouth opens up into a smile of\nwelcome - but there is nothing but hate in her eyes.", "JULIA is completely unphased by this attack and simply raises one\narm. She siezes the wrist of the arm that KIRSTY has raised into", "KIRSTY smashes into the door and falls to a sitting position\nagainst it. She is shaken and slightly hurt enough not to get to\nher feet immediately but she stares at JULIA with undimmed\nhatred.", "JULIA stares down at the unconscious body. When it was awake, it\nwas KIRSTY and her attitude to it was based on personal enmity.", "JULIA steps forward to meet her advance and delivers a single\nback-handed swipe across KIRSTY's face with such force that not\nonly is the girl knocked off her feet but is actually knocked\nunconscious.", "KIRSTY scrambles to her feet and again charges at JULIA.", "JULIA\n Kirsty! How nice of\n you to drop in.\n\nJULIA glances meaningfully at the dead thing that lies beside her\nfeet and then back at KIRSTY.", "a clenched fist and effortlessly throws KIRSTY bodily back across\nthe room. We realise for the first time the immense physical\nstrength that JULIA now possesses.", "KIRSTY\n For God's sake! He KILLED you!\n\nJULIA doesn't pause. FRANK grins.", "staggers to her feet, staring into the-bloodied face of KIRSTY,\nwho had donned JULIA's skin to help her friend.", "JULIA\n Oh, Kirsty. They didn't tell\n you, did they? I'm afraid", "Suddenly KIRSTY flies across the room at FRANK and beats at his\nback with her fists.", "KIRSTY throws her hands to her ears.\n\n KIRSTY\n Nooooo!\n\nShe rushes at one of the walls and begins beating it with her\nfists.", "52 INT. HOSPITAL ROOM NIGHT\n\nKIRSTY is again lying on her back on top of the bed. She is a\nstark contrast to JULIA. No display. No laughter.", "MALAHIDE breaks away from his kiss, his face a mixture of\nconfusion and rage. JULIA plants both hands in the middle of his", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "JULIA still enveloping him. With the desperate strength with which\nshe clings to him and the way her legs are wrapped around his\nhips, it is like an obscenely perverse parody of sexual passion." ], [ "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "PINHEAD, at a more leisurely pace, crosses towards TIFFANY and\nlooks down at her. She stares back at him, the remnants of her\ninsanity a temporary defense against fear, her face registering\nnothing.", "PINHEAD\n Go on. But trick us again,\n child, and your suffering will\n be legendary even in Hell.", "PINHEAD shakes his head.\n\n PINHEAD\n No.\n\nHe glances down at TIFFANY again.", "MALAHIDE looks up at the tiny noise this makes and his eyes meet\nPINHEAD'S. He turns more fully to face PINHEAD and the other\nCENOBITES who are now standing with their leader, and a strange\nsmile crosses his face", "The leader of the CENOBITES, PINHEAD raises a hand.\n\n PINHEAD\n Wait.\n\nThe FEMALE stops and looks questioningly at PINHEAD.", "PINHEAD\n It is not HANDS that call us...\n\nHe looks up and stares directly at the shattered two-way mirror.", "PINHEAD is backing across the room, weaving pillars in front of\nhim as he moves. MALAHIDE moves forward, knocking them out of the", "Finally, just as PINHEAD breaks from his determined but medium-\npaced stride and speeds up eagerly for the last two or three", "Suddenly, rising up from behind KIRSTY, comes PINHEAD.\n\n PINHEAD\n Ah, Kirsty. And we thought\n we'd lost you.", "PINHEAD\n Oh, Kirsty; so eager to play, so\n reluctant to admit it.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "MALAHIDE smiles. Be looks at PINHEAD again and advances. Suddenly\na heavy torture pillar smashes into him, knocking him slightly\noff-balance.", "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?", "Finally, a disembodied hand gripping a hammer drives nails into\neach corner formed by these wounds and, as the face comes into\nfull view for the first time, we realize who this is. It is\nPINHEAD from HELLRAISER.", "PINHEAD almost smiles at the naivete of the question.\n\n PINHEAD\n It's different for us.", "PINHEAD\n ... we have Eternity to\n know your flesh!\n\nDelighted CENOBITE laughter follows her back into the labyrinth.", "PINHEAD raises a hand and the box simply flies out of KIRSTY's\nhands and hovers in the air between them. KIRSTY stares, open-\nmouthed.", "Suddenly PINHEAD works at the box himself - by remote control and\nwith dazzling skill." ], [ "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "To some extent, KIRSTY's ploy is working. The CENOBITES are\nmoving closer together as they advance to the corner in which she\nstands.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "RONSON\n Who?\n\n KIRSTY\n The Cenobites.\n\nShe stares directly at RONSON, daring him to disbelieve.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "KIRSTY can't quite believe this but she has no intention of\nquestioning it. She runs into the corridor and away, with\nPINHEAD's last words echoing after her.", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY begins to work furiously at the BOX she has brought from\nMALAHIDE's house. It sent them away at the end of HELLRAISER.\nShe obviously hopes it will work again.", "PINHEAD\n But he's in his own Hell, child\n And quite unreachable.\n\nSuddenly KIRSTY makes her break shouting out as she does so.", "We also see KIRSTY'S finger jabbing frantically at the floor\nbuttons. The doors are not closing. The CENOBITES are getting\nvery close.", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him.", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "The other three CENOBITES stop moving and stare at KIRSTY. Any\nadvances they were making on KIRSTY or TIFFANY stop as the same\ndim, distant, recollection begins to stir within them.", "Suddenly, rising up from behind KIRSTY, comes PINHEAD.\n\n PINHEAD\n Ah, Kirsty. And we thought\n we'd lost you.", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "PINHEAD\n Oh, Kirsty; so eager to play, so\n reluctant to admit it.", "KIRSTY suppresses a shudder. She bites her lip, takes two or\nthree deep breaths, crosses to the door firmly, and flings it\nopen, moving into the room even as she does so.", "KIRSTY enters the room. It is as we last saw it except that\nthe walls have re-parted to give onto the corridors of Hell." ], [ "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "KIRSTY'S face fills the screen. Her voice is slightly dreamy, as\nif she is still trying to understand herself the story she is\nabout to tell.", "KIRSTY\n Wait! The mattress. You've got\n to destroy it. She DIED on it,", "KIRSTY emits a pained moan of pure anguish as she realises what\nshe is looking at.\n\n KIRSTY\n (under her breath)\n Daddy...", "For a moment, they laugh together but then stop. KIRSTY stares\ndownward and then suddenly bursts into tears.\n\n KIRSTY\n What can I do? How can I\n save him?", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "Her eyes are open and red-rimmed from weeping now. There is also\ncomplete silence.\n\nAll the more jarring, then, the sudden sound of someone fumbling\nat the handle of KIRSTY'S door.", "KIRSTY suppresses a shudder. She bites her lip, takes two or\nthree deep breaths, crosses to the door firmly, and flings it\nopen, moving into the room even as she does so.", "With a cry of horror, KIRSTY drops the frame. It lands on the\nfloor and the glass shatters. The blood continues to flow. In", "KYLE\n Nearly a doctor. I'm Kyle\n Macrae. Call me Kyle.\n\nKIRSTY draws a deep breath, temporarily calmed. She even manages\na smile.", "KIRSTY moans and opens her eyes gingerly. She puts a hand to her\nface, rubbing at the place where JULIA hit her.", "We pull out to see that KIRSTY is sitting up, fully dressed, on a\nhospital bed. RONSON, a police detective, sits on a plain wooden", "chest, the hands clutching his shoulders. He opens his eyes and\nlooks at KIRSTY for a second, his expression one of surprise.\nThen his eyes roll up into the sockets and he collapses to the", "He exits hurriedly, closing the door behind him. KIRSTY grins\ndespite herself. She looks at the pill for a second or two and", "KYLE enters, having heard KIRSTY crying. She is sitting with her\nlegs over the side of the bed with her face in her hands.", "KIRSTY throws her hands to her ears.\n\n KIRSTY\n Nooooo!\n\nShe rushes at one of the walls and begins beating it with her\nfists.", "KIRSTY looks back at the photograph and snatches it up, with a\nlook of concern.\n\nThe photograph has changed. It is now a wedding photo. The\nwedding of LARRY and JULIA.", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY nods and pulls at the door handle.\n\n KIRSTY\n Get out of the way.\n\n KYLE\n Are you crazy?", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher." ], [ "On a long, low table there are three glass cases. In each of\nthese cases is a Lament Configuration. On each case is a small", "The room is entirely devoted to MALAHIDE'S secret obsession -\nwith the Paranormal in general and the Lament Configuration in\nparticular.", "Specifically, we recognize a print that resembles very closely\nthe jigsaw he has had TIFFANY recently solve. Also, there are\nframed diagrams (which look very old) of the Lament Configuration\n-Both open and closed.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "We see the door-frame of the elevator and the floor buttons\nbeside it and, looking down the corridor through the open\nelevator doors, PINHEAD and the FEMALE CENOBITE marching towards\nus.", "It has the same architecture as the corridor that appeared in the\nhospital room in HELLRAISER; walls of stained gray stone broken\nup by vaguely medieval-looking arches.", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "TIFFANY sits cross-legged in the middle of the floor. She appears\nto be alone in the room. Cradled in her lap is a Lament\nConfiguration, taken from one of the glass cases on the low\ntable.", "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?", "torture-pillars. And, in the room and staring at the GIRLS, are\nthe four CENOBITES.", "MALAHIDE looks up at the tiny noise this makes and his eyes meet\nPINHEAD'S. He turns more fully to face PINHEAD and the other\nCENOBITES who are now standing with their leader, and a strange\nsmile crosses his face", "PINHEAD glances theatrically around the room, as if checking\nsomething.\n\n PINHEAD\n Oh. No Boxes. Such a shame.", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "It is like the TORTURE ROOM in HELLRAISER. The walls are black,\nthe floor slimy, and the room filled with chains, hooks, and", "Two of the walls simply part physically, revealing entrances into\nthe corridors of Hell. These corridors are lined with gray walls\nand seem to run for a great distance.", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "There is also one last portal he looks into. He is gazing into\na room where the floor is a vast, seething pool of maggots.", "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "Finally, just as PINHEAD breaks from his determined but medium-\npaced stride and speeds up eagerly for the last two or three", "the final piece clicks into positions we see it is THE LAMENT\nCONFIGURATION from HELLRAISER." ], [ "As they come together, the camera moves around them and we see,\nfor the first time, that JULIA is still incomplete; Her entire\nback is still glistening raw flesh, the naked bones of the spine\nstill clearly visible.", "There is a ripping, bursting sound and JULIA's hand emerges from\nhis chest, covered in his blood. Clutched in her hand is his\nruptured, still pumping heart.", "JULIA, having presumably just replaced her skin, is not quite as\nperfect as before; there are bloody lines like scars beneath her\nears and chin as if the skin required some adjustment before\nbeing put on.", "There is a terrible ripping sound. JULIA's new skin, so recently\ngained, is giving up its hold and has ripped right up the spine.\nJULIA is drawn from it.", "There is of course, nothing for him to recognize from the\nmonstrous vision of the previous night. JULIA's arms, chest, and\nface are completely re-skinned now. All KYLE sees is a beautiful\nstranger in a white dress.", "With one swift, precise movement, he slices the bandages across\nthe side of her face. JULIA raises her hand and pulls the mask\naway.", "JULIA'S arms, torso, and head are now completely enclosed in\nneatly and professionally applied bandages. There are three slits", "base of her spine and gradually flowing up her back until finally\nit meets and blends perfectly with ragged and raw edges of the\nskin at her neck and shoulders. JULIA is complete again.", "JULIA\n NOOOOOOOOOO!\n\nWith a final, slurping sound, the skinned woman slips from the\nskin and disappears down the new corridor.", "94 INT. THE CENTRE OF HELL\n\nJULIA is being given more glimpses of the transforming MALAHIDE.", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "His eyes widen in both agony and horror.\n\nJULIA smiles.\n\n JULIA\n Goodbye, Doctor. It's been real.", "It seems for a moment she has succeeded. She swings around the\nside of the CENOBITES and begins to run across the chamber.", "The thing inside completes its escape and stands clear of the\nshredded caul. Like a new-born child, it is stained and soiled\nwith amiotic fluids and blood. But it is not a new born child.", "JULIA still enveloping him. With the desperate strength with which\nshe clings to him and the way her legs are wrapped around his\nhips, it is like an obscenely perverse parody of sexual passion.", "Surrounding her, in various parts of the room, are the four\nCENOBITES from HELLRAISER.\n\nThe FEMALE CENOBITE smiles and advances towards TIFFANY.", "JULIA begins to pull up and for a moment it seems the crisis is\nover. Then a terrible and familiar ripping noise is heard: The", "Suddenly, her head tips back and, accompanied by JULIA's\ndelighted laughter, a wide beam of Hell's black light flies at", "JULIA is fully fleshed, fully skinned, and fully dressed. She is\nin a replica of the dress MALAHIDE bought for her, but this one\nis jet black. She looks fabulous.", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the" ], [ "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "The scream continues, but the blackness is replaced by KIRSTY's\nanguished face; it is she who is screaming. The scream subsides,\nreplaced by breathless panting accompanied by rapid eye movement.", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "KYLE enters, having heard KIRSTY crying. She is sitting with her\nlegs over the side of the bed with her face in her hands.", "KIRSTY screams and stares pleadingly, at the still frozen LARRY.\n\n KIRSTY\n Daddy! Daddy! I love you! Help me!", "KIRSTY has been dozing fitfully, but is awakened by strange\nnoises. At first terrified, she slowly realises it is simply\nsomeone being put in the room next door.", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher.", "KIRSTY emits a pained moan of pure anguish as she realises what\nshe is looking at.\n\n KIRSTY\n (under her breath)\n Daddy...", "KIRSTY moans and opens her eyes gingerly. She puts a hand to her\nface, rubbing at the place where JULIA hit her.", "KIRSTY\n Oh, Jesus. What is it?\n\nKYLE opens his mouth a few times, as if unsure what to say.", "KIRSTY covers her eyes with her hands and begins to sob.\n\nKIRSTY takes her hands from her eyes.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "KIRSTY'S face fills the screen. Her voice is slightly dreamy, as\nif she is still trying to understand herself the story she is\nabout to tell.", "A low moan comes from the far end of the room. KIRSTY assumes it\nissues from the figure hidden beneath the blanket and walks\nnearer, lifting her arm in readiness to remove the blanket.", "KYLE\n I think I need to talk. About\n what I saw.\n\nKIRSTY emerges, fully dressed, her hair still damp.", "KIRSTY gulps back a sob and her eyes fill with tears.\n\n KIRSTY\n Daddy... ?\n\nThe figure leans slowly into the light, speaking as he does\nso.", "For a moment, they laugh together but then stop. KIRSTY stares\ndownward and then suddenly bursts into tears.\n\n KIRSTY\n What can I do? How can I\n save him?", "LARRY is unconscious. TIFFANY gasps. KIRSTY looks up at her.\n\n KIRSTY\n Get help." ], [ "KIRSTY has been dozing fitfully, but is awakened by strange\nnoises. At first terrified, she slowly realises it is simply\nsomeone being put in the room next door.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips", "A low moan comes from the far end of the room. KIRSTY assumes it\nissues from the figure hidden beneath the blanket and walks\nnearer, lifting her arm in readiness to remove the blanket.", "KYLE\n Almost complete withdrawal. She\n hasn't said a word for nearly\n two years.\n\n KIRSTY\n God, that's terrible.", "KYLE\n Sad, huh? She's been here\n six months. Her name's TIFFANY.\n\n KIRSTY\n What's the matter with her?", "TIFFANY looks up at one point and eye-contact is made. KIRSTY\ngives a tentative smile and a small wave. TIFFANY stares at her.", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him.", "Her eyes are open and red-rimmed from weeping now. There is also\ncomplete silence.\n\nAll the more jarring, then, the sudden sound of someone fumbling\nat the handle of KIRSTY'S door.", "There is no response. KIRSTY arrives at the mattress and pulls\nthe blanket back. She leaps backwards, her hand at her mouth\nstifling a scream.", "KIRSTY's eyes flick left and right, taking in the sickening\ndetails of the room's contents, and then stare straight ahead,\nfocusing on the figure in white which is turning around to face\nher.", "We pull out to see that KIRSTY is sitting up, fully dressed, on a\nhospital bed. RONSON, a police detective, sits on a plain wooden", "52 INT. HOSPITAL ROOM NIGHT\n\nKIRSTY is again lying on her back on top of the bed. She is a\nstark contrast to JULIA. No display. No laughter.", "TIFFANY stops, startled, and looks at the doorway and KIRSTY.\n\nKIRSTY raises her hands in a placatory gesture and speaks more\nsoftly.", "KYLE ushers KIRSTY back into her own room.\n\n\n27 INT. HOSPITAL ROOM DAY", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY\n (slightly louder)\n Kyle?\n\nShe can't hear anything, but she regards that as a bad sign, not\na good one. She leaves the room.", "KIRSTY closes her eyes, almost wincing, as memory comes.\n\nKIRSTY opens her eyes. Consciously, she slows the rhythm of the\ndialogue down.", "KIRSTY throws her hands to her ears.\n\n KIRSTY\n Nooooo!\n\nShe rushes at one of the walls and begins beating it with her\nfists.", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "KIRSTY walks carefully around the screen, giving it a wide berth\nin case of a trick.\n\nThere is a figure standing against the wall behind the screen. It\nis deeply shadowed by the screen itself but is clearly male." ], [ "TIFFANY looks around the room again. She stares from one entrance\nto the other. Her manner is reminiscent of when she is making\ndecisions during her solving of puzzles.", "For the last months, TIFFANY has been finding ways out of the\ninstitute and making her way here, where she has one special\nobsession, which we will soon see.", "The puzzle, which we can now see more clearly, is an intricate\nabstract design in black and white. There are several pieces\nstill un-fitted but TIFFANY is working steadily, efficiently, and\nwith complete concentration.", "To TIFFANY this is a marvelous reward - something the jigsaw\nnever offered - and she lets out a little sound in response,", "TIFFANY, who is nearest to her, helps her to her feet and, as she\ndoes so, catches sight of the BOX (or white diamond, as it is", "Into shot, and running down the midway, comes a girl, TIFFANY.\n\nTIFFANY is a girl in her early teens but looks younger\nthen her years due to her boyish figure and her slightly over-\ndelicate features.", "TIFFANY looks up at one point and eye-contact is made. KIRSTY\ngives a tentative smile and a small wave. TIFFANY stares at her.", "TIFFANY is completely engrossed in the box. She seems blissfully\nunaware of the changes taking place in the room.", "TIFFANY sits cross-legged in the middle of the floor. She appears\nto be alone in the room. Cradled in her lap is a Lament\nConfiguration, taken from one of the glass cases on the low\ntable.", "TIFFANY does so and KIRSTY places it under the head of LARRY,\nwhose lips are now blue and who is breathing very shallowly.\nKIRSTY looks up at TIFFANY, despair in her eyes.", "persuasions have succeeded, but MALAHIDE's training has been too\nthorough; TIFFANY knows a puzzle when she sees one. She smiles", "TIFFANY nods again, more emphatically.\n\n KIRSTY\n Yeah!\n\nKIRSTY throws her arms around TIFFANY and hugs her.", "TIFFANY's eyes widen. She rushes to the door and disappears into\nthe corridor. Within two seconds we hear an emergency alarm go\noff and TIFFANY re-enters the room.", "TIFFANY nods slowly, her eyes flicking back and forth across the\nward.", "Suddenly TIFFANY makes a sharp turn and enters an intersecting\ncorridor. KIRSTY is forced to increase her speed even more.", "In short, TIFFANY's instincts were absolutely right; this too is\nanother puzzle. The girls are lost in a concrete maze, full of\ntwists and turns and labyrinthine windings.", "1st INTERN\n Oh, Jesus -she's gonna make it.\n\nEven as the first INTERN says this, we see TIFFANY make a sharp\nleft turn into a stall entrance.", "comes off. TIFFANY's weight pulls it clear like a very long and\nvery tasteless evening glove and it seems she will finally make\nthe long drop. At the final second, as the arm-skin comes off,", "They are six feet from the lip of the catwalk. TIFFANY kneels\nand, holding the white diamond BOX in front of her, begins to\nmove her fingers over it. The music box tune begins to play as\nthe BOX begins to move.", "But suddenly the two arms that have Just lost their skin fly out\nagain and catch her fingers. TIFFANY is hauled over the edge and" ], [ "There is a ripping, bursting sound and JULIA's hand emerges from\nhis chest, covered in his blood. Clutched in her hand is his\nruptured, still pumping heart.", "Kyle's expression is a mixture of terror and confusion as he\nstares into the beautiful face of the monster.\n\nJULIA smiles at him, a hungry, aroused smile.", "As they come together, the camera moves around them and we see,\nfor the first time, that JULIA is still incomplete; Her entire\nback is still glistening raw flesh, the naked bones of the spine\nstill clearly visible.", "Now, it is simply another body and she judges it differently; it\nis firm, full, healthy, and young. We see the expression on her\nface change from hatred and triumph to pure appetite. She licks", "JULIA moves in towards the girl, her eyes glittering with an alien\nhunger beneath their gauze mask. As she nears the girl, the TRACK\npasses them and moves through the room.", "His eyes widen in both agony and horror.\n\nJULIA smiles.\n\n JULIA\n Goodbye, Doctor. It's been real.", "JULIA\n NOOOOOOOOOO!\n\nWith a final, slurping sound, the skinned woman slips from the\nskin and disappears down the new corridor.", "JULIA licks her lips and looks down, not without affection, at\nthe dead KYLE. She smiles.\n\n JULIA\n Thank you, Kyle.", "Suddenly, her head tips back and, accompanied by JULIA's\ndelighted laughter, a wide beam of Hell's black light flies at", "JULIA, having presumably just replaced her skin, is not quite as\nperfect as before; there are bloody lines like scars beneath her\nears and chin as if the skin required some adjustment before\nbeing put on.", "TIFFANY, finally, realising what has happened, screams in terror\nand disgust, especially when she looks at what she has brought round\nthe corner in her hand. She drops JULIA's skin to the floor as", "There is of course, nothing for him to recognize from the\nmonstrous vision of the previous night. JULIA's arms, chest, and\nface are completely re-skinned now. All KYLE sees is a beautiful\nstranger in a white dress.", "JULIA still enveloping him. With the desperate strength with which\nshe clings to him and the way her legs are wrapped around his\nhips, it is like an obscenely perverse parody of sexual passion.", "JULIA crosses the room rapidly towards him. Her face is a\npicture of concern.\n\n JULIA\n Oh. You look awful. You poor\n boy. Come here...", "JULIA looks at him and walks toward him slowly. She smiles. She\nstrokes his cheek. She moves closer, gently slipping her arms around", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "While this process has been going on, KYLE has been dying slowly\nand horribly in her arms, his lifeforce being sucked into her", "It seems for a moment she has succeeded. She swings around the\nside of the CENOBITES and begins to run across the chamber.", "The TRACKING is now completing its circle around the room. After\nthe corpses, we return to JULIA and the GIRL - but the GIRL too\nis now a hollow, dried-out shell.", "With one swift, precise movement, he slices the bandages across\nthe side of her face. JULIA raises her hand and pulls the mask\naway." ], [ "KIRSTY\n But I didn't open it! I didn't!\n\n PINHEAD\n Then why are you here?", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "PINHEAD almost smiles at the naivete of the question.\n\n PINHEAD\n It's different for us.", "PINHEAD raises a hand and the box simply flies out of KIRSTY's\nhands and hovers in the air between them. KIRSTY stares, open-\nmouthed.", "He takes hold of it and looks, his face registering nothing.\n\n PINHEAD\n What is this? Someone else\n you think escaped us, like\n Frank?", "MALAHIDE looks up at the tiny noise this makes and his eyes meet\nPINHEAD'S. He turns more fully to face PINHEAD and the other\nCENOBITES who are now standing with their leader, and a strange\nsmile crosses his face", "PINHEAD glances theatrically around the room, as if checking\nsomething.\n\n PINHEAD\n Oh. No Boxes. Such a shame.", "The leader of the CENOBITES, PINHEAD raises a hand.\n\n PINHEAD\n Wait.\n\nThe FEMALE stops and looks questioningly at PINHEAD.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "The blueness, the conscious disfigurement, and the almost\ndecorative open wounds should serve to convey that what is\nhappening to MALAHIDE is not simply torture; he is being\ntransformed into a CENOBITE.", "PINHEAD\n Go on. But trick us again,\n child, and your suffering will\n be legendary even in Hell.", "We see the door-frame of the elevator and the floor buttons\nbeside it and, looking down the corridor through the open\nelevator doors, PINHEAD and the FEMALE CENOBITE marching towards\nus.", "PINHEAD shakes his head.\n\n PINHEAD\n No.\n\nHe glances down at TIFFANY again.", "PINHEAD\n ... we have Eternity to\n know your flesh!\n\nDelighted CENOBITE laughter follows her back into the labyrinth.", "PINHEAD\n How can it send us back, child?\n We're already here. And so are you.", "PINHEAD\n It is not HANDS that call us...\n\nHe looks up and stares directly at the shattered two-way mirror.", "PINHEAD\n No more deals, Kirsty. It's\n your flesh we want to experience,\n not your skill at bargaining.", "PINHEAD\n Oh, Kirsty; so eager to play, so\n reluctant to admit it.", "PINHEAD\n ... It is DESIRE.\n\n\n77 INT. OBSESSION ROOM ALCOVE DAY" ], [ "KIRSTY gulps back a sob and her eyes fill with tears.\n\n KIRSTY\n Daddy... ?\n\nThe figure leans slowly into the light, speaking as he does\nso.", "KIRSTY\n No, No, this one didn't escape.\n You told me you'd always been\n in Hell. You were wrong. Look\n at it. LOOK. IT'S YOU.", "is revealed. It is his brother, LARRY. KIRSTY's father.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "KIRSTY advances into the room. She stares at the mattress ahead\nof her. Above it written in blood on the wall, is the message she\nsaw in her vision. I AM IN HELL:HELP ME.", "KIRSTY emits a pained moan of pure anguish as she realises what\nshe is looking at.\n\n KIRSTY\n (under her breath)\n Daddy...", "PINHEAD\n But he's in his own Hell, child\n And quite unreachable.\n\nSuddenly KIRSTY makes her break shouting out as she does so.", "LARRY\n No. I've had enough of this shit.\n Who the hell are you?\n\n KIRSTY\n It's ...", "KIRSTY screams.\n\nThe CENOBITES turn to face her, but make no attempt to cross the\nroom to her new position.", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "KIRSTY\n (shouting)\n Because I'm going to get my father!", "FRANK\n I'm your Daddy now, Kirsty.\n\nFRANK leans in to kiss the terrified KIRSTY.", "KIRSTY\n Yeah? He got a ticket to Hell?\n\n\n34 INT. HOSPITAL CORRIDOR DAY", "FRANK\n That's it, baby. Come to\n Daddy.\n\nKIRSTY stands still. There is a second where her face registers\nnothing. Then she screams.", "KIRSTY\n (Very Tentatively)\n Daddy...?\n\n Only a low moan comes from behind the door.", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "Carefully, making no fast movements, KIRSTY reaches into her\npocket where she placed the photograph from MALAHIDE's OBSESSION\nROOM. She brings out the picture that she realized earlier was\nof PINHEAD and hands it to him.", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy", "KIRSTY\n You're full of shit, Frank Cotton.\n My Dad wasn't like that at all.\n He could feel. He could love. He\n loved ME.", "KIRSTY stares at him, her face at first blank then suffused with\nemotion. She leans across and plants a chaste kiss on his lips" ], [ "neatly and calmly slices PINHEAD's throat open. The thin red line\nbecomes a torrent of blood and the former lord of Hell falls dead\nat the feet of his successor.", "way. As each pillar is knocked aside, PINHEAD's face is more and\nmore human. Finally, when the face we see is nearly that of the", "Finally, just as PINHEAD breaks from his determined but medium-\npaced stride and speeds up eagerly for the last two or three", "PINHEAD\n But it's true, He is his own Hell.\n Just as you are in yours.\n\n KIRSTY\n And what about you?", "KIRSTY swings round in terror. As the mist continues to clear,\nshe sees, advancing to join PINHEAD, the FEMALE CENOBITE and the", "MALAHIDE looks up at the tiny noise this makes and his eyes meet\nPINHEAD'S. He turns more fully to face PINHEAD and the other\nCENOBITES who are now standing with their leader, and a strange\nsmile crosses his face", "Suddenly, rising up from behind KIRSTY, comes PINHEAD.\n\n PINHEAD\n Ah, Kirsty. And we thought\n we'd lost you.", "PINHEAD, at a more leisurely pace, crosses towards TIFFANY and\nlooks down at her. She stares back at him, the remnants of her\ninsanity a temporary defense against fear, her face registering\nnothing.", "door. Simultaneously to this, MALAHIDE and PINHEAD find each\nother's eyes a final time. For a second, everything is still then\na single bladed limb flies across the space between them and", "PINHEAD shakes his head.\n\n PINHEAD\n No.\n\nHe glances down at TIFFANY again.", "PINHEAD looks up.\n\n PINHEAD\n No.\n\nThe FEMALE looks across at him.\n\n CENOBITE\n No?", "MALAHIDE smiles. Be looks at PINHEAD again and advances. Suddenly\na heavy torture pillar smashes into him, knocking him slightly\noff-balance.", "PINHEAD raises a hand and the box simply flies out of KIRSTY's\nhands and hovers in the air between them. KIRSTY stares, open-\nmouthed.", "PINHEAD'S completed face floats on the blackness and stares out\nat us.\n\n PINHEAD\n (echoed & slow)\n Kirsty, come to daddy", "We see the door-frame of the elevator and the floor buttons\nbeside it and, looking down the corridor through the open\nelevator doors, PINHEAD and the FEMALE CENOBITE marching towards\nus.", "PINHEAD is backing across the room, weaving pillars in front of\nhim as he moves. MALAHIDE moves forward, knocking them out of the", "KIRSTY can't quite believe this but she has no intention of\nquestioning it. She runs into the corridor and away, with\nPINHEAD's last words echoing after her.", "KIRSTY\n I've come for my father!\n\nKIRSTY shouts this with brave defiance. PINHEAD laughs in\nresponse, a very unattractive sound.", "Suddenly, as quickly as it came, the hook withdraws from the wall\nand flies back into nothingness.\n\nPINHEAD puts out his hand in an expansive gesture.", "PINHEAD\n But he's in his own Hell, child\n And quite unreachable.\n\nSuddenly KIRSTY makes her break shouting out as she does so." ] ]

[ "What has Dr. Channard been searching for ?", "What awakens Kirsty?", "Where does Kirsty believe her father is?", "Who does Julia manage to seduce?", "What world is entered by unlocking the Lament Configuration?", "How does Cotton lure Kirsty?", "Who becomes a Cenobite?", "What happens to the mover as he is removing the matress?", "What does the second Mover observe as he enters?", "What is Tiffany's special talent?", "Wht does Dr. Channard bring mentally ill patients into his home?", "How does Kirsty trick Dr. Channard?", "What has Dr. Channard been searching for for years?", "What is Frank Cotton's punishment?", "Who killed Julia before the beginning of this story?", "Who do the Cenobites eventually target as the result of the opening of the portal into their dimension?", "What makes Kirsty attack Julia?", "Who is Pinhead?", "Why does Kirsty enter the Cenobite's domain?", "What does Kirsty beg her doctor to destroy at the beginning of the story?", "The lament configuration, which Dr Channard is searching for, is the doorway to where?", "When Dr. Channard frees Julia from the Cenobite dimension, she is whole except what?", "Who awakens Kristy to plead for help in the form of an otherworldly vision?", "What is the name of the young mute patient Kirsty befriends?", "What activity is Tiffany especially good at?", "Who does Julie feed on thanks to Dr. Channard's help?", "According to Pinhead, it's not the physical act of opening the box, but what that makes the Cenobites attack someone?", "Who turns out to be impersonating Kirsty's father in order to lure her to hell?", "Who ultimately kills Pinhead and his minions? " ]

[ [ "The Lament Configuration", "A doorway." ], [ "Visions of her father", "A vision of her father. " ], [ "In Hell", "In hell." ], [ "Channard", "Dr. Channard" ], [ "the world of Pinhead and the Cenobites.", "The world of the Cenobites" ], [ "By pretending to be her father", "by pretending to be her father" ], [ "Dr. Channard", "Dr. Channard" ], [ "He is killed", "He is killed" ], [ "A Pillar of Cenobites ", "A large spinning pillar with Cenobite faces" ], [ "Solving puzzles.", "she does not desire anything" ], [ "So that Julia can feed on them to regain her physical form.", "So that Julia can feed on them. " ], [ "By putting on Julia's skin.", "She puts on Julia's skin" ], [ "The Lament Configuration, the portal into another dimension.", "The Lament Configuration" ], [ "To be seduced by the images of sexually available women that he can never have.", "To be seduced and teased by women in Hell. " ], [ "Frank Cotton.", "Frank" ], [ "Dr. Channard.", "the movers" ], [ "Kirsty has found out that Julia killed MacRae.", "Julia kills MacRae" ], [ "A leader among the Cenobites.", "A Cenobite" ], [ "To try to rescue her father, who she believes is trapped in hell.", "to save who she believes to be her father" ], [ "The bloody mattress her step mother died on.", "The mattress from the first film." ], [ "The world of the cenobites. ", "The world of the Cenobites" ], [ "She doesn't have skin.", "skin" ], [ "Her father.", "Her father. " ], [ "Tiffany.", "Tiffany." ], [ "Solving puzzles. ", "solving puzzles" ], [ "Dr. Channard's mentally ill patients. ", "mentally ill patients" ], [ "Desire.", "The desire" ], [ "Frank Cotton. ", "Frank Cotton" ], [ "Doctor Channard. ", "Dr Channard" ] ]

b8b22116b9e2dba278243ab9a20b92cdd925f791

train

[ [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "Clothes are woven on iron looms, sewed with iron needles, and fastened\ntogether with buttons containing iron. Books are printed and bound by\niron machines, and sometimes written with iron pens or on iron", "are living now, but they are dwarfs, while their ancestors were\ngiants. There is a little \"horse-tail\" growing in our meadows, and", "There was only one place in what is now the United States where they\ncould do this, and that was in northern Michigan. A long point of land", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "II\n\nDOWN IN THE QUARRIES", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "earth was not nearly so thick as it is now, and much heat came from\nthe earth itself. Many plants and trees grow best in warm, moist air;\nand such plants flourished in those days. Some of their descendants", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled", "the mountains, and water was brought by means of ditches or pipes to a\nconvenient place. Then it was allowed to rush furiously through a\nhose and nozzle, and the great stream coming with tremendous force was", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "matter. Cattle that have been shut away from it for a while are almost\nwild to get it. Farmers living among the mountains sometimes drive\ntheir cattle to a mountain pasture to remain there through the summer," ], [ "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * * *", "soak through it. Then he divides it into large square basins, making\neach a little lower than the one before it. Close beside the highest\nbasin he makes a reservoir which at high tide receives water from the", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "salt,\" between the great ornamental salt cellar and the master of the\nhouse, was a mark of honor. Less distinguished guests were seated", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "churches with pillars, shrines, and statues; there are stairs,\nmonuments, and restaurants; there is a ballroom three hundred feet\nlong and one hundred and ninety feet high, with beautiful chandeliers,", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "will see white ledges cropping out here and there. The little villages\nare white because many of the houses are built of marble. Then, too,\nthere are great marble quarries flashing in the sunshine. Sometimes a", "or four ordinary church steeples. You get into the \"cage,\" a great\nsteel box, and are lowered down, down, down. At last the cage stops", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "A famous Latin poet named Horace, who lived two thousand years ago,\nwrote of his poems, \"I have reared a monument more lasting than", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "the mountains, and water was brought by means of ditches or pipes to a\nconvenient place. Then it was allowed to rush furiously through a\nhose and nozzle, and the great stream coming with tremendous force was", "at it was concerned. At the age of twenty-one, the young man\ngraduated, but even his new diploma could not keep his mind away from" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "way. It is still used by the natives of the interior of Africa. But if\nall the iron was made by this method, it would be far more costly than", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "brought misfortune to whoever owned them. The man who possessed them\ntried his best to get rid of the troublesome articles, but they always", "II\n\nDOWN IN THE QUARRIES", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "better in Nevada. They wanted to go somewhere else, but they had not\nmoney enough for the journey; so they kept on with their work at the\nfoot of Mount Davidson, washing the gravel and saving the little gold", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "III\n\nHOUSES OF SAND", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled" ], [ "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "1. Their socialized point of view--all problems and topics taken from\nthe everyday life of children, home interests, community interests,\ncommon business and industries. 2. Their attractiveness to", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "Everybody would be out of work. If you wish to see how it would seem,\ntry for an hour to use nothing that is of iron or has been made by\nusing iron.", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work" ], [ "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "II\n\nDOWN IN THE QUARRIES", "or four ordinary church steeples. You get into the \"cage,\" a great\nsteel box, and are lowered down, down, down. At last the cage stops", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "enough, people never doubted that it would cure all their diseases,\nand they gladly bought the oil of the Indians." ], [ "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "better in Nevada. They wanted to go somewhere else, but they had not\nmoney enough for the journey; so they kept on with their work at the\nfoot of Mount Davidson, washing the gravel and saving the little gold", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "their feet, they would have taken their picks and shovels and begun to\ndig, instead of trying to get out of the region as soon as might be.\nTen years later, the California placers were becoming exhausted, and", "There was only one place in what is now the United States where they\ncould do this, and that was in northern Michigan. A long point of land", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Every newcomer hoped to discover a vein; and within a year or two the\ndistrict around the Comstock lode was full of deep shafts, many of", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "Among those who were working in what is now the State of Nevada were\ntwo Irishmen who had been unlucky in California and had fared no", "This was about ten years after the rush to California for gold, and\nnow that this cheaper and quicker method of making a well had been", "When gold was first discovered in California, in 1848, people from all\nover the world made a frantic rush to get there, every one of them", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "some land in Pennsylvania that seemed promising and set to work to\ndig a well. But the more they dug, the more the loose dirt fell in\nupon them. Fortunately for the company, the superintendent had brains,", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "Before many years had passed, the gold that was near the surface had\nbeen gathered. The miners then followed the streams up into the", "them abandoned and half-hidden by low brush, but some of them yielding\nquantities of gold and silver. Before this, there had been only about\na thousand people in what is now Nevada, but in two years after the", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "Clothes are woven on iron looms, sewed with iron needles, and fastened\ntogether with buttons containing iron. Books are printed and bound by\niron machines, and sometimes written with iron pens or on iron", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "this has been arranged, he builds his derrick. This consists of four\nstrong upright beams firmly held together by crossbeams. It stands\ndirectly over the place where the well is to be dug. It is from thirty", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "move freely among them. The sides of the structure are covered with\nburnt brick and mud, but the top is left open to allow the steam from\nthe hot bricks to escape. The fires are in flues that are left at the", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * * *", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "The work is based upon the familiar experiences and activities of\nchildren, and follows as closely as possible the child's own method of\nacquiring new knowledge and skill.", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "grandfathers would have opened their eyes wide at the suggestion of a\nhouse built of sand, and would have felt anxious at every rainfall\nlest their homes should suddenly melt away. Even after thousands of", "People often say that the latter half of the nineteenth century was\nthe Age of Steel, because so many new uses for steel were found at\nthat time. The twentieth century promises to be the Age of", "put them together as if they were the sides and ends of square boxes,\nand piled them one above another, making hollow pillars. He fastened\nthese firmly together and filled the space inside with waste rock,", "III\n\nHOUSES OF SAND", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "A famous Latin poet named Horace, who lived two thousand years ago,\nwrote of his poems, \"I have reared a monument more lasting than", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part" ], [ "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "upon a car, and it is carried to the shed to be cut into shape,\nsmoothed, and perhaps polished.", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "this has been arranged, he builds his derrick. This consists of four\nstrong upright beams firmly held together by crossbeams. It stands\ndirectly over the place where the well is to be dug. It is from thirty", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "All that shows on the surface is the machinery shed where the various\nengines work to keep the air fresh, and bring up the miners and the\ncoal.]", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "hammers go down the line and strike each wedge almost as gently as if\nit was a nut whose kernel they were afraid of crushing. They go down\nthe line again, striking as softly as before. Then, if you look", "better in Nevada. They wanted to go somewhere else, but they had not\nmoney enough for the journey; so they kept on with their work at the\nfoot of Mount Davidson, washing the gravel and saving the little gold" ], [ "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "the engines, makes the bottom of the quarry a gloomy place. Everywhere\nthere are slender ladders with men running up and down them. There", "III\n\nHOUSES OF SAND", "of the fire-breathing dragons of the old story-books; and if it should\nget loose, it would devour whomever it touched far quicker than any", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "and you are at the bottom of the mine. The miners' faces, hands,\noveralls, are all black with coal dust. They wear tiny lamps on their", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "II\n\nDOWN IN THE QUARRIES", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "grandfathers would have opened their eyes wide at the suggestion of a\nhouse built of sand, and would have felt anxious at every rainfall\nlest their homes should suddenly melt away. Even after thousands of", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "The college boy thought by day and dreamed by night of the metal that\nwas everywhere, but that might as well be nowhere, so far as getting" ], [ "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "their feet, they would have taken their picks and shovels and begun to\ndig, instead of trying to get out of the region as soon as might be.\nTen years later, the California placers were becoming exhausted, and", "better in Nevada. They wanted to go somewhere else, but they had not\nmoney enough for the journey; so they kept on with their work at the\nfoot of Mount Davidson, washing the gravel and saving the little gold", "There was only one place in what is now the United States where they\ncould do this, and that was in northern Michigan. A long point of land", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "Among those who were working in what is now the State of Nevada were\ntwo Irishmen who had been unlucky in California and had fared no", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Before many years had passed, the gold that was near the surface had\nbeen gathered. The miners then followed the streams up into the", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "them abandoned and half-hidden by low brush, but some of them yielding\nquantities of gold and silver. Before this, there had been only about\na thousand people in what is now Nevada, but in two years after the", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "This was about ten years after the rush to California for gold, and\nnow that this cheaper and quicker method of making a well had been", "through the heart of the mountain, letting out the hot water and the\nfoul air. The owners of some of the mines joined him in raising the\nmoney, and the tunnel was dug. Through this the water ran out. The", "Every newcomer hoped to discover a vein; and within a year or two the\ndistrict around the Comstock lode was full of deep shafts, many of", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "the top of the coal, pushed in a cartridge, thrust in a slender squib,\nlighted it, and ran for his life. The cartridge exploded, and perhaps", "The ancient rivers had also carried gold to the valleys, and to\ncollect this a dredge, which the miners called a \"gold ship,\" came", "the mountains, and water was brought by means of ditches or pipes to a\nconvenient place. Then it was allowed to rush furiously through a\nhose and nozzle, and the great stream coming with tremendous force was", "himself, \"Why cannot we simply run a pipe directly from the well to\nthe railroad?\" This was done. Pumping engines were put in a few miles" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "Clothes are woven on iron looms, sewed with iron needles, and fastened\ntogether with buttons containing iron. Books are printed and bound by\niron machines, and sometimes written with iron pens or on iron", "In almost every kind of work new methods are invented after a while.\nIn quarrying, however, the same old methods are in use. The only", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "People often say that the latter half of the nineteenth century was\nthe Age of Steel, because so many new uses for steel were found at\nthat time. The twentieth century promises to be the Age of", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * * *", "seen, then widen and grow rich in gold, then suddenly come to an end.\nThis is why a new mine is so uncertain an enterprise. The gold may", "Once these holes were bored by hand, but now they are made with\npowerful drills that work by compressed air. A little later other men\ncome and set off cartridges. In the morning when the dust has settled", "scattered planks floating on the surface of the water. Clocks and\nwatches would become empty cases. There would be no machines for\nmanufacturing or for agriculture, not even a spade to dig a garden.", "When the bricks come out of the kiln, some of them are good and some\nare not. Those that were on the outside are not burned enough; those", "Every newcomer hoped to discover a vein; and within a year or two the\ndistrict around the Comstock lode was full of deep shafts, many of", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the" ], [ "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "II\n\nDOWN IN THE QUARRIES", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "A famous Latin poet named Horace, who lived two thousand years ago,\nwrote of his poems, \"I have reared a monument more lasting than", "high and coming down to the water's edge. The marks of tools could be\nseen on them, showing where blocks of stone had evidently been split\noff. I picked up a piece of the rock and examined it closely. It", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "Once these holes were bored by hand, but now they are made with\npowerful drills that work by compressed air. A little later other men\ncome and set off cartridges. In the morning when the dust has settled", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "remains with you. Unlike them, however, it brings good fortune,\nbecause it saves time and trouble and patience and money.", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "The four books of this series have been written not merely to provide\nagreeable reading matter for children, but to give them information.", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "Clothes are woven on iron looms, sewed with iron needles, and fastened\ntogether with buttons containing iron. Books are printed and bound by\niron machines, and sometimes written with iron pens or on iron", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "grandfathers would have opened their eyes wide at the suggestion of a\nhouse built of sand, and would have felt anxious at every rainfall\nlest their homes should suddenly melt away. Even after thousands of", "There is nothing certain about the search for oil. In some places it\nis near the surface, in others it is perhaps three or four thousand", "salt\" means not to accept it entirely, but only to believe it\npartially. When Christ told his disciples that they were \"the salt of\nthe earth,\" he meant that their lives and teaching would influence", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "II\n\nDOWN IN THE QUARRIES", "carbon and destroy it. There is a roar, a clatter, and a clang.\nTerrible flames of glowing red shoot up. Suddenly they change from red", "When the bricks come out of the kiln, some of them are good and some\nare not. Those that were on the outside are not burned enough; those", "itself. Now the chief splitter takes it, and with a broad thin chisel\nhe splits it into plates becoming thinner at each split. The second\nassistant trims these into the proper shape and size with either a", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "The ancient rivers had also carried gold to the valleys, and to\ncollect this a dredge, which the miners called a \"gold ship,\" came", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "our forests to-day. Every year the soft, black, decaying mass grew\ndeeper. As the crust of the earth was so thin, it bent and wrinkled", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "easily. It often sank in one place and rose in another. When these\nlow, swampy places sank, water rushed over them, pressing down upon", "them abandoned and half-hidden by low brush, but some of them yielding\nquantities of gold and silver. Before this, there had been only about\na thousand people in what is now Nevada, but in two years after the", "Before many years had passed, the gold that was near the surface had\nbeen gathered. The miners then followed the streams up into the", "mountains, and found that much of the gold had come from beds where in\nancient times rivers had flowed. There was gold still remaining in\nthese beds, but it was poorly distributed, the miners thought.", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "high and coming down to the water's edge. The marks of tools could be\nseen on them, showing where blocks of stone had evidently been split\noff. I picked up a piece of the rock and examined it closely. It", "There was only one place in what is now the United States where they\ncould do this, and that was in northern Michigan. A long point of land", "their feet, they would have taken their picks and shovels and begun to\ndig, instead of trying to get out of the region as soon as might be.\nTen years later, the California placers were becoming exhausted, and", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "seen, then widen and grow rich in gold, then suddenly come to an end.\nThis is why a new mine is so uncertain an enterprise. The gold may", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work" ], [ "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "\"settler,\" and here the heavy amalgam sank to the bottom and was then\nstrained. The extra mercury was collected, and the amalgam was put", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "some land in Pennsylvania that seemed promising and set to work to\ndig a well. But the more they dug, the more the loose dirt fell in\nupon them. Fortunately for the company, the superintendent had brains,", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "this has been arranged, he builds his derrick. This consists of four\nstrong upright beams firmly held together by crossbeams. It stands\ndirectly over the place where the well is to be dug. It is from thirty", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "II\n\nDOWN IN THE QUARRIES", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "better in Nevada. They wanted to go somewhere else, but they had not\nmoney enough for the journey; so they kept on with their work at the\nfoot of Mount Davidson, washing the gravel and saving the little gold", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "A man who goes out in search of a mine is called a \"prospector.\" The\nbest prospector is a man who has learned to keep his eyes open and to" ], [ "THE INDUSTRIAL READERS\n\nBOOK II\n\nDIGGERS IN THE EARTH\n\n\n\n\nI", "GUTENBERG EBOOK DIGGERS IN THE EARTH ***", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "this has been arranged, he builds his derrick. This consists of four\nstrong upright beams firmly held together by crossbeams. It stands\ndirectly over the place where the well is to be dug. It is from thirty", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "Once these holes were bored by hand, but now they are made with\npowerful drills that work by compressed air. A little later other men\ncome and set off cartridges. In the morning when the dust has settled", "AT THE GOLD DIGGINGS", "End of Project Gutenberg's Diggers in the Earth, by Eva March Tappan", "down the trench into the ditches, then into the pigs, till their whole\npattern is marked out in glowing iron. Now the blast begins to drive\ngreat beautiful sparks through the tapping hole. This means that the", "ladder. This is the support of an endless chain of buckets, each of\nwhich can bite into the gravel and take a mouthful of five or six\nhundred pounds. They drop this gravel into a big drum which is", "THE INDUSTRIAL READERS\n\n_Book II_\n\nDIGGERS IN THE\nEARTH", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "the engines, makes the bottom of the quarry a gloomy place. Everywhere\nthere are slender ladders with men running up and down them. There", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "some land in Pennsylvania that seemed promising and set to work to\ndig a well. But the more they dug, the more the loose dirt fell in\nupon them. Fortunately for the company, the superintendent had brains,", "\"placers\"; that is, masses of gravel and sand along the beds of\nmountain streams. Each miner had a pan of tin or iron, which he filled", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "ground, but were covered up with soil and trees. Evidently the slow\nwork with pans and cradles would not pay here; but it occurred to some\none that if a powerful stream of water could be directed against the" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "The college boy thought by day and dreamed by night of the metal that\nwas everywhere, but that might as well be nowhere, so far as getting", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "of the fire-breathing dragons of the old story-books; and if it should\nget loose, it would devour whomever it touched far quicker than any", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "long passageway stretches off into a blacker darkness than you ever\ndreamed of. Suddenly there is a blaze of red light far down the", "grandfathers would have opened their eyes wide at the suggestion of a\nhouse built of sand, and would have felt anxious at every rainfall\nlest their homes should suddenly melt away. Even after thousands of", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "the engines, makes the bottom of the quarry a gloomy place. Everywhere\nthere are slender ladders with men running up and down them. There", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "passage, a roar, a medley of all sorts of noises,--the rattling of\nchains, the clattering of couplings, the shouts of men, the crash of", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled" ], [ "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "fall--pours out. It looks like red, red gold, rich and wonderful, with\nlittle flames of red and blue dancing over it. It might almost be one", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "When gold was first discovered in California, in 1848, people from all\nover the world made a frantic rush to get there, every one of them", "examines the bank of the stream or the nearest hillside. If he\ncontinues to find bits of metal, they will lead him to a vein of ore,", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * * *", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "inconvenient, and yet in another way this dissolving is a great\nbenefit. Through the millions of years that are past, the oxygen of\nthe rain has dissolved the iron in the hills and has worked it down,", "II\n\nDOWN IN THE QUARRIES", "\"A primrose by a river's brim\n A yellow primrose was to him,\n And it was nothing more.\"", "When wood decays, its carbon unites with the oxygen of the air; and so\ndecay is really a sort of burning. In the forests of to-day the" ], [ "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "II\n\nDOWN IN THE QUARRIES", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "The four books of this series have been written not merely to provide\nagreeable reading matter for children, but to give them information.", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "Once these holes were bored by hand, but now they are made with\npowerful drills that work by compressed air. A little later other men\ncome and set off cartridges. In the morning when the dust has settled", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "III\n\nHOUSES OF SAND", "and you are at the bottom of the mine. The miners' faces, hands,\noveralls, are all black with coal dust. They wear tiny lamps on their", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * * *", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "A famous Latin poet named Horace, who lived two thousand years ago,\nwrote of his poems, \"I have reared a monument more lasting than", "III. MAKERS OF MANY THINGS. 50 cents.\n\n IV. TRAVELERS AND TRAVELING. 50 cents.\n\nThe foregoing are list prices, postpaid", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the" ], [ "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "savages, so long as a stranger \"ate his salt,\"--that is, was a guest\nin the house of any one of them,--he was safe. To \"eat salt together\"", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "trees, through briers, and down slippery rocks, bellowing as they\ncame, and plunging head first in a wild frenzy to get to the pieces of\nrock salt that were waiting for them.", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "move freely among them. The sides of the structure are covered with\nburnt brick and mud, but the top is left open to allow the steam from\nthe hot bricks to escape. The fires are in flues that are left at the", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "through the heart of the mountain, letting out the hot water and the\nfoul air. The owners of some of the mines joined him in raising the\nmoney, and the tunnel was dug. Through this the water ran out. The", "III\n\nHOUSES OF SAND", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "II\n\nDOWN IN THE QUARRIES", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "had drawn a line at the back along where he wished the split to be,\nand the men had drilled on this line also a row of holes. Next came", "Before many years had passed, the gold that was near the surface had\nbeen gathered. The miners then followed the streams up into the", "trees, through briers, and down slippery rocks, bellowing as they\ncame, and plunging head first in a wild frenzy to get to the pieces of\nrock salt that were waiting for them.", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "examines the bank of the stream or the nearest hillside. If he\ncontinues to find bits of metal, they will lead him to a vein of ore,", "Once these holes were bored by hand, but now they are made with\npowerful drills that work by compressed air. A little later other men\ncome and set off cartridges. In the morning when the dust has settled", "trouble that they were ready to believe in any treatment of the ore,\nno matter how absurd, that promised to help them out of their\ndifficulties. Some of them were actually persuaded that the juice of" ], [ "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "Before many years had passed, the gold that was near the surface had\nbeen gathered. The miners then followed the streams up into the", "their feet, they would have taken their picks and shovels and begun to\ndig, instead of trying to get out of the region as soon as might be.\nTen years later, the California placers were becoming exhausted, and", "better in Nevada. They wanted to go somewhere else, but they had not\nmoney enough for the journey; so they kept on with their work at the\nfoot of Mount Davidson, washing the gravel and saving the little gold", "There was only one place in what is now the United States where they\ncould do this, and that was in northern Michigan. A long point of land", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "stretches out into Lake Superior as if it was trying to see what could\nbe found there. Just beyond its reach is Isle Royal; and in these two\nplaces there was plenty of copper, enough for the Indians, enough for", "Every newcomer hoped to discover a vein; and within a year or two the\ndistrict around the Comstock lode was full of deep shafts, many of", "them abandoned and half-hidden by low brush, but some of them yielding\nquantities of gold and silver. Before this, there had been only about\na thousand people in what is now Nevada, but in two years after the", "The ancient rivers had also carried gold to the valleys, and to\ncollect this a dredge, which the miners called a \"gold ship,\" came", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "This was about ten years after the rush to California for gold, and\nnow that this cheaper and quicker method of making a well had been", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "\"settler,\" and here the heavy amalgam sank to the bottom and was then\nstrained. The extra mercury was collected, and the amalgam was put", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "Among those who were working in what is now the State of Nevada were\ntwo Irishmen who had been unlucky in California and had fared no", "hoping that he would be lucky enough to make his fortune, and fearing\nlest the precious metal should be gone before he could even begin to\ndig. The gold that these men gathered came from what were called" ], [ "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "lightning centuries ago. There is a vast supply of oil in this place;\nand indeed there is hardly a country that has not more or less of it.", "The ancient rivers had also carried gold to the valleys, and to\ncollect this a dredge, which the miners called a \"gold ship,\" came", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "our forests to-day. Every year the soft, black, decaying mass grew\ndeeper. As the crust of the earth was so thin, it bent and wrinkled", "ground, but were covered up with soil and trees. Evidently the slow\nwork with pans and cradles would not pay here; but it occurred to some\none that if a powerful stream of water could be directed against the", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--", "land at first; but its digging soon made a lake, and then it floated.\nIt must be more fascinating to hold a pan in your own hands and pick", "grandfathers would have opened their eyes wide at the suggestion of a\nhouse built of sand, and would have felt anxious at every rainfall\nlest their homes should suddenly melt away. Even after thousands of", "There was only one place in what is now the United States where they\ncould do this, and that was in northern Michigan. A long point of land", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled", "A famous Latin poet named Horace, who lived two thousand years ago,\nwrote of his poems, \"I have reared a monument more lasting than", "mountains, and found that much of the gold had come from beds where in\nancient times rivers had flowed. There was gold still remaining in\nthese beds, but it was poorly distributed, the miners thought.", "easily. It often sank in one place and rose in another. When these\nlow, swampy places sank, water rushed over them, pressing down upon", "Sometimes there would be quite an amount in one place, and then the\nminer would dig for days without finding any more. Even worse than\nthis was the fact that these gravel beds were not on the top of the", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The" ], [ "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "examines the bank of the stream or the nearest hillside. If he\ncontinues to find bits of metal, they will lead him to a vein of ore,", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "fall--pours out. It looks like red, red gold, rich and wonderful, with\nlittle flames of red and blue dancing over it. It might almost be one", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently", "saving of the gold, and put them in a very bad temper. At length a man\nnamed Henry Comstock came along, who told them that this black stuff\nwas silver ore. They examined the mountain-side, and discovered the", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "When gold was first discovered in California, in 1848, people from all\nover the world made a frantic rush to get there, every one of them", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * * *", "II\n\nDOWN IN THE QUARRIES", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "When a child can look at a steel pen not simply as an article\nfurnished by the city for his use, but rather as the result of many\ninteresting processes, he has made a distinct growth in intelligence.", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled", "inconvenient, and yet in another way this dissolving is a great\nbenefit. Through the millions of years that are past, the oxygen of\nthe rain has dissolved the iron in the hills and has worked it down,", "\"A primrose by a river's brim\n A yellow primrose was to him,\n And it was nothing more.\"" ], [ "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * * *", "1. Their socialized point of view--all problems and topics taken from\nthe everyday life of children, home interests, community interests,\ncommon business and industries. 2. Their attractiveness to", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "The work is based upon the familiar experiences and activities of\nchildren, and follows as closely as possible the child's own method of\nacquiring new knowledge and skill.", "grouping of problems about a given life situation. 5. The development\nof accuracy and skill in essential processes. 6. The vocational", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "The four books of this series have been written not merely to provide\nagreeable reading matter for children, but to give them information.", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "When a child can look at a steel pen not simply as an article\nfurnished by the city for his use, but rather as the result of many\ninteresting processes, he has made a distinct growth in intelligence.", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "hammers go down the line and strike each wedge almost as gently as if\nit was a nut whose kernel they were afraid of crushing. They go down\nthe line again, striking as softly as before. Then, if you look", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "soon there is a deep cut all along the side of the room. The man and\nhis machine go elsewhere, and the first room is left for its next\nvisitors. They come in the evening and bore holes for the blasting.", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently", "accomplished and what wide room for invention still remains; to teach\nthem that reward comes to the man who improves his output beyond the\ntask of the moment; and that success is waiting not for him who works", "hurried to the westward to buy or lease a piece of land in the hope of\nmaking their fortunes. A song of the day had for its refrain,--" ], [ "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "The four books of this series have been written not merely to provide\nagreeable reading matter for children, but to give them information.", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * * *", "The work is based upon the familiar experiences and activities of\nchildren, and follows as closely as possible the child's own method of\nacquiring new knowledge and skill.", "You will not have any idea how many they are till you begin to count.", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "1. Their socialized point of view--all problems and topics taken from\nthe everyday life of children, home interests, community interests,\ncommon business and industries. 2. Their attractiveness to", "from the furnace to the end of the shed. Opening from it on both sides\nare many smaller ditches; and connecting with these are little\ngravelike depressions two or three feet long and as close together as", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "This is just the way with the iron in our world. Wherever you see a\nbank of red sand or red clay or a little brook which leaves a red mark", "When the bricks come out of the kiln, some of them are good and some\nare not. Those that were on the outside are not burned enough; those", "there ready to be brought up, no one knows. Some people think they\nwere dissolved in water and then deposited; others think that\nelectricity had something to do with their formation. However that may", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "The paper used in the books, the type for each\ngrade, and the dimensions and arrangement of the type page were all\ndetermined by careful experimenting, in order to safeguard the\neyesight of children.", "Clothes are woven on iron looms, sewed with iron needles, and fastened\ntogether with buttons containing iron. Books are printed and bound by\niron machines, and sometimes written with iron pens or on iron", "earth was not nearly so thick as it is now, and much heat came from\nthe earth itself. Many plants and trees grow best in warm, moist air;\nand such plants flourished in those days. Some of their descendants", "When a child can look at a steel pen not simply as an article\nfurnished by the city for his use, but rather as the result of many\ninteresting processes, he has made a distinct growth in intelligence." ], [ "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "seen, then widen and grow rich in gold, then suddenly come to an end.\nThis is why a new mine is so uncertain an enterprise. The gold may", "Clothes are woven on iron looms, sewed with iron needles, and fastened\ntogether with buttons containing iron. Books are printed and bound by\niron machines, and sometimes written with iron pens or on iron", "Thus we have lessons based on playing store, making tickets, mailing\nletters, fishing, etc. Every step is made interesting, but no time is\nwasted in mere entertainment.\n\n * * * * *", "Imagine an enormous furnace holding between two and three hundred tons\nof metal and burning with such a terrific heat that by contrast\nboiling water would seem cool and comfortable. Suddenly, while you", "dried, and the sand blew over it till it was far underground. A better\nway than digging was found to work it, as will be seen later; but\nwhile digging was going on, the workmen built a cottage of blocks of", "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "The paper used in the books, the type for each\ngrade, and the dimensions and arrangement of the type page were all\ndetermined by careful experimenting, in order to safeguard the\neyesight of children.", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "with salt ten to twenty inches thick, and as dazzlingly white as if it\nwas snow. This great field is ploughed up with a massive four-wheeled", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "People often say that the latter half of the nineteenth century was\nthe Age of Steel, because so many new uses for steel were found at\nthat time. The twentieth century promises to be the Age of", "When the bricks come out of the kiln, some of them are good and some\nare not. Those that were on the outside are not burned enough; those", "Every newcomer hoped to discover a vein; and within a year or two the\ndistrict around the Comstock lode was full of deep shafts, many of", "THE INDUSTRIAL READERS\n\nBOOK II\n\nDIGGERS IN THE EARTH\n\n\n\n\nI", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight" ], [ "When he has begun to apprehend the fruitfulness of the earth, both\nabove ground and below, and the best way in which its products may be\nutilized and carried to the places where they are needed, he has not", "of the world upon other parts, and the necessity of peaceful\nintercourse. Best of all, he has learned to see. Wordsworth's familiar\nlines say of a man whose eyes had not been opened,--", "Centuries ago, so many thousand centuries that even the most learned\nmen can only guess at their number, strange things were coming to", "stratum. The man keeps it wet so that he can see the crack more\nplainly, and if that crack turns back a little to the right, he must", "and every little while they go up to salt the animals. The cattle know\nthe call and know that it means salt; and I have seen them come\nrushing down the mountain-side and through the woods, over fallen", "there was no lack of others to take their places. Dead leaves fell and\nheaped up around them. Stumps stood and decayed, just as they do in", "is a different matter, and this is what the men were doing. First of\nall, the foreman had examined the quarry till he had found a stratum", "only acquired a knowledge of many kinds of industrial life which may\nhelp him to choose his life-work wisely from among them; but he has\nlearned the dependence of one person upon other persons, of one part", "These books are planned to show the children that there is \"something\nmore\"; to broaden their horizon; to reveal to them what invention has", "The college boy thought by day and dreamed by night of the metal that\nwas everywhere, but that might as well be nowhere, so far as getting", "When these few things have been brought together, the prospector and\nthe donkey set out. They wander over the hills and down into the", "of the right thickness. He had marked where the ends were to come, and\nthe men had drilled holes down to the bottom of the stratum. Then he", "A famous Latin poet named Horace, who lived two thousand years ago,\nwrote of his poems, \"I have reared a monument more lasting than", "deeper and the others drop out. The block splits off. A mighty chain\nis then wound about it, the steam derrick lifts it, lays it gently", "soak through it. Then he divides it into large square basins, making\neach a little lower than the one before it. Close beside the highest\nbasin he makes a reservoir which at high tide receives water from the", "together. Nevertheless, they twisted and fell, and slowly but\ncertainly the whole mass of earth and rock, two hundred or more feet\nin thickness, was coming down upon the heads of the miners. The work", "Such a heap is a good thing to keep away from, for the fumes of\nsulphur are very disagreeable. Indeed, they will kill trees and other", "for what is to come. The floor is of sand and slopes down from the\nfurnace. Through the center of this floor runs a long ditch straight", "II\n\nDOWN IN THE QUARRIES", "Now, to one who did not know how to work iron, copper was indeed a\nwonderful treasure, for it made very good knives and spoons. The" ] ]

[ "In their previous society which sex was dominant?", "What was the expectation regarding marriage in the social order at Basilica?", "Who are Nafai and Elemak?", "What do the people that follow Elemak want to do about social order?", "Who leads the group of people who have faith in the Oversoul?", "Where does this group of settlers eventually hope to arrive?", "Which ancient social structures are the new order based on?", "What role does Shedemei have as the settlers move forward?", "What figures are in the prophetic dreams the characters in the story have?", "Where did the pioneers flee from?", "What is one difference between the new society and the old society?", "Who are the two sons of Volemak?", "Nafai's faction has faith in what?", "Elemak leads the faction that wants what?", "After years of traveling the settlers come to a land lost in ancient times that holds what secret?", "Who is the leader of the settlers?", "What are diggers and angels?", "What kind of dreams abound?", "What does the Oversoul discover?", "What is the name of sons of volemak?", "Who does nafai lead?", "Who does elemak lead?", "Where did the settlers reach?", "What secret does the land of ancient times hold?", "What does the oversoul discovers?", "Why is the focus on group dynamics? ", "Why are many children born?", "How is new society opposite to previous society?", "Who thinks about the problem of hierarchy?" ]

[ [ "Females were dominant in Basilica.", "female" ], [ "People honored yearly contracts. ", "Lifelong marriages" ], [ "They are sons of the leader Volemak.", "The sons of Volemak" ], [ "They want to go back to the civilization they had on Basilica even though it is doomed.", "Start a new social order unlike that of previous societies" ], [ "That group is led by Nafai.", "Nafai" ], [ "They want to live on Earth. ", "Earth." ], [ "They are patterned after ancient Hebrew Tribes described in Genesis. ", "powerful female characters succumb to new hierachy of men and wives" ], [ "Shedemei is a geneticist who ponders what the settlers are trying to do. ", "Geneticist - has to think about the social structure." ], [ "The figures are rats and bats which are called diggers and angels. ", "diggers and angels" ], [ "Basilica.", "Basillica" ], [ "It is male dominated.", "Life long monogamous marriages instead of yearly contracts." ], [ "Elemak, and Nafai.", "Nafai and Elemak" ], [ "The Oversoul. ", "the Oversoul" ], [ "To return to Basilica.", "To return to Basilica." ], [ "The secret of the Oversoul.", "secret of the Oversoul" ], [ "Volemak.", "Nafai" ], [ "Giant rats, and bats.", "Giant rats and bats" ], [ "Prophetic dreams.", "Giant rats and bats." ], [ "Itself.", "itself" ], [ "nafai and elemak are two sons of volemak.", "Nafai and Elemak" ], [ "nafai leads the faction who have faith in the oversoul.", "the faction who have faith in the Oversoul" ], [ "elemak leads to the faction who desperately wants to return to the civilisation of doomed basilica.", "The faction that want to return to Basilica." ], [ "they arrive in a land lost of ancient times.", "Oversoul." ], [ "the land of ancient times hold the secret of oversoul.", "the Oversoul" ], [ "porphetic dreams abound and the mostly involving giant rats and bats.", "Itself." ], [ "the focus is on group dynamics of the new tribe as it is the journey where the oversoul guides them.", "The Oversoul guides them" ], [ "they are born for their journey to earth.", "In preparation for going to Earth." ], [ "the new society is male dominated instead of female dominated and life long marriages instead of yearly contract marriages", "It is male dominated." ], [ "shedemei thinks about this problem she is a brilliant genecist.", "Shedemei" ] ]

c06e4f8169ac1b40871e2794133c8f506aec38ad

train

[ [ "Eric quickly removes the gun from the customers temple and \n fires two shots into the bank manager's face.\n\n The bank manager falls against the vault door and onto the \n floor.", "He looks at it's source, TWO POLICEMEN, decked out in black \n flak jackets and gas masks are starting to come out of a \n sewer manhole.", "Then, all of the French policemen, decked out in their \n assault gear and wearing gas masks, storm down the stairs. \n At the sight of Eric about to execute Zed they raise their \n guns.", "Then everybody notices he isn't wearing a mask.\n\n JEAN\n (quietly)\n [Eric, your mask.]\n\n ERIC\n Oh shit.", "INT. BANK - VAULT ANTECHAMBER - DAY\n\n They take cover.\n\n Another shot is fired into the vault.", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "The assistant manager is putting up a bit of a struggle but \n Eric simply forces him along.\n\n Everyone waits until suddenly they hear a burst of gunfire \n from outside. They all scream.", "Dust has blown out of the vault and is settling on Oliver, \n Zed, and Eric, who is laughing like a madman.\n\n Zed is looking at him like he's crazy.", "He drops the gun into the hole and then shoves the other \n policeman into it. He then pushes a large utility wagon over \n the manhole cover to stop anyone else from coming in.", "He covers the mouth piece.\n\n ERIC\n (to Claude)\n [I fucking hate cops.]\n\n CUT TO:", "Oliver takes the customer upstairs to the rest of the people.\n\n Eric rips off his mask.", "They maneuver out of the Calibre vault.\n\n INT. BANK - STORAGE/ELEVATOR AREA - DAY", "ERIC\n (to the bank manager)\n [You think we're fucking amateurs? You \n think we're stupid? I've got news for \n you...we planned ahead my friend!]", "Then, a tear gas cannister break through the top windows and \n start clouding the place up.\n\n Eric whips out his switch blade and hops on his bloody red \n foot.", "They come out of the Calibre vault with the huge platen.\n\n OLIVER\n Do you think we should get some cash \n also?\n\n ZED\n What for?", "The one who came out of the manhole turns just in time to see \n Eric fire into his chest. Then, Eric aims the gun into the", "ZED\n Well, did you tell them to stay quiet?\n\n ERIC\n Yes. They're assholes. Just having fun.\n\n Zed looks into the hole.", "Zed is waiting for the elevator to arrive.\n\n ZED\n Do we have a covering of some kind?\n\n OLIVER\n A what?", "Zed takes a power drill out from the briefcase and attaches a \n special diamond tipped bit. He measures the depth he wants \n to drill to and then marks the bit with a yellow pencil.", "Zed smiles.\n\n ERIC\n We will go in and shut the bank down. \n Now, look at this.\n\n Eric pulls out a complex electronic schematic." ], [ "ZED\n Oh.\n\n ZOEY\n I have a day job too. Three times a \n week.", "DISSOLVE TO:\n\n INT. ZOEY'S CAR - MOVING - DAY", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "He grabs Zoey and lifts her to her feet.\n\n ZOEY\n (screeching)\n No!\n\n Then, the assistant manager stops him.", "Zed closes the door and pushes the button to go up to the \n ground floor.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "Zed opens up the door and lets her in. She checks out the \n room and places her bag on the bed. Then she makes her way \n to the window for a view of the city.", "Zoey quietly opens the door opposite the vault that leads to \n the rear stairs to the lobby level.\n\n INT. BANK - REAR STAIRS TO LOBBY - DAY", "ZED\n Yes.\n\n ZOEY\n What kind of business?\n\n ZED\n Why?", "In the meantime Zoey is on the floor, unsure of what is going \n on.\n\n CUT TO:", "INT. BANK - RESERVE VAULT AREA - DAY\n\n Zoey and Zed rush into the reserve vault area. Zoey notices \n that the downstairs reserve vault is closed.", "ZED\n Here, help me with this.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "Zoey runs up to him and holds him.\n\n The police all charge into the secondary vault area and \n secure the downstairs.\n\n Zoey is crying as she holds Zed.", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "ZED\n I never really thought of it like that.\n\n ZOEY\n Well, it's true.\n\n Zed nods at this.", "Zed gets up and puts on his pants. Zoey gets up and looks \n around.\n\n ZOEY\n (groggily)\n What time is it?", "Zoe is near tears. She drops the empty machine gun to the \n floor and starts walking toward the sub lobby.\n\n CUT TO:", "ZOE\n (holding him)\n My Zed. They've hurt you.\n\n She dabs a cloth to his cut face. He holds it on.", "Zed can do nothing but smile at the thought of it.\n\n DISSOLVE TO:\n\n INT. HOTEL - HALL - DAY", "Suddenly, from the back office, Zed sees Zoey blasting away \n an Uzi and running toward the rear stairwell. Eric is in the", "In the hall is ZOEY, a cute French girl of not more than \n twenty. She's chewing on gum the way a schoolgirl might, but \n she looks like no girl Zed ever went to school with." ], [ "ZED\n I have no idea. Night time.\n\n There is more pounding on the door.\n\n ZOEY\n I'm going to take a shower.", "ZED\n Oh.\n\n ZOEY\n I have a day job too. Three times a \n week.", "INT. HOTEL - HALL - NIGHT\n\n Naked, Zoey falls into the hall.\n\n Eric slams the door shut.", "ZOEY\n The difference is a prostitute would have \n lied to you about her orgasm.\n\n He gives her a kiss.", "She takes a seat on the bed.\n\n ZOEY\n It will be one thousand francs for all \n night. In advance.", "Then, with Zed laying on the bed and watching her, she \n slowly, seductively strips in front of him, never taking her \n eyes from his eyes, until she is totally naked.", "In the meantime Zoey is on the floor, unsure of what is going \n on.\n\n CUT TO:", "ZOEY\n What? So you could see the work of a \n whore?\n\n He decides to put a stop to this once and for all.", "ZOEY\n I'm a student. And to pay for the \n classes I became an escort. It's my \n choice to sleep with you.\n\n ZED\n I see.", "They rest there for a while...holding each other.\n\n ZOEY\n I'm cold.\n\n She takes the covers and crawls under them, so does Zed.", "ZOEY\n Slow enough for you?\n\n Then, like a cat prowling for it's prey, she crawls over the \n bed to him and begins to unbuckle his pants.", "In the hall is ZOEY, a cute French girl of not more than \n twenty. She's chewing on gum the way a schoolgirl might, but \n she looks like no girl Zed ever went to school with.", "She shrieks.\n\n ZOEY\n [Let go of me you shit!!]\n\n He drags her out into the room, she is dripping wet.", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "Zed opens up the door and lets her in. She checks out the \n room and places her bag on the bed. Then she makes her way \n to the window for a view of the city.", "He grabs Zoey and lifts her to her feet.\n\n ZOEY\n (screeching)\n No!\n\n Then, the assistant manager stops him.", "Zed sits down on the bed.\n\n ZOEY(O.S.)\n Allez vous faire enculer tous le deux!\n\n ZED\n Eric, I liked that girl.", "She begins to kiss him multiple times over the face.\n\n ZOEY\n C'etait formidable.\n\n She rolls over, still hugging him, purring like a kitten.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude." ], [ "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "Zed rushes Eric and Zoey starts scratching. Eric drops the \n gun but quickly whips out his knife.\n\n She tries to get away from Eric but he has a hold on her \n shirt.", "Eric reaches for the knife.\n\n Zed, his hand bloody, dives onto Eric.", "He slashes Zed across the face with the switchblade. Zed \n falls backwards and tumbles down the stairs like a rag doll.\n\n ERIC\n Never let a girl come between two men.", "He swipes and Zed grabs a hold of the knife by the blade.\n\n Eric pulls it free and the knife falls to the floor.\n\n Zed takes this opportunity and kicks Eric in the face.", "ERIC\n Come Zed...I'm going to cut you like a \n sausage.\n\n Zed is standing between Zoey and Eric.", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "The sight of the gun gives Eric the strength only a madman \n could posses. He rolls over and throws Zoey off him.\n\n Then, he smashes his forehead into Zed's nose, bursting it.", "ERIC\n Oh. Well, then why didn't you stop me.\n\n ZED\n Because you were on a rampage.", "ERIC\n I will kill you. And once I kill you \n Zed, I'll get out of here. I'll fuck", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "Zed tries to stop Eric but Eric aims the gun at him.\n\n ERIC\n Zed no. I'll kill you. It means nothing \n to me, our friendship.", "He slams the door shut.\n\n Then he turns to Zed.\n\n ERIC\n So tell me, what have you been up to?", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed is rabbit punching Eric from underneath.\n\n Then, Eric grabs a hold of Zed's balls and squeezes.\n\n Zed lets out a shrill scream.", "Eric starts elbowing Zoey in the face.\n\n The three of them lay there on the floor wriggling like \n worms, unable to move because each is putting the other \n through such agony.", "ZED\n (thinking Eric is a madman)\n What kind of men are we?\n\n Eric looks at him and gives him a soft kiss on the cheek.", "ERIC\n (looking at his hand wound)\n God damn it. Look at my hand.\n\n ZED\n (shocked at the whole incident)\n Jesus Eric.", "Then he looks at Zoey.\n\n ERIC\n [What are you looking at you fucking \n whore?]" ], [ "ZED\n Here, help me with this.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "Zed closes the door and pushes the button to go up to the \n ground floor.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "Zoey and Zed, bandaged up, are being aided by all of the \n French policemen as they walk through the bank.", "Zed jumps back down the hall toward the reserve vault area.\n\n INT. BANK - RESERVE VAULT AREA- DAY\n\n They rush out toward the stairs.", "ZED\n Or Portugal.\n\n They get into the banks private freight elevator.\n\n INT. BANK - FREIGHT ELEVATOR - DAY", "The elevator doors open onto the ground floor to the sound of \n automatic gunfire. Zed walks out into the back office.\n\n INT. BANK - BACK OFFICE - DAY", "INT. BANK - RESERVE VAULT AREA - DAY\n\n Zoey and Zed rush into the reserve vault area. Zoey notices \n that the downstairs reserve vault is closed.", "Zed smiles.\n\n ERIC\n We will go in and shut the bank down. \n Now, look at this.\n\n Eric pulls out a complex electronic schematic.", "Zed smiles.\n\n ERIC\n We will go in and shut the bank down. \n Now, look at this.\n\n Eric pulls out a complex electronic schematic.", "INT. BANK - VAULT ANTECHAMBER - DAY\n\n Zed looks up hearing the commotion.", "INT. BANK - POSEIDON VAULT - DAY\n\n Eric laughs.\n\n ERIC\n Zed look!", "ERIC\n (nodding)\n Got it.\n\n Zed goes back to the vaults.\n\n INT. BANK - VAULT ANTECHAMBER - DAY", "INT. BANK - STORAGE/ELEVATOR AREA - DAY\n\n Instead of walking upstairs, Zed finds the fuse box right in \n the next room.", "The bank manager, shocked as he is, looks at Zed. He knows \n he's an American.\n\n The sub lobby teller's body slumps to the ground.", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "Zed goes to the gated passage which isn't much more than a \n window in one upper side of the vault, but it's enough to get \n him into the main vault.\n\n Eric is right behind him.", "INT. BANK - VAULT ANTECHAMBER - DAY\n\n Zed opens up his steel briefcase. Inside of it are all sorts \n of electronic gear and tools.", "Eric quickly removes the gun from the customers temple and \n fires two shots into the bank manager's face.\n\n The bank manager falls against the vault door and onto the \n floor.", "INT. BANK - LOBBY - DAY\n\n Eric leans down to talk to Zed. Oliver and Jean are \n watching. Francois and Claude are more worried about the \n tear gas.", "ZED\n I haven't even seen the bank.\n\n ERIC\n Fuck the bank. Before we do a job we \n live life. It's better that way. Okay?" ], [ "Zed goes to the gated passage which isn't much more than a \n window in one upper side of the vault, but it's enough to get \n him into the main vault.\n\n Eric is right behind him.", "Zed and Eric look into the vault.\n\n ZED\n Another security guard?\n\n ERIC\n Must be.", "Eric gets up and walks into the Poseidon vault.\n\n Before Zed follows him he looks at Oliver who doesn't know \n what to think.", "Then, Zed and Zoey appear from the hall to the reserve vault \n area.\n\n Eric turns to them with his gun raised, when he sees them he \n lowers it.", "ERIC\n (nodding)\n Got it.\n\n Zed goes back to the vaults.\n\n INT. BANK - VAULT ANTECHAMBER - DAY", "INT. BANK - POSEIDON VAULT - DAY\n\n Eric laughs.\n\n ERIC\n Zed look!", "ZED\n Fuck!\n\n ERIC\n Merde!\n\n Then there's another gunshot.\n\n The bullet ricochets through the vault.", "Dust has blown out of the vault and is settling on Oliver, \n Zed, and Eric, who is laughing like a madman.\n\n Zed is looking at him like he's crazy.", "ERIC\n Then do it. We don't have all day.\n\n Zed enters the Poseidon vault.\n\n INT. BANK - POSEIDON VAULT - DAY", "Eric looks down at the blueprint. There is a small passage \n connecting the main vault to an adjacent vault.\n\n ERIC\n Another vault.\n\n ZED\n No this.", "Eric looks down at the blueprint. There is a small passage \n connecting the main vault to an adjacent vault.\n\n ERIC\n Another vault.\n\n ZED\n No this.", "ERIC\n [Zed is opening the vault now. This is a \n taste.]\n\n Eric holds the bar of gold up for all the people to see.", "Zed is watching the whole affair nervously.\n\n ERIC\n [Do you understand that I'll kill her if \n you don't open this fucking vault?]", "INT. BANK - RESERVE VAULT AREA - DAY\n\n Zoey and Zed rush into the reserve vault area. Zoey notices \n that the downstairs reserve vault is closed.", "Zed smiles and swings the door open revealing the interior of \n the Poseidon vault.\n\n Eric comes running in like a kid on Christmas morning.\n\n ERIC\n It worked!", "The smoke clears and we see that on the far side of the vault \n there is a huge platen on wheels with bricks of gold stacked \n onto it.\n\n Eric starts laughing.", "ZED\n Why would those two vaults be connected?\n\n ERIC\n I don't know.", "ZED\n Why would those two vaults be connected?\n\n ERIC\n I don't know.", "He looks toward the door leading to the reserve vault area.\n\n ZED\n (calling to Eric)\n Ready?!", "ZED\n What kind of vault is that?\n\n He checks the blueprint.\n\n ERIC\n Ah...Swiss made. A Caliber." ], [ "He puts Zed's bag onto one of those luggage holders and \n proceeds to show him the room.\n\n Sitting on the bed is a large air freight package.", "Zed grabs a towel and climbs out of the shower. He makes his \n way toward the knocking.\n\n INT. HOTEL ROOM - DAY", "Zed can do nothing but smile at the thought of it.\n\n DISSOLVE TO:\n\n INT. HOTEL - HALL - DAY", "The door to the room opens and the bellboy, followed by Zed, \n walks into the room.", "The bellboy clicks his heels and walks out the door.\n\n Zed looks around the room, still wondering what time it is, \n and takes a seat on the bed.", "INT. HOTEL ROOM - NIGHT\n\n Zed can't believe this.\n\n ZED\n Eric.", "Zed opens up the door and lets her in. She checks out the \n room and places her bag on the bed. Then she makes her way \n to the window for a view of the city.", "INT. HOTEL ROOM - BATHROOM - SHOWER - DAY\n\n Zed is in the shower letting the water run directly into his \n face and cascade down his body.", "Zed's bed, while still made, looks like it's been slept in. \n Sitting on it is the ripped open air freight package. Inside \n of it is a black steel briefcase.", "A long, empty hallway of a moderately priced hotel. From \n around a corner comes a BELLBOY carrying Zed's one bag.\n\n Zed is right behind him.", "Obviously tired from the flight Zed unbuttons his shirt a bit \n and lays back on the bed next to the package. Before he \n dozes off to sleep he takes his watch off and places it on \n the bedside table.", "CAB DRIVER\n It's a nice hotel. Your hotel. Very big \n rooms.\n\n He looks at Zed in the rear view mirror.", "He is asleep.\n\n FADE TO BLACK:\n\n INT. HOTEL ROOM - LATER - DAY", "ERIC\n (smiling)\n Oh I see. You have been busy.\n\n ZED\n Sorry, I asked the hotel to give me a \n wake up call.", "They come up to room 6A and the bellboy unlocks the door.\n\n INT. HOTEL ROOM - DAY", "DISSOLVE TO:\n\n INT. ZED'S ROOM - NIGHT\n\n Zed is asleep. Zoey is asleep in his arms.", "Then he hears it again, the knocking on the door.\n\n INT. HOTEL ROOM - BATHROOM - DAY", "There is a knocking at the door.\n\n Zed opens his eyes.\n\n The knock becomes a pound.", "Zed walks to the door to his room with the towel wrapped \n around his waist. He opens it.", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes" ], [ "Eric fires into him. He is dead instantly.\n\n Everybody screams.\n\n Eric fires into his dead corpse until his gun runs out of \n bullets.", "ERIC\n Kill her! Kill her!", "Eric is tired of this outburst, he shoots him.\n\n Everyone screams.", "The one who came out of the manhole turns just in time to see \n Eric fire into his chest. Then, Eric aims the gun into the", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "ERIC\n (into phone)\n [What do you want?]\n\n Eric looks around at the dead bodies.", "ERIC\n [The fucking police won't budge. I kill \n a man and they don't care. They say they", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "The police open fire with their French made assault machine \n guns and fill Eric with bullets. Instead of falling he does \n a scarecrow dance as his body is painted red.", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "ERIC\n I will kill you. And once I kill you \n Zed, I'll get out of here. I'll fuck", "OLIVER\n (pointing at the dead man)\n [This crazy fuck shot Ricardo!]\n\n Eric looks over at Ricardo and then at the carnage.", "Eric's eyes widen. He takes his silencer out of his coat and \n fixes it to his handgun. Then, like a man with intent to \n kill, he rapidly approaches them.", "ERIC\n I guess it is dead.\n\n They walk into the flat.\n\n INT. ERIC'S FLAT - LIVING ROOM - NIGHT", "ERIC\n I guess it is dead.\n\n They walk into the flat.\n\n INT. ERIC'S FLAT - LIVING ROOM - NIGHT", "Eric reaches for the knife.\n\n Zed, his hand bloody, dives onto Eric.", "ERIC\n [If the police decide to come in...kill \n them. And if you don't mind, stack those \n bodies somewhere else. This place is a \n fucking mess and it's bad for morale.]", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "He grabs the gun from the dead security guards limp grip.\n\n Eric storms in. He isn't wearing his mask.", "Zed tries to stop Eric but Eric aims the gun at him.\n\n ERIC\n Zed no. I'll kill you. It means nothing \n to me, our friendship." ], [ "ERIC\n I'm glad you came. How long has it been?\n\n ZED\n Years.", "ERIC\n I'm glad you came. How long has it been?\n\n ZED\n Years.", "ZED'S TABLE\n\n Everyone enters and takes seats at various parts of the club. \n Oliver sits next to Zed.\n\n OLIVER\n So, how long have you known Eric?", "ZED'S TABLE\n\n Everyone enters and takes seats at various parts of the club. \n Oliver sits next to Zed.\n\n OLIVER\n So, how long have you known Eric?", "ZED\n What about our friendship?\n\n ERIC\n Shit Zed. I haven't seen you in years. \n You hardly know me.", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed's happy to see him.\n\n ZED\n Eric. Come in.\n\n They hug.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "Eric waves them off with a brush of his hand. He's \n concentrating on Zed.", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "ERIC\n (matter-of-factly)\n What's your girlfriends name?\n\n ZED\n Zoe.", "Zed tries to stop Eric but Eric aims the gun at him.\n\n ERIC\n Zed no. I'll kill you. It means nothing \n to me, our friendship.", "ERIC\n Zed.\n\n They all stand there for a moment, the gunfire cracking away \n upstairs. Eric is more casual than he should be.", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "He slams the door shut.\n\n Then he turns to Zed.\n\n ERIC\n So tell me, what have you been up to?", "He and Zed hug.\n\n ERIC\n Oh my God it worked!", "ERIC\n That's good, but now I am here. So let's \n go. We have a lot to talk about.\n\n ZED\n What about the girl?", "Zed is rabbit punching Eric from underneath.\n\n Then, Eric grabs a hold of Zed's balls and squeezes.\n\n Zed lets out a shrill scream." ], [ "ZED\n I never really thought of it like that.\n\n ZOEY\n Well, it's true.\n\n Zed nods at this.", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "ZED\n Yes.\n\n ZOEY\n What kind of business?\n\n ZED\n Why?", "Zed blinks but it's true.\n\n Oliver and Claude start laughing.\n\n OLIVER\n Look at him. He's crazy.", "Zed blinks but it's true.\n\n Oliver and Claude start laughing.\n\n OLIVER\n Look at him. He's crazy.", "He and Zed hug.\n\n ERIC\n Oh my God it worked!", "Then, her clip runs out.\n\n She sees Zed, their eyes lock. An IMAGE overcomes Zed. She \n runs down the stairs to the back.", "ZOE\n (holding him)\n My Zed. They've hurt you.\n\n She dabs a cloth to his cut face. He holds it on.", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "Zed hovers over the body, afraid to touch it. He gives it a \n nudge with his foot.\n\n The body groans and then exhales the longest exhale ever.", "Zed takes a seat at the vault door. The backside of a vault \n door looks like an incredibly intricate clock. Zed removes \n the Plexiglass shielding.", "ZED\n It's impossible.\n\n ERIC\n It's not impossible. Everyone knows what \n to do.", "ZED\n It's impossible.\n\n ERIC\n It's not impossible. Everyone knows what \n to do.", "He slams the door shut.\n\n Then he turns to Zed.\n\n ERIC\n So tell me, what have you been up to?", "ZED\n (turning to Eric)\n What's going on?\n\n ERIC\n Nothing. They were just scaring them.", "ZED\n Hold on. Here she is.\n\n Eric is a bit relieved.\n\n Zed opens it up.", "Zed is unable to speak. They look into each others eyes for \n a long moment, hearing the sounds of the city drift in \n through the window. Then she leans forward and gives him a \n soft understanding kiss.", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "OLIVER\n You don't know? We've been discovered. \n But Eric has them under control.\n\n Zed is frantic." ], [ "ZED\n Eric. It's just that we've gone from \n being thieves to murderers.", "Zed sits there for a moment looking at the corpse, then, like \n he wants to get out of there as soon as possible, he", "ERIC\n Oh. Well, then why didn't you stop me.\n\n ZED\n Because you were on a rampage.", "Zed tries to stop Eric but Eric aims the gun at him.\n\n ERIC\n Zed no. I'll kill you. It means nothing \n to me, our friendship.", "ZED\n You didn't have to shoot any of them!", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes", "ERIC\n I will kill you. And once I kill you \n Zed, I'll get out of here. I'll fuck", "ZED\n I never really thought of it like that.\n\n ZOEY\n Well, it's true.\n\n Zed nods at this.", "Zed puts his hand to the neck of the vault guard #1 and \n checks for a pulse.\n\n Nothing.", "ZED\n Why?\n\n ZOEY\n Because you're...a good person. I run \n into some real creeps. You know.", "He slashes Zed across the face with the switchblade. Zed \n falls backwards and tumbles down the stairs like a rag doll.\n\n ERIC\n Never let a girl come between two men.", "The sight of the gun gives Eric the strength only a madman \n could posses. He rolls over and throws Zoey off him.\n\n Then, he smashes his forehead into Zed's nose, bursting it.", "Zed kneels down next to the body.\n\n ZED\n Are you still there?\n\n Nothing.", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "Zed blinks but it's true.\n\n Oliver and Claude start laughing.\n\n OLIVER\n Look at him. He's crazy.", "Zed blinks but it's true.\n\n Oliver and Claude start laughing.\n\n OLIVER\n Look at him. He's crazy.", "ZED\n Yes.\n\n ZOEY\n What kind of business?\n\n ZED\n Why?", "Eric reaches for the knife.\n\n Zed, his hand bloody, dives onto Eric.", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "Zed sits down on the bed.\n\n ZOEY(O.S.)\n Allez vous faire enculer tous le deux!\n\n ZED\n Eric, I liked that girl." ], [ "little room where a bedraggled looking \n whore lay spreadeagled on a filthy bed. \n \"She's yours for fifty francs,\" said the", "She takes a seat on the bed.\n\n ZOEY\n It will be one thousand francs for all \n night. In advance.", "ZED\n Well, I like your honesty. You're open. \n Unlike most prostitutes I've been with.\n\n She doesn't like the sound of this. She slaps him.", "ZOEY\n The difference is a prostitute would have \n lied to you about her orgasm.\n\n He gives her a kiss.", "ZOEY\n What? So you could see the work of a \n whore?\n\n He decides to put a stop to this once and for all.", "Eric lets out a shrill scream and whacks the butt of the Uzi \n into her face.\n\n But she won't let go. Her years as a prostitute have taught \n her to ignore pain.", "She doesn't want to say a thing that'll upset him.\n\n ERIC\n [Are you afraid I'll tell these people \n that this is only a day job for you?]", "ZED\n Oh.\n\n ZOEY\n I have a day job too. Three times a \n week.", "ZOEY\n I am not a prostitute!\n\n Zed is a little surprised at this.\n\n ZED\n Really? Can I have my francs back then?", "ZOEY\n I'm a student. And to pay for the \n classes I became an escort. It's my \n choice to sleep with you.\n\n ZED\n I see.", "Zed opens up the door and lets her in. She checks out the \n room and places her bag on the bed. Then she makes her way \n to the window for a view of the city.", "suit and fifty francs the officials had \n given him, and made a bee-line for the \n whorehouse in the nearest town. Slamming", "Then, with Zed laying on the bed and watching her, she \n slowly, seductively strips in front of him, never taking her \n eyes from his eyes, until she is totally naked.", "Une escorte. Pour vous faire visiter.\n (then back to his broken \n English)\n For business. I give you my number.", "ZED\n Zoey. I'm sorry for calling you a \n prostitute. I didn't understand the \n difference.", "ERIC\n Look, your whole life you've done nothing \n but fuck whores. A girl like that will \n give you AIDS. Why don't you find a nice \n girl in the suburbs?", "She steps down into the sub lobby, machine guns crackle in \n the background. She runs up to him just as he slumps to the \n ground.", "She removes the pants and climbs on top of him. They begin \n to make love.\n\n On the television, \"Nosferatu\" silently plays.", "She turns to him, but in the process takes the time to \n examine every detail of the room.", "She puts the money in her bag and then turns on the \n television from the remote console. A French talk show comes" ], [ "Eric fires into him. He is dead instantly.\n\n Everybody screams.\n\n Eric fires into his dead corpse until his gun runs out of \n bullets.", "Zed tries to stop Eric but Eric aims the gun at him.\n\n ERIC\n Zed no. I'll kill you. It means nothing \n to me, our friendship.", "ERIC\n Oh. Well, then why didn't you stop me.\n\n ZED\n Because you were on a rampage.", "Eric reaches for the knife.\n\n Zed, his hand bloody, dives onto Eric.", "The sight of the gun gives Eric the strength only a madman \n could posses. He rolls over and throws Zoey off him.\n\n Then, he smashes his forehead into Zed's nose, bursting it.", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "Eric is tired of this outburst, he shoots him.\n\n Everyone screams.", "The one who came out of the manhole turns just in time to see \n Eric fire into his chest. Then, Eric aims the gun into the", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "ERIC\n Kill her! Kill her!", "ERIC\n Do you really love your bitch whore \n girlfriend that much? She's really \n fucked with your mind.\n\n ZED\n Eric...what are you talking about?", "Zed rushes Eric and Zoey starts scratching. Eric drops the \n gun but quickly whips out his knife.\n\n She tries to get away from Eric but he has a hold on her \n shirt.", "Zed is rabbit punching Eric from underneath.\n\n Then, Eric grabs a hold of Zed's balls and squeezes.\n\n Zed lets out a shrill scream.", "ERIC\n I will kill you. And once I kill you \n Zed, I'll get out of here. I'll fuck", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "Zoey also jumps onto them and starts yanking on Eric's hair. \n She plunges her nails into his face.\n\n ERIC\n Fucking bitch!", "ZED\n What about our friendship?\n\n ERIC\n Shit Zed. I haven't seen you in years. \n You hardly know me.", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "ERIC\n [That's what you get!]\n\n Claude puts his hand on Eric's shoulder.\n\n CLAUDE\n Eric.", "Eric lifts him to his feet and holds him up against the \n knife. He turns him toward the smoke and whispers into his \n ear." ], [ "They come out of the Calibre vault with the huge platen.\n\n OLIVER\n Do you think we should get some cash \n also?\n\n ZED\n What for?", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "Eric quickly removes the gun from the customers temple and \n fires two shots into the bank manager's face.\n\n The bank manager falls against the vault door and onto the \n floor.", "ERIC\n Yes, tomorrow we pull the biggest job in \n French history. And spend the rest of \n our lives in Monte Carlo.\n\n The drunken Englishman, Oliver, belches and then cheers.", "ERIC\n Yes, tomorrow we pull the biggest job in \n French history. And spend the rest of \n our lives in Monte Carlo.\n\n The drunken Englishman, Oliver, belches and then cheers.", "ERIC\n Tomorrow.\n\n ZED\n Tomorrow!? We're doing this tomorrow?\n\n ERIC\n But of course.", "ERIC\n Tomorrow.\n\n ZED\n Tomorrow!? We're doing this tomorrow?\n\n ERIC\n But of course.", "JEAN\n [No. They're just blasting the vault \n open.]\n\n CLAUDE\n [What does it matter now? We're fucking \n surrounded by police.]", "He points to the main floor vault.\n\n ERIC\n Here. This is where they keep the days \n reserve cash. Okay fuck that.", "He points to the main floor vault.\n\n ERIC\n Here. This is where they keep the days \n reserve cash. Okay fuck that.", "The main vault looks like what a vault would look like if it \n were blown up from the inside. On the floor is the still \n smoldering body of the security guard. The room is \n incredibly smokey.", "ERIC\n (to the bank manager)\n [You think we're fucking amateurs? You \n think we're stupid? I've got news for \n you...we planned ahead my friend!]", "He takes out a tape measure and some callipers and measures \n out a point on the vault door. He marks the point with a \n piece of chalk.\n\n CUT TO:", "ERIC\n (to the manager)\n [This man has a family he would like to \n have Bastille day dinner with tonight. \n So save us some time and open the vault.]", "INT. BANK - VAULT ANTECHAMBER - DAY\n\n They take cover.\n\n Another shot is fired into the vault.", "He charges into the reserve vault area.\n\n INT. BANK - RESERVE VAULT AREA - DAY\n\n They enter and Eric walks up to a bathroom door.", "He places his ear to the vault and taps the spot.\n\n CUT TO:\n\n INT. BANK - MEN'S BATHROOM - DAY", "They maneuver out of the Calibre vault.\n\n INT. BANK - STORAGE/ELEVATOR AREA - DAY", "He flips the page to the lower level blueprint.\n\n ERIC\n There are many vaults downstairs, but \n this is the vault we must get into. This \n is where the real prize is.", "He flips the page to the lower level blueprint.\n\n ERIC\n There are many vaults downstairs, but \n this is the vault we must get into. This \n is where the real prize is." ], [ "Oliver takes the customer upstairs to the rest of the people.\n\n Eric rips off his mask.", "Eric fires into him. He is dead instantly.\n\n Everybody screams.\n\n Eric fires into his dead corpse until his gun runs out of \n bullets.", "Then everybody notices he isn't wearing a mask.\n\n JEAN\n (quietly)\n [Eric, your mask.]\n\n ERIC\n Oh shit.", "ERIC\n (laughing)\n [Claude, look around you. We're not", "ERIC\n Look at it. It's all for us. The smoke. \n The attention. They have no idea of who", "He covers the mouth piece.\n\n ERIC\n (to Claude)\n [I fucking hate cops.]\n\n CUT TO:", "Everyone takes their masks off.\n\n ERIC\n [Is this what happens? Is this what \n happens when I walk away for five \n minutes?]", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Then, all of the French policemen, decked out in their \n assault gear and wearing gas masks, storm down the stairs. \n At the sight of Eric about to execute Zed they raise their \n guns.", "The assistant manager is putting up a bit of a struggle but \n Eric simply forces him along.\n\n Everyone waits until suddenly they hear a burst of gunfire \n from outside. They all scream.", "ZED\n (turning to Eric)\n What's going on?\n\n ERIC\n Nothing. They were just scaring them.", "Eric is all smile as he plays with them. Sweat is running \n down his face but he's caught up in the moment.", "Eric is all smile as he plays with them. Sweat is running \n down his face but he's caught up in the moment.", "Eric, Ricardo, and Oliver take a seat on the couch opposite \n Zed. Francois sits on the floor.\n\n Eric rolls up his sleeve.", "Eric, Ricardo, and Oliver take a seat on the couch opposite \n Zed. Francois sits on the floor.\n\n Eric rolls up his sleeve.", "OLIVER\n You don't know? We've been discovered. \n But Eric has them under control.\n\n Zed is frantic.", "Dust has blown out of the vault and is settling on Oliver, \n Zed, and Eric, who is laughing like a madman.\n\n Zed is looking at him like he's crazy.", "Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver walk \n in and immediately start blabbing away in French to Mirelle \n and Josephine.\n\n Eric hands them some money.", "Eric, Zed, Francois, Ricardo, Jean, Claude, and Oliver walk \n in and immediately start blabbing away in French to Mirelle \n and Josephine.\n\n Eric hands them some money." ], [ "ERIC\n [What the fuck is going on!?]\n\n Zoey notices Eric, she remembers him.", "Then Eric catches sight of Zoey, their eyes lock. Eric \n smiles and winks. Then he turns to Jean with a whisper.", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "ERIC\n Zoe.\n (to Zoey in French)\n [Zoe, come here to me.]\n\n Zoey spits at him.", "ZED\n Hold on. Here she is.\n\n Eric is a bit relieved.\n\n Zed opens it up.", "ZED'S TABLE\n\n Everyone enters and takes seats at various parts of the club. \n Oliver sits next to Zed.\n\n OLIVER\n So, how long have you known Eric?", "ZED'S TABLE\n\n Everyone enters and takes seats at various parts of the club. \n Oliver sits next to Zed.\n\n OLIVER\n So, how long have you known Eric?", "ERIC\n (matter-of-factly)\n What's your girlfriends name?\n\n ZED\n Zoe.", "Zed's happy to see him.\n\n ZED\n Eric. Come in.\n\n They hug.", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "ERIC\n But in Paris your old friend Eric has a \n job for you, so you came. That's good.\n\n ZED\n How could I resist your invitation?", "ERIC\n But in Paris your old friend Eric has a \n job for you, so you came. That's good.\n\n ZED\n How could I resist your invitation?", "ERIC\n I'm glad you came. How long has it been?\n\n ZED\n Years.", "ERIC\n I'm glad you came. How long has it been?\n\n ZED\n Years.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "Eric walks up to the shower and knocks on the door. Zoey is \n obviously surprised to see him.", "Zed sits down on the bed.\n\n ZOEY(O.S.)\n Allez vous faire enculer tous le deux!\n\n ZED\n Eric, I liked that girl.", "Then, Zed and Zoey appear from the hall to the reserve vault \n area.\n\n Eric turns to them with his gun raised, when he sees them he \n lowers it." ], [ "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "Zed goes to the gated passage which isn't much more than a \n window in one upper side of the vault, but it's enough to get \n him into the main vault.\n\n Eric is right behind him.", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "Zed sits there for a moment looking at the corpse, then, like \n he wants to get out of there as soon as possible, he", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes", "He swipes and Zed grabs a hold of the knife by the blade.\n\n Eric pulls it free and the knife falls to the floor.\n\n Zed takes this opportunity and kicks Eric in the face.", "He starts laughing and then crawls through the connecting \n passage into the Caliber vault.\n\n Zed, with his briefcase, follows.", "Zed closes the door and pushes the button to go up to the \n ground floor.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "Zed jumps back down the hall toward the reserve vault area.\n\n INT. BANK - RESERVE VAULT AREA- DAY\n\n They rush out toward the stairs.", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "Zed crawls through the opening.\n\n OLIVER\n I'll be at the other vault waiting for \n you to call to me.", "ZED\n No I didn't know! How many police?\n\n OLIVER\n The building is surrounded.", "Zed shakes his head and goes to work setting dials and using \n his voltmeter to test electrical points.\n\n CUT TO:", "Then, all of the French policemen, decked out in their \n assault gear and wearing gas masks, storm down the stairs. \n At the sight of Eric about to execute Zed they raise their \n guns.", "Zed, terrified, spins around.\n\n Another groaning sound. The vault security guard isn't dead. \n His body is charred and he's not moving but he's very much \n alive.", "Zed squeezes through the opening.\n\n Then, Eric, grinning like a schoolboy, emerges from the smoke \n with a brick sized bar of pure gold.", "Zed takes a seat at the vault door. The backside of a vault \n door looks like an incredibly intricate clock. Zed removes \n the Plexiglass shielding.", "ZOE\n Merde! The vault has been closed.\n\n ZED\n What about the others?", "Oliver turns the large wheel and opens the Caliber vault \n door.\n\n With some amount of energy the door opens. Standing inside \n is Zed.", "ZED\n We're not out of here yet.\n\n ERIC\n Yes but we're rich!" ], [ "ERIC\n You know I have AIDS. From the needle.\n\n Zed can't believe this. He's not sure if what he heard was \n what he thought he heard.", "ERIC\n You know I have AIDS. From the needle.\n\n Zed can't believe this. He's not sure if what he heard was \n what he thought he heard.", "Eric takes a big hit.\n\n ERIC\n Over here is where the male prostitutes \n sell themselves. Do you see?\n\n No, Zed doesn't see.", "Eric takes a big hit.\n\n ERIC\n Over here is where the male prostitutes \n sell themselves. Do you see?\n\n No, Zed doesn't see.", "Ricardo takes hold of his arm and squeezes. Eric inserts the \n needle into his vein and draws out a little blood. It mixes", "Ricardo takes hold of his arm and squeezes. Eric inserts the \n needle into his vein and draws out a little blood. It mixes", "ERIC\n Look, your whole life you've done nothing \n but fuck whores. A girl like that will \n give you AIDS. Why don't you find a nice \n girl in the suburbs?", "Eric fires into him. He is dead instantly.\n\n Everybody screams.\n\n Eric fires into his dead corpse until his gun runs out of \n bullets.", "In one of the stalls Eric is preparing a syringe. He has \n just cooked the heroin and is now tapping on it to get the \n bubbles out.\n\n CUT TO:", "ERIC\n What happened to you? I thought you were \n going to call.\n\n Eric walks in and starts to notice the traces of wild love \n making around the room.", "Then Eric interrupts.\n\n ERIC\n (jokingly)\n Don't sit next to that junkie.\n\n CLAUDE\n Ahhhhhh!", "Then Eric interrupts.\n\n ERIC\n (jokingly)\n Don't sit next to that junkie.\n\n CLAUDE\n Ahhhhhh!", "Eric readies the needle and slaps his vein. He is shaking \n but trying to remain as still as possible.\n\n He places the needle at the end of a track on his arm and \n inserts it.", "ERIC\n Don't be silly. It's dangerous.\n\n Eric walks into the bathroom.\n\n INT. HOTEL ROOM - BATHROOM - NIGHT", "The heroin powder is put into a spoon with some lemon \n squeezed into it, then a little bit of tap water. Huddled \n around Eric are Francois, Ricardo, and Oliver.", "The heroin powder is put into a spoon with some lemon \n squeezed into it, then a little bit of tap water. Huddled \n around Eric are Francois, Ricardo, and Oliver.", "A few bursts of the Uzi go off and one shell stitches Eric's \n foot red.\n\n Eric lets go and falls to the ground.", "The one who came out of the manhole turns just in time to see \n Eric fire into his chest. Then, Eric aims the gun into the", "ERIC\n [That's what you get!]\n\n Claude puts his hand on Eric's shoulder.\n\n CLAUDE\n Eric.", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires." ], [ "He puts Zed's bag onto one of those luggage holders and \n proceeds to show him the room.\n\n Sitting on the bed is a large air freight package.", "The bellboy clicks his heels and walks out the door.\n\n Zed looks around the room, still wondering what time it is, \n and takes a seat on the bed.", "Zed grabs a towel and climbs out of the shower. He makes his \n way toward the knocking.\n\n INT. HOTEL ROOM - DAY", "INT. HOTEL ROOM - BATHROOM - SHOWER - DAY\n\n Zed is in the shower letting the water run directly into his \n face and cascade down his body.", "Zed can do nothing but smile at the thought of it.\n\n DISSOLVE TO:\n\n INT. HOTEL - HALL - DAY", "Zed opens up the door and lets her in. She checks out the \n room and places her bag on the bed. Then she makes her way \n to the window for a view of the city.", "Obviously tired from the flight Zed unbuttons his shirt a bit \n and lays back on the bed next to the package. Before he \n dozes off to sleep he takes his watch off and places it on \n the bedside table.", "The door to the room opens and the bellboy, followed by Zed, \n walks into the room.", "INT. HOTEL ROOM - NIGHT\n\n Zed can't believe this.\n\n ZED\n Eric.", "CAB DRIVER\n It's a nice hotel. Your hotel. Very big \n rooms.\n\n He looks at Zed in the rear view mirror.", "Zed walks to the door to his room with the towel wrapped \n around his waist. He opens it.", "A long, empty hallway of a moderately priced hotel. From \n around a corner comes a BELLBOY carrying Zed's one bag.\n\n Zed is right behind him.", "DISSOLVE TO:\n\n INT. ZED'S ROOM - NIGHT\n\n Zed is asleep. Zoey is asleep in his arms.", "Then he hears it again, the knocking on the door.\n\n INT. HOTEL ROOM - BATHROOM - DAY", "ERIC\n (smiling)\n Oh I see. You have been busy.\n\n ZED\n Sorry, I asked the hotel to give me a \n wake up call.", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes", "ZED\n Well, let me just dry up.\n\n ZOEY\n Okay, but it's not necessary.\n\n He goes into the bathroom and starts drying himself.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "He is asleep.\n\n FADE TO BLACK:\n\n INT. HOTEL ROOM - LATER - DAY" ], [ "ZOE\n (holding him)\n My Zed. They've hurt you.\n\n She dabs a cloth to his cut face. He holds it on.", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "ZED\n I never really thought of it like that.\n\n ZOEY\n Well, it's true.\n\n Zed nods at this.", "ZOEY\n Alright Mister America. Zed.", "ERIC\n Zoe.\n (to Zoey in French)\n [Zoe, come here to me.]\n\n Zoey spits at him.", "In the meantime Zoey is on the floor, unsure of what is going \n on.\n\n CUT TO:", "ZOEY\n I have a shower. You can clean up there.\n\n ZED\n Thank you Zoe.\n\n He looks at her.", "ZOE\n (trying to comfort him)\n You're going to be okay. In many", "ERIC\n (matter-of-factly)\n What's your girlfriends name?\n\n ZED\n Zoe.", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "ZOEY\n Come on. I have a car.\n\n Zoey puts her arm around Zed and helps him out of the \n bank...never to return.", "He grabs Zoey and lifts her to her feet.\n\n ZOEY\n (screeching)\n No!\n\n Then, the assistant manager stops him.", "Zed is like a zombie. Then he notices Zoe in the stairwell. \n They lock eyes.\n\n ZED\n (almost delerious)\n Zoe...", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "ZOEY\n The difference is a prostitute would have \n lied to you about her orgasm.\n\n He gives her a kiss.", "Then Eric catches sight of Zoey, their eyes lock. Eric \n smiles and winks. Then he turns to Jean with a whisper.", "ZOEY\n What? You don't understand.\n\n ZED\n No, I do.\n\n ZOEY\n Hey, it's not easy.", "ZED\n Hold on. Here she is.\n\n Eric is a bit relieved.\n\n Zed opens it up.", "In the hall is ZOEY, a cute French girl of not more than \n twenty. She's chewing on gum the way a schoolgirl might, but \n she looks like no girl Zed ever went to school with.", "ZOEY\n Turn off the television.\n\n Zed reaches over and turns it off from the console." ], [ "ERIC\n Tomorrow.\n\n ZED\n Tomorrow!? We're doing this tomorrow?\n\n ERIC\n But of course.", "ERIC\n Tomorrow.\n\n ZED\n Tomorrow!? We're doing this tomorrow?\n\n ERIC\n But of course.", "He points to the main floor vault.\n\n ERIC\n Here. This is where they keep the days \n reserve cash. Okay fuck that.", "He points to the main floor vault.\n\n ERIC\n Here. This is where they keep the days \n reserve cash. Okay fuck that.", "INT. BANK - VAULT ANTECHAMBER - DAY\n\n They take cover.\n\n Another shot is fired into the vault.", "They start walking toward the reserve vault area.\n\n CUT TO:\n\n INT. BANK - FREIGHT ELEVATOR - DAY", "He charges into the reserve vault area.\n\n INT. BANK - RESERVE VAULT AREA - DAY\n\n They enter and Eric walks up to a bathroom door.", "ERIC\n Yes, tomorrow we pull the biggest job in \n French history. And spend the rest of \n our lives in Monte Carlo.\n\n The drunken Englishman, Oliver, belches and then cheers.", "ERIC\n Yes, tomorrow we pull the biggest job in \n French history. And spend the rest of \n our lives in Monte Carlo.\n\n The drunken Englishman, Oliver, belches and then cheers.", "Zed jumps back down the hall toward the reserve vault area.\n\n INT. BANK - RESERVE VAULT AREA- DAY\n\n They rush out toward the stairs.", "They come out of the Calibre vault with the huge platen.\n\n OLIVER\n Do you think we should get some cash \n also?\n\n ZED\n What for?", "Zed closes the door and pushes the button to go up to the \n ground floor.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "He takes out a tape measure and some callipers and measures \n out a point on the vault door. He marks the point with a \n piece of chalk.\n\n CUT TO:", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "They descend down the stairs into the sub lobby.\n\n Oliver takes his gun.\n\n CUT TO:\n\n INT. BANK - LOBBY - DAY", "Eric quickly removes the gun from the customers temple and \n fires two shots into the bank manager's face.\n\n The bank manager falls against the vault door and onto the \n floor.", "CUT TO:\n\n INT. BANK - VAULT ANTECHAMBER - DAY", "CUT TO:\n\n INT. BANK - VAULT ANTECHAMBER - DAY", "CUT TO:\n\n INT. BANK - VAULT ANTECHAMBER - DAY", "He places his ear to the vault and taps the spot.\n\n CUT TO:\n\n INT. BANK - MEN'S BATHROOM - DAY" ], [ "Eric fires into him. He is dead instantly.\n\n Everybody screams.\n\n Eric fires into his dead corpse until his gun runs out of \n bullets.", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "Eric is tired of this outburst, he shoots him.\n\n Everyone screams.", "The one who came out of the manhole turns just in time to see \n Eric fire into his chest. Then, Eric aims the gun into the", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "ERIC\n Kill her! Kill her!", "The police open fire with their French made assault machine \n guns and fill Eric with bullets. Instead of falling he does \n a scarecrow dance as his body is painted red.", "ERIC\n (into phone)\n [What do you want?]\n\n Eric looks around at the dead bodies.", "ERIC\n I guess it is dead.\n\n They walk into the flat.\n\n INT. ERIC'S FLAT - LIVING ROOM - NIGHT", "ERIC\n I guess it is dead.\n\n They walk into the flat.\n\n INT. ERIC'S FLAT - LIVING ROOM - NIGHT", "Eric reaches for the knife.\n\n Zed, his hand bloody, dives onto Eric.", "A few bursts of the Uzi go off and one shell stitches Eric's \n foot red.\n\n Eric lets go and falls to the ground.", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "ERIC\n I like danger.\n (then to the guard)\n [Changed your mind yet?]\n\n Eric creeps into the room and activates the detonator.", "He grabs the gun from the dead security guards limp grip.\n\n Eric storms in. He isn't wearing his mask.", "ERIC\n I will kill you. And once I kill you \n Zed, I'll get out of here. I'll fuck", "Eric lifts him to his feet and holds him up against the \n knife. He turns him toward the smoke and whispers into his \n ear.", "ERIC\n (to the people)\n [I have had enough of this nonsense! The \n next person that speaks will die!]\n\n Everyone is quiet.", "Eric starts elbowing Zoey in the face.\n\n The three of them lay there on the floor wriggling like \n worms, unable to move because each is putting the other \n through such agony." ], [ "Zed rushes Eric and Zoey starts scratching. Eric drops the \n gun but quickly whips out his knife.\n\n She tries to get away from Eric but he has a hold on her \n shirt.", "ZOE\n (holding him)\n My Zed. They've hurt you.\n\n She dabs a cloth to his cut face. He holds it on.", "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "ZOEY\n Come on. I have a car.\n\n Zoey puts her arm around Zed and helps him out of the \n bank...never to return.", "The sight of the gun gives Eric the strength only a madman \n could posses. He rolls over and throws Zoey off him.\n\n Then, he smashes his forehead into Zed's nose, bursting it.", "He grabs Zoey and lifts her to her feet.\n\n ZOEY\n (screeching)\n No!\n\n Then, the assistant manager stops him.", "He swipes and Zed grabs a hold of the knife by the blade.\n\n Eric pulls it free and the knife falls to the floor.\n\n Zed takes this opportunity and kicks Eric in the face.", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "Zoe stands Zed up.\n\n ZOE\n Listen to me. We're going to lock \n ourselves into one of the air tight \n vaults...if any of them are still open.", "Then, her clip runs out.\n\n She sees Zed, their eyes lock. An IMAGE overcomes Zed. She \n runs down the stairs to the back.", "ZED\n I never really thought of it like that.\n\n ZOEY\n Well, it's true.\n\n Zed nods at this.", "ZED\n Hold on. Here she is.\n\n Eric is a bit relieved.\n\n Zed opens it up.", "Zed is like a zombie. Then he notices Zoe in the stairwell. \n They lock eyes.\n\n ZED\n (almost delerious)\n Zoe...", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes", "ZOEY\n Turn off the television.\n\n Zed reaches over and turns it off from the console.", "ZOEY\n I have a shower. You can clean up there.\n\n ZED\n Thank you Zoe.\n\n He looks at her.", "Suddenly, from the back office, Zed sees Zoey blasting away \n an Uzi and running toward the rear stairwell. Eric is in the", "He and Zed hug.\n\n ERIC\n Oh my God it worked!" ], [ "ZED\n I never really thought of it like that.\n\n ZOEY\n Well, it's true.\n\n Zed nods at this.", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "Then, the rear door to the cab opens and in an EXTREME CLOSE \n UP we see ZED, a young man with wild, almost mesmerizing eyes", "ZED(O.S.)\n My name's Zed.\n\n ZOEY\n (smiling at this)\n That's funny. We both have Z names.", "ZOE\n (holding him)\n My Zed. They've hurt you.\n\n She dabs a cloth to his cut face. He holds it on.", "ZED\n Hold on. Here she is.\n\n Eric is a bit relieved.\n\n Zed opens it up.", "Zed blinks but it's true.\n\n Oliver and Claude start laughing.\n\n OLIVER\n Look at him. He's crazy.", "Zed blinks but it's true.\n\n Oliver and Claude start laughing.\n\n OLIVER\n Look at him. He's crazy.", "ZOEY\n Alright Mister America. Zed.", "There is a knocking at the door.\n\n Zed opens his eyes.\n\n The knock becomes a pound.", "ZED\n (answering Enrique's question)\n Yes.", "ZED\n (answering Enrique's question)\n Yes.", "ZED\n Yes.\n\n ZOEY\n What kind of business?\n\n ZED\n Why?", "ZED\n No I don't.\n\n ZOEY\n Usually never. They're almost always fat \n like pigs.\n\n Zed laughs at this.", "He puts Zed's bag onto one of those luggage holders and \n proceeds to show him the room.\n\n Sitting on the bed is a large air freight package.", "ZED\n Why?\n\n ZOEY\n Because you're...a good person. I run \n into some real creeps. You know.", "Zed sits down on the bed.\n\n ZOEY(O.S.)\n Allez vous faire enculer tous le deux!\n\n ZED\n Eric, I liked that girl.", "Zed hovers over the body, afraid to touch it. He gives it a \n nudge with his foot.\n\n The body groans and then exhales the longest exhale ever.", "Zed shakes his head and goes to work setting dials and using \n his voltmeter to test electrical points.\n\n CUT TO:", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude." ], [ "Oliver takes the customer upstairs to the rest of the people.\n\n Eric rips off his mask.", "Everyone takes their masks off.\n\n ERIC\n [Is this what happens? Is this what \n happens when I walk away for five \n minutes?]", "Then everybody notices he isn't wearing a mask.\n\n JEAN\n (quietly)\n [Eric, your mask.]\n\n ERIC\n Oh shit.", "ZED\n Well, did you tell them to stay quiet?\n\n ERIC\n Yes. They're assholes. Just having fun.\n\n Zed looks into the hole.", "Eric starts elbowing Zoey in the face.\n\n The three of them lay there on the floor wriggling like \n worms, unable to move because each is putting the other \n through such agony.", "He looks at it's source, TWO POLICEMEN, decked out in black \n flak jackets and gas masks are starting to come out of a \n sewer manhole.", "The assistant manager is putting up a bit of a struggle but \n Eric simply forces him along.\n\n Everyone waits until suddenly they hear a burst of gunfire \n from outside. They all scream.", "They take a sharp turn.\n\n CUT TO:\n\n INT. CELLAR - NIGHT", "They take a sharp turn.\n\n CUT TO:\n\n INT. CELLAR - NIGHT", "Then, all of the French policemen, decked out in their \n assault gear and wearing gas masks, storm down the stairs. \n At the sight of Eric about to execute Zed they raise their \n guns.", "He covers the mouth piece.\n\n ERIC\n (to Claude)\n [I fucking hate cops.]\n\n CUT TO:", "Then, a tear gas cannister break through the top windows and \n start clouding the place up.\n\n Eric whips out his switch blade and hops on his bloody red \n foot.", "INT. BANK - VAULT ANTECHAMBER - DAY\n\n They take cover.\n\n Another shot is fired into the vault.", "Dust has blown out of the vault and is settling on Oliver, \n Zed, and Eric, who is laughing like a madman.\n\n Zed is looking at him like he's crazy.", "Zed and Oliver run for cover.", "Then Oliver yanks his off.\n\n OLIVER\n Who gives a damn if they see us or not \n anyway! I can't see a fucking think in \n this!", "Suddenly all of them start firing like blindly into the \n smoke.\n\n Francois runs back to Eric who has walked up to the elevator \n via the back office.", "Eric walks into the back office. The others look at each \n other.\n\n Suddenly a black figure runs across the bank behind the \n shadows, Francois sees it and nervously fires.", "Eric fires into him. He is dead instantly.\n\n Everybody screams.\n\n Eric fires into his dead corpse until his gun runs out of \n bullets.", "Eric is all smile as he plays with them. Sweat is running \n down his face but he's caught up in the moment." ], [ "Zed sits there for a moment looking at the corpse, then, like \n he wants to get out of there as soon as possible, he", "Obviously tired from the flight Zed unbuttons his shirt a bit \n and lays back on the bed next to the package. Before he \n dozes off to sleep he takes his watch off and places it on \n the bedside table.", "DISSOLVE TO:\n\n INT. ZED'S ROOM - NIGHT\n\n Zed is asleep. Zoey is asleep in his arms.", "The bellboy clicks his heels and walks out the door.\n\n Zed looks around the room, still wondering what time it is, \n and takes a seat on the bed.", "Zed shakes his head and goes to work setting dials and using \n his voltmeter to test electrical points.\n\n CUT TO:", "There is a knocking at the door.\n\n Zed opens his eyes.\n\n The knock becomes a pound.", "ZED\n Well, let me just dry up.\n\n ZOEY\n Okay, but it's not necessary.\n\n He goes into the bathroom and starts drying himself.", "He puts Zed's bag onto one of those luggage holders and \n proceeds to show him the room.\n\n Sitting on the bed is a large air freight package.", "No longer interested in Zoey or Zed, he goes to check out the \n body.\n\n ZOEY\n The hospital?\n\n ZED\n No.", "Zed gets up to go upstairs. \n\n ZED \n I don't know.\n\n ERIC\n No! You stay here.", "ZED\n Zoey, get out of here!\n\n She scrambles away.\n\n He swipes at Zed.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "INT. ERIC'S FLAT - LIVING ROOM - NIGHT\n\n Zed takes a seat on the couch next to Claude.", "Zed goes to the gated passage which isn't much more than a \n window in one upper side of the vault, but it's enough to get \n him into the main vault.\n\n Eric is right behind him.", "Zed kneels down next to the body.\n\n ZED\n Are you still there?\n\n Nothing.", "Zoe walks up the stairs out, not only are they locked but a \n cloud of tear gas is pouring into the downstairs sub lobby.\n\n Suddenly, Zed stumbles in.", "Zed opens up the door and lets her in. She checks out the \n room and places her bag on the bed. Then she makes her way \n to the window for a view of the city.", "Zed looks at the bathroom door close. After a fuming pause \n he turns and walks back toward the Poseidon vault door.\n\n CUT TO:", "Zed grabs a towel and climbs out of the shower. He makes his \n way toward the knocking.\n\n INT. HOTEL ROOM - DAY", "Zed hovers over the body, afraid to touch it. He gives it a \n nudge with his foot.\n\n The body groans and then exhales the longest exhale ever." ], [ "Eric swipes at her with the knife and grazes he back.\n\n Then Eric slashes toward Zed who jumps back.\n\n Zoey falls to the floor.", "The sight of the gun gives Eric the strength only a madman \n could posses. He rolls over and throws Zoey off him.\n\n Then, he smashes his forehead into Zed's nose, bursting it.", "Eric reaches for the knife.\n\n Zed, his hand bloody, dives onto Eric.", "Zed tries to stop Eric but Eric aims the gun at him.\n\n ERIC\n Zed no. I'll kill you. It means nothing \n to me, our friendship.", "Zed rushes Eric and Zoey starts scratching. Eric drops the \n gun but quickly whips out his knife.\n\n She tries to get away from Eric but he has a hold on her \n shirt.", "ERIC\n Oh. Well, then why didn't you stop me.\n\n ZED\n Because you were on a rampage.", "Then he notices the lack of gunfire upstairs.\n\n Eric turns back to them.\n\n ERIC\n Au revoir.\n\n He aims to kill Zed.", "Zed is rabbit punching Eric from underneath.\n\n Then, Eric grabs a hold of Zed's balls and squeezes.\n\n Zed lets out a shrill scream.", "He swipes and Zed grabs a hold of the knife by the blade.\n\n Eric pulls it free and the knife falls to the floor.\n\n Zed takes this opportunity and kicks Eric in the face.", "ERIC\n I will kill you. And once I kill you \n Zed, I'll get out of here. I'll fuck", "Eric's dead body slumps to it's knees and flops on top of \n Zed.\n\n Zed pushes the body off and tries to drag himself to Zoey.", "Eric waves them off with a brush of his hand. He's \n concentrating on Zed.", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "Zed looks over at him.\n\n ERIC\n It's fun.\n\n CUT TO:", "ERIC\n Come Zed...I'm going to cut you like a \n sausage.\n\n Zed is standing between Zoey and Eric.", "He slashes Zed across the face with the switchblade. Zed \n falls backwards and tumbles down the stairs like a rag doll.\n\n ERIC\n Never let a girl come between two men.", "Eric takes a big hit.\n\n ERIC\n Over here is where the male prostitutes \n sell themselves. Do you see?\n\n No, Zed doesn't see.", "Eric takes a big hit.\n\n ERIC\n Over here is where the male prostitutes \n sell themselves. Do you see?\n\n No, Zed doesn't see.", "He slams the door shut.\n\n Then he turns to Zed.\n\n ERIC\n So tell me, what have you been up to?", "ZED\n (turning to Eric)\n What's going on?\n\n ERIC\n Nothing. They were just scaring them." ] ]

[ "What did the team of robers wear to hide their faces during the heist?", "Where does Zoe works during the day?", "What is Zoe's profession during the night?", "Why did Eric slash Zed cheek with a knife?", "Who helped Zed to escape the bank?", "What did Eric and Zed found in the vault?", "What did Zed found in the hotel room when he arrived?", "Who killed Eric?", "How long had Eric and Zed been friends?", "What secret did Zed learn?", "Why did Zed kill someone?", "What is the prostitute's day job?", "Why did Eric attack his friend?", "When was the heist supposed to happen?", "What did Eric's friends use as disguises?", "How did Zoe meet Eric's friend?", "How did Zed escape custody?", "How did Eric contract AIDS?", "What does Zed do when he gets to his hotel room?", "Who is Zoe?", "On what day will the heist take place?", "How does Eric die?", "How does Zoe save Zed?", "Who is Zed?", "How does the team hide their faces?", "Where does Zed go instead of sleeping?", "Why does Eric attack Zed?" ]

[ [ "They wore carnival masks", "carnival masks." ], [ "At the bank", "The bank." ], [ "She is a prostitute", "Prostitute " ], [ "Because he tried to protect Zoe during the heist", "For protecting Zoe" ], [ "Zoe did.", "Zoe " ], [ "Many gold bars", "Gold bars" ], [ "A prostitute", "The prostitute, Zoey " ], [ "The police did.", "The police." ], [ "since childhood", "Since childhood." ], [ "Eric had AIDS", "That Eric has AIDS " ], [ "As an act of mercy on the mortally wounded guard", "An act of mercy" ], [ "working in a bank", "Working at the bank" ], [ "because Zed tried to protect Zoe", "He protected Zoe" ], [ "On Bastille Day", "On Bastille Day " ], [ "carnival masks", "Carnival masks." ], [ "Zoe was the prostitute sent to Zed's room", "She's a prostitute." ], [ "Zoe pretended he was a bank customer", "Zoe lies to protect him." ], [ "IV drug use", "Through intravenous drug use." ], [ "Has sex with Zoe", "greets the prostitute, has sex with her, talks with her, and goes to sleep" ], [ "A prostitute hired for Zed by the cab driver.", "Eric's love interest." ], [ "Bastille Day", "Bastille Day" ], [ "Shot by police", "Police shooting." ], [ "By telling the police that he is a customer who was not involved with the heist.", "Claiming he's a bank customer." ], [ "A professional safe cracker", "The protagonist." ], [ "By wearing carnival masks", "Carnival masks." ], [ "A jazz club", "Jazz club" ], [ "For protecting Zoe", "Zed tried to protect Zoe" ] ]

c50eca23eddd3e2b5d8873950ad92bf03f86c7d3

train

[ [ "\"Lil,\" I said again, and pulled away.\n\n\"What?\" she said, her eyes shining. She was stoned, I saw that now.\n\n\"Your parents are back. They came to the Mansion.\"", "The doors swung open, revealing Lil in a rotting maid's uniform, her\neyes lined with black, her skin powdered to a deathly pallor. She gave", "\"What the hell are you doing?\" Lil said, finally. She didn't address her\nmother, which surprised me. It didn't surprise Tom, though.", "Lil and I met three years before, at a barbecue that some friends of her\nparents threw, a kind of castmember mixer. She'd been just 19 --", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "Lil was waiting on the sofa, a folded blanket and an extra pillow on the\nside table, a pot of coffee and some Disneyland Beijing mugs beside\nthem. She stood and extended her hand. \"I'm Lil,\" she said.", "It was her house.\n\n\"Lil, Julius --\" Dan began.\n\n\"This is between me and him,\" Lil said. \"Stay out of it.\"", "Lil gave us adults a very youthful glare and flounced off. Rita shook\nher head at Lil's departing backside. \"There's not much fire in that", "When Lil had arrived, she'd sized up the situation with a sour\nexpression: sit in the front, near Dan, or in the back, near me. She'd", "Lil waited until it died down, then said, \"All right, then, we've got\nwork to do, too. I'd like to ask you all a favor, first. I'd like us to", "\"This is fucking fantastic, Lil,\" I said. Her look didn't soften.\n\"Really choice stuff. I had a great idea --\" I ran it down for her, the", "\"You were my next stop,\" Lil said.\n\n\"Then I've saved you some time.\" I pulled up a chair. \"Tell me all about\nit.\"", "Lil was working with Suneep, AKA the Merch Miracle. He could design,\nprototype and produce a souvenir faster than anyone -- shirts,", "Dan turned to greet someone, and I looked to see who it was. Lil. Of\ncourse. She was raccoon-eyed with fatigue, and she reached out for Dan's\nhand, saw me, and changed her mind.", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "He dipped forward, the shuffle of his feet loud in the quiet night.\n\"We're working,\" he said.\n\n\"No, you're not,\" Lil said. \"You're destroying. Stop it.\"", "\"Everybody knows why we're here, right?\" Lil said, with a self-\ndeprecating smile. She'd been lobbying hard for weeks, after all. \"Does", "Lil dropped her eyes and it was her turn to flush. She paced the floor,\nhands swinging at her sides. I could tell that she was still angry with\nme, but excited and scared and yes, passionate.", "I was hyperventilating, light-headed. Deliberately, I slowed my breath,\nput my head between my knees until the dizziness passed.\n\n\"Take me to Lil,\" I said.", "Lil's eyes blazed. \"Let me handle this,\" she said. \"All right?\"\n\nRita stood up abruptly. \"You do whatever you want,\" she said, and\nstormed out of the room." ], [ "\"What's on your mind?\" Dan asked from behind me, startling me. He was in\nhis boxers, thin and rangy and hairy.\n\n\"Thinking about moving on,\" I said.", "Dan moved to block the bedroom door. \"Wait a second,\" he said. \"You need\nrest.\"\n\nI fixed him with a doleful glare. \"I'll decide that,\" I said. He stepped\naside.", "Mansion, trying to gather some intelligence for us to use. They knew\nwhat he was up to, of course, but Dan was a fairly charming guy and he", "I grew too obsessed to fight, and Dan moved back, and then it was my\nturn to take hotel rooms so that the rattle of my keyboard wouldn't keep", "On campus, they called him Keep-A-Movin' Dan, because of his cowboy vibe\nand because of his lifestyle, and he somehow grew to take over every", "\"Sure,\" Dan said, \"sure.\" Then he launched an answering salvo, and while\nI was thinking up my answer, he helped me to my feet and walked me out", "When Lil had arrived, she'd sized up the situation with a sour\nexpression: sit in the front, near Dan, or in the back, near me. She'd", "Quickly, Dan released the doc and apologized. He assessed my physical\nstate and wordlessly wedged his shoulder in my armpit, supporting me. I\ndidn't have the strength to stop him. I needed sleep.", "\"Well,\" Dan said.\n\n\"Yup,\" I said, aping his laconic drawl. He smiled.\n\n\"It's that time,\" he said.", "Dan turned to greet someone, and I looked to see who it was. Lil. Of\ncourse. She was raccoon-eyed with fatigue, and she reached out for Dan's\nhand, saw me, and changed her mind.", "Dan gave me one of his long, considering looks, then nodded a minute\napproval. \"Yeah,\" he drawled. \"That'll help all right. Just tell 'em", "She brushed past me and went to Dan, who squirmed out of her embrace.\n\n\"No,\" he said, and stood up and sat on the windowsill, staring down at\nthe Seven Seas Lagoon.", "He shooed Dan away and took his seat. Once Dan had left the room, he\nshone lights in my eyes and peeked in my ears, then sat back and", "\"That would be fine,\" Lil said, taking my elbow. \"I think we should be\nheading home, now, though.\" She began to tug me away. Dan took my other", "back, as far as possible from Dan. He was working his magic on my\nbehalf, and I was content to let him do his thing.", "I choked on a knob of misery, and I realized that it was Dan, not Lil,\nwhose loss upset me the most.\n\nLil took Dan's hand and led him out of the room.", "\"It's not up to me, you know,\" she said at length, still pacing. Dan and\nI exchanged wicked grins. She was in.", "Dan met my eye and shook his head apologetically. I squirmed out from\nunder Suneep's arm and thanked him quietly, then slunk off to the\nContemporary for a hot tub and a couple hours of sleep.\n\n#", "and Dan at the valet parking out front. Dan had a runabout he'd picked\nup with my Whuffie, and I piled in with Jeanine in the middle. We played", "Tom shook his head. _Some friends you've got yourself_, I could see him\nthinking it.\n\n\"That soon?\" Lil asked, a throb in her voice.\n\nDan nodded." ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "Julius. You need to get away from here: Disney World isn't good for you\nand you're sure as hell not any good for Disney World.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"" ], [ "\"This place is not a historical preserve, Julius, it's a ride. If you\ndon't understand that, you're in the wrong place. It's not my goddamn", "Kim gave a little bounce. \"Oh, Julius, it's the best time of my life,\nreally! A dream come true. I'm meeting so many interesting people, and", "Julius. You need to get away from here: Disney World isn't good for you\nand you're sure as hell not any good for Disney World.\"", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "Julius, the corny, mechanical ghosts of the Haunted Mansion have come to\nseem like a precious link to a past when we could tell the real from the\nsimulated, the true from the false.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "\"Hey!\" I said. \"That was great! I'm Julius! How're you doing?\"", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"Welcome back, Julius. I'm Doctor Pete,\" the doctor said, in a kindly\nvoice that matched the face. Despite my recent disillusion with\ncastmember bullshit, I found his schtick comforting.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"Jules, this isn't one of your better ideas.\" My chest tightened, and he\npatted my shoulder. He had the knack of putting me at my ease, even when" ], [ "\"We both know what's wrong, Julius,\" the doc said, impatiently. \"You\nneed to be refreshed from your backup, get set up with a fresh clone and\nretire this one. We've had this talk.\"", "the brain-machine interface they installed at that time had a material\ndefect. It's been deteriorating ever since, misfiring and rebooting. The", "\"Well, now,\" he said, stroking his chin. \"Julius, you've got a problem.\nYour friend here tells me your systems have been offline for more than a", "The doc put a finger to my lips. \"Don't try. The interface has locked\nup, and it's taken some of your voluntary nervous processes with it. In", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "I had two more seizures before the interface finally gave up and shut\nitself down. I remember the first, a confusion of vision-occluding", "In the meantime, I think heavy sedation is in order. Once the restore's\nbeen completed, we'll retire this body for you and we'll be all finished\nup.\"", "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"Well, that's fine for minor problems, but in cases like this, it's bad\nnews. The interface has been deteriorating steadily, and it's only a\nmatter of time before it does some serious damage.\"", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "The doc smiled kindly. \"I think it's for the best, for now. Don't worry,\nJulius, we'll have you up and about soon enough.\"", "Julius. You need to get away from here: Disney World isn't good for you\nand you're sure as hell not any good for Disney World.\"", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan." ], [ "At least there was no mandatory Whuffie check on the monorail platform,\nbut the other people on the car were none too friendly to me, and no one\noffered me an inch more personal space than was necessary. I had hit\nbottom.", "The doctor rose to go. \"Look, Julius, you haven't got the Whuffie to\nmake it worth anyone's time to research a solution to this problem,", "\"If it's any consolation, I expect to be dead pretty soon,\" he said. He\ngave me a wry grin. \"My Whuffie's doing good. This rehab should take it", "\"What?\" I said, what happened, what happened to me?\n\n\"You're out of the ad-hoc,\" he said. \"You're out of Whuffie. You're\nbottomed-out,\" he said.", "They throbbed with Whuffie, Whuffie beyond measure, beyond use. In a\nworld where even a zeroed-out Whuffie loser could eat, sleep, travel and", "She looked at me like I was being deliberately stupid. \"He's got to get\nback on top. Cleaned up, dried out, into some productive work. Get that\nWhuffie up, too. _Then_ he can kill himself with dignity.\"", "I took her home to Toronto and we took up residence ten stories\nunderground in overflow residence for the University. Our Whuffie wasn't\nso hot earthside, and the endless institutional corridors made her feel\nat home while affording her opportunities for mischief.", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "\"Now, what do you know about that?\" I said, staring at my dismal\nWhuffie.\n\n\"What?\" he said.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "button for the elevator and it gives you an angry buzz in return. You\ntake the stairs to the lobby and no one looks at you as they jostle past\nyou.", "approached, I pinged his Whuffie and was startled to see that it had\ndropped to nearly zero.", "I'd pretty much pissed away most of my Whuffie -- all the savings from\nthe symphonies and the first three theses -- drinking myself stupid at", "revealed the worst: my Whuffie was low enough that someone had just\ngotten inside and driven away, realizing that they could make more\npopular use of it than I could.", "I stood in the line for the Hall of Presidents. Other guests checked my\nWhuffie, then averted their eyes. Even the children. A year before,\nthey'd have been striking up conversations, asking me about my job here\nat the Magic Kingdom.", "I pinged my Whuffie. I was up a couple percentiles -- sympathy Whuffie\n-- but it was falling: Dan and Lil were radiating disapproval. Screw 'em.", "\"Well, now,\" he said, stroking his chin. \"Julius, you've got a problem.\nYour friend here tells me your systems have been offline for more than a", "I took a moment to conjure a HUD with his Whuffie score on it. I had to\nresize the window -- he had too many zeroes to fit on my standard", "But that would never do. Doing it here was better for the old Whuffie --\nthey'd make over Disney World and hold it, a single ad-hoc where three\nhundred had flourished before, smoothly operating a park twice the size\nof Manhattan.", "\"Have you taken a look at Debra's Whuffie lately?\" he asked, finally, as\nwe stood by the pet cemetery, considering the empty scaffolding." ], [ "That stopped me. I'd somehow managed to forget that Dan, my good friend\nDan, was going to kill himself.", "\"Dan's just been explaining to me that he plans on being dead in a\ncouple months,\" I said. \"Puts a damper on the long-term plans, doesn't\nit, Lil?\"", "Dan was going to kill himself in two days' time. My friend and my\nmurderer. \"Dan,\" I croaked. I couldn't make any sense of my mind. Dan,", "The talk turned to Dan's impending death.\n\n\"So, tell me what you think of this,\" he said, hauling away on a glowing\ncigarette.\n\n\"Shoot,\" I said.", "\"I'm going to be taking a lethal injection at the end of the week,\" Dan\nsaid. \"Three days. That's personal, but you asked.\"", "Dan closed his eyes again, then ground his fists into them, sipped his\ncoffee. It was clear he was trying to figure out where to start.", "\"Really? Deadheading.\" I remember that I thought of Dan then, about his\nviews on the cowardice of deadheading, on the bravery of ending it when", "actually helped calm me down some. Dan was that kind of friend, a person\nwho knew you better than you knew yourself. \"So you're saying that if", "\"You could be his friend,\" Dan said. The light-headedness was back, and\nI slumped in my chair, tried to control my breathing, the panicked\nthumping of my heart.", "\"Well,\" Dan said.\n\n\"Yup,\" I said, aping his laconic drawl. He smiled.\n\n\"It's that time,\" he said.", "Dan gave me one of his long, considering looks, then nodded a minute\napproval. \"Yeah,\" he drawled. \"That'll help all right. Just tell 'em", "\"Sure,\" Dan said, \"sure.\" Then he launched an answering salvo, and while\nI was thinking up my answer, he helped me to my feet and walked me out", "\"I haven't told him yet,\" Dan said, with forced lightness. \"Why don't\nyou run it down?\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "I opened my mouth to object, but Dan put a hand on my forearm. \"Really?\"\nhe asked innocently. \"How do you plan on doing that?\"", "She looked at me like I was being deliberately stupid. \"He's got to get\nback on top. Cleaned up, dried out, into some productive work. Get that\nWhuffie up, too. _Then_ he can kill himself with dignity.\"", "Dan -- Dan was going to kill himself soon, and if I restored myself from\nmy old backup, I'd lose my last year with him. I'd lose _his_ last year.", "\"What's on your mind?\" Dan asked from behind me, startling me. He was in\nhis boxers, thin and rangy and hairy.\n\n\"Thinking about moving on,\" I said.", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans" ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "\"Yes,\" I said. That would work. Plan a murder, kill yourself, have\nyourself refreshed from a backup made before the plan. How many times\nhad Debra done terrible things and erased their memories that way?", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "Dan crouched down beside me. I looked over at him. He was grinning\nwryly. \"Posit,\" he said, \"for the moment, that Debra really did do this\nthing, set you up so that she could take over.\"", "She was confused, shrinking, and I pressed on.\n\n\"They were with Debra.\"\n\nShe reeled back as if I'd slapped her.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "\"Debra had herself refreshed from backup after we planned it,\" Dan went\non, as though no one was talking. \"I was supposed to do the same, but I", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"We planned it, then Debra had herself refreshed from a backup -- no\nmemory of the event, just the Whuffie for me.\"", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"We got updates,\" Rita said. \"That's why we're back -- we couldn't let\nit go on the way it was. We owed it to Debra.\"\n\n\"And Lillian,\" Tom said.", "_Did you have me killed_? I wondered, staring at Debra. After all, she'd\nbeen killed dozens, if not hundreds of times. It might not be such a big\ndeal for her.", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "down here, kept leaving me messages. I told Debra, and that's when she\ngot the idea." ], [ "\"Really? Deadheading.\" I remember that I thought of Dan then, about his\nviews on the cowardice of deadheading, on the bravery of ending it when", "of the unimaginable frontiers open to each of us. He'd tell me that\ndeadheading was a strong indicator that one's personal reservoir of\nintrospection and creativity was dry; and that without struggle, there", "\"So deadhead for a few centuries,\" I said. \"Put the decision off.\"\n\n\"No!\" he shouted, startling both of us. \"I'm _done_. It's _over_.\"", "Tom and I stood awkwardly to the side while Lil and her mother held an\nachingly chipper and polite farewell.\n\n\"So,\" I said to Tom. \"Deadheading.\"", "We were talking --\" he drew a breath and looked askance at his wife, who\nnodded -- \"about deadheading. For a while, anyway. See if things changed\nmuch in fifty or a hundred years.\"", "\"So,\" he said, thoughtfully. \"The question I'm asking is, how long can I\ndeadhead for? There are folks who go down for a thousand years, ten\nthousand, right?\"", "chance!\" Truth be told, almost everyone I'd known in my eighty-some\nyears were deadheading or jaunting or just _gone_. Lonely days, then.", "love. . . And what about the deadheads? Two people I know, they just\nwent deadhead for ten thousand years! Tell me that's not taking a", "been jaunting?\" I asked -- his eyes were too sharp for him to have\nmissed an instant's experience to deadheading.", "to other pursuits -- some of them had gone to school, some of them had\nmade movies, written books, or gone off to Disneyland Beijing to help\nstart things up. A few had deadheaded for a couple decades.", "his head. \"It's not good stewardship. If the guests wanted to walk\nthrough a funhouse with guys jumping out of the shadows saying 'booga-", "\"Dan's just been explaining to me that he plans on being dead in a\ncouple months,\" I said. \"Puts a damper on the long-term plans, doesn't\nit, Lil?\"", "Lil didn't deal well with her parents' decision to deadhead. For her, it\nwas a slap in the face, a reproach to her and her generation of\ntwittering Polyannic castmembers.", "Still smiling, they got into their runabout and drove away to get the\nlethal injections, to become disembodied consciousnesses, to lose their\nlast moments with their darling daughter.\n\n#", "The talk turned to Dan's impending death.\n\n\"So, tell me what you think of this,\" he said, hauling away on a glowing\ncigarette.\n\n\"Shoot,\" I said.", "The ad-hoc shortcutted through the west parking lot and moved through\nthe quiet streets of Frontierland apprehensively, a funeral procession\nthat stopped the nighttime custodial staff in their tracks.", "I never thought I'd live to see the day when Keep A-Movin' Dan would\ndecide to deadhead until the heat death of the Universe.", "taken deadheading, but only for the critically ill, not for people who\ndidn't want to be bored on long bus-rides? Or no hyperlinks, no", "over terminals. They all had the raccoon-eyed, sleep-deprived look of\nfanatics, even Debra, who managed to look lazy and excited\nsimultaneously.", "and get them to play at construction activity in thumpy, undead\npantomime. In time, Suneep and his gang would have a batch of" ], [ "He spun a fascinating yarn then, how he slowly gained the acceptance of\nthe mountain-dwellers, and then their trust, and then betrayed it in", "The way I tell it to Lil, I noticed her and then I noticed the Mansion,\nbut to tell the truth it was the other way around.", "against the inside of my skull and rebounded. The first pass through,\nthere had been a sense of order, of narrative, but this, this was", "--\n\n======== PROLOGUE ========", "new stories. The way that the Hall's drawing 'em, we're bound to be a\nhit.\" He put his hands behind his back and rocked on his heels, clearly\nproud of himself.", "\"Why didn't you tell me?\" she said, after a hard moment's staring into\nthe moonlight reflecting off the river.\n\n\"Tell you?\" I said, dumbly.", "I heard Kim and her young friends chatting excitedly, proudly. The anger\nand fear suffused me from tip to toe, and I felt suddenly light and cool\nand ready to do something terrible.", "Cory Doctorow's \"Down and Out in the Magic Kingdom\" tells a gripping,\nfast-paced story that hinges on thought-provoking extrapolation from", "\"So you made her,\" I said.\n\nHe shook his head, then nodded, took a drink. \"I did. It's been a long\ntime since I. . .\"", "While I tell Lil that I noticed her first and the Mansion second, the\nreverse is indeed true. But it's also true -- and I never told her this\n-- that the thing I love best about the Mansion is:", "I told Dan the story during our first friendship, and he immediately\npounced on the fact that I'd gone to Disney World to spend a week", "================= About the author: =================", "I took a deep breath. \"I did it, all right?\" I said. My voice cracked.\n\"I did it, and I don't have any excuse for having done it. It may not", "others, in three hour shifts. That was when I met this asshole\" -- she\nchucked her husband on the shoulder -- \"he'd gotten the wrong sleeping", "He nodded. \"Appearances can be deceptive,\" he said. \"But in this case,\nthey're bang-on.\"\n\n\"You want to talk about it?\" I asked.", "Debra's mask of impartiality slipped. \"You stupid, deluded asshole,\" she\nsaid, softly. \"You totter around, pissing and moaning about your little", "Even at a distance of ten yards, I heard Lil's choked sob, saw her\ncollapse in on herself. Her mother took her in her arms, rocked her. I\nfelt like a voyeur, but couldn't bring myself to turn away.", "\"You were my next stop,\" Lil said.\n\n\"Then I've saved you some time.\" I pulled up a chair. \"Tell me all about\nit.\"", "years. I woke in my own bed, instantly aware of the events that led up\nto my third death as seen from various third-party POVs: security\nfootage from the Adventureland cameras, synthesized memories extracted", "\"Why wouldn't I be?\" I said. \"I'm as good as new.\"\n\n\"Funny choice of words,\" he said. \"Some would say that you _were_ new.\"" ], [ "It was her house.\n\n\"Lil, Julius --\" Dan began.\n\n\"This is between me and him,\" Lil said. \"Stay out of it.\"", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "Lil shook her head and glared at me. \"Just go, Julius. I'll send your\nstuff to the hotel.\"\n\n\"You want me to go, huh? So you can bang him till he limps?\"", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "Lil shot me a look. \"That's fine, Julius. Any member of the ad-hoc can\nspeak.\"", "\"Lil,\" I said again, and pulled away.\n\n\"What?\" she said, her eyes shining. She was stoned, I saw that now.\n\n\"Your parents are back. They came to the Mansion.\"", "The doors swung open, revealing Lil in a rotting maid's uniform, her\neyes lined with black, her skin powdered to a deathly pallor. She gave", "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"This is my house, Julius. I'm asking you to get out of it. I'll see you\nat work tomorrow -- we're having a general ad-hoc meeting to vote on the\nrehab.\"", "\"All right,\" I said. I was too drained for emotion.\n\n\"I've taken a room here, moved my things.\"\n\n\"How's Lil taking it?\"", "Lil had the good grace to look slightly shamed. \"I'll get him a room,\"\nshe said. \"For a month. In Kissimmee. A motel. I'll pick up his network\naccess. Is that fair?\"", "Lil called over from a nearby conversation: \"Are they telling you what a\npack of milksops we are, Julius? When you get tired of that, why don't", "Lil was waiting on the sofa, a folded blanket and an extra pillow on the\nside table, a pot of coffee and some Disneyland Beijing mugs beside\nthem. She stood and extended her hand. \"I'm Lil,\" she said.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "Lil and I met three years before, at a barbecue that some friends of her\nparents threw, a kind of castmember mixer. She'd been just 19 --", "Kim gave a little bounce. \"Oh, Julius, it's the best time of my life,\nreally! A dream come true. I'm meeting so many interesting people, and", "When Lil had arrived, she'd sized up the situation with a sour\nexpression: sit in the front, near Dan, or in the back, near me. She'd" ], [ "\"Hi, Julius. It's Dan. You got a minute?\"", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "It was her house.\n\n\"Lil, Julius --\" Dan began.\n\n\"This is between me and him,\" Lil said. \"Stay out of it.\"", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "\"Hello, Julius. What can I do for you?\" Under the veneer of professional\nmedical and castmember friendliness, I sensed irritation.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "\"Hey!\" I said. \"That was great! I'm Julius! How're you doing?\"", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "\"Well, now,\" he said, stroking his chin. \"Julius, you've got a problem.\nYour friend here tells me your systems have been offline for more than a", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "\"Jules?\" came Dan's voice in my cochlea. \"You all right?\"", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"" ], [ "On campus, they called him Keep-A-Movin' Dan, because of his cowboy vibe\nand because of his lifestyle, and he somehow grew to take over every", "Mansion, trying to gather some intelligence for us to use. They knew\nwhat he was up to, of course, but Dan was a fairly charming guy and he", "\"Well,\" Dan said.\n\n\"Yup,\" I said, aping his laconic drawl. He smiled.\n\n\"It's that time,\" he said.", "actually helped calm me down some. Dan was that kind of friend, a person\nwho knew you better than you knew yourself. \"So you're saying that if", "Dan gave me one of his long, considering looks, then nodded a minute\napproval. \"Yeah,\" he drawled. \"That'll help all right. Just tell 'em", "Whuffie tally. Being with Dan was a process of constantly reevaluating\nmy beliefs in the Bitchun Society, and I'd never had a more vibrant,\nthought-provoking time in all my life.", "Dan was in his second or third blush of youth when I first met him,\nsometime late-XXI. He was a rangy cowpoke, apparent 25 or so, all", "I worked alongside Dan, using him as a personal secretary, handling my\ncalls, looking up plans, monitoring the Net for the first grumblings as", "\"Sure,\" Dan said, \"sure.\" Then he launched an answering salvo, and while\nI was thinking up my answer, he helped me to my feet and walked me out", "It had been two weeks since Dan's arrival, and though I'd barely seen\nhim in that time, his presence was vivid in our lives. Our little ranch-", "back, as far as possible from Dan. He was working his magic on my\nbehalf, and I was content to let him do his thing.", "I got to feeling like I was someone special -- not everyone had a chum\nas exotic as Keep-A-Movin' Dan, the legendary missionary who visited the", "Sometimes, as I ran my fingers through Lil's sweet red curls, I thought\nof that remark and sighed great gusts of contentment and marveled that\nmy friend Dan had been so prescient.", "Of course, that wasn't the life for me. I had Dan to pal around with, a\nrare high-net-Whuffie individual who was willing to fraternize with a", "\"Dan,\" he said. \"It's a pleasure.\"", "\"It's Dan.\" I heard the sound of the Park in full swing behind him --\nchildren's laughter; bright, recorded animatronic spiels; the tromp of", "The talk turned to Dan's impending death.\n\n\"So, tell me what you think of this,\" he said, hauling away on a glowing\ncigarette.\n\n\"Shoot,\" I said.", "the smooth knuckles. Dan smiled beneficently at me and I was seized with\na warm, comforting feeling of being surrounded by people who really", "It was the stupidest thing I'd ever heard. Dan, though, was cocking an\neyebrow at her and thinking hard. \"How old did you say you were?\" he\nasked.", "nearly started crying right then. Dan -- oh, Dan. My pal, my confidant,\nmy patsy, my rival, my nemesis. Dan, Dan, Dan. I wanted to beat him to" ], [ "Now, though, it seems the \"ad hocs\" are under attack. A new group has\ntaken over the Hall of the Presidents and is replacing its venerable", "killed would cause enough confusion that she could take over the Hall of\nPresidents. It was.\"", "member of this ad-hoc vandalized the Hall of Presidents, rendering it\nuseless. It's estimated that it will take at least a week to get it back\nup and running.", "========= CHAPTER 4 =========\n\nOne night in the Hall of Presidents convinced me of three things:\n\n1. That Debra's people had had me killed, and screw their alibis,", "Slipping along to the Liberty Square gateway, I flattened myself in\ndoorways whenever I heard maintenance crews passing in the distance,\nuntil I reached the Hall of Presidents, and in a twinkling I was inside\nthe theater itself.", "\"To find Jeanine, the one who pulled the trigger. I'll meet you at the\nHall of Presidents at nine a.m..\"\n\n#", "The Liberty Square ad-hocs marched shoulder to shoulder through the\nutilidors and, as a mass, took back the Haunted Mansion. Dan, Lil and I", "Ad-hocracy works well, for the most part. Lil's folks had taken over the\nrunning of Liberty Square with a group of other interested, compatible", "The Liberty Square ad-hocs who were working on the Mansion had been\nrailroaded into approving a rehab, press-ganged into working on it, and", "Locating their backup units was a little trickier, but years of hanging\nout at the Hall of Presidents while Lil tinkered with the animatronics", "He was nearby when my break came up. I changed into civvies and we\nwalked over the cobbled streets, past the Hall of the Presidents, noting", "\"I'd like to propose that no further work be done on the Mansion until\nthe Hall of Presidents is fully operational. I will be volunteering my\nservices on the repairs.\"", "So it fell to Lil to make sure that there were no bugs in the meager\nattractions of Liberty Square: the Hall of the Presidents, the Liberty", "As I watched, gaps appeared in the bucket-brigade as castmembers slipped\naway, faces burning scarlet with shame. At the Hall of Presidents, Debra", "As we drew up on Liberty Square, I saw that the work-lights were blazing\nand a tremendous work-gang of Debra's ad-hocs were moving from the Hall\nto the Mansion, undoing our teardown of their work.", "Debra's people were sitting around in the armchairs onstage, the\nanimatronic presidents stacked in neat piles in the wings. Debra was", "relationship, taking away my beloved (in hindsight, anyway) Hall of\nPresidents and threatening the Mansion. Even in my addled state, I knew", "support while they finished up; a failed demo could doom them. There\nwere plenty of people in the Park who had a sentimental attachment to\nthe Hall of Presidents, and whatever Debra's people came up with would", "Her parents -- Tom and Rita -- on the other hand, were fascinating\npeople, members of the original ad-hoc that had seized power in Walt", "I clambered inside without waiting for a reply, and started inching my\nway under the Hall of Presidents.\n\n#" ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "\"Hi, Julius. It's Dan. You got a minute?\"", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "He sighed in undoctorly, uncastmemberly fashion. \"Julius, I've got\nimportant things to do here. Are you sure this can't wait?\"" ], [ "\"This place is not a historical preserve, Julius, it's a ride. If you\ndon't understand that, you're in the wrong place. It's not my goddamn", "Julius. You need to get away from here: Disney World isn't good for you\nand you're sure as hell not any good for Disney World.\"", "Kim gave a little bounce. \"Oh, Julius, it's the best time of my life,\nreally! A dream come true. I'm meeting so many interesting people, and", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "Julius, the corny, mechanical ghosts of the Haunted Mansion have come to\nseem like a precious link to a past when we could tell the real from the\nsimulated, the true from the false.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "\"Hey!\" I said. \"That was great! I'm Julius! How're you doing?\"", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"Welcome back, Julius. I'm Doctor Pete,\" the doctor said, in a kindly\nvoice that matched the face. Despite my recent disillusion with\ncastmember bullshit, I found his schtick comforting.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"Jules, this isn't one of your better ideas.\" My chest tightened, and he\npatted my shoulder. He had the knack of putting me at my ease, even when" ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "They did it while you were distracted, they used _me_ to engineer the\ndistraction, they _murdered_ me!\" I heard the shriek creeping into my" ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"Hi, Julius. It's Dan. You got a minute?\"", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "It was her house.\n\n\"Lil, Julius --\" Dan began.\n\n\"This is between me and him,\" Lil said. \"Stay out of it.\"", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "\"Well, now,\" he said, stroking his chin. \"Julius, you've got a problem.\nYour friend here tells me your systems have been offline for more than a", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"" ], [ "That stopped me. I'd somehow managed to forget that Dan, my good friend\nDan, was going to kill himself.", "Dan was going to kill himself in two days' time. My friend and my\nmurderer. \"Dan,\" I croaked. I couldn't make any sense of my mind. Dan,", "\"Dan's just been explaining to me that he plans on being dead in a\ncouple months,\" I said. \"Puts a damper on the long-term plans, doesn't\nit, Lil?\"", "actually helped calm me down some. Dan was that kind of friend, a person\nwho knew you better than you knew yourself. \"So you're saying that if", "The talk turned to Dan's impending death.\n\n\"So, tell me what you think of this,\" he said, hauling away on a glowing\ncigarette.\n\n\"Shoot,\" I said.", "Dan closed his eyes again, then ground his fists into them, sipped his\ncoffee. It was clear he was trying to figure out where to start.", "\"I haven't told him yet,\" Dan said, with forced lightness. \"Why don't\nyou run it down?\"", "She looked at me like I was being deliberately stupid. \"He's got to get\nback on top. Cleaned up, dried out, into some productive work. Get that\nWhuffie up, too. _Then_ he can kill himself with dignity.\"", "\"Really? Deadheading.\" I remember that I thought of Dan then, about his\nviews on the cowardice of deadheading, on the bravery of ending it when", "Dan gave me one of his long, considering looks, then nodded a minute\napproval. \"Yeah,\" he drawled. \"That'll help all right. Just tell 'em", "\"Sure,\" Dan said, \"sure.\" Then he launched an answering salvo, and while\nI was thinking up my answer, he helped me to my feet and walked me out", "\"You could be his friend,\" Dan said. The light-headedness was back, and\nI slumped in my chair, tried to control my breathing, the panicked\nthumping of my heart.", "\"Jesus,\" he said, into his palms. \"Jesus.\"\n\n\"Dan?\" I said, quietly.", "nearly started crying right then. Dan -- oh, Dan. My pal, my confidant,\nmy patsy, my rival, my nemesis. Dan, Dan, Dan. I wanted to beat him to", "Dan -- Dan was going to kill himself soon, and if I restored myself from\nmy old backup, I'd lose my last year with him. I'd lose _his_ last year.", "\"I didn't want to die,\" I said.\n\n\"Oh no?\" he said. \"I think the evidence suggests the contrary.\"", "\"I'm going to be taking a lethal injection at the end of the week,\" Dan\nsaid. \"Three days. That's personal, but you asked.\"", "Dan moved to block the bedroom door. \"Wait a second,\" he said. \"You need\nrest.\"\n\nI fixed him with a doleful glare. \"I'll decide that,\" I said. He stepped\naside.", "He chuckled. \"I've been thinking about doing the same,\" he said.\n\nI smiled. \"Not that way,\" I said. \"Just going somewhere else, starting\nover. Getting away from this.\"", "I could have left the Park, deadheaded to anywhere in the world, started\nover. I could have turned my back on Dan, on Debra, on Lil and the whole\nmess.\n\nI didn't." ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "\"This is my house, Julius. I'm asking you to get out of it. I'll see you\nat work tomorrow -- we're having a general ad-hoc meeting to vote on the\nrehab.\"", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "\"No, Julius. No. Let's go home and get some sleep. I want to do some\nwork on new merch for the Mansion -- some collectible stuff, maybe.\"", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "He sighed in undoctorly, uncastmemberly fashion. \"Julius, I've got\nimportant things to do here. Are you sure this can't wait?\"", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants." ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "\"Hi, Julius. It's Dan. You got a minute?\"", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"Well, now,\" he said, stroking his chin. \"Julius, you've got a problem.\nYour friend here tells me your systems have been offline for more than a", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "They did it while you were distracted, they used _me_ to engineer the\ndistraction, they _murdered_ me!\" I heard the shriek creeping into my" ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"Hi, Julius. It's Dan. You got a minute?\"", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "It was her house.\n\n\"Lil, Julius --\" Dan began.\n\n\"This is between me and him,\" Lil said. \"Stay out of it.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "Dan was going to kill himself in two days' time. My friend and my\nmurderer. \"Dan,\" I croaked. I couldn't make any sense of my mind. Dan,", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"" ], [ "\"Really? Deadheading.\" I remember that I thought of Dan then, about his\nviews on the cowardice of deadheading, on the bravery of ending it when", "of the unimaginable frontiers open to each of us. He'd tell me that\ndeadheading was a strong indicator that one's personal reservoir of\nintrospection and creativity was dry; and that without struggle, there", "\"So deadhead for a few centuries,\" I said. \"Put the decision off.\"\n\n\"No!\" he shouted, startling both of us. \"I'm _done_. It's _over_.\"", "Tom and I stood awkwardly to the side while Lil and her mother held an\nachingly chipper and polite farewell.\n\n\"So,\" I said to Tom. \"Deadheading.\"", "We were talking --\" he drew a breath and looked askance at his wife, who\nnodded -- \"about deadheading. For a while, anyway. See if things changed\nmuch in fifty or a hundred years.\"", "\"So,\" he said, thoughtfully. \"The question I'm asking is, how long can I\ndeadhead for? There are folks who go down for a thousand years, ten\nthousand, right?\"", "chance!\" Truth be told, almost everyone I'd known in my eighty-some\nyears were deadheading or jaunting or just _gone_. Lonely days, then.", "love. . . And what about the deadheads? Two people I know, they just\nwent deadhead for ten thousand years! Tell me that's not taking a", "been jaunting?\" I asked -- his eyes were too sharp for him to have\nmissed an instant's experience to deadheading.", "to other pursuits -- some of them had gone to school, some of them had\nmade movies, written books, or gone off to Disneyland Beijing to help\nstart things up. A few had deadheaded for a couple decades.", "his head. \"It's not good stewardship. If the guests wanted to walk\nthrough a funhouse with guys jumping out of the shadows saying 'booga-", "\"Dan's just been explaining to me that he plans on being dead in a\ncouple months,\" I said. \"Puts a damper on the long-term plans, doesn't\nit, Lil?\"", "Lil didn't deal well with her parents' decision to deadhead. For her, it\nwas a slap in the face, a reproach to her and her generation of\ntwittering Polyannic castmembers.", "Still smiling, they got into their runabout and drove away to get the\nlethal injections, to become disembodied consciousnesses, to lose their\nlast moments with their darling daughter.\n\n#", "The talk turned to Dan's impending death.\n\n\"So, tell me what you think of this,\" he said, hauling away on a glowing\ncigarette.\n\n\"Shoot,\" I said.", "The ad-hoc shortcutted through the west parking lot and moved through\nthe quiet streets of Frontierland apprehensively, a funeral procession\nthat stopped the nighttime custodial staff in their tracks.", "I never thought I'd live to see the day when Keep A-Movin' Dan would\ndecide to deadhead until the heat death of the Universe.", "taken deadheading, but only for the critically ill, not for people who\ndidn't want to be bored on long bus-rides? Or no hyperlinks, no", "over terminals. They all had the raccoon-eyed, sleep-deprived look of\nfanatics, even Debra, who managed to look lazy and excited\nsimultaneously.", "and get them to play at construction activity in thumpy, undead\npantomime. In time, Suneep and his gang would have a batch of" ], [ "\"Dan's just been explaining to me that he plans on being dead in a\ncouple months,\" I said. \"Puts a damper on the long-term plans, doesn't\nit, Lil?\"", "\"Really? Deadheading.\" I remember that I thought of Dan then, about his\nviews on the cowardice of deadheading, on the bravery of ending it when", "\"So deadhead for a few centuries,\" I said. \"Put the decision off.\"\n\n\"No!\" he shouted, startling both of us. \"I'm _done_. It's _over_.\"", "The talk turned to Dan's impending death.\n\n\"So, tell me what you think of this,\" he said, hauling away on a glowing\ncigarette.\n\n\"Shoot,\" I said.", "\"So,\" he said, thoughtfully. \"The question I'm asking is, how long can I\ndeadhead for? There are folks who go down for a thousand years, ten\nthousand, right?\"", "Tom shook his head. _Some friends you've got yourself_, I could see him\nthinking it.\n\n\"That soon?\" Lil asked, a throb in her voice.\n\nDan nodded.", "Dan gave me one of his long, considering looks, then nodded a minute\napproval. \"Yeah,\" he drawled. \"That'll help all right. Just tell 'em", "When I came to again in the infirmary, Dan was still there. He had a\nday's growth of beard and new worrylines at the corners of his newly\nrejuvenated eyes. The doctor came in, shaking his head.", "here. Once Dan was dead -- God, it was sinking in finally -- I could\ncatch a ride down to the Cape for a launch.", "We were talking --\" he drew a breath and looked askance at his wife, who\nnodded -- \"about deadheading. For a while, anyway. See if things changed\nmuch in fifty or a hundred years.\"", "\"Well,\" Dan said.\n\n\"Yup,\" I said, aping his laconic drawl. He smiled.\n\n\"It's that time,\" he said.", "The irony! Once the doc knew I was serious, he sent Dan out of the room\nand rolled his eyes up while he placed a call. I saw his gorge work as\nhe subvocalized. He left me bound to the table, to wait.", "But she was right. Dan nodded heavily, and I saw that he knew it, too.\n\n\"A day late and a dollar short,\" he sighed.", "\"You could be his friend,\" Dan said. The light-headedness was back, and\nI slumped in my chair, tried to control my breathing, the panicked\nthumping of my heart.", "That stopped me. I'd somehow managed to forget that Dan, my good friend\nDan, was going to kill himself.", "Dan was going to kill himself in two days' time. My friend and my\nmurderer. \"Dan,\" I croaked. I couldn't make any sense of my mind. Dan,", "Dan closed his eyes again, then ground his fists into them, sipped his\ncoffee. It was clear he was trying to figure out where to start.", "Tom and I stood awkwardly to the side while Lil and her mother held an\nachingly chipper and polite farewell.\n\n\"So,\" I said to Tom. \"Deadheading.\"", "Sorrow knifed through me as I realized that Dan was probably dead by\nnow, my memories of him gone forever.", "actually helped calm me down some. Dan was that kind of friend, a person\nwho knew you better than you knew yourself. \"So you're saying that if" ], [ "killed would cause enough confusion that she could take over the Hall of\nPresidents. It was.\"", "Now, though, it seems the \"ad hocs\" are under attack. A new group has\ntaken over the Hall of the Presidents and is replacing its venerable", "Slipping along to the Liberty Square gateway, I flattened myself in\ndoorways whenever I heard maintenance crews passing in the distance,\nuntil I reached the Hall of Presidents, and in a twinkling I was inside\nthe theater itself.", "========= CHAPTER 4 =========\n\nOne night in the Hall of Presidents convinced me of three things:\n\n1. That Debra's people had had me killed, and screw their alibis,", "member of this ad-hoc vandalized the Hall of Presidents, rendering it\nuseless. It's estimated that it will take at least a week to get it back\nup and running.", "As I watched, gaps appeared in the bucket-brigade as castmembers slipped\naway, faces burning scarlet with shame. At the Hall of Presidents, Debra", "So it fell to Lil to make sure that there were no bugs in the meager\nattractions of Liberty Square: the Hall of the Presidents, the Liberty", "\"I'd like to propose that no further work be done on the Mansion until\nthe Hall of Presidents is fully operational. I will be volunteering my\nservices on the repairs.\"", "relationship, taking away my beloved (in hindsight, anyway) Hall of\nPresidents and threatening the Mansion. Even in my addled state, I knew", "He was nearby when my break came up. I changed into civvies and we\nwalked over the cobbled streets, past the Hall of the Presidents, noting", "Locating their backup units was a little trickier, but years of hanging\nout at the Hall of Presidents while Lil tinkered with the animatronics", "knows, the Hall of Presidents_. But he didn't know. That episode was\nlocked in my mind, invulnerable to backup.", "She gave me a relieved look. \"Is _that_ all? Don't worry about it. I've\nbeen talking to Debra, over at the Hall of Presidents, and she says she", "support while they finished up; a failed demo could doom them. There\nwere plenty of people in the Park who had a sentimental attachment to\nthe Hall of Presidents, and whatever Debra's people came up with would", "\"Why would she: one, take out you instead of Lil or one of the real old-\ntimers; two, go after the Hall of Presidents instead of Tom Sawyer", "\"To find Jeanine, the one who pulled the trigger. I'll meet you at the\nHall of Presidents at nine a.m..\"\n\n#", "\"Of course you didn't. She's cagey. Did you hear her talk about the Hall\nof Presidents?\"\n\nDan fumbled. \"Not really. . . I mean, not in so many words, but --\"", "I sat in my seat at the Hall of Presidents, watching the short film with\nthe rest, sitting patiently while they rocked in their seats under the", "Presidents, and so she took over. I never heard her talk about the\nMansion.\"", "I stood in the line for the Hall of Presidents. Other guests checked my\nWhuffie, then averted their eyes. Even the children. A year before,\nthey'd have been striking up conversations, asking me about my job here\nat the Magic Kingdom." ], [ "She was confused, shrinking, and I pressed on.\n\n\"They were with Debra.\"\n\nShe reeled back as if I'd slapped her.", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "\"We got updates,\" Rita said. \"That's why we're back -- we couldn't let\nit go on the way it was. We owed it to Debra.\"\n\n\"And Lillian,\" Tom said.", "There was a roar of conversation. I looked at Debra, saw that she was\nsitting calmly, as though Dan had just accused her of sneaking an extra", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "Debra shook her head. \"You can't keep me out, you know. And you\nshouldn't want to. We're on the same side.\"", "\"Debra had herself refreshed from backup after we planned it,\" Dan went\non, as though no one was talking. \"I was supposed to do the same, but I", "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "Dan crouched down beside me. I looked over at him. He was grinning\nwryly. \"Posit,\" he said, \"for the moment, that Debra really did do this\nthing, set you up so that she could take over.\"", "_Did you have me killed_? I wondered, staring at Debra. After all, she'd\nbeen killed dozens, if not hundreds of times. It might not be such a big\ndeal for her.", "Debra smiled condescendingly. \"Are you finished, then?\" she asked,\nsweetly. \"Fine. I know I'm not a member of this group, but since it was", "Debra's mask of impartiality slipped. \"You stupid, deluded asshole,\" she\nsaid, softly. \"You totter around, pissing and moaning about your little", "Debra followed us in when we mounted the steps to the meeting room. Lil\nturned. \"I don't think you should be here, Debra,\" she said in measured\ntones.", "\"Yes,\" I said. That would work. Plan a murder, kill yourself, have\nyourself refreshed from a backup made before the plan. How many times\nhad Debra done terrible things and erased their memories that way?", "\"I know that,\" I said. The flush burned hotter. \"But that's the point --\nwhat Debra does isn't easy either. It's risky, dangerous. It made her", "I started to pull out the handheld but he put a hand on my arm. \"Don't\nbother,\" he said, morosely. \"Suffice it to say, Debra's gang is number", "Dan's poker face didn't twitch a muscle. \"Hello, Debra,\" he said. He'd\nbeen hanging out with them since Lil had briefed him on the peril to the", "down here, kept leaving me messages. I told Debra, and that's when she\ngot the idea.", "\"He's been hanging out with Debra -- he wanted to make sure I knew what\nshe's up to.\"" ], [ "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "considered me. \"Well, Julius,\" he said. \"What exactly is the problem? We\ncan get you a lethal injection if that's what you want, but offing", "Hall's PA. \"My name is Jeanine. I'm the one who killed Julius, a year\nago. Dan asked me to, and I did it. I didn't ask why. I trusted -- trust", "\"I had you killed,\" he said. \"Debra asked me to, and I set it up. You\nwere right all along.\"", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "exist without all of our contributions. What happened to Julius was\nterrible, and I sincerely hope that the person responsible is caught and\nbrought to justice. But that person wasn't me or any of the people in my", "\"Why?\" I asked, feeling belligerent. \"You going to honor me for all my\nhard work?\"\n\n\"We're going to talk about the future, Julius, what's left of it for\nus.\"", "\"Well, now,\" he said, stroking his chin. \"Julius, you've got a problem.\nYour friend here tells me your systems have been offline for more than a", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much" ], [ "\"This place is not a historical preserve, Julius, it's a ride. If you\ndon't understand that, you're in the wrong place. It's not my goddamn", "Julius. You need to get away from here: Disney World isn't good for you\nand you're sure as hell not any good for Disney World.\"", "Kim gave a little bounce. \"Oh, Julius, it's the best time of my life,\nreally! A dream come true. I'm meeting so many interesting people, and", "peculiar violence of the extra-jointed. \"Julius,\" I said, then waited\nwhile she repeated the process with Dan.", "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "Julius, the corny, mechanical ghosts of the Haunted Mansion have come to\nseem like a precious link to a past when we could tell the real from the\nsimulated, the true from the false.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "I pumped his hand, which was still cold and particularly clammy in the\nclose heat of the Florida night. \"Julius,\" I said, startled at how much", "He harrumphed. \"We had a deal, Julius,\" he said, hotly. \"I would do the\nrehab for you and you would keep the ad-hocs off my back. I've been", "\"I suppose so,\" he said. \"I want to say something before the doc comes\nby, Julius.\"\n\n\"Go ahead.\"", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said.", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "\"Hey!\" I said. \"That was great! I'm Julius! How're you doing?\"", "Dan helped me hobble away, and as we hit the utilidor, he whispered in\nmy ear, \"This was a great idea, Julius. Really.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "-- him. He told me that Julius would make a backup a few minutes before\nI shot him, and that he could get me out of the Park without getting", "\"Welcome back, Julius. I'm Doctor Pete,\" the doctor said, in a kindly\nvoice that matched the face. Despite my recent disillusion with\ncastmember bullshit, I found his schtick comforting.", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"Jules, this isn't one of your better ideas.\" My chest tightened, and he\npatted my shoulder. He had the knack of putting me at my ease, even when" ], [ "\"Julius,\" she said, taking my hands, squeezing them. \"You've got some\nwonderful times ahead of you -- between Lil and the Park, you're going", "\"Julius,\" she said, while I was making breakfast in our subterranean\napartment. She sounded so serious, so fun-free, that I knew immediately\nthat the news wouldn't be good.", "Dan shook Lil awake. She stretched out and opened her eyes, looked\nsleepily at me. The blood drained from her face.\n\n\"Hello, Julius,\" she said, coldly.", "It was her house.\n\n\"Lil, Julius --\" Dan began.\n\n\"This is between me and him,\" Lil said. \"Stay out of it.\"", "Julius murdered. I used a friend who was a little confused at the time,\nused her to pull the trigger. It was Debra's idea that having Julius", "\"You must be Jeanine,\" I said. I stood and shook her hand. \"I'm Julius.\"\n\nHer hand was cold, and she took it back and wiped it on her pants.", "Kim gave a little bounce. \"Oh, Julius, it's the best time of my life,\nreally! A dream come true. I'm meeting so many interesting people, and", "Rita came after me, but Tom held her back. \"Julius, go away. Your\nactions are totally indefensible. Keep your mouth shut and go away.\"", "\"Hi, Julius. It's Dan. You got a minute?\"", "\"That's _enough_, Julius,\" Lil said, her face hard, her rage barely in\ncheck. \"We're going.\"", "\"Is there a problem, Julius? If there is, I'd rather we just talked\nabout it, instead of making chitchat.\"\n\nI smiled and took her hand off my shoulder. \"How old are you, Kim?\"", "Lil shook her head and glared at me. \"Just go, Julius. I'll send your\nstuff to the hotel.\"\n\n\"You want me to go, huh? So you can bang him till he limps?\"", "\"You'd better watch those accusations, Julius,\" Debra said, quietly and\nintensely, almost hissing. \"I don't know who killed you or why, but\nyou're the one who's guilty here. You need help.\"", "\"It may be none of my business,\" he said, \"but why the fuck not? Jesus,\nJulius, what're you afraid of?\"\n\n\"You don't want to know,\" I said.", "She held up a single finger, then, a moment later, gave me a bright\nsmile.\n\n\"Hi, Julius!\" she said. \"Sure!\"", "\"What's going on, Dan?\" I asked quietly. My heart hammered in my chest,\nbut I felt calm and detached.\n\n\"Jules,\" he began, then gave up and looked at Lil.", "\"Hello, Julius. What can I do for you?\" Under the veneer of professional\nmedical and castmember friendliness, I sensed irritation.", "\"I thought it might be like that. Julius, you are many things, but hard\nto figure out you are not. I have something to say that might help you\nmake the decision. If you want to hear it, that is.\"", "Dan shook his head. \"We're not stupid, Jules. No one thinks that it's a\ncoincidence. Debra's the sort of person who keeps a lot of plans", "Dan put his hand on mine. I tried to jerk out from under it, but the\nrestraints and his grip held me fast. \"You've got to do it, Julius. It's\nfor the best,\" he said." ] ]

[ "Who is Lil?", "Who does Dan move in with?", "What happens to Julius after he is murdered at the park?", "What is Julius' favorite ride?", "What happens to Julius because his cranial interface is damaged?", "What do elevators do after Julius' Whuffie hits rock bottom?", "How does Dan plan to commit suicide?", "What did Debra do so she would believe she was not involved in the plan to kill Julius?", "What does it mean to deadhead?", "Who is telling the story?", "Who moves in with Julius and his girlfriend, Lil?", "How do Julius and Dan know each other?", "What measured Dan's reputation, determining him to be on of the most popular people in the country at one point?", "Whose ad hoc group takes control of the Hall of Presidents?", "What happens to Julius after he is murdered?", "What is Julius's favorite ride?", "At the end of the story, who do we learn arranged to have Julius killed?", "What was Dan's payment for having Julius killed?", "Instead of killing himself, Dan decides to do what?", "Where is Julius murdered?", "Who arranged to kill Julius?", "Why did Dan arrange to kill Julius?", "What does it mean to deadhead?", "How long will Dan be deadheaded?", "Who takes over the hall of presidents?", "Why does Debra believe she wasn't involved?", "Who does Julius believe had him killed?", "What is Julius's favorite ride?", "Who is Julius's girlfriend?" ]

[ [ "Julius' girlfriend.", "Lil is Julius' girlfriend. " ], [ "He moved in with Julius and Lil.", "Julius and Lil." ], [ "He is refreshed/rejuvenated.", "He is soon refreshed." ], [ "The Haunted Mansion is his favorite ride.", "The Haunted Mansion" ], [ "He can no longer back himself up.", "He can't back himself up" ], [ "Elevators don't stop for Julius.", "refuse to stop for him" ], [ "By lethal injection.", "Leathal injection " ], [ "She had herself restored from a backup that was created before the plan.", "Restored from a backup made before the plan" ], [ "To put oneself into a voluntary coma.", "voluntary coma" ], [ "Julius", "Julius. " ], [ "Dan", "Dan" ], [ "They went to college together", "They are friends. " ], [ "The Whuffie", "Whuffie" ], [ "Debra's", "Debra's" ], [ "He is refreshed", "He is refreshed. " ], [ "The Haunted Mansion", "The Haunted Mansion" ], [ "Dan", "Dan" ], [ "Whuffie", "Whuffie from Debra's team" ], [ "He deadheads himself", "deadhead" ], [ "At the park", "At the park " ], [ "Dan", "Dan." ], [ "For the Whuffie from her team", "for Whuffie" ], [ "To voluntarily go into a coma", "To put oneself into a voluntary coma." ], [ "Until the heat death of the universe", "Until the heat death of the Universe" ], [ "Debra's ad hoc group", "Debra's ad hoc" ], [ "Because she was restored from an old backup", "She had herself restored from a backup made before the plan to murder Julius." ], [ "Another ad hoc team", "Debra's ad hoc" ], [ "The Haunted Mansion", "The Haunted Mansion" ], [ "Lil", "Lil" ] ]

ca62fc427e58bfba7739e0d514ffe433695ff602

train

[ [ "J.Q. glances at the admitting desk and sees the chair move. He lifts his weapon and moves towards it. He jumps around the corner of the desk to find Debby Utley underneath, scared to death.", "The beautiful woman's body is loaded onto the medivac. The helicopter lifts off and disappears into the darkening sky.", "As J.Q. hangs up the receiver, the sniper pulls the trigger.", "We never see her face. Hanging from the mirror is", "rigs. She cuts the wheel hard, but too late. The", "Sheer pandemonium. Hostages run for cover. The phone receiver swings back and forth, and a bloody J.Q. is slumped against the wall.", "Julie rears back, and with her go-go boot, she kicks Mitch square in the groin.", "The sound of a screaming baby is cutting through the room like nails on a blackboard. J.Q. approaches Rosa, who clutches her child defensively.", "J.Q. peels back a corner of the blanket, looks for weapons, recoils at the sight of the man's blood. Maguire moves in, squeezes the man's wrist, takes his pulse.", "She takes off a big diamond from her finger and drops it on the floor. It bounces and disappears under a table.", "crying. And a sheet is pulled over her face of", "J.Q. sits, his shirt soaked in blood. Among all the madness, something funny happens.", "Lester removes the blood soaked towel. The tips of three fingers have been severed from his right hand.", "violently smashes headfirst into the embankment, the beautiful woman is", "Payne arrives, and the two stand there a moment. Watching the scene, Grimes is visibly moved. Even Payne and her super bitch attitude are a little humbled.", "He lifts Mike's head, holds it in his hands. Denise arrives, hysterical.", "With J.Q.'s finger pointed at her, Debby falls apart, bursting into tears.", "In one of the treatment rooms, Dr. Marjorie Klein and Leo Maguire attend to a man in motorcycle leathers with a bloodied head wound. They watch J.Q. lock the ambulance entrance.", "John rests his head and closes his eyes as he listens to his wife falling apart.", "BLAM! The sound is revealed. Not a bullet. It's Denise slapping the list up against the glass windows of the ER." ], [ "Mike wobbles, doubles over and falls face first into the dirt. The Dodger shortstop stands over Mike. He can't decide if he should tag him. Players, spectators look on dazed, shocked.", "CLOSE ON MIKE, slowing, suddenly clutching his chest, gulping for air, ten feet from the base. SMACK. The ball lands in the shortstop's glove.", "MAGUIRE\nPulse is 150. B.P. 68 over 34. Collapsed playing baseball.", "J.Q.\nI don't know. He had a baseball game. All of a sudden he...", "PUSH IN ON J.Q.'s FACE, panicked. TRACK HIM leaping down the bleachers, knocking over spectators, racing onto the playing field.", "J.Q.\nHe was running. Next thing we know he keels over.", "As the Dodger pitcher argues with the umpire, the Oriole player on third base darts towards home. The Dodger pitcher wheels around and fires. Too late, the runner scores.", "EXT. BASEBALL FIELD - DAY", "Seeing an opening, Mike races from first to second, arms pumping, breathing hard. The Dodger shortstop sees Mike, races to the base and calls for the throw.", "J.Q.'s windbreaker, collar up, baseball cap pulled way down", "The catcher flashes fingers. The pitcher nods and fires. Mike hits a sharp ground ball between first and second. The second baseman moves over but doesn't have the angle.", "J.Q. looks at Mike as the medical team assess his condition, just watching helplessly as the life drains out of his body.", "UMPIRE\nBall four!\n\nTommy trots down to first base.", "The first baseman charges the ball, scoops it on the run, then underhands it to the Dodger pitcher, who gallops off the mound towards first.", "J.Q. sits, his shirt soaked in blood. Among all the madness, something funny happens.", "Mike's foot hits the bag at exactly the same time the ball plops in the pitcher's outstretched glove.", "J.Q., in baseball hat and windbreaker, emerges from the hospital.", "J.Q. is devastated. It takes a few moments to sink in.", "DODGER SHORTSTOP\nSecond base!\n\nThe Dodger catcher throws off his mask and fires the ball.", "The crowd again roars its approval. Steve and Miriam watch from the gallery, holding a baby girl. Even Rebecca Payne cracks a smile." ], [ "into Mike's chest. But then, something suddenly is wrong.", "Mike is propped up in bed, now breathing with some difficulty. He's so weak, Denise has to hold the phone.", "Mike's vital signs start giving out. The gauges dropping at", "J.Q. looks at Mike as the medical team assess his condition, just watching helplessly as the life drains out of his body.", "Mike stops to catch his breath. He's really on his last legs. He just lays there a second before asking the big one.", "He lifts Mike's head, holds it in his hands. Denise arrives, hysterical.", "J.Q.\nHe was running. Next thing we know he keels over.", "Mike looks up to see Dr. Turner walking alongside. He looks up at him and smiles. Mike is wheeled into a Trauma room where the monitors quickly come to life.", "The mob swarms around the speeding bed, trying to get a look at Mike, who considers the circus atmosphere surrounding him. As the bed hits the police barricade, the cops take over.", "J.Q. lifts Mike into his arms and races with Denise through the crowd towards the parking lot. Denise gets in the pick up and John lays Mike down in her lap before gunning the engine and taking off.", "CLOSE ON MIKE, slowing, suddenly clutching his chest, gulping for air, ten feet from the base. SMACK. The ball lands in the shortstop's glove.", "A male nurse, LEO MAGUIRE, leaves what he's doing and moves towards them. He clutches Mike's wrist, taking his pulse.", "Mike is semi-conscious, eyes dilated, barely breathing.", "The front doors burst open and Mike's bed is rolled onto the sidewalk. COPS run alongside like secret service agents, protecting Mike, pushing a path through the crowd.", "DENISE\nMike?! Mikey, can you hear me?", "Mike groans. He feels queasy and his mouth is bone dry.", "clattering to the floor. The element of surprise gone, Mitch", "Mike wobbles, doubles over and falls face first into the dirt. The Dodger shortstop stands over Mike. He can't decide if he should tag him. Players, spectators look on dazed, shocked.", "Mike's eyes close and John smiles as he falls asleep.", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84." ], [ "I'm afraid we're considerably beyond the point of corrective surgery, Mr. and Mrs. Archibald. Your son's heart is useless. He is going to need a transplant.", "The replacement heart is taken out of its container and placed", "LAMPLEY\nThe heart is here. Repeat. The heart for little Mike Archibald has arrived. What an unbelievable ending to this incredible, tumultuous day.", "Transplant surgery, doctor fees, post operative treatment and immunosuppressant drugs, you're looking at two-hundred and fifty-thousand dollars minimum.", "This is still a hospital. There's a sick kid in there and I'm his doctor. And if there's a heart available, I'll be damned if I'm going to let it go to waste.", "INSERT FAX\n\nIt's official. The heart is on the way.", "J.Q.\nI'm not asking anymore, Doctor. I'm telling. Now I want a new heart for my kid. You understand?", "Will the man known as John Q. get a heart", "plus surgeries at a quarter million a pop. That's seventy", "J.Q.\nWhy not? I kill myself. You cut me open and take my heart. It's perfect.", "MITCH\nThink, Einstein. Use your head. Correct me if I'm wrong, Doctor, but hearts don't come just like that. It takes months, years sometimes.", "DR. TURNER\nNot buts, John. Without a new heart, he's not going to make it.", "Mr. Archibald, your hospital bill is in excess of thirty thousand dollars. So far, we haven't received any kind of payment. We have bent over backward to help you.", "a procedure this costly. If you opt for replacement surgery,", "J.Q.\nThere's an operation that could save his life. I'm going to need some equipment but I've got two surgeons inside that are ready to go.", "J.Q.\nNo. The hospital says I have to pay cash. Otherwise the only thing I can do is bring Mike home and watch him die.", "That's exactly how it works. Maybe not up there on the fifth floor, but down here, if you ain't got no money, you get a band-aid, a foot in the ass, and you're out the door.", "J.Q. (CONT'D)\nThis is my will. I'm leaving my heart to my son.", "DENISE\nJohn! It's a miracle! They found a heart! It's a miracle!!!", "So, what, you're going to shoot me? Because that's what you're telling the cops. If poor little Mikey doesn't get the very first heart available, all of us die." ], [ "J.Q.\nDid you hear what I said? I'm telling you, I'm insured.", "J.Q.\nYeah, but you've got insurance.", "J.Q. (CONT'D)\nWhat's the matter, Doc? You want to see his insurance card first?", "John sits in a cubicle across from his employer's insurance representative.", "LAMPLEY (CONT'D)\nMore, now. And there he is. John Q. is coming out.", "INSURANCE REP.\nAnd that's why we're going to cover you for the full twenty.", "INSURANCE REP.\nYou coverage has changed, Mr. Archibald.", "he says, and the three of them are laughing. John", "J.Q.\nThere must be some kind of mistake. My son is covered. I've got full medical. He's covered.", "J.Q. shakes it off: \"Not to worry.\" John notices Julie, her arm now in a sling, not broken.", "J.Q.\nI've got major medical. Don't worry, I'm covered.", "J.Q.\nYeah?\n\nThe insurance rep pushes a stack of papers towards J.Q.", "INT. POLICE CAR - CONTINUOUS\n\nJohn smiles, and the car picks up speed.", "MITCH\nJohn, buddy, you're talking a little nutsy cukoo, here.", "John Q. gets the message. He pushes his chair back and starts to get up.", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "LAMPLEY\nAll we know at this point is that an attempt has been made on the gunman's life. Repeat. John Q. has been shot." ], [ "INSURANCE REP.\nYou coverage has changed, Mr. Archibald.", "John sits in a cubicle across from his employer's insurance representative.", "J.Q. (CONT'D)\nWhat's the matter, Doc? You want to see his insurance card first?", "J.Q.\nThere must be some kind of mistake. My son is covered. I've got full medical. He's covered.", "J.Q.\nNo, sir. It doesn't. My son is very sick. If I'm not covered, I've got a serious problem.", "INSURANCE REP.\nThis is how it works. Non-management, part-time employees such as yourself only qualify for second tier catastrophic coverage.", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "INSURANCE REP.\nWe've recently switched carriers from a PPO to an HMO. It's a less expensive policy, but unfortunately it has some restrictions.", "J.Q.\nNo. The hospital says I have to pay cash. Otherwise the only thing I can do is bring Mike home and watch him die.", "J.Q.\nWait a minute. I've been paying for my coverage for years. You take it out of my paycheck every week.", "LAMPLEY\nAll we know at this point is that an attempt has been made on the gunman's life. Repeat. John Q. has been shot.", "LAMPLEY (CONT'D)\nMore, now. And there he is. John Q. is coming out.", "John Q. gets the message. He pushes his chair back and starts to get up.", "J.Q. (CONT'D)\nThis hospital is under new management, ladies and gentlemen. From now on, free care for everyone.", "J.Q.\nYeah, but you've got insurance.", "The waiting room is packed. A lot of people needing work. John fills out the application.", "Let me get this straight. You drop me from full-time to part-time, switch carriers, and now you're telling me I'm not fully covered even though I have a policy that says I am.", "J.Q.\nI've got major medical. Don't worry, I'm covered.", "insurance says they won't cover them. The doctor keeps his", "My son, Mike, went into heart failure playing in his little league game. I have full insurance through my work, but now they're saying they don't have to pay." ], [ "J.Q. lifts the gun to his head.\n\nEXT. HOPE MEMORIAL HOSPITAL - NIGHT", "J.Q. steps off a city bus carrying a gym bag. Windbreaker buttoned, baseball cap pulled down tight, he moves with purpose toward the hospital.", "This guy's in for the long haul, Lieutenant. He locked down the ER, barricaded himself inside, killed the power on the elevators. We could bust down the door, but the sonofabitch might start killing everybody.", "Something in J.Q. snaps. Heart pounding, he pushes Turner through a pair of heavy metal doors and into the Emergency Room.", "The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "The hostages attention has been so focused on the screen, none of them have realized that for John to be on TV, there has to be a camera inside the ER. Suddenly, it hits Lester.", "J.Q. glances at the admitting desk and sees the chair move. He lifts his weapon and moves towards it. He jumps around the corner of the desk to find Debby Utley underneath, scared to death.", "John turns as the bullet explodes from the chamber, muzzle flashing. A bullet blows through J.Q.'s shoulder, knocking him backwards against the wall.", "BLAM! The sound is revealed. Not a bullet. It's Denise slapping the list up against the glass windows of the ER.", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "J.Q. studies Maguire's eyes, measures his honesty, and then unchains the door and opens it, pointing the weapon. The paramedics see J.Q.'s gun and their hands go up.", "the gun. You're the one that took the hospital. What", "INT. J.Q.'S TRAUMA ROOM - NIGHT\n\nCLOSE ON J.Q.'s GUN", "A monolithic maze of glass and stone. John's truck screeches to a stop at the E.R. entrance.", "INT. HOPE MEMORIAL HOSPITAL - ELEVATOR - DAY\n\nJohn Q. takes the trip down with Rebecca Payne.", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "INT. EMERGENCY ROOM - DAY\n\nJ.Q. puts down the walkie-talkie and points at Miriam and Rosa.", "I understand. It's hard to be a man these days. Hard to know what the right thing is. Put the gun down, John. It's all over. You got everything you asked for. Mike is on the list. Status one.", "J.Q. cracks a smile. Just then, a loud rattle echoes through the ER, pipes clanging." ], [ "This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "MIKE\nDad!\n\nJohn moves over to Denise and the Pastor.", "LAMPLEY (CONT'D)\nMore, now. And there he is. John Q. is coming out.", "John Q. gets the message. He pushes his chair back and starts to get up.", "John Q. walks in, catches the anxiety on her face,", "John tries to get his bearings but Mitch", "J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "John rests his head and closes his eyes as he listens to his wife falling apart.", "he says, and the three of them are laughing. John", "As John closes the book, something catches his eye. At", "J.Q. hears the words and they sink in. He knows they're right.", "The Pastor waves as John grabs Denise", "Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "The crowd goes crazy, cheering and shouting out their encouragement. The faces are those of outrage and passion. Some even with tears streaming down their faces. J.Q. looks out the overwhelming display of support.", "A few rows back, John sees Jimmy Palumbo tapping his watch. Denise gives her husband a disapproving look. John sticks his head back in the hymn book and continues singing.", "John puts them on and the three watch the surgery.", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "JULIE\nI think what John's trying to do is right.", "John and Denise sit, and the lights are dimmed. Dr. Turner approaches an illuminated display of X-rays. He uses a pointer to clarify.", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84." ], [ "A police bus drives slowly into the parking lot. A SWAT team, dressed in flak jackets and riot gear, pours out.", "Monroe moves outside and joins the other SWAT team personnel at the video tap. Grimes follows to plead his case.", "A black SWAT phone starts ringing and the policemen freeze. Where's Grimes? A COMPUTER COP runs over and calls out to the lieutenant.", "But Tuck Lampley's attention is on the police command post where dozens of blue uniforms crowd around a small bank of monitors. Suddenly, it hits him.", "and a SWAT Team are in strategy session. They surround", "The police are all around him now. Pointing their weapons and shouting commands. J.Q. puts his hands behind his head, turns around, kneels and then lays face down on the pavement.", "The hostages are hustled through the police barricade by a team of kevlar riot police. The media rush the hostages, shouting out questions and frantically trying to stick their microphones close enough.", "Police Chief Gus Monroe, Wally Pitoniak,", "The police have cordoned off a section of the parking lot and transformed it into a command post. Police personnel invade the area. Tables, phones, and monitors are being set up.", "he comes forward, police and SWAT teams train their rifles", "Wake up, fat boy. The cops are coming in shooting. They don't give a shit about his kid. And as soon as he realizes that, we're history.", "The mob swarms around the speeding bed, trying to get a look at Mike, who considers the circus atmosphere surrounding him. As the bed hits the police barricade, the cops take over.", "A UNIFORMED POLICEMAN runs up with a cell phone and hands it to Monroe.", "LAMPLEY (CONT'D)\nThe suspect's hands are up. He appears to be surrendering.", "SCREEN, J.Q. sees the massive police build-up, swallows. He", "POLICEMAN\nIt's the Mayor, sir. And you better kill that video feed. The media's pirated the signal and the whole thing just went out live over national TV.", "This guy's in for the long haul, Lieutenant. He locked down the ER, barricaded himself inside, killed the power on the elevators. We could bust down the door, but the sonofabitch might start killing everybody.", "A restless crowd encircles the hospital, cordoned off by police blockades, uniformed cops forming a human wall around people. EMS rescue vehicles rumble onto the scene, sirens blaring.", "The crowd erupts. They're getting rowdy now. The cops are getting jumpy, their rifles trained, their trigger fingers ready.", "GRIMES\nThis is Lieutenant Frank Grimes of the Chicago Police Department. Are you the man in charge?" ], [ "The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "CLOSER ON TRIGGER as John's finger pulls it tighter.\n\nBLAM!", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "John turns as the bullet explodes from the chamber, muzzle flashing. A bullet blows through J.Q.'s shoulder, knocking him backwards against the wall.", "J.Q. lifts the gun to his head.\n\nEXT. HOPE MEMORIAL HOSPITAL - NIGHT", "J.Q.\nWhy not? I kill myself. You cut me open and take my heart. It's perfect.", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "I don't think you understand. I'm not letting him die. Haven't you figured that out by now? I don't care what I have to do.", "LAMPLEY\nAll we know at this point is that an attempt has been made on the gunman's life. Repeat. John Q. has been shot.", "J.Q. sits, his shirt soaked in blood. Among all the madness, something funny happens.", "J.Q. puts the gun to his temple.", "I understand. It's hard to be a man these days. Hard to know what the right thing is. Put the gun down, John. It's all over. You got everything you asked for. Mike is on the list. Status one.", "As J.Q. hangs up the receiver, the sniper pulls the trigger.", "J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "J.Q. shakes it off: \"Not to worry.\" John notices Julie, her arm now in a sling, not broken.", "J.Q. indicates his bleeding shoulder.\n\nJ.Q. (CONT'D)\nAlmost.", "STEVE\nIf he didn't, the man would have died.", "J.Q.\nI'll take that chance. It's better than letting him die.", "J.Q.\nAw, I'm all talk. I would never hurt any of you. Only person I ever considered killing was me.", "No, listen to me, you stupid rent-a-cop. I'm not a slob. I've got a life, and it means something to me. I'm not dying in this shithole." ], [ "J.Q.\nNo, sir. It doesn't. My son is very sick. If I'm not covered, I've got a serious problem.", "John sits in a cubicle across from his employer's insurance representative.", "J.Q.\nThere must be some kind of mistake. My son is covered. I've got full medical. He's covered.", "J.Q.\nDon't qualify? I've got a kid who's dying and I'm broke. If I don't qualify, who does?", "INSURANCE REP.\nThis is how it works. Non-management, part-time employees such as yourself only qualify for second tier catastrophic coverage.", "The waiting room is packed. A lot of people needing work. John fills out the application.", "J.Q. (CONT'D)\nWhat's the matter, Doc? You want to see his insurance card first?", "J.Q.\nNo. The hospital says I have to pay cash. Otherwise the only thing I can do is bring Mike home and watch him die.", "J.Q.\nWait a minute. I've been paying for my coverage for years. You take it out of my paycheck every week.", "insurance says they won't cover them. The doctor keeps his", "in this country without medical insurance, sir. And there's one", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "John Q. laughs nervously as the P.M. reviews his application.", "J.Q.\nYeah, but you've got insurance.", "My son, Mike, went into heart failure playing in his little league game. I have full insurance through my work, but now they're saying they don't have to pay.", "Will the man known as John Q. get a heart", "John? This country, man. I swear to God. You can't", "STATE REP\nI understand that. But then you don't qualify. We only give assistance to patients without coverage. Are you on Welfare?", "J.Q.\nI've got major medical. Don't worry, I'm covered.", "LAMPLEY (CONT'D)\nMore, now. And there he is. John Q. is coming out." ], [ "It's not that simple. There are other considerations before a prospective recipient is placed on the donor list, Mr. Archibald. The cost of transplant surgery is expensive. In most cases, prohibitively so.", "PAYNE\nI've decided to put Mike's name on the organ recipient list, Mrs. Archibald. The hospital will pay for everything.", "Transplant surgery, doctor fees, post operative treatment and immunosuppressant drugs, you're looking at two-hundred and fifty-thousand dollars minimum.", "The line goes dead.\n\nGRIMES\nAlright, what the hell is a donor list?", "MEDICAL TRANSPLANT PERSON #1\nFemale. Donor. Thirty-three years old. Five foot seven. Liver, kidneys, usable.", "on an organ recipient list. Once he does, his chances", "This is still a hospital. There's a sick kid in there and I'm his doctor. And if there's a heart available, I'll be damned if I'm going to let it go to waste.", "J.Q.\nFind Rebecca Payne, Hope Memorial's Administrative Supervisor. Tell her I want my kid's name on the donor list.", "DR. TURNER\nThere's too many unknowns. Matching a donor and receiver is extremely complicated. There's several critical tests that have to be taken.", "remember two things. My kid and the donor list. You", "J.Q.\nI'm not asking anymore, Doctor. I'm telling. Now I want a new heart for my kid. You understand?", "DENISE\nHow much does a transplant cost?", "J.Q. Seventy-five thousand dollars to put my kid's name on a list?", "PAYNE\nAnd transplantation is a high risk operation. You could lose your son on the table. You may not want to take that chance.", "We see more of the list this time. Boldfaced columns appear: HOSPITAL/CENTER, CROSS MATCH, WEIGHT RANGE, BLOOD TYPE.", "The stretcher is rushed into the O.R. and the body is placed on the surgical table. A MEDICAL TRANSPLANT TEAM is waiting, ready. They take the body, prep for organ harvesting.", "LAMPLEY\nThe heart is here. Repeat. The heart for little Mike Archibald has arrived. What an unbelievable ending to this incredible, tumultuous day.", "I'm afraid we're considerably beyond the point of corrective surgery, Mr. and Mrs. Archibald. Your son's heart is useless. He is going to need a transplant.", "You're telling me that if I'm laying dead on the floor, you wouldn't take my heart and put it in my kid to save his life? You'd let two people die instead of one because of a technicality?", "The UNOS Official moves into the OR. Everything the transplant people tell him, he repeats into the phone." ], [ "Excuse me, but why don't we just tell him his son's on the list? Doesn't that make sense? I mean, how's he going to know.", "J.Q.\nAnd, frankly, I'm tired of getting the runaround. I need my son's name on that list.", "J.Q. (O.S.)\nI mean it, Frank. If my boy's not on the list in an hour, I promise you someone's going to die.", "PAYNE\nThat's him. His name is John Archibald. His son's on the fifth floor, Pediatric ICU.", "I understand. It's hard to be a man these days. Hard to know what the right thing is. Put the gun down, John. It's all over. You got everything you asked for. Mike is on the list. Status one.", "You want me to put his name on the list, fine, but it's a mistake. You give in to this man, there's going to be guns in every hospital in America.", "DENISE (O.S.)\nPayne was just here. Mike's name is on the list. You did it.", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "The waiting room is packed. A lot of people needing work. John fills out the application.", "John rubs his son's head. He's a good boy.", "your son's name on the list.", "GRIMES\nYou mean all of this could have been avoided if you had just put the kid's name on a list?", "J.Q.\nOkay. Great. We're on the list. Wow. How's Mikey doing?", "J.Q. Seventy-five thousand dollars to put my kid's name on a list?", "EXT. THOMAS EDISON ELEMENTARY SCHOOL - DAY\n\nJohn walks Mike to the gate. Mike turns, serious.", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "LAMPLEY (CONT'D)\nMore, now. And there he is. John Q. is coming out.", "John Q. gets the message. He pushes his chair back and starts to get up.", "J.Q.\nWhat list? They're shooting at me. They're not going to help my kid. It's time to change plans.", "John keeps filling out his paperwork." ], [ "On the final count, False Imprisonment, we find the defendant, guilty. The crowd erupts in protest. The media rush out to file their stories.", "As John closes the book, something catches his eye. At", "He's going to do some time. But there's not a judge in the country that will give him more than a year. And with time served, John will be home very soon.", "JURY FORMAN\nAs to count one, Assault with a deadly weapon, we find the defendant, John Quincy Archibald, not guilty.", "Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "The Pastor waves as John grabs Denise", "J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "John? This country, man. I swear to God. You can't", "This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "John rests his head and closes his eyes as he listens to his wife falling apart.", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "John tries to get his bearings but Mitch", "A few rows back, John sees Jimmy Palumbo tapping his watch. Denise gives her husband a disapproving look. John sticks his head back in the hymn book and continues singing.", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "he says, and the three of them are laughing. John", "J.Q. hears the words and they sink in. He knows they're right.", "LAMPLEY (CONT'D)\nMore, now. And there he is. John Q. is coming out.", "JURY FORMAN (CONT'D)\nOn count two, Armed Criminal Action. Not guilty.", "The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "John moves over to Dr. Turner to plea his case." ], [ "John turns as the bullet explodes from the chamber, muzzle flashing. A bullet blows through J.Q.'s shoulder, knocking him backwards against the wall.", "LAMPLEY\nAll we know at this point is that an attempt has been made on the gunman's life. Repeat. John Q. has been shot.", "Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "As J.Q. hangs up the receiver, the sniper pulls the trigger.", "The police are all around him now. Pointing their weapons and shouting commands. J.Q. puts his hands behind his head, turns around, kneels and then lays face down on the pavement.", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "J.Q. lifts Mike into his arms and races with Denise through the crowd towards the parking lot. Denise gets in the pick up and John lays Mike down in her lap before gunning the engine and taking off.", "The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "The sniper now sits restrained to a", "J.Q. lifts the gun to his head.\n\nEXT. HOPE MEMORIAL HOSPITAL - NIGHT", "J.Q. glances at the admitting desk and sees the chair move. He lifts his weapon and moves towards it. He jumps around the corner of the desk to find Debby Utley underneath, scared to death.", "Stunned, Monroe, Moody, Grimes and Payne grimly watch J.Q. subduing the sniper on the video tape monitors. Their faces are in stark contrast with the chaos that surrounds them.", "Mike's bed is rolled slowly to a stop outside the ER doors. The sniper is released and J.Q. stands guard as Mike is rolled in by Turner and Maguire, before locking the door behind them.", "Sheer pandemonium. Hostages run for cover. The phone receiver swings back and forth, and a bloody J.Q. is slumped against the wall.", "Something in J.Q. snaps. Heart pounding, he pushes Turner through a pair of heavy metal doors and into the Emergency Room.", "The hostages attention has been so focused on the screen, none of them have realized that for John to be on TV, there has to be a camera inside the ER. Suddenly, it hits Lester.", "J.Q. puts the gun to his temple.", "J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "Wake up, fat boy. The cops are coming in shooting. They don't give a shit about his kid. And as soon as he realizes that, we're history.", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84." ], [ "Something in J.Q. snaps. Heart pounding, he pushes Turner through a pair of heavy metal doors and into the Emergency Room.", "J.Q. lifts Mike into his arms and races with Denise through the crowd towards the parking lot. Denise gets in the pick up and John lays Mike down in her lap before gunning the engine and taking off.", "Mike looks up to see Dr. Turner walking alongside. He looks up at him and smiles. Mike is wheeled into a Trauma room where the monitors quickly come to life.", "Mike's bed is rolled slowly to a stop outside the ER doors. The sniper is released and J.Q. stands guard as Mike is rolled in by Turner and Maguire, before locking the door behind them.", "But she is held back as Mike is ushered through.\n\nINT. EMERGENCY ROOM - MAGIC HOUR", "Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "Paper in hand, he sprints out of the ward and down the corridor.\n\nINT. MIKE'S TRAUMA ROOM - NIGHT", "The front doors burst open and Mike's bed is rolled onto the sidewalk. COPS run alongside like secret service agents, protecting Mike, pushing a path through the crowd.", "John and Denise watch helplessly as Maguire stabs an I.V. needle into Mike's vein.", "John enters to find Dr. Klein checking Mike's vitals. The heart monitor reads 30.", "A monolithic maze of glass and stone. John's truck screeches to a stop at the E.R. entrance.", "A red & white ambulance is parked outside. THREE PARAMEDICS are pushing against the locked doors, pounding on the glass. J.Q. runs from the treatment area, sees a body laying on a stretcher.", "He lifts Mike's head, holds it in his hands. Denise arrives, hysterical.", "The mob swarms around the speeding bed, trying to get a look at Mike, who considers the circus atmosphere surrounding him. As the bed hits the police barricade, the cops take over.", "The hostages attention has been so focused on the screen, none of them have realized that for John to be on TV, there has to be a camera inside the ER. Suddenly, it hits Lester.", "J.Q. steps off a city bus carrying a gym bag. Windbreaker buttoned, baseball cap pulled down tight, he moves with purpose toward the hospital.", "into Mike's chest. But then, something suddenly is wrong.", "A roar from the crowd is heard as the entrance to the ER is unlocked and the front door opens. Mitch and Debby are the first to emerge.", "The electric doors slide open and J.Q. enters and looks around before moving quickly through and disappearing into the main hospital entrance.", "A male nurse, LEO MAGUIRE, leaves what he's doing and moves towards them. He clutches Mike's wrist, taking his pulse." ], [ "Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "The hostages attention has been so focused on the screen, none of them have realized that for John to be on TV, there has to be a camera inside the ER. Suddenly, it hits Lester.", "The hostages are glued to the TV set. Maguire, Julie, Debby, Marjorie Klein hang on J.Q.'s every word.", "J.Q. (CONT'D)\nI need two witnesses. Don't everybody jump at once.", "J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "LESTER\nyeah. Finders keepers, man.\n\nThe hostages laugh and Mitch goes crazy.", "Hostages tired, hot, emotionally spent. Suddenly, a phone clangs.", "J.Q. (CONT'D)\nThis is my will. I'm leaving my heart to my son.", "The Pastor waves as John grabs Denise", "The echoing gunshot rumbles through the air like a thunderclap. Monroe, Moody, Grimes and Payne react as the hostages scatter.", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "GRIMES (O.S.)\nWhere are those hostages, John?", "Sheer pandemonium. Hostages run for cover. The phone receiver swings back and forth, and a bloody J.Q. is slumped against the wall.", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "LAMPLEY (CONT'D)\nMore, now. And there he is. John Q. is coming out.", "The hostages are hustled through the police barricade by a team of kevlar riot police. The media rush the hostages, shouting out questions and frantically trying to stick their microphones close enough.", "For a moment the mood is light. J.Q. looks around the room at Maguire, Debby, Mitch, Julie, Lester, and the security guard. Debby can't stop crying again.", "J.Q.\nYou were going to call me back. I gave you your hostages and you were supposed to call me back. But no, you want me dead.", "The gunman has just freed several hostages who", "The other hostages study J.Q. Where is he going with this?" ], [ "LAMPLEY\nThe heart is here. Repeat. The heart for little Mike Archibald has arrived. What an unbelievable ending to this incredible, tumultuous day.", "J.Q.\nYou heard me. Take my heart and put it in Mike.", "So, what, you're going to shoot me? Because that's what you're telling the cops. If poor little Mikey doesn't get the very first heart available, all of us die.", "This is still a hospital. There's a sick kid in there and I'm his doctor. And if there's a heart available, I'll be damned if I'm going to let it go to waste.", "The replacement heart is taken out of its container and placed", "I'm afraid we're considerably beyond the point of corrective surgery, Mr. and Mrs. Archibald. Your son's heart is useless. He is going to need a transplant.", "J.Q.\nWhy not? I kill myself. You cut me open and take my heart. It's perfect.", "into Mike's chest. But then, something suddenly is wrong.", "You're telling me that if I'm laying dead on the floor, you wouldn't take my heart and put it in my kid to save his life? You'd let two people die instead of one because of a technicality?", "DR. KLEIN\nWe just can't remove your heart and put it into Mike's body.", "both B-Positive. Our tissues are a match. And his heart", "Mike looks up to see Dr. Turner walking alongside. He looks up at him and smiles. Mike is wheeled into a Trauma room where the monitors quickly come to life.", "J.Q. (CONT'D)\nThis is my will. I'm leaving my heart to my son.", "The stretcher is rushed into the O.R. and the body is placed on the surgical table. A MEDICAL TRANSPLANT TEAM is waiting, ready. They take the body, prep for organ harvesting.", "REGGIE\nB-positive. Michael William Archibald. The only status one in the whole country. The heart is ours.", "MITCH\nThink, Einstein. Use your head. Correct me if I'm wrong, Doctor, but hearts don't come just like that. It takes months, years sometimes.", "J.Q.\nI'm not asking anymore, Doctor. I'm telling. Now I want a new heart for my kid. You understand?", "He lifts Mike's head, holds it in his hands. Denise arrives, hysterical.", "John enters to find Dr. Klein checking Mike's vitals. The heart monitor reads 30.", "DENISE\nJohn! It's a miracle! They found a heart! It's a miracle!!!" ], [ "Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "The hostages are glued to the TV set. Maguire, Julie, Debby, Marjorie Klein hang on J.Q.'s every word.", "The echoing gunshot rumbles through the air like a thunderclap. Monroe, Moody, Grimes and Payne react as the hostages scatter.", "The hostages are hustled through the police barricade by a team of kevlar riot police. The media rush the hostages, shouting out questions and frantically trying to stick their microphones close enough.", "The hostages attention has been so focused on the screen, none of them have realized that for John to be on TV, there has to be a camera inside the ER. Suddenly, it hits Lester.", "Sheer pandemonium. Hostages run for cover. The phone receiver swings back and forth, and a bloody J.Q. is slumped against the wall.", "MOODY\nHe's got a gun and he's got hostages. That's a profile.", "The hostages look at Julie with newfound respect. J.Q. takes the security guard's handcuffs, drags Mitch across the floor, and manacles him to the radiator.", "grainy. Giving him his first look at the hostages. ON", "Hostages tired, hot, emotionally spent. Suddenly, a phone clangs.", "LESTER\nyeah. Finders keepers, man.\n\nThe hostages laugh and Mitch goes crazy.", "The other hostages study J.Q. Where is he going with this?", "GRIMES (O.S.)\nWhere are those hostages, John?", "The truckers quickly circle to the front and hop in. John Q. just watches as the truck speeds away, dragging the car along the cement.", "The hostages are glued to the TV, watching covering from the outside about what's happening on the inside.", "J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "MOODY\nSir, the object is to get hostages out, not to let more in.", "J.Q.\nYou were going to call me back. I gave you your hostages and you were supposed to call me back. But no, you want me dead.", "The gunman has just freed several hostages who" ], [ "oncoming truck clips her, sending her car end over end.", "rigs. She cuts the wheel hard, but too late. The", "The screen door bangs open. John Q. bursts onto the porch to find a tow truck parked in front of his house. TWO TRUCKERS are winching a hook and cable to a ten year old Chevy.", "The truckers quickly circle to the front and hop in. John Q. just watches as the truck speeds away, dragging the car along the cement.", "The white BMW speeds along the highway, tries to pass the semi in front of her, and smashes into the embankment. It's the same accident as before, only this time, it's regular speed.", "The beautiful woman's body is loaded onto the medivac. The helicopter lifts off and disappears into the darkening sky.", "J.Q. lifts Mike into his arms and races with Denise through the crowd towards the parking lot. Denise gets in the pick up and John lays Mike down in her lap before gunning the engine and taking off.", "by the hand and they run to the truck and hop", "Victoria plows slowly through a growing crowd. LIEUTENANT FRANK", "The mob swarms around the speeding bed, trying to get a look at Mike, who considers the circus atmosphere surrounding him. As the bed hits the police barricade, the cops take over.", "J.Q. glances at the admitting desk and sees the chair move. He lifts his weapon and moves towards it. He jumps around the corner of the desk to find Debby Utley underneath, scared to death.", "Grimes slams the door. The \"cherry\" light spins, the siren wops and the cop car rolls through the crowd of people.", "As J.Q. hangs up the receiver, the sniper pulls the trigger.", "The accident is violent and horrible. The BMW", "A monolithic maze of glass and stone. John's truck screeches to a stop at the E.R. entrance.", "on the gas. She's in the wrong lane and can't", "J.Q.'s pick up speeds along a super highway, blurring past rural pastures, farmland and cornfields. Up ahead, the oppressive skyscrapers of the city.", "JULIE\nA drunk ran a red light and slammed into us. It was an accident.", "Lampley stands by the news van watching the drama unfold on the monitor before him. He's a little choked up.", "Cement and huge. Smoke billows from the stacks. John Q. and Jimmy make their way to their trucks." ], [ "He's going to do some time. But there's not a judge in the country that will give him more than a year. And with time served, John will be home very soon.", "J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "JUDGE\nQuiet! Sentencing will be one week from today.", "As John closes the book, something catches his eye. At", "NEWS REPORTER #7\nThe long awaited verdict is expected today in the trial of John Quincy Archibald, where the jury has been deliberating...", "On the final count, False Imprisonment, we find the defendant, guilty. The crowd erupts in protest. The media rush out to file their stories.", "Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "John? This country, man. I swear to God. You can't", "LAMPLEY (CONT'D)\nMore, now. And there he is. John Q. is coming out.", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "The Pastor waves as John grabs Denise", "John Q. walks in, catches the anxiety on her face,", "he says, and the three of them are laughing. John", "J.Q. Archibald gets up and faces the judge. His attorney, a P.D., by his side.", "John Q. gets the message. He pushes his chair back and starts to get up.", "John rests his head and closes his eyes as he listens to his wife falling apart.", "A few rows back, John sees Jimmy Palumbo tapping his watch. Denise gives her husband a disapproving look. John sticks his head back in the hymn book and continues singing.", "JUDGE (CONT'D)\nThe jury foreman will now read the verdict." ], [ "JULIE\nThat's for beating the shit out of me.\n\nShe kicks him again.", "Julie rears back, and with her go-go boot, she kicks Mitch square in the groin.", "J.Q. moves over to Julie, regards her black eye, her swollen face.", "JULIE (CONT'D)\nThat's for being an asshole.\n\nOnce more for good measure.", "JULIE, a platinum bombshell. She's hurting. Her face is", "The hostages look at Julie with newfound respect. J.Q. takes the security guard's handcuffs, drags Mitch across the floor, and manacles him to the radiator.", "next to Julie.", "Tears stream down Julie's proud face, for the first time, Mitch is speechless. He looks like a car that won't start. Finally, he gets up and walks away.", "JULIE (CONT'D)\nAnd that's for calling me a bitch.", "J.Q. shakes it off: \"Not to worry.\" John notices Julie, her arm now in a sling, not broken.", "JULIE", "recovers his weapon, sticking it in his waistband. Julie stands", "J.Q.\n(to Julie)\nWhat's your story?", "JULIE\nMitch...", "JULIE\nBut the list.", "JULIE\nLeave me alone.", "JULIE\nI'll sign.", "Turner gets up and walks into the treatment room.\n\nJULIE\nWow.", "MITCH (CONT'D)\nJulie, baby, get the gun.\n\nJulie gets up.", "MITCH\n(under breath; to Julie) \nWe were here before that guy." ], [ "J.Q. shakes it off: \"Not to worry.\" John notices Julie, her arm now in a sling, not broken.", "JULIE\nThat's for beating the shit out of me.\n\nShe kicks him again.", "JULIE, a platinum bombshell. She's hurting. Her face is", "J.Q. moves over to Julie, regards her black eye, her swollen face.", "Tears stream down Julie's proud face, for the first time, Mitch is speechless. He looks like a car that won't start. Finally, he gets up and walks away.", "Julie rears back, and with her go-go boot, she kicks Mitch square in the groin.", "JULIE (CONT'D)\nAnd that's for calling me a bitch.", "The hostages look at Julie with newfound respect. J.Q. takes the security guard's handcuffs, drags Mitch across the floor, and manacles him to the radiator.", "JULIE (CONT'D)\nThat's for being an asshole.\n\nOnce more for good measure.", "MITCH (CONT'D)\nJulie, baby, get the gun.\n\nJulie gets up.", "JULIE", "J.Q.\n(to Julie)\nWhat's your story?", "JULIE\nMitch...", "Mitch is now contrite and trying to reconcile with his battered girlfriend.\n\nMITCH\nJulie...", "JULIE\nBut the list.", "JULIE\nLeave me alone.", "next to Julie.", "JULIE\nI'll sign.", "MITCH\nExcuse me, but I think my fiancee broke her arm. Could somebody take a look at her, please?", "Turner gets up and walks into the treatment room.\n\nJULIE\nWow." ], [ "LAMPLEY (CONT'D)\nMore, now. And there he is. John Q. is coming out.", "J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "As John closes the book, something catches his eye. At", "This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "John rests his head and closes his eyes as he listens to his wife falling apart.", "John? This country, man. I swear to God. You can't", "The Pastor waves as John grabs Denise", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "John Q. gets the message. He pushes his chair back and starts to get up.", "Dr. Turner appears at the doorway and sees John on his knees.\n\nDR. TURNER\nJohn?", "John tries to get his bearings but Mitch", "MIKE\nDad!\n\nJohn moves over to Denise and the Pastor.", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "he says, and the three of them are laughing. John", "J.Q.\nI want my son.\n\nMOODY\nWhat?", "I understand. It's hard to be a man these days. Hard to know what the right thing is. Put the gun down, John. It's all over. You got everything you asked for. Mike is on the list. Status one.", "John. You think these people give a shit about you?", "John moves over to Dr. Turner to plea his case.", "A few rows back, John sees Jimmy Palumbo tapping his watch. Denise gives her husband a disapproving look. John sticks his head back in the hymn book and continues singing." ], [ "into Mike's chest. But then, something suddenly is wrong.", "I'm afraid we're considerably beyond the point of corrective surgery, Mr. and Mrs. Archibald. Your son's heart is useless. He is going to need a transplant.", "LAMPLEY\nThe heart is here. Repeat. The heart for little Mike Archibald has arrived. What an unbelievable ending to this incredible, tumultuous day.", "So, what, you're going to shoot me? Because that's what you're telling the cops. If poor little Mikey doesn't get the very first heart available, all of us die.", "He's going to seem fine. But as his heart gets worse, he will become increasingly fatigued, need more and more sleep, until one day, he'll go to sleep and he won't wake up.", "Mike's vital signs start giving out. The gauges dropping at", "DR. TURNER\nThis X-ray is that of a normal, nine year old heart. This one is your son's.", "J.Q.\nYou heard me. Take my heart and put it in Mike.", "Mike is propped up in bed, now breathing with some difficulty. He's so weak, Denise has to hold the phone.", "This is still a hospital. There's a sick kid in there and I'm his doctor. And if there's a heart available, I'll be damned if I'm going to let it go to waste.", "DR. TURNER\nNo, we don't. You're an adult. Mike is strong, but the amount of blood your heart pumps may be too much for Mike.", "A male nurse, LEO MAGUIRE, leaves what he's doing and moves towards them. He clutches Mike's wrist, taking his pulse.", "REGGIE\nB-positive. Michael William Archibald. The only status one in the whole country. The heart is ours.", "CLOSE ON MIKE, slowing, suddenly clutching his chest, gulping for air, ten feet from the base. SMACK. The ball lands in the shortstop's glove.", "John enters to find Dr. Klein checking Mike's vitals. The heart monitor reads 30.", "The daisy wheel buzzes, pounding letters onto the print page. Mike Archibald, Hope Memorial Hospital, age 9, 85 pounds. Blood type: B-positive. MATCH.", "DR. TURNER\nThat Mike's going to die.", "DR. TURNER\nNot buts, John. Without a new heart, he's not going to make it.", "J.Q.\nWhy not? I kill myself. You cut me open and take my heart. It's perfect.", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84." ], [ "Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "The hostages attention has been so focused on the screen, none of them have realized that for John to be on TV, there has to be a camera inside the ER. Suddenly, it hits Lester.", "The echoing gunshot rumbles through the air like a thunderclap. Monroe, Moody, Grimes and Payne react as the hostages scatter.", "Sheer pandemonium. Hostages run for cover. The phone receiver swings back and forth, and a bloody J.Q. is slumped against the wall.", "MOODY\nHe's got a gun and he's got hostages. That's a profile.", "The hostages are hustled through the police barricade by a team of kevlar riot police. The media rush the hostages, shouting out questions and frantically trying to stick their microphones close enough.", "The hostages look at Julie with newfound respect. J.Q. takes the security guard's handcuffs, drags Mitch across the floor, and manacles him to the radiator.", "The hostages are glued to the TV set. Maguire, Julie, Debby, Marjorie Klein hang on J.Q.'s every word.", "Hostages tired, hot, emotionally spent. Suddenly, a phone clangs.", "LESTER\nyeah. Finders keepers, man.\n\nThe hostages laugh and Mitch goes crazy.", "The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "The other hostages study J.Q. Where is he going with this?", "GRIMES (O.S.)\nWhere are those hostages, John?", "This guy's in for the long haul, Lieutenant. He locked down the ER, barricaded himself inside, killed the power on the elevators. We could bust down the door, but the sonofabitch might start killing everybody.", "The hostages are glued to the TV, watching covering from the outside about what's happening on the inside.", "The truckers quickly circle to the front and hop in. John Q. just watches as the truck speeds away, dragging the car along the cement.", "The gunman has just freed several hostages who", "FREDDY B.\nThis just came in over the police radio. Someone is holding Hope Memorial hostage.", "J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John." ], [ "The stretcher is rushed into the O.R. and the body is placed on the surgical table. A MEDICAL TRANSPLANT TEAM is waiting, ready. They take the body, prep for organ harvesting.", "This is still a hospital. There's a sick kid in there and I'm his doctor. And if there's a heart available, I'll be damned if I'm going to let it go to waste.", "PAYNE\nI've decided to put Mike's name on the organ recipient list, Mrs. Archibald. The hospital will pay for everything.", "LAMPLEY\nThe heart is here. Repeat. The heart for little Mike Archibald has arrived. What an unbelievable ending to this incredible, tumultuous day.", "So, what, you're going to shoot me? Because that's what you're telling the cops. If poor little Mikey doesn't get the very first heart available, all of us die.", "MEDICAL TRANSPLANT PERSON #1\nFemale. Donor. Thirty-three years old. Five foot seven. Liver, kidneys, usable.", "I'm afraid we're considerably beyond the point of corrective surgery, Mr. and Mrs. Archibald. Your son's heart is useless. He is going to need a transplant.", "both B-Positive. Our tissues are a match. And his heart", "J.Q.\nYou heard me. Take my heart and put it in Mike.", "You're telling me that if I'm laying dead on the floor, you wouldn't take my heart and put it in my kid to save his life? You'd let two people die instead of one because of a technicality?", "Mitch reaches, pulls a cas cart closer. He carefully slides open a drawer, steals a sharp-edged scalpel, slips it into his pocket. Next he spots a spray top cannister marked Ethychloride.", "Mike looks up to see Dr. Turner walking alongside. He looks up at him and smiles. Mike is wheeled into a Trauma room where the monitors quickly come to life.", "The daisy wheel buzzes, pounding letters onto the print page. Mike Archibald, Hope Memorial Hospital, age 9, 85 pounds. Blood type: B-positive. MATCH.", "J.Q.\nWe all know how this works, people. In order for Mike to live, someone has to die. I'm the father. It might as well be me.", "J.Q.\nWhy not? I kill myself. You cut me open and take my heart. It's perfect.", "He lifts Mike's head, holds it in his hands. Denise arrives, hysterical.", "DR. KLEIN\nWe just can't remove your heart and put it into Mike's body.", "Maguire leads Lester back to the treatment area. Lester hands him a baggie filled with three-severed fingertips.", "J.Q. looks at Mike as the medical team assess his condition, just watching helplessly as the life drains out of his body.", "REGGIE\nB-positive. Michael William Archibald. The only status one in the whole country. The heart is ours." ], [ "As John closes the book, something catches his eye. At", "Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "John Q. gets the message. He pushes his chair back and starts to get up.", "LAMPLEY (CONT'D)\nMore, now. And there he is. John Q. is coming out.", "John tries to get his bearings but Mitch", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "John rests his head and closes his eyes as he listens to his wife falling apart.", "This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "John? This country, man. I swear to God. You can't", "he says, and the three of them are laughing. John", "The Pastor waves as John grabs Denise", "John moves over to Dr. Turner to plea his case.", "JULIE\nI think what John's trying to do is right.", "John. You think these people give a shit about you?", "The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "John Q. walks in, catches the anxiety on her face,", "John puts them on and the three watch the surgery.", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "The waiting room is packed. A lot of people needing work. John fills out the application." ], [ "This is too much for Denise. She breaks into tears. John puts his arms around her, steadies her, gathers his thoughts.", "As John closes the book, something catches his eye. At", "John and Denise exchange a look. The chaplain whispers incantations and he makes the sign of the cross over the dying child. Plink. John and Denise turn. The monitor now reads 84.", "J.Q. paces the floor. It's slower now. Everyone just sitting around, waiting to see what will happen. Debby has pulled herself together for the time being. She calls out to John.", "J.Q. lifts the gun to his head.\n\nEXT. HOPE MEMORIAL HOSPITAL - NIGHT", "The moment has come. Everyone's face wears the intensity of it. John holds the gun up, his hand trembling. CLICK! Nothing happens.", "Turner ushers him out the door and closes it behind him. John looks up to find the hostages staring at him. Uncomfortable, he moves into a recovery room.", "John Q. gets the message. He pushes his chair back and starts to get up.", "John rests his head and closes his eyes as he listens to his wife falling apart.", "JOHN Q. watches impassively, the irony not lost on him. Suddenly, he hears a noise. Something's not right. He jumps out of bed, wearing only a pair of BVDs.", "Dr. Turner appears at the doorway and sees John on his knees.\n\nDR. TURNER\nJohn?", "GRIMES\nIt's time, John.\n\nJ.Q. turns, knows it's over.", "John Q. walks in, catches the anxiety on her face,", "John turns as the bullet explodes from the chamber, muzzle flashing. A bullet blows through J.Q.'s shoulder, knocking him backwards against the wall.", "J.Q.\nWhy not? I kill myself. You cut me open and take my heart. It's perfect.", "LAMPLEY (CONT'D)\nMore, now. And there he is. John Q. is coming out.", "The Pastor waves as John grabs Denise", "I understand. It's hard to be a man these days. Hard to know what the right thing is. Put the gun down, John. It's all over. You got everything you asked for. Mike is on the list. Status one.", "J.Q.\nI'll take that chance. It's better than letting him die.", "No, listen to me, you stupid rent-a-cop. I'm not a slob. I've got a life, and it means something to me. I'm not dying in this shithole." ] ]

[ "How was the woman killed?", "Who collapse at a baseball game?", "Who was Michael with when he collapsed?", "What is the cost of the heart procedure?", "What was said after John stated that he is insured?", "What was told to John after his health insurance has change?", "Why did John walked into the hospital E R with a hand gun?", "Who begin to understand John situation and support him?", "What did Chief of police gave SWAT permission to do?", "Why didn't John die when he pulled the trigger on himself?", "Why didn't John qualify for health insurance?", "How much is the down payment to get on the donor list?", "How does John get his son's name on the list?", "What was John found guilty of?", "What was the outcome of John being shot by the SWAT sniper?", "How did John get Michael into the emergency room?", "How many hostages were a witness to John's will?", "Who did Michael get the heart from?", "How many hostages did John initially gather?", "What kind of truck kills the woman?", "What is John's expected sentence?", "Who beat up Julie?", "What is the real reason for Julie's broken arm?", "What is John's demand?", "What is wrong with Michael's heart?", "How many hostages does John take? ", "Who is used as an organ donor for Michael?", "What does John plan to do?", "Who stops John from killing himself?" ]

[ [ "Her car was clipped a truck.", "Hit by two trucks" ], [ "The son of John Quincy Archibald and wife Denise.", "Michael collapses." ], [ "He was by himself at a baseball game.", "John and Denise" ], [ "250,000 dollars. ", "$250,000" ], [ "After dropping from full time to part time his health insurance has changed.", "Due to changes in his employment status, the procedure is not covered." ], [ "The new policy does not cover surgery.", "That his insurance no longer covers his son's operation" ], [ "He gather eleven hostages and set demands.", "Because he didn't want Michael to die." ], [ "The eleven hostages.", "the hostages" ], [ "Insert a sniper into the building air shaft.", "to insert a sniper into the building via an airshaft to take John down" ], [ "The safety was on", "The safety is on" ], [ "He was dropped from full-time to part-time", "His job went from full-time to part-time." ], [ "$75,000", "$75,000" ], [ "He releases four hostages", "By taking hostages" ], [ "Kidnapping", "kidnapping" ], [ "Minor wound", "he beats the sniper up" ], [ "He gave the SWAT sniper to the police in exchange for that demand", "by using a swat team member as a human shield" ], [ "Two", "two" ], [ "A woman who was killed in a car accident", "A woman killed in a traffic accident." ], [ "Eleven", "11" ], [ "A Mack truck", "Mack" ], [ "3-5 years", "Three to five years" ], [ "Mitch", "mitch" ], [ "Mitch beat her up", "Her boyfriend, Mitch, abused her." ], [ "That his son be put on the donor list", "that his son's name be put on the heart recipient list as soon as possible" ], [ "It is enlarged", "it is enlarged" ], [ "11", "Eleven" ], [ "The woman killed by the Mack truck", "female driver" ], [ "Kill himself and have his heart used for his son", "He plans to commit suicide so Michael can have his heart." ], [ "His wife", "his wife" ] ]

ce595386dbe3945cafbea2a44a805db1d3c0cbb6

train

[ [ "world, the freedom of our own country and\n of the whole British Commonwealth of\n Nations would be in danger.\n (MORE)", "WINSTON CHURCHILL\n Oh, there'll be war, alright.\n (takes out another piece\n of paper)", "BERTIE\n \"For the second time... in the lives of\n most of us... we are at war.\" One-two-", "BERTIE\n It's not too late, Winston, you could form\n a government on his behalf.\n\n WINSTON CHURCHILL\n I must decline. Reluctantly.", "WINSTON CHURCHILL\n \"If I don't get my way, when the war comes,\n Hitler will crush everyone, including the", "BERTIE\n My Lords, members of the Accession Council,\n I meet you today in circumstances which are\n without parallel in the history of our\n Country...", "continues to falter. Though Bertie\n miraculously survived the Coronation he\n continues to stumble very badly indeed.\n Soon he must broadcast to the world. Hitler", "BERTIE\n Certainly not.\n\n LIONEL\n To prove you know how.\n\n BERTIE\n Bugger!", "LIONEL (CONT'D)\n Not in Western Australia, not at that time.\n I simply knew what to do. When the war was", "through London. Hitler terrorizing half of\n Europe, Stalin the other half. Who'll stand\n between us, the jackboots, and the\n proletarian abyss? You?", "The glowing light of an illuminated dial of a radio, listened to\n by Churchill and Baldwin. They wear black armbands.\n\n WINSTON CHURCHILL\n Turn that devil off!", "WINSTON CHURCHILL\n He won't budge.\n\n BALDWIN\n Nor will we.", "Scotland Yard intercept: \"Who is King here?\n Baldwin or I? I myself wish to talk with\n Hitler, and will do so here or in Germany.\"", "WINSTON CHURCHILL\n Ah, the Kiwis!\n\n BALDWIN\n Being rather remote, they've not even heard\n of Mrs Simpson. Hardly a winning hand.", "BERTIE\n They didn't come to see us, Father.\n\n KING GEORGE V\n Pretend.", "months. Who'll pick up the pieces? David's\n friend, Oswald Mosley? His black-shirt\n British Union of Fascists are marching", "It is December 11th, 1936. If practical use the actual recorded\n broadcast (truncated). In London, Birmingham, Edinburgh,", "BERTIE\n \"In this grave hour...perhaps-the-most-\n fateful...in our history...\"\n\n LIONEL\n Beaut.", "LIONEL\n A public school prig could do better.\n\n BERTIE\n Well bloody bugger to you, you beastly\n bastard!", "He waves them out of the room, but beckons Wigram to come close,\n and whispers something in his ear.\n\n WIGRAM\n At the appropriate moment, Your Majesty." ], [ "LIONEL\n When that poor chap first walked into my\n office, he was a slim, quiet man with tired\n eyes and all the outward symptoms of the", "LIONEL\n The plaque says, `L. Logue. Speech\n Specialist'. No mention of a medical", "LIONEL\n Well, have your `hubby' pop by and give his\n personal history. I'll make a frank\n appraisal.\n\n ELIZABETH\n Doctor...", "LIONEL (CONT'D)\n Not in Western Australia, not at that time.\n I simply knew what to do. When the war was", "LIONEL\n Bertie, you'll make a bloody good king. And\n you know it.\n\nBertie stares at him.\n\nA familiar voice is heard from the shadows.", "Realizing something is amiss, she turns, and knows instantly\n what Lionel's going to tell her. Her hand goes to her mouth to\n stifle her emotions.", "LIONEL (CONT'D)\n Breathe deeply...expand your chest... now\n your stomach...deep into the diaphragm.\n Splendid. How do you feel?", "Lionel lumbers out of the closet, a pillow stuffed into his\n jacket to create a monstrous hunchback. His acting, performed\n just for his children, is quite magical.", "LIONEL\n I'm finished with your husband.\n\n BERTIE\n I'm finished with Doctor Logue!\n\n LIONEL\n Lionel.", "LIONEL\n That's quite different. Let's get down to\n work then, shall we?\n\nBertie glares at him.", "LIONEL\n Tell me...\n\n BERTIE\n I sense one of your dreadful questions on\n the horizon.", "LIONEL\n A bit premature.\n\n ELIZABETH\n Because he hasn't seen you?\n\nLionel doesn't disgree.", "LIONEL\n I see. For reasons you cannot disclose,\n fearing ramifications you will not explain,\n you feel sufficiently anxious to embark", "LIONEL\n You can with me.\n\n BERTIE\n That's because you're peculiar.", "LIONEL\n Call me Lionel.\n\n BERTIE\n I prefer Doctor.", "Lionel sits down on the chair of Edward the Confessor. Leaning\nagainst it is the great two-handed sword of St. George.", "LIONEL (CONT'D)\n She was...too high and mighty. Know what I\n mean.\n\n She does. There's an unspoken code between them.", "LIONEL\n You don't have any money. I'll fix it. So,\n Bertie, what brings you here? Your father's\n death?\n\nBertie is silent.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "LIONEL\n So did I.\n\n BERTIE\n A man of stature?\n\n LIONEL\n A clerk." ], [ "Logue tries to protest, Bertie over-rides.", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "hubby treating a personage that high and\n mighty, you won't be needing employment\n with us, will you, Mrs Logue?'", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "DIRECTOR\n (interrupts)\n Thank you! Don't abandon your day job.\n Next!\n\n Logue bows his head.", "Finished reading the passage he takes off the earphones and the\nmusic ceases. He reaches for the coin, but Logue snatches it.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "Logue tries to object but she over-rides.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "Bertie doesn't answer. Exits. Logue is left holding the plane.\n He goes to the waiting room door.\n\n LIONEL (CONT'D)\n How're you doing, Willie?", "Logue smiles, perfectly calm, totally confident in the man he's\nworked with. His confidence is contagious.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "Logue goes to the door and starts to open it. He shuts it\nquickly.\n\n LIONEL (CONT'D)\n I wasn't expecting Myrtle for several\n hours!", "Dancing at arm's length with Logue, Bertie repeats:", "LIONEL\n We haven't much more time together. Give it\n a go.\n\n The doorbell RINGS. Logue is annoyed.", "Not wanting to draw attention to his destination, Bertie has\n disembarked several buildings away from Logue's address. He\n makes his way hurriedly." ], [ "LIONEL\n Bertie, you'll make a bloody good king. And\n you know it.\n\nBertie stares at him.\n\nA familiar voice is heard from the shadows.", "LIONEL\n Your next public appearance should be very\n well rehearsed.\n\nWithout thinking, Lionel instinctively reaches out to pat Bertie\nsupportively on the shoulder.", "Bertie sees Lionel glance at his watch.\n\n BERTIE\n You've someone waiting?\n\n LIONEL\n I do now.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "BERTIE\n And don't ever call me Bertie in public.\n\nA moment of confrontation. Lionel knows he's overstepped.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "LIONEL\n Your wife was the one who sought me out.\n\n BERTIE\n Because, dear sweet deluded woman, she\n believes in me!", "BERTIE\n Well enough to deceive me.\n\n LIONEL\n Lock me in the Tower.\n\n BERTIE\n I would if I could!", "do? He must believe he is King. How can I\n possibly do that? For pity sake, Lionel, I\n beg you: get me through! I'll pay you", "ELIZABETH (CONT'D)\n Well done, Bertie. Well done...\n (for the first time)\n ...Lionel. Well done.\n\nShe leaves the two men together.", "LIONEL\n Oh please.\n\n BERTIE\n Your Royal Highness then.\n\n LIONEL\n Much more informal.", "As Bertie is about to leave, Lionel requests casually:\n\n LIONEL\n And if you decide to come, bring the\n Duchess. She might be helpful.", "BERTIE\n Lying bastard!\n\n LIONEL\n I knew I could help you. You refuse to\n believe?", "BERTIE\n Then I'm the solemnest king who ever lived.\n Lionel, I can't do this!", "Bertie's silence is confirmation.\n\n LIONEL (CONT'D)\n I ask too many questions?\n\n BERTIE\n Perhaps the wrong sort.", "LIONEL\n I advise you never to beg. Especially if\n you might be King.\n\n BERTIE\n Don't say that!", "Willie nods again. Then, haltingly:\n\n WILLIE\n I heard the King.\n\n LIONEL\n Did you?", "LIONEL\n I'm finished with your husband.\n\n BERTIE\n I'm finished with Doctor Logue!\n\n LIONEL\n Lionel.", "LIONEL\n (quietly)\n Well then...you're cured.\n\n BERTIE\n Stop trying to squirm off the hook." ], [ "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "BERTIE\n Dr. Logue is to be present at the\n Coronation.\n\n COSMO LANG\n Impossibly to find room. Even for a Doctor.", "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "On the screen: archive footage of the Coronation, capturing the\n pomp and ceremony. Cigar smoke rises up. The voices of\n Churchill and Lang can be heard.", "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "KING GEORGE V (CONT'D)\n That's the chap who taught me how to use\n this contraption. You touch your chin with", "\"George, your undoubted King!\" echoes through the Abby.\n\n DISSOLVE TO:", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "Logue smiles, perfectly calm, totally confident in the man he's\nworked with. His confidence is contagious.", "Bertie follows Logue deep into the bowels of the `Abbey'.", "Lang's eyes roll heavenward.\n\nChurchill studies the situation, ready to leap into the breach.\n\nBertie and Logue stare at each other.", "Bertie has entered with Logue. Lang spins around.\n\n COSMO LANG\n Your Majesty.", "Logue tries to protest, Bertie over-rides.", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "Finished reading the passage he takes off the earphones and the\nmusic ceases. He reaches for the coin, but Logue snatches it." ], [ "BERTIE\n This one's divorced. Twice. Mrs Wallis\n Simpson of Baltimore. I want David to be\n happy, but the family, the Church, the\n nation, won't have it.", "DAVID\n This will end splendidly. With Wallis as my\n wife.\n\n BERTIE\n Whatever will she call herself?", "LIONEL\n \"Queen Wallis of Baltimore\"?\n\n BERTIE\n Please.\n\n LIONEL\n Does sound a bit iffy.", "BERTIE\n Where did you get that American accent?\n David...Father's not dead six months, yet\n you've put Mrs. Simpson in the suite used\n by our mother?", "rather small, angular, dark haired woman, with a high brow and\n square jaw - MRS WALLIS SIMPSON. Her most attractive physical", "BERTIE\n He can bugger things up! And I am not the\n King. Mrs. Simpson is seeking a divorce.", "WINSTON CHURCHILL\n Ah, the Kiwis!\n\n BALDWIN\n Being rather remote, they've not even heard\n of Mrs Simpson. Hardly a winning hand.", "BERTIE\n To fight a general election in which your\n marriage is the only topic?\n\n DAVID\n I'd risk anything and everything for\n Wallis. Don't I have rights?", "DAVID\n He's much maligned. By the Jews, according\n to Wallis. And she's very clever about\n politics.", "David turns and bows formally. Elizabeth cursties in return.\n Wallis quickly returns to David, taking him forcefully onto the\n dance floor. The Yorks go in the other direction.", "LIONEL\n What's wrong with her?\n\n BERTIE\n She's American.", "The archive footage continues, but it is not of the Coronation.\n David and Wallis visiting the Fuhrer in Germany: Hitler", "does not possess exclusive rights to Mrs.\n Simpson's sexual favours. Hitler's\n Ambassador, Count von Ribbentrop, has been", "BERTIE\n A married American? Twice divorced? He\n can't be.\n\n ELIZABETH\n She can.", "KING GEORGE V\n Bedding his American whore. Come, join the\n fun!\n (aside to Elizabeth)", "WINSTON CHURCHILL\n Wallis wrote it for him. I'll burn it. I\n fear your brother is like the child in a", "DAVID\n I'm on with Wallis!\n (as though Bertie didn't\n exist)", "gallantly kissing Mrs Simpson's hand while Goring and the Duke\n of Windsor beam; David giving the Nazi salute. FREEZE FRAME.", "The break almost careens off the lane.\n\n BERTIE\n You believe that?\n\n DAVID\n Wallis explained it. She's terribly clever.", "Wallis sweeps forward to greet them, but Elizabeth sails past,\n announcing to no one in particular:\n\n ELIZABETH\n I came at the invitation of the King." ], [ "Churchill is silent. Balwin waits, then:\n\n BALDWIN (CONT'D)\n ...I intend to resign. The Royal scandal\n has weakened my position considerably.", "BERTIE\n What has my brother given up on his\n abdication, other than the throne?\n\nThey look at each other, unsure.", "Bertie stands frozen, his mouth agape, jaw muscles locked. He\n knows he's considered by all, especially himself, unfit for\n public life.\n\n Elizabeth is devastated.", "BERTIE\n He can bugger things up! And I am not the\n King. Mrs. Simpson is seeking a divorce.", "WINSTON CHURCHILL\n I was.\n (takes a piece of paper\n from his pocket and\n reads)\n \"I am now free to tell you how I was\n jockeyed out of the Throne.\"", "BERTIE\n What do you suggest?\n\n COSMO LANG\n Mr. Edward Windsor? All he deserves.", "BERTIE\n It's the Chair of Edward The Confessor! The\n throne upon which every King for six and a\n half centuries has been crowned.", "BERTIE\n ...it was a relief. Knowing I wouldn't be\n King.\n\n LIONEL\n Why's that?", "He offers his hand. But instead of taking it, Bertie takes him\nby the shoulders and gives him a hug. This is a long way from\nthe five pace rule. The last barrier has fallen.\n\nScroll:", "David is seen - very serious.\n\n DIGNITARY (CONT'D)\n ...that the High and Mighty Prince Edward\n Albert Christian George Andrew Patrick\n David is now become our only lawful King.", "BERTIE\n Don't say such a thing!\n\n DAVID\n Is my young brother trying to push me off\n the throne? Sounds positively medieval.", "LIONEL\n Me too.\n\n MYRTLE\n Is that why, every day, you've spent hours\n with a man who's about to be King?", "BERTIE\n Want me to beg?\n\n LIONEL\n I told you, Kings don't beg.", "LIONEL\n Do you really want to be King?\n\n BERTIE\n Knew it! I haven't any choice.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "constitutionally possible for me to speak.\n A few hours ago I discharged my last duty\n as King and Emperor.", "BERTIE\n Because we took an English name! Windsor.\n Because we are England. We are the heart\n and soul of this nation. That must never\n change.", "Lionel sits down on the chair of Edward the Confessor. Leaning\nagainst it is the great two-handed sword of St. George.", "BERTIE\n You've saddled this nation in its moment of\n peril with a voiceless King. Destroyed the", "Elizabeth is playing quietly with her daughters when the door\n opens and Bertie appears, still in full regalia, straight from\n the Accession Council. He holds his arm out, expecting them to" ], [ "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "Bertie has entered with Logue. Lang spins around.\n\n COSMO LANG\n Your Majesty.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "For ease of reading, Bertie's stutter is not indicated from this\n point on in the script.\n\n BERTIE\n No doubt you wish the Prince Of Wales was\n standing before you today.", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "LIONEL\n Oh please.\n\n BERTIE\n Your Royal Highness then.\n\n LIONEL\n Much more informal.", "Logue tries to protest, Bertie over-rides.", "BERTIE\n Doctor Lionel Logue, my speech therapist.", "86 INT. LOGUE'S CONSULTATION ROOM - NEW DAY 86\n\n Bertie and Logue are rehearsing.", "LIONEL\n I'm finished with your husband.\n\n BERTIE\n I'm finished with Doctor Logue!\n\n LIONEL\n Lionel.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "BERTIE\n Apologies, Mrs. Logue.\n\n LIONEL\n First time I've heard you laugh.", "BERTIE'S VOICE\n Logue...?\n\n Logue, expressionless, doesn't respond.", "Dancing at arm's length with Logue, Bertie repeats:", "Bertie follows Logue deep into the bowels of the `Abbey'.", "Bertie doesn't answer. Exits. Logue is left holding the plane.\n He goes to the waiting room door.\n\n LIONEL (CONT'D)\n How're you doing, Willie?", "BERTIE'S VOICE\n Doctor Logue?\n\n\n41 INT. LOGUE'S CONSULTATION ROOM - CONTINUOUS 41" ], [ "Lionel sits down on the chair of Edward the Confessor. Leaning\nagainst it is the great two-handed sword of St. George.", "David is seen - very serious.\n\n DIGNITARY (CONT'D)\n ...that the High and Mighty Prince Edward\n Albert Christian George Andrew Patrick\n David is now become our only lawful King.", "BERTIE\n It's the Chair of Edward The Confessor! The\n throne upon which every King for six and a\n half centuries has been crowned.", "LIONEL\n Just Lionel.\n\n BERTIE\n Behind the chair of Edward the Confessor.", "KING GEORGE V\n When I'm dead that boy will ruin himself,\n this family, and this nation, within twelve", "A massive cavern of stone statuary and stained glass. The\n center piece of this particular section is the throne of Edward", "Elizabeth is playing quietly with her daughters when the door\n opens and Bertie appears, still in full regalia, straight from\n the Accession Council. He holds his arm out, expecting them to", "BERTIE\n What do you suggest?\n\n COSMO LANG\n Mr. Edward Windsor? All he deserves.", "BERTIE\n That would be a tragedy. I pray to The\n Almighty they succeed. I'll do anything\n within my power to keep my brother on the\n throne.", "Everyone watches silently as the King's breathing slows, the\n twitching jugular subsides, then all movement ceases.\n\n Dawson takes the pulse, and consults his watch.", "Wigram presents a tray with papers and pen.\n\n WIGRAM\n The Instruments Of Succession, Your\n Majesty.", "Willie nods again. Then, haltingly:\n\n WILLIE\n I heard the King.\n\n LIONEL\n Did you?", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "Bertie stands frozen, his mouth agape, jaw muscles locked. He\n knows he's considered by all, especially himself, unfit for\n public life.\n\n Elizabeth is devastated.", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "BERTIE\n My Lords, members of the Accession Council,\n I meet you today in circumstances which are\n without parallel in the history of our\n Country...", "David turns and bows formally. Elizabeth cursties in return.\n Wallis quickly returns to David, taking him forcefully onto the\n dance floor. The Yorks go in the other direction.", "LIONEL (CONT'D)\n ... and hold. Now, Princess Elizabeth, be\n so kind as to sit on your husband's\n stomach.\n\n ELIZABETH\n Good grief.", "BERTIE\n Eighteen months.\n\n LIONEL\n But for eighteen months you would've been\n King?!", "BERTIE\n Don't say such a thing!\n\n DAVID\n Is my young brother trying to push me off\n the throne? Sounds positively medieval." ], [ "LIONEL\n I want to demonstrate that when you can't\n hear your voice, you don't stutter, thus\n proving your impediment is not innate.", "BERTIE\n My physicians say it's good for stuttering,\n relaxes the throat.\n\n LIONEL\n They're idiots.", "BERTIE\n (exploding)\n Because I bloody well stutter! And you\n bloody well can't fix it!!!\n\n LIONEL\n Temper.", "LIONEL\n Only if you're interested in being cured.\n\nMore silence.\n\n LIONEL (CONT'D)\n Cuppa tea?", "LIONEL (CONT'D)\n Would you like to sing, dance, and shout\n rude words?\n\n WILLIE (NO STUTTER)\n I would!", "ELIZABETH\n Of course my husband wants to be cured! His\n position requires public speaking upon\n occasion. A torment. I fear the requirement\n may grow more frequent.", "It is a shock to realize this is a man with a profound stutter.\n A man who cannot speak in public.\n\n Lang whispers to Churchill. When Lang whispers, everyone can\n hear.", "over I kept being a therapist to earn a\n living. When the lads were old enough, I\n thought, \"Alright Lionel, you've always", "BERTIE\n (stutter growing in\n intensity)\n I'm not here to discuss personal matters.\n\n LIONEL\n Why're you here then?", "BERTIE\n I certainly can't read The Bard.\n\n LIONEL\n `Easy money'.\n\nBertie reads, stuttering badly and getting worse.", "As they enter Bertie notices:\n\n BERTIE\n What happened to your shoulder?\n\n Lionel hastily removes the pillow, tosses it away.", "BERTIE\n When I give a speech...I bloody stutter!!!\n\n LIONEL\n Bet you a bob you can read flawlessly,\n right here, right now.", "ELIZABETH (CONT'D)\n You're very sure of yourself.\n\n LIONEL\n I'm sure of anyone who wants to be cured.", "LIONEL\n I see. For reasons you cannot disclose,\n fearing ramifications you will not explain,\n you feel sufficiently anxious to embark", "Bertie's silence is confirmation.\n\n LIONEL (CONT'D)\n I ask too many questions?\n\n BERTIE\n Perhaps the wrong sort.", "LIONEL\n You seldom stutter with me anymore.\n (referring to the mess)\n The boys are a bit untidy.", "WILLIE'S MUM\n (speaking for her son)\n Still can't say a sentence.\n\n LIONEL\n Willie?", "LIONEL\n The plaque says, `L. Logue. Speech\n Specialist'. No mention of a medical", "Lionel lumbers out of the closet, a pillow stuffed into his\n jacket to create a monstrous hunchback. His acting, performed\n just for his children, is quite magical.", "In the presence of his father, Bertie's stuttering returns in\nfull form, his breathing short and shallow, the muscles in\nspasms." ], [ "In the presence of his father, Bertie's stuttering returns in\nfull form, his breathing short and shallow, the muscles in\nspasms.", "PAN DOWN to the handsome features of Albert, Duke of York, known\n to his family as BERTIE. He's in his late thirties, the second", "BERTIE\n Ah well.\n\nCalled upon to perform, the stutter returns slightly. But the\ntwo girls listen raptly, ignoring their father's minor\nimpediment, and it fades.", "BERTIE\n Father, we're not a family, we're a firm.\n\nHis father shoots Bertie a surprised look. Does the lad have a\nbrain after all?", "BERTIE (CONT'D)\n Not like my father...he and his brother,\n when they were young, kept a girl in St\n John's Wood and shared her on alternate\n nights.", "LIONEL\n Father wanted me to be a doctor, but I\n couldn't cut flesh. So I worked in the\n mines, recited in pubs...\n\n BERTIE\n An actor?!", "BERTIE\n George.\n\n LIONEL\n Like your father?\n\n BERTIE\n Like my father.", "Bertie stands frozen, his mouth agape, jaw muscles locked. He\n knows he's considered by all, especially himself, unfit for\n public life.\n\n Elizabeth is devastated.", "BERTIE (CONT'D)\n I was informed, after the fact, my father's\n last words were: \"Bertie has more guts than", "BBC NEWS READER\n (placating)\n If you'll be so kind, to let me show you...\n\n BERTIE\n I already know. My father taught me.", "MARGARET ROSE\n (whispers)\n Daddy, who broke our rocking horse?\n\n BERTIE\n (whispers)\n A giant.", "LIONEL\n So did I.\n\n BERTIE\n A man of stature?\n\n LIONEL\n A clerk.", "Seeing his brother crying, Bertie is deeply moved, puts a\n comforting hand on his shoulder. David pulls away as though\n touched by a leper and covers the receiver in his hand.", "LIONEL\n You may leave.\n\n VALENTINE\n Haven't finished yet, Dad.\n (realizes)\n Oh! Right!", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "LIONEL\n Not Albert?\n\n BERTIE\n Given the current situation...too Germanic.", "Lionel lumbers out of the closet, a pillow stuffed into his\n jacket to create a monstrous hunchback. His acting, performed\n just for his children, is quite magical.", "BERTIE\n They all did. \"Buh-buh-buh-Bertie\". Father\n encouraged it. \"Spit it out, boy!\" Thought\n it would make me stop. Is this necessary?!", "BERTIE\n Somebody has to live in them.\n\n LIONEL\n Somebody does.\n\n Ushers Bertie into his study.", "DAVID\n She'll recover.\n\n Bertie shoots him a look.\n\n BERTIE\n Father won't." ], [ "LIONEL\n I prefer Lionel. My family calls me far\n worse. What shall I call you?\n\n BERTIE\n The Duke of York is appropriate.", "LIONEL\n Oh please.\n\n BERTIE\n Your Royal Highness then.\n\n LIONEL\n Much more informal.", "as he was born the son of a Duke. Which\n makes him a Lord at the very least.", "BERTIE\n (flushes)\n Only my family uses that.\n\n LIONEL\n That's what I'll call you then. We must be\n true equals.", "She's sleeping in your mother's bedroom.\n And I know perfectly well she calls me `the\n Dowdy Duchess\", and \"Cookie\".", "PAN DOWN to the handsome features of Albert, Duke of York, known\n to his family as BERTIE. He's in his late thirties, the second", "LIONEL\n Call me Lionel.\n\n BERTIE\n I prefer Doctor.", "BERTIE\n I know how I sound!\n\n LIONEL\n Would I lie to a prince of the realm to win\n twelve-pence?", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "BERTIE\n (barely controlled)\n \"Just call me Lionel\"! Never did you call", "BERTIE\n George.\n\n LIONEL\n Like your father?\n\n BERTIE\n Like my father.", "MYRTLE\n Lionel...without warning, I arrive home to\n find the Queen in my parlour.\n\n LIONEL\n A Duchess, she hasn't been crowned yet.", "LIONEL\n Me? You.\n\n BERTIE\n Why me?!\n\n LIONEL\n You're the Royal.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "COSMO LANG\n (realizing)\n Oh I say...\n\n BERTIE\n The Duke of Windsor it is. Gentlemen.\n\nHe exits abruptly.", "LIONEL\n Oh! Hello, Lady Elizabeth! Oh! Hello,\n Myrtle darling! What a pleasant surprise.\n\nMyrtle stares at him and takes her revenge.", "Your brother held conversations with the\n Duke of Saxe-Coburg, your cousin, a ranking\n member of the Nazi party. I have the", "BERTIE\n Well enough to deceive me.\n\n LIONEL\n Lock me in the Tower.\n\n BERTIE\n I would if I could!", "ham. I'm informed your husband calls my\n husband Bertie and my husband calls your\n husband Lionel. I trust, however, you won't\n attempt to call me Liz.", "LIONEL\n Shan't call you anything else.\n\n BERTIE\n Then we shan't speak!" ], [ "LIONEL (CONT'D)\n \"How poor are they that have not patience!\n What wound did ever heal but by degrees?\"\n\n ELIZABETH\n Pardon?", "ELIZABETH (CONT'D)\n You're very sure of yourself.\n\n LIONEL\n I'm sure of anyone who wants to be cured.", "LIONEL\n Only if you're interested in being cured.\n\nMore silence.\n\n LIONEL (CONT'D)\n Cuppa tea?", "LIONEL\n I'm finished with your husband.\n\n BERTIE\n I'm finished with Doctor Logue!\n\n LIONEL\n Lionel.", "LIONEL\n (quietly)\n Well then...you're cured.\n\n BERTIE\n Stop trying to squirm off the hook.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "LIONEL (FROM INSIDE THE CLOSET)\n \"Art thou afeard?\"\n\n THE BOYS\n Caliban!", "LIONEL (CONT'D)\n \"Now is the winter of our discontent\n Made glorious summer by this sun of\n York...\"", "Clearly this is a much loved ritual. Lionel disappears into a\n closet.\n\n IAN\n Bet its the Scottish Play.\n\n VALENTINE\n Othello!", "ANNA\n (whispers, terrified)\n I know.\n (then to Elizabeth)\n Dr Logue says...\n\n LIONEL (O.S.)\n Lionel!", "Willie nods again. Then, haltingly:\n\n WILLIE\n I heard the King.\n\n LIONEL\n Did you?", "LIONEL\n \"Be not afeard; the isle is full of noises,\n Sounds and sweet airs, that give delight,", "LIONEL\n I remember going to the theatre with her.\n Not real theatre...traveling players.\n\n BERTIE\n I've been to Australia.", "LIONEL (CONT'D)\n \"Sometimes a thousand twanging instruments\n Will hum about mine ears; and sometimes\n voices...\"", "LIONEL\n Well, have your `hubby' pop by and give his\n personal history. I'll make a frank\n appraisal.\n\n ELIZABETH\n Doctor...", "LIONEL (CONT'D)\n (to Elizabeth)\n Good of you to come.\n\n ELIZABETH\n Harley Street is far too public. What is my\n function here?", "LIONEL\n That's not a promising start.\n\n ELIZABETH\n My husband's seen everyone. They were all\n useless. He's given up hope.", "LIONEL\n Hardly robust.\n\n BERTIE\n Shit then. Shit, shit, shit!", "LIONEL\n Father wanted me to be a doctor, but I\n couldn't cut flesh. So I worked in the\n mines, recited in pubs...\n\n BERTIE\n An actor?!", "do? He must believe he is King. How can I\n possibly do that? For pity sake, Lionel, I\n beg you: get me through! I'll pay you" ], [ "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "In the presence of his father, Bertie's stuttering returns in\nfull form, his breathing short and shallow, the muscles in\nspasms.", "BBC NEWS READER\n His father taught him. I taught his father.\n\n BERTIE\n (testing the microphone)\n Bugger bugger bugger...bloody bloody\n bloody...", "Bertie and Elizabeth listening to the radio with the two\n princesses royal sitting at their parents' feet. Bertie battles\n his emotions.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "This is being listened to by Myrtle and the boys. The boys look\n at their mum. Suddenly they explode with cheers as the radio\n address continues:", "BERTIE\n Ah well.\n\nCalled upon to perform, the stutter returns slightly. But the\ntwo girls listen raptly, ignoring their father's minor\nimpediment, and it fades.", "Bertie replaces the earphones. Again, the LOUD MUSIC. His lips\nmove as he reads, but all that can be heard is the music.", "Bertie takes the record from the trash and walks to a Victrola\n stand, lifts the arm, places the steel needle, expecting to hear\n his stuttering voice. Instead, what he hears is flawless and\n flowing:", "90 INT. THE PRINCESSES PLAYROOM - NIGHT 90\n\n The two girls listen to their father on the radio.", "continues to falter. Though Bertie\n miraculously survived the Coronation he\n continues to stumble very badly indeed.\n Soon he must broadcast to the world. Hitler", "Bertie takes a deep breath and lets it out slowly. His hands\ngrow steady, his throat muscles relax...all the things he's\npracticed.", "turntable and positions a microphone, then hands Bertie an open\nbook. Bertie glares at it defiantly.", "Lionel lumbers out of the closet, a pillow stuffed into his\n jacket to create a monstrous hunchback. His acting, performed\n just for his children, is quite magical.", "BBC NEWS READER\n (placating)\n If you'll be so kind, to let me show you...\n\n BERTIE\n I already know. My father taught me.", "He exits quickly. Cosmo continues nervously as they walk\nthrough the Abbey, the Archbishop pointing out the preparations\nin progress, particularly a booth for broadcasters.", "The King's study resembles a naval captain's cabin. Both men\n are uniformed for a state occasion. Bertie regards the BBC\n microphone as though it were an alien.", "You'll have to do a lot more of this. I'm\n sending him to the Midlands. With all the\n factory noise they won't hear a word he", "exist)\n His brother, and father, have been\n broadcasting since last year." ], [ "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "BERTIE\n They didn't come to see us, Father.\n\n KING GEORGE V\n Pretend.", "David is seen - very serious.\n\n DIGNITARY (CONT'D)\n ...that the High and Mighty Prince Edward\n Albert Christian George Andrew Patrick\n David is now become our only lawful King.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "KING GEORGE V (CONT'D)\n That's the chap who taught me how to use\n this contraption. You touch your chin with", "PAN DOWN to the handsome features of Albert, Duke of York, known\n to his family as BERTIE. He's in his late thirties, the second", "Elizabeth is playing quietly with her daughters when the door\n opens and Bertie appears, still in full regalia, straight from\n the Accession Council. He holds his arm out, expecting them to", "LIONEL\n Do you really want to be King?\n\n BERTIE\n Knew it! I haven't any choice.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "BERTIE\n Eighteen months.\n\n LIONEL\n But for eighteen months you would've been\n King?!", "BERTIE\n George.\n\n LIONEL\n Like your father?\n\n BERTIE\n Like my father.", "LIONEL\n Bertie, you'll make a bloody good king. And\n you know it.\n\nBertie stares at him.\n\nA familiar voice is heard from the shadows.", "son of King George V, the reigning King of England. He conveys a\n sensitivity which appears in conflict with the manner in which\n he's been bedecked.", "\"George, your undoubted King!\" echoes through the Abby.\n\n DISSOLVE TO:", "BERTIE\n How dare you! I'm the brother of a\n King...the son of a King...back through", "BERTIE\n ...it was a relief. Knowing I wouldn't be\n King.\n\n LIONEL\n Why's that?", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "KING GEORGE V\n When I'm dead that boy will ruin himself,\n this family, and this nation, within twelve", "deafening. The King beckons impatiently for someone still\n inside to join them. It's Bertie, with Elizabeth.", "BERTIE\n My Lords, members of the Accession Council,\n I meet you today in circumstances which are\n without parallel in the history of our\n Country..." ], [ "BERTIE\n Doctor Lionel Logue, my speech therapist.", "LIONEL\n The plaque says, `L. Logue. Speech\n Specialist'. No mention of a medical", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "BERTIE'S VOICE\n Doctor Logue?\n\n\n41 INT. LOGUE'S CONSULTATION ROOM - CONTINUOUS 41", "86 INT. LOGUE'S CONSULTATION ROOM - NEW DAY 86\n\n Bertie and Logue are rehearsing.", "It is a shock to realize this is a man with a profound stutter.\n A man who cannot speak in public.\n\n Lang whispers to Churchill. When Lang whispers, everyone can\n hear.", "73 INT. LOGUE'S CONSULTATION ROOM & WAITING ROOM - NEW DAY 73\n\n Logue is working with Anna. She's reading smoothly and with\n great intensity.", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "and startled by the entrance of - LIONEL LOGUE. He's in his\n forties, tall, with piercing eyes and charismatic features. His", "BERTIE'S VOICE\n Logue...?\n\n Logue, expressionless, doesn't respond.", "Logue tries to protest, Bertie over-rides.", "Logue smiles, perfectly calm, totally confident in the man he's\nworked with. His confidence is contagious.", "DIRECTOR\n (interrupts)\n Thank you! Don't abandon your day job.\n Next!\n\n Logue bows his head.", "ANNA\n (whispers, terrified)\n I know.\n (then to Elizabeth)\n Dr Logue says...\n\n LIONEL (O.S.)\n Lionel!", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table." ], [ "continues to falter. Though Bertie\n miraculously survived the Coronation he\n continues to stumble very badly indeed.\n Soon he must broadcast to the world. Hitler", "KING GEORGE V\n The usual guff. The Archbishop writes it.\n My people love to hear me say it. Spoken\n fluently, of course.", "KING GEORGE V (CONT'D)\n That's the chap who taught me how to use\n this contraption. You touch your chin with", "BERTIE (ON RADIO)\n (stuttering profoundly)\n Be that as it may...my brother David is\n attending to other duties in the furthest\n parts of this vast Empire...", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "It is a shock to realize this is a man with a profound stutter.\n A man who cannot speak in public.\n\n Lang whispers to Churchill. When Lang whispers, everyone can\n hear.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "THE KING'S SPEECH\n\n\n Written by\n\n David Seidler\n\n\n\n OPEN ON:", "BBC NEWS READER\n Good evening, ladies and gentlemen, this is\n the BBC, broadcasting direct from\n Buckingham Palace upon the occasion of the\n Royal Silver Jubilee. His Majesty: King\n George the Fifth.", "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "KING GEORGE V\n (to the mike)\n \"I can only say to you, my very very dear", "On the screen: archive footage of the Coronation, capturing the\n pomp and ceremony. Cigar smoke rises up. The voices of\n Churchill and Lang can be heard.", "The glowing light of an illuminated dial of a radio, listened to\n by Churchill and Baldwin. They wear black armbands.\n\n WINSTON CHURCHILL\n Turn that devil off!", "WINSTON CHURCHILL\n Wallis wrote it for him. I'll burn it. I\n fear your brother is like the child in a", "BBC NEWS READER\n This concludes the BBC broadcast of the\n King's Speech.", "WINSTON CHURCHILL\n Ah, the Kiwis!\n\n BALDWIN\n Being rather remote, they've not even heard\n of Mrs Simpson. Hardly a winning hand.", "WINSTON CHURCHILL (CONT'D)\n To our new King.\n\n COSMO LANG\n Let's sincerely hope.", "BERTIE (V.O. RADIO FILTER)\n In this grave hour, perhaps the most\n fateful in our history, I send to every", "BERTIE\n They didn't come to see us, Father.\n\n KING GEORGE V\n Pretend.", "KING GEORGE V (O.S.)\n Stride boldly up to the bloody thing, stare\n it square in the eye, and talk to it as you\n would to any decent Englishman." ], [ "As they enter Bertie notices:\n\n BERTIE\n What happened to your shoulder?\n\n Lionel hastily removes the pillow, tosses it away.", "BERTIE\n My physicians say it's good for stuttering,\n relaxes the throat.\n\n LIONEL\n They're idiots.", "LIONEL\n (quietly)\n Well then...you're cured.\n\n BERTIE\n Stop trying to squirm off the hook.", "BERTIE\n What?\n\n LIONEL\n Helps relax the body.\n (goes to record player)\n Waltz?", "Silence. They stare at each other.\n\n BERTIE (CONT'D)\n You call this making me comfortable?\n\n LIONEL\n You call this being forthcoming?", "LIONEL\n (pause, then)\n Understood.\n\nBertie takes something from his pocket.", "over I kept being a therapist to earn a\n living. When the lads were old enough, I\n thought, \"Alright Lionel, you've always", "Bertie holds out his hand, demandingly. Somewhat hurt, Lionel\n hands it over.\n\n BERTIE\n I'll return it.", "LIONEL\n I'm finished with your husband.\n\n BERTIE\n I'm finished with Doctor Logue!\n\n LIONEL\n Lionel.", "Lionel lumbers out of the closet, a pillow stuffed into his\n jacket to create a monstrous hunchback. His acting, performed\n just for his children, is quite magical.", "Bertie's silence is confirmation.\n\n LIONEL (CONT'D)\n I ask too many questions?\n\n BERTIE\n Perhaps the wrong sort.", "ANNA\n (whispers, terrified)\n I know.\n (then to Elizabeth)\n Dr Logue says...\n\n LIONEL (O.S.)\n Lionel!", "LIONEL\n I'm tired.\n\n BERTIE\n You can't sit there!\n\n LIONEL\n Why not? It's a chair.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "BERTIE\n You're playing music.\n\n LIONEL\n I'm aware.\n\n BERTIE\n How can I hear what I'm saying?!", "Reaches for the coin.\n\n LIONEL\n Not so fast.\n\n BERTIE\n I proved I can't read.", "LIONEL\n Otherwise the paint will eat through the\n tissue.\n\n BERTIE\n I mean the damn questions!", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "BERTIE\n Well enough to deceive me.\n\n LIONEL\n Lock me in the Tower.\n\n BERTIE\n I would if I could!", "Bertie sees Lionel glance at his watch.\n\n BERTIE\n You've someone waiting?\n\n LIONEL\n I do now." ], [ "KING GEORGE V (CONT'D)\n That's the chap who taught me how to use\n this contraption. You touch your chin with", "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "BERTIE\n The letter`P' is always difficult.\n\n LIONEL\n Get a running start, put the words all\n together. `Perhaps-the-most-fateful...'", "THE KING'S SPEECH\n\n\n Written by\n\n David Seidler\n\n\n\n OPEN ON:", "KING GEORGE V (O.S.)\n Stride boldly up to the bloody thing, stare\n it square in the eye, and talk to it as you\n would to any decent Englishman.", "KING GEORGE V\n (to the mike)\n \"I can only say to you, my very very dear", "BERTIE (V.O.)\n (stuttering very badly)\n \"In this grave hour... \"", "BERTIE (ON RADIO)\n (stuttering profoundly)\n Be that as it may...my brother David is\n attending to other duties in the furthest\n parts of this vast Empire...", "It is a shock to realize this is a man with a profound stutter.\n A man who cannot speak in public.\n\n Lang whispers to Churchill. When Lang whispers, everyone can\n hear.", "KING GEORGE V\n The usual guff. The Archbishop writes it.\n My people love to hear me say it. Spoken\n fluently, of course.", "KING GEORGE V\n When I'm dead that boy will ruin himself,\n this family, and this nation, within twelve", "continues to falter. Though Bertie\n miraculously survived the Coronation he\n continues to stumble very badly indeed.\n Soon he must broadcast to the world. Hitler", "BBC NEWS READER\n This concludes the BBC broadcast of the\n King's Speech.", "For ease of reading, Bertie's stutter is not indicated from this\n point on in the script.\n\n BERTIE\n No doubt you wish the Prince Of Wales was\n standing before you today.", "\"George, your undoubted King!\" echoes through the Abby.\n\n DISSOLVE TO:", "KING GEORGE V\n Just needs more practice.\n\n\n9 EXT. HARLEY STREET - NEW DAY 9", "BBC NEWS READER\n Good evening, ladies and gentlemen, this is\n the BBC, broadcasting direct from\n Buckingham Palace upon the occasion of the\n Royal Silver Jubilee. His Majesty: King\n George the Fifth.", "He waves them out of the room, but beckons Wigram to come close,\n and whispers something in his ear.\n\n WIGRAM\n At the appropriate moment, Your Majesty.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "to their new Monarch they will note an\n occasional momentary hesitation in his\n speech. But to those who hear it, it need\n cause no sort of embarrassment, for it" ], [ "BERTIE\n Doctor Lionel Logue, my speech therapist.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "BERTIE\n Growing confidence? Growing dread!!! You're\n a wicked man, Lionel Logue, trying to get", "LIONEL\n I'm finished with your husband.\n\n BERTIE\n I'm finished with Doctor Logue!\n\n LIONEL\n Lionel.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "LIONEL\n The plaque says, `L. Logue. Speech\n Specialist'. No mention of a medical", "and startled by the entrance of - LIONEL LOGUE. He's in his\n forties, tall, with piercing eyes and charismatic features. His", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "LIONEL\n No smoking. What's the age difference?\n\nWhile Logue isn't looking, Bertie surreptitiously wipes the rim\nof the mug with his handkerchief.", "LIONEL\n Bertie, you'll make a bloody good king. And\n you know it.\n\nBertie stares at him.\n\nA familiar voice is heard from the shadows.", "LIONEL\n What're friends for?\n\n Logue steps aside, letting Bertie in.\n\n BERTIE\n I wouldn't know.", "BERTIE\n Apologies, Mrs. Logue.\n\n LIONEL\n First time I've heard you laugh.", "LIONEL (CONT'D)\n Any idea what you're letting yourself in\n for?\n\n BERTIE\n Apparently a great deal of rudeness, Doctor\n Logue.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table.", "BERTIE\n I'm beginning to ask myself that very same\n question. Your sailing close to the edge,\n don't push me, Doctor Logue.\n\n LIONEL\n Lionel.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "BERTIE\n Don't take liberties! You're a dangerous\n man, Logue. Who sent you?\n\n LIONEL\n Anyone in mind?", "ANNA\n (whispers, terrified)\n I know.\n (then to Elizabeth)\n Dr Logue says...\n\n LIONEL (O.S.)\n Lionel!" ], [ "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table.", "Logue tries to protest, Bertie over-rides.", "Bertie has entered with Logue. Lang spins around.\n\n COSMO LANG\n Your Majesty.", "BERTIE\n The look in mother's eyes, it\n was...ghastly.\n\n He notices something on his desk, the record Logue made.", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "Dancing at arm's length with Logue, Bertie repeats:", "Bertie doesn't answer. Exits. Logue is left holding the plane.\n He goes to the waiting room door.\n\n LIONEL (CONT'D)\n How're you doing, Willie?", "86 INT. LOGUE'S CONSULTATION ROOM - NEW DAY 86\n\n Bertie and Logue are rehearsing.", "BERTIE\n I've no idea what an Australian might do\n for that sort of money.\n\n Logue puts the record in a brown paper dust jacket and hands it\n to Bertie.", "LIONEL\n We haven't much more time together. Give it\n a go.\n\n The doorbell RINGS. Logue is annoyed.", "Finished reading the passage he takes off the earphones and the\nmusic ceases. He reaches for the coin, but Logue snatches it.", "For ease of reading, Bertie's stutter is not indicated from this\n point on in the script.\n\n BERTIE\n No doubt you wish the Prince Of Wales was\n standing before you today.", "BERTIE'S VOICE\n Logue...?\n\n Logue, expressionless, doesn't respond." ], [ "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "86 INT. LOGUE'S CONSULTATION ROOM - NEW DAY 86\n\n Bertie and Logue are rehearsing.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "Logue tries to protest, Bertie over-rides.", "Bertie doesn't answer. Exits. Logue is left holding the plane.\n He goes to the waiting room door.\n\n LIONEL (CONT'D)\n How're you doing, Willie?", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "BERTIE\n Doctor Lionel Logue, my speech therapist.", "LIONEL\n We haven't much more time together. Give it\n a go.\n\n The doorbell RINGS. Logue is annoyed.", "THE KING'S SPEECH\n\n\n Written by\n\n David Seidler\n\n\n\n OPEN ON:", "Bertie has entered with Logue. Lang spins around.\n\n COSMO LANG\n Your Majesty.", "She goes to Bertie and kisses him tenderly on the cheek, takes\nhis hand, then Logue's.\n TKS/Seidler/09/17/08 115.", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "Lang's eyes roll heavenward.\n\nChurchill studies the situation, ready to leap into the breach.\n\nBertie and Logue stare at each other." ], [ "BERTIE\n David, your role is to consult and to be\n advised.\n\n DAVID\n Sounds like you've studied our wretched\n constitution.", "David is seen - very serious.\n\n DIGNITARY (CONT'D)\n ...that the High and Mighty Prince Edward\n Albert Christian George Andrew Patrick\n David is now become our only lawful King.", "The King is so feeble he can barely make his mark. Glares at\n David.", "DAVID\n Are you already in charge?\n\n BERTIE\n I'm trying to warn you.\n\n DAVID\n Am I being threatened?", "DAVID\n He's doing this on purpose.\n\n BERTIE\n Dying?!", "DAVID (CONT'D)\n My brother will read the Coronation Plans.\n\n BERTIE\n (whispers urgently)\n I'm not prepared!", "DAVID\n Replace me? Well...today's your chance.\n\n He thrusts a document into Bertie's hands, then pokes his head\n into the conference room.", "DAVID\n Who the hell invited him?!\n\n QUEEN MARY\n Nobody. Don't swear.", "BERTIE\n David! The upper classes are terrified\n anything which clouds the monarchy makes\n their situation more dangerous. Hunger", "DAVID\n Somebody should bloody well dis-invite him.\n Father swears.\n\n WIGRAM\n That would be rash.", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "A moment of silent confrontation. David backs down. Sort of.\n\n DAVID\n Didn't realize you cared.\n\n BERTIE\n This could end in disaster.", "BERTIE\n We're not ordinary men, David! We were bred\n to be profiles on a coin. If you were\n ordinary, on what basis could you possibly\n claim to be King?!", "Nobody wants to take responsibility. The Queen looks to David.\n He nods. They're interrupted by a BUTLER.\n\n BULTER\n The Archbishop of Canterbury.", "BERTIE\n Don't say such a thing!\n\n DAVID\n Is my young brother trying to push me off\n the throne? Sounds positively medieval.", "DAVID\n I'll form another. There's Winston. He'd\n love to be P.M. We'll create a King's\n Party.", "DAVID\n She'll recover.\n\n Bertie shoots him a look.\n\n BERTIE\n Father won't.", "David turns and bows formally. Elizabeth cursties in return.\n Wallis quickly returns to David, taking him forcefully onto the\n dance floor. The Yorks go in the other direction.", "DAVID (OVER-RIDES)\n I'm the brother who speaks. Or do you wish\n to have a go?\n\n BERTIE\n Good lord no! I hope to...", "DAVID\n What's the point then? Just to look posh?\n You know...your speech is much improved\n tonight. Hardly a hesitation. Yearning for\n a larger audience, are we?" ], [ "BERTIE\n This one's divorced. Twice. Mrs Wallis\n Simpson of Baltimore. I want David to be\n happy, but the family, the Church, the\n nation, won't have it.", "BERTIE\n To fight a general election in which your\n marriage is the only topic?\n\n DAVID\n I'd risk anything and everything for\n Wallis. Don't I have rights?", "LIONEL\n Can't they fornicate privately like adults?\n\n BERTIE\n If only! David used to prefer married women\n because there was no possible attachment.\n But now...", "David turns and bows formally. Elizabeth cursties in return.\n Wallis quickly returns to David, taking him forcefully onto the\n dance floor. The Yorks go in the other direction.", "DAVID\n This will end splendidly. With Wallis as my\n wife.\n\n BERTIE\n Whatever will she call herself?", "BERTIE\n David! The upper classes are terrified\n anything which clouds the monarchy makes\n their situation more dangerous. Hunger", "DAVID\n I'm on with Wallis!\n (as though Bertie didn't\n exist)", "Bertie stands frozen, his mouth agape, jaw muscles locked. He\n knows he's considered by all, especially himself, unfit for\n public life.\n\n Elizabeth is devastated.", "LIONEL\n \"Queen Wallis of Baltimore\"?\n\n BERTIE\n Please.\n\n LIONEL\n Does sound a bit iffy.", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "The archive footage continues, but it is not of the Coronation.\n David and Wallis visiting the Fuhrer in Germany: Hitler", "DAVID\n Wally wants more champagne. I have to fetch\n it. She prefers that.\n\n BERTIE\n Been trying to see you...", "DAVID\n He's much maligned. By the Jews, according\n to Wallis. And she's very clever about\n politics.", "DAVID\n Some sod tipped him off Wallis is getting a\n quickie divorce and we're going to make our", "The King is so feeble he can barely make his mark. Glares at\n David.", "ELIZABETH\n I think I meant... is David serious?\n\n BERTIE\n About our coming?\n\n ELIZABETH\n About her!", "BERTIE\n Privileges.\n\n DAVID\n Not the same thing.\n\n BERTIE\n No.", "BERTIE\n He can bugger things up! And I am not the\n King. Mrs. Simpson is seeking a divorce.", "DAVID\n Are you already in charge?\n\n BERTIE\n I'm trying to warn you.\n\n DAVID\n Am I being threatened?", "He offers his hand. But instead of taking it, Bertie takes him\nby the shoulders and gives him a hug. This is a long way from\nthe five pace rule. The last barrier has fallen.\n\nScroll:" ], [ "David is seen - very serious.\n\n DIGNITARY (CONT'D)\n ...that the High and Mighty Prince Edward\n Albert Christian George Andrew Patrick\n David is now become our only lawful King.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "BERTIE\n Eighteen months.\n\n LIONEL\n But for eighteen months you would've been\n King?!", "LIONEL\n Do you really want to be King?\n\n BERTIE\n Knew it! I haven't any choice.", "Elizabeth is playing quietly with her daughters when the door\n opens and Bertie appears, still in full regalia, straight from\n the Accession Council. He holds his arm out, expecting them to", "PAN DOWN to the handsome features of Albert, Duke of York, known\n to his family as BERTIE. He's in his late thirties, the second", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "LIONEL\n I always called you Bertie. Today, I call\n you King.", "BERTIE\n Then I'm the solemnest king who ever lived.\n Lionel, I can't do this!", "LIONEL\n Bertie, you'll make a bloody good king. And\n you know it.\n\nBertie stares at him.\n\nA familiar voice is heard from the shadows.", "Everyone watches silently as the King's breathing slows, the\n twitching jugular subsides, then all movement ceases.\n\n Dawson takes the pulse, and consults his watch.", "do? He must believe he is King. How can I\n possibly do that? For pity sake, Lionel, I\n beg you: get me through! I'll pay you", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "\"George, your undoubted King!\" echoes through the Abby.\n\n DISSOLVE TO:", "LIONEL\n Me too.\n\n MYRTLE\n Is that why, every day, you've spent hours\n with a man who's about to be King?", "BERTIE\n Divine right, if you must! I'm your King!!!", "The King goes back to waving. Elizabeth is stunned at the\n prospect.\n\n The ROAR of the crowd segues into the ROAR of machinery.", "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "Bertie waits at a table with a group of immaculately attired\n courtiers and dignitaries. This is the Coronation Committee.\n The chair at the head of the table is empty, everyone waiting\n for its occupant.", "BERTIE\n How dare you! I'm the brother of a\n King...the son of a King...back through" ], [ "BERTIE\n Doctor Lionel Logue, my speech therapist.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "86 INT. LOGUE'S CONSULTATION ROOM - NEW DAY 86\n\n Bertie and Logue are rehearsing.", "LIONEL\n The plaque says, `L. Logue. Speech\n Specialist'. No mention of a medical", "BERTIE'S VOICE\n Doctor Logue?\n\n\n41 INT. LOGUE'S CONSULTATION ROOM - CONTINUOUS 41", "73 INT. LOGUE'S CONSULTATION ROOM & WAITING ROOM - NEW DAY 73\n\n Logue is working with Anna. She's reading smoothly and with\n great intensity.", "Logue tries to protest, Bertie over-rides.", "Logue smiles, perfectly calm, totally confident in the man he's\nworked with. His confidence is contagious.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "BERTIE'S VOICE\n Logue...?\n\n Logue, expressionless, doesn't respond.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "and startled by the entrance of - LIONEL LOGUE. He's in his\n forties, tall, with piercing eyes and charismatic features. His", "It is a shock to realize this is a man with a profound stutter.\n A man who cannot speak in public.\n\n Lang whispers to Churchill. When Lang whispers, everyone can\n hear.", "BERTIE\n Apologies, Mrs. Logue.\n\n LIONEL\n First time I've heard you laugh.", "Logue comes to the door of the Waiting Room, in effect blocking\nBertie's way in.\n\n LIONEL\n Johnson, isn't it? Have you an appointment?" ], [ "Lionel sits down on the chair of Edward the Confessor. Leaning\nagainst it is the great two-handed sword of St. George.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "BERTIE\n Royals don't carry money.\n\n LIONEL\n How convenient.\n\nLogue fishes a coin from his pocket and puts it on the table.", "DIRECTOR\n (interrupts)\n Thank you! Don't abandon your day job.\n Next!\n\n Logue bows his head.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "LIONEL\n You believe such ballocks I don't care how\n many royal backsides have sat on it, it's a", "Bertie doesn't answer. Exits. Logue is left holding the plane.\n He goes to the waiting room door.\n\n LIONEL (CONT'D)\n How're you doing, Willie?", "BERTIE\n It's the Chair of Edward The Confessor! The\n throne upon which every King for six and a\n half centuries has been crowned.", "Bertie reluctantly puts on the earphones. Logue turns a dial.\nLOUD MUSIC is heard. Bertie takes off the earphones. The music\nstops.", "Finished reading the passage he takes off the earphones and the\nmusic ceases. He reaches for the coin, but Logue snatches it.", "Logue tries to protest, Bertie over-rides.", "86 INT. LOGUE'S CONSULTATION ROOM - NEW DAY 86\n\n Bertie and Logue are rehearsing.", "Lang's eyes roll heavenward.\n\nChurchill studies the situation, ready to leap into the breach.\n\nBertie and Logue stare at each other.", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "Logue ushers Elizabeth into the study, giving Myrtle a nervous\nlittle wave. She glares and exits.\n\nIN THE STUDY:" ], [ "Willie nods again. Then, haltingly:\n\n WILLIE\n I heard the King.\n\n LIONEL\n Did you?", "Logue totally ignores the outburst.\n\n LIONEL\n Take it from the top. \"In this grave\n hour...\"", "BERTIE\n Being a monarchist, I recognize these are\n your digs. Therefore: here you rule.\n Therefore: you go in.\n\nUrged by Bertie, Logue opens the door.", "WINSTON CHURCHILL\n My tenure will be shorter, if the King\n fails tonight.\n\nBertie and Logue speak privately.", "Logue has arrived and comes out of the shadows.\n\n LIONEL\n A King based upon deception?\n\nCosmo takes Bertie aside.", "Bertie rings Logue's bell. A brief pause. Bertie glances\n nervously, hoping not to be recognized. Lionel opens the door.", "WILLIE'S MUM\n (speaking for her son)\n Still can't say a sentence.\n\n LIONEL\n Willie?", "Bertie has entered with Elizabeth and Logue. The Reader wishes\nhe could sink into the floor. Bertie says nothing, but\napproaches the looming microphone, while Logue and Elizabeth\nwatch nervously.", "It is a shock to realize this is a man with a profound stutter.\n A man who cannot speak in public.\n\n Lang whispers to Churchill. When Lang whispers, everyone can\n hear.", "Bertie has to pick his way through discarded toys and sporting\n equipment, explaining to Logue:\n\n BERTIE\n I was totally unable to speak.", "The King, growing impatient, hisses:\n\n KING GEORGE V\n Get on with it. Show what you're made of!", "Bertie doesn't answer. Exits. Logue is left holding the plane.\n He goes to the waiting room door.\n\n LIONEL (CONT'D)\n How're you doing, Willie?", "LIONEL\n We haven't much more time together. Give it\n a go.\n\n The doorbell RINGS. Logue is annoyed.", "DIRECTOR\n (interrupts)\n Thank you! Don't abandon your day job.\n Next!\n\n Logue bows his head.", "BERTIE\n The letter`P' is always difficult.\n\n LIONEL\n Get a running start, put the words all\n together. `Perhaps-the-most-fateful...'", "During this, Logue has uncovered a piece of apparatus, a\nrecording device with earphones. He sets a blank disc onto the", "BERTIE\n Those are my hardest sounds.\n\n Lionel gives him a look.\n\n BERTIE (CONT'D)\n Oh.", "KING GEORGE V (CONT'D)\n That's the chap who taught me how to use\n this contraption. You touch your chin with", "Logue goes to the door and starts to open it. He shuts it\nquickly.\n\n LIONEL (CONT'D)\n I wasn't expecting Myrtle for several\n hours!", "Logue comes to the door of the Waiting Room, in effect blocking\nBertie's way in.\n\n LIONEL\n Johnson, isn't it? Have you an appointment?" ], [ "PAN DOWN to the handsome features of Albert, Duke of York, known\n to his family as BERTIE. He's in his late thirties, the second", "Elizabeth is playing quietly with her daughters when the door\n opens and Bertie appears, still in full regalia, straight from\n the Accession Council. He holds his arm out, expecting them to", "BERTIE\n \"Mausoleum Day\". Prince Albert departed on\n that date. I was named Bertie to placate", "For ease of reading, Bertie's stutter is not indicated from this\n point on in the script.\n\n BERTIE\n No doubt you wish the Prince Of Wales was\n standing before you today.", "David is seen - very serious.\n\n DIGNITARY (CONT'D)\n ...that the High and Mighty Prince Edward\n Albert Christian George Andrew Patrick\n David is now become our only lawful King.", "LIONEL\n Oh please.\n\n BERTIE\n Your Royal Highness then.\n\n LIONEL\n Much more informal.", "He finally arrives. David. He gestures for Bertie to come into\n the corridor, but deliberately leaves the door open so the", "Bertie stands frozen, his mouth agape, jaw muscles locked. He\n knows he's considered by all, especially himself, unfit for\n public life.\n\n Elizabeth is devastated.", "BERTIE\n Prince Albert? Or Frederick? Arthur?\n George? I've lots of names to choose from.", "BERTIE\n My Lords, members of the Accession Council,\n I meet you today in circumstances which are\n without parallel in the history of our\n Country...", "Bertie waits at a table with a group of immaculately attired\n courtiers and dignitaries. This is the Coronation Committee.\n The chair at the head of the table is empty, everyone waiting\n for its occupant.", "LIONEL\n So did I.\n\n BERTIE\n A man of stature?\n\n LIONEL\n A clerk.", "LIONEL\n Do you believe you're King?\n\nA very long pause.\n\n BERTIE\n Almost.", "LIONEL\n Not Albert?\n\n BERTIE\n Given the current situation...too Germanic.", "LIONEL\n I prefer Lionel. My family calls me far\n worse. What shall I call you?\n\n BERTIE\n The Duke of York is appropriate.", "BERTIE\n Upon occasion.\n\n LIONEL\n Princess Elizabeth?", "BERTIE\n That would be a tragedy. I pray to The\n Almighty they succeed. I'll do anything\n within my power to keep my brother on the\n throne.", "LIONEL\n Now exhale slowly...down goes Princess\n Elizabeth...inhale slowly...nothing rushed,\n expanding your chest fully, extending the", "ELIZABETH (CONT'D)\n Well done, Bertie. Well done...\n (for the first time)\n ...Lionel. Well done.\n\nShe leaves the two men together.", "Bertie and Elizabeth listening to the radio with the two\n princesses royal sitting at their parents' feet. Bertie battles\n his emotions." ] ]

[ "When did Britain declare war on Germany?", "What is Lionel an expert in?", "Why is Logue dismissed?", "Who convinces Prince Albert to see Lionel?", "What does George learn about Logue during the coronation?", "What nationality is Wallis Simpson?", "Why does Edward abdicate the throne?", "How does Logue address Prince Albert?", "Who succeeds Edward?", "Besides physical therapy for the stuttering, what else is Lionel interested in discovering?", "Who is Albert's father?", "What is the Duke's familiar nickname?", "What Shakespeare play does Lionel reference during treatment?", "What does Albert's father insist he use to practice broadcasting?", "How does Albert come to be King George VI?", "What was Logue's training in speech therapy?", "Who helped King George VI prepare for his radio broadcast after declaring war on Nazi Germany?", "What does Lionel use to distract Albert while he attempts a soliloquy in therapy? ", "What letter does King George VI still jokingly struggle with during a speech at the end of the story?", "Who is Lionel Logue?", "How does Logue distract Prince Albert while he's reciting Hamlet's piece?", "What do the King and Queen insist Logue focuses on while coaching Albert?", "Why does David cause constitutional crisis?", "Why is Edward unable to marry David and Wallis?", "How does Albert become King?", "How did Logue get experience in speech therapy before training Albert (now George)?", "What does Logue dismiss while sitting in King Edward's chair?", "After Logue reminds the King that he still struggles with the letter \"w,\" what does the King say?", "What was Prince Albert's title at the beginning of the story?" ]

[ [ "1939.", "1939." ], [ "Speech therapy.", "Speech therapy" ], [ "He suggested Albert to be a good king.", "He suggest Albert would make a good king." ], [ "Elizabeth.", "his wife" ], [ "Logue has no qualifications.", "George learns that Logue has no formal qualifications" ], [ "American.", "American" ], [ "To marry Wallis.", "to marry Simpson" ], [ "By the name Bertie.", "As Bertie." ], [ "Albert.", "Albert as King George VI." ], [ "The psychological cause of the stuttering", "Why Albert stutters." ], [ "King George V", "King George V." ], [ "Bertie", "Bertie" ], [ "Hamlet", "Hamlet" ], [ "One of his father's old speeches", "His father's speech." ], [ "His older brother David abdicates the throne.", "King Edward abdicates." ], [ "Helping Australian soldiers in distress after World War I.", "He has no formal training." ], [ "Lionel Logue", "Logue" ], [ "Music", "distracts him by playing music through headphones" ], [ "The letter W", "W" ], [ "An Australian Speech therapist", "He is an Australian speech therapist." ], [ "by playing music through headphones", "With music through headphones." ], [ "Physical exercises", "physical exercises" ], [ "Because he wants to marry Wallis, an American socialite, divorced but still married to her second husband", "He wants to marry a divorcee." ], [ "Because both of Wallis's second husbands are alive.", "She is divorced and both husbands are still alive" ], [ "David abdicates in order to marry Wallis", "His brother Edward abdicates the throne." ], [ "My teaching shell-shocked Australian soldiers returning from The Great War", "helping shell-shocked soldiers" ], [ "The Stone of Scone", "Logue says Albert could be a good king which labels that as treason" ], [ "\"I had to throw a few in there so they'd know it was me.\"", "He had to throw in a few so they would know who he was." ], [ "\"Duke of York\"", "Duke of York." ] ]

d1960641caba4c85c372a2177e6727ad948c7005

train

[ [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "ZOE (CONT'D)\n I guess I'd given up on meeting\n someone like you, and I did what I\n thought was best.\n\nStan still doesn't say anything.", "ZOE\n (blurting out)\n There's this guy. His name is\n Stan. And he's fantastic.\n\n CAROL\n I knew it!", "STAN (CONT'D)\n Are you coming on to me? It's kind\n of hard to tell right now.\n\n ZOE\n Yeah. I'm coming on to you.", "Zoe smiles at the memory. Stan continues.", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "ZOE\n How do you know?\n\n STAN\n Well, for starters, you wax.", "ZOE\n Late. Yes. We are. We really\n are.\n (pushing Stan along)\n I'll see you at the meeting. Bye.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "STAN\n Hi.\n\n ZOE\n Aahhh!", "STAN\n That was amazing. I mean, like,\n totally and exceptionally, over-the-\n top, amazing.\n\nZoe turns to him. Takes a deep breath.", "ZOE (CONT'D)\n That was way better.\n\n STAN\n When can I see you again?\n\nZoe feels her heart jump. She kisses him again.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n How'd you know I worked here?\n\n STAN\n I followed you after the subway.\n (thinks, then)\n That sounds a little stalkery, huh?", "STAN\n You're kind of hard to read right\n now. You're either seriously\n flattered or totally repulsed.\n\nZoe smiles.", "Olivia approaches.\n 31.\n\n\n OLIVIA\n Hey, stranger.\n\n STAN\n Oh, hey, Olivia. You remember Zoe." ], [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "ZOE\n There's something I need to tell\n you.\n\n STAN\n Okay.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "INT. STAN'S BEDROM - MOMENTS LATER\n\nZoe lies in the small bed with the covers pulled up to her\nchin. Stan stands above her with an odd look on his face.", "Stan finishes. He looks at her and smiles. Zoe just stares\nat him.\n\n STAN (CONT'D)\n In my mind, you were supposed to\n say, I love you, too.", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "EXT. DAIRY - MOMENTS LATER\n\nThe door to the dairy kicks open and Stan carries Zoe out.\nHer legs are around his waist and they are making out like\ncrazy.", "Zoe takes off again. Olivia watches her go.\n\n\nEXT. FARMER'S MARKET - LATER\n\nZoe runs through the market looking for Stan.", "Stan just looks at her. Speechless.\n\n ZOE (CONT'D)\n I didn't know you. I would have\n never done it if--", "ZOE\n I drive them all away, I guess.\n\n STAN\n Yeah, right.\n\nStan takes her in his arms.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "They look at each other. Zoe smiles. Stan shrugs. Zoe\nnods. Stan does, too.\n\n ZOE\n Yes. Tell us.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "ZOE\n Get away from me.\n\nStan runs in front of her, forcing her to stop.\n\n STAN\n Nothing happened!", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "ZOE (CONT'D)\n I guess I'd given up on meeting\n someone like you, and I did what I\n thought was best.\n\nStan still doesn't say anything." ], [ "EXT. LITTLE GOAT FARM - DAY\n\nStan leans against the fence looking at the goats. He has\nthe beginnings of a beard growing. The scruff makes him look\nolder. Thinner.", "STAN\n I'm so sorry.\n\nThere is a long silence. They both stare at the hot dogs.", "INT. LORI'S FOYER - SAME\n\nOut in the foyer, Stan is paralyzed. Next to him is Dakota,\nwho is crying.", "She gives him a sympathetic hug and walks away.\n\n\nINT. STAN'S BEDROM - NIGHT", "Stan looks at her. Is she joking? Her look says no. He\ntakes a beat. And then, even though it's not a joke, he\nstarts to laugh. A little laugh at first and then a big one.", "Zoe walks off leaving him to ponder.\n 33.\n\n\n STAN\n What's a corn pad?\n\n\nINT. BATHROOM - NIGHT", "Stan lies in bed looking up at the \"stars.\" There's even\nless glow now than last time. He sighs and then turns over\nto try and sleep.", "Stan, walks backwards with his head down, holding a mirror.\n\n STAN\n Excuse me. Hello. I'm Stan.\n Excuse me. Hi. I'm Stan.", "STAN\n Two girls!\n\nA WOMAN with a BABY in a Baby Bjorn passes by. Stan smiles.\nNow he's part of this exclusive club.", "STAN\n Sorry? What's sorry going to do?\n\nStan walks out. Zoe stands there. And stands there. And\nthen she starts to cry.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "STAN\n And the part where you dumped me.\n (to the babies)\n Girls...Mommy and Daddy were\n stupid.\n\nThe babies smile and coo.", "Stan lifts his hand to wave but doesn't even turn around.\nClearly, he feels like an idiot. Zoe watches him go.\n\n\nEXT. WEST VILLAGE BROWNSTONE - MORNING", "Stan smiles meekly and then turns to go.\n\n ZOE\n Bye.", "STAN (CONT'D)\n Look, I know this is all going\n fast...the time we're spending\n together, meeting my parents and", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "Her P.O.V. Stan appears next to her in the reflection. For\na brief second, they look like a family.\n\nZoe turns. They both stop. Unsure of whether to hug or\nwhat. They just stand there.", "STAN\n You do the same.\n\nThey nod and separate.\n\n\nINT. HUDSON PETS - DAY", "STAN\n There's something I have to tell\n you, too.\n\nNow Stan turns to her. They are face-to-face.", "STAN (CONT'D)\n I don't understand.\n\n ZOE\n I know. It's hard to explain." ], [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "Stan just looks at her. Speechless.\n\n ZOE (CONT'D)\n I didn't know you. I would have\n never done it if--", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "Stan finishes. He looks at her and smiles. Zoe just stares\nat him.\n\n STAN (CONT'D)\n In my mind, you were supposed to\n say, I love you, too.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "STAN\n Sorry? What's sorry going to do?\n\nStan walks out. Zoe stands there. And stands there. And\nthen she starts to cry.", "ZOE (CONT'D)\n I guess I'd given up on meeting\n someone like you, and I did what I\n thought was best.\n\nStan still doesn't say anything.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "ZOE\n Get away from me.\n\nStan runs in front of her, forcing her to stop.\n\n STAN\n Nothing happened!", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "STAN\n It was nothing.\n\n ZOE\n What was nothing?\n\nOlivia turns back to Stan, flabbergasted.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "INT. STAN'S BEDROM - MOMENTS LATER\n\nZoe lies in the small bed with the covers pulled up to her\nchin. Stan stands above her with an odd look on his face.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "Zoe doesn't say anything.\n\n STAN (CONT'D)\n I'm sorry. If you don't want to\n talk about it..." ], [ "Zoe takes off again. Olivia watches her go.\n\n\nEXT. FARMER'S MARKET - LATER\n\nZoe runs through the market looking for Stan.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "EXT. DAIRY - MOMENTS LATER\n\nThe door to the dairy kicks open and Stan carries Zoe out.\nHer legs are around his waist and they are making out like\ncrazy.", "Zoe walks on. She sees her reflection in a store window and\nsmiles. She looks like an actual pregnant person now. As\nshe is walking and smiling to herself, we hear a familiar\nvoice.\n\n STAN\n Hi.", "A group of SCHOOL KIDS, lost in their own conversations, push\nup the block, separating Zoe and Stan for a moment. This\nseparation makes the moment all the more tense.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "They walk on. Stan looks at Zoe.\n\n STAN\n An old...boyfriend?", "Zoe smiles at the memory. Stan continues.", "We TILT up and see Zoe and Stan strolling arm in arm, each\nwith a Baby Bjorn with a rosy-cheeked baby girl in it. Both\ngirls have flaming red hair.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "The fruits and vegetables and flowers become a blur as Zoe\nruns out of the Farmer's Market. Stan chases after her.\n\n STAN\n Nothing happened.", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "ZOE\n Get away from me.\n\nStan runs in front of her, forcing her to stop.\n\n STAN\n Nothing happened!", "But Zoe and Stan just walk slowly hand-in-hand. Every so\noften looking at each other and just smiling or laughing.\nThen, suddenly, Stan picks her up in the middle of the\nstreet.", "Zoe watches Stan. She mindlessly starts eating some\nblueberries out of the display pint. Olivia sees that Zoe is\nlooking at Stan.\n\n OLIVIA\n Tasty, huh?", "Stan smiles meekly and then turns to go.\n\n ZOE\n Bye.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "ZOE\n (blurting out)\n There's this guy. His name is\n Stan. And he's fantastic.\n\n CAROL\n I knew it!", "Stan lifts his hand to wave but doesn't even turn around.\nClearly, he feels like an idiot. Zoe watches him go.\n\n\nEXT. WEST VILLAGE BROWNSTONE - MORNING" ], [ "CAROL\n Oh, it's a water birth. Didn't Zoe\n tell you?\n\nCarol starts banging the drum again and moves off.", "A few other old people look down and check themselves. At\nwhich point, Zoe looks down and realizes.\n\n ZOE\n I think my water just broke.", "INT. LABOR AND DELIVERY ROOM - DAY\n\nZoe is now alone in a room wearing a hospital gown.", "Zoe and Stan turn just in time to see the baby emerge and\nplop into the water.\n\nCU of the baby in the dirty water still attached to the\numbilical cord.", "Zoe enters the apartment and slams the door behind her. She\nruns to the couch and collapses in tears. Nuts wheels over\nand stands beside her.\n\n\nINT. LE PAIN QUOTIDIEN - DAY", "And suddenly, she has to slow down and then stop completely\nfor a contraction. She leans against a parked van to steady\nherself.\n\n ZOE\n Ow. Son of a bitch, that hurts.", "Nuts licks her face. She gets out of bed and goes to check\nher belly in the mirror. It's actually getting kind of huge.\n\n\nEXT. ZOE'S BROWNSTONE - DAY", "Zoe sees a gas station and jams on the breaks.\n\n\nINT. GAS STATION MINI MART - DAY", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "Zoe goes to the mirror and does her usual. The bump is\ngrowing. For the first time, we see a smile.\n\n\nINT. CAROL'S APARTMENT - DAY", "She runs to a nearby cab and slams the door.\n\n\nINT. ZOE'S APARTMENT - DAY", "ZOE\n Oh. Okay.\n\nZoe separates her legs an inch. And then closes them.", "Zoe runs down the street with a blanket over her hospital\ngown.\n\n ZOE\n Taxi!\n\n\nINT. TAXI - MOMENTS LATER", "Zoe looks around.\n\n ZOE\n I have no idea.\n\n\nEXT. LITTLE GOAT FARM - DAY", "CAROL\n (whispering)\n She's having a contraction.\n\nZoe nods. This is weird. Lori breathes through it.", "Zoe walks through the waiting room with her legs still\npressed together. She sees two PREGNANT WOMAN, touches her\nown stomach and smiles. She finally feels part of this\nexclusive baby club.", "ZOE (CONT'D)\n Do you know anything about being\n pregnant?\n 42.\n\n\nEXT. CAR - LATER", "Zoe exits the bathroom with a wide-eyed, terrified look on\nher face. By the bar, she sees a PREGNANT WOMAN sipping a\nglass of wine. She rushes over.", "ZOE\n What???\n\n BOBBY\n Everything's under control. Good\n thing we're at the hospital, right?\n\nZoe jumps out of bed.", "INT. BATHROOM - NIGHT\n\nZoe's head is in the toilet. Just when we think she's done,\nshe pukes again. Finally, she lifts her head." ], [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "STAN\n That was amazing. I mean, like,\n totally and exceptionally, over-the-\n top, amazing.\n\nZoe turns to him. Takes a deep breath.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "INT. STAN'S BEDROM - MOMENTS LATER\n\nZoe lies in the small bed with the covers pulled up to her\nchin. Stan stands above her with an odd look on his face.", "STAN (CONT'D)\n Are you coming on to me? It's kind\n of hard to tell right now.\n\n ZOE\n Yeah. I'm coming on to you.", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "Stan just looks at her. Speechless.\n\n ZOE (CONT'D)\n I didn't know you. I would have\n never done it if--", "Stan, dressed in a tux, sits on Zoe's bed. He turns to the\ncloset.\n\n STAN\n Everything okay in there?", "Stan finishes. He looks at her and smiles. Zoe just stares\nat him.\n\n STAN (CONT'D)\n In my mind, you were supposed to\n say, I love you, too.", "STAN\n Well, let me go, because this is\n really embarrassing, and I just\n have to say it.\n\n ZOE\n Okay.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "Stan goes to the closet. Zoe is pulling on a long black\ndress. She tries to smush her boobs down into the top.\n\n STAN (CONT'D)\n That's perfect. You look hot.", "EXT. DAIRY - MOMENTS LATER\n\nThe door to the dairy kicks open and Stan carries Zoe out.\nHer legs are around his waist and they are making out like\ncrazy.", "STAN\n You're kind of hard to read right\n now. You're either seriously\n flattered or totally repulsed.\n\nZoe smiles.", "They look at each other for a long time. Finally, Zoe closes\nher eyes and settles in for sleep, with Stan watching her as\nshe dozes off.\n\n\nINT. EXAM - ROOM", "She pulls her hand away. This has all gotten suddenly real.\nShe looks at Stan, almost afraid to ask the next question.\n\n ZOE (CONT'D)\n Do you?", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "STAN (CONT'D)\n And some of the guys from the band\n will be there. So, we might get a\n little jam going. Sounds fun,\n right?\n (then)\n Zoe?" ], [ "ZOE\n (freaking out)\n It has two hearts?\n\n DR. HARRIS\n No...but you have two babies.", "ZOE\n And how old is she now?\n\nDakota looks up from the breast.\n\n DAKOTA\n I'm three.", "ZOE\n It's not just one baby....I'm\n having twins.", "ZOE\n What about them?\n\n STAN\n Well, do you want them?\n\n ZOE\n Yeah. I want kids.", "ZOE\n What? Wait a minute, what?\n 60.\n\n\n DR. HARRIS\n Well...I see another heartbeat.", "ZOE\n I'm pregnant.\n\n NANA\n (can't hear her)\n What?\n\n ZOE\n I'm pregnant.", "ZOE\n Because I wanted to have a family.\n Because Nana is the only one I've", "INT. ZOE'S BEDROOM - NIGHT\n\nZoe and Stan lie in bed, each reading a copy of \"What to\nExpect when You're Expecting.\"", "ZOE\n Yes. I'm pregnant. I'm pregnant!\n 56.", "ZOE (CONT'D)\n Do you know anything about being\n pregnant?\n 42.\n\n\nEXT. CAR - LATER", "STAN\n Well, they're not mine...but, yeah,\n we're having a baby. Two actually.\n\nOn Zoe's look of shock we...", "ZOE\n Hi.\n\n WOMAN\n Hi.\n\n TWIN TODDLERS\n Hi./Hi.", "Zoe walks through the waiting room with her legs still\npressed together. She sees two PREGNANT WOMAN, touches her\nown stomach and smiles. She finally feels part of this\nexclusive baby club.", "ZOE\n I just found out.\n\n STAN\n Pregnant? As in you're going to\n have a baby?\n\nZoe nods.", "ZOE\n I'm pregnant.\n\n BOBBY (O.S.)\n What?! Where are you? I'm on my\n way.", "ZOE (CONT'D)\n I want to have a baby. And time is\n running out. I hear a clock\n ticking every time I close my eyes.\n I need it to stop.", "ZOE\n Well, are they going to come out\n and tell me? And that's not even\n the point. He said, the babies", "ZOE (CONT'D)\n Hi, Baby.\n (then)\n Is it okay? Is it healthy?", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "ZOE (CONT'D)\n Oh, my God." ], [ "Stan leans against the bar with a beer in hand. He is\nwatching all of the Farmer's Market girls and his co-worker,\nFred, on the dance floor. Everyone looks drunk and happy.", "Stan, JERRY and SCOOTER are just starting to play. A small\ncrowd gathers round. Stan starts to sing an old tune called\n\"Sweet Little Miss Blue Eyes.\"", "INT. LORI'S FOYER - SAME\n\nOut in the foyer, Stan is paralyzed. Next to him is Dakota,\nwho is crying.", "Stan lifts his hand to wave but doesn't even turn around.\nClearly, he feels like an idiot. Zoe watches him go.\n\n\nEXT. WEST VILLAGE BROWNSTONE - MORNING", "STAN\n Hi.\n\n\nINT. GRAY'S PAPAYA HOT DOGS - DAY\n\nThey are now at the counter with hot dogs in front of them.", "EXT. LITTLE GOAT FARM - DAY\n\nStan leans against the fence looking at the goats. He has\nthe beginnings of a beard growing. The scruff makes him look\nolder. Thinner.", "Stan looks at her. Is she joking? Her look says no. He\ntakes a beat. And then, even though it's not a joke, he\nstarts to laugh. A little laugh at first and then a big one.", "Stan, walks backwards with his head down, holding a mirror.\n\n STAN\n Excuse me. Hello. I'm Stan.\n Excuse me. Hi. I'm Stan.", "STAN\n It's...very stubborn, overly\n suspicious and distrustful of men.\n\nThe customer looks up at Stan.\n\n CUSTOMER\n Huh?", "BOBBY/JALISA\n I saw the sign and it opened up my\n eyes, I saw the sign...\n\nZoe turns to lock up. While her back is turned, Stan appears\nfrom the shadows.", "Stan puts his arm around her and gives her a squeeze.\n\n STAN (CONT'D)\n I love that.", "STAN\n No. I'll get out.\n\nThey each get out.\n\n\nEXT. TAXI - CONTINUOUS", "STAN (CONT'D)\n Hi.\n\n WOMAN\n Hi.\n\n\nINT. UNION SQUARE CAFE - NIGHT", "their briefcases and their five-\nyear plans and their secretaries\nthey were fucking. Stan doesn't\nhave a five-year plan. I don't", "STAN\n Oh. This is Nuts.\n\nJoan and Edward take in the raggedy/wheelchair-bound dog and\nthen look at Stan. Stan shoots his mom a look.", "STAN\n I have a girlfriend, Olivia.\n\n OLIVIA\n Never stopped you before.\n\nShe tries to kiss him. Stan steps away.", "Zoe takes off again. Olivia watches her go.\n\n\nEXT. FARMER'S MARKET - LATER\n\nZoe runs through the market looking for Stan.", "A cab pulls up in front of Zoe's brownstone. Stan opens the\ndoor for Zoe who is now wearing a long silver dress. While\nit's certainly hugging every curve and bump, it looks great.", "She gives him a sympathetic hug and walks away.\n\n\nINT. STAN'S BEDROM - NIGHT", "A group of SCHOOL KIDS, lost in their own conversations, push\nup the block, separating Zoe and Stan for a moment. This\nseparation makes the moment all the more tense." ], [ "ZOE\n Oh, I guess I'm trying. I was just\n inseminated a few days ago.\n (then)\n Inseminated...makes me feel like a\n cow or something.", "ZOE\n Because I wanted a baby. And I'm\n almost forty, and I never met the\n right guy. I was afraid if I", "Zoe's face changes. She looks incredibly hurt.\n\n ZOE\n I used a donor because I wanted a\n baby.", "ZOE\n Because I wanted to have a family.\n Because Nana is the only one I've", "STAN\n But...why?\n\n ZOE\n Because supposedly with frozen\n sperm it takes a few tries and...", "ZOE (CONT'D)\n I want to have a baby. And time is\n running out. I hear a clock\n ticking every time I close my eyes.\n I need it to stop.", "ZOE\n I don't think I'm pregnant. The\n doctor says it will probably take\n several tries. Something about\n frozen sperm being lazy.", "ZOE\nI want to be pregnant. Of course I\nwant to be pregnant. I mean, I put\na lot of thought into this, right?\n (then)\nSo what did Stan say?", "ZOE\n What about them?\n\n STAN\n Well, do you want them?\n\n ZOE\n Yeah. I want kids.", "ZOE\n I don't want to see your vagina. I\n want a baby. My own baby.", "ZOE\n I always imagined I'd be married\n with kids by now, but it doesn't\n look like it's going to happen that\n way. So, time for Plan B.", "ZOE\n I'm pregnant.\n\n NANA\n (can't hear her)\n What?\n\n ZOE\n I'm pregnant.", "ZOE\n Yes. I'm pregnant. I'm pregnant!\n 56.", "ZOE\n The day we met. That same day.\n And I didn't tell you because I\n didn't think there was any way I\n could be pregnant.", "Zoe walks through the waiting room with her legs still\npressed together. She sees two PREGNANT WOMAN, touches her\nown stomach and smiles. She finally feels part of this\nexclusive baby club.", "Zoe shakes her head again.\n\n MONA (CONT'D)\n I would do that for you. To prove\n to you that you don't want to have\n kids, I will show you my vagina.", "ZOE\n Just a few sperm. Big deal. You\n waste billions of them every night.", "ZOE\n I just found out.\n\n STAN\n Pregnant? As in you're going to\n have a baby?\n\nZoe nods.", "ZOE (CONT'D)\n Should we hug? We might have just\n made a baby together.\n\n\nINT. WAITING ROOM - MOMENTS LATER", "STAN\n Seriously, what the fuck are you\n talking about? Sperm bank? What?\n 55.\n\n\n ZOE\n I know, this is so fucked up." ], [ "INT. LORI'S FOYER - SAME\n\nOut in the foyer, Stan is paralyzed. Next to him is Dakota,\nwho is crying.", "EXT. LITTLE GOAT FARM - DAY\n\nStan leans against the fence looking at the goats. He has\nthe beginnings of a beard growing. The scruff makes him look\nolder. Thinner.", "STAN\n Come on. There's something I want\n to show you.\n\n\nINT. CHEESE CAVE - NIGHT", "STAN (CONT'D)\n Hi.\n\n WOMAN\n Hi.\n\n\nINT. UNION SQUARE CAFE - NIGHT", "Stan, walks backwards with his head down, holding a mirror.\n\n STAN\n Excuse me. Hello. I'm Stan.\n Excuse me. Hi. I'm Stan.", "She gives him a sympathetic hug and walks away.\n\n\nINT. STAN'S BEDROM - NIGHT", "STAN\n No. I'll get out.\n\nThey each get out.\n\n\nEXT. TAXI - CONTINUOUS", "A group of SCHOOL KIDS, lost in their own conversations, push\nup the block, separating Zoe and Stan for a moment. This\nseparation makes the moment all the more tense.", "STAN\n You do the same.\n\nThey nod and separate.\n\n\nINT. HUDSON PETS - DAY", "As she gets closer, she notices that Stan is in the band.\nHe's playing banjo.", "Stan lifts his hand to wave but doesn't even turn around.\nClearly, he feels like an idiot. Zoe watches him go.\n\n\nEXT. WEST VILLAGE BROWNSTONE - MORNING", "Stan looks at her. Is she joking? Her look says no. He\ntakes a beat. And then, even though it's not a joke, he\nstarts to laugh. A little laugh at first and then a big one.", "Stan puts his arm around her and gives her a squeeze.\n\n STAN (CONT'D)\n I love that.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "Stan, JERRY and SCOOTER are just starting to play. A small\ncrowd gathers round. Stan starts to sing an old tune called\n\"Sweet Little Miss Blue Eyes.\"", "Stan smiles meekly and then turns to go.\n\n ZOE\n Bye.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "Stan leans against the bar with a beer in hand. He is\nwatching all of the Farmer's Market girls and his co-worker,\nFred, on the dance floor. Everyone looks drunk and happy.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "STAN\n I have a girlfriend, Olivia.\n\n OLIVIA\n Never stopped you before.\n\nShe tries to kiss him. Stan steps away." ], [ "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "ZOE\n (blurting out)\n There's this guy. His name is\n Stan. And he's fantastic.\n\n CAROL\n I knew it!", "STAN (CONT'D)\n Are you coming on to me? It's kind\n of hard to tell right now.\n\n ZOE\n Yeah. I'm coming on to you.", "ZOE\n How do you know?\n\n STAN\n Well, for starters, you wax.", "Zoe smiles at the memory. Stan continues.", "ZOE (CONT'D)\n I guess I'd given up on meeting\n someone like you, and I did what I\n thought was best.\n\nStan still doesn't say anything.", "But Zoe and Stan just walk slowly hand-in-hand. Every so\noften looking at each other and just smiling or laughing.\nThen, suddenly, Stan picks her up in the middle of the\nstreet.", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "ZOE\n How'd you know I worked here?\n\n STAN\n I followed you after the subway.\n (thinks, then)\n That sounds a little stalkery, huh?", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n Late. Yes. We are. We really\n are.\n (pushing Stan along)\n I'll see you at the meeting. Bye.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "STAN\n That was amazing. I mean, like,\n totally and exceptionally, over-the-\n top, amazing.\n\nZoe turns to him. Takes a deep breath.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "STAN\n Hi.\n\n ZOE\n Aahhh!", "They look at each other for a long time. Finally, Zoe closes\nher eyes and settles in for sleep, with Stan watching her as\nshe dozes off.\n\n\nINT. EXAM - ROOM", "STAN\n You're kind of hard to read right\n now. You're either seriously\n flattered or totally repulsed.\n\nZoe smiles.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you." ], [ "Zoe smiles at the memory. Stan continues.", "Stan puts his arm around her and gives her a squeeze.\n\n STAN (CONT'D)\n I love that.", "Stan takes her hand, and they stay like that for a while.\nJust holding hands on the floor of her moonlit room.\nFinally, the silence is broken by the telephone RINGING.", "Stan takes the picture and studies it.\n\n STAN\n You look just like her.", "She gives him a sympathetic hug and walks away.\n\n\nINT. STAN'S BEDROM - NIGHT", "INT. LORI'S FOYER - SAME\n\nOut in the foyer, Stan is paralyzed. Next to him is Dakota,\nwho is crying.", "STAN\n I'm so sorry.\n\nThere is a long silence. They both stare at the hot dogs.", "Stan looks at her. Is she joking? Her look says no. He\ntakes a beat. And then, even though it's not a joke, he\nstarts to laugh. A little laugh at first and then a big one.", "STAN\n I love blueberry pie.\n\nStan takes two pints of blueberries and hands them to Zoe.", "STAN\n Things can last forever, you know.\n\n ZOE\n Not for me they can't.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "STAN\n Come on. There's something I want\n to show you.\n\n\nINT. CHEESE CAVE - NIGHT", "STAN\n I'm sorry. Oh, I'm sorry. I just\n love you. I love you so much.\n (then)\n Let's get the hell out of here.", "STAN\n I have a girlfriend, Olivia.\n\n OLIVIA\n Never stopped you before.\n\nShe tries to kiss him. Stan steps away.", "Stan takes her hands.\n 69.", "INT. STAN'S BEDROM - MOMENTS LATER\n\nZoe lies in the small bed with the covers pulled up to her\nchin. Stan stands above her with an odd look on his face.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "STAN (CONT'D)\n I miss you." ], [ "And now, for the first time, we see ZOE. Despite the paper\ngown and worried look on her face, she's a late-30-something,\ngirl-next-door type. She could be your best friend.", "ZOE (CONT'D)\n Taxi!\n\nShe runs (little steps) across the street.\n\n\nINT. TAXI - MOMENTS LATER", "ZOE (CONT'D)\n Oh, who am I kidding?", "ZOE (CONT'D)\n Oh, my God.", "ZOE\n (cutting her off)\n Right. I know. I've been so busy.", "ZOE\n Brooklyn.\n\n BOBBY (O.S.)\n Where's that?\n\nZoe hangs up the phone.", "ZOE\n And how old is she now?\n\nDakota looks up from the breast.\n\n DAKOTA\n I'm three.", "ZOE (CONT'D)\n You know...\n\nMore hand gestures.", "ZOE (CONT'D)\n That's weird.\n\n\nINT. LORI'S APARTMENT BUILDING LOBBY - NIGHT", "ZOE\n Oh. Okay.\n\nZoe separates her legs an inch. And then closes them.", "Zoe walks by the front desk. ANNIE, an employee, looks up.\n\n ANNIE\n Hi, Zoe. You look fantastic.", "ZOE\n Because I wanted to have a family.\n Because Nana is the only one I've", "ZOE (CONT'D)\n Uh...excuse me. This is my cab.\n\n STAN\n You own it?", "ZOE (CONT'D)\n These are my best friends, Bobby\n and Mona. Mona and I met in high", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "ZOE (CONT'D)\n Hi, Baby.\n (then)\n Is it okay? Is it healthy?", "Zoe doesn't wait for her to finish. She rushes the bar,\npours a glass of wine and downs it like a frat boy funneling\na beer.\n 34.", "ZOE\n Forget it. Forget the whole thing.\n\nZoe sighs and puts her head in her hands.", "Zoe looks around.\n\n ZOE\n I have no idea.\n\n\nEXT. LITTLE GOAT FARM - DAY", "ZOE\n I can't help it!\n\nShe keeps running towards him. He now runs towards her.\nThey finally meet. Zoe is out of breath and can barely talk." ], [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "Stan finishes. He looks at her and smiles. Zoe just stares\nat him.\n\n STAN (CONT'D)\n In my mind, you were supposed to\n say, I love you, too.", "She pulls her hand away. This has all gotten suddenly real.\nShe looks at Stan, almost afraid to ask the next question.\n\n ZOE (CONT'D)\n Do you?", "STAN (CONT'D)\n Are you coming on to me? It's kind\n of hard to tell right now.\n\n ZOE\n Yeah. I'm coming on to you.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "STAN\n That was amazing. I mean, like,\n totally and exceptionally, over-the-\n top, amazing.\n\nZoe turns to him. Takes a deep breath.", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "Stan goes to the closet. Zoe is pulling on a long black\ndress. She tries to smush her boobs down into the top.\n\n STAN (CONT'D)\n That's perfect. You look hot.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "But Zoe and Stan just walk slowly hand-in-hand. Every so\noften looking at each other and just smiling or laughing.\nThen, suddenly, Stan picks her up in the middle of the\nstreet.", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "STAN\n Don't lie.\n (then)\n Did I tell you how pretty you look?\n\nZoe nods. Another silence.", "They look at each other for a long time. Finally, Zoe closes\nher eyes and settles in for sleep, with Stan watching her as\nshe dozes off.\n\n\nINT. EXAM - ROOM", "STAN\n You're kind of hard to read right\n now. You're either seriously\n flattered or totally repulsed.\n\nZoe smiles." ], [ "STAN\n Sorry? What's sorry going to do?\n\nStan walks out. Zoe stands there. And stands there. And\nthen she starts to cry.", "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "ZOE\n I drive them all away, I guess.\n\n STAN\n Yeah, right.\n\nStan takes her in his arms.", "STAN (CONT'D)\n Why are you crying? Everything's\n perfect.\n\n ZOE\n It's not.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "Stan finishes. He looks at her and smiles. Zoe just stares\nat him.\n\n STAN (CONT'D)\n In my mind, you were supposed to\n say, I love you, too.", "They walk on. Stan looks at Zoe.\n\n STAN\n An old...boyfriend?", "ZOE\n Get away from me.\n\nStan runs in front of her, forcing her to stop.\n\n STAN\n Nothing happened!", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "ZOE (CONT'D)\n I guess I'd given up on meeting\n someone like you, and I did what I\n thought was best.\n\nStan still doesn't say anything.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "STAN (CONT'D)\n I don't understand.\n\n ZOE\n I know. It's hard to explain.", "STAN\n Well, let me go, because this is\n really embarrassing, and I just\n have to say it.\n\n ZOE\n Okay.", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "ZOE\n My mother was in a coma for two\n years before the end. That's when\n my dad left her.\n\n STAN\n Oh.", "ZOE\n How do you know?\n\n STAN\n Well, for starters, you wax.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big." ], [ "MONA\n Well, you're knocked up with some\n stranger's twins. So, already\n you're not exactly...\n\n ZOE\n Not helping.", "ZOE\n Hi.\n\n WOMAN\n Hi.\n\n TWIN TODDLERS\n Hi./Hi.", "We TILT up and see Zoe and Stan strolling arm in arm, each\nwith a Baby Bjorn with a rosy-cheeked baby girl in it. Both\ngirls have flaming red hair.", "ZOE\n (freaking out)\n It has two hearts?\n\n DR. HARRIS\n No...but you have two babies.", "To the side of the bed are two bassinets. Each baby sleeping\nsoundly in a little pink hat.\n\nAnd in the next bed is Nana, asleep with a bandage on her\nforehead.", "STAN\n Well, they're not mine...but, yeah,\n we're having a baby. Two actually.\n\nOn Zoe's look of shock we...", "We're back at Single Women By Choice. The women are sitting\non the floor. Sara is still nursing Dakota. Zoe has her\nhead in her hands.\n\n CAROL\n Twins! That's fantastic!", "not the father. And you've only\n been together a little while. And\n now you're having twins. And--", "Zoe is asleep with the morning sun on her face. Nuts is\nbeside her, his two little, lame legs hanging off the pillow.\nZoe opens her eyes.", "Zoe and Nana are walking the loop around the courtyard. Zoe\nlooks terrible. Like she hasn't slept in days. They\ncomplete a lap. Arthur gives them the double thumbs up sign.", "Olivia winks and moves off. Zoe turns back and is now face-\nto-face with Stan, who's smiling from ear-to-ear, his banjo\nslung over his shoulder.", "Then a tear forms in the corner of her eye. She wipes it\naway. She wipes a tear from the other eye. Happy tears.\nThen she looks at her legs high above her on the table.", "NANA\n He's been like that all morning. I\n wore him out last night.\n\n ZOE\n Wow. I did not need to know that.", "Zoe and Stan look at the little girls and then at each other.\nThey are both in tears. Even Dr. Harris can't help but cry.\n\n\nINT. HOSPITAL ROOM - NIGHT", "STAN\n They're so...perfect. They look\n like real babies.\n\n DR. HARRIS\n Would you like to know the sexes?", "And we PULL BACK and above the operating table and see Dr.\nHarris performing the C-section. He pulls out the babies one\nby one.", "Zoe nods her head. Joan gives her one. Zoe holds it over\nher mouth as she tries in vain to swallow this inhuman bite.\n\n JOAN (CONT'D)\n I'm Joan.", "BOBBY\n Sounds like Ricardo.\n\n JALISA\n Tell me about it, Papi.\n\nBobby and Jalisa high five. Bobby then turns to Zoe.", "ZOE\n What? Wait a minute, what?\n 60.\n\n\n DR. HARRIS\n Well...I see another heartbeat.", "Olivia approaches.\n 31.\n\n\n OLIVIA\n Hey, stranger.\n\n STAN\n Oh, hey, Olivia. You remember Zoe." ], [ "INT. DINING ROOM - LATER", "The dining room is warm and lovely. There's faded wallpaper\nand an old stagecoach lamp serving as a chandelier. Despite\nthe inviting room, Zoe looks very uncomfortable.", "They complete another lap around the courtyard. Arthur\nsmiles at them and then \"raises the roof.\"", "Nuts starts to whine and beg. Zoe uses her bread-ladle to\ntoss some stew on the floor for him. It lands with plop.", "She pulls up her nightgown and sticks out her stomach. For\nthe first time, we actually see a little bump.\n\n\nINT. EXAM ROOM - DAY", "STAN\n Thanks, Sam. It looks incredible.\n\nSam tops off their champagne and exits. Stan picks up his\nfork and starts eating. Zoe does not.", "They are having coffee and dessert in the living room.\nThings seem more comfortable now. Zoe actually looks like\nshe might be enjoying herself. Nuts sits beside her.", "Zoe stands there unsure of what to do next. Then we hear her\nstomach GROWL again. Her eyes turn to the stove. Something", "She hangs up again.\n\n\nINT. UNDERGROUND RESTAURANT/SMALL APARTMENT - NIGHT", "Stan walks down a long table filled with appetizers. He is\nmaking a plate for each of them. Zoe trails behind, beads of\nsweat on her forehead.", "He sets a kitchen timer and then pushes a button to raise her\nlegs. We hear the loud TICK TOCK of the timer.", "They look at each other. Zoe smiles. Stan shrugs. Zoe\nnods. Stan does, too.\n\n ZOE\n Yes. Tell us.", "Outside, we hear a banjo and guitar tuning up.\n\n\nEXT. BACK PATIO - SAME", "The music takes us into the church and there we find Nana,\nlovely in her wedding gown, and Arthur, dashing in his\nmorning suit, standing at the alter holding hands. Both have", "Stan takes her hand, and they stay like that for a while.\nJust holding hands on the floor of her moonlit room.\nFinally, the silence is broken by the telephone RINGING.", "She makes sure the coast is clear and then looks for a spoon.\nShe can't find one. She spies a loaf of white bread. Grabs", "They reach the top of the stairs. The rain has stopped, and\nthe sun is just starting to peek through. Everything is wet\nand has a magical quality.", "ZOE\n Oh. Where are they now?\n\n STAN\n In the kitchen.\n\nZoe stops short.", "EDWARD\n (to Zoe)\n Have you ever in your life had stew\n like this? Come on, be honest.\n\nZoe looks at Joan. Joan smiles. It will be their secret.", "Stew dribbles down her chin. She takes a third piece of\nbread to wipe her face and then takes a bite of that one.\n 46." ], [ "ZOE\n Oh, I guess I'm trying. I was just\n inseminated a few days ago.\n (then)\n Inseminated...makes me feel like a\n cow or something.", "ZOE (CONT'D)\n I want to have a baby. And time is\n running out. I hear a clock\n ticking every time I close my eyes.\n I need it to stop.", "ZOE\nI want to be pregnant. Of course I\nwant to be pregnant. I mean, I put\na lot of thought into this, right?\n (then)\nSo what did Stan say?", "ZOE\n I'm pregnant.\n\n NANA\n (can't hear her)\n What?\n\n ZOE\n I'm pregnant.", "Zoe's face changes. She looks incredibly hurt.\n\n ZOE\n I used a donor because I wanted a\n baby.", "Zoe walks through the waiting room with her legs still\npressed together. She sees two PREGNANT WOMAN, touches her\nown stomach and smiles. She finally feels part of this\nexclusive baby club.", "ZOE\n Because I wanted a baby. And I'm\n almost forty, and I never met the\n right guy. I was afraid if I", "Zoe exits the bathroom with a wide-eyed, terrified look on\nher face. By the bar, she sees a PREGNANT WOMAN sipping a\nglass of wine. She rushes over.", "ZOE\n Yes. I'm pregnant. I'm pregnant!\n 56.", "ZOE\n I don't think I'm pregnant. The\n doctor says it will probably take\n several tries. Something about\n frozen sperm being lazy.", "ZOE\n Because I wanted to have a family.\n Because Nana is the only one I've", "ZOE\n The day we met. That same day.\n And I didn't tell you because I\n didn't think there was any way I\n could be pregnant.", "ZOE\n I'm pregnant.\n\n STAN\n Uh, I'm pretty sure it doesn't\n happen that fast.\n\nZoe shakes her head.", "ZOE (CONT'D)\n Do you know anything about being\n pregnant?\n 42.\n\n\nEXT. CAR - LATER", "ZOE\n I'm pregnant.\n\n BOBBY (O.S.)\n What?! Where are you? I'm on my\n way.", "ZOE\n I just found out.\n\n STAN\n Pregnant? As in you're going to\n have a baby?\n\nZoe nods.", "ZOE\n I don't want to see your vagina. I\n want a baby. My own baby.", "ZOE\n (freaking out)\n It has two hearts?\n\n DR. HARRIS\n No...but you have two babies.", "NANA\n What?\n\n ZOE\n I'm pregnant.\n\n NANA\n I can't hear you, darling.", "ZOE (CONT'D)\n Please, God...\n\nBut she can't pee. She tries and tries.\n 35." ], [ "Zoe takes off again. Olivia watches her go.\n\n\nEXT. FARMER'S MARKET - LATER\n\nZoe runs through the market looking for Stan.", "ZOE\n (ignoring her)\n He works at the Farmer's market.\n And it's right around the corner.\n Are you thinking what I'm thinking?", "ZOE\nWhat are you talking about?\n\n JALISA\nStan from the Farmer's Market?\nHe's called twice already.\n\n ZOE\nReally?", "ZOE\n I feel the need to say it again.\n\nThey turn into the Farmer's Market.", "14th street is just coming to life as the FARMERS start to\nunload their wares.\n\nZoe and Stan head up the street slowly, wearily, like\nsoldiers back from battle.", "Olivia approaches.\n 31.\n\n\n OLIVIA\n Hey, stranger.\n\n STAN\n Oh, hey, Olivia. You remember Zoe.", "ZOE\n I can't help it!\n\nShe keeps running towards him. He now runs towards her.\nThey finally meet. Zoe is out of breath and can barely talk.", "ZOE (CONT'D)\n He actually lives on a farm! Plays\n the banjo! Maybe I could learn to\n sew and take care of the animals.\n Like Laura Ingalls.", "Zoe allows a small smile.\n\n STAN (CONT'D)\n Can I just give you my card? Here.\n Take my card. I'm not a freak.\n Really. I sell cheese.", "The fruits and vegetables and flowers become a blur as Zoe\nruns out of the Farmer's Market. Stan chases after her.\n\n STAN\n Nothing happened.", "CUT TO:\n\n\nEXT. FARMER'S MARKET - MOMENTS LATER", "Zoe watches Stan. She mindlessly starts eating some\nblueberries out of the display pint. Olivia sees that Zoe is\nlooking at Stan.\n\n OLIVIA\n Tasty, huh?", "Zoe walks on. She sees her reflection in a store window and\nsmiles. She looks like an actual pregnant person now. As\nshe is walking and smiling to herself, we hear a familiar\nvoice.\n\n STAN\n Hi.", "ZOE\n (blurting out)\n There's this guy. His name is\n Stan. And he's fantastic.\n\n CAROL\n I knew it!", "ZOE\n That sounds nice, but, I should\n probably go.\n\n STAN\n Well, can I call you?\n\nZoe smiles.", "Zoe bumps along the winding driveway of this idyllic Hudson\nRiver farm. There are red barns in the distance and green", "ZOE\n Late. Yes. We are. We really\n are.\n (pushing Stan along)\n I'll see you at the meeting. Bye.", "A group of SCHOOL KIDS, lost in their own conversations, push\nup the block, separating Zoe and Stan for a moment. This\nseparation makes the moment all the more tense.", "Zoe smiles at the memory. Stan continues.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets." ], [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "INT. STAN'S BEDROM - MOMENTS LATER\n\nZoe lies in the small bed with the covers pulled up to her\nchin. Stan stands above her with an odd look on his face.", "ZOE\n There's something I need to tell\n you.\n\n STAN\n Okay.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "Zoe doesn't say anything.\n\n STAN (CONT'D)\n I'm sorry. If you don't want to\n talk about it...", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n Get away from me.\n\nStan runs in front of her, forcing her to stop.\n\n STAN\n Nothing happened!", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "Stan just looks at her. Speechless.\n\n ZOE (CONT'D)\n I didn't know you. I would have\n never done it if--", "She pulls her hand away. This has all gotten suddenly real.\nShe looks at Stan, almost afraid to ask the next question.\n\n ZOE (CONT'D)\n Do you?", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "ZOE (CONT'D)\n I guess I'd given up on meeting\n someone like you, and I did what I\n thought was best.\n\nStan still doesn't say anything.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "ZOE\n Not that it's any of your business,\n but...good things are happening to\n me.\n\nStan is moved by this. What a thing to say.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "STAN\n You're kind of hard to read right\n now. You're either seriously\n flattered or totally repulsed.\n\nZoe smiles." ], [ "ZOE\n And how old is she now?\n\nDakota looks up from the breast.\n\n DAKOTA\n I'm three.", "ZOE\n It's not just one baby....I'm\n having twins.", "ZOE\n (freaking out)\n It has two hearts?\n\n DR. HARRIS\n No...but you have two babies.", "ZOE\n What about them?\n\n STAN\n Well, do you want them?\n\n ZOE\n Yeah. I want kids.", "ZOE (CONT'D)\n I want to have a baby. And time is\n running out. I hear a clock\n ticking every time I close my eyes.\n I need it to stop.", "ZOE\n Because I wanted to have a family.\n Because Nana is the only one I've", "ZOE\n What? Wait a minute, what?\n 60.\n\n\n DR. HARRIS\n Well...I see another heartbeat.", "Zoe walks through the waiting room with her legs still\npressed together. She sees two PREGNANT WOMAN, touches her\nown stomach and smiles. She finally feels part of this\nexclusive baby club.", "ZOE\n I'm pregnant.\n\n NANA\n (can't hear her)\n What?\n\n ZOE\n I'm pregnant.", "ZOE\n Hi.\n\n WOMAN\n Hi.\n\n TWIN TODDLERS\n Hi./Hi.", "STAN\n Well, they're not mine...but, yeah,\n we're having a baby. Two actually.\n\nOn Zoe's look of shock we...", "ZOE (CONT'D)\n Do you know anything about being\n pregnant?\n 42.\n\n\nEXT. CAR - LATER", "ZOE\n Yes. I'm pregnant. I'm pregnant!\n 56.", "ZOE\n I just found out.\n\n STAN\n Pregnant? As in you're going to\n have a baby?\n\nZoe nods.", "ZOE (CONT'D)\n Hi, Baby.\n (then)\n Is it okay? Is it healthy?", "Zoe shakes her head again.\n\n MONA (CONT'D)\n I would do that for you. To prove\n to you that you don't want to have\n kids, I will show you my vagina.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "INT. ZOE'S BEDROOM - NIGHT\n\nZoe and Stan lie in bed, each reading a copy of \"What to\nExpect when You're Expecting.\"", "ZOE\n Well, are they going to come out\n and tell me? And that's not even\n the point. He said, the babies", "ZOE\n I'm pregnant.\n\n BOBBY (O.S.)\n What?! Where are you? I'm on my\n way." ], [ "STAN\n Two girls!\n\nA WOMAN with a BABY in a Baby Bjorn passes by. Stan smiles.\nNow he's part of this exclusive club.", "STAN\n Come on. There's something I want\n to show you.\n\n\nINT. CHEESE CAVE - NIGHT", "Stan looks at her. Is she joking? Her look says no. He\ntakes a beat. And then, even though it's not a joke, he\nstarts to laugh. A little laugh at first and then a big one.", "Stan puts his arm around her and gives her a squeeze.\n\n STAN (CONT'D)\n I love that.", "STAN\n I love blueberry pie.\n\nStan takes two pints of blueberries and hands them to Zoe.", "STAN\n And the part where you dumped me.\n (to the babies)\n Girls...Mommy and Daddy were\n stupid.\n\nThe babies smile and coo.", "STAN (CONT'D)\n I love you. I've been waiting my\n whole life for you. And I can't\n let one little baby get in the way\n of that. I just...can't.", "STAN\n I just told you I loved you.\n\n ZOE\n Well....do you not now?\n\n STAN\n You're pregnant.", "INT. LORI'S FOYER - SAME\n\nOut in the foyer, Stan is paralyzed. Next to him is Dakota,\nwho is crying.", "INT. ZOE'S BEDROOM - NIGHT\n\nZoe and Stan lie in bed, each reading a copy of \"What to\nExpect when You're Expecting.\"", "STAN\n I'm so sorry.\n\nThere is a long silence. They both stare at the hot dogs.", "Stan doesn't know what to say. He's literally speechless.\n\n ZOE (CONT'D)\n More than anything in the world, I\n love you.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "Stan takes the picture and studies it.\n\n STAN\n You look just like her.", "She gives him a sympathetic hug and walks away.\n\n\nINT. STAN'S BEDROM - NIGHT", "STAN\n It's...very stubborn, overly\n suspicious and distrustful of men.\n\nThe customer looks up at Stan.\n\n CUSTOMER\n Huh?", "STAN (CONT'D)\n Hi.\n\n WOMAN\n Hi.\n\n\nINT. UNION SQUARE CAFE - NIGHT", "EXT. LITTLE GOAT FARM - DAY\n\nStan leans against the fence looking at the goats. He has\nthe beginnings of a beard growing. The scruff makes him look\nolder. Thinner.", "STAN\n They're so...perfect. They look\n like real babies.\n\n DR. HARRIS\n Would you like to know the sexes?", "We TILT up and see Zoe and Stan strolling arm in arm, each\nwith a Baby Bjorn with a rosy-cheeked baby girl in it. Both\ngirls have flaming red hair." ], [ "Zoe starts to cry.\n\n BOBBY (CONT'D)\n I know. They're shitty choices.\n Do you want me to call your scary\n lesbian friends from your group?", "The women file out. No one dares look at Zoe. It's very\nawkward, although Zoe seems unaware. She turns to Carol.", "MONA\n Why did you join a support group of\n unattractive, militant lesbians\n when you have me?\n\n ZOE\n Because you're really not that\n supportive.", "Zoe nods again. She tries to shake Joan's hand. It's the\nbest she can do. Unfortunately, her fingers are fluorescent\norange from the Cheetos powder. Joan pulls her hand back.", "ZOE\n Forget it. Forget the whole thing.\n\nZoe sighs and puts her head in her hands.", "And now, for the first time, we see ZOE. Despite the paper\ngown and worried look on her face, she's a late-30-something,\ngirl-next-door type. She could be your best friend.", "ZOE\n Yup. That's me. Lucky, lucky, me.\n\nThe women are sensing the sarcasm, but not getting it.", "(then, to the group)\n Let's give Zoe some space. When\n she's ready to talk, we're ready to", "Zoe and Nana are walking the loop around the courtyard. Zoe\nlooks terrible. Like she hasn't slept in days. They\ncomplete a lap. Arthur gives them the double thumbs up sign.", "The women stare blankly at Zoe.\n 62.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "Zoe enters. All eyes turn. She waves sheepishly.\n\n ZOE\n Hi, guys.\n\nNo one knows what to say.", "Zoe and Stan look at the little girls and then at each other.\nThey are both in tears. Even Dr. Harris can't help but cry.\n\n\nINT. HOSPITAL ROOM - NIGHT", "Zoe looks around at her new \"partners.\" There's SARA, the\none nursing the toddler. And TABITHA, a tall women with an", "ZOE (CONT'D)\n These are my best friends, Bobby\n and Mona. Mona and I met in high", "Zoe puts the picture down and picks up another. It's a woman\nin a hospital bed. She's giving the thumbs up sign.\n\n ZOE (CONT'D)\n This is my mom.", "Zoe gives him a matter-of-fact shrug and walks off.\n\n\nINT. DR. HARRIS' OFFICE - DAY", "ZOE (CONT'D)\n That's weird.\n\n\nINT. LORI'S APARTMENT BUILDING LOBBY - NIGHT", "MONA\n I'm not joking.\n\nAll of the women are now staring at Zoe.", "The women smile and nod. They are a proud, no-nonsense,\nsomewhat masculine bunch. LORI, pregnant with a buzz cut,\nturns to Zoe." ], [ "Zoe takes off again. Olivia watches her go.\n\n\nEXT. FARMER'S MARKET - LATER\n\nZoe runs through the market looking for Stan.", "A group of SCHOOL KIDS, lost in their own conversations, push\nup the block, separating Zoe and Stan for a moment. This\nseparation makes the moment all the more tense.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "The fruits and vegetables and flowers become a blur as Zoe\nruns out of the Farmer's Market. Stan chases after her.\n\n STAN\n Nothing happened.", "They walk on. Stan looks at Zoe.\n\n STAN\n An old...boyfriend?", "Zoe smiles at the memory. Stan continues.", "EXT. DAIRY - MOMENTS LATER\n\nThe door to the dairy kicks open and Stan carries Zoe out.\nHer legs are around his waist and they are making out like\ncrazy.", "We TILT up and see Zoe and Stan strolling arm in arm, each\nwith a Baby Bjorn with a rosy-cheeked baby girl in it. Both\ngirls have flaming red hair.", "ANGLE ON Olivia crossing from her berry stand to the cheese\nstand with a blueberry pie. She is about to place the pie on\nStan's table when she looks up and sees Stan and Zoe.", "Zoe walks on. She sees her reflection in a store window and\nsmiles. She looks like an actual pregnant person now. As\nshe is walking and smiling to herself, we hear a familiar\nvoice.\n\n STAN\n Hi.", "But Zoe and Stan just walk slowly hand-in-hand. Every so\noften looking at each other and just smiling or laughing.\nThen, suddenly, Stan picks her up in the middle of the\nstreet.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "Stan lifts his hand to wave but doesn't even turn around.\nClearly, he feels like an idiot. Zoe watches him go.\n\n\nEXT. WEST VILLAGE BROWNSTONE - MORNING", "Zoe watches Stan. She mindlessly starts eating some\nblueberries out of the display pint. Olivia sees that Zoe is\nlooking at Stan.\n\n OLIVIA\n Tasty, huh?", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "INT. GRAY'S PAPAYA HOT DOGS - NIGHT\n\nZoe and Stan stand at the counter with an array of hot dogs\nin front of them. Stan looks at the hot dogs skeptically.", "Stan and Zoe walk down Madison Avenue. All of the other NEW\nYORKERS are on some kind of mission -- shopping, rushing to\nmeetings, or fighting for cabs.", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "ZOE\n Late. Yes. We are. We really\n are.\n (pushing Stan along)\n I'll see you at the meeting. Bye." ], [ "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan.", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "ZOE\n I just found out.\n\n STAN\n Pregnant? As in you're going to\n have a baby?\n\nZoe nods.", "STAN\n I just told you I loved you.\n\n ZOE\n Well....do you not now?\n\n STAN\n You're pregnant.", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "They walk on. Stan looks at Zoe.\n\n STAN\n An old...boyfriend?", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "OLIVIA (CONT'D)\n (re. Zoe's pregnant belly)\n I had no idea it was that serious.\n\n STAN\n I told you it was serious.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "ZOE\n Stan.\n\n STAN\n Yeah.\n\n ZOE\n There's something I really have to\n tell you.", "INT. STAN'S BEDROM - MOMENTS LATER\n\nZoe lies in the small bed with the covers pulled up to her\nchin. Stan stands above her with an odd look on his face.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "STAN\n Don't lie.\n (then)\n Did I tell you how pretty you look?\n\nZoe nods. Another silence.", "ZOE\n I'm pregnant.\n\n STAN\n Uh, I'm pretty sure it doesn't\n happen that fast.\n\nZoe shakes her head.", "ZOE (CONT'D)\n But, for what it's worth...I love\n you, too.\n\nShe puts the car in gear and pulls out. Stan watches her go.\nHis hands in his pockets.", "ZOE\n Don't say it like that.\n\n STAN\n You're pregnant.", "Zoe walks on. She sees her reflection in a store window and\nsmiles. She looks like an actual pregnant person now. As\nshe is walking and smiling to herself, we hear a familiar\nvoice.\n\n STAN\n Hi.", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "Stan just looks at her. Speechless.\n\n ZOE (CONT'D)\n I didn't know you. I would have\n never done it if--" ], [ "CAROL\n Oh, it's a water birth. Didn't Zoe\n tell you?\n\nCarol starts banging the drum again and moves off.", "INT. LABOR AND DELIVERY ROOM - DAY\n\nZoe is now alone in a room wearing a hospital gown.", "Zoe runs down the street with a blanket over her hospital\ngown.\n\n ZOE\n Taxi!\n\n\nINT. TAXI - MOMENTS LATER", "She runs to a nearby cab and slams the door.\n\n\nINT. ZOE'S APARTMENT - DAY", "Instead, Zoe covers her mouth and runs to the bathroom. A\nbeat later, we hear her vomit.\n\n\nINT. STAN'S BATHROOM - MOMENTS LATER", "Nuts licks her face. She gets out of bed and goes to check\nher belly in the mirror. It's actually getting kind of huge.\n\n\nEXT. ZOE'S BROWNSTONE - DAY", "Zoe enters the apartment and slams the door behind her. She\nruns to the couch and collapses in tears. Nuts wheels over\nand stands beside her.\n\n\nINT. LE PAIN QUOTIDIEN - DAY", "ZOE\n Yeah. I think I really need to go\n to the hospital now.\n\nThey kiss again. And then pull apart and look at each other.\nStan has tears in his eyes.", "Zoe looks around.\n\n ZOE\n I have no idea.\n\n\nEXT. LITTLE GOAT FARM - DAY", "Zoe sees a gas station and jams on the breaks.\n\n\nINT. GAS STATION MINI MART - DAY", "ZOE\n What???\n\n BOBBY\n Everything's under control. Good\n thing we're at the hospital, right?\n\nZoe jumps out of bed.", "A few other old people look down and check themselves. At\nwhich point, Zoe looks down and realizes.\n\n ZOE\n I think my water just broke.", "Zoe goes to the mirror and does her usual. The bump is\ngrowing. For the first time, we see a smile.\n\n\nINT. CAROL'S APARTMENT - DAY", "ZOE (CONT'D)\n Taxi!\n\nShe runs (little steps) across the street.\n\n\nINT. TAXI - MOMENTS LATER", "And suddenly, she has to slow down and then stop completely\nfor a contraction. She leans against a parked van to steady\nherself.\n\n ZOE\n Ow. Son of a bitch, that hurts.", "Zoe runs inside holding her hand over her mouth. Stan stands\nthere for a beat. He calls after her.", "Zoe smiles and heads for the back.\n\n\nEXT. HUDSON PETS - NIGHT", "Zoe is being wheeled into Labor and Delivery with the gang in\ntow. Bobby still has a glass of champagne in his hand. Nana\ngrabs the glass and swigs it.", "ZOE\n Oh. Where are they now?\n\n STAN\n In the kitchen.\n\nZoe stops short.", "ZOE (CONT'D)\n Do you know anything about being\n pregnant?\n 42.\n\n\nEXT. CAR - LATER" ], [ "We TILT up and see Zoe and Stan strolling arm in arm, each\nwith a Baby Bjorn with a rosy-cheeked baby girl in it. Both\ngirls have flaming red hair.", "STAN\n Well, they're not mine...but, yeah,\n we're having a baby. Two actually.\n\nOn Zoe's look of shock we...", "STAN\n Because it's going to be fantastic.\n Sweet and sassy and very complex.\n Why do you think I'm calling it\n Zoe?", "INT. ZOE'S BEDROOM - NIGHT\n\nZoe and Stan lie in bed, each reading a copy of \"What to\nExpect when You're Expecting.\"", "It's late. Zoe and Stan are naked in bed, lying face to\nface. Stan puts his hand on her stomach. He feels the\nlittle bump, new since he's last been with her.", "Stan turns.\n\n STAN\n Zoe?\n\n ZOE\n Stan!\n\n STAN\n Are you okay? Don't run!", "ZOE\n (blurting out)\n There's this guy. His name is\n Stan. And he's fantastic.\n\n CAROL\n I knew it!", "ZOE\n Her name is Carol. We're on\n a...committee together.\n\nThey reach Zoe's front stoop. Zoe peers over Stan's shoulder\nto make sure Carol's gone.", "STAN\n That was amazing. I mean, like,\n totally and exceptionally, over-the-\n top, amazing.\n\nZoe turns to him. Takes a deep breath.", "Zoe and Stan look at the little girls and then at each other.\nThey are both in tears. Even Dr. Harris can't help but cry.\n\n\nINT. HOSPITAL ROOM - NIGHT", "STAN\n What? What the hell are you doing\n here?\n\n ZOE\n It's you.\n\n STAN\n What?", "STAN\n Hi.\n\n ZOE\n Aahhh!", "ZOE (CONT'D)\n Good, right?\n\nStan nods, covering his mouth because the bite is so big.", "STAN (CONT'D)\n Why are you crying? Everything's\n perfect.\n\n ZOE\n It's not.", "Zoe smiles at the memory. Stan continues.", "Stan smiles. He likes this image. He runs his hand over her\nbelly. Zoe moves in closer. Touches his cheek.", "STAN\n Are you sure you're okay?\n (then)\n Zoe? Hello?\n\nBut she's already out. Stan gives her a little poke.", "ZOE\n Okay.\n\n STAN\n Zoe.\n\n ZOE\n You named a piece of cheese after\n me?", "Olivia approaches.\n 31.\n\n\n OLIVIA\n Hey, stranger.\n\n STAN\n Oh, hey, Olivia. You remember Zoe.", "Zoe opens her mouth. She's got to tell him. Before this\ngoes any further, she has to tell him.\n\n ZOE\n Stan." ] ]

[ "When did Zoe meet Stan?", "What did Zoe want to tell Stan at the farm?", "Where does Stan go to figure out what it means to be a father?", "How did Zoe find out that Stan wasn't planning to leave?", "Who did Stan and Zoe run into at the supermarket?", "Where does Zoe's water break?", "What did Stan ask Zoe to do after his grand opening speech?", "How many children was Zoe expecting?", "Where does Stan open his store?", "Why does Zoe decide to use artificial insemination?", "Why does Stan go to the children's play area?", "How do Zoe and Stan meet?", "What does Stan keep as a memento?", "What is Zoe's employment?", "When does Stan ask Zoe to marry him?", "Why does Zoe break off the relationship with Stan?", "What is the name of the other twin?", "What happens during their dinner in the garden?", "What does Zoe undergo in order to get pregnant?", "Who does Zoe meet at the farmer's market?", "What is Zoe afraid to tell Stan?", "How many children is Zoe having?", "What does Stan buy to show he wants to be a father?", "What support group no longer likes Zoe?", "Who do Stan and Zoe run into at the market?", "What does Stan tell the ex-girlfriend about Zoe's pregnancy?", "Where does Zoe go when Zoe's water breaks?", "What do Stan and Zoe name one of the twins?" ]

[ [ "When they both tried to get the same taxi.", "The same day she gets artificially inseminated." ], [ "That she is pregnant.", "She was pregnant" ], [ "The playground.", "A playground" ], [ "The stroller arrived.", "The stroller for twins arrives" ], [ "Stan's ex-girlfriend.", "Stan's ex wife" ], [ "At her grandmother's wedding?", "At the stores grand opening" ], [ "He asked Zoe to marry him.", "Marry him" ], [ "Two.", "Two." ], [ "Next to Zoe's pet shop.", "Next to Zoe's pet shop" ], [ "She decides to become a single mother when she cannot find the man of her dreams.", "Because she thinks that she will never find the man of her dreams." ], [ "To try to learn what it means to be a father.", "to find out what it means to be a father" ], [ "They are trying to hail the same taxi.", "Trying to get the same taxi" ], [ "He keeps a penny.", "A penny." ], [ "She owns a pet shop.", "She works in a pet store" ], [ "At the grand opening of his store/restaurant.", "after the grand opening restaurant speech" ], [ "Because she thinks that he is not ready to be a father.", "She doesn't think he wants to be a father" ], [ "The name is not revealed in this summary.", "Penny" ], [ "Stan spills wine and there is a fire.", "he spills the wine and sets a fire" ], [ "Artificial Insemination", "Artificial insemination" ], [ "Stan", "Stan" ], [ "That she is pregnant.", "that she's pregnant" ], [ "Two", "2" ], [ "A stroller.", "A stroller." ], [ "Single Mothers and Proud Group.", "Single Mothers and Proud." ], [ "Stan's ex girlfriend.", "His ex-girlfriend" ], [ "That the children are not his.", "that the twins are not his" ], [ "The market.", "the Market" ], [ "Penny.", "Penny." ] ]

d984035756201895c1acd9233775031cc9c0a30c

train

[ [ "But John is moving, running after her.\n\n JOHN\n Mommm!! Wait!!", "John kneels in front of his mother. She raises her head to look at\n him. He sees the tears spilling down her cheeks,\n\n JOHN\n Mom? You okay?", "JOHN\n (crying, shouting)\n Come on, you gotta try... please, Mom. Get up!\n\n John looks back to see --", "JOHN\n Mom!! Wait!\n\n Sarah doesn't hear. She has clicked fully into her own nightmare.\n They take off running after Sarah.", "JOHN\n Look, I'm gonna go get my mom. You wanna come\n along, that's fine with me.\n\n CUT TO:", "SARAH\n I love you, John. I always have.\n\n JOHN\n I know, Mom. I know.", "JOHN\n Mom! MOMMM!!\n\n206 INT. AISLE BETWEEN FURNACES", "He nods. She reaches for John and we think she's going to hug him.\n She starts to rub her hands over him and we realize she's checking for\n injuries, very clinically the way a vet checks a dog for broken bones.", "JOHN\n (whispering)\n Something's wrong. She's never this nice.", "JOHN\n Come on, Mom, you can do it! Come on!!", "JOHN\n Okay, Mom, we gotta get out now, come on.\n That's it.", "Sarah blinks, staring up at the figure looming over her.\n John kneels next to her.\n\n JOHN\n Mom, are you okay?", "JOHN\n She's not my mother, Todd!\n\n He revs the engine and peels out of the garage, with Tim almost\n falling off the back. They take off down the street.", "TIM\n Major moves, homes! So... where is your\n real mom, anyway?\n (John doesn't answer)\n She dead or something?", "JOHN\n From my mom. My real mom, I mean. Come on\n baby...\n (he grabs the last bills)\n Let's go!", "She spends only a second or two dealing with the unbelievable.\n Then she turns to John in the back seat.", "It's hard to read John's expression.\n\n JOHN\n She might as well be.\n\n John twists the throttle angrily and the bike lunges forward.", "161 IN THE HALL, John hears the firing and spins to run back.\n\n JOHN\n Mommm!!!", "She runs like the wind, like in her nightmare. If she looked back she\n would have seen John step warily out of the corridor behind", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her." ], [ "SARAH\n It, John. Not him. It.\n\n JOHN\n Alright, it! We need it!", "212 JOHN runs to Sarah. She stands staring into the pit. The empty\n shotgun slips from her fingers. Clatters to the floor. He sees that", "Sarah looks at him, exasperated and stern.\n\n SARAH\n It was stupid of you to go there.\n\n John stares at her, surprised.", "SARAH\n Out of the way, John!\n\n JOHN\n No! Don't kill him!", "JOHN\n I... had to get you out of the place... I'm\n sorry, I...\n\n His face crumples. He starts to cry. Sarah gives him a cold stare.", "SARAH\n John, get out of the way!!\n\n JOHN\n (screaming)\n SHOOT!!!!", "SARAH\n (yelling as she runs)\n John! Fire-in-the-hole!", "73F Sarah is agape. Not reacting. It's been a heavy day for her.\n Terminator grabs John by the seat of his pants and hooks him up onto", "JOHN\n (to Sarah)\n Don't forget. It's always darkness right\n before... you're totally fucked.", "dog and loving it. Sarah watches Yolanda walking her toddler by her\n hands. Backlit, stylized. She looks over at John. Loading guns and\n supplies.", "207 SARAH has lost sight of John. It is much of a goodbye as they will\n have.", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her.", "and slides behind the wheel. Sarah gets John into the back seat and\n dives into the front passenger seat as --", "90 JOHN SLEEPING, lying on a pile of rags next to a stack of tires.\n The lights are off. Sarah sits nearby, cross-legged, he back against", "SARAH\n John? John? Can you hear me? Where are you?", "SARAH\n John, get under these. Hurry!", "SARAH\n I love you, John. I always have.\n\n JOHN\n I know, Mom. I know.", "John reluctantly shows his friend the Polaroid. It is a shot of\n Sarah. Pregnant, in a jeep near the Mexican border. John doesn't", "John precedes Terminator into Sarah's weapons cache. Rifles, pistols,\n rocket launchers, mortars, RPGs, radio gear. At the far end, boxes", "SARAH\n Goddamnit, John, you have to be smarter than\n that. You're too important! You can't risk" ], [ "was no Judgment Day. People went to work as\n they always do, laughed, complained, watched\n TV, made love.", "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "Judgment Day. They lived only to face a new\n nightmare, the war against the Machines...", "screwed it up, of course. Sooner or later she'd\n always tell them about Judgment Day and me being\n this world leader and that's be all she wrote.", "July 11, 2029", "MILES DYSON is not dead. He will be very soon, but at this moment he\n is conscious. He has propped himself up against the desk, and holds a\n BOOK in one hand. A heavy technical manual.", "SARAH (V.O.)\n August 29th 1997 came and went. Nothing much\n happened. Michael Jackson turned forty. There", "SARAH (V.O.)\n That was thirty years ago. But the dark future\n which never came still exists for me, and it", "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "in the post-nuclear desolation of 2029. But here the grass is vibrant\n green and the sun is shining.", "\"TERMINATOR 2: JUDGEMENT DAY\"\n\n a Screenplay\n\n by\n\n James Cameron", "things to come. It's not every day you find\n out you're responsible for 3 billion deaths.\n He took it pretty well, considering...", "73F Sarah is agape. Not reacting. It's been a heavy day for her.\n Terminator grabs John by the seat of his pants and hooks him up onto", "VOICE\n 3 billion human lives ended on August 29th, 1997.\n The survivors of the nuclear fire called the war", "VIDEO SARAH\n It's not just a dream. It's real, you moron!\n I know the date is happens!!", "Salceda is nearby, packing food and other survival equipment with\n Yolanda. He looks up as Sarah approaches, and slaps the side of a\n BIG FOUR-BY BRONCO next to him,", "coming. It visits her every time she closes her eyes. Lost and\n alone, Sarah feels all hope recede for herself and for humanity.", "DYSON\n I think so, yeah. When?\n\n Dyson looks at her, Terminator, then John. Sees his answer.", "John takes it out of his pocket. Looks at it. Tosses it into the\n smelter.\n\n SARAH\n It's finally over.", "The second was set to strike at John himself,\n when he was still a child. As before, the\n Resistance was able to send a lone warrior. A" ], [ "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "SARAH\n And Skynet fights back.\n\n They accelerate back onto the highway.", "army. Skynet's weapons consist of Ground HKs (tank-like robot\n gun-platforms), flying Aerial HKs, four-legged gun-pods called", "CUT TO:\n\n32 EXT. CYBERDYNE SYSTEMS - DAY", "stealth bombers are upgraded with Cyberdyne\n computers, becoming fully unmanned, Afterward,\n the fly with a perfect operational record.", "TERMINATOR\n Yes. Cyberdyne Systems, Model 101.\n\n JOHN\n No way!", "JOHN\n Got ol' Skynet by the ball now, Miles. Come\n on, let's book!", "of his skull. His voice calmly directs Sarah as she spreads the bloody\n incision and locates the maintenance port for the CPU in the chrome\n skull beneath.", "one in the vault at Cyberdyne Systems. Now we know it is that that\n Miles Dyson values so highly. The brain of a terminator.", "VOICE (SARAH CONNOR)\n Skynet, the computer which controlled the machines,\n sent two terminators back through time. Their", "TERMINATOR\n In three years Cyberdyne will become the largest\n supplier of military computer systems. All", "open, like the launch controls in a nuclear silo. The guard and\n Dyson insert their keys and turn them simultaneously. Dyson then", "TERMINATOR\n My CPU is a neural-net processor... a learning\n computer. But Skynet presets the switch to\n \"read-only\" when we are sent out alone.", "those offices. Especially my office...\n everything in my office!\n (to Terminator)\n These, too! This is important.", "CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile\n Division file. Subject: John Connor. Below his ARREST RECORD are", "DYSON\n Silent alarm's been tripped. It neutralizes\n the codes throughout the building. Nothing'll\n open now.\n\n We see his nerve snapping.", "TERMINATOR\n The man most directly responsible is Miles Bennet\n Dyson, Director of Special Projects at\n Cyberdyne Systems Corporation.", "The third blow slams into his back, smashing his spine and pelvis. We\n hear servos ratcheting and failing. He drops to his knees, crucified\n on a wall of machinery.", "John precedes Terminator into Sarah's weapons cache. Rifles, pistols,\n rocket launchers, mortars, RPGs, radio gear. At the far end, boxes", "It is a perfect chameleon. A liquid metal robot. A killing machine\n with the ultimate skills of mimicry for infiltration of human society." ], [ "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "TERMINATOR\n Yes. Cyberdyne Systems, Model 101.\n\n JOHN\n No way!", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "TERMINATOR\n My mission is to protect you.\n\n JOHN\n Yeah? Who sent you?", "TERMINATOR\n No. Only an object of equal size.\n\n John's still reeling from meeting one terminator, which now seems\n downright conventional next to the exotic new model.", "JOHN\n Jesus... you were gonna kill that guy!\n\n TERMINATOR\n Of course. I'm a terminator.", "TERMINATOR\n You are targeted for termination. The T-1000\n will not stop until it complete its mission.\n Ever.\n\n John mulls that over.", "JOHN\n (to Terminator)\n Is it dead?\n\n TERMINATOR\n Terminated.", "JOHN\n Oh, great. And what happens to her?\n\n Terminator's reply is matter-of-fact.", "Terminator. John, however, catches a glimpse of the fleeing Sarah and\n figures out instantly what happened.", "Terminator sees the SILHOUETTE closing on them through the smoky\n gleam. The T-1000 breaks into loping run when it sees them,\n Terminator turns to Sarah over John.", "JOHN\n So this other guy? He's a terminator too,\n right, like you?", "JOHN\n Listen to me, very carefully, okay? You're not\n a terminator any more. Alright? You got that?\n You can't just go around killing people!", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "Terminator, with John in front of him on the Harley, roars down the\n empty street. John cranes his neck around to get a look at the", "John stares at him. Having your own terminator just became a little\n bit less fun to him.", "JOHN\n Now don't take this the wrong way, but you are\n a terminator, right?", "The guy seems to know better than to try and stop him as Terminator\n slides Sarah into the front seat and climbs in behind the wheel. John\n runs to the passenger side.", "Terminator strains against the machine pinning him. We hear his\n servos whining with overload. The T-1000 turns and lopes toward Sarah\n and John.", "John motions to Terminator and breaks into a run.\n\n JOHN\n Come on. Let's go. LET'S GO!!" ], [ "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "Terminator pushes John behind him. They start backing up.", "TERMINATOR\n Yes. Cyberdyne Systems, Model 101.\n\n JOHN\n No way!", "TERMINATOR\n My mission is to protect you.\n\n JOHN\n Yeah? Who sent you?", "TERMINATOR\n No. Only an object of equal size.\n\n John's still reeling from meeting one terminator, which now seems\n downright conventional next to the exotic new model.", "TERMINATOR\n You did. Thirty years from now you reprogrammed\n me to be your protector here, in this time.\n\n John gives him an amazed look.", "The car backs along the service driveway toward the security gate.\n John hands the shot gun back to Terminator.\n He leans out the window and takes aim at the pursuer.", "The guy seems to know better than to try and stop him as Terminator\n slides Sarah into the front seat and climbs in behind the wheel. John\n runs to the passenger side.", "JOHN\n Oh, great. And what happens to her?\n\n Terminator's reply is matter-of-fact.", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "John stares at him. Having your own terminator just became a little\n bit less fun to him.", "John looks back... the T-1000 is behind him, running. He twists the\n throttle and guns the little bike forward. Incredibly, the T-1000", "The doors start to close. T-1000 clears the corner.\n Terminator slams John and Sarah back against the side walls as the", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility", "JOHN\n No, no no!! It'll be okay. Stay with us!\n\n TERMINATOR\n I have to go away, John.", "Terminator. John, however, catches a glimpse of the fleeing Sarah and\n figures out instantly what happened.", "JOHN\n You have to do what I say?!\n\n TERMINATOR\n That is one of my mission parameters.", "TERMINATOR\n You are targeted for termination. The T-1000\n will not stop until it complete its mission.\n Ever.\n\n John mulls that over.", "JOHN\n Jesus... you were gonna kill that guy!\n\n TERMINATOR\n Of course. I'm a terminator." ], [ "He sees the T-1000 roll to his feet and continue running.\n But he's dropping way behind now. Sarah has the car floored and the", "176B Sarah and John stumble along the corridor, coughing.\n They leap into the back of the van and Terminator hits the throttle.\n The van roars across the lobby and exits through blown-out windows.", "She turns as the T-1000 closes on her. She is half-slumped against\n the sooty machines, looking barely conscious. She struggles to load", "Sarah doesn't need to be told twice.\n T-1000 walks toward them, opening fire with the Browning Hi-Power.", "Feet dragging on the pavement, it slams its other hand down,\n punching another metal hook into the trunk lid, pulling itself up.\n Terminator turns to Sarah.", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "John turns away, ashamed. Sarah lets her breath out, realizing how\n keyed up she is. She turns to Terminator, giving him a wary once-\n over.", "Sarah, is a daze, takes the huge hand in her shaking fingers.\n Terminator lifts her to her feet.", "Terminator gets one of Sarah's arms over his shoulder and they go.\n BEHIND THEM, something is moving.", "TERMINATOR steps out... his head swivels to face her.\n Sarah reacts, stricken by the image from her worst nightmares.", "When she turns back to the window, T-1000's no longer there. She\n goes to the counter and leans out to see if he's at the drinking", "The two bored attendants barely notice the T-1000/Guard as it\n approaches. Looks briefly at a chart next to the door, seeing\n SARAH CONNOR is in #19.", "AT THE GARAGE DOOR. Terminator breaks the lock on the roll-up door\n and raises it. Sarah pulls the security car in out of sight.\n Terminator rolls the door down behind them.", "Terminator sees the SILHOUETTE closing on them through the smoky\n gleam. The T-1000 breaks into loping run when it sees them,\n Terminator turns to Sarah over John.", "Sarah looks at Terminator, still not quite believing this is\n happening. But this is a different Sarah than the waitress of 1984.", "181B T-1000 FIRES the machine pistol.\n181C Sarah has popped out to fire. She takes a HIT in the thigh, and", "The doors start to close. T-1000 clears the corner.\n Terminator slams John and Sarah back against the side walls as the", "SARAH\n And Skynet fights back.\n\n They accelerate back onto the highway.", "trank. Sarah cranes her neck and sees the dark silhouette of\n Terminator coming up behind them. It is exactly her nightmare.\n She screams in utter hopelessness.", "Terminator strains against the machine pinning him. We hear his\n servos whining with overload. The T-1000 turns and lopes toward Sarah\n and John." ], [ "JOHN\n Mom!! Wait!\n\n Sarah doesn't hear. She has clicked fully into her own nightmare.\n They take off running after Sarah.", "John ducks just as the cop glances over. He slinks out the other side\n of the ride and heads for the back of the store, instinctively\n retreating. Sarah has taught him that cops are bad news.", "A120B MOVING WITH SARAH as she leaves the compound. We see John running\n after her... yelling. Can't hear his words. She looks in the rear-\n view mirror but doesn't slow down.", "212 JOHN runs to Sarah. She stands staring into the pit. The empty\n shotgun slips from her fingers. Clatters to the floor. He sees that", "SARAH\n Out of the way, John!\n\n JOHN\n No! Don't kill him!", "207 SARAH has lost sight of John. It is much of a goodbye as they will\n have.", "John runs, dragging, half-carrying Sarah as best he can.\n She can barely stay conscious. Half-running, delirious, she stumbles\n and drops to her knees. John pulls but she can't rise.", "JOHN\n I... had to get you out of the place... I'm\n sorry, I...\n\n His face crumples. He starts to cry. Sarah gives him a cold stare.", "SARAH\n Yeah. I'm gonna wait till dark to cross the\n border.\n (she pulls him away from", "He and John head back the way they came, through security.\n Sarah sees that in her work, she has set the detonator down twenty\n feet away, near where Dyson is standing.", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her.", "SARAH\n John, get out of the way!!\n\n JOHN\n (screaming)\n SHOOT!!!!", "SARAH\n (yelling as she runs)\n John! Fire-in-the-hole!", "SARAH\n John? John? Can you hear me? Where are you?", "and slides behind the wheel. Sarah gets John into the back seat and\n dives into the front passenger seat as --", "SARAH\n John, get under these. Hurry!", "Sarah takes off running, looking back at the frustrated orderlies.\n They're shouting at each other, unable to fit their keys into the\n lock --", "176B Sarah and John stumble along the corridor, coughing.\n They leap into the back of the van and Terminator hits the throttle.\n The van roars across the lobby and exits through blown-out windows.", "John keeps his hand right where it is.\n\n SARAH\n We're better off by ourselves.", "Sarah looks at him, exasperated and stern.\n\n SARAH\n It was stupid of you to go there.\n\n John stares at her, surprised." ], [ "TERMINATOR\n The man most directly responsible is Miles Bennet\n Dyson, Director of Special Projects at\n Cyberdyne Systems Corporation.", "SARAH\n I need to know how Skynet get built. Who's\n responsible?", "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "TERMINATOR\n Dyson.\n\n JOHN\n Yeah, gotta be! Miles Dyson! She's gonna blow\n him away!", "SARAH\n Why him?\n\n TERMINATOR\n In a few months he creates a revolutionary\n type of mircoprocessor.", "TERMINATOR\n Yes. Cyberdyne Systems, Model 101.\n\n JOHN\n No way!", "one in the vault at Cyberdyne Systems. Now we know it is that that\n Miles Dyson values so highly. The brain of a terminator.", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility", "JOHN\n We're not gonna make it, are we? People, I\n mean.\n\n TERMINATOR\n It is in your nature to destroy yourselves.", "JOHN\n Got ol' Skynet by the ball now, Miles. Come\n on, let's book!", "DYSON\n They have it in a vault at Cyberdyne...\n (to Terminator)\n It's gotta be from the other one like you.", "army. Skynet's weapons consist of Ground HKs (tank-like robot\n gun-platforms), flying Aerial HKs, four-legged gun-pods called", "SARAH (V.O.)\n Dyson listened while the Terminator laid it all\n down. Skynet. Judgment Day... the history of", "DYSON\n My God.\n\n TERMINATOR\n Now listen to me very carefully.", "SARAH\n And Skynet fights back.\n\n They accelerate back onto the highway.", "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "TERMINATOR\n In three years Cyberdyne will become the largest\n supplier of military computer systems. All", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "John touches Terminator's skin. Then the blood on his jacket.\n His mind overloads as the reality of it hits him.", "MILES DYSON is not dead. He will be very soon, but at this moment he\n is conscious. He has propped himself up against the desk, and holds a\n BOOK in one hand. A heavy technical manual." ], [ "John is still in shock from the experience of what just happened and\n he's just a ten-year kid, but he's also John Connor who will someday\n rise to greatness, and we see a bit of that in him even know.", "protector for John. It was just a question of\n which one of them would reach him first...", "The second was set to strike at John himself,\n when he was still a child. As before, the\n Resistance was able to send a lone warrior. A", "JOHN\n Look, Mom, if I'm supposed to ever be this great\n leader, you should start listening to my", "JOHN\n See, I grew up in places like this, so I just\n thought it was how people lived... riding\n around in helicopters. Learning how to blow\n shit up.", "He makes a plunger-pushing motion with his thumb and an accompanying\n \"click\" sound. Dyson nods.\n Just then John comes running in, holding up the key.", "JOHN, totally stunned by all this, remembers to move. He staggers to\n his feet. Stumble-runs toward the parking garage.", "He nods. She reaches for John and we think she's going to hug him.\n She starts to rub her hands over him and we realize she's checking for\n injuries, very clinically the way a vet checks a dog for broken bones.", "There is a man in is forties playing with two small children\n nearby. He turns. It is John Connor. Through he has the same stern", "John drags it far enough to reveal... a rectangular hole in the\n ground. Like the mouth of a tomb. The kid drops down from the\n tractor and walks to the hole.", "SARAH\n It, John. Not him. It.\n\n JOHN\n Alright, it! We need it!", "JOHN\n \"No fate.\" No fate but what we make. My father\n told her this... I mean I made him memorize it,", "47C ABOVE THEM, on the service road running parallel, Terminator is\n fighting to overtake them. He looks down and sees John with the tow-", "John looks behind him for a place to run. Sees the cop coming toward\n him, pulling his Beretta pistol. Incredibly, John realizes the cop", "John stares at him. Having your own terminator just became a little\n bit less fun to him.", "John holds his hand up, like he's being sworn in. Terminator stares\n at John a beat. Then mimics the gesture.", "JOHN\n (crying, shouting)\n Come on, you gotta try... please, Mom. Get up!\n\n John looks back to see --", "John's weight is just enough to deflect the gun a few inches. The\n guy flinches, stunned by the K-BOOM next to his ear. He stares,", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her.", "missing John by inches as he ducks.\n It draws back for another swing, lunging forward as --" ], [ "JOHN, totally stunned by all this, remembers to move. He staggers to\n his feet. Stumble-runs toward the parking garage.", "is gaining. This nightmare isn't happening. John races out the exit\n ramp, and charges right into the street.", "JOHN\n I... had to get you out of the place... I'm\n sorry, I...\n\n His face crumples. He starts to cry. Sarah gives him a cold stare.", "John looks behind him for a place to run. Sees the cop coming toward\n him, pulling his Beretta pistol. Incredibly, John realizes the cop", "John ducks just as the cop glances over. He slinks out the other side\n of the ride and heads for the back of the store, instinctively\n retreating. Sarah has taught him that cops are bad news.", "He pulls away from her. He hates her always checking him, treating\n him like he might break, like some piece of rare china.\n\n JOHN\n I said I was okay.", "JOHN\n Help! HELP!! I'm being kidnapped! Get this\n psycho off of me!", "John has tried to sound casual, but we see in his eyes that is really\n hurts. He slaps Tim on the shoulder and they jump onto his Honda.\n John fires up and they whine off down the alley.", "He nods. She reaches for John and we think she's going to hug him.\n She starts to rub her hands over him and we realize she's checking for\n injuries, very clinically the way a vet checks a dog for broken bones.", "John jumps up on the desk next to the wall-mounted locker. Dyson\n stares in amazement as John starts pulling his counter-electronics", "JOHN\n Mom!! Wait!\n\n Sarah doesn't hear. She has clicked fully into her own nightmare.\n They take off running after Sarah.", "John takes it out of his pocket. Looks at it. Tosses it into the\n smelter.\n\n SARAH\n It's finally over.", "shocked. Pissing himself. John is freaking out, too.\n He screams at Terminator.", "He makes a plunger-pushing motion with his thumb and an accompanying\n \"click\" sound. Dyson nods.\n Just then John comes running in, holding up the key.", "SARAH\n John, get out of the way!!\n\n JOHN\n (screaming)\n SHOOT!!!!", "JOHN\n (crying, shouting)\n Come on, you gotta try... please, Mom. Get up!\n\n John looks back to see --", "JOHN\n Don't do it. Please... don't go --\n\n Tears are streaming down his face.", "But John is moving, running after her.\n\n JOHN\n Mommm!! Wait!!", "She reaches back through the bars, turns the key, and purposefully\n snaps it off in the lock. An instant later the big orderly slams", "head, bouncing him off the linoleum. Lights out, Douglas.\n She drags him into her cell and locks him in with his own keys. Then" ], [ "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "TERMINATOR\n Yes. It launches its ICBMs against their\n targets in Russia.\n\n SARAH\n Why attack Russia?", "SARAH (V.O.)\n Dyson listened while the Terminator laid it all\n down. Skynet. Judgment Day... the history of", "Judgment Day. They lived only to face a new\n nightmare, the war against the Machines...", "JOHN\n We're not gonna make it, are we? People, I\n mean.\n\n TERMINATOR\n It is in your nature to destroy yourselves.", "JOHN\n Oh, great. And what happens to her?\n\n Terminator's reply is matter-of-fact.", "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile\n Division file. Subject: John Connor. Below his ARREST RECORD are", "SARAH\n Why him?\n\n TERMINATOR\n In a few months he creates a revolutionary\n type of mircoprocessor.", "ICBMs deploy their MIRVs... the warheads stream down... it's more than\n he can deal with. The world gets nuked. Game over. He slouches", "JOHN\n Got ol' Skynet by the ball now, Miles. Come\n on, let's book!", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility", "JOHN\n (to Terminator)\n Is it dead?\n\n TERMINATOR\n Terminated.", "Through the clearing vapor we see the figure clearly... a naked man.\n TERMINATOR has come through. Physique: massive, perfect. Face:\n devoid of emotion. Terminator stands and impassively surveys its\n surroundings.", "John touches Terminator's skin. Then the blood on his jacket.\n His mind overloads as the reality of it hits him.", "JOHN\n Jesus... you were gonna kill that guy!\n\n TERMINATOR\n Of course. I'm a terminator.", "Feet dragging on the pavement, it slams its other hand down,\n punching another metal hook into the trunk lid, pulling itself up.\n Terminator turns to Sarah.", "SARAH (V.O.)\n Watching John with the machine, it was suddenly\n so clear. The Terminator would never stop, it" ], [ "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "army. Skynet's weapons consist of Ground HKs (tank-like robot\n gun-platforms), flying Aerial HKs, four-legged gun-pods called", "SARAH\n And Skynet fights back.\n\n They accelerate back onto the highway.", "SARAH (V.O.)\n Dyson listened while the Terminator laid it all\n down. Skynet. Judgment Day... the history of", "TERMINATOR\n Yes. Cyberdyne Systems, Model 101.\n\n JOHN\n No way!", "TERMINATOR\n My CPU is a neural-net processor... a learning\n computer. But Skynet presets the switch to\n \"read-only\" when we are sent out alone.", "JOHN\n Got ol' Skynet by the ball now, Miles. Come\n on, let's book!", "VOICE (SARAH CONNOR)\n Skynet, the computer which controlled the machines,\n sent two terminators back through time. Their", "one in the vault at Cyberdyne Systems. Now we know it is that that\n Miles Dyson values so highly. The brain of a terminator.", "Terminator cruises slowly on the bike. Scanning. He crosses an\n overpass above a drainage canal and whips his head around at the\n sound of a dirt-bike engine.", "It is a perfect chameleon. A liquid metal robot. A killing machine\n with the ultimate skills of mimicry for infiltration of human society.", "TERMINATOR\n The man most directly responsible is Miles Bennet\n Dyson, Director of Special Projects at\n Cyberdyne Systems Corporation.", "SARAH\n I need to know how Skynet get built. Who's\n responsible?", "CUT TO:\n\n32 EXT. CYBERDYNE SYSTEMS - DAY", "DYSON\n They have it in a vault at Cyberdyne...\n (to Terminator)\n It's gotta be from the other one like you.", "DYSON\n My God.\n\n TERMINATOR\n Now listen to me very carefully.", "Feet dragging on the pavement, it slams its other hand down,\n punching another metal hook into the trunk lid, pulling itself up.\n Terminator turns to Sarah.", "TERMINATOR\n Because Skynet knows the Russian counter-strike\n will remove its enemies here.", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "Through the clearing vapor we see the figure clearly... a naked man.\n TERMINATOR has come through. Physique: massive, perfect. Face:\n devoid of emotion. Terminator stands and impassively surveys its\n surroundings." ], [ "The second was set to strike at John himself,\n when he was still a child. As before, the\n Resistance was able to send a lone warrior. A", "protector for John. It was just a question of\n which one of them would reach him first...", "SARAH\n Out of the way, John!\n\n JOHN\n No! Don't kill him!", "John looks behind him for a place to run. Sees the cop coming toward\n him, pulling his Beretta pistol. Incredibly, John realizes the cop", "REESE\n It's John who's the target now. You have to\n protect him. He's wide open.\n\n SARAH\n I know!", "JOHN\n This in intense. Get a grip, John. Okay, uh...\n you're not here to kill me... I figured that part\n out for myself. So what's the deal?", "John stares at him. Having your own terminator just became a little\n bit less fun to him.", "The car backs along the service driveway toward the security gate.\n John hands the shot gun back to Terminator.\n He leans out the window and takes aim at the pursuer.", "JOHN, totally stunned by all this, remembers to move. He staggers to\n his feet. Stumble-runs toward the parking garage.", "John's weight is just enough to deflect the gun a few inches. The\n guy flinches, stunned by the K-BOOM next to his ear. He stares,", "shocked. Pissing himself. John is freaking out, too.\n He screams at Terminator.", "which looks human of course, was sent back\n though time to kill her. And also that the\n father of her child was a soldier, sent to", "John has tried to sound casual, but we see in his eyes that is really\n hurts. He slaps Tim on the shoulder and they jump onto his Honda.\n John fires up and they whine off down the alley.", ".45-caliber hole clean through his left shoulder. He smears the wall\n with blood as he staggers up. Looking back, he sees the implacable\n figure behind him, coming on.", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her.", "missing John by inches as he ducks.\n It draws back for another swing, lunging forward as --", "47C ABOVE THEM, on the service road running parallel, Terminator is\n fighting to overtake them. He looks down and sees John with the tow-", "JOHN\n Now remember, you're not gonna kill anyone,\n right?\n\n TERMINATOR\n Right.", "John realizes what she is about to do. Dives at her as the sledge is\n whistling down.", "JOHN, transfixed by terror, is trapped in the narrow featureless\n shooting gallery of the corridor. THE SHOTGUN COMES UP. Terminator" ], [ "T-1000 climbs out of the canal behind them. More cops arrive. T-1000\n blends in perfectly. There are always cops at diasters and scenes of", "T-1000\n You have a Sarah Connor here?\n\n She assumes he's with the other cops. Smiles.", "We realize now that the cop is a terminator too. We don't know the\n details yet, but let's call him the T-1000 (since that's what he is).", "The T-1000 rises to man-height. It is still in mercury form, but its\n features are forming rapidly. It takes its first step after them.", "The T-1000 steps INTO FRAME. Fully formed. The hell-fire light\n glints on its impassive cop face. It walks forward. At first it", "takes his place. The truck is still rolling along about 25 mph.\n T-1000 accelerates after John without missing a beat. It can see him,", "82A T-1000 walks unperturbed among the milling cops. No one notices him.\n It slips into its cruiser and drives off into the night.\n\n83 INT. CAR", "He sees the T-1000 roll to his feet and continue running.\n But he's dropping way behind now. Sarah has the car floored and the", "He grabs T-1000 in his massive hands but the T-1000 snaps back with a\n counter-grip. After about two seconds of intense slamming, the walls", "John looks back... the T-1000 is behind him, running. He twists the\n throttle and guns the little bike forward. Incredibly, the T-1000", "80H The car speeds off into the night.\n REVERSE on the T-1000, walking now, coming right up into closeup,\n watching the tail lights recede. It looks down.", "53B JANELLE CHANGES rapidly into the COP we now know as the T-1000. The\n change has liquid quality. T-1000 opens the back door.", "Sarah doesn't need to be told twice.\n T-1000 walks toward them, opening fire with the Browning Hi-Power.", "barking in fear. T-1000 walk right into CLOSE UP. Reaches down, OUT\n OF FRAME. We hear that sickening THUNK followed by a shrill YELP.", "79 The T-1000 is running at them out of the inferno below.\n This guy won't quit. Shifting from chrome mode to cop-form as it", "The two bored attendants barely notice the T-1000/Guard as it\n approaches. Looks briefly at a chart next to the door, seeing\n SARAH CONNOR is in #19.", "The T-1000 thunders along on the Kawasaki 1100, doing about a hundred\n and twenty. PAN WITH IT until it recedes toward the horizon.", "69 IN THE CORRIDOR outside cell #19 the T-1000 stops and looks in the\n window. Douglas, his face a bloody mess, yells to be heard.", "The doors start to close. T-1000 clears the corner.\n Terminator slams John and Sarah back against the side walls as the", "He cuts the wheel hard. The car slews into a reverse 180, swapping\n ends with a screech.\n T-1000 is almost on them." ], [ "TERMINATOR\n My mission is to protect you.\n\n JOHN\n Yeah? Who sent you?", "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "T-1000 finds an envelope... a letter from Sarah to John sent since\n she's been at Pescadero State Hospital. It reads the return address", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "JOHN\n Oh, great. And what happens to her?\n\n Terminator's reply is matter-of-fact.", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "TERMINATOR\n She intends to change the future somehow.\n\n JOHN\n I guess, yeah --\n (snaps his fingers as it hit him)\n Oh shit!!", "JOHN\n No, no no!! It'll be okay. Stay with us!\n\n TERMINATOR\n I have to go away, John.", "87 TIGHT ON TERMINATOR'S BACK. The leather jacket is riddled with bullet\n holes. Sarah and John help pull it off, revealing Terminator's\n broad, muscular back beneath.", "John looks back... the T-1000 is behind him, running. He twists the\n throttle and guns the little bike forward. Incredibly, the T-1000", "TERMINATOR\n You did. Thirty years from now you reprogrammed\n me to be your protector here, in this time.\n\n John gives him an amazed look.", "The car backs along the service driveway toward the security gate.\n John hands the shot gun back to Terminator.\n He leans out the window and takes aim at the pursuer.", "The doors start to close. T-1000 clears the corner.\n Terminator slams John and Sarah back against the side walls as the", "which looks human of course, was sent back\n though time to kill her. And also that the\n father of her child was a soldier, sent to", "80F T-1000 tumbles backward off the accelerating car.\n John looks out the back window, his eyes wide.", "know it now, but he will carry the photo with him for over 30 years,\n and give it to a young man named Kyle Reese, who will travel back in", "TERMINATOR\n I know now why you cry. But it is something I\n can never do.\n (to both of them)\n Goodbye.", "VOICE (SARAH CONNOR)\n Skynet, the computer which controlled the machines,\n sent two terminators back through time. Their", "80H The car speeds off into the night.\n REVERSE on the T-1000, walking now, coming right up into closeup,\n watching the tail lights recede. It looks down.", "TERMINATOR\n It must end here... or I am the future.\n\n JOHN\n I order you not to!" ], [ "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "TERMINATOR\n Why?\n\n JOHN\n Whattaya mean, why? 'Cause you can't!", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility", "TERMINATOR\n My mission is to protect you.\n\n JOHN\n Yeah? Who sent you?", "TERMINATOR\n Why?\n\n JOHN\n You just can't, okay? Trust me on this.", "mission: to destroy the leader of the human\n Resistance... John Connor. My son.", "JOHN\n Oh, great. And what happens to her?\n\n Terminator's reply is matter-of-fact.", "JOHN\n You have to do what I say?!\n\n TERMINATOR\n That is one of my mission parameters.", "JOHN\n No, no no!! It'll be okay. Stay with us!\n\n TERMINATOR\n I have to go away, John.", "JOHN\n No!\n\n TERMINATOR\n I'm sorry, John.", "JOHN\n Listen to me, very carefully, okay? You're not\n a terminator any more. Alright? You got that?\n You can't just go around killing people!", "TERMINATOR\n She intends to change the future somehow.\n\n JOHN\n I guess, yeah --\n (snaps his fingers as it hit him)\n Oh shit!!", "SARAH (V.O.)\n Watching John with the machine, it was suddenly\n so clear. The Terminator would never stop, it", "The guy seems to know better than to try and stop him as Terminator\n slides Sarah into the front seat and climbs in behind the wheel. John\n runs to the passenger side.", "John touches Terminator's skin. Then the blood on his jacket.\n His mind overloads as the reality of it hits him.", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "There is a man in is forties playing with two small children\n nearby. He turns. It is John Connor. Through he has the same stern", "John motions to Terminator and breaks into a run.\n\n JOHN\n Come on. Let's go. LET'S GO!!", "JOHN\n Remember what I said, you can't...\n\n TERMINATOR\n Trust me." ], [ "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "TERMINATOR\n Yes. Throw it in.\n \n He does. It sinks into the lava. Vanishes.\n\n TERMINATOR\n And the chip.", "TERMINATOR\n I know now why you cry. But it is something I\n can never do.\n (to both of them)\n Goodbye.", "JOHN\n Oh, great. And what happens to her?\n\n Terminator's reply is matter-of-fact.", "JOHN\n (to Terminator)\n Is it dead?\n\n TERMINATOR\n Terminated.", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "Terminator puts his hand on John's shoulder. He moves slightly and\n the human side of his face comes into the light.\n He reaches toward John's face. His metal finger touches the tear\n trickling down his cheek.", "SARAH\n Can it be destroyed?\n\n TERMINATOR\n Unknown.", "The craters in the T-1000's body \"heal\" slowly. Its power is waning.\n She FIRES again. And again. Her eyes blazing with feral intensity.", "TERMINATOR\n I must be destroyed.\n\n SARAH\n (to Dyson)\n Can you get us in there, past security?", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility", "JOHN\n We're not gonna make it, are we? People, I\n mean.\n\n TERMINATOR\n It is in your nature to destroy yourselves.", "SARAH (V.O.)\n Watching John with the machine, it was suddenly\n so clear. The Terminator would never stop, it", "They OPEN FIRE. The corridor is filled with CRACKING THUNDER. The\n rounds tear into Terminator's chest. Stomach. Face. Thighs. His", "TERMINATOR\n Dyson.\n\n JOHN\n Yeah, gotta be! Miles Dyson! She's gonna blow\n him away!", "SARAH\n (cynical)\n Doesn't want you thinking too much, huh?\n\n TERMINATOR\n No.", "We realize now that the cop is a terminator too. We don't know the\n details yet, but let's call him the T-1000 (since that's what he is).", "Terminator strains against the machine pinning him. We hear his\n servos whining with overload. The T-1000 turns and lopes toward Sarah\n and John.", "He grinds the cigar out on Terminator's chest. Which produces not\n the slight reaction of pain. Terminator calmly, and without", "John touches Terminator's skin. Then the blood on his jacket.\n His mind overloads as the reality of it hits him." ], [ "There is a man in is forties playing with two small children\n nearby. He turns. It is John Connor. Through he has the same stern", "John is still in shock from the experience of what just happened and\n he's just a ten-year kid, but he's also John Connor who will someday\n rise to greatness, and we see a bit of that in him even know.", "TIGHT ON YOUNG JOHN CONNOR, who at his moment is ten years old and\n busy reassembling the carburetor on his Honda 125 dirtbike. He has", "CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile\n Division file. Subject: John Connor. Below his ARREST RECORD are", "John and Terminator watch them rolling on the ground in a fight to the\n death. Sarah rounds the front of the truck, and sees the kids. John\n sighs, solemn. He looks up at the cyborg.", "John is now sitting on the curb, lost in stunned thought. Terminator\n stands above him, watching the street like a Doberman. He glances\n down at John.", "John and Terminator walks to an old Chevy pickup parked behind the\n garage. The day is clear but windy. Dust devils chase themselves", "Terminator, with John in front of him on the Harley, roars down the\n empty street. John cranes his neck around to get a look at the", "John and Dyson are isolated from the world in this silent steel womb.\n Dyson opens the cabinet containing the terminator relics. It's John", "John precedes Terminator into Sarah's weapons cache. Rifles, pistols,\n rocket launchers, mortars, RPGs, radio gear. At the far end, boxes", "Terminator pushes John behind him. They start backing up.", "Terminator looks down at John, next to him. He says quietly...", "John and Terminator on the bike again, weaving through the side\n streets. They blend into the evening traffic. In the darkness,\n Terminator's wounds are not readily visible. John cranes his head up\n and back.", "OFFICER X\n Are you the legal guardian of John Connor?\n\n TODD\n That's right, officer. What's he done now?", "136A The front door is kicked in.\n Terminator steps inside. John grabs his sleeve and pushes past him.", "Terminator and John rolls into the alley and come to a stop. John\n slides off the gas tank. Terminator impassively stares at him. John\n checks him out. Tentatively speaks.", "Terminator and John leap from the jeep, sprinting toward the house.\n The shots sound muffles from outside.\n\n JOHN\n Shit, we're too late!", "John turns away, ashamed. Sarah lets her breath out, realizing how\n keyed up she is. She turns to Terminator, giving him a wary once-\n over.", "his vital stats. Mother: Sarah Connor. Legal Guardians: Todd and\n Janelle Voight. And below their names, an address: 523 S. Almond.", "47C ABOVE THEM, on the service road running parallel, Terminator is\n fighting to overtake them. He looks down and sees John with the tow-" ], [ "There is a man in is forties playing with two small children\n nearby. He turns. It is John Connor. Through he has the same stern", "CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile\n Division file. Subject: John Connor. Below his ARREST RECORD are", "John is still in shock from the experience of what just happened and\n he's just a ten-year kid, but he's also John Connor who will someday\n rise to greatness, and we see a bit of that in him even know.", "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "Terminator, with John in front of him on the Harley, roars down the\n empty street. John cranes his neck around to get a look at the", "TIGHT ON YOUNG JOHN CONNOR, who at his moment is ten years old and\n busy reassembling the carburetor on his Honda 125 dirtbike. He has", "The first terminator was programmed to strike at\n me, in the year 1984... before John was born.\n It failed.", "John is now sitting on the curb, lost in stunned thought. Terminator\n stands above him, watching the street like a Doberman. He glances\n down at John.", "John and Terminator walks to an old Chevy pickup parked behind the\n garage. The day is clear but windy. Dust devils chase themselves", "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "136A The front door is kicked in.\n Terminator steps inside. John grabs his sleeve and pushes past him.", "The guy seems to know better than to try and stop him as Terminator\n slides Sarah into the front seat and climbs in behind the wheel. John\n runs to the passenger side.", "John precedes Terminator into Sarah's weapons cache. Rifles, pistols,\n rocket launchers, mortars, RPGs, radio gear. At the far end, boxes", "John and Terminator watch them rolling on the ground in a fight to the\n death. Sarah rounds the front of the truck, and sees the kids. John\n sighs, solemn. He looks up at the cyborg.", "JOHN\n Where we going?\n\n TERMINATOR\n We have to leave the city, immediately. And\n avoid the authorities.", "John and Terminator on the bike again, weaving through the side\n streets. They blend into the evening traffic. In the darkness,\n Terminator's wounds are not readily visible. John cranes his head up\n and back.", "John touches Terminator's skin. Then the blood on his jacket.\n His mind overloads as the reality of it hits him.", "OFFICER X\n Are you the legal guardian of John Connor?\n\n TODD\n That's right, officer. What's he done now?", "DYSON\n I think so, yeah. When?\n\n Dyson looks at her, Terminator, then John. Sees his answer.", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility" ], [ "John runs, dragging, half-carrying Sarah as best he can.\n She can barely stay conscious. Half-running, delirious, she stumbles\n and drops to her knees. John pulls but she can't rise.", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her.", "SARAH\n Out of the way, John!\n\n JOHN\n No! Don't kill him!", "JOHN\n I... had to get you out of the place... I'm\n sorry, I...\n\n His face crumples. He starts to cry. Sarah gives him a cold stare.", "JOHN\n Mom!! Wait!\n\n Sarah doesn't hear. She has clicked fully into her own nightmare.\n They take off running after Sarah.", "SARAH\n John, get out of the way!!\n\n JOHN\n (screaming)\n SHOOT!!!!", "212 JOHN runs to Sarah. She stands staring into the pit. The empty\n shotgun slips from her fingers. Clatters to the floor. He sees that", "JOHN\n No!!!!\n\n He slaps his hand down over the chip.\n Sarah barely stops the sledge before smashing his fingers.", "He and John head back the way they came, through security.\n Sarah sees that in her work, she has set the detonator down twenty\n feet away, near where Dyson is standing.", "SARAH\n It, John. Not him. It.\n\n JOHN\n Alright, it! We need it!", "195 JOHN AND SARAH have seen it from the pickup. She is in bad shape.\n Conscious but very weak. He tries the door. It's jammed. He kicks\n it open.", "SARAH\n (yelling as she runs)\n John! Fire-in-the-hole!", "SARAH\n I don't trust it! These things are hard to\n kill, John, believe me, I know. We may never\n have this opportunity again.", "Sarah looks at him, exasperated and stern.\n\n SARAH\n It was stupid of you to go there.\n\n John stares at her, surprised.", "Sarah screams and hurls John into a gap between the machines. He\n falls into a maze of pipes and girders.\n\n205 INT. MAZE OF MACHINES", "WIDER. John and Sarah stare in amazement. There are at least twenty\n bullet holes in him. Back. Arms. Legs. Fortunately they're all", "and slides behind the wheel. Sarah gets John into the back seat and\n dives into the front passenger seat as --", "SARAH\n John, get under these. Hurry!", "John ducks just as the cop glances over. He slinks out the other side\n of the ride and heads for the back of the store, instinctively\n retreating. Sarah has taught him that cops are bad news.", "Sarah blinks, staring up at the figure looming over her.\n John kneels next to her.\n\n JOHN\n Mom, are you okay?" ], [ "His fierce face breaks into a broad grin. The shotgun drops to his\n side as he walks toward her. When he reaches her he hugs her, then\n steps back.", ".45-caliber hole clean through his left shoulder. He smears the wall\n with blood as he staggers up. Looking back, he sees the implacable\n figure behind him, coming on.", "THE COP catches the SHOTGUN'S BLAST square in the chest just as he\n fires the pistol. The pistol's shot goes wild.", "the window behind him. This saves him as K-THUMP! -- the second shot\n blows the top of his high-backed chain into an explosion of stuffing\n an inch from his head.", "SARAH\n John, get out of the way!!\n\n JOHN\n (screaming)\n SHOOT!!!!", "The car backs along the service driveway toward the security gate.\n John hands the shot gun back to Terminator.\n He leans out the window and takes aim at the pursuer.", "The cops have shown up, as they always do. There are black-and-whites\n everywhere, and ambulances are arriving. Two cops and an orderly are", "It's quite pathetic.\n A nurse shoots him up with a sedative. They lead him away.", "The spike is withdrawn -- SWIISHHTT! -- so rapidly, Todd is actually\n standing there a second before he slumps out of sight. THUMP.", "Sarah raises the pistol, eyes riveted ahead, controlling her\n breathing. Dyson springs up in a full-tilt sprint. She tracks him.", "John looks behind him for a place to run. Sees the cop coming toward\n him, pulling his Beretta pistol. Incredibly, John realizes the cop", "Dyson looks up, through his pain and incomprehension. Why is this\n nightmare happening? The black gun muzzle is a foot from his face.", "down four feet into the elevator car.\n It is inches from Sarah's face.\n She opens fire, BAM-BAM-BAM -- right through the roof.", "Her eyes go wide as momentum carries her forward.\n Her bare feet slip on the slick tile. She slams to the floor,\n staring up at the leather-clad figure with the shotgun.", "He helps her slide down from the seat of the truck. Her knees give\n way. John has to take a lot of her weight. He reaches in and picks\n up the riot gun off the seat. They hobble toward --", "JOHN, transfixed by terror, is trapped in the narrow featureless\n shooting gallery of the corridor. THE SHOTGUN COMES UP. Terminator", "Silberman has recovered enough to be sitting up and watching this.\n That faint snapping sound is his mind.\n There is a CLANK and we see that the guard's gun has caught against", "riddled by return fire. A few rounds hit his back, but he doesn't\n notice. He reloads as he walks.", "WIDER. John and Sarah stare in amazement. There are at least twenty\n bullet holes in him. Back. Arms. Legs. Fortunately they're all", "BOOM! Her second shot spins him. He hits the floor in the hallway.\n Tarissa is screaming. Dyson struggles forward, stunned. There is a" ], [ "was no Judgment Day. People went to work as\n they always do, laughed, complained, watched\n TV, made love.", "Judgment Day. They lived only to face a new\n nightmare, the war against the Machines...", "screwed it up, of course. Sooner or later she'd\n always tell them about Judgment Day and me being\n this world leader and that's be all she wrote.", "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "things to come. It's not every day you find\n out you're responsible for 3 billion deaths.\n He took it pretty well, considering...", "73F Sarah is agape. Not reacting. It's been a heavy day for her.\n Terminator grabs John by the seat of his pants and hooks him up onto", "MILES DYSON is not dead. He will be very soon, but at this moment he\n is conscious. He has propped himself up against the desk, and holds a\n BOOK in one hand. A heavy technical manual.", "SARAH (V.O.)\n August 29th 1997 came and went. Nothing much\n happened. Michael Jackson turned forty. There", "of death itself. It reaches down and...\n Takes her hand. Lifts her up. Leads her to a door. They go through\n together. Emerging into...", "He puts a finger to her lips. Then silently unfastens her restraints.\n They gaze into each other's eyes. And in the look that his death", "SARAH (V.O.)\n Dyson listened while the Terminator laid it all\n down. Skynet. Judgment Day... the history of", "JOHN\n We're not gonna make it, are we? People, I\n mean.\n\n TERMINATOR\n It is in your nature to destroy yourselves.", "up in the future, as a message to her --\n Never mind. Okay, the whole thing goes \"The\n future is not set. There is no fate but what", "John takes it out of his pocket. Looks at it. Tosses it into the\n smelter.\n\n SARAH\n It's finally over.", "coming. It visits her every time she closes her eyes. Lost and\n alone, Sarah feels all hope recede for herself and for humanity.", "SARAH (V.O.)\n That was thirty years ago. But the dark future\n which never came still exists for me, and it", "DYSON\n I think so, yeah. When?\n\n Dyson looks at her, Terminator, then John. Sees his answer.", "91 SAME IMAGE. Now DAYLIGHT streams in the dusty windows.\n Terminator has not moved. Faithful machine sentinel. He turns at a", "LEADER\n (through megaphone)\n Stop where you are. Lie down on the floor,\n face down. Down on floor, now!", "She concentrates on removing the slugs. CLINK. CLINK.\n\n JOHN\n How long do you live? I mean, last?" ], [ "was no Judgment Day. People went to work as\n they always do, laughed, complained, watched\n TV, made love.", "Judgment Day. They lived only to face a new\n nightmare, the war against the Machines...", "screwed it up, of course. Sooner or later she'd\n always tell them about Judgment Day and me being\n this world leader and that's be all she wrote.", "SARAH (V.O.)\n August 29th 1997 came and went. Nothing much\n happened. Michael Jackson turned forty. There", "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "things to come. It's not every day you find\n out you're responsible for 3 billion deaths.\n He took it pretty well, considering...", "MILES DYSON is not dead. He will be very soon, but at this moment he\n is conscious. He has propped himself up against the desk, and holds a\n BOOK in one hand. A heavy technical manual.", "73F Sarah is agape. Not reacting. It's been a heavy day for her.\n Terminator grabs John by the seat of his pants and hooks him up onto", "He puts a finger to her lips. Then silently unfastens her restraints.\n They gaze into each other's eyes. And in the look that his death", "The fourth blow is centered between his shoulder blades. Sound of\n crushing metal. His skull is partially caved in.\n He slides to the floor.", "She concentrates on removing the slugs. CLINK. CLINK.\n\n JOHN\n How long do you live? I mean, last?", "SARAH (V.O.)\n That was thirty years ago. But the dark future\n which never came still exists for me, and it", "July 11, 2029", "119 Wakes up.\n All is quiet and normal. The children are still playing nearby. Less\n than fifteen minutes have gone by.", "coming. It visits her every time she closes her eyes. Lost and\n alone, Sarah feels all hope recede for herself and for humanity.", "of death itself. It reaches down and...\n Takes her hand. Lifts her up. Leads her to a door. They go through\n together. Emerging into...", "From inside the \"tomb\". Sunlight slashes down into a cinder-block\n room, less than six feet wide but over twenty long. Sand spills down\n the steps. The walls are lined with guns.", "VIDEO SARAH\n It's not just a dream. It's real, you moron!\n I know the date is happens!!", "Salceda is nearby, packing food and other survival equipment with\n Yolanda. He looks up as Sarah approaches, and slaps the side of a\n BIG FOUR-BY BRONCO next to him,", ".45-caliber hole clean through his left shoulder. He smears the wall\n with blood as he staggers up. Looking back, he sees the implacable\n figure behind him, coming on." ], [ "There is a man in is forties playing with two small children\n nearby. He turns. It is John Connor. Through he has the same stern", "John is still in shock from the experience of what just happened and\n he's just a ten-year kid, but he's also John Connor who will someday\n rise to greatness, and we see a bit of that in him even know.", "John and Terminator watch them rolling on the ground in a fight to the\n death. Sarah rounds the front of the truck, and sees the kids. John\n sighs, solemn. He looks up at the cyborg.", "TIGHT ON YOUNG JOHN CONNOR, who at his moment is ten years old and\n busy reassembling the carburetor on his Honda 125 dirtbike. He has", "Terminator pushes John behind him. They start backing up.", "his vital stats. Mother: Sarah Connor. Legal Guardians: Todd and\n Janelle Voight. And below their names, an address: 523 S. Almond.", "CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile\n Division file. Subject: John Connor. Below his ARREST RECORD are", "OFFICER X\n Are you the legal guardian of John Connor?\n\n TODD\n That's right, officer. What's he done now?", "Terminator looks down at John, next to him. He says quietly...", "John and Dyson are isolated from the world in this silent steel womb.\n Dyson opens the cabinet containing the terminator relics. It's John", "John precedes Terminator into Sarah's weapons cache. Rifles, pistols,\n rocket launchers, mortars, RPGs, radio gear. At the far end, boxes", "He scopes out the situation in two seconds... Sarah, the gun, the\n sobbing family. John moves to Sarah while Terminator checks Dyson.", "John turns away, ashamed. Sarah lets her breath out, realizing how\n keyed up she is. She turns to Terminator, giving him a wary once-\n over.", "Terminator, with John in front of him on the Harley, roars down the\n empty street. John cranes his neck around to get a look at the", "TERMINATOR\n Your foster parents are dead. Let's go.\n\n Terminator heads for the bike. John, shocked, stares after him.", "John and Terminator walks to an old Chevy pickup parked behind the\n garage. The day is clear but windy. Dust devils chase themselves", "John is now sitting on the curb, lost in stunned thought. Terminator\n stands above him, watching the street like a Doberman. He glances\n down at John.", "Terminator doesn't get it. John just stares at him. Frightened at\n what just almost happened. He gets a glimpse of the responsibility", "DYSON\n I think so, yeah. When?\n\n Dyson looks at her, Terminator, then John. Sees his answer.", "136A The front door is kicked in.\n Terminator steps inside. John grabs his sleeve and pushes past him." ], [ "The explosion knocks Terminator backward off his feet, enveloping him\n in the fireball. He gets up, smoking, and runs after John and Sarah\n toward the exit ramp.", "Terminator pushes John behind him. They start backing up.", "John motions to Terminator and breaks into a run.\n\n JOHN\n Come on. Let's go. LET'S GO!!", "176B Sarah and John stumble along the corridor, coughing.\n They leap into the back of the van and Terminator hits the throttle.\n The van roars across the lobby and exits through blown-out windows.", "The car backs along the service driveway toward the security gate.\n John hands the shot gun back to Terminator.\n He leans out the window and takes aim at the pursuer.", "behind the place. The pickup is locked but Terminator breaks the side\n window with his fist and opens the door. He and John climb in.", "Terminator and John leap from the jeep, sprinting toward the house.\n The shots sound muffles from outside.\n\n JOHN\n Shit, we're too late!", "The doors start to close. T-1000 clears the corner.\n Terminator slams John and Sarah back against the side walls as the", "Terminator, with John in front of him on the Harley, roars down the\n empty street. John cranes his neck around to get a look at the", "They do. Fast. John grabs Terminator by the arm and tugs him toward\n the bike. John still holds the gun, reluctant to give it back.", "John looks back... the T-1000 is behind him, running. He twists the\n throttle and guns the little bike forward. Incredibly, the T-1000", "Terminator grabs him as bullets slam into his broad back. He makes\n it around the corner with John, out of the line of fire.", "shocked. Pissing himself. John is freaking out, too.\n He screams at Terminator.", "The guy seems to know better than to try and stop him as Terminator\n slides Sarah into the front seat and climbs in behind the wheel. John\n runs to the passenger side.", "John and Terminator watch them rolling on the ground in a fight to the\n death. Sarah rounds the front of the truck, and sees the kids. John\n sighs, solemn. He looks up at the cyborg.", "JOHN\n Whoa... time out. Stop the bike!\n\n Terminator immediately complies. He leans the bike into a turn.\n They head into a nearby alley.", "Terminator takes off his jacket to reveal bare arms.\n John takes Blythe by the hands and leads her down the hall, away\n from what is about to happen.", "Terminator kicks the guard's gun away, then smashes the phone in the\n shack with his fist. He pushes the button to raise the gate and walks\n back to the bike.", "John strides away. Terminator goes after him and grabs him arm.\n John struggles against the grip. Which doesn't do him much good.", "his back. John grabs him around the neck. Terminator raises the\n shotgun and starts backing up." ], [ "The Skynet funding bill is passed. The system\n goes on-line August 4th, 1997. Human decisions\n are removed from strategic defense. Skynet", "army. Skynet's weapons consist of Ground HKs (tank-like robot\n gun-platforms), flying Aerial HKs, four-legged gun-pods called", "SARAH\n And Skynet fights back.\n\n They accelerate back onto the highway.", "SARAH (V.O.)\n Dyson listened while the Terminator laid it all\n down. Skynet. Judgment Day... the history of", "TERMINATOR\n Yes. Cyberdyne Systems, Model 101.\n\n JOHN\n No way!", "TERMINATOR\n My CPU is a neural-net processor... a learning\n computer. But Skynet presets the switch to\n \"read-only\" when we are sent out alone.", "JOHN\n Got ol' Skynet by the ball now, Miles. Come\n on, let's book!", "VOICE (SARAH CONNOR)\n Skynet, the computer which controlled the machines,\n sent two terminators back through time. Their", "one in the vault at Cyberdyne Systems. Now we know it is that that\n Miles Dyson values so highly. The brain of a terminator.", "Terminator cruises slowly on the bike. Scanning. He crosses an\n overpass above a drainage canal and whips his head around at the\n sound of a dirt-bike engine.", "It is a perfect chameleon. A liquid metal robot. A killing machine\n with the ultimate skills of mimicry for infiltration of human society.", "TERMINATOR\n The man most directly responsible is Miles Bennet\n Dyson, Director of Special Projects at\n Cyberdyne Systems Corporation.", "SARAH\n I need to know how Skynet get built. Who's\n responsible?", "CUT TO:\n\n32 EXT. CYBERDYNE SYSTEMS - DAY", "DYSON\n They have it in a vault at Cyberdyne...\n (to Terminator)\n It's gotta be from the other one like you.", "DYSON\n My God.\n\n TERMINATOR\n Now listen to me very carefully.", "Feet dragging on the pavement, it slams its other hand down,\n punching another metal hook into the trunk lid, pulling itself up.\n Terminator turns to Sarah.", "TERMINATOR\n Because Skynet knows the Russian counter-strike\n will remove its enemies here.", "TERMINATOR\n And it must be destroyed also.\n\n John suddenly understands what he means.\n Terminator looks at Sarah. They both know what must be done.\n John shakes his head.", "Through the clearing vapor we see the figure clearly... a naked man.\n TERMINATOR has come through. Physique: massive, perfect. Face:\n devoid of emotion. Terminator stands and impassively surveys its\n surroundings." ], [ "John ducks just as the cop glances over. He slinks out the other side\n of the ride and heads for the back of the store, instinctively\n retreating. Sarah has taught him that cops are bad news.", "JOHN\n Mom!! Wait!\n\n Sarah doesn't hear. She has clicked fully into her own nightmare.\n They take off running after Sarah.", "SARAH\n Out of the way, John!\n\n JOHN\n No! Don't kill him!", "212 JOHN runs to Sarah. She stands staring into the pit. The empty\n shotgun slips from her fingers. Clatters to the floor. He sees that", "207 SARAH has lost sight of John. It is much of a goodbye as they will\n have.", "JOHN\n I... had to get you out of the place... I'm\n sorry, I...\n\n His face crumples. He starts to cry. Sarah gives him a cold stare.", "SARAH\n John, get out of the way!!\n\n JOHN\n (screaming)\n SHOOT!!!!", "He and John head back the way they came, through security.\n Sarah sees that in her work, she has set the detonator down twenty\n feet away, near where Dyson is standing.", "John runs, dragging, half-carrying Sarah as best he can.\n She can barely stay conscious. Half-running, delirious, she stumbles\n and drops to her knees. John pulls but she can't rise.", "A120B MOVING WITH SARAH as she leaves the compound. We see John running\n after her... yelling. Can't hear his words. She looks in the rear-\n view mirror but doesn't slow down.", "SARAH\n John, get under these. Hurry!", "John sees Sarah nearby, limping toward him. She can barely move, her\n leg bathed in blood. He runs toward her.", "204B JOHN AND SARAH have reached the back of the aisle. It is a cul-de-", "and slides behind the wheel. Sarah gets John into the back seat and\n dives into the front passenger seat as --", "176B Sarah and John stumble along the corridor, coughing.\n They leap into the back of the van and Terminator hits the throttle.\n The van roars across the lobby and exits through blown-out windows.", "John keeps his hand right where it is.\n\n SARAH\n We're better off by ourselves.", "SARAH\n Yeah. I'm gonna wait till dark to cross the\n border.\n (she pulls him away from", "SARAH\n John? John? Can you hear me? Where are you?", "SARAH\n (yelling as she runs)\n John! Fire-in-the-hole!", "SARAH\n It, John. Not him. It.\n\n JOHN\n Alright, it! We need it!" ] ]

[ "What is John's mother's name?", "What has Sarah been preparing John for?", "In what year is Judgement Day?", "What system does SkyNet take control of?", "What model terminator is sent back to kill John?", "What model terminator does John send back to protect his younger self?", "Where does Sarah escape from when she first encounter the T-800?", "Where does Sarah plan to flee with John?", "Who is most responsible for the creation of SkyNet?", "What role is John raised to become?", "What does John do that gets him arrested and locked away in a mental hospital?", "Who is destined to launch a nuclear holocaust called Judgement Day?", "What is Skynet?", "Who is sent to kill John?", "Who does the T-1000 assume the identity of shortly after arriving?", "Who send's back a T-800 from the Future?", "Why does John Connor send a T-800 into the past?", "Whose idea is it for the Terminator to be destroyed at the end of the story?", "Where is John Connor living?", "When is John Connor living in Los Angeles?", "What nearly killed John and Sarah?", "Who is shot?", "What is Judgment Day?", "What day is Judgement Day?", "Who does John Connor live with?", "How do John and the Terminator escape the mall?", "What is Skynet?", "Where do Sarah and John plan to flee?" ]

[ [ "Sarah", "Sarah Connor" ], [ "to lead the resistence against SkyNet", "Leader aganist Skynet" ], [ "1997", "1997" ], [ "nuclear system", "United States nuclear missiles" ], [ "T-1000", "T-1000" ], [ "T-800", "T-800" ], [ "a hospital", "She escapes from the hospital." ], [ "Mexico", "Mexico" ], [ "Miles Bennett Dyson", "Miles Bennett Dyson" ], [ "Leader of the Human Resistance against Skynet. ", "The Human Resistance leader against skynet" ], [ "John attempts to blow up a computer factory.", "trying to bomb a computor factory." ], [ "Skynet.", "Artificial intelligence called Skynet." ], [ "An artificial intelligence program to be given control over the United States Nuclear system.", "someonr who was going to control Us" ], [ "A new terminator, T-1000.", "T-1000" ], [ "A police officer that it kills.", "A policeman." ], [ "An older John Connor.", "John Conner" ], [ "To protect his younger self.", "To protect his couunterpart" ], [ "The Terminator suggests that it be destroyed so as not to be reprogrammed in the future and cause harm. ", "The Terminator himself" ], [ "Los Angeles.", "Los Angeles" ], [ "1995.", "1995" ], [ "The T-1000. ", "T-1000" ], [ "Dyson.", "Dyson " ], [ "A nuclear holocaust. ", "a nuclear holocaust" ], [ "August 29, 1997.", "August 29 1997" ], [ "Foster parents. ", "His foster parents." ], [ "A motorcycle. ", "On a motorcycle " ], [ "Artificial intelligence. ", "An Artificial Intelligence program that will take over the worlds Nuclear Weapons." ], [ "Mexico.", "They plan to flee with John to Mexico." ] ]

de473a0652a9752467748e558602267725ec4422

train

[ [ "The way to the Secret lay through the mystery, hitherto impenetrable to\nall of us, of the woman in white. The approach to that in its turn", "of her face, the living image, at that distance and under those\ncircumstances, of the woman in white! The doubt which had troubled my\nmind for hours and hours past flashed into conviction in an instant.", "her head. A few inches of her gown were visible below the cloak. My\nheart beat fast as I noted the colour--it was white.", "\"Yes, Miss Halcombe, as young as that.\"\n\n\"And she was strangely dressed, from head to foot, all in white?\"\n\n\"All in white.\"", "\"The schoolmaster unconsciously told you. When he spoke of the figure\nthat the boy saw in the churchyard he called it 'a woman in white.'\"\n\n\"Not Anne Catherick?\"", "the woman in white is a living influence in our three lives. The End\nis appointed--the End is drawing us on--and Anne Catherick, dead in her\ngrave, points the way to it still!\"", "in white, and urged me to discover the connection which the stranger's\nown reference to Mrs. Fairlie informed me must once have existed\nbetween the nameless fugitive from the Asylum, and the former mistress", "last I was to see in this weary world of the woman in white.", "the figure of a solitary Woman, dressed from head to foot in white\ngarments, her face bent in grave inquiry on mine, her hand pointing to\nthe dark cloud over London, as I faced her.", "in white. And yet, I did connect him with them. Was it because he had\nnow become associated in my mind with Miss Fairlie, Miss Fairlie being,", "had made some advance, at least, towards connecting the probably\ndefective condition of the poor creature's intellect with the\npeculiarity of her being dressed all in white, and with the", "\"No, no,\" interposed the second man. \"The clothes we gave her were\nfound on her bed. She must have gone away in the clothes she wore when\nshe came to us. In white, policeman. A woman in white.\"", "There stood Miss Fairlie, a white figure, alone in the moonlight; in\nher attitude, in the turn of her head, in her complexion, in the shape", "The Woman in White\n\n\nby\n\nWilkie Collins\n\n\n\n\nCONTENTS\n\nFirst Epoch", "She may never have grown out of them, and the old grateful fancy about\ndressing in white, which was a serious feeling to the girl, may be a\nserious feeling to the woman still.\"", "Again the chance reference to the woman in white! Was there no\npossibility of speaking of Miss Fairlie and of me without raising the\nmemory of Anne Catherick, and setting her between us like a fatality\nthat it was hopeless to avoid?", "white than in anything else. She hesitated and seemed puzzled for a\nminute, then flushed up, and appeared to understand. Her little hand", "am making it whiter for her sake. She often wore white herself, and\nshe always dressed her little daughter in white. Is Miss Fairlie well", "poorly dressed in plain white muslin. It was spotlessly pure: it was\nbeautifully put on; but still it was the sort of dress which the wife", "I at once related the circumstances under which I had met the woman in\nwhite, exactly as they had occurred; and I repeated what she had said\nto me about Mrs. Fairlie and Limmeridge House, word for word." ], [ "on her mind. She is altogether what you would call a walking mystery.\nHer errand at Limmeridge House, however, was simple enough. When she", "Frederick Fairlie, Esquire) at Limmeridge House, Cumberland. But\nbefore they went there, it was his opinion, confirmed by Count Fosco", "In the second place, \"the late Mr. Philip Fairlie, of Limmeridge\nHouse,\" had been, in his younger days, the intimate friend and constant", "courtship at Limmeridge House. This was a bad sign to begin with, and\nI thought it more ominous still that he should pretend after dinner to", "I write these lines at the request of my friend, Mr. Walter Hartright.\nThey are intended to convey a description of certain events which", "hastening my departure from Limmeridge House. Why should I prolong the\nhard trial of saying farewell by one unnecessary minute? What further\nservice was required of me by any one? There was no useful purpose to", "On the day of the funeral, and for one day after it, Count Fosco had\nbeen received as a guest at Limmeridge House, but no interview had", "\"So glad to possess you at Limmeridge, Mr. Hartright,\" he said in a\nquerulous, croaking voice, which combined, in anything but an agreeable", "\"At Limmeridge House!\" Her pale face brightened as she repeated the\nwords, her wandering eyes fixed on me with a sudden interest. \"Ah, how", "Limmeridge House.", "real or fancied, was standing by the marble cross, which he and every\none else in Limmeridge knows to be the monument over Mrs. Fairlie's\ngrave. These two circumstances are surely sufficient to have suggested", "It first informed Mr. Fairlie that Anne Catherick (of whom he might\nhear full particulars from Miss Halcombe when she reached Limmeridge)", "Limmeridge,' he said, 'I have wanted to find out the man, and I found\nhim in your face to-night. Your drawing-master was the man, and his", "\"Mr. Hartright was employed at Limmeridge as a drawing-master, I\nbelieve? Is he a member of one of the Water-Colour Societies?\"\n\n\"I believe he is,\" answered Miss Halcombe.", "Fairlie, Esq., of Limmeridge House, in this parish. Born March 27th,", "\"Ask her if she happened to mention, last night, that visitors were\nexpected at Limmeridge House.\"", "between Anne Catherick and herself. In my narrative of events at the\ntime of my residence in Limmeridge House, I have recorded, from my own", "by proposing to stop at Limmeridge House on his way back to town. He\nwill arrive to-morrow, and will stay with us a few days, so as to allow", "Poor Mrs. Vesey travelled with me as far as London. It was impossible\nto abandon her to solitude at Limmeridge after Laura and I had both", "\"Don't you remember my telling you, when we last met, that I was going\nto Cumberland? I have been in Cumberland ever since--I have been\nstaying all the time at Limmeridge House.\"" ], [ "\"Walter!\" she said, \"I once parted you both, for your good and for\nhers. Wait here, my brother!--wait, my dearest, best friend, till\nLaura comes, and tells you what I have done now!\"", "\"Don't speak of Walter any more,\" I said, as soon as I could control\nmyself. \"Oh, Laura, spare us both the wretchedness of talking of him\nnow!\"", "\"It is hard to acknowledge it, Walter, and yet I must. I was the only\nconsideration. No words can say how degraded I feel in my own", "\"My darling Walter,\" she said, \"must we really account for our boldness\nin coming here? I am afraid, love, I can only explain it by breaking\nthrough our rule, and referring to the past.\"", "\"Oh yes--how can it be otherwise? I know the thing could not be,\" she\nwent on, speaking more to herself than to me; \"but I almost wish Walter", "There can be no doubt--though some strange perversity prevents me from\nseeing it myself--there can be no doubt that Laura's future husband is", "discovered that Laura secretly dislikes him (she confessed as much to\nme when I pressed her on the subject)--but he has also found out that", "This, to my mind, looks ill for the Count. Laura has preserved, far\nmore perfectly than most people do in later life, the child's subtle", "\"You have a reason, Walter, for wishing her to know of her husband's\ndeath besides the reason you have just mentioned?\"\n\n\"I have.\"", "\"Walter!\" she whispered, \"my own darling! my heart is heavy for you.\nOh, my son! my son! try to remember that I am still left!\"", "wife), Laura is provokingly circumspect and silent. She only says that\nhe puzzles her, and that she will not tell me what her impression of", "strength of Laura's unhappy attachment. I ought to have known that the\ndelicacy and forbearance and sense of honour which drew me to poor", "to make me forget everything, Walter; but I remember Marian, and I\nremember YOU\"--in that moment, I, who had long since given her my love,", "Laura's affairs. Knowing, and desiring to know nothing of those\naffairs, and doubting whether he would approve, as a man of business,", "My pen traces the old letters as my heart goes back to the old love. I\nwrite of her as Laura Fairlie still. It is hard to think of her, it is\nhard to speak of her, by her husband's name.", "about her, when he might have passed the time so much more agreeably in\nLaura's society? Considering that he can only have acted from motives\nof pure charity, his conduct, under the circumstances, shows unusual", "himself, in spite of everything that I can say or do. His wishes are\nnow, what they were, of course, when he first came here; and Laura\nhaving resigned herself to the one inevitable sacrifice of the", "\"It is unjust and cruel to accuse me of distrusting you,\" said Laura.\n\"Ask Marian if I am not justified in wanting to know what this writing\nrequires of me before I sign it.\"", "\"Suppose I do mean to write to him again,\" I said at last. \"What then,\nLaura?\"\n\nHer cheek grew burning hot against my neck, and her arms trembled and\ntightened round me.", "\"Not because you are a teacher of drawing,\" she repeated, \"but because\nLaura Fairlie is engaged to be married.\"" ], [ "There can be no doubt--though some strange perversity prevents me from\nseeing it myself--there can be no doubt that Laura's future husband is", "29th.--The preparations for the marriage have begun. The dressmaker\nhas come to receive her orders. Laura is perfectly impassive,", "It is strange to look back at this latest entry in my journal, and to\nfind that I am writing of the marriage and the parting with Laura, as", "announced the proposed marriage--in three more, she told me that Sir\nPercival had left Cumberland to return to his house in Hampshire, and\nin two concluding sentences she informed me, first, that Laura was", "it found me, perfectly indifferent to all his plans and projects, is\nthe part which refers to the wedding tour. He proposes, as Laura is\ndelicate, and as the winter threatens to be unusually severe, to take", "Surely Mr. Gilmore, ignorant as he is of Laura's secret, was not to\nblame for feeling surprised that she should repent of her marriage\nengagement? Any one else in his place would have shared our good old", "insensibly wrought in a young, fresh, sensitive woman by her marriage,\nseems never to have taken place in Laura. She writes of her own", "As events turned out, Mr. Philip Fairlie died leaving an only daughter,\nthe Laura of this story, and the estate, in consequence, went, in", "himself, in spite of everything that I can say or do. His wishes are\nnow, what they were, of course, when he first came here; and Laura\nhaving resigned herself to the one inevitable sacrifice of the", "in kindness and good feeling. Last night the cards for the married\ncouple were sent home. Laura opened the packet and saw her future name\nin print for the first time. Sir Percival looked over her shoulder", "\"Where is he going to, Marian?\" Laura whispered. \"Every fresh thing he\ndoes seems to terrify me about the future. Have you any suspicions?\"", "Marian had informed me of Sir Percival's age at the time when we had\nspoken together of his marriage engagement with Laura. She had then", "Laura's affairs. Knowing, and desiring to know nothing of those\naffairs, and doubting whether he would approve, as a man of business,", "towards Laura, and invariable suppression (at any cost) of Sir\nPercival's clumsy violence, have been the means he has resolutely and", "\"Quite right, Marian,\" said Laura. \"Well thought of, and well\nexpressed.\"", "\"I accuse nobody, and I suspect nothing,\" she broke out abruptly. \"But\nI cannot and will not accept the responsibility of persuading Laura to\nthis marriage.\"", "Before another month is over our heads she will be HIS Laura instead of\nmine! HIS Laura! I am as little able to realise the idea which those", "Laura's marriage, for the first time, in a distinctly favourable light.\nIt is likely to be the means of healing a family feud. Hitherto Madame", "wife), Laura is provokingly circumspect and silent. She only says that\nhe puzzles her, and that she will not tell me what her impression of", "Laura's, at the most important moment of her life, would make me very\ngloomy and very distrustful of the future. But I have done with gloom" ], [ "fire had been caused, or what the purpose was for which the deceased\nhad entered the vestry. This act closed the proceedings. The legal\nrepresentative of the dead man was left to provide for the necessities", "to tell of the fire and the death. A rough hoarding of boards had been\nknocked up before the vestry doorway. Rude caricatures were scrawled", "smoke, touched them, and stretched them out dead, one by one, in the\nplaces where they lay. An agony of pity and fear for Walter loosened", "was still alive. I heard nothing but the quickening crackle of the\nflames, and the sharp snap of the glass in the skylight above.", "The people about me all turned from the fire, and ran eagerly to the\nbrow of the hill. The old clerk tried to go with the rest, but his", "It is burnt. The ashes of his farewell letter--the last he may ever\nwrite to me--lie in a few black fragments on the hearth. Is this the", "The only man who never moved was the servant. There he stood, his eyes\nstill fastened on the flames in a changeless, vacant stare. I spoke to", "The dog was dead. It had given a faint, sobbing cry, it had suffered\nan instant's convulsion of the limbs, just as those last words, \"comely", "\"Yes,\" says the doctor, very quiet and grave. \"Dead. I was afraid it\nwould happen suddenly when I examined her heart yesterday.\" My mistress", "As events turned out, Mr. Philip Fairlie died leaving an only daughter,\nthe Laura of this story, and the estate, in consequence, went, in", "I saw the fire slowly conquered. The brightness of the glare\nfaded--the steam rose in white clouds, and the smouldering heaps of", "the red of the dreadful glare, in the black of the choking smoke. And\nthe man beneath my feet!--the man, suffocating, burning, dying so near\nus all, so utterly beyond our reach!", "\"Have you felt any apprehension that the misfortune of her loss might\nbe followed by the misfortune of her death?\"\n\n\"Yes. Have you come here to tell me she is dead?\"", "And yet alive! Alive in poverty and in hiding. Alive, with the poor\ndrawing-master to fight her battle, and to win the way back for her to\nher place in the world of living beings.", "I could die, and be hidden and at rest with YOU!\" Little more than a\nyear had passed since she breathed that wish; and how inscrutably, how", "stepped back from the bedside while he was speaking, and trembled and\ntrembled again. \"Dead!\" she whispers to herself; \"dead so suddenly!", "on it already, and the village children were fighting and shouting for\nthe possession of the best peep-hole to see through. On the spot where\nI had heard the cry for help from the burning room, on the spot where", "way, that he had been ordered, on the night of the fire, to wait in the\nlane, and that he knew nothing else, except that the deceased was\ncertainly his master.", "The rest of the day is indescribable. I believe no one in the house\nreally knew how it passed. The confusion of small events, all huddled", "\"He's dust and ashes,\" said the clerk. \"And the books are dust and\nashes--and oh, sirs! the church will be dust and ashes soon.\"" ], [ "have been sent to search, and have returned unsuccessful. And now\nLaura herself has gone to look for it. Whether she finds it or not the", "performed the latter part of my journey back at night, and when I\nreached home in the morning, to my utter astonishment there was no one\nto receive me. Laura and Marian and the child had left the house on", "He disappeared in the opposite direction to our house, and I ran back\nto Laura. Before I was indoors again, I had made up my mind that we", "I called, \"Laura!\"--at first softly, then louder and louder. No one\nanswered and no one appeared. For all that I could see and hear, the", "\"Oh, Laura, Laura, another chance lost! If I had only been near you she\nshould not have escaped us. On which side did you lose sight of her?\"", "Leaving Laura to go upstairs alone, I went out to look about me in the\nwalks near the house. The circumstances under which Anne Catherick had", "I left the room again on the pretext of wishing to see whether Laura\nwas asleep. Marian's quick eyes were beginning to look inquiringly at", "any signs which might show me whether Laura had really reached the\nplace or not. No mark of her presence appeared inside the building,\nbut I found traces of her outside it, in footsteps on the sand.", "I sent Laura upstairs immediately, waited a minute to take off my hat\nand put my hair smooth, and then went at once to make my first\ninvestigations in the library, on pretence of searching for a book.", "said; and disappeared by a door at the lower end of the room. As soon\nas she had left me, I turned my steps towards the hall, and followed", "to the house. Add to all this, the one perpetual thought in Laura's\nmind and mine, that we were to part the next day, and the haunting", "words, \"Laura, Lady Glyde,\" had vanished from sight. Then there was a\ngreat heave of relief among the crowd, as if they felt that the last", "floor one after another. They were all empty. I came out again into\nthe hall, and went upstairs to return to Laura. Madame Fosco opened", "I found no appearance of any one having entered the room while I had\nbeen talking with Laura. My writing materials (which I had given the", "I told him of the loss of the brooch, and said that Laura had gone into\nthe plantation to look for it.", "once to the house. To tell you the truth, I am uneasy about Laura.\nShe has sent to say she wants to see me directly, and the maid reports", "\"He did. To the house--but not upstairs. Laura never saw him--Laura\nsuspects nothing. I will tell you how it happened: the danger, I", "\"It is very desolate and gloomy,\" said Laura. \"But we can be more\nalone here than anywhere else.\"", "Laura was sitting alone at the far end of the room, her arms resting\nwearily on a table, and her face hidden in her hands. She started up\nwith a cry of delight when she saw me.", "I am writing these lines in the solitude of my own room, long after\nmidnight, having just come back from a stolen look at Laura in her\npretty little white bed--the bed she has occupied since the days of her\ngirlhood." ], [ "her, she would naturally refer to persons and events in the past with a\ncertainty and a familiarity which no impostor could simulate, and so\nthe fact of her identity, which her own appearance had failed to", "A very little reflection, when the capacity to reflect returned,\nconvinced her that any attempt to identify Lady Glyde and to rescue her", "And yet alive! Alive in poverty and in hiding. Alive, with the poor\ndrawing-master to fight her battle, and to win the way back for her to\nher place in the world of living beings.", "recognition and the handwriting prove her identity to Mr. Fairlie and\ntake her back to Limmeridge House, against the evidence of her aunt,\nagainst the evidence of the medical certificate, against the fact of", "Her features relaxed, and she drew a heavy breath of relief. I saw the\nnew life of recognition stirring slowly under the death-like stillness\nwhich fear had set on her face.", "As she said those melancholy words, all the lost tenderness returned to\nher voice, and all the lost beauty trembled back into her face. Her", "could remember, addressing her by name, and going out again, after a\nlittle while, like the first man. By this time she was so frightened\nabout herself, and so uneasy about her sister, that she had thoughts of", "In all else she was now so far on the way to recovery that, on her best\nand brightest days, she sometimes looked and spoke like the Laura of", "Her own impression was that she recovered her senses later in the\nevening, that she then left the house, that she went (as she had", "Halcombe's recognition of the woman, which recognition after-events\ninvalidate or contradict. Does Miss Halcombe assert her supposed\nsister's identity to the owner of the Asylum, and take legal means for", "My pen traces the old letters as my heart goes back to the old love. I\nwrite of her as Laura Fairlie still. It is hard to think of her, it is\nhard to speak of her, by her husband's name.", "No. Is she kept in the neighbourhood to assert her own identity, and\nto stand the test of further proceedings? No, she is privately taken to", "she had been under restraint, her identity with Anne Catherick\nsystematically asserted, and her sanity, from first to last,\npractically denied. Faculties less delicately balanced, constitutions", "With those words she turned about, and retracing her steps, advanced\nwith her face towards me. It was the face of an elderly woman, brown,", "Her voice was steadier as she made that reply. Painful as many of her\nrecollections might be, I observed that it was unconsciously a relief", "besides she was dead. Dead to her uncle, who had renounced her; dead\nto the servants of the house, who had failed to recognise her; dead to", "to answer any question and to clear up any uncertainty. He had done\nhis duty to the unhappy young woman, by instructing his solicitor to\nspare no expense in tracing her, and in restoring her once more to", "\"How do you know?\" she said faintly. \"Who showed it to you?\" The blood\nrushed back into her face--rushed overwhelmingly, as the sense rushed", "herself. It was to the last degree improbable that she would succeed a\nsecond time in escaping from the Asylum, but it was just possible she", "After waiting some time Mrs. Clements became alarmed, and ordered the\ncabman to drive back to her lodgings. When she got there, after an\nabsence of rather more than half an hour, Anne was gone." ], [ "in white. And yet, I did connect him with them. Was it because he had\nnow become associated in my mind with Miss Fairlie, Miss Fairlie being,", "personal resemblance between the woman in white and Lady Glyde had been\nturned to account was clear beyond a doubt. It was plain that Anne\nCatherick had been introduced into Count Fosco's house as Lady", "\"Yes, Miss Halcombe, as young as that.\"\n\n\"And she was strangely dressed, from head to foot, all in white?\"\n\n\"All in white.\"", "of her face, the living image, at that distance and under those\ncircumstances, of the woman in white! The doubt which had troubled my\nmind for hours and hours past flashed into conviction in an instant.", "succeeded in obtaining with Lady Glyde, and at which she had observed\nthe extraordinary accidental likeness between the deceased lady and", "resemblance to Lady Glyde, escaped from the Asylum; it is known that\nthe person received there last July was received as Anne Catherick\nbrought back; it is known that the gentleman who brought her back", "The way to the Secret lay through the mystery, hitherto impenetrable to\nall of us, of the woman in white. The approach to that in its turn", "There stood Miss Fairlie, a white figure, alone in the moonlight; in\nher attitude, in the turn of her head, in her complexion, in the shape", "resemblance to Laura; and, thirdly, that Laura herself was strikingly\nlike her father. Mr. Philip Fairlie had been one of the notoriously", "\"The schoolmaster unconsciously told you. When he spoke of the figure\nthat the boy saw in the churchyard he called it 'a woman in white.'\"\n\n\"Not Anne Catherick?\"", "in white, and urged me to discover the connection which the stranger's\nown reference to Mrs. Fairlie informed me must once have existed\nbetween the nameless fugitive from the Asylum, and the former mistress", "had made some advance, at least, towards connecting the probably\ndefective condition of the poor creature's intellect with the\npeculiarity of her being dressed all in white, and with the", "At the end of that time a lady (the same elderly lady whom they had\nseen at the station) called in a cab, and said that she came from Lady", "delay--but the necessity of discovering the woman admitted of none. I\nonly knew her by description, as presenting an extraordinary personal\nresemblance to Lady Glyde. The statement of this curious", "her head. A few inches of her gown were visible below the cloak. My\nheart beat fast as I noted the colour--it was white.", "of her face; and the fatal resemblance which I had once seen and\nshuddered at seeing, in idea only, was now a real and living\nresemblance which asserted itself before my own eyes. Strangers,", "Again the chance reference to the woman in white! Was there no\npossibility of speaking of Miss Fairlie and of me without raising the\nmemory of Anne Catherick, and setting her between us like a fatality\nthat it was hopeless to avoid?", "am making it whiter for her sake. She often wore white herself, and\nshe always dressed her little daughter in white. Is Miss Fairlie well", "She may never have grown out of them, and the old grateful fancy about\ndressing in white, which was a serious feeling to the girl, may be a\nserious feeling to the woman still.\"", "\"They will tease me about dressing all in white--they say it looks so\nparticular. How do they know? Mrs. Fairlie knew best. Mrs. Fairlie" ], [ "\"Not because you are a teacher of drawing,\" she repeated, \"but because\nLaura Fairlie is engaged to be married.\"", "Asylum, might have doubted if she were the Laura Fairlie they had once\nseen, and doubted without blame.", "At the little summer-house, in which Laura Fairlie and I had first seen\neach other, she stopped, and broke the silence which she had steadily\nmaintained while we were walking together.", "announced the proposed marriage--in three more, she told me that Sir\nPercival had left Cumberland to return to his house in Hampshire, and\nin two concluding sentences she informed me, first, that Laura was", "Fairlie, or Walter Hartright, or any other absent person of whom I\nthink, with the one exception of Laura herself! I can hear his voice,", "As events turned out, Mr. Philip Fairlie died leaving an only daughter,\nthe Laura of this story, and the estate, in consequence, went, in", "To this letter Mr. Fairlie had replied by requesting Sir Percival\nhimself to suggest a day for the marriage, subject to Miss Fairlie's", "My pen traces the old letters as my heart goes back to the old love. I\nwrite of her as Laura Fairlie still. It is hard to think of her, it is\nhard to speak of her, by her husband's name.", "\"To Mr. Fairlie,\" I said. \"Your uncle is your nearest male relative,\nand the head of the family. He must and shall interfere.\"\n\nLaura shook her head sorrowfully.", "company, but he could have known little of him at that or at any other\ntime. Sir Percival's only intimate friend in the Fairlie family had\nbeen Laura's father.", "She was engaged to be married, and her future husband was Sir Percival\nGlyde. A man of the rank of Baronet, and the owner of property in\nHampshire.", "The water-colour drawing that I made of Laura Fairlie, at an after\nperiod, in the place and attitude in which I first saw her, lies on my", "I said, and dried the tears that were gathering in her eyes with my own\nhand, as if she had been the little Laura Fairlie of ten long years ago.", "dropped that subject, and Sir Percival spoke next, in the most\nunselfish terms, of his engagement with Laura. He said he had observed", "Frederick Fairlie, Esquire) at Limmeridge House, Cumberland. But\nbefore they went there, it was his opinion, confirmed by Count Fosco", "has only mentioned his views to Mr. Fairlie, who has told me himself\nthat he is ready and anxious, as Laura's guardian, to forward them. He", "The answer I wrote to this audacious proposal was as short and sharp as\nI could make it. \"My dear sir. Miss Fairlie's settlement. I maintain", "at Limmeridge House:--No daughter of mine should have been married to\nany man alive under such a settlement as I was compelled to make for\nLaura Fairlie.", "I was determined not to let him provoke me, for Laura Fairlie's sake.", "On going to Laura's room I found that she had asked for me, and that\nMrs. Vesey had informed her that I was with Mr. Fairlie. She inquired" ], [ "The interests--interests, breathless and immense!--with which I am here\nconcerned, begin with the deplorable calamity of Marian's illness.", "entreated her to take some rest. \"My place is by Marian's bedside,\" was\nher only answer. \"Whether I am ill, or well, nothing will induce me to\nlose sight of her.\"", "Marian, equally devoted to the patient and to myself, was a necessity\nof my position. One of the most eminently confidential and capable\nwomen in existence was by good fortune at my disposal. I refer to that", "\"Marian!\" she said, trembling violently. \"Do you see nothing? Look!\"\n\n\"Where?\"\n\n\"Down there, below us.\"", "that Marian had gone on to Cumberland first, there was no chance of\nremoving her, of her own free will, from the house. To produce this\nnecessary operation in her mind, we concealed our interesting invalid", "uncharacteristic of such a robust person as dear Marian to be ill, that\nI could only suppose she had met with an accident. A horse, or a false\nstep on the stairs, or something of that sort.", "The story of Marian begins where the narrative of the housekeeper at\nBlackwater Park left off.", "Marian suspended the question on my lips by telling me that Mr. Fairlie\nwas dead. He had been struck by paralysis, and had never rallied after", "At Grimsby the first serious symptoms of illness had shown themselves\nin Anne. They appeared soon after the news of Lady Glyde's marriage\nhad been made public in the newspapers, and had reached her through\nthat medium.", "\"It is the last time, Marian,\" she pleaded. \"I am bidding it good-bye\nfor ever.\"", "So she spoke. In writing those last words, I have written all. The pen\nfalters in my hand. The long, happy labour of many months is over.\nMarian was the good angel of our lives--let Marian end our Story.", "Marian!\" she said, suddenly seating herself on a footstool at my knees,\nand looking up earnestly in my face, \"promise you will never marry, and", "\"To Marian's room,\" she answered.\n\n\"It may spare you a disappointment,\" remarked Sir Percival, \"if I tell\nyou at once that you will not find her there.\"", "Marian's taking a journey--he purposely insulted the doctor to get him\nout of the house.\"", "failed her. Insensible to all Marian's attempts to soothe and amuse\nher, she sat, with her neglected drawing pushed away on the table, her", "housemaid (I forget her name) was shut up there at night in attendance\non her mistress. Marian, though fast recovering, still kept her bed,", "my bed to talk to me there. \"I shall lose you so soon, Marian,\" she\nsaid; \"I must make the most of you while I can.\"", "Fresh troubles, apparently. Not exactly his own, as I had supposed,\nbut dear Marian's. Troubles, anyway. Oh dear!\n\n\"Show him in,\" I said resignedly.", "her husband can provide, the poor drawing-master may harmlessly open\nhis heart at last. In the days of her prosperity, Marian, I was only", "Marian was sitting now, with the child industriously sucking his coral\nupon her lap--while Laura was standing by the well-remembered" ], [ "29th.--The preparations for the marriage have begun. The dressmaker\nhas come to receive her orders. Laura is perfectly impassive,", "announced the proposed marriage--in three more, she told me that Sir\nPercival had left Cumberland to return to his house in Hampshire, and\nin two concluding sentences she informed me, first, that Laura was", "As events turned out, Mr. Philip Fairlie died leaving an only daughter,\nthe Laura of this story, and the estate, in consequence, went, in", "The answer I wrote to this audacious proposal was as short and sharp as\nI could make it. \"My dear sir. Miss Fairlie's settlement. I maintain", "it found me, perfectly indifferent to all his plans and projects, is\nthe part which refers to the wedding tour. He proposes, as Laura is\ndelicate, and as the winter threatens to be unusually severe, to take", "little visit that evening, and to be kind enough not to make a scene.\n\"Dear Laura\" was to pay him another little visit in her wedding-dress", "It is strange to look back at this latest entry in my journal, and to\nfind that I am writing of the marriage and the parting with Laura, as", "the sum of twenty thousand pounds. Besides this, she had a\nlife-interest in ten thousand pounds more, which latter amount was to", "in kindness and good feeling. Last night the cards for the married\ncouple were sent home. Laura opened the packet and saw her future name\nin print for the first time. Sir Percival looked over her shoulder", "himself, in spite of everything that I can say or do. His wishes are\nnow, what they were, of course, when he first came here; and Laura\nhaving resigned herself to the one inevitable sacrifice of the", "spirits. He brought with him some really beautiful presents in\njewellery, which Laura received with her best grace, and, outwardly at", "There can be no doubt--though some strange perversity prevents me from\nseeing it myself--there can be no doubt that Laura's future husband is", "of time to recover from the agitation produced by the gift before she\nappeared in Mr. Fairlie's presence. \"Dear Laura\" was to pay him a", "Marian had informed me of Sir Percival's age at the time when we had\nspoken together of his marriage engagement with Laura. She had then", "\"Not a shred.\"\n\n\"What have you actually got with your wife at the present moment?\"\n\n\"Nothing but the interest of her twenty thousand pounds--barely enough\nto pay our daily expenses.\"", "insensibly wrought in a young, fresh, sensitive woman by her marriage,\nseems never to have taken place in Laura. She writes of her own", "of the propriety of adopting the first of these proposals. In either\ncase a separation between Laura and me is inevitable. It will be a\nlonger separation, in the event of their going abroad, than it would be", "about her, when he might have passed the time so much more agreeably in\nLaura's society? Considering that he can only have acted from motives\nof pure charity, his conduct, under the circumstances, shows unusual", "\"Consult your own knowledge of Laura, Mr. Gilmore. If I tell her to\nreflect on the circumstances of her engagement, I at once appeal to two", "This part of her inheritance was, in itself, a comfortable little\nfortune. It was derived under her father's will, and it amounted to" ], [ "naturally infer that if Marian wanted advice and assistance, after\nLaura's escape from the Asylum, she would apply once more to the", "vivid in my memory. The necessity of sparing Laura any sudden\nknowledge of the truth was the first consideration which the letter\nsuggested to me. I wrote at once to Marian to tell her what I have", "\"Where is he going to, Marian?\" Laura whispered. \"Every fresh thing he\ndoes seems to terrify me about the future. Have you any suspicions?\"", "I left the room again on the pretext of wishing to see whether Laura\nwas asleep. Marian's quick eyes were beginning to look inquiringly at", "Both Laura and Marian came to the door to let me in. I think we had\nhardly known how close the tie was which bound us three together, until", "\"Quite right, Marian,\" said Laura. \"Well thought of, and well\nexpressed.\"", "I found Marian waiting for me alone in the little sitting-room. She had\npersuaded Laura to go to rest, after first promising to show me her", "This idea had more than once occurred to my own mind. I had already\ntold Marian that I doubted whether Laura was really on the point of", "that Marian had gone on to Cumberland first, there was no chance of\nremoving her, of her own free will, from the house. To produce this\nnecessary operation in her mind, we concealed our interesting invalid", "Laura and Marian to hear.", "Marian was sitting now, with the child industriously sucking his coral\nupon her lap--while Laura was standing by the well-remembered", "The story of Marian begins where the narrative of the housekeeper at\nBlackwater Park left off.", "request, and writing the letter at once. There was not the least\ndanger of the invitation being accepted, for there was not the least\nchance that Laura would consent to leave Blackwater Park while Marian", "But few words sufficed to tell Laura and Marian how my desperate\nventure had ended, and what the next event in our lives was likely to", "performed the latter part of my journey back at night, and when I\nreached home in the morning, to my utter astonishment there was no one\nto receive me. Laura and Marian and the child had left the house on", "was my firm determination that Laura should not enter her uncle's house\ntill she appeared there publicly recognised as his niece. I left\nMarian to settle the question of accommodation with Mrs. Todd, as soon", "\"It is late,\" I heard her whisper. \"It will be dark in the\nplantation.\" She shook my arm and repeated, \"Marian! it will be dark in\nthe plantation.\"", "\"To Marian's room,\" she answered.\n\n\"It may spare you a disappointment,\" remarked Sir Percival, \"if I tell\nyou at once that you will not find her there.\"", "Marian, equally devoted to the patient and to myself, was a necessity\nof my position. One of the most eminently confidential and capable\nwomen in existence was by good fortune at my disposal. I refer to that", "\"What can we do, Marian? Oh, if we could only leave this house, never\nto see it again!\"" ], [ "Sir Percival Glyde in Cumberland, and was personally concerned in one\nimportant result of his short residence under Mr. Fairlie's roof. It", "The idea that he was not Sir Percival Glyde at all, that he had no more\nclaim to the baronetcy and to Blackwater Park than the poorest labourer", "suspected. The recognition of me when I left Mr. Kyrle's office had\nbeen evidently communicated to Sir Percival Glyde, and the man in black", "\"Sir Percival Glyde,\" she repeated, imagining that I had not heard her\nformer reply.\n\n\"Knight, or Baronet?\" I asked, with an agitation that I could hide no\nlonger.", "\"Sir Percival Glyde?\"\n\n\"Yes, Sir Percival Glyde.\"", "In the first place, \"the late Sir Percival Glyde, of Blackwater Park,\"\nhad never set foot in Varneck Hall. The deceased gentleman was a total\nstranger to Major Donthorne, and to all his family.", "\"Not a stranger, Walter. As soon as I could draw my breath again, I\nrecognised him. He was the owner of the Lunatic Asylum.\"\n\n\"Was the Count pointing out the house to him?\"", "Percival Glyde, having all been fully noticed, as I understand, in the\nnarrative which precedes this.", "certain facts, being subsequently strengthened by an examination of the\ndead man's watch. The crest and the name of Sir Percival Glyde were\nengraved inside it.", "It announced that Sir Percival Glyde had been definitely accepted, and\nthat the marriage was to take place, as he had originally desired,", "way honestly up to the present time. The final inquiries related to\nSir Percival Glyde. He was settled in Paris, and living there quietly\nin a small circle of English and French friends.", "knows that the person you write of is Sir Percival Glyde----\"", "His lordship looked next at me.\n\n\"When did the change happen?\" he asked.\n\nI told him the time.\n\n\"Has Lady Glyde been in the room since?\"", "Sir Percival was an only child. His father, Sir Felix Glyde, had\nsuffered from his birth under a painful and incurable deformity, and", "\"Walter!\" he said. \"You don't know what you ask.\"", "For Sir Percival Glyde.", "\"You have a reason, Walter, for wishing her to know of her husband's\ndeath besides the reason you have just mentioned?\"\n\n\"I have.\"", "Results followed as I had anticipated. Lady Glyde became frightened,\nand turned faint. For the second time, and the last, I called Science", "concerned, to my certain knowledge, in doing that wrong. One of them\nis Sir Percival Glyde.\"", "prospect of uncertainty. The letter, as I knew from positive\ntestimony, pointed at Sir Percival Glyde, though it did not name him." ], [ "Mrs. Catherick, he informed us, had in past years laid him under some\nobligations for faithful services rendered to his family connections", "hidden flaw with which Mrs. Catherick and Sir Percival were both\nprivately acquainted? I could only put the first explanation to the\ntest by looking at the register of her marriage, and so ascertaining", "The vestry of Old Welmingham church was the starting-point from which\nmy mind slowly worked its way back through all that I had heard Mrs.\nCatherick say, and through all I had seen Mrs. Catherick do.", "\"Were you and Mrs. Catherick neighbours?\" I inquired, leading her\nmemory on as encouragingly as I could.\n\n\"Yes, sir--neighbours at Old Welmingham.\"", "\"And Mrs. Catherick? Surely she never remained in the village among the\npeople who knew of her disgrace?\"", "to Mrs. Catherick had been reported to him the evening before, and\nthose two men had been placed on the look-out near the church in", "Mrs. Catherick--to ask for her testimony in support of the explanation\nwhich I have just offered to you.\"", "kept her word ever since. When my poor dear husband died, and left all\nto me, Catherick's letter was put in my possession with the other", "\"Mrs. Catherick's. You seem to know Mrs. Catherick, Miss Halcombe?\"", "Welmingham--I see, on looking back through these private pages of mine,\nthat Welmingham is the name of the place where Mrs. Catherick lives.", "Mrs. Catherick had heard his footsteps approaching, in the silence of\nthat lonely place, and she was on her feet at the window again, waiting", "didn't bargain for that when you came here. Go to the church and\ninquire about me--you will find Mrs. Catherick has her sitting like the", "\"And did Mrs. Catherick consent to your proposal?\"", "Percival and Mrs. Catherick, which had been kept hidden from that time\nto this?", "next result of my interview with Mrs. Catherick--otherwise he would\nnever have placed his spies there to wait for me. Smoothly and fairly\nas appearances looked in the vestry, there was something wrong beneath", "there. She had then written to Mrs. Catherick at Welmingham to know if\nshe had seen or heard anything of her daughter, and had received an", "\"I suppose you have known Mrs. Catherick for some years?\"", "Percival's kindness in putting her daughter under medical care. Mrs.\nCatherick is rather a strange person in her manners, but extremely\nrespectable-looking. She seemed sorely put out when she found that", "anticipation of my inquiries leading me, sooner or later, to\ncommunicate with Mrs. Catherick. He had doubtless seen me go in and", "The Wednesday's post brought with it an event--the reply from Mrs.\nCatherick. I took a copy of the document, which I have preserved, and\nwhich I may as well present in this place. It ran as follows--" ], [ "\"I only know what Anne herself told me, sir. The poor thing used to\nramble and wander about it sadly. She said her mother had got some", "\"Did you ever observe that Anne was like him?\"\n\n\"She was not at all like him, sir.\"\n\n\"Was she like her mother, then?\"", "ever said Mother she said it to me--and now I am left and Anne is\ntaken! Did you say, sir,\" said the poor woman, removing the", "\"How dare you talk to me about Anne's father! How dare you say who was\nher father, or who wasn't!\" she broke out, her face quivering, her\nvoice trembling with passion.", "Anne's account. They had then gone on to London, and had lived in the\nlodging occupied by Mrs. Clements at that time for a month or more,", "\"Did you know Mrs. Catherick before Anne was born?\" I asked.\n\n\"Not very long, sir--not above four months. We saw a great deal of\neach other in that time, but we were never very friendly together.\"", "My request so startled Mrs. Clements, that, for the moment, even the\ntidings of Anne's death seemed to be driven from her mind. Her tears\nsuddenly ceased to flow, and she sat looking at me in blank amazement.", "Clements to be more explicit. She only shook her head, and said that,\nfor Anne's sake, she must beg and pray that no one would question her.", "\"I came,\" I said, \"because I thought Anne Catherick's mother might have\nsome natural interest in knowing whether she was alive or dead.\"", "\"Yes, sir. Anne was born in the June month of eighteen hundred and\ntwenty-seven--and I think he came at the end of April or the beginning\nof May.\"", "been living there in service at the same time, we knew also--first,\nthat Anne had been born in June, eighteen hundred and twenty-seven;\nsecondly, that she had always presented an extraordinary personal", "To this Mrs. Clements replied, in the greatest alarm and distress, that\nshe asked nothing better than to take Anne safely to London, but that\nthere was no present hope of removing her from the dangerous", "case, infallibly inspire him with the false idea that Anne knew all\nfrom her mother, just as it had afterwards fixed in his mind the\nequally false suspicion that his wife knew all from Anne.", "As soon as she could collect her thoughts, the first idea that\nnaturally occurred to Mrs. Clements was to go and make inquiries at the\nAsylum, to which she dreaded that Anne had been taken back.", "describing Anne's resemblance to Laura, and acknowledging her\naffectionate interest in the little stranger--had been written, beyond\nall question, in perfect innocence of heart. It even seemed doubtful,", "All she could repeat, with every appearance of being seriously agitated\nherself, was that Anne must go, that she must go with her, and that the\ndestination to which they might both betake themselves must be kept a", "Mrs. Clements expressed her willingness (Anne being present at the\ntime, and entreating her to do so) to forward the object in view,", "parentage of Anne Catherick on the father's side. There were one or\ntwo sentences dropped in her mother's narrative, which it might be\nuseful to refer to again, when matters of more immediate importance", "Anne was asleep when they got there. The Count started at the sight of\nher (evidently from astonishment at her resemblance to Lady Glyde).", "Having suggested to Mrs. Clement (or Clements, I am not sure which)\nthat the best method of keeping Anne out of Percival's reach was to" ], [ "while she lived, and in his own right, on her death, if he survived\nher); and, secondly, the inheritance of Limmeridge for his son, if he\nhad one.", "Limmeridge House.", "Frederick Fairlie, Esquire) at Limmeridge House, Cumberland. But\nbefore they went there, it was his opinion, confirmed by Count Fosco", "Let us take the land first.\n\nIn the time of Miss Fairlie's paternal grandfather (whom we will call\nMr. Fairlie, the elder) the entailed succession to the Limmeridge\nestate stood thus--", "On the day of the funeral, and for one day after it, Count Fosco had\nbeen received as a guest at Limmeridge House, but no interview had", "the shock. Mr. Kyrle had informed them of his death, and had advised\nthem to proceed immediately to Limmeridge House.", "say who lives at Limmeridge now. If any more are left there of that\nname, I only know I love them for Mrs. Fairlie's sake.\"", "Fairlie, Esq., of Limmeridge House, in this parish. Born March 27th,", "\"And you told them the news at Limmeridge House?\"", "\"At Limmeridge House!\" Her pale face brightened as she repeated the\nwords, her wandering eyes fixed on me with a sudden interest. \"Ah, how", "certificate to prove the death, and to show that it took place under\nnatural circumstances. There is the fact of the funeral at Limmeridge,", "of Limmeridge House.", "\"Don't you remember my telling you, when we last met, that I was going\nto Cumberland? I have been in Cumberland ever since--I have been\nstaying all the time at Limmeridge House.\"", "observed in communicating with Limmeridge House are already known, so\nis the magnificent success of my enterprise, so are the solid pecuniary\nresults which followed it. I have to assert, with the whole force of", "forbidden to feel the slightest anxiety in the meantime. There the\nnote ended. It was still early enough to catch the morning train. I\nreached Limmeridge House the same afternoon.", "In the second place, \"the late Mr. Philip Fairlie, of Limmeridge\nHouse,\" had been, in his younger days, the intimate friend and constant", "by proposing to stop at Limmeridge House on his way back to town. He\nwill arrive to-morrow, and will stay with us a few days, so as to allow", "Limmeridge for a few months only, and had then left it to go back to\nher home in Hampshire; but she could not say whether the mother and\ndaughter had ever returned, or had ever been heard of afterwards. No", "Poor Mrs. Vesey travelled with me as far as London. It was impossible\nto abandon her to solitude at Limmeridge after Laura and I had both", "\"To London!\"\n\n\"Yes--on her way to Limmeridge.\"\n\nLady Glyde turned and appealed to me." ], [ "Walter Hartright is uppermost in my memory, and he passes first in the\nshadowy procession of my absent friends. I received a few lines from", "I write these lines at the request of my friend, Mr. Walter Hartright.\nThey are intended to convey a description of certain events which", "Let Walter Hartright, teacher of drawing, aged twenty-eight years, be\nheard first.\n\n\n\nII", "THE STORY BEGUN BY WALTER HARTRIGHT\n\n(of Clement's Inn, Teacher of Drawing)", "Fairlie, or Walter Hartright, or any other absent person of whom I\nthink, with the one exception of Laura herself! I can hear his voice,", "of the gentlemen to whom I wrote on Walter Hartright's behalf,\ninforming me that he has been fortunate enough to find an opportunity\nof complying with my request. The third, from Walter himself, thanking", "THE STORY CONTINUED BY WALTER HARTRIGHT.\n THE STORY CONTINUED BY MRS. CATHERICK", "THE STORY CONTINUED BY WALTER HARTRIGHT.\n\n\nI\n\n\nI open a new page. I advance my narrative by one week.", "9th.--The first event of the morning was not of a kind to raise my\nspirits--a letter arrived for me from poor Walter Hartright. It is the", "Mr. Hartright, that you have not the shadow of a case.\"", "\"Mr. Hartright was employed at Limmeridge as a drawing-master, I\nbelieve? Is he a member of one of the Water-Colour Societies?\"\n\n\"I believe he is,\" answered Miss Halcombe.", "beginning to the end of the disclosure, shall be related on hearsay\nevidence. When the writer of these introductory lines (Walter\nHartright by name) happens to be more closely connected than others", "house, and give it to one of the servants. And now, Mr. Hartright, if\nyou have no objection, let us walk this way.\"", "\"Yes, yes, I see. Where is Mr. Hartright?\"\n\n\"Out of the country. If he means to keep a whole skin on his bones, I\nrecommend him not to come back in a hurry.\"", "\"Mr. Fairlie's compliments to Mr. Hartright. Mr. Fairlie is more\nsurprised and disappointed than he can say (in the present state of his", "\"Consider the subject, Mr. Hartright, from your own point of view,\" he\nsaid. \"If you are right about Sir Percival Glyde and Count Fosco", "\"You and I, Mr. Hartright, are excellently well acquainted with one\nanother by reputation,\" he said. \"Did it, by any chance, occur to you", "a dream. Was I Walter Hartright? Was this the well-known, uneventful\nroad, where holiday people strolled on Sundays? Had I really left,", "shall see me, but I will keep within hearing of your voice, if anything\nhappens. Anne Catherick has escaped Walter Hartright, and has escaped\nyou. Whatever happens, she shall not escape ME.\"", "\"She saw nobody from the house then, except a certain Mr. Hartright,\nwho accidentally met with her in the churchyard here?\"\n\n\"Nobody else.\"" ], [ "\"No, no,\" interposed the second man. \"The clothes we gave her were\nfound on her bed. She must have gone away in the clothes she wore when\nshe came to us. In white, policeman. A woman in white.\"", "The horse was instantly pulled up, a few yards beyond the dark place\nwhere I stood.\n\n\"Policeman!\" cried the first speaker. \"Have you seen a woman pass this\nway?\"", "\"The two men spoke to the policeman,\" I said, \"and asked him if he had\nseen you. He had not seen you; and then one of the men spoke again,\nand said you had escaped from his Asylum.\"", "\"I think I understand,\" she said. \"I think I owe it to her and to you,\nWalter, to tell her of her husband's death.\"", "\"You have a reason, Walter, for wishing her to know of her husband's\ndeath besides the reason you have just mentioned?\"\n\n\"I have.\"", "\"The schoolmaster unconsciously told you. When he spoke of the figure\nthat the boy saw in the churchyard he called it 'a woman in white.'\"\n\n\"Not Anne Catherick?\"", "The way to the Secret lay through the mystery, hitherto impenetrable to\nall of us, of the woman in white. The approach to that in its turn", "\"Nothing!\" she answered firmly. \"You shall not regret, Walter, that\nyou have only a woman to help you.\" She paused, and detained me for a", "I at once related the circumstances under which I had met the woman in\nwhite, exactly as they had occurred; and I repeated what she had said\nto me about Mrs. Fairlie and Limmeridge House, word for word.", "bless you, Walter!\" she said. \"Wait here alone and compose yourself--I\nhad better not stay for both our sakes--I had better see you go from\nthe balcony upstairs.\"", "\"Surely, Walter,\" she said, \"you hardly know enough yet to give you any\nhope of claiming Mrs. Catherick's confidence? Is it wise to proceed to", "\"Bad news, Walter,\" she said, \"the worst news you could bring. Have you\nnothing more to tell me?\"", "of her face, the living image, at that distance and under those\ncircumstances, of the woman in white! The doubt which had troubled my\nmind for hours and hours past flashed into conviction in an instant.", "\"What can happen?\" she interposed quickly. \"Tell me plainly, Walter,\nif there is any danger, and I shall know how to meet it.\"", "\"Yes, Miss Halcombe, as young as that.\"\n\n\"And she was strangely dressed, from head to foot, all in white?\"\n\n\"All in white.\"", "in white, and urged me to discover the connection which the stranger's\nown reference to Mrs. Fairlie informed me must once have existed\nbetween the nameless fugitive from the Asylum, and the former mistress", "\"Walter!\" she said, \"I once parted you both, for your good and for\nhers. Wait here, my brother!--wait, my dearest, best friend, till\nLaura comes, and tells you what I have done now!\"", "\"Walter!\" she said, \"if ever those two men are at your mercy, and if\nyou are obliged to spare one of them, don't let it be the Count.\"", "the woman in white is a living influence in our three lives. The End\nis appointed--the End is drawing us on--and Anne Catherick, dead in her\ngrave, points the way to it still!\"", "\"Done! She has escaped from my Asylum. Don't forget; a woman in white.\nDrive on.\"\n\n\n\nV" ], [ "It may be necessary to explain here that Pesca prided himself on being\na perfect Englishman in his language, as well as in his dress, manners,", "Pesca was one of her especial favourites and his wildest eccentricities\nwere always pardonable in her eyes. Poor dear soul! from the first\nmoment when she found out that the little Professor was deeply and", "Pesca's voice saying eagerly, in low tones, and in his own language--\"I\nremember the name, but I don't know the man. You saw at the Opera he", "\"Good-night, Pesca.\"\n\n\"Good-night, my friend.\"\n\n\n\nVI", "course of all my inquiries alone. It will now be sufficiently\nunderstood that Pesca was not separated from all connection with me and\nmy interests, although he has hitherto been separated from all", "impatiently at his watch. Not another word, addressed to myself,\npassed his lips. The near approach of the hour for his departure, and\nthe proof he had seen of the communication established between Pesca", "\"Now, my good dears,\" began Pesca (who always said \"good dears\" when he\nmeant \"worthy friends\"), \"listen to me. The time has come--I recite my\ngood news--I speak at last.\"", "course, have looked after Pesca carefully; but as foreigners are\ngenerally quite as well able to take care of themselves in the water as\nEnglishmen, it never occurred to me that the art of swimming might", "He had seen Pesca first, and from that moment till he left the theatre\nhe had evidently seen nothing else. My name would necessarily suggest\nto him that I had not come into his house with other than a hostile", "the sight of Pesca as I had drawn mine. He was a mild, gentlemanlike\nman, looking like a foreigner, and his interest in our proceedings was\nnot expressed in anything approaching to an offensive manner.", "lower position in which he now stood. I was curious to see what would\nhappen if Pesca's attention under these circumstances was withdrawn\nfrom him, and I accordingly asked the Professor if he recognised any of", "\"Are you ready?\" I asked.\n\n\"Right-all-right,\" said Pesca.\n\nWe started for the theatre.\n\n\n\nV", "\"No friend,\" said Pesca eagerly. \"I see him to-day for the first time\nand the last.\"\n\n\"I am afraid he has brought you bad news?\"", "To my unutterable surprise, these words, harmless as they appeared to\nME, produced the same astounding effect on Pesca which the sight of", "The first man whom I thought of under these circumstances was also the\nonly Italian with whom I was intimately acquainted--my quaint little\nfriend, Professor Pesca.", "Pesca's time--his dark brown hair might be a wig--his name was\nevidently a false one. The accident of time might have helped him as", "The instant before I had been perfectly satisfied, from his own\nreiterated assertion, that Pesca did not know the Count. The instant\nafterwards I was equally certain that the Count knew Pesca!", "\"I go back into my life, and I address myself to the noblest of created\nbeings,\" continued Pesca, vehemently apostrophising my unworthy self", "motionless stillness of him from head to foot told their own tale. A\nmortal dread had mastered him body and soul--and his own recognition of\nPesca was the cause of it!", "Meanwhile, Pesca fixed his eyes earnestly on the broad, full, smiling\nface turned a little upward, exactly opposite to him." ], [ "\"The letter is an anonymous letter--a vile attempt to injure Sir\nPercival Glyde in my sister's estimation. It has so agitated and", "and had conceived the most intense hatred and distrust of him in\nconsequence. To that hatred and distrust--which had expressed itself\nin various ways in the Asylum--the anonymous letter, written after her", "detected, in the alteration of her manner, an uneasy consciousness of\nthe risk she had run in sending the anonymous letter, and I instantly\ndetermined so to frame my answer as to surprise her into owning it.", "Mrs. Vesey's answer to my inquiries only confirmed the apprehensions\nwhich I had previously felt. Laura had certainly written to say she", "once to the house. To tell you the truth, I am uneasy about Laura.\nShe has sent to say she wants to see me directly, and the maid reports", "\"A strange handwriting,\" she said to herself. \"Who can Laura's\ncorrespondent be? Where did you get this?\" she continued, addressing\nthe gardener.", "vivid in my memory. The necessity of sparing Laura any sudden\nknowledge of the truth was the first consideration which the letter\nsuggested to me. I wrote at once to Marian to tell her what I have", "describing Anne's resemblance to Laura, and acknowledging her\naffectionate interest in the little stranger--had been written, beyond\nall question, in perfect innocence of heart. It even seemed doubtful,", "question of the signature. They were speaking of Laura and of me\nbeyond a doubt. I felt heart-sick and faint with anxiety. It might be", "\"I thought, Laura, that you and I were never to refer to him again,\" I\nsaid gently.\n\n\"You had a letter from him?\" she persisted.", "woman to whom it refers. I have read the communication which Mr.\nGilmore kindly addressed to my solicitor, describing the circumstances\nunder which the writer of the anonymous letter was identified. But", "\"It is unjust and cruel to accuse me of distrusting you,\" said Laura.\n\"Ask Marian if I am not justified in wanting to know what this writing\nrequires of me before I sign it.\"", "not only refers to Laura in terms which ought to remain a secret for\never between the writer and me, but it reiterates his suspicion--so", "first week at least. She had also tried hard to induce Anne to be\ncontent with writing to Lady Glyde, in the first instance; but the\nfailure of the warning contained in the anonymous letter sent to", "Mr. Dawson of the delicate and dangerous nature of my inquiries. I had\nnot revealed to him the truth about Laura, having merely described my\nerrand as being of the utmost importance to private family interests", "request, and writing the letter at once. There was not the least\ndanger of the invitation being accepted, for there was not the least\nchance that Laura would consent to leave Blackwater Park while Marian", "that her mistress is apparently very much agitated by a letter that she\nhas received this morning--the same letter, no doubt, which I sent on\nto the house before we came here.\"", "On this account no names are mentioned here, nor is any signature\nattached to these lines: the handwriting is disguised throughout, and I\nmean to deliver the letter myself, under circumstances which will", "to me. This information had so shocked and distressed her, on my\naccount and on Laura's, that she had made up her mind, if anything of", "We went downstairs. Laura entered the drawing-room, while I proceeded\nacross the hall, with my letter in my hand, to put it into the\npost-bag, which hung against the wall opposite to me." ], [ "and had conceived the most intense hatred and distrust of him in\nconsequence. To that hatred and distrust--which had expressed itself\nin various ways in the Asylum--the anonymous letter, written after her", "As soon as she could collect her thoughts, the first idea that\nnaturally occurred to Mrs. Clements was to go and make inquiries at the\nAsylum, to which she dreaded that Anne had been taken back.", "Asylum, and there sees a certain female patient. It is known that a\nwoman named Anne Catherick, and bearing an extraordinary personal", "\"Not a stranger, Walter. As soon as I could draw my breath again, I\nrecognised him. He was the owner of the Lunatic Asylum.\"\n\n\"Was the Count pointing out the house to him?\"", "story of the conspiracy, her own eyes informed her that she had Anne\nCatherick's clothes on. The nurse, on the first night in the Asylum,", "hear of returning to her mother at Welmingham, because she had been\nremoved to the Asylum from that place, and because Sir Percival would\nbe certain to go back there and find her again. There was serious", "don't feel half so sure, as the housekeeper seems to do, that her\ndaughter Anne is not in the neighbourhood after all. What would Walter", "got him close under our eye here in London, and we strongly suspect he\nhad something to do with helping her in the first instance to escape\nfrom the Asylum. Sir Percival wanted to question him at once, but I", "resemblance to Lady Glyde, escaped from the Asylum; it is known that\nthe person received there last July was received as Anne Catherick\nbrought back; it is known that the gentleman who brought her back", "were really responsible for Anne's disappearance. I even added, so as\nto exonerate myself from any after-reproach of my own conscience, that", "This was the Asylum. Here she first heard herself called by Anne\nCatherick's name, and here, as a last remarkable circumstance in the", "anxious about any one than I am now about Walter. All that has happened\nsince he left us has only increased my strong regard and sympathy for\nhim. I hope I am doing right in trying to help him to employment", "\"You have a reason, Walter, for wishing her to know of her husband's\ndeath besides the reason you have just mentioned?\"\n\n\"I have.\"", "understand the object to be gained by my interview with Anne Catherick.\nIs there no doubt in your mind that the person who confined her in the\nAsylum was Sir Percival Glyde?\"", "violence--at the madness of guilty distrust which had made him imprison\nAnne Catherick in the Asylum, and had given him over to the vile", "\"Walter!\" she said, \"I once parted you both, for your good and for\nhers. Wait here, my brother!--wait, my dearest, best friend, till\nLaura comes, and tells you what I have done now!\"", "\"I only know what Anne herself told me, sir. The poor thing used to\nramble and wander about it sadly. She said her mother had got some", "he believed his wife knew enough to ruin him? You heard him say that he\nwas a lost man if the secret of Anne Catherick was known?\"", "\"In a private Asylum, I think you said?\"\n\n\"Yes, in a private Asylum, where a sum of money, which no poor person\ncould afford to give, must have been paid for her maintenance as a\npatient.\"", "trustworthy private Asylum. To her mother's regret, and to his own\nregret, the unfortunate creature had discovered the share which\ncircumstances had induced him to take in placing her under restraint," ], [ "\"Sir Percival Glyde?\"\n\n\"Yes, Sir Percival Glyde.\"", "Sir Percival Glyde in Cumberland, and was personally concerned in one\nimportant result of his short residence under Mr. Fairlie's roof. It", "\"Sir Percival Glyde,\" she repeated, imagining that I had not heard her\nformer reply.\n\n\"Knight, or Baronet?\" I asked, with an agitation that I could hide no\nlonger.", "Glyde--it was plain that Lady Glyde had taken the dead woman's place in\nthe Asylum--the substitution having been so managed as to make", "Results followed as I had anticipated. Lady Glyde became frightened,\nand turned faint. For the second time, and the last, I called Science", "The idea that he was not Sir Percival Glyde at all, that he had no more\nclaim to the baronetcy and to Blackwater Park than the poorest labourer", "declare herself in the Asylum (where no one believed her) to be Lady\nGlyde. These are all facts. What have you to set against them? Miss", "For Sir Percival Glyde.", "The circumstances were now exactly what they were required to be. Lady\nGlyde was confined to her room by nervous illness, and the lumpish", "It announced that Sir Percival Glyde had been definitely accepted, and\nthat the marriage was to take place, as he had originally desired,", "offered by Anne, except that she believed the day of her death was not\nfar off, and that she had something on her mind which must be\ncommunicated to Lady Glyde, at any risk, in secret. Her resolution to", "\"You remember her name?\"\n\n\"Yes, sir. Her name was Lady Glyde.\"\n\n\"How do you come to remember that, when you have forgotten what she\nlooked like?\"", "He said those last words holding his glass up to the light, and looking\nat the wine in it instead of at Lady Glyde. Indeed he never once", "By Mr. Dawson's own directions Lady Glyde was kept in ignorance of this\nchange for the worse. He himself absolutely forbade her, on account of", "His lordship looked next at me.\n\n\"When did the change happen?\" he asked.\n\nI told him the time.\n\n\"Has Lady Glyde been in the room since?\"", "In the first place, \"the late Sir Percival Glyde, of Blackwater Park,\"\nhad never set foot in Varneck Hall. The deceased gentleman was a total\nstranger to Major Donthorne, and to all his family.", "from you or from any one.\" After speaking those strange words loudly\nand sternly, he filled himself another glass of wine and asked Lady\nGlyde what she wanted of him.", "Lady Glyde, alike forbade me to remain in the employment of a man who\nhad shamefully deceived us both by a series of atrocious falsehoods.", "\"One moment, Percival. If Lady Glyde does know the Secret, she must\nknow also that it is a compromising secret for you. As your wife,\nsurely it is her interest to keep it?\"", "Glyde--and that she was therefore naturally interested, for family\nreasons, in observing for herself the extent of Anne Catherick's\ndelusion in relation to her late sister--the tone and manner of the" ], [ "while she lived, and in his own right, on her death, if he survived\nher); and, secondly, the inheritance of Limmeridge for his son, if he\nhad one.", "Limmeridge House.", "Frederick Fairlie, Esquire) at Limmeridge House, Cumberland. But\nbefore they went there, it was his opinion, confirmed by Count Fosco", "Let us take the land first.\n\nIn the time of Miss Fairlie's paternal grandfather (whom we will call\nMr. Fairlie, the elder) the entailed succession to the Limmeridge\nestate stood thus--", "On the day of the funeral, and for one day after it, Count Fosco had\nbeen received as a guest at Limmeridge House, but no interview had", "the shock. Mr. Kyrle had informed them of his death, and had advised\nthem to proceed immediately to Limmeridge House.", "say who lives at Limmeridge now. If any more are left there of that\nname, I only know I love them for Mrs. Fairlie's sake.\"", "Fairlie, Esq., of Limmeridge House, in this parish. Born March 27th,", "\"And you told them the news at Limmeridge House?\"", "\"At Limmeridge House!\" Her pale face brightened as she repeated the\nwords, her wandering eyes fixed on me with a sudden interest. \"Ah, how", "certificate to prove the death, and to show that it took place under\nnatural circumstances. There is the fact of the funeral at Limmeridge,", "of Limmeridge House.", "\"Don't you remember my telling you, when we last met, that I was going\nto Cumberland? I have been in Cumberland ever since--I have been\nstaying all the time at Limmeridge House.\"", "observed in communicating with Limmeridge House are already known, so\nis the magnificent success of my enterprise, so are the solid pecuniary\nresults which followed it. I have to assert, with the whole force of", "forbidden to feel the slightest anxiety in the meantime. There the\nnote ended. It was still early enough to catch the morning train. I\nreached Limmeridge House the same afternoon.", "In the second place, \"the late Mr. Philip Fairlie, of Limmeridge\nHouse,\" had been, in his younger days, the intimate friend and constant", "by proposing to stop at Limmeridge House on his way back to town. He\nwill arrive to-morrow, and will stay with us a few days, so as to allow", "Limmeridge for a few months only, and had then left it to go back to\nher home in Hampshire; but she could not say whether the mother and\ndaughter had ever returned, or had ever been heard of afterwards. No", "Poor Mrs. Vesey travelled with me as far as London. It was impossible\nto abandon her to solitude at Limmeridge after Laura and I had both", "\"To London!\"\n\n\"Yes--on her way to Limmeridge.\"\n\nLady Glyde turned and appealed to me." ], [ "By Mr. Dawson's own directions Lady Glyde was kept in ignorance of this\nchange for the worse. He himself absolutely forbade her, on account of", "Sir Percival was an only child. His father, Sir Felix Glyde, had\nsuffered from his birth under a painful and incurable deformity, and", "He said those last words holding his glass up to the light, and looking\nat the wine in it instead of at Lady Glyde. Indeed he never once", "\"Of course not. If he was married, and had a son, Lady Glyde would not\nbe next heir to the property. I'll tell you what he is. He's a", "She was engaged to be married, and her future husband was Sir Percival\nGlyde. A man of the rank of Baronet, and the owner of property in\nHampshire.", "On Lady Glyde's departure from her husband's house, the fact of that\ndeparture, and the necessary statement of the circumstances under which", "It announced that Sir Percival Glyde had been definitely accepted, and\nthat the marriage was to take place, as he had originally desired,", "Poor Lady Glyde's eyes filled with tears.\n\n\"Marian never left me before,\" she said, \"without bidding me good-bye.\"", "included)--her suspicion of the circumstances under which Lady Glyde\nwas said to have met her death. Mr. Kyrle, who had previously given", "The circumstances were now exactly what they were required to be. Lady\nGlyde was confined to her room by nervous illness, and the lumpish", "(2) That he was never, to my knowledge and belief, left alone in the\nroom with Lady Glyde.", "Lady Glyde, alike forbade me to remain in the employment of a man who\nhad shamefully deceived us both by a series of atrocious falsehoods.", "\"Sir Percival Glyde,\" she repeated, imagining that I had not heard her\nformer reply.\n\n\"Knight, or Baronet?\" I asked, with an agitation that I could hide no\nlonger.", "engagement at the beginning of her father's fatal illness, and that he\nspoke hopefully and happily of her marriage to Sir Percival Glyde on\nhis deathbed.\"", "as the reason why he had not married. You may wonder why the son,\nknowing that his parents had met each other at Knowlesbury, did not\nplay his first tricks with the register of that church, where it might", "register of the marriage of Sir Felix Glyde was in no respect\nremarkable except for the narrowness of the space into which it was\ncompressed at the bottom of the page. The information about his wife", "Glyde, most unwisely, insisted on sitting up with us. She was much too\nnervous and too delicate in health to bear the anxiety of Miss", "here before you pledged yourself to inviting Lady Glyde. You are most\nright, sir, in hesitating to receive the wife until you are quite", "\"Under these serious circumstances, I would recommend Lady Glyde to\nassign as a reason for withholding her signature, that she wishes the", "have been fairly presumed his father and mother were married. The\nreason was that the clergyman who did duty at Knowlesbury church, in\nthe year eighteen hundred and three (when, according to his birth" ], [ "\"In the event of Lady Glyde's signing such a document, as I am\ncompelled to suppose the deed in question to be, her trustees would be", "been drawn up for the purpose of borrowing money, and that Laura's\nsignature was absolutely necessary to fit it for the attainment of Sir\nPercival's object.", "\"You quite understand, Sir Percival,\" the lawyer went on. \"Lady Glyde\nis to sign her name in the presence of a witness--or of two witnesses,", "his creditors. The heir to the estate (Sir Percival having left no\nissue) was a son of Sir Felix Glyde's first cousin, an officer in", "twenty thousand pounds of Lady Glyde's fortune) is in contemplation,\nand that she is made a party to the deed, in order to secure her", "to the society. \"What this document which Lady Glyde is about to sign\nmay be,\" he continued, \"I neither know nor desire to know. I only say", "Lady Glyde looked at the letter for a moment and then placed it in my\nhands.", "Glyde and herself. After first distinctly ascertaining from Sir\nPercival that Mrs. Rubelle was certain to leave at once if I took her", "from you or from any one.\" After speaking those strange words loudly\nand sternly, he filled himself another glass of wine and asked Lady\nGlyde what she wanted of him.", "circumstances, to Sir Percival Glyde's solicitor in London, with whom I\nhave some acquaintance. The letter itself I shall keep here to show to", "and to secure a note of invitation which could be shown to Lady Glyde,\nwere the objects of my visit to Mr. Fairlie. When I have mentioned", "\"Under these serious circumstances, I would recommend Lady Glyde to\nassign as a reason for withholding her signature, that she wishes the", "\"That for the virtue of Lady Glyde! I believe in nothing about her but\nher money. Don't you see how the case stands? She might be harmless\nenough by herself; but if she and that vagabond Hartright----\"", "The circumstances were now exactly what they were required to be. Lady\nGlyde was confined to her room by nervous illness, and the lumpish", "Glyde, who was then at an hotel in London, and who wished to see Mrs.\nClements, for the purpose of arranging a future interview with Anne.", "By Mr. Dawson's own directions Lady Glyde was kept in ignorance of this\nchange for the worse. He himself absolutely forbade her, on account of", "little hope, even if you ultimately established the fact of Lady\nGlyde's being alive, of recovering her fortune. The foreigner would\nprobably leave the country before proceedings were commenced, and Sir", "Sir Percival Glyde in Cumberland, and was personally concerned in one\nimportant result of his short residence under Mr. Fairlie's roof. It", "message to her. The Count most readily and kindly complied with her\nrequest. The message, he said, was a very important one. Lady Glyde", "has written to London, to the family solicitor, Mr. Gilmore. Mr.\nGilmore happens to be away in Glasgow on business, and he has replied" ] ]

[ "Who is the woman in white?", "What is the purpose of Walter at Limmeridge?", "Why is it a problem for Laura to love Walter?", "Who does Laura marry?", "Who dies in a fire?", "Where does Laura disappear to?", "How does she get her identity back?", "Which character resembles the lady in white?", "Who was Laura Fairlie first betrothed to?", "What illness does Marian contract?", "How much is Laura's wedding settlement?", "What type of institution does Marian help Laura escape?", "What did Walter discover about Glyde?", "What was Mrs. Catherick paid for her assistance with the church registry?", "Who was Anne's mother?", "Who inherits Limmeridge?", "Who is Walter Hartright?", "What do the policemen tell Walter about the woman in white?", "What language has Pesca mastered?", "What does the anonymous letter warn Laura of?", "Who does Walter believe placed Anne in the Asylum?", "What was Glyde's secret?", "Who inherits Limmeridge?", "What was the reason Glyde's parents never got married?", "What document does Glyde need to borrow money?" ]

[ [ "An escapee from the asylum / Anne", "Anne." ], [ "He is a teacher", "Drawing master." ], [ "She is engaged", "She's betrothed to Sir Percival Glyde." ], [ "The baronet", "walter" ], [ "The baronet", "Glyde." ], [ "The asylum", "an asylum in London" ], [ "Walter blackmails Fosco.", "Written confession from Fosco." ], [ "Laura Fairlie", "Laura" ], [ "Sir Percival Glyde", "Sir Percival Glyde" ], [ "Typhus ", "typhus" ], [ "Twenty thousand pounds", "20,000 pounds" ], [ "An asylum", "An asylum." ], [ "That he was illegitimate ", "he's an illegitimate child" ], [ "A gold watch and chain with an annual payment", "A gold watch with chain and an annual payment." ], [ "Jane Catherick", "Jane Catherick." ], [ "Walter and Laura's son", "walter and laura's son" ], [ "A young art teacher.", "An art teacher." ], [ "That she escaped from an asylum.", "She escaped from an asylum." ], [ "Italian. ", "Italian" ], [ "Marrying Glyde.", "not to marry Glyde" ], [ "Glyde.", "Glyde" ], [ "He was illegitimate. ", "He was illegitimate." ], [ "The son of Walter and Laura.", "walter and laura's son" ], [ "His mother was already married.", "His mom was already married to someone else." ], [ "A marriage certificate.", "Marriage certificate." ] ]

e3aea7e1997b6057899be86ce2acd04a2df6bf57

train

[ [ "during the last two days. Clearly--too clearly--he remembered where he\nhad seen Celia Harland, and when. A picture rose before his eyes, and", "distinction as Celia Harland came to be living with a woman of so\ncommon a type as Mme. Dauvray.", "\"It is not the truth and I will tell you why. Celia Harland was to have\nmarried me this week.\"", "an education. Then, however, Celia's mother broke down under the strain\nand died. Captain Harland, a couple of years later, went out of the\nservice with discredit, passed through the bankruptcy court, and turned", "the room took them away. They went out again into the garden. Celia\nHarland threw back her head to the stars and drew in a deep breath of\nthe cool night air.", "Then Ricardo's thoughts turned as he tossed upon his bed to Celia\nHarland, a tragic and a lonely figure. He recalled the look of", "Celia's father was a Captain Harland, of a marching regiment, who had\nlittle beyond good looks and excellent manners wherewith to support his", "(1) Celia Harland made her entrance into Mme. Dauvray's household under\nvery doubtful circumstances.", "\"Yes. You saw Celia Harland on the evening before the murder.\"", "(3) If proof were needed how complete that ascendency was, a glance at\nCelia Harland's wardrobe would suffice; for she wore the most expensive\nclothes.", "Celia's side and awkwardly dabbing her forehead with a wet\nhandkerchief. He raised a warning hand. Celia Harland moved and opened", "troubles me. We have lost the evidence which she was going to bring to\nus. She had something to tell us about Celie Harland which now we shall", "(6) The footsteps outside the salon show that Celia Harland ran from\nthe salon to the motor-car.", "\"She is a Jewess, this Celia Harland?\" he cried.", "It was a spiritualistic performance at which Julius Ricardo had been\npresent two years ago. The young, fair-haired girl in black velvet, the\nmedium, was Celia Harland.", "\"No, M. Fleuriot, she is not,\" replied Wethermill. \"I do not speak in\ndisparagement of that race, for I count many friends amongst its\nmembers. But Celia Harland is not one of them.\"", "disappeared from Celia Harland's bedroom; but he remembered that Hanaud\nhad set no store upon that incident, and he refrained. Moreover, he had", "\"No doubt, monsieur,\" said Wethermill, with perfect quietude. \"But\nCelia Harland is not one of those women.\"", "Ricardo looked at Wethermill, doubtful whether he should tell what he\nknew of Celia Harland or not. But before he had decided a knock came\nupon the door.", "(4) It was Celia Harland who arranged that Servettaz, the chauffeur,\nshould be absent at Chambery on the Tuesday night--the night of the\nmurder." ], [ "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at", "seances. But it must succeed! So much of Mme. Dauvray's happiness, so\nmuch of her own, hung upon its success. Let her fail to-night, she", "fitted well with Mme. Dauvray's inclinations. She was in a feverish\nmood of excitement.", "Mme. Dauvray was silent for a moment or two. Then she turned\nimpulsively and spoke in a voice of appeal.", "steeled herself against the thought. To-night she must not fail. For\napart altogether from Mme. Dauvray's happiness, her own, it seemed, was\nat stake too.", "desperately she feared the effect of the exposure upon Mme. Dauvray.\nShe had been treated as a daughter; now she was in return to rob Mme.", "(2) By methods still more doubtful she acquired an extraordinary\nascendency over Mme. Dauvray's mind.", "she was never too tired for that. Besides, here\"--and putting his hand\ninto the safe he drew out a paper--\"here is the list of Mme. Dauvray's\njewellery.\"", "sunk so deeply into her flesh that at first I did not see it. For Mme.\nDauvray was stout.\"", "\"She seems quite happy,\" he said; and, indeed, Mme. Dauvray was talking\nvolubly and with the utmost interest, the jewels sparkling about her", "\"Very well! take Mme. Dauvray as we find her--rich, ostentatious,\neasily taken by a new face, generous, and foolishly superstitious--and", "playing with a dangerous thing. It was a revelation to me. I did not\nknow what to do. Mme. Dauvray would promise me everything, give me", "aroused a passion which I could not control. I was afraid that Mme.\nDauvray's whole life--it seems absurd to those who did not know her,", "with Mme. Dauvray and the woman opposite, who was now her jailer. Mme.\nDauvray lay dead in the little salon, and she herself--she dared not", "The argument silenced Celia. If she refused this condition now she\nwould excite Mme. Dauvray to a terrible suspicion. She drew on her", "wanted--with other things. It was money--always money. Wethermill was\nnot the first to seek the good graces of Mme. Dauvray through her", "But Mlle. Celie was of an address.' And again, speaking of Mme.\nDauvray's queer craze that the spirit of Mme. de Montespan should be", "Celia was silent, and Mme. Dauvray went on in a voice of awe:", "Excitement was gaining upon her, as upon Mme. Dauvray. Her face was\nflushed and shiny, her manner peremptory and quick. Celia's uneasiness", "Dauvray of the belief which had become the passion of her life." ], [ "understand.\" The touch of Adele Tace's hands communicated something to\nher--something which filled her with a vague alarm. She could not have", "neck. She raised her head, saw Celia, nodded to her affectionately, and\nthen pointed her out to her companion. Adele Tace looked the girl over", "On the morning of Tuesday, however, there came a letter from Adele\nTace, of which no trace was afterwards discovered. The letter invited", "her real name, Adele Tace, the wife of Hippolyte--had conceived a\nveritable passion for Harry Wethermill. He was of a not uncommon type,", "Mme. Dauvray and Celia found Adele Rossignol, to give Adele Tace the\nname which she assumed, waiting for them impatiently in the garden of", "The Tace family, which consisted of Adele and her husband and Jeanne,\nher mother, were practised criminals. They had taken the house in", "and the dining-room, Adele Tace kept up the same note of ridicule and\ndisbelief. She had been carefully tutored for her work. She was able to", "cold and callous in himself, yet with the power to provoke passion in\nwomen. And Adele Tace, as the story was told of how Harry Wethermill", "Adele Tace should walk ahead, though a passer-by would not have thought\nshe was of their company. At the corner of the Rue du Casino Adele\nwaited for them and said quickly:", "\"Yes, Adele shall see to-night. I myself will decide what you shall\nwear, Celie.\"\n\nAdele Tace casually suggested the kind of dress which she would prefer.", "voices. A man was speaking to Wethermill. She started and saw Adele\nTace's arm flash upwards. She sank back in terror; and the car rolled", "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "Wethermill stayed by the girl's side throughout the evening. Once again\nhe saw Mme. Dauvray and Adele Tace. But now they were together; now", "Adele Tace leaned back. She drew a breath. It was a breath of relief.\n\n\"Then we will buy the cord in Aix,\" she said.", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "perplexed frown and some return of her suspicion showing in her eyes.\nAdele Tace was not content to leave the subject there.", "they were talking. The first step had been taken. Adele Tace had\nscraped acquaintance with Mme. Dauvray. Celia saw them almost at the\nsame moment.", "\"Adele, I think, was the name used,\" replied Helene, the doubt in her\nvoice diminishing as she searched her memory. \"I am almost sure.\"", "\"I do hope, Adele, that we shall make you believe. But we shall. Oh, I\nam confident we shall.\" And her voice was feverish.\n\nAdele dropped for the moment her tone of raillery.", "\"I will speak to Helene,\" said Mme. Dauvray, and Adele Tace was content." ], [ "\"Mme. Dauvray was, as she always was before a seance, in a feverish\nflutter. 'You will help Mlle. Celie to dress, Helene, and be very", "seances. But it must succeed! So much of Mme. Dauvray's happiness, so\nmuch of her own, hung upon its success. Let her fail to-night, she", "\"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\"\n\n\"Yes, madame,\" answered the maid.", "to tell her--Mme. Dauvray--about their lives. She would have had\nseances all day, but Mlle. Celie pleaded that she was left exhausted at", "seance to-night, then, and the seance had begun. In a dreadful suspense\nshe heard Mme. Dauvray speak.", "no longer young, who had been for years the confidential servant of\nMme. Dauvray, and no doubt had taken her levy from the impostors who", "\"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\"\n\nThe maid instantly slid back into the room.\n\n\"Mademoiselle has not moved,\" she said.", "distract Mme. Dauvray. Celia kept her thoughts away from seances. There\nwas no seance as yet held in the Villa Rose. And there would have been\nnone but for Helene Vauquier.", "attitude as she had been when the lights were turned out. Imagine,\nmessieurs, the effect of such seances upon a woman like Mme. Dauvray.", "evening. On this occasion, however, Mme. Dauvray informed Helene that\nthey should be back early and bring with them a friend who was\ninterested in, but entirely sceptical of, spiritualistic", "\"Helene is expecting us,\" said Mme. Dauvray, for as they approached she\nsaw the front door open to admit them, and Helene Vauquier in the", "\"I will speak to it,\" said Mme. Dauvray, and raising her voice a\nlittle, she asked: \"Who are you that come to us from the spirit-world?\"", "corners of the room, and dim apparitions would appear--the spirits of\ngreat ladies of the past, who would talk with Mme. Dauvray. Such ladies", "steeled herself against the thought. To-night she must not fail. For\napart altogether from Mme. Dauvray's happiness, her own, it seemed, was\nat stake too.", "to Mme. Dauvray. She did nothing but felicitate herself upon the happy\nchance which had sent her Mlle. Celie. And now she lies in her room\nmurdered!\"", "England. Helene Vauquier has served Mme. Dauvray for seven years. She\nhas been the confidential friend rather than the maid. And mark this,", "wanted--with other things. It was money--always money. Wethermill was\nnot the first to seek the good graces of Mme. Dauvray through her", "Celia, however, was not unused to this tone. Mme. Dauvray was proud of\nher companion, and had a habit of showing her off, to the girl's", "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "position, with three chairs about it. Mme. Dauvray waited impatiently.\nCelia stood apparently unconcerned, apparently lost to all that was" ], [ "They are clever people who devised this crime--clever, and of an\naudacity which is surprising.\"", "\"All through this crime there are two things visible--brains and\ndaring; clever brains and extraordinary daring. Would he have dared? He", "\"Patience, my friend. Her story was not all untrue. I say there were\nbrains behind this crime; yes, but brains, even the cleverest, would", "There was one point, and only one, of which he had made every one in\nthat room sure. He had started confident. Here was a sordid crime,", "\"Yes,\" said Ricardo, \"it's the daring of which you spoke which made the\ncrime possible--the same daring which made him seek your help. That was\nunexampled.\"", "brains, those were the property of Harry Wethermill--yes. But it is not\nhe who is the chief actor in the crime. Of that I am sure. He was no\nmore than one of the instruments.\"", "of the gang. We might have suspected Wethermill; we should hardly have\nsecured him, and we should very likely never have known of the Tace\nfamily. That mistake was, as you no doubt are fully aware--\"", "\"Still,\" continued Hanaud, \"here are undoubtedly some questions. Let us\nconsider them! Who was the man who took a part in the crime? Ah, if we", "The Tace family, which consisted of Adele and her husband and Jeanne,\nher mother, were practised criminals. They had taken the house in", "arranged beforehand, if all went as it had been arranged. And as he\nthought upon the careful planning of that crime, and remembered\nWethermill's easy chatter as they had strolled from table to table in", "the men who have committed thefts, had left him no illusions upon that\nfigure in the history of crime. Adele Rossignol ran forward to confess,\nso that Harry Wethermill might suffer to the last possible point of", "Thus the crime was planned; and there WAS no scream, there WAS no\nstruggle. Not a chair was broken, and only a chair upset. Yes, there", "of the gang. It did not help us very much to lay our hands upon them.\nNo; the little accident which happened was the entrance of our friend\nPerrichet into the garden while the murderers were still in the room.", "qualities he had stipulated in the criminal. Ricardo now for the first\ntime understood the trend of all Hanaud's talk at that luncheon. He was", "were brains behind that murder. We know that. But what do we know of\nthe plan? How far can we build it up? Let us see. First, there was an\naccomplice in the house--perhaps two.\"", "had paid his court to Celia Harland, was seized with a vindictive\njealousy. Hanaud was not surprised. He knew the woman-criminal of his", "\"I will tell you,\" said Hanaud, drawing his chair still closer to the\nyoung man. \"Understand this in the first place. There was an accomplice", "upon. Let us formulate what we know. We start with this. The murder was\nnot the work of a moment. It was planned with great care and cunning,", "\"There were difficulties, of course,\" he said; \"the crime was so\ncarefully planned. The little details, such as the footprints, the", "with his finger to his lips. Something gleamed darkly in his hand. It\nwas the barrel of his revolver. Cautiously the men disembarked and" ], [ "neck. She raised her head, saw Celia, nodded to her affectionately, and\nthen pointed her out to her companion. Adele Tace looked the girl over", "\"Clever?\" answered Celia, looking straight at Adele, as though through\nher she saw mysteries beyond. She took up her part at once. Since for", "Mme. Dauvray and Celia found Adele Rossignol, to give Adele Tace the\nname which she assumed, waiting for them impatiently in the garden of", "At first Celia shrank away, fearing some new cruelty. But Adele's voice\ncame to her ears, speaking--and speaking with remorse.", "going on. Her eyes saw no one. Adele looked up at Celia, and laughed\nmaliciously.", "\"Yes, Adele shall see to-night. I myself will decide what you shall\nwear, Celie.\"\n\nAdele Tace casually suggested the kind of dress which she would prefer.", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "She was placed in a chair. Adele passed a cord round her ankles, and\nthe mere touch of it quickened Celia to a spasm of revolt. Her last", "Adele stooped and obeyed. Wethermill opened the door of the car and\nflung Celia into a seat. Adele followed and took her seat opposite the", "The two women stood and looked at her; and then Adele Rossignol burst\nout laughing. Vauquier approached the girl, and Celia had a moment's", "they were talking. The first step had been taken. Adele Tace had\nscraped acquaintance with Mme. Dauvray. Celia saw them almost at the\nsame moment.", "\"Are you ready? Be quick!\"\n\nAdele turned to Celia.\n\n\"Not a word, remember!\"", "\"Keep still!\" said Adele hurriedly, and she placed herself in front of\nCelia.\n\nWethermill opened the wooden door, while Celia's heart raced in her\nbosom.", "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "understand.\" The touch of Adele Tace's hands communicated something to\nher--something which filled her with a vague alarm. She could not have", "This is the story as Mr. Ricardo wrote it out from the statement of\nCelia herself and the confession of Adele Rossignol. Obscurities which", "placed them palm to palm. And at once Celia became uneasy. It was not\nmerely the action, significant though it was of Adele's alertness to", "Celia's mouth was proof of that. As if to add proof to proof, she heard\nAdele Rossignol speak in answer to the signal.", "which she wishes to hide in Mlle. Celie's room. For she admitted that\nit was her suggestion that she should look through mademoiselle's", "\"Yes, something,\" said Adele. \"A necklace--a good one--some good rings,\nand bracelets. And we shall find out where the rest is hid--from her.\"\nAnd she nodded at Celia." ], [ "neck. She raised her head, saw Celia, nodded to her affectionately, and\nthen pointed her out to her companion. Adele Tace looked the girl over", "Mme. Dauvray and Celia found Adele Rossignol, to give Adele Tace the\nname which she assumed, waiting for them impatiently in the garden of", "\"Clever?\" answered Celia, looking straight at Adele, as though through\nher she saw mysteries beyond. She took up her part at once. Since for", "At first Celia shrank away, fearing some new cruelty. But Adele's voice\ncame to her ears, speaking--and speaking with remorse.", "going on. Her eyes saw no one. Adele looked up at Celia, and laughed\nmaliciously.", "\"Yes, Adele shall see to-night. I myself will decide what you shall\nwear, Celie.\"\n\nAdele Tace casually suggested the kind of dress which she would prefer.", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "She was placed in a chair. Adele passed a cord round her ankles, and\nthe mere touch of it quickened Celia to a spasm of revolt. Her last", "Adele stooped and obeyed. Wethermill opened the door of the car and\nflung Celia into a seat. Adele followed and took her seat opposite the", "understand.\" The touch of Adele Tace's hands communicated something to\nher--something which filled her with a vague alarm. She could not have", "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "This is the story as Mr. Ricardo wrote it out from the statement of\nCelia herself and the confession of Adele Rossignol. Obscurities which", "The two women stood and looked at her; and then Adele Rossignol burst\nout laughing. Vauquier approached the girl, and Celia had a moment's", "they were talking. The first step had been taken. Adele Tace had\nscraped acquaintance with Mme. Dauvray. Celia saw them almost at the\nsame moment.", "which she wishes to hide in Mlle. Celie's room. For she admitted that\nit was her suggestion that she should look through mademoiselle's", "On the morning of Tuesday, however, there came a letter from Adele\nTace, of which no trace was afterwards discovered. The letter invited", "\"Keep still!\" said Adele hurriedly, and she placed herself in front of\nCelia.\n\nWethermill opened the wooden door, while Celia's heart raced in her\nbosom.", "placed them palm to palm. And at once Celia became uneasy. It was not\nmerely the action, significant though it was of Adele's alertness to", "\"Yes, something,\" said Adele. \"A necklace--a good one--some good rings,\nand bracelets. And we shall find out where the rest is hid--from her.\"\nAnd she nodded at Celia.", "and the dining-room, Adele Tace kept up the same note of ridicule and\ndisbelief. She had been carefully tutored for her work. She was able to" ], [ "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "Mme. Dauvray and Celia found Adele Rossignol, to give Adele Tace the\nname which she assumed, waiting for them impatiently in the garden of", "But even while he spoke he soon caught sight of Mme. Dauvray standing\nby one of the tables; and near to her was Adele Tace. Adele had not yet", "And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then,\nwhat Adele said?\"\n\nAnd Celia started violently. Mme. Dauvray doubted.", "\"I will speak to Helene,\" said Mme. Dauvray, and Adele Tace was content.", "Wethermill stayed by the girl's side throughout the evening. Once again\nhe saw Mme. Dauvray and Adele Tace. But now they were together; now", "they were talking. The first step had been taken. Adele Tace had\nscraped acquaintance with Mme. Dauvray. Celia saw them almost at the\nsame moment.", "understand.\" The touch of Adele Tace's hands communicated something to\nher--something which filled her with a vague alarm. She could not have", "their coffee on the terrace of the hotel. Mme. Dauvray had been really\npained by the conversation of Adele Tace. She had all the missionary\nzeal of a fanatic.", "was changing her dress Mme. Dauvray and the stranger, Adele, went into\nthe dining-room. I know that Mlle. Celie, as soon as she was dressed,", "of her audience was inclined to laugh. To Mme. Dauvray the whole\nbusiness was as serious as the most solemn ceremonial. Adele was intent", "The argument silenced Celia. If she refused this condition now she\nwould excite Mme. Dauvray to a terrible suspicion. She drew on her", "with Mme. Dauvray and the woman opposite, who was now her jailer. Mme.\nDauvray lay dead in the little salon, and she herself--she dared not", "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at", "wanted--with other things. It was money--always money. Wethermill was\nnot the first to seek the good graces of Mme. Dauvray through her", "steeled herself against the thought. To-night she must not fail. For\napart altogether from Mme. Dauvray's happiness, her own, it seemed, was\nat stake too.", "Celia was silent, and Mme. Dauvray went on in a voice of awe:", "\"Let me hear,\" he said gravely.\n\n\"It is the murder of Mme. Dauvray,\" said Wethermill.\n\nHanaud started.", "and the dining-room, Adele Tace kept up the same note of ridicule and\ndisbelief. She had been carefully tutored for her work. She was able to", "\"Then it was certainly for her famous collection of jewellery that\nMadame Dauvray was murdered?\"\n\n\"Certainly, monsieur.\"\n\n\"Now, where did she keep her jewellery?\"" ], [ "Hanaud leant back with an extraordinary look of perplexity upon his\nface. But to Ricardo the whole story was now clear. Here was an", "\"Every one in Geneva or near Geneva will know of this message by now.\"\n\n\"Who could have told?\" asked Ricardo blankly, and Hanaud laughed in his\nface, but laughed without any merriment.", "might merely have been assumed to deceive. His questions betrayed in no\nparticular the colour of his mind. Now, however, he made himself clear.", "\"It was Mlle. Celie,\" he said, \"who told me.\"\n\n\"Oh!\" said Hanaud, slowly. \"It was Mlle. Celie. When did she tell you?\"", "\"As for the rest, Helene Vauquier lied,\" he cried violently, and he\ntossed the paper to Hanaud. \"What do you make of it?\"\n\nHanaud smiled and shook his head.", "succeeded, we should have known nothing of their movements--oh, but\nnothing--nothing. Ah! I tell you this is no ordinary blundering affair.", "\"Patience, my friend. Her story was not all untrue. I say there were\nbrains behind this crime; yes, but brains, even the cleverest, would", "He had given a signal to Adele Rossignol. All that woman's scepticism\nand precaution against trickery had been a mere blind, under cover of", "\"Well, what have I done?\" he asked. \"Come! tell me!\"\n\n\"You have destroyed a clue,\" replied Ricardo impressively.", "had been taken to prevent trickery and where those precautions had\nfailed. Her whole conversation was carefully planned to one end, and to\none end alone. She wished to produce in the minds of her companions so", "\"I will tell you,\" he said, in his most confidential tones. \"Only it\nmust remain a secret between you and me. I did it--because I have a\nsense of humour.\"", "man and the woman, her accomplices. It was something, then, which she\nwas concerned in hiding from them. It is not rash to guess, then, that", "\"I will tell you,\" said Hanaud, drawing his chair still closer to the\nyoung man. \"Understand this in the first place. There was an accomplice", "Vauquier was in the plot. The bolts and the hinges would not have\nworked so smoothly but for her. Darkness again filled the recess", "the preparations. It ran like this\"--and Hanaud took a scrap of paper\nfrom his pocket and read out from it a copy of the telegram: \"'Agent", "\"She speaks, then! After all she speaks!\" Hanaud whispered in a voice\nof awe. He ran to the door of the room, opened it suddenly, and,", "quietly and respectfully she faced the magistrate week after week. She\nwas the perfect picture of a servant who knew her place. And nothing\nwas wrung from her. But without her help the story became complete. And", "into the recess and see him. And then the real truth flashed in upon\nher blindingly. He had jerked the cord, but he had jerked it", "She told her share of the story--she told what happened. There was\napparently one terrible scene when she was confronted with Harry", "the men who have committed thefts, had left him no illusions upon that\nfigure in the history of crime. Adele Rossignol ran forward to confess,\nso that Harry Wethermill might suffer to the last possible point of" ], [ "They took her upstairs into the big bedroom overlooking the lake. Adele\nopened the door of the closet, where a truckle-bed stood, and thrust\nthe girl in.", "She told her share of the story--she told what happened. There was\napparently one terrible scene when she was confronted with Harry", "\"Oh yes, monsieur. They generally had their meals here. See, at that\nlittle table over there! I kept it for them. But monsieur knows", "Ricardo could hardly believe that he stood actually upon the spot\nwhere, within twelve hours, a cruel and sinister tragedy had taken\nplace. There was so little disorder. The three windows on his right", "sinister a tragedy had taken place within its walls during the last\ntwelve hours. It glistened so gaudily in the blaze of sunlight. Here\nand there the green outer shutters were closed; here and there the", "Suddenly a scream rang out in the garden--a shrill, loud scream, close\nbeneath the windows. The old woman sprang to her feet. The girl on the", "The lights of the city fell away behind them. Now only a glow in the\nsky spoke of Geneva; now even that was gone and with a smooth", "She heard the door open again and shut again. Then steps approached the\nrecess. The curtains were flung back, and the two women stood in front", "towards the house. Then he cried, \"Ah!\" and drew himself into an\nattitude of attention. A tall, thin man of about forty-five years,", "All three stood holding their breath, straining their ears in the dark\nroom. On the hard gravel of the drive outside footsteps became faintly\naudible, and grew louder and came near. Adele whispered to Vauquier:", "Then they took her clothes away and left her in the darkness. She heard\nthe key turn in the lock, and a moment after the sound of the bedstead\nbeing drawn across the doorway. But she heard no more, for almost\nimmediately she fell asleep.", "towards the town past the garden at the back of the hotel. Down this\nroad the two men walked, while the supporting wall of the garden upon\ntheir right hand grew higher and higher above their heads. They came to", "is the likely place. It is a good city to hide in. Moreover the car\nappears at the corner at daylight. How does it appear there? What road", "They see her leave the house, an unusual proceeding for her with her\nhusband ill, as her own letter tells us. Hippolyte follows her to the", "kind, and took me home with her, and I cried all the way in the\ncarriage. She kept me a few days, and then she told me that I was to", "They waited outside the exit while the passengers gave up their\ntickets. Amongst them a middle-aged, short woman, of a plethoric\ntendency, attracted their notice. She was neatly but shabbily dressed", "\"It is here,\" said Besnard, as the party descended from the cab, \"in\nthe coach-house of this empty villa.\"\n\n\"Here?\" cried Ricardo in amazement.", "of hunger and distress. Madame believed it, and brought her home.\nMadame was so kind, so careless in her kindness. And now she lies", "They got into a cab outside the door. Perrichet mounted the box, and\nthe cab was driven along the upward-winding road past the Hotel", "The two men had reached the square in front of the Etablissement des\nBains. Ricardo dropped on to a bench and wiped his forehead." ], [ "\"No, M. Fleuriot, she is not,\" replied Wethermill. \"I do not speak in\ndisparagement of that race, for I count many friends amongst its\nmembers. But Celia Harland is not one of them.\"", "Celia's father was a Captain Harland, of a marching regiment, who had\nlittle beyond good looks and excellent manners wherewith to support his", "\"It is not the truth and I will tell you why. Celia Harland was to have\nmarried me this week.\"", "during the last two days. Clearly--too clearly--he remembered where he\nhad seen Celia Harland, and when. A picture rose before his eyes, and", "\"She is a Jewess, this Celia Harland?\" he cried.", "distinction as Celia Harland came to be living with a woman of so\ncommon a type as Mme. Dauvray.", "(1) Celia Harland made her entrance into Mme. Dauvray's household under\nvery doubtful circumstances.", "\"No doubt, monsieur,\" said Wethermill, with perfect quietude. \"But\nCelia Harland is not one of those women.\"", "an education. Then, however, Celia's mother broke down under the strain\nand died. Captain Harland, a couple of years later, went out of the\nservice with discredit, passed through the bankruptcy court, and turned", "(3) If proof were needed how complete that ascendency was, a glance at\nCelia Harland's wardrobe would suffice; for she wore the most expensive\nclothes.", "Celia's side and awkwardly dabbing her forehead with a wet\nhandkerchief. He raised a warning hand. Celia Harland moved and opened", "\"Yes. You saw Celia Harland on the evening before the murder.\"", "It was a spiritualistic performance at which Julius Ricardo had been\npresent two years ago. The young, fair-haired girl in black velvet, the\nmedium, was Celia Harland.", "The car sped through the streets of Geneva. Celia Harland, with a\nlittle sigh of relief, nestled down between the two men.", "Then Ricardo's thoughts turned as he tossed upon his bed to Celia\nHarland, a tragic and a lonely figure. He recalled the look of", "Ricardo looked at Wethermill, doubtful whether he should tell what he\nknew of Celia Harland or not. But before he had decided a knock came\nupon the door.", "the room took them away. They went out again into the garden. Celia\nHarland threw back her head to the stars and drew in a deep breath of\nthe cool night air.", "had paid his court to Celia Harland, was seized with a vindictive\njealousy. Hanaud was not surprised. He knew the woman-criminal of his", "(6) The footsteps outside the salon show that Celia Harland ran from\nthe salon to the motor-car.", "\"They are both friends of mine,\" replied Hanaud. \"If you do not object\nI think their assistance may be useful. Mr. Wethermill, for instance,\nwas acquainted with Celia Harland.\"" ], [ "\"Mme. Dauvray was, as she always was before a seance, in a feverish\nflutter. 'You will help Mlle. Celie to dress, Helene, and be very", "seances on Mme. Dauvray. Celia had never been brought quite close to\nthe credulous before.", "distract Mme. Dauvray. Celia kept her thoughts away from seances. There\nwas no seance as yet held in the Villa Rose. And there would have been\nnone but for Helene Vauquier.", "And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then,\nwhat Adele said?\"\n\nAnd Celia started violently. Mme. Dauvray doubted.", "upon Mme. Dauvray. Celia had no suspicions of Helene Vauquier. She\nwould have laughed if any one had told her that this respectable and", "to Mme. Dauvray. She did nothing but felicitate herself upon the happy\nchance which had sent her Mlle. Celie. And now she lies in her room\nmurdered!\"", "Within a fortnight Mme. Dauvray confided to Celia that there was a new\nfortune-teller come to Paris, who, by looking into a crystal, could", "made Mme. Dauvray's acquaintance; that was evident. She was apparently\nunaware of her; but she was gradually edging towards her. Wethermill\nsmiled, and Celia caught the smile.", "seances. It would never do for a spirit to admit that it did not know.\nAt once its authority would be gone, and with it Mlle. Celie's as well.", "to tell her--Mme. Dauvray--about their lives. She would have had\nseances all day, but Mlle. Celie pleaded that she was left exhausted at", "Helene Vauquier despised her. Celia had taken her place in Mme.\nDauvray's confidence, had deposed her unwittingly, had turned the", "Dauvray's cheeks and the agitation of her manner warned Celia how much\nhung upon the success of this last seance. How much for both of them!", "Celia was silent, and Mme. Dauvray went on in a voice of awe:", "\"Some one--who means harm!\" she whispered, trembling with excitement.\n\n\"Ah, mademoiselle is already under control,\" said Helene, using the\njargon which she had learnt from Celia's lips.", "\"Madame shall see to-night,\" Celia stammered, and Camille Dauvray rather\nsternly repeated her words.", "properly. Then the voices would cease and the lights be turned up, and\nMlle. Celie would be found in a trance just in the same place and", "\"Celie,\" said Mme. Dauvray, \"it isn't true! Surely it isn't true?\"\n\nCelia drew her hands away from her face.", "Celia, in her mind, could see them sitting about the round table in the\ndarkness, Mme. Dauvray between the two women, securely held by them.", "It was a spiritualistic performance at which Julius Ricardo had been\npresent two years ago. The young, fair-haired girl in black velvet, the\nmedium, was Celia Harland.", "seances. But it must succeed! So much of Mme. Dauvray's happiness, so\nmuch of her own, hung upon its success. Let her fail to-night, she" ], [ "to Mme. Dauvray. She did nothing but felicitate herself upon the happy\nchance which had sent her Mlle. Celie. And now she lies in her room\nmurdered!\"", "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "Celia was silent, and Mme. Dauvray went on in a voice of awe:", "Mme. Dauvray and Celia to come out to Annecy and dine with her at an\nhotel there. They could then return together to Aix. The proposal", "Helene Vauquier despised her. Celia had taken her place in Mme.\nDauvray's confidence, had deposed her unwittingly, had turned the", "with Mme. Dauvray and the woman opposite, who was now her jailer. Mme.\nDauvray lay dead in the little salon, and she herself--she dared not", "Mme. Dauvray was indignant. Celia, for her part, felt humiliated and\nsmall. They sat down to their dinner in the garden, but the rain began", "Celia, in her mind, could see them sitting about the round table in the\ndarkness, Mme. Dauvray between the two women, securely held by them.", "\"Madame shall see to-night,\" Celia stammered, and Camille Dauvray rather\nsternly repeated her words.", "upon Mme. Dauvray. Celia had no suspicions of Helene Vauquier. She\nwould have laughed if any one had told her that this respectable and", "discomfort. The three women spoke a few words, and then Mme. Dauvray\nand Celia left the rooms and walked to the entrance-doors. But as they\nwalked Celia became alarmed.", "\"Certainly, if madame wishes,\" said Helene submissively. She looked\nround the room. \"Mlle. Celie can be placed on a chair in that recess", "position, with three chairs about it. Mme. Dauvray waited impatiently.\nCelia stood apparently unconcerned, apparently lost to all that was", "And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with\nher maid what frock she should wear. She was hot, and she took a", "The story begins with the explanation of that circumstance which had\ngreatly puzzled Mr. Ricardo--Celia's entry into the household of Mme.\nDauvray.", "Celia, however, was not unused to this tone. Mme. Dauvray was proud of\nher companion, and had a habit of showing her off, to the girl's", "hides himself in the salon until Mme. Dauvray returns from the\ndining-room. You see, that leaves Mlle. Celie innocent.\"", "The argument silenced Celia. If she refused this condition now she\nwould excite Mme. Dauvray to a terrible suspicion. She drew on her", "\"Mme. Dauvray was, as she always was before a seance, in a feverish\nflutter. 'You will help Mlle. Celie to dress, Helene, and be very", "For this conversation took place on the Monday, and in the evening Mme.\nDauvray and Celia went as usual to the Villa des Fleurs and dined there." ], [ "with Mme. Dauvray and the woman opposite, who was now her jailer. Mme.\nDauvray lay dead in the little salon, and she herself--she dared not", "\"Then it was certainly for her famous collection of jewellery that\nMadame Dauvray was murdered?\"\n\n\"Certainly, monsieur.\"\n\n\"Now, where did she keep her jewellery?\"", "desperately she feared the effect of the exposure upon Mme. Dauvray.\nShe had been treated as a daughter; now she was in return to rob Mme.", "upon Mme. Dauvray. Celia had no suspicions of Helene Vauquier. She\nwould have laughed if any one had told her that this respectable and", "\"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\"\n\nThe maid instantly slid back into the room.\n\n\"Mademoiselle has not moved,\" she said.", "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at", "\"Let me hear,\" he said gravely.\n\n\"It is the murder of Mme. Dauvray,\" said Wethermill.\n\nHanaud started.", "\"I'll follow,\" he said, and as he turned he stumbled over the body of\nMme. Dauvray. With a shrill cry he kicked it out of his way and crept", "\"And in what way, monsieur,\" he asked, \"are you interested in the\nmurder of Mme. Dauvray?\"", "to Mme. Dauvray. She did nothing but felicitate herself upon the happy\nchance which had sent her Mlle. Celie. And now she lies in her room\nmurdered!\"", "\"Well, then, let us see who there are in Mme. Dauvray's household. The\nlist is not a long one. It was Mme. Dauvray's habit to take her", "between Mme. Dauvray and myself. But in that case the lights would be\nturned out first, and it would be really my hand which held Mme.", "\"Not Mme. Dauvray! Who was it, then?\" Hanaud asked sharply.\n\nServettaz glanced from one to another of the grave faces which\nconfronted him.", "\"Just imagine if you can what his feelings must have been, when in Mme.\nDauvray's bedroom, with the woman he had uselessly murdered lying rigid", "dangerous criminal. Even now he could not understand how she could be\ninnocent of a share in Mme. Dauvray's murder. But Hanaud evidently", "\"If that is so,\" he said slowly, \"Mme. Dauvray kept her jewels in this\nsafe, why has every drawer been ransacked, why was the bed moved?", "\"I shall tell you something now of Mme. Dauvray,\" he said. \"We will not\ntake up her early history. It might not be edifying and, poor woman,", "hides himself in the salon until Mme. Dauvray returns from the\ndining-room. You see, that leaves Mlle. Celie innocent.\"", "\"We then went to Mme. Dauvray's room and discovered her brilliants and\nher ornaments. At once the meaning of that agitated piece of", "\"As for the rest, Helene Vauquier lied,\" he cried violently, and he\ntossed the paper to Hanaud. \"What do you make of it?\"\n\nHanaud smiled and shook his head." ], [ "\"Let me hear,\" he said gravely.\n\n\"It is the murder of Mme. Dauvray,\" said Wethermill.\n\nHanaud started.", "\"Then it was certainly for her famous collection of jewellery that\nMadame Dauvray was murdered?\"\n\n\"Certainly, monsieur.\"\n\n\"Now, where did she keep her jewellery?\"", "\"And in what way, monsieur,\" he asked, \"are you interested in the\nmurder of Mme. Dauvray?\"", "\"You will remember I made you all promise silence as to the finding of\nMme. Dauvray's jewellery. For I thought, if they have taken the girl", "of finding out from her Mme. Dauvray's hiding-place. It was a small\nchance but our only one. The moment the discovery of the jewellery was", "\"We then went to Mme. Dauvray's room and discovered her brilliants and\nher ornaments. At once the meaning of that agitated piece of", "\"Well, then, let us see who there are in Mme. Dauvray's household. The\nlist is not a long one. It was Mme. Dauvray's habit to take her", "with Mme. Dauvray and the woman opposite, who was now her jailer. Mme.\nDauvray lay dead in the little salon, and she herself--she dared not", "\"I shall tell you something now of Mme. Dauvray,\" he said. \"We will not\ntake up her early history. It might not be edifying and, poor woman,", "a book. And there is no way round. You would find sure and certain\nproof whether or no Madame Dauvray's car travelled last night to", "It was not until another hour had passed that Celia rose and went in\nsearch of Mme. Dauvray. She found her still talking earnestly to Adele\nTace. Mme. Dauvray got up at once.", "\"Now tell me what you make of the case. What M. Wethermill thinks--that\nis clear, is it not? Helene Vauquier is the guilty one. But you, M.\nRicardo? What is your opinion?\"", "\"If that is so,\" he said slowly, \"Mme. Dauvray kept her jewels in this\nsafe, why has every drawer been ransacked, why was the bed moved?", "\"Not Mme. Dauvray! Who was it, then?\" Hanaud asked sharply.\n\nServettaz glanced from one to another of the grave faces which\nconfronted him.", "Celia covered her face with her hands. It would be true. She had\nno doubt of it. Mme. Dauvray would never forgive herself--would never", "\"I'll follow,\" he said, and as he turned he stumbled over the body of\nMme. Dauvray. With a shrill cry he kicked it out of his way and crept", "And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then,\nwhat Adele said?\"\n\nAnd Celia started violently. Mme. Dauvray doubted.", "\"What does monsieur want of Mme. Dauvray?\" she asked. And the question\nwas her answer.\n\nWethermill stood silent. Then he said abruptly:", "\"It was Mlle. Celie,\" he said, \"who told me.\"\n\n\"Oh!\" said Hanaud, slowly. \"It was Mlle. Celie. When did she tell you?\"", "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at" ], [ "Celia nodded her head gratefully. After all, then, she was not to die.\nIt seemed to her hardly possible. But before she could rise a subdued", "her hands might be freed. She had but a few seconds. She had one\nthought--to hide herself in the darkness of the garden. Celia fled", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "\"There we are,\" he said, with his shrill, wavering laugh. \"I opened the\ngate before.\" And suddenly Celia hung inert in his arms.", "With Helene Vauquier to support her if she fell, Celia took a tiny\nshuffling step forward, feeling supremely ridiculous. No one, however,", "At first Celia shrank away, fearing some new cruelty. But Adele's voice\ncame to her ears, speaking--and speaking with remorse.", "\"Yes, yes!\" Celia cried eagerly. She rose to her feet, and tottered.\nHanaud put his arm about her. \"You are very kind,\" she said in a low", "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "Celia shuddered from head to foot, and, burying her face in the\ncushion, lay trembling. She would have begged for death upon her knees", "its place in the hall. She put Celia's shoes upon her feet, loosening\nthe cord from her ankles. Then she looked about the floor and picked up", "And upon the old woman's face there came a look, not of alarm, but of\nextraordinary relief. The genuine, heartfelt cry restored her\nconfidence in Celia.", "She caught her by the neck and lifted her up. She pushed the lace scarf\nup at the side of Celia's head. Celia began to struggle furiously,", "Celia heard some one drop heavily into a chair. It was Wethermill, and\nhe buried his face in his hands. Helene went over to him and laid her\nhand upon his shoulder and shook him.", "\"No, my friend,\" answered Hanaud. \"That made them keep Mlle. Celie\nalive. It enabled us to save her when we had discovered the whereabouts", "The raillery in her voice had a note of savagery in it now. Celia's\nvague terror grew. She had a feeling that a beast was waking in the", "All Celia's heart and youth rose in revolt against her extremity. If\nshe could only free her lips! The footsteps came round the corner of", "CHAPTER XV\n\nCELIA'S STORY", "And so silence came again, and suddenly there was quite a rush of light\ninto the recess. Celia was startled. She turned her head back again", "thwart her, which troubled Celia. But she was extraordinarily receptive\nof impressions, extraordinarily quick to feel, from a touch, some dim", "Celia leaned back, her heart fainting within her. Arrange! It was her\nturn now. She was to be \"arranged.\" She had no doubt what sinister" ], [ "\"No, my friend,\" answered Hanaud. \"That made them keep Mlle. Celie\nalive. It enabled us to save her when we had discovered the whereabouts", "\"No!\" cried Celia decisively, and she again laid hold of his coat, with\na pretty imperiousness, as though he belonged to her.\n\n\"But I must,\" said Hanaud with a laugh.", "\"Yes, yes!\" Celia cried eagerly. She rose to her feet, and tottered.\nHanaud put his arm about her. \"You are very kind,\" she said in a low", "\"Quick!\" said Hanaud, pointing to the girl, who was now struggling\nhelplessly upon the sofa. \"Mlle. Celie!\"", "Celia and took his leave. Hanaud led Celia up on to the balcony of the\nrestaurant and ordered supper. There were people still dining at the\ntables.", "Hanaud leaned across the table to Celia and said in a low voice:\n\n\"Mademoiselle, if I may suggest it, it would be as well if you put on\nyour gloves; otherwise they may notice your wrists.\"", "\"It was Mlle. Celie,\" he said, \"who told me.\"\n\n\"Oh!\" said Hanaud, slowly. \"It was Mlle. Celie. When did she tell you?\"", "\"We must go,\" Hanaud whispered hoarsely. \"Here are life and death in\nthe balance, as I believe, and there\"--he pointed down to the little", "her while Hanaud ran back into the restaurant. It mattered very little,\nhowever, what he said, for Celia's eyes were fixed upon the doorway", "The room was opposite to Celia's. Besnard produced the key and unlocked\nthe door. Hanaud took off his hat upon the threshold and then passed", "\"You can trust Marie,\" said Hanaud. And Celia turned as she stood upon\nthe ground and gave her hands to the two men.", "\"Mlle. Celie,\" said Hanaud, and his voice told her that he was moved,\n\"that is a very pretty thing which you have said to me.\"", "towards Celia too. She wrenched herself from Hanaud's arms, she shrank\nviolently away. Her white face flushed scarlet and grew white again.", "had paid his court to Celia Harland, was seized with a vindictive\njealousy. Hanaud was not surprised. He knew the woman-criminal of his", "\"Mme. Dauvray's motor-car has been found,\" he cried. \"Let us go!\"\n\nHanaud called for the bill and paid it. The three men left the Villa\ndes Fleurs together.", "\"Listen, mademoiselle, to what she says,\" said the judge, and he read\nout to Celia an extract or two from Hanaud's report of his first\ninterview with Helene Vauquier in her bedroom at the Villa Rose.", "\"No,\" said Hanaud; \"let it wait in the little street at the back of my\nhotel. It will not be so noticeable there. You have petrol for a long\njourney?\"", "\"She speaks, then! After all she speaks!\" Hanaud whispered in a voice\nof awe. He ran to the door of the room, opened it suddenly, and,", "disappeared from Celia Harland's bedroom; but he remembered that Hanaud\nhad set no store upon that incident, and he refrained. Moreover, he had", "\"In writing?\" exclaimed Hanaud quickly.\n\n\"Yes; answers to questions. Mlle. Celie had them ready. Oh, but she was\nof an address altogether surprising." ], [ "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "Celia shuddered from head to foot, and, burying her face in the\ncushion, lay trembling. She would have begged for death upon her knees", "And the next moment Celia winced and had to bite her lip to prevent a\ncry. The thin cord was wound twice about her wrists, drawn cruelly", "Celia made no movement. She lay trying to believe that no crime had\nbeen committed, that that lifeless body did not lie against the wall.\nAnd then she heard in the room above a bed wheeled roughly from its\nplace.", "stupidity, they sat down to decide upon Celia's fate. That, however,\nwas soon arranged. They would dress her in everything which she wore", "The raillery in her voice had a note of savagery in it now. Celia's\nvague terror grew. She had a feeling that a beast was waking in the", "have liked Celia--Celia, smiling at herself in the glass--to know\nsuddenly what was in store for her! She saw in imagination the colour\ndie from the cheeks, the eyes stare wide with terror.", "Celia nodded her head gratefully. After all, then, she was not to die.\nIt seemed to her hardly possible. But before she could rise a subdued", "her hands might be freed. She had but a few seconds. She had one\nthought--to hide herself in the darkness of the garden. Celia fled", "She was placed in a chair. Adele passed a cord round her ankles, and\nthe mere touch of it quickened Celia to a spasm of revolt. Her last", "Celia listened and shuddered. He would have no more compunction over\ndrowning her than he would have had over drowning a blind kitten.", "She caught her by the neck and lifted her up. She pushed the lace scarf\nup at the side of Celia's head. Celia began to struggle furiously,", "But even in the midst of her eagerness--so thoroughly had she been\nprepared--there lingered a flavour of doubt, of suspicion. In Celia's\nmind there was still the one desperate resolve.", "\"There we are,\" he said, with his shrill, wavering laugh. \"I opened the\ngate before.\" And suddenly Celia hung inert in his arms.", "that Mlle. Celie helped to murder and rob her benefactress. They are\ncertain to suspect some one, so why not you, pretty one?\"", "maid was carrying Celia's white coat. They did not mean to murder her,\nthen. They meant to take her away, and even then a spark of hope lit up", "Wethermill shut his eyes in a spasm of pain and the pallor of his face\nincreased.\n\n\"Suppose that Celia were one of the victims?\" he cried in a stifled\nvoice.", "The old woman who acted as servant, Jeanne Tace, received her. Celia\noffered no resistance. The fear of vitriol had made her supple as a", "She is killed. Mlle. Celie is a danger. So Mile. Celie must be\nsuppressed. And off goes a telegram to the Geneva paper, handed in by a", "The three people ate their supper, and, while they ate it, discussed\nCelia's fate. She was lying with her head bowed upon her arms at the" ], [ "\"Madame had been very good to me. She was kind and simple,\" said Celia,\nwith a very genuine affection in her voice. \"The people whom we knew", "day, and the girl quickly understood the ruling passion of the woman\nwho had befriended her. It took very little time then for Celia to", "\"The young Englishwoman is, I suppose, your friend Miss Celia?\" said\nRicardo slowly.\n\nWethermill started forward.\n\n\"You know her, then?\" he cried in amazement.", "neck. She raised her head, saw Celia, nodded to her affectionately, and\nthen pointed her out to her companion. Adele Tace looked the girl over", "With Helene Vauquier to support her if she fell, Celia took a tiny\nshuffling step forward, feeling supremely ridiculous. No one, however,", "At first Celia shrank away, fearing some new cruelty. But Adele's voice\ncame to her ears, speaking--and speaking with remorse.", "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "thwart her, which troubled Celia. But she was extraordinarily receptive\nof impressions, extraordinarily quick to feel, from a touch, some dim", "\"You are amongst good friends, Mlle. Celie,\" said Hanaud with great\ngentleness.\n\n\"Oh, I wonder! I wonder!\" she cried piteously.", "made Mme. Dauvray's acquaintance; that was evident. She was apparently\nunaware of her; but she was gradually edging towards her. Wethermill\nsmiled, and Celia caught the smile.", "\"Yes, yes!\" Celia cried eagerly. She rose to her feet, and tottered.\nHanaud put his arm about her. \"You are very kind,\" she said in a low", "\"Clever?\" answered Celia, looking straight at Adele, as though through\nher she saw mysteries beyond. She took up her part at once. Since for", "The two women stood and looked at her; and then Adele Rossignol burst\nout laughing. Vauquier approached the girl, and Celia had a moment's", "its place in the hall. She put Celia's shoes upon her feet, loosening\nthe cord from her ankles. Then she looked about the floor and picked up", "\"They are both friends of mine,\" replied Hanaud. \"If you do not object\nI think their assistance may be useful. Mr. Wethermill, for instance,\nwas acquainted with Celia Harland.\"", "Celia nodded her head gratefully. After all, then, she was not to die.\nIt seemed to her hardly possible. But before she could rise a subdued", "Then Ricardo's thoughts turned as he tossed upon his bed to Celia\nHarland, a tragic and a lonely figure. He recalled the look of", "Celia leaned back, her heart fainting within her. Arrange! It was her\nturn now. She was to be \"arranged.\" She had no doubt what sinister", "Celia, however, was not unused to this tone. Mme. Dauvray was proud of\nher companion, and had a habit of showing her off, to the girl's", "Hanaud nodded his head.\n\n\"I think so,\" he answered, with a very gentle look at Celia. \"Yes, I\nthink so.\"" ], [ "it. Now, however, when I saw Mme. Dauvray so feverish, so excited, so\nfirmly convinced that great ladies from the spirit world came and spoke", "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at", "seances. But it must succeed! So much of Mme. Dauvray's happiness, so\nmuch of her own, hung upon its success. Let her fail to-night, she", "seance to-night, then, and the seance had begun. In a dreadful suspense\nshe heard Mme. Dauvray speak.", "heard that note and was quelled by it. This folly of belief, these\nseances, were the one touch of colour in Mme. Dauvray's life. And it", "\"Mme. Dauvray was, as she always was before a seance, in a feverish\nflutter. 'You will help Mlle. Celie to dress, Helene, and be very", "attitude as she had been when the lights were turned out. Imagine,\nmessieurs, the effect of such seances upon a woman like Mme. Dauvray.", "said modestly, \"which is most interesting here. Consider the people.\nMme. Dauvray, the old, rich, ignorant woman, with her superstitions and", "corners of the room, and dim apparitions would appear--the spirits of\ngreat ladies of the past, who would talk with Mme. Dauvray. Such ladies", "Mme. Dauvray spoke in a hushed, awestruck voice.\n\n\"There is a presence in the room.\"", "made Mme. Dauvray's acquaintance; that was evident. She was apparently\nunaware of her; but she was gradually edging towards her. Wethermill\nsmiled, and Celia caught the smile.", "\"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\"\n\nThe maid instantly slid back into the room.\n\n\"Mademoiselle has not moved,\" she said.", "But the smile remained on Helene Vauquier's face. What did they all\nwant of Mme. Dauvray? She knew very well. It was what she herself", "to tell her--Mme. Dauvray--about their lives. She would have had\nseances all day, but Mlle. Celie pleaded that she was left exhausted at", "\"She seems quite happy,\" he said; and, indeed, Mme. Dauvray was talking\nvolubly and with the utmost interest, the jewels sparkling about her", "\"You hear what she says. 'Mme. Dauvray would have had seances all day,\nbut Mlle. Celie pleaded that she was left exhausted at the end of them.", "Celia covered her face with her hands. It would be true. She had\nno doubt of it. Mme. Dauvray would never forgive herself--would never", "\"I will speak to it,\" said Mme. Dauvray, and raising her voice a\nlittle, she asked: \"Who are you that come to us from the spirit-world?\"", "to Mme. Dauvray. She did nothing but felicitate herself upon the happy\nchance which had sent her Mlle. Celie. And now she lies in her room\nmurdered!\"", "And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then,\nwhat Adele said?\"\n\nAnd Celia started violently. Mme. Dauvray doubted." ], [ "\"I suppose Mme. Dauvray is very rich?\"\n\n\"She has a great fortune in jewels,\" said Helene Vauquier.", "CHAPTER XIV\n\nMR. RICARDO IS BEWILDERED", "\"But why should we trouble our heads to puzzle out this mystery, since\nM. Ricardo knows?\"\n\n\"I?\" cried Ricardo in amazement.", "\"For a cumbersome man he is extraordinarily active,\" said Mr. Ricardo\nto Harry Wethermill, trying to laugh, without much success. \"A heavy,", "Ricardo, indeed, knew them to be true. Had he not himself seen the girl\nin her black velvet dress shut up in a cabinet, and a great lady of the", "Ricardo. It is deplorable how few. But Wethermill! See in what a fine\nposition he would have been if only I had refused. He himself had been", "years ago M. Dauvray died, leaving his widow a very rich woman. She had\na passion for jewellery, which she was now able to gratify. She", "\"Well, what have I done?\" he asked. \"Come! tell me!\"\n\n\"You have destroyed a clue,\" replied Ricardo impressively.", "\"It looks as if they had been careful and he careless,\" said Mr.\nRicardo, with the air of a man solving a very difficult problem.", "Suddenly Mr. Ricardo started in his chair. Superstitious! The word was\na sudden light upon his darkness. Now he knew what had perplexed him", "hurry. His horse is moving at a walk. Wethermill puts his head in at\nthe window and asks if she has come to see M. Ricardo. Anxious for her", "said modestly, \"which is most interesting here. Consider the people.\nMme. Dauvray, the old, rich, ignorant woman, with her superstitions and", "towards the house. Then he cried, \"Ah!\" and drew himself into an\nattitude of attention. A tall, thin man of about forty-five years,", "Mr. Ricardo sat up in his bed with a sense of outrage.\n\n\"You have done this?\" he asked.\n\n\"Yes.\"", "Ricardo took from his pocket-book a sheet of paper and from his pocket\na pencil. He was intensely flattered by the request of Hanaud, and he", "And thereupon she blurted out her story and explained to Mr. Ricardo\nthe question which had so perplexed him: how a girl of so much", "A startled exclamation burst from Ricardo. Harry Wethermill sat slowly\ndown. For the first time that day there had come some colour into his\ncheeks, a sparkle into his eye.", "Ricardo did not move. He arranged in his mind the interrogatory which\nwas to take place. He was to conduct it. He was the master of the", "\"Monsieur, I know something of you. Our friend, Mr. Ricardo, told me\nyour history; I asked him for it when I saw you at his dinner. You are", "\"But that is astounding,\" said Besnard, in an awe-struck voice.\n\n\"Then she was never robbed after all?\" cried Ricardo.\n\nHanaud rose to his feet." ], [ "\"Then it was certainly for her famous collection of jewellery that\nMadame Dauvray was murdered?\"\n\n\"Certainly, monsieur.\"\n\n\"Now, where did she keep her jewellery?\"", "\"We then went to Mme. Dauvray's room and discovered her brilliants and\nher ornaments. At once the meaning of that agitated piece of", "of finding out from her Mme. Dauvray's hiding-place. It was a small\nchance but our only one. The moment the discovery of the jewellery was", "\"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\"\n\nThe maid instantly slid back into the room.\n\n\"Mademoiselle has not moved,\" she said.", "steeled herself against the thought. To-night she must not fail. For\napart altogether from Mme. Dauvray's happiness, her own, it seemed, was\nat stake too.", "wanted--with other things. It was money--always money. Wethermill was\nnot the first to seek the good graces of Mme. Dauvray through her", "desperately she feared the effect of the exposure upon Mme. Dauvray.\nShe had been treated as a daughter; now she was in return to rob Mme.", "\"What does monsieur want of Mme. Dauvray?\" she asked. And the question\nwas her answer.\n\nWethermill stood silent. Then he said abruptly:", "\"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\"\n\n\"Yes, madame,\" answered the maid.", "He turned and saw Mme. Dauvray's maid. He stopped under a street lamp,\nand said:\n\n\"Well, what can I do for you?\"\n\nThe woman hesitated.", "\"Oh yes! Mademoiselle indeed was often in Madame Dauvray's room when\nshe was dressing or undressing. She must often have seen madame take", "And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with\nher maid what frock she should wear. She was hot, and she took a", "\"I suppose Mme. Dauvray is very rich?\"\n\n\"She has a great fortune in jewels,\" said Helene Vauquier.", "\"You will remember I made you all promise silence as to the finding of\nMme. Dauvray's jewellery. For I thought, if they have taken the girl", "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at", "\"If that is so,\" he said slowly, \"Mme. Dauvray kept her jewels in this\nsafe, why has every drawer been ransacked, why was the bed moved?", "England. Helene Vauquier has served Mme. Dauvray for seven years. She\nhas been the confidential friend rather than the maid. And mark this,", "\"I will speak to it,\" said Mme. Dauvray, and raising her voice a\nlittle, she asked: \"Who are you that come to us from the spirit-world?\"", "\"Mme. Dauvray was, as she always was before a seance, in a feverish\nflutter. 'You will help Mlle. Celie to dress, Helene, and be very", "seances. But it must succeed! So much of Mme. Dauvray's happiness, so\nmuch of her own, hung upon its success. Let her fail to-night, she" ], [ "her hands might be freed. She had but a few seconds. She had one\nthought--to hide herself in the darkness of the garden. Celia fled", "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "Adele stooped and obeyed. Wethermill opened the door of the car and\nflung Celia into a seat. Adele followed and took her seat opposite the", "Celia listened and shuddered. He would have no more compunction over\ndrowning her than he would have had over drowning a blind kitten.", "\"There we are,\" he said, with his shrill, wavering laugh. \"I opened the\ngate before.\" And suddenly Celia hung inert in his arms.", "Celia shuddered from head to foot, and, burying her face in the\ncushion, lay trembling. She would have begged for death upon her knees", "Celia heard some one drop heavily into a chair. It was Wethermill, and\nhe buried his face in his hands. Helene went over to him and laid her\nhand upon his shoulder and shook him.", "With Helene Vauquier to support her if she fell, Celia took a tiny\nshuffling step forward, feeling supremely ridiculous. No one, however,", "Celia made no movement. She lay trying to believe that no crime had\nbeen committed, that that lifeless body did not lie against the wall.\nAnd then she heard in the room above a bed wheeled roughly from its\nplace.", "The raillery in her voice had a note of savagery in it now. Celia's\nvague terror grew. She had a feeling that a beast was waking in the", "The old woman who acted as servant, Jeanne Tace, received her. Celia\noffered no resistance. The fear of vitriol had made her supple as a", "Celia leaned back, her heart fainting within her. Arrange! It was her\nturn now. She was to be \"arranged.\" She had no doubt what sinister", "stupidity, they sat down to decide upon Celia's fate. That, however,\nwas soon arranged. They would dress her in everything which she wore", "She caught her by the neck and lifted her up. She pushed the lace scarf\nup at the side of Celia's head. Celia began to struggle furiously,", "But even in the midst of her eagerness--so thoroughly had she been\nprepared--there lingered a flavour of doubt, of suspicion. In Celia's\nmind there was still the one desperate resolve.", "She was placed in a chair. Adele passed a cord round her ankles, and\nthe mere touch of it quickened Celia to a spasm of revolt. Her last", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "Wethermill caught her in his arms and carried her to the landau. Celia\ndared not cry out. Her hands were helpless, her face at the mercy of", "\"Now stay quiet until we are ready for you,\" she said. And Celia,\nlifting her head, said in a whisper:\n\n\"Water!\"", "And so silence came again, and suddenly there was quite a rush of light\ninto the recess. Celia was startled. She turned her head back again" ], [ "\"I have a sister in London, a widow,\" he said. \"She is kind. I, too,\nhave been thinking of what will become of Mlle. Celie. I wrote to my", "in condition he was a widower--a state greatly to his liking, for he\navoided at once the irksomeness of marriage and the reproaches justly", "years ago M. Dauvray died, leaving his widow a very rich woman. She had\na passion for jewellery, which she was now able to gratify. She", "Near to him a woman sneered, and a man said, pityingly: \"She was\npretty, that little one. It is regrettable that she has lost.\"", "They see her leave the house, an unusual proceeding for her with her\nhusband ill, as her own letter tells us. Hippolyte follows her to the", "\"She was sallow, with black hair and bright eyes like beads. She was\nshort and about forty-five years old, though it is difficult to judge", "live with her, for often she was lonely too, and that if I would she\nwould some day find me a nice, comfortable husband and give me a\nmarriage portion. So all my troubles seemed to be at an end,\" said", "\"A month ago the house almost directly opposite to us was taken\nfurnished for the summer by a Mme. Rossignol. She is a widow, but", "They waited outside the exit while the passengers gave up their\ntickets. Amongst them a middle-aged, short woman, of a plethoric\ntendency, attracted their notice. She was neatly but shabbily dressed", "The scorn of her voice rang through the room. She was the rigid,\nrespectable peasant woman, speaking out her contempt. And Wethermill\nmust needs listen to it. Ricardo dared not glance at him.", "of hunger and distress. Madame believed it, and brought her home.\nMadame was so kind, so careless in her kindness. And now she lies", "\"She was quite dead. Her face was terribly swollen and black, and a\npiece of thin strong cord was knotted so tightly about her neck and had", "She heard the door open again and shut again. Then steps approached the\nrecess. The curtains were flung back, and the two women stood in front", "There she lived honestly but miserably. The slimness of her figure and\na grace of movement which was particularly hers obtained her at last a", "Nothing could have been more respectful than the manner in which these\nwords were uttered. Wethermill was taken in by it. He protested\nearnestly, fearing lest the maid should become an enemy.", "said modestly, \"which is most interesting here. Consider the people.\nMme. Dauvray, the old, rich, ignorant woman, with her superstitions and", "\"She will not, I think, be for very long a burden. She is young. She\nwill recover from this shock. She is very pretty, very gentle. If--if", "hurry. His horse is moving at a walk. Wethermill puts his head in at\nthe window and asks if she has come to see M. Ricardo. Anxious for her", "\"If I am wrong, monsieur, I am sorry, but you can help me too,\" she\nsaid, in her submissive voice. And she passed on, leaving Wethermill\nrooted to the ground.", "maid. Then they passed out of his hearing. But he turned and saw that\nWethermill was talking volubly. What Harry Wethermill was saying he was\nsaying in a foolish burst of confidence." ], [ "Celia nodded her head gratefully. After all, then, she was not to die.\nIt seemed to her hardly possible. But before she could rise a subdued", "her hands might be freed. She had but a few seconds. She had one\nthought--to hide herself in the darkness of the garden. Celia fled", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "\"There we are,\" he said, with his shrill, wavering laugh. \"I opened the\ngate before.\" And suddenly Celia hung inert in his arms.", "With Helene Vauquier to support her if she fell, Celia took a tiny\nshuffling step forward, feeling supremely ridiculous. No one, however,", "At first Celia shrank away, fearing some new cruelty. But Adele's voice\ncame to her ears, speaking--and speaking with remorse.", "\"Yes, yes!\" Celia cried eagerly. She rose to her feet, and tottered.\nHanaud put his arm about her. \"You are very kind,\" she said in a low", "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "Celia shuddered from head to foot, and, burying her face in the\ncushion, lay trembling. She would have begged for death upon her knees", "its place in the hall. She put Celia's shoes upon her feet, loosening\nthe cord from her ankles. Then she looked about the floor and picked up", "And upon the old woman's face there came a look, not of alarm, but of\nextraordinary relief. The genuine, heartfelt cry restored her\nconfidence in Celia.", "She caught her by the neck and lifted her up. She pushed the lace scarf\nup at the side of Celia's head. Celia began to struggle furiously,", "Celia heard some one drop heavily into a chair. It was Wethermill, and\nhe buried his face in his hands. Helene went over to him and laid her\nhand upon his shoulder and shook him.", "\"No, my friend,\" answered Hanaud. \"That made them keep Mlle. Celie\nalive. It enabled us to save her when we had discovered the whereabouts", "The raillery in her voice had a note of savagery in it now. Celia's\nvague terror grew. She had a feeling that a beast was waking in the", "All Celia's heart and youth rose in revolt against her extremity. If\nshe could only free her lips! The footsteps came round the corner of", "CHAPTER XV\n\nCELIA'S STORY", "And so silence came again, and suddenly there was quite a rush of light\ninto the recess. Celia was startled. She turned her head back again", "thwart her, which troubled Celia. But she was extraordinarily receptive\nof impressions, extraordinarily quick to feel, from a touch, some dim", "Celia leaned back, her heart fainting within her. Arrange! It was her\nturn now. She was to be \"arranged.\" She had no doubt what sinister" ], [ "her hands might be freed. She had but a few seconds. She had one\nthought--to hide herself in the darkness of the garden. Celia fled", "And the next moment Celia winced and had to bite her lip to prevent a\ncry. The thin cord was wound twice about her wrists, drawn cruelly", "She was placed in a chair. Adele passed a cord round her ankles, and\nthe mere touch of it quickened Celia to a spasm of revolt. Her last", "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "its place in the hall. She put Celia's shoes upon her feet, loosening\nthe cord from her ankles. Then she looked about the floor and picked up", "Celia made no movement. She lay trying to believe that no crime had\nbeen committed, that that lifeless body did not lie against the wall.\nAnd then she heard in the room above a bed wheeled roughly from its\nplace.", "The two women ran out of the room and up the stairs. Celia, lying on\nthe settee, heard all the quiet of the house change to noise and", "Vauquier carried the girl into the recess and placed her upon the\nstool. With a long cord Adele bound her by the arms and the waist to", "All Celia's heart and youth rose in revolt against her extremity. If\nshe could only free her lips! The footsteps came round the corner of", "stupidity, they sat down to decide upon Celia's fate. That, however,\nwas soon arranged. They would dress her in everything which she wore", "which she wishes to hide in Mlle. Celie's room. For she admitted that\nit was her suggestion that she should look through mademoiselle's", "The old woman who acted as servant, Jeanne Tace, received her. Celia\noffered no resistance. The fear of vitriol had made her supple as a", "Celia clenched her hands to make the muscles of her wrists rigid to\nresist the pressure of the cord. Adele quietly unclasped them and", "Celia nodded her head gratefully. After all, then, she was not to die.\nIt seemed to her hardly possible. But before she could rise a subdued", "Celia leaned back, her heart fainting within her. Arrange! It was her\nturn now. She was to be \"arranged.\" She had no doubt what sinister", "She caught her by the neck and lifted her up. She pushed the lace scarf\nup at the side of Celia's head. Celia began to struggle furiously,", "\"Mlle. Celie is under control,\" she said. \"We shall have to teach her\nthat it is not polite in young ladies to kick.\" She pressed Celia down", "Celia was not greatly disconcerted by Mme. Rossignol's precautions. She\nwould have to be a little more careful, and Mme. de Montespan would be", "With Helene Vauquier to support her if she fell, Celia took a tiny\nshuffling step forward, feeling supremely ridiculous. No one, however,", "Celie had herself hidden them there for safety. Again it is conjecture,\nand I wish to make sure. So I tell Vauquier she can go away, and I" ], [ "her hands might be freed. She had but a few seconds. She had one\nthought--to hide herself in the darkness of the garden. Celia fled", "Wethermill caught her in his arms and carried her to the landau. Celia\ndared not cry out. Her hands were helpless, her face at the mercy of", "the last which she would have chosen. But she dared not refuse it. She\nmust still any suspicion. She must succeed. She gave herself into\nHelene's hands. Celia remembered afterwards one or two points which", "And the next moment Celia winced and had to bite her lip to prevent a\ncry. The thin cord was wound twice about her wrists, drawn cruelly", "She was placed in a chair. Adele passed a cord round her ankles, and\nthe mere touch of it quickened Celia to a spasm of revolt. Her last", "Wethermill disappeared; and this time he left the door open. Adele\nhelped Celia to her feet. For a moment she tottered; then she stood\nfirm.", "She caught her by the neck and lifted her up. She pushed the lace scarf\nup at the side of Celia's head. Celia began to struggle furiously,", "\"There we are,\" he said, with his shrill, wavering laugh. \"I opened the\ngate before.\" And suddenly Celia hung inert in his arms.", "Adele stooped and obeyed. Wethermill opened the door of the car and\nflung Celia into a seat. Adele followed and took her seat opposite the", "Celia shuddered from head to foot, and, burying her face in the\ncushion, lay trembling. She would have begged for death upon her knees", "Helene Vauquier laughed softly to herself, took out Celia's white frock\nfrom the wardrobe, turned off the lights, and followed her down to the", "The three women went out of the recess. And the next moment the heavy\nsilk curtains swung across the opening, leaving Celia in darkness.", "its place in the hall. She put Celia's shoes upon her feet, loosening\nthe cord from her ankles. Then she looked about the floor and picked up", "the room took them away. They went out again into the garden. Celia\nHarland threw back her head to the stars and drew in a deep breath of\nthe cool night air.", "The two women ran out of the room and up the stairs. Celia, lying on\nthe settee, heard all the quiet of the house change to noise and", "The raillery in her voice had a note of savagery in it now. Celia's\nvague terror grew. She had a feeling that a beast was waking in the", "The old woman who acted as servant, Jeanne Tace, received her. Celia\noffered no resistance. The fear of vitriol had made her supple as a", "Vauquier carried the girl into the recess and placed her upon the\nstool. With a long cord Adele bound her by the arms and the waist to", "tremor to her ordeal. Wethermill took the length of rope which had\nfixed Celia to the pillar.", "\"Some one--who means harm!\" she whispered, trembling with excitement.\n\n\"Ah, mademoiselle is already under control,\" said Helene, using the\njargon which she had learnt from Celia's lips." ], [ "seances. But it must succeed! So much of Mme. Dauvray's happiness, so\nmuch of her own, hung upon its success. Let her fail to-night, she", "her. Mme. Dauvray's suspicions, she was sure, were still awake. She\ncould not quell them. There was a stronger personality than hers at", "\"Very well! take Mme. Dauvray as we find her--rich, ostentatious,\neasily taken by a new face, generous, and foolishly superstitious--and", "fitted well with Mme. Dauvray's inclinations. She was in a feverish\nmood of excitement.", "steeled herself against the thought. To-night she must not fail. For\napart altogether from Mme. Dauvray's happiness, her own, it seemed, was\nat stake too.", "\"She seems quite happy,\" he said; and, indeed, Mme. Dauvray was talking\nvolubly and with the utmost interest, the jewels sparkling about her", "Mme. Dauvray was silent for a moment or two. Then she turned\nimpulsively and spoke in a voice of appeal.", "with Mme. Dauvray and the woman opposite, who was now her jailer. Mme.\nDauvray lay dead in the little salon, and she herself--she dared not", "desperately she feared the effect of the exposure upon Mme. Dauvray.\nShe had been treated as a daughter; now she was in return to rob Mme.", "she was never too tired for that. Besides, here\"--and putting his hand\ninto the safe he drew out a paper--\"here is the list of Mme. Dauvray's\njewellery.\"", "said modestly, \"which is most interesting here. Consider the people.\nMme. Dauvray, the old, rich, ignorant woman, with her superstitions and", "playing with a dangerous thing. It was a revelation to me. I did not\nknow what to do. Mme. Dauvray would promise me everything, give me", "sunk so deeply into her flesh that at first I did not see it. For Mme.\nDauvray was stout.\"", "(2) By methods still more doubtful she acquired an extraordinary\nascendency over Mme. Dauvray's mind.", "\"I shall tell you something now of Mme. Dauvray,\" he said. \"We will not\ntake up her early history. It might not be edifying and, poor woman,", "aroused a passion which I could not control. I was afraid that Mme.\nDauvray's whole life--it seems absurd to those who did not know her,", "\"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\"\n\nThe maid instantly slid back into the room.\n\n\"Mademoiselle has not moved,\" she said.", "\"Mme. Dauvray was, as she always was before a seance, in a feverish\nflutter. 'You will help Mlle. Celie to dress, Helene, and be very", "to Mme. Dauvray. She did nothing but felicitate herself upon the happy\nchance which had sent her Mlle. Celie. And now she lies in her room\nmurdered!\"", "\"I suppose Mme. Dauvray is very rich?\"\n\n\"She has a great fortune in jewels,\" said Helene Vauquier." ] ]

[ "Where Celia Harland used to live?", "What Madame Dauvray was addicted to?", "Who was Adele Tace?", "Who was helping Madame Dauvray in staging for the seances of her benefactrix?", "Who master-minded the criminal gang?", "Why Adele Tace included Celia in her plan?", "Why Adele Tace involved Celia in her scheme?", "Why Adele Tace wanted to kill Madame Dauvray?", "Who unrevealed the conspiracy?", "Where does the story take place?", "Where is Celia Harland from?", "When participating in the seance that leads to Madame Dauvary's death, who is Celia tricked by?", "Where is Celia taken hostage to after the murder of Madame Dauvary?", "Who is, in turn, framed from Madame Dauvary's murder?", "Who is responsible for finding out the truth about the murder of Madame Dauvary?", "Who rescues Celia?", "Where does Inspector Hanaud find Celia in just enough time to rescue her?", "How was Celia going to be killed?", "Who befriends Celia?", "What is Madame Dauvray fully aware of regarding the events of the spirit world?", "Who is rich?", "What does Madame Dauvray's maid want to steal from Madame?", "Where was Celia going to be dumped into?", "Who is a widow?", "Who rescues Celia?", "What was Celia confined to in order to avoid her escape?", "Where is Celia abducted to?", "What is Madame Dauvray addicted to?" ]

[ [ "Aix les Bains", "Aix les Bains" ], [ "Spiritualism", "spiritualism" ], [ "Adele Tace was maid of Madame Dauvray.", "Madame Dauvray's maid" ], [ "Madame Dauvray's maid Adele Tace.", "Celia Harland." ], [ "Adele Tace", "Adele Tace" ], [ "She wanted to make Celia a medium for staging of seances.", "Adele wanted to plant suspicion on Celia." ], [ "Because she wanted Celia to be blamed for the murder of Madame Dauvray. ", "To be framed for the crime" ], [ "She and her gang wanted to rob Madame Dauvray's jewelry and valuables.", "To steal her jewelery colelction" ], [ "Inspector Hanaud of the Paris Surete", "Inspector Hanaud" ], [ "In Aix les Bains and Geneva.", "In Aix les Bains" ], [ "England.", "Aix les Bains." ], [ "Adele Tace.", "Adele Tace " ], [ "Geneva.", "At Geneva" ], [ "Celia Harland.", "Nobody" ], [ "Inspector Hanaud of the Paris Surete.", "Inspector Hanaud" ], [ "Inspector Hanaud.", "Inspector Hanaud" ], [ "Geneva.", "Just before being dumped in Lake Geneva" ], [ "She was going to be drugged and dumped into Lake Geneva.", "Drugged and dumped into Lake Geneva" ], [ "Madame Dauvray.", "Madame Dauvray" ], [ "They are bogus.", "they are bogus" ], [ "Madame Dauvray.", "Madame Dauvray" ], [ "Madame's jewellery collection.", "The jewelry collection." ], [ "Lake Geneva.", "Lake Geneva" ], [ "Madame Dauvray.", "Madame Dauvray" ], [ "Inspector Hanaud.", "Inspector Hanaud" ], [ "A pillar.", "Tied hands and foot and tied to a pillar" ], [ "Geneva.", "Geneva" ], [ "Spiritualism.", "spiritualism" ] ]

e93ace5fb122b6962098ca5c0bf2a9e4e8b86893

train

[ [ "Swell raging seas, frowne wayward destinies,\nBlow windes, threaten ye Rockes and sandie shelfes,\nThis is the harbour that _Ãneas_ seekes,", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "Made me suppose he would haue heard me speake:\nThen gan they driue into the Ocean,\nWhich when I viewd, I cride, _Ãneas_ stay,", "_Anna._ Before I came, _Ãneas_ was abourd,\nAnd spying me, hoyst vp the sailes amaine:", "_The storme. Enter Ãneas and Dido in the Caue at seuerall times._\n\n_Dido._ _Ãneas._\n\n_Ãn._ _Dido._", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "_Dido._ O false _Ãneas_, now the sea is rough,\nBut when you were abourd twas calme enough,\nThou and _Achates_ ment to saile away.", "_Ãn._ Where am I now? these should be Carthage walles.\n\n_Acha._ Why stands my sweete _Ãneas_ thus amazde?", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "Then got we to our ships, and being abourd,\n_Polixena_ cryed out, _Ãneas_ stay,\nThe Greekes pursue me, stay and take me in.", "_Enter a Lord._\n\nYour Nurse is gone with yong _Ascanius_,\nAnd heres _Ãneas_ tackling, oares and sailes.", "Not one of them hath perisht in the storme,\nBut are ariued safe not farre from hence:\nAnd so I leaue thee to thy fortunes lot,", "_Iar._ But tell me Troians, Troians if you be,\nVnto what fruitfull quarters were ye bound,\nBefore that _Boreas_ buckled with your sailes?", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "Put sailes to sea to seeke out _Italy_;\nAnd my diuine descent from sceptred _Iove_,\nWith twise twelue Phrigian ships I plowed the deepe," ], [ "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Ãn._ Well may I view her, but she sees not me.\n\n_Enter Dido and her traine._\n\n_Dido._ What stranger art thou that doest eye me thus?", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "_Ãn._ I vnderstand your highnesse sent for me.\n\n_Dido._ No, but now thou art here, tell me in sooth,\nIn what might _Dido_ highly pleasure thee.", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Dido._ What telst thou me of rich _Getulia_?\nAm not I Queene of _Libia_? then depart.", "_Ãn._ What meanes faire _Dido_ by this doubtfull speech?\n\n_Dido._ Nay, nothing, but _Ãneas_ loues me not.", "And Tygers of _Hircania_ gaue thee sucke:\nAh foolish _Dido_ to forbeare this long!\nWast thou not wrackt vpon this _Libian_ shoare,", "_Dido._ _Iarbus_, talk not of _Ãneas_, let him goe,\nLay to thy hands and helpe me make a fire,", "_Dido._ Speake of no other land, this land is thine,\n_Dido_ is thine, henceforth Ile call thee Lord:", "_Ãn._ O _Dido_, patronesse of all our liues,\nWhen I leaue thee, death be my punishment,", "_Dido._ Yet must I heare that lothsome name againe?\nRunne for _Ãneas_, or Ile flye to him. _Exit Anna._", "_Dido._ I dye with melting ruth, _Ãneas_ leaue.\n\n_Anna._ O what became of aged _Hecuba_?", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "And wofull _Dido_ by these blubbred cheekes,\nBy this right hand, and by our spousall rites,\nDesires _Ãneas_ to remaine with her:", "Hast had the greatest fauours I could giue:\nI feare me _Dido_ hath been counted light,\nIn being too familiar with _Iarbus_:", "_Illio._ Louely _Ãneas_, these are Carthage walles,\nAnd here Queene _Dido_ weares th'imperiall Crowne,", "_Dido._ How now Getulian, are ye growne so braue,\nTo challenge vs with your comparisons?\nPesant, goe seeke companions like thy selfe," ], [ "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Ãn._ I am commaunded by immortal _Ioue_,\nTo leaue this towne and passe to _Italy_,\nAnd therefore must of force.", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "Swell raging seas, frowne wayward destinies,\nBlow windes, threaten ye Rockes and sandie shelfes,\nThis is the harbour that _Ãneas_ seekes,", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "_Ãn._ Triumph my mates, our trauels are at end,\nHere will _Ãneas_ build a statelier _Troy_,", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "_Ãn._ Where am I now? these should be Carthage walles.\n\n_Acha._ Why stands my sweete _Ãneas_ thus amazde?", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Ãn._ _Carthage_, my friendly host adue,\nSince destinie doth call me from the shoare:", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "_Ãn._ Then here in me shall flourish _Priams_ race,\nAnd thou and I _Achates_, for reuenge,", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?", "Thongs at his heeles, by which _Achilles_ horse\nDrew him in triumph through the Greekish Campe,\nBurst from the earth, crying, _Ãneas_ flye," ], [ "_Iuno._ Fie _Venus_, that such causeles words of wrath,\nShould ere defile so faire a mouth as thine:", "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "And fetter them in _Vulcans_ sturdie brasse,\nThat durst thus proudly wrong our kinsmans peace.\n_Venus_ farewell, thy sonne shall be our care:", "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "_Venus._ Sister of _Ioue_, if that thy loue be such,\nAs these thy protestations doe paint forth,\nWe two as friends one fortune will deuide:", "_Venus._ Out hatefull hag, thou wouldst haue slaine my sonne,\nHad not my Doues discou'rd thy entent:", "When for the hate of Troian _Ganimed_,\nThat was aduanced by my _Hebes_ shame,\nAnd _Paris_ iudgement of the heauenly ball,", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "What shall I doe thus wronged with disdaine?\nReuenge me on _Ãneas_, or on her:\nOn her? fond man, that were to warre gainst heauen,", "_Iuno._ Faire Queene of loue, I will deuorce these doubts,\nAnd finde the way to wearie such fond thoughts:\nThis day they both a hunting forth will ride", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "_Venus._ Disquiet Seas lay downe your swelling lookes,\nAnd court _Ãneas_ with your calmie cheere,", "_Iup._ And shall haue _Ganimed_, if thou wilt be my loue.\n\n_Enter Venus._", "_Venus._ Well could I like this reconcilements meanes,\nBut much I feare my sonne will nere consent,\nWhose armed soule alreadie on the sea,", "To harme my sweete _Ascanius_ louely life.\n_Iuno_, my mortall foe, what make you here?\nAuaunt old witch and trouble not my wits.", "When first you set your foote vpon the shoare,\nAnd here we met fair _Venus_ virgine like,\nBearing her bowe and quiuer at her backe.", "Say _Paris_, now shall _Venus_ haue the ball?\nSay vengeance, now shall her _Ascanius_ dye.\nO no God wot, I cannot watch my time,", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "_Iup._ Come gentle _Ganimed_ and play with me,\nI loue thee well, say _Iuno_ what she will.", "_Dido._ _Ãneas_ no, although his eyes doe pearce.\n\n_Ãn._ What, hath _Iarbus_ angred her in ought?\nAnd will she be auenged on his life?" ], [ "_Cupid._ What will you giue me? now Ile haue this Fanne.\n\n_Dido._ Take it _Ascanius_, for thy fathers sake.", "_Cupid._ And if my mother goe, Ile follow her.\n\n_Dido._ Why staiest thou here? thou art no loue of mine?", "Will quickly flye to _Citheidas_ fist.\nNow _Cupid_ turne thee to _Ascanius_ shape,\nAnd goe to _Dido_ who in stead of him", "_Cupid._ Will _Dido_ let me hang about her necke?\n\n_Dido._ I wagge, and giue thee leaue to kisse her to.", "_Cupid._ Now _Cupid_ cause the Carthaginian Queene,\nTo be inamourd of thy brothers lookes,", "_Cupid._ I will faire mother, and so play my part,\nAs euery touch shall wound Queene _Didos_ heart.", "_Cupid._ My cosin _Helen_ taught it me in _Troy_.\n\n_Dido._ How louely is _Ascanius_ when he smiles?", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "_Iar._ Am I not King of rich _Getulia_?\n\n_Dido._ _Iarbus_ pardon me, and stay a while.\n\n_Cupid._ Mother, looke here.", "And Tygers of _Hircania_ gaue thee sucke:\nAh foolish _Dido_ to forbeare this long!\nWast thou not wrackt vpon this _Libian_ shoare,", "And make loue drunken with thy sweete desire:\nBut _Dido_ that now holdeth him so deare,\nWill dye with very tidings of his death:", "Will set thee on her lap and play with thee:\nThen touch her white breast with this arrow head,\nThat she may dote vpon _Ãneas_ loue:", "In whose faire bosome I will locke more wealth,\nThen twentie thousand Indiaes can affoord:\nO here he comes, loue, loue, giue _Dido_ leaue", "_Asca._ Are you Queene _Didos_ sonne?\n\n_Cupid._ I, and my mother gaue me this fine bow.", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Ãn._ Well may I view her, but she sees not me.\n\n_Enter Dido and her traine._\n\n_Dido._ What stranger art thou that doest eye me thus?", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Dido._ These words are poyson to poore _Didos_ soule,\nO speake like my _Ãneas_, like my loue:", "Thy sonne thou knowest with _Dido_ now remaines,\nAnd feedes his eyes with fauours of her Court,\nShe likewise in admyring spends her time,", "_Iar._ Vngentle Queene, is this thy loue to me?\n\n_Dido._ O stay _Iarbus_, and Ile goe with thee." ], [ "Whereas the Wind-god warring now with Fate,\nBesiege the ofspring of our kingly loynes,\nCharge him from me to turne his stormie powers,", "And charg'd him drowne my sonne with all his traine.\nThen gan the windes breake ope their brazen doores,\nAnd all _Ãolia_ to be vp in armes:", "Not one of them hath perisht in the storme,\nBut are ariued safe not farre from hence:\nAnd so I leaue thee to thy fortunes lot,", "The crye of beasts, the ratling of the windes,\nOr whisking of these leaues, all shall be still,\nAnd nothing interrupt thy quiet sleepe,", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost,", "Where finding _Ãolus_ intrencht with stormes,\nAnd guarded with a thousand grislie ghosts,\nShe humbly did beseech him for our bane,", "And as he spoke to further his entent,\nThe windes did driue huge billowes to the shoare,\nAnd heauen was darkned with tempestuous clowdes:", "_Venus._ Disquiet Seas lay downe your swelling lookes,\nAnd court _Ãneas_ with your calmie cheere,", "What would the Gods haue me _Deucalion_ like,\nFlote vp and downe where ere the billowes driue?\nThough she repairde my fleete and gaue me ships,", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "On which by tempests furie we are cast,\nTell vs, O tell vs that are ignorant,\nAnd this right hand shall make thy Altars crack", "Made me suppose he would haue heard me speake:\nThen gan they driue into the Ocean,\nWhich when I viewd, I cride, _Ãneas_ stay,", "Swell raging seas, frowne wayward destinies,\nBlow windes, threaten ye Rockes and sandie shelfes,\nThis is the harbour that _Ãneas_ seekes,", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "That with thy gloomie hand corrects the heauen,\nWhen ayrie creatures warre amongst themselues:\nHeare, heare, O heare _Iarbus_ plaining prayers,", "Witnes the Gods, and witnes heauen and earth,\nHow loth I am to leaue these _Libian_ bounds,\nBut that eternall _Iupiter_ commands.", "_Dido._ O false _Ãneas_, now the sea is rough,\nBut when you were abourd twas calme enough,\nThou and _Achates_ ment to saile away.", "And now downe falles the keeles into the deepe:\nO sister, sister, take away the Rockes,\nTheile breake his ships, O _Proteus_, _Neptune_, _Ioue_,", "_Acha._ Braue Prince of _Troy_, thou onely art our God,\nThat by thy vertues freest vs from annoy,", "Shall vulgar pesants storme at what I doe?\nThe ground is mine that giues them sustenance,\nThe ayre wherein they breathe, the water, fire," ], [ "And let _Achates_ saile to _Italy_:\nIle giue thee tackling made of riueld gold,\nWound on the barkes of odoriferous trees,", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "Made me suppose he would haue heard me speake:\nThen gan they driue into the Ocean,\nWhich when I viewd, I cride, _Ãneas_ stay,", "_Enter a Lord._\n\nYour Nurse is gone with yong _Ascanius_,\nAnd heres _Ãneas_ tackling, oares and sailes.", "_Anna._ Before I came, _Ãneas_ was abourd,\nAnd spying me, hoyst vp the sailes amaine:", "Put sailes to sea to seeke out _Italy_;\nAnd my diuine descent from sceptred _Iove_,\nWith twise twelue Phrigian ships I plowed the deepe,", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?", "_Ãn._ With speede he bids me sail to _Italy_.\nWhen as I want both rigging for my fleete,\nAnd also furniture for these my men.", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost,", "_Ãn._ _Sergestus_, beare him hence vnto our ships,\nLest _Dido_ spying him keepe him for a pledge.", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "And by that meanes repaire his broken ships,\nVictuall his Souldiers, giue him wealthie gifts,\nAnd he at last depart to _Italy_,", "Then got we to our ships, and being abourd,\n_Polixena_ cryed out, _Ãneas_ stay,\nThe Greekes pursue me, stay and take me in.", "For ballace, emptie _Didos_ treasurie,\nTake what ye will, but leaue _Ãneas_ here.\n_Achates_, thou shalt be so meanly clad,", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "Ye shall no more offend the Carthage Queene,\nNow let him hang my fauours on his masts,\nAnd see if those will serue in steed of sailes:", "Then _Thetis_ hangs about _Apolloes_ necke,\nSo that _Ãneas_ may but stay with me.", "Yet left he should, for I am full of feare,\nBring me his oares, his tackling, and his sailes;\nWhat if I sinke his ships? O heele frowne." ], [ "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "A little while prolong'd her husbands life:\nAt last the souldiers puld her by the heeles,\nAnd swong her howling in the emptie ayre,", "But _Anna_ now shall honor thee in death,\nAnd mixe her bloud with thine, this shall I doe,\nThat Gods and men may pitie this my death,", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "That resteth in the riuall of thy paine,\nWho nere will cease to soare till he be slaine. _Exit._", "Not one of them hath perisht in the storme,\nBut are ariued safe not farre from hence:\nAnd so I leaue thee to thy fortunes lot,", "But not so much for thee, thou art but one,\nAs for _Achates_, and his followers. _Exeunt._", "Whom I will beare to _Ida_ in mine armes,\nAnd couch him in _Adonis_ purple downe, _Exeunt._", "And with maine force flung on a ring of pikes,\nOld men with swords thrust through their aged sides,\nKneeling for mercie to a Greekish lad,", "O sweet _Iarbus_, _Annas_ sole delight,\nWhat fatall destinie enuies me thus,\nTo see my sweet _Iarbus_ slay himselfe?", "_Anna._ What can my teares or cryes preuaile me now?\n_Dido_ is dead, _Iarbus_ slaine, _Iarbus_ my deare loue,", "Who groueling in the mire of _Zanthus_ bankes,\nHis hands bound at his back, and both his eyes\nTurnd vp to heauen as one resolu'd to dye,", "And then in triumph ran into the streetes,\nThrough which he could not passe for slaughtred men:\nSo leaning on his sword he stood stone still,", "But dye in furie of this ouersight?\nI, I must be the murderer of my selfe:\nNo but I am not, yet I will be straight.", "And weepe vpon your liueles carcases,\nThough thou nor he will pitie me a whit.\nWhy star'st thou in my face? if thou wilt stay,", "_Dido._ I dye with melting ruth, _Ãneas_ leaue.\n\n_Anna._ O what became of aged _Hecuba_?", "_Enter Anna._\n\n_Anna._ O helpe _Iarbus_, _Dido_ in these flames\nHath burnt her selfe, aye me, vnhappie me!", "Yong infants swimming in their parents bloud,\nHeadles carkasses piled vp in heapes,\nVirgins halfe dead dragged by their golden haire,", "_Exeunt omnes._\n\n_Enter Venus at another doore, and takes Ascanius by the sleeve._", "_Ãn._ At which the franticke Queene leapt on his face,\nAnd in his eyelids hanging by the nayles," ], [ "As _Iupiter_ to sillie _Vausis_ house:\nCome in with me, Ile bring you to my Queene,\nWho shall confirme my words with further deedes.", "_Iuno._ Faire Queene of loue, I will deuorce these doubts,\nAnd finde the way to wearie such fond thoughts:\nThis day they both a hunting forth will ride", "Great _Iupiter_, still honourd maist thou be,\nFor this so friendly ayde in time of neede.\nHere in this bush disguised will I stand,", "_Iup._ Come gentle _Ganimed_ and play with me,\nI loue thee well, say _Iuno_ what she will.", "_Here the Curtaines draw, there is discovered_ Iupiter _dandling_\nGanimed _upon his knee, and_ Mercury _lying asleepe_.", "Witnes the Gods, and witnes heauen and earth,\nHow loth I am to leaue these _Libian_ bounds,\nBut that eternall _Iupiter_ commands.", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "But lustfull _Ioue_ and his adulterous child,\nShall finde it written on confusions front,\nThat onely _Iuno_ rules in _Rhamnuse_ towne.", "_Iuno._ Is this then all the thankes that I shall haue,\nFor sauing him from Snakes and Serpents stings,", "Doe thou but say their colour pleaseth me:\nHold here my little loue these linked gems,\nMy _Iuno_ ware vpon her marriage day,", "_Iuno._ Fie _Venus_, that such causeles words of wrath,\nShould ere defile so faire a mouth as thine:", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "And charg'd him drowne my sonne with all his traine.\nThen gan the windes breake ope their brazen doores,\nAnd all _Ãolia_ to be vp in armes:", "_Iup._ Content thee _Cytherea_ in thy care,\nSince thy _Ãneas_ wandring fate is firme,", "_Vulcan_ shall daunce to make thee laughing sport,\nAnd my nine Daughters sing when thou art sad,\nFrom _Iunos_ bird Ile pluck her spotted pride,", "Hast had the greatest fauours I could giue:\nI feare me _Dido_ hath been counted light,\nIn being too familiar with _Iarbus_:", "_Hermes_ this night descending in a dreame,\nHath summond me to fruitfull _Italy_:\n_Ioue_ wils it so, my mother wils it so:", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost,", "_Triton_ I know hath fild his trumpe with _Troy_,\nAnd therefore will take pitie on his toyle,\nAnd call both _Thetis_ and _CimodoÃ¦_," ], [ "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "Commaunds me leaue these vnrenowmed beames,\nWhereas Nobilitie abhors to stay,\nAnd none but base _Ãneas_ will abide:", "_Dido._ I dye with melting ruth, _Ãneas_ leaue.\n\n_Anna._ O what became of aged _Hecuba_?", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "The Grecian souldiers tired with ten yeares warre;\nBegan to crye, let vs vnto our ships,\n_Troy_ is inuincible, why stay we here?", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Ãn._ Triumph my mates, our trauels are at end,\nHere will _Ãneas_ build a statelier _Troy_,", "_Ãn._ Ah _Troy_ is sackt, and _Priamus_ is dead,\nAnd why should poore _Ãneas_ be aliue?", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "_Dido._ What faints _Ãneas_ to remember _Troy_?\nIn whose defence he fought so valiantly:\nLooke vp and speake.", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "And after him his band of Mirmidons,\nWith balles of wilde fire in their murdering pawes,\nWhich made the funerall flame that burnt faire _Troy_:", "_Acha._ _Ãneas_ see _Sergestus_ or his ghost.\n\n_Illio._ He meanes _Ãneas_, let vs kisse his feete.", "_Illio._ Louely _Ãneas_, these are Carthage walles,\nAnd here Queene _Dido_ weares th'imperiall Crowne,", "Thongs at his heeles, by which _Achilles_ horse\nDrew him in triumph through the Greekish Campe,\nBurst from the earth, crying, _Ãneas_ flye,", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "For ballace, emptie _Didos_ treasurie,\nTake what ye will, but leaue _Ãneas_ here.\n_Achates_, thou shalt be so meanly clad," ], [ "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "When first you set your foote vpon the shoare,\nAnd here we met fair _Venus_ virgine like,\nBearing her bowe and quiuer at her backe.", "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "_Venus._ Disquiet Seas lay downe your swelling lookes,\nAnd court _Ãneas_ with your calmie cheere,", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "_Ãn._ Well may I view her, but she sees not me.\n\n_Enter Dido and her traine._\n\n_Dido._ What stranger art thou that doest eye me thus?", "_Venus._ See what strange arts necessitie findes out,\nHow neere my sweet _Ãneas_ art thou driuen?", "Will quickly flye to _Citheidas_ fist.\nNow _Cupid_ turne thee to _Ascanius_ shape,\nAnd goe to _Dido_ who in stead of him", "Will set thee on her lap and play with thee:\nThen touch her white breast with this arrow head,\nThat she may dote vpon _Ãneas_ loue:", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "_Serg._ See where her seruitors passe through the hall\nBearing a banket, _Dido_ is not farre.\n\n_Illio._ Looke where she comes: _Ãneas_ viewd her well.", "And Tygers of _Hircania_ gaue thee sucke:\nAh foolish _Dido_ to forbeare this long!\nWast thou not wrackt vpon this _Libian_ shoare,", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Dido._ What, darest thou looke a Lyon in the face?\n\n_Asca._ I, and outface him to, doe what he can.", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost,", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "_Illio._ Louely _Ãneas_, these are Carthage walles,\nAnd here Queene _Dido_ weares th'imperiall Crowne,", "_Dido._ _Achates_ and _Ascanius_, well met.\n\n_Ãn._ Faire _Anna_, how escapt you from the shower?", "_Ãn._ This was my mother that beguild the Queene,\nAnd made me take my brother for my sonne:\nNo maruell _Dido_ though thou be in loue," ], [ "_Dido._ _Ãneas_, Ile repaire thy Troian ships,\nConditionally that thou wilt stay with me,", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "And wofull _Dido_ by these blubbred cheekes,\nBy this right hand, and by our spousall rites,\nDesires _Ãneas_ to remaine with her:", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Ãn._ I vnderstand your highnesse sent for me.\n\n_Dido._ No, but now thou art here, tell me in sooth,\nIn what might _Dido_ highly pleasure thee.", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost,", "The Rockes and Sea-gulfes will performe at large,\nAnd thou shalt perish in the billowes waies,\nTo whom poore _Dido_ doth bequeath reuenge,", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "O then _Ãneas_, tis for griefe of thee:\nSay thou wilt stay in _Carthage_ with my Queene,\nAnd _Didos_ beautie will returne againe:", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Ãn._ Well may I view her, but she sees not me.\n\n_Enter Dido and her traine._\n\n_Dido._ What stranger art thou that doest eye me thus?", "_Ãn._ And who so miserable as _Ãneas_ is?\n\n_Dido._ Lyes it in _Didos_ hands to make thee blest,\nThen be assured thou art not miserable.", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "In whose faire bosome I will locke more wealth,\nThen twentie thousand Indiaes can affoord:\nO here he comes, loue, loue, giue _Dido_ leaue", "_Ãn._ This kisse shall be faire _Didos_ punishment.\n\n_Dido._ O how a Crowne becomes _Ãneas_ head!\nStay here _Ãneas_, and commaund as King.", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Ãn._ What meanes faire _Dido_ by this doubtfull speech?\n\n_Dido._ Nay, nothing, but _Ãneas_ loues me not.", "_Ãneas_, say, how canst thou take thy leaue?\nWilt thou kisse _Dido_? O thy lips haue sworne", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "To stay with _Dido_: canst thou take her hand?\nThy Hand and mine haue plighted mutuall faith,\nTherefore vnkinde _Ãneas_, must thou say," ], [ "_Dido._ May I entreate thee to discourse at large,\nAnd truely to how _Troy_ was ouercome:\nFor many tales goe of that Cities fall,", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Dido._ What faints _Ãneas_ to remember _Troy_?\nIn whose defence he fought so valiantly:\nLooke vp and speake.", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "And wofull _Dido_ by these blubbred cheekes,\nBy this right hand, and by our spousall rites,\nDesires _Ãneas_ to remaine with her:", "_The storme. Enter Ãneas and Dido in the Caue at seuerall times._\n\n_Dido._ _Ãneas._\n\n_Ãn._ _Dido._", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "And Tygers of _Hircania_ gaue thee sucke:\nAh foolish _Dido_ to forbeare this long!\nWast thou not wrackt vpon this _Libian_ shoare,", "_Dido._ _Ãneas_, Ile repaire thy Troian ships,\nConditionally that thou wilt stay with me,", "_Dido._ O _Anna_, runne vnto the water side,\nThey say _Ãneas_ men are going abourd,", "_Dido._ _Iarbus_, talk not of _Ãneas_, let him goe,\nLay to thy hands and helpe me make a fire,", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Ãn._ Well may I view her, but she sees not me.\n\n_Enter Dido and her traine._\n\n_Dido._ What stranger art thou that doest eye me thus?", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost,", "_Ãn._ What meanes faire _Dido_ by this doubtfull speech?\n\n_Dido._ Nay, nothing, but _Ãneas_ loues me not.", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?" ], [ "Will set thee on her lap and play with thee:\nThen touch her white breast with this arrow head,\nThat she may dote vpon _Ãneas_ loue:", "Conuey this golden arrowe in thy sleeue,\nLest she imagine thou art _Venus_ sonne:\nAnd when she strokes thee softly on the head,", "_Asca._ Are you Queene _Didos_ sonne?\n\n_Cupid._ I, and my mother gaue me this fine bow.", "Will quickly flye to _Citheidas_ fist.\nNow _Cupid_ turne thee to _Ascanius_ shape,\nAnd goe to _Dido_ who in stead of him", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "_Ãn._ This was my mother that beguild the Queene,\nAnd made me take my brother for my sonne:\nNo maruell _Dido_ though thou be in loue,", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "Thy sonne thou knowest with _Dido_ now remaines,\nAnd feedes his eyes with fauours of her Court,\nShe likewise in admyring spends her time,", "_Cupid._ What will you giue me? now Ile haue this Fanne.\n\n_Dido._ Take it _Ascanius_, for thy fathers sake.", "Now is he fast asleepe, and in this groue\nAmongst greene brakes Ile lay _Ascanius_,\nAnd strewe him with sweete smelling Violets,", "_Iar._ Am I not King of rich _Getulia_?\n\n_Dido._ _Iarbus_ pardon me, and stay a while.\n\n_Cupid._ Mother, looke here.", "_Acha._ That will _Ãneas_ shewe your maiestie.\n\n_Dido._ _Ãneas_ art thou there?", "_Cupid._ I will faire mother, and so play my part,\nAs euery touch shall wound Queene _Didos_ heart.", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "Thongs at his heeles, by which _Achilles_ horse\nDrew him in triumph through the Greekish Campe,\nBurst from the earth, crying, _Ãneas_ flye,", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "_Acha._ _Ãneas_ see _Sergestus_ or his ghost.\n\n_Illio._ He meanes _Ãneas_, let vs kisse his feete." ], [ "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_The storme. Enter Ãneas and Dido in the Caue at seuerall times._\n\n_Dido._ _Ãneas._\n\n_Ãn._ _Dido._", "_Ãn._ Well may I view her, but she sees not me.\n\n_Enter Dido and her traine._\n\n_Dido._ What stranger art thou that doest eye me thus?", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "In whose faire bosome I will locke more wealth,\nThen twentie thousand Indiaes can affoord:\nO here he comes, loue, loue, giue _Dido_ leaue", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "_Illio._ Louely _Ãneas_, these are Carthage walles,\nAnd here Queene _Dido_ weares th'imperiall Crowne,", "_Serg._ See where her seruitors passe through the hall\nBearing a banket, _Dido_ is not farre.\n\n_Illio._ Looke where she comes: _Ãneas_ viewd her well.", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "Thy sonne thou knowest with _Dido_ now remaines,\nAnd feedes his eyes with fauours of her Court,\nShe likewise in admyring spends her time,", "O then _Ãneas_, tis for griefe of thee:\nSay thou wilt stay in _Carthage_ with my Queene,\nAnd _Didos_ beautie will returne againe:", "And wofull _Dido_ by these blubbred cheekes,\nBy this right hand, and by our spousall rites,\nDesires _Ãneas_ to remaine with her:", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Ãn._ This kisse shall be faire _Didos_ punishment.\n\n_Dido._ O how a Crowne becomes _Ãneas_ head!\nStay here _Ãneas_, and commaund as King.", "_Dido._ _Ãneas_, Ile repaire thy Troian ships,\nConditionally that thou wilt stay with me,", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Dido._ These words are poyson to poore _Didos_ soule,\nO speake like my _Ãneas_, like my loue:", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Ãn._ I vnderstand your highnesse sent for me.\n\n_Dido._ No, but now thou art here, tell me in sooth,\nIn what might _Dido_ highly pleasure thee.", "_Iar._ Vngentle Queene, is this thy loue to me?\n\n_Dido._ O stay _Iarbus_, and Ile goe with thee." ], [ "And follow them as footemen through the deepe:\nYet _Dido_ casts her eyes like anchors out,\nTo stay my Fleete from loosing forth the Bay:", "_Ãn._ _Sergestus_, beare him hence vnto our ships,\nLest _Dido_ spying him keepe him for a pledge.", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "_Dido._ _Iarbus_, talk not of _Ãneas_, let him goe,\nLay to thy hands and helpe me make a fire,", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Dido._ _Ãneas_, Ile repaire thy Troian ships,\nConditionally that thou wilt stay with me,", "Neuer to leaue these newe vpreared walles,\nWhiles _Dido_ liues and rules in _Iunos_ towne,\nNeuer to like or loue any but her.", "And hisse at _Dido_ for preseruing thee?\nGoe goe and spare not, seeke out _Italy_,\nI hope that that which loue forbids me doe,", "_Dido._ But yet _Ãneas_ will not leaue his loue.", "And wofull _Dido_ by these blubbred cheekes,\nBy this right hand, and by our spousall rites,\nDesires _Ãneas_ to remaine with her:", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Dido._ O _Anna_, _Anna_, I will follow him.\n\n_Anna._ How can ye goe when he hath all your fleete?", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "A Gods name on and hast thee to the Court,\nWhere _Dido_ will receiue ye with her smiles:\nAnd for thy ships which thou supposest lost," ], [ "_Ãn._ Triumph my mates, our trauels are at end,\nHere will _Ãneas_ build a statelier _Troy_,", "_Ãn._ This kisse shall be faire _Didos_ punishment.\n\n_Dido._ O how a Crowne becomes _Ãneas_ head!\nStay here _Ãneas_, and commaund as King.", "Then that which grim _Atrides_ ouerthrew:\n_Carthage_ shall vaunt her pettie walles no more,\nFor I will grace them with a fairer frame,", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "_Ãn._ Then here in me shall flourish _Priams_ race,\nAnd thou and I _Achates_, for reuenge,", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Illio._ Louely _Ãneas_, these are Carthage walles,\nAnd here Queene _Dido_ weares th'imperiall Crowne,", "Now will I haste vnto _Lauinian_ shoare,\nAnd raise a new foundation to old _Troy_,", "Braue Prince, welcome to Carthage and to me,\nBoth happie that _Ãneas_ is our guest:\nSit in this chaire and banquet with a Queene,", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "And let rich Carthage fleete vpon the seas,\nSo I may haue _Ãneas_ in mine armes.\nIs this the wood that grew in Carthage plaines,", "_Acha._ _Ãneas_ see _Sergestus_ or his ghost.\n\n_Illio._ He meanes _Ãneas_, let vs kisse his feete.", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "So I escapt the furious _Pirrhus_ wrath:\nWho then ran to the pallace of the King,\nAnd at _Ioues_ Altar finding _Priamus_,", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "_Dido._ _Iarbus_, talk not of _Ãneas_, let him goe,\nLay to thy hands and helpe me make a fire,", "_Acha._ _Ãneas_ for his parentage deserues\nAs large a kingdome as is _Libia_.", "_Ãn._ Where am I now? these should be Carthage walles.\n\n_Acha._ Why stands my sweete _Ãneas_ thus amazde?" ], [ "_Ãn._ I am commaunded by immortal _Ioue_,\nTo leaue this towne and passe to _Italy_,\nAnd therefore must of force.", "_Hermes._ Spendst thou thy time about this little boy,\nAnd giuest not care vnto the charge I bring?\nI tell thee thou must straight to _Italy_,", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "Made me suppose he would haue heard me speake:\nThen gan they driue into the Ocean,\nWhich when I viewd, I cride, _Ãneas_ stay,", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "Witnes the Gods, and witnes heauen and earth,\nHow loth I am to leaue these _Libian_ bounds,\nBut that eternall _Iupiter_ commands.", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "_Hermes_ this night descending in a dreame,\nHath summond me to fruitfull _Italy_:\n_Ioue_ wils it so, my mother wils it so:", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "_Ãn._ Where am I now? these should be Carthage walles.\n\n_Acha._ Why stands my sweete _Ãneas_ thus amazde?", "Swell raging seas, frowne wayward destinies,\nBlow windes, threaten ye Rockes and sandie shelfes,\nThis is the harbour that _Ãneas_ seekes,", "I must from hence: this day swift _Mercury_\nWhen I was laying a platforme for these walles,\nSent from his father _Ioue_, appeard to me,", "Thongs at his heeles, by which _Achilles_ horse\nDrew him in triumph through the Greekish Campe,\nBurst from the earth, crying, _Ãneas_ flye,", "_Ãn._ _Carthage_, my friendly host adue,\nSince destinie doth call me from the shoare:" ], [ "_Ãn._ I am commaunded by immortal _Ioue_,\nTo leaue this towne and passe to _Italy_,\nAnd therefore must of force.", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "Witnes the Gods, and witnes heauen and earth,\nHow loth I am to leaue these _Libian_ bounds,\nBut that eternall _Iupiter_ commands.", "Put sailes to sea to seeke out _Italy_;\nAnd my diuine descent from sceptred _Iove_,\nWith twise twelue Phrigian ships I plowed the deepe,", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "_Dido._ O _Anna_, my _Ãneas_ is abourd,\nAnd leauing me will saile to _Italy_.", "_Hermes_ this night descending in a dreame,\nHath summond me to fruitfull _Italy_:\n_Ioue_ wils it so, my mother wils it so:", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "_Ãn._ With speede he bids me sail to _Italy_.\nWhen as I want both rigging for my fleete,\nAnd also furniture for these my men.", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "_Hermes._ Spendst thou thy time about this little boy,\nAnd giuest not care vnto the charge I bring?\nI tell thee thou must straight to _Italy_,", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?", "Commaunds me leaue these vnrenowmed beames,\nWhereas Nobilitie abhors to stay,\nAnd none but base _Ãneas_ will abide:", "And hisse at _Dido_ for preseruing thee?\nGoe goe and spare not, seeke out _Italy_,\nI hope that that which loue forbids me doe,", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:" ], [ "_Nurse._ I know not what you meane by treason, I,\nI am as true as any one of yours. _Exeunt the Nurse._", "_Anna._ I goe faire sister, heauens graunt good successe.\n\n_Exit Anna._\n\n_Enter the Nurse._", "A little while prolong'd her husbands life:\nAt last the souldiers puld her by the heeles,\nAnd swong her howling in the emptie ayre,", "_Cupid._ Nurse I am wearie, will you carrie me?\n\n_Nurse._ I, so youle dwell with me and call me mother.", "_Nurse._ That I might liue to see this boy a man,\nHow pretilie he laughs, goe ye wagge,", "That resteth in the riuall of thy paine,\nWho nere will cease to soare till he be slaine. _Exit._", "_Nurse._ No, thou shalt goe with me vnto my house,\nI haue an Orchard that hath store of plums,", "_Nurse._ O what meane I to haue such foolish thoughts!\nFoolish is loue, a toy, O sacred loue,", "_Nurse._ O _Dido_, your little sonne _Ascanius_\nIs gone! he lay with me last night,\nAnd in the morning he was stolne from me,\nI thinke some Fairies haue beguiled me.", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "Whom I will beare to _Ida_ in mine armes,\nAnd couch him in _Adonis_ purple downe, _Exeunt._", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "_Cupid._ Come Nurse.\n\n_Nurse._ Well, if he come a wooing he shall speede,\nO how vnwise was I to say him nay! _Exeunt._", "That I may learne to beare it patiently,\nIf he depart thus suddenly, I dye:\nRun _Anna_, run, stay not to answere me.", "_Enter the Nurse with Cupid for Ascanius._\n\n_Nurse._ My Lord _Ascanius_, ye must goe with me.", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "_Cupid._ Come come Ile goe, how farre hence is your house?\n\n_Nurse._ But hereby child, we shall get thither straight.", "But _Anna_ now shall honor thee in death,\nAnd mixe her bloud with thine, this shall I doe,\nThat Gods and men may pitie this my death,", "_Exeunt omnes._\n\n_Enter Venus at another doore, and takes Ascanius by the sleeve._", "But not so much for thee, thou art but one,\nAs for _Achates_, and his followers. _Exeunt._" ], [ "But _Anna_ now shall honor thee in death,\nAnd mixe her bloud with thine, this shall I doe,\nThat Gods and men may pitie this my death,", "O sweet _Iarbus_, _Annas_ sole delight,\nWhat fatall destinie enuies me thus,\nTo see my sweet _Iarbus_ slay himselfe?", "_Dido._ Yet must I heare that lothsome name againe?\nRunne for _Ãneas_, or Ile flye to him. _Exit Anna._", "_Enter Anna._\n\n_Anna._ O helpe _Iarbus_, _Dido_ in these flames\nHath burnt her selfe, aye me, vnhappie me!", "_Anna._ What can my teares or cryes preuaile me now?\n_Dido_ is dead, _Iarbus_ slaine, _Iarbus_ my deare loue,", "That I may learne to beare it patiently,\nIf he depart thus suddenly, I dye:\nRun _Anna_, run, stay not to answere me.", "_Iar._ Then pull out both mine eyes, or let me dye. _Exit Iarb._\n\n_Anna._ Wherefore doth _Dido_ bid _Iarbus_ goe?", "So, leaue me now, let none approach this place. _Exit Iarbus._\nNow _Dido_, with these reliques burne thy selfe,\nAnd make _Ãneas_ famous through the world,", "_Anna._ As others did, by running to the wood.\n\n_Dido._ But where were you _Iarbus_ all this while?", "A little while prolong'd her husbands life:\nAt last the souldiers puld her by the heeles,\nAnd swong her howling in the emptie ayre,", "_Anna._ I will not leaue _Iarbus_ whom I loue,\nIn this delight of dying pensiuenes:", "_Dido._ O _Anna_, _Anna_, I will follow him.\n\n_Anna._ How can ye goe when he hath all your fleete?", "_Dido._ I dye with melting ruth, _Ãneas_ leaue.\n\n_Anna._ O what became of aged _Hecuba_?", "_Anna._ Twas time to runne, _Ãneas_ had been gone,\nThe sailes were hoysing vp, and he abourd.\n\n_Dido._ Is this thy loue to me?", "_Dido._ I see _Ãneas_ sticketh in your minde,\nBut I will soone put by that stumbling blocke,\nAnd quell those hopes that thus employ your cares. _Exeunt._", "And then in triumph ran into the streetes,\nThrough which he could not passe for slaughtred men:\nSo leaning on his sword he stood stone still,", "_Dido._ Away with her, suffer her not to speake.\nMy sister comes, I like not her sad lookes.\n\n_Enter Anna._", "_Anna._ I goe faire sister, heauens graunt good successe.\n\n_Exit Anna._\n\n_Enter the Nurse._", "_Enter Anna._\n\n_Anna._ How now _Iarbus_, at your prayers so hard?\n\n_Iar._ I _Anna_, is there ought you would with me?", "_Ãn._ At which the franticke Queene leapt on his face,\nAnd in his eyelids hanging by the nayles," ], [ "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "_Venus._ See what strange arts necessitie findes out,\nHow neere my sweet _Ãneas_ art thou driuen?", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "And fetter them in _Vulcans_ sturdie brasse,\nThat durst thus proudly wrong our kinsmans peace.\n_Venus_ farewell, thy sonne shall be our care:", "_Venus._ Disquiet Seas lay downe your swelling lookes,\nAnd court _Ãneas_ with your calmie cheere,", "_Ãn._ What meanes faire _Dido_ by this doubtfull speech?\n\n_Dido._ Nay, nothing, but _Ãneas_ loues me not.", "_Exeunt omnes._\n\n_Enter Venus at another doore, and takes Ascanius by the sleeve._", "_Venus._ Well could I like this reconcilements meanes,\nBut much I feare my sonne will nere consent,\nWhose armed soule alreadie on the sea,", "What shall I doe thus wronged with disdaine?\nReuenge me on _Ãneas_, or on her:\nOn her? fond man, that were to warre gainst heauen,", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "_Dido._ _Ãneas_ no, although his eyes doe pearce.\n\n_Ãn._ What, hath _Iarbus_ angred her in ought?\nAnd will she be auenged on his life?", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "And wofull _Dido_ by these blubbred cheekes,\nBy this right hand, and by our spousall rites,\nDesires _Ãneas_ to remaine with her:", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "When first you set your foote vpon the shoare,\nAnd here we met fair _Venus_ virgine like,\nBearing her bowe and quiuer at her backe.", "_Dido._ To warre against my bordering enemies:\n_Ãneas_, thinke not _Dido_ is in loue:\nFor if that any man could conquer me,", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare.", "Say _Paris_, now shall _Venus_ haue the ball?\nSay vengeance, now shall her _Ascanius_ dye.\nO no God wot, I cannot watch my time," ], [ "Where meeting with the rest, kill kill they cryed.\nFrighted with this confused noyse, I rose,\nAnd looking from a turret, might behold", "_Ãn._ At which the franticke Queene leapt on his face,\nAnd in his eyelids hanging by the nayles,", "And then in triumph ran into the streetes,\nThrough which he could not passe for slaughtred men:\nSo leaning on his sword he stood stone still,", "He with his faulchions poynt raisde vp at once,\nAnd with _Megeras_ eyes stared in their face,\nThreatning a thousand deaths at euery glaunce.", "With ashie visage, blewish, sulphure eyes,\nHis armes torne from his shoulders, and his breast\nFurrowd with wounds, and that which made me weepe,", "A little while prolong'd her husbands life:\nAt last the souldiers puld her by the heeles,\nAnd swong her howling in the emptie ayre,", "Where finding _Ãolus_ intrencht with stormes,\nAnd guarded with a thousand grislie ghosts,\nShe humbly did beseech him for our bane,", "Lookes so remorcefull, vowes so forcible,\nAs therewithall the old man ouercome,\nKist him, imbrast him, and vnloosde his bands,", "With whose outcryes _Atrides_ being apal'd,\nSummoned the Captaines to his princely tent,\nWho looking on the scarres we Troians gaue,", "Yet left he should, for I am full of feare,\nBring me his oares, his tackling, and his sailes;\nWhat if I sinke his ships? O heele frowne.", "Or impious traitors vowde to haue my life,\nAffright me not, onely _Ãneas_ frowne\nIs that which terrifies poore _Didos_ heart:", "_Dido._ Yet must I heare that lothsome name againe?\nRunne for _Ãneas_, or Ile flye to him. _Exit Anna._", "This butcher whil'st his hands were yet held vp,\nTreading vpon his breast, strooke off his hands.", "So I escapt the furious _Pirrhus_ wrath:\nWho then ran to the pallace of the King,\nAnd at _Ioues_ Altar finding _Priamus_,", "Then from the nauell to the throat at once,\nHe ript old _Priam_: at whose latter gaspe\n_Ioues_ marble statue gan to bend the brow,", "_Anna._ As others did, by running to the wood.\n\n_Dido._ But where were you _Iarbus_ all this while?", "Seeing the number of their men decreast,\nAnd the remainder weake and out of heart,\nGaue vp their voyces to dislodge the Campe,", "Thongs at his heeles, by which _Achilles_ horse\nDrew him in triumph through the Greekish Campe,\nBurst from the earth, crying, _Ãneas_ flye,", "Yong infants swimming in their parents bloud,\nHeadles carkasses piled vp in heapes,\nVirgins halfe dead dragged by their golden haire,", "But I cride out, _Ãneas_, false _Ãneas_ stay.\nThen gan he wagge his hand, which yet held vp," ], [ "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "Will quickly flye to _Citheidas_ fist.\nNow _Cupid_ turne thee to _Ascanius_ shape,\nAnd goe to _Dido_ who in stead of him", "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "_Cupid._ What will you giue me? now Ile haue this Fanne.\n\n_Dido._ Take it _Ascanius_, for thy fathers sake.", "_Cupid._ My cosin _Helen_ taught it me in _Troy_.\n\n_Dido._ How louely is _Ascanius_ when he smiles?", "_Asca._ Are you Queene _Didos_ sonne?\n\n_Cupid._ I, and my mother gaue me this fine bow.", "Conuey this golden arrowe in thy sleeue,\nLest she imagine thou art _Venus_ sonne:\nAnd when she strokes thee softly on the head,", "_Exeunt omnes._\n\n_Enter Venus at another doore, and takes Ascanius by the sleeve._", "_Ãn._ This was my mother that beguild the Queene,\nAnd made me take my brother for my sonne:\nNo maruell _Dido_ though thou be in loue,", "Will set thee on her lap and play with thee:\nThen touch her white breast with this arrow head,\nThat she may dote vpon _Ãneas_ loue:", "_Enter the Nurse with Cupid for Ascanius._\n\n_Nurse._ My Lord _Ascanius_, ye must goe with me.", "_Dido._ Tell me deare loue, how found you out this Caue?\n\n_Ãn._ By chance sweete Queene, as _Mars_ and _Venus_ met.", "And fetter them in _Vulcans_ sturdie brasse,\nThat durst thus proudly wrong our kinsmans peace.\n_Venus_ farewell, thy sonne shall be our care:", "_Cupid._ I will faire mother, and so play my part,\nAs euery touch shall wound Queene _Didos_ heart.", "_Venus._ Such bow, such quiuer, and such golden shafts,\nWill _Dido_ giue to sweete _Ascanius_:", "_Venus._ Out hatefull hag, thou wouldst haue slaine my sonne,\nHad not my Doues discou'rd thy entent:", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "When as he buts his beames on _Floras_ bed,\n_Prometheus_ hath put on _Cupids_ shape,\nAnd I must perish in his burning armes:", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "Say _Paris_, now shall _Venus_ haue the ball?\nSay vengeance, now shall her _Ascanius_ dye.\nO no God wot, I cannot watch my time," ], [ "_Iuno._ Faire Queene of loue, I will deuorce these doubts,\nAnd finde the way to wearie such fond thoughts:\nThis day they both a hunting forth will ride", "As _Iupiter_ to sillie _Vausis_ house:\nCome in with me, Ile bring you to my Queene,\nWho shall confirme my words with further deedes.", "_Iuno._ Is this then all the thankes that I shall haue,\nFor sauing him from Snakes and Serpents stings,", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "_Iup._ Come gentle _Ganimed_ and play with me,\nI loue thee well, say _Iuno_ what she will.", "Great _Iupiter_, still honourd maist thou be,\nFor this so friendly ayde in time of neede.\nHere in this bush disguised will I stand,", "_Iuno._ Fie _Venus_, that such causeles words of wrath,\nShould ere defile so faire a mouth as thine:", "_Iuno._ More then melodious are these words to me,\nThat ouercioy my soule with their content:", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "But lustfull _Ioue_ and his adulterous child,\nShall finde it written on confusions front,\nThat onely _Iuno_ rules in _Rhamnuse_ towne.", "_Vulcan_ shall daunce to make thee laughing sport,\nAnd my nine Daughters sing when thou art sad,\nFrom _Iunos_ bird Ile pluck her spotted pride,", "To harme my sweete _Ascanius_ louely life.\n_Iuno_, my mortall foe, what make you here?\nAuaunt old witch and trouble not my wits.", "_Here the Curtaines draw, there is discovered_ Iupiter _dandling_\nGanimed _upon his knee, and_ Mercury _lying asleepe_.", "Witnes the Gods, and witnes heauen and earth,\nHow loth I am to leaue these _Libian_ bounds,\nBut that eternall _Iupiter_ commands.", "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "_Dido._ The Gods, what Gods be those that seeke my death?\nWherein haue I offended _Iupiter_,", "_Cupid._ _Achates._\n_Iuno._ _Ilioneus._\n_Mercurie._ _Iarbas._", "Doe thou but say their colour pleaseth me:\nHold here my little loue these linked gems,\nMy _Iuno_ ware vpon her marriage day,", "And rests a pray to euery billowes pride.\n_Iuno_, false _Iuno_ in her Chariots pompe,", "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas," ], [ "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "_Venus._ Sister, I see you sauour of my wiles,\nBe it as you will haue for this once,\nMeane time, _Ascanius_ shall be my charge,", "_Acha._ _Ãneas_ see _Sergestus_ or his ghost.\n\n_Illio._ He meanes _Ãneas_, let vs kisse his feete.", "_Venus._ See what strange arts necessitie findes out,\nHow neere my sweet _Ãneas_ art thou driuen?", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "_Iuno._ Here lyes my hate, _Ãneas_ cursed brat,\nThe boy wherein false destinie delights,", "And fetter them in _Vulcans_ sturdie brasse,\nThat durst thus proudly wrong our kinsmans peace.\n_Venus_ farewell, thy sonne shall be our care:", "_Venus._ Disquiet Seas lay downe your swelling lookes,\nAnd court _Ãneas_ with your calmie cheere,", "_Exeunt omnes._\n\n_Enter Venus at another doore, and takes Ascanius by the sleeve._", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "_Acha._ That will _Ãneas_ shewe your maiestie.\n\n_Dido._ _Ãneas_ art thou there?", "_Ãn._ Of _Troy_ am I, _Ãneas_ is my name,\nWho driuen by warre from forth my natiue world,", "_Ãn._ This was my mother that beguild the Queene,\nAnd made me take my brother for my sonne:\nNo maruell _Dido_ though thou be in loue,", "Will set thee on her lap and play with thee:\nThen touch her white breast with this arrow head,\nThat she may dote vpon _Ãneas_ loue:", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Ãn._ Then here in me shall flourish _Priams_ race,\nAnd thou and I _Achates_, for reuenge,", "_Dido._ Get you abourd, _Ãneas_ meanes to stay.\n\n_Ãn._ The sea is rough, the windes blow to the shoare." ], [ "_Here the Curtaines draw, there is discovered_ Iupiter _dandling_\nGanimed _upon his knee, and_ Mercury _lying asleepe_.", "_Iup._ And shall haue _Ganimed_, if thou wilt be my loue.\n\n_Enter Venus._", "_Iup._ Come gentle _Ganimed_ and play with me,\nI loue thee well, say _Iuno_ what she will.", "Then from the nauell to the throat at once,\nHe ript old _Priam_: at whose latter gaspe\n_Ioues_ marble statue gan to bend the brow,", "When as he buts his beames on _Floras_ bed,\n_Prometheus_ hath put on _Cupids_ shape,\nAnd I must perish in his burning armes:", "As _Iupiter_ to sillie _Vausis_ house:\nCome in with me, Ile bring you to my Queene,\nWho shall confirme my words with further deedes.", "_Exeunt Iupiter cum Ganimed._", "_Venus._ I this is it, you can sit toying there,\nAnd playing with that female wanton boy,\nWhiles my _Ãneas_ wanders on the Seas,", "Great _Iupiter_, still honourd maist thou be,\nFor this so friendly ayde in time of neede.\nHere in this bush disguised will I stand,", "And fetter them in _Vulcans_ sturdie brasse,\nThat durst thus proudly wrong our kinsmans peace.\n_Venus_ farewell, thy sonne shall be our care:", "Will set thee on her lap and play with thee:\nThen touch her white breast with this arrow head,\nThat she may dote vpon _Ãneas_ loue:", "When for the hate of Troian _Ganimed_,\nThat was aduanced by my _Hebes_ shame,\nAnd _Paris_ iudgement of the heauenly ball,", "Conuey this golden arrowe in thy sleeue,\nLest she imagine thou art _Venus_ sonne:\nAnd when she strokes thee softly on the head,", "Who groueling in the mire of _Zanthus_ bankes,\nHis hands bound at his back, and both his eyes\nTurnd vp to heauen as one resolu'd to dye,", "And charg'd him drowne my sonne with all his traine.\nThen gan the windes breake ope their brazen doores,\nAnd all _Ãolia_ to be vp in armes:", "Lookes so remorcefull, vowes so forcible,\nAs therewithall the old man ouercome,\nKist him, imbrast him, and vnloosde his bands,", "Entends ere long to sport him in the skie.\nFalse _Iupiter_, rewardst thou vertue so?\nWhat? is not pietie exempt from woe?", "That with thy gloomie hand corrects the heauen,\nWhen ayrie creatures warre amongst themselues:\nHeare, heare, O heare _Iarbus_ plaining prayers,", "_Gan._ Might I but see that pretie sport a foote,\nO how would I with _Helens_ brother laugh,\nAnd bring the Gods to wonder at the game:", "_Ãn._ At which the franticke Queene leapt on his face,\nAnd in his eyelids hanging by the nayles," ], [ "And cut a passage through his toples hilles:\n_Achates_ come forth, _Sergestus_, _Illioneus_,\n_Cloanthus_, haste away, _Ãneas_ calles.", "Commaunds me leaue these vnrenowmed beames,\nWhereas Nobilitie abhors to stay,\nAnd none but base _Ãneas_ will abide:", "Made me suppose he would haue heard me speake:\nThen gan they driue into the Ocean,\nWhich when I viewd, I cride, _Ãneas_ stay,", "_Dido._ To rid thee of that doubt, abourd againe,\nI charge thee put to sea and stay not here.\n\n_Acha._ Then let _Ãneas_ goe abourd with vs.", "Then got we to our ships, and being abourd,\n_Polixena_ cryed out, _Ãneas_ stay,\nThe Greekes pursue me, stay and take me in.", "But not so much for thee, thou art but one,\nAs for _Achates_, and his followers. _Exeunt._", "And yet Ile speake, and yet Ile hold my peace,\nDoe shame her worst, I will disclose my griefe:\n_Ãneas_, thou art he, what did I say?", "_Dido._ These words proceed not from _Ãneas_ heart.\n\n_Ãn._ Not from my heart, for I can hardly goe,\nAnd yet I may not stay, _Dido_ farewell.", "If it be so, his father meanes to flye:\nBut here he is, now _Dido_ trie thy wit.\n_Ãneas_, wherefore goe thy men abourd?,", "_Acha._ _Ãneas_ see here come the Citizens,\nLeaue to lament lest they laugh at our feares.\n\n_Enter Cloanthus, Sergestus, Illioneus._", "_Enter Dido, Ãneas, Anna, Iarbus, Achates, and followers._", "_Dido._ I feare I sawe _Ãneas_ little sonne,\nLed by _Achates_ to the Troian fleete:", "_Enter Illioneus, and Cloanthes._\n\n_Illio._ Follow ye Troians, follow this braue Lord,\nAnd plaine to him the summe of your distresse.", "_Dido._ O _Anna_, _Anna_, I will follow him.\n\n_Anna._ How can ye goe when he hath all your fleete?", "Let my Phenissa graunt, and then I goe:\nGraunt she or no, _Ãneas_ must away,\nWhose golden fortunes clogd with courtly ease,", "Or impious traitors vowde to haue my life,\nAffright me not, onely _Ãneas_ frowne\nIs that which terrifies poore _Didos_ heart:", "And follow them as footemen through the deepe:\nYet _Dido_ casts her eyes like anchors out,\nTo stay my Fleete from loosing forth the Bay:", "Goe, bid my Nurse take yong _Ascanius_,\nAnd beare him in the countrey to her house,\n_Ãneas_ will not goe without his sonne:", "All that they haue, their lands, their goods, their liues,\nAnd I the Goddesse of all these, commaund\n_Ãneas_ ride as Carthaginian King.", "_Cloan._ It is our Captaine, see _Ascanius_.\n\n_Serg._ Liue long _Ãneas_ and _Ascanius_." ] ]

[ "Where was Aeneas heading before the storm?", "Who is Dido?", "Where must Aeneas go to fulfill his destiny?", "Why does Venus argue with Juno?", "What did Cupid do to Dido?", "Which God can quiet storms?", "Who supplies Aeneas with the tackle he needs to set sail?", "Which of the main characters take their own lives at the end of this story?", "Who is Jupiter's wife?", "What defeated city does Aeneas leave with the other survivors?", "What does Venus disguise herself as when meeting Aeneas in Libya?", "What does Dido promise to do for Aeneas when the meet on the coast?", "What major story does Dido recall recall for Aeneas when meeting on the coast?", "Who is disguised as Aeneas' son in order to get close to her with his arrow?", "What physical setting do Dido and Aeneas meet together in when Dido professes his love?", "What does Dido do to Aeneas ships as precaution against him and his followers leaving to Italy?", "What does Aeneas plan to build after he becomes king?", "Where does Mercury tell Aeneas he is destined to go?", "On who's orders must Aeneas answer to go to Italy. ", "As the stroy draws to the end, what does the Nurse say? ", "Seeing Larbas end his own life, what does Anna do? ", "What is Venus complaining about relative to Aeneas? ", "Horrified, what does Larbas do? ", "Why does Venus disguise Cupid as Aeneas's son Ascanius? ", "Who is Juno to Jupiter? ", "Who is Aeneas to Venus?", "As the story begins, what is Jupiter doing to Ganymede? ", "What do Aeneas's followers say? " ]

[ [ "Italy", "Italy" ], [ "The Queen of Carthage", "The queen of carthage" ], [ "Italy", "Italy" ], [ "She thinks Juno wants to harm her son", "She believes Juno wants to harm her son." ], [ "He touched her with his arrow so she would fall in love with Aeneas", "Touch her with his arrow" ], [ "Jupiter", "Jupiter." ], [ "Larbas", "Iarbas." ], [ "Dido, Larbas and Anna", "Dido, Larbas and Anna" ], [ "Juno", "Juno" ], [ "Troy", "Troy" ], [ "A mortal", "Mortal" ], [ "To supply their ships.", "supply his ships" ], [ "The fall of Troy", "Fall of Troy" ], [ "Cupid", "Cupid" ], [ "A cave", "Cave" ], [ "Removes the sails and tackle", "takes the sails and tackle" ], [ "A new city.", "A city rivaling Troy." ], [ "Italy", "Italy." ], [ "Jupiter's orders.", "Venus" ], [ "That Ascanius has desappeared. ", "She intends to create a pyre that will burn all that reminds her of Aeneas." ], [ "Anna kills self also. ", "Kill herself" ], [ "That Jupiter is mistreating Aeneas.", "Jupiter is neglecting him" ], [ " Larbas kills himself as well. ", "kills himself" ], [ "So that he can close to Dido. ", "So that he can touch Dido with his arrow." ], [ "Juno is Jupiter's wife. ", "Jupiter's wife" ], [ "Aeneas is Venus' son.", "Aeneas is Venus's son" ], [ "Jupiter is fondling Ganymede. ", "He is fondling her." ], [ "That they must leave Lybia. ", "They must leave Libya to fulfill their destiny in Italy." ] ]

f01426d161b74fa8cc69b259b8460271b8c70121

train

[ [ "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "\"And that makes it bad for me!\" declared the Daemon of Hatred. \"For\nif no children pass through the Caves of Selfishness and Envy, none\ncan get to MY cavern.\"", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "of Selfishness, and Envy, and Hatred, and Malice! We have done a\nmighty clever thing, we Daemons of the Caves!\"", "\"For my part,\" said the Daemon of Repentance, \"it is easily seen that\nif children do not visit your caves they have no need to visit mine;\nso that I am quite as neglected as you are.\"", "\"I'm having the same trouble,\" rejoined the Daemon of Envy. \"The\nlittle ones seem quite content with Santa Claus, and there are few,\nindeed, that I can coax to become envious.\"", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "\"I'm really getting lonesome,\" said the Daemon of Selfishness. \"For\nSanta Claus distributes so many pretty Christmas gifts to all the\nchildren that they become happy and generous, through his example, and\nkeep away from my cave.\"", "The following day the Daemon of Envy visited Santa Claus. Said he:\n\"The toy shops are full of playthings quite as pretty as those you are", "\"My brother Daemons do not trust me overmuch,\" said he, as he entered\nthe cavern; \"but it is morning, now, and the mischief is done. You\ncannot visit the children again for another year.\"", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "and stamp their feet in anger! Our caves will be full today, old\nSanta! Our caves are sure to be full!\"", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead" ], [ "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "The following day the Daemon of Envy visited Santa Claus. Said he:\n\"The toy shops are full of playthings quite as pretty as those you are", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best" ], [ "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "But to this, as to other like taunts, Santa Claus answered nothing.\nHe was much grieved by his capture, it is true; but his courage did", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "\"The children are waking up, Santa!\" he cried. \"They are waking up to\nfind their stockings empty! Ho, ho! How they will quarrel, and wail,", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"" ], [ "So Wisk the Fairy transported himself to the bower of the Fairy Queen,\nwhich was located deep in the heart of the Forest of Burzee; and once", "So the fairies, and knooks, and pixies, and ryls all escorted the good\nman to his castle, and there left him to talk over the events of the\nnight with his little assistants.", "from the fields, each one bearing the emblem of the flower or plant it\nguarded. Behind these were many ranks of pixies, gnomes and nymphs, and", "of Malice--situated in a dark and fearful cave in the very heart of\nthe mountain. I do not know what lies beyond this. Some say there", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "On one side is the mighty Forest of Burzee. At the other side stands\nthe huge mountain that contains the Caves of the Daemons. And between\nthem the Valley lies smiling and peaceful.", "selected from the ryls, knooks, pixies and fairies, live with him, and\nevery one is as busy as can be from one year's end to another.", "in the rear a thousand beautiful fairies floated along in gorgeous array.", "\"We really did very well,\" cried the fairy, in a pleased voice; \"for I\nfound little unhappiness among the children this morning. Still, you", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead", "inhabited by the Daemon of Envy. The cave of the Daemon of Hatred is\nnext in order, and through this one passes to the home of the Daemon", "the faithful animals again sprang forward and dashed over hill and\nvalley, through forest and plain, until they came to the houses\nwherein children lay sleeping and dreaming of the pretty gifts they", "the mountain, the entrance being beautifully carved and decorated. In\nit resides the Daemon of Selfishness. Back of this is another cavern", "Having put the deer in the stable, the little folk began to wonder how\nthey might rescue their master; and they realized they must discover,\nfirst of all, what had happened to him and where he was.", "from the forest, as rough and crooked in appearance as the gnarled\nbranches of the trees they ministered to. And there were dainty ryls", "the Pixie, and a small fairy named Wisk--his four favorite assistants.\nThese little people he had often found very useful in helping him to\ndistribute his gifts to the children, and when their master was so", "look smilingly up from their green nests. To laugh one needs to be\nhappy; to be happy one needs to be content. And throughout the\nLaughing Valley of Santa Claus contentment reigns supreme.", "The Caves of the Daemons are five in number. A broad pathway leads\nup to the first cave, which is a finely arched cavern at the foot of" ], [ "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "\"I'm really getting lonesome,\" said the Daemon of Selfishness. \"For\nSanta Claus distributes so many pretty Christmas gifts to all the\nchildren that they become happy and generous, through his example, and\nkeep away from my cave.\"", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "\"Oh, yes, indeed,\" answered the Daemon. \"I am even now repenting that\nI assisted in your capture. Of course it is too late to remedy the", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy." ], [ "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "\"I'm really getting lonesome,\" said the Daemon of Selfishness. \"For\nSanta Claus distributes so many pretty Christmas gifts to all the\nchildren that they become happy and generous, through his example, and\nkeep away from my cave.\"", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "\"Nonsense!\" cried the old graybeard, his bright eyes twinkling merrily\nas he turned toward the tempting Daemon. \"The boys and girls are", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "\"I'm having the same trouble,\" rejoined the Daemon of Envy. \"The\nlittle ones seem quite content with Santa Claus, and there are few,\nindeed, that I can coax to become envious.\"", "The following day the Daemon of Envy visited Santa Claus. Said he:\n\"The toy shops are full of playthings quite as pretty as those you are", "the children's saint had so many powerful friends it was folly to\noppose him, the Daemons never again attempted to interfere with his\njourneys on Christmas Eve.", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he" ], [ "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "But to this, as to other like taunts, Santa Claus answered nothing.\nHe was much grieved by his capture, it is true; but his courage did", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "The moon shone big and white in the sky, and the snow lay crisp and\nsparkling on the ground as Santa Claus cracked his whip and sped away", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "Little Wisk stuck out his head from underneath the seat and found\nSanta Claus gone and no one to direct the flight of the reindeer.", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "out of the Valley into the great world beyond. The roomy sleigh was\npacked full with huge sacks of toys, and as the reindeer dashed onward", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "foremost into a snowbank, while the reindeer rushed onward with the\nload of toys and carried it quickly out of sight and sound.", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:" ], [ "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "So the fairies, and knooks, and pixies, and ryls all escorted the good\nman to his castle, and there left him to talk over the events of the\nnight with his little assistants.", "and cities and farmhouses where he was expected, and figured that he\nhad just enough presents to go around and make every child happy. The\nreindeer knew exactly what was expected of them, and dashed along so", "out of the Valley into the great world beyond. The roomy sleigh was\npacked full with huge sacks of toys, and as the reindeer dashed onward", "the Pixie, and a small fairy named Wisk--his four favorite assistants.\nThese little people he had often found very useful in helping him to\ndistribute his gifts to the children, and when their master was so", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "selected from the ryls, knooks, pixies and fairies, live with him, and\nevery one is as busy as can be from one year's end to another.", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "Little Wisk stuck out his head from underneath the seat and found\nSanta Claus gone and no one to direct the flight of the reindeer.", "look smilingly up from their green nests. To laugh one needs to be\nhappy; to be happy one needs to be content. And throughout the\nLaughing Valley of Santa Claus contentment reigns supreme.", "Peter and Nuter and Kilter all jumped upon the seat and looked back\nover the track made by the sleigh. But Santa Claus had been left\nmiles and miles behind.", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "foremost into a snowbank, while the reindeer rushed onward with the\nload of toys and carried it quickly out of sight and sound.", "Wisk had already rendered himself invisible and flown through the big\nworld to see how the children were getting along on this bright\nChristmas morning; and by the time he returned, Peter had finished\ntelling Santa Claus of how they had distributed the toys.", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"" ], [ "The Caves of the Daemons are five in number. A broad pathway leads\nup to the first cave, which is a finely arched cavern at the foot of", "\"I hope you will forgive me,\" said the Daemon pleadingly. \"I am not\nreally a bad person, you know; and I believe I accomplish a great deal\nof good in the world.\"", "Had there been many such mistakes the Daemons would have accomplished\ntheir evil purpose and made the children unhappy. But the little", "of Selfishness, and Envy, and Hatred, and Malice! We have done a\nmighty clever thing, we Daemons of the Caves!\"", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "children. And the Daemons, who guarded him by turns, one after\nanother, did not neglect to taunt him with contemptuous words in his\nhelpless condition.", "\"Oh, yes, indeed,\" answered the Daemon. \"I am even now repenting that\nI assisted in your capture. Of course it is too late to remedy the", "\"As a rule, that is true,\" replied the Daemon; \"yet you, who have done\nno evil, are about to visit my cave at once; for to prove that I sincerely", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "inhabited by the Daemon of Envy. The cave of the Daemon of Hatred is\nnext in order, and through this one passes to the home of the Daemon", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "not forsake him. And, finding that the prisoner would not reply to\nhis jeers, the Daemon of Malice presently went away, and sent the\nDaemon of Repentance to take his place.", "\"My brother Daemons do not trust me overmuch,\" said he, as he entered\nthe cavern; \"but it is morning, now, and the mischief is done. You\ncannot visit the children again for another year.\"", "the mountain, the entrance being beautifully carved and decorated. In\nit resides the Daemon of Selfishness. Back of this is another cavern", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"" ], [ "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "look smilingly up from their green nests. To laugh one needs to be\nhappy; to be happy one needs to be content. And throughout the\nLaughing Valley of Santa Claus contentment reigns supreme.", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "Wisk had already rendered himself invisible and flown through the big\nworld to see how the children were getting along on this bright\nChristmas morning; and by the time he returned, Peter had finished\ntelling Santa Claus of how they had distributed the toys.", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "So the fairies, and knooks, and pixies, and ryls all escorted the good\nman to his castle, and there left him to talk over the events of the\nnight with his little assistants.", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "Peter and Nuter and Kilter all jumped upon the seat and looked back\nover the track made by the sleigh. But Santa Claus had been left\nmiles and miles behind.", "out of the Valley into the great world beyond. The roomy sleigh was\npacked full with huge sacks of toys, and as the reindeer dashed onward" ], [ "\"I hope you will forgive me,\" said the Daemon pleadingly. \"I am not\nreally a bad person, you know; and I believe I accomplish a great deal\nof good in the world.\"", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "\"Oh, yes, indeed,\" answered the Daemon. \"I am even now repenting that\nI assisted in your capture. Of course it is too late to remedy the", "\"As a rule, that is true,\" replied the Daemon; \"yet you, who have done\nno evil, are about to visit my cave at once; for to prove that I sincerely", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "Had there been many such mistakes the Daemons would have accomplished\ntheir evil purpose and made the children unhappy. But the little", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "\"My brother Daemons do not trust me overmuch,\" said he, as he entered\nthe cavern; \"but it is morning, now, and the mischief is done. You\ncannot visit the children again for another year.\"", "children. And the Daemons, who guarded him by turns, one after\nanother, did not neglect to taunt him with contemptuous words in his\nhelpless condition.", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "\"Nonsense!\" cried the old graybeard, his bright eyes twinkling merrily\nas he turned toward the tempting Daemon. \"The boys and girls are", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "This speech greatly surprised the prisoner, until he reflected that it\nwas just what might be expected of the Daemon of Repentance. The", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "of Selfishness, and Envy, and Hatred, and Malice! We have done a\nmighty clever thing, we Daemons of the Caves!\"", "When Christmas Day dawned the Daemon of Malice was guarding the\nprisoner, and his tongue was sharper than that of any of the others.", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "not forsake him. And, finding that the prisoner would not reply to\nhis jeers, the Daemon of Malice presently went away, and sent the\nDaemon of Repentance to take his place." ], [ "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "the children's saint had so many powerful friends it was folly to\noppose him, the Daemons never again attempted to interfere with his\njourneys on Christmas Eve.", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"" ], [ "out of the Valley into the great world beyond. The roomy sleigh was\npacked full with huge sacks of toys, and as the reindeer dashed onward", "and cities and farmhouses where he was expected, and figured that he\nhad just enough presents to go around and make every child happy. The\nreindeer knew exactly what was expected of them, and dashed along so", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "Peter and Nuter and Kilter all jumped upon the seat and looked back\nover the track made by the sleigh. But Santa Claus had been left\nmiles and miles behind.", "The moon shone big and white in the sky, and the snow lay crisp and\nsparkling on the ground as Santa Claus cracked his whip and sped away", "Wisk had already rendered himself invisible and flown through the big\nworld to see how the children were getting along on this bright\nChristmas morning; and by the time he returned, Peter had finished\ntelling Santa Claus of how they had distributed the toys.", "foremost into a snowbank, while the reindeer rushed onward with the\nload of toys and carried it quickly out of sight and sound.", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "look smilingly up from their green nests. To laugh one needs to be\nhappy; to be happy one needs to be content. And throughout the\nLaughing Valley of Santa Claus contentment reigns supreme.", "Little Wisk stuck out his head from underneath the seat and found\nSanta Claus gone and no one to direct the flight of the reindeer.", "suddenly dragged from the sleigh they were all snugly tucked\nunderneath the seat, where the sharp wind could not reach them.", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead" ], [ "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "wished them to do. But now they had to distribute the toys according\nto their own judgment, and they did not understand children as well as\ndid old Santa. So it is no wonder they made some laughable errors.", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "GUTENBERG EBOOK A KIDNAPPED SANTA CLAUS ***\n\n\n\n\nProduced by Dennis Amundson", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "and cities and farmhouses where he was expected, and figured that he\nhad just enough presents to go around and make every child happy. The\nreindeer knew exactly what was expected of them, and dashed along so", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "Little Wisk stuck out his head from underneath the seat and found\nSanta Claus gone and no one to direct the flight of the reindeer.", "A Kidnapped Santa Claus\n\n\nby\n\nL. Frank Baum", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "Wisk had already rendered himself invisible and flown through the big\nworld to see how the children were getting along on this bright\nChristmas morning; and by the time he returned, Peter had finished\ntelling Santa Claus of how they had distributed the toys." ], [ "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "Had there been many such mistakes the Daemons would have accomplished\ntheir evil purpose and made the children unhappy. But the little", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "children. And the Daemons, who guarded him by turns, one after\nanother, did not neglect to taunt him with contemptuous words in his\nhelpless condition.", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "\"I'm having the same trouble,\" rejoined the Daemon of Envy. \"The\nlittle ones seem quite content with Santa Claus, and there are few,\nindeed, that I can coax to become envious.\"", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong." ], [ "So Wisk the Fairy transported himself to the bower of the Fairy Queen,\nwhich was located deep in the heart of the Forest of Burzee; and once", "So the fairies, and knooks, and pixies, and ryls all escorted the good\nman to his castle, and there left him to talk over the events of the\nnight with his little assistants.", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "of Malice--situated in a dark and fearful cave in the very heart of\nthe mountain. I do not know what lies beyond this. Some say there", "from the fields, each one bearing the emblem of the flower or plant it\nguarded. Behind these were many ranks of pixies, gnomes and nymphs, and", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "selected from the ryls, knooks, pixies and fairies, live with him, and\nevery one is as busy as can be from one year's end to another.", "On one side is the mighty Forest of Burzee. At the other side stands\nthe huge mountain that contains the Caves of the Daemons. And between\nthem the Valley lies smiling and peaceful.", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "\"We really did very well,\" cried the fairy, in a pleased voice; \"for I\nfound little unhappiness among the children this morning. Still, you", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead", "the faithful animals again sprang forward and dashed over hill and\nvalley, through forest and plain, until they came to the houses\nwherein children lay sleeping and dreaming of the pretty gifts they", "in the rear a thousand beautiful fairies floated along in gorgeous array.", "inhabited by the Daemon of Envy. The cave of the Daemon of Hatred is\nnext in order, and through this one passes to the home of the Daemon", "Having put the deer in the stable, the little folk began to wonder how\nthey might rescue their master; and they realized they must discover,\nfirst of all, what had happened to him and where he was.", "the Pixie, and a small fairy named Wisk--his four favorite assistants.\nThese little people he had often found very useful in helping him to\ndistribute his gifts to the children, and when their master was so", "from the forest, as rough and crooked in appearance as the gnarled\nbranches of the trees they ministered to. And there were dainty ryls", "the mountain, the entrance being beautifully carved and decorated. In\nit resides the Daemon of Selfishness. Back of this is another cavern", "look smilingly up from their green nests. To laugh one needs to be\nhappy; to be happy one needs to be content. And throughout the\nLaughing Valley of Santa Claus contentment reigns supreme.", "Marching over the snow toward the mountain was a vast army, made up of\nthe most curious creatures imaginable. There were numberless knooks" ], [ "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "Marching over the snow toward the mountain was a vast army, made up of\nthe most curious creatures imaginable. There were numberless knooks", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "He then related the mistakes that had been made, and which he had not\ndiscovered until his tour of inspection. And Santa Claus at once sent", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "and cities and farmhouses where he was expected, and figured that he\nhad just enough presents to go around and make every child happy. The\nreindeer knew exactly what was expected of them, and dashed along so" ], [ "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "But to this, as to other like taunts, Santa Claus answered nothing.\nHe was much grieved by his capture, it is true; but his courage did", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best" ], [ "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "Marching over the snow toward the mountain was a vast army, made up of\nthe most curious creatures imaginable. There were numberless knooks", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "and cities and farmhouses where he was expected, and figured that he\nhad just enough presents to go around and make every child happy. The\nreindeer knew exactly what was expected of them, and dashed along so", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "Wisk had already rendered himself invisible and flown through the big\nworld to see how the children were getting along on this bright\nChristmas morning; and by the time he returned, Peter had finished\ntelling Santa Claus of how they had distributed the toys.", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve." ], [ "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "through the year at his castle in the Laughing Valley, preparing the\ngifts he was to distribute on Christmas Eve; and at first they\nresolved to try to tempt him into their caves, that they might lead", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "look smilingly up from their green nests. To laugh one needs to be\nhappy; to be happy one needs to be content. And throughout the\nLaughing Valley of Santa Claus contentment reigns supreme.", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "out of the Valley into the great world beyond. The roomy sleigh was\npacked full with huge sacks of toys, and as the reindeer dashed onward", "So the fairies, and knooks, and pixies, and ryls all escorted the good\nman to his castle, and there left him to talk over the events of the\nnight with his little assistants.", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "Wisk had already rendered himself invisible and flown through the big\nworld to see how the children were getting along on this bright\nChristmas morning; and by the time he returned, Peter had finished\ntelling Santa Claus of how they had distributed the toys.", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:" ], [ "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "\"I'm really getting lonesome,\" said the Daemon of Selfishness. \"For\nSanta Claus distributes so many pretty Christmas gifts to all the\nchildren that they become happy and generous, through his example, and\nkeep away from my cave.\"", "\"I'm having the same trouble,\" rejoined the Daemon of Envy. \"The\nlittle ones seem quite content with Santa Claus, and there are few,\nindeed, that I can coax to become envious.\"", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "The following day the Daemon of Envy visited Santa Claus. Said he:\n\"The toy shops are full of playthings quite as pretty as those you are", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "\"The children are waking up, Santa!\" he cried. \"They are waking up to\nfind their stockings empty! Ho, ho! How they will quarrel, and wail," ], [ "Suddenly a strange thing happened: a rope shot through the moonlight\nand a big noose that was in the end of it settled over the arms and", "\"The children are waking up, Santa!\" he cried. \"They are waking up to\nfind their stockings empty! Ho, ho! How they will quarrel, and wail,", "are terrible pitfalls leading to death and destruction, and this may\nvery well be true. However, from each one of the four caves mentioned\nthere is a small, narrow tunnel leading to the fifth cave--a cozy", "\"No, no!\" exclaimed Peter the Knook, who, cross and crabbed though he\nwas, might always be depended upon in an emergency. \"If we delay, or", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "\"Nonsense!\" cried the old graybeard, his bright eyes twinkling merrily\nas he turned toward the tempting Daemon. \"The boys and girls are", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "of Malice--situated in a dark and fearful cave in the very heart of\nthe mountain. I do not know what lies beyond this. Some say there", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "But to this, as to other like taunts, Santa Claus answered nothing.\nHe was much grieved by his capture, it is true; but his courage did" ], [ "children. And the Daemons, who guarded him by turns, one after\nanother, did not neglect to taunt him with contemptuous words in his\nhelpless condition.", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "\"My brother Daemons do not trust me overmuch,\" said he, as he entered\nthe cavern; \"but it is morning, now, and the mischief is done. You\ncannot visit the children again for another year.\"", "\"And that makes it bad for me!\" declared the Daemon of Hatred. \"For\nif no children pass through the Caves of Selfishness and Envy, none\ncan get to MY cavern.\"", "of Selfishness, and Envy, and Hatred, and Malice! We have done a\nmighty clever thing, we Daemons of the Caves!\"", "\"For my part,\" said the Daemon of Repentance, \"it is easily seen that\nif children do not visit your caves they have no need to visit mine;\nso that I am quite as neglected as you are.\"", "Had there been many such mistakes the Daemons would have accomplished\ntheir evil purpose and made the children unhappy. But the little", "The Caves of the Daemons are five in number. A broad pathway leads\nup to the first cave, which is a finely arched cavern at the foot of", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "grief is likely to make the children selfish and envious and hateful,\nand if they come to the Caves of the Daemons today I shall get a", "the mountain, the entrance being beautifully carved and decorated. In\nit resides the Daemon of Selfishness. Back of this is another cavern", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "\"Nonsense!\" cried the old graybeard, his bright eyes twinkling merrily\nas he turned toward the tempting Daemon. \"The boys and girls are", "\"It is certain that some wicked creatures have captured him,\" added\nKilter thoughtfully, \"and their object must be to make the children", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "\"As a rule, that is true,\" replied the Daemon; \"yet you, who have done\nno evil, are about to visit my cave at once; for to prove that I sincerely", "judge that many wanderers in the Caves of the Daemons have escaped\nthrough the tunnels to the abode of the Daemon of Repentance, who is", "inhabited by the Daemon of Envy. The cave of the Daemon of Hatred is\nnext in order, and through this one passes to the home of the Daemon" ], [ "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "and cities and farmhouses where he was expected, and figured that he\nhad just enough presents to go around and make every child happy. The\nreindeer knew exactly what was expected of them, and dashed along so", "Now it so chanced that on this Christmas Eve the good Santa Claus had\ntaken with him in his sleigh Nuter the Ryl, Peter the Knook, Kilter", "out of the Valley into the great world beyond. The roomy sleigh was\npacked full with huge sacks of toys, and as the reindeer dashed onward", "him. But on Christmas Eve he drives his reindeer out into the big\nworld, carrying a sleighload of toys and pretty gifts to the children;\nand this was the time and the occasion when his enemies had the best", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright", "Santa Claus lives in the Laughing Valley, where stands the big,\nrambling castle in which his toys are manufactured. His workmen,", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "the Pixie, and a small fairy named Wisk--his four favorite assistants.\nThese little people he had often found very useful in helping him to\ndistribute his gifts to the children, and when their master was so", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "Little Wisk stuck out his head from underneath the seat and found\nSanta Claus gone and no one to direct the flight of the reindeer.", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "friends of the absent Santa Claus labored faithfully and intelligently\nto carry out their master's ideas, and they made fewer errors than\nmight be expected under such unusual circumstances.", "It was well known that no harm can come to Santa Claus while he is in\nthe Laughing Valley, for the fairies, and ryls, and knooks all protect", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "The moon shone big and white in the sky, and the snow lay crisp and\nsparkling on the ground as Santa Claus cracked his whip and sped away", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:" ], [ "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "As for the wicked Daemons of the Caves, they were filled with anger\nand chagrin when they found that their clever capture of Santa Claus", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "But the Daemons who live in the mountain caves grew to hate Santa Claus\nvery much, and all for the simple reason that he made children happy.", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "This wonderful army was led by Wisk, Peter, Nuter, and Kilter, who had\nassembled it to rescue Santa Claus from captivity and to punish the\nDaemons who had dared to take him away from his beloved children.", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the" ], [ "fellow at once busied himself untying the knots that bound Santa Claus\nand unlocking the chains that fastened him to the wall. Then he\nled the way through a long tunnel until they both emerged in the", "It is possible that Santa Claus was not as merry as usual during the\nnight that succeeded his capture. For although he had faith in the", "The tiny immortals knew nothing of the capture of Santa Claus until\nsome time after he had disappeared. But finally they missed his\ncheery voice, and as their master always sang or whistled on his\njourneys, the silence warned them that something was wrong.", "In spite of the second rebuff, the Daemon of Hatred thought he would\ntry to influence Santa Claus. So the next day he entered the busy\nworkshop and said:", "unhappy. So our first duty is to get the toys distributed as\ncarefully as if Santa Claus were himself present. Afterward we\ncan search for our master and easily secure his freedom.\"", "One would thing that our good old Santa Claus, who devotes his days to\nmaking children happy, would have no enemies on all the earth; and, as\na matter of fact, for a long period of time he encountered nothing but\nlove wherever he might go.", "pulled him from the snowdrift and bound him tightly with many coils of\nthe stout rope. And then they carried the kidnapped Santa Claus away\nto their mountain, where they thrust the prisoner into a secret cave", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "The little immortals had set themselves a difficult task; for although\nthey had assisted Santa Claus on many of his journeys, their master\nhad always directed and guided them and told them exactly what he", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "But to this, as to other like taunts, Santa Claus answered nothing.\nHe was much grieved by his capture, it is true; but his courage did", "\"That is true,\" answered Santa Claus, almost cheerfully;\n\"Christmas Eve is past, and for the first time in centuries\nI have not visited my children.\"", "To this they readily agreed; but what to do was another and more\ndifficult matter to settle. They knew that Santa Claus worked all", "body of Santa Claus and drew tight. Before he could resist or even\ncry out he was jerked from the seat of the sleigh and tumbled head", "there, it did not take him long to find out all about the naughty\nDaemons and how they had kidnapped the good Santa Claus to prevent his\nmaking children happy. The Fairy Queen also promised her assistance,", "So the Daemon went back to the others, who awaited him in their caves,\nand said:\n\n\"I have failed, for Santa Claus is not at all selfish.\"", "He then related the mistakes that had been made, and which he had not\ndiscovered until his tour of inspection. And Santa Claus at once sent", "\"The children are waking up, Santa!\" he cried. \"They are waking up to\nfind their stockings empty! Ho, ho! How they will quarrel, and wail,", "But lo! coming to meet his loyal friends appeared the imposing form of\nSanta Claus, his white beard floating in the breeze and his bright" ], [ "The Caves of the Daemons are five in number. A broad pathway leads\nup to the first cave, which is a finely arched cavern at the foot of", "of Selfishness, and Envy, and Hatred, and Malice! We have done a\nmighty clever thing, we Daemons of the Caves!\"", "inhabited by the Daemon of Envy. The cave of the Daemon of Hatred is\nnext in order, and through this one passes to the home of the Daemon", "the mountain, the entrance being beautifully carved and decorated. In\nit resides the Daemon of Selfishness. Back of this is another cavern", "\"Oh, yes, indeed,\" answered the Daemon. \"I am even now repenting that\nI assisted in your capture. Of course it is too late to remedy the", "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "\"I hope you will forgive me,\" said the Daemon pleadingly. \"I am not\nreally a bad person, you know; and I believe I accomplish a great deal\nof good in the world.\"", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "children. And the Daemons, who guarded him by turns, one after\nanother, did not neglect to taunt him with contemptuous words in his\nhelpless condition.", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "\"My brother Daemons do not trust me overmuch,\" said he, as he entered\nthe cavern; \"but it is morning, now, and the mischief is done. You\ncannot visit the children again for another year.\"", "Had there been many such mistakes the Daemons would have accomplished\ntheir evil purpose and made the children unhappy. But the little", "\"Nonsense!\" cried the old graybeard, his bright eyes twinkling merrily\nas he turned toward the tempting Daemon. \"The boys and girls are", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "\"For my part,\" said the Daemon of Repentance, \"it is easily seen that\nif children do not visit your caves they have no need to visit mine;\nso that I am quite as neglected as you are.\"" ], [ "\"It is useless to pursue the Daemons,\" said Santa Claus to the army.\n\"They have their place in the world, and can never be destroyed. But\nthat is a great pity, nevertheless,\" he continued musingly.", "Indeed, the Daemons could not tempt old Santa Claus in any way. On\nthe contrary, he was shrewd enough to see that their object in", "\"Ha, ha!\" laughed the Daemons, rubbing their hands together with cruel\nglee. \"What will the children do now? How they will cry and scold", "chance to injure him. So the Daemons laid their plans and awaited the\narrival of Christmas Eve.", "children. And the Daemons, who guarded him by turns, one after\nanother, did not neglect to taunt him with contemptuous words in his\nhelpless condition.", "of Selfishness, and Envy, and Hatred, and Malice! We have done a\nmighty clever thing, we Daemons of the Caves!\"", "The Caves of the Daemons are five in number. A broad pathway leads\nup to the first cave, which is a finely arched cavern at the foot of", "Had there been many such mistakes the Daemons would have accomplished\ntheir evil purpose and made the children unhappy. But the little", "\"I hope you will forgive me,\" said the Daemon pleadingly. \"I am not\nreally a bad person, you know; and I believe I accomplish a great deal\nof good in the world.\"", "\"Nonsense!\" cried the old graybeard, his bright eyes twinkling merrily\nas he turned toward the tempting Daemon. \"The boys and girls are", "Well, these Daemons of the Caves, thinking they had great cause to\ndislike old Santa Claus, held a meeting one day to discuss the matter.", "Such a surprising experience confused old Santa for a moment, and when\nhe had collected his senses he found that the wicked Daemons had", "inhabited by the Daemon of Envy. The cave of the Daemon of Hatred is\nnext in order, and through this one passes to the home of the Daemon", "\"My brother Daemons do not trust me overmuch,\" said he, as he entered\nthe cavern; \"but it is morning, now, and the mischief is done. You\ncannot visit the children again for another year.\"", "the mountain, the entrance being beautifully carved and decorated. In\nit resides the Daemon of Selfishness. Back of this is another cavern", "\"You cannot escape this, however,\" declared the Daemon; \"for in the\nworld are a good many who do not believe in Santa Claus, and these you\nare bound to hate bitterly, since they have so wronged you.\"", "\"Oh, yes, indeed,\" answered the Daemon. \"I am even now repenting that\nI assisted in your capture. Of course it is too late to remedy the", "\"And all because of this person they call Santa Claus!\" exclaimed the\nDaemon of Envy. \"He is simply ruining our business, and something\nmust be done at once.\"", "\"I bear no malice,\" said he to the Daemon, in a gentle voice; \"and I\nam sure the world would be a dreary place without you. So, good\nmorning, and a Merry Christmas to you!\"", "So the very next day, while Santa Claus was busily at work, surrounded\nby his little band of assistants, the Daemon of Selfishness came to\nhim and said:" ] ]

[ "Why do the Daemon of the Caves resent Santa Claus?", "On what day do the Daemons kidnap Santa Clause? ", "What device do they use to capture Santa?", "Where does the queen of the fairies reside?", "Which Daemon releases Santa from captivity?", "What does Santa Claus do when the Daemons try to tempt him? ", "When Santa Claus is captured, what is he riding? ", "Where does the pixie, ryl, fairy and nook ride when there with Santa? ", "Which one of the five Daemons is not necessarily evil? ", "Where was Santa's castle located?", "What Daemon was more ambiguous rather than evil?", "What was Santa doing when the Daemons kidnapped him?", "Where do the four travel in the sleigh when they accompany Santa on his rounds?", "What gift mistakingly gets delivered to a little girl on Christmas Eve after Santa was kidnapped?", "What did the Daemons fail at before kidnapping Santa?", "Where does the queen of the fairies live?", "What was the army, that was sent to rescue Santa, made up of?", "Who releases Santa from captivity?", "What was the army on its way to do when Santa meets them?", "Where is Santa's Castle located? ", "Why do The Daemons resent Santa Clause? ", "What is the climax of the story? ", "What did the Daemons do to get more children in their caves? ", "Which four characters accompany Santa on his deliveries? ", "How did The Daemons kidnap Santa Clause? ", "Who eventually releases Santa? ", "What are the five vices of the Daemons? ", "What religion do The Daemons stem from? " ]

[ [ "Because the children, influenced by Santa's presents, rarely visit their caves", "Children of his gifts rarely visit their caves. " ], [ "On Christmas Eve", "Christmas Eve" ], [ "A lasso ", "A lasso . " ], [ "In the forest of Burzee", "Forest of Burzee." ], [ "The Daemon of Repentance", "Repentance" ], [ "He laughs at them", "He laughs at their efforts . " ], [ "His sleigh", "His sleigh." ], [ "Under the seat of his sleigh", "Travel under the sleet of his sleigh." ], [ "The Daemon of Repentance", "Repentance" ], [ "In the Laughing Valley", "The Laughing Valley" ], [ "The Daemon of Repentance", "The Daemon of Repentance " ], [ "Riding in his sleigh on Christmas Eve", "Riding in sleigh" ], [ "Under Santa's seat in the sleigh", "Under the seat of his sleigh . " ], [ "A toy drum", "Toy drum." ], [ "Temptation", "Tempting with vices" ], [ "In the Forest of Burzee", "Forest of Burzee." ], [ "Magical creatures", "An army of magical creatures." ], [ "The Daemon of Repentance", "The Daemon of Repentance" ], [ "Attack the Daemons", "Rescue him." ], [ "Laughing Valley", "Laughing Valley" ], [ "Children don't visit The Daemons", "Children under his influence don't visit them" ], [ "When Santa is kidnapped. ", "When the army of magical creatures is mustered together. " ], [ "Kidnap Santa", "Decided to frustrate his efforts and counter his influence." ], [ "A pixie, a ryl, a fairy and knook. ", "fairy, pixie, knook, and ryl. " ], [ "They lasso him off the sleigh.", "They lasso him from his sleigh" ], [ "Repentance.", "Daemon of Repentance. " ], [ "Selfishness, envy, hatred, malice, and repentance", "Selfishness, Hatred, Envy, Malice, Repentance" ], [ "Pagan. ", "Paganism" ] ]

f5d38eb6fbd9feb4f8e0bc35f83c8b2a7ed1bc1f

train

[ [ "...living room.\n\tNICK:\n\tIt's beautiful.\n705.04", "FADE IN ON:\n\tINT. APARTMENT - DAY\n\tSLOW PAN R ACROSS APARTMENT FINDING\n\tNICK PASSED OUT ON SOFA.", "AROUND.\n\tANNIE:\n\tThis is Nick Marshall's office. Want a peek? Don't\n\tworry, he never gets in before ten.", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "...I couldn't go on living that way...\n\tNICK:\n\tWhat the hell's wrong with me?\n\tPHONE RINGS.", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "922.13\n\tSCENE 84 - INT. WANAMAKER'S OFFICE - DAY\n\tFS ON NICK IN SPACIOUS OFFICE WAITING.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "336.13\n\tSCENE 66 - BACK ON COUPLE.\n\tNICK:", "HE MOVES AROUND IN FRONT OF NICK\n\tTO FACE HIM.\n212.13", "PAST HIM AND OUT DOOR INTO BG.\n\tNICK:\n\tWhere...where are...\n\tHE CLOSES DOOR BEHIND HIM.", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "So. If you had a bed, we'd be dancing on\n\tit.\n\tDARCY:\n\tI like it here.\n\tNICK:", "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "FOR NICK.\n\tLOLA:\n\tHere he comes.\n1475.12", "NICK:\n\tFingers and toes...\n\tFADE TO BLACK.\n\t(MUSIC OUT)\n\tFADE IN ON:", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "AND SITS DOWN AT DESK BEHIND HIM\n\tTO REST.\n\tNICK:\n\tThank you.\n1658.08", "168.08\n\tSCENE 21 - (PREVIOUS SCENE CONTINUED)\n\tNICK:", "NICK:\n\tAlex, it's me.\n\tALEX O.S.:\n\tWhat are you doing here?\n\tNICK:" ], [ "You hired Darcy McGuire to do what?\n1137.08\n\tSCENE 122 - MCU ON DAN.\n\tDAN:", "DAN:\n\tWhat do you know about Darcy McGuire?\n\tNICK O.S.:\n\tOh, hey, I heard on the whisper, she just", "we have the Nike account and we have a job\n\topening in our team. And Darcy McGuire\n\tand I, we were just discussing, you know,", "excited for you all to meet Darcy McGuire.\n105.05\n\tSCENE 19 - MS ON NICK.\n\tDAN O.S.:", "SCENE 116 - OTS MCU ON NICK.\n\tNICK:\n\tAnd if you don't get Darcy McGuire back", "472.03\n\tSCENE 91 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK.\n\tNICK (INTO PHONE):", "SCENE 5 - MS ON NICK PLAYING WITH PEN. .\n\tDAN O.S.:\n\t...everyone meet Darcy McGuire.\n42.11", "This is insensitive of me, I know you...\n\tNICK:\n\tOh, no.\n\tDARCY:\n\t...were up for my job.", "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "NICK:\n\tNo, I said, I hate what I'm doing to Darcy.\n\tOh, boy, men are stupider, it's true.\n\n\tMORGAN:\n\tWould you stop it!", "AT PASSING TAXI AS HIS PHONE RINGS.\n\tNICK (INTO PHONE):\n\tHey. Did you get hold of Darcy?...", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "DARCY:\n\tSo, for the then, let's just briefly run\n\tthrough them.\n\tSHE NOTICES NICK OS.", "DARCY:\n\tOkay.\n\tNICK:\n\tPersonally, I think they do the trick.\n263.15", "SCENE 195 - CONTINUED\n NICK (INTO PHONE):\n\tDarcy?", "DARCY:\n\tOh, God. I guilted you into this last\n\tnight, didn't I?\n\tNICK:", "SCENE 1 - INT. DARCY'S OFFICE - DAY\n\tFS ON NICK ENTERING OFFICE AND\n\tMOVING TO FS.", "DARCY:\n\tThe fireplace works.\n\tNICK:\n\tWow.\n\tSHE TAKES HIS HAND.\n\tDARCY:\n\tCome here.", "SCENE 10 - MS BACK ON NICK TRYING TO SEE\n\tHER.\n\tDARCY O.S.:\n\tHi, God, what a small world.", "NICK:\n\tI hate what I'm doing to Darcy. I hate it.\n\tI'm gonna write her a long letter and\n\tconfess everything." ], [ "SCENE 47 - MASTER TWO SHOT.\n\tNICK:\n\tMy daughter and her boyfriend walked in\n\tand I got them on with...", "Dad, c'mon.\n\tNICK O.S.:\n\tI'm sorry...I'm sorry. Go on.\n\tALEX:", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "FS DOLLYING ALONG WITH GIRL JOGGING\n\tAS NICK RUNS BESIDE HER.\n\tJOGGER (HER THOUGHTS):", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "NICK:\n\tAh, her father.", "Your daughter?\n667.15\n\tSCENE 130 - MFS ON NICK HOLDING DOOR", "1476.01\n\tSCENE 233 - BACK ON NICK.\n\tLOLA O.S. (HER THOUGHTS):", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "IGNORING HER AS NICK ARRIVES.", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "SHE LOOKS RIGHT AT NICK OS.", "591.11\n\tSCENE 115 - MS ON NICK.\n\tFRIEND 2 O.S. (HER THOUGHTS):", "FOR NICK.\n\tLOLA:\n\tHere he comes.\n1475.12", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "61.10\n\tSCENE 4 - FS ON LADIES ROOM ENTRANCE AS\n\tNICK RUSHES UP TO IT PASSING EXITING\n\tGIRLS.\n\tNICK:\n\tAlex?", "1088.03\n\tSCENE 141 - MS BACK ON NICK.\n\tNICK:" ], [ "SCENE 47 - MASTER TWO SHOT.\n\tNICK:\n\tMy daughter and her boyfriend walked in\n\tand I got them on with...", "SCENE 122 - MS ON NICK.\n\tNICK:\n\tHow old are you?\n636.15", "Your daughter?\n667.15\n\tSCENE 130 - MFS ON NICK HOLDING DOOR", "FS DOLLYING ALONG WITH GIRL JOGGING\n\tAS NICK RUNS BESIDE HER.\n\tJOGGER (HER THOUGHTS):", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "SCENE 86 - MS ON NICK TURNING TO HER \nOSR.\n\tNICK:\n\tShe's fifteen. She's staying with me", "Oh, I know. She's been here two years...\n334.09\n\tSCENE 36 - MS ON NICK PUTTING ON JACKET", "1476.01\n\tSCENE 233 - BACK ON NICK.\n\tLOLA O.S. (HER THOUGHTS):", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "NICK:\n\tAh, her father.", "SHE THINKS OF NUMBER.\n1239.15\n\tSCENE 202 - MS ON NICK.\n\tNICK:", "Dad, c'mon.\n\tNICK O.S.:\n\tI'm sorry...I'm sorry. Go on.\n\tALEX:", "He has a daughter? Didn't picture that. \nHow\n\told?\n446.05", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "591.11\n\tSCENE 115 - MS ON NICK.\n\tFRIEND 2 O.S. (HER THOUGHTS):", "356.10\n\tSCENE 42 - BACK ON NICK.\n\tNICK:\n\tWell...I wanna meet with her now. The kid's\n\tgot something. It's kinda funny.", "DARCY O.S.:\n\tDid you say fifteen?\n\tNICK:\n\tYeah, yeah. Got a boyfriend that's\n\teighteen." ], [ "NICK:\n\tYes! Yes! Okay, anyway, I was drying my\n\thair and I fell over and tripped and fell\n\tinto the bathtub and electrocuted myself", "UP TO MIRROR WHERE HE EXAMINES HIS FACE.\n\tNICK:\n\tHmm, cleaner pores, thicker hair. Very", "DR. PERKINS:\n\tBut this is phenomenal! That you can hear\n\tinside my head!\n\tNICK:\n\tYeah.", "HE HIKES HIS HAIRY LEG UP ONTO\n\tVANITY.\n\tNICK:\n\tOkay, now, for the piece de resistance...", "(NEW MUSIC IN)\n\tHE SUDDENLY BOLTS UP AWAKE.\n\tNICK:\n\tOh... good. I'm not dead. Oh, please,", "DR. PERKINS O.S.:\n\tListen to me, Nick. Something extraordinary\n\tand miraculous has happened to you.\n1377.14", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "INTO RAIN WITH ONE HAND ON HAIR-DRIER.\n\tTHUNDER AND LIGHTENING FLASH AS\n\tHE READIES HIMSELF.", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "SCENE 65 - BACK ON NICK LOOKING AROUND \n\tAS HE IS BOMBARDED BY THE WOMEN'S\n\tTRUE THOUGHTS.", "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "PAST HIM AND OUT DOOR INTO BG.\n\tNICK:\n\tWhere...where are...\n\tHE CLOSES DOOR BEHIND HIM.", "874.09\n\tSCENE 152 - INT. BATHROOM - NIGHT\n\tMS ON NICK LOOKING IN MIRROR AS PASSING", "NICK:\n\tFingers and toes...\n\tFADE TO BLACK.\n\t(MUSIC OUT)\n\tFADE IN ON:", "NICK:\n\tIt's gone. I'm back. I'm back.\n\tHE STARTS LAUGHING.\n\tERIN:", "DARCY:\n\tThe fireplace works.\n\tNICK:\n\tWow.\n\tSHE TAKES HIS HAND.\n\tDARCY:\n\tCome here.", "ON TV MONITOR AS NICK NARRATES.\n\tNICK O.S.:\n\tYou don't stand in front of a mirror before a run", "...I couldn't go on living that way...\n\tNICK:\n\tWhat the hell's wrong with me?\n\tPHONE RINGS.", "1116.09\n\tSCENE 147 - ON HIM.\n\tNICK:\n\tYeah.\n\tALEX O.S.:" ], [ "NICK:\n\tAll right. All right.\n\tHE TURNS TO HER IN OSFG.\n\tNICK:\n\tI hear what women think.", "SCENE 65 - BACK ON NICK LOOKING AROUND \n\tAS HE IS BOMBARDED BY THE WOMEN'S\n\tTRUE THOUGHTS.", "SCENE 215 - MS ON HIM.\n\tNICK:\n\tWell, for starters, almost every woman I\n\tknow thinks I'm an asshole.", "Nick, my ex-husband, is the ultimate man's\n\tman. I probably never should have married\n\thim. I don't think he understood a thing\n\tabout me.", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "I don't know. I just know everyone over\n\tthere is thrilled to get rid of her.\n\tNICK:\n\tWell, so much for edgy female vision.", "BOX TO NICK WHO ROLLS HIS EYES.\n\tDARCY O.S.:\n\tI'm pretty sure all the women here are", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "1187.01\n\tSCENE 161 - OTS ON HIM.\n\tNICK:\n\tListen to me, I think you're one of the\n\tgreat women. I really do.", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "NICK:\n\tNo, they don't envy. Half of them don't\n\teven like it. You know who has penis envy?", "SCENE 99 - BACK ON NICK LOOKING AT WOMEN\n\tAT COUNTER.\n\tWOMAN 2 O.S. (HER THOUGHTS):", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 23 - THEIR POV ON WOMAN \n\tAPPROACHING.\n\tNICK O.S.:\n\tSee this attorney coming toward us?", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "WOMEN ALL CRACK UP AND SLOWLY\n\tDRIFT OFF LEAVING NICK AND DEE.\n\tNICK:", "NICK:\n\tOh, I wish. A woman wouldn't have screwed\n\tover the woman she loved. No, they don't\n\tthink that way.", "NICK:\n\tNo, I said, I hate what I'm doing to Darcy.\n\tOh, boy, men are stupider, it's true.\n\n\tMORGAN:\n\tWould you stop it!" ], [ "FOR NICK.\n\tLOLA:\n\tHere he comes.\n1475.12", "He's coming, he's coming, he's coming.\n\tNICK ENTERS AS EVE POPS CHAMPAGNE\n\tSPRAYING IT ONTO NICK WHO CATCHES", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "AND SITS DOWN AT DESK BEHIND HIM\n\tTO REST.\n\tNICK:\n\tThank you.\n1658.08", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "922.13\n\tSCENE 84 - INT. WANAMAKER'S OFFICE - DAY\n\tFS ON NICK IN SPACIOUS OFFICE WAITING.", "NICK:\n\tWow.\n\tDARCY:\n\tI know. Come here.", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "CU ON FLO'S GLOVED HAND OPENING DOOR\n\tAS NICK EMERGES.\n\tFLO O.S.:\n\tMr. Marshall.", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "DARCY:\n\tSo, for the then, let's just briefly run\n\tthrough them.\n\tSHE NOTICES NICK OS.", "UP TO MIRROR WHERE HE EXAMINES HIS FACE.\n\tNICK:\n\tHmm, cleaner pores, thicker hair. Very", "108.06\n\tSCENE 8 - MS ON NICK OPENING DOOR MAKING\n\tHIS PRESENCE KNOWN AS HE CHUCKLES.", "CLOSE IN ON NICK GRINNING.\n\tNICK:\n\tOh, yeah.\n\t(NEW MUSIC IN)\n\tDISSOLVE TO:", "DR. PERKINS:\n\tBut this is phenomenal! That you can hear\n\tinside my head!\n\tNICK:\n\tYeah.", "...living room.\n\tNICK:\n\tIt's beautiful.\n705.04", "SCENE 65 - BACK ON NICK LOOKING AROUND \n\tAS HE IS BOMBARDED BY THE WOMEN'S\n\tTRUE THOUGHTS.", "NICK:\n\tIt's gone. I'm back. I'm back.\n\tHE STARTS LAUGHING.\n\tERIN:" ], [ "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "Dad, c'mon.\n\tNICK O.S.:\n\tI'm sorry...I'm sorry. Go on.\n\tALEX:", "NICK:\n\tAlex, it's me.\n\tALEX O.S.:\n\tWhat are you doing here?\n\tNICK:", "TURNS TO NICK.\n\tALEX:\n\tNick...\n1363.08", "61.10\n\tSCENE 4 - FS ON LADIES ROOM ENTRANCE AS\n\tNICK RUSHES UP TO IT PASSING EXITING\n\tGIRLS.\n\tNICK:\n\tAlex?", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "1116.09\n\tSCENE 147 - ON HIM.\n\tNICK:\n\tYeah.\n\tALEX O.S.:", "KISSING. NICK SEES THIS.\n\tCAMERON O.S.:\n\tBye.\n\tALEX O.S.:\n\tBye.", "PAST HIM.\n\tALEX:\n\tLater.\n\tNICK:\n\tYeah, seven thirty's fine. Thanks for", "NICK (INTO PHONE):\n\tAlex, hi!\n459.08\n\tSCENE 90 - EXT. SCHOOLYARD - DAY", "SCENE 15 - BACK ON NICK.\n\tALEX O.S.:\n\t...old girlfriend and starts making out with\n\ther. I mean...", "673.13\n\tSCENE 88 - MCU ON NICK LISTENING.\n\tALEX O.S. (HER THOUGHTS):", "578.04\n\tSCENE 112 - MS ON NICK.\n\tNICK:\n\tAh...hi. I'm Alex's dad, Nick.", "253.08\n\tSCENE 17 - MS ON NICK.\n\tALEX O.S.:\n\tAnd then they were laughing and...", "FS ON NICK SEATED WAITING.\n\tALEX O.S.:\n\tI'm not coming out.\n\tNICK:", "1364.13\n\tSCENE 167 - MS ON COUPLE AND ALEX. SHE\n\tNODS TO NICK BEFORE MOVING OS INTO FG", "1060.06\n\tSCENE 133 - FS ON NICK CLEANING UP.\n\tALEX O.S.:", "ALEX:\n\tOh, God!\n619.03\n\tSCENE 118 - MS BACK ON NICK PICKING UP", "SCENE 28 - BACK ON HIM.\n\tNICK:\n\tIt's true. He's not.\n\tALEX O.S.:", "ALEX O.S. (HER THOUGHTS):\n\tWhere is it?\n\tNICK:\n\tOh, God.\n615.00" ], [ "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "1476.01\n\tSCENE 233 - BACK ON NICK.\n\tLOLA O.S. (HER THOUGHTS):", "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "STELLA (HER THOUGHTS):\n\tOh, what the hell has he done now? I hope\n\the's not dead.\n\tNICK:", "673.13\n\tSCENE 88 - MCU ON NICK LISTENING.\n\tALEX O.S. (HER THOUGHTS):", "DR. PERKINS:\n\tBut this is phenomenal! That you can hear\n\tinside my head!\n\tNICK:\n\tYeah.", "SCENE 65 - BACK ON NICK LOOKING AROUND \n\tAS HE IS BOMBARDED BY THE WOMEN'S\n\tTRUE THOUGHTS.", "DARCY O.S. (HER THOUGHTS):\n\tStop it!\n\tNICK:\n\tAre you all right?", "No.\n483.15\n\tSCENE 86 - BACK ON NICK.\n\tNICK:", "was beyond...beyond...oh, my heart! My heart\n\tis beating so hard!\n\tLOLA (HER THOUGHTS):\n\tWho would have thought? Slow starter,", "and blacked out. And when I woke up, I\n\tcould hear what every woman around me was\n\tthinking.\n\tMORGAN GIVES HIM LOOK.", "SCENE 69 - MCU ON NICK RUBBING HIS FACE \n\tAS HE HEARS SUE'S THOUGHTS.\n\tDINA O.S.:", "HE HANGS UP PHONE.\n\tNICK:\n\tWhy?\n\tDAN:\n\tBecause I talked to the board and I told", "PAST HIM AND OUT DOOR INTO BG.\n\tNICK:\n\tWhere...where are...\n\tHE CLOSES DOOR BEHIND HIM.", "NICK:\n\tAh...sorry.\n\tWOMAN O.S. (HER THOUGHTS):\n\tTwo slices of toast..." ], [ "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "AROUND.\n\tANNIE:\n\tThis is Nick Marshall's office. Want a peek? Don't\n\tworry, he never gets in before ten.", "NICK:\n\tHi, I'm Nick Marshall.\n\t \n77.13\n\tSCENE 14 - OTS MS ON HER.", "DR. PERKINS:\n\tMr. Marshall, please slow down.\n\tNICK:\n\tYes.\n\tDR. PERKINS:", "CU ON FLO'S GLOVED HAND OPENING DOOR\n\tAS NICK EMERGES.\n\tFLO O.S.:\n\tMr. Marshall.", "Marshall.\n\tMORGAN POINTS TO HIS WATCH.\n\tANNIE (HER THOUGHTS):\n\tAnd it's okay you pay me minimum wage,", "Mr. Marshall! Mr. Marshall?\n1532.03\n\tSCENE 156 - ANGLE ON NICK CLIMBING UP OFF\n\tBED.", "SCENE 73 - CONTINUED\n\tANNIE:\n\tOh, Mr. Marshall. Hi.\n\tNICK:", "NICK:\n\tExcuse me, do you know where Alex Marshall\n\tis? Little tenth grader? Brown hair? About\n\tthis high?", "Hi, Mr. Marshall.\n\tNICK:\n\tAh! What! No, don't say it!\n\tANNIE:", "Mr. Marshall?\n1666.12\n\tSCENE 173 - MS ON NICK TURNING TO CAMERA.\n\tNICK:", "DR. PERKINS:\n\tMr. Marshall, you might find this a little\n\tunorthodox, but would you mind if I smoked?\n\tNICK:", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "SCENE 153 - EXT. STREET - DAY\n\tTRACK BEHIND NICK AS HE BURSTS OUT\n\tOF FRONT DOORS OF HIS BUILDING", "then\n\tturns out to be a genius in bed. Ladies \nand\n\tgentleman, Nick Marshall is a sex god!", "NICK:\n\tPlease be a woman. Please.\n\tOPERATOR (OVER PHONE):\n\tFor what city please?\n\tNICK (INTO PHONE):", "FADE IN ON:\n\tINT. APARTMENT - DAY\n\tSLOW PAN R ACROSS APARTMENT FINDING\n\tNICK PASSED OUT ON SOFA.", "SCENE 118 - INT. S/C OFFICES - DAY\n\tDOLLY BACK ON NICK MOVING DOWN STAIRS", "AT PASSING TAXI AS HIS PHONE RINGS.\n\tNICK (INTO PHONE):\n\tHey. Did you get hold of Darcy?..." ], [ "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "NICK:\n\tHi, I'm Nick Marshall.\n\t \n77.13\n\tSCENE 14 - OTS MS ON HER.", "DR. PERKINS:\n\tMr. Marshall, please slow down.\n\tNICK:\n\tYes.\n\tDR. PERKINS:", "Marshall.\n\tMORGAN POINTS TO HIS WATCH.\n\tANNIE (HER THOUGHTS):\n\tAnd it's okay you pay me minimum wage,", "AROUND.\n\tANNIE:\n\tThis is Nick Marshall's office. Want a peek? Don't\n\tworry, he never gets in before ten.", "DR. PERKINS:\n\tMr. Marshall, you might find this a little\n\tunorthodox, but would you mind if I smoked?\n\tNICK:", "Mr. Marshall! Mr. Marshall?\n1532.03\n\tSCENE 156 - ANGLE ON NICK CLIMBING UP OFF\n\tBED.", "CU ON FLO'S GLOVED HAND OPENING DOOR\n\tAS NICK EMERGES.\n\tFLO O.S.:\n\tMr. Marshall.", "NICK:\n\tExcuse me, do you know where Alex Marshall\n\tis? Little tenth grader? Brown hair? About\n\tthis high?", "Hi, Mr. Marshall.\n\tNICK:\n\tAh! What! No, don't say it!\n\tANNIE:", "SCENE 73 - CONTINUED\n\tANNIE:\n\tOh, Mr. Marshall. Hi.\n\tNICK:", "then\n\tturns out to be a genius in bed. Ladies \nand\n\tgentleman, Nick Marshall is a sex god!", "Mr. Marshall?\n1666.12\n\tSCENE 173 - MS ON NICK TURNING TO CAMERA.\n\tNICK:", "As a matter of fact, I was just thinking\n\tthat. I was thinking, why is Mr. Marshall\n\there...\n1577.03", "Nick, my ex-husband, is the ultimate man's\n\tman. I probably never should have married\n\thim. I don't think he understood a thing\n\tabout me.", "DARCY:\n\tSo, for the then, let's just briefly run\n\tthrough them.\n\tSHE NOTICES NICK OS.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "NICK:\n\tWell, they are.\n\n\tMORGAN:\n\tWhat do you mean \"They\" are? Are you\n\tofficially a woman now?", "HE MOVES AROUND IN FRONT OF NICK\n\tTO FACE HIM.\n212.13", "SCENE 153 - EXT. STREET - DAY\n\tTRACK BEHIND NICK AS HE BURSTS OUT\n\tOF FRONT DOORS OF HIS BUILDING" ], [ "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "NICK:\n\tHi, I'm Nick Marshall.\n\t \n77.13\n\tSCENE 14 - OTS MS ON HER.", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "Marshall.\n\tMORGAN POINTS TO HIS WATCH.\n\tANNIE (HER THOUGHTS):\n\tAnd it's okay you pay me minimum wage,", "DR. PERKINS:\n\tMr. Marshall, please slow down.\n\tNICK:\n\tYes.\n\tDR. PERKINS:", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "AROUND.\n\tANNIE:\n\tThis is Nick Marshall's office. Want a peek? Don't\n\tworry, he never gets in before ten.", "HERSELF.\n\tGIGI V.O.:\n\tNick was actually born and raised in Las\n\tVegas. Nick's mother was a real honest to", "CU ON FLO'S GLOVED HAND OPENING DOOR\n\tAS NICK EMERGES.\n\tFLO O.S.:\n\tMr. Marshall.", "Hi, Mr. Marshall.\n\tNICK:\n\tAh! What! No, don't say it!\n\tANNIE:", "DR. PERKINS:\n\tMr. Marshall, you might find this a little\n\tunorthodox, but would you mind if I smoked?\n\tNICK:", "GIGI:\n\tBecause once you understand Nick's mother, you\n\tunderstand Nick.\nSCENE 11 - CONTINUED", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "SCENE 73 - CONTINUED\n\tANNIE:\n\tOh, Mr. Marshall. Hi.\n\tNICK:", "Mr. Marshall! Mr. Marshall?\n1532.03\n\tSCENE 156 - ANGLE ON NICK CLIMBING UP OFF\n\tBED.", "NICK:\n\tExcuse me, do you know where Alex Marshall\n\tis? Little tenth grader? Brown hair? About\n\tthis high?", "Nick, my ex-husband, is the ultimate man's\n\tman. I probably never should have married\n\thim. I don't think he understood a thing\n\tabout me.", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "As a matter of fact, I was just thinking\n\tthat. I was thinking, why is Mr. Marshall\n\there...\n1577.03" ], [ "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "1295.13\n\tSCENE 147 - MCU ON NICK.\n\tNICK:\n\tSo, two whole weeks together, huh?", "LOLA:\n\tJust a few um...hours. Nick, you said you\n\twouldn't hurt me. And then you slept with", "FS ON NICK SEATED WAITING.\n\tALEX O.S.:\n\tI'm not coming out.\n\tNICK:", "Oh, I know. She's been here two years...\n334.09\n\tSCENE 36 - MS ON NICK PUTTING ON JACKET", "PAST HIM.\n\tALEX:\n\tLater.\n\tNICK:\n\tYeah, seven thirty's fine. Thanks for", "AROUND.\n\tANNIE:\n\tThis is Nick Marshall's office. Want a peek? Don't\n\tworry, he never gets in before ten.", "DR. PERKINS:\n\tMr. Marshall, please slow down.\n\tNICK:\n\tYes.\n\tDR. PERKINS:", "NICK:\n\tExcuse me, do you know where Alex Marshall\n\tis? Little tenth grader? Brown hair? About\n\tthis high?", "NICK:\n\tAlex, it's me.\n\tALEX O.S.:\n\tWhat are you doing here?\n\tNICK:", "Marshall.\n\tMORGAN POINTS TO HIS WATCH.\n\tANNIE (HER THOUGHTS):\n\tAnd it's okay you pay me minimum wage,", "NICK:\n\tHi, I'm Nick Marshall.\n\t \n77.13\n\tSCENE 14 - OTS MS ON HER.", "NICK:\n\t...well, here's the thing, Erin. The real\n\treason I'm here is because, as you know,", "Well, actually, the cruise is just the last week.\n\tAlexandra has an itinerary and I faxed one to your\n\toffice yesterday. To your apartment last week,", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "KISSING. NICK SEES THIS.\n\tCAMERON O.S.:\n\tBye.\n\tALEX O.S.:\n\tBye.", "DR. PERKINS:\n\tMr. Marshall, you might find this a little\n\tunorthodox, but would you mind if I smoked?\n\tNICK:", "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 142 - MCU ON WEDDING COUPLE.\n\tNICK O.S.:\n\tTwo weeks, huh?\n\tGIGI:" ], [ "You hired Darcy McGuire to do what?\n1137.08\n\tSCENE 122 - MCU ON DAN.\n\tDAN:", "we have the Nike account and we have a job\n\topening in our team. And Darcy McGuire\n\tand I, we were just discussing, you know,", "DAN:\n\tWhat do you know about Darcy McGuire?\n\tNICK O.S.:\n\tOh, hey, I heard on the whisper, she just", "BEEP...Hi, this is Darcy McGuire. I'm not in\n\tright now so please leave a message. I'll\n\tget back to you as soon as I can. BEEP.", "OFFICES PASSING CAMERA INTO BG.\n\tMORGAN:\n\tI also heard Darcy McGuire left B.B.D.&O.", "excited for you all to meet Darcy McGuire.\n105.05\n\tSCENE 19 - MS ON NICK.\n\tDAN O.S.:", "DARCY:\n\tWhen Sears decided to go after women in\n\ttheir advertising and said, \"Come see the\n\tsofter side of Sears\", their revenues went", "SCENE 5 - MS ON NICK PLAYING WITH PEN. .\n\tDAN O.S.:\n\t...everyone meet Darcy McGuire.\n42.11", "SCENE 116 - OTS MCU ON NICK.\n\tNICK:\n\tAnd if you don't get Darcy McGuire back", "480.15\n\tSCENE 93 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK STILL PRETENDING", "1510.07\n\tSCENE 203 - MCU ON DARCY.\n\tDARCY (HER THOUGHTS):", "Female driven advertising...\n275.06\n\tSCENE 45 - BACK ON DARCY.\n\tDARCY:", "1489.07\n\tSCENE 196 - MCU BACK ON HER THINKING.\n\tDARCY (HER THOUGHTS):", "when you hired her. I mean, she is the\n\tbest creative director I have ever seen.\n\tBar none.", "SCENE 198 - MCU BACK ON DARCY.\n\tDARCY (HER THOUGHTS):\n\tThis is the one place she can be", "SCENE 43 - MCU BACK ON DARCY.\n\tSHE LOOKS AT CAMERA.\n\tDARCY (HER THOUGHTS):", "1500.05\n\tSCENE 200 - MCU BACK ON DARCY.\n\tDARCY (HER THOUGHTS):", "AT PASSING TAXI AS HIS PHONE RINGS.\n\tNICK (INTO PHONE):\n\tHey. Did you get hold of Darcy?...", "SCENE 141 - OTS MCU ON HIM.\n\tDARCY:\n\tWell, that's why I needed to get out there", "472.03\n\tSCENE 91 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK.\n\tNICK (INTO PHONE):" ], [ "480.15\n\tSCENE 93 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK STILL PRETENDING", "PINK BOXES IS WHEELED IN ON CART.\n\tDARCY:\n\t...for everybody. Nobody panic, this is\n\tsupposed to be fun.", "ARE PASSED ALONG TABLE TO BG.\n\tDARCY O.S.:\n\tEvery product in this box is looking for\n\trepresentation...", "SCENE 106 - BACK ON HER AT DESK.\n\tDARCY:\n\tYou got it.\n545.04", "323.01\n\tSCENE 50 - BACK ON DARCY HANDING OUT\n\tBOXES.\n\tDARCY:", "SHE TOUCHES DAN IN PASSING.\n\tDARCY:\n\t...but this is the last place you're gonna", "PAN L ACROSS OFFICE AS MOVERS UNPACK\n\tOVER TO DARCY AT DESK IN BG TALKING ON \n\tPHONE.", "Darcy? Please, I was there yesterday. The\n\tgirl didn't open her mouth.\n\tHE STANDS.\n\tDAN:", "DARCY:\n\tWell, they said two weeks, so...\n\tSHE MOVES INTO BG TO\n\tDOORWAY.\n\tDARCY:\n\tOkay, this is the dining room.", "SCENE 180 - INT. DARCY'S OFFICE - DAY\n\tANGLE ON STORYBOARD AS CAMERA", "SHE TURNS TO HELP.\n\tDARCY:\n\tHere you go.\n440.15", "SHIFTS TO DARCY LEANING INTO R FG\n\tAS SHE TURNS TO SEE THEM ENTER.\n\tDARCY (HER THOUGHTS):", "DARCY O.S.:\n\tHi, Oh, Hi. Good to see everybody showed up.\n\tBOB O.S.:\n\tHi, Darcy. How are you?", "DARCY (HER THOUGHTS):\n\tLiving life. Keep on living. Oh, that's\n\tgood.\n\tSHE EXITS ELEVATOR.", "Wow, it's a beautiful collection.\n\tDARCY:\n\tThanks.\n\tDARCY:\n\tSo, how's it going?", "Excuse me. You got another one.\n\tDARCY O.S. (HER THOUGHTS):\n\tThanks.\n\tSHE PLACES THEM ON TABLE BEFORE", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "SHE DROPS HER PAPERS AND COVERS\n\tHER EYES.\n\tDARCY (HER THOUGHTS):", "SCENE 37 - MASTER ON BOTH AT TABLE.\n\tSHE BEGINS COLLECTING KLEENEXES.\n\tDARCY:", "SCENE 1 - INT. DARCY'S OFFICE - DAY\n\tFS ON NICK ENTERING OFFICE AND\n\tMOVING TO FS." ], [ "874.09\n\tSCENE 152 - INT. BATHROOM - NIGHT\n\tMS ON NICK LOOKING IN MIRROR AS PASSING", "NICK:\n\tYes! Yes! Okay, anyway, I was drying my\n\thair and I fell over and tripped and fell\n\tinto the bathtub and electrocuted myself", "HE TOSSES IT ASIDE AND GRABS UP\n\tWINE BOTTLE DOWNING LARGE GULP.\n\tNICK:", "LOWERING HIMSELF ONTO EDGE OF TUB\n\tWHERE HE TURNS AND NOTICES FULL\n\tTUB AND THE FACT HE'S HOLDING HAIR", "SCENE 156 - MFS ON NICK SLIPPING ACROSS\n\tFLOOR TRYING TO REGAIN HIS BALANCE.\n1218.05", "OVER TO NICK'S BALCONY AS HE SLIDES\n\tOPEN DOOR AND STEPS OUT INTO RAIN.", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "PAST HIM AND OUT DOOR INTO BG.\n\tNICK:\n\tWhere...where are...\n\tHE CLOSES DOOR BEHIND HIM.", "1232.00\n\tSCENE 159 - FS ON NICK ON EDGE OF TUB.\n\tNICK:", "HOLDS IT UP IN RAIN.\n814.14\n\tSCENE 147 - FRONT SHOT ON SAME.\n\tNICK:", "SCENE 35 - INT. APARTMENT - NIGHT\n\tDOLLY ACROSS FG FOLLOWING NICK\n\tSTROLLING THROUGH APARTMENT IN BG", "SCENE 7 - MS BACK ON NICK AS PEN FLIES\n\tOUT OF HIS HAND ONTO FLOOR. HE BENDS\n\tOVER TO GET IT.", "FADE IN ON:\n\tINT. APARTMENT - DAY\n\tSLOW PAN R ACROSS APARTMENT FINDING\n\tNICK PASSED OUT ON SOFA.", "290.11\n\tSCENE 26 - BACK ON HIM.\n\tNICK:", "NICK:\n\tNo, no, no. I'm mortified. Really, here, I\n\tcan see your hands are full...\n\tGIRL:", "He's coming, he's coming, he's coming.\n\tNICK ENTERS AS EVE POPS CHAMPAGNE\n\tSPRAYING IT ONTO NICK WHO CATCHES", "...TO STREET LEVEL AS NICK EMERGES\n\tFROM BAR PAUSING TO LIGHT A SMOKE.\n\tHIS PHONE RINGS. HE QUICKLY ANSWERS.", "168.08\n\tSCENE 21 - (PREVIOUS SCENE CONTINUED)\n\tNICK:", "NICK:\n\tFingers and toes...\n\tFADE TO BLACK.\n\t(MUSIC OUT)\n\tFADE IN ON:" ], [ "NICK:\n\tAlex, it's me.\n\tALEX O.S.:\n\tWhat are you doing here?\n\tNICK:", "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "KISSING. NICK SEES THIS.\n\tCAMERON O.S.:\n\tBye.\n\tALEX O.S.:\n\tBye.", "1116.09\n\tSCENE 147 - ON HIM.\n\tNICK:\n\tYeah.\n\tALEX O.S.:", "TURNS TO NICK.\n\tALEX:\n\tNick...\n1363.08", "61.10\n\tSCENE 4 - FS ON LADIES ROOM ENTRANCE AS\n\tNICK RUSHES UP TO IT PASSING EXITING\n\tGIRLS.\n\tNICK:\n\tAlex?", "Dad, c'mon.\n\tNICK O.S.:\n\tI'm sorry...I'm sorry. Go on.\n\tALEX:", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "PAST HIM.\n\tALEX:\n\tLater.\n\tNICK:\n\tYeah, seven thirty's fine. Thanks for", "NICK (INTO PHONE):\n\tAlex, hi!\n459.08\n\tSCENE 90 - EXT. SCHOOLYARD - DAY", "673.13\n\tSCENE 88 - MCU ON NICK LISTENING.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 15 - BACK ON NICK.\n\tALEX O.S.:\n\t...old girlfriend and starts making out with\n\ther. I mean...", "1364.13\n\tSCENE 167 - MS ON COUPLE AND ALEX. SHE\n\tNODS TO NICK BEFORE MOVING OS INTO FG", "578.04\n\tSCENE 112 - MS ON NICK.\n\tNICK:\n\tAh...hi. I'm Alex's dad, Nick.", "FS ON NICK SEATED WAITING.\n\tALEX O.S.:\n\tI'm not coming out.\n\tNICK:", "253.08\n\tSCENE 17 - MS ON NICK.\n\tALEX O.S.:\n\tAnd then they were laughing and...", "MS ON ALEX ON PAYPHONE.\n\tNICK (OVER PHONE):\n\t...Uh-huh. Oh sure, honey, no, that's", "ALEX O.S. (HER THOUGHTS):\n\tWhere is it?\n\tNICK:\n\tOh, God.\n615.00", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "SCENE 137 - OTS MS ON KIDS AS ALEX GRABS\n\tJACKET AWAY FROM NICK.\n\tALEX:\n\tThat's mine." ], [ "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "DARCY:\n\tOkay.\n\tNICK:\n\tPersonally, I think they do the trick.\n263.15", "NICK:\n\tI do.\n\tDARCY HOLDS UP KEY.\n\tDARCY:\n\tAll mine.", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "306.10\n\tSCENE 47 - MS ON NICK CURIOUS.\n\tDARCY O.S.:", "BEGINS PULLING ITEMS OUT TO EXAMINE\n\tTHEM.\n\tNICK (MOCKING DARCY):", "DARCY:\n\tWhen Sears decided to go after women in\n\ttheir advertising and said, \"Come see the\n\tsofter side of Sears\", their revenues went", "NICK:\n\tI hate what I'm doing to Darcy. I hate it.\n\tI'm gonna write her a long letter and\n\tconfess everything.", "DARCY:\n\tThe fireplace works.\n\tNICK:\n\tWow.\n\tSHE TAKES HIS HAND.\n\tDARCY:\n\tCome here.", "Female driven advertising...\n275.06\n\tSCENE 45 - BACK ON DARCY.\n\tDARCY:", "472.03\n\tSCENE 91 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK.\n\tNICK (INTO PHONE):", "DARCY:\n\tSo, for the then, let's just briefly run\n\tthrough them.\n\tSHE NOTICES NICK OS.", "This is insensitive of me, I know you...\n\tNICK:\n\tOh, no.\n\tDARCY:\n\t...were up for my job.", "NICK:\n\tWhat, did you say something?\n\tDARCY:\n\tNo. I just swear I was thinking the \nexact", "DARCY:\n\tSo, this is my...\n\tNICK GRABS HER.\n678.04", "NICK:\n\tWow.\n\tDARCY:\n\tI know. Come here.", "433.02\n\tSCENE 76 - MS ON DARCY LISTENING.\n\tNICK O.S.:", "NICK O.S.:\n\t...two...\n\tDARCY:\n\tOh, you were listening?\n201.00", "AT PASSING TAXI AS HIS PHONE RINGS.\n\tNICK (INTO PHONE):\n\tHey. Did you get hold of Darcy?..." ], [ "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "NICK:\n\tI hate what I'm doing to Darcy. I hate it.\n\tI'm gonna write her a long letter and\n\tconfess everything.", "NICK:\n\tI do.\n\tDARCY HOLDS UP KEY.\n\tDARCY:\n\tAll mine.", "NICK:\n\tNo, I said, I hate what I'm doing to Darcy.\n\tOh, boy, men are stupider, it's true.\n\n\tMORGAN:\n\tWould you stop it!", "NICK:\n\tWow.\n\tDARCY:\n\tI know. Come here.", "This is insensitive of me, I know you...\n\tNICK:\n\tOh, no.\n\tDARCY:\n\t...were up for my job.", "339.02\n\tSCENE 54 - BACK ON HER.\n\tDARCY:\n\tHere you go, Nick.", "DARCY:\n\tThe fireplace works.\n\tNICK:\n\tWow.\n\tSHE TAKES HIS HAND.\n\tDARCY:\n\tCome here.", "DARCY:\n\tSo, for the then, let's just briefly run\n\tthrough them.\n\tSHE NOTICES NICK OS.", "SCENE 70 - HER POV ON NICK MOVING DOWN\n\tSTAIRS.\n\tDARCY O.S.:\n\tThat's it?", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):", "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "SCENE 80 - BACK ON COUPLE WITH NICK\n\tSTARING AT HER.\n\tDARCY:\n\tNo.", "SCENE 195 - CONTINUED\n NICK (INTO PHONE):\n\tDarcy?", "472.03\n\tSCENE 91 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK.\n\tNICK (INTO PHONE):", "SCENE 1 - INT. DARCY'S OFFICE - DAY\n\tFS ON NICK ENTERING OFFICE AND\n\tMOVING TO FS.", "REACHES FOR IT. TILT UP TO OTS MFS ON\n\tDARCY OFFERING HER HAND TO NICK.\n\t(MUSIC OUT)", "DARCY:\n\tSo, this is my...\n\tNICK GRABS HER.\n678.04", "\"...under my skin.\"\n\tSHE KNEELS BESIDE NICK.\n\tDARCY:\n\tWhy are you not the happiest guy in", "SCENE 10 - MS BACK ON NICK TRYING TO SEE\n\tHER.\n\tDARCY O.S.:\n\tHi, God, what a small world." ], [ "Darcy? Please, I was there yesterday. The\n\tgirl didn't open her mouth.\n\tHE STANDS.\n\tDAN:", "Darcy!\n241.13\n\tSCENE 27 - HIS POV ON DARCY ACROSS WAY", "little do with saving anybody's ass. Now,\n\tit's Darcy you should be thanking and \n\twhat I want to talk to you about. Darcy.", "1510.07\n\tSCENE 203 - MCU ON DARCY.\n\tDARCY (HER THOUGHTS):", "SHIFTS TO DARCY LEANING INTO R FG\n\tAS SHE TURNS TO SEE THEM ENTER.\n\tDARCY (HER THOUGHTS):", "1500.05\n\tSCENE 200 - MCU BACK ON DARCY.\n\tDARCY (HER THOUGHTS):", "DARCY O.S.:\n\tHi, Oh, Hi. Good to see everybody showed up.\n\tBOB O.S.:\n\tHi, Darcy. How are you?", "Really? All right. Well, nice to meet \nyou.\n\tDARCY (HER THOUGHTS):\n\tBut that's not who I am at all.", "40.09\n\tSCENE 10 - CLOSER ON HER.\n\tDARCY (HER THOUGHTS):", "480.15\n\tSCENE 93 - INT. DARCY'S OFFICE - DAY\n\tMCU ON NICK STILL PRETENDING", "DARCY:\n\tReally?\n196.02\n\tSCENE 28 - MS FOLLOWING HIM MOVING L", "1489.07\n\tSCENE 196 - MCU BACK ON HER THINKING.\n\tDARCY (HER THOUGHTS):", "489.12\n\tSCENE 94 - MS ON DARCY.\n\tDARCY (HER THOUGHTS):", "SCENE 66 - CLOSE IN ON DARCY LOOKING\n\tWORRIED.\n\tDARCY (HER THOUGHTS):", "DARCY:\n\tWell, they said two weeks, so...\n\tSHE MOVES INTO BG TO\n\tDOORWAY.\n\tDARCY:\n\tOkay, this is the dining room.", "DARCY AT OTHER END IN BG.\n\tDARCY:\n\tThank you, Dan. And thank you all for that\n\twarm welcome.", "DARCY:\n\tI said, I didn't realize how late it was.\n\tDARCY (HER THOUGHTS):\n\tAnd I'm glad you're here.", "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "DARCY:\n\tSo, for the then, let's just briefly run\n\tthrough them.\n\tSHE NOTICES NICK OS.", "SHE EXAMINES THEM AS NICK LISTENS\n\tTO HER THOUGHTS.\n\tDARCY (HER THOUGHTS):" ], [ "NICK:\n\tNo, no. Erin, ah, actually I came here to\n\tsee if there was something I could do for\n\tyou.", "SCENE 29 - NICK'S POV ON ERIN MOVING OS\n\tINTO FG CARRYING TRAY OF FRUIT.", "NICK:\n\t...well, here's the thing, Erin. The real\n\treason I'm here is because, as you know,", "NICK:\n\tIt's gone. I'm back. I'm back.\n\tHE STARTS LAUGHING.\n\tERIN:", "SCENE 33 - MS ON NICK NOTICING HER.\n\tERIN O.S. (HER THOUGHTS):\n\t...until the files start to build.", "SCENE 139 - MS ON HIM KNOCKING.\n\tNICK:\n\tCome on, Erin. Be there.\n1426.14", "Erin.\n1632.09\n\tSCENE 258 - OTS BACK ON HIM.\n\tNICK:", "SCENE 203 - MS ON HER.\n\tERIN (HER THOUGHTS):\n\tOh, god! He nearly killed me. Too bad he\n\tmissed.", "NICK'S MEMORY OF ERIN MOVING THROUGH\n\tOFFICE WITH ARM FULL OF FILES.\n\tERIN V.O.:", "SCENE 138 - PAN R FOLLOWING NICK ALONG\tEXT HALL UP TO ERIN'S \nFRONT DOOR.\n1420.07", "SCENE 30 - MCU ON NICK TURNING TO WATCH\n\tHER PASS INTO BG.\n\tERIN (HER THOUGHTS):", "1608.10\n\tSCENE 253 - MCU ON ERIN.\n\tERIN (HER THOUGHTS):", "SCENE 254 - OTS MCU ON NICK.\n\tERIN:\n\tOh.\n\tNICK :\n\tHow you doing?", "Erin, the truth is, I'm glad I got here\n\tbefore you did anything to hurt yourself.\n1722.04", "ERIN:\n\tReally? You could sense that? That's\n\tnot...that's not good.\n\t(MUSIC IN)", "SCENE 161 - MFS ON HER MOVING OSL \n\tLEAVING MS ON NICK.\n\tERIN:", "SCENE 142 - INT. ERIN'S APARTMENT - DAY\n\tHIS POV ENTERING AS WE SEE", "Erin? I don't think she's in today.\n1183.10\n\tSCENE 119 - MCU ON NICK TURNING BACK TO", "1630.07\n\tSCENE 257 - OTS ON HER.\n\tERIN:\n\tErin.\n\tNICK:", "CAT SCURRY OFF INTO BG DOWN HALL.\n\tNICK O.S.:\n\tErin?\n1438.05" ], [ "Dad, c'mon.\n\tNICK O.S.:\n\tI'm sorry...I'm sorry. Go on.\n\tALEX:", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "SCENE 68 - HER POV ON NICK LOOKING\n\tUNINTERESTED.\n\tDARCY O.S.:", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "NICK:\n\tNo, I said, I hate what I'm doing to Darcy.\n\tOh, boy, men are stupider, it's true.\n\n\tMORGAN:\n\tWould you stop it!", "Your daughter?\n667.15\n\tSCENE 130 - MFS ON NICK HOLDING DOOR", "IGNORING HER AS NICK ARRIVES.", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "SCENE 129 - INT. C/S OFFICES - DAY\n\tMS HOLDING ON NICK AS HE MOVES UP\n\tHALL TO FG SEETHING.", "1547.06\n\tSCENE 198 - MS ON NICK REALLY FREAKING\n\tOUT.\n\tNICK:", "NICK:\n\tAh, her father.", "1476.01\n\tSCENE 233 - BACK ON NICK.\n\tLOLA O.S. (HER THOUGHTS):", "506.00\n\tSCENE 99 - BACK ON HIM.\n\tNICK:\n\toh, hate it. Yeah, but she digs him and", "HE HANGS UP PHONE.\n\tNICK:\n\tWhy?\n\tDAN:\n\tBecause I talked to the board and I told", "SCENE 47 - MASTER TWO SHOT.\n\tNICK:\n\tMy daughter and her boyfriend walked in\n\tand I got them on with...", "NICK:\n\tI hate what I'm doing to Darcy. I hate it.\n\tI'm gonna write her a long letter and\n\tconfess everything.", "NICK:\n\tNo, no, no. I'm mortified. Really, here, I\n\tcan see your hands are full...\n\tGIRL:" ], [ "DR. PERKINS:\n\tBut this is phenomenal! That you can hear\n\tinside my head!\n\tNICK:\n\tYeah.", "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "DR. PERKINS O.S.:\n\tListen to me, Nick. Something extraordinary\n\tand miraculous has happened to you.\n1377.14", "SCENE 69 - MCU ON NICK RUBBING HIS FACE \n\tAS HE HEARS SUE'S THOUGHTS.\n\tDINA O.S.:", "UP TO MIRROR WHERE HE EXAMINES HIS FACE.\n\tNICK:\n\tHmm, cleaner pores, thicker hair. Very", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "HE HANGS UP PHONE.\n\tNICK:\n\tWhy?\n\tDAN:\n\tBecause I talked to the board and I told", "673.13\n\tSCENE 88 - MCU ON NICK LISTENING.\n\tALEX O.S. (HER THOUGHTS):", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "NICK:\n\tI just sensed it.\n1741.05\n\tSCENE 180 - BACK ON HER.", "ON TV MONITOR AS NICK NARRATES.\n\tNICK O.S.:\n\tYou don't stand in front of a mirror before a run", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "NICK:\n\tFingers and toes...\n\tFADE TO BLACK.\n\t(MUSIC OUT)\n\tFADE IN ON:", "PAST HIM AND OUT DOOR INTO BG.\n\tNICK:\n\tWhere...where are...\n\tHE CLOSES DOOR BEHIND HIM.", "and blacked out. And when I woke up, I\n\tcould hear what every woman around me was\n\tthinking.\n\tMORGAN GIVES HIM LOOK.", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "Yes. That's exactly what I wanted to say.\n\tSometimes I think you're a bit of a mind\n\treader.\n\tNICK:", "SCENE 65 - BACK ON NICK LOOKING AROUND \n\tAS HE IS BOMBARDED BY THE WOMEN'S\n\tTRUE THOUGHTS.", "HE LOOKS CONFUSED AT NICK.\n\tMORGAN:\n\tHello? Nick? Ah...Nick? We got to go. What", "NICK:\n\tAll right. All right.\n\tHE TURNS TO HER IN OSFG.\n\tNICK:\n\tI hear what women think." ], [ "NICK:\n\tAll right. All right.\n\tHE TURNS TO HER IN OSFG.\n\tNICK:\n\tI hear what women think.", "SCENE 65 - BACK ON NICK LOOKING AROUND \n\tAS HE IS BOMBARDED BY THE WOMEN'S\n\tTRUE THOUGHTS.", "I don't know. I just know everyone over\n\tthere is thrilled to get rid of her.\n\tNICK:\n\tWell, so much for edgy female vision.", "NICK'S MEMORY OF ERIN MOVING THROUGH\n\tOFFICE WITH ARM FULL OF FILES.\n\tERIN V.O.:", "SCENE 9 - INT. NICK'S OFFICE - DAY\n\tMFS TRACKING BEHIND GIRLS INTO\n\tOFFICE AS ANNIE SHOWS NEW GIRL", "SCENE 99 - BACK ON NICK LOOKING AT WOMEN\n\tAT COUNTER.\n\tWOMAN 2 O.S. (HER THOUGHTS):", "BOX TO NICK WHO ROLLS HIS EYES.\n\tDARCY O.S.:\n\tI'm pretty sure all the women here are", "AROUND.\n\tANNIE:\n\tThis is Nick Marshall's office. Want a peek? Don't\n\tworry, he never gets in before ten.", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "NICK:\n\tShe thinks you're overpaid and gay.\n\tMORGAN:\n\tWhat?\n\t(MUSIC IN)", "SCENE 215 - MS ON HIM.\n\tNICK:\n\tWell, for starters, almost every woman I\n\tknow thinks I'm an asshole.", "This is insensitive of me, I know you...\n\tNICK:\n\tOh, no.\n\tDARCY:\n\t...were up for my job.", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "SCENE 108 - EXT. OFFICE - DAY\n\tFS ON NICK EMERGING FROM HER OFFICE\n\tBESIDE HIMSELF.", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "SCENE 23 - THEIR POV ON WOMAN \n\tAPPROACHING.\n\tNICK O.S.:\n\tSee this attorney coming toward us?", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "1187.01\n\tSCENE 161 - OTS ON HIM.\n\tNICK:\n\tListen to me, I think you're one of the\n\tgreat women. I really do.", "And she's smart, Nick.\n1145.12\n\tSCENE 124 - BACK ON DAN.\n\tDAN:", "WOMEN ALL CRACK UP AND SLOWLY\n\tDRIFT OFF LEAVING NICK AND DEE.\n\tNICK:" ], [ "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "HERSELF.\n\tGIGI V.O.:\n\tNick was actually born and raised in Las\n\tVegas. Nick's mother was a real honest to", "GIGI:\n\tBecause once you understand Nick's mother, you\n\tunderstand Nick.\nSCENE 11 - CONTINUED", "332.05\n\tSCENE 19 - MS ON NICK AS MOTHER KISSES\n\tHIS CHEEK.\n\tGIGI V.O.:", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "654.09\n\tSCENE 128 - MS BACK ON NICK.\n\tNICK:\n\tLook, I don't know. Mom told me, all right?", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "IGNORING HER AS NICK ARRIVES.", "NICK:\n\tShe thinks you're overpaid and gay.\n\tMORGAN:\n\tWhat?\n\t(MUSIC IN)", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "FLO:\n\tMe? Nothing.\n\tNICK:\n\tYou sure?\n\tFLO:", "NICK:\n\tAh, her father.", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "STELLA (HER THOUGHTS):\n\tOh, what the hell has he done now? I hope\n\the's not dead.\n\tNICK:", "What kind of woman wears underwear like\n\tthis?\n\tNICK:\n\tHey...hey...my mother wore underwear like", "AS SHOWGIRLS GET READY TO GO ON.\n\tPAN FINDS LITTLE NICK SEATED AT MAKE-UP\n\tTABLE BESIDE MOTHER AS SHE READIES", "Nick, my ex-husband, is the ultimate man's\n\tman. I probably never should have married\n\thim. I don't think he understood a thing\n\tabout me.", "NICK:\n\tAh...sorry.\n\tWOMAN O.S. (HER THOUGHTS):\n\tTwo slices of toast..." ], [ "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "NICK:\n\tYeah, good. And?\n\tANNIE:\n\tI said what you said. He can be a writer", "Nick, my ex-husband, is the ultimate man's\n\tman. I probably never should have married\n\thim. I don't think he understood a thing\n\tabout me.", "GIGI:\n\tAlthough, Nick was a charmer. Completely\n\tirresistible at first...which feeds into", "NICK:\n\tIt just come out like...\n\tDARCY:\n\tDon't say that. You're so great at it.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "FOR NICK.\n\tLOLA:\n\tHere he comes.\n1475.12", "UP TO MIRROR WHERE HE EXAMINES HIS FACE.\n\tNICK:\n\tHmm, cleaner pores, thicker hair. Very", "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "290.11\n\tSCENE 26 - BACK ON HIM.\n\tNICK:", "AND SITS DOWN AT DESK BEHIND HIM\n\tTO REST.\n\tNICK:\n\tThank you.\n1658.08", "NICK:\n\tHey, Norm! Ya winning?\n\tNORM:\n\tOf course.\n\tNICK:", "She's very smart.\n\t\n1148.06\n\tSCENE 125 - BACK ON NICK.\n\tNICK:", "HE MOVES AROUND IN FRONT OF NICK\n\tTO FACE HIM.\n212.13", "FLO:\n\tMe? Nothing.\n\tNICK:\n\tYou sure?\n\tFLO:", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "Good idea Nick? Quick! Speak up! Say\n\tsomething before he leaves.\n\tDARCY:\n\tDa...\n\tNICK:", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "168.08\n\tSCENE 21 - (PREVIOUS SCENE CONTINUED)\n\tNICK:", "922.13\n\tSCENE 84 - INT. WANAMAKER'S OFFICE - DAY\n\tFS ON NICK IN SPACIOUS OFFICE WAITING." ], [ "Nick, my ex-husband, is the ultimate man's\n\tman. I probably never should have married\n\thim. I don't think he understood a thing\n\tabout me.", "the whole \"Man's man\" thing. You know about\n\tNick's mother, right?\n\tSHE GETS UP AND MOVES R ACROSS ROOM.", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "READS TO HIM.\n\tGIGI V.O.:\n\tIf you ask me, Nick's mother just about\n\tkilled it for every woman Nick would ever", "SCENE 38 - FS ON NICK LAID UP IN BED\n\tREADING PAPER.\n\tNICK:\n\tOkay. You got it, babe.", "TURNING AND WALKING OFF INTO BG.\n\tSHE LOOKS AT NICK AS SHE DOES.\n\tARDEN (HER THOUGHTS):", "MASTER ON ROOM AS NICK PACES IN FG\n\tAND DR. LISTENS SEATED IN BG.\n\tNICK:", "150.11\n\tSCENE 7 - BACK ON NICK LISTENING THROUGH\n\tDIVIDER.\n\tALEX O.S.:\n\t...they rented this hotel room and...", "SCENE 15 - BACK ON NICK.\n\tALEX O.S.:\n\t...old girlfriend and starts making out with\n\ther. I mean...", "SCENE 171 - MS ON NICK WASHING HIS FACE.\n\tSTELLA O.S. (HER THOUGHTS):", "SCENE 182 - MS ON NICK.\n\tNICK:\n\tI'm Nick Marshall. I came here about ten", "I don't know. I just know everyone over\n\tthere is thrilled to get rid of her.\n\tNICK:\n\tWell, so much for edgy female vision.", "144.03\n\tSCENE 18 - MS ON NICK PROCESSING.\n\tDARCY O.S. (HER THOUGHTS):", "...I couldn't go on living that way...\n\tNICK:\n\tWhat the hell's wrong with me?\n\tPHONE RINGS.", "NICK:\n\tIt's gone. I'm back. I'm back.\n\tHE STARTS LAUGHING.\n\tERIN:", "1476.01\n\tSCENE 233 - BACK ON NICK.\n\tLOLA O.S. (HER THOUGHTS):", "591.11\n\tSCENE 115 - MS ON NICK.\n\tFRIEND 2 O.S. (HER THOUGHTS):", "SCENE 114 - BACK ON NICK GETTING TEARY\n\tEYED.\n\tWOMAN O.S. (ON TV):", "STELLA (HER THOUGHTS):\n\tOh, what the hell has he done now? I hope\n\the's not dead.\n\tNICK:", "336.13\n\tSCENE 66 - BACK ON COUPLE.\n\tNICK:" ], [ "ALEX:\n\tOh, God!\n619.03\n\tSCENE 118 - MS BACK ON NICK PICKING UP", "Dad, c'mon.\n\tNICK O.S.:\n\tI'm sorry...I'm sorry. Go on.\n\tALEX:", "PAST HIM.\n\tALEX:\n\tLater.\n\tNICK:\n\tYeah, seven thirty's fine. Thanks for", "NICK:\n\tAlex, thank you.\n723.06\n\tSCENE 96 - MS ON HIM PULLING OUT AND", "NICK:\n\tAlex, it's me.\n\tALEX O.S.:\n\tWhat are you doing here?\n\tNICK:", "TURNS TO NICK.\n\tALEX:\n\tNick...\n1363.08", "SECOND IS SHORT BLACK DRESS WITH\n\tJACKET. NICK TAKES JACKET OFF HER\n\tTO GET BETTER IDEA.", "SCENE 137 - OTS MS ON KIDS AS ALEX GRABS\n\tJACKET AWAY FROM NICK.\n\tALEX:\n\tThat's mine.", "1116.09\n\tSCENE 147 - ON HIM.\n\tNICK:\n\tYeah.\n\tALEX O.S.:", "NICK (INTO PHONE):\n\tAlex, hi!\n459.08\n\tSCENE 90 - EXT. SCHOOLYARD - DAY", "537.05\n\tSCENE 68 - MS ON NICK LISTENING IN.\n\tALEX O.S. (HER THOUGHTS):", "BEGINS PULLING ITEMS OUT TO EXAMINE\n\tTHEM.\n\tNICK (MOCKING DARCY):", "KISSING. NICK SEES THIS.\n\tCAMERON O.S.:\n\tBye.\n\tALEX O.S.:\n\tBye.", "1060.06\n\tSCENE 133 - FS ON NICK CLEANING UP.\n\tALEX O.S.:", "VARIOUS DIFFERENT DRESSES AND\n\tGOWNS ON AS NICK REACTS TO EACH.\n\tFIRST IS WHITE GOWN WITH ARMY BOOTS.", "NICK:\n\tSo...what happened?\n\n\tALEX O.S.:\n\tWell, if I told you, you'd freak out so...\n\tNICK:\n\tWhat do you got to lose? Try me.", "673.13\n\tSCENE 88 - MCU ON NICK LISTENING.\n\tALEX O.S. (HER THOUGHTS):", "61.10\n\tSCENE 4 - FS ON LADIES ROOM ENTRANCE AS\n\tNICK RUSHES UP TO IT PASSING EXITING\n\tGIRLS.\n\tNICK:\n\tAlex?", "MILL ABOUT IN GOWNS AND TUXEDOS.\n\t(MUSIC IN)\n\tWE SEE NICK ANXIOUSLY MOVING TO FG", "NICK HANDS HER ITEM FROM OSR.\n\tNICK O.S.:\n\tHere you go.\n1619.11" ] ]

[ "Where does Nick live?", "Why does Nick's boss hire Darcy McGuire?", "What is Nick's daughter's name?", "How old is Nick's daughter?", "What new power does Nick have after electrocuting himself with a hairdryer?", "What do most women think of Nick?", "Who discovers Nick's new gift?", "How does Nick try to bond with Alexis?", "How does Nick loose his thought reading power?", "In what city does Nick Marshall live?", "What is Nick Marshall's profession?", "What was the profession of Nick Marshall's mother? ", "Why is Alixis staying with Nick Marshall for two weeks?", "Why is Darcy McGuire hired by the advertising firm?", "What does Darcy pass-out to each emplooyee at the staff meeting on her first day at her new job?", "What is Nick holding when he slips and falls into his bathtub?", "How is Nick able to initially bond with Alexis?", "What advertising idea does Nick steal from Darcy?", "What happens to Darcy when Nick steals her ad campaign?", "Who is Darcy? ", "What does Nick save Erin from? ", "Why is Nick's daughter mad at him? ", "How does Nick gain telepathic abilities? ", "What do the women at the office really think of Nick? ", "What did Nick's mother do for a living? ", "What is Nick skilled at in the beginning of this story? ", "What is the name of Nick's old divorce therapist? ", "What item of clothing does Nick help Alex pick out? " ]

[ [ "Chicago", "Chicago" ], [ "To expand the firm's appeal to women", "to broaden the firm's appeal to women" ], [ "Alexis", "Alexis" ], [ "Fifteen ", "15" ], [ "He can hear the thoughts of women", "Nick has the ability to hear the thoughts of women." ], [ "They don't like him and think he's sleazy ", "He is sleazy" ], [ "Dr. Perkins", "Erin" ], [ "By taking her dress shopping ", "Buying a prom dress" ], [ "By being struck by lightening ", "During a storm " ], [ "Chicago.", "Nick Marshall lives in Chicago." ], [ "He is an advertising executive.", "advertising executive" ], [ "She was a Las Vegas showgirl.", "Showgirl" ], [ "She is staying with Nick while her mother goes on her honeymoon with her new husband.", "because her mother is on her honeymoon" ], [ "To broaden the firm's appeal to women.", "Darcy McGuire is hired by the advertising firm to appeal more to women." ], [ "A collection of feminine products.", "feminine products" ], [ "An electric hair dryer.", "Electric hairdryer" ], [ "By helping her to shop for a prom dress.", "Helping her shop for a prom dress" ], [ "Her Nike campaign that is aimed specifically at women.", "Nike ad campaign" ], [ "Darcy is fired.", "Darcy is fired when Nick steals her ad campaign." ], [ "Nick's coworker and love interest. ", "The woman that was hired instead of Nick getting the promotion " ], [ "Killing herself", "Nick saves Erin from committing suicide." ], [ "For neglecting her for years", "She is embarrassed by him." ], [ "Slips in the bathtub holding a hair dryer", "He was shocked in a bath" ], [ "That he is sleazy", "That he is sleazy " ], [ "Was a Las Vegas Showgirl", "Showgirl" ], [ "Seducing women and selling to men. ", "Selling to men and seducing women" ], [ "Dr. Perkins", "Dr. Perkins" ], [ "A prom dress", "A dress" ] ]

fba51a67cf7aa08f14b84721571e67cc840d8203

train

[ [ "In this year of 1492, it was, perhaps, a little less easy to make that\nmistake. Lorenzo the magnificent and subtle was dead, and an arrogant,", "\"Ah!\" replied Bardo, with corresponding sadness, \"and a new epoch has\ncome for Florence--a dark one, I fear. Lorenzo has left behind him an", "Yet at that time, as we have seen, there was a man in Florence who for\ntwo years and more had been preaching that a scourge was at hand; that", "At the close of 1492, the year in which Lorenzo de' Medici died and Tito\nMelema came as a wanderer to Florence, Italy was enjoying a peace and", "\"Fools! It will be for the good and glory of Florence,\" Ser Cioni\nbegan. But he was interrupted by the exclamation, \"Look there!\" which", "Florence was in the direst need, first of food, and secondly of fighting\nmen. Pale Famine was in her streets, and her territory was threatened\non all its borders.", "Every vulgar self-ignorant person in Florence was glibly pronouncing on\nthis man's demerits, while _he_ was knowing a depth of sorrow which can", "And this was the temper of Florence on the morning of the 17th of\nNovember 1494.\n\n\n\nCHAPTER TWENTY TWO.", "\"All ye in Florence are my witnesses, for I spoke not in a corner. Ye\nare my witnesses, that four years ago, when there were yet no signs of", "projects against the Pope, requires the lever of a foreign power, and\nrequires Florence as a fulcrum. I used to think him a narrow-minded", "It was inevitably a life and death struggle between the Frate and the\nPope; but it was less inevitable that Florence should make itself the\nPope's executioner.", "It was the thirtieth of October 1496. The sky that morning was clear\nenough, and there was a pleasant autumnal breeze. But the Florentines", "That man was Fra Girolamo Savonarola, Prior of the Dominican convent of\nSan Marco in Florence. On a September morning, when men's ears were", "Florence should possess the benefits of learned research and taste more\nthan any other city? I understand your feeling about the wishes of the\ndead; but wisdom puts a limit to these sentiments, else lives might be", "The \"towers\" of which Tito spoke were a part of the procession esteemed\nvery glorious by the Florentine populace; and being perhaps chiefly a", "Tito gave a shrug. \"Florence will have no peace but what it pays well\nfor; that is clear.\"", "In this very November, little more than a week ago, the spirit of the\nold centuries seemed to have re-entered the breasts of Florentines. The", "It would be difficult for Baldassarre to discover the answer to that\nquestion. Meanwhile, he wanted to learn all he could about Florence.", "Florence, and the punishment will take him among the only people in\nItaly who have known how to manage their own affairs.\"", "one has grave matter on his mind. Florence orphaned--the very pivot of\nItaly snatched away--heaven itself at a loss what to do next. _Oime_!" ], [ "on the evening of this very day. The ceremony had been resolved upon\nrather suddenly; for although preparations towards the marriage had been\ngoing forward for some time--chiefly in the application of Tito's", "nearer to him, and at last shyly asked him to kiss her, putting up her\nround olive cheek very innocently. Tito was used to love that came in", "\"Should you like to be married to me, Tessa?\" said Tito, softly, half\nenjoying the comedy, as he saw the pretty childish seriousness on her", "\"Tito!\" She uttered the word in a tone of pretty, loving reproach, and\nthen he kissed her fondly, stroked her hair, as his manner was, and", "background the suggestion, raised by Bernardo del Nero's warning, of a\npossible marriage between Tito and Romola. But Tito could not allow the\nmoment to pass unused.", "She sat down in Tito's chair, and put out her arms towards the lad,\nwhose eyes had followed her. He hesitated: and, pointing his small", "\"And now you will give me a kiss,\" said Tito, economising time by\nspeaking while he swept in the contents of the wallet and hung it at his\nwaist again, \"and look happy, like a good girl, and then--\"", "Tito, laughing with the rest as Nello looked at himself tragically in\nthe hand-mirror, made a sign of farewell to the company generally, and\ntook his departure.", "Ariadne, and you are crowning me! Yes, it is true, Tito; you have\ncrowned my poor life.\"", "Tito had thoroughly frightened Tessa into silence about the\ncircumstances of their marriage, by telling her that if she broke that\nsilence she would never see him again; and Monna Lisa's deafness, which", "\"Oh, you pretty pigeon!\" cried Tito, laughing, pressing her round cheeks\nwith his hands and crushing her features together so as to give them a\ngeneral impartial kiss.", "This, in brief, had been the history of Tito's relation to Tessa up to a\nvery recent date. It is true that once or twice before Bardo's death,", "Tessa did not like those words, even though Tito was smiling. She had\nsome pouting distress in her face, as she said, bending anxiously over\nthe baby--", "the presence of the blind father. But when the ceremony was over, and\nTito and Romola came out on to the broad steps of the church, with the", "A month after that Carnival, one morning near the end of March, Tito\ndescended the marble steps of the Old Palace, bound on a pregnant errand", "which Tessa clung to Tito's arm, as he drew it from her waist, and\nplaced her hand within it. She only cared about the laugh as she might", "Tito did not blench. Romola's little illusions about himself had long\nceased to cause him anything but satisfaction. He only smiled and\nsaid--", "A slight shock passed through Tito's frame as he felt himself face to\nface with his wife. She was haggard with her anxious watching, but\nthere was a flash of something else than anxiety in her eyes as she\nsaid--", "\"No, Tito; no. But poor Dino, _he_ believed it was a divine message.\nIt is strange,\" she went on meditatively, \"this life of men possessed", "But Tito himself was very far from that understanding, and did not, in\nfact, know whether, the next moment, he should tell Tessa of the joke" ], [ "the very Tito Melema whose description he had carried round his neck as\nan index. No! nothing but Fra Luca's death could remove all danger; but", "\"I do not deny it,\" said Tito, blandly. \"But if it turns out that Fra\nFrancesco is mistaken, he will have been burned for the wrong side, and", "It was Tito Melema who felt that clutch. He turned his head, and saw\nthe face of his adoptive father, Baldassarre Calvo, close to his own.", "When Fra Luca had ceased to speak, Tito still stood by him in\nirresolution, and it was not till, the pressure of the passengers being", "mention of the future husband's name. Fra Luca would tell all he knew\nand conjectured, and Tito saw no possible falsity by which he could now", "element in Tito's nature--the fear of what he believed or saw was likely\nto rob him of pleasure: and he had a definite fear that Fra Luca might\nbe the means of driving him from Florence.", "As Tito entered the outer cloister of San Marco, and inquired for Fra\nLuca, there was no shadowy presentiment in his mind: he felt himself too", "\"Yes, Tito mio,\" she said, looking directly at him with sad eyes. \"For\nthe first time I am doing something unknown to my father. It comforts", "to his father had been hidden by successful lying: his present act did\nnot admit of total concealment--in its very nature it was a revelation.\nAnd Tito winced under his new liability to disesteem.", "\"I am at San Marco; my name is Fra Luca.\"\n\n\n\nCHAPTER ELEVEN.\n\nTITO'S DILEMMA.", "Tito felt a disagreeable chill at this answer, for Bernardo del Nero's\neyes had retained their keen suspicion whenever they looked at him, and\nthe uneasy remembrance of Fra Luca converted all uncertainty into fear.", "perhaps have escaped that identification by Fra Luca. It was true that\nit had been taken from Baldassarre's finger and put on his own as soon", "after our godfather, but now he calls himself Fra Luca--had been taken\nto the monastery at Fiesole, because he was ill. But this morning a", "The last words had been uttered with almost convulsed agitation, and\nBaldassarre paused, trembling. All glances were turned on Tito, who was", "like that could happen to me here in Florence in our old library. And\nthen _you_ came, Tito, and were so much to my father, and I began to\nbelieve that life could be happy for me too.\"", "The day he was discerned by Tito in the Piazza del Duomo, he had the\nfresh anguish of this consciousness in his mind, and Tito's ready speech", "\"It is true,\" said Tito, with bland gravity; \"and I should not have\ntroubled you with my trivial remark on the Frate's ability, but that you", "said. Tito heard so far, but he was deaf to everything else till he was\nspecially addressed. It was Tornabuoni who spoke.", "Baldassarre had done his work, had had his draught of life: Tito said it\nwas _his_ turn now.", "Savonarola rose and turned to his desk as he spoke. He took from it a\nletter on which Tito could see, but not read, an address in the Frate's" ], [ "The next moment her eyes met Fra Luca's as they looked up at her from\nthe crucifix, and she was absorbed in that pang of recognition which\nidentified this monkish emaciated form with the image of her fair young\nbrother.", "distance between her brother and herself widening. But while Fra Luca\nwas speaking, the figure of another monk had entered, and again stood on\nthe other side of the bed, with the cowl drawn over his head.", "after our godfather, but now he calls himself Fra Luca--had been taken\nto the monastery at Fiesole, because he was ill. But this morning a", "being disgraced before her. There was a spring of bitterness mingling\nwith that fountain of sweets. Would the death of Fra Luca arrest it?\nHe hoped it would.", "\"Fra Luca? ah, he is gone to Fiesole--to the Dominican monastery there.\nHe was taken on a litter in the cool of the morning. The poor Brother\nis very ill. Could you leave a message for him?\"", "\"Frate,\" said the dying voice.\n\nFra Girolamo leaned down. But no other word came for some moments.\n\n\"Romola,\" it said next.", "She started up with anger in her eyes, and faced the speaker. It was\nFra Girolamo: she knew that well enough before. She was nearly as tall", "her into antagonism with the Frate, she saw all the repulsive and\ninconsistent details in his teaching with a painful lucidity which\nexaggerated their proportions. In the bitterness of her disappointment", "positive evidence of Baldassarre's death; and the only persons who could\never have had positive knowledge to contradict him, were Fra Luca, who", "the very Tito Melema whose description he had carried round his neck as\nan index. No! nothing but Fra Luca's death could remove all danger; but", "\"Ah, the old Bardi blood!\" said Cennini, with a shrug. \"I shall not be\nsurprised if this business shakes _her_ loose from the Frate, as well as\nsome others I could name.\"", "perhaps have escaped that identification by Fra Luca. It was true that\nit had been taken from Baldassarre's finger and put on his own as soon", "ceased to have Savonarola before her, and saw in his stead Fra Salvestro\nMaruffi. It was not that there was anything manifestly repulsive in Fra", "\"Romola,\" Fra Luca began, \"I have had a vision concerning thee. Thrice\nI have had it in the last two months: each time it has been clearer.", "\"Take the crucifix, my daughter,\" said Fra Girolamo, after a few\nminutes. \"His eyes behold it no more.\"", "thee by a yoke of iron,\" said a strong rich voice, startlingly in\ncontrast with Fra Luca's.", "element in Tito's nature--the fear of what he believed or saw was likely\nto rob him of pleasure: and he had a definite fear that Fra Luca might\nbe the means of driving him from Florence.", "Francesco Valori, named Andrea Cambini, who was narrating or expounding\nwith emphatic gesticulation, while Fra Salvestro was listening with that\nair of trivial curiosity which tells that the listener cares very much", "\"No,\" said Cronaca; \"I was in San Marco at the time, and saw her come\nout from the chapter-house with Fra Girolamo, who told us that the dying", "\"Ah,\" he said, inwardly, \"that doubtless is the reason she has taken to\nlistening to Fra Girolamo, and going amongst the Piagnoni, which I never" ], [ "The next moment her eyes met Fra Luca's as they looked up at her from\nthe crucifix, and she was absorbed in that pang of recognition which\nidentified this monkish emaciated form with the image of her fair young\nbrother.", "\"Romola,\" Fra Luca began, \"I have had a vision concerning thee. Thrice\nI have had it in the last two months: each time it has been clearer.", "the very Tito Melema whose description he had carried round his neck as\nan index. No! nothing but Fra Luca's death could remove all danger; but", "after our godfather, but now he calls himself Fra Luca--had been taken\nto the monastery at Fiesole, because he was ill. But this morning a", "ago, and now Fra Girolamo has got the message afresh. He has seen it in\na vision, even as the prophets of old: he has seen the sword hanging\nfrom the sky.\"", "It is Fra Girolamo who offers himself after all. We shall see him move\npresently, and if he comes out of the flames we shall have a fine view\nof him!\"", "\"Frate,\" said the dying voice.\n\nFra Girolamo leaned down. But no other word came for some moments.\n\n\"Romola,\" it said next.", "\"Fra Luca? ah, he is gone to Fiesole--to the Dominican monastery there.\nHe was taken on a litter in the cool of the morning. The poor Brother\nis very ill. Could you leave a message for him?\"", "positive evidence of Baldassarre's death; and the only persons who could\never have had positive knowledge to contradict him, were Fra Luca, who", "Luca, with the tonsured crown of golden hair above it, and with\ndeep-sunken hazel eyes fixed on a small crucifix which he held before", "When Fra Luca had ceased to speak, Tito still stood by him in\nirresolution, and it was not till, the pressure of the passengers being", "Salvestro had a peculiar liability to visions, dependent apparently on a\nconstitution given to somnambulism. Savonarola believed in the\nsupernatural character of these visions, while Fra Salvestro himself had", "\"I hope he has had a new vision, however,\" said Francesco Cei,\nsneeringly. \"The old ones are somewhat stale. Can't your Frate get a\npoet to help out his imagination for him?\"", "from the window of the Palazzo Vecchio. Fra Girolamo himself knew of\nit, and had not dared this time to say that the vision was not of Divine\nauthority.", "the last well-authenticated vision announced by the Frate was Mars\nstanding on the Palazzo Vecchio with his arm on the shoulder of San\nGiovanni Battista, who was offering him a piece of honeycomb.\"", "being disgraced before her. There was a spring of bitterness mingling\nwith that fountain of sweets. Would the death of Fra Luca arrest it?\nHe hoped it would.", "distance between her brother and herself widening. But while Fra Luca\nwas speaking, the figure of another monk had entered, and again stood on\nthe other side of the bed, with the cowl drawn over his head.", "purpose was fully shaped. He was going to ascertain from Fra Luca\nprecisely how much he conjectured of the truth, and on what grounds he", "\"Cover your eyes, Madonna,\" said Jacopo Nardi; \"Fra Girolamo will be the\nlast.\"", "element in Tito's nature--the fear of what he believed or saw was likely\nto rob him of pleasure: and he had a definite fear that Fra Luca might\nbe the means of driving him from Florence." ], [ "There was but one chance for him now; the chance of Baldassarre's\nfailure in finding his revenge. And--Tito grasped at a thought more", "The last words had been uttered with almost convulsed agitation, and\nBaldassarre paused, trembling. All glances were turned on Tito, who was", "Baldassarre had done his work, had had his draught of life: Tito said it\nwas _his_ turn now.", "What else had Tito's crime towards Baldassarre been but that abandonment\nworking itself out to the most hideous extreme of falsity and\ningratitude?", "him. Tito felt he had no choice now: he must defy Baldassarre as a mad,\nimbecile old man; and the chances were so strongly on his side that", "\"Talk no more about that,\" said Baldassarre, fiercely. \"I will have\nnothing else. Help me to wring one drop of vengeance on this side of", "against Baldassarre's having met again with any one of that crew, and\nTito thought with bitterness that a timely, well-devised falsehood might", "and cruelty only that had made their viper sting--it was Baldassarre's\ninstantaneous bitter consciousness that he might be unable to prove the\nwords false. Along with the passionate desire for vengeance which", "\"Yes,\" said Tito, rising. The horrible sense that he must live in\ncontinual dread of what Baldassarre had said or done pressed upon him\nlike a cold weight.", "\"What sort of face has he?\" said Tito, his heart beginning to beat\nstrangely. He was so haunted by the thought of Baldassarre, that it was", "And Baldassarre left Bratti's shop, not only with the dagger at his\nside, but also with a general knowledge of Tito's conduct and position--", "assassin. Baldassarre was evidently helpless: the thing to be feared\nwas, not that he should injure Tito, but that Tito, coming upon his", "Tito had his hand on the door and was pulling it: it dragged against the\nground as such old doors often do, and Baldassarre, startled out of his", "off her tongue in talking with Baldassarre. For a long while Tito's\nvisits were so rare, that it seemed likely enough he took journeys", "It was a strange moment. Baldassarre had moved round the table till he\nwas opposite Tito, and as the hum ceased there might be seen for an", "Those ready and firm answers argued a great change in Baldassarre since\nthe last meeting face to face with Tito, when the dagger broke in two.\n\nThe change had declared itself in a startling way.", "It was Tito Melema who felt that clutch. He turned his head, and saw\nthe face of his adoptive father, Baldassarre Calvo, close to his own.", "words to Tito that would apprise him of her late interview with\nBaldassarre, and the revelation he had made to her. What would such", "At the moment when the shadow of Tito passed in front of the hovel as he\ndeparted homeward, Baldassarre was sitting in that state of after-tremor", "And now again Baldassarre said, \"I am not alone in the world; I shall\nnever be alone, for my revenge is with me.\"" ], [ "Romola started as the glance was turned on her, but her immediate\nthought was that he had seen Tito. And as she felt the look of hatred", "and Romola, instead of making any effort to be recognised by him, threw\nher black drapery over her head again, and remained perfectly quiet.\nYet she felt almost sure that Tito had seen her; he had the power of", "Romola felt hurt. She had never seen Tito so indifferent in his manner;\nhe was usually full of lively solicitous attention. And she had thought", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "\"Tell me the truth, Tito--this time tell me the truth,\" said Romola, in\na low quivering voice. \"It will be safer for you.\"", "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "seen her. On that day, any on-looker would have said that Romola's\nnature was made to command, and Tito's to bend; yet now Romola's mouth", "Tito did not blench. Romola's little illusions about himself had long\nceased to cause him anything but satisfaction. He only smiled and\nsaid--", "Romola had been driven to utter the words as men are driven to use the\nlash of the horsewhip. At first, Tito felt horribly cowed; it seemed to", "A slight quiver passed across Romola's face as Tito took hold of the\ncrucifix. But she had no wish to prevent his purpose; on the contrary,", "Romola's touch and glance no longer stirred any fibre of tenderness in\nher husband. The good-humoured, tolerant Tito, incapable of hatred,", "\"It is one of their masqued processions, I suppose,\" said Tito, who was\nnow alone with Romola, while Bernardo took charge of Bardo.", "\"And now, my Romola,\" said Tito, entreatingly, \"you will banish these\nghastly thoughts. The vision was an ordinary monkish vision, bred of", "\"Because it was a trust,\" said Romola, in a low but distinct voice. \"He\ntrusted me, he trusted you, Tito. I did not expect you to feel anything", "\"Tito, it was you, I know,\" said Romola, smiling brightly, and kissing\nhim. \"How is it you never care about claiming anything? And after\nthat?\"", "\"Tito, it is not so,\" Romola burst forth in a pleading tone, rising and\ngoing nearer to him, with a desperate resolution to speak out. \"It is", "Romola shrank with dread from the renewal of her proximity to Tito, and\nyet she was uneasy that she had put herself out of reach of knowing what", "Tito looked startled; he had immediately thought of Baldassarre's\nentrance into the Duomo; but Romola gave his look another meaning.", "\"Now, godfather,\" said Romola, shaking her head playfully, \"as if it\nwere only bright eyes and soft words that made me love Tito! You know", "\"Do you know what this is for, my Romola?\" added Tito, taking her by the\nhand, and leading her towards the cabinet. \"It is a little shrine," ], [ "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "The experience was like a new baptism to Romola. In Florence the\nsimpler relations of the human being to his fellow-men had been", "Romola gave a slight start, but her impulse now was to do just what\nSavonarola told her. Her self-doubt was grappled by a stronger will and", "Romola shuddered at the possibility. All the instruction, all the main\ninfluences of her life had gone to fortify her scorn of that sickly", "means fresh strength might come. The pressing problem for Romola just\nthen was not to settle questions of controversy, but to keep alive that\nflame of unselfish emotion by which a life of sadness might still be a", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "Romola arose from her knees. That silent attitude had been a sort of\nsacrament to her, confirming the state of yearning passivity on which", "A slight quiver passed across Romola's face as Tito took hold of the\ncrucifix. But she had no wish to prevent his purpose; on the contrary,", "The last words had burst from Romola involuntarily: a long-stifled\nfeeling had found spasmodic utterance. But she herself was startled and\narrested.", "It was the first time she had encountered a gaze in which simple human\nfellowship expressed itself as a strongly-felt bond. Such a glance is\nhalf the vocation of the priest or spiritual guide of men, and Romola", "her the new life of duty, and who seemed now to be worsted in the fight\nfor principle against profligacy. For Romola could not carry from day", "As the anger melted from Romola's mind, it had given place to a new\npresentiment of the strength there might be in submission, if this man,", "Romola was deceived in him; nay, he could only rejoice in her delusion;\nfor, after all, concealment had been wisdom. The only thing he could", "The old man rose, and Romola, soothed by these beams of tenderness,\nlooked happy again as she drew his arm within hers, and placed in his", "And now Romola's best support under that supreme woman's sorrow had\nslipped away from her. The vision of any great purpose, any end of", "him. But the next moment he looked towards Romola, as if her eyes must\nbe her father's interpreters. She, intensely preoccupied with what", "of her own and his identity, had a power unexplained to herself, of\nshaking Romola. It is the way with half the truth amidst which we live,", "own horizon. And Romola was urged to doubt herself the more by the\nnecessity of interpreting her disappointment in her life with Tito so as", "cared for. And he cared supremely for Romola; he wished to have her for\nhis beautiful and loving wife. There might be a wealthier alliance\nwithin the ultimate reach of successful accomplishments like his, but", "There were Florentine assessors at this new trial, and those words of\ntwofold retraction had soon spread. They filled Romola with dismayed\nuncertainty." ], [ "Bardo had stretched out his aged white hand, and Tito immediately placed\nhis dark but delicate and supple fingers within it. Bardo's cramped\nfingers closed over them, and he held them for a few minutes in silence.\nThen he said--", "This, in brief, had been the history of Tito's relation to Tessa up to a\nvery recent date. It is true that once or twice before Bardo's death,", "While Tito was speaking, some emotion passed, like a breath on the\nwaters, across Bardo's delicate features; he leaned forward, put out his", "When Bardo made this reference to his daughter, Tito ventured to turn\nhis eyes towards her, and at the accusation against her memory his face", "Meanwhile, Tito's quick mind had been combining ideas with\nlightning-like rapidity. Bardo's son was not really dead, then, as he", "Tito moved from the reading-desk, and seated himself on the other side\nof Bardo, close to his left elbow.", "Tito gave a slight, almost imperceptible start, and opened his long dark\neyes with questioning surprise at Bardo's blind face, as if his words--a", "dwelt on beforehand, because of Bardo's dislike to be left without her,\nthat Tito felt sure there must have been some sudden and urgent ground", "Tito had even been the means of strengthening the hope in Bardo's mind\nthat he might before his death receive the longed-for security", "\"Talk not of monks and their legends, young man!\" said Bardo,\ninterrupting Tito impetuously. \"It is enough to overlay human hope and", "\"That is well said, my son.\" Bardo had already addressed Tito in this\nway once or twice of late. \"And I perceive with gladness that you do", "But Tito was obliged to turn away, and answer Bardo's question.", "matter Bardo was entirely under the ascendancy of his sagacious and\npractical friend. Nevertheless, Bernardo himself, though he was as far\nas ever from any susceptibility to the personal fascination in Tito", "\"Doubtless Messer Tito knows that Bardo's son is dead,\" said Cronaca,\nwho had just come up.\n\nTito's heart gave a leap--had the death happened before Romola saw him?", "Tito had his hand on the door and was pulling it: it dragged against the\nground as such old doors often do, and Baldassarre, startled out of his", "Bardi, had compelled the foot-passengers to recede hurriedly. Tito had\nbeen walking, as his manner was, with the thumb of his right-hand", "Bardo was startled: the association of Tito with the image of his lost\nson had excluded instead of suggesting the thought of Romola. But\nalmost immediately there seemed to be a reaction which made him grasp\nthe warning as if it had been a hope.", "Tito, just descended into Nello's shop, had found the barber stretched\non the bench with his cap over his eyes; one leg was drawn up, and the", "\"It is thou, Bernardo,\" said Bardo. \"Thou art come at a fortunate\nmoment. This, young man,\" he continued, while Tito rose and bowed, \"is", "Tito, we know, was not with Bardo; his destiny was being shaped by a\nguilty consciousness, urging on him the despairing belief that by this\ntime Romola possessed the knowledge which would lead to their final\nseparation." ], [ "words to Tito that would apprise him of her late interview with\nBaldassarre, and the revelation he had made to her. What would such", "The last words had been uttered with almost convulsed agitation, and\nBaldassarre paused, trembling. All glances were turned on Tito, who was", "Baldassarre had done his work, had had his draught of life: Tito said it\nwas _his_ turn now.", "\"Yes,\" said Tito, rising. The horrible sense that he must live in\ncontinual dread of what Baldassarre had said or done pressed upon him\nlike a cold weight.", "Tito had his hand on the door and was pulling it: it dragged against the\nground as such old doors often do, and Baldassarre, startled out of his", "off her tongue in talking with Baldassarre. For a long while Tito's\nvisits were so rare, that it seemed likely enough he took journeys", "\"What sort of face has he?\" said Tito, his heart beginning to beat\nstrangely. He was so haunted by the thought of Baldassarre, that it was", "At the moment when the shadow of Tito passed in front of the hovel as he\ndeparted homeward, Baldassarre was sitting in that state of after-tremor", "There was but one chance for him now; the chance of Baldassarre's\nfailure in finding his revenge. And--Tito grasped at a thought more", "And Baldassarre left Bratti's shop, not only with the dagger at his\nside, but also with a general knowledge of Tito's conduct and position--", "him. Tito felt he had no choice now: he must defy Baldassarre as a mad,\nimbecile old man; and the chances were so strongly on his side that", "It was Tito Melema who felt that clutch. He turned his head, and saw\nthe face of his adoptive father, Baldassarre Calvo, close to his own.", "The party separated, and Tito took his way to the Palazzo Vecchio, where\nhe was to find Bartolommeo Scala. It was not a long walk, but, for", "\"Then you mean to leave this place?\" said Tito, more anxious about this\ncertainty than the ground of it.\n\n\"I have spoken,\" said Baldassarre.", "Baldassarre did not reply immediately; he glanced suspiciously at the\nofficious stranger. At last he said, \"If you will.\"\n\n\"Better come outside,\" said Piero.", "Baldassarre was still sitting on the straw when the shadow of Tito\npassed by. Before him lay the fragments of the broken dagger; beside", "caresses, all had on Baldassarre's knee; and from that time till the\nhour they had parted, Tito had been the one centre of Baldassarre's\nfatherly cares.", "Baldassarre began to speak as if he were thoroughly assured of what he\nhad to say; but, in spite of his long preparation for this moment, there", "It was a strange moment. Baldassarre had moved round the table till he\nwas opposite Tito, and as the hum ceased there might be seen for an", "against Baldassarre's having met again with any one of that crew, and\nTito thought with bitterness that a timely, well-devised falsehood might" ], [ "\"Tell me the truth, Tito--this time tell me the truth,\" said Romola, in\na low quivering voice. \"It will be safer for you.\"", "There were passers-by approaching. Tito had heard them, and that was\nwhy he spoke in a whisper. Romola was too conscious of being mastered", "\"Yes, father,\" said Romola, firmly. \"I love Tito--I wish to marry him,\nthat we may both be your children and never part.\"", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "and Romola, instead of making any effort to be recognised by him, threw\nher black drapery over her head again, and remained perfectly quiet.\nYet she felt almost sure that Tito had seen her; he had the power of", "Romola's heart swelled again, so that she was forced to break off. But\nthe need she felt to disburden her mind to Tito urged her to repress the", "\"Assuredly I will not mention it,\" said Romola, blushing, \"if you wish\nit to be a secret. But, dearest Tito,\" she added, after a moment's", "\"Tito, it was you, I know,\" said Romola, smiling brightly, and kissing\nhim. \"How is it you never care about claiming anything? And after\nthat?\"", "\"It is one of their masqued processions, I suppose,\" said Tito, who was\nnow alone with Romola, while Bernardo took charge of Bardo.", "\"What was it, my Romola? Sit down and tell me,\" said Tito, leading her\nto the bench that stood near. A fear had come across him lest the", "It was late before Tito came. Romola had been pacing up and down the\nlong room which had once been the library, with the windows open, and a", "\"Because it was a trust,\" said Romola, in a low but distinct voice. \"He\ntrusted me, he trusted you, Tito. I did not expect you to feel anything", "\"Do you know what this is for, my Romola?\" added Tito, taking her by the\nhand, and leading her towards the cabinet. \"It is a little shrine,", "\"My Romola,\" said Tito, the second morning after he had made his speech\nin the Piazza del Duomo, \"I am to receive grand visitors to-day; the", "\"I have had special threats,\" said Tito, \"but I must beg you to be\nsilent on the subject, my Romola. I shall consider that you have broken\nmy confidence, if you mention it to your godfather.\"", "For several days Tito saw little of Romola. He told her gently, the\nnext morning, that it would be better for her to remove any small", "Maso's message was from Romola. She wished Tito to go to the Via de'\nBardi as soon as possible. She would see him under the loggia, at the", "\"I have no rancour against Messer Bernardo for thinking you too precious\nfor me, my Romola,\" said Tito: and that was true. \"But your father,\nthen, knows of his son's death?\"", "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "\"Tito, it is not so,\" Romola burst forth in a pleading tone, rising and\ngoing nearer to him, with a desperate resolution to speak out. \"It is" ], [ "\"Not so, I hope,\" said Romola. \"I am come to take care of you. I am\nused to the pestilence; I am not afraid. But there must be some left", "Romola to a less counteracted sense of her personal lot. The Plague had\nalmost disappeared, and the position of Savonarola was made more hopeful", "That evening, when it was dark and threatening rain, Romola, returning\nwith Maso and the lantern by her side, from the hospital of San Matteo,", "Romola shuddered at the possibility. All the instruction, all the main\ninfluences of her life had gone to fortify her scorn of that sickly", "On the eighth day from that memorable night Romola was standing on the\nbrink of the Mediterranean, watching the gentle summer pulse of the sea\njust above what was then the little fishing village of Viareggio.", "themselves; but for everything else, the exiles have the best of it.\nFor my own part, I have been thinking seriously that we should be wise\nto quit Florence, my Romola.\"", "Romola, suspecting that if she followed the direction of the youth's\nflight, she should find some men and women who were still healthy and", "\"Frate,\" said the dying voice.\n\nFra Girolamo leaned down. But no other word came for some moments.\n\n\"Romola,\" it said next.", "The circle had narrowed till the coarse men--most of them gaunt from\nprivation--had left hardly any margin round Romola. She had been taking", "forth the piercing cry. Romola's experience in the haunts of death and\ndisease made thought and action prompt: she lifted the little living", "that would help to carry her away if she waited for its ebb; but Romola\nthought the breeze from the land was rising a little. She got into the", "And so Romola, seeing no ray across the darkness, and heavy with\nconflict that changed nothing, sank at last to sleep.\n\n\n\nCHAPTER THIRTY SEVEN.", "\"Ah, you have had so much to tire you to-day,\" said Romola, kneeling\ndown close to him, and laying her arm on his chest while she put his\nhair back caressingly.", "to isolate her from him. Romola was labouring, as a loving woman must,\nto subdue her nature to her husband's. The great need of her heart", "something fearful in it to Romola; she hurried along towards the\nthickest cluster of houses, where there would be the most life to appeal\nto on behalf of the helpless life she carried in her arms. But she had", "Romola, kneeling with buried face on the altar-step, was enduring one of\nthose sickening moments, when the enthusiasm which had come to her as", "Romola in her boat passed from dreaming into long deep sleep, and then\nagain from deep sleep into busy dreaming, till at last she felt herself", "Romola felt horror taking possession of her. Was she in a village of\nthe unburied dead? She wanted to listen if there were any faint sound,", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "pestilence was Tito's device for getting rid of Spini without telling\nhim to go. The moment he had moved away, Tito turned to Romola, and\nsaid, quietly--" ], [ "Tito, that he had not dared to pursue him, except under cover of a crowd\nor of the darkness; he felt, with instinctive horror, that if Tito's", "awful burthen into the Piazza, and he could tell her what was generally\nknown in Florence--that Tito had escaped from an assaulting mob by", "In an instant Tito started up, went to the door, locked it, and took out\nthe key. It was time for all the masculine predominance that was latent", "Tito made a hasty sign of assent and adieu, and moving away from the\npillar, again found himself pushed towards the middle of the piazza and", "him as Tito ended, and saw that the eyes which had had such fierce\nintensity only a few minutes before had now a vague fear in them. He\nclutched the back of a seat, and was silent.", "Tito had felt one great heart-leap of terror as he had staggered under\nthe weight of the thrust: he felt now the triumph of deliverance and", "The words had no sooner left Tito's lips than they seemed to vibrate up\nthe streets. A great shout rang through the air, and rushed along the", "In an instant Tito had pushed his way through the barrier of bystanders,\nwhose curiosity made them ready to turn aside at the sudden interference", "Tito was one of those who remained behind. He had a native repugnance\nto sights of death and pain, and five days ago whenever he had thought", "Bardi, had compelled the foot-passengers to recede hurriedly. Tito had\nbeen walking, as his manner was, with the thumb of his right-hand", "Tito pushed his way vigorously towards the corner of a side-street, a\nlittle vexed at this delay in his progress to the Via de' Bardi, and", "Tito, obliged to make his way through chance openings in the crowd,\nfound himself at one moment close to the trotting procession of", "gradually narrowing circuits. He paused among the trees, and looked in\nat the windows, which made brilliant pictures against the gloom. He\ncould hear the laughter; he could see Tito gesticulating with careless", "Tito, laughing with the rest as Nello looked at himself tragically in\nthe hand-mirror, made a sign of farewell to the company generally, and\ntook his departure.", "the determination to escape without any visible notice of her, a not\naltogether agreeable resource. Yet Tito persevered and carried his\ncompanion to the door, cleverly managing his \"addio\" without turning his", "himself and clutched it still, going close up to Tito till their faces\nwere not a foot off each other. Then he began to speak, in a deep\ntrembling voice--", "his well-studied periods, and reduced the representatives of the\nscholarly city to offer a makeshift welcome in impromptu French. But\nthat sudden confusion had created a great opportunity for Tito. As one", "Tito, just descended into Nello's shop, had found the barber stretched\non the bench with his cap over his eyes; one leg was drawn up, and the", "The faces just met, and the dark curls mingled for an instant with the\nrippling gold. Quick as lightning after that, Tito set his foot on a", "Tito was annoyed. If he had had to smile it would have been an unusual\neffort to him. He was determined not to encounter Romola again, and he\ndid not go home that night." ], [ "\"He is dead, then?\" said Tito, with a bounding of the heart.", "Tito was one of those who remained behind. He had a native repugnance\nto sights of death and pain, and five days ago whenever he had thought", "\"That is Tito!\"\n\nPiero looked round, and gave a silent shrug. He was vexed at his own\nforgetfulness.", "\"It is too late, Tito. There is no killing the suspicion that deceit\nhas once begotten. And now I know everything. I know who that old man", "Yes--they _were_ at the arches. In that moment Tito, with bloodless\nface and eyes dilated, had one of the self-preserving inspirations that", "himself and clutched it still, going close up to Tito till their faces\nwere not a foot off each other. Then he began to speak, in a deep\ntrembling voice--", "\"No, they may not,\" said Tito, with cool decision.\n\n\"Why?\"\n\n\"Because I do not choose that they should.\"", "\"Doubtless Messer Tito knows that Bardo's son is dead,\" said Cronaca,\nwho had just come up.\n\nTito's heart gave a leap--had the death happened before Romola saw him?", "This, in brief, had been the history of Tito's relation to Tessa up to a\nvery recent date. It is true that once or twice before Bardo's death,", "The party separated, and Tito took his way to the Palazzo Vecchio, where\nhe was to find Bartolommeo Scala. It was not a long walk, but, for", "\"I do not deny it,\" said Tito, blandly. \"But if it turns out that Fra\nFrancesco is mistaken, he will have been burned for the wrong side, and", "him as Tito ended, and saw that the eyes which had had such fierce\nintensity only a few minutes before had now a vague fear in them. He\nclutched the back of a seat, and was silent.", "It was Tito Melema who felt that clutch. He turned his head, and saw\nthe face of his adoptive father, Baldassarre Calvo, close to his own.", "It was a fearful crisis for Tito. If he said \"Yes,\" his quick mind told\nhim that he would shake the credibility of his story: if he said \"No,\"", "The two men had not taken their eyes off each other, and it seemed to\nTito, when he had spoken, that some magical poison had darted from", "\"Tito!\" She uttered the word in a tone of pretty, loving reproach, and\nthen he kissed her fondly, stroked her hair, as his manner was, and", "Tito, just descended into Nello's shop, had found the barber stretched\non the bench with his cap over his eyes; one leg was drawn up, and the", "Tito had felt one great heart-leap of terror as he had staggered under\nthe weight of the thrust: he felt now the triumph of deliverance and", "Tito, laughing with the rest as Nello looked at himself tragically in\nthe hand-mirror, made a sign of farewell to the company generally, and\ntook his departure.", "bitterest being directed against Bernardo del Nero. To him, in a brief\nprivate interview, after obtaining a pledge of secrecy, Tito avowed his" ], [ "The moment was past. Her face was covered again, and she only knew that\nSavonarola's voice had passed into eternal silence.\n\n\n\nEPILOGUE.", "completion of Savonarola's trial. They entered amid the acclamations of\nthe people, calling for the death of the Frate. For now the popular cry", "catastrophe as no one else did. Of Savonarola the monk told her, in\nthat tone of unfavourable prejudice which was usual in the Black", "Savonarola was preaching--preaching the last course of Lenten sermons he\nwas ever allowed to finish in the Duomo: he knew that excommunication", "It was not long before she had to uncover them again. Savonarola was\nthere. He was not far off her now. He had mounted the steps; she could\nsee him look round on the multitude.", "The warm radiance thrilled through Savonarola's frame, and so did the\nshout. It was his last moment of untroubled triumph, and in its", "That man was Fra Girolamo Savonarola, Prior of the Dominican convent of\nSan Marco in Florence. On a September morning, when men's ears were", "opposition, not only to the character of Savonarola, but also to the\ngeneral tone of the confessions, strengthened the impression that the\nrest of the text represented in the main what had really fallen from his", "than any pretext, for declaring that both parties might go home. It was\nthe issue which Savonarola had expected and desired; yet it would be an", "During the last appeal, Savonarola had stretched out his arms and lifted\nup his eyes to heaven; his strong voice had alternately trembled with", "\"And that is true!\" said Savonarola, with flashing eyes. Romola's voice\nhad seemed to him in that moment the voice of his enemies. \"The cause\nof my party _is_ the cause of God's kingdom.\"", "touched, and she heard the words, \"He comes.\" She looked towards the\nPalace, and could see Savonarola led out in his Dominican garb; could", "Not long after those two bodies were lying in the grass, Savonarola was\nbeing tortured, and crying out in his agony, \"I will confess!\"", "rang through the Duomo. It was the habit of Savonarola's mind to\nconceive great things, and to feel that he was the man to do them.", "Florentine territory within twelve hours. Had Savonarola quitted the\nconvent then, he could hardly have escaped being torn to pieces; he was", "prosecution of the trial in Fra Domenico's case. Not that Savonarola\nhad uttered and written a falsity when he declared his belief in a", "depose him, would have been adding ineptitude to iniquity. There was no\ndenying that towards Alexander the Sixth Savonarola was a rebel, and,", "And in that rumour Savonarola had heard the assurance that his prophecy\nwas being verified. What was it that filled the ears of the prophets of", "himself in Savonarola's handwriting, which now lay ready in the desk at\nhis side. It was a letter calling on the king to assist in summoning a", "New horror in the Franciscans; new firmness in Savonarola. \"It was\nimpious presumption to carry the Sacrament into the fire: if it were" ], [ "The moment was past. Her face was covered again, and she only knew that\nSavonarola's voice had passed into eternal silence.\n\n\n\nEPILOGUE.", "The warm radiance thrilled through Savonarola's frame, and so did the\nshout. It was his last moment of untroubled triumph, and in its", "Florentine territory within twelve hours. Had Savonarola quitted the\nconvent then, he could hardly have escaped being torn to pieces; he was", "completion of Savonarola's trial. They entered amid the acclamations of\nthe people, calling for the death of the Frate. For now the popular cry", "During the last appeal, Savonarola had stretched out his arms and lifted\nup his eyes to heaven; his strong voice had alternately trembled with", "But no! when Savonarola brought his mind close to the threatened scene\nin the Piazza, and imagined a human body entering the fire, his belief", "Not long after those two bodies were lying in the grass, Savonarola was\nbeing tortured, and crying out in his agony, \"I will confess!\"", "Savonarola's arrest, and of her husband's death. This Augustinian monk\nhad been in the stream of people who had followed the waggon with its", "\"I do not desire the death of Bernardo,\" said Savonarola, colouring\ndeeply. \"It would be enough if he were sent out of the city.\"", "It was not long before she had to uncover them again. Savonarola was\nthere. He was not far off her now. He had mounted the steps; she could\nsee him look round on the multitude.", "Savonarola was preaching--preaching the last course of Lenten sermons he\nwas ever allowed to finish in the Duomo: he knew that excommunication", "touched, and she heard the words, \"He comes.\" She looked towards the\nPalace, and could see Savonarola led out in his Dominican garb; could", "Giovan Battista Ridolfi, a disciple of Savonarola, who was going in\nbitterness to behold the death of his elder brother Niccolo, had", "rang through the Duomo. It was the habit of Savonarola's mind to\nconceive great things, and to feel that he was the man to do them.", "After the utterance of that blessing, Savonarola himself fell on his\nknees and hid his face in temporary exhaustion. Those great jets of", "That man was Fra Girolamo Savonarola, Prior of the Dominican convent of\nSan Marco in Florence. On a September morning, when men's ears were", "There was nothing transcendent in Savonarola's face. It was not\nbeautiful. It was strong-featured, and owed all its refinement to", "himself in Savonarola's handwriting, which now lay ready in the desk at\nhis side. It was a letter calling on the king to assist in summoning a", "New horror in the Franciscans; new firmness in Savonarola. \"It was\nimpious presumption to carry the Sacrament into the fire: if it were", "It is Fra Girolamo who offers himself after all. We shall see him move\npresently, and if he comes out of the flames we shall have a fine view\nof him!\"" ], [ "projects against the Pope, requires the lever of a foreign power, and\nrequires Florence as a fulcrum. I used to think him a narrow-minded", "And this was the temper of Florence on the morning of the 17th of\nNovember 1494.\n\n\n\nCHAPTER TWENTY TWO.", "It was the thirtieth of October 1496. The sky that morning was clear\nenough, and there was a pleasant autumnal breeze. But the Florentines", "In this year of 1492, it was, perhaps, a little less easy to make that\nmistake. Lorenzo the magnificent and subtle was dead, and an arrogant,", "It was inevitably a life and death struggle between the Frate and the\nPope; but it was less inevitable that Florence should make itself the\nPope's executioner.", "Most Christian King is signing a treaty that is honourable to Florence.\nBut you owe it to one of your citizens, who spoke a word worthy of the\nancient Romans--you owe it to Piero Capponi!\"", "and seconded the invitation with hot rhetoric; and the young king seemed\nto lend a willing ear. So that in 1493 the rumour spread and became", "beckoning at the French king who never comes? You may call him able,\nbut I call him a hypocrite, who wants to be master of everybody, and get\nhimself made Pope.\"", "been the only offence of Florence against the majesty of France. And\nFlorence was determined not to submit. The determination was being\nexpressed very strongly in consultations of citizens inside the Old", "\"We shall see. Arms are good, and Florence is likely to want them. The\nFrate tells us we shall get Pisa again, and I hold with the Frate; but I", "\"All ye in Florence are my witnesses, for I spoke not in a corner. Ye\nare my witnesses, that four years ago, when there were yet no signs of", "forces in Romagna, and the enemies of Florence, who sit in the highest\nplaces of Italy, are ready to hurl any stone that will crush her.\"", "were lined with Frenchmen who were gazing at Florence, and with\nFlorentines who were gazing at the French, and the gaze was not on\neither side entirely friendly and admiring. The first nation in Europe,", "\"Then, Florentines, the high majesty of France felt, perhaps for the\nfirst time, all the majesty of a free city. And the Most Christian King", "safety, of Florence. The banner of France will float over every\nFlorentine galley in sign of amity and common privilege, but above that\nbanner will be written the word `Liberty!'", "ringing with the news that the French army had entered Italy, he had\npreached in the Cathedral of Florence from the text, \"Behold I, even I,", "himself in Savonarola's handwriting, which now lay ready in the desk at\nhis side. It was a letter calling on the king to assist in summoning a", "\"It's Lorenzo Tornabuoni, and one of the French noblemen who are in his\nhouse,\" said Ser Cioni, in some contempt at this interruption. \"He", "CHAPTER SIXTEEN.\n\nA FLORENTINE JOKE.", "Florence was in the direst need, first of food, and secondly of fighting\nmen. Pale Famine was in her streets, and her territory was threatened\non all its borders." ], [ "\"Yes, father,\" said Romola, firmly. \"I love Tito--I wish to marry him,\nthat we may both be your children and never part.\"", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "Romola's heart swelled again, so that she was forced to break off. But\nthe need she felt to disburden her mind to Tito urged her to repress the", "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "\"And _you_--you are safe?\"\n\n\"You are certainly an amiable wife, my Romola,\" said Tito, with the\ncoldest irony. \"Yes; I am safe.\"", "So it was settled in that way between Messer Bernardo del Nero, Romola,\nand Tito. Bardo assented with a wave of the hand when Bernardo told him", "Maso's message was from Romola. She wished Tito to go to the Via de'\nBardi as soon as possible. She would see him under the loggia, at the", "\"Tell me the truth, Tito--this time tell me the truth,\" said Romola, in\na low quivering voice. \"It will be safer for you.\"", "\"Because it was a trust,\" said Romola, in a low but distinct voice. \"He\ntrusted me, he trusted you, Tito. I did not expect you to feel anything", "\"You must not think despairingly of the consequences,\" said Tito, in a\ntone of soothing encouragement, at which Romola stood wondering, until", "\"Why should it not be?\" said Bardo, as if arguing against any opposition\nto his assent, rather than assenting. \"It would be a happiness to me;\nand thou, too, Romola, wouldst be the happier for it.\"", "Tito, paying his homage to Romola as he advanced, went, as his custom\nwas, straight to Bardo's chair, and put his hand in the palm that was", "\"Tito, it is not so,\" Romola burst forth in a pleading tone, rising and\ngoing nearer to him, with a desperate resolution to speak out. \"It is", "Romola's face saddened, but she checked herself, and said, cheerfully,\n\"You would not guess where I went to-day, Tito. I went to the Duomo, to\nhear Fra Girolamo.\"", "\"It is one of their masqued processions, I suppose,\" said Tito, who was\nnow alone with Romola, while Bernardo took charge of Bardo.", "\"I have no rancour against Messer Bernardo for thinking you too precious\nfor me, my Romola,\" said Tito: and that was true. \"But your father,\nthen, knows of his son's death?\"", "\"And now, my Romola,\" said Tito, entreatingly, \"you will banish these\nghastly thoughts. The vision was an ordinary monkish vision, bred of", "\"Doubtless the most noble lady brought him back.\" Then, advancing a\nlittle nearer to Romola, she added, \"It's my shame for him to have been", "\"Tito, it was you, I know,\" said Romola, smiling brightly, and kissing\nhim. \"How is it you never care about claiming anything? And after\nthat?\"", "Romola had been driven to utter the words as men are driven to use the\nlash of the horsewhip. At first, Tito felt horribly cowed; it seemed to" ], [ "Tito Melema started and looked round with a pale astonishment in his\nface as if at a sudden accusation; but Nello left him no time to feel at", "It was Tito Melema who felt that clutch. He turned his head, and saw\nthe face of his adoptive father, Baldassarre Calvo, close to his own.", "under the transient need to which he has been reduced by shipwreck. His\nname is Tito Melema, at your service.\"", "One of these spectators was Tito Melema. Bright, in the midst of\nbrightness, he sat at the window of the room above Nello's shop, his", "Along those illuminated streets Tito Melema was walking at about eight\no'clock in the evening, on his way homeward. He had been exerting", "\"_Tito Melema, aged twenty-three, with a dark, beautiful face, long dark\ncurls, the brightest smile, and a large onyx ring on his right\nforefinger_.\"", "introduce the young Greek, Tito Melema.", "of generous. He was a traitor without charm. It followed that he was\nnot fond of Tito Melema.", "trifle duller, now,\" he went on, smiling as the circle opened to admit\nTito, \"I should pretend to be fond of this Melema, who has got a", "apparently snatched up in the street, sat Tito Melema, in smiling\namusement at the compulsion he was under. His cap had slipped off his", "the very Tito Melema whose description he had carried round his neck as\nan index. No! nothing but Fra Luca's death could remove all danger; but", "\"Tito Melema,\" said the stranger, slipping the ring from his finger, and\npresenting it to Cennini, whom Nello, not less rapid with his razor than\nwith his tongue, had now released from the shaving-cloth.", "\"Well, and Tito Melema may have a peculiar sensibility to being laid\nhold of unexpectedly by prisoners who have run away from French", "Tito Melema was walking at a brisk pace on the way to the Via de' Bardi.\nYoung Bernardo Dovizi, who now looks at us out of Raphael's portrait as", "rage, but giving a new justification to extreme measures. There was no\nmalignity in Tito Melema's satisfaction: it was the mild", "Bartolommeo Scala, secretary of the Florentine Republic, on whom Tito\nMelema had been thus led to anchor his hopes, lived in a handsome palace", "Tito, laughing with the rest as Nello looked at himself tragically in\nthe hand-mirror, made a sign of farewell to the company generally, and\ntook his departure.", "\"I belong to Tito Melema, who has just gone in. I am to wait in the\ngardens.\"", "Ceccone, or was it Melema himself?\" he added, looking at the notary with\na face ironically innocent.", "said. Tito heard so far, but he was deaf to everything else till he was\nspecially addressed. It was Tornabuoni who spoke." ], [ "the very Tito Melema whose description he had carried round his neck as\nan index. No! nothing but Fra Luca's death could remove all danger; but", "When Fra Luca had ceased to speak, Tito still stood by him in\nirresolution, and it was not till, the pressure of the passengers being", "\"I do not deny it,\" said Tito, blandly. \"But if it turns out that Fra\nFrancesco is mistaken, he will have been burned for the wrong side, and", "element in Tito's nature--the fear of what he believed or saw was likely\nto rob him of pleasure: and he had a definite fear that Fra Luca might\nbe the means of driving him from Florence.", "As Tito entered the outer cloister of San Marco, and inquired for Fra\nLuca, there was no shadowy presentiment in his mind: he felt himself too", "mention of the future husband's name. Fra Luca would tell all he knew\nand conjectured, and Tito saw no possible falsity by which he could now", "\"I am at San Marco; my name is Fra Luca.\"\n\n\n\nCHAPTER ELEVEN.\n\nTITO'S DILEMMA.", "\"Assuredly,\" said Tito. \"It does but express the conclusions or\ndoctrines which the Frate specially teaches, and which the trial by fire", "\"No, he went out with our good old Piero di Cosimo. I saw Piero come in\nand cut off his rope, and take him out of the church. But you want\nrest, Tito? You feel ill?\"", "The party separated, and Tito took his way to the Palazzo Vecchio, where\nhe was to find Bartolommeo Scala. It was not a long walk, but, for", "Tito felt a disagreeable chill at this answer, for Bernardo del Nero's\neyes had retained their keen suspicion whenever they looked at him, and\nthe uneasy remembrance of Fra Luca converted all uncertainty into fear.", "Tito's visit to San Marco had been announced beforehand, and he was at\nonce conducted by Fra Niccolo, Savonarola's secretary, up the spiral", "purpose was fully shaped. He was going to ascertain from Fra Luca\nprecisely how much he conjectured of the truth, and on what grounds he", "\"It is true,\" said Tito, with bland gravity; \"and I should not have\ntroubled you with my trivial remark on the Frate's ability, but that you", "The day he was discerned by Tito in the Piazza del Duomo, he had the\nfresh anguish of this consciousness in his mind, and Tito's ready speech", "said. Tito heard so far, but he was deaf to everything else till he was\nspecially addressed. It was Tornabuoni who spoke.", "Tito indicated the required dimensions, and Piero marked them on a piece\nof paper.\n\n\"And now for the book,\" said Piero, reaching down a manuscript volume.", "after our godfather, but now he calls himself Fra Luca--had been taken\nto the monastery at Fiesole, because he was ill. But this morning a", "The first sound Tito heard was the short laugh of Piero di Cosimo, who\nstood close by him and was the only person that could see his face.\n\n\"Ha, ha! I know what a ghost should be now.\"", "perhaps have escaped that identification by Fra Luca. It was true that\nit had been taken from Baldassarre's finger and put on his own as soon" ], [ "\"Romola,\" Fra Luca began, \"I have had a vision concerning thee. Thrice\nI have had it in the last two months: each time it has been clearer.", "Romola was dimly conscious of footsteps and rustling forms moving aside:\nshe heard the voice of Fra Girolamo saying, in a low tone, \"Our brother", "And the lips that could have conveyed that knowledge were for ever\nclosed. The prevision that Fra Luca's words had imparted to Romola had", "\"Frate,\" said the dying voice.\n\nFra Girolamo leaned down. But no other word came for some moments.\n\n\"Romola,\" it said next.", "\"I have had special threats,\" said Tito, \"but I must beg you to be\nsilent on the subject, my Romola. I shall consider that you have broken\nmy confidence, if you mention it to your godfather.\"", "There were Florentine assessors at this new trial, and those words of\ntwofold retraction had soon spread. They filled Romola with dismayed\nuncertainty.", "Fra Girolamo moved towards the door, and called in a lay Brother who was\nwaiting outside. Then he went up to Romola and said in a tone of gentle", "\"Tell me the truth, Tito--this time tell me the truth,\" said Romola, in\na low quivering voice. \"It will be safer for you.\"", "Romola shuddered at the possibility. All the instruction, all the main\ninfluences of her life had gone to fortify her scorn of that sickly", "\"And now, my Romola,\" said Tito, entreatingly, \"you will banish these\nghastly thoughts. The vision was an ordinary monkish vision, bred of", "When Romola paused, with cheeks glowing, and with quivering lips, there\nwas dead silence. As she saw Fra Girolamo standing motionless before", "Romola shrank with dread from the renewal of her proximity to Tito, and\nyet she was uneasy that she had put herself out of reach of knowing what", "the very Tito Melema whose description he had carried round his neck as\nan index. No! nothing but Fra Luca's death could remove all danger; but", "with soldiery any longer, and the Frate has barked this time to some\npurpose. Ah, what is this?\" he added, as Romola, clasping him by the", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "reinforcement of protection to Savonarola; but Romola was now alive to\nevery suggestion likely to deepen her foreboding, that whatever the\npresent might be, it was only an unconscious brooding over the mixed", "\"What was it, my Romola? Sit down and tell me,\" said Tito, leading her\nto the bench that stood near. A fear had come across him lest the", "\"Take care, Romola,\" said Tito, playfully, feeling relieved that she had\nsaid nothing about Baldassarre; \"you have a touch of fanaticism in you.\nI shall have you seeing visions, like your brother.\"", "element in Tito's nature--the fear of what he believed or saw was likely\nto rob him of pleasure: and he had a definite fear that Fra Luca might\nbe the means of driving him from Florence.", "\"You will fear no longer, father,\" said Romola, in a tone of encouraging\nauthority; \"you will come down with me, and we will see who is living," ], [ "Baldassarre did not reply immediately; he glanced suspiciously at the\nofficious stranger. At last he said, \"If you will.\"\n\n\"Better come outside,\" said Piero.", "Baldassarre began to speak as if he were thoroughly assured of what he\nhad to say; but, in spite of his long preparation for this moment, there", "\"No,\" said Baldassarre, also thinking aloud, rather than consciously\nanswering, \"I only know one man.\"\n\n\"His name is not Nofri, is it?\" said Tessa, anxiously.", "Baldassarre; for the first time his words had wrought their right\neffect. He went on with gathering eagerness and firmness, laying his\nhand on her arm.", "Baldassarre was not asleep. There was a square opening high in the wall\nof the hovel, through which the moonbeams sent in a stream of pale", "Baldassarre. She dreaded to know more about him, yet she felt as if, in\nforsaking him, she would be forsaking some near claim upon her.", "The two men looked at each other, silent as death: Baldassarre, with\ndark fierceness and a tightening grip of the soiled worn hands on the", "Baldassarre's eyes, and that he felt it rushing through his veins. But\nthe next instant the grasp on his arm had relaxed, and Baldassarre had\ndisappeared within the church.", "\"Do you mean to stay here?\" he said.\n\n\"No,\" said Baldassarre, bitterly, \"you mean to turn me out.\"\n\n\"Not so,\" said Tito; \"I only ask.\"", "\"Your name?\" said the servant.\n\n\"Baldassarre Calvo,\" was the immediate answer.\n\n\"You are not a guest; the guests have all passed.\"", "Baldassarre was folding his arms in enjoyment of the long-absent\nmuscular sensation. He answered Piero with a less suspicious look and a\ntone which had some quiet decision in it.", "\"Ah, you are young, and the tears come easily,\" said Baldassarre, with\nsome impatience. \"But tears are no good; they only put out the fire", "Baldassarre had done his work, had had his draught of life: Tito said it\nwas _his_ turn now.", "preferred that Baldassarre should be prosperous and happy. But he had\nleft himself no second path now: there could be no conflict any longer:\nthe only thing he had to do was to take care of himself.", "now looking straight at Baldassarre. It was a moment of desperation\nthat annihilated all feeling in him, except the determination to risk\nanything for the chance of escape. And he gathered confidence from the", "that he should know what others knew about Baldassarre, and the first\npalsy of terror was being succeeded by the rapid devices to which mortal\ndanger will stimulate the timid.", "\"Talk no more about that,\" said Baldassarre, fiercely. \"I will have\nnothing else. Help me to wring one drop of vengeance on this side of", "\"Ah, you believe me--you know what he is!\" said Baldassarre, exultingly,\ntightening the pressure on her arm, as if the contact gave him power.\n\"You will help me?\"", "had a full view of the main entrance. She had looked long and\nattentively at Baldassarre, for grey hairs made a peculiar appeal to", "\"Yes,\" said Baldassarre, \"I shall be glad to get my strength. I want to\nget my strength,\" he repeated, as if he were muttering to himself,\nrather than speaking to her." ], [ "This, in brief, had been the history of Tito's relation to Tessa up to a\nvery recent date. It is true that once or twice before Bardo's death,", "\"Perhaps. What do you think about it, Tessa?\" said Tito, slipping his\nright arm round her, and looking down at her fondly.", "perfectly well aware that that face was Tessa's; but he had not chosen\nto say so. What had Nello to do with the matter? Tito had an innate", "Tessa did not like those words, even though Tito was smiling. She had\nsome pouting distress in her face, as she said, bending anxiously over\nthe baby--", "\"Yes, you must go back to your kid, my Tessa,\" said Tito, rising, \"and I\nmust go the other way.\"", "\"Tessa, Tessa, you little siren, you would ruin me,\" said Tito,\nlaughing, and kissing both her cheeks. \"I ought to have been in the Via", "\"Tessa!\" said Tito, with more sharpness in his voice than she had ever\nheard in it before. \"Why are you here? You must not follow me--you\nmust not stand about door-places waiting for me.\"", "\"Tito!\" She uttered the word in a tone of pretty, loving reproach, and\nthen he kissed her fondly, stroked her hair, as his manner was, and", "There were passers-by approaching. Tito had heard them, and that was\nwhy he spoke in a whisper. Romola was too conscious of being mastered", "which Tessa clung to Tito's arm, as he drew it from her waist, and\nplaced her hand within it. She only cared about the laugh as she might", "Tito had thoroughly frightened Tessa into silence about the\ncircumstances of their marriage, by telling her that if she broke that\nsilence she would never see him again; and Monna Lisa's deafness, which", "Tito turned and re-entered the house. Monna Lisa was nodding; he went\nup to Tessa, and found her crying by the side of her baby.", "which he had provided for his comfort when he came to see Tessa and the\nchildren. Tito himself was surprised at the growing sense of relief\nwhich he felt in these moments. No guile was needed towards Tessa: she", "Tessa obeyed with a tranquillising sense that life was going to be\nsomething quite new, and that Tito would be with her often. All who", "When Tito had first found this home for Tessa, on his return from Rome,\nmore than a year and a half ago, he had acted, he persuaded himself,", "\"Pretty little Tessa!\" said Tito, smiling at her. \"What makes you feel\nso safe with me?\"\n\n\"Because you are so beautiful--like the people going into Paradise: they\nare all good.\"", "The party separated, and Tito took his way to the Palazzo Vecchio, where\nhe was to find Bartolommeo Scala. It was not a long walk, but, for", "She had set down Lillo hurriedly, and held out her hand to Tessa, who\nkissed it with a mixture of awe and sorrow at this parting. Romola's", "nearer to him, and at last shyly asked him to kiss her, putting up her\nround olive cheek very innocently. Tito was used to love that came in", "\"I thought,\" said Tessa, speaking in a whisper, and struggling against a\nsob that _would_ rise immediately at this new voice of Tito's--\"I" ], [ "There were Florentine assessors at this new trial, and those words of\ntwofold retraction had soon spread. They filled Romola with dismayed\nuncertainty.", "And now, while the judicial Eight were gone to the Bargello to prepare\nfor the execution, the five condemned men were being led barefoot and in", "\"And that is true!\" said Savonarola, with flashing eyes. Romola's voice\nhad seemed to him in that moment the voice of his enemies. \"The cause\nof my party _is_ the cause of God's kingdom.\"", "And now Romola could see that the horseman was her husband, who had been\nsent to Pisa a few days before on a private embassy. The recognition", "\"Frate,\" said the dying voice.\n\nFra Girolamo leaned down. But no other word came for some moments.\n\n\"Romola,\" it said next.", "\"I know nothing about his accusation,\" said Romola. \"But I know he is\nthe man whom I saw with the rope round his neck in the Duomo--the man", "Romola had seemed to hear, as if they had been a cry, the words repeated\nto her by many lips--the words uttered by Savonarola when he took leave", "of the fatal affirmative black, deciding the death of the five prisoners\nwithout delay--deciding also, only tacitly and with much more delay, the\ndeath of Francesco Valori.", "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "Romola had been driven to utter the words as men are driven to use the\nlash of the horsewhip. At first, Tito felt horribly cowed; it seemed to", "irons through the midst of the council. It was their friends who had\ncontrived this: would not Florentines be moved by the visible\nassociation of such cruel ignominy with two venerable men like Bernardo", "Romola shuddered at the possibility. All the instruction, all the main\ninfluences of her life had gone to fortify her scorn of that sickly", "the Signoria would not defend the liberties of the Florentine people by\nexecuting those five perfidious citizens, there would not be wanting\nothers who would take that cause in hand to the peril of all who opposed", "\"I know, Romola--I know he is dead,\" said Tito; and the long lustrous\neyes told nothing of the many wishes that would have brought about that", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "\"This meeting corresponds with our parting, Romola. But I understand\nthat it is a moment of terrible suspense. I am come, however, if you\nwill listen to me, to bring you the relief of hope.\"", "\"It is one of their masqued processions, I suppose,\" said Tito, who was\nnow alone with Romola, while Bernardo took charge of Bardo.", "\"I would speak with you,\" said Baldassarre, as Romola looked at him in\nsilent expectation. It was plain that he had followed her, and had been\nwaiting for her. She was going at last to know the secret about him.", "Romola gave a slight start, but her impulse now was to do just what\nSavonarola told her. Her self-doubt was grappled by a stronger will and", "\"Then,\" said Romola, her indignation rising again, \"you can be\nindifferent that Florentines should inflict death which you do not" ], [ "Romola gave a slight start, but her impulse now was to do just what\nSavonarola told her. Her self-doubt was grappled by a stronger will and", "What was the cause he was struggling for? Romola had lost her trust in\nSavonarola, had lost that fervour of admiration which had made her", "Romola shuddered at the possibility. All the instruction, all the main\ninfluences of her life had gone to fortify her scorn of that sickly", "Romola's mind was still torn by conflict. She foresaw that she should\nobey Savonarola and go back: his words had come to her as if they were", "There were Florentine assessors at this new trial, and those words of\ntwofold retraction had soon spread. They filled Romola with dismayed\nuncertainty.", "\"And that is true!\" said Savonarola, with flashing eyes. Romola's voice\nhad seemed to him in that moment the voice of his enemies. \"The cause\nof my party _is_ the cause of God's kingdom.\"", "Romola was inwardly struggling with strong forces: that immense personal\ninfluence of Savonarola, which came from the energy of his emotions and", "Romola had seemed to hear, as if they had been a cry, the words repeated\nto her by many lips--the words uttered by Savonarola when he took leave", "Romola paused no longer. That evening she was in Florence, sitting in\nagitated silence under the exclamations of joy and wailing, mingled with", "reinforcement of protection to Savonarola; but Romola was now alive to\nevery suggestion likely to deepen her foreboding, that whatever the\npresent might be, it was only an unconscious brooding over the mixed", "Romola turned towards him with a slight start. Again the possibility of\nhis madness had darted through her mind, and checked the rush of belief.", "A slight quiver passed across Romola's face as Tito took hold of the\ncrucifix. But she had no wish to prevent his purpose; on the contrary,", "Romola's face saddened, but she checked herself, and said, cheerfully,\n\"You would not guess where I went to-day, Tito. I went to the Duomo, to\nhear Fra Girolamo.\"", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "\"I should never have quitted Florence,\" said Romola, tremulously, \"as\nlong as there was any hope of my fulfilling a duty to my father there.\"", "Under any other circumstances, Romola would have been sensitive to the\nappeal at the beginning of Savonarola's speech; but at this moment she", "of her own and his identity, had a power unexplained to herself, of\nshaking Romola. It is the way with half the truth amidst which we live,", "Romola, kneeling with buried face on the altar-step, was enduring one of\nthose sickening moments, when the enthusiasm which had come to her as", "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "And so Romola, seeing no ray across the darkness, and heavy with\nconflict that changed nothing, sank at last to sleep.\n\n\n\nCHAPTER THIRTY SEVEN." ], [ "the determination to escape without any visible notice of her, a not\naltogether agreeable resource. Yet Tito persevered and carried his\ncompanion to the door, cleverly managing his \"addio\" without turning his", "Tito, that he had not dared to pursue him, except under cover of a crowd\nor of the darkness; he felt, with instinctive horror, that if Tito's", "Tito, obliged to make his way through chance openings in the crowd,\nfound himself at one moment close to the trotting procession of", "him as Tito ended, and saw that the eyes which had had such fierce\nintensity only a few minutes before had now a vague fear in them. He\nclutched the back of a seat, and was silent.", "Bardi, had compelled the foot-passengers to recede hurriedly. Tito had\nbeen walking, as his manner was, with the thumb of his right-hand", "Tito had felt one great heart-leap of terror as he had staggered under\nthe weight of the thrust: he felt now the triumph of deliverance and", "Tito made a hasty sign of assent and adieu, and moving away from the\npillar, again found himself pushed towards the middle of the piazza and", "In an instant Tito had pushed his way through the barrier of bystanders,\nwhose curiosity made them ready to turn aside at the sudden interference", "Yes--they _were_ at the arches. In that moment Tito, with bloodless\nface and eyes dilated, had one of the self-preserving inspirations that", "The words had no sooner left Tito's lips than they seemed to vibrate up\nthe streets. A great shout rang through the air, and rushed along the", "awful burthen into the Piazza, and he could tell her what was generally\nknown in Florence--that Tito had escaped from an assaulting mob by", "They advanced toward the crowd with their swords drawn, all the quiet\nspectators making an escort for them. Tito went too: it was necessary", "In an instant Tito started up, went to the door, locked it, and took out\nthe key. It was time for all the masculine predominance that was latent", "Tito was one of those who remained behind. He had a native repugnance\nto sights of death and pain, and five days ago whenever he had thought", "\"Wait, at least, until these torches have passed,\" said Tito, with\nperfect self-command, but with a new rising of dislike to a wife who", "his well-studied periods, and reduced the representatives of the\nscholarly city to offer a makeshift welcome in impromptu French. But\nthat sudden confusion had created a great opportunity for Tito. As one", "himself and clutched it still, going close up to Tito till their faces\nwere not a foot off each other. Then he began to speak, in a deep\ntrembling voice--", "The party separated, and Tito took his way to the Palazzo Vecchio, where\nhe was to find Bartolommeo Scala. It was not a long walk, but, for", "relaxed his hold, and had disappeared. Tito knew well how to interpret\nthat: it meant that the vengeance was to be studied that it might be", "Tito pushed his way vigorously towards the corner of a side-street, a\nlittle vexed at this delay in his progress to the Via de' Bardi, and" ], [ "Tito had felt one great heart-leap of terror as he had staggered under\nthe weight of the thrust: he felt now the triumph of deliverance and", "him as Tito ended, and saw that the eyes which had had such fierce\nintensity only a few minutes before had now a vague fear in them. He\nclutched the back of a seat, and was silent.", "Tito was one of those who remained behind. He had a native repugnance\nto sights of death and pain, and five days ago whenever he had thought", "Yes--they _were_ at the arches. In that moment Tito, with bloodless\nface and eyes dilated, had one of the self-preserving inspirations that", "the ground. Tito put out his hand to help him, and so strangely quick\nare men's souls that in this moment, when he began to feel his atonement", "Tito felt that his fate was decided. Again his mind rushed over all the\ncircumstances of his departure from Florence, and he conceived a plan of", "relaxed his hold, and had disappeared. Tito knew well how to interpret\nthat: it meant that the vengeance was to be studied that it might be", "When Tito left the Via de' Bardi that day in exultant satisfaction at\nfinding himself thoroughly free from the threatened peril, his thoughts,", "A slight electric shock passed through Tito as he rose from the chair,\nbut it was not outwardly perceptible, for he immediately stooped to pick\nup the fallen book, and busied his fingers with flattening the leaves,\nwhile he said--", "\"Not at all!\" said Tito, with playful decision, opening his scarsella\nand dropping in the little key. \"I shall drown it in the Arno.\"", "Tito turned away with a sense of relief. \"This friar is not likely to\nlive,\" he said to himself. \"I saw he was worn to a shadow. And at", "the determination to escape without any visible notice of her, a not\naltogether agreeable resource. Yet Tito persevered and carried his\ncompanion to the door, cleverly managing his \"addio\" without turning his", "Tito, laughing with the rest as Nello looked at himself tragically in\nthe hand-mirror, made a sign of farewell to the company generally, and\ntook his departure.", "shot through his mind. \"Was he so changed that Tito really did not know\nhim?\" The thought was such a sudden arrest of impetuous currents, that", "Meanwhile, Tito's quick mind had been combining ideas with\nlightning-like rapidity. Bardo's son was not really dead, then, as he", "\"Certainly you have,\" said Tito, readily, in a low tone. \"He is the\nescaped prisoner who clutched me on the steps of the Duomo. I did not", "Tito made a hasty sign of assent and adieu, and moving away from the\npillar, again found himself pushed towards the middle of the piazza and", "themselves; the little rills of selfishness had united and made a\nchannel, so that they could never again meet with the same resistance.\nHitherto Tito had left in vague indecision the question whether, with", "Tito walked along with a light step, for the immediate fear had\nvanished; the usual joyousness of his disposition reassumed its", "himself and clutched it still, going close up to Tito till their faces\nwere not a foot off each other. Then he began to speak, in a deep\ntrembling voice--" ], [ "themselves; but for everything else, the exiles have the best of it.\nFor my own part, I have been thinking seriously that we should be wise\nto quit Florence, my Romola.\"", "Romola paused no longer. That evening she was in Florence, sitting in\nagitated silence under the exclamations of joy and wailing, mingled with", "And so Romola, seeing no ray across the darkness, and heavy with\nconflict that changed nothing, sank at last to sleep.\n\n\n\nCHAPTER THIRTY SEVEN.", "\"That is enough,\" said Romola, and she turned up the steps, to take\nrefuge in the Duomo, till she could recover from her agitation.", "The parting must come at last, but as Romola turned continually before\nshe passed out of sight, she saw the little flock lingering to catch the\nlast waving of her hand.", "\"Poor child!\" said Bernardo, looking at her with quiet penetration for a\nmoment or two. Then he said: \"Go, Romola--go home and rest. These", "Romola had watched Baldassarre until he had disappeared round the\nturning into the Piazza de' Mozzi, half feeling that his departure was a", "No more could be said, and Romola's heart was perfectly satisfied. Not\nso Tito's. If the subtle mixture of good and evil prepares suffering", "\"Come, then,\" said Romola, taking her by the hand and leading her to the\ncorner of a street nearly opposite. \"If you go down there,\" she said,", "After all, she was only a young girl--this poor Romola, who had found\nherself at the end of her joys.", "\"I should never have quitted Florence,\" said Romola, tremulously, \"as\nlong as there was any hope of my fulfilling a duty to my father there.\"", "Romola's face saddened, but she checked herself, and said, cheerfully,\n\"You would not guess where I went to-day, Tito. I went to the Duomo, to\nhear Fra Girolamo.\"", "On the fourteenth of April Romola was once more within the walls of\nFlorence. Unable to rest at Pistoja, where contradictory reports", "\"Do not be sorry,\" said Romola, \"you are well now, and I shall remember\nyou. I must go and see if my own people want me.\"\n\n\"Ah, yes, if they have the pestilence!\"", "In the first ardour of her self-conquest, after she had renounced her\nresolution of flight, Romola had made many timid efforts towards the", "It was late before Tito came. Romola had been pacing up and down the\nlong room which had once been the library, with the windows open, and a", "That evening, when it was dark and threatening rain, Romola, returning\nwith Maso and the lantern by her side, from the hospital of San Matteo,", "German Emperor was gone again; and, in other ways besides, the position\nof Florence was alleviated; but so much distress remained that Romola's", "For a moment Romola was silent. Then she said, in a voice of anguish,\n\"Tito, it is of no use: I have no belief in you.\"", "That day they all went home to Monna Brigida's, in the Borgo degli\nAlbizzi. Romola had made known, to Tessa by gentle degrees, that Naldo" ] ]

[ "For what leader is Florence mourning in 1492?", "Who marries Tito in a mock ceremony?", "What does Fra Luca reveal to Tito about his adoptive father?", "Who is Fra Luca's estranged sister? ", "What is Fra Luca's vision before his death?", "Why does Baldassarre vow revenge on Tito?", "What causes Romola to see Tito's true character?", "What gave Romola a new meaning in life?", "What does Tito sell that betrays Bardo?", "Who informs Tito that Baldassarre has been taken as a slave?", "Who tells Romola of Tito's secret family of Tessa and their children?", "When Romola takes to a boat to die, she ends up at an island that is fighting what disease?", "What does Tito jump into to avoid the rioting mob?", "Who kills Tito?", "What is Savonarola accused of at the end of the story?", "How does Savonarola die?", "In 1496, who declares war on the French king and Florence, his ally?", "Who convinces Romola to return to her husband and support Florentines after Tito's betrayal of Bardo?", "Who is Tito Melema?", "What does Tito learn from Fra Luca?", "What does Fra Luca warn Romola about?", "Who is Baldassarre?", "How are Tessa and Tito connected?", "What does Romola learn about the five Medici family supporters that are sentenced to death?", "Why is Romola's faith in Florence and, specifically, Savonarola, shaken?", "How does Tito escape the rioters?", "What happens to Tito after he escapes the river he jumped into?", "Where does Romola end up after leaving Florence?" ]

[ [ "Lorenzo de' Medici", "legendary leader Lorenzo de Medici" ], [ "Tessa.", "Tessa " ], [ "He has been forced into slavery and is seeking assistance.", "his father seeks help from the slavery" ], [ "Romola.", "Romola" ], [ "Marriage between her and a stranger will bring pain to her and her father.", "marriage" ], [ "Tito denied knowing him and called him a madman.", "he won't help him get out of prison" ], [ "He sells Bardo's library.", "Political turmoil in France." ], [ "Helping people in a village affected by the Plague.", "helping the sick survivors" ], [ "His library.", "The late farmers stock" ], [ "Fra Luca", "Fra Luca" ], [ "Baldassarre", "Baldassarre" ], [ "Plague", "Plague" ], [ "Arno River", "Arno river" ], [ "Baldassarre", "Baldassarre" ], [ "Heresy", "Heresy" ], [ "Burned at the stake.", "He's burned at the stake " ], [ "The League of Venice", "League of venice" ], [ "Savonarola", "Savonarola" ], [ "A shipwrecked stranger and a young Italianate-Greek scholar.", "An Italianate-Greek scholar " ], [ "He finds out that his adoptive father is asking for assistance after being forced into slavery.", "His father has fallen into slavery is asking for assistance" ], [ "He warns Romola of a vision about a marriage between her and a mysterious stranger and that the stranger will bring pain to her father and herself.", "the stranger she marries will cause her and her father pain" ], [ "Tito's adoptive father.", "Tito's adopted father" ], [ "They are secretly married and have two children.", "they are married" ], [ "She learns that Tito was involved with their arrest.", "Tito played a role in the arrest" ], [ "She pleads Savonarola to intervene with the death sentences against the supporters who include her godfather.", "He won't intervene in the deaths of the Medici family supporters " ], [ "He jumps into the Arno River.", "diving into Arno River" ], [ "Baldassarre kills him after he leaves the river.", "his adopted father kills him" ], [ "She drifts out to sea in a boat and ends up in a village affected by the plague.", "To the east coast" ] ]

0ac0e7c55534399855675cf41872ae6c5a8a32dd

validation

[ [ "Poor Mrs. Graham looked dismayed, and attempted to make excuses, but\nRose, either compassionating her lonely life, or anxious to cultivate her", "âBy no means, Mrs. Graham; pray let him stay. I am as much amused as he\nis,â pleaded I. But still, with hand and eye, she silently called him to\nher side.", "Mrs. Graham, and he had prepared the rooms as well as he could upon so\nshort a notice; but he would do himself the pleasure of calling upon her\nto-morrow, to receive her further commands.â", "âWell, Mrs. Graham?â said I, calmly and coldly; for, though I saw she was\nmiserable, and pitied her, I felt glad to have it in my power to torment\nher.", "Mrs. Graham seated herself at a distance from me. Eliza was my nearest\nneighbour. She exerted herself to be agreeable, in her gentle,", "It was true, then, that he had some designs upon Mrs. Graham; and, were\nthey honourable, he would not be so anxious to conceal them. She was\nblameless, of course, but he was detestable beyond all count.", "âCan it be that Mrs. Graham that distresses you so?â\n\nâNo, no, I tell youâitâs nothing.â", "You must suppose about three weeks passed over. Mrs. Graham and I were\nnow established friendsâor brother and sister, as we rather chose to", "Bay you are thinking about, I suppose, Mrs. Graham? It is a very long\nwalk, too far for you, and out of the question for Arthur. But we were", "neighbourhood, would be on pins and needles till she had seen her and got\nall she could out of her. She is called Mrs. Graham, and she is in", "âWas that Mrs. Graham you were speaking to just now?â said he, after the\nfirst few words of greeting had passed between us.\n\nâYes.â", "âI think it a very excellent plan,â interrupted Mrs. Graham, with\nimperturbable gravity. âBy that means I hope to save him from one", "part of the receiver, than the worth of the gift or the selfish motive of\nthe giver deserved, I ventured to ask Mrs. Graham for one more look at\nthe picture, if it was still there.", "to tell. Itâs about that sad Mrs. Grahamââ", "âYou were wishing to see âMarmion,â Mrs. Graham; and here it is, if you\nwill be so kind as to take it.â", "such a person as Mrs. Graham to her house; but, perhaps, she is not aware\nthat the ladyâs character is considered scarcely respectable.â", "moved towards the door. But, having bid adieu to Rose, Mrs. Graham\npresented her hand to me, saying, with a soft voice, and by no means a", "ââMrs. Graham,â said I,â he continued, shaking his head as he spoke,", "Mrs. Graham among the number. She could not now absent herself under the\nplea of dark evenings or inclement weather, and, greatly to my relief,", "I do not think Mrs. Graham was particularly delighted to see us: there\nwas something indescribably chilly in her quiet, calm civility; but I did" ], [ "It was true, then, that he had some designs upon Mrs. Graham; and, were\nthey honourable, he would not be so anxious to conceal them. She was\nblameless, of course, but he was detestable beyond all count.", "âBut Mrs. Graham doesnât think so. You shall just hear now what she told\nus the other dayâI told her Iâd tell you.â", "âCan it be that Mrs. Graham that distresses you so?â\n\nâNo, no, I tell youâitâs nothing.â", "Poor Mrs. Graham looked dismayed, and attempted to make excuses, but\nRose, either compassionating her lonely life, or anxious to cultivate her", "âWell, Mrs. Graham?â said I, calmly and coldly; for, though I saw she was\nmiserable, and pitied her, I felt glad to have it in my power to torment\nher.", "such a person as Mrs. Graham to her house; but, perhaps, she is not aware\nthat the ladyâs character is considered scarcely respectable.â", "âWas that Mrs. Graham you were speaking to just now?â said he, after the\nfirst few words of greeting had passed between us.\n\nâYes.â", "ââMrs. Graham,â said I,â he continued, shaking his head as he spoke,", "It was evident, then, that for Mrs. Grahamâs sake it was not his\nintention to criminate me.\n\n\n\n\nCHAPTER XV", "âWell,â answered she, âperhaps you know already that Mrs. Grahamâs\nhusband is not really dead, and that she had run away from him?â I", "âAre you angry because Mrs. Graham would not let you go home with her?â\nhe asked, with a faint smile that nearly exasperated me beyond control.", "âBy no means, Mrs. Graham; pray let him stay. I am as much amused as he\nis,â pleaded I. But still, with hand and eye, she silently called him to\nher side.", "to tell. Itâs about that sad Mrs. Grahamââ", "Mrs. Graham among the number. She could not now absent herself under the\nplea of dark evenings or inclement weather, and, greatly to my relief,", "her, certainly; but I am the last person you should apply to for\ninformation respecting Mrs. Graham.â", "mother gravely accosted me withââOh, Gilbert!âSuch an accident! Rose has\nbeen shopping in the village, and sheâs heard that Mr. Lawrence has been", "day,âbut if all the parish dinned it in my ears, I shouldnât believe a\nword of itâI know Mrs. Graham too well!â", "Bay you are thinking about, I suppose, Mrs. Graham? It is a very long\nwalk, too far for you, and out of the question for Arthur. But we were", "careless of everything but her own immediate pleasure and advantage, or\nsome misguided, obstinate woman, like Mrs. Graham, ignorant of her\nprincipal duties, and clever only in what concerns her least to knowâthen", "You must suppose about three weeks passed over. Mrs. Graham and I were\nnow established friendsâor brother and sister, as we rather chose to" ], [ "consider ourselves. She called me Gilbert, by my express desire, and I\ncalled her Helen, for I had seen that name written in her books. I", "âWell, but, Gilbert, there must be something in her manner to countenance\nsuch reports.â\n\nâDid you see anything in her manner?â", "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âOh, Gilbert!â\n\nâWell, do you think I could believe anything of the kind,âwhatever the\nWilsons and Millwards dared to whisper?â", "Gilbert, she can do anything. And we should call some time, mamma; itâs\nonly proper, you know.â", "âHelen,â said she, after a thoughtful silence, âdo you ever think about\nmarriage?â\n\nâYes, aunt, often.â", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "âMy dear Gilbert,â said she, âI wish you wouldnât do so! You know how\ndeeply I have your advantage at heart, how I love you and prize you above", "are. And if you marry her, Gilbert, youâll break my heartâso thereâs an\nend of it.â", "At this he only laughed and kissed my hand, calling me a sweet\nenthusiast. Then taking off his hat, he added: âBut look here,\nHelenâwhat can a man do with such a head as this?â", "âThat was the crisis, Helen!â said he, delightedly. âI had an infernal\npain hereâit is quite gone now. I never was so easy since the fallâquite", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "âHelen!â cried he, the moment I had left the room. I turned back, and\nstood awaiting his commands.\n\nâWhat do you want, Arthur?â I said at length.", "the needful himself, or should have when his old governor chose to quit\nthe stage. So you see, Helen, I have managed pretty well, both for your\nfriend and mine.â", "âNo, Helen,â said she, with reproachful gravity, âbut I know many that\nhave; and some, through carelessness, have been the wretched victims of", "âThen you are going to see her this evening?â\n\nâTo be sure I am!â\n\nâBut what would mamma say, Gilbert!â", "âHelen, thenâdear Helen!â I murmured. I was in an agony of mingled love,\nhope, delight, uncertainty, and suspense.", "âThat sounds presumptuous, Helen. Do you think you have enough for both;\nand do you imagine your merry, thoughtless profligate would allow himself\nto be guided by a young girl like you?â" ], [ "âWhen will she return to Grassdale?â was my next question.\n\nâI donât know.â", "likewise, for Helen is attached to the place and to meâas I am to her.\nThere are painful associations connected with Grassdale, which she cannot", "My companion gravely took my arm, and leading me away to the garden, thus\nanswered my question,ââShe is at Grassdale Manor, in âshire.â", "brightest expectations, and is at present residing in Grassdale Manor\nwith his young wifeâthe merry little Helen Hattersley of yore.", "was with her aunt in âshire, but was expected to return before Christmas.\nShe usually spent most of her time at Staningley, only coming to\nGrassdale occasionally, when the management of affairs, or the interest", "âPositively, I do; and I will take you down myself to Grassdale, and then\nreturn. I shall not be absent above a week or fortnight at most.â", "âWhere are you going?â\n\nâTo Grassdale first,â said he, with a half-smile he would willingly have\nsuppressed if he could.", "them over to Grassdale in the phaeton, with little Helen and Ralph, and\nwe were all enjoying ourselves in the gardenâI had a few minutesâ", "wanted to get me home, he said, to have me all to himself, and to see me\nsafely installed as the mistress of Grassdale Manor, just as", "Nevertheless, it was with no small degree of impatience that I looked\nforward to Mr. Lawrenceâs return from Grassdale: impatience that", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "discovered that the London air did not agree with me, and I was\nlanguishing for my country home, and must immediately return to\nGrassdale.", "friends till Christmas; and then, next spring, he will be off again. If\nhe continue this plan, I shall be able to stay at Grassdale well", "âTo Grassdale! Is she there, then?â", "âHelen, what do you mean to do when I get well?â he asked this morning.\nâWill you run away again?â\n\nâIt entirely depends upon your own conduct.â", "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "âDegrade myself, Helen?â\n\nâYes, degrade! What have you been doing all this time?â", "At length, however, I entered the neighbourhood of Grassdale. I\napproached the little rural churchâbut lo! there stood a train of", "âWhere?â cried I, with a convulsive start.\n\nâAt Grassdale Manor.â", "âWhy are you in such a hurry to leave me, Helen?â he said, with a smile\nof the most provoking self-sufficiency. âYou donât hate me, you know.â" ], [ "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "âHelen, you witch, do you know that youâve entailed upon me the curses of\nall my friends? I wrote to them the other day, to tell them of my happy", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âNo, Helen,â said she, with reproachful gravity, âbut I know many that\nhave; and some, through carelessness, have been the wretched victims of", "âAll a prejudice, Helen, a mere womanâs antipathy.â\n\nâNo; I have solid grounds for my dislike. And is that all?â", "âI heard some detestable falsehoods; but none but fools would credit them\nfor a moment, Helen, so donât let them trouble you.â", "âHelen, I want you a moment,â said the distinct, low voice of my aunt,\nclose beside us. And I left him, muttering maledictions against his evil\nangel.", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âHelen,â said she, âyou often see Esther, donât you?â\n\nâNot very often.â", "âWhy, Helen, you are as jealous as he is!â cried he, laughing still more;\nand I found it impossible to convince him of his mistake. So, from that", "âNow, Helen,â said he emphatically, half rising from his recumbent\nposture, âif you bother me with another word, Iâll ring the bell and", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "âHelen,â said he, with unusual gravity, âI am not quite satisfied with\nyou.â\n\nI desired to know what was wrong.", "âWell, Helen, I wonât repeat the offence. But I meant nothing by it, I\nassure you. I had taken too much wine, and I was scarcely myself at the\ntime.â", "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âYou, Helen? Impossible?â", "âHelen,â said she, after a thoughtful silence, âdo you ever think about\nmarriage?â\n\nâYes, aunt, often.â", "Helen, I donât care for her now; and I never loved any of them half as\nmuch as I do you, so you neednât fear to be forsaken like them.â", "âI tell you, Helen, it would break his heartâit would be the death of\nhimâbesides being a scandalous trick to poor Annabella. There is no help", "âHelen,â said he (he frequently called me Helen, and I never resented the\nfreedom), âI want you to look at this picture. Mr. Wilmot will excuse" ], [ "consider ourselves. She called me Gilbert, by my express desire, and I\ncalled her Helen, for I had seen that name written in her books. I", "âIt is something of the kind,â she answered. âSome day I may tell you,\nbut at present you had better leave me; and never, Gilbert, put me to the", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "She concludes with âGood-by, dear Helen. I am waiting anxiously for your\nadviceâbut mind you let it be all on the right side.â", "At this he only laughed and kissed my hand, calling me a sweet\nenthusiast. Then taking off his hat, he added: âBut look here,\nHelenâwhat can a man do with such a head as this?â", "our duty, to forget each other, though we might not see it ourselves.\nBut donât be afraid, Gilbert,â she added, smiling sadly at my manifest", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "and wringing of her hands, that meantime a violent conflict between\nreason and passion was silently passing within. At length she paused\nbefore the empty fire-place, and turning to me, said calmlyâif that might", "âBy all means, dearest Helen!âdo what you will with your own. I should\nnot dream of wishing your aunt to leave the place under any", "It was her writing! By an irresistible impulse I held out my hand, and\nthe words, âLet me see it,â involuntarily passed my lips. He was", "âGilbert, do leave me!â she cried, in a tone of such thrilling anguish\nthat I felt it would be cruel to disobey.", "children with me, and I gave them my whole attention, and determined to\nkeep them till the gentlemen came, or till Milicent arrived with her\nmother. Little Helen, however, was soon tired of playing, and insisted", "You must suppose about three weeks passed over. Mrs. Graham and I were\nnow established friendsâor brother and sister, as we rather chose to", "âHelen,â said she, after a thoughtful silence, âdo you ever think about\nmarriage?â\n\nâYes, aunt, often.â", "the needful himself, or should have when his old governor chose to quit\nthe stage. So you see, Helen, I have managed pretty well, both for your\nfriend and mine.â", "âOh, Gilbert!â\n\nâWell, do you think I could believe anything of the kind,âwhatever the\nWilsons and Millwards dared to whisper?â", "âThat was the crisis, Helen!â said he, delightedly. âI had an infernal\npain hereâit is quite gone now. I never was so easy since the fallâquite", "eyes upon me, she continued earnestly: âBut, Helenâor Mrs. Huntingdon, or\nwhatever you would have me call youâwill you tell him? If you are", "âDear Helen!â he saidââwhy do you cry? you know that I love youâ (and he\npressed my hand to his feverish lips), âand what more could you desire?â", "To return, however, to my own affairs: I was married in summer, on a\nglorious August morning. It took the whole eight months, and all Helenâs" ], [ "Frederick was exceedingly indignant against Mr. Huntingdon, and very much\ngrieved for me; but still he looked upon my project as wild and", "Huntingdon is married, he wonât have many opportunities of consorting\nwith his bachelor friends;âand the worse they are, the more I long to\ndeliver him from them.â", "Mr. Huntingdon, if not better; and yet you love him, and seem to be happy\nand contented; and perhaps I may manage as well. You must tell me, if", "âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you\nsitting there and laughing like an idiot!â", "Huntingdon and his guests had been particularly provoking and insulting\nto me in their encouragement of him, and I particularly anxious to get\nhim out of the room, and on the very point of demeaning myself by a burst", "âAnd the cream of the jest,â continued Mr. Huntingdon, laughing, âis,\nthat the artful minx loves nothing about him but his title and pedigree,", "âMrs. Huntingdon,â said he with bitter solemnity, âyou are cruelâcruel to\nmeâcruel to yourself.â", "This struck me as terrible news at the moment; but all regret and\napprehension vanished like a dream when I heard that Mr. Huntingdon was", "The first of these communications brought intelligence of a serious\nrelapse in Mr. Huntingdonâs illness, entirely the result of his own", "âIâm willing to grant you the satisfaction of a gentleman, Huntingdon,â\nsaid Mr. Hargrave, calmly addressing his host, but with a bitter sneer\nupon his countenance.", "Huntingdon? Donât you see what a sober, temperate man he is become? You\nsaw with regret the sad habits he was contracting, I know: and I know you", "thinks proper. He has no love for you, Mrs. Huntingdonâno reverence for\nyour sex, no belief in virtue, no admiration for its image. He will give", "Huntingdon, to think that your husband is the most enviable man in the\nworld, and I should be the next if you would deem me worthy of your\nfriendship.â", "But then it is a bitter trial to behold him, on his return, doing his\nutmost to subvert my labours and transform my innocent, affectionate,", "Huntingdon and meâfor we had both started up, and now stood wide enough\nasunder. But his confusion was only for a moment. Rallying in an", "as by the circumstance of his never coming to see me when Mr. Huntingdon\nis at home. But he has never openly expressed any disapprobation of him", "observed Huntingdon. âTheyâll make a match of it, as sure as can be.\nThat Lowboroughâs fairly besotted. But heâll find himself in a fix when", "between him and Lord Lowborough, and while she amuses herself with the\nlively Huntingdon, she tries her utmost to enslave his moody friend; and", "Mrs. Huntingdon is alone,â he would insist upon leaving the table\nhimself, to join me, and his host, however unwillingly, was obliged to\nfollow.", "âThen, they were demons themselves,â cried I, unable to contain my\nindignation. âAnd you, Mr. Huntingdon, it seems, were the first to tempt\nhim.â" ], [ "Some time before Mr. Huntingdonâs death Lady Lowborough eloped with\nanother gallant to the Continent, where, having lived a while in reckless", "âThey were talking about Lord Lowborough and his delectable lady, the\ncause of whose sudden departure is no secret amongst them; and her", "Lowborough. He was at the other end of the room, talking with Messrs.\nHargrave and Grimsby; but I saw him dart towards his lady and his host a", "servants from what they had seen in Lady Lowboroughâs manner last month;\nor perhaps from something that had passed between their master and her\nduring her former visit. At dinner I narrowly observed both her and", "âGone out with Lord Lowborough,â answered I, for he looked at me for a\nreply.\n\nâAnd not yet returned!â he said, seriously.", "It was in the free, dashing hand of Lady Lowborough. I glanced at the\nfirst page; it seemed full of extravagant protestations of affection;", "I answered,ââWhy do you wish to talk to me, Lady Lowborough? You must\nknow what I think of you.â", "On the day of Lady Lowboroughâs arrival, I followed her into her chamber,\nand plainly told her that, if I found reason to believe that she still", "âNo, thank you,â I replied; and, turning from him, I looked round. Lady\nLowborough was beside her husband, bending over him as he sat, with her", "But in saying this she looked back at Lord Lowborough, who was standing a\nlittle behind, leaning against the back of a chair, an attentive", "âThat,â answered the more low, deliberate voice of Lord Lowborough, âis\njust the remedy my own heart, or the devil within it, suggestedâto meet", "between him and Lord Lowborough, and while she amuses herself with the\nlively Huntingdon, she tries her utmost to enslave his moody friend; and", "âIf what?â\n\nâWell, if I was you, I wouldnât have that Lady Lowborough in the house\nanother minuteânot another minute I wouldnât!", "In the drawing-room I found Lady Lowborough, evidently in no very\nenviable state of mind, and struggling hard to conceal her discomposure", "âWho told you so? Lord Lowborough is a desperate man. He has dissipated\nhis fortune in gambling and other things, and is now seeking an heiress", "Nineteenth.âIn proportion as Lady Lowborough finds she has nothing to\nfear from me, and as the time of departure draws nigh, the more audacious", "âWhat you feel at this moment, I suppose?â said Lady Lowborough, with a\nmalicious smile, fixing her eyes upon her cousinâs distressed\ncountenance.", "âIf I were suspicious,â I replied, âI should have discovered your infamy\nlong before. No, Lady Lowborough, I do not found my charge upon\nsuspicion.â", "âWell,â replied he, âI thought of Lord Lowborough for one; but there is\nno possibility of getting him without his better half, our mutual friend,", "There followed a disgraceful contest: Lord Lowborough, in desperate\nearnest, and pale with anger, silently struggling to release himself from" ], [ "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âThen you must plead for me, Helen,â said he, and at length withdrew.", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âBy all means, leave him!â cried he earnestly; âbut NOT alone! Helen! let\nme protect you!â", "knowing, as I did, that (leaving myself entirely out of the question),\nhowever Helen might feel interested in her husbandâs welfare, however she", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "the needful himself, or should have when his old governor chose to quit\nthe stage. So you see, Helen, I have managed pretty well, both for your\nfriend and mine.â", "Helen immediately pushed the book from her, and after silently surveying\nher son, his friend, and his dog for a few moments, she dismissed the\nformer from the room under pretence of wishing him to fetch his last new", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "âThen I will save him from them.â\n\nâOh, Helen, Helen! you little know the misery of uniting your fortunes to\nsuch a man!â", "âHelen, what do you mean to do when I get well?â he asked this morning.\nâWill you run away again?â\n\nâIt entirely depends upon your own conduct.â", "When Helen was divested of her lugubrious bonnet and veil, her heavy\nwinter cloak, &c., she looked so like herself that I knew not how to bear", "âForgive me, Helen!â pleaded I. âI will never utter another word on the\nsubject. But may we not still meet as friends?â", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âWe shall meet in heaven. Let us think of that,â said she in a tone of\ndesperate calmness; but her eyes glittered wildly, and her face was\ndeadly pale.", "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "If the perusal of this letter filled me with dismay for Helenâs future\nlife and mine, there was one great source of consolation: it was now in", "âBut you donât, Helenâsay you love me, and Iâll go.â\n\nâI wish you would go!â I replied.", "likewise, for Helen is attached to the place and to meâas I am to her.\nThere are painful associations connected with Grassdale, which she cannot", "âHelen,â said I, turning impatiently towards her, âI cannot discuss the\nmatter of eternal separation calmly and dispassionately as you can do." ], [ "handâbut stop, Iâm telling too much,â muttered the narrator, startled at\nthe look I turned upon him. âBut no matter,â he recklessly added, and", "âIn confidence, I suppose? And you tell it in confidence to us? But I\ncan tell you that it is but a lame story after all, and scarcely one-half\nof it true.â", "may be all this, but I donât know him. I know only the exterior, and\nwhat, I trust, is the worst part of him.â", "This question, though unspoken, was not long unanswered; after a few\npassing observations upon indifferent subjects, he began in solemn tones\nthe following appeal to my humanity:â", "And indeed I know not whether, at the time, it was not for him rather\nthan myself that I blushed; for, since he and I are one, I so identify", "âWell, you know, thatâs what they told me,â said she, composedly staring\nme in the face. And then she broke out into a long shrill laugh that put", "confidence on your part might have removed; and, at last, I chanced to\noverhear a part of a conversation between you and her that made me think\nI had a right to hate you.â", "watched him and waited on him for several hours, showing myself as little\nas possible, and only speaking when necessary, and then not above my\nbreath. At first he addressed me as the nurse, but, on my crossing the", "the gentlemen themselves, I imagine. Iâll just tell you,â he continued,\nas if actuated by a sudden resolution, âwhat was said last night in the", "âIâll tell him, sir,â said the man. And I advanced further into the hall\nand followed him nearly to the door of the apartment where his master", "First, let me speak of his arrivalâhow I sat at my window, and watched\nfor nearly two hours, before his carriage entered the park-gatesâfor they", "greater than I was. Oh! if I had but known her before, how much\ndegradation and misery I should have been spared! But what have I done\nto deserve so magnificent a creature?â", "pronounced his book to be âcursed trash,â and threw it on the table.\nThen followed eight or ten minutes of silence, during the greater part of", "But it is time to bring my narrative to a close. Any one but you would\nsay I had made it too long already. But for your satisfaction I will add", "âIâll tell you, Mr. Hattersley,â said I. âShe was crying from pure shame\nand humiliation for you; because she could not bear to see you conduct", "âFirstly, he is at least forty years oldâconsiderably more, I should\nthinkâand I am but eighteen; secondly, he is narrow-minded and bigoted in", "and be suffered to rest in peace and quietness, at least, for the\nremainder of her life. I experienced a painful commiseration for her\nunhappy husband (though fully aware that he had brought every particle of", "âNo,â was the answer, and I shut the door and departed. I saw nothing\nmore of him till the following morning at breakfast, when he came down a\nfull hour after the usual time.", "to human nature, and especially to myself,âthat the former half of the\nnarrative was, to me, more painful than the latter, not that I was at all", "alone were present to his senses,âhe suddenly electrified me by\nbeginning, in a peculiar tone, low, soft, but perfectly distinct, to pour" ], [ "Poor Mrs. Graham looked dismayed, and attempted to make excuses, but\nRose, either compassionating her lonely life, or anxious to cultivate her", "Mrs. Graham among the number. She could not now absent herself under the\nplea of dark evenings or inclement weather, and, greatly to my relief,", "It was true, then, that he had some designs upon Mrs. Graham; and, were\nthey honourable, he would not be so anxious to conceal them. She was\nblameless, of course, but he was detestable beyond all count.", "âHelen,â said she, after a thoughtful silence, âdo you ever think about\nmarriage?â\n\nâYes, aunt, often.â", "Bay you are thinking about, I suppose, Mrs. Graham? It is a very long\nwalk, too far for you, and out of the question for Arthur. But we were", "But we had not done with Mrs. Graham yet.", "âWell, Mrs. Graham?â said I, calmly and coldly; for, though I saw she was\nmiserable, and pitied her, I felt glad to have it in my power to torment\nher.", "You must suppose about three weeks passed over. Mrs. Graham and I were\nnow established friendsâor brother and sister, as we rather chose to", "âWas that Mrs. Graham you were speaking to just now?â said he, after the\nfirst few words of greeting had passed between us.\n\nâYes.â", "âWell,â answered she, âperhaps you know already that Mrs. Grahamâs\nhusband is not really dead, and that she had run away from him?â I", "âBut Mrs. Graham doesnât think so. You shall just hear now what she told\nus the other dayâI told her Iâd tell you.â", "It was evident, then, that for Mrs. Grahamâs sake it was not his\nintention to criminate me.\n\n\n\n\nCHAPTER XV", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âBy no means, Mrs. Graham; pray let him stay. I am as much amused as he\nis,â pleaded I. But still, with hand and eye, she silently called him to\nher side.", "âCan it be that Mrs. Graham that distresses you so?â\n\nâNo, no, I tell youâitâs nothing.â", "but when I mentioned Mrs. Graham, thinking it might be a further\ninducement, it appeared to have a contrary effect, and he declined it\naltogether, and, to confess the truth, the decision was not displeasing", "It was never my custom to talk about Mrs. Graham either to her or any one\nelse; but I had not been seated three minutes before she brought that\nlady on to the carpet herself in a rather remarkable manner.", "ââMrs. Graham,â said I,â he continued, shaking his head as he spoke,", "During the next four months I did not enter Mrs. Grahamâs house, nor she\nmine; but still the ladies continued to talk about her, and still our", "such a person as Mrs. Graham to her house; but, perhaps, she is not aware\nthat the ladyâs character is considered scarcely respectable.â" ], [ "âHelen,â said she, âyou often see Esther, donât you?â\n\nâNot very often.â", "the needful himself, or should have when his old governor chose to quit\nthe stage. So you see, Helen, I have managed pretty well, both for your\nfriend and mine.â", "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "âHelen,â said she, after a thoughtful silence, âdo you ever think about\nmarriage?â\n\nâYes, aunt, often.â", "When Helen was divested of her lugubrious bonnet and veil, her heavy\nwinter cloak, &c., she looked so like herself that I knew not how to bear", "âBy all means, dearest Helen!âdo what you will with your own. I should\nnot dream of wishing your aunt to leave the place under any", "âHelen,â said he (he frequently called me Helen, and I never resented the\nfreedom), âI want you to look at this picture. Mr. Wilmot will excuse", "If the perusal of this letter filled me with dismay for Helenâs future\nlife and mine, there was one great source of consolation: it was now in", "children with me, and I gave them my whole attention, and determined to\nkeep them till the gentlemen came, or till Milicent arrived with her\nmother. Little Helen, however, was soon tired of playing, and insisted", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "âNo, Helen,â said she, with reproachful gravity, âbut I know many that\nhave; and some, through carelessness, have been the wretched victims of", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "Helen immediately pushed the book from her, and after silently surveying\nher son, his friend, and his dog for a few moments, she dismissed the\nformer from the room under pretence of wishing him to fetch his last new", "âThat was the crisis, Helen!â said he, delightedly. âI had an infernal\npain hereâit is quite gone now. I never was so easy since the fallâquite", "âAnother year! Oh, Helen, I could not wait so long!â\n\nâWhere is your fidelity?â", "To return, however, to my own affairs: I was married in summer, on a\nglorious August morning. It took the whole eight months, and all Helenâs", "You must suppose about three weeks passed over. Mrs. Graham and I were\nnow established friendsâor brother and sister, as we rather chose to", "âBut stay, Helen; sit down a little and compose yourself. Mr. Boarham is\nin no particular hurry, for he has little doubt of your acceptance; and I" ], [ "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âNo, HelenâMrs. Huntingdon,â said I, blushing at the implied imputation,", "Some time before Mr. Huntingdonâs death Lady Lowborough eloped with\nanother gallant to the Continent, where, having lived a while in reckless", "told me they were now on the Continent, and their present address was\nunknown to her. I never saw her speak much to Mr. Huntingdon; but he", "circumstances of Mrs. Huntingdon, the lady of Grassdale Manor, and those\nof Mrs. Graham, the artist, the tenant of Wildfell Hall. And it might be", "HELEN HUNTINGDON.\n\nâWhat do you think of it?â said Lawrence, as I silently refolded the\nletter.", "Mr. Huntingdon, if not better; and yet you love him, and seem to be happy\nand contented; and perhaps I may manage as well. You must tell me, if", "brightest expectations, and is at present residing in Grassdale Manor\nwith his young wifeâthe merry little Helen Hattersley of yore.", "Mrs. Huntingdon did not leave Wildfell Hall till above two months after\nour farewell interview. During that time she never appeared at church,", "âAh, Huntingdon!â said she reproachfully, pausing where I had stood with", "âOf course, Mr. Hargrave; is he not my husband?â\n\nâOh, Huntingdon; you know not what you slight!â he passionately murmured.", "âAnd the cream of the jest,â continued Mr. Huntingdon, laughing, âis,\nthat the artful minx loves nothing about him but his title and pedigree,", "March 20th.âHaving now got rid of Mr. Huntingdon for a season, my spirits", "I am married now, and settled down as Mrs. Huntingdon of Grassdale Manor.\nI have had eight weeksâ experience of matrimony. And do I regret the", "But Lowborough had gained the bottom of the stairs, and was now crossing\nthe hall; and Mr. Huntingdon, leaning over the banisters, called out,", "âMrs. Huntingdon,â said he with bitter solemnity, âyou are cruelâcruel to\nmeâcruel to yourself.â", "October 10th.âMr. Huntingdon returned about three weeks ago. His\nappearance, his demeanour and conversation, and my feelings with regard", "âHelen,â said she, âyou often see Esther, donât you?â\n\nâNot very often.â", "before. We seldom talked about Mrs. Huntingdon; but yet we never met\nwithout mentioning her, for I never sought his company but with the hope", "âDo you want to hear anything of your husband, Mrs. Huntingdon?â said he.\n\nâNo, unless you can tell me when to expect him home.â" ], [ "âOh, Gilbert!â\n\nâWell, do you think I could believe anything of the kind,âwhatever the\nWilsons and Millwards dared to whisper?â", "âMy dear Gilbert,â said she, âI wish you wouldnât do so! You know how\ndeeply I have your advantage at heart, how I love you and prize you above", "fixed his eyes upon you, Gilbert, as much as to say, âWhen Mr. Markham\nhas done flirting with those two ladies I will proceed.ââ", "âOh, my dear Gilbert, what nonsense you talk!âI know you donât mean it;", "âWell, but, Gilbert, there must be something in her manner to countenance\nsuch reports.â\n\nâDid you see anything in her manner?â", "âOh! but, Gilbert, how can you be so composed about it? You wonât mind\nbusiness for an hour or two in a case of this sort, when your friend is\nat the point of death.â", "âGilbert, why are you not in bedâyou said you wanted to go?â\n\nâConfound it! Iâm going,â said I.", "Gilbert, she can do anything. And we should call some time, mamma; itâs\nonly proper, you know.â", "are. And if you marry her, Gilbert, youâll break my heartâso thereâs an\nend of it.â", "our duty, to forget each other, though we might not see it ourselves.\nBut donât be afraid, Gilbert,â she added, smiling sadly at my manifest", "âI donât ask the reason of this change, Gilbert,â said she, with bitter\ncalmness: âI know it too well; but though I could see myself suspected", "that, Rose; Gilbert will like it for his supper.ââIâm nothing at all. In", "nowâthere, Gilbertâlet me goâhereâs Arthur; donât astonish his infantile\nbrain with your madness.â", "that thought at once. But Arthur is selfish; I am constrained to\nacknowledge that; and, indeed, the admission gives me less pain than", "âGilbert, do leave me!â she cried, in a tone of such thrilling anguish\nthat I felt it would be cruel to disobey.", "âGilbert, I must speak with you!â said she, in a tone of suppressed\nvehemence.\n\nI looked at her pale cheek and glittering eye, but answered nothing.", "âWhere are you going, Gilbert?â said Rose, one evening, shortly after\ntea, when I had been busy with the farm all day.\n\nâTo take a walk,â was the reply.", "answered with a long, low, chuckling laugh, as if he viewed the whole\ntransaction as a clever, merry jest from beginning to end. Surely that\nman will make me dislike him at last!", "âMy dear Gilbert, I wish you would try to be a little more amiable,â said\nmy mother one morning after some display of unjustifiable ill-humour on", "said,ââGilbert, it is getting late.â" ], [ "âYes: do you know what Mr. Lawrence is gone for?â She looked up\nanxiously for my reply.\n\nâIs he gone?â said I; and her face brightened.", "you allude to is Mr. Lawrence; but I think I can assure you that your\nsuspicions, in that respect, are utterly misplaced; and if he has any", "some rather pointed attentions, and upon whose heart, name, and fortune,\nit was whispered, she had serious designs. This was Mr. Lawrence, the", "Mr. Markham; my friend Markham, Mrs. Lawrence, late Miss Hargrave.â", "HELEN HUNTINGDON.\n\nâWhat do you think of it?â said Lawrence, as I silently refolded the\nletter.", "already know, and Mr. Lawrence, your landlord, with whom you ought to\nmake acquaintance.â", "âLawrence,â said I, calmly looking him in the face, âare you in love with\nMrs. Graham?â", "âWas that Mrs. Graham you were speaking to just now?â said he, after the\nfirst few words of greeting had passed between us.\n\nâYes.â", "She seemed vexed at the interruption.\n\nâIt is only Mr. Lawrence and Miss Wilson,â said I, âcoming to enjoy a\nquiet stroll. They will not disturb us.â", "Mrs. Graham, and he had prepared the rooms as well as he could upon so\nshort a notice; but he would do himself the pleasure of calling upon her\nto-morrow, to receive her further commands.â", "âOh! I was not aware that you were on such intimate terms with Mr.\nLawrenceâs household.â", "ladies to outshine, and all the gentlemen to charm,âand Mr. Lawrence,\nespecially, to capture and subdue. Her little arts to effect his", "show Mr. Lawrence that she had at least one brother more gentlemanly and\nrefined than Robert. That worthy individual she had been equally\nsolicitous to keep away; but he affirmed that he saw no reason why he", "Bay you are thinking about, I suppose, Mrs. Graham? It is a very long\nwalk, too far for you, and out of the question for Arthur. But we were", "âHere is Mr. Boarham, Helen,â said she. âHe wishes to see you.â", "circumstances of Mrs. Huntingdon, the lady of Grassdale Manor, and those\nof Mrs. Graham, the artist, the tenant of Wildfell Hall. And it might be", "âIs Mr. Lawrence at home?â I eagerly asked of the servant that opened the\ndoor.\n\nâNo, sir, master went yesterday,â replied he, looking very alert.", "Though Mr. Lawrenceâs health was now quite re-established, my visits to\nWoodford were as unremitting as ever; though often less protracted than", "âNo, HelenâMrs. Huntingdon,â said I, blushing at the implied imputation,", "fellow-traveller overtook me. He accosted me by name, for it was no\nstrangerâit was Mr. Lawrence! Instinctively the fingers of my whip-hand" ], [ "Arthur Huntingdon to me with impunity.â", "Annabellaâand even to dislike herâand now that Mr. Huntingdon is become\nmy Arthur, and I may enjoy his society without restraint. What shall I", "between him and Lord Lowborough, and while she amuses herself with the\nlively Huntingdon, she tries her utmost to enslave his moody friend; and", "âAnd the cream of the jest,â continued Mr. Huntingdon, laughing, âis,\nthat the artful minx loves nothing about him but his title and pedigree,", "not too glaringly, coquetting with Mr. Huntingdon, who is quite willing\nto be her partner in the game; but I donât care for it, because, with", "saw no more of Mr. Huntingdon. My aunt flatters herself I shall soon\nforget himâperhaps she thinks I have forgotten him already, for I never", "and Arthur Huntingdon have of late almost daily neglected the shooting\nexcursions to accompany us in our various rides and rambles. But these", "and Milicent went before, linked arm in arm and gravely discoursing\ntogether. At length Mr. Huntingdon turned to me, and addressing me in a", "Mr. Huntingdon, if not better; and yet you love him, and seem to be happy\nand contented; and perhaps I may manage as well. You must tell me, if", "against Mr. Huntingdon, and most ingeniously throwing the blame of her\nhusbandâs misconduct on to other menâs shoulders. The latter was full of", "Some time before Mr. Huntingdonâs death Lady Lowborough eloped with\nanother gallant to the Continent, where, having lived a while in reckless", "Huntingdon is married, he wonât have many opportunities of consorting\nwith his bachelor friends;âand the worse they are, the more I long to\ndeliver him from them.â", "âMrs. Huntingdon,â said he as I passed, âwill you allow me one word?â\n\nâWhat is it then? be quick, if you please.â", "apparently for the purpose of asking an introduction to me, for, shortly\nafter, they both came up, and she introduced him as Mr. Huntingdon, the", "after their arrival. Just as I had retired from the dining-room with the\nladies, before the door was closed upon us, Arthur exclaimed,ââNow then,", "observed Huntingdon. âTheyâll make a match of it, as sure as can be.\nThat Lowboroughâs fairly besotted. But heâll find himself in a fix when", "âNow, Nell,â said he, âthis young Huntingdon has been asking for you:", "Huntingdon, to think that your husband is the most enviable man in the\nworld, and I should be the next if you would deem me worthy of your\nfriendship.â", "âNo, HelenâMrs. Huntingdon,â said I, blushing at the implied imputation,", "Mrs. Huntingdon is alone,â he would insist upon leaving the table\nhimself, to join me, and his host, however unwillingly, was obliged to\nfollow." ], [ "âWhen will she return to Grassdale?â was my next question.\n\nâI donât know.â", "likewise, for Helen is attached to the place and to meâas I am to her.\nThere are painful associations connected with Grassdale, which she cannot", "My companion gravely took my arm, and leading me away to the garden, thus\nanswered my question,ââShe is at Grassdale Manor, in âshire.â", "brightest expectations, and is at present residing in Grassdale Manor\nwith his young wifeâthe merry little Helen Hattersley of yore.", "was with her aunt in âshire, but was expected to return before Christmas.\nShe usually spent most of her time at Staningley, only coming to\nGrassdale occasionally, when the management of affairs, or the interest", "âPositively, I do; and I will take you down myself to Grassdale, and then\nreturn. I shall not be absent above a week or fortnight at most.â", "âWhere are you going?â\n\nâTo Grassdale first,â said he, with a half-smile he would willingly have\nsuppressed if he could.", "them over to Grassdale in the phaeton, with little Helen and Ralph, and\nwe were all enjoying ourselves in the gardenâI had a few minutesâ", "wanted to get me home, he said, to have me all to himself, and to see me\nsafely installed as the mistress of Grassdale Manor, just as", "Nevertheless, it was with no small degree of impatience that I looked\nforward to Mr. Lawrenceâs return from Grassdale: impatience that", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "discovered that the London air did not agree with me, and I was\nlanguishing for my country home, and must immediately return to\nGrassdale.", "friends till Christmas; and then, next spring, he will be off again. If\nhe continue this plan, I shall be able to stay at Grassdale well", "âTo Grassdale! Is she there, then?â", "âHelen, what do you mean to do when I get well?â he asked this morning.\nâWill you run away again?â\n\nâIt entirely depends upon your own conduct.â", "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "âDegrade myself, Helen?â\n\nâYes, degrade! What have you been doing all this time?â", "At length, however, I entered the neighbourhood of Grassdale. I\napproached the little rural churchâbut lo! there stood a train of", "âWhere?â cried I, with a convulsive start.\n\nâAt Grassdale Manor.â", "âWhy are you in such a hurry to leave me, Helen?â he said, with a smile\nof the most provoking self-sufficiency. âYou donât hate me, you know.â" ], [ "fixed his eyes upon you, Gilbert, as much as to say, âWhen Mr. Markham\nhas done flirting with those two ladies I will proceed.ââ", "âI never told you, Markham, that I intended to marry Miss Wilson,â said\nhe, proudly.\n\nâNo, but whether you do or not, she intends to marry you.â", "âWell, but, Gilbert, there must be something in her manner to countenance\nsuch reports.â\n\nâDid you see anything in her manner?â", "are. And if you marry her, Gilbert, youâll break my heartâso thereâs an\nend of it.â", "admired, till after they were brought into closer contact here at\nStaningley, and she, in the absence of her other admirers, indubitably\ncourted his notice and held out every encouragement to his timid", "Master Graham, Mary and Eliza Millward, Jane and Richard Wilson, and\nRose, Fergus, and Gilbert Markham.", "âThere is no necessity for that,â said I, âfor we have had some discourse\non that subject already, and I assure you her ideas of love and matrimony\nare as romantic as any one could desire.â", "Yours immutably,\n GILBERT MARKHAM.\n\n\n\n\nCHAPTER II", "âI was half inclined to say so myself, Markham, at first. I assure you\nit was not by my advice that she went, for I detest that man as fervently", "âWhere are you going, Gilbert?â said Rose, one evening, shortly after\ntea, when I had been busy with the farm all day.\n\nâTo take a walk,â was the reply.", "Mary Millwardâthat steady, sensible girl, whose sterling worth had been\nso quickly perceived and duly valued by the supposed Mrs. Graham, in", "âWhy, Mr. Markham,â replied she, coolly, having quickly recovered her\nself-possession, âit surprises me rather that Mrs. Markham should invite", "The former, it is true, was most provokingly unsociable at\nfirstâseemingly bent upon talking to no one but Mary Millward and Arthur.", "âOh, Gilbert!â\n\nâWell, do you think I could believe anything of the kind,âwhatever the\nWilsons and Millwards dared to whisper?â", "âAnd so, Mr. Markham, you are going to rob me of my niece, I understand.\nWell! I hope God will prosper your union, and make my dear girl happy at", "âOh, Mr. Markham, how you blush!â cried she, with a tormenting laugh.", "âNow, Mr. Markham,â said she, with a kind of desperate calmness, âI must\ntell you plainly that I cannot do with this. I like your company,", "âGilbert, do leave me!â she cried, in a tone of such thrilling anguish\nthat I felt it would be cruel to disobey.", "âI think, sir, thereâs a bit of both,â she replied.\n\nHe departed; and Rachel pronounced him a very nice gentleman. I had\nstill my doubts on the subject.", "âAre you there still, Mr. Markham?â said she at length, looking round\nupon meâfor I was seated a little behind on a mossy projection of the" ], [ "consider ourselves. She called me Gilbert, by my express desire, and I\ncalled her Helen, for I had seen that name written in her books. I", "âIt is something of the kind,â she answered. âSome day I may tell you,\nbut at present you had better leave me; and never, Gilbert, put me to the", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "You must suppose about three weeks passed over. Mrs. Graham and I were\nnow established friendsâor brother and sister, as we rather chose to", "our duty, to forget each other, though we might not see it ourselves.\nBut donât be afraid, Gilbert,â she added, smiling sadly at my manifest", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "children with me, and I gave them my whole attention, and determined to\nkeep them till the gentlemen came, or till Milicent arrived with her\nmother. Little Helen, however, was soon tired of playing, and insisted", "She concludes with âGood-by, dear Helen. I am waiting anxiously for your\nadviceâbut mind you let it be all on the right side.â", "âOh, Gilbert!â\n\nâWell, do you think I could believe anything of the kind,âwhatever the\nWilsons and Millwards dared to whisper?â", "To return, however, to my own affairs: I was married in summer, on a\nglorious August morning. It took the whole eight months, and all Helenâs", "the needful himself, or should have when his old governor chose to quit\nthe stage. So you see, Helen, I have managed pretty well, both for your\nfriend and mine.â", "Gilbert, she can do anything. And we should call some time, mamma; itâs\nonly proper, you know.â", "When Helen was divested of her lugubrious bonnet and veil, her heavy\nwinter cloak, &c., she looked so like herself that I knew not how to bear", "âHelen,â said she, after a thoughtful silence, âdo you ever think about\nmarriage?â\n\nâYes, aunt, often.â", "âBy all means, dearest Helen!âdo what you will with your own. I should\nnot dream of wishing your aunt to leave the place under any", "âGilbert, do leave me!â she cried, in a tone of such thrilling anguish\nthat I felt it would be cruel to disobey.", "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âHelen,â said he (he frequently called me Helen, and I never resented the\nfreedom), âI want you to look at this picture. Mr. Wilmot will excuse", "HELEN HUNTINGDON.\n\nâWhat do you think of it?â said Lawrence, as I silently refolded the\nletter.", "âThat was the crisis, Helen!â said he, delightedly. âI had an infernal\npain hereâit is quite gone now. I never was so easy since the fallâquite" ], [ "The first of these communications brought intelligence of a serious\nrelapse in Mr. Huntingdonâs illness, entirely the result of his own", "This struck me as terrible news at the moment; but all regret and\napprehension vanished like a dream when I heard that Mr. Huntingdon was", "âMrs. Huntingdon,â said he with bitter solemnity, âyou are cruelâcruel to\nmeâcruel to yourself.â", "DEAR FREDERICK,âI know you will be anxious to hear from me, and I will\ntell you all I can. Mr. Huntingdon is very ill, but not dying, or in any", "the last illness and death of his once jolly friend Huntingdon so deeply\nand seriously impressed him with the evil of their former practices, that\nhe never needed another lesson of the kind. Avoiding the temptations of", "Huntingdon is married, he wonât have many opportunities of consorting\nwith his bachelor friends;âand the worse they are, the more I long to\ndeliver him from them.â", "The next was still more distressing in the tenor of its contents. The\nsufferer was fast approaching dissolutionâdragged almost to the verge of", "Frederick was exceedingly indignant against Mr. Huntingdon, and very much\ngrieved for me; but still he looked upon my project as wild and", "âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you\nsitting there and laughing like an idiot!â", "Mrs. Huntingdon is alone,â he would insist upon leaving the table\nhimself, to join me, and his host, however unwillingly, was obliged to\nfollow.", "are miserable now, Mrs. Huntingdon,â continued he, looking me boldly in\nthe face. âYou do not complain, but I seeâand feelâand know that you are", "and be suffered to rest in peace and quietness, at least, for the\nremainder of her life. I experienced a painful commiseration for her\nunhappy husband (though fully aware that he had brought every particle of", "Huntingdon and his guests had been particularly provoking and insulting\nto me in their encouragement of him, and I particularly anxious to get\nhim out of the room, and on the very point of demeaning myself by a burst", "âDo you want to hear anything of your husband, Mrs. Huntingdon?â said he.\n\nâNo, unless you can tell me when to expect him home.â", "thoughts of them from your mindâand my own too, for I hate to think of\nthemâyesâeven of my dear friend Huntingdon, when I consider the power he", "My worst fears are realised: mortification has commenced. The doctor has\ntold him there is no hope. No words can describe his anguish. I can\nwrite no more.\n\n * * * * *", "knew not what to do. I went down to dinner, but I could not force myself\nto eat. Mr. Huntingdon remarked the circumstance.", "itself under the stimulus of religion to its disagreeable and repulsive\ntask. âI knew that such charactersââas Huntingdon and his companionsââdo", "âIsnât it a shame, Mrs. Huntingdon?â cried his brother-in-law; âI struck", "âIâm willing to grant you the satisfaction of a gentleman, Huntingdon,â\nsaid Mr. Hargrave, calmly addressing his host, but with a bitter sneer\nupon his countenance." ], [ "âHelen!â cried he, the moment I had left the room. I turned back, and\nstood awaiting his commands.\n\nâWhat do you want, Arthur?â I said at length.", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âBy all means, leave him!â cried he earnestly; âbut NOT alone! Helen! let\nme protect you!â", "âBut you donât, Helenâsay you love me, and Iâll go.â\n\nâI wish you would go!â I replied.", "âWhy are you in such a hurry to leave me, Helen?â he said, with a smile\nof the most provoking self-sufficiency. âYou donât hate me, you know.â", "âThen you will leave me again, Arthur?â said I.", "âThe truth is, Arthur,â I said at last, âyou are weary of my company, and\ndetermined not to have me with you. You might as well have said so at\nonce.â", "âIt is I, Arthurâit is Helen, your wife,â I replied.", "Here was Arthur left to me at last; and rousing from my despondent\napathy, I exerted all my powers to eradicate the weeds that had been", "ââStay with me, Helen,â he says; âlet me hold you so: it seems as if harm", "âHelen, what do you mean to do when I get well?â he asked this morning.\nâWill you run away again?â\n\nâIt entirely depends upon your own conduct.â", "âNo, Arthur, if I could really serve you by them. I would give my life\nto save you, if I might.â\n\nâWould you, indeed? No!â", "obliged to meet them, and forcing myself to leave my little Arthur in her\nhands for hours together! But I trust these trials are over now: I have", "Arthur, whom he had driven over to see me. Our poor invalid evidently\nfelt it a heartless proposition, and would have felt it still more", "This is as it should be; but Arthur never will let me be satisfied with\nhim. I have never, for a single hour since I married him, known what it", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "âWait till Arthur comes, at least.â\n\nOnly too glad to obey, I stood and leant against the opposite side of the\nwindow.", "âThen you wonât go to London, Arthur?â I said, when the first transport\nof tears and kisses had subsided.", "At this he only laughed and kissed my hand, calling me a sweet\nenthusiast. Then taking off his hat, he added: âBut look here,\nHelenâwhat can a man do with such a head as this?â" ], [ "âWhen will she return to Grassdale?â was my next question.\n\nâI donât know.â", "likewise, for Helen is attached to the place and to meâas I am to her.\nThere are painful associations connected with Grassdale, which she cannot", "My companion gravely took my arm, and leading me away to the garden, thus\nanswered my question,ââShe is at Grassdale Manor, in âshire.â", "brightest expectations, and is at present residing in Grassdale Manor\nwith his young wifeâthe merry little Helen Hattersley of yore.", "was with her aunt in âshire, but was expected to return before Christmas.\nShe usually spent most of her time at Staningley, only coming to\nGrassdale occasionally, when the management of affairs, or the interest", "âPositively, I do; and I will take you down myself to Grassdale, and then\nreturn. I shall not be absent above a week or fortnight at most.â", "âWhere are you going?â\n\nâTo Grassdale first,â said he, with a half-smile he would willingly have\nsuppressed if he could.", "them over to Grassdale in the phaeton, with little Helen and Ralph, and\nwe were all enjoying ourselves in the gardenâI had a few minutesâ", "wanted to get me home, he said, to have me all to himself, and to see me\nsafely installed as the mistress of Grassdale Manor, just as", "Nevertheless, it was with no small degree of impatience that I looked\nforward to Mr. Lawrenceâs return from Grassdale: impatience that", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "discovered that the London air did not agree with me, and I was\nlanguishing for my country home, and must immediately return to\nGrassdale.", "friends till Christmas; and then, next spring, he will be off again. If\nhe continue this plan, I shall be able to stay at Grassdale well", "âTo Grassdale! Is she there, then?â", "âHelen, what do you mean to do when I get well?â he asked this morning.\nâWill you run away again?â\n\nâIt entirely depends upon your own conduct.â", "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "âDegrade myself, Helen?â\n\nâYes, degrade! What have you been doing all this time?â", "At length, however, I entered the neighbourhood of Grassdale. I\napproached the little rural churchâbut lo! there stood a train of", "âWhere?â cried I, with a convulsive start.\n\nâAt Grassdale Manor.â", "âWhy are you in such a hurry to leave me, Helen?â he said, with a smile\nof the most provoking self-sufficiency. âYou donât hate me, you know.â" ], [ "some rather pointed attentions, and upon whose heart, name, and fortune,\nit was whispered, she had serious designs. This was Mr. Lawrence, the", "married on Thursday, and Mr. Lawrence was gone to the wedding. She did\ntell me the name of the gentleman, but Iâve forgotten that. Perhaps you", "âYes: do you know what Mr. Lawrence is gone for?â She looked up\nanxiously for my reply.\n\nâIs he gone?â said I; and her face brightened.", "âLawrence,â said I, calmly looking him in the face, âare you in love with\nMrs. Graham?â", "And finally (for I omit myself), Mr. Lawrence was gentlemanly and\ninoffensive to all, and polite to the vicar and the ladies, especially", "Mr. Lawrence came too. He did not arrive till some time after the rest\nwere assembled. I was curious to see how he would comport himself to", "you allude to is Mr. Lawrence; but I think I can assure you that your\nsuspicions, in that respect, are utterly misplaced; and if he has any", "Mr. Markham; my friend Markham, Mrs. Lawrence, late Miss Hargrave.â", "show Mr. Lawrence that she had at least one brother more gentlemanly and\nrefined than Robert. That worthy individual she had been equally\nsolicitous to keep away; but he affirmed that he saw no reason why he", "ladies to outshine, and all the gentlemen to charm,âand Mr. Lawrence,\nespecially, to capture and subdue. Her little arts to effect his", "Though Mr. Lawrenceâs health was now quite re-established, my visits to\nWoodford were as unremitting as ever; though often less protracted than", "Mr. Lawrence had been invited to join us, but, for some reason best known\nto himself, had refused to give us his company. I had solicited the", "his hostess and her daughter, and Miss Wilsonâmisguided man; he had not\nthe taste to prefer Eliza Millward. Mr. Lawrence and I were on tolerably", "heart at least. I looked at the bridegroomâit was Frederick Lawrence! I\nwiped away the cold drops that were trickling down my forehead, and", "she had much better remain Miss Wilson of Ryecote Farm than be transmuted\ninto Mrs. Lawrence of Woodford Hall. I believe, too, that he soon", "were now returned to the house. I offered, nay, begged to accompany her\nhome. Mr. Lawrence was standing by at the time conversing with some one", "âI never told you, Markham, that I intended to marry Miss Wilson,â said\nhe, proudly.\n\nâNo, but whether you do or not, she intends to marry you.â", "âYou will go to her, Lawrence?â said I, as I put the letter into his\nhand.\n\nâYes, immediately.â", "fellow-traveller overtook me. He accosted me by name, for it was no\nstrangerâit was Mr. Lawrence! Instinctively the fingers of my whip-hand", "She seemed vexed at the interruption.\n\nâIt is only Mr. Lawrence and Miss Wilson,â said I, âcoming to enjoy a\nquiet stroll. They will not disturb us.â" ], [ "âCome here, Arthur,â said the latter, extending his hand towards him.\nThe child went, and timidly touched that burning hand, but almost started", "that thought at once. But Arthur is selfish; I am constrained to\nacknowledge that; and, indeed, the admission gives me less pain than", "Arthur, thus released, crept back to me and put his hand in mine. His\nfather swore I had made the child hate him, and abused and cursed me", "Such disgraceful scenes (or nearly such) have been repeated more than\nonce. I donât say much to Arthur about it, for, if I did, it would do", "tractable darling into a selfish, disobedient, and mischievous boy;\nthereby preparing the soil for those vices he has so successfully\ncultivated in his own perverted nature.", "The next object of assault was Arthur, who sat opposite, and had, no\ndoubt, richly enjoyed the whole scene.", "mistaken tenderness for this manâs feelings. Little Arthur had not\nforgotten his father, but thirteen months of absence, during which he had", "Arthur is not what is commonly called a bad man: he has many good\nqualities; but he is a man without self-restraint or lofty aspirations, a", "âThe truth is, Arthur,â I said at last, âyou are weary of my company, and\ndetermined not to have me with you. You might as well have said so at\nonce.â", "encouraging to me. There was one comfort, however,âall this was entailed\nupon little Arthur, and could not under any circumstances, strictly", "âOnly, Arthur, that you would love yourself as truly and as faithfully as\nyou are loved by me.â\n\nâThat would be hard, indeed!â he replied, tenderly squeezing my hand.", "Arthur, whom he had driven over to see me. Our poor invalid evidently\nfelt it a heartless proposition, and would have felt it still more", "âNot because you loved her, Arthur, mind, but because she injured you and\ndeceived her husband, and was altogether a very abominable woman, whom\nyou ought to be ashamed to mention.â", "This is as it should be; but Arthur never will let me be satisfied with\nhim. I have never, for a single hour since I married him, known what it", "now got down to the lowest gradation in Arthurâs affection, and\ndiscovered all the evils of his nature: if there be any further change,", "âYou didnât last time. But THIS time, Arthur,â I added, earnestly, âshow\nme that you can, and teach me that I need not fear to trust you!â", "âI do know something of himâbut you must excuse me this time; for the\nevenings, now, are dark and damp, and Arthur, I fear, is too delicate to", "But then it is a bitter trial to behold him, on his return, doing his\nutmost to subvert my labours and transform my innocent, affectionate,", "Arthur not unfrequently rides over to him. I do not think either of\nthese soi-disant friends is overflowing with love for the other; but such", "you hear such words spoken, Arthur, remember never to repeat them: it is\nwicked to say such things of others, not to have them said against you.â" ], [ "âYesâand it is my belief that Eliza Millward and she, if not the very\noriginators of the slanderous reports that have been propagated, were", "âNo, Miss Eliza, thatâs false.â\n\nâDo you charge me with a falsehood, sir?â", "more agreeable. But I was out of temper with Eliza at that moment for\nher insinuations against Mrs. Graham, which were false, I was certain,\nwhether she knew it or not.", "was, and still is, to blacken your sisterâs character to the utmost of\nher power, without risking too greatly the exposure of her own\nmalevolence!â", "talk. But Eliza took advantage of the first convenient pause to ask if I\nhad lately seen Mrs. Graham, in a tone of merely casual inquiry, but with", "Miss Wilson drew herself up with a look of freezing scorn, but said\nnothing. Eliza would have replied, but I interrupted her by saying as", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âAnd so, Helen,â said she, coming up to me with a smile of no amiable\nimport, âyou are to be Mrs. Huntingdon, I suppose?â", "hated her rival, and evidently delighted to wreak her spite on me. On\nthe other hand, Miss Wilson was as affable and courteous as heart could", "âConfound Jane Wilson!â\n\nâAnd Eliza Millward is quite grieved about you.â\n\nâI hope she is.â", "Mrs. Graham seated herself at a distance from me. Eliza was my nearest\nneighbour. She exerted herself to be agreeable, in her gentle,", "âAll a prejudice, Helen, a mere womanâs antipathy.â\n\nâNo; I have solid grounds for my dislike. And is that all?â", "Eliza, but because I had not half forgiven the old gentleman himself for\nhis ill opinion of Mrs. Huntingdon; for though now constrained to\nacknowledge himself mistaken in his former judgment, he still maintained", "âI think I do, perhaps a little better; and therefore, if you will inform\nme what you have heard or imagined against her, I shall, perhaps, be able\nto set you right.â", "But in revenge I followed Eliza into the dimly-lighted passage, where,\nunder pretence of helping her on with her shawl, I fear I must plead", "âWell, but, Gilbert, there must be something in her manner to countenance\nsuch reports.â\n\nâDid you see anything in her manner?â", "âAnd whom?â demanded Miss Wilson, with an air of cold, but keen severity.\n\nEliza was startled; the timidly spoken suggestion had been intended for\nmy ear alone.", "âHelen, you witch, do you know that youâve entailed upon me the curses of\nall my friends? I wrote to them the other day, to tell them of my happy", "against her, but no good or amiable woman would be capable of evincing\nthat bitter, cold-blooded, designing malice towards a fancied rival that\nI have observed in her.â", "wonder, Eliza, you should think of referring to that unfortunate\npersonâyou might know the mention of her would be anything but agreeable\nto any one here present.â" ], [ "âAnd the cream of the jest,â continued Mr. Huntingdon, laughing, âis,\nthat the artful minx loves nothing about him but his title and pedigree,", "Mr. Huntingdon, if not better; and yet you love him, and seem to be happy\nand contented; and perhaps I may manage as well. You must tell me, if", "âMrs. Huntingdon,â said he with bitter solemnity, âyou are cruelâcruel to\nmeâcruel to yourself.â", "observed Huntingdon. âTheyâll make a match of it, as sure as can be.\nThat Lowboroughâs fairly besotted. But heâll find himself in a fix when", "Huntingdon is married, he wonât have many opportunities of consorting\nwith his bachelor friends;âand the worse they are, the more I long to\ndeliver him from them.â", "Huntingdon, to think that your husband is the most enviable man in the\nworld, and I should be the next if you would deem me worthy of your\nfriendship.â", "persuade Mr. Huntingdon to think of you too; but to no purpose: I fear he\nis fully determined to enjoy himself this night; and it will be no use", "thinks proper. He has no love for you, Mrs. Huntingdonâno reverence for\nyour sex, no belief in virtue, no admiration for its image. He will give", "between him and Lord Lowborough, and while she amuses herself with the\nlively Huntingdon, she tries her utmost to enslave his moody friend; and", "against Mr. Huntingdon, and most ingeniously throwing the blame of her\nhusbandâs misconduct on to other menâs shoulders. The latter was full of", "âNo, HelenâMrs. Huntingdon,â said I, blushing at the implied imputation,", "tell you the truth, Helen, I donât like the thoughts of it at all. If I\nam to be Mr. Hattersleyâs wife, I must try to love him; and I do try with", "âOf course, Mr. Hargrave; is he not my husband?â\n\nâOh, Huntingdon; you know not what you slight!â he passionately murmured.", "At this he only laughed and kissed my hand, calling me a sweet\nenthusiast. Then taking off his hat, he added: âBut look here,\nHelenâwhat can a man do with such a head as this?â", "âDo you want to hear anything of your husband, Mrs. Huntingdon?â said he.\n\nâNo, unless you can tell me when to expect him home.â", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âWas Mr. Huntingdon proposing to you, Helen?â inquired my too watchful\nrelative.\n\nâNo.â", "âIâm willing to grant you the satisfaction of a gentleman, Huntingdon,â\nsaid Mr. Hargrave, calmly addressing his host, but with a bitter sneer\nupon his countenance.", "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "affection, and the injury he will do himself by trusting his happiness to\nher. She does not love him: she thinks only of herself. She cannot" ], [ "Huntingdon, to think that your husband is the most enviable man in the\nworld, and I should be the next if you would deem me worthy of your\nfriendship.â", "âAnd the cream of the jest,â continued Mr. Huntingdon, laughing, âis,\nthat the artful minx loves nothing about him but his title and pedigree,", "Mr. Huntingdon, if not better; and yet you love him, and seem to be happy\nand contented; and perhaps I may manage as well. You must tell me, if", "observed Huntingdon. âTheyâll make a match of it, as sure as can be.\nThat Lowboroughâs fairly besotted. But heâll find himself in a fix when", "Huntingdon is married, he wonât have many opportunities of consorting\nwith his bachelor friends;âand the worse they are, the more I long to\ndeliver him from them.â", "between him and Lord Lowborough, and while she amuses herself with the\nlively Huntingdon, she tries her utmost to enslave his moody friend; and", "against Mr. Huntingdon, and most ingeniously throwing the blame of her\nhusbandâs misconduct on to other menâs shoulders. The latter was full of", "Frederick was exceedingly indignant against Mr. Huntingdon, and very much\ngrieved for me; but still he looked upon my project as wild and", "âNow, Huntingdon,â exclaimed his irascible friend, âI will not have you\nsitting there and laughing like an idiot!â", "âAh, Huntingdon!â said she reproachfully, pausing where I had stood with", "ââMy wife! what wife? I have no wife,â replied Huntingdon, looking", "Huntingdon and his guests had been particularly provoking and insulting\nto me in their encouragement of him, and I particularly anxious to get\nhim out of the room, and on the very point of demeaning myself by a burst", "Huntingdon? Donât you see what a sober, temperate man he is become? You\nsaw with regret the sad habits he was contracting, I know: and I know you", "Mrs. Huntingdon is alone,â he would insist upon leaving the table\nhimself, to join me, and his host, however unwillingly, was obliged to\nfollow.", "âNay, nay, Huntingdon,â said he, âyouâre too hard upon her; she must have", "Huntingdon and meâfor we had both started up, and now stood wide enough\nasunder. But his confusion was only for a moment. Rallying in an", "This struck me as terrible news at the moment; but all regret and\napprehension vanished like a dream when I heard that Mr. Huntingdon was", "âMrs. Huntingdon,â said he with bitter solemnity, âyou are cruelâcruel to\nmeâcruel to yourself.â", "âOf course, Mr. Hargrave; is he not my husband?â\n\nâOh, Huntingdon; you know not what you slight!â he passionately murmured.", "Arthur Huntingdon to me with impunity.â" ], [ "On the day of Lady Lowboroughâs arrival, I followed her into her chamber,\nand plainly told her that, if I found reason to believe that she still", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âThey were talking about Lord Lowborough and his delectable lady, the\ncause of whose sudden departure is no secret amongst them; and her", "servants from what they had seen in Lady Lowboroughâs manner last month;\nor perhaps from something that had passed between their master and her\nduring her former visit. At dinner I narrowly observed both her and", "I answered,ââWhy do you wish to talk to me, Lady Lowborough? You must\nknow what I think of you.â", "âShe told me herself. She told me all. She knew I might be trusted.\nBut you neednât disturb yourself about that, Mr. Lawrence, for Iâve seen\nthe last of her!â", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âI tell you, Helen, it would break his heartâit would be the death of\nhimâbesides being a scandalous trick to poor Annabella. There is no help", "âWho told you so? Lord Lowborough is a desperate man. He has dissipated\nhis fortune in gambling and other things, and is now seeking an heiress", "Nineteenth.âIn proportion as Lady Lowborough finds she has nothing to\nfear from me, and as the time of departure draws nigh, the more audacious", "Some time before Mr. Huntingdonâs death Lady Lowborough eloped with\nanother gallant to the Continent, where, having lived a while in reckless", "âWho told you so, my dear? What was that story about his intrigue with a\nmarried ladyâLady who was it?âMiss Wilmot herself was telling you the\nother day?â", "cause of my error, I think you blame me too severely. I told Lady\nLowborough two weeks ago, the very hour she came, that I should certainly", "âGone out with Lord Lowborough,â answered I, for he looked at me for a\nreply.\n\nâAnd not yet returned!â he said, seriously.", "âIf I were suspicious,â I replied, âI should have discovered your infamy\nlong before. No, Lady Lowborough, I do not found my charge upon\nsuspicion.â", "âHelen!â cried he, the moment I had left the room. I turned back, and\nstood awaiting his commands.\n\nâWhat do you want, Arthur?â I said at length.", "In the drawing-room I found Lady Lowborough, evidently in no very\nenviable state of mind, and struggling hard to conceal her discomposure", "âAnd now, Lady Lowborough,â continued I, âlet me counsel you to leave\nthis house as soon as possible. You must be aware that your continuance", "âWhat you feel at this moment, I suppose?â said Lady Lowborough, with a\nmalicious smile, fixing her eyes upon her cousinâs distressed\ncountenance.", "âIf what?â\n\nâWell, if I was you, I wouldnât have that Lady Lowborough in the house\nanother minuteânot another minute I wouldnât!" ], [ "âIt is Helen Huntingdon,â said I, quietly rising at the same time, and\nremoving to a less conspicuous position.", "âWhat could you mean, Helen, by taking the servantâs part against me,â\nsaid Arthur, as soon as the door was closed, âwhen you knew I was\ndistracted?â", "âThen you must plead for me, Helen,â said he, and at length withdrew.", "âThere now, Helen!â I said, as the approaching steps of Rachel were heard\nin answer to the summons. There was nothing for it but to turn round and\ndesire the maid to light the fire.", "âBy all means, leave him!â cried he earnestly; âbut NOT alone! Helen! let\nme protect you!â", "Helen immediately pushed the book from her, and after silently surveying\nher son, his friend, and his dog for a few moments, she dismissed the\nformer from the room under pretence of wishing him to fetch his last new", "âNow,â resumed he, after a momentary pause, âlet us talk about something\nelse. And come nearer to me, Helen, and take my arm; and then Iâll let", "When Helen was divested of her lugubrious bonnet and veil, her heavy\nwinter cloak, &c., she looked so like herself that I knew not how to bear", "But that word refuge disturbed me. Had their unkindness then really\ndriven her to seek for peace in solitude?\n\nâWhy have they left you alone?â I asked.", "âBut you donât, Helenâsay you love me, and Iâll go.â\n\nâI wish you would go!â I replied.", "Helen!â", "the needful himself, or should have when his old governor chose to quit\nthe stage. So you see, Helen, I have managed pretty well, both for your\nfriend and mine.â", "likewise, for Helen is attached to the place and to meâas I am to her.\nThere are painful associations connected with Grassdale, which she cannot", "âHelen, I want you a moment,â said the distinct, low voice of my aunt,\nclose beside us. And I left him, muttering maledictions against his evil\nangel.", "âForgive me, Helen!â pleaded I. âI will never utter another word on the\nsubject. But may we not still meet as friends?â", "âHelen, what do you mean to do when I get well?â he asked this morning.\nâWill you run away again?â\n\nâIt entirely depends upon your own conduct.â", "âAnother year! Oh, Helen, I could not wait so long!â\n\nâWhere is your fidelity?â", "âBut, Helen!â I began in a soft, low tone, not daring to raise my eyes to\nher face, âthat man is not your husband: in the sight of heaven he has", "âHelen, I can! if faith would never fail.â\n\nâNow, then,â exclaimed she, âwhile this hope is strong within usââ", "âThen I will save him from them.â\n\nâOh, Helen, Helen! you little know the misery of uniting your fortunes to\nsuch a man!â" ] ]

[ "Who wants to receive the affection of Mrs. Graham?", "What does Gilbert accuse Mrs. Graham of?", "Where does Gilbert discover that Helen is rich?", "Why does Helen return to Grassdale?", "Who spreads rumors about Helen?", "When did Helen decide to hand her diaries to Gilbert?", "Why does Huntingdon become jealous of his son?", "Who was having an affair with Lady Lowborough?", "Where does Helen find asylum?", "Who is the narrator in Part One?", "Why was Mrs Helen Graham not free to marry?", "What estate did Helen eventually buy?", "In what estate did Helen live with Huntingdon?", "Who does Gilbert believe is his chief rival?", "Who is Mr Lawrence to Mrs Helen Graham?", "Who does Arthur Huntingdon flirt with?", "Why does Helen return to Grassdale?", "Who was Gilbert Markham's first romantic interest?", "When did Helen give Gilbert her diaries?", "Why is Huntingdon's death painful?", "What does Arthur do when he finds out about Helen's plans to leave?", "Why does Helen return to Grassdale?", "Who does Mr. Lawrence end up marrying?", "How does Arthur corrupt his son?", "Why does Eliza spread rumors about Helen?", "What does Huntingdon use to manipulate Helen and convince her to marry him?", "Who makes Huntingdon jealous?", "Who tells Helen about Arthur's affair with Lady Lowborough?", "Where does Helen find refuge?" ]

[ [ "Walter Hargrave.", "Mr. Lawrence." ], [ "He accuses her of loving Lawrence.", "Loving Lawrence." ], [ "In Grassdale.", "Staningley." ], [ "Her husband is really sick.", "Her husband was ill." ], [ "Eliza.", "Eliza." ], [ "After he accused her of loving Lawrence.", "When Gilbert accuses her of loving Lawrence." ], [ "He saw his son receive a lot of love and attention.", "He takes up Helen's time " ], [ "Arthur.", "Arthur" ], [ "At Wildfell Hall.", "Wildfell Hall" ], [ "Gilbert Markham.", "Gilbert Markham." ], [ "Because she was actually married to Arthur Huntingdon.", "Her husband was ill." ], [ "Staningley.", "Staningley" ], [ "Grassdale.", "Wildfell Hall." ], [ "Mr Lawrence.", "Mr. Lawrence." ], [ "Her brother.", "her brother" ], [ "Annabella (now Lady Lowborough).", "Annabella." ], [ "Because her husband is ill.", "Her husband is ill." ], [ "Eliza Millward.", "Helen Graham" ], [ "When Gilbert accused her of loving Mr Lawrence.", "When he accuses here of loving Lawrence." ], [ "He is afraid of what awaits him.", "Because he is terrified." ], [ "He burns her artists's tools.", "Arthur burns her art tools." ], [ "Her husband becomes ill.", "Her husband is gravely ill." ], [ "Esther Hargrave", "Esther Hargrave" ], [ "He encourages him to drink and smoke.", "HE encourages his to drink and swear " ], [ "Gilbert Markham becomes interested in Mrs. Graham.", "She's jealous of Gilbert's attention to Helen" ], [ "He flirts with Annabella.", "flirting with Annabelle" ], [ "His son.", "His son, Arthur" ], [ "Walter", "Walter." ], [ "Wildfell Hall", "Staningley estate." ] ]

4e959a5d22e1968a1950ac836a1ba0cc3edffa41

validation

[ [ "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "years of Sovereignty, I venture to ask your advice in the following\ndelicate matter. Mr. Enoch Soames, whose poems you may or may not", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never", "I wondered what train of thought poor Soames had been following. He\ndid not enlighten me when he said, after a long pause, \"You think I\nhaven't minded.\"\n\n\"Minded what, Soames?\"", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You" ], [ "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "fate, the cause of her sudden vanishing from the ken of her boy friend;\nand presently I blamed myself for letting the past override the\npresent. Poor vanished Soames!", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "wondered who the \"young woman\" was and what she had made of it all. I\nsadly suspect that Soames could not have made more of it than she.", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never", "In another instant I, too, was through that door. I stood staring all\nways, up the street, across it, down it. There was moonlight and\nlamplight, but there was not Soames nor that other.", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade." ], [ "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "Still, Soames had written a book. I asked if Rothenstein had read\n\"Negations.\" He said he had looked into it, \"but,\" he added crisply,", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "Soames was an artist, in so far as he was anything, poor fellow!", "heels in \"The Saturday Review,\" Alfred Harmsworth was letting me do\nlikewise in \"The Daily Mail.\" I was just what Soames wasn't. And he", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "about which he couldn't be enthusiastic. So I dropped the subject of\nSoames. The news that Soames had an income did take the edge off", "did, at the time of its publication, say to Rothenstein that I thought\npoor old Soames was really a rather tragic figure, and that I believed", "I dare say I am the only person who noticed the omission. Soames had\nfailed so piteously as all that! Nor is there a counterpoise in the", "course, was a master. How was I to know that Soames wasn't another?\nThere was a sort of music in his prose, not indeed, arresting, but", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the" ], [ "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "With an inhibitive gesture to my friend, \"Mr. Soames,\" I said\nemphatically to the devil, \"is a Catholic diabolist\"; but my poor", "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "of a reasonable obligation. I wouldn't have lifted a little finger to\nsave Faust. But poor Soames! Doomed to pay without respite an eternal", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "\"A Catholic diabolist,\" said Soames.\n\nThe devil accepted the reservation genially.", "Soames had not moved except to light a fresh cigarette. He sat\ncrouched forward, with his elbows squared on the table, and his head\njust above the level of his hands, staring up at the devil.", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "I had now just breath enough to offer my apologies. He accepted them,\nbut coldly, and re-addressed himself to Soames.", "\"You don't; you complete it,\" I assured him. \"Mr. Soames and I want to\nhave a little talk with you. Won't you sit? Mr. Soames got nothing," ], [ "\"We shall not be here. No,\" he droned, \"but the museum will still be\njust where it is. And the reading-room just where it is. And people", "restaurant they had just discovered, in whatever music-hall they were\nmost frequently, there was Soames in the midst of them, or, rather, on", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "from time to time in the domino-room and elsewhere. On the other side\nsat Soames. They made a queer contrast in that sunlit room, Soames", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "In another instant I, too, was through that door. I stood staring all\nways, up the street, across it, down it. There was moonlight and\nlamplight, but there was not Soames nor that other.", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Enoch Soames, Esq.\" It was very like him, and very like Rothenstein\nto have done it. Soames was standing near it, in his soft hat and his", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "\"It does. That's why I go there. The lower one's vitality, the more\nsensitive one is to great art. I live near the museum. I have rooms\nin Dyott Street.\"", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne." ], [ "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "Soames was an artist, in so far as he was anything, poor fellow!", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "\"Your own name? Really? Soames, I'm VERY glad.\"\n\n\"And yours.\"\n\n\"No!\"", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "\"It's no good abusing him.\"\n\n\"You must admit there's nothing Miltonic about him, Soames.\"\n\n\"I don't say he's not rather different from what I expected.\"", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white", "Still, Soames had written a book. I asked if Rothenstein had read\n\"Negations.\" He said he had looked into it, \"but,\" he added crisply,", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"", "His moroseness might have alienated me if I had regarded myself as a\nnobody. But ah! hadn't both John Lane and Aubrey Beardsley suggested", "\"Enoch Soames, Esq.\" It was very like him, and very like Rothenstein\nto have done it. Soames was standing near it, in his soft hat and his", "\"Enoch Soames,\" repeated Rothenstein in a tone implying that it was\nenough to have hit on the surname. \"We met in Paris a few times when\nyou were living there. We met at the Cafe Groche.\"", "\"He is dim,\" I admitted. But my mot juste fell flat. Rothenstein\nrepeated that Soames was non-existent." ], [ "and called for special treatment. But there was no need for\nvindictiveness. You say he contracted to pay the price he is paying.", "\"Go on,\" he nodded. I had no remnant of laughter in me now.\n\n\"It will be the more pleasant, our little deal,\" the devil went on,\n\"because you are--I mistake not?--a diabolist.\"", "I saw him make--that strange bargain whose results have kept him always\nin the foreground of my memory. But it is from those very results that\nthe full piteousness of him glares out.", "\"You don't; you complete it,\" I assured him. \"Mr. Soames and I want to\nhave a little talk with you. Won't you sit? Mr. Soames got nothing,", "we believe you meant well. But of course the bargain, such as it was,\nis off.\"", "know--\" Was there NO way of helping him, saving him? A bargain was a\nbargain, and I was the last man to aid or abet any one in wriggling out", "\"It's like my luck,\" he said, \"to spend my last hours on earth with an\nass.\" But I was not offended. \"And a treacherous ass,\" he strangely", "I, too, had forgotten that cryptic screed. I found it fallen on the\nfloor, and handed it to him.\n\nHe smoothed it out, nodding and smiling at me disagreeably.", "affaires--you detest them. So be it. But with me you will deal, eh?\nWhat you have said just now gives me furiously to hope.\"", "frankly nothing, by his journey this afternoon. We don't wish to say\nthat the whole thing was a swindle, a common swindle. On the contrary,", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "Yes; but I maintain that he was induced to do so by fraud. Well\ninformed in all things, the devil must have known that my friend would\ngain nothing by his visit to futurity. The whole thing was a very", "of a reasonable obligation. I wouldn't have lifted a little finger to\nsave Faust. But poor Soames! Doomed to pay without respite an eternal", "The devil looked at his watch. \"Ten past two,\" he said. \"Closing-time\nin summer same then as now--seven o'clock. That will give you almost", "Your point is, who am _I_?\" He glanced quickly over his shoulder, and\nin a lowered voice said, \"I am the devil.\"", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "\"He has an income. He's all right.\" Harland was the most joyous of\nmen and most generous of critics, and he hated to talk of anything", "heard any such question asked. As for his landlady in Dyott Street, no\ndoubt he had paid her weekly, and what possessions he may have had in", "Dazed, I stood there. Dazed, I turned back at length into the little\nroom, and I suppose I paid Berthe or Rose for my dinner and luncheon", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short," ], [ "\"Well, then, it's this wretched Nupton who must have made--must be\ngoing to make--some idiotic mistake. Look here Soames, you know me", "I snatched the paper. Soames's handwriting was characteristically dim.\nIt and the noisome spelling and my excitement made me all the slower to\ngrasp what T. K. Nupton was driving at.", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "I dare say I am the only person who noticed the omission. Soames had\nfailed so piteously as all that! Nor is there a counterpoise in the", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "In that extract from Nupton's repulsive book there is one point which\nperhaps puzzles you. How is it that the author, though I have here", "Still, Soames had written a book. I asked if Rothenstein had read\n\"Negations.\" He said he had looked into it, \"but,\" he added crisply,", "From page 234 of \"Inglish Littracher 1890-1900\" bi T. K. Nupton,\npublishd bi th Stait, 1992.", "did, at the time of its publication, say to Rothenstein that I thought\npoor old Soames was really a rather tragic figure, and that I believed", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "mentioned him by name and have quoted the exact words he is going to\nwrite, is not going to grasp the obvious corollary that I have invented\nnothing? The answer can be only this: Nupton will not have read the", "\"He is dim,\" I admitted. But my mot juste fell flat. Rothenstein\nrepeated that Soames was non-existent.", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "If Rothenstein had not been there, I should have revered Soames. Even\nas it was, I respected him. And I was very near indeed to reverence", "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "asked what was the best modern book on late nineteenth-century\nliterature. They told me Mr. T. K. Nupton's book was considered the", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white" ], [ "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "In another instant I, too, was through that door. I stood staring all\nways, up the street, across it, down it. There was moonlight and\nlamplight, but there was not Soames nor that other.", "from time to time in the domino-room and elsewhere. On the other side\nsat Soames. They made a queer contrast in that sunlit room, Soames", "fate, the cause of her sudden vanishing from the ken of her boy friend;\nand presently I blamed myself for letting the past override the\npresent. Poor vanished Soames!", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "I wondered what train of thought poor Soames had been following. He\ndid not enlighten me when he said, after a long pause, \"You think I\nhaven't minded.\"\n\n\"Minded what, Soames?\"", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never" ], [ "\"Enoch Soames,\" repeated Rothenstein in a tone implying that it was\nenough to have hit on the surname. \"We met in Paris a few times when\nyou were living there. We met at the Cafe Groche.\"", "\"Enoch Soames, Esq.\" It was very like him, and very like Rothenstein\nto have done it. Soames was standing near it, in his soft hat and his", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "he has been very hardly used. It is well that vanity should be\nchastened; and Enoch Soames's vanity was, I admit, above the average,", "\"Enoch Soames,\" said Enoch.", "our estimate of the works of Enoch Soames. That we had been horribly\nright was horribly clear from the look of him. But, \"Don't be", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "ill to deride the dead. And how can I write about Enoch Soames without\nmaking him ridiculous? Or, rather, how am I to hush up the horrid fact", "Nevertheless, I did, a day or two later, tentatively ask Harland if he\nknew anything of the work of a man called Enoch Soames. Harland paused", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "contrast with Soames. I was sure he was not an Englishman, but what\nWAS his nationality? Though his jet-black hair was en brosse, I did", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "GUTENBERG EBOOK ENOCH SOAMES ***\n\n\n\n\nProduced by Judith Boss.", "Soames, Enoch. It was as I feared: he was not there. But everybody\nelse was. Many writers whom I had quite forgotten, or remembered but", "Soames had not moved except to light a fresh cigarette. He sat\ncrouched forward, with his elbows squared on the table, and his head\njust above the level of his hands, staring up at the devil." ], [ "\"Enoch Soames, Esq.\" It was very like him, and very like Rothenstein\nto have done it. Soames was standing near it, in his soft hat and his", "he has been very hardly used. It is well that vanity should be\nchastened; and Enoch Soames's vanity was, I admit, above the average,", "\"Enoch Soames,\" repeated Rothenstein in a tone implying that it was\nenough to have hit on the surname. \"We met in Paris a few times when\nyou were living there. We met at the Cafe Groche.\"", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "\"Enoch Soames,\" said Enoch.", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "contrast with Soames. I was sure he was not an Englishman, but what\nWAS his nationality? Though his jet-black hair was en brosse, I did", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "ill to deride the dead. And how can I write about Enoch Soames without\nmaking him ridiculous? Or, rather, how am I to hush up the horrid fact", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "Nevertheless, I did, a day or two later, tentatively ask Harland if he\nknew anything of the work of a man called Enoch Soames. Harland paused", "our estimate of the works of Enoch Soames. That we had been horribly\nright was horribly clear from the look of him. But, \"Don't be", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "Rothenstein brightly focused him.\n\n\"Yes, I do,\" he replied after a moment, with pride rather than\neffusion--pride in a retentive memory. \"Edwin Soames.\"", "Soames, Enoch. It was as I feared: he was not there. But everybody\nelse was. Many writers whom I had quite forgotten, or remembered but", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "running around, or, rather, Enoch Soames is a name that might occur to\nany one writing a story. And I don't write stories; I'm an essayist,", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"" ], [ "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "Soames had not moved except to light a fresh cigarette. He sat\ncrouched forward, with his elbows squared on the table, and his head\njust above the level of his hands, staring up at the devil.", "\"A Catholic diabolist,\" said Soames.\n\nThe devil accepted the reservation genially.", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "With an inhibitive gesture to my friend, \"Mr. Soames,\" I said\nemphatically to the devil, \"is a Catholic diabolist\"; but my poor", "of a reasonable obligation. I wouldn't have lifted a little finger to\nsave Faust. But poor Soames! Doomed to pay without respite an eternal", "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "Yes; but I maintain that he was induced to do so by fraud. Well\ninformed in all things, the devil must have known that my friend would\ngain nothing by his visit to futurity. The whole thing was a very", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "Your point is, who am _I_?\" He glanced quickly over his shoulder, and\nin a lowered voice said, \"I am the devil.\"", "Soames was an artist, in so far as he was anything, poor fellow!", "much \"trusting and encouraging\" here! Soames triumphantly exposing the\ndevil as a liar, and laughing \"full shrill,\" cut a quite heartening", "\"Go on,\" he nodded. I had no remnant of laughter in me now.\n\n\"It will be the more pleasant, our little deal,\" the devil went on,\n\"because you are--I mistake not?--a diabolist.\"", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"" ], [ "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "Soames was an artist, in so far as he was anything, poor fellow!", "did, at the time of its publication, say to Rothenstein that I thought\npoor old Soames was really a rather tragic figure, and that I believed", "of a reasonable obligation. I wouldn't have lifted a little finger to\nsave Faust. But poor Soames! Doomed to pay without respite an eternal", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "years of Sovereignty, I venture to ask your advice in the following\ndelicate matter. Mr. Enoch Soames, whose poems you may or may not", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "course, was a master. How was I to know that Soames wasn't another?\nThere was a sort of music in his prose, not indeed, arresting, but", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "was the only lure offered in advertisements by Soames's publisher. I\nhad hoped that when next I met the poet I could congratulate him on", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book." ], [ "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never", "did, at the time of its publication, say to Rothenstein that I thought\npoor old Soames was really a rather tragic figure, and that I believed", "expression of faint happiness which on that day was discernible, yes,\nin Soames's countenance. Fame had breathed on him. Twice again in the", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "course, was a master. How was I to know that Soames wasn't another?\nThere was a sort of music in his prose, not indeed, arresting, but", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "he has been very hardly used. It is well that vanity should be\nchastened; and Enoch Soames's vanity was, I admit, above the average,", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "catalogue: 'Soames, Enoch' endlessly--endless editions, commentaries,\nprolegomena, biographies\"-- But here he was interrupted by a sudden" ], [ "As for the craftsmanship, \"rouged with rust\" seemed to me a fine\nstroke, and \"nor not\" instead of \"and\" had a curious felicity. I", "From page 234 of \"Inglish Littracher 1890-1900\" bi T. K. Nupton,\npublishd bi th Stait, 1992.", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "single, and mirthless sound from the throat, unaccompanied by any\nmovement of the face or brightening of the eyes. \"What a period!\" he", "\"I found myself glancing through Nupton's book,\" he resumed. \"Not very\neasy reading. Some sort of phonetic spelling. All the modern books I\nsaw were phonetic.\"", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "possess; and perhaps this was so. But at the private view of the New\nEnglish Art Club, a few weeks later, I beheld a pastel portrait of", "[Transcriber's Note: I have closed contractions in the text; e.g.,\n\"does n't\" has become \"doesn't\" etc.]", "\"Then I don't want to hear any more, Soames, please.\"\n\n\"The proper names seemed all to be spelt in the old way. But for that\nI mightn't have noticed my own name.\"", "\"You are pleased to sneer,\" said the devil, who had also risen, \"but it\nis one thing to write about an impossible machine; it is a quite other\nthing to be a supernatural power.\" All the same, I had scored.", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "Fr egzarmpl, a riter ov th time, naimed Max Beerbohm, hoo woz stil", "\"I am a man of business,\" he said, \"and always I would put things\nthrough 'right now,' as they say in the States. You are a poet. Les", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "\"You wish,\" he resumed, \"to visit now--this afternoon as-ever-is--the\nreading-room of the British Museum, yes? But of a hundred years hence,", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "few--Aubrey Beardsley by name. With Rothenstein I paid my first visit\nto the Bodley Head. By him I was inducted into another haunt of", "said for effect; but it carried conviction now. Absinthe, erst but a\npoint in the \"personality\" he had striven so hard to build up, was" ], [ "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "our estimate of the works of Enoch Soames. That we had been horribly\nright was horribly clear from the look of him. But, \"Don't be", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "supposed \"stauri\" had better have at least a happy ending. Soames\nrepeated those last three words in a tone of intense scorn.", "he has been very hardly used. It is well that vanity should be\nchastened; and Enoch Soames's vanity was, I admit, above the average,", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly" ], [ "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "fate, the cause of her sudden vanishing from the ken of her boy friend;\nand presently I blamed myself for letting the past override the\npresent. Poor vanished Soames!", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "Soames, Enoch. It was as I feared: he was not there. But everybody\nelse was. Many writers whom I had quite forgotten, or remembered but", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "course, was a master. How was I to know that Soames wasn't another?\nThere was a sort of music in his prose, not indeed, arresting, but" ], [ "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "but no echo of these resounded. There was something rather ghastly to\nme in the general unconsciousness that Soames had existed, and more", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "Soames, Enoch. It was as I feared: he was not there. But everybody\nelse was. Many writers whom I had quite forgotten, or remembered but", "\"Your own name? Really? Soames, I'm VERY glad.\"\n\n\"And yours.\"\n\n\"No!\"", "supposed \"stauri\" had better have at least a happy ending. Soames\nrepeated those last three words in a tone of intense scorn.", "our estimate of the works of Enoch Soames. That we had been horribly\nright was horribly clear from the look of him. But, \"Don't be", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "\"Then I don't want to hear any more, Soames, please.\"\n\n\"The proper names seemed all to be spelt in the old way. But for that\nI mightn't have noticed my own name.\"", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood," ], [ "restaurant they had just discovered, in whatever music-hall they were\nmost frequently, there was Soames in the midst of them, or, rather, on", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "and for Soames's; I hope so, for I never went to the Vingtieme again.\nEver since that night I have avoided Greek Street altogether. And for", "\"Enoch Soames,\" repeated Rothenstein in a tone implying that it was\nenough to have hit on the surname. \"We met in Paris a few times when\nyou were living there. We met at the Cafe Groche.\"", "from time to time in the domino-room and elsewhere. On the other side\nsat Soames. They made a queer contrast in that sunlit room, Soames", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "for a moment. I had told them I would not order any dinner till Mr.\nSoames came. A hurdy-gurdy began to play, abruptly drowning the noise", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "Rothenstein brightly focused him.\n\n\"Yes, I do,\" he replied after a moment, with pride rather than\neffusion--pride in a retentive memory. \"Edwin Soames.\"", "\"Enoch Soames, Esq.\" It was very like him, and very like Rothenstein\nto have done it. Soames was standing near it, in his soft hat and his", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"" ], [ "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "I dare say I am the only person who noticed the omission. Soames had\nfailed so piteously as all that! Nor is there a counterpoise in the", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "\"It's no good abusing him.\"\n\n\"You must admit there's nothing Miltonic about him, Soames.\"\n\n\"I don't say he's not rather different from what I expected.\"", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "contrast with Soames. I was sure he was not an Englishman, but what\nWAS his nationality? Though his jet-black hair was en brosse, I did", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "Soames was an artist, in so far as he was anything, poor fellow!", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white", "ever seen him, and I assure you that in no period would Soames be\nanything but dim. The fact that people are going to stare at him and\nfollow him around and seem afraid of him, can be explained only on the", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"", "If Rothenstein had not been there, I should have revered Soames. Even\nas it was, I respected him. And I was very near indeed to reverence", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood," ], [ "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "from time to time in the domino-room and elsewhere. On the other side\nsat Soames. They made a queer contrast in that sunlit room, Soames", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"Enoch Soames,\" repeated Rothenstein in a tone implying that it was\nenough to have hit on the surname. \"We met in Paris a few times when\nyou were living there. We met at the Cafe Groche.\"", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"", "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "restaurant they had just discovered, in whatever music-hall they were\nmost frequently, there was Soames in the midst of them, or, rather, on", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "and for Soames's; I hope so, for I never went to the Vingtieme again.\nEver since that night I have avoided Greek Street altogether. And for", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "In another instant I, too, was through that door. I stood staring all\nways, up the street, across it, down it. There was moonlight and\nlamplight, but there was not Soames nor that other.", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "Endless that afternoon was. Almost I wished I had gone with Soames,\nnot, indeed, to stay in the reading-room, but to sally forth for a" ], [ "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "\"It's no good abusing him.\"\n\n\"You must admit there's nothing Miltonic about him, Soames.\"\n\n\"I don't say he's not rather different from what I expected.\"", "Soames was an artist, in so far as he was anything, poor fellow!", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "\"I'm awfully sorry for you, Soames, and I make all possible allowances;\nbut what earthly right have you to insinuate that I should make 'copy,'\nas you call it, out of you?\"", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "I dare say I am the only person who noticed the omission. Soames had\nfailed so piteously as all that! Nor is there a counterpoise in the", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "His moroseness might have alienated me if I had regarded myself as a\nnobody. But ah! hadn't both John Lane and Aubrey Beardsley suggested", "did, at the time of its publication, say to Rothenstein that I thought\npoor old Soames was really a rather tragic figure, and that I believed", "Still, Soames had written a book. I asked if Rothenstein had read\n\"Negations.\" He said he had looked into it, \"but,\" he added crisply,", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white", "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "I wondered what train of thought poor Soames had been following. He\ndid not enlighten me when he said, after a long pause, \"You think I\nhaven't minded.\"\n\n\"Minded what, Soames?\"", "\"Your own name? Really? Soames, I'm VERY glad.\"\n\n\"And yours.\"\n\n\"No!\"", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "about which he couldn't be enthusiastic. So I dropped the subject of\nSoames. The news that Soames had an income did take the edge off", "\"He is dim,\" I admitted. But my mot juste fell flat. Rothenstein\nrepeated that Soames was non-existent." ], [ "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "\"You don't; you complete it,\" I assured him. \"Mr. Soames and I want to\nhave a little talk with you. Won't you sit? Mr. Soames got nothing,", "I had now just breath enough to offer my apologies. He accepted them,\nbut coldly, and re-addressed himself to Soames.", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "affaires--you detest them. So be it. But with me you will deal, eh?\nWhat you have said just now gives me furiously to hope.\"", "\"A Catholic diabolist,\" said Soames.\n\nThe devil accepted the reservation genially.", "\"He's only--tired.\" I asked her to get some wine--Burgundy--and\nwhatever food might be ready. Soames sat crouched forward against the", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "Your point is, who am _I_?\" He glanced quickly over his shoulder, and\nin a lowered voice said, \"I am the devil.\"", "Soames had not moved except to light a fresh cigarette. He sat\ncrouched forward, with his elbows squared on the table, and his head\njust above the level of his hands, staring up at the devil.", "\"Go on,\" he nodded. I had no remnant of laughter in me now.\n\n\"It will be the more pleasant, our little deal,\" the devil went on,\n\"because you are--I mistake not?--a diabolist.\"", "contrast with Soames. I was sure he was not an Englishman, but what\nWAS his nationality? Though his jet-black hair was en brosse, I did", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "\"I see the whole thing,\" said Soames, quietly. And he added, with a\ntouch of his old manner, but with more dignity than I had ever known in\nhim, \"Parlons d'autre chose.\"", "With an inhibitive gesture to my friend, \"Mr. Soames,\" I said\nemphatically to the devil, \"is a Catholic diabolist\"; but my poor", "\"It's like my luck,\" he said, \"to spend my last hours on earth with an\nass.\" But I was not offended. \"And a treacherous ass,\" he strangely" ], [ "Your point is, who am _I_?\" He glanced quickly over his shoulder, and\nin a lowered voice said, \"I am the devil.\"", "\"Go on,\" he nodded. I had no remnant of laughter in me now.\n\n\"It will be the more pleasant, our little deal,\" the devil went on,\n\"because you are--I mistake not?--a diabolist.\"", "The devil looked at his watch. \"Ten past two,\" he said. \"Closing-time\nin summer same then as now--seven o'clock. That will give you almost", "Yes; but I maintain that he was induced to do so by fraud. Well\ninformed in all things, the devil must have known that my friend would\ngain nothing by his visit to futurity. The whole thing was a very", "\"You are pleased to sneer,\" said the devil, who had also risen, \"but it\nis one thing to write about an impossible machine; it is a quite other\nthing to be a supernatural power.\" All the same, I had scored.", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "\"A Catholic diabolist,\" said Soames.\n\nThe devil accepted the reservation genially.", "\"Diabolism? Oh, yes? Really?\" said I, with that vague discomfort and\nthat intense desire to be polite which one feels when a man speaks of\nhis own religion. \"You--worship the devil?\"", "\"And you go round to the reading-room to read Milton?\"\n\n\"Usually Milton.\" He looked at me. \"It was Milton,\" he\ncertificatively added, \"who converted me to diabolism.\"", "Soames had not moved except to light a fresh cigarette. He sat\ncrouched forward, with his elbows squared on the table, and his head\njust above the level of his hands, staring up at the devil.", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "imself a grate jeneus an maix a bargin with th Devvl in auder ter no\nwot posterriti thinx ov im! It iz a sumwot labud sattire, but not", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "With an inhibitive gesture to my friend, \"Mr. Soames,\" I said\nemphatically to the devil, \"is a Catholic diabolist\"; but my poor", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "For a few moments the devil let his hand rest where it lay, gazing at\nme out of the corners of his eyes, vulgarly triumphant.", "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "\"Come! This is 'trusting and encouraging' with a vengeance! This is\ndiabolism run mad!\" I filled his glass with wine. \"Surely, now that\nyou've SEEN the brute--\"", "I saw him make--that strange bargain whose results have kept him always\nin the foreground of my memory. But it is from those very results that\nthe full piteousness of him glares out.", "In your theaters the dullest comedien needs only to say 'The devil!'\nand right away they give him 'the loud laugh what speaks the vacant\nmind.' Is it not so?\"" ], [ "(To this day I have never made out that word.) \"It's all\nvery--baffling,\" I at length stammered.", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "would say: \"Oh, it's rather a remarkable book. It's by a man whom I\nknow.\" Just \"what it was about\" I never was able to say. Head or tail", "I found that by murmuring the words aloud (a device which I commend to\nmy reader) I was able to master them little by little. The clearer", "His moroseness might have alienated me if I had regarded myself as a\nnobody. But ah! hadn't both John Lane and Aubrey Beardsley suggested", "I made a gesture of despair. He went on repeating the word \"sealed.\"\nI began to realize that the wine had clouded his brain. No wonder!", "was just what I hadn't made of that slim, green volume. I found in the\npreface no clue to the labyrinth of contents, and in that labyrinth\nnothing to explain the preface.", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "\"He is dim,\" I admitted. But my mot juste fell flat. Rothenstein\nrepeated that Soames was non-existent.", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "cheerfulness. He said he never went there now. \"No absinthe there,\"\nhe muttered. It was the sort of thing that in old days he would have", "I, too, had forgotten that cryptic screed. I found it fallen on the\nfloor, and handed it to him.\n\nHe smoothed it out, nodding and smiling at me disagreeably.", "wanted to catch Rothenstein's eye. He had twice passed our table, with\na hesitating look; but Rothenstein, in the thick of a disquisition on", "have seemed to hurl defiance at things in general. And he ordered an\nabsinthe. \"Je me tiens toujours fidele,\" he told Rothenstein, \"a la\nsorciere glauque.\"", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never", "Book\" and later of \"The Savoy\" he had never a word but of scorn. He\nwasn't resented. It didn't occur to anybody that he or his Catholic", "\"Negations.\" His pale eyes had for the first time gleamed. I felt as\none who is about to be examined viva voce on the very subject in which", "that he WAS ridiculous? I shall not be able to do that. Yet, sooner\nor later, write about him I must. You will see in due course that I", "any one at the table abreast of yours was virtually at yours. I\nthought our neighbor was amused at my failure to interest Soames, and\nso, as I could not explain to him that my insistence was merely", "\"I'm awfully sorry for you, Soames, and I make all possible allowances;\nbut what earthly right have you to insinuate that I should make 'copy,'\nas you call it, out of you?\"" ], [ "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "The document lies before me at this moment. Strange that the words I\nhere copy out for you were copied out for me by poor Soames just\neighty-two years hence!", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "In another instant I, too, was through that door. I stood staring all\nways, up the street, across it, down it. There was moonlight and\nlamplight, but there was not Soames nor that other.", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "in the first week of June, 1897, that illusion went. But on the\nevening of that day Soames went, too.", "from time to time in the domino-room and elsewhere. On the other side\nsat Soames. They made a queer contrast in that sunlit room, Soames", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "Odd and uncanny it seemed to me that he, Soames, in the flesh, in the\nwaterproof cape, was at this moment living in the last decade of the", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "\"You wish,\" he resumed, \"to visit now--this afternoon as-ever-is--the\nreading-room of the British Museum, yes? But of a hundred years hence,", "restaurant they had just discovered, in whatever music-hall they were\nmost frequently, there was Soames in the midst of them, or, rather, on", "table-cloth. Soames's chair was empty. His cigarette floated sodden\nin his wine-glass. There was no other trace of him.", "\"We shall not be here. No,\" he droned, \"but the museum will still be\njust where it is. And the reading-room just where it is. And people" ], [ "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "His moroseness might have alienated me if I had regarded myself as a\nnobody. But ah! hadn't both John Lane and Aubrey Beardsley suggested", "\"Though not an Englishman,\" he explained, \"I know my London well, Mr.\nSoames. Your name and fame--Mr. Beerbohm's, too--very known to me.", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "\"I'm awfully sorry for you, Soames, and I make all possible allowances;\nbut what earthly right have you to insinuate that I should make 'copy,'\nas you call it, out of you?\"", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "Soames was an artist, in so far as he was anything, poor fellow!", "\"It's no good abusing him.\"\n\n\"You must admit there's nothing Miltonic about him, Soames.\"\n\n\"I don't say he's not rather different from what I expected.\"", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"Your own name? Really? Soames, I'm VERY glad.\"\n\n\"And yours.\"\n\n\"No!\"", "I wondered what train of thought poor Soames had been following. He\ndid not enlighten me when he said, after a long pause, \"You think I\nhaven't minded.\"\n\n\"Minded what, Soames?\"", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "\"Well, then, it's this wretched Nupton who must have made--must be\ngoing to make--some idiotic mistake. Look here Soames, you know me", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white", "about which he couldn't be enthusiastic. So I dropped the subject of\nSoames. The news that Soames had an income did take the edge off", "Still, Soames had written a book. I asked if Rothenstein had read\n\"Negations.\" He said he had looked into it, \"but,\" he added crisply,", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You" ], [ "The devil gave no verbal answer. He merely looked at Soames and\npointed with rigid forefinger to the door. Soames was wretchedly", "\"Come, Soames, pull yourself together! This isn't a mere matter of\nlife or death. It's a question of eternal torment, mind you! You", "\"Home?\" I echoed.\n\n\"Be it never so humble!\" said the devil, lightly.\n\n\"All right,\" said Soames.", "\"Soames!\" I entreated. But my friend moved not a muscle.\n\nThe devil had made as though to stretch forth his hand across the\ntable, but he paused in his gesture.", "\"Soames!\" again I cried. \"Can't you\"--but the devil had now stretched\nforth his hand across the table. He brought it slowly down on the", "higlif. That concludes my present visit to your great city. I come\nand fetch you here, Mr. Soames, on my way home.\"", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "With an inhibitive gesture to my friend, \"Mr. Soames,\" I said\nemphatically to the devil, \"is a Catholic diabolist\"; but my poor", "and startling conclusions. And I have reason for believing that this\nwill be so. You realize that the reading-room into which Soames was\nprojected by the devil was in all respects precisely as it will be on", "of a reasonable obligation. I wouldn't have lifted a little finger to\nsave Faust. But poor Soames! Doomed to pay without respite an eternal", "breaks the rhythm. He's tolerable here.\" Soames took up the book and\nglanced through the pages. He laughed. Soames's laugh was a short,", "\"Curious, nicht wahr?\" I heard him say to Soames. \"There is a type of\nperson to whom the very mention of my name is--oh, so awfully--funny!", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "\"A hundred years hence, as now,\" he smiled, \"no smoking allowed in the\nreading-room. You would better therefore--\"\n\nSoames removed the cigarette from his mouth and dropped it into his\nglass of Sauterne.", "\"You don't; you complete it,\" I assured him. \"Mr. Soames and I want to\nhave a little talk with you. Won't you sit? Mr. Soames got nothing,", "appeals to Soames to come away and seek refuge somewhere. I remember\nsaying at last that if indeed I was destined to write about him, the", "Soames had not moved except to light a fresh cigarette. He sat\ncrouched forward, with his elbows squared on the table, and his head\njust above the level of his hands, staring up at the devil.", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "\"N-no,\" said Soames. \"Of course in art there is the good and the evil.\nBut in life--no.\" He was rolling a cigarette. He had weak, white", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day," ], [ "Again I examined the screed. \"Immajnari.\" But here Soames was, no\nmore imaginary, alas! than I. And \"labud\"--what on earth was that?", "Soames was an artist, in so far as he was anything, poor fellow!", "written. And thus the omission found by me was an all the deadlier\nrecord of poor Soames's failure to impress himself on his decade.", "did, at the time of its publication, say to Rothenstein that I thought\npoor old Soames was really a rather tragic figure, and that I believed", "I dare say I am the only person who noticed the omission. Soames had\nfailed so piteously as all that! Nor is there a counterpoise in the", "An authentic, guaranteed, proved ghost, but; only a ghost, alas! Only\nthat. In his first visit Soames was a creature of flesh and blood,", "AND I was right. Soames's disappearance made no stir at all. He was\nutterly forgotten before any one, so far as I am aware, noticed that he", "Still, Soames had written a book. I asked if Rothenstein had read\n\"Negations.\" He said he had looked into it, \"but,\" he added crisply,", "those creatures will be real. It is of Soames that there will be but\nthe semblance. I wish I could think him destined to revisit the world", "there Soames will be, punctually, he and they doing precisely what they\ndid before. Recall now Soames's account of the sensation he made. You", "course, was a master. How was I to know that Soames wasn't another?\nThere was a sort of music in his prose, not indeed, arresting, but", "Soames was quite five or six years older than either of us. Also--he\nhad written a book. It was wonderful to have written a book.", "Soames, Enoch. It was as I feared: he was not there. But everybody\nelse was. Many writers whom I had quite forgotten, or remembered but", "Enoch Soames\n\nA Memory of the Eighteen-nineties\n\n\nBy\n\nMAX BEERBOHM", "shunned him. No man who hasn't lost his vanity can be held to have\naltogether failed. Soames's dignity was an illusion of mine. One day,", "contrast with Soames. I was sure he was not an Englishman, but what\nWAS his nationality? Though his jet-black hair was en brosse, I did", "Soames said nothing, but cruelly did not cease to look at me.\n\n\"Are you sure,\" I temporized, \"quite sure you copied the thing out\ncorrectly?\"\n\n\"Quite.\"", "\"Your own name? Really? Soames, I'm VERY glad.\"\n\n\"And yours.\"\n\n\"No!\"", "perhaps. But I liked the third, it was so bracingly unorthodox, even\naccording to the tenets of Soames's peculiar sect in the faith. Not", "was no longer hanging around. Now and again some poet or prosaist may\nhave said to another, \"What has become of that man Soames?\" but I never" ] ]

[ "How many years into the future was Soames sent?", "Where did Soames go in the future to learn more about his fate?", "Who had written the article Soames found?", "What does Soames request of his friend before departing to Hell?", "How do we know the people in the museum aware of Soames' presence?", "What were Beerbohm and Soames arguing about?", "What is the payment for the deal made?", "What did T.K. Nupton think of Soames' existance?", "How long was Soames in the future?", "How is the appearance of Enoch Soames described in the story?", "Which remarkable habit did Enoch Soames demonstrate with regard to choice of clothing?", "What was Soames's motivation for entering into a deal with the Devil?", "According to the deal Soames made, how would he find out whether his poetic talent would have been recognized in the future? ", "What does Soames discover about the way his contributions to poetry are described in the future?", "What is unique about the phonetic spelling of the 'future' article that discussed Beerbohm's story? ", "Which descriptions of the future world does Soames provide upon his return?", "How did Soames's presence in the future affect others? ", "Why were the people in the future so shocked by Soames's arrival? ", "At which restaurant does Soames meet Beerbohm?", "What does Beerbohm say is the one habit that makes Soames noticable?", "Where do Soames and Beerbohm meet for lunch?", "What does Soames complain to Beerbohm about?", "Who offers to make a deal with Saomes?", "What is the deal the Devil offers?", "What word does Beerbohm say he was never able to make out?", "What doe Soames find when arriving at the library in the future?", "Why does Soames get upset with Beerbohm?", "What does Soames ask of Beerbohm before leaving for Hell?", "Who wrote the scholary article which declared Soames to be fictional?" ]

[ [ "100 years", "100." ], [ "The Reading Room of the British Museum.", "The Reading Room of the British Museum." ], [ "T.K. Nupton", "T.K. Nupton" ], [ "That he attempts to let people known Soames existed.", "The he, Soames, actually existed." ], [ "They stared at him, followed him, and seem afraid of him.", "It caused a great stir." ], [ "Whether or not Beerbohm would have written about Soames in such a fashion.", "whether or not Beerbohm would write something negative about Soames" ], [ "Possession of Soames' soul", "Soames's soul" ], [ "He thought he was a fictional character.", "that it was fictional" ], [ "One afternoon.", "About 4 hours and 50 minutes in the afternoon." ], [ "Dim and leaving little impression", "Not very remarkable,but dim." ], [ "always wore a grey waterproof cape and a soft black hat", "He always wore a gray waterproof cape and a soft black hat." ], [ "He was desperate and considered his greatness unrecognized", "He was in despair and desperate for assurance that his talent and works would be recognized in the future." ], [ "By spending an afternoon in the Reading Room of the British Museum 100 years ahead of his time", "By selling his soul to the devil." ], [ "He learns that the only mention of him in the future is from the story written by his contemporary, Beerbohm", "that they are not good" ], [ "The spelling of most words is modified, presumably because of the change of language with time", "The English lanuage has evolved." ], [ "Vague and nondescript", "ones that are vague" ], [ "It caused a great stir", "It caused a stir." ], [ "They were prepared to see him because they have read Beerbohm's story", "They believed he was a ghost." ], [ "Restaurant du Vingtieme Siecle", "Restaurant du Vingtieme Siecle." ], [ "He always wears the same gray cape and soft black hat", "His wardrobe of choice." ], [ "Restaurant du Vingtieme Siecle", "At the Restaurant du Vingtieme Siecle." ], [ "That his great talent will remain unnoticed until after he is dead", "That he is not recognised as a great writer." ], [ "the Devil", "The Devil" ], [ "Soames will be transported to the future for one afternoon in exchange for his soul", "The Devil gets Soames' soul in exchange for Soame to ge a glance of what people say about him posthumously as an author anwhile the " ], [ "labud", "labud" ], [ "English ahs changed and all traces of him are gone", "He finds that the only mention of him is in an article talking about a story by Beerbohm where he is believed to be a fictional character." ], [ "He thinks Beerbohm wrote bad stuff about him", "Beerbohm wrote a fictional story about Soames." ], [ "He want Beerbohm to make sure people knew he was real", "to try to make people believe he existed" ], [ "T. K. Nupton", "T.K..Nupton." ] ]

829bd66e747e61902f22af2c0ff0d4f8090d2242

validation

[ [ "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "[She pauses for a moment, the girls start as if they heard something\nthrough the door that is half open behind them.]\n\nNORA [In a whisper.]", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "\"There were two men,\" says he, \"and they rowing round with poteen before\nthe cocks crowed, and the oar of one of them caught the body, and they\npassing the black cliffs of the north.\"", "He's gone now, God spare us, and we'll not see him again. He's gone\nnow, and when the black night is falling I'll have no son left me in the\nworld.", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "While Synge was on Inishmaan, the story came to him of a man whose body\nhad been washed up on the far away coast of Donegal, and who, by reason", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "Did you hear that, Cathleen? Did you hear a noise in the north-east?\n\nCATHLEEN [In a whisper.]\n\nThere's some one after crying out by the seashore.", "the white boards, for I won't live after them. I've had a husband, and\na husband's father, and six sons in this house--six fine men, though", "It's that number is in it [crying out.] Ah, Nora, isn't it a bitter\nthing to think of him floating that way to the far north, and no one to", "and a deep grave surely. What more can we want than that? No man at\nall can be living for ever, and we must be satisfied.\" The pity and", "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen" ], [ "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "CATHLEEN [Looking out.]\n\nShe's gone now. Throw it down quickly, for the Lord knows when she'll be\nout of it again.", "CATHLEEN [After spinning for a moment.]\n\nYou didn't give him his bit of bread?\n\n[Maurya begins to keen softly, without turning round.]", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "Did you hear that, Cathleen? Did you hear a noise in the north-east?\n\nCATHLEEN [In a whisper.]\n\nThere's some one after crying out by the seashore.", "CATHLEEN It's Michael, God spare him, for they're after sending us a bit\nof his clothes from the far north.", "CATHLEEN [Begins to keen.]\n\nIt's destroyed we are from this day. It's destroyed, surely.", "CATHLEEN How would they be Michael's, Nora. How would he go the length\nof that way to the far north?", "You did not, mother; it wasn't Michael you seen, for his body is after\nbeing found in the far north, and he's got a clean burial by the grace\nof God.", "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "CATHLEEN Michael is after being found in the far north, and when he is\nfound there how could he be here in this place?", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry,\nGod help her, you wouldn't know the thing she'd do.\n\nNORA Is she gone round by the bush?", "NORA The young priest says he's known the like of it. \"If it's Michael's\nthey are,\" says he, \"you can tell herself he's got a clean burial by the", "CATHLEEN [Slowly and clearly.]\n\nAn old woman will be soon tired with anything she will do, and isn't it\nnine days herself is after crying and keening, and making great sorrow\nin the house?" ], [ "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "MAURYA It's hard set we'll be surely the day you're drownd'd with the\nrest. What way will I live and the girls with me, and I an old woman\nlooking for the grave?", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "MAURYA If it wasn't found itself, that wind is raising the sea, and\nthere was a star up against the moon, and it rising in the night. If it", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "NORA Didn't the young priest say the Almighty God wouldn't leave her\ndestitute with no son living?\n\nMAURYA [In a low voice, but clearly.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "Sea\" has an historic value which it would be difficult to over-estimate\nin its accomplishment and its possibilities. A writer in The Manchester\nGuardian shortly after Synge's death phrased it rightly when he wrote", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "MAURYA [Continues without hearing anything.]", "MAURYA [Raising her head and speaking as if she did not see the people\naround her.]", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]" ], [ "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "CATHLEEN It's the life of a young man to be going on the sea, and who\nwould listen to an old woman with one thing and she saying it over?\n\nBARTLEY [Taking the halter.]", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "up. There was Patch after was drowned out of a curagh that turned over.\nI was sitting here with Bartley, and he a baby, lying on my two knees,", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "While Synge was on Inishmaan, the story came to him of a man whose body\nhad been washed up on the far away coast of Donegal, and who, by reason", "CATHLEEN Put these things away before she'll come in. Maybe it's easier\nshe'll be after giving her blessing to Bartley, and we won't let on\nwe've heard anything the time he's on the sea.", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "It is surely. There was a man in here a while ago--the man sold us that\nknife--and he said if you set off walking from the rocks beyond, it\nwould be seven days you'd be in Donegal.", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.]\n\nWhere is the bit of new rope, Cathleen, was bought in Connemara?", "It isn't that I haven't prayed for you, Bartley, to the Almighty God.\nIt isn't that I haven't said prayers in the dark night till you wouldn't", "the manner described in the play, and perhaps one of the most poignantly\nvivid passages in Synge's book on \"The Aran Islands\" relates the\nincident of his burial.", "\"There were two men,\" says he, \"and they rowing round with poteen before\nthe cocks crowed, and the oar of one of them caught the body, and they\npassing the black cliffs of the north.\"", "of certain peculiarities of dress, was suspected to be from the island.\nIn due course, he was recognised as a native of Inishmaan, in exactly" ], [ "\"There were two men,\" says he, \"and they rowing round with poteen before\nthe cocks crowed, and the oar of one of them caught the body, and they\npassing the black cliffs of the north.\"", "You did not, mother; it wasn't Michael you seen, for his body is after\nbeing found in the far north, and he's got a clean burial by the grace\nof God.", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "It's that number is in it [crying out.] Ah, Nora, isn't it a bitter\nthing to think of him floating that way to the far north, and no one to", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "It is surely. There was a man in here a while ago--the man sold us that\nknife--and he said if you set off walking from the rocks beyond, it\nwould be seven days you'd be in Donegal.", "the manner described in the play, and perhaps one of the most poignantly\nvivid passages in Synge's book on \"The Aran Islands\" relates the\nincident of his burial.", "CATHLEEN Michael is after being found in the far north, and when he is\nfound there how could he be here in this place?", "While Synge was on Inishmaan, the story came to him of a man whose body\nhad been washed up on the far away coast of Donegal, and who, by reason", "but in this place it is the young men do be leaving things behind for\nthem that do be old.\" In the quavering rhythm of these words, there is\npoignantly present that quality of strangeness and remoteness in beauty", "Did you hear that, Cathleen? Did you hear a noise in the north-east?\n\nCATHLEEN [In a whisper.]\n\nThere's some one after crying out by the seashore.", "they're gone now the lot of them. . . There were Stephen, and Shawn,\nwere lost in the great wind, and found after in the Bay of Gregory of", "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind", "of certain peculiarities of dress, was suspected to be from the island.\nIn due course, he was recognised as a native of Inishmaan, in exactly", "[She looks round at the boards.]\n\nBARTLEY How would it be washed up, and we after looking each day for\nnine days, and a strong wind blowing a while back from the west and\nsouth?", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "There was Sheamus and his father, and his own father again, were lost in\na dark night, and not a stick or sign was seen of them when the sun went", "And isn't it a pitiful thing when there is nothing left of a man who\nwas a great rower and fisher, but a bit of an old shirt and a plain\nstocking?\n\nCATHLEEN [After an instant.]", "it was a hard birth I had with every one of them and they coming to the\nworld--and some of them were found and some of them were not found, but", "NORA The young priest is after bringing them. It's a shirt and a plain\nstocking were got off a drowned man in Donegal." ], [ "NORA He'll not stop him, mother, and I heard Eamon Simon and Stephen\nPheety and Colum Shawn saying he would go.\n\nMAURYA Where is he itself?", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "NORA Didn't the young priest say the Almighty God wouldn't leave her\ndestitute with no son living?\n\nMAURYA [In a low voice, but clearly.]", "I must go now quickly. I'll ride down on the red mare, and the gray\npony'll run behind me. . . The blessing of God on you.\n\n[He goes out.]", "While Synge was on Inishmaan, the story came to him of a man whose body\nhad been washed up on the far away coast of Donegal, and who, by reason", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "MAURYA [Taking the bread.]\n\nWill I be in it as soon as himself?\n\nCATHLEEN If you go now quickly.", "[Nora picks up the turf and puts it round the pot-oven.]\n\nMAURYA [Sitting down on a stool at the fire.]" ], [ "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "I've seen the fearfulest thing any person has seen, since the day Bride\nDara seen the dead man with the child in his arms.\n\nCATHLEEN AND NORA UAH.", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "There was Sheamus and his father, and his own father again, were lost in\na dark night, and not a stick or sign was seen of them when the sun went", "\"There were two men,\" says he, \"and they rowing round with poteen before\nthe cocks crowed, and the oar of one of them caught the body, and they\npassing the black cliffs of the north.\"", "and I seen two women, and three women, and four women coming in, and\nthey crossing themselves, and not saying a word. I looked out then, and\nthere were men coming after them, and they holding a thing in the half", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "CATHLEEN [Looking out.]\n\nShe's gone now. Throw it down quickly, for the Lord knows when she'll be\nout of it again.", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "Did you hear that, Cathleen? Did you hear a noise in the north-east?\n\nCATHLEEN [In a whisper.]\n\nThere's some one after crying out by the seashore.", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "[She pauses for a moment, the girls start as if they heard something\nthrough the door that is half open behind them.]\n\nNORA [In a whisper.]", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "He's gone now, God spare us, and we'll not see him again. He's gone\nnow, and when the black night is falling I'll have no son left me in the\nworld.", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something" ], [ "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "CATHLEEN [Slowly and clearly.]\n\nAn old woman will be soon tired with anything she will do, and isn't it\nnine days herself is after crying and keening, and making great sorrow\nin the house?", "grace of God, and if they're not his, let no one say a word about them,\nfor she'll be getting her death,\" says he, \"with crying and lamenting.\"", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "CATHLEEN [After spinning for a moment.]\n\nYou didn't give him his bit of bread?\n\n[Maurya begins to keen softly, without turning round.]", "CATHLEEN [Looking out.]\n\nShe's gone now. Throw it down quickly, for the Lord knows when she'll be\nout of it again.", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Maurya takes up the tongs and begins raking the fire aimlessly without\nlooking round.]\n\nNORA [Turning towards her.]\n\nYou're taking away the turf from the cake.", "and I seen two women, and three women, and four women coming in, and\nthey crossing themselves, and not saying a word. I looked out then, and\nthere were men coming after them, and they holding a thing in the half", "stool at the other side of the fire. The cloth with the bread is still\nin her hand. The girls look at each other, and Nora points to the bundle\nof bread.]", "[She pauses again with her hand stretched out towards the door. It\nopens softly and old women begin to come in, crossing themselves on the\nthreshold, and kneeling down in front of the stage with red petticoats\nover their heads.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "CATHLEEN [Crying out.]\n\nThe Son of God forgive us, Nora, we're after forgetting his bit of\nbread.\n\n[She comes over to the fire.]", "[She kneels down again, crossing herself, and saying prayers under her\nbreath.]\n\nCATHLEEN [To an old man.]", "[They put them into a hole in the chimney corner. Cathleen goes back to\nthe spinning-wheel.]\n\nNORA Will she see it was crying I was?", "ANOTHER MAN It's a great wonder she wouldn't think of the nails, and all\nthe coffins she's seen made already.\n\nCATHLEEN It's getting old she is, and broken." ], [ "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "Let you go down now to the spring well and give him this and he passing.\nYou'll see him then and the dark word will be broken, and you can say\n\"God speed you,\" the way he'll be easy in his mind.", "\"There were two men,\" says he, \"and they rowing round with poteen before\nthe cocks crowed, and the oar of one of them caught the body, and they\npassing the black cliffs of the north.\"", "and a deep grave surely. What more can we want than that? No man at\nall can be living for ever, and we must be satisfied.\" The pity and", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "He's gone now, God spare us, and we'll not see him again. He's gone\nnow, and when the black night is falling I'll have no son left me in the\nworld.", "and I seen two women, and three women, and four women coming in, and\nthey crossing themselves, and not saying a word. I looked out then, and\nthere were men coming after them, and they holding a thing in the half", "races. In fact, they are so common as to arouse little or no wonder in\nthe minds of the people. It is just such a tale, which there seems no", "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "grace of God, and if they're not his, let no one say a word about them,\nfor she'll be getting her death,\" says he, \"with crying and lamenting.\"", "CATHLEEN [Looking out.]\n\nShe's gone now. Throw it down quickly, for the Lord knows when she'll be\nout of it again.", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "NORA Didn't the young priest say the Almighty God wouldn't leave her\ndestitute with no son living?\n\nMAURYA [In a low voice, but clearly.]", "It is surely. There was a man in here a while ago--the man sold us that\nknife--and he said if you set off walking from the rocks beyond, it\nwould be seven days you'd be in Donegal.", "I must go now quickly. I'll ride down on the red mare, and the gray\npony'll run behind me. . . The blessing of God on you.\n\n[He goes out.]", "CATHLEEN [Begins to keen.]\n\nIt's destroyed we are from this day. It's destroyed, surely.", "but in this place it is the young men do be leaving things behind for\nthem that do be old.\" In the quavering rhythm of these words, there is\npoignantly present that quality of strangeness and remoteness in beauty" ], [ "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "MAURYA It's hard set we'll be surely the day you're drownd'd with the\nrest. What way will I live and the girls with me, and I an old woman\nlooking for the grave?", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "MAURYA [Raising her head and speaking as if she did not see the people\naround her.]", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "it is the virtue in life of the women mothers and wives and sisters to\nbe great in their loneliness, great as Maurya, the stricken mother, is\ngreat in her final word.", "MAURYA [Continues without hearing anything.]", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "MAURYA [A little defiantly.]", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "NORA Didn't the young priest say the Almighty God wouldn't leave her\ndestitute with no son living?\n\nMAURYA [In a low voice, but clearly.]", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "MAURYA [Taking a stick Nora gives her.]", "MAURYA [Crying out as he is in the door.]", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?" ], [ "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "MAURYA [A little defiantly.]", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "MAURYA [Crying out as he is in the door.]", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "MAURYA [Continues without hearing anything.]", "MAURYA [Raising her head and speaking as if she did not see the people\naround her.]", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "MAURYA It's hard set we'll be surely the day you're drownd'd with the\nrest. What way will I live and the girls with me, and I an old woman\nlooking for the grave?", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]" ], [ "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "Did you ask him would he stop Bartley going this day with the horses to\nthe Galway fair?", "[Bartley lays down the halter, takes off his old coat, and puts on a\nnewer one of the same flannel.]\n\nBARTLEY [To Nora.]", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "BARTLEY [Beginning to work with the rope.]", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "CATHLEEN It's the life of a young man to be going on the sea, and who\nwould listen to an old woman with one thing and she saying it over?\n\nBARTLEY [Taking the halter.]", "BARTLEY [Working at the halter, to Cathleen.]", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "up. There was Patch after was drowned out of a curagh that turned over.\nI was sitting here with Bartley, and he a baby, lying on my two knees,", "BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.]\n\nWhere is the bit of new rope, Cathleen, was bought in Connemara?", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]" ], [ "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "NORA And what time would a man take, and he floating?\n\n[Cathleen opens the bundle and takes out a bit of a stocking. They look\nat them eagerly.]", "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "NORA They're carrying a thing among them and there's water dripping out\nof it and leaving a track by the big stones.\n\nCATHLEEN [In a whisper to the women who have come in.]", "CATHLEEN [Taking the bundle.]\n\nDid he say what way they were found?\n\nNORA [Coming down.]", "CATHLEEN [Coming down.]\n\nGive it to him, Nora; it's on a nail by the white boards. I hung it up\nthis morning, for the pig with the black feet was eating it.", "NORA The young priest is after bringing them. It's a shirt and a plain\nstocking were got off a drowned man in Donegal.", "Tell me is herself coming, Nora? I hear a little sound on the path.\n\nNORA [Looking out.]\n\nShe is, Cathleen. She's coming up to the door.", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "CATHLEEN [Crying out.]\n\nThe Son of God forgive us, Nora, we're after forgetting his bit of\nbread.\n\n[She comes over to the fire.]", "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "[Nora comes in softly, and takes a bundle from under her shawl.]\n\nCATHLEEN [Spinning the wheel rapidly.]\n\nWhat is it you have?", "NORA And it's destroyed he'll be going till dark night, and he after\neating nothing since the sun went up.\n\nCATHLEEN [Turning the cake out of the oven.]", "Give her the stick, Nora, or maybe she'll slip on the big stones.\n\nNORA What stick?\n\nCATHLEEN The stick Michael brought from Connemara.", "CATHLEEN [Looking out.]\n\nShe's gone now. Throw it down quickly, for the Lord knows when she'll be\nout of it again.", "CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry,\nGod help her, you wouldn't know the thing she'd do.\n\nNORA Is she gone round by the bush?", "NORA [Helping Cathleen to close the bundle.]\n\nWe'll put them here in the corner.", "[They put them into a hole in the chimney corner. Cathleen goes back to\nthe spinning-wheel.]\n\nNORA Will she see it was crying I was?", "I've seen the fearfulest thing any person has seen, since the day Bride\nDara seen the dead man with the child in his arms.\n\nCATHLEEN AND NORA UAH." ], [ "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "up. There was Patch after was drowned out of a curagh that turned over.\nI was sitting here with Bartley, and he a baby, lying on my two knees,", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "BARTLEY [Beginning to work with the rope.]", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "[Bartley lays down the halter, takes off his old coat, and puts on a\nnewer one of the same flannel.]\n\nBARTLEY [To Nora.]", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "Did you ask him would he stop Bartley going this day with the horses to\nthe Galway fair?", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "BARTLEY [Working at the halter, to Cathleen.]", "CATHLEEN It's the life of a young man to be going on the sea, and who\nwould listen to an old woman with one thing and she saying it over?\n\nBARTLEY [Taking the halter.]" ], [ "hitting one on the other. I'll have no call now to be going down and\ngetting Holy Water in the dark nights after Samhain, and I won't care", "long nights after Samhain, if it's only a bit of wet flour we do have to\neat, and maybe a fish that would be stinking.", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "There was Sheamus and his father, and his own father again, were lost in\na dark night, and not a stick or sign was seen of them when the sun went", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "CATHLEEN [Coming to the fire.]\n\nWhat is it ails you, at all?\n\nMAURYA [Speaking very slowly.]", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "MAURYA If it wasn't found itself, that wind is raising the sea, and\nthere was a star up against the moon, and it rising in the night. If it", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "CATHLEEN [After spinning for a moment.]\n\nYou didn't give him his bit of bread?\n\n[Maurya begins to keen softly, without turning round.]", "He's gone now, God spare us, and we'll not see him again. He's gone\nnow, and when the black night is falling I'll have no son left me in the\nworld.", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]" ], [ "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "MAURYA [Taking a stick Nora gives her.]", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "MAURYA It's hard set we'll be surely the day you're drownd'd with the\nrest. What way will I live and the girls with me, and I an old woman\nlooking for the grave?", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "MAURYA [Crying out as he is in the door.]", "[Nora picks up the turf and puts it round the pot-oven.]\n\nMAURYA [Sitting down on a stool at the fire.]", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "Let you go down now to the spring well and give him this and he passing.\nYou'll see him then and the dark word will be broken, and you can say\n\"God speed you,\" the way he'll be easy in his mind.", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "MAURYA [Raising her head and speaking as if she did not see the people\naround her.]" ], [ "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]" ], [ "While Synge was on Inishmaan, the story came to him of a man whose body\nhad been washed up on the far away coast of Donegal, and who, by reason", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "You did not, mother; it wasn't Michael you seen, for his body is after\nbeing found in the far north, and he's got a clean burial by the grace\nof God.", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "\"There were two men,\" says he, \"and they rowing round with poteen before\nthe cocks crowed, and the oar of one of them caught the body, and they\npassing the black cliffs of the north.\"", "you, if Michael is washed up to-morrow morning, or the next morning,\nor any morning in the week, for it's a deep grave we'll make him by the\ngrace of God.", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "NORA The young priest says he's known the like of it. \"If it's Michael's\nthey are,\" says he, \"you can tell herself he's got a clean burial by the", "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind", "NORA The young priest is after bringing them. It's a shirt and a plain\nstocking were got off a drowned man in Donegal.", "It's that number is in it [crying out.] Ah, Nora, isn't it a bitter\nthing to think of him floating that way to the far north, and no one to", "CATHLEEN Michael is after being found in the far north, and when he is\nfound there how could he be here in this place?", "CATHLEEN It's Michael, God spare him, for they're after sending us a bit\nof his clothes from the far north.", "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "they're gone now the lot of them. . . There were Stephen, and Shawn,\nwere lost in the great wind, and found after in the Bay of Gregory of" ], [ "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "MAURYA It's hard set we'll be surely the day you're drownd'd with the\nrest. What way will I live and the girls with me, and I an old woman\nlooking for the grave?", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "MAURYA If it wasn't found itself, that wind is raising the sea, and\nthere was a star up against the moon, and it rising in the night. If it", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "MAURYA [Raising her head and speaking as if she did not see the people\naround her.]", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "MAURYA [Crying out as he is in the door.]", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "MAURYA [Continues without hearing anything.]", "MAURYA [A little defiantly.]", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "MAURYA [Turning round to the fire, and putting her shawl over her head.]\n\nIsn't it a hard and cruel man won't hear a word from an old woman, and\nshe holding him from the sea?", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "[Nora picks up the turf and puts it round the pot-oven.]\n\nMAURYA [Sitting down on a stool at the fire.]" ], [ "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "BARTLEY [Comes in and looks round the room. Speaking sadly and quietly.]\n\nWhere is the bit of new rope, Cathleen, was bought in Connemara?", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "CATHLEEN It's the life of a young man to be going on the sea, and who\nwould listen to an old woman with one thing and she saying it over?\n\nBARTLEY [Taking the halter.]", "Did you ask him would he stop Bartley going this day with the horses to\nthe Galway fair?", "CATHLEEN There's a cake baking at the fire for a short space. [Throwing\ndown the turf] and Bartley will want it when the tide turns if he goes\nto Connemara.", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "[Bartley lays down the halter, takes off his old coat, and puts on a\nnewer one of the same flannel.]\n\nBARTLEY [To Nora.]", "CATHLEEN Put these things away before she'll come in. Maybe it's easier\nshe'll be after giving her blessing to Bartley, and we won't let on\nwe've heard anything the time he's on the sea.", "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "BARTLEY [Working at the halter, to Cathleen.]", "up. There was Patch after was drowned out of a curagh that turned over.\nI was sitting here with Bartley, and he a baby, lying on my two knees,", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "[Two younger women come in and pull out the table. Then men carry in the\nbody of Bartley, laid on a plank, with a bit of a sail over it, and lay\nit on the table.]", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "Is she coming to the pier?\n\nNORA [Looking out.] She's passing the green head and letting fall her\nsails.\n\nBARTLEY [Getting his purse and tobacco.]", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with" ], [ "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "CATHLEEN It's the life of a young man to be going on the sea, and who\nwould listen to an old woman with one thing and she saying it over?\n\nBARTLEY [Taking the halter.]", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "[Bartley lays down the halter, takes off his old coat, and puts on a\nnewer one of the same flannel.]\n\nBARTLEY [To Nora.]", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "MAURYA How would the like of her get a good price for a pig?\n\nBARTLEY [To Cathleen]", "up. There was Patch after was drowned out of a curagh that turned over.\nI was sitting here with Bartley, and he a baby, lying on my two knees,", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "BARTLEY [Working at the halter, to Cathleen.]" ], [ "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "MAURYA [Half in a dream, to Cathleen.]\n\nIs it Patch, or Michael, or what is it at all?", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "NORA The young priest says he's known the like of it. \"If it's Michael's\nthey are,\" says he, \"you can tell herself he's got a clean burial by the", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "You did not, mother; it wasn't Michael you seen, for his body is after\nbeing found in the far north, and he's got a clean burial by the grace\nof God.", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "CATHLEEN [After spinning for a moment.]\n\nYou didn't give him his bit of bread?\n\n[Maurya begins to keen softly, without turning round.]", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]" ], [ "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "NORA The young priest says he's known the like of it. \"If it's Michael's\nthey are,\" says he, \"you can tell herself he's got a clean burial by the", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "Give her the stick, Nora, or maybe she'll slip on the big stones.\n\nNORA What stick?\n\nCATHLEEN The stick Michael brought from Connemara.", "Tell me is herself coming, Nora? I hear a little sound on the path.\n\nNORA [Looking out.]\n\nShe is, Cathleen. She's coming up to the door.", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "CATHLEEN How would they be Michael's, Nora. How would he go the length\nof that way to the far north?", "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "She's quiet now and easy; but the day Michael was drowned you could\nhear her crying out from this to the spring well. It's fonder she was of\nMichael, and would any one have thought that?", "NORA [Getting the bundle from the loft.]\n\nThe young priest said he'd be passing to-morrow, and we might go down\nand speak to him below if it's Michael's they are surely.", "NORA \"I won't stop him,\" says he, \"but let you not be afraid. Herself\ndoes be saying prayers half through the night, and the Almighty God", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "Is she coming to the pier?\n\nNORA [Looking out.] She's passing the green head and letting fall her\nsails.\n\nBARTLEY [Getting his purse and tobacco.]", "CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry,\nGod help her, you wouldn't know the thing she'd do.\n\nNORA Is she gone round by the bush?", "NORA And what time would a man take, and he floating?\n\n[Cathleen opens the bundle and takes out a bit of a stocking. They look\nat them eagerly.]", "CATHLEEN [Taking the bundle.]\n\nDid he say what way they were found?\n\nNORA [Coming down.]", "[Coming to the table.]\n\nIt's a long time we'll be, and the two of us crying.\n\nNORA [Goes to the inner door and listens.]" ], [ "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "Tell me is herself coming, Nora? I hear a little sound on the path.\n\nNORA [Looking out.]\n\nShe is, Cathleen. She's coming up to the door.", "CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry,\nGod help her, you wouldn't know the thing she'd do.\n\nNORA Is she gone round by the bush?", "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "CATHLEEN [Crying out.]\n\nThe Son of God forgive us, Nora, we're after forgetting his bit of\nbread.\n\n[She comes over to the fire.]", "CATHLEEN [Coming down.]\n\nGive it to him, Nora; it's on a nail by the white boards. I hung it up\nthis morning, for the pig with the black feet was eating it.", "NORA They're carrying a thing among them and there's water dripping out\nof it and leaving a track by the big stones.\n\nCATHLEEN [In a whisper to the women who have come in.]", "NORA And what time would a man take, and he floating?\n\n[Cathleen opens the bundle and takes out a bit of a stocking. They look\nat them eagerly.]", "[The door which Nora half closed is blown open by a gust of wind.]\n\nCATHLEEN [Looking out anxiously.]", "CATHLEEN (her daughter).... Sarah Allgood\n\n NORA (a younger daughter).. Emma Vernon\n\n MEN AND WOMEN", "CATHLEEN [In a low voice.]\n\nThe Lord spare us, Nora! isn't it a queer hard thing to say if it's his\nthey are surely?", "NORA And it's destroyed he'll be going till dark night, and he after\neating nothing since the sun went up.\n\nCATHLEEN [Turning the cake out of the oven.]", "[Nora comes in softly, and takes a bundle from under her shawl.]\n\nCATHLEEN [Spinning the wheel rapidly.]\n\nWhat is it you have?", "Give her the stick, Nora, or maybe she'll slip on the big stones.\n\nNORA What stick?\n\nCATHLEEN The stick Michael brought from Connemara.", "CATHLEEN [Taking the bundle.]\n\nDid he say what way they were found?\n\nNORA [Coming down.]", "CATHLEEN I hear some one passing the big stones.\n\nNORA [Looking out.]\n\nHe's coming now, and he's in a hurry.", "CATHLEEN [Looking out.]\n\nShe's gone now. Throw it down quickly, for the Lord knows when she'll be\nout of it again.", "Cathleen, a girl of about twenty, finishes kneading cake, and puts it\ndown in the pot-oven by the fire; then wipes her hands, and begins to", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?" ], [ "[Cathleen stops her wheel with a sudden movement, and leans out to\nlisten.]\n\nNORA We're to find out if it's Michael's they are, some time herself\nwill be down looking by the sea.", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "NORA The young priest says he's known the like of it. \"If it's Michael's\nthey are,\" says he, \"you can tell herself he's got a clean burial by the", "Tell me is herself coming, Nora? I hear a little sound on the path.\n\nNORA [Looking out.]\n\nShe is, Cathleen. She's coming up to the door.", "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "CATHLEEN [Coming down.]\n\nGive it to him, Nora; it's on a nail by the white boards. I hung it up\nthis morning, for the pig with the black feet was eating it.", "CATHLEEN It's Michael, God spare him, for they're after sending us a bit\nof his clothes from the far north.", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "CATHLEEN [Taking the bundle.]\n\nDid he say what way they were found?\n\nNORA [Coming down.]", "CATHLEEN I hear some one passing the big stones.\n\nNORA [Looking out.]\n\nHe's coming now, and he's in a hurry.", "CATHLEEN How would they be Michael's, Nora. How would he go the length\nof that way to the far north?", "NORA And what time would a man take, and he floating?\n\n[Cathleen opens the bundle and takes out a bit of a stocking. They look\nat them eagerly.]", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "CATHLEEN [Crying out.]\n\nThe Son of God forgive us, Nora, we're after forgetting his bit of\nbread.\n\n[She comes over to the fire.]", "Give her the stick, Nora, or maybe she'll slip on the big stones.\n\nNORA What stick?\n\nCATHLEEN The stick Michael brought from Connemara.", "CATHLEEN Wait, Nora, maybe she'd turn back quickly. She's that sorry,\nGod help her, you wouldn't know the thing she'd do.\n\nNORA Is she gone round by the bush?", "NORA They're carrying a thing among them and there's water dripping out\nof it and leaving a track by the big stones.\n\nCATHLEEN [In a whisper to the women who have come in.]", "Did you hear that, Cathleen? Did you hear a noise in the north-east?\n\nCATHLEEN [In a whisper.]\n\nThere's some one after crying out by the seashore." ], [ "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "you, if Michael is washed up to-morrow morning, or the next morning,\nor any morning in the week, for it's a deep grave we'll make him by the\ngrace of God.", "NORA The young priest says he's known the like of it. \"If it's Michael's\nthey are,\" says he, \"you can tell herself he's got a clean burial by the", "MAURYA There does be a power of young men floating round in the sea, and\nwhat way would they know if it was Michael they had, or another man like", "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]" ], [ "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "I'm after seeing him this day, and he riding and galloping. Bartley came\nfirst on the red mare; and I tried to say \"God speed you,\" but something", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "MAURYA I seen the fearfulest thing.\n\nCATHLEEN [Leaves her wheel and looks out.]", "MAURYA [Starts, so that her shawl falls back from her head and shows her\nwhite tossed hair. With a frightened voice.]\n\nThe gray pony behind him.", "MAURYA You'd do right to leave that rope, Bartley, hanging by the boards\n[Bartley takes the rope]. It will be wanting in this place, I'm telling", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "God forgive you; isn't it a better thing to raise your voice and tell\nwhat you seen, than to be making lamentation for a thing that's done?\nDid you see Bartley, I'm saying to you?", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "MAURYA (an old woman)...... Honor Lavelle\n\n BARTLEY (her son).......... W. G. Fay", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "I must go now quickly. I'll ride down on the red mare, and the gray\npony'll run behind me. . . The blessing of God on you.\n\n[He goes out.]", "CATHLEEN I'm thinking Bartley put it on him in the morning, for his own\nshirt was heavy with the salt in it [pointing to the corner]. There's a", "Is it Bartley it is?\n\nONE OF THE WOMEN It is surely, God rest his soul.", "[She pauses, and the keen rises a little more loudly from the women,\nthen sinks away.]\n\nMAURYA [Continuing.]", "God forgive you; he's riding the mare now over the green head, and the\ngray pony behind him." ], [ "MAURYA [With a weak voice.]\n\nMy heart's broken from this day.\n\nCATHLEEN [As before.]\n\nDid you see Bartley?", "They're all together this time, and the end is come. May the Almighty\nGod have mercy on Bartley's soul, and on Michael's soul, and on the", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "CATHLEEN What is it you seen.\n\nMAURYA I seen Michael himself.\n\nCATHLEEN [Speaking softly.]", "Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "\"Michael has a clean burial in the far north, by the grace of the\nAlmighty God. Bartley will have a fine coffin out of the white boards,", "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "It's Michael, Cathleen, it's Michael; God spare his soul, and what will\nherself say when she hears this story, and Bartley on the sea?\n\nCATHLEEN [Taking the stocking.]", "NORA Didn't the young priest say the Almighty God wouldn't leave her\ndestitute with no son living?\n\nMAURYA [In a low voice, but clearly.]", "It's little the like of him knows of the sea. . . . Bartley will be\nlost now, and let you call in Eamon and make me a good coffin out of", "MAURYA It's a hard thing they'll be saying below if the body is washed\nup and there's no man in it to make the coffin, and I after giving a big", "MAURYA I went down to the spring well, and I stood there saying a prayer\nto myself. Then Bartley came along, and he riding on the red mare with", "He's gone now, God spare us, and we'll not see him again. He's gone\nnow, and when the black night is falling I'll have no son left me in the\nworld.", "CATHLEEN Did you see him riding down?\n\n[Maurya goes on keening.]\n\nCATHLEEN [A little impatiently.]", "and a deep grave surely. What more can we want than that? No man at\nall can be living for ever, and we must be satisfied.\" The pity and", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]", "CATHLEEN [After spinning for a moment.]\n\nYou didn't give him his bit of bread?\n\n[Maurya begins to keen softly, without turning round.]", "They're all gone now, and there isn't anything more the sea can do to\nme.... I'll have no call now to be up crying and praying when the wind" ], [ "[She reaches out and hands Maurya the clothes that belonged to Michael.\nMaurya stands up slowly, and takes them into her hands. NORA looks out.]", "[Nora sits down at the chimney corner, with her back to the door. Maurya\ncomes in very slowly, without looking at the girls, and goes over to her", "[Maurya stands up again very slowly and spreads out the pieces of\nMichael's clothes beside the body, sprinkling them with the last of the\nHoly Water.]\n\nNORA [In a whisper to Cathleen.]", "[Maurya takes up the tongs and begins raking the fire aimlessly without\nlooking round.]\n\nNORA [Turning towards her.]\n\nYou're taking away the turf from the cake.", "[Nora picks up the turf and puts it round the pot-oven.]\n\nMAURYA [Sitting down on a stool at the fire.]", "[Nora gives it to her.]\n\nMAURYA [Drops Michael's clothes across Bartley's feet, and sprinkles the\nHoly Water over him.]", "MAURYA [Taking a stick Nora gives her.]", "what way the sea is when the other women will be keening. [To Nora]. Give\nme the Holy Water, Nora, there's a small sup still on the dresser.", "Is she coming to the pier?\n\nNORA [Looking out.] She's passing the green head and letting fall her\nsails.\n\nBARTLEY [Getting his purse and tobacco.]", "NORA [In a low voice.]\n\nWhere is she?\n\nCATHLEEN She's lying down, God help her, and may be sleeping, if she's\nable.", "Tell me is herself coming, Nora? I hear a little sound on the path.\n\nNORA [Looking out.]\n\nShe is, Cathleen. She's coming up to the door.", "[Coming to the table.]\n\nIt's a long time we'll be, and the two of us crying.\n\nNORA [Goes to the inner door and listens.]", "[Maurya has gone over and knelt down at the head of the table. The women\nare keening softly and swaying themselves with a slow movement. Cathleen", "stool at the other side of the fire. The cloth with the bread is still\nin her hand. The girls look at each other, and Nora points to the bundle\nof bread.]", "[She pauses for a moment, the girls start as if they heard something\nthrough the door that is half open behind them.]\n\nNORA [In a whisper.]", "[She goes out slowly. Nora goes over to the ladder.]", "[Nora comes in softly, and takes a bundle from under her shawl.]\n\nCATHLEEN [Spinning the wheel rapidly.]\n\nWhat is it you have?", "NORA [Swinging herself round, and throwing out her arms on the clothes.]", "MAURYA [Puts the empty cup mouth downwards on the table, and lays her\nhands together on Bartley's feet.]", "It's destroyed he'll be, surely. There's no sense left on any person in\na house where an old woman will be talking for ever.\n\n[Maurya sways herself on her stool.]" ] ]

[ "Who told the sisters their brother may be dead?", "When did Cathleen know Michael was dead?", "Why doesn't Maurya have to worry about the sea anymore?", "What island was Bartley voyaging from in the story?", "What was found on the north-most island?", "How was Maurya's son traveling to his Connemarre?", "When was the ghost seen?", "Why was the widow scolded?", "What occurrence was foretold?", "What does Maurya lose her family to?", "Who is Maurya's brother?", "What is bartley planning to sell?", "What do Nora and Cathleen receive from the dead corpse?", "What happened to bartley ?", "What does Maurya seek in the dark nights after Samhain?", "Who gives Maurya holy water?", "Why does Maurya go after bartley?", "What shore does Michael's corpse wash up on?", "What does maurya predict by nightfall?", "What is Bartley planning to sell in Connemara?", "What is Bartley's relationship to Maurya?", "What is Michael's relationship to Maurya?", "What is Nora's relationship to MIchael?", "What is Cathleen's relationship to Nora?", "What evidence do Cathleen and Nora receive that confirms the death of Michael?", "What does Maurya predict will happen to MIchael and Bartley?", "What does Maurya claim to see riding behind Bartley?", "After the death of Michael and Bartley what entity does Maurya claim can no longer threaten the family?", "What does Maurya ask Nora to fetch from the dresser?" ]

[ [ "the priest", "the priest" ], [ "when she saw the clothes from the corpse", "They received clothing from a drowned corpse, Michael's clothing" ], [ "it has already taken her husband and all her sons", "everyone is dead" ], [ "Inishmaan", "Inishmaan" ], [ "a body", "Her brother" ], [ "sailing", "Sailing" ], [ "when Maurya went after Bartlry", "As Bartley's ship left" ], [ "she wasn't nice to her son before he left", "for sending bartley of with an ill word" ], [ "the death of Bartley", "the death of her sons" ], [ "The sea.", "Sea." ], [ "Michael", "Maurya's brother is Bartley" ], [ "A horse", "a horse" ], [ "Clothing ", "Clothing" ], [ "He fell off his horse and drowned in the sea", "fell of his horse into the sea and died" ], [ "Holy Water", "Holy Water" ], [ "Nora", "Nora" ], [ "To bless his voyage", "to bless his voyage" ], [ "The shore of donegal", "Donegal" ], [ "she will have no living sons", "Her last living son will be dead" ], [ "A horse.", "a horse" ], [ "Bartley is Maurya's son.", "her last living son" ], [ "MIchael is Maurya's son.", "her son" ], [ "Nora is Michael's sister", "Nora is Michael's brother" ], [ "Cathleen is Nora's sister", "sisters" ], [ "Michael's clothing", "clothing" ], [ "Bartley and Michael wil die", "they die" ], [ "The ghost of Michael", "His dead brother. Micheal." ], [ "The sea.", "a ghost" ], [ "Holy water.", "holy water" ] ]

b2091fab7149af1b52bdd0a2bc28e60a2092a16a

validation

[ [ "SIR ROBERT CHILTERN. The affair to which you allude was no more than a\nspeculation. The House of Commons had not yet passed the bill; it might\nhave been rejected.", "SIR ROBERT CHILTERN. [_Throws himself into an armchair by the\nwriting-table_.] One night after dinner at Lord Radleyâs the Baron began", "[SIR ROBERT CHILTERN _enters_. _A man of forty_, _but looking somewhat", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "[SIR ROBERT CHILTERN _walks up and down for a moment_; _then sits down\nand buries his face in his hands_. _The Servant enters and begins", "SIR ROBERT CHILTERN. Oh! spies are of no use nowadays. Their profession\nis over. The newspapers do their work instead.", "would disappear completely. And after all, Sir Robert, why should you\nsacrifice your entire future rather than deal diplomatically with your", "SIR ROBERT CHILTERN. I hope not, Lady Markby. At any rate we do our\nbest to waste the public time, donât we? But who is this charming person\nyou have been kind enough to bring to us?", "SIR ROBERT CHILTERN. [_With a polite bow_.] I fear I could hardly agree\nwith you there. But do sit down. And now tell me, what makes you leave", "[SIR ROBERT CHILTERN _walks up and down the room with a troubled\nexpression_. _Then comes over to his wife_, _and puts his hand on her\nshoulder_.]", "SIR ROBERT CHILTERN. Is Mr. Trafford in his room?\n\nMASON. Yes, Sir Robert.", "SIR ROBERT CHILTERN. [_Frowning_.] Ah! yes. I remember hearing, at the\ntime of his death, that he had been mixed up in the whole affair.", "JAMES. Lord Caversham has been waiting some time in the library for Sir\nRobert. I told him your lordship was here.", "really depends on you, Sir Robert. [_Sits down on the sofa_.]", "SIR ROBERT CHILTERN. There is some one. There are lights in the room,\nand the door is ajar. Some one has been listening to every secret of my\nlife. Arthur, what does this mean?", "hardly say. But his violent language could be heard all over the house!\nI trust, Gertrude, that Sir Robert is not like that?", "SIR ROBERT CHILTERN. [_Rises indignantly_.] If you will allow me, I\nwill call your carriage for you. You have lived so long abroad, Mrs.", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "LADY MARKBY. Well, dear Mrs. Cheveley, I hope you have enjoyed yourself.\nSir Robert is very entertaining, is he not?", "SIR ROBERT CHILTERN. No; he was a man of a most subtle and refined\nintellect. A man of culture, charm, and distinction. One of the most\nintellectual men I ever met." ], [ "Mrs. Cheveley went. She stole my letter and sent it anonymously to you\nthis morning, that you should think . . . Oh! Robert, I cannot tell you", "MRS. CHEVELEY. [_With a bitter note of triumph in her voice_.] I mean\nthat I am going to send Robert Chiltern the love-letter his wife wrote to\nyou to-night.", "MRS. CHEVELEY. It was a swindle, Sir Robert. Let us call things by\ntheir proper names. It makes everything simpler. And now I am going to", "MRS. CHEVELEY. My dear Sir Robert, what then? You are ruined, that is\nall! Remember to what a point your Puritanism in England has brought", "SIR ROBERT CHILTERN. Mrs. Cheveley, you cannot be serious in making me\nsuch a proposition!\n\nMRS. CHEVELEY. I am quite serious.", "MRS. CHEVELEY. [_In her most nonchalant manner_.] My dear Sir Robert,\nyou are a man of the world, and you have your price, I suppose.", "SIR ROBERT CHILTERN. As you choose. When I called on you yesterday\nevening I found Mrs. Cheveley concealed in your rooms. It was between", "LORD GORING. Mrs. Cheveley made an attempt to ruin your husband. Either\nto drive him from public life, or to make him adopt a dishonourable", "SIR ROBERT CHILTERN. Mrs. Cheveley herself. And the woman I love knows\nthat I began my career with an act of low dishonesty, that I built up my", "MRS. CHEVELEY. Your old friendâand mine.\n\nSIR ROBERT CHILTERN. Who?\n\nMRS. CHEVELEY. Baron Arnheim.", "MRS. CHEVELEY. [_Smiling_.] Intimately. Did you?\n\nSIR ROBERT CHILTERN. At one time.", "MRS. CHEVELEY. Sir Robert, I will be quite frank with you. I want you\nto withdraw the report that you had intended to lay before the House, on", "SIR ROBERT CHILTERN. In defending myself against Mrs. Cheveley, I have a\nright to use any weapon I can find, have I not?", "MRS. CHEVELEY. You thought that letter had been destroyed. How foolish\nof you! It is in my possession.", "MRS. CHEVELEY. That you must not do. In your own interests, Sir Robert,\nto say nothing of mine, you must not do that.", "SIR ROBERT CHILTERN. [_Looking at her in wonder_.] In my own interests?\nMy dear Mrs. Cheveley, what do you mean? [_Sits down beside her_.]", "SIR ROBERT CHILTERN. I fear I have no advice to give you, Mrs. Cheveley,\nexcept to interest yourself in something less dangerous. The success of", "MRS. CHEVELEY. As if anything could demoralise Robert Chiltern! You\nseem to forget that I know his real character.", "MRS. CHEVELEY. [_After a pause_.] Then you are going to allow your\ngreatest friend, Robert Chiltern, to be ruined, rather than marry some", "SIR ROBERT CHILTERN. Believe me, Mrs. Cheveley, it is a swindle. Let us\ncall things by their proper names. It makes matters simpler. We have" ], [ "LADY MARKBY. He has had a very interesting and brilliant career. And he\nhas married a most admirable wife. Lady Chiltern is a woman of the very", "LADY CHILTERN. That makes no matter. She must know at once that she has\nbeen mistaken in youâand that you are not a man to do anything base or", "LADY CHILTERN. [_Taking her husbandâs hand_.] I admire him for it. I", "LADY CHILTERN. Yes.\n\nSIR ROBERT CHILTERN. You trust me, Gertrude?\n\nLADY CHILTERN. Yes.", "SIR ROBERT CHILTERN. I am not changed. But circumstances alter things.\n\nLADY CHILTERN. Circumstances should never alter principles!", "LADY CHILTERN. Oh, my ambition! I have none now, but that we two may\nlove each other. It was your ambition that led you astray. Let us not\ntalk about ambition.", "SIR ROBERT CHILTERN. Ah! why did you not add you loved me?\n\nLADY CHILTERN. [_Taking his hand_.] Because I loved you.", "LORD GORING. Is Lady Chiltern as perfect as all that?\n\nSIR ROBERT CHILTERN. Yes; my wife is as perfect as all that.", "SIR ROBERT CHILTERN. When? When we were engaged? Do you think she\nwould have married me if she had known that the origin of my fortune is", "LADY CHILTERN. A manâs life is of more value than a womanâs. It has\nlarger issues, wider scope, greater ambitions. Our lives revolve in", "LADY CHILTERN. I think my husband in right in his determination, Lord\nCaversham. I approve of it.\n\nLORD CAVERSHAM. You approve of it? Good heavens!", "SIR ROBERT CHILTERN. Yes, utterly sacrificed. Loveless marriages are\nhorrible. But there is one thing worse than an absolutely loveless", "LADY CHILTERN. [_Sadly_.] Oneâs past is what one is. It is the only\nway by which people should be judged.", "do. And Lady Chiltern has a very ennobling effect on life, though her\ndinner-parties are rather dull sometimes. But one canât have everything,", "LADY CHILTERN. You sold a Cabinet secret for money! You began your life\nwith fraud! You built up your career on dishonour! Oh, tell me it is", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "SIR ROBERT CHILTERN. Must I write and tell her that?\n\nLADY CHILTERN. Surely, Robert! What else is there to do?", "LADY CHILTERN. I will love you always, because you will always be worthy\nof love. We needs must love the highest when we see it! [_Kisses him\nand rises and goes out_.]", "LADY CHILTERN. Apparently to try and lure Robert to uphold some\nfraudulent scheme in which she is interested. The Argentine Canal, in\nfact.", "MRS. CHEVELEY. [_After a pause_.] Then you are going to allow your\ngreatest friend, Robert Chiltern, to be ruined, rather than marry some" ], [ "MABEL CHILTERN. You did?\n\nLORD GORING. Yes.\n\n[LADY CHILTERN _enters alone_. _The other guests have gone_.]", "LORD GORING. Dear Mabel, while you are away, there are none. It makes\nme horribly dependent on you.\n\n[_Enter_ LADY CHILTERN.]", "LORD GORING. With pleasure, Miss Mabel. [_Moves away with her_.]\n\nMABEL CHILTERN. How horrid you have been! You have never talked to me\nthe whole evening!", "MRS. CHEVELEY. And what is Lord Goring?\n\nMABEL CHILTERN. Oh! Lord Goring is president.", "LORD GORING. Of course. And a very sensible remark for Mrs. Cheveley to\nmake, too.\n\n[_Enter_ MABEL CHILTERN. _She joins the group_.]", "LORD GORING. I am delighted to hear it. [_Bows and goes out_.]\n\nMABEL CHILTERN. Gertrude, I wish you would speak to Tommy Trafford.", "LORD CAVERSHAM. Lady Caversham is as usual, as usual.\n\nLORD GORING. Good morning, Miss Mabel!", "MRS. CHEVELEY. [_With a look of surprise_.] Lord Goring expects me?\n\nPHIPPS. Yes, madam.", "LORD GORING. [_After kissing her again_.] Of course Iâm not nearly good\nenough for you, Mabel.", "LORD GORING. Because it is found. In point of fact, I found it myself,\nand stupidly forgot to tell the butler anything about it as I was", "MABEL CHILTERN. You are very late!\n\nLORD GORING. Have you missed me?\n\nMABEL CHILTERN. Awfully!", "LORD GORING. Detestable.\n\nMABEL CHILTERN. I am glad you admit it. But I wish you wouldnât look so\npleased about it.", "LORD GORING. Must you really? [_Kisses her_.]\n\nMABEL CHILTERN. Yes.", "LORD GORING. I adore political parties. They are the only place left to\nus where people donât talk politics.", "MABEL CHILTERN. What are you doing?\n\nLORD GORING. Miss Mabel, I am going to make a rather strange request to\nyou.", "LADY CHILTERN. Yes; but I donât know why you said it to me.\n\nLORD GORING. I hardly know myself. Good-bye, Miss Mabel!", "MABEL CHILTERN. [_Taking no notice at all of_ LORD GORING, _and", "LORD GORING. But I love Mabel. No other woman has any place in my life.\n\nLADY CHILTERN. Robert, if they love each other, why should they not be\nmarried?", "LORD GORING. I am very selfish.\n\nMABEL CHILTERN. You are always telling me of your bad qualities, Lord\nGoring.", "LORD GORING. She has mistaken her man, hasnât she?\n\nLADY CHILTERN. She is incapable of understanding an upright nature like\nmy husbandâs!" ], [ "LORD GORING. [_Arranging his necktie_.] So little that I got engaged to\nbe married to her once, when I was staying at the Tenbysâ. The affair", "LORD CAVERSHAM. Engaged to be married yet?\n\nLORD GORING. [_Genially_.] Not yet: but I hope to be before lunch-time.", "LORD GORING. She has mistaken her man, hasnât she?\n\nLADY CHILTERN. She is incapable of understanding an upright nature like\nmy husbandâs!", "MRS. CHEVELEY. I have met Lord Goring before.\n\nLORD GORING. [_Bowing_.] I did not think you would remember me, Mrs.\nCheveley.", "LORD GORING. Thanks awfully, but I think Iâd sooner be engaged before\nlunch.\n\nLORD CAVERSHAM. Humph! Never know when you are serious or not.", "LORD GORING. But I love Mabel. No other woman has any place in my life.\n\nLADY CHILTERN. Robert, if they love each other, why should they not be\nmarried?", "LORD GORING. You mean that you amused yourself immensely, donât you?\n\nMRS. CHEVELEY. What do you know about my married life?", "MRS. CHEVELEY. Arthur, you loved me once.\n\nLORD GORING. Yes.\n\nMRS. CHEVELEY. And you asked me to be your wife.", "MRS. CHEVELEY. [_After a pause_.] Lord Goring merely rang that you\nshould show me out. Good-night, Lord Goring!", "LORD GORING. He would do what you asked him, wouldnât he?\n\nLADY CHILTERN. I think so.", "LORD GORING. I mean that you stole that ornament from my cousin, Mary\nBerkshire, to whom I gave it when she was married. Suspicion fell on a", "LORD GORING. I have nothing more to say.\n\nLADY CHILTERN. Robert, it was not Mrs. Cheveley whom Lord Goring\nexpected last night.", "LORD GORING. How terrible! Really, the thing should be more widely\nknown!\n\nLADY BASILDON. Basildon is quite as bad; he is as domestic as if he was\na bachelor.", "LORD GORING. I think it is better that he should know the exact truth.\n\nLADY CHILTERN. [_Rising_.] Oh, I couldnât, I couldnât!", "LORD GORING. Lady Chiltern, I have a certain amount of very good news to\ntell you. Mrs. Cheveley gave me up Robertâs letter last night, and I\nburned it. Robert is safe.", "LORD GORING. Ah! that is probably the lady. I shall see her myself.\n\n[_Just as he is going towards the door_ LORD CAVERSHAM _enters from the\nsmoking-room_.]", "LORD GORING. Extraordinary thing about the lower classes in Englandâthey\nare always losing their relations.\n\nPHIPPS. Yes, my lord! They are extremely fortunate in that respect.", "LORD GORING. [_Looking straight at her_.] Quite frankly?\n\nLADY CHILTERN. Surely. You have nothing to conceal, have you?", "LORD GORING. With pleasure, Miss Mabel. [_Moves away with her_.]\n\nMABEL CHILTERN. How horrid you have been! You have never talked to me\nthe whole evening!", "LORD GORING. I am delighted to hear it. [_Bows and goes out_.]\n\nMABEL CHILTERN. Gertrude, I wish you would speak to Tommy Trafford." ], [ "MRS. CHEVELEY. It was a swindle, Sir Robert. Let us call things by\ntheir proper names. It makes everything simpler. And now I am going to", "MRS. CHEVELEY. Your old friendâand mine.\n\nSIR ROBERT CHILTERN. Who?\n\nMRS. CHEVELEY. Baron Arnheim.", "MRS. CHEVELEY. Your house! A house bought with the price of dishonour.\nA house, everything in which has been paid for by fraud. [_Turns round", "MRS. CHEVELEY. [_In her most nonchalant manner_.] My dear Sir Robert,\nyou are a man of the world, and you have your price, I suppose.", "SIR ROBERT CHILTERN. Mrs. Cheveley, you cannot be serious in making me\nsuch a proposition!\n\nMRS. CHEVELEY. I am quite serious.", "Mrs. Cheveley went. She stole my letter and sent it anonymously to you\nthis morning, that you should think . . . Oh! Robert, I cannot tell you", "SIR ROBERT CHILTERN. Mrs. Cheveley herself. And the woman I love knows\nthat I began my career with an act of low dishonesty, that I built up my", "MRS. CHEVELEY. My dear Sir Robert, what then? You are ruined, that is\nall! Remember to what a point your Puritanism in England has brought", "SIR ROBERT CHILTERN. Believe me, Mrs. Cheveley, it is a swindle. Let us\ncall things by their proper names. It makes matters simpler. We have", "MRS. CHEVELEY. [_With a bitter note of triumph in her voice_.] I mean\nthat I am going to send Robert Chiltern the love-letter his wife wrote to\nyou to-night.", "SIR ROBERT CHILTERN. As you choose. When I called on you yesterday\nevening I found Mrs. Cheveley concealed in your rooms. It was between", "MRS. CHEVELEY. [_Smiling_.] Intimately. Did you?\n\nSIR ROBERT CHILTERN. At one time.", "MRS. CHEVELEY. As if anything could demoralise Robert Chiltern! You\nseem to forget that I know his real character.", "SIR ROBERT CHILTERN. In defending myself against Mrs. Cheveley, I have a\nright to use any weapon I can find, have I not?", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. I have not got it with me. I will give it to you\nto-morrow.", "MRS. CHEVELEY. Sir Robert, I will be quite frank with you. I want you\nto withdraw the report that you had intended to lay before the House, on", "MRS. CHEVELEY. I have invested very largely in it.\n\nSIR ROBERT CHILTERN. Who could have advised you to do such a foolish\nthing?", "SIR ROBERT CHILTERN. [_Looking at her in wonder_.] In my own interests?\nMy dear Mrs. Cheveley, what do you mean? [_Sits down beside her_.]", "MRS. CHEVELEY. [_Rising and facing him_.] I mean that I know the real\norigin of your wealth and your career, and I have got your letter, too.", "SIR ROBERT CHILTERN. Mrs. Cheveley? I seem to know the name.\n\nLADY MARKBY. She has just arrived from Vienna." ], [ "LORD GORING. Your letter was on pink paper. He could recognise it\nwithout reading it, couldnât he? By the colour?\n\nLADY CHILTERN. I suppose so.", "LORD GORING. Then I will go and see him myself, and tell him that a\ncertain letter, written on pink paper, is to be forwarded to Robert", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "[_Enter_ SIR ROBERT CHILTERN. _He has the letter in his hand_, _and is\nreading it_. _He comes towards his wife_, _not noticing_ LORD GORINGâS\n_presence_.]", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. Stop! Stop! Let me have time to think.", "LADY CHILTERN. What do you mean by a foolish letter?\n\nLORD GORING. A letter gravely compromising oneâs position. I am only\nputting an imaginary case.", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. I have not got it with me. I will give it to you\nto-morrow.", "LORD GORING. Lady Chiltern, I have a certain amount of very good news to\ntell you. Mrs. Cheveley gave me up Robertâs letter last night, and I\nburned it. Robert is safe.", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "LORD GORING. Pray be calm, Lady Chiltern, and answer the questions I am\ngoing to put to you. You said his secretaries open his letters.\n\nLADY CHILTERN. Yes.", "LADY CHILTERN. Let me see it.\n\n[SIR ROBERT _hands her the letter_. _She reads it_, _and then_, _with a\ngesture of passion_, _tears it up_.]", "LORD GORING. [_Holds up letter in pink envelope_.] Ahem! Phipps, when\ndid this letter arrive?", "MRS. CHEVELEY. [_Catches sight of_ LADY CHILTERNâS _letter_, _the cover", "LADY CHILTERN. There is no disgrace in store for you, nor any public\nshame. Mrs. Cheveley has handed over to Lord Goring the document that\nwas in her possession, and he has destroyed it.", "SIR ROBERT CHILTERN. Are you sure of this, Gertrude?\n\nLADY CHILTERN. Yes; Lord Goring has just told me.", "LORD GORING. [_Takes the letter_, _examines it_, _sighs_, _and burns it", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "handwriting on Lady Chilternâs pink notepaper. That is rather curious.\nI thought Robert was to write. Wonder what Lady Chiltern has got to say", "LORD GORING. You have come here to sell me Robert Chilternâs letter,\nhavenât you?", "[_Enter_ SIR ROBERT CHILTERN.]\n\nSIR ROBERT CHILTERN. Gertrude, here is the draft of my letter. Shall I\nread it to you?" ], [ "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. Stop! Stop! Let me have time to think.", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. I have not got it with me. I will give it to you\nto-morrow.", "LORD GORING. Lady Chiltern, I have a certain amount of very good news to\ntell you. Mrs. Cheveley gave me up Robertâs letter last night, and I\nburned it. Robert is safe.", "LADY CHILTERN. There is no disgrace in store for you, nor any public\nshame. Mrs. Cheveley has handed over to Lord Goring the document that\nwas in her possession, and he has destroyed it.", "MRS. CHEVELEY. [_With a bitter note of triumph in her voice_.] I mean\nthat I am going to send Robert Chiltern the love-letter his wife wrote to\nyou to-night.", "MRS. CHEVELEY. [_In her most nonchalant manner_.] My dear Sir Robert,\nyou are a man of the world, and you have your price, I suppose.", "LORD GORING. Mrs. Cheveley made an attempt to ruin your husband. Either\nto drive him from public life, or to make him adopt a dishonourable", "MRS. CHEVELEY. Thanks. I am never going to try to harm Robert Chiltern\nagain.\n\nLORD GORING. Fortunately you have not the chance, Mrs. Cheveley.", "SIR ROBERT CHILTERN. Mrs. Cheveley, you cannot be serious in making me\nsuch a proposition!\n\nMRS. CHEVELEY. I am quite serious.", "LORD GORING. [_Rising_.] Lady Chiltern, I will be quite frank with you.\nMrs. Cheveley puts a certain construction on that letter and proposes to\nsend it to your husband.", "MRS. CHEVELEY. Arthur, you loved me once.\n\nLORD GORING. Yes.\n\nMRS. CHEVELEY. And you asked me to be your wife.", "MRS. CHEVELEY. It was a swindle, Sir Robert. Let us call things by\ntheir proper names. It makes everything simpler. And now I am going to", "LORD GORING. What do you want then, Mrs. Cheveley?\n\nMRS. CHEVELEY. Why donât you call me Laura?", "Mrs. Cheveley went. She stole my letter and sent it anonymously to you\nthis morning, that you should think . . . Oh! Robert, I cannot tell you", "LORD GORING. Lady Chiltern, why are you playing Mrs. Cheveleyâs cards?\n\nLADY CHILTERN. [_Startled_.] I donât understand you.", "LORD GORING. Well?\n\nMRS. CHEVELEY. I find that somehow Gertrude Chilternâs dying speech and\nconfession has strayed into my pocket.", "MRS. CHEVELEY. My dear Sir Robert, what then? You are ruined, that is\nall! Remember to what a point your Puritanism in England has brought", "SIR ROBERT CHILTERN. [_Looking at her in wonder_.] In my own interests?\nMy dear Mrs. Cheveley, what do you mean? [_Sits down beside her_.]", "SIR ROBERT CHILTERN. Not Mrs. Cheveley! Who was it then?\n\nLORD GORING. Lady Chiltern!", "MRS. CHEVELEY. Sir Robert, I will be quite frank with you. I want you\nto withdraw the report that you had intended to lay before the House, on" ], [ "LADY MARKBY. [_Turning to_ LADY CHILTERN.] Dear Gertrude, we just\ncalled to know if Mrs. Cheveleyâs diamond brooch has been found.", "MRS. CHEVELEY. A diamond snake-brooch with a ruby, a rather large ruby.\n\nLADY MARKBY. I thought you said there was a sapphire on the head, dear?", "LORD GORING. A diamond snake-brooch with a ruby?\n\nMRS. CHEVELEY. Yes. How do you know?", "Mrs. Cheveley went. She stole my letter and sent it anonymously to you\nthis morning, that you should think . . . Oh! Robert, I cannot tell you", "MRS. CHEVELEY. It was a swindle, Sir Robert. Let us call things by\ntheir proper names. It makes everything simpler. And now I am going to", "MRS. CHEVELEY. Your house! A house bought with the price of dishonour.\nA house, everything in which has been paid for by fraud. [_Turns round", "MRS. CHEVELEY. Your old friendâand mine.\n\nSIR ROBERT CHILTERN. Who?\n\nMRS. CHEVELEY. Baron Arnheim.", "of your oldest friends, one of your husbandâs oldest friends. Mrs.\nCheveley stole that letter from my rooms.", "LORD GORING. The drawback of stealing a thing, Mrs. Cheveley, is that\none never knows how wonderful the thing that one steals is. You canât", "Mrs. Cheveley. I should not fancy Mrs. Cheveley is a woman who would be\neasily frightened. She has survived all her creditors, and she shows\nwonderful presence of mind.", "[_Enter_ MASON.]\n\nLADY CHILTERN. What sort of a brooch was it that you lost, Mrs.\nCheveley?", "MRS. CHEVELEY [_Smiling_.] No, lady Markbyâa ruby.", "MRS. CHEVELEY. My dear Sir Robert, what then? You are ruined, that is\nall! Remember to what a point your Puritanism in England has brought", "MRS. CHEVELEY. Yes. I am so glad to get it back. It was . . a present.\n\nLORD GORING. Wonât you wear it?", "MRS. CHEVELEY. [_Rising and facing him_.] I mean that I know the real\norigin of your wealth and your career, and I have got your letter, too.", "LORD GORING. Mrs. Cheveley made an attempt to ruin your husband. Either\nto drive him from public life, or to make him adopt a dishonourable", "LADY CHILTERN. Has a ruby and diamond brooch been found in any of the\nrooms this morning, Mason?\n\nMASON. No, my lady.", "MRS. CHEVELEY. [_Smiling_.] Intimately. Did you?\n\nSIR ROBERT CHILTERN. At one time.", "Goring, about Mrs. Cheveley? Oh! I remember, that she was a genius in\nthe daytime and a beauty at night.", "position. From the latter tragedy you saved him. The former you are now\nthrusting on him. Why should you do him the wrong Mrs. Cheveley tried to\ndo and failed?" ], [ "MRS. CHEVELEY. Quite seriously. I want to talk to you about a great\npolitical and financial scheme, about this Argentine Canal Company, in\nfact.", "MRS. CHEVELEY. Oh, I will tell you. I wanted to interest him in this\nArgentine Canal scheme, of which I dare say you have heard. And I found", "SIR ROBERT CHILTERN. Yes. But the Suez Canal was a very great and\nsplendid undertaking. It gave us our direct route to India. It had", "SIR ROBERT CHILTERN. Mrs. Cheveley, you cannot be serious in making me\nsuch a proposition!\n\nMRS. CHEVELEY. I am quite serious.", "MRS. CHEVELEY. It was a swindle, Sir Robert. Let us call things by\ntheir proper names. It makes everything simpler. And now I am going to", "MRS. CHEVELEY. My dear Sir Robert, what then? You are ruined, that is\nall! Remember to what a point your Puritanism in England has brought", "MRS. CHEVELEY. Your old friendâand mine.\n\nSIR ROBERT CHILTERN. Who?\n\nMRS. CHEVELEY. Baron Arnheim.", "MRS. CHEVELEY. [_In her most nonchalant manner_.] My dear Sir Robert,\nyou are a man of the world, and you have your price, I suppose.", "MRS. CHEVELEY. Sir Robert, I will be quite frank with you. I want you\nto withdraw the report that you had intended to lay before the House, on", "MRS. CHEVELEY. I have invested very largely in it.\n\nSIR ROBERT CHILTERN. Who could have advised you to do such a foolish\nthing?", "MRS. CHEVELEY. A speculation, Sir Robert! A brilliant, daring\nspeculation.", "SIR ROBERT CHILTERN. If there is not, the Ambassador will certainly have\nto be recalled. Pray point out Mrs. Cheveley to me. I should like to\nsee her.", "LADY MARKBY. Let me introduce you. [_To_ MRS. CHEVELEY.] My dear, Sir\nRobert Chiltern is dying to know you!", "SIR ROBERT CHILTERN. As you choose. When I called on you yesterday\nevening I found Mrs. Cheveley concealed in your rooms. It was between", "SIR ROBERT CHILTERN. [_Looking at her in wonder_.] In my own interests?\nMy dear Mrs. Cheveley, what do you mean? [_Sits down beside her_.]", "MRS. CHEVELEY. That you must not do. In your own interests, Sir Robert,\nto say nothing of mine, you must not do that.", "SIR ROBERT CHILTERN. Mrs. Cheveley? I seem to know the name.\n\nLADY MARKBY. She has just arrived from Vienna.", "SIR ROBERT CHILTERN. You are not going to plunge us into a European war,\nI hope?\n\nMRS. CHEVELEY. There is no danger, at present!", "MRS. CHEVELEY. Your house! A house bought with the price of dishonour.\nA house, everything in which has been paid for by fraud. [_Turns round", "MRS. CHEVELEY. [_Smiling_.] Intimately. Did you?\n\nSIR ROBERT CHILTERN. At one time." ], [ "LORD GORING. Because it is found. In point of fact, I found it myself,\nand stupidly forgot to tell the butler anything about it as I was", "LORD GORING. I mean that you stole that ornament from my cousin, Mary\nBerkshire, to whom I gave it when she was married. Suspicion fell on a", "[LORD GORING _rushes to the bureau and takes up the envelope_, _finds is\nempty_, _and turns round_.]", "LORD GORING. Certainly. [_Goes to the corner of the room and pours out", "LORD GORING. Then I will go and see him myself, and tell him that a\ncertain letter, written on pink paper, is to be forwarded to Robert", "[LORD GORING _returns from the conservatory_, _looking very pleased with\nhimself_, _and with an entirely new buttonhole that some one has made for\nhim_.]", "LORD GORING. How clever of you to guess it! [_Takes up his hat and\ncane_.] Good-bye, Lady Chiltern! You will remember what I said to you,\nwonât you?", "LORD GORING. You know you are lying. Give it to me at once. [MRS.", "LORD GORING. You wretched woman, must you always be thieving? Give me\nback that letter. Iâll take it from you by force. You shall not leave\nmy room till I have got it.", "LORD GORING. [_Is a little taken aback_, _but recovers himself_.] Donât\nmention to anybody that I have taken charge of this brooch. Should any", "[_Enter_ LORD GORING _in evening dress with a buttonhole_. _He is\nwearing a silk hat and Inverness cape_. _White-gloved_, _he carries a", "LORD GORING. [_Pulls out his watch_, _inspects it_, _and rings the", "LORD GORING. Ah! I guessed as much!\n\nSIR ROBERT CHILTERN. [_Looking at him_.] Really! How?", "LORD GORING. Lady Chiltern, I have a certain amount of very good news to\ntell you. Mrs. Cheveley gave me up Robertâs letter last night, and I\nburned it. Robert is safe.", "LORD GORING. [_Takes the letter_, _examines it_, _sighs_, _and burns it", "LORD CAVERSHAM. Have you been thinking over what I spoke to you about\nlast night?\n\nLORD GORING. I have been thinking about nothing else.", "LORD GORING. Well?\n\nMRS. CHEVELEY. I find that somehow Gertrude Chilternâs dying speech and\nconfession has strayed into my pocket.", "LORD GORING. He would do what you asked him, wouldnât he?\n\nLADY CHILTERN. I think so.", "LORD GORING. It can be used as a bracelet. [_Takes it from her_, _and_,\n_pulling out a green letter-case_, _puts the ornament carefully in it_,", "LORD GORING. [_Somewhat taken aback_.] Well, yes, it isâI am bound to\nsay it is." ], [ "LORD GORING. Your letter was on pink paper. He could recognise it\nwithout reading it, couldnât he? By the colour?\n\nLADY CHILTERN. I suppose so.", "MRS. CHEVELEY. [_Catches sight of_ LADY CHILTERNâS _letter_, _the cover", "LADY CHILTERN. Let me see it.\n\n[SIR ROBERT _hands her the letter_. _She reads it_, _and then_, _with a\ngesture of passion_, _tears it up_.]", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "handwriting on Lady Chilternâs pink notepaper. That is rather curious.\nI thought Robert was to write. Wonder what Lady Chiltern has got to say", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "LADY CHILTERN. What do you mean by a foolish letter?\n\nLORD GORING. A letter gravely compromising oneâs position. I am only\nputting an imaginary case.", "LADY CHILTERN. You are not going, Robert?\n\nSIR ROBERT CHILTERN. I have some letters to write, dear.", "[_Enter_ SIR ROBERT CHILTERN.]\n\nSIR ROBERT CHILTERN. Gertrude, here is the draft of my letter. Shall I\nread it to you?", "LADY CHILTERN. Yes. You have guessed it. After you left last night I\nfound out that what she had said was really true. Of course I made\nRobert write her a letter at once, withdrawing his promise.", "LADY CHILTERN. No. The letter must be intercepted. That is all. But\nhow can I do it? Letters arrive for him every moment of the day. His", "MRS. CHEVELEY. [_With a bitter note of triumph in her voice_.] I mean\nthat I am going to send Robert Chiltern the love-letter his wife wrote to\nyou to-night.", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. Stop! Stop! Let me have time to think.", "SIR ROBERT CHILTERN. [_Bewildered and unnerved_.] Wait a moment! What\ndid you propose? You said that you would give me back my letter, didnât\nyou?", "[_Enter_ SIR ROBERT CHILTERN. _He has the letter in his hand_, _and is\nreading it_. _He comes towards his wife_, _not noticing_ LORD GORINGâS\n_presence_.]", "MRS. CHEVELEY. Thank you. [_Rises hastily and slips the letter under a\nlarge silver-cased blotting-book that is lying on the table_.]", "LADY CHILTERN. There is no disgrace in store for you, nor any public\nshame. Mrs. Cheveley has handed over to Lord Goring the document that\nwas in her possession, and he has destroyed it.", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. I have not got it with me. I will give it to you\nto-morrow.", "SIR ROBERT CHILTERN. [_Takes letter and reads it_.] A seat in the\nCabinet!" ], [ "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "CHEVELEY _pulls the letter out_, _and hands it to him_. _She is horribly\npale_.] This is it?", "LORD GORING. [_Takes the letter_, _examines it_, _sighs_, _and burns it", "[_Writes something on the envelope_. MASON _then goes out with the\nletter_.]", "MRS. CHEVELEY. Thank you. [_Rises hastily and slips the letter under a\nlarge silver-cased blotting-book that is lying on the table_.]", "MRS. CHEVELEY. You thought that letter had been destroyed. How foolish\nof you! It is in my possession.", "[_A look of triumph comes over her face_. _She is just about to steal\nthe letter_, _when_ PHIPPS _comes in_.]", "Yes, that letter. I didnât go to Lord Goringâs, after all. I felt that\nit is from ourselves alone that help can come. Pride made me think that.", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "feel. When Montford passed me your letter across the tableâhe had opened\nit by mistake, I suppose, without looking at the handwriting on the", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "What a very interesting picture! Wonder what his correspondence is like.\n[_Takes up letters_.] Oh, what a very uninteresting correspondence!", "help, as he was our oldest and best friend. Later on, after that\nterrible scene in this room, I wrote to him telling him that I trusted", "and reads it_.] Yes; that will do. [_Rings bell_.] And now the\nenvelope. [_He writes the envelope slowly_. _Enter_ MASON.] Have this", "to me. This letter of yours, Gertrude, makes me feel that nothing that\nthe world may do can hurt me now. You want me, Gertrude?", "MRS. CHEVELEY. [_Catches sight of_ LADY CHILTERNâS _letter_, _the cover", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "to me? [_Sits at bureau and opens letter_, _and reads it_.] âI want", "that terribly distresses me. Yesterday evening you wrote me a very\nbeautiful, womanly letter, asking me for my help. You wrote to me as one", "letter sent at once to Claridgeâs Hotel. There is no answer. [_Exit_\nMASON. LADY CHILTERN _kneels down beside her husband_, _and puts her" ], [ "sell you that letter, and the price I ask for it is your public support\nof the Argentine scheme. You made your own fortune out of one canal.", "debate on the Argentine Canal is to begin at eleven. [_A chair falls in\nthe drawing-room_.] What is that?", "MRS. CHEVELEY. Quite seriously. I want to talk to you about a great\npolitical and financial scheme, about this Argentine Canal Company, in\nfact.", "Besides, you are interested, I know, in International Canal schemes. You\nwere Lord Radleyâs secretary, werenât you, when the Government bought the\nSuez Canal shares?", "few words to the effect that the Government is going to reconsider the\nquestion, and that you have reason to believe that the Canal, if\ncompleted, will be of great international value. You know the sort of", "MRS. CHEVELEY. Oh, I will tell you. I wanted to interest him in this\nArgentine Canal scheme, of which I dare say you have heard. And I found", "imperial value. It was necessary that we should have control. This\nArgentine scheme is a commonplace Stock Exchange swindle.", "LADY CHILTERN. Apparently to try and lure Robert to uphold some\nfraudulent scheme in which she is interested. The Argentine Canal, in\nfact.", "LORD CAVERSHAM. What should it say, sir? Everything complimentary, of\ncourse. Chilternâs speech last night on this Argentine Canal scheme was", "subscribed, no one seems to know what has become of it. The whole thing\nis a second Panama, and with not a quarter of the chance of success that", "SIR ROBERT CHILTERN. Yes. But the Suez Canal was a very great and\nsplendid undertaking. It gave us our direct route to India. It had", "great prize, the climax of my diplomatic career. You decline. Very\nwell. If Sir Robert doesnât uphold my Argentine scheme, I expose him.\nVoilÃ tout.", "all the information about it at the Foreign Office. In fact, I sent out\na special Commission to inquire into the matter privately, and they\nreport that the works are hardly begun, and as for the money already", "the Canal depends, of course, on the attitude of England, and I am going\nto lay the report of the Commissioners before the House to-morrow night.", "for what we do. You have to pay now. Before I leave you to-night, you\nhave got to promise me to suppress your report, and to speak in the House\nin favour of this scheme.", "would disappear completely. And after all, Sir Robert, why should you\nsacrifice your entire future rather than deal diplomatically with your", "of open secret that Baron Arnheim left her the greater portion of his\nimmense fortune. Beyond that I can learn nothing.", "Suez Canal sharesâa letter written three days before the Government\nannounced its own purchase.", "This speech is the turning-point in his career, as _The Times_ points\nout. You should read this article, sir. [_Opens_ The Times.] âSir", "LORD GORING. Ah! Never heard of Canning. Never wanted to. And did . . .\ndid Chiltern uphold the scheme?" ], [ "LADY MARKBY. He has had a very interesting and brilliant career. And he\nhas married a most admirable wife. Lady Chiltern is a woman of the very", "LORD GORING. Is Lady Chiltern as perfect as all that?\n\nSIR ROBERT CHILTERN. Yes; my wife is as perfect as all that.", "MABEL CHILTERN. An ideal husband! Oh, I donât think I should like that.\nIt sounds like something in the next world.", "LADY CHILTERN. [_Taking her husbandâs hand_.] I admire him for it. I", "LADY CHILTERN. I think my husband in right in his determination, Lord\nCaversham. I approve of it.\n\nLORD CAVERSHAM. You approve of it? Good heavens!", "LADY CHILTERN. Ah! it is heresy to say that in this house, Lady Markby.\nRobert is a great champion of the Higher Education of Women, and so, I am\nafraid, am I.", "LADY CHILTERN. [_Rising and going towards her_.] You are impertinent.\nWhat has my husband to do with you? With a woman like you?", "LADY CHILTERN. [_Troubled and hesitating_.] But it is my husband\nhimself who wishes to retire from public life. He feels it is his duty.\nIt was he who first said so.", "LADY CHILTERN. A manâs life is of more value than a womanâs. It has\nlarger issues, wider scope, greater ambitions. Our lives revolve in", "LADY CHILTERN. Oh, my ambition! I have none now, but that we two may\nlove each other. It was your ambition that led you astray. Let us not\ntalk about ambition.", "LADY CHILTERN. That makes no matter. She must know at once that she has\nbeen mistaken in youâand that you are not a man to do anything base or", "LADY CHILTERN. Robert, that is all very well for other men, for men who\ntreat life simply as a sordid speculation; but not for you, Robert, not", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "LADY CHILTERN. I will love you always, because you will always be worthy\nof love. We needs must love the highest when we see it! [_Kisses him\nand rises and goes out_.]", "do. And Lady Chiltern has a very ennobling effect on life, though her\ndinner-parties are rather dull sometimes. But one canât have everything,", "LADY CHILTERN. What do you mean by a foolish letter?\n\nLORD GORING. A letter gravely compromising oneâs position. I am only\nputting an imaginary case.", "SIR ROBERT CHILTERN. I am not changed. But circumstances alter things.\n\nLADY CHILTERN. Circumstances should never alter principles!", "LORD GORING. She has mistaken her man, hasnât she?\n\nLADY CHILTERN. She is incapable of understanding an upright nature like\nmy husbandâs!", "MRS. CHEVELEY. What a charming house you have, Lady Chiltern! I have\nspent a delightful evening. It has been so interesting getting to know\nyour husband.", "LADY CHILTERN. Dear Mabel, donât talk like that. Besides, Robert thinks\nvery highly of Mr. Trafford. He believes he has a brilliant future\nbefore him." ], [ "help, as he was our oldest and best friend. Later on, after that\nterrible scene in this room, I wrote to him telling him that I trusted", "that terribly distresses me. Yesterday evening you wrote me a very\nbeautiful, womanly letter, asking me for my help. You wrote to me as one", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "Yes, that letter. I didnât go to Lord Goringâs, after all. I felt that\nit is from ourselves alone that help can come. Pride made me think that.", "feel. When Montford passed me your letter across the tableâhe had opened\nit by mistake, I suppose, without looking at the handwriting on the", "What a very interesting picture! Wonder what his correspondence is like.\n[_Takes up letters_.] Oh, what a very uninteresting correspondence!", "to me. This letter of yours, Gertrude, makes me feel that nothing that\nthe world may do can hurt me now. You want me, Gertrude?", "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "weakness in that. There is a horrible, a terrible courage. I had that\ncourage. I sat down the same afternoon and wrote Baron Arnheim the", "This speech is the turning-point in his career, as _The Times_ points\nout. You should read this article, sir. [_Opens_ The Times.] âSir", "MRS. CHEVELEY. You thought that letter had been destroyed. How foolish\nof you! It is in my possession.", "[_Writes something on the envelope_. MASON _then goes out with the\nletter_.]", "CHEVELEY _pulls the letter out_, _and hands it to him_. _She is horribly\npale_.] This is it?", "thatâthat any public man, my father, or Lord Merton, or Robert, say, had,\nyears ago, written some foolish letter to some one . . .", "LORD CAVERSHAM. Yes; here is the Prime Ministerâs letter. [_Hands\nletter_.]", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "LADY CHILTERN. What do you mean by a foolish letter?\n\nLORD GORING. A letter gravely compromising oneâs position. I am only\nputting an imaginary case.", "me. You wrote me a letter last night in which you said you trusted me\nand wanted my help. Now is the moment when you really want my help, now", "LORD GORING. [_Takes the letter_, _examines it_, _sighs_, _and burns it", "envelopeâand I read itâoh! I did not care what disgrace or punishment was\nin store for me, I only thought you loved me still." ], [ "LORD GORING. I mean that you stole that ornament from my cousin, Mary\nBerkshire, to whom I gave it when she was married. Suspicion fell on a", "hidden by the cushion_.] What is this? Some one has dropped a diamond\nbrooch! Quite beautiful, isnât it? [_Shows it to him_.] I wish it was", "MABEL CHILTERN. That is a strange request.\n\nLORD GORING. Well, you see I gave this brooch to somebody once, years\nago.", "by Gertrudeâs rudeness and sneers. I called, oh!âa little out of malice\nif you likeâbut really to ask if a diamond brooch of mine had been found.", "[_Holds up the brooch_.]", "LORD GORING. [_Is a little taken aback_, _but recovers himself_.] Donât\nmention to anybody that I have taken charge of this brooch. Should any", "LORD GORING. [_Calmly_.] Oh, ten years ago, on Lady Berkshire, from\nwhom you stole it.", "LORD GORING. I wonder who dropped it.\n\nMABEL CHILTERN. It is a beautiful brooch.\n\nLORD GORING. It is a handsome bracelet.", "could win. I hated, I despised her. She stole things, she was a thief.\nShe was sent away for being a thief. Why do you let her influence you?", "LADY CHILTERN. Has a ruby and diamond brooch been found in any of the\nrooms this morning, Mason?\n\nMASON. No, my lady.", "of your oldest friends, one of your husbandâs oldest friends. Mrs.\nCheveley stole that letter from my rooms.", "I have found the thief now, and I have heard her own confession.", "Mrs. Cheveley went. She stole my letter and sent it anonymously to you\nthis morning, that you should think . . . Oh! Robert, I cannot tell you", "LORD GORING. You know it is true. Why, thief is written across your\nface at this moment.", "LORD GORING. You wretched woman, must you always be thieving? Give me\nback that letter. Iâll take it from you by force. You shall not leave\nmy room till I have got it.", "LORD GORING. A diamond snake-brooch with a ruby?\n\nMRS. CHEVELEY. Yes. How do you know?", "common thief were better. You put yourself up to sale to the highest\nbidder! You were bought in the market. You lied to the whole world.\nAnd yet you will not lie to me.", "[_Enter_ MASON.]\n\nLADY CHILTERN. What sort of a brooch was it that you lost, Mrs.\nCheveley?", "[_A look of triumph comes over her face_. _She is just about to steal\nthe letter_, _when_ PHIPPS _comes in_.]", "Cheveley here? That woman in heliotrope, who has just gone out of the\nroom with your brother?" ], [ "Yes, that letter. I didnât go to Lord Goringâs, after all. I felt that\nit is from ourselves alone that help can come. Pride made me think that.", "help, as he was our oldest and best friend. Later on, after that\nterrible scene in this room, I wrote to him telling him that I trusted", "feel. When Montford passed me your letter across the tableâhe had opened\nit by mistake, I suppose, without looking at the handwriting on the", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "CHEVELEY _pulls the letter out_, _and hands it to him_. _She is horribly\npale_.] This is it?", "that terribly distresses me. Yesterday evening you wrote me a very\nbeautiful, womanly letter, asking me for my help. You wrote to me as one", "envelopeâand I read itâoh! I did not care what disgrace or punishment was\nin store for me, I only thought you loved me still.", "What a very interesting picture! Wonder what his correspondence is like.\n[_Takes up letters_.] Oh, what a very uninteresting correspondence!", "MRS. CHEVELEY. You thought that letter had been destroyed. How foolish\nof you! It is in my possession.", "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "[LORD GORING _rushes to the bureau and takes up the envelope_, _finds is\nempty_, _and turns round_.]", "letterâshe stole it, when or how, I donât know.", "to me. This letter of yours, Gertrude, makes me feel that nothing that\nthe world may do can hurt me now. You want me, Gertrude?", "[_Writes something on the envelope_. MASON _then goes out with the\nletter_.]", "LORD GORING. [_Takes the letter_, _examines it_, _sighs_, _and burns it", "handwriting on Lady Chilternâs pink notepaper. That is rather curious.\nI thought Robert was to write. Wonder what Lady Chiltern has got to say", "letter this woman now holds. He made three-quarters of a million over\nthe transaction.", "MRS. CHEVELEY. Thank you. [_Rises hastily and slips the letter under a\nlarge silver-cased blotting-book that is lying on the table_.]", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "Bills and cards, debts and dowagers! Who on earth writes to him on pink\npaper? How silly to write on pink paper! It looks like the beginning of" ], [ "_followed by the servant_, _who closes the door after him_. _The husband\nand wife are left alone_. LADY CHILTERN _stands like some one in a", "[_Goes out followed by_ PHIPPS. _Her face is illumined with evil\ntriumph_. _There is joy in her eyes_. _Youth seems to have come back to", "ACT III. _The Library of Lord Goringâs House in Curzon Street_.\n\nACT IV. _Same as Act II_.\n\nTIME: _The Present_", "LADY CHILTERN. Oh, I am so glad! I am so glad! [_Shakes hands with_\nLORD GORING.]\n\nLORD GORING. Thank you, Lady Chiltern.", "MABEL CHILTERN. You did?\n\nLORD GORING. Yes.\n\n[LADY CHILTERN _enters alone_. _The other guests have gone_.]", "MRS. CHEVELEY. Arthur, you loved me once.\n\nLORD GORING. Yes.\n\nMRS. CHEVELEY. And you asked me to be your wife.", "ACT DROPS\n\n\n\n\nFOURTH ACT\n\n\nSCENE\n\n\n_Same as Act II_.", "MRS. CHEVELEY. Thank you. Will you help me on with my cloak?\n\nLORD GORING. With pleasure. [_Puts her cloak on_.]", "MASON. [_Announcing guests from the top of the staircase_.] Mr. and\nLady Jane Barford. Lord Caversham.", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "LORD GORING. But I love Mabel. No other woman has any place in my life.\n\nLADY CHILTERN. Robert, if they love each other, why should they not be\nmarried?", "Gertrude. You have married a pattern husband. I wish I could say as\nmuch for myself. But since Sir John has taken to attending the debates", "LORD GORING. Robert, you are your sisterâs guardian, and I want your\nconsent to my marriage with her. That is all.", "[_The room is brilliantly lighted and full of guests_. _At the top of\nthe staircase stands_ LADY CHILTERN, _a woman of grave Greek beauty_,", "who is there. I will know who it is to whom I have told my secret and my\nshame. [_Enters room_.]", "LORD GORING. [_Arranging his necktie_.] So little that I got engaged to\nbe married to her once, when I was staying at the Tenbysâ. The affair", "MRS. MARCHMONT. [_Drawing herself up_.] Oh, dear no! They are as happy\nas possible! And as for trusting us, it is tragic how much they trust\nus.", "[_He passes from the room_. LADY CHILTERN _rushes towards him_, _but the\ndoor is closed when she reaches it_. _Pale with anguish_, _bewildered_,", "slowly_.] âI want you. I trust you. I am coming to you.â So she has\nfound out everything! Poor woman! Poor woman! [ _Pulls out watch and", "LORD GORING. I have nothing more to say.\n\nLADY CHILTERN. Robert, it was not Mrs. Cheveley whom Lord Goring\nexpected last night." ], [ "[_The room is brilliantly lighted and full of guests_. _At the top of\nthe staircase stands_ LADY CHILTERN, _a woman of grave Greek beauty_,", "FIRST ACT\n\n\nSCENE\n\n\n_The octagon room at Sir Robert Chilternâs house in Grosvenor Square_.", "MRS. CHEVELEY. What a charming house you have, Lady Chiltern! I have\nspent a delightful evening. It has been so interesting getting to know\nyour husband.", "SIR ROBERT CHILTERN. [_Throws himself into an armchair by the\nwriting-table_.] One night after dinner at Lord Radleyâs the Baron began", "_followed by the servant_, _who closes the door after him_. _The husband\nand wife are left alone_. LADY CHILTERN _stands like some one in a", "ACT III. _The Library of Lord Goringâs House in Curzon Street_.\n\nACT IV. _Same as Act II_.\n\nTIME: _The Present_", "LADY CHILTERN. Robert and I are dining at home by ourselves to-night,\nand I donât think I shall go anywhere afterwards. Robert, of course,", "LORD GORING. May I ask are you staying in London long?\n\nMRS. CHEVELEY. That depends partly on the weather, partly on the\ncooking, and partly on Sir Robert.", "MRS. CHEVELEY. Oh, no! I canât stand your English house-parties. In\nEngland people actually try to be brilliant at breakfast. That is so", "do. And Lady Chiltern has a very ennobling effect on life, though her\ndinner-parties are rather dull sometimes. But one canât have everything,", "[_Enter servant_.]\n\nJAMES. Sir Robert is still at the Foreign Office, my lord.\n\nLORD GORING. Lady Chiltern not down yet?", "MRS. CHEVELEY. Your house! A house bought with the price of dishonour.\nA house, everything in which has been paid for by fraud. [_Turns round", "MRS. CHEVELEY. [_After a pause_.] I am tired of living abroad. I want\nto come back to London. I want to have a charming house here. I want to", "ACT I. _The Octagon Room in Sir Robert Chilternâs House in Grosvenor\nSquare_.\n\nACT II. _Morning-room in Sir Robert Chilternâs House_.", "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "letter sent at once to Claridgeâs Hotel. There is no answer. [_Exit_\nMASON. LADY CHILTERN _kneels down beside her husband_, _and puts her", "MRS. CHEVELEY. [_To_ PHIPPS, _who advances towards her_.] Is Lord\nGoring not here? I was told he was at home?", "CHILTERN _and goes out_; _then comes running back_.] Oh, Gertrude, do\nyou know who is coming to see you? That dreadful Mrs. Cheveley, in a", "MRS. CHEVELEY. Later on. [_Rises_.] And now may I walk through your\nbeautiful house? I hear your pictures are charming. Poor Baron", "LADY MARKBY. Dining at home by yourselves? Is that quite prudent? Ah,\nI forgot, your husband is an exception. Mine is the general rule, and" ], [ "LORD GORING. [_Taking out old buttonhole_.] You see, Phipps, Fashion is\nwhat one wears oneself. What is unfashionable is what other people wear.", "London knows it except you. It is a public scandal the way I adore you.\nI have been going about for the last six months telling the whole of", "LORD GORING. May I ask are you staying in London long?\n\nMRS. CHEVELEY. That depends partly on the weather, partly on the\ncooking, and partly on Sir Robert.", "LADY MARKBY. Ah! my dear, you need not be nervous. You will always be\nas pretty as possible. That is the best fashion there is, and the only\nfashion that England succeeds in setting.", "MABEL CHILTERN. Tommy is the most useful person in London.\n\nLORD GORING [_Turning to her_.] And who is the most ornamental?", "far as she could see, London Society was entirely made up of dowdies and\ndandies.", "produced on me, for some days afterwards he wrote and asked me to come\nand see him. He was living then in Park Lane, in the house Lord Woolcomb", "LORD GORING. Most pretty women do. But there is a fashion in pasts just\nas there is a fashion in frocks. Perhaps Mrs. Cheveleyâs past is merely", "MABEL CHILTERN. Oh, I love London Society! I think it has immensely\nimproved. It is entirely composed now of beautiful idiots and brilliant\nlunatics. Just what Society should be.", "can, donât they? It is most fashionable. [_To_ DUCHESS OF MARYBOROUGH.]", "LORD GORING. Rather distinguished thing, Phipps. I am the only person\nof the smallest importance in London at present who wears a buttonhole.", "LORD CAVERSHAM. Never go anywhere now. Sick of London Society.\nShouldnât mind being introduced to my own tailor; he always votes on the", "MRS. CHEVELEY. [_Sitting down_.] Oh, no! A well-made dress has no\npockets.\n\nLORD GORING. What is your price for it?", "MRS. CHEVELEY. [_After a pause_.] I am tired of living abroad. I want\nto come back to London. I want to have a charming house here. I want to", "JAMES. Her ladyship has not yet left her room. Miss Chiltern has just\ncome in from riding.\n\nLORD GORING. [_To himself_.] Ah! that is something.", "LORD GORING. [_Smiling_.] And those are the views of the two ladies who\nare known to have the most admirable husbands in London.", "[LORD GORING, _dressed in the height of fashion_, _is lounging in an\narmchair_. SIR ROBERT CHILTERN _is standing in front of the fireplace_.", "LADY BASILDON. [_Turning to her_.] I have always said, dear Margaret,\nthat you were the most morbid person in London.", "VICOMTE DE NANJAC. I am so fond of eating! I am very English in all my\ntastes.\n\nLADY BASILDON. You look quite English, Vicomte, quite English.", "MRS. CHEVELEY. I quite agree with you, Lady Markby. It is nearly six\nyears since I have been in London for the Season, and I must say Society" ], [ "SIR ROBERT CHILTERN. The affair to which you allude was no more than a\nspeculation. The House of Commons had not yet passed the bill; it might\nhave been rejected.", "JAMES. Lord Caversham has been waiting some time in the library for Sir\nRobert. I told him your lordship was here.", "SIR ROBERT CHILTERN. Nothing is absolutely known against her. On the\ncontrary, she occupies a rather high position in society. It is a sort", "SIR ROBERT CHILTERN. There is some one. There are lights in the room,\nand the door is ajar. Some one has been listening to every secret of my\nlife. Arthur, what does this mean?", "SIR ROBERT CHILTERN. [_Throws himself into an armchair by the\nwriting-table_.] One night after dinner at Lord Radleyâs the Baron began", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "SIR ROBERT CHILTERN. Lord Goring is the result of Boodleâs Club, Mrs.\nCheveley.\n\nMRS. CHEVELEY. He reflects every credit on the institution.", "SIR ROBERT CHILTERN. I hope not, Lady Markby. At any rate we do our\nbest to waste the public time, donât we? But who is this charming person\nyou have been kind enough to bring to us?", "SIR ROBERT CHILTERN. [_Frowning_.] Ah! yes. I remember hearing, at the\ntime of his death, that he had been mixed up in the whole affair.", "[SIR ROBERT CHILTERN _enters_. _A man of forty_, _but looking somewhat", "SIR ROBERT CHILTERN. Yes. But the Suez Canal was a very great and\nsplendid undertaking. It gave us our direct route to India. It had", "SIR ROBERT CHILTERN. Is Mr. Trafford in his room?\n\nMASON. Yes, Sir Robert.", "SIR ROBERT CHILTERN. Yes: he knew men and cities well, like the old\nGreek.", "SIR ROBERT CHILTERN. No; he was a man of a most subtle and refined\nintellect. A man of culture, charm, and distinction. One of the most\nintellectual men I ever met.", "SIR ROBERT CHILTERN. Ah! yes. I think I know whom you mean.", "SIR ROBERT CHILTERN. [_Walking up and down_.] I have reasons now to\nbelieve that the Commission was prejudiced, or, at any rate, misinformed.", "SIR ROBERT CHILTERN. Oh! spies are of no use nowadays. Their profession\nis over. The newspapers do their work instead.", "SIR ROBERT CHILTERN. [_Looking up_.] Yes; I got a telegram from the\nfirst secretary at eight oâclock to-night.\n\nLORD GORING. Well?", "SIR ROBERT CHILTERN. [_After a pause_.] Of course I had private\ninformation about a certain transaction contemplated by the Government of", "me? You are Robertâs greatest friend. You are our greatest friend, Lord\nGoring. No one, except myself, knows Robert better than you do. He has" ], [ "LORD GORING. I am delighted to hear it. [_Bows and goes out_.]\n\nMABEL CHILTERN. Gertrude, I wish you would speak to Tommy Trafford.", "LORD GORING. But I love Mabel. No other woman has any place in my life.\n\nLADY CHILTERN. Robert, if they love each other, why should they not be\nmarried?", "MABEL CHILTERN. You did?\n\nLORD GORING. Yes.\n\n[LADY CHILTERN _enters alone_. _The other guests have gone_.]", "LORD GORING. With pleasure, Miss Mabel. [_Moves away with her_.]\n\nMABEL CHILTERN. How horrid you have been! You have never talked to me\nthe whole evening!", "LORD GORING. Dear Mabel, while you are away, there are none. It makes\nme horribly dependent on you.\n\n[_Enter_ LADY CHILTERN.]", "LORD GORING. She has mistaken her man, hasnât she?\n\nLADY CHILTERN. She is incapable of understanding an upright nature like\nmy husbandâs!", "LORD GORING. I like you immensely.\n\nMABEL CHILTERN. Well, I wish youâd show it in a more marked way! [_They\ngo downstairs_.]", "LORD GORING. Must you really? [_Kisses her_.]\n\nMABEL CHILTERN. Yes.", "LORD GORING. Because it is found. In point of fact, I found it myself,\nand stupidly forgot to tell the butler anything about it as I was", "LORD GORING. Of course. And a very sensible remark for Mrs. Cheveley to\nmake, too.\n\n[_Enter_ MABEL CHILTERN. _She joins the group_.]", "MABEL CHILTERN. You are very late!\n\nLORD GORING. Have you missed me?\n\nMABEL CHILTERN. Awfully!", "LORD GORING. [_After kissing her again_.] Of course Iâm not nearly good\nenough for you, Mabel.", "LORD GORING. Detestable.\n\nMABEL CHILTERN. I am glad you admit it. But I wish you wouldnât look so\npleased about it.", "LADY CHILTERN. Yes; but I donât know why you said it to me.\n\nLORD GORING. I hardly know myself. Good-bye, Miss Mabel!", "LORD GORING. That is the first unkind thing you have ever said to me.\nHow charmingly you said it! Ten to-morrow.\n\nMABEL CHILTERN. Sharp.", "LORD GORING. [_Triumphantly_.] No; that was a flash of genius.\n\nMABEL CHILTERN. Your first.", "LORD GORING. I think it is better that he should know the exact truth.\n\nLADY CHILTERN. [_Rising_.] Oh, I couldnât, I couldnât!", "MABEL CHILTERN. It is too late now, I suppose?\n\nLORD GORING. [_Smiling_.] I am not so sure.", "LORD GORING. I wonder who dropped it.\n\nMABEL CHILTERN. It is a beautiful brooch.\n\nLORD GORING. It is a handsome bracelet.", "SIR ROBERT CHILTERN. Are you sure of this, Gertrude?\n\nLADY CHILTERN. Yes; Lord Goring has just told me." ], [ "MRS. CHEVELEY. It was a swindle, Sir Robert. Let us call things by\ntheir proper names. It makes everything simpler. And now I am going to", "MRS. MARCHMONT. [_After a pause_.] Oh! do you really think that is what\nMrs. Cheveley meant?", "SIR ROBERT CHILTERN. Mrs. Cheveley, you cannot be serious in making me\nsuch a proposition!\n\nMRS. CHEVELEY. I am quite serious.", "MRS. CHEVELEY. [_In her most nonchalant manner_.] My dear Sir Robert,\nyou are a man of the world, and you have your price, I suppose.", "MRS. CHEVELEY. My dear Sir Robert, what then? You are ruined, that is\nall! Remember to what a point your Puritanism in England has brought", "MRS. CHEVELEY. [_With a bitter note of triumph in her voice_.] I mean\nthat I am going to send Robert Chiltern the love-letter his wife wrote to\nyou to-night.", "Mrs. Cheveley went. She stole my letter and sent it anonymously to you\nthis morning, that you should think . . . Oh! Robert, I cannot tell you", "MRS. CHEVELEY. Your house! A house bought with the price of dishonour.\nA house, everything in which has been paid for by fraud. [_Turns round", "position. From the latter tragedy you saved him. The former you are now\nthrusting on him. Why should you do him the wrong Mrs. Cheveley tried to\ndo and failed?", "Mrs. Cheveley. I should not fancy Mrs. Cheveley is a woman who would be\neasily frightened. She has survived all her creditors, and she shows\nwonderful presence of mind.", "MRS. CHEVELEY. Quite seriously. I want to talk to you about a great\npolitical and financial scheme, about this Argentine Canal Company, in\nfact.", "MRS. CHEVELEY. [_After a pause_.] Then you are going to allow your\ngreatest friend, Robert Chiltern, to be ruined, rather than marry some", "MRS. CHEVELEY. Arthur, you loved me once.\n\nLORD GORING. Yes.\n\nMRS. CHEVELEY. And you asked me to be your wife.", "LORD GORING. Mrs. Cheveley made an attempt to ruin your husband. Either\nto drive him from public life, or to make him adopt a dishonourable", "MRS. CHEVELEY. Then you must make him keep it. I give you till\nto-morrow morningâno more. If by that time your husband does not", "MRS. CHEVELEY. Sir Robert, I will be quite frank with you. I want you\nto withdraw the report that you had intended to lay before the House, on", "MRS. CHEVELEY. [_Rising and facing him_.] I mean that I know the real\norigin of your wealth and your career, and I have got your letter, too.", "MRS. CHEVELEY. [_Smiling_.] Intimately. Did you?\n\nSIR ROBERT CHILTERN. At one time.", "leave Mrs. Cheveley in your charge and call back for her in a quarter of\nan hour. Or perhaps, dear Mrs. Cheveley, you wouldnât mind waiting in", "MRS. CHEVELEY. Your old friendâand mine.\n\nSIR ROBERT CHILTERN. Who?\n\nMRS. CHEVELEY. Baron Arnheim." ], [ "LORD GORING. Your letter was on pink paper. He could recognise it\nwithout reading it, couldnât he? By the colour?\n\nLADY CHILTERN. I suppose so.", "LORD GORING. Then I will go and see him myself, and tell him that a\ncertain letter, written on pink paper, is to be forwarded to Robert", "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "[_Enter_ SIR ROBERT CHILTERN. _He has the letter in his hand_, _and is\nreading it_. _He comes towards his wife_, _not noticing_ LORD GORINGâS\n_presence_.]", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. Stop! Stop! Let me have time to think.", "LADY CHILTERN. What do you mean by a foolish letter?\n\nLORD GORING. A letter gravely compromising oneâs position. I am only\nputting an imaginary case.", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. I have not got it with me. I will give it to you\nto-morrow.", "LORD GORING. Lady Chiltern, I have a certain amount of very good news to\ntell you. Mrs. Cheveley gave me up Robertâs letter last night, and I\nburned it. Robert is safe.", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "LORD GORING. Pray be calm, Lady Chiltern, and answer the questions I am\ngoing to put to you. You said his secretaries open his letters.\n\nLADY CHILTERN. Yes.", "LADY CHILTERN. Let me see it.\n\n[SIR ROBERT _hands her the letter_. _She reads it_, _and then_, _with a\ngesture of passion_, _tears it up_.]", "LORD GORING. [_Holds up letter in pink envelope_.] Ahem! Phipps, when\ndid this letter arrive?", "MRS. CHEVELEY. [_Catches sight of_ LADY CHILTERNâS _letter_, _the cover", "LADY CHILTERN. There is no disgrace in store for you, nor any public\nshame. Mrs. Cheveley has handed over to Lord Goring the document that\nwas in her possession, and he has destroyed it.", "SIR ROBERT CHILTERN. Are you sure of this, Gertrude?\n\nLADY CHILTERN. Yes; Lord Goring has just told me.", "LORD GORING. [_Takes the letter_, _examines it_, _sighs_, _and burns it", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "handwriting on Lady Chilternâs pink notepaper. That is rather curious.\nI thought Robert was to write. Wonder what Lady Chiltern has got to say", "LORD GORING. You have come here to sell me Robert Chilternâs letter,\nhavenât you?", "[_Enter_ SIR ROBERT CHILTERN.]\n\nSIR ROBERT CHILTERN. Gertrude, here is the draft of my letter. Shall I\nread it to you?" ], [ "ACT III. _The Library of Lord Goringâs House in Curzon Street_.\n\nACT IV. _Same as Act II_.\n\nTIME: _The Present_", "FIRST ACT\n\n\nSCENE\n\n\n_The octagon room at Sir Robert Chilternâs house in Grosvenor Square_.", "ACT DROPS\n\n\n\n\nFOURTH ACT\n\n\nSCENE\n\n\n_Same as Act II_.", "ACT I. _The Octagon Room in Sir Robert Chilternâs House in Grosvenor\nSquare_.\n\nACT II. _Morning-room in Sir Robert Chilternâs House_.", "[_Goes out followed by_ PHIPPS. _Her face is illumined with evil\ntriumph_. _There is joy in her eyes_. _Youth seems to have come back to", "_followed by the servant_, _who closes the door after him_. _The husband\nand wife are left alone_. LADY CHILTERN _stands like some one in a", "[_He passes from the room_. LADY CHILTERN _rushes towards him_, _but the\ndoor is closed when she reaches it_. _Pale with anguish_, _bewildered_,", "ACT DROP\n\n\n\n\nTHIRD ACT\n\n\nSCENE", "[_The Servant puts out the lights_. _The room becomes almost dark_.\n_The only light there is comes from the great chandelier that hangs over\nthe staircase and illumines the tapestry of the Triumph of Love_.]", "[_The room is brilliantly lighted and full of guests_. _At the top of\nthe staircase stands_ LADY CHILTERN, _a woman of grave Greek beauty_,", "[_Enter servant_.]\n\nJAMES. Sir Robert is still at the Foreign Office, my lord.\n\nLORD GORING. Lady Chiltern not down yet?", "letter sent at once to Claridgeâs Hotel. There is no answer. [_Exit_\nMASON. LADY CHILTERN _kneels down beside her husband_, _and puts her", "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "_He is evidently in a state of great mental excitement and distress_.\n_As the scene progresses he paces nervously up and down the room_.]", "[SIR ROBERT CHILTERN _walks up and down for a moment_; _then sits down\nand buries his face in his hands_. _The Servant enters and begins", "PLACE: _London_.\n\n _The action of the play is completed within twenty-four hours_.\n\n\n\n\nTHEATRE ROYAL, HAYMARKET", "[_They go downstairs with the other guests_, _passing_ SIR ROBERT\nCHILTERN _and_ MRS. CHEVELEY, _who now enter_.]", "when they are caught. And they are always being caught. [_Looks about\nroom and approaches the writing-table_.] What a very interesting room!", "She ultimately was so broken-hearted that she went into a convent, or on\nto the operatic stage, I forget which. No; I think it was decorative", "MABEL CHILTERN. You did?\n\nLORD GORING. Yes.\n\n[LADY CHILTERN _enters alone_. _The other guests have gone_.]" ], [ "LORD CAVERSHAM. No, sir; I have called this evening for a definite\npurpose, and I am going to see it through at all costs to my health or\nyours. Put down my cloak, sir.", "LORD CAVERSHAM. It is the secret of your motherâs happiness. You are\nvery heartless, sir, very heartless.\n\nLORD GORING. I hope not, father.", "LORD CAVERSHAM. With pleasure, and Iâll drive you down to Downing Street\nafterwards, Chiltern. You have a great future before you, a great", "LORD CAVERSHAM. Well, sir! what are you doing here? Wasting your life\nas usual! You should be in bed, sir. You keep too late hours! I heard", "LORD CAVERSHAM. Certainly, sir. I mean certainly not, air. You are\ntalking very foolishly to-night. What I say is that marriage is a matter\nfor common sense.", "MASON. Lord Caversham.\n\nLORD GORING. That admirable father of mine really makes a habit of\nturning up at the wrong moment. It is very heartless of him, very\nheartless indeed.", "LORD CAVERSHAM. [_Angrily_.] Decline a seat in the Cabinet, and retire\nfrom public life? Never heard such damned nonsense in the whole course", "JAMES. Lord Caversham has been waiting some time in the library for Sir\nRobert. I told him your lordship was here.", "LORD CAVERSHAM. Well, sir, it is only ten oâclock. What is your\nobjection to the hour? I think the hour is an admirable hour!", "MASON. [_Announcing guests from the top of the staircase_.] Mr. and\nLady Jane Barford. Lord Caversham.", "LORD CAVERSHAM. Into what?\n\nMABEL CHILTERN. [_With a little curtsey_.] I hope to let you know very\nsoon, Lord Caversham!", "LORD CAVERSHAM. Have you been thinking over what I spoke to you about\nlast night?\n\nLORD GORING. I have been thinking about nothing else.", "LORD CAVERSHAM. Hum! That is what I have come to talk to you about,\nsir. You have got to get married, and at once. Why, when I was your", "LORD CAVERSHAM. I wish you would, sir. Then I should be happy. At\npresent I make your motherâs life miserable on your account. You are\nheartless, sir, quite heartless.", "LORD CAVERSHAM. Good morning, Lady Chiltern! Warmest congratulations to\nyou, Chiltern, on your brilliant speech last night. I have just left the", "[_Enter_ LORD CAVERSHAM, _an old gentleman of seventy_, _wearing the\nriband and star of the Garter_. _A fine Whig type_. _Rather like a\nportrait by Lawrence_.]", "LORD CAVERSHAM. What is the matter with this family? Something wrong\nhere, eh? [_Tapping his forehead_.] Idiocy? Hereditary, I suppose.", "LORD GORING. Ah! that is probably the lady. I shall see her myself.\n\n[_Just as he is going towards the door_ LORD CAVERSHAM _enters from the\nsmoking-room_.]", "LADY CHILTERN. I think my husband in right in his determination, Lord\nCaversham. I approve of it.\n\nLORD CAVERSHAM. You approve of it? Good heavens!", "[_Enter_ PHIPPS.]\n\nPHIPPS. Lord Caversham." ], [ "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "LADY CHILTERN. Let me see it.\n\n[SIR ROBERT _hands her the letter_. _She reads it_, _and then_, _with a\ngesture of passion_, _tears it up_.]", "[_Enter_ SIR ROBERT CHILTERN.]\n\nSIR ROBERT CHILTERN. Gertrude, here is the draft of my letter. Shall I\nread it to you?", "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "LADY CHILTERN. [_Smiling_.] No; you shall have Mabel. [_Takes the\nletter and writes her husbandâs name on it_.]", "[_Enter_ SIR ROBERT CHILTERN. _He has the letter in his hand_, _and is\nreading it_. _He comes towards his wife_, _not noticing_ LORD GORINGâS\n_presence_.]", "SIR ROBERT CHILTERN. [_Takes letter and reads it_.] A seat in the\nCabinet!", "SIR ROBERT CHILTERN. Must I write and tell her that?\n\nLADY CHILTERN. Surely, Robert! What else is there to do?", "SIR ROBERT CHILTERN. [_Sits down at the table and takes a pen in his\nhand_.] Well, I shall send a cipher telegram to the Embassy at Vienna,", "LADY CHILTERN. Yes. You have guessed it. After you left last night I\nfound out that what she had said was really true. Of course I made\nRobert write her a letter at once, withdrawing his promise.", "SIR ROBERT CHILTERN. There is some one. There are lights in the room,\nand the door is ajar. Some one has been listening to every secret of my\nlife. Arthur, what does this mean?", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. Stop! Stop! Let me have time to think.", "SIR ROBERT CHILTERN. [_Bewildered and unnerved_.] Wait a moment! What\ndid you propose? You said that you would give me back my letter, didnât\nyou?", "LADY CHILTERN. You are not going, Robert?\n\nSIR ROBERT CHILTERN. I have some letters to write, dear.", "SIR ROBERT CHILTERN. [_Throws himself into an armchair by the\nwriting-table_.] One night after dinner at Lord Radleyâs the Baron began", "SIR ROBERT CHILTERN. [_Deeply overcome by emotion_, _embraces her_.] My", "handwriting on Lady Chilternâs pink notepaper. That is rather curious.\nI thought Robert was to write. Wonder what Lady Chiltern has got to say", "SIR ROBERT CHILTERN. Ah! why did you not add you loved me?\n\nLADY CHILTERN. [_Taking his hand_.] Because I loved you.", "LORD GORING. Give me Robert Chilternâs letter.\n\nMRS. CHEVELEY. I have not got it with me. I will give it to you\nto-morrow." ], [ "SIR ROBERT CHILTERN. [_Puts what he has written into an envelope_,\n_which he then carefully closes_.] Tell him to have this sent off in", "him, that I had need of him, that I was coming to him for help and\nadvice. [SIR ROBERT CHILTERN _takes the letter out of his pocket_.]", "to-day, and that at all costs it must not reach him. [_Goes to the\ndoor_, _and opens it_.] Oh! Robert is coming upstairs with the letter in", "LADY CHILTERN. Let me see it.\n\n[SIR ROBERT _hands her the letter_. _She reads it_, _and then_, _with a\ngesture of passion_, _tears it up_.]", "SIR ROBERT CHILTERN. [_Takes letter and reads it_.] A seat in the\nCabinet!", "[_Enter_ SIR ROBERT CHILTERN. _He has the letter in his hand_, _and is\nreading it_. _He comes towards his wife_, _not noticing_ LORD GORINGâS\n_presence_.]", "[_Enter_ SIR ROBERT CHILTERN.]\n\nSIR ROBERT CHILTERN. Gertrude, here is the draft of my letter. Shall I\nread it to you?", "SIR ROBERT CHILTERN. [_Bewildered and unnerved_.] Wait a moment! What\ndid you propose? You said that you would give me back my letter, didnât\nyou?", "SIR ROBERT CHILTERN. There is some one. There are lights in the room,\nand the door is ajar. Some one has been listening to every secret of my\nlife. Arthur, what does this mean?", "SIR ROBERT CHILTERN. [_Sits down at the table and takes a pen in his\nhand_.] Well, I shall send a cipher telegram to the Embassy at Vienna,", "SIR ROBERT CHILTERN. Must I write and tell her that?\n\nLADY CHILTERN. Surely, Robert! What else is there to do?", "SIR ROBERT CHILTERN. [_Throws himself into an armchair by the\nwriting-table_.] One night after dinner at Lord Radleyâs the Baron began", "would disappear completely. And after all, Sir Robert, why should you\nsacrifice your entire future rather than deal diplomatically with your", "LADY CHILTERN. Yes. You have guessed it. After you left last night I\nfound out that what she had said was really true. Of course I made\nRobert write her a letter at once, withdrawing his promise.", "SIR ROBERT CHILTERN. The affair to which you allude was no more than a\nspeculation. The House of Commons had not yet passed the bill; it might\nhave been rejected.", "SIR ROBERT CHILTERN. [_Frowning_.] Ah! yes. I remember hearing, at the\ntime of his death, that he had been mixed up in the whole affair.", "SIR ROBERT CHILTERN. [_Looking up_.] Yes; I got a telegram from the\nfirst secretary at eight oâclock to-night.\n\nLORD GORING. Well?", "SIR ROBERT CHILTERN. [_With a touch of bitterness_.] I suppose I had\nbetter write it at once. Such offers are not repeated. I will ask you", "handwriting on Lady Chilternâs pink notepaper. That is rather curious.\nI thought Robert was to write. Wonder what Lady Chiltern has got to say", "CHEVELEY _pulls the letter out_, _and hands it to him_. _She is horribly\npale_.] This is it?" ] ]

[ "What is Sir Robert's profession?", "What does Mrs. Cheveley attempt to backmail Sir Robert?", "What does Lady Chiltern believe her marriage is based on?", "What do Mabel and Lord Goring find at the party?", "Who was Lord Goring formerly engaged to?", "What proof does Mrs. Cheveley have that Sir Robert made his money illegially?", "What color is the letter Lord Goring receives from Lady Chiltern?", "What does Mrs. Cheveley want from Lord Goring in exchange for Sir Robert's letter?", "Who did Mrs. Cheveley steal the diamond brooch from?", "Where does Mrs. Cheveley want Sir Robert to build a canal?", "What did Lord Goring find and take?", "What color was the letter from Lady Chiltern?", "Whaat happens to the letter?", "What happened to the Argentinian canal scheme?", "In Lady Chilterns's opinion what is a \"ideal husband\"?", "What was the context of the letter?", "Who stole the brooch from their cousin?", "What was missing from the letter?", "Who are wed i the last act?", "In the opening of the play, whose home is the dinner party held at?", "What is fashionable district in London called?", "What prestigious membership does Sir Roberts belong to?", "By the end of Act 1, what do Mabel and Lord Goring find?", "What does Mrs. Cheveley propose?", "What color is the letter Lord Goring receives from Lady Chiltern?", "In what setting does the final act take place?", "What does Lord Caversham announce before the house in the final act?", "Who's name is the letter addressed to that Sir Robert reads in the final act?", "How does Sir Robert interpret the letter he reads?" ]

[ [ "He is a member of the British House of Commons.", "member of the house of commons" ], [ "She wants Sir Robert to support an illegial scheme to build a canel in Argentina.", "a letter to Baron Arnheim" ], [ "Having an ideal husband.", "Having the ideal husband." ], [ "A diamond brooch that Lord Goring gave someone years ago.", "diamond brooch" ], [ "Mrs. Cheveley.", "Mrs. Chevely " ], [ "A lettter.", "A letter" ], [ "Pink.", "pink" ], [ "For Lord Goring to consent to marry her.", "stolen diamond brooch" ], [ "Lord Goring's cousin, Mary Berkshire.", "Mary Berkshire." ], [ "Argentina", "Argentine " ], [ "A diamond brooch", "a diamond brooch" ], [ "Pink", "Pink." ], [ "It is burned", "Mrs. Cheveley steals it " ], [ "It was denounced by Sir Robert", "Sir Robert said he didn't think it was a good anymore." ], [ "An ideal spouse both in private and public that she can worship", "A spouse that acts as expected and she can worship" ], [ "A love note", "a compromising love note" ], [ "Mrs. Cheveley", "Ms Cheveley" ], [ "The addressee", "name" ], [ "Lord Goring and Mabel", "Lord Goring and Mabel" ], [ "Sir Robert Chiltern", "sir robert chiltern" ], [ "Grosvenor Square", "Grosvenor Square" ], [ "The House of Commons", "House of Commons " ], [ "A diamond brooch ", "a diamond brooch" ], [ "She offers to give Sir Robert's letter in exchange to marry her old beau", "That she'll give Lord Robert's letter to Goring if he marries her " ], [ "Pink", "Pink" ], [ "Grosvenor Square", "Grosvenor square." ], [ "That Sir Robert's has denounced the Argentine Canal", "Nothing Sir Robert does the denouncing " ], [ "The addressee's name is not mentioned", "no one" ], [ "As a letter asking for forgiveness", "assumes it is meant for him" ] ]

ed524405685e79384ca61daa883a2c0da21cfc9c

validation

[ [ "Smithers looks up at his holoset. Hovering in front of\n him in the air is Lenina Huxley.", "SMITHERS\n (this again)\n Yeah. BE well. Lieutenant\n Lenina Huxley.", "He kisses her back on the cheek. She smiles, they\n hug. Lenina watches from nearby.", "A pair of frosted doors reading S.A. and P.D. slide open\n to the presence of Lenina Huxley. She enters into a", "She turns quickly to a cabinet and removes two strange\n high-tech helmets and a towel. Lenina, all excited, puts\n one of the helmets on his head and hands him the towel.", "HUXLEY (V.O.)\n Huxley, coding off.\n\n\n INT. LENINA'S POLICE CAR - MOVING - NIGHT", "Spartan tosses Lenina a suavely-knitted sweater of\n familiar red yarn.\n\n SPARTAN\n This is for you, Huxley.", "Lenina removes her helmet with some confusion and hurt.\n\n HUXLEY\n But... but I thought you wanted\n to make love.", "LENINA'S APARTMENT - NIGHT\n\n Lenina's CAR WHIRRS up to two giant, geometric buildings.", "SPARTAN\n Huxley. Stop. I'm not any of\n that... I'm nothing.\n\n Touched, Lenina hands Spartan a small, unusual box.", "Huxley finishes primping. Hits a button. The dash\n unfolds, a steering wheel emerges, locks into place.\n Lenina calls out as she activates her badge.", "LAMB\n You don't get it, Lenina Huxley.\n Phoenix isn't coded. He got", "stares out his window in amazement at the shiny, happy\n people in the happy shiny city. Meanwhile, Lenina and\n Garcia are staring through a rearview screen at Spartan", "Huxley punches madly away. An ACCESS DENIED sign flashes\n on the screen, cutting her off. Lenina gets into a\n little more furious COMPUTER playing until she gets a\n violent BEEP.", "Lenina is waiting outside her car as Spartan emerges from\n the building.\n\n HUXLEY\n (all business)\n Detective...", "Behind the wheel, the mischievously-beautiful LENINA\n HUXLEY. A heads up display announces she is calling", "Emotions are still a little frayed at the station, but a\n certain peace has returned. Lenina approaches the Tough-\n looking Cop. They again exchange nontouching circular\n hand spins.", "HUXLEY (IMAGE)\n I find this lack of stimulus truly\n disappointing... Don't you think?\n\n\n INT. LENINA'S POLICE CAR - DAY", "HUXLEY\n Oh, thanks...\n\n\n INT. LENINA'S POLICE CAR - DAY", "HUXLEY\n Huxley, Lenina. Coding on.\n\n A serenely annoying VOICE answers her" ], [ "No one can mistake him for an exiting patron. He\n radiates attitude. Spartan picks up his pace. The food", "LAMB\n I knew him. We all knew him. He's\n evil like you've only read about,\n girl. He's...", "And misses the fact that Francis is coming up from\n behind. He slaps the baton out of her hand. Grabs", "Simon feels his foot stuck. And as he looks down in\n consternation, realizes in shock what's happened and\n then looks up, Spartan hits him straight from the", "Everything has become so slick, the recoil drives him back\n across the ice into the open. Spartan sees him, FIRES.", "Huxley visibly recoils. The morality box BRAAAPS. It\n never gets any further. Spartan shoots it without a\n look, dead center. His eyes never leave Cocteau.", "her around the neck, lifts her in the air. Begins to\n strangle her to death. She kicks and claws at him\n without effect.", "The room bursts into flames. He throws back his head and\n laughs. Spartan dives on him. Tries to hurl them both\n through the window.", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "Huxley and the restaurant patrons rush up to give him a\n blast of adulation. Spartan's attention stays on the\n fleeing Scraps.", "Spartan looks up and growls. Strides to the GTO. Huxley\n jumps in beside. He floors it. Huxley's head flies back", "Phoenix jumps on him and slams his head repeatedly\n against the hundred mile an hour ground rushing by as\n the car drives itself.", "feet. Keeps FIRING. Albert goes down. He's not going\n to get back up again. Payne rises to his feet FIRING a", "They turn and run away. Simon leaps over the squad car.\n Now he's in front of them. They freeze.", "And then... it gets worse. A NOISE from above. Beppo\n appears. Hangs from a firm support. He begins to stomp\n on Spartan's fingers. Laughing wildly.", "is kill this guy, named Raymond,\n who put it all together. Then\n as an added bonus, you get to kill", "Smithers crawls over his table, breaks for the door.\n Phoenix effortlessly latches out to his fleeing neck\n and pulls him face-to-face as the Guards behind them", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "Reaches up. Grabs the pipe, wrests it over, directs\n the blast at Phoenix. Holds it steady. Phoenix is", "The Scraps freeze for a moment. This guy means business\n in a way they've never seen before. But Spartan is dis-\n tracted for a moment by an excited yell --" ], [ "HUXLEY\n The Santa Barbara, Los Angeles,\n San Diego metroplex merged in\n 2011. You are in the center of\n what used to be Los Angeles.", "to impair the harmony of San\n Angeles. They are but vandals\n and Visigoths.\n (then)", "ever so briefly but I was\n groveling in fear in the humus at\n the time. You have had quite the\n exciting first day in San Angeles.", "execution of what we now call...\n (gestures proudly)\n San Angeles, a city as fine as any\n one of the holding facilities", "A wall on the side of the station house suddenly becomes\n translucent. A map of San Angeles filling the wall. A\n small red dot blinking in the middle.", "Forty-four years ago when Los\n Angeles exploded in violenceAnger,\n violenceHatred and violenceFear,\n a disease had erupted... A disease", "swiveling mounts. Each screen has the face of a San\n Angeles department head and his/her sphere of responsi-\n bility: PublicWorks, Orderly Conduct, Public Dietary", "the chance to make things right,\n I grabbed it. San Angeles would\n not be here. It would be your\n pit of stench.", "a reason. Not for your personal\n amusement. Your job is to kill\n this nuisance, Thomas Payne no\n one else in San Angeles can", "me to notify the San Angeles\n Police Department. Please remain\n here for your reprimand.", "The smoke clears. They're in downtown 20th Century\n L.A. They've dropped into the archeological exhibit we", "against her seat. The GTO THUNDERS out onto a shiny new\n San Angeles boulevard.", "COCTEAU\n (lost in his\n own reverie)\n Other cities will follow. San", "He looks at her like she's nuts.\n\n GARCIA\n There have been no deaths of\n unnatural causes in San Angeles\n in the last sixteen years.", "Spartan bends down to the little girl. Unclenches his\n fist. His LAPD badge inside. Pins it on the little\n girl, KATIE.", "The adrenaline in the control room surges. Tears are\n being wiped away. Justice is near.\n\n\n EXT. HOLLYWOOD AND VINE - DAY", "Central L.A. M.D.K.'d whatever\n got in his way. In a bad time,\n he was the worst.", "A flustered Earle gives a look to the morality box.\n Spartan turns to another vid screen. A map of San\n Angeles on it.", "She holds out a tarnished barely recognizable gold LAPD\n shield on a chain. Drapes it over his neck. She hugs\n him.", "(off his confused\n look)\n Uh, she died. In an earthquake.\n The earthquake." ], [ "The museum is located in the Cocteau complex. Phoenix\n wanders through a hall arrayed with displays of various", "INT. MUSEUM - ARMORY ROOM - DAY\n\n Phoenix stands behind the Civil War cannon.", "Not quite. Growls. A MUSEUM HELPER/GUARD comes into\n the room. Moves towards the annoyed Phoenix smiling\n pleasantly.", "Cocteau continues his eerie soliloquy, feeding Phoenix's\n amusement. Phoenix walks behind him under this, takes out\n a knife and behind Raymond's back, tries desperately to\n kill him. He can't.", "him again. Phoenix's steering wheel locks up and his\n seat restraint pops up as he races out of control for the\n station. He screams in rage.", "escaped cryocon, Mr. Simon Phoenix,\n may be on his way to the Museum of\n Art and History in your complex.", "Phoenix is ready to punch in the screen when two S.A.P.D.\n patrol cars pull to a dramatic halt behind him.\n\n PHOENIX\n Oooh, fuckers are fast, too.", "Phoenix steps off to one side, pulls an old Airweight out\n of his belt. Aims it at Cocteau, tries, tries to pull\n the trigger. Isn't going to happen. He grunts in\n frustration.", "A surveillance camera shot shows the image of the explo-\n sion at the museum. Spartan pops the disc and puts\n another in. This time the surveillance village shows", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "all the difficulties in life.\n Even now I am beginning to wonder\n if the fracas in the museum was\n the result of Mr. Phoenix's", "Phoenix sees the truck collide with the pod, BLASTING it\n to smithereens. He laughs as he enters a long tunnel.\n\n\n INT. LONG TUNNEL - NIGHT", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "locks onto Phoenix as he stands at the information kiosk.\n The police can be seen moving in. The cops in the squad\n room begin cheering.", "INT. STOLEN POLICE CAR - NIGHT\n\n Phoenix shouts at the car ---\n\n PHOENIX\n Open doors! Emergency!", "Phoenix's vehicle slaps the street curb and begins to\n roll, convulsing into a spectacularly flaming series of\n somersaults that violently climax at the base of the\n SAPD sign in front of the station.", "from Phoenix's grasp. Just manages to trap it against\n the side of the car as it falls. Snatches it up, lifts\n it up to take aim as ---", "The truck and Phoenix's car ROAR out of the tunnel and\n move straight for the police station. The truck smashes", "Phoenix finishes a final keystroke. The graffiti remov-\n ing shock poles burst from the building beside them.\n Fires. Electrocutes and cooks one of the cops.", "A BULLET WHISTLES by, barely missing Bob. He hurls\n himself into the dirt. Cocteau turns to face a jazzed-\n up Phoenix, still draped in weapons, the AcMag tucked in\n his belt." ], [ "The Tactical Fire Response vehicles have arrived. Fully-\n armored firemen wearing bulletproof gear fight the blaze.\n Spartan continues to stride away. And then everything", "Behind him, in front of two locked doors, are a pair of\n prison guards in odd, heavily-insulated uniforms. Tanks,", "He does. They come wildly awake, GUNTHER, HOWIE,\n IGNATIOUS, and JED. Eyes wide, jittery, completely\n cranked. Phoenix keeps it simple ---", "Spartan does. The man with the gun is Payne. Six other\n SCRAP TOUGHS have the drop on Lenina and Garcia with", "They turn and run away. Simon leaps over the squad car.\n Now he's in front of them. They freeze.", "Simon pounds a rushing up Garcia unconscious in a single\n blow. Recovers and empties a TOMMY GUN at the crowd.", "Gunther lets out the kind of scream the NFL would be\n proud of. Charges out the door, others behind him.\n\n\n INT. CRYO PRISON - LOBBY - NIGHT", "He's concerned when there're no shots fired. He oughta\n be. Phoenix drops in a cannon ball. Lights the fuse.\n Aims.", "The PILOT takes a thermogram of the building in the\n middle of the compound. We see a series of heat-outlined\n figures moving inside.", "West. Hurting people is not a\n good time. Well, sometimes it\n is... but not when it's just a\n bunch of guys who want something", "As they enter, a periscope pipe pops up, looks around,\n disappears. No one notices it.\n\n\n INT. TACO BELL - FRONT COUNTER AREA - NIGHT", "The elevator slides open. Danzig, Elvin and Francis\n spray it with GUNFIRE. It's empty. Spartan and Huxley\n slip in through a side door around the corner.", "Spartan heads for the door. Garcia has a distraught\n moment before following. Garcia hands Spartan a stun\n baton. It SPARKS to life.", "Spartan yanks out the Beretta. Associate Bob backs\n away while glancing furtively at a closed door. BLAM.\n BLAM. BLAM. Shoots out three of the screens.", "SQUAD LEADER\n Simon Phoenix, lie down and put\n your hands behind your back.\n\n Phoenix lets off a laugh.", "THOMAS PAYNE, a young wild-haired madman in some kind\n of ancient mechanics coveralls watches through the\n periscope.", "The adrenaline in the control room surges. Tears are\n being wiped away. Justice is near.\n\n\n EXT. HOLLYWOOD AND VINE - DAY", "SPARTAN\n Guess you people weren't part of\n the Cocteau plan.\n\n PAYNE\n Man, this is the Cocteau plan.", "A wall on the side of the station house suddenly becomes\n translucent. A map of San Angeles filling the wall. A\n small red dot blinking in the middle.", "Spartan still waits. A crowd begins to grow. Payne,\n despite the fact that he's the guy with the gun, decides\n to answer." ], [ "The scene of the Scraps' food truck attack. As, ON THE\n CUT, Spartan wrenches off one of the steel planks. It", "Every Scrap can see. The two hang on a suspension grid\n of an old rusty rebar, directly over one of the WHIRRING", "Two other Scraps attack him. Spartan fends off one,\n shotputs the other into the WINDOW, this time SHATTERING\n it competely.", "Huxley and the restaurant patrons rush up to give him a\n blast of adulation. Spartan's attention stays on the\n fleeing Scraps.", "The Scraps unearth half-a-dozen large explosive devices.\n Spartan loads them into the GTO. Earle is ready to cry\n when he sees all this. A catastrophe averted, but --", "Scraps crawl for cover. Payne and two others FIRE back.\n Phoenix disappears. Spartan blitzkriegs out of the\n refuse. Crazed.", "The Scraps freeze for a moment. This guy means business\n in a way they've never seen before. But Spartan is dis-\n tracted for a moment by an excited yell --", "Earle and Huxley follow his glance. Coming across the\n green, a horde of Scraps, armed to the teeth, carrying", "Two other equally disreputable types are with him.\n SCRAPS, leftovers from the perfect world above.", "thirty Scraps attack and loot. Spartan sees there's a\n lot of them here. A whole lot.", "A SCRAP appears beside Spartan, swinging a pair of\n nunchucks made from two knobby table legs.", "Spartan latches onto a nunchuck in the air as it comes\n toward him. Yanks it forward as he shoves the Scrap\n backward into the food store window. The Scrap bounces", "Three more Scraps come charging out of the store.\n Clutching packages. They hurl EXPLOSIVE DEVICES towards\n Spartan to make their escape.", "Huxley, Garcia, and the Scraps who have a clue dive as\n the ACMAG FIRES with the resulting tremendous EXPLOSION.", "Lenina, and the rest of the restaurant gather at the\n window to ooh in fear. Cocteau scowls angrily at the\n Scraps.", "Spartan stops. Backs away. Watches oddly as the Scrap\n escapes. He lets them go. Steps back away as the others", "COCTEAU\n We call them Scraps. Voluntary\n outcasts, they cower beneath us\n in sewers, abandoned tunnels...", "Spartan goes back to staring out the window. Two, three,\n then four Scraps loitering, looking around, they've done", "Way up ahead, amid the flames, is a fortress. A square\n city block. Walled. Something out of the middle ages.\n The walls are entirely made from stacked abandoned cars.", "Spartan stares out the window. Across the street he sees\n a scragly SCRAP on a sputtery patched together motor bike\n in front of a large food store across the street." ], [ "cryoprison and I'm Betsy fucking\n Ross and Phoenix comes out and he\n can access computers, operate all\n vehicles, find the locations of", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "With a LOUD BUZZ, the electronic MANACLES around\n Phoenix's arms and feet fly open. Phoenix knows a good", "INT. CRYO-PRISON - DAY\n\n The conference area wall slides open, revealing Simon\n Phoenix, elegantly holding the warden's detached eyeball.", "INT. CRYO PRISON - OUTER THAWING ROOM - NIGHT\n\n Med Techs scramble furiously. Phoenix grabs the glowing\n CompuClipboard from Bob.", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "PHOENIX\n So lemme get this straight -- they\n defrosted you just to lassoo my\n piddly ass?", "INT. CRYO-PRISON - CONFERENCE AREA - DAY\n\n Simon Phoenix is still fighting to shake off his\n defrosted confusion. Locks eyes with the warden.", "HUXLEY\n This morning Phoenix escaped from\n this cryo facility. We've had\n nine murder death kills so far.", "Phoenix finishes a final keystroke. The graffiti remov-\n ing shock poles burst from the building beside them.\n Fires. Electrocutes and cooks one of the cops.", "Phoenix is ready to punch in the screen when two S.A.P.D.\n patrol cars pull to a dramatic halt behind him.\n\n PHOENIX\n Oooh, fuckers are fast, too.", "Phoenix smashes Guard One in the neck. Left handed.\n Crushes his larynx. The Guard falls dying to the ground.", "On the top level of the cryo prison, the first batch\n of raving psychopath defrosted cryocons wanders in\n to watch John Spartan die.", "Four pucks are being rapidly removed from around the\n cryocons inside by the cutting lasers. They go blue.\n\n\n INT. CRYO PRISON - OUTER THAWING ROOM - NIGHT", "Gunther lets out the kind of scream the NFL would be\n proud of. Charges out the door, others behind him.\n\n\n INT. CRYO PRISON - LOBBY - NIGHT", "S.A.P.D. and immediate assignment\n to the apprehension of Simon\n Phoenix, or you can go back into\n cryo-stasis.", "Punches another button. The map is replaced with an\n image from the Cryo-Prison. Two dead guards. Warden\n Smithers crawling painfully toward the door. It's a\n brutal image.", "The Guard looks at him in total confusion. Phoenix grabs\n him by the lapels and shot-puts him across the room into\n the GLASS. This time it SHATTERS impressively.", "INT. CRYO PRISON - MAIN ROOM - DAY (2042)", "CUT TO:\n\n\n INT. CRYO-PRISON - MAIN ROOM - DAY" ], [ "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "Phoenix still has a free hand. Smashes a nerve center\n on the side of Spartan's neck. Spartan twitches visibly\n from it. Grunts.", "They hurl themselves together again. Spartan lands a\n horrific blow. All but drives Phoenix's nose and eye\n sockets through the back of his head. Spartan's", "Phoenix screams in rage as Spartan's hand comes at him\n and grabs him by the hair, yanking Phoenix's head back.", "Spartan continues to fight back, smashing Phoenix, but\n he's forced to avoid the close calls with cars, street", "Spartan punches him right, left, right in the sternum.\n Phoenix coughs blood, spits it away.\n\n Steps back to launch a mighty blow at Spartan and --", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "Phoenix leaps back up, triple-punches Spartan in the\n chest. Spartan's hands come free, he falls back, as", "Spartan lands behind him, coming around with an elbow\n into Phoenix's kidney, causing Phoenix to drop the MTL.", "The battle continues. The two trading blow for blow in\n this fiery arena. The two men are practically on fire.\n Finally Spartan knocks Phoenix cold, a clean shot", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "Spartan can hear Phoenix CLATTERING off up a culvert\n behind him. He bolts up after him.\n\n\n INT. WASTELAND - CULVERT - NIGHT", "Spartan activates the stun baton. Phoenix is racked with\n pain. Rattled and shaken by the charge. Involuntary\n shudders. Yanks himself clear with a wild grin.", "SPARTAN\n Phoenix is a complete meglomaniacal\n fucking psychopath. And the first", "Spartan looks up to see Phoenix and a wall of water\n headed his way.\n\n SPARTAN\n Oh shit.", "Spartan can't see it, but there's a kitchen match tucked\n behind Simon's ear. Phoenix reaches up to scratch\n another itch. Frees the match in one gestures, strikes", "Spartan is hoisted high in air, smashed again and again\n against a pillar. Phoenix slams him through a web of", "Spartan keeps the guns trained on Phoenix. Simon\n scratches his arm. It's a junkie's twitch. Or is it...", "Spartan ducks back from Phoenix's stream of bullets.\n Smashes the machine gun against the car, knocking it", "Phoenix is knocked to his side. Sidekicks Spartan dead\n in the groin. Spartan folds." ], [ "CUT TO:\n\n\n INT. CRYO-PRISON - MAIN ROOM - DAY", "INT. CRYO PRISON - MAIN ROOM - DAY (2042)", "On the top level of the cryo prison, the first batch\n of raving psychopath defrosted cryocons wanders in\n to watch John Spartan die.", "(as Spartan looks\n over her shoulder)\n He's accessed the cryoprison.\n He's about to defrost the entire", "Four pucks are being rapidly removed from around the\n cryocons inside by the cutting lasers. They go blue.\n\n\n INT. CRYO PRISON - OUTER THAWING ROOM - NIGHT", "Smithers grumbles past a barely conscious cryo-prisoner,\n who is strapped atop a sleek, thin, and uncomfortable", "Seventy pucks are stacked and loaded to be defrosted.\n Med Techs scramble furiously.\n\n\n INT. CRYO PRISON - INNER THAWING ROOM - NIGHT", "INT. CRYO PRISON - OUTER THAWING ROOM - NIGHT\n\n Med Techs scramble furiously. Phoenix grabs the glowing\n CompuClipboard from Bob.", "are to be returned to your cryo-\n cell immediately... 'Mr. Horace\n Bateman.' Do you understand what\n I've said...", "INT. CRYO-PRISON - DEFROSTING CHAMBER - DAY", "The displays all read: CRYO PRISONER EXITED. Yeeesh.\n There's a lot of them that way. A WHIR, followed by\n TROTTING FOOTSTEPS.", "INT. CRYO PRISON - MAIN ROOM - DAY", "The inner room splits open and the Med Techs rush in to\n the four thawed cryocons as Associate Bob steps away from\n a VidScreen with some concern ---", "Gunther lets out the kind of scream the NFL would be\n proud of. Charges out the door, others behind him.\n\n\n INT. CRYO PRISON - LOBBY - NIGHT", "INT. CRYO PRISON - OUTER THAWING ROOM - NIGHT\n\n A frenzy of activity. Simon, Associate Bob, Techs\n everywhere...", "INT. CRYO PRISON - MAIN ROOM - NIGHT\n\n Spartan prowls through the now depleted multilifer wing.\n Empty pods everywhere.", "He turns and quietly starts dispensing instructions to\n the cryocons.\n\n\n BACK TO SCENE", "PHOENIX\n Hey wake up. Good. Listen to\n me. You've just been defrosted.", "Half a beat. Realizes what he's done. In the next\n moment, four insane megadrenalized cryocons come", "HUXLEY\n All units, all units.\n ProtectServe Cryoprison. Simon" ], [ "Without a second beat, Phoenix SHOTGUNS them both. In\n the background we can hear the ALARM change \"RUN.\n RUN...\"", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "Gunther lets out the kind of scream the NFL would be\n proud of. Charges out the door, others behind him.\n\n\n INT. CRYO PRISON - LOBBY - NIGHT", "Spartan stops. Backs away. Watches oddly as the Scrap\n escapes. He lets them go. Steps back away as the others", "The room bursts into flames. He throws back his head and\n laughs. Spartan dives on him. Tries to hurl them both\n through the window.", "The three move along taking in the curious but\n unfrightened glances. More than one person recognizes\n Spartan from the battle the night before. You can feel\n the buzz work down the street.", "The elevator slides open. Danzig, Elvin and Francis\n spray it with GUNFIRE. It's empty. Spartan and Huxley\n slip in through a side door around the corner.", "escape. They don't know why he changed his mind, but\n they're not staying around to find out.", "Spartan chokes back a sob. Stands back up. Kisses his\n wife. Everything that can be said, has been said. They\n kiss again.", "The Cryocons OPEN UP with all manner of WEAPONRY on the\n crowd. Mayhem and slaughter. Huxley and Garcia have", "beam shifts in the wreckage. It's a big beam. It moves\n aside. Spartan emerges dragging his prisoner out behind", "Payne's got things to do, people to see. Takes off down\n the tunnel. The other two follow. As the periscope\n ducks back down ---", "Spartan bashes the robot arm out of the way. Picks\n up the vial. Looks around desperately. No point using", "feet. Keeps FIRING. Albert goes down. He's not going\n to get back up again. Payne rises to his feet FIRING a", "They all watch warily. Spartan comes to with a start.\n Looks up at them. Looks around quickly for any immediate\n threat. Sees none. Tries to stand. Can't yet.", "One gun goes flying. Spartan beats on Howie with his\n free hand. Ignacious fights for control of his gun\n hand.", "Spartan's still busy with Danzig. She starts to choke.\n Francis brings her closer to watch her die. A beat of", "Spartan launches himself at the guard. Hammers his head\n against the floor. This guy is not getting up again for", "The Scraps unearth half-a-dozen large explosive devices.\n Spartan loads them into the GTO. Earle is ready to cry\n when he sees all this. A catastrophe averted, but --", "The nearest cops approach with their stun batons. Simon\n kills them both. It doesn't take long. He breaks a" ], [ "He kisses her back on the cheek. She smiles, they\n hug. Lenina watches from nearby.", "She kisses him. Long and hard. Breaks.\n\n HUXLEY\n Welcome to the future, John\n Spartan. Now that you've\n destroyed everything.", "HUXLEY\n (understands)\n Done.\n (as she turns to the", "SPARTAN\n There's no kissing anymore...?\n I was a good kisser...\n\n HUXLEY\n Ughh.", "Spartan grabs her. Lays a real kiss on her. Long and\n hard. She comes up for air, gasping, eyes shiny.", "Huxley looks seriously pleased and flattered. Spartan\n just has no clue as to this choice of restaurants.\n Huxley discreetly elbows him. Hard.", "Huxley punches madly away. An ACCESS DENIED sign flashes\n on the screen, cutting her off. Lenina gets into a\n little more furious COMPUTER playing until she gets a\n violent BEEP.", "Lenina removes her helmet with some confusion and hurt.\n\n HUXLEY\n But... but I thought you wanted\n to make love.", "HUXLEY\n That was it? That's the whole\n kissing thing? What was Cocteau\n so worried about?", "Huxley and the restaurant patrons rush up to give him a\n blast of adulation. Spartan's attention stays on the\n fleeing Scraps.", "Huxley is nauseous.\n\n GARCIA\n Oh my...", "Smithers looks up at his holoset. Hovering in front of\n him in the air is Lenina Huxley.", "Spartan's grin, though it seems impossible, gets wider.\n He kisses her on the forehead. Holds her back out at\n arm's length, just looking at her with this great big\n smile...", "Spartan tosses Lenina a suavely-knitted sweater of\n familiar red yarn.\n\n SPARTAN\n This is for you, Huxley.", "Huxley finishes primping. Hits a button. The dash\n unfolds, a steering wheel emerges, locks into place.\n Lenina calls out as she activates her badge.", "A beat of open-mouthed amazement and enjoyment and then\n Spartan tears the helmet from his head and throws down\n his towel with a mixture of confusion and anxiety.\n Lenina is still seated across the room.", "SPARTAN\n Huxley. Stop. I'm not any of\n that... I'm nothing.\n\n Touched, Lenina hands Spartan a small, unusual box.", "She turns quickly to a cabinet and removes two strange\n high-tech helmets and a towel. Lenina, all excited, puts\n one of the helmets on his head and hands him the towel.", "A pair of frosted doors reading S.A. and P.D. slide open\n to the presence of Lenina Huxley. She enters into a", "Huxley and Spartan walk up to a sultry future version of\n a Taco Bell order counter. Spartan is trying to" ], [ "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "They hurl themselves together again. Spartan lands a\n horrific blow. All but drives Phoenix's nose and eye\n sockets through the back of his head. Spartan's", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "Phoenix still has a free hand. Smashes a nerve center\n on the side of Spartan's neck. Spartan twitches visibly\n from it. Grunts.", "Spartan continues to fight back, smashing Phoenix, but\n he's forced to avoid the close calls with cars, street", "Spartan ducks back from Phoenix's stream of bullets.\n Smashes the machine gun against the car, knocking it", "Spartan lands behind him, coming around with an elbow\n into Phoenix's kidney, causing Phoenix to drop the MTL.", "Spartan can hear Phoenix CLATTERING off up a culvert\n behind him. He bolts up after him.\n\n\n INT. WASTELAND - CULVERT - NIGHT", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "Two other Scraps attack him. Spartan fends off one,\n shotputs the other into the WINDOW, this time SHATTERING\n it competely.", "Spartan is hoisted high in air, smashed again and again\n against a pillar. Phoenix slams him through a web of", "Spartan activates the stun baton. Phoenix is racked with\n pain. Rattled and shaken by the charge. Involuntary\n shudders. Yanks himself clear with a wild grin.", "Spartan comes crashing out of the wreckage. Loading\n the Beretta as he runs, a crazed scowl on his face.\n Phoenix leaps the wall.", "Spartan punches him right, left, right in the sternum.\n Phoenix coughs blood, spits it away.\n\n Steps back to launch a mighty blow at Spartan and --", "The pipe \"T\"s at the top. Spartan mantles up as Phoenix\n CLATTERS off. Down below in the pipe, the sound of", "The battle continues. The two trading blow for blow in\n this fiery arena. The two men are practically on fire.\n Finally Spartan knocks Phoenix cold, a clean shot", "Spartan wrenches the pipe over to the claw arm. Holds\n it directly over one joint. Then clobbers it with\n the pipe. It SHATTERS. He drops.", "shield. It's like a video game. Phoenix's fishtailing\n brings him into the sights. Spartan FIRES. His own", "saw before. Spartan, shaking off the fall, finds himself\n weaponless. Phoenix is spinning madly around, AcMag in\n one hand, an Ingram from his shoulder bag in the other.", "The Guard looks at him in total confusion. Phoenix grabs\n him by the lapels and shot-puts him across the room into\n the GLASS. This time it SHATTERS impressively." ], [ "They all watch warily. Spartan comes to with a start.\n Looks up at them. Looks around quickly for any immediate\n threat. Sees none. Tries to stand. Can't yet.", "Spartan stops dead. He looks sick. Healy's not\n thrilled, but he knows what's required of him --", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "Spartan launches himself at the guard. Hammers his head\n against the floor. This guy is not getting up again for", "Healy continues to shake his head in consternation. No\n way he believes that... Spartan ignores him. Wipes the\n soot from his face. Shakes his head in disgust, walks\n away...", "SPARTAN\n Old trick.\n\n HUXLEY\n Old criminals.", "Spartan's grin, though it seems impossible, gets wider.\n He kisses her on the forehead. Holds her back out at\n arm's length, just looking at her with this great big\n smile...", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "The three move along taking in the curious but\n unfrightened glances. More than one person recognizes\n Spartan from the battle the night before. You can feel\n the buzz work down the street.", "Spartan looks up and growls. Strides to the GTO. Huxley\n jumps in beside. He floors it. Huxley's head flies back", "SPARTAN\n (shaking it off)\n How long have I been under?\n\n HUXLEY\n Forty-four years.\n\n Whoa...", "SPARTAN\n (beat; dry)\n Better.\n\n HUXLEY\n (beat)\n Better??! Oh. My.", "SPARTAN\n Oh. Great plan.\n\n EARLE\n Thank you.", "Spartan grabs her. Lays a real kiss on her. Long and\n hard. She comes up for air, gasping, eyes shiny.", "Spartan feels the rebar starting to fail around him. As\n he tries to haul himself up, it just gives way more. The", "Spartan turns, starts towards the Cryo prison. As he\n walks --- Takes a deep breath. Loosens up his right", "Spartan remembers. The freezer was bad, way bad. He\n swallows hard and --\n\n\n EXT. CRYO-PRISON - DAY", "SPARTAN\n Guess so.\n\n HUXLEY\n They've got him trapped in section\n eight.", "The technicians attempt to help Spartan into the chamber.\n He shakes them off to stagger down on his own. Let's not\n kid ourselves, he's scared --" ], [ "Cocteau continues his eerie soliloquy, feeding Phoenix's\n amusement. Phoenix walks behind him under this, takes out\n a knife and behind Raymond's back, tries desperately to\n kill him. He can't.", "Spartan bursts in, gun drawn. No one's there. Spins,\n checks everywhere. Spots a very dead Raymond Cocteau.\n Huxley sees him a moment later.", "Cocteau is in a corner of the room in front of a private\n Vidhead. Spartan stands with Beretta pointed directly\n at him. Nonetheless, Cocteau remains his arrogant self.", "quivers. He wants to kill, but he can't. Cocteau\n folds his arms.", "The Beretta appears next to Cocteau's head onscreen.\n\n CUT TO:", "Elvin empties all six shots into Cocteau's very surprised\n face.\n\n Associate Bob looks on from the corner. A little\n frightened, but not giving a shit about Cocteau.", "Huxley visibly recoils. The morality box BRAAAPS. It\n never gets any further. Spartan shoots it without a\n look, dead center. His eyes never leave Cocteau.", "Cocteau smiles. Simon tosses the gun to Elvin.\n\n PHOENIX\n You try to kill him. This is\n beginning to piss me off.", "Cocteau and Associate Bob walking through the courtyard.\n Then the gunshot. Then finally Spartan comes to the\n strange face-to-face between Cocteau and Phoenix.", "EARLE\n Dr. Cocteau is the most important\n man in San Angeles. He practically\n created our whole way of life.\n Savage!", "Phoenix raises a Luger to Cocteau. Something snaps.\n Phoenix's smile turns to a grimace. His gun hand", "As he goes SQUEALING OUT, clipping and KNOCKING OVER the\n one remaining WALL of the police station --\n\n\n INT. COCTEAU'S OFFICE - NIGHT", "COCTEAU\n Ah, no kiss-kiss. No bang-bang...\n And you were doing so well. Now,", "A BULLET WHISTLES by, barely missing Bob. He hurls\n himself into the dirt. Cocteau turns to face a jazzed-\n up Phoenix, still draped in weapons, the AcMag tucked in\n his belt.", "HUXLEY\n (somewhat mollified)\n There is that.\n\n\n INT. COCTEAU'S OFFICE - NIGHT", "Doctor Raymond Cocteau?", "Phoenix steps off to one side, pulls an old Airweight out\n of his belt. Aims it at Cocteau, tries, tries to pull\n the trigger. Isn't going to happen. He grunts in\n frustration.", "COCTEAU\n No doubt whacking, whatever it\n is, would be extremely bad. You\n scared him away and I do not know\n how to thank you. You saved my\n life.", "COCTEAU\n (exasperated)\n Illuminate.\n\n The lights come back on.", "ASSOCIATE BOB\n What a distasteful fellow.\n\n Cocteau just looks at him. Enough already..." ], [ "Spartan bursts in, gun drawn. No one's there. Spins,\n checks everywhere. Spots a very dead Raymond Cocteau.\n Huxley sees him a moment later.", "Cocteau is in a corner of the room in front of a private\n Vidhead. Spartan stands with Beretta pointed directly\n at him. Nonetheless, Cocteau remains his arrogant self.", "Huxley visibly recoils. The morality box BRAAAPS. It\n never gets any further. Spartan shoots it without a\n look, dead center. His eyes never leave Cocteau.", "quivers. He wants to kill, but he can't. Cocteau\n folds his arms.", "Spartan gives a SUSPICIOUS glance from the wall to\n Cocteau as Cocteau leads him...\n\n\n EXT. COCTEAU COMPLEX - MUSEUM ENTRANCE - DAY", "SPARTAN\n Guess you people weren't part of\n the Cocteau plan.\n\n PAYNE\n Man, this is the Cocteau plan.", "Spartan stops dead. He looks sick. Healy's not\n thrilled, but he knows what's required of him --", "Cocteau and Associate Bob walking through the courtyard.\n Then the gunshot. Then finally Spartan comes to the\n strange face-to-face between Cocteau and Phoenix.", "Spartan launches himself at the guard. Hammers his head\n against the floor. This guy is not getting up again for", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "Phoenix steps off to one side, pulls an old Airweight out\n of his belt. Aims it at Cocteau, tries, tries to pull\n the trigger. Isn't going to happen. He grunts in\n frustration.", "Spartan is staring at a vid screen on a wall: Cocteau,\n grinning, arms spread, his utopia behind him, and the\n Behavioral Engineering logo.", "ASSOCIATE BOB\n I am ever so sorry, John Spartan,\n but Dr. Raymond Cocteau is not", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "SPARTAN\n Great, I come to the future,\n Phoenix gets the ray gun, I get\n the rusty Beretta.\n\n Cocteau addresses Spartan and the entire assemblage.", "Spartan bashes the robot arm out of the way. Picks\n up the vial. Looks around desperately. No point using", "Spartan grabs him by the throat. Pulls him inches away\n from his own face.\n\n SPARTAN\n Think again.", "Spartan's still busy with Danzig. She starts to choke.\n Francis brings her closer to watch her die. A beat of", "Spartan GUNS the GTO, SCREAMS it across, SKIDS to a halt.\n Leaps out. It's too late. Lamb is dead. There's a half\n a beat with his dead friend.", "He never gets to say another word. Spartan spins and\n ventilates the device with 40 mm slugs." ], [ "Elvin empties all six shots into Cocteau's very surprised\n face.\n\n Associate Bob looks on from the corner. A little\n frightened, but not giving a shit about Cocteau.", "Spartan yanks out the Beretta. Associate Bob backs\n away while glancing furtively at a closed door. BLAM.\n BLAM. BLAM. Shoots out three of the screens.", "Spartan bursts in, gun drawn. No one's there. Spins,\n checks everywhere. Spots a very dead Raymond Cocteau.\n Huxley sees him a moment later.", "a terrorist. Now that you wussed\n out this entire society in a\n tribute to yourself you needed\n Phoenix to handle the cast-offs", "The nearest cops approach with their stun batons. Simon\n kills them both. It doesn't take long. He breaks a", "Earle nods seriously. Spartan steps over to the dead\n guys on the litters, pulls back a sheet. He stares at\n the first guy. Can't believe what he sees...", "Huxley visibly recoils. The morality box BRAAAPS. It\n never gets any further. Spartan shoots it without a\n look, dead center. His eyes never leave Cocteau.", "Thirty people who were riding that\n muni bus are still missing. I've\n got this bad hunch about who took\n them and where they are...", "Spartan falls three hundred feet from the blimp. Dead\n silent. The line runs free behind him. It's a giant", "Spartan GUNS the GTO, SCREAMS it across, SKIDS to a halt.\n Leaps out. It's too late. Lamb is dead. There's a half\n a beat with his dead friend.", "The room bursts into flames. He throws back his head and\n laughs. Spartan dives on him. Tries to hurl them both\n through the window.", "The Scraps unearth half-a-dozen large explosive devices.\n Spartan loads them into the GTO. Earle is ready to cry\n when he sees all this. A catastrophe averted, but --", "is kill this guy, named Raymond,\n who put it all together. Then\n as an added bonus, you get to kill", "Armed robbery!\n (as more speed; not\n enough)\n No, it's murder! An entire", "Without a second beat, Phoenix SHOTGUNS them both. In\n the background we can hear the ALARM change \"RUN.\n RUN...\"", "feet. Keeps FIRING. Albert goes down. He's not going\n to get back up again. Payne rises to his feet FIRING a", "(off his confused\n look)\n Uh, she died. In an earthquake.\n The earthquake.", "Phoenix smashes Guard One in the neck. Left handed.\n Crushes his larynx. The Guard falls dying to the ground.", "The Tactical Fire Response vehicles have arrived. Fully-\n armored firemen wearing bulletproof gear fight the blaze.\n Spartan continues to stride away. And then everything", "you blew to pieces trying to\n catch me...? They were already\n dead, pal, before you even\n touched the building. Cold as" ], [ "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "SPARTAN\n (fully awake)\n What?\n\n Huxley steps in.", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "They all watch warily. Spartan comes to with a start.\n Looks up at them. Looks around quickly for any immediate\n threat. Sees none. Tries to stand. Can't yet.", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "A far greater crowd has gathered. Police, citizens,\n Scraps. They watch in silent awe and shock as Spartan\n re-emerges. Katherine walks up. Deadpan as her\n father --", "INT. POLICE STATION - MAIN AREA - DUSK\n\n Spartan is not happy --\n\n SPARTAN\n Wait, wait, wait.", "Spartan's busy.\n\n GARCIA\n Spartan...\n (as Spartan ignores\n him; still busy)\n Spar...", "Spartan is stuffed into the back seat of Lenina's police\n car. Absently scratching the back of his hand, Spartan", "Spartan launches himself at the guard. Hammers his head\n against the floor. This guy is not getting up again for", "Spartan heads for the door. Garcia has a distraught\n moment before following. Garcia hands Spartan a stun\n baton. It SPARKS to life.", "Healy continues to shake his head in consternation. No\n way he believes that... Spartan ignores him. Wipes the\n soot from his face. Shakes his head in disgust, walks\n away...", "SPARTAN\n Somebody put me back in the fridge.\n\n\n INT. POLICE STATION - MAIN AREA - DAY", "SPARTAN\n (shaking it off)\n How long have I been under?\n\n HUXLEY\n Forty-four years.\n\n Whoa...", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "Spartan reaches out and shakes the Tough Cop's hand.\n It's like he spit on him. The Tough Cop tries not to\n react, but he's clearly disgusted.", "SPARTAN\n It's a hunch. Trust me on this.\n It's a cop thing.\n (as they get into\n the car)\n I'm driving.", "Spartan trudges through a spooked gantlet of 2042\n officers. The Tough Cop greets him, raising his hand.", "SPARTAN\n (pointing at Garcia,\n the nearest;\n rasping)\n You..." ], [ "execution of what we now call...\n (gestures proudly)\n San Angeles, a city as fine as any\n one of the holding facilities", "A wall on the side of the station house suddenly becomes\n translucent. A map of San Angeles filling the wall. A\n small red dot blinking in the middle.", "the chance to make things right,\n I grabbed it. San Angeles would\n not be here. It would be your\n pit of stench.", "to impair the harmony of San\n Angeles. They are but vandals\n and Visigoths.\n (then)", "He looks at her like she's nuts.\n\n GARCIA\n There have been no deaths of\n unnatural causes in San Angeles\n in the last sixteen years.", "ever so briefly but I was\n groveling in fear in the humus at\n the time. You have had quite the\n exciting first day in San Angeles.", "a reason. Not for your personal\n amusement. Your job is to kill\n this nuisance, Thomas Payne no\n one else in San Angeles can", "Forty-four years ago when Los\n Angeles exploded in violenceAnger,\n violenceHatred and violenceFear,\n a disease had erupted... A disease", "A flustered Earle gives a look to the morality box.\n Spartan turns to another vid screen. A map of San\n Angeles on it.", "EARLE\n Dr. Cocteau is the most important\n man in San Angeles. He practically\n created our whole way of life.\n Savage!", "Spartan stares past Payne to wild pieces of graffiti on\n a wall behind him that includes \"I HATE SAN ANGELES and\n SUCK MY COCTEAU!\"", "HUXLEY\n The Santa Barbara, Los Angeles,\n San Diego metroplex merged in\n 2011. You are in the center of\n what used to be Los Angeles.", "against her seat. The GTO THUNDERS out onto a shiny new\n San Angeles boulevard.", "EXT. SAN ANGELES SKYLINE - NIGHT\n\n The 2042 skyline glistens. Tiny cars zip along below us.", "me to notify the San Angeles\n Police Department. Please remain\n here for your reprimand.", "The smoke clears. They're in downtown 20th Century\n L.A. They've dropped into the archeological exhibit we", "EXT. SAN ANGELES - STREETS - DAY (2042)", "EXT. ANOTHER SAN ANGELES CITY STREET / INT. POLICE\n CAR - DAY", "COCTEAU\n So, John Spartan, tell me, what\n do you think of San Angeles, 2042?", "EXT. A DIFFERENT SAN ANGELES STREET - DAY" ], [ "The SAPD car is parked at the curb. Doors popped open.\n Museum patrons and guards flee. Spartan, followed by\n Huxley and Garcia, moves against the flow.", "Spartan yanks her into the driver's seat and rises,\n standing out through the missing windshield. Huxley\n barely holds onto the steering wheel and the car wildly\n swerves.", "Spartan can hear Phoenix CLATTERING off up a culvert\n behind him. He bolts up after him.\n\n\n INT. WASTELAND - CULVERT - NIGHT", "Spartan looks up and growls. Strides to the GTO. Huxley\n jumps in beside. He floors it. Huxley's head flies back", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "Huxley visibly recoils. The morality box BRAAAPS. It\n never gets any further. Spartan shoots it without a\n look, dead center. His eyes never leave Cocteau.", "Spartan, Huxley and Garcia step in. A meeting place\n of sorts. A machine shop. Off to one side, a giant", "A surveillance camera shot shows the image of the explo-\n sion at the museum. Spartan pops the disc and puts\n another in. This time the surveillance village shows", "Spartan can't see it, but there's a kitchen match tucked\n behind Simon's ear. Phoenix reaches up to scratch\n another itch. Frees the match in one gestures, strikes", "Huxley looks seriously pleased and flattered. Spartan\n just has no clue as to this choice of restaurants.\n Huxley discreetly elbows him. Hard.", "Now empty. Spartan strides along. Sparking bullshit\n stun baton in one hand.\n\n\n INT. MUSEUM - ARMORY ENTRANCE - DAY", "Huxley pulls out her stun baton. Pokes at them, pulls\n back, pokes again -- unable with the twisting, turning\n struggling bodies to be sure she won't get Spartan.", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "saw before. Spartan, shaking off the fall, finds himself\n weaponless. Phoenix is spinning madly around, AcMag in\n one hand, an Ingram from his shoulder bag in the other.", "Spartan keeps the guns trained on Phoenix. Simon\n scratches his arm. It's a junkie's twitch. Or is it...", "growls back. Spartan and the door strain against each\n other. The man wins. Wrenches the door clean off.\n Jumps in the car. Punches Phoenix square in the head.", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "Not quite. Growls. A MUSEUM HELPER/GUARD comes into\n the room. Moves towards the annoyed Phoenix smiling\n pleasantly.", "SPARTAN\n Great, I come to the future,\n Phoenix gets the ray gun, I get\n the rusty Beretta.\n\n Cocteau addresses Spartan and the entire assemblage." ], [ "LAMB\n Yeah, the Demo Man is back.\n\n Lamb bends over to look. As he does, we see a figure\n approaching from behind. Simon Phoenix.", "SQUAD LEADER\n Simon Phoenix, lie down and put\n your hands behind your back.\n\n Phoenix lets off a laugh.", "The future just amuses the hell out of Simon. Phoenix\n slams down the information button. He drops his hands\n onto the keyboard and his fingers fly. His grin grows\n wider and wider. His fingers stop and --", "INT. CRYO-PRISON - DAY\n\n The conference area wall slides open, revealing Simon\n Phoenix, elegantly holding the warden's detached eyeball.", "SIMON PHOENIX snorts a long pale blue line up one\n nostril. A long pink line up the other. One blue eye,", "SPARTAN\n Simon Phoenix. You're under\n arrest.\n (then)\n Where are the muni passengers?", "SPARTAN\n What!\n\n Garcia can only point: Simon Phoenix, forty feet away,\n giant grin, AcMag in hand, taking aim.", "LAMB\n It's Phoenix. Simon Phoenix...", "HUXLEY\n Hold that thought, Zachary Lamb.\n (to computer)\n Simon Phoenix's code. Now.", "A Mr. Simon Phoenix.", "INT. CRYO-PRISON - CONFERENCE AREA - DAY\n\n Simon Phoenix is still fighting to shake off his\n defrosted confusion. Locks eyes with the warden.", "HUXLEY\n Simon Phoenix isn't coded. An\n organically bioengineered microchip", "SPARTAN (O.S.)\n Simon Phoenix. L.A.P.D., I mean\n San Angeles P.D. You're under\n arrest.", "HUXLEY\n New inforama on Simon Phoenix?\n\n TOUGH COP\n None... So where is John Spartan?", "pursue the madman Simon Phoenix.\n (ready to cry)\n You told us to do everything in\n our power to capture the madman.", "appearance of Simon Phoenix and\n determined he will attempt to\n start up a new drug lab and form\n a crime syndicate.", "S.A.P.D. and immediate assignment\n to the apprehension of Simon\n Phoenix, or you can go back into\n cryo-stasis.", "MAIL COMPUTER (V.O.)\n You have reached secure mailbox\n facilities for... Simon Phoenix.", "Spartan keeps the guns trained on Phoenix. Simon\n scratches his arm. It's a junkie's twitch. Or is it...", "PHOENIX\n Simon says scream.\n\n\n INT. POLICE STATION - MAIN AREA - DAY\n\n The cops watch in horror as the last two go down." ], [ "Phoenix's vehicle slaps the street curb and begins to\n roll, convulsing into a spectacularly flaming series of\n somersaults that violently climax at the base of the\n SAPD sign in front of the station.", "Phoenix smashes Guard One in the neck. Left handed.\n Crushes his larynx. The Guard falls dying to the ground.", "Phoenix is ready to punch in the screen when two S.A.P.D.\n patrol cars pull to a dramatic halt behind him.\n\n PHOENIX\n Oooh, fuckers are fast, too.", "Phoenix jumps on him and slams his head repeatedly\n against the hundred mile an hour ground rushing by as\n the car drives itself.", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "PHOENIX\n So am I. Rookie.\n\n Phoenix digs out a .22. SHOOTS him repeatedly in the\n stomach.", "Phoenix finishes a final keystroke. The graffiti remov-\n ing shock poles burst from the building beside them.\n Fires. Electrocutes and cooks one of the cops.", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "Cocteau continues his eerie soliloquy, feeding Phoenix's\n amusement. Phoenix walks behind him under this, takes out\n a knife and behind Raymond's back, tries desperately to\n kill him. He can't.", "the car, manages to hang on. He opens FIRE on Phoenix's\n car. Perforating it, blowing off side mirrors, generally", "from Phoenix's grasp. Just manages to trap it against\n the side of the car as it falls. Snatches it up, lifts\n it up to take aim as ---", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "him again. Phoenix's steering wheel locks up and his\n seat restraint pops up as he races out of control for the\n station. He screams in rage.", "Phoenix thinks everything is A-okay until he looks in his\n rearview and sees a bunch of streetlights being taken out\n by the too huge truck and getting closer. The truck", "growls back. Spartan and the door strain against each\n other. The man wins. Wrenches the door clean off.\n Jumps in the car. Punches Phoenix square in the head.", "locks onto Phoenix as he stands at the information kiosk.\n The police can be seen moving in. The cops in the squad\n room begin cheering.", "Phoenix FIRES a wild salvo back emptying three or four\n different handguns. SHATTERING the grill, BLOWING out\n what remains of the glass in the GTO.", "He's concerned when there're no shots fired. He oughta\n be. Phoenix drops in a cannon ball. Lights the fuse.\n Aims.", "PHOENIX\n Arson.\n (as car picks up a\n little speed)" ], [ "EARLE\n Detective John Spartan.\n Temporarily reinstated to the San\n Angeles Police Department to", "EARLE\n John Spartan, I am Chief of\n Police George Earle. We did not", "HUXLEY\n (shocked)\n John Spartan, you must uphold the\n law.", "COCTEAU\n John Spartan, the hero of the\n hour. I congratulate you.", "GARCIA\n How will you accomplish this,\n John Spartan?\n\n SPARTAN\n I'm going to blow his fucking\n head off.", "John Spartan, weep.", "John Spartan, there is of course a\n well-known and documented connection\n between sex and violence. Not so\n much a causal effect, but a state", "SMITHERS\n John Spartan. You've been\n sentenced to 70 years in the", "It's the future. John Spartan is\n out those doors.\n (a beat; he smokes;\n this should be fun)", "SMITHERS\n John Spartan. You've done great\n deeds for the city of Los Angeles,\n so it is with some regret that I\n hereby...", "HUXLEY\n John Spartan, I thought your life\n force had been prematurely\n terminated. Look at you, you're\n in shambles.", "Huxley and Garcia are waiting by the police car out\n front. Half a beat, John Spartan, now completely done\n up in a 2042 cop uniform comes out. He feels like a\n buffoon.", "EARLE\n Please cease this madness,\n enhance your calm, John Spartan.", "The woman who looked up with such interest, steps over\n closer. She's got to know.\n\n KATHERINE\n John Spartan? The Demolition Man?", "HUXLEY\n But, John Spartan, you must be\n mistaken. You can't accuse the", "PHOENIX\n You were saying...\n (recognition jolt)\n Spartan! John Spartan! What's a\n guy like you doing in a century\n like this?", "'Unsolved Mysteries'... None of\n it worked. In the end, it took\n one man. One cop. John Spartan.", "HUXLEY\n But, John Spartan, why... How,\n wha...", "PHOENIX\n I like you, Bob. You have no\n heart.\n (then)\n Guys, John Spartan's on his way.\n Go downstairs. Kill him.", "COCTEAU\n John Spartan, in honor of your\n arrival, and your protection of\n the sanctity of human life," ], [ "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "Phoenix still has a free hand. Smashes a nerve center\n on the side of Spartan's neck. Spartan twitches visibly\n from it. Grunts.", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "They hurl themselves together again. Spartan lands a\n horrific blow. All but drives Phoenix's nose and eye\n sockets through the back of his head. Spartan's", "Phoenix screams in rage as Spartan's hand comes at him\n and grabs him by the hair, yanking Phoenix's head back.", "Spartan can hear Phoenix CLATTERING off up a culvert\n behind him. He bolts up after him.\n\n\n INT. WASTELAND - CULVERT - NIGHT", "straight in the face. Phoenix drops in a heap to the\n floor. Spartan shakes his head, sighs, bends down to\n retrieve his prisoner and...", "Phoenix leaps back up, triple-punches Spartan in the\n chest. Spartan's hands come free, he falls back, as", "Spartan lands behind him, coming around with an elbow\n into Phoenix's kidney, causing Phoenix to drop the MTL.", "The battle continues. The two trading blow for blow in\n this fiery arena. The two men are practically on fire.\n Finally Spartan knocks Phoenix cold, a clean shot", "Spartan activates the stun baton. Phoenix is racked with\n pain. Rattled and shaken by the charge. Involuntary\n shudders. Yanks himself clear with a wild grin.", "Spartan continues to fight back, smashing Phoenix, but\n he's forced to avoid the close calls with cars, street", "Phoenix sees him at the same time. Yanks a control on\n the crane. The puck pivots up as Spartan FIRES.", "Spartan steps onto the landing. Checks high and low.\n Room is clear. He can smell the gas.\n\n\n BACK TO PHOENIX", "Spartan punches him right, left, right in the sternum.\n Phoenix coughs blood, spits it away.\n\n Steps back to launch a mighty blow at Spartan and --", "Spartan comes up FIRING. Gets off about THREE SHOTS\n before Phoenix STRAFES the area with a HK91. Dives for\n cover.", "Phoenix FIRES again. The AcMag round barely misses them.\n Spartan's blasted brutally by the EXPLOSION. Stays on his", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away." ], [ "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "They hurl themselves together again. Spartan lands a\n horrific blow. All but drives Phoenix's nose and eye\n sockets through the back of his head. Spartan's", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "PHOENIX\n Fuck you, Spartan. They're gone.\n I told the city no one comes down", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "Spartan and Phoenix are carried along by the water into\n an aqueduct. Phoenix heaves himself over the side.\n Spartan follows.", "Spartan can hear Phoenix CLATTERING off up a culvert\n behind him. He bolts up after him.\n\n\n INT. WASTELAND - CULVERT - NIGHT", "Phoenix still has a free hand. Smashes a nerve center\n on the side of Spartan's neck. Spartan twitches visibly\n from it. Grunts.", "Spartan comes up FIRING. Gets off about THREE SHOTS\n before Phoenix STRAFES the area with a HK91. Dives for\n cover.", "Phoenix FIRES again. The AcMag round barely misses them.\n Spartan's blasted brutally by the EXPLOSION. Stays on his", "Spartan steps onto the landing. Checks high and low.\n Room is clear. He can smell the gas.\n\n\n BACK TO PHOENIX", "The battle continues. The two trading blow for blow in\n this fiery arena. The two men are practically on fire.\n Finally Spartan knocks Phoenix cold, a clean shot", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "Phoenix leaps back up, triple-punches Spartan in the\n chest. Spartan's hands come free, he falls back, as", "SPARTAN\n When a man like Phoenix has a\n gun to your head, ten seconds\n is nine and a half seconds longer\n than you live.", "Spartan comes crashing out of the wreckage. Loading\n the Beretta as he runs, a crazed scowl on his face.\n Phoenix leaps the wall.", "straight in the face. Phoenix drops in a heap to the\n floor. Spartan shakes his head, sighs, bends down to\n retrieve his prisoner and...", "growls back. Spartan and the door strain against each\n other. The man wins. Wrenches the door clean off.\n Jumps in the car. Punches Phoenix square in the head.", "Spartan keeps the guns trained on Phoenix. Simon\n scratches his arm. It's a junkie's twitch. Or is it..." ], [ "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "PHOENIX\n Fuck you, Spartan. They're gone.\n I told the city no one comes down", "Spartan can hear Phoenix CLATTERING off up a culvert\n behind him. He bolts up after him.\n\n\n INT. WASTELAND - CULVERT - NIGHT", "They hurl themselves together again. Spartan lands a\n horrific blow. All but drives Phoenix's nose and eye\n sockets through the back of his head. Spartan's", "Spartan and Phoenix are carried along by the water into\n an aqueduct. Phoenix heaves himself over the side.\n Spartan follows.", "Spartan hurls it across the floor at Phoenix. A five\n hundred pound hockey puck. Phoenix barely avoids the\n crushing blow. It rebounds back off the steel...", "growls back. Spartan and the door strain against each\n other. The man wins. Wrenches the door clean off.\n Jumps in the car. Punches Phoenix square in the head.", "Spartan comes crashing out of the wreckage. Loading\n the Beretta as he runs, a crazed scowl on his face.\n Phoenix leaps the wall.", "Spartan lands behind him, coming around with an elbow\n into Phoenix's kidney, causing Phoenix to drop the MTL.", "Spartan steps onto the landing. Checks high and low.\n Room is clear. He can smell the gas.\n\n\n BACK TO PHOENIX", "straight in the face. Phoenix drops in a heap to the\n floor. Spartan shakes his head, sighs, bends down to\n retrieve his prisoner and...", "Phoenix still has a free hand. Smashes a nerve center\n on the side of Spartan's neck. Spartan twitches visibly\n from it. Grunts.", "Spartan comes up FIRING. Gets off about THREE SHOTS\n before Phoenix STRAFES the area with a HK91. Dives for\n cover.", "Spartan continues to fight back, smashing Phoenix, but\n he's forced to avoid the close calls with cars, street", "The battle continues. The two trading blow for blow in\n this fiery arena. The two men are practically on fire.\n Finally Spartan knocks Phoenix cold, a clean shot", "SPARTAN\n What!\n\n Garcia can only point: Simon Phoenix, forty feet away,\n giant grin, AcMag in hand, taking aim.", "saw before. Spartan, shaking off the fall, finds himself\n weaponless. Phoenix is spinning madly around, AcMag in\n one hand, an Ingram from his shoulder bag in the other." ], [ "Spartan remembers. The freezer was bad, way bad. He\n swallows hard and --\n\n\n EXT. CRYO-PRISON - DAY", "The blood freezes solid as it sprays, sealing the wound,\n and leaving a giant six foot red feather spray. Spartan\n brushes it away, breaks off, bleeds, freezes again\n instantly.", "As Spartan steps through, the MTL sputters to a halt.\n He tosses it aside. The cryo prison burns, explodes,\n freezes, contracts, expands behind him.", "The Scraps freeze for a moment. This guy means business\n in a way they've never seen before. But Spartan is dis-\n tracted for a moment by an excited yell --", "They all watch warily. Spartan comes to with a start.\n Looks up at them. Looks around quickly for any immediate\n threat. Sees none. Tries to stand. Can't yet.", "(as Spartan looks\n over her shoulder)\n He's accessed the cryoprison.\n He's about to defrost the entire", "He lets go of the gun. Ignacious grabs it and, still in\n shock over this turn of events, begins to fumble with\n it. Spartan reaches up with both hands and breaks\n his neck.", "One swipe, he clears the ice from a path he can walk\n towards Spartan on.\n\n Metal bars melt away as the thermite flare crosses\n through them.", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "SPARTAN\n All right, who's next???\n\n Nobody moves. Nobody can move. Every last one is\n dead. Frozen in place.", "Spartan turns, starts towards the Cryo prison. As he\n walks --- Takes a deep breath. Loosens up his right", "frozen puck rises from its chamber. Spartan hasn't\n moved, blinked in 40 years.", "pipes. Holds him in the freezing blast. Ice forms all\n over Spartan. He struggles. It cracks off, reforms.", "The three move along taking in the curious but\n unfrightened glances. More than one person recognizes\n Spartan from the battle the night before. You can feel\n the buzz work down the street.", "Spartan hears FOOTSTEPS coming. Whirls. FIRES. Blows\n Bob away. A momentary distraction, but it's enough.\n Phoenix is gone.", "Everything has become so slick, the recoil drives him back\n across the ice into the open. Spartan sees him, FIRES.", "SPARTAN\n Skip it...\n\n Spartan is beginning to shake from the cold. His lips\n turning blue before our eyes. Color just drains away.", "Spartan launches himself at the guard. Hammers his head\n against the floor. This guy is not getting up again for", "Healy continues to shake his head in consternation. No\n way he believes that... Spartan ignores him. Wipes the\n soot from his face. Shakes his head in disgust, walks\n away...", "Simon feels his foot stuck. And as he looks down in\n consternation, realizes in shock what's happened and\n then looks up, Spartan hits him straight from the" ], [ "The museum is located in the Cocteau complex. Phoenix\n wanders through a hall arrayed with displays of various", "INT. MUSEUM - ARMORY ROOM - DAY\n\n Phoenix stands behind the Civil War cannon.", "Not quite. Growls. A MUSEUM HELPER/GUARD comes into\n the room. Moves towards the annoyed Phoenix smiling\n pleasantly.", "A surveillance camera shot shows the image of the explo-\n sion at the museum. Spartan pops the disc and puts\n another in. This time the surveillance village shows", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away.", "Cocteau continues his eerie soliloquy, feeding Phoenix's\n amusement. Phoenix walks behind him under this, takes out\n a knife and behind Raymond's back, tries desperately to\n kill him. He can't.", "Phoenix sees the truck collide with the pod, BLASTING it\n to smithereens. He laughs as he enters a long tunnel.\n\n\n INT. LONG TUNNEL - NIGHT", "Phoenix is ready to punch in the screen when two S.A.P.D.\n patrol cars pull to a dramatic halt behind him.\n\n PHOENIX\n Oooh, fuckers are fast, too.", "locks onto Phoenix as he stands at the information kiosk.\n The police can be seen moving in. The cops in the squad\n room begin cheering.", "Spartan FIRES two rounds at each of Phoenix's rear tires,\n cleanly puncturing each. The car swerves and fishtails.\n\n\n INT. STOLEN POLICE CAR - NIGHT", "Phoenix steps off to one side, pulls an old Airweight out\n of his belt. Aims it at Cocteau, tries, tries to pull\n the trigger. Isn't going to happen. He grunts in\n frustration.", "him again. Phoenix's steering wheel locks up and his\n seat restraint pops up as he races out of control for the\n station. He screams in rage.", "INT. STOLEN POLICE CAR - NIGHT\n\n Phoenix shouts at the car ---\n\n PHOENIX\n Open doors! Emergency!", "Phoenix smashes Guard One in the neck. Left handed.\n Crushes his larynx. The Guard falls dying to the ground.", "INT. MUSEUM - ARMORY ROOM - DAY\n\n The exhibit begins with the crudest weapons, cavemen with\n clubs, stone axes, arrowheads, and moves up the ladder of\n history toward modern day --", "Phoenix finishes a final keystroke. The graffiti remov-\n ing shock poles burst from the building beside them.\n Fires. Electrocutes and cooks one of the cops.", "Phoenix bounds up a hill. Jumps onto the back of a\n WHIRRING ELECTRIC TROLLEY heading by. It picks up speed.\n He disappears.", "escaped cryocon, Mr. Simon Phoenix,\n may be on his way to the Museum of\n Art and History in your complex.", "all the difficulties in life.\n Even now I am beginning to wonder\n if the fracas in the museum was\n the result of Mr. Phoenix's", "A BULLET WHISTLES by, barely missing Bob. He hurls\n himself into the dirt. Cocteau turns to face a jazzed-\n up Phoenix, still draped in weapons, the AcMag tucked in\n his belt." ], [ "Cocteau continues his eerie soliloquy, feeding Phoenix's\n amusement. Phoenix walks behind him under this, takes out\n a knife and behind Raymond's back, tries desperately to\n kill him. He can't.", "Phoenix steps off to one side, pulls an old Airweight out\n of his belt. Aims it at Cocteau, tries, tries to pull\n the trigger. Isn't going to happen. He grunts in\n frustration.", "Phoenix raises a Luger to Cocteau. Something snaps.\n Phoenix's smile turns to a grimace. His gun hand", "Phoenix is back where Cocteau can see him --\n\n PHOENIX\n I'm pretty happy now. I think I'll\n pass on that shot.", "Cocteau smiles. Simon tosses the gun to Elvin.\n\n PHOENIX\n You try to kill him. This is\n beginning to piss me off.", "quivers. He wants to kill, but he can't. Cocteau\n folds his arms.", "A BULLET WHISTLES by, barely missing Bob. He hurls\n himself into the dirt. Cocteau turns to face a jazzed-\n up Phoenix, still draped in weapons, the AcMag tucked in\n his belt.", "COCTEAU\n Fine. Take care of it.\n (then to Phoenix)\n Just get it over with... You're\n beginning to be more trouble\n than you're worth.", "PHOENIX\n Exactemundo.\n\n Cocteau turns to Bob.", "Cocteau and Associate Bob walking through the courtyard.\n Then the gunshot. Then finally Spartan comes to the\n strange face-to-face between Cocteau and Phoenix.", "PHOENIX\n So am I. Rookie.\n\n Phoenix digs out a .22. SHOOTS him repeatedly in the\n stomach.", "Phoenix is ready to punch in the screen when two S.A.P.D.\n patrol cars pull to a dramatic halt behind him.\n\n PHOENIX\n Oooh, fuckers are fast, too.", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "Cocteau is in a corner of the room in front of a private\n Vidhead. Spartan stands with Beretta pointed directly\n at him. Nonetheless, Cocteau remains his arrogant self.", "Cocteau clicks off the Holo. Rolls his eyes. As if\n the cops have a chance against Phoenix...\n\n\n INT. POLICE STATION - MAIN ROOM - DAY", "COCTEAU\n So you're gonna be the only mad\n dog type?\n\n For a minute we might think Phoenix is insulted. Uh uh.", "PHOENIX\n Raymond, bud, we need to talk.\n\n COCTEAU\n How'd you get in?", "Huxley visibly recoils. The morality box BRAAAPS. It\n never gets any further. Spartan shoots it without a\n look, dead center. His eyes never leave Cocteau.", "Phoenix jumps on him and slams his head repeatedly\n against the hundred mile an hour ground rushing by as\n the car drives itself.", "He's concerned when there're no shots fired. He oughta\n be. Phoenix drops in a cannon ball. Lights the fuse.\n Aims." ], [ "Phoenix's vehicle slaps the street curb and begins to\n roll, convulsing into a spectacularly flaming series of\n somersaults that violently climax at the base of the\n SAPD sign in front of the station.", "Phoenix finishes a final keystroke. The graffiti remov-\n ing shock poles burst from the building beside them.\n Fires. Electrocutes and cooks one of the cops.", "Spartan sees it coming, has no choice. Lets go. Phoenix\n thinks he's rid of him.", "him. As he's being dragged along, Phoenix comes to.\n Spartan hands him off to another officer to be booked.", "PHOENIX\n So am I. Rookie.\n\n Phoenix digs out a .22. SHOOTS him repeatedly in the\n stomach.", "from Phoenix's grasp. Just manages to trap it against\n the side of the car as it falls. Snatches it up, lifts\n it up to take aim as ---", "Phoenix smashes Guard One in the neck. Left handed.\n Crushes his larynx. The Guard falls dying to the ground.", "But Phoenix is either stronger or just far crazier and\n drugged up. Smashes the two of them into the wall\n instead. They trade blows. The building gets worse.\n AMMO starts to EXPLODE downstairs.", "Phoenix jumps on him and slams his head repeatedly\n against the hundred mile an hour ground rushing by as\n the car drives itself.", "The battle continues. The two trading blow for blow in\n this fiery arena. The two men are practically on fire.\n Finally Spartan knocks Phoenix cold, a clean shot", "the car, manages to hang on. He opens FIRE on Phoenix's\n car. Perforating it, blowing off side mirrors, generally", "They hurl themselves together again. Spartan lands a\n horrific blow. All but drives Phoenix's nose and eye\n sockets through the back of his head. Spartan's", "Phoenix bounds up a hill. Jumps onto the back of a\n WHIRRING ELECTRIC TROLLEY heading by. It picks up speed.\n He disappears.", "Cocteau continues his eerie soliloquy, feeding Phoenix's\n amusement. Phoenix walks behind him under this, takes out\n a knife and behind Raymond's back, tries desperately to\n kill him. He can't.", "Phoenix sees the truck collide with the pod, BLASTING it\n to smithereens. He laughs as he enters a long tunnel.\n\n\n INT. LONG TUNNEL - NIGHT", "Phoenix's head snaps clean off.", "shoulder with everything he has left, dead in the face,\n as Phoenix solidifies.", "Over the oncoming thermal flame as it arcs up towards\n him. And over and past Phoenix.", "Phoenix is knocked to his side. Sidekicks Spartan dead\n in the groin. Spartan folds.", "generally leaving trouble in its wake. Spartan sees,\n in the extreme distance, Phoenix dashing from Lamb's\n crumpled body and the stolen police car pulling away." ] ]

[ "Why was Lenina Huxley assigned to work with John? ", "What is the name of the antagonist in the story? ", "What event lead to the merging of San Diego, Santa Barbara, and Los Angeles? ", "What was Phoenix trying to steal from the museum?", "What group does Edgar Friendly lead?", "Where is the Scraps headquarters located?", "Who helped Phoenix free his fellow criminals from the Cryo-Penitentiary? ", "What did Phoenix say to Spartan to taunt him?", "Why was John awoken from his cryo state? ", "What happens to the hostages?", "Who does Huxley get kissed by?", "What does Spartan use to shatter Phoenix?", "How is Spartan to be rehabilitated?", "Who kills Dr. Cocteau?", "Why can't Spartan kill Dr. Cocteau himself?", "Who really killed the hostages in 1996?", "Why did the police decide to awake Spartan?", "What caused the creation of \"San Angeles\"?", "What do Huxley and Spartan try to stop Phoenix from stealing in the museum?", "Who is Simon Phoenix?", "What is the first crime Phoenix commits in the story?", "Who is John Spartan?", "What happens when Spartan orders Phoenix's successful capture?", "What happens to Spartan and Phoenix after the hostages die?", "What happens to California during Spartan and Phoenix's incarceration?", "How does Spartan exit his frozen state?", "Which items does Phoenix steal from the museum?", "Why can't Phoenix kill Dr. Cocteau?", "What happens to Phoenix at the end of the story?" ]

[ [ "To help him get used to the changes that had occured while he was frozen. ", "To help him acclimatize to the future." ], [ "Simon Phoenix.", "Simon Phoenix." ], [ "The Great Earthquake. ", "great earthquake" ], [ "20th century weapons. ", "20th century weapons" ], [ "The Scraps.", "The Scraps." ], [ "Underground.", "Under the city." ], [ "Dr. Cocteau", "Dr. Cocteau" ], [ "That he had already killed all of the hostages before he blew up the building. ", "that he had killed the hostages before Spartan arrived." ], [ "Because the police did not know how to handle Phoenix. ", "to help with phoenix" ], [ "They die", "At the end of story we find out they were all killed by Phoenix" ], [ "Spartan", "Spartan" ], [ "Cryogenic chemical", "Thermal Scan" ], [ "Subconscious reconditioning", "subconscious conditioning" ], [ "Spartan's gang", "one of phoenix's gang members" ], [ "because of the reconditioning he underwent when in the cryo-prison", "The rehabilitation program." ], [ "Simon Phoenix", "Phoenix" ], [ "They were not able to handle the violence in the city.", "They haven't dealt with violent crime in many years and are unprepared." ], [ "The Great Earthquake", "the Great Earthquake" ], [ "20th century weapons", "20th century weapons." ], [ "A psychopathic career criminal", "A psychopathic career criminal." ], [ "He kidnaps hostages and keeps them in an abandoned building.", "kidnaps hostages and holds in an abandoned building." ], [ "An LAPD sargeant", "An LAPD Sergant" ], [ "Phoenix blows up the building with the hostages inside.", "Spartan freezes and shatters him." ], [ "They are cryogenically frozen and will be rehabilitated during their frozen state.", "They are cryogenically frozen." ], [ "There is a major earthquake that melds Los Angeles, San Diego and Santa Barbara together into one new city.", "An earthquake causes Los Angeles, San Diego and Santa Barbara to merge ino one city call San Angeles." ], [ "Police unfreeze him because they need his help with Phoenix who has escaped.", "he is released to help catch Phoenix" ], [ "20th century weapons", "20th century weapons" ], [ "He has been rehabilitated.", "He finds himself unable to shoot him." ], [ "He is frozen before the prison explodes.", "Shattered into frozen pieces." ] ]

069ba0ceb78ef8fe8a193b7b4f225938f2044f0c

test

[ [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "A beat. Gruber discards end of a cigar. Takes a leather case \n from his suede jacket, extracts a new cigar. Offers one to \n Galvin.", "case. That's what I took it for. You \n let this drop -- we'll go up to New \n Hampshire, kill some fuckin' deer...", "JOHN\n Here you are, Franky.", "GALVIN\n We are going to try the case.\n\n A beat. Galvin fumbles for a cigarette. The three sit in \n silence.", "JUDGE\n I'm sure it is, Frank: and let me \n tell you something. If we find it so", "DR. THOMPSON\n (tapping his briefcase, \n referring to his \n files)\n From what I've seen, Mr. Galvin, you \n have a very good case...", "ward. Silent. Beat. He looks in his briefcase, takes out a \n file.", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "Concannon motions to the young Attorney who has run in. The \n young Attorney goes to Concannon and hands him a box of chalk.", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "Galvin replaces the chart, puts his file, briefcase, etc. on \n the foot of the bed, takes a flash photo of the figure in", "The empty wall. Galvin's P.O.V. The telephone heard Voice \n Over insisting, \"Frank...\"\n\n INT. GALVIN'S OFFICE ANTEROOM - NIGHT", "DONEGHY\n ...that's all right.\n\n GALVIN\n I was telling your wife, we have a \n very good case here.", "He lethargically opens the letter. On Bar Association \n letterhead, it reads: \"You are directed to appear on January", "GALVIN removes a business card from his jacket pocket and \n hands it to her as if he were giving her money. (i.e., \"Take \n it. Really. I want you to have it...\" She takes the card.", "He gestures to the Young Priest, who crosses the room, \n extracts a sheet from a file folder, and places it before", "This is it. I got you a good case, \n it's a moneymaker. You do it right \n and it will take care of you. But" ], [ "law school. You never ask a question \n you don't know the answer to.\n (beat)\n Frankie, wake up. You got your own", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "degrees hanging on the wall. He stumbles to them, picks them \n up and walks over to the wastebasket and throws them in. He", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "JOHN\n Here you are, Franky.", "The empty wall. Galvin's P.O.V. The telephone heard Voice \n Over insisting, \"Frank...\"\n\n INT. GALVIN'S OFFICE ANTEROOM - NIGHT", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "YOUNG ATTORNEY\n His name is Dr. Lionel Thompson. \n City College of New York, Class of", "Frank. We'll meet there. All right?", "everything's superb. Franky, he's \n starting to talk like he comes from \n Dorsetshire, some fuckin' place,", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "carries them to a wastebasket and throws them in. He sits on \n his desk, as if exhausted by his effort, pours from a whiskey \n bottle into a large water glass, downs the glass.", "I'm through. I'm sorry, Frank, this \n is the end.\n (beat)\n Life is too short, and I'm too old.", "A shoddy one-and-a-half room bachelor apartment. Galvin, \n beer and cigarettes on the table beside him. He is sitting \n on an armchair in the bedroom. A yellow legal pad in his \n lap.", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "MICKEY\n You got a good memory, Franky.\n\n GALVIN\n I had a good teacher. McLean versus \n Urban Transport..." ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "MICKEY\n A huge law firm. Okay? They put him \n in the firm, he's married,", "dropped, he's released from jail.\n (beat)\n P.S. He's fired from the firm, his", "conference room is EDWARD CONCANNON. Senior partner of the \n firm, late fifties, imposing, he radiates success. As the \n young Attorney approaches Concannon he is stopped with a", "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "indicted for Jury tampering, they \n throw him in jail, he's gonna be \n disbarred, his life is over.\n (beat)", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "INT. LAWYERS ROOM AND CORRIDOR - DAY", "Concannon motions to Billy, the young lawyer, who nods in \n response and starts whispering instructions to his colleagues \n at the Defense table, who start leafing through their \n lawbooks. Concannon takes up the fight again.", "law school. You never ask a question \n you don't know the answer to.\n (beat)\n Frankie, wake up. You got your own", "A hand turns a page and reveals a second clipping: \"Boston \n Lawyer Held in Jury Tampering Case,\" with a picture of a \n very confused Galvin at around forty-five being led to jail.", "It's been scheduled for eighteen \n months. We have the attorney for the \n Plaintiff, Frank Galvin -- and I", "The open purse. The red-backed legal form. The letterhead \n reads, \"CONCANNON, BARKER, WHITE,\" stamped huge across it in", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "He lethargically opens the letter. On Bar Association \n letterhead, it reads: \"You are directed to appear on January", "Attorney tearing through the corridors of the office, up a \n spiral staircase, through yet more office space, into:", "The carriage of a typewriter. A sheet of paper. Its letterhead \n reads \"Frank P. Galvin. Attorney at Law, 124 State Street,", "he calls up Harrington, he says he \n thinks he made a mistake. As if by \n magic, charges against him are", "The clipping in the folder, confused Galvin being led into \n jail, \"Boston Lawyer Held in Jury Tampering Case.\" Alito's \n hand snaps the folder shut.", "DONEGHY\n I'm going to have you disbarred. I'm \n going to have your ticket. You know \n what you did? Do you know what you \n did?" ], [ "GALVIN\n You're really...\n (stops, remembering \n something)\n You, are you the one they told me \n was the nurse?", "YOUNG LAWYER\n She's the only nurse who isn't \n testifying for the Doctors.\n\n ALITO\n What did he find?", "GALVIN\n Who? They're all testifying. Everybody \n who was in the O.R.'s going to take \n the stand.", "NURSE\n You can't be in here.\n\n GALVIN\n (as if remembering \n something, simply)\n I'm her attorney.", "GALVIN\n We've got her sister. Testifies she \n had a meal one hour before she was \n admitted to the hospital. This is \n the point.", "Mary Rooney motions the other Nurse to go away. She steps \n closer to Galvin.\n\n GALVIN\n I spoke to her, and everything is \n all right.", "GALVIN\n ...of the procedures...\n\n TOWLER\n Yes, the roving nurse...", "MICKEY\n (on phone)\n Yeah? How's our new witness?\n\n GALVIN\n D'you find the obstetric nurse?", "JUDGE\n Sustained. Yes. The witness will \n confine his testimony to review of \n the hospital records.\n\n GALVIN\n What?", "GALVIN\n (nods)\n She told me.\n\n ROONEY\n (credulous)\n She did?", "CONCANNON\n Yes, we've heard that. Doctor: you \n testify quite a bit against other", "She is weeping copiously. A beat. She starts to get herself \n under control.\n\n CONCANNON\n No further questions.", "GALVIN\n You have a record of what happened \n in the operating room...\n\n TOWLER\n Yes, that's correct.", "NURSE\n Dr. Gruber's not here today, Sir.\n\n GALVIN\n No... No...\n\n She glances down, checks a sheet.", "jury is going to do. St. Catherine's \n a very well thought of institution. \n Her doctors...", "Galvin surveys the courtroom, Kathy crosses in front of him, \n takes the stand, we hear the Bailiff administering the formula \n as we WATCH Galvin turn and look at the Jurors.", "Galvin gets up from Plaintiff's table, takes up a large book \n as Dr. Towler takes the stands. He reads:", "He nods toward Dr. Marx who is in the audience, who nods \n back.\n\n DR. TOWLER\n Mary Rooney, the obstetrical nurse...", "Galvin sitting on the bed looking at Deborah Ann. He looks \n up to the speaker. A slovenly Irish Nurse, who has come into", "DR. THOMPSON\n It's my opinion it took him much \n longer. Nine... ten minutes. There's \n too much brain damage.\n\n The Judge leans over." ], [ "Laura, looks up, sees him, smiles. Her smile fades, she sees \n that he knows.\n\n ANGLE", "LAURA\n Laura.\n\n GALVIN\n My name's Frank. And furthermore, \n you came back to see me tonight.", "Both awkward. He looks at her, turns back to the bed, turns \n down the bed, sees the silver-framed picture of his wife, he \n looks back at Laura, starts to take the picture to turn it \n down.", "LAURA\n You want me to tell you it's your \n fault? It probably is. What are you", "Laura getting up from the table. We SEE her back, and Galvin \n approaching. We SEE her shoulders droop, beaten. He draws", "LAURA\n ...and is that serious?\n\n Galvin, suddenly focuses, starts for worktable.\n\n GALVIN\n I've got to work...", "LAURA (V.O.)\n (on phone)\n At around four...?\n\n ANGLE", "ANGLE - INSERT - LAURA'S P.O.V.\n\n THE PAPER READS:", "GALVIN\n Thank you.\n\n LAURA\n I have to talk to you.", "He looks at Laura, tiredly closes the door behind him, hangs \n up his coat in the closet, moves into the room. As Galvin", "GALVIN\n (screaming)\n Stop pressuring me...\n\n The door opens, Galvin is still trying to catch his breath.\n\n Laura enters.", "GALVIN\n Who told you that?\n\n LAURA\n You told me so. Maybe you'd get some \n sympathy. You came to the wrong place.", "ANGLE - CONCANNON AND LAURA\n\n Laura sitting across from him, impassive.", "Laura in slacks and sweater coming out of the kitchen with \n her drink. She sits at worktable on which are Galvin's \n briefcase, files, etc. Galvin and Laura. He is biting his \n nails.", "LAURA\n And it's over...?\n\n GALVIN\n Yes.", "LAURA\n You're pressuring yourself...\n\n GALVIN\n (shaking head, utterly \n denying her)\n No... no...", "LAURA\n You do what you want. You want to \n leave... You want to go kill yourself?\n\n GALVIN\n I...", "LAURA\n Yes. It was, actually.\n\n GALVIN\n Oh, actually it was. Then why'd you \n call it off?", "LAURA\n My ex-husband was a lawyer.\n\n GALVIN\n Really. How wonderful for you.", "LAURA\n You're talking like a drunk.\n\n GALVIN\n That's what I am.\n\n Beat." ], [ "Something went wrong. And you know \n what it was. They gave her the wrong \n anesthetic. What happened? The phone", "DR. TOWLER\n Negligent. Yes... it would have been \n criminal. But that was not the case.\n\n GALVIN\n Thank you.", "the wrong anesthetic anyway, plus \n she came in complaining of stomach \n pains...", "that. What we don't know is why. \n What went on in there? In the O.R. \n That's what we'd like to know.", "DR. THOMPSON\n They gave her the wrong anesthetic.\n\n MICKEY\n Why is that?", "GALVIN\n You have a record of what happened \n in the operating room...\n\n TOWLER\n Yes, that's correct.", "Concannon nods to the Young Lawyer, who is conscientiously \n taking notes.\n\n CONCANNON\n ...and her heart stopped and she \n wasn't getting oxygen.", "DR. THOMPSON\n It's my opinion it took him much \n longer. Nine... ten minutes. There's \n too much brain damage.\n\n The Judge leans over.", "DR. THOMPSON\n I... given the limits of your \n question, that's correct.\n\n JUDGE\n The Doctors were not negligent.", "GRUBER\n Her doctors murdered her. They gave \n her the wrong anesthetic and they \n put her in the hospital for life.\n (a beat)\n Her doctors murdered her.", "TOWLER\n Because she was anemic.\n (beat)\n It's right there on her chart. Her \n brain was getting less oxygen \n anyway...", "me. They gave her the wrong \n anesthetic. They turned the girl \n into a vegetable. They killed her", "Dr. Towler called me in. He told me \n he had five difficult deliveries in \n a row and he was tired, and he never", "MICKEY\n All right. Who wasn't in the O.R.?\n\n GALVIN\n What difference can that make...? \n All right...", "The newspaper, folded to Page Two. A full-page photo of \n smiling doctors clustered around an operating table. Huge", "helped. To judge correctly. We have \n the reputation of two men. Two well \n respected doctors and a renowned \n hospital before us. And with those", "KATHY\n After, after the operation, when \n that poor girl, she went in a coma.", "GALVIN\n I want someone who was in the O.R. \n We're going to win the case, there's", "DR. THOMPSON\n ...she went in complaining of stomach \n cramps. Good doctor would have doubted \n the information on the chart.", "CONCANNON\n (changing tactics; \n soothing)\n Tell us.\n\n Beat. Dr. Towler sighs. He begins to speak." ], [ "LAURA\n At the Beacon. On Fifty-third \n Street... we can spend the night.\n\n Mickey has gone over to Laura's purse. Opens it, rummaging.", "He stands by Laura and looks down at her, he looks at Mickey.", "Mickey gets to his feet.\n\n MICKEY\n (to Laura)\n You got a cigarette...?\n\n She shrugs, \"I don't know...\"", "Mickey replacing the form and the cigarettes. He re-closes \n the purse. He turns to her. She has seen nothing.", "LAURA\n (on phone)\n Hello? Mr. Gal... where are you...?\n\n Mickey wakes up, looks around.", "INT. O'ROURKE'S PUB - NIGHT\n\n Laura is sitting in the same place at the bar. Mickey comes \n up to her.", "Laura opens her purse, starts hunting for a cigarette.", "MICKEY\n (listlessly)\n Read me what she said.\n\n Galvin flips through his notes. Reads.", "LAURA\n How'm I doing so far?\n\n MICKEY\n So far you're great. You got a \n cigarette?", "Mickey has woken up. Swings his feet to the floor. Picks up \n a pack of cigarettes. Crushes it. It is empty.\n\n LAURA\n Can we meet there, Joe?", "Mickey half-turns to Galvin, shrugs minutely, meaning, \"We're \n in trouble.\"\n\n INT. LAURA'S HOTEL ROOM - NIGHT", "Beat. He turns his back on her. Mickey does likewise.\n\n Beat.", "Mickey walks out of the office. Slams the door. Beat.\n\n Galvin looks around the office. Goes to his sofa. Sits, \n reaches to side table.", "Mickey and Laura. Positions unchanged, at the bar. Somewhat \n progressed toward a convivial drunkenness", "Laura holding the paper.\n\n ANGLE\n\n Galvin and Mickey looking at her. Galvin's face impassive.", "Mickey, looking pityingly at Galvin. Mickey sees the box of \n Macanudo Cigars on the desk, picks them up, starts to open \n them -- throws them across the room in disgust.", "The Woman from last night, sitting in her same place at the \n end of the bar. Mickey looks at her. Shrugs. Gets up off \n stool.", "INT. LAURA'S HOTEL ROOM - NIGHT\n\n Laura opening the door, looks down, sees something, bends \n down to pick it up. Straightens up.", "MICKEY\n Stearns, Harrington, you know who \n that is?\n\n LAURA\n Should I?", "Laura on the couch. Galvin dialing the phone. Mickey HALF \n SEEN in the next room.\n\n MICKEY\n ...four years ago..." ], [ "LAURA\n Laura.\n\n GALVIN\n My name's Frank. And furthermore, \n you came back to see me tonight.", "He looks at Laura, tiredly closes the door behind him, hangs \n up his coat in the closet, moves into the room. As Galvin", "Galvin starts hurriedly back down the street toward the Hotel.\n\n INT. NEW YORK HOTEL RESTAURANT - DAY\n\n LONG SHOT of Laura seated at a table alone.", "Both awkward. He looks at her, turns back to the bed, turns \n down the bed, sees the silver-framed picture of his wife, he \n looks back at Laura, starts to take the picture to turn it \n down.", "Laura. SEEN from the back, walking down the corridor. CAMERA \n FOLLOWS her. She stops outside Galvin's door. She turns.", "Laura, looks up, sees him, smiles. Her smile fades, she sees \n that he knows.\n\n ANGLE", "He walks off leaving Galvin standing there alone. Laura comes \n out of the courtroom. Tentatively, she looks around.\n\n Comes up to him.", "Laura in slacks and sweater coming out of the kitchen with \n her drink. She sits at worktable on which are Galvin's \n briefcase, files, etc. Galvin and Laura. He is biting his \n nails.", "Laura getting up from the table. We SEE her back, and Galvin \n approaching. We SEE her shoulders droop, beaten. He draws", "A lonely middle-class hotel corridor. HOLD. HOLD. Laura, \n tired, enters the corridor from the side and proceeds away", "Mickey has woken up. Swings his feet to the floor. Picks up \n a pack of cigarettes. Crushes it. It is empty.\n\n LAURA\n Can we meet there, Joe?", "LAURA\n That's all right.\n\n She starts taking off her blouse.\n\n INT. COURTHOUSE BAR-INSERT - DAY", "LAURA (V.O.)\n (on phone)\n At around four...?\n\n ANGLE", "Laura sighs, takes a drag. Puts the book down on her lap.\n\n Sits, thinking.\n\n INT. CONCANNON'S CONFERENCE ROOM - DAY", "LAURA\n And what are you? A cop?\n\n GALVIN\n I'm a lawyer.", "LAURA\n You're going to New York? I... you're \n kidding... Because I'm going to New", "GALVIN\n Thank you.\n\n LAURA\n I have to talk to you.", "CONCANNON (V.O.)\n Welcome back.\n\n INT. LAURA'S HOTEL ROOM/CORRIDOR - NIGHT", "Galvin and Laura are in a booth. The remains of a dinner and \n drinks around them. They are both smoking cigarettes, intent \n on each other. Both a little drunk.", "Same room, Laura, dressed in Galvin's bathrobe, sitting in \n the easy chair next to his worktable, smoking a cigarette, \n reading an old hard-cover novel. She looks up across the \n room." ], [ "GALVIN\n I'm going to win this case... Mist... \n Mr. Doneghy... I'm going to the Jury", "with a solid case, a famous doctor \n as an expert witness, and I'm going \n to win eight hundred thousand dollars.", "The Bishop nods, meaning, \"You are dismissed.\" As an \n afterthought:\n\n BISHOP\n If we were to go to trial, would we \n win the case?", "We're paid to win the case.", "GALVIN\n We are going to try the case.\n\n A beat. Galvin fumbles for a cigarette. The three sit in \n silence.", "win the case, but that we win the \n case so that it's seen that the attack \n on these men and this institution", "own. Four cases before the Circuit \n Court. He lost them all. He drinks.", "up in court. They want their \n vindication. I agree with them. But \n for today the offer stands. Before", "JUDGE\n (incredulous)\n That's it...?\n (beat)", "DONEGHY\n ...that's all right.\n\n GALVIN\n I was telling your wife, we have a \n very good case here.", "DR. THOMPSON\n (tapping his briefcase, \n referring to his \n files)\n From what I've seen, Mr. Galvin, you \n have a very good case...", "Galvin slowly raises his head, turns and looks at the Jury, \n Mickey begins to smile.\n\n JUDGE\n Yes. You are.", "The Judge. He is making some notations on a page in front of \n him. He nods to himself, he has reached a decision. He looks \n up.", "Concannon motions to Billy, the young lawyer, who nods in \n response and starts whispering instructions to his colleagues \n at the Defense table, who start leafing through their \n lawbooks. Concannon takes up the fight again.", "GALVIN\n I want someone who was in the O.R. \n We're going to win the case, there's", "Galvin in front of the dead-still courtroom. He breaks his \n reverie.\n\n GALVIN\n (to Concannon)\n Your witness.", "court cases, twelve malpractice.\n (smiles, saving his \n best 'til last)\n And he's black.", "The case is going to trial. Our chief \n witness is a Dr. David Gruber, you \n know who he is?", "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "She is weeping copiously. A beat. She starts to get herself \n under control.\n\n CONCANNON\n No further questions." ], [ "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "GALVIN\n (into phone)\n Hello. Yes. Thank you for calling. \n Frank Galvin... I'm representing", "It's been scheduled for eighteen \n months. We have the attorney for the \n Plaintiff, Frank Galvin -- and I", "CONCANNON\n Ed Concannon.\n\n GALVIN\n (shaking his head)\n Frank Galvin. We've met before.", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "The carriage of a typewriter. A sheet of paper. Its letterhead \n reads \"Frank P. Galvin. Attorney at Law, 124 State Street,", "FUNERAL DIRECTOR\n Mrs. Dee, this is Frank Galvin -- a \n very good friend of ours, and a very \n fine attorney.", "CLAIRE\n (into phone)\n Frank Galvin's... who's calling \n please? Bishop Brophy's office...", "Galvin downs his drink, picks his briefcase off of the bar \n and starts for the door.\n\n INT. JUDGE SWEENEY'S CHAMBERS-DAY", "Galvin is pacing. Beat.\n\n JUDGE\n (conciliatory)\n Galvin, look, many years ago...", "GALVIN\n And don't give me this shit, 'I was \n a lawyer, too.' 'Cause I know who", "A shoddy one-and-a-half room bachelor apartment. Galvin, \n beer and cigarettes on the table beside him. He is sitting \n on an armchair in the bedroom. A yellow legal pad in his \n lap.", "A hand turns a page and reveals a second clipping: \"Boston \n Lawyer Held in Jury Tampering Case,\" with a picture of a \n very confused Galvin at around forty-five being led to jail.", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "LAURA\n And what are you? A cop?\n\n GALVIN\n I'm a lawyer.", "DR. THOMPSON\n (tapping his briefcase, \n referring to his \n files)\n From what I've seen, Mr. Galvin, you \n have a very good case...", "Galvin continuing to the defense table, Mickey Morrissey \n already seated, studying notes on a yellow legal pad. Galvin \n sits. Mickey looks up.", "He has shouted unconsciously; the whole Courtroom turns to \n look at him.\n\n JUDGE\n Yes, Mr. Galvin?", "The sheet: \"I, Frank P. Galvin, duly appointed conservator \n for Deborah Ann Kaye, in consideration of Two Hundred Ten", "As the Judge starts to speak Galvin cannot help looking at \n Concannon out of the corner of his eye.\n\n JUDGE\n Let's do some business." ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "The empty wall. Galvin's P.O.V. The telephone heard Voice \n Over insisting, \"Frank...\"\n\n INT. GALVIN'S OFFICE ANTEROOM - NIGHT", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "dropped, he's released from jail.\n (beat)\n P.S. He's fired from the firm, his", "MICKEY\n Frank, but not now. Frank. You're \n trying to wipe out some old business.", "A hand turns a page and reveals a second clipping: \"Boston \n Lawyer Held in Jury Tampering Case,\" with a picture of a \n very confused Galvin at around forty-five being led to jail.", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "JOHN\n Here you are, Franky.", "MICKEY\n Before he can get there here comes \n this Federal Marshal, and Franky's", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "JUDGE\n I'm sure it is, Frank: and let me \n tell you something. If we find it so", "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "I'm through. I'm sorry, Frank, this \n is the end.\n (beat)\n Life is too short, and I'm too old.", "he calls up Harrington, he says he \n thinks he made a mistake. As if by \n magic, charges against him are", "He has been drinking for some time. He starts stumbling back \n to the file cabinet. On the way his eye is caught by his", "from his drinking. He puts his back against the door, puts \n down file and briefcase, extracts a small cheap Polaroid \n camera from the briefcase, readies it to shoot, picks up his" ], [ "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "He has been drinking for some time. He starts stumbling back \n to the file cabinet. On the way his eye is caught by his", "carries them to a wastebasket and throws them in. He sits on \n his desk, as if exhausted by his effort, pours from a whiskey \n bottle into a large water glass, downs the glass.", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "from his drinking. He puts his back against the door, puts \n down file and briefcase, extracts a small cheap Polaroid \n camera from the briefcase, readies it to shoot, picks up his", "Dead, resigned. He closes the phone book. He reaches in a \n pack of cigarettes on the desk. It is empty. He roots in the", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "Galvin, excited, is trying to light the cigar. His hand shakes \n badly. He has forgotten to bite off the end. He bites it, \n lights the cigar.", "He hurries out of the room. CAMERA FOLLOWS him into the \n bathroom, he shuts the door, his chest heaves convulsively.", "The side table, a pack of Luckies. Galvin taking one, his \n hand shaking a little. Also on side table a pile of change \n containing a small rosary and a wedding ring.", "the slot. He pours a half-tumbler full of whiskey, and drains \n it. He refills the tumbler. He absently picks up the mail", "He hangs up phone, sighs. Lights a cigarette. Rotates his \n neck to loosen it up. Reaches to the table next to his bed \n for the bottle to pour a drink.", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "ashtray for a long butt. This disgusts him. He rejects it. \n Rubs his eyes. Gets up. Goes to the window, stares out. Looks", "His hand reaching for the bottle. On the table the photo of \n a very beautiful blonde woman in a silver frame. She is the", "I'm through. I'm sorry, Frank, this \n is the end.\n (beat)\n Life is too short, and I'm too old.", "He starts back to the desk for the bottle, knocks the still-\n ringing phone off the desk. He pours himself a drink.", "He sits on a sofa opposite the television. Watches the game \n a beat. Opens the fresh bottle of whiskey and pours a large" ], [ "LAURA\n Laura.\n\n GALVIN\n My name's Frank. And furthermore, \n you came back to see me tonight.", "He looks at Laura, tiredly closes the door behind him, hangs \n up his coat in the closet, moves into the room. As Galvin", "Galvin starts hurriedly back down the street toward the Hotel.\n\n INT. NEW YORK HOTEL RESTAURANT - DAY\n\n LONG SHOT of Laura seated at a table alone.", "Both awkward. He looks at her, turns back to the bed, turns \n down the bed, sees the silver-framed picture of his wife, he \n looks back at Laura, starts to take the picture to turn it \n down.", "Laura. SEEN from the back, walking down the corridor. CAMERA \n FOLLOWS her. She stops outside Galvin's door. She turns.", "Laura, looks up, sees him, smiles. Her smile fades, she sees \n that he knows.\n\n ANGLE", "He walks off leaving Galvin standing there alone. Laura comes \n out of the courtroom. Tentatively, she looks around.\n\n Comes up to him.", "Laura in slacks and sweater coming out of the kitchen with \n her drink. She sits at worktable on which are Galvin's \n briefcase, files, etc. Galvin and Laura. He is biting his \n nails.", "Laura getting up from the table. We SEE her back, and Galvin \n approaching. We SEE her shoulders droop, beaten. He draws", "A lonely middle-class hotel corridor. HOLD. HOLD. Laura, \n tired, enters the corridor from the side and proceeds away", "Mickey has woken up. Swings his feet to the floor. Picks up \n a pack of cigarettes. Crushes it. It is empty.\n\n LAURA\n Can we meet there, Joe?", "LAURA\n That's all right.\n\n She starts taking off her blouse.\n\n INT. COURTHOUSE BAR-INSERT - DAY", "LAURA (V.O.)\n (on phone)\n At around four...?\n\n ANGLE", "Laura sighs, takes a drag. Puts the book down on her lap.\n\n Sits, thinking.\n\n INT. CONCANNON'S CONFERENCE ROOM - DAY", "LAURA\n And what are you? A cop?\n\n GALVIN\n I'm a lawyer.", "LAURA\n You're going to New York? I... you're \n kidding... Because I'm going to New", "GALVIN\n Thank you.\n\n LAURA\n I have to talk to you.", "CONCANNON (V.O.)\n Welcome back.\n\n INT. LAURA'S HOTEL ROOM/CORRIDOR - NIGHT", "Galvin and Laura are in a booth. The remains of a dinner and \n drinks around them. They are both smoking cigarettes, intent \n on each other. Both a little drunk.", "Same room, Laura, dressed in Galvin's bathrobe, sitting in \n the easy chair next to his worktable, smoking a cigarette, \n reading an old hard-cover novel. She looks up across the \n room." ], [ "Laura opens her purse, starts hunting for a cigarette.", "LAURA\n At the Beacon. On Fifty-third \n Street... we can spend the night.\n\n Mickey has gone over to Laura's purse. Opens it, rummaging.", "INT. LAURA'S HOTEL ROOM - NIGHT\n\n Laura opening the door, looks down, sees something, bends \n down to pick it up. Straightens up.", "Comes up with a pack of cigarettes. He sees something in the \n purse. Stops.\n\n ANGLE - P.O.V.", "Laura looks around the desk, picks up one then another pack, \n crushes them, empty. She nods to herself, picks up her coat \n off the couch in the anteroom, and starts down the hall.", "Laura in slacks and sweater coming out of the kitchen with \n her drink. She sits at worktable on which are Galvin's \n briefcase, files, etc. Galvin and Laura. He is biting his \n nails.", "LAURA\n Laura.\n\n GALVIN\n My name's Frank. And furthermore, \n you came back to see me tonight.", "Same room, Laura, dressed in Galvin's bathrobe, sitting in \n the easy chair next to his worktable, smoking a cigarette, \n reading an old hard-cover novel. She looks up across the \n room.", "Both awkward. He looks at her, turns back to the bed, turns \n down the bed, sees the silver-framed picture of his wife, he \n looks back at Laura, starts to take the picture to turn it \n down.", "A lonely middle-class hotel corridor. HOLD. HOLD. Laura, \n tired, enters the corridor from the side and proceeds away", "LAURA\n That's all right.\n\n She starts taking off her blouse.\n\n INT. COURTHOUSE BAR-INSERT - DAY", "Laura, looks up, sees him, smiles. Her smile fades, she sees \n that he knows.\n\n ANGLE", "Mickey replacing the form and the cigarettes. He re-closes \n the purse. He turns to her. She has seen nothing.", "Laura sighs, takes a drag. Puts the book down on her lap.\n\n Sits, thinking.\n\n INT. CONCANNON'S CONFERENCE ROOM - DAY", "He looks at Laura, tiredly closes the door behind him, hangs \n up his coat in the closet, moves into the room. As Galvin", "Laura getting up from the table. We SEE her back, and Galvin \n approaching. We SEE her shoulders droop, beaten. He draws", "Galvin straightens, looks around the vestibule, takes heavy \n letter opener from his jacket pocket and pries open the Rooney \n mailbox. He extracts letters and rifles through them.", "LAURA\n ...and is that serious?\n\n Galvin, suddenly focuses, starts for worktable.\n\n GALVIN\n I've got to work...", "LAURA\n And what are you? A cop?\n\n GALVIN\n I'm a lawyer.", "LAURA\n (as if in shock)\n It's all right... it's all right... \n it's all right... it's all right..." ], [ "CONCANNON\n Your Honor, Bishop Brophy and the \n Archdiocese have offered plaintiff \n two hundred and ten thousand dollars.", "GALVIN\n How did you settle on the amount?\n\n BISHOP\n We thought it was just.", "BISHOP\n I want to settle this thing and be \n done with it. I don't want the \n Archdiocese exposed.", "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "BISHOP\n So what I want to do is stop it here. \n I'm going to make him an offer. I \n want to do it myself. I want it to \n come from me.", "BISHOP\n It's a generous offer, Mr. Galvin...\n (beat)", "The Bishop nods, meaning, \"You are dismissed.\" As an \n afterthought:\n\n BISHOP\n If we were to go to trial, would we \n win the case?", "INT. BISHOP BROPHY'S OFFICE - DAY\n\n The Bishop from the waist up, sitting behind his beautiful \n desk. Compassionately:", "CLAIRE\n What does it mean?\n\n GALVIN\n They want to settle.\n (beat)\n It means a lot of money.", "Beat. Galvin nods. Beat. Bishop nods discreetly to the Young \n Priest who extracts Mount Blanc fountain pen from his pocket, \n holds it out to Galvin.", "But not now. I understand. But you \n go call 'em back. You call the Bishop \n back.", "that you turned down two-hundred-ten \n grand?\n (beat)\n Huh...? Are you nuts? Eh? Are you", "BISHOP\n Nothing that we can do can make that \n woman well.\n\n GALVIN\n And no one will know the truth.", "settlement, and get a record for \n himself.\n (beat)\n I myself would take it and run like \n a thief.", "Alito, strolling as he reads, moves toward the windows with \n his file TO REVEAL BISHOP BROPHY, a self-contained man in \n his early sixties, sitting on a leather couch, listening.", "Galvin seated across from the Bishop. A YOUNG PRIEST seated, \n discreetly, attentively, across the room. Sherry glasses in \n front of Galvin and the Bishop. Galvin drinking from his.", "up in court. They want their \n vindication. I agree with them. But \n for today the offer stands. Before", "GALVIN\n You thought it was just.\n\n BISHOP\n Yes.", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "Galvin, who is sitting as if in a dream. The Bishop waits a \n beat, not wanting to interrupt Galvin's reverie, then catches" ], [ "NURSE\n You can't be in here.\n\n GALVIN\n (as if remembering \n something, simply)\n I'm her attorney.", "GALVIN\n You're really...\n (stops, remembering \n something)\n You, are you the one they told me \n was the nurse?", "NURSE\n Dr. Gruber's not here today, Sir.\n\n GALVIN\n No... No...\n\n She glances down, checks a sheet.", "Mary Rooney motions the other Nurse to go away. She steps \n closer to Galvin.\n\n GALVIN\n I spoke to her, and everything is \n all right.", "GALVIN\n ...of the procedures...\n\n TOWLER\n Yes, the roving nurse...", "YOUNG LAWYER\n She's the only nurse who isn't \n testifying for the Doctors.\n\n ALITO\n What did he find?", "Galvin sitting on the bed looking at Deborah Ann. He looks \n up to the speaker. A slovenly Irish Nurse, who has come into", "GALVIN\n That's a wonderful profession. My \n daughter-in-law's a nurse. What did \n you do, stop?", "Galvin walking tentatively down the corridor of a very rundown \n nursing home. He receives suspicious looks from the \n Attendants. He is checking numbers on the doors against a \n notation in the file. He finds the correct door and enters.", "the room and is standing by him. The other Nurse is framed \n in the doorway. Galvin is lost in thought.", "CAMERA FOLLOWS him TO Nurses' Station. He speaks to the NURSE \n behind the desk.\n\n GALVIN\n Dr. Gruber.", "INT. MARY ROONEY'S HOUSE - DAY\n\n Door opens, MARY ROONEY, a tough-looking woman in nurse whites \n opens the door.\n\n ANGLE", "KATHY\n (very serious, correct)\n I used to be a nurse.", "as a nurse, are you aware that Drs. \n Towler and Marx based their treatment \n of Deborah Ann Kaye on this chart", "This is the Mrs. Costello that used \n to be a nurse?\n (beat)\n I'm sorry. I think we have our records", "MICKEY\n (on phone)\n Yeah? How's our new witness?\n\n GALVIN\n D'you find the obstetric nurse?", "MICKEY (V.O.)\n Hello, this is Dr. Dorchester in \n Boston. This is an emergency. A nurse \n left my employ...\n\n ANGLE", "INT. ST. CATHERINE LABOURE HOSPITAL CORRIDOR - NIGHT\n\n Mary Rooney and another Nurse walking down the corridor \n carrying foil-covered dishes of food, chatting.", "The legal pad. Spread on it a couple of Polaroids of Deborah \n Ann in the nursing home. Below them, written on the pad,", "INT. NORTHERN NURSING HOME WARD - DAY" ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "Galvin in front of the dead-still courtroom. He breaks his \n reverie.\n\n GALVIN\n (to Concannon)\n Your witness.", "The case is going to trial. Our chief \n witness is a Dr. David Gruber, you \n know who he is?", "MICKEY\n (reciting a catechism; \n dispiritedly)\n You use their witness.\n\n GALVIN\n That's right.", "GALVIN\n ...Well, she, on the eve of the \n case... You understand... I think \n quite frankly she's come down with \n nerves and she'd like...", "Galvin surveys the courtroom, Kathy crosses in front of him, \n takes the stand, we hear the Bailiff administering the formula \n as we WATCH Galvin turn and look at the Jurors.", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "Galvin walks away from the witness box. He looks at the jury. \n He turns to look at the spectators. His thoughts are a million \n miles away. Unconsciously he straightens his tie.\n\n ANGLE", "Concannon motions to Billy, the young lawyer, who nods in \n response and starts whispering instructions to his colleagues \n at the Defense table, who start leafing through their \n lawbooks. Concannon takes up the fight again.", "JUDGE\n You should have taken their offer. \n Especially if you were unprepared.\n\n GALVIN\n I had a witness disappear on me.", "Galvin at the Plaintiff's table, hastily scribbling notes, \n he looks up. Gets to his feet, walks over to Dr. Towler in \n the witness box, the CAMERA MOVES WITH him.", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "He has shouted unconsciously; the whole Courtroom turns to \n look at him.\n\n JUDGE\n Yes, Mr. Galvin?", "It's been scheduled for eighteen \n months. We have the attorney for the \n Plaintiff, Frank Galvin -- and I", "JUDGE\n Thank you.\n\n The Witness starts to step down. Galvin strides over to him \n and speaks to the Judge.", "Kathy at the back of the court, coming down the aisle. As \n she passes the Defendant's table, Towler grabs Marx and starts", "GALVIN\n We are going to try the case.\n\n A beat. Galvin fumbles for a cigarette. The three sit in \n silence.", "with a solid case, a famous doctor \n as an expert witness, and I'm going \n to win eight hundred thousand dollars.", "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "JUDGE\n I'm sure it is, Frank: and let me \n tell you something. If we find it so" ], [ "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "MICKEY\n Frank, but not now. Frank. You're \n trying to wipe out some old business.", "MICKEY\n I know what I said but not now. You \n won it. Franky. You won it. When", "MICKEY\n Before he can get there here comes \n this Federal Marshal, and Franky's", "MICKEY\n Oh, yeah. Your broad from last night.\n\n Galvin pays the Cigar Stand Operator.\n\n JOHN\n Thanks, Franky.", "MICKEY\n Franky can't make it. He had an \n appointment he forgot, he's going to", "He turns away.\n\n GALVIN\n Mick. Mick. Mick...\n\n MICKEY\n What?", "MICKEY\n (listlessly)\n Read me what she said.\n\n Galvin flips through his notes. Reads.", "MICKEY\n A huge law firm. Okay? They put him \n in the firm, he's married,", "Beat. He turns his back on her. Mickey does likewise.\n\n Beat.", "Mickey drops his belligerent attitude. Turns to someone behind \n him.\n\n ANGLE\n\n The two men, Galvin standing behind Mickey, smoking. He nods.", "Galvin becomes aware of him, shakes his head \"no.\" Beat.\n\n Mickey moves back into his seat, they both stare at the \n television.", "GALVIN\n I have to talk to you.\n\n MICKEY\n What do you want?", "MICKEY\n You got a good memory, Franky.\n\n GALVIN\n I had a good teacher. McLean versus \n Urban Transport...", "A beat. Mickey comes tentatively into the room and sits at \n the desk across from Galvin.", "Galvin is struck dumb. He has just made a terrible error.\n\n He looks at Mickey.", "MICKEY\n (harshly)\n Get up.\n (beat, more harshly)\n Get up.", "MICKEY\n How are you holding up?\n\n GALVIN\n I'm swell.", "He pushes Galvin again. Galvin waves Mickey off.\n\n GALVIN\n It's all right, Mickey." ], [ "GALVIN\n And did you write the numeral 'one' \n down on the record, standing for one \n hour?\n\n KATHY\n I did.", "looked at the admittance form.\n (beat)\n And he told me to change the form. \n He told me to change the one to a", "Galvin walking tentatively down the corridor of a very rundown \n nursing home. He receives suspicious looks from the \n Attendants. He is checking numbers on the doors against a \n notation in the file. He finds the correct door and enters.", "CONCANNON\n (holding chart)\n You swore on this form that the \n patient ate nine hours ago.\n\n KATHY\n That's not my handwriting.", "NURSE\n You can't be in here.\n\n GALVIN\n (as if remembering \n something, simply)\n I'm her attorney.", "GALVIN\n You were the Admitting Nurse at St. \n Catherine Laboure Hospital on May", "DR. THOMPSON\n (starting on reciting \n a list)\n Her sister said she ate one hour \n prior to admittance... she...", "This is the Mrs. Costello that used \n to be a nurse?\n (beat)\n I'm sorry. I think we have our records", "JUDGE\n Sustained. Yes. The witness will \n confine his testimony to review of \n the hospital records.\n\n GALVIN\n What?", "GALVIN\n What did she say?\n\n KATHY\n She said she had a full meal one \n hour before coming to the hospital.", "MICKEY\n You got the admittance form says \n patient ate nine hours prior to \n admittance.\n\n GALVIN\n Admittance form is wrong.", "Mary Rooney motions the other Nurse to go away. She steps \n closer to Galvin.\n\n GALVIN\n I spoke to her, and everything is \n all right.", "GRUBER\n I read the hospital report on your \n client.\n\n GALVIN\n ...Deborah Ann Kaye...", "CONCANNON\n Then, please, which is correct? You've \n sworn today the patient ate one hour", "GALVIN\n You're really...\n (stops, remembering \n something)\n You, are you the one they told me \n was the nurse?", "GALVIN\n One hour.\n\n KATHY\n Yes.", "The book, written very large: \"Dr. Gruber. 7:00 P.M. \n Hospital.\"\n\n ANGLE", "She looks closely at it. Is satisfied.\n\n KATHY\n Yes.\n\n GALVIN\n These are your initials, 'K.C.'?", "He starts checking the charts. Sighs. \"This is useless...\"\n\n GALVIN\n Uh... the admitting nurse...", "GALVIN\n We've got her sister. Testifies she \n had a meal one hour before she was \n admitted to the hospital. This is \n the point." ], [ "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "GALVIN\n (into phone)\n Hello. Yes. Thank you for calling. \n Frank Galvin... I'm representing", "It's been scheduled for eighteen \n months. We have the attorney for the \n Plaintiff, Frank Galvin -- and I", "The carriage of a typewriter. A sheet of paper. Its letterhead \n reads \"Frank P. Galvin. Attorney at Law, 124 State Street,", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "FUNERAL DIRECTOR\n Mrs. Dee, this is Frank Galvin -- a \n very good friend of ours, and a very \n fine attorney.", "CONCANNON\n Ed Concannon.\n\n GALVIN\n (shaking his head)\n Frank Galvin. We've met before.", "CLAIRE\n (into phone)\n Frank Galvin's... who's calling \n please? Bishop Brophy's office...", "Galvin downs his drink, picks his briefcase off of the bar \n and starts for the door.\n\n INT. JUDGE SWEENEY'S CHAMBERS-DAY", "GALVIN\n And don't give me this shit, 'I was \n a lawyer, too.' 'Cause I know who", "LAURA\n And what are you? A cop?\n\n GALVIN\n I'm a lawyer.", "The sheet: \"I, Frank P. Galvin, duly appointed conservator \n for Deborah Ann Kaye, in consideration of Two Hundred Ten", "As the Judge starts to speak Galvin cannot help looking at \n Concannon out of the corner of his eye.\n\n JUDGE\n Let's do some business.", "DR. THOMPSON\n (tapping his briefcase, \n referring to his \n files)\n From what I've seen, Mr. Galvin, you \n have a very good case...", "Galvin continuing to the defense table, Mickey Morrissey \n already seated, studying notes on a yellow legal pad. Galvin \n sits. Mickey looks up.", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "A shoddy one-and-a-half room bachelor apartment. Galvin, \n beer and cigarettes on the table beside him. He is sitting \n on an armchair in the bedroom. A yellow legal pad in his \n lap.", "LAURA\n My ex-husband was a lawyer.\n\n GALVIN\n Really. How wonderful for you.", "He has shouted unconsciously; the whole Courtroom turns to \n look at him.\n\n JUDGE\n Yes, Mr. Galvin?", "Galvin in front of the dead-still courtroom. He breaks his \n reverie.\n\n GALVIN\n (to Concannon)\n Your witness." ], [ "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "He has been drinking for some time. He starts stumbling back \n to the file cabinet. On the way his eye is caught by his", "carries them to a wastebasket and throws them in. He sits on \n his desk, as if exhausted by his effort, pours from a whiskey \n bottle into a large water glass, downs the glass.", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "from his drinking. He puts his back against the door, puts \n down file and briefcase, extracts a small cheap Polaroid \n camera from the briefcase, readies it to shoot, picks up his", "Dead, resigned. He closes the phone book. He reaches in a \n pack of cigarettes on the desk. It is empty. He roots in the", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "Galvin, excited, is trying to light the cigar. His hand shakes \n badly. He has forgotten to bite off the end. He bites it, \n lights the cigar.", "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "He starts back to the desk for the bottle, knocks the still-\n ringing phone off the desk. He pours himself a drink.", "He hurries out of the room. CAMERA FOLLOWS him into the \n bathroom, he shuts the door, his chest heaves convulsively.", "ashtray for a long butt. This disgusts him. He rejects it. \n Rubs his eyes. Gets up. Goes to the window, stares out. Looks", "the slot. He pours a half-tumbler full of whiskey, and drains \n it. He refills the tumbler. He absently picks up the mail", "He hangs up phone, sighs. Lights a cigarette. Rotates his \n neck to loosen it up. Reaches to the table next to his bed \n for the bottle to pour a drink.", "His hand reaching for the bottle. On the table the photo of \n a very beautiful blonde woman in a silver frame. She is the", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "He hangs up. Reaches for a bottle of whiskey on his desk.\n\n Pours a shot into a glass. Downs it. His attention is caught \n by something across the room.", "I'm through. I'm sorry, Frank, this \n is the end.\n (beat)\n Life is too short, and I'm too old.", "The side table, a pack of Luckies. Galvin taking one, his \n hand shaking a little. Also on side table a pile of change \n containing a small rosary and a wedding ring.", "shot into the almost-empty glass in front of him. Looks to \n his left. Reaches behind him to some glasses on a shelf," ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "The empty wall. Galvin's P.O.V. The telephone heard Voice \n Over insisting, \"Frank...\"\n\n INT. GALVIN'S OFFICE ANTEROOM - NIGHT", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "dropped, he's released from jail.\n (beat)\n P.S. He's fired from the firm, his", "MICKEY\n Frank, but not now. Frank. You're \n trying to wipe out some old business.", "A hand turns a page and reveals a second clipping: \"Boston \n Lawyer Held in Jury Tampering Case,\" with a picture of a \n very confused Galvin at around forty-five being led to jail.", "GALVIN\n (sighs)\n It's a long road that has no turning.\n\n JIMMY\n That's for sure, Frank.", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "JOHN\n Here you are, Franky.", "MICKEY\n Before he can get there here comes \n this Federal Marshal, and Franky's", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "JUDGE\n I'm sure it is, Frank: and let me \n tell you something. If we find it so", "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "I'm through. I'm sorry, Frank, this \n is the end.\n (beat)\n Life is too short, and I'm too old.", "he calls up Harrington, he says he \n thinks he made a mistake. As if by \n magic, charges against him are", "He has been drinking for some time. He starts stumbling back \n to the file cabinet. On the way his eye is caught by his", "from his drinking. He puts his back against the door, puts \n down file and briefcase, extracts a small cheap Polaroid \n camera from the briefcase, readies it to shoot, picks up his" ], [ "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "MICKEY\n I know what I said but not now. You \n won it. Franky. You won it. When", "MICKEY\n Frank, but not now. Frank. You're \n trying to wipe out some old business.", "MICKEY\n Before he can get there here comes \n this Federal Marshal, and Franky's", "MICKEY\n Oh, yeah. Your broad from last night.\n\n Galvin pays the Cigar Stand Operator.\n\n JOHN\n Thanks, Franky.", "MICKEY\n (listlessly)\n Read me what she said.\n\n Galvin flips through his notes. Reads.", "Mickey drops his belligerent attitude. Turns to someone behind \n him.\n\n ANGLE\n\n The two men, Galvin standing behind Mickey, smoking. He nods.", "MICKEY\n Yeah? And what are you going to do \n tonight?\n\n GALVIN\n I'm going to get laid.", "Mickey on his feet, pacing. Galvin at a blackboard on which \n is written, \"Dr. Towler. Dr. Marx. Admitting Form. \n Anaesthesia.\" Etc.", "Galvin becomes aware of him, shakes his head \"no.\" Beat.\n\n Mickey moves back into his seat, they both stare at the \n television.", "MICKEY\n (reciting a catechism; \n dispiritedly)\n You use their witness.\n\n GALVIN\n That's right.", "MICKEY\n Franky can't make it. He had an \n appointment he forgot, he's going to", "Galvin is struck dumb. He has just made a terrible error.\n\n He looks at Mickey.", "MICKEY\n How are you holding up?\n\n GALVIN\n I'm swell.", "MICKEY\n You got a good memory, Franky.\n\n GALVIN\n I had a good teacher. McLean versus \n Urban Transport...", "They continue walking. We cannot hear them. Galvin is becoming \n agitated. He stops Mickey, stands there, Mickey very sad, \n Galvin incredulous, talking to him. Mickey nods.", "He turns away.\n\n GALVIN\n Mick. Mick. Mick...\n\n MICKEY\n What?", "He pushes Galvin again. Galvin waves Mickey off.\n\n GALVIN\n It's all right, Mickey.", "CLAIRE\n Mickey told him to call.\n (reading from notes)" ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "up in court. They want their \n vindication. I agree with them. But \n for today the offer stands. Before", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "It's been scheduled for eighteen \n months. We have the attorney for the \n Plaintiff, Frank Galvin -- and I", "CLAIRE\n What does it mean?\n\n GALVIN\n They want to settle.\n (beat)\n It means a lot of money.", "Concannon motions to Billy, the young lawyer, who nods in \n response and starts whispering instructions to his colleagues \n at the Defense table, who start leafing through their \n lawbooks. Concannon takes up the fight again.", "settlement, and get a record for \n himself.\n (beat)\n I myself would take it and run like \n a thief.", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "Galvin at the Plaintiff's table, hastily scribbling notes, \n he looks up. Gets to his feet, walks over to Dr. Towler in \n the witness box, the CAMERA MOVES WITH him.", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?", "GALVIN\n We are going to try the case.\n\n A beat. Galvin fumbles for a cigarette. The three sit in \n silence.", "See my point? Let's talk a minute. \n Frank: what will you and your client \n take right now this very minute to", "As the Judge starts to speak Galvin cannot help looking at \n Concannon out of the corner of his eye.\n\n JUDGE\n Let's do some business.", "ALITO (V.O.)\n His name is Frank Galvin. B.U. Law, \n class of 'fifty-two. Second in his", "Galvin gets to his feet. Walks over to the JURY. Looks at \n them, appraising. He pauses as before a great effort. Takes \n a breath. Exhales.", "GRUBER\n You're going to settle out of court?\n\n Gruber stops at the bottom of the stairs, beside an exit to \n the outside.", "Galvin downs his drink, picks his briefcase off of the bar \n and starts for the door.\n\n INT. JUDGE SWEENEY'S CHAMBERS-DAY", "did not, and five days before we're \n supposed to go to court we made him \n a rather generous offer, which he", "MICKEY\n Frank, but not now. Frank. You're \n trying to wipe out some old business.", "GRUBER\n Right. Who called?\n\n GALVIN\n The Archdiocese called, they want to \n settle... her estate..." ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "Galvin in front of the dead-still courtroom. He breaks his \n reverie.\n\n GALVIN\n (to Concannon)\n Your witness.", "MICKEY\n (reciting a catechism; \n dispiritedly)\n You use their witness.\n\n GALVIN\n That's right.", "Galvin surveys the courtroom, Kathy crosses in front of him, \n takes the stand, we hear the Bailiff administering the formula \n as we WATCH Galvin turn and look at the Jurors.", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "Galvin walks away from the witness box. He looks at the jury. \n He turns to look at the spectators. His thoughts are a million \n miles away. Unconsciously he straightens his tie.\n\n ANGLE", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "Concannon motions to Billy, the young lawyer, who nods in \n response and starts whispering instructions to his colleagues \n at the Defense table, who start leafing through their \n lawbooks. Concannon takes up the fight again.", "She hands him typed memo slip.\n\n GALVIN\n (surprised)\n ...he wants to testify...?", "Witness stand. DR. TOWLER, a distinguished man in his fifties, \n sitting on the stand. Concannon o.s. The doctor is ill-at- \n ease; smiles nervously.", "JUDGE\n Thank you.\n\n The Witness starts to step down. Galvin strides over to him \n and speaks to the Judge.", "Galvin at the Plaintiff's table, hastily scribbling notes, \n he looks up. Gets to his feet, walks over to Dr. Towler in \n the witness box, the CAMERA MOVES WITH him.", "The empty wall. Galvin's P.O.V. The telephone heard Voice \n Over insisting, \"Frank...\"\n\n INT. GALVIN'S OFFICE ANTEROOM - NIGHT", "He has shouted unconsciously; the whole Courtroom turns to \n look at him.\n\n JUDGE\n Yes, Mr. Galvin?", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "JUDGE\n You should have taken their offer. \n Especially if you were unprepared.\n\n GALVIN\n I had a witness disappear on me.", "Kathy at the back of the court, coming down the aisle. As \n she passes the Defendant's table, Towler grabs Marx and starts", "Galvin gets up from Plaintiff's table, takes up a large book \n as Dr. Towler takes the stands. He reads:", "Galvin gets to his feet. Walks over to the JURY. Looks at \n them, appraising. He pauses as before a great effort. Takes \n a breath. Exhales.", "Galvin slowly raises his head, turns and looks at the Jury, \n Mickey begins to smile.\n\n JUDGE\n Yes. You are." ], [ "ALITO\n Legally it's over. Concannon was \n brilliant.\n\n BROPHY\n Tell me about Kaitlin Costello.", "CONCANNON\n What did these people do when her \n heart stopped?\n\n DR. TOWLER\n We went to Code Blue...", "Concannon nods to the Young Lawyer, who is conscientiously \n taking notes.\n\n CONCANNON\n ...and her heart stopped and she \n wasn't getting oxygen.", "GRUBER\n Her doctors murdered her. They gave \n her the wrong anesthetic and they \n put her in the hospital for life.\n (a beat)\n Her doctors murdered her.", "jury is going to do. St. Catherine's \n a very well thought of institution. \n Her doctors...", "CONCANNON\n Say it.\n\n DR. TOWLER\n I was her doctor.", "GALVIN\n About Kathy Costello.\n (beat)\n I understand, and I don't blame you \n for shielding her.\n\n A beat.", "KATHY\n After, after the operation, when \n that poor girl, she went in a coma.", "DR. THOMPSON\n I... given the limits of your \n question, that's correct.\n\n JUDGE\n The Doctors were not negligent.", "CONCANNON\n Whatever the 'truth' is, let's hear \n that. You were her doctor.\n\n DR. TOWLER\n Yes.", "NURSE\n You can't be in here.\n\n GALVIN\n (as if remembering \n something, simply)\n I'm her attorney.", "GRUBER\n (glances at watch, \n impatient)\n Her doctors killed her.", "CONCANNON\n Why wasn't she getting oxygen...?\n\n DR. TOWLER\n Well, many reasons, actually...", "DR. TOWLER\n ...We did everything we could...\n\n CONCANNON\n ...to save her and to save the baby. \n Is that...", "Dr. Towler called me in. He told me \n he had five difficult deliveries in \n a row and he was tired, and he never", "Mary Rooney motions the other Nurse to go away. She steps \n closer to Galvin.\n\n GALVIN\n I spoke to her, and everything is \n all right.", "CONCANNON\n Tell me one?\n\n DR. TOWLER\n She'd aspirated vomitus into her \n mask...", "I know it's late in the East, but \n this is an emergency. May I please \n speak to Kathy Costello?\n (beat)", "GALVIN\n D'you ask the patient when did she \n last eat?\n\n KATHY\n Yes.", "KATHY\n I do.\n\n BAILIFF\n Be seated.\n\n Kathy sits, the Bailiff retires, Galvin walks over to her." ], [ "JUDGE\n Sustained. Yes. The witness will \n confine his testimony to review of \n the hospital records.\n\n GALVIN\n What?", "looked at the admittance form.\n (beat)\n And he told me to change the form. \n He told me to change the one to a", "CONCANNON\n (holding chart)\n You swore on this form that the \n patient ate nine hours ago.\n\n KATHY\n That's not my handwriting.", "NURSE\n You can't be in here.\n\n GALVIN\n (as if remembering \n something, simply)\n I'm her attorney.", "GALVIN\n You have a record of what happened \n in the operating room...\n\n TOWLER\n Yes, that's correct.", "Dr. Thompson. Did you examine Deborah \n Ann Kaye last night at The Northern \n Chronic Care Facility?", "GALVIN\n You're really...\n (stops, remembering \n something)\n You, are you the one they told me \n was the nurse?", "This is the Mrs. Costello that used \n to be a nurse?\n (beat)\n I'm sorry. I think we have our records", "Mary Rooney motions the other Nurse to go away. She steps \n closer to Galvin.\n\n GALVIN\n I spoke to her, and everything is \n all right.", "CAMERA FOLLOWS him TO Nurses' Station. He speaks to the NURSE \n behind the desk.\n\n GALVIN\n Dr. Gruber.", "CONCANNON\n Whatever the 'truth' is, let's hear \n that. You were her doctor.\n\n DR. TOWLER\n Yes.", "Galvin walking tentatively down the corridor of a very rundown \n nursing home. He receives suspicious looks from the \n Attendants. He is checking numbers on the doors against a \n notation in the file. He finds the correct door and enters.", "GALVIN\n You were the Admitting Nurse at St. \n Catherine Laboure Hospital on May", "in the case of Deborah Ann Kaye. You \n meet him at the hospital.'", "MARY ROONEY\n And ask me what?\n\n GALVIN\n Who put my client in the hospital \n for life.", "KATHY\n Who told you that?\n\n GALVIN\n (gestures back at the \n office, vaguely)\n Mrs...", "Galvin standing, he waits a beat. Starts out of locker room.\n\n INT. GRUBER'S HOSPITAL CORRIDOR - NURSES' STATION - NIGHT", "MICKEY (V.O.)\n Hello, this is Dr. Dorchester in \n Boston. This is an emergency. A nurse \n left my employ...\n\n ANGLE", "GALVIN\n And did you write the numeral 'one' \n down on the record, standing for one \n hour?\n\n KATHY\n I did.", "GALVIN\n ...of the procedures...\n\n TOWLER\n Yes, the roving nurse..." ], [ "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "He has let them down. He goes to a cabinet under the lawbooks \n and takes out a bottle of whiskey and a water glass. He walks", "As he downs it we hear -- softly -- from the phone on the \n floor: a MAN'S VOICE. \"Frank. Frank. Frank. Goddamnit. Are \n you there...? Frank...\" Galvin pays no attention.", "look at each other -- he starts to speak, cannot. He knocks \n her to the floor, she upsets the table. A large man at the \n next table starts to restrain Galvin.", "Mickey walks to him, knocks the drink out of his hand and \n slaps him several times in the face.", "They continue walking. We cannot hear them. Galvin is becoming \n agitated. He stops Mickey, stands there, Mickey very sad, \n Galvin incredulous, talking to him. Mickey nods.", "He has been drinking for some time. He starts stumbling back \n to the file cabinet. On the way his eye is caught by his", "Dark. He grabs the brass knocker. Pounds. Nothing, he pounds \n again. Nothing. He is beaten. He is without resource. He", "He hangs up. Reaches for a bottle of whiskey on his desk.\n\n Pours a shot into a glass. Downs it. His attention is caught \n by something across the room.", "(beat; turns to Galvin)\n Frank: I don't think I'm talking out \n of school, but I just heard someone", "Beat. It occurs to her that she's been duped, as Galvin starts \n off hurriedly down the hall.\n\n INT. GALVIN'S OFFICE BUILDING CORRIDOR - NIGHT", "Galvin, excited, is trying to light the cigar. His hand shakes \n badly. He has forgotten to bite off the end. He bites it, \n lights the cigar.", "carries them to a wastebasket and throws them in. He sits on \n his desk, as if exhausted by his effort, pours from a whiskey \n bottle into a large water glass, downs the glass.", "He hurries out of the room. CAMERA FOLLOWS him into the \n bathroom, he shuts the door, his chest heaves convulsively.", "I'm through. I'm sorry, Frank, this \n is the end.\n (beat)\n Life is too short, and I'm too old.", "MICKEY\n That Frank was working on. Yeah. He \n thought Franky needed some help, so", "Both awkward. He looks at her, turns back to the bed, turns \n down the bed, sees the silver-framed picture of his wife, he \n looks back at Laura, starts to take the picture to turn it \n down.", "head and turns it off. He sits stiffly in the dark a moment, \n then lets his head fall back to the chair.", "MICKEY\n Listen to me. Listen to me... listen \n to me, Frank, 'cause I'm done fuckin'", "The bartender, JIMMY, comes up to Galvin.\n\n JIMMY\n Another, Frank...?" ], [ "Galvin slowly raises his head, turns and looks at the Jury, \n Mickey begins to smile.\n\n JUDGE\n Yes. You are.", "Galvin gets to his feet. Walks over to the JURY. Looks at \n them, appraising. He pauses as before a great effort. Takes \n a breath. Exhales.", "JUDGE\n Have you reached a verdict?\n\n FOREMAN (V.O.)\n We have, your Honor.\n\n ANGLE", "they bribed a juror. So Franky finds \n out. He comes to me in tears. He \n thinks that anybody who knows what a", "GALVIN\n I'm going to win this case... Mist... \n Mr. Doneghy... I'm going to the Jury", "In front of the full jury box. Beat.", "jury wants to believe. They're all \n cynics, sure, because they want to \n believe. I have to go in there", "The Judge. He is making some notations on a page in front of \n him. He nods to himself, he has reached a decision. He looks \n up.", "The Bishop nods, meaning, \"You are dismissed.\" As an \n afterthought:\n\n BISHOP\n If we were to go to trial, would we \n win the case?", "GALVIN\n We are going to try the case.\n\n A beat. Galvin fumbles for a cigarette. The three sit in \n silence.", "INT. COURTROOM - DAY\n\n The Jurors filing in from the Jury Room.\n\n ANGLE", "Galvin walks away from the witness box. He looks at the jury. \n He turns to look at the spectators. His thoughts are a million \n miles away. Unconsciously he straightens his tie.\n\n ANGLE", "JUDGE\n (incredulous)\n That's it...?\n (beat)", "jury is going to do. St. Catherine's \n a very well thought of institution. \n Her doctors...", "Galvin in front of the dead-still courtroom. He breaks his \n reverie.\n\n GALVIN\n (to Concannon)\n Your witness.", "Galvin surveys the courtroom, Kathy crosses in front of him, \n takes the stand, we hear the Bailiff administering the formula \n as we WATCH Galvin turn and look at the Jurors.", "up in court. They want their \n vindication. I agree with them. But \n for today the offer stands. Before", "The Courtroom is seated. JUDGE motions to the CLERK, who \n stands and reads:", "She nods. Beat. Walks off. Galvin turns to the open door to \n the Courtroom, through which the SPECTATORS are reentering", "The jury box. One JUROR leans over and makes a whispered \n comment to another. The SECOND JUROR nods, inclines his head \n toward the witness box.\n\n ANGLE" ] ]

[ "Who gives Frank the case?", "Where did Frank graduate from?", "What was Frank framed for by the law firms senior partner?", "Who is the nurse that testifies?", "Why is Frank angry at Laura?", "What was the surgeon's mistake?", "Why was Micky looking through Laura's purse?", "Where does Frank meet Laura?", "Who wins the case?", "What is Frank Galvin's profession before?", "What was Frank framed for?", "What addiction does Frank suffer from?", "Where does Frank meet Laura?", "What does Frank find in Laura's purse?", "How much is the settlement that Frank turns down from the Bishop?", "What occupation is the client's nurse involved in currently?", "Who becomes Frank's main witness in the case?", "What is Micky's relationship to Frank?", "What number is the nurse Kaitlin advised to change the number \"one\" to in the hospital admitting records?", "What is Frank Galvin's profession?", "From what addiction does Frank now suffer?", "What was Frank framed for?", "What does Frank's friend Mickey refer to Frank? ", "Who attempts to get Frank to settle out of court?", "Who becomes Frank's star witness?", "What did the attending doctors instruct Kaitlin Costello do?", "Who asked nurse Kaitlin to change hospital records?", "Who does Frank hit when he thinks he has been betrayed?", "Who does the jury find for in the case?" ]

[ [ "Micky, Frank's old teacher.", "Mickey." ], [ "Boston college Law school", "Boston College Law School." ], [ "Jury tampering", "Jury tampering" ], [ "Costello", "Kaitlin Costello." ], [ "He found out that she was a mole for the other law firm. ", "Because she was working for the lawyers working on a case against him." ], [ "Not reading the chart and giving his patent an anesthetic that cannot be used on a full stomach. ", "giving the patient the wrong anesthetic" ], [ "He was looking for cigarettes. ", "looking for cigarettes" ], [ "In a bar.", "At a bar" ], [ "Frank", "Frank" ], [ "Frank is a lawyer", "Lawyer." ], [ "Jury tampering", "Jury tampering." ], [ "Alcoholism", "alcoholism" ], [ "A bar", "New York." ], [ "A check", "A check from the Concannon's law firm." ], [ "two-hundred and ten thousand dollars", "$210,000" ], [ "A pre-school teacher", "She is a preschool teacher." ], [ "Kaitlin Costello", "Kaitlyn Costello, a nurse" ], [ "Former teacher and friend", "A former teacher" ], [ "\"nine\"", "9." ], [ "A lawyer.", "Lawyer" ], [ "Alcoholism.", "Alcohol" ], [ "Jury tampering.", "Jury Tampering" ], [ "A medical malpractice case.", "A medical malpractice case" ], [ "The Catholic Bishop.", "The bishop of the Archdiocese of Boston." ], [ "Kaitlin Costello", "Kaitlin Costello." ], [ "Tamper with hospital admitting records.", "They instructed her to change her notes on the forms to hide her error." ], [ "The anesthesiologist. ", "the anesthesiologist" ], [ "Laura", "Laura" ], [ "Frank's clients.", "For Frank's clients." ] ]

15f500761e9b3001810b088339b99ec7de656a2a

test

[ [ "Therefore I now must tell what happened, rather as it is told to me,\nthan as myself remember it. Only you must not expect such truth, as I\nalways give, while competent.", "who listened at the door, because their duty compelled them thus to\nprotect their master. And all of these told different stories, agreeing\nonly upon one point; but the best of them told it, as follows. Chowne", "\"Ever since I began to be put into clothes, and taught to kill other\npeople, I have longed to tell of an evil thing which happened once among", "story-tellers. Therefore let no one find any fault or doubt any single\nthing I tell them concerning some people who happen just now to be five\nor six shelves in the world above me, for I have seen a great deal of", "to make her contradict perhaps herself, but certainly us, ten times as\nmuch. She did her best to explain her meaning; and we really ought to\nenter more into their disabilities. Therefore let her tell her story, as", "say, \"Now you tell any stories at my expense, and you may look out.\" But\nWatkin was truth itself, and she nodded, and said \"Ness,\" at the end of\nhis speech.", "herself listened with her face concealed to the tale of her own\nmisfortune. Once or twice she whispered to herself, \"Oh my poor poor", "man. Nevertheless I bade him tell it, being an older man than he was,\nand therefore more able to enter into what young folk call", "shamefully treated. And now I have another thing to tell you about him;\nthat is if you have not heard it.\"", "and I could fill seven thousand pages with our whole adventures. But\nnone of them bore much on my tale, and nobody cares for my adventures,\nsince I ceased to be young and handsome; and sometimes I almost thought", "tale, and wanted the room to make much of him. Nevertheless, the men of\nperception had not done with me yet.", "wife a brisk sharp woman, quite ready to tell her story. But what she\ndid first, and for us, at this moment, was to rouse up the fire with a", "their legs; and thus I begin, but never end, the tale I now begin to\nyou, and perhaps shall never end it.", "and looked at one another, while this old chap told his story. And\nplease to mind that he had picked up a prawn-netful of little trifles,", "When Mrs Shapland had finished this tale, and was taking some\nwell-earned refreshment, Polly and I looked at one another, as much as", "will take him first, with your good leave, if ever words of mine can\nkeep up with him. But of course you will understand that I tell what\ncame to my knowledge afterwards.", "\"I tell you,\" I cried; \"that never does. And I never knew good come of\nit. A man's first place is to trust to himself, and to pray to the Lord\nto help him. Have you nothing more to say?\"", "\"I ought to have told,\" said the dying man slowly; \"only I could not\nbring myself. But now you will know, you will all know now. My father is", "this story were breathed any further off than our own two selves, until\nthe time was ripe for it. Of course I had not been quite such a fool as", "course of action highly lowering to my rank and position in society, but\nwithout which I could never have been enabled to tell this story. And\nyet before entering on that subject, everybody will want to know how I" ], [ "\"I'se two, I'se two,\" she answered, looking with some astonishment;\n\"didn't 'a know that? Hot's 'a name?\"", "thinks with all her might, as you may say. And then she says 'No! I'se\nnot hot you says. I'se two years old, and I'se Bardie. And my papa he be", "So spake up my two-year-old, astonishing me (as she always has done) by\nher wonderful cleverness, and surprising Moxy Thomas that such clear\ngood words should come from so small a creature.", "done when two years old, and offered her bright lips for a kiss, to\nprove that she was not arrogant. None but a surly bear could refuse her;\nstill my feelings were deeply hurt, that other people should take", "\"Pretty little soul,\" I said, \"how old do you call yourself?\"\n\nAt this she gathered up her forehead, not being used to the way I put\nit, while she was trying to think it out.", "By this time she began to be overcome with circumstances, as might\nhappen naturally to a child but two years old, after long exposure", "or 'Bardie,' as she called herself, though christened after her mother.\nEverybody, the poor little mite, she expected everybody to know her name", "\"Quick is it? Quick indeed! Much quick you are, old Dyo!\" she replied in\nEnglish. \"The darling dear, the pretty love!\" for the child had spread", "She laughed her usual merry laugh (although she had been crying so)\nwhile she spread her dainty hands, exactly as she used to spread them,\nwhen she was only two years old, with me alone to look at her.", "nos.\" To look at her size and figure, you would say that her age was\nfourteen at least; but I knew that she was but twelve years old, as she\nhappened to be our Bunny.", "it would be upon the feelings of this young girl, to have her \"identity\"\n(as Crowner Bowles entitled it) discussed in her own presence. Therefore\nshe was led away by that regular busybody the housekeeper, Mrs", "But as the brave little creature spoke, I saw that \"the dust was in her\neyes.\" This was her own expression always, to escape the reproach of", "deep compassion. The sense of bad-luck was too strong for the courage of\neven two years' growth, and little Bardie proved herself of just the\nright age for crying. I had observed how clear and bright and musical", "years old, and I will not be made a child of. You have been wonderfully\nkind and good, and as dear to me as a father; but I must go away now; I\nmust go away.\"", "little hands spread, and her bright eyes flashing; 'I'se Bardie, I tell\n'a; and evelybody knows it.' Oh yes, and she never could say 'th'--but", "\"Neither child came from that wreck. One is my granddaughter Bunny.\nBunny, show yourself to black Evan.\" But the child shrank closer behind", "\"I'se not a yicked shild,\" she said, \"I'se a yae good gal, I is; I 'ont", "\"Now go and play, like two little dears, and remember whose day it is,\"\nI said to them both, for I felt the duty of keeping my grandchild up to", "Near this delicate creature sate, in a bending attitude of protection, a\nstrong and well-made girl, with black hair, jet-black eyes, and a rosy", "the many times to come when none would care to comfort her. And though a\nchild is but a child, somehow I took to that child. Therefore I became\nmost anxious as to her state of body, and handled her little mites of" ], [ "Bampfylde's grandson, and the baby-girl his granddaughter. I never heard\nwhat became of her. She must have been drowned, or starved, most likely.", "\"An ancient widower, your worship, with a little grandchild; and how to\nkeep her to the mark, with father none and mother none, quite takes me\noff my head sometimes. Let me light your honour to your carriage.\"", "upon me, by presenting you with your long-lost granddaughter--and your\ngrandson to come afterwards.\"", "word to, or even about, the children coming out thus to stare at him.\nAll the children he used to know are gone to day's work long ago; and", "brother's children, and even to have buried them. He found it out of his\npower to prove that really he had not done it, nor had even entertained", "\"Not another word, General. You must not dwell on this matter so. The\nchildren were fine little dears of course, very clever and very\nprecious----\"", "\"Neither child came from that wreck. One is my granddaughter Bunny.\nBunny, show yourself to black Evan.\" But the child shrank closer behind", "beard), he wanted to show his skill in babies, of which he boasted\nhimself a grandfather. And so he began to whisper,--", "course these pretty children were a great delight to every one. But\naffairs of this sort happen in all ancient families. The mere extent of\nland appears to open for clandestine graves----\"", "grandson's barn, and to live on his grandson's ducks, potatoes, and\npigeons. This was last harvest-time, just as Chowne was enjoying his bit\nof cub-hunting.", "had dug up his son's cocked-hat, and his two grandchildren, all as fresh\nas the day itself. It is not for me (who have never been so deeply", "was disrespectful of the Government to call him so, when his true name\nwas 'Sir Philip.' He had never seen his grandchildren till now, and what", "CHAPTER XXXVII.\n\nTWO POOR CHILDREN.", "\"Great God! speak not like that, my boy. The worst you are of\neverything. If those two children came ashore, there must have been\nsomething better.\" And he peered at the children as if to search for any\ngold upon them.", "Captain Drake Bampfylde had drowned the children, some said by accident,\nsome said on purpose, and buried them somewhere on Braunton Burrows. And", "innocent children, very dear ones both of them, but also the loss of\nfair repute to an honourable family, and the cruel suspicion cast upon", "children were stolen, and refused to say whither, or why, he was gone.\nThat active and shrewd man Parson Chowne no sooner heard of the loss", "none was ever seen afterwards. It was the only field he had, being left\nto him by his grandmother; and many people were disappointed that he had\nnot slept with his cow that night. This directed his attention to the", "children. And of these the very worst was Parson Chowne. If it had been\nhis own only children--such as he says he is too good to have--he", "had been sitting for their Sunday evening) creaked, as if carried in and\ndusted for another Sunday, and there was not one child left (except a" ], [ "\"Hy'se 'a been so long, old Davy, afore 'a come to see poor Bardie?\"\n\n\"Because, my pretty dear, I have been forced to work, all day long\nalmost.\"", "\"Old Davy, poor ickle Bardie not go to 'e back pit-hole yet?\"\n\n\"No, my dear, not for ever so long. Not for eighty years at least. And\nthen go straight to heaven!\"", "forward little Davy, thinking that I spoil him so, because of his\ndecided genius giving such promise of bard-hood--already it would do you", "\"Old Davy tarry me aye nicely, I tell 'a. Old Davy good and kind; and I\n'ont have him called kumsy.\"", "manner, but Bardie said, \"No, I 'ont, old Davy; I'll thank God when I\ngets puddeny-pie.\"", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "\"Aye yell! Then I tell 'a hot to do. Take poor Bardie to markiss, old\nDavy; and 'e get a great big money for her.\"", "\"Old Davy,\" she said, as I came to see her at her own invitation, and\nshe sate quite over Bunny, \"'Ill 'a have a ickle dop?\" With the water up", "else, except that it was dear Bardie. That little darling whom I loved,\nfor her gifts direct from God, and her ways, so out of the way to all", "was gradually broken into distant admiration. One morning I came\nsuddenly in from looking to my night-lines, and a pretty scene I saw.\nThe door of my cupboard was wide open, and there stood little Bardie", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "deep compassion. The sense of bad-luck was too strong for the courage of\neven two years' growth, and little Bardie proved herself of just the\nright age for crying. I had observed how clear and bright and musical", "I thought I had made a most excellent speech, and Bardie looked up with\nadmiration, to know when I meant to finish. But to my surprise, young\nRodney took very little heed of it.", "herself, she never for a moment grudged to wipe poor Bardie's eyes with\nit. Nay, she even permitted her--which was much more for a child to", "old Davy some day. Ickle bother not like nat at all. Ickle bother not so\nbig enough, and only two ickle teeth in front, and his hair all gone", "Bardie, and might have been her twin-brother, as everybody vowed he was,\nonly his face was bolder and stronger, and his nose quite different,", "My chief reason is that poor dear Bardie first obtained a pure\nknowledge of her desolate state upon that occasion;--at least so far as", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"" ], [ "But poor Bardie hung down her head and was shy, which never happened to\nher with me or any of the common people; she seemed to know, as if by", "and all about her; and nothing put her in such a passion as to pretend\nnot to know who she was. 'I'se Bardie,' she used to cry out, with her", "or 'Bardie,' as she called herself, though christened after her mother.\nEverybody, the poor little mite, she expected everybody to know her name", "little hands spread, and her bright eyes flashing; 'I'se Bardie, I tell\n'a; and evelybody knows it.' Oh yes, and she never could say 'th'--but", "smaller, and the high-born Bardie looked down upon Bunny for being so\nmuch coarser. But neither was able to tell the other at all what her", "made no difference, however. Very soon they came to settle it between\nthem. The low-born Bunny looked down upon Bardie for being so much", "By the tone of her voice I knew that this last was a fib of fright, and\nglad I was to know it so. Much the better chance was left me of\ndisposing Bardie somewhere, where she might be comfortable.", "else, except that it was dear Bardie. That little darling whom I loved,\nfor her gifts direct from God, and her ways, so out of the way to all", "Bardie. And to the last day of my life I shall rejoice that I so\nbehaved. He saw that I was speaking truth; but he showed no signs of joy", "\"Bardie!\" I cried, with some indignation, as if she were growing beyond\nmy control; and she stood on the spring of her toes exactly as she had", "believed to be the body of poor little Bardie. For that child had such\nnice ways, and took such upper hand of me; that, expecting to find a\nCaptain always, especially among women----", "My chief reason is that poor dear Bardie first obtained a pure\nknowledge of her desolate state upon that occasion;--at least so far as", "herself, she never for a moment grudged to wipe poor Bardie's eyes with\nit. Nay, she even permitted her--which was much more for a child to", "Bardie, and might have been her twin-brother, as everybody vowed he was,\nonly his face was bolder and stronger, and his nose quite different,", "astonishment was worth seeing, on account of his being such a fair young\nchap, when suddenly he beheld poor Bardie, standing weakly on her legs", "doll's birth (still more so with her dress, of course, having her a\nfemale), because through her I learned a great deal more of Bardie's\nhistory than ever our Bunny could extract.", "\"I am not a ladyship,\" she answered, with a beautiful bright smile; \"I\nam only a common lady; and I think you must be an Irishman.\"", "And now the way in which Moxy came out, while Bardie was making much of\nme (who always saw everything first, of course), and the style of her", "sight of Bardie, everything else was gone from her. All the other\nchildren were fit only to make dirt-pies of. This confirmed and held me\nsteadfast in the opinions which I had formed without any female", "girl-child shook her hand at him, and said, 'E bad man, Bardie knows\n'a.'" ], [ "\"That shows how much you know, old Davy! Why I was come on purpose to\ntell you that they are tired out at last: and that I may go to sea, if", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "\"Davy,\" said he, \"we all know your courage, your readiness, and your\nresources. Still you appear to be under a spell--and you know you are", "Taffies with manners enough to come and hold a gentleman's horse? Here\nyou, Davy Jones, you are long enough, and lazy enough; put your hand to\nthe bridle, will you?\"", "\"Davy dear, this is not right, nor like our ancient friendship. A rogue\nlike Griffy to cheat you so! What had he beaten you down to, Davy?\"", "\"Fisherman Davy\" (as they call me all around our parts) was fifty and\ntwo years of age, I believe, that very same July, and with all my heart", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "strait toward this poor and unconverted Davy as if an angel held the\ntiller, with an admiral in the stern-sheets.", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"Little dears,\" is all I say, \"Captain Davy is getting old. It is hard\nto tell a tale, but easy to find fault with it. You tell me that my left", "The very next day, I was afloat as a seaman of the Royal Navy of the\nUnited Kingdom. None but a sailor can imagine what I felt and what I", "old Davy, fine old Davy, brave old Davy!\" they said I was every time I\nabated a halfpenny; and I called them generous gentlemen and", "\"Now, Davy, you know better. You think yourself at least as good as any\none of us, Davy, and likely far above us all. Therefore, Davy the", "CHAPTER I.\n\nFISHERMAN DAVY A FISH OUT OF WATER.", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"", "\"Old Davy tarry me aye nicely, I tell 'a. Old Davy good and kind; and I\n'ont have him called kumsy.\"", "then she saw old Davy. Her hands came toward me, and so did her eyes,\nand so did her lips, with great promise of kisses, such as her father", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "\"What is the matter, my pretty dear?\" I asked, after landing, and\ncoaxing her. \"Tell old Davy; Captain David will see the whole of it put\nto rights.\"" ], [ "At last he fetched a strong breath, and opened the usual wickedness of\nhis eyes, and knew me at once, but did not know exactly what had", "whom I had twice beheld already, and whom no man may three times see,\nand then survive the twelvemonth; in him, of course, I had true", "and meant to present the things in good time; but now being gored thus\nin his own house, the devil entered into him. His dark face grew of a", "did not show me round him so as to get his girth and substance. \"Think\nof the devil,\" is an old saying; and while I thought of him, in he\nwalked.", "from his constant desire to lash a horse. He was the devil himself to\nride, so everybody said of him; and Parson Chowne's horse was now become", "bitter disdain of his countenance. The devil, who wanted him for a rare\nmorsel in the way of cannibalism, stood at my elbow; but luckily thought", "\"That wicked devilish story, Dick! Did you tell me, or did you not, to\ntake it as the Fiend's own lie?\"", "of Welsh. But to let your Worship know my cause to come so much upon\nyou, is of things more to the purpose. I have found a bad man meaning\nmischief to your Worship.\"", "\"I look upon him, your Worship, as the blackest-hearted son of Belial\never sent into this world.\"", "Only Chowne's wicked face was white, and settled with calm fury; and his\nstyle of address to us, just as if we were nothing but dogs of his\nkennel.", "of black, and all his body tossing with spasms and weak groaning. \"What\nmeans this?\" asked his Lordship, drawing considerably nearer to the", "use,\" I said aloud; \"it is useless to contend with him. He has sold\nhimself to Satan, and, thank God, I have no chance with him.\" Therefore", "told me when and where to come across him, so as not to be broken in\nupon. Now he came down the narrow winding walk, at the lower side of the", "sought in vain for the cradle. And while he was moaning, came Satan\nhimself, bearing the cradle red-hot and crackling; and he seized the", "But finding this useless, he said that it was no more than he had\nexpected; because it was known that it always befell every man who\nforgot his baptism, and got into dealings with Parson Chowne.", "docile. This he pretended at first to explain as the result of a compact\nformed some years back between his reverence and the devil. For Parson", "and beyond any doubt at all, I never should have known him, if I had\nchanced to meet him elsewhere. For I had not set eyes on his face from", "\"Oh the villain! oh the cruel villain!\" she exclaimed, in a voice that\nquite alarmed me, considering how near the footpath was; \"and a minister", "\"What a gloomy and devilish place!\" cried Rodney Bluett, beginning to\ntremble from some unknown influence. \"Upon my soul, if I lived here, I", "dream, with the devil both roasting and rocking him. Glory be to the\nLord for it!\"" ], [ "Hence it was that Sir Philip Bampfylde, on the very morning after I gave\nhim back his grandchild, sate gazing into the ebb of the Tawe, some", "Philip Bampfylde, Esquire, and the younger Captain Drake Bampfylde, of\nwhom I have spoken already. Philip, the heir, had been appointed to", "Captain Drake Bampfylde had drowned the children, some said by accident,\nsome said on purpose, and buried them somewhere on Braunton Burrows. And", "in the West of England. She is the grandchild of Sir Philip Bampfylde of\nNarnton Court, near Barnstaple. And I think I have heard my mother speak", "Bampfylde's grandson, and the baby-girl his granddaughter. I never heard\nwhat became of her. She must have been drowned, or starved, most likely.", "audience of Sir Philip Bampfylde himself, and tell him all that I ever\nhad seen of Chowne and his devices, and place Sir Philip on his guard,", "Captain Drake Bampfylde was the most unlucky of born mortals. To begin\nwith, he was the younger son of that very fine Sir Philip, and feeling", "\"Who are you, my pretty creature?\" Sir Philip Bampfylde asked again,\nwhile she opened her grey eyes wide at him.", "\"He does not dislike you, Drake Bampfylde; he hates you with all the\nvenomous, cold, black hatred, such as I fear to think of--oh my dear, oh\nmy dear!\"", "far more) in true family love, that fine and pure old gentleman, the\nmuch-troubled Sir Philip Bampfylde,--this, I say, was the very first", "Bampfyldes even older. Come to me, my pretty darling. There, don't cry\nso; or if you must, come in here, and I will help you. Rodney, my dear,", "to my genuine benefactor, poor Sir Philip Bampfylde. This old gentleman\nclearly was not going on very comfortably; and Parson Chowne had given", "did not cost me long to learn that one was good Sir Philip Bampfylde,\nand the other that very wicked Chowne. The latter had manifestly been", "Sir Philip Bampfylde, as every one said, was a very nice gentleman\nindeed, the head of an ancient family, and the owner of a large estate.", "\"You lovely dear, why, who are you?\" cried Lady Bampfylde, with a start,\nthat made me dread hysterics.", "Nobody knows what might have happened with Captain Bampfylde so beset,\nand longing to think that he ought to act as everybody told him: but he", "Lest any one should be surprised that Sir Philip Bampfylde could have\npaid two visits to this delightful neighbourhood, without calling on our", "\"Here it is, sir,\" cried the General, overlooking me, in the rush of his\nsentiments towards the Colonel: \"here is the true Bampfylde mark. Even", "Bampfylde to the care of her maid, who was running up from the servants'\nhall to look after her, I fixed my hook (screwed on for the purpose)", "Bampfylde, and waiting for three or four years more of age, to come into\nlarge estates in South Devon." ], [ "Hence it was that Sir Philip Bampfylde, on the very morning after I gave\nhim back his grandchild, sate gazing into the ebb of the Tawe, some", "Philip Bampfylde, Esquire, and the younger Captain Drake Bampfylde, of\nwhom I have spoken already. Philip, the heir, had been appointed to", "audience of Sir Philip Bampfylde himself, and tell him all that I ever\nhad seen of Chowne and his devices, and place Sir Philip on his guard,", "\"Who are you, my pretty creature?\" Sir Philip Bampfylde asked again,\nwhile she opened her grey eyes wide at him.", "all these wonders about Sir Philip Bampfylde. What had led him to visit\nme? What was he seeking on Braunton Burrows--for now I knew that it must", "far more) in true family love, that fine and pure old gentleman, the\nmuch-troubled Sir Philip Bampfylde,--this, I say, was the very first", "in the West of England. She is the grandchild of Sir Philip Bampfylde of\nNarnton Court, near Barnstaple. And I think I have heard my mother speak", "Captain Drake Bampfylde was the most unlucky of born mortals. To begin\nwith, he was the younger son of that very fine Sir Philip, and feeling", "Sir Philip Bampfylde, as every one said, was a very nice gentleman\nindeed, the head of an ancient family, and the owner of a large estate.", "to my genuine benefactor, poor Sir Philip Bampfylde. This old gentleman\nclearly was not going on very comfortably; and Parson Chowne had given", "Lest any one should be surprised that Sir Philip Bampfylde could have\npaid two visits to this delightful neighbourhood, without calling on our", "\"You lovely dear, why, who are you?\" cried Lady Bampfylde, with a start,\nthat made me dread hysterics.", "\"Here it is, sir,\" cried the General, overlooking me, in the rush of his\nsentiments towards the Colonel: \"here is the true Bampfylde mark. Even", "Bampfylde, now wife (if you will please to remember) to Commodore Sir\nDrake Bampfylde, although by birth entitled the Honourable Isabel", "Bampfylde, and waiting for three or four years more of age, to come into\nlarge estates in South Devon.", "did not cost me long to learn that one was good Sir Philip Bampfylde,\nand the other that very wicked Chowne. The latter had manifestly been", "\"Sir Philip Bampfylde, allow me,\" I said, stretching forth my right hand\nto him, \"to repay you for some of the countless benefits you have heaped", "After the master of the ship Defence had proved so unable to defend\nhimself, General Sir Philip Bampfylde, with his large and quiet mind", "much--whether he has earned it or otherwise--to restrain him from\ndeserving more. The reason why Sir Philip Bampfylde kept us so long", "Sir Drake Bampfylde (being knighted for service in India), and how all\nhis life he had lain under a cloud by reason of this very matter, not" ], [ "Therefore I now must tell what happened, rather as it is told to me,\nthan as myself remember it. Only you must not expect such truth, as I\nalways give, while competent.", "were to be considered, and only three, whatever point of view one chose\nto take of it. The first of these was Sir Philip, the second the two\nchildren, and the third of course myself. To the first my duty was", "\"Ever since I began to be put into clothes, and taught to kill other\npeople, I have longed to tell of an evil thing which happened once among", "And I, who had seen him brand his bitten arm with the red hot poker,\nlaying the glowing iron on, until the blood hissed out at it, I alone", "who listened at the door, because their duty compelled them thus to\nprotect their master. And all of these told different stories, agreeing\nonly upon one point; but the best of them told it, as follows. Chowne", "to make her contradict perhaps herself, but certainly us, ten times as\nmuch. She did her best to explain her meaning; and we really ought to\nenter more into their disabilities. Therefore let her tell her story, as", "afterwards), that truly, surely, and with no mistake he must have seen\nsomething. What it was became naturally quite another question; and upon\nthis head no two people could be found of one opinion. But though it", "When the whole of the music was crashing like a battle, and people going\nround like great flies in a web, my father led me down by the\nriver-side, and sent me up some dark narrow steps, and pointed to two", "story-tellers. Therefore let no one find any fault or doubt any single\nthing I tell them concerning some people who happen just now to be five\nor six shelves in the world above me, for I have seen a great deal of", "none was ever seen afterwards. It was the only field he had, being left\nto him by his grandmother; and many people were disappointed that he had\nnot slept with his cow that night. This directed his attention to the", "set them forth pretty much to the following purport. First, it was the\nCaptain himself who proposed the dancing on the terrace. Second, it was\nhis own man who drew her attention away from the children, after a", "herself listened with her face concealed to the tale of her own\nmisfortune. Once or twice she whispered to herself, \"Oh my poor poor", "\"At the end of that passage turn to the left, and knock at the third\ndoor round the corner. You dare not lay hands on anything. My master\nwill know it if you do.\"", "between his knees, and through the gloss of her hair he poured such very\nbeautiful and true stories, that one could almost see her mind (like the", "The boy looked at me with wonder and eagerness about it. But I gave him\na look, as much as to say, \"Ask no more at present.\" However, he was so\nfull of her that he could not keep from talking.", "and examined him carefully. The rest of the children seemed to hate him,\nand he, to shrink out of their way almost; and yet he was the only fine", "When Mrs Shapland had finished this tale, and was taking some\nwell-earned refreshment, Polly and I looked at one another, as much as", "\"A lie, of course, as concerns the Captain: from their want of\nknowledge. But concerning some one else, true enough, I fear, I fear.\"", "and I could fill seven thousand pages with our whole adventures. But\nnone of them bore much on my tale, and nobody cares for my adventures,\nsince I ceased to be young and handsome; and sometimes I almost thought", "\"Madam,\" said I, with that bow of mine which takes the women captive, \"I\nshould like to see him wonderfully; only without his seeing me.\"" ], [ "\"Old Davy, poor ickle Bardie not go to 'e back pit-hole yet?\"\n\n\"No, my dear, not for ever so long. Not for eighty years at least. And\nthen go straight to heaven!\"", "\"Aye yell! Then I tell 'a hot to do. Take poor Bardie to markiss, old\nDavy; and 'e get a great big money for her.\"", "\"Hy'se 'a been so long, old Davy, afore 'a come to see poor Bardie?\"\n\n\"Because, my pretty dear, I have been forced to work, all day long\nalmost.\"", "manner, but Bardie said, \"No, I 'ont, old Davy; I'll thank God when I\ngets puddeny-pie.\"", "Jones, with a candle, stooping to ease her by means of a drop of hot\ngrease; and inside, by the wall, lay Bardie, sleeping (as she always", "By the tone of her voice I knew that this last was a fib of fright, and\nglad I was to know it so. Much the better chance was left me of\ndisposing Bardie somewhere, where she might be comfortable.", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "was gradually broken into distant admiration. One morning I came\nsuddenly in from looking to my night-lines, and a pretty scene I saw.\nThe door of my cupboard was wide open, and there stood little Bardie", "\"Old Davy,\" she said, as I came to see her at her own invitation, and\nshe sate quite over Bunny, \"'Ill 'a have a ickle dop?\" With the water up", "astonishment was worth seeing, on account of his being such a fair young\nchap, when suddenly he beheld poor Bardie, standing weakly on her legs", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "Now, being sure of my boat, I began to think what to do with Bardie. And\nmany foolish ideas came, but I saw no way to a wise one, or at least I", "scarcely vie with me. But they promised never to forget me; and the\nnight before I went away, I carried Bardie back to Sker, and saw that\nBlack Evan was dying.", "When he had got from me all that I knew--except that he never once hit\nupon Bardie (the heart and the jewel of everything), he asked me without\nany warning--\n\n\"Do you know who that Sir Philip is?\"", "Bardie. And to the last day of my life I shall rejoice that I so\nbehaved. He saw that I was speaking truth; but he showed no signs of joy", "made no difference, however. Very soon they came to settle it between\nthem. The low-born Bunny looked down upon Bardie for being so much", "arms almost as helpless as little Bardie, three years younger, had lain\nthe night before; and knowing how children will go off without a man's", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose" ], [ "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "\"Davy,\" said he, \"we all know your courage, your readiness, and your\nresources. Still you appear to be under a spell--and you know you are", "\"Fisherman Davy\" (as they call me all around our parts) was fifty and\ntwo years of age, I believe, that very same July, and with all my heart", "CHAPTER I.\n\nFISHERMAN DAVY A FISH OUT OF WATER.", "of it all, old Davy, by relieving your mind, and behaving in a sensible\nand religious manner.\"", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"", "\"Davy dear, this is not right, nor like our ancient friendship. A rogue\nlike Griffy to cheat you so! What had he beaten you down to, Davy?\"", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "\"Old Davy tarry me aye nicely, I tell 'a. Old Davy good and kind; and I\n'ont have him called kumsy.\"", "\"Now, Davy, you know better. You think yourself at least as good as any\none of us, Davy, and likely far above us all. Therefore, Davy the", "\"That shows how much you know, old Davy! Why I was come on purpose to\ntell you that they are tired out at last: and that I may go to sea, if", "then she saw old Davy. Her hands came toward me, and so did her eyes,\nand so did her lips, with great promise of kisses, such as her father", "it. Yet I could see that the dear little eyes looked at me, and tried to\nsay to the wandering wits that it was Old Davy; and the helpless tongue", "\"Well, Davy, I have apologised. How many times more must I do it? It was\nnot that I doubted your skill. You tell us of that so often, that none", "old Davy, fine old Davy, brave old Davy!\" they said I was every time I\nabated a halfpenny; and I called them generous gentlemen and", "\"Old Davy,\" she said, as I came to see her at her own invitation, and\nshe sate quite over Bunny, \"'Ill 'a have a ickle dop?\" With the water up", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "\"Your name is David Llewellyn,\" he said, caring no more to look at me;\n\"you came from the coast of Glamorgan, three days ago, in the Rose of\nDevon schooner.\"" ], [ "\"That shows how much you know, old Davy! Why I was come on purpose to\ntell you that they are tired out at last: and that I may go to sea, if", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "\"Davy,\" said he, \"we all know your courage, your readiness, and your\nresources. Still you appear to be under a spell--and you know you are", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"Fisherman Davy\" (as they call me all around our parts) was fifty and\ntwo years of age, I believe, that very same July, and with all my heart", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose", "\"Davy dear, this is not right, nor like our ancient friendship. A rogue\nlike Griffy to cheat you so! What had he beaten you down to, Davy?\"", "Taffies with manners enough to come and hold a gentleman's horse? Here\nyou, Davy Jones, you are long enough, and lazy enough; put your hand to\nthe bridle, will you?\"", "\"Oh, Davy, Davy, I will,\" he answered; \"only, only save me.\"", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "\"Lieutenant, you would not like me to account you in the number.\"\n\n\"Davy, you might fairly do it, when I come off deck, like this. Send him\nin, ere I snooze, old fellow.\"", "\"Now, Davy, you know better. You think yourself at least as good as any\none of us, Davy, and likely far above us all. Therefore, Davy the", "\"What is the matter, my pretty dear?\" I asked, after landing, and\ncoaxing her. \"Tell old Davy; Captain David will see the whole of it put\nto rights.\"", "then she saw old Davy. Her hands came toward me, and so did her eyes,\nand so did her lips, with great promise of kisses, such as her father", "CHAPTER I.\n\nFISHERMAN DAVY A FISH OUT OF WATER.", "\"Old Davy tarry me aye nicely, I tell 'a. Old Davy good and kind; and I\n'ont have him called kumsy.\"", "strait toward this poor and unconverted Davy as if an angel held the\ntiller, with an admiral in the stern-sheets.", "\"Little dears,\" is all I say, \"Captain Davy is getting old. It is hard\nto tell a tale, but easy to find fault with it. You tell me that my left" ], [ "By the tone of her voice I knew that this last was a fib of fright, and\nglad I was to know it so. Much the better chance was left me of\ndisposing Bardie somewhere, where she might be comfortable.", "settled in my mind what to do with Bardie. She must go to the old\nSker-house. And having taken a special liking (through the goodness of", "Now, being sure of my boat, I began to think what to do with Bardie. And\nmany foolish ideas came, but I saw no way to a wise one, or at least I", "\"Aye yell! Then I tell 'a hot to do. Take poor Bardie to markiss, old\nDavy; and 'e get a great big money for her.\"", "manner, but Bardie said, \"No, I 'ont, old Davy; I'll thank God when I\ngets puddeny-pie.\"", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"Old Davy, poor ickle Bardie not go to 'e back pit-hole yet?\"\n\n\"No, my dear, not for ever so long. Not for eighty years at least. And\nthen go straight to heaven!\"", "\"Old Davy,\" she said, as I came to see her at her own invitation, and\nshe sate quite over Bunny, \"'Ill 'a have a ickle dop?\" With the water up", "\"'Ill 'a,\" she said; \"and poor Bardie too?\"", "\"Hy'se 'a been so long, old Davy, afore 'a come to see poor Bardie?\"\n\n\"Because, my pretty dear, I have been forced to work, all day long\nalmost.\"", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "kennel. But Bardie showed good-nature now, for she ran up to Bunny and\ntook her hand and led her to me, and said very nicely, \"Give this ickle", "herself, she never for a moment grudged to wipe poor Bardie's eyes with\nit. Nay, she even permitted her--which was much more for a child to", "strange just now, that it might prove a rich wise thing to go for a\nquiet cruise with Bardie. In that boat, and on the waves, she might", "believed to be the body of poor little Bardie. For that child had such\nnice ways, and took such upper hand of me; that, expecting to find a\nCaptain always, especially among women----", "Bardie. And to the last day of my life I shall rejoice that I so\nbehaved. He saw that I was speaking truth; but he showed no signs of joy", "The next and last thing, before starting, was to provide for poor Bardie\nherself. For I feared that Hezekiah, or some other unprincipled fellow,", "\"Nare she have been, all 'e time, stealing 'a soogar, old Davy!\" And she\nlooked at me as if she had done a good turn by the information. I", "was wrong, or at any rate failed to work it out. In a fortnight Bardie\nwas mistress again; and poor Bunny had to trot after her.", "its hands to her, being taken with a woman's dress. \"Give her to me,\nclumsy Davy. Is it that way you do carry her?\"" ], [ "\"Ever since I began to be put into clothes, and taught to kill other\npeople, I have longed to tell of an evil thing which happened once among", "When the whole of the music was crashing like a battle, and people going\nround like great flies in a web, my father led me down by the\nriver-side, and sent me up some dark narrow steps, and pointed to two", "\"Twenty years at least,\" he pronounced it, in a clear decided voice;\n\"twenty years it must have taken to have made me what I am. Would twenty", "This was a very sad story, I thought, but they said that the worst of it\nstill lay behind: for poor Squire Philip had been so upset by the hurry", "It must have been either the end of February, or the early part of\nMarch, in the year of grace 1793, when we heard of this grand and", "and, Charley, can you say otherwise? Then it must have been eighteen\nyears agone, when I was took on for under-nurse, because the Princess", "as if she had known the place for a century. The General clearly had\nmanaged to visit her during the time of his absence from us; what passed\nbetween them matters not, except that he must have acknowledged her. For", "yesterday. And I take that to be the truth of it. How many years have I\nbeen here? I know not. Bring me a looking-glass.\"", "CHAPTER XXVIII.\n\nSOMETHING ABOUT HIM.", "\"At the end of that passage turn to the left, and knock at the third\ndoor round the corner. You dare not lay hands on anything. My master\nwill know it if you do.\"", "\"A month, your honour!\" I cried in dismay. \"I never could stop in this\ncountry a month. Why, a week of it would be enough to drive me out of my\nmind almost.\"", "CHAPTER XVII.\n\nFOR A LITTLE CHANGE OF AIR.", "CHAPTER XLVI.\n\nAFTER SEVEN YEARS.", "It may have been half an hour afterwards, or it may have been an hour\nand a half (so much these people differed), when Captain Vellacott on a", "\"My father before we got home stripped off the little boy's clothes, and\nburied them in a black moor-hole full of slime, with a great white stone", "of those children so much as a single farthing for taking care of her\nproperty until she was twenty-one years of age. Then as regards the\nsecond point, I displayed my zeal immediately, by falling upon Bunny", "years old, and I will not be made a child of. You have been wonderfully\nkind and good, and as dear to me as a father; but I must go away now; I\nmust go away.\"", "none was ever seen afterwards. It was the only field he had, being left\nto him by his grandmother; and many people were disappointed that he had\nnot slept with his cow that night. This directed his attention to the", "him. In the early days when he was poor, and clever, and ambitious, he\nhad ousted his elder brother from his father's hearth, and banished him.", "who listened at the door, because their duty compelled them thus to\nprotect their master. And all of these told different stories, agreeing\nonly upon one point; but the best of them told it, as follows. Chowne" ], [ "But poor Bardie hung down her head and was shy, which never happened to\nher with me or any of the common people; she seemed to know, as if by", "\"Old Davy, poor ickle Bardie not go to 'e back pit-hole yet?\"\n\n\"No, my dear, not for ever so long. Not for eighty years at least. And\nthen go straight to heaven!\"", "manner, but Bardie said, \"No, I 'ont, old Davy; I'll thank God when I\ngets puddeny-pie.\"", "little hands spread, and her bright eyes flashing; 'I'se Bardie, I tell\n'a; and evelybody knows it.' Oh yes, and she never could say 'th'--but", "\"Aye yell! Then I tell 'a hot to do. Take poor Bardie to markiss, old\nDavy; and 'e get a great big money for her.\"", "\"Hy'se 'a been so long, old Davy, afore 'a come to see poor Bardie?\"\n\n\"Because, my pretty dear, I have been forced to work, all day long\nalmost.\"", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"Davy,\" said he, \"we all know your courage, your readiness, and your\nresources. Still you appear to be under a spell--and you know you are", "\"Now, Davy, you know better. You think yourself at least as good as any\none of us, Davy, and likely far above us all. Therefore, Davy the", "Bardie, and might have been her twin-brother, as everybody vowed he was,\nonly his face was bolder and stronger, and his nose quite different,", "forward little Davy, thinking that I spoil him so, because of his\ndecided genius giving such promise of bard-hood--already it would do you", "else, except that it was dear Bardie. That little darling whom I loved,\nfor her gifts direct from God, and her ways, so out of the way to all", "When he had got from me all that I knew--except that he never once hit\nupon Bardie (the heart and the jewel of everything), he asked me without\nany warning--\n\n\"Do you know who that Sir Philip is?\"", "or 'Bardie,' as she called herself, though christened after her mother.\nEverybody, the poor little mite, she expected everybody to know her name", "\"Davy dear, this is not right, nor like our ancient friendship. A rogue\nlike Griffy to cheat you so! What had he beaten you down to, Davy?\"", "made no difference, however. Very soon they came to settle it between\nthem. The low-born Bunny looked down upon Bardie for being so much", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"", "old Davy some day. Ickle bother not like nat at all. Ickle bother not so\nbig enough, and only two ickle teeth in front, and his hair all gone", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose" ], [ "\"What a gloomy and devilish place!\" cried Rodney Bluett, beginning to\ntremble from some unknown influence. \"Upon my soul, if I lived here, I", "from his constant desire to lash a horse. He was the devil himself to\nride, so everybody said of him; and Parson Chowne's horse was now become", "so as to drive them to Heddon's Mouth. We durst not halt for a rest\nuntil there were three leagues between us and Nympton Moor; then", "\"You fool! Is that all the wit you have? Three days in and out of\nBarnstaple! It is Sir Philip Bampfylde of Narnton Court, close by you.\"", "three of his ribs stoven in, and a good deal of breakage abroad in his\nhead. However, they hoped that he might come round; and being a\nDevonshire man, he did, as I found out afterwards.", "Hurried speech does not become me on any other subject. Everybody has\nthe right to know, and everybody does know, how the whole of North Devon", "along the Braunton road, to find his boat where the river bends. And\nmuch as I longed to know him better, and understand why he did such", "in the West of England. She is the grandchild of Sir Philip Bampfylde of\nNarnton Court, near Barnstaple. And I think I have heard my mother speak", "\"Your name is David Llewellyn,\" he said, caring no more to look at me;\n\"you came from the coast of Glamorgan, three days ago, in the Rose of\nDevon schooner.\"", "We left the Sealark off Heddon's Mouth, a wild and desolate part of the\ncoast, for my object was to pounce unawares on the Parson's savage", "We brought the Rose of Devon to her moorings on the south side of the\nriver, about two miles short of Barnstaple, where a little bend and", "\"Exactly as I say, your Honour. These are what the wild man took for\nyour two children in Braunton Burrows; and here is the Captain's", "Appledore, which is, we believe, in Devonshire. The respected Coroner\nBowles held an inquest, which afforded universal satisfaction.\"", "\"I look upon him, your Worship, as the blackest-hearted son of Belial\never sent into this world.\"", "bitter disdain of his countenance. The devil, who wanted him for a rare\nmorsel in the way of cannibalism, stood at my elbow; but luckily thought", "\"He does not dislike you, Drake Bampfylde; he hates you with all the\nvenomous, cold, black hatred, such as I fear to think of--oh my dear, oh\nmy dear!\"", "coming home towards his family, very late one Friday night; and he knew\nthat it was Friday night because of the songs along the road of the folk\nfrom Barnstaple market. He kept himself out of their way, because they", "docile. This he pretended at first to explain as the result of a compact\nformed some years back between his reverence and the devil. For Parson", "barbarous broken English--if this jargon could be called English at\nall--the only thing I could gather was, that none but true Devonshire", "in places, when the tide is out, and no floods coming down. These two\ncunning barbarians came of course from the Nympton rookery, but were" ], [ "\"That shows how much you know, old Davy! Why I was come on purpose to\ntell you that they are tired out at last: and that I may go to sea, if", "\"Davy dear, this is not right, nor like our ancient friendship. A rogue\nlike Griffy to cheat you so! What had he beaten you down to, Davy?\"", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "\"Well, Davy, I have apologised. How many times more must I do it? It was\nnot that I doubted your skill. You tell us of that so often, that none", "\"Davy,\" said he, \"we all know your courage, your readiness, and your\nresources. Still you appear to be under a spell--and you know you are", "of it all, old Davy, by relieving your mind, and behaving in a sensible\nand religious manner.\"", "\"On, on!\" cried Rodney Bluett; \"you know these paths, gallop on, Davy.\"", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose", "old Davy some day. Ickle bother not like nat at all. Ickle bother not so\nbig enough, and only two ickle teeth in front, and his hair all gone", "\"'Hots 'a think, old Davy? Patty Geen been yecked, she has.\"\n\n\"'Yecked!' I don't know what that is, my dear.\"", "\"Thou hast crossed the water for something then, Davy. Them be the two\nPassons!\"\n\n\"Two Passons!\" I could not say it exactly as he sounded it. \"I never\nheard of two Passons.\"", "\"What does it mean?\" cried Rodney Bluett; \"is it murder, madness, or\nsuicide? Follow me, Davy. Here I go, anyhow, into the thick of it.\"", "good brother Davy with fish upon a Monday?\" His object in this was plain\nenough--to beat down my goods by terror of an information for\nSabbath-labour.", "\"Old Davy, poor ickle Bardie not go to 'e back pit-hole yet?\"\n\n\"No, my dear, not for ever so long. Not for eighty years at least. And\nthen go straight to heaven!\"", "\"Your Reverence, it so happens that my name is 'Old Davy Llewellyn.'\"\n\n\n\n\nCHAPTER LIV.", "scarcely vie with me. But they promised never to forget me; and the\nnight before I went away, I carried Bardie back to Sker, and saw that\nBlack Evan was dying.", "\"Your name is David Llewellyn,\" he said, caring no more to look at me;\n\"you came from the coast of Glamorgan, three days ago, in the Rose of\nDevon schooner.\"", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me." ], [ "\"Do you mean that big thief, Davy Llewellyn? Well, well, do as you\nplease. But I will thank you to pay my bill first.\"", "\"Your name is David Llewellyn,\" he said, caring no more to look at me;\n\"you came from the coast of Glamorgan, three days ago, in the Rose of\nDevon schooner.\"", "\"David Llewellyn,\" he said, as he rose and approached me as if I were\nquite his equal; \"allow me to take your hand, my friend. There are few", "\"It seems very likely,\" said Colonel Lougher, as they waited for his\nopinion. \"That David Llewellyn is a most shrewd fellow. But he ought to", "cause may be, the result seems always to be the same, in spite of inborn\nhumility--to wit, that poor old Davy Llewellyn, wherever his ups and", "\"Your Reverence, it so happens that my name is 'Old Davy Llewellyn.'\"\n\n\n\n\nCHAPTER LIV.", "believe was this old Davy Llewellyn; and right he has to be proud of it.\nBut what were left on my hands that evening were beginning to get so", "\"David Llewellyn.\" And so we met; and I squeezed his hand till he longed\nto dance; and I was ready to cut a caper from my depth of feeling.", "tongues of these natives by means of some excellent stories. Recalling\nthe fame of my grandfather (that long David Llewellyn, who made on his", "\"David Llewellyn, the only chance to save thy sinful soul is this. Open\nthine heart to the chosen one, to the favoured of the Lord. Confess to", "celebrated fisherman, and heroic pensioner of our royal navy, whose name\nis David Llewellyn, and who traces his lineage from the royal bard of", "\"Yes, your Reverence, David Llewellyn, once of his Majesty's Royal Navy,\nand now of----\"", "I could not help saying to myself, \"Come, after all now, Davy Llewellyn,\nyou are not gone so far as to want a low Scotchman to show you the place", "\"Llewellyn,\" he said, \"I trust in God. Years of trouble have taught me\nthat. I speak to you as a friend almost, from your long acquaintance", "\"To be sure, to be sure! I remember now,\" he said, with his grave and\nplacid smile: \"David Llewellyn! Both good old names, and the latter, I", "of a clock than I, old Davy Llewellyn, and once on a time I asked him,\nwhen he talked too much of his \"ometries\"--as a sailor might do in his", "\"Captain Llewellyn,\" he said; \"I am come to tell you that my mind is\nquite made up. I mean to go to sea as soon as I can have my clothes\nmade.\"", "\"Llewellyn,\" he said, \"the time is come for you to leave off this course\nof action. I do not wonder that you felt provoked; but you must seek for", "\"Indeed and indeed then, Mr Llewellyn,\" he went on in English, having an\nevident desire to improve himself by discourse with me, \"I did try, and", "\"There is not one of us, I daresay, who would not enjoy this little\nchange. But I think that Llewellyn is our man, simply for this reason." ], [ "strange just now, that it might prove a rich wise thing to go for a\nquiet cruise with Bardie. In that boat, and on the waves, she might", "to lift upon a bit of a wave, and, not having won her sea-legs yet in\nspite of that long cruise, down came poor Bardie with a thump, which", "By the tone of her voice I knew that this last was a fib of fright, and\nglad I was to know it so. Much the better chance was left me of\ndisposing Bardie somewhere, where she might be comfortable.", "yong. Ickle bother, such a lot of things Bardie's got to tell 'a.\" And\nthus she would run on the brink of the waves with hope and sadness", "little hands spread, and her bright eyes flashing; 'I'se Bardie, I tell\n'a; and evelybody knows it.' Oh yes, and she never could say 'th'--but", "settled in my mind what to do with Bardie. She must go to the old\nSker-house. And having taken a special liking (through the goodness of", "Now, being sure of my boat, I began to think what to do with Bardie. And\nmany foolish ideas came, but I saw no way to a wise one, or at least I", "Bardie seemed almost too full of life for quenching; and having escaped\nrocks, waves, and quicksands, surely she would never be wrecked upon dry", "\"Hush!\" I whispered; too late, however, for there stood Bardie herself,\na slim, light-footed, and graceful child, about ten years old just then,", "Bardie. And to the last day of my life I shall rejoice that I so\nbehaved. He saw that I was speaking truth; but he showed no signs of joy", "deep compassion. The sense of bad-luck was too strong for the courage of\neven two years' growth, and little Bardie proved herself of just the\nright age for crying. I had observed how clear and bright and musical", "and all about her; and nothing put her in such a passion as to pretend\nnot to know who she was. 'I'se Bardie,' she used to cry out, with her", "\"Your name is David Llewellyn,\" he said, caring no more to look at me;\n\"you came from the coast of Glamorgan, three days ago, in the Rose of\nDevon schooner.\"", "But poor Bardie hung down her head and was shy, which never happened to\nher with me or any of the common people; she seemed to know, as if by", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "By this time I owe it to all the kind people who have felt some pity for\nour Bardie and her fortunes, to put off no longer a few little things", "\"'Ill 'a,\" she said; \"and poor Bardie too?\"", "was gradually broken into distant admiration. One morning I came\nsuddenly in from looking to my night-lines, and a pretty scene I saw.\nThe door of my cupboard was wide open, and there stood little Bardie", "else, except that it was dear Bardie. That little darling whom I loved,\nfor her gifts direct from God, and her ways, so out of the way to all", "herself, she never for a moment grudged to wipe poor Bardie's eyes with\nit. Nay, she even permitted her--which was much more for a child to" ], [ "Now, being sure of my boat, I began to think what to do with Bardie. And\nmany foolish ideas came, but I saw no way to a wise one, or at least I", "strange just now, that it might prove a rich wise thing to go for a\nquiet cruise with Bardie. In that boat, and on the waves, she might", "The \"burning tide,\" as they called it (through which poor Bardie first\nappeared), had been heard of far inland, and with one consent pronounced", "one. Only I felt it just to leave my boat entire to Bardie.", "Bardie. And to the last day of my life I shall rejoice that I so\nbehaved. He saw that I was speaking truth; but he showed no signs of joy", "By the tone of her voice I knew that this last was a fib of fright, and\nglad I was to know it so. Much the better chance was left me of\ndisposing Bardie somewhere, where she might be comfortable.", "Because he would argue it out that a boat, unmanned and even unmasted,\nnever could have crossed the channel as Bardie's boat must needs have", "Bardie seemed almost too full of life for quenching; and having escaped\nrocks, waves, and quicksands, surely she would never be wrecked upon dry", "Rodney played with Bardie. This of course interfered with the lady's\nchances of spreading nets for him, so that soon she lost her temper,", "to lift upon a bit of a wave, and, not having won her sea-legs yet in\nspite of that long cruise, down came poor Bardie with a thump, which", "scarcely vie with me. But they promised never to forget me; and the\nnight before I went away, I carried Bardie back to Sker, and saw that\nBlack Evan was dying.", "ashore, or at least their bodies, and are now in Newton churchyard. The\nsame must have been the fate of Bardie but for the accident of that", "She was bearing towards Pool Tavan, as poor Bardie's boat had done, but\nwithout the summer glory and the golden wealth of waves. All was smooth", "tide rose higher, though all on board were swept away--suddenly it came\ninto my head about poor Bardie and Bunny. They were worth all the", "was gradually broken into distant admiration. One morning I came\nsuddenly in from looking to my night-lines, and a pretty scene I saw.\nThe door of my cupboard was wide open, and there stood little Bardie", "sweetheart Moxy, and for little Bardie in the thick of such disasters,\nthat could be no excuse to me for wasting good fish--or at least pretty\ngood--and losing thoroughly good money.", "But to break away at once from all these trifling matters, only one day\ncame to pass before I went for Bardie. All along the sea-coast I was", "\"'Ill 'a,\" she said; \"and poor Bardie too?\"", "and rudder also. And the same held true, as most people would think,\nconcerning Bardie's property; for if I had not saved her life, how could\nshe have owned any?", "And even this was not the whole of the blessings that now rolled down\nupon me, for the sake, no doubt, of little Bardie, as with the ark in" ], [ "Hence it was that Sir Philip Bampfylde, on the very morning after I gave\nhim back his grandchild, sate gazing into the ebb of the Tawe, some", "\"Who are you, my pretty creature?\" Sir Philip Bampfylde asked again,\nwhile she opened her grey eyes wide at him.", "Philip Bampfylde, Esquire, and the younger Captain Drake Bampfylde, of\nwhom I have spoken already. Philip, the heir, had been appointed to", "audience of Sir Philip Bampfylde himself, and tell him all that I ever\nhad seen of Chowne and his devices, and place Sir Philip on his guard,", "all these wonders about Sir Philip Bampfylde. What had led him to visit\nme? What was he seeking on Braunton Burrows--for now I knew that it must", "far more) in true family love, that fine and pure old gentleman, the\nmuch-troubled Sir Philip Bampfylde,--this, I say, was the very first", "in the West of England. She is the grandchild of Sir Philip Bampfylde of\nNarnton Court, near Barnstaple. And I think I have heard my mother speak", "Sir Philip Bampfylde, as every one said, was a very nice gentleman\nindeed, the head of an ancient family, and the owner of a large estate.", "to my genuine benefactor, poor Sir Philip Bampfylde. This old gentleman\nclearly was not going on very comfortably; and Parson Chowne had given", "Captain Drake Bampfylde was the most unlucky of born mortals. To begin\nwith, he was the younger son of that very fine Sir Philip, and feeling", "Lest any one should be surprised that Sir Philip Bampfylde could have\npaid two visits to this delightful neighbourhood, without calling on our", "\"Here it is, sir,\" cried the General, overlooking me, in the rush of his\nsentiments towards the Colonel: \"here is the true Bampfylde mark. Even", "\"You lovely dear, why, who are you?\" cried Lady Bampfylde, with a start,\nthat made me dread hysterics.", "Bampfylde, and waiting for three or four years more of age, to come into\nlarge estates in South Devon.", "\"Sir Philip Bampfylde, allow me,\" I said, stretching forth my right hand\nto him, \"to repay you for some of the countless benefits you have heaped", "Bampfylde, now wife (if you will please to remember) to Commodore Sir\nDrake Bampfylde, although by birth entitled the Honourable Isabel", "After the master of the ship Defence had proved so unable to defend\nhimself, General Sir Philip Bampfylde, with his large and quiet mind", "did not cost me long to learn that one was good Sir Philip Bampfylde,\nand the other that very wicked Chowne. The latter had manifestly been", "Bampfyldes even older. Come to me, my pretty darling. There, don't cry\nso; or if you must, come in here, and I will help you. Rodney, my dear,", "bride a most unhappy one. Therefore Sir Philip Bampfylde and the ancient\nEarl of Pomeroy were the only persons present of their rank and kindred;" ], [ "\"Aye yell! Then I tell 'a hot to do. Take poor Bardie to markiss, old\nDavy; and 'e get a great big money for her.\"", "By the tone of her voice I knew that this last was a fib of fright, and\nglad I was to know it so. Much the better chance was left me of\ndisposing Bardie somewhere, where she might be comfortable.", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "\"Old Davy, poor ickle Bardie not go to 'e back pit-hole yet?\"\n\n\"No, my dear, not for ever so long. Not for eighty years at least. And\nthen go straight to heaven!\"", "\"And old Davy wants to see you, you beauty,\" I cried, as she jumped like\na little wild kid, and took all my house with a glance, and then me.", "\"Old Davy,\" she said, as I came to see her at her own invitation, and\nshe sate quite over Bunny, \"'Ill 'a have a ickle dop?\" With the water up", "manner, but Bardie said, \"No, I 'ont, old Davy; I'll thank God when I\ngets puddeny-pie.\"", "\"Hy'se 'a been so long, old Davy, afore 'a come to see poor Bardie?\"\n\n\"Because, my pretty dear, I have been forced to work, all day long\nalmost.\"", "Now, being sure of my boat, I began to think what to do with Bardie. And\nmany foolish ideas came, but I saw no way to a wise one, or at least I", "kennel. But Bardie showed good-nature now, for she ran up to Bunny and\ntook her hand and led her to me, and said very nicely, \"Give this ickle", "\"'Ill 'a,\" she said; \"and poor Bardie too?\"", "settled in my mind what to do with Bardie. She must go to the old\nSker-house. And having taken a special liking (through the goodness of", "Jones, with a candle, stooping to ease her by means of a drop of hot\ngrease; and inside, by the wall, lay Bardie, sleeping (as she always", "Bunny, being the elder and much the stronger child, had thrown the skirt\nof her frock across poor little Bardie's naked shoulders; while Bardie,", "herself, she never for a moment grudged to wipe poor Bardie's eyes with\nit. Nay, she even permitted her--which was much more for a child to", "\"Nare she have been, all 'e time, stealing 'a soogar, old Davy!\" And she\nlooked at me as if she had done a good turn by the information. I", "\"What, Davy! Brother Davy!\" he cried, being compelled to begin, because\nI took care not to look at him. \"Has it been so ordered that I behold", "Bardie wept in the arms of Bunny. They put their little hands behind\nthem, and stood apart to think a bit, and watched each other shyly. To", "see, old Davy. I sow 'a sompfin,\" she whispered to me, when she thought\nthe others were not looking, so I gave a wink to Moxy Thomas, whose", "then she saw old Davy. Her hands came toward me, and so did her eyes,\nand so did her lips, with great promise of kisses, such as her father" ], [ "manner, but Bardie said, \"No, I 'ont, old Davy; I'll thank God when I\ngets puddeny-pie.\"", "Bardie. And to the last day of my life I shall rejoice that I so\nbehaved. He saw that I was speaking truth; but he showed no signs of joy", "Bardie was of a birth and nature such as demanded this thing highly.", "made no difference, however. Very soon they came to settle it between\nthem. The low-born Bunny looked down upon Bardie for being so much", "believed to be the body of poor little Bardie. For that child had such\nnice ways, and took such upper hand of me; that, expecting to find a\nCaptain always, especially among women----", "I thought I had made a most excellent speech, and Bardie looked up with\nadmiration, to know when I meant to finish. But to my surprise, young\nRodney took very little heed of it.", "Bardie, and might have been her twin-brother, as everybody vowed he was,\nonly his face was bolder and stronger, and his nose quite different,", "But poor Bardie hung down her head and was shy, which never happened to\nher with me or any of the common people; she seemed to know, as if by", "little hands spread, and her bright eyes flashing; 'I'se Bardie, I tell\n'a; and evelybody knows it.' Oh yes, and she never could say 'th'--but", "smaller, and the high-born Bardie looked down upon Bunny for being so\nmuch coarser. But neither was able to tell the other at all what her", "many could not stand against Bardie's smile. They made up, indeed, some\nscandalous story, as might have been expected, about my relationship to", "down the sandhill almost faster than became her dignity. But if she had\nbeen surprised before, how was she astonished now at Bardie's reception\nof her?", "was gradually broken into distant admiration. One morning I came\nsuddenly in from looking to my night-lines, and a pretty scene I saw.\nThe door of my cupboard was wide open, and there stood little Bardie", "girl-child shook her hand at him, and said, 'E bad man, Bardie knows\n'a.'", "Poor Bardie appeared as full of bright spirit, and as brave as ever, and\nwhen she tumbled from jumping two steps, what did she do but climb back", "else, except that it was dear Bardie. That little darling whom I loved,\nfor her gifts direct from God, and her ways, so out of the way to all", "kennel. But Bardie showed good-nature now, for she ran up to Bunny and\ntook her hand and led her to me, and said very nicely, \"Give this ickle", "\"I'se Bardie. Didn't 'a know that?\"", "\"Bardie!\" I cried, with some indignation, as if she were growing beyond\nmy control; and she stood on the spring of her toes exactly as she had", "show the best side of his manners. Wherefore, to let him have his say,\nhere is his opinion." ], [ "\"That shows how much you know, old Davy! Why I was come on purpose to\ntell you that they are tired out at last: and that I may go to sea, if", "Bluett was about ten years old at that time, and the main delight of his\nlife was this, to come fishing with old Davy. The wondrous yarns I used", "CHAPTER I.\n\nFISHERMAN DAVY A FISH OUT OF WATER.", "\"Davy dear, this is not right, nor like our ancient friendship. A rogue\nlike Griffy to cheat you so! What had he beaten you down to, Davy?\"", "\"Fisherman Davy\" (as they call me all around our parts) was fifty and\ntwo years of age, I believe, that very same July, and with all my heart", "Taffies with manners enough to come and hold a gentleman's horse? Here\nyou, Davy Jones, you are long enough, and lazy enough; put your hand to\nthe bridle, will you?\"", "Fuzzy and Ike were stealing rock at this particular period in a new\nketch called the Devil (wholly in honour of Parson Chowne); and through", "\"Thou hast crossed the water for something then, Davy. Them be the two\nPassons!\"\n\n\"Two Passons!\" I could not say it exactly as he sounded it. \"I never\nheard of two Passons.\"", "about her, she might very well have been in a Dutch ship with her father\nand mother, and little brother and Susan, in the best cabin. It was well\nknown among us that Dutch vessels lay generally northward of their true", "\"Come out,\" she cried, \"old Davy; you are the only one that knows the\nway about this lovely place.\"", "\"Indeed, and so I am, old Davy,\" she answered, without abashment, and\nalmost too busy to notice me; \"the Lord may bless my poor endeavours to", "The part to be beaten up first is the Welsh coast, from St David's Head\nto Penarth. I have heard of many good seamen there, and especially at", "\"Old Davy tarry me aye nicely, I tell 'a. Old Davy good and kind; and I\n'ont have him called kumsy.\"", "\"Your name is David Llewellyn,\" he said, caring no more to look at me;\n\"you came from the coast of Glamorgan, three days ago, in the Rose of\nDevon schooner.\"", "\"Brother Davy, I have offered a blessing on thy flesh-pots; and good\nthey were, though not manifold. It is comely that I should offer another\nblessing on thy vessels, Davy.\"", "\"Ketch, your reverence, if you please. The difference is in the\nmizzen-mast.\"", "then she saw old Davy. Her hands came toward me, and so did her eyes,\nand so did her lips, with great promise of kisses, such as her father", "\"I'se yeady, old Davy,\" she answered; \"I'se kite yeady. 'Hen 'll 'e be\nyeady? Peshy voo.\"", "find me redeem it afterwards. The famous David Llewellyn, of His\nMajesty's Royal Navy, took a berth in a trading-schooner, called the\n\"Rose of Devon!\"", "\"'Hots 'a think, old Davy? Patty Geen been yecked, she has.\"\n\n\"'Yecked!' I don't know what that is, my dear.\"" ], [ "Parson Chowne. It was expected that the Parson would be content to have\nhim down and horsewhip him (as his manner was), and burn his house down", "children. And of these the very worst was Parson Chowne. If it had been\nhis own only children--such as he says he is too good to have--he", "Parson Chowne, in early life, before his mind was put into shape for\nanything but to please itself, had been dreadfully vexed and thwarted.", "from his constant desire to lash a horse. He was the devil himself to\nride, so everybody said of him; and Parson Chowne's horse was now become", "employ his ship and crew for a purpose of high treason to his lawful\nmaster. That Parson Chowne should dare to think that I would swallow\nsuch stuff as that, made me angry with myself for not having", "This more than anything else aroused Parson Chowne's attention. For the\npapers he cared not a damn, he said; for two of them lived by abusing", "Through wholesome fear of Parson Chowne, and knowledge of his\nfire-tricks, I kept the Rose of Devon in a berth of deep fresh water;", "shelter us. And half a mile away round the corner might be found (as the\ndriver said) the rectory house of Parson Chowne. Neither horse nor man", "However, no more of arguments. What good can they do, when the thing is\nthere, and no reasoning can alter it? Even Parson Chowne might argue,", "It seems that no sooner did Parson Chowne discover how cleverly I had\nescaped him (after leaving my mark behind, in a way rather hard to put", "enough to say that Parson Chowne in my visions came and horribly stood\nover me.", "This affair impressed me so with a sense of awe and reverence, and a\ncertainty that Parson Chowne must be in direct receipt of counsel from", "Parson Chowne, he set off for the stables at a pace likely to prove\ninjurious to his credit for consistency.", "right or wrong, until his evil star led him into Parson Chowne's\nsociety. But still he had instincts now and then, such as a horse has,", "five pounds for his bargain. This ought to have satisfied any man who\nknew what Parson Chowne was, and that fifty times five pounds would be\nsaved by keeping out of his black books. Nevertheless the Captain stuck", "Parson Chowne (who happened to have two churches), this gentleman had\ncontrived to give, as almost every one managed to do, deadly offence to", "Parson Chowne rose, and threw off his mask, and drew back the\nwindow-curtain, and sat in his hunting-clothes, and watched with his", "What Parson Chowne said to this poor gentleman, on the night we are\nspeaking of, was known to none except themselves and two or three maids", "But finding this useless, he said that it was no more than he had\nexpected; because it was known that it always befell every man who\nforgot his baptism, and got into dealings with Parson Chowne.", "Parson Chowne did now, or at least I mean soon afterwards? That night he\nhad pressed his attentions on the beautiful young lady, so that in" ], [ "Captain Drake Bampfylde had drowned the children, some said by accident,\nsome said on purpose, and buried them somewhere on Braunton Burrows. And", "Philip Bampfylde, Esquire, and the younger Captain Drake Bampfylde, of\nwhom I have spoken already. Philip, the heir, had been appointed to", "Captain Drake Bampfylde was the most unlucky of born mortals. To begin\nwith, he was the younger son of that very fine Sir Philip, and feeling", "the river, and a great cry was made for Captain Drake Bampfylde, from\nhis knowledge of the waterways. But, though all the evening foremost in", "There was not a man of us dared to leave Captain Drake Bampfylde\nshabbily. We turned over to the Thetis, in a body, with him; and the", "Captain Drake, upon a charge of murder.", "sand, and come home to dinner afterwards. And of all the captains I had\nseen, Drake Bampfylde seemed as unfit as any to do a thing of that", "\"He does not dislike you, Drake Bampfylde; he hates you with all the\nvenomous, cold, black hatred, such as I fear to think of--oh my dear, oh\nmy dear!\"", "and the other to a Frenchman! Drake Bampfylde, but for inborn courage,\nmust have hanged himself outright. And, as it was, he could not keep", "together, before the young children went out of the world, Captain Drake\nBampfylde was not likely to have made them go so. For that fair maiden's", "perhaps, if the case had been my own--but they pledged their honour and\nkept it. Drake Bampfylde (like his father) had a strength of trust in", "Bampfylde, now wife (if you will please to remember) to Commodore Sir\nDrake Bampfylde, although by birth entitled the Honourable Isabel", "to settle themselves. And Captain Bampfylde was so hard set by the\nnature of the case, that he might have been enticed away from what his", "Sir Drake Bampfylde (being knighted for service in India), and how all\nhis life he had lain under a cloud by reason of this very matter, not", "\"Then all that I want of your ladyship is to get me rated aboard of\nCaptain Drake Bampfylde's ship.\"\n\nShe coloured up so clearly that I was compelled to look away: and then\nshe said--", "Nobody knows what might have happened with Captain Bampfylde so beset,\nand longing to think that he ought to act as everybody told him: but he", "value again to fight for, after abandoning their own. Not that Drake\nBampfylde ever did slip into evil courses, so far as I could hear of", "peace, when who should come with his evil luck to spoil everything, but\nDrake Bampfylde? How it came to pass was not clearly known, at least to", "commander, mere coaster fellows become true seamen, and even\nland-lubbers learn how to walk. Captain Drake Bampfylde did me the", "he swore that he never would be cast down, or doubt the honour of his\nfavourite son, until that son confessed it. This Drake Bampfylde had" ] ]

[ "Who tells the story?", "What does the 2-year-old girl call herself?", "Whose grandchildren have mysteriously disappeared?", "Why does Davy dote Bardie so strongly?", "What gives Bardie away that she is not a commoner?", "What kind of crew does Davy join?", "Who does he meet who is a demon and wicked?", "Who is suspected of kidnapping Phillip Bampfylde's grandchildren?", "Who is Sir Philip Bampfylde searching for? ", "Who's viewpoint is the story from?", "Where does Davy find Bardie?", "What is Davy's profession? ", "Where does Davy join the crew?", "After finding Bardie what does Davy decide to do with her?", "What century is the story set in? ", "How does Davy know Bardie is not a common child? ", "Which character is demonic and from the north of Devon? ", "What battle does Blackmore discuss with Davy? ", "How does Davy Llewellyn make his living?", "How old is Bardie when her boat drifts ashore at Glamorganshire?", "What happens to Bardie's boat?", "Who is Sir Philip Bampfylde looking for?", "What does Davy do with Bardie after he finds her?", "What type of manners does Bardie have?", "In what geographic area does the ketch Davy joins trade?", "Where does Parson Chowne work his evil will?", "What is Captain Drake Bamfylde suspected of doing?" ]

[ [ "Davy Llewellyn, a fisherman.", "Davy Llewellyn" ], [ "Bardie.", "Bardie. " ], [ "Sir Phillip Bampfylde", "Sir Philip Bampfylde" ], [ "In hopes that he can see some of the family fortune.", "He thinks his fortunes are linked to hers" ], [ "Fine clothes and refined manners.", "Her manners and her clothes." ], [ "He joins Ketch trading.", "A ketch trading crew." ], [ "Parson Chowne.", "Parson Chowne" ], [ "Drake Bampfylde.", "Captain Drake Bamfylde" ], [ "His two grandchildren ", "Looking for his grandchildren. " ], [ "Davy Llewellyn", "Blackmore." ], [ "On a boat on a beach in Glamorganshire", "Adrift on a boat in Glamorganshire" ], [ "A fisherman", "He is a fisherman." ], [ "Between Barnstaple and Porthcrawl", "Between Barnstaple and Porthcrawl" ], [ "Gives her to a well-to-do household in his neighborhood ", "He leaves her with an upper middle class household." ], [ "18th century ", "18th" ], [ "By her clothes and manners ", "She has very fine clothes." ], [ "Parson Chowne ", "Parson Chowne." ], [ "Battle of the Nile", "The Battle of the Nile" ], [ "He is a fisherman.", "Fishing. " ], [ "Two years old.", "Two years old." ], [ "Davy Llewellyn keeps it for himself.", "Davey Llewellyn keeps it for himself" ], [ "His two grandchildren who have disappeared.", "His 2 missing grandchildren" ], [ "He quarters her in a well-to-do household in his neighborhood.", "He gives her up." ], [ "Refined.", "Refined." ], [ "Between Barnstaple and Porthcawl.", "Around Barnstaple and Porthcawl" ], [ "In the north of Devon.", "The north of Devon" ], [ "Stealing away the children of his older brother who are the heirs to the family property. ", "Making off with the children of his brother." ] ]

24c8ed4f493ab62acff4da9bad5c6a1c07e4770d

test

[ [ "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "KUJAN\n Keaton was a piece of shit.\n\n\n VERBAL\n You trying to get a rise out of me, Agent \n Kujan?", "KUJAN\n I don't think you do. But you say you saw\n Keaton die. I think you're covering his", "KUJAN (VOICE)\n I know you liked Keaton I know you think\n he was a good man.\n\n VERBAL (VOICE)\n I know he was good.", "RAB IN\n You still don't know shit.\n\n KUJAN\n I know what I wanted to know about\n Keaton.", "Keaton looks up. He sees David Kujan. Behind him are the very\n serious looking guys in suits.\n\n Keaton is not happy to see them.", "9.\n KEATON (cont'd)\n This is Mr. Renault and Mr. Fortier.\n Everyone, this is David Kujan.", "KEATON\n Dave. I'm in a meeting.\n\n KUJAN\n Time for another one.", "KEATON\n Enjoy the meal.\n (To Edie)\n I'LL call you.\n\nKujan takes him by the arm, but Keaton yanks away.", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "KUJAN\n No, Verbal. You weren't friends. Keaton\n didn't have friends. He saved you because\n he wanted it that way. It was his will.", "KUJAN\n Is he Keyser Soze I don't know, Verbal. \n It seems to me that Keyser Sate is a", "KUJAN (CONT'D)\n Dean Keaton was dead. Did you know that? r\n He died in a fire two years ago during an", "KUJAN\n I don't get it.\n\n BAER\n They tell me you got the cripple from New\n York in there. He mention Keyser Soze", "KUJAN\n Keaton was Keyser Soze\n\n VERBAL\n NO.\n\n SCRIPT DATE 5/25/94", "KEATON\n His name is Verbal Kint. I thought you\n guys knew him.\n\n McMANUS\n Verbal?", "KUJAN\n Let me tell you something. I know Dean \n Keaton. I've been investigating him for", "111.\n\n KUJAN\n I'm saying Keaton did.\n\nVerbal cannot grasp this. He squints, trying to understand.", "KEATON\n If you will excuse us for a moment,\n gentlemen.\n\n KUJAN\n We need to ask you some questions\n downtown. You'll be quite awhile.", "KUJAN\n But Keaton..." ], [ "Jack Beer pulls the sheet out of the fax machine and turns it\n over, revealing the composite sketch of Keyser SOZE.", "She sketches frantically while Daniel Metzheiser looks on.\n\n The composite sketch of Keyser SOZE is taking form.", "The three Hungarians stand to greet him. Two hold guns in\n their hands. The third holds a straight razor. He grabs\n Soze youngest boy and holds the razor to his throat.", "Kujan finds one sheet and notices a paragraph is highlighted.\n\n KUJAN\n Keyser Soze\n\n BAER\n There's more.", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "You've never seen anyone like Keyser\n Soze in all your miserable life you\n idiot. Keyser Soze. Do you at least\n understand that? Keyser Soze. The", "MAN IN ROBE\n (CONT'D)\n I'M TELLING YOU IT'S KEYSER SOZE.", "Federal Marshals that he had seen and\n could positively identify one Keyser Soze\n and had intimate knowledge of his\n business, including, but not exclusive", "KOBAYASHI\n Mr. Soze made a few calls, yes. You were \n not to be released until I came to see", "SUDDENLY, Soze pulls out a pistol and shoots the two men with \n guns. He turns and aims at the third man holding his child.", "KOBAYASHI (CONT'D)\n Nine months ago, one of Mr. Soze less \n than intelligent couriers was taken in a", "KOBAYASHI\n I am sure you've heard a number of tall\n tales, myths and legends about Mr. Soze \n I can assure you gentlemen, most of them\n are true.", "anybody could have worked for Soze. You \n never knew. That was his power. The \n greatest trick the Devil ever pulled was", "METZHEISER\n Did he say Keyser Soze? He saw Keyser\n Soze.", "METZHEISER\n Did he say Keyser Soze? He saw Keyser\n Soze\n\n YELLOW 06/11/94", "The man threatens to cut the child's throat, slicing just\n enough to draw blood.\n\n SOZE FIRES.\n\n The stunned Hungarian watches the child fall from his arms.", "KOBAYASHI\n A gift from Mr. Soze gentlemen.\n\nHe turns and walks out of the room.", "power, and then they come after Soze He \n was small time then, just running dope, \n they say...", "KOBAYASHI\n Mr. Soze will be most -" ], [ "She sketches frantically while Daniel Metzheiser looks on.\n\n The composite sketch of Keyser SOZE is taking form.", "Verbal looks at everyone else from where he stands on the\n street. Fenster, McManus and Hockney all look at him and then\n at each other. It is a strange moment of unspoken\n understanding.", "Verbal looks away from Hockney, awaiting a violent response.\n Everyone slowly starts to laugh. Hockney looks as if he is\n about to boil in his own skin.", "Baer gestures to Tracy.\n\n BAER\n (To Bodi)\n This is Tracy Fitzgerald. She's a\n composite sketch artist from county.", "Sitting beside the bed is TRACY FITZGERALD, a casually\n dressed woman in her late twenties. She holds a 15x20 inch\n drawing pad on her lap.", "A strange look crosses Keaton's face. Skepticism, mockery and\njust a hint of fear. Hockney, McManus and Fenster all share\nsimilar looks.", "Hockney takes a step forward. He looks directly into a mirror\non the other side of the room. It is three feet square and we\ncan make out faint light behind it. It is a two-way. He\nspeaks in a complete dead-pan.", "Everyone looks at Hockney. He smiles shyly. It occurs to them\nall that he robbed the truck for which they were all arrested\nin the first place.", "tower followed by two bodyguards. He heads toward the\n elevator, failing to notice Hockney a few feet away, reading\n a newspaper.\n\n We see a wire running from Hockney's ear to his collar.", "It is the body of Fred Fenster, literally peppered with\n bullet holes. McManus stares at him, fighting any flicker of\n emotion.", "He smiles.\n BOOM\n BLOOD sprays all over the money. Hockney looks at it,\n puzzled.", "Keaton looks at Hockney who has one foot in a cab. He is\n looking at Fenster and McManus who are looking at Keaton.\n This makes Hockney look up at Keaton as well.", "They see A LARGE MAN dressed very much like the two dead\n bodies left in the hall downstairs. The man notices Kobayashi\n and the others. He stands and stares menacingly.", "Jack Beer pulls the sheet out of the fax machine and turns it\n over, revealing the composite sketch of Keyser SOZE.", "He turns and sees Hockney's dead body next to the van. \n He looks around frantically, frozen in terror. \n It is quiet, except for the sounds of screaming, far off in", "He looks closely at his battered and scalded face. He listens\n to him far a moment. Kovash goes on incessantly.", "Hockney and Fenster both look over at the sound of the gun.", "Hockney, suddenly oblivious to the sound of gunfire, opens\n one of the crates and looks inside.\n\n IT IS FILLED WITH MONEY. Cash and negotiable bonds of all\n kinds.", "The man hears Hockney coming and raises his gun. Hockney runs i\n straight at him, screaming frantically. i", "Kujan's eyes flash all' over the bulletin board. He finds a\n picture of Rabin in the far corner. He stands beside a scale" ], [ "Kujan finds one sheet and notices a paragraph is highlighted.\n\n KUJAN\n Keyser Soze\n\n BAER\n There's more.", "KUJAN\n I don't get it.\n\n BAER\n They tell me you got the cripple from New\n York in there. He mention Keyser Soze", "KUJAN\n Is he Keyser Soze I don't know, Verbal. \n It seems to me that Keyser Sate is a", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "BOOM - The door bursts open.\n\n KUJAN\n Who is Keyser Soze", "KOBAYASHI\n Mr. Soze made a few calls, yes. You were \n not to be released until I came to see", "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "Kujan looks at his watch.\n\n KUJAN\n You're stalling, Verbal.\n\n VERBAL\n Give a guy a break, huh?", "KOBAYASHI\n I am sure you've heard a number of tall\n tales, myths and legends about Mr. Soze \n I can assure you gentlemen, most of them\n are true.", "KUJAN\n Verbal, I know you know something. I know\n you're not telling us everything.\n\n VERBAL\n I told the D.A. everything I know.", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes.", "KUJAN\n If there is a Keyser Soze he'll be\n looking for you.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "KUJAN\n Keaton was Keyser Soze\n\n VERBAL\n NO.\n\n SCRIPT DATE 5/25/94", "KOBAYASHI (CONT'D)\n Nine months ago, one of Mr. Soze less \n than intelligent couriers was taken in a", "Verbal looks into Kujan's eyes with genuine terror. Kujan's\nface is red, his body trembles. His locomotive breathing is\nthe only sound in the room.", "KUJAN (CONT'D)\n If he's dead, Verbal - if what you say is\n true, then it won't matter. It was his", "tell you, Mr. Kint. I have come with an\n offer directly from Mr. Soze. An order \n actually." ], [ "Baer holds up his badge without looking at the man.\n\n BAER\n Agent Jack Baer, F.B.I. How many dead?", "Jack Baer stands by a fax machine. A green light comes on\n next to a digital display.\n\n The display reads: RECEIVING", "Watching this from the edge of the pier is a man in a dark\n suit. He is SPECIAL AGENT JACK BAER of the F.B.I. He is tall", "Kovash's room is now filled with people. Jack Baer stands\n next to DANIEL METZHEISER, a balding man in his forties. Next", "Jack Baer and Rabin listen to Verbal on the speaker with one \n ear.\n RAB IN\n You give this any weight, Agent Baer?", "PLUMBER\n Ridgly, this is Special Agent Jack Baer\n from the F.B.I. Agent Baer, this is\n Doctor Ridgly Waiters.", "BAER\n No shit?\n (Into Phone)\n Joel, call Dan Metzheiser over at Justice\n and find Dave Kujan from Customs.", "Rabin and Jack Baer are in the hall. Rabin hands Kujan a \n thick manila folder. Kujan thumbs through it.", "Baer pulls a cellular phone out of his jacket and dials.\n BAER\n Call hospital security and put a man on\n the door until the police get here.", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "BAER\n Everyone calm down.\n (To Bodi)\n Ask this man about the shoot-out in the\n harbor.", "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "Baer eyes the corpses on the dock, burned beyond recognition.\n\n COP\n Looking for anyone in particular?\n\nBaer looks at the cop for the first time, unamused.", "BAER (CONT'D)\n Joel, it's Baer. I'm down at L.A. county.\n The guy they pulled out of the harbor is", "Baer is suddenly distracted by something Kovash has said. In\nthe middle of a long string of unintelligible dialect, he has\nspouted two words that have gotten Baer's attention.", "METZHEISER\n (Impatient)\n I've got a noon meeting, Baer.\n\n PLUMBER\n Agent Baer, please.", "BAER\n I've been looking all over for you. You\n still after the coke that walked out of\n that blood bath in the harbor?\n\n KUJAN\n Yeah.", "BAER\n On the street? A few times. Outside\n stuff. Somebody was working for a guy who", "Jack Beer pulls the sheet out of the fax machine and turns it\n over, revealing the composite sketch of Keyser SOZE.", "Baer gestures to Tracy.\n\n BAER\n (To Bodi)\n This is Tracy Fitzgerald. She's a\n composite sketch artist from county." ], [ "KOBAYASHI (CONT'D)\n I am Mr. Kobayashi. I've been asked by my\n employer to bring a proposal to you", "They come to a glass office foyer. Kobayashi gestures and\n everyone looks through the glass into the lobby beyond.", "The man called Kobayashi gets in the driver's seat and pulls\n away .\n A moment later, Agent David Kujan of U.S. Customs wanders", "was real. Nobody ever saw him or knew \n anybody that ever worked directly for \n him, but to hear Kobayashi tell it,", "KOBAYASHI\n Mr. Keaton?\n\n Keaton stands back and lets him in. Kobayashi looks them\n over.", "KOBAYASHI\n I believe you, Mr. McManus. I quite\n sincerely do. You would not have been", "Kobayashi walks into the office. Edie turns to greet him.\n Keaton slowly turns and watches as they shake hands and talk.\n Kobayashi says something they cannot hear and Edie laughs,\n her back to the window.", "KOBAYASHI\n My employer requires your services. One\n job. One day's work. Very dangerous. I", "MR. KOBAYASHI a tall, slim, well groomed man stands in the\n hall. He has a briefcase in his hand. He smiles politely.", "IT IS KOBAYASHI, or the man we have come to know as such. He\n smiles to Verbal. Verbal steps off of the curb, returning the", "Everyone follows Kobayashi quietly down a dimly lit, oak-\n lined hallway. Verbal holds a small pistol discreetly in the\n small of Kobayashi's back.", "80\n80 INT. OFFICE BUILDING - DAY\n\n\n Kobayashi walks through the front door of a plush office", "KOBAYASHI\n A gift from Mr. Soze gentlemen.\n\nHe turns and walks out of the room.", "Everyone looks at Keaton.\n\n KOBAYASHI (CONT'D)\n No matter. Kill away, Mr. McManus.", "KOBAYASHI\n Ms. Finneran's escort in Los Angeles.\n Never leaves her for a moment. I thought\n you'd like to know she was in good hands.", "93.\n Kobayashi smiles over her shoulder at Keaton.\n All the while, the bodyguard watches Keaton. He nods politely", "All of the men surround Kobayashi, aching to kill him.", "KOBAYASHI\n In nineteen-eighty one, Mr. Keaton, you\n participated in the hijacking of a truck", "The elevator opens. Kobayashi and his bodyguards get on the\n elevator.\n 90\n90 INT. ELEVATOR", "They see A LARGE MAN dressed very much like the two dead\n bodies left in the hall downstairs. The man notices Kobayashi\n and the others. He stands and stares menacingly." ], [ "Kobayashi turns and points at Hockney.\n\n KOBAYASHI (CONT'D)\n Two months ago, Mr. Hockney stole a truck\n carrying gun parts through Queens -", "- Thursday. They're picking up a guy\n smuggling emeralds out of South America.\n Fenster and McManus have a fence set to\n take the stuff.", "Everyone looks at Hockney. He smiles shyly. It occurs to them\nall that he robbed the truck for which they were all arrested\nin the first place.", "in Buffalo, New York. The cargo was raw\n steel. Steel that belonged to Mr. Soze\n and was destined for Pakistan to be used", "complicated confidence seam by a cripple.\n He was relieved of sixty-two thousand\n dollars. Now\n (To all of them)", "VERBAL\n They're gonna do a job. Three million\n dollars, maybe more.\n\nKeaton is speechless. Verbal sits on the couch again.", "Hockney, Fenster, McManus and Verbal are all laughing in a\n secluded garage. They are still in their black clothes from\n the robbery. Hockney is throwing everyone a can of beer.", "KEATON\n Son of a bitch.\n\n Everyone looks in the case. It is filled with cash on one\n side. The other side is filled with clear plastic bags of\n WHITE POWDER.", "VERBAL\n Sure. Fifteen years ago, but he was a\n good thief Anyway, the cops wouldn't let\n him go legit.", "tower followed by two bodyguards. He heads toward the\n elevator, failing to notice Hockney a few feet away, reading\n a newspaper.\n\n We see a wire running from Hockney's ear to his collar.", "KOBAYASHI (CONT'D)\n Nine months ago, one of Mr. Soze less \n than intelligent couriers was taken in a", "REDFOOT\n A jeweler out of Texas named Saul. He\n rents a suite at a hotel downtown and", "was working for a guy who got money\n through Keyser Soze. That kind of shit.\n Could be an old badge. A hex sign to keep", "Keaton jumps out of the van and runs up to Saul's car, his\nface covered in a ski mask. He yanks on the door handle but", "A moment later, the door of the Caddy opens again. Someone\nhands Redfoot a different briefcase and he walks back over to\nMcManus.\n\nHe hands him the case.", "The others sit around a cheap card table. It is covered with\n emeralds. Dozens of them. Everyone is in awe.\n\n McManus\n There's more than I thought.", "Hockney, suddenly oblivious to the sound of gunfire, opens\n one of the crates and looks inside.\n\n IT IS FILLED WITH MONEY. Cash and negotiable bonds of all\n kinds.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "IT EXPLODES \n The men surrounding Keaton, are distracted.\n Keaton pulls a pistol out of each pocket and shoots the two\n men closest to him.", "The man standing on the roof doubles over and sticks a gun in\n Strausz's face. His face hangs upside down and looks gruesome" ], [ "RAB IN\n They're all dead. No matter how tough you r.\n say this Keaton was, no one on that boat\n could've made it out alive.", "The pier to which the boat is moored is littered with DEAD\nBODIES. Twenty or more men have been shot to pieces and lie\nscattered everywhere in what can only be the aftermath of a\nfierce fire-fight.", "The boat is quiet now. Keaton walks out onto the deck.\n He looks out over the pier and sees Verbal standing in the\n middle of the carnage, frozen. Their eyes meet. Keaton waves", "The flame runs up the stream, gaining in speed and intensity.\n It begins to ripple and rumble as it runs down the deck\n towards the stern.", "BAER\n (Unimpressed)\n Yes, the chief. Spooky stuff. Any\n survivors?", "On the boat, five men come up from below deck. They are tense \n and cautious around the men in suits. Someone speaks in", "Keaton and McManus step out of the hold, walking slowly and\n cautiously back from where they came. They hear the sounds of\n footsteps running on the deck above and the occasional\n hollered sentence in Spanish.", "Verbal hears a shot from the deck of the boat. He turns in\n time to see the man in the suit running across the deck\n toward the gangway.", "Keaton is weaving through tight, low-ceiling corridors,\n looking in every cabin, working his way towards the bottom of\n the boat.", "Jaime stands outside the door of the cabin and turns to face\n down the hall. Off in some other part of the boat, he can\n hear McManus wailing like a banshee and the ever-less\n frequent sound of gunshots.", "The vans pull away.\n Strausz and Rizzi escape from the car.\n Oscar is trapped inside, SCREAMING.\n Strausz and Rizzi stop, each expecting the other to go let\n Oscar out.", "At the van, he finds the one man who has stayed behind to\n protect it. I i", "He crawls over the bed and squeezes between it and the\n bulkhead. Only the top of his head is visible. He starts to\n cry.\n\n BOOM - BOOM - Two shots just outside in the hall.", "with his back against the front bulkhead of the wheel house.\n His legs are twisted at odd, almost impossible angles. He\n looks down.", "ELSEWHERE IN THE BOAT, McManus is tearing though the\n corridors, seemingly less interested in securing the cargo as\n he is in killing everyone on board.", "Everyone digs in the sand on the deserted beach with their\n hands. They are up to their waists in the hole they have\n scooped out. Fenster's body is a few feet away.", "The men all nod.\n\n VOICE (O.S.)\n Number one. Step forward.", "In the half-light we can make out that he is on the deck of a\n large boat. A yacht, perhaps, or a small freighter. He sits", "Keaton has come to the four-foot-high door to the hold. The\n door is open slightly. Keaton finds this strange. He pushes\n the door open and steps inside. The hold is empty.", "FUCK OUT OF HERE. EVERYONE IS DEAD.>>" ], [ "SUDDENLY, Soze pulls out a pistol and shoots the two men with \n guns. He turns and aims at the third man holding his child.", "The three Hungarians stand to greet him. Two hold guns in\n their hands. The third holds a straight razor. He grabs\n Soze youngest boy and holds the razor to his throat.", "KOBAYASHI\n Mr. Soze made a few calls, yes. You were \n not to be released until I came to see", "The man threatens to cut the child's throat, slicing just\n enough to draw blood.\n\n SOZE FIRES.\n\n The stunned Hungarian watches the child fall from his arms.", "Soze was tough. Not to be trifled with. \n So they let him know they meant business.", "You've never seen anyone like Keyser\n Soze in all your miserable life you\n idiot. Keyser Soze. Do you at least\n understand that? Keyser Soze. The", "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "KOBAYASHI (CONT'D)\n Nine months ago, one of Mr. Soze less \n than intelligent couriers was taken in a", "Federal Marshals that he had seen and\n could positively identify one Keyser Soze\n and had intimate knowledge of his\n business, including, but not exclusive", "KOBAYASHI\n Mr. Soze will be most -", "The Hungarian smiles. Soze's wife SCREAMS IN HORROR. \n The Hungarian holds up a BLOOD SOAKED RAZOR.", "power, and then they come after Soze He \n was small time then, just running dope, \n they say...", "KOBAYASHI\n A gift from Mr. Soze gentlemen.\n\nHe turns and walks out of the room.", "in Buffalo, New York. The cargo was raw\n steel. Steel that belonged to Mr. Soze\n and was destined for Pakistan to be used", "Keyser Soze - or whatever you want to\n call him - knows where I am right now.\n He's got the front burner under' your ass", "anybody could have worked for Soze. You \n never knew. That was his power. The \n greatest trick the Devil ever pulled was", "KOBAYASHI\n I am sure you've heard a number of tall\n tales, myths and legends about Mr. Soze \n I can assure you gentlemen, most of them\n are true.", "Three of the Hungarians come bursting into Keyser Soze's +\n home. They grab his five children and round them up in the", "KOBAYASHI\n Because you have stolen from Mr. Soze. \n That you did not know you stole from him" ], [ "The flame runs up the stream, gaining in speed and intensity.\n It begins to ripple and rumble as it runs down the deck\n towards the stern.", "The pier to which the boat is moored is littered with DEAD\nBODIES. Twenty or more men have been shot to pieces and lie\nscattered everywhere in what can only be the aftermath of a\nfierce fire-fight.", "Verbal hears a shot from the deck of the boat. He turns in\n time to see the man in the suit running across the deck\n toward the gangway.", "Jaime stands outside the door of the cabin and turns to face\n down the hall. Off in some other part of the boat, he can\n hear McManus wailing like a banshee and the ever-less\n frequent sound of gunshots.", "In the half-light we can make out that he is on the deck of a\n large boat. A yacht, perhaps, or a small freighter. He sits", "Verbal runs down the ramp as fast as he can. He comes to a \n rope ladder hanging down the side of the boat. +", "Keaton and McManus step out of the hold, walking slowly and\n cautiously back from where they came. They hear the sounds of\n footsteps running on the deck above and the occasional\n hollered sentence in Spanish.", "Get your rest, Gentlemen. The boat will\n be ready for you on Friday. If I see you\n or your friends before then, or fail to", "with his back against the front bulkhead of the wheel house.\n His legs are twisted at odd, almost impossible angles. He\n looks down.", "A half mile out from the pier.\n\n The sea is choppy, stirred by the wind. An object floats into\n view a few feet away, bobbing in the water.", "SUDDENLY, he stops dead in his tracks, looking up at the\n boat.\n\n YELLOW 06/11/94", "The boat is quiet now. Keaton walks out onto the deck.\n He looks out over the pier and sees Verbal standing in the\n middle of the carnage, frozen. Their eyes meet. Keaton waves", "Keaton has come to the four-foot-high door to the hold. The\n door is open slightly. Keaton finds this strange. He pushes\n the door open and steps inside. The hold is empty.", "McManus runs across the roof of the boathouse and jumps down\n to the pier. He arrives at a thick mooring cable and climbs\n across to the boat. i", "He crawls over the bed and squeezes between it and the\n bulkhead. Only the top of his head is visible. He starts to\n cry.\n\n BOOM - BOOM - Two shots just outside in the hall.", "The pellet of barrels hits him square in the back and sends\n him flying into the wheel house of the boat.", "PAUSE \n\n FINALLY, he turns and runs back for the van parked on the\n pier above. He finds a ramp leading from the dock to the\n pier.", "The man in the suit stops long enough to pull out a lighter.\n He turns and walks back across the deck and out of sight.\n A moment later flames leap up from on the deck.", "Keaton is weaving through tight, low-ceiling corridors,\n looking in every cabin, working his way towards the bottom of\n the boat.", "58A.\n\n BODI\n He says he saw him in the harbor. He was\n shooting... Killing... Killing many men." ], [ "finally did nail him for fraud, he spent +\n five years in Sing Sing. He killed three \n prisoners inside - one with a knife in", "ROGER KINT, VERBAL to his few friends. He has a deeply lined\n face, making his thirty-odd years a good guess at best. From", "Everyone looks at Hockney. He smiles shyly. It occurs to them\nall that he robbed the truck for which they were all arrested\nin the first place.", "complicated confidence seam by a cripple.\n He was relieved of sixty-two thousand\n dollars. Now\n (To all of them)", "off and the cops had nothing. They were\n hoping somebody would slip. Give them\n something to go on. They knew we wouldn't", "investigation into the murder of a \n witness who was going to testify against \n him. Two people saw Keaton enter a\n warehouse he owned just before it went", "story that criminals tell their kids at\n night. If you rat on your pop, Keyser\n Sate will get you. And nobody really ever\n believes.", "Strausz and Rizzi were indicted three\n days later. Within a few weeks, fifty\n more cops went down with them. It was\n beautiful. Everybody got it right in the", "VERBAL\n Sure. Fifteen years ago, but he was a\n good thief Anyway, the cops wouldn't let\n him go legit.", "that owe them money. And like that he was\n gone. Underground. No one has ever seen\n him again. He becomes a myth, a spook", "yesterday after the shoot-out. He came to +\n this morning and started talking. He was\n part of a Hungarian mob there to do a\n deal with a bunch of goats from", "P.D. pays homeless guys ten bucks a head\n half the time. No way they'd line five\n felons in the same row. No way. And what", "three years. The guy I know is a cold- +\n blooded bastard. L.A.P.D. indicted him on \n three counts of murder before he was", "He happens to glance over his shoulder and notice a brown\n Ford sedan with four men in it cruising along the curb. He\n picks up his step a little. The Ford keeps up.", "Verbal thumbs through his file. A long list of names,\nnumbers, addresses. It is a detailed portfolio of his entire\ncriminal and personal life. He looks up at Keaton.", "for the murder of Saul Berg and his\n bodyguards. Mr. Redfoot can attest to\n your involvement, and we can see to it", "KUJAN\n He used all of you to get him on that\n boat. He couldn't get on alone and he had", "All of the men open their files. Inside are mug shots of each\nman in his respective file as well as a printout of his\ncriminal record. But there is more.\n\n HOCKNEY\n They know everything.", "He screams like a lunatic, shooting everything in his path,\n killing some men with his bare hands, shooting others,\n stabbing others still with a knife he has brought along.", "He moves to another and then another, picking up speed and\n mock-shooting the men. He is steady and quick. It is clear he\n could take all fifteen in a few seconds." ], [ "As he gets closer, we can see he is wearing one black boot\n and one red. Keaton is still looking at them when the bike\n pulls up to them and stops.\n\n REDFOOT and McManus shake hands.", "REDFOOT\n Some Limey. He's a middle-man for\n somebody. He doesn't say and I don't ask.\n\n KEATON\n We want to meet him.", "KEATON\n What about Redfoot?", "REDFOOT\n He wants to meet you. He called last\n night and asked me to set it up. What do\n I tell him'\n\n KEATON\n Tell him we'll meet.", "REDFOOT\n Ain't it a crime? Call if you're\n interested.\n\nRedfoot fires up his bike and takes off with the Caddy close\nbehind.", "Redfoot comes around from behind the Caddy on his motorcycle.\nHe gets off the bike, trying to hide a faint smile.\nMcManus throws Saul's case on the ground in front of him.", "McManus hands the case back to Hockney. Hockney opens it,\nrevealing the stacks of money inside.\n\n REDFOOT\n You must be Keaton.", "REDFOOT\n The job got thrown to me by this lawyer.\n\n KEATON\n Who is he?", "Redfoot takes it and gets off the bike. He walks over to the\nCaddy. The door of the Caddy opens. Redfoot hands the case to\nSomeone inside that we cannot see. The door closes.", "KEATON (CONT'D)\n Better you hear it from me now than\n somebody else later.\n\n REDFOOT\n Business or personal?", "REDFOOT\n A jeweler out of Texas named Saul. He\n rents a suite at a hotel downtown and", "Redfoot gets on his Harley, smiling defiantly.\n REDFOOT (CONT'D)\n Real shame about Saul getting whacked.", "Keaton has come to the four-foot-high door to the hold. The\n door is open slightly. Keaton finds this strange. He pushes\n the door open and steps inside. The hold is empty.", "KEATON\n We're on vacation.\n\n REDFOOT\n I've got a ton of work and no good\n people.", "Keaton walks right into the face of all of these men,\n undaunted. His hands are in his pockets.\n\n Above him, in the darkness, McManus pokes his head out and", "Verbal hesitates and finally moves towards the van with the\n money. He looks back over his shoulder and sees Keaton.\n Keaton sees him looking and waves again, hurrying him along.", "Keaton jumps out of the van and runs up to Saul's car, his\nface covered in a ski mask. He yanks on the door handle but", "Redfoot's dead body has been shoved head-first through a hole\n in the windshield up to his waist, recognizable only by the\n trademark red boot.", "KEATON\n Tough break.\n\n VERBAL\n Don't tell me you don't need this. Is\n this your place?\n\nKeaton is unable to answer.", "Keaton laughs. Verbal thinks about it for a moment and laughs\nwith him.\n\nKeaton's laughter trails off. He thinks for a moment." ], [ "Just then, Verbal bumps into him on his way out the door. He\nexcuses himself and hobbles down the steps, oblivious to who\nhe has bumped into as he tries to navigate the stairs.", "(turning to Verbal)\n Which brings us to Mr. Kint.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes.", "Kujan looks at his watch.\n\n KUJAN\n You're stalling, Verbal.\n\n VERBAL\n Give a guy a break, huh?", "She stops when she sees Verbal. Verbal stands and smiles\nnervously.\n\n VERBAL\n How do you do?", "Verbal drinks slowly. Edie stands over him, her face blank.\nIt is an awkward moment. She deliberately makes Verbal\nuncomfortable.\n\nLONG PAUSE - FINALLY:", "KUJAN (CONT'D)\n If he's dead, Verbal - if what you say is\n true, then it won't matter. It was his", "KUJAN\n Oh come on, Verbal. Who do you think\n you're talking to? You really expect me\n to believe he retired? For a woman?\n Bullshit. He was using her.", "KEATON\n His name is Verbal Kint. I thought you\n guys knew him.\n\n McMANUS\n Verbal?", "KUJAN (CONT'D)\n What lawyer, Verbal?\n\nVerbal stammers for a moment, looking around wildly.", "After a moment, the door opens and Keaton stands on the other\n side of it. He is wearing a bathrobe and smoking a cigarette.\n\n He looks at Verbal without any expression whatsoever.", "Keaton turns and glares at Verbal. Verbal cringes.\n\n KEATON\n Get out.\n\n VERBAL\n If you'll just let me -", "Kujan runs up to the desk where Verbal had only moments\n before picked up his belongings. Rabin is right behind him, a\n look of absolute confusion on his face.", "The boat is quiet now. Keaton walks out onto the deck.\n He looks out over the pier and sees Verbal standing in the\n middle of the carnage, frozen. Their eyes meet. Keaton waves", "KUJAN\n Verbal, I know you know something. I know\n you're not telling us everything.\n\n VERBAL\n I told the D.A. everything I know.", "VERBAL\n What-are they speaking?\n\n KEATON\n Russian, I think. I don't know.\n\n VERBAL\n Hungarian?", "VERBAL\n They're gonna do a job. Three million\n dollars, maybe more.\n\nKeaton is speechless. Verbal sits on the couch again.", "We hear the voice of ROGER "VERBAL" KINT, whom we will soon\nmeet.", "Verbal Kint sits in a chair in front of a microphone attached\n to a tape recorder, his brow beaded with sweat.\n\n On the wall behind him is the seal of the STATE OF CALIFORNIA" ], [ "you. It seems Mr. Keaton's attorney, Ms.\n Finneran, was a bit too effective in\n expediting his release. Holding the rest", "Keaton pulls out a large black and white photograph of\nhimself and his lawyer EDIE FINNERAN. They are laughing arm\nin arm by a fountain in New York. He hides the photo from the\nothers.", "Six weeks ago I get an anonymous call\n telling me I can find Keaton eating at\n Mondino's with his lawyer, and there he", "REDFOOT\n The job got thrown to me by this lawyer.\n\n KEATON\n Who is he?", "McMANUS\n What about it, Keaton? You a lawyer's \n wife. What sort of "retainer" you giving\n her?", "is. Now because he never profited from\n his alleged death and because someone\n else was convicted for the murder we\n tried to pin on Keaton, we had to let him", "Keaton walks over to the case and opens it. He reaches in and\npulls out five thick manila envelopes, each marked in bold", "Keaton laughs. Verbal thinks about it for a moment and laughs\nwith him.\n\nKeaton's laughter trails off. He thinks for a moment.", "KEATON\n This is my attorney, Edie Finneran.\n (Gesturing)\n\n BLUE 06/01/94", "KEATON\n (Ignoring McManus)\n This whole thing was a shakedown.\n\n McMANUS\n What makes you say that?", "it at Keaton.", "Keaton was the real prize for them, for\n obvious reasons.", "KEATON\n You were waiting for a line-up then, too.\n What happened with that?\n\n VERBAL\n I walked. Ninety days, suspended.", "Keaton shows just a flicker of contempt. The threat has hit\n home.", "Keaton was a grounded guy. An ex-cop. To\n a cop, the explanation is never that\n complicated. It's always simple. There's", "McManus springs to his feet and points a pistol at Keaton.\n Keaton turns to face him and raises his head. McManus might\n as well be pointing a feather-duster.", "investigation into the murder of a \n witness who was going to testify against \n him. Two people saw Keaton enter a\n warehouse he owned just before it went", "Everyone looks at Keaton.\n\n KOBAYASHI (CONT'D)\n No matter. Kill away, Mr. McManus.", "Keaton walks right into the face of all of these men,\n undaunted. His hands are in his pockets.\n\n Above him, in the darkness, McManus pokes his head out and", "Nobody argued with Keaton. They just set\n their minds on whacking Kobayashi." ], [ "that owe them money. And like that he was\n gone. Underground. No one has ever seen\n him again. He becomes a myth, a spook", "up. They said he had gone in to check a +\n leaking gas main. It blew up and took all\n of Dean Keaton with it. Within three", "was real. Nobody ever saw him or knew \n anybody that ever worked directly for \n him, but to hear Kobayashi tell it,", "He happens to glance over his shoulder and notice a brown\n Ford sedan with four men in it cruising along the curb. He\n picks up his step a little. The Ford keeps up.", "the tailbone while he strangled him to \n death. Of course I can't prove this but I \n can't prove the best part either.", "convincing the world he didn't exist. One \n story the guys told me - the story I \n believe - was from his days in Turkey.", "in Buffalo, New York. The cargo was raw\n steel. Steel that belonged to Mr. Soze\n and was destined for Pakistan to be used", "An old but well kept Cadillac creeps into the lot from the\n far end and idles up to them. The windows are tinted too much\n to see in. The car passes within a few feet of them and", "He looks ahead at the corner. He tries to look as comfortable\n as he can, checking his watch as though remembering an\n appointment he is late for. The Ford stays right on him.", "He screams like a lunatic, shooting everything in his path,\n killing some men with his bare hands, shooting others,\n stabbing others still with a knife he has brought along.", "story that criminals tell their kids at\n night. If you rat on your pop, Keyser\n Sate will get you. And nobody really ever\n believes.", "outside of Queens. The driver didn't see\n anybody, but somebody fucked up. He heard\n a voice. Sometimes, that's all you need.", "He turns and sees Hockney's dead body next to the van. \n He looks around frantically, frozen in terror. \n It is quiet, except for the sounds of screaming, far off in", "boogey man. They took his statement and\n cut him a deal.", "It is the body of Fred Fenster, literally peppered with\n bullet holes. McManus stares at him, fighting any flicker of\n emotion.", "BAER\n On the street? A few times. Outside\n stuff. Somebody was working for a guy who", "BODI\n He says he saw him in the harbor. He was\n shooting... Killing... Killing many men.", "He spits the name out like it was poison.\n\nThe man puts the lighter back in his pocket and reaches under\nhis jacket. He produces a stainless .38 revolver.", "FRED FENSTER, a tall, thin man in his thirties strolls\n casually down the street. He is dressed conspicuously in a", "The man threatens to cut the child's throat, slicing just\n enough to draw blood.\n\n SOZE FIRES.\n\n The stunned Hungarian watches the child fall from his arms." ], [ "KUJAN (CONT'D)\n If he's dead, Verbal - if what you say is\n true, then it won't matter. It was his", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "KUJAN\n THE KIND OF MAN THAT COULD HAVE KILLED\n EDIE FINNERAN.\n\nA strange look crosses Verbal's face. Shock perhaps, or\nrevelation.", "The boat is quiet now. Keaton walks out onto the deck.\n He looks out over the pier and sees Verbal standing in the\n middle of the carnage, frozen. Their eyes meet. Keaton waves", "Just then, Verbal bumps into him on his way out the door. He\nexcuses himself and hobbles down the steps, oblivious to who\nhe has bumped into as he tries to navigate the stairs.", "Keaton and Verbal look at one another for a moment. Keaton\nthen looks over to the newsstand and sees Fenster looking at\nhim.\n\n KEATON\n Huh?", "Verbal gets out of the van and moves towards them to help.\nBOOM\nBoth of McManus' guns go off like one shot. Tucci and Higham\ncollapse, each with a bullet in his head\n\n\nPAUSE", "Verbal and McManus grab the dead bodies and drag them out of\nthe elevator. They drag them to the next elevator which has\nbeen forced open, revealing an empty shaft.\n\n KEATON\n The answer is no.", "Verbal drinks slowly. Edie stands over him, her face blank.\nIt is an awkward moment. She deliberately makes Verbal\nuncomfortable.\n\nLONG PAUSE - FINALLY:", "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "She stops when she sees Verbal. Verbal stands and smiles\nnervously.\n\n VERBAL\n How do you do?", "KUJAN (CONT'D)\n What lawyer, Verbal?\n\nVerbal stammers for a moment, looking around wildly.", "KUJAN (VOICE)\n I know you liked Keaton I know you think\n he was a good man.\n\n VERBAL (VOICE)\n I know he was good.", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "Verbal can barely see the man from where he is now. The man\n in the suit is covered by shadows and the poor angle from the\n barge. Verbal strains to see but he cannot.", "KEATON\n His name is Verbal Kint. I thought you\n guys knew him.\n\n McMANUS\n Verbal?", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes.", "VERBAL\n They're gonna do a job. Three million\n dollars, maybe more.\n\nKeaton is speechless. Verbal sits on the couch again.", "Kujan runs up to the desk where Verbal had only moments\n before picked up his belongings. Rabin is right behind him, a\n look of absolute confusion on his face.", "His foot crushes the broken pieces of Rabin's coffee cup. The\n cup that hovered over Verbal's head for two hours." ], [ "ROGER KINT, VERBAL to his few friends. He has a deeply lined\n face, making his thirty-odd years a good guess at best. From", "RABIN\n That's crazy, Dave and it doesn't matter.\n He has total immunity and his story\n checks out. He doesn't know what you want\n to know.", "up. They said he had gone in to check a +\n leaking gas main. It blew up and took all\n of Dean Keaton with it. Within three", "The man in the bathrobe looks up at the figure. We cannot see\n him.\n\n MAN IN ROBE\n I told them nothing.\n\n BOOM", "was real. Nobody ever saw him or knew \n anybody that ever worked directly for \n him, but to hear Kobayashi tell it,", "convincing the world he didn't exist. One \n story the guys told me - the story I \n believe - was from his days in Turkey.", "KUJAN\n I'11 tell you what I know. Stop me when\n it sounds familiar.", "that owe them money. And like that he was\n gone. Underground. No one has ever seen\n him again. He becomes a myth, a spook", "story that criminals tell their kids at\n night. If you rat on your pop, Keyser\n Sate will get you. And nobody really ever\n believes.", "yesterday after the shoot-out. He came to +\n this morning and started talking. He was\n part of a Hungarian mob there to do a\n deal with a bunch of goats from", "He looks ahead at the corner. He tries to look as comfortable\n as he can, checking his watch as though remembering an\n appointment he is late for. The Ford stays right on him.", "Everyone looks at Hockney. He smiles shyly. It occurs to them\nall that he robbed the truck for which they were all arrested\nin the first place.", "KEATON\n Dave. I'm in a meeting.\n\n KUJAN\n Time for another one.", "BAER\n Everyone calm down.\n (To Bodi)\n Ask this man about the shoot-out in the\n harbor.", "BODI\n He says he'll tell us everything he knows\n if we protect him.\n\n .BAER\n Tell him fine.", "He happens to glance over his shoulder and notice a brown\n Ford sedan with four men in it cruising along the curb. He\n picks up his step a little. The Ford keeps up.", "D.C. It's been a hobby of his for a few\n years. A lot of guys equate him to that\n reporter on the Incredible Hulk.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "McMANUS (CONT'D)\n Forget him then.\n (Whispering)\n Now I can't talk about this here in any\n detail, but listen up...", "off and the cops had nothing. They were\n hoping somebody would slip. Give them\n something to go on. They knew we wouldn't" ], [ "Kujan looks at his watch.\n\n KUJAN\n You're stalling, Verbal.\n\n VERBAL\n Give a guy a break, huh?", "KUJAN\n Verbal, I know you know something. I know\n you're not telling us everything.\n\n VERBAL\n I told the D.A. everything I know.", "KUJAN (CONT'D)\n What lawyer, Verbal?\n\nVerbal stammers for a moment, looking around wildly.", "Verbal looks into Kujan's eyes with genuine terror. Kujan's\nface is red, his body trembles. His locomotive breathing is\nthe only sound in the room.", "KUJAN\n He left you to stay behind and tell us he\n was dead. You saw him die, right? Or did", "KUJAN\n I'11 be sure to mention that to him.\n\nVerbal is not smiling anymore. He stares at Kujan with utter\ncontempt, knowing he is being shafted.", "KUJAN (CONT'D)\n TRY TO REEF LYING TO ME NOW. I KNOW\n EVERYTHING .", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes.", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "KUJAN\n Oh come on, Verbal. Who do you think\n you're talking to? You really expect me\n to believe he retired? For a woman?\n Bullshit. He was using her.", "KUJAN\n I don't think you do. But you say you saw\n Keaton die. I think you're covering his", "Kujan still stares at the bulletin board.\n\n SUDDENLY, Kujan's face changes. He leans in closer to the\n bulletin board and squints his eyes. His face changes again.", "RAB IN\n Can we get started again?\n\n KUJAN\n Now what happened after the line-up?\n\nVerbal sneers at Kujan, unable to change the subject.", "KUJAN (CONT'D)\n If he's dead, Verbal - if what you say is\n true, then it won't matter. It was his", "KUJAN (CONT'D)\n Verbal, he left you behind for a reason.\n If you all knew Soze could find you", "KUJAN\n And this is why you never told the D.A.", "VERBAL\n (Blurting)\n He wasn't behind anything. It was the\n lawyer.\n\n KUJAN\n What lawyer?\n\nPAUSE", "Rabin walks out of a small room. Behind him, we catch a\n glimpse of a workroom with a bench covered with wires.\n\n Kujan comes out a moment later, gently fixing his tie." ], [ "Jack Beer pulls the sheet out of the fax machine and turns it\n over, revealing the composite sketch of Keyser SOZE.", "Kujan finds one sheet and notices a paragraph is highlighted.\n\n KUJAN\n Keyser Soze\n\n BAER\n There's more.", "Federal Marshals that he had seen and\n could positively identify one Keyser Soze\n and had intimate knowledge of his\n business, including, but not exclusive", "KOBAYASHI\n Mr. Soze made a few calls, yes. You were \n not to be released until I came to see", "KOBAYASHI (CONT'D)\n Nine months ago, one of Mr. Soze less \n than intelligent couriers was taken in a", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "KUJAN\n Keaton was Keyser Soze\n\n VERBAL\n NO.\n\n SCRIPT DATE 5/25/94", "KUJAN\n I don't get it.\n\n BAER\n They tell me you got the cripple from New\n York in there. He mention Keyser Soze", "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "KOBAYASHI\n I am sure you've heard a number of tall\n tales, myths and legends about Mr. Soze \n I can assure you gentlemen, most of them\n are true.", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "The three Hungarians stand to greet him. Two hold guns in\n their hands. The third holds a straight razor. He grabs\n Soze youngest boy and holds the razor to his throat.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "KUJAN (VOICE)\n I know you liked Keaton I know you think\n he was a good man.\n\n VERBAL (VOICE)\n I know he was good.", "VERBAL\n Kobayashi.\n\n KUJAN\n Came from Redfoot.\n\n VERBAL\n Right.", "KUJAN\n Is he Keyser Soze I don't know, Verbal. \n It seems to me that Keyser Sate is a", "Kujan picks up his copy of Verbal's statement to the D.A.\n\n KUJAN (CONT'D)\n A man in a suit with a slim build. Tall.", "power, and then they come after Soze He \n was small time then, just running dope, \n they say...", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes." ], [ "Keaton pulls out a large black and white photograph of\nhimself and his lawyer EDIE FINNERAN. They are laughing arm\nin arm by a fountain in New York. He hides the photo from the\nothers.", "KEATON\n Verb - Roger, this is Edie Finneran.\n Edie, this is Roger Kint, he was at", "The man is DEAN KEATON, a well dressed, sturdy looking man in\nhis forties with slightly graying hair. He looks much better", "Edie shoots a look at Keaton on her way out of the room.\nKeaton tries to hush his voice despite his anger.\n\n KEATON\n What the hell do you want?", "Keaton stands up and throws a wad of money on the table to\ncover the check. He looks at Edie. She moves to stand, but he\nsits her back down with a hand on her shoulder.", "KUJAN\n But Keaton had. Edie Finneran was his\n extradition advisor. She knew who he was\n and what he knew.", "Keaton is uncomfortable in his suit, or perhaps the\n situation. Still, he smiles with genuine warmth.\n\n Edie straightens his tie and picks microscopic imperfections\n from his lapel.", "KEATON\n (To himself)\n They ruined me tonight.\n\n EDIE\n Dean, I love you. Do you hear me?", "Edie glances toward the men in the hall.\n Keaton turns quickly on his heels, facing the others. From\n where Edie stands, it looks as though Kobayashi is talking to", "EDIE\n A hijacker like Dean, here? Or something\n more creative?\n\n KEATON\n That's enough, Edie.", "Edie is smiling and laughing with the old woman. \n Keaton's face is marked with guilt and anguish.", "Kobayashi walks into the office. Edie turns to greet him.\n Keaton slowly turns and watches as they shake hands and talk.\n Kobayashi says something they cannot hear and Edie laughs,\n her back to the window.", "KUJAN (CONT'D)\n Dean Keaton was dead. Did you know that? r\n He died in a fire two years ago during an", "EDIE\n Come home, Dean.\n\n KEATON\n (Distant)\n Alright.", "He sees Edie working in the library with an old woman. The\ntwo women talk for a moment. \n\nSUDDENLY, Keaton turns with a start. Verbal is standing\nbehind him.", "SUDDENLY, Edie tunes in to what is going on. She notices the\n others on the street. She reaches over and takes Keaton by\n the arm, pulling gently. She glares at the others.", "EDIE\n Don't give up on me now, Dean.\n\n KEATON\n They'll never stop.\n\n EDIE\n I love you.", "Keaton stops at the top of the front steps of the police\n station and lights a cigarette. Edie comes out behind him,\n fuming mad.", "KEATON\n This is my attorney, Edie Finneran.\n (Gesturing)\n\n BLUE 06/01/94", "Keaton turns and walks out of the waiting room. Verbal takes \n one last glance at Edie and turns back to Keaton." ], [ "David Kujan is walking quickly beside SERGEANT RABIN, a dark\n and weathered looking man in his late thirties. They move up\n a staircase into the heart of police headquarters.", "The man called Kobayashi gets in the driver's seat and pulls\n away .\n A moment later, Agent David Kujan of U.S. Customs wanders", "9.\n KEATON (cont'd)\n This is Mr. Renault and Mr. Fortier.\n Everyone, this is David Kujan.", "Keaton looks up. He sees David Kujan. Behind him are the very\n serious looking guys in suits.\n\n Keaton is not happy to see them.", "BAER\n No shit?\n (Into Phone)\n Joel, call Dan Metzheiser over at Justice\n and find Dave Kujan from Customs.", "KEATON\n Dave. I'm in a meeting.\n\n KUJAN\n Time for another one.", "Rabin motions for Kujan to lower his voice. He points out\n that they are walking through a bullpen filled with desks\n where a number of other police are working within earshot.", "KUJAN\n Special Agent Kujan. U.S. Customs.\n (Gestures to men behind him)", "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "SPECIAL AGENT DAVID KUJAN (Pronounced Koo-yahn), U.S.\n CUSTOMS. Thirtyish, dark-haired and determined.", "KUJAN\n Verbal, I know you know something. I know\n you're not telling us everything.\n\n VERBAL\n I told the D.A. everything I know.", "Rabin opens the door to his office and Kujan enters. Rabin \n follows, looking up and down the hall before closing the door\n behind them.", "KUJAN (CONT'D)\n Dean Keaton was dead. Did you know that? r\n He died in a fire two years ago during an", "KUJAN\n (smiling)\n You know a dealer named Ruby Deemer,\n Verbal?\n\n VERBAL\n You know a religious guy named John Paul?", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "Rabin walks out of a small room. Behind him, we catch a\n glimpse of a workroom with a bench covered with wires.\n\n Kujan comes out a moment later, gently fixing his tie.", "KUJAN (CONT'D)\n What lawyer, Verbal?\n\nVerbal stammers for a moment, looking around wildly.", "KUJAN\n Oh come on, Verbal. Who do you think\n you're talking to? You really expect me\n to believe he retired? For a woman?\n Bullshit. He was using her.", "Kujan runs up to the desk where Verbal had only moments\n before picked up his belongings. Rabin is right behind him, a\n look of absolute confusion on his face.", "KUJAN\n And this is why you never told the D.A." ], [ "The pier to which the boat is moored is littered with DEAD\nBODIES. Twenty or more men have been shot to pieces and lie\nscattered everywhere in what can only be the aftermath of a\nfierce fire-fight.", "He looks ahead at the corner. He tries to look as comfortable\n as he can, checking his watch as though remembering an\n appointment he is late for. The Ford stays right on him.", "An old but well kept Cadillac creeps into the lot from the\n far end and idles up to them. The windows are tinted too much\n to see in. The car passes within a few feet of them and", "He happens to glance over his shoulder and notice a brown\n Ford sedan with four men in it cruising along the curb. He\n picks up his step a little. The Ford keeps up.", "in Buffalo, New York. The cargo was raw\n steel. Steel that belonged to Mr. Soze\n and was destined for Pakistan to be used", "Jaime stands outside the door of the cabin and turns to face\n down the hall. Off in some other part of the boat, he can\n hear McManus wailing like a banshee and the ever-less\n frequent sound of gunshots.", "are squealing, radios squawking, guns cocking. Fenster is\n surrounded instantly. He stops short and flaps his hands on\n his thighs in defeat.", "Verbal walks in and sits down on the couch, watching Keaton\n cautiously. He looks around the large apartment, beautifully\n furnished and decorated.", "The sound of a steel door opening. The bottom corner of a\n steel cage comes into view. Another set of feet falls into\n step with the first. Another steel door and another set of", "The flame runs up the stream, gaining in speed and intensity.\n It begins to ripple and rumble as it runs down the deck\n towards the stern.", "PAUSE \n\n FINALLY, he turns and runs back for the van parked on the\n pier above. He finds a ramp leading from the dock to the\n pier.", "They walk across the dimly lit dining room to a table in the\n far corner where two men are already waiting. The first is\n MR. FORTIER, age thirty-five, the other is MR. RENAULT, age", "Verbal sits behind the wheel. Keaton is beside him. Hockney\n and Fenster are in the back. They all watch McManus from\n where they are parked a few dozen yards away.", "SUDDENLY, he bolts. He gets no more than a few yards before\n cars pour out of every conceivable nook and cranny. Brakes", "The man called Kobayashi gets in the driver's seat and pulls\n away .\n A moment later, Agent David Kujan of U.S. Customs wanders", "Keaton has come to the four-foot-high door to the hold. The\n door is open slightly. Keaton finds this strange. He pushes\n the door open and steps inside. The hold is empty.", "The lame feet are in the front of the line. They come to\n another steel door, this one solid and covered with dents and\n rivets.\n\n CRANE UP TO REVEAL:", "up. They said he had gone in to check a +\n leaking gas main. It blew up and took all\n of Dean Keaton with it. Within three", "He looks over his shoulder, getting farther away from the\n police station. He can see Rabin and the cop on the steps,\n looking around with strange, lost expressions on their faces.", "He sees the driver of the van next to him holding the shotgun\n with one hand. A stocking is over the driver's head." ], [ "KOBAYASHI (CONT'D)\n I am Mr. Kobayashi. I've been asked by my\n employer to bring a proposal to you", "KOBAYASHI\n I believe you, Mr. McManus. I quite\n sincerely do. You would not have been", "was real. Nobody ever saw him or knew \n anybody that ever worked directly for \n him, but to hear Kobayashi tell it,", "KOBAYASHI\n Mr. Keaton?\n\n Keaton stands back and lets him in. Kobayashi looks them\n over.", "The man called Kobayashi gets in the driver's seat and pulls\n away .\n A moment later, Agent David Kujan of U.S. Customs wanders", "They come to a glass office foyer. Kobayashi gestures and\n everyone looks through the glass into the lobby beyond.", "Everyone looks at Keaton.\n\n KOBAYASHI (CONT'D)\n No matter. Kill away, Mr. McManus.", "KOBAYASHI\n In nineteen-eighty one, Mr. Keaton, you\n participated in the hijacking of a truck", "KOBAYASHI\n My employer requires your services. One\n job. One day's work. Very dangerous. I", "IT IS KOBAYASHI, or the man we have come to know as such. He\n smiles to Verbal. Verbal steps off of the curb, returning the", "All of the men surround Kobayashi, aching to kill him.", "Everyone follows Kobayashi quietly down a dimly lit, oak-\n lined hallway. Verbal holds a small pistol discreetly in the\n small of Kobayashi's back.", "KOBAYASHI\n Ms. Finneran's escort in Los Angeles.\n Never leaves her for a moment. I thought\n you'd like to know she was in good hands.", "KOBAYASHI\n A gift from Mr. Soze gentlemen.\n\nHe turns and walks out of the room.", "They see A LARGE MAN dressed very much like the two dead\n bodies left in the hall downstairs. The man notices Kobayashi\n and the others. He stands and stares menacingly.", "Kobayashi walks into the office. Edie turns to greet him.\n Keaton slowly turns and watches as they shake hands and talk.\n Kobayashi says something they cannot hear and Edie laughs,\n her back to the window.", "93.\n Kobayashi smiles over her shoulder at Keaton.\n All the while, the bodyguard watches Keaton. He nods politely", "MR. KOBAYASHI a tall, slim, well groomed man stands in the\n hall. He has a briefcase in his hand. He smiles politely.", "KOBAYASHI\n A strange threat. I can only assume\n you're here to kill me anyway. Pity about\n Mr. Redfoot.\n\n McMANUS\n Fair trade for Fenster.", "for anybody else, but\n for me. This Kobayashi cocksucker isn't\n going to stand over me.\n (Beat)" ], [ "KUJAN\n Is he Keyser Soze I don't know, Verbal. \n It seems to me that Keyser Sate is a", "KUJAN (CONT'D)\n If he's dead, Verbal - if what you say is\n true, then it won't matter. It was his", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes.", "Kujan looks at his watch.\n\n KUJAN\n You're stalling, Verbal.\n\n VERBAL\n Give a guy a break, huh?", "KUJAN\n Is he the one that killed Keaton?\n\n VERBAL\n No. But I'm sure Keaton's dead.", "KUJAN\n Oh come on, Verbal. Who do you think\n you're talking to? You really expect me\n to believe he retired? For a woman?\n Bullshit. He was using her.", "KUJAN (CONT'D)\n What lawyer, Verbal?\n\nVerbal stammers for a moment, looking around wildly.", "KUJAN (VOICE)\n I know you liked Keaton I know you think\n he was a good man.\n\n VERBAL (VOICE)\n I know he was good.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "Kujan finds one sheet and notices a paragraph is highlighted.\n\n KUJAN\n Keyser Soze\n\n BAER\n There's more.", "For once Kujan cannot bring himself to look at Verbal.\n Verbal turns to the door, stopping to look Rabin in the eye.\n VERBAL (CONT'D)\n Fuckin' cops.", "Verbal looks into Kujan's eyes with genuine terror. Kujan's\nface is red, his body trembles. His locomotive breathing is\nthe only sound in the room.", "KUJAN\n Keaton was Keyser Soze\n\n VERBAL\n NO.\n\n SCRIPT DATE 5/25/94", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "KEATON\n What is this?\n\n VERBAL\n Who's Keyser Soze?", "VERBAL\n It was Keyser Soze, Agent Kujan. I mean \n the Devil himself. How do you shoot the\n Devil in the back?", "KUJAN\n I don't get it.\n\n BAER\n They tell me you got the cripple from New\n York in there. He mention Keyser Soze", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "KEATON\n His name is Verbal Kint. I thought you\n guys knew him.\n\n McMANUS\n Verbal?", "KUJAN\n Don't shine me, Verbal. No more stalling.\n You know what I'm getting at.\n\n VERBAL\n I don't." ], [ "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "You've never seen anyone like Keyser\n Soze in all your miserable life you\n idiot. Keyser Soze. Do you at least\n understand that? Keyser Soze. The", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "The three Hungarians stand to greet him. Two hold guns in\n their hands. The third holds a straight razor. He grabs\n Soze youngest boy and holds the razor to his throat.", "SUDDENLY, Soze pulls out a pistol and shoots the two men with \n guns. He turns and aims at the third man holding his child.", "Kujan finds one sheet and notices a paragraph is highlighted.\n\n KUJAN\n Keyser Soze\n\n BAER\n There's more.", "Federal Marshals that he had seen and\n could positively identify one Keyser Soze\n and had intimate knowledge of his\n business, including, but not exclusive", "Keyser Soze - or whatever you want to\n call him - knows where I am right now.\n He's got the front burner under' your ass", "MAN IN ROBE\n (CONT'D)\n I'M TELLING YOU IT'S KEYSER SOZE.", "anybody could have worked for Soze. You \n never knew. That was his power. The \n greatest trick the Devil ever pulled was", "BOOM - The door bursts open.\n\n KUJAN\n Who is Keyser Soze", "KEATON\n What happened to you?\n\n McMANUS\n Keyser Soze is on the boat. \n\n KEATON\n What?", "KEATON\n What is this?\n\n VERBAL\n Who's Keyser Soze?", "KOBAYASHI\n Mr. Soze made a few calls, yes. You were \n not to be released until I came to see", "KOBAYASHI\n Mr. Soze will be most -", "The Hungarian smiles. Soze's wife SCREAMS IN HORROR. \n The Hungarian holds up a BLOOD SOAKED RAZOR.", "Jack Beer pulls the sheet out of the fax machine and turns it\n over, revealing the composite sketch of Keyser SOZE.", "68 INT. SOZE'S HOME - LATER 68'\n\n The front door opens and in walks Keyser Sate. We are never t\n allowed to see his face.", "KOBAYASHI\n I am sure you've heard a number of tall\n tales, myths and legends about Mr. Soze \n I can assure you gentlemen, most of them\n are true.", "power, and then they come after Soze He \n was small time then, just running dope, \n they say..." ], [ "The pier to which the boat is moored is littered with DEAD\nBODIES. Twenty or more men have been shot to pieces and lie\nscattered everywhere in what can only be the aftermath of a\nfierce fire-fight.", "On the boat, five men come up from below deck. They are tense \n and cautious around the men in suits. Someone speaks in", "RAB IN\n They're all dead. No matter how tough you r.\n say this Keaton was, no one on that boat\n could've made it out alive.", "BAER\n (Unimpressed)\n Yes, the chief. Spooky stuff. Any\n survivors?", "The boat is quiet now. Keaton walks out onto the deck.\n He looks out over the pier and sees Verbal standing in the\n middle of the carnage, frozen. Their eyes meet. Keaton waves", "Keaton and McManus step out of the hold, walking slowly and\n cautiously back from where they came. They hear the sounds of\n footsteps running on the deck above and the occasional\n hollered sentence in Spanish.", "The flame runs up the stream, gaining in speed and intensity.\n It begins to ripple and rumble as it runs down the deck\n towards the stern.", "Keaton is weaving through tight, low-ceiling corridors,\n looking in every cabin, working his way towards the bottom of\n the boat.", "Everyone digs in the sand on the deserted beach with their\n hands. They are up to their waists in the hole they have\n scooped out. Fenster's body is a few feet away.", "The vans pull away.\n Strausz and Rizzi escape from the car.\n Oscar is trapped inside, SCREAMING.\n Strausz and Rizzi stop, each expecting the other to go let\n Oscar out.", "Keaton has come to the four-foot-high door to the hold. The\n door is open slightly. Keaton finds this strange. He pushes\n the door open and steps inside. The hold is empty.", "At the van, he finds the one man who has stayed behind to\n protect it. I i", "He crawls over the bed and squeezes between it and the\n bulkhead. Only the top of his head is visible. He starts to\n cry.\n\n BOOM - BOOM - Two shots just outside in the hall.", "with his back against the front bulkhead of the wheel house.\n His legs are twisted at odd, almost impossible angles. He\n looks down.", "Verbal hears a shot from the deck of the boat. He turns in\n time to see the man in the suit running across the deck\n toward the gangway.", "ELSEWHERE IN THE BOAT, McManus is tearing though the\n corridors, seemingly less interested in securing the cargo as\n he is in killing everyone on board.", "Jaime stands outside the door of the cabin and turns to face\n down the hall. Off in some other part of the boat, he can\n hear McManus wailing like a banshee and the ever-less\n frequent sound of gunshots.", "The men all nod.\n\n VOICE (O.S.)\n Number one. Step forward.", "In the half-light we can make out that he is on the deck of a\n large boat. A yacht, perhaps, or a small freighter. He sits", "The elevator is empty except for the three men. McManus has\n vanished. Kobayashi presses a button and they are on the way." ], [ "KOBAYASHI\n Mr. Soze made a few calls, yes. You were \n not to be released until I came to see", "The three Hungarians stand to greet him. Two hold guns in\n their hands. The third holds a straight razor. He grabs\n Soze youngest boy and holds the razor to his throat.", "Federal Marshals that he had seen and\n could positively identify one Keyser Soze\n and had intimate knowledge of his\n business, including, but not exclusive", "BAER\n What?\n\nHe waves his hand, gesturing for Kovash to say it again.\n\n KOVASH\n Keyser - Soze.", "KOBAYASHI (CONT'D)\n Nine months ago, one of Mr. Soze less \n than intelligent couriers was taken in a", "Kujan finds one sheet and notices a paragraph is highlighted.\n\n KUJAN\n Keyser Soze\n\n BAER\n There's more.", "He turns and looks down at the tattered man in the bed.\nKovash realizes Baer is listening and says the two words\nagain.\n\n KOVASH\n Keyser - Soze.", "power, and then they come after Soze He \n was small time then, just running dope, \n they say...", "KOBAYASHI\n I am sure you've heard a number of tall\n tales, myths and legends about Mr. Soze \n I can assure you gentlemen, most of them\n are true.", "SUDDENLY, Soze pulls out a pistol and shoots the two men with \n guns. He turns and aims at the third man holding his child.", "Jack Beer pulls the sheet out of the fax machine and turns it\n over, revealing the composite sketch of Keyser SOZE.", "You've never seen anyone like Keyser\n Soze in all your miserable life you\n idiot. Keyser Soze. Do you at least\n understand that? Keyser Soze. The", "Soze was tough. Not to be trifled with. \n So they let him know they meant business.", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "KOBAYASHI\n A gift from Mr. Soze gentlemen.\n\nHe turns and walks out of the room.", "KUJAN\n I don't get it.\n\n BAER\n They tell me you got the cripple from New\n York in there. He mention Keyser Soze", "The man threatens to cut the child's throat, slicing just\n enough to draw blood.\n\n SOZE FIRES.\n\n The stunned Hungarian watches the child fall from his arms.", "BOOM - The door bursts open.\n\n KUJAN\n Who is Keyser Soze", "KOBAYASHI\n Mr. Soze will be most -", "KOBAYASHI\n The offer is this, gentlemen. Mr. Soze's\n primary interest, as I am sure you all" ], [ "The man is DEAN KEATON, a well dressed, sturdy looking man in\nhis forties with slightly graying hair. He looks much better", "up. They said he had gone in to check a +\n leaking gas main. It blew up and took all\n of Dean Keaton with it. Within three", "KUJAN (CONT'D)\n Dean Keaton was dead. Did you know that? r\n He died in a fire two years ago during an", "there. Above all, I want to be sure that\n Dean Keaton is dead.", "McMANUS\n Dean Keaton, gone the high road. What is\n the world coming to?", "stopping to relieve himself on a small fire on the deck.\n He walks up and stands over Keaton. The two men exchange\n words and the man in the suit pulls out a pistol. He points", "McManus springs to his feet and points a pistol at Keaton.\n Keaton turns to face him and raises his head. McManus might\n as well be pointing a feather-duster.", "Keaton pulls out a large black and white photograph of\nhimself and his lawyer EDIE FINNERAN. They are laughing arm\nin arm by a fountain in New York. He hides the photo from the\nothers.", "He slumps to the deck. Keaton rushes over to him. He kneels\n down and sees a pipe sticking out of the back of McManus's\n neck.", "Keaton shows just a flicker of contempt. The threat has hit\n home.", "Everyone looks at Keaton.\n\n KOBAYASHI (CONT'D)\n No matter. Kill away, Mr. McManus.", "somewhat showy.\nKeaton looks up at the man. A look of realization crosses his\nface. It is followed by frustration, anger, and finally\nresignation.", "KUJAN\n Let me tell you something. I know Dean \n Keaton. I've been investigating him for", "Keaton grimaces bitterly and nods. He turns his head away and\ntakes another drag.\nThe hand with the gun waits long enough for Keaton to enjoy \nhis last drag before pulling the trigger.\n\nGUNSHOT", "Keaton looks up. He sees David Kujan. Behind him are the very\n serious looking guys in suits.\n\n Keaton is not happy to see them.", "Keaton laughs. Verbal thinks about it for a moment and laughs\nwith him.\n\nKeaton's laughter trails off. He thinks for a moment.", "it at Keaton.", "Verbal walks in and sits down on the couch, watching Keaton\n cautiously. He looks around the large apartment, beautifully\n furnished and decorated.", "Keaton walks over to the case and opens it. He reaches in and\npulls out five thick manila envelopes, each marked in bold", "Keaton pulls out the files, revealing a map underneath.\n\nKeaton hands each man his file. He opens his first. He pulls\nout a thick stack of papers and thumbs through them." ], [ "The boat is quiet now. Keaton walks out onto the deck.\n He looks out over the pier and sees Verbal standing in the\n middle of the carnage, frozen. Their eyes meet. Keaton waves", "Just then, Verbal bumps into him on his way out the door. He\nexcuses himself and hobbles down the steps, oblivious to who\nhe has bumped into as he tries to navigate the stairs.", "For the first time, Verbal stands and tries to move away from\nKujan, but Kujan stays in his face, backing him into a\ncorner. Verbal shields himself with his hands and shuts his\n\neyes.", "Keaton's mind races for an alternative. He can find none.\n Verbal lowers his gun without being told.\n KOBAYASHI (CONT'D)", "Keaton reaches into the car and grabs Saul's case. Everyone\n else piles into the van. Keaton gets in as Verbal is driving\n for the exit.", "She stops when she sees Verbal. Verbal stands and smiles\nnervously.\n\n VERBAL\n How do you do?", "Keaton turns and glares at Verbal. Verbal cringes.\n\n KEATON\n Get out.\n\n VERBAL\n If you'll just let me -", "Verbal drinks slowly. Edie stands over him, her face blank.\nIt is an awkward moment. She deliberately makes Verbal\nuncomfortable.\n\nLONG PAUSE - FINALLY:", "KUJAN (CONT'D)\n If he's dead, Verbal - if what you say is\n true, then it won't matter. It was his", "VERBAL\n (Sobbing)\n It was all Keaton. We followed him from\n the beginning.\n\nKujan smiles with triumphant satisfaction.", "After a moment, the door opens and Keaton stands on the other\n side of it. He is wearing a bathrobe and smoking a cigarette.\n\n He looks at Verbal without any expression whatsoever.", "Keaton's cold stare is all the answer Verbal needs. He slumps\n in his seat, resigned to the others.", "VERBAL\n They're gonna do a job. Three million\n dollars, maybe more.\n\nKeaton is speechless. Verbal sits on the couch again.", "Keaton lets Verbal go and steps back, thinking.\n\n VERBAL (CONT'D)\n As clean as you could ever get, they'll\n never let you go now.", "KUJAN (CONT'D)\n They found her yesterday in a hotel in\n Pennsylvania. Shot twice in the head.\n\nIt starts to sink in with Verbal. His eyes swell.", "BOOM\n\n VERBAL SHOOTS SAUL. Keaton looks at him in surprise. Verbal\n trembles more than he does.\n\n The garage is silent.", "KUJAN (CONT'D)\n What lawyer, Verbal?\n\nVerbal stammers for a moment, looking around wildly.", "Kujan looks at his watch.\n\n KUJAN\n You're stalling, Verbal.\n\n VERBAL\n Give a guy a break, huh?", "Keaton reaches for Verbal. Verbal flinches. Keaton gently\nhelps him up and guides him to the couch. They bath sit.\n\nKeaton reaches for a pack of cigarettes and lights one for\neach of them.", "Keaton laughs. Verbal thinks about it for a moment and laughs\nwith him.\n\nKeaton's laughter trails off. He thinks for a moment." ] ]

[ "Who does Kujan think Keaton is?", "Who disctated the artist's rendering of Soze?", "Who does the artist's rendering look like?", "Who tells Kujan about Soze?", "Who does Jack Baer work for?", "What is Kobayashi's job?", "What was the second jewelry heist if it wasn't jewelry?", "Who are the survivors on the ship?", "Who did Soze kill?", "What happens to the ship at the start of the story?", "How many people did Roger commit crimes with, according to the story?", "Where was Keaton when he tried to sell stolen items to Redfoot?", "Which agency sent an agent to interogate Verbal?", "Who was Keaton's lawyer?", "Where was the man in the urban legend from, according to the story?", "How did Verbal find out that Finneran was dead?", "What was the source of information for the story Roger told Dave?", "When did Kujan figure out that Kint wasn't telling the truth?", "Who was able to provide the description of Soze that was faxed to Kujan?", "What is Dean Keaton's relationship to Edie Finneran?", "Where is Dave Kujan employed?", "What is the settting when this story begins?", "What is Kobayashi's role in this story?", "Who does Kujan believe Soze is when he is talking to Verbal?", "Who is revealed to be Soze?", "Who are the survivors found on the ship?", "Who gave the description of Soze to the police?", "What is Dean Keaton's former employment?", "How was Verbal freed?" ]

[ [ "Soze", "Soze." ], [ "Kovash", "Kovash." ], [ "Verbal", "Verbal." ], [ "Jack Baer", "FBI Agent Jack Baer." ], [ "The FBI", "the FBI" ], [ "Lawyer", "lawyer" ], [ "Heroin", "Heroin." ], [ "Kovash and Kint", "Arkosh Kovash and Roger Verbal Kint " ], [ "His family", "His own family." ], [ "someone sets it on fire", "set afire" ], [ "4", "A total of four other criminals." ], [ "California", "California." ], [ "Customs", "Customs" ], [ "Edie Finneran", "Edie Finneran" ], [ "Turkey", "Turkey" ], [ "Kujan told him", "Kujan tells him." ], [ "a bulletin board in Dave's office", "A crowded bulliten board." ], [ "After Kint is released", "After Kint posted bond and walks outside the police office." ], [ "Kovash", "Kovash." ], [ "Finneran is Keaton's lawyer and girlfriend.", "Lawyer and girlfriend." ], [ "Customs agent from New York.", "He is a customs agent" ], [ "A ship docked in San Pedro Bay.", "A ship docked in the San Pedro Bay." ], [ "Kobayashi is an attorney who contacted the thieves on behalf of Keyser Soze and who later drives the car that Verbal gets away in.", "strong-arm" ], [ "Dean Keaton", "A Turkish crime lord." ], [ "Roger \"Verbal\" Kint", "Verbal" ], [ "Arkosk Kovash and Roger \"Verbal\" Kint", "Arkosh Kovash and Verbal Kint." ], [ "Arkosk Kovash", "Verbal Kint." ], [ "Police Officer", "He was a police officer." ], [ "He was released after paying his bond before it was discovered that he is Soze.", "posting bond" ] ]

35891de62bab83d5b312ddeb835c7e0b245e3282

test

[ [ "Vlad, unsure of what he saw., cautiously heads toward the \n staff cabin. As he nears, he bends over a dead Secret Service", "Vlad approaches the crumpled body. Leans down to examine his \n victim. He cups his hand under the man's chin and lifts his \n head. Recognizes him.", "He tak9s a moment to think. Considers his situation. His \n eyes find the dead agent who risked his life so he could \n make it to the pod. He trots down the gangway toward the \n lower galley.", "Serge returns fire, ripping up Perkins who collapses over \n the shredder, and with his last bit of strength, he dumps \n out the briefcase.", "Marshall seizes the moment. Grabs Bazylev's gun. The two \n struggle and Bazylez instinctively pulls the trigger. A burst \n of richocheting gunfire sparks across the bulkhead.", "A pregnant pause as they both wait to see what happens.\n\n Then Bazylev smiles and slowly turns toward Marshall.\n\n Marshall backs away as Bazylev levels his gun.", "agent and pulls up the lifeless wrist revealing abeening \n watch. It wasn't Marshall's after all. No matter. Vlad \n continues to the staff Cabin.", "KORSHUNOV\n A secret service agent. It must be.\n\n Wounded but alive. Serge, Bazylev...\n\n Find him.", "Behind the terrorists, one of the bathroom doors swings open. \n A SECRET SERVICE AGENT emerges. Sees what's happening. Reaches", "GIBBS tosses his two extra weapons to Korshunov's men, pivots \n the corner and begins firing at his colleagues. The SECRET", "Unaware of Marshall, Viad reaches into his pocket and pulls \n out a cigarette. Lights it. On the first puff he feels a \n presence behind him.\n\n VLAD slowly turns around...", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "A red laser dot appears briefly on his forehead and, after a \n beat, the red dot seems to bleed. The Guard collapses dead. \n Two other GUARDS are dispatched with single, silenced shots.", "Bazylev motions Marshall to get on his knees. Marshall \n complies.\n\n BAZYUV\n What's that in your shirt? Open it.", "A spray of bullets mows him down. He collapses in the door \n frame. Terrified, Rose tries to close the door, but the dead \n agent is in the way.", "Tripping and falling over Joey, the steward. His dead eyes \n swim in a pool of blood that was his face. Alice screams, \n scrambling to her feet.", "The turbulence worsens. Bazylev manages to wrest away the \n rifle, but the plane pulls into a climb, sending Bazylev \n tumbling down the gangway into the rear baggage hold.", "But it's obvious that they're eavesdropping. Alice smiles \n and waves at them dramatically.", "His eyes spin back and then his heart explodes.\n\n Bazylev is caught frozen, suspended in a moment of disbelief.", "Marshall ascends down from the upper deck. Spots Korshunov \n by the front stairway. Korshunov pushes Alice down the stairs \n to the underdeck." ], [ "MARSHAlj Whoever said that, shut up. Walter, are you there?\n\n DEAN\n I'm here, Mr. President.", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "MARSHALL\n (dismissive)\n No good. I said they disabled the \n communications system.\n\n SECRETARY\n No. I thought about this, Mr.", "LEE\n Twenty minutes?\n\n V.P. CHANDLER\n You heard me.\n (points to an aide)\n You. Congress and cabinet heads.", "ZEDECK\n That man, he is the president, no?\n\n SHEPHERD\n Yes. Yes he is.", "V.P. CHANDLER\n Does your office have anything to \n add, Mr. Dean?\n\n National Security Advisor WALTER DEAN leans forward.", "Vlad, unsure of what he saw., cautiously heads toward the \n staff cabin. As he nears, he bends over a dead Secret Service", "Perkins, carrying the nuclear football, ducks and weaves his \n way down the corridor into the fray. He takes a bullet to \n the shoulder, which fells him.", "Marshall and the secretary rush the opposite direction toward \n the equipment room.\n\n INT. WHITE HOUSE PRESS ROOM - DAY", "The President exits the building and enters his limousine.\n\n EXT. TARMAC - AIR FORCE ONE - NIGHT\n\n Walters hands the bags back to the Russians.", "V.P. CHANDLER\n The Chief Justice? What on earth \n for?\n\n GENERAL NORTHWOOD\n To swear you in as President.", "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "V.P. CHANDLER\n Mr. Dean, may I remind you that the \n President is not 19 anymore.\n\n INT. PRESIDENT'S STATEROOM - NIGHT", "COL. CARLTON\n Mr. President, it's an honor. Now \n with your permission can we lead you \n the fuck out of here.", "GENERAL NORTHWOOD\n Walter, if you have a point, make \n it.\n\n DEAN\n That kid's name was Jim Marshall.", "Ingrahams locks the cockpit door.\n\n EXT. SKY - NIGHT\n\n Air Force One banks into a curve and descends through broken \n clouds.", "table... high-intensity lights. Equipped to deal with any \n medical emergency the president might encounter.\n\n But too late. Vlad kicks the door open.", "GENERAL NORTHWOOD\n Exactly. Ramstein? General \n Northwood... Patch me through to \n your fighters. Madame Vice \n President... with your permission?", "VIAD\n (wonderment)\n The President.\n\n But Marshall's eyes flash open.\n\n MARSHALL\n That's right, asshole.", "Two Army Rangers approach the cockpit.\n\n ARMY RANGER #1\n Mr. President!\n\n Army Ranger #2 slides into the co-pilot's seat." ], [ "Marshall manages to pull himself up the grating and into the \n galley. He's free, for the moment.\n\n INT. AFO, COCKPIT.", "shooting blindly. Marshall watches as he's hit repeatedly, \n but it gives him the time he needs to dive for the pod.", "Marshall hangs on to the strut for dear life as the \n pressurized air swooshes by him, taking with it everything \n that isn't nailed down including some of the spare parachutes.", "Marshall retrieves the phone, then wedges himself behind a \n waste storage tank, out of view.\n\n INT. PILOT'S REST AREA -", "He tak9s a moment to think. Considers his situation. His \n eyes find the dead agent who risked his life so he could \n make it to the pod. He trots down the gangway toward the \n lower galley.", "MARSHALL\n (murmuring)\n Out of fuel.\n\n INT. FORWARD BAGAGE HOLD - NIGHT", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "Marshall seizes the moment. Grabs Bazylev's gun. The two \n struggle and Bazylez instinctively pulls the trigger. A burst \n of richocheting gunfire sparks across the bulkhead.", "Marshall, still fighting the yoke, stands. He takes a deep \n breatn, drops the wheel and runs like a motherfucker for the \n stairs.", "Zedeck steps over the three dead Communications Specialists, \n on his way to the cockpit door. Tries the door. It's locked. \n He pounds on it.", "Marshall, silhouetted in the half light, craddles his head \n head in his hands. The shaft of light disappears as the main \n cabin hatch closes, sealing him off once again.", "The wave of pressurized air subsides leaving Zedeck, Marshall, \n Shepherd and Caldwell on the ramp. Caldwell begins edging \n toward Marshall.", "Marshall works the controls of the 747. Tries to engage the \n automatic pilot. The system is fried. Marshall wrestles with \n the yoke.", "Marshall sees that the stairway hatch has been sealed.\n\n INT. LOWER GALLEY - NIGHT", "MARSHALL\n (to himself)\n She was important.\n\n INT. MISSION COMMUNICATIONS CENTER.", "The agents lift Marshall to his feet, and practically carry \n him from the room, leaving the other high ranking officials \n to scramble for themselves in a cacophony of shouts.", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "As Marshall appears in the gangway he fires off another shot, \n hitting a cooling vent. Steam fills the' gangway area, bathed \n in red auxiliary lighting.", "MARSHALL\n What about my family?\n\n SECRET SERVICE AGENT #\n I have a family, too, sir. Now get \n in the fucking pod.", "MARSHALL\n Oh shit. It's got us.\n\n EXT. SKY - NIGHT" ], [ "Marshall hangs on to the strut for dear life as the \n pressurized air swooshes by him, taking with it everything \n that isn't nailed down including some of the spare parachutes.", "Marshall works the controls of the 747. Tries to engage the \n automatic pilot. The system is fried. Marshall wrestles with \n the yoke.", "Canton's plane edges around to the right... and Marshall \n follows. The 747 leans at an angle and continues the turn", "INT. FORWARD BAGGAGE HOLD.\n\n Marshall crosses back to the avionics compartment, talking \n on the phone.", "INT. FRONT BAGGAGE HOLD.\n\n For Marshall, this is the hardest decision of his life. His \n face a mask of anguish as he wrestles with his conscience.", "Marshall finds the throttle, pushes it up all the way. He \n feels the plane out, gently nudges it into a turn.\n\n EXT. SKY - NIGHT", "Marshall's out of plane. Nowhere to hide in the galley.\n\n Marshall eyes the bathrooms, doors flapping.\n\n FOLLOWING SERGE...", "Marshall manages to pull himself up the grating and into the \n galley. He's free, for the moment.\n\n INT. AFO, COCKPIT.", "INT. AIR FORCE ONE, COCKPIT - NIGHT\n\n MARSHALL STRUGGLES TO REGAIN CONTROL OF THE 747. HE OVER-", "At the end of his rope, literally. Marshall's harness snags \n on the end clasp. He hangs on for dear life.\n\n Moments later Air Force One impacts.", "The plane banks left into a dive. Marshall grabs the yoke.\n\n INT. MIG COCKPIT -\n\n Finger on the trigger.", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "Marshall slides down the cable, gripping at it, trying to \n break his fall.\n\n Air Force One plummets toward the water.\n\n Marshall sliding, right behind it, running out of cable.", "Marshall retreats behind a divider. Sees Serge coming. Fires \n a few rounds, then retreats to the next divider. Working \n toward the rear of the plane.", "The wave of pressurized air subsides leaving Zedeck, Marshall, \n Shepherd and Caldwell on the ramp. Caldwell begins edging \n toward Marshall.", "Marshall retrieves the phone, then wedges himself behind a \n waste storage tank, out of view.\n\n INT. PILOT'S REST AREA -", "INT. LOWER GALLEY, BAGGAGE LEVEL -\n\n Marshall tumbles out of the cramped galley dumbwaiter, \n breathing heavy. He slumps against the bulkhead and slides", "Korshunov retreats toward the rear of the plane.\n\n MARSHALL (O.S.)\n There's nowhere to go.", "Marshall waits a few beats, listens to the silence. Then re-\n mounts the stairs and almost runs into the back of...", "Hands behind his head, Marshall walks in front of Bazylev, \n an MP5 pressed against his neck.\n\n INT. F-15 EAGLE COCKPIT - NIGHT" ], [ "With Marshall back at the yoke.\n\n KC-LO PILOT\n Air Force One, you're losing altitude.", "Marshall slides down the cable, gripping at it, trying to \n break his fall.\n\n Air Force One plummets toward the water.\n\n Marshall sliding, right behind it, running out of cable.", "INT. AIR FORCE ONE, COCKPIT - NIGHT\n\n MARSHALL STRUGGLES TO REGAIN CONTROL OF THE 747. HE OVER-", "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "In the aftermath, Marshall takes a moment and pulls on the \n pilot's headset.\n\n MARSHALL\n U.S. Pilots, this is Air Force One.", "MARSHALL\n An emergency landing in friendly \n territory... there's your goddamn \n miracle.\n\n EXT. AIR FORCE ONE - NIGHT", "INT. COCKPIT, AIR FORCE ONE - NIGHT\n\n With a smile.\n\n MARSHALL\n Acknowledged.", "Air Force One\n\n Andrew Marlow \n\n FADE IN:\n\n INT. C-130 HERCULES TURBO-PROP - NIGHT", "The KC-135 flies above Air Force One, connected by a gasoline \n umbilical cord.\n\n INT. EMERGENCY RAMP PLATFORM.", "Marshall works the controls of the 747. Tries to engage the \n automatic pilot. The system is fried. Marshall wrestles with \n the yoke.", "At the end of his rope, literally. Marshall's harness snags \n on the end clasp. He hangs on for dear life.\n\n Moments later Air Force One impacts.", "INT. COCKPIT, AIR FORCE ONE - NIGHT\n\n MARSHALL\n How long's it been?", "TNT. AIR FORCE ONE COCKPIT - NIGHT\n\n MARSHALL\n I can't stabilize it.", "Air Force One descends.\n\n Whipping fire trails the KC-135.\n\n Slowly rolls it way into the plane's main tank.", "He looks out at the F-l5s.\n\n MARSHALL\n They're flying a protection formation.\n (beat)\n Call D.C. Find out what's going on.", "MARSHALL\n I dumped most of the fuel. They'll \n land soon and Delta will take its \n shot.", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines.", "As the entire airbase collectively holds its breath. Air \n Force One's tires hover 50 feet above the ground... 40 feet... \n 30...", "MARSHALL\n Not now, pumpkin.\n\n Alice's touch activates offensive mode.\n\n EXT. AIR FORCE ONE - NIGHT", "The squadron of F-15 still surround Air Force One, which \n slowly banks to one side.\n\n INT. F-15 COCKPIT - NIGHT" ], [ "Marshall slides down the cable, gripping at it, trying to \n break his fall.\n\n Air Force One plummets toward the water.\n\n Marshall sliding, right behind it, running out of cable.", "At the end of his rope, literally. Marshall's harness snags \n on the end clasp. He hangs on for dear life.\n\n Moments later Air Force One impacts.", "INT. AIR FORCE ONE, COCKPIT - NIGHT\n\n MARSHALL STRUGGLES TO REGAIN CONTROL OF THE 747. HE OVER-", "MARSHALL, flattened behind the edge of the galley divider. \n He creeps away from Vlad toward the Presidential Suite... \n stepping gingerly over dead secret service agents.", "In the aftermath, Marshall takes a moment and pulls on the \n pilot's headset.\n\n MARSHALL\n U.S. Pilots, this is Air Force One.", "Marshall hangs on to the strut for dear life as the \n pressurized air swooshes by him, taking with it everything \n that isn't nailed down including some of the spare parachutes.", "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "MARSHALL\n Not now, pumpkin.\n\n Alice's touch activates offensive mode.\n\n EXT. AIR FORCE ONE - NIGHT", "MARSHALL\n What about my family?\n\n SECRET SERVICE AGENT #\n I have a family, too, sir. Now get \n in the fucking pod.", "SECRET SERVICE AGENT\n We're under attack.\n\n MARSHALL\n Where's my family?", "Marshall manages to pull himself up the grating and into the \n galley. He's free, for the moment.\n\n INT. AFO, COCKPIT.", "Gibbs draws a bead on the President, smiles... but he doesn't \n have any strength left to pull the trigger. He expires.\n\n And the plane begins to dive. Marshall runs for the cockpit.", "stove, walk-in freezer, plates and silverware. Marshall picks \n up a butcher knife.\n\n INT. CORRIDOR, AIR FORCE ONE - NIGHT", "The rest of the pilots chime in.\n\n INT. AIR FORCE ONE, LOWER AFT GALLEY - NIGHT\n\n Marshall swings into the cubicle... empty.", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines.", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "The wave of pressurized air subsides leaving Zedeck, Marshall, \n Shepherd and Caldwell on the ramp. Caldwell begins edging \n toward Marshall.", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "Marshall works the controls of the 747. Tries to engage the \n automatic pilot. The system is fried. Marshall wrestles with \n the yoke." ], [ "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines.", "The President's motorcade pulls up in front of Air Force \n One.\n\n INT. AIR FORCE ONE - NIGHT", "INT. WHITE HOUSE SITUATION ROOM - DAY\n\n A map of Air Force One's flight trajectory is displayed on \n the rear screen. Moscow to Berlin and back toward the Black \n Sea.", "The President exits the building and enters his limousine.\n\n EXT. TARMAC - AIR FORCE ONE - NIGHT\n\n Walters hands the bags back to the Russians.", "EXT. SKY - NIGHT\n\n Air Force One, lit up by moonlight.\n\n INT. CORRIDOR.", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "Korshunov trades looks with his news team.\n\n EXT. MOSCOW INTERNATIONAL AIRPORT - NIGHT", "EXT. AIR FORCE ONE - NIGHT\n\n INT. MISSION COMMUNICATION CENTER - NIGHT\n\n Another sonic boom.", "KORSHUNOV\n And what is it you do, Ms. Mitchell.\n\n Maria Mitchell's voice echos over throughout Air Force One.", "Closing fast.\n\n FIGHTER PILOT #2\n Boss, they got one off.\n\n INT. AIR FORCE ONE - NIGHT", "Twin FIREBALLS erupt in the sky as the Mics evaporate.\n\n But from the fireball, a MISSILE emerges coming right at Air \n Force One.", "INT. MIG COCKPIT - NIGHT\n\n The MIG pilot targets Air Force One. He cuts his speed as he \n lines up his shot. Gets a lock.", "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "Shepherd and his Ranger clip onto the wire, but the KC-lO is \n now higher than Air Force One.\n\n INT. AFO COCKPIT -", "Air Force One\n\n Andrew Marlow \n\n FADE IN:\n\n INT. C-130 HERCULES TURBO-PROP - NIGHT", "COL. CARLTON\n Air Force one... please respond. Air \n Force One, you are entering hostile \n air space. Air Force one...\n\n All Carlton receives is static.", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "A mechanical him and clank gives way to a rush of wind as \n the tail section of Air Force One hinges open on hydraulic", "INT. AIR FORCE ONE COCKPIT - NIGHT\n\n The shock waves from a nearby MiG explosion shakes the plane." ], [ "The massive fireball and glowing remains of the Presidential \n aircraft almost reaches up to where the President struggles \n to hold on to the end of the cable.\n\n INT. KC-LO TRANSPORT", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "The President's motorcade pulls up in front of Air Force \n One.\n\n INT. AIR FORCE ONE - NIGHT", "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "Two Army Rangers approach the cockpit.\n\n ARMY RANGER #1\n Mr. President!\n\n Army Ranger #2 slides into the co-pilot's seat.", "The President exits the building and enters his limousine.\n\n EXT. TARMAC - AIR FORCE ONE - NIGHT\n\n Walters hands the bags back to the Russians.", "In the aftermath, Marshall takes a moment and pulls on the \n pilot's headset.\n\n MARSHALL\n U.S. Pilots, this is Air Force One.", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines.", "EXT. AIR FORCE ONE - NIGHT\n\n INT. MISSION COMMUNICATION CENTER - NIGHT\n\n Another sonic boom.", "INT. PRESIDENTIAL STATEROOM - NIGHT\n\n The sounds of gunfire have reached the the nose of the plane.", "Small bay doors open in the belly of Air Force One, and a \n human sized cannister drops from the bottom, its parachute \n Opening instantly.\n\n INT. FLIGHT DECK - NIGHT", "Beneath the main cabin, the Secret Service agents run the \n President through the forward baggage compartment and the \n lower galley: a large room with compartments, storage freezers \n and food preperation tables.", "INT. CORRIDOR - NIGHT\n\n Filled with smoke and gunfire. The agents rush the President \n behind a forward bulkhead.", "The Flying White House careens toward the barracks, then \n edges toward a hangar. The jet engines strain to reach full \n power.\n\n INT. RAMSTEIN CONTROL TOWER - NIGHT", "Surprised to hear their boss' voice, the aides and advisors \n release Marshall.\n\n SHEPHERD\n Mr. President, how the hell did you \n get on board?", "The squadron of F-15 still surround Air Force One, which \n slowly banks to one side.\n\n INT. F-15 COCKPIT - NIGHT", "Closing fast.\n\n FIGHTER PILOT #2\n Boss, they got one off.\n\n INT. AIR FORCE ONE - NIGHT", "The agent combat-rolls into the open and fires. He advances \n down the gangway acting as a shield for the president," ], [ "The agent combat-rolls into the open and fires. He advances \n down the gangway acting as a shield for the president,", "Mr. President.\n\n Thunderous applause as Marshall rises and approaches the \n podium.", "Shepherd nods and waits by the door. Lt. Col. Perkins takes \n a seat outside the Presidents stateroom and opens the latest", "ZEDECK\n That man, he is the president, no?\n\n SHEPHERD\n Yes. Yes he is.", "Most of the President's service record makes for dull reading \n because most of what he did iarLZ ULirn. History remembers", "Two Army Rangers approach the cockpit.\n\n ARMY RANGER #1\n Mr. President!\n\n Army Ranger #2 slides into the co-pilot's seat.", "When the men sees Stravanavitch they come to attention and \n salute him. Stravanavitch returns the salute. And then starts \n his march toward his limousine...", "MAJOR CALDWELL\n Sir, we stay with the President.\n\n MARSHALL\n That isn't necessary.", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines.", "MARSHALL\n That's my job.\n\n A STEWARD enters the room.\n\n STEWARD\n Mr. President?", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "Marshall turns to see this soldier, a fresh-faced, 19-year-\n old kid, saluting his Commander-in-chief.\n\n ARMY RANGER\n Welcome aboard, sir.", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "A mechanical him and clank gives way to a rush of wind as \n the tail section of Air Force One hinges open on hydraulic", "INT. CORRIDOR - NIGHT\n\n Filled with smoke and gunfire. The agents rush the President \n behind a forward bulkhead.", "The President's motorcade pulls up in front of Air Force \n One.\n\n INT. AIR FORCE ONE - NIGHT", "He looks out at the F-l5s.\n\n MARSHALL\n They're flying a protection formation.\n (beat)\n Call D.C. Find out what's going on.", "MARSHALL\n Fill this with Heineken.\n\n The steward nods...\n\n STEWARD\n Yes, Mr. President.", "V.P. CHANDLER\n but not the President. Not the \n President.\n\n A silent beat.", "V.P. CHANDLER\n But this is different, sir. You're \n the President.\n\n * MARSHALL" ], [ "ZEDECK\n That man, he is the president, no?\n\n SHEPHERD\n Yes. Yes he is.", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "Mr. President.\n\n Thunderous applause as Marshall rises and approaches the \n podium.", "The President hunts through luggage. Overturned garment bags \n and suitcases around him, belongings littered all over the", "President.\n\n V.P. CHANDLER\n It's him. He is alive.", "MARSHALL\n That's my job.\n\n A STEWARD enters the room.\n\n STEWARD\n Mr. President?", "The massive fireball and glowing remains of the Presidential \n aircraft almost reaches up to where the President struggles \n to hold on to the end of the cable.\n\n INT. KC-LO TRANSPORT", "office of the President is infinitely \n more important than the man who holds \n that office.\n (beat)", "VIAD\n (wonderment)\n The President.\n\n But Marshall's eyes flash open.\n\n MARSHALL\n That's right, asshole.", "V.P. CHANDLER\n By then I'll be President.\n\n Chandler hangs up the phone.", "MARSHALL\n Fill this with Heineken.\n\n The steward nods...\n\n STEWARD\n Yes, Mr. President.", "The agent combat-rolls into the open and fires. He advances \n down the gangway acting as a shield for the president,", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "Korshunov turns toward the monitor. Furrows his brow.\n\n KORSHUNOV\n And you are almost out of time.\n\n Where is the President?", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "The President's motorcade pulls up in front of Air Force \n One.\n\n INT. AIR FORCE ONE - NIGHT", "President.\n\n Zedeck grabs Caldwell's hands and tapes them behind his back \n with duct tape. Rose and Alice already have their hands taped.", "V.P. CHANDLER\n but not the President. Not the \n President.\n\n A silent beat.", "V.P. CHANDLER\n But this is different, sir. You're \n the President.\n\n * MARSHALL", "Shepherd nods and waits by the door. Lt. Col. Perkins takes \n a seat outside the Presidents stateroom and opens the latest" ], [ "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "The terrorists move toward the nose of the plane leaving \n Nevsky to guard the conference room.\n\n INT. BAGGAGE HOLD - NIGHT", "INT. AIR FORCE ONE COCKPIT - NIGHT\n\n The shock waves from a nearby MiG explosion shakes the plane.", "The terrorists, from every corner of the plane, lead the \n stunned survivors, hands on heads, to the central conference \n room.", "The President exits the building and enters his limousine.\n\n EXT. TARMAC - AIR FORCE ONE - NIGHT\n\n Walters hands the bags back to the Russians.", "INT. WHITE HOUSE SITUATION ROOM - DAY\n\n A map of Air Force One's flight trajectory is displayed on \n the rear screen. Moscow to Berlin and back toward the Black \n Sea.", "The turbulence worsens. Bazylev manages to wrest away the \n rifle, but the plane pulls into a climb, sending Bazylev \n tumbling down the gangway into the rear baggage hold.", "KORSHUNOV\n No. The plane lands when I say, or \n it will crash. The hostages are \n released when I say, or they will \n die.", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "KORSHUNOV\n No. He has the advantage down there.\n\n Bring me a hostage. A woman.\n\n INT. FORWARD BAGGAGE HOLD.", "With no oneat the controls, Air Force One goes into a sharp \n sloping dive.\n\n INT. GANGWAY, AIR FORCE ONE -", "INT. MIG COCKPIT - NIGHT\n\n The MIG pilot targets Air Force One. He cuts his speed as he \n lines up his shot. Gets a lock.", "The squadron of F-15 still surround Air Force One, which \n slowly banks to one side.\n\n INT. F-15 COCKPIT - NIGHT", "INT. CONFERENCE ROOM - NIGHT\n\n Korshunov surveys the hostages. Viad covers them at gunpoint.", "ignites the river of gasoline being pumped from the refueling \n craft's belly.\n\n INT. AIR FORCE ONE, COCKPIT -", "EXT. AIR FORCE ONE - NIGHT\n\n INT. MISSION COMMUNICATION CENTER - NIGHT\n\n Another sonic boom.", "Closing fast.\n\n FIGHTER PILOT #2\n Boss, they got one off.\n\n INT. AIR FORCE ONE - NIGHT", "INT. AIR FORCE ONE, COCKPIT - NIGHT\n\n MARSHALL STRUGGLES TO REGAIN CONTROL OF THE 747. HE OVER-", "INT. AIR FORCE ONE, FLIGHT DECK - NIGHT\n\n RAMSTEIN A.B. CONTROLLER (RADIO)", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines." ], [ "Mr. President.\n\n Thunderous applause as Marshall rises and approaches the \n podium.", "MARSHALL\n The First Lady was making a joke, \n Shep. I'll make some time, Rose. I \n promise.\n\n Marshall heads for his meeting.", "MARSHALL\n That's my job.\n\n A STEWARD enters the room.\n\n STEWARD\n Mr. President?", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "Rose and Marshall - their eyes meet. Enormous relief for the \n both of them. Marshall smiles at his wife, as she fights \n back her tears.", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "INT. PRESIDENT'S STATEROOM - NIGHT\n\n Marshall collapses on the couch, rubs his eyes, then closes \n them. A moment of peace in a breakneck day.", "President Marshall picks up one of the many phones in his \n office.\n\n MARSHALL\n I said it's not worth the fight.\n (into phone)\n Steward, please.", "VIAD\n (wonderment)\n The President.\n\n But Marshall's eyes flash open.\n\n MARSHALL\n That's right, asshole.", "MARSHALL\n This is President Marshall. I know \n you guys are busy, but we need some \n help here.", "MARSHALL\n This promise isn't subject to \n Congressional approval.\n\n She smiles. The tension breaks.", "MARSHALL\n Fill this with Heineken.\n\n The steward nods...\n\n STEWARD\n Yes, Mr. President.", "Marshall nods as he pulls off his bow tie and enters his \n stateroom. Shepherd follows two steps behind.\n\n SHEPHERD\n Mr. President?", "MARSHALL, flattened behind the edge of the galley divider. \n He creeps away from Vlad toward the Presidential Suite... \n stepping gingerly over dead secret service agents.", "Marshall waits as the phone rings...\n\n INT. WHITE HOUSE, SWITCHBOARD ROOM - DAY\n\n A chipper woman in her mid-20s picks up the call.", "V.P. CHANDLER\n But this is different, sir. You're \n the President.\n\n * MARSHALL", "Marshall waits a few beats, listens to the silence. Then re-\n mounts the stairs and almost runs into the back of...", "KORSHUNOV\n Mrs. Marshall. Alice. If you please.\n\n Rose turns to the other hostages.", "MARSHALL\n (to himself)\n She was important.\n\n INT. MISSION COMMUNICATIONS CENTER." ], [ "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "Behind the terrorists, one of the bathroom doors swings open. \n A SECRET SERVICE AGENT emerges. Sees what's happening. Reaches", "Beneath the main cabin, the Secret Service agents run the \n President through the forward baggage compartment and the \n lower galley: a large room with compartments, storage freezers \n and food preperation tables.", "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "Smoke, automatic weapons fire. Secret service agents battling \n the terrorists. Aides, diplomats, crew and personnel caught \n in the crossfire.", "He emerges into the bowels of Air Force one.\n\n He stands quietly a moment, listening... for footsteps, for \n gunfire. All quiet except for the whine of the jet engines.", "Two Army Rangers approach the cockpit.\n\n ARMY RANGER #1\n Mr. President!\n\n Army Ranger #2 slides into the co-pilot's seat.", "The President's motorcade pulls up in front of Air Force \n One.\n\n INT. AIR FORCE ONE - NIGHT", "The blast slams bits of the fighter plane against Air Force \n One. Rocking it badly. Chunks of the plane rip away metal \n sheeting on the 747's wings and tail section.", "The broken edge of the fueling arm scrapes along the top of \n Air Force One... metal against metal... tearing a gash in \n the plane... Sparks fly.\n\n ONE OF THE SPARKS", "Vlad, unsure of what he saw., cautiously heads toward the \n staff cabin. As he nears, he bends over a dead Secret Service", "Surprised to hear their boss' voice, the aides and advisors \n release Marshall.\n\n SHEPHERD\n Mr. President, how the hell did you \n get on board?", "HITS - One of the Secret Service agents in the shoulder. \n Blood blossoms through his clothes but he winces it off.\n\n SECRET SERVICE AGENT\n Come on, sir.", "Closing fast.\n\n FIGHTER PILOT #2\n Boss, they got one off.\n\n INT. AIR FORCE ONE - NIGHT", "The squadron of F-15 still surround Air Force One, which \n slowly banks to one side.\n\n INT. F-15 COCKPIT - NIGHT", "The President exits the building and enters his limousine.\n\n EXT. TARMAC - AIR FORCE ONE - NIGHT\n\n Walters hands the bags back to the Russians.", "Rose peers out to see what's the matter. An armed Secret \n Service agent runs toward her.\n\n SECRET SERVICE AGENT\n Get back! Get back!", "With no oneat the controls, Air Force One goes into a sharp \n sloping dive.\n\n INT. GANGWAY, AIR FORCE ONE -", "SECRET SERVICE AGENT\n Get in! \n\n Marshall freezes.\n\n SECRET SERVICE AGENT\n Get in, sir.", "The missile has Air Force One dead to rights, crawling right \n up its tail pipe.\n\n Just before its about to hit the plane..." ], [ "Mr. President.\n\n Thunderous applause as Marshall rises and approaches the \n podium.", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "MARSHALL\n That's my job.\n\n A STEWARD enters the room.\n\n STEWARD\n Mr. President?", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "INT. PRESIDENT'S STATEROOM - NIGHT\n\n Marshall collapses on the couch, rubs his eyes, then closes \n them. A moment of peace in a breakneck day.", "VIAD\n (wonderment)\n The President.\n\n But Marshall's eyes flash open.\n\n MARSHALL\n That's right, asshole.", "MARSHALL\n This is President Marshall. I know \n you guys are busy, but we need some \n help here.", "V.P. CHANDLER\n But this is different, sir. You're \n the President.\n\n * MARSHALL", "President Marshall picks up one of the many phones in his \n office.\n\n MARSHALL\n I said it's not worth the fight.\n (into phone)\n Steward, please.", "During the applause, Marshall pulls a page from the speech, \n folds it and slides it into his pocket. He removes his \n glasses and looks out into the crowd. His tone becomes more \n personal.", "MARSHALL\n Fill this with Heineken.\n\n The steward nods...\n\n STEWARD\n Yes, Mr. President.", "Marshall catches his breath for a moment. Pulls open his \n shirt. Beneath it he wears a bulletproof Kevlar vest. He", "Marshall turns to see this soldier, a fresh-faced, 19-year-\n old kid, saluting his Commander-in-chief.\n\n ARMY RANGER\n Welcome aboard, sir.", "He fires once, hitting Marshall in the arm. Marshall winces \n off the pain.\n\n BAZYLEV\n (disgust)\n The leader of the free world.", "MAJOR CALDWELL\n Sir, we stay with the President.\n\n MARSHALL\n That isn't necessary.", "MARSHALL, flattened behind the edge of the galley divider. \n He creeps away from Vlad toward the Presidential Suite... \n stepping gingerly over dead secret service agents.", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "INT. REAR BAGGAGE HOLD/INT. WHITE HOUSE SITUATION ROOM\n\n Marshall rips his sleeve off, swabs the blood off his arm.", "MARSHALL\n What we did here was important. We \n finally pulled our heads out of the", "Marshall huddles tight with Rose and Alice as a MEDIC attends \n to their wounds.\n\n ARMY RANGER\n Mr. President?" ], [ "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "shooting blindly. Marshall watches as he's hit repeatedly, \n but it gives him the time he needs to dive for the pod.", "Marshall manages to pull himself up the grating and into the \n galley. He's free, for the moment.\n\n INT. AFO, COCKPIT.", "Marshall retrieves the phone, then wedges himself behind a \n waste storage tank, out of view.\n\n INT. PILOT'S REST AREA -", "MARSHALL, flattened behind the edge of the galley divider. \n He creeps away from Vlad toward the Presidential Suite... \n stepping gingerly over dead secret service agents.", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "Marshall dives for the nearest doorway. Vlad swings round to \n see a figure slip into the senior staff cabin.", "MARSHALL\n What about my family?\n\n SECRET SERVICE AGENT #\n I have a family, too, sir. Now get \n in the fucking pod.", "Marshall and the secretary rush the opposite direction toward \n the equipment room.\n\n INT. WHITE HOUSE PRESS ROOM - DAY", "INT. PRESIDENT'S STATEROOM - NIGHT\n\n Marshall collapses on the couch, rubs his eyes, then closes \n them. A moment of peace in a breakneck day.", "Marshall's out of plane. Nowhere to hide in the galley.\n\n Marshall eyes the bathrooms, doors flapping.\n\n FOLLOWING SERGE...", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "MARSHALL\n (dismissive)\n No good. I said they disabled the \n communications system.\n\n SECRETARY\n No. I thought about this, Mr.", "MARSHALL\n (to himself)\n She was important.\n\n INT. MISSION COMMUNICATIONS CENTER.", "Marshall, silhouetted in the half light, craddles his head \n head in his hands. The shaft of light disappears as the main \n cabin hatch closes, sealing him off once again.", "The massive fireball and glowing remains of the Presidential \n aircraft almost reaches up to where the President struggles \n to hold on to the end of the cable.\n\n INT. KC-LO TRANSPORT", "Marshall, still fighting the yoke, stands. He takes a deep \n breatn, drops the wheel and runs like a motherfucker for the \n stairs.", "Marshall frozen near the bottom of the steps. To go up would \n be to betray everything he believes in, and lose any chance \n to save the others. But if he stays...", "No time for remorse. Marshall tries the Main conference Room \n door. Locked. He knows the others will be coming so he \n flattens himself against the corridor wall. Trains his gun \n on the stairs.", "INT. REAR BAGGAGE HOLD/INT. WHITE HOUSE SITUATION ROOM\n\n Marshall rips his sleeve off, swabs the blood off his arm." ], [ "The aide nods and picks up a telephone.\n\n AIR FORCE COLONEL\n Madame Vice-President?", "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "interior to the South entrance of the White House. She is \n the VICE PRESIDENT of the UNITED STATES OF AMERICA.", "Lee whispers to the Vice President.\n\n LEE\n Finally, we can bargain.", "V.P. CHANDLER\n but not the President. Not the \n President.\n\n A silent beat.", "GENERAL GREELY\n Madame Vice-President, we just got \n word from Ramstein... The nod was \n UntiL Chandler stands.", "LEE\n Madame Vice president. We have an \n options paper. chandler takes the \n options paper, waves off Lee, and \n reads it as she talks.", "specifics except to say that the \n Vice-President is doing everything \n within her power to resolve the \n situation.", "LEE\n Twenty minutes?\n\n V.P. CHANDLER\n You heard me.\n (points to an aide)\n You. Congress and cabinet heads.", "PETROV\n I understand your dilemma, Vice \n President Chandler. But unless you", "V.P. CHANDLER\n The Chief Justice? What on earth \n for?\n\n GENERAL NORTHWOOD\n To swear you in as President.", "GENERAL NORTHWOOD\n Exactly. Ramstein? General \n Northwood... Patch me through to \n your fighters. Madame Vice \n President... with your permission?", "Vlad, unsure of what he saw., cautiously heads toward the \n staff cabin. As he nears, he bends over a dead Secret Service", "ZEDECK\n That man, he is the president, no?\n\n SHEPHERD\n Yes. Yes he is.", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -", "VIAD\n (wonderment)\n The President.\n\n But Marshall's eyes flash open.\n\n MARSHALL\n That's right, asshole.", "V.P. CHANDLER\n But this is different, sir. You're \n the President.\n\n * MARSHALL", "V.P. CHANDLER\n By then I'll be President.\n\n Chandler hangs up the phone.", "President.\n\n V.P. CHANDLER\n It's him. He is alive." ], [ "Korshunov SHOOTS Doherty through the head. Screams from some \n of the hostages. Korshunov squeezes off a few shots to quiet \n everyone.", "Marshall fires, his bullet ripping apart a good deal of \n Korshunov's face and snapping his body back.", "No more bullets. Korshunov steps into the room, brandishing \n his automatic, smiling. Rose backs against the wall and raises \n her hands.", "Korshunov fires and Marshall dives out of the way. He cones \n up in defensive crouch ready to shoot, but all he can see is \n Alice.", "They don't move. Korshunov raises his gun, points it a \n Shepherd's head.\n\n KORSHUNOV\n Now, or he dies, please.", "Korshunov backs away to the steps. Marshall does not lower \n his gun. Korshunov disappears down the staircase.\n\n MARSHALL\n Shepherd.", "Korshunov fires at Marshall, but...\n\n Major Caidwell dives in front of the bullet spray taking the \n rounds in his chest.", "KORSHUNOV\n Shall I begin by executing the \n President's daughter? She's right \n here.\n\n ROSE\n No.", "KORSHUNOV\n A secret service agent. It must be.\n\n Wounded but alive. Serge, Bazylev...\n\n Find him.", "KORSHUNOV\n He's already killed three of us, and \n we haven't even seen him. He's also", "Korshunov whips out his gun and lines up a clean shot at \n Marshall's head.\n\n MAJOR CALDWELL\n Mr. President.", "Marshall ascends down from the upper deck. Spots Korshunov \n by the front stairway. Korshunov pushes Alice down the stairs \n to the underdeck.", "Korshunov smiles.\n\n MARSHALL\n Stop.\n\n KORSHUNOV\n You'll do it?", "Korshunov straps on one of the few remaining parachutes. He \n tosses the rest of the spares out onto the platform.", "KORSHUNOV\n Yes, I am an asshole.\n\n A long beat, the Korshunov lovers the gun.", "Korshunov backs toward the edge of the ramp, pulling a \n struggling and fighting Alice.\n\n MARSHALL\n Let her go now! Or I will kill you.", "Marshall turns his aim to Korshunov... but Korshunov grabs \n Alice and presses his pistol to her head.\n\n Stand-off.", "KORSHUNOV\n Don't be hasty.\n\n Marshall holds Korshunov in his sights. Slowly advancing.", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "KORSHUNOV\n (to Zedeck)\n Go! Take Serge.. and watch your backs.\n\n Zedeck nods and dashes out of the cabin." ], [ "The blast slams bits of the fighter plane against Air Force \n One. Rocking it badly. Chunks of the plane rip away metal \n sheeting on the 747's wings and tail section.", "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "Through the cockpit window, an F-15 settles in front of Air \n Force One... Flames pouring out of its tail. Under any other", "AIR FORCE ONE\n The President's own Boeing 747-200,", "The broken edge of the fueling arm scrapes along the top of \n Air Force One... metal against metal... tearing a gash in \n the plane... Sparks fly.\n\n ONE OF THE SPARKS", "The squadron of F-15 still surround Air Force One, which \n slowly banks to one side.\n\n INT. F-15 COCKPIT - NIGHT", "Closing fast.\n\n FIGHTER PILOT #2\n Boss, they got one off.\n\n INT. AIR FORCE ONE - NIGHT", "INT. AIR FORCE ONE, VARIOUS SHOTS - NIGHT\n\n The shock wave hits the aircraft.\n\n Lights flicker and the plane rocks side to side.", "Twin FIREBALLS erupt in the sky as the Mics evaporate.\n\n But from the fireball, a MISSILE emerges coming right at Air \n Force One.", "On the damaged wing - Fuel starts leaking out and the outer \n jet engine catches fire.\n\n INT. COCKPIT, AIR FORCE ONE - NIGHT", "The KC-135 flies above Air Force One, connected by a gasoline \n umbilical cord.\n\n INT. EMERGENCY RAMP PLATFORM.", "Air Force One closes in on the Starlifter. She's struggling \n off\n\n the ground like some injured bird. The straining metal defies \n gravity.", "A C-141 STARLIFTER\n in his path. A monstrous plane, every \n bit as big as Air Force One. Gibbs", "An air-to-air missile detatches from under the Eagle. Its \n tail ignites in flame.\n\n INT. AIR FORCE ONE COCKPIT - NIGHT", "wing. The MiG swoops past Air Force One and jerks into a * \n vertical.", "With no oneat the controls, Air Force One goes into a sharp \n sloping dive.\n\n INT. GANGWAY, AIR FORCE ONE -", "ignites the river of gasoline being pumped from the refueling \n craft's belly.\n\n INT. AIR FORCE ONE, COCKPIT -", "EXT. AIR FORCE ONE -\n\n The tail cone section of Air Force One hinges open and \n parachutes begin to blossum from the rear of the plane.", "As the entire airbase collectively holds its breath. Air \n Force One's tires hover 50 feet above the ground... 40 feet... \n 30...", "A mechanical him and clank gives way to a rush of wind as \n the tail section of Air Force One hinges open on hydraulic" ], [ "With no oneat the controls, Air Force One goes into a sharp \n sloping dive.\n\n INT. GANGWAY, AIR FORCE ONE -", "Through the cockpit window, an F-15 settles in front of Air \n Force One... Flames pouring out of its tail. Under any other", "The blast slams bits of the fighter plane against Air Force \n One. Rocking it badly. Chunks of the plane rip away metal \n sheeting on the 747's wings and tail section.", "Air Force One closes in on the Starlifter. She's struggling \n off\n\n the ground like some injured bird. The straining metal defies \n gravity.", "MARSHALL\n An emergency landing in friendly \n territory... there's your goddamn \n miracle.\n\n EXT. AIR FORCE ONE - NIGHT", "Marshall slides down the cable, gripping at it, trying to \n break his fall.\n\n Air Force One plummets toward the water.\n\n Marshall sliding, right behind it, running out of cable.", "EXT. SKY - NIGHT\n\n The pale moon catches shiny streaks of metal that descend \n through the broken clouds. The Squadron of F-15 Eagles drops \n into formation around Air Force One.", "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "As the entire airbase collectively holds its breath. Air \n Force One's tires hover 50 feet above the ground... 40 feet... \n 30...", "Ingrahams locks the cockpit door.\n\n EXT. SKY - NIGHT\n\n Air Force One banks into a curve and descends through broken \n clouds.", "EXT. AIR FORCE ONE - NIGHT\n\n The engine whirs to a halt and the rushing wind blows out \n the fire. But now she's only got three engines.", "EXT. AIR FORCE ONE -\n\n The tail cone section of Air Force One hinges open and \n parachutes begin to blossum from the rear of the plane.", "Twin FIREBALLS erupt in the sky as the Mics evaporate.\n\n But from the fireball, a MISSILE emerges coming right at Air \n Force One.", "A mechanical him and clank gives way to a rush of wind as \n the tail section of Air Force One hinges open on hydraulic", "The missile has Air Force One dead to rights, crawling right \n up its tail pipe.\n\n Just before its about to hit the plane...", "On the damaged wing - Fuel starts leaking out and the outer \n jet engine catches fire.\n\n INT. COCKPIT, AIR FORCE ONE - NIGHT", "The broken edge of the fueling arm scrapes along the top of \n Air Force One... metal against metal... tearing a gash in \n the plane... Sparks fly.\n\n ONE OF THE SPARKS", "The massive fireball and glowing remains of the Presidential \n aircraft almost reaches up to where the President struggles \n to hold on to the end of the cable.\n\n INT. KC-LO TRANSPORT", "ignites the river of gasoline being pumped from the refueling \n craft's belly.\n\n INT. AIR FORCE ONE, COCKPIT -", "Small bay doors open in the belly of Air Force One, and a \n human sized cannister drops from the bottom, its parachute \n Opening instantly.\n\n INT. FLIGHT DECK - NIGHT" ], [ "MARSHALL\n No. no. no. Wait. Wait.\n\n Bazylev appears behind Marshall. Raises his gun.", "Korshunov fires and Marshall dives out of the way. He cones \n up in defensive crouch ready to shoot, but all he can see is \n Alice.", "Marshall lines up his shot. Korshunov laughs as he presses \n his pistol to Alice's ear.", "Marshall on his knees, hands behind his head. Bazylev, his \n automatic pressed against Marshall's forehead, disarms", "The steward arrives with the Russian beer. Marshall takes a \n swig. He swallows hard. Piss-water. Marshall crosses to", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "Marshall catches his breath for a moment. Pulls open his \n shirt. Beneath it he wears a bulletproof Kevlar vest. He", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "Unaware of Marshall, Viad reaches into his pocket and pulls \n out a cigarette. Lights it. On the first puff he feels a \n presence behind him.\n\n VLAD slowly turns around...", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "Marshall ascends down from the upper deck. Spots Korshunov \n by the front stairway. Korshunov pushes Alice down the stairs \n to the underdeck.", "Marshall turns his aim to Korshunov... but Korshunov grabs \n Alice and presses his pistol to her head.\n\n Stand-off.", "Marshall checks behind the racks of stored goods and luggage.\n\n P.O.V. LOOKING DOWN A GUNSIGHT AS MARSHALL WALKS INTO THE\n\n open.", "Marshall walks flevsky toward the mj vonteronve room3 As \n they pass the stairs to the upper deck, Nevsky breaks away.\n\n NEVSKY\n KORSKUNOV!", "Korshunov smiles.\n\n MARSHALL\n Stop.\n\n KORSHUNOV\n You'll do it?", "Bazylev motions Marshall to get on his knees. Marshall \n complies.\n\n BAZYUV\n What's that in your shirt? Open it.", "KORSHUNOV\n You're very valuable. And our nation \n needs so many things.\n\n Marshall leans his head against the wall. Just as he expected.", "Marshall makes his way through the dimness. Stepping \n cautiously.\n\n A shot rings out and richochets off a piece of piping right \n over Marshall's head.", "Korshunov fires at Marshall, but...\n\n Major Caidwell dives in front of the bullet spray taking the \n rounds in his chest." ], [ "Marshall struggles with his duty. His honor.", "MARSHALL\n No. no. no. Wait. Wait.\n\n Bazylev appears behind Marshall. Raises his gun.", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "Marshall catches his breath for a moment. Pulls open his \n shirt. Beneath it he wears a bulletproof Kevlar vest. He", "Marshall checks behind the racks of stored goods and luggage.\n\n P.O.V. LOOKING DOWN A GUNSIGHT AS MARSHALL WALKS INTO THE\n\n open.", "MARSHALL\n What we did here was important. We \n finally pulled our heads out of the", "Marshall struggles against his people.\n\n MARSHALL\n It's me goddamnit. Let me go.", "The firing begins again. Marshall struggles with the decision.", "MARSHALL (V.0.)\n It's June.\n\n Gunfire in the background.", "Marshall makes his way through the dimness. Stepping \n cautiously.\n\n A shot rings out and richochets off a piece of piping right \n over Marshall's head.", "Marshall on his knees, hands behind his head. Bazylev, his \n automatic pressed against Marshall's forehead, disarms", "It takes every bit of training and will to stop Marshall \n from going up those stairs. He knows what's going to happen. \n He closes his eyes tight as if that will stop it from \n happening.", "Marshall stares straight ahead tn silent defiance. Bazylev \n kicks him in the gut. Marshall doubles over, wheezing.", "Mr. President.\n\n Thunderous applause as Marshall rises and approaches the \n podium.", "He backs Marshall against a wall and holds him in his sights.", "Korshunov fires at Marshall, but...\n\n Major Caidwell dives in front of the bullet spray taking the \n rounds in his chest.", "Marshall returns the salute.\n\n EXT. SKY - DAWN", "Marshall cautiously enters the room. Ready for action.\n\n The room is empty, but it's been trashed by the firefight.", "The agents lift Marshall to his feet, and practically carry \n him from the room, leaving the other high ranking officials \n to scramble for themselves in a cacophony of shouts.", "Marshall fires, his bullet ripping apart a good deal of \n Korshunov's face and snapping his body back." ], [ "A cargo hold extending up the tapered edge of the aircraft's \n rear. The hostages begin pulling parachute packs out of the \n overhead storage bins. Helping each other.", "Hostages hold each other tight for comfort. A mournful silence \n fills the room.\n\n INT. FRONT BAGGAGE HOLD.", "Marshall manages to pull himself up the grating and into the \n galley. He's free, for the moment.\n\n INT. AFO, COCKPIT.", "INT. ITEAR BAGGAGE HOLD -\n\n Zedeck reaches the emergency pressure door. Through the \n porthole he sees the hostages getting away. He tries the \n door hatch. Locked.", "INT. UNDERDECK, REAR LOWER GALLEY - NIGHT\n\n Caldwell spins open the rear emergency pressure door and \n leads the hostages into...", "Caidwell, holding Serge's gun, takes position by the front \n stairway and waves the other hostages on. They emerge from \n the conference room, and move to the stairway.", "The hostages have torn up a section of carpeting. Caidwell \n and Shepherd examine the floor. Smooth sheets of steel riveted \n together. Pointless.", "The terrorists move toward the nose of the plane leaving \n Nevsky to guard the conference room.\n\n INT. BAGGAGE HOLD - NIGHT", "Caldwell stands on the conference table. The hostages have \n removed one of the ceiling panels. Air supply ducts and \n bundles of wiring run through the ten-inch space between the \n ceiling and the shielding plates.", "They duck under wing supports until they come to a mesh \n grating.\n\n The uninjured agent lifts the grating revealing an ESCAPE \n POD.", "They clip on the wire, move to the lip, and rappel off the \n side of the plane.\n\n INT. AFO UPPER DECK - NIGHT", "INT. MAIN CABIN -\n\n Three Army Rangers harness themselves `to the survivors. One \n to Alice, one to Rose and one to Shepherd. The other two \n head for the cockpit.", "The turbulence worsens. Bazylev manages to wrest away the \n rifle, but the plane pulls into a climb, sending Bazylev \n tumbling down the gangway into the rear baggage hold.", "HOSTAGES are bounced around the conference room.\n\n INT. GANGWAY -\n\n Marshall and Bazylev are slammed against the ceiling and \n then the floor.", "Korshunov exits, with Viad backing out behind him. Leaving \n the hostages alone. The sound of the door locking.", "The sharpshooters, the emergency crews, the commandos from \n Delta Force... Nothing they can do but watch her rise out. \n of sight.\n\n INT. FLIGHT DECK - LATER", "INT. MAIN CABIN - NIGHT\n\n Shepherd crosses to the forward cabin door. He follows \n directions for emergency door release.", "The massive fireball and glowing remains of the Presidential \n aircraft almost reaches up to where the President struggles \n to hold on to the end of the cable.\n\n INT. KC-LO TRANSPORT", "Marshall seizes the moment. Grabs Bazylev's gun. The two \n struggle and Bazylez instinctively pulls the trigger. A burst \n of richocheting gunfire sparks across the bulkhead.", "The Secret Service agents whisk the President to the front \n stairwell. They pull up a floor panel, revealing stairs \n descending toward the baggage deck.\n\n INT. BATHROOM -" ], [ "MARSHALL\n (hushed urgency)\n Okay listen, listen carefully. This \n is an emergency call from Air Force \n One. Who's there? Is the Vice-\n President there?", "MARSHALL\n (dismissive)\n No good. I said they disabled the \n communications system.\n\n SECRETARY\n No. I thought about this, Mr.", "VIAD\n (wonderment)\n The President.\n\n But Marshall's eyes flash open.\n\n MARSHALL\n That's right, asshole.", "Mr. President.\n\n Thunderous applause as Marshall rises and approaches the \n podium.", "This man is JAMES MARSHALL, and he is the PRESIDENT of the \n UNITED STATES OF AMERICA. He busily makes last minute changes \n to his speech.", "President Marshall reaches the front stairway. Cautiously \n climbs to the main cabin. As he reaches the top stairs, he \n hears Russian conversation approaching. He ducks back into \n the stairwell.", "Marshall pulls himself up the shelves trying to keep his \n legs from buckling. Vlad grabs some I.V. tubing and wraps it \n around Marshall's neck. Marshall struggles for breath, clawing \n at the tube.", "MARSHALL\n This is President Marshall. I know \n you guys are busy, but we need some \n help here.", "V.P. CHANDLER\n But this is different, sir. You're \n the President.\n\n * MARSHALL", "He fires once, hitting Marshall in the arm. Marshall winces \n off the pain.\n\n BAZYLEV\n (disgust)\n The leader of the free world.", "can confirm that your President is \n indeed a hostage, I cannot release \n Stravanavitch. If Marshall is dead,", "V.P. CHANDLER\n The Chief Justice? What on earth \n for?\n\n GENERAL NORTHWOOD\n To swear you in as President.", "MARSHALL\n That's my job.\n\n A STEWARD enters the room.\n\n STEWARD\n Mr. President?", "MARSHALL, flattened behind the edge of the galley divider. \n He creeps away from Vlad toward the Presidential Suite... \n stepping gingerly over dead secret service agents.", "During the applause, Marshall pulls a page from the speech, \n folds it and slides it into his pocket. He removes his \n glasses and looks out into the crowd. His tone becomes more \n personal.", "Surprised to hear their boss' voice, the aides and advisors \n release Marshall.\n\n SHEPHERD\n Mr. President, how the hell did you \n get on board?", "The agents lift Marshall to his feet, and practically carry \n him from the room, leaving the other high ranking officials \n to scramble for themselves in a cacophony of shouts.", "INT. CONFERENCE ROOM - NIGHT\n\n The conference room door bursts open and TWO SECRET SERVICE \n AGENTS, weapons drawn, enter the room and run to Marshall.", "DOHERTY\n Maybe we should consider running him \n for re-election instead of the U.S.\n\n The applause dies as Marshall begins to speak.", "President Marshall picks up one of the many phones in his \n office.\n\n MARSHALL\n I said it's not worth the fight.\n (into phone)\n Steward, please." ], [ "Marshall fires, his bullet ripping apart a good deal of \n Korshunov's face and snapping his body back.", "Korshunov fires at Marshall, but...\n\n Major Caidwell dives in front of the bullet spray taking the \n rounds in his chest.", "Marshall steps onto the platform. Korshunov fires off a round \n forcing him behind the door for cover.\n\n Korshunov pulls Alice in front of him and yanks down the \n ramp activation lever.", "Marshall ascends down from the upper deck. Spots Korshunov \n by the front stairway. Korshunov pushes Alice down the stairs \n to the underdeck.", "Marshall turns his aim to Korshunov... but Korshunov grabs \n Alice and presses his pistol to her head.\n\n Stand-off.", "Korshunov fires and Marshall dives out of the way. He cones \n up in defensive crouch ready to shoot, but all he can see is \n Alice.", "Korshunov smiles.\n\n MARSHALL\n Stop.\n\n KORSHUNOV\n You'll do it?", "Marshall's eyes widen.\n\n KORSHUNOV\n One...\n\n Oh shit. Marshall tries to decide what to do.", "Vlad OPENS FIRE. A HALF DOZEN ROUNDS pump into Marshall's \n belly. He's thrown back against the wall, then slumps to the \n floor.", "KORSHUNOV\n Don't be hasty.\n\n Marshall holds Korshunov in his sights. Slowly advancing.", "Marshall fires. Killing him.\n\n SHIT1\n INT. CORRIDOR.", "Korshunov backs away to the steps. Marshall does not lower \n his gun. Korshunov disappears down the staircase.\n\n MARSHALL\n Shepherd.", "Marshall lines up his shot. Korshunov laughs as he presses \n his pistol to Alice's ear.", "Marshall seizes the moment. Grabs Bazylev's gun. The two \n struggle and Bazylez instinctively pulls the trigger. A burst \n of richocheting gunfire sparks across the bulkhead.", "Korshunov whips out his gun and lines up a clean shot at \n Marshall's head.\n\n MAJOR CALDWELL\n Mr. President.", "Korshunov backs toward the edge of the ramp, pulling a \n struggling and fighting Alice.\n\n MARSHALL\n Let her go now! Or I will kill you.", "Undaunted Marshall advances.\n\n MARSHALL\n It's over, Korshunov. You won. Now \n let her go.", "KORSHUNOV\n One...\n\n Gibbs begins to squeeze the trigger.\n\n MARSHALL\n NO!", "With blinding speed, Marshall leaps to his feet and swings \n his arm around Zedeck's throat. He snaps Zedeck's neck with \n quiet efficency.", "Marshall on his knees, hands behind his head. Bazylev, his \n automatic pressed against Marshall's forehead, disarms" ], [ "A mechanical him and clank gives way to a rush of wind as \n the tail section of Air Force One hinges open on hydraulic", "Through the cockpit window, an F-15 settles in front of Air \n Force One... Flames pouring out of its tail. Under any other", "EXT. AIR FORCE ONE - NIGHT\n\n The engine whirs to a halt and the rushing wind blows out \n the fire. But now she's only got three engines.", "With no oneat the controls, Air Force One goes into a sharp \n sloping dive.\n\n INT. GANGWAY, AIR FORCE ONE -", "EXT. SKY - NIGHT\n\n The pale moon catches shiny streaks of metal that descend \n through the broken clouds. The Squadron of F-15 Eagles drops \n into formation around Air Force One.", "Air Force One closes in on the Starlifter. She's struggling \n off\n\n the ground like some injured bird. The straining metal defies \n gravity.", "As the entire airbase collectively holds its breath. Air \n Force One's tires hover 50 feet above the ground... 40 feet... \n 30...", "The two MiGs lock onto Air Force One. Each fires a missile \n at the President's plane, before breaking in opposite \n directions.\n\n INT. AFO COCKPIT - NIGHT", "Twin FIREBALLS erupt in the sky as the Mics evaporate.\n\n But from the fireball, a MISSILE emerges coming right at Air \n Force One.", "MARSHALL\n An emergency landing in friendly \n territory... there's your goddamn \n miracle.\n\n EXT. AIR FORCE ONE - NIGHT", "Ingrahams locks the cockpit door.\n\n EXT. SKY - NIGHT\n\n Air Force One banks into a curve and descends through broken \n clouds.", "EXT. AIR FORCE ONE -\n\n The tail cone section of Air Force One hinges open and \n parachutes begin to blossum from the rear of the plane.", "On the damaged wing - Fuel starts leaking out and the outer \n jet engine catches fire.\n\n INT. COCKPIT, AIR FORCE ONE - NIGHT", "The blast slams bits of the fighter plane against Air Force \n One. Rocking it badly. Chunks of the plane rip away metal \n sheeting on the 747's wings and tail section.", "EXT. RAMSTEIN FIELD - NIGHT\n\n Air Force One barely clears the Starlifter, the edge of her \n wing just missing the top of the C-141's tail.", "The President's motorcade pulls up in front of Air Force \n One.\n\n INT. AIR FORCE ONE - NIGHT", "A picture perfect take-off as Air Force One slides through \n the moonlight and skates upward on a sheet of air.\n\n EXT. AIR FORCE ONE, FLYING - AN HOUR LATER", "Marshall slides down the cable, gripping at it, trying to \n break his fall.\n\n Air Force One plummets toward the water.\n\n Marshall sliding, right behind it, running out of cable.", "The massive fireball and glowing remains of the Presidential \n aircraft almost reaches up to where the President struggles \n to hold on to the end of the cable.\n\n INT. KC-LO TRANSPORT", "Air rushes past the airplane at two hundred miles an hour.\n\n SHEPHERD\n IT'S OPEN!\n\n INT. COCKPIT -" ], [ "KORSHUNOV\n A secret service agent. It must be.\n\n Wounded but alive. Serge, Bazylev...\n\n Find him.", "Vlad approaches the crumpled body. Leans down to examine his \n victim. He cups his hand under the man's chin and lifts his \n head. Recognizes him.", "Vlad, unsure of what he saw., cautiously heads toward the \n staff cabin. As he nears, he bends over a dead Secret Service", "A pregnant pause as they both wait to see what happens.\n\n Then Bazylev smiles and slowly turns toward Marshall.\n\n Marshall backs away as Bazylev levels his gun.", "He tak9s a moment to think. Considers his situation. His \n eyes find the dead agent who risked his life so he could \n make it to the pod. He trots down the gangway toward the \n lower galley.", "Alice sits up, attentive.\n\n ALICE\n You're one of Stravanavitch's men.", "Bazylev motions Marshall to get on his knees. Marshall \n complies.\n\n BAZYUV\n What's that in your shirt? Open it.", "Marshall seizes the moment. Grabs Bazylev's gun. The two \n struggle and Bazylez instinctively pulls the trigger. A burst \n of richocheting gunfire sparks across the bulkhead.", "GUARD\n Halt! Halt!\n\n Stravanvitch looks behind him. Guards rushing toward him \n from the yard... the limousine fifty yards ahead of him... \n closing fast...", "Marshall smiles briefly. But Alice is yanked around the \n corner. Marshall hears foatsteps. He junps to his feet and \n cautiously follows.", "Unaware of Marshall, Viad reaches into his pocket and pulls \n out a cigarette. Lights it. On the first puff he feels a \n presence behind him.\n\n VLAD slowly turns around...", "But it's obvious that they're eavesdropping. Alice smiles \n and waves at them dramatically.", "Korshunov fires and Marshall dives out of the way. He cones \n up in defensive crouch ready to shoot, but all he can see is \n Alice.", "SERGE\n It's confirmed. Stravanavitch is on \n his way out. Our men are waiting \n outside.", "KORSHUNOV\n Your husband is a coward. He sends \n soldiers half-way around the world \n to steal a man from his home in the \n middle of the night.", "Marshall ascends down from the upper deck. Spots Korshunov \n by the front stairway. Korshunov pushes Alice down the stairs \n to the underdeck.", "PETROV\n What about him?\n\n AIDE\n He's dead, sir. Shot while trying to \n escape.\n\n A beat.", "MARSHALL\n No. no. no. Wait. Wait.\n\n Bazylev appears behind Marshall. Raises his gun.", "He can't see them, but he can hear them.\n\n The terrorists pass within a few feet as they ascend to the \n Mission Communications Center on the upper deck.", "KORSHUNOV\n He's already killed three of us, and \n we haven't even seen him. He's also" ], [ "Air rushes past the airplane at two hundred miles an hour.\n\n SHEPHERD\n IT'S OPEN!\n\n INT. COCKPIT -", "MARSHALL\n An emergency landing in friendly \n territory... there's your goddamn \n miracle.\n\n EXT. AIR FORCE ONE - NIGHT", "The altimeter begins to fall. A wave of relief washes over \n the group.\n\n EXT. SKY - NIGHT\n\n The KC-135 extends its flying gas pump.", "INT. FLIGHT DECK - NIGHT\n\n Altitude decreasing. 300 feet... 200 hundred feet...\n\n The runway coming up to meet them.", "EXT. RANSTEIN AIR FIELD - NIGHT\n\n The taxiing Boeing 747 suddenly veers to the right cutting \n across runways. Emergency vehicles give chase.", "Beneath the plane a trickle of gasoline appears and grows \n into a strong steady stream.\n\n INT. FLIGHT DECK - NIGHT", "Final approach... the landing strip not far at all.\n\n COL. AXELROD\n Almost there.\n\n He raises his flaps. Air speed and altitude drop.", "EXT. AIR FORCE ONE - NIGHT\n\n The engine whirs to a halt and the rushing wind blows out \n the fire. But now she's only got three engines.", "The emergency door opens and the emergency raft/slide deploys. \n It inflates before being ripped from the aircraft, gently \n wafting through stormy clouds.\n\n INT. MAIN CABIN - NIGHT", "A red warning light flashes on the plane's panel.\n\n GIBBS\n Goddamnit it. We're losing fuel.", "The turbulence worsens. Bazylev manages to wrest away the \n rifle, but the plane pulls into a climb, sending Bazylev \n tumbling down the gangway into the rear baggage hold.", "The other airplanes flare out giving distance to the Jumbo \n Jet. Canton's plane drops back.", "The KC-135 flies above Air Force One, connected by a gasoline \n umbilical cord.\n\n INT. EMERGENCY RAMP PLATFORM.", "The sharpshooters, the emergency crews, the commandos from \n Delta Force... Nothing they can do but watch her rise out. \n of sight.\n\n INT. FLIGHT DECK - LATER", "Marshall works the controls of the 747. Tries to engage the \n automatic pilot. The system is fried. Marshall wrestles with \n the yoke.", "The plane bounces. Is airborne for a second. Touches down \n again with a jolt.\n\n INT. CORRIDOR - AIR FORCE ONE - NIGHT", "the seemingly out of control plane aborted its landing and \n took off again. We haven't been able to confirm its status \n or whether or not the first family was onboard at the time.", "They clip on the wire, move to the lip, and rappel off the \n side of the plane.\n\n INT. AFO UPPER DECK - NIGHT", "The controller stares down at the out-of-control plane.\n\n RAMSTEIN A.B. CONTROLLER\n Aw Fuck. We're losing it!", "On the damaged wing - Fuel starts leaking out and the outer \n jet engine catches fire.\n\n INT. COCKPIT, AIR FORCE ONE - NIGHT" ], [ "The terrorists, from every corner of the plane, lead the \n stunned survivors, hands on heads, to the central conference \n room.", "The terrorists move toward the nose of the plane leaving \n Nevsky to guard the conference room.\n\n INT. BAGGAGE HOLD - NIGHT", "He can't see them, but he can hear them.\n\n The terrorists pass within a few feet as they ascend to the \n Mission Communications Center on the upper deck.", "They clip on the wire, move to the lip, and rappel off the \n side of the plane.\n\n INT. AFO UPPER DECK - NIGHT", "Hostages hold each other tight for comfort. A mournful silence \n fills the room.\n\n INT. FRONT BAGGAGE HOLD.", "A cargo hold extending up the tapered edge of the aircraft's \n rear. The hostages begin pulling parachute packs out of the \n overhead storage bins. Helping each other.", "INT. COCKPIT -\n\n On the faces of the terrorists, as the missile comes right \n at them.\n\n Then the missile veers downward.", "Just as the terrorists descend, Marshall squeezes off a few \n rounds. The terrorists edge back up the steps, returning \n fire.", "Terrorists lead hostages to the conference room. Everyone is \n bounced around, slamming against walls, spilling over chairs.", "Air rushes past the airplane at two hundred miles an hour.\n\n SHEPHERD\n IT'S OPEN!\n\n INT. COCKPIT -", "The sharpshooters, the emergency crews, the commandos from \n Delta Force... Nothing they can do but watch her rise out. \n of sight.\n\n INT. FLIGHT DECK - LATER", "staff, and will continue killing one \n hostage every minute until we crash \n or until a refueling plane arrives.", "The turbulence worsens. Bazylev manages to wrest away the \n rifle, but the plane pulls into a climb, sending Bazylev \n tumbling down the gangway into the rear baggage hold.", "Behind the terrorists, one of the bathroom doors swings open. \n A SECRET SERVICE AGENT emerges. Sees what's happening. Reaches", "Zedeck aims his MP5 at the flight door. Fires off a dozen \n rounds. Nickel sized indentations blossom across the steel \n surface.\n\n INT. FLIGHT DECK - NIGHT", "The terrorists seize the moment of quiet, descending the \n stairs to take position.\n\n Marshall lights the gauze fuse of his new made Molatov", "The blast slams bits of the fighter plane against Air Force \n One. Rocking it badly. Chunks of the plane rip away metal \n sheeting on the 747's wings and tail section.", "KORSHUNOV\n No. The plane lands when I say, or \n it will crash. The hostages are \n released when I say, or they will \n die.", "INT. MAIN CABIN -\n\n Three Army Rangers harness themselves `to the survivors. One \n to Alice, one to Rose and one to Shepherd. The other two \n head for the cockpit.", "grabs it and hauls it into the plane until he has its end. \n He hooks the cable to a metal clasp at the top of the door \n frame." ], [ "PETROV\n What about him?\n\n AIDE\n He's dead, sir. Shot while trying to \n escape.\n\n A beat.", "The turbulence worsens. Bazylev manages to wrest away the \n rifle, but the plane pulls into a climb, sending Bazylev \n tumbling down the gangway into the rear baggage hold.", "Marshall, still fighting the yoke, stands. He takes a deep \n breatn, drops the wheel and runs like a motherfucker for the \n stairs.", "Zedeck steps over the three dead Communications Specialists, \n on his way to the cockpit door. Tries the door. It's locked. \n He pounds on it.", "He tak9s a moment to think. Considers his situation. His \n eyes find the dead agent who risked his life so he could \n make it to the pod. He trots down the gangway toward the \n lower galley.", "His eyes spin back and then his heart explodes.\n\n Bazylev is caught frozen, suspended in a moment of disbelief.", "The front gate begins to close. Worry crosses Stravanavitch's \n face. His men rush toward him, take position by the gate.\n\n Stravanavitch breaks into a run toward his limousine.", "Marshall manages to pull himself up the grating and into the \n galley. He's free, for the moment.\n\n INT. AFO, COCKPIT.", "Marshall seizes the moment. Grabs Bazylev's gun. The two \n struggle and Bazylez instinctively pulls the trigger. A burst \n of richocheting gunfire sparks across the bulkhead.", "INT. ITEAR BAGGAGE HOLD -\n\n Zedeck reaches the emergency pressure door. Through the \n porthole he sees the hostages getting away. He tries the \n door hatch. Locked.", "Marshall pulls himself up the shelves trying to keep his \n legs from buckling. Vlad grabs some I.V. tubing and wraps it \n around Marshall's neck. Marshall struggles for breath, clawing \n at the tube.", "Marshall watches the remaining parachutes slide off the ramp \n and into the stormy sky.\n\n KORSHUNOV\n There goes your ride.", "Korshunov straps on one of the few remaining parachutes. He \n tosses the rest of the spares out onto the platform.", "Serge hops Bazylev's burning body and heads down the corridor, \n looking for this new wildcard. Korshunov grabs a fire \n extinguisher from the galley and attends to Bazylev.", "They plummet, Alice screaming. The line goes taut.\n\n The pair slide the hundred yards to the KC-lO. Rangers grab \n them and bring them into the transport.", "He feels the wall behind him. A dull edge of metal twisted \n slightly from the earlier cockpit door explosion.\n\n He understands.", "shooting blindly. Marshall watches as he's hit repeatedly, \n but it gives him the time he needs to dive for the pod.", "Korshunov exits, with Viad backing out behind him. Leaving \n the hostages alone. The sound of the door locking.", "Korshunov retreats toward the rear of the plane.\n\n MARSHALL (O.S.)\n There's nowhere to go.", "KORSHUNOV\n (to Zedeck)\n Go! Take Serge.. and watch your backs.\n\n Zedeck nods and dashes out of the cabin." ] ]

[ "Who is eventually discovered as the mole?", "Defense Secretary Walter Dean wants the president declared incapable under which amendment?", "Where is James Marshall when the escape pod is ejected?", "Which of James Marshall's family members are on the plane with him?", "Why does James Marshall actually want Air Force One taken to a lower altitude for refueling?", "Which of James Marshall's family members do not survive the encounter on Air Force One?", "Why is James Harrison in Moscow before the encounter on Air Force One?", "Who does President Harrison contact to inform that he is still alive as he hides in the cargo hold of the plane?", "What kind if military training does President Harrison have?", "What is the name of the President?", "Who leads the Russian terrorists aboard Air Force One?", "What is the name of President Marshall's wife?", "Which Secret Service agents allows the terrorists to board Air Force One?", "Of what war is President Marshall a veteran of?", "Where did President Marshall hide instead of using the escape pod?", "What is the name of the U.S. Vice President?", "Who kills Korshunov?", "What type of plane do the terrorists use to attack Air Force One?", "What sea does Air Force One crash into?", "Why is James Marshall in Moscow?", "What war was Marshall in?", "How do the hostages escape the cargo hold?", "What amendment is the vice president urged to invoke to declare Marshall incapable?", "How does Marshall kill Korshunov?", "What sea does Air Force Once crash into?", "Who is the mole?", "Where was the plane going to make an emergency landing?", "How do the terrorists get on the plane?", "What happens to Radek when he attempts his escape?" ]

[ [ "Secret Service agent Gibbs", "Gibbs" ], [ "the Twenty-Fifth Amendment", "25th amendment." ], [ "he is hidden in the cargo hold of the plane", "Hidden in cargo hold." ], [ "his wife and his daughter", "Shepherd" ], [ "so that the hostages can parachute to safety", "So hostages can parachute out." ], [ "they all survive the encounter ", "All survive." ], [ "to attend a diplomatic dinner ", "attending a diplomatic dinner" ], [ "his Vice President Kathryn Bennett", "the vice president" ], [ "he is a Vietnam veteran and Medal of Honor recipient", "military" ], [ "James Marshall.", "James Marshall " ], [ "Ivan Korshunov.", "Korshunov" ], [ "Grace.", "Grace" ], [ "Agent Gibbs.", "Gibbs" ], [ "The Vietnam War.", "Vietnam War." ], [ "The plane's cargo hold.", "cargo hold" ], [ "Kathryn Bennett.", "Katherine Bennett" ], [ "The President.", "Marshall" ], [ "MiG-29's", "MiG-29" ], [ "The Caspian Sea.", "Caspian Sea" ], [ "for a diplomatic dinner", "A diplomatic dinner" ], [ "the Vietnam War.", "Vietnam War" ], [ "with parachutes", "parachute" ], [ "the 25th amendment", "25th Amendment" ], [ "by strangling him and throwing him off the plane.", "he strangles him and throws him off the plane" ], [ "The Caspian Sea", "Caspian Sea" ], [ "Gibbs ", "Gibbs" ], [ "Ramstein Air Force Base in Germany", "Ramstein Air Force Base" ], [ "by disguising themselves as journalists", "they're invited" ], [ "he is killed.", "he's killed" ] ]

40ae9851099e8fc4d00c6d3fed1549ae50a75bd0

test

[ [ "Godfrey had risen. He had walked a few steps without noticing Phina,\nand unconsciously his index finger touched one of the keys of the piano.", "In short, Godfrey was enchanted.\n\nPhina, anxious without appearing to be so, was resigned to this\napprenticeship.", "\"I!\" answered Godfrey. \"I! All my life!\"\n\nPhina stepped forward.\n\n\"Godfrey,\" she asked, \"would you like to remain on your island?\"", "\"You must let Godfrey go,\" pleaded Phina; \"I have thought it carefully\nover. I am young, but really Godfrey is younger. Travel will age him,", "And hence it was that Godfrey was now absent in the presence of Phina,\nindifferent when she spoke to him, deaf when she played the airs which", "Godfrey and the black had gone out hunting in the central forest, at the\nfoot of the hill which formed the principal ridge of Phina Island. Since", "\"Uncle Will! Phina! You!\" exclaimed Godfrey, astounded.\n\nThree seconds afterwards he was in somebody's arms, and was clasping\nthat somebody in his own.", "A few seconds afterwards, Godfrey's head appeared through the same\nopening, and he soon found himself quite at his ease, installed on a\nfork of the tree where the lower branches gave off, at about eighty feet\nfrom the ground.", "After all, he was a brave man, in spite of his eccentricities. Everybody\nliked him. He liked Godfrey, he liked Phina, and they liked him. He had", "Godfrey, or Godfrey cared for Phina. It would also simplify the\nbookkeeping of the commercial house. Ever since their births an account", "\"Dearest Phina!\" said Godfrey, seizing the young lady's hand.\n\n\"Turcott, you promised to keep the secret!\" said Phina with a blush.", "\"And then, dearest Phina,\" said Godfrey, \"you will not be afraid to pass\na season there with me?\"", "IN WHICH GODFREY AGAIN SEES A SLIGHT SMOKE OVER ANOTHER PART OF THE\nISLAND.", "WHEREIN GODFREY FINDS SOME WRECKAGE, TO WHICH HE AND HIS COMPANION GIVE\nA HEARTY WELCOME.", "When Godfrey had found his fairly acceptable shelter, his sleep in it\nwas by no means undisturbed. His brain travelled as it had never done", "Godfrey at once raised the poor fellow, who lay prostrate before him. He\nlooked in his face.", "As for Godfrey he had been able to reach a large lofty rock away from\nthe surf. There, shouting vainly in the darkness, hearing no voice in", "Godfrey, not knowing what to do, thought of setting fire to a group of\nresinous trees which grew at the back of Flag Point. He lighted a heap", "Godfrey was rather agitated, and he did not strive to hide it. Phina\nshowed herself much the most composed. As for Tartlet he drowned his", "\"Land! land!\" exclaimed Godfrey.\n\nAnd he stretched his hands towards the shore-line, as he knelt on the\nreef and offered his thanks to Heaven." ], [ "\"Yes, the departure of Godfrey,\" continued Phina, \"of Godfrey who,\nbefore he gets married, wants to see a little of the world!\"", "\"You want to try travelling before you marry Phina! Well! You shall try\nit, my nephew!\"\n\nHe made two or three steps and stopping with crossed arms before\nGodfrey, asked,--", "\"You must let Godfrey go,\" pleaded Phina; \"I have thought it carefully\nover. I am young, but really Godfrey is younger. Travel will age him,", "\"I!\" answered Godfrey. \"I! All my life!\"\n\nPhina stepped forward.\n\n\"Godfrey,\" she asked, \"would you like to remain on your island?\"", "In short, Godfrey was enchanted.\n\nPhina, anxious without appearing to be so, was resigned to this\napprenticeship.", "Godfrey had risen. He had walked a few steps without noticing Phina,\nand unconsciously his index finger touched one of the keys of the piano.", "\"And then, dearest Phina,\" said Godfrey, \"you will not be afraid to pass\na season there with me?\"", "\"If we must part, it had better be before marriage than afterwards!\"\n\nAnd thus it was that she had spoken to Godfrey in these significant\nwords.", "I shall surprise no one in saying that Godfrey Morgan was going to\nmarry Phina Hollaney. Was he likely to do otherwise? All the proprieties", "Before the long voyage together through life, which men call marriage,\nGodfrey then was to make the tour of the world--a journey sometimes even", "And hence it was that Godfrey was now absent in the presence of Phina,\nindifferent when she spoke to him, deaf when she played the airs which", "way with Phina, then become Mrs. Morgan, would be clearly impossible! He\nmust go alone or leave it alone. Besides, once his fancy had passed", "Godfrey, or Godfrey cared for Phina. It would also simplify the\nbookkeeping of the commercial house. Ever since their births an account", "\"Dearest Phina!\" said Godfrey, seizing the young lady's hand.\n\n\"Turcott, you promised to keep the secret!\" said Phina with a blush.", "Before this reality, however, Godfrey, let it be said to his credit, did\nnot quail. But as before everything it was best for him to ascertain the", "An error, because at the outset Godfrey felt that he was not yet old\nenough for the serious undertaking of marriage; an omission, because he\nhad not been consulted on the subject.", "However, Godfrey could not and would not remain in doubt. He was\ndetermined to ascertain, yes or no, if the proa had definitely left the\nisland.", "of making their life of isolation a little more agreeable, Godfrey was\nalready thinking of how to escape from Phina Island. Could he not now\nconstruct a vessel strong enough to enable them to reach if not some", "\"If--\"\n\n\"If you will let me, and Phina will wait for me.\"\n\n\"Wait for you! An intended who intends until he gets away!\" exclaimed\nWilliam W. Kolderup.", "After all, he was a brave man, in spite of his eccentricities. Everybody\nliked him. He liked Godfrey, he liked Phina, and they liked him. He had" ], [ "And this, under the keeping of Providence, was what was done, but not\nuntil after Godfrey, in remembrance of his uncle, William W. Kolderup,", "But Godfrey stood embarrassed, and said not a word. His uncle took him\nby the head and turning it to the light looked fixedly at him for a", "\"Yes; I do, uncle,\" said Godfrey gallantly.\n\n\"And for how long?\"\n\n\"For eighteen months, or two years, or more, if--\"", "\"Oh! Uncle! Uncle Will! What is it you say?\" exclaimed Godfrey. \"Well,\nif you are in earnest, I can only answer that I deserved it! But then,\nUncle Will, the wreck of the _Dream_?\"", "\"Good-bye, Godfrey!\"\n\n\"May Heaven protect you!\" said the uncle.\n\n\"And above all may it bring us back!\" murmured Professor Tartlet.", "The trial was a rough one to begin with, but, we repeat, Godfrey had not\ncome out for a simple promenade. He himself put it very well when he", "When Godfrey had found his fairly acceptable shelter, his sleep in it\nwas by no means undisturbed. His brain travelled as it had never done", "Before this reality, however, Godfrey, let it be said to his credit, did\nnot quail. But as before everything it was best for him to ascertain the", "\"Come on! come on!\" exclaimed Godfrey, motioning to Carefinotu to\nquicken the pace.\n\nHe was uneasy. Strange presentiments agitated him without his being able\nto control them.", "\"Well,\" said he, \"there is nothing more now than for us to fix the\ndate.\"\n\n\"The date?\" answered Godfrey, with a start. \"What date, if you please,\nuncle?\"", "\"Then,\" answered Godfrey, who had begun to laugh, \"if you wished to make\nmatters unpleasant for us, why did you send us the box which contained\neverything we wanted?\"", "As he uttered the word Godfrey felt his heart shrink. The thought had\nnot occurred to him that he was on an island. And yet such was the case!", "Godfrey then put back most of the things in the box. A gun, a revolver,\na certain quantity of powder and lead, a hunting-knife, the telescope,\nand the iron pot, he took as his first load.", "Godfrey set to work. He knelt down by Tartlet; he unloosed the life-belt\nand rubbed him vigorously. He noticed at last a light breath on the", "Godfrey spoke to him.\n\nTartlet shook his head, then he gave utterance to a hoarse exclamation,\nfollowed by incoherent words.\n\nGodfrey shook him violently.", "Godfrey was in his twenty-third year. His education now finished, had\nleft him with absolutely nothing to do. He had graduated at the", "ground. A word to Tartlet not to be uneasy at his absence, and Godfrey\nhastened off in the north-easterly direction so as to reach the shore.", "Before starting, Godfrey assured himself that the fire-arms were ready\nfor action. The two guns were loaded, and one passed into the hands of", "This was what Godfrey did.", "terror, and began to speak with scorn of \"those cannibal\nlaughing-stocks.\" Godfrey, on the contrary, became more anxious, and it" ], [ "By his orders the _Dream_, a substantial steamer of 600 tons and 200\nhorse-power, was got ready. It was to be commanded by Captain Turcott, a", "The _Dream_ was instructed to communicate with the different branch\nestablishments of the wealthy merchant. She was to go from one market to\nanother.", "A thought flashed across the mind of Godfrey, and it was correct: it was\nthat these hens, agouties, goats, and sheep had belonged to the _Dream_.", "For two days nothing occurred worthy of mention. The _Dream_ made good\nprogress. The commencement of the voyage promised well--so that Captain", "It should be borne in mind all through that the voyage of the _Dream_\nwas carefully planned, and would be punctually performed. William W.", "\"And the _Dream_ is on the right road!\"\n\n\"Not yet.\"\n\n\"Not yet? and why?\"", "On the morrow, the 20th of January, the _Dream_ set sail under the\ncommand of Captain Turcott. At eight o'clock in the morning Godfrey, not", "It was the captain himself who had hurled him into the sea at the moment\nthe _Dream_ was disappearing.", "as to increase his speed. The _Dream_ thus balanced hardly rolled at\nall, and as the waves followed her, her pitching was but slight. This\nmode of progressing was not such as to affect the looks of the", "A mate, an engineer, four stokers, a dozen seamen, eighteen men in all,\nformed the crew of the _Dream_. And if the ship was contented to get", "And in fact the _Dream_, which had doubtless struck on a rock was\nsensibly foundering. The water was creeping up to the level of the deck.\nThe engine fires were probably already out below.", "The passage was rapid; the sea magnificent; the wind favourable. This\ntime the _Dream_ went straight to her destination! There was no one to", "_Dream_.", "\"Sham!\" replied William W. Kolderup, who had never seemed in such a good\nhumour before. \"The _Dream_ was quietly sunk by means of her water", "said, the wind having sensibly abated, the _Dream_ was headed in proper\ndirection.", "carry dead Celestials and nothing else. At all risks, therefore, he had\nsecretly slipped on board the _Dream_.", "The cabin occupied by Godfrey was below the poop of the _Dream_ and\nopened on to the dining-saloon. Our young traveller was lodged there as", "Her dreams were when she was asleep, not when she was awake. She was not\nasleep now, and had no intention of being so.\n\n\"Godfrey?\" she continued.", "\"No,\" answered the captain, \"we may want it again. Leave it in tow!\"\n\nThe captain's orders were executed, and the launch, still under steam,\ndropped round to the stern of the _Dream_.", "At a quarter-past eleven, Captain Turcott hailed and boarded the\n_Dream_.\n\n\"Well, captain, what news?\" asked Godfrey, shaking his hand." ], [ "\"Seventeen hundred thousand dollars!\" repeated the auctioneer. \"Now,\ngentlemen, that is a mere nothing! It is giving it away!\"", "\"If nobody bids we must put the lot back! Once! Twice!\n\n\"Twelve hundred thousand dollars!\"\n\nThe four words rang through the room like four shots from a revolver.", "it up for sale--on one condition only, and that was, that its purchaser\nshould be a free American citizen. There was no intention of giving away\nthe island for nothing, and so the reserve price had been fixed at", "\"Only a dollar! only a half-dollar! only a cent above the reserve!\" said\nthe auctioneer for the last time, \"and I will knock it down! Once!\nTwice!\"\n\nPerfect silence.", "put at eleven hundred thousand dollars, is there any one will bid? Who\nspeaks first? You, sir?--you, over there nodding your head like a", "monthlies, their reviews, magazines, bulletins, &c., had been for\nseveral months directing constant attention to the island whose sale by\nauction had been authorized by Act of Congress.", "\"An island to sell, for cash, to the highest bidder!\" said Dean Felporg,\nthe auctioneer, standing behind his rostrum in the room where the\nconditions of the singular sale were being noisily discussed.", "\"No,\" answered the auctioneer, \"but it is not impossible that there are,\nand the State abandons all its rights over the gold lands.\"", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "\"Seventeen hundred thousand dollars!\" howled Gingrass, the crier.\n\n\"Eighteen hundred thousand!\" replied William W. Kolderup.", "\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\n\n\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\n\"William Kolderup will never give in.\"", "The crowd, suddenly speechless, turned towards the bold man who had\ndared to bid.\n\nIt was William W. Kolderup, of San Francisco.\n\n\n\n\nCHAPTER II.", "There was no one to dispute with him.\n\n\"Twelve hundred thousand dollars--twelve hundred thousand!\" said the\nauctioneer, with that peculiar accent which men of his vocation find\nmost effective.", "\"An island which at the valuation will not fetch six dollars an acre!\"\nsaid the auctioneer.", "\"Two million, four hundred thousand dollars!\" he remarked, hoping by\nthis tremendous leap to completely rout his rival.\n\n\"Two million, seven hundred thousand!\" replied William W. Kolderup in a\npeculiarly calm voice.", "see. Who was going to be mad enough, even if he were rich enough, to\npurchase an isle of the Pacific, which the government had in some\neccentric moment decided to sell? Would the reserve price ever be", "\"Fourteen hundred thousand dollars,\" said William W. Kolderup.\n\n\"Fifteen hundred thousand!\" retorted J. R. Taskinar.\n\n\"Sixteen hundred thousand!\"", "Do not imagine that all these folks had come to the auction-room with\nthe intention of buying. I might say that all of them had but come to", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "reached? Could anybody be found to work up the bidding? If not, it would\nscarcely be the fault of the public crier, who tried his best to tempt" ], [ "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "Spencer Island fell for four millions of dollars to William W. Kolderup,\nof San Francisco.", "had capped the reserve price of Spencer Island, there was an\nirresistible sensation, the chaffing ceased instantly, jokes gave place\nto interjections of admiration, and cheers resounded through the saloon.", "\"The new name is a good one, and we will keep to it,\" answered the\nuncle; \"but for geographers this is Spencer Island, only three days'", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "The island was Spencer Island, which lies in the west-south-west of the\nBay of San Francisco, about 460 miles from the Californian coast, in 32Â°", "And Congress had decided not to sell the island under the price. Eleven\nhundred thousand dollars, not a cent less, or Spencer Island would\nremain the property of the Union.", "safely to land he brought her up and steamed away. Three days later he\ngot back to San Francisco, and he it is who has brought us to Spencer\nIsland on the date we fixed!\"", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "\"An island to sell, for cash, to the highest bidder!\" said Dean Felporg,\nthe auctioneer, standing behind his rostrum in the room where the\nconditions of the singular sale were being noisily discussed.", "\"Beyond that?\"\n\n\"A freehold island!\" repeated the crier, \"an island without a single\nnoxious animal, no wild beasts, no reptiles!--\"", "continued to increase, and the chaff never ceased for a moment. One\nindividual offered two dollars for the island, costs included. Another\nsaid that a man ought to be paid that for taking it.", "William W. Kolderup at this was quite disconcerted. He knew nothing\nabout it. Spencer Island--it had been known for a long time--never had", "matter, however simple. The truth was this: situated as it was, Spencer\nIsland had for a long time been known as a station perfectly useless.\nThere could be no practical result from settling there. In a military", "\"That is so? No mistake?\"\n\n\"No withdrawal?\"\n\n\"For twelve hundred thousand dollars, Spencer Island!\"", "\"Twelve hundred thousand dollars!\"\n\nJ. R. Taskinar at the moment when William W. Kolderup thought he had\ndefinitely secured the island, woke up with the words shouted in\nstentorian tones,--", "And he stepped towards his office to arrange the little matter of\nSpencer Island, and then dismiss it from his mind. He had only to\nrealize a few certificates in his portfolio and the acquisition was", "\"But with those terrible creatures,\" said Phina, \"Spencer Island--\"\n\n\"Phina Island--\" interrupted Godfrey." ], [ "Godfrey passed a sorrowful night. Every now and then jumping up as if he\nheard a cannon out at sea, he would ask himself if the steamer had not", "Godfrey bore the trial of the ship's motion without even losing his\ngood-humour for a moment. Evidently he was fond of the sea.\n\nBut Tartlet was not fond of the sea, and it served him out.", "All this detail mattered little to Godfrey once he was on the sea, and\nstill less to Tartlet, whose troubled spirit exaggerated from day to day", "Things had reached this pass; for a year or more Godfrey had been\nimmersed in books of voyages of recent date, and had passionately", "Godfrey was thoroughly happy. This sailing over a beautiful sea, under a\nbeautiful sky, could anything be more cheering, could anything give more", "\"What good should I have done?\" asked Godfrey. \"Besides, I thought that\nthe vessel had disappeared! But that boat might belong to her! Let us go\nand see!\"", "On the 25th of June, about eight o'clock in the morning, when Godfrey\nstepped on deck, a charming breeze from the north-east had swept away", "She was a large steamer, bearing north-east. Godfrey easily made that\nout. If that direction was maintained, she would inevitably approach\nPhina Island.", "Or would not rather the semi-visible smoke disappear with the vessel\ntowards the north-west or south-west of the horizon?\n\nFor two hours Godfrey was a prey to alternating emotions more easy to\nindicate than to describe.", "Godfrey could not contain himself for joy. Had he expressly ordered the\ntrousseau for the use of shipwrecked folks in difficulties, he could not\nhave made it more complete.", "On the morrow, the 20th of January, the _Dream_ set sail under the\ncommand of Captain Turcott. At eight o'clock in the morning Godfrey, not", "Before the long voyage together through life, which men call marriage,\nGodfrey then was to make the tour of the world--a journey sometimes even", "Godfrey's heart beat high.\n\n\"A ship!\" he exclaimed.", "At this Godfrey went and sat on the forecastle, having sent some one for\nhis glasses. He was anxious to watch the return of the launch. Captain", "However, Godfrey could not and would not remain in doubt. He was\ndetermined to ascertain, yes or no, if the proa had definitely left the\nisland.", "\"You were asleep, Mr. Godfrey,\" replied the mate, \"and the captain did\nnot like to wake you.\"\n\n\"I am sorry; but tell me, which way did the launch go?\"", "It was a vessel manned by savages which Godfrey saw approaching the\nisland. Built like a Polynesian canoe, she carried a large sail of woven", "By his orders the _Dream_, a substantial steamer of 600 tons and 200\nhorse-power, was got ready. It was to be commanded by Captain Turcott, a", "\"Take it quietly, Tartlet,\" replied Godfrey. \"A ship was made to float!\nThere are reasons for all this.\"\n\n\"I tell you there are none.\"", "\"Godfrey,\" said he, \"you have always been so fond of islands, that I am\nsure it will please you to hear that this is yours--wholly yours! I make" ], [ "The crowd, suddenly speechless, turned towards the bold man who had\ndared to bid.\n\nIt was William W. Kolderup, of San Francisco.\n\n\n\n\nCHAPTER II.", "\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\n\n\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\n\"William Kolderup will never give in.\"", "\"Two million, four hundred thousand dollars!\" he remarked, hoping by\nthis tremendous leap to completely rout his rival.\n\n\"Two million, seven hundred thousand!\" replied William W. Kolderup in a\npeculiarly calm voice.", "A bid from William W. Kolderup could not but be a serious one. And when\nthe crowd in the auction room had recognized who it was that by $100,000", "\"Seventeen hundred thousand dollars!\" howled Gingrass, the crier.\n\n\"Eighteen hundred thousand!\" replied William W. Kolderup.", "There was no one to dispute with him.\n\n\"Twelve hundred thousand dollars--twelve hundred thousand!\" said the\nauctioneer, with that peculiar accent which men of his vocation find\nmost effective.", "\"Only a dollar! only a half-dollar! only a cent above the reserve!\" said\nthe auctioneer for the last time, \"and I will knock it down! Once!\nTwice!\"\n\nPerfect silence.", "\"Fourteen hundred thousand dollars,\" said William W. Kolderup.\n\n\"Fifteen hundred thousand!\" retorted J. R. Taskinar.\n\n\"Sixteen hundred thousand!\"", "\"Seventeen hundred thousand dollars!\" repeated the auctioneer. \"Now,\ngentlemen, that is a mere nothing! It is giving it away!\"", "\"If nobody bids we must put the lot back! Once! Twice!\n\n\"Twelve hundred thousand dollars!\"\n\nThe four words rang through the room like four shots from a revolver.", "\"Yes, Mr. Kolderup,\" said Carefinotu, to whom we had better return his\nproper name of Jup Brass. \"Yes, a real live crocodile, which went for", "There was a preliminary \"Ah!\" of general stupefaction, then a second\n\"Ah!\" of not less general satisfaction. Another bidder had presented\nhimself! There was going to be a fight after all!", "Do not imagine that all these folks had come to the auction-room with\nthe intention of buying. I might say that all of them had but come to", "A few days afterwards there was celebrated with great pomp the wedding\nof the nephew and pupil of William W. Kolderup. That the young couple\nwere made much of by all the friends of the wealthy merchant can easily\nbe imagined.", "William W. Kolderup appeared, seemingly a little preoccupied as usual.\nHere was the merchant who had just finished one negotiation and was\nabout to begin another.", "\"Twelve hundred thousand dollars!\"\n\nJ. R. Taskinar at the moment when William W. Kolderup thought he had\ndefinitely secured the island, woke up with the words shouted in\nstentorian tones,--", "But was it probable? Was it even possible?\n\nNo! And at the outset it was only necessary to look at William W.\nKolderup to feel convinced that he could never yield on a question where\nhis financial gallantry was at stake.", "When William W. Kolderup had read these words he burst into a shout of\nlaughter. He understood all.", "J. R. Taskinar had learnt--how, I cannot tell--that it was the intention\nof William W. Kolderup to acquire possession of Spencer Island. This", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders." ], [ "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "Spencer Island fell for four millions of dollars to William W. Kolderup,\nof San Francisco.", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "And Congress had decided not to sell the island under the price. Eleven\nhundred thousand dollars, not a cent less, or Spencer Island would\nremain the property of the Union.", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "The island was Spencer Island, which lies in the west-south-west of the\nBay of San Francisco, about 460 miles from the Californian coast, in 32Â°", "\"That is so? No mistake?\"\n\n\"No withdrawal?\"\n\n\"For twelve hundred thousand dollars, Spencer Island!\"", "continued to increase, and the chaff never ceased for a moment. One\nindividual offered two dollars for the island, costs included. Another\nsaid that a man ought to be paid that for taking it.", "\"The new name is a good one, and we will keep to it,\" answered the\nuncle; \"but for geographers this is Spencer Island, only three days'", "\"Twelve hundred thousand dollars!\"\n\nJ. R. Taskinar at the moment when William W. Kolderup thought he had\ndefinitely secured the island, woke up with the words shouted in\nstentorian tones,--", "William W. Kolderup at this was quite disconcerted. He knew nothing\nabout it. Spencer Island--it had been known for a long time--never had", "had capped the reserve price of Spencer Island, there was an\nirresistible sensation, the chaffing ceased instantly, jokes gave place\nto interjections of admiration, and cheers resounded through the saloon.", "safely to land he brought her up and steamed away. Three days later he\ngot back to San Francisco, and he it is who has brought us to Spencer\nIsland on the date we fixed!\"", "quite out of the way of all maritime or commercial traffic, although\nSpencer Island was relatively, not very far off, and situated\npractically in American waters. But thereabouts the regular currents", "it up for sale--on one condition only, and that was, that its purchaser\nshould be a free American citizen. There was no intention of giving away\nthe island for nothing, and so the reserve price had been fixed at", "matter, however simple. The truth was this: situated as it was, Spencer\nIsland had for a long time been known as a station perfectly useless.\nThere could be no practical result from settling there. In a military", "And he stepped towards his office to arrange the little matter of\nSpencer Island, and then dismiss it from his mind. He had only to\nrealize a few certificates in his portfolio and the acquisition was", "It is in the centre of this enormous eddy, which has hardly an\nappreciable movement, that Spencer Island is situated. And so it is", "\"An island which at the valuation will not fetch six dollars an acre!\"\nsaid the auctioneer." ], [ "\"An island to sell, for cash, to the highest bidder!\" said Dean Felporg,\nthe auctioneer, standing behind his rostrum in the room where the\nconditions of the singular sale were being noisily discussed.", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "\"Beyond that?\"\n\n\"A freehold island!\" repeated the crier, \"an island without a single\nnoxious animal, no wild beasts, no reptiles!--\"", "\"An island which at the valuation will not fetch six dollars an acre!\"\nsaid the auctioneer.", "\"Island for sale! island for sale!\" repeated in shrill tones again and\nagain Gingrass, the crier, who was threading his way in and out of the", "continued to increase, and the chaff never ceased for a moment. One\nindividual offered two dollars for the island, costs included. Another\nsaid that a man ought to be paid that for taking it.", "And all the time the crier was heard with,--\n\n\"An island to sell! an island for sale!\"\n\nAnd there was no one to buy it.", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"An island! an isle to sell!\" repeated Gingrass.\n\n\"But not to buy!\" answered an Irishman, whose pocket did not hold enough\nto pay for a single pebble.", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "it up for sale--on one condition only, and that was, that its purchaser\nshould be a free American citizen. There was no intention of giving away\nthe island for nothing, and so the reserve price had been fixed at", "However, if the lot could not be passed round, the map of the island was\nat the public disposal. The whereabouts of the portion of the globe", "\"Twelve hundred thousand dollars!\"\n\nJ. R. Taskinar at the moment when William W. Kolderup thought he had\ndefinitely secured the island, woke up with the words shouted in\nstentorian tones,--", "\"Godfrey,\" said he, \"you have always been so fond of islands, that I am\nsure it will please you to hear that this is yours--wholly yours! I make", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "Still sea--west of him, south of him, north of him! The immense ocean\nsurrounding him on all sides!\n\n\"An island!\"", "\"An island to sell! an island for sale!\" yelled Gingrass, whose lungs\ntired themselves out to no purpose.", "CONTENTS.\n\nCHAPTER I.\n\n PAGE\nIn which the reader has the opportunity of buying an Island in\nthe Pacific Ocean 1", "CHAPTER I.\n\nIN WHICH THE READER HAS THE OPPORTUNITY OF BUYING AN ISLAND IN THE\nPACIFIC OCEAN." ], [ "\"If nobody bids we must put the lot back! Once! Twice!\n\n\"Twelve hundred thousand dollars!\"\n\nThe four words rang through the room like four shots from a revolver.", "There was no one to dispute with him.\n\n\"Twelve hundred thousand dollars--twelve hundred thousand!\" said the\nauctioneer, with that peculiar accent which men of his vocation find\nmost effective.", "There was a preliminary \"Ah!\" of general stupefaction, then a second\n\"Ah!\" of not less general satisfaction. Another bidder had presented\nhimself! There was going to be a fight after all!", "\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\n\n\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\n\"William Kolderup will never give in.\"", "\"Seventeen hundred thousand dollars!\" repeated the auctioneer. \"Now,\ngentlemen, that is a mere nothing! It is giving it away!\"", "\"Only a dollar! only a half-dollar! only a cent above the reserve!\" said\nthe auctioneer for the last time, \"and I will knock it down! Once!\nTwice!\"\n\nPerfect silence.", "Applause rang through the room, hushed, however, at the voice of the\nauctioneer, who repeated the bid, and whose oscillating hammer", "The crowd, suddenly speechless, turned towards the bold man who had\ndared to bid.\n\nIt was William W. Kolderup, of San Francisco.\n\n\n\n\nCHAPTER II.", "Do not imagine that all these folks had come to the auction-room with\nthe intention of buying. I might say that all of them had but come to", "\"Two million, four hundred thousand dollars!\" he remarked, hoping by\nthis tremendous leap to completely rout his rival.\n\n\"Two million, seven hundred thousand!\" replied William W. Kolderup in a\npeculiarly calm voice.", "A bid from William W. Kolderup could not but be a serious one. And when\nthe crowd in the auction room had recognized who it was that by $100,000", "\"Seventeen hundred thousand dollars!\" howled Gingrass, the crier.\n\n\"Eighteen hundred thousand!\" replied William W. Kolderup.", "put at eleven hundred thousand dollars, is there any one will bid? Who\nspeaks first? You, sir?--you, over there nodding your head like a", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "The waistcoats rose and fell convulsively. Could it be possible that at\nthe last second a higher bid would come? Felporg with his right hand", "\"Fourteen hundred thousand dollars,\" said William W. Kolderup.\n\n\"Fifteen hundred thousand!\" retorted J. R. Taskinar.\n\n\"Sixteen hundred thousand!\"", "And that is why J. R. Taskinar had come to the auction room among the\ncurious crowd who could not be aware of his designs, why at all points", "buyer, the auctioneer orated without obtaining a single specimen of\nthose nods which his estimable fraternity are so quick to discover; and\nthe reserve price was not even mentioned.", "After a long pause, however, his voice was heard; feeble it is true, but\nsufficiently audible.\n\n\"Three millions, five hundred thousand!\"" ], [ "chart. So the steam launch was got out, and with the boatswain and three\nmen, Captain Turcott has gone off to explore.\"", "Captain Turcott, the mate, and Godfrey, were sitting down to breakfast\nwhen an unusual noise was heard on deck. Almost immediately afterwards\nthe boatswain opened the door and appeared on the threshold.\n\n\"Captain!\" he said.", "His presence on board put into Captain Turcott's head an idea which his\nmate probably was the only one to understand thoroughly.", "Captain Turcott, having handed over the watch to the mate, also came\nunder the poop to take a few hours' rest. All was in order. The steamer", "However, Captain Turcott rose from his chair, and followed by Godfrey\nand the mate, left the saloon and walked towards the forecastle of the\n_Dream_.", "\"Well, John,\" exclaimed Captain Turcott, \"I am going to show you how to\nsave your passage-money.\"", "Captain Turcott knowing that Godfrey swam like a fish, seized him by the\nshoulders, and did him the service of throwing him overboard.", "\"Only show!\" answered Captain Turcott. \"We saw nothing suspicious, our\nmen must have been deceived, but I am rather surprised at that, all the\nsame.\"\n\n\"We are going ahead then?\" said Godfrey.", "Captain Turcott made a sign to his men to leave the unhappy intruder\nalone.\n\n\"Who are you?\" he asked.\n\n\"A son of the sun.\"", "At a quarter-past eleven, Captain Turcott hailed and boarded the\n_Dream_.\n\n\"Well, captain, what news?\" asked Godfrey, shaking his hand.", "At the same time two sailors, at the order of Captain Turcott who was in\ncommand, climbed up along the sequoia to set Tartlet free, and, with all\ndue respect, pluck him from the branch as if he were a fruit.", "\"Captain,\" he said, \"one more Chinee on board the _Dream_ is one Chinee\nless in California, where there are too many.\"\n\n\"A great deal too many!\" answered Captain Turcott.", "\"At the bottom of the hold!\" exclaimed Turcott. \"Well, by all\nthe--somethings--of Sacramento, just send him to the bottom of the sea!\"\n\n\"All right!\" answered the boatswain.", "On the morrow, the 20th of January, the _Dream_ set sail under the\ncommand of Captain Turcott. At eight o'clock in the morning Godfrey, not", "There was no rock to fear in these parts, for Captain Turcott had just\nfixed his exact position on the charts; but collisions are always\npossible, and they are much more frequent on foggy nights.", "At the start, in the lovely month of June, there was a beautiful breeze\nfrom the north-east, and Captain Turcott was able to set his canvas so", "\"Very much so,\" answered Captain Turcott, \"but when day breaks, if the\nsea falls a little, I shall resume our westerly route. I should", "\"What's up?\" asked Turcott, sailor as he was, always on the alert.\n\n\"Here's a--Chinee!\" said the boatswain.\n\n\"A Chinese!\"", "\"You, Mr. Godfrey, you--on the bridge?\"\n\n\"Yes, I, captain. I came to ask--\"\n\n\"What?\" answered Captain Turcott sharply.", "And Uncle Will turned towards Captain Turcott, who laughingly\nanswered,--" ], [ "IN WHICH T. ARTELETT, OTHERWISE TARTLET, IS DULY INTRODUCED TO THE\nREADER.", "If T. Artelett had been a Parisian, his compatriots would not have\nfailed to nickname him Tartlet, but as he had already received this", "Godfrey was not ten paces away from it, when he stopped as if rooted to\nthe soil, and exclaimed,--\n\n\"Tartlet!\"\n\nIt was the professor of dancing and deportment.", "In which T. Artelett, otherwise Tartlet, is duly introduced\nto the reader 35\n\n\nCHAPTER V.", "CHAPTER XVII.\n\nIN WHICH PROFESSOR TARTLET'S GUN REALLY DOES MARVELS.", "\"And, to the professor of deportment who has initiated him into\netiquette,\" interrupted the merchant, in a tone of which the guileless\nTartlet failed to perceive the irony.", "Professor Tartlet, generally so firm on his limbs, had lost all his\ndancing equilibrium. He had lost all his usual self-possession, and", "\"Mr. Tartlet,\" said William W. Kolderup, \"I have sent for you to tell\nyou some news which I imagine will rather surprise you.\"\n\n\"As you think best!\" answered the professor.", "Such would have been the report furnished by Tartlet, but desirable as\nhe might be to a lady of a certain age, the projected union had hitherto\nfailed. The professor remained a bachelor, and continued to give lessons\nin dancing and deportment.", "of the professor. And so he left Tartlet to his dreams, and set out.", "Godfrey made a sign to Tartlet to join him. The professor, as clumsy as\ncould be in his fighting harness, followed--not without some hesitation.", "In an instant Godfrey was out of his cabin and in the saloon. There he\ncannoned against an inert mass which he did not recognize. It was\nProfessor Tartlet.", "\"Look there, Tartlet!\" he exclaimed.\n\nAnd the professor looked, but saw nothing, so much was he absorbed with\nthe thought of this unexpected situation.", "was in learning the English language. Do what he might he could not be\nprevailed upon to pronounce the most ordinary words which Godfrey, and\nparticularly Professor Tartlet tried to teach him.", "A scream of terror welcomed them. It was Tartlet, who imagined he saw a\npanther or tiger! The unfortunate professor was clasping a branch,\nfrightened almost out of his life lest he should fall.", "captain or the mate, this proved to be Professor Tartlet, how little he\ncould depend on that frivolous being, and how slightly improved the", "The request of the nabob was an order for Tartlet. The professor left\nhis room, with his pocket violin--generally known as a kit--so as to be", "It should be stated that, not only did Professor Tartlet suffer from\nsea-sickness, but also that fear had seized him as he watched the great", "\"A bear!\" screamed the professor, looking round him with a bewildered\nglare as if the environs of Will Tree were being assailed by a herd of", "There Tartlet awaited him with his two-footed and four-footed flock. And\nhow was the obstinate professor occupying himself? In the same way. A" ], [ "\"Twelve hundred thousand dollars!\"\n\nJ. R. Taskinar at the moment when William W. Kolderup thought he had\ndefinitely secured the island, woke up with the words shouted in\nstentorian tones,--", "Spencer Island fell for four millions of dollars to William W. Kolderup,\nof San Francisco.", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "\"Two million, four hundred thousand dollars!\" he remarked, hoping by\nthis tremendous leap to completely rout his rival.\n\n\"Two million, seven hundred thousand!\" replied William W. Kolderup in a\npeculiarly calm voice.", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\n\n\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\n\"William Kolderup will never give in.\"", "continued to increase, and the chaff never ceased for a moment. One\nindividual offered two dollars for the island, costs included. Another\nsaid that a man ought to be paid that for taking it.", "it up for sale--on one condition only, and that was, that its purchaser\nshould be a free American citizen. There was no intention of giving away\nthe island for nothing, and so the reserve price had been fixed at", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"Fourteen hundred thousand dollars,\" said William W. Kolderup.\n\n\"Fifteen hundred thousand!\" retorted J. R. Taskinar.\n\n\"Sixteen hundred thousand!\"", "\"Seventeen hundred thousand dollars!\" howled Gingrass, the crier.\n\n\"Eighteen hundred thousand!\" replied William W. Kolderup.", "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "Kolderup was too practical a man not to put to some purpose a journey of\n15,000 or 16,000 leagues across all the oceans of the globe. His ship", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "A man extraordinarily rich, who counted dollars by the million as other\nmen do by the thousand; such was William W. Kolderup.", "\"An island to sell, for cash, to the highest bidder!\" said Dean Felporg,\nthe auctioneer, standing behind his rostrum in the room where the\nconditions of the singular sale were being noisily discussed.", "William W. Kolderup at this was quite disconcerted. He knew nothing\nabout it. Spencer Island--it had been known for a long time--never had", "would be made. But what were these two? Less than a needle in a hayrick\nor a sand-grain on the sea-bottom! The incalculable fortune of Uncle\nKolderup could not do everything.", "\"An island which at the valuation will not fetch six dollars an acre!\"\nsaid the auctioneer.", "There was thus no more to explain of the remarkable occurrences on\nPhina Island.\n\n\"Well done!\" exclaimed William W. Kolderup. \"I could not have done\nbetter myself!\"" ], [ "The 13th of September was noted for one of the greatest and cruellest\ndeceptions to which, on a desert island, the unfortunate survivors of a\nshipwreck could be subjected.", "It was, in truth, very unfortunate. The savages had probably come to the\nisland thinking it was uninhabited, as indeed it had been before the", "The presence of a formidable wild beast in Phina Island was, it must be\nconfessed, calculated to make our friends think the worst of the\nill-fortune which had fallen on them.", "It was only the goats and sheep and agouties. Terrified at the howling\nof the wild beasts, and scenting their approach, they had fled from\ntheir pasturage to take shelter behind the palisade.", "The night passed amid these alternations of fear and hope. No attack\noccurred. The savages had not yet come to the sequoia group. Perhaps\nthey would wait for the day before venturing to cross the island.", "\"It must also be concluded,\" continued he, \"that the island is not\ninhabited at all. Either natives or people shipwrecked here would have", "sea. It was still deserted. He had to conclude once more, that the\nisland lay away from the trade routes of the Pacific.", "Godfrey knew not what to do. Anyhow his immediate care must be to watch\nif they set foot on the island. He could think of other things\nafterwards.", "defend their lives perhaps against wild beasts, perhaps against savages\nwho would land there, wretches without resources, suffering from hunger,\nsuffering from thirst, without weapons, without tools, almost without", "points on the island. And he seemed very much troubled to find that all\nhad not passed on the island according to his instructions, and that the\nprogramme had been seriously interfered with.", "island inhabited, they would not advance without precaution, in fact\nthey would be as careful in ascending the little river as Godfrey was in\ndescending it. It was to be supposed therefore that if they were", "It was a vessel manned by savages which Godfrey saw approaching the\nisland. Built like a Polynesian canoe, she carried a large sail of woven", "savages returning in great numbers to Phina Island, the situation of\nwhich was known to them. Against such an invasion the palisade was but\nan insufficient barrier. All things considered, the refuge offered by", "As he uttered the word Godfrey felt his heart shrink. The thought had\nnot occurred to him that he was on an island. And yet such was the case!", "How bitter were their reflections during their evening repast! What long\nsleepless hours were in store for the inhabitants of Phina Island, on\nwhom misfortunes were now crowding.", "day to find there a refuge from the heat of the sun. No fear was there\nof their wandering abroad, or of their falling a prey to wild beasts, of\nwhich Phina Island seemed to contain not a single specimen.", "During the walk they noticed some wild animals in the distance; but they\ndared not attack so formidable a party as the sailors of the _Dream_.\nBut none the less was their presence absolutely incomprehensible.", "But Godfrey suddenly uttered an exclamation which made the professor\njump. There could be no doubt that the savages knew the island was", "Point. The moment had then come to put the project into execution, to\nreconnoitre if the savages were still in the island, and to see what\nthey were doing.", "But if the island was deserted, the sea which surrounded it was none the\nless so, for not a ship showed itself within the limits of what, from\nthe height of the cone, was a considerable circuit." ], [ "Before the long voyage together through life, which men call marriage,\nGodfrey then was to make the tour of the world--a journey sometimes even", "\"Yes, the departure of Godfrey,\" continued Phina, \"of Godfrey who,\nbefore he gets married, wants to see a little of the world!\"", "In short, Godfrey was enchanted.\n\nPhina, anxious without appearing to be so, was resigned to this\napprenticeship.", "\"With you, Godfrey--yes!\"\n\n\"No--alone!\"\n\n\"Alone! Never!\"\n\n\"Come along then!\"", "After all, he was a brave man, in spite of his eccentricities. Everybody\nliked him. He liked Godfrey, he liked Phina, and they liked him. He had", "In fact, when he had finished his studies Godfrey had displayed a quite\npremature indifference to the world, in which he wanted for nothing, in", "\"I!\" answered Godfrey. \"I! All my life!\"\n\nPhina stepped forward.\n\n\"Godfrey,\" she asked, \"would you like to remain on your island?\"", "\"Dearest Phina!\" said Godfrey, seizing the young lady's hand.\n\n\"Turcott, you promised to keep the secret!\" said Phina with a blush.", "\"My nephew's marriage is put off for a year or eighteen months, and\nGodfrey, at his own request, is going to visit the different countries\nof the old and new world.\"", "And hence it was that Godfrey was now absent in the presence of Phina,\nindifferent when she spoke to him, deaf when she played the airs which", "\"Godfrey,\" said he, \"you have always been so fond of islands, that I am\nsure it will please you to hear that this is yours--wholly yours! I make", "Godfrey had risen. He had walked a few steps without noticing Phina,\nand unconsciously his index finger touched one of the keys of the piano.", "\"If we must part, it had better be before marriage than afterwards!\"\n\nAnd thus it was that she had spoken to Godfrey in these significant\nwords.", "\"You must let Godfrey go,\" pleaded Phina; \"I have thought it carefully\nover. I am young, but really Godfrey is younger. Travel will age him,", "It is also the custom to travel together, and so Phina's portrait had\nits allotted place in Godfrey's cabin, and Godfrey's portrait its", "The trial was a rough one to begin with, but, we repeat, Godfrey had not\ncome out for a simple promenade. He himself put it very well when he", "When Godfrey had found his fairly acceptable shelter, his sleep in it\nwas by no means undisturbed. His brain travelled as it had never done", "Godfrey was in his twenty-third year. His education now finished, had\nleft him with absolutely nothing to do. He had graduated at the", "An engaged man could not decently start on a long voyage round the world\nwithout taking with him the image of her he loved, and in return leaving\nhis own image behind him.", "\"With you, my dear husband, I fear nothing from anywhere,\" answered\nPhina, \"and as you have not had your voyage round the world--\"" ], [ "\"If nobody bids we must put the lot back! Once! Twice!\n\n\"Twelve hundred thousand dollars!\"\n\nThe four words rang through the room like four shots from a revolver.", "\"Seventeen hundred thousand dollars!\" repeated the auctioneer. \"Now,\ngentlemen, that is a mere nothing! It is giving it away!\"", "There was no one to dispute with him.\n\n\"Twelve hundred thousand dollars--twelve hundred thousand!\" said the\nauctioneer, with that peculiar accent which men of his vocation find\nmost effective.", "There was a preliminary \"Ah!\" of general stupefaction, then a second\n\"Ah!\" of not less general satisfaction. Another bidder had presented\nhimself! There was going to be a fight after all!", "\"Only a dollar! only a half-dollar! only a cent above the reserve!\" said\nthe auctioneer for the last time, \"and I will knock it down! Once!\nTwice!\"\n\nPerfect silence.", "\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\n\n\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\n\"William Kolderup will never give in.\"", "Do not imagine that all these folks had come to the auction-room with\nthe intention of buying. I might say that all of them had but come to", "The crowd, suddenly speechless, turned towards the bold man who had\ndared to bid.\n\nIt was William W. Kolderup, of San Francisco.\n\n\n\n\nCHAPTER II.", "\"I will be avenged!\" muttered J. R. Taskinar, and throwing a glance of\nhatred at his conqueror, he returned to the Occidental Hotel.", "\"Two million, four hundred thousand dollars!\" he remarked, hoping by\nthis tremendous leap to completely rout his rival.\n\n\"Two million, seven hundred thousand!\" replied William W. Kolderup in a\npeculiarly calm voice.", "Applause rang through the room, hushed, however, at the voice of the\nauctioneer, who repeated the bid, and whose oscillating hammer", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"Seventeen hundred thousand dollars!\" howled Gingrass, the crier.\n\n\"Eighteen hundred thousand!\" replied William W. Kolderup.", "And that is why J. R. Taskinar had come to the auction room among the\ncurious crowd who could not be aware of his designs, why at all points", "The waistcoats rose and fell convulsively. Could it be possible that at\nthe last second a higher bid would come? Felporg with his right hand", "A bid from William W. Kolderup could not but be a serious one. And when\nthe crowd in the auction room had recognized who it was that by $100,000", "three millions of dollars, which seemed to crush him. He would have\nspoken, doubtless to bid higher--but he could not. He would have liked\nto nod his head--he could do so no more.", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "\"Thirteen hundred thousand dollars!\"\n\nEverybody as we have seen turned to look at him.\n\n\"Fat Taskinar!\"", "put at eleven hundred thousand dollars, is there any one will bid? Who\nspeaks first? You, sir?--you, over there nodding your head like a" ], [ "The island was Spencer Island, which lies in the west-south-west of the\nBay of San Francisco, about 460 miles from the Californian coast, in 32Â°", "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "quite out of the way of all maritime or commercial traffic, although\nSpencer Island was relatively, not very far off, and situated\npractically in American waters. But thereabouts the regular currents", "\"The new name is a good one, and we will keep to it,\" answered the\nuncle; \"but for geographers this is Spencer Island, only three days'", "William W. Kolderup at this was quite disconcerted. He knew nothing\nabout it. Spencer Island--it had been known for a long time--never had", "It is in the centre of this enormous eddy, which has hardly an\nappreciable movement, that Spencer Island is situated. And so it is", "Spencer Island fell for four millions of dollars to William W. Kolderup,\nof San Francisco.", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "safely to land he brought her up and steamed away. Three days later he\ngot back to San Francisco, and he it is who has brought us to Spencer\nIsland on the date we fixed!\"", "And Congress had decided not to sell the island under the price. Eleven\nhundred thousand dollars, not a cent less, or Spencer Island would\nremain the property of the Union.", "\"But with those terrible creatures,\" said Phina, \"Spencer Island--\"\n\n\"Phina Island--\" interrupted Godfrey.", "shortest road, would gain no advantage by crossing it. Hence ships of\nneither class know anything of Spencer Island, which rises above the\nwaters like the isolated summit of one of the submarine mountains of the", "matter, however simple. The truth was this: situated as it was, Spencer\nIsland had for a long time been known as a station perfectly useless.\nThere could be no practical result from settling there. In a military", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "\"That is so? No mistake?\"\n\n\"No withdrawal?\"\n\n\"For twelve hundred thousand dollars, Spencer Island!\"", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "15' north latitude, and 145Â° 18' west longitude, reckoning from\nGreenwich. It would be impossible to imagine a more isolated position,", "On this occasion he had advanced to the northern point which terminated\nin a sandy spit, when his attention was attracted by a rock of curious\nshape, rising near the last group of algÃ¦ and sea-weeds.", "had capped the reserve price of Spencer Island, there was an\nirresistible sensation, the chaffing ceased instantly, jokes gave place\nto interjections of admiration, and cheers resounded through the saloon.", "And he stepped towards his office to arrange the little matter of\nSpencer Island, and then dismiss it from his mind. He had only to\nrealize a few certificates in his portfolio and the acquisition was" ], [ "\"It is I! I! Godfrey!\"\n\n\"Godfrey?\" asked the professor.", "Godfrey was not ten paces away from it, when he stopped as if rooted to\nthe soil, and exclaimed,--\n\n\"Tartlet!\"\n\nIt was the professor of dancing and deportment.", "Godfrey made a sign to Tartlet to join him. The professor, as clumsy as\ncould be in his fighting harness, followed--not without some hesitation.", "\"Eh! How do you know that, Godfrey?\" replied the professor, drawing\nhimself up. \"Do you know what the future may bring forth?\"", "To which Godfrey made no reply. And as he never came for his lesson, the\nprofessor became professor \"emeritus.\"", "\"Don't say such things, Godfrey,\" exclaimed Tartlet. \"No! Don't joke\nabout such things! The mere supposition will kill me! You are laughing\nat me, are you not?\"", "At least that is what Godfrey thought of. The ideas of the professor\ntook quite a different turn.", "Godfrey spoke to him.\n\nTartlet shook his head, then he gave utterance to a hoarse exclamation,\nfollowed by incoherent words.\n\nGodfrey shook him violently.", "companion. In that empty box which served the professor for a cranium\nthere could be born no practical idea; Godfrey would have to think,\ncontrive, and decide for both.", "The black endeavoured to say the word, but although Godfrey repeated it\nseveral times, he could not succeed in pronouncing it in an intelligible\nfashion. Then he turned towards the professor, as if to know his name.", "was in learning the English language. Do what he might he could not be\nprevailed upon to pronounce the most ordinary words which Godfrey, and\nparticularly Professor Tartlet tried to teach him.", "In an instant Godfrey was out of his cabin and in the saloon. There he\ncannoned against an inert mass which he did not recognize. It was\nProfessor Tartlet.", "\"Hush!\" said the professor in a low voice; \"I think I hear something\noutside.\"\n\nGodfrey climbed up again to the window, and got down again almost\nimmediately.", "\"My dear Godfrey!\" exclaimed Tartlet.\n\n\"My good Tartlet!\" replied Godfrey.", "\"What is the good of it?\" was Godfrey's answer to the entreaties of the\nprofessor. \"Can you imagine Robinson Crusoe taking lessons in dancing\nand deportment?\"", "\"Good-bye, Godfrey!\"\n\n\"May Heaven protect you!\" said the uncle.\n\n\"And above all may it bring us back!\" murmured Professor Tartlet.", "Godfrey set to work. He knelt down by Tartlet; he unloosed the life-belt\nand rubbed him vigorously. He noticed at last a light breath on the", "In short, Godfrey was enchanted.\n\nPhina, anxious without appearing to be so, was resigned to this\napprenticeship.", "their two hands; and as the hands of the professor had never been used\nexcept in playing his fiddle, and making his gestures, Godfrey concluded\nthat he would have to trust to his own.", "\"No, Godfrey, it does not do,\" replied the professor. \"And I begin to\nthink that these inventions of the savages are only imaginations to\ndeceive the world.\"" ], [ "\"Twelve hundred thousand dollars!\"\n\nJ. R. Taskinar at the moment when William W. Kolderup thought he had\ndefinitely secured the island, woke up with the words shouted in\nstentorian tones,--", "\"Two million, four hundred thousand dollars!\" he remarked, hoping by\nthis tremendous leap to completely rout his rival.\n\n\"Two million, seven hundred thousand!\" replied William W. Kolderup in a\npeculiarly calm voice.", "\"Going at twelve hundred thousand dollars!\" repeated Gingrass the crier.\n\n\"You could safely bid more than that,\" said Oakhurst, the bar-keeper;\n\"William Kolderup will never give in.\"", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "Spencer Island fell for four millions of dollars to William W. Kolderup,\nof San Francisco.", "continued to increase, and the chaff never ceased for a moment. One\nindividual offered two dollars for the island, costs included. Another\nsaid that a man ought to be paid that for taking it.", "\"An island to sell, for cash, to the highest bidder!\" said Dean Felporg,\nthe auctioneer, standing behind his rostrum in the room where the\nconditions of the singular sale were being noisily discussed.", "\"An island for the highest bidder!\" said Dean Felporg, beginning again.\n\"Come, gentlemen, come! Have a little courage in your pockets! Who wants", "\"Seventeen hundred thousand dollars!\" howled Gingrass, the crier.\n\n\"Eighteen hundred thousand!\" replied William W. Kolderup.", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "it up for sale--on one condition only, and that was, that its purchaser\nshould be a free American citizen. There was no intention of giving away\nthe island for nothing, and so the reserve price had been fixed at", "The crowd, suddenly speechless, turned towards the bold man who had\ndared to bid.\n\nIt was William W. Kolderup, of San Francisco.\n\n\n\n\nCHAPTER II.", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"An island which at the valuation will not fetch six dollars an acre!\"\nsaid the auctioneer.", "\"Fourteen hundred thousand dollars,\" said William W. Kolderup.\n\n\"Fifteen hundred thousand!\" retorted J. R. Taskinar.\n\n\"Sixteen hundred thousand!\"", "A bid from William W. Kolderup could not but be a serious one. And when\nthe crowd in the auction room had recognized who it was that by $100,000", "\"Beyond that?\"\n\n\"A freehold island!\" repeated the crier, \"an island without a single\nnoxious animal, no wild beasts, no reptiles!--\"", "\"Island for sale! island for sale!\" repeated in shrill tones again and\nagain Gingrass, the crier, who was threading his way in and out of the", "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "\"Seventeen hundred thousand dollars!\" repeated the auctioneer. \"Now,\ngentlemen, that is a mere nothing! It is giving it away!\"" ], [ "\"Yes, Mr. Kolderup,\" said Carefinotu, to whom we had better return his\nproper name of Jup Brass. \"Yes, a real live crocodile, which went for", "Phina Hollaney was the goddaughter of William W. Kolderup. An orphan, he\nhad educated her, and given her the right to consider herself his", "\"Yes,\" said Godfrey to himself, \"if there is a human being there, we\nmust know who he is and whence he comes! We must know why he hides\nhimself! It will be for the safety of all!\"", "\"Godfrey,\" said he, \"you have always been so fond of islands, that I am\nsure it will please you to hear that this is yours--wholly yours! I make", "Before this reality, however, Godfrey, let it be said to his credit, did\nnot quail. But as before everything it was best for him to ascertain the", "\"It is I! I! Godfrey!\"\n\n\"Godfrey?\" asked the professor.", "\"Don't say such things, Godfrey,\" exclaimed Tartlet. \"No! Don't joke\nabout such things! The mere supposition will kill me! You are laughing\nat me, are you not?\"", "This was what Godfrey did.", "\"What! all of them?\" repeated Godfrey, a little ashamed at having been\ntaken in by these artifices.\n\n\"Yes! Things were going too smoothly in your island, and we had to get\nup a little excitement!\"", "IN WHICH GODFREY AGAIN SEES A SLIGHT SMOKE OVER ANOTHER PART OF THE\nISLAND.", "Godfrey set to work. He knelt down by Tartlet; he unloosed the life-belt\nand rubbed him vigorously. He noticed at last a light breath on the", "And this, under the keeping of Providence, was what was done, but not\nuntil after Godfrey, in remembrance of his uncle, William W. Kolderup,", "Godfrey spoke to him.\n\nTartlet shook his head, then he gave utterance to a hoarse exclamation,\nfollowed by incoherent words.\n\nGodfrey shook him violently.", "\"And never forget, Godfrey,\" added William W. Kolderup, \"the device\nwhich the _Dream_ bears on her stern, 'Confide, recte agens.'\"", "However, Godfrey could not and would not remain in doubt. He was\ndetermined to ascertain, yes or no, if the proa had definitely left the\nisland.", "\"All right,\" replied William W. Kolderup, fixing a curious look on his\nnephew.\n\nThen he muttered between his teeth,--\n\n\"The sooner the better.\"", "And at the moment he felt a hand placed on his chest, while all the\nblack's physiognomy seemed to ask him what his name was.\n\n\"Godfrey!\" answered he.", "\"With you, Godfrey--yes!\"\n\n\"No--alone!\"\n\n\"Alone! Never!\"\n\n\"Come along then!\"", "Godfrey had no thought of pursuing them. What was the good of killing\nthem? They had saved the victim. They had put them to flight, that was", "Godfrey was not ten paces away from it, when he stopped as if rooted to\nthe soil, and exclaimed,--\n\n\"Tartlet!\"\n\nIt was the professor of dancing and deportment." ], [ "Phina Hollaney was the goddaughter of William W. Kolderup. An orphan, he\nhad educated her, and given her the right to consider herself his", "were in favour of it. Besides, William W. Kolderup desired the marriage.\nThe two people whom he loved most in this world were sure of a fortune\nfrom him, without taking into consideration whether Phina cared for", "\"Phina?\" answered the young man.\n\n\"Where are you now?\"\n\n\"Near you--in this room--\"", "Perhaps Phina's heart was nearly full, she had made up her mind to say\nnothing.\n\nIt was then that William W. Kolderup, without noticing Godfrey,\napproached the piano.", "\"What could I do, Mr. Kolderup? I can sometimes resist you--but Miss\nPhina--it was too difficult! And four months ago, when you sent me to\nlook round the island, I landed the box from my boat--\"", "\"Yes, Mr. Kolderup,\" said Carefinotu, to whom we had better return his\nproper name of Jup Brass. \"Yes, a real live crocodile, which went for", "\"If--\"\n\n\"If you will let me, and Phina will wait for me.\"\n\n\"Wait for you! An intended who intends until he gets away!\" exclaimed\nWilliam W. Kolderup.", "\"Dearest Phina!\" said Godfrey, seizing the young lady's hand.\n\n\"Turcott, you promised to keep the secret!\" said Phina with a blush.", "Phina had understood him, and without more discussion was about to bring\nmatters to a crisis, when the door of the room opened.", "Godfrey, or Godfrey cared for Phina. It would also simplify the\nbookkeeping of the commercial house. Ever since their births an account", "way with Phina, then become Mrs. Morgan, would be clearly impossible! He\nmust go alone or leave it alone. Besides, once his fancy had passed", "used to please him; and Phina, like a thoughtful, serious girl, soon\nnoticed this.", "Godfrey had risen. He had walked a few steps without noticing Phina,\nand unconsciously his index finger touched one of the keys of the piano.", "The good man was thinking of Phina.\n\n\n\n\nCHAPTER IX.", "In short, Godfrey was enchanted.\n\nPhina, anxious without appearing to be so, was resigned to this\napprenticeship.", "comfortably as possible. He had given Phina's photograph the best place\non the best lighted panel of his room. A cot to sleep on, a lavatory for", "\"The date of your wedding!\" said William W. Kolderup. \"Not the date of\nmine, I suppose!\"\n\n\"Perhaps that is more urgent?\" said Phina.", "special position in Phina's room. As for Tartlet, who had no betrothed\nand who was not thinking of having one at present, he thought it better", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "\"I!\" answered Godfrey. \"I! All my life!\"\n\nPhina stepped forward.\n\n\"Godfrey,\" she asked, \"would you like to remain on your island?\"" ], [ "\"You want to try travelling before you marry Phina! Well! You shall try\nit, my nephew!\"\n\nHe made two or three steps and stopping with crossed arms before\nGodfrey, asked,--", "\"I!\" answered Godfrey. \"I! All my life!\"\n\nPhina stepped forward.\n\n\"Godfrey,\" she asked, \"would you like to remain on your island?\"", "\"Yes, the departure of Godfrey,\" continued Phina, \"of Godfrey who,\nbefore he gets married, wants to see a little of the world!\"", "\"You must let Godfrey go,\" pleaded Phina; \"I have thought it carefully\nover. I am young, but really Godfrey is younger. Travel will age him,", "\"And then, dearest Phina,\" said Godfrey, \"you will not be afraid to pass\na season there with me?\"", "In short, Godfrey was enchanted.\n\nPhina, anxious without appearing to be so, was resigned to this\napprenticeship.", "Godfrey had risen. He had walked a few steps without noticing Phina,\nand unconsciously his index finger touched one of the keys of the piano.", "I shall surprise no one in saying that Godfrey Morgan was going to\nmarry Phina Hollaney. Was he likely to do otherwise? All the proprieties", "\"If we must part, it had better be before marriage than afterwards!\"\n\nAnd thus it was that she had spoken to Godfrey in these significant\nwords.", "Godfrey, or Godfrey cared for Phina. It would also simplify the\nbookkeeping of the commercial house. Ever since their births an account", "And hence it was that Godfrey was now absent in the presence of Phina,\nindifferent when she spoke to him, deaf when she played the airs which", "Before this reality, however, Godfrey, let it be said to his credit, did\nnot quail. But as before everything it was best for him to ascertain the", "\"Dearest Phina!\" said Godfrey, seizing the young lady's hand.\n\n\"Turcott, you promised to keep the secret!\" said Phina with a blush.", "Before the long voyage together through life, which men call marriage,\nGodfrey then was to make the tour of the world--a journey sometimes even", "\"You are serious,\" he asked.\n\n\"Quite serious!\" interrupted Phina, while Godfrey contented himself with\nmaking a sign of affirmation.", "However, Godfrey could not and would not remain in doubt. He was\ndetermined to ascertain, yes or no, if the proa had definitely left the\nisland.", "way with Phina, then become Mrs. Morgan, would be clearly impossible! He\nmust go alone or leave it alone. Besides, once his fancy had passed", "After all, he was a brave man, in spite of his eccentricities. Everybody\nliked him. He liked Godfrey, he liked Phina, and they liked him. He had", "An error, because at the outset Godfrey felt that he was not yet old\nenough for the serious undertaking of marriage; an omission, because he\nhad not been consulted on the subject.", "\"If--\"\n\n\"If you will let me, and Phina will wait for me.\"\n\n\"Wait for you! An intended who intends until he gets away!\" exclaimed\nWilliam W. Kolderup." ], [ "\"Tartlet,\" was the reply of that individual in a most amiable tone.\n\n\"Tartlet!\" repeated Carefinotu.", "In which T. Artelett, otherwise Tartlet, is duly introduced\nto the reader 35\n\n\nCHAPTER V.", "IN WHICH T. ARTELETT, OTHERWISE TARTLET, IS DULY INTRODUCED TO THE\nREADER.", "CHAPTER XX.\n\nIN WHICH TARTLET REITERATES IN EVERY KEY THAT HE WOULD RATHER BE OFF.", "Tartlet was a bachelor, and aged about forty-five at the time we\nintroduce him to our readers. But for a dozen years or so his marriage\nwith a lady of somewhat mature age had been expected to take place.", "\"Tartlet! My dear Tartlet!\" shouted Godfrey, lightly raising his head.\n\nThe head with his mass of tumbled hair gave an affirmative nod.", "If any of them showed particular satisfaction at this mode of procedure,\nit was Tartlet.", "\"It is Tartlet!\" exclaimed Godfrey. \"The unfortunate man has been\nattacked! Quick! quick!\"", "\"My dear Godfrey!\" exclaimed Tartlet.\n\n\"My good Tartlet!\" replied Godfrey.", "\"Savages! Yes! They are really savages!\" he exclaimed.\n\nTartlet felt his knees knock together, and a tremor of fright ran\nthrough his body.", "adventures he had recommended to his pupil! Here, decidedly, was\nsomething to trouble a brain much more solid than his, and the\nunfortunate Tartlet for the first time in his life felt an involuntary", "Tartlet in the corner, groaned and lamented, and moaned again. He would\nhave asked Godfrey all about it, but Godfrey was not in the humour to", "Godfrey was not ten paces away from it, when he stopped as if rooted to\nthe soil, and exclaimed,--\n\n\"Tartlet!\"\n\nIt was the professor of dancing and deportment.", "If T. Artelett had been a Parisian, his compatriots would not have\nfailed to nickname him Tartlet, but as he had already received this", "And Tartlet, in a reverie, as he saw this child of Polynesia so demean\nhimself, inquired if these steps, perhaps a little too characteristic,", "It was Tartlet, who, without looking--for the excellent man kept his\neyes shut--had just fired, and the stock of the musket on his right", "Tartlet, who was watching the different phases of the cooking of the\nsoup. At a mirror, which was held out to him, he betrayed consummate", "\"Don't say such things, Godfrey,\" exclaimed Tartlet. \"No! Don't joke\nabout such things! The mere supposition will kill me! You are laughing\nat me, are you not?\"", "Carefinotu rushed towards Tartlet and lifted him up. Tartlet had escaped\nwith a fright! But what a fright!\n\nIt was six o'clock in the evening.", "As for Tartlet, he was not the sort of man to be humbugged. For his part\nhe would admit nothing, neither the sham shipwreck, nor the sham" ], [ "The island was Spencer Island, which lies in the west-south-west of the\nBay of San Francisco, about 460 miles from the Californian coast, in 32Â°", "Spencer Island. It had cost him a good deal, no doubt, to do so; but he\nhad succeeded in infesting the property of his rival, as the English did", "quite out of the way of all maritime or commercial traffic, although\nSpencer Island was relatively, not very far off, and situated\npractically in American waters. But thereabouts the regular currents", "It is in the centre of this enormous eddy, which has hardly an\nappreciable movement, that Spencer Island is situated. And so it is", "William W. Kolderup at this was quite disconcerted. He knew nothing\nabout it. Spencer Island--it had been known for a long time--never had", "\"The new name is a good one, and we will keep to it,\" answered the\nuncle; \"but for geographers this is Spencer Island, only three days'", "\"Phina Island!\" answered William W. Kolderup. \"You should say Spencer\nIsland! Well, it wasn't very difficult. I bought it six months ago!\"\n\n\"Spencer Island!\"", "Spencer Island fell for four millions of dollars to William W. Kolderup,\nof San Francisco.", "\"But with those terrible creatures,\" said Phina, \"Spencer Island--\"\n\n\"Phina Island--\" interrupted Godfrey.", "safely to land he brought her up and steamed away. Three days later he\ngot back to San Francisco, and he it is who has brought us to Spencer\nIsland on the date we fixed!\"", "matter, however simple. The truth was this: situated as it was, Spencer\nIsland had for a long time been known as a station perfectly useless.\nThere could be no practical result from settling there. In a military", "And Congress had decided not to sell the island under the price. Eleven\nhundred thousand dollars, not a cent less, or Spencer Island would\nremain the property of the Union.", "shortest road, would gain no advantage by crossing it. Hence ships of\nneither class know anything of Spencer Island, which rises above the\nwaters like the isolated summit of one of the submarine mountains of the", "It was the voice of Dean Felporg which broke the spell.\n\n\"For thirteen hundred thousand dollars, Spencer Island!\" declaimed he,\ndrawing himself up so as to better command the circle of bidders.", "\"For twelve--hundred--thousand--dollars--Spencer--Island--com--plete!\"\n\n\"For twelve--hundred--thousand--dollars!\"", "\"That is so? No mistake?\"\n\n\"No withdrawal?\"\n\n\"For twelve hundred thousand dollars, Spencer Island!\"", "had capped the reserve price of Spencer Island, there was an\nirresistible sensation, the chaffing ceased instantly, jokes gave place\nto interjections of admiration, and cheers resounded through the saloon.", "\"Where have you been, then?\"\n\n\"On the island!\"\n\n\"You!\" exclaimed Godfrey.\n\n\"Yes.\"\n\n\"Then the smoke?\"", "15' north latitude, and 145Â° 18' west longitude, reckoning from\nGreenwich. It would be impossible to imagine a more isolated position,", "Still sea--west of him, south of him, north of him! The immense ocean\nsurrounding him on all sides!\n\n\"An island!\"" ], [ "\"Yes, Mr. Kolderup,\" said Carefinotu, to whom we had better return his\nproper name of Jup Brass. \"Yes, a real live crocodile, which went for", "Kolderup was too practical a man not to put to some purpose a journey of\n15,000 or 16,000 leagues across all the oceans of the globe. His ship", "At this very moment when we introduce him to our readers with all the\nconsideration such a many-sided man merits, William W. Kolderup had 2000", "A man extraordinarily rich, who counted dollars by the million as other\nmen do by the thousand; such was William W. Kolderup.", "Kolderup. That excellent man will hardly refuse to send on some\nnecessary cash for us to get back to Montgomery Street, for I have not\ngot a cent with me!\"", "William W. Kolderup had returned to his mansion in Montgomery Street.\nThis thoroughfare is the Regent Street, the Broadway, the Boulevard des", "Phina Hollaney was the goddaughter of William W. Kolderup. An orphan, he\nhad educated her, and given her the right to consider herself his", "A few days afterwards there was celebrated with great pomp the wedding\nof the nephew and pupil of William W. Kolderup. That the young couple\nwere made much of by all the friends of the wealthy merchant can easily\nbe imagined.", "Seng Vou advanced towards William W. Kolderup.", "When William W. Kolderup had read these words he burst into a shout of\nlaughter. He understood all.", "the chief of the Polynesian tribe--one of the servants of the Kolderup\nestablishment, who turned out to be as well as he was.", "As for William W. Kolderup, since he had arrived at a decision, he had\nbecome very uncommunicative, especially to his nephew. The closed lips,", "\"All right,\" replied William W. Kolderup, fixing a curious look on his\nnephew.\n\nThen he muttered between his teeth,--\n\n\"The sooner the better.\"", "William W. Kolderup appeared, seemingly a little preoccupied as usual.\nHere was the merchant who had just finished one negotiation and was\nabout to begin another.", "Yes! The nephew of William W. Kolderup was in this state when his uncle\nwas thinking of binding him in the chains of marriage. To travel in this", "\"You want to go away--you?\" said William W. Kolderup, stepping towards\nthe young man and raising his arms as if he were afraid that this\n\"rascal of a nephew\" would escape him.", "\"And on what raging ocean has Mr. Kolderup decided that his vessel\nshould bear his nephew and me?\"\n\n\"The Pacific, at first.\"", "\"Sham!\" replied William W. Kolderup, who had never seemed in such a good\nhumour before. \"The _Dream_ was quietly sunk by means of her water", "\"We shall not be really at home,\" replied the professor drily, \"until we\nare in Montgomery Street, with your Uncle Kolderup.\"\n\nThere was no disputing this opinion.", "\"Yes! Assuredly!\" replied William W. Kolderup; \"not only will his\ntravels bring out the talents of my nephew, but the talents of the\nprofessor to whom he owes so correct a bearing.\"" ], [ "Before the long voyage together through life, which men call marriage,\nGodfrey then was to make the tour of the world--a journey sometimes even", "Godfrey bore the trial of the ship's motion without even losing his\ngood-humour for a moment. Evidently he was fond of the sea.\n\nBut Tartlet was not fond of the sea, and it served him out.", "\"Yes, the departure of Godfrey,\" continued Phina, \"of Godfrey who,\nbefore he gets married, wants to see a little of the world!\"", "\"Godfrey,\" said he, \"you have always been so fond of islands, that I am\nsure it will please you to hear that this is yours--wholly yours! I make", "Things had reached this pass; for a year or more Godfrey had been\nimmersed in books of voyages of recent date, and had passionately", "Godfrey could not contain himself for joy. Had he expressly ordered the\ntrousseau for the use of shipwrecked folks in difficulties, he could not\nhave made it more complete.", "Godfrey listened. It was only an illusion of his over-excited brain.\nWhen the day came, he had come to look upon the apparition of the ship\nas but a dream, which had commenced about three o'clock on the previous\nafternoon.", "Godfrey's heart beat high.\n\n\"A ship!\" he exclaimed.", "It was a vessel manned by savages which Godfrey saw approaching the\nisland. Built like a Polynesian canoe, she carried a large sail of woven", "When Godfrey had found his fairly acceptable shelter, his sleep in it\nwas by no means undisturbed. His brain travelled as it had never done", "Godfrey was thoroughly happy. This sailing over a beautiful sea, under a\nbeautiful sky, could anything be more cheering, could anything give more", "Godfrey passed a sorrowful night. Every now and then jumping up as if he\nheard a cannon out at sea, he would ask himself if the steamer had not", "Godfrey did not hide from himself that the chances were a thousand to\none that he was lost. He no longer thought of making the tour of the", "As he uttered the word Godfrey felt his heart shrink. The thought had\nnot occurred to him that he was on an island. And yet such was the case!", "\"Take it quietly, Tartlet,\" replied Godfrey. \"A ship was made to float!\nThere are reasons for all this.\"\n\n\"I tell you there are none.\"", "However, Godfrey could not and would not remain in doubt. He was\ndetermined to ascertain, yes or no, if the proa had definitely left the\nisland.", "\"Land! land!\" exclaimed Godfrey.\n\nAnd he stretched his hands towards the shore-line, as he knelt on the\nreef and offered his thanks to Heaven.", "Godfrey was strolling in the morning along that part of the shore which\nformed the beach of the large bight to which he had given the name of", "Or would not rather the semi-visible smoke disappear with the vessel\ntowards the north-west or south-west of the horizon?\n\nFor two hours Godfrey was a prey to alternating emotions more easy to\nindicate than to describe.", "\"What good should I have done?\" asked Godfrey. \"Besides, I thought that\nthe vessel had disappeared! But that boat might belong to her! Let us go\nand see!\"" ], [ "As he uttered the word Godfrey felt his heart shrink. The thought had\nnot occurred to him that he was on an island. And yet such was the case!", "He had, therefore, to satisfy himself with illusions. If Godfrey were\nreally cast on an isolated rock in the Pacific, it was death to him", "But if Godfrey took all these precautions so as to make existence a\nlittle more possible on this lone isle of the Pacific, in case he and", "\"Godfrey,\" said he, \"you have always been so fond of islands, that I am\nsure it will please you to hear that this is yours--wholly yours! I make", "Godfrey knew not what to do. Anyhow his immediate care must be to watch\nif they set foot on the island. He could think of other things\nafterwards.", "\"Where have you been, then?\"\n\n\"On the island!\"\n\n\"You!\" exclaimed Godfrey.\n\n\"Yes.\"\n\n\"Then the smoke?\"", "\"I!\" answered Godfrey. \"I! All my life!\"\n\nPhina stepped forward.\n\n\"Godfrey,\" she asked, \"would you like to remain on your island?\"", "\"What! all of them?\" repeated Godfrey, a little ashamed at having been\ntaken in by these artifices.\n\n\"Yes! Things were going too smoothly in your island, and we had to get\nup a little excitement!\"", "It was a vessel manned by savages which Godfrey saw approaching the\nisland. Built like a Polynesian canoe, she carried a large sail of woven", "of making their life of isolation a little more agreeable, Godfrey was\nalready thinking of how to escape from Phina Island. Could he not now\nconstruct a vessel strong enough to enable them to reach if not some", "\"I beg your pardon, Tartlet,\" replied Godfrey; \"we are savages, and\nnothing else.\"\n\n\"As you please; but you will see that we shall leave the island before\nwe have worn the clothes!\"", "Most certainly Godfrey and he did then find themselves in the same\nposition as the hero of Daniel Defoe when the savages landed on his\nisland. They were to assist, without doubt, at the same scene of\ncannibalism.", "As for Godfrey he had been able to reach a large lofty rock away from\nthe surf. There, shouting vainly in the darkness, hearing no voice in", "Godfrey was alone! He could only count on himself to battle with the\ndangers of every sort which environed him!", "There was nothing astonishing in Godfrey being deep in thought. It\nseemed to him that the island was now under the empire of some occult", "Godfrey called up all his geographical reminiscences, in order to\ndiscover what island of the Pacific this could be. In reasoning it out\nhe came to this conclusion.", "Godfrey then occupied himself in trying to ascertain if the island was\ninhabited in the part which he had not yet been able to visit.", "Godfrey and the black had gone out hunting in the central forest, at the\nfoot of the hill which formed the principal ridge of Phina Island. Since", "Godfrey had never again seen that inexplicable and undiscoverable smoke\non the island; but on this day, about three o'clock in the afternoon,", "The trial was a rough one to begin with, but, we repeat, Godfrey had not\ncome out for a simple promenade. He himself put it very well when he" ], [ "on this occasion he was greatly assisted by Carefinotu. The negro, not\nwithout effort, understood what Godfrey required. He it was who", "Godfrey rushed after him.\n\nWhen he reached the bank, he saw Carefinotu struggling with the tiger,\nholding him by the throat, and at last stabbing him to the heart with a\npowerful blow.", "However, Godfrey and Carefinotu, without troubling themselves about\nTartlet, who could be of no use, were keeping as cool as they could, and", "\"To-morrow,\" said Godfrey, \"I will go out, and Carefinotu will go with\nme.\"\n\n\"Agreed!\" answered Tartlet.", "Godfrey, after rejoining Carefinotu, found that in the struggle the\nblack had only received a few scratches. Then, deeply anxious about the\nfuture, he retook the road to Will Tree.", "It was Carefinotu! Yes, Carefinotu had just pronounced these words, and\nin that English language which up to then he had seemed unable to speak\nor to understand!", "\"Come on! come on!\" exclaimed Godfrey, motioning to Carefinotu to\nquicken the pace.\n\nHe was uneasy. Strange presentiments agitated him without his being able\nto control them.", "\"There has been some one here!\" exclaimed Godfrey. \"Some one not a\nmoment ago! We must find out who!\"\n\nHe shouted. No response! Carefinotu gave a terrible yell. No one\nappeared!", "Godfrey and Carefinotu were almost torn from their resting-places. Had\nTartlet not been lashed to the branch, he would assuredly have been\nhurled to the ground.", "A moment afterwards Carefinotu and he descended to the foot of Will\nTree. Then Godfrey, informing Tartlet of what had passed and what he was\ngoing to do, proposed for him to accompany them to the north coast.", "After going about twenty yards they stopped. Godfrey took breath, and,\nturning towards Carefinotu, interrogated him with a look.", "To jump at Godfrey, seize him in spite of himself, push him into the\ndwelling and slam the door, was done by Carefinotu like a flash of\nlightning.", "But before Godfrey could stop him, Carefinotu had rushed at the place\nwhere the tiger disappeared, his hunting-knife in his hand.", "Godfrey, thinking Carefinotu would not have disturbed him unless he had\nserious reason, took his glasses with him and climbed up the interior\npassage, and passing through the hole, seated himself astride of one of\nthe main branches.", "And he it was who attempted to learn the idiom spoken by Carefinotu.\nGodfrey had warned him that the accomplishment would be of little use.", "Then, while Godfrey selected a place whence he could command the\nopening, Carefinotu went to another spot whence he could deliver a cross\nfire.\n\nAnd they waited.", "Godfrey and Carefinotu were busied in collecting the mollusks, at the\nextreme end of Dream Bay, when they perceived out at sea an innumerable", "\"We must open the door!\" exclaimed Godfrey.\n\nCarefinotu nodded his head. He did not want to know the language to\nunderstand what Godfrey meant.", "Gradually, Godfrey became greatly attached to this negro. There was only\none part of his progress in which Carefinotu showed refractoriness; that", "Godfrey had no thought of pursuing them. What was the good of killing\nthem? They had saved the victim. They had put them to flight, that was" ] ]

[ "Where does Godfrey see Phina after being rescued?", "What does Godfrey want to do before marrying Phina?", "What does Godfrey's uncle send him on?", "Who commands the Dream?", "What is the US Government auctioning off?", "Who won the auction of Spencer Island?", "Whose steamship does Godfrey go in for the sea voyage?", "Who lost the auction to Kolderup?", "How much was Spencer Island bought for?", "What is the name of the Island that is auctioned off?", "Who wins the auction?", "What boat does Captain Turcott captain?", "What is Professor T. Artlett's nickname?", "How much did Kolderup spend to buy the island?", "Which group of people threatened them on the deserted island?", "Who is Godfrey's love interest, who he tours the world with at the end?", "Who loses the auction and vows revenge?", "Off which state's coastline is Spencer island?", "What is the relationship between Godfrey and Professor Artlett?", "How much did Kolderup pay at auction for the island?", "What is Godfrey's relation to Kolderup?", "What is Phina's relationship to Kolderup?", "What did Godfrey ask to do before marrying Phina?", "Who is Tartlet?", "Where is Spencer Island located?", "Where is Kolderup from?", "What is the name of the ship used for Godfrey's world tour?", "Why was Godfrey marooned on an island?", "From whom did Godfrey rescue Carefinotu?" ]

[ [ "San Francisco.", "in San Francisco" ], [ "Go on a world tour.", "Godfrey wants to go on a world tour." ], [ "A sea voyage.", "one of his steamships, the Dream" ], [ "Captain Turcott.", "Captain Turcott" ], [ "Spencer Island.", "Spencer Island" ], [ "William Kolderup.", "Kolderup" ], [ "Kolderup's steamship/", "His uncle Kolderup's steamship." ], [ "Taskinar.", "J. R. Taskinar" ], [ "Four million dollars.", "Four million dollars." ], [ "Spencer Island", "Spencer Island" ], [ "William Kolderup.", "Kolderup" ], [ "The Dream.", "The Dream." ], [ "He is also known as Tartlet", "Tartlet" ], [ "Four million dollars.", "$4 million" ], [ "Polynesians.", "Polynesians." ], [ "Phina.", "Phina" ], [ "J. R. Taskingar", "J.R Taskinar" ], [ "It is 460 miles off of California's coast.", "California" ], [ "Artlett is his mentor, dance teacher, and dance instructor.", "Professor Artlett was Godfrey's mentor, teacher, and dance instructor." ], [ "Four million dollars.", "Four Million Dollars." ], [ "He is his nephew.", "Godfrey is Kolderup's nephew" ], [ "She is his adopted daughter.", "She is his adopted goddaughter." ], [ "Undertake a world tour.", "to go on a world tour" ], [ "Godfrey's mentor, teacher, and dance instructor.", "Godfrey's teacher" ], [ "Off of the California Coast", "460 miles off the California coast" ], [ "San Francisco", "San Francisco " ], [ "The Dream", "the Dream" ], [ "The Dream sank.", "The ship he was on, the Dream, was sinking and he was told to abandon ship, he jumped off and swam ashore" ], [ "The Polynesians", "The Polynesians" ] ]

55ac84541ede6e0f1106b2e4ab01a2bac2f21e39

test

[ [ "Later, we see Travis' taxi speeding down the rain-slicked\navenue. The action is periodically accompanied by Travis'\nnarration. He is reading from a haphazard personal diary.", "A taxi quickly pulls up.\n\nTravis feebly protests to no one in particular:\n\n TRAVIS\n But I got a taxi.", "PERSONNEL OFFICER\n So why do you want to be a taxi\n driver?\n\n TRAVIS\n I can't sleep nights.", "BETSY\n So why did you decide to drive a\n taxi at night?", "MAN IN BUSINESS SUIT\n Taxi! Taxi!\n\nTravis writes up his trip card and drives away.", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off.", "WIZARD\n The taxi life, you mean.\n\n TRAVIS\n Yeah.\n\n WIZARD\n (nods)\n I know.", "NIGHT has fallen: TRAVIS' taxi careens down 10th Ave. He\nspeeds, honks, accelerates quickly. The glare of speeding\nyellow and red lights flash through the night.", "TRAVIS' taxi pulls away.\n\nC.U. TRAVIS at the wheel. A FEMALE VOICE says:\n\n 110.", "TAXI DRIVER\n\n by", "night's activity. Only the taxis seem to rise above the\nsituation: They glide effortlessly through the rain and\ntraffic, picking up whom they choose, going where they please.", "An "Off Duty" taxi pulls up to the curb. Travis gets in.\n\nINSIDE TAXI", ""When it rains, the boss of the city is the taxi driver" -\nso goes the cabbie's maxim, proven true by this particular", "TRAVIS\n Well, Betsy mam, I drive a taxi at\n night.\n\n 28.", "TRAVIS\n Oh, yeah. People will do anything\n in front of a taxi driver. I mean", "He has almost hit a YOUNG GIRL recklessly crossing the\nstreet. She thumps her hand on the taxi hood to regain her\nbalance and stares in shock through the front window. C.U.\nGIRL's face.", "TRAVIS' taxi pulls over, letting out a fare.\n\nTRAVIS pockets his fare, but the rear right door doesn't\nslam -- instead there is the SOUND of another person jumping\ninto the cab.", "TRAVIS\n Yeah, well...\n (a beat)\n In a cab you get to meet people.\n You meet lotsa people. It's good\n for you.", "TRAVIS\n I drive a taxi. You tried to get\n away one night. Remember?\n\n 84.\n\n\n IRIS\n No.", "BETSY\n That taxi driver. The one that's\n been sitting here.\n\n TOM\n How long has he been there?" ], [ "TRAVIS' eyes follow her and she rejoins a GIRLFRIEND. They\nare both dressed as hippie hookers: sloppy clothes, boots,", "thirty seconds. Her gestures are too broad, her voice too\nmannered. We sympathize with Travis' paternal respect.\nThis girl is in trouble.", "Travis rarely smiles, but when he does his whole face glows.\nIt is as if he is able to tap an inner reserve of charm\nunknown even to himself. Betsy is completely disarmed.", "her GIRLFRIEND. She walks over to the taxi, loans in the\nopen left front window and gives TRAVIS the come-on disguised\nas an innocent question:", "BETSY is momentarily taken back, but pleased. TRAVIS'\npresence has a definite sexual charge. He has those star\nqualities BETSY looks for: She senses there is something", "Travis watches the hippie couple closely, his feeling\nsharply divided between cultural contempt and morose jealousy.\nWhy should these people enjoy the love and intimacy that has", "Travis watches intently. The color, however, is slowly\ndraining from Betsy's cheeks. One thought fills her mind:\n"What am I doing here?"", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "A young SALESGIRL sees his plight, walks over and asks if he\nneeds any help. Travis INAUDIBLY says a name to her, although\nthe name is obviously Kris Kristofferson.", "Later, we see Travis' taxi speeding down the rain-slicked\navenue. The action is periodically accompanied by Travis'\nnarration. He is reading from a haphazard personal diary.", "movies he sees, this is respectable. But then there's also\nsomething that Travis could not even acknowledge, much less\nadmit: That he really wants to get this pure white girl into", "TRAVIS is on his best behavior. He smiles slightly:\n\n TRAVIS\n Because you are the most beautiful\n woman I have ever seen.", "TRAVIS BICKLE, age 26, lean, hard, the consummate loner. On\nthe surface he appears good-looking, even handsome; he has a", "TRAVIS\n But... Betsy...\n\n BETSY\n I'm getting a taxi.\n\nShe walks to the curb.", "TRAVIS\n What is your name? My name is Travis.\n\n CONCESSION GIRL\n Awh, come off it, Pal.", "TRAVIS\n (shy)\n Hello.\n\n IRIS\n You looking for some action?\n\n TRAVIS\n Well...I guess so.", "Travis is in C.U. in the middle of the floor doing push-ups.\nHe is bareback, wearing only his jeans. There is a long scar\nacross his left side.", "Travis' cold piercingly eyes Stare out from his cab parked\nacross the street from Palantine Headquarters. He is like a\nlone wolf watching the warm campfires of civilization from a\ndistance. A thin red dot glows from his cigarette.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "CAMERA CLOSES IN on Travis' face: He is watching the woman\nin the seventh floor window with complete and total" ], [ "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "TRAVIS\n (to himself)\n Damn.\n\n BETSY\n What's wrong?", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "Betsy, realizing Travis remembers her precisely, scrambles\nfor a polite rationale for her behavior:", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "IRIS unbuttons her shirt, revealing her small pathetic\nbreasts -- two young doves hiding from a winter wind.\nTRAVIS is unnerved by her partial nudity.", "Travis watches intently. The color, however, is slowly\ndraining from Betsy's cheeks. One thought fills her mind:\n"What am I doing here?"", "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "Betsy is walking down a midtown street when Travis suddenly\nappears before her. He has been waiting.\n\nTravis tries to make conversation but she doesn't listen.\nShe motions for him to go away and keeps on walking.", "Travis makes an awkward gesture to escort Betsy into the\ntheatre. Betsy looks at the tickets, at the theatre, at\nTravis. She mentally shakes her head and walks toward the", "TRAVIS is on his best behavior. He smiles slightly:\n\n TRAVIS\n Because you are the most beautiful\n woman I have ever seen.", "TRAVIS (V.O.)\n But after the first call, she would\n no longer come to the phone.\n\nTravis holds the receiver in his hand. The other party has\nhung up.", "thirty seconds. Her gestures are too broad, her voice too\nmannered. We sympathize with Travis' paternal respect.\nThis girl is in trouble.", "BETSY is momentarily taken back, but pleased. TRAVIS'\npresence has a definite sexual charge. He has those star\nqualities BETSY looks for: She senses there is something", "TRAVIS\n (hesitant)\n Well... mostly...\n\n BETSY\n My God!", "Travis watches the hippie couple closely, his feeling\nsharply divided between cultural contempt and morose jealousy.\nWhy should these people enjoy the love and intimacy that has", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "Travis is flabbergasted by Betsy's blunt language. His arm\nstill gestures toward the marquees, his lips continue to\nmove, but words do not come out.", "Betsy laughs. Travis continues:\n\n 32.", "Travis seems confused. He is so much part of his own world,\nhe fails to comprehend another's world. Compared to the" ], [ "Easy Andy is a later version of the fast-talking, good-\nlooking kid in college who was always making money on one\nscheme or another. In high school he sold lottery tickets,", "DOUGH-BOY\n Hey Travis. This here's Easy Andy.\n He's a travelling salesman.", "ANDY\n That's an expensive gun.\n\n TRAVIS\n I got money.", "ANDY\n This is fine, Dough-Boy\n (to Travis)\n Pay Dough-Boy here.", "In the back seat, beside Travis, sits ANDY, an attractive\nyoung man about 29. He wears a pin-striped suit, white shirt", "ANDY\n You like ball games?\n\n TRAVIS\n Huh?", "ANDY (CONT'D)\n Some of these guns are like toys,\n but a Smith and Wesson, man, you", "ANDY\n Hello Travis.\n\nTravis nods as the taxi speeds off.", "treasure. Andy opens the chambers and cradles the long\neight-inch barrel in his palm. The .44 is a huge, oversize\ninhuman gun.", "Travis hands Andy the bills. Andy counts them and gives\nTravis a twenty and five.", "ANDY\n I can get you front and center.\n What do you like? I can get you\n Mets, Knicks, Rangers? Hell, I can\n get you the Mayor's box.", "ANDY\n Sure.", "ANDY\n (through counting)\n It's he'll out there all right. A", "ANDY\n Dough-Boy probably told you I don't\n carry any Saturday Night Specials\n or crap like that. It's all out of", "Travis follows Andy up the worn carpeted stairs and down the\nhallway. Andy unlocks the door to one of the rooms.", "Andy pulls a gym bag from under his bed. He wraps the gun in\nthe sheet in the bag and zips it up. An identical gym bag\ncan be partially seen under the bed. He hands Travis the bag.", "Andy opens the suitcases: Stacked in grey packing foam are\nrows and rows of brand new hand guns.\n\n TRAVIS\n You got a .44 Magnum?", "current is turned on and the air is filled with the\nelectricity of his personality. Travis' inner intensity sets\nAndy back a bit, but he quickly recovers.", "Andy locks the door behind them, steps over to the closet,\nunlocks it and pulls out two grey Samsonite suitcases - the\nkind you can drive a truck over.", "Andy holds the Magnum out for Travis' inspection. There's a\nworshipful CLOSEUP of the .44 Magnum. It is a monster." ], [ "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "Travis is lost among the hip, young intellectual type that\npopulate the store. He watches the stylish, attractive\nfemale help, unable to come right out and requests what he\ndesires.", "TRAVIS walks over to dairy counter in rear of store, picks\nout a pint of chocolate milk, goes over to the open cooler\nand picks through various chilled prepackaged sandwiches.", "Travis holds the .32 Revolver, hefts it, slips it under his\nbelt and pulls his shirt over it. He turns from side to\nside, to see how it rides in his waist.", "SPORT looks into TRAVIS' eyes, saying nothing: he realizes\nthe seriousness of the situation.\n\nTRAVIS pulls his .38 Special and holds it on SPORT, pushing\nhim even further back against the wall.", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "get up when TRAVIS discharges the mighty .44 at him. BLAAM!\nThe hallway reverberates with shock waves and gun powder.", "TRAVIS waves to STOREKEEPER as he walks past counter:\n\n TRAVIS\n Hey 'Melio.\n\nSpanish rhythm and blues blares from a cheap radio.", "The STICK-UP MAN, surprised, turns toward TRAVIS, finding\nonly an exploding .32. The MAN's lower jaw bursts open with", "TRAVIS hesitates a moment, uncertain what to do. The OLD\nMAN reaches in TRAVIS' jacket and pulls out the .38 Special.", "TRAVIS sees this: his eyes meet the SECRET SERVICE MAN's.\nHe recognizes the situation. To his right he spots the\nSECOND SECRET SERVICE MAN.", "Travis looks around helplessly: A cluster of PEDESTRIANS on\nthe crowded street has stopped to watch the argument. Travis\nlooks back at the woman in the porno theatre box office who\nhas also been following the argument.", "TRAVIS reaches over with his right hand and picks up the\nrevolver of the new dead PRIVATE COP.\n\nTRAVIS hoists himself up and sticks the revolver into the\nOLD MAN's mouth.", "Travis' efforts quickly subside when Tom motions to a nearby\nPOLICEMAN. Travis quiets down and walks off.\n\n CUT TO:\n\nEXT.", "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "When TRAVIS returns to the counter with the chocolate milk\nand a sandwich in one hand, he sees a YOUNG BLACK MAN", "TRAVIS, sitting in his chair in his APARTMENT, watching\nafternoon soap opera. He is cleaning his .38 and eating\nfrom a jar of applesauce. Soap opera audio continues.", "There is the sharp SOUND of a GUNSHOT behind TRAVIS: his\nface grimaces in pain. A bullet has ripped through the left\nside of his neck. Blood flows over his left shoulder.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "Travis' body shudders and shakes, his arm as if each recoil\nfrom the giant gun was a direct attack on his masculinity." ], [ "There is a pause. TRAVIS smiles and shrugs apologetically.\nTRAVIS looks at Iris' cigarette. It's burning down to the\nbutt.\n\n TRAVIS\n Well, I tried.", "TRAVIS is getting increasingly panicked, but IRIS only\nthinks this is part of his particular thing and tries to\novercome it.", "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "TRAVIS\n You can't leave 'em to do the same\n to other girls. You should get rid\n of them.\n\n IRIS\n How?", "TRAVIS turns to catch a glimpse of Sport as he walks off\nwith Iris.\n\nTRAVIS shrugs and turns around.\n\nTRAVIS' taxi pulls away.", "IRIS\n I think so. I tried to get into\n your cab one night, and now you\n want to come and take me away.\n\n TRAVIS\n Don't you want to go?", "IRIS\n You want to make it like this?\n (goes for his fly)\n\n\nTRAVIS pushes her hand away. He sits beside her on the edge\nof the bed.", "IRIS unbuttons her shirt, revealing her small pathetic\nbreasts -- two young doves hiding from a winter wind.\nTRAVIS is unnerved by her partial nudity.", "IRIS\n I can leave anytime I want.\n\n TRAVIS\n But that one night?", "IRIS says nothing. After a moment, TRAVIS again sits on the\nbed beside IRIS. She no longer tries to make him.\n\n 86.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "TRAVIS\n (pause)\n What are you going to do about\n Sport and that old bastard?\n\n IRIS\n Just leave'em. There's plenty of\n other girls.", "TRAVIS\n So long, Iris.\n (a beat)\n Sweet Iris.\n (smiles)\n\n\nTRAVIS exits.", "IRIS\n Sure you don't want to come with me?\n\n TRAVIS\n I can't. Otherwise, I would.", "IRIS screams in b.g. TRAVIS looks up:\n\n IRIS\n Don't kill him, Travis! Don't kill\n him!", "IRIS is helped out of the cab by a MAN TRAVIS cannot see.\n\n SPORT\n (to IRIS)\n Come on, baby, let's go. This is\n all a real drag.", "TRAVIS\n Why you hang around with them\n greasers?\n\n IRIS\n A girl needs protection.", "TRAVIS looks around IRIS' room: although dimly lit, the room\nis brightly decorated. There is an orange shag carpet, deep", "IRIS\n I sure hate to go alone...\n\n TRAVIS\n I'll give you the money to go. I\n don't want you to take any from\n those guys.", "IRIS\n (compassionate)\n I understand, mister. It means\n something, really.\n\n TRAVIS\n (getting up)\n Can I see you again?" ], [ "Travis, protesting, follows.\n\n CUT TO:\n\nINT. BUILDING - DAY\n\nTravis speaks intensely into a wall pay phone.", "TRAVIS begins moving up into the crowd.\n\n PALANTINE (CONTD)\n On to victory in Miami Beach next\n month\n (building applause)\n and on to victory next November!", "TRAVIS (V.O.)\n June 11. Eight rallies in six more\n days. The time is coming.\n\n CUT TO:", "TRAVIS' empty taxi sits parked a few blocks away from rally.\nAt this distance, the rally sounds are almost\nindistinguishable.", "TRAVIS sees this: his eyes meet the SECRET SERVICE MAN's.\nHe recognizes the situation. To his right he spots the\nSECOND SECRET SERVICE MAN.", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "reason to be noticed, Travis is one with his surroundings.\nHe wears rider jeans, cowboy boots, a plaid western shirt\nand a worn beige Army jacket with a patch reading, "King", "SECRET SERVICE MAN'S P.O.V.: TRAVIS, his face intense,\npushes his way through the CROWD.\n\nPALANTINE works his way through crowds and cameras.", "Travis' efforts quickly subside when Tom motions to a nearby\nPOLICEMAN. Travis quiets down and walks off.\n\n CUT TO:\n\nEXT.", "TRAVIS hastily works his way back through the CROWD. He\nhears the SECRET SERVICE MAN's voice call out:\n\n SECRET SERVICE MAN\n Detain that man!", "Travis' cold piercingly eyes Stare out from his cab parked\nacross the street from Palantine Headquarters. He is like a\nlone wolf watching the warm campfires of civilization from a\ndistance. A thin red dot glows from his cigarette.", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "TRAVIS rests a moment, collecting himself. Finally, he says:\n\n TRAVIS\n (slowly)\n Do you understand why I came here?", "We see a FULL FIGURE SHOT of TRAVIS: he is standing alone in\nan opening near the fringes of the CROWD.", "Anyone scanning the crowd would immediately light upon\nTRAVIS and think, "There is an assassin."\n\nTRAVIS pulls the vial of red pills from his pocket and\nswallows a couple.", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "TRAVIS checks to see if his .38 is in place (it is), opens\nthe door and exits from the cab.", "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "TRAVIS stares blankly ahead.\n\n CUT TO:", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off." ], [ "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "TRAVIS slumps to his knees. Down the corridor THE OLD MAN\nwith a bloody stump is struggling toward him. TRAVIS turns\nhis .38 toward THE OLD MAN.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "TRAVIS, sitting in his chair in his APARTMENT, watching\nafternoon soap opera. He is cleaning his .38 and eating\nfrom a jar of applesauce. Soap opera audio continues.", "He passes a ajar door and we are suprised to see the room is\nempty--and trashed. Travis lives in a decaying, if not\ncondemned building.\n\n 99.", "TRAVIS sits in driver's seat, thinking a moment. He looks\nto his right: the crumpled $20 bill still lies there,\nuntouched since it was thrown there six hours previously.", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "Watching Travis enter Palantine's Headquarters, we are\nsurprised to realize that Travis is really quite attractive.\nHis deformities are psychological, not physical. He believes\nhe is cursed, and therefore he is.", "TRAVIS (V.O.)\n But after the first call, she would\n no longer come to the phone.\n\nTravis holds the receiver in his hand. The other party has\nhung up.", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "TRAVIS fires the revolver, blowing the back of THE OLD MAN's\nhead off the silencing his protests.", "There is a pause. TRAVIS smiles and shrugs apologetically.\nTRAVIS looks at Iris' cigarette. It's burning down to the\nbutt.\n\n TRAVIS\n Well, I tried.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "TRAVIS sits behind the wheel, coldly staring at something in\nthe distance. His hair, of course, is still clipped short", "There is the sharp SOUND of a GUNSHOT behind TRAVIS: his\nface grimaces in pain. A bullet has ripped through the left\nside of his neck. Blood flows over his left shoulder.", "TRAVIS\n He'd been shot. I didn't know that.\n He just crawled into the back seat,\n said "West 45th Street" and conked\n out." ], [ "IRIS says nothing. After a moment, TRAVIS again sits on the\nbed beside IRIS. She no longer tries to make him.\n\n 86.", "Sport slowly rubs his crotch into her. Iris smiles. She is\nhappy. The music rises.\n\n CUT TO:", "There is a pause. TRAVIS smiles and shrugs apologetically.\nTRAVIS looks at Iris' cigarette. It's burning down to the\nbutt.\n\n TRAVIS\n Well, I tried.", "IRIS unbuttons her shirt, revealing her small pathetic\nbreasts -- two young doves hiding from a winter wind.\nTRAVIS is unnerved by her partial nudity.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "defense. Without the paraphernalia of adulthood, Iris looks\nlike a little girl she is. About 14, 15.", "IRIS\n (compassionate)\n I understand, mister. It means\n something, really.\n\n TRAVIS\n (getting up)\n Can I see you again?", "IRIS sits on the edge of the bed and removes her hat and\ncoat. She takes off her blue-tinted sunglasses--her last", "TRAVIS\n So long, Iris.\n (a beat)\n Sweet Iris.\n (smiles)\n\n\nTRAVIS exits.", "Both men are bleeding profusely as they thrash into IRIS'\nroom. IRIS hides behind the old red velvet sofa, her face\nfrozen in fright.", "This is where IRIS lives: it bears the individual touch of a\nyoung girl.\n\nIRIS lights a cigarette, takes a single puff and places it\nin an ashtray on the bedstand.", "TRAVIS struggles up and collapses on the red velvet sofa,\nhis blood-soaked body blending with the velvet.\n\nIRIS retreats in fright against the far wall.", "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "Sport slowly grinds his hips to hers. Iris starts to move\nwith him. This is what she really wanted. Her man's\nattention.", "TRAVIS turns to catch a glimpse of Sport as he walks off\nwith Iris.\n\nTRAVIS shrugs and turns around.\n\nTRAVIS' taxi pulls away.", "IRIS\n I think so. I tried to get into\n your cab one night, and now you\n want to come and take me away.\n\n TRAVIS\n Don't you want to go?", "Finally, TRAVIS spies the object of his search: IRIS walks\ndown the sidewalk with her GIRLFRIEND. Iris wears her large\nblue sunglasses.", "IRIS is dressed more sensibly, wearing jeans and a maroon\nsweater. Her face is freshly washed and her hair combed out.", "TRAVIS\n (pause)\n What are you going to do about\n Sport and that old bastard?\n\n IRIS\n Just leave'em. There's plenty of\n other girls.", "There is a brief silence. Iris mind continued to whirl at\n78 rpms. She seems to have three subjects on her mind at a\ntime. She welcomes this opportunity to unburden herself." ], [ "reason to be noticed, Travis is one with his surroundings.\nHe wears rider jeans, cowboy boots, a plaid western shirt\nand a worn beige Army jacket with a patch reading, "King", "Travis is in C.U. in the middle of the floor doing push-ups.\nHe is bareback, wearing only his jeans. There is a long scar\nacross his left side.", "TRAVIS\n (looking up)\n Huh?\n\n ANDY\n Vietnam? I saw it on your jacket.\n Where were you? Bet you got to\n handle a lot of weapons out there.", "TRAVIS\n I was in the Army too.\n (beat)\n And I'm good with crowds.", "TRAVIS\n I kinda thought I might make a good\n one. I'm very observant.\n\n SECRET SERVICE MAN\n Oh?", "TRAVIS sees this: his eyes meet the SECRET SERVICE MAN's.\nHe recognizes the situation. To his right he spots the\nSECOND SECRET SERVICE MAN.", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "TRAVIS, trapped under the heavy OLD MAN, reaches down with\nhis right hand and pulls the combat knife from his right calf.", "Seen from a distance - the only way Travis can see them -\nthose are America's chosen youth: Healthy, energetic, well-\ngroomed, attractive, all recruited from the bucolic fields\nof Massachusetts and Connecticut.", "TRAVIS\n You would, huh?\n\n SECRET SERVICE MAN\n (taking out notepad)\n Sure.", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "The PERSONNEL OFFICER is beat and exhausted: he arrives at\nwork exhausted. TRAVIS is something else again. His intense\nsteely gaze is enough to jar even the PERSONNEL OFFICER out\nof his workaday boredom.", "Travis' body shudders and shakes, his arm as if each recoil\nfrom the giant gun was a direct attack on his masculinity.", "There is the sharp SOUND of a GUNSHOT behind TRAVIS: his\nface grimaces in pain. A bullet has ripped through the left\nside of his neck. Blood flows over his left shoulder.", "TRAVIS\n (hesitant)\n Well... mostly...\n\n BETSY\n My God!", "and he wears mirror-reflecting sunglasses. Even though a\ndrop of sweat is working its way down his cheek, TRAVIS\nwears his Army jacket with the bulge on the left side -- the", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "Unable to respond to Betsy's question, Travis picks up where\nhe left off:", "Travis, protesting, follows.\n\n CUT TO:\n\nINT. BUILDING - DAY\n\nTravis speaks intensely into a wall pay phone.", "TRAVIS\n Are you a Secret Service Man?\n\n SECRET SERVICE MAN\n (indifferently)\n Why do you ask?" ], [ "TRAVIS (V.O.)\n Twelve hours of work and I still\n cannot sleep. The days dwindle on\n forever and do not end.\n\n FADE TO:", "Travis is now drifting in and out of the New York City night\nlife, a dark shadow among darker shadows. Not noticed, no", "TRAVIS (V.O.)\n I'm working a single now, which\n means stretch-shifts, six to six,\n sometimes six to eight in the a.m.,\n six days a week.", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "Sometimes after 2:00 a.m., TRAVIS pulls his cab to the curb\nnear an all-night delicatessen in Spanish Harlem. The\nstreets are relatively deserted.", "TRAVIS\n I work a single, which means\n there's no replacement - no second\n man on the cab. Six to six,\n sometimes eight. Seventy-two hours\n a week.", "that. But I didn't have anything to\n do at night. I got kinda lonely,\n you know, just wandering around. So\n I decided to works nights. It ain't", "TRAVIS (V.O.)\n My body fights me always. It won't\n work, it won't sleep, it won't\n shit, it won't eat.", "As the CAMERA examines Travis' face more closely, one can\nsee the hollowness wrought by lack of sleep and sufficient\ndiet.", "TRAVIS, still carrying his pint of chocolate milk and\nsandwich, walks down the empty sidewalk and enters his cab.\nThe street is deserted.\n\n CUT TO:", "PERSONNEL OFFICER\n So why do you want to be a taxi\n driver?\n\n TRAVIS\n I can't sleep nights.", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off.", "Later, we see Travis' taxi speeding down the rain-slicked\navenue. The action is periodically accompanied by Travis'\nnarration. He is reading from a haphazard personal diary.", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "The PERSONNEL OFFICER is beat and exhausted: he arrives at\nwork exhausted. TRAVIS is something else again. His intense\nsteely gaze is enough to jar even the PERSONNEL OFFICER out\nof his workaday boredom.", "It is LATER THAT NIGHT. The rain has turned to drizzle.\nTravis drives trough another section of Manhattan.", "Travis is like a light switch: For long periods he goes\nalong dark and silent, saying nothing; then suddenly, the", "Travis, protesting, follows.\n\n CUT TO:\n\nINT. BUILDING - DAY\n\nTravis speaks intensely into a wall pay phone.", "He passes a ajar door and we are suprised to see the room is\nempty--and trashed. Travis lives in a decaying, if not\ncondemned building.\n\n 99.", "One can now see the full effect of TRAVIS' lack of sleep and\nsufficient diet -- he looks sick and frail." ], [ "TRAVIS\n Oh, I think he's a wonderful man.\n Make a great, great President.\n\n BETSY\n You want to canvass?", "BETSY\n Well, that's not exactly what the\n Senator has proposed. You might not\n want to canvass, but there is\n plenty more other work we need\n done: Office work, filing, poster\n hanging.", "TRAVIS\n (his mind elsewhere)\n Who mam?\n\n BETSY\n Charles Palantine. The man you want\n to volunteer to help elect president.", "TRAVIS\n (to Betsy)\n No. I want to volunteer to you.\n\n TOM\n (under his voice)\n Bets.", "BETSY\n Yes. It won't be long now.\n Seventeen days.\n\n TRAVIS\n Well, I hope he wins.\n\nThere is another pause.", "Betsy does a subtle double-take: This isn't exactly\nPalantine's position on welfare. She remain intrigued by\nTravis.", "Betsy, putting down the phone, calls TOM, a lanky, amiable\nand modishly long-haired campaign workder over to her desk:\n\n BETSY\n Tom.", "BETSY\n (as if instructing a child)\n First push the man, then the issue.\n Senator Palantine is first of all a\n dynamic man, an intelligent,\n interesting, fascinating man.", "BETSY is momentarily taken back, but pleased. TRAVIS'\npresence has a definite sexual charge. He has those star\nqualities BETSY looks for: She senses there is something", "BETSY\n (smiling)\n Is that so?\n (pause)\n But what do you think of Charles\n Palantine?", "Travis checks the mirror. Scanning across the back seat, he\nrecognizes the middle passenger. It is CHARLES PALANTINE,\ncandidate for President. He must have left the Hotel\nshortly after BETSY.", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "TRAVIS\n (at Betsy's desk)\n I want to volunteer.", "BETSY\n (smiles)\n All right.\n (relents)", "BETSY excuses herself and walks across the platform with TOM.\nAs they stand to the rear of the platform, TOM secretively\nmakes a gesture with his eyes and says out of the side of\nhis mouth:", "TRAVIS\n Hello, Betsy.\n\nThere is an uneasy pause.\n\n TRAVIS\n I see where Palantine got the\n nomination.", "BETSY\n Yes?\n\n TRAVIS\n My name is Travis.\n\n BETSY\n Thank you, Travis.", "TRAVIS (V.O.; CONT'D)\n Her name is Betsy, but I can tell\n you no more than that.\n (interrupted)", "After a moment he walks over to the steps where BETSY is\nstanding.\n\n TOM\n Betsy, come over here a moment.", "BETSY\n All right, I'll accept the record.\n\nBetsy accepts the record, but quickly turns and hails a taxi.\n\n BETSY\n Taxi!" ], [ "TRAVIS\n (to himself)\n Damn.\n\n BETSY\n What's wrong?", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "Travis watches intently. The color, however, is slowly\ndraining from Betsy's cheeks. One thought fills her mind:\n"What am I doing here?"", "BETSY is momentarily taken back, but pleased. TRAVIS'\npresence has a definite sexual charge. He has those star\nqualities BETSY looks for: She senses there is something", "Travis makes an awkward gesture to escort Betsy into the\ntheatre. Betsy looks at the tickets, at the theatre, at\nTravis. She mentally shakes her head and walks toward the", "Betsy, realizing Travis remembers her precisely, scrambles\nfor a polite rationale for her behavior:", "TRAVIS\n (hesitant)\n Well... mostly...\n\n BETSY\n My God!", "Betsy is walking down a midtown street when Travis suddenly\nappears before her. He has been waiting.\n\nTravis tries to make conversation but she doesn't listen.\nShe motions for him to go away and keeps on walking.", "Betsy laughs. Travis continues:\n\n 32.", "Travis is flabbergasted by Betsy's blunt language. His arm\nstill gestures toward the marquees, his lips continue to\nmove, but words do not come out.", "TRAVIS\n But... Betsy...\n\n BETSY\n I'm getting a taxi.\n\nShe walks to the curb.", "BETSY\n (laughing)\n Travis, I never ever met anybody\n like you before.\n\n TRAVIS\n I can believe that.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "Betsy looks at Travis, trying to understand him:\n\n BETSY\n These are not the kind of movies I\n go to.", "INT. COFFEE SHOP\n\nTravis and Betsy are sitting in a booth of a small New York\nCoffee Shop. They both have been served coffee; Travis is\nnervously turning his cup around in his hands.", "Betsy is interviewing Travis, but she is also teasing him a\nlittle, leading him on in a gentle feminine way:", "TRAVIS\n (protesting)\n No, no, please. This fare's on me.\n Please.\n\n BETSY\n Thank you, Travis.", "Unable to respond to Betsy's question, Travis picks up where\nhe left off:", "Betsy's conversation interrupts Travis' V.O.:\n\n 30.", "Travis steps over to the window and buys two $5 tickets.\nBetsy, befuddled, watches him. She doesn't know what to say.\nTravis returns with the tickets." ], [ "Travis, protesting, follows.\n\n CUT TO:\n\nINT. BUILDING - DAY\n\nTravis speaks intensely into a wall pay phone.", "Travis' cold piercingly eyes Stare out from his cab parked\nacross the street from Palantine Headquarters. He is like a\nlone wolf watching the warm campfires of civilization from a\ndistance. A thin red dot glows from his cigarette.", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "The PERSONNEL OFFICER is beat and exhausted: he arrives at\nwork exhausted. TRAVIS is something else again. His intense\nsteely gaze is enough to jar even the PERSONNEL OFFICER out\nof his workaday boredom.", "Watching Travis enter Palantine's Headquarters, we are\nsurprised to realize that Travis is really quite attractive.\nHis deformities are psychological, not physical. He believes\nhe is cursed, and therefore he is.", "Travis is in C.U. in the middle of the floor doing push-ups.\nHe is bareback, wearing only his jeans. There is a long scar\nacross his left side.", "Travis' efforts quickly subside when Tom motions to a nearby\nPOLICEMAN. Travis quiets down and walks off.\n\n CUT TO:\n\nEXT.", "Travis kicks and protests as Tom leads him to the front door.\n\nON THE SIDEWALK", "TRAVIS turns to catch a glimpse of Sport as he walks off\nwith Iris.\n\nTRAVIS shrugs and turns around.\n\nTRAVIS' taxi pulls away.", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off.", "Travis walks briskly into the office, and heads toward\nBetsy's desk. Tom walks over to greet him, but Travis\nignores him.", "Palantine is not a Hubert Humphrey-type professional\nbullshitter, and Travis' intense reply stops him dead in his\ntracks. He is forced to fall back on a stock answer but\ntries to give it some meaning.", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "Travis appears at the door. He has to push aside the JUNKIES\nto enter without making physical contact - something Travis\nwould not relish. He may be repulsed with these people and", "TRAVIS hastily works his way back through the CROWD. He\nhears the SECRET SERVICE MAN's voice call out:\n\n SECRET SERVICE MAN\n Detain that man!", "Travis is watching early evening NEWS PROGRAM. TV background\nSOUND. Charles Palantine is being interviewed somewhere on\nthe campaign trail.", "TRAVIS begins moving up into the crowd.\n\n PALANTINE (CONTD)\n On to victory in Miami Beach next\n month\n (building applause)\n and on to victory next November!" ], [ "ANDY\n That's an expensive gun.\n\n TRAVIS\n I got money.", "Travis hands Andy the bills. Andy counts them and gives\nTravis a twenty and five.", "DOUGH-BOY\n Hey Travis. This here's Easy Andy.\n He's a travelling salesman.", "Andy pulls a gym bag from under his bed. He wraps the gun in\nthe sheet in the bag and zips it up. An identical gym bag\ncan be partially seen under the bed. He hands Travis the bag.", "ANDY\n Hello Travis.\n\nTravis nods as the taxi speeds off.", "Andy opens the suitcases: Stacked in grey packing foam are\nrows and rows of brand new hand guns.\n\n TRAVIS\n You got a .44 Magnum?", "ANDY\n This is fine, Dough-Boy\n (to Travis)\n Pay Dough-Boy here.", "Easy Andy is a later version of the fast-talking, good-\nlooking kid in college who was always making money on one\nscheme or another. In high school he sold lottery tickets,", "In the back seat, beside Travis, sits ANDY, an attractive\nyoung man about 29. He wears a pin-striped suit, white shirt", "Travis follows Andy up the worn carpeted stairs and down the\nhallway. Andy unlocks the door to one of the rooms.", "TRAVIS\n Nah. I ain't interested.\n\nAndy closes and locks the suitcases.\n\n ANDY\n Okay, okay.", "Travis turns to leave.\n\n 56.\n\n\n ANDY\n Wait a second, Travis. I'll walk\n you out.", "TRAVIS\n (looking up)\n Huh?\n\n ANDY\n Vietnam? I saw it on your jacket.\n Where were you? Bet you got to\n handle a lot of weapons out there.", "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "Andy holds the Magnum out for Travis' inspection. There's a\nworshipful CLOSEUP of the .44 Magnum. It is a monster.", "ANDY\n You like ball games?\n\n TRAVIS\n Huh?", "Travis holds the .32 Revolver, hefts it, slips it under his\nbelt and pulls his shirt over it. He turns from side to\nside, to see how it rides in his waist.", "Travis pulls out a roll of crisp one hundred dollar bills\nand counts off eight.\n\n ANDY\n You in Nam? Can't help but notice\n your jacket?", "Travis pulls a twenty out of his pocket and gives it to\nDough-Boy.\n\n TRAVIS\n 20 bucks?", "TRAVIS\n That's fine.\n\n CONCESSION GIRL\n That's a dollar forty-seven.\n\nTravis lays two dollar bills on the counter." ], [ "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "Later, we see Travis' taxi speeding down the rain-slicked\navenue. The action is periodically accompanied by Travis'\nnarration. He is reading from a haphazard personal diary.", "Travis seems confused. He is so much part of his own world,\nhe fails to comprehend another's world. Compared to the", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "Watching Travis enter Palantine's Headquarters, we are\nsurprised to realize that Travis is really quite attractive.\nHis deformities are psychological, not physical. He believes\nhe is cursed, and therefore he is.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "TRAVIS, sitting in his chair in his APARTMENT, watching\nafternoon soap opera. He is cleaning his .38 and eating\nfrom a jar of applesauce. Soap opera audio continues.", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "Travis, protesting, follows.\n\n CUT TO:\n\nINT. BUILDING - DAY\n\nTravis speaks intensely into a wall pay phone.", "Travis rests his elbow on the counter, looking at the Girl.\nHe is obviously trying to be friendly - no easy task for him.\nGod knows he needs a friend.", "key. It is the same look that crossed his face in the\nHarlem Deli. We are reminded with a jolt that the killer\nlies just beneath TRAVIS' surface.", "Travis is like a light switch: For long periods he goes\nalong dark and silent, saying nothing; then suddenly, the", "TRAVIS\n (releasing pent-up tension)\n At least I don't walk the streets\n like a skunk pussy. I don't screw\n and fuck with killers and junkies.", "Travis watches the hippie couple closely, his feeling\nsharply divided between cultural contempt and morose jealousy.\nWhy should these people enjoy the love and intimacy that has", "Travis watches intently. The color, however, is slowly\ndraining from Betsy's cheeks. One thought fills her mind:\n"What am I doing here?"", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "TRAVIS\n Sometimes it gets so I just don't\n know what I'm gonna do. I get some\n real crazy ideas, you know? Just\n go out and do somethin.", "Travis' cold piercingly eyes Stare out from his cab parked\nacross the street from Palantine Headquarters. He is like a\nlone wolf watching the warm campfires of civilization from a\ndistance. A thin red dot glows from his cigarette.", "He passes a ajar door and we are suprised to see the room is\nempty--and trashed. Travis lives in a decaying, if not\ncondemned building.\n\n 99." ], [ "As the STICK-UP MAN falls, 'MELIO leans over the counter,\nwielding his battered .38. He is about to fire when he\nrealizes the MAN is already dead.", "The STICK-UP MAN, surprised, turns toward TRAVIS, finding\nonly an exploding .32. The MAN's lower jaw bursts open with", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "The PRIVATE COP raises his gun and shoots TRAVIS. TRAVIS,\nblood gushing from his right shoulder, sinks to the floor.", "TRAVIS\n I shot the meter off, for one thing.\n I knew I wasn't goimg to get paid.\n Then I dropped him off at the cop\n shop. They took him.", "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "Travis' efforts quickly subside when Tom motions to a nearby\nPOLICEMAN. Travis quiets down and walks off.\n\n CUT TO:\n\nEXT.", "TRAVIS fires the revolver, blowing the back of THE OLD MAN's\nhead off the silencing his protests.", "SPORT looks into TRAVIS' eyes, saying nothing: he realizes\nthe seriousness of the situation.\n\nTRAVIS pulls his .38 Special and holds it on SPORT, pushing\nhim even further back against the wall.", "blood as he reels and crashes to the floor. There is no\nemotion on TRAVIS' face.", "Both men are bleeding profusely as they thrash into IRIS'\nroom. IRIS hides behind the old red velvet sofa, her face\nfrozen in fright.", "THE OLD MAN grows closer. TRAVIS smashes his right arm\nagainst the wall, miraculously, the small Colt .25 glides\ndown his forearm into his palm.", "get up when TRAVIS discharges the mighty .44 at him. BLAAM!\nThe hallway reverberates with shock waves and gun powder.", "TRAVIS exits. 'MELIO picks up the phone and starts dialing.\nThe bloody BODY lies on the floor unmoving.", "Andy pulls a gym bag from under his bed. He wraps the gun in\nthe sheet in the bag and zips it up. An identical gym bag\ncan be partially seen under the bed. He hands Travis the bag.", "A SHORT WHILE LATER, TRAVIS is walking down the sidewalk\nnear the taxi garage. His hands are in his jacket pockets,\nobscuring the slight bulge on his left side.", "He hooks the .44 into his pants behind his back and practices\nwithdrawing it. He holds the .44 firmly at an arm's length,\ntightening his forearm muscles.", "Travis holds the .32 Revolver, hefts it, slips it under his\nbelt and pulls his shirt over it. He turns from side to\nside, to see how it rides in his waist.", "DOUGH-BOY\n Stick up?\n\n 21.\n\n\n TRAVIS\n No, just some crazy fucker. Cut\n have his ear off." ], [ "TRAVIS turns to catch a glimpse of Sport as he walks off\nwith Iris.\n\nTRAVIS shrugs and turns around.\n\nTRAVIS' taxi pulls away.", "IRIS is helped out of the cab by a MAN TRAVIS cannot see.\n\n SPORT\n (to IRIS)\n Come on, baby, let's go. This is\n all a real drag.", "TRAVIS\n (pause)\n What are you going to do about\n Sport and that old bastard?\n\n IRIS\n Just leave'em. There's plenty of\n other girls.", "TRAVIS\n (thinks)\n Well, Iris, I look at it this way.\n A lot of girls come into my cab,", "Travis' eyes follow Iris' nod until they reach Sport,\nstanding in a doorway in his lime green jacket. Travis\nwalks toward him.", "TRAVIS\n You tried to run away in my taxi\n but your friend -- Sport -- wouldn't\n let you.\n\n IRIS\n I don't remember.", "Sport slowly rubs his crotch into her. Iris smiles. She is\nhappy. The music rises.\n\n CUT TO:", "TRAVIS' taxi pulls away.\n\nC.U. TRAVIS at the wheel. A FEMALE VOICE says:\n\n 110.", "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "Sport leans partially in the front window, throwing something\non the front seat. TRAVIS looks: it is a crumpled $20 bill.", "IRIS\n I think so. I tried to get into\n your cab one night, and now you\n want to come and take me away.\n\n TRAVIS\n Don't you want to go?", "A taxi quickly pulls up.\n\nTravis feebly protests to no one in particular:\n\n TRAVIS\n But I got a taxi.", "TRAVIS\n You name Sport?\n\nSport immediately takes Travis for an undercover cop. He\nextends his crosses wrists as if to be handcuffed.", "TRAVIS\n I drive a taxi. You tried to get\n away one night. Remember?\n\n 84.\n\n\n IRIS\n No.", "Sport slowly grinds his hips to hers. Iris starts to move\nwith him. This is what she really wanted. Her man's\nattention.", "SPORT\n What's going on?\n\n TRAVIS\n I'm here to see Iris.\n\n SPORT\n Iris?", "her GIRLFRIEND. She walks over to the taxi, loans in the\nopen left front window and gives TRAVIS the come-on disguised\nas an innocent question:", "TRAVIS\n But... Betsy...\n\n BETSY\n I'm getting a taxi.\n\nShe walks to the curb.", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off.", "TRAVIS\n I can't say -- it's top secret.\n I'm doing something for the Army.\n The cab thing is just part time.\n\n IRIS\n You a narc?" ], [ "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "TRAVIS looks helplessly up at the OFFICER. He forms his\nbloody hand into a pistol, raises it to his forehead and,\nhis voice croaking in pain, makes the sound of a pistol\ndischarging.", "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "Travis' body shudders and shakes, his arm as if each recoil\nfrom the giant gun was a direct attack on his masculinity.", "There is the sharp SOUND of a GUNSHOT behind TRAVIS: his\nface grimaces in pain. A bullet has ripped through the left\nside of his neck. Blood flows over his left shoulder.", "There is a pause. TRAVIS smiles and shrugs apologetically.\nTRAVIS looks at Iris' cigarette. It's burning down to the\nbutt.\n\n TRAVIS\n Well, I tried.", "He passes a ajar door and we are suprised to see the room is\nempty--and trashed. Travis lives in a decaying, if not\ncondemned building.\n\n 99.", "TRAVIS (V.O.)\n But after the first call, she would\n no longer come to the phone.\n\nTravis holds the receiver in his hand. The other party has\nhung up.", "TRAVIS\n He'd been shot. I didn't know that.\n He just crawled into the back seat,\n said "West 45th Street" and conked\n out.", "Travis seems confused. He is so much part of his own world,\nhe fails to comprehend another's world. Compared to the", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "reason to be noticed, Travis is one with his surroundings.\nHe wears rider jeans, cowboy boots, a plaid western shirt\nand a worn beige Army jacket with a patch reading, "King", "TRAVIS slumps to his knees. Down the corridor THE OLD MAN\nwith a bloody stump is struggling toward him. TRAVIS turns\nhis .38 toward THE OLD MAN.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "TRAVIS sits behind the wheel, coldly staring at something in\nthe distance. His hair, of course, is still clipped short", "Watching Travis enter Palantine's Headquarters, we are\nsurprised to realize that Travis is really quite attractive.\nHis deformities are psychological, not physical. He believes\nhe is cursed, and therefore he is.", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "TRAVIS\n (to himself)\n Damn.\n\n BETSY\n What's wrong?", "TRAVIS, trapped under the heavy OLD MAN, reaches down with\nhis right hand and pulls the combat knife from his right calf." ], [ "TRAVIS BICKLE, age 26, lean, hard, the consummate loner. On\nthe surface he appears good-looking, even handsome; he has a", "The young man is TRAVIS BICKLE. He wears his jeans, boots\nand Army jacket. He takes a drag off his unfiltered cigarette.", "Later, we see Travis' taxi speeding down the rain-slicked\navenue. The action is periodically accompanied by Travis'\nnarration. He is reading from a haphazard personal diary.", "After examining various strata of Manhattan nightlife,\nCAMERA begins to CLOSE IN on one particular taxi, and it is\nassumed that this taxi is being driven by TRAVIS BICKLE.\n\nEND CREDITS", "CAMERA CLOSES IN on TRAVIS BICKLE standing in the CROWD: he\nhas shaved his head to a short stubble. There he is: brush-", "Travis' cold piercingly eyes Stare out from his cab parked\nacross the street from Palantine Headquarters. He is like a\nlone wolf watching the warm campfires of civilization from a\ndistance. A thin red dot glows from his cigarette.", "Travis' cab is parked near a neighborhood Bickford's.\n\n CUT TO:", "EXT. TRAVIS' TAXI speed down darkened street.\n\nTravis lets off a fare and pulls into line at the Plaza.\n\n 37.", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off.", "Travis' thoughts are with Betsy, as THREE MEN enter Travis'\ncab. He activates the meter and pulls off.\n\n MAN'S VOICE\n St. Regis Hotel.", "Travis is now drifting in and out of the New York City night\nlife, a dark shadow among darker shadows. Not noticed, no", "sun, Travis Bickle moves toward violence.", "C.U. TRAVIS: His face is expressionless. The MAN makes\nhimself comfortable in the back seat.\n\n PROFESSIONAL PASSENGER\n Jackson Heights.", "It is LATER THAT NIGHT. The rain has turned to drizzle.\nTravis drives trough another section of Manhattan.", "WIZARD\n The taxi life, you mean.\n\n TRAVIS\n Yeah.\n\n WIZARD\n (nods)\n I know.", "We see the city as Travis sees it. The front windshield is a\nlittle dirty, the lighted meter just up at the low right\nscreen. The intercom crackles with STATIC and MESSAGES.", "Travis has no intention of driving out to Jackson Heights\nand coming back with a fare.\n\n 48.\n\n\n TRAVIS\n I'm off duty.", "TRAVIS\n He'd been shot. I didn't know that.\n He just crawled into the back seat,\n said "West 45th Street" and conked\n out.", "CUT TO:\n\nNIGHT on the LOWER EAST SIDE. TRAVIS sits parked in the\ndark shadows of a side street. The lone wolf waits.", "NIGHT has fallen: TRAVIS' taxi careens down 10th Ave. He\nspeeds, honks, accelerates quickly. The glare of speeding\nyellow and red lights flash through the night." ], [ "BETSY is momentarily taken back, but pleased. TRAVIS'\npresence has a definite sexual charge. He has those star\nqualities BETSY looks for: She senses there is something", "TRAVIS is on his best behavior. He smiles slightly:\n\n TRAVIS\n Because you are the most beautiful\n woman I have ever seen.", "TRAVIS' eyes follow her and she rejoins a GIRLFRIEND. They\nare both dressed as hippie hookers: sloppy clothes, boots,", "A young SALESGIRL sees his plight, walks over and asks if he\nneeds any help. Travis INAUDIBLY says a name to her, although\nthe name is obviously Kris Kristofferson.", "Travis rarely smiles, but when he does his whole face glows.\nIt is as if he is able to tap an inner reserve of charm\nunknown even to himself. Betsy is completely disarmed.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "Travis rests his elbow on the counter, looking at the Girl.\nHe is obviously trying to be friendly - no easy task for him.\nGod knows he needs a friend.", "her GIRLFRIEND. She walks over to the taxi, loans in the\nopen left front window and gives TRAVIS the come-on disguised\nas an innocent question:", "TRAVIS\n What is your name? My name is Travis.\n\n CONCESSION GIRL\n Awh, come off it, Pal.", "Travis watches intently. The color, however, is slowly\ndraining from Betsy's cheeks. One thought fills her mind:\n"What am I doing here?"", "Travis is lost among the hip, young intellectual type that\npopulate the store. He watches the stylish, attractive\nfemale help, unable to come right out and requests what he\ndesires.", "TRAVIS\n (shy)\n Hello.\n\n IRIS\n You looking for some action?\n\n TRAVIS\n Well...I guess so.", "TRAVIS\n Why you hang around with them\n greasers?\n\n IRIS\n A girl needs protection.", "TRAVIS\n (to himself)\n Damn.\n\n BETSY\n What's wrong?", "CAMERA CLOSES IN on Travis' face: He is watching the woman\nin the seventh floor window with complete and total", "movies he sees, this is respectable. But then there's also\nsomething that Travis could not even acknowledge, much less\nadmit: That he really wants to get this pure white girl into", "TRAVIS (V.O.; CONT'D)\n Her name is Betsy, but I can tell\n you no more than that.\n (interrupted)", "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "TRAVIS\n (thinks)\n Well, Iris, I look at it this way.\n A lot of girls come into my cab," ], [ "Travis holds the .32 Revolver, hefts it, slips it under his\nbelt and pulls his shirt over it. He turns from side to\nside, to see how it rides in his waist.", "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "TRAVIS checks to see if his .38 is in place (it is), opens\nthe door and exits from the cab.", "TRAVIS unbuttons the middle two buttons of his jacket,\nopening access to his holster. With the other hand he\nchecks the .44 hooked behind his back.", "ANDY\n That's an expensive gun.\n\n TRAVIS\n I got money.", "In the SHOTS that follow TRAVIS gives the audience a lesson\nin gunmanship:\n\nTRAVIS practices fast-drawing the .38 Special from his\nholster and firing it.", "TRAVIS lies on his mattress, all bundled up in his shirts,\nsweater, jacket and guns. His face is turned toward the", "Travis stands rock solid, firing the .44 Magnum at an arm's\nlength. With each blasting discharge from the Magnum,", "TRAVIS reaches over with his right hand and picks up the\nrevolver of the new dead PRIVATE COP.\n\nTRAVIS hoists himself up and sticks the revolver into the\nOLD MAN's mouth.", "Andy opens the suitcases: Stacked in grey packing foam are\nrows and rows of brand new hand guns.\n\n TRAVIS\n You got a .44 Magnum?", "Travis fires the Magnum as quickly as he can re-set, re-aim\nand re-fire. The Magnum is empty, he sets it down, picks up", "TRAVIS hesitates a moment, uncertain what to do. The OLD\nMAN reaches in TRAVIS' jacket and pulls out the .38 Special.", "TRAVIS opens his jacket partially, checking underneath.\nThere rests the nickel-plated .38 Special in its holster.\n\n 58.", "Travis hefts the huge gun. It seems out of place in his hand.\nIt is built on Michelangelo's scale. The Magnum belongs in", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "THE OLD MAN grows closer. TRAVIS smashes his right arm\nagainst the wall, miraculously, the small Colt .25 glides\ndown his forearm into his palm.", "Andy pulls a gym bag from under his bed. He wraps the gun in\nthe sheet in the bag and zips it up. An identical gym bag\ncan be partially seen under the bed. He hands Travis the bag.", "Travis hefts the nickel-plated .38, points it out the window.", "TRAVIS fires the revolver, blowing the back of THE OLD MAN's\nhead off the silencing his protests.", "As he walks up the stairs, TRAVIS pulls the .44 Magnum from\nbehind his back and transfers the .38 Special to his left\nhand. He walks up the steps, a pistol dangling from each\nhand." ], [ "Palantine is not a Hubert Humphrey-type professional\nbullshitter, and Travis' intense reply stops him dead in his\ntracks. He is forced to fall back on a stock answer but\ntries to give it some meaning.", "Watching Travis enter Palantine's Headquarters, we are\nsurprised to realize that Travis is really quite attractive.\nHis deformities are psychological, not physical. He believes\nhe is cursed, and therefore he is.", "Travis' cold piercingly eyes Stare out from his cab parked\nacross the street from Palantine Headquarters. He is like a\nlone wolf watching the warm campfires of civilization from a\ndistance. A thin red dot glows from his cigarette.", "Travis checks the mirror. Scanning across the back seat, he\nrecognizes the middle passenger. It is CHARLES PALANTINE,\ncandidate for President. He must have left the Hotel\nshortly after BETSY.", "TRAVIS slumps to his knees. Down the corridor THE OLD MAN\nwith a bloody stump is struggling toward him. TRAVIS turns\nhis .38 toward THE OLD MAN.", "TOM\n (joking)\n And in some other places too...\n\nPalantine, his Assistant and Tom all laugh. Palantine,\nquickly reassuming candiorial mien, speaks to Travis:", "TRAVIS\n Hello, Betsy.\n\nThere is an uneasy pause.\n\n TRAVIS\n I see where Palantine got the\n nomination.", "TRAVIS fires the revolver, blowing the back of THE OLD MAN's\nhead off the silencing his protests.", "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "TRAVIS begins moving up into the crowd.\n\n PALANTINE (CONTD)\n On to victory in Miami Beach next\n month\n (building applause)\n and on to victory next November!", "PALANTINE looks in front window of cab momentarily and nods\ngoodbye to TRAVIS.\n\n PALANTINE\n Nice talking to you, Travis.", "TRAVIS\n (interrupting)\n Say, aren't you Charles Palantine,\n the candidate?", "Betsy does a subtle double-take: This isn't exactly\nPalantine's position on welfare. She remain intrigued by\nTravis.", "TRAVIS' eyes meet PALANTINE's: candidate and would-be\nassassin exchange quick glances.", "TRAVIS\n (his mind elsewhere)\n Who mam?\n\n BETSY\n Charles Palantine. The man you want\n to volunteer to help elect president.", "TRAVIS\n That fella "Sport" looks like a\n killer to me.\n\n IRIS\n He never killed nobody. He's a\n Libra.", "THE OLD MAN grows closer. TRAVIS smashes his right arm\nagainst the wall, miraculously, the small Colt .25 glides\ndown his forearm into his palm.", "The STICK-UP MAN, surprised, turns toward TRAVIS, finding\nonly an exploding .32. The MAN's lower jaw bursts open with", "TRAVIS is being propelled by an inner force, a force which\ntakes him past the boundaries of reason and self-control.\n\n TRAVIS\n (restrained anger)\n You carry a gun?", "Travis is watching early evening NEWS PROGRAM. TV background\nSOUND. Charles Palantine is being interviewed somewhere on\nthe campaign trail." ], [ "IRIS unbuttons her shirt, revealing her small pathetic\nbreasts -- two young doves hiding from a winter wind.\nTRAVIS is unnerved by her partial nudity.", "TRAVIS is getting increasingly panicked, but IRIS only\nthinks this is part of his particular thing and tries to\novercome it.", "Both men are bleeding profusely as they thrash into IRIS'\nroom. IRIS hides behind the old red velvet sofa, her face\nfrozen in fright.", "TRAVIS struggles up and collapses on the red velvet sofa,\nhis blood-soaked body blending with the velvet.\n\nIRIS retreats in fright against the far wall.", "defense. Without the paraphernalia of adulthood, Iris looks\nlike a little girl she is. About 14, 15.", "Outside here environment, Iris seems the more pathetic. She\nseems unsure, schizy, unable to hold a subject for more than", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "IRIS lowers her head to go down on TRAVIS. TRAVIS, seeing\nthis, jumps up in panic.", "IRIS says nothing. After a moment, TRAVIS again sits on the\nbed beside IRIS. She no longer tries to make him.\n\n 86.", "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "TRAVIS' head slumps against the sofa.\n\nIRIS is huddled in the corner, shaking.\n\nLIVE SOUND CEASES.", "TRAVIS looks around IRIS' room: although dimly lit, the room\nis brightly decorated. There is an orange shag carpet, deep", "IRIS looks back uneasily at TRAVIS' taxi and continues on.", "There is a brief silence. Iris mind continued to whirl at\n78 rpms. She seems to have three subjects on her mind at a\ntime. She welcomes this opportunity to unburden herself.", "IRIS\n (voice rising)\n Why do you want me to go back to my\n parents? They hate me. Why do you\n think I split? There ain't nothin\n there.", "Sport slowly grinds his hips to hers. Iris starts to move\nwith him. This is what she really wanted. Her man's\nattention.", "This is where IRIS lives: it bears the individual touch of a\nyoung girl.\n\nIRIS lights a cigarette, takes a single puff and places it\nin an ashtray on the bedstand.", "Her name, as we shall learn later, is IRIS.\n\nTRAVIS hesitates, looking at her in the mirror.", "Sport slowly rubs his crotch into her. Iris smiles. She is\nhappy. The music rises.\n\n CUT TO:", "At the top of the dark stairs IRIS and TRAVIS enter a dimly\nlit hallway. On either side are doors with apartment\nnumbers. IRIS turns toward the first door, No. 2." ], [ "IRIS works on TRAVIS' crotch OFF CAMERA. He bats her hand\naway.\n\n TRAVIS\n (distraught)\n I want to help you.", "TRAVIS turns to catch a glimpse of Sport as he walks off\nwith Iris.\n\nTRAVIS shrugs and turns around.\n\nTRAVIS' taxi pulls away.", "TRAVIS looks around IRIS' room: although dimly lit, the room\nis brightly decorated. There is an orange shag carpet, deep", "IRIS says nothing. After a moment, TRAVIS again sits on the\nbed beside IRIS. She no longer tries to make him.\n\n 86.", "TRAVIS, he gun slipped into his jacket, walks quickly up the\nsidewalk.\n\nAROUND THE CORNER, TRAVIS walks into the darkened stairway\nleading to IRIS' apartment.", "At the top of the dark stairs IRIS and TRAVIS enter a dimly\nlit hallway. On either side are doors with apartment\nnumbers. IRIS turns toward the first door, No. 2.", "TRAVIS walks back to IRIS.\n\nIRIS motions for TRAVIS to follow her and he does.", "IRIS unbuttons her shirt, revealing her small pathetic\nbreasts -- two young doves hiding from a winter wind.\nTRAVIS is unnerved by her partial nudity.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "TRAVIS\n He'd been shot. I didn't know that.\n He just crawled into the back seat,\n said "West 45th Street" and conked\n out.", "IRIS and TRAVIS turn the corner and walk about a block,\nsaying nothing. IRIS turns into a darkened doorway and\nTRAVIS follows her.", "EXT.\n\nTRAVIS places the envelope to IRIS in his mail box.\n\nBACK IN APARTMENT. CAMERA CLOSE ON revolvers lying on the\ntable in neat array.", "Finally, TRAVIS spies the object of his search: IRIS walks\ndown the sidewalk with her GIRLFRIEND. Iris wears her large\nblue sunglasses.", "IRIS\n (compassionate)\n I understand, mister. It means\n something, really.\n\n TRAVIS\n (getting up)\n Can I see you again?", "IRIS\n Sure you don't want to come with me?\n\n TRAVIS\n I can't. Otherwise, I would.", "TRAVIS\n So long, Iris.\n (a beat)\n Sweet Iris.\n (smiles)\n\n\nTRAVIS exits.", "IRIS screams in b.g. TRAVIS looks up:\n\n IRIS\n Don't kill him, Travis! Don't kill\n him!", "IRIS\n I think so. I tried to get into\n your cab one night, and now you\n want to come and take me away.\n\n TRAVIS\n Don't you want to go?", "TRAVIS and IRIS are having late breakfast at a middle-class\nEAST SIDE COFFEE SHOP. It is about 1:30 P.M.", "IRIS\n ... and after that Sport and I just\n started hanging out...\n\n TRAVIS\n Where is home?" ], [ "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "TRAVIS\n You name Sport?\n\nSport immediately takes Travis for an undercover cop. He\nextends his crosses wrists as if to be handcuffed.", "SPORT looks into TRAVIS' eyes, saying nothing: he realizes\nthe seriousness of the situation.\n\nTRAVIS pulls his .38 Special and holds it on SPORT, pushing\nhim even further back against the wall.", "TRAVIS turns to catch a glimpse of Sport as he walks off\nwith Iris.\n\nTRAVIS shrugs and turns around.\n\nTRAVIS' taxi pulls away.", "As the CAMERA reaches the end of its track, it finds TRAVIS,\nstanding, his shirt open, but the mattress. He is wearing\nthe empty holster, and the .44 is in his hand.", "LATER. TRAVIS, his shirt still revealing his bare chest,\nsits on his straight-backed chair watching the TV. The .44\nMagnum rests on his lap.", "TRAVIS sticks his .38 into SPORT's gut and discharges it.\nThere is a muffled blast, followed by a muted scream of pain.\n\n TRAVIS\n Now suck on that.", "Travis' eyes follow Iris' nod until they reach Sport,\nstanding in a doorway in his lime green jacket. Travis\nwalks toward him.", "Without slowing, TRAVIS walks up to SPORT and puts his arm\non his shoulder in a gesture of friendliness.\n\n TRAVIS\n Hey, Sport. How are things?", "TRAVIS cannot see the Sport's face lime green completely,\nbut notices he is wearing a jacket. The voice is that of a\nman in his early twenties.", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "TRAVIS\n Your name Sport?\n\n SPORT\n Anything you say, officer.", "TRAVIS slumps to his knees. Down the corridor THE OLD MAN\nwith a bloody stump is struggling toward him. TRAVIS turns\nhis .38 toward THE OLD MAN.", "Agony and shock cross SPORT'S face as he slumps to the floor.\nTRAVIS turns and walks away before SPORT even hits.\n\nAs TRAVIS walks away, SPORT can be seen struggling in the b.g.", "THE OLD MAN grows closer. TRAVIS smashes his right arm\nagainst the wall, miraculously, the small Colt .25 glides\ndown his forearm into his palm.", "TRAVIS\n No, officer.\n\n POLICEMAN\n All right, move it.\n\nTRAVIS starts up his taxi and drives off.", "TRAVIS sits in driver's seat, thinking a moment. He looks\nto his right: the crumpled $20 bill still lies there,\nuntouched since it was thrown there six hours previously.", "The STICK-UP MAN, surprised, turns toward TRAVIS, finding\nonly an exploding .32. The MAN's lower jaw bursts open with", "TRAVIS\n (restrained anger)\n Here's the twenty bucks, old man.\n You better damn well spend it right.\n\nTRAVIS turns and walks away.", "TRAVIS\n (pause)\n What are you going to do about\n Sport and that old bastard?\n\n IRIS\n Just leave'em. There's plenty of\n other girls." ], [ "Love, Travis.\n\nTRAVIS, at his desk, examines the card upon which he has\njust written this letter.\n\n 79.", "TRAVIS stacks five crisp hundred dollar bills beside the\nletter, folds them up with the letter, and puts them into an\nenvelope.", "EXT.\n\nTRAVIS places the envelope to IRIS in his mail box.\n\nBACK IN APARTMENT. CAMERA CLOSE ON revolvers lying on the\ntable in neat array.", "LIVE SOUND again CEASES as TRAVIS resumes reading letter as\ntaxi drives away.\n\nAs TRAVIS reads final paragraph, scene CUTS TO INT. APARTMENT\nwhere TRAVIS sits at his table.", "LATE AFTERNOON. TRAVIS' taxi skids around a corner and\nspeeds into Manhattan.\n\nTRAVIS checks his mail slot: the letter to IRIS has already\nbeen picked up by the MAILMAN.", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "LATER. TRAVIS, his shirt still revealing his bare chest,\nsits on his straight-backed chair watching the TV. The .44\nMagnum rests on his lap.", "TRAVIS (V.O.)\n But after the first call, she would\n no longer come to the phone.\n\nTravis holds the receiver in his hand. The other party has\nhung up.", "He passes a ajar door and we are suprised to see the room is\nempty--and trashed. Travis lives in a decaying, if not\ncondemned building.\n\n 99.", "TRAVIS stands several feet from IRIS. His fly is still\nopen, and the white of his underwear shows through his jeans.\nHe is starting to come apart.", "CUT TO:\n\nTRAVIS, envelope in hand, closes the door behind him and\nwalks down the corridor.", "CUT TO:\n\nTRAVIS sits at his desk in his APARTMENT, writing. He wears\njeans, western shirt and empty holster.", "LOVE!\n\nUnderneath the word "Love!" begins TRAVIS' short message to\nhis parents, a message which extends to the back cover of\nthe card.", "TRAVIS, sitting in his chair in his APARTMENT, watching\nafternoon soap opera. He is cleaning his .38 and eating\nfrom a jar of applesauce. Soap opera audio continues.", "Travis is in C.U. in the middle of the floor doing push-ups.\nHe is bareback, wearing only his jeans. There is a long scar\nacross his left side.", "ALL LIVE SOUND CEASES as TRAVIS' narration begins. He is\nreading from a letter or card he has just written.", "TRAVIS quickly turns his face away from her in a combination\nof shock, embarrassment and revulsion. He is the child\ncaught with his hand in the cookie jar. The very presence", "TRAVIS is again writing at the table. His western shirt is\nopen, exposing his bare chest.", "Travis watches the hippie couple closely, his feeling\nsharply divided between cultural contempt and morose jealousy.\nWhy should these people enjoy the love and intimacy that has", "Travis, protesting, follows.\n\n CUT TO:\n\nINT. BUILDING - DAY\n\nTravis speaks intensely into a wall pay phone." ], [ "That does it. Betsy just looks at him for a moment, then\ngets up and starts to leave. Travis, confused, hustles after\nher.", "TRAVIS\n But... Betsy...\n\n BETSY\n I'm getting a taxi.\n\nShe walks to the curb.", "BETSY\n No, Travis. You're a sweet guy and\n all that, but I think this is it.\n I'm going home.", "LATER. Travis and Betsy are in TIMES SQUARE, turning the\ncorner from Broadway to 42nd Street. Travis carries the\nalbum under his arm.", "Betsy is walking down a midtown street when Travis suddenly\nappears before her. He has been waiting.\n\nTravis tries to make conversation but she doesn't listen.\nShe motions for him to go away and keeps on walking.", "BETSY gets out of the cab and stands by the right front\nwindow, which is open.\n\nTRAVIS prepares to drive away.\n\n BETSY\n Travis?", "TRAVIS (V.O.; CONT'D)\n Her name is Betsy, but I can tell\n you no more than that.\n (interrupted)", "TRAVIS\n (thin smile)\n Sure.\n\nBETSY steps away from the curb and TRAVIS drives off. She\nwatches his taxi.", "TRAVIS\n (to himself)\n Damn.\n\n BETSY\n What's wrong?", "TRAVIS\n Well, Betsy mam, I drive by this\n place here in my taxi many times a\n day. And I watch you sitting here", "BETSY\n Where do you live?\n\n TRAVIS\n (evasive)\n Oh, uptown. You know. Some joint.\n It ain't much.", "BETSY\n (laughing)\n Travis, I never ever met anybody\n like you before.\n\n TRAVIS\n I can believe that.", "Travis' thoughts are with Betsy, as THREE MEN enter Travis'\ncab. He activates the meter and pulls off.\n\n MAN'S VOICE\n St. Regis Hotel.", "BETSY is momentarily taken back, but pleased. TRAVIS'\npresence has a definite sexual charge. He has those star\nqualities BETSY looks for: She senses there is something", "TRAVIS\n Yeah.\n\n BETSY\n Maybe I'll see you again sometime,\n huh?", "A SHORT WHILE LATER, TRAVIS and BETSY are walking down\nBroadway toward Times Square. BETSY does not let their\nbodies touch as they walk although TRAVIS contemplates\nedging closer to her.", "Travis watches intently. The color, however, is slowly\ndraining from Betsy's cheeks. One thought fills her mind:\n"What am I doing here?"", "Travis walks briskly into the office, and heads toward\nBetsy's desk. Tom walks over to greet him, but Travis\nignores him.", "BETSY\n Yes?\n\n TRAVIS\n My name is Travis.\n\n BETSY\n Thank you, Travis.", "LATER THAT NIGHT, about 12:30. TRAVIS is on the LOWER EAST\nSIDE, somewhere on B Street, east of Tompkins Square." ], [ "TRAVIS walks over to dairy counter in rear of store, picks\nout a pint of chocolate milk, goes over to the open cooler\nand picks through various chilled prepackaged sandwiches.", "TRAVIS walks past concession stand en route to the darkened\ntheater auditorium. A YOUNG MAN is now sitting listlessly\nbehind the concessions counter.", "Travis stands in the aisle for a moment. He turns around,\nwalking back toward the concession stand.\n\nCONCESSION STAND", "TRAVIS checks to see if his .38 is in place (it is), opens\nthe door and exits from the cab.", "Travis' efforts quickly subside when Tom motions to a nearby\nPOLICEMAN. Travis quiets down and walks off.\n\n CUT TO:\n\nEXT.", "It doesn't take TRAVIS long to decide what to do: without\nhesitation he pulls his .32 from his jacket pocket.", "TRAVIS\n That's fine.\n\n CONCESSION GIRL\n That's a dollar forty-seven.\n\nTravis lays two dollar bills on the counter.", "He passes a ajar door and we are suprised to see the room is\nempty--and trashed. Travis lives in a decaying, if not\ncondemned building.\n\n 99.", "Travis stops at the box office, purchases a ticket, and\nwalks in.\n\nINT. PORNO THEATRE", "TRAVIS\n (to himself)\n Damn, damn.\n\nTRAVIS bends over in the chair and places his head in his\nhands, despairing of himself.", "A SHORT WHILE LATER, TRAVIS is walking down the sidewalk\nnear the taxi garage. His hands are in his jacket pockets,\nobscuring the slight bulge on his left side.", "TRAVIS, dressed to the teeth, walks brightly down the\nsidewalk. His face is frehsly shaved, his hair combed, his\ntie straightened.\n\nHe pauses in a store window to check his appearance.", "TRAVIS' .44 flies into the air.\n\nTRAVIS looks down the stairway: there SPORT lies choking in\na puddle of his own blood. He has struggled long enough to\nfire one shot.", "TRAVIS, he gun slipped into his jacket, walks quickly up the\nsidewalk.\n\nAROUND THE CORNER, TRAVIS walks into the darkened stairway\nleading to IRIS' apartment.", "Travis turns a corner, keeps walking. Ahead of him is a 24-\nhour PORNO THEATRE. The theatre, a blaze of cheap day-glow", "Travis is lost among the hip, young intellectual type that\npopulate the store. He watches the stylish, attractive\nfemale help, unable to come right out and requests what he\ndesires.", "Travis holds the .32 Revolver, hefts it, slips it under his\nbelt and pulls his shirt over it. He turns from side to\nside, to see how it rides in his waist.", "TRAVIS, realizing what he has done, bends over, turns the TV\nupright on the floor, fiddles with the knobs, slaps it, and", "Travis' cab is parked near a neighborhood Bickford's.\n\n CUT TO:", "get up when TRAVIS discharges the mighty .44 at him. BLAAM!\nThe hallway reverberates with shock waves and gun powder." ] ]

[ "Why does he become a taxi driver?", "Who does Travis become infatuated with in the beginning of the story?", "How does Travis offend her?", "Who is Easy Andy?", "What does Travis do at the store when he witnesses a robbery?", "What does Travis try to convince Iris to quit?", "What does Travis intend to do at the public rally he attends?", "Why doesn't Travis commit suicide as planned?", "What happens to Iris at the end of the story?", "What branch of the military did Travis serve?", "What job does Travis take to deal with his insomnia?", "For which presidential candidate does Betsy volunteer?", "What offended Betsy while on a date with Travis?", "Who kicks Travis out of the Senator's campaign office?", "What does Travis buy from Easy Andy?", "Who does Travis confide in regarding his troubling and violent thoughts?", "What happens to the robber of the convenience store?", "What did Sport toss at Travis when he took Iris out of the cab?", "Why was Travis's suicide attempt a failure?", "What is Travis Bickle's current occupation?", "Travis has a crush on a certain individual, what is her name?", "From whom does Travis purchase firearms?", "Why does Travis not kill Senator Palantine?", "Why does Iris become so afraid?", "After the shooting, where does Travis learn Iris traveled?", "What happens when Travis goes to Matthew \"Sport\" Higgins' brothel?", "Who sends Travis a letter?", "Where does Travis encounter Betsy after he recovers from his injuries?", "What happens when Travis goes to the convenient store?" ]

[ [ "to cope with his insomnia", "To cope with his chronic insomnia." ], [ "Betsy, the campaign worker", "Betsy" ], [ "he took her to a Swedish sex film", "He takes Betsy to see a Swedish sex education film." ], [ "an illegal gun dealer", "gun dealer" ], [ "he shoots and kills the robber", "Travis shoots and kills the robber." ], [ "the prostitution she is involved in", "prostitution " ], [ "assassinate Senator Palantine", "Assassinate Senator Palantine" ], [ "He ran out of ammunition after killing Iris's pimp", "out of bullets" ], [ "She returns home and goes back to school", "she returns home and goes back to school" ], [ "US Marine Corps", "The Marines." ], [ "Taxi driver", "Taxi driver " ], [ "Senator Charles Palantine", "Palatine" ], [ "A Swedish sex education movie", "He took her to a pornographic film." ], [ "Tom", "tom" ], [ "Illegal handguns", "A number of handguns." ], [ "Wizard, another taxi driver", "Wizard" ], [ "Travis shoots and kills him.", "The robber is shot and killed by Travis." ], [ "Money, a twenty-dollar bill", "A crumpled twenty dollar bill." ], [ "Travis had no bullets left in his gun.", "He ran out of ammunition" ], [ "Travis is a taxi driver", "Taxi driver." ], [ "Travis has a crush on Betsy", "Betsy." ], [ "Travis purchases firearms from Easy Andy", "Easy andy" ], [ "The secret services prevents Travis from killing Senator Palantine.", "he was found out by the secret service agents" ], [ "Iris is afraid when the gunfight ensues.", "Because of all the killing " ], [ "Irish goes home to Pittsburgh", "pittsburgh" ], [ "Travis kills sport during a gunfight.", "He starts a shootout and kills Sport and two others" ], [ "Travis receives a letter from Iris's father.", "Iris's father" ], [ "Travis encounters Betsy in his cab when he drives her home.", "In his cab " ], [ "He stops a robbery by shooting and killing the robber.", "He shoots a robber" ] ]

6bec7c2bdd0b01296bc9020288d833709e54cd52

test

[ [ "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "In the foreground Klute sits down at a phone and\ndials.\n\n\t\t\tKLUTE\n\tYes, Mr. Cable's office, please.", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute finishes mopping up. SOUND OF TELEPHONE. He\nturns back out of the bathroom and answers it.", "INT. KLUTE'S APARTMENT - DAY (NIGHT)\n\nKLUTE on phone.", "Klute speaks quietly but with terrible urgency into\nthe phone (dealing evidently with an ethically\nskittish message service at the other end).", "INT. KLUTE'S APARTMENT: KLUTE - DAY\n\nKlute continues his phone conversation, short\nspoken.", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "CAMERA goes in close on Klute.\n\n\t\t\tCABLE'S VOICE\n\t\t(through telephone)\n\tJohn, how are you?", "The tape-recorder continues turning and winking as\nthe conversation upstairs continues. KLUTE looks at\nTV dinner. He reaches for the headset of the", "The DOORMAN hangs up the brass house-phone, smiles\nand gestures them graciously into the (self\nservice) ELEVATOR. We see Klute -- without making\ntoo much of it -- taking in the mirrors and marble\nwork.", "Klute goes downstairs to back entrance of Faber\nloft. He slips inside. He hears THE SOUNDS OF THE\nBEATING -- a stirring of feet and indistinct impact", "INT. KLUTE'S APARTMENT - NIGHT", "We see that we've been looking out from the bedroom\nwindow of this house. Klute turns to rolltop desk\nin bedroom and picture of Tom Grunemann, picture of", "case containing a tape recorder stands on the\nfloor. On the table are a FOLDER of Klute's notes,\nand a paper bag. Klute enters and deliberately", "Klute hangs up.", "KLUTE\n\tDid she leave a number?\n\t\t(beat)\n\tThis is a police call; don't make", "recorder. The TAPE RECORDER is going, its light\nwinking. KLUTE holds headset against one ear, makes\na note or two. We hear BREE's and other GIRL'S", "As KLUTE slowly walks away we bring in TELEPHONE\nRING and BREE VOICE, OVER answering.", "Klute goes.\n\nINT. KLUTE'S APARTMENT - DAY" ], [ "BREE\n\tFrank, he knows you're a pimp. He\n\tknows you were my pimp.\n\nShort silence. Then with the tact of a gentleman\ndealing with rude, difficult woman --", "BREE\n\tGee I hope this doesn't make my\n\tcold any worse.\n\n\t\t\tKLUTE\n\tTell me about Frank Ligourin.", "The room is still disordered. Bree and Frank\nLigourin look at him, silently. Bree has been\nassembling armfuls of dresses to carry away with", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "to somebody, and then he sees that she is talking\nto FRANK LIGOURIN.", "Frank's face, as he struggles away. Bree is\nscreaming. Bree grabs at him from behind. He\nthrusts her off. But it allows Frank to break away", "The point of this one brief shot -- Bree's face --\nin the instant after Frank has spoken and before\nshe enters, with Klute following. Her half-second\nof hesitation. This is someone who gets to her\nsomehow -- probably always will.", "BREE\n\tWhy?\n\n\t\t\tKLUTE\n\tYou know what I'm talking about.\n\tMiss Daniel.\n\n\t\t\tBREE\n\tHonest?", "BREE\n\t\t(coolly)\n\tI don't get you.\n\n\t\t\tKLUTE\n\tLigourin: How could you do it?", "BREE\n\tNo!\n\nKlute is restrained -- restrains himself. Frank has\nfaced around on the stairs, still bleeding\nextravagantly from his torn scalp. Earnestly --", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "BREE\n\tWhat did you expect? Frankie still\n\thas a good string, three girls.\n\tFigure three hundred a week from\n\teach.\n\n\t\t\tKLUTE\n\tIs that what you gave him?", "BREE\n\tFrankie kept them in the same\n\tapartment: it cut his travel-time.\n\n\t\t\tKLUTE\n\tThen maybe Arlyn Page knew the\n\tDumper too.", "FRANK\n\tWell Bree, maybe you'd rather --\n\nHe gestures gently to indicate outside. She nods\nonce. He escorts her in that direction, OUT the\ndoor, closing it behind them.", "INT. LANDING AT DOOR - DAY\n\nFrank clatters down a stairs as Klute arrives in\nthe doorframe, and as Bree, behind Klute, screams --", "BREE\n\tFrank -- Klute.", "FRANK\n\tI've always respected Bree.\n\t\t(then)\n\tI'd like to make something clear.\n\n\t\t\tKLUTE\n\tI've just got a few --", "Klute sees Mr. Faber first -- clearly a senior\ncitizen -- sitting transfixed, fastened in some\nprivate dream. Then BREE drifts into view -- stands", "BREE\n\tWhat about?\n\n\t\t\tKLUTE\n\tMy name's John Klute.\n\n\t\t\tBREE\n\tYou said that.", "BREE (CONT'D)\n\tBree Daniel.\n\t\t(listens. Brightly)\n\tOh yes, Ted Carlin, how is Ted?" ], [ "BREE\n\tI'm sorry, I'm just frightened.\n\tYes.\n\n\t\t\tCABLE\n\tExcuse me Miss Daniel?", "BREE\n\tWhy?\n\n\t\t\tKLUTE\n\tYou know what I'm talking about.\n\tMiss Daniel.\n\n\t\t\tBREE\n\tHonest?", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "Bree remains in place. She is a prisoner, we can\nsuppose -- when we cut closer we'll see her eyes\ncontinually shifting, her mind calculating her", "Bree has wrapped herself in the quilt -- standing\nup against a corner shivering, immobilized. We hear\nKLUTE'S FOOTSTEPS DESCENDING -- she flinches -- he\nenters.", "BREE (CONT'D)\n\tI am scared. The things I do. The\n\tthings I could do to you.\n\n\t\t\tKLUTE\n\tMm.", "INT. BREE'S APARTMENT: BREE - DAY\n\nBree is in the middle of dialing the phone. Her\nhands are shaking; she misdials -- holds down the\nreceiver for a moment then starts again.", "He reaches to touch her -- she quails away from\nhim.\n\n\t\t\tBREE\n\tWell do you think it was him?\n\n\t\t\tKLUTE\n\tWhat do you think?", "BREE VOICE\n\tBree Daniel.\n\t\t(then)\n\tYeah, hi hon.\n\nEXT. BREE APARTMENT - NIGHT", "BREE sits, looks with curiosity at housewives her\nage -- bringing their children in from the park, as\nif trying to imagine what their lives could be\nlike. KLUTE emerges from elevator.", "Bree comes out of door - goes down steps -\nhesitates in front of Klute's apartment struggling\nwith the question of whether to knock. CAMERA pulls", "EXT. BREE'S BROWNSTONE - NIGHT\n\nNear the entrance, outside the door to KLUTE's\napartment below. We open on BREE. She shouts\nangrily, miserably --", "Bree has shifted position to a window, is looking\ndown at the street. She sees - and we hear - SOUND\nOF BUS APPROACHING, distantly. She grabs her\nproperties, whips out the door.", "Bree is about a quarter block away from the\nBrownstone now, hurrying. She waves in the\ndirection of a cab, misses it, continues on. We CUT\nTO --", "Klute has strolled out of view from above --\ninstantly flattens himself against the wall, eases\nthe door open, about to slip and charge. As Bree\nlabors on --", "BREE'S POV\n\nA sea of staring faces revolves around her. We\ncross fade with SPANGLER VOICE OVER (as if\nrecalling a case record).", "BREE (CONT'D)\n\tYou scared me, Mr. Faber.\n\nHe smiles, kisses her cheek, tests the fabric of\nher evening dress -- (in passing, as a matter of\nexpertise).", "Bree skids to a stop just inside the door, scans\nquickly out in one direction then the other (in\ncase Klute has been waiting in ambush on the", "Bree Daniel, and other material he has collected on\nthe case. He puts them in his suitcase and closes\nthe suitcase. He shuts rolltop desk.", "Alongside of him the skylight of BREE's apartment\nlights up. He looks through the skylight and sees\nBREE enter her apartment. He can hear BREE talking" ], [ "You were scared. Arlyn Page, that\n\tscared you. Well it should; that's\n\tdeath.\n\tSo what did you do, you ran", "BREE\n\t\t(patiently)\n\tTrina honey, he just wants to find\n\tArlyn Page.\n\nTrina undergoes a change of demeanor. Flatly --", "KLUTE\n\tI thought you ought to know, Arlyn\n\tPage is dead.\n\n\t\t\tBREE\n\tHow?", "We see BERGER lying at the foot of the stairs. As\nArlyn clatters down toward him, Berger sways up\nonto his knees. His nose is bloodied, he cries.", "ARLYN enters rather eagerly. She sees Klute first,\nthen Bree -- recognizes her -- retires flat against\na wall, holding one palm outwards to shield her", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "The retching sounds are coming from the connecting\nroom. No one visible here. A very few barren pieces\nof furniture. We hear ARLYN'S VOICE ask from the\nnext room --", "We hear him STUMBLE AND FALL on the stairs outside,\nthe sound of body reeling down. Arlyn shrieks and\nraces after: Klute and Bree follow.", "BREE\n\tFrankie kept them in the same\n\tapartment: it cut his travel-time.\n\n\t\t\tKLUTE\n\tThen maybe Arlyn Page knew the\n\tDumper too.", "He stops for an instant face-to-face with Klute.\nThen turns, plunges out of view again. Arlyn breaks\nafter.\n\n\t\t\tARLYN\n\tNo --", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "ARLYN (CONT'D)\n\tIt's all right, they're all right --\n\n-- turns and runs.", "KLUTE\n\tArlyn Page was probably an alias.\n\tShe went by the names Terry Arlyn\n\tand June Price. She may have been", "ARLYN (CONT'D)\n\tGet out!\n\t\t(to Berger, again)", "Arlyn casts herself on her knees beside him, pulls\nhis face against her, croons to him, soothes and\ntends him.", "Arlyn seems to accept the bargain. He indicates to\nBree to proceed, stands away a little. Arlyn covers\nher elbow with one hand. Bree manages as best she\ncan.", "Arlyn I took her right into my\n\tapartment, my own sweet apartment\n\ton First. But she wouldn't stay off\n\tit -- the junk -- and I wept and I", "KLUTE\n\tIf Arlyn Page is living with Tom\n\tGrunemann --\n\n\t\t\tBREE\n\t\t(eagerly)\n\t-- Then you don't need me.", "She spins around -- mute -- terrified.\n\n\t\t\tBREE\n\t\t(manages)\n\tArlyn and Jane commited suicide. He\n\tsaid they commited suicide.", "INT. ARLYN'S APARTMENT - DAY" ], [ "Klute takes up the slip of paper previously given\nhim by Trask. In the same manner as before --", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "TRASK\n\tUnless he was involved with\n\tGrunemann's disappearance.\n\n\t\t\tKLUTE\n\tI knew Tom never wrote that letter.", "As Klute talks he paces back and forth in the\ndarkness. He crosses in front of the lighted\nscreen; the letters projected on the screen ripple\nover his face.", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "BREE\n\tWho?\n\n\t\t\tKLUTE\n\tTom Grunemann. He wrote you some\n\tletters.", "KLUTE\n\tIt looks like he sent her quite a\n\tfew of those Holly -- the girl --\n\tshe recalls six or seven letters\n\tlike --", "We see that we've been looking out from the bedroom\nwindow of this house. Klute turns to rolltop desk\nin bedroom and picture of Tom Grunemann, picture of", "Then -- (we are assuming a complete understanding\nhere between Klute and Trask, non-verbal. What\nTrask is asking, in effect, is: is this meaningful?\nDo we both suspect the same man?)", "KLUTE (O.S.)\n\tMiss Daniel? My name is Klute --\n\tJohn Klute --", "Klute pokes through a small collection of personal\neffects -- perhaps an ankle bracelet, rabbits foot,\nfaded snapshot of a child, some letters, pitiful", "Custodian finds it, unlocks for Klute's inspection.\nReaches for paper Klute's holding.\n\n\t\t\tCUSTODIAN\n\t-- And I keep the authorization,\n\tplease.", "Klute and Trask are seen entering from the\nProjection Room. In the background we see an old\nblack woman sitting in front of the picture file of\nunidentified dead, carefully studying each picture.", "Klute speaks quietly but with terrible urgency into\nthe phone (dealing evidently with an ethically\nskittish message service at the other end).", "KLUTE\n\tThat's the reason i told him we had\n\tno evidence Tom was still alive. We\n\twanted to shake him into another\n\tphone call or another letter. It\n\tdidn't work out just that way.", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "BREE\n\tWhat about?\n\n\t\t\tKLUTE\n\tMy name's John Klute.\n\n\t\t\tBREE\n\tYou said that.", "Klute looks on as EFFECTS trace the processing of\nthe body. SPENCE kneels down out of frame to slide\nthe bag around it. TRASK kneels down to make a\nbrief examination -- straightens again. To Klute --" ], [ "about a German girl, no details. We\n\tthink we know why he killed\n\tGrunemann -- he found out Cable was\n\ta dumper; Cable couldn't take that.", "CABLE\n\t\t(unhearing, resumes)\n\tTom Grunemann discovered me -- we\n\twere here on business together, he", "CABLE\n\tNo. It's ridiculous. This has\n\tnothing to do with Tom Grunemann.", "ROSS\n\t\t(to Klute)\n\tBut if Cable killed Grunemann why\n\twould he get you hired to look for\n\tGrunemann?", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "Camera stops at Mrs. Grunemann who sits at the foot\nof the table opposite her husband. She smiles\nacross at him with pleasure. We cut to Tom", "Grunemann smiling back at her. We cut back to a\ncloseup of Mrs. Grunemann looking back at her\nhusband with love. We cut back to Tom Grunemann's", "you, gonna follow you, gonna punish\n\tyou, kill you et cetera. Well, they\n\tsaid, all right that's Grunemann.", "TRASK\n\tUnless he was involved with\n\tGrunemann's disappearance.\n\n\t\t\tKLUTE\n\tI knew Tom never wrote that letter.", "TRASK'S VOICE\n\t\t(skipping, summarizing)\n\tAll right, there's Tom Grunemann,", "CABLE\n\tAll right, suppose it wasn't Tom\n\tGrunemann; where does that get you?", "He coerces her to the table and unrolls the Company\nouting picture. (We see the rip extending up\nthrough the image of Tom Grunemann in the front\nrow.)\n\n\t\t\tBREE\n\tOh no.", "BREE\n\tWho?\n\n\t\t\tKLUTE\n\tTom Grunemann. He wrote you some\n\tletters.", "CABLE VOICE\n\tHow do you go from that to the idea\n\tTom's dead? Suicide you're\n\tsuggesting? He killed himself?", "TRASK\n\tLike for you to look for the man.\n\n\t\t\tBREE\n\tGrunemann? I've looked at him a --", "KLUTE\n\tNo. No mistake Pete. It doesn't\n\tprove who it was -- but proves it\n\twasn't Tom.\n\n\t\t\tCABLE\n\tYou must be discouraged.", "We see that we've been looking out from the bedroom\nwindow of this house. Klute turns to rolltop desk\nin bedroom and picture of Tom Grunemann, picture of", "CABLE\n\tYou just finished telling me she\n\thad nothing to offer. Not Tom, you\n\tsaid, the Dumper was clearly not\n\tTom.", "KLUTE\n\tIt wasn't Tom that broke in the\n\troom.\n\n\t\t\tCABLE\n\tIt has to be Tom. You said he\n\tripped up his own pictures, he --", "moment he is there, and the next moment he is gone.\nThe camera pans back down the table, only now it is\nempty except for Grunemann's children and Mrs." ], [ "Cable breaks loose, backs a step -- backs another\nstep -- and then, turns and runs unhesitant against\none of the windows, exploding it outward with him,\nboth frame and glass.", "CABLE closes the door and returns to his desk. He\npulls out a tape recorder from a drawer in his\ndesk, rewinds it and turns it on. We hear a", "moves out of the shot. We hear the sound of the car\ndoor opening and closing. Through the windshield we\nsee Cable cross in front of the car and start to", "TRASK moves into scene, sits on another piling,\nlooks at him speculatively. Silence. Then --\n\n\t\t\tTRASK\n\tThat's how the other one died, you\n\tknow. In the water.", "Cable sits down next to window. The helicopter\nbegins to rise. CAMERA goes into a medium close\nshot of Cable against the helicopter window. The", "BREE\n\tYes.\n\n\t\t\tCABLE\n\tThen it doesn't matter what I do\n\tany more, does it?\n\nPause. Then he shudders slightly.", "shoulders giving us the feeling that Cable is\nalmost levitating by himself. As one floor after\nanother disappears behind him we see an almost", "darkness revealing a sweaty man huddled in the\ncorner looking like some strange animal from a\npainting by Bosch. It is Cable.", "CABLE\n\tYou're willing to listen? You want\n\tme just to keep talking?\n\nHe hits her.", "BREE\n\t\t(coldly)\n\tWell -- she's dead.\n\nAt the corner he slows, starts unzipping his\nbookcase as if indicating a change of route.", "racks, drawing closer to Cable, trying to gain\nposition. We intersperse his progress with further\nBree-Cable fragments, as for instance --", "Over the following conversation we show CLOSEUPS of\nmaterial in the dossier. It contains photographs of\nCable and his life from childhood to the present -\nincluding pictures of him with his mother and", "the loft, and the noise is deafening. But -- the\nmost bizarre element is Cable's absolute lack of\nresponse to it. It rings and rings as he talks and", "CABLE\n\tYes Evvie, thanks. Gentlemen, I'm\n\tsorry.\n\nThey rise, dismissed. He sorts a paper or two,\ncontinues to Klute.", "The CAMERA pulls back from a CU of CABLE standing\nat the window to a wide angle looking at CABLE\nthrough the window. The window is 30 or 40 stories", "Cable hastens toward her along a lane of garments.\nIn this brief glimpse a ludicrous and terrifying\nfigure -- a noise, a gesticulation (actually the", "We see BERGER lying at the foot of the stairs. As\nArlyn clatters down toward him, Berger sways up\nonto his knees. His nose is bloodied, he cries.", "Klute closes with him, knocks loose Cable's pistol \n- contends for it again, knocks it loose again.\nEFFECT -- under -- SIRENS.\n\nCABLE, KLUTE", "Klute's manner, over the next few minutes, exhibits\nan absolute, untheatrical, care and competence. A\nman -- Cable -- may in fact be hiding here", "Cable and Bree. They are at some remove from the\nsite of Cable's first appearance; there are other\nevidences of time-lapse. Cable's manner is that of" ], [ "Klute is alseep -- more or less -- on his stomach.\nBree beside him lies awake. She trails her fingers\nabout his back. A rather tentative, exploratory", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute, in pajama bottoms, lies in bed. A miserably\nhot humid night. KNOCK at the door. He answers.\nBREE stands in the doorway in bare feet.", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "BREE\n\tWhat about?\n\n\t\t\tKLUTE\n\tMy name's John Klute.\n\n\t\t\tBREE\n\tYou said that.", "She seems to have expressed it; the balance of\npower. She turns, goes out, heads upstairs. Klute\nunhurriedly takes up his folder of notes, then\nfollows.", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "KLUTE\n\tDon't worry.\n\nShe examines him -- shrugs -- turns, proceeds along\nthe sidewalk, Klute accompanying --\n\nEXT. DISCOTHEQUE - NIGHT", "The point of this one brief shot -- Bree's face --\nin the instant after Frank has spoken and before\nshe enters, with Klute following. Her half-second\nof hesitation. This is someone who gets to her\nsomehow -- probably always will.", "KLUTE (O.S.)\n\tMiss Daniel? My name is Klute --\n\tJohn Klute --", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "She is like a child awaiting praise from her\nteacher. Klute says nothing. They continue walking\namong the plants and he picks up a few that she had\nadmired.", "Klute sees Mr. Faber first -- clearly a senior\ncitizen -- sitting transfixed, fastened in some\nprivate dream. Then BREE drifts into view -- stands", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "Klute and Bree are only a half-step behind. Klute\noffers to assist: Arlyn puts him away ferociously.", "She pulls off her shirt, unhooks her brassiere and\ndiscards it, apparently quite unselfconscious.\nKlute reacts; then, carefully maintaining his cool \n-", "Klute half sits up in bed. Bree is fast asleep with\nher head pillowed on his midsection. Some humor in\nthis shot: he wants to move but doesn't want to", "On her part we see a wish to be reconciled -- a\nshyness mixed with defiance -- but Klute's manner\nis arduous. She smiles nervously, asks --", "BREE\n\tLook, I told the police everything:\n\tI don't even remember the schlub!\n\nKlute doesn't respond. Klute sets out a photograph\nfor her to look at." ], [ "BREE\n\tWhy?\n\n\t\t\tKLUTE\n\tYou know what I'm talking about.\n\tMiss Daniel.\n\n\t\t\tBREE\n\tHonest?", "BREE\n\tBree Daniel. Has he called in yet?\n\tWell if he does, I'm at --\n\t\t(reads phone)", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "BREE\n\tI'm sorry, I'm just frightened.\n\tYes.\n\n\t\t\tCABLE\n\tExcuse me Miss Daniel?", "Bree standing, angry, antagonistic, demanding. In a\nway -- a Bree-like way -- she's seized psychiatry\nby the throat.\n\n\t\t\tBREE\n\tThe son of a bitch seduced me!", "SPANGLER (V.O.)\n\tBree Daniel, Caucasian, twenty\n\teight, good physical health, no", "BREE VOICE\n\tBree Daniel.\n\t\t(then)\n\tYeah, hi hon.\n\nEXT. BREE APARTMENT - NIGHT", "BREE (CONT'D)\n\tBree Daniel.\n\t\t(listens. Brightly)\n\tOh yes, Ted Carlin, how is Ted?", "Bree is about a quarter block away from the\nBrownstone now, hurrying. She waves in the\ndirection of a cab, misses it, continues on. We CUT\nTO --", "KLUTE\n\tNo, but Bree does. She's\n\tnegotiating for me. Bree Daniel.\n\nCable takes an instant to compute the thing. Then --", "Bree sits isolated on the waiting-room couch. She\nmay have been here for fifteen minutes -- or an\nhour. She turns the pages of a magazine -- one", "Klute sees Mr. Faber first -- clearly a senior\ncitizen -- sitting transfixed, fastened in some\nprivate dream. Then BREE drifts into view -- stands", "At the top he notes -- but still without main\nconcern that Bree's door is open. He calls ahead --\n\n\t\t\tKLUTE\n\tBree --", "BREE\n\tOh you bastard.\n\nBut then she adjusts -- a frightened but matter-of\nfact hooker --", "BREE (CONT'D)\n\tYou scared me, Mr. Faber.\n\nHe smiles, kisses her cheek, tests the fabric of\nher evening dress -- (in passing, as a matter of\nexpertise).", "Bree moves about energetically, preparing to set\nout on rounds. A KNOCK on the door. She startled,\nthen approaches to door, to peep-hole, lifts lid\naside.", "Bree comes out of door - goes down steps -\nhesitates in front of Klute's apartment struggling\nwith the question of whether to knock. CAMERA pulls", "BREE\n\tYou saw that, goddamn you? You saw\n\tit? He's seventy. His wife's dead.", "Bree skids to a stop just inside the door, scans\nquickly out in one direction then the other (in\ncase Klute has been waiting in ambush on the", "BREE VOICE\n\tBree Daniel --\n\n\t\t\tMAN'S VOICE\n\tOh God baby, oh God I really love\n\tyou." ], [ "KLUTE\n\tPete, I've got a chance to buy Jane\n\tMcKenna's black book.\n\n\t\t\tCABLE\n\tWhat?", "KLUTE\n\tI'm meeting a man tomorrow night.\n\tHe wants to meet me on East-River\n\tDrive -- he wants five hundred\n\tdollars for the book. Can you get\n\tthat for me Pete?", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "twenty-five to thirty thousand a\n\tyear.\n\t\t(notes Klute's reaction)\n\tOh they don't keep the money: they", "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "KLUTE\n\tCall-girls generally keep a book,\n\tyou know, a list of their clients.\n\tSometimes, if a girl retires,", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "KLUTE\n\tYou could help me find her. You\n\tknow the people.\n\t\t(as she turns away)\n\tI'll pay you a hundred dollars.", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "She seems to have expressed it; the balance of\npower. She turns, goes out, heads upstairs. Klute\nunhurriedly takes up his folder of notes, then\nfollows.", "BREE\n\tLook, I told the police everything:\n\tI don't even remember the schlub!\n\nKlute doesn't respond. Klute sets out a photograph\nfor her to look at.", "Custodian finds it, unlocks for Klute's inspection.\nReaches for paper Klute's holding.\n\n\t\t\tCUSTODIAN\n\t-- And I keep the authorization,\n\tplease.", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "Klute goes downstairs to back entrance of Faber\nloft. He slips inside. He hears THE SOUNDS OF THE\nBEATING -- a stirring of feet and indistinct impact", "Klute speaks quietly but with terrible urgency into\nthe phone (dealing evidently with an ethically\nskittish message service at the other end).", "BREE\n\tWhat did you expect? Frankie still\n\thas a good string, three girls.\n\tFigure three hundred a week from\n\teach.\n\n\t\t\tKLUTE\n\tIs that what you gave him?", "Klute, stepping out, closes, locks and checks the\nhouse door, then moves on to his car -- a vintage\nPlymouth -- and tosses in his suitcase; and then", "Klute takes up the slip of paper previously given\nhim by Trask. In the same manner as before --" ], [ "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "Klute comes out door and descends the stairs at the\nsame even pace -- he walks into the vacant store\nbelow.\n\nINT. BASEMENT STORE - DAY", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute goes downstairs to back entrance of Faber\nloft. He slips inside. He hears THE SOUNDS OF THE\nBEATING -- a stirring of feet and indistinct impact", "Klute finishes mopping up. SOUND OF TELEPHONE. He\nturns back out of the bathroom and answers it.", "INT. KLUTE'S APARTMENT: KLUTE - DAY\n\nKlute continues his phone conversation, short\nspoken.", "Klute speaks quietly but with terrible urgency into\nthe phone (dealing evidently with an ethically\nskittish message service at the other end).", "We follow Klute through the house with suitcase. He\nputs away a last dish, shutting off water, gas, and\nelectricity, and so on -- takes a last look around \n- reaches for the door handle. WE CUT TO --", "Klute has strolled out of view from above --\ninstantly flattens himself against the wall, eases\nthe door open, about to slip and charge. As Bree\nlabors on --", "The DOORMAN hangs up the brass house-phone, smiles\nand gestures them graciously into the (self\nservice) ELEVATOR. We see Klute -- without making\ntoo much of it -- taking in the mirrors and marble\nwork.", "In the foreground Klute sits down at a phone and\ndials.\n\n\t\t\tKLUTE\n\tYes, Mr. Cable's office, please.", "INT. KLUTE'S APARTMENT - DAY (NIGHT)\n\nKLUTE on phone.", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "Klute goes.\n\nINT. KLUTE'S APARTMENT - DAY", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "CAMERA follows KLUTE as he cautiously makes his way\ndown the stairwell of the boarded up old\nbrownstone. He gets to the first floor. He can see", "We WIDEN TO INCLUDE KLUTE. Now she begins to get\nit. He turns, opens door to his room below. She\ncomes slowly down steps.\n\nINT. KLUTE'S ROOM - DAY", "The tape-recorder continues turning and winking as\nthe conversation upstairs continues. KLUTE looks at\nTV dinner. He reaches for the headset of the", "Klute, stepping out, closes, locks and checks the\nhouse door, then moves on to his car -- a vintage\nPlymouth -- and tosses in his suitcase; and then" ], [ "BREE\n\tWhy?\n\n\t\t\tKLUTE\n\tYou know what I'm talking about.\n\tMiss Daniel.\n\n\t\t\tBREE\n\tHonest?", "Klute is alseep -- more or less -- on his stomach.\nBree beside him lies awake. She trails her fingers\nabout his back. A rather tentative, exploratory", "BREE\n\tLook, I told the police everything:\n\tI don't even remember the schlub!\n\nKlute doesn't respond. Klute sets out a photograph\nfor her to look at.", "KLUTE (O.S.)\n\tMiss Daniel? My name is Klute --\n\tJohn Klute --", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "Klute, in pajama bottoms, lies in bed. A miserably\nhot humid night. KNOCK at the door. He answers.\nBREE stands in the doorway in bare feet.", "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "She pulls off her shirt, unhooks her brassiere and\ndiscards it, apparently quite unselfconscious.\nKlute reacts; then, carefully maintaining his cool \n-", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "At this point -- or about this point -- Klute takes\nnote of something. A little above her. He grows\nmore watchful, but containing it carefully. We", "Darkness now, or close to dark; the room heavily\nshadowed. Bree and Klute sit together on the bed.\nHe still strokes her hair. He has pulled a blanket", "BREE\n\tWhat about?\n\n\t\t\tKLUTE\n\tMy name's John Klute.\n\n\t\t\tBREE\n\tYou said that.", "The point of this one brief shot -- Bree's face --\nin the instant after Frank has spoken and before\nshe enters, with Klute following. Her half-second\nof hesitation. This is someone who gets to her\nsomehow -- probably always will.", "KLUTE\n\tIt's not so bad.\n\nThere is a silence. Both Klute and Cable seem to be\nwaiting for one or the other to make the next move.", "KLUTE\n\tWell --\n\n\t\t\tBREE\n\t\t(harshly)\n\tHey, but did we get to you, Klute?\n\tA little?", "He thinks better of continuing. Klute looks from\nhim back to Bree. He speaks gravely, spacing his\nwords -- unable to speak any faster.", "On her part we see a wish to be reconciled -- a\nshyness mixed with defiance -- but Klute's manner\nis arduous. She smiles nervously, asks --", "(beat - still reasonably)\n\tIs this something Klute just\n\tinvented? Is this a trap for me,\n\tMiss Daniel; does Klute know about" ], [ "Klute goes.\n\nINT. KLUTE'S APARTMENT - DAY", "INT. KLUTE'S APARTMENT - DAY", "INT. KLUTE'S APARTMENT - NIGHT", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "INT. KLUTE'S APARTMENT: KLUTE - DAY\n\nKlute continues his phone conversation, short\nspoken.", "INT. KLUTE'S APARTMENT - DAY (NIGHT)\n\nKLUTE on phone.", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "INT. KLUTE'S APARTMENT: KLUTE - NIGHT", "INT. KLUTE'S APARTMENT: KLUTE - NIGHT", "INT. KLUTE'S APARTMENT: KLUTE - DAY", "INT. KLUTE'S APARTMENT: KLUTE - DAY", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "A shabby place in a shabby neighborhood. Mrs.\nVasek, the landlady, shifts barrels at the same\ntime that she barks at Klute, in heavy accent.", "She continues on up; Klute continues down.\n\nINT. BREE'S APARTMENT - DAY", "INT. KLUTE'S APARTMENT: KLUTE - DAY (NIGHT)", "INT. BREE'S APARTMENT: KLUTE - DAY\n\nHe enters, puzzles, starts checking around (quite\nthoroughly; she might be hiding from him). We CUT\nBACK TO --", "INT. KLUTE'S APARTMENT: BREE, KLUTE - NIGHT", "Klute goes downstairs to back entrance of Faber\nloft. He slips inside. He hears THE SOUNDS OF THE\nBEATING -- a stirring of feet and indistinct impact", "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "The DOORMAN hangs up the brass house-phone, smiles\nand gestures them graciously into the (self\nservice) ELEVATOR. We see Klute -- without making\ntoo much of it -- taking in the mirrors and marble\nwork." ], [ "On the left a portion of the original obscene\nletter. On the right a series of comparison\ndocuments -- beginning with a portion of a personal", "She finds nothing inside but money -- bills\ntotaling fifty dollars. We see her looking for a\nmessage, finding nothing. It comes to her slowly", "He takes out a folded letter and a wallet and\npasses them both through to her. Silence. She\nexamines them with care, then appears to soften a\nlittle; even smiles slightly.", "SPANGLER\n\tAbout his letters -- that's all she\n\tremembered. Quite violent material,\n\tI'd say, obsessive, a quite sick\n\tman. But that's not unusual either.", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "Bree looks about for someone -- then scouts for a\npencil, finds one in a desk (or bench) drawer,\nstarts to readdress the envelope (to direct it back", "open the envelope then and there -- but OTHERS\ncontinue to move past her. She seeks a more private\nplace.", "and they meant nothing. Then they\n\tasked me, well had I been getting\n\tletters, from someone out there in\n\tCabbageville --", "ROSS\n\tExamine this letter please.\n\t\t(continues)\n\tWe recovered that from the shredder", "BREE\n\tAll right, yes, I had been. Those\n\tsick, wild letters -- I'm watching", "He turns quickly. She is holding out, at arms\nlength, a pair of her underpants. With a disgust so\nextreme she can only laugh.", "She waits, still smiling, for a while. But she's\nnot done with him yet. She rolls to lie with her\nupper body on his, trailing her fingers across his\nface. Affectionately, as a good whore --", "Klute pokes through a small collection of personal\neffects -- perhaps an ankle bracelet, rabbits foot,\nfaded snapshot of a child, some letters, pitiful", "She hangs up, goes back to readdressing the\nenvelope. FOOTSTEPS are approaching in her\ndirection. She glances up apologetically.", "disorganization of the room without comment, opens\nhis folder, rummages for the photographs. Then,\nexasperatedly --", "Klute takes up the slip of paper previously given\nhim by Trask. In the same manner as before --", "INT. GRUNEMANN HOUSE: C.U. HOLLY - DAY\n\nHOLLY thrusts the letter back toward camera, toward\nKLUTE crying out -", "The old black lady motions to Trask who crosses to\nher. She points to a picture in the file. She has\nobviously found her missing person among the", "This shot holds both in view for a moment, until\nthey both disappear separately in the traffic.\nCAMERA moves in slightly on litterbox as a man's\nhand comes into frame and removes the tapes.", "It is as black as a dungeon and as low. He lights a\nmatch, but sees no one. There is a sound of\nmovement coming from the floor above, He runs up" ], [ "You were scared. Arlyn Page, that\n\tscared you. Well it should; that's\n\tdeath.\n\tSo what did you do, you ran", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "BREE\n\t\t(coldly)\n\tWell -- she's dead.\n\nAt the corner he slows, starts unzipping his\nbookcase as if indicating a change of route.", "We see BERGER lying at the foot of the stairs. As\nArlyn clatters down toward him, Berger sways up\nonto his knees. His nose is bloodied, he cries.", "KLUTE\n\tI thought you ought to know, Arlyn\n\tPage is dead.\n\n\t\t\tBREE\n\tHow?", "She waits, still smiling, for a while. But she's\nnot done with him yet. She rolls to lie with her\nupper body on his, trailing her fingers across his\nface. Affectionately, as a good whore --", "She finds nothing inside but money -- bills\ntotaling fifty dollars. We see her looking for a\nmessage, finding nothing. It comes to her slowly", "BREE\n\t\t(patiently)\n\tTrina honey, he just wants to find\n\tArlyn Page.\n\nTrina undergoes a change of demeanor. Flatly --", "Then he slowly raises up, shuddering, looking down\nat her. He knows what she's done to him, is\nhelpless to do anything back. He rolls slowly out", "forearm. He and she stand in absolute silence. He\nlooks down at the stain of blood spreading through\nthe fabric of his jacket sleeve. Then he turns out\nof the room and down the stairs.", "somewhere to kill him. He sets about checking the\nlikely places -- first of all the lower hallway,\nthen the stairwell itself, moving steadily\nunalarmedly up.", "SUGARMAN\n\tNo point, thanks.\n\n\t\t\tKLUTE\n\tIs he claiming the body?", "It is as black as a dungeon and as low. He lights a\nmatch, but sees no one. There is a sound of\nmovement coming from the floor above, He runs up", "He tries to rebutton the pajama shirt. She catches\nhis hand, thrusts it underneath. In grief and anger\n--", "He hangs up. An ancient stirring, a kind of\ntriumph. He glances about, then tightens his tie.\nThen it comes to him, after all -- he takes note of", "He shows her a spot or two on his own forearm. She\ncompares, is reassured. Embarrassedly, she tries to\nsmile. It is unsuccessful. She gets up and moves", "We hear him STUMBLE AND FALL on the stairs outside,\nthe sound of body reeling down. Arlyn shrieks and\nraces after: Klute and Bree follow.", "TRASK moves into scene, sits on another piling,\nlooks at him speculatively. Silence. Then --\n\n\t\t\tTRASK\n\tThat's how the other one died, you\n\tknow. In the water.", "look around. Then he pulls the door shut, pulls\nout. And on this we CUT TO --" ], [ "BREE\n\tFrank, he knows you're a pimp. He\n\tknows you were my pimp.\n\nShort silence. Then with the tact of a gentleman\ndealing with rude, difficult woman --", "he was me he'd know better. If he\n\twas even a city boy he'd know\n\tbetter. You're a whore Miss Daniel,", "This is a hangout where black and white pimps wait\nto meet their whores after their night of street\nwalking. This streetwalker world is far removed", "Bree Daniel, and other material he has collected on\nthe case. He puts them in his suitcase and closes\nthe suitcase. He shuts rolltop desk.", "BREE and the OTHER GIRL advance to a pew. A MAN\nsitting there (the other girl's pimp) with a THIRD", "Among the people around the bar, pimps, whores, and\na sprinkling of hopeful Johns and curiosity\nseekers. The camera picks a familiar face: CABLE.", "She waits, still smiling, for a while. But she's\nnot done with him yet. She rolls to lie with her\nupper body on his, trailing her fingers across his\nface. Affectionately, as a good whore --", "(impatiently)\n\tJust tell him Bree Daniel; he knows\n\twho.", "BREE\n\tWhy?\n\n\t\t\tKLUTE\n\tYou know what I'm talking about.\n\tMiss Daniel.\n\n\t\t\tBREE\n\tHonest?", "BREE\n\tBree Daniel. Has he called in yet?\n\tWell if he does, I'm at --\n\t\t(reads phone)", "BREE (CONT'D)\n\tBree Daniel.\n\t\t(listens. Brightly)\n\tOh yes, Ted Carlin, how is Ted?", "Then he slowly raises up, shuddering, looking down\nat her. He knows what she's done to him, is\nhelpless to do anything back. He rolls slowly out", "BREE\n\tGil?\n\nThe pimp looks distrustfully at Klute who reassures\n--", "BREE\n\tI'm sorry, I'm just frightened.\n\tYes.\n\n\t\t\tCABLE\n\tExcuse me Miss Daniel?", "KLUTE\n\tNo, but Bree does. She's\n\tnegotiating for me. Bree Daniel.\n\nCable takes an instant to compute the thing. Then --", "LELA\n\t-- I have to close up now. Leave\n\tyour name and number with his\n\tmessage service, Mrs. Daniel, and\n\twhy don't you just go home and wait\n\tuntil he --", "He tries to rebutton the pajama shirt. She catches\nhis hand, thrusts it underneath. In grief and anger\n--", "get rid of it, they get pimps. Why?\n\t\t(stabs at record)\n\tWhy do you want to know all this?", "He watches BREE with a mixture of amusement and\ncontempt. A GIRL comes over to him and tries to\nproposition him. They appear to be discussing", "from the world of the call girl or the world of\nJanie Dale. CAMERA pans past a group of pimps at\nthe bar taking bet on whose girls have made the" ], [ "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "We follow Klute through the house with suitcase. He\nputs away a last dish, shutting off water, gas, and\nelectricity, and so on -- takes a last look around \n- reaches for the door handle. WE CUT TO --", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "CLOSEUP photograph of dead man. It is replaced with\nseries of photgraphs of dead men. CAMERA pulls back\nto reveal KLUTE flipping through the file of the\nunidentified dead.", "EXT. EMPTY STREET: KLUTE - NIGHT\n\nKlute walks, as before, carrying his suitcase. We\nsee him slow, concernedly looking toward --", "KLUTE\n\tNo, no you're right, I'm sorry. He\n\tuses women; he lets them kill\n\tthemselves. Is that how you want\n\tit?", "Klute takes up the slip of paper previously given\nhim by Trask. In the same manner as before --", "Klute, stepping out, closes, locks and checks the\nhouse door, then moves on to his car -- a vintage\nPlymouth -- and tosses in his suitcase; and then", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "She seems to have expressed it; the balance of\npower. She turns, goes out, heads upstairs. Klute\nunhurriedly takes up his folder of notes, then\nfollows.", "Klute finishes mopping up. SOUND OF TELEPHONE. He\nturns back out of the bathroom and answers it.", "At this point -- or about this point -- Klute takes\nnote of something. A little above her. He grows\nmore watchful, but containing it carefully. We", "through the still-open door. Klute pursues.", "Klute hangs up.", "Klute speaks quietly but with terrible urgency into\nthe phone (dealing evidently with an ethically\nskittish message service at the other end).", "Klute has strolled out of view from above --\ninstantly flattens himself against the wall, eases\nthe door open, about to slip and charge. As Bree\nlabors on --", "Klute stands in silence for a moment or two -- then\ntakes rather more note of his forearm. (Not\nurgently but practically; it behooves him to stop", "BERGER\n\tYou know, help me out. That's my\n\tbaby there, dead. I got to get up.\n\nKlute stares at him -- a quiet horror -- as Berger\ninsists --" ], [ "she remembered Grunemann -- from\n\tthose letters from before, she made\n\tthat connection -- but she hadn't\n\tseen him since and couldn't", "ROSS\n\tWhat about Grunemann's letters to\n\tthe girl, everything like that?", "you, gonna follow you, gonna punish\n\tyou, kill you et cetera. Well, they\n\tsaid, all right that's Grunemann.", "BREE\n\tWho?\n\n\t\t\tKLUTE\n\tTom Grunemann. He wrote you some\n\tletters.", "SPANGLER\n\tAbout his letters -- that's all she\n\tremembered. Quite violent material,\n\tI'd say, obsessive, a quite sick\n\tman. But that's not unusual either.", "On the left a portion of the original obscene\nletter. On the right a series of comparison\ndocuments -- beginning with a portion of a personal", "BREE\n\tThey showed me that one. I\n\tunderstand it's Grunemann, but I\n\ttold them, I just don't remember.\n\nKlute tosses down a second photograph.", "BREE\n\tAll right, yes, I had been. Those\n\tsick, wild letters -- I'm watching", "Grunemann. She is now dressed in something dark.\nShe and the three children sit eating another meal\nin emptiness. She has changed from a joyous woman\nto a woman bereaved.", "about a German girl, no details. We\n\tthink we know why he killed\n\tGrunemann -- he found out Cable was\n\ta dumper; Cable couldn't take that.", "moment he is there, and the next moment he is gone.\nThe camera pans back down the table, only now it is\nempty except for Grunemann's children and Mrs.", "Grunemann smiling back at her. We cut back to a\ncloseup of Mrs. Grunemann looking back at her\nhusband with love. We cut back to Tom Grunemann's", "TRASK\n\tLike for you to look for the man.\n\n\t\t\tBREE\n\tGrunemann? I've looked at him a --", "TRASK'S VOICE\n\t\t(skipping, summarizing)\n\tAll right, there's Tom Grunemann,", "and they meant nothing. Then they\n\tasked me, well had I been getting\n\tletters, from someone out there in\n\tCabbageville --", "Trask has clamped his thumb over the torn image of\nGrunemann, indicates with the other hand --", "conceivable Grunemann's still\n\taround there, just hangin around\n\ther, spooking her. But you know,\n\tthat --", "INT. GRUNEMANN HOUSE: C.U. HOLLY - DAY\n\nHOLLY thrusts the letter back toward camera, toward\nKLUTE crying out -", "As Klute talks he paces back and forth in the\ndarkness. He crosses in front of the lighted\nscreen; the letters projected on the screen ripple\nover his face.", "TRASK\n\tUnless he was involved with\n\tGrunemann's disappearance.\n\n\t\t\tKLUTE\n\tI knew Tom never wrote that letter." ], [ "and the scene has been invaded by POLICE\nTECHNICIANS. One is a photographer; another, a\nfingerprint man, is spraying surfaces with a can of", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "sequence. A POLICE VEHICLE or two has parked at the\nhead of the dock. We see several figures on the\nrear deck of the tug, but it's not clear at this", "tossed it away. We've already\n\tcontacted the New York Police; they\n\tthink they know the girl in\n\tquestion.", "distance what they're doing. The POLICE CAR WITH\nKLUTE arrives. He dismounts and proceeds from dock\nto tug-deck.", "Bree Daniel, and other material he has collected on\nthe case. He puts them in his suitcase and closes\nthe suitcase. He shuts rolltop desk.", "She finds nothing inside but money -- bills\ntotaling fifty dollars. We see her looking for a\nmessage, finding nothing. It comes to her slowly", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "She draws back again. Up to now she's been\nreasonably on top of things. Starting now we see\nher driven toward the things she'd really rather\nnot talk about -- and increasingly more shaken.", "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "Bree moves about energetically, preparing to set\nout on rounds. A KNOCK on the door. She startled,\nthen approaches to door, to peep-hole, lifts lid\naside.", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute is alseep -- more or less -- on his stomach.\nBree beside him lies awake. She trails her fingers\nabout his back. A rather tentative, exploratory", "Klute and Trask are seen entering from the\nProjection Room. In the background we see an old\nblack woman sitting in front of the picture file of\nunidentified dead, carefully studying each picture.", "He moves quickly to the rear of the apartment,\nlooks at the rear window which has been broken\ninward in a litter of glass -- then returns to the\ntable at the front of the apartment; his folders.\nBree cracks wise, unsteadily.", "He hangs up. First he checks out the windows (but -\nif we want to be accurate - from mid room, without\ndirectly approaching the windows themselves). Then", "It is as black as a dungeon and as low. He lights a\nmatch, but sees no one. There is a sound of\nmovement coming from the floor above, He runs up", "We think we know why he killed\n\tMcKenna -- she wanted to blackmail\n\thim for it. All fine. But we got no\n\tbody, no direct witnesses, we can't", "BREE\n\tLook, I told the police everything:\n\tI don't even remember the schlub!\n\nKlute doesn't respond. Klute sets out a photograph\nfor her to look at.", "No answer. He starts downstairs again -- then turns\nback, unlocks the door himself, enters.\n\nINT. BREE'S APARTMENT - DAY" ], [ "wall. CAMERA PANS over various pictures and pieces\nof evidence KLUTE has pinned up in an attempt to\nmake some sense from the puzzle of TOM GRUNMIANN's", "moment he is there, and the next moment he is gone.\nThe camera pans back down the table, only now it is\nempty except for Grunemann's children and Mrs.", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "CAMERA pulls back inside window to Klute staring\noutside, as if still pondering the fate of Tom\nGrunemann. The group in the office includes ROSS", "and the scene has been invaded by POLICE\nTECHNICIANS. One is a photographer; another, a\nfingerprint man, is spraying surfaces with a can of", "We see that we've been looking out from the bedroom\nwindow of this house. Klute turns to rolltop desk\nin bedroom and picture of Tom Grunemann, picture of", "you, gonna follow you, gonna punish\n\tyou, kill you et cetera. Well, they\n\tsaid, all right that's Grunemann.", "The contents of the folders have been spilled\nacross the table and -- we ZOOM IN -- the\nphotographs of Tom Grunemann sorted out and ripped", "Grunemann's been missing for a\n\tyear. And all the FBI has to offer\n\tis a report that must bore even\n\tyou.", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "CLOSEUP photograph of dead man. It is replaced with\nseries of photgraphs of dead men. CAMERA pulls back\nto reveal KLUTE flipping through the file of the\nunidentified dead.", "-- the plant disposal and\n\tincinerator system. Grunemann\n\tapparently typed it Friday, before\n\the left, decided not to send it,", "apart, Even the COMPANY PICNIC photograph has been\npainstakingly torn, specifically to destroy the\nimage of Grunemann in the front row.", "TRASK\n\tUnless he was involved with\n\tGrunemann's disappearance.\n\n\t\t\tKLUTE\n\tI knew Tom never wrote that letter.", "she remembered Grunemann -- from\n\tthose letters from before, she made\n\tthat connection -- but she hadn't\n\tseen him since and couldn't", "Grunemann to show up there. Didn't.\n\tThen we bagged -- we arrested her\n\ton a CP charge, convicted, two", "CLOSEUP photograph of TOM GRUNEMANN pinned to a\nlarge piece of beaverboard KLUTE has placed on a", "Bree Daniel, and other material he has collected on\nthe case. He puts them in his suitcase and closes\nthe suitcase. He shuts rolltop desk.", "BREE\n\tDid he come around often?\n\nKlute hands Grunemann's picture to Bree: Bree shows\nit to Arlyn. Arlyn inspects it, then uncertainly,\nweakly --", "about a German girl, no details. We\n\tthink we know why he killed\n\tGrunemann -- he found out Cable was\n\ta dumper; Cable couldn't take that." ], [ "On the left a portion of the original obscene\nletter. On the right a series of comparison\ndocuments -- beginning with a portion of a personal", "SPANGLER\n\tAbout his letters -- that's all she\n\tremembered. Quite violent material,\n\tI'd say, obsessive, a quite sick\n\tman. But that's not unusual either.", "Bree looks about for someone -- then scouts for a\npencil, finds one in a desk (or bench) drawer,\nstarts to readdress the envelope (to direct it back", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "and they meant nothing. Then they\n\tasked me, well had I been getting\n\tletters, from someone out there in\n\tCabbageville --", "He takes out a folded letter and a wallet and\npasses them both through to her. Silence. She\nexamines them with care, then appears to soften a\nlittle; even smiles slightly.", "She hangs up, goes back to readdressing the\nenvelope. FOOTSTEPS are approaching in her\ndirection. She glances up apologetically.", "BREE\n\tAll right, yes, I had been. Those\n\tsick, wild letters -- I'm watching", "She waits, still smiling, for a while. But she's\nnot done with him yet. She rolls to lie with her\nupper body on his, trailing her fingers across his\nface. Affectionately, as a good whore --", "BREE is farther along in her narrative, more\nfervent in manner. MR. FABER sits at the edge of\nhis seat, ducking his head now and then in\npleasure, but making no move to molest her.", "He only grunts. A sound like 'OK' or 'all right' --\nan invitation to leave. But she won't be driven\naway. More urgently, helplessly:", "He turns quickly. She is holding out, at arms\nlength, a pair of her underpants. With a disgust so\nextreme she can only laugh.", "Cable hastens toward her along a lane of garments.\nIn this brief glimpse a ludicrous and terrifying\nfigure -- a noise, a gesticulation (actually the", "She finds nothing inside but money -- bills\ntotaling fifty dollars. We see her looking for a\nmessage, finding nothing. It comes to her slowly", "amused at his discomfort.\nJANIE DALE, the madame, who has been on the phone\nin the back, puts the receiver down and crosses to", "He seems not to have heard the request. He sits for\na moment. An intellectual interest, a curiosity.\n(Meanwhile, perhaps, we see her starting to slip\nher shoes off, in hopes of running.)", "INT. GRUNEMANN HOUSE: C.U. HOLLY - DAY\n\nHOLLY thrusts the letter back toward camera, toward\nKLUTE crying out -", "utterly passive, smiling calmly, letting him finish\nfor himself. He can't stop -- cries out -- cries\nout again, burying his face against her -- is done.", "BREE\n\tOh you bastard.\n\nBut then she adjusts -- a frightened but matter-of\nfact hooker --", "her, puts his arms around her, soothes her hair. A\ncompletely asexual gesture at this point, a giving\nof comfort. She clings, trembles, burrows. Then --" ], [ "BREE\n\tWhy?\n\n\t\t\tKLUTE\n\tYou know what I'm talking about.\n\tMiss Daniel.\n\n\t\t\tBREE\n\tHonest?", "KLUTE\n\tNo, but Bree does. She's\n\tnegotiating for me. Bree Daniel.\n\nCable takes an instant to compute the thing. Then --", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "BREE VOICE\n\tBree Daniel.\n\t\t(then)\n\tYeah, hi hon.\n\nEXT. BREE APARTMENT - NIGHT", "BREE\n\tBree Daniel. Has he called in yet?\n\tWell if he does, I'm at --\n\t\t(reads phone)", "BREE (CONT'D)\n\tBree Daniel.\n\t\t(listens. Brightly)\n\tOh yes, Ted Carlin, how is Ted?", "BREE VOICE\n\tBree Daniel --\n\n\t\t\tMAN'S VOICE\n\tOh God baby, oh God I really love\n\tyou.", "It is a very small penthouse. KLUTE & BREE stand in\nthe small living room waiting for JANIE DALE. There\nare two very casually dressed prostitutes sitting", "BREE\n\tOh you bastard.\n\nBut then she adjusts -- a frightened but matter-of\nfact hooker --", "BREE\n\tI'm sorry, I'm just frightened.\n\tYes.\n\n\t\t\tCABLE\n\tExcuse me Miss Daniel?", "Bree comes out of door - goes down steps -\nhesitates in front of Klute's apartment struggling\nwith the question of whether to knock. CAMERA pulls", "BREE\n\tWhat about?\n\n\t\t\tKLUTE\n\tMy name's John Klute.\n\n\t\t\tBREE\n\tYou said that.", "BREE VOICE\n\tBree Daniel.", "BREE (CONT'D)\n\tOh boy, say, you think you're\n\tpretty good.\n\n\t\t\tKLUTE\n\tYup.", "Bree has shifted position to a window, is looking\ndown at the street. She sees - and we hear - SOUND\nOF BUS APPROACHING, distantly. She grabs her\nproperties, whips out the door.", "Klute and Bree head toward the rear. Her arrival\ncauses a little stir. She exchanges greetings with\none or two, is watched by others.", "SPANGLER (V.O.)\n\tBree Daniel, Caucasian, twenty\n\teight, good physical health, no", "Bree is about a quarter block away from the\nBrownstone now, hurrying. She waves in the\ndirection of a cab, misses it, continues on. We CUT\nTO --", "BREE\n\tGoodbye.\n\nShe turns smartly away, deposits the tapes in\npassing in a litter box, departs. Klute looks after\nher for a moment, then turns on his way. Then --", "BREE sits, looks with curiosity at housewives her\nage -- bringing their children in from the park, as\nif trying to imagine what their lives could be\nlike. KLUTE emerges from elevator." ], [ "CABLE\n\t\t(unhearing, resumes)\n\tTom Grunemann discovered me -- we\n\twere here on business together, he", "CABLE\n\tNo. It's ridiculous. This has\n\tnothing to do with Tom Grunemann.", "TRASK'S VOICE\n\t\t(skipping, summarizing)\n\tAll right, there's Tom Grunemann,", "CABLE\n\tAll right, suppose it wasn't Tom\n\tGrunemann; where does that get you?", "BREE\n\tWho?\n\n\t\t\tKLUTE\n\tTom Grunemann. He wrote you some\n\tletters.", "Grunemann smiling back at her. We cut back to a\ncloseup of Mrs. Grunemann looking back at her\nhusband with love. We cut back to Tom Grunemann's", "Camera stops at Mrs. Grunemann who sits at the foot\nof the table opposite her husband. She smiles\nacross at him with pleasure. We cut to Tom", "CABLE\n\tKlute, the Company's interest is\n\tTom Grunemann. Solely and", "about a German girl, no details. We\n\tthink we know why he killed\n\tGrunemann -- he found out Cable was\n\ta dumper; Cable couldn't take that.", "KLUTE\n\t\t(slowly)\n\tI know Tom Grunemann.", "He coerces her to the table and unrolls the Company\nouting picture. (We see the rip extending up\nthrough the image of Tom Grunemann in the front\nrow.)\n\n\t\t\tBREE\n\tOh no.", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "CABLE\n\tYou said he was no possible\n\tconnection with Tom. The Page girl\n\ttold you that, not Tom.", "CABLE\n\tTomorrow. See you tomorrow night.\n\nINT. HELICOPTER", "CABLE\n\tYou were hired to look for Tom.", "TRASK\n\tLike for you to look for the man.\n\n\t\t\tBREE\n\tGrunemann? I've looked at him a --", "We see that we've been looking out from the bedroom\nwindow of this house. Klute turns to rolltop desk\nin bedroom and picture of Tom Grunemann, picture of", "ROSS\n\t\t(shortcutting again)\n\tYou knew the subject Thomas\n\tGrunemann. How well?\n\n\t\t\tKLUTE\n\tWe grew up together. Kids.", "CLOSEUP photograph of TOM GRUNEMANN pinned to a\nlarge piece of beaverboard KLUTE has placed on a", "CAMERA pulls back inside window to Klute staring\noutside, as if still pondering the fate of Tom\nGrunemann. The group in the office includes ROSS" ], [ "CABLE\n\t\t(unhearing, resumes)\n\tTom Grunemann discovered me -- we\n\twere here on business together, he", "moment he is there, and the next moment he is gone.\nThe camera pans back down the table, only now it is\nempty except for Grunemann's children and Mrs.", "Klute's manner, over the next few minutes, exhibits\nan absolute, untheatrical, care and competence. A\nman -- Cable -- may in fact be hiding here", "ROSS\n\t\t(to Klute)\n\tBut if Cable killed Grunemann why\n\twould he get you hired to look for\n\tGrunemann?", "about a German girl, no details. We\n\tthink we know why he killed\n\tGrunemann -- he found out Cable was\n\ta dumper; Cable couldn't take that.", "CABLE closes the door and returns to his desk. He\npulls out a tape recorder from a drawer in his\ndesk, rewinds it and turns it on. We hear a", "TRASK\n\tLike for you to look for the man.\n\n\t\t\tBREE\n\tGrunemann? I've looked at him a --", "Grunemann's been missing for a\n\tyear. And all the FBI has to offer\n\tis a report that must bore even\n\tyou.", "CABLE\n\tAll right, suppose it wasn't Tom\n\tGrunemann; where does that get you?", "CABLE\n\tYou were hired to look for Tom.", "TRASK\n\tNo. Not Grunemann. The Dumper. Just\n\tlook around -- I said look for the\n\tDumper.", "ROSS\n\tPrivate investigation, you mean.\n\tYes sir, of course you're entitled,\n\tand there's some very competent --", "Among the people around the bar, pimps, whores, and\na sprinkling of hopeful Johns and curiosity\nseekers. The camera picks a familiar face: CABLE.", "she remembered Grunemann -- from\n\tthose letters from before, she made\n\tthat connection -- but she hadn't\n\tseen him since and couldn't", "KLUTE\n\tHe was a research engineer at the\n\tTuscarora Laboratories in\n\tPennsylvania. He disappeared from\n\tthere last April. I've been hired\n\tto look for him.", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "BREE\n\tWho?\n\n\t\t\tKLUTE\n\tTom Grunemann. He wrote you some\n\tletters.", "you, gonna follow you, gonna punish\n\tyou, kill you et cetera. Well, they\n\tsaid, all right that's Grunemann.", "In the foreground Klute sits down at a phone and\ndials.\n\n\t\t\tKLUTE\n\tYes, Mr. Cable's office, please.", "darkness revealing a sweaty man huddled in the\ncorner looking like some strange animal from a\npainting by Bosch. It is Cable." ], [ "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "INT. KLUTE'S APARTMENT: BREE, KLUTE - NIGHT", "Bree comes out of door - goes down steps -\nhesitates in front of Klute's apartment struggling\nwith the question of whether to knock. CAMERA pulls", "INT. KLUTE'S APARTMENT - NIGHT", "She continues on up; Klute continues down.\n\nINT. BREE'S APARTMENT - DAY", "INT. BREE'S APARTMENT: KLUTE - DAY\n\nHe enters, puzzles, starts checking around (quite\nthoroughly; she might be hiding from him). We CUT\nBACK TO --", "INT. KLUTE'S APARTMENT - DAY", "Klute goes.\n\nINT. KLUTE'S APARTMENT - DAY", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "Klute climbs the stairs to Bree's apartment --\nknocks. He waits. No answer. He calls once --\n\n\t\t\tKLUTE\n\tBree?", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "It is a very small penthouse. KLUTE & BREE stand in\nthe small living room waiting for JANIE DALE. There\nare two very casually dressed prostitutes sitting", "INT. KLUTE'S APARTMENT - DAY (NIGHT)\n\nKLUTE on phone.", "BREE (CONT'D)\n\tI thought you were going back to\n\tthe apartment.\n\n\t\t\tKLUTE\n\t\t(he shakes his head)\n\tYou said you wanted these.", "INT. KLUTE'S APARTMENT: KLUTE - NIGHT", "INT. KLUTE'S APARTMENT: KLUTE - NIGHT", "BREE\n\tWhat about?\n\n\t\t\tKLUTE\n\tMy name's John Klute.\n\n\t\t\tBREE\n\tYou said that.", "INT. KLUTE'S APARTMENT: BREE, KLUTE - DAY (DAWN)", "INT. KLUTE'S APARTMENT: KLUTE - DAY" ], [ "BREE\n\t\t(patiently)\n\tTrina honey, he just wants to find\n\tArlyn Page.\n\nTrina undergoes a change of demeanor. Flatly --", "BREE\n\tOh you bastard.\n\nBut then she adjusts -- a frightened but matter-of\nfact hooker --", "ARLYN enters rather eagerly. She sees Klute first,\nthen Bree -- recognizes her -- retires flat against\na wall, holding one palm outwards to shield her", "Klute and Bree are only a half-step behind. Klute\noffers to assist: Arlyn puts him away ferociously.", "KLUTE\n\tDumper, the man Bree Daniel\n\tmentioned and Arlyn Page knew and\n\tJane McKenna knew.", "KLUTE\n\tI thought you ought to know, Arlyn\n\tPage is dead.\n\n\t\t\tBREE\n\tHow?", "BREE\n\tFrankie kept them in the same\n\tapartment: it cut his travel-time.\n\n\t\t\tKLUTE\n\tThen maybe Arlyn Page knew the\n\tDumper too.", "BREE\n\tFrank, he knows you're a pimp. He\n\tknows you were my pimp.\n\nShort silence. Then with the tact of a gentleman\ndealing with rude, difficult woman --", "BREE and the OTHER GIRL advance to a pew. A MAN\nsitting there (the other girl's pimp) with a THIRD", "BREE\n\tArlyn, just tell me, did Jane have\n\ta dumper, one of her regular Johns?\n\n\t\t\tARLYN\n\tWhat about him? Yes.", "Arlyn seems to accept the bargain. He indicates to\nBree to proceed, stands away a little. Arlyn covers\nher elbow with one hand. Bree manages as best she\ncan.", "She waits, still smiling, for a while. But she's\nnot done with him yet. She rolls to lie with her\nupper body on his, trailing her fingers across his\nface. Affectionately, as a good whore --", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "You were scared. Arlyn Page, that\n\tscared you. Well it should; that's\n\tdeath.\n\tSo what did you do, you ran", "BREE\n\tArlyn Page.\n\n\t\t\tKLUTE\n\tDid she and Jane McKenna know each\n\tother?", "Klute has strolled out of view from above --\ninstantly flattens himself against the wall, eases\nthe door open, about to slip and charge. As Bree\nlabors on --", "KLUTE\n\tArlyn Page was probably an alias.\n\tShe went by the names Terry Arlyn\n\tand June Price. She may have been", "He watches BREE with a mixture of amusement and\ncontempt. A GIRL comes over to him and tries to\nproposition him. They appear to be discussing", "BREE (CONT'D)\n\tSo -- OK -- that's all?\n\nThen again she changes manner -- remembering a\npractical problem, approaching it as a matter-of\nfact hooker.", "Klute and Bree head toward the rear. Her arrival\ncauses a little stir. She exchanges greetings with\none or two, is watched by others." ], [ "Klute comes quickly back downstairs, back into his\nroom, takes up the phone. Through the still-open\ndoor we watch him begin dialing -- then CUT TO --", "Klute has been watching from his window. We hear\nthe BUS PULLING AWAY. He turns back, plugs in the", "Klute takes up the slip of paper previously given\nhim by Trask. In the same manner as before --", "Klute start's out after him -- Frank vaults away\ndown the stairs -- we hear him stumbling and\nrunning -- Klute faces sharply around into the\napartment.\n\nINT. BREE'S APARTMENT - DAY", "We see that we've been looking out from the bedroom\nwindow of this house. Klute turns to rolltop desk\nin bedroom and picture of Tom Grunemann, picture of", "Klute speaks quietly but with terrible urgency into\nthe phone (dealing evidently with an ethically\nskittish message service at the other end).", "She smiles again, hands the letter and wallet back\nout, closes the door (doesn't slam, just closes).\nKlute looks at it blankly for a time, starts to", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "Klute goes downstairs to back entrance of Faber\nloft. He slips inside. He hears THE SOUNDS OF THE\nBEATING -- a stirring of feet and indistinct impact", "BREE\n\tWho?\n\n\t\t\tKLUTE\n\tTom Grunemann. He wrote you some\n\tletters.", "As Klute talks he paces back and forth in the\ndarkness. He crosses in front of the lighted\nscreen; the letters projected on the screen ripple\nover his face.", "She seems to have expressed it; the balance of\npower. She turns, goes out, heads upstairs. Klute\nunhurriedly takes up his folder of notes, then\nfollows.", "Klute jettisons the grocery bags, thrusts himself\ninside, looks quickly about, finds no one. Bree\nfollows more slowly, whispering:\n\n\t\t\tBREE\n\tOh Jesus. Oh Jesus.", "Klute comes out of door -- goes down steps to his\nown apartment. A passerby stops him for directions\nand doesn't seem to notice the blood on his sleeve.\nKlute goes into his apartment.", "Klute and Trask are seen entering from the\nProjection Room. In the background we see an old\nblack woman sitting in front of the picture file of\nunidentified dead, carefully studying each picture.", "Klute pokes through a small collection of personal\neffects -- perhaps an ankle bracelet, rabbits foot,\nfaded snapshot of a child, some letters, pitiful", "C.U. KLUTE\n\nKlute reads. We see a controlled incredulity and\nrevulsion.", "Klute hits him, pursues, recovers, and starts to\nbeat him. BLOOD thickly descends the side of", "BREE\n\tLook, I told the police everything:\n\tI don't even remember the schlub!\n\nKlute doesn't respond. Klute sets out a photograph\nfor her to look at.", "through the still-open door. Klute pursues." ], [ "TRASK\n\tNo, not Grunemann. He's dead. The\n\tman that killed him -- also prob'ly\n\tJane McKenna, also Arlyn Page.", "We think we know why he killed\n\tMcKenna -- she wanted to blackmail\n\thim for it. All fine. But we got no\n\tbody, no direct witnesses, we can't", "You were scared. Arlyn Page, that\n\tscared you. Well it should; that's\n\tdeath.\n\tSo what did you do, you ran", "you, gonna follow you, gonna punish\n\tyou, kill you et cetera. Well, they\n\tsaid, all right that's Grunemann.", "KLUTE\n\tI thought you ought to know, Arlyn\n\tPage is dead.\n\n\t\t\tBREE\n\tHow?", "He coerces her to the table and unrolls the Company\nouting picture. (We see the rip extending up\nthrough the image of Tom Grunemann in the front\nrow.)\n\n\t\t\tBREE\n\tOh no.", "photographs of the unidentified dead. She starts to\nstand but then sits again, obviously shaken.\nKlute crosses to her and gently helps her out of", "discovered me with Jane McKenna.\n\tThen I suppose it was the -- the\n\tcontempt I saw in his face and the\n\tcertainty that sooner or later he'd", "TRASK\n\tA few more days. We know who did\n\tthis.\n\n\t\t\tBREE\n\tSo do I.", "TRASK\n\tLike for you to look for the man.\n\n\t\t\tBREE\n\tGrunemann? I've looked at him a --", "TRASK\n\tUnless he was involved with\n\tGrunemann's disappearance.\n\n\t\t\tKLUTE\n\tI knew Tom never wrote that letter.", "BREE\n\tI knew it, I knew it, a killer.\n\n\t\t\t\t\t DISSOLVE --\n\nC.U., HER FACE", "TRASK'S VOICE\n\t\t(skipping, summarizing)\n\tAll right, there's Tom Grunemann,", "TRASK\n\tNo. Not Grunemann. The Dumper. Just\n\tlook around -- I said look for the\n\tDumper.", "about a German girl, no details. We\n\tthink we know why he killed\n\tGrunemann -- he found out Cable was\n\ta dumper; Cable couldn't take that.", "moment he is there, and the next moment he is gone.\nThe camera pans back down the table, only now it is\nempty except for Grunemann's children and Mrs.", "weekends. They found Tom\n\tGrunemann's body buried there.\n\tThey've notified his wife.", "Camera stops at Mrs. Grunemann who sits at the foot\nof the table opposite her husband. She smiles\nacross at him with pleasure. We cut to Tom", "Grunemann smiling back at her. We cut back to a\ncloseup of Mrs. Grunemann looking back at her\nhusband with love. We cut back to Tom Grunemann's", "TRASK\n\tNow there's a picture I'd like you\n\tto --\n\n\t\t\tBREE\n\tYou said someone killed them, you\n\tsaid you know who, you said that." ] ]

[ "Whose phone does John Klute tap?", "Frank Ligourin is what to Bree Daniels?", "Bree Daniels suffers from what paranoia?", "Arlyn Page's body is found where?", "John Klute traces the letters to who? ", "Why did Peter Cable Kill Tom Gruneman?", "How does Peter Cable die?", "John Klute has a romantic relationship with whom?", "Bree Daniels see what sort of doctor?", "How much did Klute pay for the \"Black Book\" he purchased?", "What does Klute do to Daniel's phone after moving into the basement?", "What does Daniels admit to Klute after they develop a romance?", "Where does Klute rent the apartment?", "Where was the obscene letter found?", "Where does Page's body turn up?", "What was the name of Daniel's former pimp?", "What does Klute do after linking the \"suicide\" cases of the prostitutes?", "Who are the obscene letters of Gruneman's linked to?", "What are police investigating at the beginning of the story?", "What do police discover in Gruneman's office during the investigation?", "To whom is the obscene letter addressed?", "What is Bree Daniels' profession?", "How is Peter Cable connected to Tom Gruneman?", "Who does Peter Cable hire to investigate Gruneman's disappearance?", "Where does John Klute rent an apartment in order to keep tabs on Bree Daniels?", "What is the name of the prostitute who pased the abusive client onto Bree and Arlyn Page?", "To whom does Klute trace the obscene letters?", "Who confesses to killing Gruneman, McKenna and Page?" ]

[ [ "Bree Daniels", "Bree Daniels" ], [ "Former pimp", "Her former pimp" ], [ "That she is being watched.", "being watched" ], [ "Kill Van Knull", "In the Kill Van Kull." ], [ "Peter Cable", "Peter Cable" ], [ "Tom Gruneman witnessed Peter Cable attacking a prostitute.", "Gruneman interrupted him attacking a prostitute" ], [ "Fall from window", "He either jumps out a window or is pushed out." ], [ "Bree Daniels", "The callgirl Bree Daniels." ], [ "Psychiatrist ", "psychiatrist" ], [ "$500", "$500" ], [ "Taps it", "He taps it" ], [ "Feeling numb and being watched.", "A paranoia of being watched " ], [ "In the basement of Daniel's building", "In the basement of Bree building." ], [ "Gruneman's office", "On Tom Gruneman's desk." ], [ "In the Kill Van Kul.", "Kill van kull" ], [ "Frank Ligourin", "Frank Ligourin " ], [ "He revisits Gruneman's contacts.", "He tricks Cable into thinking that he is about to reveal Cable's identity." ], [ "Cable", "Bree Daniels" ], [ "The disappearance of businessman Tom Gruneman", "The disappearance of Tom Gruneman " ], [ "An obscene letter", "An obscene letter" ], [ "Bree Daniels", "Bree Daniels" ], [ "She is a prostitute.", "prostitution" ], [ "Peter Cable is an executive at Tom Gruneman's company.", "Cable attempted to frame Gruneman for murders that Cable committed." ], [ "John Klute.", "John Klute" ], [ "In the basement of her building.", "in the basement of Daniels' building" ], [ "Jane McKenna", "Jane McKenna" ], [ "Peter Cable", "Cable" ], [ "Peter Cable", "Peter Cable." ] ]

84419aee286a289ad219d380579e3b92ae2b6679

test

[ [ "Finding out who you are gets you out of\n\t\ttrouble.\n \nRita thinks about this silently then begins to worry and\ndoubt all over again.", "I'm sorry... I forget your name.\n \n\t\t\t\tRITA\n\t\t\t(almost inaudible)\n\t\tRita.", "You don't remember anything else?\n \n\t\t\t\tRITA\n\t\tNo\n\t\t\t(she covers her eyes with her", "This is your purse. Your name must be in\n\t\tyour purse.\n \nRita takes the purse with sudden trepidation. She hesitates.", "Betty's question hangs in the air. Slowly we move close to\nRita who is on the verge of remembering something.", "RITA\n\t\t\t(still sobbing)\n\t\tI'm...I'm... oh no... I thought when I woke", "BETTY\n\t\tWhat do you mean? You're Rita.\n \n\t\t\t\tRITA", "RITA\n\t\tNothing. I do remember the car crash... I\n\t\ttold you... I remember the glass ... I", "Here I am Hollywood! My name is ... Rita.\n \nThey look out, maybe waiting for an answer blowing in the\nSanta Ana wind.", "All the blinds are closed and the curtains drawn. They move\nslowly, looking around at everything as they go. Betty looks\nto Rita to see if any of this is something she remembers.", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "freezes and keeps Rita quiet with her hand still placed over\nher mouth, but she can't stop Rita's violent shaking nor the\nhorror in her eyes.", "Rita is compelled to go in and as the door clicks shut she\nreacts to the smell.\n \n\t\t\t\t\t\t\tCUT TO:", "Sounds, music churning continues.\n \nGreat sobs, almost hysterical, wrack Rita's body as she bends", "BETTY\n\t\tI guess you're not Diane.\n \nRita, still fighting her fear doesn't answer.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "it.\n \nRita turns and looks up at Betty, her eyes red with crying.\nBetty pulls her up facing her. Rita lets Betty take the", "close-up nameplate\n \nThe word \"DIANE\" is huge from Rita's POV.\n \n\t\t\t\t\t\t\tCUT TO:", "ceiling. She suddenly remembers Rita and her promise to look\nin on her. She gets off the couch and goes into the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:" ], [ "We move back and realize we are on a movie set inside a sound\nstage. A screen test is being shot of the girl and as we\ncontinue moving back we see the director Adam Kesher", "Adam Kesher...he...\n \n\t\t\t\tLORRAINE\n\t\tYeah, right ... get lost!", "On the set Betty hears the song again and turns and watches.\nOnce again her eyes find Adam as his eyes are finding hers.\nThis time Adam turns away. He watches Camilla for a moment.", "know and this is the director Adam\n\t\tKesher and his manager Robert Smith\n \nThe Castigliane brothers do not acknowledge any of this,", "Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN,\na tall sixty year old silver-haired man, comes through the", "KENNY\n\t\tThis is Adam Kesher's house. Where...\n \n\t\t\t\tLORRAINE", "A Hotel Manager is walking toward the door of room 214. He\nknocks softly on the door. The door opens and Adam Kesher is\nstanding there - still beaten looking with remnants of pink", "A secretary answers.\n \n\t\t\t\tSECRETARY\n\t\tAdam Kesher's office.", "crowd and stops at Adam's side. He looks down at Adam, but\nAdam continues watching Camilla Rhodes. Jason follows Adam's\ngaze and he watches Camilla sing then turns back to Adam.", "Ah... she's very pretty.\n \nWe see the photo of the girl - of a nice looking blonde -\nsomeone we've never seen before. Adam looks like he doesn't", "HANK\n\t\tCamilla Rhodes.\n \nAdam wonders - worries.", "As Sarah leads Betty up close Adam turns and his eyes fall on\nthe beautiful face of Betty Elms. Sensing something Betty", "brown suit. Ray and Mr. Darby sit at the head of the table\nand Robert Smith sits along the side. A younger man -ADAM\nKESHER enters and sits down, with an arrogant nonchalance,", "Adam looks up - a beautiful blonde steps into the set in\nfront of the microphone. IT IS THE GIRL! The back-up", "ADAM (cont'd)\n\t\tACTION!\n \nThe strings soar up and Camilla Rhodes begins to sing.", "with Vincenzo and Luigi Castigliane sitting in the back.\n \nKenny knocks on Adam's front door. Lorraine answers.", "Excellent choice, Adam.\n \nAdam is sick with himself.\n \nAcross the room Betty panics when she looks at her watch.", "Adam turns and goes back out of the set onto the stage floor.\nHe looks around. He sees Betty being introduced by Sarah to\nsome of the studio executives. He goes over to his Assistant", "LUIGI CASTIGLIANE\n\t\tThis is the girl.\n \n\t\t\t\tADAM", "next to Robert Smith. Adam is dressed in a frumpy old\nfashioned plaid shirt, worn jacket, dark blue cotton slacks,\nand a pair of old brown wing tips. As he sits he is holding" ], [ "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "Betty and Rita come out of Aunt Ruth's apartment. Betty is\nlaughing, pulling on Rita.\n \n\t\t\t\tBETTY", "Rita shoots a look from Betty to Diane to the nameplate.\n \n\t\t\t\t\t\t\tCUT TO:", "at the door, then at Rita. Rita waits, not knowing what to\ndo.\n \n\t\t\t\tBETTY\n\t\tIt'll be okay.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "INT. AUNT RUTH'S APARTMENT\n \nBetty and Rita both turn with alarm. Betty gets up, stares", "finds Rita breathing normally. She feels her forehead.\nSatisfied that all is well, Betty quietly leaves the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "INT. - AUNT RUTH'S APARTMENT - DAY\n \nThe door slams shut. Rita grabs Betty's shoulders.", "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "BETTY\n\t\tOpen it!\n \nRita slowly unzips the purse. The pressure of its contents", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "scream comes out of Rita as a force propelling her to look\ncloser. Betty lunges after Rita, her eyes also not able to\nleave the sight. She covers Rita's mouth with her hand and", "Moving back we realize that the girls are acting out Betty's\naudition scene. Rita is reading her lines.\n \n\t\t\t\tRITA", "above the clothes rack. Betty brings it down, takes out the\nhat, and Rita puts the purse inside. Betty puts the hat over\nthe purse in the hatbox and puts in back in the closet.", "Betty and Rita are moving down the corridor. They pass a\nsmall room and look in at a couch, wardrobe and make-up\ntable. They move on down the corridor to a door which is", "Betty goes to Rita.\n \n\t\t\t\tBETTY (cont'd)\n\t\tSit down...", "BETTY (cont'd)\n\t\tRita?\n \n\t\t\t\tRITA\n\t\t\t(crying harder)", "BETTY\n\t\tWhoa!\n \nShe catches Rita's look. Rita is staring at her, horrified.", "Oh no ... don't.\n \nBetty doesn't listen to Rita. She knocks strongly on the\ndoor. They stand waiting. There's no answer so Betty knocks" ], [ "else. I want to walk around anyway. I'm\n\t\tin Hollywood and I haven't even seen any\n\t\tof it. Come on Rita. Do you feel up to", "You don't have to tell me. It's written\n\t\tall over that pretty face of yours.. You\n\t\tcame here to be an actress. I just hope", "Here I am Hollywood! My name is ... Rita.\n \nThey look out, maybe waiting for an answer blowing in the\nSanta Ana wind.", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES\n \nDarkness. Distant sounds of freeway traffic. Then the closer", "shining lights of Hollywood laying far below like a galaxy.\nHe looks out and wonders.\n \n\t\t\t\t\t\t\tCUT TO:", "her as she goes. Her face is bright and her eyes move here\nand there taking in everything. She can hardly believe she's\nin Los Angeles - the City of Dreams. She and the old woman", "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "BETTY\n\t\tHere I am Hollywood! My name's Betty.\n \nA pause.", "DISSOLVE TO:\n \nEXT. HOLLYWOOD HILLS - LATER - NIGHT", "nameplate saying \"DIANE\" lays the check on their table\nsmiles, then walks off.\n \n\t\t\t\tHERB", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "before them are the lights of Hollywood with silhouetted\npalms, slow-moving theater kleig lights, and floating above\nit all the giant sign in the hills reading HOLLYWOOD.", "EXT. HOLLYWOOD STREETS - LATER - NIGHT\n \nThe woman crosses Sunset Boulevard. Coming up Sunset in the", "There's a silence.\n \n\t\t\t\tDARK-HAIRED WOMAN\n\t\tThere was an accident. I came here.", "EXT. HOLLYWOOD STREETS - EARLY DAWN\n \nThe clang of a metal gate wakes the woman. It is just getting", "This is Betty, Ruth's niece. In fact and\n\t\tfortunately I was just coming to see\n\t\tBetty. Betty's a young actress and I'm" ], [ "CUT TO:\n \nEXT. NIGHT - MULHOLLAND DRIVE", "DISSOLVE TO:\n \nEXT. MULHOLLAND DRIVE - NIGHT", "BETTY\n\t\tJust to see if there was an accident on\n\t\tMulholland Drive.", "happened last night on Mulholland Drive.\n \n\t\t\t\tVOICE\n\t\tHold please. I'll connect you to", "CUT TO:\n \nEXT. FURTHER UP MULHOLLAND DRIVE - NIGHT", "Suddenly -\n \n\t\t\t\tRITA\n\t\tMulholland Drive.", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "DISSOLVE TO:\n \nEXT. HOLLYWOOD HILLS - LATER - NIGHT", "We move back and realize we are on a movie set inside a sound\nstage. A screen test is being shot of the girl and as we\ncontinue moving back we see the director Adam Kesher", "EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES\n \nDarkness. Distant sounds of freeway traffic. Then the closer", "That's where I was going... Mulholland\n\t\tDrive.\n \n\t\t\t\tBETTY", "street sign is suddenly brightly lit. The words on the sign\nread... \"Mulholland Drive.\" The car moves under the sign as\nit turns and the words fall once again into darkness.", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "her as she goes. Her face is bright and her eyes move here\nand there taking in everything. She can hardly believe she's\nin Los Angeles - the City of Dreams. She and the old woman", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "else. I want to walk around anyway. I'm\n\t\tin Hollywood and I haven't even seen any\n\t\tof it. Come on Rita. Do you feel up to", "Gliding we follow the car - an older black Cadillac limousine\n- as it winds its way up Mulholland Drive through the\ndarkness of the Hollywood Hills. There is no one else on the" ], [ "On the set Betty hears the song again and turns and watches.\nOnce again her eyes find Adam as his eyes are finding hers.\nThis time Adam turns away. He watches Camilla for a moment.", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "crowd and stops at Adam's side. He looks down at Adam, but\nAdam continues watching Camilla Rhodes. Jason follows Adam's\ngaze and he watches Camilla sing then turns back to Adam.", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "noticing. Diane walks quickly over to the manager and the\nwoman in the blue dress. Betty turns and watches a heated\nconversation that she can't hear, but she sees the woman in", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "out a Mont Blanc fountain pen which she puts under Betty's\ncheck as she places it on their table. She does this very\nquickly but Betty notices this and Diane notices Betty", "Betty and Irene give each other a hug. The old gentleman nods\nto Betty and takes Irene off. Betty smiles after them.\nSuddenly someone is grabbing her bags. She turns abruptly to", "(as she kisses him - whispers)\n\t\tBefore I kill you.\n \nJimmy panics and pushes Betty away with his hands on her", "Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN,\na tall sixty year old silver-haired man, comes through the", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "for her to do this because she's ashamed at how the sex of\nthe scene took her over. Tears begin running down her\ncheeks. She backs away.", "pulls her closer. Something has started coming over Betty\nand she catches the drift of this scene in a different way.\nShe's surprising herself.", "turns and sees Adam. They each seem to feel the thrill of\nthe thunderbolt, but each embarrassed to stare longer than\nthey already have turn back and watch the girl finish the\nsong.", "She slowly looks up with the most seductive smile. Jimmy\nlets his hand rest more firmly on her thigh, and squeezes her\nthigh as he sees her smile. With his other hand Jimmy gently", "Jimmy plays this with a big lecherous smile. He gives the\nlast part of the line across her cheek up to her ear.", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "close-up nameplate\n \nThe word \"DIANE\" is huge from Rita's POV.\n \n\t\t\t\t\t\t\tCUT TO:" ], [ "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "himself in the proper line at Ed's desk and quickly fires two\nsilenced shots into the back of her head. The man with the\nvacuum enters. His eyes begin to widen in reaction to the", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "Joe's hand still at the small of his back moves into view\nholding a silenced pistol and in one swift move reaches out\nand fires a hole through Ed's temple - blowing Ed's brains", "Betty now has her ear pressed up against the phone also -\nstraining to hear everything. The machine starts recording.\nBetty hangs up the phone immediately.", "out a Mont Blanc fountain pen which she puts under Betty's\ncheck as she places it on their table. She does this very\nquickly but Betty notices this and Diane notices Betty", "woman and the cab driver get the trunk. She hears them set it\ndown once they have it in the courtyard. She hears the steps\nof the red-headed woman come back inside the apartment. She", "scene. Just then Joe fires a bullet into the man's chest.\nThe man inadvertently flicks on the vacuum cleaner as his\nhands rush up to the wound. As the vacuum cleaner whines Joe", "We can hear the dark-haired woman's frightened breathing as\nshe waits frozen listening.\n \n\t\t\t\t\t\t\tCUT TO:", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "Again we see the back of the man's head. He's dialing a new\nnumber. -He brings the receiver to his ear. We hear a phone\nringing - we hear a click- the phone being answered.", "On the set Betty hears the song again and turns and watches.\nOnce again her eyes find Adam as his eyes are finding hers.\nThis time Adam turns away. He watches Camilla for a moment.", "shrieks and leaps on Kenny. Her long fingernails going for\nhis eyes. Kenny slaps Lorraine hard. The shriek stops\ninstantly and she falls out cold on the carpet. Gene is back", "Kenny begins snapping the shaft of each club. As he snaps\neach club we see Lorraine and Gene remain out cold on the\nfloor.", "remains. She goes further into the apartment and crouches\ndown in a back corner of the kitchen. She listens as\nfootsteps come across the courtyard. She hears the red-headed", "Betty slowly and quietly hangs up the phone. She sits for a\nmoment listening. Silently she stands and moves toward the\nbedroom. As she approaches the bedroom door she stops at", "hears the footsteps go all around the apartment and then she\nhears the footsteps come toward the kitchen. Remaining\nfrozen, the dark-haired woman's eyes look up as the red-", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "The driver, still in his seat, has a pistol with a silencer\nattached pointing at the woman. The other man is getting out\nof the car. The woman is clutching the seat and the door" ], [ "We move in to the pile of money next to Rita's purse. Past\nthat we move down inside Rita's purse. We see the Blue Key\nand move closer to it until it fills the screen.", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "Rita takes the massive wad of bills out of the purse and sets\nit on the bed. She reaches back inside and comes up with the\nonly other remaining item in the purse ... A BLUE KEY. Betty", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "sees Rita's expression change to a kind of horror.\n(note: This blue key is made of very fine heavy metal and\ndoes not look like a door key.)", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "Ray crosses a carpeted closed area. He mounts a flight of\nstairs. At the top of the stairs there's a plain blonde wood\ndoor. Ray punches in a code on a security panel next to it.", "over to the dresser and opening the top drawer. He removes a\nlarge case.\n \n\t\t\t\tLORRAINE (cont'd)", "and unlocks her door. He opens her door. As he reaches for\nher, the woman's face becomes flooded with light. Her eyes\ndart to the front windshield. The driver, flooded with light,", "When you think about them... the\n\t\tmoney... the key ... does it make you\n\t\tremember anything?\n \nSilence.", "You may go right in, Ray.\n \nRay crosses to a blonde wood double door and waits. The\nreceptionist pushes a button behind her desk - chimes sound", "The door opens automatically. Ray passes through and goes\ndown a narrow hall. At the end of the hall there is a small\nelevator. Again Ray punches in a code. The elevator opens and", "coming closer. He sets the jewelry case and the paint can on\nthe floor, kneels down and opens the paint can with his car\nkey. Just as Lorraine enters the kitchen, he opens the", "turns on the light and looks around. He spots some paint\ncans on a shelf and grabs one and goes back into the kitchen.\nHe can hear Lorraine calling his name. She seems to be", "himself in the proper line at Ed's desk and quickly fires two\nsilenced shots into the back of her head. The man with the\nvacuum enters. His eyes begin to widen in reaction to the", "scene. Just then Joe fires a bullet into the man's chest.\nThe man inadvertently flicks on the vacuum cleaner as his\nhands rush up to the wound. As the vacuum cleaner whines Joe", "however, during the introductions the one with the briefcase\nremoves a photo of a girl and sets it in front of Ray.\n \n\t\t\t\tRAY (cont'd)", "headed woman walks right past her, grabs a set of keys off\nthe kitchen counter, then leaves the apartment. The woman can\nhear the door being locked. She lets go, slides to the", "woman and the cab driver get the trunk. She hears them set it\ndown once they have it in the courtyard. She hears the steps\nof the red-headed woman come back inside the apartment. She", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty" ], [ "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "Betty and Rita are moving down the corridor. They pass a\nsmall room and look in at a couch, wardrobe and make-up\ntable. They move on down the corridor to a door which is", "Betty goes to Rita.\n \n\t\t\t\tBETTY (cont'd)\n\t\tSit down...", "Betty and Rita come out of Aunt Ruth's apartment. Betty is\nlaughing, pulling on Rita.\n \n\t\t\t\tBETTY", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "Betty gets Rita out of the cab and pays the driver, who then\ndrives away. The girls go through a rear gate and enter the\ncomplex walking along a curving concrete walk. This leads", "Moving back we realize that the girls are acting out Betty's\naudition scene. Rita is reading her lines.\n \n\t\t\t\tRITA", "Betty and Rita start to leave.\n \n\t\t\t\tMIDDLE-AGED WOMAN (cont'd)\n\t\tShe hasn't been around for a few days ...", "Betty and Rita are sitting on the leather couch having some\ncoffee. The front door to the apartment is open and sunlight\nis pouring in through the screen door. Betty looks at her", "Betty and Rita enter Denny's.\n \n\t\t\t\t\t\t\tCUT TO:\n \nINT.- DENNY'S - DAY", "CUT TO:\n \nINT. CAB - DAY\n \nBetty reaches and gently grabs Rita's shoulder. She speaks", "Betty and Rita are on their hands and knees around the coffee\ntable. A map of L.A. is unfolded and Betty is running her\nfinger along a street. Her finger stops.", "RITA\n\t\tOkay.\n \nBetty closes the door and heads across the courtyard. She", "We see the red brick building. It is Denny's. Betty and\nRita are walking to the payphone. Betty digs out some change", "at the door, then at Rita. Rita waits, not knowing what to\ndo.\n \n\t\t\t\tBETTY\n\t\tIt'll be okay.", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "BETTY (cont'd)\n\t\tRita?\n \n\t\t\t\tRITA\n\t\t\t(crying harder)", "finds Rita breathing normally. She feels her forehead.\nSatisfied that all is well, Betty quietly leaves the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "INT. - BUNGALOW #17 - DAY\n \nBetty begins to go through the bungalow and Rita follows." ], [ "BETTY\n\t\tOpen it!\n \nRita slowly unzips the purse. The pressure of its contents", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "at the door, then at Rita. Rita waits, not knowing what to\ndo.\n \n\t\t\t\tBETTY\n\t\tIt'll be okay.", "mirror. She turns and her gaze falls to her purse. She\npicks it up and looks questioningly at Betty.\n \n\t\t\t\tBETTY (cont'd)", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "Betty looks down at the purse next to Rita's dress. She picks\nit up and hands it to Rita.\n \n\t\t\t\tBETTY", "Betty and Rita come out of Aunt Ruth's apartment. Betty is\nlaughing, pulling on Rita.\n \n\t\t\t\tBETTY", "scream comes out of Rita as a force propelling her to look\ncloser. Betty lunges after Rita, her eyes also not able to\nleave the sight. She covers Rita's mouth with her hand and", "above the clothes rack. Betty brings it down, takes out the\nhat, and Rita puts the purse inside. Betty puts the hat over\nthe purse in the hatbox and puts in back in the closet.", "Betty goes to Rita.\n \n\t\t\t\tBETTY (cont'd)\n\t\tSit down...", "Betty puts out her hand. Rita looks at it for a moment,\nsmiles, and they shake.\n \n\t\t\t\t\t\t\tCUT TO:", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "Betty and Irene give each other a hug. The old gentleman nods\nto Betty and takes Irene off. Betty smiles after them.\nSuddenly someone is grabbing her bags. She turns abruptly to", "BETTY\n\t\tWhoa!\n \nShe catches Rita's look. Rita is staring at her, horrified.", "BETTY (cont'd)\n\t\tRita?\n \n\t\t\t\tRITA\n\t\t\t(crying harder)", "This is your purse. Your name must be in\n\t\tyour purse.\n \nRita takes the purse with sudden trepidation. She hesitates.", "Oh no ... don't.\n \nBetty doesn't listen to Rita. She knocks strongly on the\ndoor. They stand waiting. There's no answer so Betty knocks", "Rita takes the massive wad of bills out of the purse and sets\nit on the bed. She reaches back inside and comes up with the\nonly other remaining item in the purse ... A BLUE KEY. Betty", "The girls walk along the busy boulevard, past guitar shops,\nvideo stores. Betty is looking for a payphone. Rita's eyes\ndart back and forth nervously. She's beginning to feel", "BETTY (cont'd)\n\t\t\t(to Rita)\n\t\tSay it!\n \n\t\t\t\tRITA" ], [ "Adam turns white and stands very still as this sinks in. The\nCastigliane brothers leave. As the big blonde wood doors\nclose behind them Adam starts to boil.", "know and this is the director Adam\n\t\tKesher and his manager Robert Smith\n \nThe Castigliane brothers do not acknowledge any of this,", "with Vincenzo and Luigi Castigliane sitting in the back.\n \nKenny knocks on Adam's front door. Lorraine answers.", "The men in dark suits go in as if they owned the place. Ray,\nMr. Darby and Robert Smith stand immediately. Adam remains\nseated. Mr. Darby is the only one near enough to attempt a", "The Castigliane brothers begin to leave. Adam stands up\ntrembling with anger.\n \n\t\t\t\tADAM", "of Adam and begins to speak with a true, slow Western drawl.\n \n\t\t\t\tCOWBOY\n\t\tHowdy!", "Throw him out!\n \nLorraine opens the front door while Gene picks Adam up, moves\nhim across the carpet and heaves him out onto the front lawn.", "We move back and realize we are on a movie set inside a sound\nstage. A screen test is being shot of the girl and as we\ncontinue moving back we see the director Adam Kesher", "He whacks two big dents in the hood, then smashes out a\nheadlight. The limo driver starts towards him. Adam laughs,\nruns to his car and takes off.", "opens a briefcase. Ray has been trying to make\nintroductions.\n \n\t\t\t\tRAY\n\t\tAh... the Castigliane brothers. Let me", "CYNTHIA\n\t\tSomething tells me this guy is connected\n\t\twith what's happening, Adam, and I think\n\t\tyou should do it and I think you should", "Adam turns and goes back out of the set onto the stage floor.\nHe looks around. He sees Betty being introduced by Sarah to\nsome of the studio executives. He goes over to his Assistant", "Lorraine slams the door behind him.\n \nAdam picks himself up, severely dazed and bleeding pretty\nbadly, he heads for his car.", "Director and looks down at the man's notepad.\n \n\t\t\t\tADAM (cont'd)\n\t\tWho's next, Hank?", "next to Robert Smith. Adam is dressed in a frumpy old\nfashioned plaid shirt, worn jacket, dark blue cotton slacks,\nand a pair of old brown wing tips. As he sits he is holding", "brown suit. Ray and Mr. Darby sit at the head of the table\nand Robert Smith sits along the side. A younger man -ADAM\nKESHER enters and sits down, with an arrogant nonchalance,", "Adam gets up off the floor bleeding from the nose and tries\nto hit Gene. Gene blocks his punch and slams Adam again,\nknocking him down to the kitchen floor where he lands and", "ADAM\n\t\tLook... I love you, but there's no way\n\t\tthey're gonna let me cast this thing", "Adam pauses.\n \n\t\t\t\tADAM\n\t\tGet Jason over here.", "He gets out of his chair and walks into the set - up to the\nblonde girl. He shakes her hand.\n \n\t\t\t\tADAM (cont'd)" ], [ "We move back and realize we are on a movie set inside a sound\nstage. A screen test is being shot of the girl and as we\ncontinue moving back we see the director Adam Kesher", "Silence. Ray doesn't know what to do. He struggles to\ninterpret Mr. Roque's silence. He waits. Mr. Roque does\nnothing but stare.", "happened last night on Mulholland Drive.\n \n\t\t\t\tVOICE\n\t\tHold please. I'll connect you to", "A Hotel Manager is walking toward the door of room 214. He\nknocks softly on the door. The door opens and Adam Kesher is\nstanding there - still beaten looking with remnants of pink", "voice can be heard in several locations throughout the stage.\n \n\t\t\t\tHANK\n\t\t\t(through walkie-talkie)", "surrounded by his crew. Behind them there are many people\nstanding, eating, watching, working. The stage is full and\nbustling. The song plays loudly over. Sarah and Nicki bring", "Luigi and takes a step back. The room becomes silent -\nwatching the Espresso Man and Luigi. Without looking up Luigi\nspeaks softly.", "There's a silence.\n \n\t\t\t\tDARK-HAIRED WOMAN\n\t\tThere was an accident. I came here.", "ever seen. His manservant stands in the shadows behind him.\n \n\t\t\t\tRAY\n\t\tGood afternoon Mr. Roque. (pronounced", "I never see that face ever outside a\n\t\tdream.\n \nHerb stares at Dan to see if he will continue. Dan looks", "As Herb is paying the bill he looks over at Dan just as Dan\nis turning to look at him. From Dan's point of view Herb is\nstanding in exactly the same spot as he stood in the dream.", "of Adam and begins to speak with a true, slow Western drawl.\n \n\t\t\t\tCOWBOY\n\t\tHowdy!", "THE MAN\n\t\tHello.\n \n\t\t\t\t\t\t\tCUT TO:", "Night descends on Los Angeles. Millions of lights down below\ntwinkle like stars.\n \n\t\t\t\t\t\t\tCUT TO:", "Betty still playing it in a dreamy whisper... lost in heat.\n \n\t\t\t\tBETTY\n\t\tStop... just stop! That's what you said", "shining lights of Hollywood laying far below like a galaxy.\nHe looks out and wonders.\n \n\t\t\t\t\t\t\tCUT TO:", "here? ... I'm in the middle of making a\n\t\tpicture.\n \nSilence for a moment. A man enters through a rear door and", "Again we see only the back of the man's head.\n \n\t\t\t\tTHE MAN\n\t\tSame.", "Again we see the back of the man's head. He's dialing a new\nnumber. -He brings the receiver to his ear. We hear a phone\nringing - we hear a click- the phone being answered.", "With his right hand he lifts the espresso cup and places it\nabove the napkin. He brings the cup and napkin to his mouth.\nHe takes a sip of espresso. A small fleeting expression forms" ], [ "We see the red brick building. It is Denny's. Betty and\nRita are walking to the payphone. Betty digs out some change", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "Dan takes Herb across the front of Denny's to a narrow\nsidewalk that leads down the side toward the back.\n \nThey begin walking down the narrow sidewalk - past a", "Betty and Rita enter Denny's.\n \n\t\t\t\t\t\t\tCUT TO:\n \nINT.- DENNY'S - DAY", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "CUT TO:\n \nEXT. DENNY'S", "DAN\n\t\tThis Denny's.\n \n\t\t\t\tHERB\n\t\tOkay. Why this Denny's?", "CUT TO:\n \nEXT. DENNY'S RESTAURANT - HOLLYWOOD - NIGHT", "INT. DENNY'S RESTAURANT , HOLLYWOOD - MORNING\n \nTwo well-dressed men HERB and DAN (mid 30's) are sitting at a", "We move back and realize we are on a movie set inside a sound\nstage. A screen test is being shot of the girl and as we\ncontinue moving back we see the director Adam Kesher", "nameplate saying \"DIANE\" lays the check on their table\nsmiles, then walks off.\n \n\t\t\t\tHERB", "Herb gets a strange feeling, turns back and finishes up with\nthe cashier. He motions for Dan to follow him. Dan rises\nreluctantly and he and Herb make their way outside.", "Diane searches through her many checks to find Betty and\nRita's.\n \nThe manager of Denny's, standing with a woman in a blue", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "We drift along the red bricks past the payphone, along the\nwall until we come to the corner. Slowly we round the corner\nand move to a dark alley. There amongst the dumpsters and", "turns on the light and looks around. He spots some paint\ncans on a shelf and grabs one and goes back into the kitchen.\nHe can hear Lorraine calling his name. She seems to be", "The girls walk along the busy boulevard, past guitar shops,\nvideo stores. Betty is looking for a payphone. Rita's eyes\ndart back and forth nervously. She's beginning to feel", "Betty and Rita are on their hands and knees around the coffee\ntable. A map of L.A. is unfolded and Betty is running her\nfinger along a street. Her finger stops.", "Two guys, JOE ( the guy who killed Ed in the sixth floor\noffice) and BILLY another unkept, rocker type delivery man\nare standing waiting for their chili dogs with a girl, LANEY,", "remains. She goes further into the apartment and crouches\ndown in a back corner of the kitchen. She listens as\nfootsteps come across the courtyard. She hears the red-headed" ], [ "hears voices as he throws the door open.\n \nLORRAINE and the poolman GENE are in bed.\n \n\t\t\t\tLORRAINE", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "INT. BEDROOM - DAY\n \nRita is still asleep when she enters. She leans down and", "and unlocks her door. He opens her door. As he reaches for\nher, the woman's face becomes flooded with light. Her eyes\ndart to the front windshield. The driver, flooded with light,", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "She slams the door, but Kenny's foot stops it and pushes it\nback with a force that shakes the wall as the door slams open\nonce again. Kenny enters the house.", "the eerie look of one possessed. She knocks mechanically on\nthe door.\n \n\t\t\t\t\t\t\tCUT TO:", "CUT TO:\n \nINT. APARTMENT - BEDROOM", "turns on the light and looks around. He spots some paint\ncans on a shelf and grabs one and goes back into the kitchen.\nHe can hear Lorraine calling his name. She seems to be", "ceiling. She suddenly remembers Rita and her promise to look\nin on her. She gets off the couch and goes into the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "over to the dresser and opening the top drawer. He removes a\nlarge case.\n \n\t\t\t\tLORRAINE (cont'd)", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "He hears a noise, something falling. He walks in the\ndirection of the noise. It leads him to his bedroom. His\nexpression darkens as he approaches the closed door. He", "hears the footsteps go all around the apartment and then she\nhears the footsteps come toward the kitchen. Remaining\nfrozen, the dark-haired woman's eyes look up as the red-", "Lorraine slams the door behind him.\n \nAdam picks himself up, severely dazed and bleeding pretty\nbadly, he heads for his car.", "CUT TO:\n \nINT. APARTMENT - EARLY DAWN\n \nThe woman comes into a living room where a single trunk", "CUT TO:\n \nINT. AUNT RUTH'S APARTMENT. - MORNING", "with Vincenzo and Luigi Castigliane sitting in the back.\n \nKenny knocks on Adam's front door. Lorraine answers." ], [ "Rita takes the massive wad of bills out of the purse and sets\nit on the bed. She reaches back inside and comes up with the\nonly other remaining item in the purse ... A BLUE KEY. Betty", "We move in to the pile of money next to Rita's purse. Past\nthat we move down inside Rita's purse. We see the Blue Key\nand move closer to it until it fills the screen.", "sees Rita's expression change to a kind of horror.\n(note: This blue key is made of very fine heavy metal and\ndoes not look like a door key.)", "This is your purse. Your name must be in\n\t\tyour purse.\n \nRita takes the purse with sudden trepidation. She hesitates.", "BETTY\n\t\tOpen it!\n \nRita slowly unzips the purse. The pressure of its contents", "ceiling. She suddenly remembers Rita and her promise to look\nin on her. She gets off the couch and goes into the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "INT. AUNT RUTH'S APARTMENT - BEDROOM - NIGHT\n \nRita has just taken the hatbox from the closet shelf and is\nsetting it on the bed.", "Betty looks down at the purse next to Rita's dress. She picks\nit up and hands it to Rita.\n \n\t\t\t\tBETTY", "Ray crosses a carpeted closed area. He mounts a flight of\nstairs. At the top of the stairs there's a plain blonde wood\ndoor. Ray punches in a code on a security panel next to it.", "Coco returns with the key and opens the screen door inhaling\na huge drag off her cigarette. She starts off into the\ncourtyard and Betty picks up her bags and follows. As Coco", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "above the clothes rack. Betty brings it down, takes out the\nhat, and Rita puts the purse inside. Betty puts the hat over\nthe purse in the hatbox and puts in back in the closet.", "After they pass each other Betty turns back and sees the boy\nand the woman enter 1612 Havenhurst. Betty and Rita continue", "turns on the light and looks around. He spots some paint\ncans on a shelf and grabs one and goes back into the kitchen.\nHe can hear Lorraine calling his name. She seems to be", "Betty and Rita are moving down the corridor. They pass a\nsmall room and look in at a couch, wardrobe and make-up\ntable. They move on down the corridor to a door which is", "He hurries off, but soon returns carrying two heavy\nsuitcases, followed by an older woman in a yellow dress.\nBoth Betty and Rita crawl further forward. They see the limo", "coming closer. He sets the jewelry case and the paint can on\nthe floor, kneels down and opens the paint can with his car\nkey. Just as Lorraine enters the kitchen, he opens the", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "woman and the cab driver get the trunk. She hears them set it\ndown once they have it in the courtyard. She hears the steps\nof the red-headed woman come back inside the apartment. She", "Rita is compelled to go in and as the door clicks shut she\nreacts to the smell.\n \n\t\t\t\t\t\t\tCUT TO:" ], [ "Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN,\na tall sixty year old silver-haired man, comes through the", "On the set Betty hears the song again and turns and watches.\nOnce again her eyes find Adam as his eyes are finding hers.\nThis time Adam turns away. He watches Camilla for a moment.", "crowd and stops at Adam's side. He looks down at Adam, but\nAdam continues watching Camilla Rhodes. Jason follows Adam's\ngaze and he watches Camilla sing then turns back to Adam.", "Moving back we realize that the girls are acting out Betty's\naudition scene. Rita is reading her lines.\n \n\t\t\t\tRITA", "BETTY (cont'd)\n\t\tAnd I've got an audition in one hour.\n \n\t\t\t\t\t\t\tCUT TO:", "ADAM (cont'd)\n\t\tACTION!\n \nThe strings soar up and Camilla Rhodes begins to sing.", "sounds beautiful ...oh well, I hope you\n\t\tpacked your coat. (laughs). You mean\n\t\tthe audition...Wally Brown... she didn't", "Camilla Rhodes next!", "delivering faxed pages of a scene for her\n\t\taudition tomorrow. Here they are honey.\n\t\tNow come along Louise and I'll take you\n\t\thome.", "You don't have to tell me. It's written\n\t\tall over that pretty face of yours.. You\n\t\tcame here to be an actress. I just hope", "Betty into this scene through a giant stage door. A guard\nmimes for them to be quiet as they approach the set. The\nsong continues to play over.", "Jimmy plays this with a big lecherous smile. He gives the\nlast part of the line across her cheek up to her ear.", "Everyone in the room has become mesmerized by Betty, but they\nsoon drift back to reality and begin applauding the\nperformance. Sarah turns to Nicki.", "turns and sees Adam. They each seem to feel the thrill of\nthe thunderbolt, but each embarrassed to stare longer than\nthey already have turn back and watch the girl finish the\nsong.", "surrounded by his crew. Behind them there are many people\nstanding, eating, watching, working. The stage is full and\nbustling. The song plays loudly over. Sarah and Nicki bring", "BETTY\n\t\tMy name is Betty Elms. I'm here to\n\t\taudition for... Mr. Brown", "WALLY (cont'd)\n\t\tI took the liberty of inviting an extra\n\t\tperson to see your audition. She saw", "Sounds, music churning continues.\n \nGreat sobs, almost hysterical, wrack Rita's body as she bends", "her as she goes. Her face is bright and her eyes move here\nand there taking in everything. She can hardly believe she's\nin Los Angeles - the City of Dreams. She and the old woman", "Adam looks up - a beautiful blonde steps into the set in\nfront of the microphone. IT IS THE GIRL! The back-up" ], [ "shrieks and leaps on Kenny. Her long fingernails going for\nhis eyes. Kenny slaps Lorraine hard. The shriek stops\ninstantly and she falls out cold on the carpet. Gene is back", "Excellent choice, Adam.\n \nAdam is sick with himself.\n \nAcross the room Betty panics when she looks at her watch.", "Rita looks as though she's walking in a trance. Through the\nhalf light they move deeper into the bungalow to a corridor.", "road. Her face is vacant. There is a bleeding cut just above\nher forehead. She stands for a moment clutching her purse -\nlost , then begins to walk as if in a trance across", "himself in the proper line at Ed's desk and quickly fires two\nsilenced shots into the back of her head. The man with the\nvacuum enters. His eyes begin to widen in reaction to the", "remains. She goes further into the apartment and crouches\ndown in a back corner of the kitchen. She listens as\nfootsteps come across the courtyard. She hears the red-headed", "look of horror directly toward us until her tortured face\nfills the screen.\n \nSounds, churning music.", "Sounds, music churning continues.\n \nGreat sobs, almost hysterical, wrack Rita's body as she bends", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "We can hear the dark-haired woman's frightened breathing as\nshe waits frozen listening.\n \n\t\t\t\t\t\t\tCUT TO:", "the eerie look of one possessed. She knocks mechanically on\nthe door.\n \n\t\t\t\t\t\t\tCUT TO:", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "Rita lies down and is instantly asleep. Betty leans over her\nand listens to her breathing. She gets a blanket and drapes\nit over the beautiful sleeping Rita, then leaves the room.", "This will be the end of everything.\n \nJimmy gets lost. He doesn't know where he is anymore. He\ncan only see Betty's eyes.", "brings her close. The scream is stifled by Betty's hand.\n \nIn the silence that follows, knocking can be heard. Betty", "The music fades.\n \nCoco looks down suddenly. On the cobblestone courtyard in\nfront of her she sees a fresh product of waste from a dog.", "An older, beautiful woman - drunk, is walking slowly -\nstrangely toward the door of Aunt Ruth's apartment.\n \n\t\t\t\t\t\t\tCUT TO:", "hears the footsteps go all around the apartment and then she\nhears the footsteps come toward the kitchen. Remaining\nfrozen, the dark-haired woman's eyes look up as the red-", "Betty slowly and quietly hangs up the phone. She sits for a\nmoment listening. Silently she stands and moves toward the\nbedroom. As she approaches the bedroom door she stops at", "desperately down another residential street. A drunken couple\nround the corner up ahead and start up the sidewalk toward\nher. She runs off the sidewalk and into the bushes in front" ], [ "Here I am Hollywood! My name is ... Rita.\n \nThey look out, maybe waiting for an answer blowing in the\nSanta Ana wind.", "Rita shoots a look from Betty to Diane to the nameplate.\n \n\t\t\t\t\t\t\tCUT TO:", "This is your purse. Your name must be in\n\t\tyour purse.\n \nRita takes the purse with sudden trepidation. She hesitates.", "BETTY\n\t\tWhat do you mean? You're Rita.\n \n\t\t\t\tRITA", "RITA\n\t\tShe has pretty red hair... she is very\n\t\tkind I think.", "Finding out who you are gets you out of\n\t\ttrouble.\n \nRita thinks about this silently then begins to worry and\ndoubt all over again.", "RITA\n\t\t\t(still sobbing)\n\t\tI'm...I'm... oh no... I thought when I woke", "RITA\n\t\tDiane Selwyn. Maybe it's my name.", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "BETTY (cont'd)\n\t\tRita?\n \n\t\t\t\tRITA\n\t\t\t(crying harder)", "Moving back we realize that the girls are acting out Betty's\naudition scene. Rita is reading her lines.\n \n\t\t\t\tRITA", "Rita lies down and is instantly asleep. Betty leans over her\nand listens to her breathing. She gets a blanket and drapes\nit over the beautiful sleeping Rita, then leaves the room.", "Betty sits Rita on the bed. She leans down and looks at her\nhead and face.\n \n \n\t\t\t\tBETTY (cont'd)", "DARK-HAIRED WOMAN\n\t\tMy name is Rita.\n \n\t\t\t\tBETTY", "close-up nameplate\n \nThe word \"DIANE\" is huge from Rita's POV.\n \n\t\t\t\t\t\t\tCUT TO:", "INT. AUNT RUTH'S BEDROOM - DAY\n \nRita is now dressed to go out and is studying herself in a", "and Rita call out.)\n \n\t\t\t\tRITA\n\t\tGood luck!\n \n\t\t\t\tBETTY" ], [ "CUT TO:\n \nEXT. NIGHT - MULHOLLAND DRIVE", "CUT TO:\n \nEXT. FURTHER UP MULHOLLAND DRIVE - NIGHT", "DISSOLVE TO:\n \nEXT. MULHOLLAND DRIVE - NIGHT", "Detective Harry McKnight turns and crosses Mulholland. His\neyes move over each blade of grass at the shoulder - each\ndesert bush just beyond. He slowly raises his gaze to the", "EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES\n \nDarkness. Distant sounds of freeway traffic. Then the closer", "Mulholland down through the bushes and into darkness.", "street sign is suddenly brightly lit. The words on the sign\nread... \"Mulholland Drive.\" The car moves under the sign as\nit turns and the words fall once again into darkness.", "DISSOLVE TO:\n \nEXT. HOLLYWOOD HILLS - LATER - NIGHT", "Gliding we follow the car - an older black Cadillac limousine\n- as it winds its way up Mulholland Drive through the\ndarkness of the Hollywood Hills. There is no one else on the", "The cars are travelling so fast that they seem to almost\nfloat as they fly with psychotic speed down both lanes of\nMulholland Drive.", "happened last night on Mulholland Drive.\n \n\t\t\t\tVOICE\n\t\tHold please. I'll connect you to", "Suddenly -\n \n\t\t\t\tRITA\n\t\tMulholland Drive.", "After they pass each other Betty turns back and sees the boy\nand the woman enter 1612 Havenhurst. Betty and Rita continue", "We move back and realize we are on a movie set inside a sound\nstage. A screen test is being shot of the girl and as we\ncontinue moving back we see the director Adam Kesher", "excited and animated way. Just after they enter through the\niron gates of 1612 Havenhurst and are out of sight we notice\na car moving slowly up Havenhurst toward us. We notice two", "BETTY\n\t\tJust to see if there was an accident on\n\t\tMulholland Drive.", "That's where I was going... Mulholland\n\t\tDrive.\n \n\t\t\t\tBETTY", "Beachwood Canyon. There's a corral up\n\t\tthere where he'll be.\n \n\t\t\t\tADAM", "crash and I want to know if there was an\n\t\taccident on Mulholland Drive.\n \n\t\t\t\tSERGEANT BAXTER", "CUT TO:\n \nINT. - BUNGALOW #17 - DAY" ], [ "Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN,\na tall sixty year old silver-haired man, comes through the", "crowd and stops at Adam's side. He looks down at Adam, but\nAdam continues watching Camilla Rhodes. Jason follows Adam's\ngaze and he watches Camilla sing then turns back to Adam.", "On the set Betty hears the song again and turns and watches.\nOnce again her eyes find Adam as his eyes are finding hers.\nThis time Adam turns away. He watches Camilla for a moment.", "HANK\n\t\tCamilla Rhodes.\n \nAdam wonders - worries.", "ADAM (cont'd)\n\t\tACTION!\n \nThe strings soar up and Camilla Rhodes begins to sing.", "Camilla Rhodes next!", "Adam turns and goes back out of the set onto the stage floor.\nHe looks around. He sees Betty being introduced by Sarah to\nsome of the studio executives. He goes over to his Assistant", "Adam turns white and stands very still as this sinks in. The\nCastigliane brothers leave. As the big blonde wood doors\nclose behind them Adam starts to boil.", "with Vincenzo and Luigi Castigliane sitting in the back.\n \nKenny knocks on Adam's front door. Lorraine answers.", "next to Robert Smith. Adam is dressed in a frumpy old\nfashioned plaid shirt, worn jacket, dark blue cotton slacks,\nand a pair of old brown wing tips. As he sits he is holding", "Adam looks up - a beautiful blonde steps into the set in\nfront of the microphone. IT IS THE GIRL! The back-up", "He gets out of his chair and walks into the set - up to the\nblonde girl. He shakes her hand.\n \n\t\t\t\tADAM (cont'd)", "The Castigliane brothers begin to leave. Adam stands up\ntrembling with anger.\n \n\t\t\t\tADAM", "Excellent choice, Adam.\n \nAdam is sick with himself.\n \nAcross the room Betty panics when she looks at her watch.", "Director and looks down at the man's notepad.\n \n\t\t\t\tADAM (cont'd)\n\t\tWho's next, Hank?", "Ah... she's very pretty.\n \nWe see the photo of the girl - of a nice looking blonde -\nsomeone we've never seen before. Adam looks like he doesn't", "LUIGI CASTIGLIANE\n\t\tThis is the girl.\n \n\t\t\t\tADAM", "of Adam and begins to speak with a true, slow Western drawl.\n \n\t\t\t\tCOWBOY\n\t\tHowdy!", "Lorraine slams the door behind him.\n \nAdam picks himself up, severely dazed and bleeding pretty\nbadly, he heads for his car.", "CYNTHIA\n\t\tSomething tells me this guy is connected\n\t\twith what's happening, Adam, and I think\n\t\tyou should do it and I think you should" ], [ "Throw him out!\n \nLorraine opens the front door while Gene picks Adam up, moves\nhim across the carpet and heaves him out onto the front lawn.", "Through the darkness Adam hears the sound of a car door\nopening and closing, then another opening and closing and\nthen the sound of the car driving away. Adam walks up in the", "his jacket. He begins walking around the house calling out\nfor Adam. He sees nothing and hears nothing. He goes back to\nthe front door and sees Adam's golf clubs sitting there.", "Lorraine slams the door behind him.\n \nAdam picks himself up, severely dazed and bleeding pretty\nbadly, he heads for his car.", "CUT TO:\n \nEXT. - ADAM'S HOUSE - AFTERNOON", "Adam turns white and stands very still as this sinks in. The\nCastigliane brothers leave. As the big blonde wood doors\nclose behind them Adam starts to boil.", "Adam gets up off the floor bleeding from the nose and tries\nto hit Gene. Gene blocks his punch and slams Adam again,\nknocking him down to the kitchen floor where he lands and", "The Castigliane brothers begin to leave. Adam stands up\ntrembling with anger.\n \n\t\t\t\tADAM", "THAT'S MY JEWELRY!!!\n \nAdam leaves the bedroom and starts through the house. He\ngoes into the kitchen and looks around - numb but trying to", "Taka bows, smiling and nodding, and goes back to work. Adam\nheads toward the front door of his house.\n \n\t\t\t\t\t\t\tCUT TO:", "Excellent choice, Adam.\n \nAdam is sick with himself.\n \nAcross the room Betty panics when she looks at her watch.", "of Adam and begins to speak with a true, slow Western drawl.\n \n\t\t\t\tCOWBOY\n\t\tHowdy!", "Adam exits the building carrying his 7-iron. An attendant\ntakes his valet parking ticket. While Adam, still fuming,\nwaits for his car he notices the big limo standing off to one", "He hears a noise, something falling. He walks in the\ndirection of the noise. It leads him to his bedroom. His\nexpression darkens as he approaches the closed door. He", "Adam gets in his car and drives off leaving the Cowboy\nsmiling behind him.\n \n\t\t\t\t\t\t\tCUT TO:", "spills the jewelry case. Adam, now covered with paint, is\npicked up by Gene and thrown out toward the front door.\n \n\t\t\t\tLORRAINE", "Adam hangs up and seems to sag, cupping his forehead and eyes\nwith his hand.\n \n\t\t\t\t\t\t\tCUT TO:", "He whacks two big dents in the hood, then smashes out a\nheadlight. The limo driver starts towards him. Adam laughs,\nruns to his car and takes off.", "Adam pulls into his driveway, but is blocked from entering\nthe garage by a poolman's truck. He gets out of the car and", "LORRAINE\n\t\tWhat the hell are you even doing here?\n \nAdam stands stunned for a moment. Then finds himself walking" ], [ "This is your purse. Your name must be in\n\t\tyour purse.\n \nRita takes the purse with sudden trepidation. She hesitates.", "BETTY\n\t\tWhat do you mean? You're Rita.\n \n\t\t\t\tRITA", "Here I am Hollywood! My name is ... Rita.\n \nThey look out, maybe waiting for an answer blowing in the\nSanta Ana wind.", "Finding out who you are gets you out of\n\t\ttrouble.\n \nRita thinks about this silently then begins to worry and\ndoubt all over again.", "DARK-HAIRED WOMAN\n\t\tMy name is Rita.\n \n\t\t\t\tBETTY", "RITA\n\t\t\t(still sobbing)\n\t\tI'm...I'm... oh no... I thought when I woke", "Rita shoots a look from Betty to Diane to the nameplate.\n \n\t\t\t\t\t\t\tCUT TO:", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "it.\n \nRita turns and looks up at Betty, her eyes red with crying.\nBetty pulls her up facing her. Rita lets Betty take the", "moving up to an empty mirror and eerie music builds. The\nreflection of the new Rita moves into the mirror. She has\nshort, beautiful blonde hair, blonde eyebrows and no make-up.", "Selwyn followed by an address and phone number. It is the\nonly Selwyn with a D. first name. She hands the phone to\nRita.", "Rita lies down and is instantly asleep. Betty leans over her\nand listens to her breathing. She gets a blanket and drapes\nit over the beautiful sleeping Rita, then leaves the room.", "#17. Just walk down that way. It's just\n\t\tto the right.\n \nThe woman seems to be looking now at Rita.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "RITA\n\t\tDiane Selwyn. Maybe it's my name.", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "Betty sits Rita on the bed. She leans down and looks at her\nhead and face.\n \n \n\t\t\t\tBETTY (cont'd)", "BETTY (cont'd)\n\t\tRita?\n \n\t\t\t\tRITA\n\t\t\t(crying harder)" ], [ "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "Yes?\n \n\t\t\t\tBETTY\n\t\tDiane?", "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "noticing. Diane walks quickly over to the manager and the\nwoman in the blue dress. Betty turns and watches a heated\nconversation that she can't hear, but she sees the woman in", "out a Mont Blanc fountain pen which she puts under Betty's\ncheck as she places it on their table. She does this very\nquickly but Betty notices this and Diane notices Betty", "nameplate saying \"DIANE\" lays the check on their table\nsmiles, then walks off.\n \n\t\t\t\tHERB", "Back to scene\n \nDiane finishes pouring Rita's cup and smiles at Betty.\n \n\t\t\t\tDIANE", "back into her pocket.\n \n\t\t\t\tDIANE\n\t\tThank you. Come in again.\n \nBetty holds her gaze.", "close-up nameplate\n \nThe word \"DIANE\" is huge from Rita's POV.\n \n\t\t\t\t\t\t\tCUT TO:", "Maybe the voice isn't Diane Selwyn.\n\t\tMaybe that's your roommate or if it is\n\t\tDiane Selwyn she can tell you who you", "There's a silence.\n \n\t\t\t\tDARK-HAIRED WOMAN\n\t\tThere was an accident. I came here.", "her as she goes. Her face is bright and her eyes move here\nand there taking in everything. She can hardly believe she's\nin Los Angeles - the City of Dreams. She and the old woman", "turns on the light and looks around. He spots some paint\ncans on a shelf and grabs one and goes back into the kitchen.\nHe can hear Lorraine calling his name. She seems to be", "BETTY\n\t\tI guess you're not Diane.\n \nRita, still fighting her fear doesn't answer.", "pulls her closer. Something has started coming over Betty\nand she catches the drift of this scene in a different way.\nShe's surprising herself." ], [ "finds Rita breathing normally. She feels her forehead.\nSatisfied that all is well, Betty quietly leaves the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "Rita lies down and is instantly asleep. Betty leans over her\nand listens to her breathing. She gets a blanket and drapes\nit over the beautiful sleeping Rita, then leaves the room.", "BETTY\n\t\tI guess you're not Diane.\n \nRita, still fighting her fear doesn't answer.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "Betty sits Rita on the bed. She leans down and looks at her\nhead and face.\n \n \n\t\t\t\tBETTY (cont'd)", "INT. AUNT RUTH'S APARTMENT\n \nBetty and Rita both turn with alarm. Betty gets up, stares", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "Betty and Rita are moving down the corridor. They pass a\nsmall room and look in at a couch, wardrobe and make-up\ntable. They move on down the corridor to a door which is", "All the blinds are closed and the curtains drawn. They move\nslowly, looking around at everything as they go. Betty looks\nto Rita to see if any of this is something she remembers.", "Betty and Rita come out of Aunt Ruth's apartment. Betty is\nlaughing, pulling on Rita.\n \n\t\t\t\tBETTY", "Betty and Rita enter Denny's.\n \n\t\t\t\t\t\t\tCUT TO:\n \nINT.- DENNY'S - DAY", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "Moving back we realize that the girls are acting out Betty's\naudition scene. Rita is reading her lines.\n \n\t\t\t\tRITA", "at the door, then at Rita. Rita waits, not knowing what to\ndo.\n \n\t\t\t\tBETTY\n\t\tIt'll be okay.", "Betty goes into the kitchen. Suddenly there's a knock on the\nscreen door and Coco peers in, seeing Rita on the couch.\nRita looks up ... panicked.", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees" ], [ "BETTY\n\t\tOpen it!\n \nRita slowly unzips the purse. The pressure of its contents", "Betty looks down at the purse next to Rita's dress. She picks\nit up and hands it to Rita.\n \n\t\t\t\tBETTY", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "Rita takes the massive wad of bills out of the purse and sets\nit on the bed. She reaches back inside and comes up with the\nonly other remaining item in the purse ... A BLUE KEY. Betty", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "finds Rita breathing normally. She feels her forehead.\nSatisfied that all is well, Betty quietly leaves the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "This is your purse. Your name must be in\n\t\tyour purse.\n \nRita takes the purse with sudden trepidation. She hesitates.", "mirror. She turns and her gaze falls to her purse. She\npicks it up and looks questioningly at Betty.\n \n\t\t\t\tBETTY (cont'd)", "Both Rita and Betty almost stop breathing. They look at each\nother, then back to the money.", "CUT TO:\n \nINT. CAB - DAY\n \nBetty reaches and gently grabs Rita's shoulder. She speaks", "Betty and Rita come out of Aunt Ruth's apartment. Betty is\nlaughing, pulling on Rita.\n \n\t\t\t\tBETTY", "Betty goes to Rita.\n \n\t\t\t\tBETTY (cont'd)\n\t\tSit down...", "Betty sits Rita on the bed. She leans down and looks at her\nhead and face.\n \n \n\t\t\t\tBETTY (cont'd)", "Betty and Rita are on their hands and knees around the coffee\ntable. A map of L.A. is unfolded and Betty is running her\nfinger along a street. Her finger stops.", "at the door, then at Rita. Rita waits, not knowing what to\ndo.\n \n\t\t\t\tBETTY\n\t\tIt'll be okay.", "Betty puts out her hand. Rita looks at it for a moment,\nsmiles, and they shake.\n \n\t\t\t\t\t\t\tCUT TO:", "BETTY\n\t\tWhoa!\n \nShe catches Rita's look. Rita is staring at her, horrified.", "scream comes out of Rita as a force propelling her to look\ncloser. Betty lunges after Rita, her eyes also not able to\nleave the sight. She covers Rita's mouth with her hand and", "Betty goes into the kitchen. Suddenly there's a knock on the\nscreen door and Coco peers in, seeing Rita on the couch.\nRita looks up ... panicked." ], [ "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "himself in the proper line at Ed's desk and quickly fires two\nsilenced shots into the back of her head. The man with the\nvacuum enters. His eyes begin to widen in reaction to the", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "scene. Just then Joe fires a bullet into the man's chest.\nThe man inadvertently flicks on the vacuum cleaner as his\nhands rush up to the wound. As the vacuum cleaner whines Joe", "however, during the introductions the one with the briefcase\nremoves a photo of a girl and sets it in front of Ray.\n \n\t\t\t\tRAY (cont'd)", "out a Mont Blanc fountain pen which she puts under Betty's\ncheck as she places it on their table. She does this very\nquickly but Betty notices this and Diane notices Betty", "nameplate saying \"DIANE\" lays the check on their table\nsmiles, then walks off.\n \n\t\t\t\tHERB", "Joe's hand still at the small of his back moves into view\nholding a silenced pistol and in one swift move reaches out\nand fires a hole through Ed's temple - blowing Ed's brains", "over to the dresser and opening the top drawer. He removes a\nlarge case.\n \n\t\t\t\tLORRAINE (cont'd)", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "The driver, still in his seat, has a pistol with a silencer\nattached pointing at the woman. The other man is getting out\nof the car. The woman is clutching the seat and the door", "behind Ed's desk, wipes the gun clean with a handkerchief and\nplaces the cleaned gun in Ed's right hand. He places Ed's", "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "Herb gets a strange feeling, turns back and finishes up with\nthe cashier. He motions for Dan to follow him. Dan rises\nreluctantly and he and Herb make their way outside.", "(as she kisses him - whispers)\n\t\tBefore I kill you.\n \nJimmy panics and pushes Betty away with his hands on her", "Betty pulls a table knife out from behind her back.\n \n\t\t\t\tBETTY\n\t\t\"Before I kill you.\"", "shrieks and leaps on Kenny. Her long fingernails going for\nhis eyes. Kenny slaps Lorraine hard. The shriek stops\ninstantly and she falls out cold on the carpet. Gene is back", "and unlocks her door. He opens her door. As he reaches for\nher, the woman's face becomes flooded with light. Her eyes\ndart to the front windshield. The driver, flooded with light," ], [ "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "Yes?\n \n\t\t\t\tBETTY\n\t\tDiane?", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "nameplate saying \"DIANE\" lays the check on their table\nsmiles, then walks off.\n \n\t\t\t\tHERB", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "close-up nameplate\n \nThe word \"DIANE\" is huge from Rita's POV.\n \n\t\t\t\t\t\t\tCUT TO:", "shrieks and leaps on Kenny. Her long fingernails going for\nhis eyes. Kenny slaps Lorraine hard. The shriek stops\ninstantly and she falls out cold on the carpet. Gene is back", "BETTY\n\t\tI guess you're not Diane.\n \nRita, still fighting her fear doesn't answer.", "out a Mont Blanc fountain pen which she puts under Betty's\ncheck as she places it on their table. She does this very\nquickly but Betty notices this and Diane notices Betty", "Dan lurches back. All his breath is suddenly gone. He falls\nback into Herb who tries to catch him as he's falling. Dan\nhits the ground unable to breathe - his eyes wide with", "himself in the proper line at Ed's desk and quickly fires two\nsilenced shots into the back of her head. The man with the\nvacuum enters. His eyes begin to widen in reaction to the", "Kenny begins snapping the shaft of each club. As he snaps\neach club we see Lorraine and Gene remain out cold on the\nfloor.", "silent. A fire erupts in the sedan and as the dust clears we\nsee the woman appear, then crawl out of the Cadillac to the", "Back to scene\n \nDiane finishes pouring Rita's cup and smiles at Betty.\n \n\t\t\t\tDIANE", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "road. Her face is vacant. There is a bleeding cut just above\nher forehead. She stands for a moment clutching her purse -\nlost , then begins to walk as if in a trance across" ], [ "dress, calls Diane's name. Diane turns and looks to the\nmanager and the woman. A fleeting fear goes through her\neyes. She surreptitiously reaches in her pocket and takes", "The same waitress - Diane, comes up to the girl's table and\nfreshens up their coffee. Betty looks up and smiles, sees", "At that moment Diane the waitress reappears at their table.\nDiane looks Betty in the eye and while looking at Betty her\nleft hand slides the Mont Blanc out from under the check and", "Diane's nameplate.\n \n\t\t\t\tBETTY (cont'd)\n\t\tThank you ... Diane.", "BETTY\n\t\tYou're welcome. We will.\n \nRelieved Diane leaves and goes about her business. Betty", "out a Mont Blanc fountain pen which she puts under Betty's\ncheck as she places it on their table. She does this very\nquickly but Betty notices this and Diane notices Betty", "On the set Betty hears the song again and turns and watches.\nOnce again her eyes find Adam as his eyes are finding hers.\nThis time Adam turns away. He watches Camilla for a moment.", "crowd and stops at Adam's side. He looks down at Adam, but\nAdam continues watching Camilla Rhodes. Jason follows Adam's\ngaze and he watches Camilla sing then turns back to Adam.", "Yes?\n \n\t\t\t\tBETTY\n\t\tDiane?", "The manager says something to Diane and Diane turns her\npockets inside out and pats herself down in front of the", "Not really. I met her in junior college\n\t\tand she was from this other town.\n \nCoco looks hard into Betty's innocent face.", "nameplate saying \"DIANE\" lays the check on their table\nsmiles, then walks off.\n \n\t\t\t\tHERB", "noticing. Diane walks quickly over to the manager and the\nwoman in the blue dress. Betty turns and watches a heated\nconversation that she can't hear, but she sees the woman in", "Adam continues to watch Camilla Rhodes sing. JASON GOLDWYN,\na tall sixty year old silver-haired man, comes through the", "Betty and Irene give each other a hug. The old gentleman nods\nto Betty and takes Irene off. Betty smiles after them.\nSuddenly someone is grabbing her bags. She turns abruptly to", "Betty puts out her hand. Rita looks at it for a moment,\nsmiles, and they shake.\n \n\t\t\t\t\t\t\tCUT TO:", "back into her pocket.\n \n\t\t\t\tDIANE\n\t\tThank you. Come in again.\n \nBetty holds her gaze.", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "Diane Selwyn.\n \nRita just looks at her. Betty starts for the kitchen.", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as" ], [ "Rita is compelled to go in and as the door clicks shut she\nreacts to the smell.\n \n\t\t\t\t\t\t\tCUT TO:", "something she sees. Rita is sitting on the edge of the bed\ncrying quietly. Betty goes into the bedroom. Rita looks up\nat her with desperation.", "Betty goes to Rita.\n \n\t\t\t\tBETTY (cont'd)\n\t\tSit down...", "ceiling. She suddenly remembers Rita and her promise to look\nin on her. She gets off the couch and goes into the bedroom.\n \n\t\t\t\t\t\t\tCUT TO:", "BETTY (cont'd)\n\t\tMeet you at the door.\n \nRita walks around to the front door and gets there just as", "INT. AUNT RUTH'S BEDROOM - DAY\n \nRita is now dressed to go out and is studying herself in a", "#17. Just walk down that way. It's just\n\t\tto the right.\n \nThe woman seems to be looking now at Rita.", "Moving back we realize that the girls are acting out Betty's\naudition scene. Rita is reading her lines.\n \n\t\t\t\tRITA", "RITA\n\t\t\t(still sobbing)\n\t\tI'm...I'm... oh no... I thought when I woke", "Sounds, music churning continues.\n \nGreat sobs, almost hysterical, wrack Rita's body as she bends", "and Rita call out.)\n \n\t\t\t\tRITA\n\t\tGood luck!\n \n\t\t\t\tBETTY", "RITA\n\t\tOkay.\n \nBetty closes the door and heads across the courtyard. She", "Betty and Rita are sitting next to each other on the leather\ncouch. Betty is rifling through the phone book. She finds\nthe listings for Selwyn. Her finger drifts down and finds D.", "at the door, then at Rita. Rita waits, not knowing what to\ndo.\n \n\t\t\t\tBETTY\n\t\tIt'll be okay.", "Betty and Rita start to leave.\n \n\t\t\t\tMIDDLE-AGED WOMAN (cont'd)\n\t\tShe hasn't been around for a few days ...", "her bungalow.\n \nJust as she has disappeared the door to Bungalow #17 flies\nopen and Rita, followed closely behind by Betty, runs with a", "phone... just to see if there was an\n\t\taccident.\n \nRita sits worrying.", "Betty and Rita come out of Aunt Ruth's apartment. Betty is\nlaughing, pulling on Rita.\n \n\t\t\t\tBETTY", "again harder. They wait.\n \n\t\t\t\tRITA (cont'd)\n\t\tNo one's ...", "Betty and Rita are moving down the corridor. They pass a\nsmall room and look in at a couch, wardrobe and make-up\ntable. They move on down the corridor to a door which is" ] ]

[ "Why has \"Rita\" forgotten her own name?", "Why does Adam Kesher cast unknown Camilla Rhodes as Sylvia North?", "What do \"Rita\" and Betty find in Diane Selwyns apartment?", "Why did Diane claim she had come to Hollywood?", "Why does Diane go to the party on Mulholland Drive?", "Why is Diane upset to see Camilla kissing other people?", "How will Diane know when the hit man has killed Camilla?", "What does the hit man do when Diane asks what the blue key will open?", "What is the name of the theater that \"Rita\" and Betty visit?", "At the beginning of the story, what does Betty find in Rita's purse?", "Who does the 'mobsters' insist Adam cast in a leading role?", "What does the man on stage at Club Silencio explain in several different languages?", "What diner does much of the story take place?", "Who appears in Diane's doorway, saying \"Time to wake up\"?", "Who finds a blue box that matches the key from Rita's purse?", "What does Camilla audition for?", "Who suffers hallucinations and kills herself?", "Where did Rita get inspiration for her name?", "Who lives on Mulholland Drive?", "Who wants Adam to cast Camilla Rhodes?", "What happened before Adam got thrown out of his house?", "Why did the woman choose Rita as her name?", "Why does Diane attend the Party?", "What state is Diane in when Rita and Betty find her?", "What does betty find in Rita's purse?", "What does the hitman give Diane?", "How did Diane die?", "How did Diane meet Camilla?", "What theter did Rita want to go to?" ]

[ [ "Rita was injured in a car crash on Mulholland drive.", "she was in a car accident" ], [ "Adam is being threatened to do so by mobsters.", "Mobsters insisted and he needed money" ], [ "Rita and Betty find a dead woman.", "A dead woman." ], [ "Diane had come after the death of her aunt.", "Because her aunt died." ], [ "Camilla invites her.", "Camilla invited her." ], [ "Diane is in love with Camilla.", "because she is in love with her" ], [ "Diane will find a blue key. ", "When she finds a blue key." ], [ "The hit man laughs.", "Laughs." ], [ "Club Silencio", "Club Silencio." ], [ "A blue key and a lot of cash.", "A Blue Key" ], [ "Camilla Rhodes", "Camilla Rhodes" ], [ "Everything is an illusion", "everything is an illusion" ], [ "Winkies", "Winkies" ], [ "The Cowboy", "The Cowboy." ], [ "Betty", "Betty." ], [ "The Sylvia North Story", "The Sylvia North Story." ], [ "Diane", "Diane/Rita" ], [ "From a Gilda movie poster.", "movie poster" ], [ "Adam", "The dark haired woman aka Rita." ], [ "Mobsters.", "Mobsters." ], [ "He found his wife having an affair.", "He finds wife cheating." ], [ "She came up with it, after seeing a poster featuring teh actress Rita Hayworth.", "Because she saw a poster with Rita Hayworth." ], [ "She was invited by Camilla.", "She was invited." ], [ "Diane is dead.", "dead" ], [ "Money and blue key.", "A blue key and a lot of money." ], [ "A blue key.", "a blue key" ], [ "Sshe shot herself", "she shoots herself" ], [ "She met Camilla at an audtion.", "in a movie" ], [ "Club silencio.", "Club Silencio" ] ]

999a532b45f030c8f382f0f92fc51b3d12fd821c

test

[ [ "encounter with Barrisor and his companions, and this is made to serve as\nan introduction to the _amour_ between Bussy and Tamyra, as Chapman", "him and Tamyra. Bussy takes the Countess's affections so completely by\nstorm, and he ignores so entirely the rights of her husband, that it is", "_Tamyra._ I think not on you, sir; y'are one I know not.\n\n _Buss._ Cry you mercy, madam!", "write the plot new.\" D'Urfey's main alteration was to represent Bussy\nand Tamyra as having been betrothed before the play opens, and the", "Bussy d'Ambois. In this letter, owing to the very intimate terms on\nwhich he stood with his young patron, he told him that he had enclosed", "_Tamyra._ I see y'are servant, sir, to my deare sister,\n The lady of her loved Baligny.", "Anjou, were devoted to one another, and Bussy was for a time a paramour\nof the Queen of Navarre. Though she denies the liaison, she says of him", "and dates, from the actual facts of history. Bussy's career was so\nromantic that it was impossible for even the most inventive dramatist to\nembellish it. This was especially true of its closing episode, which", "and a prince,\" proves that she is no light o' love, and that her\nsurrender to Bussy is the result of a sudden and overmastering passion.\nEven in the moment of keenest expectation she is torn between", "the published edition, played Tamyra, and the revival seems to have been\na success. But Mountfort was assassinated in the Strand towards the\nclose of the following year, and apparently the career of _Bussy_ upon", "dramatist worked upon. And an important clue to the spirit in which he\nhandled it is the identification, here first made, of part of Bussy's", "but on the following day Bussy, meeting Saint-Phal at the house of a\nlady with whom he had had relations, and who was now the mistress of the", "repulsive _rÃ´le_ of go-between, Bussy wins his way at night into\nTamyra's chamber on the plea that he has come to reassure her that she", "discovers through Tamyra's waiting-woman that the Countess, whose\nfavours he has vainly sought to win, has granted them to Bussy. It is he", "_Coun._ Who's that?\n\n _Ren._ The spirit of Bussy.\n\n _Tam._ O my servant!\n Let us embrace.", "when she declares to Bussy before the Court (III, ii, 138), \"Y'are one I\nknow not,\" and speaks of him vaguely in a later scene as \"the man.\" So,", "Tamyra appeals more to us, because we see in her more of the conflict\nbetween passion and moral obligation, which is the essence of drama. Her", "trace the relation of its plot to the recorded episodes of Bussy's\ncareer, has been the aim of the preceding pages. It must always count to", "greatest secrecy, so that Bussy should not know of his return. By a\nstratagem he arranged that a letter should be sent by his wife to Bussy,", "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the" ], [ "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the", "and dates, from the actual facts of history. Bussy's career was so\nromantic that it was impossible for even the most inventive dramatist to\nembellish it. This was especially true of its closing episode, which", "into the hands of Bussy, who dispatched him then and there. He\nafterwards distinguished himself in various operations against the\nHuguenots, and by his bravery and accomplishments won the favour of the", "Rosset relates in 1615 the story of Bussy's death. In the Preface to the\nvolume he declares: \"Ce ne sont pas des contes de l'AntiquitÃ© fabuleuse", "In a later passage (vol. V, lib. CXVIII, p. 558) he is even more\nexplicit. After referring to Bussy's treacherous assassination, he\ncontinues:", "basis of Chapman's tragedy, has been completely disproved. The passage\nin which he narrates the story of Bussy's death does not occur in the", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "blustering vein as before, and his death is reported, at the close of\nAct IV, as a fulfilment of Bussy's dying curse.", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "trace the relation of its plot to the recorded episodes of Bussy's\ncareer, has been the aim of the preceding pages. It must always count to", "The tragic close of Bussy's life has given his career an interest\ndisproportionate to his historical importance. But the drama of La", "greatest secrecy, so that Bussy should not know of his return. By a\nstratagem he arranged that a letter should be sent by his wife to Bussy,", "dramatist worked upon. And an important clue to the spirit in which he\nhandled it is the identification, here first made, of part of Bussy's", "and a prince,\" proves that she is no light o' love, and that her\nsurrender to Bussy is the result of a sudden and overmastering passion.\nEven in the moment of keenest expectation she is torn between", "Bussy's insolent arrogance and his petulant temper, he availed himself\nof this opportunity of avenging the old insults he had received from", "task, though finally the matter had been compromised. De Thou, at the\nclose of his account of Bussy's murder, relates (vol. III, lib. LXVII,", "Bussy d'Ambois. In this letter, owing to the very intimate terms on\nwhich he stood with his young patron, he told him that he had enclosed", "adherent of his faction that he elevates Bussy, and when he finds him\nfavoured by Henry he ruthlessly strikes him down, all the more readily", "The first two Acts of the play are chiefly occupied with Bussy's\narrival at court, his entry into the service of Monsieur, his quarrel", "on to Montsoreau. The latter thereupon forced his wife to make a\ntreacherous assignation with Bussy at the chÃ¢teau on the night of the" ], [ "when the ghost of Bussy appears, and chides his brother for his delay in\nrighting his wrongs. That the _Umbra_ of the elder D'Ambois is here", "Equally ineffective and incongruous are the moralising discourses of\nwhich Bussy's ghost is made the spokesman. It does not seem to have", "_Coun._ Who's that?\n\n _Ren._ The spirit of Bussy.\n\n _Tam._ O my servant!\n Let us embrace.", "Which Bussy, for his valours season, lackt;\n And so was rapt with outrage oftentimes\n Beyond decorum; where this absolute Clermont, 90", "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "basis of Chapman's tragedy, has been completely disproved. The passage\nin which he narrates the story of Bussy's death does not occur in the", "blustering vein as before, and his death is reported, at the close of\nAct IV, as a fulfilment of Bussy's dying curse.", "Rosset relates in 1615 the story of Bussy's death. In the Preface to the\nvolume he declares: \"Ce ne sont pas des contes de l'AntiquitÃ© fabuleuse", "BrantÃ´me further relates a midnight attack upon Bussy, about a month\nlater, by a number of his jealous rivals, when he had a narrow escape", "In a later passage (vol. V, lib. CXVIII, p. 558) he is even more\nexplicit. After referring to Bussy's treacherous assassination, he\ncontinues:", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "on to Montsoreau. The latter thereupon forced his wife to make a\ntreacherous assignation with Bussy at the chÃ¢teau on the night of the", "_Bussy._ Sit up to night, and watch: Ile speak with none\n But the old Frier, who bring to me.\n\n _Pages._ We will, sir. _Exeunt._", "and dates, from the actual facts of history. Bussy's career was so\nromantic that it was impossible for even the most inventive dramatist to\nembellish it. This was especially true of its closing episode, which", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "Or never looke to heare free truth. Tell me,\n For Bussy lives not; hee durst anger mee,", "Bussy's insolent arrogance and his petulant temper, he availed himself\nof this opportunity of avenging the old insults he had received from", "{ _Bussy_.\n { _Monsieur_.\n The ghost[s] of { _Guise_.\n { _Card. Guise_.\n { _Shattilion_." ], [ "But in the character of Clermont there mingle other elements than those\nderived from either the historical figure of D'Auvergne, or the ideal", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "from whom Chapman drew his conception of the character of Clermont\nD'Ambois. My brother-in-law, Mr. S. G. Owen, Student of Christ Church,", "makes her fiery passion for revenge at all costs a foil to the\nscrupulous and deliberate procedure of the high-souled Clermont. Like", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "_Henry._ Well, take your will, sir;--Ile have mine ere long.--\n _Aversus._\n But wherein is this Clermont such a rare one?", "Clermont, a prominent Huguenot, and follower of the King of Navarre.\nWhile his rival was fleeing for safety he had the misfortune to fall", "Which Bussy, for his valours season, lackt;\n And so was rapt with outrage oftentimes\n Beyond decorum; where this absolute Clermont, 90", "The portraiture of Clermont throughout the play as the high-souled\nphilosopher is inspired by Epictetus's delineation in his _Discourses_", "So flew brave Clermont forth, till breath forsooke him,\n Then fell to earth; and yet (sweet man) even then\n His spirits convulsions made him bound againe 35", "_Mess._ [_aside, to Clermont_]. Beleeve it, sir, his count'nance\n chang'd in turning.\n\n _Mail._ What doe you meane, sir?", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "=242-3=, 11-39. =What spirit . . . of the skie.= This account of\nClermont's desperate struggle to avoid capture is an invention of", "_Mons._ Ile part engendring vertue. Men affirme, 180\n Though this same Clermont hath a D'Ambois spirit,", "_Bal._ Strong, my lord,\n And fit for service: for whose readinesse\n Your creature, Clermont D'Ambois, and my selfe\n Ride shortly downe.", "While Guise is transfigured, and Monsieur remains his truculent,\nvainglorious self, Montsurry has suffered a strange degeneration. It is", "merely assumed his pusillanimity in the final scene, where he at first\ngrovels before Clermont on the plea that by his baseness he will \"shame\"", "Is come, and new arriv'd; and made partaker\n Of all the entertaining showes and feasts\n That welcom'd Clermont to the brave virago," ], [ "Clermont, a prominent Huguenot, and follower of the King of Navarre.\nWhile his rival was fleeing for safety he had the misfortune to fall", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "But in the character of Clermont there mingle other elements than those\nderived from either the historical figure of D'Auvergne, or the ideal", "the crisis of his fate lets himself be shipped off to England, so\nClermont makes no demur when the King, who suspects him of complicity", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "_Bal._ Strong, my lord,\n And fit for service: for whose readinesse\n Your creature, Clermont D'Ambois, and my selfe\n Ride shortly downe.", "_Mess._ [_aside, to Clermont_]. Beleeve it, sir, his count'nance\n chang'd in turning.\n\n _Mail._ What doe you meane, sir?", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "makes her fiery passion for revenge at all costs a foil to the\nscrupulous and deliberate procedure of the high-souled Clermont. Like", "Nor doth my brother Clermont scape my counsaile\n Given to the King about his Guisean greatnesse,\n Which (as I spice it) hath possest the King,", "Though he sends a challenge to Montsurry, and is not lacking in \"the\nD'Ambois spirit,\" the atmosphere in which he lingers with whole-hearted", "Hee was that whisper'd in your jealous eare\n His owne blacke treason in suggesting Clermonts,\n Colour'd with nothing but being great with mee. 5", "Is come, and new arriv'd; and made partaker\n Of all the entertaining showes and feasts\n That welcom'd Clermont to the brave virago,", "Shee loved him well, and was well beloved: for the Count of Auvergne\nhath been heard say, that if the King did set him at libertie and send", "_Chal._ As you should at all parts.\n Goe now to Clermont D'Ambois, and informe him," ], [ "_Mont._ Nothing but this: D'Ambois is thought\n negligent in observing the Duchesse, and therefore\n she is suspicious that your neece or my wife\n closely entertaines him.", "who, by means of a paper, convinces Montsurry of his wife's guilt, and\nit is he, together with Guise, who suggests to the Count the stratagem", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "strife. But the Duke of Guise, the protagonist of the play, is\ndetermined to counterwork this policy, and with the aid of Catherine de", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "[Sidenote: _Enter Henry, Monsieur, Guise, Clerm[ont], Espernone,\nSoisson. Monsieur taking leave of the King._]", "follower whom he had raised to serve his own ends, and he conspires with\nGuise for his overthrow. He is the more eagerly bent upon this when he", "merely emulating the attitude of the elder Hamlet's spirit would be\nsufficiently obvious, even if it were not put beyond doubt by the\nexcited dialogue between Guise, to whom the Ghost is invisible, and", "troops by the King's emissaries. But the intervention of Guise soon\nprocures his release. In the dialogue that follows between him and his", "Guise was really directed towards \"his elected mistress.\" On the advice\nof a Friar named Comolet, to whom Chapman strangely enough assigns the", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "The King determines to get rid of Guise, \"this newe starre in the East\nwhom the people worshipped already.\" (722.) \"Hee hath caused bookes to", "represented as one of the Guise's most fanatical adherents. Charles soon\nafterwards dies, and is succeeded by his brother Henry, but \"his mind", "While Guise is transfigured, and Monsieur remains his truculent,\nvainglorious self, Montsurry has suffered a strange degeneration. It is", "See Monsieur taking now his leave for Brabant; 145\n The Guise & his deare minion, Clermont D'Ambois,", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "Here's from your friend, the Guise; here from the Countesse, 80\n Your brothers mistresse, the contents whereof\n I know, and must prepare you now to please", "Hee was that whisper'd in your jealous eare\n His owne blacke treason in suggesting Clermonts,\n Colour'd with nothing but being great with mee. 5", "relates from personal knowledge an incident between Guise and Bussy,\nwhich took place shortly after the accession of Henry III. The Duke took\noccasion of a royal hunting party to draw Bussy alone into the forest,", "runs on his minions,\" and Catherine and the Guise wield all real power.\nBut there is one sphere which Guise cannot control--his wife's heart," ], [ "strife. But the Duke of Guise, the protagonist of the play, is\ndetermined to counterwork this policy, and with the aid of Catherine de", "represented as one of the Guise's most fanatical adherents. Charles soon\nafterwards dies, and is succeeded by his brother Henry, but \"his mind", "And that the rest with them with joy thus celebrate\n This our revenge! This certainely presages\n Some instant death both to the Guise and Cardinall.", "\"Thus lived and thus died Henry of Lorraine, Duke of Guise: a Prince\nworthie to be in the first rankes of Princes, goodly, great, tall of", "with the King against the rebel, who is treacherously murdered and dies\ncrying, \"_Vive la messe!_ perish Huguenots!\" His brother, the Cardinal,", "_Enter Aumall._\n\n _Aumale._ O sir, the Guise is slaine!\n\n _Cler._ Avert it heaven!", "While Guise is transfigured, and Monsieur remains his truculent,\nvainglorious self, Montsurry has suffered a strange degeneration. It is", "suffering a check at the hands of the Duke of Guise, made a truce and\nretired. The incident here spoken of apparently took place in the spring", "troops by the King's emissaries. But the intervention of Guise soon\nprocures his release. In the dialogue that follows between him and his", "donned masculine disguise for the purpose. But hard upon the deed comes\nthe news of Guise's assassination, and impatient of the earthly barriers", "As bitterly and deadly as the Guise. 120", "relates from personal knowledge an incident between Guise and Bussy,\nwhich took place shortly after the accession of Henry III. The Duke took\noccasion of a royal hunting party to draw Bussy alone into the forest,", "The King determines to get rid of Guise, \"this newe starre in the East\nwhom the people worshipped already.\" (722.) \"Hee hath caused bookes to", "follower whom he had raised to serve his own ends, and he conspires with\nGuise for his overthrow. He is the more eagerly bent upon this when he", "runs on his minions,\" and Catherine and the Guise wield all real power.\nBut there is one sphere which Guise cannot control--his wife's heart,", "\"The Duke of Guise, following the councell of the Cardinall Morosin, had\nthe one and twentith of December incensed the King a new by some bold", "and slain; but Henry, learning that Guise has raised an army against his\nsovereign \"to plant the Pope and Popelings in the realm,\" joins forces", "_An Ante-room to the Council-Chamber._]\n\n\n _Enter Guise._", "with Guise's traitorous designs, sends him to Cambray, of which his\nbrother-in-law, Baligny, has been appointed Lieutenant. When on his", "meets a similar fate, but the house of Lorraine is speedily revenged by\na friar, who stabs King Henry. He dies, vowing vengeance upon Rome, and" ], [ "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "So flew brave Clermont forth, till breath forsooke him,\n Then fell to earth; and yet (sweet man) even then\n His spirits convulsions made him bound againe 35", "Let my revenge for all loves satisfie, 50\n In which, dame, feare not, Clermont shall not dye.", "_Gui._ So, sir, your full swindge take; mine death hath curb'd. 65\n Clermont, farewell! O didst thou see but this!", "_Aum._ What! lye and languish, Clermont! Cursed man,\n To leave him here thus! hee hath slaine himselfe. 195", "world at last stirs up Clermont to execute the long-delayed vengeance\nupon Montsurry, though he is all but forestalled by Charlotte, who has", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "Was it primarily with the motive of providing Clermont with a plausible\nexcuse for suicide that Chapman so startlingly transformed the", "His foes uncurbed sword stopt in his heart:\n By which time all the life strings of th'tw'other\n Were cut, and both fell, as their spirit flew,", "=242-3=, 11-39. =What spirit . . . of the skie.= This account of\nClermont's desperate struggle to avoid capture is an invention of", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "As Clermont D'Ambois, should be now found tripping,\n And taken up thus, so to make his fall\n More steepe and head-long.", "_Cler._ Ensue what can;\n Tyrants may kill but never hurt a man;\n All to his good makes, spight of death and hell. 140\n\n _Enter Aumall._", "the avenger's victory. And when he does finally nerve himself to the\nencounter, and dies with words of forgiveness for Clermont and Tamyra on", "18th of August, and on his appearance, with his companion in pleasure,\nClaude Colasseau, they were both assassinated by the retainers of the\ninfuriated husband.", "(1048.) \"This was done as he had appointed. . . . D'Eurre came to\nClermont on Monday at night, and goes unto him where he supped in one of", "blustering vein as before, and his death is reported, at the close of\nAct IV, as a fulfilment of Bussy's dying curse.", "the crisis of his fate lets himself be shipped off to England, so\nClermont makes no demur when the King, who suspects him of complicity", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of" ], [ "strife. But the Duke of Guise, the protagonist of the play, is\ndetermined to counterwork this policy, and with the aid of Catherine de", "who, by means of a paper, convinces Montsurry of his wife's guilt, and\nit is he, together with Guise, who suggests to the Count the stratagem", "follower whom he had raised to serve his own ends, and he conspires with\nGuise for his overthrow. He is the more eagerly bent upon this when he", "The King determines to get rid of Guise, \"this newe starre in the East\nwhom the people worshipped already.\" (722.) \"Hee hath caused bookes to", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "Guise was really directed towards \"his elected mistress.\" On the advice\nof a Friar named Comolet, to whom Chapman strangely enough assigns the", "\"The Duke of Guise, following the councell of the Cardinall Morosin, had\nthe one and twentith of December incensed the King a new by some bold", "whose fortunes are entirely made by the patronage of Monsieur. His\nsudden elevation turns his head, and he insults the Duke of Guise by", "And showing hee hath learn'd it in his life,\n Being thereby strong in his perswading others,\n That this ambitious Guise, embracing him,", "relates from personal knowledge an incident between Guise and Bussy,\nwhich took place shortly after the accession of Henry III. The Duke took\noccasion of a royal hunting party to draw Bussy alone into the forest,", "troops by the King's emissaries. But the intervention of Guise soon\nprocures his release. In the dialogue that follows between him and his", "Though politick Monsieur, or the violent Guise.", "runs on his minions,\" and Catherine and the Guise wield all real power.\nBut there is one sphere which Guise cannot control--his wife's heart,", "with the King against the rebel, who is treacherously murdered and dies\ncrying, \"_Vive la messe!_ perish Huguenots!\" His brother, the Cardinal,", "to a mere chance, if not a misunderstanding. In Grimeston's narrative of\nthe plot against D'Auvergne he mentions that one of the King's agents,", "_Baligny._ This, sir, then, in short.\n The faction of the Guise (with which my policie, 5", "represented as one of the Guise's most fanatical adherents. Charles soon\nafterwards dies, and is succeeded by his brother Henry, but \"his mind", "with Guise's traitorous designs, sends him to Cambray, of which his\nbrother-in-law, Baligny, has been appointed Lieutenant. When on his", "suffering a check at the hands of the Duke of Guise, made a truce and\nretired. The incident here spoken of apparently took place in the spring", "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the" ], [ "Bussy d'Ambois. In this letter, owing to the very intimate terms on\nwhich he stood with his young patron, he told him that he had enclosed", "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "The first two Acts of the play are chiefly occupied with Bussy's\narrival at court, his entry into the service of Monsieur, his quarrel", "into the hands of Bussy, who dispatched him then and there. He\nafterwards distinguished himself in various operations against the\nHuguenots, and by his bravery and accomplishments won the favour of the", "Rosset relates in 1615 the story of Bussy's death. In the Preface to the\nvolume he declares: \"Ce ne sont pas des contes de l'AntiquitÃ© fabuleuse", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "and dates, from the actual facts of history. Bussy's career was so\nromantic that it was impossible for even the most inventive dramatist to\nembellish it. This was especially true of its closing episode, which", "greatest secrecy, so that Bussy should not know of his return. By a\nstratagem he arranged that a letter should be sent by his wife to Bussy,", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "_Discours sur les Couronnels de l'infanterie de France_. He tells us\nthat he was with Bussy at a play, when a dispute arose between him and", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "dramatist worked upon. And an important clue to the spirit in which he\nhandled it is the identification, here first made, of part of Bussy's", "entertained for a time by Bussy's sister RenÃ©e (whom Chapman calls\nCharlotte) and her husband, Baligny, to take vengeance on Montsurry.", "brother of Bussy would ever have trod the Jacobean stage. Not indeed\nthat the idea of vengeance being sought for D'Ambois's fate by one of", "basis of Chapman's tragedy, has been completely disproved. The passage\nin which he narrates the story of Bussy's death does not occur in the", "when the ghost of Bussy appears, and chides his brother for his delay in\nrighting his wrongs. That the _Umbra_ of the elder D'Ambois is here", "In a later passage (vol. V, lib. CXVIII, p. 558) he is even more\nexplicit. After referring to Bussy's treacherous assassination, he\ncontinues:", "_Henr._ D'Ambois, I thinke.\n\n _Bussy._ That's still my name, my lord, 60\n Though I be something altered in attire.", "with Guise's traitorous designs, sends him to Cambray, of which his\nbrother-in-law, Baligny, has been appointed Lieutenant. When on his" ], [ "Of vicious Monsieur. But now for the maine point\n Of your late resolution for revenge\n Of your slaine friend.", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "world at last stirs up Clermont to execute the long-delayed vengeance\nupon Montsurry, though he is all but forestalled by Charlotte, who has", "makes her fiery passion for revenge at all costs a foil to the\nscrupulous and deliberate procedure of the high-souled Clermont. Like", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "circumstances. Without further words he dismissed Montsoreau. The Count,\nstung to the quick by so grave an injury to his honour, and excited by", "Let my revenge for all loves satisfie, 50\n In which, dame, feare not, Clermont shall not dye.", "Montluc Baligny, who had married the murdered man's sister, a\nhigh-spirited woman who fanned the flame of her husband's wrath. With", "Was it primarily with the motive of providing Clermont with a plausible\nexcuse for suicide that Chapman so startlingly transformed the", "While Guise is transfigured, and Monsieur remains his truculent,\nvainglorious self, Montsurry has suffered a strange degeneration. It is", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "_Montsurry._ Speed me, vengeance! 55\n _Exit._", "18th of August, and on his appearance, with his companion in pleasure,\nClaude Colasseau, they were both assassinated by the retainers of the\ninfuriated husband.", "Which Bussy, for his valours season, lackt;\n And so was rapt with outrage oftentimes\n Beyond decorum; where this absolute Clermont, 90", "_Cler._ But killing of the King!\n\n _Mons._ Right: now I see\n Thou understand'st thy selfe.", "passion for FranÃ§oise de Maridort, wife of the Comte de Monsoreau, who\nhad been appointed _grand-veneur_ to the Duke. The favorite mansion of", "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more" ], [ "Th'unrested spirit of your slaughtered brother,\n If it be true, as you imagin'd once,\n His apparition show'd it. The complot 85", "is, in truth, far more really a spirit risen from the dead than the\nmaterialised _Umbra_ of his brother. His pervasive influence works in", "when the ghost of Bussy appears, and chides his brother for his delay in\nrighting his wrongs. That the _Umbra_ of the elder D'Ambois is here", "_Gui._ Thou dream'st awake now; what was here to see?\n\n _Cler._ My brothers spirit, urging his revenge.", "merely emulating the attitude of the elder Hamlet's spirit would be\nsufficiently obvious, even if it were not put beyond doubt by the\nexcited dialogue between Guise, to whom the Ghost is invisible, and", "_Coun._ Who's that?\n\n _Ren._ The spirit of Bussy.\n\n _Tam._ O my servant!\n Let us embrace.", "As any one good unrewarded die,\n Or any one ill scape his penaltie. _The Ghost stands close._", "implores his pardon for her share in bringing him to his doom. And when\nthe Friar's ghost seeks to reconcile husband and wife, the former is", "And who she should send is as farre from thought,\n Since he is dead whose only mean she us'd. _Knocks._\n Whose there? Look to the dore, and let him in,", "Behemoth, who proves a most unserviceable spirit, and the vain attempts\nof this scoundrelly ecclesiastic's ghost to shield D'Ambois from his", "_Gui._ But this thy brothers spirit startles mee,\n These spirits seld or never hanting men\n But some mishap ensues.", "With reminiscion of the Spirits promise,\n Who told me that by any invocation 25\n I should have power to raise him, though it wanted", "Equally ineffective and incongruous are the moralising discourses of\nwhich Bussy's ghost is made the spokesman. It does not seem to have", "arrival, his sister, the Lieutenant's wife, upbraids him with\n\"lingering\" their \"dear brother's wreak,\" he makes the confession (III,", "Though learnedst men hold that our sensive spirits\n A little time abide about the graves 135\n Of their deceased bodies, and can take,", "ties a note to one of the corners thereof, saying, 'Come forth and save\nyour selfe, else you are but a dead man.'\"", "That all things to be done, as here wee live,\n Are done before all times in th'other life.\n That spirits should rise in these times yet are fables;", "And there is something of pathetic dignity in his final forgiveness of\nhis wife, coupled with the declaration that his honour demands that she\nmust fly his house for ever.", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "=28=, 243-44. =Ile be your ghost to haunt you.= May this be an early" ], [ "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "_Cler._ In love of women my affection first\n Takes fire out of the fraile parts of my bloud;\n Which, till I have enjoy'd, is passionate", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "_Mess._ [_aside, to Clermont_]. Beleeve it, sir, his count'nance\n chang'd in turning.\n\n _Mail._ What doe you meane, sir?", "But in the character of Clermont there mingle other elements than those\nderived from either the historical figure of D'Auvergne, or the ideal", "\"greatness is a shade, a bubble,\" and who drinks in from the lips of\nClermont doctrines \"of stability and freedom.\" To such an extent does", "should not see this ladie, hee would rather desire to die. Shee\npresently ordered the affaires of her house, the disposition of her\nfurniture, and the retreat of her servants. This passion going from the", "What doe men thinke of me, I pray thee, Clermont? 190\n Once give me leave (for tryall of that love\n That from thy brother Bussy thou inherit'st)", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "So flew brave Clermont forth, till breath forsooke him,\n Then fell to earth; and yet (sweet man) even then\n His spirits convulsions made him bound againe 35", "instead of a woman. Hence he reads _Montsurry, Beaupre and Attendants_\nboth here and after l. 206. The other editors have not realized that", "Is come, and new arriv'd; and made partaker\n Of all the entertaining showes and feasts\n That welcom'd Clermont to the brave virago,", "Which Bussy, for his valours season, lackt;\n And so was rapt with outrage oftentimes\n Beyond decorum; where this absolute Clermont, 90", "_Henry._ Well, take your will, sir;--Ile have mine ere long.--\n _Aversus._\n But wherein is this Clermont such a rare one?", "and a prince,\" proves that she is no light o' love, and that her\nsurrender to Bussy is the result of a sudden and overmastering passion.\nEven in the moment of keenest expectation she is torn between" ], [ "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "_Mont._ Nothing but this: D'Ambois is thought\n negligent in observing the Duchesse, and therefore\n she is suspicious that your neece or my wife\n closely entertaines him.", "who had fallen under suspicion for a second time in 1604, was\ntreacherously arrested by agents of the King while attending a review of", "It will be seen that Rosset's account of the final episodes, beginning\nwith the intervention of the King, agrees, in the main details, with the", "The King determines to get rid of Guise, \"this newe starre in the East\nwhom the people worshipped already.\" (722.) \"Hee hath caused bookes to", "On Lisandre's return the King, instigated by the enemies of Lysis,\nreproached the former for tamely enduring dishonour, and bade him never", "_Tam._ O father, but at this suspicious houre\n You know how apt best men are to suspect us\n In any cause that makes suspicious shadow", "When she perceived the Duke, her husband, take\n Those late exceptions to her servants courtship, 20\n To entertaine him.", "Shee loved him well, and was well beloved: for the Count of Auvergne\nhath been heard say, that if the King did set him at libertie and send", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "King is both your King and mine. I am your friend.' There is no love nor\naffection to dispence any one from the Kings commandments.\"", "to a mere chance, if not a misunderstanding. In Grimeston's narrative of\nthe plot against D'Auvergne he mentions that one of the King's agents,", "betwixt him and a crown, and prepared to compass his ends by any means\nthat fall short of the actual killing of the King. It is as a useful", "Hee was that whisper'd in your jealous eare\n His owne blacke treason in suggesting Clermonts,\n Colour'd with nothing but being great with mee. 5", "the King was able to bring about a reconciliation between them. Such an\nepisode, reported with exaggeration of details, might well have\nsuggested the narrative in Act II of the triple encounter.", "with the King against the rebel, who is treacherously murdered and dies\ncrying, \"_Vive la messe!_ perish Huguenots!\" His brother, the Cardinal,", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "Offer'd to Count Montsurry; longing much\n To know on what events the secret loves\n Of these two honour'd persons shall arrive.", "courting his wife before his face, thus earning his enmity, and exciting\nat the same time the ridicule of the other courtiers. Hence springs the", "handling of the King, who is portrayed with an indulgent pen, and who\nreappears in the _rÃ´le_ of an enthusiastic admirer of the English Queen" ], [ "world at last stirs up Clermont to execute the long-delayed vengeance\nupon Montsurry, though he is all but forestalled by Charlotte, who has", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "that Bussy has spared Montsurry when \"he hath him down\" in the final\nstruggle; but when her lover is mortally wounded by a pistol shot, she", "_Mons._ He shall, I say.\n\n _Maf._ And Count Montsurry?\n\n _Mons._ I, and Count Montsurry.", "Though he sends a challenge to Montsurry, and is not lacking in \"the\nD'Ambois spirit,\" the atmosphere in which he lingers with whole-hearted", "latter forced against her will into a marriage with the wealthy Count\nMontsurry. This, he maintained, palliated the heroine's surrender to", "Montsurry to appear and deliver her.", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "_Ren._ Retire, my lord; get off.\n _They all fight and Bal[igny] drives in Mont[surry]._\n Hold, or thy death shall hold thee. Hence, my lord!", "difficulty, after a period of nine years, was an arrangement come to\nbetween him and Montsurry on specified terms by the order of the King.\"", "chooses to call the Countess of Montsurry. For Barrisor, we are told\n(II, ii, 202 ff.), had long wooed the Countess, and the report was", "on to Montsoreau. The latter thereupon forced his wife to make a\ntreacherous assignation with Bussy at the chÃ¢teau on the night of the", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "_Enter Montsurry._", "_Chal._ As you should at all parts.\n Goe now to Clermont D'Ambois, and informe him,", "circumstances. Without further words he dismissed Montsoreau. The Count,\nstung to the quick by so grave an injury to his honour, and excited by", "_Montsurry._ Tis not violent;\n Come you not willingly?\n\n _Tam._ Yes, good my lord.", "who, by means of a paper, convinces Montsurry of his wife's guilt, and\nit is he, together with Guise, who suggests to the Count the stratagem", "_Buss._ What you have given, my lord, is ever yours.\n _Exit Rex cum [Montsurry.]_", "Let my revenge for all loves satisfie, 50\n In which, dame, feare not, Clermont shall not dye." ], [ "Thus the two _Bussy_ plays, when critically examined, are seen to be\nessentially unlike in spite of their external similarity. The plot of", "Which Bussy, for his valours season, lackt;\n And so was rapt with outrage oftentimes\n Beyond decorum; where this absolute Clermont, 90", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "and dates, from the actual facts of history. Bussy's career was so\nromantic that it was impossible for even the most inventive dramatist to\nembellish it. This was especially true of its closing episode, which", "the Comte was at La CoutanciÃ¨re, and it was here that Bussy ardently\npursued his intrigue with the Countess. But a jocular letter on the", "outbreaks, but grouped round a figure who can scarcely have been very\nfamiliar to the English theatre-going public--Louis de Clermont, Bussy\nd'Amboise.[xii-1]", "And in certain aspects Bussy does not come far short of the ideal thus\npictured. His bravery, versatility, frankness, and readiness of speech", "This personage was born in 1549, and was the eldest son of Jacques de\nClermont d'Amboise, seigneur de Bussy et de Saxe-Fontaine, by his first", "on to Montsoreau. The latter thereupon forced his wife to make a\ntreacherous assignation with Bussy at the chÃ¢teau on the night of the", "Bussy d'Ambois. In this letter, owing to the very intimate terms on\nwhich he stood with his young patron, he told him that he had enclosed", "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the", "The first two Acts of the play are chiefly occupied with Bussy's\narrival at court, his entry into the service of Monsieur, his quarrel", "and a prince,\" proves that she is no light o' love, and that her\nsurrender to Bussy is the result of a sudden and overmastering passion.\nEven in the moment of keenest expectation she is torn between", "basis of Chapman's tragedy, has been completely disproved. The passage\nin which he narrates the story of Bussy's death does not occur in the", "BrantÃ´me further relates a midnight attack upon Bussy, about a month\nlater, by a number of his jealous rivals, when he had a narrow escape", "dramatist worked upon. And an important clue to the spirit in which he\nhandled it is the identification, here first made, of part of Bussy's", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "but on the following day Bussy, meeting Saint-Phal at the house of a\nlady with whom he had had relations, and who was now the mistress of the" ], [ "Tamyra appeals more to us, because we see in her more of the conflict\nbetween passion and moral obligation, which is the essence of drama. Her", "_Tamyra._ I see y'are servant, sir, to my deare sister,\n The lady of her loved Baligny.", "by which Tamyra is forced to decoy her paramour to his doom. All this\nis deftly contrived and does credit to Chapman's dramatic craftsmanship.", "_Tamyra._ I think not on you, sir; y'are one I know not.\n\n _Buss._ Cry you mercy, madam!", "encounter with Barrisor and his companions, and this is made to serve as\nan introduction to the _amour_ between Bussy and Tamyra, as Chapman", "of _her_ for _his_. The allusion is evidently to the letter that Tamyra\nafterwards writes to D'Ambois in her own blood. Cf. V, 1, 176-77.", "_Enter Tamyra with a book._", "and _discovers_, i. e. _reveals to view_, Tamyra, who since the close of\nV, 1, has remained wrapped _in the arras_, or, as the variant stage", "to find him ready to receive back Tamyra as his wife, though her sole\nmotive in rejoining him is to precipitate vengeance on his head. Nor had", "that he is his successful rival for Tamyra's love. He is the typical\nRenaissance politician, whose characteristics are expounded with", "him and Tamyra. Bussy takes the Countess's affections so completely by\nstorm, and he ignores so entirely the rights of her husband, that it is", "spectacle_, the _prodigie_, of l. 134, and its effect are described.\nTamyra, the light of D'Ambois's life, with her reddened bosom and hands,", "discovers through Tamyra's waiting-woman that the Countess, whose\nfavours he has vainly sought to win, has granted them to Bussy. It is he", "_Tamyra._ O, help me, father!", "_A Room in Montsurry's House._]\n\n\n _Enter Monts[urry] and Tamyra._\n\n _Montsurry._ Who have you let into my house?", "[SCÃNA TERTIA.\n\n _A Room in Montsurry's House._]\n\n\n _Enter Tamyra with a letter, Charlotte in mans attire._", "_Tamyra._ O, my deare servant, in thy close embraces\n I have set open all the dores of danger", "_Tamira enters_. A, she enters. _Pero, her maid_.\n Emend. Dilke; A, her maid; B, Pero and her maid.\n\n 22 _curst_. A omits.", "=49=, 182. =cast . . . beene:= undress, as if I had never been watching\nhere. Tamyra here determines to go to bed, but afterwards (l. 242) she\nreturns.", "_Guise._ And why then can ye not disclose your thoughts?\n\n _Tamyra._ Me thinks the man hath answer'd for us well." ], [ "with Guise's traitorous designs, sends him to Cambray, of which his\nbrother-in-law, Baligny, has been appointed Lieutenant. When on his", "of Anjou, to whom Bussy owes his rise, is represented as the main agent\nin his fall. He is angered at the favour shown by the King to the", "_Baligny._ This, sir, then, in short.\n The faction of the Guise (with which my policie, 5", "which his brother and nearest kin took no heed, should remain unavenged.\nWhen, therefore, Baligny profferred himself as an avenger, she agreed to", "Montluc Baligny, who had married the murdered man's sister, a\nhigh-spirited woman who fanned the flame of her husband's wrath. With", "_Bal._ I have prepar'd\n Meanes for accesse to him, through all his guard.\n\n _Gui._ About it then, my worthy Baligny,\n And bring us the successe.", "_Baligny._ So foule a scandall never man sustain'd,\n Which caus'd by th'King is rude and tyrannous:\n Give me a place, and my Lieutenant make\n The filler of it!", "_Gui._ O Baligny!--who would beleeve there were\n A man that (onely since his lookes are rais'd", "entertained for a time by Bussy's sister RenÃ©e (whom Chapman calls\nCharlotte) and her husband, Baligny, to take vengeance on Montsurry.", "In a later passage (vol. V, lib. CXVIII, p. 558) he is even more\nexplicit. After referring to Bussy's treacherous assassination, he\ncontinues:", "_Aum._ Then, madame, thus it fares; he was envited,\n By way of honour to him, to take view\n Of all the powers his brother Baligny", "All your confederate fellowes of his guard,\n Till Monsieur Baligny be enter'd here.", "Late practis'd by my brother Baligny,\n Hee would not honor his hand with the justice\n (As hee esteemes it) of his blouds revenge,", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "_Cler._ These clouds, I doubt not, will be soone blowne over.\n\n _Enter Baligny, with his discharge: Renel, and others._", "_Bal._ Nobly, my lord. All thankes. _Exit Bal[igny]._\n\n _Tamy._ Ile make him reade it.\n _Exit Tamy[ra]._", "_Hen._ Still thou art right, my vertuous Baligny,\n For which I thanke and love thee. Thy advise\n Ile not forget. Haste to thy government,", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "_Bal._ Your Highnesse knowes my vowes.\n\n _Gui._ I, tis enough. 130\n _Exit Guise. Manet Bal[igny]._" ], [ "from whom Chapman drew his conception of the character of Clermont\nD'Ambois. My brother-in-law, Mr. S. G. Owen, Student of Christ Church,", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "_Cler._ And a Kings brother. 280\n\n _Mons._ True.", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "_Chal._ But knowes not hee of your command to take\n His brother Clermont?", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "Nor doth my brother Clermont scape my counsaile\n Given to the King about his Guisean greatnesse,\n Which (as I spice it) hath possest the King,", "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "He transformed the Count into an imaginary brother of his former hero.\nFor though D'Ambois had two younger brothers, Hubert, seigneur de", "But in the character of Clermont there mingle other elements than those\nderived from either the historical figure of D'Auvergne, or the ideal", "_Cler._ What's that?\n\n _Mont._ Give me leave\n To fetch and use the sword thy brother gave mee,\n When he was bravely giving up his life.", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "Is come, and new arriv'd; and made partaker\n Of all the entertaining showes and feasts\n That welcom'd Clermont to the brave virago,", "_Enter Clermont._\n\n _Clermont._ Now, to my challenge. What's the place, the weapon?", "Clermont, a prominent Huguenot, and follower of the King of Navarre.\nWhile his rival was fleeing for safety he had the misfortune to fall", "_Enter Guise, Clermont._", "_Mess._ [_aside, to Clermont_]. Beleeve it, sir, his count'nance\n chang'd in turning.\n\n _Mail._ What doe you meane, sir?", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved." ], [ "Thus the two _Bussy_ plays, when critically examined, are seen to be\nessentially unlike in spite of their external similarity. The plot of", "Which Bussy, for his valours season, lackt;\n And so was rapt with outrage oftentimes\n Beyond decorum; where this absolute Clermont, 90", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "outbreaks, but grouped round a figure who can scarcely have been very\nfamiliar to the English theatre-going public--Louis de Clermont, Bussy\nd'Amboise.[xii-1]", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "_Gui._ That Clermont is my love; 80\n France never bred a nobler gentleman\n For all parts; he exceeds his brother Bussy.\n\n _Bal._ I, my lord?", "and dates, from the actual facts of history. Bussy's career was so\nromantic that it was impossible for even the most inventive dramatist to\nembellish it. This was especially true of its closing episode, which", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "basis of Chapman's tragedy, has been completely disproved. The passage\nin which he narrates the story of Bussy's death does not occur in the", "BrantÃ´me further relates a midnight attack upon Bussy, about a month\nlater, by a number of his jealous rivals, when he had a narrow escape", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "the Comte was at La CoutanciÃ¨re, and it was here that Bussy ardently\npursued his intrigue with the Countess. But a jocular letter on the", "_Bussy._ Sit up to night, and watch: Ile speak with none\n But the old Frier, who bring to me.\n\n _Pages._ We will, sir. _Exeunt._", "This personage was born in 1549, and was the eldest son of Jacques de\nClermont d'Amboise, seigneur de Bussy et de Saxe-Fontaine, by his first", "that Bussy has spared Montsurry when \"he hath him down\" in the final\nstruggle; but when her lover is mortally wounded by a pistol shot, she", "While Guise is transfigured, and Monsieur remains his truculent,\nvainglorious self, Montsurry has suffered a strange degeneration. It is", "makes her fiery passion for revenge at all costs a foil to the\nscrupulous and deliberate procedure of the high-souled Clermont. Like", "And in certain aspects Bussy does not come far short of the ideal thus\npictured. His bravery, versatility, frankness, and readiness of speech" ], [ "Clermont, a prominent Huguenot, and follower of the King of Navarre.\nWhile his rival was fleeing for safety he had the misfortune to fall", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "\"greatness is a shade, a bubble,\" and who drinks in from the lips of\nClermont doctrines \"of stability and freedom.\" To such an extent does", "follower whom he had raised to serve his own ends, and he conspires with\nGuise for his overthrow. He is the more eagerly bent upon this when he", "But in the character of Clermont there mingle other elements than those\nderived from either the historical figure of D'Auvergne, or the ideal", "patron the influence of Shakespeare's tragedy is unmistakably patent.\nThe latter is confiding to Clermont his apprehensions for the future,", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "Is come, and new arriv'd; and made partaker\n Of all the entertaining showes and feasts\n That welcom'd Clermont to the brave virago,", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "_Cler._ But killing of the King!\n\n _Mons._ Right: now I see\n Thou understand'st thy selfe.", "makes her fiery passion for revenge at all costs a foil to the\nscrupulous and deliberate procedure of the high-souled Clermont. Like", "from whom Chapman drew his conception of the character of Clermont\nD'Ambois. My brother-in-law, Mr. S. G. Owen, Student of Christ Church,", "Rather then here live, readie every houre\n To feede theeves, beasts, and be the slave of power?\n I come, my lord! Clermont, thy creature, comes.", "The portraiture of Clermont throughout the play as the high-souled\nphilosopher is inspired by Epictetus's delineation in his _Discourses_", "_Enter Clermont, Maillard close following him._\n\n _Clermont._ My Scotch horse to their armie--\n\n _Maillard._ Please you, sir?", "_Henry._ Well, take your will, sir;--Ile have mine ere long.--\n _Aversus._\n But wherein is this Clermont such a rare one?", "_Enter Clermont._\n\n _Clermont._ Now, to my challenge. What's the place, the weapon?" ], [ "\"Thus lived and thus died Henry of Lorraine, Duke of Guise: a Prince\nworthie to be in the first rankes of Princes, goodly, great, tall of", "suffering a check at the hands of the Duke of Guise, made a truce and\nretired. The incident here spoken of apparently took place in the spring", "strife. But the Duke of Guise, the protagonist of the play, is\ndetermined to counterwork this policy, and with the aid of Catherine de", "_Enter Aumall._\n\n _Aumale._ O sir, the Guise is slaine!\n\n _Cler._ Avert it heaven!", "relates from personal knowledge an incident between Guise and Bussy,\nwhich took place shortly after the accession of Henry III. The Duke took\noccasion of a royal hunting party to draw Bussy alone into the forest,", "represented as one of the Guise's most fanatical adherents. Charles soon\nafterwards dies, and is succeeded by his brother Henry, but \"his mind", "donned masculine disguise for the purpose. But hard upon the deed comes\nthe news of Guise's assassination, and impatient of the earthly barriers", "And that the rest with them with joy thus celebrate\n This our revenge! This certainely presages\n Some instant death both to the Guise and Cardinall.", "While Guise is transfigured, and Monsieur remains his truculent,\nvainglorious self, Montsurry has suffered a strange degeneration. It is", "troops by the King's emissaries. But the intervention of Guise soon\nprocures his release. In the dialogue that follows between him and his", "with the King against the rebel, who is treacherously murdered and dies\ncrying, \"_Vive la messe!_ perish Huguenots!\" His brother, the Cardinal,", "The King determines to get rid of Guise, \"this newe starre in the East\nwhom the people worshipped already.\" (722.) \"Hee hath caused bookes to", "whose fortunes are entirely made by the patronage of Monsieur. His\nsudden elevation turns his head, and he insults the Duke of Guise by", "\"The Duke of Guise, following the councell of the Cardinall Morosin, had\nthe one and twentith of December incensed the King a new by some bold", "_An Ante-room to the Council-Chamber._]\n\n\n _Enter Guise._", "is laid in Paris, whither the closing scenes of Bussy's career are\nshifted. By another ingenious departure from historical truth the Duke", "As bitterly and deadly as the Guise. 120", "death, the Duke himselfe sitting down to dinner, found a scroule under\nhis napkin, advertising him of this secret ambush.\" On the following", "_Henry._ This desperate quarrell sprung out of their envies\n To D'Ambois sudden bravery, and great spirit.\n\n _Guise._ Neither is worth their envie.", "follower whom he had raised to serve his own ends, and he conspires with\nGuise for his overthrow. He is the more eagerly bent upon this when he" ], [ "that now sever him from his \"lord,\" Clermont takes his own life in the\napproved Stoic fashion. So passes from the scene one of the most\noriginal and engaging figures in our dramatic literature, and the more", "So flew brave Clermont forth, till breath forsooke him,\n Then fell to earth; and yet (sweet man) even then\n His spirits convulsions made him bound againe 35", "_Gui._ So, sir, your full swindge take; mine death hath curb'd. 65\n Clermont, farewell! O didst thou see but this!", "_Aum._ What! lye and languish, Clermont! Cursed man,\n To leave him here thus! hee hath slaine himselfe. 195", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "Let my revenge for all loves satisfie, 50\n In which, dame, feare not, Clermont shall not dye.", "world at last stirs up Clermont to execute the long-delayed vengeance\nupon Montsurry, though he is all but forestalled by Charlotte, who has", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "Clermont D'Ambois is himself a fictitious character, but the episodes in\nwhich he appears in Acts II-IV are drawn from the account of the", "should not see this ladie, hee would rather desire to die. Shee\npresently ordered the affaires of her house, the disposition of her\nfurniture, and the retreat of her servants. This passion going from the", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "Was it primarily with the motive of providing Clermont with a plausible\nexcuse for suicide that Chapman so startlingly transformed the", "=242-3=, 11-39. =What spirit . . . of the skie.= This account of\nClermont's desperate struggle to avoid capture is an invention of", "the crisis of his fate lets himself be shipped off to England, so\nClermont makes no demur when the King, who suspects him of complicity", "(1048.) \"This was done as he had appointed. . . . D'Eurre came to\nClermont on Monday at night, and goes unto him where he supped in one of", "Clermont, which is almost a verbal echo of the parallel dialogue between\nthe Danish Prince and the Queen. This second visitation from the unseen", "circumstances. Without further words he dismissed Montsoreau. The Count,\nstung to the quick by so grave an injury to his honour, and excited by", "_Mess._ [_aside, to Clermont_]. Beleeve it, sir, his count'nance\n chang'd in turning.\n\n _Mail._ What doe you meane, sir?", "_Cler._ Ensue what can;\n Tyrants may kill but never hurt a man;\n All to his good makes, spight of death and hell. 140\n\n _Enter Aumall._", "_Chal._ As you should at all parts.\n Goe now to Clermont D'Ambois, and informe him," ], [ "to find him ready to receive back Tamyra as his wife, though her sole\nmotive in rejoining him is to precipitate vengeance on his head. Nor had", "makes her fiery passion for revenge at all costs a foil to the\nscrupulous and deliberate procedure of the high-souled Clermont. Like", "by which Tamyra is forced to decoy her paramour to his doom. All this\nis deftly contrived and does credit to Chapman's dramatic craftsmanship.", "My love of her with marriage, till I vow'd\n To use my utmost to revenge my brother:\n But Clermont D'Ambois (Bussy's second brother)", "_Tamyra._ I see y'are servant, sir, to my deare sister,\n The lady of her loved Baligny.", "_Tamyra._ I? none.\n\n _Mont._ Tis false; I savour the rancke bloud of foes\n In every corner.", "_Tamyra._ Revenge, that ever red sitt'st in the eyes\n Of injur'd ladies, till we crowne thy browes", "Tamyra appeals more to us, because we see in her more of the conflict\nbetween passion and moral obligation, which is the essence of drama. Her", "the avenger's victory. And when he does finally nerve himself to the\nencounter, and dies with words of forgiveness for Clermont and Tamyra on", "of _her_ for _his_. The allusion is evidently to the letter that Tamyra\nafterwards writes to D'Ambois in her own blood. Cf. V, 1, 176-77.", "_A Room in Montsurry's House._]\n\n\n _Enter Monts[urry] and Tamyra._\n\n _Montsurry._ Who have you let into my house?", "Let my revenge for all loves satisfie, 50\n In which, dame, feare not, Clermont shall not dye.", "discovers through Tamyra's waiting-woman that the Countess, whose\nfavours he has vainly sought to win, has granted them to Bussy. It is he", "_Tam._ What vault? hold your sword. 5\n\n _Clermont ascends._\n\n _Clermont._ No, let him use it.", "[SCÃNA TERTIA.\n\n _A Room in Montsurry's House._]\n\n\n _Enter Tamyra with a letter, Charlotte in mans attire._", "him and Tamyra. Bussy takes the Countess's affections so completely by\nstorm, and he ignores so entirely the rights of her husband, that it is", "_Guise._ And why then can ye not disclose your thoughts?\n\n _Tamyra._ Me thinks the man hath answer'd for us well.", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "_Montsur[ry], Tamyra, Beaupre, Pero, Charlotte, Pyrha._\n\n _Montsurry._ He will have pardon, sure.", "My wifes heart stands with haste of the revenge,\n Being (as you know) full of her brothers fire,\n That shee imagines I neglect my vow; 110" ], [ "_A Room in Montsurry's House._]\n\n\n _Enter Monts[urry] and Tamyra._\n\n _Montsurry._ Who have you let into my house?", "Montsurry to appear and deliver her.", "[SCÃNA TERTIA.\n\n _A Room in Montsurry's House._]\n\n\n _Enter Tamyra with a letter, Charlotte in mans attire._", "world at last stirs up Clermont to execute the long-delayed vengeance\nupon Montsurry, though he is all but forestalled by Charlotte, who has", "_Montsur[ry], Tamyra, Beaupre, Pero, Charlotte, Pyrha._\n\n _Montsurry._ He will have pardon, sure.", "[_A Room in Montsurry's House._]\n\n\n _Enter D'Ambois, Tamyra, with a chaine of pearle._", "_Chal._ As you should at all parts.\n Goe now to Clermont D'Ambois, and informe him,", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "_Mons._ He shall, I say.\n\n _Maf._ And Count Montsurry?\n\n _Mons._ I, and Count Montsurry.", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "_Enter Montsurry._", "chooses to call the Countess of Montsurry. For Barrisor, we are told\n(II, ii, 202 ff.), had long wooed the Countess, and the report was", "Though he sends a challenge to Montsurry, and is not lacking in \"the\nD'Ambois spirit,\" the atmosphere in which he lingers with whole-hearted", "_Mons._ Goe, call the Count Montsurry,\n And make the dores fast; I will speak with none\n Till he come to me.", "(1048.) \"This was done as he had appointed. . . . D'Eurre came to\nClermont on Monday at night, and goes unto him where he supped in one of", "on to Montsoreau. The latter thereupon forced his wife to make a\ntreacherous assignation with Bussy at the chÃ¢teau on the night of the", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "ELENOR, Duchess of Guise.\n TAMYRA, Countess of Montsurry.\n BEAUPRE, niece to ELENOR.", "_Montsurry._ Tis not violent;\n Come you not willingly?\n\n _Tam._ Yes, good my lord." ], [ "world at last stirs up Clermont to execute the long-delayed vengeance\nupon Montsurry, though he is all but forestalled by Charlotte, who has", "Charlotte, enraged at Clermont's slowness in dispatching Montsurry,\n\"gets downe\" (l. 87), they remain in the gallery unobserved.", "on to Montsoreau. The latter thereupon forced his wife to make a\ntreacherous assignation with Bussy at the chÃ¢teau on the night of the", "_Enter Montsurry._", "_Enter Clermont._\n\n _Clermont._ Now, to my challenge. What's the place, the weapon?", "_Bal._ This is my purpose, sir; from Clermont D'Ambois\n I bring this challenge.\n\n _Mont._ Challenge! Ile touch none.", "Though he sends a challenge to Montsurry, and is not lacking in \"the\nD'Ambois spirit,\" the atmosphere in which he lingers with whole-hearted", "_Ren._ Retire, my lord; get off.\n _They all fight and Bal[igny] drives in Mont[surry]._\n Hold, or thy death shall hold thee. Hence, my lord!", "_Montsurry._ Oh sir, has she met you?\n _Exeunt Henry, D'Amb[ois], Ladies._", "D'Eurre, \"came to Clermont on Monday at night, and goes unto him\n[D'Auvergne] where he supped.\" Here the name Clermont denotes, of", "_Mons._ He shall, I say.\n\n _Maf._ And Count Montsurry?\n\n _Mons._ I, and Count Montsurry.", "that Bussy has spared Montsurry when \"he hath him down\" in the final\nstruggle; but when her lover is mortally wounded by a pistol shot, she", "=34=, 105. [=Montsurry.=] See note on stage direction at beginning of\nthe scene.", "circumstances. Without further words he dismissed Montsoreau. The Count,\nstung to the quick by so grave an injury to his honour, and excited by", "_Fri._ Till he returnes (great prince of darknesse)\n Tell me if Monsieur and the Count Montsurry 90\n Are yet encounter'd.", "_Cler._ Your lordship must by all meanes.\n\n _Mont._ Then at all. 85\n\n _Fights, and D'Ambois hurts him._", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "_Chal._ As you should at all parts.\n Goe now to Clermont D'Ambois, and informe him,", "Montsurry to appear and deliver her.", "making a secret assignation with him at La CoutanciÃ¨re, which was a\npleasure-resort and convenient for hunting purposes. When Bussy came" ], [ "[SCÃNA TERTIA.\n\n _A Room in Montsurry's House._]\n\n\n _Enter Tamyra with a letter, Charlotte in mans attire._", "_Tamyra._ I see y'are servant, sir, to my deare sister,\n The lady of her loved Baligny.", "Tamyra appeals more to us, because we see in her more of the conflict\nbetween passion and moral obligation, which is the essence of drama. Her", "to find him ready to receive back Tamyra as his wife, though her sole\nmotive in rejoining him is to precipitate vengeance on his head. Nor had", "_Tamyra._ I think not on you, sir; y'are one I know not.\n\n _Buss._ Cry you mercy, madam!", "_Tamyra._ O, help me, father!", "_Enter Tamyra with a book._", "_Musick: and Tamira enters with Pero, her maid, bearing\n a letter._", "=49=, 182. =cast . . . beene:= undress, as if I had never been watching\nhere. Tamyra here determines to go to bed, but afterwards (l. 242) she\nreturns.", "by which Tamyra is forced to decoy her paramour to his doom. All this\nis deftly contrived and does credit to Chapman's dramatic craftsmanship.", "_A Room in Montsurry's House._]\n\n\n _Enter Monts[urry] and Tamyra._\n\n _Montsurry._ Who have you let into my house?", "_Tamira enters_. A, she enters. _Pero, her maid_.\n Emend. Dilke; A, her maid; B, Pero and her maid.\n\n 22 _curst_. A omits.", "discovers through Tamyra's waiting-woman that the Countess, whose\nfavours he has vainly sought to win, has granted them to Bussy. It is he", "and _discovers_, i. e. _reveals to view_, Tamyra, who since the close of\nV, 1, has remained wrapped _in the arras_, or, as the variant stage", "encounter with Barrisor and his companions, and this is made to serve as\nan introduction to the _amour_ between Bussy and Tamyra, as Chapman", "of _her_ for _his_. The allusion is evidently to the letter that Tamyra\nafterwards writes to D'Ambois in her own blood. Cf. V, 1, 176-77.", "spectacle_, the _prodigie_, of l. 134, and its effect are described.\nTamyra, the light of D'Ambois's life, with her reddened bosom and hands,", "_Montsur[ry], Tamyra, Beaupre, Pero, Charlotte, Pyrha._\n\n _Montsurry._ He will have pardon, sure.", "=115=, 67-68. =come . . . lust.= The _syren_ is Tamyra; her song the", "him and Tamyra. Bussy takes the Countess's affections so completely by\nstorm, and he ignores so entirely the rights of her husband, that it is" ], [ "_Gui._ Holde, murtherers! _They strike him downe._\n So then, this is confidence\n In greatnes, not in goodnes. Wher is the King?", "Hee was that whisper'd in your jealous eare\n His owne blacke treason in suggesting Clermonts,\n Colour'd with nothing but being great with mee. 5", "_Tam._ O father, but at this suspicious houre\n You know how apt best men are to suspect us\n In any cause that makes suspicious shadow", "Therefore the King secretly called aside Montsoreau, who was then at\nCourt, and showed him Bussy's letter, and added that, as he was", "who, by means of a paper, convinces Montsurry of his wife's guilt, and\nit is he, together with Guise, who suggests to the Count the stratagem", "_Cler._ But killing of the King!\n\n _Mons._ Right: now I see\n Thou understand'st thy selfe.", "too, when Montsurry first tells her of the suspicions which Monsieur\nhas excited in him, she protests with artfully calculated indignation\nagainst the charge of wrong-doing with this \"serpent.\" But the brutal", "_Mont._ Nothing but this: D'Ambois is thought\n negligent in observing the Duchesse, and therefore\n she is suspicious that your neece or my wife\n closely entertaines him.", "_Tam._ By this light, my lord,\n Y'are a vile fellow; and Ile tell the King 100", "The King determines to get rid of Guise, \"this newe starre in the East\nwhom the people worshipped already.\" (722.) \"Hee hath caused bookes to", "Like Hamlet, too, Clermont, \"generous and free from all contriving,\" is\nslow to suspect evil in others, and though warned by an anonymous", "On Lisandre's return the King, instigated by the enemies of Lysis,\nreproached the former for tamely enduring dishonour, and bade him never", "to a mere chance, if not a misunderstanding. In Grimeston's narrative of\nthe plot against D'Auvergne he mentions that one of the King's agents,", "_Friar._ Impious earle, forbeare;\n Take violent hand from her, or, by mine order,\n The King shall force thee.", "_Buss._ Then doe not doubt\n That there is any act within my nerves, 415\n But killing of the King, that is not yours.", "And showing hee hath learn'd it in his life,\n Being thereby strong in his perswading others,\n That this ambitious Guise, embracing him,", "_Mons._ Peace, peace, I pray thee, peace!\n Who dares doe that? the brother of his King! 80", "_Tam._ It rests as all Kings seales were set in thee.\n Now let us call my father, whom I sweare 45", "with the King against the rebel, who is treacherously murdered and dies\ncrying, \"_Vive la messe!_ perish Huguenots!\" His brother, the Cardinal,", "_Bussy._ I am suspitious, my most honour'd father,\n By some of Monsieurs cunning passages,\n That his still ranging and contentious nose-thrils" ] ]

[ "What is the relationship between Tamyra and Bussy?", "Who is responsible for Bussy's destruction?", "Who does Bussy's ghost rise and tell Clermont to punish?", "What character traits most strongly define Clermont?", "Who does Clermont's strongest allegiance lie with?", "Who is suspicious of the relationship between Clermont and de Guise?", "How does de Guise die?", "How does Clermont die?", "Who is the political manipulator that influences the King's suspicions about Duc de Guise?", "Who is Bussy's brother?", "Why is Monsturry the focus of Clermont's revenge?", "Who appears as a ghost in the story?", "Why does Clermont prefer relationships with men over those with women?", "Whose relationship is viewed with suspicion by the king?", "What is Clermont finally able to persuade Montsurry to do?", "How is Clermont different from Bussy?", "What are Tamyra's relationships with other characters in the story?", "Who is influenced by Baligny's mainpulations?", "Who is Clermont's brother?", "How is Clermont different from Bussey? ", "Who is Claremont a follower of? ", "How does Duc de Guise pass away? ", "How does Clermont pass away? ", "Who does Tamyra want Clermont to take vegengence upon? ", "Besides Tamyra, who else comes to tell Clermont to destroy Montsurry? ", "Where do Clermont and Montsurry finally meet? ", "Who is Tymra? ", "Who urges suspiscion of the king? " ]

[ [ "They are former lovers.", "They are former lovers." ], [ "Tamyra's husband, Montsurry.", "Montsurry." ], [ "Montsurry.", "Montsurry" ], [ "He is depicted as stoic Christian. ", "Christian Stoic" ], [ "Duc de Guise, a powerful nobleman. ", "The Duc de Guise." ], [ "The king.", "the King" ], [ "He is assassinated.", "He is assassinated " ], [ "He commits suicide after the assassination of de Guise.", "Suicide " ], [ "Baligny. ", "Blaigny." ], [ "Clermont D'Ambois.", "Clermont D'Ambois" ], [ "Montsurry is responsible for Bussy's death.", "Because he is the person who destroyed Bussy." ], [ "Bussy.", "Bussy" ], [ "Because he is asexual.", "They are asexual." ], [ "Clermont and Duc de Guise.", "Clermont and Duc De Guise" ], [ "To face him in a duel.", "to accept his death" ], [ "Clermont is a Christian Stoic.", "Clermont is a Christian Stoic" ], [ "She is Montsurry's wife and was Bussy's lover.", "She is bussy former lover" ], [ "The king.", "The king." ], [ "Bussy. ", "Bussy" ], [ "He is a Christian Stoic. ", "He is a stoic Christian." ], [ "Duc de Guise. ", "The Duc de Guise." ], [ "He is assassinated. ", "He is assassinated" ], [ "He commits suicide. ", "suicide" ], [ "Her husband Montsurry. ", "Montsurry." ], [ "Bussey's ghost. ", "Bussy's ghost." ], [ "On the field to face death. ", "the field of honor " ], [ "Bussey's former lover. ", "Tamyra is Montsurry's wife." ], [ "Baligny. ", "Baligny." ] ]

a7dda57366f6c9e627b4cbd97b89e3645551d258

test

[ [ "HYPNOS\n Oh, no, no, no. Y'see, Stu, as it happens, that\n girlfriend of yours figured out the chemical", "JULIE turns to look at STU in the bed. The certain knowledge that he was\nabout to propose is like a knife in her heart. KIMMY feels bad as well,\nhaving let the cat out of the bag, but before they can hash it out -", "STU is almost oblivious to JULIE. He lifts up the sheet, sneaks a quick\npeek at his CROTCH, and grins delightedly.", "No one says anything. But both women look at STU, and then at each\nother, and everyone knows exactly where everyone else stands. JULIE has\na sinking feeling that STU is working on a 3-month deadline.", "STU\n My life was totally crappy, Herb, and she...\n fixed it. She made me happy. Which I'd never\n been. She loves me the way I am - right now.\n (beat)", "INT. STU'S PRIVATE ROOM - NIGHT\n\nThe real JULIE awakens suddenly and lets out a scream of her own.\n\n JULIE\n STU!!!!", "She thinks it over, nods. STU takes a moment to catch his breath, then\nopens the door gingerly. A HORN BLARES as a car speeds past in the", "STU\n ...Kitty?!?\n\nAt the sight of STU behind bars, she breaks down CRYING.", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "STU-BONE does a take. The good news is, she doesn't suspect. The bad\nnews is, he's apparently named after his creator's penis.\n\nINT. HALLWAY - A MOMENT LATER", "HYPNOS\n Y'see, Stu, as I understand it, you made this\n pact with your sister...no life support?\n\nMONKEYBONE's jaw drops. He slaps himself across the forehead.", "STU-BONE\n Yes, being in a coma taught Stu Miley a thing or\n two about life. Buckle your seat belts, for one.", "CLARISSA\n He's not the same guy. He's not your Stu.\n (beat)\n I didn't want to tell you this, but the other\n day he pinched me on the butt.", "STU\n Julie and I - we were just gonna go...\n\nBut before STU knows what's hit him, HERB is leading him back to -", "STU\n Nothing for him! He's being repressed.\n\n KITTY\n Is something wrong, Stu? You seem so tense.", "STU\n That stupid monkey banner! It fell on my\n windshield - it practically killed us all!\n (to JULIE)\n God, Julie, if anything had happened to you -", "(pointing at STU)\n JUST KIDDING, BUDDY! Because if we know anything\n about Miss Julie, we know she is faithful,", "STU's back from the hospital. JULIE is removing his bags from the trunk\nof KIMMY's car while STU and KIMMY chat in the front seat.", "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "STU\n See these doors? The cool thing is, you go out\n ...they close...you can't get back in!\n\nHe opens one door and holds it for JULIE." ], [ "EARL does an end-zone dance toward the door. One by one, OTHER PATRONS\nget up from their seats to watch EARL's departure.\n\n\nEXT. COMA BAR - STREETS - NIGHT", "The group exchanges nervous glances: it's risky. JULIE claps her hands:\n\n JULIE\n All right! We have a plan. Let's move!", "O.D. STU doesn't even stop at the ticket window. He VAULTS over the\nturnstile, knocking benefit guests aside. The SURGEONS aren't far\nbehind. They race up to the ticket window -", "they're parked in. STU has to keep backing up because the exit lanes are\nblocked. It's like negotiating a labyrinth.", "ALICE\n How do you get from here - to there?\n\n JULIE\n Switch hands.\n\n ALICE\n What?", "It lands close enough to the FENCE that one of the SURGEONS thinks he\ncan reach it. He reaches through the bars and sees a pack of BENGAL", "STU\n See these doors? The cool thing is, you go out\n ...they close...you can't get back in!\n\nHe opens one door and holds it for JULIE.", "They wander off, arm in arm. STU TUGS at the seat of his pants.\n\n JULIE\n What's the matter?\n\n STU\n My tail itches.", "The gates slide open. STU passes through. But MONKEYBONE lingers behind\na moment - just long enough for one of the SINGING SPHINXES to slip him\na big, nasty BASEBALL BAT.", "STU realizes they've only got an instant to make their move. He DIVES\nthrough the gates at top speed. As soon as he's on the other side, he\nhears a nasty CLANG behind him...", "The REAPER wrings out his shroud and grabs the hand truck. As he wheels\nLULU past the boys, MONKEYBONE pops up with a helpful hint:", "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "Through the big window, he sees the boys leveling off, flying toward the\nDARK TOWN TUNNEL. They're moments away from a clean escape.\n\nINT. STU'S ROOM - NIGHT", "PASSENGERS are holding their noses, frantically pulling on the BELL ROPE\nto alert the driver that they want off. As we move toward the back we\nsee O.D. STU sitting alone, with rows of empty seats on either side.", "STU\n How am I gonna get past the guards?\n\n KITTY\n I'll worry about the guards.\n (loudly)", "STU\n Look at this! He won't let us leave!\n\n JULIE\n Who?", "In FG through all this is a dim teenage JANITOR pushing his electric\nfloor polisher. He has his Walkman on and he can't hear any of the\nmayhem behind him. He sings along atonally with the music:", "She thinks it over, nods. STU takes a moment to catch his breath, then\nopens the door gingerly. A HORN BLARES as a car speeds past in the", "EARL throws his crutches aside, jumps out of his chair, and DANCES A\nJIG, waving the ticket over his head. STU stares at him with naked envy.", "HERB\n Being rich is not a trap. That is a dirty lie\n perpetuated by rich people to keep the failures\n from killing them.\n\n STU\n Herb. I have to go." ], [ "MONKEYBONE cowers in fear as the REAPER gets up, shaking a fist at them.\nBut STU isn't intimidated. He grabs another ball and winds up.", "The REAPER loads LULU into the little roller-coaster and climbs aboard.\nThe car begins to move. STU and MONKEYBONE get there just in time to\njump onto the LUGGAGE RACK in the back!", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "BLAM! The cop's shot hits the giant MONKEYBONE BALLOON smack in the ass.", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "STU\n NO! JULIE! NO-O-O-O!\n\nAERIAL SHOT - ON MONKEYBONE", "A WINDOW shatters. The SHRINK comes hurtling out. MONKEYBONE STRADDLES\nHIM like Slim Pickens riding an H-bomb, hootin' and hollerin' all the\nway down to the street.", "HYPNOS\n Not again. THAT STINKING MONKEY!!!\n\nAERIAL SHOT - STU'S POV - MOVING", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "STU\n You saved my life, Monkeybone. I never would've\n made it without you.\n\n MONKEYBONE\n Move it. We got exactly five minutes left.", "STU grabs a CHAIR and swings it at the chandelier. MONKEYBONE makes a\nseries of SUBMARINE NOISES -\n\n MONKEYBONE\n DIVE! DIVE!!", "JULIE\n You want to leave? But Stu - you're a big hit!\n Everyone loves you!\n\n STU\n They don't love me. They love Monkeybone.", "The ball hits the REAPER smack on the head, knocking him off his bike!\n\n STU/MONKEYBONE\n (in unison - impressed)\n Damn.", "MONKEYBONE covers both eyes and wails in fear. But STU is rattling the\nignition switch, making ONE LAST EFFORT to get the bike aloft...", "As STU pulls into the intersection he sees a DELIVERY TRUCK approaching\nin the opposite lane, with a cardboard likeness of MONKEYBONE mounted\natop the cab. He chuckles...", "STU\n Stop! Monkeybone! Please!!\n\nEXT. DARK TOWN PLAZA - NIGHT" ], [ "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "MONKEYBONE\n Say, Death, just out of curiosity, could we\n maybe swap jobs with that other guy? See, we've\n been meaning to drop in on Dark Town - I mean\n I've been meaning to...", "MONKEYBONE\n What'd I tell you? You go to the Land of Death,\n wear a jockstrap!\n\nEXT. TRAINYARD - HIGH ANGLE", "STU\n Stop! Monkeybone! Please!!\n\nEXT. DARK TOWN PLAZA - NIGHT", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "MONKEYBONE\n Death, I'd like to point out that none of this\n was my fault. The roots of this tragedy go back\n to a callous, uncaring society that -", "MONKEYBONE\n Fate worse than death! Well, it's been real,\n boss, but I gotta go buff up my resumé. ANYBODY\n HERE NEED A FIGMENT?", "STANLEY (V.O.)\n Monkeybone!!", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "DEATH lets out a MIGHTY ROAR and CLAPS HIS GREAT METAL HANDS together.\nMan and monkey are surely squished. But when DEATH opens his hands, STU", "STU\n Hey. Where's Monkeybone?", "LULU is still sitting in her little car at the edge of the tracks, eyes\ncrossed, mouth agape. MONKEYBONE waves brightly. Then a mob of REAPERS", "A trouper to the end, MONKEYBONE WAVES at the crowd even as STU drags\nhim off to an empty table in the farthest corner of the room.", "MONKEYBONE\n Stu? Stu? Let's not disturb the nice Reaper.", "As STU pulls into the intersection he sees a DELIVERY TRUCK approaching\nin the opposite lane, with a cardboard likeness of MONKEYBONE mounted\natop the cab. He chuckles...", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "DEATH\n ...What??\n\n STU MONKEYBONE\n Salty Dog. Sufferin' Bastard.", "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him..." ], [ "DEATH rears back and KICKS HIM, full-force, SMACK IN THE ASS. The\nsupernatural might of the blow sends STU ROCKETING UPWARD THROUGH THE\nCEILING!!", "DEATH\n Back in your head, where he belongs.\n (beat)\n No offense, Stu, but on your own you're kinda\n vanilla. I didn't want to send you back without\n him.", "DEATH\n Thank me next time you see me.\n\nHe sends STU ROCKETING UPWARD INTO THE STRATOSPHERE with a single flick\nof his finger. Then he turns...", "The true horror of death is that it makes you look like a total idiot.\nThe REAPER pulls a collapsible HAND TRUCK from beneath his shroud and\nstarts maneuvering LULU onto it.", "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "The SECOND CORPSE sits up abruptly. His sheet falls away, revealing STU\n...the real STU...now back in his own body! The SURGEON and his TEAM run\naway from the ambulance SHRIEKING.", "DEATH\n Why??\n\n STU\n I have a girl up there. And I never - I\n should've - I just want to tell her I love her.", "just about killed us all. And Stu and I made a\n pact that when our time came - we wouldn't let\n it drag out.", "BUSTER barks like a maniac. JULIE turns and sees an IMPOSSIBLE VISION\nambling toward her...STU, alive and kicking. She can't believe it's him\nuntil he grabs her and pulls her close.", "of death. He stole my e-ticket. That's how he\n got my body, see? All they had left for me was\n this corpse!", "Then, with a distinct POP, he's gone. Over the rainbow...home.\n\n STU\n He's ninety. He's practically dead already. How\n come he goes back and I stay here?", "STU\n He's taking her to the land of Death, right? So\n all we've gotta do is...hitch a ride!\n (beat)\n Stop shaking! I'll protect you.", "STU\n Hello? Anybody? - Am I dead?\n (beat)\n PLEASE. I'D LIKE TO KNOW IF I'M DEAD.", "STU\n Coming from you, that's quite a compliment.\n\n DEATH\n De nada. Now, come here...bend over...before I\n change my mind.", "DEATH is stunned by this unprecedented breach of protocol. The other\nREAPERS in the line are ABUZZ.\n\n DEATH\n ...I beg your pardon?", "The blow sends STU staggering. DEATH and the other REAPERS look on in\nastonishment as the STAINED REAPER does a bizarre DANCE across the", "STU\n Back? You're sending me back?", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "HYPNOS\n Actually, Stu, Julie doesn't get to decide.\n That's why she was having the nightmare.\n (an embarrassed shrug)\n\n They're pulling the plug at nine AM.", "DEATH\n You're the customer, okay? You're about to die.\n It's a big occasion. A formal occasion. And as" ], [ "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "He turns and stalks off. MONKEYBONE stands there blinking.\n\n MONKEYBONE\n Hey. Aren't you gonna talk me into it?", "MONKEYBONE\n Say, Death, just out of curiosity, could we\n maybe swap jobs with that other guy? See, we've\n been meaning to drop in on Dark Town - I mean\n I've been meaning to...", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "DEATH lets out a MIGHTY ROAR and CLAPS HIS GREAT METAL HANDS together.\nMan and monkey are surely squished. But when DEATH opens his hands, STU", "A trouper to the end, MONKEYBONE WAVES at the crowd even as STU drags\nhim off to an empty table in the farthest corner of the room.", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "MONKEYBONE\n What'd I tell you? You go to the Land of Death,\n wear a jockstrap!\n\nEXT. TRAINYARD - HIGH ANGLE", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "MONKEYBONE fiddles with the ignition switch. A BLACK CLOUD OF EXHAUST\nbelches violently from the rear of the bike, almost pitching them off\ntheir seat. The batwings start to flap faster...", "MONKEYBONE\n Death, I'd like to point out that none of this\n was my fault. The roots of this tragedy go back\n to a callous, uncaring society that -", "MONKEYBONE marches back and forth across the bed, wearing a dimwit's\nexpression as he MOCKS STU in a singsongy voice...", "MONKEYBONE covers both eyes and wails in fear. But STU is rattling the\nignition switch, making ONE LAST EFFORT to get the bike aloft...", "MONKEYBONE\n Fate worse than death! Well, it's been real,\n boss, but I gotta go buff up my resumé. ANYBODY\n HERE NEED A FIGMENT?", "MONKEYBONE\n Maybe he wanted to pick out his own casket?\n\n STU\n (turning abruptly)\n HEY!! HEY, YOU!!", "STANLEY (V.O.)\n Monkeybone!!", "The REAPER wrings out his shroud and grabs the hand truck. As he wheels\nLULU past the boys, MONKEYBONE pops up with a helpful hint:", "MONKEYBONE\n Stu? Stu? Let's not disturb the nice Reaper." ], [ "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "HERB\n Why?\n\n STU\n I got the ring.\n (beat)\n Tonight's the night, Herb. Tonight's the night.", "HERB\n Sorry, Julie - won't be a minute. Now Stu - I\n know you don't like the idea, but you really\n ought to talk to these guys -", "HERB leads a round of APPLAUSE. JULIE nudges STU - the only guy in the\nroom who's still in his seat.", "STU\n Julie and I - we were just gonna go...\n\nBut before STU knows what's hit him, HERB is leading him back to -", "HERB\n Go? There's a potload of money here, pal. You\n got three major toy companies...you got the guys\n from Burger God over here...", "HERB holds up a finger. He's too busy talking. STU-BONE enters with the\nvideo crew in tow. JULIE somehow manages to sideline him.", "The MERCHANDISERS shoot STU an expectant wave. STU waves back and turns\nin the opposite direction. HERB grabs him by the sleeve.", "HERB\n Being rich is not a trap. That is a dirty lie\n perpetuated by rich people to keep the failures\n from killing them.\n\n STU\n Herb. I have to go.", "As HERB is walking toward the refreshment table, an ODD LOOK crosses his\nface. All at once he begins to TUG at his collar. He yanks his TIE off\n...doffs his JACKET onto the pavement...", "HERB\n Okay then. If I get you out of here - you pop\n the question - tonight. Or else. Get me?\n\nSTU nods gravely.", "STU\n Herb, it's too much. It's all out of hand.", "HERB\n I tell you, he's ready to merchandise. We've\n gotta move quickly. Get the toy guys, the burger\n guys, the lunchbox guys -", "STU GLOWERS at HERB as he opens the car door for JULIE.\n\n HERB\n Okay, okay! You're a beautiful couple. Go.", "HERB\n Oh, here's something. The city zoo is kicking\n off a fund-raising campaign. They wonder if\n you'd be willing to appear at a benefit.", "INT. KITCHEN - THAT MOMENT - LATE AFTERNOON\n\nJULIE squeezes through the crowd, finds HERB working the phone.", "HERB\n And last...you remember Bill here, from the\n Bazoom Toy Company? He's got a little something\n I think you'll like.", "HERB\n A piñata. That's a great idea!\n\n STU-BONE\n You guys don't know it, but you just saved my\n ass!", "times now. Herb says it gets higher ratings\n every time...they're hoping you'll give 'em some\n new material soon...\n (long, bored pause)", "HERB\n They're just prototypes...take 'em home and look\n at 'em before you say no...\n (scanning the streets)" ], [ "HYPNOS\n Oh, no, no, no. Y'see, Stu, as it happens, that\n girlfriend of yours figured out the chemical", "On the top shelf is a corked beaker of purple fluid bearing the label\n\"ONEIRIX\" with red DANGER stickers all over it. STU-BONE takes it out,", "...and suddenly he sees HYPNOS winking into view directly in front of\nhim! HYPNOS is perfectly capable of moving. He strolls right up to the", "HYPNOS\n Now find that nightmare juice and get to work.\n 'Cause you may be a free man during the day...\n but when you dream, your monkey ass is mine!", "HYPNOS\n Oh yeah. Mr. By-the-book, Stick-Up-the-Ass, My-", "HYP shuts up. Looks around the room, as if he's afraid of being\noverheard. Then he gestures to the boys to join him on the bed.\n\nThey climb aboard eagerly. HYPNOS hits his remote...", "HYPNOS\n It's a special kind of party. A farewell party.\n Do you...get what I'm saying?", "HYPNOS\n Haw! I like a monkey with vision!\n\n MONKEYBONE\n You said it, partner!", "HYPNOS\n It's simple, Stu. We need nightmares - lots of\n 'em. So whenever we can swing it, we send a guy", "Suddenly the two of them are locked in a tight embrace, rolling together\nthrough the flowers, LAUGHING, full of joy.\n\nINT. HYP'S HIDEAWAY - THAT MOMENT", "INT. HYP'S HIDEAWAY - THAT MOMENT", "INT. HYP'S HIDEAWAY - THAT MOMENT", "INT. HYP'S HIDEAWAY - A MOMENT LATER", "He unbuckles the belt. UNZIPS HIS PANTS. Keeps clawing toward the\nbeaker. But he still can't quite make it, and the BABOON won't let go.", "HYPNOS\n Now Death is not what you would call a people\n person, like me. Death is a putz - and I should\n know. I'm his little brother.", "INT. HYP'S HIDEAWAY - THAT MOMENT - NIGHT", "He unlocks the door and enters the darkened lab. Finds the dispensary\narea and kneels beside a LOCKED REFRIGERATOR. Then he shuffles through\nthe keys on the ring until he finds one labelled \"FRIDGE.\"", "HYPNOS\n Nobody wants to be a sidekick, Stu. So one day\n he comes to us - he's got a proposition. We help", "HUTCH\n It's nightmare juice. Julie and I were on the\n team that learned to synthesize it. If those", "STU\n But why me? Why'd you pick on me??\n\n HYPNOS\n The monkey, of course. It was his idea." ], [ "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "STU\n Julie and I - we were just gonna go...\n\nBut before STU knows what's hit him, HERB is leading him back to -", "HERB\n Sorry, Julie - won't be a minute. Now Stu - I\n know you don't like the idea, but you really\n ought to talk to these guys -", "STU GLOWERS at HERB as he opens the car door for JULIE.\n\n HERB\n Okay, okay! You're a beautiful couple. Go.", "HERB\n Why?\n\n STU\n I got the ring.\n (beat)\n Tonight's the night, Herb. Tonight's the night.", "HERB\n Now, let's give it up for the guy who started it\n all. Creator of America's most disturbed comic\n strip...the man behind the monkey...Mister Stu\n Miley!", "HERB\n Being rich is not a trap. That is a dirty lie\n perpetuated by rich people to keep the failures\n from killing them.\n\n STU\n Herb. I have to go.", "HERB holds up a finger. He's too busy talking. STU-BONE enters with the\nvideo crew in tow. JULIE somehow manages to sideline him.", "BURGER GOD EXEC\n Interesting fellow.\n\n HERB\n Head trauma.\n\nINT. STU'S KITCHEN - THAT MOMENT", "HERB leads a round of APPLAUSE. JULIE nudges STU - the only guy in the\nroom who's still in his seat.", "STU\n My life was totally crappy, Herb, and she...\n fixed it. She made me happy. Which I'd never\n been. She loves me the way I am - right now.\n (beat)", "HERB\n Okay then. If I get you out of here - you pop\n the question - tonight. Or else. Get me?\n\nSTU nods gravely.", "STU\n Herb, it's too much. It's all out of hand.", "STU-BONE\n I think it's a pig hair.\n (examining a contract)\n How much is McDonald's offering?\n\n HERB\n Less.", "The MERCHANDISERS shoot STU an expectant wave. STU waves back and turns\nin the opposite direction. HERB grabs him by the sleeve.", "HERB\n A piñata. That's a great idea!\n\n STU-BONE\n You guys don't know it, but you just saved my\n ass!", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "STU\n No. No. Not him.\n\n EARL\n So long, suckers! See you in the funny papers!", "STU, JULIE, and HERB in the parking lot. A small safari of FLUNKIES is\nloading enormous boxes full of MONKEYBONE JUNK into STU's beat-up car -", "STU-BONE\n How much?\n\n HERB\n Well, nothing. It's a benefit. But we could\n probably get People and Entertainment Tonight to\n cover it." ], [ "STU-BONE does a take. The good news is, she doesn't suspect. The bad\nnews is, he's apparently named after his creator's penis.\n\nINT. HALLWAY - A MOMENT LATER", "As STU sprints down the street, the SNAIL MAN oozes into his path - and\nTRIPS HIM! Before he can get up, cackling DARKTOWNERS converge on him -", "As STU wanders through, he gets a big surprise. Reproductions of his old\nNIGHTMARE PAINTINGS are hanging on the walls! They've been turned into\nONE-SHEETS for the coming attractions at the Morpheum.", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "STU\n No. No. Not him.\n\n EARL\n So long, suckers! See you in the funny papers!", "STU-BONE in pajamas and a head bandage, reading the morning funnies. He\npounds the table, practically WEEPING with hilarity at the MONKEYBONE\nCOMIC STRIP.", "A STRANGE FURRY CREATURE pops out from beneath the platform and yanks on\nSTU's pants leg. It looks like a raccoon, but it's FLAT - an animated", "HERB\n Now, let's give it up for the guy who started it\n all. Creator of America's most disturbed comic\n strip...the man behind the monkey...Mister Stu\n Miley!", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "The DARKTOWNERS are rubbing their hands together in anticipation of\nhorrors to come. STU looks from one misshapen face to the next, his\nheart pounding with dread.", "These photos are on the wall of the cramped room which serves as STU's\nstudio and JULIE's office. MONKEYBONE STRIPS are scattered across the\ndrafting table. ALICE is making up the sofa as a guest bed.", "STU\n Stop! Monkeybone! Please!!\n\nEXT. DARK TOWN PLAZA - NIGHT", "Reduced to babbling hysteria, STU ducks into the nearest building. Above\nthe door, an ANIMATED NEON SIGN shows a happy boozer lifting his martini", "STU\n You're nuts! I'm a comic strip artist! What's he\n gonna do - draw really scary cartoons??", "By now the onlookers at the bar are CRACKING UP. All except one - the\nlonely, disconsolate fellow on the last stool, nursing a martini - STU.", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "STU is the one guy in the auditorium who isn't laughing at the cartoon\non the screen. In fact, he's solemn as a judge - peering nervously\naround to see how the rest of the audience is responding.", "STU-BONE steps out into the driveway and hears a low growl - BUSTER is\ngiving him the stinkeye from behind the picket fence. STU-BONE's eyes\nlight up with inspiration.", "Through the big window, he sees the boys leveling off, flying toward the\nDARK TOWN TUNNEL. They're moments away from a clean escape.\n\nINT. STU'S ROOM - NIGHT", "Disheveled but triumphant, STU-BONE stands up, pounds his chest with\nboth fists, and lets out a Tarzanian ROAR. Lights go on all over the" ], [ "In the midst of the crowd is a handsome young couple: JULIE McELROY and\nSTU MILEY. JULIE's a research scientist, brainy, professional,", "JULIE\n Stu. That was right about the time we met.\n\n ALICE\n When he first came in to the sleep lab?", "JULIE\n You sure this is...medically advisable?\n\n STU-BONE\n Got a doctor on duty.", "STU-BONE\n And speaking of which, here's the light of my\n life, the pert and saucy Miss Julie McElroy.", "It appears that almost everyone in the waiting room is a friend of JULIE\nand STU's. Disheveled and groggy, they rouse themselves and make their\nway over to JULIE's side. She's overcome with emotion.", "STU is almost oblivious to JULIE. He lifts up the sheet, sneaks a quick\npeek at his CROTCH, and grins delightedly.", "JULIE turns to look at STU in the bed. The certain knowledge that he was\nabout to propose is like a knife in her heart. KIMMY feels bad as well,\nhaving let the cat out of the bag, but before they can hash it out -", "STU's back from the hospital. JULIE is removing his bags from the trunk\nof KIMMY's car while STU and KIMMY chat in the front seat.", "INT. STU & JULIE'S HOUSE - DAY", "JULIE\n Stu? Is that you? Where did you go?\n\n STU-BONE\n Me? Nowhere. I was asleep.", "INT. STU & JULIE'S HOUSE - ENTRY - NIGHT", "JULIE, in her white lab coat, wanders through Intensive Care and finds a\nWOMAN hunched over STU's bed, BAWLING HER EYES OUT.", "While JULIE is hugging him, STU is checking out his new fingers and\ntoes, RUBBING his sparse patch of CHEST FUR. DOCTORS and NURSES look on\nin amazement from the doorway.", "As he sings, STU-BONE gyrates over toward JULIE, bumping and grinding\nlike the cartoon-monkey sex machine he is. He waves his mike to the", "STU\n How was it? I don't recall.\n\n JULIE\n It was great, baby. Let's get you to the ER.", "STU\n JULIE! I'M HERE, DOC! DON'T LET THEM PULL THE\n PLUG! I'M HERE!!!", "JULIE has some dim sense that this ritual is supposed to be erotic, but\nin fact, it's making her damned nervous. She finds herself scrunching up\non the bed, trying to keep out of STU-BONE's way.", "EXT. HALLWAY - A MOMENT LATER\n\nJULIE helps a punchdrunk, staggering STU to the stairway.", "JULIE\n Stu?\n\n STU\n Julie?... Hey, you are a looker.", "JULIE\n Stu? I'm here, baby. It's me. It's Julie. I love\n you. You're gonna be okay, baby, I promise -" ], [ "STU\n Say, have you seen Mr. Hypnos?\n\n HAND WOMAN\n Hyp? He was here a while ago. Aren't you Stu\n Miley? The nightmare guy?", "STU\n I've been trying to get through to the head guy\n - the nightmare god - what's his name?\n\n KITTY\n Hypnos?", "HYPNOS\n It's simple, Stu. We need nightmares - lots of\n 'em. So whenever we can swing it, we send a guy", "STU\n But why me? Why'd you pick on me??\n\n HYPNOS\n The monkey, of course. It was his idea.", "HYPNOS\n Stu, I like you personally, I admire your work,\n but I'm just the God of Sleep. This is Death's\n bailiwick.", "STU\n Hypnos! The god of nightmares! Do you know what\n this means, Monkeybone? He's finally going to\n hear my case. I'm going home!", "STU-BONE\n Friggin' Hypnos. I'll show him...\n\nINT. SLEEP LAB - NIGHT", "...and suddenly he sees HYPNOS winking into view directly in front of\nhim! HYPNOS is perfectly capable of moving. He strolls right up to the", "With a brusque gesture, HYPNOS sends the party girls packing. He slings\none arm around STU's shoulder and pulls him aside.", "MONKEYBONE\n Stu... It's a party.\n\n STU\n Mr. Hypnos - sir - I needed to talk to you -", "STU\n Mr. Hypnos, you run this place. I'm begging you.\n There's gotta be something I can do.", "HYPNOS\n Actually, Stu, Julie doesn't get to decide.\n That's why she was having the nightmare.\n (an embarrassed shrug)\n\n They're pulling the plug at nine AM.", "HYP shuts up. Looks around the room, as if he's afraid of being\noverheard. Then he gestures to the boys to join him on the bed.\n\nThey climb aboard eagerly. HYPNOS hits his remote...", "STU\n Mr. Hypnos, I saw a dream. My girlfriend was\n having it. She dreamed they were pulling the\n plug on me. She was watching me die.", "HYPNOS\n Wait a minute. Stu Miley, right? Boys and girls\n ...Mr. Stu Miley, in the house!\n (leading a round of applause)", "HYPNOS\n Oh, no, no, no. Y'see, Stu, as it happens, that\n girlfriend of yours figured out the chemical", "HYPNOS\n Oh yeah. Mr. By-the-book, Stick-Up-the-Ass, My-", "HYPNOS\n Nobody wants to be a sidekick, Stu. So one day\n he comes to us - he's got a proposition. We help", "STU\n Land of Death. How do I get there?\n\n HYPNOS\n Kid, listen: that's all I'm saying. And you\n didn't hear it from me.", "STU\n You're mad at me. Great. You have every right to\n be. But we're both mad at Dark Town. We're both\n mad at Hypnos." ], [ "The SECOND CORPSE sits up abruptly. His sheet falls away, revealing STU\n...the real STU...now back in his own body! The SURGEON and his TEAM run\naway from the ambulance SHRIEKING.", "DEATH\n Back in your head, where he belongs.\n (beat)\n No offense, Stu, but on your own you're kinda\n vanilla. I didn't want to send you back without\n him.", "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him...", "The ORGAN DONOR grabs a lab coat from a nearby rack and races out. (And\nsince STU is temporarily occupying the DONOR's body, we will henceforth\nrefer to him as O.D. STU.)", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "STU-BONE tenses instinctively. The dog is yipping, wagging his tail\ninsanely at the sight of his long-lost master - until he gets just a\nlittle bit closer, and senses that something is very, very wrong.", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "STU breaks free and FLINGS HIMSELF on the ORB - which SHORTS OUT in a\nhaze of smoke and sparks, abruptly ending the nightmare. JULIE's image", "JULIE strokes STU's limp hand. He's COMATOSE, cocooned in a tangle of\nwires and tubes. His head and shoulders are heavily bandaged. He's", "INT. STU'S PRIVATE ROOM - NIGHT\n\nThe real JULIE awakens suddenly and lets out a scream of her own.\n\n JULIE\n STU!!!!", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "HYPNOS\n Actually, Stu, Julie doesn't get to decide.\n That's why she was having the nightmare.\n (an embarrassed shrug)\n\n They're pulling the plug at nine AM.", "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "STU\n Back? You're sending me back?", "O.D. STU sees him - pulls away from JULIE -\n\n O.D. STU\n I LOVE YOU!\n\n JULIE\n STU!!", "STU gets an idea as he looks down at his dangling INTESTINE. He begins\nFEEDING IT OUT - giving himself more rope to work with - and when it's\nlong enough, begins SWINGING IT like a LASSO!", "HYPNOS\n Sorry, Stu. It's all part of the deal. We've got\n big plans for that body of yours!\n\nEXT. E-TICKET RIDE - ON MONKEYBONE", "BUSTER barks like a maniac. JULIE turns and sees an IMPOSSIBLE VISION\nambling toward her...STU, alive and kicking. She can't believe it's him\nuntil he grabs her and pulls her close.", "DISSOLVE TO:\n\nINT. STU'S PRIVATE ROOM - MORNING" ], [ "With a brusque gesture, HYPNOS sends the party girls packing. He slings\none arm around STU's shoulder and pulls him aside.", "HYPNOS\n Sorry, Stu. It's all part of the deal. We've got\n big plans for that body of yours!\n\nEXT. E-TICKET RIDE - ON MONKEYBONE", "STU-BONE\n Friggin' Hypnos. I'll show him...\n\nINT. SLEEP LAB - NIGHT", "HYPNOS\n It's simple, Stu. We need nightmares - lots of\n 'em. So whenever we can swing it, we send a guy", "STU\n Say, have you seen Mr. Hypnos?\n\n HAND WOMAN\n Hyp? He was here a while ago. Aren't you Stu\n Miley? The nightmare guy?", "HYPNOS\n Stu, I like you personally, I admire your work,\n but I'm just the God of Sleep. This is Death's\n bailiwick.", "...and suddenly he sees HYPNOS winking into view directly in front of\nhim! HYPNOS is perfectly capable of moving. He strolls right up to the", "HYP shuts up. Looks around the room, as if he's afraid of being\noverheard. Then he gestures to the boys to join him on the bed.\n\nThey climb aboard eagerly. HYPNOS hits his remote...", "HYPNOS\n Oh, no, no, no. Y'see, Stu, as it happens, that\n girlfriend of yours figured out the chemical", "STU\n Hypnos! The god of nightmares! Do you know what\n this means, Monkeybone? He's finally going to\n hear my case. I'm going home!", "STU\n I've been trying to get through to the head guy\n - the nightmare god - what's his name?\n\n KITTY\n Hypnos?", "HYPNOS\n Actually, Stu, Julie doesn't get to decide.\n That's why she was having the nightmare.\n (an embarrassed shrug)\n\n They're pulling the plug at nine AM.", "STU\n Mr. Hypnos, you run this place. I'm begging you.\n There's gotta be something I can do.", "HYPNOS\n Oh yeah. Mr. By-the-book, Stick-Up-the-Ass, My-", "STU\n Mr. Hypnos, I saw a dream. My girlfriend was\n having it. She dreamed they were pulling the\n plug on me. She was watching me die.", "STU\n But why me? Why'd you pick on me??\n\n HYPNOS\n The monkey, of course. It was his idea.", "MONKEYBONE\n Stu... It's a party.\n\n STU\n Mr. Hypnos - sir - I needed to talk to you -", "DEATH\n HYPNOS! That little twerp! He's the one who put\n you up to this!", "HYPNOS marches off, chuckling. STU's head sinks into his hands.\n\n\nEXT. STU AND JULIE'S HOUSE - DAY", "HYPNOS\n Y'see, Stu, as I understand it, you made this\n pact with your sister...no life support?\n\nMONKEYBONE's jaw drops. He slaps himself across the forehead." ], [ "STU\n He's taking her to the land of Death, right? So\n all we've gotta do is...hitch a ride!\n (beat)\n Stop shaking! I'll protect you.", "DEATH is stunned by this unprecedented breach of protocol. The other\nREAPERS in the line are ABUZZ.\n\n DEATH\n ...I beg your pardon?", "DEATH rears back and KICKS HIM, full-force, SMACK IN THE ASS. The\nsupernatural might of the blow sends STU ROCKETING UPWARD THROUGH THE\nCEILING!!", "DEATH\n Back in your head, where he belongs.\n (beat)\n No offense, Stu, but on your own you're kinda\n vanilla. I didn't want to send you back without\n him.", "STU\n Coming from you, that's quite a compliment.\n\n DEATH\n De nada. Now, come here...bend over...before I\n change my mind.", "DEATH\n Take this to Dark Town. Sad to say, he's gonna\n live another forty years.\n (a consoling pat on the shoulder)\n Sorry. Nobody said this job would be easy.", "The true horror of death is that it makes you look like a total idiot.\nThe REAPER pulls a collapsible HAND TRUCK from beneath his shroud and\nstarts maneuvering LULU onto it.", "DEATH\n You're the customer, okay? You're about to die.\n It's a big occasion. A formal occasion. And as", "STU\n Death, I'm trying to make things right. Take my\n soul. Turn me into a paper doll. But give me\n just one lousy hour.", "STU\n Fine! Don't put yourself out. I'll go to the\n land of Death alone.", "STU\n Maybe you could talk to Death!", "HYPNOS\n Stu, I like you personally, I admire your work,\n but I'm just the God of Sleep. This is Death's\n bailiwick.", "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "just about killed us all. And Stu and I made a\n pact that when our time came - we wouldn't let\n it drag out.", "INT. DEATH'S OFFICE - BACK TO SCENE", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "of death. He stole my e-ticket. That's how he\n got my body, see? All they had left for me was\n this corpse!", "DEATH\n Now, if I may ask - what kind of idiot sneaks\n into the Land of Death twice?", "INT. DEATH'S OFFICE - CONTINUOUS - DAY", "DEATH\n Why??\n\n STU\n I have a girl up there. And I never - I\n should've - I just want to tell her I love her." ], [ "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "MONKEYBONE cowers in fear as the REAPER gets up, shaking a fist at them.\nBut STU isn't intimidated. He grabs another ball and winds up.", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "The REAPER loads LULU into the little roller-coaster and climbs aboard.\nThe car begins to move. STU and MONKEYBONE get there just in time to\njump onto the LUGGAGE RACK in the back!", "BLAM! The cop's shot hits the giant MONKEYBONE BALLOON smack in the ass.", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "MONKEYBONE PULLS STU through the rip in the back of the giant toppled\ncanvas. The bike's there waiting. They hop aboard and pedal off INTO THE", "The ball hits the REAPER smack on the head, knocking him off his bike!\n\n STU/MONKEYBONE\n (in unison - impressed)\n Damn.", "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "STU\n NO! JULIE! NO-O-O-O!\n\nAERIAL SHOT - ON MONKEYBONE", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "MONKEYBONE covers both eyes and wails in fear. But STU is rattling the\nignition switch, making ONE LAST EFFORT to get the bike aloft...", "A WINDOW shatters. The SHRINK comes hurtling out. MONKEYBONE STRADDLES\nHIM like Slim Pickens riding an H-bomb, hootin' and hollerin' all the\nway down to the street.", "STU's bigger. He pulls the pouch onto his shoulder, and MONKEYBONE with\nit. They grab the bike, climb aboard, and pedal off -", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "MONKEYBONE is caught - his body contorted like a pretzel, woven in and\nout among the meshing teeth! STU gives him a good hard YANK, and he\nslips out like a strand of fettuccine.", "As STU pulls into the intersection he sees a DELIVERY TRUCK approaching\nin the opposite lane, with a cardboard likeness of MONKEYBONE mounted\natop the cab. He chuckles...", "JULIE\n You want to leave? But Stu - you're a big hit!\n Everyone loves you!\n\n STU\n They don't love me. They love Monkeybone.", "HYPNOS\n Not again. THAT STINKING MONKEY!!!\n\nAERIAL SHOT - STU'S POV - MOVING" ], [ "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him...", "STU\n You saved my life, Monkeybone. I never would've\n made it without you.\n\n MONKEYBONE\n Move it. We got exactly five minutes left.", "The REAPER loads LULU into the little roller-coaster and climbs aboard.\nThe car begins to move. STU and MONKEYBONE get there just in time to\njump onto the LUGGAGE RACK in the back!", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "As STU pulls into the intersection he sees a DELIVERY TRUCK approaching\nin the opposite lane, with a cardboard likeness of MONKEYBONE mounted\natop the cab. He chuckles...", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "JULIE lifts the curtain - and sees STU-BONE in his gas mask, bent over\nin a weird crab like stance, chasing BUSTER around the yard with the\nMonkeybone doll.", "The gates slide open. STU passes through. But MONKEYBONE lingers behind\na moment - just long enough for one of the SINGING SPHINXES to slip him\na big, nasty BASEBALL BAT.", "MONKEYBONE looks over his shoulder. A small ARMY of REAPERS, anned with\nscythes, is pouring into the trainyard behind them.\n\n MONKEYBONE\n Stu...Stu...", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "MONKEYBONE covers both eyes and wails in fear. But STU is rattling the\nignition switch, making ONE LAST EFFORT to get the bike aloft...", "STU's bigger. He pulls the pouch onto his shoulder, and MONKEYBONE with\nit. They grab the bike, climb aboard, and pedal off -", "MONKEYBONE PULLS STU through the rip in the back of the giant toppled\ncanvas. The bike's there waiting. They hop aboard and pedal off INTO THE", "JULIE\n You want to leave? But Stu - you're a big hit!\n Everyone loves you!\n\n STU\n They don't love me. They love Monkeybone.", "MONKEYBONE cowers in fear as the REAPER gets up, shaking a fist at them.\nBut STU isn't intimidated. He grabs another ball and winds up.", "MONKEYBONE is caught - his body contorted like a pretzel, woven in and\nout among the meshing teeth! STU gives him a good hard YANK, and he\nslips out like a strand of fettuccine." ], [ "O.D. STU sees him - pulls away from JULIE -\n\n O.D. STU\n I LOVE YOU!\n\n JULIE\n STU!!", "JULIE\n Welcome home.\n\nSTU-BONE grins insipidly. She kisses him, pulls him into a tight embrace\n- and then, overwhelmed by emotion, begins to SOB.", "INT. STU'S PRIVATE ROOM - NIGHT\n\nThe real JULIE awakens suddenly and lets out a scream of her own.\n\n JULIE\n STU!!!!", "JULIE\n Stu? I'm here, baby. It's me. It's Julie. I love\n you. You're gonna be okay, baby, I promise -", "HYPNOS marches off, chuckling. STU's head sinks into his hands.\n\n\nEXT. STU AND JULIE'S HOUSE - DAY", "JULIE\n STU!!\n\nON STU - IN PHONE BOOTH\n\nHe sees JULIE running toward him and holds up a single finger.", "INT. STU & JULIE'S HOUSE - ENTRY - NIGHT", "INT. STU & JULIE'S HOUSE - DAY", "JULIE turns to look at STU in the bed. The certain knowledge that he was\nabout to propose is like a knife in her heart. KIMMY feels bad as well,\nhaving let the cat out of the bag, but before they can hash it out -", "JULIE gives him another kiss, WHISPERS in his ear:\n\n JULIE\n Thank you. Thank you for coming back to me.", "- so STU-BONE stops kissing JULIE long enough to reach over with one\nfoot and KICK THE DOOR SHUT.\n\nINT. BEDROOM - A MOMENT LATER", "It appears that almost everyone in the waiting room is a friend of JULIE\nand STU's. Disheveled and groggy, they rouse themselves and make their\nway over to JULIE's side. She's overcome with emotion.", "BUSTER barks like a maniac. JULIE turns and sees an IMPOSSIBLE VISION\nambling toward her...STU, alive and kicking. She can't believe it's him\nuntil he grabs her and pulls her close.", "STU's back from the hospital. JULIE is removing his bags from the trunk\nof KIMMY's car while STU and KIMMY chat in the front seat.", "STU is almost oblivious to JULIE. He lifts up the sheet, sneaks a quick\npeek at his CROTCH, and grins delightedly.", "While JULIE is hugging him, STU is checking out his new fingers and\ntoes, RUBBING his sparse patch of CHEST FUR. DOCTORS and NURSES look on\nin amazement from the doorway.", "JULIE just stares at her for a beat or two, refusing to understand. Then\nit sinks in. Her hand goes to her mouth in horror and grief.\n\n FADE THROUGH TO:", "JULIE\n Stu? Is that you? Where did you go?\n\n STU-BONE\n Me? Nowhere. I was asleep.", "JULIE\n Stu?\n\n STU\n Julie?... Hey, you are a looker.", "JULIE SCREAMS. STU SCREAMS. Unable to see, he slams on the brakes and\nJERKS THE WHEEL RIGHT." ], [ "HYPNOS\n Now find that nightmare juice and get to work.\n 'Cause you may be a free man during the day...\n but when you dream, your monkey ass is mine!", "His eyes widen in horror as he steps out to survey the scene. The\nasphalt is strewn with MONKEYBONE MERCHANDISE - stuffed dolls, games,", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "STU\n So here's my idea. We do a giveaway at the zoo\n benefit. We get a big piñata. We fill it with\n Monkeybone dolls - hundreds of 'em.", "On the top shelf is a corked beaker of purple fluid bearing the label\n\"ONEIRIX\" with red DANGER stickers all over it. STU-BONE takes it out,", "The BAZOOM TOY REP is rounding a corner when HERB pops out from behind a\ntree and BLASTS HIM with a jolt of purple gas from a Monkeybone doll! He\nsputters and coughs...", "STU\n Stop! Monkeybone! Please!!\n\nEXT. DARK TOWN PLAZA - NIGHT", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "STANLEY (V.O.)\n Monkeybone!!", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "STU\n Hypnos! The god of nightmares! Do you know what\n this means, Monkeybone? He's finally going to\n hear my case. I'm going home!", "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him...", "The entire Monkeybone brain trust has come to visit: HERB, syndicate\nhead MR. BOWERS, and several CORPORATE REPS hoping to arrange tie-in", "The familiar miasma of COLORS is beginning to swirl in the night sky\noverhead. MONKEYBONE straps on a NEEDLE-TIPPED HELMET which makes him", "MONKEYBONE\n This ain't my nightmare!\n\nEXT. TRAINYARD - JUST OUTSIDE TUNNEL", "MONKEYBONE slinks over behind STU - up onto his shoulder - and whispers\ninto his ear:", "HYPNOS\n It's simple, Stu. We need nightmares - lots of\n 'em. So whenever we can swing it, we send a guy", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "MONKEYBONE\n Stu... It's a party.\n\n STU\n Mr. Hypnos - sir - I needed to talk to you -", "A WINDOW shatters. The SHRINK comes hurtling out. MONKEYBONE STRADDLES\nHIM like Slim Pickens riding an H-bomb, hootin' and hollerin' all the\nway down to the street." ], [ "HYPNOS\n Wait a minute. Stu Miley, right? Boys and girls\n ...Mr. Stu Miley, in the house!\n (leading a round of applause)", "But seriously, Stu Miley is a different man\n today. I'm much homier.", "HEAD #1\n Hey, aren't you Stu Miley?\n\n HEAD #2\n We're big fans.", "STU-BONE\n Yes, being in a coma taught Stu Miley a thing or\n two about life. Buckle your seat belts, for one.", "MESSENGER BOY\n Miley? Stu Miley?", "In the midst of the crowd is a handsome young couple: JULIE McELROY and\nSTU MILEY. JULIE's a research scientist, brainy, professional,", "BULL\n Dark Town. Land of nightmares. I'm Bull.\n\n STU\n Stu Miley.", "STU\n Say, have you seen Mr. Hypnos?\n\n HAND WOMAN\n Hyp? He was here a while ago. Aren't you Stu\n Miley? The nightmare guy?", "DISPLAY AD for the benefit: \"MEET STU MILEY AND MONKEYBONE - 8 PM\nTONIGHT!\" He checks the wall clock: time is short.", "HERB\n Now, let's give it up for the guy who started it\n all. Creator of America's most disturbed comic\n strip...the man behind the monkey...Mister Stu\n Miley!", "STU-BONE does a take. The good news is, she doesn't suspect. The bad\nnews is, he's apparently named after his creator's penis.\n\nINT. HALLWAY - A MOMENT LATER", "STU gives him a cockeyed look. BULL points to a MONITOR mounted over the\nbar, on which a panicked man in pajamas is trying to run barefoot\nthrough a great sticky SEA OF MOLASSES.", "STU\n No. No. Not him.\n\n EARL\n So long, suckers! See you in the funny papers!", "STU is almost oblivious to JULIE. He lifts up the sheet, sneaks a quick\npeek at his CROTCH, and grins delightedly.", "STU is the one guy in the auditorium who isn't laughing at the cartoon\non the screen. In fact, he's solemn as a judge - peering nervously\naround to see how the rest of the audience is responding.", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "STU BOOTS MONKEYBONE aside. They're at a GAME STALL manned by Elsie the\nCow - the one where you throw baseballs at milk bottles. STU picks up a", "By now the onlookers at the bar are CRACKING UP. All except one - the\nlonely, disconsolate fellow on the last stool, nursing a martini - STU.", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "JULIE\n Stu?\n\n STU\n Julie?... Hey, you are a looker." ], [ "STANLEY (V.O.)\n Monkeybone!!", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "STU\n Hey. Where's Monkeybone?", "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him...", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "MONKEYBONE\n I'm reportin' this to my union!!\n\n STU\n What union?", "JULIE\n Well. As long as it's okay with Monkeybone -\n\nSTU-BONE almost lets out a gasp of shock. What does she mean???", "JULIE\n You want to leave? But Stu - you're a big hit!\n Everyone loves you!\n\n STU\n They don't love me. They love Monkeybone.", "MONKEYBONE\n Stu... It's a party.\n\n STU\n Mr. Hypnos - sir - I needed to talk to you -", "MONKEYBONE\n\n\n\n\n Written by\n\n Sam Hamm", "MONKEYBONE marches back and forth across the bed, wearing a dimwit's\nexpression as he MOCKS STU in a singsongy voice...", "MONKEYBONE\n Now this...is livin'.", "MONKEYBONE\n Hellooooooooo, Kitty.\n\n KITTY\n Hiya, Stu. Refill on that martini?", "STU\n You saved my life, Monkeybone. I never would've\n made it without you.\n\n MONKEYBONE\n Move it. We got exactly five minutes left.", "MONKEYBONE\n Just kiddin', folks! Drinks for everybody -\n (pointing at STU)\n\n On him!! HIYA, BOSS!!", "MONKEYBONE\n Stu? Stu? Let's not disturb the nice Reaper.", "STU\n Stop! Monkeybone! Please!!\n\nEXT. DARK TOWN PLAZA - NIGHT", "As STU pulls into the intersection he sees a DELIVERY TRUCK approaching\nin the opposite lane, with a cardboard likeness of MONKEYBONE mounted\natop the cab. He chuckles..." ], [ "In the midst of the crowd is a handsome young couple: JULIE McELROY and\nSTU MILEY. JULIE's a research scientist, brainy, professional,", "Julie McElroy. Just kiddin', Julie. Stand up.", "STU-BONE\n And speaking of which, here's the light of my\n life, the pert and saucy Miss Julie McElroy.", "It appears that almost everyone in the waiting room is a friend of JULIE\nand STU's. Disheveled and groggy, they rouse themselves and make their\nway over to JULIE's side. She's overcome with emotion.", "VOICE FROM BEHIND\n Mrs. Brewster? Julie? I'm Dr. Edelstein.", "JULIE\n I've put a ton of work into that boy, Alice. I\n am not going to let him get away from me.\n\nINT. ICU - MORNING", "JULIE\n I'm a doctor too. I know this man's brain -", "JULIE, in her white lab coat, wanders through Intensive Care and finds a\nWOMAN hunched over STU's bed, BAWLING HER EYES OUT.", "JULIE\n Okay. Call the police. I'll be right over.\n\nINT. SLEEP LAB - LATE AFTERNOON", "JULIE just stares at her for a beat or two, refusing to understand. Then\nit sinks in. Her hand goes to her mouth in horror and grief.\n\n FADE THROUGH TO:", "JULIE\n You sure this is...medically advisable?\n\n STU-BONE\n Got a doctor on duty.", "While JULIE is hugging him, STU is checking out his new fingers and\ntoes, RUBBING his sparse patch of CHEST FUR. DOCTORS and NURSES look on\nin amazement from the doorway.", "JULIE\n Hello? Oh, Hutch - what?\n\nINTERCUT - JULIE AND HUTCH\n\nHUTCH is at the sleep lab, standing over the open refrigerator.", "STU is almost oblivious to JULIE. He lifts up the sheet, sneaks a quick\npeek at his CROTCH, and grins delightedly.", "JULIE turns to look at STU in the bed. The certain knowledge that he was\nabout to propose is like a knife in her heart. KIMMY feels bad as well,\nhaving let the cat out of the bag, but before they can hash it out -", "EXT. HALLWAY - A MOMENT LATER\n\nJULIE helps a punchdrunk, staggering STU to the stairway.", "JULIE has some dim sense that this ritual is supposed to be erotic, but\nin fact, it's making her damned nervous. She finds herself scrunching up\non the bed, trying to keep out of STU-BONE's way.", "He wanders across the room, finds JULIE deep in conversation with a\nbunch of other GUESTS, and pulls her aside.", "DEAD SILENCE from the mortified group. They never had a case like that\nat Johns Hopkins. JULIE somehow keeps a stiff upper lip - deeply\nembarrassed for STU, but a scientist nonetheless.", "STU\n JULIE! I'M HERE, DOC! DON'T LET THEM PULL THE\n PLUG! I'M HERE!!!" ], [ "Through the big window, he sees the boys leveling off, flying toward the\nDARK TOWN TUNNEL. They're moments away from a clean escape.\n\nINT. STU'S ROOM - NIGHT", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "JULIE\n Oh, Stu. Tell me I'm not dreaming.\n\n STU\n Baby...you're asking the wrong guy.", "STU\n Julie and I - we were just gonna go...\n\nBut before STU knows what's hit him, HERB is leading him back to -", "just about killed us all. And Stu and I made a\n pact that when our time came - we wouldn't let\n it drag out.", "STU-BONE does a take. The good news is, she doesn't suspect. The bad\nnews is, he's apparently named after his creator's penis.\n\nINT. HALLWAY - A MOMENT LATER", "STU\n ...which is actually what I wanted to talk to\n you about. See, I've been here three months -", "STU\n No. No. Not him.\n\n EARL\n So long, suckers! See you in the funny papers!", "BULL\n Sad commentary, huh?\n\nNow a small muffled VOICE speaks from the area of STU'S BACKPACK:", "They wander off, arm in arm. STU TUGS at the seat of his pants.\n\n JULIE\n What's the matter?\n\n STU\n My tail itches.", "STU gives him a cockeyed look. BULL points to a MONITOR mounted over the\nbar, on which a panicked man in pajamas is trying to run barefoot\nthrough a great sticky SEA OF MOLASSES.", "No one says anything. But both women look at STU, and then at each\nother, and everyone knows exactly where everyone else stands. JULIE has\na sinking feeling that STU is working on a 3-month deadline.", "The DARKTOWNERS are rubbing their hands together in anticipation of\nhorrors to come. STU looks from one misshapen face to the next, his\nheart pounding with dread.", "STU\n How was it? I don't recall.\n\n JULIE\n It was great, baby. Let's get you to the ER.", "O.D. STU\n DOC! DOC! DON'T DO IT! HE ISN'T STU! HE'S\n MONKEYBONE!!!", "STU\n I was, uh, just getting ready to leave...\n\n BULL\n Yo, Jumbo. We got us some kind of ventriloquist\n here.", "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "STU\n Say, have you seen Mr. Hypnos?\n\n HAND WOMAN\n Hyp? He was here a while ago. Aren't you Stu\n Miley? The nightmare guy?", "JULIE\n Stu? Is that you? Where did you go?\n\n STU-BONE\n Me? Nowhere. I was asleep." ], [ "STU\n ...Kitty?!?\n\nAt the sight of STU behind bars, she breaks down CRYING.", "Through the big window, he sees the boys leveling off, flying toward the\nDARK TOWN TUNNEL. They're moments away from a clean escape.\n\nINT. STU'S ROOM - NIGHT", "STU\n Look at this! He won't let us leave!\n\n JULIE\n Who?", "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "STU\n No. No. Not him.\n\n EARL\n So long, suckers! See you in the funny papers!", "STU\n Julie and I - we were just gonna go...\n\nBut before STU knows what's hit him, HERB is leading him back to -", "STU's bigger. He pulls the pouch onto his shoulder, and MONKEYBONE with\nit. They grab the bike, climb aboard, and pedal off -", "STU\n See these doors? The cool thing is, you go out\n ...they close...you can't get back in!\n\nHe opens one door and holds it for JULIE.", "just about killed us all. And Stu and I made a\n pact that when our time came - we wouldn't let\n it drag out.", "He bounds over a table and into STU's arms, with the precious pouch in\nhand! DEATH lets out a great rattling BELLOW OF RAGE.", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "INT. DUNGEON - NIGHT\n\nA damp, stonewalled VAULT with a barred door. STU is sprawled on the\nfloor, OUT COLD, when a VOICE awakes him...", "STU-BONE\n Oh shit, the cake!\n\nHe bends down, snatches up the cake, and CRADLES IT under one arm as he\nKICKS AT BUSTER from the sofa.", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "STU\n How am I gonna get past the guards?\n\n KITTY\n I'll worry about the guards.\n (loudly)", "STU-BONE does a take. The good news is, she doesn't suspect. The bad\nnews is, he's apparently named after his creator's penis.\n\nINT. HALLWAY - A MOMENT LATER", "STU\n (grabbing him by the throat)\n I've got one chance to get back to Julie, and\n I'm gonna take it - with or without you.", "ON STU AND MONKEYBONE - FALLING\n\nSTU lands a HAYMAKER, and the two of them break loose of each other -", "With a brusque gesture, HYPNOS sends the party girls packing. He slings\none arm around STU's shoulder and pulls him aside.", "STU\n Well, I have to get a message to her. I have to\n let her know I'm okay. Until I can get out of\n here..." ], [ "Laughing maniacally, MONKEYBONE STEALS the E-TICKET and goes RACING OFF\nDOWN THE MIDWAY!!", "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him...", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "He digs around under the sink, finds the purple beaker of ONEIRIX. Looks\nat the FARTING DOLL...and GRINS.\n\n STU-BONE\n This'll get him off my back!", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "STU\n Hypnos! The god of nightmares! Do you know what\n this means, Monkeybone? He's finally going to\n hear my case. I'm going home!", "HYPNOS\n Haw! I like a monkey with vision!\n\n MONKEYBONE\n You said it, partner!", "MONKEYBONE\n I doubt that. Besides, I can't help myself. I'm\n just a figment of your imagination.\n\n STU\n Then you can learn to act normally. I had to!", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "MONKEYBONE covers both eyes and wails in fear. But STU is rattling the\nignition switch, making ONE LAST EFFORT to get the bike aloft...", "STANLEY (V.O.)\n Monkeybone!!", "MONKEYBONE\n Stu... It's a party.\n\n STU\n Mr. Hypnos - sir - I needed to talk to you -", "He turns and stalks off. MONKEYBONE stands there blinking.\n\n MONKEYBONE\n Hey. Aren't you gonna talk me into it?", "MONKEYBONE\n The penthouse is pretty swank, though.\n\n HYPNOS\n Thank you. I decorated it myself.", "On the top shelf is a corked beaker of purple fluid bearing the label\n\"ONEIRIX\" with red DANGER stickers all over it. STU-BONE takes it out,", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "MONKEYBONE\n Maybe he wanted to pick out his own casket?\n\n STU\n (turning abruptly)\n HEY!! HEY, YOU!!", "STU\n But why me? Why'd you pick on me??\n\n HYPNOS\n The monkey, of course. It was his idea.", "MONKEYBONE fiddles with the ignition switch. A BLACK CLOUD OF EXHAUST\nbelches violently from the rear of the bike, almost pitching them off\ntheir seat. The batwings start to flap faster..." ], [ "STU\n You saved my life, Monkeybone. I never would've\n made it without you.\n\n MONKEYBONE\n Move it. We got exactly five minutes left.", "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "STU\n Nine AM! But that's - twelve hours.\n\nIn checking his watch, STU removes his hand from MONKEYBONE's mouth. The\nsingsong resumes...", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "STU\n All right. You can come.\n\n MONKEYBONE\n OH, THANK YOU! THANK YOU! TH--\n (suddenly realizing)\n Something went very, very wrong here.", "MONKEYBONE\n Stu? Stu? Let's not disturb the nice Reaper.", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "JULIE\n You want to leave? But Stu - you're a big hit!\n Everyone loves you!\n\n STU\n They don't love me. They love Monkeybone.", "He turns and stalks off. MONKEYBONE stands there blinking.\n\n MONKEYBONE\n Hey. Aren't you gonna talk me into it?", "STU\n Stop! Monkeybone! Please!!\n\nEXT. DARK TOWN PLAZA - NIGHT", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "JULIE\n Well. As long as it's okay with Monkeybone -\n\nSTU-BONE almost lets out a gasp of shock. What does she mean???", "STANLEY (V.O.)\n Monkeybone!!", "STU\n Listen to me! Is there any way I can warn her\n what Monkeybone is up to??\n\n RAT GUARD\n Time's up! Break it up, you two.", "MONKEYBONE\n Stu, you have my absolute confidence. - DEAD\n MAN! DEAD MAN WALKING!!" ], [ "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "His eyes widen in horror as he steps out to survey the scene. The\nasphalt is strewn with MONKEYBONE MERCHANDISE - stuffed dolls, games,", "The entire Monkeybone brain trust has come to visit: HERB, syndicate\nhead MR. BOWERS, and several CORPORATE REPS hoping to arrange tie-in", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "STU\n So here's my idea. We do a giveaway at the zoo\n benefit. We get a big piñata. We fill it with\n Monkeybone dolls - hundreds of 'em.", "He turns and stalks off. MONKEYBONE stands there blinking.\n\n MONKEYBONE\n Hey. Aren't you gonna talk me into it?", "As STU pulls into the intersection he sees a DELIVERY TRUCK approaching\nin the opposite lane, with a cardboard likeness of MONKEYBONE mounted\natop the cab. He chuckles...", "The BAZOOM TOY REP is rounding a corner when HERB pops out from behind a\ntree and BLASTS HIM with a jolt of purple gas from a Monkeybone doll! He\nsputters and coughs...", "MONKEYBONE\n My Fellow Americans. I have a dream. Let us\n boldly go where no man has gone before.\n\n STU\n (trying to ignore him)", "HYPNOS\n Haw! I like a monkey with vision!\n\n MONKEYBONE\n You said it, partner!", "STANLEY (V.O.)\n Monkeybone!!", "MONKEYBONE fiddles with the ignition switch. A BLACK CLOUD OF EXHAUST\nbelches violently from the rear of the bike, almost pitching them off\ntheir seat. The batwings start to flap faster...", "What she doesn't know is that, although he still looks like STU, his\nbody is now occupied by MONKEYBONE. Since he's now a hybrid character,\nman on the outside and monkey within, let's call him...", "The REAPER wrings out his shroud and grabs the hand truck. As he wheels\nLULU past the boys, MONKEYBONE pops up with a helpful hint:", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "A WINDOW shatters. The SHRINK comes hurtling out. MONKEYBONE STRADDLES\nHIM like Slim Pickens riding an H-bomb, hootin' and hollerin' all the\nway down to the street.", "JULIE lifts the curtain - and sees STU-BONE in his gas mask, bent over\nin a weird crab like stance, chasing BUSTER around the yard with the\nMonkeybone doll.", "MONKEYBONE\n Stu... It's a party.\n\n STU\n Mr. Hypnos - sir - I needed to talk to you -", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck." ], [ "DEATH\n Now what were you saying?\n\n STU/MONKEYBONE\n (in unison)\n Nothing.", "MONKEYBONE is sitting on STU's shoulder, facing backward, thumbing his\nnose at the REAPERS. STU glances back as well, laughing, unable to\nbelieve his own good luck.", "MONKEYBONE\n Say, Death, just out of curiosity, could we\n maybe swap jobs with that other guy? See, we've\n been meaning to drop in on Dark Town - I mean\n I've been meaning to...", "STU marches across the street to the GRIM REAPER - who's climbing onto\nhis WINGED BICYCLE and seems shocked that anyone would want to chat with\nhim. MONKEYBONE scurries alongside, terrified.", "STU-BONE turns and does a simian COMEDY SHTICK for the crowd.\n\n STU-BONE\n That's me, folks! Monkeybone! Let's party!", "DEATH lets out a MIGHTY ROAR and CLAPS HIS GREAT METAL HANDS together.\nMan and monkey are surely squished. But when DEATH opens his hands, STU", "MONKEYBONE\n Death, I'd like to point out that none of this\n was my fault. The roots of this tragedy go back\n to a callous, uncaring society that -", "He turns and stalks off. MONKEYBONE stands there blinking.\n\n MONKEYBONE\n Hey. Aren't you gonna talk me into it?", "MONKEYBONE\n Fate worse than death! Well, it's been real,\n boss, but I gotta go buff up my resumé. ANYBODY\n HERE NEED A FIGMENT?", "MONKEYBONE is caught - his body contorted like a pretzel, woven in and\nout among the meshing teeth! STU gives him a good hard YANK, and he\nslips out like a strand of fettuccine.", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "A trouper to the end, MONKEYBONE WAVES at the crowd even as STU drags\nhim off to an empty table in the farthest corner of the room.", "MONKEYBONE\n Stu? Stu? Let's not disturb the nice Reaper.", "She exposes her taut midriff. STU thinks for a moment, then goes to\nwork. When he's done, Monkeybone appears to be climbing out of the", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "MONKEYBONE\n What'd I tell you? You go to the Land of Death,\n wear a jockstrap!\n\nEXT. TRAINYARD - HIGH ANGLE", "DEATH\n ...What??\n\n STU MONKEYBONE\n Salty Dog. Sufferin' Bastard.", "She gives him an extremely puzzled look.\n\n STU-BONE\n Meaning me, of course. I'm referring to myself.\n You have to assume Monkeybone would be a pretty\n lucrative franchise...", "MONKEYBONE fiddles with the ignition switch. A BLACK CLOUD OF EXHAUST\nbelches violently from the rear of the bike, almost pitching them off\ntheir seat. The batwings start to flap faster...", "His eyes widen in horror as he steps out to survey the scene. The\nasphalt is strewn with MONKEYBONE MERCHANDISE - stuffed dolls, games," ], [ "just about killed us all. And Stu and I made a\n pact that when our time came - we wouldn't let\n it drag out.", "STU\n No. Goodbye. Thanks for nothing.\n\nStunned, MONKEYBONE scurries along behind him, PLEADING.", "STU\n No. No. Not him.\n\n EARL\n So long, suckers! See you in the funny papers!", "STU\n Julie and I - we were just gonna go...\n\nBut before STU knows what's hit him, HERB is leading him back to -", "O.D. STU sees him - pulls away from JULIE -\n\n O.D. STU\n I LOVE YOU!\n\n JULIE\n STU!!", "STU\n Look at this! He won't let us leave!\n\n JULIE\n Who?", "STU\n ...Kitty?!?\n\nAt the sight of STU behind bars, she breaks down CRYING.", "- so STU-BONE stops kissing JULIE long enough to reach over with one\nfoot and KICK THE DOOR SHUT.\n\nINT. BEDROOM - A MOMENT LATER", "Then HERB appears behind them, trying to catch STU's eye as he waits for\nthe clinch to break up. Finally he pries them apart:", "The REAPER vanishes. STU sits dejectedly on the edge of the curb.", "He pulls the covers up to his chin. The two of them lie there in the\ndark staring up at the ceiling.\n\n\nINT. STU'S LIVING ROOM - DAY", "As STU fights his way over, he sees an odd LUMP wriggling under the\nbedcovers. Out pops MONKEYBONE, clutching a bottle of champagne!", "STU'S HEAD is swimming. It takes him a few seconds, but he gets to his\nfeet. By now, MONKEYBONE is halfway to the E-ticket ride. Worse yet,", "HYPNOS marches off, chuckling. STU's head sinks into his hands.\n\n\nEXT. STU AND JULIE'S HOUSE - DAY", "STU-BONE\n Oh shit, the cake!\n\nHe bends down, snatches up the cake, and CRADLES IT under one arm as he\nKICKS AT BUSTER from the sofa.", "STU-BONE does a take. The good news is, she doesn't suspect. The bad\nnews is, he's apparently named after his creator's penis.\n\nINT. HALLWAY - A MOMENT LATER", "They wander off, arm in arm. STU TUGS at the seat of his pants.\n\n JULIE\n What's the matter?\n\n STU\n My tail itches.", "STU breaks free and FLINGS HIMSELF on the ORB - which SHORTS OUT in a\nhaze of smoke and sparks, abruptly ending the nightmare. JULIE's image", "STU\n Fine, thanks. Saw my girl, said goodbye,\n everything's gonna be okay.\n (shrugging)\n I guess I'm yours now.", "STU's bigger. He pulls the pouch onto his shoulder, and MONKEYBONE with\nit. They grab the bike, climb aboard, and pedal off -" ] ]

[ "What has Stu learned about his sister? ", "What are exit passes good for?", "Who shoots the balloon that Monkeybone and Stu are clinging to?", "Where does death place Monkeybone? ", "How does death send Stu back to the living? ", "How does Monkeybone try and distract death?", "What does Herb keep asking everyone to do? ", "What chemical substance does Hypos desire? ", "What is Herb's relationship with Stu?", "What does Stu discover about his comic strip when he enters Down Town?", "Why did Stu Miley meet with Dr. Julie McElroy?", "Why does Stu seek advice from Hypnos?", "What does Stu need to return back to his body?", "What does Hypnos plan to do with Stu's body?", "How long does Death give Stu to return to the land of the living to find his body?", "What happens to Stu and Monkeybone after their balloon is shot down?", "Who is operating the giant robot that saves Stu and Monkeybone?", "What happens to Stu and Julie when they are reunited?", "How does Monkeybone plan on infecting people with the nightmare substance?", "Who is Stu Miley?", "Who is Monkeybone?", "Who is Dr. Julie McElroy?", "Who did Stu ask for advice during his time in Down Town?", "Who helped Stu escape from prison?", "Why did Monkeybone steal the Oneirix?", "How much time did Death give Stu to stop Monkeybone?", "In what way did Monkeybone plan to expose people to the Oneirix?", "How did Death deal with Monkeybone?", "What did Stu do at the end?" ]

[ [ "That she intends to pull the plug on him", "she is about to pull his plug" ], [ "They allow coma victims to leave Down Town and awaken from their comas", "It gives the holder permission to leave Down Town. " ], [ "A police officer", "A police officer shoots the balloon." ], [ "Back inside Stu's head", "in Stu's hand" ], [ "By using a robot", "with a robot" ], [ "By asking to go to the bathroom", "He asked to go to the bathroom." ], [ "To take off their clothes", "Take off their clothes" ], [ "Oneirix", "Oneirix" ], [ "He is Stu's agent", "Herb is Stu's agent." ], [ "That his main character Monkeybone has become real.", "That the character he has drawn is real." ], [ "To help Stu deal with his nightmares.", "She helped him with his nightmares." ], [ "Stu wants to find out how to return to the living.", "Stu seeks advice from Hypnos on how to get back to the land of the living." ], [ "Stu needs an Exit Pass from Death.", "The Revive-O." ], [ "To steal a substance that gives humans and animals nightmares.", "He plans to get a drug called Oneirix into people's bodies to give them nightmares." ], [ "One hour.", "Death gives Stu only one hour to find his body." ], [ "They fall from the sky and are caught by a giant robot.", "They fall and are knocked unconscious." ], [ "Death", "Death is operating the giant robot." ], [ "They get engaged and then married.", "They get married" ], [ "He places the substance in stuffed animals.", "He puts it in stuffed monkey toys." ], [ "A disillusioned cartoonist.", "A cartoonist." ], [ "A monkey comic strip character created by Stu Miley.", "A rascal monkey. " ], [ "A sleep institute worker.", "Dr. Julie McElroy is a sleep institute worker." ], [ "Hypnos, god of sleep.", "Hypnos" ], [ "Miss Kitty.", "Miss Kitty" ], [ "It gives people and animals nightmares which gives Hypnos more power.", "Monkeybone steals the Oneirix to make people who touch Monkeybone dolls have nightmares." ], [ "One Hour.", "1 hour" ], [ "Via several farting Monkeybone dolls stuffed inside a pinata.", "A party. " ], [ "Placed him back in Stu's head.", "H eplaces him back in Stu's head." ], [ "Proposed to Julie.", "Stu proposes to Julie. " ] ]

bb4c45e6a2f4c58def38dbd630d7059028c27bdd

test

[ [ "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "Eternal, long ere now had all things gone\n Back into nothing utterly, and all\n We see around from nothing had been born--\n But since I taught above that naught can be", "Then, too, Democritus, when ripened eld\n Admonished him his memory waned away,\n Of own accord offered his head to death.", "Purged the breasts of men, and set the bounds\n Of lust and terror, and exhibited\n The supreme good whither we all endeavour,", "And followed up with maxims, they would free\n Their state of man from anguish and from fear.\n \"O even as here thou art, aslumber in death,", "Therefore we see that our corporeal life\n Needs little, altogether, and only such\n As takes the pain away, and can besides\n Strew underneath some number of delights.", "Forbidding life to him on whom might crowd\n Such irk and care; and granted 'tis to know:\n Nothing for us there is to dread in death,", "O thou who first uplifted in such dark\n So clear a torch aloft, who first shed light\n Upon the profitable ends of man,", "Seemeth the doctrine which the holy thought\n Of great Democritus lays down: that ever\n The nearer the constellations be to earth", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "In earthen body), contrariwise, they teach\n How the thin air, and with it the hot fire,\n Is borne asunder from the centre, and how,", "The bonds of common peace to pass a life\n Composed and tranquil. For albeit he 'scape\n The race of gods and men, he yet must dread", "From whom sweet solaces of life, afar\n Distributed o'er populous domains,\n Now soothe the minds of men. But if thou thinkest", "*****\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "Stirred with a motion everlasting on,\n And in what mode things be from them create,\n And since I've taught what the mind's nature is,", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "Till thou dost learn the nature of all things\n And understandest their utility.", "'Tis needful most of all to make it sure\n That naught's at hand but body mixed with void.\n A first ensample: in grottos, rocks o'erhead", "For when in life one pictures to oneself\n His body dead by beasts and vultures torn,\n He pities his state, dividing not himself", "Seated in chariot o'er the realms of air\n To drive her team of lions, teaching thus\n That the great earth hangs poised and cannot lie" ], [ "Upon the ways and conduct of the skies--\n This to maintain by many a fact besides--\n That in no wise the nature of all things\n For us was fashioned by a power divine--", "This to maintain by many a fact besides--\n That in no wise the nature of the world\n For us was builded by a power divine--", "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "Eternal, long ere now had all things gone\n Back into nothing utterly, and all\n We see around from nothing had been born--\n But since I taught above that naught can be", "Meantime, when once we know from nothing still\n Nothing can be create, we shall divine\n More clearly what we seek: those elements\n From which alone all things created are,", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "Unless from out the infinite of space\n Could come supply of matter, whence in season\n They're wont whatever losses to repair.\n For as the nature of breathing creatures wastes,", "Herein in these affairs nowise take up\n What honoured sage, Democritus, lays down--\n That proposition, that primordials", "We must suppose to all the sky and earth\n Are ever supplied from out the infinite\n All things, O all in stores enough whereby\n The shaken earth can of a sudden move,", "Who by their reasonings do overshake\n The ramparts of the universe and wish\n There to put out the splendid sun of heaven,", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "And then collisions ne'er could be nor blows\n Among the primal elements; and thus\n Nature would never have created aught.", "In this our world 'tis hard to say for sure;\n But what can be throughout the universe,\n In divers worlds on divers plan create,\n This only do I show, and follow on", "*****\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "By reasonings of mind. Again, without\n That place and room, which we do call the inane,\n Nowhere could bodies then be set, nor go", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "And from what causes they are brought to pass\n The origin is manifest; so, haply,\n Let none believe that in these regions stands", "The fact is founded in the void of things.\n But if the primal germs themselves be soft,\n Reason cannot be brought to bear to show\n The ways whereby may be created these", "And how accomplished by no tool of Gods.\n Suppose all sprang from all things: any kind\n Might take its origin from any thing,\n No fixed seed required. Men from the sea" ], [ "*****\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "Seemeth the doctrine which the holy thought\n Of great Democritus lays down: that ever\n The nearer the constellations be to earth", "Herein in these affairs nowise take up\n What honoured sage, Democritus, lays down--\n That proposition, that primordials", "And, first,\n This do I say, as oft I've said before:\n In earth are atoms of things of every sort;", "That the white objects shining to thine eyes\n Are gendered of white atoms, or the black\n Of a black seed; or yet believe that aught", "For just as all things of creation are,\n In their whole nature, each to each unlike,\n So must their atoms be in shape unlike--", "Of the primeval atoms, are stirred up\n By impulse of those atoms' unseen blows,\n And these thereafter goad the next in size:", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "Hither and thither in all directions round.\n Lo, all their shifting movement is of old,\n From the primeval atoms; for the same", "Next, because, thinking there can be no end\n In cutting bodies down to less and less\n Nor pause established to their breaking up,\n They hold there is no minimum in things;", "In these affairs\n We wish thee also well aware of this:\n The atoms, as their own weight bears them down", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "Then, too, Democritus, when ripened eld\n Admonished him his memory waned away,\n Of own accord offered his head to death.", "This happens surely by a fixed law:\n For from all food-stuff, when once eaten down,\n Go sundered atoms, suited to each creature,", "Had staid at rest, its parts together crammed.\n Then too, however solid objects seem,\n They yet are formed of matter mixed with void:", "All things, were they not still together held\n By matter eternal, shackled through its parts,\n Now more, now less. A touch might be enough", "And so it never falters in delay\n Despite innumerable collisions, but\n Flies shooting onward with a swift elan.\n Next, since by nature always every weight", "This ultimate stock we have devised to name\n Procreant atoms, matter, seeds of things,\n Or primal bodies, as primal to the world.", "And naught opposing motion, from behind.\n And that more clearly thou perceive how all\n These mites of matter are darted round about,", "So in our programme of creation, mark\n How 'tis that, though the bodies of all stuff\n Are solid to the core, we yet explain" ], [ "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "End of the Project Gutenberg EBook of Of The Nature of Things, by \n[Titus Lucretius Carus] Lucretius", "Then, too, Democritus, when ripened eld\n Admonished him his memory waned away,\n Of own accord offered his head to death.", "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "Of these high matters, then a god was he,--\n Hear me, illustrious Memmius--a god;\n Who first and chief found out that plan of life", "O thou who first uplifted in such dark\n So clear a torch aloft, who first shed light\n Upon the profitable ends of man,", "Upon the crest of things, and now a birth\n And straightway now a ruin, inheres at rest\n Deep in the eternal atoms of the world.", "Now what the speed to matter's atoms given\n Thou mayest in few, my Memmius, learn from this:\n When first the dawn is sprinkling with new light", "For these consist of seeds more smooth and round\n And of much smaller elements than earth.\n And thus it was that ether, fraught with fire,", "Who by their reasonings do overshake\n The ramparts of the universe and wish\n There to put out the splendid sun of heaven,", "And followed up with maxims, they would free\n Their state of man from anguish and from fear.\n \"O even as here thou art, aslumber in death,", "Purged the breasts of men, and set the bounds\n Of lust and terror, and exhibited\n The supreme good whither we all endeavour,", "I know how hard it is in Latian verse\n To tell the dark discoveries of the Greeks,\n Chiefly because our pauper-speech must find", "His dauntless heart to be the first to rend\n The crossbars at the gates of Nature old.\n And thus his will and hardy wisdom won;", "And go right on to loose from round the mind\n The tightened coils of dread religion;\n Next, since, concerning themes so dark, I frame", "And go right on to loose from round the mind\n The tightened coils of dread religion;\n Next, since, concerning themes so dark, I frame", "Seemeth the doctrine which the holy thought\n Of great Democritus lays down: that ever\n The nearer the constellations be to earth", "The bellowings of ocean--poured his soul\n From dying body, as his light was ta'en.\n And Scipio's son, the thunderbolt of war,", "From out the triped and the Delphian laurel,\n Have still in matter of first-elements\n Made ruin of themselves, and, great men, great", "*****\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think," ], [ "Seemed rounded, yet it more availeth us,\n Lacking the reason, to pretend a cause\n For each configuration, than to let\n From out our hands escape the obvious things", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "Upon the ways and conduct of the skies--\n This to maintain by many a fact besides--\n That in no wise the nature of all things\n For us was fashioned by a power divine--", "This to maintain by many a fact besides--\n That in no wise the nature of the world\n For us was builded by a power divine--", "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "For why those kinds should drop and part from things,\n Rather than others tenuous and thin,\n No power has man to open mouth to tell;\n Especially, since on outsides of things", "For the replenishment of wasted worlds.\n Once more, if nature had given a scope for things\n To be forever broken more and more,\n By now the bodies of matter would have been", "And then collisions ne'er could be nor blows\n Among the primal elements; and thus\n Nature would never have created aught.", "And know the substance of the soul is blood,\n Or rather wind (if haply thus their whim),\n And so need naught of this our science, then", "Fire made of fires, and water out of waters,\n Feigning the like with all the rest of stuff.\n Yet he concedes not any void in things,", "And so it never falters in delay\n Despite innumerable collisions, but\n Flies shooting onward with a swift elan.\n Next, since by nature always every weight", "All things, were they not still together held\n By matter eternal, shackled through its parts,\n Now more, now less. A touch might be enough", "Meantime, when once we know from nothing still\n Nothing can be create, we shall divine\n More clearly what we seek: those elements\n From which alone all things created are,", "But, now again to weave the tale begun,\n All nature, then, as self-sustained, consists\n Of twain of things: of bodies and of void", "So in our programme of creation, mark\n How 'tis that, though the bodies of all stuff\n Are solid to the core, we yet explain", "Spontaneous generations, fairer forms.\n Confess then, naught from nothing can become,\n Since all must have their seeds, wherefrom to grow,", "*****\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "For, were aught mortal in its every part,\n Before our eyes it might be snatched away\n Unto destruction; since no force were needed", "Unless from out the infinite of space\n Could come supply of matter, whence in season\n They're wont whatever losses to repair.\n For as the nature of breathing creatures wastes," ], [ "For where, even from their old primordial start\n Causes have ever worked in such a way,\n And where, even from the world's first origin,", "This to maintain by many a fact besides--\n That in no wise the nature of the world\n For us was builded by a power divine--", "For all past actions may be said to be\n But accidents, in one way, of mankind,--\n In other, of some region of the world.", "Seemed rounded, yet it more availeth us,\n Lacking the reason, to pretend a cause\n For each configuration, than to let\n From out our hands escape the obvious things", "In this our world 'tis hard to say for sure;\n But what can be throughout the universe,\n In divers worlds on divers plan create,\n This only do I show, and follow on", "That very distance which in traversing\n The sun consumes the measure of a year.\n I say, no one clear reason hath been given\n For these affairs. Yet chief in likelihood", "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "That gods have stablished all things but for man,\n They seem in all ways mightily to lapse\n From reason's truth: for ev'n if ne'er I knew", "Reined up, whereat it settles back again.\n So seest thou not, how, though external force\n Drive men before, and often make them move,", "And from what causes they are brought to pass\n The origin is manifest; so, haply,\n Let none believe that in these regions stands", "Into arrangements such, and if they've passed\n Into vibrations such, as those whereby\n This sum of things is carried on to-day", "In divers worlds on divers plan create,--\n Somewhere afar more likely than upon\n One certain earth.) But men chose this to do\n Less in the hope of conquering than to give", "For the replenishment of wasted worlds.\n Once more, if nature had given a scope for things\n To be forever broken more and more,\n By now the bodies of matter would have been", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "In which they're set, and where they're moved around.\n For common instinct of our race declares\n That body of itself exists: unless", "And since I've taught thee that the world's great vaults\n Are mortal and that sky is fashioned\n Of frame e'en born in time, and whatsoe'er\n Therein go on and must perforce go on", "This sum of things is seen to be compact)\n So all have birth and perishable frame,\n Thus the whole nature of the world itself\n Must be conceived as perishable too.", "On alien air; but was conceived, like air,\n In the first origin of this the world,\n As a fixed portion of the same, as now", "That these things come to pass as I record,\n From this thou easily canst understand:\n So far as one is unto other like,", "And if their force and nature abide the same,\n Able to throw the seeds of things together\n Into their places, even as here are thrown\n The seeds together in this world of ours," ], [ "Therefore death to us\n Is nothing, nor concerns us in the least,\n Since nature of mind is mortal evermore.", "Or shades go floating in among the living,\n Or aught of us is left behind at death,\n When body and mind, destroyed together, each", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "From the whole body nothing ta'en in form,\n Nothing in weight. Death grants ye everything,\n But vital sense and exhalation hot.", "Will be dissolved and will therefore die.\n For just as food, dispersed through all the pores\n Of body, and passed through limbs and all the frame,", "Collects his senses. Death is, then, to us\n Much less--if there can be a less than that\n Which is itself a nothing: for there comes", "Is that, I trow, from what we mean by death.\n Wherefore 'tis sure that what hath been before\n Hath died, and what now is is now create.", "And hasten death, O many primal seeds\n Of many things in many modes--since earth\n Contains them mingled and gives forth discrete.\n And we have shown before that certain things", "Forbidding life to him on whom might crowd\n Such irk and care; and granted 'tis to know:\n Nothing for us there is to dread in death,", "Hard upon death a scattering more great\n Of the throng of matter, and no man wakes up\n On whom once falls the icy pause of life.", "That lack the living motion, living sense.\n For sure 'tis quite beside the mark to think\n That judgment and the nature of the mind\n In any kind of body can exist--", "The soul but mortal, since, so altered now\n Throughout the frame, it loses the life and sense\n It had before. Or how can mind wax strong", "Under the teeth of death? the fire? the moist?\n Or else the air? which then? the blood? the bones?\n No one, methinks, when every thing will be", "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "End of the Project Gutenberg EBook of Of The Nature of Things, by \n[Titus Lucretius Carus] Lucretius", "The vaults of sky receive. Nor thus doth death\n So far annihilate things that she destroys\n The bodies of matter; but she dissipates", "The icy members in the cold of death.\n But he whose mind and intellect abide\n Himself abides in life. However much", "Besides are seeds of soul there left behind\n In the breathless body, or not? If there they are,\n It cannot justly be immortal deemed,", "Within the very body, which at death\n Deserts our frames. And so, since nature of mind\n And even of soul is found to be, as 'twere,", "By which this sum of things recruited lives,\n Those same infallibly can never die,\n Nor nothing to nothing evermore return.\n And, too, the selfsame power might end alike" ], [ "Will be dissolved and will therefore die.\n For just as food, dispersed through all the pores\n Of body, and passed through limbs and all the frame,", "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "Therefore death to us\n Is nothing, nor concerns us in the least,\n Since nature of mind is mortal evermore.", "Or shades go floating in among the living,\n Or aught of us is left behind at death,\n When body and mind, destroyed together, each", "Collects his senses. Death is, then, to us\n Much less--if there can be a less than that\n Which is itself a nothing: for there comes", "Like to a snake. Wherefore, when once the body\n Hath passed away, admit we must that soul,\n Shivered in all that body, perished too.", "Hard upon death a scattering more great\n Of the throng of matter, and no man wakes up\n On whom once falls the icy pause of life.", "The soul no less is shed abroad and dies\n More quickly far, more quickly is dissolved\n Back to its primal bodies, when withdrawn", "Those plenteous exhalations it gives off.\n Thus, fairly, all things perish, when with ebbing\n They're made less dense and when from blows without", "From the whole body nothing ta'en in form,\n Nothing in weight. Death grants ye everything,\n But vital sense and exhalation hot.", "Now come: that thou mayst able be to know\n That minds and the light souls of all that live\n Have mortal birth and death, I will go on", "Under the teeth of death? the fire? the moist?\n Or else the air? which then? the blood? the bones?\n No one, methinks, when every thing will be", "Forbidding life to him on whom might crowd\n Such irk and care; and granted 'tis to know:\n Nothing for us there is to dread in death,", "And followed up with maxims, they would free\n Their state of man from anguish and from fear.\n \"O even as here thou art, aslumber in death,", "The soul but mortal, since, so altered now\n Throughout the frame, it loses the life and sense\n It had before. Or how can mind wax strong", "By which this sum of things recruited lives,\n Those same infallibly can never die,\n Nor nothing to nothing evermore return.\n And, too, the selfsame power might end alike", "Is that, I trow, from what we mean by death.\n Wherefore 'tis sure that what hath been before\n Hath died, and what now is is now create.", "And hasten death, O many primal seeds\n Of many things in many modes--since earth\n Contains them mingled and gives forth discrete.\n And we have shown before that certain things", "And rarefied by loss of blood from veins,\n Cannot for longer hold the soul, how then\n Thinkst thou it can be held by any air--", "The fears of death leave heart so free of care.\n But if we note how all this pomp at last\n Is but a drollery and a mocking sport," ], [ "Eternal, long ere now had all things gone\n Back into nothing utterly, and all\n We see around from nothing had been born--\n But since I taught above that naught can be", "Therefore death to us\n Is nothing, nor concerns us in the least,\n Since nature of mind is mortal evermore.", "He grieves that he is mortal born, nor marks\n That in true death there is no second self\n Alive and able to sorrow for self destroyed,", "With mutual motions. Besides the body alone\n Is nor begot nor grows, nor after death\n Seen to endure. For not as water at times", "There not at all exists the void inane.\n Thus primal bodies are solid, without a void.\n But since there's void in all begotten things,", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "Besides are seeds of soul there left behind\n In the breathless body, or not? If there they are,\n It cannot justly be immortal deemed,", "And now, since I have taught that things cannot\n Be born from nothing, nor the same, when born,\n To nothing be recalled, doubt not my words,", "The icy members in the cold of death.\n But he whose mind and intellect abide\n Himself abides in life. However much", "By which this sum of things recruited lives,\n Those same infallibly can never die,\n Nor nothing to nothing evermore return.\n And, too, the selfsame power might end alike", "This sum of things is seen to be compact)\n So all have birth and perishable frame,\n Thus the whole nature of the world itself\n Must be conceived as perishable too.", "For false the reasoning of those that say\n Immortal mind is changed by change of body--\n For what is changed dissolves, and therefore dies.", "Then heat will perish utterly and all,\n And out of nothing would the world be formed.\n For change in anything from out its bounds\n Means instant death of that which was before;", "Nor can we pluck one moment off, whereby\n To minish the aeons of our state of death.\n Therefore, O man, by living on, fulfil", "Now come: that thou mayst able be to know\n That minds and the light souls of all that live\n Have mortal birth and death, I will go on", "No wretchedness for him who is no more,\n The same estate as if ne'er born before,\n When death immortal hath ta'en the mortal life.", "Or shades go floating in among the living,\n Or aught of us is left behind at death,\n When body and mind, destroyed together, each", "The nature of things, since here is in debate\n Eternal time and not the single hour,\n Mortal's estate in whatsoever remains\n After great death.", "And besides,\n If soul immortal is, and winds its way\n Into the body at the birth of man,", "Thus if first bodies be, as I have taught,\n Solid, without a void, they must be then\n Eternal; and, if matter ne'er had been" ], [ "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "Of life within us, ere for thee my verse\n Hath put within thine ears the stores of proofs\n At hand for one soever question broached.", "Seemeth the doctrine which the holy thought\n Of great Democritus lays down: that ever\n The nearer the constellations be to earth", "Then, too, Democritus, when ripened eld\n Admonished him his memory waned away,\n Of own accord offered his head to death.", "Through which indeed unto himself is known\n The thing he calls the fire. For, though he thinks\n The senses truly can perceive the fire,\n He thinks they cannot as regards all else,", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "At bottom as mortal as whate'er we mark\n To perish by force before our gazing eyes.\n But my appeal is to the proofs above", "Upon the ways and conduct of the skies--\n This to maintain by many a fact besides--\n That in no wise the nature of all things\n For us was fashioned by a power divine--", "Herein in these affairs nowise take up\n What honoured sage, Democritus, lays down--\n That proposition, that primordials", "And followed up with maxims, they would free\n Their state of man from anguish and from fear.\n \"O even as here thou art, aslumber in death,", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "Eternal, long ere now had all things gone\n Back into nothing utterly, and all\n We see around from nothing had been born--\n But since I taught above that naught can be", "Forbidding life to him on whom might crowd\n Such irk and care; and granted 'tis to know:\n Nothing for us there is to dread in death,", "Indeed and heavy there for them the fall:\n First, because, banishing the void from things,\n They yet assign them motion, and allow", "More certain than our senses can there be\n Whereby to mark asunder error and truth?\n Besides, why rather do away with all,\n And wish to allow heat only, then deny", "Refuting the art of Greek astrologers,\n Labours, in opposition, to prove sure--\n As if, forsooth, the thing for which each fights,", "In which they're set, and where they're moved around.\n For common instinct of our race declares\n That body of itself exists: unless", "In these affairs\n We wish thee also well aware of this:\n The atoms, as their own weight bears them down", "'Tis needful most of all to make it sure\n That naught's at hand but body mixed with void.\n A first ensample: in grottos, rocks o'erhead", "Nor any limit to cutting bodies down.\n Wherefore to me he seems on both accounts\n To err no less than those we named before." ], [ "This to maintain by many a fact besides--\n That in no wise the nature of the world\n For us was builded by a power divine--", "Upon the ways and conduct of the skies--\n This to maintain by many a fact besides--\n That in no wise the nature of all things\n For us was fashioned by a power divine--", "Who by their reasonings do overshake\n The ramparts of the universe and wish\n There to put out the splendid sun of heaven,", "Making his child a sacrificial beast\n To give the ships auspicious winds for Troy:\n Such are the crimes to which Religion leads.", "And thus dissolve them by the blows of might.\n But not of solid body, as I've shown,\n Exists the nature of the world, because", "In divers worlds on divers plan create,--\n Somewhere afar more likely than upon\n One certain earth.) But men chose this to do\n Less in the hope of conquering than to give", "Whilst human kind\n Throughout the lands lay miserably crushed\n Before all eyes beneath Religion--who\n Would show her head along the region skies,", "And to unfold by his pronouncements all\n The nature of the world.", "In this our world 'tis hard to say for sure;\n But what can be throughout the universe,\n In divers worlds on divers plan create,\n This only do I show, and follow on", "They pressed from out their mass those particles\n Which were to form the sea, the stars, the sun,\n And moon, and ramparts of the mighty world--", "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "Unto annihilation! Then shall crash\n That massive form and fabric of the world\n Sustained so many aeons! Nor do I", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "They willed to prepare this world's magnificence,\n And that 'tis therefore duty and behoof\n To praise the work of gods as worthy praise,", "Succumbed, whilst each man sought unto himself\n Dominion and supremacy. So next\n Some wiser heads instructed men to found", "Spontaneous generations, fairer forms.\n Confess then, naught from nothing can become,\n Since all must have their seeds, wherefrom to grow,", "And since I've taught thee that the world's great vaults\n Are mortal and that sky is fashioned\n Of frame e'en born in time, and whatsoe'er\n Therein go on and must perforce go on", "And from what causes they are brought to pass\n The origin is manifest; so, haply,\n Let none believe that in these regions stands", "Purged the breasts of men, and set the bounds\n Of lust and terror, and exhibited\n The supreme good whither we all endeavour,", "Is there a lack of little in the world.\n But men wished glory for themselves and power\n Even that their fortunes on foundations firm\n Might rest forever, and that they themselves," ], [ "These wounds of life in no mean part are kept\n Festering and open by this fright of death.\n For ever we see fierce Want and foul Disgrace", "For when in life one pictures to oneself\n His body dead by beasts and vultures torn,\n He pities his state, dividing not himself", "Therefore we see that our corporeal life\n Needs little, altogether, and only such\n As takes the pain away, and can besides\n Strew underneath some number of delights.", "Not that we joyously delight that man\n Should thus be smitten, but because 'tis sweet\n To mark what evils we ourselves be spared;", "Have fallen out in vain, and, as he thinks\n How present times are not as times of old,\n Often he praises the fortunes of his sire,", "Hence, where thou seest a man to grieve because\n When dead he rots with body laid away,\n Or perishes in flames or jaws of beasts,", "For kinds alike. Then too 'tis thine to see\n How many things oppressive be and foul\n To man, and to sensation most malign:", "In those affairs, O awfullest of all,\n O pitiable most was this, was this:\n Whoso once saw himself in that disease", "Then, too, we see, that, just as body takes\n Monstrous diseases and the dreadful pain,\n So mind its bitter cares, the grief, the fear;", "Suffer a sore distress. For shouldst thou gaze\n Backwards across all yesterdays of time\n The immeasurable, thinking how manifold", "Poor wretch,\" they say, \"one hostile hour hath ta'en\n Wretchedly from thee all life's many guerdons,\"", "And why so great the heap of ill on heart,\n O not in this sort would they live their life,\n As now so much we see them, knowing not", "A discard of no honour; whilst another\n Succeeds to glory, issuing from contempt,\n And day by day is sought for more and more,", "For, lo, besides that, when the frame's diseased,\n Soul sickens too, there cometh, many a time,\n That which torments it with the things to be,", "As well befitting one for whom remains\n In life a journey through so many ills.\n But all the flocks and herds and all wild beasts", "And showed the path whereby we might arrive\n Thereunto by a little cross-cut straight,\n And what of ills in all affairs of mortals", "By more of kinship to these flaws of life,\n And mind by contact with that body suffers\n So many ills. But grant it be for them\n However useful to construct a body", "And born to die. And therefore when I see\n The mightiest members and the parts of this\n Our world consumed and begot again,\n 'Tis mine to know that also sky above", "And bares the inner thews hits not the life,\n Yet follows a fainting and a foul collapse,\n And, on the ground, dazed tumult in the mind,", "That now some portions seem about to fall,\n And falls the whole ere long--betrayed indeed\n By first deceiving estimates: so too\n Thy calculations in affairs of life" ], [ "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "That, when those creatures look upon the sun,\n We view the constellations of the night;\n And that with us the seasons of the sky\n They thus alternately divide, and thus", "Meantime, when once we know from nothing still\n Nothing can be create, we shall divine\n More clearly what we seek: those elements\n From which alone all things created are,", "In this our world 'tis hard to say for sure;\n But what can be throughout the universe,\n In divers worlds on divers plan create,\n This only do I show, and follow on", "Created them; but earth it was who bore--\n The same to-day who feeds them from herself.\n Besides, herself of own accord, she first", "Asunder flee, the ramparts of the world\n Dispart away, and through the void entire\n I see the movements of the universe.\n Rises to vision the majesty of gods,", "And think divinities are working there.\n Do thou, Calliope, ingenious Muse,\n Solace of mortals and delight of gods,", "That gods have stablished all things but for man,\n They seem in all ways mightily to lapse\n From reason's truth: for ev'n if ne'er I knew", "They willed to prepare this world's magnificence,\n And that 'tis therefore duty and behoof\n To praise the work of gods as worthy praise,", "This to maintain by many a fact besides--\n That in no wise the nature of the world\n For us was builded by a power divine--", "But now through oceans, lands, and heights of heaven,\n By divers causes and in divers modes,\n Before our eyes we mark how much may move,", "Nor constellations of the mighty world,\n Nor ocean, nor heaven, nor even earth nor air.\n Nor aught of things like unto things of ours", "Only because, seeing in land and sky\n So much the cause whereof no wise they know,\n Men think Divinities are working there.", "They roll along by any plan of gods.\n For even those men who have learned full well\n That godheads lead a long life free of care,\n If yet meanwhile they wonder by what plan", "They yet can do, distinguished one from other,\n No less than human beings, by clear signs.\n Thus oft before fair temples of the gods,", "That only this one earth and sky of ours\n Hath been create and that those bodies of stuff,\n So many, perform no work outside the same;", "Likewise, thou canst ne'er\n Believe the sacred seats of gods are here\n In any regions of this mundane world;", "Nay, thou beholdest in our verses here\n Elements many, common to many worlds,\n Albeit thou must confess each verse, each word", "They pressed from out their mass those particles\n Which were to form the sea, the stars, the sun,\n And moon, and ramparts of the mighty world--", "Much on the composition of the world,\n And in their turn inquire what elements\n They have themselves,--since, thus the same in kind\n As a whole mortal creature, even they" ], [ "Thus mind alone can never be, without\n The body and the man himself, which seems,\n As 'twere the vessel of the same--or aught", "And, born in any part soever, yet\n In the same man, in the same vessel abide.\n But since within this body even of ours\n Stands fixed and appears arranged sure", "By more of kinship to these flaws of life,\n And mind by contact with that body suffers\n So many ills. But grant it be for them\n However useful to construct a body", "Body is borne like ship with oars and wind.\n Nor yet in these affairs is aught for wonder\n That particles so fine can whirl around", "And, born in any part soever, yet\n In the same man, in the same vessel abide\n But since within this body even of ours\n Stands fixed and appears arranged sure", "Will be dissolved and will therefore die.\n For just as food, dispersed through all the pores\n Of body, and passed through limbs and all the frame,", "So great a body and turn this weight of ours;\n For wind, so tenuous with its subtle body,\n Yet pushes, driving on the mighty ship", "When creatures draw a breath or blow it out.\n Wherefore, since body thus is flogged alike\n Upon the inside and the out, and blows", "Thou markst that likewise with this body of ours\n Suffers the mind and with our body feels.\n If the dire speed of spear that cleaves the bones", "From out man's members it has gone away.\n For, sure, if body (container of the same\n Like as a jar), when shivered from some cause,", "Like to a snake. Wherefore, when once the body\n Hath passed away, admit we must that soul,\n Shivered in all that body, perished too.", "Once more, since body's unable to sustain\n Division from the soul, without decay\n And obscene stench, how canst thou doubt but that", "The trunk be mangled, with the limbs lopped off,\n The soul withdrawn and taken from the limbs,\n Still lives the trunk and draws the vital air.", "If one, moreover, denies that body feel,\n And holds that soul, through all the body mixed,\n Takes on this motion which we title \"sense,\"", "So then this soul is kept by all the body,\n Itself the body's guard, and source of weal:\n For they with common roots cleave each to each,", "Therefore, the soul, which was indeed but one,\n Has been divided with the body too:\n Each is but mortal, since alike is each", "Thus soul entire must be of smallmost seeds,\n Twined through the veins, the vitals, and the thews,\n Seeing that, when 'tis from whole body gone,", "To urge them up. 'Tis thus that blood, discharged\n From out our bodies, spurts its jets aloft\n And spatters gore. And hast thou never marked", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "Therefrom, removing not the self enough\n From the body flung away, imagining\n Himself that body, and projecting there\n His own sense, as he stands beside it: hence" ], [ "Spoilt from within,--in part, because he saw\n The vessel so cracked and leaky that nowise\n 'T could ever be filled to brim; in part because", "The vessel itself which worked the bane, and all,\n However wholesome, which from here or there\n Was gathered into it, was by that bane", "From out man's members it has gone away.\n For, sure, if body (container of the same\n Like as a jar), when shivered from some cause,", "Hath seized upon and held possession of\n The iron's open passage-ways, thereafter\n Cometh the tide of the stone, and in that iron", "Is borne along, although it seems to stand;\n The ship that bides in roadstead is supposed\n There to be passing by. And hills and fields", "The ice of bronze melts conquered in the flame;\n Warmth and the piercing cold through silver seep,\n Since, with the cups held rightly in the hand,", "And, born in any part soever, yet\n In the same man, in the same vessel abide.\n But since within this body even of ours\n Stands fixed and appears arranged sure", "To dash and beat; by means whereof it spues\n Forth from itself--and through the brass stirs up--\n The things which otherwise without the brass", "Into the spring what seeds she holds of fire\n (As one might squeeze with fist), which render hot\n The touch and steam of the fluid. Next, when sun,", "Body is borne like ship with oars and wind.\n Nor yet in these affairs is aught for wonder\n That particles so fine can whirl around", "And, born in any part soever, yet\n In the same man, in the same vessel abide\n But since within this body even of ours\n Stands fixed and appears arranged sure", "The vital veins of life is now no more\n Than that which ebbs within them and runs off.\n This is the point where life for each thing ends;", "And end his days in sterile love forever.\n What many men suppose; and gloomily\n They sprinkle the altars with abundant blood,", "And give its mother an eternal wound\n Along her heart. And 'tis on this account\n That armed they escort the mighty Mother,\n Or else because they signify by this", "It is preserved, when once it has been thrown\n Into the proper motions, bringing to pass\n That ever the streams refresh the greedy main", "Needeth no words--the mighty flux itself\n Of multitudinous waters round about\n Declareth this. But whatso water first\n Streams up is ever straightway carried off,", "And quenching thirst is earlier than cups.\n These objects, therefore, which for use and life\n Have been devised, can be conceived as found", "Thou grant what holds it be a solid. Know,\n That which can hold a void of things within\n Can be naught else than matter in union knit.", "Likewise, the wines sudden to vanish forth,\n The wine-jars intact,--because, ye see,\n Its heat arriving renders loose and porous", "That there the tide streams through without a break,\n Of which sort stuff of wood is seen to be.\n Therefore, when iron (which lies between the two)" ], [ "Sans body, give the vital motions forth;\n Nor, then, can body, wanting soul, endure\n And use the senses. Verily, as the eye,", "As that within live creatures as a whole.\n But of themselves those parts can never feel,\n For all the sense in every member back\n To something else refers--a severed hand,", "Once more, since body's unable to sustain\n Division from the soul, without decay\n And obscene stench, how canst thou doubt but that", "That lack the living motion, living sense.\n For sure 'tis quite beside the mark to think\n That judgment and the nature of the mind\n In any kind of body can exist--", "Thus mind alone can never be, without\n The body and the man himself, which seems,\n As 'twere the vessel of the same--or aught", "Apart from body can exist for soul,\n Nor tongue nor ears apart. And hence indeed\n Alone by self they can nor feel nor be.", "Thus soul entire must be of smallmost seeds,\n Twined through the veins, the vitals, and the thews,\n Seeing that, when 'tis from whole body gone,", "And just as hand, or eye, or nose, apart,\n Severed from us, can neither feel nor be,\n But in the least of time is left to rot,", "Where soul and mind can each exist and grow,\n Deny we must the more that they can dure\n Outside the body and the breathing form", "The trunk be mangled, with the limbs lopped off,\n The soul withdrawn and taken from the limbs,\n Still lives the trunk and draws the vital air.", "Will be dissolved and will therefore die.\n For just as food, dispersed through all the pores\n Of body, and passed through limbs and all the frame,", "Sans contact, and sans body contact fails--\n Must we not grant that mind and soul consist\n Of a corporeal nature?--And besides", "Or any other member of our frame,\n Itself alone cannot support sensation.\n It thus remains they must resemble, then,\n Live creatures as a whole, to have the power", "Throughout the body scattered, but obeys--\n Moved by the nod and motion of the mind.\n This, for itself, sole through itself, hath thought;", "Again, the body's and the mind's live powers\n Only in union prosper and enjoy;\n For neither can nature of mind, alone of self", "Of body and mind, each super-posed on each,\n Vary alternately and interweave\n The fabric of our members. For not only\n Are the soul-elements smaller far than those", "Besides are seeds of soul there left behind\n In the breathless body, or not? If there they are,\n It cannot justly be immortal deemed,", "With mutual motions. Besides the body alone\n Is nor begot nor grows, nor after death\n Seen to endure. For not as water at times", "And since we mark the vital sense to be\n In the whole body, all one living thing,\n If of a sudden a force with rapid stroke", "Alone, up-rended from its roots, apart\n From all the body, can peer about at naught,\n So soul and mind it seems are nothing able," ], [ "These wounds of life in no mean part are kept\n Festering and open by this fright of death.\n For ever we see fierce Want and foul Disgrace", "And fails the voice away, and ring the ears,\n Mists blind the eyeballs, and the joints collapse,--\n Aye, men drop dead from terror of the mind.", "And oft to that degree, from fright of death,\n Will hate of living and beholding light\n Take hold on humankind that they inflict", "FOLLY OF THE FEAR OF DEATH", "And followed up with maxims, they would free\n Their state of man from anguish and from fear.\n \"O even as here thou art, aslumber in death,", "The fears of death leave heart so free of care.\n But if we note how all this pomp at last\n Is but a drollery and a mocking sport,", "Collects his senses. Death is, then, to us\n Much less--if there can be a less than that\n Which is itself a nothing: for there comes", "Wherefore it tallies that the mind no less\n Partaker is of death; for pain and disease\n Are both artificers of death,--as well", "For just as children tremble and fear all\n In the viewless dark, so even we at times\n Dread in the light so many things that be", "Is aught, but power of thinking?--when, besides\n The whole of life but labours in the dark.\n For just as children tremble and fear all", "For as to what men sometimes will affirm:\n That more than Tartarus (the realm of death)\n They fear diseases and a life of shame,", "Therefore death to us\n Is nothing, nor concerns us in the least,\n Since nature of mind is mortal evermore.", "Hence, where thou seest a man to grieve because\n When dead he rots with body laid away,\n Or perishes in flames or jaws of beasts,", "And Nature holds this like a mirror up\n Of time-to-be when we are dead and gone.\n And what is there so horrible appears?", "With baseless terror, as the fables tell,\n Fears the huge boulder hanging in the air:\n But, rather, in life an empty dread of Gods", "Shuddering, will be upon them in the dark.\n This terror, then, this darkness of the mind,\n Not sunrise with its flaring spokes of light,", "Could well by any force o'ermastered be.\n And men would think them in their happiness\n Excelling far, because the fear of death", "Can ever be, and feareth lest the same\n But grow more heavy after death. Of truth,\n The life of fools is Acheron on earth.", "In perils and alarms? one fixed end\n Of life abideth for mortality;\n Death's not to shun, and we must go to meet.", "Forbidding life to him on whom might crowd\n Such irk and care; and granted 'tis to know:\n Nothing for us there is to dread in death," ], [ "On either side were given, that we might do\n Life's own demands. All such interpretation\n Is aft-for-fore with inverse reasoning,", "Which have been fashioned all of one like shape\n Are infinite in tale; for, since the forms\n Themselves are finite in divergences,", "All things to be borne backward and spring off\n At equal angles from all other things.\n To such degree the image gleams across\n From mirror unto mirror; where 'twas left", "In those which render from the mirror's plane\n A vision back, since each thing comes to pass\n By means of the two airs. Now, in the glass", "And flocks and fields to portion for each man\n After the beauty, strength, and sense of each--\n For beauty then imported much, and strength", "Yet formed with equal function, equal force\n In every bodily part--a fact thou mayst,\n However dull thy wits, well learn from this:", "The two should weigh alike, since body tends\n To load things downward, while the void abides,\n By contrary nature, the imponderable.", "And still I might by many an argument\n Here scrape together credence for my words.\n But for the keen eye these mere footprints serve,", "Seemed rounded, yet it more availeth us,\n Lacking the reason, to pretend a cause\n For each configuration, than to let\n From out our hands escape the obvious things", "Indeed and heavy there for them the fall:\n First, because, banishing the void from things,\n They yet assign them motion, and allow", "Now will I undertake an argument--\n One for these matters of supreme concern--\n That there exist those somewhats which we call\n The images of things: these, like to films", "The mirror, things of form and hue the same\n Respond. Besides, though but a moment since\n Serenest was the weather of the sky,", "Proportionate to the bulge of our own flank\n Send back to us their idols with the right\n Upon the right; and this is so because", "In the same fashion others of this ilk\n Created are. And when they're quickly borne\n In their exceeding lightness, easily\n (As earlier I showed) one subtle image,", "To us, but puts the fat on goats and quails.\n That thou mayst know by what devices this\n Is brought about, in chief thou must recall", "And so remould the features it gives back:\n It comes that now the right eye is the left,\n The left the right. An image too may be\n From mirror into mirror handed on,", "But besides,\n Seeing they feign that not all bodies press\n To centre inward, rather only those", "As throws the fire its light and warmth around,\n Giving thee proof its parts are not compact.\n But if perhaps they think, in other wise,", "Heaven keeps his two goals parted equally,\n By virtue of the fixed position old\n Of the whole starry Zodiac, through which", "When once unto the mirror it has come,\n Since the curved surface teaches it to turn\n To usward. Further, thou might'st well believe" ], [ "For all past actions may be said to be\n But accidents, in one way, of mankind,--\n In other, of some region of the world.", "In this our world 'tis hard to say for sure;\n But what can be throughout the universe,\n In divers worlds on divers plan create,\n This only do I show, and follow on", "For the replenishment of wasted worlds.\n Once more, if nature had given a scope for things\n To be forever broken more and more,\n By now the bodies of matter would have been", "That only this one earth and sky of ours\n Hath been create and that those bodies of stuff,\n So many, perform no work outside the same;", "By which this sum of things recruited lives,\n Those same infallibly can never die,\n Nor nothing to nothing evermore return.\n And, too, the selfsame power might end alike", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "The kinds of motion and conjoining, come\n Into those great arrangements out of which\n This sum of things established is create,\n By which, moreover, through the mighty years,", "This sum of things is seen to be compact)\n So all have birth and perishable frame,\n Thus the whole nature of the world itself\n Must be conceived as perishable too.", "And since I've taught thee that the world's great vaults\n Are mortal and that sky is fashioned\n Of frame e'en born in time, and whatsoe'er\n Therein go on and must perforce go on", "Nor can those motions that bring death prevail\n Forever, nor eternally entomb\n The welfare of the world; nor, further, can", "And to unfold by his pronouncements all\n The nature of the world.", "Much on the composition of the world,\n And in their turn inquire what elements\n They have themselves,--since, thus the same in kind\n As a whole mortal creature, even they", "Into arrangements such, and if they've passed\n Into vibrations such, as those whereby\n This sum of things is carried on to-day", "Each thing is seen to be: forsooth, this work\n With mightily swift order all goes on,\n So that upon one instant we may see", "And now to what remains!--Since I've resolved\n By what arrangements all things come to pass\n Through the blue regions of the mighty world,--", "And thus dissolve them by the blows of might.\n But not of solid body, as I've shown,\n Exists the nature of the world, because", "We must suppose to all the sky and earth\n Are ever supplied from out the infinite\n All things, O all in stores enough whereby\n The shaken earth can of a sudden move,", "That very distance which in traversing\n The sun consumes the measure of a year.\n I say, no one clear reason hath been given\n For these affairs. Yet chief in likelihood", "Now come: I will untangle for thy steps\n Now by what motions the begetting bodies\n Of the world-stuff beget the varied world,", "From off its course, shall fail to be on hand.\n Nor can the blows from outward still conserve,\n On every side, whatever sum of a world" ], [ "Were there before them, and their shapes remained,\n And chiefly, however, because men would not think\n Beings augmented with such mighty powers", "To move their limbs and speak pronouncements high,\n Befitting glorious visage and vast powers.\n And men would give them an eternal life,\n Because their visages forevermore", "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "Could well by any force o'ermastered be.\n And men would think them in their happiness\n Excelling far, because the fear of death", "Whilst human kind\n Throughout the lands lay miserably crushed\n Before all eyes beneath Religion--who\n Would show her head along the region skies,", "All things unto the empery of gods\n And to concede the kingly rule to them.\n For even those men who have learned full well", "And so committed to man's guardianship.\n Valour hath saved alive fierce lion-breeds\n And many another terrorizing race,", "Was ready to hand for mortals, and that life,\n As far as might be, was established safe,\n That men were lords in riches, honour, praise,", "Upon the verge, what wonder is it then\n That mortal generations abase themselves,\n And unto gods in all affairs of earth\n Assign as last resort almighty powers", "Of old religion and adopt again\n Harsh masters, deemed almighty,--wretched men,\n Unwitting what can be and what cannot,", "To meet together and to try all sorts\n Which, by combining one with other, they\n Are powerful to create: because of this\n It comes to pass that those primordials,", "For anxiously they fled the savage beasts,\n And peace they sought and their abundant foods,\n Obtained with never labours of their own,", "Reason thereof in speech. Because, in sooth,\n Even in those days would the race of man\n Be seeing excelling visages of gods", "And all the power of soul are shook so sore,\n And these so totter along with all the frame,\n That any cause a little stronger might", "The rabble's ingrate heads and impious hearts\n To panic with terror of the goddess' might.\n And so, when through the mighty cities borne,", "O humankind unhappy!--when it ascribed\n Unto divinities such awesome deeds,\n And coupled thereto rigours of fierce wrath!", "They roll along by any plan of gods.\n For even those men who have learned full well\n That godheads lead a long life free of care,\n If yet meanwhile they wonder by what plan", "Only because, seeing in land and sky\n So much the cause whereof no wise they know,\n Men think Divinities are working there.", "Tremendously with fires and winds, that even\n Back on the lands the people shudder round\n And seek for cover. Therefore, as I said,", "Harsh masters, deemed almighty,--wretched men,\n Unwitting what can be and what cannot,\n And by what law to each its scope prescribed," ], [ "His shall be aught of feeling after death.\n For he, I fancy, grants not what he says,\n Nor what that presupposes, and he fails", "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "And, born from naught, abundance thrive anew--\n Thou seest how far each doctrine stands from truth.\n And, next, these bodies are among themselves", "Through which indeed unto himself is known\n The thing he calls the fire. For, though he thinks\n The senses truly can perceive the fire,\n He thinks they cannot as regards all else,", "And from the mind expelled, by words indeed,\n Not arms, O shall it not be seemly him\n To dignify by ranking with the gods?--", "Likewise, thou canst ne'er\n Believe the sacred seats of gods are here\n In any regions of this mundane world;", "And from the clouds of lighter density,\n None are sent forth forever. That 'tis so\n Beyond a doubt, fact plain to sense declares:", "Upon the ways and conduct of the skies--\n This to maintain by many a fact besides--\n That in no wise the nature of all things\n For us was fashioned by a power divine--", "And from what causes they are brought to pass\n The origin is manifest; so, haply,\n Let none believe that in these regions stands", "Herein in these affairs nowise take up\n What honoured sage, Democritus, lays down--\n That proposition, that primordials", "Doth he not seek the peace of gods with vows,\n And beg in prayer, a-tremble, lulled winds\n And friendly gales?--in vain, since, often up-caught", "Fire made of fires, and water out of waters,\n Feigning the like with all the rest of stuff.\n Yet he concedes not any void in things,", "If one, moreover, denies that body feel,\n And holds that soul, through all the body mixed,\n Takes on this motion which we title \"sense,\"", "Seek, so to say, to injure faith in sense--\n In vain, because the largest part of these\n Deceives through mere opinions of the mind,", "Among the silly, not the serious Greeks\n Who search for truth. For dolts are ever prone\n That to bewonder and adore which hides", "Nor constellations of the mighty world,\n Nor ocean, nor heaven, nor even earth nor air.\n Nor aught of things like unto things of ours", "Discovers to exist, therefore it comes\n That, in a moment how so brief ye will,\n The divers idols are hard by, and ready", "Whom nor the fame of Gods nor lightning's stroke\n Nor threatening thunder of the ominous sky\n Abashed; but rather chafed to angry zest", "They yet can do, distinguished one from other,\n No less than human beings, by clear signs.\n Thus oft before fair temples of the gods,", "Still the new temples of gods from land to land\n And drives mankind to visit them in throngs\n On holy days--'tis not so hard to give" ], [ "Seemeth the doctrine which the holy thought\n Of great Democritus lays down: that ever\n The nearer the constellations be to earth", "Herein in these affairs nowise take up\n What honoured sage, Democritus, lays down--\n That proposition, that primordials", "*****\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "And, first,\n This do I say, as oft I've said before:\n In earth are atoms of things of every sort;", "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "In these affairs\n We wish thee also well aware of this:\n The atoms, as their own weight bears them down", "For just as all things of creation are,\n In their whole nature, each to each unlike,\n So must their atoms be in shape unlike--", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "That the white objects shining to thine eyes\n Are gendered of white atoms, or the black\n Of a black seed; or yet believe that aught", "Now what the speed to matter's atoms given\n Thou mayest in few, my Memmius, learn from this:\n When first the dawn is sprinkling with new light", "Of the primeval atoms, are stirred up\n By impulse of those atoms' unseen blows,\n And these thereafter goad the next in size:", "As have no parts, the minimums of nature.\n And since these are, likewise confess thou must\n That primal bodies are solid and eterne.", "Hither and thither in all directions round.\n Lo, all their shifting movement is of old,\n From the primeval atoms; for the same", "This happens surely by a fixed law:\n For from all food-stuff, when once eaten down,\n Go sundered atoms, suited to each creature,", "But rather with what sort of shape equipped,\n 'Tis thine to know the atoms need not colour,\n But render forth sensations, as of touch,", "Unto the procreant atoms of the world.\n Now come, and what the law of earthquakes is\n Hearken, and first of all take care to know", "Then, too, Democritus, when ripened eld\n Admonished him his memory waned away,\n Of own accord offered his head to death.", "This ultimate stock we have devised to name\n Procreant atoms, matter, seeds of things,\n Or primal bodies, as primal to the world.", "Athrough their pores. And much it does transfix,\n When these primordial atoms of the bolt\n Have fallen upon the atoms of these things\n Precisely where the intertwined atoms", "For these consist of seeds more smooth and round\n And of much smaller elements than earth.\n And thus it was that ether, fraught with fire," ], [ "*****\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "Seemeth the doctrine which the holy thought\n Of great Democritus lays down: that ever\n The nearer the constellations be to earth", "'Tis thine to know our veins and blood and bones\n And thews are formed of particles unlike\n To them in kind; or if they say all foods", "Now what the speed to matter's atoms given\n Thou mayest in few, my Memmius, learn from this:\n When first the dawn is sprinkling with new light", "And, first,\n This do I say, as oft I've said before:\n In earth are atoms of things of every sort;", "In these affairs\n We wish thee also well aware of this:\n The atoms, as their own weight bears them down", "And naught opposing motion, from behind.\n And that more clearly thou perceive how all\n These mites of matter are darted round about,", "As have no parts, the minimums of nature.\n And since these are, likewise confess thou must\n That primal bodies are solid and eterne.", "Herein in these affairs nowise take up\n What honoured sage, Democritus, lays down--\n That proposition, that primordials", "That the white objects shining to thine eyes\n Are gendered of white atoms, or the black\n Of a black seed; or yet believe that aught", "Do come those particles which make the clouds\n And flying thunderheads. For I have taught\n That this their number is innumerable\n And infinite the sum of the Abyss,", "For these consist of seeds more smooth and round\n And of much smaller elements than earth.\n And thus it was that ether, fraught with fire,", "Meantime, when once we know from nothing still\n Nothing can be create, we shall divine\n More clearly what we seek: those elements\n From which alone all things created are,", "Which this our body and inward parts compose,\n But also are they in their number less,\n And scattered sparsely through our frame. And thus", "And so it never falters in delay\n Despite innumerable collisions, but\n Flies shooting onward with a swift elan.\n Next, since by nature always every weight", "The skeleton?--How tiny thus they are!\n And what besides of those first particles\n Whence soul and mind must fashioned be?--Seest not", "All things, were they not still together held\n By matter eternal, shackled through its parts,\n Now more, now less. A touch might be enough", "Of knowledge. For this reason too 'tis fit\n Thou turn thy mind the more unto these bodies\n Which here are witnessed tumbling in the light:", "Hither and thither in all directions round.\n Lo, all their shifting movement is of old,\n From the primeval atoms; for the same", "Had staid at rest, its parts together crammed.\n Then too, however solid objects seem,\n They yet are formed of matter mixed with void:" ], [ "To each by Nature's changeless, old decrees.\n The sum of things there is no power can change,\n For naught exists outside, to which can flee", "*****\n Nor to pursue the atoms one by one,\n To see the law whereby each thing goes on.\n But some men, ignorant of matter, think,", "Again, since all things kind by kind obtain\n Fixed bounds of growing and conserving life;\n Since Nature hath inviolably decreed", "And with his words unfolded Nature's source.\n Then be it ours with steady mind to clasp\n The purport of the skies--the law behind", "But only Nature's aspect and her law,\n Which, teaching us, hath this exordium:\n Nothing from nothing ever yet was born.\n Fear holds dominion over mortality", "And so it never falters in delay\n Despite innumerable collisions, but\n Flies shooting onward with a swift elan.\n Next, since by nature always every weight", "To sunder its members and undo its bands.\n Whereas, of truth, because all things exist,\n With seed imperishable, Nature allows", "Its billows and plunging boulders. For clear fact\n Requires that earth must be in every part\n Alike in constitution. Therefore, earth,", "As have no parts, the minimums of nature.\n And since these are, likewise confess thou must\n That primal bodies are solid and eterne.", "But yet because true reason and nature of things\n Constrain us, come, whilst in few verses now\n I disentangle how there still exist", "The world that is were but a vacant void.\n And so, infallibly, alternate-wise\n Body and void are still distinguished,\n Since nature knows no wholly full nor void.", "But, now again to weave the tale begun,\n All nature, then, as self-sustained, consists\n Of twain of things: of bodies and of void", "On any side, at any time, to aught\n Oppose resistance, but will ever yield,\n True to its bent of nature. Wherefore all,", "Yet formed with equal function, equal force\n In every bodily part--a fact thou mayst,\n However dull thy wits, well learn from this:", "Meantime, when once we know from nothing still\n Nothing can be create, we shall divine\n More clearly what we seek: those elements\n From which alone all things created are,", "And if their force and nature abide the same,\n Able to throw the seeds of things together\n Into their places, even as here are thrown\n The seeds together in this world of ours,", "Will scatter through the body's every pore.\n Yet as a rule, almost upon the skin\n These motion aIl are stopped, and this is why", "However far removed in twisting ways,\n May still be all brought forth through bending paths\n And by these several mirrors seen to be\n Within the house, since nature so compels", "Now since indeed there are those surest bodies\n Which keep their nature evermore the same,\n Upon whose going out and coming in\n And changed order things their nature change,", "All things, were they not still together held\n By matter eternal, shackled through its parts,\n Now more, now less. A touch might be enough" ], [ "To know thereof the causes. Therefore 'twas\n Men would take refuge in consigning all\n Unto divinities, and in feigning all", "They yet can do, distinguished one from other,\n No less than human beings, by clear signs.\n Thus oft before fair temples of the gods,", "In quaking thoughts!), and which abase their minds\n With dread of deities and press them crushed\n Down to the earth, because their ignorance\n Of cosmic causes forces them to yield", "Only because, seeing in land and sky\n So much the cause whereof no wise they know,\n Men think Divinities are working there.", "To move their limbs and speak pronouncements high,\n Befitting glorious visage and vast powers.\n And men would give them an eternal life,\n Because their visages forevermore", "And in what modes hath bosomed in their breasts\n That awe of gods, which halloweth in all lands\n Fanes, altars, groves, lakes, idols of the gods.", "And now what cause\n Hath spread divinities of gods abroad\n Through mighty nations, and filled the cities full", "Indeed, the nature of the gods, so subtle,\n So far removed from these our senses, scarce\n Is seen even by intelligence of mind.", "And all the more since he was wont to give,\n Concerning the immortal gods themselves,\n Many pronouncements with a tongue divine,", "The image of that mother, the divine.\n Her the wide nations, after antique rite,\n Do name Idaean Mother, giving her", "Reason thereof in speech. Because, in sooth,\n Even in those days would the race of man\n Be seeing excelling visages of gods", "Likewise, thou canst ne'er\n Believe the sacred seats of gods are here\n In any regions of this mundane world;", "Discovers to exist, therefore it comes\n That, in a moment how so brief ye will,\n The divers idols are hard by, and ready", "With mind awake; and in his sleeps, yet more--\n Bodies of wondrous growth. And, thus, to these\n Would men attribute sense, because they seemed", "And think divinities are working there.\n Do thou, Calliope, ingenious Muse,\n Solace of mortals and delight of gods,", "And from the mind expelled, by words indeed,\n Not arms, O shall it not be seemly him\n To dignify by ranking with the gods?--", "O humankind unhappy!--when it ascribed\n Unto divinities such awesome deeds,\n And coupled thereto rigours of fierce wrath!", "Branding with mortal talk immortal things--\n Though these same things are even so far removed\n From any touch of deity and seem", "That, when those creatures look upon the sun,\n We view the constellations of the night;\n And that with us the seasons of the sky\n They thus alternately divide, and thus", "So far unworthy of numbering with the gods,\n That well they may be thought to furnish rather\n A goodly instance of the sort of things" ], [ "The soul is close conjoined with the mind.\n Next, soul in turn strikes body, and by degrees\n Thus the whole mass is pushed along and moved.", "Of body and mind, each super-posed on each,\n Vary alternately and interweave\n The fabric of our members. For not only\n Are the soul-elements smaller far than those", "This nature of mind, now ruler of our body,\n Born from that soul which perished, when divided\n Along the frame. Wherefore it seems that soul", "That lack the living motion, living sense.\n For sure 'tis quite beside the mark to think\n That judgment and the nature of the mind\n In any kind of body can exist--", "And know the substance of the soul is blood,\n Or rather wind (if haply thus their whim),\n And so need naught of this our science, then", "Of body and mind. For of the primal germs\n Are loosed their old arrangements, and, throughout,\n The vital motions blocked,--until the stuff,", "Within the very body, which at death\n Deserts our frames. And so, since nature of mind\n And even of soul is found to be, as 'twere,", "Thou markst that likewise with this body of ours\n Suffers the mind and with our body feels.\n If the dire speed of spear that cleaves the bones", "Thus soul entire must be of smallmost seeds,\n Twined through the veins, the vitals, and the thews,\n Seeing that, when 'tis from whole body gone,", "Since both are one, a substance inter-joined.\n First, then, since I have taught how soul exists\n A subtle fabric, of particles minute,", "There is indeed in mind that heat it gets\n When seething in rage, and flashes from the eyes\n More swiftly fire; there is, again, that wind,", "To all his senses and recovers soul.\n Thus, since within the body itself of man\n The mind and soul are by such great diseases", "The power of mind; thereafter, where already\n The body's shattered by master-powers of eld,\n And fallen the frame with its enfeebled powers,", "Mind and soul,\n I say, are held conjoined one with other,\n And form one single nature of themselves;", "The soul no less is shed abroad and dies\n More quickly far, more quickly is dissolved\n Back to its primal bodies, when withdrawn", "Moreover, if after the body hath been built\n Our mind's live powers are wont to be put in,\n Just at the moment that we come to birth,", "And rarefied by loss of blood from veins,\n Cannot for longer hold the soul, how then\n Thinkst thou it can be held by any air--", "Where soul and mind can each exist and grow,\n Deny we must the more that they can dure\n Outside the body and the breathing form", "Which this our body and inward parts compose,\n But also are they in their number less,\n And scattered sparsely through our frame. And thus", "Of man than hand and foot and eyes are parts\n Of one whole breathing creature. [But some hold]\n That sense of mind is in no fixed part seated," ], [ "And fails the voice away, and ring the ears,\n Mists blind the eyeballs, and the joints collapse,--\n Aye, men drop dead from terror of the mind.", "By assailing pain, we are not tortured then\n Through all the body, so the mind alone\n Is sometimes smitten, or livens with a joy,", "As that within live creatures as a whole.\n But of themselves those parts can never feel,\n For all the sense in every member back\n To something else refers--a severed hand,", "For just as children tremble and fear all\n In the viewless dark, so even we at times\n Dread in the light so many things that be", "Fallen from the trunk, they quiver on the earth,\n The while the mind and powers of the man\n Can feel no pain, for swiftness of his hurt,", "Is aught, but power of thinking?--when, besides\n The whole of life but labours in the dark.\n For just as children tremble and fear all", "Then, too, we see, that, just as body takes\n Monstrous diseases and the dreadful pain,\n So mind its bitter cares, the grief, the fear;", "Shaken, so miserably in labour distraught,\n Why, then, believe that in the open air,\n Without a body, they can pass their life,", "Cringes not close, whose limbs with terror-spell\n Crouch not together, when the parched earth\n Quakes with the horrible thunderbolt amain,", "The vitals all begin to feel, and last\n To bones and marrow the sensation comes--\n Pleasure or torment. Nor will pain for naught", "Shuddering, will be upon them in the dark.\n This terror, then, this darkness of the mind,\n Not sunrise with its flaring spokes of light,", "For when in life one pictures to oneself\n His body dead by beasts and vultures torn,\n He pities his state, dividing not himself", "Whilst yet the soul's remainder through the limbs\n And through the frame is stirred by nothing new.\n But when the mind is moved by shock more fierce,", "Here leap dismay and terror; round these haunts\n Be blandishments of joys; and therefore here\n The intellect, the mind. The rest of soul,", "Thou markst that likewise with this body of ours\n Suffers the mind and with our body feels.\n If the dire speed of spear that cleaves the bones", "With two-fold terror bustle in alarm\n Through cities to and fro: they fear the roofs\n Above the head; and underfoot they dread", "To bear eternal pain nor furnish food\n From his own frame forever. But for us\n A Tityus is he whom vultures rend", "These wounds of life in no mean part are kept\n Festering and open by this fright of death.\n For ever we see fierce Want and foul Disgrace", "Shuddering, will be upon them in the dark.\n This terror then, this darkness of the mind,\n Not sunrise with its flaring spokes of light,", "With baseless terror, as the fables tell,\n Fears the huge boulder hanging in the air:\n But, rather, in life an empty dread of Gods" ], [ "Forbidding life to him on whom might crowd\n Such irk and care; and granted 'tis to know:\n Nothing for us there is to dread in death,", "Therefore death to us\n Is nothing, nor concerns us in the least,\n Since nature of mind is mortal evermore.", "OF THE NATURE OF THINGS\n\nBy Titus Lucretius Carus\n\n\n\nA Metrical Translation\n\nBy William Ellery Leonard", "Or shades go floating in among the living,\n Or aught of us is left behind at death,\n When body and mind, destroyed together, each", "These wounds of life in no mean part are kept\n Festering and open by this fright of death.\n For ever we see fierce Want and foul Disgrace", "The fears of death leave heart so free of care.\n But if we note how all this pomp at last\n Is but a drollery and a mocking sport,", "Collects his senses. Death is, then, to us\n Much less--if there can be a less than that\n Which is itself a nothing: for there comes", "And followed up with maxims, they would free\n Their state of man from anguish and from fear.\n \"O even as here thou art, aslumber in death,", "And oft to that degree, from fright of death,\n Will hate of living and beholding light\n Take hold on humankind that they inflict", "FOLLY OF THE FEAR OF DEATH", "Could well by any force o'ermastered be.\n And men would think them in their happiness\n Excelling far, because the fear of death", "Under the teeth of death? the fire? the moist?\n Or else the air? which then? the blood? the bones?\n No one, methinks, when every thing will be", "Hence, where thou seest a man to grieve because\n When dead he rots with body laid away,\n Or perishes in flames or jaws of beasts,", "For when in life one pictures to oneself\n His body dead by beasts and vultures torn,\n He pities his state, dividing not himself", "Nor can we pluck one moment off, whereby\n To minish the aeons of our state of death.\n Therefore, O man, by living on, fulfil", "Then, too, Democritus, when ripened eld\n Admonished him his memory waned away,\n Of own accord offered his head to death.", "End of the Project Gutenberg EBook of Of The Nature of Things, by \n[Titus Lucretius Carus] Lucretius", "Besides are seeds of soul there left behind\n In the breathless body, or not? If there they are,\n It cannot justly be immortal deemed,", "Even Epicurus went, his light of life\n Run out, the man in genius who o'er-topped\n The human race, extinguishing all others,", "And hasten death, O many primal seeds\n Of many things in many modes--since earth\n Contains them mingled and gives forth discrete.\n And we have shown before that certain things" ] ]

[ "What was the purpose of Epicurus' teaching?", "What did Epicurus call upon to demonstrate that a Supreme Being did not create the universe?", "What does the atomism of Democritus try to explain?", "What was Lucretius' task?", "What was not needed to explain how everything in nature works?", "The way the world operated can be accounted for in terms of what?", "What is death according to Lucretius?", "What analogy did Lucretius use to explain death?", "What argument explained about eternal non-existence before birth and after death?", "Who did Epicurus call upon to prove the position?", "Who wanted to demonstrate the world was not formed by a supreme being?", "What is displayed by the misfortunes in life?", "Who identifies that the deities created our world?", "Who uses the analogy that the body is a vessel?", "What is it that vessel is supposed to hold?", "What cannot survive independently without the body? ", "Who said that the fear of death is a perception of terror?", "Who put for the symmetry argument?", "What can operations of the world be accounted for?", "Whose power did the humans entertain?", "Whose Does not deny the existence of deites?", "Whose atomism does Epicurus call upon?", "What particles does Epicurus want to learn about?", "What laws can explain everything in nature?", "Who identifies the supernatural with deities?", "Of what analogy does Lucretius use for mind and spirit?", "According to Lucretius, who can only feel the pain of terror?", "What argument does Lucretius put forward against the fear of death?" ]

[ [ "To remove the peoples' fear of the gods' wrath.", "to establish tranquility in the heart" ], [ "The atomism of Democritus.", "atomism of democritus" ], [ "That the universe was formed by the mixing of eternally-existing particles.", "That the Supreme Being was formed by mixing elemental particles" ], [ "To clearly state and fully develop Epicurus' views in an attractive way.", "Clearly state and develop these views in an attractive form." ], [ "Divine intervention.", "the need of divine beings" ], [ "Natural phenomena.", "In terms of natural phenomena" ], [ "One's material mind dissipating.", "Eternal non-existence." ], [ "The analogy of a vessel.", "Non-existence before birth." ], [ "The symmetry argument.", "Symmetry." ], [ "Democritus", "Lucretius" ], [ "Epicurus", "Democritus" ], [ "Wrath", "The wrath of the deities." ], [ "Lucretius", "Lucretius" ], [ "Lucretius", "Lucretius" ], [ "The body and mind", "mind and spirit" ], [ "The mind", "mind and spirit" ], [ "Lucretius", "Lucretius" ], [ "Lucretius", "Lucretius put forth the symmetry argument." ], [ "Natural Phenomena ", "natural phenomena" ], [ "The Deities", "the deities" ], [ "Epicurus", "Lucretius" ], [ "Democritus", "Democritus" ], [ "Elemental Partiles", "Elemental particles. " ], [ "natural laws", "Natural Laws" ], [ "Lucretius", "Lucretius" ], [ "a Vessel", "of a vessel" ], [ "A living mind", "the living" ], [ "Symmetry Argument", "it is the dissipation of the material mind" ] ]

cba4515370099009b03d469ebe3e8ab69550bd2d

test

[ [ "Louise takes two long strides back towards him, raises the \n gun and FIRES a bullet into his face. We hear his body HIT", "HARLAN\n (pulling up his pants)\n Bitch. I should have gone ahead and \n fucked her.\n\n Louise stops in her tracks.", "LOUISE\n What did you say?\n\n HARLAN\n I said suck my cock.", "Louise reaches over and takes his gun.\n\n LOUISE\n (apologetic)\n I am really sorry about this.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "Louise looks at his truck off in the distance. She points \n the gun at it, takes a second to get a bead, then SHOOTS two", "THELMA\n (gasping for air)\n Harlan.\n\n LOUISE\n What?! What about him?!", "TIGHT SHOT of the barrel of Thelma's gun being pressed into \n the nape of Harlan's neck. Louise's thumb pulls back the \n hammer.", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "LOUISE\n What?\n\n THELMA\n Shoot the radio!", "HARLAN\n Now, calm down. We were just havin' \n a little fun.\n\n Louise glances at Thelma. Thelma shakes her head no.", "LOUISE\n Say you're sorry.\n\n TRUCKER\n Fuck that.\n\n Louise pulls the gun they stole from the State Patrolman.", "LOUISE\n (to Harlan)\n I don't mean to be rude, but I've \n got something I need to talk to my \n friend about. In private.", "Harlan laughs. Thelma laughs, too, but doesn't really get \n the joke. Louise does not laugh.", "LOUISE (O.S.)\n Let her go.\n\n HARLAN\n Get lost.\n\n THELMA\n Louise!", "HARLAN\n Louise is alright.\n\n LOUISE\n\n is now standing outside the door of the Silver Bullet. She \n is looking around.", "Louise fires TWO SHOTS into the police radio. It BLASTS all \n to hell.", "Louise lowers the gun and stares at him for a second. Then \n she turns and walks away. Thelma does, too.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "is breathless, drunk and giggly. She holds a beer bottle in \n one hand. She is laughing a lot about nothing, and Harlan \n is studying her closely. Louise notices this." ], [ "THELMA\n Okay. We'll go around Texas to get \n to Mexico. This is crazy.\n\n EXT. ROAD - FARMLAND - DAY", "THELMA\n (looking at map)\n Wait. What? You want to go to Mexico \n from Oklahoma and you don't want to \n go through Texas?", "INT. CAR - DAY\n\n THELMA\n Louise... are we still going to \n Mexico?\n\n LOUISE\n Yes.", "THELMA\n How far are we from Mexico?\n\n LOUISE\n About two hundred and fifty miles.", "LOUISE\n Thelma, I'm going to Mexico. I think \n I can make it in two and a half days,", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "THELMA\n (sternly)\n Now you get a grip, Louise! Just \n drive us to Goddamn Mexico, will ya!", "THELMA\n Louise.\n\n Louise does not answer.\n\n THELMA\n Louise. Where are we going?", "THELMA\n We're going to Mexico!\n\n INT. CAR - DAY", "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "THELMA\n ...in Texas... didn't it? That's \n what happened... Oh my God.\n\n Louise looks as if she is looking for a way to flee.", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "THELMA\n Shit! I... I, which way?\n\n LOUISE\n West. Left.", "LOUISE (V.O.)\n Oklahoma, Thelma. We're crossing \n into New Mexico.", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY", "Louise doesn't say anything.\n\n THELMA\n How long before we're in Goddamn \n Mexico?\n\n INT. POLICE STATION - DAY", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "THELMA\n (indicating the Grand \n Canyon)\n Go.\n\n LOUISE\n Go?", "Thelma starts to laugh. Louise is only concerned with missing \n the cacti and other obstacles that lie before her.\n\n INT. FBI HELICOPTER - DAY" ], [ "A cop walks into the kitchen and hands Hal a file that says \n Louise Elizabeth Sawyer on the outside. He opens it up and", "LOUISE\n Yes! Yes! Now what kind of deal do \n you think that cop can come up with \n to beat that?", "HAL\n Hello, Miss Sawyer. I'm Hal Slocumbe, \n Chief Investigator, Homicide, Arkansas \n State Police. How are you?", "LOUISE\n What did you say?\n\n HARLAN\n I said suck my cock.", "The surveillance man motions to Hal to keep it going.\n\n Darryl comes in and immediately realizes Hal is talking to \n Louise. Darryl looks attentively at Hal.", "PATROLMAN\n You wanna come with me, please? \n Walk around and get in the car, \n please.\n\n LOUISE\n In the back?", "Louise pulls the car off the road. The patrol car pulls up \n right behind them. The lights shine brightly in through the \n windows.", "Louise shivers with disgust.\n\n INT. POLICE STATION - INTERROGATION ROOM - DAY", "LOUISE\n Well, I figure if you take a state \n policeman, shoot up his car, take", "All the police cars are still following about a half a mile \n behind. The car is bouncing and flying across the desert. \n Finally, they get about twenty yards from the edge and Louise \n SLAMS on the brakes.", "PATROLMAN'S POV OF LOUISE smiling up at him. He gestures to \n her to roll her window down. She does.", "LOUISE\n Oh, I don't know, Thelma. I guess \n maybe we could turn ourselves in and", "THELMA\n I suggested we go to the police, but \n you didn't like that; so, frankly, \n Louise, I'm all out of ideas.", "LOUISE\n To find out if he knows anything. \n If you think he does, you gotta hang", "LOUISE\n Darryl, this is Louise. Are the \n police there?\n\n INT. THELMA'S HOUSE - NIGHT", "HAL (V.O.)\n Louise, I'll do anything. I know \n what's makin' you run. I know what \n happened to you in Texas.", "LOUISE\n We're both fine.\n\n HAL (V.O.)\n Good. You wanna tell me what \n happened?", "etc. Some cover their mouths as they recognize police \n sketches of Louise and Thelma. The Day Manager comes over, \n looks at the pictures and talks to Hal.", "LOUISE\n Sure. Maybe over coffee sometime. \n I'll buy.\n\n INT. THELMA'S HOUSE - NIGHT", "Louise said we could bring him here \n and then he'd have to go. And that's" ], [ "LOUISE\n Shit! Thelma, wake up! Shit! We're \n gettin' pulled over!\n\n Thelma jumps awake.", "INT. CAR - DAY\n\n Thelma sits up suddenly. An Arizona police car passes them \n going eastbound.", "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "J.D. is led off down the hall.\n\n EXT. GAS STATION - NIGHT\n\n Louise and Thelma pull into a gas station.", "LOUISE (V.O.)\n Oklahoma, Thelma. We're crossing \n into New Mexico.", "They are driving down the interstate. Thelma reaches for \n her purse and finds the gun.\n\n THELMA\n Louise, will you take care of the \n gun?", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "Thelma pulls off to the side of the road. Louise gets out \n and starts to walk around the car. She stops when she gets", "LOUISE (V.O.)\n Just past Boise City.\n\n THELMA (V.O.)\n Idaho?", "EXT. STREET - DAY\n\n Louise and Thelma pull into a convenience store.\n\n INT. THELMA'S HOUSE - DAY", "MONTAGE of driving shots as Louise and Thelma drive through \n the intense beauty of the Arizona desert.\n\n INT. CAR - DAY", "Thelma and Louise look at each other while this sinks in.\n\n THELMA\n\n walks around to the side of the building to the phone. She \n picks it up and dials.", "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "Again, Thelma slightly moves her head in a nod. Louise puts \n the car in gear and pulls OUT OF SHOT.\n\n EXT. TRUCK STOP - RESTAURANT - NIGHT", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "Louise pulls the car off the road. The patrol car pulls up \n right behind them. The lights shine brightly in through the \n windows.", "Thelma puts her seat belt on. Louise floors the car and it \n streaks off, putting some distance between them and the police \n car. Thelma looks back at the police car. She looks scared.", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY" ], [ "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "There are now two police cars behind them about half a mile \n back. They are going really fast. A police helicopter \n catches up to them and orders them to stop. Thelma stands \n and flips them off.", "Thelma and Louise look at each other while this sinks in.\n\n THELMA\n\n walks around to the side of the building to the phone. She \n picks it up and dials.", "Louise shoots Thelma a look. The three of them drive around \n to the back of the motel. Thelma turns and looks at the", "J.D. is led off down the hall.\n\n EXT. GAS STATION - NIGHT\n\n Louise and Thelma pull into a gas station.", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "EXT. STREET - DAY\n\n Louise and Thelma pull into a convenience store.\n\n INT. THELMA'S HOUSE - DAY", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "Thelma starts to laugh. Louise is only concerned with missing \n the cacti and other obstacles that lie before her.\n\n INT. FBI HELICOPTER - DAY", "Thelma puts her seat belt on. Louise floors the car and it \n streaks off, putting some distance between them and the police \n car. Thelma looks back at the police car. She looks scared.", "Louise and Thelma both are looking back at the two police \n cars following them. They turn back around just in time to", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "All the police cars are still following about a half a mile \n behind. The car is bouncing and flying across the desert. \n Finally, they get about twenty yards from the edge and Louise \n SLAMS on the brakes.", "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "They are driving down the interstate. Thelma reaches for \n her purse and finds the gun.\n\n THELMA\n Louise, will you take care of the \n gun?", "MONTAGE of driving shots as Louise and Thelma drive through \n the intense beauty of the Arizona desert.\n\n INT. CAR - DAY", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "Louise shoots her a look. She puts the car in gear and FLOORS \n it out of the parking lot. She is still looking at Thelma \n as if she has completely lost her mind.", "Louise doesn't say anything.\n\n THELMA\n How long before we're in Goddamn \n Mexico?\n\n INT. POLICE STATION - DAY" ], [ "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "Thelma and Louise look at each other while this sinks in.\n\n THELMA\n\n walks around to the side of the building to the phone. She \n picks it up and dials.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "They are driving down the interstate. Thelma reaches for \n her purse and finds the gun.\n\n THELMA\n Louise, will you take care of the \n gun?", "Louise shoots her a look. She puts the car in gear and FLOORS \n it out of the parking lot. She is still looking at Thelma \n as if she has completely lost her mind.", "INT. CAR - DAY\n\n THELMA\n Louise... are we still going to \n Mexico?\n\n LOUISE\n Yes.", "As Thelma and Louise talk, their voices are heard over the \n following scene.\n\n LOUISE (V.O.)\n You know what's happened, don't you?", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "THELMA\n Louise... It's okay. Louise? I'm \n sorry. I mean it.\n\n Louise has seen the end of the tunnel and there is no light.", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "EXT. CONVENIENCE STORE - DAY\n\n Thelma and Louise are sitting in the car. They've put all \n their money together.", "Louise speeds up.\n\n Thelma hands Louise a little bottle of Wild Turkey and she \n drinks it down. Thelma has one too.", "EXT. STREET - DAY\n\n Louise and Thelma pull into a convenience store.\n\n INT. THELMA'S HOUSE - DAY", "Louise shoots Thelma a look. The three of them drive around \n to the back of the motel. Thelma turns and looks at the", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY" ], [ "With his free hand, he reaches down and starts to pull her \n dress up. Thelma is still struggling and there are tears \n running down her face.", "Harlan slowly raises his hands in the air, and Thelma darts \n out, pulling her dress down.", "Harlan has led Thelma off to the far end of the parking lot. \n He is trying to kiss her now. He is pushing her arms down \n and turning her head away.", "There are now two police cars behind them about half a mile \n back. They are going really fast. A police helicopter \n catches up to them and orders them to stop. Thelma stands \n and flips them off.", "Louise lowers the gun and stares at him for a second. Then \n she turns and walks away. Thelma does, too.", "HAL\n Hey! Don't let them shoot those \n girls. This is too much. They got \n guns pointed at 'em!", "Louise takes two long strides back towards him, raises the \n gun and FIRES a bullet into his face. We hear his body HIT", "Louise starts to back away, but the gun is still close to \n his face. His pants are undone in the front. She is still \n backing away with the gun raised. Thelma is inching away as \n well.", "Thelma and Louise look at each other while this sinks in.\n\n THELMA\n\n walks around to the side of the building to the phone. She \n picks it up and dials.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "Louise quietly starts to fall apart. This causes Thelma to \n leap into action.", "Louise pulls the car off to the side of the road. As the \n truck gets close they start waving to him to stop. He pulls", "He is leering at them and laughing. Louise and Thelma drive \n further down the road.", "There is no trace of friendliness in his face now. He looks \n mean and dangerous. He lets go of her face and pins her \n arms behind her. He holds both of her arms with one hand.", "Hal walks along with a look of total disbelief on his face. \n He's shaking his head. Slowly he breaks into a trot and \n starts heading toward the front line.", "Louise and Thelma look at each other. They both turn towards \n the truck and FIRE rounds into the tankers until they EXPLODE", "Again, she twitches more than nods.\n\n LOUISE\n Tell me you understand that.\n\n Thelma nods more firmly now. She understands.", "As he's climbing into the trunk, Thelma explains to Louise:\n\n THELMA\n Air holes.\n\n He's all the way in and Louise closes the trunk.", "MAX\n The women are armed, Hal. This is \n standard. Now you stay calm here. \n These boys know what they're doin'.", "notice two such pretty ladies as \n yourselves.\n (standing, to Thelma)\n You better dance with me before you" ], [ "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "LOUISE\n Get the car!\n\n Thelma runs to get the car.", "THELMA\n Way up ahead!\n\n Louise strains to see. Whatever it is, Louise is barreling \n towards it, the car leaving the ground as they fly through \n the desert.", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "INT. CAR - DAY\n\n Thelma is looking way up ahead in the distance.\n\n THELMA\n Louise!", "Thelma puts her seat belt on. Louise floors the car and it \n streaks off, putting some distance between them and the police \n car. Thelma looks back at the police car. She looks scared.", "MONTAGE of driving shots as Louise and Thelma drive through \n the intense beauty of the Arizona desert.\n\n INT. CAR - DAY", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "INT. CAR - DAY\n\n THELMA\n Isn't it beautiful?!!\n\n LOUISE\n It's grand!", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY", "Louise yanks open her car door, gets in and slams the door \n and fires up the ENGINE. Thelma hops in quickly.", "INT. CAR - DAY\n\n THELMA\n Louise... are we still going to \n Mexico?\n\n LOUISE\n Yes.", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "Louise shoots her a look. She puts the car in gear and FLOORS \n it out of the parking lot. She is still looking at Thelma \n as if she has completely lost her mind.", "They are driving down the interstate. Thelma reaches for \n her purse and finds the gun.\n\n THELMA\n Louise, will you take care of the \n gun?", "THELMA\n Lemme see the map.\n\n Louise throws the map across the front seat at Thelma and \n FLOORS it." ], [ "Thelma leans back just watching Louise. She studies her as \n if she's never really seen her before. All of a sudden a \n look of shocked realization comes over Thelma's face.", "THELMA\n You know, Louise, you're supposed to \n be my best friend. You could at", "Louise quietly starts to fall apart. This causes Thelma to \n leap into action.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "THELMA\n Hi.\n\n She is shocked by Thelma's appearance.\n\n LOUISE\n What happened to your hair?", "Thelma is just laughing hysterically. Louise suddenly \n understands.\n\n LOUISE\n Oh, Thelma. Oh, no.", "EXT. STREET - DAY\n\n Louise and Thelma pull into a convenience store.\n\n INT. THELMA'S HOUSE - DAY", "THELMA\n I'm... I'm with Louise. We're in \n the mountains, we're...\n\n INT. THELMA'S HOUSE - DAY", "THELMA\n Just asking.\n\n They are both quiet for a second. Louise goes a little \n faster.", "Louise is completely unreasonable on this subject and Thelma \n is totally puzzled by Louise's reaction but is reluctant to \n press her further.", "THELMA\n (gently)\n Okay, Louise... It's okay.\n\n Louise's eyes are wild, not seeing, while Thelma now seems \n completely serene.", "LOUISE\n One of your friends?\n\n Thelma is watching herself in the side mirror, pretending to \n smoke a cigarette.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "LOUISE\n Oh Christ.\n (to Thelma)\n Thelma.\n\n Thelma doesn't hear.", "LOUISE\n Thelma.\n\n Thelma looks at her blankly, without answering.", "THELMA\n Nothing. It got messed up.\n\n Louise is studying Thelma closely as Thelma squirms in her \n seat, barely able to contain herself.", "Thelma shrieks with excitement. Louise is completely stunned.", "THELMA\n (struggling)\n Stop it! Goddamnit, I mean it! \n Louise is gonna wonder where I am. \n Let go!", "The curtains are open and we can see the car parked right \n outside the room. Thelma is lying on the bed staring up at \n the ceiling. Louise is bustling around the room, putting \n things in drawers.", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY" ], [ "LOUISE is a waitress in a coffee shop. She is in her early-\n thirties, but too old to be doing this. She is very pretty", "Louise knows what she is talking about. She becomes \n immediately agitated.", "Louise looks at her watch.", "LOUISE\n Oh Christ.\n (to Thelma)\n Thelma.\n\n Thelma doesn't hear.", "Louise is hanging up the phone. She walks away towards the \n front of the store.\n\n EXT. COUNTRY STORE - DAY", "LOUISE\n (laughing)\n Alright...\n (to Waitress)", "LOUISE\n Louise Elizabeth Sawyer. Are you \n sure?\n\n WOMAN\n Nothin'. Nothin' came in today at \n all.", "Louise is completely unreasonable on this subject and Thelma \n is totally puzzled by Louise's reaction but is reluctant to \n press her further.", "Louise reaches over and takes the keys. She takes her license \n off the clipboard. She gets out and trots around to the \n back of the car.", "Louise comes over and takes the phone out of his hand.", "Louise is driving. They fly past a kid on his bike on a \n long gravel driveway. He watches them. A huge cloud of", "LOUISE\n (to attendant)\n Fill her up.\n (to Thelma)\n There's a phone right over there.", "Louise goes into the bathroom. She stands in front of the \n sink and looks at herself in the mirror.\n\n EXT. PARKING LOT - NIGHT", "LOUISE\n Thelma!", "Louise covers the mouthpiece with her hand. She is trying \n very hard not to cry.", "LOUISE\n Thelma.\n\n Thelma looks at her blankly, without answering.", "Louise looks very shaken up. She keeps her eyes on the road \n but she's holding the steering wheel so tightly, her knuckles", "Louise is sitting in the booth by herself. Thelma comes \n hurrying by. She looks disheveled but is grinning like an \n idiot. She sees Louise and charges into the coffee shop.", "Louise in the motel room. She's looking at the phone. She \n picks it up and dials it and watches herself in the mirror.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise." ], [ "LOUISE\n Thelma.\n\n THELMA\n Yeah.\n\n LOUISE\n I want you to call Darryl.", "DARRYL\n (real friendly)\n Thelma! Hello!\n\n EXT. PAY PHONE\n\n Thelma hangs up the phone.", "THELMA\n I'm sorry, Doll, I just didn't want \n you to be late.\n\n Darryl is checking himself out in the hall mirror, and", "THELMA\n Darryl, please... You're my husband, \n not my father, Darryl.\n\n INT. THELMA'S HOUSE - DAY", "INT. THELMA'S HOUSE - DAY\n\n Darryl in the den of their house. The room is a mess.", "Thelma comes out of the front of the store. The store is at \n a crossroads with a fair amount of vehicular traffic.\n\n LOUISE\n Go call Darryl.", "THELMA\n Darryl.\n\n DARRYL (V.O.)\n What?\n\n THELMA\n Go fuck yourself.", "Neither one of them say anything for a moment.\n\n DARRYL\n Thelma?\n\n EXT. PAY PHONE - DAY", "DARRYL\n Uh-huh.\n\n THELMA\n Hon?\n\n DARRYL\n What?!", "Thelma has been sick. She has Harlan's handkerchief and is \n wiping her mouth. Harlan has backed off for this part, but \n he's right back in there.", "THELMA\n 'Bye, honey. I won't wait up.\n\n DARRYL\n See ya.", "DARRYL\n Damnit, Thelma, don't holler like \n that! Haven't I told you I can't", "LOUISE\n Darryl, this is Louise. Are the \n police there?\n\n INT. THELMA'S HOUSE - NIGHT", "THELMA\n Darryl, that's my husband, he says \n he's not ready. He's still too much", "Louise and Jimmy walk outside and catch Thelma sitting very \n close to J.D. Thelma sees Jimmy and is so startled she", "CUT TO:\n\n INT. THELMA'S HOUSE - DEN - DAY\n\n EXTREME CLOSEUP of Darryl's face.", "THELMA\n Darryl! Honey, you'd better hurry \n up.", "THELMA\n Darryl... baby... Darryl, calm down \n now, honey. Please don't get so \n mad. I can explain...", "Darryl leaves. We see his Corvette parked out front. As he \n closes the front door, Thelma leans against it.\n\n THELMA\n He's gonna shit.", "knows where you are. Is Thelma with \n you? Darryl's been callin' here \n every half-hour sayin' he's gonna" ], [ "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "LOUISE\n Get the car!\n\n Thelma runs to get the car.", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "They are driving down the interstate. Thelma reaches for \n her purse and finds the gun.\n\n THELMA\n Louise, will you take care of the \n gun?", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "INT. CAR - DAY\n\n THELMA\n Louise... are we still going to \n Mexico?\n\n LOUISE\n Yes.", "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "Louise yanks open her car door, gets in and slams the door \n and fires up the ENGINE. Thelma hops in quickly.", "to the back of the car, and she is sick. Thelma waits in \n the car and moves over to the passenger side. Louise gets \n in the driver's side.", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY", "Thelma puts her seat belt on. Louise floors the car and it \n streaks off, putting some distance between them and the police \n car. Thelma looks back at the police car. She looks scared.", "INT. CAR - DAY\n\n Thelma is looking way up ahead in the distance.\n\n THELMA\n Louise!", "Louise shoots her a look. She puts the car in gear and FLOORS \n it out of the parking lot. She is still looking at Thelma \n as if she has completely lost her mind.", "LOUISE\n (from her car)\n Sorry!\n\n Thelma hops into the car with Louise. They look at each \n other.", "INT. CAR - DAY\n\n THELMA\n Isn't it beautiful?!!\n\n LOUISE\n It's grand!", "THELMA\n Way up ahead!\n\n Louise strains to see. Whatever it is, Louise is barreling \n towards it, the car leaving the ground as they fly through \n the desert.", "They load everything into the car. The trunk barely closes. \n Thelma heaves all her weight against it. They get into the" ], [ "Thelma has been sick. She has Harlan's handkerchief and is \n wiping her mouth. Harlan has backed off for this part, but \n he's right back in there.", "Harlan has now pinned Thelma against the back of a car and \n is kissing her neck. He has her ass in his hands. He is", "Harlan has led Thelma off to the far end of the parking lot. \n He is trying to kiss her now. He is pushing her arms down \n and turning her head away.", "THELMA\n Don't hurt me. Harlan. Please.\n\n HARLAN\n Shut up.", "THELMA\n (impersonating Harlan)\n Suck my dick... Boom!!\n\n Thelma is laughing wildly.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "Harlan slowly raises his hands in the air, and Thelma darts \n out, pulling her dress down.", "HARLAN\n How you feelin' now, darlin'?\n\n Harlan is leaning close to Thelma's head, and she pulls her \n head away.", "is pulling at Thelma's clothes. Thelma gets one of her arms \n free and hits him hard in the face. He hits her back and \n grabs her face, squeezing it hard.", "THELMA\n Oh shit.\n\n HARLAN\n What's wrong?\n\n THELMA\n Stop.", "With his free hand, he reaches down and starts to pull her \n dress up. Thelma is still struggling and there are tears \n running down her face.", "EXT. SILVER BULLET PARKING LOT - NIGHT\n\n Harlan is hauling Thelma out the door into the parking lot. \n She is pretty limp.", "HARLAN\n (catching Thelma, \n copping feels)\n Oopsy-doopsy. We need to get you \n some fresh air, little lady.", "THELMA\n (gasping for air)\n Harlan.\n\n LOUISE\n What?! What about him?!", "THELMA\n Oh, sure. That'd be fun.\n\n Harlan leaves, then:", "is breathless, drunk and giggly. She holds a beer bottle in \n one hand. She is laughing a lot about nothing, and Harlan \n is studying her closely. Louise notices this.", "THELMA\n (struggling)\n Stop it! Goddamnit, I mean it! \n Louise is gonna wonder where I am. \n Let go!", "She suddenly feels awkward and stands up.\n\n THELMA\n You wanna drink?\n\n INT. JIMMY'S MOTEL ROOM - NIGHT", "Harlan laughs. Thelma laughs, too, but doesn't really get \n the joke. Louise does not laugh.", "HARLAN\n It's okay. I'm married, too.\n\n Harlan is pushing himself on her now, and she is beginning \n to push him away harder." ], [ "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "HARLAN\n (pulling up his pants)\n Bitch. I should have gone ahead and \n fucked her.\n\n Louise stops in her tracks.", "LOUISE\n What did you say?\n\n HARLAN\n I said suck my cock.", "is breathless, drunk and giggly. She holds a beer bottle in \n one hand. She is laughing a lot about nothing, and Harlan \n is studying her closely. Louise notices this.", "Harlan laughs. Thelma laughs, too, but doesn't really get \n the joke. Louise does not laugh.", "LOUISE\n (to Harlan)\n I don't mean to be rude, but I've \n got something I need to talk to my \n friend about. In private.", "HARLAN\n Now, calm down. We were just havin' \n a little fun.\n\n Louise glances at Thelma. Thelma shakes her head no.", "HARLAN\n Louise is alright.\n\n LOUISE\n\n is now standing outside the door of the Silver Bullet. She \n is looking around.", "THELMA\n (gasping for air)\n Harlan.\n\n LOUISE\n What?! What about him?!", "Louise takes two long strides back towards him, raises the \n gun and FIRES a bullet into his face. We hear his body HIT", "Louise's eyes get wide as she hears this.\n\n A FINGER reaches up and presses down the lever and hangs up \n the phone.\n\n ANGLE OF THELMA", "Louise quietly starts to fall apart. This causes Thelma to \n leap into action.", "Harlan has now pinned Thelma against the back of a car and \n is kissing her neck. He has her ass in his hands. He is", "Louise smiles at him quizzically as if she can't believe \n he's acting this way. He turns on his heel and slinks away.", "in a huge ball of fire. The truck driver screams at the top \n of his lungs. Louise starts the car and starts driving in", "HARLAN\n It's okay. I'm married, too.\n\n Harlan is pushing himself on her now, and she is beginning \n to push him away harder.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "Louise reaches over and takes his gun.\n\n LOUISE\n (apologetic)\n I am really sorry about this.", "Louise is sitting in the booth by herself. Thelma comes \n hurrying by. She looks disheveled but is grinning like an \n idiot. She sees Louise and charges into the coffee shop.", "THELMA\n (gently)\n Okay, Louise... It's okay.\n\n Louise's eyes are wild, not seeing, while Thelma now seems \n completely serene." ], [ "LOUISE\n (interrupting)\n I don't want to go that way. Find a \n way that we don't have to go through \n Texas.", "LOUISE\n You know how I feel about Texas... \n We're not going that way.", "LOUISE\n Texas... You were right about what \n happened to me there.\n\n They pull away from the burning wreckage.\n\n INT. CAR - DAY", "LOUISE\n Follow us.\n\n They turn off onto a dirt road and pull to a stop.\n\n INT. TRUCK CAB - DAY", "LOUISE\n We'll take you on to Oklahoma City, \n then you'd best be on your way.\n\n INT. THELMA'S HOUSE - DAY", "Louise looks very shaken up. She keeps her eyes on the road \n but she's holding the steering wheel so tightly, her knuckles", "Louise is completely unreasonable on this subject and Thelma \n is totally puzzled by Louise's reaction but is reluctant to \n press her further.", "Louise looks at the speedometer touching 80 mph and lets her \n foot off the gas. Louise is looking a little nervous.", "in a huge ball of fire. The truck driver screams at the top \n of his lungs. Louise starts the car and starts driving in", "LOUISE (V.O.)\n Oklahoma, Thelma. We're crossing \n into New Mexico.", "LOUISE\n Thelma, I'm going to Mexico. I think \n I can make it in two and a half days,", "Louise is driving. They fly past a kid on his bike on a \n long gravel driveway. He watches them. A huge cloud of", "Louise careens back onto the road.\n\n THELMA\n I'm sorry. I mean I...\n\n Louise slams on the brakes.", "Thelma pulls off to the side of the road. Louise gets out \n and starts to walk around the car. She stops when she gets", "Through clenched teeth, repulsed:\n\n LOUISE\n (interrupting)\n No!", "Louise shrieks at the sight of it.\n\n LOUISE\n Why in hell did you bring that?\n\n Thelma wonders if Louise is really that naive.", "Louise pulls out of the parking lot onto the road. They \n pass the Hitchhiker. Thelma waves.", "LOUISE\n Get back to the interstate.\n\n Louise lifts her hand and notices she is still holding the \n gun.", "Louise knows what she is talking about. She becomes \n immediately agitated.", "After a pause.\n\n THELMA\n I guess you haven't heard anything \n from Jimmy... yet?\n\n Louise's jaw tightens. The car speeds up." ], [ "They look at each other, into each other and Jimmy can see \n that Louise is already gone. Louise is really touched that \n he asked her that but she knows it's impossible. She is \n very kind to him.", "JIMMY\n (in a falsetto voice)\n Who is it?\n\n LOUISE\n It's me.", "INT. JIMMY'S ROOM - NIGHT\n\n Louise and Jimmy are sitting on the edge of the bed.", "JIMMY, mid-30's, musician, is standing in the kitchen on the \n phone. He's not the type you'd expect Louise to like, not \n quite straight-looking enough.", "Louise and Jimmy are wrapped in each other's arms, quietly \n making love. Through this, Jimmy is ardent.", "INT. JIMMY'S APARTMENT - DAY\n\n Jimmy is still holding the phone to his ear.\n\n JIMMY\n Louise?", "Louise sits on the edge of the bed. She is looking at her \n hand.\n\n LOUISE\n Jimmy?", "LOUISE\n (to Jimmy)\n Thelma kinda took to him.\n\n Jimmy is smiling.", "JIMMY\n Okay, okay, just tell me what's the \n trouble.\n\n Louise just looks at him for a minute.", "JIMMY\n (exploding)\n Then what?! What, goddamnit, Louise!", "LOUISE\n Why now, Jimmy?", "LOUISE (V.O.)\n (on phone)\n Jimmy...\n\n INT. MOTEL ROOM - DAY", "JIMMY\n Louise? I think you are so damn \n beautiful. I mean that. I always \n have.\n\n She smiles. Completely.", "Louise and Jimmy walk outside and catch Thelma sitting very \n close to J.D. Thelma sees Jimmy and is so startled she", "Jimmy gets up and leaves the coffee shop. Louise watches \n him go. A WAITRESS comes over and fills her coffee cup.", "LOUISE\n Oh my God! Jimmy! You... Oh my \n God! What are you doin' here?", "JIMMY (V.O.)\n I know. Call me back. Louise, I \n love you, okay?\n\n LOUISE\n Okay.", "LOUISE\n (cringing)\n Jimmy, my daddy's still alive and it \n kind of gives me the creeps when you \n do that...", "JIMMY (V.O.)\n (on phone)\n Louise! Where are you? Are you \n alright? Honey...", "Louise rolls her eyes and tries not to melt.\n\n LOUISE\n Okay, Jimmy. Thanks.\n\n She puts her finger down on the receiver." ], [ "JIMMY (V.O.)\n Christ, sure... yes!\n\n LOUISE\n Wire it to the Western Union in \n Oklahoma City,", "JIMMY\n Louise, let me call you back after I \n wire it, so you'll know which office \n to go to.", "INT. JIMMY'S APARTMENT - DAY\n\n Jimmy is still holding the phone to his ear.\n\n JIMMY\n Louise?", "LOUISE (V.O.)\n (on phone)\n Jimmy...\n\n INT. MOTEL ROOM - DAY", "JIMMY (V.O.)\n I know. Call me back. Louise, I \n love you, okay?\n\n LOUISE\n Okay.", "Louise dropping change into the phone. It RINGS and Jimmy \n answers.\n\n INT. JIMMY'S APARTMENT - DAY\n\n JIMMY\n Louise!", "JIMMY\n Will you wear this?\n\n He hands Louise the box. She opens it and it is a diamond \n ring. Louise is flabbergasted.", "LOUISE\n Oklahoma City. Jimmy's gonna wire \n me some money, and then...", "JIMMY\n (in a falsetto voice)\n Who is it?\n\n LOUISE\n It's me.", "Louise rolls her eyes and tries not to melt.\n\n LOUISE\n Okay, Jimmy. Thanks.\n\n She puts her finger down on the receiver.", "He drops an envelope in front of her. Louise is startled \n and turns around quickly.\n\n JIMMY\n Hey, peaches.", "JIMMY\n Can I just ask you one other thing?\n\n LOUISE\n Maybe.\n\n Jimmy pulls a little black box out of his pocket.", "Louise sits on the edge of the bed. She is looking at her \n hand.\n\n LOUISE\n Jimmy?", "They look at each other, into each other and Jimmy can see \n that Louise is already gone. Louise is really touched that \n he asked her that but she knows it's impossible. She is \n very kind to him.", "JIMMY, mid-30's, musician, is standing in the kitchen on the \n phone. He's not the type you'd expect Louise to like, not \n quite straight-looking enough.", "LOUISE\n And what's the mysterious code word?\n\n JIMMY (V.O.)\n (on phone)\n Peaches.", "JIMMY\n (exploding)\n Then what?! What, goddamnit, Louise!", "JIMMY (V.O.)\n (on phone)\n Louise! Where are you? Are you \n alright? Honey...", "LOUISE\n Why now, Jimmy?", "INT. MOTEL ROOM - DAY\n\n LOUISE\n Tell me now.\n\n JIMMY (V.O.)\n Call me back." ], [ "J.D.\n Well, not anymore, Thelma, except \n for bustin' parole, I haven't done \n one wrong thing.", "J.D.\n I'm just some guy. A guy whose parole \n officer is probably having a shit \n fit right about now.\n\n Thelma gasps.", "parole violation. They also found \n about six grand on him, so he probably \n knocked over something while he was", "THELMA\n What?! Parole officer? You mean \n you're a criminal?", "THELMA\n What did ya do?\n\n J.D.\n I'm a robber.", "HAL\n Now, for one thing, you violated \n your parole two days out. And you", "He's finally ready. He walks to the door and gives Thelma \n the most perfunctory kiss on the cheek.", "They both pause for a moment.\n\n THELMA\n God. The law is some tricky shit, \n isn't it?\n\n Then:", "THELMA (V.O.)\n Okay. I will, too.\n\n LOUISE\n And steal Darryl's fishin' stuff.", "THELMA\n Shit. That little sonofabitch burgled \n me. I don't believe it.", "Thelma is staring down the road. She does not answer. Then:\n\n THELMA\n I think he does. Fool around.", "J.D.\n Well, I robbed a gas station once, \n and I robbed a couple of liquor \n stores, and some convenience stores. \n And that's it.", "then when he finds out that you're a \n possible accessory to murder and \n armed robbery, well, I think we can", "Old Man finally looks at her. From the wall behind him, he \n takes a pint of Wild Turkey down.", "J.D.\n Naw, honey, that would be burglary. \n I never got arrested for burglary.", "Police are tapping the phones, dusting for prints, etc., \n while Darryl sits motionless in his recliner with a dull \n expression on his face.", "J.D.\n I may be the outlaw, but you're the \n one stealin' my heart.\n\n THELMA\n And smooth, boy, you are smooth.", "Thelma has been sick. She has Harlan's handkerchief and is \n wiping her mouth. Harlan has backed off for this part, but \n he's right back in there.", "Thelma opens her purse and exposes a bag full of bills.\n\n LOUISE\n What? You robbed the store? You \n robbed the Goddamn store?!", "Thelma has gone and bought cheese crackers and peanuts from \n a vending machine and is into her second Wild Turkey and 7-" ], [ "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "LOUISE\n Get the car!\n\n Thelma runs to get the car.", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "Louise yanks open her car door, gets in and slams the door \n and fires up the ENGINE. Thelma hops in quickly.", "Thelma puts her seat belt on. Louise floors the car and it \n streaks off, putting some distance between them and the police \n car. Thelma looks back at the police car. She looks scared.", "INT. CAR - DAY\n\n THELMA\n Louise... are we still going to \n Mexico?\n\n LOUISE\n Yes.", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "to the back of the car, and she is sick. Thelma waits in \n the car and moves over to the passenger side. Louise gets \n in the driver's side.", "LOUISE\n (from her car)\n Sorry!\n\n Thelma hops into the car with Louise. They look at each \n other.", "THELMA\n (to Louise)\n Open the trunk.\n\n Louise opens the trunk.", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "They load everything into the car. The trunk barely closes. \n Thelma heaves all her weight against it. They get into the", "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "INT. CAR - DAY\n\n THELMA\n Isn't it beautiful?!!\n\n LOUISE\n It's grand!", "INT. CAR - DAY\n\n Thelma is looking way up ahead in the distance.\n\n THELMA\n Louise!", "THELMA\n Way up ahead!\n\n Louise strains to see. Whatever it is, Louise is barreling \n towards it, the car leaving the ground as they fly through \n the desert.", "The curtains are open and we can see the car parked right \n outside the room. Thelma is lying on the bed staring up at \n the ceiling. Louise is bustling around the room, putting \n things in drawers." ], [ "Louise reaches over and takes the keys. She takes her license \n off the clipboard. She gets out and trots around to the \n back of the car.", "LOUISE\n Most people just cause me trouble, \n but that car always gets me out of \n it.\n\n INT. POLICE GARAGE - DAY", "Louise STARTS the car. They lurch into reverse then SCREECH \n forward as they tear off down the road.\n\n WIDE SHOT OF CAR", "LOUISE\n Get the car!\n\n Thelma runs to get the car.", "Louise yanks open her car door, gets in and slams the door \n and fires up the ENGINE. Thelma hops in quickly.", "in a huge ball of fire. The truck driver screams at the top \n of his lungs. Louise starts the car and starts driving in", "Louise is driving. They fly past a kid on his bike on a \n long gravel driveway. He watches them. A huge cloud of", "the counter. Louise is looking at a map. The car is parked \n outside, near the door.", "Louise looks at the speedometer touching 80 mph and lets her \n foot off the gas. Louise is looking a little nervous.", "Louise goes into the bathroom. She stands in front of the \n sink and looks at herself in the mirror.\n\n EXT. PARKING LOT - NIGHT", "Louise pulls the car off the road. The patrol car pulls up \n right behind them. The lights shine brightly in through the \n windows.", "Louise looks very shaken up. She keeps her eyes on the road \n but she's holding the steering wheel so tightly, her knuckles", "Louise. Louise charges out after her. They head out of the \n restaurant and, THROUGH THE WINDOW, we see them get into the \n car and drive away.", "Louise FLOORS it and her car screams ahead.", "Louise does. The PATROLMAN gets out of his car and approaches \n their car. He comes to the driver's side window. It is \n rolled up.", "LOUISE\n Texas... You were right about what \n happened to me there.\n\n They pull away from the burning wreckage.\n\n INT. CAR - DAY", "LOUISE\n (bellowing)\n Come on, Thelma! Get in the car!", "The curtains are open and we can see the car parked right \n outside the room. Thelma is lying on the bed staring up at \n the ceiling. Louise is bustling around the room, putting \n things in drawers.", "They both hang up.\n\n EXT. RESTAURANT - DAY\n\n Louise pulls out in a green '66 T-Bird in mint condition.", "sun with her eyes closed. Louise is driving with a fierce \n intensity. They hardly resemble the two women that started \n out for a weekend in the mountains two days earlier. Although" ], [ "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "Thelma is dancing with Harlan and has been for quite a while. \n Louise has been dancing with a quiet guy named DAN. Thelma", "Thelma is staring down the road. She does not answer. Then:\n\n THELMA\n I think he does. Fool around.", "Thelma comes out of the room and walks towards the pool.\n\n She stops, then decides to go on to the pool. She lies down \n in a lounge chair facing the road.", "Louise and Jimmy walk outside and catch Thelma sitting very \n close to J.D. Thelma sees Jimmy and is so startled she", "Thelma comes out of the front of the store. The store is at \n a crossroads with a fair amount of vehicular traffic.\n\n LOUISE\n Go call Darryl.", "notice two such pretty ladies as \n yourselves.\n (standing, to Thelma)\n You better dance with me before you", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY", "J.D. is led off down the hall.\n\n EXT. GAS STATION - NIGHT\n\n Louise and Thelma pull into a gas station.", "EXT. MOTEL POOL - DAY\n\n Thelma at pool basking in the sun.\n\n INT. MOTEL ROOM - DAY", "Thelma has taken a shower and is dressed in cut-offs and a T-\n shirt. Her hair is still damp but she looks better than she", "Thelma comes trotting out of the store and jumps into the \n car.\n\n THELMA\n (breathless)\n Drive!", "Harlan slowly raises his hands in the air, and Thelma darts \n out, pulling her dress down.", "Thelma opens the door and there stands J.D., soaking wet \n from the rain pouring down behind him.", "THELMA\n (impersonating Harlan)\n Suck my dick... Boom!!\n\n Thelma is laughing wildly.", "one, and he waves to them as they go by. Thelma waves back \n enthusiastically.", "EXT. BACK ROAD - NIGHT\n\n The car goes streaking by.\n\n INT. THELMA'S HOUSE - NIGHT (MUSCO LIGHT)", "THELMA\n Where you goin'?\n\n TRUCKER\n Fresno.", "Thelma has been sick. She has Harlan's handkerchief and is \n wiping her mouth. Harlan has backed off for this part, but \n he's right back in there." ], [ "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "Harlan has now pinned Thelma against the back of a car and \n is kissing her neck. He has her ass in his hands. He is", "Thelma has been sick. She has Harlan's handkerchief and is \n wiping her mouth. Harlan has backed off for this part, but \n he's right back in there.", "THELMA\n (gasping for air)\n Harlan.\n\n LOUISE\n What?! What about him?!", "Harlan has led Thelma off to the far end of the parking lot. \n He is trying to kiss her now. He is pushing her arms down \n and turning her head away.", "Louise and Jimmy walk outside and catch Thelma sitting very \n close to J.D. Thelma sees Jimmy and is so startled she", "THELMA\n Oh shit.\n\n HARLAN\n What's wrong?\n\n THELMA\n Stop.", "Thelma leans back just watching Louise. She studies her as \n if she's never really seen her before. All of a sudden a \n look of shocked realization comes over Thelma's face.", "Harlan slowly raises his hands in the air, and Thelma darts \n out, pulling her dress down.", "THELMA\n (impersonating Harlan)\n Suck my dick... Boom!!\n\n Thelma is laughing wildly.", "The curtains are open and we can see the car parked right \n outside the room. Thelma is lying on the bed staring up at \n the ceiling. Louise is bustling around the room, putting \n things in drawers.", "THELMA\n Don't hurt me. Harlan. Please.\n\n HARLAN\n Shut up.", "Harlan laughs. Thelma laughs, too, but doesn't really get \n the joke. Louise does not laugh.", "TIGHT SHOT of the barrel of Thelma's gun being pressed into \n the nape of Harlan's neck. Louise's thumb pulls back the \n hammer.", "On hearing this Louise mouths the word \"shit\" in a very \n frustrated way.\n\n Louise hangs up the phone.\n\n INT. THELMA'S HOUSE - NIGHT", "Louise's eyes get wide as she hears this.\n\n A FINGER reaches up and presses down the lever and hangs up \n the phone.\n\n ANGLE OF THELMA", "EXT. SILVER BULLET PARKING LOT - NIGHT\n\n Harlan is hauling Thelma out the door into the parking lot. \n She is pretty limp.", "Thelma is just laughing hysterically. Louise suddenly \n understands.\n\n LOUISE\n Oh, Thelma. Oh, no.", "HARLAN\n Now, calm down. We were just havin' \n a little fun.\n\n Louise glances at Thelma. Thelma shakes her head no.", "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY" ], [ "for no reason. Maybe he was askin' \n for it. Anyway, somebody's husband \n probably got ol' Harlan.", "Harlan slowly raises his hands in the air, and Thelma darts \n out, pulling her dress down.", "HARLAN\n It's okay. I'm married, too.\n\n Harlan is pushing himself on her now, and she is beginning \n to push him away harder.", "THELMA\n Oh, sure. That'd be fun.\n\n Harlan leaves, then:", "Harlan has now pinned Thelma against the back of a car and \n is kissing her neck. He has her ass in his hands. He is", "HARLAN\n How you feelin' now, darlin'?\n\n Harlan is leaning close to Thelma's head, and she pulls her \n head away.", "Harlan has led Thelma off to the far end of the parking lot. \n He is trying to kiss her now. He is pushing her arms down \n and turning her head away.", "HARLAN\n You just shut up.", "Thelma has been sick. She has Harlan's handkerchief and is \n wiping her mouth. Harlan has backed off for this part, but \n he's right back in there.", "Hal is at the police station where they're dusting the car \n with Harlan all over it for prints. Hal looks closely at", "HARLAN\n Aw, I understand. I didn't mean to \n bother ya. It's just hard not to", "HARLAN\n (breathing heavily)\n You're beautiful. It's okay. I \n won't hurt you. It's okay.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "THELMA\n (gasping for air)\n Harlan.\n\n LOUISE\n What?! What about him?!", "Harlan laughs. Thelma laughs, too, but doesn't really get \n the joke. Louise does not laugh.", "THELMA\n Oh shit.\n\n HARLAN\n What's wrong?\n\n THELMA\n Stop.", "HARLAN\n (pulling up his pants)\n Bitch. I should have gone ahead and \n fucked her.\n\n Louise stops in her tracks.", "THELMA\n Don't hurt me. Harlan. Please.\n\n HARLAN\n Shut up.", "EXT. SILVER BULLET PARKING LOT - NIGHT\n\n Harlan is hauling Thelma out the door into the parking lot. \n She is pretty limp.", "HARLAN" ], [ "INT. CAR\n\n Thelma passing out beef jerky and Wild Turkey to Hitchhiker \n and Louise.\n\n EXT. THELMA'S HOUSE - DAY", "Louise pulls out of the parking lot onto the road. They \n pass the Hitchhiker. Thelma waves.", "LOUISE\n It's probably not a good idea.\n\n THELMA\n Louise.\n\n The Hitchhiker just nods and starts walking towards the road.", "Hitchhiker standing on the side of the road. Thelma looks \n at Louise pleadingly. Louise's car pulls over and he hops", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "As he's climbing into the trunk, Thelma explains to Louise:\n\n THELMA\n Air holes.\n\n He's all the way in and Louise closes the trunk.", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "his truck off the side of the road and stops. ANGLE ON Louise \n and Thelma smiling up at him. He chuckles to himself. He \n leans out the window.", "LOUISE\n (from her car)\n Sorry!\n\n Thelma hops into the car with Louise. They look at each \n other.", "THELMA\n Louise, this young man is on his way \n back to school and needs a ride, and \n I thought since...", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise.", "LOUISE (O.S.)\n Let her go.\n\n HARLAN\n Get lost.\n\n THELMA\n Louise!", "The guy does seem really nice and Thelma is really frustrated \n that Louise wouldn't give him a ride, but decides not to \n confront her.", "J.D. is led off down the hall.\n\n EXT. GAS STATION - NIGHT\n\n Louise and Thelma pull into a gas station.", "THELMA\n Oh shit.\n\n HARLAN\n What's wrong?\n\n THELMA\n Stop.", "HITCHHIKER\n Do you think you could... I mean, I \n could help pay for gas.\n\n Thelma knows Louise isn't going to like this.", "Thelma and Louise look at each other while this sinks in.\n\n THELMA\n\n walks around to the side of the building to the phone. She \n picks it up and dials.", "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "THELMA\n See how polite he is? He was really \n nice.\n\n Louise lowers the top and backs the car out. They watch him \n walk away." ], [ "Louise's eyes get wide as she hears this.\n\n A FINGER reaches up and presses down the lever and hangs up \n the phone.\n\n ANGLE OF THELMA", "LOUISE\n Oklahoma City. Jimmy's gonna wire \n me some money, and then...", "Louise is getting a bad feeling. She is already standing up \n putting money on the table.\n\n LOUISE\n Where's the money, Thelma?", "JIMMY (V.O.)\n Christ, sure... yes!\n\n LOUISE\n Wire it to the Western Union in \n Oklahoma City,", "LOUISE\n Call him. Don't tell him anything. \n Tell him you're having a wonderful \n time and you'll be home tomorrow \n night.", "She hangs up and goes into the bathroom. As the door closes \n behind her, Louise comes up with a handful of change and", "Louise. Louise charges out after her. They head out of the \n restaurant and, THROUGH THE WINDOW, we see them get into the \n car and drive away.", "Louise comes over and takes the phone out of his hand.", "LOUISE\n Why not?! What's he got to lose? \n Other than my life's savings, that \n is. Shit!", "LOUISE\n You mean now or before?\n\n THELMA\n Before.", "Louise knows what she is talking about. She becomes \n immediately agitated.", "LOUISE\n (to attendant)\n Fill her up.\n (to Thelma)\n There's a phone right over there.", "Louise in the motel room. She's looking at the phone. She \n picks it up and dials it and watches herself in the mirror.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "Louise rolls her eyes and tries not to melt.\n\n LOUISE\n Okay, Jimmy. Thanks.\n\n She puts her finger down on the receiver.", "Thelma digs in her bag and hands Louise a roll of quarters. \n Louise gets out of the car and goes to the pay phone. Thelma \n follows her. She puts the money in and dials. It RINGS.", "LOUISE\n (agitated)\n Oh, come on! Murder one and armed \n robbery, Thelma!", "Louise is hanging up the phone. She walks away towards the \n front of the store.\n\n EXT. COUNTRY STORE - DAY", "Louise gets change while Thelma strolls around looking at \n rubber worms and pickled pigs' feet. Louise goes out to the \n phone.\n\n EXT. PAY PHONE - DAY", "Thelma looks over at the bar where Harlan is grinning at \n her, making dancing motions. She smiles and waves at him.\n\n Her face becomes serious again as she turns back to Louise." ], [ "LOUISE\n Why not?! What's he got to lose? \n Other than my life's savings, that \n is. Shit!", "Louise. Louise charges out after her. They head out of the \n restaurant and, THROUGH THE WINDOW, we see them get into the \n car and drive away.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "Louise knows what she is talking about. She becomes \n immediately agitated.", "Louise is getting a bad feeling. She is already standing up \n putting money on the table.\n\n LOUISE\n Where's the money, Thelma?", "in a huge ball of fire. The truck driver screams at the top \n of his lungs. Louise starts the car and starts driving in", "They look at each other, into each other and Jimmy can see \n that Louise is already gone. Louise is really touched that \n he asked her that but she knows it's impossible. She is \n very kind to him.", "LOUISE\n Texas... You were right about what \n happened to me there.\n\n They pull away from the burning wreckage.\n\n INT. CAR - DAY", "Louise quietly starts to fall apart. This causes Thelma to \n leap into action.", "She hangs up and goes into the bathroom. As the door closes \n behind her, Louise comes up with a handful of change and", "On hearing this Louise mouths the word \"shit\" in a very \n frustrated way.\n\n Louise hangs up the phone.\n\n INT. THELMA'S HOUSE - NIGHT", "LOUISE\n (incredulous)\n Holy shit.\n\n CUT TO:", "LOUISE\n You mean now or before?\n\n THELMA\n Before.", "Louise comes over and takes the phone out of his hand.", "sun with her eyes closed. Louise is driving with a fierce \n intensity. They hardly resemble the two women that started \n out for a weekend in the mountains two days earlier. Although", "Louise's eyes get wide as she hears this.\n\n A FINGER reaches up and presses down the lever and hangs up \n the phone.\n\n ANGLE OF THELMA", "LOUISE is a waitress in a coffee shop. She is in her early-\n thirties, but too old to be doing this. She is very pretty", "Louise reaches over and takes the keys. She takes her license \n off the clipboard. She gets out and trots around to the \n back of the car.", "Louise slams down the phone. A framed picture of Louise and \n Jimmy sits on the table next to the phone. She matter-of-\n factly slams that face down, too.", "Louise is sitting in the booth by herself. Thelma comes \n hurrying by. She looks disheveled but is grinning like an \n idiot. She sees Louise and charges into the coffee shop." ], [ "THELMA\n We think you should apologize.\n\n He is getting a little panicky.\n\n TRUCKER\n I'm not apologizing for shit!", "LOUISE\n Are you going to apologize or not?\n\n TRUCKER\n Fuck you.", "LOUISE\n Say you're sorry.\n\n TRUCKER\n Fuck that.\n\n Louise pulls the gun they stole from the State Patrolman.", "As they get next to the truck, the truck driver is smiling \n and waving at them. They smile and wave back. He flicks \n his tongue at them. Louise screams.", "TRUCKER\n You fucking bitch! Aaaaaaarrrgghh!!! \n You're gonna have to pay for that!!!", "Louise pulls the car off to the side of the road. As the \n truck gets close they start waving to him to stop. He pulls", "in a huge ball of fire. The truck driver screams at the top \n of his lungs. Louise starts the car and starts driving in", "his truck off the side of the road and stops. ANGLE ON Louise \n and Thelma smiling up at him. He chuckles to himself. He \n leans out the window.", "TRUCKER\n Yeah... sure did.\n\n THELMA\n Damn. I hate that! I hate bein' \n called a beaver, don't you?", "The Trucker reaches over and opens a glove compartment crammed \n full of condoms. He grabs a few and shoves them in his \n pocket. He turns off his engine and gets out of the truck.", "This is not what is supposed to be happening.\n\n TRUCKER\n What? What are you talkin' about?", "circles around the truck driver. Thelma and Louise are both \n howling at the top of their lungs. Thelma is sitting on the", "The guy does seem really nice and Thelma is really frustrated \n that Louise wouldn't give him a ride, but decides not to \n confront her.", "He is leering at them and laughing. Louise and Thelma drive \n further down the road.", "TRUCKER\n Oh goddamn!! You bitch!!", "THELMA\n We're fine! How are you?\n\n TRUCKER\n Grrrreat!", "A police helicopter flies over the burning wreckage of the \n fuel truck. The truck driver is waving his arms as the \n helicopter descends, blowing dirt all over him.", "J.D.\n Yup. Thanks for the ride. You all \n take care.\n\n He quickly turns and walks away toward the road.", "Policeman #3 sits up in the seat. He can't believe he isn't \n dead. He puts his car in gear and takes off down the road \n after them.", "A battered old pickup truck is parked by the New Mexico State \n Patrol. An old man uses a crowbar to pry open the trunk. \n The New Mexico State Patrolman hops out of the trunk." ], [ "Louise drives through the desert back towards the road, past \n the burning debris of the truck. As she gets to the road \n she stops. Thelma climbs into the front seat.", "CUT TO:\n\n INT. CAR - DAY\n\n Thelma and Louise in car, driving.", "Louise looks at her.\n\n THELMA\n Drive! Drive away!\n\n LOUISE\n (driving away)\n What happened?", "LOUISE\n Ready?\n\n THELMA\n Hit it.\n\n Louise pulls the car back onto the road and they drive away.", "THELMA\n Louise... It's okay. Louise? I'm \n sorry. I mean it.\n\n Louise has seen the end of the tunnel and there is no light.", "Louise takes off again and Thelma falls into the back seat. \n They drive off trailing a huge cloud of dust.\n\n EXT. DESERT - DAY", "THELMA\n Oh my God.\n\n LOUISE\n Get the car.\n\n THELMA\n Jesus Christ! Louise, you shot him.", "Thelma nods.\n\n THELMA\n Hit it.\n\n Louise puts the car in gear and FLOORS it.", "Thelma comes careening up in reverse. Louise hops in and \n Thelma PEELS OUT, spraying gravel. As they speed out of the", "Thelma and Louise look at each other while this sinks in.\n\n THELMA\n\n walks around to the side of the building to the phone. She \n picks it up and dials.", "They are driving down the interstate. Thelma reaches for \n her purse and finds the gun.\n\n THELMA\n Louise, will you take care of the \n gun?", "Louise shoots her a look. She puts the car in gear and FLOORS \n it out of the parking lot. She is still looking at Thelma \n as if she has completely lost her mind.", "As Thelma and Louise talk, their voices are heard over the \n following scene.\n\n LOUISE (V.O.)\n You know what's happened, don't you?", "LOUISE\n (from her car)\n Sorry!\n\n Thelma hops into the car with Louise. They look at each \n other.", "INT. CAR - DAY\n\n THELMA\n Louise... are we still going to \n Mexico?\n\n LOUISE\n Yes.", "Louise speeds up.\n\n Thelma hands Louise a little bottle of Wild Turkey and she \n drinks it down. Thelma has one too.", "THELMA\n Let's get it over with.\n\n Thelma and Louise walk to the phone.", "Thelma and Louise are singing along with the MUSIC.\n\n THELMA/LOUISE\n (pointing)\n Yeah, yeah, yeah, yeah, yeah, yeah!", "EXT. CONVENIENCE STORE - DAY\n\n Thelma and Louise are sitting in the car. They've put all \n their money together.", "THELMA\n You're drivin'.\n\n Louise takes a right turn and speeds down the road.\n\n EXT. DESERT ROAD - DAY" ] ]

[ "Why did Louise shoot Harlan? ", "Thelma and Louise are attempting to travel to Mexico, unable to go through Texas, what direction did they decide to travel? ", "What did the police investigator Hal Slocoumb offer to do for Louise if she would surrender?", "In what state are Thelma and Louise pulled over by the state trooper? ", "Where are Thelna and Louise finally cornered by authorities? ", "Before Thelma and Louise drive off the cliff to thier presumed death's, what did they do? ", "Who made a last ditch effort to convince the ladies to surrender?", "What type of vehicle did Thelma and Louise make their incredible journey? ", "What is Thelma's relationship to Louise?", "What is Louise's occupation?", "What is Daryl's relationship to Thelma?", "What type of vehicle do Thelma and Louise take on vacation?", "What does Harlan attempt to do to a drunk Thelma?", "What does Louise do to Harlan?", "What state does Louise refuse to travel through?", "What is Jimmy's relationship to Louise?", "What is Jimmy asked to wire to Louise?", "Who admits to breaking parole and being a thief?", "Who's car did Thelma and Louise use to go on vacation?", "What kind of car does Louise own?", "Who did Thelma dance with at the roadhouse?", "What was Harlan doing to Thelma when Louise found them?", "What happened to Harlan?", "Who did Thelma and Louise let hitchhike with them?", "Who did Louise have wire her life savings to her?", "What happened to Louise's life savings?", "What happened when the truck driver refused to apologize?", "What did Thelma and Louise do just before the drove over the cliff?" ]

[ [ "Halan attempted to rape Thelma and shouted profanities at them. ", "he raped Thelma" ], [ "West", "west" ], [ "He would offer protection. ", "promises to protect her" ], [ "New Mexico", "NEW MEXICO" ], [ "100 yards from the Grand Canyon", "rim of the grand canyon" ], [ "They kissed.", "kiss" ], [ "Hal Slocomb, the Arkanasas State Investigator. ", "Hal Slocumb." ], [ "a 1966 Ford Convertable. ", "A 1966 Ford Thunderbird convertible." ], [ "Thelma is Louise's best friend", "Friends" ], [ "A waitress", "waitress" ], [ "Daryl is Thelma's husband", "THELMA'S HUSBAND" ], [ "A 1966 Thunderbird convertible", "1966 ford thunderbird convertible" ], [ "Harlan tries to rape Thelma", "rape her" ], [ "Louise shoots and kills Harlan", "kills him" ], [ "Texas", "Texas" ], [ "Jimmy is Louise's boyfriend", "Louise's boyfriend" ], [ "Louise's life savings", "wire her life savings" ], [ "J.D.", "JD" ], [ "Louise's", "LOUISE'S" ], [ "1966 Ford Thunderbird", "1966 Ford Thunderbird Convertible" ], [ "Harlan Puckett", "harlan pluckett" ], [ "Harlan was attempting to rape Thelma.", "beating and raping her" ], [ "Louise killed him", "Louise killed him." ], [ "J.D.", "JD" ], [ "Her boyfriend.", "Jimmy Lennox, her boyfriend." ], [ "J.D. stole the money.", "J.D. stole them." ], [ "Thelma and Louise shot the the tanker on his truck causing it to explode.", "they shoot the tanker he is driving and it blows up" ], [ "Thelma and Louise kissed.", "they kiss" ] ]

dfea98678342e17dbfce44c7906602788cc2267c

test

[ [ "âWell, well! Gerome.â\n\nAnd the old fellow replied in a fury:", "Roland, leaning against the marble mantel-shelf as if it were winter and\nthe fire burning, with his hands in his pockets and his lips puckered", "âGood-bye,â said Roland in a great bustle.", "Roland's voice rescued them.\n\nâThis way, this way, children. Come and watch Beausire. The fellow is\npositively clearing out the sea!â", "Roland had no opinion. He repeated: âI do not want to hear anything\nabout it. I will go and see it when it is all finished.â", "Maitre Lecanu was M. Roland's lawyer, and in a way his friend, managing\nhis business for him. For him to send word that he would call in the", "But old Roland, who had been listening and cogitating, suddenly hit upon\nthe most probable solution.", "âNo--that is to say--yes--I have not found it, but I think I know where\nit is.â\n\nâWhat is that?â asked Roland. And Pierre answered:", "âShall I come back for you?â asked Roland.\n\nShe hesitated a moment and then said: âNo, dear old man; go to bed.\nPierre will see me home.â", "Roland replied: âOur best friend, monsieur, but a fanatic for Paris;\nnever to be got away from the boulevard. He was a head clerk in the", "Roland exclaimed:", "Pierre Roland, their pupil, had been submitted by M. Marchand to the\ndirectors of the Transatlantic Shipping Co., seconded by M. Poulin,", "Old Roland was very eager about this, to impress the voyagers on board\nthe Lorraine, no doubt, and he rose in haste.", "It had not struck him that this good news was that of the death of a\nfriend, of Roland's best friend; and the old man himself had suddenly\nforgotten the intimacy he had but just spoken of with so much\nconviction.", "The young men hauled in their lines, coiled them up, cleaned the hooks\nand stuck them into corks, and sat waiting.\n\nRoland stood up to look out like a captain.", "Every one cried bravo and clapped their hands, and the elder Roland rose\nto reply. After clearing his throat, for it felt thick and his tongue\nwas heavy, he stammered out:", "She was visiting it on Roland now, throwing all the responsibility of\nher sin on his ugliness, his stupidity, his clumsiness, the heaviness of", "âNo--no, M. Roland. To-morrow, at my office to-morrow, at two o'clock,\nif that suits you.â", "mankind. Now and again, however, old Roland looked at his watch. âCome,â\n said he, âit is time to be going.â", "âMonsieur Rolandâ before strangers), âtell me, do you remember who it\nwas that Joseph Lebru married for the second time?â" ], [ "Pierre Roland, their pupil, had been submitted by M. Marchand to the\ndirectors of the Transatlantic Shipping Co., seconded by M. Poulin,", "âNo--that is to say--yes--I have not found it, but I think I know where\nit is.â\n\nâWhat is that?â asked Roland. And Pierre answered:", "Pierre, leaning over him, gazed at him with hungry eagerness. No, this\nyoungster was not in the least like Roland; and for the second time the", "Pierre, too, was looking at them, and a harsh laugh suddenly broke form\nhis lips. Without turning to him Mme. Roland said:\n\nâWhat is it?â", "Roland filled his pipe; Pierre and Jean lighted cigarettes. They\ncommonly smoked them, Pierre while he paced the room, Jean, sunk in a", "Mme. Roland appealed to the judgment of her elder son.\n\nâAnd you, Pierre, what do you think of the matter?â", "everything, who had escaped death by a miracle, had bewitched Pierre\nRoland's lively and bold imagination; he had made friends with the old", "âShall I come back for you?â asked Roland.\n\nShe hesitated a moment and then said: âNo, dear old man; go to bed.\nPierre will see me home.â", "Maitre Lecanu was M. Roland's lawyer, and in a way his friend, managing\nhis business for him. For him to send word that he would call in the", "that they would bring on him incessant suffering too great to endure.\nJean was talking, chatting with Roland. Pierre, as he did not listen,", "Mme. Roland, much distressed, now put in her word: âCome, Pierre, what\nails you? For once it cannot hurt him. Think of what an occasion it", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "Roland replied: âOur best friend, monsieur, but a fanatic for Paris;\nnever to be got away from the boulevard. He was a head clerk in the", "Roland's voice rescued them.\n\nâThis way, this way, children. Come and watch Beausire. The fellow is\npositively clearing out the sea!â", "Pierre was looking at this home which might have been his, and he was\nrestive under his brother's frolics, thinking him really too silly and\nwitless.\n\nMme. Roland opened a door on the right.", "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "Roland, leaning against the marble mantel-shelf as if it were winter and\nthe fire burning, with his hands in his pockets and his lips puckered", "âPierre? But he is a doctor; he will make plenty of money; besides, his\nbrother will surely do something for him.â", "âHand it on to me,â said Roland.\n\nPierre held out the miniature and his father drew the candle towards him\nto see it better; then, he murmured in a pathetic tone:", "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would" ], [ "Jean had not spoken a word.\n\nWhen their guest had gone, silence fell again till father Roland clapped\nhis two hands on his younger son's shoulders, crying:", "that they would bring on him incessant suffering too great to endure.\nJean was talking, chatting with Roland. Pierre, as he did not listen,", "âMy colleague in Paris has just communicated to me the main item of his\nwill, by which he makes your son Jean--Monsieur Jean Roland--his sole\nlegatee.â", "Maitre Lecanu was M. Roland's lawyer, and in a way his friend, managing\nhis business for him. For him to send word that he would call in the", "When they had landed, Beausire at once took leave of them to go to\nbreakfast with a friend. Then Jean led the way with Mme. Rosemilly, and\nRoland said to his wife:", "Roland filled his pipe; Pierre and Jean lighted cigarettes. They\ncommonly smoked them, Pierre while he paced the room, Jean, sunk in a", "Jean in a low tone said to his mother: âLook, mother, she is close upon\nus!â And Mme. Roland uncovered her eyes, blinded with tears.", "Roland's voice rescued them.\n\nâThis way, this way, children. Come and watch Beausire. The fellow is\npositively clearing out the sea!â", "Pierre Roland, their pupil, had been submitted by M. Marchand to the\ndirectors of the Transatlantic Shipping Co., seconded by M. Poulin,", "Roland replied: âOur best friend, monsieur, but a fanatic for Paris;\nnever to be got away from the boulevard. He was a head clerk in the", "Roland, leaning against the marble mantel-shelf as if it were winter and\nthe fire burning, with his hands in his pockets and his lips puckered", "âGood-bye,â said Roland in a great bustle.", "He looked at Mme. Rosemilly, who began to smile and glanced at Mme.\nRoland. Mme. Roland took her hand and pressed it. Jean, in high spirits,", "âMonsieur Jean.â Marechal would hold out both hands, the right hand to\none of the young men, the left to the other, as they happened to come\nin.", "âNo--that is to say--yes--I have not found it, but I think I know where\nit is.â\n\nâWhat is that?â asked Roland. And Pierre answered:", "But old Roland, who had been listening and cogitating, suddenly hit upon\nthe most probable solution.", "They were accustomed to speak of Jean among themselves as the âlittle\none,â though he was much bigger than Pierre.", "Roland had no opinion. He repeated: âI do not want to hear anything\nabout it. I will go and see it when it is all finished.â", "Jean rolled up his trousers above his calf, and his sleeves to his\nelbows, that he might get wet without caring; then saying: âForward!â he", "âShall I come back for you?â asked Roland.\n\nShe hesitated a moment and then said: âNo, dear old man; go to bed.\nPierre will see me home.â" ], [ "âWere you not saying that our poor friend Marechal had left his fortune\nto my little Jean?â\n\nâYes, madame.â", "âNo; my Paris correspondent states that everything is quite clear. M.\nJean has only to sign his acceptance.â\n\nâGood. Then--then the fortune is quite clear?â", "far away and growing old. Why yes, since he had left all his fortune to\nhis son--their son!", "âAll I know is,â said he, âthat dying without any direct heirs, he\nhas left the whole of his fortune--about twenty thousand francs a year", "always have been fond of him, always have taken an interest in him,\nsince he thought of his needs. Well then--well then--why leave his whole\nfortune to Jean? No, he had never shown more marked affection for the", "âMy colleague in Paris has just communicated to me the main item of his\nwill, by which he makes your son Jean--Monsieur Jean Roland--his sole\nlegatee.â", "He asked himself: âWhat made this Marechal leave all his fortune to\nJean?â", "who had known their mother had left him all his fortune; he took the\nmoney and thought it quite fair and natural! He was sleeping, rich and\ncontented, not knowing that his brother was gasping with anguish and", "This Marechal then, being young, free, rich, ready for any form of\ntenderness, went by chance into the shop one day, having perhaps", "âGood heavens! Poor Leon--our poor friend! Dear me! Dear me! Dead!â", "âMonsieur Jean.â Marechal would hold out both hands, the right hand to\none of the young men, the left to the other, as they happened to come\nin.", "Marechal had of his own accord offered and lent him money, a few hundred\nfrancs perhaps, forgotten by both, and never repaid. Then this man must", "He crossed his legs and said:\n\nâHe has wonderful luck, that brother of mine. He had just come into a\nlegacy of twenty thousand francs a year.â", "âNo, he would not take it. Besides, this legacy is for Jean, only for\nJean. Pierre will find himself at a great disadvantage.â", "Marechal, to see him, to know him, to penetrate the man whom he had seen\npass by him, indifferent to his heart during all those years in Paris.", "Well then--well then--he must have had some strong secret reason for\nleaving everything to Jean--everything--and nothing to Pierre.", "After a long silence Marowsko asked whether Jean had come definitely\ninto possession of his fortune; and then he put two or three other\nquestions vaguely referring to the same subject. His jealous devotion", "âWhy, a legacy, of course. I am sure of it. I bring good luck.â\n\nBut they did not expect the death of any one who might leave them\nanything.", "But what could Jean do? The simplest thing no doubt, would be to refuse\nthe inheritance, which would then go to the poor, and to tell all", "âYou see, my dearest, that it would have been no good to stay any longer\nin Paris and work for the children till I dropped, instead of coming\nhere to recruit my health, since fortune drops on us from the skies.â" ], [ "And this thought rushed into Pierre's soul, as abrupt and violent as a\ncannon-ball rending and piercing it: âSince he knew me first, since he", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "It was as though they were spying on each other; and acute uneasiness,\nintolerable to be borne, clutched at Pierre's heart. He was saying to\nhimself--at once tortured and glad:", "again, and he was wondering by what device or trick he could possess\nhimself of it without exciting Pierre's remark. A ruse occurred to\nhim, the simplest possible. He took up the bottle with an air of", "Pierre raising his eyes met his brother's and understood.\n\nThen, after some hesitation, he asked:", "She murmured in a low voice, tremulous with feeling: âO Pierre, how\ncruel you are! That woman is honesty itself. Your brother could not find\na better.â", "to Pierre rebelled against this preference. And Pierre felt as though he\ncould hear him thinking; he guessed and understood, read in his averted\neyes and in the hesitancy of his tone, the words which rose to his lips", "Then they were silent, and sat for some minutes without a word under the\nsolitary gas-lamp. At last Pierre began, almost in spite of himself:", "And the young man went. He mounted the stairs with the fevered\ndetermination of a man who is about to fight a duel and who is in a\nfright. When he knocked at the door Pierre said:", "âNo, no, it is nothing--I shall get better directly--it is nothing.â\n\nPierre had gone up to her and was looking at her steadily.", "This delicate question being thus disposed of he came back to that of\nPierre's presence in the family. How was he to be got rid of? He was", "Dr. Pirette having gone on board, Pierre went to the ship, where he was\nreceived in a little state-room by a young man with a fair beard, not\nunlike his brother. They talked together a long time.", "âI too came out for fresh air.â And Pierre sat down by his brother's\nside.\n\nâLovely--isn't it?â", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "from an almost professional point of view, as though he had to legislate\nfor the future relations of certain clients after a moral disaster.\nConstant friction against Pierre had certainly become unendurable. He", "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "Then all was silent once more.\n\nPierre had opened his eyes and was looking about him, startled to find\nhimself here, roused from his nightmare.", "âYou are to know that Mme. Rosemilly is about to become my wife.â\n\nPierre laughed the louder.", "She could not get out, she must come through his room. She had not come;\nthen it was because she dare not.\n\nSuddenly Pierre stamped his foot." ], [ "When they had landed, Beausire at once took leave of them to go to\nbreakfast with a friend. Then Jean led the way with Mme. Rosemilly, and\nRoland said to his wife:", "âGood-bye,â said Roland in a great bustle.", "Roland, leaning against the marble mantel-shelf as if it were winter and\nthe fire burning, with his hands in his pockets and his lips puckered", "âShall I come back for you?â asked Roland.\n\nShe hesitated a moment and then said: âNo, dear old man; go to bed.\nPierre will see me home.â", "ate them. Then, at the end of about an hour, Mme. Rosemilly begged to\ntake leave. It was decided that old Roland should accompany her home and", "âThen it is understood,â repeated Roland. âTo-morrow, at your place, at\ntwo?â\n\nâQuite so. To-morrow, at two.â", "Roland's voice rescued them.\n\nâThis way, this way, children. Come and watch Beausire. The fellow is\npositively clearing out the sea!â", "money to live in modest comfort on the interest of his savings. He\nretired to le Havre, bought a boat, and became an amateur skipper.\nHis two sons, Pierre and Jean, had remained at Paris to continue their", "Roland was to take possession of the little floating cabin in which\nhenceforth his life was to be confined.", "âNo--that is to say--yes--I have not found it, but I think I know where\nit is.â\n\nâWhat is that?â asked Roland. And Pierre answered:", "Roland had no opinion. He repeated: âI do not want to hear anything\nabout it. I will go and see it when it is all finished.â", "sat the four Rolands, Mme. Rosemilly, and Captain Beausire, all silent,\ndeafened by the rumble of the wheels, and with their eyes shut to keep\nout the clouds of dust.", "She was visiting it on Roland now, throwing all the responsibility of\nher sin on his ugliness, his stupidity, his clumsiness, the heaviness of", "All their faces were beaming.\n\nâWell,â said Roland, âare you getting on with your purchases? I do not\nwant to see anything till it is all in its place.â", "enabled her to discover in the town of Havre the son of our worthy\nfriend Roland, skipper of the Pearl.â", "Jean had not spoken a word.\n\nWhen their guest had gone, silence fell again till father Roland clapped\nhis two hands on his younger son's shoulders, crying:", "The young men hauled in their lines, coiled them up, cleaned the hooks\nand stuck them into corks, and sat waiting.\n\nRoland stood up to look out like a captain.", "As soon as he was alone with his wife, father Roland took her in\nhis arms, kissed her a dozen times on each cheek, and, replying to a\nreproach she had often brought against him, said:", "Roland filled his pipe; Pierre and Jean lighted cigarettes. They\ncommonly smoked them, Pierre while he paced the room, Jean, sunk in a", "Roland replied: âOur best friend, monsieur, but a fanatic for Paris;\nnever to be got away from the boulevard. He was a head clerk in the" ], [ "âGood-bye,â replied Pierre, standing on one of the landing-planks lying\nbetween the deck of the Lorraine and the quay. He shook hands all round\nonce more, and they were gone.", "âGood-bye, my boy.â He kissed Pierre on the whiskers and then opened the\ndoor.", "and glided and rolled along the roofs and streets like the flow of a\nriver. Pierre, with his hands and feet frozen, made haste home and threw", "But while they were bustling about her and asking after her health,\nPierre made off, the door having been left open.", "âYou and I together, mate,â cried Pierre. He went down the iron ladder\nof the quay and leaped into the vessel.\n\nâWhich way is the wind?â he asked.", "When the family had gone, Pierre, alone once more, resumed his\ninvestigations in the apartments to let. After two or three hours", "And the young man went. He mounted the stairs with the fevered\ndetermination of a man who is about to fight a duel and who is in a\nfright. When he knocked at the door Pierre said:", "For some time they did not speak; then he said:\n\nâYou see that Pierre is quite ready and willing to go away.â\n\nShe murmured:", "Pierre could no longer endure to stay in the room! This house, his\nfather's house, crushed him. He felt the roof weigh on his head, and the", "Then all was silent once more.\n\nPierre had opened his eyes and was looking about him, startled to find\nhimself here, roused from his nightmare.", "âThat is out of the question, as Pierre left you here. Come, take\ncourage. I will arrange everything, I promise you, to-morrow; I will", "The passengers were already going on board the Trouville boat; Pierre\ntook a seat aft on a wooden bench.\n\nHe asked himself:", "Then they were silent, and sat for some minutes without a word under the\nsolitary gas-lamp. At last Pierre began, almost in spite of himself:", "and dense, of well-dressed people in two opposite streams elbowing and\nmingling. Pierre, made nervous and exasperated by this bustle, made his", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "endowed with life--the life of a vessel driven on by a mysterious latent\npower. Pierre took the tiller, and, holding his cigar between his teeth,", "As soon as he got out, Pierre made his way to the Rue de Paris, the\nhigh-street of Havre, brightly lighted up, lively and noisy. The rather", "Pierre went down to the sea. As he reached the jetty he descried the\nPearl; his father and Beausire were coming in. Papagris was pulling,", "âNo, no, it is nothing--I shall get better directly--it is nothing.â\n\nPierre had gone up to her and was looking at her steadily.", "Pierre, on his part, said that he too was going out, and after a few\nminutes followed his brother." ], [ "Pierre looked at the mother who had lied to him; looked at her with\nthe concentrated fury of a son who had been cheated, robbed of his most", "Pierre, as he went towards his mother, looked at her with a sudden sense\nof never having seen her before. She held up her face, he kissed each\ncheek, and then sat down in a low chair.", "Now, reminiscences came readily to Pierre's mind. Having seen him\nanxious from time to time, and suspecting his student's impecuniousness,", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "on the inmost fibres of his flesh, were certain words, certain tones of\nanguish, certain gestures of Pierre's, so full of suffering that they", "They did in fact recur, almost every day; and Pierre seemed to bring\nthem on with a word, as if he had the clew to her strange and new", "It was as though they were spying on each other; and acute uneasiness,\nintolerable to be borne, clutched at Pierre's heart. He was saying to\nhimself--at once tortured and glad:", "âPierre! Be silent. Mother is in the next room. Remember she may\nhear--she must hear.â", "And their mother, somewhat vexed, said:\n\nâWhy, Pierre, what rhyme or reason is there in getting into such a\nstate. You are not a child.â", "Pierre had scarcely any intercourse with his family during the days\nwhich followed. He was nervous, irritable, hard, and his rough speech", "Then they were silent, and sat for some minutes without a word under the\nsolitary gas-lamp. At last Pierre began, almost in spite of himself:", "She rose, took a taper, and went. Then, after an absence which Pierre\nthought long, though she was not away more than three minutes, Mme.", "to Pierre rebelled against this preference. And Pierre felt as though he\ncould hear him thinking; he guessed and understood, read in his averted\neyes and in the hesitancy of his tone, the words which rose to his lips", "to Pierre was far more decisive than the common aspect of the faces, was\nthat his mother had risen, had turned her back, and was pretending, too", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "He was too much crushed to stir or even to will. His distress became\nunbearable; and he knew that behind the door was his mother who had\nheard everything and was waiting.", "She did not venture to speak to Pierre, knowing that he would return\nsome hard answer; and he dared not address his mother, knowing that", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "Mme. Roland, much distressed, now put in her word: âCome, Pierre, what\nails you? For once it cannot hurt him. Think of what an occasion it", "Pierre could no longer endure to stay in the room! This house, his\nfather's house, crushed him. He felt the roof weigh on his head, and the" ], [ "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "PIERRE & JEAN\n\nBy Guy De Maupassant\n\n\nTranslated By Clara Bell\n\n\n\n\nCHAPTER I", "He called Pierre and Jean âmy dear children,â and had never seemed to\nprefer either, asking them both together to dine with him. And then", "âWell, but Pierre. What can we do about Pierre?â\n\nJean answered:\n\nâWe will find some plan! You cannot live with him any longer.â", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "His father, above all, amazed his eyes and his mind. That flabby, burly\nman, happy and besotted, was his own father! No, no; Jean was not in the\nleast like him.\n\nHis family!", "His eldest son, Pierre, a man of thirty, with black whiskers trimmed\nsquare like a lawyer's, his mustache and beard shaved away, replied:\n\nâOh, not many; three or four.â", "For a week or two nothing occurred. The father went fishing; Jean, with\nhis mother's help, was furnishing and settling himself; Pierre, very\ngloomy, never was seen excepting at meal-times.", "Pierre went down to the sea. As he reached the jetty he descried the\nPearl; his father and Beausire were coming in. Papagris was pulling,", "money to live in modest comfort on the interest of his savings. He\nretired to le Havre, bought a boat, and became an amateur skipper.\nHis two sons, Pierre and Jean, had remained at Paris to continue their", "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "âNo, he would not take it. Besides, this legacy is for Jean, only for\nJean. Pierre will find himself at a great disadvantage.â", "Roland filled his pipe; Pierre and Jean lighted cigarettes. They\ncommonly smoked them, Pierre while he paced the room, Jean, sunk in a", "On leaving school, Pierre, the elder, five years older than Jean, had\nfelt a vocation to various professions and had tried half a dozen in", "His two sons, Pierre and Jean, who each held a line twisted round his\nforefinger, one to port and one to starboard, both began to laugh, and\nJean remarked:", "Jean had not spoken a word.\n\nWhen their guest had gone, silence fell again till father Roland clapped\nhis two hands on his younger son's shoulders, crying:", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "âPierre? But he is a doctor; he will make plenty of money; besides, his\nbrother will surely do something for him.â" ], [ "His father!--A very worthy man, no doubt, upright and honest in\nbusiness, but with a mind which had never gone beyond the horizon of his", "His father, above all, amazed his eyes and his mind. That flabby, burly\nman, happy and besotted, was his own father! No, no; Jean was not in the\nleast like him.\n\nHis family!", "was stupidity, and whose kindliness was blindness. His parents, whose\ndream for their sons was some respectable and undistinguished calling,", "âI say, fatherâ (she called her husband âfatherâ at home, and sometimes", "studies, and came for the holidays from time to time to share their\nfather's amusements.", "them. This paternal love, this filial love, were the outcome of a lie--a\nlie which could not be unmasked, and which no one would ever know but\nhe, the true son.", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "Jean had not spoken a word.\n\nWhen their guest had gone, silence fell again till father Roland clapped\nhis two hands on his younger son's shoulders, crying:", "âMake haste, jump into the carriage,â cried the father.\n\nA fly was waiting for them and took them to the outer harbour, where\nPapagris had the Pearl in readiness to put out to sea.", "For a week or two nothing occurred. The father went fishing; Jean, with\nhis mother's help, was furnishing and settling himself; Pierre, very\ngloomy, never was seen excepting at meal-times.", "At the door of the dining-room he paused, doubtful about going in first;\nthen he abruptly opened the door and saw his father and mother seated at\nthe table opposite each other.", "âMuch the same as Pierre--four or five.â\n\nEvery time they told the same fib, which delighted father Roland. He had\nhitched his line round a row-lock, and folding his arms he announced:", "As soon as he was alone with his wife, father Roland took her in\nhis arms, kissed her a dozen times on each cheek, and, replying to a\nreproach she had often brought against him, said:", "But the public--their neighbours, the shopkeepers, their own tradesmen,\nall who knew them--would not they repeat the abominable thing, laugh at\nit, enjoy it, make game of his father and despise his mother?", "His eldest son, Pierre, a man of thirty, with black whiskers trimmed\nsquare like a lawyer's, his mustache and beard shaved away, replied:\n\nâOh, not many; three or four.â", "far away and growing old. Why yes, since he had left all his fortune to\nhis son--their son!", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "âGive me my glass. I fancy I see her out there.â\n\nThe father pulled out the copper tube, adjusted it to his eye, sought\nthe speck, and then, delighted to have seen it, exclaimed:", "He found his father, his mother, Jean, and Mme. Rosemilly waiting for\nhim in his cabin.\n\nâSo early!â he exclaimed.", "His father was surprised and tried to keep him; they had much to talk\nabout, plans to be made, decisions to be formed. But the young man" ], [ "As soon as he was alone with his wife, father Roland took her in\nhis arms, kissed her a dozen times on each cheek, and, replying to a\nreproach she had often brought against him, said:", "His wife merely answered: âYes; he was a faithful friend.â", "Both man and wife responded with the little movement of pained surprise,\ngenuine or false, but always ready, with which such news is received.\n\nMaitre Lecanu went on:", "her? Why should he have made friends with these tradespeople if he had\nnot been in love with the wife? He was a man of education and fairly\nrefined tastes. How many a time had he discussed poets and poetry with", "âI say, fatherâ (she called her husband âfatherâ at home, and sometimes", "Then turning to his wife he added:\n\nâGo and fetch that portrait, little woman, as you have done your dinner.\nI should like to see it again myself.â", "As his wife made no answer he went on:", "Again Roland sat thinking, but he could remember no more and appealed to\nhis wife's better memory.", "And his wife replied: âOh, yes. We are getting on. But it takes much\nconsideration to avoid buying things that do not match. The furniture\nquestion is an absorbing one.â", "Pierre, who had heard, and who was beginning to be restless under the\nyoung woman's indifference, muttered to himself: âWell, the widow is", "had always been to him hitherto. He understood now that, loving her,\nhe had never looked at her. All the same it was very really she, and he", "Then she sat still, her cheek against his, feeling the warmth of his\nskin through his beard, and she whispered in his ear: âNo, my little", "He replied: âI? I? How little you know me!â with such a burst of genuine\naffection that, with a cry, she seized his head by the hair with both", "He thought of Marowsko. The old Pole was the only person who loved\nhim well enough to feel true and keen emotion, and the doctor at once\ndetermined to go and see him.", "But he, too, was suffering as cruelly as she. It was dreadful pain to\nhim that he could no longer love her nor respect her, that he must put", "âYou? What can it be? What can you have found?â\n\nâA wife. And my mother and I have come to ask you whether she had\nchanged her mind this morning.â", "This day on the sea had been delightful to her. Her husband, without\nbeing brutal, was rough with her, as a man who is the despot of his", "âTumble yourselves overboard, rather, with your women and your little\nones.â And his heart ached so with pity that he went away unable to\nendure the sight.", "A dreamer, a lover, a sage--a happy or a desperate man? Who was it? He\nwent forward, curious to see the face of this lonely individual, and he\nrecognised his brother.", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving" ], [ "He was a retired jeweller who had been led by an inordinate love of\nseafaring and fishing to fly from the shop as soon as he had made enough", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "money to live in modest comfort on the interest of his savings. He\nretired to le Havre, bought a boat, and became an amateur skipper.\nHis two sons, Pierre and Jean, had remained at Paris to continue their", "ate them. Then, at the end of about an hour, Mme. Rosemilly begged to\ntake leave. It was decided that old Roland should accompany her home and", "The two young people who led the way went fast till on a sudden they\nsaw, by the side of a wooden bench which afforded a resting-place about", "insisted, declaring that he had an engagement. Besides, there would be\ntime enough for settling everything before he came into possession of\nhis inheritance. So he went away, for he wished to be alone to reflect.", "medicine. So they were now having a little rest at home, and both looked\nforward to settling in Havre if they could find a satisfactory opening.", "By the time they reached Havre their drowsiness was so heavy that they\nhad great difficulty in shaking it off, and Beausire even refused to go\nto Jean's rooms where tea was waiting for them. He had to be set down at\nhis own door.", "The rising tide drove them back to rejoin the fishers, and then they\nall made their way to the shore. They roused Pierre, who pretended to\nbe sleeping; and then came a long dinner washed down with many kinds of\nwine.", "far away and growing old. Why yes, since he had left all his fortune to\nhis son--their son!", "When they faced each other again, and were seated, they took hands and\nremained so, looking at each and smiling, while they seemed to have\nforgotten Jean.", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "exhausted, but comforted, as after the pains of child-birth. At last she\ncould walk and she took his arm. The town hall struck three as they went\npast.", "The three men spoke not another word till they reached the threshold of\ntheir own house. It was a narrow one, consisting of a ground-floor and", "âGood-bye,â replied Pierre, standing on one of the landing-planks lying\nbetween the deck of the Lorraine and the quay. He shook hands all round\nonce more, and they were gone.", "A faint attempt was made to detain her; but she would not consent, and\nwent home without either of the three men offering to escort her, as\nthey always had done.", "Pierre recollected quite clearly now that it was long, long before\nthey left Paris that the miniature had vanished. It had disappeared, he", "âGood-bye, my boy.â He kissed Pierre on the whiskers and then opened the\ndoor.", "But he was going away, flying, vanishing, a tiny speck already, no more\nthan an imperceptible spot on the enormous vessel. She tried still to\ndistinguish him, but she could not.\n\nJean took her hand.", "As soon as he was alone with his wife, father Roland took her in\nhis arms, kissed her a dozen times on each cheek, and, replying to a\nreproach she had often brought against him, said:" ], [ "On leaving school, Pierre, the elder, five years older than Jean, had\nfelt a vocation to various professions and had tried half a dozen in", "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "PIERRE & JEAN\n\nBy Guy De Maupassant\n\n\nTranslated By Clara Bell\n\n\n\n\nCHAPTER I", "âWell, but Pierre. What can we do about Pierre?â\n\nJean answered:\n\nâWe will find some plan! You cannot live with him any longer.â", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "Roland filled his pipe; Pierre and Jean lighted cigarettes. They\ncommonly smoked them, Pierre while he paced the room, Jean, sunk in a", "He called Pierre and Jean âmy dear children,â and had never seemed to\nprefer either, asking them both together to dine with him. And then", "End of the Project Gutenberg EBook of Pierre and Jean, by Guy de Maupassant", "money to live in modest comfort on the interest of his savings. He\nretired to le Havre, bought a boat, and became an amateur skipper.\nHis two sons, Pierre and Jean, had remained at Paris to continue their", "His two sons, Pierre and Jean, who each held a line twisted round his\nforefinger, one to port and one to starboard, both began to laugh, and\nJean remarked:", "non-aggressive animosity. They were fond of each other, it is true, but\nthey watched each other. Pierre, five years old when Jean was born,", "GUTENBERG EBOOK PIERRE AND JEAN ***\n\n\n\n\nProduced by Dagny; John Bickers; HTML file by David Widger", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "âMonsieur Jean.â Marechal would hold out both hands, the right hand to\none of the young men, the left to the other, as they happened to come\nin.", "an almost imperceptible difference of voice and look and also by\noccasionally asking his opinion. She seemed to guess that Jean's\nviews would support her own, while those of Pierre must inevitably", "âPierre? But he is a doctor; he will make plenty of money; besides, his\nbrother will surely do something for him.â", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "But to-day they meant to display their biceps. Pierre's arms were hairy,\nsomewhat lean but sinewy; Jean's were round and white and rosy, and the\nknot of muscles moved under the skin.", "Pierre, who was nearest to the two women, took the stroke oar, Jean the\nother, and they sat waiting till the skipper should say: âGive way!â For\nhe insisted on everything being done according to strict rule." ], [ "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would", "Pierre had scarcely any intercourse with his family during the days\nwhich followed. He was nervous, irritable, hard, and his rough speech", "When the family had gone, Pierre, alone once more, resumed his\ninvestigations in the apartments to let. After two or three hours", "âAnd what did he die of, poor Marechal?â\n\nMaitre Lecanu did not know in the least.", "Perhaps, indeed, Marowsko believed that Jean was Marechal's son. Of\ncourse he believed it! How could he help believing it when the thing", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "Pierre, too, was looking at them, and a harsh laugh suddenly broke form\nhis lips. Without turning to him Mme. Roland said:\n\nâWhat is it?â", "âGood heavens! Poor Leon--our poor friend! Dear me! Dear me! Dead!â", "Pierre looked at the mother who had lied to him; looked at her with\nthe concentrated fury of a son who had been cheated, robbed of his most", "Pierre recollected quite clearly now that it was long, long before\nthey left Paris that the miniature had vanished. It had disappeared, he", "This delicate question being thus disposed of he came back to that of\nPierre's presence in the family. How was he to be got rid of? He was", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "The little fortune his father had saved brought him in about eight\nthousand francs a year, and Pierre had often blamed himself for having", "Pierre replied: âNo; I had not noticed that there was anything the\nmatter with her.â\n\nAt this Roland was angry.", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "at Marechal's fair hair, and show quite plainly that he was haunted by\na fixed idea. So that this little portrait, smaller than an opened palm,", "Then Pierre understood that they had wept together, but he could not\nread their minds. Did Jean believe in his mother's guilt, or think his\nbrother a base wretch?", "His eldest son, Pierre, a man of thirty, with black whiskers trimmed\nsquare like a lawyer's, his mustache and beard shaved away, replied:\n\nâOh, not many; three or four.â", "âGood-bye, my boy.â He kissed Pierre on the whiskers and then opened the\ndoor.", "Pierre could no longer endure to stay in the room! This house, his\nfather's house, crushed him. He felt the roof weigh on his head, and the" ], [ "Pierre looked at the mother who had lied to him; looked at her with\nthe concentrated fury of a son who had been cheated, robbed of his most", "Pierre, as he went towards his mother, looked at her with a sudden sense\nof never having seen her before. She held up her face, he kissed each\ncheek, and then sat down in a low chair.", "âI am mad,â thought he, âI suspect my mother.â And a surge of love and", "It was as though they were spying on each other; and acute uneasiness,\nintolerable to be borne, clutched at Pierre's heart. He was saying to\nhimself--at once tortured and glad:", "and very deeply pained, but after his quarrel with his brother, after\nthe violent and brutal betrayal which had shaken his nerves, the\nagonizing emotion of his mother's confession had so bereft him of energy", "Then Pierre understood that they had wept together, but he could not\nread their minds. Did Jean believe in his mother's guilt, or think his\nbrother a base wretch?", "She could not get out, she must come through his room. She had not come;\nthen it was because she dare not.\n\nSuddenly Pierre stamped his foot.", "And this thought rushed into Pierre's soul, as abrupt and violent as a\ncannon-ball rending and piercing it: âSince he knew me first, since he", "Under any other circumstances he would certainly not have understood,\nnot have imagined the possibility of such an insinuation against his\npoor mother, who was so kind, so simple, so excellent. But his spirit", "âPierre! Be silent. Mother is in the next room. Remember she may\nhear--she must hear.â", "to Pierre was far more decisive than the common aspect of the faces, was\nthat his mother had risen, had turned her back, and was pretending, too", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "Now, reminiscences came readily to Pierre's mind. Having seen him\nanxious from time to time, and suspecting his student's impecuniousness,", "âNo, no, it is nothing--I shall get better directly--it is nothing.â\n\nPierre had gone up to her and was looking at her steadily.", "She murmured in a low voice, tremulous with feeling: âO Pierre, how\ncruel you are! That woman is honesty itself. Your brother could not find\na better.â", "his mother? But did she give herself to him? Why yes, since this man had\nhad no other love, since he had remained faithful to her when she was", "He was too much crushed to stir or even to will. His distress became\nunbearable; and he knew that behind the door was his mother who had\nheard everything and was waiting.", "And their mother, somewhat vexed, said:\n\nâWhy, Pierre, what rhyme or reason is there in getting into such a\nstate. You are not a child.â", "of love. He remembered nothing of what his brother had told him;\nhe neither reasoned nor argued, he merely laid his two hands on his\nmother's inert body, and not being able to pull the pillow away, he", "She did not venture to speak to Pierre, knowing that he would return\nsome hard answer; and he dared not address his mother, knowing that" ], [ "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "Well then--well then--he must have had some strong secret reason for\nleaving everything to Jean--everything--and nothing to Pierre.", "to Pierre rebelled against this preference. And Pierre felt as though he\ncould hear him thinking; he guessed and understood, read in his averted\neyes and in the hesitancy of his tone, the words which rose to his lips", "Then Pierre understood that they had wept together, but he could not\nread their minds. Did Jean believe in his mother's guilt, or think his\nbrother a base wretch?", "Then all was silent once more.\n\nPierre had opened his eyes and was looking about him, startled to find\nhimself here, roused from his nightmare.", "was harassed by remorse for having told this thing to Jean. He felt that\nit was odious, indecent, and brutal, and yet it was a relief to him to\nhave uttered it.", "an almost imperceptible difference of voice and look and also by\noccasionally asking his opinion. She seemed to guess that Jean's\nviews would support her own, while those of Pierre must inevitably", "PIERRE & JEAN\n\nBy Guy De Maupassant\n\n\nTranslated By Clara Bell\n\n\n\n\nCHAPTER I", "It was as though they were spying on each other; and acute uneasiness,\nintolerable to be borne, clutched at Pierre's heart. He was saying to\nhimself--at once tortured and glad:", "his violence, from saying: âDear me! How like Jean!â And though he dared\nnot utter the terrible words, he betrayed his thought by his manner of", "âWell, but Pierre. What can we do about Pierre?â\n\nJean answered:\n\nâWe will find some plan! You cannot live with him any longer.â", "And this thought rushed into Pierre's soul, as abrupt and violent as a\ncannon-ball rending and piercing it: âSince he knew me first, since he", "For a week or two nothing occurred. The father went fishing; Jean, with\nhis mother's help, was furnishing and settling himself; Pierre, very\ngloomy, never was seen excepting at meal-times.", "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "Jean, in his turn, held out his hand for the picture. He gazed at it for\na few minutes and then said regretfully:", "Perhaps, indeed, Marowsko believed that Jean was Marechal's son. Of\ncourse he believed it! How could he help believing it when the thing", "âNo, no, it is nothing--I shall get better directly--it is nothing.â\n\nPierre had gone up to her and was looking at her steadily." ], [ "But he was going away, flying, vanishing, a tiny speck already, no more\nthan an imperceptible spot on the enormous vessel. She tried still to\ndistinguish him, but she could not.\n\nJean took her hand.", "money to live in modest comfort on the interest of his savings. He\nretired to le Havre, bought a boat, and became an amateur skipper.\nHis two sons, Pierre and Jean, had remained at Paris to continue their", "âGood-bye,â replied Pierre, standing on one of the landing-planks lying\nbetween the deck of the Lorraine and the quay. He shook hands all round\nonce more, and they were gone.", "âCome,â said Jean, much agitated. âLet us go on before they come up with\nus.â", "Jean went forward holding out his hand, and when he felt his fingers\nin the old man's fatherly clasp, a strange, unforeseen emotion thrilled\nthrough him, and a sense as of parting and farewell without return.", "Jean took one oar, the sailor seized the other and they pulled off.\nOn the breakwater, on the piers, even on the granite parapets, a crowd", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "âI--oh, I cannot be of any use to you. I am leaving Havre early next\nmonth.â\n\nMarowsko took off his spectacles, so great was his agitation.", "Jean replied gently:\n\nâStay, mother.â\n\nShe clasped him in her arms, and her tears flowed again; then, with her\nface against his, she went on:", "By the time they reached Havre their drowsiness was so heavy that they\nhad great difficulty in shaking it off, and Beausire even refused to go\nto Jean's rooms where tea was waiting for them. He had to be set down at\nhis own door.", "As soon as he got out, Pierre made his way to the Rue de Paris, the\nhigh-street of Havre, brightly lighted up, lively and noisy. The rather", "Jean flew to the window; it was shut and the shutters bolted. He looked\nabout him, peering into the dark corners with anxious eyes, and he then", "At this she led her little Jean farther away, quite to the edge of the\nwaves, and there they talked for a long time of this marriage on which\nhe had set his heart.", "Jean approved heartily.\n\nâYour idea is really capital.â And he smiled, quite reassured, almost\nhappy, sure of success and incapable of allowing himself to be unhappy\nfor long.", "When they had landed, Beausire at once took leave of them to go to\nbreakfast with a friend. Then Jean led the way with Mme. Rosemilly, and\nRoland said to his wife:", "Jean sat silent, as though he had no concern in the matter. When they\nwere discussing the murder at Bolbec he, as a legal authority, had", "For a week or two nothing occurred. The father went fishing; Jean, with\nhis mother's help, was furnishing and settling himself; Pierre, very\ngloomy, never was seen excepting at meal-times.", "Pole, without, however, having ever extracted from him any revelation as\nto his former career. It was owing to the young doctor that this worthy\nhad come to settle at Havre, counting on the large custom which the", "âYes, my dear, I am coming.â\n\nAnd she went down, followed by Jean.\n\nRoland, as soon as he saw him, exclaimed:", "Only yesterday he would have knocked at his door, have gone in, and\nsitting by the bed, would have said to Jean, scared by the sudden\nwaking:" ], [ "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "For a week or two nothing occurred. The father went fishing; Jean, with\nhis mother's help, was furnishing and settling himself; Pierre, very\ngloomy, never was seen excepting at meal-times.", "Well then--well then--he must have had some strong secret reason for\nleaving everything to Jean--everything--and nothing to Pierre.", "Then Pierre understood that they had wept together, but he could not\nread their minds. Did Jean believe in his mother's guilt, or think his\nbrother a base wretch?", "Jean had not spoken a word.\n\nWhen their guest had gone, silence fell again till father Roland clapped\nhis two hands on his younger son's shoulders, crying:", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "Pierre had scarcely any intercourse with his family during the days\nwhich followed. He was nervous, irritable, hard, and his rough speech", "Jean replied gently:\n\nâStay, mother.â\n\nShe clasped him in her arms, and her tears flowed again; then, with her\nface against his, she went on:", "This delicate question being thus disposed of he came back to that of\nPierre's presence in the family. How was he to be got rid of? He was", "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would", "âGood-bye,â replied Pierre, standing on one of the landing-planks lying\nbetween the deck of the Lorraine and the quay. He shook hands all round\nonce more, and they were gone.", "Pierre looked at the mother who had lied to him; looked at her with\nthe concentrated fury of a son who had been cheated, robbed of his most", "On leaving school, Pierre, the elder, five years older than Jean, had\nfelt a vocation to various professions and had tried half a dozen in", "Pierre recollected quite clearly now that it was long, long before\nthey left Paris that the miniature had vanished. It had disappeared, he", "When the family had gone, Pierre, alone once more, resumed his\ninvestigations in the apartments to let. After two or three hours", "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "Jean made no reply. He was thinking of the man he had hitherto believed\nto be his father; and possibly the vague notion he had long since", "was harassed by remorse for having told this thing to Jean. He felt that\nit was odious, indecent, and brutal, and yet it was a relief to him to\nhave uttered it.", "His father, above all, amazed his eyes and his mind. That flabby, burly\nman, happy and besotted, was his own father! No, no; Jean was not in the\nleast like him.\n\nHis family!", "But to-day he could say nothing; he could not tell Jean that he did not\nbelieve him to be their father's son. Now he must guard, must bury the" ], [ "Roland, quite distracted, asked her:\n\nâLouise, Louise, what is the mater with you? What on earth ails you?â", "âShall I come back for you?â asked Roland.\n\nShe hesitated a moment and then said: âNo, dear old man; go to bed.\nPierre will see me home.â", "shop, was it not, Louise? He first came to order something, and then\nhe called frequently. We knew him as a customer before we knew him as a\nfriend.â", "and with such a pleasant manner--was not he, Louise?â", "âOnly a woman ever thinks of these refinements.â Then turning to Father\nRoland: âAnd who was this Marechal, after all? You must have been very\nintimate with him.â", "âNo--that is to say--yes--I have not found it, but I think I know where\nit is.â\n\nâWhat is that?â asked Roland. And Pierre answered:", "ate them. Then, at the end of about an hour, Mme. Rosemilly begged to\ntake leave. It was decided that old Roland should accompany her home and", "âWhy, yes, of course--of course, Louise?â\n\nâCertainly, certainly,â she said in a low voice.", "âFor some one you never knew, and of whom I was too fond.â\n\nRoland imagined that his son alluded to some girl with whom he had had\nsome love passages, and he said:", "She was visiting it on Roland now, throwing all the responsibility of\nher sin on his ugliness, his stupidity, his clumsiness, the heaviness of", "When they had landed, Beausire at once took leave of them to go to\nbreakfast with a friend. Then Jean led the way with Mme. Rosemilly, and\nRoland said to his wife:", "âWell, well! Gerome.â\n\nAnd the old fellow replied in a fury:", "Pierre, too, was looking at them, and a harsh laugh suddenly broke form\nhis lips. Without turning to him Mme. Roland said:\n\nâWhat is it?â", "Jean in a low tone said to his mother: âLook, mother, she is close upon\nus!â And Mme. Roland uncovered her eyes, blinded with tears.", "âA gentleman called--three times.â\n\nOld Roland, who never spoke to her without shouting and swearing, cried\nout:", "Mme. Roland half opened her door and answered:\n\nâWhat is it, my dear?â\n\nâAre we to have nothing to eat to-day, hang it all?â", "Roland's voice rescued them.\n\nâThis way, this way, children. Come and watch Beausire. The fellow is\npositively clearing out the sea!â", "âIn what year was it, Louise? You surely have not forgotten, you\nwho remember everything. Let me see--it was in--in--in fifty-five or", "âYou are to know that Mme. Rosemilly is about to become my wife.â\n\nPierre laughed the louder.", "âThen it is understood,â repeated Roland. âTo-morrow, at your place, at\ntwo?â\n\nâQuite so. To-morrow, at two.â" ], [ "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "âWell, well! Gerome.â\n\nAnd the old fellow replied in a fury:", "Pierre, leaning over him, gazed at him with hungry eagerness. No, this\nyoungster was not in the least like Roland; and for the second time the", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "âYou are to know that Mme. Rosemilly is about to become my wife.â\n\nPierre laughed the louder.", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "Pierre. He did not appreciate these writers from an artistic point of\nview, but with sympathetic and responsive feeling. The doctor had often\nsmiled at his emotions which had struck him as rather silly, now he", "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would", "âPierre? But he is a doctor; he will make plenty of money; besides, his\nbrother will surely do something for him.â", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "His eldest son, Pierre, a man of thirty, with black whiskers trimmed\nsquare like a lawyer's, his mustache and beard shaved away, replied:\n\nâOh, not many; three or four.â", "He stammered out:\n\nâYou are surely not going to play me false--you?â\n\nPierre was so deeply touched that he felt inclined to embrace the old\nfellow.", "And this thought rushed into Pierre's soul, as abrupt and violent as a\ncannon-ball rending and piercing it: âSince he knew me first, since he", "âNo--that is to say--yes--I have not found it, but I think I know where\nit is.â\n\nâWhat is that?â asked Roland. And Pierre answered:", "Pierre went down to the sea. As he reached the jetty he descried the\nPearl; his father and Beausire were coming in. Papagris was pulling,", "Dr. Pirette having gone on board, Pierre went to the ship, where he was\nreceived in a little state-room by a young man with a fair beard, not\nunlike his brother. They talked together a long time.", "to Pierre rebelled against this preference. And Pierre felt as though he\ncould hear him thinking; he guessed and understood, read in his averted\neyes and in the hesitancy of his tone, the words which rose to his lips", "everything, who had escaped death by a miracle, had bewitched Pierre\nRoland's lively and bold imagination; he had made friends with the old", "from an almost professional point of view, as though he had to legislate\nfor the future relations of certain clients after a moral disaster.\nConstant friction against Pierre had certainly become unendurable. He" ], [ "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "âWell, but Pierre. What can we do about Pierre?â\n\nJean answered:\n\nâWe will find some plan! You cannot live with him any longer.â", "PIERRE & JEAN\n\nBy Guy De Maupassant\n\n\nTranslated By Clara Bell\n\n\n\n\nCHAPTER I", "an almost imperceptible difference of voice and look and also by\noccasionally asking his opinion. She seemed to guess that Jean's\nviews would support her own, while those of Pierre must inevitably", "non-aggressive animosity. They were fond of each other, it is true, but\nthey watched each other. Pierre, five years old when Jean was born,", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "End of the Project Gutenberg EBook of Pierre and Jean, by Guy de Maupassant", "He called Pierre and Jean âmy dear children,â and had never seemed to\nprefer either, asking them both together to dine with him. And then", "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "âNo, he would not take it. Besides, this legacy is for Jean, only for\nJean. Pierre will find himself at a great disadvantage.â", "Well then--well then--he must have had some strong secret reason for\nleaving everything to Jean--everything--and nothing to Pierre.", "On leaving school, Pierre, the elder, five years older than Jean, had\nfelt a vocation to various professions and had tried half a dozen in", "Then Pierre understood that they had wept together, but he could not\nread their minds. Did Jean believe in his mother's guilt, or think his\nbrother a base wretch?", "GUTENBERG EBOOK PIERRE AND JEAN ***\n\n\n\n\nProduced by Dagny; John Bickers; HTML file by David Widger", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "âPierre? But he is a doctor; he will make plenty of money; besides, his\nbrother will surely do something for him.â", "âMonsieur Jean.â Marechal would hold out both hands, the right hand to\none of the young men, the left to the other, as they happened to come\nin.", "that they would bring on him incessant suffering too great to endure.\nJean was talking, chatting with Roland. Pierre, as he did not listen,", "Roland filled his pipe; Pierre and Jean lighted cigarettes. They\ncommonly smoked them, Pierre while he paced the room, Jean, sunk in a" ], [ "âWell, well! Gerome.â\n\nAnd the old fellow replied in a fury:", "A dreamer, a lover, a sage--a happy or a desperate man? Who was it? He\nwent forward, curious to see the face of this lonely individual, and he\nrecognised his brother.", "Pole, without, however, having ever extracted from him any revelation as\nto his former career. It was owing to the young doctor that this worthy\nhad come to settle at Havre, counting on the large custom which the", "âReally, Louise, you look very ill; you tire yourself too much with\nhelping Jean. Give yourself a little rest. Sacristi! The rascal is in no\nhurry, as he is a rich man.â", "âA gentleman from the lawyer's.â\n\nâWhat lawyer?â\n\nâWhy, M'sieu 'Canu--who else?â", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "He was a retired jeweller who had been led by an inordinate love of\nseafaring and fishing to fly from the shop as soon as he had made enough", "Dinner was announced, and as the old man was about to offer his arm to\nMme. Rosemilly, his wife exclaimed:\n\nâNo, no, father. Everything is for Jean to-day.â", "relations. They had settled at once in their shop in the Rue Montmartre;\nand the young wife, ruling over the desk, inspired by the feeling of a", "fashion of Havre, he could easily make a hundred thousand francs a year.\nAnd he calculated with great exactitude what his certain profits must\nbe. He would go out in the morning to visit his patients; at the very", "âLike a brother, you know. Such a friend as one does not make twice--we\nwere always together--he dined with us every evening--and would treat us", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "âGood-evening, my dear Maitre,â said he, giving his visitor the title\nwhich in France is the official prefix to the name of every lawyer.\n\nMme. Rosemilly rose.", "ate them. Then, at the end of about an hour, Mme. Rosemilly begged to\ntake leave. It was decided that old Roland should accompany her home and", "âIndeed! Which of them?â\n\nâM. Marchand, who is a great friend of the Chairman of the Board.â", "And the young man went. He mounted the stairs with the fevered\ndetermination of a man who is about to fight a duel and who is in a\nfright. When he knocked at the door Pierre said:", "things. It is wrong. You are forsaking a poor old man who came here to\nbe with you. It is wrong.â", "He thought of Marowsko. The old Pole was the only person who loved\nhim well enough to feel true and keen emotion, and the doctor at once\ndetermined to go and see him.", "Jean, in his turn, held out his hand for the picture. He gazed at it for\na few minutes and then said regretfully:" ], [ "âPierre! Pierre! Pierre! Think what you are saying. You? Is it you who\ngive utterance to this infamous thing?â", "from an almost professional point of view, as though he had to legislate\nfor the future relations of certain clients after a moral disaster.\nConstant friction against Pierre had certainly become unendurable. He", "âPierre? But he is a doctor; he will make plenty of money; besides, his\nbrother will surely do something for him.â", "On leaving school, Pierre, the elder, five years older than Jean, had\nfelt a vocation to various professions and had tried half a dozen in", "âWho is there?â\n\nâI--Pierre.â\n\nâWhat do you want?â", "Pierre, in his turn, spoke his views. After all, said he, it was not his\nwealth which made the moral worth, the intellectual worth of a man. To", "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would", "âYou and I together, mate,â cried Pierre. He went down the iron ladder\nof the quay and leaped into the vessel.\n\nâWhich way is the wind?â he asked.", "His eldest son, Pierre, a man of thirty, with black whiskers trimmed\nsquare like a lawyer's, his mustache and beard shaved away, replied:\n\nâOh, not many; three or four.â", "And this thought rushed into Pierre's soul, as abrupt and violent as a\ncannon-ball rending and piercing it: âSince he knew me first, since he", "Then they were silent, and sat for some minutes without a word under the\nsolitary gas-lamp. At last Pierre began, almost in spite of himself:", "âIt was in fifty-eight, old man. Pierre was three years old. I am quite\nsure that I am not mistaken, for it was in that year that the child had", "Pierre. He did not appreciate these writers from an artistic point of\nview, but with sympathetic and responsive feeling. The doctor had often\nsmiled at his emotions which had struck him as rather silly, now he", "The little fortune his father had saved brought him in about eight\nthousand francs a year, and Pierre had often blamed himself for having", "Pierre replied haughtily:\n\nâOur notions differ. For my part, I respect nothing on earth but\nlearning and intellect; everything else is beneath contempt.â", "to Pierre rebelled against this preference. And Pierre felt as though he\ncould hear him thinking; he guessed and understood, read in his averted\neyes and in the hesitancy of his tone, the words which rose to his lips", "and dense, of well-dressed people in two opposite streams elbowing and\nmingling. Pierre, made nervous and exasperated by this bustle, made his", "Then all was silent once more.\n\nPierre had opened his eyes and was looking about him, startled to find\nhimself here, roused from his nightmare.", "When the family had gone, Pierre, alone once more, resumed his\ninvestigations in the apartments to let. After two or three hours", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history" ], [ "âA very fine fellow, all the same, is our Jean.â\n\nâYes,â replied the mother.", "Jean replied gently:\n\nâStay, mother.â\n\nShe clasped him in her arms, and her tears flowed again; then, with her\nface against his, she went on:", "They were accustomed to speak of Jean among themselves as the âlittle\none,â though he was much bigger than Pierre.", "âOh, yes, lovely.â\n\nHe understood from the tone of voice that Jean had not looked at\nanything. He went on:", "Jean approved heartily.\n\nâYour idea is really capital.â And he smiled, quite reassured, almost\nhappy, sure of success and incapable of allowing himself to be unhappy\nfor long.", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "Jean, in his turn, held out his hand for the picture. He gazed at it for\na few minutes and then said regretfully:", "âJean did this--Jean does that,â he understood their meaning and the\nhint the words conveyed.", "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "Jean had come close up to him, pale, and his voice quivering with\nexasperation at this irony levelled at the woman he loved and had\nchosen.", "Jean, who was as fair as his brother was dark, as deliberate as his\nbrother was vehement, as gentle as his brother was unforgiving, had", "Jean began to laugh.\n\nâYou argue by comparisons which seem to have been borrowed from the\nmaxims of a moralist.â", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "âOh, in fashionable circles, I dare say,â replied Jean. âBut a man does\nnot treat his family _a l'Anglaise_, and my brother has done nothing\nelse for some time past.â", "She laid her two hands on Jean's shoulders, and holding him at arm's\nlength she said:", "âMonsieur Jean.â Marechal would hold out both hands, the right hand to\none of the young men, the left to the other, as they happened to come\nin.", "Only yesterday he would have knocked at his door, have gone in, and\nsitting by the bed, would have said to Jean, scared by the sudden\nwaking:", "This boyish threat quite overcame her; she clasped Jean in a passionate\nand tender embrace. He went on:", "Jean sat down in his arm-chair in front of his writing-table loaded with\nbooks, and in a solemn, rather stilted tone, he began:", "Then Jean turned to his mother:\n\nâAnd you, mother, what are you going to do?â\n\nâNothing. I do not know.â" ], [ "âMonsieur Jean.â Marechal would hold out both hands, the right hand to\none of the young men, the left to the other, as they happened to come\nin.", "He asked himself: âWhat made this Marechal leave all his fortune to\nJean?â", "âA little likeness of Marechal which used to be in the dining-room in\nParis. I thought that Jean might be glad to have it.â\n\nRoland exclaimed:", "âMy colleague in Paris has just communicated to me the main item of his\nwill, by which he makes your son Jean--Monsieur Jean Roland--his sole\nlegatee.â", "âWere you not saying that our poor friend Marechal had left his fortune\nto my little Jean?â\n\nâYes, madame.â", "Perhaps, indeed, Marowsko believed that Jean was Marechal's son. Of\ncourse he believed it! How could he help believing it when the thing", "always have been fond of him, always have taken an interest in him,\nsince he thought of his needs. Well then--well then--why leave his whole\nfortune to Jean? No, he had never shown more marked affection for the", "Well then--well then--he must have had some strong secret reason for\nleaving everything to Jean--everything--and nothing to Pierre.", "âNo, he would not take it. Besides, this legacy is for Jean, only for\nJean. Pierre will find himself at a great disadvantage.â", "âAnd what did he die of, poor Marechal?â\n\nMaitre Lecanu did not know in the least.", "After a long silence Marowsko asked whether Jean had come definitely\ninto possession of his fortune; and then he put two or three other\nquestions vaguely referring to the same subject. His jealous devotion", "âIt belongs to you now, my little Jean, as you are his heir. We will\ntake it to your new rooms.â And when they went into the drawing-room", "But what could Jean do? The simplest thing no doubt, would be to refuse\nthe inheritance, which would then go to the poor, and to tell all", "âGood heavens! Poor Leon--our poor friend! Dear me! Dear me! Dead!â", "Marechal had of his own accord offered and lent him money, a few hundred\nfrancs perhaps, forgotten by both, and never repaid. Then this man must", "âNo; my Paris correspondent states that everything is quite clear. M.\nJean has only to sign his acceptance.â\n\nâGood. Then--then the fortune is quite clear?â", "âAll I know is,â said he, âthat dying without any direct heirs, he\nhas left the whole of his fortune--about twenty thousand francs a year", "âDid you, in Paris, know a certain M. Marechal--Leon Marechal?â", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "Jean approved heartily.\n\nâYour idea is really capital.â And he smiled, quite reassured, almost\nhappy, sure of success and incapable of allowing himself to be unhappy\nfor long." ], [ "His father, above all, amazed his eyes and his mind. That flabby, burly\nman, happy and besotted, was his own father! No, no; Jean was not in the\nleast like him.\n\nHis family!", "Jean made no reply. He was thinking of the man he had hitherto believed\nto be his father; and possibly the vague notion he had long since", "The father turned to the younger. âAnd you, Jean?â said he.\n\nJean, a tall fellow, much younger than his brother, fair, with a full\nbeard, smiled and murmured:", "Perhaps, indeed, Marowsko believed that Jean was Marechal's son. Of\ncourse he believed it! How could he help believing it when the thing", "He found his father, his mother, Jean, and Mme. Rosemilly waiting for\nhim in his cabin.\n\nâSo early!â he exclaimed.", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "But to-day he could say nothing; he could not tell Jean that he did not\nbelieve him to be their father's son. Now he must guard, must bury the", "that the child was his. He was casting obloquy on a woman. How could he\nhave done this if Jean were not his son?", "Jean replied gently:\n\nâStay, mother.â\n\nShe clasped him in her arms, and her tears flowed again; then, with her\nface against his, she went on:", "Jean had not spoken a word.\n\nWhen their guest had gone, silence fell again till father Roland clapped\nhis two hands on his younger son's shoulders, crying:", "Only yesterday he would have knocked at his door, have gone in, and\nsitting by the bed, would have said to Jean, scared by the sudden\nwaking:", "âA very fine fellow, all the same, is our Jean.â\n\nâYes,â replied the mother.", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "âWhat, is it you, Jean?â\n\nâPierre! You! What has brought you here?â", "âOh, yes, lovely.â\n\nHe understood from the tone of voice that Jean had not looked at\nanything. He went on:", "Jean in a low tone said to his mother: âLook, mother, she is close upon\nus!â And Mme. Roland uncovered her eyes, blinded with tears.", "Jean went forward holding out his hand, and when he felt his fingers\nin the old man's fatherly clasp, a strange, unforeseen emotion thrilled\nthrough him, and a sense as of parting and farewell without return.", "together and kiss each other, my little Jean, you must believe that\nthough I was your father's mistress I was yet more truly his wife, his", "his violence, from saying: âDear me! How like Jean!â And though he dared\nnot utter the terrible words, he betrayed his thought by his manner of", "suspicious. When this woman who was coming in should see the miniature\nof a man she did not know, she might perhaps at the first glance\ndiscover the likeness between this face and Jean. Then she would know" ], [ "âNo, no, it is nothing--I shall get better directly--it is nothing.â\n\nPierre had gone up to her and was looking at her steadily.", "Pierre tried to explain, to protest, to give reasons, to prove that he\ncould not have done otherwise; the Pole, enraged by his desertion, would", "But Pierre felt that he must unburden his heart. He told Jean all his\nsuspicions, his arguments, his struggles, his assurance, and the history", "And this thought rushed into Pierre's soul, as abrupt and violent as a\ncannon-ball rending and piercing it: âSince he knew me first, since he", "She murmured in a low voice, tremulous with feeling: âO Pierre, how\ncruel you are! That woman is honesty itself. Your brother could not find\na better.â", "Then they were silent, and sat for some minutes without a word under the\nsolitary gas-lamp. At last Pierre began, almost in spite of himself:", "âYou are to know that Mme. Rosemilly is about to become my wife.â\n\nPierre laughed the louder.", "She could not get out, she must come through his room. She had not come;\nthen it was because she dare not.\n\nSuddenly Pierre stamped his foot.", "âThat is out of the question, as Pierre left you here. Come, take\ncourage. I will arrange everything, I promise you, to-morrow; I will", "Pierre had retired step by step as far as the fire-place, his mouth half\nopen, his eyes glaring, a prey to one of those mad fits of passion in\nwhich a crime is committed.", "But on a sudden Pierre turned equally furious. All the accumulation of\nimpotent rage, of suppressed malignity, of rebellion choked down for so", "Pierre, who had heard, and who was beginning to be restless under the\nyoung woman's indifference, muttered to himself: âWell, the widow is", "Pierre looked at the mother who had lied to him; looked at her with\nthe concentrated fury of a son who had been cheated, robbed of his most", "He stammered out:\n\nâYou are surely not going to play me false--you?â\n\nPierre was so deeply touched that he felt inclined to embrace the old\nfellow.", "And the young man went. He mounted the stairs with the fevered\ndetermination of a man who is about to fight a duel and who is in a\nfright. When he knocked at the door Pierre said:", "Mme. Roland, much distressed, now put in her word: âCome, Pierre, what\nails you? For once it cannot hurt him. Think of what an occasion it", "When the family had gone, Pierre, alone once more, resumed his\ninvestigations in the apartments to let. After two or three hours", "long-forgotten sin. Roland was snoring. In all the house Pierre alone\nwas awake, and had heard her come in.", "âGood-bye,â replied Pierre, standing on one of the landing-planks lying\nbetween the deck of the Lorraine and the quay. He shook hands all round\nonce more, and they were gone.", "from an almost professional point of view, as though he had to legislate\nfor the future relations of certain clients after a moral disaster.\nConstant friction against Pierre had certainly become unendurable. He" ], [ "âGood-bye,â replied Pierre, standing on one of the landing-planks lying\nbetween the deck of the Lorraine and the quay. He shook hands all round\nonce more, and they were gone.", "âTumble yourselves overboard, rather, with your women and your little\nones.â And his heart ached so with pity that he went away unable to\nendure the sight.", "In that vessel which nothing could stay, that vessel which she soon\nwould see no more, was her son, her poor son. And she felt as though", "âI have nothing more to say, my child. Good-bye.â And she went towards\nthe door.\n\nHe threw his arms about her exclaiming:", "But he was going away, flying, vanishing, a tiny speck already, no more\nthan an imperceptible spot on the enormous vessel. She tried still to\ndistinguish him, but she could not.\n\nJean took her hand.", "stranger, silent and reserved. Ever since the evening when he allowed\nthe shameful secret he had discovered to escape him in his brother's\npresence, he had felt that the last ties to his kindred were broken. He", "âMake haste, jump into the carriage,â cried the father.\n\nA fly was waiting for them and took them to the outer harbour, where\nPapagris had the Pearl in readiness to put out to sea.", "The ship was almost touching the Pearl now, as tall as a mountain and\nas swift as a train. Mme. Roland, distraught and desperate, held out her", "âGood-bye, my boy.â He kissed Pierre on the whiskers and then opened the\ndoor.", "At last they were all out of the cabin, and up on deck among the crowd\nof visitors, porters, and sailors. The steam was snorting in the huge\nbelly of the vessel, which seemed to quiver with impatience.", "such imperceptible ties. He would gladly have been off that moment,\nno matter whither, feeling that everything was over, that he could not\nendure to stay with them, that his presence was torture to them, and", "And the doctor, out of all patience, went away, returned to his father's\nhouse, and went to bed. For some time afterward he heard Jean moving", "âHah!â cried his father. âA good idea! As soon as we have bid you\ngood-bye, we will make haste on board the Pearl, and look out for you", "âI am not playing you false. I have not found anything to do here, and I\nam going as medical officer on board a Transatlantic passenger boat.â", "A dreamer, a lover, a sage--a happy or a desperate man? Who was it? He\nwent forward, curious to see the face of this lonely individual, and he\nrecognised his brother.", "âYou and I together, mate,â cried Pierre. He went down the iron ladder\nof the quay and leaped into the vessel.\n\nâWhich way is the wind?â he asked.", "held these four human beings together. It was all over, all ruined. He\nhad now no mother--for he could no longer love her now that he could not", "He walked on, his heart sinking with the despairing sorrow of those who\nare doomed to exile. He no longer felt a haughty disdain and scornful", "ate them. Then, at the end of about an hour, Mme. Rosemilly begged to\ntake leave. It was decided that old Roland should accompany her home and", "The steamer, in fact, was shrinking every second, as though she were\nmelting away in the ocean. Mme. Roland, turning back to look at her," ] ]

[ "What is Gerome Roland's profesion?", "What is Pierre Roland's profession?", "What is Jean Roland's profession?", "To whom does Leon Merechal leave his fortune? ", "How does Pierre discover that his brother is illegimate?", "Where does the Roland family live after Gerome Roland retires?", "What mode of transportation does Pierre use to leave home at the end of the story?", "When does Pierre most often torture his mother by making allusions about the past?", "What is the name of Pierre and Jean's Father?", "What was their Father's occupation?", "What is the name of his wife?", "Where did they retire?", "What are the occupations of Pierre and Jean?", "What happened to the family Leon Marechal passed away? Why was Pierre upset? What was his proof?", "What happens to Pierre's Mother when he suspects her infidelity? How did this affect his life?", "What happens to Jean and his life? Did Pierre reveal his suspicions to Jean and, how Jean did he react?", "Did Jean depart from Le Havre? How?", "Why did Jean depart? Why did the family suppress the truth? What happened to Pierre?", "What is Louise's relationship to Gerome Roland?", "What is Pierre's relationship to Gerome?", "What is Jean's relationship to Pierre?", "What is Gerome's profession?", "What is Pierre's profession?", "What is Jean's profession?", "What does Leon Marechal leave to Jean upon dying?", "Who is discovered to be Jean's actual father?", "How does Pierre treat Louise after learning of Louise's infidelity?", "By the end of the tale who is forced to exit the family on an ocean liner?" ]

[ [ "Gerome is a retired jeweller.", "Jeweller." ], [ "Pierre is a doctor.", "He's a doctor." ], [ "Jean is a lawyer.", "a jeweller" ], [ "Merechal leaves his fortune to Jean Roland.", "Jean." ], [ "Pierre reads old letters he finds that his mother and Leon Merechal had sent to each other.", "When a decease family member left Jean an inheritance. " ], [ "The family lives in LeHavre.", "Le Havre." ], [ "Pierre leaves on an oceanliner.", "And Oceanliner" ], [ "Mostly during family meals.", "During family meals." ], [ "Gerome Roland", "Gerome Roland." ], [ "jeweller", "Jeweller." ], [ "Louise", "Gerome's wife is named Louise." ], [ "Le Havre", "Le Havre" ], [ "Pierre was a doctor. Jean was a lawyer.", "Pierre is a doctor and Jean is a lawyer." ], [ "Leon left his inheritance to Jean only. Pierre suspected Jean's illegitimacy. Pierre found old letters between his Mother and Leon.", "It is discovered that Jean is illegitimate, which is collaborated by letters found between their mother and Leon." ], [ "He tortures her with his suspicions during family meals and causes anguish. Pierre's life became worse.", "He tortures his mother with allusions to the past. His external appearance changes." ], [ "Jean's career and love life improve. Pierre was jealous of Jean and revealed the truth. jean offers his Mother love and protection.", "His life gets better after he inherits money. Jean loves his mother, even though Jean is her illegitimate son." ], [ "Jean departed on an oceanliner.", "Jean did not depart from Le Havre." ], [ "Jean's illegitimacy became known. They suppressed the truth for the welfare of the family and, for it to continue. Pierre was expelled from the family.", "Jean does not leave, Pierre does and they maintain the lie in order to avoid scandal and to keep the inheritance their current situation entitles them to" ], [ "Louise is Gerome's wife.", "He's a son of Roland's" ], [ "Pierre is Gerome's son.", "He's Gerome's son." ], [ "Jean is Pierre's brother.", "He is Pierre's half-brother." ], [ "Gerome is a jeweller.", "Jeweller." ], [ "Pierre is a doctor.", "He's a doctor." ], [ "Jean is a lawyer.", "Lawyer." ], [ "An inheritance and fortune.", "his inheritance" ], [ "Leon Marechal.", "Leon Marechal." ], [ "Pierre constantly tortures his mother with insinuations.", "He tortures her with allusions to the past." ], [ "Pierre.", "Pierre" ] ]

eea7bb57b85ae2610235969115a78145aadd3e3d

test

[ [ "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "I have nothing to do with that side of Mrs Warren's life, and never had.\nShe has never spoken to me about it; and of course I have never spoken", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "MRS WARREN. Yes; or any other point of view. What is any respectable\ngirl brought up to do but to catch some rich man's fancy and get the", "lots of women who had got into trouble. But they were all nice women.\nThats what makes the real difference. Mrs Warren, no doubt, has her", "MRS WARREN. My own opinions and my own way of life! Listen to her\ntalking! Do you think I was brought up like you? able to pick and choose", "MRS WARREN [indignantly] Of course not. What sort of mother do you take\nme for! How could you keep your self-respect in such starvation", "[Mrs Warren comes in, looking apprehensively around for Vivie. She has\ndone her best to make herself matronly and dignified. The brilliant hat", "of an immoral life for poor women that has ever been penned.\" Happily\nthe St James Gazette here speaks in its haste. Mrs Warren's defence of", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "MRS WARREN. Yes, saving money. But where can a woman get the money to\nsave in any other business? Could y o u save out of four shillings a", "MRS WARREN. Of course it's worth while to a poor girl, if she can resist\ntemptation and is good-looking and well conducted and sensible. It's far\nbetter than any other employment open to her.", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "MRS WARREN. Why, of course. Everybody dislikes having to work and make\nmoney; but they have to do it all the same. I'm sure I've often pitied", "CROFTS. Of course not.\n\nFRANK [with enchanting placidity] Is that so, Mrs Warren?", "MRS WARREN. Nonsense! What would a young girl like her be doing with\nsuch things! Never mind: it don't matter. I wonder how she passes her\ntime here! I'd a good deal rather be in Vienna.", "MRS WARREN. Well, I like enough to eat. But a little of that cold\nbeef and cheese and lettuce goes a long way. [With a sigh of only half\nrepletion she sits down lazily on the settle].", "Mrs Warren's Profession has been performed at last, after a delay of\nonly eight years; and I have once more shared with Ibsen the triumphant" ], [ "the whole guilt of Mrs Warren's profession on Mrs Warren herself. Now\nthe whole aim of my play is to throw that guilt on the British public", "of an immoral life for poor women that has ever been penned.\" Happily\nthe St James Gazette here speaks in its haste. Mrs Warren's defence of", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "laugh at them if they did. So well have the rescuers learnt that Mrs\nWarren's defence of herself and indictment of society is the thing that", "Many friendly critics are too little skilled in social questions and\nmoral discussions to be able to conceive that respectable gentlemen like\nthemselves, who would instantly call the police to remove Mrs Warren if", "for Mrs Warren to choose what is, according to her lights, the least\nimmoral alternative, it is none the less infamous of society to offer\nsuch alternatives. For the alternatives offered are not morality and", "MRS WARREN. My own opinions and my own way of life! Listen to her\ntalking! Do you think I was brought up like you? able to pick and choose", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "MRS WARREN. Nonsense! What would a young girl like her be doing with\nsuch things! Never mind: it don't matter. I wonder how she passes her\ntime here! I'd a good deal rather be in Vienna.", "MRS WARREN. Yes; or any other point of view. What is any respectable\ngirl brought up to do but to catch some rich man's fancy and get the", "gentlemen to the condition of the city they live in, provided they\nlive at the west end of it on money earned by someone else's labor. The\nnotion that prostitution is created by the wickedness of Mrs Warren", "introduction of this resistance produces so strong an impression of\nheartlessness nowadays that a distinguished critic has summed up the\nimpression made on him by Mrs Warren's Profession, by declaring that", "profession also. So there are in every profession: the error lies in\nsupposing that every member of them sounds these depths. I sit on a\npublic body which prosecutes Mrs Warren zealously; and I can assure Mr", "The notion that Mrs Warren must be a fiend is only an example of the\nviolence and passion which the slightest reference to sex arouses in", "VIVIE. It would not matter if you did: you would not succeed. [Mrs\nWarren winces, deeply hurt by the implied indifference towards her", "her face in her hands]. Don't do that, mother: you know you don't feel\nit a bit. [Mrs Warren takes down her hands and looks up deplorably", "CROFTS [aggressively] What harm are they doing you?\n\nMRS WARREN. Well, harm or not, I don't like it.", "childhood by their father's profession. These critics must know, too,\nfrom history if not from experience, that women as unscrupulous as Mrs\nWarren have distinguished themselves as administrators and rulers, both", "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant" ], [ "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "VIVIE. Yes. Fifty pounds. Perhaps you don't know how it was. Mrs Latham,\nmy tutor at Newnham, told my mother that I could distinguish myself in", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "VIVIE. Everything was settled twenty minutes after I arrived here.\nHonoria has found the business too much for her this year; and she was", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "Miss Vivie: where would your Newnhams and Girtons be without it?", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "VIVIE. Everybody has some choice, mother. The poorest girl alive may\nnot be able to choose between being Queen of England or Principal", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "VIVIE. I shall set up chambers in the City, and work at actuarial\ncalculations and conveyancing. Under cover of that I shall do some law,", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "VIVIE. Well, anyhow, she did; and nothing would please my mother but\nthat I should do the same thing. I said flatly that it was not worth" ], [ "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "but do not know how to resist it. Vivie stands at the door looking in\nat them]. Can you squeeze past to that corner, Mr Praed: it's rather a", "CROFTS [with brutal good humor, as if he liked her pluck] Well thats not\nwhat I came to say. [Sitting down beside her] Now listen, Miss Vivie.", "affectionate intention. Vivie, neither understanding this nor concerning\nherself about it, goes on calmly] Mother: you don't at all know the sort", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "PRAED [rising also] Well, as you are, at all events, old enough to be\nher father, I don't mind agreeing that we both regard Miss Vivie in a", "[The cottage doors open whilst he is reciting; and Vivie and Praed\ncome in. He breaks off. Praed puts his hat on the dresser. There is an", "THE GENTLEMAN [daunted and conciliatory] I'm afraid I appear intrusive.\nMy name is Praed. [Vivie at once throws her books upon the chair, and", "VIVIE [studying him curiously] I suppose you really think youre getting\non famously with me.\n\nCROFTS. Well, I hope I may flatter myself that you think better of me\nthan you did at first.", "MRS WARREN. You think I want to force that played-out old sot on you! I\ndon't, Vivie: on my oath I don't.", "Frank places a chair near Vivie, and drops lazily and carelessly into\nit, talking at her over his shoulder.]", "VIVIE. So do I. Sit down, Mr Praed. [This invitation she gives with a\ngenial peremptoriness, his anxiety to please her clearly striking her as", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye." ], [ "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "affectionate intention. Vivie, neither understanding this nor concerning\nherself about it, goes on calmly] Mother: you don't at all know the sort", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "FRANK. The babes in the wood: Vivie and little Frank. [He nestles\nagainst her like a weary child]. Lets go and get covered up with leaves.", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "CROFTS [with brutal good humor, as if he liked her pluck] Well thats not\nwhat I came to say. [Sitting down beside her] Now listen, Miss Vivie.", "retreating figure of Crofts. Vivie seizes the muzzle and pulls it round\nagainst her breast].", "FRANK. That revelation was supposed to bring about a complete change in\nthe nature of our feeling for one another. It placed us on the footing\nof brother and sister.\n\nVIVIE. Yes.", "VIVIE. I believe it is I who will not be able to sleep now. [She goes\nto the dresser and lights the candle. Then she extinguishes the lamp,", "FRANK [enthusiastically] What! Do you know Vivie? Isn't she a jolly girl?\nI'm teaching her to shoot with this [putting down the rifle]. I'm so", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "FRANK. No fear of that, Viv: _she_ won't ever be deserted. [He sits on\nthe bench beside her].\n\nVIVIE. But I am to desert her, I suppose.", "VIVIE. It does not matter. I suppose you understand that when we leave\nhere today our acquaintance ceases.\n\nCROFTS. Why? Is it for helping your mother?", "PRAED [rising also] Well, as you are, at all events, old enough to be\nher father, I don't mind agreeing that we both regard Miss Vivie in a" ], [ "FRANK. That revelation was supposed to bring about a complete change in\nthe nature of our feeling for one another. It placed us on the footing\nof brother and sister.\n\nVIVIE. Yes.", "VIVIE. I think brother and sister would be a very suitable relation for\nus.\n\nFRANK. You really mean that?", "FRANK. Really and truly?\n\nVIVIE. Yes, really and truly.", "FRANK. The babes in the wood: Vivie and little Frank. [He nestles\nagainst her like a weary child]. Lets go and get covered up with leaves.", "VIVIE. What did he say?\n\nFRANK. He said he was sure there must be some mistake.\n\nVIVIE. Do you believe him?", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "VIVIE [to Frank] Is that your father, Frank? I do so want to meet him.", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE. What a lot, Frank!\n\nFRANK. What a crew!", "FRANK. No fear of that, Viv: _she_ won't ever be deserted. [He sits on\nthe bench beside her].\n\nVIVIE. But I am to desert her, I suppose.", "FRANK. Have you ever had a brother?\n\nVIVIE. No.", "FRANK. Perhaps Vivie's got some.", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE [bitingly] The same feeling, Frank, that brought your father to my\nmother's feet. Is that it?", "FRANK [calling] Come in. It's not locked.\n\n[Vivie comes in, in her hat and jacket. She stops and stares at him.]", "Frank places a chair near Vivie, and drops lazily and carelessly into\nit, talking at her over his shoulder.]", "FRANK. She thinks your enthusiasm frivolous, Praddy. She's had ever such\na serious call.\n\nVIVIE [sharply] Hold your tongue, Frank. Don't be silly.", "VIVIE. Why damn, dear?\n\nFRANK [whispering] Sh! Here's this brute Crofts. [He sits farther away\nfrom her with an unconcerned air].", "VIVIE. The dear little boy with his dowdy little girl.\n\nFRANK. Ever so peaceful, and relieved from the imbecility of the little\nboy's father and the questionableness of the little girl's--", "FRANK [enthusiastically] What! Do you know Vivie? Isn't she a jolly girl?\nI'm teaching her to shoot with this [putting down the rifle]. I'm so" ], [ "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "MRS WARREN. Nonsense! What would a young girl like her be doing with\nsuch things! Never mind: it don't matter. I wonder how she passes her\ntime here! I'd a good deal rather be in Vienna.", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "CROFTS. Of course not.\n\nFRANK [with enchanting placidity] Is that so, Mrs Warren?", "gentlemen to the condition of the city they live in, provided they\nlive at the west end of it on money earned by someone else's labor. The\nnotion that prostitution is created by the wickedness of Mrs Warren", "lots of women who had got into trouble. But they were all nice women.\nThats what makes the real difference. Mrs Warren, no doubt, has her", "MRS WARREN. Gone out to have a pipe. [The clergyman takes his hat from\nthe table, and joins Mrs Warren at the fireside. Meanwhile, Vivie comes", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "of an immoral life for poor women that has ever been penned.\" Happily\nthe St James Gazette here speaks in its haste. Mrs Warren's defence of", "VIVIE [slowly] You are certain of that, at _least_. Ah! You mean that\nthat is all you are certain of. [Thoughtfully] I see. [Mrs Warren buries", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "MRS WARREN. My own opinions and my own way of life! Listen to her\ntalking! Do you think I was brought up like you? able to pick and choose", "her face in her hands]. Don't do that, mother: you know you don't feel\nit a bit. [Mrs Warren takes down her hands and looks up deplorably", "MRS WARREN. Well, George, what do you think of her?\n\nCROFTS [ruefully] She has a powerful fist. Did you shake hands with her,\nPraed?", "MRS WARREN. Yes; and a very good aunt to have, too. She's living down\nat Winchester now, close to the cathedral, one of the most respectable", "MRS WARREN. Yes, saving money. But where can a woman get the money to\nsave in any other business? Could y o u save out of four shillings a", "REV. S. [mooning hospitably at them] I shall be pleased, I'm sure, if\nSir George and Mrs Warren really care about it.\n\nMRS WARREN. Oh, come along and get it over.", "MRS WARREN. But you don't know all that that means; youre too young. It\nmeans a new dress every day; it means theatres and balls every night;", "MRS WARREN [indignantly] Of course not. What sort of mother do you take\nme for! How could you keep your self-respect in such starvation" ], [ "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "[Mrs Warren, silenced for a moment, looks forlornly at Vivie, who waits,\nsecretly hoping that the combat is over. But the cunning expression", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "PRAED [to Mrs Warren] I really should be very sorry to cause you\nunnecessary pain; but I think perhaps you had better not wait. The fact\nis--[Vivie is heard at the inner door].", "FRANK [to Mrs Warren] Goodbye: youd ever so much better have taken my\nadvice. [He shakes hands with her. Then airily to Vivie] Byebye, Viv.", "VIVIE [slowly] You are certain of that, at _least_. Ah! You mean that\nthat is all you are certain of. [Thoughtfully] I see. [Mrs Warren buries", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. It would not matter if you did: you would not succeed. [Mrs\nWarren winces, deeply hurt by the implied indifference towards her", "MRS WARREN. He ought to have his tongue cut out. But I thought it was\nended: you said you didn't mind.\n\nVIVIE [steadfastly] Excuse me: I _do_ mind.", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "CROFTS [contemptuously] Yah! [He turns away again].\n\nFRANK [rising] Mrs Warren: I cannot give my Vivie up, even for your\nsake.", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "VIVIE [kindly] Won't you shake hands?\n\nMRS WARREN [after looking at her fiercely for a moment with a savage\nimpulse to strike her] No, thank you. Goodbye.", "VIVIE [looking across at her without raising her head from her book] No.\nWho are you? What are you?\n\nMRS WARREN [rising breathless] You young imp!" ], [ "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "VIVIE. Yes: they object to the smell in the office; and we've had to take\nto cigarets. See! [She opens the box and takes out a cigaret, which she", "FRANK. No fear of that, Viv: _she_ won't ever be deserted. [He sits on\nthe bench beside her].\n\nVIVIE. But I am to desert her, I suppose.", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE [blowing the wreath decisively away, and sitting straight up] Yes.\nThese two days have given me back all my strength and self-possession. I\nwill never take a holiday again as long as I live.", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "FRANK [to Mrs Warren] Goodbye: youd ever so much better have taken my\nadvice. [He shakes hands with her. Then airily to Vivie] Byebye, Viv.", "[Frank looks quizzically at her; puts his note carefully on the\nink-bottle, so that Vivie cannot fail to find it when next she dips her\npen; then rises and devotes his attention entirely to her.]", "FRANK. That revelation was supposed to bring about a complete change in\nthe nature of our feeling for one another. It placed us on the footing\nof brother and sister.\n\nVIVIE. Yes.", "CROFTS [contemptuously] Yah! [He turns away again].\n\nFRANK [rising] Mrs Warren: I cannot give my Vivie up, even for your\nsake.", "VIVIE. Pah! It's meaner than stealing it. No: I'm not coming. [She sits\ndown to work at the table, with her back to the glass door, and begins\nturning over the papers].", "FRANK. Really and truly?\n\nVIVIE. Yes, really and truly.", "VIVIE. What did he say?\n\nFRANK. He said he was sure there must be some mistake.\n\nVIVIE. Do you believe him?", "FRANK. Because she's an old wretch, Viv. If you ever put your arm around\nher waist in my presence again, I'll shoot myself there and then as a\nprotest against an exhibition which revolts me.", "VIVIE. Not at all: I am very much obliged to you for being so definite\nand business-like. I quite appreciate the offer: the money, the", "VIVIE. Wait a moment: I've not done. Tell me why you continue your\nbusiness now that you are independent of it. Your sister, you told me,\nhas left all that behind her. Why don't you do the same?", "FRANK. She thinks your enthusiasm frivolous, Praddy. She's had ever such\na serious call.\n\nVIVIE [sharply] Hold your tongue, Frank. Don't be silly.", "MRS WARREN. Oh, get out with your nonsense. [In a low voice] Where's\nVivie?\n\n[Frank points expressively to the door of the inner room, but says\nnothing.]" ], [ "Grein that she is often leniently dealt with because she has conducted\nher business \"respectably\" and held herself above its vilest branches.\nThe degrees in infamy are as numerous and as scrupulously observed as", "gentlemen to the condition of the city they live in, provided they\nlive at the west end of it on money earned by someone else's labor. The\nnotion that prostitution is created by the wickedness of Mrs Warren", "lies to silence.\" Fortunately, Shaw cannot be silenced. \"The harlot's\ncry from street to street\" is louder than the voices of all the kings.", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "lots of women who had got into trouble. But they were all nice women.\nThats what makes the real difference. Mrs Warren, no doubt, has her", "CROFTS. Of course not.\n\nFRANK [with enchanting placidity] Is that so, Mrs Warren?", "Baronet, the chief shareholder. Premises at Brussels, Ostend, Vienna,\nand Budapest. Managing director: Mrs Warren\"; and now don't let us forget", "parson takes Mrs Warren; and they pass into the kitchen. Praed and\nCrofts follow. All except Praed clearly disapprove of the arrangement,", "at the house. Frank, in an ecstasy of dissimulation, turns gaily to Mrs\nWarren, exclaiming] Ever so delighted to see you, Mrs Warren. This quiet\nold rectory garden becomes you perfectly.", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "MRS WARREN [on the alert at once] Now see here, George: what are you\nup to about that girl? I've been watching your way of looking at her.\nRemember: I know you and what your looks mean.", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "prostitution--that they are the vices and crimes of a nation, and\nnot merely its misfortunes--is (to put it as politely as possible) a\nhopelessly Private Person.", "VIVIE [quietly] In one of your own houses.", "certain of his way. He looks over the palings; takes stock of the place;\nand sees the young lady.]", "VIVIE [looking across at her without raising her head from her book] No.\nWho are you? What are you?\n\nMRS WARREN [rising breathless] You young imp!", "profession also. So there are in every profession: the error lies in\nsupposing that every member of them sounds these depths. I sit on a\npublic body which prosecutes Mrs Warren zealously; and I can assure Mr", "MRS WARREN. Well, George, what do you think of her?\n\nCROFTS [ruefully] She has a powerful fist. Did you shake hands with her,\nPraed?", "Everybody will, I hope, admit that this state of things is intolerable;\nthat the subject of Mrs Warren's profession must be either tapu", "MRS WARREN. Oh, get out with your nonsense. [In a low voice] Where's\nVivie?\n\n[Frank points expressively to the door of the inner room, but says\nnothing.]" ], [ "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "MRS WARREN. Oh, get out with your nonsense. [In a low voice] Where's\nVivie?\n\n[Frank points expressively to the door of the inner room, but says\nnothing.]", "MRS WARREN [correcting him quickly in a loud whisper] Tch! Nonsense! Mrs\nWarren: don't you see my daughter there?\n\n\n\n\nACT II", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE [looking across at her without raising her head from her book] No.\nWho are you? What are you?\n\nMRS WARREN [rising breathless] You young imp!", "MRS WARREN [lapsing recklessly into her dialect] We're mother and\ndaughter. I want my daughter. I've a right to you. Who is to care for me", "MRS WARREN. Nonsense! What would a young girl like her be doing with\nsuch things! Never mind: it don't matter. I wonder how she passes her\ntime here! I'd a good deal rather be in Vienna.", "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "MRS WARREN. Vivie: do you know how rich I am?\n\nVIVIE. I have no doubt you are very rich.", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "MRS WARREN. Yes; or any other point of view. What is any respectable\ngirl brought up to do but to catch some rich man's fancy and get the", "MRS WARREN. Oh, I'll sit down: don't you be afraid. [She plants her chair\nfarther forward with brazen energy, and sits down. Vivie is impressed in", "MRS WARREN. And youll be good to your poor old mother for it, won't you?\n\nVIVIE. I will, dear. [Kissing her] Good-night.", "MRS WARREN. Thank you. Your love's a pretty cheap commodity, my lad.\nIf you have no means of keeping a wife, that settles it; you can't have\nVivie.", "MRS WARREN [on the alert at once] Now see here, George: what are you\nup to about that girl? I've been watching your way of looking at her.\nRemember: I know you and what your looks mean.", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "MRS WARREN [with a perfunctory glance at the scene] Yes, dear; but take\ncare you don't catch your death of cold from the night air.\n\nVIVIE [contemptuously] Nonsense.", "MRS WARREN [within] Here, Vivie: come on you too, child. You must be\nfamished. [She enters, followed by Crofts, who holds the door open with", "MRS WARREN [screaming] Listen to her! listen to how she spits on her\nmother's grey hairs! Oh, may you live to have your own daughter tear and" ], [ "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE. Yes. Fifty pounds. Perhaps you don't know how it was. Mrs Latham,\nmy tutor at Newnham, told my mother that I could distinguish myself in", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "Miss Vivie: where would your Newnhams and Girtons be without it?", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. Everything was settled twenty minutes after I arrived here.\nHonoria has found the business too much for her this year; and she was", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "VIVIE. Everybody has some choice, mother. The poorest girl alive may\nnot be able to choose between being Queen of England or Principal", "VIVIE. Culture! My dear Mr Praed: do you know what the mathematical\ntripos means? It means grind, grind, grind for six to eight hours a day\nat mathematics, and nothing but mathematics.", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "VIVIE. Well, anyhow, she did; and nothing would please my mother but\nthat I should do the same thing. I said flatly that it was not worth", "VIVIE. Don't suppose anything, Mr Praed. I hardly know my mother. Since\nI was a child I have lived in England, at school or at college, or with", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]" ], [ "VIVIE. Everything was settled twenty minutes after I arrived here.\nHonoria has found the business too much for her this year; and she was", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE. Yes. Fifty pounds. Perhaps you don't know how it was. Mrs Latham,\nmy tutor at Newnham, told my mother that I could distinguish myself in", "VIVIE. Well, I shall win because I want nothing but my fare to London\nto start there to-morrow earning my own living by devilling for Honoria.", "VIVIE. Very well: sit down in Honoria's chair and talk here. I like ten\nminutes chat after tea. [He murmurs]. No use groaning: I'm inexorable.", "VIVIE. I shall set up chambers in the City, and work at actuarial\ncalculations and conveyancing. Under cover of that I shall do some law,", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "VIVIE. Yes I have. Last May I spent six weeks in London with Honoria\nFraser. Mamma thought we were doing a round of sightseeing together; but", "VIVIE. Culture! My dear Mr Praed: do you know what the mathematical\ntripos means? It means grind, grind, grind for six to eight hours a day\nat mathematics, and nothing but mathematics.", "VIVIE. Well, anyhow, she did; and nothing would please my mother but\nthat I should do the same thing. I said flatly that it was not worth", "[Praed goes. Vivie, composed and extremely grave, sits down in Honoria's\nchair, and waits for her mother to speak. Mrs Warren, dreading a pause,\nloses no time in beginning.]", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "Miss Vivie: where would your Newnhams and Girtons be without it?", "CROFTS [with brutal good humor, as if he liked her pluck] Well thats not\nwhat I came to say. [Sitting down beside her] Now listen, Miss Vivie." ], [ "REV. S. Nonsense, sir. I am Sir George Crofts' host. I must talk to him\nabout something; and he has only one subject. Where is Mr Praed now?", "PRAED [recovering himself with an effort and speaking gently and\ngravely] Now listen to me, my dear Crofts. [He sits down again].", "VIVIE [striding to the gate and opening it for him] Come in, Mr Praed.\n[He comes in]. Glad to see you. [She proffers her hand and takes his", "VIVIE. So do I. Sit down, Mr Praed. [This invitation she gives with a\ngenial peremptoriness, his anxiety to please her clearly striking her as", "PRAED [rising indignantly] Really, Crofts--!\n\nCROFTS. No offence, Praed. Quite allowable as between two men of the\nworld.", "VIVIE. Oh, do you think Mr Praed does not know all about my mother?\n[Turning on Praed] You had better have told me that morning, Mr Praed.\nYou are very old fashioned in your delicacies, after all.", "CROFTS [furtively] I say, Praed.\n\nPRAED. Yes.\n\nCROFTS. I want to ask you a rather particular question.", "PRAED [approving] Ah!! [He sits down, much relieved].\n\nVIVIE [continuing]--to the Opera--\n\nPRAED [still more pleased] Good!", "CROFTS [putting his head out of the window] I say, Praed: what are you\nabout? Do come along. [He disappears].", "VIVIE. It's Praed. He's going to Italy and wants to say goodbye. I asked\nhim to call this afternoon. Go and let him in.", "MRS WARREN [to Praed, looking at Crofts] Just look at him, Praddy: he\nlooks cheerful, don't he? He's been worrying my life out these three", "REV. S. Yes: it is indeed. Frank will take you for a walk, Mr Praed,\nif you like. I'll ask you to excuse me: I must take the opportunity", "THE GENTLEMAN [daunted and conciliatory] I'm afraid I appear intrusive.\nMy name is Praed. [Vivie at once throws her books upon the chair, and", "[Praed shakes his head bodingly, and is following Crofts when he is\nhailed by a young gentleman who has just appeared on the common, and is", "VIVIE. You have had a long walk and are hungry, Mr Praed: you shall have\nyour supper at once. I can wait myself. I want one person to wait with\nme. Frank: are you hungry?", "PRAED. What difference can that make? We take her on her own merits.\nWhat does it matter who her father was?\n\nCROFTS [suspiciously] Then you know who he was?", "[Praed, dressed for travelling, comes in, in high spirits.]", "[The cottage doors open whilst he is reciting; and Vivie and Praed\ncome in. He breaks off. Praed puts his hat on the dresser. There is an", "PRAED. Very good. [He goes into the cottage].", "VIVIE. Here they are. [Coming to them as they enter the garden] How do,\nmater? Mr Praed's been here this half hour, waiting for you." ], [ "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "MRS WARREN. Gone out to have a pipe. [The clergyman takes his hat from\nthe table, and joins Mrs Warren at the fireside. Meanwhile, Vivie comes", "MRS WARREN. Oh, get out with your nonsense. [In a low voice] Where's\nVivie?\n\n[Frank points expressively to the door of the inner room, but says\nnothing.]", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "Mrs Warren pretends to laugh, but looks after him with perceptible\nconcern. Then, she whispers to Crofts] Whats the matter with him? What\ndoes he take it like that for?", "CROFTS. Of course not.\n\nFRANK [with enchanting placidity] Is that so, Mrs Warren?", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "MRS WARREN. Yes, dearie. [She laughs indulgently at Praed's gravity, and\npats him on the cheek as she passes him on her way to the porch]. Don't", "parson takes Mrs Warren; and they pass into the kitchen. Praed and\nCrofts follow. All except Praed clearly disapprove of the arrangement,", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "MRS WARREN. Well, George, what do you think of her?\n\nCROFTS [ruefully] She has a powerful fist. Did you shake hands with her,\nPraed?", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "MRS WARREN. Yes, Heaven forgive me, it's true; and you are the only\none that ever turned on me. Oh, the injustice of it! the injustice! the", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "FRANK. So I have.\n\nMRS WARREN [turning on him with a sharp note of alarm in her voice]\nWhat!\n\nFRANK. Vivie and I are ever such chums.", "FRANK [grimacing] Sorry. [He goes for his cap and rifle. Mrs Warren\nreturns. He takes her hand] Good-night, dear Mrs Warren. [He kisses her", "[Mrs Warren appears on the threshold, and is immediately transfixed,\nrecognizing the clergyman.]\n\nVIVIE [continuing] Let me introduce--", "REV. S. [mooning hospitably at them] I shall be pleased, I'm sure, if\nSir George and Mrs Warren really care about it.\n\nMRS WARREN. Oh, come along and get it over.", "MRS WARREN [on the alert at once] Now see here, George: what are you\nup to about that girl? I've been watching your way of looking at her.\nRemember: I know you and what your looks mean.", "MRS WARREN. Yes; or any other point of view. What is any respectable\ngirl brought up to do but to catch some rich man's fancy and get the" ], [ "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "VIVIE [looking across at her without raising her head from her book] No.\nWho are you? What are you?\n\nMRS WARREN [rising breathless] You young imp!", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "VIVIE [slowly] You are certain of that, at _least_. Ah! You mean that\nthat is all you are certain of. [Thoughtfully] I see. [Mrs Warren buries", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "CROFTS [with brutal good humor, as if he liked her pluck] Well thats not\nwhat I came to say. [Sitting down beside her] Now listen, Miss Vivie.", "MRS WARREN. Thank you. Your love's a pretty cheap commodity, my lad.\nIf you have no means of keeping a wife, that settles it; you can't have\nVivie.", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "MRS WARREN. You think I want to force that played-out old sot on you! I\ndon't, Vivie: on my oath I don't.", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "MRS WARREN [within] Here, Vivie: come on you too, child. You must be\nfamished. [She enters, followed by Crofts, who holds the door open with", "affectionate intention. Vivie, neither understanding this nor concerning\nherself about it, goes on calmly] Mother: you don't at all know the sort", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye." ], [ "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE. Who was my father?\n\nMRS WARREN. You don't know what youre asking. I can't tell you.", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE [to Frank] Is that your father, Frank? I do so want to meet him.", "VIVIE. What did he say?\n\nFRANK. He said he was sure there must be some mistake.\n\nVIVIE. Do you believe him?", "PRAED [rising also] Well, as you are, at all events, old enough to be\nher father, I don't mind agreeing that we both regard Miss Vivie in a", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE. Your partner. My mother.\n\nCROFTS [black with rage] The old--\n\nVIVIE. Just so.", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "VIVIE. The dear little boy with his dowdy little girl.\n\nFRANK. Ever so peaceful, and relieved from the imbecility of the little\nboy's father and the questionableness of the little girl's--", "affectionate intention. Vivie, neither understanding this nor concerning\nherself about it, goes on calmly] Mother: you don't at all know the sort", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "THE GENTLEMAN [daunted and conciliatory] I'm afraid I appear intrusive.\nMy name is Praed. [Vivie at once throws her books upon the chair, and", "VIVIE. I believe it is I who will not be able to sleep now. [She goes\nto the dresser and lights the candle. Then she extinguishes the lamp," ], [ "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "CROFTS [with brutal good humor, as if he liked her pluck] Well thats not\nwhat I came to say. [Sitting down beside her] Now listen, Miss Vivie.", "VIVIE [looking across at her without raising her head from her book] No.\nWho are you? What are you?\n\nMRS WARREN [rising breathless] You young imp!", "VIVIE. Your partner. My mother.\n\nCROFTS [black with rage] The old--\n\nVIVIE. Just so.", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "CROFTS [contemptuously] Yah! [He turns away again].\n\nFRANK [rising] Mrs Warren: I cannot give my Vivie up, even for your\nsake.", "VIVIE. It would not matter if you did: you would not succeed. [Mrs\nWarren winces, deeply hurt by the implied indifference towards her", "VIVIE. Wait a moment: I've not done. Tell me why you continue your\nbusiness now that you are independent of it. Your sister, you told me,\nhas left all that behind her. Why don't you do the same?", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "VIVIE [fiercely] No. I hate you. [She takes a couple of books and some\npaper from the writing-table, and sits down with them at the middle\ntable, at the end next the fireplace].", "VIVIE. What did he say?\n\nFRANK. He said he was sure there must be some mistake.\n\nVIVIE. Do you believe him?" ], [ "VIVIE. I shall set up chambers in the City, and work at actuarial\ncalculations and conveyancing. Under cover of that I shall do some law,", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "VIVIE. Yes: they object to the smell in the office; and we've had to take\nto cigarets. See! [She opens the box and takes out a cigaret, which she", "VIVIE. Everything was settled twenty minutes after I arrived here.\nHonoria has found the business too much for her this year; and she was", "VIVIE. No: I am my mother's daughter. I am like you: I must have work,\nand must make more money than I spend. But my work is not your work, and", "VIVIE. Well, I shall win because I want nothing but my fare to London\nto start there to-morrow earning my own living by devilling for Honoria.", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. Wait a moment: I've not done. Tell me why you continue your\nbusiness now that you are independent of it. Your sister, you told me,\nhas left all that behind her. Why don't you do the same?", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE. Not at all: I am very much obliged to you for being so definite\nand business-like. I quite appreciate the offer: the money, the", "I always thought that it oughtn't to be. It _can't_ be right, Vivie, that\nthere shouldn't be better opportunities for women. I stick to that: it's" ], [ "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "MRS WARREN. Yes; or any other point of view. What is any respectable\ngirl brought up to do but to catch some rich man's fancy and get the", "MRS WARREN [indignantly] Of course not. What sort of mother do you take\nme for! How could you keep your self-respect in such starvation", "lots of women who had got into trouble. But they were all nice women.\nThats what makes the real difference. Mrs Warren, no doubt, has her", "MRS WARREN. My own opinions and my own way of life! Listen to her\ntalking! Do you think I was brought up like you? able to pick and choose", "of an immoral life for poor women that has ever been penned.\" Happily\nthe St James Gazette here speaks in its haste. Mrs Warren's defence of", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "MRS WARREN. Of course it's worth while to a poor girl, if she can resist\ntemptation and is good-looking and well conducted and sensible. It's far\nbetter than any other employment open to her.", "MRS WARREN. Yes, saving money. But where can a woman get the money to\nsave in any other business? Could y o u save out of four shillings a", "gentlemen to the condition of the city they live in, provided they\nlive at the west end of it on money earned by someone else's labor. The\nnotion that prostitution is created by the wickedness of Mrs Warren", "Mrs Warren's Profession has been performed at last, after a delay of\nonly eight years; and I have once more shared with Ibsen the triumphant", "I have nothing to do with that side of Mrs Warren's life, and never had.\nShe has never spoken to me about it; and of course I have never spoken", "Mrs Warren's Profession is no mere theorem, but a play of instincts\nand temperaments in conflict with each other and with a flinty social\nproblem that never yields an inch to mere sentiment.", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "her face in her hands]. Don't do that, mother: you know you don't feel\nit a bit. [Mrs Warren takes down her hands and looks up deplorably", "bottles, and for Mrs Warren to be a beast and a demon. All this is not\nonly not natural, but not dramatic. A man's profession only enters into", "profession also. So there are in every profession: the error lies in\nsupposing that every member of them sounds these depths. I sit on a\npublic body which prosecutes Mrs Warren zealously; and I can assure Mr" ], [ "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE. Yes. Fifty pounds. Perhaps you don't know how it was. Mrs Latham,\nmy tutor at Newnham, told my mother that I could distinguish myself in", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "Miss Vivie: where would your Newnhams and Girtons be without it?", "VIVIE. Everything was settled twenty minutes after I arrived here.\nHonoria has found the business too much for her this year; and she was", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. Don't suppose anything, Mr Praed. I hardly know my mother. Since\nI was a child I have lived in England, at school or at college, or with", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "VIVIE. Culture! My dear Mr Praed: do you know what the mathematical\ntripos means? It means grind, grind, grind for six to eight hours a day\nat mathematics, and nothing but mathematics.", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "VIVIE. Everybody has some choice, mother. The poorest girl alive may\nnot be able to choose between being Queen of England or Principal", "VIVIE. Well, anyhow, she did; and nothing would please my mother but\nthat I should do the same thing. I said flatly that it was not worth", "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts," ], [ "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "[Mrs Warren comes in, looking apprehensively around for Vivie. She has\ndone her best to make herself matronly and dignified. The brilliant hat", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. It would not matter if you did: you would not succeed. [Mrs\nWarren winces, deeply hurt by the implied indifference towards her", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "VIVIE [looking across at her without raising her head from her book] No.\nWho are you? What are you?\n\nMRS WARREN [rising breathless] You young imp!", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "VIVIE [slowly] You are certain of that, at _least_. Ah! You mean that\nthat is all you are certain of. [Thoughtfully] I see. [Mrs Warren buries", "MRS WARREN. Did you hear what I said, Vivie?", "MRS WARREN. You think I want to force that played-out old sot on you! I\ndon't, Vivie: on my oath I don't.", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "MRS WARREN. And youll be good to your poor old mother for it, won't you?\n\nVIVIE. I will, dear. [Kissing her] Good-night.", "VIVIE. Who was my father?\n\nMRS WARREN. You don't know what youre asking. I can't tell you.", "MRS WARREN. Vivie: do you know how rich I am?\n\nVIVIE. I have no doubt you are very rich.", "MRS WARREN. There! I shouldn't have done that. I _am_ wicked. Never you\nmind, my dear: it's only a motherly kiss. Go and make love to Vivie.", "FRANK [to Mrs Warren] Goodbye: youd ever so much better have taken my\nadvice. [He shakes hands with her. Then airily to Vivie] Byebye, Viv.", "VIVIE. Nonsense, Frank. My mother will stay here.\n\nMRS WARREN [scared] I don't know: perhaps I'd better go. We're disturbing\nyou at your work.", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you" ], [ "VIVIE. You shall see. [She writes]. \"Paid up capital: not less than\nforty thousand pounds standing in the name of Sir George Crofts,", "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "CROFTS. May I shake hands with a young lady whom I have known by\nreputation very long as the daughter of one of my oldest friends?\n\nVIVIE [who has been looking him up and down sharply] If you like.", "CROFTS [with brutal good humor, as if he liked her pluck] Well thats not\nwhat I came to say. [Sitting down beside her] Now listen, Miss Vivie.", "VIVIE. Yes: goodbye. Come: don't let us make a useless scene: you\nunderstand perfectly well. Sir George Crofts has told me the whole\nbusiness.", "VIVIE. Do you think so?\n\nCROFTS. Well, whats he to do? No profession. No property. Whats he good\nfor?", "train. Vivie: put your hat on, dear: youll get sunburnt. Oh, I forgot to\nintroduce you. Sir George Crofts: my little Vivie.", "CROFTS. Could I have a few words with you, Miss Vivie?\n\nVIVIE. Certainly.", "VIVIE. Everybody knows my reputation, my social standing, and the\nprofession I intend to pursue. I know nothing about you. What is that\nway of life which you invite me to share with you and Sir George Crofts,\npray?", "CROFTS [watching him with a crafty air as he disappears, and speaking to\nVivie with an assumption of being on privileged terms with her] Pleasant", "CROFTS. Oh well, come, Miss Vivie: you needn't pretend you don't see what\nI'm driving at. I want to settle down with a Lady Crofts. I suppose you\nthink me very blunt, eh?", "VIVIE. Your partner. My mother.\n\nCROFTS [black with rage] The old--\n\nVIVIE. Just so.", "CROFTS [contemptuously] Yah! [He turns away again].\n\nFRANK [rising] Mrs Warren: I cannot give my Vivie up, even for your\nsake.", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "[Crofts advances to Vivie with his most courtly manner. She nods, but\nmakes no motion to shake hands.]", "VIVIE [rising, almost beside herself] Take care. I know what this\nbusiness is.\n\nCROFTS [starting, with a suppressed oath] Who told you?", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "PRAED [rising also] Well, as you are, at all events, old enough to be\nher father, I don't mind agreeing that we both regard Miss Vivie in a", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. It does not matter. I suppose you understand that when we leave\nhere today our acquaintance ceases.\n\nCROFTS. Why? Is it for helping your mother?" ], [ "PRAED [recovering himself with an effort and speaking gently and\ngravely] Now listen to me, my dear Crofts. [He sits down again].", "REV. S. Nonsense, sir. I am Sir George Crofts' host. I must talk to him\nabout something; and he has only one subject. Where is Mr Praed now?", "VIVIE [striding to the gate and opening it for him] Come in, Mr Praed.\n[He comes in]. Glad to see you. [She proffers her hand and takes his", "VIVIE. So do I. Sit down, Mr Praed. [This invitation she gives with a\ngenial peremptoriness, his anxiety to please her clearly striking her as", "CROFTS [furtively] I say, Praed.\n\nPRAED. Yes.\n\nCROFTS. I want to ask you a rather particular question.", "PRAED [rising indignantly] Really, Crofts--!\n\nCROFTS. No offence, Praed. Quite allowable as between two men of the\nworld.", "PRAED [approving] Ah!! [He sits down, much relieved].\n\nVIVIE [continuing]--to the Opera--\n\nPRAED [still more pleased] Good!", "VIVIE. Oh, do you think Mr Praed does not know all about my mother?\n[Turning on Praed] You had better have told me that morning, Mr Praed.\nYou are very old fashioned in your delicacies, after all.", "CROFTS [putting his head out of the window] I say, Praed: what are you\nabout? Do come along. [He disappears].", "MRS WARREN [to Praed, looking at Crofts] Just look at him, Praddy: he\nlooks cheerful, don't he? He's been worrying my life out these three", "VIVIE. It's Praed. He's going to Italy and wants to say goodbye. I asked\nhim to call this afternoon. Go and let him in.", "REV. S. Yes: it is indeed. Frank will take you for a walk, Mr Praed,\nif you like. I'll ask you to excuse me: I must take the opportunity", "THE GENTLEMAN [daunted and conciliatory] I'm afraid I appear intrusive.\nMy name is Praed. [Vivie at once throws her books upon the chair, and", "PRAED. What difference can that make? We take her on her own merits.\nWhat does it matter who her father was?\n\nCROFTS [suspiciously] Then you know who he was?", "Praed and I'll wait here, to give the thing an unpremeditated air. [The\nclergyman, dazed but obedient, hurries off].", "PRAED [very ill at ease] In that case--[He stops, quite at a loss. Then,\nwith a forced attempt at gaiety] But what nonsense we are talking! Of", "PRAED. Oh no: oh dear no. At least, not conventionally unconventionally,\nyou understand. [She nods and sits down. He goes on, with a cordial", "PRAED [sternly] Frank! [The two look at one another, Frank unruffled,\nPraed deeply indignant]. Let me tell you, Gardner, that if you desert\nher now you will behave very despicably.", "PRAED. Shall we go away?\n\nVIVIE. No: I'll be back presently. Only for a moment. [She goes into the\nother room, Praed opening the door for her].", "[Praed shakes his head bodingly, and is following Crofts when he is\nhailed by a young gentleman who has just appeared on the common, and is" ], [ "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "MRS WARREN. Oh, get out with your nonsense. [In a low voice] Where's\nVivie?\n\n[Frank points expressively to the door of the inner room, but says\nnothing.]", "MRS WARREN. Gone out to have a pipe. [The clergyman takes his hat from\nthe table, and joins Mrs Warren at the fireside. Meanwhile, Vivie comes", "Mrs Warren pretends to laugh, but looks after him with perceptible\nconcern. Then, she whispers to Crofts] Whats the matter with him? What\ndoes he take it like that for?", "parson takes Mrs Warren; and they pass into the kitchen. Praed and\nCrofts follow. All except Praed clearly disapprove of the arrangement,", "MRS WARREN. Yes, dearie. [She laughs indulgently at Praed's gravity, and\npats him on the cheek as she passes him on her way to the porch]. Don't", "MRS WARREN. Don't tell her I was crying. [Vivie comes in. She\nstops gravely on seeing Mrs Warren, who greets her with hysterical\ncheerfulness]. Well, dearie. So here you are at last.", "CROFTS. Of course not.\n\nFRANK [with enchanting placidity] Is that so, Mrs Warren?", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "MRS WARREN. But I explained--\n\nVIVIE. You explained how it came about. You did not tell me that it is\nstill going on [She sits].", "MRS WARREN. Well, George, what do you think of her?\n\nCROFTS [ruefully] She has a powerful fist. Did you shake hands with her,\nPraed?", "[Mrs Warren appears on the threshold, and is immediately transfixed,\nrecognizing the clergyman.]\n\nVIVIE [continuing] Let me introduce--", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "FRANK. Better not wait for them, Mrs Warren. Praed will stay out as\nlong as possible. He has never known before what it is to stray over the\nheath on a summer night with my Vivie.", "the publican. Mrs Warren is not a whit a worse woman than the reputable\ndaughter who cannot endure her. Her indifference to the ultimate social\nconsequences of her means of making money, and her discovery of that", "REV. S. [mooning hospitably at them] I shall be pleased, I'm sure, if\nSir George and Mrs Warren really care about it.\n\nMRS WARREN. Oh, come along and get it over.", "MRS WARREN [on the alert at once] Now see here, George: what are you\nup to about that girl? I've been watching your way of looking at her.\nRemember: I know you and what your looks mean.", "FRANK [grimacing] Sorry. [He goes for his cap and rifle. Mrs Warren\nreturns. He takes her hand] Good-night, dear Mrs Warren. [He kisses her", "MRS WARREN. Yes, Heaven forgive me, it's true; and you are the only\none that ever turned on me. Oh, the injustice of it! the injustice! the", "PRAED. I'm an old friend of her mother. Mrs Warren brought me over to\nmake her daughter's acquaintance.\n\nFRANK. The mother! Is _she_ here?" ], [ "[Mrs Warren and Sir George Crofts arrive at the gate. Mrs Warren is\nbetween 40 and 50, formerly pretty, showily dressed in a brilliant", "MRS WARREN. Well, George, what do you think of her?\n\nCROFTS [ruefully] She has a powerful fist. Did you shake hands with her,\nPraed?", "CROFTS. Of course not.\n\nFRANK [with enchanting placidity] Is that so, Mrs Warren?", "MRS WARREN. So it's come to that with you, George, like all the other\nworn-out old creatures!\n\nCROFTS [savagely] Damn you!", "MRS WARREN. Nonsense! What would a young girl like her be doing with\nsuch things! Never mind: it don't matter. I wonder how she passes her\ntime here! I'd a good deal rather be in Vienna.", "CROFTS. Well, thats all it is. Your mother has got a genius for managing\nsuch things. We've got two in Brussels, one in Ostend, one in Vienna,", "REV. S. Frank: Mrs Warren and her daughter are coming across the heath\nwith Crofts: I saw them from the study windows. What _am_ I to say about\nyour mother?", "PRAED. Sir George Crofts, an old friend of Mrs Warren's. I think we had\nbetter come in.", "Mrs Warren pretends to laugh, but looks after him with perceptible\nconcern. Then, she whispers to Crofts] Whats the matter with him? What\ndoes he take it like that for?", "MRS WARREN [on the alert at once] Now see here, George: what are you\nup to about that girl? I've been watching your way of looking at her.\nRemember: I know you and what your looks mean.", "REV. S. [still holding the gate for Crofts, who loafs through it,\nheavily bored] You look well everywhere, Mrs Warren.", "REV. S. [mooning hospitably at them] I shall be pleased, I'm sure, if\nSir George and Mrs Warren really care about it.\n\nMRS WARREN. Oh, come along and get it over.", "CROFTS. Gardner'll put me up.\n\nMRS WARREN. Oh, no doubt you've taken care of yourself! But what about\nPraddy?", "parson takes Mrs Warren; and they pass into the kitchen. Praed and\nCrofts follow. All except Praed clearly disapprove of the arrangement,", "MRS WARREN. Never you mind how old she is.\n\nCROFTS. Why do you make such a secret of it?\n\nMRS WARREN. Because I choose.", "MRS WARREN. No, you don't. I do. She called herself a widow and had a\nfried-fish shop down by the Mint, and kept herself and four daughters", "CROFTS [contemptuously] Yah! [He turns away again].\n\nFRANK [rising] Mrs Warren: I cannot give my Vivie up, even for your\nsake.", "MRS WARREN [within] Here, Vivie: come on you too, child. You must be\nfamished. [She enters, followed by Crofts, who holds the door open with", "CROFTS. Of course it's impossible. Don't be a fool, Kitty.\n\nMRS WARREN [nettled] Why not? Isn't my daughter good enough for your son?", "CROFTS. Mayn't a man take an interest in a girl?\n\nMRS WARREN. Not a man like you.\n\nCROFTS. How old is she?" ], [ "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "FRANK [incredulous, but immensely amused] Is that Vivie's mother?\n\nPRAED. Yes.", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "Circumstances or no circumstances, Viv, you won't be able to stand your\nmother.\n\nVIVIE [very angry] Why not?", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "VIVIE. Well, anyhow, she did; and nothing would please my mother but\nthat I should do the same thing. I said flatly that it was not worth", "VIVIE. It does not matter. I suppose you understand that when we leave\nhere today our acquaintance ceases.\n\nCROFTS. Why? Is it for helping your mother?", "accused of ignoring, not stage logic, but, of all things, human feeling.\nPeople with completely theatrified imaginations tell me that no girl\nwould treat her mother as Vivie Warren does, meaning that no stage", "VIVIE. It would not matter if you did: you would not succeed. [Mrs\nWarren winces, deeply hurt by the implied indifference towards her", "VIVIE [not at all pleased] Did she? Hm! My mother has rather a trick of\ntaking me by surprise--to see how I behave myself while she's away, I", "MRS WARREN [passionately] What harm am I asking you to do? [Vivie turns\naway contemptuously. Mrs Warren continues desperately] Vivie: listen to", "VIVIE. Wait a moment: I've not done. Tell me why you continue your\nbusiness now that you are independent of it. Your sister, you told me,\nhas left all that behind her. Why don't you do the same?", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "affectionate intention. Vivie, neither understanding this nor concerning\nherself about it, goes on calmly] Mother: you don't at all know the sort", "VIVIE [smothering the word against her breast] Sh-sh-sh-sh! little girl\nwants to forget all about her mother. [They are silent for some moments,", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "VIVIE. You are wrong: you know nothing about her. If you knew the\ncircumstances against which my mother had to struggle--" ], [ "VIVIE. I shall set up chambers in the City, and work at actuarial\ncalculations and conveyancing. Under cover of that I shall do some law,", "time, and saying nothing]. You and your way of life, indeed! What next?\n[She looks at Vivie again. No reply].", "settled and comfortable between us, and that we were on the best\nof terms. [She breaks down]. Vivie: whats the meaning of this? [She", "VIVIE. You know very well that that has nothing to do with it. From this\ntime I go my own way in my own business and among my own friends. And\nyou will go yours. [She rises]. Goodbye.", "VIVIE [matter-of-factly] Goodbye. [Mrs Warren goes out, slamming\nthe door behind her. The strain on Vivie's face relaxes; her grave", "VIVIE. Yes: they object to the smell in the office; and we've had to take\nto cigarets. See! [She opens the box and takes out a cigaret, which she", "VIVIE. No: I am my mother's daughter. I am like you: I must have work,\nand must make more money than I spend. But my work is not your work, and", "VIVIE. Well, I shall win because I want nothing but my fare to London\nto start there to-morrow earning my own living by devilling for Honoria.", "VIVIE. Everything was settled twenty minutes after I arrived here.\nHonoria has found the business too much for her this year; and she was", "VIVIE. At Honoria Fraser's chambers, 67 Chancery Lane, for the rest of\nmy life. [She goes off quickly in the opposite direction to that taken\nby Crofts].", "REV. S. [taking them] Good-night. [They shake hands. As he passes Vivie\nhe shakes hands with her also and bids her good-night. Then, in booming", "MRS WARREN. Wherever have you been, Vivie?\n\nVIVIE [taking off her hat and throwing it carelessly on the table] On\nthe hill.", "MRS WARREN. Well, what do you notice now?\n\nPRAED. Only that Vivie is a grown woman. Pray, Kitty, treat her with\nevery respect.", "Come [taking her mother by the wrist and pulling her up pretty\nresolutely]: pull yourself together. Thats right.\n\nMRS WARREN [querulously] Youre very rough with me, Vivie.", "VIVIE. Wait a moment: I've not done. Tell me why you continue your\nbusiness now that you are independent of it. Your sister, you told me,\nhas left all that behind her. Why don't you do the same?", "MRS WARREN. Well, Vivie, what did you go away like that for without\nsaying a word to me! How could you do such a thing! And what have you", "VIVIE. Everybody has some choice, mother. The poorest girl alive may\nnot be able to choose between being Queen of England or Principal", "[This sentimental compliment braces Vivie. She throws it away from her\nwith an impatient shake, and forces herself to stand up, though not\nwithout some support from the table.]", "FRANK. It's ever so much more serious than that. You say you've only just\nmet Vivie for the first time?\n\nPRAED. Yes.", "VIVIE. Do you think so?\n\nCROFTS. Well, whats he to do? No profession. No property. Whats he good\nfor?" ] ]

[ "What did Mrs. Warren previously do for work?", "What does Mrs. Warren criticize about Victorian Britain?", "Where did Vivie graduate from?", "Who is attracted to Vivie?", "Who is Vivie romantically involved with?", "What possible relationship between Frank and Vivie is revealed?", "Where does Mrs. Warren own a chain of Brothels?", "Why does the reconciliation between Vivie and Mrs. Warren abruptly end?", "What does Vivie vow never to do after taking an office job and breaking up with Frank?", "Who owns a brothel?", "Who is Mrs. Warrens daughter?", "Which university did Vivie graduate from?", "Which area of study did Vivie get honours in?", "What is Mr. Praed's occupation?", "Who is Mrs. Warren's business partner?", "Who sees Vivie as a meal ticket?", "Who could be Vivie's father?", "Who did Vivie disown?", "Which kind of job did Vivie take in the city?", "What was Mrs. Warren's former occupation?", "Which college did Vivie graduate from?", "Why did Vivie's mother change her name to Mrs. Warren?", "What is the age difference between Vivie and George Crofts?", "What is the occupation of Mr. Praed?", "Who is Mrs Warren's business partner?", "Across which continent does Mrs Warren own brothels with George Crofts?", "Why does Vivie disown her mother?", "What type of job does Vivie take in the city?" ]

[ [ "Prostitution.", "She was a former prostitute." ], [ "The limited work opportunities for women that are available.", "There are limited employment opportunitues" ], [ "The University of Cambridge.", "University of Cambridge. " ], [ "Mrs. Warren's business partner, Sir George Crofts.", "SIR GEORGE CROFTS" ], [ "Frank Gardner.", "Frank Gardner" ], [ "They are half siblings.", "Half-siblings." ], [ "Europe.", "ALL OVER EUROPE" ], [ "Vivie finds out that Mrs. Warren continues to run the brothels even though she does not need them anymore.", "Vivie finds out her mother no longer needs to run the brothels but still does. " ], [ "Never to marry.", "Marry." ], [ "Mrs. Warren", "Mrs. Warren." ], [ "Vivie", "Vivie" ], [ "University of Cambridge", "University of Cambridge" ], [ "Mathematics", "mathematics" ], [ "Architect", "architect" ], [ "Sir George Crofts", "Sir George Crofts" ], [ "Frank Gardner", "Frank Gardner" ], [ "Reverend Samuel Gardner", "Reverend Samuel Gardner" ], [ "Her mother", "Her mother." ], [ "An office job", "OFFICE JOB" ], [ "A prostitute.", "Prostitute" ], [ "University of Cambridge.", "University of Cambridge" ], [ "To give the impression of being married and to hide her true identity.", "TO MAKE PEOPLE THINK SHES MARRIED & TO HIDE HER TRUE IDENTITY" ], [ "25 years.", "25 years" ], [ "He is an architect.", "Architect" ], [ "Sir George Crofts", "Sir George Crofts" ], [ "Europe", "Europe" ], [ "Because she finds out her mother is still running brothels when she no longer needs the money ", "She continues to run the brothel." ], [ "An office job", "an office job" ] ]

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